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Lawrence Barrett (April 4, 1838 – March 20, 1891) was an American stage actor. ==Biography== Barrett was the son of a poor tailor, born in 1838 in Paterson, New Jersey but raised in Detroit.〔Bordman, Gerald and Thomas S. Hischak. ''The Oxford Companion to American Theatre''. New York: Oxford University Press, 2004: 55. ISBN 0-19-516986-7〕 A child of to Irish emigrant parents, his name at birth was Lawrence Brannigan. He made his first stage appearance at Detroit as Murad in ''The French Spy'' in 1853.〔 In December 1856 he made his first New York appearance at the Chambers Street theatre as "Sir Thomas Clifford" in ''The Hunchback''. In 1858 he was in the repertory company at the Boston Museum. He served in the American Civil War as captain in Company B of the 28th Massachusetts Infantry regiment. However, he did not see action in any major battles. From 1867 to 1870, with John McCullough, he managed the California theatre, San Francisco. Among his many and varied parts may be mentioned Hamlet, King Lear, Macbeth, Shylock, Richard III, Wolsey, Benedick in ''Much Ado About Nothing'', Richelieu, David Garrick, ''Hernani'', Alfred Evelyn, Lanciotto in George Henry Boker's (1823–1890) ''Francesca da Rimini'', and Janies Harebell in ''The Man o' Airlie''. Barrett acted in London in 1867, 1882, 1883 and 1884, his "Cardinal Richelieu" portrayal in Edward Bulwer-Lytton's drama being considered his best part. In 1889, he produced the first performance of ''The Duchess of Padua'', retitling it ''Guido Ferranti'' and taking on the title role. He was particularly successful in Kansas City, Missouri, where he performed for a week in December 1870 in the inaugural season of the Coates Opera House; he returned 11 times.〔Londré, Felicia Hardison. ''The Enchanted Years of the Stage: Kansas City at the Crossroads of American Theater, 1870-1930''. Columbia, Missouri: University of Missouri Press, 2007: 76. ISBN 978-0-8262-1709-7〕 In 1889, he produced William Young's play ''Ganelon'', with himself in the title role. The expensive production set in the Middle Ages had a successful run. William S. Hart, who was initially hired to play one of the roles, recalled," The performances were given, and they were highly creditable too!"〔Davis, Ronald L. ''William S. Hart: Projecting the American West''. Norman, OK: University of Oklahoma Press, 2003: 29–30. ISBN 0-8061-3558-1 〕 He was managed for many years by Robert E. Stevens, the father of actress Emily Stevens and theater director Robert Stevens.〔"Stevens Aids Drive for New Players"; newspaper clipping from October 1926, in the 1924-1927 Scrapbook of the Rochester Community Players, stored in the Local History Depart, Rundel Library of the Rochester NY Public Library〕 In addition to his acting, Barrett also wrote a life of Edwin Forrest in the American Actors Series (Boston, 1881). Of the actor, Barrett said his personality was too strong to allow his characters to show through: "He was in all things marked and distinctive. His obtrusive personality often destroyed the harmony of the portrait he was painting."〔Kippola, Karl M. ''Acts of Manhood: The Performance of Masculinity on the American Stage, 1828-1865''. Palgrave Macmillan, 2012: 65. ISBN 9781137068774〕 Barrett frequently worked with fellow stage actor Edwin Booth; he played Othello to Booth's Iago and Cassius to his Brutus in ''Julius Caeasar''. He wrote a sketch of his colleague for ''Edwin Booth and his Contemporaries'' (Boston, 1886). Shortly after, Barrett contacted Booth and suggested that the two tour together beginning in 1887 season. They worked together for the next several years and were immensely successful, both in popularity and in financial returns. As Booth reflected on Barrett's leadership and management, he wrote: "Well, why should I not do good work, after all Barrett has done for me... Good work, eh? Well, I'll give him the best that's in me, he deserves it."〔Bloom, Arthur W. ''Edwin Booth: A Biography and Performance History''. Jefferson, NC: McFarland & Company, 2013: 139. ISBN 978-0-7864-7289-5〕 On April 3, 1889, the two were performing in ''Othello'' but Booth's voice did not work when he attempted to deliver Iago's first lines. Barrett asked the curtain to be lowered and called for doctors before telling the audience there would be no performance that night. He was reported as saying, "We fear that this is the beginning of the end. The world may have heard for the last time the voice of the greatest actor who speaks the English language." Newspapers reported that Booth was dying, though he survived the incident.〔Giblin, James Cross. ''Good Brother, Bad Brother: The Story of Edwin Booth and John Wilkes Booth''. New York: Clarion Books, 2005: 212. ISBN 0-618-09642-6〕 Barrett began showing serious health problems in 1890. That year, after organizing performances starring Booth and Polish actress Helena Modjeska, he traveled to a spa in Germany before rejoining them in the fall. Due to a glandular problem, however, his face was swollen and his voice was weak.〔Giblin, James Cross. ''Good Brother, Bad Brother: The Story of Edwin Booth and John Wilkes Booth''. New York: Clarion Books, 2005: 213–215. ISBN 0-618-09642-6〕 Finally, in March 1891, during a performance of ''Richelieu'', Barrett whispered to Booth that he could not go on. He finished the scene before being replaced by his understudy. He died three days later.〔Giblin, James Cross. ''Good Brother, Bad Brother: The Story of Edwin Booth and John Wilkes Booth''. New York: Clarion Books, 2005: 216. ISBN 0-618-09642-6〕 A few years after his death, author Eugene Field criticized the condition of his grave in Massachusetts, writing: "The neglect with which Barrett's memory has been treated... is one of the most shameful blots upon the theatrical profession."〔Saum, Lewis O. ''Eugene Field and His Age''. University of Nebraska Press, 2001: 179. ISBN 0-8032-4287-5〕 He was the grandfather of stage and screen actress Edith Barrett, the first wife of Vincent Price. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lawrence Barrett」の詳細全文を読む スポンサード リンク
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