Nat Goodwin's Book

R. THO

complex creature was

and thoroughly devoid of repose. He gradually drifted from California to the East and during the '60's became the leading man of the then well known Boston Theatre Stock Company. There he remained for several seasons

lity and a magnificent physique-marred only by a head too small for the quality of intelligence such a figure demanded. However, he was a royal picture to contemplate, particularly in romantic and Shakespearean r?les. In these he truly suggested

is wing for a few months he succeeded in transforming the man. Under his able tutelage Thorne, discarding his ranting and mouthing methods, awoke the morning after the p

y annoyances from him. Thorne held despotic sway, much to the amusement of his companion players who loved him as they loathed the management. Palmer exercised every means within his power to humiliate Thorne, casting him for leadi

simultaneously the leading r?le in "A Celebrated Case," giving Coghlan the quodus of the New York and Thorne the Pittsburgh opening. I saw Coghla

the boys will get me as that English fellow has had the first whack at them and they will have the chance to compare us in the same r?le." I said, "Well, I am going in front to-night and I will tell you what I think." Bef

ck into his dressing-room and yelled, "For God's sake

Thorne gave you no time to think of anything-he was so real, so convincing. He drown

ned a Czar for many years, until John Stetson engaged him to star in "Monte Cristo," a play made famous by the French actor, Charles Fechter. He opened at Booth's Theatre to a $3,500 house. The

performance was most unsatisfactory gave no one an inkling of the truth. He was driven home after the play, and never appeared again,

Many happy evenings have I passed with this delightful family. They were truly, to quote from Dumas' "Three Guardsmen," "One for all, and all for one!" Charles

bad and the advent of Charles did not enhance the exchequer of the theatre. We were playing a Scotch drama, "Roderick Dhu." Charles and his father had a powerful scene, ending an act. The old gentleman spoke the tag, saying to Charlie, "If you

tre and in a fit of passion swore he would not allow the play to

roprietors of the Drury Lane and Covent Garden theatres, called on Thorne and Robson at their chambers with a proposition to Thorne for a long engagement. He listened to their patronizing suggestions as to a consummation of the deal and, pointin

ac

R. Tho

cture to c