1
00:00:01,320 --> 00:00:04,280
Speaker 1: Welcome to Stuff You Missed in History Class a production

2
00:00:04,400 --> 00:00:14,000
Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. I'm Holly

3
00:00:14,080 --> 00:00:18,079
Speaker 1: Frye and I'm Tracy V. Wilson. So today we are

4
00:00:18,160 --> 00:00:21,880
Speaker 1: going to talk about an actress actor, although she would

5
00:00:21,880 --> 00:00:24,960
Speaker 1: have called herself an actress because that sort of more

6
00:00:25,040 --> 00:00:28,840
Speaker 1: standardized form of using a non gendered noun for it

7
00:00:28,880 --> 00:00:32,040
Speaker 1: would not have existed then. She was hugely famous in

8
00:00:32,080 --> 00:00:35,959
Speaker 1: the early twentieth century, although she has not really retained

9
00:00:35,960 --> 00:00:39,960
Speaker 1: her iconic status the way some other actors have. She

10
00:00:40,040 --> 00:00:43,159
Speaker 1: kind of got into acting in a surprising, sort of

11
00:00:43,240 --> 00:00:46,879
Speaker 1: sideways way, but she quickly had a reputation as a

12
00:00:46,920 --> 00:00:51,200
Speaker 1: stage diva with a sharp tongue, and she also originated

13
00:00:51,520 --> 00:00:55,080
Speaker 1: one of the most beloved characters of the stage and screen.

14
00:00:56,200 --> 00:00:59,640
Speaker 1: We are talking about missus Patrick Campbell, which was the

15
00:00:59,760 --> 00:01:05,480
Speaker 1: name that she used publicly and professionally throughout her her life.

16
00:01:05,520 --> 00:01:08,000
Speaker 1: It was her stage name, but it was also what

17
00:01:08,080 --> 00:01:12,679
Speaker 1: people knew her as we will talk about her birth name.

18
00:01:12,800 --> 00:01:15,000
Speaker 1: But we have to talk about names being tricky here

19
00:01:15,040 --> 00:01:18,360
Speaker 1: because in her personal life, some people, especially family members,

20
00:01:18,880 --> 00:01:22,680
Speaker 1: called her Beatrice. Particularly older family members always called her that.

21
00:01:23,200 --> 00:01:26,119
Speaker 1: Other people called her Stella. That was her middle name,

22
00:01:27,280 --> 00:01:30,520
Speaker 1: but she also had a daughter named Stella that comes

23
00:01:30,560 --> 00:01:32,480
Speaker 1: up a few times in this episode. So if we

24
00:01:32,520 --> 00:01:35,120
Speaker 1: refer to her by first name, we're using Beatrice just

25
00:01:35,160 --> 00:01:38,279
Speaker 1: to avoid confusion. But I think with her closest friends

26
00:01:38,319 --> 00:01:43,280
Speaker 1: and beloved she was Stella. She was also often called

27
00:01:43,319 --> 00:01:46,199
Speaker 1: Missus Pat, though even by people who knew her pretty well,

28
00:01:46,520 --> 00:01:50,520
Speaker 1: So we will generally refer to her either as Beatrice,

29
00:01:50,600 --> 00:01:53,120
Speaker 1: Missus Pat, or Missus Campbell when we're talking about her.

30
00:01:53,520 --> 00:01:56,480
Speaker 1: Her daughter Stella is only going to be called Stella

31
00:01:56,520 --> 00:02:00,440
Speaker 1: and will be the only one. Additionally, to make things

32
00:02:00,480 --> 00:02:02,880
Speaker 1: a little confusing, I feel like their family just liked

33
00:02:02,880 --> 00:02:05,160
Speaker 1: to play fast and loose with names and nicknames. Because

34
00:02:05,160 --> 00:02:08,239
Speaker 1: she had a son who was named Alan, he also

35
00:02:08,280 --> 00:02:12,400
Speaker 1: went by the nickname Bo and people referred to him

36
00:02:12,440 --> 00:02:15,359
Speaker 1: as that throughout his life. So if you hear either

37
00:02:15,400 --> 00:02:18,760
Speaker 1: of those, we mean her son, it's a lot. I'm

38
00:02:18,760 --> 00:02:22,840
Speaker 1: sure I missed something in there. So Beatrice Stella Tanner

39
00:02:23,160 --> 00:02:27,640
Speaker 1: was born on February ninth, eighteen sixty five, in London, England.

40
00:02:28,280 --> 00:02:32,480
Speaker 1: Her parents were John Tanner and Maria Luigia Jovanna Romanini,

41
00:02:32,760 --> 00:02:35,800
Speaker 1: and according to Beatrice, the two of them fell in

42
00:02:35,840 --> 00:02:39,760
Speaker 1: love at first sight the first time they met in Bombay, India.

43
00:02:40,560 --> 00:02:43,840
Speaker 1: John's father was an army contractor for the British East

44
00:02:43,880 --> 00:02:48,960
Speaker 1: India Company and Maria's father was a political exile, so

45
00:02:49,080 --> 00:02:52,040
Speaker 1: both of their families were there. Neither of them spoke

46
00:02:52,080 --> 00:02:55,480
Speaker 1: the other one's language, but John and Maria got married

47
00:02:55,520 --> 00:02:58,880
Speaker 1: while still living there in India and had six children

48
00:02:58,960 --> 00:03:02,480
Speaker 1: there before moving to London. Once they got to London,

49
00:03:03,000 --> 00:03:07,480
Speaker 1: three more kids, including Beatrice. According to Beatrice, when she

50
00:03:07,639 --> 00:03:10,920
Speaker 1: was tiny, she cried so much that the nurse the

51
00:03:10,960 --> 00:03:13,640
Speaker 1: family hired for her told her parents, quote, she is

52
00:03:13,680 --> 00:03:17,520
Speaker 1: not a baby, she is a tiger. She also caused

53
00:03:17,520 --> 00:03:21,920
Speaker 1: the same nurse unintelligent. Yeah, I told you she had

54
00:03:21,960 --> 00:03:26,720
Speaker 1: a biting tongue. In her autobiography, Beatrice wrote of her father, quote,

55
00:03:26,919 --> 00:03:30,560
Speaker 1: my father, it seems, managed to get through two large fortunes.

56
00:03:31,000 --> 00:03:35,400
Speaker 1: He was careless with money, exceptionally generous, delighting in business,

57
00:03:35,560 --> 00:03:39,840
Speaker 1: enterprise and speculation. In that book, she details a letter

58
00:03:39,880 --> 00:03:42,040
Speaker 1: that he once wrote her, in which he explained the

59
00:03:42,120 --> 00:03:45,640
Speaker 1: various pitfalls of life that had cost him his financial security,

60
00:03:46,200 --> 00:03:49,240
Speaker 1: and she concludes that discussion with quote, people who knew

61
00:03:49,240 --> 00:03:52,520
Speaker 1: my father well, spoke with much love of his extraordinary

62
00:03:52,600 --> 00:03:57,960
Speaker 1: kindness and buoyant spirits. As for her mother, Beatrice clearly

63
00:03:58,080 --> 00:04:01,600
Speaker 1: just thought the world of her. Reminisced about her beautiful

64
00:04:01,680 --> 00:04:04,560
Speaker 1: singing voice and how she spoke so many languages and

65
00:04:04,600 --> 00:04:08,800
Speaker 1: played guitar. She wrote of Maria Luigia, quote, my Italian

66
00:04:08,840 --> 00:04:12,160
Speaker 1: mother and her beautiful sisters were invested for me with

67
00:04:12,360 --> 00:04:16,240
Speaker 1: great romantic glamour that has remained with me, and the

68
00:04:16,279 --> 00:04:19,599
Speaker 1: few stories I was told about their youthful adventures delight

69
00:04:19,680 --> 00:04:21,680
Speaker 1: me now as they did when I was a child,

70
00:04:21,800 --> 00:04:25,840
Speaker 1: and felt proud that they were my people. While her

71
00:04:25,920 --> 00:04:29,640
Speaker 1: eldest brother was away at school, he died unexpectedly, and

72
00:04:29,760 --> 00:04:33,320
Speaker 1: her father was often back in India, so her memory

73
00:04:33,600 --> 00:04:36,799
Speaker 1: of all of this appears to be her mother. In mourning,

74
00:04:37,480 --> 00:04:41,039
Speaker 1: she describes her as elegant and beautiful, and also wrote

75
00:04:41,080 --> 00:04:43,400
Speaker 1: of her mother, quote, she gave me her great love

76
00:04:43,400 --> 00:04:48,680
Speaker 1: of beauty. She could not pass by beauty unnoticed. Beatrice's

77
00:04:48,680 --> 00:04:51,920
Speaker 1: mother influenced and nurtured her love of the arts, and

78
00:04:51,960 --> 00:04:54,040
Speaker 1: she wrote of it, quote from my mother, I learned

79
00:04:54,040 --> 00:04:57,440
Speaker 1: my love of music. Schubert was my first love. She

80
00:04:57,520 --> 00:05:01,800
Speaker 1: sang his songs in French with a touch a unsentimental simplicity.

