Louisa Lane Drew

English-born American actress (1820–1897) From Wikipedia, the free encyclopedia

Louisa Lane Drew (January 10, 1820 August 31, 1897) was an English-born British American actress and theatre owner-manager, and an ancestor of the prominent Barrymore-Drew acting family.[1] Professionally, she was often billed and known as Mrs. John Drew, while her acting company would refer to her as The Duchess.

Born
Louisa Lane

(1820-01-10)January 10, 1820
DiedAugust 31, 1897(1897-08-31) (aged 77)
OthernamesMrs. John Drew
The Duchess
Quick facts Born, Died ...
Louisa Lane Drew
Drew as Ophelia circa 1840–48
Born
Louisa Lane

(1820-01-10)January 10, 1820
DiedAugust 31, 1897(1897-08-31) (aged 77)
Resting place
Mount Vernon Cemetery, (Philadelphia, Pennsylvania)
Other namesMrs. John Drew
The Duchess
OccupationsStage actress
Theater manager
Years active1820-1897
Spouses
Henry B. Hunt
(m. 18361847)
George Mossop
(m. 1848; died 1849)
(m. 1850; died 1862)
ChildrenLouisa Drew
John Drew Jr.
Georgiana Drew
Sidney Drew (adopted)
RelativesGeorgiana Kinlock (half-sister)
FamilyDrew family
Signature
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Lane was the manager of the Arch Street Theatre in Philadelphia, Pennsylvania, a position that she held for 31 years. Under her direction, the theater became one of the United States' most successful stock companies.[2]

Early life

Mrs. John Drew (a.k.a. Louisa Lane Drew, 1820-1897), in role as Mrs. Malaprop in an all-star Broadway theatre revival of The Rivals in New York City, (1895)

Louisa Lane was born January 10, 1820 in Lambeth Parish,London, England, as the daughter of Eliza Trentner (1796-1887), a singer and actress, and Thomas Frederick Lane (1796-1835), an actor and theatre manager.[3][4][5][6] Lane's paternal grandparents, Thomas Haycraft Lane and Louisa Rouse, were also actors. Lane made her stage debut when she was just twelve months old alongside her mother in a production of Giovanni in London.[7][8] She acted in a number of roles during her childhood, including Meg Murnock and a production of Presumption; or, the Fate of Frankenstein, where she portrayed the scientist's younger brother and acted alongside T.P. Cooke.[9] This was the first recorded theatrical adaptation of the novel.[10]

Her father died around 1826,[11] prompting Lane and her mother to sail to the Americas the following year and arrived in New York on June 7, 1827.[12] She made her American stage debut in September 1827, as Margaretta in No Song, No Supper, at the Walnut Street Theater in Philadelphia. Later that month, she would also appear as the young Duke of York in Richard III, alongside Junius Brutus Booth.[13] Her New York stage debut would happen in March 1828 at the Bowery Theater, where she led as Little Pickle in The Spoiled Child.[2] She proved to be a child prodigy playing five different adult roles within one play at the age of eight in 1828.

Her mother remarried in 1828 to English actor and stage manager John Kinlock. She would gain three half-sisters, Adine (b. 1827), Georgiana (b.1829), and Rosalie Kinlock (b. 1830). The family set sail to Jamaica in November 1830 with Kinlock attempting to find better job opportunities.[14][15] The ship wrecked, leaving the family and all passengers stranded for six weeks in San Domingo. Lane celebrated her 11th birthday stranded before eventually being rescued and taken to Kingston, Jamaica.[16]

In 1831, Kinlock and baby Rosalie died of yellow fever while in Jamaica.[17][18] Trenter also became sickly, however recovered the following year and returned the family to Philadelphia.[19] Her mother took her and Adine on another voyage to the West Indies in 1833, however the ship would once again wreck on a sandbar in Egg Harbor, West Indies. The family was eventually rescued and took a "wood boat" back to New York.[20]

