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Play List: 4. Corinne 7. The Mormons 9. Lucy Brandon 10. Storm-Beaten 11. Lady Clare 13. Bachelors 14. Constance 15. Lottie 16. Agnes 17. Alone in London 18. Sophia 19. Fascination 20. The Blue Bells of Scotland 21. Partners 24. Angelina! 25. The Old Home 26. A Man’s Shadow 27. Theodora 29. Clarissa 30. Miss Tomboy 32. Sweet Nancy 33. The English Rose 36. Marmion 37. The Gifted Lady 38. The Trumpet Call 39. Squire Kate 40. The White Rose 42. The Black Domino 44. The Charlatan 45. Dick Sheridan 47. Lady Gladys 48. The Strange Adventures of Miss Brown 49. The Romance of the Shopwalker 52. Two Little Maids from School ___ |
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ROBERT WILLIAMS BUCHANAN (1841 - 1901) |
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THEATRE REVIEWS 10. Storm-Beaten (1883) - continued (ii) |
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[The Union Square Theatre’s 75th performance of Storm Beaten - from the E. J. Phillips website.]
New-York Daily Tribune (27 January, 1884 - p.7) THE LOCAL STAGE THIS WEEK. The bad play of “Storm Beaten” has at last expired at the Union Square Theatre. No flowers. A new piece by Mr. Bartley Campbell, will be produced to succeed it tomorrow night. ___
The Boston Daily Globe (7 May, 1884 - p.5) “STORM BEATEN” AT THE GLOBE. A Noteworthy Production of a New York Success. “Storm Beaten” is the work of a poet-author, whose reputation is deservedly great. Yet Robert Buchanan’s play is in a good many respects an unsatisfactory dramatic production. The fact seems to be that “God and the Man,” like many another excellent novel, suffers loss of continuous interest and something of 'power in the process of stage adaptation. At the same time “Storm Beaten” has some decidedly effective scenes. It gives opportunity for some fine and quite elaborate stage effects; and in its conscientious attention to detail, as well as the earnest endeavor of all concerned in the cast to secure a worthy performance, the play’s presentation by the Union Square company is certainly worthy of note. It is a story of bitter family feud, of grievous wrongs done, of relentless pursuit, of revenge until the very moment that gives opportunity to compass the death of one who richly merited the high penalty, which, in its most interesting scenes, “Storm Beaten” seeks to tell. From the moment that the brother of the deeply injured Kate Christianson pauses in his work of vengeance, the drama loses in intensity. Ethically, the relenting of Christian towards the man who had proved so cruel an enemy, may be accepted with something like readiness—indeed, the gradual transformation of Christian’s character, as told in the pages of Mr. Buchanan’s novel, is one of the very strongest characteristics of the book. But in the stage version the interest begins to flag as soon as it is seen that the false Orchardson is to be saved. As for the Squire, the obdurate old father of the betrayer of Kate, he is made over into a “perfect angel” of a man in the last act; and '”Storm Beaten,” remarkable for the changes of heart and purpose which are brought about in various characters, comes to an end without a villain to be universally execrated after the good old fashion. Of course young Orchardson comes back repentant, wrings the hand of young Christianson as his preserver from perils like those which “The Frozen Deep” presents to view, and everybody is happy at the curtain’s fall. There is much good writing in “Storm Beaten.” But Mr. Buchanan’s lines almost invariably are better read than spoken. Now and then, in fact, the dialogue, poet-written though it be, verges on the ludicrous when Mr. Buchanan had in mind only serious purpose—such is the curious effect oftentimes of hearing “fine talk” from the mouths even of such skilful players as the Union Square company. So far as construction is concerned, “Storm Beaten” is put together without much apparent regard to the proper relation of scenes. The movement of the play at times is jerky, and the action of the play seems to lag. But to compensate for the manifold faults of “Storm Beaten” as a drama there are excellences not a few. The pictures of village life in England, the realization upon the stage of merry-making in the olden time, were very pleasant to look upon; and there is genuine power as well as (for the time) sustained interest in the scenes on the ship, as well as those which take place on the island in Northern seas, when the current of two lives is so strangely changed. Very winsome and lovable is the character of the Puritan- minded maiden, Priscilla Sefton, as drawn by Mr. Buchanan; and the personages which he introduces in the May festival scene seem to be real villagers, no absurdly impossible stage folk. One can hardly say as much of the author’s chief people. The Orchardsons and the Christiansons are old acquaintances under a new name; and Mr. Buchanan’s sailors, with their “Avast now,” and predilection towards song at all sorts of times, are closely related to the traditional British tar, supposed to have flourished A. D. 1700. Captain Higginbotham is as worthy of his curious crew as Captain Corcoran was of commanding the men of the “Pinafore.” ___
