Book 3 — ACTORS.

William H. Crane.

A tireless worker and devoted to his calling, William H. Crane is without doubt one of the foremost comedians of the day. Mr. Crane was born in Leicester, Massachusetts, April 30, 1845. At the age of eighteen he made his professional début at Utica, New York. His first permanent engagement was with the Harriet Holman’s opera company, with which organization he remained for seven years. His first part, with this company, was that of the Orator, in The Child of the Regiment; later he filled the rôles of Beppo, in Fra Diavolo; Mephisto, in Faust; Hugh Challoner, in Ours; Dr. Dalcomora, in The Elixir of Love. Leaving the Holmans, he joined the Alice Oates opera company, becoming its leading comedian. Later, after creating the part of Le Blanc, in Evangeline, he, in 1874, became a member of the stock company playing at Hooley’s theater, Chicago. His first appearance in New York city was at Niblo’s theater, in 1876, and it was in the same year that at the Park Theater, he won distinct recognition as a comedian of exceptional talent by his impersonation of Dick Swiveler to The Marchioness. During this time an acquaintance with Stuart Robson resulted in the two actors collaborating in Our Boarding House, which was given its initial presentation at the Park theater, New York city, October 11, 1877. This engagement being ended, they formed a partnership that lasted for twelve years. Since 1899 he has appeared in star rôles in The Senator, On Probation, For Money, Brother John, A Fool of Fortune, A Virginia Courtship, and other plays. Mr. Crane has accumulated a comfortable fortune, and in the intervals of his professional labor enjoys a pleasant home life with his wife and children at Cohasset, Massachusetts.

John Drew.

John Drew is an excellent example of a man finding his vocation and filling it. While it is true that he inherited his histrionic talent, his father, John Drew, Sr., having been a noted Irish comedian and his mother, Louise Lane Drew, also having been a great favorite on the stage—yet he has achieved success because of his personal efforts looking to its development. The prime requisite for advancement in any field is, first, find your talent, then bend every energy toward its development. The subject of this sketch was born in Philadelphia, Pennsylvania, November 13, 1853, and early showed a preference for the boards. He was educated at the Episcopal academy and by private tutors, making his first appearance behind the footlights at the Arch street theater, Philadelphia, as Plumper, in As Cool as a Cucumber. Although only nineteen, his efforts met with almost immediate success, and at twenty-one he joined Mr. Daly’s famous company soon quickly becoming the most popular member of the organization. Since 1892 he has been starring in his own company. Although Mr. Drew excels in society plays, he has also made a brilliant record in classical drama, and especially in Shakespearian rôles. Petruchio, in Taming of the Shrew, is his favorite character, and it is the most difficult and exacting of any he assumes. He has brought out in yearly succession The Butterflies, The Bauble Shop, Christopher, Jr., Rosemary, A Marriage of Convenience, One Summer Day, and The Liars. Commenting upon Mr. Drew, William Winter, the well-known critic, wrote “that he possesses drollery, the talent of apparent spontaneity, and the faculty of crisp emotion. He has surpassed all young actors of his day as a gay cavalier and the bantering farceur of the drawing-room drama of modern social life. He is thoroughly in earnest, and his attitude toward his art is that of intellectual purpose and authority.”

William Hooker Gillette.

We sometimes speak and often hear of an instantaneous success, but in reality there is no such thing as success or failure being immediate. Every real achievement is the culmination of weeks and months, and even years, of earnest and unremitting toil. The popular actor and well-known author, William Hooker Gillette, furnishes a case in point. The structure of his reputation bids fair to last indefinitely, but it rests on foundations of preparatory work of which the public knows but little. He was born in Hartford, Connecticut, July 24, 1855, being the son of Francis G. (late United States senator from Connecticut), and Elizabeth Daggett (Hooker) Gillette. Graduating from the Hartford high school at the age of twenty, he afterward attended the New York university for two years. From a lad he had given evidence of his love for the stage. While at the university he obtained a minor position in one of the theaters. In 1876, becoming a student in the Boston university, he followed the same plan of studying by day and playing in small parts at night. In this way he made himself thoroughly acquainted with the “business” of the stage, as well as the first principles of acting. Mr. Gillette made his first palpable hit in the title rôle of A Private Secretary by playing a part which required a particular delicacy of treatment.

Nathaniel C. Goodwin.

Even as a schoolboy the famous comedian, Nat. C. Goodwin, by his clever imitations of leading actors, displayed signs of his future greatness. He was born in Boston, July 25, 1857, and educated in the public schools of that city. His parents intended that he should follow a commercial career, but he early decided for the stage as against a business life. His mirth-provoking powers were finally recognized by Stuart Robson, who engaged young Goodwin at a salary of $5 a week to play the part of the Bootblack, in Law in New York. Mr. Goodwin’s reputation was quickly established, and the next season he contracted with Josh Hart to appear in the Eagle theater in New York city, at a salary of $150 a week. In 1876 he played Captain Dietrich in Evangeline, and three years later entered upon his career as a star, a practically unbroken line of successes having followed both here and abroad, for when, in 1890, he filled a long engagement in London, he was received with every manifestation of approval. Mr. Goodwin has been married three times, the last wife being Maxine Elliott.

James Keteltas Hackett.

