davidaulloa/AmericanStories huggingface dataset:
Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1914-09-25
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Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1914-09-25
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Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1914-09-25

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Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1914-09-25

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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
COMPARATIVELY BRIEF HISTORY
OLE ACTRESSES.

AS the stage is conducted in our
time. IL is rather unusual to see men
masauerading as women and playing
various characters Of the deadlier spe-
cies. In this reckoning we do not take
into account the various college and
amateur presentations. for these have
no relation to the professional stage.
We are so accustomed to women on
the stage we forget that in compare
tive sense they have been a prominent
feature OF dramatic work for only a
brief span of years. Less than two
and one-half centuries back the idea
of women being seen upon the stage
was regarded as preposterous, and
scarcely two hundred years ago their
advent aroused a storm Of animosity
beside which the current anti-suffra-
gette discussions are very mild.
The Lambs takes it name and spirit
from an English gathering which orig
mated in the home Of Charles Lamb
in London IN the early half of the last
century. The record of these events
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

toration that we encounter genuine rec
ords that reveal to us list of names
of "boy actresses" who became the
pride Of London.
Our present day stage is indebted to
Pepys and his diary for many true rec
ords Of the passing events Of that era,
and his relation to dramatic history Is
almost as important as his diary has
been to literature.
Women came upon the English stage
with the restoration of the monarchy
and the accession Of Charles III TO the
throne. In 1868 Charles granted pat
ents for two theatres. and no more, In
London" Under one patent Killigrew
opened the Kings company at the new
theatre in Drury Lane. About the
same time one Davenant. under the
patronage of the Duke of York. opened
at the old Cockpit.
The companies Of Killigrew and
Davenant introduced women TO the
stage. The feminine pioneers were
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

is intact and has been too fully Gov
cred to require further mention. The
idea of utilizing men TO play womens
parts was not without precedent. and
the Lambs had only to turn back the
pages Of Time and revert to the growth
of the English theatre for warrant Of
such proceedings.
Like all other data regarding the
stage beyond the Elizabethan period,
there is so much fact and fiction
mingled in the telling that one cannot
easily trace events with any sense of
authenticity. Perhaps the best tradi
lions we have of the part men played
in the upholding of the feminine char
acters of the English stage in It's
earlier days is preserved by oscar
Wilde In his thoroughly delightful his
tory Of Willie Hughes. Just how much
! fact Wilde depended upon for his
charming history of Willie Hughes,
the boy actor. who inspired Shake
speare TO write Juliet. Desdemona, Oil
via and, possibly, Rosalind we are I'M
able to prove by the record 1t is a
mingling OF romance with traditions
that bear the semblance of authenticity,
however, and excerpts from the SON.
nets demonstrate that the poet endeav-
ored therein to express his gratitude
TO this gracious portrayer of his
feminine heroines
1t is not until the days OF the Res
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

had burned this into their memories
There were differences Of opinion as &c
the dimensions Of the room, some de-
claring 1t to be 20 by 30 feet and Il
feet high, With a seating capacity ot
115. Others put the length at various
figures between 80 and 80 feet, and
the height in one case was fixed az
more than 80 feet. One thought there
were seating accommodations for about
200 students.
There were many who saw green
when they should have seen brown in
describing the dress of the 6-footer
who first entered the room. To one his
hat was a "black split" A second
could not tell whether ii was brown or
green. Another noted that he wore A
gray suit. although it was observed
that his hat was a brown SLOUGH.
Apparently he also wore a gray hat"
He was described as being ) feet
inches in height, while the second actor
who followed him into the room was a
pigmy, only 4 feet 10 inches in height.
The latter was also 4 feet inches high
To one OF the witnesses the man with
the hat came into the room talking
loudly. but it was inaudible and could
not be heard from where was sitting"
This seemed to be little incongruous,
as the first actor did not say anything
until he had taken his seat on the win
dow SILL
The demeanor Of this actor as ne
crossed the floor must have been de-
cidedly unusual, judging from the tes-
timony. He was lean. wild-eyed" and
talked incoherently. HIS general de-
meanor caused ono to believe that "he
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

did not know whore he was or whom
he was talking to-" His expression
was one OF depressed amusement" He
wore IAN assumed imbecilic express
sion" He was maniac" His ex-
preston was that Of self-confdence
and assurance" He was somewhat
lit up as the expression goes" He
had a scared expression" His face
was flushed and his hair dishevelled.
Equipped with this composite ex-
preston, when he entered he walked
with heavy footsteps talking
continuously and rapidly in a
rather excited tone Of voice" and ran
TO a ~indow sill and sat there uncOn-
cerned," while he put his head out Of
the window A.. . turned around
quickly and with lowered head yelled
out torrent of words" At least, that
is the way his action was observed by
three of these acute youthful observers.
But what did he say? Take your
choice from the following quotations:
Il am an agent"
Il am ar angel sent from heaven"
II am an angel 1000 feet from the
Hudson River"
Il am an angel"
Gentlemen, | am an agent. would
like to interest you in a proposition
Gentlemen. | represent the - In
suranca Companv"
Ladies and gentlemen. tonight at
10 O'clock
II am an angel Hammerstein is I'M
done"
81 am an actor. have come here
AT last Hammerstein has got TO
stop"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

