The Project Gutenberg eBook of Nat Goodwin's Book
Title: Nat Goodwin's Book
Author: Nat. C. Goodwin
Release date: July 20, 2014 [eBook #46341]
Most recently updated: October 24, 2024
Language: English
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NAT GOODWIN'S BOOK
NAT GOODWIN'S
BOOK
BY
NAT C. GOODWIN
ILLUSTRATED
BOSTON
RICHARD G. BADGER
THE GORHAM PRESS
TORONTO: COPP CLARK COMPANY LIMITED
By Nat C. Goodwin and Richard G. Badger
All rights reserved
The Gorham Press, Boston, U.S.A.
PREFACE
In penning memoirs or autobiographing it is extremely difficult to avoid writing impersonally, yet I shall strive to avoid it as much as possible, not so much from a sense of duty as from a standpoint of mercy.
I have never enjoyed reading about myself and I am firmly convinced that there are few who have. Perhaps, if I am tempted during this review to give myself an opinion of myself, it may be received with favor even by those critics who have never agreed with any of my characterizations.
I started this little work with some degree of terror. I had such a poor background to frame my somewhat checkered career upon. I fully realized that a man must be a very great person, or at least imagine himself to be, to write an autobiography. But finally after listening to the advice of friends I approached myself, albeit surprised at my temerity. After having read many autobiographies I discovered that most nearly-great persons who indulge in the dissipation of giving to the world their opinions of themselves were either born in dilapidated garrets or on unproductive farms.
As there were no trees in my garden of youth nor a candle placed in an empty bottle to shed its effulgence upon my future life I wondered how I could diversify and be truthful, yet entertaining. A feeling of apprehension akin to that which always follows the first night of one of my productions took hold of me. I wondered how this little effort of mine would be received.
When reading a criticism the morning following a production I am always fearful of being found out. If I am condemned I know I have been! But after I have fully digested all the unkind criticisms, which are usually written by those who do not fancy me in any serious effort, I am in the end always superlatively happy in knowing that the critic has done his duty.
If I had my way, he would be doing TIME!
Generally he is so blissfully ignorant of what he prates about that I have a silent chuckle all to myself at the expositions of his glaring and blatant incompetency. Yet it has always been a question in my mind whether the public enjoys reading vituperative attacks upon its stage favorites particularly after it has been entertained and amused the previous evening. I think that it is thoroughly satisfied with its own verdict and resents another's antagonistic to it. It much more enjoys reading something of the actor's private life particularly when it can read something which exposes his or her particular vagaries. And the public is prone to believe everything the visionary gentlemen of the press chronicle. The more unwholesome it is the more it believes; the more suggestive, the more palatable.
You have only to put any sort of halo around an actor or a cigar, good or bad, to beget a following or a smoker!
Unfortunately the halo that the public has been kind enough to place above me will not bear minute inspection. It is opaque. However, being unable to escape it I have always been content to smile within and when the haloed one has been supposedly exposed I can do nothing but sit tight and accept the inevitable. At times it has been a bit harrowing to submit, yet it has taught me self-control which I will endeavor to exercise in this little work. If I am tempted to use the personal pronoun more frequently than necessary I shall deflect and command my thoughts, to wander among more agreeable persons. Having lived so long within the confines of my kindly bestowed halo I have become fully aware of my limitations. The agreeable personalities are easily found and I hope my readers will enjoy their companionship as much as I have enjoyed them.
Every reference made to these delightful people is inspired by the kindliest of feelings and if I have judged one or two more harshly than they seemingly deserve the error is of the head, not of the heart; for I loved, liked or admired them all and I am none too poor to do them reverence—even now.
While some may regard my opinions as impertinences none can convincingly deny my right to think, and as all is given impersonally I believe that none will doubt my motives.
Many will question the various attitudes in this book particularly regarding marriage and divorce. They will advance the theory that the bonds of matrimony must be welded more closely even when the participants find it difficult to live normally. I know that many who are incarcerated in the dungeons of matrimonial thraldom would not stop at murder to burst their bonds. It does not require the philosophy of a Bacon or an Emerson to prove that such incarceration is wrong. Why make martyrs of those forced to live together when hate supplants love, when bodies and thoughts play upon different instruments producing only discords? The laws of our country make it possible for us to file the bars of our unwholesome cells and suppress this monumental mockery. The views I have incorporated in this book, right or wrong, I stand by. All through my life I have never feared criticism for any of my acts. My moral or physical courage has never failed. I have been and always will be willing to stand by my guns and take my medicine.
Before completing this work I unfortunately submitted a few excerpts to a visionary representative of one of the Los Angeles papers. He immediately published broadcast what he had absorbed and very obligingly gave it the title of his own imagination, "Memoirs of Matrimony," thereby creating the impression that my book was to be devoted simply to my marital experiences. Such was never my intention, but as more than thirty years of my life have been devoted to matrimony naturally my autobiography demands mention of the women who have borne my name.
