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Edward H. Sothern and Julia Marlowe on the Art of Acting

Published online by Cambridge University Press:  07 July 2009

A. Richard Sogliuzzo
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Extract

Edward H. Sothern and Julia Marlowe, two of the most popular Shakespearean actors in the history of the American theatre, are usually regarded as practitioners of a fading nine-nineteenth-century tradition in American acting. The judgment is essentially correct. They acted Shakespeare in the spirit of the “gentlemanly” melodrama: excluding the ugly and exalting the beautiful. Julia expressed the philosophy that guided the Sothern-Marlowe productions: “For the Land of Romance for that I was bound, and I desired those who were tired or troubled to follow.” However, the repeated reference to “natural” acting both in Sothern and Marlowe's discussions of acting as well as the judgments of certain of their contemporaries indicate that they were at least responsive to the trend toward naturalistic Shakespearean acting of the twentieth century.

Type
Research Article
Information
Theatre Survey , Volume 11 , Issue 2 , November 1970 , pp. 187 - 200
Copyright
Copyright © American Society for Theatre Research 1970

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References

Notes

1. Duerr, Edwin in The Length and Depth of Acting groups Sothern and Marlowe with other actors of the period who “didn't subscribe to the new realistic acting” (New York, 1962), p. 304;Google ScholarWilson, Garff B. in A History of American Acting (Bloomington, 1966), p. 150Google Scholar, categorizes Julia Marlowe, Maude Adams, and Viola Allen as “A Sisterhood of Sweetness and Light,” not “great creative performers, not pioneers in any branch of theatrical art.” Wilson then cites William Winter as providing the general consensus on Sothern's achievement: “It cannot be said that this actor has provided any splendid, inspiring example,” p. 215. Sothern, however, was a definite inspiration to actors of his generation, particularly by encouraging them to perform Shakespeare.

2. As quoted in Sothern, Edward H., The Julia Marlowe Story, ed. Downey, Fairfax (New York, 1954), p. 224Google Scholar.

3. Vagrant Memories (New York, 1915), p. 429Google Scholar.

4. “Reminiscences of an Actress,” The Philharmonic (July 1901), p. 130Google Scholar.

5. “Mr. Sothern's New York,” Boston Transcript, October 14, 1915, p. 138.Google Scholar

6. “Soliloquy on the Actor's Art,” Boston Herald, December 24, 1911Google Scholar.

7. “Interview With Mr. E.H. Sothern Relative to the Suggested Use and Mission of the Restored Theatre in Williamsburg Endowed,” p. 11, MS, Museum of the City of New YorkGoogle Scholar.

8. The Melancholy Tale of Me: My Remembrances (New York, 1916), p. 253Google Scholar.

9. Melancholy, p. 333.

10. “Not to Speak Profanely,” MS, Museum of the City of New YorkGoogle Scholar.

11. “As Julia Marlowe Leaves the Theatre–The Career; The Actress; The Woman,” Part III, March 4, 1916, p. 5.

12. “Pressbook” Wilstach, Frank J. Collection, New York Public Library, p. 31Google Scholar.

13. “Soliloquy on The Actor's Art.”

14. “Address to the American Academy of Dramatic Arts,” p. 19, MS, Museum of the City of New YorkGoogle Scholar.

15. Vagrant Memories, p. 444.

16. “Great Acting in English,” The Monthly Review, ed. Williams, Charles Hanbury, XXVII (April-June 1907), 14Google Scholar.

17. “Great Acting,” p. 15.

18. “Great Acting,” p. 17.

19. Letter to the American actress and critic, Elizabeth McCracken, March 29, 1908, M.C.N.Y.

20. July 22, 1907, M.C.N.Y.

21. Letter, December 24, 1902, M.C.N.Y.

22. Letter, Wednesday Night, n.d., M.C.N.Y.

23. M.C.N.Y.

24. Febrary 18, 1908, M.C.N.Y.

25. “The Current Plays,” p. 290.

26. “Julia Marlowe Talks of Poses,” Boston Herald, June 30, 1910.Google Scholar

27. Yoder, Florence, “Edward H. Sothern Tells How Art Becomes Science in the World of Make-Believe,” Washington Times, October 1, 1915Google Scholar.

28. Pressbook, p. 217. (See note 12.)

29. “Sothern Mourns Greats of Stage,” Chicago Daily News, December 4, 1928Google Scholar.

30. Marlowe, “Address Delivered at Radcliffe College,” MS, M.C.N.Y.

31. “Reminiscences,” p. 138.

32. “The Human Voice: Its Relation to Acting,” MS, M.C.N.Y.

33. June 2, 1906, MS, M.C.N.Y.

34. “The Tyranny of Spoken Words,” Green Book (August 1910), Clipping, Theatre Collection, New York Public LibraryGoogle Scholar.

35. “Repartee from The Prima Donna: Miss Marlowe Replies to Some Critics,” The Evening Telegram, New York, October 20, 1905Google Scholar.

36. As quoted in “Julia Marlowe's Notable Career,” Boston Evening Transcript, August 6, 1915.

37. The American Stage Today (New York, 1908), p. 185Google Scholar.

38. Ibid.

39. Vagrant Memories, p. 443.

40. Shakespeare on the Stage, 2nd ser. (New York, 1919), p. 91Google Scholar.

41. “Great Acting,” p. 8.

42. “Be Your Own Manager and Act Shakespeare, Says Sothern,” MS, M.C.N.Y., p. 3.

43. McCracken, Elizabeth, “When the Public Does Not See the Actress,” Ladies Home Journal (April 1913), p. 21Google Scholar.

44. “The Tyranny of Spoken Words,” Green Book (August 1910), Clipping, N.Y.P.L.Google Scholar

45. Barker, Colgate, “Julia Marlowe,” New York Review, September 27, 1913, Locke Scrapbook No. 337, N.Y.P.L.Google Scholar

46. “Great Acting,” p. 8.

47. Sothern, Melancholy, p. 392.

48. As quoted in “Sothern's Retirement,” Boston Traveler, February 5, 1916.