"Famous Stage Beauties in Manly Attire" Atlanta Const 5 July 1903

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"Famous Stage Beauties in Manly Attire" Atlanta Const 5 July 1903 - FAMOUS STAGE BEAUTIES APPEARED IN MANLY ATTIRE...
FAMOUS STAGE BEAUTIES APPEARED IN MANLY ATTIRE By Frank 7. Wilstach. THE announcement that Miss Viola Allen would next season Impersonate Impersonate Viola in 'Twelfth Night." and finally, appear in what Is technically known as a boy's part, calls to mind the interesting fact that every famous actress from the days of Bettcrton to the present time has donned the doublet and hose. Viola Is, of course, a female role, but the fair Viola In the play finds It necessary necessary to impersonate her brother Sebastian, Sebastian, and so wear his costume as a means of dlsgplse. This, therefore. Is not a case of the actress encroaching on the male's preserves, preserves, such as toe playing of a part whieh was intended for the masculine person only. It will be seen. then, that there are two sorts of parts calling for male attire, attire, first that of a role like Viola or Rosalind, where a female in the play disguises disguises herself as a man. or In the case of an actress assuming a straight - out male impersonation. Under the latter heading there have been numerous Instances Instances and astonishing successes. Robert Wilkes, during his time, was the great Sir Henry WlldaJr in "The Constant Constant Lover;" yet. Peg Wofflngton later assumed this strictly male role and surpassed surpassed the original Sir Harry. Th*r famous famous Mrs. Jordan, who was famous In her day on account of her Viola and Rosalind, was also successful in purely male parts,, such as Hypoltta, In "She Would and She Would Not." Sprightly Kitty Cllve was bold enough to attempt "Shylock," and according to all accounts failed in the effort. Charlotte Crampton. of Macready's time, delighted In appearing appearing as Hamlet. Iago and Romeo. Like Kitty Cllve. she also appeared as Shylock, as did Mrs. Mac ready, who was manageress manageress of the Prince pf Wales theater, Birmingham, In 1866. GoingJiack a little further, a Mrs. Webb appeared as Palataff at the Haymarket In 1786, an exhibition, by the way, which was considered in execrable taste. Mrs. Glover, in 1W, also essays* Sir John, by Mrs. Waller's assumption of the role at Albany, N. T„ In 1857. Miss Deering snd Emile Burke also appeared as Iago. Miss Burke. Just mentioned. Is one of the lady Petruohlos on record, the other being Dorothea Balrd. who appeared at Oxford In 1893. Of the female Hamlets, of whom there have been half a hundred. tne lamous airs, waaons end tne divine Sarah, were the most famous, and surely the most Interesting. The spectacle of a woman impersonat ing a man is not very edifying, at best not an artistic expedient. But such roles as Viola end Rosalind are a different matter. If "Twelfth Night" and Tou Lake It" are to be played at all, the tierolnes must bo Impersonated by w< en, else It would be necessary for men to enact the roles— and a male viola oi Rosalind would be u. - oeerable. The theatrical expedient of having th< heroine of a drama disguise herself In male attire might reasonably be explain ed by the fact that there were no female (performers then upon the stage. Yet we read that in the sixteenth century it no uncommon thing tor a love sick lady, thus masquerading, to accompany her lover to the wars; so it appears that the drama availed iuteif of none of the "situations" "situations" of real life One of the earliest girl paiges \>t fiction was Zeimane, in Sidney s ' Arcadia. Pj - rocles. In the same romance, assumed the garb of hn Amazon, a less pie expedient, for while the "swashing and martial outside'' of Rosalind seems only a piece of pretty playfulness, there is suggestion of effeminacy In the assump tion of a feminine garb by a man wnicn makes the "female impersonator" disgusting. disgusting. Sir Cfyomen and Sir Clamydes. by Peeie, is mid to be "probably the earliest play In which a lady appears in the guise of a page." As a means of escaping persecution Neronls puts "page's show." She