Posts Tagged With: Alice Gray

Alice Gray: Successful Partnerships

This is the second installment in a series about actress, Alice Gray. Gray’s photograph was one of the five discovered upon the body of John Wilkes Booth when he was cornered and killed on April 26, 1865. Gray’s theatrical career has largely been forgotten with very little biographical material readily available about her. The following post was developed by consulting a variety of sources including digitized newspapers such as the Buffalo Courier, Baltimore Sun, New York Clipper and D.C.’s National Intelligencer. In all, it took several days’ worth of work to find and organize the material. This post is the second in a series about Alice Grey’s life, career, and connection to the Booth family. To read Part One entitled, Alice Gray: An Actress is Born, please click HERE.

Alice Gray

Part Two: Successful Partnerships

Research completed thus far has yet to solve the mystery of how Alice Gray became acquainted with theater owner John T. Ford. Alice had met many prominent actors and actresses during her run at the Metropolitan, Charleston, and Mobile Theatres. During that time she had acted side by side to both Edwin Booth and H. B. Phillips, two men who were very close to John T. Ford. Perhaps one of them told Ford about Gray’s acting abilities and encouraged him to seek her out. Or perhaps Gray reached out to Ford on her own and inquired about working for him. Regardless of how it happened, when the 1860-1861 theatrical season began, Alice Gray found herself employed by John T. Ford to be the leading stock actress at his Holliday Street Theatre.

In the year prior, John T. Ford had lavishly renovated the Holliday Street Theatre in Baltimore. The Holliday Street Theatre was the only theater Ford owned outright at this time, but he had prior experience leasing and managing other theaters. This was Gray’s first time in Baltimore but the public there quickly took a liking to her. The August 29th, the Baltimore Sun newspaper reported that, “Miss Gray sustained the part of Mrs. Haller last night with quite unexpected grace, talent and effect and received in this case no unmeaning tribute of a call before the curtain to receive the congratulations of the audience. She is a brilliant accession.”

While in Baltimore in the fall of 1860, Alice Gray became acquainted with another member of the Booth family, John Sleeper Clarke. Clarke had known the Booth family from childhood when he played with young Edwin and John Wilkes in Baltimore. Clarke had been a member of Edwin’s kiddie acting troupe that put on plays for the neighbor kids. Clarke followed the Booths into the acting profession but became a comedian rather than a tragedian. In 1859, John Sleeper Clarke married Asia Booth, the youngest Booth daughter. Clarke was a popular comedian for John T. Ford and would make frequent appearances in his theaters. These first performances with Clarke in September of 1860 would be the first of many for Gray.

The respect and approval Gray received from Baltimore audiences was no doubt gratifying to Gray, but once again she was called back to New York City’s stages by her friend, Edward Eddy. Eddy was performing an engagement at the New Bowery Theatre and must have requested Alice Gray by name to be his leading lady. Ford gave Gray permission to leave the Holliday Street Theatre to join Eddy for his engagement in New York.

Engraving of Edward Eddy in the role of Posthumus (click to see the full image)

Engraving of Edward Eddy in the role of Posthumus (click to see the full image)

1860 With Eddy in NY Alice Gray

Alice Gray eventually ended her engagement with Eddy early. Whether this was contracted by Ford when he allowed her to leave or whether she returned back to the Holliday Street Theatre before the end of Eddy’s New York engagement on her own is unknown. Regardless, the decision to depart New York early to return to Baltimore was well founded. That eminent star of the stage, Edwin Booth, was starting an engagement at the Holliday Street Theatre. It had been almost three years since Booth and Gray had performed together back in Buffalo and the young actor’s fame had only increased since then. Booth in Baltimore was more of a draw than Eddy in New York and so Gray took her place alongside him.

Edwin Booth circa 1860

1860 Performing with Edwin Alice Gray

Gray played Juliet to Edwin’s Romeo, Katherina to Edwin’s Petruchio and Desdemona to Edwin’s Othello. Ford no doubt witnessed these performances and felt contented that he had chosen his leading stock actress wisely. By the end of October of 1860, Edwin departed for his next engagement in Philadelphia. Gray continued to act at the Holliday Street Theatre for the remainder of the 1860-1861 season, regularly receiving advertised benefits.