81
00:05:02,520 --> 00:05:05,400
Speaker 1: My mother spoke to me with enthusiasm of the Italian

82
00:05:05,440 --> 00:05:09,800
Speaker 1: actor Salvini Rossi and Madame Roustori, also of the singers

83
00:05:09,920 --> 00:05:13,560
Speaker 1: Mario and Grisi and Adelina Patti. I do not think

84
00:05:13,600 --> 00:05:16,360
Speaker 1: she ever saw any of our English players. If she did,

85
00:05:16,440 --> 00:05:19,279
Speaker 1: I never heard her speak of them. And writing of

86
00:05:19,320 --> 00:05:23,159
Speaker 1: herself and her formative years, she said quote, I think

87
00:05:23,279 --> 00:05:27,480
Speaker 1: I was neither a sweet, amiable nor amenable child. I

88
00:05:27,560 --> 00:05:33,039
Speaker 1: was physically strong, very affectionate, imaginative, but temperamentally alien to

89
00:05:33,120 --> 00:05:37,400
Speaker 1: those around me. I believe I was impatient with unintelligent

90
00:05:37,440 --> 00:05:40,960
Speaker 1: people from the moment I was born. A tragedy for

91
00:05:41,120 --> 00:05:46,200
Speaker 1: I myself am three parts a fool. She mostly speaks

92
00:05:46,200 --> 00:05:48,720
Speaker 1: of her childhood as pretty enjoyable, though one of her

93
00:05:48,760 --> 00:05:52,000
Speaker 1: favorite activities was digging holes in the garden and filling

94
00:05:52,040 --> 00:05:54,200
Speaker 1: them with water and then sitting in a mud bath,

95
00:05:54,640 --> 00:05:58,719
Speaker 1: sort of inspired by tales of ancient Roman baths. This

96
00:05:58,960 --> 00:06:01,840
Speaker 1: caused her siblings embarrassment, though, because she often looked like

97
00:06:01,880 --> 00:06:05,200
Speaker 1: a wild child just covered in mud. Yeah. She tells

98
00:06:05,200 --> 00:06:07,680
Speaker 1: one story in her memoir about her sister basically having

99
00:06:07,720 --> 00:06:10,080
Speaker 1: a boy come over and what he was greeted with

100
00:06:10,279 --> 00:06:13,479
Speaker 1: was like this little crazed looking kid that was just

101
00:06:13,520 --> 00:06:17,239
Speaker 1: a mud pile. At the age of ten, Beatrice started

102
00:06:17,279 --> 00:06:21,200
Speaker 1: attending school in Brighton. She did not like it. She

103
00:06:21,279 --> 00:06:24,400
Speaker 1: found it dull, and she was also kind of generally

104
00:06:24,440 --> 00:06:28,320
Speaker 1: frightened and shy around people outside of the family. A

105
00:06:28,400 --> 00:06:31,719
Speaker 1: new period of upheaval came when, following the marriage of

106
00:06:31,720 --> 00:06:35,120
Speaker 1: her oldest sister, Nina, her father and brothers moved to

107
00:06:35,160 --> 00:06:37,440
Speaker 1: the US to help her uncle who was trying to

108
00:06:37,480 --> 00:06:41,240
Speaker 1: set up some business in Texas. So Beatrice, her sisters,

109
00:06:41,279 --> 00:06:45,680
Speaker 1: and their mother moved into a smaller home. Then her

110
00:06:45,720 --> 00:06:49,160
Speaker 1: mother's friend, Catherine Bailey, offered to take Beatrice to Paris

111
00:06:49,520 --> 00:06:51,960
Speaker 1: to live for a year to study French and music,

112
00:06:52,000 --> 00:06:55,120
Speaker 1: which she did and that year, she said, quote filled

113
00:06:55,160 --> 00:06:58,600
Speaker 1: me with delight. But by the time she returned home

114
00:06:58,640 --> 00:07:02,000
Speaker 1: to England, the family for was really in pretty bad shape.

115
00:07:02,600 --> 00:07:07,120
Speaker 1: A cousin of Beatrice's father named Eliza Hogarth heard her

116
00:07:07,160 --> 00:07:10,680
Speaker 1: playing the piano and thought she was talented enough that

117
00:07:10,960 --> 00:07:13,840
Speaker 1: she needed lessons, so Eliza offered to pay for her

118
00:07:13,840 --> 00:07:17,000
Speaker 1: to attend formal lessons at the Guildhall School of Music.

119
00:07:17,600 --> 00:07:20,040
Speaker 1: Things went well there. They went well enough that Beatrice

120
00:07:20,080 --> 00:07:23,280
Speaker 1: won a scholarship to a three year music school in Leipzig,

121
00:07:23,320 --> 00:07:27,040
Speaker 1: but she never used that scholarship because when Beatrice was seventeen,

122
00:07:27,200 --> 00:07:30,840
Speaker 1: she met Patrick Campbell at a card party. As we said,

123
00:07:30,880 --> 00:07:33,480
Speaker 1: she was seventeen when she met Pat and he was twenty.

124
00:07:34,320 --> 00:07:37,680
Speaker 1: She described him as handsome and gentle, with the love

125
00:07:37,720 --> 00:07:41,520
Speaker 1: of nature and his family. They married just four months

126
00:07:41,560 --> 00:07:44,760
Speaker 1: after they met, and Beatrice never finished her music studies.

127
00:07:45,440 --> 00:07:48,720
Speaker 1: They had eloped, and when they told Beatrice's mother, she

128
00:07:48,960 --> 00:07:52,640
Speaker 1: was not entirely happy. She felt that her daughter had

129
00:07:52,680 --> 00:07:57,240
Speaker 1: given up everything for a sudden romance. Beatrice later wrote

130
00:07:57,240 --> 00:08:00,400
Speaker 1: of this relationship quote, after more than thirty five years

131
00:08:00,400 --> 00:08:05,080
Speaker 1: of life, with its battles, its wounds, its every ready pain,

132
00:08:05,560 --> 00:08:08,160
Speaker 1: it is not easy to write of the joy of

133
00:08:08,200 --> 00:08:12,720
Speaker 1: that first love. Incapable of pause or reckoning. With the

134
00:08:12,760 --> 00:08:16,760
Speaker 1: divine faith and courage of fearless children, we faced the

135
00:08:16,800 --> 00:08:21,560
Speaker 1: world we thought ours, and paid the price bravely. Beatrice

136
00:08:21,600 --> 00:08:25,240
Speaker 1: and Patrick had a son named Alan Urqhart Campbell. The

137
00:08:25,400 --> 00:08:28,760
Speaker 1: family called Alan Bo as a nickname. It's a variation

138
00:08:28,840 --> 00:08:32,360
Speaker 1: on Beatrice. Two years later, the Campbells welcomed their second

139
00:08:32,440 --> 00:08:36,640
Speaker 1: child that was a daughter named Stella. But unfortunately, Beatrice

140
00:08:36,640 --> 00:08:40,800
Speaker 1: and Patrick were faced with some unfortunate news. Patrick's health

141
00:08:40,840 --> 00:08:43,440
Speaker 1: had never been robust, and his doctor said that he

142
00:08:43,559 --> 00:08:47,520
Speaker 1: was too weak to remain in the city. Beatrice recalled

143
00:08:47,520 --> 00:08:50,000
Speaker 1: being terrified of what was going to happen to them,

144
00:08:50,160 --> 00:08:52,200
Speaker 1: and at the time, she was still pregnant with Stella,

145
00:08:52,240 --> 00:08:55,280
Speaker 1: and she describes this night where she couldn't sleep and

146
00:08:55,320 --> 00:08:58,160
Speaker 1: she was pacing in their small garden late at night, worrying.

147
00:08:58,800 --> 00:09:01,360
Speaker 1: She wrote quote, I knew was not strong enough to

148
00:09:01,400 --> 00:09:04,040
Speaker 1: continue working in the city, and that I must help.

149
00:09:04,440 --> 00:09:06,880
Speaker 1: I could not imagine what work I could do. I

150
00:09:06,920 --> 00:09:09,560
Speaker 1: had given up my musical scholarship and so was not

151
00:09:09,720 --> 00:09:13,600
Speaker 1: qualified for a musical career. My lovely baby and another

152
00:09:13,679 --> 00:09:16,480
Speaker 1: coming in a few weeks, must be provided for. I

153
00:09:16,600 --> 00:09:21,200
Speaker 1: was bewildered, lost with the daylight. Something entered my soul

154
00:09:21,320 --> 00:09:24,120
Speaker 1: and has never since left me. It seemed to cover

155
00:09:24,200 --> 00:09:26,520
Speaker 1: me like a fine veil of steel, giving me a

156
00:09:26,559 --> 00:09:30,960
Speaker 1: strange sense of security. Slowly I became conscious that within

157
00:09:31,000 --> 00:09:33,960
Speaker 1: myself lay the strength I needed, and that I must

158
00:09:34,000 --> 00:09:37,880
Speaker 1: never be afraid. In eighteen eighty six, she joined the

159
00:09:37,920 --> 00:09:41,520
Speaker 1: Anomalies Dramatic Club, which was a London group that staged

160
00:09:41,559 --> 00:09:45,480
Speaker 1: plays so its members could gain experience and hone their skills.

161
00:09:45,920 --> 00:09:48,600
Speaker 1: There were three hundred and sixty five members. They paid

162
00:09:48,760 --> 00:09:51,960
Speaker 1: three pounds, three shillings and dues to pay for the

163
00:09:52,000 --> 00:09:54,360
Speaker 1: plays that they were performing each year at the Town Hall.

164
00:09:55,200 --> 00:09:57,679
Speaker 1: She was asked to play a lead role in one

165
00:09:57,679 --> 00:10:02,000
Speaker 1: of their stagings after the original actor got sick. Meanwhile,

166
00:10:02,080 --> 00:10:05,520
Speaker 1: Patrick's health got worse and his doctor prescribed him time

167
00:10:05,600 --> 00:10:08,880
Speaker 1: at sea in the hopes that he would improve. He

168
00:10:09,000 --> 00:10:11,640
Speaker 1: left first for Australia. The idea was that he was

169
00:10:11,679 --> 00:10:13,720
Speaker 1: going to stay with a family member who lived there

170
00:10:13,800 --> 00:10:15,560
Speaker 1: and he would look for work once he got there,

171
00:10:15,880 --> 00:10:17,959
Speaker 1: and then he would send for Beatrice and the kids

172
00:10:18,000 --> 00:10:20,720
Speaker 1: once he settled. But that didn't work out and he

173
00:10:20,800 --> 00:10:24,600
Speaker 1: ended up moving from Australia to Zimbabwe. He found work

174
00:10:24,640 --> 00:10:26,760
Speaker 1: here and there, and for a while he was connected

175
00:10:26,760 --> 00:10:30,840
Speaker 1: with the imperialist Cecil Rhodes and his debier's Diamond operation.

176
00:10:31,920 --> 00:10:34,240
Speaker 1: Patrick would send checks home as often as he could,

177
00:10:34,320 --> 00:10:38,360
Speaker 1: although there were sometimes large gaps in between, and that

178
00:10:38,480 --> 00:10:41,480
Speaker 1: lack of steady income led Beatrice to ask Pat if

179
00:10:41,520 --> 00:10:44,960
Speaker 1: he was okay with her seeking professional acting jobs, and

180
00:10:45,040 --> 00:10:47,439
Speaker 1: he wrote back that he was supportive of this idea.