The New York Times (16 May, 1884) The Messrs. Shook & Collier, in common with a good many other managers, regard as rather odd the reception of their two principal pieces of this season by that portion of the general public which has its residence in the vague quarter known as “the road.” A few weeks ago “Separation,” with the original cast and scenery from the Union-Square Theatre, played in Boston to pretty bad business. Last week “Storm Beaten,” minus several important members of the original cast, played in the same city to houses that were literally enormous. This is regarded as an instance that the theory of the value of metropolitan opinion is not at all infallible. “Storm Beaten” was not generally regarded in New-York as a good play—as one likely to make any great amount of money. “Separation” was, on the other hand, spoken of as one of the best pieces of theatrical property seen here in a long time. But “Storm Beaten,” under the least favorable circumstances, is invariably drawing immense houses, while “Separation” is not anywhere near it in point of receipts. The Union-Square will not be opened again until next August. Its season was exceedingly profitable. The regular company will not return until October, the theatre being until that time in the hands of combinations, who pay the management a large weekly sum by way of rental. ___
The New York Times (26 August, 1884) GRAND OPERA HOUSE. Jay Gould’s box in the Grand Opera House was fringed with red, white, and blue a yard wide last night. Within this gorgeous setting were Commander Schley and his family and a party of friends. Chief Engineers Melville, Nauman, and Lowe, Lieuts. Semly and Sebur, and Dr. Greene were in the box above, while directly opposite were Commander Coffin and his family. Robert Buchanan, the novelist and author of the play of the evening, “Storm Beaten,” fresh from London, looked down upon his work from another box, with friends on every side, while sitting in a row, bolt upright, in the best seats in the house were 20 or more of the sailors of the Greely relief expedition. If an appreciative audience gives pleasure to a writer Mr. Buchanan must have been in ecstasies last night. Ninety-five out of every hundred of the seats in the house were filled with auditors who applauded the hero and execrated the villain in the most approved manner. The play was given by Shook & Collier’s combination, and the cast, taken as a whole, was a good one. The principal male part fell to Mr. Edmund Collier, whose vigorous acting won him much applause. Miss Belle Jackson, formerly of the Madison-Square Theatre, was cast as Priscilla Sefton, and she played the part naturally and with good taste. Mr. Augustus J. Bruno, who became a favorite in New York in plays of “The Brook” type, succeeded in creating much laughter as the shepherd. The scenery was excellent, and the effects were very realistic. ___
Aberdeen Evening Express (26 August, 1884 - p.4) ENTERTAINMENTS. “STORM BEATEN” AT HER MAJESTY’S. “Storm Beaten,” a romantic drama, in a prologue and four acts, which was produced on the boards of Her majesty’s Theatre last night, is founded on Robert Buchanan’s romance of “God and the Man,” and had a successful run at the Adelphi, London, last year. The piece is an illustration of how the most deadly hatred may be softened into love by the touch of a cruel misfortune. Christian Christianson, the leading character in the drama, is a passionate youth who lavishly bestows his love upon Priscilla Sefton, the daughter of a wandering preacher; and when Richard Orchardson, the son of a country squire, who has ruined Christian’s sister, is moved by mercenary motives to step between him and the object of his affection, his impassioned love is subordinated to an insatiable thirst for revenge, and he swears, by a fearful oath, to shed the blood of the author of his sister’s shame. The entreaties alike of his sister and Priscilla prove ineffectual, but the decrees of fate eventually avert the hand of the would-be murderer. Wrecked in a storm, the two men are cast on a desert island, and when, wasted by starvation and exposure, they regain consciousness the feeling of loneliness and of approaching death soothes even the fiery passion of Christianson, and a reconciliation, though all too late, is effected. Such a piece, of course, has many opportunities for a display of pathos, but such scenes are not so effectively pourtrayed as one might desire. The leading parts, however, are pretty well sustained. Mr Edmund Tearle throws much energy into his impersonation of Christian Christianson; and Miss Kate Clinton, as Kate Christianson, and Miss Cecil Grafton, as Priscilla Sefton, are also deserving of favourable mention. ___
