From The American Stage of To-Day (1909) P.F. Collier and Son

At a time when a definite individuality, often to the extent of eccentricity, seemed imperative for a stellar career, there danced into a central position on the American stage the elusive, girlish, almost elfish personality of Maude Adams. While the personal and non-professional life of our favorites was exploited, with little reserve, her manager, Charles Frohman, without any apparent effort at mystery, screen this side of her life. The composite effect has been that of a young woman, dignified almost to the point of distinction by a sane, personal reserve, and endearing herself to her public by a constantly expanding gallery of charming and often notable characterizations.

Early in her career Miss Adams won her right to consideration by a valuable apprenticeship along varied lines. She made her debut in her native Salt Lake City, when nine months old as a baby in arms, in "The Lost Child." As a child she also played Little Schneider in "Fritz" with J.K. Emjmet. Her mother was an actress and she was acquainted with the stage from babyhood. She began to play young ladies about 1888, which is also the year of her first appearance in New York, in "The Paymaster." In quick succession she shifted from manager to manager, acting in "The Highest Bidder," "A Midnight Ball," and "All the Comforts of Home." In the last named engagement, in the fall of 1890, she found herself with Charles Frohman, and she has not since had any other manager. After inconspicuous roles in "Men and Women" and "The Lost Paradise," she became John Drew's leading woman, appearing first with him in Palmer's Theatre, October 3, 1892, as Suzanne in "The Masked Ball," and afterwards in "Butterflies," "The Bauble Shop," "That Imprudent Young Couple," "Christopher, Jun," "Rosemary" and "Too Happy by Half."

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