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Joseph Hazelton
Joseph Hazelton
Joseph Hazelton
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Joseph H. Hazelton (c. 1853 – October 6, 1936) was an American stage and film actor. He appeared in 30 films between 1912 and 1922. He claimed to have witnessed the assassination of U.S. President Abraham Lincoln on April 14, 1865, as a boy.

Key Information

Life and career

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Hazelton debuted on stage as a child when a production at Grover's Theater (now the National Theatre) in Washington, D.C. needed a boy to play a young prince in King John. Thereafter, he continued to stay around the theater, doing odd jobs and handing out programs. In 1910, he was a member of the Columbia Players in Washington, D.C.[1]

In 1930, the Pasadena Community Playhouse presented Our American Cousin, the play Lincoln was watching when shot. Hazelton spoke during the intermission of each performance, relating what he witnessed as he observed the assassination.[2] In 1933, Hazelton gave a lecture at May Company Exposition Hall in Los Angeles and talked about watching Booth shoot Lincoln.[3] An article in Good Housekeeping in its February 1927 edition, titled "This Man Saw Lincoln Shot," was the basis for a leaflet that Hazelton released to raise funds later in his life.[4]

In addition to claiming in his 70’s that he was a child witness to the Lincoln Assassination, Hazelton also made some dubious claims about the assassin. For example, Hazelton maintained that John Wilkes Booth broke small bones in his ankle but did not break his leg.[4] This account contradicts Booth’s diary and the consensus of historians.[5] Hazelton also claimed that Booth was not killed by Union soldier Boston Corbett in a barn in Northern Virginia on April 26, 1865. Instead, Hazelton insisted Booth escaped to South America, returned to the United States under the name “St. Helen,” and committed suicide in Enid, Oklahoma, in 1903.[4]

On Broadway, Hazelton performed in Skipper & Co., Wall Street (1903).[6]

Hazelton died in Los Angeles, California on October 6, 1936.

Selected filmography

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See also

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References

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Joseph Hazelton

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Joseph Hazelton (1853 – October 8, 1936) was an American stage and silent film actor whose career spanned decades, beginning in theater and extending into early cinema during the 1910s and 1920s. Born in Wilmington, New York, he gained historical notoriety as a 12-year-old program boy at Ford's Theatre in Washington, D.C., where he directly witnessed the assassination of President Abraham Lincoln on April 14, 1865. A veteran of the stage, Hazelton performed in numerous productions before transitioning to film, appearing in supporting roles in titles such as The Little Minister (1921), Oliver Twist (1922), The Jailbird (1920), and The Blackbird (1926). His work exemplified the era's shift from live theater to motion pictures, contributing to the burgeoning American film industry amid the silent era's technical and artistic developments. Hazelton died in Los Angeles, California, at age 83, leaving a legacy tied both to pivotal historical events and the foundational years of cinema.

Early Life

Birth and Childhood

Joseph Hazelton was born circa 1853 in Wilmington, a small rural town in County, . Exact details on his birth date and parentage are not well-documented in available historical records, reflecting the challenges of tracing individuals from modest 19th-century rural backgrounds prior to widespread vital statistics collection. Wilmington, situated in the Adirondack region, was primarily an agricultural community during Hazelton's formative years, with the local economy centered on farming, logging, and small-scale trade amid the broader turbulence of the (1861–1865). As a child in this era, Hazelton would have experienced the socio-economic strains of wartime , including draft impacts on rural labor and economic disruptions from national conflict, though no personal accounts from his early life survive to detail specific family circumstances or local events. Sparse evidence exists regarding any early inclinations toward performance or education, with historical sources providing no verifiable records of childhood activities beyond the general context of frontier-adjacent rural life in northern New York. This paucity of documentation underscores the limitations of pre-1870s personal records for non-prominent figures in isolated areas.

Witness to Abraham Lincoln's Assassination

Joseph Hazelton, then approximately 12 years old, was employed as a program boy at Ford's Theatre in Washington, D.C., on the evening of April 14, 1865, distributing programs to patrons during the performance of the play Our American Cousin. From his position in the dress circle, about halfway between the stage and the rear of the theater, Hazelton observed John Wilkes Booth slip into the presidential box and fire a single shot from a derringer pistol at President Abraham Lincoln, who was seated with his wife Mary and their guests Major Henry Rathbone and Clara Harris. Immediately following the shot, Booth leaped from the box onto the stage, catching his spur on a draped which caused him to stumble and fracture his left leg; he then brandished a knife, shouted "!"—the state motto—and fled through the wings and out the rear of the theater amid mounting pandemonium. The audience initially reacted with confusion, mistaking the event for part of the play, but soon erupted into screams, cries of "Murder!", and a rush toward the exits, with Hazelton later describing the scene as one of utter chaos and terror among the approximately 1,700 attendees. Hazelton himself moved toward the stage in the ensuing disorder but avoided direct entanglement, having no role beyond his duties as a part-time theater . Hazelton's presence and observations were corroborated by his long-term association with Washington theaters and consistent retellings, including a detailed interview published in the February 1927 issue of magazine under the title "This Man Saw Lincoln Shot," as well as a 1933 phonograph recording preserved at the , where he emphasized his clear view of the box and the shooter's actions without claiming proximity to the box itself or involvement in the pursuit of Booth. These accounts, given over 60 years later by the last surviving member of the theater's onstage and backstage crew from that night, align with contemporaneous reports of the event's sequence while relying on his personal vantage as a low-paid juvenile worker rather than official records, which do not list individual program boys but confirm the theater's employment of such youths.