It was while Gray was in Baltimore that the Civil War began. The conflict commenced on April 12, 1861, when Confederate forces laid siege upon Fort Sumter in Charleston, South Carolina. The simmering cauldron of the secession crisis had finally boiled over due to the election of Abraham Lincoln. Working and residing in Baltimore, Alice Gray would have been acutely aware of the anti-Lincoln and anti-war feeling that permeated the city. On April 19, 1861, a deadly riot occurred in Baltimore, causing the first hostile deaths in the Civil War. The Sixth Massachusetts Militia was passing through Baltimore on their way to Washington, D.C. when they found themselves surrounded by anti-war and pro-Confederacy sympathizers who called themselves the National Volunteers. After some tense moments, members of the National Volunteers attacked some of the members of the Militia with rocks, bricks, and pistols. In response, the Militia fired at the mob. A melee broke out and ended only after the Sixth Massachusetts Militia left behind most of their supplies and made it to Camden Station. In the end, four soldiers with the Militia and 12 civilians with the mob were killed.

Baltimore Riot 1861 Harper's

The pro-Southern residents of Baltimore used this event as propaganda, comparing it to the 1770 Boston Massacre that helped spur the American Revolutionary War. However, the pro-Northern public decried the violence and bloodshed caused by the rebels in Baltimore and demanded swift action against them. The federal government responded quickly and showed Baltimore and the rest of Maryland in no uncertain terms that it would not be allowed to foment insurrection like this again. In May of 1861, General Benjamin Butler entered Baltimore with about 1,000 soldiers, occupied the city and declared martial law.

All of these events were likely troubling to Alice Gray. Gray had lived most of her life in western New York, which was a largely anti-slavery region. Her home of Buffalo, New York was filled with safe houses for the Underground Railroad and was a common meeting place for abolitionist societies. It is unlikely that Gray shared the same pro-slavery sympathies as many of those she was surrounded by in Baltimore. John T. Ford was largely anti-Lincoln, though he would become more pragmatic as the war continued. In March of 1861 however, Ford seized upon the fact that Lincoln had to slip through Baltimore incognito on his way to his own inauguration for fear of physical harm. He included the scene in a patriotic piece called “Uncle Sam’s Magic Lantern” in which the audience was presented with several scenes of America’s gloried past, present, and future. “The Flight of Abraham” was included as a scene along with “Our National Troubles,” demonstrating Ford’s pro-Confederate sympathies. Alice Gray no doubt played her assigned role in these “patriotic scenes.”

It is perhaps for these reasons that, when the 1861-1862 season commenced, Alice Gray did not stay at the Holliday Street Theatre with John Ford. Instead she made her way to Philadelphia where she was employed at the Walnut Street Theatre. The 1861-1862 theatrical season was a lean one for the entertainment industry. Many of the big British stars decided against visiting the United States with the Civil War raging. Even some American actors, like Edwin Booth, left the country for European tours of their own during this year. Audiences were smaller as the news from the war occupied everyone’s thoughts. At the Walnut Street Theatre, Alice Gray once again performed with John Sleeper Clarke when the comedian was engaged there for three weeks straight. She received little press during her time at the Walnut Street Theatre. One quick mention described her as a “handsome young actress, who evidently has not very much stage experience.” Such a review must have hurt the 26 year old actress who had been acting on the stage for almost 10 years at that point. When Gray’s season with the Walnut Street Theatre ended she decided to try her luck somewhere else.

It was during Gray’s time in Philadelphia that John Ford had decided to invest in a new theater. Ford may have disliked Lincoln and the war but he was an astute business man. Washington, D.C. was a growing city during the war with thousands of soldiers and private citizens coming to the nation’s capital. Ford believed he could succeed in establishing a new theater in this growing metropolis. In December of 1861, Ford signed a five year lease on the First Baptist Church of Washington. The parishioners of the First Baptist Church had merged their congregation with another church and were no longer using the edifice on Tenth Street. The church already had a raised platform on which the pulpit and choir would be situated and so Ford realized that the building could be remodeled fairly inexpensively to serve as a theater. At first Ford rented the church to a minstrel group, but then, in February of 1862, he began a $10,000 renovation on the building. The building reopened on March 19, 1862 under the name “Ford’s Atheneum.” Ford’s renovations had been done quickly so as to preempt the reopening of another of Washington’s theater’s, Leonard Grover’s New National Theater, which completed its renovations on April 21st.