In 1833, Lane began touring the United States with the Bowery Theater Stock Company. She often acted in male roles, such as Romeo, Mark Antony, and other Shakespearan characters. By 1836, she was playing a leading lady opposite of Edwin Forrest.[21] That year, she married actor Henry Blaine Hunt and the couple, along with her mother, did traveling performances. Lane was praised for her work and gained recognition in a number of papers. The Louisana Courier wrote that she would "in time, decorate her young brow with that brightest and most durable coronal of worth - public approval."[22]

Adult career

In 1838, she was employed as an actress at the Walnut Street Theatre, where she stayed on rotation until 1850. She would be paid $20 a week, the highest salary paid there at the time.[21] During her time there, she would perform alongside a number of high-profile actors - Tyrone Power, Ellen Tree, Mary Ann Vincent, Charlotte Cushman, the Booths, Fanny Davenport, and more.[23]

The Arch Street Theatre

After her marriage to actor John Drew in 1850, the pair would tour together.[2] In 1852, they joined James Quinlan's stock company at the Chesnut Street Theatre, however would move to the Arch Street Theatre by the end of the season.[24] The next year, Drew was appointed as manager of the Arch. He would often leave the theatre to do travel performances, leaving stockholders unhappy. He would leave the position in 1855. In 1861, stockholders would appoint Lane as the manager, citing her "experience, ability, good taste, and judgement."[25] The theatre would be renamed to Mrs. John Drew's Arch Street Theater.[2] The Arch was a competitor theatre of the still standing Walnut Street Theatre.

In her first season as manager, she appeared in fourty-two acting roles while attending to her duties. She would often use her own popularity to draw crowds to the theatre.[26] She performed in hundreds of plays during her time, receiving heavy praise. Her 1860-61 season saw her performing in more than sixty different roles.[27]

The first season under Lane's leadership proved unprofitable, as it had been for many years, and Lane would have to borrow money weekly to pay actors. The building was also heavily mortgaged. It wasn't until 1861, that the theatre would actually turn a profit.[28] Under her direction, the theater became one of the United States' most successful stock companies.[27]

In her first year, Lane did a complete renovation. She introduced new seating, upholstery, chandeliers, gas fittings, wardrobes, machinery and more. During her first season, Lane witnessed a deadly fire at William Wheatley's Continental Theatre, that resulted in the death of seven ballarinas - she would give a benefit performance for the survivors soon after.[29] This event lead to her advertising her "fireproof" theatre to invite in scared audiences. In 1863, Lane convinced stockholders to make an additional $20,000 in rennovations to the theatre. She removed her bar, a signal to ban prostitutes from attending, allowing her female audience base to grow. The stage was also enlarged, giving her the second largest on in Philadelphia.[30]

She would introduce a new form of payment for her actors. At the time, actors were paid through profits of special 'benefit' performances. Instead, she chose to pay actors after every performance, giving all actors a share of the total profits. Lane ensured she paid her actors every Saturday, personally, for her entire career. [28] Another common practice at the time was for actors to be paid solely for performances, not rehearsals, leaving actors stranded when they closed. Lane implemented daily rehearsals and performances at nighttime. This would allow actors to be paid on a consistent timeline. This practice drew a variety of actors to the company and by the early twentieth century, most other theatres began to implement this and her salary system.[31]

Lane also enforced a strict daily rehearsal schedule, something that was not common practice. Lines were expected to be learned in a timely manner and proper appearance and dedication were requirements. Her commitment to the stage and to the theatre's appearance would lend to it's prestige. The company became known as a place for actors to train and refine their craft.[32] During the Civil War, many renowned performers appeared under her management - Forest, Cushman, Edwin Booth, and John Wilkes Booth. Lane would star alongside Wilkes Booth in Macbeth, his last role before his assassination of 16th President of the United States, Abraham Lincoln, at the end of the American Civil War.[2]

At it's height, the Arch reported a yearly profit of $20,000 (around $654,000 in 2026).[33] By 1892, the theatre had begun to cease being profitable again due to the changing theater touring and residency systems. Lane chose to retire as manager due to this.[34] Her final acting role at the Arch was in 1892 as Widow Green in Love Chase.[35] She held the manager position for 31 years.

