James Faucit Cathcart (1828–1902)
On the first occasion, Cathcart was warmly greeted by the audience. He performed the quarrel scene from Sheridan’s School for Scandal with Edith Young under her stage name of Tasca-Page who, incidentally, later became Mrs. F. M. Alexander. The role of Sir Peter Teazle was one that Cathcart made his own on the Australian stage (Sydney Morning Herald).
JAMES FAUCIT CATHCART was born 20th December, 1828 in Gosport, Hampshire, England. His Irish father James Leander Cathcart (1800–1866) had trained as a barrister. However, he rejected a career at the bar and instead embarked on an acting career in 1822. Cathcart (father) emigrated to England and became a successful provincial actor. He appeared with William Macready (1793–1873) at London’s Drury Lane Theatre winning the friendship of the great tragedian. Latterly (and at the time of his death), he was associated with the Prince’s Theatre, Manchester (Manchester Times). 1
Three of J. L. Cathcart’s children went onto ecounting his early years in the stage – James, Rolleston (‘Rowley’) Melbourne, Alexander writes that he 2 (1832–1896) , and Fanny (1833–1880). was taking lessons in dramatic R Rowley’s daughter Maud was also an actress expression and interpretation from Mr. James (Hardwick: 57). Cathcart, at one time a member of Mr Charles
Kean’s Company (Alexander 1985: 33). 1 The stock company was usual with local actors Cathcart was not pleased with the way playing supporting and minor roles. It meant that Alexander stood and walked and from time to relatively young and inexperienced actors could time gave the instruction, “Take hold of the work alongside the visiting leading actors of the floor with your feet.” day. 2 Rowley (or ‘Roley’) Cathcart was also a member We have no record of how long Alexander of Kean’s company in 1855, and in 1890 he studied with Cathcart, but the veteran actor appeared as ‘Joyce, the butler’ in the comedy ‘A appeared in two of Alexander’s entertainments Pair of Spectacles’ at the Garrick Theatre. Rowley th in Melbourne; 11 May 1898 and a two-week or James Cathcart could possibly have been the run of a show at the Athenaeum Hall same “Mr. Cathcart” who played Second Grave th beginning 26 August 1899 – the same year Digger to Steele Mackaye’s Hamlet at the Crystal that he was given a Benefit performance at the Palace, London April 3, 1873. Mackaye, P. (1927). Princess’s Theatre (Evans: 116, 117–8). Epoch: The Life of Steele Mackaye (2 vols.). New York: Boni & Liveright: vol. I, p. 196 and vol. II, Appendix xli – xlii. James L. Cathcart was working the Hampshire Lytton4 the Theatres Regulation Act of 1843 theatre circuit at the time his first child James removed the long-standing monopoly of patent was born. Young James first appeared on houses on legitimate drama. Though theatre- stage, aged three years, as the child of Cora in goers in general sought more low brow Sheridan’s tragedy, Pizarro (The Age). So entertainments, Kean’s lavishly staged revivals began years of apprenticeship playing juvenile of Shakespeare 1852–1859 maintained high roles alongside his father. standards with antiquarian attention to the detail of costumes and props.5 James married Mary Ellen Ottaway (1834– 1908) at St Pancras, London in December When in London the Kean Company played at 1852 and they had five children.3 the Princess’s Theatre, Oxford Street. Kean saw Cathcart as–
‘a young man in whose welfare I took an interest and in whom I thought I could place confidence.