Ford's Atheneum 1862

Ford’s Atheneum proved a considerable success from the start. With his connections, Ford was able to attract first rate stars despite the war. The stationed soldiers and citizens of Washington proved devout theater goers. Even President and Mrs. Lincoln attended an operatic performance at Ford’s on May 28, 1862.

When the 1862-1863 theatrical season opened, Ford renamed the building “Ford’s New Theatre” and looked forward to another prosperous year. The theater opened with an engagement by John Sleeper Clarke and it’s possible that Ford missed his former leading actress. When Gray had departed for Philadelphia, Ford had replaced her at the Holliday Street Theatre with actress Annie Graham. Graham was brought down to Ford’s New Theatre for a few performances with John Sleeper Clarke, but it doesn’t seem like they had the same chemistry (or marketability) as Clarke and Gray once had. It appears that Ford reached out to Gray with an offer to be his leading stock actress again. Perhaps this time he promised she would act in his new D.C. theater and therefore not have to relive the unpleasant scenes in Baltimore.

Gray had spent the summer and fall months of 1862 up in Montreal, Canada. The Theatre Royal was famous for “importing” American talent during the summer months. This was also a wise way for American performers to keep a steady paycheck between seasons. Alice Gray played to good crowds but as fall gave way to winter, an engagement down in D.C. likely looked more hospitable to her.

Whether John T. Ford originally intended for Gray to perform at his new D.C. theater or whether he wanted her back at his Baltimore establishment we may never know for sure because on the evening of December 30, 1862, cruel fate made the decision for him. Under the stage of Ford’s New Theatre in D.C. a fire was started by a faulty gas meter. While there was no loss of life from the severe blaze that followed, the fire completely consumed the inside of the theater. Ford lost over $20,000 in the inferno but the outside walls of the theater survived. While other theater owners might have given up and left the capital, Ford decided to rebuild his theater and make it bigger and more grand than had ever been seen in D.C. before. Ford would spend the next eight months raising money for and constructed his new theater. In the mean time, at the Holliday Street Theatre in Baltimore, the show must go on.

Alice Gray made her return to the Holliday Street Theatre in January of 1863 with great fanfare in the press:
1863 Return to Baltimore 1 Alice Gray 1863 Return to Baltimore 2 Alice Gray 1863 Return to Baltimore 3 Alice Gray

Gray acted alongside John Sleeper Clarke again, with Ford highly advertising their partnership. In this way, Gray replaced her own replacement, Annie Graham, who was assigned smaller female roles when Gray came back. Gray and Clarke performed together at the Holliday Street Theatre throughout Clarke’s engagement which ended on February 14th. Clarke himself must have realized that he and Gray had good chemistry together. They had performed several long engagements with each other since 1860 and the results had been paying off in the box office. When Clarke went off to his next engagement in nearby D.C., he brought Alice Gray with him.

Clarke was scheduled to make his debut at the Washington Theatre on February 23, 1863. The Washington Theatre was a slightly rundown edifice that only had intermittent productions when there was a lessee. The building lacked a full time manager/owner and was instead leased out to different individuals who staged their own shows at their own expense. It was essentially a rental theater, and hardly a five star establishment. However, John T. Ford had proven with his Atheneum that theaters were a sound business in war-time Washington. With that establishment burnt, the only other theaters of note were Grover’s New National Theater, the Washington Theatre, and Grover’s Canterbury Hall – a far seedier establishment which only catered to men. Until Ford completed his construction on his new theater, the only real places to act in Washington were the New National Theater or the Washington Theatre.

On the Saturday before Clarke’s engagement began, the managers of the Washington Theatre gave Alice Gray a headlining performance of her own.