181
00:10:48,520 --> 00:10:50,840
Speaker 1: So this is all the version of the events as

182
00:10:50,960 --> 00:10:56,679
Speaker 1: told largely from Beatrice's perspective. Seems that Beatrice was pregnant

183
00:10:56,720 --> 00:11:00,120
Speaker 1: with Alan already when the two lovebirds eloped. So there

184
00:11:00,200 --> 00:11:04,080
Speaker 1: are some interpretations of this situation that kind of take

185
00:11:04,080 --> 00:11:07,600
Speaker 1: the position that Beatrice entrapped Patrick in a marriage that

186
00:11:07,679 --> 00:11:11,880
Speaker 1: he never wanted. So in that interpretation, that's the reason

187
00:11:11,880 --> 00:11:15,440
Speaker 1: that he left to travel. Missus Patt never mentions the

188
00:11:15,800 --> 00:11:19,280
Speaker 1: date of her first child's birth in her memoir. That

189
00:11:19,400 --> 00:11:22,960
Speaker 1: may be why, but it does seem like Patrick was

190
00:11:23,200 --> 00:11:26,560
Speaker 1: truly almost always in precarious health. He wrote her a

191
00:11:26,600 --> 00:11:29,520
Speaker 1: lot of letters while traveling that indicate a tenderness and

192
00:11:29,559 --> 00:11:33,240
Speaker 1: a genuine love between them. I have some questions about

193
00:11:33,280 --> 00:11:37,080
Speaker 1: the medical advice he was receiving. Way, go to sea

194
00:11:37,840 --> 00:11:42,160
Speaker 1: well and like advising people to go to the seaside

195
00:11:42,320 --> 00:11:44,640
Speaker 1: with the salt air to recover their health, like that

196
00:11:44,760 --> 00:11:49,200
Speaker 1: was pretty common, but like taking on a boat taking

197
00:11:49,240 --> 00:11:52,680
Speaker 1: a long voyage that like that was recognized as being

198
00:11:52,720 --> 00:11:56,520
Speaker 1: really hard on your health. So I'm like, I'm confused here. Yeah,

199
00:11:56,600 --> 00:11:59,480
Speaker 1: I mean, I think the thinking was that at least

200
00:11:59,720 --> 00:12:03,839
Speaker 1: if you buy this version of it. England, no matter

201
00:12:03,880 --> 00:12:06,920
Speaker 1: how remote you tried to become, was too industrialized at

202
00:12:06,920 --> 00:12:08,680
Speaker 1: that point for him to be healthy, and he needed

203
00:12:08,720 --> 00:12:10,720
Speaker 1: to get out of the country. That's my guess. I

204
00:12:10,720 --> 00:12:13,720
Speaker 1: don't think there's any validity to that, but that's what

205
00:12:13,800 --> 00:12:17,800
Speaker 1: I think was probably the logic and play. Beatrice started

206
00:12:17,840 --> 00:12:21,040
Speaker 1: working with a touring company in eighteen eighty seven which

207
00:12:21,080 --> 00:12:25,160
Speaker 1: put on almost exclusively Shakespeare plays. She made two pounds

208
00:12:25,200 --> 00:12:27,840
Speaker 1: a week initially, and she had to provide her own dresses,

209
00:12:28,240 --> 00:12:31,319
Speaker 1: and she started going by missus Patrick Campbell at that time,

210
00:12:31,360 --> 00:12:34,000
Speaker 1: and that was, as we said, her stage name throughout

211
00:12:34,080 --> 00:12:38,280
Speaker 1: her life. She wrote of her first professional appearance, quote,

212
00:12:38,320 --> 00:12:41,160
Speaker 1: when I came to the stage, my first feeling was

213
00:12:41,160 --> 00:12:43,280
Speaker 1: that the audience was too far away for me to

214
00:12:43,320 --> 00:12:45,719
Speaker 1: reach out to them. So I must, as it were,

215
00:12:45,880 --> 00:12:48,960
Speaker 1: quickly gather them up to myself. And I think I

216
00:12:49,000 --> 00:12:51,720
Speaker 1: may say that this has always been the instinctive principle

217
00:12:51,760 --> 00:12:54,320
Speaker 1: of my acting. Whether it is the wrong or the

218
00:12:54,400 --> 00:12:57,280
Speaker 1: right principle, I leave it for others to decide. I

219
00:12:57,320 --> 00:13:00,120
Speaker 1: am sure I had no technique and my voice this

220
00:13:00,200 --> 00:13:03,360
Speaker 1: was the voice of a singing mouse. The papers praised me,

221
00:13:03,520 --> 00:13:06,080
Speaker 1: and they also praised my dresses, and I was very

222
00:13:06,080 --> 00:13:10,400
Speaker 1: proud and happy. From there, she really became an audience favorite.

223
00:13:10,440 --> 00:13:13,880
Speaker 1: She was often cast in leading roles, although she describes

224
00:13:13,880 --> 00:13:16,640
Speaker 1: herself as delicate and having to miss a number of

225
00:13:16,679 --> 00:13:20,280
Speaker 1: performances and one time coming down with typhoid and having

226
00:13:20,320 --> 00:13:23,880
Speaker 1: to sit out six weeks of shows. After weathering the

227
00:13:23,920 --> 00:13:27,920
Speaker 1: most serious of her illnesses, she describes regaining her health,

228
00:13:28,000 --> 00:13:30,760
Speaker 1: but not her faith in the world. Having come out

229
00:13:30,760 --> 00:13:34,200
Speaker 1: of this experience without the naive positivity of her youth,

230
00:13:34,800 --> 00:13:38,000
Speaker 1: she knew that life was fragile and that Pat may

231
00:13:38,120 --> 00:13:41,760
Speaker 1: never really be able to provide for the family. Patrick

232
00:13:42,000 --> 00:13:44,800
Speaker 1: was away from the family for six and a half years,

233
00:13:45,320 --> 00:13:48,200
Speaker 1: during which Missus Pat, as she was often called, was

234
00:13:48,240 --> 00:13:52,400
Speaker 1: continuing her career rise. In eighteen ninety three, Missus Campbell

235
00:13:52,440 --> 00:13:54,840
Speaker 1: appeared in her breakout role in the play The Second

236
00:13:54,840 --> 00:13:58,200
Speaker 1: Missus tanker A. In this play, written by Sir Arthur

237
00:13:58,240 --> 00:14:02,920
Speaker 1: Wing Pinero, she played Paula. This is what's known as

238
00:14:02,920 --> 00:14:05,760
Speaker 1: a problem play, meaning that the central device of the

239
00:14:05,760 --> 00:14:09,559
Speaker 1: plot is driven by social issues that were considered controversial

240
00:14:09,640 --> 00:14:12,240
Speaker 1: in the time the play is written. It's a genre

241
00:14:12,320 --> 00:14:16,400
Speaker 1: that is credited in its early development to Alexandre duma Feis.

242
00:14:17,200 --> 00:14:20,560
Speaker 1: In the case of Panero's play, mister tanker A, a widower,

243
00:14:20,640 --> 00:14:23,800
Speaker 1: announces his upcoming marriage to a woman named Paula Jarmont.

244
00:14:23,840 --> 00:14:27,680
Speaker 1: That's Missus Campbell's character, who is considered a ruined woman,

245
00:14:27,920 --> 00:14:30,720
Speaker 1: i e. She has had sexual relations outside of marriage.

246
00:14:31,680 --> 00:14:34,840
Speaker 1: The two wed and their marriage is plagued by problems,

247
00:14:34,880 --> 00:14:39,480
Speaker 1: made much worse when mister Tankeray's daughter gets engaged unknowingly

248
00:14:39,640 --> 00:14:42,600
Speaker 1: to the man who Paula had an affair with years earlier.

249
00:14:43,440 --> 00:14:46,080
Speaker 1: It is a drama and it ends tragically. But even

250
00:14:46,120 --> 00:14:48,760
Speaker 1: though some critics were really kind of displeased by the

251
00:14:48,800 --> 00:14:51,760
Speaker 1: subject matter and thought the whole thing was icky, Missus

252
00:14:51,840 --> 00:14:55,440
Speaker 1: Campbell's performance was raved over that had really not been

253
00:14:55,480 --> 00:15:00,800
Speaker 1: a guaranteed situation. Rehearsals had not gone particularly well. Missus

254
00:15:00,840 --> 00:15:05,120
Speaker 1: pat developed what she called nervous exhaustion and some rehearsals

255
00:15:05,200 --> 00:15:07,760
Speaker 1: right up through the second dress rehearsal, she just walked

256
00:15:07,800 --> 00:15:11,720
Speaker 1: through her part with minimal emotion. But on opening night

257
00:15:11,800 --> 00:15:14,720
Speaker 1: she was in full force and the reviews really reflected it.

258
00:15:14,800 --> 00:15:18,200
Speaker 1: She was instantly famous in London, but she found this

259
00:15:18,280 --> 00:15:22,120
Speaker 1: attention Jarring, writing quote, I was surrounded by what seemed

260
00:15:22,160 --> 00:15:27,200
Speaker 1: to me intolerable curiosity. There were searching, thrill seeking questions

261
00:15:27,280 --> 00:15:32,120
Speaker 1: and strange, critical glances which offended me, sometimes arousing impertinent

262
00:15:32,160 --> 00:15:36,120
Speaker 1: courage on my part. She found herself trying to reconcile

263
00:15:36,520 --> 00:15:39,560
Speaker 1: the stage star that people perceived her to be, with

264
00:15:39,720 --> 00:15:44,600
Speaker 1: the quote fragile, unsophisticated young woman whose heart and nerves

265
00:15:44,600 --> 00:15:48,040
Speaker 1: had been torn by poverty, illness, and the cruel strain

266
00:15:48,160 --> 00:15:52,240
Speaker 1: of a long separation from the husband she loved. She

267
00:15:52,280 --> 00:15:56,760
Speaker 1: found the experience of celebrity and strangers speculating about her

268
00:15:56,800 --> 00:15:59,800
Speaker 1: life really isolating. I feel like this is one of

269
00:15:59,800 --> 00:16:03,800
Speaker 1: the earliest instances where people where someone really has insight

270
00:16:04,320 --> 00:16:07,280
Speaker 1: and is able to articulate what that feeling must be like,

271
00:16:07,400 --> 00:16:11,000
Speaker 1: of like why being a celebrity is actually quite stressful.

