A rare original December 24, 1860 Wheatley and Clarke's Arch Street Theatre program for the great 19th century American lesbian actress Charlotte Cushman in her great role as Meg Merilles. The theatre was then co-managed by John Sleeper Clarke, brother-in-law of Edwin and John Wilkes Booth, and Clarke is among the cast for Wild Oats, presented before the main play with Charlotte Cushman. Also among the cast is Mrs. John Drew, matriarch of the Barrymore dynasty and grandmother of Lionel, Ethel, and John. An amazing 1860 program! Four pages. Dimensions nine by six inches. Light wear otherwise fine. See Charlotte Cushman and Sleeper Clarke's extraordinary biographies below.
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From Wikipedia:
Charlotte Saunders Cushman (July 23, 1816 – February 18, 1876) was an American stage actress.[1] Her voice was noted for its full contralto register, and she was able to play both male and female parts. She lived intermittently in Rome, in an expatriate colony of prominent artists and sculptors, some of whom became part of her tempestuous private life.
She was a descendant in the eighth generation from Pilgrim Robert Cushman, who helped organize the Mayflower voyage and brought the family name to the United States on the Fortune in 1621. Robert Cushman was a leader and a great advocate for emigration to America. He became a preacher in the colonies and was known for giving the first sermon in America. Charlotte's father, Elkanah, rose from poverty to be a successful West Indian merchant. Charlotte was a remarkably bright, sportive child, excelling over her schoolmates and developing a voice of remarkable compass and richness, with a full contralto register. Two friends of her father, one of them John Mackay, in whose piano factory Jonas Chickering was then foreman, provided her with musical instruction. Cushman was forced to take on serious responsibilities at a very young age. When she was thirteen, her father was beset by serious financial troubles and shortly thereafter died, leaving his family with nearly nothing. This caused Charlotte to seek some way to bring income to her family. Although she was an outstanding student and achieved much academically, she left school to pursue a career in the opera.
When Mrs. Joseph Wood visited Boston in 1834, Capt. Mackay introduced Cushman, who sang with her in two of her concerts. Through Mrs. Wood's influence she became a pupil of James G. Maeder, a ladies' musical director, and under his instruction made her first appearance in opera in the Tremont Theatre as the Countess Almaviva in The Marriage of Figaro, with great success, and her second as Lucy Bertram in Guy Mannering. She went with his company to New Orleans, where her voice, which had been strained by the soprano parts assigned to her, suddenly failed. Seeking the counsel of James H. Caldwell, manager of the principal theatre of New Orleans, she was advised by him and by Barton, the tragedian, to become an actress and was given the part of Lady Macbeth to study. She made her dramatic debut in it, with complete success, in 1835.[2]
Theatrical career
Charlotte Cushman as Meg Merrilees
Cushman made her initial professional appearance at age eighteen on April 8, 1835 at Boston's Tremont Theatre.[3] She then went to New Orleans where she performed successfully for one season, after which she returned to New York City to act under contract with the Bowery Theatre. She scored rave reviews in Albany, New York for her portrayal of Lady Macbeth.[4]
The Cushman sisters, Charlotte and Susan, as Romeo and Juliet in 1846
By 1839, her younger sister Susan Webb Cushman became an actress, and at the age of 14 had married Nelson Merriman. Her husband abandoned her when she was pregnant and Charlotte cared for her sister. The two sisters became famous for playing Romeo and Juliet together, with Charlotte playing Romeo and Susan playing Juliet.[5][4]
In 1843, Cushman became involved romantically with Rosalie Sully, daughter of artist Thomas Sully. By 1844, the romance had ended. She began traveling abroad, acting in theater, and Sully died shortly thereafter. She was also very close to the writer Anne Hampton Brewster around 1844 but social pressure from Brewster's brother meant that they had to part. Brewster reminisced about their idyllic time together in letters in 1849.[6] She eventually left a portrait of Cushman by Thomas Sully as a bequest to the Library of Philadelphia.[7]
Charlotte Cushman and Matilda Hays
In 1848, Cushman met journalist, writer and part-time actress Matilda Hays. The two women became close friends, and after a short amount of time and some correspondence, they became involved in an affair. For the next ten years the two would be together almost constantly. They became known for dressing alike, and in Europe were publicly known as a couple.[4]
In 1849, Cushman returned to the United States and by 1852 had decided to retire from the stage. She took up residence with Hays in Rome, Italy. They began living in an American expatriate community there, made up mostly of the many lesbian artists and sculptors of the time. Cushman used her notoriety to promote the works of African American/Native American sculptor Edmonia Lewis, who had become a close friend and whose work Cushman greatly admired.