I While he was thus delivering himself
a young man about , feet I inches in
height burst through the same door
and dashed noisily around the room.
He presented a somewhat excited APP
pearance. Robust in build, smooth
faced and wearing a black-striped SUIT
and no hat, he had handkerchief tied
around his neck. Taking the seated
6footer by the shoulder he said:
This is no place for you TO be-"
While this incident was Transporting
the students sat almost dumfoundcd,
watching intently the strict instructor,
uncertain what action would follow this
unseemly interruption. What hap
pened was Unexpectedly tame. Pro-
fessor Tompkins, who had been taking
in all OF the incident, said:
Gentlemen, / command you to de-
sist"
And to the surprise OF the students
they desisted. They themselves were
students, members OF that class.
Professor Tompkins now told the
class that each member would be called
upon 10 testify or paper as IL under
oath as TO what he had seen and heard.
Even TO those who know that exac
confederation is presumptive evidence
that the corroborators are collaborat-
ing liars the results were astonishing.
That one hundred aspiring youths
about 10 apply for admission TO the
bar should be so lacking in the powers
of observation was astounding. AL
most the only details to which all tes-
titled correctly were the location Of the
building and of the room. Intimate
Of these facts through years
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

Mrs. Corey Eastland, Hughes, Knip.
the Marshalls (Anne and Rebecca).
Mrs. Rutter and Mrs. Uphill. OF the
latter, one biographer reflects the times
by the naive admission that "she it was
whom Sir Robert Howard too tardily
married" Later a Miss Weaver and a
Miss Gwyn Joined the company along
with Mrs. Boutel. Miss Gwyn was the
celebrated Nell OF Old Drury whose
name is now writ In the pages Of Eng
lish history.
The great Betterton was the leading
figure of Davenant's original company.
Two women pioneers with this force
were Mrs. Davenport and Mrs. Sander
son. who shortly after her advent be-
came the wife Of Betterton, and lived
to ripe old age to share honors with
that famous player. Davenant was
less radical than his rival at Drury
Lane, for his roster shows that six lads
were included in the company, who
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
FORTY THE SAME THING IN FORTY DIFFERENT WAYS

In the mean time what was the Sec
ond actor doing ALFRED in "a sort Of
gray" black with white stripes" suit,
and a soft hat" BLACK derby" and
no hat, his collar turned up" "a silk
handkerchief" "a bandanna around ms
neck" with white rag tied over jaw
he burst into the room close upon the
heels OF the first actor. His Took was
wild and murderous," and at the same
time bold and haggard lie
"clomped noisily around the room
There was agreement upon this. TAX
ing the first actor by the arm, he said
What are you doing here? You have
no business here" At least. that Is
what one witness declared he SAID.
Immediately prior TO the intrusion
the professor was sitting on me ros-
trum and was telling the class about
man being called down on the street at
; o'clock in the morning and told mat
his coal scuttle was OPEN" and was
lust launching forth into one OF his im-
pressive calculations OF an obscure
angle Of partnership law" The "su-
ver-haired. learned and respected man
drew back as If in surprise when 1he
student who first entered passed n
front Of him. He looked as II the IN
truson had taken him completely by
surprise and appeared slightly an
noyed," "5ut was not surprised 10 any
great extent"
He "gazed in startling manner NJ
the intruders," at the same time calm
and self-possessing, rather indifrer-
ent" and apparently too astounded 10
speak," and so 'thunderstruck" he
knew not what to do " say"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

together. one happy family. Life would
/ be one Sahara after another, and a
little worse. for the horizon would be
unbroken by single wave of sand.
There would be nothing to stimulate
ambition. no arguments. no nothing
except dead level. Think 1t over.
This is Just what some budding law
yers at the New York University had
an opportunity TO do recently. About a
hundred OF them, more or less. found
out how many shades OF opinion re-
garding a trivial incident there may be.
A test in observation to which they
were treated floored every one Of them.
Seeing may be believing. but il is not
necessarily a reveaer of truth. After
q demonstration Of this sort one is in
clined TO ask, What is truth" and TO
conclude that it is buried in a we'll of
half truths.
Professor Leslie J. Tompkins was the
originator of the test. He is the in
structor Of the third year class in law,
some Of whose members will become
full-fedged lawyers before fall. He
wished TO show how fallible witnesses
are. His test perhaps demonstrated il
more thoroughly than he had expected.
He is 1.-THE of figure and has the APP
pearance OF a man of action in middle
life. His eyebrows and short clipped.
bristling black mustache command at
tention because of their startlingly
sharp contrast with his iron gray hair.
There is quality in his eyes which
vive. He is considerable OF a disci-
pinarian.
For clear understanding OF rhe
scene In the classroom 1t Is necessary
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