The New York Mirror (30 August, 1884 - p.2) The Grand Opera House was comfortably filled Monday night when Shook and Collier’s combination appeared in Storm-Beaten. The author, Robert Buchanan, saw his piece on this occasion for the first time in America. Members of the Greely relief party occupied a private box, which was liberally draped in bunting. The performance was well received and the observers became quite enthusiastic over the genuine Arctic survivors who figured in the ice scene. Edmund Collier gave his vigorous, manly personation of the inflexible Christian, and John T. Burke fully developed the forbidding characteristics of Richard Orchardson. A. J. Bruno as Jabez and L. F. Rand as Parson Sefton were acceptable. Belle Jackson acted Priscilla sweetly, and Lizzie C. Hudson created a favorable impression as Kate. The minor parts were generally well played. The staging was even better than that of the original production at the Union Square Theatre. The attraction at this house next week will be Mr. Campbell’s Separation. ___
The Era (6 September, 1884 - p.8) IT is stated in New York that five members of the Greely Expedition have been engaged to appear in an American representation of Mr Robert Buchanan’s Storm-Beaten, which deals with a phase of Arctic life “without the cannibalism.” ___
The New York Times (25 September, 1884) A CRY OF FIRE IN A CROWDED THEATRE. The curtain rose to a crowded house at the performance of “Storm Beaten,” in the Mount Morris Theatre, in Harlem, on Tuesday night. The fire scene was being enacted when the cry of “Fire!” three times repeated, rang through the building. Many blanched faces were visible among the audience, but the continuance of the play reassured them, and the panic which was imminent was averted. One excited individual in the gallery, from whence the cry emanated, was about to rush down the stairway when he was stopped by Roundsman McKenna, who allayed his fears and then started in search of the person who has raised the cry. A youth named Francis McCarron, residing at No. 2,446 Fourth-avenue, was pointed out by Louis Eisler as having caused the alarm, and the Roundsman and Policeman Edmiston took him into custody. The accused said in the Harlem court that he was not in the theatre at all, but Eisler was positive that he was the guilty person, and Justice Welde sent him to the Island for one month. ___
The Glasgow Herald (1 December, 1884 - p.7) A French version of Mr Robert Buchanan’s “Storm beaten” is, we understand, shortly to be produced in Paris. Mr Buchanan’s four-act play “Constance,” just produced in New York, is said to be founded on an old French play, “La Duchesse de Mont Moyer.” ___
The Daily Bee (Omaha, Nebraska) (9 February, 1885 - p.8) “Storm Beaten.” An Omaha audience had its first opportunity last week to witness Robert Buchanan’s play of “Storm Beaten,” arranged from his own romance entitled “God and the Man.” It follows the story about as closely as most dramatizations do, except in the ending, which is much better in the play than in the novel. It is a strong spectacular drama, finely set, well played, and scored a distinct success. The plot, in brief, is a family feud between the Orchardsons and Christiansons, in which the daughter of the latter is betrayed by the son of the former. Young Christianson, Mr. Edmund Collier, swears vengeance on his sister’s seducer, who is also his own rival, and follows him to the Arctic regions for revenge. The vessel in which both men, and the lady whose love they both sick, are, is wrecked on the ice. The rivals remain in the floe when the rest escape, but Christianson forbears vengeance and offers his enemy half his food to sustain life. Relief finally arrives and all ends happily. There are enough characters in the play to populate a small village and most of them are well interpreted. The Squire Orchardson of Mr. Winter, the Richard of Mr. John T. Burke and the Dame Christianson of Mrs. Isabella Preston afforded no great opportunities, but are given with all the success they deserve. Mr. Collier’s Christianson is a very good personation, and shows him to be possessed of much force and feeling. Miss Lizze C. Hudson as Kate, gave a very effective piece of work, and received much applause. Priscilla Sefton, the daughter of the blind preacher, is a pretty character and prettily played by Miss Charlotte Wayland. The comedy element in the play is well introduced by Mr. Augustus J. Bruno, who as Jabez Greene, a shepherd lout, is very amusing. The Sally Marvel of Miss May Steele also deserves favorable mention. ___
From Dramatic Notes: An Illustrated Year-Book of The Stage by Austin Brereton (Fifth and Sixth Issues, 1883-84 and 1884-85) (London: David Bogue, 1885 - pp.9-11) |
