The first change in the hitherto carefully guarded repertory came in 1894, when she was married to her “leading man,” Robert Taber. With a self-subordination rare enough among newly-fledged “stars” she saw herself taking, at times, inferior and sometimes quite unsuited parts in plays produced primarily for the sake of Mr. Taber. The worst instance was _Henry IV_, in which Mr. Taber was an admirable Hotspur and Miss Marlowe a Prince Hal who was hopelessly at variance with the ideal of the part.[188] At this time she was known as “Julia Marlowe Taber,” but the change involved some sacrifice, for, by 1894, the name “Julia Marlowe” had a definite value and the public did not respond enthusiastically to the new order of things. It is a theatrical axiom that the public does not like to see man and wife acting together. One manager[189] brought suit because, having contracted for “Julia Marlowe,” he got “Mr. and Mrs. Robert Taber.” It has been said that Frederick Stinson, the manager who had labored for years to develop the prestige that attached to Miss Marlowe’s name, aged visibly when his work was so rapidly undone. The artistic coalition that was thought would be the result of the marriage turned out a comparative failure. Unfortunately a personal element that proved anything but helpful entered the situation. Mr. Taber was a skilled actor of a rather hard style--but the printed criticisms of their productions often brought more praise to Mrs. Taber than to him,--naturally enough, as she was the better artist. His resentment at his comparative artistic failure went to such lengths that he quarreled with his wife, and, after three seasons of married joint-stardom they went their separate ways: Taber to London to act with Irving, and his wife, after a meeting in France, and an ineffectual effort on her part to effect a reconciliation, to America to resume her career as Julia Marlowe.[190] A survey of the plays the Tabers gave together from 1894 to 1897 does not show that the public was warranted, from any lack of their adherence to the Marlowe standard of play, in withholding its former allegiance. There was, to be sure, the mistake, _Henry IV_. Mrs. Taber was, moreover, a comparative failure as Mrs. Hardcastle and as Lydia Languish--for her _forte_ was not eighteenth century comedy--and _Romola_ afforded scarcely any opportunities for her, while Mr. Taber’s Tito had a great success. But all of these plays excepting _Henry IV_ were really incidental, and at different times during these three years Mr. and Mrs. Taber were playing a number of the old Julia Marlowe successes: _Romeo and Juliet_, _Twelfth Night_, _As You Like It_, _Much Ado_, _Ingomar_, _Pygmalion and Galatea_, _The Hunchback_, and _The Lady of Lyons_.