Mr. Darnton says that he was assured by Mr. Harris that bringing Lillian Gish back to the stage was the finest thing he had been able to do in the theatre, adding: “I am convinced that her performance is one of the most magnificent things I have ever seen.”
If there was any dissenting voice as to Lillian’s triumph, I have been unable to discover it. But I think there was none. She had everything demanded by the part: the personality, the subtle understanding, the years of training which had equipped her for its perfect interpretation. Percy Hammond, of the Herald Tribune, wrote:
“In future when I am told that association with the films is a destructive influence, I shall cite Miss Gish’s appearance in ‘Uncle Vanya’ to prove the contention wrong.”
III
“THE PENALTY OF GREATNESS”
We have reached the point in this narrative where the writer’s personal association with Miss Gish began. Though long an ardent admirer of her work on the screen I had never seen her, never made any attempt to do so. Once, from France I had written urging her to make a picture of Joan of Arc. I know now that this was an old story to her; many had offered the same suggestion—the idea had been one of her own dreams. Engagements, one thing after another, had always interfered. I treasured the two friendly letters she wrote me about it, but the matter had gone no further. Now, three years later, back in America, the papers told me that Lillian Gish was appearing in person and in picture, in Broadway productions. “Vanya” was playing to capacity, and I do not like buying seats in advance—something is so liable to happen.
Then, one June day, I found myself on Broadway in front of the Rivoli, facing the announcement: LILLIAN GISH IN ONE ROMANTIC NIGHT. I learned that it was continuous, and that there were seats. A very little later, in the cool dimness, I sat watching Alexandra and Prince Albert and the others, and for the first time was hearing Lillian speak.
I thought her more pleasing than ever, and her clear, perfectly enunciated speech was a revelation. I had feared that it might be too loud, too low, provincial—in some way disappointing. It was none of these things; it was pure and sweet, and particularly intelligible; the microphone had recorded every syllable. I sat twice through the picture, suffering through several program features until it came again.
Once more outside, I was sorry I had not remained longer, for the sun was a hot glare. Sitting in Fairyland with Lillian was much more to my taste. I drifted down Broadway, and by chance (apparently), turned into 48th Street.
All at once I stopped: From a large frame on an easel, several Lillians looked out at me. A moment later, I realized that it was Wednesday, for a card at the top plainly stated MATINÉE TO-DAY. I was at the entrance to the Cort Theatre. Some people were going in. I wondered if I could get a seat. Midweek, mid-June, and a hot day—I would try.
A very little later, from a fairly good, even if fairly warm, angle, I watched the curtain go up on a Russian garden, where Kate Mayhew was pouring tea and Osgood Perkins, in semi-Russian dress—that is to say, tall boots—was marching up and down.