[199] Part of the time, at least, Mrs. Adams substituted herself for Maude when the time for this plunge arrived.
[200] “Yes, I confess it,” she has declared, “I was in the ballet for six brief months. There is much to be learned there, and some the ballet’s teachings may be advantageously applied to the art of acting. Studied forms of dancing are not, perhaps, an essential part of a player’s outfit, but they have a certain related value not to be lightly esteemed.”—Perriton Maxwell.
[201] Perriton Maxwell. Her parts in Mr. Sothern’s company were: Louisa in The Highest Bidder, and Jessie Deane in Lord Chumley.
[202] Produced at Palmer’s Theatre, New York, October 3, 1892. It was a French play, adapted by Clyde Fitch.
[203] Her parts were: Suzanne in The Masked Ball, 1892; Miriam in The Butterflies, 1894; Jessie Keber in The Bauble Shop, 1894; Marion in That Imprudent Young Couple, 1895; Dora in Christopher, Jr., 1895; Adeline Dennant in The Squire of Dames, 1896; Dorothy Cruikshank in Rosemary, August, 1896. On December 9, 1896, she played Mary Verner in Too Happy by Half.
[204] The plays and parts of Maude Adams’ “stardom” are as follows: Lady Babbie in The Little Minister, 1897; Mrs. Hilary in Mrs. Hilary Regrets (special performance, with John Drew), 1897; Juliet in Romeo and Juliet (supplementary spring season), 1899; Duke of Reichstadt in L’Aiglon, 1900; Phœbe Throssell in Quality Street, 1901; Pepita in The Pretty Sister of José, 1903; Amanda Affleck in ’Op O’ Me Thumb (in one act), 1905; Peter Pan, 1905; Viola in Twelfth Night (at Harvard), 1908; Chicot in The Jesters, 1908; Maggie Wylie in What Every Woman Knows, 1908; Joan of Arc in The Maid of Orleans (at Harvard), 1909; Rosalind in As You Like it (University of California), 1910; Chanticler, 1911; Leonora in The Legend of Leonora, 1913. This list does not include revivals.
[205] The Wallet of Time, vol. II.
[206] “Children, corsets and cigars were named after her;—as a matter of fact I know one ten-year-old child who has thirteen dolls, and every one of them bears the same identical name, Maude Adams.”—Acton Davies.
[207] Prepared by Louis N. Parker and Edward Rose.
[208] “She was at her best in the scene of supplication and childlike blandishment with the old Austrian Emperor. The vein of Miss Adams is domestic and romantic—not tragic. She carried the second act of the play with sustained vivacity and gratifying skill. Possessed of a gentle personality and capable of a piquant behavior, Miss Adams was a sprightly and bonnie lass in The Little Minister, and that performance furnished the measure of her ability. As Reichstadt she gave an intelligent performance, on a commonplace level.”—William Winter, The Wallet of Time.