Photoplay (Jan 1921)

Photoplay Magazine 37 while the star of his career was in the ascendant. Edward Morgan was the Ben-Hur. It was Iras' dramatic duty to charm him. Hart, looking on as Messala, thought how easy it was for Corona Riccardo to charm any man she chose. In that, though already blinded by the ardor of youthful love, he was right. Corona Riccardo-, granted the most alluring of all the dark, voluptuous beauties who played Iras in the long life of Lew Wallace's enduring play, was of Italy. She was born in that city of hills of which the travelers say. "See Naples and die." She was introduced to New York at a special matinee arranged by the teacher of dramatic art, Nelson Wheatcroft. She played a Mexican girl, so powerfully and picturesquely played the role, that the New York critics predicted for her a brilliant career. Wilson Barrett shared the opinion of the critics. He made her his leading woman in "'The Sign of the Cross." England saw her first in that drama. Afterward America admired her stately, sumptuous beauty in the same role. She joined Robert Mantell's company and played Juliet. The critics blotted their pages in their rapid enthusiasm about her splendid beauty. She disproved the good old saw that no woman can play Juliet until she is past the age to look and live the role of the heroine of the greatest of love dramas. Her dark, seductive beauty caused her engagement to play Iras in "Ben-Hur." The company's Messala, tall, thirty, and of a seriousness of many years more, saw and loved her. It was an instant love, like that born when Romeo's eyes met those of Juliet: when Henry Irving first focused his vision and admiration on Ellen Terry's golden head. "Bill is still young enough to get over it." said the friendly lookers-on. But Bill didn't want to get over it. He didn't try to get over it. Does a bee try to avoid the rose or the honeypot? The charms of the' lovely Neapolitan drew, held, enchained him. Broadway soon knew the romance because Messala rarely, if ever, arrived at or departed from the stage door alone. Usually by his side was the beautiful woman whose head reached his own imposing shoulder, whose figure was of the luscious type, whose eyes were soft as black velvet, but luminous as the star.^ that shone upon Broadway and all the lonely spaces that knew not Broadway but were to know both Bill Hart and Corona Riccardo. An incident acquainted ail the reading world with Billy Hart's love. The lovely Neapolitan Iras and her ever-attendant Messala issued from the stage door of the Broadway Theater. Out of the darkness sprang a narrow-faced, furtive-eyed man who pressed a legal looking document into Miss Riccardo 's hands. Miss Riccardo with an imperious gesture clashed it out of his hand flinging it into the street. "What is it?" asked the actor. "This man has been annoying me for a week about some silly bill." said Iras. "Stop annoying this lady, sir," said the majestic young actor. He knocked the man down. Walking around the writhing, prostrate body, Messala led Iras to a cab and escorted her to her home. The news appeared on the front pages of the newspaper. The process server was ignored. He was merely the hook on which to hand a glowing story of the love that had grown with each performance of "Ben-Hur." There were rumors of an engagement between the pair. There was an announcement of approaching marriage. Whereever the beautiful Italian went the American actor was seen beside her or in her wake. Their love was one of the chief ardors of many-ardored Broadway. What intervened has remained a mystery. Bill Hart was a man of single-hearted affection. The Italian enchantress had many admirers. He went on tour. She remained in New York to play "Marta of the Lowlands." at the Manhattan Theater. Tragedy impended one October evening. Mi>s Riccardo, (Continued on page iog) The fascination scene from "Ben-Hur," with Corona Riccardo and the late Edward Morgan. Mis< Riccardo was the most alluring of all the dark beauties who played Iras in the famous Lew Wallace play.