Pauline Hall's active life on the stage began when she was about fifteen years old. She was born in Cincinnati about 1860 in rather humble quarters in the rear of her father's apothecary shop on Seventh Street.

She bore the somewhat formidable and decidedly German name of Pauline Fredericka Schmidgall, until she adopted the simple and harmonious stage name of Pauline Hall.

It was in 1875, at Robinson's Opera House in Cincinnati, under the management of Colonel R. E. J. Miles, that Miss Hall made her first appearance on the stage. She began at the very bottom of the ladder, an "extra girl" in the chorus and a dancer in the ballet. Next she journeyed to the Grand Opera House in the same city, a theatre which was also under Colonel Miles's management, where she remained until the versatile Mr. Miles organized and put on the road his "America's Racing a.s.sociation and Hippodrome," a circus-like enterprise. She was made a feature in the street parade tableaux of Mazeppa used to advertise the attraction, and a very effective figure she must have been, too, for she was a handsome girl and a picture of physical perfection. Besides luring the public to the show, Miss Hall entertained it after it got there by driving a Roman chariot in the races.

After a summer of this exciting work Miss Hall returned to the theatre as a member of the chorus of the Alice Oates Opera Company, which was at that time making a Western tour under the management of the same Colonel Miles. Alice Oates was then in her prime, and the most popular operatic star in the country. She was born in Nashville, Tennessee, and educated in Louisville. When she was nineteen years old she made her debut in Chicago in the Darnley burlesque, "The Field of the Cloth of Gold." She sang in "The Little Duke," "The Mascotte," "The Pretty Perfumer," "The Princess of Trebizonde," "The Grand d.u.c.h.ess," and "Olivette," and was one of the first of the many Ralph Rackstraws in "Pinafore" in this country. She died in Philadelphia on January 11, 1887, at the early age of thirty-seven years. She was small of figure and pretty of face, unusually so off the stage and dazzlingly so on the stage. Her voice was of rare compa.s.s and sympathetic in tone, and her acting was vivacious, dashing, and hearty.

After leaving the Alice Oates Company, small parts in Samuel Colville Folly company gave Miss Hall a slight advance in the theatrical world, and then she made her first and only appearance in the "legitimate." She joined Mary Anderson's company, and for three or four months acted minor characters in the plays of Miss Anderson's repertory, which at that time was somewhat limited. Among Miss Hall's parts were Lady Capulet in "Romeo and Juliet" and the Widow Melnotte in Lord Bulwer Lytton's stilted melodrama, "The Lady of Lyons."

In 1880, Miss Hall first began to be noticed by professional discoverers of stage talent. She was then a member of Edward E. Rice's "Surprise Party," with which she appeared in "Horrors" and "Revels." Next, in Rice's greatest success, "Evangeline," Miss Hall played Gabrielle and even Hans Wagner, being the first woman to try the droll character. In the fall of 1882 she went on a tour with J. H. Haverly's "Merry War"

company, and sang the part of Elsa. With Haverly she also appeared in "Patience." Following this engagement she rejoined Mr. Rice's forces, and on December 1, 1883, opened with his company at the Bijou Opera House, New York, where she created the part of Venus in "Orpheus and Eurydice." She was a success from the start, and continued with Mr. Rice until the close of the run of the burlesque on March 15 of the following year, when she went with the company, under the management of Miles and Barton, on the road.

On her return to New York, Miss Hall again appeared at the Bijou, on May 6, 1884, as Ha.s.son in a revival of "Blue Beard," following this with another road experience that lasted until July. In August she began an engagement at Niblo's Garden, New York, as Loresoul in Poole and Gilmour's spectacular production of "The Seven Ravens." The part was a singing one, and Miss Hall added considerably to her popularity among the frequenters of the burlesque shows that were so largely patronized in those days. In February, 1885, Miss Hall was in the t.i.tle role of "Ixion" at the Comedy Theatre, New York, though only for a short time, and on April 4 she made her first appearance in a German speaking part, singing Prince Orloffsky in "Die Fiedermaus" at the Thalia Theatre.

