Elizabeth Robins

Elizabeth Robins (August 6, 1862 – May 8, 1952) was an actress, playwright, novelist, and suffragette.

She also wrote as C. E. Raimond.

Elizabeth Robins, the first child of Charles Robins and Hannah Crow, was born in Louisville, Kentucky.

After financial difficulties, her father left for Colorado, leaving the children in the care of Hannah.

When Hannah was committed to an insane asylum, Elizabeth and the other children were sent to live with her grandmother in Zanesville, Ohio, where she was educated.

It would be her grandmother who armed her with The Complete Works of William Shakespeare and her unconditional support on her endeavor to act in New York City.

Her father was a follower of Robert Owen and held progressive political views.

Though her father was an insurance broker, he traveled a lot during her childhood and in the summer of 1880, Robins accompanied him to mining camps and was able to attend theatre in New York and Washington along the way.

Because of her intelligence, Elizabeth was one of her father's favorites.

He wanted her to attend Vassar College and study medicine.

At the age of fourteen, Robins saw her first professional play (Hamlet) which ignited her desire to pursue an acting career.

From 1880 to 1888, she would have an acting career in America.

After arriving in New York, Robins soon met James O'Neill, who helped her join Edwin Booth's theatre and by 1882, she was touring.

She soon grew bored and irritated playing "wretched, small character parts" and in 1883 joined the Boston Museum stock company.

It would be here that she met her future husband, George Parks, who was also a member of the company.

In 1885 Robins married Parks.

Although her husband struggled to get acting parts, she was soon in great demand and would be on tour throughout their marriage.

Her refusal to leave the stage may have caused Parks to kill himself in 1887 by jumping off a bridge into the Charles River, stating in his suicide note, "I will not stand in your light any longer."

On September 3, 1888, Robins moved to London.

"Her move to London represented a rebirth after personal tragedy in America."

Except for extended visits to the U.S. to visit family, she remained in England for the rest of her life.

At a social gathering during her first week in England, she met Oscar Wilde.

Throughout her career, he would come see her act and give her critiques, such as in one of her roles in Frances Hodgson Burnett's The Real Little Lord Fauntleroy in 1889.

Wilde's comment was "you have definitely asserted your position as an actress of the first order. Your future on our stage is assured."

Early in her time in London, she became enamored with Ibsen's plays.

In 1891 a London matinee revival of A Doll's House put Robins in contact with Marion Lea.

Together they would form a joint management, making this the "first step toward the theatre that Robins had dreamed of … a theatre of independent management and artistic standards."

Finding work in "'women's plays' written by men like Ibsen," Robins and Lea brought strong female characters to the stage.

George Bernard Shaw noted "what is called the Woman Question has begun to agitate the stage."

Together Elizabeth Robins and Marion Lea brought Ibsen's Hedda Gabler to the stage for the first time ever in England.

A Doll's House "marked an important step in the representation of women by dramatists" and Hedda marked an important step for Elizabeth Robins, becoming her defining role.

"Sarah Bernhardt could not have done it better," wrote William Archer in a publication of The World.

From then on, Hedda became synonymous with Robins on the English stage.

Robins and Lea would go on to produce a handful of Ibsen's other 'New Woman' plays.

"The experience of acting and producing Ibsen's plays and the reactions to her work helped transform Elizabeth over time into a committed supporter of women's rights."

In 1898, she joined forces with William Archer, an influential critic, and together they produced non-profit Ibsen plays.

She became known in Britain as "Ibsen's High Priestess."

In 1902, she was Lucrezia in Stephen Phillips's Paolo and Francesca at the St. James's Theatre, London.

Ending her acting career at the age of forty, Robins had made her mark on the English stage as not only an actress but an actress-manageress.

Robins realised her income from acting was not stable enough to carry her.