MABEL BALLIN'S first public appearance was not in a theater, but upon
the platform of a Salvation Army ball, where, at the tender age of six,
she played upon a tambourine.
She had been reared by a grandmother, whose life was devoted to missionary
work in tenements, as resident superintendent.
Mabel Ballin was born in a Spruce street house at Philadelphia. Her mother
survived but two years thereafter, and the little one became the ward of
her grandparent, who was endowed with early Victorian characteristics. Work
among the worst element of Philadelphia was never ceasing; visitors from
the outside world were few. It was in this atmosphere of endeavor that Mabel
Ballin was raised.
When she was older she was troubled to discover that the family exchequer
was feeble. She had been forced to make her own hats and various articles
of wear. Therefore she willingly became apprentice to a dressmaker.
A wealthy customer became fond of the girl and paid her tuition in a
school of industrial art, where the pupil attended evenings to learn illustrating.
At seventeen she became a surreptitious theater attendant, and all thought
of an art career vanished. She secretly interviewed theatrical managements
and, finding no encouragement, went to New York in answer to an advertisement
during her grandmother's absence.
She there found a "hit" in a musical comedy called "Bankers
and Brokers." After this engagement she met Hugo Ballin, a young artist
who had achieved considerable fame. This began a friendship which culminated
into something more beautiful later.
The young actress went away with Frank Daniels' company, appearing in
"Sergeant Brue," "The Tattooed Man" and "The Hoyden."
Robert W. Chambers, the novelist, became interested in the growing friendship
between maid and man, and became a matchmaker. It was in Mr. Chambers' Connecticut
home that the two were married in brown October.
The war came on and, as the market for paintings sagged, Mr. Ballin accepted
an offer as art director for one of the leading studios. Mrs. Ballin determined
to uphold her end of the finances and went to work for Vitagraph, again
the actress.
She worked for eighteen directors, when Mr. Ballin formed his own producing
organization. Since then she has acted only for hubby. Some of their productions
have been "Pagan Love," "East Lynne," "The Journey's
End," "Jane Eyre," "Married People" and Thackeray's
"Vanity Fair." |