Эдвин Форрест: Американский актер XIX века.

American actor (1806–1872)

Edwin Forrest (March 9, 1806December 12, 1872) was a nineteenth century American Shakespearean actor. His feud with the British actor William Macready was the cause of the deadly Astor Place Riot of 1849.

Forrest was born in Philadelphia, Pennsylvania, the son of Rebecca (née Lauman) and William Forrest. His father, a Scottish merchandise peddler, moved from Dumfriesshire to Trenton, New Jersey in 1791. His mother was a member of an affluent German American family. A business setback led William to relocate to Philadelphia, where he married Rebecca and was able to secure a position with a local branch of the United States Bank. As boys, Forrest and his brother William joined a local juvenile thespian club and participated in theatrical performances staged in a sparsely decorated woodshed. At the age of 11, Forrest made his first appearance on the legitimate stage at Philadelphia's South Street Theatre, playing the female role Rosalia de Borgia in the John D. Turnbull melodrama Rudolph: or, The Robbers of Calabria. After Forrest's father died in 1819, he attempted to apprentice with a printer, a cooper, and finally a ship chandler. When attending a lecture in early 1820, he volunteered to participate in an experiment on the effects of nitrous oxide. While under the influence of the gas, he broke into a soliloquy from Shakespeare's Richard III that impressed eminent Philadelphia lawyer John Swift so much that Swift arranged an audition at the Walnut Street Theatre; this led to Forrest's formal stage debut on November 27, 1820, as Young Norval in John Home's Douglas.

The theatres of New York and Philadelphia were already crowded with trained and successful actors, mostly the offspring of well known British theatrical families or at least with British training. Few American actors were able to make much headway in these theaters, whose managers were highly skeptical of the quality of local talent. Forrest therefore accepted an offer from Joshua Collins and William Jones, who owned theatres in Pittsburgh, Cincinnati and Lexington, and were scouting Philadelphia for actors who were willing to face the rigors of performing in the new cities along the Ohio and Mississippi River valleys. His tour through a rough country—with the inconveniences of long distances, the necessity of presenting his plays in rude halls, insufficient support, and poor scenery—was not altogether successful, but the discipline to mind and body was felt in all his subsequent career. In 1824 he travelled from Louisville down to New Orleans, where he had been invited to join the company of the American Theatre, under the management of William Caldwell. There he began to act in a higher quality of production though usually in roles secondary to Caldwell and began to attract favorable responses from New Orleans audiences. However, Forrest vied with his employer for the affections of the leading actress of the company, Jane Placide. In a fury of jealousy, he quit the company and spent two months living in the Louisiana wilderness. Later Forrest would claim he spent much of this time in the company of a Choctaw Indian chief named Push ma ta ha, though recent scholarship has come to question much of his account. By 1825 he was back in Philadelphia, and then went north to act with the Pearl Street Theatre in Albany, New York, where he was able to act with, and learn from, such eminent actors as William Conway and Edmund Kean.

In 1826, he had a great success at the Bowery Theatre in New York City as Othello. The management employed him at a salary far below his worth, and he was at once offered increased payment at another theatre; but he refused to break his word, and carried out the contract to his own detriment. This strict sense of honor was characteristic of him throughout his career. Forrest and Catherine separated in April 1849 and he moved to Philadelphia where he filed for divorce in February 1850, though the Pennsylvania legislature denied his divorce application. Under the advice of Parke Godwin, Catherine hired Charles O'Conor as her lawyer. The divorce became a cause célèbre and the well known writer Nathaniel Parker Willis was caught in the middle. Willis defended Catherine, who maintained her innocence, in his magazine Home Journal and suggested that Forrest was merely jealous of her intellectual superiority. On June 17, 1850, shortly after Forrest had filed for divorce in the New York Supreme Court, Forrest beat Willis with a gutta percha whip in New York's Washington Square, shouting "this man is the seducer of my wife". Willis, who was recovering from a rheumatic fever at the time, was unable to fight back. Willis's own wife soon received an anonymous letter suggesting that Willis was, in fact, involved with Forrest's wife. Willis later sued Forrest for assault and, by March 1852, was awarded $2,500 plus court costs. O'Conor won a national reputation by winning the case, and secured a liberal alimony for Catherine. On the night of March 25, 1872, he appeared in Boston, Massachusetts at the Globe Theatre, as Lear, played this part six times, and was announced for Richelieu and Virginius, but on the intervening Sunday he caught cold. He struggled through the role of Richelieu on Monday night, and rare bursts of eloquence lighted the gloom, but he labored piteously against the disease which was fast conquering him. Being offered stimulants, he signed them away, with the words, "If I die, I will still be my royal self." This was his last appearance as an actor. He eventually recovered from the severe attack of pneumonia. The craving for public applause, which was his only happiness, induced him to give readings from Shakespeare in several large cities. The scheme failed, and was abandoned, to his deep mortification. The large sums that he had earned on the stage were judiciously and fortunately invested, and resulted in his amassing a large fortune. He had purchased, about 1850, a site on the banks of the Hudson, on which he erected a castellated structure. This estate, which he named Fonthill, he afterward sold at a large advance for a convent, which later became the College of Mount Saint Vincent. In 1855 he purchased his mansion in Philadelphia, to which he retired after his temporary abandonment of the stage. There he collected the largest dramatic library in the United States. By avoiding New York and by legal evasions he succeeded in escaping the payment of alimony to his wife, but left his estate heavily in her debt. In the 1920s, architect Herbert J. Krapp was chosen to design two new theatres, one in New York City and the other in Philadelphia. Both were initially named the Forrest Theatre in honor of Forrest and his contributions to the theatre world. While the Philadelphia location is still called the Forrest Theatre, the building in New York has changed names over the years and is currently known as the Eugene O'Neill Theatre.