When in 1913 Miss Anglin made herself a Shakespearean actress-manager, the size of her repertoire, the general excellence of her interpretations, and the revelation of the beauties of the new stage art that signalized her performances combined to give American theatregoers a new idea of her ability and broadening ambition. The plays were _The Taming of the Shrew_, _Twelfth Night_, _As You Like It_, and _Antony and Cleopatra_; the scenery in each case was a beautiful example--by Livingston Platt--of the imaginative revolt from old stage conventions that has notably marked the last decade; and Miss Anglin’s own women of Shakespeare,--though her Cleopatra was a comparative failure and was soon dropped from her repertoire, and though her Viola was to a degree lacking in high spirits--were charming and technically admirable impersonations. In the Greek Theatre of the University of California at Berkeley, Miss Anglin has acted four of the classic dramas of ancient Greece,--the _Antigone_ and the _Electra_ of Sophocles, the _Iphigenia in Auris_ and the _Medea_ of Euripides. Though her training and her speech have always been primarily those of the modern actress, she has revealed in these classic tragedies a simplicity of method and an authority of voice and presence that few actresses, either of England or America, could equal. With Miss Lillah McCarthy presenting so beautifully the women of Greek tragedy at one end of the country, and Miss Anglin at the other, the classics have had a day of real, if brief, glory. If the roster of American actresses is given a cosmopolitan aspect by the inclusion of the names of Edith Wynne Matthison, Martha Hedman, Hedwig Reicher and Bertha Kalich, all of whom lived many years in Europe, the most striking example of all is Alla Nazimova.[215] She was born in Russia, went to school in Switzerland, studied the violin at Odessa, the drama in Moscow, and after a few years’ apprenticeship in her native land and a year at St. Petersburg, she acted with Paul Orleneff’s company (of course, in Russian) in London. Coming then to America she played a season in Russian with her compatriots; and then, in June, 1906, having signed a contract to act in English in November of the same year, she set herself to the mastery of the new language, much as Modjeska had done thirty years before. She kept her word, and when the appointed time came she acted _Hedda Gabler_, which she followed during the next half-dozen years, with others of Ibsen’s plays: _A Doll’s House_, _The Master Builder_, _Little Eyolf_, as well as several other plays, like _The Comet_, _The Marionettes_, and _Bella Donna_, in none of which the actress possessed the significance that marked her when she confined herself to Ibsen.