I to say that there are about ITO stu
dents chairs which fill the room in
/ front Of the rostrum on which Profess
sor Tompkns Sits These chairs are
ranged across the room in rows OF
eight and nine The room is approx
mately % feet wide by 80 feet deep.
Professor Tompkins has kept the eyes
Of the students focused on the rostrum
where he sits for more than ten years.
The fallibility OF humanity when It
comes to details OF everyday surround
ings was revealed in the professor him
self when he prepared the scenario OF
his little moving picture experiment.
His piercing glance in all these years
had not revealed 10 him the number OF
windows in the room.
The class was in the middle of dis
cussion OF a case on the subject OF evil
dence in which an inhabitant OF the
District OF Columbia and his coal hole
figured. Suddenly the door in the right
hand corner OF the room at the front
end opened and young man about q
feet in height entered His face was
smooth and he wore a soft brown hat.
His coat was buttoned and a white
handkerchief protruded from his breast
pocket He walked swiftly across the
room in the glare OF the electric lights
between the rostrum and the students.
Seating himself on the deep sill In front
of the open window near the rostrum
he uttered these irrelevant and incom-
prehensible remarks:
II am an angel"
ct is one thousand feet TO the Hud-
son River"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
+ T beats the Dutch how far off a
newspaper can get"


The speaker was q commuter
lie held before him the morning paper
and had just read dispatch describ-
ing a fire in his town He was address
ing his neighbor. who had taken the
seat behind him in the hope OF escaping
a seatmate.
ut saws here" continued the speaker,
as he twisted around to look over the
back OF the seat. that the alarm was
turned in at 11:1O o'clock. | know II
couldn't have been later than 1lOo,
Cor the town clock had just struck a
moment before and | had just put the
light out. Then IL says that the ladder
broke with Jim Smith on IT, and that
he fell and had TO be resuscitated.
Now. | was there in the crowd, and I'm
sure II was Jim Jones who fell with the
ladder. Newspapers never get any
thing right"
Are YOU sure about that?" replied
The other Il heard this morning on
the way 10 the train that it was Jim
Green. and that the ladder didn't
break. but just slipped on the pave
ment."
ANYWAY, the paper isn't right" re-
iterated the other.
Doubtless there are many persons
who feel just the same way about
newspaper accounts of incidents OF
which they were witnesses. How
deadly the world would be If all per-
sons saw alike! Where would the fem
mist movement be? War would be a
thing OF the past No one, or every
body, would want votes. Barnes,
.t-,n,, ana Pooaevalf would lie down
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
BY JULIAN ELTINGE.

EOPLE unfamiliar with the inner
workings Of the Lambs often
Il wonder why men play the fem
mime roles in the artistic productions
which are known as gambols There
fore let me explain that the Lambs Is
2 mans club entirely. Under the laws
Of the club they depend upon their ac-
tive membership for amusement during
the winter or for contribution to the
pleasure Of the organization.
When a sketch is written which re-
ouires female characters in the telling
Of the story the players must be re-
cruited from the membership. In this
way the versatility Of the actors has
often been demonstrated. and fire.
ouently we find parts played with a
suggestion of feminine understanding
and nicely Of touch that demonstrate
vein Of skill in the players which their
best friends had never thought possible.
There are twenty or twenty-five men
in the Lambs who can go on after
few rehearsals and present womens
parts in a way calculated TO astonish
even so technical and difficult an au-
dience as you will find al the gambol.
Most of the men l have played with
tell me they like these parts because
they serve as a diverting stimulus TO
their work giving them finer shade
Of understanding. I cannot recall, off
hand. the men who have shown the
greatest proficiency in this unique line
OF work. but the Illustrations of some
Of the boys who will appear in the
coming big gambol show that they
can counterfeit women in appearance
with sufficient art to deceive that un-
relenting recorder of personality-the
camera.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

