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Rh impression, and acquired abundant local popularity. At this time his acting began to receive thoughtful attention from learned and critical authorities. He stopped and acted at the Sandwich islands on his return voyage from Australia to San Francisco, and reappeared there at the Metropolitan theatre, then (1855) managed by Miss Catherine Sinclair (Mrs. Edwin Forrest, who had left her husband and obtained a divorce from him), and he was then and there the original representative in America of Raphael in &ldquo;The Marble Heart.&rdquo; In 1856 he took leave of California, being cheered on his way by several farewell testimonial benefits, organized and conducted by one of his earliest and best friends, Mr. M. P. Butler, of Sacramento, and his steps were now turned toward the cities of the east. He first appeared at the Front street theatre, Baltimore, and then made a rapid tour of all the large cities of the south, being everywhere well received. In April, 1857, he appeared at the Boston theatre as Sir Giles Overreach in &ldquo;A New Way to Pay Old Debts,&rdquo; and his great success on this occasion, always regarded by him as the turning-point in his career, determined him to persist in the resolute endeavor to win the first place as a tragic actor. His career since then has been marked by many vicissitudes of personal experience and by fluctuations of fortune, but it has been one of lofty endeavor and of continuous advancement. On 14 May, 1857, he came forward in New York, at Burton's Metropolitan theatre, as Richard III., and in the following August he was again seen there in a round of great characters, all of which he acted with brilliant ability and greatly to the public satisfaction. On 7 July, 1860, he married Miss Mary Devlin, of Troy, N. Y., an actress, whom he had met three years before at Richmond, Va., with whom he shortly afterward made a visit to England. Their only child, a daughter, Edwina, was born in Fulham, 9 Dec., 1861. After their return to America, Mrs. Booth, sinking under a sudden illness, died at Dorchester, Mass., on 21 Feb., 1863. While in England, Booth appeared at the London Haymarket theatre, under the management of J. B. Buckstone, enacting Shylock, Sir Giles, and Richelieu. The latter part, with which, almost as much as with Hamlet, his name is identified, he had first assumed at Sacramento, Gal., in July, 1856. His performance of it was much admired in London, and also at Liverpool and Manchester, where he afterward acted. On returning to America, Booth soon became manager of the Winter Garden theatre, New York, which had been Burton's Metropolitan, but which Dion Boucicault had leased, refitted, and renamed. Here Booth appeared on 29 Dec., 1862, and with this house he was associated until 23 March, 1867, when it was destroyed by fire. A particular record of his proceedings at this theatre would make a volume. Here he effected magnificent productions of &ldquo;Hamlet,&rdquo; &ldquo;Othello,&rdquo; &ldquo;The Merchant of Venice,&rdquo; &ldquo;Richelieu,&rdquo; and other plays, and here he accomplished the remarkable achievement of running &ldquo;Hamlet&rdquo; for one hundred consecutive nights, an exploit that was commemorated by the public presentation to him, on 22 Jan., 1867, of a gold medal, suitably inscribed, and offered in behalf of leading citizens of New York. In recent days such an artistic feat would not be so difficult of accomplishment; at that time it was an extraordinary exploit. Booth's brother-in-law, the celebrated comedian John S. Clarke, was his partner in the management of the Winter Garden theatre, and they associated with themselves an old journalist and theatrical agent, William Stuart

(real name, Edmund O'Flaherty), formerly of Galway, Ireland, but then an exile. Clarke &amp; Booth were also associated in the management of the Walnut street theatre, Philadelphia, from the summer of 1863 till March, 1870, when the interest of the latter was purchased by the former. The hundred-night run of &ldquo;Hamlet&rdquo; extended from 21 Nov., 1864, till 24 March, 1865. On 23 April, 1864, for the benefit of the fund for erecting a Shakespeare monument in Central park, Booth produced &ldquo;Romeo and Juliet,&rdquo; and enacted Romeo. In April, 1865, an appalling tragedy compelled Edwin Booth to leave the stage, and it was then his wish and purpose never to return to it; but business obligations constrained him, and he appeared at the Winter Garden on 3 Jan., 1866, as Hamlet, and was received with acclamation by a great audience. &ldquo;Richelieu&rdquo; was revived that year, on 1 Feb., with much splendor of scenic attire. An equally fine revival was made, on 28 Jan., 1867, of &ldquo;The Merchant of Venice.&rdquo; On 23 March the theatre was burned down. On 8 April, 1868, the corner-stone was laid of Booth's theatre, at the south-east corner of 23d street and 6th avenue, New York, and on 3 Feb., 1869, Booth opened the new house with &ldquo;Romeo and Juliet,&rdquo; Romeo being played by himself and Juliet by Miss Mary McVicker. This lady was the daughter of Mrs. Runnion, who became the wife of James H. McVicker, of Chicago, a prominent actor and manager, and the child's name was changed from Runnion to McVicker. Booth married her on 7 June, 1869, and she died in New York, in 1881, leaving no children. Booth's theatre had a career of thirteen years, and its stage was adorned with some of the grandest pageants and graced by the presence of some of the most renowned actors that have been seen in this century. Its story, however, ended in May, 1882, when it was finally closed, its career ending with a performance of Juliet by Madame Modjeska. After this it was torn down, and a block of stores has been built upon its site. Booth's theatre was managed by Edwin Booth until the spring of 1874, when it passed out of his possession. During his reign therein as manager he accomplished sumptuous and noble revivals of &ldquo;Romeo and Juliet,&rdquo; &ldquo;Othello,&rdquo; &ldquo;Hamlet,&rdquo; &ldquo;Richelieu,&rdquo; &ldquo;The Winter's Tale,&rdquo; &ldquo;Julius Cesar,&rdquo; &ldquo;Macbeth,&rdquo; &ldquo;Much Ado About Nothing,&rdquo; &ldquo;The Merchant of Venice,&rdquo; &ldquo;Brutus,&rdquo; and other plays, and he presented on his stage a series of miscellaneous attractions of an equally reputable order. His stock company at one time included Lawrence Barrett, Edwin L. Davenport, J. W. Wallack, Jr., Mark Smith, Edwin Adams, A. W. Fenno, D. C. Anderson, D. W. Waller, Robert Pateman, Mrs. Emma Waller, Bella Pateman, and others &mdash; one of the ablest dramatic organizations ever formed in America. Among the stars who acted at his theatre were Joseph Jefferson, Kate Bateman, James H. Hackett, Charlotte Cushman, John S. Clarke, John E. Owens, and James H. McVicker. Booth's theatre was almost invariably a prosperous house; but it was not economically managed, and for this reason, and this alone, it eventually carried its owner into bankruptcy. Edwin Booth then began his career over again, and in course of time paid his debts and earned another fortune. In 1876 he made a tour of the south, which was in fact a triumphal progress. Thousands of spectators flocked to see him in every city that he visited. In San Francisco, where he acted for eight weeks, he drew upward of $96,000, a total of receipts till then unprecedented on the dramatic stage. In 1880, and again in 1882, he visited Great Britain, and he acted with brilliant success in London and other