\ \ \v X ^ \ V ^NV \ N \ N s\ ^^ ^\^ n3 U- (Hituxmll Hmrmitg P|r«g " — ^"^^^ ''^ BOUGHT With the income FROM THE SAGE ENDOWMENT THE GIFT OF M^rwQ m. Sage FUND -AsiU.. X891. Z.--. l...tJM..tg^- ny 19'4U gfiWOVI? M jB* FFR ? < -!§g§ £, JOtli-JafiOiLl^ CORNELL UNIVERSITY LIBRARY 3 1924 091 760 003 ^^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924091760003 HISTORY OF THB American Theatre: BEFORE THE REVOLUTION. GEORGE O. SEII.HAMER. philadelphia : globe; printing housb. y=h CORNELL?^ UNIVERSITY \ LIBRARY^ A, 3?5G7 Copyriglit, 1888, Georgk O. Se;ii,ham^r. Press op Globe Printing House, Philadelphia. AUGUSTIN DALY, This Work is Inscribed by THE AUTHOR, IN Recognition of His Rare Earnestness as a Student of Dramatic Literature, Evinced by Revivals of the Works of the Masters; His Faithful Adherence Throughout his Career as a Manager and Dramatist to the Methods Which Make the Drama AN Art as well as a Business; His Enthusiasm in Gathering the Scattered Records of the Stage, so that the Achievements of the Past may DO Honor to the Present, and Delight and Instruct Posterity. CONTENTS. CHAPTER I. Thomas Kean. Dawn of the American drama — The first actor who played Richard III, and Captain Macheath, in America — Were he and his associates amateurs or professional players? I CHAPTER II. Robert Upton. The first advance agent and business manager in America — Initial performance of " Othello " in the American Colonies — Arraignment of Upton by Hallam .... 12 CHAPTER III. William Hallam. The first "backer" who sent a company on the road in America — Who were the Hal- lams? — How the company was organized, and its repertoire igf CHAPTER IV. The Virginia Comedians. Continued existence of the Philadelphia Company — It plays at Annapolis, in 1752 — Re-inforced by two of Hallam's players — The Annapohs Theatre 30 CHAPTER V. Hallam at Williamsburg. Initial performance of the Hallam Company in Virginia — A novelist's account of it — The " Merchant of Venice " — Incidents of the season 35 * CHAPTER VI. Hallam in New York. The first season of which there is definite knowledge — Opposition to the theatre — A sketch of the plays and the players and their, parts 44 CHAPTER VII. Hallam in Philadelphia. Determined opposition to the theatre in the Quaker City — A short but successful season — Quaint controversy over a farewell epilogue 65 vi CONTENTS. CHAPTER VIII. American Theatrical Towns, 1750-58. Adverse conditions of the dawn of the drama in America — Virginia and Maryland — New York — Philadelphia — American society and morals at the middle of the eighteenth century o" CHAPTER IX. David Douglass. Hallam's theatrical successor arrives — Speculations relating to the Hallam family — The new members of Mr. Douglass' company — Names that became historic on the American stage 87 CHAPTER X. Douglass in New York. A new theatre on Cruger's Wharf — Permission to perform denied— Opening of a histri- onic academy announced — A brief theatrical season finally allowed 92 CHAPTER XI. Douglass in Philadelphia. The theatre on Society Hill — Opposition to the drama — A law against plays — A brilliant season of six months — The j)lays and the casts 99 < CHAPTER XII. Douglass at Annapolis. The players in Maryland — A complete list of performances-^More theatrical verse — Changes in Mr. Douglass' company — Guesses conceiming the players 113 « CHAPTER XIII. Douglass in Rhode Island. A successful seasonal Newport in 1761 — Two benefits for the poor — Playing in dis- guise — Were there two Newport seasons ? — The company at Providence — Act against stage-plays 122. CHAPTER XIV. Chapel Street Theatre, New York. Mr. Douglass builds another new theatre — The season of 1 76 1-2 in New York — Bal- ance-sheet of a benefit for the poor — Curious glimpses of the theatrical manners and f customs of the time 129, CHAPTER XV. A Review. Dramatic progress in America from 175210 1766 — What is known of the early players — Charlotte Charke's son-in-law — Good-bye to Douglass' first company .... 143 CONTENTS. vii CHAPTER XVI. The Southwark Theatre. Building of the first permanent playhouse in America— A new and strong company and brilliant repertoiig— Season of 1766-7 in Philadelphia — The plays and the casts . 151 ■ CHAPTER XVII. "The Disappointment." The first American comedy accepted for production — A satire on the searchers after hidden treasure — An account of this forgotten play — Why it was determined not to produce it 176 CHAPTER XVIII. "The Prince of Parthia." The first American play ever produced — Thomas Godfrey's tragedy — Who the actors were — All that is known in regard to the piece 183 CHAPTER XIX. The American Company. A supplementary season at the Southwark Theatre — Strength of the company — John Henry and the Storer sisters — Miss Cheer and her romantic marriage — Mr. Hal- lam — Miss Wainwright, Mr. WooUs and the others 196 CHAPTER XX. John Street Theatre, New York. Amusements while the players were absent — Dp ^rriptinn nf \yip npw tlipqtrp — The first season in the new playhouse — Death of Mrs. Morris — Fatal accident to a car- penter — Renewed opposition to plays and players 210 CHAPTER XXI. The New Virginia Company. A season at Norfolk and Williamsburg — The company and the plays — Casts from the Virginia Gazette — An attempt to compete with Mr. Douglass' American Company . 235 CHAPTER XXII. Southwark Theatre, 1768-9. A brief season in Philadelphia — Hard work fighting against adversity — More new plays and new actors — An exhibition of fireworks — Another specimen of anti-theatrical cant 241 I CHAPTER XXIII. John Street Theatre, 1769. A season that was not prosperous — The management and the players embarrassed — Efforts to raise money — Retirement of Miss Cheer and Miss Wainwright — Their parts 248 viii CONTENTS. CHAPTER XXIV. The New American Company. Another season at Annapolis — The company a composite one — A striking list of per- formances—Old plays and farces and new comedies i Iiirnl J "''^'"jim r'' " . ^Nviy .^- 1 . AT , J f- J ■ . , ' ^«?Tull and mati> partial casts — Malone and Godwm s parts 2^- CHAPTER XXV. i% SouTHWARK Theatre, 1769-70. - " — '-<'.>.,.- Dunlap's lost players — Where they were — Another brilliant season in Philadelphia — Miss Hallam the leading lady — First production of a number of noteworthy plays . 269 CHAPTER XXVI. In Maryland and Virginia. At Annapolis in 1770 — A visit to WiUiamsburg — The new Annapolis Theatre — Account of the opening — The prologue and epilogue — Peak's portrait of Miss Hallam^ New plays at the Williamsburg Theatre 277 CHAPTER XXVII. SouTHWARK Theatre, 1772-3. Another brilliant season in Philadelphia — More new pieces produced — Presentation of the second American play, the " Conquest of Canada" — Mrs. Morris, an old-time favorite, makes her debut — Changes in the American Company 296 CHAPTER XXVIII. Leave-takings. Closing engagements of the old American Company ^Last season in New York — Death of Mrs. Harman — A fortnight at the Southwark Theatre — Farewell to Philadel- phia — Dr. Cooper's prologue, New York, and the last Philadelphia epilogue . . . 316 CHAPTER XXIX. The Charleston Theatre. , Opening of the first theatre in South Carolina — A complete list of the performancesj— A brilliant season — Charleston audiences in 1773-4 — A slight spirit of opposition manifested 329 CHAPTER XXX. General Summary. Close of the epoch — Death of Mrs. Douglass — Review of Mr. Hallam's career — Mr. Douglass, Mr. Henry, Mr. Morris and Mr. Woolls — Miss Hallam — The Storer family — The second Mrs. Morris — Mr. Goodman — Miss Richardson — The minor members of the company . 337 1749 -1774 A History of the American Theatre: Before the Revolution. CHAPTER I. THOMAS KEAN. DAWN OF THE AMERICAN DRAMA THE FIRST ACTOR WHO PLAYED RICHARD III, AND CAPTAIN MACHEATH, IN AMERICA WERE HE AND HIS ASSOCIATES AMATEURS OR PROFESSIONAL PLAYERS? THE dawn of the drama in America is unfortunately without a historian. This is the less to be regretted, however, because it was a dawn that emitted only a feeble light. It is known, for instance, \ that a regularly organized theatrical company played in New York as early as 1732. Whether the company was made up wholly of ama- \^ teurs or whether it numbered among its members professional players from England makes little difference, because, as an attempt to trans- plant the drama to the Colonies, it had no effect upon the development of the American stage. Neither is it necessary to investigate the 2 HISTORY OF THE AMERICAN THEATRE. reputed theatrical visit of John Moody, afterwards a celebrated London comedian, to Jamaica, in 1745, as it in no way contributed to the intro- duction of the drama to this continent. Nor is the performance of Otway's " Orphan " at a coffee-house in King Street, in Boston, in 1750, by two young EngHshmen, assisted by some young men of the town, to be looked upon as in itself a part of American dramatic history. The performance with which that history may be said to begin, was the production of Addison's " Cato " in Philadelphia, in August, 1749. The only direct information on this point is derived from a MS. journal left by John Smith, Esq.,^ who was a son-in-law of James Logan. His testimony is important, because, brief as it is, his entry treats the theatre, as it then existed, from the standpoint of its possible development as a permanent force in society. That the Philadelphia season began with " Cato " is probable, but it i? likely that other pieces were presented, and that a regular series of theatrical entertainments followed, since early in 1750 the Recorder, William Allen, afterwards Chief Justice of the Province, reported to the Common Council that certain persons had lately taken upon them to act plays in the city, and, as he was informed, they intended to make frequent practice thereof, he expressed the fear that their performances would be attended with mischievous effects. Among these evils he named the encouragement of idleness and the possibility of the performers " drawing great sums of money from weak and inconsiderate persons who are apt to be fond of such entertainment, though the performance 1 Entry in John Smith's MS. Jour- were going to hear the tragedy of " Cato " NAL. — Sixth Month (August) 22d, 1749. — acted, it occasioned some conversation, in Joseph Morris and I happened in at Pea- which I expressed my sorrow that anything cock Bigger's, and drank tea there, and his of the kind was encouraged, daughter, being one of the company who THOMAS KEAN. 3 be ever so mean and contemptible." In consequence of this present- ment, the board unanimously requested the Magistrates to take the most effectual measures for suppressing the "disorder," by sending for the actors and binding them to their good behavior. Were these players professional actors or only amateurs ? In Watson's " Annals of Philadelphia " it is assumed that they " were Thespians of home-made production, of such untutored genius as had never trod the stage," while Dunlap in his " History of the American Theatre" declares that "as early as 1749 it is on record that the Magistracy of the city had been disturbed by some idle young men perpetrating the murder of sundry plays in the skirts of the town, but the culprits had been arrested and bound over to their good behavior after confessing their crime and promising to spare the poor poets for the future." Neither the implied condemnation of the Recorder nor Dun- lap's snap judgment is to be taken as conclusive either that the per- formances were " mean and contemptible," or that the actors were "idle young men perpetrating the murder of sundry plays." A Recorder, who had probably never seen a play in his life, was not a competent critic, and Dunlap was only asserting what he knew nothing about. The historian of the American theatre had made up his mind that the drama in America should begin with the Hallam company, and so he contemptuously ignored all previous theatrical efforts. The probabilities in the case of the Philadelphia performers of 1749 are that the company was made up in part of actors who had had some experience in England, and in part of amateurs who were desir- ous of adopting the stage as a profession. An aged colored man, Robert Venable, who was born in Philadelphia in 1736 and died in 4 HISTORY OF THE AMERICAN THEATRE. 1844, told John F. Watson that he "went to the first play at Plum- stead's store;" that "the company there was genteel," and that many persons "fell out with Nancy Gouge because she went there to play." Mr. Watson throws doubt on Venable's statement in regard to seeing the first play at Plumstead's, but if Nancy Gouge, or George, played there at all, it was with Murray and Kean's Company, and not with Hallam's. That this company was to all intents a professional one is apparent from the fact that Nancy, although she may have been an amateur, went with it to New York, where she had a regular benefit in the spring of 175 1 as a member of the same company that had pre- viously played in Philadelphia. It is worthy of remark that at the time the theatre was so earnestly opposed because of its evil influences, crime was common in Philadelphia. Highway robberies were of frequent occurrence, though the penalty was death, and by an odd coincidence, while Kean is sup- posed to have been playing in Plumstead's store, in September, 1749, a Mr. Garrick was stopped by a highwayman in Walnut Street, but gave the fellow a blow with his stick and managed to get away with- out being robbed. There is no reason to doubt that " the company of comedians " from Philadelphia which appeared in New York for the first time on the 5th of March, in 1750, was substantially the same that Dunlap described as "some idle young men perpetrating the murder of sundry plays in the skirts of the town." The managers were the same, Messrs. Murray and Kean, and in both cities Thomas Kean played the leading roles, both in tragedy and comedy. Subsequently Mr. Kean described himself as a writer by profession, and John Tremain, another member of the company, was by trade a cabinet-maker. That Tremain, as an THOMAS KEAN. 5 actor, was next in importance to Kean is apparent from the fact that his benefit in New York followed immediately after those of Murray and Kean. To assume that Tremain was no actor because he was a cabinet-maker, would be as unfair as to deny to John McCullough his character as a tragedian because he was a chairmaker, and because Thomas Kean spoke of resuming his employment of writing, no more proves that he had not learned the business of acting than the fact that William E. Burton edited the Gentleman's Magazine proves that he was not a comedian of distinguished merit. Indeed, it must be conceded that Robert Venable would not have been likely to remember the Philadelphia company of 1749 as a "genteel" one if it had been composed of amateurs, and it is not likely that a mere collection of barn-stormers, without any knowledge of stage business, would have been able to gather "a very numerous audience" in New York a year later to witness. such a play as "Cato," in whose opinion, according to the Weekly Postboy, " it was pretty well performed." It seldom happens that a company of professionals in these later years is able to extort any higher praise from the press. It is scarcely surprising that we should know little of the merits of Thomas Kean as an actor, in 1749—51, when the primitive state of the journalism of that epoch is considered. But that Kean was the first actor to attempt Richard III on the American stage is certain, and it is equally certain that he was the original Captain Macheath in the "Beggars' Opera'' in America. On the 26th of February, 1750, the New York Gazette, revived in the Weekly Postboy, announced that a company of comedians had arrived the previous week from Phila- delphia, and taken a room in" Nassau Street, that formerly belonged to Rip Van Dam, as a playhouse. This announcement was afterwards 6 HISTORY OF THE AMERICAN THEATRE. copied by the Pennsylvania Gazette^ which is in itself a proof of the claim to regularity of the company. Had the performers been only some idle young men and women perpetrating the murder of sundry plays, it is not likely that their appearance in New York would have been regarded as legitimate news in Philadelphia, where they were well known. The opening play was "King Richard III," with Kean as the crook-backed tyrant. Because the play was actually produced in that ,, , , city March 5th, 1750, New York Advertisement for March 5, 1750. ■' j r / j > claims the honor of the first By his Excellency's Permission. At the Theatre in Nassau Street, Shaksperean production in this This Evening will be presented . i_ i -^ • i_ The Historical Tragedy of King Richard III. ^°"''*''y' '^"^ '^ '^ '^^ "° '"^^'^^ Wrote originally by Shakespeare and altered certain that "Richard III" waS by CoUey Gibber, Esq. Tickets to be had of the Printer hereof, "ot among the plays that caused itt, 5s^ a ery, 3s. ^j^^ actors belonging to this com- To begin precisely at Half an Hour after ° ° 6 o'clock, and no person to be admitted be- pany to be bound Over tO their hind the scenes. good behavior in Philadelphia two months before. Whatever the fact in regard to the pieces that so scandalized the Philadelphians in 1749-50, "King Richard III" was the only one of Shakspere's plays given by Murray and Kean's com- pany in New York during their first season in 1750. It was repeated r on the 1 2th of March, together with the farce of " Beau in the Suds," ^ and was followed by the " Spanish Fryar," Otway's " Orphan," and the "Beaux' Stratagem." "Richard III" was repeated on the 30th of 'Pennsylvania Gazette, March 6th, the buildings lately belonging to the Hon. I750- — New York, February 26th. — Last Rip Van Dam, deceased, in Nassau Street, week arrived here a company of comedians where they intend to perform as long the from Philadelphia, who, we hear, have taken season lasts, provided they meet with suitable a convenient room for their purpose in one of encouragement. THOMAS KEAN. Murray and Kean's Repertoire. April, with the "Mock Doctor," and the season closed July 23d with "Love for Love" and the "Stage Coach." The second season opened September 13th, 1750, with the "Recruiting Officer," and "Cato" was first produced a week later. According to the Postboy of Sep- tember 24th, " Cato " attracted the largest houses ever seen in New Plays. A Bold Stroke for a Wife, Amphitryon, . Beaux' Stratagem, Beggars' Opera, Busybody, Cato, Distressed Mother, York, whereupon that journal re- Fair Penitent, . George Barnwell, joiced that this fact showed that "the taste of the place was not so much vitiated or lost to a sense of liberty as not to prefer a represen- tation of virtue to one of a loose character." But when " Cato " was repeated, a pantomime was added. During October, November and December, 1750, the plays that were new to New York were "Amphitryon," " George Barn- well," "A Bold Stroke for a Wife," the "Beggars' Opera" and the " Fair Penitent," with the farce of the " LyingValet." Additional pieces were offered at the benefits, which began January 7th, 175 1, although it is probable that most, if not all, of these had been pre- viously presented during the regular season. Our knowledge of the work actually performed is necessarily incomplete, because the sources of information are confined to the few advertisements that have been preserved in the newspapers of the time. In Philadelphia Murray and Love for Love, Orphan, . Recruiting Officer, Richard III, . Sir Harry Wildair, Spanish Fryar, Payees. Beau in the Suds, Damon and Phillida, Devil in the Wine7Cellar, Devil to Pay, . Hob in the Well, Miss in her Teens, Mock Doctor, . Stage Coach, . Virgin Unmasked, Centlivre Dryden Farquhar Gay Centlivre Addison Philips Rowe Lillo Congreve Otvi^ay Farquhar Shakspere Farquhar Dryden Anonymous Gibber Coffey Hill Gibber Garrick Fielding Farquhar Fielding 8 / ' HISTORY OF THE AMERICAN THEATRE Kean did not advertise at all, and in New York but seldom. A fair specimen of their announcements, when any were made, was the advertisement of Otway's "Orphan" in the Weekly Postboy of the 2d of April, 1750. As the list stands, however, it must be looked upon as a formidable undertaking for mere amateurs, without professional training, or a knowledge of stage business, pretending to be a company of comedians from Philadelphia. The benefits taken by the By his Excellency's Permission : At the Theatre in Nassau-street, This evening will be presented A Tragedy called The ORPHAN, or the Unhappy Marriage. To which will be added A Farce called. The BEAU in the SUDS Tickets to be had at the Theatre in Nassau- street and of the Printer hereof: Pitt, 5s. Gallery, 3s. To begin precisely at half an Hour after 6 o'clock. performers who seem to have held the highest rank in the company were those of Mr. Kean, Mr. Mur- ray, Mr. Tremain, Mr. Scott, Mr. Woodham, Mrs. Taylor, Miss Osborne and Miss Nancy George. Mrs. Taylor, who evidently was Mrs. Taylor's First Benefit. ^he leading lady, first announced her benefit in the Weekly Postboy By his Excellency's Permission, At the Theatre in Nassau-street of the 28th of January, I750-51, (For the Benefit of Mrs. Taylor,) , . i-Vi i Sf Vi f TT K On Monday Evening next, will be presented ^ A Comedy called Love /a?- Love, with enter- she printed another announce- tainments of Singing and Dancing between ment that is a model of theatrical frankness and simplicity. Among the pieces played at the benefits were the " Recruiting Officer" and "Miss in Her Teens" for Tre- main's, and "Cato" and the "Devil to Pay" for Scott's. Murray's bill comprised "A Bold Stroke for a Wife," the "Devil to Pay" and the Acts. To which will be added an Opera, called. The Devil to Pay, or, the Wives metamorphosed ; . . . . Those Gentlemen and Ladies who please to favor this Benefit are desired to send for Tickets either to the Theatre, or to the Printer's hereof. Box, 5s. Pitt, 4s. Gallery, 2s. THOMAS KEAN. 9 "Colin and Phoebe," the sketch being "sung by Mr. Woodham and Mrs. Taylor in pastoral dresses." The pieces for Kean's bene- fit were the " Beggars' Opera," ^^ ^^^^^^,^ g^^^^^ ^^^^^^^ "Miss in Her Teens," and "an By his Excellency's Permission, Oratorio to be sung by Mr. Kean." At the Theatre in Nassau-street, A jj-i.- 1 ij. i- (1 (For the Benefit of Mrs. Taylor;) As an additional attraction "a „\, , ,, „, t . . -u J ' On Monday the 2Sth Instant will be pre- Harlequin Dance, a Pierot Dance rented the tragical history of King Richard III. To which will be added a Ballad Opera and the Drunken Peasant, all by called Damon and Philida and a favourite a gentleman recently from Lon- dialogue called Jockey and Jenny to be sung ° ■'by Mr. Woodham and Mrs. Taylor. As there don," were done between the acts, wasn't much company at Love for Love, the Managers took the Profit arising by that Whether it was that Kean was a Night to themselves and gave Mrs. Taylor very great favorite, or that the taste ""f " f '^^'1' 'J^° ^°Pff *^' 'I' ^f''' ^ ° and Gentlemen that favour d the other Bene- of New York had become so viti- fit will be so kind as to favour hers with their Company. ated in a few months as to prefer a play of loose character to one of virtue, the pernicious "Beggars' Opera " drew a larger house than that which had assembled to wit- ness Addison's dull but virtuous " Cato." Kean had a bumper, but unfortunately not all to whom tickets had been sold were able to gain admittance. This occasioned great dissatisfaction, and to allay the storm Kean induced James Parker, the publisher of the Postl^py, by whom the tickets were printed, to certify that, in all, the tickets printed were as follows : 161 Pit tickets, 10 Boxes, 121 Gallery. Mr. Kean evidently was as keen as Mr. Boucicault in using the press to hoodwink the public; but as money was taken at the door, it is not difficult to understand how some of the ticket-holders lo HISTORY OF THE AMERICAN THEATRE. came to be excluded. The principles taught on the stage that night seem to have been practiced in the front of the house for the benefit of the Macheath of the evening. But Kean's troubles did not stop with the dissatisfaction of the outsiders; the insiders also had a grievance. It was asserted that Mrs. Taylor " endeavored to perform her part in a worse manner than she was capable" in consequence of a falling out with Kean, whereupon he was again compelled to resort to the friendly columns of the Postboy, by means of a card in which he said : " There was no falling out between her and me, and I believe her being out so much in her part was owing to her not getting the part in time." In those early days of the drama in America the theatrical business could not have been a very profitable one at best. Taking Mr. Parker's figures as the capacity of the New York Theatre in 175 1, and the shillings in the scale of prices as New York shillings, the following would have been the result of Mr. Kean's benefit had no money been taken at the door : Boxes — 10 at 5 shillings — 50 . . . . ;^6 25 Pit — 161 at 4 shillings — 644, . . . . 90 50 Gallery — 121 at 2 shillings — 242, . . . 30 00 Total, ;^ 1 26 75 Even in shillings sterling a clear benefit would have amounted to only ;^253.50. It is not surprising, therefore, that before the close of the season Mr. Kean should announce that "by the advice of several gentlemen in town who are his friends" he had "resolved to quit the stage and follow his employment of writing, wherein he hopes for encouragement." Of course he took another benefit, and his announcement, taken in connection with the foregoing figures, will THOMAS KEAN. ii give an idea of the value of the theatrical, properties of the New York Theatre at that time. The benefit was announced for April 29th, "Mr. Murray having agreed to give him a clear night of all his expenses for his half of the cloaths, scenes, etc.," of the playhouse. Kean announced " Richard III " for this occasion, " the part of Richard to be performed by Mr. Kean, being the last time of his appearing on the stage." Instead, however, he gave the "Busybody" and " Virgin Unmasked," and Mr. Woodham sang " Briton's Charter." After Kean's retirement a number of benefit performances took place, including one for Master Dickey Murray; one for Mr. Moore and Mr. Marks, when " a comedy called ' Sir Harry Wildair,' being the sequel to 'The Trip to the Jubilee,' with a, farce called 'Hob in the Well, or the Country Wake,'" was given; one for Mr. Jago, "as he has never had a benefit before and is just out of prison," and one for Mrs. Davis, " granted to enable Widow Osborne's Advertisement. her to buy off her time." The , Ti/r 1 11 On Monday next will be presented for the Distressed Mother was played ^^^^^^ „f ^^e Widow Osborne, the Distrest for Mr Taffo's benefit and Mrs Mother with several Entertainments to which will be added the Beau in the Suds. As 'tis Davis' bill comprised "George the first Time this poor Widow has had a T-, ,, ,, , , „ T-x .1 • 1 benefit, and having met with divers late Barnwell and the "Devil in the hardships and Misfortunes, 'tis hoped all Wine Cellar." Besides the Widow Charitable Benevolent Ladies and others will favour her with their Company. Osborne, whose advertisement was a curiosity in its way, Mrs. Leigh and Mr. Smith were each accorded a benefit. Smith's was the last on the list. It took place July 8th, 175 1, and then the house closed, and the company, of which Thomas Kean had been the bright and particular star, disbanded. CHAPTER II. ROBERT UPTON. THE FIRST ADVANCE AGENT AND BUSINESS MANAGER IN AMERICA INITIAL PERFORMANCE OF " OTHELLO '' IN THE AMERICAN COLO- NIES ARRAIGNMENT OF UPTON BY, HALLAM. THE first man in advance of a theatrical company in America was Robert Upton. Upton's merits as an actor are not cele- brated in the picturesque chapters of Doran's "Annals of the Stage," nor is his skill as a manager on record in the known pages of English dramatic history. Such fame as is his — and it must be confessed it is not creditable either to his integrity or his histrionic abilities — is entirely confined to America. That he was an Englishman is to be assumed, for he was sent from London to New York in 175 1 to pre- pare the way for the Hallam company, which followed the next year. In those days the most influential class in the community, especially in Philadelphia, New York and Boston, was opposed to the theatre. Puritan and Quaker and worthy Dutch burgher alike looked upon the stage as the devil's workshop. In Philadelphia the first attempt to give theatrical representations had been summarily crushed. Even in New York there had been pronounced opposition to Murray and Kean's company in 1750-51, and besides, it was necessary to obtain the permission of the Governor of the Province in which it was intended to perform. To obtain such permission for his principals was Mr. Upton's first duty after his arrival in America. To build a (12) ROBERT UPTON. 13 theatre, at least in New York, was also a part of the duty with which this advance agent was charged, as it was a fact well known in Eng- land that in America there were no buildings suited to the production of plays. The Philadelphia company in 1749 had performed in Plum- stead's store. The same company, when it went to New York in 1750, was content with a room in Nassau Street. It is probable that only a temporary structure was intended by the projectors of the enterprise in behalf of which Upton was sent out from England, and it is on record that he was supplied with the funds necessary for the purpose. From all this it is plain that Robert Upton, the first advance agent and business manager in America, was charged with duties not less arduous than those that have devolved upon his successors. There was no announcement of Robert Upton's arrival in New York in the newspapers of the time, which is a proof that the business manager of the period had not yet acquired all the arts of a press agent. Either the man in advance was more modest then than he is now or the newspapers were not so obliging. Whatever the time of Upton's departure from England or the indifference of the press to his arrival in America, it is known that he was in New York in December, 175 1, where he made the acquaintance of John Tremain, actor and cabinet-maker. Mr. Upton, according to a card published by Lewis Hallam, in 1753, upon his arrival in New York "quite neglected the business he was sent about from England," but instead he joined his fortunes with "that sett of pretenders," the "company of comedians from Philadelphia," which Jiad afforded the Knickerbockers "a taste of their quality" at intervals between March 5th, 1750, and July 8th, 175 1. Upton's conduct after his arrival in America does not show him to have been a man of the strictest integrity, especially if, as was charged, 14 HISTORY OF THE AMERICAN THEATRE. William Hallam^ had supplied him with a sum of money with which to erect a theatre in New York. But the Hallam fling at the " sett of 1 The Case of the London Company of COMEDIANS, lately arrived from Virginia: As our Expedition to New York seems likely to be attended with a very fatal Consequence, and our selves haply censur'd for undertaking it, vifithout Assurance of Success; v\'e beg leave, humbly to lay a true State of our Case before the worthy Inhabitants of this City; if possible, endeavour to remove those great Obstacles which at present lie before us, and give very sufficient Reasons for our Appear- ance in this part of the World, where we all had the most sanguine Hopes of meeting a very different Reception; little imagining, that in a City, to all Appearance so polite as this, the Muses would be banished, the Works of the immortal Shakespear, and others the greatest Geniuses England ever produc'd, deny'd Admittance among them, and the instructive and elegant Entertainment of the Stage utterly protested against : When, without Boasting, we may venture to affirm. That we are capable of supporting its Dignity with proper Decorum and Regularity. In the Infancy of this Scheme, it was pro- posed to Mr. William Hallam, now of London, to collect a Company of Comedians, and send them to New York, and the other Colonies in America. Accordingly he as- sented, and was at a vast expense to procure Scenes, Cloathes, People, &c. &c. And in October 1750, sent over to this Place, Mr. Robert Upton, in order to obtain Permission to perform, erect a Building, and settle every Thing against our Arrival ; for which Service, Mr. Hallam advanc'd no inconsiderable Sum. But Mr. Upton on his Arrival found here that Sett of Pretenders, with whom he joined, and unhappily for us, quite neglected the Business he was sent about from England; for we never heard from him after. Being thus deceived by him the Company was at a Stand, 'till April I7S2> when by the Persuasion of several gentlemen in London, and Virginia Captains, we set sail on Board of Mr. William Lee, and arrived after a very expensive and tiresome Voyage, at York River, on the 28th of June following : Where we obtained JLeave of his Excellency the Governor, and performed with universal Ap- plause, and met with the greatest Encourage- ment; for which we are bound by the strongest Obligations, to acknowledge the many and repeated Instances of their Spirit and Generosity. We were there eleven Months before we thought of removing ; and then asking Advice, we were again persuaded to come to New York, by several Gentlemen, &c. whose Names we can mention, but do not think proper to publish : They told us, that we should not fail of a genteel and favourable Reception; that the Inhabitants were generous and polite, naturally fond of Diversions rational, particularly those of the Theatre : Nay, they even told us, there was a very fine Play-house Building, and that we • were really expected. This was Encourage- ment sufficient for us, as we thought, and we came firmly assured of Success ; but how far our Expectations are answered, we shall leave to the Candid to determine, and only beg leave to add. That as we are People of no Estates, it cannot be supposed tliat we have a Fund sufficient to bear up against such un- expected Repulses. A Journey by Sea and Land Five Hundred Miles, is not undertaken without Money. Therefore, if the worthy Magistrates would consider this in our Favour, that it must rather turn out a publick Advan- tage and Pleasure, than a private Injury, They would, we make no Doubt, grant Per- mission, and give an Opportunity to convince them we were not cast in the same Mould with our Theatrical Predecessors ; or that in private Life or publick Occupation, we have the Affinity to them. ROBERT UPTON. 15 pretenders" Upton found there, and with whom he joined, proves nothing. There never yet was a theatrical manager who did not look with disdain upon the pretensions of a rival company, but in every age the public has found that their depreciation of each other was nothing more than the pot calling the kettle black. Mr. Hallam's manifesto shows the perfidy of Upton beyond all question, but it shows also that his defection was known in London before the Hallam company left England. Its importance, however, as a historical document is in the light it sheds upon the difficulties that beset the drama in its early days in America. There seems to be no doubt, from the tone of Hallam's card, that Upton's conduct had tended to bring the stage into disrepute in New York. It is not likely that this disfavor was purely professional. A want of integrity in Upton does not excuse Hallam's bitterness toward his predecessors, although his claims to superiority for his own company were probably effective in removing the prejudices that Upton had excited against all play-actors. But apart from these considerations, this card is interest- ing in being the first contribution toward the voluminous literature for and against the theatre that was written during the infancy of the American drama. The outcome of Upton's desertion of the cause of his principals, in whose behalf he had been sent to pave the way in America, was a dramatic season in New York in the winter of 1751-52, with Upton himself as the star. These representations began December 26th, 175 1, in the same room that had been occupied by Murray and Kean's company. The opening piece was " Othello," with Upton as the Moor. This was the second of Shakspere's plays produced on the American stage, and thus Robert Upton achieved the distinction i6 HISTORY OF THE AMERICAN THEATRE. of being the original Othello in America. It is probable that-Tremain played lago and that Mrs. Upton was the Desdemona. "Othello" was repeated on the 30th of December, and on the 6th of January, 1752, the "Provoked Husband" was produced, together with the farce of " Lethe." A week later there was another performance, the bill com- prising the " Fair Penitent" and the " Miller of Mansfield." On the 23d of January Tremain had a benefit, when " Richard III " was given, with Upton as Richard. This play was repeated on the 17th of February for the benefit of Widow Osborne. Thus it will be seen that Upton was not only the first Othello, but the second Richard to tread the American Upton's Repertoire. boards. Such a repertoire de- Plays. mands better material than was Fair Penitent r&.r>^^ likely to be at Upton's command, Othello Shakspere ■' ^ ' Provoked Husband Vanbrugh and SO, unworthy as the manager's Richard III Shakspere Venice Preserved Otway Othello and Richard must have "'""' ^ . , been, it is not unlikely the other Lethe Gamck Miller of Mansfield Dodsley parts were even less acceptable. Upton did not meet with much encouragement in New York. His want of success, and not improbably a fear that Lewis Hallam would arrive and compel him to give an account of his stewardship, led him to determine upon a return to England early in 1752. Previous to his departure, on the 20th of February, Mrs. Upton took a benefit, " Venice Preserved " being the play. This performance was intended as the last night of the season, and was so announced, but as the vessel in which Mr. and Mrs. Upton were to make their return voyage was delayed, the " Fair Penitent " was repeated, with Mrs. Tremain in the part of Lavinia. It is to be assumed that this lady was the wife of John Tremain, and this was apparently her debut, as it was announced ROBERT UPTON. 