Posts Tagged With: Junius Brutus Booth Jr.

The Novice and John Wilkes Booth

On June 15, 1863, John Wilkes Booth began an acting engagement in St. Louis, Missouri. While Booth visited many different cities as a touring star, the audiences of St. Louis were very supportive of his efforts. This particular engagement was his fourth time playing in the city in only a year and a half. In addition to the audiences, Booth was also aided by the fact that he had a pretty decent connection in the St. Louis theater scene. During each of Booth’s engagements in the city, he performed at Ben DeBar’s St. Louis Theatre.

Ben DeBar

Ben DeBar was essentially family to Booth. In 1840, Booth’s eldest brother, Junius Brutus Booth, Jr. married Ben DeBar’s sister, Clementina. June and Clementina’s union did not last however because, in 1851, June took a page out of his father’s book and ran off with another woman. Despite this unpleasantness, Ben DeBar maintained a good relationship with John Wilkes Booth and the rest of the Booth family. Ben DeBar hired John Wilkes Booth for five different engagements in St. Louis, and when he opened another theater in New Orleans, Louisiana, John Wilkes was hired there as well.

The June 1863 engagement in St. Louis was like any other for the 25 year-old actor. The newspapers noted that Booth was, “nightly greeted by full and fashionable houses; his performance[s] eliciting the most enthusiastic applause.” Booth’s engagement was scheduled to last from the 15th to the 27th, a normal two week engagement.

After a few days in St. Louis, Booth was presented with an offer from an unusual source. A Missouri resident by the name of R. J. Morgan approached Booth asking him if he could take Booth’s place on the final night of his engagement. It was not unheard of for actors to make such requests of their peers though it was more common for actors to request the services of their peers for benefit performances or during emergencies. Being asked to surrender a performance was less common. This request was even more strange, however, because the solicitor was not even a fellow actor, at least not yet.

We know very little about the life of R. J. Morgan. His foray into theater begins and ends over the course of about a year. Four months prior to his proposition to John Wilkes Booth, R. J. Morgan was a relatively unknown man. He was born in England and at the beginning of the Civil War he resided in Missouri. In early 1863, he was briefly living in Davenport, Iowa. What his business was and why he was in Iowa is a mystery. Apparently, he was able to make somewhat of a name for himself as one who knew a little bit about European and American poetry. On February 17th, a group of citizens in Davenport wrote a letter to Morgan which was published in the newspaper. The men appealed to Morgan to honor them with a public reading of various poems known to him. One would expect that Morgan must have previously given private readings of poetry which motivated his friends and neighbors to ask for a public showing. Morgan accepted the invitation of the men stating, “I shall avail myself of the flattering invitation extended to me…” and “the entertainment proposed to be given, I trust you will look upon as an amateur affair, with little professional pretensions.” Morgan secured the use of Davenport’s Metropolitan Hall free of charge after insisting that the proceeds of the readings would not go to him, but would instead be donated to the needy families of absent Union soldiers. It might be a bit cynical but, given his later actions with Booth, it is not out of the realm of possibility that R. J. Morgan desired to start a career as an dramatic orator and organized the invitation and philanthropic gesture to work in his advantage.

On the night of February 24, 1863, R. J. Morgan presented his “Evening with the Poets”. He presented readings of 12 poems including Beautiful Snow, a piece also rendered by John Wilkes Booth from time to time. While the audience enjoyed Morgan’s readings, the turnout was a bit lackluster for his first time out. “The audience was not large,” the newspaper said, “but those who had the pleasure of listening to the reading of the selections on that occasion may count themselves fortunate…It is certain that the public greatly underestimated Mr. Morgan’s ability, else the Hall would have been filled…” Morgan stayed true to his word, however, and donated the night’s entire proceeds of $18 to the Adjutant General of Iowa. “Your request, that I will apply the amount to the relief of needy families of our absent soldiers shall be faithfully complied with,” the General wrote to Morgan (who subsequently had the note published in the newspaper).

This initial, charitable reading, kick-started Morgan’s new career as a dramatic reader. Four days after his debut, Morgan gave another evening of readings in Rock Island, Illinois, just across the Mississippi River from Davenport. For his second reading he duplicated his first program entirely, but this time he took home the proceeds. After that, Morgan spent the next two months travelling around the Midwest giving readings in different cities. We have records of him performing in Iowa City, Muscatine, and Davenport, Iowa; Springfield and Jacksonville, Illinois; and in St. Louis, Missouri. He was apparently still in St. Louis when John Wilkes Booth came to town.

