Julia Neilson (1868-1957)
Julia Neilson (1868-1957)
(The Echo [London] - 17th November, 1890)
"ECHO" PORTRAIT GALLERY - MISS JULIA NEILSON
To none of our rising actresses does a greater speculative interest attach than to the lady who now essays a new character at the Haymarket - that of Pauline, in the revival of Called Back. There is no artist of the past or present it is not possible to conceive Miss Neilson might rival. She has extreme youth - she is only twenty-two; the rare beauty - dark eyes, well-defined features, and statuesque figure - of a tragedy queen; a glorious mezzo-soprano voice, which makes its deep music sound as she speaks; a great enthusiasm for her art, and a tireless industry in its pursuit. More than this, she possesses a startling individuality of her own, and all that she does she does as none other could attempt to do. On the other hand, though already far more than ordinarily triumphant, even for a successful actress, she has not achieved anything historically great, and though heralded with an unusual blare of trumpets, has given premonitions rather than assurances that her day will come.
In Mr. Gilbert's Tragedy and Comedy - the first piece only just withdrawn at Mr. Tree's theatre and dramatic school- Miss Neilson played - at least, so we must confess it struck us - with the most fitful brilliancy. We have been to the house and seen the tepid, early-seated audience electrified, almost terrified, by the sweeping play of her sarcastic gaiety and tremendous passion; at other times we have sat unmoved amongst bewildered people, thinking, magnificent, scintillating artificiality; but, oh! how patently mere acting! It seems to us this lady has yet to learn to know when she may trust her natural passion, to acquire a certain sequent ease of gesture, and perhaps to unlearn a little of the taught methods she has acquired. One thing is undeniable, Miss Julia Neilson is something vividly different from the bevy of graceful young ladies who make our modern comedy stages like flower-gardens, and are merely content to be adorable and at ease, both there and in their own mother's drawing-room.
Miss Julia Neilson's father, Alexander Kitchie Neilson, was a wealthy Scotchman, who settled in London, and married an English lady, whom he left in early widowhood. The latter took her daughter, in the child's twelfth year, to Wiesbaden, for four seasons, when the girl returned to London, entered the Royal Academy of Music, and studied the piano under Mr. Westlake. This instrument, at the urgent instance of Professor Kandeggor, she speedily abandoned to develop her voice. Becoming a pupil of Miss Kate Steele, vocal honours rained upon her. She took the Llewellyn Thomas gold medal for declamatory singing, the Sainton-Dolby prize, and Westmoreland scholarship, singing the while occasionally in public, and once at the Albert Hall. But an Alexanderine desire for other worlds early possessed her. She took elocutionary lessons from Mr. Walter Lacy, and delighted Ascot, Ventnor, and other amateur dramatic connoisseurs. This led to her appearance at St. George's Hall, as Galatea, and this again to her introduction by Mr. Barnby to Mr. W. S. Gilbert. The distinguished Bab-Ballador immediately recognised her genius, and unfortunately his high recognition was excessively blazoned abroad. On the 21st March, 1888, at a suffocatingly crowded Lyceum matinee, Miss Neilson appeared as Cynesca in support of Miss Anderson's Galatea. The critics only varied in degree of praise, in which respect they were mostly variation though. A little later Miss Neilson was Galatea to Miss Rose Leclercq's Cynesca at the Savoy, and also went through other Gilbertian exercises.
Mr. Gilbert now devoted himself heart and soul to the art interests of the object of his dramatic hopes. He wrote for her a novel and very beautiful play, Brantinghame Hall, which, though it had its obvious faults, met with a singularly harsh critical reception. The controversy raised by this matter is tenderly and dangerously recent. The piece opened Mr. Rutland Barrington's infelicitous and brief management of the St. James's. As the tall, slender, lovely young Australian supposed widow in Puritanic long black cloak lined with silver grey silk, who denied the validity of her own marriage that she might save her husband's sternly aristocratic family from legalised beggary, Miss Neilson made her debut to the general London playhouse patron, and the impression she created was, at any rate on those who saw her act, little likely ever to be forgotten. Brantinghame Hall - and so severely did Sir Gilbert feel this that he says he will never write another play - was soon withdrawn. As Stella Darbyshire in Captain Swift, and Julie de Noirville in A Man's Shadow, Julia Neilson has had experience of perfervid melodrama as represented in high places. It has often struck us that Miss Julia Neilson is the only young actress of to-day who could make the dry bones of such classics as Racine and Corneille live.