1863 Solo in Washington Alice Gray

This was Alice’s first appearance in D.C. and the papers did a nice job of advertising it:
1863 First time in Washington

Aside from her summer engagements in Cleveland and Montreal, this was Alice Gray’s first time being the “sole attraction” for a performance. For once she was not playing second fiddle to a visiting star or receiving the assistance of other stars for her benefit. To paraphrase Shakespeare’s Richard III, “She was herself alone.” Gray likely reveled this chance, even if it was only for one night. She had a good reputation in nearby Baltimore and a good solo performance here would help her establish herself as a star quality actor to the Washington public. The next day, Gray’s performance was described as a “decided sensation” but was sadly overshadowed by her anticipated debut with Clarke, who took much of the press. Clarke was scheduled to make his debut alongside Gray in Our American Cousin on February 23rd. However, when the curtain rose, Clarke was markedly absent. An advertisement in the next day’s newspaper announced that Gray would appear alongside a different comedian, C. B. Bishop, with the following note from the management:

“The Managers regret exceedingly the disappointment to their patrons last evening in not being able to present the popular Comedian, Mr. J. S. CLARKE, in his celebrated characters, and beg to assure them that the severe domestic affliction which compelled his absence will only defer his first appearance for a night or two.”

In all, Clarke would be absent from the stage until Thursday, February 26th. The “severe domestic affliction” that prevented Clarke from performing during that time was a death in the family. Mary Devlin Booth, the wife of Edwin Booth, died on the morning of February 21st. Clarke and his wife Asia (who, coincidentally, had never cared for Mary Devlin) rushed to Edwin’s side at his time of need. They were also joined by John Wilkes Booth, who had left his upcoming engagement in Philadelphia to be with his brother. Clarke and the rest of the Booth’s attended Mary’s funeral and burial at Mount Auburn Cemetery in Cambridge, Massachusetts.

Mary Devlin Booth, Edwin Booth's first wife

Mary Devlin Booth, wife of Edwin Booth

Alice Gray had continued to perform at the Washington Theatre without Clarke: “During Mr. Clarke’s temporary absence they have introduced a young and beautiful actress, Miss Alice Gray, who has made a decided sensation in every character she has appeared in.” When Clarke returned to town, he and Gray once again began their successful partnership. Clarke’s absence for a few days increased his appeal and so Clarke and Gray performed to full houses for the rest of his engagement. However, when Clarke left for his next engagement in Philadelphia in mid March, Gray did not join him. Instead, she returned to Ford’s Holliday Street Theatre to act alongside a new member of the Booth family. This young, handsome actor would make an indelible mark on Alice Gray and, in a couple years, would alter the course of American history.


This concludes part two of the series about Alice Gray’s life, career and connection to the Booth family. The third installment, “Alice Gray and John Wilkes Booth,” will be posted soon.

References:
Backstage at the Lincoln Assassination by Thomas Bogar
Additional research graciously provided by Thomas Bogar
Restoration of Ford’s Theatre by George J. Olszewski
American Tragedian: The Life of Edwin Booth by Dr. Daniel Watermeier
Edwin Booth: A Biography and Performance History by Arthur Bloom
John Wilkes Booth: Day by Day by Arthur Loux
Images of America: Ford’s Theatre by Brian Anderson for the Ford’s Theatre Society
Ford’s Theatre Society
Ancestry.com
Library of Congress
Newspaper extracts from: University of Illinois (free), FultonHistory.com (free), GenealogyBank.com (subscription)

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Alice Gray: An Actress is Born

As John Wilkes Booth was running from the authorities after assassinating President Abraham Lincoln, he carried with him a total of five carte-de-visite photographs. These photographs were placed safely in a wallet like pocket of Booth’s diary as he struggled through swamp and stream, darkness and dawn, for 12 long days. When Booth was finally cornered and killed on April 26, 1865, these photographs were removed from his dying body. A previous post highlighted how the process of identifying these ladies was a slow one that did not even commence until several years after the assassination. In the end, the women of Booth’s wallet were determined to be Lucy Hale, his fiancée, and four actress friends, Effie Germon, Helen Western, Fanny Brown, and Alice Gray.

