From ancient Greek and Roman times all the way up to Shakespeare’s day, women weren’t permitted to act on the legitimate stage. Female roles were usually played by boys. (The plot of the film Shakespeare in Love turns on this practice.) The development of opera in the 17th Century began to open up possibilities for female performers, but they didn’t become fully accepted in England until after Charles II retook the throne in 1660. Charles enjoyed theater and saw no reason to bar women from the stage. Indeed, his longtime mistress, Nell Gwyn, was a star of Restoration comedy.
Female performers reached new heights of celebrity in the 19th Century. With travel becoming safer, faster, and more comfortable, great actresses could command adoring audiences all around the world. On Sarah Bernhardt‘s first American tour in 1880, she performed Adrienne Lecouvreur in French to a New York audience willing to pay up to $40 a ticket – over $1,000 in today’s money. The spectators were so enraptured, even though many didn’t understand French, that she was compelled to make 27 curtain calls.
The volunteers at Distributed Proofreaders have contributed to Project Gutenberg a number of fascinating accounts of the great actresses of those bygone years. For example, Heroines of the Modern Stage, published in 1915, gives thumbnail sketches of the careers of Bernhardt, Ellen Terry, Eleanora Duse, and other legendary female performers of the 19th and early 20th Centuries. Bernhardt and Duse also feature in Jules Huret’s 1901 slice of theatrical life, Loges et Coulisses (in French), which includes contemporary interviews with both of them as well as with Gabrielle Réjane.
Memoirs and recollections of these stars abound. English actress Ellen Terry was best known for her spectacular success in the Shakespeare productions of her professional and romantic partner, the great actor-manager Henry Irving. Her memoir, The Story of My Life: Recollections and Reflections, published in 1908 when she was in her sixties, recounts her long career on the stage from the age of nine. Terry came from a theatrical family; her parents, both of them actors, had 11 children, of whom five became actors (Kate Terry was John Gielgud’s grandmother). Ellen Terry and Her Sisters, by theatrical historian T. Edgar Pemberton, gives an account of the siblings’ careers.
Sarah Bernhardt was the daughter of a courtesan whose clientele included some of Paris’s richest and most influential men. Though Jewish by birth, she was educated in an exclusive Catholic convent. In her 1907 memoir, My Double Life, she recalls that she wanted to become a nun, but, after a “family council,” she was prevailed upon to study acting at the Paris Conservatoire. She was initially not a success. But her career skyrocketed after she appeared as the female lead in Alexandre Dumas’s play Kean in 1868. She continued acting well into the 20th Century, even after having a leg amputated in 1915 due to an earlier stage injury, and she even appeared in several silent films. Distributed Proofreaders volunteers contributed several works relating to Bernhardt to Project Gutenberg, such as her 1921 novel The Idol of Paris, as well as reminiscences by people who knew her (Sarah Bernhardt as I Knew Her, by Mme. Pierre Berton, Sarah Bernhardt, by Jules Huret, and a chapter of The Puppet Show of Memory, by Maurice Baring).
Fanny Kemble was another well-known English actress of the 19th Century. Born, like Ellen Terry, into a noted theatrical family, Kemble rose to stardom immediately after her 1829 debut, at the age of 20, as Juliet in Romeo and Juliet. Her tour of the United States with her father in 1832 is recounted in her Journal of a Residence in America. In 1834, she retired from the stage to marry Pierce Butler, a wealthy American who inherited vast plantations – and hundreds of slaves – in Georgia. Kemble lived on one of the plantations in the winter of 1838-1839, and she was appalled at the treatment of the slaves. She kept a meticulous journal of the horrors she witnessed, Journal of a Residence on a Georgian Plantation. But it remained unpublished until 1863, years after she had left her husband, when friends urged her to publish it in an effort to stop England from recognizing the Confederacy during the American Civil War. After retiring from the stage, she also published two memoirs, Records of a Girlhood and Records of Later Life.
The stories of these great ladies of the stage are just a small part of the theatrical gems glittering in Project Gutenberg’s collection – and admission is free.
This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer, in celebration of Women’s History Month.