Stage Career

Entry into Theater

Hazelton, born circa 1853, first encountered professional theater as a program boy in venues, including , where he distributed programs and observed performances by age 12 in 1865. This early immersion amid the city's active post-Civil War theatrical scene provided foundational exposure to actors and , facilitating his later professional entry. By the mid-1870s, amid the expansion of American theater with rising stock companies and touring productions, Hazelton transitioned to performing roles on , marking the start of a career spanning approximately sixty years until . His confirms this longevity as a , , and , underscoring sustained involvement in live dramatic presentations rather than . Initial engagements likely involved supporting parts in regional or stock troupes, typical for emerging performers building repertory skills in an era of burgeoning playhouses and variety acts. Theater programs and contemporary accounts from the period, though sparse for Hazelton specifically, reflect how such youthful insiders often advanced to bit roles in dramatic companies, leveraging personal connections formed in venues like Grover's Theatre. This foundational phase honed his versatility across genres, setting the stage for decades of consistent work in an industry increasingly professionalized by rail travel and urban demand.

Professional Longevity and Notable Roles

Hazelton's professional stage career commenced in 1875 with John Ford's Stock Company in , where he performed repertory roles for four years, marking the beginning of a tenure exceeding four decades in theater ensembles. This early stock company experience provided foundational training in diverse character parts, typical of 19th-century American repertory systems that demanded versatility from actors in rotating productions of classics and contemporary plays. Throughout the late 1870s to early 1900s, Hazelton maintained steady employment as a supporting performer in stock and touring companies, often portraying elderly or authoritative figures in dramas that capitalized on his accumulating and historical familiarity. His longevity as a "veteran stage " reflected reliable demand for seasoned ensemble players capable of authentic period characterizations, as evidenced by contemporaneous industry directories noting his sustained presence prior to cinema's rise. By the , records indicate his continued involvement in character-driven stage work, underscoring a career defined by endurance rather than lead acclaim, with consistent bookings attesting to professional dependability in an era of transient theatrical circuits.

Film Career

Transition to Silent Cinema

Hazelton entered silent cinema in , following a stage career that had spanned over four decades, with his debut in short films produced amid the industry's shift toward more structured formats. At approximately 59 years old, he adapted to the medium's core requirements, which emphasized visual storytelling through gesture, posture, and facial nuance rather than verbal delivery—a foundation derived from the limitations of early motion picture technology lacking synchronized sound. This transition aligned with broader technological advancements, including improved and projection systems that facilitated the production of multi-reel shorts and the early feature system, enabling seasoned performers to portray character roles without the rigors of live touring. Hazelton's prior theatrical training in pantomimic expression proved advantageous in this non-dialogue environment, where physical conveyance of emotion was paramount for audience engagement. Early screen work involved supporting parts in these concise productions, allowing him to draw on accumulated expertise while navigating the nascent studio practices emerging in .

Key Film Appearances (1912–1922)

Joseph Hazelton's film appearances from 1912 to 1922 consisted primarily of supporting roles in silent dramas and comedies, where he frequently portrayed elderly or minor authoritative figures, drawing on his extensive stage background and age in his late 50s to early 60s. These roles often appeared in literary adaptations and period pieces, emphasizing realistic characterizations over starring parts. His contributions, though uncredited in many cases due to the era's practices, are documented in production records and actor databases. Notable among his verifiable credits is The Jailbird (1920), a comedy-drama directed by Lloyd Ingraham, in which Hazelton played Alva Finch, a in a story of redemption and dynamics. That same year, he appeared as the Shoe Store Man in Homer Comes Home, a light-hearted film highlighting small-town life. In The Little Minister (1921), directed by Penrhyn Stanlaws and adapted from J.M. Barrie's , Hazelton portrayed John Spens, contributing to the Scottish village setting amid themes of romance and . Hazelton's final major role came in Oliver Twist (1922), Frank Lloyd's adaptation of Charles Dickens' novel, where he depicted Mr. Grimwig, the eccentric and skeptical elderly associate of Mr. Brownlow who tests Oliver's honesty. This appearance underscored his suitability for curmudgeonly patriarchs in ensemble casts featuring stars like Jackie Coogan and Lon Chaney. His film work ceased after 1922, paralleling the industry's shift toward synchronized sound and his advancing age nearing 70.
YearTitleRoleNotes
1920The JailbirdAlva FinchComedy-drama; dir. Lloyd Ingraham
1920Homer Comes HomeShoe Store ManSupporting comedic role
1921The Little MinisterJohn Spens; dir. Penrhyn Stanlaws
1922Mr. GrimwigDickens adaptation; dir.