On May 25 Miss Hall opened with Nat C. Goodwin at the Park Theatre, Boston, and created the character of Oberon in the travesty "Bottom's Dream." This was a failure, and in a few weeks Miss Hall returned to New York, where she signed with Rudolph Aronson of the Casino, making her first appearance as Ninon de l'Enclos in the English presentation of "Nanon." She did well with the part, and further increased the favorable impression that she had made by her Angelo in "Amorita" and her Saffi in "The Gipsy Baron." Next came "Erminie," which achieved a success as yet unequalled by any light opera in this country unless it be "Robin Hood." The successor to "Erminie" was "Nadjy," also a famous. .h.i.t, in which, however, Miss Hall's part of the Princess Etelka was overshadowed by the character of Nadjy, the dancer, so captivatingly played by Marie Jansen in the original production. After "Nadjy" came "The Drum Major,"

which failed, however, to make any lasting impression.

After leaving the Casino Miss Hall began her career as a star, appearing in "Puritania." This was followed the next year by "Amorita" and "Madame Favart," while "Puritania" was retained in her repertory. The season succeeding she brought out "The Honeymooners." During 1894-95 her operas were "La Belle Helene," a revival of "The Chimes of Normandy," and "Dorcas." She then retired from the stage for a while, and afterward appeared in vaudeville until she joined Francis Wilson.

"Puritania, or the Earl and the Maid of Salem," the best known and most successful of all her operas, was produced in Boston in the summer of 1892. The opera was written by C. M. S. McLellan, and Edgar Stillman Kelley was responsible for the music. The story of the opera was decidedly attractive. The action began in Salem. Elizabeth, a fair young miss of the town, had been accused of being a witch by Abigail, a confirmed woman-hater. Elizabeth was tried by the local tribunal and was condemned, chiefly because she had refused to wed Jonathan Blaze, the chief justice of the court. Just as the sentence was p.r.o.nounced an English ship arrived in the harbor, and Vivian, Earl of Barrenlands, came ash.o.r.e. He rescued Elizabeth from the mob, and captivated by her beauty proceeded to make love to her. Nothing would do but he must take her back to England with him. Smith, the Witch-finder-general to his Majesty Charles II., was indignant because Vivian had won the girl, and threatened to expose her as a witch to the king.

The second act took place in a subterranean chamber under the king's palace, where Killsin Burgess, a conspirator, was plotting after the Guy Fawkes fashion to blow up everything. So deeply did he meditate on divers plots and treasons, that he fell asleep, lighted pipe in mouth and seated on a keg of gunpowder. The next scene showed the palace where King Charles had just bestowed his favor on Vivian and the future Countess of Barrenlands. Smith entered with Blaze and Abigail, and the trio denounced Elizabeth as a witch. Elizabeth, driven half mad by their false accusations, mockingly declared that she was a witch, and proceeded to "weave a spell." She summoned Asmodeus, the Prince of Eternal Darkness, to appear. A loud report was heard, and the form of Burgess was hurled through the air. The sparks from his pipe had ignited the keg of powder which exploded just as Elizabeth was pretending to display her powers. Of course, Elizabeth was condemned by the king on this _prima facie_ evidence; but Burgess, recognizing her as his daughter, confessed his conspiracy against the king, and all ended happily.

Miss Hall gave the opera a first-cla.s.s production, a fine cast, and handsome scenery. Louise Beaudet acted Elizabeth, and graceful and charming she was, too. Miss Hall herself played Vivian. Frederic Solomon was the original Witch-finder-general, and his conception of the character was thoroughly original. Jacques Kruger as the Judge, Eva Davenport as Abigail, John Brand as the King, and Alf Wheelan as the Conspirator were all happily chosen. The opera ran in Boston from June until September. Then Miss Hall took the opera on the road for a season. "Puritania" was tuneful and bright in action. The dialogue was often sparkling, the fun was spontaneous, and the three comedians had parts which had the added value of being characters. Vivian was admirably suited to Miss Hall's talents. Her songs were given with spirit, her acting had that freedom so characteristic of her "boys,"

while her costumes were pictorially gorgeous.

Miss Hall's first husband was Edward White, whom she met in San Francisco in 1878, where he was engaged in mining enterprises. They were married in St. Louis in February, 1881. Eight years later Miss Hall secured a divorce from Mr. White, and in 1891 she was married to George B. McLellan, the manager of her company.

