“There is no doubt about it,” Mrs Kendal finished by saying, “theatrical life is hard; hard in the beginning, and hard in the end.”
Such words from a woman in Mrs. Kendal’s position are of vast import. She knows what she is talking about; she realises the work, the drudgery, the small pay, and weary hours, and when she says, “Dissuade girls from rushing upon the stage,” those would-be aspirants for dramatic fame should listen to the advice of so experienced an actress and capable woman.
As said at the beginning of this chapter, Mrs. Kendal was cradled in the theatre: she was also married on the stage.
Madge Robertson and William Kendal Grimston were playing in Manchester when one fine day they were married by special licence. A friend of Mr. Kendal’s had the Town Hall bells rung in honour of the event, and the young couple were ready to start off for their honeymoon, when Henry Compton, the great actor, who was “billed” for the following nights, was telegraphed for to his brother’s deathbed.
At once the arrangements had to be altered. As You Like It was ordered, and Mr. and Mrs. Kendal were caught just as they were leaving the town, and bidden to play Orlando and Rosalind to the Touchstone of Buckstone. The honeymoon had to be postponed.
The young couple found the house unusually full on their wedding night, although they believed no one knew of their marriage until they came to the words, “Will you, Orlando, have to wife this Rosalind?” when the burst of applause and prolonged cheering assured them of the good wishes of their public friends.
Another little romance of the stage happened to the Forbes Robertsons. Just before I sailed for Canada, in August, 1900, Mr. Johnston Forbes Robertson came to dinner. He had been away in Italy for some months recruiting after a severe illness, and was just starting forth on an autumn tour of his own.
“Have you a good leading lady?” I inquired.
“I think so,” he replied. “I met her for the first time this morning, and had never seen her before.”
“How indiscreet,” I exclaimed. “How do you know she can act?”