Julie Opp

Julie Opp (1871-1921), American actress
(photo: unknown, circa 1900)

‘OPP, Miss Julie (Mrs. William Faversham):
‘Actress, was born in New York in 1873, and was educated in a convent there. When she was twenty years old she began writing. As a reporter she went to Paris and interviewed [Emma] Calvé and Sarah Bernhardt. Both urged her to adopt the stage as a profession, offering their advice, influence and support. Returning to this country, Miss Opp made her first public appearance in the spring of 1896 at a recital given by Madame D’Hardelot at the Waldorf, New York. She recited “The Birth of the Opal,” by Ella Wheeler Wilcox. The same year, returning to Paris, she made her first appearance on the legitimate stage, with Madame Bernhardt, in the ballroom scene in Camille. She then [in 1896/97] obtained a year’s engagement in the company of George Alexander at the St. James’s Theatre, London, during which she was understudy to Julia Neilson in The Prisoner of Zenda, and played Hymen in As You Like It. During the illness of Miss Neilson she played Rosalind and made her first big success. She was next seen in The Princess and the Butterfly in London, and in 1898 she appeared in this country in the same play, afterward being seen as Belle in The Tree of Knowledge. She then went back to London and played several leading parts at St. James’s Theatre there, where she created the rôle of Katherine de Vancelle in If I Were King. Returning to this country under engagement with Charles Frohman, Miss Opp played leading parts in the company supporting William Faversham, whose wife she became in 1902. She continued to play leads with her husband until 1905, on October 31 of which year a son was born to them. The Favershams have a farm in England. Their home in this country is at 214 East Seventeenth street, New York.’
(Walter Browne and E. De Roy Koch, editors, Who’s Who on the Stage, B.W. Dodge & Co, New York, 1908, pp.334 and 335)

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‘Curtain Falls for Julie Opp.
‘New York, Apr. 8 [1921]. – Mrs. William Faversham, who, while she was on the stage, was known as Julie Opp, died here today at the Post Graduate hospital after an operation.
‘Mrs. Faversham, who was born in New York City, January 25, 1871, was originally a journalist here and contributed articles to a number of magazines. She made her first appearance on the stage in London in 1896 as Hymen in As You Like It. In November, 1897, she came to America and made her debut in this city at the Lyceum theatre as Princess Pannonla in The Princess and the Butterfly.
‘She appeared with her husband in The Squaw Man in 1906. Later she played Portia in The Merchant of Venice and other leading roles.’
(Reno Evening Gazette, Reno, Nevada, Friday, 8 April 1921, p.1b)

‘Julie Opp.
‘The death of this actress is taken account of here, as all news concerning those eminent on the stage is sure to be. All of the greater performers sooner or later appear here, as it is the ultimate western goal of thespians. Julie Opp was recognized as a sterling actress, appearing with her husband, William Faversham, and with him, commanding unusual consideration. Though her great talents and remarkable beauty made an artistic impression in themselves, she may not have been taken to San Francisco’s heart in that intimate way in which some stage favorites have been. It may be that Sanfrancisco’s penchant this way has waned. Very long ago it ceased throwing coins on the stage, as in the case of Lotta. And later it ceased worshipping intensely at individual shrines, as in the case of Mrs. Judah. Perhaps in general it is now inclined to continue its approval of stage folk to unemotional judgment of their histrionic abilities. Mrs. Faversham’s death discloses two facts that may not have been generally known. She had been married before her union with Mr. Faversham. Early in her career she married Robert Loraine, but the union was not prosperous and did not last long. She is the mother of two sons. It is also of interest that she was once a newspaper reporter, and by her general aptitude attracted the attention of such a noted stage celebrity as [Sarah] Bernhardt, in whose company she served her novitiate.’
(The Oakland Tribune, Oakland, California, 17 April 1921, Magazine Section, ‘The Knave’)

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‘Mother-in-Law Sues Faversham for Real Estate
‘Claims Actor Obtained Property from Her Through Misrepresentation.
‘New York, June 1 [1922]. – Court proceedings were begun today in an effort to force William Faversham, the actor, to return to Mrs. Julie Opp, mother of his late wife, Julie Opp Faversham rights to property which Mrs. Opp claims Mr. and Mrs. Faversham obtained through misrepresentation.
‘The petition alleges that besides obtaining the property by misrepresentation, Faversham obtained from her large sums of money which he never repaid.
‘The real estate in question, Mr. Opp alleged, was left her by her husband, John Opp, who died in 1898. Later, she charges, Faversham told her his wife was in need of funds with with which to meet obligations, and asked that Mrs. Opp sign papers for a loan to be secured on this property.
‘These papers, Mrs. Opp claims, were afterward discovered to be quit claim deeds, turning the property over to “Peter S. O’Hara” whom she characterizes as a “dummy.” The consideration was $24,000, but neither she nor any one representing the estate of her husband has received any of this sum, she says.
‘Mrs. Opp now declares herself to be without means of support by reason of her “scant business experience” and Mr. Faversham’s “knowledge of worldly affairs.”’
(The Bridgeport Telegram, Bridgeport, Connecticut, 2 June 1922, p.10c)