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The Adelphi Theatre witnessed, on the 14th [March 1883], the production of a new and original drama, in a prologue and five acts, written by Robert Buchanan, called Storm Beaten. This play was apparently designed to depict the folly of individual hatred. Its rugged, picturesque story served the author for the foundation of his powerful novel, “God and the Man,” published at the close of the year 1881. The argument of the drama is this: From time out of mind a feud has existed between the Christiansons and the Orchardsons. The two families hated each other with an undisguised and uncontrollable passion. The Christiansons are strong of limb but of poor means, whilst the Orchardsons are of a gentler race and are rich in worldly goods; so that when Christian Christianson and Richard Orchardson both fall in love with Priscilla Sefton, the sweet daughter of a worthy preacher, the family hatred is increased a hundredfold. But the peace and quietude of the village home of the Christiansons is further disturbed by Squire Orchardson’s heir, Richard, who has betrayed Kate Christianson. Dame Christianson dies of grief at her daughter’s shame, and Christian resolves to have the life of the seducer, Richard. Priscilla and her father leave England on board ship, and are followed by Richard, who takes a passage in the same vessel. But Christian also sails in the same boat, as a seaman, and, his identity being discovered by a violent attack upon Richard, he is cast into irons. The vessel becomes ice-bound, and Christianson is obliged to give assistance to his fellows. Taking advantage of a blinding snowstorm, he seizes Richard and carries him away from the vessel with the intention of killing him. Christian is the cause, as he thinks, of Richard’s death, but he has had his revenge, and returns to join the ship. But the vessel is out of sight, and he is left alone on the island! Yet not alone, for Richard has miraculously escaped from death. Then ensues the most powerful scene in the play. The two men meet face to face. Sick almost to death, Richard implores Christian to kill him and end his misery. But Christian spares his life. He is eventually rescued, and returning to England, he finds his sister well and hearty, and Priscilla, who has loved him from the first, is ready to become his wife. This story is told with considerable ingenuity, and some of the scenes are remarkably strong. But the play loses through repetition. Scene after scene is given again and again. Thus, in the first act Kate implores Richard to marry her; in the second act she repeats her request; and in the third act she again makes the same appeal to the heartless scoundrel. Then Christian is for ever vowing vengeance against the Orchardsons. An oath is always on his lips, and at every turn he implores heaven to aid him in his pursuit of revenge. The fourth act is entirely devoted to a scene in which Richard and Christian are left on the island, but it is so strange and repulsive that it fails entirely in arousing any interest. But the worst fault of the play, and that which completely ruins its purport, is the fatal mistake made by the dramatist in bringing Richard to life and allowing him to return to England and be received with open arms. The woman whom he had basely deceived is overjoyed at his sight, and the repentant scoundrel apparently renews his first love and forgets all about Priscilla Sefton. In his novel, Mr. Buchanan judiciously allowed Richard to die on the ocean island, and it is a mystery that he should make an error in the drama that he has avoided in the book. In a novel one can do and say things which are not advantageous on the stage. It is difficult to understand the curious arrangement adopted by Mr. Buchanan for concluding his play. The dialogue of the drama is very stilted and preachy, and some of the scenes would be none the worse for a little compression. However, despite its faults—and they are many—Storm Beaten proved successful. The most onerous task of the acting fell to Mr. Charles Warner, who played Christian. He acted with much force and passion. In the scene on the island he was particularly impressive. Miss Amy Roselle played Kate with a genuine touch of pathos, and Mr. Beerbohm-Tree, in the small part of a crack-brained shepherd, gave an exceedingly clever character sketch. Priscilla was represented by Miss Eweretta Lawrence, whose personation of the gentle girl was certainly very charming. Her earnest and thoughtful performance gave evidence of genuine talent and a fitness for the stage, although the young actress obviously showed signs of inexperience. Mr. J. H. Barnes played Richard Orchardson in a manly style. The excellent scenery was painted by Mr. W. Beverley, and the quaint costumes were designed by Mr. E. W. Godwin. ___
