Joseph Haworth
had enormous respect for William Winter’s
opinion, although Winter was often critical of
Haworth’s work. Reading Winter’s reviews in the
New York Herald, it is clear that he was a man
of strong and well-founded opinions,
particularly in the realm of classical acting.
But he also had his prejudices and blind spots,
and for some reason had hostility to youthful
aspirants. On opening night of Romeo and
Juliet, starring Haworth and
Julia Marlowe,
Joe’s friend
Colonel Robert Ingersoll approached
Winter at the first intermission in rapturous
ecstasy:
"What do you think of that?"
said Ingersoll. "Isn’t it wonderful? Isn’t it
glorious? Did you ever hear Shakespeare spoken
like that?"
"Poof!" said Winter. "The
Balcony Scene! Anybody can play the Balcony
Scene well. Wait till she comes to the Potion
Scene. Then you’ll see. She’ll fail completely."
"You critics make me tired,"
said the Colonel. "You sit in your little cells
playing with your little fingers on your little
yardsticks and don’t see anything else. I tell
you a girl that can read like that is a genius,
and you’ll see the day when you have to
acknowledge it."
This loud public rebuke
nettled Winter and he gave Marlowe a mixed
review. It also began a ten-year period in which
William Winter resisted giving Miss Marlowe her
due, culminating with an ingenuous and charming
confession that he had been wrong about her.
Winter’s December 13, 1887 review of Haworth’s
Romeo was mixed as well, objecting to the
actor’s unsentimental approach to the role:
"A Robust
Romeo"
The Romeo of Mr. Haworth fully
shared the honors won by the Juliet, though it,
too, had its faults. In the earlier scenes it
was inartistically robust and lacking almost
totally in sentiment. The actor rattled through
many of his lines instead of reading them for
their full value. In the forcible scenes,
however, he was strong, very strong, and his
work was throughout picturesque. The killing of
Tybalt was done with a realistic access of
passion and vigor of movement that won for the
actor three calls before the curtain, the
applause being mingled with loud bravos."
Joseph Haworth seemed to
accept such criticism as constructive, and he
actually invited Winter to critique him in a
letter dated March 6, 1888. He was in the
planning stages of an unrealized project in
which he would co-star with the great
Mrs. Fiske.
She had passed on some words of praise that
Winter had bestowed on Haworth’s talent, but
also mentioned that Winter had found "one thing
lacking." In the letter, Haworth wrote:
"Your printed words of
commendation are most valuable to any artist,
but a personal word of suggestion and criticism
would be invaluable to me beyond all things…Let
me know what that fault is. Is it not due think
you to my first night nervousness…If you can
find leisure, do enlighten me and know I will
always hold you in grateful remembrance and pray
God to bless you always."
Two years earlier, Haworth had
written to Winter asking for assistance of a
more commercial nature. He was embarking on his
first starring vehicle and wanted to be sure
that the Herald covered the play’s New York
opening. On December 23, 1886 he wrote:
"I begin a career at the Grand
Opera House on Monday next in Hoodman Blind.
If I succeed, it means a tour of the country in
the tragic drama next season. Will you do me the
favor to pass judgment on me some time next
week?… I know it is asking a great deal but I am
an American product and I hope excusable for my
boldness."
Joseph Haworth became a star
in New York theatre in the 1880’s, when he was
trumpeted as the next great American actor. In
the following decades, season after season, he
starred in important plays and projects. Haworth
weathered years when he was accused of not
living up to his early promise, but throughout
those years he fought commercial pressures and
continued doing the classical canon. Late in his
career, he rose artistically like a phoenix.
William Winter chronicled this burst of growth.
In his February 18, 1903
review of Tolstoy’s
Resurrection,
Winter wrote:
"In all the scenes Miss Walsh
or Mr. Haworth was the dominating figure. They
had much to do and they did it well. Mr. Haworth
was effective alike in his utterance and his
reticence. He expressed strong emotions without
contortion.
"The scene in the jury room,
after the verdict had been rendered, was
especially moving and true to nature. It was a
fine presentation of a robust nature shaken to
its depth by sorrow, shame and remorse, but
preserving masculine mastery over its
expression."
A separate article in the New
York Herald that same day stated: "Joseph
Haworth’s interpretation of the Prince Dimitri
marks him as a great actor." Haworth had entered
the new century on the cutting edge of modern
acting with a triumph in the Moscow Art Theatre
vehicle. But the wildly successful
Resurrection was his final performance.
William Winter eulogized Joe in this way:
"Haworth, who had been taught
by McCullough,
possessed rare ability, pursued his art with
ceaseless, glowing fervor, accomplished much,
but died in the morning of his fame."