Players. The group refurbished the theater and continues to perform in it. Herford died in Newport, Rhode Island, in 1952. Legacy Herford's monologues were well received on the New York and London stages, and she numbered among her friends the royalty of English-speaking theater. For over 30 years, her tiny theatre was open only to her friends, who performed for each other, often taking roles they would never have essayed in their public personas as stars of the legitimate stage. Her theatre is a Massachusetts historical site and houses a notable collection of theater memorabilia and photographs, in addition to remaining in vibrant and active use as the home of the Vokes Players. Whenever the Vokes Players perform Herford's own material, her monologues continue to entertain modern audiences. The material shows her to be an artistic pioneer and a precursor to such renowned monologists as Ruth Draper, Lily Tomlin, and Whoopi Goldberg. In recent years, the Vokes Players have undertaken a public campaign to restore the collection of historic photographs, many of them inscribed to Hayward and Herford by visiting artists, scholars, and celebrities. Information on "adopting" a photograph may be found on the Vokes Players website. A wooden door in the historic theatre bears the signatures of many of the great artists who have performed on its stage over the last century. Audience members may view the signature door during intermissions. Hayward and Herford named their theatre for Rosina Vokes (1854–94), a member of the Vokes Family Theatre. This touring troupe of English actors began as a true family act and continued performing from the 1870s through 1917 by "adopting" actors who took the surname "Vokes" professionally. They performed throughout the English-speaking world and were acclaimed for their comedic plays. Rosina Vokes and Beatrice Herford came from the same region of England, performed in the same theaters early in their careers, and became lifelong friends. Rosina Vokes left the family company to found her own troupe in the United States, where she had married. Despite her growing weakness due to tuberculosis, she continued to perform in exhausting cross-country tours until a few days before her death in 1885. Though it was clear to audiences and critics that she was increasingly unwell, her artistry did not suffer, and critics regarded her continuing to work as artistic heroism. Her many obituaries uniformly describe her as a star loved by colleagues and