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Robert Loraine

Robert Loraine (1876-1935),
English actor manager and aviator,
as John Tanner in George Bernard Shaw’s play,
Man and Superman,
produced at the Criterion Theatre, London, on 28 September 1911
(photo: Daily Mirror Studios, London, 1911)

Mr. Robert Loraine – Actor and Producer
By John Wightman
‘It was the smoking-room of a country gentleman. The polished oak floor with its warm rugs, the low leather chairs made for comfort rather than show, the good old engravings on the walls, the rifle in the corner, the hunting crop flung carelessly down, all indicated the sportsman. The stage is the last profession you would associate with the owner, yet it is the “den” of Robert Loraine, one of the brainiest of our younger school of actors.
‘A typical Englishman, tall, clean-made, with a fresh complexion and clear eye, Mr. Loraine gives you the impression of a man who spends much of his time in the open, as indeed, he does. In his opinion, if an artiste desires to give the public of his best mentally, he must be at his best physically.
‘“I suppose you know,” he remarked during a recent chat, “that acting is in my blood, for both my parents were connected with the profession. They did not assist me, however, as when only fifteen I ran away to Liverpool. There I joined the stock company at a local theatre. It was real hard work, as we usually did six different plays in a week, with two performances nightly. The proprietor catered for popular audiences, and the prices could hardly be called prohibitive, as they ranged from a penny to threepence, the latter sum securing a private box.
‘“I look back with awe to those days, when I remember my rough attempts at making-up. The third week I had to appear as an old, hoary-headed man in the first piece and a sallow, saturnine villain in the second. Just imagine, my entire make-up consisted of a white wig and beard in one case and a black moustache in the other. Yes, I have studied and learnt a lot since then.
‘“For instance, it took me weeks to perfect my make-up as the Chinaman, Ah Ching, in A Tragedy at Tientsin, which I produced in New York. So complete was the disguise that on the opening night, Miss Grace George, who was in a box with her husband, turned round and said to him, ‘What’s wrong with Mr. Loraine? Why isn’t he playing? Surely he’s not ill?’ ‘Don’t talk like that,’ was the reply; ‘why he’s on the stage.’ ‘Now you’re just saying that to satisfy me,’ answered Miss George; and it was not until I cam forward to take my call that she recognised me. This was one of the greatest compliments I ever received. But I am wandering away from my early days.
‘“After the Liverpool apprenticeship I joined Ben Greet’s Woodland Players and appeared in a large Shakespearean repertoire all over the country, the performances taking place in the open air. Then I remembered a favourite saying of my father’s, that only London counts theatrically, so determined to put my fortune to the test.
‘“Arriving in town, I was engaged by Mr., now Sir, George Alexander, and only left him to go to Drury Lane. A part I enjoyed playing immensely was Dudley Keppel, the young Highland officer, in the old Princess’s [Theatre, Oxford Street] production of One of the Best [revival, 1 June 1899; the part was first played in this production by Harry B. Stanford]. Shortly after I had a taste of the real thing, for when war broke out in South Africa I joined the Yeomanry, and saw a good deal of fighting under General Hunter and Major Baden-Powell. Then followed my first appearance on the American stage. It was in 1901, at the Knickerbocker Theatre, New York, as Ralph Percy in To Have and to Hold. Although a failure, it started my theatrical connection with our cousins across the Atlantic, which culminated in my producing at the Hudson Theatre, in 1905, the play I am now appearing in – viz., Mr. G. Bernard Shaw’s brilliant Man and Superman. Needless to say it proved an instantaneous success, and for the next two years I toured it all over the Eastern States, where every city endorsed the verdict pronounced by New York. What led me to choose Man and Superman for my first managerial venture? Well, as a matter of fact, one day in New York I commenced reading the book. So struck was I with the sparkling dialogue, deep human interest and strong dramatic situations, that I immediately sailed for England, where arrangements were soon completed. The striking feature of Bernard Shaw’s work? Truth! With all its wit, audacity and vivacity, it has no characteristic so striking as truth.”
‘I have purposely avoided touching upon Mr. Loraine’s career as an aviator, and the magnificent work he has done to forward the development of flying in this country. Lest, however, my readers should imagine that his labours at the Criterion may interfere with his flying, let me assure them Mr. Loraine is sending to Paris shortly for his latest machine, a 70 h.p. Nieuport, on which he hopes to make some important flights this winter.’
(The Playgoer and Society Illustrated, ‘Man and Superman’ edition, London, 15 January 1912, p.25)