Ellen Terry and Her SistersPemberton, T. Edgar (Thomas Edgar)
History
Ellen Terry and Her Sisters
Pemberton, T. Edgar (Thomas Edgar)
Actresses -- Great Britain -- Biography; Terry, Ellen, Dame, 1847-1928
And if this was indeed her first appearance, her dismissal by Leontes
with the words, "Go play, Mamillius," was almost prophetic.
But if Mr. Dutton Cook chanced to err on the much discussed first
appearance question, he was certainly correct in his critical estimate
of the two remarkable child actresses.
"The public applauded these Terry sisters," he wrote, "not simply
because of their cleverness and prettiness, their graces of aspect, the
careful training they evidenced, and the pains they took to discharge
the histrionic duties entrusted to them, but because of the leaven of
genius discernible in all their performances--they were born actresses.
"Children educated to appear becomingly upon the scene have always been
obtainable, and upon easy terms; but here were little players who could
not merely repeat accurately the words they had learnt by rote, but
could impart sentiment to their speeches, could identify themselves with
the characters they played, could personate and portray, could weep
themselves that they might surely make others weep, could sway the
emotions of crowded audiences. They possessed in full that power of
abandonment to scenic excitement which is rare even among the most
consummate of mature performers. They were carried away by the force of
their own acting; there were tears not only in their voices but in their
eyes; their mobile faces were quick to reflect the significance of the
drama's events; they could listen, their looks the while annotating, as
it were, the discourse they heard; singular animation and alertness
distinguished all their movements, attitudes, and gestures. There was
special pathos in the involuntary trembling of their baby fingers, and
the unconscious wringing of their tiny hands; their voices were
particularly endowed with musically thrilling qualities. I have never
seen audiences so agitated and distressed, even to the point of anguish,
as were the patrons of the Princess's Theatre on those bygone nights
when little Prince Arthur, personated by either of the Terry sisters,
clung to Hubert's knees as the heated iron cooled in his hands, pleading
passionately for sight, touchingly eloquent of voice and action; a
childish simplicity attendant ever upon all the frenzy, the terror, the
vehemence, and the despair of the speeches and the situation.
Public-domain text, read in full here on John Shaqi.
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