In vivid anecdotes that are funny, heartbreaking, and remarkably evocative of that fascinating period, stage and screen star Lillian Gish tells the story of her childhood years in the American theater at the beginning of the 1900s.
From the perspective of nearly a century. Miss Gish recalls the kindness of her fellow actors during a Christmas spent on a train; hilarious—and sometimes frightening—slipups from many performances; the pain of separation from her mother and younger sister; and the thrill of being a professional actor.
For every child who has ever wondered about the glamour and excitement of being on the stage, about how and why a person becomes an actor, this remarkable childhood reminiscence offers a unique and lively insight, as well as a memorable piece of Americana.
LILLIAN GISH is truly a legend in her own time. As a young girl in the early days of movies, she became a star, the leading lady of such D.W. Griffith classics as Birth of a Nation (the first feature-length film), and her career continued successfully into the talkies. On Broadway, in the 1930s, she played Ophelia to John Gielgud’s Hamlet. Most recently she appeared in Sweet Liberty with Alan Alda. To date, she has appeared in over a hundred films and fifty plays. In 1984, Miss Gish received the American Film Institute’s coveted Lifetime Service Award for her extraordinary contributions to the industry. But before all this, in 1902, when she was six, she began her distinguished acting career on a small, improvised stage in Risingsun, Ohio… where this charming, bittersweet childhood reminiscence of the actor’s life begins.
I am Lillian Diana Gish. I was named that by my parents. But sometimes I was called Florence Niles, Baby Alice, Baby Ann, and just plain Herself, for reasons that I will explain.
My sister Dorothy (who was nicknamed Doatsie) and I were lucky. We never lived in just one place or went to school like other children we knew. From the time I was six and Doatsie just four and a half, we were child actors. We belonged to traveling theatrical companies that performed plays in small towns and big cities all along the East Coast and in the Middle West.
There was no television, movies, or even radio at the beginning of this century when we began working. All over America, going to the theater was a popular evening entertainment. Most of the plays that Doatsie and I acted in were called melodramas.
I began life in Springfield, Ohio. I was born in my Grandmother Gish’s house in October 1896.
The nicest thing I remember about Mother and Father together is seeing them both standing at the foot of my bed one night, when I was still quite small. Mother was wearing a red satin dress with a long train and Father had on a dark, elegant suit. They must have been going to a party. They both looked so beautiful that the image has always stayed in my mind, clear as a photograph in a family album. Surely they were happy then.
When my sister Dorothy was just a baby. Father would sometimes take me for walks. I was not yet three, and we would stop to rest and have some refreshment. We never stopped at an ice-cream parlor, always at a saloon. I remember the wood walls, the sawdust on the floor and the strange bitter smell. Father loved to show me off. While he stood drinking beer, he would lift me up onto the bar, where I sat and ate my fill of the free lunch.
We looked on the movies only as a way of feeding and sheltering ourselves until we got back on the stage.
Gish and Davis: Could the Two Work Together? – By Mike Kaplan (The New York Times – 1993) FILM; Gish and Davis: Could the Two Work Together? By Mike Kaplan The New York Times – April 18, 1993 When “The Whales of August” was filmed in 1986, the story of the relationship between two elderly sisters brought together two of the screen’s most enduring stars, Lillian Gish and Bette Davis. Miss Gish, who died Feb. 27 at the age of 99, will be remembered on Thursday at the Museum of Modern Art with a program called “In Memoriam.” It will include “The Whales of August,” her final film, directed by Lindsay Anderson, as well as her first, D. W. Griffith’s “Unseen Enemy” (1912). Here, Mike Kaplan, who co-produced “The Whales of August,” reflects on the interaction of its two stars. Bette Davis and Lillian Gish – The Whales of August, 1987 In the tributes to Lillian Gish that followed her death, references to her final starring role in “The Whales of August” were always glowing. B
The Movie Magazines and Lillian Gish … The moving Picture World 1914 detail The moving Picture World 1914 The moving Picture World 1914 detail Moving Picture World, November 21, 1914 Her Awakening – Lillian Gish The Angel of Contention Poster The moving Picture World – Mutual Program – A Question of Courage names wrong Lillian Gish And Dorothy The moving Picture World – Mutual Program – The Sisters The Birth of a Nation (David W. Griffith Corp., 1915). Herald2 Sold for Marriage Triangle Plays Program 1916 lillian_gish_photoplay_1917 08 ID Photo Back to Lillian Gish Home page Photoplay, August, 1918 – Dorothy and Lillian Gish in their dressing room Lillian Gish Photoplay August 1918 Lillian Gish Photoplay February 1919 Lillian Gish Photoplay, July, 1919 Back to Lillian Gish Home page Lillian Gish Photoplay October 1920 Orphans of The Storm Prog Herald 1921 Lillian Gish 1921 – The Girl Back Home Motion Picture Classic Magazine (Brewster, 1921) The Lily Maid from Ohio Ph
When Mamaroneck Upstaged Hollywood – By Bruce Berman (The New York Times – June 19, 1977) When Mamaroneck Upstaged Hollywood By Bruce Berman The New York Times – June 19, 1977 BACK in the early 1920’s when Mamaroneck was a center of movie‐making, Joseph Rigano was an employee of D.W. Grif fith’s studio at Orienta. “I was atone mason and mechanic,” the energetic 80year‐old said as we toured on foot Edgewater Point, at the top of the Orienta Peninsula. Griffith Studios, Orienta Point, Mamaroneck NY 1921 “After the studio was finally built, Mr. Griffith asked me to stay on as a set builder. Stone fireplaces were my specialty, but I worked on everything from Gothic walls to painted desert backdrops. The actors were almost always friendly, and I was getting $55 a week and drove a $1,200 Buick. What more could a young man desire?” DW Griffith filming team – Mamaroneck NY – Way Down East In those days the area was less the “East Coast Hollywood” than Hollywood was “the West Co