266
RIDDLES OF CHARLESTOWN, MASSACHUSETTS.
undergraduate, we find young Riddle giving readings in private houses.
Among his auditors were Longfellow, the poet, and Professor Pierce, the
mathematician, both of whom gave him the strongest encouragement to
persevere in the dramatic career. At this period he formed the acquain-
tance and received the encouragement of Edwin Booth.
On leaving college in 1874, Mr. Riddle sought a manager under whom
to give readings. Mr. Redpath was first applied to, but at first actually
refused to listen to him. After much persuasion, Redpath consented to
hear him read, premising, by way of encouragement, "I've got to take
the nine o'clock train, and you'll have to hurry." Redpath listened and
allowed himself to miss his train. Mr. Riddle made his debut as a reader
in October, 1874, at the Meionaon, and achieved a success, receiving the
warm welcome of the press of the city. At this time he began the study
of Romeo, and went to New York to secure an opening there on the
stage, but no manager would listen to him. Coming back to Boston, Mr.
Riddle made bold to address himself to Mr. Tompkins, of the Boston
Theatre. That gentleman, having a Saturday "off" night the following
week, it was arranged then and there that Mr. Riddle should play Romeo
to Mrs. Thomas Barry's Juliet. The audience was large, and the perform-
ance a pecuniary success. The general verdict of the critics was that
Mr. Riddle's Romeo was creditable to an amateur, but his voice, still his
weak point, was pronounced "too light, and lacking in body." The
following month Mr. Riddle played Titus to the Brutus of Edwin Booth.
At the conclusion of the play Mr. Booth took him before the curtain to
share the generous applause of the audience. It was on this night that
Mr. Booth said to Mr. Tompkins, "That young man will be famous."
After this appearance, Mr. Riddle went to New York, where he gave
readings at the Union Square Theatre of an afternoon. Opinions differed
in New York as to his merits as a reader. William Winter criticised
him severely; and the general verdict of New York critics, as opposed to
that of Boston, was that Mr. Riddle could not read. However, the read-
ing was scarcely over when Mr. Palmer, of the Union Square Theatre,
made him an offer to join his stock company, and at the same time came
a similar offer from Mr. Field, of the Boston Museum. Mr. Riddle ac-
cepted the Boston offer, and entered the Museum company as walking
gentleman," and then, in very reality, began to learn his trade.
He made his debut in the season of 1875-6 as Capt. Dudley Smooth, in
"Money." The part was a failure, but, although unsuccessful at the Mu-
seum, Mr. Riddle learned a good deal. The verdict of the critics regard-
ing his voice remained unchanged. He was in the situation of Demos-
thenes when that stammering young man was told he could never become
an orator.
66
Heartily discouraged, yet impelled by his love of the dramatic art to
persevere, Mr. Riddle went to Montreal, where he found an opening in a
newly-formed stock company. He made his first appearance on the Mon-
treal stage as Manuel, in the "Romance of a Poor Young Man." He
fairly jumped into popularity in the Canadian city, and received a hand-
some benefit from an enthusiastic audience. At Montreal Mr. Riddle took
all sorts of parts. He was by turn, walking or leading man, villain, and
old man. This varied experience, playing a new part nearly every night,
was of immense benefit to him. It was there that he acquired an aptitude
for the speedy acquisition of parts. He was engaged at Montreal for a
second season, but the people got wearied of their toy, the new stock
