Nat Goodwin's Book

When he was on tour with his own company some years ago he was chided for his familiarity with his company by a German comedian, Al Wilson. Wilson told him that he was losing his dignity by even associating with the members of his organization, following this by saying, "Why, Pete, I do not even speak to my company!" Pete replied, "Well, if I had a company like yours, I would not speak to them either."

It was useless for any author to give Pete lines to speak, his interpretations were so much better than any lines the author could invent. I well remember one of the first nights at Weber and Field's Music Hall, New York. He had a scene with Charles Bigelow who had apparently given much thought and study to his part. Bigelow was a bald-headed, blatant, obvious comedian who was principally engaged to make children laugh or frighten them to death. They started in on the scene and after a few words of the text Dailey threw his lines to the winds and in a few moments had Bigelow tied into knots. Bigelow stood there, hopelessly fuzzled, while the audience yelled with delight at his discomfiture. Finally, enraged and mortified, the perspiration pouring off him, he removed his hat to mop his brow. Quick as a flash Pete said, "Put your hat on; you're naked!" This was too much for Bigelow and he rushed off the stage.

I could fill pages with a recital of this man's many gifts, his goodly deeds. Would there were more Pete Daileys! The world would be better, humanity more gentle, hypocrisy unknown; fewer tears would be shed and the journey through life made lighter.

Chapter VIII

CHARLES HOYT

During the early '80's a young man jumped into the theatrical arena, having previously graduated from the editorial rooms of the Boston "Post" where he had achieved some degree of success as a comic writer and dramatic critic. He was a man of considerable education with an absorbing insight into character. In this respect he was like the present George Cohan. But he had more refinement than Cohan and was more of a caricaturist than he. He had little charm but possessed a brand of cynical humor which appealed to men, seldom to women. All his characters were well defined. For about fifteen years his plays were received with much favor and had he lived I have no doubt that he would have proved a dangerous rival to the clever Cohan. His name was Charles Hoyt.

His financial partner, Charles Thomas, was my seat mate at the Little Blue Maine Academy and it was through him that I became acquainted with the versatile Hoyt. For whatever charm poor Hoyt lacked Charles Thomas made amends as he was one of the handsomest and most fascinating of men. He died very young. That cruel censor Death was the master that beckoned him to Phoenix, Arizona, where he passed away.

Hoyt was noted for his pungent and satirical humor. When in his cups he was most poignant and insulting, never sparing even his best friends. One night in a café adjoining the Bijou Theatre he was very rude to me. I realized his condition and was silent, but the first time I met him sober I demanded an apology, which he gave, but not with very good grace. A few months later Bert Dasher, one of his business friends, told me that Hoyt met him one cold, frosty night in January in front of the Hoffman House and after vainly endeavoring to explain our quarrel imparted the information that I had talked to him pretty roughly and he was determined to revenge himself. Hoyt had taken lessons in the manly art of self-defense.

"I realize that Nat is alert and dangerous," he told Bert, "so I am going to accost him unawares, feint him with my left hand and uppercut him on the point of the jaw." He accompanied the remark with a downward swing from the shoulder to the knee. The force of the swinging gesture hurled him into the middle of Broadway where he fell in a semi-conscious state until Bert came to his rescue and took him home.

The first night of my production of "Nathan Hale" Hoyt had assured me of his intention of being present with his wife. But when the time came she refused to accompany him. Charley, having purchased two tickets and not desiring to be alone, sought someone to go with him. He soon found a friend and invited him to come along. Much to Hoyt's astonishment his friend quietly but firmly refused the invitation. "Why not?" asked Hoyt. His friend replied, "I don't like Goodwin." "Well," said Charley, "you like him as an artist, don't you?" His friend replied, "No, I don't like him, on or off the stage." "Well," said Hoyt, "come along; you are sure to enjoy this play for they hang Nat in the last act."

"Have you any idea what the price of American beauties is?" asked a friend of Hoyt's one day, referring to the exorbitant charges of the florists. "I ought to" answered the witty Hoyt, "I married one."

