╦Lord, Pauline1890╨1950actorBorn on August 13, 1890, in Hanford, California, Pauline Lord grew up in San Francisco. She attended a convent school for a time, but her early attraction to the theater led her to the school of the Alcazar Theatre in San Francisco. There, at thirteen, she made her stage debut in a small role with the Belasco Stock Company in Are You a Mason? An invitation from Nat Goodwin, who saw her in San Francisco, brought her to New York City to join his troupe in 1905. Later she acted with stock companies in Springfield, Massachusetts, and Milwaukee for a number of years. In January 1912 she made her New York debut on the legitimate stage in The Talker and attracted some attention. Vaudeville and touring engagements over the next five years were punctuated by appearances in such pieces as Elmer Rice╒s On Trial, 1915. In August 1917 she drew high critical praise for her performance in the otherwise unsuccessful The Deluge. For four years Lord made do with mediocre scripts╤Under Pressure, 1917, Out There, a production also featuring Minnie Maddern Fiske, Laurette Taylor, and George M. Cohan, 1917, April, 1918, Our Pleasant Sins, 1919, and Big Game, 1920, among others╤before her first great role came along in Eugene O╒Neill╒s Anna Christie. From its opening at the Vanderbilt Theatre in November 1921 the play was a sensation, largely on the strength of Pauline Lord╒s realization of the title role. After a national tour in 1922╨1923 a similar success was scored in London, where the play opened in April 1923. In 1924 she enjoyed another, if less spectacular, success in Sidney Howard╒s They Knew What They Wanted. For several years thereafter she was again at the mercy of indifferent material: Sandalwood, 1926, Mariners, 1927, Spellbound, 1927, Salvation, 1928, Distant Drums, 1932, The Truth About Blayds, 1932, and others. The Late Christopher Bean, another Howard play, was a success for her in 1932. In 1934 she appeared in the motion picture version of Mrs. Wiggs of the Cabbage Patch. Lord╒s last great Broadway role was in the dramatized version of Edith Wharton╒s Ethan Frome, with Ruth Gordon and Raymond Massey, which opened at the National Theatre in January 1936. Subsequent roles were again largely disappointing: Suspect, 1940, Eight O╒Clock Tuesday, 1941, The Walrus and the Carpenter, 1941, and Sleep My Pretty One (her last Broadway role) 1944; a touring production of The Glass Menagerie, 1946, was well received. In the creation of wistful, beaten, vulnerable characters she was without peer, but her career was hampered by her often unwise choice of scripts. She died in Alamogordo, New Mexico, on October 11, 1950, of injuries and complications following an automobile accident. 6styl ` B ! ¬ 5¬ 5¬ !I i !I y !I ^ 5¬ _ !I ª !I ░ !I J !I R !I ║ !I ─ !I ╟ 5¬ ╚ !I · !I !I !I !I 7 !I ▐ K !I M !I ▐ \ !I y !I ~ !I å !I ù !I ú !I ½ !I √ !I
!I h !I é !I ╒ !I ▀ !I τ !I ∩ !I ≈ !I !I !I !I !I ' !I / !I E !I Z !I s !I α !I !I 5¬ !I D !I ▐ Q !I T !I _ !I ≡ !I ≈ !I !I !I !I 8 !I D !I W !I Å !I ó !I >link ` HYPR 7 KHYPR M \HYPR D Q