(Lloyds Weekly News [London] - 10th March, 1895)
MR. AND MRS. FRED TERRY (JULIA NEILSON)
Comparatively brief as has yet been the career of these popular young players, it has hitherto been so brilliant, and promises such possibilities for the future, that a slight sketch of their home-life and work will interest many who, only seeing them before the footlights, nevertheless love to hear something of the inner surroundings and doings of their favourites.
Dame Nature, it must be admitted, has been bountiful to them at the outset, in bestowing on both talent, personal attractions, and - what may perhaps be considered quite as useful - a passionate love of their art, and a steady determination to work hard, and to leave no stone unturned to rise in their mutual profession. Dame Fortune then stepped in and wisely brought them together, with the happy result that each stimulates and encourages the other to increased exertions.
In the old-fashioned neighbourhood of Gower Street there has lately been erected a handsome block of red-brick flats, which give a bright bit of colour to the somewhat sombre character of its environs. It is in these buildings that Mr. and Mrs. Fred Terry have located themselves, in a bright and airy suite of chambers which, as may be expected, their artistic tastes led them to make at once restful to the eye and home-like.
"I must tell you," says the young actor, as you pause to examine a quaint old brass-lamp of antique design, "that we have both what may be called a positive mania for attending art sales, and we found this lamp in an out of the way place; and, indeed, picked up most of our possessions, in the same way." A most noticeable "possession," however, became theirs in quite a different manner and was a wedding gift from the Hon. John Collier, of his own painting. It is a life size and beautifully-executed portrait of Julia Neilson as Drusilla Ives, in long "vieille rose" robe, which presents a fine effect of colour standing out against the background of crimson curtains in bold relief.
Those who remember sweet Kate Terry (Mrs. Arthur Lewis), erstwhile idol of the public, in the zenith, of her brilliant but brief stage career, cannot fail to be struck with the strong likeness this youngest brother, Fred, bears to her. Indeed, the "Terry" face, the "Terry" charm and grace of manner, even the "Terry" voice, so rich and musical, are strongly recognisable in each member of this gifted family. But the door opens, and the little group, entering, completes a living picture of happy domestic life. The beautiful, joyous girl, in all the pride of early motherhood, is Julia Neilson, "Mrs. Fred," and the fair, smiling babe in her arms is her son, while a lovely little maiden of about two summers clings to her dress, now hiding in pretended shyness, anon peeping out playfully to attract her attention.
Among many pieces in which Fred Terry and Julia Neilson have acted together, there is one, called "Tragedy and Comedy," which will ever have a peculiarly tender association in both their minds, for it was then that they first met, he playing D'Aulnay to her Clarice. It seems, on looking back, but a slight stretch of years since you remember Fred Terry, when yet in his teens, scoring a success in the role of Bertie Fitzurse, with his sister, Ellen Terry, in "New Men and Old Acres," and later, in Sebastian to her Viola; yet from that time to his present part of Robert Llewellyn, M.P., in Mr. Comyns Carr's play, "A Leader of Men," at the Comedy theatre, he has played nearly a couple of score of original characters, such as Gerald Arbuthnot, in "A Woman of No Importance;" Prince Leon d'Auvergne, in "The Tempter;" Christian, in "The Dancing Girl;" Philammon, in "Hypatia;" Gerald Cazenove, in "The New Woman," &c; while at revivals he has a large and varied repertoire and has impersonated the leading parts of Prince Alexis, in "The Red Lamp;" the Dauphin, in "King John;" the twin brothers, George and Gerald Anstruther, in "Marina;" and Eugene Lambert, in "The Pompadour," &c. Nor must his Charles Surface be omitted, for his masterly and artistic rendering of that character won him special commendation.