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Though these actresses were each talented and respected during their careers, they have largely become footnotes to history. Their photographic presence on the body of the assassin has become the defining moment of their entire lives. For one of these actresses in particular, very little exists about her life outside of John Wilkes Booth. While Fanny Brown may have been dubbed “The Mysterious Beauty,” the truly mysterious and unknown beauty in Booth’s possession was Alice Gray.

While there is some biographical information readily available about Effie Germon, Helen Western, and Fanny Brown, the fourth actress in Booth’s pocket is a bit more elusive. The Lincoln Financial Foundation Collection, which contains copies of Booth’s CDVs, had this to say about Alice Gray when they highlighted the photographs in a post on their blog:

“Little is known about Alice Grey.  In 1858 she toured with Barry Sullivan and performed at the Walnut Street Theatre in Philadelphia in the early 1860s.  She appeared as Juliet opposite John Wilkes Booth as Romeo in Baltimore in 1863.  By 1865, she was a leading lady in the company at Ford’s Theatre in Washington, where she again played opposite Booth in a production of The Apostate on March 18.  She was not at the theater the night of Lincoln’s assassination.”

With so little known about Alice Gray, an in depth search was enacted to discover more about the life and career of this forgotten lady.  The following biographical sketch was developed by consulting a variety of sources including digitized newspapers such as the Buffalo Courier, Baltimore Sun, New York Clipper and D.C.’s National Intelligencer. Further information was discovered using creative searches on Ancestry.com and in cemetery records. In all, it took several days’ worth of work to find and organize the material. This post is the first in a series about Alice Grey’s life, career, and connection to the Booth family. To read part two, Successful Partnerships click HERE.

Alice Gray

Part One: An Actress is Born

In order to find out about Alice Gray’s beginning, it was first necessary to look at her end. Initially, the only information found about her birth came from her later obituaries.  According to most of the obituaries, Alice Gray was born in Boston in 1833 to Irish parents. The more detailed obituaries also stated that she commenced her acting career when she was 16 years old by performing in the Federal Street Theatre in Boston. Numerous genealogical searches were conducted with this information to try and find out more about Alice Gray’s family. All were fruitless until one final obituary contained the partially blurred name of a brother in Cincinnati. The brother’s true name was discovered by searching an old Cincinnati directory, which led to his burial record, which gave the incorrect name of his father (which wasted a lot of time looking for and led me back dejectedly to the brother’s burial record) and correct name of his mother, which led me to Alice’s mother, which led me to the true identity of Alice Gray.

Alice Gray’s true name was Alice Dehan. According to census records, she was born in New York between June 16 – July 31, 1835. Her parents were Patrick and Ann Dehan who were both immigrants from Ireland.

1850 Census Alice Gray

I have been unable to find a record of the family living in Boston, but in the 1870 census Alice’s brother John gives his birthplace as Boston. This is a contradiction to the 1850 and 1860 censuses which give his birthplace as New York, however. If the family did live in Boston, it was for a short time. By 1850, the family was living in Livingston County, New York, near Buffalo. Alice’s father, Patrick, was a laborer and likely worked on the expansion of the Erie Canal. Patrick died sometime between 1850 and 1860, leaving his wife and two children without a means of support. It appears that it was after the death of her father that Alice, then around 16 years of age, began her career as an actress. She chose the stage name of Alice Gray and would be billed as such for the rest of life.

Metropolitan Theater advertisement 1855Since her family had settled near Buffalo, NY, it was appropriate for Alice to commence her career in that city. She was able to acquire a position at the recently opened Metropolitan Theatre.

