The summer of 1906 Miss Marlowe spent--as she has many others--in Europe. One of the places she visited was the birthplace of Jeanne d’Arc, for she was contemplating the production of Percy MacKaye’s play concerning the Maid. When she returned to America, she and Mr. Sothern dissolved their association with the Frohman side of the theatrical house, and went over to the Shuberts. There followed the production of a group of plays new to her experience, _John the Baptist_, by Sudermann, in which she played Salome, _The Sunken Bell_, by Hauptmann, a piece retained from Mr. Sothern’s earlier repertoire, and _Jeanne d’Arc_. It was with the last two plays, and with _Romeo and Juliet_, _Hamlet_, _As You Like It_, _When Knighthood Was in Flower_, and _Twelfth Night_, that Miss Marlowe ventured for the first time to appear in London, in the spring of 1907. The success of the Sothern and Marlowe engagement at the Waldorf Theatre hung at first in the balance, for the first play presented was _The Sunken Bell_, which failed to appeal to London. As for Miss Marlowe as Rautendelein, she was dismissed by Mr. Walkley in _The Times_ as showing the grace and elfishness and charm of the character; “but she was not,” he continued, “exactly a frisky fairy.” The tide turned with Miss Marlowe’s Viola, and, somewhat to the surprise of his followers at home, with Mr. Sothern’s Hamlet, which was hailed as a distinguished achievement. One English writer, Arthur Symons, quite lost his head in admiration of the American visitors. “We have not in our whole island,” he wrote, “two actors capable of giving so serious, so intelligent, so carefully finished, so vital an interpretation of Shakespeare, or indeed of rendering any form of poetic drama on the stage.” Beerbohm Tree gave them a supper at His Majesty’s; Mr. Asquith was there, a prince or two, and, more to the point, a representative group of England’s stage workers. “There is danger,” said _The Evening Standard_ when she played Viola, “of our all becoming Marlowe worshipers if she goes on like this.”[193] Though the London critics appraised Mr. Sothern’s Hamlet higher than American reviewers ever did, and though the newspaper comment on each play was favorable, except on _The Sunken Bell_ and _When Knighthood Was in Flower_, the London public did not attend in great numbers. Still, the English tour may be said to mark the apex of the career of both artists. When they returned home each was for a time again an independent “star.” When the ambitiously planned New Theatre, in New York, opened its doors for what was fondly hoped would be the dawn of a new era in the American theatre, Miss Marlowe and Mr. Sothern were the leading members of a cast assembled to perform _Antony and Cleopatra_. The production pleased neither public nor critics, and it cannot be said that Miss Marlowe will be remembered chiefly for her Cleopatra. Since then “Sothern and Marlowe” have again carried Shakespeare up and down the country.