HotFreeBooks.com
The Story of My Life - Recollections and Reflections
by Ellen Terry
1  2  3  4  5  6  7  8     Next Part
Home - Random Browse

THE STORY OF MY LIFE

RECOLLECTIONS AND REFLECTIONS

BY

ELLEN TERRY



ILLUSTRATED

NEW YORK

DOUBLEDAY, PAGE & CO.

MCMIX



1908, The McClure Company

1907, 1908, The S.S. McClure Company

1907, 1908, Ellen Terry



TO

EDY



CONTENTS

INTRODUCTION

I. A CHILD OF THE STAGE, 1848-56 The Charles Keans, 1856 Training in Shakespeare, 1856-59

II. ON THE ROAD, 1859-61 Life in a Stock Company, 1862-63 1864

III. ROSSETTI, BERNHARDT, IRVING, 1865-67 My First Impressions of Henry Irving

IV. A SIX-YEAR VACATION, 1868-74

V. THE ACTRESS AND THE PLAYWRIGHT, 1874. Portia, 1875 Tom Taylor and Lavender Sweep

VI. A YEAR WITH THE BANCROFTS

VII. EARLY DAYS AT THE LYCEUM

VIII. WORK AT THE LYCEUM

IX. LYCEUM PRODUCTIONS

X. LYCEUM PRODUCTIONS (continued)

XI. AMERICA: THE FIRST OF EIGHT TOURS What Constitutes Charm

XII. SOME LIKES AND DISLIKES

XIII. THE MACBETH PERIOD

XIV. LAST DAYS AT THE LYCEUM My Stage Jubilee Apologia The Death of Henry Irving Alfred Gilbert and others "Beefsteak" Guests at the Lyceum Bits From My Diary

INDEX



LIST OF ILLUSTRATIONS

Ellen Terry

Mr. and Mrs. Benjamin Terry

Charles Kean and Ellen Terry in 1856

Ellen Terry in 1856

Ellen Terry at Sixteen

"The Sisters" (Kate and Ellen Terry)

Ellen Terry at Seventeen

George Frederick Watts, R.A.

Ellen Terry as Helen in "The Hunchback"

Henry Irving

Head of a Young Girl (Ellen Terry)

Henry Irving

Ellen Terry as Portia

Henry Irving as Matthias in "The Bells"

Henry Irving as Philip of Spain

Henry Irving as Hamlet

Lily Langtry

William Terriss as Squire Thornhill in "Olivia"

Ellen Terry as Ophelia

Ellen Terry as Beatrice

Sir Henry Irving

Irving as Louis XI

Ellen Terry as Henrietta Maria

Ellen Terry as Camma in "The Cup"

Ellen Terry as Iolanthe

Ellen Terry as Letitia Hardy in "The Belle's Stratagem"

Edwin Thomas Booth

Ellen Terry as Juliet

Two Portraits of Ellen Terry as Beatrice

Ellen Terry's Favourite Photograph as Olivia

Eleanora Duse with Lenbach's Child

Ellen Terry as Margaret in "Faust"

Ellen Terry as Ellaline in "The Amber Heart"

Miss Ellen Terry in 1883

The Bas-relief Portrait of Robert Louis Stevenson

Miss Terry and Sir Henry Irving

Sarah Holland, Ellen Terry's Dresser

Miss Rosa Corder

Miss Ellen Terry with her Fox-terriers

Miss Ellen Terry in 1898

Sir Henry Irving

Miss Ellen Terry

Ellen Terry as Lady Macbeth

Sir Henry Irving

Ellen Terry as Lucy Ashton in "Ravenswood"

Henry Irving as Cardinal Wolsey in "Henry VIII."

Ellen Terry as Nance Oldfield

Ellen Terry as Kniertje in "The Good Hope"

Ellen Terry as Imogen

Henry Irving as Becket

Sir Henry Irving

Ellen Terry as Rosamund in "Becket"

Ellen Terry as Guinevere in "King Arthur"

"Olivia"

Miss Terry's Garden at Winchelsea

Ellen Terry as Hermione in "The Winter's Tale"



INTRODUCTION

"When I read the book, the biography famous, And is this then (said I) what the author calls a man's life? And so will some one when I am dead and gone write my life? (As if any man really knew aught of my life!) Why even I myself, I often think, know little or nothing of my real life. Only a few hints—a few diffused faint clues and indirections I seek ... to trace out here."

WALT WHITMAN.

For years I have contemplated telling this story, and for years I have put off telling it. While I have delayed, my memory has not improved, and my recollections of the past are more hazy and fragmentary than when it first occurred to me that one day I might write them down.

My bad memory would matter less if I had some skill in writing—the practiced writer can see possibilities in the most ordinary events—or if I had kept a systematic and conscientious record of my life. But although I was at one time conscientious and diligent enough in keeping a diary, I kept it for use at the moment, not for future reference. I kept it with paste-pot and scissors as much as with a pen. My method was to cut bits out of the newspapers and stick them into my diary day by day. Before the end of the year was reached Mr. Letts would have been ashamed to own his diary. It had become a bursting, groaning dust-bin of information, for the most part useless. The biggest elastic band made could hardly encircle its bulk, swelled by photographs, letters, telegrams, dried flowers—the whole making up a confusion in which every one but the owner would seek in vain to find some sense or meaning.

About six years ago I moved into a smaller house in London, and I burnt a great many of my earlier diaries as unmovable rubbish. The few passages which I shall quote in this book from those which escaped destruction will prove that my bonfire meant no great loss!

Still, when it was suggested to me in the year of my stage jubilee that I ought to write down my recollections, I longed for those diaries! I longed for anything which would remind me of the past and make it live again for me. I was frightened. Something would be expected of me, since I could not deny that I had had an eventful life packed full of incident, and that by the road I had met many distinguished and interesting men and women. I could not deny that I had been fifty years on the stage, and that this meant enough material for fifty books, if only the details of every year could be faithfully told. But it is not given to all of us to see our lives in relief as we look back. Most of us, I think, see them in perspective, of which our birth is the vanishing point. Seeing, too, is only half the battle. How few people can describe what they see!

While I was thinking in this obstructive fashion and wishing that I could write about my childhood like Tolstoi, about my girlhood like Marie Bashkirtseff, and about the rest of my days and my work like many other artists of the pen, who merely, by putting black upon white, have had the power to bring before their readers not merely themselves "as they lived," but the most homely and intimate details of their lives, the friend who had first impressed on me that I ought not to leave my story untold any longer, said that the beginning was easy enough: "What is the first thing you remember? Write that down as a start."

But for my friend's practical suggestion it is doubtful if I should ever have written a line! He relieved my anxiety about my powers of compiling a stupendous autobiography, and made me forget that writing was a new art, to me, and that I was rather old to try my hand at a new art. My memory suddenly began to seem not so bad after all. For weeks I had hesitated between Othello's "Nothing extenuate, nor write down aught in malice," and Pilate's "What is truth?" as my guide and my apology. Now I saw that both were too big for my modest endeavor. I was not leaving a human document for the benefit of future psychologists and historians, but telling as much of my story as I could remember to the good, living public which has been considerate and faithful to me for so many years.

How often it has made allowances for me when I was nervous on first nights! With what patience it has waited long and uncomfortable hours to see me! Surely its charity would quickly cover my literary sins.

I gave up the search for a motto which should express my wish to tell the truth so far as I know it, to describe things as I see them, to be faithful according to my light, not dreading the abuse of those who might see in my light nothing but darkness.

I shut up "Othello" and did not try to verify the remark of "jesting" Pilate. The only instruction that I gave myself was to "begin at the beginning."

E.T.



THE STORY OF MY LIFE



I

A CHILD OF THE STAGE

1848-1856

This is the first thing I remember.

In the corner of a lean-to whitewashed attic stood a fine, plain, solid oak bureau. By climbing up on to this bureau I could see from the window the glories of the sunset. My attic was on a hill in a large and busy town, and the smoke of a thousand chimneys hung like a gray veil between me and the fires in the sky. When the sun had set, and the scarlet and gold, violet and primrose, and all those magic colors that have no names, had faded into the dark, there were other fires for me to see. The flaming forges came out, and terrified while they fascinated my childish imagination.

What did it matter to me that I was locked in and that my father and mother, with my elder sister Kate, were all at the theater? I had the sunset, the forges, and the oak bureau.

I cannot say how old I was at this time, but I am sure that it wasn't long after my birth (which I can't remember, although I have often been asked to decide in which house at Coventry I was born!). At any rate, I had not then seen a theater, and I took to the stage before many years had passed over my head.

Putting together what I remembered, and such authentic history as there is of my parents' movements, I gather that this attic was in theatrical lodgings in Glasgow. My father was an actor, my mother an actress, and they were at this time on tour in Scotland. Perhaps this is the place to say that father was the son of an Irish builder, and that he eloped in a chaise with mother, who was the daughter of a Scottish minister. I am afraid I know no details of their romance. As for my less immediate ancestry, it is "wropt in mystery." Were we all people of the stage? There was a Daniel Terry who was not only a famous actor in his day, but a friend of Sir Walter Scott's. There was an Eliza Terry, an actress whose portrait appears in The Dramatic Mirror in 1847. But so far as I know I cannot claim kinship with either Eliza or Daniel.

I have a very dim recollection of anything that happened in the attic, beyond the fact that when my father and mother went to the theater every night, they used to put me to bed and that directly their backs were turned and the door locked, I used to jump up and go to the window. My "bed" consisted of the mattress pulled off their bed and laid on the floor—on father's side. Both my father and my mother were very kind and devoted parents (though severe at times, as all good parents are), but while mother loved all her children too well to make favorites, I was, I believe, my father's particular pet. I used to sleep all night holding his hand.

One night I remember waking up to find a beautiful face bending over me. Father was holding a candle so that the visitor might see me better, and gradually I realized that the face belonged to some one in a brown silk dress—the first silk dress that I had ever seen. This being from another world had brown eyes and brown hair, which looked to me very dark, because we were a white lot, very fair indeed. I shall never forget that beautiful vision of this well-dressed woman with her lovely complexion and her gold chain round her neck. It was my Aunt Lizzie.

