LETTICE FAIRFAX: THEATRE ACTRESS (PRETTY THE WAY AN ENGLISH GARDNER’S DAUGHTER IS PRETTY)

Lettice Fairfax, an English actress, is the subject of this cabinet card. Her first stage appearance in America was at Daly’s Theater in New York City. She had a role in “Number Nine” in December of 1897. The reviewer in the New York Times wrote that she was “a pretty, fragile and very nervous” actress. He also labelled her the “new ingenue” and reported that she was pretty the way an English Gardner’s daughter is pretty. I guess that means that she was pretty in “the girl next door”  kind of way.  The photographer of this cabinet card was famed theatre photographer, B. J. Falk and the photograph  is copyrighted in 1898. The reverse of the cabinet card is stamped “Charles L Ritzmann” of Broadway, New York.

ZOE TUTTLE: PRETTY STAGE ACTRESS

zoe tuttle_0001The Boston Globe of 1880 in a play review of Uncle Toms Cabin, writes that Little Miss Zoe Tuttle played Eva in a “perfect” performance. Ms Tuttle appears to have begun as a child actress but little more information has been discovered. Additional research will be done and any facts concerning Ms Tuttle or additional comments from blog visitors would be appreciated. The photographer of this cabinet card is Myers of New York City.  This photograph is back stamped with the name of Charles Ritzmann, a well known purveyor of photographs of stage actors and actresses.

EFFIE ELLSLER: STAGE ACTRESS

ellsler_0002

This is a Cabinet card portrait of stage actress Effie Ellsler (1855?-1942). She was born in Cleveland, Ohio where her parents were actors and ran a leading playhouse. She made her debut as a child and as an adult had opportunities to act with Edwin Booth, Lawrence Barrett and other celebrities during their Cleveland tours. Ellsler came to New York in 1880 and was a sensation in her first part in the title role of Hazel Kirke. She played that role for three years but than made a series of poor starring role choices in a number of melodramas. For most of the 1890’s she toured in road companies. She later played with Maxine Elliott in the Merchant of Venice.  Ellsler’s last hit was in the Bat (1920). This Cabinet card portrait is from the esteemed studio of Charles Ritzmann of  New York City.