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Updated: June 24, 2025
Jack Robertson came into the cast to sing "Sigh no more, ladies," and made an enormous success. Johnston Forbes-Robertson made his first appearance at the Lyceum as Claudio. I had not acted with him since "The Wandering Heir," and his improvement as an actor in the ten years that had gone by since then was marvelous.
Mr. Forbes-Robertson, who is the son of the well-known art critic and historian, Mr. John Forbes-Robertson, was educated at the Charterhouse, and afterwards at various art schools in France and Germany.
Many suffrage addresses have been made in the State by eminent Kentucky men and women and in later years by outside speakers including Dr. Anna Howard Shaw, Mrs. Carrie Chapman Catt, Mrs. Charlotte Perkins Gilman, Senator Helen Ring Robinson, Mrs. T. T. Cotnam, Max Eastman, Walter J. Millard, Mrs. Beatrice Forbes-Robertson; Mrs. Philip Snowden, Mrs. Pethick-Lawrence and Mrs.
How different it is when Forbes-Robertson's Hamlet dies! All my life I seem to have been asking my friends, those I loved best, those who valued the dearest, the kindest, the greatest, and the strongest in our strange human life, to come with me and see Forbes-Robertson die in Hamlet.
In Hamlet all his qualities converge, and in him the tradition of the stage that all an ambitious actor's experience is only to fit him to play Hamlet is for once justified. But, of course, the chief reason of that success is that nature meant Forbes-Robertson to play Hamlet. Temperament, personality, experience, and training have so worked together that he does not merely play, but is, Hamlet.
Forbes-Robertson is reading a poorly-written part, it is hard to hear that the lines are, in themselves, not musical. Literary style is, even for accomplished critics, very difficult to judge in the theatre. Some years ago, Mrs. Fiske presented in New York an English adaptation of Paul Heyse's Mary of Magdala.
It was Forbes-Robertson, however, for me, and I think for all the playgoing London of the time, that gave the play its chief value by making us startlingly aware, through the poignancy of his personality, of what one might call the voice of the modern conscience.
Something like that, one may imagine, must be the private fun of abdication. Forbes-Robertson, as he himself has told us, lays down one art only to take up another to which he has long been devoted, and of his early affiliation to which the figure of Love Kissing Beatrice in Rossetti's "Dante's Dream" bears illustrious and significant witness.
On the occasion of the performance at Drury Lane which the theatrical profession organized in 1906 in honor of my Stage Jubilee, one of the items in the programme was a scene from "Much Ado about Nothing." I then played Beatrice for the last time and Forbes-Robertson played his old part of Claudio.
From Taylor's letters I find and, indeed, without them I could not have forgotten that the good, kind friend never ceased to work in our interests. "I have recommended Flossy to play Lady Betty in the country." "I have written to the Bancrofts in favor of Forbes-Robertson for Bassanio." Naturally, the Bancrofts wanted someone of higher standing, but was I wrong about J. Forbes-Robertson?
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