The record-union., 1897-12-07
STUDYING FOR THE STAGE.
EFFORT NEEDED FOR WOMEN
WHO WOULD ADVANCE.
How Catherine Grey Yorkshire
California Actress Believes In
General Cultivation-For Spe-
cial Character She Absorbs the
Atmosphere - Southern Ira1ts
From Southern Women.

There are a great many good things
which have come out of the West be-
sides young Lochinvar From our
American or United States West there
is constantly pouring into the East an
army of would-be histrionie artists so
the teachers of dramatic schools tell US.
Perhaps these may not all be classed
under the head of good things, ana
they do not always reach the stage TO
give people a chance to judge, but
MANY of the stage recruits, whether
they have reached the stage by way
of dramatic schools or not, who are do
ing credit to the stage and themselves,
have come from either the South or
West
One clever young actor who might be
thought. from her part in "A Southern
Romance" and the way she takes it,
TO be a Southern girl. is from the ex
treme West-thfs is Miss Katherine
Grey. Miss Grey was born into her
stage career with silver spoon in her
mouth if the expression may be used
when an opportunity is given which
is good or not. as there is the ability
TO use it. However, Miss Grey's tran
sitfon into stage life was so smooth that
very young woman-in private life, and
the next she was a member of Daly's
company and a full-fledged profession
al. This was in California, her home.
II always wanted to go on the stage
from the time ] was little girl" says
Miss Grey, "and at last my mother told
me if l could get into Daly's or Froh-
mans Company she would give her
1yfat I Il J;o,a
that was after my fathers death-and
told him what my mother had said.
Well he said, I will see what l can
do for YOU He went to see about my
entering Daly's Company, which was
then in town. and I joined it. OF course
my mother had no idea Of my doing
such thing, but she always kept her
word with me. Then I was introduced
to Miss Rehap and Mr. Drew, because
my guardian knew them and thought
it would be pleasant for me to know
them.
Miss Rehanl There is a woman
who works hard; I don't know how
many parts she has taken. She is my
ideal. She was so kind to me. She
helped me 10 so much in telling me
what to do and what to read I re-
l4tiilDEI NHFll i UiSl fldd a page part.
and I rushed to her in tears at the
thought of having to wear tights. But
I wear Them she said. Yes 1 an
swered; but you are Rosalind.' Well,
she said, perhaps you may be Rosa
lind some time But I don't think any
one saw anything but the top Of my
head that night.
Yes. I had taken part in amateur
.r,.u 1,-r, 1, I
company at home and used to play
most serious things: nothing but trag-
edy would do for us. Of course. peo-
pie said I did wonderfully for child
for I was only 16 when I joined Days
company.
FORTUNATE STAGE AsSOCIA-
TIONS.
Il have been very fortunate since
have been on the stage in being asso-
ciated with people who could help me.
and since / have been able to eompre-
hend their work. A beginner can't go
to the theater and gain much from
seeing work of fine actors: you have
to know something of the stage to be
able to benefit by it,
Richard Mansfield and Mr.. Herne
have done a great deal for me, as have
such men as Franklin Sargent and
William Dean Howells, who are not
on the stage, but closely enough asso-
ciated to make their criticism valuable.
People like these who come to YOU
after a performance and criticise the
work are very helpful. Your idea is
very good Mr.. Howells will say. but
you are crude yet: you must keep on
working and I appreciate it, for l
realized that 7 was crude
You have not so much to fight
against as some people, Mr.. Mansfield
wrote me once, but you must work.
work, work. I know I have not so
much to work against as some people.
for l have no Western accent to over
come. and I work all the time.
II believe that the Illusion about the
stage should be preserved I do not
think people should know personally
the actress they see on the stage. Peo-
pie are not so apt to appreciate the
work when they know the individual.
l never go to see my friends when they
are having a tea or a reception; I go
when they are alone. But then I live
so much alone that do not like to
meet people. \ woman who is doing
good work must he a great deal alone
10 prepare for her work she must live a
great deal in herself
AMERICA HAS NO GREEN ROOM
we have no green room in this
country as they have abroad. Mr..
Mansfield tried to have one when he
took the Garrick-a large room into
which the dressing rooms opened.
where people could come and talk
about the play between the acts. You
think so much more Of people who come
to you in that way, and the remarks
OF the ordinary people you meet Who
say, 1t is all beautiful IT is all love
ly'
NO, Il is not a distraction. There are
not many characters taken in this
country which are SO strong that the
actor needs to live in them through the
entire course Of the play. Mr.. Herne
believes in that. though. and l do. in
theory, but in practice it is very differ
ent There are so many necessary dis
tnctfons in dressing and making ur
between the acts that it is hardly pos
sible TO keep the mind on the part.
But I do that when l am on the
stage. / know l could not hold my
audience II I did not have sufficient
control of myself to keep in the part
was acting. Perhaps ] do not hold
fheaudlence anyway. but know | could
not II could not hold myself. Mr.
Herne believed in every one having a
a n 4s=r-