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Updated: June 10, 2025
It was cruel, but he was merciless, and spared no exaggeration of her voice, her dramatic manner, and a way she had of sprawling over the piano, producing an ensemble which made it impossible to hear her again in the same songs without a disposition to laugh. An incident occurred at this time which made Miss Cushman's position in regard to the quarrel with the consulate still more difficult.
Miss Cushman's repertory then included Lady Macbeth, Queen Katharine, Meg Merrilies, Beatrice, Rosalind, Bianca, Julia, Mariana, Katharine, the Countess, Pauline, Juliana, Lady Gay Spanker, and Mrs. Simpson. Her principal male characters then, or later, were Romeo, Wolsey, Hamlet, and Claude Melnotte.
But try as they would, the horses upon striking the swift current of the river would swing around and come out on the same side. It was now Cushman's time to laugh. In this extremity a reward of $20 was offered any one who would swim his horse ahead of the band and guide them over. I quickly volunteered. I wanted the twenty, and I wanted to save my dollar. Some of the older men objected.
George Vandenhoff describes Nancy as Miss Cushman's "greatest part; fearfully natural, dreadfully intense, horribly real." In the winter of 1842 Miss Cushman undertook the management of the Walnut Street Theatre, Philadelphia, which was then in rather a fallen state. Under her energetic rule, however, the establishment recovered its popularity. "She displayed at that day," writes Mr.
Austin as Ariel, and Peter Richings as Caliban. Then other dramas, and fine players in them, Forrest as Metamora or Damon or Brutus John R. Scott as Tom Cringle or Rolla or Charlotte Cushman's Lady Gay Spanker in "London Assurance."
To those who will remember duty, hosts of duties appeal, and it was not long before my father and mother began to save for their children's future the money which flowed in. Miss Cushman's vagary of an amusing watch-chain was exactly the sort of thing which they never imitated; they smiled at it as the saucy tyranny over a great character of great wealth.
Mary Anderson had managed to find one of Cushman's, but the point having become smooth through use, she told one of the people of the theater to put a small nail at the bottom. Instead of this, he affixed a good-sized spike, and one night Mary Anderson, coming out as usual, drove this right through her foot, in her sudden stop on the cliffs brink.
Now school was over for another summer and Trimble Cushman's dray could be driven at a good wage by a boy overnight become a man. There were still carpers who would regard him as a menace to life and limb. Judge Penniman was among these. A large truck in sole charge of a boy still in his teens, as the judge put it was not conducive to public tranquillity. But this element was speedily silenced.
In the winter of 1845 she tried one of the most daring experiments ever made by an actress, appearing as Romeo to her sister, Susan Cushman's, Juliet. It was a notable success. Her deep contralto voice made it possible for her to give a complete illusion of the young and handsome lover. She played other male characters in after years, notably Hamlet, and created a deep impression in them.
There is a mournful pleasure in recalling the details of Miss Cushman's life and meditating upon her energetic, resolute, patient, creative nature. She was faithful, throughout her career, to high principles of art and a high standard of duty. Nature gave her great powers but fettered her also with great impediments.
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