17 that she would " attempt " the part. At this performance " a farewell epilogue adapted to the occasion by Mr. Upton " was recited. From this it appears that Upton was not only the first business manager and the first Othello in America, but also the first " adapter " who had the courage to spoil the work of another for the American public. It is a noteworthy fact that of the twenty plays and their attend- ant farces which comprised the repertoire of the Hallam company that was forming in England, while Murray and Kean's and Upton's com- panies were playing in New York, not fewer than five — " Richard III," A " Beaux' Stratagem," the " Recruiting Officer," " George Barnwell " \,»'^ and the " Fair Penitent " — among the plays, and three — " Mock Y -J Doctor," " Lying Valet " and " Miss in her Teens " — among the farces, had been performed by Murray and Kean's company, while of the Hallam repertoire Upton added to the plays and farces produced before the arrival of the Hallams, " Othello," " Provoked Husband " and " Lethe." Besides, Murray and Kean had presented Otway's "Orphan," the "Spanish Fryar," "Love for Love," "Cato," "Amphi-, tryon," "A Bold Stroke for a Wife" and the "Beggars' Opera," and the farces of " Beau in the Suds " and " Stage Coach," and Upton "Venice Preserved," and the farce, " Miller of Mansfield," which were not included in the Hallam repertoire. There is something exceed- ingly suggestive in this anticipation of seven out of twenty plays and four out of eight farces provided by the Hallams for their American campaign. Even when the Hallam company went outside of its original repertoire it was apt to find that it had been anticipated. Considering how determined Lewis Hallam was to ignore " that sett of pretenders " that had preceded him, it must have annoyed him to hear complaints about the production of "old pieces," or to receive 1 8 HISTORY OF THE AMERICAN THEATRE. requests for "something new," while the leading actors of his com- pany no doubt had the mortification of being compared with their predecessors, whom they affected to despise. ^ Altogether fourteen plays and eight farces are known to have been produced in New York before the arrival of the Hallams, in , 1752. Most of them were played more than once, and contemporary criticism shows that they were acceptably played. All this was done between the 5th of March, 1750, and the 4th of March, 1752 — exactly two years. That mere amateurs should have accomplished so much in a city containing only seven thousand inhabitants, that they should have been "able to keep the house open" month after month, is contrary to all theatrical experience. Audiences in those days were at least as critical as they are now, as Mrs. Taylor discovered when she was believed to have played " her part in a worse manner than she was capable." Besides, the plays selected by Murray and Kean, and afterwards by Upton, were beyond the reach of mere amateurs. It is thus seen that argument as well as history is in favor of the professional claims of these early players. It is to be regretted that so little is known in regard to these early actors. It is barely possible that Thomas was a brother or other relative of Aaron, the reputed father of Edmund Kean. It would, be interesting to know something of the fortune that befell Robert Upton after his return to England. But the newspapers of those days were not much given to personal and especially theatrical journalism, and we may never hope to know even whether Mrs. Tremain's first night was her last. CHAPTER III. WILLIAM HALLAM. THE FIRST " BACKER " WHO SENT A COMPANY ON THE ROAD IN AMERICA WHO WERE THE HALLAMS ? HOW THE COMPANY WAS ORGANIZED, AND ITS REPERTOIRE. THE first "backer" of an American theatrical enterprise, to use a modern phrase, was William Hallam. Dunlap calls this man "the father of the American stage," a title that he does not deserve. He was at most only a projector who sent a company of poor players to the New World to retrieve his own fortunes at home. It is an old story, believed to be true because it has been often repeated, that when Giffard retired from the management of the theatre in Good- man's Fields, where Garrick made his debut in 1741, William Hallam succeeded him. There does not seem to be any foundation for the story. After Giffard's retirement, in 1742, the Goodman's Fields' Theatre was closed, and there is no record in Genest's remarkably full history of the London stage of Hallam's management between that time and 1750, when Dunlap says he failed and was compelled to relinquish the undertaking. It is not unlikely, however, that Mr. Hallam was in some sense the manager of another theatre in Good- man's Fields, described as "at the Wells in Lemon Street." Giffard's was in Ayliffe Street. Adam Hallam, the father of William and Lewis Hallam, had a benefit at the Wells Theatre, in March, 1746. Sub- sequently this Lemon Street Theatre was " altered in a more theatrical (19) 20 HISTORY OF THE AMERICAN THEATRE. manner, is made warm, and front boxes made at the upper end of the pit." Previously it had been used for rope dancing and performances of a low grade, but a Mrs. Hallam played there in legitimate roles in the autumn and winter of 1746, appearing on the 29th of October as Lady Percy in " Henry IV," on the 6th of November as Angelica in " Love for Love," and on the 22d of December as Lady Outside in "Woman's a Riddle." Genest notes that at this time there were three Hallams engaged at the theatre in Goodman's Fields, which was not the Goodman's Fields' Theatre — Hallam, Sr., L. Hallam and G. Hallam. There is no mention of W. Hallam, but he may have been the manager then, as William Hallam's Benefit. he certainly was ten years later, 1756. — William Hallam had a benefit at Sadler's Wells, Islington, on account, he said, aS appears from a scrap record of of being turned out of his house, G. F. Wells. the old Sadlers Wells Theatre, now in possession of Charles N. Mann, of Philadelphia. This is all the more probable since on the 5th of September, 175 1, exactly one year before the iirst appearance of the Hallam company in America, at Williamsburg, Va., Mrs. Hallam had a benefit at the Lemon Street house, appearing as Desdemona, while Lewis Hallam played Roderigo. This is clearly the Lewis Hallam who was soon to sail for America, and the Desdemona, it may be assumed with safety, was his wife. It may also be assumed that the Mrs. Hallam who played Lady Percy, Angelica and Lady Outside at the Wells, in 1746, was the Mrs. Hallam who was the Desdemona there in 175 1. Little is known of William Hallam's personal history beyond the fact that he was a Whitechapel victualer, who was gazetted a bankrupt in 1745, but the accounts of him printed in Brown's " History of the American Stage" and "Dunlap's History of the American WILLIAM HALLAM. 21 Theatre" are amusing, if not instructive. In the former it is said that he "was an actor of great reputation at Goodman's Fields' Theatre, England," and then it is gravely asserted that " he was manager, but not actor." There is evidence that he played Mother Coupler in "Marina," a play taken from Shakspere's "Pericles," at Covent Garden for three nights, in 1738, and the Poet in the puppet-show called "The Pleasures of the Town," in Fielding's "Author's Farce," when it was acted at the Haymarket, in 1729, but beyond this there is no reason to suppose that William Hallam ever was an actor. If he was it is strange that nobody except Colonel Brown knows anything of his great reputation. That he was the successor of "the great Garrick " in any sense is simply preposterous. The last clause, " he was man- ager, but not actor," probably refers to his relations to the American Company, but of that his brother, Lewis Hallam, was manager, while he was only the backer. Dunlap is equally absurd. On winding up the business of the Goodman's Fields' Theatre, that acute historian says, " Hallam's debt proved five thousand pounds, a trifling sum as the amount of loss in such a complicated and hazardous speculation." If money had been worth only as much as now, instead of twice as much, ;^25,ooo was rather large for a "trifling sum." Dunlap adds that "the accounts and conduct of Mr. Hallam were so fair and satis- factory to his creditors that they presented him with the wardrobe and other theatrical property of the establishment, thus discharging him from debt and leaving him in possession of a capital to commence business anew." These large-hearted creditors no doubt knew the exact value of the wardrobe and other theatrical properties of an old barn of a theatre at the Wells in Lemon Street, on the outskirts of London. 22 HISTORY OF THE AMERICAN THEATRE. The Hallams, William and Lewis, were brothers of Admiral Hallam, of whom the cyclopaedias do not condescend to give any account, and another brother, George Hallam, was the actor mentioned ' by Genest. There was still another Hallam on the English stage, Thomas, who was killed by accident by the celebrated Charles Mack- lin, in the green-room at Drury Lane Theatre. Thomas Hallam and Macklin were friends. They were together at the Haymarket, in 1734, where Hallam played Dr. Wrench and Macklin Squire Badger in " Don Quixote in England," and together they went to Drury Lane. There, on the loth of May, 1735, they played the two servants in a farce called "Trick for Trick." The farce was acted but once, in consequence of the fatal quarrel between Macklin and Hallam about a wig that Macklin had worn the night before in " Love Makes a Man." In his excitement Macklin ran a stick into Hallam's eye, as the result of which Hallam died the next day. Macklin was tried at the Old Bailey and convicted of manslaughter. His punishment was not severe, however, for in 1741, the year of Garrick's debut, he established his fame by playing Shylock for the first time as a serious part. It is generally assumed that Thomas was an uncle of William and Lewis Hallam, but Mrs. Mattocks, who was a daughter of Lewis Hallam, is quoted as saying that he was a relation, but she did not know in what degree. Dunlap, with the capacity for blundering for which he was remarkable, says this Hallam was a brother of Lewis and William. According to Dunlap, Lewis Hallam was a member of his brother William's company at Goodman's Fields, and "sustained the first line of low comedian," while his wife, who was related to Mr. Rich, the manager of Covent, played the first line of tragedy and comedy. "To 'have been the first low comedian and the first tragic WILLIAM HALLAM. 23 and comic actress in a company which had to strive against Covent Garden and vie with Drury Lane, having Garrick for its leader," says that marvelous chronicler, " gives us reason to believe that Mr. and Mrs. Hallam were far above mediocrity in their profession, and tradition fully supports the belief" If the Hallams had been in Ayliffe Street, Goodman's Fields, instead of at the Wells in Lemon Street, it would have been up-hill work to strive against Covent Garden and vie with Drury Lane having Garrick for its leader, but in an old barn that had been " altered in a more theatrical manner," there could be no chance either to strive or to vie. There is nothing in the annals of the English stage to indicate that either Lewis Hallam or his wife ever played at Covent Garden. It was his mother-in-law, Mrs. Anne Hallam, who was a relation of Rich, and his father, Adam Hallam, who was with his wife in Rich's company. This Mrs. Hallam was a large, unwieldly person, utterly unsuited to comedy parts or light tragedy roles long before the second Mrs. Hallam appeared at the Wells in Lemon Street, Good- man's Fields. Before she became Mrs. Hallam she was Mrs. Berri- man, and before she became Mrs. Berriman she was known on the stage, both in London and the Provinces, as Mrs. Parker. Davies says that as Mrs. Parker she distinguished herself in the Norwich Theatre before she joined Rich in London, and she was with Rich as early as 1723 when he was still at the Theatre in Lincoln's Inn Fields. Even at this early period — thirty years before the appearance of the Hallams in New York and Philadelphia — she was an actress of mature powers, commanding the best of everything. When Rich went to Covent Garden she went with him, appearing as Mrs. Mar- wood in the "Way of the World" on his opening night, December 24 HISTORY OF THE AMERICAN THEATRE. 7th, 1732. She was then Mrs. Berriman, having changed her name in 1726. It is believed she married Berriman, an actor who played a small part in " Philip of Anne Hallam's Parts. *■ , Macedon," in 1727. On the 20th As Mrs. Parker — Lincoln! s Inn Fields. J.2 of September, 173 1, she played Nov. 2.-lsland Princess . . . . Quisara Isabella in the " Conscious Lov- 4. — Tamerlane Arpasia 26. — Rival Queens Statira ers" as Mrs. Berriman, and on Dec. 2. — Spanish Fryar Queen , . ^ , . ,, . 7._Mariamne Mariamne the 14th of December followmg 1-24. she appeared in the same part as Feb. 24.-Edwin, King of Britain . Adeliza y^^^_ Ralkm. So quietly was her Mar. 1 5. — Beaux' Stratagem . Mrs. Sullen 26. — King and No King . . Spaconia marriage with Mr. Hallam con- April 9. — Measure for Measure . . Isabella 14.— Belisarius Valeria ducted that the celebrated Dr. 28.-Merry Wives of Windsor Burney, who kept the cast-book Mrs. Page ^ ^ 29, — Don Sebastian .... Aimeyda at Covent Garden, wrote after the Sept. 23— CEdipus Jacasta Oct. 22.-Richard III Queen "^me of Mrs. Hallam on this oc- 1725. casion, "her first appearance on Jan. 27.-Bath Unmasked .... Cleora ^he stage," but he afterward Apnl 5. — Rover Angellica Sept. 24. — Lear Cordelia scratched it out again. As an Oct. 4. — Country Wife Alithea i5.-Rival Queens Roxana ^^^ress, Mrs. Hallam was a great 23.— Love's Last Shift . . . Amanda favorite with the public in spite of 28. — Hamlet Queen Nov. 2.— Double Dealer. Lady Touchwood her bulk, and even in parts for II. — Rover Florinda ... - . , , Dec. 2.-Macbeth . . . . Lady Macbeth ^^1'=^ ^^^ Size made her unsuit- 7.— ^sop Hortensia able. How unsuited her appear- 8. — Capricious Lovers . Mrs. Fading 16.— Confederacy Clarissa ance often was to her parts is 1726. illustrated by an anecdote that Jan. 7. — Female Fortune Teller . Astraea -r-> ■ r r-^ ■ r^ ■ Mar. ig.-Provoked Wife . . . Lady Brute Davies relates of Quin. Seeing 2i.-She Would if She Could a barrel on the stage, the actor Lady Cockwood April 22.— .Henry VIII Queen asked what it was. " Ah, I see," WILLIAM HALLAM. 25 he said; "Mrs. Hallam's stays in 1726. As Mrs. Berriman. ... , , t n^ • • 1 Oct. 24. — Mistake Isabella which she played Monimta last ^ov. l4.-0rphan Monimia night." In "Hamlet" Mrs. Hal- 3°— Fond Husband Maria lam was the Queen Mother of '^^7- Jan. 1 5. — Fall of Saguntum . . . Candace Ryan, as Mrs. Porter was of Feb. 7.— Venice Preserved . . . Belvidera ,-,.„ T^ . 1 ,• , April 17. — ^Tew of Venice Portia Wllks. Davies says she died zg.-Philip of Macedon . . . Isteria about 1738, but unless there were '^^^ 19-— Caradoc the Great . Cartismanda two Mrs. Hallam's at Covent '728. Jan. 17. — Sesostris Nitocris Garden, the one succeeding to Mar. 9.— Fortune Hunters . . . Mrs. Sly . 28. — Love Makes a Man . . . Elvira the other s professional rank and 1729. parts, her demise could not have peb. 10.— Themistocles .... Artemisia occurred before 1740— in fact, ^^- 4-Frederick, Duke of Brunswick- Leinenberg .... Adelaide Tune 6th, 1740. Sept. 17. — Sir Walter Raleigh. Lady Raleigh Nov. 8. — Maid's Tragedy .... Evadne Is it possible that such a 25. Rape Que^n startling hypothesis can be true? There is only one thing May 9.— False Friend Isabella 23. — Don Quixote Duchess that would suggest such a possi- Oct. 27.— Unhappy Favorite .... Queen , .,., ^ ,t . ■ • Nov. 23. — Conscious Lovers . . .Isabella bility, and that is an examina- tion of the parts attributed to 'J^'- Apnl 3. — Orestes Circe Mrs. Anne Hallam. In her earlier As Mrs. Hallam — Covent Garden. years at the theatre in Lincoln's 1732. .,_.,,, . Dec. 7. — Way of the World. Mrs. Marwood Inn Fields she was seen in many new parts, sometimes as many as '7^?; _ , „ t^ , <• ,» ,r ^ ' ■' Apnl 4. — Fatal Secret . . Duchess of Malfy four in a month, but from the 1734- close of 1730 to the beginning of Jan. 9. — Lady's Revenge . . Lady Traffic Feb. 14. — Careless Husband . . Lady Easy 1738 she seldom created a new g^p^ 3o._Albion Queens .... Elizabeth role. During this period her best year was 1734, when she is set Feb. 22.— Rival Widows . .Lady Lurcher 26 HISTORY OF THE AMERICAN THEATRE. 1737- down for Lady Traffic in " Lady's Feb. 26. — King John Constance Revenge," Lady Easy in the 1738. Jan. 12.— Distrest Mother . . . Hermione "Careless Husband," and £&ato^ 14. — AH for Love Octavia • .1 « a ii-- r\ » -d ^ • ^ ^ „ ,,. . in the Albion Queens. But in 28. — Jane Shore Ahcia ^ Feb. 6.— Richard II .. Duchess of York January, 1 738, she again came to Mar. 13. — Henry VI . . . Joan la Pucelle 16.— Theodosius Pulcheria the front, and from that time until 20. — Cymbehne Queen a -i 1 j j » ., ,; • T3 J rj April, 1739, she was accorded a Apnl 19. — Mourning Bnde /ara -"^ ' ' >^-" 28.— Relpase Amanda number of parts that, perhaps, '739- ought to have gone to a younger Jan. 3. — Parricide Ehza Mar. 25.— Married Philosopher . . Mehssa and less robust actress. These April 26.-Ladys Last Stake^^^^^^^^^^^^ later parts were in the younger 29.— Philotas Antigona Mrs. Hallam's line of business ten years after. It is not easy to conceive such a transfer of parts, if at all, without the fact being on record, but without such a transfer the Ameri- can Mrs. Hallam could not have been at Covent Garden at all, as it is certain Lewis Hallam never was. After Anne Hallam's death there were no longer any Hallam's under Rich's management, and so the American print collectors, who fondly hoped they had found in the frontispiece to Thomson's suppressed play, " Edward and Eleanora," a portrait in character of Mrs. Hallam-Douglass, will be compelled to concede it was intended for the elder Mrs. Hallam. Thus is not only the hypothesis shattered, but the apparent discrepancy may be ac- counted for by a remark of Davies to the effect that Rich always mani- fested a spirit of hostility to her progress, probably because of her bulk, notwithstanding she was a relative, that may have been overcome by the exigencies of the theatre and the favor in which she was held by the public. When Mrs. Hallam died in 1740 she was recorded in the Gentleman! s Magazine as " an excellent actress," a tribute that would WILLIAM HALLAM. 27 not likely have been paid to her if she had failed to retain her place and rank in the theatre until her death. There was a Mr. Hallam at Smock Alley in Dublin playing such parts as the Bookseller in the " Committee," and the Musician in "Timon of Athens," as early as 1715. In 1733 there was a Hallam booth at Bartholomew Fair, and the next year, 1734, Adam Hallam is first noticed at Covent Garden as Gregory in the " Plain Dealer." It would be impossible to say whether the Mr. Hallam of Smock Alley and Adam Hallam of Covent Garden are identical, but it is likely that Adam was the father of the American adventurers, with Mrs. Anne Hal- lam as his second wife. The history of Adam Hallam, the father, is important, as showing why William projected the American company and Lewis conducted it across the Atlantic. Adam Hallam succeeded in making a seven years' engagement with Rich, at Covent Garden, probably through his wife's influence, but as an actor his best parts were Worthy, in the " Recruiting Officer ; " Malcolm, in " Macbeth ; " Lcertes, in "Hamlet;" Careless, in the "Double Gallant," and Altamont, in the " Fair Penitent." He was an imitator of Wilks, especially in his way of pulling down his ruffles and rolling his stockings. He was useful, however, in the mechanical department, and when " Richard II" was revived at Covent Garden in 1738, after being shelved for forty years, he invented the armor and decorations for the scene in the lists. He was at Drury Lane in 1742-43, and translated the "Beg- gars' Opera" into French for the Haymarket, where it met with. some success. Subsequently he became an itinerant player and a pensioner on the managers, taking a benefit in 1 746, as has been shown, at the rope-dancing establishment at the Wells. These facts not only show the financial condition of the Hallams about the year 1750, but indi- 28 HISTORY OF THE AMERICAN THEATRE. cate the estimation in which they were held in England as actors after the family ceased to enjoy the favor of their relative, Rich, at Covent Garden. They organized the company that crossed the Atlantic be- cause the wilds of America could not well be worse than the barns of England. Curiously enough Adam Hallam created the part of Severn in a play called the "Prodigal Reformed," at Covent Garden in 1738, young Severn being sent as a boy to America to be educated, where he was reduced by pecuniary difficulties and deserted by supposed Original Hallam Repertoire. friends. Young Hallam crossed Plays. '^' the ocean expecting better luck Beaux' Stratagem Farquhar . , , r 1 1 .- Careless Husband Gibber ^^^^ befell young Severn. Committee Howard In regard to the organiza- Conscious Lovers Steele Constant Couple Farquhar tion of the American Company, Fair Penitent Rowe -r\ ^ ■ ^^. ^ • j t^ George Barnwell LiUo Dunlap IS the only guide. It was Hamlet Shakspere formed on the sharing plan. The Inconstant Farquhar Jane Shore Rowe number of shares was fixed at Merchant of Venice Shakspere ^j j^teen. There were twelve adult Othello Shakspere Provoked Husband Vanbrugh performers, including the manager, Recruiting Officer Farquhar Richard the Third Shakspere ^"^ ^^^h performer was allowed a Suspicious Husband Hoadly ghare. Lewis Hallam had another lamerlane Farquhar Theodosius Lee share as manager and a share was Twin Rivals Farquhar , ■ , Woman's a Riddle Bullock ^Howed to his three children. The Farces. remaining four shares were for Anatomist . Ravenscroft the profit of the backer for the use Damon and Philhda Cibber Devil to Pay Coffey of his money. As the amount in- Hob in the Well Cibber Lethe Garrick Vested was necessarily small, com- ^T^.^^^^'t ^""'I' i'^g as it did from a man situated Miss m Her Teens Garrick Mock Doctor Fielding as William Hallam was, the capi- WILLIAM HALLAM. 29 talist, in case of success, could not fail to have the best of it. The scheme being arranged, a company willing to agree to the terms was enlisted, the plays were selected and the parts assigned. The pieces chosen were those that were most popular on the London stage at the time, and many of them continued to be played by the American Company from 1752 down to the Revolution. With this repertoire and one pantomime, " Harlequin Collector; or, the Miller Deceived," the adventurers set sail in the Charming Sally, Captain Lee, early in May, 1752. CHAPTER IV. THE VIRGINIA COMEDIANS. CONTINUED EXISTENCE OF THE PHILADELPHIA COMPANY IT PLAYS AT ANNAPOLIS, IN 1752 RE-INFORCED BY TWO OF HALLAM'S PLAYERS THE ANNAPOLIS THEATRE. ALTHOUGH the Company of Comedians from Philadelphia dis- banded at the close of the New York season of 175 1, it was soon re-organized, and was playing in Virginia in the spring of 1752. Unfortunately the journalism of the period gives few traces of the travels in the Old Dominion of these wandering thespians. Within a fortnight of Lewis Hallam's arrival at Yorktown, the " Company of Comedians from Virginia " reached Annapolis. This company had some kind of existence for more than twenty years. In Virginia it was generally known as the Virginia Company of Come- dians, but it did not always retain its distinctively Virginia character, for when it appeared at Upper Marlborough, in the autumn of 1752, it was billed as the Company of Comedians from Annapolis. As this history proceeds it will be found showing itself in unexpected places, and on one occasion, it will be seen, it ventured to assert itself as the New American Company. These facts not only prove that the Hallam Company was not the first regularly organized theatrical com- pany in this country, but that the American Company, so-called, was never without a rival south of the Chesapeake. When the Company of Comedians arrived at Annapolis, it ' (30) THE VIRGINIA COMEDIANS. 31 announced its presence through the advertising columns of the Maryland G'azette. There was no editorial meiition of their arrival previous to their appearance and no remark upon the performances afterward. As a consequence the only source of information is that Maryland Gazette, June 18, 1752. By Permission of his Honor, the President, At the New Theatre in Annapolis by the Company of Comedians afforded by the advertisements. fr°™ Virginia, on Monday, being the 22nd of this instant, will be performed The Beggars' Opera, likewise a Farce called The Lying Valet. To begin precisely at 7 o'clock. Tickets to be had at the printing ofKce. Box, \os. Pit, 7j. (>d. No person to be admitted behind the scenes. N.B. — The Company immediately intend to Upper Marlborough, as soon as they have done performing here, where they intend to play as long as they meet with encourage- ment and so on to Piscataway and Port To- bacco. And hope to give Satisfaction to the Gentlemen and Ladies in each Place, that will favor them with their Company. These, however, tell their story with such simplicity and direct- ness, that it is surprising that the writers on early American theatri- cal history never thought it worth while to consult them in the pages where they were first printed. It is easier, perhaps, to take sup- posed facts at second hand, but in thus avoiding the duties of verifica- tion the blunders of an incompetent historian become consecrated as historical truth. No better example of such perpetuation of error can be cited than Dunlap's treatment of this season at the Annapolis theatre. In 1828, a writer in the Maryland Gazette claimed for Annapolis the first theatre, in point of time, erected in the United States. This writer quoted the advertisement of the i8th of June, 1752, ignoring that of June 13th, and as printed by Dunlap, omitting the words " from Virginia " in the name of the company. Ridgely, in his " Annals of Annapolis," prints the advertisement of June 1 3th, but omits the note concerning the company, which was the concluding and most interesting part of it. The article assumes that the descrip- 32 HISTORY OF THE AMERICAN THEATRE. tion, "new theatre," was employed in contradistinction to the tempo- rary theatres, generally commercial warehouses, previously used. Had this writer taken the trouble to examine the files of the Gazette he would have found an announcement of the 7th of December * that shows the Annapolis theatre of 1752 to have been little better than a commercial warehouse, instead of a theatre that he describes as " a neat brick building, tastefully arranged and competent to contain between five and six hundred persons." Dunlap, without further in- quiry, cites this as proof that the claim for Annapolis of having erected the first theatre appears fully made out, when the truth is that the brick building described in the Maryland Gazette, in 1828, was not built until 1771. If the writer in the Maryland Gazette, in 1 828, had examined the files of that journal for 1752, he would have known that the Com- pany of Comedians from Virginia played two engagements at An- napolis in that year, and that the appearance of the Company at Upper Marlborough^ was an important part of their programme. Besides, he would have had no occasion to bewail his inability to ascertain anything in regard to the identity of the company, "as no dramatis persona are given," the advertisement of the " Beggars' Opera" at that place being in itself a clue. Mr. Woodham, who sang the "Mason's Song," was a member of the Company of Come- dians from Philadelphia, when they played in New York. Had he looked further he would have found also that Kean and Miss 'Maryland Gazette, December 7, 1752. ^ Maryland Gazette, July 2, 1752. — — N.B. — The House is entirely lined through- N.B. — As the Company have now got their out for the reception of Ladies and Gentle- Hands, Cloaths &c. compleat, they now con- men ; and they have also raised a Porch at firm their Resolution of going to Upper Marl- fat Door that will keep out the inclemency borough, as soon as ever encouragement fails of the weather. here. THE VIRGINIA COMEDIANS. 33 Maryland Gazette, August 13, 1752. Osborne, who were New York favorites, were the leading members of the Company of Comedians from Virginia. So far as the Maryland Gazette shows, the same bill was twice given at Upper Marlbor- ough, the first time on the 20th of August, and the second time on the 14th of September, but the An- napolis repertoire was more com- plete, and extended over a period embracing the months of June and December. If the names of the performers and the dates of the performances had been considered, much oracular but irrelevant dis- cussion would have been avoided, and erroneous conclusions would By Pennission of his Honor, the President At the New Theatre in Upper Marlborough' by the Company of Comedians from Annapolis, on Thursday next being the 14th of September, (at the re- quest of the Ancient and Honorable Society of Free and Accepted Masons) will be performed The Beggars' Opera with instrumental to each air given by a set of Private Gentlemen ; And " A Solo on the French Horn : " also A Mason's Song by Mr. Woodham ; with a Grand Chorus. To which will be added a Farce call'd The Lying Valet. Tickets to be had at Mr. Benjamin Barry's. Pit, 7^'. dd. Gallery, t,s. Annapolis Repertoire. not have been made to pass for history. Dunlap, for instance, argues that as Hallam's company did not appear at Williamsburg until the 5th of September, there was ample time for Wynell and Herbert, who were inferior mem- bers of the company, to have gone to Annapolis and "performed with a Mr. Eyanson," and he thought the fact of their performing the parts of Richard and Richmond accords with this supposition. As 1752- June 22. — ^Beggars' Opera Gay Lying Valet Garrick July 6. — Busybody Centlivre Lying Valet. 13. — Beaux' Stratagem . . . Farquhar Virgin Unmasked . . . Fielding 21. — Recruiting Officer . . . Farquhar Mock Doctor Fielding 34 HISTORY OF THE AMERICAN THEATRE. July 27. — George Barnwell Lillo Damon and Phillida . . . Gibber . — Bold Stroke for a Wife. Gentlivre Beau in the Suds. . — Drummer Addison Devil to Pay Goffey . — Constant Couple . . . Farquhar Lying Valet. . — Cato Addison Miss in her Teens . . . Garrick (Benefit of Mr. Eyanson.) Dec. II. — Richard III Shakspere Miss in her Teens. Richard .... Mr. Wynell Richmond . . . Mr. Herbert (From the Theatre in Williamsburg.) 31 Aug. 3 Oct. 2 21 they appeared in December in- stead of in July, and were dis- tinctly announced as from the theatre at Williamsburg, specu- lative theory gives place to fact by showing that they were in An- napolis after and not before Hal- lam's engagement at the capital of the Old Dominion. The facts settle another problem that puzzled While he concedes, erroneously, as was his habit, that Annapolis has the honor of having erected the first temple to the muses, he is surprised that this circumstance should have escaped Lewis Hallam, the second. The description contained in the advertisement in the Maryland Gazette of the 7th of December shows that the " new theatre " at Annapolis, in 1752, was like those that were previously erected at Williamsburg and New York, and so it was unworthy of mention as a " temple to the muses." 13. — Constant Couple, Anatomist Ravenscroft the ingenious Dunlap Principal parts by Mr. Wynell, Mr. Kean, Mr. Herbert and Miss Osborne. 16.— Richard III. Lying Valet. (Benefit of Talbot Go. Charity School.) CHAPTER V. HALLAM AT WILLIAMSBURG. INITIAL PERFORMANCE OF THE HALLAM COMPANY IN VIRGINIA A novelist's account of it THE MERCHANT OF VENICE — INCIDENTS OF THE SEASON. IT would be surprising had not the appearance of the Hallam Company in the "I^erchant of Venice" at WiUiamsburg, on September sth, 1752, been utiHzed in some of the novels it has long been the ambition of Virginia novelists to write of the " Old Dominion " in the colonial period. In itself the advent of the first theatrical com- pany ever specially organized in England for America is an interesting and important event. It not only possessed the charm of novelty at the time, but it readily blended with the romance of a romantic epoch when the obscuring mists of years had made it a mere tradition. When it was announced, therefore, that the late John Esten Cooke had seized upon the episode as the foundation of one of his stories there was a tremor of delight among the students of American dra- matic history. Unfortunately Mr. Cooke drew too largely upon his imagination for his facts. In his " Virginia Comedians " he brings the Hallams to Williamsburg eleven years later than the year of their arrival — that is, in 1763 instead of 1752. He makes Mr. Hallam, whom he describes as "a fat little man of fifty or fifty -five, with a rubicund and somewhat sensual face," play Bassanio instead oi Launcelot, and he assigns the part of Portia to Miss Beatrice Hallam, Hallam's daughter, (35) 36 HISTORY OF THE AMERICAN THEATRE. instead of to his wife, Mrs. Hallam. For Mr. Malone, who was the Shylock on the occasion, he substitutes a fictitious Mr. Pugsby, but Mr. Hallam is introduced in his own name. Both are drawn as exceedingly repugnant characters. Hallam is represented as brutal, base and selfish, and the manager is made to say after the initial per- formance that "Shylock was too drunk" to play this great role acceptably. As compensation for this harsh treatment of the real Mr. Hallam, he makes the fictitious Miss Beatrice Hallam one of the most striking, truthful and lovable characters in modern fiction. All this, it must be confessed, is open to grave objection. In a historical novel in which dates are given some respect is due to chronology. Mr. Hallam was dead and buried when he is made to figure in Mr. Cooke's story. In a historical novel in which real men are introduced by name, it is incumbent on the novelist that the figures he draws shall be as nearly as possible truthful portraits. These laws Mr. Cooke boldly set aside, and so, instead of presenting a brilliant, if ideal, picture of the introduction of the drama into America, the "Virginia Comedians" is only a rude caricature of a party of barn-stormers, such as leave New York annually for a Thanksgiving or Christmas "snap." While Mr. Cooke's treatment of Mr. Hallam is open to such serious objection, his description of the first night of the "Merchant of Venice" is in every way worthy of his subject. It is easy enough to imagine the interest that would be excited among the Virginia planters by the arrival of a company of comedians at Williamsburg from England. "Ah, I see we are to have a theatrical performance in Williams- burg next week," says Mr. Lee, looking up from the latest number of the Williamsburg Gazette and then reading the announcement in HALLAM AT WILLIAMSBURG. 37 the newspaper. " Mr. Hallam and his Virginia Company of Comedians in the ' Merchant of Venice,' by permission of his worship, the Mayor, at the Old Theatre near the Capitol." " Let us go to see the play, father," said Henrietta. "Oh, yes," said Clare. "Certainly, if you wish it," the father assents. When the time comes for going to the theatre Miss Henrietta is radiant in a dress of surpassing elegance — flowered satin, yellow lace, jewels, powdered hair, pearl pendants and rich furbelows. "You know I have never seen a play," says Clare on the way to the theatre to her cousin Champ Effingham, a Virginia exquisite, who has just returned from London and who is of the party. "But read a plenty," he answers. "Oh, yes," Clare replies; "and I like the 'Merchant of Venice' very much: the c\iz.ra.cteY oi Portia is so delicate and so noble." "Who will act Portia f" Henrietta asks. " Shylock — Mr. Pugsby; Portia — Miss Beatrice Hallam," the fop answers, reading from a copy of the play-bill with which he had provided himself " I have never seen or heard of her," Champ then says. " Which means," Henrietta interposes, laughing, "that Miss Beatrice Hallam cannot be well worth going to see." In the boxes were Parson Tag, a Virginia fox-hunting clergy- man, and 'Squire Effingham, the father of Champ, while a young reformer of the epoch, Charles Waters, was in the pit. "Not so bad as you predicted, eh Parson?" said the 'Squire to Tag, when the curtain fell on the first act. " I don't think that fellow, Antonio, acts so badly." " Oh, lovely, papa ! " exclaimed Kate Effingham, clapping her hands. "I was never more pleased with anything," said Clare to Champ. " Much like Shuter at Covent Garden," the Anglo-American fop remarks of the Shylock. The scene between Portia and Nerissa in 38 HISTORY OF THE AMERICAN THEATRE. the first act was cut out, but Miss Beatrice Hallam played the scene with the Prince of Morocco for all it was worth in the second act. "Every word rang and told; there was no hurry, no slurring, no hesi- tation." Finally came the scene with the caskets. "It ended with great applause. The young woman had evidently produced a most favorable impression on the audience." Champ, after the London fashion, forced his way behind the scenes during the play and insisted on speaking to Portia, whereupon the gallery hissed and the young reformer in the pit frowned. "What were they hissing for?" Clare asked, when the curtain went down. "Some folly which deserved hissing, probably," Champ answered, without a blush. The play ended amid universal applause, but the next morning Champ Effing- ham told his father, the 'Squire, that all the parts were well acted except Portia — that was overacted. The 'Squire thought his son "too English." In marked contrast with this imaginary description is the account given by Dunlap, which is probably the first theatrical inter- view printed in America. It was furnished by Lewis Hallam, the younger, forty years after the event — then, after another forty years it found its way into print. According to Dunlap's recollections of the recollections of the younger Hallam, Lewis Hallam, the elder, found a building in the suburbs of the town which he turned into a theatre. It was said to be so near the wood that the manager often stood in his door and shot pigeons for dinner. After its destruction by fire some years later, Dunlap says another theatre was built below the Old Capitol. It is, perhaps, too late to determine the exact locality of Hallam's theatre, but wherever it was situated it is certain that Wil- liamsburg had a theatre many years before the arrival of the Hallam HALLAM AT WILLIAMSBURG. 39 Company, as appears from an advertisement in the Virginia Gazette of September loth, 1736. In an early work entitled "The British Empire in America" it is said that _ ,, 1 i 1 -I . Advertisement. near the market-place, or what perhaps was only an area for a '^''^^ evening will be performed at the Theatre by the young Gentlemen of the market-place, there was a good College, the Tragedy of" Cato," and on Mon- VI- 11 J 11 day, Wednesday and Friday next will be bowlmg alley and a play-house, , ' ^, , „ • ^ ,• , ,, ° J sr J > acted the followmg Comedies by the young but doubt is expressed of the ex- Gentlemen and Ladies of this country— The "Busybody," the "Recruiting Officer" and cellence of the performances on the the " Beaux Stratagem." Virginia stage at that early day. Advertisements in the Virginia Gazette of 1768 accord with Mr. Cooke's description. If any credence is given to Dunlap's statement the London company occupied neither of these, but in his eagerness to prove that the company that landed at Yorktown, Virginia, in June, 1752, and appeared at Williamsburg in the "Merchant of Venice" on the 5th of September, was the first professional company of come- dians in America, he was blinded to every fact that militated against his theory. In order to make the facts square with his theory, he is not only compelled to assert that the building occupied by Lewis Hallam at Williamsburg was " the first theatre opened in America by a company of regular comedians," but is led to assume that a theatre at Annapolis, Md., built before the arrival of the Hallams, "was used by boys or young men to enact plays after their fashion, as was the case and probably will be the case everywhere." The only thing that gives Dunlap's statement value is the fact that he received it from Lewis Hallam, the younger. It is, of course, impossible to give any connected account of the Williamsburg season. There does not seem to be extant a file of the 40 HISTORY OF THE AMERICAN THEATRE. Virginia Gazette for 1752, although it was revived in 1751, and so it is necessary to accept for the opening night the statement that Dun- lap derived from the younger DuNLAP's Williamsburg Casts. jo Lewis Hallam forty years after- Merchant of Venice. Shylock Mr. Malone '^^'^- "^^^ P^^^ ^^ *^^ ^^^"^"^ Bassanio Mr. Rigby was the " Merchant of Venice," Antonio Mr. Clarkson Gratiano Mr. Singleton which was followed by the farce Eu^'°} Mr. Herbert of " Lethe." That these were the Gobbo°} Mr. Wynell pieces is probable, but whether Tubar^°'} Mr. Hallam the casts as printed by Dunlap Servant to Portia . . Master Lewis Hallam are absolutely accurate it is im- (His first appearance on any stage.) Nerissa Miss Palmer POSsible tO Say. Although " Mr. J'^^'^" • Miss Hallam Hallam seemed to remember (Her first appearance on any stage.) I'ortia Mrs. Hallam every transaction of that period, ^'*^^- every circumstance attending ^sop Mr. Clarkson Old Man Mr. Malone these first histrionic adventures, Fine Gentleman Mr. Singleton ^s though they were of yester- Frenchman Mr. Rigby a j j Charon Mr. Herbert day," experience teaches that no- Mercury Mr. Adcock Drunken Man! thmg IS more untrustworthy than Tattoo ... I Mf- Hallam John Mr. Wynell ^"^"^ recollection. The bill com- ^^'^- '^^"°° Miss Palmer prised the entire strength of the Fme Lady Mrs. Hallam company, except Mrs. Clarkson, Mrs. Rigby and Adam Hallam, a child. It will be observed that the Tailor was cut out of the farce. The absence of Lord Chalkstone is accounted for by the fact that the part was an afterthought of the author. Miss Hallam, who made her first appearance on the stage as Jessica in the play, was, Dunlap says, the daughter of Lewis Hallam. The surroundings must have been exceedingly primitive. There was HALLAM AT WILLIAMSBURG. 41 no orchestra, but Mr. Pelham, who taught the harpsichord in the town, was engaged with his instrument to supply the music. The performance began with a prologue, written for the oc- casion by Mr. Singleton. It was spoken by Mr. Rigby. As it was the first composi- tion written for and addressed to an American audience that was preserved, it may be re- garded as a curiosity. John Singleton, by whom it was written, was content with small parts as an actor, but he aspired to be a poet, and in 1767 he published at Bar- badoes "A General Descrip- tion of the West Indian Islands " in blank verse, and had his poem republished in London ten years later. As to the merits of the perform- ance we know nothing ex- cept that Master Lewis Hal- lam, who had only one line to speak, stood speechless before the audience when his time came, and then bursting into tears rushed off the stage. Prologue. To this new world, from fam'd Britannia's shore, Through boist'rous seas where foaming billows roar, The Muse, who Britons charm'd for many an age. Now sends her servants forth to tread the stage ; Britain's own race, though far removed, to show , Patterns of every virtue they should know. Though gloomy minds through ignorance may rail. Yet bold examples strike where languid precepts fail. The world's a stage, where mankind act their parts ; The stage a world to show their various arts ; While th' soul, touch'd by Nature's tend'rest laws, Has all her passions rous'd in Virtue's cause. Reason we hear, and coolly will approve. But all's inactive till the passions move. Such is the human mind, so weak, so frail, " Reason's her chart, but passion is her gale." Then raise the gale to waft fair Virtue o'er The sea of life where Reason points the shore. But ah ! let Reason guide the course along, Lest Passion, list'ning to some siren's song, Rush on the rocks of Vice, where all is lost. And shipwreck'd Virtue renders up the ghost. Too oft, we own, the stage with dangerous art. In wanton scenes has played the siren's part. Yet if the Muse, unfaithful to her trust, Has sometimes strayed from what is pure and just, Has she not oft, with awful, virtuous rage, Struck home at vice and nobly trod the stage — Made tyrants weep, the conscious murderer stand And drop the dagger from his trembling hand ? Then, as you treat a favorite fair's mistake. Pray spare her foibles for her virtue's sake And while her chastest scenes are made appear — For none but such will find admittance here — The Muse's friends, we hope, will join our cause And crown our best endeavors with applause. 