I hold very strongly that a child's earliest impressions mould its character perhaps more than either heredity or education. I am sure it is true in my case. What first impressed me? An attic, an oak bureau, a lovely face, a bed on the floor. Things have come and gone in my life since then, but they have been powerless to efface those early impressions. I adore pretty faces. I can't keep away from shops where they sell good old furniture like my bureau. I like plain rooms with low ceilings better than any other rooms; and for my afternoon siesta, which is one of my institutions, I often choose the floor in preference to bed or sofa.

What we remember in our childhood and what we are told afterwards often become inextricably confused in our minds, and after the bureau and Aunt Lizzie, my memory is a blank for some years. I can't even tell you when it was first decided that I was to go on the stage, but I expect it was when I was born, for in those days theatrical folk did not imagine that their children could do anything but follow their parents' profession.

I must depend now on hearsay for certain facts. The first fact is my birth, which should, perhaps, have been mentioned before anything else. To speak by the certificate, I was born on the 27th of February, 1848, at Coventry. Many years afterwards, when people were kind enough to think that the house in which I was born deserved to be discovered, there was a dispute as to which house in Market Street could claim me. The dispute was left unsettled in rather a curious way. On one side of the narrow street a haberdasher's shop bore the inscription, "Birthplace of Ellen Terry." On the other, an eating-house declared itself to be "the original birthplace"! I have never been able to arbitrate in the matter, my statement that my mother had always said that the house was "on the right-hand side, coming from the market-place," being apparently of no use. I have heard lately that one of the birthplaces has retired from the competition, and that the haberdasher has the field to himself. I am glad, for the sake of those friends of mine who have bought his handkerchiefs and ties as souvenirs. There is, however, nothing very attractive about the house itself. It is better built than a house of the same size would be built now, and it has a certain old-fashioned respectability, but that is the end of its praises. Coventry itself makes up for the deficiency. It is a delightful town, and it was a happy chance that made me a native of Warwickshire, Shakespeare's own county. Sarah Kemble married Mr. Siddons at Coventry too—another happy omen.

I have acted twice in my native town in old days, but never in recent years. In 1904 I planned to act there again, but unfortunately I was taken ill at Cambridge, and the doctors would not allow me to go to Coventry. The morning my company left Cambridge without me, I was very miserable. It is always hateful to disappoint the public, and on this occasion I was compelled to break faith where I most wished to keep it. I heard afterwards from my daughter (who played some of my parts instead of me) that many of the Coventry people thought I had never meant to come at all. If this should meet their eyes, I hope they will believe that this was not so. My ambition to play at Coventry again shall be realized yet.[1]

[Footnote 1: Since I wrote this, I have again visited my native town—this time to receive its civic congratulations on the occasion of my jubilee, and as recently as March of the present year I acted at the new Empire Theater.]

At one time nothing seemed more unlikely than that I should be able to act in another Warwickshire town, a town whose name is known all over the world. But time and chance and my own great wish succeeded in bringing about my appearance at Stratford-on-Avon.

I can well imagine that the children of some strolling players used to have a hard time of it, but my mother was not one to shirk her duties. She worked hard at her profession and yet found it possible not to drag up her children, to live or die as it happened, but to bring them up to be healthy, happy, and wise—theater-wise, at any rate. When her babies were too small to be left at the lodgings (which she and my father took in each town they visited as near to the theater as possible), she would bundle us up in a shawl and put us to sleep in her dressing-room. So it was, that long before I spoke in a theater, I slept in one.

Later on, when we were older and mother could leave us at home, there was a fire one night at our lodgings, and she rushed out of the theater and up the street in an agony of terror. She got us out of the house all right, took us to the theater, and went on with the next act as if nothing had happened. Such fortitude is commoner in our profession, I think, than in any other. We "go on with the next act" whatever happens, and if we know our business, no one in the audience will ever guess that anything is wrong—that since the curtain last went down some dear friend has died, or our children in the theatrical lodgings up the street have run the risk of being burnt to death.

My mother had eleven children altogether, but only nine survived their infancy, and of these nine, my eldest brother, Ben, and my sister Florence have since died. My sister Kate, who left the stage at an age when most of the young women of the present day take to it for the first time, and made an enduring reputation in a few brilliant years, was the eldest of the family. Then came a sister, who died, and I was the third. After us came Ben, George, Marion, Flossie, Charles, Tom, and Fred. Six out of the nine have been on the stage, but only Marion, Fred, and I are there still.

Two or three members of this large family, at the most, were in existence when I first entered a theater in a professional capacity, so I will leave them all alone for the present. I had better confess at once that I don't remember this great event, and my sister Kate is unkind enough to say that it never happened—to me! The story, she asserts, was told of her. But without damning proofs she is not going to make me believe it! Shall I be robbed of the only experience of my first eight years of life? Never!

During the rehearsals of a pantomime in a Scottish town (Glasgow, I think. Glasgow has always been an eventful place to me!), a child was wanted for the Spirit of the Mustard-pot. What more natural than that my father should offer my services? I had a shock of pale yellow hair, I was small enough to be put into the property mustard-pot, and the Glasgow stage manager would easily assume that I had inherited talent. My father had acted with Macready in the stock seasons both at Edinburgh and Glasgow, and bore a very high reputation with Scottish audiences. But the stage manager and father alike reckoned without their actress! When they tried to put me into the mustard-pot, I yelled lustily and showed more lung-power than aptitude for the stage.

"Pit your child into the mustard-pot, Mr. Terry," said the stage manager.

"D—n you and your mustard-pot, sir!" said my mortified father. "I won't frighten my child for you or anyone else!"

But all the same he was bitterly disappointed at my first dramatic failure, and when we reached home he put me in the corner to chasten me. "You'll never make an actress!" he said, shaking a reproachful finger at me.

It is my mustard-pot, and why Kate should want it, I can't think! She hadn't yellow hair, and she couldn't possibly have behaved so badly. I have often heard my parents say significantly that they had no trouble with Kate! Before she was four, she was dancing a hornpipe in a sailor's jumper, a rakish little hat, and a diminutive pair of white ducks! Those ducks, marked "Kate Terry," were kept by mother for years as a precious relic, and are, I hope, still in the family archives!

I stick to the mustard-pot, but I entirely disclaim the little Duke of York in Richard III., which some one with a good memory stoutly insists he saw me play before I made my first appearance as Mamilius. Except for this abortive attempt at Glasgow, I was never on any stage even for a rehearsal until 1856, at the Princess's Theater, when I appeared with Charles Kean in "A Winter's Tale."

The man with the memory may have seen Kate as one of the Princes in the Tower, but he never saw me with her. Kate was called up to London in 1852 to play Prince Arthur in Charles Kean's production of "King John," and after that she acted in all his plays, until he gave up management in 1859. She had played Arthur during a stock season at Edinburgh, and so well that some one sang her praises to Kean and advised him to engage her. My mother took Kate to London, and I was left with my father in the provinces for two years. I can't recall much about those two years except sunsets and a great mass of shipping looming up against the sky. The sunsets followed me about everywhere; the shipping was in Liverpool, where father was engaged for a considerable time. He never ceased teaching me to be useful, alert, and quick. Sometimes he hastened my perceptive powers with a slipper, and always he corrected me if I pronounced any word in a slipshod fashion. He himself was a beautiful elocutionist, and if I now speak my language well it is in no small degree due to my early training.

It was to his elocution that father owed his engagement with Macready, of whom he always spoke in terms of the most affectionate admiration in after years, and probably it did him a good turn again with Charles Kean. An actor who had supported Macready with credit was just the actor likely to be useful to a manager who was producing a series of plays by Shakespeare. Kate had been a success at the Princess's, too, in child parts, and this may have reminded Mr. Kean to send for Kate's father! At any rate he was sent for towards the end of the year 1853 and left Liverpool for London. I know I cooked his breakfasts for him in Liverpool, but I haven't the slightest recollection of the next two years in London. As I am determined not to fill up the early blanks with stories of my own invention, I must go straight on to 1856, when rehearsals were called at the Princess's Theater for Shakespeare's "Winter's Tale."

THE CHARLES KEANS

1856

The Charles Keans from whom I received my first engagement, were both remarkable people, and at the Princess Theater were doing very remarkable work. Kean the younger had not the fire and genius of his wonderful father, Edmund, and but for the inherited splendor of his name it is not likely that he would ever have attained great eminence as an actor. His Wolsey and his Richard (the Second, not the Third) were his best parts, perhaps because in them his beautiful diction had full scope and his limitations were not noticeable. But it is more as a stage reformer than as an actor that he will be remembered. The old happy-go-lucky way of staging plays, with its sublime indifference to correctness of detail and its utter disregard of archaeology, had received its first blow from Kemble and Macready, but Charles Kean gave it much harder knocks and went further than either of them in the good work.

It is an old story and a true one that when Edmund Kean made his first great success as Shylock, after a long and miserable struggle as a strolling player, he came home to his wife and said: "You shall ride in your carriage," and then, catching up his little son, added, "and Charley shall go to Eton!" Well, Charley did go to Eton, and if Eton did not make him a great actor, it opened his eyes to the absurd anachronisms in costumes and accessories which prevailed on the stage at that period, and when he undertook the management of the Princess's Theater, he turned his classical education to account. In addition to scholarly knowledge, he had a naturally refined taste and the power of selecting the right man to help him. Planche, the great authority on historical costumes, was one of his ablest coadjutors, and Mr. Bradshaw designed all the properties. It has been said lately that I began my career on an unfurnished stage, when the play was the thing, and spectacle was considered of small importance. I take this opportunity of contradicting that statement most emphatically. Neither when I began nor yet later in my career have I ever played under a management where infinite pains were not given to every detail. I think that far from hampering the acting, a beautiful and congruous background and harmonious costumes, representing accurately the spirit of the time in which the play is supposed to move, ought to help and inspire the actor.