I have been censured sometimes harshly for my versatility in the selection of wives and many have marvelled at my fortunate (or unfortunate) selections. I have always been long on the market of home and wives.
I truly believe that no home is complete without a wife, providing she is of the kind that enjoys the company of intelligent, honest and clever people. Some men only lease their mates and then prate about their respectability. If I have decided at different times to tear down any of the Ephesian domes which I have erected, is the fact of my destroying them enough to warrant my being known, as was Alexander, as the fool that razed (or is it raised?) them?
While autobiography and a round up of memories will necessarily be conspicuous I shall endeavor also to make this book a medium of retrospective thoughts given to the many people, prominent and otherwise, with whom I have come in contact. As I have no notes I shall write purely from memory's tablets. If inaccuracies occur they will be unintentional.
Many of those dear friends have long since passed down the lonely mountain trail, but their sweet memories still linger by the roadside. If they but leave the perfume of their souls to mark the road for me to follow when I arrive at the corral nature has established in the valley I hope that we all shall meet and that they will elect me their callboy, that I may be privileged to ring up the curtain upon perpetual joy.
N. C. G.
Ocean Park, California.
CONTENTS
| Chapter | Page | |
| I | Commencement Day | 17 |
| II | My Debut | 22 |
| III | Stuart Robson | 26 |
| IV | John McCullough | 35 |
| V | Sir Henry Irving | 38 |
| VI | "Barry" and Jefferson | 41 |
| VII | A Sunny Son of Sometime | 49 |
| VIII | Charles Hoyt | 51 |
| IX | Sir Charles Wyndham | 54 |
| X | Charles R. Thorne, Jr. | 56 |
| XI | Sol Smith Russell | 61 |
| XII | Richard Mansfield | 67 |
| XIII | In Variety | 75 |
| XIV | Eliza Weathersby | 80 |
| XV | Successful Failures | 89 |
| XVI | Back in the 'Eighties | 92 |
| XVII | The Halcyon Days of Union Square | 96 |
| XVIII | The Birth of the Syndicate | 101 |
| XIX | Stars | 109 |
| XX | Atmospheric Plays | 115 |
| XXI | Actors Past and Present | 118 |
| XXII | Maude Adams | 121 |
| XXIII | Tyrone Power | 126 |
| XXIV | An Artistic Success! | 127 |
| XXV | The Skating Rink | 131 |
| XXVI | Number Two | 134 |
| XXVII | A Fight Won (?) | 140 |
| XXVIII | John Chamberlain | 148 |
| XXIX | W. S. Gilbert | 152 |
| XXX | Henry E. Dixey | 153 |
| XXXI | Swagger New Yorkers of Another Day | 155 |
| XXXII | James Whitcomb Riley | 157 |
| XXXIII | Digby Bell and De Wolf Hopper | 159 |
| XXXIV | Blaine and Ingersoll | 162 |
| XXXV | Jim Corbett in England | 164 |
| XXXVI | The Cockney Cabby Comedian | 166 |
| XXXVII | A Gilded Fool and Other Plays | 168 |
| XXXVIII | George M. Cohan | 177 |
| XXXIX | Thoughts Vaudeville-Born | 179 |
| XL | John Drew | 181 |
| XLI | The Rivals Revival | 182 |
| XLII | Wilton Lackaye | 185 |
| XLIII | "Young" Mansfield | 187 |
| XLIV | David Warfield | 190 |
| XLV | A Day at Reno | 192 |
| XLVI | Lillian Russell | 197 |
| XLVII | Dramatic Schools | 198 |
| XLVIII | Number Three (Almost) | 201 |
| XLIX | The Confessional | 207 |
| L | San Francisco | 211 |
| LI | Antony (?) and Cleopatra | 216 |
| LII | Honolulu and Samoa | 223 |
| LIII | Publicity—Its Results | 230 |
| LIV | In the Land of the Kangaroo | 233 |
| LV | Welcome(!) Home | 240 |
| LVI | Number Three | 243 |
| LVII | When We Were Twenty-One and Other Plays | 248 |
| LVIII | At Jackwood | 254 |
| LIX | "Why Do Beautiful Women Marry Nat Goodwin?" | 262 |
| LX | Billy Thompson | 265 |
| LXI | The Critics | 266 |
| LXII | James A. Hearne | 277 |
| LXIII | Eddie Foy | 279 |
| LXIV | William Gillette | 280 |
| LXV | William Brady, Esq. | 283 |
| LXVI | Robert Ford | 284 |
| LXVII | More Plays | 286 |
| LXVIII | Willie Collier | 288 |
| LXIX | Henry Miller | 290 |
| LXX | What's in a Name? | 291 |