42 HISTORY OF THE AMERICAN THEATRE. The only subsequent performance of the Williamsburg engage- ment that I find anywhere is that of the 9th of November, 1752. This occurs in a Williamsburg letter to the Maryland Gazette} but it is probable that even this performance would have been passed by without notice had not a lot of savages visited the theatre as the guests of the Governor. On this occasion "Othello " and " Harlequin Collector" comprised the bill. Malone probably played the Moor, Rigby lago and Singleton Cassio. Mrs. Hallam certainly was the Desdemona. So far as is known these were the only performances in America of the "Merchant of Venice" and "Othello" by the original Hallam Company. It will be observed that the simplicity exhibited by " the Empress '' at the play was more than equaled by the grotesque servility of the high-flown language in which the visit of savage royalty to the theatre is described. Lewis Hallam remained in Virginia eleven months, and went directly from Williamsburg to New York. He was accompanied by his entire company, except Wynell and Herbert, who had seceded the previous December and joined "the Virginia Comedians " at Annapo- lis. It is evident from the assumption of such roles as Richard by Wynell and Richmond by Herbert, that parts like Salanio and Salarino, the Duke of Venice and old Gobbo could not satisfy their ambition. The Annapolis opportunity, therefore, was not to be lost, but it seems 'Maryland Gazette. Williamsburg, ship and were that Evening entertained at Nov. 17. — The Emperor of the Cherokee the Theatre with the Play (the Tragedy of nation with his Empress and their son, the "Othello") and a Pantomime Performance young Prince, attended by several of his War- which gave them great surprise as did the riors and Great Men and their Ladies were fighting with naked swords on the Stage received at the Palace by his Honour the which occasioned the Empress to order some Governor, attended by such of the Council as about her to go and prevent them killing one were in Town on Thursday the gth instant another, with all the Marks of Courtesy and Friend- H ALLAH A T WILLI AMSB URG. 43 to have brought them no permanent advantage, for neither of them was ever heard of afterward, unless indeed the Herbert of whom an anecdote is related in Bernard's " Retrospections of America " is the same. It is an account of an adventure in Jamaica with Three- fingered Jack, in which a member of the old American Company, Owen Morris, is made to say that Herbert, who had a sweet voice and was of respectable parentage, " had quitted England, owing to an unfortunate attachment." His melancholy led him to take long rambles in the country, in which he was occasionally joined by another actor. One sultry day, when they reached the shelter of an "umbrageous palm," Herbert proposed they should open their wallet and take some refreshment. Unfortunately they found the brandy, so necessary to a lover's melancholy, had been forgotten. Herbert remained under the " umbrageous palm " while his friend visited a neighboring plantation to obtain the required fluid. When his friend was gone, " the loneliness and stillness of the spot " brought back to Herbert " the thought of home, and he gave vent to his oppressed spirit in some vocal effusion, unconscious that the savage scourge of the island, driven by hunger from his hiding place on the hills, was ready to dispatch him " just as his " lips opened and the breathings of a broken heart " poured forth. It is unnecessary to add that the " breathings " so charmed the outlaw that Herbert's life was saved. The next day Three-fingered Jack was captured. As Herbert left Hallam's Company in 1752, and Three-fingered Jack was not captured until 1 78 1, it will be noted that his broken heart had lasted him fully thirty years. CHAPTER VI. HALLAM IN NEW YORK. THE FIRST SEASON OF WHICH THERE IS DEFINITE KNOWLEDGE OPPO- SITION TO THE THEATRE A SKETCH OF THE PLAYS AND THE PLAYERS AND THEIR PARTS. AN entire year elapsed between the initial performance of the Hallam Company in Virginia and their first appearance in New York. Where was the year spent, and how? Dunlap says that, after leaving Williamsburg, Lewis Hallam's Company performed at Upper Marlborough, Piscataway and Port Tobacco, then places of wealth and consequence in Maryland, but that the whole Company was not at Annapolis, he thinks, is proved by the silence of Lewis Hallam, the second. The fact is that no part of it was at Annapolis at any time, except the two seceding members, Wynell and Herbert, who joined the Company of Comedians from Virginia, the existence of which the historian ignores. Indeed, there is no reason to believe that the Company stopped at any of the places of wealth and con- sequence in Maryland on the journey from Williamsburg to New York. Proof of this is contained in Mr. Hallam's appeal to the New York public, printed in 1753. Dunlap's mistake was due to the fact that he confounded Hallam's Company with the comedians whose existence he so strenuously denied. There was good reason why Hallam should go direct to New York. The Maryland field had been pretty thoroughly tilled by the Virginia comedians, and in Philadel- (44) HALLAM IN NEW YORK. 45 phia the opposition to the theatre was too violent to make a stop pos- sible at that time. When the Company left the capital of the "Old Dominion " Governor Dinwiddle gave Mr. Hallam a certificate, recom- mending the comedians as actors and testifying to the correctness of their conduct as men. Such a testimonial was useful at that time, especially with the functionaries whose consent it was necessary to ob- tain before performances could be given. Armed with this "char- acter," Hallam arrived in New York in June, 1753. But even in New York the welcome to the players „ , _. , 1- y Hallam's First Advertisement. was not very cordial, and permis- By His Excellency s Authority sion to perform was at first denied. By a Company of Comedians from London rr-. ■ 1./-/- ii 1. At the New Theatre in iVajjaK ^ifrefA This difficulty was overcome, how- ^^^ ^^^^.^^ ^^^ ^^ ^^^^^^^^^^ ^ ^^^^^^^ ever, Hallam using the wrongs he called, , , , ^^^ THE CONSCIOUS LOVERS, had suffered at the hands of Upton a/t u- i. Young Bevil Mr. Rigby as a means of softening the hearts Mr. Sealand Mr. Malone Sir John Bevil Mr. Bell of the authorities. There was still My^ie Mr. Clarkson another difficulty. The old theatre Cimberton V^'lf"? •' Hmnphrey Mr. Adcock in Nassau Street was not adapted Daniel Master L. Hallam Tom Mr. Singleton to the use to which it had been -ptms Mrs. Beccely put, and so it was demolished and f -; S-land Mrs. CUrkson i^ ' Lucinda Miss Hallam another one erected in its place. Isabella Mrs. Rigby Indiana Mrs. Hallam Finally, Hallam announced in ^ „ew Occasional Prologue to be spoken Gaine's Mercury, on the 17th of by Mr. Rigby. An Epilogs (addressed to the Ladies) by September, that he had built a fine, ^,5. hallam. , . . ,1 , , .1 Prices: Box, 8j. Pit, 6j. Gallery, 3^. large theatre in the place where the ^^ ^^^^^^^ ;^^^^^^^ ; ^^ admitted behind old one stood, and "by his Excel- the Scenes. N.B. Gentlemen and Ladies that chuse lency's authority " would that eve- Tickets, may have them at the New Printing 1 „ii„j +v,~ Office in Beaver Street. To begin at 6 o'clock. ning present a comedy, called the 46 HISTORY OF THE AMERICAN THEATRE. " Conscious Lovers," and the ballad farce of " Damon and Phil- lida." The bill of the evening for the opening night, as it was published in the New York Gazette, or Weekly Postboy, contained no allusion to the farce. The bill has often been reprinted, but is necessary here as part of the record. The new occasional pro- logue, spoken by Mr. Rigby, was the one given in Williamsburg a year before, and the epilogue, unfortunately, was not printed. The prices on the opening night: Box, 8 shillings; pit, 6 shillings; gallery, 4 shillings; for the second night were reduced to: Box, 6 shillings; pit, 5 shillings; gallery, 3 shillings. A month later there was a further reduction, the pit being put at 4 shillings and the gallery at 2 shillings. The days of performance were Mondays, Wednesdays and Fridays, the season lasting from the 17th of September, 1753, to the 1 8th of March, 1754. In those days the newspapers appeared only once a week, and consequently it is not possible to list more than one-third of the per- formances of the season. Fortu- LisT OF Performances. nately the plays and farces com- s2'i7-Conscious Lovers Steele P"^^^ ^" ^^^ "^^ are of a character Damon and Phillida . . . Gibber to give a very complete idea of 24 — Tunbridge Walks .... Baker Oct. I— Constant Couple . . . Farquhar the entertainments afforded the Anatomist Ravenscroft -vt -ir i ii- -i .1 8-Conscious Lovers. ^^^ ^""'^ P^^llC by the com- virgin Unmasked . . . Fielding pany of comedians from London. 22 — Love for Love .... Congreve Tom Thumb Fielding Here were twenty-one distinct Nov. 5— Distressed Mother .... Philips ing only one-third of the perform- Hob in the Well .... Cibber 12— Richard III Shakspere ^"^^^^ °^ ^ Season of six months, ^'"^^'°^^y ^°^'^ given under circumstances that HALLAM IN NEW YORK. 47 Feb. must have rendered the represen- tations doubly difficult, but always played with full casts, and, if tra- dition is to be believed, with all the parts acceptably filled. To the modern play-goer the work of the Hallam Company must seem marvelous, but apart from the labor of presenting so many pieces in such rapid suc- cession, both the plays and the farces comprised in the list are capable of an exceedingly interest- ing analysis. It comprises not only the best works in a dramatic sense, but the purest plays the English stage had produced up to that time. The dramatists were men with a few exceptions whose fame will form a part of the glory of English dramatic literature until the world ceases to prize English letters. As names these writers for the stage have a familiar sound, but, with the exception of Shakspere's, their plays have disappeared from the boards. None of the farces and none of the comedies survive, and only two of the tragedies — Moore's " Gamester " and a revamped version of Rowe's " Jane Shore " — have Nov. 19 — Beggars' Opera Gay Lying Valet. 26 — Committee Howard Dec. 3 — Careless Husband .... Cibber Lethe Garrick 10 — Beaux' Stratagem . . . Farquhar Harlequin Collector. 17 — Committee. Miss in her Teens . . . Garrick 26 — Twin Rivals Farquhar Damon and Phillida. 1754- Jan. 7 — Drummer Addison 14 — King Lear Shakspere 21 — Woman is a Riddle . . . Bullock Devil to Pay. 28 — Romeo and Juliet . . Shakspere (Mr. Clarkson's Benefit.) 4 — Gamester Moore (Mr. Rigby's Benefit.) II — Earl of Essex Jones Miller of Mansfield . . . Dodsley (Mrs. Beccely's Benefit.) 18 — Suspicious Husband . . Hoadley Harlequin Skeleton. (Mr. Miller's Benefit.) 25 — ^Albion Queens Banks Virgin Unmasked. (Mrs. Hallam's Benefit.) Mar. 4 — Jane Shore Rowe Harlequin Skeleton. (Mrs. Rigby's Benefit.) 1 1 — Romeo and Juliet. Stage Coach Farquhar (Benefit of Miss Hallam and her two brothers.) 16 — Beggars' Opera. Devil to Pay. (Mr. and Mrs. Love's Benefit.) 48 HISTORY OF THE AMERICAN THEATRE. been seen by this generation. That they should have been so com- pletely forgotten is all the more remarkable because their authors are still acknowledged as the masters of English dramatic writing, and Mr. Hallam's list comprised only the masterpieces of the masters. To begin with Hallam's initial production, the " Conscious Lovers," it was not only Steele's best play, but the most moral play produced since the Restoration, and in itself a protest against stage immorality. In Bevil Steele portrayed a model gentleman, of whom Thomson sang in " The Seasons " : — •whate'er can deck mankind Or charm the heart in generous Bevil showed. It will thus be seen that Mr. Rigby had an excellent part for his introduction to the favor of New York theatre-goers. When the "Conscious Lovers" was originally presented at Drury Lane Mrs. Oldfield was the Indiana, and it is not improbable that Mrs. Hallam had seen that great actress in the part before she played it in America. Colley Cibber, who did not disdain to give Shakspere the benefit of his improving touch, had a hand in preparing the piece for the stage, but it is not likely that Single- Hallam's Second Advertisement. ton ever saw him as Tom. Mrs. By m Excellency's AutkoHty Beccely's part of PMllis had By a Company of Comedians from London, At the New Theatre in Nassau Street, been created by Mrs. Younger, This Evening will be presented a Comedy, called ^nd was yet to become a favor- TUNBRIDGE WALKS ,-4.^ t, j vi, t\t ai_- ^ Q^ ite hoyden with Mrs. Abmgton The Yeoman of Kent, and Peg Woffington. Baker's Woodcock Mr. Malone Reynard Mr. Rigby P'^X' "Tunbridge Walks," was Loveworth Mr Miller j-u 1 ». -^ • Capt. Squib Mr.H^l^am ^^ ^^^* meritorious piece m Maiden Mr. Singleton the list. But even Baker's com- HALLAM IN NEW YORK. 49 edy was interesting and entertain- ing in its day, Singleton's part of Maiden being the original of all the Fribbles and Foppingtons of the first half of the last century. The part, it is said, was a portrait of the author of the comedy when he was a young man, and was written by him to enable others to avoid the rock of contempt on which he had himself been wrecked. After William Congreve, Hillaria Mrs. Hallam Belinda Mrs. Beccely Mrs. Goodfellow Mrs. Rigby Penelope Mrs. Clarkson Lucy Miss Hallam In Act II. Singing by Mrs. Love. End of Act III. a Scotch Dance by Mr. HULETT. End of Act IV. Song by Mrs. Love. End of the Play, a Hornpipe by Mr. HuLETT. Prices : Box 6.r. Pitt 5^. Gallery 3^. No Persons whatever to be admitted be- hind the Scenes. N.B. Gentlemen and Ladies that chuse Tickets, may have them at the New Printing Office in Beaver Street. To begin at 6 o'clock. Money will be hkewise taken at the Door. The Company intend to Play on Mondays, Wednesdays, and Fridays. Lewis Hallam. Constant Couple. George Farquhar, whom Pope sought to depreciate by calling him a farce-writer, was the most sue- i cessful dramatist of his day. He excelled in the gay relation of sprightly incidents. His two comedies, the " Constant Couple " and the "Twin Rivals," and his \ farce, the "Stage Coach," were, after his " Beaux' Stratagem," his best pieces. In the "Constant ' Couple" Mr. Singleton as Sir Harry Wildair had by all odds the best part. Sir Harrj/, although a profligate, was as gay in man- ners as he was easy in morals, and he was not altogether selfish and abandoned. The character was 4 Sir Harry Wildair Mr. Singleton Colonel Standard Mr. Rigby Vizard Mr. Miller Alderman Smuggler Mr. Malone Clincher, Sr Mr. Hallam Clincher, Jr Mr. Clarkson Dicky Master L. Hallam Tom Errand Mr. Bell Constable Mr. Adcock Lady Lurewell Mrs. Hallam Lady Darling Mrs. Rigby Angelica Mrs. Beccely Parly Miss Hallam Porter's Wife Mrs. Clarkson so HISTORY OF THE AMERICAN THEATRE. created by Wilks, but it afterward became a favorite actress' role, Peg Woflfington esteeming it as her greatest part, and Mrs. Jordan playing it long after Singleton played it in America. The second of Far- quhar's pieces played by the Beaux' Stratagem. Aimwell Mr. Adcock Archer Mr. Singleton Sir Oiarles Freeman Mr. Bell Hallam Company in New York was the " Beaux' Stratagem." The Mr. Sullen Mr. Rigby Foigard Mr. Hallam Boniface Mr. Miller ^^q beaux, Aimwell and Archer, Gibbet Mr. Clarkson Scrub Mr. Malone having run through their money, go to Lichfield as "master and Mrs. Sullen Mrs. Hallam Dorinda Mrs. Beccely Lady Bountifiil Mrs. Rigby man," fortune hunting. Aimwell Cherry Miss Hallam Gipsy Mrs. Clarkson is very fascinating and handsome, but altogether a man of the world. He pretends to be ill, and as Lady Bountiful s hobby is playing the leech, she orders him to be removed to her house. There he falls in love with and marries Dorinda, her daughter. Archer is in eveiy way a less satisfactory character than Aimwell, and his love affair with Mrs. Sullen is far from commendable. Squire Sullen is the son of Lady Bountiful by a former marriage — Mrs. Sullen is the sister of Sir Charles Freeman. Never was a pair, even in a play, worse mated. The Squire was sullen, she was sprightly; he would not drink tea with her, and she would not drink ale with him ; he disliked ombre and picquet, and she hated cock-fighting and racing; he declined to dance, and she refused to hunt. It was natural enough that such a pair should be divorced, but not even Farquhar dared to make Archer's marriage to the real heroine of the comedy a part of the play. The third and last of Farquhar's full pieces given this season was the " Twin Rivals." It was the least successful of his comedies, although HALLAM IN NEW YORK. SI Twin Rivals. Mr. Malone Elder Wouldbe Mr. Rigbjr Young Wouldbe Mr. Clarkson Richmore Mr. Bell Trueman Mr. Singleton Subtleman Mr. Miller Balderdash "1 Alderman J Clear-account Mr. Adcock Teague Mr. Hallam Frizure Master L. Hallam Constance Mrs. Hallam Aurelia Mrs. Beccely Mrs. Midnight Mrs. Adcock Mrs. Clear-account Mrs. Rigby Maid Mrs. Clarkson the one most praised by the critics. The outre qualities of the younger Wouldbe, Teague and Mrs. Midnight, however, served to make it a success, but it fell far below the "Beaux' Stratagem" and " Constant Couple " in popularity. It is a curious commentary on the soundness of American taste even at that early period, that this the least meritorious of Farquhar's works should have proved also the least acceptable, and conse- quently it was dropped from the Hallam repertoire. In addition to these three comedies, Mr. Hallam presented one of Farquhar's farces, the " Stage Coach," for the benefit of his children, as the afterpiece to " Romeo and Juliet." The scene is laid at an inn upon the arrival of the coach, but the plot and much of the dialogue were borrowed from a French piece called " Les Carosses d'Orleans." One entire scene between Captain Basil and Sir Nicodemus was transferred bodily from the French original. This diverting farce proved as popular in America when first produced in this country as it had been in England during the previous half century. The next dramatist in Mr. Hallam's list was Congreve, of whom Voltaire said that he raised the glory of comedy to a greater Stage Coach. Torlough Rawer Macahone . . Mr. Hallam Captain Basil Mr. Bell Sir Nicodemus Somebody . . . Mr. Miller Uncle Michai Mr. Clarkson Filch Mr. Rigby Jolt Mr. Adcock Landlord Mr. Singleton Isabella Mrs. Clarkson Dolly Miss Hallam 52 HISTORY OF THE AMERICAN THEATRE. height than any English writer before or since his time, but singularly enough he was represented by only one piece, but that his best, " Love for Love." In this play the part Love for Love. of Angelica was created by Mrs. Sir Sampson Legend Mr. Malone t> ■ ji • i. j j ,^ , . „ T, ,. Bracegirdle in her advanced age, Valentine Mr. Rigby ° " ' Scandal Mr. Bell but it was said of her that she Tattle Mr. Singleton Ben, the Sailor Mr. Haiiam showed the same melting tender- f^'='st' ^\?'^^T ness and playful 'coquetry she had Jeremy Mr. Miller ^ •' ^ ' Angelica Mrs. Haiiam displayed as Statira and Milla- Mrs. Foresight Mrs. Rigby Mrs. Frail Mrs. Adcock merit. Valentine was Betterton's Miss Prue Miss Haiiam . „t t cv c„^ j.„„,. T „ ,, . , , great part. In Sir Sampson Le- Nurse Mr. Adcock ^ r r gend Malone had one of those testy, prejudiced and obstinate old men to which he seems to have been adapted. Although Congreve never borrowed either his plots or his dialogue, and notwithstanding that his plays were ex- quisite in spite of the heartlessness and duplicity of many of the char- acters, it is not improbable that the controversy with Jeremy Collier operated toward his exclusion from the stage in America. Even " Love for Love" would not be tolerated at this day, when Mrs. Foresight and Mrs. Frail are played by ac- rr t . 1 George Barnwell. tresses off but not on the stage. Lillo's tragedy of " George Xhorowgood Mr. Malone Barnwell" was originally produced J^°"'" ;, ^^'t^Z^ ^ ' ^ Barnwell Mr. Bell in 1730, with Theophilus CibberaS Trueman Mr. Rigby Blunt Mr. Miller George, and Mrs. Gibber as Mana. ^aria Mrs. B'eccely In 1752, when Ross was playing ^'"''°°<^ Mrs. Halkm Lucy Mrs. Adcock George Barnwell, a merchant's apprentice in Great St. Helen's was so stricken by remorse upon HALLAM IN NEW YORK. S3 seeing the performance that he became ill, and narrowly escaped death in consequence of his own embezzlements. Ambrose Philips' tragedy, the " Distressed Mother," was a translation of the "Andromache" of Racine. The heroine was a favorite part with Charlotte Charke, distressed Mother. the wayward daughter of Colley Pyrrhus Mr. Singleton Cibber, and afterward with Mrs. Orestes Mr. Rigby Yates. The epilogue to this trag- p^'^nix ! '.'.'.'.'.'.'.'. .' Mr Cllrfe!" edy was the most successful ever Hermione Mrs. Adcock Cleone Miss Hallam spoken on the stage, and it con- Cephisa Mrs. Rigby , , , , , 1 ,. Andromache Mrs. Hallam tmued to be expected by audi- ences while the play held the boards. It was printed in the name of Budger but is known to have been written by Addison. Three of Shakspere's plays were produced during the New York season of 1753-4, all of which still hold the stage. These Richard III. P^^y^ were " Rich- j^^^^ ^ear. ard III," the Col- Richard Mr. Rigby Lear . Henry VI Mr. Hallam ley Cibber version, Kent . of course, " King Gloster Prince of Wales . Master L. Hallam Duke of York . . Master A. Hallam "' v-v^^.ov,, ^^...g g^^^ Richmond Mr. Clarkson Lear" and " RomeO Edmund . Buckingham Mr. Malone ^ Cornwall Norfolk Mr. Miller and Juliet" In the Albany . ^'^"'?y ^if'^f^'Z first mentioned Mr. f "^"-^^ ' Catesby Mr. Adcock Usher . . Lieutenant Mr. Bell Rigby played the Cordelia , Queen Elizabeth . . . Mrs. Hallam _ Regan . Lady Anne Mrs. Adcock title role. This was Goneril . Duchess of Rutland . . . Mrs. Rigby . , . , Aranthe . ^ ■' evidently a com- promise with Malone, who, on this occasion, sank into the unimport- ant part of Buckingham. In " King Lear," however, Malone again had the commanding role, while Rigby was only the Usher. While . Mr. Malone . Mr. Hallam . . Mr. Bell Mr. Singleton Mr. Clarkson . Mr. Miller . Mr. Adcock . Mr. Hulett . Mr. Rigby , Mrs. Hallam Mrs. Adcock Mrs. Beccely . Mrs. Rigby 54 HISTORY OF THE AMERICAN THEATRE. Malone has the honor of being the first Shylock and the first Lear on the American stage, to Rigby must be accorded the distinction of being the first Romeo. The Romeo and Joliet. • • t tt 7 7 ^i ■ origmal Richard on this contment, Romeo Mr. Rigby it will be remembered, was Thomas Mercutio Mr. Singleton Paris Mr. Adcock Kean, who played the part two Tybalt Mr. Malone , , ,, ■ 1 r it. Capulet Mr. Bell y""^'^ before the arrival of the Montague Mr. Hallam Hallam Company at Yorktown. Friar Laurence Mr. Clarkson Balthazar Master L. Hallam The representatives of these parts Juliet Mrs. Hallam . « . . _^ , ; , ^ , , T.^ ^. , in America since 1754 comprise Lady Capulet Mrs. Rigby ' -"^ '^ Nurse Mrs. Adcock nearly all the great names on both the English and American stage, Edwin Booth being the latest. Gay's Newgate pastoral, the " Beggars' Opera," had been sung in New York by Murray and Kean's company, but it was pre- sented at least twice during the season by Hallam. Miss Fenton, who afterward became Duchess _ , ^ . Beggars' Opera. of Bolton, was the original Polly, ^^^^^^^ _ _ _ — _ _ _ ^^ ^^^^^ and Walker the first Macheath, Lockit Mr. Malone Macheath Mr. Adcock but Charles Hulett, whose family YAoh Mr. Miller i J • ii. 717" • Mat o' the Mint Mr. Bell was represented in the Nimmmg ^^^^^^^^ Mr. Singleton Ned of the American cast, was Nimming Ned Mr. Hulett Mrs. Peachum Mrs. Adcock subsequently esteemed as his PoUy Mrs. Beccely /-p, , .. r it-- Lucy Mrs. Clarkson superior, ihe popularity 01 this „ ■'„ ,,. „ ,, ^ r r J jyfjj Coaxer Miss Hallam work continued down to the Re- Diana Trapes Mrs. Adcock Mrs. Vixen Mrs. Rigby volution, and among the many jenny Diver Mrs. Love Macheaths of that period was the ^°" ^'^^^ ^'- ^''^^^^ younger Lewis Hallam after he had long been pre-eminent in all the great parts of comedy and tragedy. HALLAM IN NEW YORK. 55 Another comedy, presented apparently to give Mr. Malone a part, was the "Committee," which was originally produced as early as 1665, and long continued to hold the stage. It was written by Sir Robert Howard, who was not Committee. a great dramatist, but who was so Mr. Day Mr. Malone dogmatic that he was ridiculed by Abel Day Mr. Ckrkson Shadwell, in the "Sullen Lovers," Colonel Careless Mr. Singleton ' ' Colonel Blunt Mr. Bell as Sir Positive At-all. The low Obadiah Mr. Miller Teague Mr. Hallam comedy parts in this play, Oba- Bailiff Mr. Adcock ^^«/%, a clerk to Justice Day, very f=;^^y Mrs. Adcock ' ■' J" J Ruth Mrs. Hallam dull, but very fond of drinking, Arabella Mrs. Beccely Mrs. Chat Mrs. Clarkson and Teague, an Irish lad, always blundering, and always doing mischief with the best intentions, were very amusing. In a one-act version by T. Knight, " Honest Thieves," Munden was exquisite as Obadiah, and Jack Johnstone, the grandfather of Lester Wallack, was irresistible as Teague. One night the property- man supplied Teague with a bottle of lamp-oil instead of sherry and water, with which he dosed Obadiah. When the curtain fell, Johnstone asked Munden why he had not given a hint of the mistake. "There was such a glorious roar at the faces I made," Munden answered, "that I hadn't the heart to spoil it." Colley Gibber, who was still alive to hear of the production of his pieces in America, was rep- resented by two farces and his best comedy, the "Careless Husband." Singleton played Cibber's part of Lord Foppington, and Mrs. Hal- Careless Husband. Sir Charles Easy Mr. Miller Lord Foppington Mr. Singleton Lord Morelove Mr. Rigby Lady Betty Modish Mrs. Hallam Lady Easy Mrs. Adcock Lady Graveairs Mrs. Beccely Edging Miss Hallam lam took Mrs. Oldfield's original 56 HISTORY OF THE AMERICAN THEATRE. role of Lady Betty Modish. Macklin used to say that nature formed Gibber for a coxcomb. It is no wonder, therefore, that he made Foppington the king of court fops. After Mrs. Oldfield, Lady Betty DAMON AND PHiLLiDA. ^^^ Pl^yed by Mrs. Pritchard and Areas Mr. Bell Mrs. Abington. Sir Charles Easy ^g°i» Mr.Rigby jg the " careless husband," and he Corydon Mr. Clarkson Cymou Mr. Miller is SO careless he even leaves his Mopsus Mr. Hallam , /--uu > Damon Mr. Adcock love-letters lymg about. Gibbers Pl^ilMa Mrs.Beccely ballad farce, "DamonandPhilHda," was given as the afterpiece on the first night of the season. It was followed a few weeks later by " Flora, or Hob in the Well," as the afterpiece to the tragedy of the jjob in the Well. '• Distressed Mother." The former Hob Mr. Hallam of these farces has a curious his- sir Thomas Testy Mr. Clarkson tory. In 1729, Mr. Gibber pro- duced his comedy, " Love in a Friendly Mr. Adcock Dick Master L. Hallam Old Hob Mr. Miller Flora Mrs. Beccely Riddle," at the theatre in Lincoln's Betty Miss Hallam T -n- 1 J /-^ i.1. CL 1. ■ 1.1. -i. Hob's Mother Mrs. Clarkson Inn Fields. On the first night it was received with so much clamor that only Miss Raftor (Mrs. Glive) was given a hearing. The following evening Frederick, Prince of Wales, was present, but it was only allowed to proceed out of respect to his Royal Highness, upon a promise that it should be then with- drawn. Gibber kept the agreement, but out of the comedy he selected the scenes of the farce, which, being produced without his name, met with instant success. " Hob " was only an appropriation of Dogget's "Gountry Wake." Addison was represented by his comedy, the " Drummer," and Rowe by his tragedy, "Jane Shore." The " Drummer," although HALLAM IN NEW YORK. 57 elegantly written, is slight in plot and deficient in action. Conse- quently whatever success it attained was almost wholly due to the popularity of its author. Ad- Drummer. dison's play will probably never Sir George Truman Mr. Bell . Tinsel Mr. Miller be seen again, but Jane Shore, as pantome Mr. Adcock Rowe paints her in her penitence, ^^"""^ ^^^- ^^^1°°^ ^ ^ Butler Mr. Clarkson and suffering the agony of remorse Coachman Mr. Singleton Gardener ....;.... Mr. Hallam m abject poverty, must be acknowl- Lady Truman Mrs. Beccely edged to be one of the great hero- ^•'^^'l Mrs. Adcock ines of the English stage, worthy of resuscitation. When the trag- edy was originally produced, Mrs. Oldfield was Mistress Shore, Jane Shore Mrs. Hallam .,-,-. i-. i tt ■ Gloster Mr. Hallam With Barton Booth as Hastings ^"^o'^t Mr. Singleton and Gibber as 6^/<7Jif^r. Later Miss Hastings Mr. Rigby Belmour Mr. Bell O'Neil played the part, Genevieve Catesby Mr. Adcock ,-,7 i , ■ -. Ratciiffe Mr. Miller Ward being its most recent repre- Alit^'^ Mrs. Adcock sentative, in England and America. The rest of the plays produced by Mr. Hallam during the season — five in all — were those by which the author of each made his reputation as a dramatist. The first of these, the " Gamester," in which Moore had the assistance gamester Jane Shore. of Garrick, was a very popular Beverly Mr. Rigby tragedy for many years. It was Stukely Mr. Singleton , . , - .-I . ,1 Lewson Mr. Miller last presented in this country by ^^^.^ j^^ j^^j,^ Barry Sullivan. As showing the Dawson Mr. Clarkson Bates Mr. Bell enterprise, as we should now call Mrs. Beverly Mrs. Hallam .. TT11 -i ii -J Charlotte Mrs. Beccely It, of the Hallams, it must be said of this piece that it was presented in New York within a year of its 58 HISTORY OF THE AMERICAN THEATRE. Sir Walter Raleigh Mr. Miller Lieutenant of the Tower . . . Mr. Adcock Queen Elizabeth ...... Mrs. Adcock Countess of Rutland .... Mrs. Hallam Countess of Nottingham . . Mrs. Beccely original production in London, and the same is true of Henry Jones' " Earl of Essex." The poetic interest in this tragedy turns upon Earl of Essex. *^ assumption that Essex had married the Countess of Rutland, Earl of Essex Mr. Rigby Earl of Southampton Mr. Bell thus provoking the jealousy both Lord Burleigh Mr. Singleton ^ , , ,-. ^ r .t r^ of the y ueen and of the Countess of Nottingham. Mrs. Melmoth, afterward a favorite actress in this country, was one of the most noteworthy representatives of Elizabeth ever seen on the London stage or on the American boards. Dr. Hoadly's " Suspicious Husband" was originally produced in 1747, but even of this it may be said, in the language of Dunlap, that it " exhibits licentiousness that Susficious Husband. we turn from as unfit for repre- ,, „ . , , ^ Mr. Stnctland Mr. Rigby Sentation." With a young and Frankly Mr. Singleton . , , .. Bellamy Mr. Bell sprightly wife, an attractive ward, Ranger Mr. Miller and a gay young lady visitor in J^<=k Meggot Mr.ciarkson ^ ' ^ & •' Tester Master L. Hallam his house, Mr. Stnctland could Simon Mr. Hulett Buckle Mr. Adcock not fail to see that he was sur- rounded by a great deal of in- trigue. He is suspicious of every- body about him, including his servants. George H was so well pleased with this comedy that he sent the author ;^ioo, a liberal con- tribution for the German king who then ruled over England. The comedy of "Woman is a Riddle" has a curious history. It was a translation of a Spanish comedy, " La Dama Duenda," by Mrs. Strictland Mrs. Beccely Clarinda Mrs. Hallam Jacintha Mrs. Adcock Lucetta Miss Hallam Landlady Mrs. Rigby Milliner Mrs. Clarkson Maid Mrs. I^ve HALLAM IN NEW YORK. 59 Mrs. Price, wife of Baron Price, one of the judges of the Court of Exchequer. She gave copies of it to three different persons, in- cluding the eccentric Richard Savage and Christopher Bullock, a performer at Lincoln's Inn Fields. Bullock was the first to have the piece produced, but while the authorship really belonged to neither. Savage laid claim to a Woman is a Riddle. Colonel Manly Mr. Bell Courtwell Mr. Singleton Sir Amorous Vainwit Mr. Hallam Vulture Mr. Rigby Aspen Mr. Miller Butler Mr. Adcock Lady Outside Mrs. Hallam Miranda Mrs. Adcock Clarinda . Mrs. Clarkson share in it. Bullock has always Necessary Miss Hallam been credited with it, because he made some changes in Mrs. Price's translation. The tragedy of the "Albion Queens" was, of course, based upon the misfortunes of Mary, Queen of Scots, made familiar to ALBION QUEENS. theatrc-gocrs in recent years by Ristori's representation of Marie Duke of Norfolk Mr. Singleton Davison Mr. Rigby Stuart, in Schiller's tragedy. Both Morton Mr. Miller Cecil Mr. Bell Gifford Mr. Clarkson Douglas, the Page . . . Master L. Hallam Queen Elizabeth Mrs. Adcock Mary of Scotland Mrs. Hallam Bullock, the author of "Woman's a Riddle," and Banks, who wrote the "Albion Queens," are com- pletely forgotten ; but of the latter it was said that his plays drew more tears and excited more terror, even from judicious audiences, than the works of better writers. In the early days of the American stage the English rule of a farce or pantomime as an afterpiece to the play was rigidly followed. In England this custom is still observed, but in this country it has been so long disused that many theatre-goers are unaware that it ever existed. It is perhaps to be regretted that the custom has fallen into 6o HISTORY OF THE AMERICAN THEATRE. desuetude, for many of these pieces were in their day among the most perfect specimens of dramatic writing in the English language, and some of the most distinguished English dramatists had occasion to be proud of their exquisite little comedies. Two of these were in this Lying Valet. list. Of the farces presented dur- Sharp Mr. Singleton ing Hallam's first season three were Gayless Mr. Adcock . i -c- u- Justice Guttle Mr. Malone by Garrick and two by Fieldmg. BeauTrippet Mr. Bell Garrick's were the " Lying Valet," Dick Mr. Miller •' ^ ' Melissa, . . . .' Mrs. Adcock "Lethe" and "Miss in her Teens." Kitty Pry Miss Hallam or , • ,i /- . ,• i Mrs. Gadabout Mrs. Rigby •S'/^^r/, m the first mentioned, as Mrs. Trippet Mrs. Clarkson the valet of Gayless, is the Mer- cury between his master and Melissa. His lying consists in trying to make Gayless, who has not a sixpence in the world, pass for a man of fortune. " Lethe," played by Lethe. the Hallam Company at Williams- Tattoo Mr. Miller , . . , , , Charon Mr. Bell burg on the openmgmght, showed pi^eLady Mrs. Beccely some changes in the cast when it ^'''- T'^""" '^'^^ ^^^°'''^ was presented in New York. In view of these changes it is impos- sible not to wonder where the new members of the company came from. It is worthy of note, that Miss in her Teens. , , , ,, ... . , „ ,, although Miss in her Teens Captain Loveit Mr. Adcock had been produced as early as Captain Flash Mr. Clarkson Fribble Mr. Singleton 1747, it was played in New York P„g- ' ' j^j.' jyjjjjg^ the same year that it was published Miss Biddy Belair Miss Hallam J^ London. It is possible that Tag Mrs. Adcock Singleton as Fribble, and Clarkson as Captain Flash, had seen Garrick and Woodward in their respective parts at Drury Lane. HALLAM IN NEW YORK. 6i The present generation has not seen either of Fielding's two pieces, the " Virgin Unmasked " virgin Unmasked. and " Tom Thumb," produced by Goodwill . . . . . . . . . Mr. Clarkson Hallam during the season of ^^'''"^ ^'- ^^'°"^ ° Coupee Mr. Singleton 1753-4, but of the former it has Quaver Mr. Adcock Wormwood Mr. Miller been said that it was presented in Thomas Mr. Bell its day Oftener than it deserved, Miss Lucy Miss Hallam while the latter was not played in America, at least, often enough. The "Virgin Unmasked" was without plot, and it was laughable only Tom Thumb. because all the characters were outre. "Tom Thumb," on the contrary, which preceded Kane Tom Thumb Master A. Hallam King Arthur Mr. Singleton Lord Grizzle Mr. Rigby Noodle Mr. Miller O'Hara's burletta by half a cen- Doodle Mr. Bell Bailiff Mr. Clarkson Follower Mr. Malone Queen DoUalolla Mrs. Hallam Princess Huncamunka .... Mrs. Adcock Cleora Miss Hallam Anatomist. tury, was an admirable burlesque on the tragedies of its time ; the meeting between Octavia and Cleopatra, in Dryden's "All for Love," especially, being most effectively parodied. According to Dunlap, whose statements must always be accepted with caution, Ravens- croft's farce, the "Anatomist," stood first on the Hallam list for popularity and profit, because of the excellence of Rigby as the French doctor. A better one, and one that was oftener played, in spite of S^igby's excellence and popularity, was Coffey's " Devil to Pay." The cobbler's wife, Nell, had been reduced to obedience by M. le Medicin Mr. Rigby Old Gerald Mr. Clarkson Young Gerald Mr. Adcock Crispin ." Mr. Hallam Martin Mr. Bell Beatrice Mrs. Hallam Doctor's Wife Mrs. Rigby Angelica Mrs. Clarkson Waiting Maid Miss Hallam 62 HISTORY OF THE AMERICAN THEATRE. the application of "strap-oil." By a device of the spirits, Nadir and Abishog, Sir John Loverule, whose wife was a termagant, and Jobson were made to exchange spouses. Devil to Pay. Before Lady Loverule is restored Sir John Loverule Mr. Adcock i i t , Jobson Mr. Malone ^o her husband, the cobbler s strap ^'^'i^'- '^'■- M"i^^ had made her also one of the Footman Mr. Singleton Coachman Mr. Rigby most amiable of women. It was Lady Loverule Mrs. Adcock ,_ „ . , . , , ,,r Nell Mrs. Becceiy ^s Nell, m this farce, that Mrs. Lattice Mrs. Clarkson Qj^g fifst showed her excellence. Lucy Mrs. Love No cast ■ of Dodsley's farce, the " King and the Miller of Mansfield," has been found. Speaking of the pantomime, Dunlap says that for a long time the company had only one, " Harlequin Collector," but Harlequin Collector. if this was so it was sometimes Harlequin Mr. Miller Miller Mr. Singleton played as " Harlequin Skeleton. ^^^^^ Mr. Hallam The manner in which the principal Columbine Mrs. Hallam parts in the pantomime were distributed has peculiar interest. It is noteworthy that Mrs. Clarkson and Mrs. Rigby come in for many of the smaller roles. Their parts, by their insignificance, determine the relation of the two ladies as the wives of the actors whose names they bear, and show beside that neither of them was identical with Miss Palmer, the Nerissa at Williamsburg, whose name has disappeared from the bills. But the Regan of " Lear " and the Nurse of " Romeo and Juliet " filled roles scarcely less ambitious than those of Mrs. Hallam, pointing to the probability that the Nerissa of the " Merchant of Venice" and the Mercury of" Lethe," in 1752, had in the meantime made the first theatrical marriage in Amwica. Mrs. Adcock's New York debut was made as Mrs. Frail in " Love for HALLAM IN NEW YORK. 63 Love." She also played Mrs. Tattoo in "Lethe." Mrs. Tattoo was Miss Palmer's part at Williamsburg. If Miss Palmer and Mrs. Adcock are identical, her New York parts show that she must have developed into a capable actress. It is apparent from the Shaksperean casts that Malone and Rigby were rivals, although apparently friendly ones, for when Malone played Shylock and Lear, Rigby was content with Bassanio and Usher, while when Rigby was Richard and Rcfneo, Malone sank into Buck- ingham and Tybalt. Of the two Rigby was clearly the better actor, for he was given most of the parts really worth having, except the juveniles that fell to Singleton. Between these two again there was the natural rivalry of the "lead" and "juvenile lead." These contrasts are important as showing the liberality in the distribution of parts that prevailed under Hallam's management. It is still further illustrated by the cases of Adcock and Clarkson. The former, as has been shown, had the satisfactory part of Macheath in the " Beggars' Opera," but for the rest was content with small parts. Mr. Clarkson had Jack Meggot in the " Suspicious Husband," a charming bit that many distinguished actors did not disdain, but in everything else he was simply useful. While their parts determine the relative standing of the mem- bers of the company, it is, of course, impossible from them to gain any real knowledge of their merits as performers. That Rigby was the first in consequence there is no doubt, but the only direct testi- mony to his ability is Dunlap's record of the tradition that he was so excellent as the French doctor in the "Anatomist" that it was the most popular piece in the repertoire. This, however, had no influence on Dunlap's judgment, and he goes on to assure us that " Mr. and 64 HISTORY OF THE AMERICAN THEATRE. Mrs. Hallam were first in consequence and in talents," and Mr. Rigby " only inferior to the leaders." This may or may not have been true of Mrs. Hallam, but it was certainly not true of the manager. The lady had the choice of parts, and that she took full advantage of her liberty is apparent from the fact that she disdained the farces, appear- ing only as Beatrice in the "Anatomist," but appropriating to herself everything that she considered best adapted to her powers, and yield- ing to others only those parts in which she would have made a sorry figure. Mr. Hallam, on the contrary, was quite content to be out of the bills altogether, and when he was in he was not always exacting as to the first low comedy roles, as the list of his parts will show. The new members of the company were Mrs. Beccely and Messrs. Miller and Bell. Mrs. Beccely was the singing soubrette, her best part being Polly, in the "Beggars' Opera." Whether the lady was a member of the company at Williamsburg there is probably no means of ascertaining, nor is there any source of information in regard to the actors. Besides, Mr. and Mrs. Love and Mr. Hulett were engaged as dancers. Mrs. Love appeared twice in a " speaking part," as Jenny Diver in the " Beggars' Opera," and Lucy in the " Devil to Pay," and Mr. Hulett was the Nimming Ned in the " Beggars' Opera," and had one or two other small parts. The Loves were apparently resident in New York, where Mr. Love was a teacher of music. It is probable that Mr. Love was Mr. Hulett's assistant in the Hallam orchestra. Mr. Hulett afterward kept a dancing-school in New York, and spent the rest of his life in that city. CHAPTER VII. HALLAM IN PHILADELPHIA. DETERMINED OPPOSITION TO THE THEATRE IN THE QUAKER CITY A SHORT BUT SUCCESSFUL SEASON QUAINT CONTROVERSY OVER A FAREWELL EPILOGUE. LEWIS HALLAM, comedian, intending for Philadelphia, begs the favor of those that have any demands upon him to bring in their accounts and receive their money. Such was an announcement contained in the bills for the closing performance of the Hallam Company in New York, March i8th, 1754. It is gratifying in a double sense, showing that the manager had money enough to pay his bills and was willing to pay them. The invasion of Philadelphia was not made without due consideration and prepara- tion. Even while the company was playing in New York^Malone was detached and sent on in advance to prepare the ground. As a reward for his exertions, if successful, he was to have the parts of Falstaffm. " Henry IV " and the " Merry Wives of Windsor " and Don Lewis in " Love Makes a Man." As he was not accorded the parts it may be assumed that his success was not considered satisfactory by the man- ager. Indeed, he seems himself to have considered his mission a failure, for, finding the opposition more determined than he expected, he wrote to Mr. Hallam to come to his assistance. The application to Governor Hamilton for leave to open a theatre even for a limited number of nights was vigorously resisted. A petition numerously 5 (65) 66 HISTORY OF THE AMERICAN THEATRE. signed was presented to the Governor, protesting against profane stage- plays, and this was met by a counter-petition from the friends of the theatre. In the end the theatrical party prevailed, and permission was granted to Mr. Hallam to give twenty-four performances, on condition that nothing indecent or immoral should be presented. Mr. Hallam was also required to give one night for the benefit of the poor, and enter into security for all debts contracted on behalf of the company. The theatre occupied by "the company of coniedians from London " at that time was the same that had previously been used by Murray and Kean's Company in 1749-50. It was in a warehouse belonging to William Plumstead, in King or Water, between Pine and Lombard Streets. The building extended through to Front Street, from which there was an entrance by means of stairs placed on the outside of the warehouse. This building remained standing until 1849. It was used as a sail-loft for many years, and Dunlap said in 1832 that "the remains or traces of scenic decoration were to be seen in it within forty years." Among these decorations was a glittering motto over the stage : " Totus mundus agit histrionem." The attitude of William Plumstead toward the theatre must be conceded to be a bold one, when his position and surroundings are considered. To let a building for theatrical purposes at that time in Philadelphia was something that required courage. For a Magistrate to become the lessor must have been in the nature of a scandal. William Plumstead was elected a Common Councilman in 1739, an Alderman in 1747, and became Mayor of Philadelphia in 1 750. He was three times Mayor — first from October, 1750, to October, 1751, again for the un- expired term of Charles Willing, deceased, from December, 1754, to October, 1755, and finally by re-election from October, 1755, to Octo- HALLAM IN PHILADELPHIA. 