Such thoughts as these did not trouble my head when I acted with the Keans, but, child as I was, the beauty of the productions at the Princess's Theater made a great impression on me, and my memory of them is quite clear enough, even if there were not plenty of other evidence, for me to assert that in some respects they were even more elaborate than those of the present day. I know that the bath-buns of one's childhood always seem in memory much bigger and better than the buns sold nowadays, but even allowing for the natural glamor which the years throw over buns and rooms, places and plays alike, I am quite certain that Charles Kean's productions of Shakespeare would astonish the modern critic who regards the period of my first appearance as a sort of dark-age in the scenic art of the theater.

I have alluded to the beauty of Charles Kean's diction. His voice was also of a wonderful quality—soft and low, yet distinct and clear as a bell. When he played Richard II. the magical charm of this organ was alone enough to keep the house spellbound. His vivid personality made a strong impression on me. Yet others only remember that he called his wife "Delly," though she was Nelly, and always spoke as if he had a cold in his head. How strange! If I did not understand what suggested impressions so different from my own, they would make me more indignant.

"Now who shall arbitrate? Ten men love what I hate, Shun what I follow, slight what I receive. Ten who in ears and eyes Match me; they all surmise, They this thing, and I that: Whom shall my soul believe?"

What he owed to Mrs. Kean, he would have been the first to confess. In many ways she was the leading spirit in the theater; at the least, a joint ruler, not a queen-consort. During the rehearsals Mr. Kean used to sit in the stalls with a loud-voiced dinner-bell by his side, and when anything went wrong on the stage, he would ring it ferociously, and everything would come to a stop, until Mrs. Kean, who always sat on the stage, had set right what was wrong. She was more formidable than beautiful to look at, but her wonderful fire and genius were none the less impressive because she wore a white handkerchief round her head and had a very beaky nose! How I admired and loved and feared her! Later on the fear was replaced by gratitude, for no woman ever gave herself more trouble to train a young actress than did Mrs. Kean. The love and admiration, I am glad to say, remained and grew. It is rare that it falls to the lot of anyone to have such an accomplished teacher. Her patience and industry were splendid.

It was Mrs. Kean who chose me out of five or six other children to play my first part. We were all tried in it, and when we had finished, she said the same thing to us all: "That's very nice! Thank you, my dear. That will do."

We none of us knew at the time which of us had pleased her most.

At this time we were living in the upper part of a house in the Gower Street region. That first home in London I remember chiefly by its fine brass knocker, which mother kept beautifully bright, and by its being the place to which I was sent my first part! Bound in green American cloth, it looked to me more marvelous than the most priceless book has ever looked since! I was so proud and pleased and delighted that I danced a hornpipe for joy!

Why was I chosen, and not one of the other children, for the part of Mamilius? some one may ask. It was not mere luck, I think. Perhaps I was a born actress, but that would have served me little if I had not been able to speak! It must be remembered that both my sister Kate and I had been trained almost from our birth for the stage, and particularly in the important branch of clear articulation. Father, as I have already said, was a very charming elocutionist, and my mother read Shakespeare beautifully. They were both very fond of us and saw our faults with eyes of love, though they were unsparing in their corrections. In these early days they had need of all their patience, for I was a most troublesome, wayward pupil. However, "the labor we delight in physics pain," and I hope, too, that my more staid sister made it up to them!

The rehearsals for "A Winter's Tale" were a lesson in fortitude. They taught me once and for all that an actress's life (even when the actress is only eight) is not all beer and skittles, or cakes and ale, or fame and glory. I was cast for the part of Mamilius in the way I have described, and my heart swelled with pride when I was told what I had to do, when I realized that I had a real Shakespeare part—a possession that father had taught me to consider the pride of life!

But many weary hours were to pass before the first night. If a company has to rehearse four hours a day now, it is considered a great hardship, and players must lunch and dine like other folk. But this was not Kean's way! Rehearsals lasted all day, Sundays included, and when there was no play running at night, until four or five the next morning! I don't think any actor in those days dreamed of luncheon. (Tennyson, by the way, told me to say "luncheon"—not "lunch.") How my poor little legs used to ache! Sometimes I could hardly keep my eyes open when I was on the stage, and often when my scene was over, I used to creep into the greenroom and forget my troubles and my art (if you can talk of art in connection with a child of eight) in a delicious sleep.

At the dress-rehearsals I did not want to sleep. All the members of the company were allowed to sit and watch the scenes in which they were not concerned, from the back of the dress-circle. This, by the way, is an excellent plan, and in theaters where it is followed the young actress has reason to be grateful. In these days of greater publicity when the press attend rehearsals, there may be strong reasons against the company being "in front," but the perfect loyalty of all concerned would dispose of these reasons. Now, for the first time, the beginner is able to see the effect of the weeks of thought and labor which have been given to the production. She can watch from the front the fulfillment of what she has only seen as intention and promise during the other rehearsals. But I am afraid that beginners now are not so keen as they used to be. The first wicked thing I did in a theater sprang from excess of keenness. I borrowed a knife from a carpenter and made a slit in the canvas to watch Mrs. Kean as Hermione!

Devoted to her art, conscientious to a degree in mastering the spirit and details of her part, Mrs. Kean also possessed the personality and force to chain the attention and indelibly imprint her rendering of a part on the imagination. When I think of the costume in which she played Hermione, it seems marvelous to me that she could have produced the impression that she did. This seems to contradict what I have said about the magnificence of the production. But not at all! The designs of the dresses were purely classic; but then, as now, actors and actresses seemed unable to keep their own period and their own individuality out of the clothes directly they got them on their backs. In some cases the original design was quite swamped. No matter what the character that Mrs. Kean was assuming, she always used to wear her hair drawn flat over her forehead and twisted tight round her ears in a kind of circular sweep—such as the old writing-masters used to make when they attempted an extra grand flourish. And then the amount of petticoats she wore! Even as Hermione she was always bunched out by layer upon layer of petticoats, in defiance of the fact that classical parts should not be dressed in a superfluity of raiment. But if the petticoats were full of starch, the voice was full of pathos—and the dignity, simplicity, and womanliness of Mrs. Charles Kean's Hermione could not have been marred by a far more grotesque costume.

There is something, I suppose, in a woman's nature which always makes her remember how she was dressed at any specially eventful moment of her life, and I can see myself, as though it were yesterday, in the little red-and-silver dress I wore as Mamilius. Mrs. Grieve, the dresser—"Peter Grieve-us," as we children called her—had pulled me into my very pink tights (they were by no means tight but very baggy, according to the pictures of me), and my mother had arranged my hair in sausage curls on each side of my head in even more perfect order and regularity than usual. Besides my clothes, I had a beautiful "property" to be proud of. This was a go-cart, which had been made in the theater by Mr. Bradshaw, and was an exact copy of a child's toy as depicted on a Greek vase. It was my duty to drag this little cart about the stage, and on the first night, when Mr. Kean as Leontes told me to "go play," I obeyed his instructions with such vigor that I tripped over the handle and came down on my back! A titter ran through the house, and I felt that my career as an actress was ruined forever. Even now I remember how bitterly I wept, and how deeply humiliated I felt. But the little incident, so mortifying to me, did not spoil my first appearance altogether. The Times of May 1, 1856, was kind enough to call me "vivacious and precocious," and "a worthy relative of my sister Kate," and my parents were pleased (although they would not show it too much), and Mrs. Kean gave me a pat on the back. Father and Kate were both in the cast, too, I ought to have said, and the Queen, Prince Albert, and the Princess Royal were all in a box on the first night.

To act for the first time in Shakespeare, in a theater where my sister had already done something for our name, and before royalty, was surely a good beginning.

From April 28, 1856, I played Mamilius every night for one hundred and two nights. I was never ill, and my understudy, Clara Denvil, a very handsome, dark child with flaming eyes, though quite ready and longing to play my part, never had the chance.

I had now taken the first step, but I had taken it without any notion of what I was doing. I was innocent of all art, and while I loved the actual doing of my part, I hated the labor that led up to it. But the time was soon to come when I was to be fired by a passion for work. Meanwhile I was unconsciously learning a number of lessons which were to be most useful to me in my subsequent career.

TRAINING IN SHAKESPEARE

1856-1859

From April 1856 until 1859 I acted constantly at the Princess's Theater with the Keans, spending the summer holidays in acting at Ryde. My whole life was the theater, and naturally all my early memories are connected with it. At breakfast father would begin the day's "coaching." Often I had to lay down my fork and say my lines. He would conduct these extra rehearsals anywhere—in the street, the 'bus—we were never safe! I remember vividly going into a chemist's shop and being stood upon a stool to say my part to the chemist! Such leisure as I had from my profession was spent in "minding" the younger children—an occupation in which I delighted. They all had very pretty hair, and I used to wash it and comb it out until it looked as fine and bright as floss silk.

It is argued now that stage life is bad for a young child, and children are not allowed by law to go on the stage until they are ten years old—quite a mature age in my young days! I cannot discuss the whole question here, and must content myself with saying that during my three years at the Princess's I was a very strong, happy, and healthy child. I was never out of the bill except during the run of "A Midsummer Night's Dream," when, through an unfortunate accident, I broke my toe. I was playing Puck, my second part on any stage, and had come up through a trap at the end of the last act to give the final speech. My sister Kate was playing Titania that night as understudy to Carlotta Leclercq. Up I came—but not quite up, for the man shut the trapdoor too soon and caught my toe. I screamed. Kate rushed to me and banged her foot on the stage, but the man only closed the trap tighter, mistaking the signal.

"Oh, Katie! Katie!" I cried. "Oh, Nelly! Nelly!" said poor Kate helplessly. Then Mrs. Kean came rushing on and made them open the trap and release my poor foot.

"Finish the play, dear," she whispered excitedly, "and I'll double your salary!" There was Kate holding me up on one side and Mrs. Kean on the other. Well, I did finish the play in a fashion. The text ran something like this—

"If we shadows have offended (Oh, Katie, Katie!) Think but this, and all is mended, (Oh, my toe!) That you have but slumbered here, While these visions did appear. (I can't, I can't!) And this weak and idle theme, No more yielding but a dream, (Oh, dear! oh, dear!) Gentles, do not reprehend; (A big sob) If you pardon, we will mend. (Oh, Mrs. Kean!)"

