John Wilkes Booth

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Booth made his stage debut at age 17 on August 14, 1855, in the supporting role of the Earl of Richmond in Richard III at Baltimore's Charles Street Theatre. The audience jeered at him when he missed some of his lines. He also began acting at Baltimore's Holliday Street Theater, owned by John T. Ford, where the Booths had performed frequently. In 1857 he joined the stock company of the Arch Street Theatre in Philadelphia, where he played for a full season. At his request, he was billed as "J.B. Wilkes", a pseudonym meant to avoid comparison with other members of his famous thespian family. Jim Bishop wrote that Booth "developed into an outrageous scene stealer, but he played his parts with such heightened enthusiasm that the audiences idolized him." In February 1858, he played in Lucrezia Borgia at the Arch Street Theatre. On opening night, he experienced stage fright and stumbled over one of his lines. Instead of introducing himself by saying, "Madame, I am Petruchio Pandolfo", he stammered, "Madame, I am Pondolfio Pet—Pedolfio Pat—Pantuchio Ped—dammit! Who am I?", causing the audience to roar with laughter.

Later that year, Booth played the part of Mohegan Indian Chief Uncas in a play staged in Petersburg, Virginia, and then became a stock company actor at the Richmond Theatre in Virginia, where he became increasingly popular with audiences for his energetic performances. On October 5, 1858, he played the part of Horatio in Hamlet, alongside his older brother Edwin in the title role. Afterward, Edwin led him to the theater's footlights and said to the audience, "I think he's done well, don't you?" In response, the audience applauded loudly and cried, "Yes! Yes!" In all, Booth performed in 83 plays in 1858. Booth said that, of all Shakespearean characters, his favorite role was Brutus, the slayer of a tyrant.

Some critics called Booth "the handsomest man in America" and a "natural genius", and noted his having an "astonishing memory"; others were mixed in their estimation of his acting. He stood 5 feet 8 inches (1.73 m) tall, had jet-black hair, and was lean and athletic. Noted Civil War reporter George Alfred Townsend described him as a "muscular, perfect man" with "curling hair, like a Corinthian capital". Booth's stage performances were often characterized by his contemporaries as acrobatic and intensely physical, with him leaping upon the stage and gesturing with passion. He was an excellent swordsman, although a fellow actor once recalled that Booth occasionally cut himself with his own sword.

Historian Benjamin Platt Thomas wrote that Booth "won celebrity with theater-goers by his romantic personal attraction", and that he was "too impatient for hard study" and his "brilliant talents had failed of full development." Author Gene Smith wrote that Booth's acting may not have been as precise as his brother Edwin's, but his strikingly handsome appearance enthralled women. As the 1850s drew to a close, Booth was becoming wealthy as an actor, earning $20,000 a year (equivalent to about $603,000 more recently).

Booth embarked on his first national tour as a leading actor after finishing the 1859–1860 theatre season in Richmond, Virginia. He engaged Philadelphia attorney Matthew Canning to serve as his agent. By mid-1860, he was playing in such cities as New York; Boston; Chicago; Cleveland; St. Louis; Columbus, Georgia; Montgomery, Alabama; and New Orleans. Poet and journalist Walt Whitman said of Booth's acting, "He would have flashes, passages, I thought of real genius." The Philadelphia Press drama critic said, "Without having [his brother] Edwin's culture and grace, Mr. Booth has far more action, more life, and, we are inclined to think, more natural genius." In October 1860, while performing in Columbus, Georgia, Booth was shot accidentally in his hotel, leaving a wound some thought would end his life.

When the Civil War began on April 12, 1861, Booth was starring in Albany, New York. He was outspoken in his admiration for the South's secession, publicly calling it "heroic." This so enraged local citizens that they demanded that he be banned from the stage for making "treasonable statements". Albany's drama critics were kinder, giving him rave reviews. One called him a genius, praising his acting for "never fail[ing] to delight with his masterly impressions." As the Civil War raged across the divided land in 1862, Booth appeared mostly in Union and border states. In January, he played the title role in Richard III in St. Louis and then made his Chicago debut. In March, he made his first acting appearance in New York City. In May 1862, he made his Boston debut, playing nightly at the Boston Museum in Richard III (May 12, 15 and 23), Romeo and Juliet (May 13), The Robbers (May 14 and 21), Hamlet (May 16), The Apostate (May 19), The Stranger (May 20), and The Lady of Lyons (May 22). Following his performance of Richard III on May 12, the Boston Transcript's review the next day called Booth "the most promising young actor on the American stage".

Starting in January 1863, he returned to the Boston Museum for a series of plays, including the role of villain Duke Pescara in The Apostate, that won him acclaim from audiences and critics. Back in Washington in April, he played the title roles in Hamlet and Richard III, one of his favorites. He was billed as "The Pride of the American People, A Star of the First Magnitude," and the critics were equally enthusiastic. The National Republican drama critic said that Booth "took the hearts of the audience by storm" and termed his performance "a complete triumph". At the beginning of July 1863, Booth finished the acting season at Cleveland's Academy of Music, as the Battle of Gettysburg raged in Pennsylvania. Between September and November 1863, Booth played a hectic schedule in the northeastern United States, appearing in Boston, Providence, Rhode Island, and Hartford, Connecticut. Every day he received fan mail from infatuated women.

Family friend John T. Ford opened 1,500-seat Ford's Theatre on November 9 in Washington, D.C. Booth was one of the first leading men to appear there, playing in Charles Selby's The Marble Heart. In this play, Booth portrayed a Greek sculptor in costume, making marble statues come to life. Lincoln watched the play from his box. At one point during the performance, Booth was said to have shaken his finger in Lincoln's direction as he delivered a line of dialogue. Lincoln's sister-in-law was sitting with him in the same presidential box where he was later slain; she turned to him and said, "Mr. Lincoln, he looks as if he meant that for you." The President replied, "He does look pretty sharp at me, doesn't he?" On another occasion, Lincoln's son Tad saw Booth perform. He said that the actor thrilled him, prompting Booth to give Tad a rose. Booth ignored an invitation to visit Lincoln between acts.

On November 25, 1864, Booth performed for the only time with his brothers Edwin and Junius in a single engagement production of Julius Caesar at the Winter Garden Theatre in New York. He played Mark Antony and his brother Edwin had the larger role of Brutus in a performance acclaimed as "the greatest theatrical event in New York history." The proceeds went towards a statue of William Shakespeare for Central Park, which still stands today (2019). In January 1865, he acted in Shakespeare's Romeo and Juliet in Washington, again garnering rave reviews. The National Intelligencer called Booth's Romeo "the most satisfactory of all renderings of that fine character," especially praising the death scene. Booth made the final appearance of his acting career at Ford's on March 18, 1865, when he again played Duke Pescara in The Apostate.

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