272
00:16:12,040 --> 00:16:14,280
Speaker 1: We are gonna pause here for a sponsor break, and

273
00:16:14,320 --> 00:16:16,560
Speaker 1: when we come back, we'll talk about some of the

274
00:16:16,680 --> 00:16:30,400
Speaker 1: challenges that arose in Beatrice's early fame. Although she was

275
00:16:30,520 --> 00:16:34,360
Speaker 1: lauded for her talents, Missus Campbell still was sometimes seized

276
00:16:34,400 --> 00:16:38,120
Speaker 1: with nerves during one of her performances as Missus Tankery.

277
00:16:38,320 --> 00:16:41,600
Speaker 1: Well into the play's run, she forgot all her lines

278
00:16:41,680 --> 00:16:44,000
Speaker 1: and she could not clearly hear the prompt that she

279
00:16:44,080 --> 00:16:47,200
Speaker 1: was given from the wings, so someone had to physically

280
00:16:47,280 --> 00:16:49,720
Speaker 1: walk on stage and hand her a script to read

281
00:16:49,760 --> 00:16:53,840
Speaker 1: from until she recovered. But she recovered so well that

282
00:16:53,920 --> 00:16:57,280
Speaker 1: the incident actually seemed to bolster her reputation instead of

283
00:16:57,320 --> 00:17:00,960
Speaker 1: harming it. As her career was really taking off. There

284
00:17:01,040 --> 00:17:04,560
Speaker 1: was a lot going on in her personal life. Her

285
00:17:04,600 --> 00:17:07,480
Speaker 1: father died during the second run of Missus Tanker A.

286
00:17:08,240 --> 00:17:10,800
Speaker 1: He was living in Texas at the time with her brothers,

287
00:17:10,840 --> 00:17:13,760
Speaker 1: so she found out via a letter. And then in

288
00:17:13,800 --> 00:17:17,680
Speaker 1: March of eighteen ninety four, Patrick finally returned from Africa

289
00:17:17,760 --> 00:17:20,680
Speaker 1: after six and a half years away. She wrote of

290
00:17:20,720 --> 00:17:23,879
Speaker 1: their reunion quote, when Pat arrived, I saw in his

291
00:17:24,000 --> 00:17:26,960
Speaker 1: eyes that youth, with all the belief and faith in

292
00:17:27,000 --> 00:17:30,359
Speaker 1: his own efforts and his luck had gone. His health

293
00:17:30,440 --> 00:17:33,960
Speaker 1: and his energies were undermined by fever, failure, in the

294
00:17:34,000 --> 00:17:37,879
Speaker 1: most bitter disappointments. Nothing had come of his hard work,

295
00:17:38,040 --> 00:17:42,320
Speaker 1: his hopes, and his sacrifice. The expression in his face

296
00:17:42,440 --> 00:17:46,440
Speaker 1: wrung my heart, But the old gentleness and tenderness were there.

297
00:17:46,880 --> 00:17:50,400
Speaker 1: He still loved me. His pride in his beautiful children,

298
00:17:50,480 --> 00:17:54,520
Speaker 1: and in my success that was by reward. The transition

299
00:17:54,880 --> 00:17:57,960
Speaker 1: back to life together was kind of a strange one.

300
00:17:58,720 --> 00:18:02,359
Speaker 1: Patrick returned to a wife who was famous and in demand,

301
00:18:02,520 --> 00:18:04,359
Speaker 1: and at a time when he kind of wanted to

302
00:18:04,400 --> 00:18:07,840
Speaker 1: take some time to have quiet family time at home.

303
00:18:08,320 --> 00:18:13,640
Speaker 1: He became a curiosity to Missus Campbell's fans and the press. Additionally,

304
00:18:13,800 --> 00:18:17,159
Speaker 1: Beatrice was busy. She had eight performances a week, so

305
00:18:17,800 --> 00:18:21,119
Speaker 1: that time together was kind of limited, but they were together.

306
00:18:21,480 --> 00:18:24,640
Speaker 1: They were, by her accounts, still in love, and Patrick

307
00:18:24,720 --> 00:18:28,600
Speaker 1: supported her career as best he could in between relapses

308
00:18:28,600 --> 00:18:33,480
Speaker 1: of malaria. After the second Missus Tanka for Missus Patrick Campbell,

309
00:18:33,520 --> 00:18:36,280
Speaker 1: as the New York Times put it, quote, thereafter one

310
00:18:36,359 --> 00:18:41,000
Speaker 1: success followed another, It's not entirely accurate. There were definitely

311
00:18:41,080 --> 00:18:44,520
Speaker 1: some bad reviews in the mix, and some instances where

312
00:18:44,560 --> 00:18:48,080
Speaker 1: one of her performances and her run was especially uneven

313
00:18:48,280 --> 00:18:53,399
Speaker 1: due to her ongoing nervous exhaustion. Her next critically acclaimed

314
00:18:53,480 --> 00:18:56,879
Speaker 1: role was as Juliet in Shakespeare's Romeo and Juliet in

315
00:18:56,920 --> 00:19:01,000
Speaker 1: eighteen ninety five, but that was one where her opening

316
00:19:01,240 --> 00:19:04,399
Speaker 1: wasn't really strong. Although all the other shows were in

317
00:19:04,440 --> 00:19:08,000
Speaker 1: the case of one original play, Michael and His Lost Angel,

318
00:19:08,280 --> 00:19:11,320
Speaker 1: she dropped out because she found it too vulgar and

319
00:19:11,359 --> 00:19:15,440
Speaker 1: the playwright's edits to it weren't sufficient. That play failed.

320
00:19:15,840 --> 00:19:19,680
Speaker 1: She was blamed in part for the failure, but overall

321
00:19:20,000 --> 00:19:24,280
Speaker 1: her success seemed to climb pretty consistently. In nineteen hundred,

322
00:19:24,359 --> 00:19:26,600
Speaker 1: she starred in Magda, which is a play about a

323
00:19:26,640 --> 00:19:29,280
Speaker 1: German girl who has left her small town and has

324
00:19:29,359 --> 00:19:33,000
Speaker 1: become a famous singer. Because of her leaving, her father

325
00:19:33,160 --> 00:19:36,080
Speaker 1: refuses to ever even speak her name again, and when

326
00:19:36,119 --> 00:19:40,120
Speaker 1: she returns home after having achieved fame, her father scorns

327
00:19:40,160 --> 00:19:42,960
Speaker 1: her and it is revealed that she had a child

328
00:19:43,000 --> 00:19:45,960
Speaker 1: out of wedlock and that pregnancy was the cause of

329
00:19:46,000 --> 00:19:49,919
Speaker 1: her leaving town. This leads to pressures to accept a

330
00:19:49,920 --> 00:19:53,680
Speaker 1: marriage proposal and a tense final scene where Magda's father

331
00:19:53,880 --> 00:19:56,199
Speaker 1: threatens to shoot her if she does not marry to

332
00:19:56,240 --> 00:20:00,520
Speaker 1: save her reputation. Both the play, which was trans from

333
00:20:00,560 --> 00:20:04,119
Speaker 1: the original German play written by Ermann Sudermann, and Missus

334
00:20:04,119 --> 00:20:08,679
Speaker 1: Campbell's performance were panned, but despite its rocky start, this

335
00:20:08,760 --> 00:20:11,439
Speaker 1: actually became one of her most popular roles, and that

336
00:20:11,480 --> 00:20:14,600
Speaker 1: play was staged many many times throughout her life due

337
00:20:14,640 --> 00:20:18,479
Speaker 1: to demand. In March of nineteen hundred, pat left again,

338
00:20:18,600 --> 00:20:21,639
Speaker 1: this time to join the volunteer horse regiment known as

339
00:20:21,680 --> 00:20:26,520
Speaker 1: the Imperial Yeomanry. That regiment was engaged in the Boer War,

340
00:20:27,160 --> 00:20:29,480
Speaker 1: and on April fifth of that year, he was killed

341
00:20:29,520 --> 00:20:32,919
Speaker 1: in action. Beatrice took a week off of work and

342
00:20:32,960 --> 00:20:35,560
Speaker 1: then she returned to the stage. In addition to her

343
00:20:35,560 --> 00:20:39,119
Speaker 1: personal loss, she also felt responsibility to the backers of

344
00:20:39,200 --> 00:20:42,840
Speaker 1: the repertoire of the Royalty Theater. The theater was popular,

345
00:20:43,160 --> 00:20:45,719
Speaker 1: but it had not made its money back on the season.

346
00:20:46,560 --> 00:20:48,840
Speaker 1: In an effort to try to get some fresh money

347
00:20:48,880 --> 00:20:52,680
Speaker 1: into the theater company, in nineteen oh one, Beatrice began

348
00:20:52,800 --> 00:20:55,600
Speaker 1: her first booking in the US and started doing a

349
00:20:55,640 --> 00:20:58,840
Speaker 1: tour there. This was part of a repertory engagement which

350
00:20:58,920 --> 00:21:01,440
Speaker 1: lasted for six months, and it included two of her

351
00:21:01,520 --> 00:21:05,399
Speaker 1: established claims to fame, the Second Missus Tankery and the

352
00:21:05,480 --> 00:21:11,080
Speaker 1: Notorious Missus Ebbsmith. The Notorious Missus Ebbsmith was also written

353
00:21:11,200 --> 00:21:15,280
Speaker 1: by Arthur Wing Pinero, and just as Tankeray, it debuted

354
00:21:15,320 --> 00:21:19,000
Speaker 1: with Missus Patrick Campbell playing the lead role. Her character,

355
00:21:19,160 --> 00:21:23,440
Speaker 1: Agnes Ebbsmith, is a woman who bucks social convention choosing

356
00:21:23,480 --> 00:21:26,040
Speaker 1: to live with a man she's not married to after

357
00:21:26,040 --> 00:21:29,920
Speaker 1: the passing of her husband. Agnes, in fact, is deeply

358
00:21:30,080 --> 00:21:33,880
Speaker 1: against marriage, having been very unhappy in hers, and she's

359
00:21:33,960 --> 00:21:39,239
Speaker 1: an outspoken advocate of society abandoning the practice altogether. The

360
00:21:39,400 --> 00:21:42,240
Speaker 1: entire plot plays out as the various people in the

361
00:21:42,320 --> 00:21:45,920
Speaker 1: lives of Agnes and her lover Lucas, try to intervene

362
00:21:45,960 --> 00:21:47,959
Speaker 1: to get each of them to behave in the ways

363
00:21:47,960 --> 00:21:51,480
Speaker 1: that conform to the various ideals that the other characters hold.