How I got through it, I don't know! But my salary was doubled—it had been fifteen shillings, and it was raised to thirty—and Mr. Skey, President of Bartholomew's Hospital, who chanced to be in a stall that very evening, came round behind the scenes and put my toe right. He remained my friend for life.

I was not chosen for Puck because I had played Mamilius with some credit. The same examination was gone through, and again I came out first. During the rehearsals Mrs. Kean taught me to draw my breath in through my nose and begin a laugh—a very valuable accomplishment! She was also indefatigable in her lessons in clear enunciation, and I can hear her now lecturing the ladies of the company on their vowels. "A, E, I, O, U, my dear," she used to say, "are five distinct vowels, so don't mix them all up together, as if you were making a pudding. If you want to say, 'I am going on the river,' say it plainly and don't tell us you are going on the 'rivah!' You must say her, not har; it's God, not Gud: remonstrance, not remunstrance," and so forth. No one ever had a sharper tongue or a kinder heart than Mrs. Kean. Beginning with her, I have always loved women with a somewhat hard manner! I have never believed in their hardness, and have proved them tender and generous in the extreme.

Actor-managers are very proud of their long runs nowadays, but in Shakespeare, at any rate, they do not often eclipse Charles Kean's two hundred and fifty nights of "A Midsummer Night's Dream" at the Princess's. It was certainly a very fascinating production, and many of the effects were beautiful. I, by the way, had my share in marring one of these during the run. When Puck was told to put a girdle round the earth in forty minutes, I had to fly off the stage as swiftly as I could, and a dummy Puck was whirled through the air from the point where I disappeared. One night the dummy, while in full flying action, fell on the stage, whereupon, in great concern for its safety, I ran on, picked it up in my arms, and ran off with it amid roars of laughter! Neither of the Keans was acting in this production, but there was some one in authority to give me a sound cuff. Yet I had such excellent intentions. 'Tis ever thus!

I reveled in Puck and his impish pranks, and unconsciously realized that it was a part in which the imagination could run riot. I believe I played it well, but I did not look well, and I must contradict emphatically the kind assumption that I must have been a "delightful little fairy." As Mamilius I was really a sweet little thing, but while I was playing Puck I grew very gawky—not to say ugly! My hair had been cut short, and my red cheeks stuck out too much. I was a sight!

The parts we play influence our characters to some extent, and Puck made me a bit of a romp. I grew vain and rather "cocky," and it was just as well that during the rehearsals for the Christmas pantomime in 1857 I was tried for the part of the Fairy Dragonetta and rejected. I believe that my failure was principally due to the fact that Nature had not given me flashing eyes and raven hair—without which, as everyone knows, no bad fairy can hold up her head and respect herself. But at the time I felt distinctly rebuffed, and only the extreme beauty of my dress as the maudlin "good fairy" Goldenstar consoled me. Milly Smith (afterwards Mrs. Thorn) was Dragonetta, and one of her speeches ran like this:

"Ungrateful Simple Simon (darting forward) You thought no doubt to spite me! That to this Royal Christening you did not invite me! BUT—(Mrs. Kean: "You must plaster that 'but' on the white wall at the back of the gallery.")— But on this puling brat revenged I'll be! My fiery dragon there shall have her broiled for tea!"

At Ryde during the previous summer my father had taken the theater, and Kate and I played in several farces which the Keeleys and the great comedian Robson had made famous in London. My performances as Waddilove and Jacob Earwig had provoked some one to describe me as "a perfect little heap of talent!" To fit my Goldenstar, I must borrow that phrase and describe myself as a perfect little heap of vanity.

It was that dress! It was a long dress, though I was still a baby, and it was as pink and gold as it was trailing. I used to think I looked beautiful in it. I wore a trembling star on my forehead, too, which was enough to upset any girl!

One of the most wearisome, yet essential details of my education is connected with my first long dress. It introduces, too, Mr. Oscar Byrn, the dancing-master and director of crowds at the Princess's. One of his lessons was in the art of walking with a flannel blanket pinned on in front and trailing six inches on the floor. My success in carrying out this maneuver with dignity won high praise from Mr. Byrn. The other children used to kick at the blanket and progress in jumps like young kangaroos, but somehow I never had any difficulty in moving gracefully. No wonder then that I impressed Mr. Byrn, who had a theory that "an actress was no actress unless she learned to dance early." Whenever he was not actually putting me through my paces, I was busy watching him teach the others. There was the minuet, to which he used to attach great importance, and there was "walking the plank." Up and down one of the long planks, extending the length of the stage, we had to walk first slowly and then quicker and quicker until we were able at a considerable pace to walk the whole length of it without deviating an inch from the straight line. This exercise, Mr. Byrn used to say, and quite truly, I think, taught us uprightness of carriage and certainty of step.

"Eyes right! Chest out! Chin tucked in!" I can hear the dear old man shouting at us as if it were yesterday; and I have learned to see of what value all his drilling was, not only to deportment, but to clear utterance. It would not be a bad thing if there were more "old fops" like Oscar Byrn in the theaters of to-day. That old-fashioned art of "deportment" is sadly neglected.

The pantomime in which I was the fairy Goldenstar was very frequently preceded by "A Midsummer Night's Dream," and the two parts on one night must have been fairly heavy work for a child, but I delighted in it.

In the same year (1858) I played Karl in "Faust and Marguerite," a jolly little part with plenty of points in it, but not nearly as good a part as Puck. Progress on the stage is often crab-like, and little parts, big parts, and no parts at all must be accepted as "all in the day's work." In these days I was cast for many a "dumb" part. I walked on in "The Merchant of Venice" carrying a basket of doves; in "Richard II." I climbed up a pole in the street scene; in "Henry VIII." I was "top angel" in the vision, and I remember that the heat of the gas at that dizzy height made me sick at the dress-rehearsal! I was a little boy "cheering" in several other productions. In "King Lear" my sister Kate played Cordelia. She was only fourteen, and the youngest Cordelia on record. Years after I played it at the Lyceum when I was over forty!

The production of "Henry VIII." at the Princess's was one of Charles Kean's best efforts. I always refrain from belittling the present at the expense of the past, but there were efforts here which I have never seen surpassed, and about this my memory is not at all dim. At this time I seem to have been always at the side watching the acting. Mrs. Kean's Katherine of Aragon was splendid, and Charles Kean's Wolsey, his best part after, perhaps, his Richard II. Still, the lady who used to stand ready with a tear-bottle to catch his tears as he came off after his last scene rather overdid her admiration. My mental criticism at the time was "What rubbish!" When I say in what parts Charles Kean was "best," I don't mean to be assertive. How should a mere child be able to decide? I "think back" and remember in what parts I liked him best, but I may be quite wide of the mark.

In those days audiences liked plenty for their money, and a Shakespeare play was not nearly long enough to fill the bill. English playgoers in the early 'fifties did not emulate the Japanese, who go to the theater early in the morning and stay there until late at night, still less the Chinese, whose plays begin one week and end the next, but they thought nothing of sitting in the theater from seven to twelve. In one of the extra pieces which these hours necessitated, I played a "tiger," one of those youthful grooms who are now almost a bygone fashion. The pride that I had taken in my trembling star in the pantomime was almost equaled now by my pride in my top-boots! They were too small and caused me insupportable suffering, but I was so afraid that they would be taken away if I complained, that every evening I used to put up valorously with the torture. The piece was called "If the Cap Fits," but my boots were the fit with which I was most concerned!

Years later the author of the little play, Mr. Edmund Yates, the editor of The World—wrote to me about my performance as the tiger:

"When on June 13, 1859 (to no one else in the world would I breathe the date!) I saw a very young lady play a tiger in a comedietta of mine called 'If the Cap Fits,' I had no idea that that precocious child had in her the germ of such an artist as she has since proved herself. What I think of her performance of Portia she will see in The World."

In "The Merchant of Venice" though I had no speaking part, I was firmly convinced that the basket of doves which I carried on my shoulder was the principal attraction of the scene in which it appeared. The other little boys and girls in the company regarded those doves with eyes of bitter envy. One little chorus boy, especially, though he professed a personal devotion of the tenderest kind for me, could never quite get over those doves, and his romantic sentiments cooled considerably when I gained my proud position as dove-bearer. Before, he had shared his sweets with me, but now he transferred both sweets and affections to some more fortunate little girl. Envy, after all, is the death of love!

Mr. Harley was the Launcelot Gobbo in "The Merchant of Venice"—an old gentleman, and almost as great a fop as Mr. Byrn. He was always smiling; his two large rows of teeth were so very good! And he had pompous, grandiloquent manners, and wore white gaiters and a long hanging eye-glass. His appearance I should never have forgotten anyhow, but he is also connected in my mind with my first experience of terror.

It came to me in the greenroom, the window-seat of which was a favorite haunt of mine. Curled up in the deep recess I had been asleep one evening, when I was awakened by a strange noise, and, peeping out, saw Mr. Harley stretched on the sofa in a fit. One side of his face was working convulsively, and he was gibbering and mowing the air with his hand. When he saw me, he called out: "Little Nelly! oh, little Nelly!" I stood transfixed with horror. He was still dressed as Launcelot Gobbo, and this made it all the more terrible. A doctor was sent for, and Mr. Harley was looked after, but he never recovered from his seizure and died a few days afterwards.

Although so much of my early life is vague and indistinct, I can always see and hear Mr. Harley as I saw and heard him that night, and I can always recollect the view from the greenroom window. It looked out on a great square courtyard, in which the spare scenery, that was not in immediate use, was stacked. For some reason or other this courtyard was a favorite playground for a large company of rats. I don't know what the attraction was for them, except that they may have liked nibbling the paint off the canvas. Out they used to troop in swarms, and I, from my perch on the window-seat, would watch and wonder. Once a terrible storm came on, and years after, at the Lyceum, the Brocken Scene in "Faust" brought back the scene to my mind—the thunder and lightning and the creatures crawling on every side, the grayness of the whole thing.

