Eleanor Robson (1879-1979)

ARIZONA
Produced at The Tremont Theatre, Boston (USA)
Reviewed in The Boston Daily Globe (USA) - 17th December, 1899

The bracing atmosphere of "Arizona" still suffices to arouse the nightly large audiences at the Tremont to vehement expressions of approval. "Arizona" has much of The dainty literary charm of Thomas' previous work, "Alabama," and more of that unctuous, honest humor which he put into his less successful comedy, "In Mizzoura." But "Arizona" has what neither "Alabama" nor "In Mlzzoura" possessed: a vivifying, colorful, characteristic atmosphere, and a dominating central figure, which is representative of all that Mr Thomas has desired to express in the matter of locale and character. Old Henry Canby, the rough, bluff, virile ranchman, the pioneer, though successful man, the kindly despot, who is mortally afraid of his own wife - is as representative, as characteristic a symbol as the figure in his state's coat of arms. In the opening scene of "Arizona" Canby and Col. Bonham strike the key note of the play, to which all subsequent incidentals ring charmingly true.

"Arizona" is played by a well-balanced stock company. If Theodore Roberts ever sets the "starring bee in his bonnet" he should essay a role similar to his Henry Canby, which is a splendid impersonation. Miss Eleanor Robson has made a reputation that does not come to many actresses at her age by her interpretation of Bonita Canby. Mr. Serrano, who showed himself a clever young man when he was here with Annie Russell, has again proved his ability in his portrayal of Lieut Denton. George Nash, Grace Henderson, Edwin Holt and Mattie Earle are mature artists of whom, from past experience. Boston always expects delightful things, and in "Arizona" all four have added to their previously bright records. "Arizona" will continue at the Tremont for a fortnight longer, and a special professional matinee will be given next Thursday in order that the many notable artists engaged at the other Boston theaters may have an opportunity of seeing Mr Thomas' new play.

MERELY MARY ANNE
Produced at The Duke of York's Theatre, London
Reviewed in Lloyds Weekly News (London) - 9th September, 1909

Zangwill has scored a bull if the reception of his play last night is any gauge of pleasure or power. He has scored, too, with an artlessness and a simplicity, together with a certain sense of "fairness," that clearly shows the place homely affairs still occupy in the hearts of the people. It is as if he began by saying, "There was a certain man." The child within the grown-up is always susceptible to the fairy story, for its very restfulness is conducive to pleasure. "Merely Mary Ann " is an excellent example of this. You soon grow to love the girl who has found her chief pleasure in the service of a long-haired musician. There was an indefinable something in the man, whose music, though beautiful, few would listen to and no one would buy, that awakened within Mary Ann a strong element of womanly love. From the first it was genuine. It was no mere pity consequent upon beholding the repeated failures of Lancelot. No! It was an increasing devotion. In time she caught something of the musician's idea of excellence, and at once detected the cause of failure - it was too good to be popular.

True to Their Early Love

Many were the opportunities that Mary Ann found for expressing her love, and though Lancelot at first did not detect these, the truth eventually dawned upon him, and he began to love this little compendium of servant and lover. He arrives in quick time at the present buying stage. Then follows thoughts of elopement - a cottage in the country where they may happily live. Just as their scheme is properly formulated, and preparations for departure complete, Mary Ann receives a letter that changes the whole course of her career. A brother dies leaving all his wealth to Mary Ann. Instantly on receipt of this she thought of Lancelot, and at once saw the end of all his impecuniosity. He, on the other hand, saw things entirely different. Wealth had now come between them, and they must part. They part. Years elapse and they meet again in a strange place. Mary Ann has been besieged with suitors, but she has been true to her early love, and rejected them all. Lancelot, too, has at last won fame. Changing her name to Marian she invests in a new personality. Marian he could not love, the woman of fashion he failed to recognise as a possible helpmeet, and it was not until the charming hostess disappeared and once again donned the ''cap and apron" that Lancelot understood how undying real love was, and how deep-seated the early affection had become. The rest is known. Miss Eleanor Robson and Mr. Ainley were largely responsible for the English success of "Merely Mary Ann."