James Keteltas Hackett, one of the youngest of the prominent actors of America, and certainly the youngest actor-manager of note in this country, was born at Wolfe Island, Ontario, Canada, September 6, 1869. He is the son of the late James Henry Hackett, who in his time was also a notable figure of the American boards. After graduating from the College of the City of New York in 1891, he studied in the New York law school, but his inclination for the stage, which manifested itself almost as soon as he could talk, became more and more marked, and, abandoning the legal career which it had been intended he should follow, he gave himself up to studying for the stage. In 1892 he made his début in New York in the A. M. Palmer stock company. From the very first he gave unmistakable indications of his subsequent success. In four years—being then twenty-six years of age—he was leading man of the company in question, and was a star in the dramatic firmament of New York. From that time on his progress in his chosen profession has been unceasing. For some years he was under the management of Mr. Daniel Frohman, during which period he made distinctive hits in The Prisoner of Zenda and its sequel, Rupert of Hentzau, and The Pride of Jennico. Leaving Mr. Frohman’s management, he branched out for himself. As already intimated, he is as successful as he is popular. He married Mary Mannering, a well-known actress, whom he met during his association with the Frohman forces.

Sir Henry Brodribb Irving.

Sir Henry Brodribb Irving, who has created an era in theatrical art, did not attain his ambitions until he had experienced a full share of disappointments and privations. His name is now associated with all that makes for the splendor of the drama, spectacular and intellectual. But the time was with Sir Henry when the next meal was an unknown quantity, when his wardrobe was carried on his back, and when his future seemed to be without promise professionally or otherwise. But with him, as with other successful men, his belief in himself enabled him to combat stress of troubles and finally landed him at the goal of success. Apart from all else he has, through the medium of his masterly productions of Shakespeare’s plays, done more to revive an intelligent interest in the “Immortal Bard” than has any other manager-actor of this generation. His keenest critics admit his genius, even while they comment on his methods. Like most men of his type he has a marked individuality, and for this reason he has been accused of mannerisms. On the other hand, his admirers claim that his individuality is responsible for no small portion of the charm and power of his work. The actor was born in Keinton, near Glastonbury, England, February 6, 1838, his actual name being Brodribb. By permission of the English authorities in 1887 he was authorized, however, to continue the use of the adopted name of Irving. Educated in private schools in London, he, in 1856, went on the stage in the provinces. His first appearance before a public was a failure, pure, simple and absolute. The London stage first knew him in 1859; then he returned to the provinces, remaining therein until 1866, when he once more came to London, playing in several different theaters, but in minor rôles. At about this period his talents began to assert themselves, and since 1871 Sir Henry Irving has been successfully before the public at the Lyceum Theater, London, of which he was lessee and manager from 1878 until 1899. He is well known to play-goers in this country by reason of his several tours here. In recognition of his work for the betterment of the stage he was knighted by Queen Victoria in 1895. Sir Henry Irving is also an author, his most notable work being The Drama.

Joseph Jefferson.

Many ancestors of Joseph Jefferson followed the profession of acting. Both his father and mother were players. He was born at Philadelphia, February 20, 1829, was educated at home and first appeared on the stage as a child in the old-time favorite play of Pizarro. In 1843 his father died, and he joined a party of strolling players, who traveled through Texas and followed the United States army to Mexico. His first prominent rôle was that of Asa Trenchard, in Our American Cousin, which was first presented October 18, 1858, and continued for one hundred and fifty consecutive nights at Laura Keene’s theater in New York city. His other notable parts have been Newman Noggs, in Nicholas Nickelby; Caleb Plummer, in The Cricket on the Hearth; Dr. Pangloss, in The Heir-at-Law; and Dr. Ollapod, in The Poor Gentleman. But the public chiefly identify him with the title rôle of Rip Van Winkle, which he has played in every city in the United States, and also in England and Australia. He enjoys the distinction of having presented the character more times than any other actor has ever played a single character in the history of dramatics. Besides being one of the most popular actors of his times, Mr. Jefferson is a painter of considerable ability and is an author of some note. His “autobiography” is his most important work, but he has also contributed many articles to the magazines. He married, in 1848, Margaret Lockyer, and after her death took to wife Sarah Warren, in 1867.

Edward H. Sothern.

How many failures in life are caused by misfit occupations! The world would have perhaps never known of Edward H. Sothern if he had followed the wishes of his father in choosing a life career. This man, who has attained such prominence in the histrionic profession would probably have been doomed to obscurity had he become a painter. He was born in New Orleans, Louisiana, December 6, 1859, being the second son of Edward Askew Sothern, the famous comedian. At the age of five he was taken to London, where he received his education. He studied drawing for some time, his father wishing him to become an artist, but he seems to have inherited a predilection for the stage. It was during his two visits to the United States with his father in 1875 and 1879, that, in spite of his parents’ objections, he decided to become an actor, which he did, making his début as a cabman, in Sam, at the Park theater, New York city. Later he joined his father’s company, but shortly after resigned in order to become a member of John McCullough’s company. In 1883, after appearing for two years at the Criterion, Standard, Royalty and other London theaters, and traveling one year, in company with his brother, Lytton Sothern, he returned to this country, again entered the company of John McCullough, becoming its leading comedian. Subsequently Mr. Sothern played with Helen Daubray, in One of Our Girls; he first took a leading rôle as Jack Hammerton, in The Highest Bidder. Since that time he has starred with his own company in Lord Chumley, The Maister of Woodbarrow, Prisoner of Zenda, Under the Red Robe, etc. He married Virginia Harned, his leading woman. Mr. Sothern has had an adequate professional training and his creditable work proclaims him a master of his art.