The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1903-09-13

scription of his first meeting with Ed
win Booth In an interview a few years
ago he said:
Il had read of the tragedy that east
a mantle of blackness around our hero
of the stage for a brief period and left
the stamp Of everlasting sorrow on mis-
pale. intellectual brow and i'm his lu-
minoUs eyes, and that served to create
in our own imaginatiOns the ideal
Hamlet, Iago and Lear Naturally.
when the announcement was made that
the great artist was coming to play
at our theatre, I was much exercised
and grew frightfully nervous, having
been cast (for the first time) for Laer-
ties. Cassie and Edward " in Rich
ard III What troubled me was my
anxiety to please i'm the foiling bout i'm
/ the last act Of Hamlet" L played the
part with all the nervous force 1 pos
sesSed. and perhaps a little more: and
reaching the final sccne-I met on the
/ boards for the first time Edwin Booth.
as Hamlet face to face There was
something indescribable in that look:
was unnerved. and looked my discom-
Z future. My heart seemed TO come up in
my throat, but as someone has said
had presence Of mind enough left to
swallow it, Trembling visibly CIr.
Booth noted IT'D, 7 tried to fence. but
was too frightened Mr.. Booth smiled
and said, You're all right. my boy.
Begin. The encOura cement of those
soto voce arguments was all 1 needed.
I fought well. and when the curtain
was lowered Mr.. Booth came, assisted
me to rise, and said: Young man. that
is the first time that fight has gone
perfectly the opening night. I thank
you ] chOked in earnest. went to my
room. disrobed. and shot home to my
dear old mother to tell what Mr.. Booth
had said"
In the autumn of 1878 Mr. Haworth
became a member of the stock company
at the Boston Museum. appearing there
for the first time on Sept. Z as Count
Henri de Beausoleil in Satan in Paris"
He remained at the Museum for three
years. playing wide variety of roles
in the legitimate drama and taking
part in the comic opera productions
made at the Museum during the sum-
mer. He played Romeo to Mary An
dersOn's Juliet while in Boston and
won thereby considerable distinction
In 1881 he was invited TO become the
leading man Of the Museum company.
but declined in order to accept q sim
liar position with John Mccullough.
With that tragedian, of whom Mr.. Ha-
worth was a devoted admirer. he played
for two seasons. appearing as Iago.
Cassius. ICilius and other important
roles The sad breakdown Of MI Nc
CullOugh put a period 10 this associa-
non When the noted tragedian was
stricken he fell into Mr. Haworth's
arms and was borne by him from the
stage.
Many have often wondered what kept
Haworth back as player. SAYS an
other exchange He was a beautiful
reader and a fine actor throughout
when he chose TO be. But he was I'M
reliable and his habits compelled man
ayers to lose faith in him. But per
haps HaWOrth's greatest fault was the
result of his early training. He was
Of the crratic school that accomplished
good results by spurts and outbreaks
at the most unexpected period He is
known TO have frequently PLAYED
part on some particular occasion in the
MOST brilliant manner. and yet very
frequently walked off the stage TO ask
his companions how he had done il. he
did not subscribe to the DiderOt theory.
but depended upon the stress and ex-
element of certain periods for his in
spiration The result was that while
his work was brilliant at most times. il
was fitful. and he came near failing on
many an attempt just through this
shortening. He seldom analvzed a
part. and with all of his repeated evil
derces of fine talents he never took the
position Of prominence which such
splendid actors as Edwin Booth and
John Mccullough predicted for him.
In My Wife's Husbands, which