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Okay, so maybe hiring a centerfold stud to remodel my home was crazy. But I, Marty Owens, practical bookstore owner, was a desperate woman, and contractor​.
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But this was not listened to, and we decided not to return upon the old conditions. So, for a time, we had to separate.

Culinary Confessions of the PTA Divas

In the company at Brighton, I met again the charming companion of my girlish days at Southampton Mary Seyton. She and her mother again lived near me. She was still playing walking ladies, and, it was evident, had made little progress in her profession. It was easily accounted for her heart was not in it.

She was writing a novel, and her theatrical work was a secondary consideration. I remember one night when she was the Celia and I the Rosalind that half her speeches were impromptu though, somehow, she always managed to alight on the last three or four words correctly , and I exclaimed in tones of grieved remonstrance, " Oh, Mary, how you can go on for an important Shake- spearean part, knowing as little as you do, I can't imagine!

Braddon Again time of its close my third little son, Louis, arrived. Knowing that my landlady was no adept in the culinary art, kind-hearted Mary often stepped across with something covered over in a breakfast-cup, and the remark, " Mamma has been making some good soup, and I feel sure you would like a little," or, " Mamma has stewed some sweetbreads for our supper, and we think a little will do you good. She soon after went to London, and it was not long after, that she fascinated the fiction-loving public with her powerful novel, Lady Audley's Secret.

And now I must write somewhat fully of my husband's experiences at the Theatre Royal, Manchester, for this was the com- mencement of our twelve years' connection with the City of Cotton. The Theatre Royal, Manchester, was then a power in that part of the land. No other theatre existed in the city except the " Queen's," which only produced melodrama, and which first-class stars never dreamed of visiting.

John Knowles, therefore, ruled the theatrical world there with a despotic hand. If stars would not accede to his terms which were often arbitrary ones , then Manchester's stage door was shut against them. Frohman's talented " producer " had made an immense success in London with his drama of The Colleen Bawn, he was anxious to take it to Manchester, where he knew an enormous welcome was awaiting it. Knowles knew it too, and asked such prohibitive terms that Boucicault flatly refused them, and, defying precedent, carried his great London success to the " Queen's," where it had a brilliant run.

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All classes, from the highest to the lowest, crowded the theatre nightly, greatly to the detriment of the superior dramatic temple. It can be easily understood that amongst the better class of theatre-goers there was arising the feeling that theatrical competition would be a good thing for Manchester, not only for the sake of art generally, but which perhaps appealed to them most also as a matter of commercial speculation.

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David Jones; The Ghost Mr. Knowles usually engaged two leading men who had to play alternately lead and seconds. Now, Shakespearean plays in the provinces were generally " pitchforked " on the stage. Any scenery and any costumes sufficed.

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My husband was indulging in the hope that he would be able to reform that altogether, and 58 Inexpensive Shakespearean Revival to give shape to some of his pet ideas. Upon interviewing Mr. Knowles on the subject, however, his ambitious hopes received a considerable check. Knowles, " I'm not going to spend any money on it. There's lots of scenery in the cellar, and heaps of dresses in the wardrobe. Do whatever you like with them, but I shan't buy anything more. They've done before, and they must do again.

There was, fortu- nately, a permanent scenic artist in the theatre, who entered into his projects con amore. By painting the lower portion of some Norman interiors with arras, covered with quaint designs, quite a different aspect was given to them.

The churchyard scene was enclosed at the back, with a rising mound, down which the funeral procession wound slowly in the light of the setting sun. From the wardrobe, all the old satin brocades and velvets that had previously been worn in the play for years were discarded, and an attempt made at Scandinavian costumes by selecting only serges, cloths, and clinging silks, the heavy woollen stockings being rolled over at the knees and cross-gartered a thing not previously seen there. Music, too, was 59 Sixty-Eight Years on the Stage freely used throughout the play a startling innovation.

Thus, without any expenditure, an effect was gained which caused the Man- Chester Examiner and Times to devote a whole column of praise to the " production. Make as many notes as you can, and jot down the colours and styles of the dresses, etc. Phelps is very fine, isn't he? The part of Bertuccio is one that taxes the resources of an actor to their fullest extent. Every note in the gamut of emotional power is touched. Scorn bitterness parental love - tenderness hatred revenge remorse - are all, in turn, delineated. My husband achieved a great success the critics were GO Henry Irving enthusiastic.

His letters to me for I was still at Brighton were exultant, but his intense acting injured his health, and at the end of the week he was ill in bed suffering from nervous exhaustion. The following season he and I were both engaged by Knowles for lead, and in the mean- time the scheme for another theatre was rapidly gaining ground.


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Calvert was con- fidentially informed that if it fructuated, he would be offered the management. It was for this season at the Theatre Royal that a young man was engaged, for what is technically known as " walking gentlemen," whose name was Henry Irving. He was not, at first, a success. He had peculiarities of gait and speech, against which the repre- sentatives of the press launched all their powers of depreciation and sarcasm, frequently suggesting to Mr. Knowles how very easy it would be to engage a much more capable actor in his stead.

But, as Griffith says of Wolsey, " he was a scholar, and a ripe and good one. They were kindred spirits. They took long walks together, and many a night did Irving accompany my husband home to share our bit of hot supper which usually consisted of Irish stew.

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Sometimes the fire 61 Sixty-Eight Years on the Stage in our little parlour would have got low, when we would adjourn to the kitchen, where, with our feet upon the fender, we would discuss Shakespeare, dramatic art and poetry, through the " wee sma' hours ayont the twal'. We managed to procure a copy, and with the liberal use of a French dictionary, I succeeded in making an adaptation of it. I re-christened it Ye Storye of an Englyshe Merchante, which was printed on the bills in old English letters.

He opened in Hamlet, with the following cast Hamlet Edwin Booth. Henry Irving. The Ghost. Fred Everill.


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This was followed by The Merchant of Venice. Othello was played twice during the week, Mr. Booth and Mr. Calvert alternating Othello and lago; and Romeo and Juliet was also performed, in which I played the Juliet to his impassioned and poetic Romeo. The following season neither of us was engaged by Knowles, and we fancied it might be from the fact that the scheme of the rival theatre had reached a stage of substantiality. A company had been formed, shares allotted, and the architects were sending in their designs. My husband had several plays of his own and succeeded in filling up dates for them.

I travelled with him the earlier part of the season, and then had to return to my little home in Manchester to await another domestic event. It was while we were together in Glasgow that the following incident occurred. Our two eldest boys were sent to a neighbouring school, chiefly to keep them out of mischief, for they were still little more than babies.