A theater historian in Buffalo later recalled, “When she came to the Metropolitan Theatre in 1851 or ’52, she could neither read nor write, but she was naturally bright and advanced rapidly.” Alice must have started with minor roles as her name did not receive billing very often in the early years. If she was learning the craft it is likely that she merely acted in walk on roles and silent characters. It was not until 1854, that Alice’s name began to make appearances in the advertisements for the Metropolitan Theatre performances. Over the next few years she stayed at the Metropolitan, honing her craft and receiving larger and larger roles. In 1856 she met and acted alongside a visiting star named Mr. Edward Eddy. Though Eddy’s engagement at the Metropolitan was short, Gray made an impression on him. In the upcoming years, Eddy would keep in touch with Gray and provide her with further acting opportunities. By 1857, Alice Gray had graduated to the main stock actress for the Metropolitan Theatre, in which she was responsible for playing the leading female roles opposite the visiting stars.Edwin Booth circa 1860

In November of 1857, a young, 24 year-old star billed as, “The Wonder of the Age” made his first appearance at the Metropolitan Theatre. The noted star who was greeted with such fan fare was Edwin Booth. Though the weather was poor during Booth’s time in Buffalo, the theater was packed every night. This was not only good for Edwin, but also for Alice Gray who ably played alongside Booth as his female counterpart. The increased crowd at the Metropolitan allowed more of Buffalo’s theater patrons to see how much Alice Gray’s abilities had progressed over the last few years. These performances with a member off the Booth family would be the first of many for Alice Gray. In a few short years she would become extremely familiar with practically all acting members of the Booth family.

After Edwin departed Buffalo, the very next performance at the Metropolitan Theatre was a benefit in Alice Gray’s honor. Her performances with Edwin had clearly garnered her some more attention. The newspapers, in describing her benefit, gave kind, but realistic descriptions of Gray’s abilities:

“…the merit of of Miss Gray as an actress deserves to be substantially recognized. The steady improvement she has made since her first appearance in Buffalo, is acknowledged by all. She personates the leading female characters acceptably; is uniformly accurate in the text, and evinces care and study in the business of the stage. Her many friends should encourage and reward her efforts by their presence this evening.”

Gray was undoubtedly becoming a better actress, but had not yet achieved the talent of a star. She continued with the Metropolitan Theatre for the remainder of the 1857-1858 season with a small break in March of 1858 where she performed briefly at the Bowery Theatre in New York City. At that time, the Bowery Theatre was being leased by her friend Edward Eddy. The chance to act in New York City and possibly become a star performer on those elite stages was the dream of many actresses. While Alice Gray acted ably alongside Eddy and even received a benefit in her honor one night, once Eddy was finished leasing out the Bowery Theatre, Gray’s first foray in New York City was over.  While she had not been “discovered” by the New York City patrons, this experience would help her in the future. She returned home to Buffalo.

When the theatrical season of 1858-1859 was advertised, Alice Gray was given top billing as the leading lady of the Metropolitan Theatre once more. However, when the season debuted on September 20, 1858 and Gray took the stage for the first time as Lady Teazle in School for Scandal, she found herself faced with an agitated audience:

1858 Hissed from the stage Alice Gray

Gray must have been traumatized by this sudden betrayal of the audience. The same people who had supported her growth over the last few years were now hissing her from the stage. A newspaper from a few days later explained the reason:

1858 reason for hiss Alice Gray

As reported, Alice Gray had apparently made some enemies in the Buffalo theatrical world. The business then was just as cut-throat as it is today (if not more so). Perhaps the other actresses were jealous of Gray’s recent debut in New York City due to the generosity and assistance of Edward Eddy. Whatever the reason, the scheme against Alice Gray worked as planned. Whether by her own choice or the decision of the manager, Gray did not appear at the Metropolitan Theatre for the rest of the 1858 season. Coincidentally, she was replaced at first with “Mrs. J. B. Booth”. This was Clementina DeBar Booth, the first wife of Junius Brutus Booth, Jr. Though Mr. and Mrs. Booth were divorced due to Junius running off to California with another woman in 1851, Clementina kept the name and used it professionally. Not long after this, the gossip reported in the above article came to fruition when the manager of the Metropolitan Theatre had his own wife take over some of the main female roles.

After being shunned from the Metropolitan Theatre, Alice Gray made her way back to New York City, where she had briefly performed in March. At that point, her friend Edward Eddy had leased the Broadway Theatre for the season. Though the season had already begun and Eddy already had his stock company, he hired Alice Gray. She acted at the Broadway Theatre with the rest of the stock actors until the end of the season. She received very little press during her time at the Broadway Theatre and without good press and attention, it was practically impossible for a supernumerary to make it as a star. During the next season, Alice began to travel outside her home state of New York, perhaps hoping that good word of mouth from audiences in smaller cities would help her establish herself the next time she acted in New York City.

