[4] 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.

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.

[5] 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.

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.

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.

Anglin's compelling performances and unique acting style, alongside her Greek productions would become her most noteworthy contributions to the American stage.

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 "was always intent on humanizing the ancient works" for her modern audiences so that they "understood that they dealt with universal and lasting concerns" (Meyers 44) and her choices reflect this ambition.