acting style, alongside her Greek productions would become her most noteworthy contributions to the American stage. Anglin was 33 when she moved back to America after her grand tour in Australia. Upon her arrival in the summer of 1909, she began "taking her first steps towards the production of Greek tragedy" (Le Vay 121), which started with an "intensive study of… Greek plays" (Le Vay 121) and is "generally considered her most noteworthy contribution to the life of the American theatre" (Le Vay 121). Anglin's first role in a Greek tragedy was as Antigone in a single performance at the Hearst Greek Theatre at U.C. Berkeley. Although Anglin had virtually no prior experience performing in Greek tragedies or classic verse plays of any kind, she was enticed by William Dallam Armes invitation, which stated that this opportunity would provide "ample opportunity for the display of your great ability as an emotional actress" (Meyers 30). She immediately accepted the offer, and would embrace all areas of the project's production. On her own shoulders Anglin loaded the multiple responsibilities of directing, staging, selecting a chorus (Greek, not musical comedy), arranging and rearranging 'business', choosing costumes, supervising electricians, actors, musicians, and stage hands, up to the last detail relating to the performance" (Young 36); leaving only the publicity and advertisement to her husband who acted as her business manager. Anglin believed that "the classical play is the highest expression for the player" (Meyers 28) and her passion for the form fueled her professionalism and attention to detail. From 1910 to 1928, she would go on to produce, under her own management, Antigone, Electra, Iphigenia in Aulis, and Medea at the Greek Theatre at Berkeley, Carnegie Hall, and the Metropolitan Opera House. Each revival was met with high critical acclaim and for Anglin, the "problem was not how to attract the public, but how to provide accommodations for the people who besieged the box office" (Meyers 39). Anglin's productions proved not only to be impressive professional feats, but her artistic decisions to pair the Greek classics with the modern conventions of the time were incredibly innovative. Anglin did "not believe in ignoring the conventions of the stage today, simply because such conventions did not exist in the time of Sophocles, and Euripides" (Meyers 31). Although her productions kept the classic Greek tradition of using virtually no scenery, allowing the costumes to provide much of