His stage career began in 1880, but Theodore Roberts is remembered today for his association with the films of Cecil B. DeMille, including DeMille’s 1918 remake of his own SQUAW MAN, as well as DON’T CHANGE YOUR HUSBAND and MALE AND FEMALE (both 1919) and (as Moses) in DeMille’s first TEN COMMANDMENTS (1923).
Pauline Lord (1890-1950) in the original production of Eugene O’Neill’s ANNA CHRISTIE (1921-22); she created the title role, later played on film by Blanche Sweet (1923) and Greta Garbo (1930).
Matt Moore (1888-1960), onetime brother-in-law of Mary Pickford and Renée Adorée
Matinée idol Eugene O’Brien (1880-1966)
Alexandre Emelianovich Volinine (1882-1955), for ten years Anna Pavlova’s dance partner
Gregory Kelly (1891-1927) and Ruth Gordon (1896-1985) in SEVENTEEN (1918). They were married 1921-27.
Doris Green in THE GREENWICH VILLAGE FOLLIES OF 1920 (1920-21).
Harry Beresford (1863-1944) as Clem Hawley in THE OLD SOAK (1922-23).
Lillian Gish (1893-1993) by James Abbe (1883-1973).
By inviting Abbe to join the crew of THE WHITE SISTER (1923) in Italy, Lillian Gish changed the course of his life: he never returned to New York, where he had been based, and he left his second wife for his third, the Ziegfeld Follies dancer Polly Platt.
Lillian Gish's keen eye for talent is most obvious in her choice of James Abbe as a portrait and stills photographer, so it is nice to have one of Abbe's portraits of her to mark that relationship.
Lillian Gish and Ronald Colman (1891-1958) filming THE WHITE SISTER.
Estelle Winwood (Estelle Ruth Goodwin, 1883-1984) in HELEN WITH THE HIGH HAND (1917). Photo by James Abbe (1883-1973)
Carroll played Slender in Estelle Winwood and (her husband) Robert Henderson’s production of THE MERRY WIVES OF WINDSOR, which ran for four performances at the Empire Theatre in April 1938; Winwood appeared as Mistress Margaret Page. (Lex Barker was a member of the Ensemble.)