Later years

Near the end of her stage career, in May 1895, the aged Mrs Drew appeared in an all-star revival of Anglo-Irish playwright Richard Brinsley Sheridan's, The Rivals.[36][37]

Her final public performance was in late 1896, in a production of The Sporting Duchess at the Academy of Music in New York.[38]

Personal life

In 1836, at the age 16, Lane married Irish actor Henry Blaine Hunt, who was 40 years old. They would divorce in 1847[39] and Lane remarried to Irish singer and comedian George Messop in 1848.[21] Messop would die the following year. In 1850, she would marry her third husband, Irish-American actor John Drew.[2][19] She and Drew would have three children together - Louisa Eliza, John Jr., and Georgiana. She had no known children from her first two marriages.

After her husband's 1862 death, Lane reportedly adopted a baby boy and named him Sidney Drew. Despite Lane's claims, her own family and modern critics believe that Sidney was Lane's biological son of an affair with actor Robert Craig. According to biographer James Kotsilibas-Davis, Craig and Lane spent a notable amount of time together before he suddenly was fired from the Arch Street company. Lane then left Philadelphia for a considerable amount of time before returning with Sidney. Ethel Barrymore, Lane's grandaughter, wrote in her autobiography "Sidney may not have been the son of John Drew, but he was indubitably the son of Mrs. John Drew.” [40][41]

Lane's sister, popular actress Georgina Kinlock, would die in 1864. Her mother, Eliza, would die years later in 1887 at the age of 92.[42]

When her daughter, Georgiana, died in 1893, Lane took responsibility for the three children, while their father, Maurice Barrymore, remained on tour. Eventually Lane would give up their Philadelphia residence and move into a boardinghouse. The children were sent to live with their Uncle Sidney (referred to as Uncle Googan)[43] and his family.[44]

Death

In 1897, an ailing Louisa Drew spent her last summer at her annual retreat at Larchmont, in upstate New York, with her young grandsons Lionel and John Barrymore.

Louisa Drew died on August 31, 1897, at the age of 77 years at her country estate retreat in Larchmont, New York of Westchester County, and her body was initially interred at the Glenwood Cemetery[45] and eventually later moved to the Mount Vernon Cemetery, both cemeteries on the outskirts of Philadelphia, Pennsylvania.

Legacy

She was the grandmother through her daughter Georgie of John, Ethel, and Lionel Barrymore, all prominent actors of the thespian Barrymore-Drew family. Her other grandchildren were Georgie Drew Mendum,[46][47][48] Edmund Mendum, Louise Drew, and Sidney Rankin Drew. She is also the great-great-grandmother of another generation of the extended acting family, actress Drew Barrymore.

The historic Arch Street Theatre in Philadelphia that the Drew-Barrymores owned and managed, was demolished in 1936, but the other Walnut Street Theatre still stands in Philadelphia, as one of the nation's oldest theatres.[49][50]