67 ber, 1756. He was four times commissioned a Justice of the Peace^ in 1752, 1757, 1761 and 1765, the date last named being the year of his death. Mr. Plumstead besides represented Northampton County in the General Assembly of the Province in 1757-8, and he was Register-General of Pennsylvania from 1745 until his death. He was one of the first contributors to the Pennsylvania Hospital, and for many years a Trustee of the College and Academy of Philadelphia. Originally a Quaker, he abandoned the principles of the Society of Friends early in life and became a vestryman and warden of Christ Church. As a sign of the liberality of sentiment that would lead him to become the lessor of a theatre against the prejudices of a large part of the community it may be noted that he was an original member of the famous fishing club, "the Colony in Schuylkill," instituted in 1732, and a subscriber to the first dancing assembly in Philadelphia, held in 1748. This biography is important in affording a glimpse of the power- ful social and political influence that assisted in the introduction of the drama into the city, in spite of a determined and active opposition. How the good people of the Quaker City must have been shocked when they found the London play-actors acting stage-plays. The first performance of the Epilogue. Hallam Company in Phila- „ , , ^ ■,.'~T. ^ Much has been said in this reforming age delphia, which occurred on To damn in gross the business of the stage; . Some for this end, in terms not quite so civil, the ISth of April, 1754, is Have given both plays and players to the devil, especially memorable for the With red-hot zeal, in dreadful pomp they come, And bring their flaming tenets warm from Rome — epilogue spoken on the OC- Fathers and Councils, hermits from their cell, TT 11 ^^^ brought to prove this is the road to hell. Casion by Mrs. Hallam. To me, who am, I own, but a weak woman. The prologue was the one This way to reformation seems uncommon ; If these authorities are good, we hope attributed to Singleton, which To gain a full indulgence from the Pope— 68 HISTORY OF THE AMERICAN THEATRE. We, too, will fly to Holy Mother Church And leave these sage reformers in the lurch. But to be serious — now let's try the cause By Truth and Reason's most impartial laws. The play just finish'd, prejudice apart — Let honest nature speak — ^how feels the heart ? Did it not throb, then tell it to our foes ; To mourn the parent, friend and husband's woes, Whilst at the cause of all a noble indignation rose ? If, then, the soul in virtue's cause we move. Why should the friends of virtue disapprove ? We trust they do not by this splendid sight Of sparkling eyes that greet our scenes to-night. Then smile, ye fair, propitious on the cause. And every generous heart shall beat applause. had been spoken originally in Williamsburg and repeated in New York, but the epi- logue was written for the oc- casion and took special cog- nizance of the opposition that had been encountered by the company. In its nature it was an argument in behalf of the drama, but the lines relating to " flaming tenets warm from Rome," and to " Fathers and Councils," brought to prove that the play-house is the road to hell, would be unintelligible but for a note which accompanies the epilogue as printed in the Pennsylvania Gazette. It is there explained that the allusions are to "the Pamphlet lately published here, entitled Extracts, &c., and given away gratis." ' What could be more grotesque than this attempt to discourage the stage in America by the reproduction of the opin- ions of a dissolute Bourbon prince, written at the close of a dissipated life ? What could be more amus- ing in a city whose inhabitants had a horror of Rome, than a recommendation of " the senti- ments of the Fathers " and the " Decrees of the Councils " to the Extracts of Several Treatises wrote by the Prince of Conti, with the Sentiments of the Fathers and some of the Decrees of the Councils concerning StE^e Plays : Recommended to the Perusal and Serious Consideration of the Professors of Christianity in the City of Philadelphia. Philadelphia : Printed by William Bradford at the sign of the Bible in Second Street. MDCCLIV. HALLAM IN PHILADELPHIA. 69 perusal of Quakers and Presbyterians ? - At best this was rather a heavy document to be hurled by the good people of Philadelphia at a company of strolling players, who had been required to give security that they would pay their debts. But the pamphlet was not the only resort to types to overcome the players. On the 19th of March, A. B. wrote to the Pennsylvania Gazette, asking for the publica- tion of some extracts from " Britain's Remembrances " against profane plays, to which Y. Z. responded the following week. The opposition only served to attract attention to the theatre, and on the opening night the house was crowded. The play was Rowe's " Fair Penitent," with " Miss in her Teens " as the afterpiece. It is worthy of remark that on this night an incident occurred that shows how bitter the feel- ing was against the anti-theatrical party. One of the petitioners was found among the audience, but his presence created so much dissatis- faction that he was ejected from the theatre. He was looked upon not only as an enemy, but as a spy. The only way by which it is possible to learn what plays were presented during the brief Gazette List. season of two months is from the advertisements in the Pennsylvania '/^f; ,„.,,.,, ,, Apnl 15 — Fair Femtent Rowe Gazette, all of which are included Miss in her Teens . . . Garrick June 10 — Gamester Moore in the subjoined list. It is some- Miss in her Teens. 1 i i J i.1. i ii- J c (Benefit of Miss Hallam and her brothers.) where stated that the comedy of ^'' „, , t, "^ June 12 — iamerlane Kowe "Tunbridge Walks" and the farce A Wife Well Managed . Centlivre (Mr. Adcock's Benefit.) of " Hob in the Well " were pre- 20— Careless Husband .... Gibber sented during the season. Besides ,^,^^^::%^^ these, it is likely that many of the 27— Provoked Husband . . . Gibber Miss in her Teens. pieces produced in New York were ^o HISTORY OF THE AMERICAN THEATRE. given in Philadelphia between the iSth of April and the loth of June, Only two additional casts have been preserved — those of Rowe's tragedies, the " Fair Penitent " and " Tamerlane." The former was a mere rechauffe of Mas- Tamerlane. Fair Penitent. Sciolto . singer's "Fatal Dowry." Tamerlane . Mr. Singleton Monesses . . . Mr. Rigby The part of Calista was Axalla Mr. Bell r- .. , r- -BT Prince .... Mr. Adcock a favorite role oi Mrs. „, . , ,, ,..,, Stratocles . . . Mr. Miller Siddons Bajazet . . . Mr. Malone Omar .... Mr. Clarkson . Mr. Hallam . Mr. Malone Altamont . . Mr. Clarkson Horatio .... Mr. Rigby Lothario . . Mr. Singleton Rossano . . . Mr. Adcock Servant . Master L. Hallam , ■■ , , , ^ ^ Calista . . . Mrs. Hallam ^nd Mrs. Merry. Of Deroise Barry, Mrs. Lavinia Lucilla . Mrs. Adcock . Mrs. Rigby the latter it is said that ?f " " ^^^t'^' ?'"T Sehma . . . Mrs. Beccely Louis XIV was Rowe's Arpasia . . . Mrs. Hallam Bajazet, and William III his Tamerlane. While King William lived, and long afterward, it was the custom to produce the piece on the 5th of November, the king's birthday. A singularly interesting souvenir of this season is a play-bill of the benefit of the Hallam children on the loth of June, in the possession of Mr. Charles R. Hildeburn, the compiler of a monumental record of the work of the early Pennsylvania printers. This, it is believed, is the earliest Ameri- can play-bill in existence. The Philadelphia Academy was opened the same month that the players of Murray and Kean's Company were held to their good behavior. In connection with the Academy was a charity school. In 1753 Dr. William Smith took charge of the Academy. Like most English divines of the Charity Prologue. Our humble Prologue means not to engage Candor for Scenes that long have grac'd the Stage ; Nor vainly strives to pay with words, at last, For cheering smiles and kind protection past. Weak is the power of language to explain The sacred feelings, or th' ingenious pain And silent stragglings of the virtuous breast. Beneath the load of Gratitude opprest. But tho' no words can picture what we feel. Our aims may speak it and our actions tell. HALLAM IN PHILADELPHIA. 71 Established Church, he was not opposed to a well regu- lated stage nor averse to drawing upon the theatre for aid to the church schools. When the agreement in re- gard to the charity perform- ance was fulfilled on the 19th of June, with the "Careless Husband " and " Harlequin Collector" comprising the bill, the proceeds went "for the benefit of the charity children belonging to the Academy in this city," according to the Pennsylvania Gazette. The audience was a very crowded and polite one, in the language of the same authority. On this occasion a prologue suited to the character of the enter- tainment was spoken by Mr. To-night we glory in the double view Of pleasing soft-eyed Charity — and You. For this our cheerful service we bestow — 'Tis all our slender fortunes will allow ; " And those who give the little in their power," The Skies acquit — and Earth can ask no more. Thrice happy you, whom kinder fates have given. With liberal hand to ease the care of Heaven; To raise the drooping head of modest Worth; From Fortune's blast to save the Orphan-birth, To pierce the dark retreats where mis'ry sighs, And vripe the trickling tear that dews her eyes; If deeds like these can bid the bosom glow With Joys sincere, — ^what bosom glows not now ? For sure, if aught be gen'rous, great or fair, It must be Truth and public Worth to rear ! Where Virtue blooms in yonder hallow'd Ground,* With each ennobling Science opening round ; How many t Maids and Youths, with kindling fires. Now grow in all that Uving worth inspires. Whom Fortune, in their dawn, neglected laid. To pine untutor'd in the barren Shade, Where Wisdom never did her page unroll, And Want still froze the current of their soul; Till, by your bounteous hand, redeem'd from fate, You bade them rise to grace a rising State. Thus pinch'd beneath stem winter's rigid reign. The flowers lie mourning thro' the frozen plain, Till Spring, soft issuing from her southern hall, Sweeps o'er the dew-bright lawn, with breezy call. And wakes them into life ; — they straight unfold To th' orient sun their vegetable gold'; And in return embalm the fost'ring air. Or grace the lovely bosoms of the fair. Rigby. By whom it was written is not known, but had Dunlap found it, he would have been sure to attribute the authorship to Singleton. Indeed, he did this with an epilogue delivered in New York in 1758, the original version of which was recited by Mrs. Hallam, in Philadelphia, June 27th, 1754, * The Academy. t The Charity Children. 72 HISTORY OF THE AMERICAN THEATRE. when the Hallam Company took its farewell of that city and the continent. With that facility for Farewell Epilogue. Oft thankless slaves for favours humbly ask, But to be grateful is a nobler task : That task to-night be ours. — And thus to you, Our generous friends, we pay the tribute due, Accept our hearty thanks for favors past, And for the present, should it prove the last; Yet wou'd we fain presume some hopes remain, Some distant hopes, that we may meet again; Again to hear the virtuous fair complain In Shakspere's, Lee's or Otway's moving strain. And teach the heart another's grief to know And melt the soul in tears of generous woe. Who was not grieved to-night to see the strife Betwixt a generous husband and a thoughtless wife ? And who from tears of joy could well refrain To see them meet in mutual love again ? But when to humorous mirth you're more inclin'd Sheer comic wit shall feast the cheerfiil mind, Fools of all sorts, and fops, a brainless crew. To raise your mirth we'll summon to your view ; Make each pert coxcomb merry with his brother. Whilst knaves concealed shall grin at one another. 'Tis magic ground we tread, and at our call Those knights appear that represent you all. But, hold ! methinks I hear some snarler cry, "Pray, Madam, why so partial — ^rat me — why Don't you do justice to your own sweet sex ? Are there no prudes, coquettes or jilts to vex ? Or must we be confined to female rules, To laugh at none but brainless fops and fools ? " Be calm, kind sir, the satire's not at you — You rob your coxcomb brethren of their due. 'Tis granted ; vice and folly's not confined To men alone, but spreads to womankind. We frankly own — we may, indeed, as well — For every fluttering beau we've an affected belle. Nor has dramatic satire's candid page, Failed to chastise them justly on the st^e. Thus human life's our theme — a spacious field, Which nature's noblest entertainments yield, guessing, for which he was re- markable, he not only at- tributed the New York epi- logue to the author of the company's first prologue, but reprinted it as " marking the improvement of poet Single- ton by transplantation." Curi- ously enough the original of this New York epilogue was printed in the Pennsylvania Gazette the week following its delivery in the theatre on Water Street, where it was explained that the allusion to " our Latin motto " was to the inscription over the stage: Totus Mundus agit Histrionem. A recently established or- ganization called the "Dun- lap Society," has actually in- cluded this epilogue among its publications as Single- ton's, thus perpetuating the mistaken assumption of the historian after whom the so- ciety was named by its foun- HALLAM IN PHILADELPHIA. 71 ders. There probably never was a writer who was less de- serving of such an honor than William Dunlap. As a the- atrical manager he confessed himself a failure. As a dra- By men of worth admired from ancient time Who following nature never judged a crime. Then bravely dare to assert the taste you've shown, Nor be ashamed so just a cause to own ; And tell our foes what Shakspere said of old — Our Latin motto speaks it I am told — That here the world in miniature you see, And all mankind are players as well as we. Parody. matist his plays are deservedly forgotten; they were without merit either for stage representation or as literary productions. As a his- torian he was at once dull and inaccurate. That a society should have been named after him is perhaps not more remarkable than that it should perpetuate his blunders. The epilogue attracted so much at- tention in Philadelphia that it was parodied in the Gazette of August iSth, 1754. The parody was signed " Buckram " and purported to be the address of a journeyman tailor to his sweetheart. It was feeble enough, it must be confessed, but feeble as it was, there was somebody who was willing to pay for the privilege of answering it, as appears from a Let thankless slaves for favors humbly ask, But to be grateful is a nobler task ; Accept my thanks then. Sue, for favors past And for the last, if it should prove the last. Yet would I fain Presume some hopes remain. Some distant hopes that we may meet again — Ag^n to hear your constant swain complain, And whistle through his nose a dying strain. From tears of grief I could not well refrain, To think, dear Sue, we should not meet again. But hark ! methinks I hear some snarler cry, Zounds, Buckram, 'tis vain — why, demme, why ? Kind Sue will never let a lover die. Then, Snarler, peace, for rat me, but I'll try. Forbid it. Sue, that I should ever see Some dog stroll o'er thy sweets and drink them all from me. This sight would drive me to some fatal tree And, rat me, but I'd rather hang on thee. Then trust me, Sue, my love is aimed at you — To mend your gown I'll summon to your view Patches of every hue, both old and new, Brown, yellow, black and blue. Of velvet, worsted, silk, a motley crew. And when to mirthful mirth you are inclin'd. Sheer comic wit shall feast the cheerful mind. For comic sheer wit was design'd, you'll find 74 HISTORY OF THE AMERICAN THEATRE. Like sharpest shears to shape the humankind. quaintly WOrded notice Thus shaping is my trade — a spacious field "Which nature's noblest entertainments yield. m the Gazette of the By men of cloth admired from ancient time 2ClCa. * In a note ao- Who fitdng nature never thought a crime. " ' " Then, dearest Sue, accept my whining rhyme, pended tO the parody it And let your heart to mine in loving measure chime. Buckram. was said that the author of the epilogue was also the author of " Julia Imitated " and of a play. All this had the effect of bringing to the front the writer of the epilogue, Adam Thomson, a Scotchman, in an elaborate reply (September I2th), entitled "The humble remonstrance of the Journey- man Taylors against a certain Journeyman Schoolmaster for imperi- ously assuming the character of one of their fraternity in a late dull, pedantic and ill-natured performance subscribed Buckram." Like most Scotchmen Thomson was impervious to a joke. The result was that he not only took " Buckram's " burlesque to heart, but explained his personal allusions with great seriousness and sincerity. " As this epilogue," he said, " was wrote by particular desire, on a short warn- ing, the author could have no other view than to oblige and enter- tain." Mr. Thomson's poem, to which allusion was made, was verse in praise of an American beauty, published in the Gentleman's Maga- zine, in June, 1752, with the title of "The Fifth Elegy in Joannes Secundus' First Book, intitled Julia, imitated." His play was called the " Disappointed Gallant, or Buckram in Armour," and was acted at the New Theatre in Edinburgh, in 1738, when its author was only fifteen years old. "Though full of puerilities," Mr. Thomson wrote, ■' a good and polite audience was pleased to applaud, as they knew ^ The person that left the Piece at the being no name to it, and the publishers are New Printing-office signed Buckram in Ar- well assured it was not wrote by the Author mour is desired to call for it, and the money of the Epilogue lately burlesqued, therewith sent, as it will not be printed there HALLAM IN PHILADELPHIA. 75 it to be the performance of a boy." But of all the liberties taken with his epilogue by the "Journeyman Critic," its author was most hurt with the lines in the burlesque, This sight would drive me to some fatal tree, And, rat me, but I'd rather hang on thee, and in justification of the couplet he, quaintly enough, offered the fol- lowing translation : — Yet let me die, my Julia, in thy arms. Around thy neck my dying arms to twine. Whilst you support my falling corpse with thine. Far happier thus suspended I should be Than through despair suspended on a tree. Joannes Secundus, El. V. An incident of the Philadelphia season was a visit from William Hallam, the projector of the company, who returned to England after a settlement of their accounts by the brothers. When the season closed the company went to Jamaica, in the West Indies, where Lewis Hallam died and the organization disbanded. With the exception of Mrs. Hallam, when she became Mrs. Douglass, and her two sons. Masters Lewis and Adam Hallam, none of the regular members of the company were seen on the American stage again. In taking leave of them, therefore, the accompanying statement of the parts each of them was known to have played, will have a pecu- liar interest in showing the work accomplished by them, and as a basis for future comparison. It will be seen from this summary that during the Hallam campaign of two years, twenty-four distinct full pieces and eleven afterpieces were produced. These include only the productions of which the casts have been preserved. A glance at the tables will show how completely the strength of the company was utilized. Mr. 76 HISTORY OF THE AMERICAN THEATRE. Singleton, for instance, had a part in all the plays except " George Barnwell." Mr. Rigby was in all except three — the "Beggars' Opera," the " Committee " and the "Drummer." Even Malone was only out of seven and Hallam out of eight of the twenty-four plays. Besides, Malone had parts in five, Hallam and Rigby in seven and Singleton in eight of the farces. Turning from the first to the second table, it will be found that the supporting actors, Messrs. Adcock, Clarkson, Bell RETIRING ACTORS.— LEAD.— PARTS. Plays. ■-^Albion Queens . . . V Beaux' Stratagem . "^Beggars' Opera . . >'-<^areless Husband . u Committee . . . ' Conscious Lovers . Constant Couple , . V Distressed Mother . -Drummer Earl of Essex . . ^ Fair Penitent . . . ..Gamester vGeorge Barnwell . . 4 Jane Shore .... ,, Lear Love for Love . . . ^.-Merchant of Venice -Richard III . . . . ' Romeo and Juliet . 'Auspicious Husband "Tamerlane . . . , ■ Tunbridge Walks . \/ Twin Rivals . . . . ^ Woman is a Riddle E^V' '/'^ Farces. Atiatomist '■" Damon and Phillida , , Devi! to Pay .... Harlequin Collector Hob in the Well . . Lethe Lying Valet . . . . Miss in her Teens . Stage Coach . . . . Tom Thumb . . . Virgin Unmasked . Foigard . Peachum Hallam. Rigby. Davison . . . Sullen . . . . Teague Clincher, Sr. Gardener . Jarvis . Gloster Kent Ben Launcelotf Tubal . Henry VI .... Montague .... Dervise Captain Squib . . . Teague Sir Andrew Vainwit Crispin . Mopsus . Clown , Hob , Drunken Man.Tattoo Macahone . Lord Morelove Young Bevil . . . Colonel Standard Orestes Elarl of Essex . Horatio .... Beverly .... Truemaa . . . Hastings . . . Usher . . . Valentine . . . Bassanio . . . Richard .... Romeo .... Mr. Strictland . Monesses . . . Reynard . . . Elder Wouldbe Vulture . . , , M, le Medecin . ^gon Coachman . . . Malone. Scrub , Lockit . Mr. Day Sealand Alderman Smuggler Vellum Singleton, Duke of Norfolk . Archer Wat Dreary . . . Lord Foppington . Colonel Careless . Tom Sir Harry Wildair Pyrrhus Coachman .... Lord Burleigh . . Lothario .... Stukely Thorowgood Frenchman Jasper . . . Filch .... Lord Grizzle . Lear Sir Sampson Legend Shylock Buckingham . . . Tybalt . . . , Bajazet ..... Woodcock .... Balderdash, Alderm 'n Jobson Old Man . . Justice Guttle Follower Blister . Dumont Edgar . . . Tattle . . Gratiano Stanley . . Mercutio . Frankly . . Tamerlane Maiden . . Trueman . Courtwell . Footman Miller . . Fine Gentleman Sharp Fribble . . . Landlord . . . King Arthur . . Coupee .... HALLAM IN PHILADELPHIA, 77 and Miller, were seldom without parts either in the plays or the after- pieces, and the same thing is true of the two ladies, Mrs. Adcock and Mrs. Beccely, in the list of the parts of the retiring actresses. All this is interesting in itself, but these Hsts must be looked upon simply as a record of the work actually performed by these early players, not as indicative of their professional merits. Like all pioneers they were hard workers, and they are to be honored for what they accomplished RETIRING ACTORS.— SUPPORT.— PARTS. Plays. Albion Queens . . . Beaux' Stratagem . Beggars' Opera , . Careless Husband . Committee .... Conscious Lovers . Constant Couple . . Distressed Motber . Drummer Earl of Essex . . . Fair Penitent . . . Gamester George Barnwell , . Jane Shore .... Lear Love for L-ove . . . Merchant of Venice Richard III ... . Romeo and Juliet . Suspicious Husband Tamerlane . . . . Tunbridge Walks . Twin Rivals .... Woman is a Riddle Farces. Anatomist Damon and PhiUida Devil to Pay . . . Harlequin Collector Hob in the Well . . Lethe Lying Valet . . . . Miss in her Teens . Stage Coach .... Tom Thumb . . . Virgin Unmasked . Aimwell . Macheath Bailiff . . . Humphrey Constable . Uncle . , Catesby . Albany , Nurse Adcock. Gifford Gibbet Fantome Lieut, of the Tower Rossano Abel Day . Myrtle . . Clincher, Jr. Phcenix . . Butler , . , Altamont Dawson . Catesby Paris Buckle Prince of Tanais Clear-account . Butler Young Gerald . . Damon Sir John Loverule Friendly . . . . Mercury . . . Gayless . . . . Captain Loveit . Jolt Quaver Clarkson, Cecil Sir Charles Freeman Mat o' the Mint . Colonel Blunt . . . Sir John Bevil . . . Tom Errand . . . . Pylades Sir George Truman Southampton , . . Edmund .... Foresight , . . Antonio . . . . Richmond . . . Friar Laurence Jack Meggot . Omar Young Wouldbe . Old Gerald Corydon - Sir Thomas Testy jEsop Captain Flash Uncle Michar Bailiff .... Goodwill . , Bell. Morton Boniface . . . . Filch Sir Charles Easy . Obadiah Cimberton . . . . Vizard Bates . . Barnwell Belmour . Gloster . Scandal . Lieutenant Capulet Bellamy , . Axalla . . Richmore . . . Colonel Manly , Martin Areas . Charon ... Beau Trippet Captain Basil Doodle . . . Thomas . . . Tinsel . . Raleigh , Lewson . Blunt , . Ratcliffe Cornwall Jeremy . Norfolk Miller. Ranger . . Stratocles . Loveworth Subtle man . Aspen . . , Cymon . , , . Butler Harlequin . . . Old Hob . . . Tattoo . . . . Dick Puff Sir Nicodemus Noodle . . . . Wormwood . . 78 HISTORY OF THE AMERICAN THEATRE. in clearing the way for the drama in the New World, without regard to their artistic excellence. It is in the fact that these pioneers were able to hold their own that the subsequent existence of the American Company was due, and nothing can be clearer than the conclusion that they were able to hold their own only by the earnestness and sincerity with which they devoted themselves to their calling. There was one result incident to this Hallam campaign of which RETIRING ACTRESSES.— PARTS. Plays. Albion Queens . . , Eeaux' Stratagem . Beggars' Opera . . Mrs. Adcock. Mrs. Beccely, Mrs. Clarkson. Mrs. Righy. Mrs. Peachum , , , Diana Trapes . . . Lady Easy .... Mrs. Day ... Dorinda Polly Gipsy Lucy Lady Bountiful . . Mrs. Vixen .... Arabella Phillis Angelica Mrs. Chat Mrs. Sealand . . . Porter's Wife . . , Isabella Lady Darling . . . Cephisa Abagail Elizabeth C. of Nottingham . Lucilla George Barnwell . . Jane Shore , . . , Lear Lucy Regan Mrs. Frail Mrs. Foresight , . . Richard III ... . Romeo and Juliet . Suspicious Husband LadyCapulet . . . Landlady Jacintha Mrs. Strictland . . Milliner Belinda Aurelia Penelope Maid Clarinda Angelica Mrs. Goodfellow . . Mrs. Clear-account Betty Doctor's Wife • . . Twin Rivals .... Mrs. Midnight . . . Farces. PhiUida Devil to Pay . . Harlequin Collector Lady Loverule . . . Nell Lettice . , Hob in the Well . . Flora Fine Lady Lethe Mrs. Tattoo .... Lying Valet .... Miss in her Teens . Mrs. Trippet . . . Tag Stage Coach .... Isabella Princ's Huncamunka HALLAM IN PHILADELPHIA. 79 America has reason to be proud. The boy who made his first appear- ance on the stage at Williamsburg, in 1752, was destined, while still a youth, to redeem the failure with which he began, and to occupy the front rank on the American boards for half a century. Lewis Hallam the second was essentially an American actor. He came to this con- tinent a boy. His debut was made here. He learned his art before American audiences. By the Americans he was esteemed as equal to the best English actors. He never became a really great actor, but in his prime, it is not to be denied, he was above mediocrity. What Lewis Hallam the elder attempted in vain, Lewis Hallam the younger accomplished. To his skill before the Revolution the American stage owed much of the credit it enjoyed — his reputation and example entitled him to be regarded as its father under the Republic. CHAPTER VIII. AMERICAN THEATRICAL TOWNS, 1750-58. . ADVERSE CONDITIONS OF THE DAWN OF THE DRAMA IN AMERICA VIRGINIA AND MARYLAND NEW YORK PHILADELPHIA AMERI- CAN SOCIETY AND MORALS AT THE MIDDLE OF THE EIGHTEENTH CENTURY. AS an example of the carelessness with which theatrical biogra- phy and history have been written, it may be mentioned that the " Thespian Dictionary " and other publications of the epoch when Mrs. Mattocks died (1808) unite in declaring that Mr. Hallam made ;^io,ooo by his American adventure, and notwithstanding the fact that he died as early as 1755, it is added that he lost his money in the American war. It is not likely that Hallam did much more than make two ends meet between 1752 and 1754, and even had he lived until 1774, fifty thousand dollars in the English money of the period would have been a large sum with which to measure the acquisitions of the manager of a troupe of strolling players. His successor, who was his superior both as a business-man and an actor, could not, it is certain, boast of such good fortune. America, in the middle of the eighteenth century, was not a land of gold like California in 1 849. As a rule the people were poor, and even those who were richest were not rich (80) AMERICAN THEATRICAL TOWNS, 1750-58. 81 according to modern standards. America, in the Hallam period, was a rough land of earth and stone and tree, and even the theatrical towns — Williamsburg, Annapolis, New York and Philadelphia — were mere villages in comparison to what is called " a good show town " in the theatrical slang of this age. In 175 1, Dr. Franklin estimated the English population of the Colonies at only a million. Scattered as it was from Maine to Georgia, but little of it was available as patrons of the theatre. It is probable, Dunlap writes with that readiness of assumption to which he was so apt to resort in the absence of facts, that William Hallam was induced to send his company to Virginia, in preference to the other Colonies, from the knowledge that Episcopalians were more liberal in regard to the drama than most other denominations of Christians. Much as the historian commends Hallam's wisdom in directing his brother Lewis to the genial South, the joyous welcome with which he claims the adventurers were received seems to have brought with it no substantial profit, and but little temptation for a return of " the Thespians in their manifold wanderings." The truth is that Lewis Hallam found greater encouragement in the North than the South, as is proved by the fact that he did not return to Williams- burg after the Philadelphia season of 1754, and never played at An- napolis at all. The capitals of Virginia and Maryland were both small towns in 1752-4, incapable of yielding a prolonged support to a theatrical company. At Williamsburg much of the patronage came from the Virginia planters, who differed from the plain farmers in the neighborhood of Philadelphia, and the self-sufficient country gentle- men of the county of Westchester in Ne'R^ York, but the Virginians of that period were too busy with schemes of territorial aggrandize- 6 82 HISTORY OF THE AMERICAN THEATRE. merit to devote much time to the drama, and the comedians of Hal- lam's company found the columns of the Virginia Gazette devoted to negotiations with the Mingoes, Shawnees and Twightees, and accounts of Indian massacres instead of criticisms on plays and players. While the stage in Virginia was not retarded by the opposition of sectarian narrowness, it suffered from the neglect due to the hard conditions of life in a new land. New York and Philadelphia, on the contrary, had some claims to be considered cities even then. Each, however, had disadvantages peculiar to itself New York, originally a Dutch province, retained much of the language and manners of its first settlers. These were alike indifferent to English literature and the English stage. The Quakers of Philadelphia were of all people the most opposed to dramatic representations, while their Presbyterian neighbors surpassed them in active hostility to what were called in the cant of the time " profane stage-plays." With the non-theatrical elements in both cities eliminated, the possible patrons of the theatre in either were reduced to so small a number that the only wonder is that Mr. Hallam found his seasons as profitable as they proved. New York, in 1753, was a little city clustered around Fort George and the Battery. The theatre in Nassau Street was near Maiden Lane and on the outskirts of the town. None of the buildings now standing had yet been erected. Even the famous old Federal Hall, as it was afterward called, where Washington was inaugurated the first President of the United States, was little more than half as old as the present City Hall is now. The population was about twelve thousand, of which one-sixth were negro slaves. The means of communication with the surrounding country was exceedingly primitive, and between AMERICAN THEATRICAL TOWNS, 1750-58. 83 New York and Philadelphia there was only Andrew Ramsay's' promise of a " stage waggon " from Brunswick to Trenton, and of a " stage boat " from Philadelphia to Trenton, as indicated by his adver- tisement in Gaine's Mercury, in 1753. Indeed, it was not until 1756 that the first regular stage started between the two cities. In the winter, for many months at a time. New York was completely isolated from the rest of the world, except by sea. It was probably by sea that the Hallam Company went from Williamsburg to New York, in the summer of 1753. A city so situated could not be expected to support a theatre for many months year after year. Besides, Mr. Hallam was not entirely without opposition. Before his season began, in 1753, Dugee, a per- former on the slack wire, had been giving entertainments at Van Denberg's Garden, as appears from his elaborate advertisement hornet Caratha, On a Slack Wire scarcely, in the Mercury, August 13th, perceptible, with and without a Balance. To _,, _. ... give the Reader a just Idea of this Perfomi= 1753. That Dugee seriously m- ^^^ ^^ ^ ^^^^ Description, (which h^ terfered with the patronage of the g'^«° *« highest Satisfaction to the King of Great Britain, and most of the great Person- theatre is not to be doubted. ages and Virtuosoes in that Kingdom) would Mr. Dugee's Advertisement. By Permission, This is to inform the Pdblick, That there is just arrived in this City, and to be seen at a new House built for that Purpose, in Mr. Adavi Van Denberg''s Garden, This EVEN- ING, being Monday the 13th instant, The Surprizing Performances of the celebrated Anthony Joseph Dugee, Late an Apprentice to the Grand Turk Ma- 1 This is to give Notice, To all Travellers, who may have Occasion to travel between New York and Philadelphia, that the Tren- ton Ferry is now revived by Andrew Ramsay, late of Long Island Ferry ; where all Travel- lers, who are pleased to put up at his House, may depend on having good Entertainment for themselves and Horses : Said Ramsay is providing a Stage Waggon to go from Brunswick to Trenton, and a Stage Boat iirom Philadelphia to Trenton. Such Passen- gers as are pleased to favour him with their Custom, may depend upon being forwarded on their Journey, with the utmost Expedition, from the latter to the former, or from the former to the latter. — N.B. Notice will be given, what Days in the Week the Boat and Waggon will proceed from Sts^e to Stage, per me. Andrew Ramsay. 84 HISTORY OF THE AMERICAN THEATRE. be too difficult a Task to undertake; how- ever a faint Conception of it may be formed by these few following Particulars, viz I. He raises the Wire to a Swing, then rises on his feet, walking forwards and backwards in full Swing ; and turns himself, and swings to Ad- miration on one Foot. II. He will balance a single Pipe on his Nose. III. He balances a Stone on his Nose also. IV. He plays with four Balls at once, in a surprising man- ner. V. He balances a Plate on the point of a Sword, turning it round at the same time. VI. He stands on his Head on the Wire at fiill Swing. Also, Several new Exercises on the Stiff Rope, by Mr. Dugee, the Indian, and young Negro Boy. And a Hornpipe, and several curious Equilibres, on a Table, three Pins, and a Chair, by the young Negro Boy. Doors open at six o'Clock, and to begin precisely at Seven. Tickets to be sold at the Plouse of Mr. James Ackland, at the Royal Exchange; and at the Printing Office opposite the Old Slip Market. Pitt, Four Shillings.GALLERY, Two Shillings. N.B. — Mr. Dugee intends to perform every Monday, Wednesday and Friday (Weather permitting) in every Week during his resi- dence here, which will be but short, as he proposes to exhibit eighteen Nights only. There were other things that diverted money from Hallam's treasury, as the church lotteries and the Greenwich races, and finally the smallpox became epi- demic and was raging with great virulence at the time the company left for Philadelphia. The prints of the period give us but few glimpses of the way in which the comedians lived in New York. We only know that tickets for the benefits could be had at " Scotch Johnnie's," probably the favorite theatrical tap-room in 1754; that Mrs. Beccely lodged at Mrs. Milliner's, and that the Hallams and Rigbys lived to- gether as one family. Philadelphia, in 1754, was the leading city on the American continent, its taxable inhabitants alone approaching the entire white population of New York. It was also the wealthiest and most enter- prising city in America. Its people were more public-spirited than any of their fellow-countrymen. The Philadelphia Library had already been in existence nearly a quarter of a century. The famous structure on Chestnut Street, which is still standing and revered by the whole country as Independence Hall, had been erected, and its historic bell, that was to proclaim liberty throughout the land, had been hung the AMERICAN THEATRICAL TOWNS, 1750-58. 