Year: 1872




The Bangor (Maine) Commercial, in


sketch of the life of the late Captain


John Odom, tells the following story of


the Elder Booth, as it was related by


Captain 0dom: Booth had been secured


to play an engagement at the Richmond
theater. On certain evening the man


ager had announced that the great actor


would appear in his familiar character


of Richard III. The evening came and
the house was crowded to repletion with
an audience whose excitement had been
raised to the highest pitch. But no
Booth appeared. The disappointment
was great and bitter. The manager
apologized, gently alluding to the failing
to which the great actor was subject.
He assured the excited audience, how
ever, that Booth would appear without
fail. The next night came, and still no
Booth. He was still drunk Day after
day announcements were made, and
night after night Booth failed to appear.
At last a riot was imminent, and the
theater was threatened with destruc-
ton. In his despair the manager
sought out Booth in a low groggery,
took him by force, and locked him up
in room under guard. Booth raved,
but the manager was relentless. He kept
him in confinement until he became
perfectly sober, and then he announced
the great play of Richard" for GER
tain evening. The excitement was be-
yond all precedent. All Richmond was
in and around the theater at an early
hour. The building was most densely
packed. Thousands could not gain ad-
mission. Captain 0dom had secured a
seat near the stage. The bell rang and
the curtain rose. The great actor came
forward, looking pale and haggard, after
his long debauch. He was met with
terrible storm of Kisses and boots from
the long disappointed audience. Meekly
and submissively as a subdued and re-
peRtant child he Stood until the storm
passed over. When silence was restored
he made most humble bow, as much as
to say, Yonr censure is most just; but
have compassion on my inhrmity." He
then recited, in tones Of deeper richness
and power than ever before used, Clos
ters soliloquy, beginning


Now is the winter Of our discomfort.


When the soliloquy was ended, Booth
was master of the field. All anger, all
resentment had departed from the au-
dienee. Never before had Booth played,
never after did he play, Richard Ill with
such power and effect as he played it that
night. Said Captain 0dom, " if ever
man was inspired, Booth was inspired
that night" At one moment the thea
ter was a scene of most profound and
painful silence; at auotheR of most
stormy and tumultuous applause. That
mighty audience were as tow in his
hand. The actor swayed and welded
them at will. Then came the last scene,
which brings Richard and Richmond face
to face upon the bloody field. Richard |
exclaims:


Slave have set my life upon n cast,


And will stand the hazard of die,
i think there be six Richmonds in the ield; |
Five have slain to-day instead of him
A horse horse My kingdom for horse


They fight, and Richard falls in his
gore, and with him falls the curtain. A
long, deep, and oppressive silence fol
lowed. Then applause broke forth, and
rolled through the theater like the bill
lows of the sea in wild storm. The
calls for the great actor to come before
the curtain were tremendous, but no
Booth came. They were repeated with
force, but they we're unheeded.
The Kisses and boots of the first part of
the evening were repeated, and that
great audience were like repentant chill
1ren in the presence Of an aggrieved
and affected father. Then came another
,all, in tones almost beseeching. Slowly
he curtain rolled up almost two feet.
There lay Booth in his grave, just as he
lad fallen at the hands of Richmond in
he last scene Slowly he raised him
elf on his elbow, and, stretching his
leek and face toward the audience, with
he most fiendish leer that ever dis6g-
lred human countenance, he hissed
nut between his teeth: - - you
oa1 do ,,o,f EEs fffn