Rough magic : the theatrical life of John Wilkes Booth
When John Wilkes Booth shot Abraham Lincoln in Ford's Theatre in Washington on the evening of April 14,1865, he destroyed any possibility that his reputation as an actor would be dispassionately assessed for the foreseeable future. A bitter, fratricidal war was drawing to its close, and Northern newspapers were not interested in being fair; opprobrium was heaped on Booth's name, beginning in the press the following day. Twelve days later he was dead, shot during an attempted arrest. In 1890, his fellow player Clara Morris asserted hopefully, âAt this late day the country can afford to deal justly with John Wilkes Booth.â That time had not yet come: in fact, some of the worst -- and silliest -- slanders have been perpetrated in the twentieth century. But surely now, over a hundred years later, it should be possible to set aside that April evening and look dispassionately at Booth's career in the theatre of his time. As well as extending simple justice to a man who seems to have been extremely likeable and idealistic, and an actor interesting enough to deserve study, such a reassessment may serve to correct a distortion which the 'mythologized' view of his career has created: the idea that Edwin Booth was
Kincaid, Deirdre Lindsay
History ; Literature ; Mass media ; Performing arts
Rough magic : the theatrical life of John Wilkes Booth. When John Wilkes Booth shot Abraham Lincoln in Ford's Theatre in Washington on the evening of April 14,1865, he destroyed any possibility that his reputation as an actor would be dispassionately assessed for the foreseeable future. A bitter, fratricidal war was drawing to its close, and Northern newspapers were not interested in being fair; opprobrium was heaped on Booth's name, beginning in the press the following day. Twelve days later he was dead, shot during an attempted arrest. In 1890, his fellow player Clara Morris asserted hopefully, âAt this late day the country can afford to deal justly with John Wilkes Booth.â That time had not yet come: in fact, some of the worst -- and silliest -- slanders have been perpetrated in the twentieth century. But surely now, over a hundred years later, it should be possible to set aside that April evening and look dispassionately at Booth's career in the theatre of his time. As well as extending simple justice to a man who seems to have been extremely likeable and idealistic, and an actor interesting enough to deserve study, such a reassessment may serve to correct a distortion which the 'mythologized' view of his career has created: the idea that Edwin Booth was
rough magic theatrical life john john abraham lincoln theatre washington destroy possibility reputation actor would assess future bitter war draw close northern newspaper interested fair name begin press dead attempt arrest fellow player morris assert country afford deal justly john time yet come fact bad surely possible set aside even look career theatre time well extend simple justice man seem extremely idealistic actor interesting enough deserve study reassessment may serve correct distortion view career create idea