As Morgan’s readings went on, he began expanding his repertoire. He incorporated more and more Shakespeare, doing readings from Hamlet, Othello, and Henry IV. Coincidentally, while he was on the road, Morgan’s talents as a reader drew comparisons with a family of actors, a member of which would be shortly known to him. After a performance in Muscatine, Iowa the newspapers wrote, “The rendering and acting of Hamlet in his deathless soliloquies, was of that high and brilliant order that few attain who reach for it. The true life, energy and expression was breathed into it so faithfully that even a Booth or a Forrest might listen profitably.” After four months, Morgan apparently believed he was ready to move beyond being merely a reader and elocutionist. He wanted to be an actor and so he approached John Wilkes Booth in order to make that happen.

While Morgan’s correspondence to Booth doesn’t appear to survive, the two brief notes Booth wrote back to Morgan are housed in the Abraham Lincoln Presidential Library in Springfield as part of the Taper Collection. It’s clear that Morgan appealed to Booth to surrender the final day of his engagement so that Morgan could take his place and make his own theatrical debut. On June 22nd, Booth wrote to Morgan setting his terms for such a deal.

“Dear Sir,

I will agree to give up Saturday night 27th on condition you pay me fifty dollars $50 to be paid on or before Friday morning 26th

But it is understood I do not play myself these I consider very reasonable terms

Your respects

J. Wilkes Booth”

John Wilkes Booth was perfectly willing to surrender the last night of his engagement – for a price. The 1862/1863 theatrical season had been a good one for Booth and he did very well financially in Chicago earlier in the season. In December of 1862 he wrote to a colleague that he had made $900 his first week in Chicago and, as such, had averaged about $650 per week so far that season. If his success had held out for the rest of the season, $50 was somewhat generous on Booth’s part since he was making around $100 per performance on average. With only two engagements left in the season Booth may have been fine with taking an extra day off, and making $50 not to go to work wasn’t a bad plan.

With Booth’s note in hand, Morgan approached Ben DeBar seeking permission to perform at his theater. Since Booth had given his blessing, DeBar consented. Morgan wanted his debut to be a benefit performance for himself, where he would be entitled to a share of the box office. On the back of the same note Booth had written, DeBar gave his terms.

“Mr. RJ Morgan

You can have the one half of the receipts of the theatre on Saturday night next over and above the sum of one hundred and fifty dollars. You paying Mr. J W Booth fifty dollars for relinquishing the night to you.

B. DeBar”

With these agreements in hand, R. J. Morgan began preparations for his debut. He chose A New Way to Pay Old Debts as his play, where he would perform the role of Sir Giles Overreach, the main character and villain. Coincidentally, Sir Giles Overreach was a favorite character of John Wilkes Booth’s father, Junius Brutus Booth, Sr. The elder Booth had performed the role over 320 times during his career.

On Friday, June 26th, Morgan paid John Wilkes Booth the $50 he was owed. Booth then jotted down a note for Morgan, which acted as a receipt.

“Reced. St. Louis June 26th / 63 of Mr Morgan fifty doll in consideration of giving up Saturday night as per agreement $50 –

J. Wilkes Booth”

The following evening, Saturday, June 27th, with tickets and playbills in hand, R. J. Morgan made his on stage debut as an actor. Whether John Wilkes Booth attended the performance of the man who took his place is unknown. By Monday Booth was already on route to Cleveland, Ohio for his next engagement.

A few days after the performance, a review in the St. Louis Democrat newspaper hailed R. J. Morgan’s outing a complete success:

“The debut of R. J. Morgan at the St. Louis Theatre last Saturday evening, in the arduous character of Sir Giles Overreach, was, in point of execution, a brilliant success. This was Mr. Morgan’s first appearance upon any stage, and his success more than excelled the high expectations of those who were familiar with him as a dramatic reader. From his first entrance upon the stage, the bold, bad man, the scheming, heartless villain, stood out so prominently that the individuality of the actor was forgotten…His style and acting are of that electric and startling character that carries an audience with him. Mr. Morgan has a good stage presence, a clear and distinct enunciation, a perfect command of himself, and walks the stage with ease and abandon of a veteran stager. We predict for him a brilliant career in the arduous profession which he has chosen.”

Another reviewer from a different paper, however, was a bit more critical of Morgan’s performance:

“Last night, a Mr. R. J. Morgan, who has gained somewhat of a reputation as a reader, attempted the very difficult part of Sir Giles Overreach, in “A New Way to Pay Old Debts”; and, as might be expected, he made a failure, so far as making any favorable impression went. He knew the part, and had a good knowledge of the business; but there are very few old actors who can play the part with effect, and it is utterly impossible for a novice to do it, let his natural talent be what it may.”