CHAPTER XXII

HILDA CLARK

The divine gift of song has placed Hilda Clark, whose ability as an actress is by no means great, in a position of prominence in the theatrical world. She went on the stage because she could sing, and did not learn to sing because she was on the stage; and, owing to the fact that there is, always has been, and always will be a demand for attractive young women with pleasing singing voices, she has had her fair measure of success. Miss Clark has also the added charm of more than ordinary physical attractiveness. She is a blonde of prettily irregular features. Her personality is winning rather than compelling, and her stage presence is good, though there are times when this would have been improved by more bodily grace and freedom. Byron, who hated a "dumpy woman," would have found Miss Clark "divinely tall and most divinely fair," but very likely he would have advised her to take a mild course in calisthenics in order to acquire conscious control of a somewhat unruly physique.

Hilda Clark comes of an old Southern family, several of whose members won military distinction. An ancestor of hers, Colonel Winston, was awarded a sword by Congress for his services in the Revolutionary War.

Her great-grandfather, General Winston, was distinguished in the war of 1812, while several of her relatives were noted for gallantry during the Civil War. Miss Clark was born in Leavenworth, Kansas, in the early seventies. When her father, who was a banker, died, the family removed to Boston, where Miss Clark was educated. As she grew into womanhood, her voice attracted the attention of her friends, and by their advice she went to Europe, where she studied music for two years. On her return to this country she became the soprano of St. Mark's Church in New York City, and it was there that Willard Spenser, the composer of "The Princess Bonnie," first heard her sing.

Miss Clark's voice is what is technically known as a soprano legere, and while she excels in floria music, her voice has considerable of that rare sympathetic quality possessed by coloratura singers. Her work in the theatre may be summed up in a few words. She made her debut in the t.i.tle role of "The Princess Bonnie" in September, 1895. After that she accepted the offer of The Bostonians, with whom she appeared for a season. In "The Serenade" she alternated in the role of Yvonne, the ballet dancer, with Alice Nielsen, and she also sung Maid Marian in "Robin Hood" and Arline in "The Bohemian Girl." Next she was engaged by Klaw and Erlanger. She created the part of Lady Constance in "The Highwayman" after Camille D'Arville, who was expected to take the character, had quarrelled with the stage manager over some detail in the action, and refused to have anything more to do with the opera. Miss Clark was quite successful in this character, and it may be said to have established her firmly in the ranks of the light opera prima donnas.

Next came her appearance in the prima donna role of John Philip Sousa's opera "The Bride Elect," in which she is best known by the general public.

Sousa is the most eminent composer for the ba.s.s drum and the cymbals that we have, and he can make music with more accents than any other man in the business. His powerful first and third beats set the feet to tapping and the head to nodding, and the American public thinks that it is great stuff. So it is, the finest music for a military parade that ever came out of a bra.s.s band. Sousa writes his music with a metronome at his elbow clacking out the marching cadence of 120 to the minute.

Every time the machine clacks he puts in a bang on the big drum and a clash with the cymbals. Then he weaves a stately moving melody around the bangs and the clashes, marks the whole business "fortissimo," and lets it go. He does not bother much about originality. His strong point is marches, and he knows it. In "The Bride Elect," he gave us marches--shall we say "galore"? The score was undoubtedly catchy, and the tunes pleased for the moment. As for the book, which was also by Sousa, it was nothing to boast of. It served admirably as a ringer-in for the marches.

Miss Clark's work in "The Bride Elect" was thoroughly satisfactory. She sang the music with splendid effect and with much brilliancy. Her acting, to be sure, was hardly all that could be desired, but, fortunately for her success, the book did not call for any great dramatic force. Miss Clark's career has been somewhat unusual in that she took at once a position of importance on the stage and has continued in positions of importance ever since. All this has happened because she could sing; and so busy has she been with her singing that she really has had no time to learn to act. In other words, in spite of her five years behind the footlights, she still lacks experience. The woman who starts in a humble capacity in the chorus and who climbs slowly to the heights of calciumdom may have at first very crude notions regarding action, but she learns as time goes on to be non-committal in gesture at least. She may not develop into a histrionic genius, but she does acquire facility in the conventions of light opera that so often stand for acting. It is of just this facility that Hilda Clark is most in need.