Index
313 Index Academy of Music, Cleveland: 1863 spring productions , 44; 1869 season, 53; CM as guest artist, 114, 136–37; John Ellsler and, 36, 40; hierarchical organization of, 46; opening of, 274n. 4; playbills of, 276–77n. 42, 277n. 50, 290n. 45; roles played by CM at, 45, 52 acting: approach to, in late 19th century, 14–15, 47; emotional school of, 91; realism in, 83, 185; tragedy vs. melodrama, in Macbeth performance, 146–47; tragic school vs. emotional school, 141 actors in CM’s company, 220–21, 223–24, 305n. 27 actresses: CM on, 239; and concept of hysteria, 93; emotional, 91, 93–94, 109, 130; and marriage , 126; perceived respectability of, 38; response of Victorian men to, 90 Agnes (Sardou), 106 Alcott, Louisa May, 38–39, 200 Alexander II, assassination of, 200 Alixe (adapt. Daly): at Academy of Music, 136; CM and Daly rift over, 102; CM’s performance in, 14–15, 85–86, 94; in CM’s standard repertoire, 196, 208–9; plot of, 13–14; run of, 95; on tour, 100; in Washington, D.C., 111–12 Anderson, Mary, 184, 200, 203, 241 angina attack, induced, 169 Article 47 (adapt. Daly): in 1879 engagements, 194; at Chestnut Street Theatre, 196; in CM’s standard repertoire, 206, 208–9, 213, 216; critical response to, 9–11, 90, 135–36; at Fifth Avenue Theatre, 7; at Grand Opera House, 203; mad scene in, 10, 92, 282n. 59, 301n. 73; in Ohio, 204–5; at Park Theatre, 198; plot of, 8; on tour, 218–19, 221–25, 227, 230; at Union Square Theatre, 201 Article 47 (adapt. Johnson), 111, 114–15 assassinations, 200 audiences: American, fascination with Camille, 117–18; approval of, as driving force in CM’s life, 80; dwindling, for CM’s performances, 234; impact of CM on, 10, 82, 170, 207; morbid curiosity of, 185; response to “Blind Justice,” 232; response to CM, 79, 94, 123, 142, 246; southern vs. northern, 223–24; unresponsive, 219; Victorian, 90 autobiography of CM, 237 Baldwin’s Theatre, San Francisco, 192, 194 ballet girls, 39, 41–42 Bandmann, Daniel, 46, 49, 89 Barker, Fordyce, 157, 161, 166, 169 Barras, Charles M., 48, 276n. 40 Barry, Thomas, 38–39 Beecher, Henry Ward, 155 Beecher-Tilton trial, 155 benefit performances: of Camille, 118–19; for CM, 10, 49, 99, 254–55; for CM, at Broadway Theatre, 244; for Custer Monument Fund, 183–84; for John W. Norton, 206; for Mr. Smith, 125; for Society of Elks, 184; at Steinway Hall, New York, 190 Bernhardt, Sarah: at Abbey’s Park Theatre, 196–97; amputation of leg, 257; at benefit performance for CM, 244; at Booth’s, 198; as Camille, 124; Susan Glenn on, 109; on opium effects, 188; response of Victorian men to, 90; return to America, 229 Note: The initials CM are used to refer to Clara Morris. Fictional characters in works by Clara Morris are designated (fict.). Italicized page numbers indicate illustrations. 314 index Black Crook, The (Barras), 276n. 40 Black Friday, 53, 107 “Blind Justice” (Lee), 232, 234 Bluebeard (musical extravaganza), 43 Booth, Edwin, 45–46, 69, 219 Booth, John Wilkes, 45 Booth’s Theatre, New York, 74, 89, 142, 153, 202 Boston Evening Transcript (newspaper), 176–77 Bosworth, Charles/Clarence (brother), 25, 28, 31, 274n. 30 Bosworth, Frances, 28, 32 Bosworth, Philetius Swiss, 28, 32 Boucicault, Dionn, 62–63, 72, 83–84 Bowers, Mrs. D. P., 63–64 Bradshaw, Blanche, 35–36 breeches roles, 46 Broadhurst, Thomas, 238–39 Broadway, 74 Broadway Theatre, New York, 188–89, 283n. 7 Brooklyn Eagle (newspaper), 132–33 Brooklyn Theatre, 154, 172 Brougham, John, 13, 74 “Brownie,” 54–56, 58. See also Ellsler, John A. Bryan, William Jennings, 239 burlesque, 53 Burt, Henrietta, 27–28 Burt, Henry B., 27–28 Burtis, Eliza P. (Burt) (sister), 26–27, 273n. 28, 312n. 36 Burtis, George A., 26–27 California Theatre, San Francisco, 138–39 Camille (adapt. Davenport), 115 Camille (adapt. Heron): at Academy of Music, Brooklyn, 164; American fascination with, 117–18; as benefit performance, 118–19; at Booth’s Theatre, 153; at Boston Theatre, 176; Willa Cather on, 222; in CM’s standard repertoire, 196, 203–5, 208–9, 213, 216; comparison of, to Dumas’s script, 116–17; critical response to, 120–25, 135–36, 196, 220; on tour, 194, 219–20; uncertain origins of, 286n. 58; at Union Square Theatre, 119, 199 Camille (adapt. Keene), 116 Carrie (fict.), 30–31 Carte, Richard D’Oyly, 199–200 Cather, Willa, 222, 225, 266–67...
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