From the book My Years on the Stage by John Drew 1921

On our way back East we played in Salt Lake City. The theatre, which had been built in the late fifties or early sixties, was a very fine one. I have played in the same house many times since, and it has always been, as then, well run and well cared for; but in those days it had a big, fine green room, which was later changed into a dressing room. In this theatre, when it was the home of a stock company, Maude Adams' mother, whose real name was Kiskadden, played leading women for many years.

My early impression of Maude Adams, before it was finally decided that she was to be my leading woman in my first play as a star under the management of Charles Frohman, was that she looked too frail.

Small wonder then that Maude Adams in her girlish slightness seemed to me too fragile for a leading woman. As matter of fact she was never ill and never away from rehearsals in the years she played with me.

It was Mrs. Drew, my wife, who first suggested that Maude Adams become my leading woman. Maude Adams had been on the stage almost from childhood. Her mother was leading woman in the stock company at the Salt Lake Theatre. The family name was Kiskadden. Maude, herself, had appeared when quite young in Hoyt's play, A Midnight Bell. After that she left the stage to go to school.

As Nell, the consumptive factory girl in an American adaptation of Ludwig Fulda's play, The Last Paradise, she had made a hit. I saw her first, however, as Evangeline Bender in a farce which William Gillette had adapted from the French, called All the Comforts of Home. In this Forbes Robertson's brother, Ian, played an old, deaf fellow. The two things that I remember about the play are: the delicate charm of Maude Adams and the fact that all the other characters yelled at Ian Robertson.

When I was in San Francisco Maude Adams, who was playing at another theatre, came to the Baldwin Hotel to meet me. This appointment was the first time that I had seen her off the stage. I saw at once her alertness and her intelligence, and that she had a most expressive face.

(writing about a trip through Chicago) When we got near Chicago there was a great glare in the sky and we were told that the World's Fair buildings were burning... In getting on the elevated Maude Adams and the women of the company were nearly crushed to death. Great throngs of people were going to the fire and taking the trains right back again.

Between The Bauble Shop and Rosemary, Maude Adams and I appeared in a number of plays. There was That Imprudent Young Couple, which had been tried out at the end of the season before. ..Then came Christopher Jr., a bright but not altogether logical play by Maudeline Lucette Ryly. (Maude Adams played Dora)

We did an English version of "Ami des Femmes by Dumas Fils. The adaptation was called The Squire of Dames and was made by R. C. Carton...

From the book My Years on the Stage by John Drew 1921

My early impression of Maude Adams, before it was finally decided that she was to be my leading woman in my first play as a star under the management of Charles Frohman, was that she looked too frail.

Small wonder then that Maude Adams in her girlish slightness seemed to me too fragile for a leading woman. As matter of fact she was never ill and never away from rehearsals in the years she played with me.

When I was in San Francisco Maude Adams, who was playing at another theatre, came to the Baldwin Hotel to meet me. This appointment was the first time that I had seen her off the stage. I saw at once her alertness and her intelligence, and that she had a most expressive face.

We did an English version of "Ami des Femmes by Dumas Fils. The adaptation was called The Squire of Dames and was made by R. C. Carton...