In the early eighteenth century Robert Wilks (1665?–1732), the friend of Farquhar, was a brilliant Antony, while Barton Booth (1681–1733) and James Quin (1693–1766) excelled as Brutus. Garrick never acted in Julius Cæsar, but his rival, Spranger Barry (1719–1777), was a most moving Antony. The famous Peg Woffington (1714?–1760) appeared as Portia in several performances about 1750, but because the part is such a minor one it has not been taken by many great actresses since then. Coming down to the nineteenth century, we find all the greatest actors appearing in the play. The Kembles and Young, Macready and Davenport, Wallack, Charles Kean, J. B. Booth, Samuel Phelps, and Beerbohm Tree have all presented one or more of the four leading roles. The first American performance was given at Charleston, S. C., April 20, 1774. Edwin Forrest and John Edward McCullough are also associated with the play, as are Tyrone Power, William Faversham, and Robert Bruce Mantell in our own time; but the crowning achievement in America's production of Julius Cæsar will always be the magnificent double triumph of Edwin Booth and Lawrence Barrett, in the '60's, '70's, and '80's, with honorable mention, perhaps, of Richard Mansfield's sombre portrayal of Brutus' tragic loneliness, beginning October 14, 1902. It is not easy nowadays to realize the power and effectiveness attributed by tradition to these great players of the past, but fortunately it is still possible to gain some impression of Edwin Booth's thrilling personal magnetism and manifest genius from the inspired portrait by John S. Sargent in the Players' Club, New York City.
