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tea”; Beatrice, in “Much Ado About Nothing”; Imogen, in “Cymbeline”; Constance, in “The Love Chase,” and Letitia Hardy, in “The Belle's Stratagem.” In 1891 she performed as Charles Hart, in “Rogues and Vagabonds,” by Mr. Malcolm Bell, and, in 1893, as Chatterton, in a play on the story of that unfortunate boy, by Ernest Lacy.

In 1894 Julia Marlowe was married to Robert Taber, an actor of ability, who had been the leading man in her dramatic company. The marriage proved unhappy and, in 1900, Mrs. Taber obtained a divorce. (Taber died, of tuberculosis, March 7, 1904, at a refuge in the Adirondack Mountains, provided for him,—for he had been rendered practically destitute by illness,-through the goodness of his former wife.) Mr. and Mrs. Taber had sometimes acted in professional association and sometimes each of them had headed a separate company. Prior to their legal separation the actress had played Lady Teazle, in “The School for Scandal”; Colombe, in Robert Browning's “Colombe's Birthday”; Kate Hardcastle, in “She Stoops To Conquer”; Prince Hal, in “King Henry IV.”; Romola, in a play based on the novel of that name by George Eliot, and Mary, in "For Bonnie Prince Charlie,” an English adaptation of “Les Jacobites,” by François Coppée. Later she acted Valeska, Colinette, and Barbara Frietchie, in plays named after their respective heroines, and Mary Tudor, in a drama called “When Knighthood Was In Flower”;

she had also performed Lydia Languish, in “The Rivals,” having been a member of the company of stars engaged by Joseph Jefferson for the representation of that comedy, in 1896. Among her later performances, aside from those in association with Mr. Sothern, mention should be made of Fiametta, in “The Queen Fiametta,” 1902; Charlotte Oliver, in “The Cavalier,” a play by Messrs. Paul Kester and George Middleton, based on a novel by George W. Cable, 1902, and Lady Barchester, in “Fools of Nature,” by H. V. Esmond, 1904. On September 19, 1904, Mr. Sothern and Miss Marlowe began their professional alliance, at the Grand Opera House, Chicago, in “Romeo and Juliet.” They continued to act together for three seasons: after that they again headed separate companies. They were reunited in 1909, since which time they have continued to act together. In 1906-'07 they coöperated in performances of "Jeanne D'Arc,” by Percy Mackaye; “John the Baptist” (“Johannes”), by Hermann Sudermann, and “The Sunken Bell” (“Die Versunkene Glocke”), by Gerhart Hauptmann.

Hauptmann. In April, 1907, they made a professional appearance in London, lasting six weeks, but they were not received with favor. Their marriage occurred in that city, four years later. On February 15, 1909, Miss Marlowe appeared at Daly's Theatre as Yvette, in “The Goddess of Reason," by Miss Mary Johnston. On November 8, 1909, Mr. Sothern and Miss Marlowe opened the ill-starred New The

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atre, acting in “Antony and Cleopatra." Their regular repertory includes “Hamlet,” “Romeo and Juliet,” "Twelfth Night,” “Much Ado About Nothing,” “The Merchant of Venice," "The Taming of the Shrew,” “As You Like It,” and “Macbeth.” Miss Marlowe's Shakespearean performances have been seen at their best in her maturity and thus in association with Mr. Sothern, and they can, therefore, be most conveniently considered together with those of that actor in the same plays. Representative early performances of hers were Parthenia, Mary, Colinette, Barbara Frietchie, and Mary Tudor.

“INGOMAR.” The play of “Ingomar,”—a delicate fabric of poetic fancy, completely elusive of the test of fact,-contrasts strongly, and favorably, with many modern plays now current and prosperous, but the audience that approves theatrical pepper will ever consider it insipid. The motive of it is noble. The atmosphere of it is pure. The spirit of it is beautiful. The allegory involved in it is one that should impart cheer and encouragement to every believer in the possible goodness of human nature, and the attainment of, at least, a little felicity in the life of the human affections. That allegory signifies the conquest of arrogant strength by gentle weakness; of ignorance by knowledge; of brutality by refinement; of barbaric passion by perfect innocence; of the animal by the spiritual. All votaries of the Stage

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