Katharine Cornell

If not for [husband] Guthrie [McClintic], I think I would have continued just drifting. He wanted to be an actor and my career was a sublimation of his desire, because he could pour his talents through me and that was a great advantage to me. I continued in the theater buoyed up mostly by his enthusiasm for it. He was one of those people who fascinated you always. You were never bored; sometimes upset, but never bored. Show less «

I was nervous from the very beginning and it got worse as the years went on. I was conscientious and wanted to do more, always, than I was able. I don't think, when I was playing, that I was ever happy - beginning at 4 o'clock any afternoon. Show less «

The audience may not have felt it was right and the author may have felt a little upset, but every part I've played I've twisted around in my mind until I've made it into something of my own. Looking back over it, I didn't deliberately sit down and plan like that, but it does read like it. Show less «

I drifted into acting. My grandfather had a house in Buffalo in which there was a stage and his friends met every two weeks or so to put on plays. So it was natural for me to put on plays too when I went to boarding school. I put on everything in the drama - I was indiscriminate. I put on Yeats and Shaw and Lady Gregory. Show less «

We opened up the road. We made "The Barretts [of Wimpole Street]" and "Candida" pay for Shakespeare. "The Barretts" never played to an empty house - the receipts would be something like $33,000, then about $28,000 for "Candida" and for "Juliet" about $18,000 to $19,000, so that we came back having more than broken even. We really felt prideful. We continued like that for many years, alternatively New York with the road, paying for ourselves with Sidney Howard's "Alien Corn," Shaw's "St. Joan" and "The Doctor's Dilemma" and some of the others - until later on, when costs got too high with "Anthony and Cleopatra," we had to call in angels. Show less «