Her son, Fuller Mellish, was also in the cast as Curio, and
when we played "Twelfth Night" in America was promoted to the part of
Sebastian, my double. In London my brother Fred played it. Directly he
walked on to the stage, looking as like me as possible, yet a _man_ all
over, he was a success. I don't think that I have ever seen anything so
unmistakable and instantaneous.
In America "Twelfth Night" was liked far better than in London, but I
never liked it. I thought our production dull, lumpy and heavy. Henry's
Malvolio was fine and dignified, but not good for the play, and I never
could help associating my Viola with physical pain. On the first night I
had a bad thumb--I thought it was a whitlow--and had to carry my arm in
a sling. It grew worse every night, and I felt so sick and faint from
pain that I played most of my scenes sitting in a chair. One night Dr.
Stoker, Bram Stoker's brother, came round between the scenes, and, after
looking at my thumb, said:
"Oh, that'll be all right. I'll cut it for you."
He lanced it then and there, and I went on with my part for _that_
night. George Stoker, who was just going off to Ireland, could not see
the job through, but the next day I was in for the worst illness I ever
had in my life.
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