Hitchcock

notably in The Littlest Girl, We-nns of Tennes-
see, The Galloper, and Charley's Aunt, Some of
his early appearances during the making of a
reputation that finally led him permanently into
the ranks of theatrical stardom were as Lamber-
tuccio in Boccaccio, Lurcher in Dorothy, in A
Dangerous Maid, Three Little Lambs, The Belle
of Bridgeport, The Burgomaster, and conspicu-
ous parts in numerous musical comedies of that
era.

His first notable success was in the title role
of King Dodo, and his first bow to the public as
a star was made at the Tremont Theatre, Bos-
ton, Sept. 21,1903, as Abijah Booze in The Yan-
kee Consul. With the exception of occasional
ventures into the Gilbert and Sullivan operas, in
which he played such principal parts as Sir Jo-
seph Porter in H.MS. Pinafore and Ko Ko in
The Mikado, and of a brief engagement in Eng-
land in the spring of 1916, the story of his pro-
fessional life thenceforth can be comprised in a
list of some twenty musical comedies in which he
was either featured or starred. Among these
pieces were The Merry-go-round, The Man Who
Owns Broadway, The Beauty Shop, A Yankee
Tourist, and The Red Widow. Beginning in
1917, he was the leading factor in the presenta-
tion of a series of annual productions called
Hitchy Koo—from his nickname of "Hitchy"—
in which his antics vocal and physical, his whim-
sicalities, his curtain speeches, and his patter
singing formed the nucleus of an entertainment
the parts of which were no more closely related
than the turns of an entire evening's program
in a vaudeville theatre. For several seasons they
were popular, and then the interest in them
flagged. In 1921 he was a leading comedian in
the Ziegfeld Follies. In 1924 he ventured into
drama by playing Clem Hawley in The Old
Soak, and during his last few years he was a
participant in the making of motion-picture plays
at Hollywood. His eccentric personality, his
lanky figure, his grotesque and mobile features,
his drawling speech, his shock of hair that fell
over one side of his forehead, and an ingratiating
manner that took the audience intimately into his
confidence, formed his chief stock in trade as a
comedian. At one time he owned a farm of sev-
eral hundred acres in Dutchess County, N. Y.,
and he declared that off stage he dearly loved the
life of a farmer. His wife, to whom he was mar-
ried in 1905, was of Armenian ancestry. Her
name was Izabdle Mangasarian and she was
known on the stage as Flora Zabelle. After a
period of invalidism, he died suddenly in an auto-
mobile while returning from a morning drive
with his wife to his home in Beverly Hills, Cal.

Hitchcock

[Musical Courier, Apr. 6,1898; AT. 7. Dramatic Mir-
ror, July 19, 1902, Aug. 5, 1905; Boston Herald, Sept.
3> 1911; John Parker, Who's Who in the Theatre,
1925; obituary notices in the New York Sun and Bos-
ton Transcript, Nov. 25, 1929, and in the N. Y. Herald
Tribune, Nov. 26, 1929.] E F E

HITCHCOCK, RIPLEY [See HITCHCOCK,
JAMES RIPLEY WELLMAN, 1857-1918],

HITCHCOCK, ROSWELL DWIGHT

(Aug. 15, i8i7-June 16, 1887), Congregational
clergyman, educator, sixth in descent from Luke
Hitchcock who was a freeman of New Haven in
1644 and later lived in Wethersfield, Conn., was
born at East Machias, Me., the second son of
Roswell and Betsey (Longfellow) Hitchcock.
He attended the Washington Academy at East
Machias, where he prepared for college, enter-
ing Amherst as a sophomore in 1833 and grad-
uating in 1836. Two years later, he entered An-
dover Theological Seminary but left the next
year to accept a tutorship at Amherst. Returning
to Andover, after three years, as resident licen-
tiate, he completed his studies in 1844, in the
meantime occupying pulpits in Maine and Massa-
chusetts, The years from 1844 to 1852 were
spent partly in study in Halle and Berlin, partly
as pastor of the First Congregational Church in
Exeter, N. H. In 1852 he was appointed pro-
fessor of natural and revealed religion in Bow-
doin College and in 1855 was called to Union
Theological Seminary, New York City, as pro-
fessor of church history. Here he remained un-
til his death in 1887, during the last seven years
adding to his duties as professor that of president
of the faculty.

Hitchcock was notable as a teacher, not only
for his effective manner of delivery but for a gift
of epigram which few of his contemporaries
equaled and none excelled. While his lectures
were never published, examples of his style sur-
vive in a posthumous volume of sermons edited
under the title The Eternal Atonement (1888).
He also published the following volumes: The
Life, Writings, and Character of Edward Rob-
inson (1863); Hitchcock's New and Complete
Analysis of the Holy Bible (1870) ; Hymns and
Songs of Praise (1874), in collaboration with
Zachary Eddy and Philip Schaff; Socialism
(1879); The Teaching of the Twelve Apostles
(1884), in collaboration with F. Brown; and
Carmina Sanctorum (1886), in collaboration
with Zachary Eddy and L. W. Mudge. In his
theological views he represented the liberal wing
of New England Congregationalism. Although
he was at first suspected of radicalism, his con-
tact with German thought led him to react from
the more extreme position common in liberal
circles in that country, and his influence both as

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