The beginning of the 1859 season found Alice in Charleston, South Carolina. She was the lead stock actress for the Charleston Theatre, an establishment which promised its public a diverse selection of entertainment. The theatrical portion of the season only lasted until November 12, 1859, which was a benefit performance for Henry B. Phillips, a Charleston native. Phillips was a well known actor who had toured the eastern states. He was also known for helping to coach novice actors and teach them the proper points and recitations.  In a few short years, H.B. Phillips would be hired by John T. Ford to be the acting manager of Ford’s Theatre in Washington, D.C. In that capacity, Phillips sole job would be to train inexperienced actors on how not to make fools of themselves. For his benefit performance, Phillips choose two pieces, The Poor Gentleman, in which Alice Gray was billed as his leading lady, and the very popular comedy of the day, Our American Cousin. This would be Alice Gray’s first experience with the play, Our American Cousin, but, due to the events connected with it in the future, this performance would hardly be the most memorable. After the Phillips’ benefit in Charleston, the whole theatrical company traveled to Mobile, Alabama. In the mean time, the Charleston Theatre opened to an opera troupe while advertising its next, diverse entertainment offering to the public, stating that a “troupe of learned monkeys, goats, and dogs, will present themselves,” in the week to come.

Alice Gray found a welcoming audience in Mobile and her abilities were praised when she was given a benefit performance there:

1860 Nice review Alice Gray

The company stayed in Mobile until late March of 1860, when the Charleston Theatre reopened (hopefully after they cleaned up the mess from the “learned” monkeys, goats, and dogs) for theatrical events.  The headlining star for the reopening was none other than Edwin Booth. Though there were no advertisements billing him as the “The Wonder of the Age” as there were in Buffalo more than two years ago, he was nevertheless warmly welcomed by the Charleston public. Booth played at the Charleston Theatre until April 4th, likely teaming up once again with Alice Gray as his leading lady. Not long after his departure, however, Alice became sick. An article in the April 14th edition of the New York Clipper reported that Alice had “been quite ill” and “confined to her room for more than a week”. She recovered from her illness and finished up the rest of the season in Charleston but this would not be the first time that illness and other personal matters would preclude Alice from performing.

During the summer of 1860, Alice Gray made extra money by taking a little more than a week long summer engagement at Cleveland’s Academy of Music. For most performers, summers were the dry times. Most theaters closed down or engaged cheaper entertainments for the few patrons who would visit during the hot months. The few theaters that did engage actors at this time, however, generally did a wonderful job advertising them. Alice Gray received star billing in the Cleveland newspapers for her brief run with her name in the largest type size that she would ever see in her career:

1860 Star billing Alice Gray

As Alice Gray performed as a star in Cleveland, back home in Buffalo the census taker was knocking at her mother’s door for the 1860 census. Despite her almost year long absence in the South and Midwest, Alice’s mother included her daughter as a member of the household. Ann Dehan gave the census taker her daughter’s real name, Alice Dehan, and set in stone what she was going to be for the rest of her life: a “Theater Actress”.

1860 Census Alice Gray


This concludes part one of the series about Alice Gray’s life, career and connection to the Booth family. To read the second installment, “Successful Partnerships,” click HERE.

References:
Backstage at the Lincoln Assassination by Thomas Bogar
Additional research graciously provided by Thomas Bogar
American Tragedian: The Life of Edwin Booth by Dr. Daniel Watermeier
Edwin Booth: A Biography and Performance History by Arthur Bloom
John Wilkes Booth: Day by Day by Arthur Loux
Images of America: Ford’s Theatre by Brian Anderson for the Ford’s Theatre Society
Ford’s Theatre Society
Ancestry.com
Library of Congress
Newspaper extracts from: University of Illinois (free), FultonHistory.com (free), GenealogyBank.com (subscription)

Categories: History | Tags: , , , , , , , , , | 8 Comments

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