Theatre

More information Year, Title ...
Year Title Role Theatre Notes Ref.
1820 Giovanni in London Crying Baby
1825 Meg Murnock [9]
Presumption; or, the Fate of Frankenstein William Frankenstein
1826 Timour, the Tartar Prince Agib [51]
1827 No Song, No Supper Margaretta Walnut Street Theater
Richard III Young Duke of York
1828 Twelve Precisley Matilda Mowbray / Master Hector Mowbray / Master Connleton Mowbray / Master Foppington Mowbray [52]
1828 The Spoiled Child Little Pickle Bowery Theater
1833 Thalaba the Destroyer Marmina [19]
1842 Wedding Day Lady Contest Park Theatre
Blanche Heriot Blanche Heriot
Mothers and Daughters Mabel Trevor
Recruiting Officer Sylvia
Yankee Land Josephine
Broken Hearts Mary Acorn
1843 John of Paris Vincent Park Theatre
1845 Money Clara [53]
Love Chase Constance Park Theatre [19]
Young Scamp Joseph
1864 Wives as They Were, etc Miss Dorillon Arch Street Theatre [54]
Follies of the Night Duchess de Chartres
Belle's Strategem Letitia Hardy
Loan of a Lover Gertrude
Somebody Else Minnie
Magic Mirror Marchioness de Valtera
Simpson & Co. Mrs. Simpson
Nine Points of the Law Mrs. Smilie
Naval Engagements Miss Mortimer
Bold Stroke for a Husband Donna Olivia
Agnes de Vere Agnes
Rosedale Rosa Leigh
1865 Old Heads and Young Hearts Lady Alice Arch Street Theatre [35]
Know Your Own Mind Lady Bell
Lost in London Nelly Armroyd
1866 The Needful Kate Harley Arch Street Theatre
Fortunio and His Gifted Servants Fortunio
Favorite of Fortune Hester Lorrington
Fast Family Clotilde
Women Will Talk Miss Belle Gabbleton
The Winning Suit Orelia
Griffith Gaunt Kate Payton
1867 100,000 Pounds Alice Barlow Arch Street Theatre
Surf Mrs. Madison Noblee
Ours Mary Nettley
Light at Last Catherine Fairlawn
1868 Maud's Peril Lady Maud Arch Street Theatre
Play Rosie Farquhar
Does He Love Me? Miss Vandeleur
A Wife Well Won Marguerite de Launay
He's Got Money Maude Hillary
Lancashire Lass Ruth Kirby
Wolves at Bay Lucy Drayton
Lesson in Love Mrs. Sutherland
1869 Twelfth Night Viola Arch Street Theatre
Tame Cats Mrs. Harry Langley
Victim of Circumstances Virginia de Merlot
Women Rule Mrs. Winlove
School Naomi Tighe
Black and White Miss Milburn
Formosa Jenny Baker
All's Well That Ends Well Helena
Lost at Sea Laura Franklin
Overland Route Mrs. Sebright
Little Dorrit Mrs. Clennam
1870 Little Emily Martha Arch Street Theatre
Frou-Fron Gilberte
Good-Natured Man Mrs. Richland
Fernande Countess Clotilde
Central Park Mrs. Kerr Flamberry
Morning Call Mrs. Chillingstone
As You Like It Rosalind
Love's Sacrifice Hermine de Velmont
1871 Coquette Mrs. Arthur Minton Arch Street Theatre
A Happy Pair Mrs. Honeyton
1872 Wait and Hope Alice Wainright Arch Street Theatre
Romance of a Poor Young Man Marguerite Loroque
Workingmen of Philadelphia Martha Savage
A Roland for an Oliver Maria Darlington
Isabelle Isabelle
Ladies' Battle Countess
Bohemia Mrs. Augustus Poole
Uncle's Will Florence Marigold
Son of the Night Ghebel
1873 False Shame Mrs. Col. Howard Arch Street Theatre
More Precious than Gold Lady Lonsdale
Cool as a Cucumber Wiggins
Dead Shot Louisa Lovetrick
1874 Mother's Love Madame Bertha Arch Street Theatre
1877 Overland Route Mrs. Lovebond Arch Street Theatre
1876 Running a Corner Elvira Bangs Arch Street Theatre
1879 The Rivals Mrs. Malaprop Arch Street Theatre
1892 Love Chase Widow Green Arch Street Theatre
1894 The Road to Ruin Widow Warren [55]
1895 The Rivals
1896 The Sporting Duchess Academy of Music Final public performance
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References

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