The Stage (18 June, 1886 - p.14) GRAND. Mr. Robert Buchanan’s drama, Stormbeaten, has proved a capital selection for the holiday programme at this house, and has been received with great appreciation and applause. Since the first production at the Adelphi on March 14, 1883, the play has undergone some modifications, and these are, in part, improvements, although something of the rugged intensity of the original may have been lost. The scene on the ice-floe has been considerably altered, and in consequence the play ends differently. For instance, Richard Orchardson now meets his death on the Island of Desolation, as in the novel. And this, as we pointed out at the time, is more dramatic than allowing him to return to health and happiness, as was the case in the original adaptation. Mr. Charles Warner’s Christian Christianson is a well-matured performance, which has not by any means deteriorated by frequent repetition. He is pleasant and genial in a natural and unaffected style, whilst his emotions in the more impassioned parts of the play are expressed with quiet and unforced, but none the less effective, power. Mr. W. L. Abingdon, who looks well in an old fashioned dress, plays Richard Orchardson with much skill and judgment, and his efforts deserve unqualified commendation. Mr. Eardley Turner gives a clever character sketch of Jabez Greene, and Mr. A. Wheatman is bluff and humorous as Johnnie Downs, singing the introduced song with good effect. Mr. C. W. Spencer does good work as Squire Orchardson, and Mr. E. R. Fitzdavis is hearty and genial and acceptable as the captain of the Miles Standish, whilst Mr. Wells and Mr. Markwell do good service as Mr. Sefton and Jacob Marvel respectively. Miss Rachel de Solla displays considerable emotional skill as Kate Christianson, and Miss Ellen O’Reilly makes a graceful and arch Priscilla. Miss Blanche Garnier makes the most of the small part of Dame Christianson, and Miss Jennie Wilton does her best to amuse in the character of Sally Marvel. The farce Taming a Tiger precedes, and is rattled through in good style. ___
The Era (19 June, 1886) THE GRAND. The holiday attraction here has been Mr Robert Buchanan’s stirring and interesting Adelphi drama Storm Beaten, which on Monday night was witnessed by a crowded audience not slow to manifest appreciation and to give cheer after cheer to the principal performers, among whom was included Mr Charles Warner in his original impersonation of Christian Christianson, in which he scored such a signal success when the play was first brought out in the Strand in the spring of 1883. His acting in the part has lost nothing in the process of time, and on Monday he had no difficulty in arresting and sustaining the keenest interest of his audience. The rôle of Christian’s enemy Richard Orchardson has been well enacted by Mr W. L. Abingdon, and great has been the excitement attendant upon the scene upon the ice floe between these two. Mr Eardley Turner on Monday did justice to the character of Jabez Greene, and, since then, has also done duty for Mr Fitzdavis—absent through illness—in the character of Capt. Higginbotham. Miss Rachel de Solla has shown pathetic power as Kate Christianson. Miss Helen O’Reilly has played well as Priscilla, and others doing useful service have been Mr A. Wheatman as Johnnie Downs, Mr Spencer as Squire Orchardson, Miss Blanche Garnier as Dame Christianson, and Miss Jennie Wilton, a bright and diverting Sally Marvel. ___
The Weekly Dispatch (20 June, 1886 - p.7) GRAND. It does not seem to have been generally noticed that the version of Mr. Buchanan’s “Storm Beaten” now being played at the Islington theatre differs as much from the Adelphi play produced in 1883 as that did from the novel, “God and the Man.” The fifth act, in which the two deadly enemies, Christian Christianson and Richard Orchardson, return to their native village, the latter deeply penitent and anxious to make atonement for his heinous crimes, is wholly excised, and the play now ends with the scene on the ice-bound rock where Richard attempts the life of Christian, and is shot by a rescuing party. The end is extremely abrupt, and the spectator is left to imagine a good deal. If we mistake not, the dialogue has also been considerably modified, and some of the too frequent appeals to the Deity removed. As it stands “Storm Beaten” is a brisk and impressive melodrama; and, though the present performance will not compare with that at the Adelphi either in the matter of acting or in the scenery and stage business, it is sufficiently good to satisfy the requirements of ordinary playgoers. The chief attraction is Mr. Charles Warner, who resumes his original part of Christian, and impersonates it in the forcible, energetic manner that an audience at a melodrama appreciates so well. His hated rival, Orchardson, who seems to take a pleasure in piling up acts of villainy, has a capable exponent in Mr. W. L. Abingdon, who on Monday was hissed and hooted most strenuously throughout the evening. Miss Ellen O’Reilly is winsome and charming as the pretty Puritan, Priscilla Sefton, a part originally taken by Miss Eweretta Lawrence, and Miss Rachel de Solla replaces Miss Amy Roselle as Orchardson’s unfortunate victim, Kate Christianson. Other characters are efficiently portrayed by Miss Jennie Wilton, Miss Blanche Garnier, Mr. Wells, and Mr. Marklew. We must not forget to mention Mr. Warner’s magnificent dog, who comported himself in the prologue with becoming dignity his face expressing the utmost scorn when someone in the gallery made an inquiry concerning his muzzle. ___