Brilliant or failure, Morgan’s on stage debut worked in his favor. Though the 1862/63 theatrical season was wrapping up when he took the stage, the 1863/1864 season was just a couple months away. Somehow, perhaps through a good word from Ben DeBar or possibly even John Wilkes Booth, R. J. Morgan was hired by John T. Ford to become a member of the stock company at his Holliday Street Theatre in Baltimore. Morgan left the Midwest behind to follow his dreams on the east coast. The Holliday Street Theatre opened for the season on August 17th but Morgan didn’t grace the stage until September 1st. Despite being a stock actor, Morgan still found his name on the Holliday Street playbills from time to time. John T. Ford had a practice of publicizing his stock company and some took starring roles when the theater was in between star engagements.

But, while Morgan’s name could be found on several playbills during his time with Ford, he always played second fiddle to the star actors or veteran members of the company. Morgan acted in both Shakespearean tragedies and comedic farces. On November 28th the Holliday Street Theatre put on the comedy Our American Cousin which would gain infamy a year and a half later. Morgan played the more serious role of Sir Edward Trenchard.

For some reason or other, after December of 1863, R. J. Morgan left the Holliday Street Theatre. What caused Morgan to abandon his career as an actor is unknown. Perhaps he was unhappy with working as a subordinate stock actor. Maybe the fairly poor salary in that job wasn’t enough. Or perhaps he just missed his home. Whatever the reasons, by April of 1864, he had made his way back to St. Louis. On April 23rd, during a celebration of Shakespeare’s birthday, R. J. Morgan returned to his roots and gave dramatic readings from Shakespearean plays. Five days later, on April 28, he gave an evening of dramatic readings as a benefit for the St. Louis Sanitary Fair. In October of 1864, he received a pass to leave and re-enter the military district of St. Louis.

From that point on, the life and dramatic career of R. J. Morgan returns to the anonymity from which he came. Even basic biographical data, like what the R & J stand for, is still a mystery. While there are possibilities as to his identity (there was an auctioneer named Rees J. Morgan who lived in St. Louis in 1865 and 1866), I have been unable to find definitive evidence of his life outside of 1863 – 1864. The bulk of what was presented here comes from some newspaper articles about his dramatic readings and a small collection of tickets and playbills from his career housed in the special collections department of Louisiana State University. How a collector in Louisiana acquired these few papers on R. J. Morgan’s life, I have no idea. The few items about Morgan and John Wilkes Booth that are now a part of the ALPLM’s Taper collection were almost assuredly once a part of the same collection that was later donated to LSU. Hopefully more information about R. J. Morgan will be found in the future.

In closing, while researching there were two interesting bits of trivia that I stumbled across. The first is that it is quite possible that R. J. Morgan, during his limited career with John T. Ford, may have actually performed at Ford’s Theatre. John Ford reopened his Washington theatre in August of 1863, after rebuilding it from a December 1862 fire. After its reopening, Ford would often pull from his Baltimore stock company when he needed extra performers in Washington. It’s very possible that R. J. Morgan was brought to Washington by Ford to supplement his new theater. R. J. Morgan was definitely in Washington, D.C. in January of 1864 because he received a military pass to visit Alexandria, Virginia during that time. What’s even more interesting to think about is the fact that John Wilkes Booth had an engagement at Ford’s Theatre in November of 1863, when Morgan was still employed by John T. Ford. Did Morgan have a chance to act beside the man who allowed him to get his start? Maybe.

Lastly, while R. J. Morgan’s connection to John Wilkes Booth, the first presidential assassin, and Ben BeBar, a member of the Booth family, has been established, amazingly Morgan also has a slight connection to the second presidential assassin. Remember that the event that put Morgan on the path to being an actor was that very first dramatic reading he was asked to do in Davenport in February of 1863. A group of the Davenport citizenry wrote to Morgan, with each man signing their name to the letter.

A total of 22 men affixed their names to the request, the last of which was a man named “J. W. Guiteau”. This man’s full name was John Wilson Guiteau. He was a Davenport lawyer and the older brother of Charles J. Guiteau, the future assassin of President James Garfield. It’s so strange that R. J. Morgan made both his dramatic reading and acting debuts because of the support of assassins and their families.

References:
The Abraham Lincoln Presidential Library
The Albert Louis Lieutaud Collection – Louisiana State University Special Collections
John Wilkes Booth: Day by Day by Art Loux
Junius Brutus Booth: Theatrical Prometheus by Stephen Archer

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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)

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