What an extraordinary, complex creature was Charles R. Thorne, Jr.

Beginning a stage career under the management of his father, an actor of considerable repute in the '40's, young Charlie soon developed into a leading actor of the old school, a ranting, vigorous player, declamatory 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 supporting all the leading players then starring throughout the United States, including such celebrated artists as Edwin Forrest, Edwin Booth, Lawrence Barrett, Charlotte Cushman, Lotta, Edwin Adams and many others.

Of an extremely jovial disposition, never dissipated but fond of company, naturally witty and an extremely courageous man, he soon worked himself into the hearts of the Boston public. He was not particularly versatile, but had a splendid personality 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 rÔles. In these he truly suggested the "Greek god." He gave his professional work little thought and was quite content to bask in the sunshine of the encomiums of press and friends until Dion Boucicault discovered latent talents which even Thorne himself did not know he possessed.

Boucicault was about to produce one of his plays, "Led Astray," at the Union Square Theatre, New York, and selected Thorne to create the leading rÔle. Taking him under his 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 premiÈre of "Led Astray" to find himself famous. He became founder of the modern school of suppressed, natural acting and the most convincing actor of the American stage.

He was not a man easily handled and had no respect for the rules and regulations of any theatre. He was in constant difficulties with A. M. Palmer, manager of the Union Square, but Palmer realized Thorne's value and put up with many 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 leading heavies for instance, but Thorne's convincing methods always made the hero look ridiculous. In the play "False Shame," in which he was cast for the villain, he took all the sympathy from the hero and of course killed the property.

Palmer brought over the late Charles Coghlan at a salary of $1,000 a week—Thorne's salary had never gone beyond $125!—and cast them both to create simultaneously the leading rÔle in "A Celebrated Case," giving Coghlan the quodus of the New York and Thorne the Pittsburgh opening. I saw Coghlan's opening. He gave a marvelously thought-out performance and made a tremendous hit. I saw Thorne some weeks after and told him of my impressions.

I remarked, "Charlie, I think that Palmer has got you at last." He observed, "Yes, I hear that that chap Coghlan is an actor. I am up the spout as Palmer intends playing me at the Grand Opera House in two weeks and I guess 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 rÔle." I said, "Well, I am going in front to-night and I will tell you what I think." Before leaving his dressing-room I added, "Charlie, if you take my advice you won't go to New York. Be ill, and let your understudy go on." He laughed and, waving his hand, cried, "All right, sonny boy, I may take your advice!"

I went in front and after the performance I rushed back into his dressing-room and yelled, "For God's sake, don't get ill! Get to New York as soon as possible!"

I had never seen such a performance! While you admired Coghlan's technique and art, Thorne gave you no time to think of anything—he was so real, so convincing. He drowned all judgment with the tears his acting started. You simply sobbed your heart out.

In a few weeks Thorne went to New York and amazed the public. In a short time Coghlan's name headed the road company and Thorne was snugly housed again at the Union Square Theatre where he remained 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 streets were packed for blocks by a swaying, eager multitude ready to pay homage to an actor who for twenty years had been their idol and whose salary was never more than $150 a week at any time.

He was very ill on the opening night—in fact he was dying on the stage before his beloved public, but no one knew it. The fact that his performance was most unsatisfactory gave no one an inkling of the truth. He was driven home after the play, and never appeared again, dying in a few weeks. Just as power was within his grasp, they rang the curtain down and poor Thorne's soul passed into the great beyond.

All of the Thorne family were possessed of a wonderful sense of humor. I, as I have said, knew them all—Charles, William and Edwin and their father and mother. 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 had a much keener sense of the ridiculous than the others and he would exercise it even in a serious scene, if for no other reason than to break up the players.

One day at the old Niblo's Garden in New York, Charlie came to play a two weeks' starring engagement for his father who was at that time the lessee of the theatre. I was a member of the company playing general utility. Business was very, very 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 are King James of Scotland, I am Roderick Dhu!" Before the curtain fell upon the line Charlie, who had bribed the prompter to delay its coming down on the direct cue, took out a large document and said, "Yes, Mr. Thorne, and your rent is due."

When the curtain fell the old man chased his son out of the theatre and in a fit of passion swore he would not allow the play to continue. Charles came back, apologized and the play proceeded.

Boucicault took him and Stuart Robson to London to play in "Led Astray." Charlie made a great hit and poor Rob a dire failure. Robson's failure Charlie took to heart as his love for Rob was unbounded. After about six weeks three gentlemen, the proprietors 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, pointing to Rob, asked, "Is my pal included in this?" When told that their business was with him solely he cried, "Out upon ye for arrant knaves! I'll not play at Dreary's Lane nor at Covey's Garden either!" They thought he was mad and quickly withdrew.

Chapter XI