Years after I indulged in flowery dissipation for I married a bunch and yet there are some curious creatures who wondered why I was appearing in vaudeville while Hoyt was playing a harp.

Chapter IX

SIR CHARLES WYNDHAM

Sir Charles Wyndham is a remarkable man in many ways, a delightful actor, a splendid manager and a most sagacious business man. Of prepossessing appearance, he is further blessed with a slight figure which he keeps even after passing the age of seventy. He still manages to win approval in jeune première rôles in spite of a most disagreeable, rasping voice. He is ably assisted, artistically and managerially, by Miss Mary Moore. He has won a place on the English stage second to none.

What a blessing to win fame on the English stage! No impertinent references to one's age; no vulgar inferences concerning the social position of any player! How like our own delightfully free country! (It's so different.)

One afternoon at the Green Room Club while actors of renown and some just budding were seated at the long table enjoying the "two and six" dinner, Sir Charles came in. He had just finished his matinee performance of "David Garrick" with which he was packing the Criterion Theatre. They have a chair in the club, supposed to have been the property of Garrick. Wyndham sank into it, seemingly overcome by his efforts of the afternoon. (Many of the poor devils dining would have liked to share his exhaustion.)

A very clever dramatist named Hamilton, looking up, caught sight of him and in a quizzical tone remarked, "Wyndham, you make rather a fetching picture, sitting in the original Garrick Chair – and, what is most remarkable, you are absolutely playing the character!"

Wyndham nodded back a mumbling and patronizing answer, evidently pleased with the interest that he was creating.

Hamilton studied his victim a moment and then said, "By Jove, Wyndham, do you know, you are more and more like Garrick every day and less and less like him every night!"

Chapter X

CHARLES R. THORNE, Jr

What an extraordinary, complex creature was Charles R. Thorne, Jr.

Beginning a stage career under the management of his father, an actor of considerable repute in the '40's, young Charlie soon developed into a leading actor of the old school, a ranting, vigorous player, declamatory and thoroughly devoid of repose. He gradually drifted from California to the East and during the '60's became the leading man of the then well known Boston Theatre Stock Company. There he remained for several seasons supporting all the leading players then starring throughout the United States, including such celebrated artists as Edwin Forrest, Edwin Booth, Lawrence Barrett, Charlotte Cushman, Lotta, Edwin Adams and many others.

Of an extremely jovial disposition, never dissipated but fond of company, naturally witty and an extremely courageous man, he soon worked himself into the hearts of the Boston public. He was not particularly versatile, but had a splendid personality and a magnificent physique – marred only by a head too small for the quality of intelligence such a figure demanded. However, he was a royal picture to contemplate, particularly in romantic and Shakespearean rôles. In these he truly suggested the "Greek god." He gave his professional work little thought and was quite content to bask in the sunshine of the encomiums of press and friends until Dion Boucicault discovered latent talents which even Thorne himself did not know he possessed.

Boucicault was about to produce one of his plays, "Led Astray," at the Union Square Theatre, New York, and selected Thorne to create the leading rôle. Taking him under his wing for a few months he succeeded in transforming the man. Under his able tutelage Thorne, discarding his ranting and mouthing methods, awoke the morning after the première of "Led Astray" to find himself famous. He became founder of the modern school of suppressed, natural acting and the most convincing actor of the American stage.

He was not a man easily handled and had no respect for the rules and regulations of any theatre. He was in constant difficulties with A. M. Palmer, manager of the Union Square, but Palmer realized Thorne's value and put up with many annoyances from him. Thorne held despotic sway, much to the amusement of his companion players who loved him as they loathed the management. Palmer exercised every means within his power to humiliate Thorne, casting him for leading heavies for instance, but Thorne's convincing methods always made the hero look ridiculous. In the play "False Shame," in which he was cast for the villain, he took all the sympathy from the hero and of course killed the property.