364
00:21:52,440 --> 00:21:55,840
Speaker 1: As with the second Missus Tankeray, this story resolves in

365
00:21:55,840 --> 00:21:59,040
Speaker 1: an unhappy way. In this case, the lead character is

366
00:21:59,240 --> 00:22:03,000
Speaker 1: ultimately being broken of her spirit. In nineteen oh two,

367
00:22:03,119 --> 00:22:06,720
Speaker 1: Missus Campbell was once again back in New York. This

368
00:22:06,920 --> 00:22:10,720
Speaker 1: time she was starring in various plays in repertory, including Magda,

369
00:22:10,920 --> 00:22:13,879
Speaker 1: Aunt Jenny, and The Joy of Living. But she was

370
00:22:13,920 --> 00:22:17,600
Speaker 1: not happy. The noise out on the busy street was

371
00:22:17,720 --> 00:22:21,159
Speaker 1: she felt bleeding into the theater and ruining her performances,

372
00:22:21,480 --> 00:22:25,119
Speaker 1: and she complained so much that forty Second Street was

373
00:22:25,160 --> 00:22:28,240
Speaker 1: covered in mulch to muffle the sounds of carriages on

374
00:22:28,320 --> 00:22:32,119
Speaker 1: the street for the run of this show. While in

375
00:22:32,160 --> 00:22:34,399
Speaker 1: New York, Missus Campbell also got a lot of attention

376
00:22:34,520 --> 00:22:37,679
Speaker 1: this time around when she allegedly went to a lady's

377
00:22:37,760 --> 00:22:40,960
Speaker 1: bridge party and walked away with twenty two thousand dollars

378
00:22:40,960 --> 00:22:45,520
Speaker 1: in winnings. In nineteen oh seven, theater became a family

379
00:22:45,640 --> 00:22:48,760
Speaker 1: affair for Missus Campbell. Her son Alan wrote a play

380
00:22:48,880 --> 00:22:52,480
Speaker 1: called The Ambassador's Wife. She would later write of this play,

381
00:22:52,560 --> 00:22:55,000
Speaker 1: which she starred in and which her daughter Stella also

382
00:22:55,040 --> 00:22:58,480
Speaker 1: appeared in. It was quite a success in its way.

383
00:23:00,000 --> 00:23:02,639
Speaker 1: Te teen oh seven, Beatrice also made news in a

384
00:23:02,720 --> 00:23:05,800
Speaker 1: less artistic way when she was staying at the Plaza Hotel.

385
00:23:06,680 --> 00:23:10,200
Speaker 1: Missus Campbell, in the course of the evening socializing, lit

386
00:23:10,240 --> 00:23:13,640
Speaker 1: a cigarette and the staff was shocked. She was told

387
00:23:13,680 --> 00:23:17,040
Speaker 1: she must douse that cigarette immediately, not because they didn't

388
00:23:17,040 --> 00:23:19,719
Speaker 1: allow smoking on the premises, but they did not allow

389
00:23:19,840 --> 00:23:23,480
Speaker 1: ladies to smoke on the premises. We're using the words

390
00:23:23,560 --> 00:23:26,560
Speaker 1: ladies instead of women here, very deliberately, because she was

391
00:23:26,600 --> 00:23:30,160
Speaker 1: informed that the hotel only sought ladies as guests, so

392
00:23:30,240 --> 00:23:33,680
Speaker 1: she should not smoke there lest the hotel's reputation be tarnished.

393
00:23:34,040 --> 00:23:36,720
Speaker 1: The years from nineteen oh nine to nineteen fourteen were

394
00:23:36,880 --> 00:23:40,720
Speaker 1: very tumultuous for Campbell. In nineteen oh nine, having become

395
00:23:40,760 --> 00:23:43,280
Speaker 1: her own manager and director, she took on a new

396
00:23:43,400 --> 00:23:48,280
Speaker 1: role as producer. Socialite Jenny Spencer Churchill, known publicly as

397
00:23:48,400 --> 00:23:54,080
Speaker 1: Lady Randolph Churchill, read Missus Campbell her play his borrowed plumes,

398
00:23:54,119 --> 00:23:57,479
Speaker 1: and Campbell offered to produce it for her. The opening

399
00:23:57,520 --> 00:24:00,879
Speaker 1: to a very specific crowd, given the status of the playwright.

400
00:24:01,200 --> 00:24:05,320
Speaker 1: The Times theater critic Aby Walkley wrote of the opening quote,

401
00:24:05,600 --> 00:24:09,320
Speaker 1: when mundane ladies produce original modern comedies out of their

402
00:24:09,320 --> 00:24:13,200
Speaker 1: own original modern and quite charming heads. All the other

403
00:24:13,320 --> 00:24:17,679
Speaker 1: mundane ladies who have written original modern comedies themselves, or

404
00:24:17,880 --> 00:24:21,120
Speaker 1: might have done so if they had chosen, or are

405
00:24:21,160 --> 00:24:24,680
Speaker 1: intending to do so the very next wet afternoon, come

406
00:24:24,720 --> 00:24:31,639
Speaker 1: and look on so ah well refresher here Lady Randolph

407
00:24:31,720 --> 00:24:36,520
Speaker 1: Churchill was Sir Winston Churchill's mother. Lord Randolph had already died.

408
00:24:36,560 --> 00:24:39,400
Speaker 1: At this point. She was married to her second husband,

409
00:24:39,480 --> 00:24:43,560
Speaker 1: George Cornwallis West. We're telling you that for a reason.

410
00:24:44,520 --> 00:24:48,640
Speaker 1: Although the play itself got sort of amused to lukewarm reviews,

411
00:24:49,000 --> 00:24:52,639
Speaker 1: something much more impactful on Missus Campbell's personal life happened

412
00:24:52,640 --> 00:24:55,520
Speaker 1: as a result of all of this. In missus Pat's

413
00:24:55,560 --> 00:24:59,320
Speaker 1: own words quote, then, in the unexpected way things sometimes

414
00:24:59,359 --> 00:25:04,119
Speaker 1: happen in this world, George Cornwallis West was seriously attracted

415
00:25:04,160 --> 00:25:07,840
Speaker 1: by me. I believed his life was unhappy and warmly

416
00:25:07,960 --> 00:25:12,320
Speaker 1: gave him my friendship and affection. This caused gossip, misjudgment,

417
00:25:12,480 --> 00:25:16,440
Speaker 1: and pain that cannot be gone into here. The two

418
00:25:16,440 --> 00:25:19,320
Speaker 1: of them became quite close over the next several years.

419
00:25:20,119 --> 00:25:22,800
Speaker 1: Missus Pat came down with an illness in nineteen twelve

420
00:25:22,880 --> 00:25:26,280
Speaker 1: that was quite serious. Depending on the source you look at,

421
00:25:26,359 --> 00:25:29,280
Speaker 1: you might see it categorized as a head injury, or

422
00:25:29,359 --> 00:25:32,840
Speaker 1: as peritonitis, or as a nervous breakdown. And the truth

423
00:25:32,920 --> 00:25:36,240
Speaker 1: is it's actually pretty nuanced, and there are two different

424
00:25:36,440 --> 00:25:39,920
Speaker 1: instances that are conflated. It's easy to see how any

425
00:25:39,960 --> 00:25:42,960
Speaker 1: one of these might wind up being mentioned. While she

426
00:25:43,080 --> 00:25:46,360
Speaker 1: was performing in a play called Bella Donna, missus Pat

427
00:25:46,400 --> 00:25:48,560
Speaker 1: was on her way to the theater when her taxi

428
00:25:48,680 --> 00:25:52,159
Speaker 1: hit another taxi after swerving to avoid a child on

429
00:25:52,200 --> 00:25:56,119
Speaker 1: a bicycle. She recalled that her head went through the

430
00:25:56,160 --> 00:25:59,520
Speaker 1: window and she saw stars. Yeah. I have to give

431
00:25:59,560 --> 00:26:02,760
Speaker 1: her a like bless this woman's tenacity moment because She

432
00:26:02,880 --> 00:26:05,560
Speaker 1: got out of the crash taxi and hailed another cab

433
00:26:05,600 --> 00:26:07,520
Speaker 1: to get to the theater, but she was a mess.

