Matilda Heron

Matilda Agnes Heron (1 December 1830 – 7 March 1877) was an Irish-American actress and playwright best known for her role in the play Camille, which she translated and adapted from the French play La Dame aux Camélias.

Early life Matilda Agnes Heron was born in County Londonderry, Ireland on 1 December 1830 In some sources, her sisters, Fanny and Agnes, are reported to have been excellent singers. It is possible that Matilda and her sisters received stage training in Ireland, but this is not confirmed. premiered at the Walnut Street Theatre in Philadelphia on 3 October 1855 with Heron playing the protagonist Marguerite Gautier. The play did not receive much attention at the Walnut Street Theatre, nor at any locations on the tour that followed. Eventually, Camille came to St. Louis in January 1856 and had great success there. Camille had successful performances in Cincinnati, Mobile, and New Orleans as well. On 22 January 1857, Camille made its New York debut at Wallack's Theatre and was an immediate success. Starting with Jean Davenport in 1853, most of the female stars of the day had appeared in the role, but Matilda Heron's Camille, more true to the original, was generally acknowledged to be the greatest on the American stage.

Her emotion-charged acting and personal magnetism, particularly in the role of Marguerite Gautier with which she became so closely identified, hypnotized audiences and critics alike with her captivating beauty. For eight years after her initial triumph she acted with comparative success in New York, London, and on tour throughout the United States, appearing as the lead in plays she had written or adapted herself. She continued to enact the role of Marguerite Gautier in New York theaters. In 1859, she was welcomed as Gautier at McVicker's Theater in Chicago; she returned to Chicago again in 1862. Her adaptation was seen in most of the important cities of the country. In New York during the season which she appeared in other plays, including her translation of Ernest Legouvé's Médée, marked the highest peak of her career. Of her role in Camille, prominent theater critic William Winter later wrote: "Other parts she acted; that one she lived."

Heron left no explanations of her theory of acting, but there is evidence that she identified herself closely with this role; while she achieved only minimal success in any role other than Camille, her minor successes bore strong resemblance to the Camille character. In fact, it is reported that, later in her career, while speaking to an author who was to write a play for her, she was careful to state that the heroine must be "a lost woman." The "lost woman" was a type that Matilda Heron identified with, both in her personal life and on stage. It is known that Heron's sister was a prostitute and that the actress kept close ties with her sister in spite of condemnation from family and friends. In fact, her sister's profession was implicated as being a factor in the break-up of Matilda Heron's first marriage.

Personal life In June 1854, Heron married San Franciscan lawyer, Henry Herbert Byrne. The couple separated only a few months later. Not much is known about Heron's marriage to Byrne. Following their separation, Heron returned to the East Coast. At the time, Stoepel was the leader of the orchestra at Wallack's Theatre. The couple had an unhappy marriage and their domestic troubles caused them to separate in 1869. Matilda Heron died at the age of 46 on 7 March 1877 at her New York City home a few weeks after an unsuccessful operation to halt hemorrhoidal bleeding. Her reported last words were "Tilly never did harm to anyone - poor Tilly is so happy."

Critical reception Heron's interpretation was seen as particularly American, since it fit an image of robust, vigorous, and unyielding strength compared to her frail, proper European counterparts. Indeed, Americans hoped to find in Matilda Heron an actress of their own national spirit who could gain international attention and fame. Although Matilda Heron's acting was too rough an unpolished to be seriously considered foreign to critics, she was the pride of American audiences. In response to her New York debut, the New York Daily Tribune reported that "she gave proof…that America has artists—and one whose name is to be written in distinct letters in the history and biography of the drama" (23 January 1857). Matilda Heron was unable to sustain over time the "electricity" originally projected in her interpretation. Her vitality and magnetic effect diminished since she had no technique to keep the internal truth of her acting spontaneous. As the role was repeated and as she lost some of her physical and emotional power, her life on stage became tiresome, both for herself and the audience. Matilda Heron's reliance on quirky inspiration proved to be her downfall as an artist. Adam Badeau who witnessed Heron's Camille many times, reported that "she changes her execution too much; sometimes she omits fine touches, slurs over to-night what last night was most carefully portrayed, or makes wonderfully vivid what to-morrow may seem of less account." Badeau observed that she occasionally lost control of her voice and that her elocution was far from perfect. He took note too of a lack of "anatomical control of muscles and limbs." Despite his criticism, Badeau acknowledged that there was considerable advantage to Matilda Heron's lack of technique. He wrote that "Miss Heron is not the calm, collected self-possessed woman that aperfect artist is; but though she has more blemishes for that, she has some greater excellence for the same reason." Badeau was referring to Heron's power of concentration, her native instinct, and emotional spontaneity that reached from the stage and into an audience. Her unstudied, raw and undisciplined performance was the essence of her style.

Original works and translations Besides being an actress, Matilda Heron was also a writer and translator of plays. She translated the play La Dame aux Camélias into English and renamed her translation Camille. The play premiered in New York in January 1857 with Heron in the titular role. an English translation of Ernest Legouvé's Medée which is a French adaptation of the story of Medea, and Phaedra, an English translation of Jean Racine's Phèdre. Heron appeared in both plays as the titular roles. In Medea, Heron again acted alongside Edward Askew Sothern who played the role of Jason.

Around 1860 to 1861, Heron wrote The Belle of the Season and starred in it as the character Florence Upperton at the Winter Garden. The play was originally called New Year's Eve, but the name was changed to The Belle of the Season for the play's premiere in New York.

Despite her extensive work on other plays, including her original works, the only role and play that Heron received great recognition for was Camille.