In 1854, Hays left Cushman for sculptor Harriet Hosmer, which launched a series of jealous interactions among the three women. Hays eventually returned to live with Cushman, but the tensions between her and Cushman would never be repaired. By late 1857, Cushman was secretly involved with sculptor Emma Stebbins. One night while Cushman was writing a note, Hays walked in on her. Suspecting that the note was to Stebbins, Hays demanded to see it. Although Cushman maintained that the note was not to Stebbins, she refused to show it to Hays. The altercation that followed was explosive. Hays became enraged and began chasing Cushman around the house, pounding her with her fists at every opportunity. The relationship ended immediately and Hays moved out. She then sued Cushman, stating in her claim that she had sacrificed her own career to support Cushman's career and therefore was due a certain payment. Cushman paid her an unknown sum and the two women parted company forever.[4]
Poster advertising Cushman's appearance as Hamlet in February, 1861.
Emma Stebbins moved in with Cushman shortly after the break-up. Cushman traveled to America for a short tour a couple of months later. Although Cushman maintained that she was devoted to Stebbins, she became involved with another woman not long after her relationship with Stebbins began. Cushman met an 18-year-old actress, Emma Crow, the daughter of Wayman Crow, and fell for her. The two women began an affair, and Cushman often called her "my little lover".
Before her departure to Italy, Cushman offered a farewell performance at the Washington Theater in the title role of Hamlet. The poster advertising her appearance describes her as "a lady universally acknowledged as the greatest living tragic actress".[8]
When Cushman returned to Italy, Crow followed. Not long after arriving in Italy, Crow attracted the attention of Cushman's nephew, Ned Cushman. In April 1861, Ned Cushman and Emma Crow married.[4]
She was friends with artists, writers and politicians; when she came to Washington, D.C. in the 1860s, she often stayed at the home of Secretary of StateWilliam Seward, with whom she was very close friends. In July 1861, Seward introduced her to President Abraham Lincoln, who told her that Macbeth was his favorite Shakespearean play and that he hoped someday to see her in the role of Lady Macbeth. In 1863 she again returned to the United States, appearing on several occasions for the benefit of the Sanitary Commission. Lincoln saw her perform in Macbeth in October at Grover's Theatre with his family. During the last six years of her life Cushman developed a remarkable ability as a dramatic reader, giving scenes from Shakespeare, ballad poetry, dialect poems and humorous pieces with a success not less decided than her earlier dramatic triumphs. In 1871, after a residence in Europe, she resumed her career in the United States as a reader, besides fulfilling several dramatic engagements.[2]
Her farewell appearance was announced at least seven times in as many different years. Her final performance in New York was at Booth's theatre, where she played the part of Lady Macbeth. She took a similar demonstrative farewell in the same character in Philadelphia and other cities and her career closed in Boston, at the Globe Theatre, on 15 May 1875. After a reading tour to Rochester, Buffalo, and Syracuse, she retired with a large fortune to her villa at Newport, where she was seized with her final illness. In October she went to Boston and placed herself under medical treatment.[2]
The Booth family was an English-American theatrical family of the 19th century. Its most famous and well known members were Edwin Booth, one of the leading actors of his day, and John Wilkes Booth, who assassinated Abraham Lincoln.
