Perrysburg journal. (Perrysburg, Wood Co., O. [Ohio]) 186?-1965, 1907-04-26
Copyright by J. B. Bowlos.)


Julia Marlowe, though regarded as an
American actress was born in the lake
country of England. She was but child
of four years when her family removed
to farm in Kansas At II years of age
she Joined juvenile "Pinafore" company
and soon attracted attention by her clever
acting and her rich, clear voice. Other
engagements followed; then she retired
from the stage and studied dramatic art
for three years. Reappearing as Par
thenla in "Ingomar" at the Bijou theater
in New York, she won instant recognition
as splendid actress. Still, she struggled
for several years longer with disappoint-
ments of various kinds before she was
accorded the high place on the stage
which her merit gave to her. In such
roles as Juliet, Viola, Rosalind. Barbara
Frietchie, Colinette and Mary Tudor she
has won the warmest admiration of the
public)
think few people can realize how
fierce has been the strife in regard to
women on the stage and how difficult
it has been for them to convince the
world at large of the importance of
their hardwon position and their
beneficent influence upon dramatic art.
l am speaking now of the past. Hap
PLY at the present stage of dramatic
development woman's standard is as
high and her position as assured as
mans.
1t was not always so. Looking back
to the age of oppression and intoler-
ance when in 1860 woman first ap-
peared in dramatic representations,
we find her entrance marked an era
in dramatic advancement. The first
record of woman's appearance upon
the stage is December 6, 1860. The
play was Shakespeare's "Othello," and
the Desdemona was played by wom-
an. There has been considerable doubt
have given it to Anne Marshall. The
more general supposition is that Mar
garet Hughes deserves this right to
Immortality. We have Pepys' author
ity for it that women appeared in Kill
ligrew's company in London on Janu-
ary 8, 1861, in Beaumont and Fletch-
er's "Beggar's Bush"
Their early appearances were re-
ceived with great disfavor. DIR. Doran
tells us that the writers of the time
denounced the first actresses as "un-
womanish and graceless"-not meaning
that they We're ungainly and unfemi-
nine, but that play-acting in itself
was below their dignity. "Glad 1 am
to say remarked Thomas Brand,
speaking of these actresses, that they
were hissed, hooted and pippin-pelted
from the stage, so that do not think
they will soon be ready to try the same
again." He adds that well-disposed
people were righteously indignant at
these women, whom Pyrnne, a rigor-
GUS puritan of the time, called mon
sters.'
Notwithstanding the marked dis
favor with which they were first re-
ceived, reasonable and serious-minded
persons could not fail to see the pro-
priety of Juliet and Desdemona being
acted by girls rather than boys. 1t
would appear that Immediately upon
this important progressive step the
artistic need for woman's appearance
must have been generally felt.
We read that soon afterward ac-
tresses were in great demand. 1t was
found that they not only increased the
popularity of the theaters in which
they performed, but that their COOP
GRAFTON was indispensable to the prop
er presen,..ion of any play. They
made possible a fullness and a beauty
of Interpretation which had not been
dreamed of before.
Take for single example the wom-
en- of Shakespeare. They stand as
vivid types of truth and beauty. They
are so alive with the warmth of fem
ininity that their expression by other
than women is in itself a monstrous
sacrilege. A play performed by men
can hardly be imagined to-day and
the wonder is that such an absurdity
ever existed.
The realization of the necessity of
womans cooperation with man in dra-
matte achievement grew rapidly, for
mems minds were at this time too high
ly susceptible to advancement to re-
main in ignorance of this need. So
it was not long before actresses We're
recognized and highly respected. This
was so true in the case of Mrs Better
ton that when in 1874 "Calista" was
performed at court the actress was
chosen as instructress to the princesses
Mary and Anne, and much of the sub
sequent graceful elocution and dig
nifty of bearing of these ladies was ac-
credited to Mrs. Betterton. Perhaps
no finer compliment was ever paid
to a woman in any walk of life than
she received, for we read of her that
in company with her distinguished
husband she made her home the abid-
ing place of charity. hospitality and
dignity"
What vast work has been accom-
plished by women In the drama since