All "calls" were made from the greenroom in those days, and its atmosphere was, I think, better than that of the dressing-room in which nowadays actors and actresses spend their time during the waits. The greenroom at the Princess's was often visited by distinguished people, among them Planche, the archaeologist, who did so much for Charles Kean's productions, and Macready. One night, as with my usual impetuosity I was rushing back to my room to change my dress, I ran right into the white waistcoat of an old gentleman! Looking up with alarm, I found that I had nearly knocked over the great Mr. Macready.

"Oh, I beg your pardon!" I exclaimed in eager tones. I had always heard from father that Macready was the greatest actor of all, and this was our first meeting. I was utterly abashed, but Mr. Macready, looking down with a very kindly smile, only answered: "Never mind! You are a very polite little girl, and you act very earnestly and speak very nicely."

I was too much agitated to do anything but continue my headlong course to my dressing-room, but even in those short moments the strange attractiveness of his face impressed itself on my imagination. I remember distinctly his curling hair, his oddly colored eyes full of fire, and his beautiful, wavy mouth.

When I first described this meeting with Macready, a disagreeable person wrote to the papers and said that he did not wish to question my veracity, but that it was utterly impossible that Macready could ever have brought himself to go to the Princess's at this time, because of the rivalry between him and Charles Kean. I know that the two actors were not on speaking terms, but very likely Macready had come to see my father or Mr. Harley or one of the many members of Kean's company who had once served under him.

The period when I was as vain as a little peacock had come to an end before this. I think my part in "Pizarro" saw the last of it. I was a Worshiper of the Sun, and in a pink feather, pink swathings of muslin, and black arms, I was again struck by my own beauty. I grew quite attached to the looking-glass which reflected that feather! Then suddenly there came a change. I began to see the whole thing. My attentive watching of other people began to bear fruit, and the labor and perseverance, care and intelligence which had gone to make these enormous productions dawned on my young mind. One must see things for oneself. Up to this time I had loved acting because it was great fun, but I had not loved the grind. After I began to rehearse Prince Arthur in "King John," a part in which my sister Kate had already made a great success six years earlier, I understood that if I did not work, I could not act. And I wanted to work. I used to get up in the middle of the night and watch my gestures in the glass. I used to try my voice and bring it down and up in the right places. And all vanity fell away from me. At the first rehearsals of "King John" I could not do anything right. Mrs. Kean stormed at me, slapped me. I broke down and cried, and then, with all the mortification and grief in my voice, managed to express what Mrs. Kean wanted and what she could not teach me by doing it herself.

"That's right, that's right!" she cried excitedly, "you've got it! Now remember what you did with your voice, reproduce it, remember everything, and do it!"

When the rehearsal was over, she gave me a vigorous kiss. "You've done very well," she said. "That's what I want. You're a very tired little girl. Now run home to bed." I shall never forget the relief of those kind words after so much misery, and the little incident often comes back to me now when I hear a young actress say, "I can't do it!" If only she can cry with vexation, I feel sure that she will then be able to make a good attempt at doing it!

There were oppositions and jealousies in the Keans' camp, as in most theaters, but they were never brought to my notice until I played Prince Arthur. Then I saw a great deal of Mr. Ryder, who was the Hubert of the production, and discovered that there was some soreness between him and his manager. Ryder was a very pugnacious man—an admirable actor, and in appearance like an old tree that has been struck by lightning, or a greenless, barren rock; and he was very strong in his likes and dislikes, and in his manner of expressing them.

"D'ye suppose he engaged me for my powers as an actor?" he used to say of Mr. Kean. "Not a bit of it! He engaged me for my d——d archaeological figure!"

One night during the run of "King John," a notice was put up that no curtain calls would be allowed at the end of a scene. At the end of my scene with Hubert there was tremendous applause, and when we did not appear, the audience began to shout and yell and cheer. I went off to the greenroom, but even from there I could still hear the voices: "Hubert! Arthur!" Mr. Kean began the next scene, but it was of no use. He had to give in and send for us. Meanwhile old Ryder had been striding up and down the greenroom in a perfect fury. "Never mind, ducky!" he kept on saying to me; and it was really quite unnecessary, for "ducky" was just enjoying the noise and thinking it all capital fun. "Never mind! When other people are rotting in their graves, ducky, you'll be up there!" (with a terrific gesture indicative of the dizzy heights of fame). When the message came to the greenroom that we were to take the call, he strode across the stage to the entrance, I running after him and quite unable to keep up with his long steps.

In "Macbeth" I was again associated with Ryder, who was the Banquo when I was Fleance, and I remember that after we had been dismissed by Macbeth: "Good repose the while," we had to go off up a flight of steps. I always stayed at the top until the end of the scene, but Mr. Ryder used to go down the other side rather heavily, and Mr. Kean, who wanted perfect quiet for the dagger speech, had to keep on saying: "Ssh! ssh!" all through it.

"Those carpenters at the side are enough to ruin any acting," he said one night when he came off.

"I'm a heavy man, and I can't help it," said Ryder.

"Oh, I didn't know it was you," said Mr. Kean—but I think he did! One night I was the innocent cause of a far worse disturbance. I dozed at the top of the steps and rolled from the top to the bottom with a fearful crash! Another night I got into trouble for not catching Mrs. Kean when, as Constance, in "King John," she sank down on to the ground.

"Here is my throne, bid kings come bow to it!"

I was, for my sins, looking at the audience, and Mrs. Kean went down with a run, and was naturally very angry with me!

In 1860 the Keans gave up the management of the Princess's Theater and went to America. They traveled in a sailing vessel, and, being delayed by a calm, had to drink water caught in the sails, the water supply having given out. I believe that although the receipts were wonderful, Charles Kean spent much more than he made during his ten years of management. Indeed, he confessed as much in a public announcement. The Princess's Theater was not very big, and the seats were low-priced. It is my opinion, however, that no manager with high artistic aims, resolute to carry them out in his own way, can ever make a fortune.

Of the other members of the company during my three years at the Princess's, I remember best Walter Lacy, who was the William Terriss of the time. He knew Madame Vestris, and had many entertaining stories about her. Then there were the Leclercqs, two clever sisters, Carlotta and Rose, who did great things later on. Men, women and children alike worked hard, and if the language of the actors was more Rabelaisian than polite, they were good fellows and heart and soul devoted to their profession. Their salaries were smaller and their lives were simpler than is the case with actors now.

Kate and I had been hard at work for some years, but our parents had no notion of our resting. We were now to show what our training had done for us in "A Drawing-room Entertainment."



II

ON THE ROAD

1859-1861

From July to September every year the leading theaters in London and the provincial cities were closed for the summer vacation. This plan is still adhered to more or less, but in London, at any rate, some theaters keep their doors open all the year round. During these two months most actors take their holiday, but when we were with the Keans we were not in a position to afford such a luxury. Kate and I were earning good salaries for our age,[1] but the family at home was increasing in size, and my mother was careful not to let us think that there never could be any rainy days. I am bound to say that I left questions of thrift, and what we could afford and what we couldn't entirely to my parents. I received sixpence a week pocket-money, with which I was more than content for many years. Poor we may have been at this time, but, owing to my mother's diligent care and cleverness, we always looked nice and neat. One of the few early dissipations I can remember was a Christmas party in Half Moon Street, where our white muslin dresses were equal to any present. But more love and toil and pride than money had gone to make them. I have a very clear vision of coming home late from the theater to our home in Stanhope Street, Regent's Park, and seeing my dear mother stitching at those pretty frocks by the light of one candle. It was no uncommon thing to find her sewing at that time, but if she was tired, she never showed it. She was always bright and tender. With the callousness of childhood, I scarcely realized the devotion and ceaseless care that she bestowed on us, and her untiring efforts to bring us up as beautifully as she could. The knowledge came to me later on when, all too early in my life, my own responsibilities came on me and quickened my perceptions. But I was a heartless little thing when I danced off to that party! I remember that when the great evening came, our hair, which we still wore down our backs, was done to perfection, and we really looked fit to dance with a king. As things were, I did dance with the late Duke of Cambridge! It was the most exciting Christmas Day in my life.

[Footnote 1: Of course, all salaries are bigger now than they were then. The "stars" in old days earned large sums—Edmund Kean received two hundred and fifty pounds for four performances—but the ordinary members of a company were paid at a very moderate rate. I received fifteen shillings a week at the Princess's until I played Puck, when my salary was doubled.—E.T.]

Our summer holidays, as I have said, were spent at Ryde. We stayed at Rose Cottage (for which I sought in vain when I revisited the place the other day), and the change was pleasant, even though we were working hard. One of the pieces father gave at the theater to amuse the summer visitors was a farce called "To Parents and Guardians." I played the fat, naughty boy Waddilove, a part which had been associated with the comedian Robson in London, and I remember that I made the unsophisticated audience shout with laughter by entering with my hands covered with jam! Father was capital as the French usher Tourbillon; and the whole thing went splendidly. Looking back, it seems rather audacious for such a child to have attempted a grown-up comedian's part, but it was excellent practice for that child! It was the success of these little summer ventures at Ryde which made my father think of our touring in "A Drawing-room Entertainment" when the Keans left the Princess's.

The entertainment consisted of two little plays "Home for the Holidays" and "Distant Relations," and they were written, I think, by a Mr. Courtney. We were engaged to do it first at the Royal Colosseum, Regent's Park, by Sir Charles Wyndham's father, Mr. Culverwell. Kate and I played all the parts in each piece, and we did quick changes at the side worthy of Fregoli! The whole thing was quite a success, and after playing it at the Colosseum we started on a round of visits.

