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Edith Wynne Matthison (November 23, 1875 – September 23, 1955) was an Anglo-American stage actress who also appeared in two silent films.

Key Information

Early life

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She was born on November 23, 1875, in England, the daughter of Kate Wynne Matthison and Henry Matthison. Her aunt was Welsh singer Sarah Edith Wynne.[1] Matthison was educated in King Edward's Grammar School and Midland Institute, England.

Career

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She began at age 21 to appear in musical comedy, later joining Ben Greet's company, playing leading parts in The Three Musketeers and Money.[2]

Matthison specialized in Shakespeare and classic drama almost from the start of her career.[3] She was acting in the same play, The Merchant of Venice, with Sir Henry Irving the night he died. Irving nearly died in Matthison's arms. She appeared in Greek and mystery plays, old English comedies, and modern plays. In the United States in 1904 she appeared in Goldsmith's She Stoops to Conquer.[2]

Personal life

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While at school, Matthison had a romantic relationship with fellow student and later celebrated poet Edna St. Vincent Millay.[4]

Matthison married the playwright Charles Rann Kennedy in 1898, acted in many of his plays, and advised him during their development.[2][5] A happy couple who enjoyed a long marriage of 50 years, they had no children. They both taught at Bennett Junior College in Millbrook, New York.[6]

At one time her niece, Gladys Edith Wynne, was married to the stage and silent film star Milton Sills.

Death

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Matthison died of a stroke in Los Angeles on September 23, 1955.[7]

Filmography

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Year Title Role Notes
1915 The Governor's Lady
1917 National Red Cross Pageant Prologue, (final film role)

References

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[edit]
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Edith Wynne Matthison

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Edith Wynne Matthison (November 23, 1875 – September 23, 1955) was an English-born stage actress known for her distinguished Shakespearean performances and her transatlantic career spanning theaters in Britain and the United States. [1] She achieved prominence for her commanding presence and versatility in classical roles, often performing with leading figures of the Edwardian and early twentieth-century theater such as Sir Henry Irving and Herbert Beerbohm Tree. [1] Matthison also appeared in a handful of silent films and was closely associated with works by her husband, the playwright Charles Rann Kennedy. [2] Born in Birmingham, England, Matthison made her professional stage debut in 1896 at Blackpool in The School Girl and quickly rose to notice in London with a last-minute substitution in The Lackey's Carnival at the Duke of York's Theatre in 1900. [1] Her portrayal in Everyman brought her to New York in 1902, where she remained for several years performing roles including Viola in Twelfth Night and Kate Hardcastle in She Stoops to Conquer. [1] She returned to England to tour as Portia opposite Irving's Shylock in The Merchant of Venice, later opening at Drury Lane in 1905. [1] Matthison continued to alternate between the two countries throughout her career, appearing with Beerbohm Tree in New York productions of King Henry VIII and The Merry Wives of Windsor in 1916. [1] She starred in several of her husband's plays and, in a notable late-career achievement, played Hamlet in America in 1930. [1] Her screen work included appearances in silent films such as The Governor's Lady (1915), National Red Cross Pageant (1917), and The Gorgon's Head (1925). [2] Matthison died in Los Angeles, California, on September 23, 1955, from a stroke. [2]

Early life

Birth and family background

Edith Wynne Matthison was born on November 23, 1875, in Birmingham, England. [1] She was the daughter of Henry Matthison and Kate (Wynne) Matthison. [1]

Education

Edith Wynne Matthison received her formal education at the Midland Institute in Birmingham, England. [3] This institution, located in her hometown, provided her schooling during her youth. [3] Upon completing her education, she entered the theatrical profession at the age of 21, initially appearing in musical comedy. [3]

Stage career

Debut and early roles

Edith Wynne Matthison made her professional stage debut in 1896 in the chorus of the musical comedy The School Girl at Blackpool, appearing alongside Minnie Palmer. [4] Her early career focused on musical comedy roles. [4] She later joined Ben Greet's company, where she played leading parts in productions including The Three Musketeers and Money. [3] She specialized in Shakespeare and classic drama almost from the start of her career. [3] Matthison gained attention in September 1900 when she stepped in as Violet Oglander in The Lackey's Carnival at the Duke of York's Theatre. [1] [5]