I did not engage you as an efficient actor in the characters you would have to undertake but as a comfort and second under the belief that with care and trouble I might mould you into fitness for them and I aided and fostered you till you reached your present position.’ (Kean to Cathcart, c. 1866)
[Caricature, J F Cathcart as the hero Duc de Nemours (Louis XI, 1855)6]
Kate and Ellen Terry were also members of Kean’s company. Ellen told how ‘[R]ehearsals lasted all day, In 1850, James was taken on by the actor- manager, Charles Kean (1811–1868) as a 4 Lytton wrote the play Richelieu (1839) – a vehicle junior member of his company where he for the great tragedians Kean, Sullivan and Irving – remained for eighteen years. English theatre that includes the line ‘the pen is mightier than the was in a state of transition. Thanks to the sword’. Radical MP, novelist and playwright Bulwer 5 Before Henry Irving’s knighthood in 1895, the public banquet held at St James’s Hall in honour of 3 Charles Leander (1854–1862), Percy Howell Kean’s retirement as actor-manager (20 July, 1859) (1856–c.1912), Mariette Ellen (1858–1939) and his election as Fellow of the Society of ‘draughtswoman’ and ‘nurse’ during WWI (Michie Antiquaries were the greatest honours bestowed on Hospital, 184 Queen’s Gate SW), Matilda Mary an actor. Kean’s legacy was to dignify and (1861–1947), and Ethel Margaret (1867–1944). ‘modernise’ the theatre through his scholarly Mrs Cathcart (c.1834–1908) appears to have lived portrayal of a Romantic past. ‘So high-minded had independently as proprietor of a ladies’ school in the theatre become by the 1850s that Gladstone, Hampstead, North London. Eldest daughter who only twenty years earlier had condemned the Mariette trained at the Royal Academy Schools and stage as sinful, unashamedly spent an entire assisted her mother with running the school (ibid). afternoon in 1857 on a tour of the Princess’s She married Harry Michael Isaacs (brother of Theatre. . .’ (Schoch: 58–9) Rufus D. Isaacs, 1st Marquis of Reading) in 1898 6 The Illustrated Sporting and Dramatic News, and was awarded the OBE (1919). Aug. 14, 1875: 173. Sundays included, and when there was Windsor Castle before Queen Victoria and the no play running at night, until four or Prince Consort.8 five the next morning!’ (Terry: 13) In 1863, the Keans travelled to Australia on a But, despite the long hours, Cathcart farewell tour. (Much of the following remembered these times as some of the information comes from letters the Keans sent happiest days of his life. Mr. Oscar Byrn who back home to their daughter, Mary.) Cathcart Ellen Terry referred to as a great ‘fop’ (Terry: wrote, requesting that he might accompany 23) was the dancing-master and director of them: crowds at the Princess’s. Clear and audible diction was paramount. Terry wrote – I would wish to make a proposal for your serious consideration. I have within the last During the rehearsals Mrs. Kean7 taught me few days received a letter from my sister in to draw my breath in through my nose and Australia, in which she speaks of the begin a laugh – a very valuable wretched inefficiency of the Actors there, accomplishment! She was also indefatigable which makes me think you will miss the in her lessons in clear enunciation, and I can assistance you have been so long hear her now lecturing the ladies of the accustomed to. . . . I do not wish to boast of company on their vowels. “A, E, I, O, U, my anything I have done to serve you for you dear,” she used to say, “are five distinct have ever been kind to me and mine. I think vowels, so don’t mix them all up together as you must have become so used to me and I if you were making a pudding. If you want am sure you will own I have always assisted to say, ‘I am going on the river,’ say it you to the best of my ability. I have even plainly and don’t tell us you are going on desired to continue with you until your final the ‘riv-ah!’ You must say her, not har; it’s retirement from the stage . . . I know there God, not Gud: remonstrance, not are several places open to me yet I thought remunstrance,” and so forth. (Terry: 18) before I made any fresh engagement I would make the following proposal to you, namely Presumably, in similar manner, the gentlemen that I will accompany you to Australia if were instructed by Kean himself. He had you like for the terms you offered me if you beautiful diction, Terry remembered – will promise to give me £10 per week when you return to this country during your His voice was also a wonderful quality – remaining seasons on the stage. (Hardwick: soft and low, yet distinct and clear as a bell. 57–8) When he played Richard II, the magical charm of this organ was alone enough to James’ sister, Fanny, was at this time a keep the house spell-bound. His vivid successful leading actress in Australia. She personality made a strong impression on