In "Home for the Holidays," which came first on our little programme, Kate played Letitia Melrose, a young girl of about seventeen, who is expecting her young brother "home for the holidays." Letitia, if I remember right, was discovered soliloquizing somewhat after this fashion: "Dear little Harry! Left all alone in the world, as we are, I feel such responsibility about him. Shall I find him changed, I wonder, after two years' absence? He has not answered my letters lately. I hope he got the cake and toffee I sent him, but I've not heard a word." At this point I entered as Harry, but instead of being the innocent little schoolboy of Letitia's fond imagination, Harry appears in loud peg-top trousers (peg-top trousers were very fashionable in 1860), with a big cigar in his mouth, and his hat worn jauntily on one side. His talk is all of racing, betting, and fighting. Letty is struck dumb with astonishment at first, but the awful change, which two years have effected, gradually dawns on her. She implores him to turn from his idle, foolish ways. Master Harry sinks on his knees by her side, but just as his sister is about to rejoice and kiss him, he looks up in her face and bursts into loud laughter. She is much exasperated, and, threatening to send some one to him who will talk to him in a very different fashion, she leaves the stage. Master Hopeful thereupon dons his dressing-gown and smoking cap, and, lying full length upon the sofa, begins to have a quiet smoke. He is interrupted by the appearance of a most wonderful and grim old woman in blue spectacles—Mrs. Terrorbody. This is no other than "Sister Letty," dressed up in order to frighten the youth out of his wits. She talks and talks, and, after painting vivid pictures of what will become of him unless he alters his "vile ways," leaves him, but not before she succeeds in making him shed tears, half of fright and half of anger. Later on, Sister Letty, looking from the window, sees a grand fight going on between Master Harry and a butcher-boy, and then Harry enters with his coat off, his sleeves tucked up, explaining in a state of blazing excitement that he "had to fight that butcher-boy, because he had struck a little girl in the street." Letty sees that the lad has a fine nature in spite of his folly, and appeals to his heart and the nobility of his nature—this time not in vain.

"Distant Relations" was far more inconsequent, but it served to show our versatility, at any rate. I was all things by turns, and nothing long! First I was the page boy who admitted the "relations" (Kate in many guises). Then I was a relation myself—Giles, a rustic. As Giles, I suddenly asked if the audience would like to hear me play the drum, and "obliged" with a drum solo, in which I had spent a great deal of time perfecting myself. Long before this I remember dimly some rehearsal when I was put in the orchestra and taken care of by "the gentleman who played the drum," and how badly I wanted to play it too! I afterwards took lessons from Mr. Woodhouse, the drummer at the Princess's. Kate gave an imitation of Mrs. Kean as Constance so beautifully that she used to bring tears to my eyes, and make the audience weep too.

Both of us, even at this early age, had dreams of playing all Mrs. Kean's parts. We knew the words, not only of them, but of every female part in every play in which we had appeared at the Princess's. "Walking on is so dull," the young actress says sometimes to me now, and I ask her if she knows all the parts of the play in which she is "walking on." I hardly ever find that she does. "I have no understudy," is her excuse. Even if a young woman has not been given an understudy, she ought, if she has any intention of taking her profession as an actress seriously, to constitute herself an understudy to every part in the piece! Then she would not find her time as a "super" hang heavy on her hands.

Some of my readers may be able to remember the "Stalactite Caverns" which used to form one of the attractions at the Colosseum. It was there that I first studied the words of Juliet. To me the gloomy horror of the place was a perfect godsend! Here I could cultivate a creepy, eerie sensation, and get into a fitting frame of mind for the potion scene. Down in this least imposing of subterranean abodes I used to tremble and thrill with passion and terror. Ah, if only in after years, when I played Juliet at the Lyceum, I could have thrilled an audience to the same extent!

After a few weeks at the Colosseum, we began our little tour. It was a very merry, happy time. We traveled a company of five, although only two of us were acting. There were my father and mother, Kate and myself, and Mr. Sydney Naylor, who played the very important part of orchestra. With a few exceptions we made the journeys in a carriage. Once we tramped from Bristol to Exeter. Oh, those delightful journeys on the open road! I tasted the joys of the strolling player's existence, without its miseries. I saw the country for the first time.... When they asked me what I was thinking of as we drove along, I remember answering: "Only that I should like to run wild in a wood for ever!" At night we stayed in beautiful little inns which were ever so much more cheap and comfortable than the hotels of to-day. In some of the places we were asked out to tea and dinner and very much feted. An odd little troupe we were! Father was what we will call for courtesy's sake "Stage Manager," but in reality he set the stage himself, and did the work which generally falls to the lot of the stage manager and an army of carpenters combined. My mother used to coach us up in our parts, dress us, make us go to sleep part of the day so that we might look "fresh" at night, and look after us generally. Mr. Naylor, who was not very much more than a boy, though to my childish eyes his years were quite venerable, besides discoursing eloquent music in the evenings, during the progress of the "Drawing-room Entertainment," would amuse us—me most especially—by being very entertaining himself during our journeys from place to place. How he made us laugh about—well, mostly about nothing at all.

We traveled in this way for nearly two years, visiting a new place every day, and making, I think, about ten to fifteen pounds a performance. Our little pieces were very pretty, but very slight, too; and I can only suppose that the people thought that "never anything can be amiss when simpleness and duty tender it," for they received our entertainment very well. The time had come when my little brothers had to be sent to school, and our earnings came in useful.

When the tour came to an end in 1861, I went to London with my father to find an engagement, while Kate joined the stock company at Bristol. We still gave the "Drawing-room Entertainment" at Ryde in the summer, and it still drew large audiences.

In London my name was put on an agent's books in the usual way, and presently he sent me to Madame Albina de Rhona, who had not long taken over the management of the Royal Soho Theater and changed its name to the Royalty. The improvement did not stop at the new play. French workmen had swept and garnished the dusty, dingy place and transformed it into a theater as dainty and pretty as Madame de Rhona herself. Dancing was Madame's strong point, but she had been very successful as an actress too, first in Paris and Petersburg, and then in London at the St. James's and Drury Lane. What made her go into management on her own account I don't know. I suppose she was ambitious, and rich enough for the enterprise.

At this time I was "in standing water," as Malvolio says of Viola when she is dressed as a boy. I was neither child nor woman—a long-legged girl of about thirteen, still in short skirts, and feeling that I ought to have long ones. However, when I set out with father to see Madam de Rhona, I was very smart. I borrowed Kate's new bonnet—pink silk trimmed with black lace—and thought I looked nice in it. So did father, for he said on the way to the theater that pink was my color. In fact, I am sure it was the bonnet that made Madame de Rhona engage me on the spot!

She was the first Frenchwoman I had ever met, and I was tremendously interested in her. Her neat and expressive ways made me feel very "small," or rather big and clumsy, even at the first interview. A quick-tempered, bright, energetic little woman, she nearly frightened me out of my wits at the first rehearsal by dancing round me on the stage in a perfect frenzy of anger at what she was pleased to call my stupidity. Then something I did suddenly pleased her, and she overwhelmed me with compliments and praise. After a time these became the order of the day, and she soon won my youthful affections. "Gross flattery," as a friend of mine says, "is good enough for me!" Madame de Rhona was, moreover, very kind-hearted and generous. To her generosity I owed the first piece of jewelery I ever possessed—a pretty little brooch, which, with characteristic carelessness, I promptly lost! Besides being flattered by her praise and grateful for her kindness, I was filled with great admiration for her. She was a wee thing—like a toy, and her dancing was really exquisite. When I watched the way she moved her hands and feet, despair entered my soul. It was all so precise, so "express and admirable." Her limbs were so dainty and graceful—mine so big and unmanageable! "How long and gaunt I am," I used to say to myself, "and what a pattern of prim prettiness she is!" I was so much ashamed of my large hands, during this time at the Royalty, that I kept them tucked up under my arms! This subjected me to unmerciful criticism from Madame Albina at rehearsals.

"Take down your hands," she would call out. "Mon Dieu! It is like an ugly young poulet going to roost!"

In spite of this, I did not lose my elegant habit for many years! I was only broken of it at last by a friend saying that he supposed I had very ugly hands, as I never showed them! That did it! Out came the hands to prove that they were not so very ugly, after all! Vanity often succeeds where remonstrance fails.

The greenroom at the Royalty was a very pretty little place, and Madame Albina sometimes had supper-parties there after the play. One night I could not resist the pangs of curiosity, and I peeped through the keyhole to see what was going on! I chose a lucky moment! One of Madame's admirers was drinking champagne out of her slipper! It was even worth the box on the ear that mother gave me when she caught me. She had been looking all over the theater for me, to take me home.

My first part at the Royalty was Clementine in "Attar Gull." Of the play, adapted from a story by Eugene Sue, I have a very hazy recollection, but I know that I had one very effective scene in it. Clementine, an ordinary fair-haired ingenue in white muslin, has a great horror of snakes, and, in order to cure her of her disgust, some one suggests that a dead snake should be put in her room, and she be taught how harmless the thing is for which she had such an aversion. An Indian servant, who, for some reason or other, has a deadly hatred for the whole family, substitutes a live reptile. Clementine appears at the window with the venomous creature coiled round her neck, screaming with wild terror. The spectators on the stage think that the snake is dead, and that she is only screaming from "nerves," but in reality she is being slowly strangled. I began screaming in a frantic, heartrending manner, and continued screaming, each cry surpassing the last in intensity and agony. At rehearsal I could not get these screams right for a long time. Madame de Rhona grew more and more impatient and at last flew at me like a wild-cat and shook me. I cried, just as I had done when I could not get Prince Arthur's terror right, and then the wild, agonized scream that Madame de Rhona wanted came to me. I reproduced it and enlarged it in effect. On the first night the audience applauded the screaming more than anything in the play. Madame de Rhona assured me that I had made a sensation, kissed me and said I was a genius! How sweet and pleasant her flattering words sounded in my young and inexperienced ears I need hardly say.

Looking back to it now, I know perfectly well why I, a mere child of thirteen, was able to give such a realistic display of horror. I had the emotional instinct to start with, no doubt, but if I did it well, it was because I was able to imagine what would be real in such a situation. I had never observed such horror, but I had previously realized it, when, as Arthur, I had imagined the terror of having my eyes put out.