Breakthrough roles and rise to prominence

Edith Wynne Matthison achieved her breakthrough in 1902 when she created the title role in the morality play Everyman, a modern revival of the 15th-century work. [3] This production, directed by Ben Greet and presented in New York by producer Charles Frohman, opened on October 12, 1902, at Mendelssohn Hall, marking her American and Broadway debut. [6] Matthison played the central figure of Everyman, a part that traditionally had been performed by men but was here taken by a woman, helping to distinguish the revival. [6] The production proved highly successful, transferring to multiple venues including Hoyt's Theatre, the New York Theatre, and the Garden Theatre before closing in May 1903 after 75 performances. [6] This triumph established Matthison as a notable presence on the American stage and proved pivotal in launching her transatlantic career, prompting her to remain in the United States following her 1902 arrival and continue performing there into 1904. [3] The role's impact was further evidenced by a subsequent North American tour the following season, in which she continued in the lead. [6]

Shakespearean and classical performances

Edith Wynne Matthison earned acclaim for her mastery of Shakespearean and classical roles, specializing in Shakespeare’s plays, Greek tragedies, mystery plays, and old English comedies. Her interpretations were noted for their dignity, emotional depth, and vocal clarity, making her a prominent figure in classical theater on both sides of the Atlantic. A significant early highlight was her work with Sir Henry Irving, touring as Portia in The Merchant of Venice. The production opened at the Drury Lane Theatre in May 1905, and during the subsequent tour, Irving nearly died in her arms. [1] In 1916, Matthison appeared with Sir Herbert Beerbohm Tree in New York as Queen Katharine in King Henry VIII, opposite Tree's Cardinal Wolsey, with the production opening at the New Amsterdam Theatre as part of the Shakespeare Tercentenary Festival. [7] The staging featured elaborate costumes and scenery by Percy Macquoid and compressed the play into three acts, emphasizing its pageant-like qualities. [7] She also performed with Tree in The Merry Wives of Windsor during the same New York engagement. [1] Later in her career, she made a London appearance as Francesca da Rimini in The Salutation (1926), a drama centered on the Dante-inspired tale of Francesca and Paolo. [1]

Work in the United States and collaborations

Matthison first traveled to the United States in 1902, making her New York debut in the morality play Everyman, where she performed the title role in a production brought over by Charles Frohman. [1] She remained in America for two years, appearing as Viola in Twelfth Night and as Kate Hardcastle in Oliver Goldsmith's She Stoops to Conquer in 1904. [3] [1] She frequently collaborated with her husband, playwright Charles Rann Kennedy, performing in many of his works and offering advice on their development. [3] Among her U.S. appearances in Kennedy's plays were the original Broadway production of The Winterfeast, in which she portrayed Herdisa, and The Admiral, in which she played a Queen. [8] She also starred in a 1918 Broadway revival of Kennedy's The Servant in the House. [8] In 1930, on her return to the United States, she achieved great success appearing as Hamlet in the title role. [1]

Film career

Silent film appearances

Edith Wynne Matthison made only a limited number of appearances in silent films, with her cinematic work remaining secondary to her prominent stage career. [2] Her contributions to film were infrequent and often brief, spanning from newsreels to patriotic pageants and classical shorts. She first appeared on screen in 1913 as herself in the newsreel short Animated Weekly, No. 54. [2] In 1915, she had a role in the feature film The Governor's Lady, a silent drama directed by George Melford. [2] Two years later, amid World War I, Matthison portrayed the Prologue in National Red Cross Pageant (1917), a patriotic production organized to support the American Red Cross efforts. [9] After an extended absence from film, she returned for one final silent appearance in the 1925 short The Gorgon's Head, playing the role of Danae in this classical-themed production. [2] These rare film credits reflect occasional intersections between her theatrical prominence and the emerging medium of cinema during the silent era. [2]

Personal life

Marriage to Charles Rann Kennedy

Edith Wynne Matthison married the playwright Charles Rann Kennedy in 1898. [10] [11] Their union lasted 52 years until Kennedy's death on February 16, 1950. [10] The couple had no children and was regarded as a happy and devoted pair throughout their marriage. [11] Although Matthison performed in several of Kennedy's plays, their personal relationship remained centered on mutual support away from the stage. [12]

Teaching and later activities

In her later years, Edith Wynne Matthison taught alongside her husband Charles Rann Kennedy in the dramatic department of Bennett Junior College in Millbrook, New York, for several years.[13] They directed the Drama Department there, producing Greek dramas with students and their protégée Margaret Gage, while Kennedy also headed the college's Philosophy Department.[14] Their work at Bennett included staging classical productions such as Sophocles' Antigone in 1923, in which Matthison played the title role and Kennedy portrayed Creon, assisted by the school's drama, music, and art departments.[15] The couple's involvement extended to guiding student performances into the 1930s as part of the college's dramatic activities.[14] In 1940, Kennedy retired from his teaching positions, and the couple relocated to Los Angeles.[14] They continued to appear together in Kennedy's "Plays for Three Players," performing the works in colleges, universities, and little theaters.[14]

Death

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