85 year before. The Philadelphia Academy, later on the Philadelphia College and now the University of Pennsylvania, had just been estab- lished. The ground had been purchased on which was erected and where still stands the Pennsylvania Hospital. But in spite of its size, of the wealth of its inhabitants and their public spirit, Hallam encoun- tered a stronger opposition to the drama in Philadelphia than would have been possible anywhere in the Colonies, outside of New England. The Quakers were not only hostile, but they exercised great influence both in the municipality and the government of the Province. The Presbyterians had, if possible, a greater horror of " profane stage- plays." Then there was the German element, already a large one in the city of Penn, which, if it was not opposed to the theatre, was wholly indifferent to it. As a consequence the play-goers were reduced to a very small number, and like New York, Philadelphia was not yet prepared to become the permanent home of the drama. Paradoxical as it may seem, another circumstance that militated against the imme- diate success of the stage was the fact that Philadelphia was proud of its scientific and literary pre-eminence in the Colonies. The golden youth of the metropolis, emulating the solid attainments of Dr. Frank- lin, affected to regard the lectures of Professor Kinnersly on electricity and his practical experiments at the Academy as more instructive and entertaining than the exhibition of stage-plays by a company of stroll- ing players. Besides, politics at this period ran unusually high. There were constant disputes between the General Assembly and the Pro- prietaries over the question of paper money, and Hallam's patrons always paid him in a depreciated currency. It was at a time, too, when the campaign that ended in Braddock's defeat the next year was impending, and enlistments for the forces designed to resist the 86 HISTORY OF THE AMERICAN THEATRE. encroachments of the French on the Monongahela were going forward with great activity. Under conditions so unfavorable it is not sur- prising that Mr. Hallam resolved to abandon the continent for awhile. This conclusion may have been accelerated by the fact that when his season closed in Philadelphia a fever plague was raging in that city. Of the domestic life of the comedians during their stay in Phila- delphia there is no trace whatever. When Miss Hallam and her two brothers had their benefit on the lotli of June, tickets were on sale at Mrs. Bridges', over against the Globe, in Front Street; at Mr. Nichol- son's, sign of the Admiral Warren's Head, in Arch Street; and at Mr. Mullen's, sign of the One Tun, in Water Street. These are the only names that have come down to us as taking even so slight an interest in the personal fortunes of the players. American society and morals at the middle of the eighteenth century were not to be measured by the same standard that was applied to the stage. The rich were higher and the poor lower in the social scale than they are to-day. In Philadelphia there were many showy equipages, but there was no provision for those unable to keep their own carriages. Wealth everywhere was a species of aristocracy. The Virginia planter was a fox-hunting squire with the airs of an English duke. In the cities the first families were scarcely less haughty than royalty itself The rich were too mighty to patronize the theatre at home. Among rich and poor wines or liquors were in universal use. Although the penalties were severe crime was common. The condition of the working population was little better than that of the slaves. It thus happened that at its dawn the drama in America was encouraged almost wholly by the middle class, through whose influence the Republic itself was established. CHAPTER IX. DAVID DOUGLASS. HALLAM's theatrical successor arrives SPECULATIONS RELATING TO THE HALLAM FAMILY THE NEW MEMBERS OF MR. DOUG- LASS* COMPANY NAMES THAT BECAME HISTORIC ON THE AMERICAN STAGE. IT was four years after the dissolution of the Hallam Com- pany, in 1754, when the Hallam family again bid for the patronage of the American theatrical public. It is generally believed the intervening years were spent in the West Indies. While the family was sojourning on the island of Jamaica, Lewis Hallam, the elder, died, and there his widow subsequently married David Doug- lass, who reorganized the company in 1756, and renewed the ex- periment of 1752, with Mrs. Hallam, now known as Mrs. Douglass, as the star, and young Lewis Hallam, then only eighteen years of age, as the leading man, except in the heavier roles, such as Richard III, Lear and Tamerlane. Adam Hallam, who was younger than Lewis, was with the company, and was occasionally entrusted with a small part. His success, apparently, was not great, for after a year or two his name disappears from the bills altogether. Miss Helen Hallam was not with the company at this time, but in her stead Miss Nancy Hallam occasionally was seen in children's parts. Nancy Hallam is not mentioned by any of the historians (87) 88 HISTORY OF THE AMERICAN THEATRE. of the American stage, but it is fair to assume that she is not the child referred to by Dunlap, who was left with her uncle William six years before, and who afterward became famous in English dramatic history as Mrs. Mattocks. Isabella Hallam, who became Mrs. Mattocks, was younger than the Miss Hallam that was in America from 1752 to 1754, and Nancy must have been younger than Isabella. Who, then, was Nancy Hallam ? Probably the Miss Hallam of later years, and who was referred to in the newspapers of 1773 as the niece of Mrs. Douglass. In 1761 the name of Mrs. Hallam appears in the bills playing parts like those previously filled by Miss Hallam. Mr. Ireland, in his " Record of the New York Stage," assumes that this Mrs. Hallam was identical with Miss Hallam of an earlier and a later period. A more probable assumption would seem to be that the Mrs. Hallam of 1761 was, in fact, Mrs. Hallam, wife of Lewis Hallam, the younger. It is known that Mr. Hallam married early in life, but that he and his wife soon separated and lived apart many years, until her death after the Revolution enabled- him to marry again. That his first wife should at least try to be an actress would not be surprising. At the time the name of Mrs. Hallam disappears from the bills Nancy Hallam was old enough to take her place. It does not seem probable that the Jessica of 1752 should be the Juliet of twenty years later, having only attained the rank of leading lady. Such, however, would be the natural progress of the Fleance of 1759 if she was the Miss Hallam of 1766-74. If this reasoning is incorrect, it is singular that Miss Hallam began as the daughter of Lewis Hallam, the elder, and ended by becoming the niece of Mrs. Douglass. David Douglass, by virtue of his marriage with the widow DAVID DOUGLASS. 89 Hallam, became not only the manager of the company, but an actor. At first he was content with small parts, the roles that Malone had previously filled falling to Mr. Harman, who had married a grand- daughter of the celebrated Colley Cibber. Mrs. Catharine Maria Harman, who died in New York in 1773, was the successor of Mrs. Adcock. Mrs. Harman was an excellent actress and an exemplary woman, of whom it was said, at the time of her death, that she was sensible, humane and benevolent. Mrs. Beccely's parts were now taken by Mrs. Love, who was the only member of the old company, outside of the Hallam family, who had a place in the new. Mr. Douglass, the new manager, was a man of character and ability. He continued to control the theatrical destinies of this continent until the feeling against English players, consequent upon the stamp act and the impending war for independence, compelled him to relinquish the undertaking, when he returned to Jamaica, where he subsequently became one of His Majesty's printers, a master in chancery and a magistrate. Mr. Douglass died at Spanish-Town, in 1786, having, it is said, accumulated a fortune of ^^25,000. Besides the performers already named, the company included Mr. Morris, Mr. and Mrs. Allyn, Mr. and Mrs. Tomlinson and Mr. Reed. Of these Owen Morris became the most distinguished. With the exception of Reed and the Allyns, they remained under Mr. Douglass' management down to the Revolutionary period. How they were recruited by Douglass, or whether they had any previous theatri- cal experience, is nowhere reported. Mr. Harman, whose name none of the historians mention at all, was at first the leading actor of the company in the heavy roles, Mr. Hallam succeeding to most of the parts that had previously been played by Mr. Rigby. Mr. Reed was 90 HISTORY OF THE AMERICAN THEATRE. Singleton's successor, AUyn and Tomlinson sharing the lighter roles with him. Morris played the low comedy parts. That the ladies, with the exception of Mrs. Harman, were without experience is appar- ent from the fact that Mrs. Love was accorded better parts than those filled by Mrs. Allyn and Mrs. Tomlinson. It may be added, that while Allyn and Tomlinson occupied a respectable professional stand- ing before the American public for a number of years, their wives never advanced to positions of consequence. It is to be regretted that so little is known of the personal history of these early players. It is probable that all of them made their American debuts at the beginning of the New York season of 1758-9, but neither the prints of the time nor the recollections of the memoir-writers give any information respecting them, except as their work is recorded in the play-bills of the period. This is all the more singular, because they were favorites as actors and thoroughly identi- fied with American interests by long residence. This is especially true of Morris. He was, after the elder Hallam, the first noteworthy representative of comic old men on the American boards, and he con- tinued on our stage until the close of the century. Late in life Morris was known both to John Bernard and William B. Wood. In what purports to be Bernard's " Retrospections of America" there are several references to this old comedian, with an American experience of forty years behind him, but not one that gives any information in regard to him or that is accurate in matters of fact. Wood refers to him only incidentally as the husband of his second wife, and as looking " like the wearer of the first cut of coat and vest, when the earliest approach to modern dress was attempted," in a part that he played at Annapolis, in 1798. Dunlap only speaks of him as playing "the old men of DAVID DOUGLASS. 91 comedy and farce, when the shuffling gait and whistling treble which time had forced upon him were applauded as most exquisite imitations of old age." To the Harmans the newspapers and the annalists are equally indifferent. Their motives in coming to America, and the causes that led to their joining their fortunes with the players of Mr. Douglass' company, would make an interesting chapter in theatrical history could they be ascertained. Who were the Tomlinsons and the Allyns, and what finally became of them ? These were the actors and actresses who took up the work of the pioneers and carried it forward. America became their home. With one or two exceptions their dust forms part of the mould in our graveyards. That they were enthusiasts in their work is certain, and yet how little do we know of these players whose names are historic on our stage. Dunlap says that his object in writing his " History of the American Theatre" was to rescue from oblivion such facts relative to the drama in this country as could then be collected, and to combine them with his own knowledge of the players of the past. The only real monument to these early actors and actresses and their predeces- sors was the record of their work, and that could never " be swept from the memory of man," because the newspapers of the period pre- served it for posterity. -i#- CHAPTER X, DOUGLASS IN NEW YORK. A NEW THEATRE ON CRUGER's WHARF PERMISSION TO PERFORM DENIED OPENING OF A HISTRIONIC ACADEMY ANNOUNCED A BRIEF THEATRICAL SEASON FINALLY ALLOWED. MR. DOUGLASS arrived in New York with his company in the autumn of 1758. As the old theatre in Nassau Street had been removed and a church built upon the site, Douglass built a new theatre on what was then known as Cruger's Wharf. It was near what is now called Old Slip, not far from the present Wall Street Ferry. Cruger's Wharf had water on both sides of it in what were called docks. The site does not seem to have been well chosen, but Mr. Douglass soon found other obstacles in the way of his enterprise, in comparison with which the situation was a matter of no great im- portance. He had built his theatre without obtaining the permission of the Magistracy to enact plays, and when he applied for it, it was refused. Thereupon he printed a card in Gaine's Mercury} in which, Mr. Douglass' Card. — Mr. Douglass, the Magistrates would indulge him in acting who came here with a Company of Comedi- as many Plays as would barely defray the. ans having appUed to the Gentlemen in Power expenses he and the Company have been for permission to play has (to his great mor- at in coming to this city, and enable them to tification) met with a positive and absolute proceed to another, he has been unfortunate denial : He has in vain represented that enough to be peremptorily refused it. As he such are his circumstances and those of the has given over all thoughts of acting he begs other members of his company that it is im- leave to inform the Public that in a few days possible for them to move to another place; he will open an Histrionic Academy of which and tho' in the humblest manner he begged proper notice will be given in this Paper. (92) DOUGLASS IN NEW YORK. 93 after pointing out that when he " applied to the gentlemen in power for permission to play," and had " met with a positive and absolute denial," he announced that he had given over all thoughts of acting, and in a few days would open a histrionic academy. This card was dated the 6th of November, but on the 8th of December^ Douglass found it necessary to explain that his histrionic academy was not intended as an attempt to evade or resist the prohibition of the magis- trates, but for dissertations on subjects moral, instructive and enter- taining, and to endeavor to qualify such as would favor him with attendance to speak in public with propriety. It must be confessed that Mr. Douglass' iirst card does not read like the announcement of a manager with a company of comedians on his hands who had "given over all thoughts of acting," especially in an age when ^ Mr. Douglass' Explanation. — ^Where- as, I am informed that an advertisement of mine which appeared some time ago in this paper, giving notice that I would open an Histrionic Academy, has been understood by many as a declaration that I had proposed under that color to act plays without the con- sent of the Magistracy. This is therefore, to inform the public that such a construction was quite foreign to my intent and meaning — that so vain, so insolent a project never once entered my head; it is an imputation on my understanding to im- agine that I would dare in a public manner to aim an afiront on gentlemen on whom I am dependent for the only means that can save us from utter ruin. All that I proposed to do was to deliver dissertations on subjects Moral, Instruct- ive and Entertaining and to endeavor to qualify such as would favor us with their at- tendance — To Speak in Public with Pro- priety. But as such an undertaking might have occasioned an Enquiry into my capacity I thought the public would treat me with greater favor when they were informed that I was deprived of any other means of getting my bread, nor would that have done more than barely supplied our present necessities. The expenses of our coming here — our living since our arrival, with the charge of building, etc. (which, let me observe, we had engaged for before we had any reason to ap- prehend a denial) amounted to a sum that would swallow up the profits of a great many nights acting had we permission. I shall conclude with humbly hoping that those gentlemen who have entertained an ill opinion of me from my supposed presump- tion will do me the favor to believe that I have truly explained the advertisement and that I am to them and the Public, A very humble and devoted servant, David Douglass. Dec. 8, 1758. 94 HISTORY OF THE AMERICAN THEATRE. " moral lectures " and " concerts of music " were the usual subter- fuges in England for the presentation of unauthorized plays. It was by such a device that Garrick was enabled to make his deduf as Richard III, at Goodman's Fields' Theatre, in 1741, and Mr. Douglass himself did not disdain to resort to a similar subterfuge some time afterward at Newport, R. I. The probability is that the explanation was made in return for a promise from the magistrates of permission to act, for after Douglass had been made to eat what was considered a sufficient quantity of humble pie, leave was graciously accorded him to perform thirteen nights, to enable him to pay his debts and get away. The season, the first of many that were to follow under Mr. Douglass' management in New York, began December 28th, 1758, and closed on the 7th of February following. The list of perform- ances shows a constant change of bill from night to night, the plays List of Performances. and farces comprising the most 1758. Dec. 28— Jane Shore Rowe popular pieces of the time. Un- '^^^' ^ , fortunately no casts were printed Jan. I — Inconstant Farqunar •' '■ Mock Doctor Fielding in the advertisements, but it has 3 — Orphan Otway S— Spanish Fryar Dryden been assumed, no doubt correctly, 8-Recruiting OfKcer . . . Farquhar ^j^^^ j^^^ DouglaSS played the Lovers' Quarrels. 10— Othello Shakspere title role in "Jane Shore" on the 12 — Beaux' Stratagem . . . Farquhar IS— Venice Preserved .... Otway openmg night. Mrs. Harman was Stage Coach Farquhar of course the Alicia, and Mr. Har- 24 — Douglas Home Lethe Garrick man probably played Hastings. 26 — Tamerlane Rovce _^ 29-Drammer Addison Dunng the season Mrs. Douglass Damon and PhiUida . . . Gibber probably played Lady Randolph Feb. 7— Richard III Shakspere } i- 3 J' F Damon and PhiUida. in " Douglas," Arpasia in " Tamer- ■DOUGLASS IN NEW YORK. 95 lane," Lady Truman in the "Drummer," and Queen Elizabeth in "Richard III;" Mrs. Harman, Anna, Selima, Abagail and Lady Anne; Mr. Harman, Old Nerval, A Douglass Advertisement. Tamerlane, Vellum and Richard; At the Theatre on Mr. Cruger's Wharff Mr. Douglass, Lord Randolph, ^his present Monday will be presented a Comedy written by Captain Farquhar, call'd The Inconstant, or The Way to Win Him. Farce, The Mock Doctor. ******** On Wednesday, the 3d Instant a Tr^edy called The Orphan, or the Unhappy Marriage. ******** On Friday, the 5th Instant, the comic scenes of The Spanish Fryar with entertainments as will be expressed in the bills. Tickets to be had at the Printing Office in Hanover Square, at the Coifee House, at the tion of the company. There was Fountain Tavem and nowhere else. The doors of the Gallery will be opened no box-office; reserved seats were at Four O'clock, but the Pit and Boxes, that Ladies may be well accommodated with seats — not till Five — and the Play begins play in the afternoon. ' Prices precisely at Six, Box, 8 Shillings. Pit, 5 ShiUings. were then as high as now, while Gallery, 2 Shillings. N.B. — No more tickets will be given out than the house will hold. And positively no dinner-hour of the present time, money taken at the door. On the opening night young Lewis Hallam was accorded the honor of speaking Singleton's prologue, and Mrs. Douglass recited Adam Thomson's epilogue, originally delivered in Philadelphia, in 1754. Both of these productions were transmitted by Mr. Douglass Monesses, and Coachman ; and Mr. Hallam, Young Norval, Bejazet, Tinsel and Richmond. These as- sumptions are based upon the Philadelphia casts of the following season. As a specimen of Mr. Douglass' earlier advertisements in the New York papers, the one that is here reproduced is the most interesting, because it is the most comprehensive. It will be noticed that there is no men- unknown, and people went to the the hour of performance was the 96 HISTORY OF THE AMERICAN THEATRE. to Gaine's Mercury, and the letter^ and enclosures were printed in that journal January 8th, 1759. In this letter Mr. Douglass conveys the impression that both poems were the work of the same hand, and that they had been specially written by the ingenious author for this occasion. This led Dunlap, who was unacquainted with the previous pubHcation of Thomson's epilogue, to infer that it was Singleton who was meant, and his error has been perpetuated ever since, even in the collection of prologues and epilogues recently printed by the Dunlap Society of New York. As this epilogue was frequently repeated and underwent many changes, it is worth reprinting in its second stage. It will be observed that the introductory lines are entirely new and that the first half of it is remodeled and rewritten. The second version, it must be confessed, is a great improve- ment over the first, and it Thomson's Epilogue. — Second Version. Much has been said at this unlucky time, To prove the treading of the stage a crime. Mistaken zeal, in terms oft not so civil, Consigns both play and players to the devil. Yet wise men own, a play well chose may teach Such useful moral truths as the parsons preach. ' Mr. Douglass' Letter. — Sir : Be pleased to give the enclosed Prologue and Epilogue, spoken at the opening of the New Theatre in this city a place in your columns. They were both written in North America and generously sent us by the in- genious author, to whom we acknowledge ourselves greatly obliged, and as we can not imagine the difficulty we met with in obtain- ing liberty to act here proceeded from any ill opinion those in authority had of a well regulated stage but rather from a tender regard for the mistaken opinions of others we humbly beg to embrace this opportunity of recommending this performance to the candid perusal of such unprejudiced though we doubt not well meaning minds. They will be found, we imagine, on ex- amination to contain a sensible, elegant and impartial statement of the true nature and use of theatrical entertainments, which, as the famous Mr. Addison expresses it, " were in- vented for the accomplishment and refining of human nature." It would be ungrateful, likewise, on this occasion, to omit making our thankful ac- knowledgments to the Town for the generous encouragement given much beyond our merit by the crowded houses since we began to perform; but if the assiduous endeavors to the utmost of our ability to please, can make amends for our deficiencies, we flatter our- selves with the kind continuance of their favors which shall ever be gratefully acknowl- edged by Sir, (in the name of the Company) The Town's most obedient Servant, D. Douglass. DOUGLASS IN NEW YORK. 97 would be interesting to Icnow if the ingenious author of the original epilogue was allowed to revise his own work. Mr. Douglass must have been a man of unusual energy and persistence, or he would not have continued his Ameri- can theatrical campaign in the face of the obstacles that he found in his way at the out- set. Not only was there a determined opposition to the theatre in the two leading cities, New York and Phila- delphia, but there was not a building really adapted to theatrical purposes anywhere in the country. Wherever Douglass went it was first necessary for him to erect a temporary structure before it was possible for his company to perform at all. In New York, as we have seen, he built a so-called theatre on Cruger's Wharf It must have been an exceedingly May teach the heart another's grief to know, And melt the soul in tears of generous woe. So when the unhappy virtuous fair complains In Shakspere's, Lee's or Otway's moving strains, The narrowest hearts expanded wide appear, And soft compassion drops the pitying tear. Or would you warn the thoughtless youth to shun Such dangerous arts which numbers have undone, A Barnwell's fate can never fail to move. And strike with shame and terror lawless love. See, plunged in ruin, with a virtuous wife, The Gamester weeps, despairs and ends his life. When Cato bleeds he spends his latest breath. To teach the love of country strong in death. With such examples and a thousand more. Of godlike men who lived in times before, The tragic Muse renewing every age. Makes the dead heroes tread the living stage. But when to social gayety inclined Our comic Muse shall feast the cheerful mind, Fools of all sorts and fops a brainless crew. To raise your mirth we'll summon to your view ; Make each pert coxcomb merry with his brother. Whilst knaves conceal'd shall grin at one another. 'Tis magic ground we tread, and at our call Those knights appear that represent you all. Yet, hold ! methinks I hear some snarler cry, " Pray, madam, why so partial — ^rat me — why Don't you do justice to your own sweet sex ? Are there no prudes, coquettes or jilts to vex ? " 'Tis granted ; vice and folly's not confined To man alone, but spreads to womankind. We frankly own — ^we may indeed, as well — For every fluttering beau we've an affected belle. Nor has dramatic Satire's candid page Failed to chastise them justly on the stage. Thus human life's our theme — a spacious field Which the soul's noblest entertainments yield. By men of worth admired from time, Who nature's picture never judged a crime ; And if the soul in nature's cause we move. The friends of nature cannot disapprove. We trust they do not by the splendid sight Of sparkling eyes that grace our scenes to-night; Then bravely dare to assert the taste you've shown. Nor be ashamed so just a cause to own ; 98 HISTORY OF THE AMERICAN THEATRE. And tell our foes what Shakspere said of old- primitive affair, aS it WaS de- Our former motto spoke it, I am told — That here the world in miniature you see, molished SOOn after he Vacated And all mankind are players as well as we. . t, r It. Before he could venture into Philadelphia with his company, it was necessary for him to build a new theatre there also. This required time, and nearly five months elapsed after the close of the New York season before the Philadelphia structure was ready for his accommodation. In the meantime, it is not improbable that the company played a brief engagement at Perth Amboy. Dunlap records his recollection of hearing old ladies of that place speak in raptures of the beauty and grace of Mrs. Douglass, and the pathos of her personation of Jane Shore. Perth Amboy was the capital of the province of New Jersey, and a garrison town. There were at that time not fewer than twenty-four New Jersey baronies — lords-proprietors under the Berkeley and Cartaret grants — and Perth Amboy was the social as well as political centre for this peculiar aristocracy. Even now it is said, whimsically enough, it must be confessed, that these Jersey barons or baronets meet once a year in their ancient capital to consider the best interests of their order, on which occasions they wear white wigs and address each other as " My Lord." This annual assemblage seems to be a continuation of the Council of Proprietors established in 1682. Previous to the Revolu- tion the meetings of the Council were held twice a year, and as one of these occurred on the second Tuesday in April, there was ample time for a brief theatrical season at Perth Amboy, in 1759, between the closing of the theatre on Mr. Cruger's Wharf and the opening of the new theatre on Society Hill. CHAPTER XI. DOUGLASS IN PHILADELPHIA. THE THEATRE ON SOCIETY HILL OPPOSITION TO THE DRAMA A LAW AGAINST PLAYS A BRILLIANT SEASON OF SIX MONTHS THE PLAYS AND THE CASTS. MR. DOUGLASS, when he arrived in Philadelphia, in the spring of 1759, showed that he had profited by his New York experience, for his first act was to obtain the authority of Governor Denny to perform, the Governor stipulating as a condition to his assent that the company should give one night for the benefit of the Pennsylvania Hospital. This was agreed to, but before the campaign could begin it was necessary to have a theatre, and so Mr. Douglass proceeded to build one at the south-west corner of Vernon and South Streets, at what was known as " Society Hill," in the Southern Liber- ties. The building, which was of wood, was not well suited for the- atrical purposes, and was used as a theatre for only one season. Sub- sequently it was turned into three dwelling-houses, which were finally replaced by the brick structure that now stands on the site of the old play-house. Mr. Douglass probably chose to begin his performances in Philadelphia in a building so ill-suited to his purposes, instead of in Plumstead's warehouse, because it was outside, of the city limits, and consequently beyond the control of the municipal authorities. There was a determined opposition, however, and Judge Allen was applied i99) loo HISTORY OF THE AMERICAN THEATRE. to for an injunction to restrain the players, but there is a story that the Judge repHed that he had got more moral virtue from plays than sermons, and declined to grant the application. To this it was added that as Judge Allen was prevented from attending the first performance through the death of his wife, his domestic misfortune was looked upon as in the nature of a judgment upon him for affording protection to profane stage-plays. This assertion is made not only by Dunlap, but in some of the local histories of Philadelphia. It is a pity to spoil such a nice story of the Chief Justice of Pennsylvania, whose wife was a sister of Governor Hamilton, but as Mrs. Allen died May I2th, 1760, when there were not only no players in the province, but when plays were prohibited by law, her death can not be looked upon as so clearly a judgment as if it had not been delayed for nearly a year. Besides, if the judge made any such declaration he must have undergone a com- plete change of opinion in a few years, for the Chief Justice Allen of 1759 was the Recorder Allen of 1750, whose action led to the sup- pression of Murray and Kean's Company. Mr. Douglass seems to have stolen a march upon the opponents of the theatre on this occasion, obtaining Governor Denny's authority to build a play-house and give performances before his purpose was known to the community. It was no sooner announced, however, than all the religious bodies in the city were up in arms against him. The Quakers led off The journal of the General Assembly shows that on the 22d of May, 1759, an address from the Society called Quakers was presented to the House, setting forth that " they have, with real concern, heard that a company of stage-players are preparing to erect a theatre and exhibit plays to the inhabitants of this city, which they conceive, if permitted, will be subversive of the good order and DOUGLASS IN PHILADELPHIA. loi morals which they desire may be preserved in this Government." They therefore prayed the House to frame and present to the Governor for his assent " a bill to prohibit such ensnaring and irreligious enter- tainments." On the following day (May 23d) a Petition from the Minister, Churchwardens and Elders of the Lutheran German Con- gregation of Philadelphia was presented, praying " that a law may be enacted to prevent the building of a play-house or theatre in or near the said city, which the petitioners hear is intended and already begun." This was referred for further consideration. The same day an address was received from the Synod of New York and Philadelphia (Presbyterian) to the same effect, and on the 26th, the Baptist Con- gregation of Philadelphia was heard from, making a similar appeal. It is evident that these addresses and petitions were not directed toward deaf ears, for on the date last nientioned a Committee, comprising nine members, was appointed to prepare and bring in a bill to prevent the exhibition of theatrical entertainments and for suppressing lotteries. Both the Committee and the House acted without a moment's unneces- sary delay, the bill being presented The Law against Plays. on the 28th, ordered to a third And Whereas, several companies of idle , persons and strollers have come into this readmg on the 30th, and passed p,„^;„,, f,„^ fo,,ig„ p^^s in the characters on the 31st of May. A Committee °^ P'^5'^'''' ^''^"^^^ '■'^^ ^"^ ''^^^^^^ ^^^ thereon acted divers plays by which the -weak, was immediately appointed to poor and necessitous have been prevailed on ,, ^ , . ,. to neglect their labor and industry and to give wait on the Governor and ask his » . ■ r ,.•.•, ^ j * extravagant pnces for their tickets and great assent to the measure, which re- ^'nt.e" of disorderly persons have been drawn together in the night to the great dis- ported that his Honor was pleased tress of many poor families, manifest injury of ,, , , , , , , , .,, this young colony and grievous scandal of to say that he would take the bill ^^^.^^^^ ^„^ ^^^ ^^^^ „f ^^^ Government. under his immediate COnsidera- ^^ '' Therefore Enacted, That every per- son and persons whatsoever that from and tion. The object of this haste, after the First day of January which will be 102 HISTORY OF THE AMERICAN THEATRE. A.D. 1760 shall erect, build or cause to be apparently, was to prevent the erected or built any play-house, theatre, stage or scaffold for acting, shewing or exhibiting appearance of the players under any tragedy, comedy, tragi-comedy, farce, ^j^^ authority which the Governor interlude, or other play, or part of a play ^ whatsoever, or shall act, shew or exhibit had previously accorded them, but them, or any of them, or be in any ways con- cerned therein or in selling any of the tickets Governor Denny kept the bill aforesaid in any city town or place within ^^^^jj ^^^ ^j^ ^f j^^^^ ^^^^ ^^ this Province and be thereof legally con- victed in manner aforesaid shall forfeit and returned it with Some amend- pay the sum of five hundred pounds lawful money aforesaid. ments, which were accepted by the House. The principal amendment, no doubt, was in regard to the time when the law should go into effect, so as to enable the Governor to keep faith with Mr. Douglass. The measure was finally passed, and received the Governor's sanction on the 20th of June, but it was set aside by the King in Council, September 2d, 1760. As it was eariy summer list of Performances. before Mr. Douglass' season be- }1^^ June 25 — Tamerlane Rowe gan, it is fair to assume that his Virgin Unmasked . . . Fielding June 29 — Richard III Shakspere plans were delayed by the un- Lethe Garrick certainties attendant upon the J"'^ ^Provoked Husband . . Vanbmgh Honest Yorkshireman . . . Carey pending legislation, but the terms 13— Douglas Home . , , - , , Mock Doctor Fielding of the law once defined, there was 20-Recruiting Officer . . . Farquhar no delay in opening the new Advent's of Half an Hour. Bullock 27— Hamlet Shakspere theatre at Society Hill, and the Stage Coach Farquhar ^ , , ^ , . Aug. 3 — The Drummer Addison Utmost use was made of the inter- Anatomist Ravenscroft vening six months before the act lo-Theodosius Lee Lethe. went into effect, the house being 17— George Barnwell Lillo 1 . .. , r ^1 Harlequin Collector. kept open continuously from the 24-Beggars' Opera Gay 25th of June to the 28th of De- ^"'le. 31 — Fair Penitent Rowe cember. Originally the site of School Boy cibber DOUGLASS IN PHILADELPHIA. 103 the theatre was a declivity on the Sept. 7— Douglas. 14 — Hamlet. bank of Dock creek, opposite the Adventures of Half an Hour. famous old Blue Anchor Inn, 26-Recmiting Officer. Stage Coach. where Penn landed from his boat 28 — Lear shakspere Oct. 5 — Provoked Husband, when he came from Chester, in Toy Shop Dodsley 1682. Of this hill Spruce Street 12-Provoked Husband. '■ 26 — Macbeth Shakspere was the base, and Pine Street the Nov. 2— Romeo and Juliet . . . Shakspere Miss in her Teens . . . Garrick summit. In 1730 and after, a (Benefit of Mr. Douglass.) flag was hoisted on the hill when- 9-Beggars' Opera. Harlequin Collector. ever the Assembly was in session, (Benefit of Mrs. Love.) 16 — ^Theodosius. and on Sundays and holidays. Ijpng Valet. There was also a redoubt there (Benefit of Mr. Scott.) 23 — Provoked Husband. and a battery, the shot for the Harlequin Collector. , ^ , .„ (Benefit of Mr. Hallam.) cannon being cast by John Pass, ^ec. i-Macbeth. by whom was re-cast that national ^"^^ Coach. (Benefit of Mr. Allyn.) inheritance, the State House bell. 7— Suspicious Husband . . . Hoadly A 1 • 1 -n T -r-v Virgin Unmasked. At the time when Mr. Douglass (Benefitof Adam Hallam.) built his theatre there. Society 14— Gamester Moore School Boy. Hill was deserving of its name. (Benefit of Mr. Reed.) rr,, , r 1 ^• 1 ,r 1 21 — Romeo and Tuliet. 1 here was a number of delightful „ , . „ ,, ^ ° Harlequm Collector. dwellings in the neighborhood, (Benefit of Mr. Palmer.) 27 — George Barnwell. and among others Alderman Plum- Lethe. . J i_ J , ,./- , J J., (A charity performance.) stead had a beautiful descendihg j^ \, , , garden in Union Street, which (Benefit of the Pennsylvania Hospital.) was the admiration of the town. It was in part, perhaps, because of these surroundings that there was such violent opposition to the theatre at that time. The cast of " Tamerlane," the piece with which Mr. Douglass 104 HISTORY OF THE AMERICAN THEATRE. began his first season in Philadelphia, shows the new company in definite roles. Harman had the part originally played here by Tamerlane. Singleton, and Mrs. Harman suc- ^ , ,, ,^ ceeded Mrs. Beccely. Douglass Tamerlane Mr. Harman Bejazet Mr. Hallam himself filled Rigby's part, and, Monesses Mr. Douglass Axalla Mr. Reed oddly enough, young Lewis Hal- °"'" ^'- To'niinson j^^ ^^^ ^^^ successor of Malone. Prince of Tanais Mr. Home Dervise Mr. Morris Five years before Mr. Hallam had Haly Mr. A. Hallam Arpasia Mrs. Douglass been content with Haly, now S"'™^ Mrs. Harman ^\^y^^ by his brother, Adam Hallam, who had none of his genius. The only name in the farce, "Virgin Unmasked," that is recorded is Mrs. Harman as Lucy. The second play on record as produced this season was Richard III. " Richard III." It Lear. Richard . . . . . . .Mr. Harman Was the first of five Lear . . . Mr. Harmaa Richmond ..... . Mr. Hallam of Shakspere's tra- Gloster . . . . Mr. Scott King Henry Mr. Douglass Kent . . Mr. TomUnson Prince Edward . . .Mr. A. Hallam gedies presented Edgar . . Mr. Hallam Duke of York . Miss Nancy Hallam . _, .^ j i -i ■ • Edmund. . . Mr. Reed Buckingham Mr. Reed ^"^ rniladelphia m (-.ornwall . . Mr. Home Catesby Mr. Tomlinson ^Jjg summer and Albany - . . Mr. Morris Stanley Mr. Morris Burgundy . Mr. Douglass Oxford Mr. Home autumn of 1 759. Usher. . . . Mr. AUyn Oueen Elizabeth . . Mrs. Douglass r^, ^ , Goneril . . . Mrs. Love T J A »f rj I he cast shows _ ,, ,^ Lady Anne Mrs. Harman Regan . Mrs. Harman Duchess of York . . . Mrs. Love ]y[j-_ Harman Still Cordelia . Mrs. Douglass in the lead, with Mrs. Harman as the successor of Mrs. Adcock. Mr. Hallam was second in rank, a part better adapted to his youth than the heavier role of Richard. On this occasion the name of Miss Nancy Hallam first occurs as the Duke of York. She subsequently played Fleance in "Macbeth," and .other children's parts. She has never been mentioned by any of the annalists. The production of DOUGLASS IN PHILADELPHIA. 105 " Hamlet " this season was probably the first presentation of Shaks- pere's masterpiece in America. Fortunately the cast has been pre- served. It is especially remarkable in showing the great stride Mr. Hamlet. Hallam had made Macbeth. Hamlet .... Mr. Hallam '" ^'^ profession. Macbeth . . .Mr. Hallam Poloniiis .... Mr. Harman gy(- ^-q ]y[j._ Har- Duncan Mr. Harman Ghost .... Mr. Douglass Donaldbane . . Mr. A. Hallam Laertes Mr. Reed man, perhaps aS Lenox Mr. Morris Horatio Mr. Morris r Banquo Mr. Scott King .... Mr. Tomlinson ^ recompense tor Macduff .... Mr. Douglass Gravedifrcrers / '^'^- ^^^^ the Hallam Stride, Seyton .... Mr. Tomlinson ^^ . ^ y^^_ Harman Fleance . . Miss Nancy Hallam Player King . . Mr. Scott was aCCOrded the Lady Macbeth . Mrs. Douglass Osric .... Mr. A. Hallam Lady Macduff . . . Mrs. Love Guildenstern ... Mr. Home ^^'^^ gTe3.t hhaks- jjecate Mrs. Harman Ophelia . . .Mrs. Harman pgrean role, ^?