Later Years and Legacy

Retirement and Final Years

Hazelton retired from acting following his final screen appearance in (1922), after which no further professional engagements in theater or film are recorded. Approaching 70 years of age, his withdrawal aligned with the industry's pivot toward sound cinema in the mid-1920s, which often marginalized silent-era actors lacking vocal suitability or facing physical decline, compounded by the absence of formalized pensions or robust support for pre-SAG performers until 1933. He spent his remaining years in Los Angeles, California, eschewing public performance for a subdued existence typical of many early Hollywood veterans who receded into obscurity without institutional safety nets. Documented activity was sparse, though in 1933, at approximately 80 years old, Hazelton contributed a personal audio recounting of witnessing Abraham Lincoln's 1865 assassination, captured during a session that highlighted his enduring historical connection amid otherwise quiet retirement. Hazelton died in Los Angeles on October 6, 1936, at age 83.

Death and Historical Remembrance

Joseph Hazelton died on October 8, 1936, in , , at the age of 82 or 83, with no specific cause recorded in available accounts, consistent with advanced age-related decline common among actors of his era who lacked prominent medical documentation. A contemporaneous report noted his passing around that time, emphasizing his longevity to age 83 without detailing circumstances beyond his historical footnote as a Lincoln-era survivor. He was interred in an unmarked grave at in , plot Section 2W, #441, underscoring his status as a rather than a marquee star whose legacy warranted elaborate commemoration. Hazelton's remembrance centers on his self-reported presence as a program boy at during Abraham Lincoln's on April 14, 1865, a claim he elaborated in a 1933 recording—the only known audio testament from a purported eyewitness—which is archived at the and referenced in compilations of recollections. By , as one of the last living figures tied to , his account appeared in period media and historical surveys, though it remains a niche detail amid broader skepticism toward late-surviving eyewitness testimonies lacking corroborative records from the night itself. His bridging of 19th-century to silent films garners passing nods in actor filmographies, but archival focus prioritizes the Lincoln narrative over professional output, with no major tributes or rediscoveries elevating him beyond specialized .

References

  1. https://www.imdb.com/name/nm0371979/
  2. https://www.findagrave.com/memorial/7960001/joseph-hazelton
  3. https://www.historyforsale.com/signer-memorabilia/joseph-h-hazelton/82705
  4. https://www.themoviedb.org/person/1388842-joseph-hazelton?language=en-US
  5. http://www.civilwarprimer.com/2020/10/boy-witnesses-to-lincolns-assassination/
  6. https://www.historynet.com/book-review-backstage-lincoln-assassination/
  7. https://freepages.genealogy.rootsweb.com/~wynkoop/webdocs/2111923.htm
  8. https://hyperallergic.com/373690/listen-to-a-rare-recording-of-an-eyewitness-account-of-lincolns-assassination/
  9. https://hdl.huntington.org/digital/collection/p16003coll6/id/647/
  10. https://www.facebook.com/AmericanExperiencePBS/posts/joseph-h-hazelton-a-stage-and-film-actor-who-was-working-as-a-program-boy-at-for/10155249301764122/
  11. https://www.lincolncollection.org/collection/creator-author/item/?cs=M&creator=MacCulloch%252C%2BCampbell.&item=100402
  12. https://www.nytimes.com/1936/10/11/archives/s-h-hazelton-dead-saw-lincoln-killed-actor-lecturer-and-aughor-83.html
  13. https://archive.org/download/whoswhoinfilmwor00just/whoswhoinfilmwor00just.pdf
  14. https://www.imdb.com/title/tt0415142/
  15. https://www.themoviedb.org/person/1388842-joseph-hazelton
  16. https://www.imdb.com/title/tt0011347/
  17. https://www.imdb.com/title/tt0195795/
  18. https://www.imdb.com/title/tt0012398/
  19. https://catalog.afi.com/Catalog/moviedetails/10312
  20. https://www.imdb.com/title/tt0013450/
  21. https://www.rottentomatoes.com/m/1054774-oliver_twist/cast-and-crew
  22. https://www.newspapers.com/article/fort-worth-star-telegram/178321958/
  23. http://livinghistoryofillinois.com/pdf_files/Abraham-Lincoln-Assassination-Recollections-and-Accounts-of-Eyewitnesses-v1.pdf
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