"It really was quite by an accident" remarks Fred Terry, "that I went on the stage at all, and the whole thing seemed to be settled in about five minutes. I had come over for a holiday from Genoa, where I was being educated for business, and one morning I went with my sister Marion to her rehearsal. "Money" was then to be brought out at the old Prince of Wales' theatre. Mr. Bancroft asked me if I intended to cast in my lot with the players? I replied, 'No, I'm far too nervous'. Presently, he invited me to 'walk on,' at a small weekly salary. By way of overcoming my 'stage fright.' And," he adds, after a pause,with a laugh, "that was how I became an actor."
Fred Terry's modesty, however, has prevented him from stating what his present biographer - who has known him from childhood, and watched his each upward step with interest - is able to record - viz., that from his first speaking part he displayed such a strong talent for histrionic art, and so much ease of manner on the stage, together with plenty of shrewd, practical commonsense and good judgment, that it was at once decided commerce should go by the board, and the study of art should take its place. A severe course of training in the provinces followed, and he served his apprenticeship in several tours with the late, Mr. Charles Kelly, Mrs. Chippendale, and other good stock companies; later he made a trip to America with Miss Fortescue before beginning in good earnest his London career, which has been so distinguished.
Julia Neilson-Terry, too, in these few years has made her name in many original parts, such as the aforesaid Drusilla Ives in the "Dancing Girl," Hester Worsley in "A Woman of No Importance," Lady Isobel in "The Tempter," &c., &c. Having a strong gift for music she had at first intended to adopt the operatic stage as a profession, and for that purpose she entered the Royal Academy for Music, as a pianiste. Presently she found herself the happy possessor of a fine voice, too, and changing her subject she directed her attention to its cultivation, becoming a pupil of Signor Bandegger. Diligent study, combined with her own natural gifts, soon won for her the Westmoreland Scholarship, the Sainton-Dolby prize, and, later, the much coveted Llewellyn Thomas Gold medal for declamatory singing.
"Here is the medal," says the young actress, "in our 'silver' table, where we keep our most cherished souvenirs. "The picture," she adds, softly and with pathos, "you will recognise, as you know her so well," and she places in your hands a dainty miniature of the late Mrs. Terry, so tenderly beloved, who passed into the "great beyond" a few years ago.
Presently, over a friendly cup of tea, the subject of "first appearances" is discussed, and Julia Neilson remarks, "I owe a debt of gratitude to Sir Joseph Barnby. He was always been most kind to me, and introduced me to Mr. W. S. Gilbert, who interested himself keenly on my behalf, and suggested a stage career."
After a few preliminary efforts, to test her powers, in amateur performances for some charity, Mr. Gilbert - ever so ready to advance and encourage a talented and promising debutante - took up the matter, and she made her "first appearance" as a professional in his play, "Pygmalion and Galatea," as Cynisca, followed by Lady Hilda in "Broken Hearts" and Silene in "The Wicked World," at matinees. The next step was a provincial tour with Mr. Beerbohm Tree's company in "Captain Swift," which considerably increased her practical experience. On her return to London she first fulfilled a long engagement at the Haymarket, in "A Man's Shadow," and this brought her to the time of the - to both young players - ever to be remembered "Tragedy and Comedy." Now, although Julia Neilson laughingly confesses to being "terribly nervous yet always trying to hide it," it must be specially recorded that there is an entire absence of self-consciousness about her which is, perhaps, one of the young actress's greatest charms - no "posing," or striving after effect, with all her personal attractions she is she is just as natural and unaffected as her little daughter yonder. The child is gazingn at a stuffed white pheasant, on the top of the mantel-shelf, and asking for it. There is a little story attached to this bird. One day Mr. Fred Terry was invited to a shooting party. As he gets no practice, and is moreover short-sighted, he had not expected to do much execution, but he was too good a shot on that day. He was told that a rare white pheasant often made its appearance, and its life must be tenderly respected. Up rose a covey; he fired away, and just that one prohibited bird fell to his unlucky gun, and there it stands looking plaintively at him - a mute reproach!
But time flies fast in such pleasant company, and both young players must soon be at their posts - he at "The House," representing his constituency at the Comedy for the last time; she, as Lady Chiltern in "An Ideal Husband," at the Haymarket. Slightly changing the title of this last play in your mind (with apologies to Mr. Oscar Wilde) you take leave of what may certainly, be called "An Ideal Pair."
HELEN C. BLACK