The New York Times (11 September, 1886) CHARGES OF MALPRACTICE. CHICAGO, Sept. 10.—Alonzo Blondin, leading juvenile of Robert Buchanan’s “Storm Beaten” company was arrested to-night as accessory to criminal malpractice. Dr. Albert E. Palmer was arrested as the principal. Miss Kitty Reber, Buchanan’s leading lady, is at the Harrison Court Hotel, in a critical condition, the result, it is alleged, of their crime. Blondin and Palmer deny the charges. Miss Kitty Reber is a sister of Sallie Reber, whose death about a year ago in New-York, under peculiar circumstances, created a sensation. ___
The New York Times (12 September, 1886) NOT A RELATIVE OF MISS REBER. CHICAGO, Sept. 11.—It is now said that Miss Kitty Rober, the actress who is lying ill here, under peculiar circumstances, is no relation to Miss Sallie Reber, the actress whose secret marriage to Mr. Fish, in New-York a year ago, caused much comment. ___
The Boston Sunday Globe (31 October, 1886 - p.10) “Storm Beaten” at the Howard. With all its original scenic marvels, including as a matter of course the great aurora borealis effect in the Arctic waste, “Storm Beaten” is to be the dramatic offering this week at the Howard Athenæum. It is under the management of Douglass White and Lee Townsend that this successful play by Robert Buchanan, the poet-dramatist, is now to be seen. Josie Batchelder, well known in this city, will assume the role of Kate Christianson, while Jennie Bright is to appear as the noble-minded Priscilla, with James J. Tlghe as Christian, George F. James as Richard, W. S. Teople as the squire, P. A. Nannary as the blind preacher, J. K. O’Neil as the yokel Jabez Green, and Annie Williams as the dairy maid, Sally Marvel. |
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[Advert for Storm-Beaten from The Boston Sunday Globe (4 November, 1888).]
From Forty Years On The Stage by J. H. Barnes (London: Chapman and Hall, Ltd., 1914) (pp. 143-144): From March to June, 1883, I played at the Adelphi in Stormbeaten, a version by Robert Buchanan of his fine book God and the Man. Charles Warner acted the leading part, Christian Christianson, and I played the villain, Richard Orchardson. Miss Amy Roselle, Kate Christianson; C. W. Somerset and others were in a good cast. It was also a fine production, the great scene in the Arctic Sea being a splendid stage picture. The play was brilliantly noticed by the Press, but it was only a passable success, and did not realise the expectations formed by reading the book. One very funny incident occurred during the run of the play. The reader will remember that the feud which forms the basis of the very dramatic story is caused by the villain’s shooting the hero’s favourite dog. This dog, with us, was a really magnificent St. Bernard, which the managers (the Messrs. Gatti) bought for the play, and they handed him over to Warner to keep with him so that he might be quite accustomed to his voice and presence and perfectly at home with him at all points. Warner and Carlo became inseparable. On the night in question I had duly shot Carlo, in the first act, and one of the Gatti Brothers had taken him away and brought him back into the refreshment room in front of the theatre. By that time we were playing the last act, and years had supposed to elapse when, some door being open, Carlo heard Warner’s voice on the stage. He gave an enormous yelp, rushed down the stairs, through the orchestra stalls, cleared the orchestra with a bound, and shaking his tail with glee laid down at Warner’s feet on the stage. His inartistic resuscitation at that juncture completely killed the end of the play, but as an individual effort he made a great success and secured the best applause of the evening. Charlie Warner was a fine, robust actor, full of virile power. His Tom Robinson in Never Too Late to Mend was a striking performance, and his Coupeau in Charles Reade’s version of L’Assommoir, called Drink, was a perfect tour de force and made a great impression. His Harry Dornton (Road to Ruin) was excellent. His experiments in Shakespeare were not so successful. His tragic end in New York a few years ago came as a great shock to many, including the writer. Poor old Charlie! Only his intimates (of whom I was certainly one) knew that a great abiding sorrow had clouded nearly all his manhood, and in addition he had received his full share of “fortune’s buffets.” All which undoubtedly told on a naturally excitable temperament; but that he should “shuffle off this mortal coil” and seek “the undiscover’d country from whose bourne no traveller returns” with such dread determination was terribly sad, and caused a large circle of friends the keenest grief. |
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Next: Lady Clare (1883)
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