434
00:26:07,560 --> 00:26:10,520
Speaker 1: She should not have done that. For the next six months,

435
00:26:10,560 --> 00:26:13,000
Speaker 1: she was confined to bed and she was unconscious for

436
00:26:13,080 --> 00:26:16,480
Speaker 1: a lot of that. She describes having to regain her

437
00:26:16,480 --> 00:26:20,320
Speaker 1: physical strength and essentially relearning to walk in her memoir,

438
00:26:20,880 --> 00:26:23,560
Speaker 1: but she also mentions that once she was told she

439
00:26:23,640 --> 00:26:27,199
Speaker 1: was expected to make a full recovery, she experienced a

440
00:26:27,240 --> 00:26:31,040
Speaker 1: wave of panic. The idea of returning to work and

441
00:26:31,280 --> 00:26:35,440
Speaker 1: information that she had received about George Cornwallis West's marriage

442
00:26:35,440 --> 00:26:39,280
Speaker 1: failing her possibly being involved in it. The idea that

443
00:26:39,320 --> 00:26:41,320
Speaker 1: she was going to have to quote pick up the

444
00:26:41,400 --> 00:26:44,000
Speaker 1: senseless things of life and go on with my career

445
00:26:44,720 --> 00:26:47,280
Speaker 1: made her feel like she never wanted to return to

446
00:26:47,320 --> 00:26:50,320
Speaker 1: her old life. It all seemed meaningless to her at

447
00:26:50,359 --> 00:26:54,159
Speaker 1: the time. So then later in nineteen twelve, in the autumn,

448
00:26:54,240 --> 00:26:57,080
Speaker 1: a second round of news came out that missus Pat

449
00:26:57,080 --> 00:27:01,119
Speaker 1: had been stricken suddenly in the Pain Paper's words, and

450
00:27:01,160 --> 00:27:03,399
Speaker 1: that Ford doctors had been called to the scene and

451
00:27:03,480 --> 00:27:06,960
Speaker 1: could not agree on the diagnosis. Two of them believed

452
00:27:07,000 --> 00:27:10,240
Speaker 1: it was partonitis and that she needed immediate surgery. The

453
00:27:10,320 --> 00:27:13,240
Speaker 1: other two weren't sure and they wanted to postpone any

454
00:27:13,280 --> 00:27:18,360
Speaker 1: surgical intervention. This illness was speculated to have been related

455
00:27:18,359 --> 00:27:22,000
Speaker 1: to the car accident. She didn't wind up having an operation,

456
00:27:22,119 --> 00:27:25,520
Speaker 1: and she slowly recovered. Yeah, you could see how all

457
00:27:25,640 --> 00:27:28,119
Speaker 1: of those things got a little confused for people in

458
00:27:28,240 --> 00:27:31,199
Speaker 1: some of the retellings of this story. But if you

459
00:27:31,280 --> 00:27:33,400
Speaker 1: kind of pick through papers, you'll see where it all

460
00:27:33,520 --> 00:27:36,120
Speaker 1: plays out. We're gonna pause here for a word from

461
00:27:36,119 --> 00:27:38,960
Speaker 1: the sponsors who keep stuff you missed in history class going,

462
00:27:39,240 --> 00:27:41,000
Speaker 1: and when we come back, we will talk about the

463
00:27:41,040 --> 00:27:54,680
Speaker 1: relationship between Missus pat and George Bernard Shaw. So when

464
00:27:54,760 --> 00:27:58,399
Speaker 1: she was still convalescing, George Cornwallis West had come to

465
00:27:58,480 --> 00:28:01,919
Speaker 1: visit Missus Patt whispering, according to her account, that he

466
00:28:02,000 --> 00:28:05,000
Speaker 1: needed her help. That was the thing she describes as

467
00:28:05,080 --> 00:28:08,160
Speaker 1: like helping her get through her sickness, knowing that someone

468
00:28:08,200 --> 00:28:11,399
Speaker 1: needed her. But there was another man who also reached

469
00:28:11,400 --> 00:28:14,040
Speaker 1: out to her while she was convalescing, and she wrote

470
00:28:14,040 --> 00:28:17,320
Speaker 1: of this admirer quote, there was one who, perhaps through

471
00:28:17,320 --> 00:28:21,199
Speaker 1: the intelligent grasp of his genius, understood a little the

472
00:28:21,240 --> 00:28:24,919
Speaker 1: nerve wrack of my illness himself living in dreams. He

473
00:28:25,000 --> 00:28:28,240
Speaker 1: made a dream world for me. Only those who can

474
00:28:28,320 --> 00:28:31,840
Speaker 1: understand this can understand the friendship Bernard Shaw gave to

475
00:28:31,880 --> 00:28:35,760
Speaker 1: me by my sick bed, the foolish, ridiculous letters he

476
00:28:35,800 --> 00:28:38,680
Speaker 1: wrote me, and his pretense of being in love with me.

477
00:28:39,760 --> 00:28:42,640
Speaker 1: Missus Pat published some of these letters in her memoir,

478
00:28:42,720 --> 00:28:45,480
Speaker 1: which was a pretty scandalous move when it came out

479
00:28:45,520 --> 00:28:49,280
Speaker 1: in nineteen twenty two and one. He wrote to her, quote,

480
00:28:49,320 --> 00:28:51,800
Speaker 1: I haven't been quite the same man since our meeting.

481
00:28:52,280 --> 00:28:55,000
Speaker 1: I suppose you are a devil, they all tell me,

482
00:28:55,080 --> 00:28:57,520
Speaker 1: so when I go on raving about you, Well, I

483
00:28:57,560 --> 00:29:00,880
Speaker 1: don't care. I've always said that it is the devil

484
00:29:00,960 --> 00:29:03,400
Speaker 1: that makes the hell, But here is the devil who

485
00:29:03,440 --> 00:29:07,080
Speaker 1: makes heaven. Wherefore I kiss your hands and praise creation

486
00:29:07,280 --> 00:29:10,520
Speaker 1: for you, and hope you are well. As this leaves

487
00:29:10,520 --> 00:29:15,120
Speaker 1: me at present, thank God for it. So. Missus Pat

488
00:29:15,200 --> 00:29:18,240
Speaker 1: and George Bernard Shaw, who she called Joey, are often

489
00:29:18,240 --> 00:29:21,440
Speaker 1: described as having an affair. They had actually known each

490
00:29:21,440 --> 00:29:24,280
Speaker 1: other casually at least since the eighteen nineties, but it

491
00:29:24,360 --> 00:29:27,560
Speaker 1: really wasn't until nineteen twelve that he seemed to become

492
00:29:27,680 --> 00:29:31,680
Speaker 1: romantically fixated on her, and the two exchanged a lot

493
00:29:31,840 --> 00:29:34,880
Speaker 1: of emotional letters, so while it could for sure be

494
00:29:34,960 --> 00:29:38,000
Speaker 1: categorized as an emotional affair, it doesn't appear that they

495
00:29:38,040 --> 00:29:41,840
Speaker 1: ever had a physical relationship. And from the outside, when

496
00:29:41,880 --> 00:29:45,000
Speaker 1: you read them, it really seems like this correspondence may

497
00:29:45,000 --> 00:29:48,440
Speaker 1: have helped Beatrice find her strength again, and the playwright

498
00:29:48,520 --> 00:29:51,400
Speaker 1: noted that he sensed she was improving, writing at one

499
00:29:51,400 --> 00:29:54,160
Speaker 1: point quote, I think you are getting well. I hear

500
00:29:54,200 --> 00:29:57,440
Speaker 1: a ring, I see a flash in your letter. The able,

501
00:29:57,560 --> 00:30:01,000
Speaker 1: courageous Stella is stirring. And perhaps she will put me

502
00:30:01,040 --> 00:30:04,280
Speaker 1: away with the arrow route. No matter, I shall rejoice

503
00:30:04,320 --> 00:30:07,920
Speaker 1: and glory in her. And that kind of was what happened.

504
00:30:08,120 --> 00:30:11,320
Speaker 1: Beatrice shut the romance down as she got better, although

505
00:30:11,360 --> 00:30:14,360
Speaker 1: she did become best friends with his sister Lucy, and

506
00:30:14,400 --> 00:30:17,280
Speaker 1: she and George Bernard Shaw remained close friends. As she

507
00:30:17,320 --> 00:30:19,400
Speaker 1: put it quote, when my illness was over, the real

508
00:30:19,440 --> 00:30:23,560
Speaker 1: friendship which exists today was between us. In nineteen fourteen,

509
00:30:23,800 --> 00:30:27,120
Speaker 1: missus Pat starred as Eliza Doolittle in the first English

510
00:30:27,160 --> 00:30:30,520
Speaker 1: language version of Pigmalion. It had actually been staged in

511
00:30:30,560 --> 00:30:33,640
Speaker 1: German after Shaw wrote it in nineteen twelve, but it

512
00:30:33,720 --> 00:30:36,760
Speaker 1: was postponed in English until Missus pat recovered so that

513
00:30:36,840 --> 00:30:39,680
Speaker 1: she could be the debut star in it. We think

514
00:30:39,720 --> 00:30:42,680
Speaker 1: of Eliza Doolittle as Audrey Hepburn's role thanks to the

515
00:30:42,680 --> 00:30:46,120
Speaker 1: movie My Fair Lady, but that role was written for

516
00:30:46,160 --> 00:30:49,640
Speaker 1: Campbell by George Bernard Shaw. But the two of them

517
00:30:49,720 --> 00:30:52,360
Speaker 1: really disagreed on the play's ending. So if you read

518
00:30:52,360 --> 00:30:56,160
Speaker 1: the play as written, it ends like this. Higgins says

519
00:30:56,200 --> 00:30:59,640
Speaker 1: to his mom, goodbye mother. Oh, by the way, Eliza

520
00:30:59,800 --> 00:31:02,240
Speaker 1: or her a ham and Stilton cheese, will you and

521
00:31:02,360 --> 00:31:05,600
Speaker 1: buy me a pair of reindeer gloves number eight and

522
00:31:05,680 --> 00:31:07,960
Speaker 1: a tie to match that new suit of mine at

523
00:31:07,960 --> 00:31:11,960
Speaker 1: Elan Binman's. You can choose the color. And at this

524
00:31:12,120 --> 00:31:17,440
Speaker 1: point Eliza Toolittle says buy them yourself. Uh, and his

525
00:31:17,600 --> 00:31:20,080
Speaker 1: mother says, I'm afraid you've spoiled that girl, Henry. But

526
00:31:20,120 --> 00:31:22,640
Speaker 1: never mind, dear, I'll buy you the tie and gloves,

527
00:31:22,640 --> 00:31:25,320
Speaker 1: and Higgins says to his mom, Oh, don't bother, She'll

528
00:31:25,320 --> 00:31:29,560
Speaker 1: buy them all right enough. So Missus Campbell felt like

529
00:31:29,600 --> 00:31:34,360
Speaker 1: this ending was ambiguous and it wasn't clear whether Eliza

530
00:31:34,520 --> 00:31:37,840
Speaker 1: and Higgins would be together. She thought it lacked romance,

531
00:31:37,880 --> 00:31:40,320
Speaker 1: and she did the audience out of knowing what happens

532
00:31:40,400 --> 00:31:43,040
Speaker 1: to the characters that they had come to love over

533
00:31:43,080 --> 00:31:45,520
Speaker 1: the course of this show. She wanted the play to

534
00:31:45,600 --> 00:31:49,080
Speaker 1: have a happier ending, so when she performed it in

535
00:31:49,120 --> 00:31:52,600
Speaker 1: its English language debut, she changed that line from buy

536
00:31:52,640 --> 00:31:56,640
Speaker 1: them yourself to what size to indicate that Eliza was

537
00:31:56,680 --> 00:31:59,640
Speaker 1: getting the gloves and would be back. This is so

538
00:31:59,680 --> 00:32:03,720
Speaker 1: funny to me because it's not a particularly romantic line,

539
00:32:03,720 --> 00:32:05,960
Speaker 1: but she is smart enough to be like, yes, but

540
00:32:06,000 --> 00:32:09,440
Speaker 1: then they know I'm coming back, right. It's very sneaky.