takes service with a shepherd, but, becoming dissatisfied with such a way of existence, she is about to "leave this loathsome life" when providence. In the shape of Sir Clyomon. | Serein "Philaster. or Love L.ies Bleeding." Bleeding." by Beaumont and Fletcher, Euphrasia, Euphrasia, who assumes the costume of m pjge and calls hen»elf Bellarlo, is a hood. Pnllaster considers Euphrasia, other - wiw Bellarlo, "the trustiest, lovingest and gentlest hoy that ever master kept," tout when he sends her to serve Arethusla, the lady and the page are maligned by evil tongues. Yet Euphrasia only answers answers with gentle words Philaster s bitter accusations of ingratitude. His unjust anger does not sting her to retort— she blesses the hand that strikes her. In another play by Beaumont and Fletcher, "The Honest Mans f ortune, the page Veramour Is supposed by one of the male characters to be a woman, and the lad encourages this romantic idea, afterwards confessing that be has "taken example by two or three plays," which troves that the drama had then a flainmatory an effect upon the Imagina tions of naughty boys as "penny dreadfuls" dreadfuls" have now. In "Love's Cure," by Heywood. there Is a martial maid who. like Mrs. Burnett's "Lady of Quality," is brought up in a thoroughly masculine manner. Maria; the heroine of Massln - ger's "The Bashful Lover," dresses as a page, and thus manages to win bt.ck the affections of a former suiter; and another fair masquerader Is gentle Eteoclea, in "The Layer's Melancholy," by Ford. Ai a way of proving that there Is "No Wit Like a Woman's," Middleton makes his Mistress Lowwater play the part of a dashing gallant and outwit the rich Wld. ow Goldcnfiesce and her four suitors. The principal character of another play by Middleton. "Tne Roaring mn. was drawn from real life, Mary Frith, otherwise otherwise Moll Cutpurse. was an actual per sonage; Sbe was a hoyden from childhood. playing and taking blows as If she belong ed te their rude sex. When grown she clothed herself ss a man and became i bully and footpad. Although Mlddletoi did not picture her 1« r. very pleasing: light, his view still seems to be an Ideal - t«'d one when compared with the wood cut on the old edition of the play, which represents the hard - favored Moll in swaggering attitude, smoking a pipe. Two venturesome lads, who dress pages and voyage across seas, are t i such masquerading. Phillida :h - think herself by making "a curtsle instead oi a legge," while the other does net trust "my face, as well as I doe my habit." Gallathea queries: "Why did nature to him. o boy. give a face so fair, or to me. a vlraln. a fate so hard?" and Phillida is equally vehement In her lamentations. Leanthe, in Farquhar's "Love and a Bat - similarity between Dryden's "The Wild Oallant" and "Uove's Pilgrimage." by Fletcher and Sherley, since In each play unrequited 1 and have many strange adventures. The stupid and Jealous husband In Wycher - leVs "Country Wife" cVesses up his pretty betterhalf as his brother to protect protect her from the attentions of wicked gallants; and In Sir Harry Wlldair the same disguise is practiced. • ■„rvlv.rt on the mod»rn utaa - R. "Twelfth Night" and "As Tou Like It." in which Viols and KosaJlnd appear, nanny ai actress of any note failed in the past tt appear as Rosalind, and we have had several several modern exemplars who have prover highly successful, such as Julia Marlowe Ada Rehan and Henrietta Crosman. Vloli with the public as with the actress. A list of those who ha4 assumed the role Terry was the Viola to Mr. Irvlng s Mai - was as Viola that the NeMson made her final O'Nell. who was Miss Neilsor i Viola. Of actresses, ol cess as viol* were Madame Modjeska, Ada Rehan. Marie Walnwrlght and Julia Marlowe. Miss Allen, who has enacted many Shakesperean roles from Uesae ^^^^^^^^^^^^^^

Clipped from
  1. The Atlanta Constitution,
  2. 05 Jul 1903, Sun,
  3. Page 7

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  • "Famous Stage Beauties in Manly Attire" Atlanta Const 5 July 1903

    rcollins_davis – 20 Jun 2013

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