me. had accompanied the tragedian G. V. Brooke Yet others only remember that he called his on a tour of the colonies, making her début as wife “Delly,” though she was Nelly, and Desdemona to Brooke’s Othello at the always spoke as if he had a cold in his head. Queen’s Theatre, Melbourne on 26th February . . . (Terry: 10–11) 1855. She married fellow actor, Robert Heir As part of Mr and Mrs Kean’s Company later that same year and subsequently had a during the 1850s, Cathcart performed some ten billing as ‘Mrs. Robert Heir’. Over the next times at the specially constructed theatre at decade she occupied ‘the highest position on the Australian stage’ as a leading actress of Shakespeare and high comedy. After Heir’s 7 Before her marriage to Kean in 1842, she was ‘the death, she married George Darrell in 1870 and enchanting, high-minded, and famous Ellen Tree’. Porter, H (1965). Stars of Australian Stage and 8 For more information, see Schoch: 127-8 and Screen. London: Angus & Robertson: 63. footnote 32. for several years toured extensively in ‘posture-making’ (Melbourne Punch, 28 April productions of his melodramas throughout 1864, ibid: 166) and the strain of being on tour Australasia and America. away from home seemed to have taken its toll. On one occasion out with fellow actor George James got his wish and with the Keans set sail Everett his companion met with an unfortunate from Liverpool on 6th July 1863 (Hardwick: accident: 64).9 He proved to be a poor sailor and remained ‘invisible’ for much of the voyage Poor Everett has met with an accident which (ibid: 67, 73). They arrived in Melbourne late I fear he will feel for some time. He and September just in time for their opening at the Cathcart had been walking and were tired Haymarket Theatre on 1st October. Ironically, and thirsty and they went into one of the bars or drinking places for a biscuit and Fanny Cathcart was appearing at the time with some wine and water. They had left a cellar the Kean’s rival, Barry Sullivan at the Theatre door open close to the counter and poor Royal (Melbourne Punch, 15 October 1863, Everett walked into the hole. He is much ibid: 77). shaken and bruised and looks very ill. (Ellen Kean to daughter Mary. Sydney 27 Kean was past his acting prime and his November 1863, ibid: 104–5) memory was inclined to fail him on stage. When necessary, James would help out as When the Keans set out, they had no plan to support and prompt. The American actress visit America but were persuaded to extend Clara Morris left an affection memoir of the their nine-month tour by a further two years to Keans at that time: include a gruelling travel itinerary in the United States and Canada. They opened in San That was the last visit to this country of Mr. Francisco in September 1864 and by then and Mrs. Kean, and his memory was failing James’ disorderly behaviour was causing some him grievously. He had with him two actors, each of whom knew every line of all his concern. Kean wrote from Victoria, parts, and their duty was, when on the stage Vancouver Island: or off, so long as Mr Kean was before the Mr Cathcart has given me a great deal of house, to keep their eyes on him, and at the trouble. He has become inflated with the first sign of hesitancy on his part one of praises he [received] in Australia and S. them gave him the needed word. Once or Francisco and has become offensive and twice, when he seemed quite bewildered, rebellious. He has turned to drink and had a Mr. Cathcart, turning his back to the bad fit of delirium tremens in crossing the audience, spoke Mr. Kean’s entire speech, Pacific through which my wife nursed him. imitating his nasal tones to the life. (ibid: He was compelled to call in a Doctor at S. 46–7) Francisco but forgot to pay his bill before he As able and versatile as he was, James’ acting left, after being due six weeks. style was criticised for his exaggerated I do not think he will be with me long, for he has become very saucy. (Charles Kean to 9 ‘James Cathcart and George Everett, two of daughter Mary. 14 December 1864, ibid: Kean’s standbys at the Princess’s, were taken along 206) to assure the stars adequate support and also to In New York (September 1865), Kean wrote: relieve them of some of the inevitable burden. Mrs. Kean’s niece, “Miss E. Chapman,” familiarly Mr Cathcart is at his tricks again. He is known as “Patty,” went with them to play ingénue drinking hard and getting his imbibing roles. It is possible that Mrs. Kean was friends to interrupt the performance by accompanied by her personal maid, Jackson, but uproarious applause for him. In fact instead she is not mentioned in their correspondence during of being what he is engaged for, a comfort the Australian phase of the tour.’ (Carson: 23) and support, he is a nuisance and a Sullivan was notorious for his realism or, discomfort to me. His head is turned by rather, his reckless disregard for life and limb injudicious friends and he is now as inflated in his re-enactment of fight scenes.11 as a balloon. (Kean to Mary. 12 September 1865, ibid: 225) Cathcart was still with the company in Liverpool in April 1878 (Sillard: 214) but Seven months later, in Boston, Kean continued must have left before the end of the tour that to be outraged by Cathcart’s rowdy cronies in ended in April 1879, the time when he arrived the audience repeatedly calling, “We want in Melbourne. James said in his 1899 Cathcart” during his scenes: interview for The Age that for many years I made a low curtsey and slowly retired Fanny had been urging him to join her in amidst shouts and yells. I said to the Australia. Prompter, Send for Mr. Cathcart and when he has been on change the scene, I will not In Australia, Cathcart acted under leading go on again. So the great sleeping scene of managers such as J. C. Williamson, George Lady Macbeth was omitted. (Kean to his old Musgrove and Charles Holloway and, as a friend and US agent Sol Smith, ibid: 245) member of the Brough and Boucicault Comedy Company, he developed into a fine It could have been a déjà vu experience for comic actor. He became particularly known as Kean. Years earlier James’ father as Macduff a safe actor of nearly all the “first old men” of had been summarily dismissed by the Glasgow classic English comedy, notably Old theatre manager J. H. Alexander for upstaging Hardcastle in Goldsmith’s She Stoops to Kean’s Macbeth. (Carson: 171, footnote 141) Conquer. In 1894 George Rignold revived However, be that as it may, they returned to Julius Caesar at Her Majesty’s Theatre, England on 29th April 1866 and, with a Sydney with Cathcart as Brutus. He was also solemn promise to mend his ways, James considered an outstanding performer and for a continued to work with Kean for the remaining time ‘the best Shakespearean actor on the years. Australian stage’. After Kean’s death in 1868, Cathcart joined But James’ acting style had become dated; a Barry Sullivan and, again, toured England and pronounced mannerism always distinguished America. He was still a versatile and his elocution. He described himself as ‘one of resourceful actor. Sillard writes that, in a bygone age’ and lamented: Toronto (24 April 1876): The public is not thrilled by the acting of to- Mr. Cathcart who still accompanied day as it was fifty years ago. The expression Sullivan, doubled parts as usual; indeed ‘the pit rose at him’ was literally true! You there were few actors on the American stage who could be got to face Barry Sullivan in 11 the combat scenes in Richard III or ‘At first he [Sullivan] brought with him nothing Macbeth. They were veritable combats, such but his costumes and swords. Later on, he travelled as only two accomplished swordsmen could with a fairly good looking young leading lady go through with all the reality of the battle [possibly Miss Louise Hibbert (Sillard: 143)] . . . field itself.10 (Sillard: 177) and an old actor, Cathcart, who had supported Charles Kean, and who, as Richmond or Macduff, got the worst of the stage fights except the final fatal thrust under the arm, and who relieved the star of the worst drudgery of rehearsal when advancing 10 Also, though Kean was sometimes accused of age compelled him to husband his still mighty weak acting, his skilled swordsmanship in stage forces.’ (Shaw’s Preface (1929) to Ellen Terry and combat was undisputed. (Schoch: 64) Bernard Shaw, p. xviii.) would see people carried away by the Carson, W. G. B. (1945). Letters of Mr. and Mrs. feeling of the scene, the passion and the Charles Kean relating to their American Tours. energy of the performer, rising with gasping Washington University, Saint Louis. breath, drinking in every word of the fierce
The advice given to me in my young days Sillard, R. M. (1901). Barry Sullivan and his was to ‘speak up,’ and the best advice I can Contemporaries: A Historic Record (2 vols.), give the young actors of to-day is to Volume 2. London: T. Fisher Unwin. remember that a little boy at the back of the gallery has paid sixpence, not to see a dumb Terry, E. (1909). The Story of My Life. London: show, but to hear the words, and it is the Hutchinson & Co. (Second edition). duty of the actor, not to shout or rant, but by distinctness of intonation to make himself Terry, E., Shaw, G. B. (1932) Ellen Terry and heard. Bernard Shaw: A Correspondence, New York: G.P. Putnam's Sons. James Cathcart died 18th December 1902 at his Van Der Poorten, H. M, 'Cathcart, James Faucitt home in St Kilda, Melbourne. (1828–1902)', Australian Dictionary of Biography, © Malcolm Williamson, October 2014 National Centre of Biography, Australian National University, STAT News, January 2015. http://adb.anu.edu.au/biography/cathcart-james- faucitt-3179/text4765, published in hardcopy 1969 Sources [accessed online 5 October 2014].