541
00:32:10,080 --> 00:32:13,520
Speaker 1: The playwright and his actor remained in locked horns over

542
00:32:13,560 --> 00:32:16,640
Speaker 1: this issue, but every single time Missus Patt performed it,

543
00:32:16,680 --> 00:32:19,400
Speaker 1: which was a lot because it really became known as

544
00:32:19,520 --> 00:32:22,960
Speaker 1: her role, she finished it her way. He wrote her

545
00:32:23,000 --> 00:32:25,600
Speaker 1: a letter detailing what he felt were the four levels

546
00:32:25,640 --> 00:32:29,280
Speaker 1: of illiteracy, with the fourth being quote the illiteracy of

547
00:32:29,320 --> 00:32:32,120
Speaker 1: Eliza Doolittle, who couldn't even read the end of her

548
00:32:32,160 --> 00:32:35,960
Speaker 1: own story. He then continued, quote, there is only one

549
00:32:36,000 --> 00:32:39,320
Speaker 1: person alive who is such a monster of illiteracy as

550
00:32:39,400 --> 00:32:43,239
Speaker 1: to combine these four illiteracies in her single brain, and I,

551
00:32:43,600 --> 00:32:46,920
Speaker 1: the greatest living master of letters, made a perfect spectacle

552
00:32:46,960 --> 00:32:50,800
Speaker 1: of myself with her before all Europe. While she was

553
00:32:50,840 --> 00:32:55,000
Speaker 1: making controversy on stage by defying a well known playwright,

554
00:32:55,400 --> 00:32:59,520
Speaker 1: Missus Campbell was also making another controversy in her personal life.

555
00:32:59,720 --> 00:33:03,800
Speaker 1: She remarried in nineteen fourteen to Major George Frederick Middleton

556
00:33:03,840 --> 00:33:08,400
Speaker 1: Cornwallis West. The reason this was controversial was because Cornwallis

557
00:33:08,400 --> 00:33:12,120
Speaker 1: West had just gotten divorced, as in the paperwork was

558
00:33:12,160 --> 00:33:16,720
Speaker 1: completed hours before he and Missus Campbell got married. This

559
00:33:16,840 --> 00:33:19,840
Speaker 1: is one of those things that sounds really sensational, but

560
00:33:20,000 --> 00:33:23,920
Speaker 1: the divorce proceedings had started in the autumn of nineteen thirteen.

561
00:33:24,480 --> 00:33:27,640
Speaker 1: They got married in April of nineteen fourteen, so they

562
00:33:27,640 --> 00:33:31,280
Speaker 1: were waiting for these legal steps to be complete, and

563
00:33:31,400 --> 00:33:34,360
Speaker 1: her children and friends all seemed pretty happy about the marriage.

564
00:33:34,920 --> 00:33:38,040
Speaker 1: Any scandal about it seems to have been outside of

565
00:33:38,080 --> 00:33:41,640
Speaker 1: their actual social circle, probably because the two of them

566
00:33:41,640 --> 00:33:44,560
Speaker 1: were so well known. Yeah, there had been all those

567
00:33:44,640 --> 00:33:48,760
Speaker 1: rumors about them, and there are some reads that she

568
00:33:48,880 --> 00:33:54,440
Speaker 1: basically cut off her her flirtation or emotional affair with

569
00:33:54,480 --> 00:33:57,240
Speaker 1: George Bernard Shaw because she was like, no, I'm picking

570
00:33:57,280 --> 00:34:03,000
Speaker 1: George Cornwallis West. Early nineteen eighteen, Beatrice received news that

571
00:34:03,040 --> 00:34:05,600
Speaker 1: her son Alan had been killed in action in France

572
00:34:05,680 --> 00:34:09,000
Speaker 1: during World War One. She wrote quote one day's rest

573
00:34:09,040 --> 00:34:12,160
Speaker 1: to get my heart steady and then work again. Life

574
00:34:12,239 --> 00:34:15,719
Speaker 1: was pitiless. The theater hell I was in deep sea

575
00:34:15,800 --> 00:34:20,480
Speaker 1: and there was no light anywhere. She includes what appeared

576
00:34:20,520 --> 00:34:22,920
Speaker 1: to be all of Allan's letters from his time away

577
00:34:22,960 --> 00:34:25,400
Speaker 1: at war in her memoir, as well as letters written

578
00:34:25,400 --> 00:34:28,799
Speaker 1: to her about her son by his fellow soldiers and

579
00:34:28,920 --> 00:34:33,000
Speaker 1: leaders in the military after he was killed. After Allan died,

580
00:34:33,080 --> 00:34:36,880
Speaker 1: Missus Campbell grieved really deeply, but she did continue to work,

581
00:34:37,120 --> 00:34:40,760
Speaker 1: but she was feeling worn down. In late nineteen twenty

582
00:34:40,800 --> 00:34:43,080
Speaker 1: she was put on bed rest by her doctor for

583
00:34:43,160 --> 00:34:46,680
Speaker 1: her nerves, and she stayed there for three months, but

584
00:34:47,080 --> 00:34:50,560
Speaker 1: anxiety over money made her want to end her convalescence.

585
00:34:51,000 --> 00:34:53,480
Speaker 1: She took a brief engagement where she got on stage

586
00:34:53,520 --> 00:34:56,280
Speaker 1: to give a prologue at an epilogue for a short

587
00:34:56,320 --> 00:34:59,520
Speaker 1: film that was being shown in between. Then she was

588
00:34:59,640 --> 00:35:02,160
Speaker 1: ordered by her doctor to go to the country alone

589
00:35:02,320 --> 00:35:05,800
Speaker 1: for six to eight weeks. She sold her London home,

590
00:35:06,080 --> 00:35:09,600
Speaker 1: bought a small cottage and spent time writing her memoir,

591
00:35:09,640 --> 00:35:13,480
Speaker 1: which was published in nineteen twenty two. In nineteen twenty seven,

592
00:35:13,680 --> 00:35:16,160
Speaker 1: Missus Campbell returned to the New York stage for the

593
00:35:16,200 --> 00:35:18,319
Speaker 1: first time since the loss of her son. She had

594
00:35:18,320 --> 00:35:21,319
Speaker 1: not really wanted to do a big international trip. That

595
00:35:21,400 --> 00:35:24,400
Speaker 1: play was The Adventurous Age, written by Frederick Whitney, and

596
00:35:24,440 --> 00:35:27,560
Speaker 1: it premiered in the US on February seventh, nineteen twenty seven,

597
00:35:27,600 --> 00:35:31,200
Speaker 1: at the Mansfield Theater. The play was billed as a

598
00:35:31,200 --> 00:35:34,279
Speaker 1: farcical comedy and it featured a mature couple by the

599
00:35:34,360 --> 00:35:37,560
Speaker 1: name of Rivers, each of whom was hoping to ensnare

600
00:35:37,640 --> 00:35:42,279
Speaker 1: a much younger paramour for themselves. In Missus Pat's obituary,

601
00:35:42,360 --> 00:35:45,680
Speaker 1: The New York Times stated that critics didn't like the play,

602
00:35:46,120 --> 00:35:49,480
Speaker 1: and nowhere was that more apparent than in the Time's

603
00:35:49,680 --> 00:35:53,120
Speaker 1: own review by Jay Brooks Atkinson, which ran the morning

604
00:35:53,200 --> 00:35:56,840
Speaker 1: after the play opened, under the headline Missus Campbell returns

605
00:35:57,800 --> 00:36:00,560
Speaker 1: at redd in part quote for her first appearance in

606
00:36:00,560 --> 00:36:03,759
Speaker 1: America after ten or twelve years, Missus Patrick Campbell has

607
00:36:03,800 --> 00:36:06,880
Speaker 1: not been happy in the selection on her play. To

608
00:36:06,880 --> 00:36:09,720
Speaker 1: be perfectly candid, her selection could not have been worse.