Palmer brought over the late Charles Coghlan at a salary of $1,000 a week – Thorne's salary had never gone beyond $125! – and cast them both to create simultaneously the leading rôle in "A Celebrated Case," giving Coghlan the quodus of the New York and Thorne the Pittsburgh opening. I saw Coghlan's opening. He gave a marvelously thought-out performance and made a tremendous hit. I saw Thorne some weeks after and told him of my impressions.

I remarked, "Charlie, I think that Palmer has got you at last." He observed, "Yes, I hear that that chap Coghlan is an actor. I am up the spout as Palmer intends playing me at the Grand Opera House in two weeks and I guess the boys will get me as that English fellow has had the first whack at them and they will have the chance to compare us in the same rôle." I said, "Well, I am going in front to-night and I will tell you what I think." Before leaving his dressing-room I added, "Charlie, if you take my advice you won't go to New York. Be ill, and let your understudy go on." He laughed and, waving his hand, cried, "All right, sonny boy, I may take your advice!"

I went in front and after the performance I rushed back into his dressing-room and yelled, "For God's sake, don't get ill! Get to New York as soon as possible!"

I had never seen such a performance! While you admired Coghlan's technique and art, Thorne gave you no time to think of anything – he was so real, so convincing. He drowned all judgment with the tears his acting started. You simply sobbed your heart out.

In a few weeks Thorne went to New York and amazed the public. In a short time Coghlan's name headed the road company and Thorne was snugly housed again at the Union Square Theatre where he remained a Czar for many years, until John Stetson engaged him to star in "Monte Cristo," a play made famous by the French actor, Charles Fechter. He opened at Booth's Theatre to a $3,500 house. The streets were packed for blocks by a swaying, eager multitude ready to pay homage to an actor who for twenty years had been their idol and whose salary was never more than $150 a week at any time.

He was very ill on the opening night – in fact he was dying on the stage before his beloved public, but no one knew it. The fact that his performance was most unsatisfactory gave no one an inkling of the truth. He was driven home after the play, and never appeared again, dying in a few weeks. Just as power was within his grasp, they rang the curtain down and poor Thorne's soul passed into the great beyond.

All of the Thorne family were possessed of a wonderful sense of humor. I, as I have said, knew them all – Charles, William and Edwin and their father and mother. Many happy evenings have I passed with this delightful family. They were truly, to quote from Dumas' "Three Guardsmen," "One for all, and all for one!" Charles had a much keener sense of the ridiculous than the others and he would exercise it even in a serious scene, if for no other reason than to break up the players.

One day at the old Niblo's Garden in New York, Charlie came to play a two weeks' starring engagement for his father who was at that time the lessee of the theatre. I was a member of the company playing general utility. Business was very, very bad and the advent of Charles did not enhance the exchequer of the theatre. We were playing a Scotch drama, "Roderick Dhu." Charles and his father had a powerful scene, ending an act. The old gentleman spoke the tag, saying to Charlie, "If you are King James of Scotland, I am Roderick Dhu!" Before the curtain fell upon the line Charlie, who had bribed the prompter to delay its coming down on the direct cue, took out a large document and said, "Yes, Mr. Thorne, and your rent is due."

When the curtain fell the old man chased his son out of the theatre and in a fit of passion swore he would not allow the play to continue. Charles came back, apologized and the play proceeded.

Boucicault took him and Stuart Robson to London to play in "Led Astray." Charlie made a great hit and poor Rob a dire failure. Robson's failure Charlie took to heart as his love for Rob was unbounded. After about six weeks three gentlemen, the proprietors of the Drury Lane and Covent Garden theatres, called on Thorne and Robson at their chambers with a proposition to Thorne for a long engagement. He listened to their patronizing suggestions as to a consummation of the deal and, pointing to Rob, asked, "Is my pal included in this?" When told that their business was with him solely he cried, "Out upon ye for arrant knaves! I'll not play at Dreary's Lane nor at Covey's Garden either!" They thought he was mad and quickly withdrew.

