The Ogden standard. [volume] (Ogden City, Utah) 1902-1910, 1909-04-12
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Cullough and Barton Hill were both
theatrical managers In San Francisco
at that time. and they were time and
again solicited for an engagement
But Modjeska was what might be call
ed a totally unknown quality In the
theatrical world of the far west.
Though she had been for ten years
leading lady OF the Imperial theater
of Warsaw, selecting her own plays
and appearing as she chose, and
though all Europe had acclaimed her,
it did not serve her as an introduction
in San Francisco, not at least as an
introduction of any use. She was ten
dered every courtesy, 1t Is true. by the
managers. but they looked upon her
merely as some wealthy titled lady
whose fad was the stage. Her title of
countess went against her; there was
a Russian princess" appearing on the
local stage at the time, who was a
fraud. and managers were wary.
Charles Coghlan was playing in San
Francisco then, and playing to empty
houses, too for the public seemed to be
altogether inappreciauve of him. But
Modjeska saw him often and admired
him Her admiration was deepened
by the strong resemblance Coghlan
bore to her favorite brother. Felix,
who had become the foremost actor OF
Poland and whose death was one Of
Modjeskas greatest sorrows.
When Modjeska knew Adrienne Le-
couvreur in English and also the bal
cony scene from Romeo and Juliet"
the undaunted Tucholsky again went
to Hill and asked him to make an APP
pointment to hear Modjeska read Hill
tried to get out of it. but she finally
secured the appointment for IL o'clock
the next morning.
Standing in the middle OF the bare
gaunt hall, with no stage effects to aid
her and with one man, the most bored
looking stage manager in the world,
for an audience, the great Polish ac-
tress recited the last act Of Adricnne
Lecouvreur. Tucholsky read the other
parts and carefully watched the face OF
Barton Hill as the heart breaking
story was pictured before him through
ModjeSka'S face and voice. The change
of expression on Hills face from one
of weariness to wonder and rapt en-
joyment was a drama In itself. When
the last anguished words of Adrienne
were uttered before death ended her
suffering Barton Hill was in tears.
MY dear madam" he cried grasp
ing her hand and dashing his tears
away, you may play at the California
theater whenever you are ready and
as long as you may wish" He had
| witnessed a revelation.
The next day Modjeska and her
friend went down again to the theater,
where Hill had Mccullough present
to hear the actress read. this time on
| the stage. She had her English well
in command, with that soft foreign ac-
cent that has always given it added
charm, and as Juliet in the balcony
scene, which she first recited. she was
a vision of grace and lovelinesS. Then
followed the tragic story of Adrienne,
rendered with even more power than
before, If that we're possible, Before
the day closed Modjeska had been en-
| gagged for a two week appearance at
the California theater.
That night in August, 1877, when
Modjesl1a in the full flush of her beauty
and power made her first entrance
upon the American stage was indeed
a memorable one that still lives vivid
" in the recollection of those who wit
messed her appearance The play was
| "Adrlenne Lecouyreur," and support
| Ing ModJeska we're Tom keene as
Maurice lie SAKE and Harry Edwards
as MichonDe. There was never any
thing like 1t seen in a San Francisco
theater before OF since. Men and wom-
en- stood up, they mounted their seats,
they cried, they cheered they even
tried to stampede the stage 10 grasp
the hands of this wonderful woman
who had played with such merciless
harp strings Of their hearts. Nodes
ka was radiant with JOY, glory. graft
tude. The old fires were leaping In her
soul She inflamed the new west