Alexander F. M. (1985). The Use of the Self. Van Der Poorten, H. M, 'Cathcart, Mary Fanny London: Gollancz. (Originally published in (1833–1880)', Australian Dictionary of Biography, 1932.) ibid. [accessed online 5 October 2014].
Bingham, M (1978). Henry Irving and the The Manchester Times, Saturday January 13 1866; Victorian Theatre. London: George Allen & Unwin Issue 423. [p. 28]. The Age, ‘A Veteran of the Stage: Chat with Mr. J. D. J. Morton (The Human Foot, Columbia F. Cathcart’ 22 November 1899: p. 11, cols. 7-8. University Press 1935) recommends that the feet be placed at a combined angle of 30 – 40 The Sydney Morning Herald, 20 December 1902, p. 11, col 1. Obituary. degrees (see Fig. 49). Compare this with Alexander’s recommendation of 45 degrees The Adelaide Chronicle, 27 December 1902, p. 32, (MSI, Mouritz 1996: 169), the so-called col. 2. Death Notice. ‘military position’ that favours easy flexion at the ankles, knees and hips. Morton gives the Acknowledgements: Mr John Terry, Mr Eric Cathcart, and Mrs Elizabeth Allison for the example of a person weighing 120lbs.: the previously unpublished photograph of James F. body’s weight is supported equally on both Cathcart, by ‘W. Guthrie, 25 Nuns Street, feet (60lbs. X 2), the heel of each foot takes Newcastle on Tyne’ inscribed on the reverse ‘For half this weight (30lbs), the distal end of the Charles F. Seymour with the kind regards of James first metatarsal bone (ball of the big toe) takes F. Cathcart. Manchester April 28th 1867’. 20lbs and the distal ends of metatarsals (II – V) each take 5lbs. Standing in stable equilibrium, the body’s centre of gravity ‘falls’ through a point within the base formed by the heels, the outer borders of the feet, and a front margin of structural support passing through the balls of the big toes. When the body’s ‘centre weight’ (centre of gravity) is moved forward, such as in bending, ‘in addition to the backward movement of the pelvis, an active contraction takes place in the flexor muscles of the toes, bringing [them] into heavier contact with the ground.’ This extends the margin of stability forward providing additional postural security. The foot’s shape and functional cohesion are maintained by the plantar ligaments (ibid, p.106). Adjustments in the foot should be allowed to happen reflexively. Any active (habitual) tightening will create unnecessary stiffening and inevitably lead to increased thoracic rigidity (UCL, Mouritz Teaching note: 2000: p.42).
Take hold of the floor with your feet. What can that mean to them? When they try to take hold of the floor with their feet, they take half Take hold of the floor with your feet. What can the foot off the floor with the tension they are that mean to them? When they try to take hold putting on their legs. (Aphorism in Maisel of the floor with their feet, they take half the (1969); p. 3.) foot off the floor with the tension they are putting on their legs. ‘Take hold of the floor with your feet’ is an instruction still given to actors though there is F. M. Alexander (Maisel 1974, p. 3) little consensus among voice and movement teachers as to how a person should position the feet or how the body’s weight is distributed in standing. Everyone has his or her preference.