«:^ . , f!!'-^'^^" Queen .... Mrs. Douglass ^ Witches . . . ] Mr. Harman Player Queen . . Mrs. Love Lear. Then tO the L Mr. Tomlinson dignity of Hamlet Hallam added Macbeth, being, as in the master role, the first tragedian seen in the part in America. Later on, for Mr. Douglass' benefit, Hallam played Romeo to his mother's Juliet, perhaps the only instance in the history of the drama where a son was the lover and Romeo and Juliet. his mother the girlish heroine in Romeo Mr. Hallam Mercutio Mr. Harman Shakspere's love tragedy. This Mont^ue Mr. Douglass 1 Chairman Mr. Scott latter. Mr. Hallam S Mrs. Strictland . Mrs. Harman 1-.1 t-ju 1 juT)-u Tacintha Mrs. Love role m the one had been played by Kigby i „ ^ ,. ^ ■' ■' ° •' Lucetta .... Mrs. Tomlmson and in the other by Miller. In Hoadly's Clarinda .... Mrs. Douglass comedy Rigby was the original Strictland, now played by Palmer. Powell was the first Lothario in the "Fair Penitent" and the first Mrs. Barry the original Calista. Garrick's performance of Ranger in the comedy was inimitable and Bridgewater's Mr. Strictland was scarcely inferior in merit. Moore's " Gamester " was presented only once, and then, like the " Suspicious Husband," at a benefit. The noteworthy thing in the cast was the fact that Mr. Gamester. Hallam, young as he was, found . ^11 ii. r^i- i Beverly Mr. Hallam m the play another of those strong , • i«t a- ,• ^ ■' o Jarvis Mr. Tomlmson parts which he retained for many Lewson Mr. Harman Bates Mr. Morris years. The most interesting fact stukely Mr. Palmer connected with this production ,/^^°° ', ^, ' t^' /" ■* Mrs. Beverly Mrs. Douglass was the appearance of Palmer as Charlotte Mrs. Harman no HISTORY OF THE AMERICAN THEATRE. Stukely, a part of which it was said when John Palmer died that Stukely died with him. These casts, which comprise the names and show the rank of the members of Douglass' company in 1759, are also a proof of the carelessness with which American theatrical history has been written. In " Watson's Annals of Philadelphia " Misses Cheer and Morris are named as among the performers, and it is said that Francis Mentges (William Francis) was the dancing performer. Neither of these ladies appeared at that time, and the dancer was a Mr. Abbington, not impossibly the man who afterward gave his name to the celebrated Mrs. Abington. When Mr. Palmer, of whom no mention is made by any of the historians, had his benefit he played Romeo, " the first time in that character in this city," and Mr. Hallam appeared as Mercutio. Mr. Palmer's name occurs in the bills only for benefits, when, besides playing Romeo in his own behalf, he appeared as Mr. Strictland in the " Suspicious Husband " for Adam Hallam, Macbeth for Mr. Allyn and Stukely in the " Gamester " for Mr. Reed. It is not unlikely that this Mr. Palmer was the distinguished London actor John Palmer, the original Joseph Surface in the " School for Scandal," who made his first London appearances the next year. When Mrs. Douglass had her benefit, Mr. Douglass spoke a prologue in the character of a Master Mason, and Mrs. Douglass an epilogue in the character of a Mason's wife. The manager announced on that occasion that it was his intention to wait upon as many ladies and gentlemen as possible, " but intreats those whom it may be his misfortune to neglect, rather to attribute it to his care in preparing for their entertainment in the most compleat manner in his power than to disrespect." Because the feast of St. Andrew occurred on Friday, the DOUGLASS IN PHILADELPHIA. Ill 30th of November, Mr. Allyn's benefit took place on Saturday, instead of the regular play-day. On that occasion the beneficiary appeared as Macahone, the brave Irishman, in which he introduced " The History of Mr. AUyn and the Three Lawyers." Adam Hallam, for his own benefit, performed a grotesque dance in the character o{ Punch. What was called in the bills the closing performance " at the theatre on Society Hill" took place on the 27th of December, 1759, when " George Barnwell " and " Lethe " were given, " for a fund for purchasing an organ to the College Hall and instructing the children in Psalmody." On this Charity Advertisement. Philadelphia, December 27, 1759. By Permission and by Particular Desire Towards the raising a Fund for purchasing an Organ to the College-Hall in this city and instructing the Charity Children in Psahnody. occasion a prologue in praise of At the Theatre on Society Hill, this evening will be presented the tragical and music was spoken by Mr. Hallam, and the occasional epilogue above printed was again recited by Mrs. Douglass. But in reality it was interesting History of GEORGE BARNWELL Thorowgood by Mr. Douglass; Uncle, Mr. Morris ; George Barnwell, Mr. Hallam; Blunt, Mr. Harman; Trueman, Mr. Tomlinson; Millwood, Mrs. Douglass ; Maria, Mrs. Love ; not the last, as on the following ^'°-'^' "^''s- Harman. Before the Play and between the Acts sev- evening a performance was given eral celebrated Pieces of Concert Music will r ii 1 /^._ r ii n r • ^^ performed by some Gentlemen of this city, for the benefit of the rennsylvania , , , . ,, , , , . ,/ •' who have kindly consented to promote the Hospital, in pursuance of the Design of this Entertainment; for which Pur- pose a neat Harpsichord will be provided. Also a Prologue in praise of Music will be spoken by Mr. Hallam and an occasional Epilogue by Mrs. Douglass. To which will be added a Farce called Lethe, or M%oy in the Shades. In which the character of Lord Chalkstone will be introduced by Mr. Allyn. N.B. — As this Benefit is wholly intended for improving our Youth in the divine Art of Psalmody and Church Music in order to the other, which appeared only in render the entertainment of the Town more agreement with Governor Denny. The advertisements for these benefits give a curious insight into the tastes and feelings of the time. That for the College was elaborate in the extreme, while 112 HISTORY OF THE AMERICAN THEATRE. compleat at Commencements, and other public Bradford's Journal, waS aS meagre occasions in our College, it is not doubted but it will meet with all due encouragement from aS it WaS possible tO make it. the inhabitants of this Place. t^. ■ , CxX. j-cc ^ ^ . , „. ^,„, , 1 his was because oi the dirterence To begm exactly at bix O Clock. Tickets to be had of Mr. Dunlap, Mr. Hurry of sentiment in the two institutions and of several Gentlemen. toward the " stage -players." In- deed, the Hospital authorities were even urged to refuse the money, as appears by an advertisement of the loth of January, 1760, in which it is explained that it was not in Hospital Advertisement. the power of the Treasurer to For the Benefit of The Pennsylvania Hospital commit this act of folly, notWlth- jo-morrow night at the Theatre on Society Standing it was " raised by exhibit- ^ill will be presented the celebrated Tragedy of ing a stage-play near this city, HAMLET, Prince of Denmark. . Tickets will be sold by William Dunlap, W. which was done without the con- Bradford, at the London Coffee House, sent of the said managers, in con- Thomas Gordon and Evan Morgan. sequence of the injunction of the late Governor Denny, at the time he granted liberty to the stage-players to erect the theatre near this city." When this card was printed, Pennsylvania had a law against such sinful indulgences as the "stage-play" of "Hamlet," under which the Hospital was to receive the forfeitures and penalties. The Act, however, failed to take cognizance of Mr. Douglass' losses, as at the time of its passage he had already incurred a debt of .^300 and upward to Alexander Alexander, a builder, and ;^ioo and upward to William Williams, a painter, for scenery. CHAPTER XII. DOUGLASS AT ANNAPOLIS. THE PLAYERS IN MARYLAND A COMPLETE LIST OF PERFORMANCES — MORE THEATRICAL VERSE CHANGES IN MR. DOUGLASS* COM- PANY GUESSES CONCERNING THE PLAYERS. FROM Philadelphia Mr. Douglass made his way into Maryland, where there were no laws prohibiting " stage-plays," and at once began to give performances in the smaller towns of that Province. This is apparent from an announcement in the Maryland Gazette of the 7th of February, 1760, in which it was said, "by permission of his excellency the governor a theatre is erecting in this city which will be opened soon by a company of comedians who are now at Chester- Town." In spite of what Dunlap wrote about Annapolis having the luxury of a brick theatre as early as 1752, it is plain from this that there, as at New York, at Philadelphia, indeed everywhere, Mr. Douglass was compelled to build a play-house before he could give plays. By the 3d of March, however, he was ready to begin his season, and he continued the campaign until the middle of May. The season was a long one for a little city such as Annapolis was at that time — it would be far too long for Annapolis as it is to-day. The list of performances is the most interesting in our early theatrical history, because it is the only one before the Revolution, with the exception of that at Charleston, in 1773-4, that is complete. This completeness 8 ("3) 1 14 HISTORY OF THE AMERICAN THEATRE. is due to the publisher of the Maryland Gazette, who printed, when the season closed, a full list of the pieces produced. In this way a List of Performances. record was preserved that is in- J^So. teresting, not only because it is March 3 — Orphan Otway Lethe Garrick the first one of its kind, and con- 6 — Recruiting OfBcer . . . Farquhar Miss in her Teens . . .Garrick SCqucntly an almost unique con- s-Venice Preserved . . . .Otway tribution to history, but as the Mock Doctor Fielding ID— Richard III Shakspere first instance in which an Ameri- Miller of Mansfield . . Dodsley . , • , 1 ,1.1 13-Provoked Husband . . Vanbrugh ^^^ journalist showed that he Stage Coach Farquhar possessed an appreciation of the 15 — Fair Penitent Rowe Anatomist Ravenscroft fact that matters relating to the 20 — Beaux' Stratagem . . . Farquhar . 1 . t- ii_ n ^ , ^ ^ theatre are news, liven the Fenn- Lethe. 22— George Barnwell Lillo sylvania Gazette seldom mentioned Lying Valet Garrick 24— Busybody Cendivre the theatre at all, and never once oc ocor. jjj jj. condescend in these early 27 — Revenge Young Lying Valet. days of the American drama to 29 — A Bold Stroke for a Wife, Ce'ntlivre . - , Damon and PhiUida . . . Gibber Comment on the merits of the April 7-Romeo and Juliet . . Shakspere performers. The Same thing was Stage Coach. 8— Provoked Husband. true of Gaine's Mercury. As Honest Yorkshireman . . Carey r • r .■ r ,1 9_Othello Shaispere sources of information for the Devil to Pay Coffey historian it is only their advertis- 10 — Constant Couple . . . Farquhar Devil to Pay. ing columns that contain the facts 1 1 — Romeo and Juliet. , , , . , , , . , . . Miss in her Teens. t^at comprise the history of the J 2— Suspicious Husband . . Hoadly American theatre. There is no Mock Doctor. 14— Richard III. reason to doubt that the prologues Hob in the Well .... Gibber , -, ^1 ^ • 11 (Mr. Douglass' Benefit.) ^^ epilogues that Occasionally , 15— Fair Penitent. appeared in them were paid for. Lying Valet. (Mr. Palmer's Benefit.) as were also the communications DOUGLASS AT ANNAPOLIS "S in defence of the drama, whatever may have been the case with the dull essays that were often printed against it. A more liberal spirit prevailed in the office of the Mary- land Gazette. When Douglass'com- pany appeared in the " Orphan " at Annapolis there was for the first time in any American newspaper an article^ upon the performance in the nature of dramatic criticism. It is, to be sure, only hearty com- mendation, but it is something to know that Douglass' company was able to please its Maryland patrons. This criticism, together 1 6 — Venice Preserved. Devil to Pay. (Mr. Murray's Benefit.) 17 — Provoked Husband. Honest Yorkshireman. (Mrs. Douglass' Benefit.) 19 — Revenge. Lethe. (Mr. Hallam's Benefit.) 22 — Beaux' Stratagem. Lying Valet. (Mrs. and Miss Dowthwaite's Benefit.) 23 — Orphan. Lethe. (Miss Crane's Benefit.) 24 — Constant Couple. Honest Yorkshireman. (Mr. Morris' Benefit.) May 5 — Douglas. Virgin Unn\asked . . . Fielding (Mr. A. Hallam's Benefit.) 8 — Merchant of Venice . . Shakspere Lethe. (Mrs. Morris' Benefit.) 12 — Gamester Moore Toy Shop Dodsley (Mr. Scott's Benefit.) with the prologue and epilogue, was printed on the 6th of March. The prologue was spoken by Mr. Douglass and the epilogue by Mrs. Douglass. The name of the local poet, who was so highly praised in the Gazette, has not been preserved. While no great literary merit can be claimed for these pro- ductions they were creditable to their author and to the occasion for 1 Critique. — Monday last the Theatre in this city was opened when the tragedy of Orphan and Lethe (a dramatic satire) was per- formed in the presence of his Excellency the Governor to a polite and numerous audience who all expressed their satisfaction. The principal characters both in the play and enter- tainment were performed with great justice, and the applause which attended the whole representation did less honor to the abilities of the actors than to the taste of their auditors. For the amusement and emolument of such of our readers as were not present we here insert the Prologue and Epilogue, both written by a gentleman of this Province whose poetical works have rendered him justly admired by all encouragers of the liberal arts. ii6 HISTORY OF THE AMERICAN THEATRE. which they were written. They are both The Maryland Poems. Prologue spoken by Mr. Douglass. Lo ! to new worlds th' adventurous muse conveys The moral wisdom of dramatic lays ! ' She bears thro' ocean Phoebus' high command, And tunes his lyre in fair Maria's land ; O'ertakes his sun, communicates his fires, And rising bards in Western climes inspires. See ! Genius wakes, dispels the former gloom. And sheds light's blaze, derived from Greece and Rome. With polished arts wild passions to control ; To warm the breast and humanize the soul ; By magic sounds to vary hopes and fears ; Or make each eye dissolve in virtuous tears ; 'Til sympathizing youths in anguish melt. And virgins sigh for woes before unfelt ! Here as we speak each heart-struck patriot glows With real rage to crush Britannia's foes I To quell bold tyrants, and support the laws. Or, like brave Wolfe, bleed in his country's cause ! Europe no more sole arbitress shall sit, Or boast the proud monopoly of wit ; Her youngest daughter here with filial claim, Asserts her portion of maternal fame ! Let no nice sparks despise our humble scenes. Half buskin'd monarchs and itin'rant queens ! Triflers 1 who boast they once in tragic fury Heard Garrick thund'ring on the stage of Druiy ! Or view'd, exulting, o'er each gay machine. The feats of Govent Garden's Harlequin ! Athens, from such beginnings mean and low. Saw Thespis' cart a wondrous structure grow ; Saw theatres aspire, and with surprise. Ghosts, gods or demons, or descend or rise. To taste, from censure draw no rash pretence, But think good nature the sure test of sense. As England's sons attend to reason's strains. And prove her blood flows richly in your veins ; Be what we act, the heroes of our parts, And feel that Britons here have Roman hearts. Epilogue spoken by Mrs. Douglass. Well ! — since the dreadful business is all over. How strange a creature is your furious lover ? racy of the soil. To the players they must have proved an unexpected pleasure after the se- verity of their experi- ences in New York and Philadelphia. They at last found themselves in a community where the drama was not only not despised but which took a hearty and gener- ous interest in them as the exponents of dram- atic art. Even the lines themselves show that in "Maria's land " at that time badinage was not looked upon as neces- sarily bad, and, perhaps, upon the whole, the verses are more charac- teristic than any that were spoken from the American stage before the Revolution. The allusion in the prologue to "Garrick thundering DOUGLASS AT ANNAPOLIS. "7 on the stage of Drury" was evidently aimed at the American or Anglo- American boasters, who arrogated to themselves superior dramatic taste, because they had seen the greatest actor of that age in England. These, of course, would admit no excellence on the Colonial boards. The epilogue, on the con- trary, compliments the "provincial fair ones" be- cause of their freedom from metropolitan vices and the false spirit of British belles. Local allusions in a newly, settled country are al- ways gratefully accepted, and so these productions of the Maryland muse, coming as they did from Your hot-brained spark ! who for a httle jilting, Blasphemes the sex, swaggers and runs a tilting ! Without the least regard to virgin-fear, As tho' he had been married — a whole year. " Why sure — we now must lead most happy lives, — If slaves rebel against their sovereign wives ! — Had poor Monimia been like one of us The wretch had never dared to use her thus ! By marriage-articles we stand prepared, And fellows by our settlements are scared ! Th' exclusion of a night shall they take ill, — Or, for a husband — ^must we quit quadrille ? When pin-money's secur'd if they turn Hectors, We'll plague them worse than by stale curtain-lectures, With play, rout, op'ra, masquerade and ball, And the nocturnal joys of dear Vauxhall." But you, provincial fair ones, with meek merit Detest such practices of female spirit ! Here none but planters of a field are found, While there the planters of the head abound ! From whence arise such plenteous crops of horn As well may vie in growth with Indian corn. You saw how fortune favors younger brothers, The finer gentlemen and brisker lovers ! Sly Polydore ! — ^he stole into her arms. While the delicious theft improv'd her charms. From such a feat, pray, how could she defend her, Or know by instinct spouse from a pretender ? Reasons like these. Ladies, I own are strong, And all confess Castalio in the wrong ! Yet, think, he came with beauty's charm inspir'd, By love and glowing expectation fired — Then — then — to meet a balk — ^in such a season ! — Ah ! — it might well deprive him of his reason ! Yet still, — impatience causes man's undoing ! — Next night had been as well and saved his ruin ! The bride might sure have kept th' affair unknown, And told all other secrets — ^but her own ! Then the good man, ere honey-moon was past, Might find his fit too violent to last. And grown at once most careless and well-bred. In the fifth week sneak to a sep'rate bed. the lips of Mr. and Mrs. Douglass, must have seemed to the good people of Annapolis more complimentary and significant than they really were. Besides, they ii8 HISTORY OF THE AMERICAN THEATRE. have interest in the fact that they were the first original productions recited on the stage under the Douglass management. The casts of the Annapolis season that were preserved are only five in number, but they give an interesting insight into the resources Venice Preserved. that were open to an energetic Duke. .• Mr. Morris manager even at that early period. P™ili Mr. Douglass Thg first of these is the cast of Jaffier Mr. Palmer Pierre Mr. Hallam Otway's " Venice Preserved," pro- Renault Mr. Scott , J ii ^r- J i- ■ ■>. fMr. A Hallam ^"'^^'^ °" ^^^ *"^^ ^"^^mg night. Conspirators | Mr-^^ouglass ^^^^^ f^^^ ^j^^ ^^^^^ j^ contains Eel^'-iera Mrs. Douglass j^. jj^^g interest as the first Ameri- can cast extant of this tragedy. It had been previously produced at New York at the theatre on Cruger's Wharf, with Mrs. Douglass as Belvidera, as a matter of course. Fai r Penit ent. Mr. Harman was probably the Scioko Mr. Scott Altamont Mr. Hallam Jaffier. The next cast is that of Horatio Mr. Palmer 1 ,, -r^ • -n ■ ) 1-1 Lothario Mr. Douglass the Fair Penitent, ' which was j^^^^^^ ^^_ ^^^^ presented a week later. On this ^aiista Mrs. Douglass Lavinia Mr?. Morris occasion Mrs. Douglass resumed Lucilla Miss Dowthwalte the part of Calista, which had been played in Philadelphia by Mrs. Harman. This is the first occasion, also, when Mrs. Morris is set down for an important role, and George Barnwell. it is the first mention of Miss Thorowgood. ^l^^^^r Dowthwaite. "George Barnwell" George Barnwell Mr. Hallam ° Trueman Mr. Morris ^ was the third of the pieces adver- Uncle Mr. Murray Blunt Mr. Scott tised. In this occurs the suggest- f;":^°°^ ^Z^"^^"^ ivenameof Mr. Murray, and for Mana Mrs. Moms -^ Lucy Miss Crane the first time the name of Miss DOUGLASS AT ANNAPOLIS. 119 A Bold Stroke for a Wife. Crane, who played Lucy. The cast of "A Bold Stroke for a Wife," which followed, reveals apparently the full strength of the company at this time, with the exception of Miss Crane. Mrs. Dowthwaite's first recorded appearance was made in this piece. The cast of "Othello" is especially noteworthy, this being the first time Mr. Douglass is positively known to have played the Moor. Besides the parts indicated by these casts we Sir Philip Morelove Mr. Murray- Periwinkle Mr. Palmer Tradelove Mr. Morris Obadiah Prim Mr. Scott Colonel Fainwell Mr. Douglass Freeman Mr. Hallam Sackbut Mr. Scott Quaking Boy Mr. A Hallam Mrs. Lovely Mrs. Douglass Mrs. Prim Mrs. Morris Betty Mrs. Dowthwaite Masked Lady Miss Dowthwaite Othello. know only that Mr. Palmer played Townly in the "Provoked Husband," and Mr. Hallam Shy lock in the "Jew of Venice." Had these casts, few as they are, been lost we should have missed a pecu- liar phase in our early theatrical history. They show that with the exception of Mr. Morris and the immediate members of Mr. Douglass' family the company was entirely different from the origi- nal organization. Instead of Mr. Harman was Mr. Palmer, who had previously appeared only for benefits; Mrs. Harman was succeeded by Mrs. Morris, and for Messrs. Allyn and Tomlinson and their wives were substituted Mr. Murray and Mrs. and Miss Dowthwaite and Miss Crane. Mrs. Morris was the wife of the comedian, Owen Morris. It would be interesting to know more of this actress than the destroying hand of time has left to us. Whether she came to the Colonies with her Duke Mr. Murray Othello Mr. Douglass lago Mr. Palmer Cassio Mr. Hallam Roderigo Mr. A. Hallam Desdemona Mrs. Douglass Emilia Miss Crane I20 HISTORY OF THE AMERICAN THEATRE. husband or whether her Annapolis appearances were her first season on the stage is not told anywhere, but from this time until her death she was a regular member of the company. Mr. Murray may have been the Murray who was Thomas Kean's partner, in 1750-52. Some reason for this supposition may be found in the fact that he seems to have made Annapolis his home. The Dowthwaites and Miss Crane continued with the company for some time. From her parts Miss Crane seems to have been an actress of experience, what- ever may have been her merit. How came Mr. Douglass to secure these recruits, and why were the members of his company, who were with him before and afterward, absent from Annapolis ? These questions are not easily answered, but the Annapolis season shows that even at that early period, it was possible to reorganize a theatrical company in America upon short notice. When the season at Annapolis closed on the 8th of May, an epilogue addressed to the ladies was spoken by Mrs. Douglass. This, Address to the Ladies. uj^g ^^i^ prologue and epi- Ye gen'rous fair, ere finally we part, j^ spoken on the Open- Accept the tribute of a grateful heart; O'erlooking faults, and lib'ral of your favors ing night, WaS also printed You've smiled indulgent on our weak endeavors. - • i nr 7 i ^ Our wand'ring theatre, o'erpaid and graced 1" the Maryland Gazette. As Now hails your bounty and proclaims your taste, ^^ mention is made of its While all those charms of person, so refined. Shine brighter from the splendor of your mind. having been specially Writ- Blush not to own you caught the noble fire, . , . . Which high-wrought scenes and tragic strains inspire. , ^n for the OCCasiOn, it may Blush not, that for imaginary woes, ^g assumed it was the same Your tender bosoms heav'd with real throes. Think, while those tears in humid lustre roll, Mrs. DouglaSS WaS aCCUS- They testify benevolence of soul. , , . 1 . • -i T,, „ ' . c . . ,, A- , ^ tomed to speak at similar 1 hese, nowmg for heroic worth distrest, '^ Speak the rich virtues of a female breast ! ^ farewells. If this WaS SO, — Should lovers sneer at these, — oh, scorn their suit. The worst of coxcombs is the unfeeling brute. however, the address mUSt DOUGLASS AT ANNAPOLIS. 121 have been adapted to the occasion, in order to pay a compliment to " fair Mary- land." It may be said here, as a logical deduction of this thought, that Mr. Douglass in no way showed his skill as a manager more clearly than in the flattery he was careful to prepare for his patrons. His desire to please made him subser- vient, but in this no doubt was the secret of his success. — Nay — should the formal prude in peevish age Rail at the comic humors of the stage; — Then say — you're proud those patterns to enjoy, Who teach the world and rationally toy. Say that true mirth, to vicious minds unknown Is the just claim of innocence alone ; That characters of jilt, rake, knave and fool Are best expressed by moral ridicule ! And maids are arm'd by each instructive plan 'Gainst all the wily arts of dang'rous man. Oh, may your influence still propitious prove, To cheer our distant labors as we rove ! Till sister colonies assert our cause And their's resound fair Maryland's applause. To aid the muse, if still such circles shine. Brave youths shall glow with sentiments divine, Love's vot'ries thence shall merit Britain's praise, And kindle into patriots as they gaze ! While gen'rous excellence their heart inflames France shall droop conscious of her painted dames, And still deplore the triumphs of our arms Till Gallic beauty rivals English charms. In spite of Mrs. Douglass' of their "wandering theatre," the Upper Marlborough Performances. 1760. May 22 — Douglas Home Lethe Garrick 26 — Provoked Husband . . Vanbrugh Virgin Unmasked . . . Fielding June 2 — Beaux' Stratagem . . . Faiquhar Miss in her Teens . . . Garrick 9 — Richard III Shakspere Miller of Mansfield . . . Dodsley 16 — Revenge Young Devil to Pay Coffey 24— Gamester Moore Lethe. July I — Romeo and Juliet . . . Shakspere Miller of Mansfield. way to William.sburg, playing there allusion to the " distant labors " thespians went no further than Upper Marlborough as their first stage. The company remained at that place more than six weeks, advertising one perform- ance weekly in the Maryland Gazette during their stay. After the close of the Upper Marl- borough season a hiatus occurs in the recorded wanderings of Mr. Douglass and his forces, but subsequently they made their in the winter of 1760-61. CHAPTER XIII. DOUGLASS IN RHODE ISLAND. A SUCCESSFUL SEASON AT NEWPORT IN 1 76 1 TWO BENEFITS FOR THE POOR PLAYING IN DISGUISE WERE THERE TWO NEWPORT SEASONS ? THE COMPANY AT PROVIDENCE ACT AGAINST STAGE- PLAYS. WHEN the Williamsburg season closed Mr. Douglass and his company made their way to Newport, Rhode Island, where they played during the summer of 1761. Imitating the example of his predecessor, Hallam, Douglass seems to have provided his com- pany with a certificate vouching for their conduct and capacity, for it was said in a letter from Newport, dated November 3d and printed in Gaine's Mercury on the 9th, that " the character they brought from the Governor and gentlemen of Virginia " had been fully verified. This certificate was that " they were capable of entertaining a sensible and polite audience," and the Newport writer adds that the behavior of the company at that place was irreproachable; " and with regard to their skill as players the universal pleasure and satisfaction they have given is their best and most honorable testimony." Notwithstanding this satisfactory testimony to the presence of the players at Newport in the summer and autumn of 1 761, it has been found impossible to obtain anything like a complete account of what was unquestionably the first theatrical incursion into New Eng- (122) DOUGLASS IN RHODE ISLAND. 123 A Newport Play-Bill. land. No file of the Newport Mercury for that year exists, and owing to a visit which Douglass made to Providence, and perhaps to New- port, in 1762, there is a confusion of dates in the local histories that it is difficult to unravel. There are only three publications extant in relation to the drama at Newport at this early period. The first of these is a play- bill, which John Bernard copied many years afterward from one that had been preserved by Mr. Morris. As the year is not given there is a doubt whether it applies to 1 76 1 or 1762. The names in the cast afford no assistance in determining the question. The only one in the list that is new is that of Mr. Quelch, who succeeded Ki^zxn.Yi-aSS.'axa.zsRoderigo. Quelch was with the company in New York during the season of 1 761-2, and so he may have been at New- port either year or both. Indeed it is certain that he was at Provi- dence in the latter year. Was this an announcement of a play in disguise? It is evident that "Moral Dialogues in Five Parts" meant a play, but it does not fol- low that this disguise was due to King's Arms Tavern, Newport, Rhode Island. On Monday, June 10, at the Public Room of the Above Inn, will be delivered a Series of MORAL DIALOGUES, IN FIVE PARTS, Depicting the Evil Effects of Jealousy and other Bad Passions, and Proving that Happiness can only Spring from the Pursuit of Virtue. Mr. Douglass will represent a noble and magnanimous Moor named Othello, who loves a young lady named Desdemona, and after he has married her, harbors (as in too many cases) the dreadful passion of jealousy. Of jealousy, our being's bane, Mark the small cause, and the most dreadful pain. Mr. Allyn will depict the character of a specious villain, in the regiment of Othello, who is so base as to hate his commander on mere suspicion, and to impose on his best friend. Of such characters, it is to be feared, there are thousands in the world, and the one in question may present to us a salutary warning. The man that wrongs his master and his friend, What can he come to but a shameful end ? Mr. Hallam will delineate a young and thoughtless officer, who is traduced by Mr. Allyn, and, getting drunk loses his situa- tion, and his general's esteem. All young men, whatsoever, take example from Cassio. The ill effects of drinking would you see? Be warned and keep from evil company. 124 HISTORY OF THE AMERICAN THEATRE. legal prohibition. A comparison with the Providence hjU after the passage of the Rhode Island Act to prohibit plays shows no simi- larity between the two announce- ments. The play and farce were given " gratis " at the new school- house in Providence, but the "Concert of Music," as a matter of course, was not free. It was only possible to witness the dra- matic performances by paying for the concert. As there is nothing of this in the Newport bill, it- seems probable that "Othello" and the other pieces given at the King's Arms were called " Moral Dialogues" only because they were not produced in a theatre. As there probably was neither stage nor scenery, no better de- scription of the performances was possible than that of "moral dia- logues." The second publication shows conclusively that the com- pany was at Newport in 1761, but it sheds no light upon the date of the play-bill. As will be seen, it is an account of a charity perform- ance which took place at Newport, September 7th, 1761. The Mr. Morris will represent an old gentleman, the father of Desdemona, who is not crael or covetous, but is foolish enough to dis- like the noble Moor, his son-in-law, because his face is not white, forgetting that we all spring from one root. Such prejudices are very numerous and very wrong. Fathers beware what sense and love ye lack, 'Tis crime, not color, makes the being black. Mr. Quelch will depict a fool, who wishes to become a knave, and trusting one gets killed by him. Such is the friendship of rogues — take heed. When fools would knaves become, how often you'll Perceive the knave not wiser than the fool. Mrs. Morris will represent a young and virtuous wife, who being wrongfully sus- pected gets smothered (in an adjoining room) by her husband. Reader, attend ; and ere thou goest hence Let fall a tear to hapless innocence, Mrs. Douglass will be her faithful attend- ant, who will hold cut a good example to ' all servants, male and female and to all people in subjection. Obedience and gratitude Are things as rare as they are good. Various other dialogues, too numerous to mention here, will be delivered at night, all adapted to the improvement of the mind and manners. The whole will be repeated on Wednesday and Saturday. Tickets, six shillings each, to be had within. Com- mencement at 7, conclusion at half-past lo, in order that every spectator may go home at a sober hour and reflect upon what he has seen before he retires to rest. God save the king And long may he sway East, North, and South, And fair America, DOUGLASS IN RHODE ISLAND. 125 letter was dated at Boston, and was printed in Parker's Gazette ' (New York) on the ist of October. The part in brackets is apparently Parker's comment. This shows that there was a building called the theatre in Newport, in September, 1761, whatever may have been the case in June. The play-house stood at Easton's Point, near Dyer's Gate, in the north part of the town. It is said this theatre was blown down in a gale, the company narrowly escaping with their lives. The gale must have occurred in May, or early in June, 1762, as the season for 1761 closed without mention of any such catastrophe.' It is evident from all this, especially from the ac- ' First Newport Benefit. — Boston, Sept. 21. We hear from Newport, Rhode Island, that on Monday the 7th inst. the comedy of the Provoked Husband, or Jour- ney to London was acted at the theatre by the company of comedians in that town for the benefit of the poor; when the sum of One thousand and thirty pounds, Old Tenor (about fifty pounds Massachusetts lawful money) was raised for that charitable purpose and the money paid by Mr. Douglass in behalf of the company into the hands of Mr. George Gibbs who has undertaken to lay it out in com which he is to store till the winter and then deal it out to such of the poor as shall be * Second Newport Benefit. Newport, Nov. 3. On Friday evening last the company of comedians finished their performances in this town by enacting the tragedy of " Doug- las " for the benefit of the poor. This second charity is undoubtedly meant as an expression of gratitude for the countenance and favor the town has shown them; and it cannot without an uncommon degree of malevolence be ascribed to an interested or selfish view, because it is given at a time when the com- pany are just leaving the place, and conse- judged worthy to receive. [This money is surely well applied as the drought of the summer it is feared will render the article of corn scarce and dear the ensuing winter: And what will be the distress of the poor on that account is matter worthy of attention Railing against vice, luxury and de- bauchery is a cheap and empty sacrifice; but to relieve the distresses of our fellow creatures and to visit the widow and father- less are the happy effects of the only true and undefiled religion ; for without benevolence and charity every pretension to reformation will be as sounding brass or a tinkling cym- bal.] quently can have neither fear nor hope firom the public. In return for this generosity it ought in justice to be told, that the behaviour of the company here has been irreproachable : and with regard to their skill as players the universal satisfaction they have given is their best and most honorable testimony. The character they brought from the Governor and gentlemen of Virginia has been fully verified, and therefore we shall run no risk in pronouncing " that they are capable of enter- taining a sensible and polite audience." 126 HISTORY OF THE AMERICAN THEATRE. count of his second benefit for the poor in Gaine's Mercury, that Mr. Douglass had a prosperous season in Newport in 1761, and it is not unlikely that his success tempted him to make a return visit to Rhode Island's capital the next year. It is assumed by some of the local historians that when Mr. Douglass first applied for permission to act at Newport a license was refused, but afterward granted. This may have been in 1761. When Providence Advertisement. "Othello" was presented at the . , ,.T c ,. rr^^ ■ r, J King's Arms Inn in disguise, there At the New Scnool House in Providence on v ' Thursday next, being the 1 2th of August will is some reason for believing the be performed, A Concert of Musick, year was 1 762, as the statement is Vocal and Instrumental j ^i. j. ii_ , , . „ ^ o /-i.ri 1 made that the company went to begin exactly at seven OClock. *^ •' Vivat Rex. from Newport to Providence. Between the several Parts of the Concert will be presented (gratis) A Tragedy, call'd the I" Providence the opposition to Sciolto . . ^^."'. ^■^';™; . Mr. AUyn stage-plays was very pronounced, Altamont Mr. Queich but Douglass built " the new Lothario Mr. Hallam Horatio Mr. Douglass school-house " in Meeting Street, Rossano Mr. A. Hallam ^ r -n r, <^. Calista Mrs. Douglass ^^'* °^ ^^"^^^^ Street, as appears Lavinia Mrs. Morris from an advertisement in the New- Lucilla Mrs. Hallam To which will be added (gratis) A port Mercury on the lOth of Pastoral Farce call'd \ , 1 r Damon and Philuda. August, and gave performances ^"""°'' .V^^^?!' for several weeks in defiance of Mopsus Mr. Queich Cymon Mr. A. Hallam the popular Sentiment and a vote Phillida Mrs. Morris Areas Mr. Allyn °' ^"^ town. What information we ^°^t°° ^ ■■:„•.■ V ■ ■ ^'■' ^°'^ l^ave in regard to this Providence N.B. There will be a Concert on Friday and on every Day next week except Saturday. season is derived from William Goddard, afterward publisher of the Pennsylvania Chronicle, who opened a printing office in Providence in 1762. One of the first DOUGLASS IN RHODE ISLAND. 127 things that Goddard printed was a play-bill. This was in June, the month of the disguised performance at Newport. In a letter to Isaiah Thomas, the author of the " History of Printing," Mr. Goddard says, "much company from Boston, etc., attended the theatre and were highly gratified. The theatrical campaign was short. Party politics occasioned the suppression of plays." It is asserted in Peter- son's " History of Rhode Island " that when the Act' demanded by the people of Providence was passed Paul Tew brought it in his pocket from Newport and the same evening, at the close of the performance, proclaimed it from the stage. If Mr. Peterson had taken the trouble to examine the original authorities he would have found that the ^ An Act to Prevent Stage Plays and other Theatrical Entertainments within this Col- ony. For preventing and avoiding the many mis- chiefs which arise from public stage-plays, inter- ludes and other theatrical entertainments which not only occasion great and unnecessary ex- penses and discourage industry and frugality but likewise tend generally to increase im- morality, impiety and contempt of religion. Be it therefore enacted by this General Assembly and by the authority thereof it is enacted that immediately from and after the publication of this Act, no person or persons whatsoever shall or may for his or her gain or any price or valuable consideration, by or under any pretence whatsoever, let or suffer to be used or improved, any house room or place whatsoever in this colony, acting or carrying on any stage-plays, interludes or other theatrical entertainments, on pain of forfeiting and paying for each and every day or time such house room or place shall be let, used or improved, contrary to the true intent and meaning of this Act £$0 lawful money. ******** And whereas by a petition preferred to this Assembly by a number of inhabitants of the County of Providence setting forth that a number of stage-players have lately appeared and a play-house hath lately been built in said town of Providence ; that the inhabitants of said town, being legally called by warrant, did at their late town meeting by a great majority pass a vote that no stage-plays be acted in said town; yet the actors thereof, in defiance of said vote and in defiance of the public authority of said town have been and are now daily continuing to exhibit stage- plays and other theatrical performances; — Be it therefore further enacted by the authority aforesaid that in order more speed- ily to cause this Act to be proclaimed where those present may have the earliest notice thereof, that his Honor the Governor be and is hereby requested to issue a warrant directed to a proper ofEcer or officers in said county of Providence directing him or them on sight or receipt thereof to immediately proclaim the aforesaid Act by beat of drum through the streets of the compact part of said town of Providence; any law, custom, or usage to the contrary hereof in any wise notwithstanding. 