Background
He was born on October 13, 1833 in Alexandria, Virginia. His mother educated him strictly, with the idea of his becoming a minister.
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Frank C. Bangs
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When only fifteen, he worked on a Washington newspaper, learning typesetting and writing stories; but a performance of the elder Booth as Richard III fired him with a desire to become an actor. Nevertheless, he went to Philadelphia, when eighteen, and began his theological studies.
Career
Records state that he was advised by his instructors to give up the ministry. On September 27, 1851, he made his theatrical début at the Washington National, subsequently gaining experience as general-utility actor with Edwin Forrest, Kate and Susan Denin, Charlotte Cushman, Julia Dean, James Hackett, and others. He appeared also with the Ravel Troupe (a very popular family of players in the early national period of the American theatre), in The Miller and His Men, a pantomime. He then went through the treadmill of experience in Baltimore, Albany, and Washington, as the first walking gentleman and in such so-called juvenile rôles as Romeo, Horatio, and Claude Melnotte. At the Philadelphia Arch Street Theatre, he appeared with Mrs. John Drew and Olive Logan.
In 1858-59, through the influence of Joseph Jefferson, he joined the company at Laura Keene's Theatre, making his first New York appearance, April 22, 1858, in J. G. Burnett's Blanche of Brandywine. He shared juvenile parts with Lester Wallack, at Wallack's Theatre, New York, where he appeared in Boucicault's Octoroon. The war put a stop to his acting for a time; he joined the Confederate army, going into active service with the 3rd Virginia, and was made a prisoner at Hilton's Head. At the close of the war, he returned to the stage, playing in stock at the Washington National. The papers of the time mention that he was unfairly treated by the audiences because of his Southern sympathies.
In 1867, however, he met with much success in After Dark, at Niblo's Garden, but soon after, owing to a dispute with his managers, Jarrett and Palmer, regarding the casting of Julius Cæsar, he retired from the boards, giving most of his time to teaching the art of reading, to coaching amateur dramatic societies, and to lecturing on mental philosophy.
In 1870 he was back on the stage, supporting Fechter and Carlotta Leclerq at the Boston Theatre, in Hamlet (February 21), Ruy Blas (February 28), and The Lady of Lyons (March 5).
Toward the end of his career he was identified with such ephemeral pieces as The Christian, The Choir Invisible, The Gentleman from Indiana, and The Awakening of Helena Ritchie.