Imagination! imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry, and intelligence—"the three I's"—are all indispensable to the actress, but of these three the greatest is, without any doubt, imagination.

After this "screaming" success, which, however, did not keep "Attar Gull" in the bill at the Royalty for more than a few nights, I continued to play under Madame de Rhona's management until February 1862. During these few months new plays were being constantly put on, for Madame was somehow not very fortunate in gauging the taste of the public. It was in the fourth production—"The Governor's Wife," that, as Letty Briggs, I had my first experience of what is called "stage fright." I had been on the stage more than five years, and had played at least sixteen parts, so there was really no excuse for me. I suspect now that I had not taken enough pains to get word-perfect. I know I had five new parts to study between November 21 and December 26.

Stage fright is like nothing else in the world. You are standing on the stage apparently quite well and in your right mind, when suddenly you feel as if your tongue had been dislocated and was lying powerless in your mouth. Cold shivers begin to creep downwards from the nape of your neck and all up you at the same time, until they seem to meet in the small of your back. About this time you feel as if a centipede, all of whose feet have been carefully iced, has begun to run about in the roots of your hair. The next agreeable sensation is the breaking out of a cold sweat all over. Then you are certain that some one has cut the muscles at the back of your knees. Your mouth begins to open slowly, without giving utterance to a single sound, and your eyes seem inclined to jump out of your head over the footlights. At this point it is as well to get off the stage as quickly as you can, for you are far beyond human help.

Whether everybody suffers in this way or not I cannot say, but it exactly describes the torture I went through in "The Governor's Wife." I had just enough strength and sense to drag myself off the stage and seize a book, with which, after a few minutes, I reappeared and ignominiously read my part. Whether Madame de Rhona boxed my ears or not, I can't remember, but I think it is very likely she did, for she was very quick-tempered. In later years I have not suffered from the fearsome malady, but even now, after fifty years of stage-life, I never play a new part without being overcome by a terrible nervousness and a torturing dread of forgetting my lines. Every nerve in my body seems to be dancing an independent jig on its own account.

It was at the Royalty that I first acted with Mr. Kendal. He and I played together in a comedietta called "A Nice Quiet Day." Soon after, my engagement came to an end, and I went to Bristol, where I gained the experience of my life with a stock company.

LIFE IN A STOCK COMPANY

1862-1863

"I think anything, naturally written, ought to be in everybody's way that pretends to be an actor." This remark of Colley Cibber's long ago struck me as an excellent motto for beginning on the stage. The ambitious boy thinks of Hamlet, the ambitious girl of Lady Macbeth or Rosalind, but where shall we find the young actor and actress whose heart is set on being useful?

Usefulness! It is not a fascinating word, and the quality is not one of which the aspiring spirit can dream o' nights, yet on the stage it is the first thing to aim at. Not until we have learned to be useful can we afford to do what we like. The tragedian will always be a limited tragedian if he has not learned how to laugh. The comedian who cannot weep will never touch the highest levels of mirth.

It was in the stock companies that we learned the great lesson of usefulness; we played everything—tragedy, comedy, farce, and burlesque. There was no question of parts "suiting" us; we had to take what we were given.

The first time I was cast for a part in a burlesque I told the stage manager I couldn't sing and I couldn't dance. His reply was short and to the point. "You've got to do it," and so I did it in a way—a very funny way at first, no doubt. It was admirable training, for it took all the self-consciousness out of me to start with. To end with, I thought it capital fun, and enjoyed burlesque as much as Shakespeare.

What was a stock company? I forget that in these days the question may be asked in all good faith, and that it is necessary to answer it. Well, then, a stock company was a company of actors and actresses brought together by the manager of a provincial theater to support a leading actor or actress—"a star"—from London. When Edmund Kean, the Kembles, Macready, or Mrs. Siddons visited provincial towns, these companies were ready to support them in Shakespeare. They were also ready to play burlesque, farce, and comedy to fill out the bill. Sometimes the "stars" would come for a whole season; if their magnitude were of the first order, for only one night. Sometimes they would rehearse with the stock company, sometimes they wouldn't. There is a story of a manager visiting Edmund Kean at his hotel on his arrival in a small provincial town, and asking the great actor when he would rehearse.

"Rehearse! I'm not going to rehearse—I'm going to sleep!"

"Have you any instructions?"

"Instructions! No! Tell 'em to keep at a long arm's length away from me and do their d——d worst!"

At Bristol, where I joined Mr. J.H. Chute's stock company in 1861, we had no experience of that kind, perhaps because there was no Kean alive to give it to us. And I don't think that our "worst" would have been so very bad. Mr. Chute, who had married Macready's half-sister, was a splendid manager, and he contrived to gather round him a company which was something more than "sound."

Several of its members distinguished themselves greatly in after years. Among these I may mention Miss Marie Wilton (now Lady Bancroft) and Miss Madge Robertson (now Mrs. Kendal).

Lady Bancroft had left the company before I joined it, but Mrs. Kendal was there, and so was Miss Henrietta Hodson (afterwards Mrs. Labouchere). I was much struck at that time by Mrs. Kendal's singing. Her voice was beautiful. As an example of how anything can be twisted to make mischief, I may quote here an absurd tarradiddle about Mrs. Kendal never forgetting in after years that in the Bristol stock company she had to play the singing fairy to my Titania in "A Midsummer Night's Dream." The simple fact, of course, was that she had the best voice in the company, and was of such infinite value in singing parts that no manager in his senses would have taken her out of them. There was no question of my taking precedence of her, or of her playing second fiddle to me.

Miss Hodson was a brilliant burlesque actress, a good singer, and a capital dancer. She had great personal charm, too, and was an enormous favorite with the Bristol public. I cannot exactly call her a "rival" of my sister Kate's, for Kate was the "principal lady" or "star," and Henrietta Hodson the "soubrette," and, in burlesque, the "principal boy." Nevertheless, there were certainly rival factions of admirers, and the friendly antagonism between the Hodsonites and the Terryites used to amuse us all greatly.

We were petted, spoiled, and applauded to our heart's content, but I don't think it did us any harm. We all had scores of admirers, but their youthful ardor seemed to be satisfied by tracking us when we went to rehearsal in the morning and waiting for us outside the stage-door at night.

When Kate and I had a "benefit" night, they had an opportunity of coming to rather closer quarters, for on these occasions tickets could be bought from members of the company, as well as at the box-office of the theater.

Our lodgings in Queen Square were besieged by Bristol youths who were anxious to get a glimpse of the Terrys. The Terrys demurely chatted with them and sold them tickets. My mother was most vigilant in her role of duenna, and from the time I first went on the stage until I was a grown woman I can never remember going home unaccompanied by either her or my father.

The leading male members of Mr. Chute's stock company were Arthur Wood (an admirable comedian), William George Rignold, W.H. Vernon, and Charles Coghlan. At this time Charles Coghlan was acting magnificently, and dressing each of his characters so correctly and so perfectly that most of the audience did not understand it. For instance, as Glavis, in "The Lady of Lyons," he looked a picture of the Directoire fop. He did not compromise in any single detail, but wore the long straggling hair, the high cravat, the eye-glass, bows, jags, and tags, to the infinite amusement of some members of the audience, who could not imagine what his quaint dress meant. Coghlan's clothes were not more perfect than his manner, but both were a little in advance of the appreciation of Bristol playgoers in the 'sixties.

At the Princess's Theater I had gained my experience of long rehearsals. When I arrived in Bristol I was to learn the value of short ones. Mr. Chute took me in hand, and I had to wake up and be alert with brains and body. The first part I played was Cupid in "Endymion." To this day I can remember my lines. I entered as a blind old woman in what is known in theatrical parlance as a "disguise cloak." Then, throwing it off, I said:

"Pity the poor blind—what no one here? Nay then, I'm not so blind as I appear, And so to throw off all disguise and sham, Let me at once inform you who I am! I'm Cupid!"

Henrietta Hodson as Endymion and Kate as Diana had a dance with me which used to bring down the house. I wore a short tunic which in those days was considered too scanty to be quite nice, and carried the conventional bow and quiver.

In another burlesque, "Perseus and Andromeda," I played Dictys; it was in this piece that Arthur Wood used to make people laugh by punning on the line: "Such a mystery (Miss Terry) here!" It was an absurd little joke, but the people used to cheer and applaud.

At the end of my first season at Bristol I returned to London for a time to play at the Haymarket under Mr. Buckstone, but I had another season at Bristol in the following year. While my stage education was progressing apace, I was, through the influence of a very wonderful family whose acquaintance we made, having my eyes opened to beautiful things in art and literature. Mr. Godwin, the architect and archaeologist, was living in Bristol when Kate and I were at the Theater Royal, and we used to go to his house for some of the Shakespeare readings in which our Bristol friends asked us to take part. This house, with its Persian rugs, beautiful furniture, its organ, which for the first time I learned to love, its sense of design in every detail, was a revelation to me, and the talk of its master and mistress made me think. At the theater I was living in an atmosphere which was developing my powers as an actress and teaching me what work meant, but my mind had begun to grasp dimly and almost unconsciously that I must do something for myself—something that all the education and training I was receiving in my profession could not do for me. I was fourteen years old at Bristol, but I now felt that I had never really lived at all before. For the first time I began to appreciate beauty, to observe, to feel the splendor of things, to aspire!

I remember that in one of the local papers there had appeared under the headline "Jottings" some very wonderful criticisms of the performances at the theater. The writer, whoever he was, did not indulge in flattery, and in particular he attacked our classical burlesques on the ground that they were ugly. They were discussing "Jottings" one day at the Godwins' house, and Kate said it was absurd to take a burlesque so seriously. "Jottings" was all wrong.

"I don't know," said our host. "Even a burlesque can be beautiful."

Afterwards he asked me what I thought of "Jottings," and I confessed that there seemed to me a good deal of truth in what had been said. I had cut out all that he had written about us, read it several times, and thought it all very clever, most amusing—and generally right. Later on I found that Mr. Godwin and "Jottings" were one and the same!