128 HISTORY OF THE AMERICAN THEATRE. Act was passed at East Greenwich on the 30th of August, 1762, not at Newport. According to the Act of the Rhode Island As- sembly "a play-house hath lately been built in said town of Provi- dence " ; while according to Mr. Douglass' advertisement, the concerts for which he charged and the plays and farces that were performed " gratis " were given in " the new school-house." There is no reason to doubt that the school-house was in fact a theatre, being so called as part of the scheme to evade the town prohibition. This is probably the only time in the history of the drama when a theatre was called a school-house, but what seems humorous now must have been ex- ceedingly serious in 1762. These two seasons at Newport and Providence were the first and last times that a company of comedians was able to obtain a hearing in any part of New England before the Revolution. CHAPTER XIV. CHAPEL STREET THEATRE, NEW YORK. MR. DOUGLASS BUILDS ANOTHER NEW THEATRE THE SEASON OF 1 76 1-2 IN NEW YORK — BALANCE-SHEET OF A BENEFIT FOR THE POOR CURIOUS GLIMPSES OF THE THEATRICAL MANNERS AND CUSTOMS OF THE TIME. BETWEEN his first and last campaign in Rhode Island Mr. Douglass played a brief season in New York. As early as the 20th of August, 1 76 1, the New York Gazette announced that the previous week Mr. Douglass had obtained permission from the Lieutenant-Governor, Cadwallader Colden, " to build a theatre to per- form in this city the ensuing winter." Thus we see that while the company was still playing a summer engagement at Newport Mr. Douglass was in New York, making preparations for the work of the winter. Theatre-building was an essential part of these preparations, even in New York. The building on Cruger's Wharf had been abandoned, and the new theatre was erected in Beekman Street, a short distance below Nassau, on the south side of what was then called Chapel Street. The Chapel or Beekman Street Theatre was the third theatre erected in New York. When Mr. Douglass made his application for authority to build this theatre, one of the New York papers opposed to the enterprise declared that if the request was acceded to the company would cost the city ;£'6,ooo. To this Mr. 9 ('29) 130 HISTORY OF THE AMERICAN THEATRE. Douglass replied with an array of figures that is as interesting as it is curious. He estimated the cost of the theatre at ^1,625. The house held only ;^i8o, or ;^450. For a season limited to two months or six- teen nights — the limit was rigidly insisted upon — ^the average receipts were estimated at ;^300 per night, a total of only ^4,800. The outlay of the season was set down at ;^ 1,000 for scenery and ^39.07 per night for current expenses, amounting for the sixteen nights to ;^250, or ^^625. These figures may be tabulated as follows : Probable receipts, l6 nigbts, $4,8oo Cost of the theatre, |Sl,62S Cost of scenery, l,ooo Current expenses 625 3,25° Balance, JSi.SSO As salaries and living expenses are not included in this estimate, it will be seen that the expectations of both the manager and the actors were very moderate. The season, which began on the 19th of November and lasted five months, was the last Mr. Douglass was to give in New York for T, a number of years. Originally it List of Performances. ^ b j 1761. was the intention to limit the Nov. 19 — Fair Penitent Rowe Lethe Garrick season to sixteen nights, only two 23 — Provoked Husband . . Vanbrugh „„„r„„,v,„„^„„ „ i u ■ •; ,, , o, , pertormances a week bemg given. 26 — Hamlet Shakspere ^ ^^ ° Honest Yorkshirem*i . . Carey Even the partial list of plays pro- Dec. 4 — Tamerlane Rowe Toy Shop Dodsley duced, which it is possible to re- I8-King Henry IV . . . Shakspere ^^^^^ f^^^ ^^^ newspapers of the Hob in the Well .... Cibber ^ ^ 26 — George Barnwell Lillo time, exceeds the limit. This list, 1762. ^* '^^^1 ^^ observed, includes only Jan. i-Beggars' Opera Gay pj^yg and farccs of the highest 4 — Venice Preserved .... Otway 7— Cato "... Addison character, but notwithstanding CHAPEL STREET THEATRE, NEW YORK. 131 this the opposition to the theatre J^^- 7 — Honest Yorkshireman. 1 1 — Romeo and Juliet . . . 'Shakspere was as determined and bitter as 20-Recruiting Officer . . . Farquhar at any time before or since. Harlequin Collector. 25 — Othello Shakspere The controversy was car- Lying Valet Garrick (Benefit of the Poor.) ried on m the columns of Parker's peb. i-Richard HI Shakspere Gazette. '^ Philodemus " opened "^^- (Benefit of Mrs. Douglass.) the ball with an essay on " The- 4— Theodosius Lee Virgin Unmasked . . . Fielding atrical Entertainments," in which (Bej^^fit ^f Mrs. Morris.) he charged all ladies who attended is-Committee Howard ° (Benefit of Adam Hallam.) the theatre as lacking in modesty, 18 — Douglas Home Harlequin Collector. and declared that play-going had (Benefit of Mr. Douglass.) often proved fatal to the reputa- March I-Romeo and Juliet. ^ (Benefit of Mr. Quelch.) tions of women by criminal assig- 15 — Love for Love .... Congreve . . . . Harlequin Collector. nations and lascivious intrigues. (Benefit of Mr. Hallam.) This was answered by "Amanda" 22— Beaux' Stratagem . . . Farquhar Hob in the Well. on the 14th of December. (Benefit of Mr. Morris.) 2g — Inconstant Farquhar "Amanda" declared that she Miss in her Teens ...Garrick , , , , , 1 ii. (Benefit of Mrs. Hallam.) could only recall one play, the ^^^^,^_)^,^,,^ " Fair Penitent," in which a loose Devil to Pay Coffey (Benefit of Mr. Tomlinson.) amour was carried on, and 19— Distressed Mother .... Philips , , ... Mock Doctor Fielding pointed out how often in plays (Benefit of Mr. Reed.) vice is painted in its most glaring 26-Committee. Honest-Yorkshireman. colors. She called " Philodemus " (Benefit of the Charity School.) an "impudent fellow," and said, "he is some superannuated animal that has past his grand climacteric, and whose earlier time of life has been employed in luxury and debauchery, and now being satiated, concludes that all is vanity and every pleasure criminal." The following week " Philodemus " in a long letter, which the 132 HISTORY OF THE AMERICAN THEATRE. publisher of the Gazette said was well paid for, asked "Amanda" which was the best teacher, the play-house or the Bible ? He resented " Amanda's " stigma upon himself, but was very bitter toward " play- house ladies." Indeed, he even intimated that "Amanda " was herself " a strolling player," an aspersion that she was not slow to resent, say- ing she had written in favor of the theatre some months before the players came. This communication seems to have been printed in Weyman's Gazette, for "Dolly Blithe" next undertook to ridicule "Amanda," telling her that by referring to her former piece in Wey- man's paper, she had discovered herself, since most people knew who it was that laughed so prettily in church and wrote so handsome a vindication of the decency and propriety of it. The opposition to the theatre in New York at this time had two curious phases. One was the readiness with which the opponents of the drama paid for the insertion of their "pieces" in Parker's paper; the other was a surprising fatality among play-goers to lose articles of value at the play-house, and to advertise for them with the intimation that they were stolen. When Dolly Blithe sent her letter to Parker, she remarked that some weighty arguments were enclosed with it. Parker said these arguments were the weight of a dollar. In the dearth of news he hoped his readers would think his being paid for such pieces a sufficient apology for inserting them. At the same time he announced that he had on hand another piece in vindication of the stage, but as it wanted the "proper arguments for its admission," he was in doubt whether he would use it. As it was not used, it may be assumed that no arguments of the weight of a dollar were forthcoming. While this controversy was going on, Thomas Harrison, organist of Trinity Church, advertised for a ring that had been lost coming from CHAPEL STREET THEATRE, NEW YORK. 133 the play.^ His advertisement, without doubt, was genuine, but it was almost immediately followed by another,^ which suggests an effort to bring the theatre into disrepute. It is impossible to imagine anything more injurious to Mr. Douglass' prospects, especially at a time of bitter hostility to the theatre, than mention of the play-house, so soon after Mr. Harrison's advertisement, as if it was the resort of thieves and pickpockets. One of the few play-bills of these early performances which were preserved, was one for the 26th of November, when " Ham- let," and the "Hon- Advertisement in the Newspapers. est Yorkshireman " were given. This bill was exhibited for many years at Windust's Restau- rant, at one time a noted theatrical resort, in Park Row, New York. It is especially valuable Theatre in Chapel Street. By Permission of his Honor the Lieutenant-Governor By a Company of Comedians at the New Theatre in Chapel Street This day will be presented a Tragedy written by Shakspere, call'd HAMLET Prince of Denmark And a Baled Farce, call'd A Wonder ! An Honest Yorkshireman No Person to be admitted without tickets, which are sold by Mr. Hugh Gaine, Printer in Hanover Square. Boxes 8j-. Pit 5-f. Gallery 3^. No Money to be received at the Doors, which will be open'd at Four and the Play begin exactly at Six o'CIock. No Person to be admitted behind the scenes. 1 (From Parker's Gazette, Dec. 10, Harrison, organist of Trinity Church, near 1 76 1.) — Lost coming from the play or con- Mr. Reed's in King Street will have 3 dollars cert a lady's hoop-ring with one stone out; leward and no questions ask'd. whoever will bring the same to Thomas "^ A Lost Letter Case. — New York, De- cember 31, 1761. Lost at the Play-House, on Monday the 28th instant a double black leather Letter Case containing New York and Jersey bills and some Letters and Papers of no use to any Person but the Owner. Who- ever has found the said letter case and bills and will bring them to the Printer of this Paper shall receive Five Pounds reward and no questions asked. N.B. Particulars of the Bills will be left with the Printer. 134 HISTORY OF THE AMERICAN THEATRE. Casts from the Winddst Play-Bill. Hamlet. Hamlet Mr. Hallam King Mr. Douglass Marcellus . . Mr. A. Hallam Guildenstem .... Mr. Sturt Lucianus . . . Mr. Tomlinson Francisco . . . Mr. Tremaine Queen .... Mrs. Douglass Player Queen . . Mrs. Hallam Ophelia Mrs. Morris Honest Yorkshireman. Gaylove .... Mr. Quelch Muckworm . . . Mr. Morris Horatio Mr. Reed Ghost Mr. Quelch Polonius .... Mr. Morris Laertes Mr. Allyn „ ,. f Mr. Quelch Grayediggers | Mr. Tomlinson Blunder Slango , . . Mr. Allyn Mr. A. Hallam because it was the means of preserv- ing the cast of " Hamlet " when Shakspere's mas- terpiece was pro- duced for the sec- ond time on the American stage. The play-bill also SapscuU Mr. Sturt Arabella .... Mrs. Morris Combrush Mrs. Douglass contained a curious announcement/ not printed in the newspapers, which is interesting because it shows the theatrical customs of the period. Later on, Mr. Douglass' advertisements contained a notice^ even more curious. It was aimed at the vice of crowding the stage during the performance, which was copied in this country from a pernicious custom that then prevailed in England. It would be diffi- cult to determine which is the more remarkable, the abuse to which attention is called, or the obsequiousness of the manager. It was im- possible in those days to give the stage to the actors without offense 1 Mr. Douglass to his Patrons. — Mr. Douglass will be obliged to those Ladies and Gentlemen who had not an opportunity to deliver their tickets at the " Provoked Hus- band " to send them to his lodgings at Mr. Keen's, Confectioner on Hunter's Quay. Those Ladies who would have places kept in the boxes will please send a sensible servant to the theatre at 3 o'clock every play-day. New York, November 24, 1761. ^ A Notice. — Complaints hafving been several times made that a number of gentle- men crowd the stage and very much interrupt the performance, and as it is impossible the actors, when thus obstructed, should do that justice to their parts they otherwise would, it will be taken as a particular favor if no gentleman will be offended that he is ab- solutely refused admittance at the stage door, unless he has previously secured himself a place in either the stage or upper boxes. CHAPEL STREET THEATRE NEW YORK. 135 and loss of patronage, and it is only reasonable to suppose that the sgg-throwing episode, a few weeks afterward, grew out of this perni- cious practice. Mr. Douglass made that episode historical by a card which he printed in Gaine's Mercury, a few days after the close of the season of 1761-2. This card Mr. Douglass' Card. proves that the egg, as a vehicle theatre in New York, May 3, 1762. of dramatic criticism, came into ^ Pistole Reward will be given to who- ever can discover the person who was so use early on this Continent. It very rude as to throw Eggs from the Gallery does not follow, however, that on "?- '»^«/'^« last Monday, by which the ' ' Cloaths 01 some Ladies and Gentlemen were this occasion the eggs were spoiled and the performance in some measure interrupted, D. Douglass. thrown as an expression of dis- approbation with the performance or the performers. The proba- bility is that they were aimed at some of the beaus of the period, who, with their powdered wigs, long, stiff-skirted coats, and waistcoats with flaps reaching nearly .to the knees, silk stockings, short-quartered shoes, and silver or paste buckles, were in the habit of crowding the stage or ogling the actresses during the play. That this custom should lead to the resentments of the " gallery gods " was only natural; but it was also the subject of complaints from theatre-goers who went to see the play and the players, and not the fops of the town, as is apparent from Mr. Douglass' half-hearted appeal to the bucks of the town not to take it amiss if he compelled them to pay more than pit prices for the privilege of crowding his stage. In the early part of the season the newspaper advertising was limited and only partial casts were printed. As these included the principal performers in the plays and sometimes in the farces, they will, however, be found interesting. These casts, meagre as they are, show that Mrs. Douglass was still the principal attraction of the com- 136 HISTORY OF THE AMERICAN THEATRE. pany; Mrs. Morris had attained the second place as an actress; Partial Casts. and Mr. Douglass held the front £eau^ Stratagem. ""^^k, sharing the best roles with ^'■'=h'='' ^■•- Hallam Mj-. Hallam. Douglass, it will be Aimwell Mr. Douglass Scrub Mr. A. Hallam observed, was the original Falstaff Mrs. Sullen Mrs. Douglass 1 a • -r^ Beggars' Opera. o" ^^^ American stage. From Captain Macheath .... Mr. Quelch their parts in the " Beggars' Peachum A Gentleman Polly Mrs. Hallam Opera," Mr. Quelch and Mrs. Hal- Lucy Mrs. Morris , , , , , , . ^^^^ lam must have had some claim to Cato Mr. Douglass consideration as singers. In the Sempronius Mr. Hallam Marcia Mrs. Douglass farces Mrs. Hallam and Mrs. Devl^Tpay. ^''' ^°"" ^^"""^ ^'^^''''^ ^he best roles be- J*=°n Mr. Tomlinson tween them. Notwithstanding Nell Mrs. Morris Distressed Mother. the opportunities afforded to these Orestes Mr. Hallam . j ^ .. .1 • • 1 T3 , TIT T^ 1 actors and actresses at this period, Pyrrhus Mr. Douglass J^ ' Hermione Mrs. Morris Mr. Hallam was the only member Andromache Mrs. Douglass Hob in the Well. of the company who earned con- Flora Mrs. Hallam . . • , • j ^ • 1 „ , ,T ^ , ,, stant appreciation and continued Hob Mr. Quelch '^^ Inconstant. promotion by actual merit. The Mirabel Mr. Hallam Old Mirabel ' . Mr. Morris Others, including Mr. and Mrs. Bissarre Mrs. Douglass DouglaSS, were possessed of re- King Henry IV. '■ King Henry Mr. Quelch spectable talents only, a judgment Hotspur Mr. Hallam Sir John Falstaff .... Mr. Douglass 'Or which there is ample contem- love for Love. p^j.^^ evidence. Even in her Valentine Mr. Douglass Ben, the Sailor Mr. Hallam prime Mrs. Douglass was not an Angelica Mrs. Douglass Miss in her Teens. actress of the highest rank, and Captain Flash Mr. Hallam before her career closed she sank Captain Loveit .... Mr. Tomlinson Miss Biddy Mrs. Hallam into a subordinate place. CHAPEL STREET THEATRE, NEW YORK. 137 Mrs. Douglass' Bill. Romeo and Juliet. When the benefits began some oi the beneficiaries printed full casts, both of the play and farce that comprised their bills. The first of these was Mrs. Douglass', on the ist of February, 1762, when " Richard III" and "Lethe" were played. A month later, when Mr.Quelchhadhis benefit, he printed Benvoiio . 'yix"Z"^^m the cast of "Romeo and Juliet " as the parts were distrib- uted this season. A curious fact that is revealed by these bills is the manner in which the parts were doubled. Neither Hallam nor Douglass disdained to appear as two characters in the same play, and Hallam even played the Fine Gentleman and Drunken Man in " Lethe." Taken in Richard III. Richard Mr. Douglass Richmond Mr. Hallam King Henry Mr. Allyn King Edward V . . Mr. A. Hallam Duke of York ... A young master Buckingham .... Mr. Tomlinson Stanley Mr. Morris Lieutenant of the Tower . . Mr. Sturt Catesby Mr. Reed Tressel Mr. Hallam Duchess of York .... Mrs. Crane Lady Anne Mrs. Morris Queen Elizabeth . . Mrs. Douglass Lethe. Lord Chalkstone .... Mr. Allyn jEsop Mr. Douglass Mercury Mr. Sturt Charon Mr. Tomlinson Tattoo Mr. Reed Fine Gentleman .... Mr. Hallam Frenchman Mr. Allyn Old Man Mr. Morris Bowman Mr. Tomlinson Drunken Man .... Mr. Hallam Mrs. Riot Mrs. Douglass Romeo . . Mr. Hallam Prince . . Mr. Douglass Paris . . Mr. Tomlinson Montague . . Mr. Sturt Mercutio . Mr. Douglass Tybalt ... Mr. Reed Friar Laurence .Mr. Allyn Friar John . Mr. Tremaine Juliet . . Mrs. Douglass Lady Capulet . Mrs. Allyn Nurse . . . Mrs. Morris connection with the cast of " Hamlet " these bills show the changes that had occurred in the company since the Philadelphia season of 1759. Mr. and Mrs. Harman, Mrs. Love and Messrs. Home and Scott have disappeared from the casts. Mr. Morris took Harman's place as Polonius in " Hamlet," and Mrs. Morris was the Ophelia instead of Mrs. Harman. Mr. Reed played Laertes instead of Horatio, and Mr. Douglass played the King instead of the Ghost, the latter part going to Mr. Quelch, a new member of the com- pany. Mr. Sturt, who was also new, took Mr. Home's place as 138 HISTORY OF THE AMERICAN THEATRE. Guildenstem. Mrs. Hallam was the Player Queen instead of Mrs. Love. The Francisco, Mr. Tremaine, was probably the ambitious cabinet-maker of Murray -and Kean's Company. In " Romeo and Juliet " Mrs. Morris was the Nurse, instead of Mrs. Harman, and Mrs. Love gave place to Mrs. AUyn as Lady Capulet. Mrs. Douglass was still the Juliet to her son's Romeo. From this it will be seen that the only important changes were the loss of the Harmans. Quelch, Sturt and Tremaine were probably residents of New York, and Scott and Home of Philadelphia, who were called upon to play small parts in their respective cities. Whoever they were, they were performers of little merit, as is evident from their parts and the fact that after a brief service their names disappear from American dramatic history. Mrs. Morris, for her benefit on the 4th of February, published the full casts of " Theodosius " and the " Virgin Unmasked," which ^. ^ , _ comprised her bill, mrs. Morris' Bill. Mr. Douglass' Bill. as did also Mr. ^ Douglas. Theodosius. Douglas Mr. Hallam DouglaSS, On the Varanes .... Mr. Hallam T J T> J 1 1, ivj- T^ ! Theodosius . . . Mr. Morris LordRandolph . Mr.Douglass igth, of the tragedy Marcian ... Mr. Douglass Glenalvon .... Mr. Reed ^ Norval Mr. Morris of "Douglas" and ,^"""' Mr. Sturt r^rr nj- T r Leontme . . Mr. Tomlinson Otncer . . . Mr. Tomhnson , Attendant . . Mr. Tremaine ^^^ pantomime, Aranthes . . Mr. A. Hallam Anna Mrs. Morris " Harleouin Col f^ ' ' ■^'^■^°^^ -i A x> A ^ u 1.x T^ 1 rtarlequm L,Ol- Marina .... Mrs. Hallam Lady Randolph. Mrs. Douglass lector." It will be ^''^""^ M"' ^"y" Harlequin Collector. Julia Mrs. Crane Harlequin ... Mr. Hallam seen that Mr. Mor- Athenais . . . Mrs. Douglass ^^^" ^'- ^"y" ,; . , , . Virgin Unmasked. Magician. . . . Mr. Sturt ris took advantage j^.^^L^^y _ _ .Mrs. Morris Anatomist. . .Mr. Moms of his wife's benefit Goodwill .... Mr. Morris Porter .... Mr. Tomhnson toupee ... Mr. A. Hallam Clown ..... Mr. Douglass to appear in a tra- Quaver ... Mr. Tomlinson Columbine . . Mrs. Douglass tt,^™.,,. tm -d j ^ gedy role. As he ^^"'^^ ^'- ^'^^ was fitted only for comedy parts, his performance of Theodosius could CHAPEL STREET THEATRE, NEW YORK. 139 scarcely fail to be funny. The incident proves that Morris, like most comedians, was ambitious to play tragedy. Besides these casts the only one for the season of 176 1-2 "mock Doctor. that has come down to us was Gregory Mr. Douglass that of the " Mock Doctor," Sir jasper Mr. Morris Leander Mr. Sturt prmted in the advertisement of Robert Mr. A. Hallam Mr. Reed's benefit. In this cast "^^ '^■■- ^"y° Hellebore Mr. Tremaine occurs the name of Mrs. Crane, Harry Mr. Tomlinsou James Mr. Reed who played small parts on several charlotte Mrs. Crane occasions during the season. She °°'<=^ ^^- *^°"^' was probably identical with Miss Crane, who was with the company at Annapolis, in 1760. One of the most interesting incidents of these early days of the American stage was the account rendered by Mr. Douglass of the receipts and disbursements of the "Othello" night for the benefit of " such poor families as are not other- wise provided for." In dollars the expenses were ^46.31 and the re- ceipts ;^332.s6, leaving as the fund for the poor ;^286.25. All that the actors obtained from the performance was wine to the amount of two A Benefit Account. £. s. d. Box tickets sold at the door, 116 at 8j. . . .46 8 Pit tickets sold at the door, 146 at S^. ... 36 10 Gallery tickets sold at the door, 90 at 3^. . .13 10 Cash received at the doors 36 12 6 £m Charges. To candles, 26 lb. spermaceti, at 3J. dd. . . \ , To candles, 14 lb. tallow, at u / To music, Messrs. Harrison & Van Dienval . 3 12 To the front doorkeeper, i6j., stage door- keeper, %s I 4 To the assistants, I3J'., bill-sticker, 4r. . . . 17 To the men's dressers, 41 "J To the stage-keeper, 32r \ 2 To the drummer, 4f _) To wine in the second act 2 To Hugh Gaine for two sets of bills, advertise- ments and commissions S '° Balance, £i\i„ loj. £\?> 10 6 140 HISTORY OF THE AMERICAN THEATRE. and six. It is not likely their own benefits brought to any one of them anything like this sum. To their benefit announcements, how- ever, we owe all that we know of the personal history of these for- gotten actors and actresses. From Mrs. Douglass' advertisement it is learned that Mr. and Mrs. Douglass no longer lodged at Mr. Keen's, confectioner, on Hunter's Quay, but were living in Chapel Street, near the theatre. Mr. and Mrs. Hallam, on the contrary, had lodgings in Nassau Street. These facts, apparently so unimportant, settle the question of the identity of the Mrs. Hallam in the casts, showing that she was Mrs. Hallam, the wife, not Miss Hallam, the sister, of Lewis Hallam. We learn also that Adam Hallam's benefit was postponed in consequence of the illness of Mrs. Morris, his announcement * to this effect being made in Parker's Gazette, February nth, 1762. The advertisement was printed in two lines across the bottom of the page of Parker's paper. Mr. Quelch lodged " at Captain Crew's next door but one to the theatre," and Mr. and Mrs. Morris " at Mr. Earle's, Hatter, at Beekman's Slip." On the i8th of March, Mr. Morris By Particular Desire Mr. Morris has changed announced a change of mind in his Play from RICHARD to the , , . r 1 r 1 • 1 BEAUX' STRATAGEM. ^he choice of a play for his benefit, The Entertainment as before mentioned; and worded in the quaint phraseology hopes it will be agreeable to the Ladies and Gentlemen of the City. of the time. That a comedian should have selected a tragedy in the first instance for such an occa- sion is one of those incongruities of which theatrical history is full. It is not likely that aiiy of the benefits this season yielded a rich harvest, for it must be confessed that players were not popular at that 1 A. Hallam's Announcement. — Mr. A. it will certainly be acted, as another Performer Hallam is sorry to acquaint the town that he will be ready in the character of Mrs. Day is under the disagreeable necessity of again should Mrs. Morris's indisposition continue, postponing his Play till Monday next, when CHAPEL STREET THEATRE, NEW YORK. 141 time, except among a small class of play-goers. Opposition to the drama was not the only cause of hostility to the stage. Even before the passage of the Stamp Act a strong republican sentiment had grown up in America and especially in New York. Actors were not only unpopular as actors, but, being English, they were looked upon as sympathizing with British aggression. As early as 1764 this feeling took offensive shape in wrecking the theatre in Chapel Street, which Douglass had built in 1761, and in which his company played during the season of 1761-62. Dunlap had the story of the destruction of the theatre from a gentleman residing on Long Island, who, as a boy, had helped to pull down the structure. According to this gentleman a number of persons assembled in a yard or open space opposite the theatre and set on some boys to begin the work, which, once begun, found hands enough to aid in it. This was the iirst American mob that directed its fury against the theatre, but as the company was absent at the time and had been for two years, it is not very clear what the impelling motive of the rioters was. Dunlap assumes, with his usual confidence, that the theatre was utterly wrecked, but such could not have been the case, for on the loth of April, 1765, "George Barnwell" and the "Brave Irish- man " were played in " the theatre in Chapel Street " for the benefit of the prisoners in the gaol. This was probably the effort of a company of amateurs. Only one name was mentioned in the advertisement — Mr. Walsh as Captain 0' Blunder, in the farce. A year later, on the 9th of April, 1766, the "Twin Rivals" and the "Miller of Mansfield" were announced, but it seems the performance was not allowed, be- cause of the excited condition of political feeling. This inference follows from the fact that the same bill was advertised for the 6th of 142 HISTORY OF THE AMERICAN THEATRE May, the advertisement stating: "As the packet is now arrived and has been the messenger of good news relative to repeal, it is hoped that the public has no objection to the ab6ve performance." Whether this was Douglass' company, then about to change its name and become "the American Company," instead of the Company of Come- dians from London, there is no means of knowing, but it seems likely, as during the summer of 1766, Mr. Douglass built a new theatre in Philadelphia preparatory to another campaign in the city of " Brotherly Love." As Dunlap is the only authority for the year of the destruc- tion of the Chapel Street Theatre, it will be doing no violence to his accuracy by changing the date from 1764 to 1766. In that case the company may have been in New York and the mob would then have had a motive, in the excited feelings of the time, for. pulling it down, in order to prevent the players from occupying it CHAPTER XV. A REVIEW. DRAMATIC PROGRESS IN AMERICA FROM 1 75 2 TO 1 766— WHAT IS KNOWN OF THE EARLY PLAYERS CHARLOTTE CHARKE's SON-IN- LAW GOOD-BYE TO DOUGLASS' FIRST COMPANY. IN the fourteen years that intervened between the performance of the "Merchant of Venice," at Williamsburg, on the 5th of September, 1752, and the opening of the old Southwark Theatre on the 2 1st of November, 1766, many changes had occurred, not only in the company, but in the Hallam family. Lewis Hallam, the elder, had died and his widow had married again. For nearly ten years she had been known to the American public as Mrs. Douglass, and was now about to yield many of her best roles to a younger actress. From a stammering boy young Lewis Hallam had become the lead- ing actor on the American stage, with a long theatrical history behind him at the age of twenty-six, and a still longer career, both as actor and manager, before him. In his later years Mr. Hallam was accus- tomed to say that he owed whatever success he was able to achieve to the early instructions of Rigby. Mr. Douglass, too, now also about to yield his supremacy, had succeeded to the great Shaksperean roles of Malone and Harman, and had proved himself a man of much (H3) 144 HISTORY OF THE AMERICAN THEATRE. capacity, both as actor and manager. The other members of the family had not been so fortunate. Miss Helen Hallam had advanced slowly, and despite her oppor- Parts of Miss, Mrs. and Nancy Hallam. tunities had not been able to Miss Hallam. . PI achieve distinction as an actress. Beaux' Stratagem Cherry gj^g j^fj ^j^g ^^ -^^ Beggars' Opera Mrs. Coaxer Careless Husband Edging Miss Nancy Hallam was never Constant Couple Parly .... Distressed Mother cieone ^eard of again after being seen in Love for Love Miss Prue children's parts in Philadelphia in Merchant of Venice Jessica Suspicious Husband Lucetta 1 76 1. If she lived tO WOman- Tuubridge Walks Lucy ... Woman is a Riddle Necessary ^Ood it may be accepted aS Farces. established that she was the Miss Anatomist . Waiting Maid ttii ri^ tmt tti Hob in the Well f Betty Hallam of later years. Mrs. Hal- Lying Valet Kitty Fry lam's name was never in the bills Miss in her Teens Miss Biddy Stage Coach Dolly after 1 762. It is probable that om um . . eora j^^^ separation from her husband Virgin Unmasked Miss Lucy Mrs. Hallam. occurred before 1766. The Mrs. ^'"y^- Hallam of 1761-62 and the Miss Beggars' Opera Polly Hamlet Player Queen Hallam of 1 766-74 were musical, Theodosius Marina ,.,.1 y.,,- tth r which the Miss Hallam of I7i52-i;4 Farces. ' ■' ^^ Hob in the Well Flora was not in any marked degree. Miss in her Teens Miss Biddy It seems proper, in view of these Miss Nancy Hallam. Macbeth Fleance considerations, that their parts ^'^'^^^'1™ Duke of York 3^^^!^ ^e Summarized in this place, and that we should take a final leave of them. The Mrs. Hal- lam of later years, who was said to be a niece of Mrs. Douglass, be- came an actress of decided merit, and was celebrated down to the Revolution for youth and beauty as well as strong dramatic powers. A REVIEW. 145 Another Hallam of whom there is no further account is Adam, the younger brother of Lewis Hallam. Mr. Ireland, in his " Record of the New York Stage," says he a^am Hallam's Parts. found the name of Adam Hallam, Plays. shoemaker, in a New York Direc- Beaux' stratagem Scrab r o T^ ■ • 1. 1 t Beggars' Opera Filch tory for 1798. It is improbable. Bold Stroke for a Wife . . . Quaking Boy though not impossible, that a Hamlet | °^"'^ poor actor left the stage to be- Lear Attendant Macbeth Donaldbain come a good shoemaker. Othello Roderigo The best actor seen in Richard III {F^tell^ard America during these fourteen Romeo and Juliet Benvolio Tamerlane Hali years was Mr. Rigby of the orig- Theodosius Aranthes , tt-ry -1 Venice Preserved Conspirator inal company. While young • Lewis Hallam had succeeded to Honest Yorkshiremen ■ - Slango Mock Doctor Robert his parts, all the evidence goes to -^^^ T^umb Tom Thumb show that the pupil had not yet '^'"'g'" Unmasked Coupee become the equal of his master. Mr. Harman, who succeeded Malone in the heavy fathers, but who was a more versatile actor than his predecessor, must have died or retired soon after the Philadelphia season of 1759, for he was never seen in New York and never appeared with the company afterward, while Mrs. Harman resumed her connection with it with reduced consequence in 1766. The only knowledge we have of Harman is that derived from Charlotte Charke's Memoirs. "Though I had no fortune to give her," Charlotte Charke writes, " without any partiality I look on her as a more advantageous match for a discreet man than a woman who might bring one and confound it in unnecessary expenses, which, I am certain, Kitty never will do ; and had she met with as sober and respectable a creature as 10 146 HISTORY OF THE AMERICAN THEATRE. herself in the few years they have had a company might have been worth a considerable sum of money, to have set them up in some Mr. Harman's Parts. creditable business that might have redounded more to their Beggars' Opera Macheath Douglas Old Nerval quiet and reputation." Harman Drummer Vellum . , ^^. ^, , r- • Fair Penitent Lothario married Kitty Charke at Syming- G^mester Lewson ^ ^^^ ^j^ played together as Hamlet Polonius J ir j Harlequin Collector Conjurer strolling actors for several years uZhei '. ' .' .' .' .' .' .' .' .' .' . DuncTn *" ^nd about Bath and the Isle of Provoked Husband . Sir Francis Wronghead Wight. While Mrs. Charke never Recruiting Officer Captain Brazen Richard III Richard mentions the man whom her Romeo and Juliet Mercutio • i „ Tamerlane Tamerlane daughter imprudently married T'>^°'1°='"^ • ^"''="= by name, she does not fail to do justice to Mrs. Harman's talents. Among other parts she praises her daughter's acting as Horatia in the " Roman Father," and as Boadicea, wishing "she was so settled as to constantly play in that walk." The little we know of Harman and his wife is so interesting that it is to be regretted that so little was recorded of the personal history and profes- sional merits of these forgotten actors. Another interesting figure of this period, who has been utterly ignored, is Mr. Palmer. In Philadelphia, in 1759, he played only at benefits, but singularly ■' > & J- -^^^ Palmer's Parts. enough he was himself accorded , Bold Stroke for a Wife .... Periwinkle a benefit. At Annapohs, in 1760, pair Penitent Horatio he was a regular member of the Gamester stukely Macbeth Macbeth company. Then he disappeared, Othello lago , , , ^ ^ T 1 Romeo and Juliet Romeo but the next year, 1761-62, John suspicious Husband . . . . Mr. Strictland Palmer, the younger, appeared in ^^"'<=^ Preserved jaffier A REVIEW. 147 similar roles at Drury Lane on benefit occasions. Did Palmer find his way to the Colonies in his strolling days ? Dates and circumstances coincide with this theory. There is no account of John Palmer before 1761, except the general assertion of Dr. Doran and others, that, pre- vious to this time, he had been a stroller. In those days Englishmen of his class were apt to find their way to America only to return to England with unpleasant recollections of the New World. That Palmer should have tried his fortunes here is not more remarkable than the advent of Lewis Hallam, the elder, or the presence of Mr. and Mrs. Harman. They were, in fact, all strollers, to whom the provincial boards in England gave little reward and the London stage no encouragement. There is, perhaps, in all English dramatic history no more forcible example of this than Palmer. He was nearly ten years in London before he began to make his mark. Garrick decried him. Anything like a fair opportunity was denied him. In spite of every obstacle he obtained the favor of the town and attained the high distinction of being the best general actor of his time. Comedy was his forte, but he was able to perform the tyrannical parts of tragedy with great eifect. His Villeroy in "Isabella" and Stukely in the " Gamester " were excellent. " When shall we see such a Villeroy and Stukely again?" Mrs. Siddons once asked. His Sneer in the "Critic" and Joseph Surface in the " School for Scandal " were the complete embodiments of the characters, for Palmer's strength lay in the delivery of sarcasm and irony, insincere humility and hypocritical self- reproach. It is scarcely assuming too much to conclude that the Stukely of Mr. Reed's benefit in Philadelphia was the Stukely whose demise Mrs. Siddons lamented. Among these early actresses was Mrs. Love, whose career 148 HISTORY OF THE AMERICAN THEATRE. furnishes some interesting features. She was the wife of Charles Love, a teacher of music, located in New York as early as 1753. When the original Hallam Com- Mrs. Love's Parts. pany first gave performances in fPoUv Nassau Street, Mrs. Love was Beggars' Opera j Jenny Diver , . , Fair Penitent Lucilla engaged to smg between the acts, Hamlet Player Queen ^^^ g^g had the little part of Lear Goneril Macbeth Lady Macduff Jenny Diver in the " Beggars' Provoked Husband . . . Lady Wronghead _ „ -r^ r i i r -n/i- Recruiting Officer Rose 0?^^- Before the close of Mr. Richard III Duchess of York Douglass' first campaign she had Romeo and Juliet Lady Capulet ^ . . „ , , f Maid developed into an actress of con- Suspicious Husband jjacintha Theodosius Flaviiia siderable prominence, as will be Farce. seen from her parts, and from Devil to Pay Lucy Jenny had become the Polly of Gay's work. As an actress, her training must have been entirely American. Another actress of the period known also to the American stage was Miss or Mrs. Crane. She was with Douglass at Annapolis, in 1760, as Miss Crane, and in Mrs. Crane's Parts. New York, in 1761-62, as Mrs. Crane. She was probably an old- ^ ■„ „ '^ ■" George Barnwell Lucy time amateur, "desirous of mak- Othello Emilia Richard III Duchess of York ing the stage a profession," who Theodosius Julia found herself inadequate to the Farce. Mock Doctor Charlotte undertaking and soon retired. The actors who bade a final farewell to the American stage with the close of Mr. Douglass' first campaign were Reed, Home, Scott, Quelch, Sturt, Tremaine and Murray. Mr. Reed was a useful member of Mr. Douglass' company, as his parts show, and A REVIEW. 149 so, also, in a lesser degree, was Mr. Home. To the same cate- gory belong both Mr. Scott and Mr. Quelch. Beyond their parts nothing whatever is known of any Mr. Reed's Parts. of them. This remark applies piays. . Beggars' Opera Mat o' the Mint also to Sturt, Tremame and Mur- Douglas Glenaivon ray. Reed was the successor of D™"™^'^ Sir George Truman Fair Penitent Altamont Bell, of the original company, al- Hamlet Laertes . Lear Edmund though he occasionally filled parts p^voked Husband Count Basset that fell to the lot of Clarkson. Recruiting Officer Justice Balance , J , ,, . Richard HI f Buckingham Home played only walkmg L^-atesby Romeo and Juliet Tybalt gentlemen, generally in the trag- suspicious Husband Jack Meggot J. TT T.ifu I Tamerlane Axalla edies. Home was Millers sue- ^, , . r„, , • Theodosms Iheodosms cessor, but he had few parts. Farces. Lethe Tattoo Quelch, on the contrary, had now Mg^k Doctor James and then a good role in tlie singing Virgin Unmasked Thomas pieces, but, singularly enough, while he was the Macheath in the " Beggars' Opera" he was only the Mopsus in the ballad-farce of Mr. Quelch's Parts. " Damon and Phil- Mr. Horne's Parts. Pi'^y^- hda." Quelch was ^'"y- Beggars' Opera . . . Macheath Beggars' Opera . Paddington Fair Penitent .... Altamont apparently the only Hamlet . . Guildenstern ., , , f Ghost c iU ■ Lear Cornwall Hamlet .... joravedigger O^^ of these minor ^^^^^^ m . . . . Oxford Henry IV ... . King Henry actors who accom- Romeo and Juliet . . Paris Othello Cassio Suspicious Husband . Buckle Farces. panied Mr. Doug- Tamerlane Prince Damon and Phillida . . Mopsus j^^^, ^ ;„ ^he visitS tO Rhode Island. Hob m the Well .... Hob ^ ■' Honest Yorkshireman . Gaylove He is not mentioned in the Annapolis casts of 1760. Scott not only formed part of the Annapolis contingent, but he was with Murray and Kean in 1750. In the advertisement for his benefit Scott is described as a "Naadecker," whatever that may ISO HISTORY OF THE AMERICAN THEATRE. mean. Sturt appeared only a few times, in small parts, Tremaine had still fewer and smaller parts, and Murray was in the bills only thrice. If these players, playing only the smaller roles of the drama, belonged to a later epoch, they would scarcely be worthy of men- Mr. Scott's Parts. tion ; but as parts of the theatrical Beggars' Opera Lockit machinery of their own time they Bold Stroke for a Wife . • {sackbut """ are exceedingly interesting, be- Georee Barnwell Blunt ^, , . i ^ ■««■ Hamlet Player King cause they show US that Manager Lear Gloster Douglass was never at a loss for Macbeth Banquo Recruiting Officer Mr. Scale actors. There is a little reason to Romeo and Juliet .... Friar Lawrence j i . . i . -ii ^i , ■ c „..