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that her elocution was far from perfect. He took note too of a lack of "anatomical control of muscles and limbs." Despite his criticism, Badeau acknowledged that there was considerable advantage to
Matilda Heron's lack of technique. He wrote that "Miss Heron is not the calm, collected self-possessed woman that aperfect artist is; but though she has more blemishes for that, she has some greater excellence for the same reason." Badeau was referring to Heron's power of concentration, her native instinct, and emotional spontaneity that reached from the stage and into an audience. Her unstudied, raw and undisciplined performance was the essence of her style.
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later in her career, while speaking to an author who was to write a play for her, she was careful to state that the heroine must be "a lost woman." The "lost woman" was a type that
Matilda Heron identified with, both in her personal life and on stage. It is known that Heron's sister was a prostitute and that the actress kept close ties with her sister in spite of condemnation from family and friends. In fact, her sister's profession was implicated as being a factor in the break-up of Matilda Heron's first marriage.
427:. The couple had an unhappy marriage and their domestic troubles caused them to separate in 1869. Not much is known about the nature of Heron and Stoepel's separation, but some accounts state that Heron lied to Stoepel about her previous marriage to Henry Herbert Byrne. According to Byrne and his lawyers the divorce was not a legal divorce, resulting in Heron being married to both Byrne and Stoepel. Upon their separation in 1869, Heron and Stoepel agreed to split their properties equally.
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London, and on tour throughout the United States, appearing as the lead in plays she had written or adapted herself. She continued to enact the role of
Marguerite Gautier in New York theaters. In 1859, she was welcomed as Gautier at McVicker's Theater in Chicago; she returned to Chicago again in 1862. Her adaptation was seen in most of the important cities of the country. In New York during the season which she appeared in other plays, including her translation of
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434:, who became an actress herself. After her parents' separation in 1869, Bijou went to the care of Stoepel. To educate her, he sent her first to a convent and then to a boarding school in New York City. Heron pulled her daughter out of the boarding school and trained her for the stage. Bijou made her stage debut at the age of six performing alongside her mother in
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magnetic effect diminished since she had no technique to keep the internal truth of her acting spontaneous. As the role was repeated and as she lost some of her physical and emotional power, her life on stage became tiresome, both for herself and the audience. Matilda Heron's reliance on quirky inspiration proved to be her downfall as an artist.
269:, was a successful shipper. In some sources, her sisters, Fanny and Agnes, are reported to have been excellent singers. It is possible that Matilda and her sisters received stage training in Ireland, but this is not confirmed. In Philadelphia, Matilda's parents sent her to a private academy that was across from the
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Matilda Heron's popularity was comparatively brief. Her tempestuous style of acting limited her to the "emotional" role and the "sensational" play. By the mid-1860s, Heron's health was failing, marital difficulties impinged upon her work, and the brilliance of her reputation began to fade. From 1868
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Her emotion-charged acting and personal magnetism, particularly in the role of
Marguerite Gautier with which she became so closely identified, hypnotized audiences and critics alike with her captivating beauty. For eight years after her initial triumph she acted with comparative success in New York,
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many times, reported that "she changes her execution too much; sometimes she omits fine touches, slurs over to-night what last night was most carefully portrayed, or makes wonderfully vivid what to-morrow may seem of less account." Badeau observed that she occasionally lost control of her voice and
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After services at the
Episcopal Church of the Transfiguration (the "Little Church around the Corner" beloved by actors" she was buried in Greenwood Cemetery, Brooklyn. Although the "emotional" school of acting Matilda Heron initiated had other followers, notably Clara Morris and, for a time, Laura
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reported that "she gave proof…that
America has artists—and one whose name is to be written in distinct letters in the history and biography of the drama" (23 January 1857). Matilda Heron was unable to sustain over time the "electricity" originally projected in her interpretation. Her vitality and
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Heron left no explanations of her theory of acting, but there is evidence that she identified herself closely with this role; while she achieved only minimal success in any role other than
Camille, her minor successes bore strong resemblance to the Camille character. In fact, it is reported that,
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multiple times because, as Clapp explains, "she puts so much of herself into it--so much of her strong, impulsive, irrepressible genius--that she could no more play it exactly the same way two consecutive evenings than she could be exactly the same person two consecutive evenings." Edward G. P.