The patriarch was Junius Brutus Booth, a London-born lawyer's son who eventually became an actor after he attended a production of Othello at the Covent Garden theatre. The prospects of fame, fortune and freedom were very appealing to young Booth, and he displayed remarkable talent from an early age, deciding on a career in the theatre by the age of seventeen. He performed roles in several small theaters throughout England, and joined a tour of the Low Countries in 1814, returning the following year to make his London debut.
Booth abandoned his wife and their young son in 1821 and ran off to the United States with Mary Ann Holmes, a London flower girl. They settled in Harford County near Baltimore, and built a house named "Tudor Hall" in 1847, which still survives. There they started a family; they had ten children, six of whom survived to adulthood.[1][2]
Junius Sr. and Edwin toured the Western United States during the Gold Rush, performing plays by Shakespeare for illiterate miners, who nevertheless had no tolerance for bad acting. Edwin Booth bought an interest in the Winter Garden Theatre at 667 Broadway in New York City together with his brother-in-law John Sleeper Clarke. The brothers John Wilkes, Edwin, and Junius Brutus, Jr. performed there in the play Julius Caesar at a benefit in 1864, the only time they were seen together on a stage, playing Mark Antony, Brutus and Cassius, respectively.
John Sleeper Clarke (September 3, 1833 – September 24, 1899) was a 19th-century American comedian and actor.
Life
He was born in Baltimore, Maryland to George W. Sleeper and Georgianna Sleeper (née Clarke), and was educated for the law.[1] In his boyhood he was a schoolmate of Edwin Booth who was born in the same year as he, and with whom he engaged in amateur dramatic readings as members of the Baltimore Thespian Club.[2][3]
He made his first appearance in Boston as Frank Hardy in Paul Pry in 1851, at the Howard Athenæum.[4] The next year he went to Philadelphia. Clarke's first appearance in New York City was made at the Metropolitan Theatre – afterward called the Winter Garden – on May 15, 1855, as Dickory in The Spectre Bridegroom,[5] but it was not until he returned in 1861–1862 to the same theatre that he made a conspicuous mark. In 1859 he became part of the Booth family when he married Asia Booth, daughter of Junius Brutus Booth, and sister of John Wilkes Booth. Clarke was associated with his brother-in-law Edwin Booth in the management of the Winter Garden Theatre in New York, the Walnut Street Theatre in Philadelphia and the Boston Theatre.[4]
Following the 1865 assassination of US president Abraham Lincoln by Clarke's brother-in-law, John Wilkes Booth, Clarke came into the possession of two letters, from his wife, written by the assassin. He turned them over to The Philadelphia Inquirer, which printed one of the two letters. His actions led to his arrest and imprisonment in the Capitol Prison in Washington D.C. for a month. Once released, he notified his pregnant wife that they must divorce. He wanted to distance himself professionally from the name of Booth.[6] She refused to divorce him, even as their relationship grew increasingly strained. However, they remained married in name only. "...He lives a free going bachelor life and does what he likes..." wrote Asia to her brother Edwin. She died May 16, 1888, at the age of 52.
As Dr. Pangloss in The Heir at Law
In August 1865, just months after the assassination, Asia gave birth to twins Creston and Lilian.[7]
In 1867, Clarke moved his family to London, where Asia became a poet and a writer. Clarke made his first appearance at the St James's Theatre as Major Wellington de Boots in Stirling Coyne's Everybody's Friend, rewritten for him and called The Widow's Hunt.[1] At the Princess's in February 1868, he was Salem Scudder in a revival of The Octoroon, and later, at the Strand, was the first Young Gosling in Fox versus Goose. On July 26, 1869, he was the first Babington Jones in John Brougham's Among the Breakers. At the same house he also played Toodles, Dr. Pangloss in The Heir at Law, and other parts.[4] His success was so great that he remained in England for the rest of his life, except for four visits to America.[2]
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