609
00:36:10,239 --> 00:36:14,400
Speaker 1: Beyond the faintest glimmering of dramatic idea, The Adventurous Age

610
00:36:14,440 --> 00:36:18,560
Speaker 1: has nothing to recommend it upon any save the amateur stage,

611
00:36:19,040 --> 00:36:21,959
Speaker 1: and then only among close friends who dare not show

612
00:36:22,000 --> 00:36:25,719
Speaker 1: their boredom. How came an actress of her distinction to

613
00:36:25,760 --> 00:36:30,120
Speaker 1: select the adventurous age. The review does seem to conclude

614
00:36:30,120 --> 00:36:33,400
Speaker 1: by suggesting that missus Campbell is not the problem, that

615
00:36:33,520 --> 00:36:36,120
Speaker 1: just she has terrible material in the play, and it

616
00:36:36,200 --> 00:36:39,880
Speaker 1: concludes with quote, Missus Campbell deserves at least a play

617
00:36:39,960 --> 00:36:44,760
Speaker 1: commensurate with her abilities. Throughout the nineteen twenties, Missus Patt's

618
00:36:44,760 --> 00:36:47,880
Speaker 1: appeal to the public was waning. She was aging at

619
00:36:47,920 --> 00:36:50,520
Speaker 1: a time when youthful flappers were the trend, and she

620
00:36:50,600 --> 00:36:53,600
Speaker 1: knew it. She had a reputation for being bossy and

621
00:36:53,600 --> 00:36:56,359
Speaker 1: biting with her words, and fewer and fewer people were

622
00:36:56,400 --> 00:36:58,560
Speaker 1: willing to put up with that in an actor who

623
00:36:58,600 --> 00:37:01,880
Speaker 1: was losing star power. She really got to a place

624
00:37:01,920 --> 00:37:04,920
Speaker 1: financially of just screeping by for a while. Although the

625
00:37:05,000 --> 00:37:08,400
Speaker 1: nineteen twenty nine play The Matriarch by Gladys bronwin Stern

626
00:37:09,080 --> 00:37:11,520
Speaker 1: was successful enough and ran long enough that she was

627
00:37:11,560 --> 00:37:14,880
Speaker 1: able to write her financial boat. In nineteen thirty she

628
00:37:14,920 --> 00:37:17,920
Speaker 1: made the transition to film, appearing in the movie The

629
00:37:18,000 --> 00:37:22,080
Speaker 1: Dancers by Sir Gerald Marier, which originated as a play

630
00:37:22,120 --> 00:37:25,239
Speaker 1: in nineteen twenty three. The plot is a story of

631
00:37:25,320 --> 00:37:29,040
Speaker 1: two childhood sweethearts, Una and Tony, who promised to get

632
00:37:29,040 --> 00:37:33,320
Speaker 1: married as adults. Then as adults, they're reunited after Tony

633
00:37:33,360 --> 00:37:36,640
Speaker 1: inherits a fortune and appears once more in UNA's life

634
00:37:36,640 --> 00:37:40,239
Speaker 1: to make good on their agreement. Una agrees, but she's

635
00:37:40,360 --> 00:37:43,560
Speaker 1: harboring the secret that she has not stayed true to him,

636
00:37:43,600 --> 00:37:46,960
Speaker 1: whereas he has waited for her. Like many of the

637
00:37:46,960 --> 00:37:49,880
Speaker 1: plots we've discussed here, particularly the ones where a woman

638
00:37:50,000 --> 00:37:53,920
Speaker 1: is determined to be ruined, it ends tragically. In nineteen

639
00:37:53,960 --> 00:37:57,160
Speaker 1: thirty four, she was in three more films, Riptide, One

640
00:37:57,160 --> 00:38:00,360
Speaker 1: More River, An Outcast Lady, and then she appeared in

641
00:38:00,400 --> 00:38:03,560
Speaker 1: the nineteen thirty five film adaptation of Crime and Punishment.

642
00:38:04,400 --> 00:38:08,239
Speaker 1: In addition to acting, Missus Campbell also started booking appearances

643
00:38:08,320 --> 00:38:11,040
Speaker 1: on the lecture circuit in the United States, where she

644
00:38:11,160 --> 00:38:15,640
Speaker 1: taught diction. Missus Campbell's last performance was in nineteen thirty eight.

645
00:38:15,719 --> 00:38:19,400
Speaker 1: She started in the thirteenth chair in Connecticut. Her career

646
00:38:19,440 --> 00:38:23,000
Speaker 1: had gone on for fifty years. When she finished the show.

647
00:38:23,080 --> 00:38:25,720
Speaker 1: She moved to Paris instead of going back to London.

648
00:38:26,360 --> 00:38:29,440
Speaker 1: At some point she and her second husband became estranged,

649
00:38:29,480 --> 00:38:32,640
Speaker 1: but they lived more or less separately, so he wasn't

650
00:38:32,680 --> 00:38:35,600
Speaker 1: with her during this time. When World War Two began,

651
00:38:35,719 --> 00:38:38,760
Speaker 1: Missus Patt moved from Paris to Powe in southern France.

652
00:38:39,360 --> 00:38:41,640
Speaker 1: She lived there only a few months before dying of

653
00:38:41,640 --> 00:38:45,080
Speaker 1: pneumonia on April ninth, nineteen forty, at the age of

654
00:38:45,120 --> 00:38:48,880
Speaker 1: seventy five. Although her obituary in The New York Times

655
00:38:49,040 --> 00:38:51,759
Speaker 1: was lengthy and full of praise, it's likely that she

656
00:38:51,840 --> 00:38:54,839
Speaker 1: didn't get as much notice as she might have if

657
00:38:54,840 --> 00:38:58,080
Speaker 1: she had died at a different time. By that point,

658
00:38:58,360 --> 00:39:01,120
Speaker 1: most of the newspaper was dedicated to war coverage. The

659
00:39:01,160 --> 00:39:05,000
Speaker 1: front page on April eleventh, nineteen forty had the headline

660
00:39:05,120 --> 00:39:09,000
Speaker 1: Nazis driven from Bergen Trondheim. Yeah. Her o bit was

661
00:39:09,080 --> 00:39:12,319
Speaker 1: kind of buried in that that obituary did manage to

662
00:39:12,360 --> 00:39:15,880
Speaker 1: talk about Missus Campbell's demanding nature, but in a positive way.

663
00:39:16,840 --> 00:39:20,080
Speaker 1: That write up states quote, had her temperamental whims been

664
00:39:20,160 --> 00:39:23,240
Speaker 1: those of a middling talent, she probably would have faded

665
00:39:23,280 --> 00:39:26,279
Speaker 1: into obscurity. But because they were coupled with a first

666
00:39:26,400 --> 00:39:29,640
Speaker 1: rate ability, those who worked with her seemed to enjoy them.

667
00:39:30,320 --> 00:39:33,520
Speaker 1: George C. Tyler for many years. Her American producer said

668
00:39:33,560 --> 00:39:36,799
Speaker 1: of her temperament, you laughed instead of trying to strangle her.

669
00:39:37,840 --> 00:39:43,319
Speaker 1: Oh that's missus, Pat. Yeah, I find her charming in

670
00:39:43,360 --> 00:39:46,640
Speaker 1: her own way. I have so many things to talk

671
00:39:46,680 --> 00:39:48,640
Speaker 1: about him behind the scenes. Oh good, do you have

672
00:39:48,680 --> 00:39:51,439
Speaker 1: some listener maw before we do that? I do. It's

673
00:39:51,480 --> 00:39:54,080
Speaker 1: from our listener, Elizabeth, and it's about our Louis Sullivan

674
00:39:54,239 --> 00:39:57,160
Speaker 1: episode and buildings I got wrong, although I did go

675
00:39:57,200 --> 00:39:59,040
Speaker 1: back and double check, and they seemed to be wrong

676
00:39:59,080 --> 00:40:00,839
Speaker 1: in a number of places, which makes me think it's

677
00:40:00,840 --> 00:40:04,759
Speaker 1: one of those cases of something being printed wrong in

678
00:40:04,800 --> 00:40:09,000
Speaker 1: an authoritative place and then being repeated elsewhere. But here's

679
00:40:09,040 --> 00:40:12,439
Speaker 1: the scoop, Elizabeth writes, Dear Holly and Tracy, I'm sure

680
00:40:12,440 --> 00:40:15,120
Speaker 1: you've had an architecture nerd or to descend on you already.

681
00:40:15,360 --> 00:40:17,719
Speaker 1: Actually not really, but just in case, I wanted to

682
00:40:17,719 --> 00:40:20,600
Speaker 1: provide you a clarification on a couple of the Chicago

683
00:40:20,640 --> 00:40:24,320
Speaker 1: buildings you mentioned in the Louis Sullivan episode. The Field's building,

684
00:40:24,400 --> 00:40:27,480
Speaker 1: designed by Henry Hobson Richardson, was the wholesale warehouse, not

685
00:40:27,560 --> 00:40:30,400
Speaker 1: the department store. The wholesale store is regarded as a

686
00:40:30,480 --> 00:40:34,080
Speaker 1: landmark in the development of an American architectural style, and

687
00:40:34,160 --> 00:40:36,400
Speaker 1: group floors together on the exterior in a way that

688
00:40:36,480 --> 00:40:39,640
Speaker 1: foreshadowed Sullivan's later work and the commercial style of the

689
00:40:39,640 --> 00:40:43,120
Speaker 1: early twentieth century. The original part of the Field's department

690
00:40:43,200 --> 00:40:46,000
Speaker 1: store building was designed by Charles Attwood, who eventually took

691
00:40:46,000 --> 00:40:49,600
Speaker 1: over for John Root at the Columbian Exposition. The larger

692
00:40:49,640 --> 00:40:51,759
Speaker 1: parts of the building on State Street were designed by

693
00:40:51,760 --> 00:40:55,360
Speaker 1: Pierce Anderson, who worked in the successor firms of D. H.

694
00:40:55,400 --> 00:40:58,400
Speaker 1: Burnaman Co. Personally, I love all the Fields buildings, but

695
00:40:58,480 --> 00:41:00,759
Speaker 1: I have to chuckle at what Sullivan might think. Keep

696
00:41:00,840 --> 00:41:03,279
Speaker 1: up the good work. Thank you for that clarification. Never

697
00:41:03,280 --> 00:41:05,759
Speaker 1: would have figured that one out on my own. If

698
00:41:05,840 --> 00:41:07,799
Speaker 1: you would love to write to us, you could do

699
00:41:07,880 --> 00:41:11,200
Speaker 1: so at History Podcast at iHeartRadio dot com. You can

700
00:41:11,239 --> 00:41:13,719
Speaker 1: find us on social media as Missed in History and

701
00:41:13,800 --> 00:41:16,280
Speaker 1: if you have not subscribed yet, that is very easy

702
00:41:16,280 --> 00:41:18,759
Speaker 1: to do on the iHeartRadio app pretty much anywhere you

703
00:41:18,760 --> 00:41:26,719
Speaker 1: listen to your favorite shows. Stuff you Missed in History

704
00:41:26,719 --> 00:41:31,120
Speaker 1: Class is a production of iHeartRadio. For more podcasts from iHeartRadio,

705
00:41:31,280 --> 00:41:34,840
Speaker 1: visit the iHeartRadio app, Apple Podcasts or wherever you listen

706
00:41:34,920 --> 00:41:37,280
Speaker 1: to your favorite shows,