| LXXI | I Try Being a Business Man | 293 |
| LXXII | The Five Fateful Fish Cakes and Number Four | 302 |
| LXXIII | Sir Beerbohm Tree | 315 |
| LXXIV | The Origin of the Stage | 317 |
| LXXV | My Stage-Struck Valet | 321 |
| LXXVI | George C. Tyler | 324 |
| LXXVII | I Find the Very Best Phyllis | 326 |
| LXXVIII | The Lambs Club | 329 |
| LXXIX | I "Come Back" | 332 |
| LXXX | I Go Back | 334 |
| LXXXI | David Belasco | 336 |
| LXXXII | "Author—Author" | 337 |
| LXXXIII | Mushroom Managers | 341 |
| LXXXIV | "Keep off the Grass" | 345 |
| LXXXV | California | 350 |
| LXXXVI | I Become a Barnstormer | 352 |
| LXXXVII | Number Five | 355 |
| LXXXVIII | L'Envoie | 356 |
| Index | 359 |
LIST OF ILLUSTRATIONS
| Facing Page | ||
| Nat C. Goodwin | Frontispiece | |
| William Warren | 20 | |
| The greatest comedian that ever lived | ||
| Stuart Robson | 26 | |
| The best Shakespearean clown of modern times | ||
| Tony Hart | 30 | |
| He had the face of an Irish Apollo, did Tony Hart | ||
| John McCullough and Associate Players in the Dramatic Festival | 36 | |
| "Mr." McCullough and the rest of us | ||
| Sir Henry Irving | 40 | |
| An extraordinary man | ||
| Joseph Jefferson | 46 | |
| I firmly believe I improved his morals | ||
| Sir Charles Wyndham | 54 | |
| A remarkable man | ||
| Charles R. Thorne, Jr. | 60 | |
| A royal picture to contemplate | ||
| In the Little Rebel | 76 | |
| One of my first excursions into the legitimate | ||
| Eliza Weathersby | 80 | |
| The wife who mothered me | ||
| In Hobbies with Eliza Weathersby | 84 | |
| The play I won at faro | ||
| Lithograph of Goodwin's Froliques | 88 | |
| In Turned Up | 92 | |
| In the days when I was an imitator | ||
| Lotta | 98 | |
| In the days when work was play | ||
| Jack Haverly | 102 | |
| The man who conceived the syndicate | ||
| In the Gold Mine | 112 | |
| My get-up in The Gold Mine | ||
| Those Were the Happy Days | 118 | |
| Coquelin | 124 | |
| Would he have gone in vaudeville? I wonder | ||
| Nella Baker Pease | 134 | |
| The best amateur piano player I ever heard | ||
| Nat C. Goodwin, III | 138 | |
| Pals | 150 | |
| Richard Carle, Fred G. Stanley, Nat Goodwin, Walter Jones, De Wolf Hopper | ||
| In Confusion | 160 | |
| Back in the eighties | ||
| Nat Goodwin and Company in In Mizzoura | 168 | |
| One of the best casts I ever saw | ||
| Ticket Sale for In Mizzoura | 176 | |
| Dick Golden | 182 | |
| We were pals for many years | ||
| David Warfield and Nat Goodwin | 190 | |
| I'm proud of the company | ||
| In Mizzoura | 200 | |
| One of the greatest of American plays | ||
| Mrs. N. C. Goodwin, Sr. | 210 | |
| A dear old lady living in Boston | ||
| How much a Lamb I was I didn't know—Then! | 216 | |
| An Australian Greeting Can't Touch its Farewell! | 220 | |
| In An American Citizen | 232 | |
| If we had been associated a few years longer my name would have been up as her leading support! | ||
| As Bob Acres | 240 | |
| I gave Bob a country dialect | ||
| Maxine Elliott | 246 | |
| Fate's partner | ||
| In When We were Twenty-One | 252 | |
| The biggest bit of any play I ever produced | ||
| In Nathan Hale | 258 | |
| "They hang Nat in the last act" | ||
| Wm. H. Thompson | 264 | |
| An artist to his finger tips | ||
| James A. Hearne | 278 | |
| He knew how poor Sol "fell" | ||
| Robert Ford | 284 | |
| "A cold-blooded, conscienceless murderer" | ||
| As Cameo Kirby | 294 | |
| I never played a character I liked so well | ||
| Edna Goodrich | 304 | |
| My young and handsome star | ||
| As Shylock | 310 | |
| One of my successful failures | ||
| In Hamlet | 320 | |
| It had always been my desire to appear in Shakespearean roles | ||
| Margaret Moreland | 326 | |
| The very best Phyllis | ||
| As Fagin in Oliver Twist | 330 | |
| "Fagin was a comedian" | ||
| David Belasco | 336 | |
| An intellectual giant | ||
| Drawn while We were "Barnstorming" | 344 | |
| The Ranch at San Jacinto, California | 350 | |
| A scene not equalled in the Austrian Tyrol |