Chapter XI

SOL SMITH RUSSELL

What a dear, delightful humbug was Sol Smith Russell. By humbug I mean nothing disparaging for Sol was one of the sweetest natures I have ever met. But he was a most eccentric person, a combination of good and a tiny bit of bad, with the aspect of a preacher and the inclination of a beau and man about town. If Sol had had the moral courage I am sure he would have turned out a roué. He worshipped the beautiful, particularly in woman, was passionately fond of gambling and loved the cup that soothes and comforts. Yet he indulged his foibles only in solitude. Very few knew the real man.

There was nothing vicious in his nature. He was merely alert, artistically inclined. He was a genius in his quiet and inoffensive dissipation. Of a frugal turn of mind, he became commercial when he loosed his mental bridle and gave himself his head.

Tommy Boylan of Guy's Hotel, Baltimore, told me that Sol, evidently contemplating a slight debauch, asked him in his bland way the price of gin cocktails. Tommy replied, "Fifteen cents per." "How much a dozen?" asked Sol. "To you," answered Tommy, "ten cents." "Two dozen to my room, please," said Sol. At the door he turned and added, "By the way, Tommy, ten per cent off for cash and thus enable me to reimburse the bell boy. And, Tommy, be sure and have them made separately and send six at a time when I ring the bell."

In this way Sol would have his little spree with only his mirror for a companion and emerge the next day spick and span with two bottles of an aperient water added to his account. By noon he would be found officiating at some church function or passing tea at some lady's seminary.

I never considered Sol a very great actor on the stage – but a marvel off. He was a splendid entertainer and sketch artist, but he had higher ambitions. His greatest was to wear the mantle of Jefferson whom he worshipped.

We three were supping one night at the Richelieu Hotel, Chicago. Jefferson had previously suggested to me the idea of my playing Doctor Pangloss in "The Heir at Law," endeavoring to point out the many benefits I would bestow by appearing in that character. I listened with much respect but refused, knowing how old fashioned were both the play and rôle. Sol, however, was not proof against the clever old gentleman's blandishments and fell for the suggestion. The fact of appearing in any character made famous by the astute old fox was enough for the guileless Sol. I knew Jefferson wanted some one to play the part only to court comparisons. To prove his interest in Sol's future, Jefferson presented him with his entire wardrobe, even to the shoes and awful wig. Sol was delighted at the prospect and accepted them readily. When told of this at the supper that evening, I turned to Sol and said, "Well, the press has been hurling Mr. Jefferson's mantle at me for years, but you have undressed him. I guess I'll have to wear my own."

Jefferson seemed to enjoy the sally but I'm afraid Sol failed to appreciate my remarks or gather my meaning. It would have been better for him if he had, for later he produced the play and met with instant failure.

While touring in the all star cast of "The Rivals" I called on an old and esteemed friend of mine at Chicago – the bar keeper at the Grand Pacific Hotel – who informed me that my friend Sol Smith Russell and he had spent a most enjoyable evening the night before. Sol had left him at about two a. m. saying he was looking forward to our appearing in "The Rivals" with joyous anticipation. I asked about Sol's health and capacity. The bar keeper replied, "He's fine. I have his tabs for sixty dollars." I gasped, "Not cocktails!" He replied, "No, pints."

The next afternoon at the matinee after the first act Sol's card came up to Mr. Jefferson's dressing-room (which I shared on tour). Of course he was admitted at once. Not appearing in the first act, I was preparing the finishing touches to my make-up in a remote corner of the room and was not seen by Sol. He rushed over to Jefferson who warmly greeted him. Sol was most enthusiastic over the performance of the first act. Standing in the center of the room, safely braced by both hands on a massive oak table he gushed forth as follows:

"My dear Joseph, I have never seen such acting, such art. Surely Sheridan in his grave must appreciate such artistic values as are being dealt with this afternoon, such – "

Then came a long pause and his eyes closed as if he were in deep meditation – I knew it was a hold over – then his lids started open and he gathered up the thread of his complimentary effusion: —