At the Godwins' I met Mr. Barclay, Mr. Hine, William Burges the architect, and many other people who made an impression on my young mind. I accepted their lessons eagerly, and found them of the greatest value later on.

In March 1863 Mr. Chute opened the Theater Royal, Bath, when, besides a specially written play symbolic of the event, his stock company performed "A Midsummer Night's Dream." Titania was the first Shakespeare part I had played since I left Charles Kean, but I think even in those early days I was more at home in Shakespeare than anything else. Mr. Godwin designed my dress, and we made it at his house in Bristol. He showed me how to damp it and "wring" it while it was wet, tying up the material as the Orientals do in their "tie and dry" process, so that when it was dry and untied, it was all crinkled and clinging. This was the first lovely dress that I ever wore, and I learned a great deal from it.

Almost directly after that appearance at Bath I went to London to fulfill an engagement at the Haymarket Theater, of which Mr. Buckstone was still the manager and Sothern the great attraction. I had played Gertrude Howard in "The Little Treasure" during the stock season at Bristol, and when Mr. Buckstone wanted to do the piece at the Haymarket, he was told about me. I was fifteen at this time, and my sense of humor was as yet ill-developed. I was fond of "larking" and merry enough, but I hated being laughed at! At any rate, I could see no humor in Mr. Sothern's jokes at my expense. He played my lover in "The Little Treasure," and he was always teasing me—pulling my hair, making me forget my part and look like an idiot. But for dear old Mr. Howe, who was my "father" in the same piece, I should not have enjoyed acting in it at all, but he made amends for everything. We had a scene together in which he used to cry, and I used to cry—oh, it was lovely!

Why I should never have liked Sothern, with his wonderful hands and blue eyes, Sothern, whom every one found so fascinating and delightful, I cannot say, and I record it as discreditable to me, not to him. It was just a case of "I do not like thee, Dr. Fell." I admired him—I could not help doing that—but I dreaded his jokes, and thought some of them very cruel.

Another thing I thought cruel at this time was the scandal which was talked in the theater. A change for the better has taken place in this respect—at any rate, in conduct. People behave better now, and in our profession, carried on as it is in the public eye, behavior is everything. At the Haymarket there were simply no bounds to what was said in the greenroom. One night I remember gathering up my skirts (we were, I think, playing "The Rivals" at the time), making a curtsey, as Mr. Chippendale, one of the best actors in old comedy I ever knew, had taught me, and sweeping out of the room with the famous line from another Sheridan play: "Ladies and gentlemen, I leave my character behind me!"

I see now that this was very priggish of me, but I am quite as uncompromising in my hatred of scandal now as I was then. Quite recently I had a line to say in "Captain Brassbound's Conversion," which is a very helpful reply to any tale-bearing. "As if any one ever knew the whole truth about anything!" That is just the point. It is only the whole truth which is informing and fair in the long run, and the whole truth is never known.

I regard my engagement at the Haymarket as one of my lost opportunities, which in after years I would have given much to have over again. I might have learned so much more than I did. I was preoccupied by events outside the theater. Tom Taylor, who had for some time been a good friend to both Kate and me, had introduced us to Mr. Watts, the great painter, and to me the stage seemed a poor place when compared with the wonderful studio where Kate and I were painted as "The Sisters." At the Taylors' house, too, the friends, the arts, the refinements had an enormous influence on me, and for a time the theater became almost distasteful. Never at any time in my life have I been ambitious, but at the Haymarket I was not even passionately anxious to do my best with every part that came in my way—a quality which with me has been a good substitute for ambition. I was just dreaming of and aspiring after another world, a world full of pictures and music and gentle, artistic people with quiet voices and elegant manners. The reality of such a world was Little Holland House, the home of Mr. Watts.

So I confess quite frankly that I did not appreciate until it was too late, my advantages in serving at the Haymarket with comrades who were the most surpassingly fine actors and actresses in old comedy that I have ever known. There were Mr. Buckstone, the Chippendales, Mr. Compton, Mr. Farren. They one and all thoroughly understood Sheridan. Their bows, their curtseys, their grand manner, the indefinable style which they brought to their task were something to see. We shall never know their like again, and the smoothest old-comedy acting of this age seems rough in comparison. Of course, we suffer more with every fresh decade that separates us from Sheridan. As he gets farther and farther away, the traditions of the performances which he conducted become paler and paler. Mr. Chippendale knew these traditions backwards. He might even have known Sheridan himself. Charles Reade's mother did know him, and sat on the stage with him while he rehearsed "The School for Scandal" with Mrs. Abingdon, the original Lady Teazle in the part.

Mrs. Abingdon, according to Charles Reade, who told the story, had just delivered the line, "How dare you abuse my relations?" when Sheridan stopped the rehearsal.

"No, no, that won't do at all! It mustn't be pettish. That's shallow—shallow. You must go up stage with, 'You are just what my cousin Sophy said you would be,' and then turn and sweep down on him like a volcano. 'You are a great bear to abuse my relations! How dare you abuse my relations!'"

I want to refrain, in telling the story of my life, from praising the past at the expense of the present. It is at best the act of a fogey and always an easy thing to do, as there are so few people who can contradict one. Yet even the fear of joining hands with the people who like every country but their own, and every age except that in which they live, shall not deter me from saying that although I have seen many improvements in actors and acting since I was at the Haymarket, I have never seen artificial comedy acted as it was acted there.

Not that I was much good at it myself. I played Julia in "The Rivals" very ill; it was too difficult and subtle for me—ungrateful into the bargain—and I even made a blunder in bringing down the curtain on the first night. It fell to my lot to finish the play—in players' language, to speak the "tag." Now, it has been a superstition among actors for centuries that it is unlucky to speak the "tag" in full at rehearsal. So during the rehearsals of "The Rivals," I followed precedent and did not say the last two or three words of my part and of the play, but just "mum, mum, mum!" When the first night came, instead of dropping my voice with the last word in the conventional and proper manner, I ended with an upward inflection, which was right for the sense, but wrong for the curtain.

This unexpected innovation produced utter consternation all round me. The prompter was so much astounded that he thought there was something more coming and did not give the "pull" for the curtain to come down. There was a horrid pause while it remained up, and then Mr. Buckstone, the Bob Acres of the cast, who was very deaf and had not heard the upward inflection, exclaimed loudly and irritably: "Eh! eh! What does this mean? Why the devil don't you bring down the curtain?" And he went on cursing until it did come down. This experience made me think more than ever of the advice of an old actor: "Never leave your stage effects to chance, my child, but rehearse, and find out all about it!"

How I wished I had rehearsed that "tag" and taken the risk of being unlucky!

For the credit of my intelligence I should add that the mistake was a technical one, not a stupid one. The line was a question. It demanded an upward inflection; but no play can end like that.

It was not all old comedy at the Haymarket. "Much Ado About Nothing" was put on during my engagement, and I played Hero to Miss Louisa Angell's Beatrice. Miss Angell was a very modern Beatrice, but I, though I say it "as shouldn't," played Hero beautifully! I remember wondering if I should ever play Beatrice. I just wondered, that was all. It was the same when Miss Angell played Letitia Hardy in "The Belle's Stratagem," and I was Lady Touchwood. I just wondered! I never felt jealous of other people having bigger parts; I never looked forward consciously to a day when I should have them myself. There was no virtue in it. It was just because I wasn't ambitious.

Louise Keeley, a pretty little woman and clever, took my fancy more than any one else in the company. She was always merry and kind, and I admired her dainty, vivacious acting. In a burlesque called "Buckstone at Home" (in which I played Britannia and came up a trap in a huge pearl, which opened and disclosed me) Miss Keeley was delightful. One evening the Prince and Princess of Wales (now our King and Queen) came to see "Buckstone at Home." I believe it was the very first time they had appeared at a theater since their marriage. They sat far back in the royal box, the ladies and gentlemen of their suite occupying the front seats. Miss Keeley, dressed as a youth, had a song in which she brought forward by the hand some well-known characters in fairy tales and nursery rhymes—Cinderella, Little Boy Blue, Jack and Jill, and so on, and introduced them to the audience in a topical verse. One verse ran:

"Here's the Prince of Happyland, Once he dwelt at the Lyceum; Here's another Prince at hand, But being invisible, you can't see him!"

Probably the Prince of Wales must have wished the singer at—well, not at the Haymarket Theater; but the next minute he must have been touched by the loyal greeting that he received. When the audience grasped the situation, every one—stalls, boxes, circle, pit, gallery—stood up and cheered and cheered again. Never was there a more extraordinary scene in a playhouse—such excitement, such enthusiasm! The action of the play came to a full stop, but not the cheers. They grew louder and louder, until the Prince came forward and bowed his acknowledgments. I doubt if any royal personage has ever been so popular in England as he was. Of course he is popular as King too, but as Prince of Wales he came nearer the people. They had more opportunities of seeing him, and they appreciated his untiring efforts to make up by his many public appearances for the seclusion in which the Queen lived.

1864

In the middle of the run of "The American Cousin" I left the stage and married. Mary Meredith was the part, and I played it vilely. I was not quite sixteen years old, too young to be married even in those days, when every one married early. But I was delighted, and my parents were delighted, although the disparity of age between my husband and me was very great. It all seems now like a dream—not a clear dream, but a fitful one which in the morning one tries in vain to tell. And even if I could tell it, I would not. I was happy, because my face was the type which the great artist who had married me loved to paint. I remember sitting to him in armor for hours and never realizing that it was heavy until I fainted!

The day of my wedding it was very cold. Like most women, I always remember what I was wearing on the important occasions of my life. On that day I wore a brown silk gown which had been designed by Holman Hunt, and a quilted white bonnet with a sprig of orange-blossom, and I was wrapped in a beautiful Indian shawl. I "went away" in a sealskin jacket with coral buttons, and a little sealskin cap. I cried a great deal, and Mr. Watts said, "Don't cry. It makes your nose swell." The day I left home to be married, I "tubbed" all my little brothers and sisters and washed their fair hair.

1  2  3  4  5  6  7  8     Next Part
Home - Random Browse