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Heron's interpretation was seen as particularly
American, since it fit an image of robust, vigorous, and unyielding strength compared to her frail, proper European counterparts. Indeed, Americans hoped to find in Matilda Heron an actress of their own national spirit who could gain international
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In explanation of her popularity, Tice Miller writes that "he exhibited a style of emotional acting which seemed real to the audiences of her day." Henry Clapp, Jr. was greatly impressed by Heron's use of the "emotional school" of acting. According to
Charles Bailey Seymour, Heron learned this
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until her death she supported herself by teaching acting. In her last years she was ill and impoverished. A devout
Catholic, she found solace in her religion, but her daughter was her chief source of happiness. A big benefit show was done to raise funds for her in January 1872, which included
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Keene, it quickly became dated. Yet in her naturalistic performances, Miss Heron contributed to the transition from the traditional romantic acting of the nineteenth century to the twentieth century realism exemplified by such figures as Minnie Maddern Fiske.
343:, premiered at the Walnut Street Theatre in Philadelphia on 3 October 1855 with Heron playing the protagonist Marguerite Gautier. The play did not receive much attention at the Walnut Street Theatre, nor at any locations on the tour that followed. Eventually,
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The play created a sensation. Matilda Heron's impulsive and rough nature aided her in developing a style of acting new for her day. Breaking with convention, she followed her feelings in her acting rather than the rules of elocution. Starting with
474:. Matilda Heron died at the age of 46 on 7 March 1877 at her New York City home a few weeks after an unsuccessful operation to halt hemorrhoidal bleeding. Her reported last words were "Tilly never did harm to anyone - poor Tilly is so happy."
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Laughlin). Some details of Matilda Heron's past are unsure, but many records state that her family owned a small farm in Ireland before emigrating to the United States in 1842. Matilda was around twelve at the time. Her family moved to
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In June 1854, Heron married San Franciscan lawyer, Henry Herbert Byrne. The couple separated only a few months later. Not much is known about Heron's marriage to Byrne. Following their separation, Heron returned to the East Coast.
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attention and fame. Although Matilda Heron's acting was too rough an unpolished to be seriously considered foreign to critics, she was the pride of American audiences. In response to her New York debut, the
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in 1853, most of the female stars of the day had appeared in the role, but Matilda Heron's Camille, more true to the original, was generally acknowledged to be the greatest on the American stage.
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where her father worked as a lumber merchant. Matilda was the youngest of five children. Her siblings include two sisters named Fanny and Agnes and a brother named Alexander. Her brother,
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as "a high pressure first-class Western steamboat, with all her fires up, extra pounds of steam to the square inch. The effect is fine, but the danger of an explosion is imminent."
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on 26 December 1853. She continued to perform in California and received much critical acclaim for her work there. In the summer of 1854, she returned to New York.
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Despite her extensive work on other plays, including her original works, the only role and play that Heron received great recognition for was
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Heron made her professional stage debut on 17 February 1851 in Philadelphia at the Walnut Street Theatre. She played the role of Bianca in
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Players of a Century: A Record of the Albany Stage. Including Notices of Prominent Actors who Have Appeared in America
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226:(1 December 1830 – 7 March 1877) was an Irish-American actress and playwright best known for her role in the play
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companies in Washington, New York, Philadelphia, and Boston where she portrayed a wide range of heroines such as
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Heron's nickname was "Tilly" which was short for Matilda. She sometimes referred to herself by this nickname.
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339:(The Lady of the Camellias), and decided to present her own version, in English, in America. The resulting
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Besides being an actress, Matilda Heron was also a writer and translator of plays. She translated the play
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and starred in it as the character Florence Upperton at the Winter Garden. The play was originally called
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532:. The play premiered in New York in January 1857 with Heron in the titular role. She starred alongside
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had successful performances in Cincinnati, Mobile, and New Orleans as well. On 22 January 1857,
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In 1863, Heron gave birth to a daughter, Helen Wallace Stoepel, better known as
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684:(Philadelphia, Pennsylvania) April 10, 1865, page 2, accessed August 16, 2017.
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RodrĂguez, Miriam LĂłpez; CarriĂłn, MarĂa Dolores Narbona (November 28, 2011).
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A History of the New York Stage from the First Performance in 1732 to 1901
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940:, in Comparative Literature, Vol. 7, No. 4 (Autumn, 1955), pp. 338-343
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On 24 December 1857 Heron married composer and accomplished musician
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Wilkins disagreed with Clapp and criticized Heron's performance in
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Notable American Women, 1607–1950: A Biographical Dictionary
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Women's Contribution to Nineteenth-century American Theatre
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Actors and Actresses of Great Britain and the United States
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Vagrant memories: being further recollections of other days
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approach from Mr. H. H. Davis. He saw her performance of
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Heron appeared in both plays as the titular roles. In
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MATILDA HERON (1830-77), America's Definitive Camille
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after meeting him in New Orleans at a performance of
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951:"Heron, Matilda (1830-1877) | The Vault at Pfaff's"
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442:and became the mother of the theatrical producer
252:on 1 December 1830 to John Heron and Mary Heron (
581:Some of Matilda Heron's original works include
860:(bottom of Col. 1, report on the benefit show)
551:which is a French adaptation of the story of
351:in January 1856 and had great success there.
