Mary Margaret Warren Anglin (April 3, 1876 – January 7, 1958) was a Canadian-born Broadway actress, director and producer. Encyclopædia Britannica calls her "one of the most brilliant actresses of her day." Biography Anglin was born in Ottawa, Ontario, the youngest of nine children of newspaper editor and politician Timothy Warren Anglin (1822–1896) by his second wife, Miss Ellen MacTavish. At the time of her birth in Ottawa, April 3, 1876, he was the Speaker of the House of Commons of Canada. Her older brother, Francis Alexander Anglin (1865–1933) served as Chief Justice of Canada from 1924 to 1933. She was educated at Loretto Abbey, Toronto, and at the Convent of the Sacred Heart, Montreal. She graduated from the Empire School of Dramatic Acting, New York, in 1894, where she studied under Nelson Wheatcroft. Her acting skills brought the attention of theatre impresario Charles Frohman who enabled her professional stage debut in 1894 in the Bronson Howard production of Shenandoah. An injury sustained while out riding laid her up for some months. In 1896 she became leading lady with James O'Neill, and toured with him in the United States and Canada. Her first professional appearance occurred as Madeline West in Shenandoah She subsequently played with the Sothern Company, and scored a great success as Lady Ursula. In 1896 she played Ophelia opposite James O'Neill. She made her Broadway debut in the 1898 production of Lord Chumley then achieved considerable fame in 1898 on tour portraying "Roxane" in the Edmond Rostand play, Cyrano de Bergerac starring Richard Mansfield. She became leading lady with Charles Frohman in California in 1899. She performed with the Empire Theatre Company, New York. By 1905 she had gained wide recognition for her acting skills and in December of that year The New York Times reported that, following a benefit matinee for the Jewish sufferers in Russia, the doyenne of the stage Sarah Bernhardt asked Anglin to perform with her in the Maurice Maeterlinck play Pelléas et Mélisande. The blessing by the great Bernhardt sealed Margaret Anglin's reputation as the new star of American theatre. Anglin became known for her "striking capacity to move effectively and swiftly through the often contradictory emotions felt by heroines" and her ability "to wring tears from the audience while she did so. At the same time Anglin was also praised for avoiding excessive sentimentality" (Meyers 28). Anglin's compelling performances and unique