24 Facts About Jessie Bonstelle

Jessie Bonstelle has been described as "one of the pioneering women stage directors in the early twentieth century".

Originally surnamed Bonesteel, later in life she changed it to Jessie Bonstelle after, according to legend, seeing it misspelled like that on a theater marquee.

Around the age of ten Jessie Bonstelle auditioned for critic Thomas Keane, and with his encouragement she left on tour with a production of Bertha, the Beautiful Sewing Machine Girl, a melodrama.

Happily married, together they worked in Philadelphia's Forepaugh Stock Company for two years, before moving to Rochester, where Jessie Bonstelle played various roles and became an established leading lady.

Jessie Bonstelle performed in three productions on Broadway, including Elizabeth Jordan's The Lady from Oklahoma, which Jessie Bonstelle herself produced in 1913.

Jessie Bonstelle's acting received mixed or poor reception from New York Times critics, and according to some she "lacked creative depth".

In 1899, while playing with the Biancke Sisters, Jessie Bonstelle produced Heimat by Hermann Sudermann.

Jessie Bonstelle spent the next five years managing, directing and acting there, but appeared from time to time in Philadelphia and toured at least once in Canada.

Jessie Bonstelle said that her dedication was partly inspired by the death of Janauschek in 1904, realizing that what she did for the theater was lasting.

Jessie Bonstelle usually put on plays which had recently been successful on Broadway, but not those which she saw as immoral.

Jessie Bonstelle did her own research to inform the creation of the play, traveling to Boston to view personal papers provided by Alcott's family and talking to her friends.

Jessie Bonstelle sold her stake in the Garrick Theater in 1924.

In February 1928 Jessie Bonstelle began a campaign to gain community support for the theater.

Jessie Bonstelle used it in an effort to improve understanding and co-operation between the church and the theater, holding multi-denominational religious services there during Lent, and she stated that her plays, while avoiding being preachy, were intended to have a positive moral influence on the audience.

In June 1932 Jessie Bonstelle went to Hollywood; possible reasons include a desire to direct films, to found an acting school, or to explore the possibility of a new stock company.

Jessie Bonstelle returned to Detroit after falling ill and learning she had cancer.

Jessie Bonstelle was buried in Rochester next to her husband.

Jessie Bonstelle was a perfectionist who was passionate about her work.

Jessie Bonstelle ran grueling rehearsals and kept control over the direction, even on productions she was not directing.

Jessie Bonstelle had a wide reputation; according to Brooks Atkinson: her "industry in the theater [was] famous throughout Eastern America".

Jessie Bonstelle's Playhouse was one of America's first civic theaters, and, uniquely in the 1920s, a profitable one.

Jessie Bonstelle's approach gained nationwide attention and she was interviewed by authorities from other cities which wanted information about her plan.

Jessie Bonstelle was well known for spotting talent in young actors, and was skilled at developing that talent.

Jessie Bonstelle trained many actors and actresses who later became well known, including Katharine Cornell and William Powell.