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975:Legouvé, Ernest; Heron, Matilda (1857).
772:, Wayne Turney, Retrieved June 18, 2010
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536:, who played the role of Armand Duval.
995:Phaedra: A Classic Play in Three Acts
981:. Médée.English. New York: S. French.
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539:Among her other translations are
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244:Matilda Agnes Heron was born in
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1092:19th-century American actresses
1061:Works by or about Matilda Heron
518:Original works and translations
391:later wrote: "Other parts she
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1009:Brown, Thomas Allston (1903).
978:Medea: a tragedy in three acts
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363:and was an immediate success.
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660:, Vol. II, p. 187-88 (1971) (
599:The Pearl of the Palais Royal
595:Duel in the Days of Richelieu
719:Camille: a play in five acts
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1033:Phelps, Henry Pitt (1880).
791:. Universitat de València.
359:made its New York debut at
311:. In 1853, she traveled to
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998:. Wrightson & Company.
678:"Death of Alexander Heron"
559:an English translation of
874:"Matilda Heron's Funeral"
682:The Philadelphia Inquirer
656:James, Edward T., et al.
277:teacher, Peter Richings.
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1097:American stage actresses
1039:. J. McDonough. p.
841:Ladies of the Footlights
591:Gamea, the Hebrew Mother
938:Matilda Heron's Camille
819:San Francisco Chronicle
817:"The Drama of a Life".
614:The Belle of the Season
606:The Belle of the Season
1015:. Dodd, Mead. p.
821:. September 29, 1872.
496:who witnessed Heron's
489:New York Daily Tribune
992:Racine, Jean (1858).
955:pfaffs.web.lehigh.edu
768:May 14, 2011, at the
271:Walnut Street Theatre
1078:at Wikimedia Commons
852:(January 22, 1872).
534:Edward Askew Sothern
525:La Dame aux Camélias
444:Gilbert Heron Miller
365:Edward Askew Sothern
336:La Dame aux Camélias
233:La Dame aux Camélias
201:Gilbert Heron Miller
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858:The Charleston News
267:Alexander Heron Jr.
224:Matilda Agnes Heron
196:Alexander Heron Jr.
123:Henry Herbert Byrne
18:Matilda Agnes Heron
936:Perkins, Merle L.
910:The New York Times
879:The New York Times
482:Critical reception
246:County Londonderry
75:County Londonderry
1074:Media related to
854:"News of the Day"
839:Bodeen, De Witt.
753:, p.229-46 (1886)
743:Matthews, Brander
716:Heron, Matilda.
425:Wallack's Theatre
361:Wallack's Theatre
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89:7 March 1877
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561:Jean Racine
494:Adam Badeau
472:Laura Keene
460:Edwin Booth
432:Bijou Heron
186:Bijou Heron
1086:Categories
627:References
464:Jules Levy
453:Later life
313:California
240:Early life
203:(grandson)
169:;
105:Occupation
67:1830-12-01
827:571652960
349:St. Louis
329:While in
275:elocution
208:Signature
198:(brother)
192:Relatives
917:June 18,
886:June 18,
823:ProQuest
766:Archived
749:(ed.).
587:Mathilde
557:Phaedra,
347:came to
182:Children
1063:at the
621:Camille
530:Camille
512:Camille
507:Camille
498:Camille
421:Camille
357:Camille
353:Camille
345:Camille
341:Camille
324:Camille
309:Ophelia
250:Ireland
228:Camille
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79:Ireland
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722:(1857)
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583:Lesbia
566:Phèdre
555:, and
470:, and
307:, and
305:Juliet
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99:, U.S.
576:Jason
572:Medea
553:Medea
549:Medée
541:Medea
436:Medea
397:lived
393:acted
385:Médée
331:Paris
292:Fazio
161:(
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132:(
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54:Medea
50:Medea
962:2018
919:2010
888:2010
793:ISBN
745:and
662:ISBN
171:sep.
167:1857
138:sep.
86:Died
61:Born
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383:'s
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