were employed TO represent female
characters.
Just how puritanical England ac-
! cepted this innovation is reflected in
| the words of Pyrnne, who remarked
/ that they were unwomanish and
/ graceless," and that he had no inten-
ton thereby ito imply that they were
awkward and unfeminine but that
/ acting was unworthy of their sex and
unbecoming women born in an era OF
grace" Thomas Brand went even
further than Pyrnne. and has written
that "all virtuous persons In the town
rejoice to see these women Kissed,
hooted and pippin pelted from the
stage"
II Is not known for certainty who
was the first woman to appear on the
London stage, but it is generally
thought that this honor belonged to
Anne Marshall or Margaret Hughes.
The indisputable fact is that the role
was Desdemona, and the scene was
Kiligrew's performance of "Othello'
at Drury Lane Theatre.
Prior to the advent Of women
Rhodes's boys were the feminine main
STAYS of the playhouse. Pepys assures
us that these distinguished boys were
men past forty who frisked 1t as
venches Of fifteen; even real kings were
often kept waiting because theatrical
queens had not yet shaved" 1t is not
easy to trace the lives Of some OF these
! famous boys who were the dependable
females of the London stage. Three
names survived the civil wars which
stand out In bold relief against the
mass OF improved traditions. These
were Hart, Burt and Clun. They were
all pupils of one Robinson, himself an
accomplished actress" who went to
war and was killed in battle.
Hart rose to great eminence in his
chosen profession. His most successful
part in his youth was the Duchess in
Shirleys Cardinal" After the Resto-
ration he played Cassie, Othello
and Brutus, and there is a legend that
so successful was his Catiline that JON
sons tragedy died with him.
Burt graduated from boy-actress
parts and his best character study was
that of Cicero in "Catilne," for which
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17

production Charles II contributed toOt
for suitable costume effects.
The record of Clun is very short. lie
was quite convivial. When he aban'
doned female roles he made name fol
himself in such parts as Iago, and as
Subtle in the "Alchymist" he was the
pet OF the town. In August. 1864,
while seeing a lady to her home, ne
was assaied by a band of ruftians,
murdered and his body thrown into a
ditch. where it was discovered the next
day.
Angel, Moseley and F'loid were play
ers who developed specialties in female
characterization The former outgrew
his youth and finished his career BY
playing low comedy waiting maids and
funny old Frenchwomen. His last APP
pearances were about 1913. Moseley
and Floid were utilized to represent
vulgar class of women often figuring
in the comedies OF the period. They
both died in 1914.
Kynaston and James Nokes became
the most famous boy-actresses of their
times and lived to occupy positions Of
eminence on the London stage. Pepys
refers to Kynaston as the loveliest
lady for a boy I ever beheld." This
was in 1860, when he appeared as
Olympia. the dukes sister, in The
Loyal Subject" On January I, 1861,
Pepys wrote:
TON and and my wife went to the
theatre and there saw The Silent
Woman Among other things here,
Kynaston. the boy, had the good turn
to appear in three shapes: first as a
poor woman, in ordinary clothes, to
please Morose; then in fine clothes as
a gallant-and in these was clearly the
prettiest woman in the whole house;
and lastly as a man-and then like
wise did appear the handsomest man In
the house"
When his performances were con-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
Leading Female I'm
persOnatOr DelveS
Into the Past.

Julian Eltinge, who has written the
subjoined article for The Tribune Is the
best known of the present day actors
who essay feminine role upon the
stage. He discourses here of other men
who have won note in the same branch
of histrionic art.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-17
COLLEY CIBeER TELLS OIL
KYNASTON IN OLD AGE.


female parts TO play the celebrated
tyrants OF the Elizabethan dramas.
Colley Cfbber tells that he retained a
certain beauty TO the last, and when
he appeared in kingly robes he was
every inch a king, and that when he
was past sixty his teeth were all sound,
white and even, as one would expect TO
see in a regning toast Of twenty. Cib-
Der attributed the formal gravity Of his
mien TO the stately step and airs he
had been confined to in the days of his
female decency"
Kynaston was on the stage from 1903
10 1899, and retired on account Of fail
ing memory. He died in 1112, and,
having been most prudent left a snug
fortune TO his son, whose heir became
celebrated preacher. Kynaston's body
is buried in the churchyard Of ST.
Pauls, Covent Garden. BY many he
was regarded as the finest actor of his
day, but even the most tudicious are
unanimously agreed that he was the
greatest boy-actress that ever trod the
English stage.
James Nokes was the last OF the boy
actresses. He played a great variety
of parts, and became famous as the
nurse in Romeo and Juliet" He also
played the most striking part in Nevil
Payne's bombastic drama, Fatal Jeal-
ousy" Cibber says OF Nokes that his
very conversation was an unctuous act
ing, and that In the truest sense or the
word he was inimitable. Being a born
comedian, he graduated into the realm
OF broad comedy naturally. He was a
personal favorite Of Charles II and a
pet at court. He also husbanded his
earnings and left snug fortune at his
death.
Women have become such a bulwark
of the stage that IL seems odd to look
back over the years and note the earlier
records of the drama in its formative
period, but the Lambs through expedi-
ency link us with some Of the rarest
traditions OF dramatic history. To see
some Of the best known players mas
querading as women in plays which the
Lambs do just for the fun OF ii lends
zest 10 the reading OF those traditions
which are dear TO the hearts OF all stu
dents Of the stage.