„,,, ™ . doubt that, with the exception of auspicious Husband Chairman ' ^ Venice Preserved Renault the Hallams and English strollers, hke Palmer and the Harmans, his company was made up from time to time of thespians of West India and colonial manufacture. Who Mr. Sturt's Parts. or what they were, or Mr. Tremaine's Parts. „, how Mr. Douglass Plays. ■^'"y^- Douglas .... Attendant Hamlet . . . Guildenstem found them, we may Hamlet Francisco Richard HI . .Lieutenant Romeo and Juliet. Friar John Romeo and Juliet. Montague never know, but they ^^^^^ ■' Theodosius . . . .Lucius ,.,, , , Mock Doctor Hellebore are entitled to remem- "^°'^'' uoctor^^ neiieoore '^^'■"- u_„„„„ r„_ 4.i,„:„ „i „„ Mr. Murray's Parts. HarlequinCoilector.Magician brance for their share Honest Yorkshirem'nSapscuU • i : „ iU r j Bold Stroke ... Sir Philip - , ,,^ in laying the lounda- _ „ „ ,, , Lethe Mercury ■' ° George Barnwell . . Uncle Mock Doctor . . . Leander tions of the American Othello Duke theatre. They strutted their brief hour and disappeared, but their names and their parts belong to the theatrical record of their time. CHAPTER XVI. THE SOUTHWARK THEATRE. BUILDING OF THE FIRST PERMANENT PLAY-HOUSE IN AMERICA A NEW AND STRONG COMPANY AND BRILLIANT REPERTOIRE SEASON OF 1766-7 IN PHILADELPHIA THE PLAYS AND THE CASTS. ALL the theatres built in America previous to the year 1766 were temporary structures and soon ceased to be used for theatrical purposes. In that year, however, a theatre was built in Philadelphia that continued to be used for dramatic representations until the beginning of the present century. This was what is known in history as the old Southwark Theatre, in South Street, above Fourth, the original walls of which are still standing. The upper part of the building was of wood, only the walls of the first story being of brick. It was partly destroyed by fire in 1821. Soon afterward the walls were raised to their present height and it is now and has been known for many years as Young's Distillery. Even Dunlap, whose book was published in 1832, notes the uses to which it had been put. " Once pouring out a mingled strain of good and evil," he says, and it may be said still, "it now dispenses purely evil." These old walls, now of 120 years' duration, for 55 years the foundation of a theatre, have been for nearly 65 years a temple on which was inscribed Y. P. M.— Young's Pure Malt. This theatre, which may claim the honor of being the first real temple of the drama in America, was an ugly, ill-contrived affair, both (150 152 HISTORY OF THE AMERICAN THEATRE. outside and inside. The brick-work was rude but strong, and the wooden part of the building rough and primitive. The whole was painted a glaring red. The stage was lighted by, plain oil-lamps, with- out glasses, and the view from the boxes was intercepted by large wooden pillars supporting the upper tier and the roof. " It was con- tended by many at the time," wrote a chronicler who had been there, " that the front bench in the gallery was the best seat in the house for a fair view of the whole stage." Unsatisfactory as this theatre must have been, it was in every way superior to the temporary structures that had preceded it, and it was the forerunner of the theatres that Mr. Douglass was soon to build in New York, Annapolis and Charleston. It was scarcely to be expected that the new theatre should be built and opened without opposition. There was in Philadelphia at that time a spirit of hostility to the stage that could be deterred by no discouragement, and the Assembly was in sympathy with the narrow views of the Quakers and other sects opposed to the drama. In view of all this it is not surprising that a Remonstrance^ was presented to • A Remonstrance. — A Remonstrance come useful members of society, renders it ex- from a great number of the inhabitants of the pedient for every well wisher to our trade City and County of Philadelphia of several and commerce to exert his endeavors to sup- religious denominations was presented to the press them. — And when these Remonstrants House and read, setting forth that they have consider the greater and more dangerous con- with much concern observed the design to sequences of their enervating those senti- establish stage-playing by erecting a theatre ments and principles of the Holy Religion in the suburbs of this city, and being appre- they profess and their direct repugnance to hensive of the pernicious consequences thereof, the spirit, temper and precepts of the Gospel — conceive it necessary to express their earnest they hope this request from a number of the desire that every lawful measure may be taken citizens and others of the several different de- to discourage the continuance of those at- nominations of Christians united in a desire tempts that are now made to promote such a to promote the cause and interest of religion design. — That the direct tendency of stage- and virtue, will engage the endeavors of the , plays to divert the minds of the people and House to suppress these ensnaring entertain- more especially of the unwary youths from the ments by such an application to the Governor necessary application of the several employ- as on mature consideration they may judge ments by which they may be qualified to be- will be most effectual. THE SOUTHWARK THEATRE. 153 the Assembly as soon as possible when the House convened after the building of the theatre.. The Remonstrance was received on the i6th of February, 1767. On the i8th a committee was appointed to draft an Address to the Governor. This Address was reported on the 19th, and presented to Governor John Penn the same day. The Address, like the Remonstrance, was as illogical in its arguments as it was bigoted in its views, but the Governor received it unfavorably, and refused to give it his sanction or to seek to enforce its recommenda- tions. Governor Penn returned for answer that he shoiild consider the said Remonstrance and act agreeably to his judgment, "with- out regard to persons or parties." As a matter of fact he never inter- fered with the players, and so the Remonstrance came to naught. The Southwark Theatre was first opened to the public on the 2 1st of November, 1766. It was on this occasion that the company was first called "The American List of Performances. Company." The plays that were .1766. advertised in the Pennsylvania Ga- Nov. 21— Douglas Home , ,, „ 7 ■ /^i Catherine and Petruchio. Shakspere zette zxiQ.xs\& Pennsylvania Lhron- c 1. 1 r t iiru-. if j -^ 24 — achool for Lovers . . Wnitenead icle make up a long and interest- 26— Jane Shore Rowe ,. . T,, , 28— Beggars' Opera Gay mg list. The season was a long Qld Maid Murphy 1 one, lasting until the 6th of July, ^^=- S-Richard III Shakspere ' ^ ■> ■" Oracle Mrs. Gibber { 1767, and the productions were re- 12— Merchant ofVenice . . Shakspere , , , . , . . , . Miller of Mansfield . . Dodsley \ markable for their variety and im- i9_constant Couple . . , Farquhar portance. After an experience of ^^^^ '° ^^y ^°^*y ' 26 — Theodosius Lee four years as a manager in the. col- Lethe .Garrick \ 1767 OnieS,followedbyanabsenceoffour ^^^ / ^.Tamerlane Rowe years, Mr. Douglass had returned ,;- Oracle. '■ ' 9 — Hamlet Shakspere with a new company, in which. Mock Doctor Fielding 154 Jan. HISTORY OF THE AMERICAN THEATRE. . . Murphy 1 6 — Orphan of China . . Devil to Pay. 23 — Beaux' Stratagem . , . Farquhar Upholsterer Murphy 26 — Mourning Bride . . . Congreve High Life Below Stairs . Townley 30 — Lear Shakspere Citizen Murphy Feb. 2 — Cato Addison Reprisal SmoUet 6 — Orphan of China. High Life Below Stairs. 9 — Miser Fielding Reprisal. 13 — Romeo and Juliet . . Shakspere Catherine and Petruchio. 16 — Conscious Lovers .... Steele Damon and PhiUida . . . Gibber 20 — Inconstant Farquhar Thomas and Sally . . Bickerstaif 23 — George Barnwell Lillo Mayor of Garratt Foote 27 — Love for Love .... Congreve Damon and PhiUida. March 3 — Provoked Husband . . Vanbrugh Harlequin Collector. S — Miser. Harlequin Collector. 9 — All for Love Dryden Harlequin Collector. 14 — Love Makes a Man . . . Cibber Deuce is in Him .... Colman 17— Richard HI. Brave Irishman. 19 — Love in a Village . . Bickerstaff Mayor of Garratt. 23 — Earl of Essex Jones Harlequin Collector. 28 — Macbeth Shakspere Oracle. 30 — Macbeth. Lying Valet. April 2 — Gamester Moore The Witches (a pantomime) Love 7 — Romeo and Juliet. Lethe. however, were several members of his old corps, including Morris, Al- lyn and Tomlinson, and their wives. It is evident that he had returned determined to stay, a purpose that was only thwarted by the Revolu- tion. The company became the American Company not only in name, but in fact. Most of its members made this country their home, and at least one of those who made his first appearance during this period became a dis- tinguished officer in the patriot army. Having come to stay, Mr. Douglass naturally brought with him as strong a company as pos- sible ; but not only was the com- pany a vast improvement on its predecessor, but the list of plays shows that the repertoire had been greatly increased since 1762. Among the pieces played for the first time, so far as is known, were the "Orphan of China," the "Miser," "Love Makes a Man," "Love in a Village," the "Jealous Wife," " Country Lasses," "School THE SOUTHWARK THEATRE. 155 for Lovers," the "Wonder," and April 9— Hamlet. Witches. the "Roman Father." Many of 20— Mourning Bride. the farces were new, notably the Contrivaiices Carey ■' 24 — Pnnce of Parthia .... Godfrey "Old Maid," the "Oracle," the Contrivances. 27— A Bold Stroke for a Wife. Centlivre " Upholsterer," " High Life Below Devil to Pay. Stairs," the "Deuce is in Him," ^^^ '~t\^°'^^'- „ ' ' Hob in the Well. " Mayor of Garratt," the " Spirit of 4— A Bold Stroke for a Wife. Apprentice. Contradiction," the " Contriv- 7_jealous Wife Cohnan ances," the "Chaplet," the "Double Lying Vaiet Garrick ^ (Miss Cheer's Benefit.) Disappointment" and "Neck or 11— Committee. Picture of a Playhouse. Nothing." There was also a new gpirit of Contradiction. pantomime, the "Witches," to (Mr. Douglass' Benefit.) 14 — Romeo and Juliet. supplement the well-worn " Harle- Reprisal. (Mrs. Morris' Benefit.) qum Collector. But the season iS-Dmmmer Addison was especially-noteworthy for the Catherine and Petruchio. ^ J ' (Mrs. Harman's Benefit.) production of the first American 21— Beaux' Stratagem. Don Quixote in England. play ever seen on the stage, the (^r. Morris' Benefit.) "Princeof Parthia," which appar- 2S-Cymbeiine Shakspere Mayor of Garratt. ently was not a success, as it cer- (Mr. Hallam's Benefit.) . , ,. , , , . „ 28 — Love in a Village. tamly did not deserve to be. All jjigh Life Belov. Stairs. this goes to show that since Mr. (M'"- Woolls' Benefit.) June 1 — Revenge. Douglass' company was last seen Tom Thumb ..... Fielding . T->, -1 . 1 1 ■ 1 TWT tr 1 •, (Mr. Wall's Benefit.) m Philadelphia and New York it 4_Country Lasses .... Johnson had met with good fortune else- Chaplet Mendez (Miss Wainvfright's Benefit.) where, for the enterprising spirit 8— Coriolanus Thomson it exhibited could only come with ^MnTomlLon's Benefit.) prosperity. The most important 12— School for Lovers. Neck or Nothing .... Garrick addition to the company, as it was (Miss Hallam's Benefit.) IS6 HISTORY OF THE AMERICAN THEATRE. June 15— Miser. then organized, was the acquisition Double Disappointment . Mendez (Mr. AUyn's Benefit.) of Miss Cheer. As she succeeded 18 — Roman Father . . . Whitehead , ^ r i\t t~. 1 > r „ , . ,, ,„ ,, to most 01 Mrs. Douglass former Hob m the Well. ° (Mrs. Douglass' Benefit.) roles, and had the choice of parts 22 — Merchant of Venice. Lying Valet. in the new plays, it follows that (Mrs. Tomlinson's Benefit). j^^^ engagement was due to the 25 — ^Wonder Centhvre ^ ^ Citizen. advancing age of the manager's (Mr. Greville's Benefit.) 29— Cymbeiine. wife. Miss Wainwright was next Neck or Nothing. in importance. These ladies were (Miss Hallam's Benefit.) July 2— Gamester. probably engaged in the West Reprisal. t i- a 1 (Mr! Broadbelt's Benefit.) Indies. Another important ac- e-Constant Couple. quisition was Mr. Woolls, a good Apprentice. (Mrs. Wall's Benefit.) actor, an excellent singer and an honest man. Except the few people who can only be described as useful the rest of the company comprised the previous members, all well known to American theatre-goers. The season began with the tragedy of " Douglas," and Gar- rick's version of " Catherine and Petruchio " as an afterpiece. In previous years it had been per- Douglas. formed with Mr. Harman as Nor- Douglas Mr. Hallam Lord Randolph Mr. Douglass val, Mr. Reed as Glenalvon and cienalvon Mr. Wall Mrs. Morris as y3«;««. In the other ^orval Mr. Morris Anna Mrs. Harman parts the cast was the same as Lady Randolph Mrs. Douglass when the tragedy was played for Mr. Douglass' benefit in New York, in 1762. It is a singular fact that the Shakspere comedy, or rather farce, was not only originally played in America as ar- ranged by Garrick for Drury Lane, in 1754, but that it contin- ued to be so played until 1887, when the "Taming of the Shrew" THE SOUTHWARK THEATRE. 157 was produced for the first time in its entirety by Augu,stin Daly, in New York. Since the appearance of Mr. Hallam and Miss Cheer in the two title roles, the parts have Catherine and, Petruchio. been filled by such noted players „ , . ,,. ^, ■' '^ ■' Cathenne Miss Cheer as Cooper and Mrs. Mason (l 8 14); Petruchio Mr. Hallam Hortentio Mr. Douglass Macready and Mrs. Darley (1827); G„^io Mr. Morris W. B. Wood and Mrs. Sharpe ^^P^^^'^ ^■^- ^,7'^°^ ^ Biondello Mr. Wall (1839); Vandenhoff and his daugh- Music Master Mr. Allyu Peter Mr. WooUs ter,MissVandenhoff(i839);Coul- ^^^^^ Mrs. Wall dock and Mrs. Hoey (1850) ; Ed- ^urds Mrs. Hannan win Booth and Ada Clifton (1862); and finally (1887) John Drew and Ada Rehan in the "Taming of the Shrew." But only the original Catherine in this country, Miss Cheer, chose the part for her debut. Whitehead's " School for Lovers " at this time was still a new play in London. It was played only once in Philadelphia School for Lovers. during the season of 1 766-7, so Sir John Dorilant Mr. Douglass far as the records show, for al- Modely Mr. Hallam r ht- tt i Belmour Mr. Wall though announced for Miss Hal- f 7^°'^ • :/'S^^''' lam's benefit, the benefit was post- Lady Beverly Mrs. Harman Celia Miss Hallam. poned. Garrick was the original Sir John, Mrs. Clive the Araminta and Mrs. Cibber the Celia. It is probable that "Jane Shore," the play announced for the third night of the season, was not performed, a notice appended to the advertisement Notice. of the "Beggars' Opera" indi- *^* The Director"^Theatre begs leave eating that want of patronage t° ^^^''^ '^^ "^o^" '^^' ^°y '^^ *".'"';^ °° ^"" dience be it ever so small will be disappointed had caused it to be postponed. upon any account whatsoever, and that the play T , 1 1 .1 , advertised will be certainly performed. In those days theatre-goers re- IS8 HISTORY OF THE AMERICAN THEATRE. fused to be trifled with, as is shown by Mr. Douglass' apol- ogy. The cast of Gay's work on this occasion was noteworthy for Beggars' Opera. the introduction of Old Maid. Mr.Woollsasj^a^- Macheath Mr. WooUs ' Old Maid . Mrs. Haiman Peachum Mr. Allyn heath, and MisS Captain Cape Mr.Douglass Lockit Mr. Tomlinson Clerimont . . Mr. Hallam Filch Mr. Wall Wainwright as Mr. Harlow . . Mr. Allyn Beggar ... Mr. Morris p^^ Jhese sing- ^"^^""^^ 'm '' m°"' Jemmy Twitcher . Mr. Matthews "^ ° Tnfle .... Mrs. Morns Moll Brazen . . .Mr. Douglass ers were both pu- ^''^- barlow . Miss Cheer Lucy Mrs. Morris Mrs. Peachum . . Mrs. Harman pils of the celebrated Dr. Arne. Mr. Mrs. Coaxer . . Mrs. Tomlinson M Vi ' ^^ <- A a\^ "CWA Mrs. Slammekin. Miss Dowthwaite r J Jt Polly Miss Wainwright Maid," originally produced at Drury Lane, in 1761, had its first presentation in America as the afterpiece to the " Beggars' Opera," on this occasion. It is worthy of particular mention as the first of Murphy'.s many pieces produced on the Ameri- can stage before the Revolution. The first of Shakspere's tragedies presented this season was "Richard III," with Mrs. Gibber's little farce, the "Oracle," as the afterpiece. The cast of the tragedy is only important in showing the re-arrangement of the parts since Richard III its last production. Mr. Douglass , , 1 1 T,r T T Richard Mr. Hallam had succeeded Mr. Harman as ^i^^mond Mr. Douglass Richard, but Hallam now sue- King Henry Mr. Morris Prince Edward Mr. Godwin ceeded Douglass, the two latter Duke of York Miss Dowthwaite exchanging parts. Instead of Buckingham Mr. Wall ^ ^ ^ Stanley Mr. Allyn Mrs. Morris, Miss Cheer was the Tressel Mr. Douglass . Catesby Mr. Tomlinson Lady Anne. The afterpiece was ^^j^ng- Mr.WooUs a translation from the French, ex- Lady Anne Miss Cheer Duchess of Yoiic Mrs. Harman ecuted by Mrs. Gibber for her Queen Elizabeth Mrs. Douglass THE SOUTHWARK THEATRE. 159 benefit at Covent Garden, in 1752. The character of Cynthia was little more than a transcript from Shakspere's Miranda. Mr. Hallam was evidently determined to shine in Oracle Shaksperean parts this season; for Cynthia TTT . . Miss Hallam a week after his first appearance <^'^«''°° ^"■- '^^^l Faiiy Queen Mrs. Douglass as Richard he played Shylock, and followed this part two weeks later with Hamlet. In the meantime, Merchant OF Venice. however, he ap- Constant Couple. Shylock .T^r. Hallam '^^^'^^ '""^ '" Sir Harry Wildair . Mr. Hallam Bassanio .. Mr. Douglass COmedy and trag- Colonel Standard . Mr. Douglass ... A/r -r V Beau Clincher . . . Mr. AUyn Antonio . . Mr. Tomlmson , , . . ■' Gratiano . . ." . Mr. AUyn ^^J^' ^"'^ '" ^^'^'^^ Young Clincher . . . Mr. Wall Launcelot ... Mr. Morris _ as Sir HarrV Alderman Smuggler . Mr. Morris Lorenzo ... Mr. Woolls ^'"^^'^ .... Mr. Tomlinson Salanio Mr. Wall Wildair in the Dickey Mr. Woolls Salarino .. Mr. Matthews ,<^ , .^ , „ ^^^^^''^^ .... Miss Cheer T . ,,. „r ■ . , , "Constant Couple, Lady Darling . Mrs. Tomlinson Jessica . . Miss Wamwright '^ ' ° . Nerissa . . . Mrs. Harman nlaved orifinallv in ar y . . . . g pidycu uiigiiiaii^ 111 Mob''! Wife Mrs Harman Portia .... Miss Cheer ^^°^ ^ ™"^ ^"- "a™^° this country by Mr. Lady Lurewell . Mrs. Douglass Singleton, when, as Master Lewis Hallam, he was only the Dickey; as Varanes in Lee's tragedy of " Theodosius," advertised for the 26th Theodosius. of December, a part Tamerlane. Varanes . . . Mr. Hallam he had played in New ^ Tp . Theodosius . . Mr. Morris ^ ' Monesses . . A Gentleman Marcian ... Mr. Douglass York four years be- Bajazet .... Mr. Hallam Atticus .. Mr. Tomlinson ^ ^ ,^ ,, ., Tamerlane .. Mr. Douglass Leontine .... Mr. Allyn ^O^e for Mrs. MorriS Axalla Mr. Wall Aranthes . . . . Mr. Wall benefit, Mr. Morris ^'^'^ ■ - Mr. Morris Lucius • . . . .Mr. Woolls Omar ... Mr. Tomhnson Pulcheria . . Mrs. Harman then, aS now, having Pr'nce Mr. Allyn Marina . . . Miss Hallam , , . , , , ^^* M"^- ^'^" FlaviUa . Miss Wainwright ^^ title-role; and as Mirvan . . . . Mr. Woolls Julia. . . Miss Dowthwaite Bajazet in Rowe's ^f ' ' " -^'-.^i,^'" Delia . . . Mrs. Tomlinson Sehma .... Miss Cheer Athenais . . . Miss Cheer " Tamerlane," another Arpasia . . Mrs. Douglass part which he had previously made his own. As a rule Mr. Hallam i6o HISTORY OF THE AMERICAN THEATRE kept aloof from the afterpieces as not comporting with his position in the company. The afterpiece to Farquhar's comedy on this night, December 19th, was the popular farce of the "Devil to Pay," in which Devil to Pay. ^^.^^ ^^^^.j^ ^^^ ^^^^^^ SirJohnLoverule Mr.Woolls compensated with ' Jobson .... Mr. Tomlinson ^ Drunken Man . Mr. Hallam Butler Mr. Morris the part of Nell, ^sop .... Mr. Douglass Coachman Mr. AUyn Frenchman ... Mr. Allyn F°°t— Mr. Wall ^r havmg been ^^^ Man . . . Mr. Morris Doctor .... Mr. Douglass left out of the COm- Mercury ...Mr.Woolls Lady Loverule . Mrs. Harman pj^g Gentleman . Mr. Wall Lucy .... Mrs. Tomhnson edy, but Mr. Hal- charon . . Mr. Tomhnson Lettice . . . Miss Dowthwaite ^„.„„.^j u;,^ Mrs. Tattoo . Mrs. Harman Nell Mrs. Morris lam Contented him- self with his role in the comedy. Oddly enough, however, he played the Drunken Man in " Lethe," after appearing as Varanes in " Theodosius." It was probably his desire to show his versatility that Hamlet. induced him to play Mock Doctor. „ , ^ ~ ^ .. such diverse parts on Mock Doctor . . Mr. Allyn Hamlet . . . Mr. Hallam ^. , ,, ,, . ,,. ,, T^ , ii • Sir Tasper . . . Mr. Moms Kmg . . . . Mr. Douglass the same evenmg. ^ / ,, ,„ „ „ ,. A r^ ., Leander . . .Mr. WooUs Horatio . . . A Gentleman „ . ^, . .. , „ . „ , ,, „, „ Laertes Mr. Wall But m " Hamlet " he Squire Robert . . Mr. Wall T, , • * ' ^, ,1 • Tames Mr. Piatt Polonius . •• Mr. Moms ^^^ ^^Xy Hamlet. He Harry . . . . Mr. Godwin Ghost . . , Mr. Tomhnson ,., , ; ,, .„ ,. „ . -,, ^ 3 • i. i „; 1, 4. Helebore . . Mr. Tomhnson Osnc ^. . -Mr^Go^dwin was twenty-s,x, but ^^^^j^^^^ _ _ ^^^^^^^ Be^ardo".^ ■. ■. m" PlI!J ^e had played the Dorcas Mrs. Morris Rosencranz . . Mr. Woolls p^^t five years before at the Chapel Street Player Queen . Mrs. Harman Queen . . . Mrs. Douglass Theatre in New York, when he was only Ophelia .... Miss Cheer .ii,,r t.t • ^.rr- twenty-one, with Mrs. Morris as Uphelia, in- stead of Miss Cheer, and Mrs. Hallam, his wife, as the Player Queen, instead of Mrs. Harman. The tragedy was followed by the farce of the " Mock Doctor," but while the Dorcas was the same as before, the King in the play now refrained from appearing as Gregory in the farce. THE SOUTHWARK THEATRE. i6i Orphan of China. After " Hamlet " the next full piece in the list was Murphy's "Orphan of China," which was then produced for the first time in America. It was characteristic of the theatrical taste of the time that Arthur Murphy's only trag- edy, which was far inferior in merit to his comedies, should pre- cede them on the American stage. Its production was due, perhaps, to Mrs. Douglass' desire to appear Zamti Mr. Douglass Zapheniri Mr. Hallam Timurkan Mr. Allyn Hamet Mr. Wall Mirvan Mr. Morris Octar - Mr. Tomlinson Orasming Mr. Greville Zimventi Mr. WooUs Messenger Mr. Godwin Mandare Mrs. Douglass Beaux' Stratagem. in a role in which Mrs. Yates had found her first opportunity to dis- play her tragic powers. A week later Farquhar's masterpiece, the " Beaux' Stratagem," was again reproduced, and with it Murphy's farce, the " Upholsterer." This farce, first acted at Mr. Mossop's benefit at Drury Lane, was founded on Nos. 155, 160 and 178 of The Tattler. No cast of its first pro- duction in this country has been found. Farquhar's comedy had now been familiar to play-goers for the long period of sixty years. Archer Mr. Hallam Aimwell Mr. Douglass Sullen Mr. Wall Foigard Mr. Allyn Freeman Mr. Greville Scrub Mr. Morris Gibbet Mr. WooUs Boniface Mr. Tomlinson Honslow Mr. Godwin B^shot Mr, Piatt Dorinda Miss Hallam Lady Bountiful Mrs. Harman Cherry Miss Wainwright Gipsy Mrs. Wall Mrs. Sullen Miss Cheer When it was originally produced at the Haymarket in 1707 the dra- matist attributed its success to the acting of Mr. Wilks. The fact that it held the stage for more than a century after Farquhar's death and continued to be frequently acted both in England and America is a proof how little it owed to any actor. 1 62 HISTORY OF THE AMERICAN THEATRE. When Mr. Congreve's " Mourning Bride " was announced for the 26th of January, the advertisement was accompanied by a curious note of explanation. It is to be regretted that there was no capable An Explana tion. dramatic critic in Philadelphia at V Mr. Congreve's comedies are allowed that time tO put On record his to abound with genuine wit and true humor; but in comphance with the licentious taste of Opinion of the manner in which the time in which they were written the -bt .^ . . .,, T, ■ , • »!, ■ , Mr. Congreve s trasredv was croo- author has m some places given the rem to ° "S^"/ ""■^ y-iKj^ his wanton muse and deviated from those ped on that Occasion. This waS rules a more refined age and chaste stage require : The reviser of this play has taken the great dramatist's Only tragedy, the freedom to crop such luxuriances and 1. im-. ■ r ■ ■.. n, » ■ u. ^ cc but while It was mferior to his expunge every passage that might be offen- sive either to decency or good ipanners. comedies it waS even more popu- lar. Zara was one of Mrs. Siddons' great parts. As the afterpiece to Congreve's tragedy Townley's farce, " High Life Below Stairs," was Mourning Bride. Osmyn .... Mr. Hallaui King Mr. Douglass Gonzales Mr. Morris Garcia Mr. Wall Hali Mr. Tomlinson Selim Mr. Godwin Alonzo Mr. Greville Perez Mr. AUyn Mutes fMr.Woolls mutes . . • • -j^ Mr. Piatt Zara Mrs. Douglass Almeria ..... Miss Cheer Attendants J Mrs. Tomlinson to Zara . . \ Mrs. Wall Attendants f Miss Wainwright to Almeria 1 Miss Hallam presented. The author of this farce was a cler- gyman. It was at this time com- paratively new, having been ori- ginally produced in 1759. It was High Life Below Stairs. Lovel Mr. Hallam Freeman .... Mr. Douglass Lord Duke Mr. Wall Sir Harry Mr. AUyn Philip Mr. Morris Coachman .... Mr. WooUs Tom Mr. Tomlinson Kingston . . . Mr. Matthews Cloe Mr. Piatt Lady Charlotte. Miss Wainwright Lady Bab .... Miss Hallam Cook Mrs. Harman Kitty Miss Cheer a very diverting picture of life in the servants' hall at the period when it was written. Mr. Lovel, a wealthy commoner, pre- tending to go to his country-seat in Devonshire, assumes the character of a country bumpkin from Essex, and puts himself under the charge of his own butler. In this character he participates in a large supper- THE SOUTHWARK THEATRE. 163 party given by Philip, the butler, at which his servants assume the titles of his friends. In the midst of the feast he reveals himself and dismisses all his domestics, except Tom, who has received scant courtesy from the rest. This was one of the few farces in which both Mr. Hal- lam and Miss Cheer condescended to appear. The next bill on the list comprised " King Lear " and another of Murphy's farces presented for the first time, the "Citizen." As with the "Upholsterer," no Ki ng Lea r. cast of this farce has been pre- Lear Mr. Hallam Edgar Mr. Douglass served. In the tragedy Mrs. Edmund Mr. Wall T^ , • 1 1 1 ^ » 7- Gloster Mr. Morris Douglass now yielded Cordelia ^^^^^ j^^ ^H^^ to Miss Cheer, and Mr. Hallam ComwaU Mr. Greville Kent Mr. Tomlinson appeared for the first time in the Usher Mr. Godwin . 1 ^ ^.^, , . . ^ Burgundy Mrs. Wall mighty title-role, m succession to ^J^^^ \ Miss Wainwright Mr. Harman. Hallam retained Regan Mrs. Harman Arante Mrs. Tomlinson the part for many years, but finally Cordelia Miss Cheer was compelled to concede it to younger and more powerful actors. A week later (February 2d) came Addison's " Cato " and Dr. Cato. Smollett's farce, the Reprisal. Cato . . . .Mr. Douglass "Reprisal." In the M. Champignon . . Mr. AUyn Sempronius . . Mr.Hallam Lieut. O'Claber . . Mr. Morris Fortius . . .A Gentleman tragedy MlSS Cheer Ens'nMcCIaymore.Mr.Douglass (Being his first appearance) ^^^^^^^^^ ^jrs. Block Mr.Hallam M^ ^'■- ^^" Lieut. Lyon . . Mr. Broadbelt Syphax .... Mr. AUyn DouglaSS aS Mar- Heartly ..... Mr. Greville Marcus. . . . Mr. Godwin . , . m ^rush Mr. Wall Lucius ... Mr. Tomlinson Cta, but MeSSrS. jj^j^^^^ y^^ -^^^jj^ Decius . . . MrJVooUs 00^1^35 and Hal- Miss Harriet . . Miss Hallam Lucia .... Mrs. Harman '^ Marcia .... Miss Cheer lam retained the roles they had previously played. In the farce AUyn played the Frenchman, Morris the Irish- man, Douglass the Scotchman and Hallam the Englishman. i64 HISTORY OF THE AMERICAN THEATRE. Upon the production of " Romeo and Juliet " Mrs. Douglass for the first time relinquished Shakspere's youthful heroine, which was in keeping with her een- mkvm. Romeo and Juliet. ^ ^ ^ miser. eral surrender of her Romeo .... Mr. Hallam " Lovegold .... Mr. Allyn Mercutio . . Mr. Douglass P^^S tO MlSS Cheer Frederick . . Mr. Douglass r- i„t Aj, i/r _• . Clerimont .... Mr. Wall Capulet . . . .Mr. Moms ^j^is season. In the T^es Mr Tomlinson Friar Lawrence . Mr. Allyn J^^^ . . . Mr. lomlmson Montagu . . Mr. Tomlinson " Miser," the produc- ^^""^ .... Mr. Morris Escalus ... Mr. Broadbelt . , , . , , S^'''° .... Mr. GreviUe -p l^ajt jyj^ -yYail tion OI whlch preceded Sparkle .... Mr. Woolls Paris . ". '. ". '. Mr. Woolls that of "-Rnmen anH ^""'''' ^^^ ^'^" Benvolio . . . Mr. Godwin ^ ^^ ""^ ^"""^^ ^""^ ^^^^A^oy . . . Mr. Godwin Balthazar. . . Mr. GreviUe Juliet," she waS an- R^milhe . . Mr. Hallam Friar John . . . Mr. Piatt ^ ^ „^ ^^™^' • • ■ Miss Hallam Lady Capulet. Mrs. Douglass "OUnced for Mrs. Mrs. Wisely . Mrs. Tomlinson Nurse. . . . Mrs. Harman Wiselv but o-avp ,m ^^^^^^ ' * • ^rs. Harman Juliet Miss Cheer '^"^^-^' ^ut gave up ^^^.^^ ^^^ ^^j the part, and in the Mariana .... Miss Cheer " Conscious Lovers," which followed, she played Isabella, instead of her previous role of Indiana. As Miss Wainwright was excluded Conscious Lovers. fj-Qm acceptable roles Damon and Phillida. Young Bevil . . Mr. Hallam Jjj ^^ tragedies and Damon .... Mr. WoolU Sealand ... Mr. Douglass Mopsus ... Mr. Hallam Myrtle .... Mr. Wall COmedieS,Cibber'sbal- Cimon Mr. Wall SirJohnBevil. Mr. Broadbelt , , ^ . Areas Mr. Allyn Cymberton . . . Mr. Allyn ^^d farce waS given ^^^^^^ ^r.^Jr.. Tom Mr. Morris ^g ^he afterpiece to Phillida . Miss Wainwright Humphrey . Mr. Tomlinson Daniel .... Mr. Godwin the " Conscious Lovcrs," to afford her an Isabella . , . Mrs. Douglass .... _, , Phillis . . . Mrs. Harman opportunity in a Singing part. The only new Mrs.Seal'ndMissWainwright pjgce among these productions was the Lucmda . . Miss Hallam Indiana .... Miss Cheer " Miser." There are a number of comedies called by this name, beginning with one by Shadwell, 1672. They were all based on the "Avare" of Moliere. This was Fielding's version, of which Mr. Murphy said it had the value of a copy from a great painter by an eminent hand. THE SOUTHWARK THEATRE. i6s The next bill (February 20th) comprised Farquhar's " Incon- stant," a comedy requiring a strong cast, and Bickerstaff's "Thomas and Sally," then given for the Inconstant. first time. In the comedy Mr. Young Mirabel . 777 ... Mr. Hallam Hallam played one of those hand- Old Mirabel Mr. Morris Capt. Duretete Mr. Douglass some, dashing young rakes that Dugard Mr. Wall , , ^ ., , . - , Petit Mr. Tomlinson could not fail to satisfy any actor, p;^^j g^^^^ I^^ ^n^^ but his Oriana, being no longer Second Bravo Mr. Broadbelt Third Bravo Mr.WooUs young, was some excuse for his Fourth Bravo Mr. Greville , , , , , , Oriana Mrs. Harman inconstancy. Although the plot l^„,^^ ^^^^ Wainwright turns upon Oriana' S love for Young Bizarre Miss Cheer Mirabel, and she saves him from the Bravos in the house of Lamorce, Miss Cheer's role of Bizarre has always been the favorite one with Thomas and Sally. leading actresses, and it was in this part that Mrs. Yates took her farewell of the stage in 1799. The farce was a musical enter- tainment, for which the celebrated Dr. Arne, the instructor of Mr. Woolls and Miss Wainwright, composed the music. This season was remarkable for the number of new comedies produced as afterpieces, Foote's " Mayor of Garratt," presented with the tragedy of "George Barnwell," Georg e Barn well. being among them. The tragedy, '^^"'S^ Barnwell Mr. Hallam Thorowgood Mr. Douglass as produced this season, is only Truman Mr. Morris interesting to the student of dra- ^ °'„\' ' ; ; ; ; / ; ; ; / Mr:-^mlt"on matic history because of the '^^"a Miss Hallam Lucy Mrs. Harman changes in the cast, but the Millwood Miss Cheer comedy was a novelty, and it was the first of Foote's works seen on Dorcas Miss Cheer Sally Miss Wainwright Squire , Mr. Woolls Sailor Mr. Wall i66 HISTORY OF THE AMERICAN THEATRE. Mayor of Garratt. the American boards. Foote played Major Sturgeon when the piece was originally produced at the Haymarket in 1763, hvX Jerry Sneak, frequently played in this country by the elder Booth, became in the hands of Russell — Jerry Sneak Russell — the part of the piece as a type of the henpecked husband. The part of Matthew Mug was intended as a caricature of the Duke of Newcastle. The origin of the Sneaks and Bruins, it has Mr. Hallam Wall Major Sturgeon f Matthew Mug \ Jerry Sneak f j^^. Lint \ Sir Jacob JoUop Mr. Tomlinson Bruin Mr. Douglass Crispin Heel-tap Mr. Morris Roger , Mr. Godwin Snuffle Mr. Piatt First Mob Mr. WooUs Second Mob Mr. Matthews Third Mob Mr. Broadbelt Fourth Mob Mr. Allyn Mrs. Bruin Mrs. Harman been claimed, is found in Bisket Mrs. Sneak Miss Cheer ,_.,,, , 1 ■ and Iribble, and their respective wives in the " Epsom Wells " of Shadwell, which, by the way. Shad- well's contemporaries said was not his. The second of Congreve's pieces produced at the Southwark Theatre was " Love for Love." hold the stage, Ben, the sailor, being a favorite part with Jack This comedy long continued to Love for Love. Bannister and Miss Prue with Mrs. Jordan. It was acted in this coun- Valentine Mr. Douglass Ben Mr. Hallam Sir Sampson Legend .... Mr. Tomlinson Foresight Mr. Morris try almost as oilen as in England, Scandal .' . . Mr. AUyn Tattle Mr. Wall being originally produced by jeremy Mr. Godwin ■.r J T7- I /-• Buckram Mr. Greville Murray and Kean s Company. . ,. ,,. ,^ „ -' ^ ■' Angelica Miss Hallam Afterward the elder Hallam Mrs. Frail Mrs. Douglass Mrs. Foresight Mrs. Wall played Ben and Rigby Valentine. Nurse Mrs. Harman The cast on this occasion showed ^'^= ^"^ Miss Cheer Mr. Hallam in his father's part, but is especially noteworthy because THE SOUTHWARK THEATRE. 167 of Mrs. Douglass' acceptance of Mrs. Frail, the part in which Mrs. Adcock made her American debut. The next piece on the Hst was Provoked Husband. Vanbrugh and Cib- Harlequin Collector. ~^ ber's " Provoked Harlequin . . Mr. Hallam Lord Townly . . . Mr. Hallam ^^^^ _ _ _ . Mr. Morris Manly Mr. Douglass Husband, With the MJUer Mr. Allyn SirFrancisWronghead Mr.Morris • r , Magician ".'.'. Mr. WooUs Squire Richard . . . Mr. Allyn pantomime of the ^^^^^ _ _ . Mr. Douglass Count Basset . . . .Mr. Wall " Harlequin Collec- Porter . . . Mr.Tomlinson John Moody . . Mr. Tomlinson ^^^^^ Mr. Wall Lady Grace . . Mrs. Douglass tor. In the trag- skeleton . . Mr. Matthews Lady Wronghead. Mrs. Harman m-ii. .. m.= t Mr.Broadbelt Miss Jenny . . . Miss Hallam e^y MlSS Cheer waS Miller s Men | j^^ ^^^^^^^ Mrs. Motherly . MissWainwright 4-j,g Ladv Townlv Columbine . . . Miss Cheer Myrtilla Mrs. Wall Trusty Mrs. Morris for the first time. It will be observed that Lady Townly . . . Miss Cheer , « i • i ■ t~. she appeared also m the pantomime. Dry- den's version of the love episode of Antony and Cleopatra, "All for Love," had its first representation in America this season, with Mr. Hallam as the Roman conqueror, all for Love. who lost all for love of the beauti- Marc Antony Mr. Hallam c t -T' i- 1 T^ii- /-I • Ventidius Mr. Douglass ful Egyptian, and Miss Cheer in ^^^^^^^ Mr. Wall the part in which Mrs. Oldfield Alexas Mr. Morris Serapion Mr. Tomlinson and Peg Woffington were un- Myris Mr. Woolls rivaled. There were two debuts °f^^ .;.^w^°"^'t' Charmion Miss Wainwnght in this piece — ^those of Master Iras Mrs. Wall Cleopatra Miss Cheer Hallam and Miss Tomlinson as Antonius Master Hallam Antony's children. It will be (His first appearance on any stage.) Agrippina Miss Tomlinson readily supposed that Miss Tom- (Her first appearance on any stage.) linson was the daughter of Mr. and Mrs. Tomlinson, of the company, but this Master Hallam has never been mentioned by any of the American historians. The inference is that he was the son of Lewis Hallam and of the Mrs. Hallam who was with the company in 1761-2. 1 68 HISTORY OF THE AMERICAN THEATRE. One of the most interesting bills of the season was the pro- duction, for the first time in this country, of Gibber's " Love Makes a Man" and Colman's farce, the Love Makes a Man. ' Clodio 777. . .Mr.Hallam "Deuce is in Him." The comedy Carlos Mr. Douglass ^^s One of Gibber's earlier pro- Don Lewis Mr. Morris Antonio Mr. Allyn ductions, its first performance at Charius Mr. Tomlinson _^ _ , . , DoaDuart Mr. Wall ^rury Lane bemg as early as Governor Mr. Greville \'JQ\, The SprightlineSS of C/Offw Monsieur Mr. Godwin Priest Mr. WooUs and the manly tenderness and Page Miss Dowthwaite c /- t j i.^. Lawyer Mr. Piatt openness of C«r^J were, no doubt, Louisa Mrs. Douglass temptations to Hallam and Doug- Elvira Miss Wainwright Honoria Mrs. Wall lass, and it may be that its first Angelina Miss Cheer , , . . , , . . production in this country was so long delayed because of the elder Lewis Hallam's misfortune in the part of Don Lewis at Govent Garden. The farce was new, having been first acted at Govent Deuce is in Him. Garden, in 1762, where it met Colonel Tamper Mr.Hallam Major Belfort Mr. Douglass With a success almost as great as prattie Mr. Wall that of the "Beggars' Opera" in ^ad. Florival Mrs. Harman '="' ^ Bell Miss Wainwright its first season. But even more in- Emily Miss Hallam teresting was the first production, in America, this season of " Love Love in a Village. in a Village." According to the Justice Woodcock .... Mr. Douglass Pennsylvania Gazette Bickerstaff's Hodge Mr. Hallam Hawthorn Mr. WooUs comic Opera was " done here be- Sir William Meadows Mr. Morris , ^ i- d j i.i. ■,.•, -ir ,, , ,, ,„ „ yond expectation, and the critic Young Meadows Mr. Wall •' '^ Eustace Mr. Allyn says " Miss Wainwright is a very Rosetta Miss Wainwright Lucinda Miss Hallam good Singer and her action ex- ?J™ ■ • .!^''-^'™'° ceeds the famous Miss Brent; Mrs. Deborah Mrs. Douglass THE SOUTHWARK THEATRE. 169 Mr. Hallam exceeds everything in the character of Hodge, and Mr. WooUs almost equals Beard in Hawthorn!' The piece was still new, even in London, having been originally presented at Drury Lane in 1763. It is based upon the episode of "Lindor," in Marmontel's " Tales," but the character of Madame Florival was taken from a story originally published in the British Magazine. A number of pieces which the American Company had made familiar to the play-going public were reproduced in quick succession, Macbeth. among them the " Earl of Essex," " Macbeth," Macbeth ... Mr. Hallam the " Gamester," and " A Bold Stroke for a Macduff . . Mr. Douglass -^jfgV jj^ ^jj Earl of Essex. Duncan .... Mr. AUyn ' Banquo .... Mr. Morris these the castS Essex Mr. Hallam Lenox Mr. Wall Southampton .... Mr. Douglass Seyton . . . Mr. Tomlinson were almost Burleigh Mr. Morris ") Mrs. Harman 1 t- 1 ^'' Walter Raleigh . Mr. Tomlinson Witches I Miss Wainwright Completely re- Ljeutenantof the Tower . Mr. WooUs J Mrs. Tomhnson modeled MisS Q"«^° Elizabeth . . Mrs. Douglass Malcolm. . . Mr. Godwin ' CountessofNottingham Miss Hallam Donaldbain ... Mr. Piatt Cheer obtaining Countess of Rutland . . Miss Cheer Fleance . Miss Dowthwaite Officer ... Mr. Greviile the leading female roles. With the " Game- fTt ". V ^^'^^T" ster " a new pantomime, " The Witches," was Lady Macduff . Mrs. Douglass * Lady Macbeth . Miss Cheer given for the Gamester. first time. Anew pantomime was cer- Beverly Mr. Hallam Witches. tainly needed, f'"^^'^ *^'\?"£'',^ ■' ' Lewson Mr. Wall Harlequin . . Mr. Hallam the Well-worn Jarvis Mr. Morris Pantaloon . . . Mr. Morris Dawson Mr. Allyn Petit Maitre . . Mr. Allyn "Harlequin Col- Bates Mr. Tomhnson Statuary . . . Mr. Douglass i j. » -u • Charlotte Mrs. Harman Constable . . Mr. Broadbelt ° Lucy Miss Wainwright Cook .... Mrs. Harman become thread- Mrs. Beverly .... Miss Cheer Mercury . . . Mr. WooUs Pierot ... Mr. Tomlinson bare. This was the piece invented by Mr. ^^^^' -y^^y^f Love, and acted at Drury Lane in 1762. It Necromancer . Mr. Woolls Columbine . . Miss Cheer seems identical with "Harlequin Restored." 170 HISTORY OF THE AMERICAN THEATRE. When the benefits began a number of new pieces were pro- duced. Miss Cheer chose for her night Colman's "Jealous Wife," Jealous Wife. making her first appearance as Mrs, Oakley. The comedy had been originally produced at Drury Lane, in 1761, with prodigious success, Mr. Garrick playing Oak- Jealous Wife Miss Cheer Oakley Mr. Hallam Major Oakley Mr. Douglass Charles Mr. Wall Russet Mr. Morris Sir Harry Beagle Mr. Allyn Lord Trinket Mr. Hallam ley. The groundwork of the play Captain O' Cutter Mr. Allyn ■Pom Mr. WooUs '^^^ taken from Fieldmg s " Tom J°^" Mr.Tomlinson jones," the cpisode of Sophia tak- William Mr. Matthews J ' i' i- Harriet Miss Hallam ing refuge at Lady Bellaston's Toilet Mrs. Harman Betty Miss Wainwright ^ouse servmg as an underplot for Lady Freelove Mrs. Douglass j^e exhibition of the henpecked husband and his domineering and termagant rather than jealous wife. Mr. Douglass for his benefit, besides Howard's familiar play, the " Committee," and a recitation by Mr. Hallam of " Bucks, have at Committee. y^ all," gener- ally called in Drummer. Colonel Careless . Mr. Douglass Colonel Blunt ... Mr. Hallam the bills of the Teague Mr. Allyn Abel Mr. WooUs Bailiff Mr. Piatt Soldier Mr. Matthews Mrs. Day . . . Mrs. Douglass house," Arabella .... Miss Hallam Mrs. Chat . . Mrs. Tomlinson Ruth Miss Cheer Tinsel Mr. Hallam Sir George Truman . Mr. Douglass Vellum Mr. Allyn Gardener Mr. Morris Butler Mr. Wall Coachman Mr. Greville Abagail Mrs. Harman Lady Truman .... Miss Cheer time a " Pict- ure of a Play- pre- sented for the first time in America an English farce in two acts, called the "Spirit of Contradiction." This was a piece of inferior merit which met with little success at Covent Garden, where it was originally produced, and with no favor here, Mrs. Partlett, for which Mrs. Harman was well adapted, being the THE SOUTHWARK THEATRE. 171 only good part in the farce. That excellent actress for her own benefit contented herself with Spirit of Contr adiction. Addison's " Drummer," its first '^■^^ Mr. Hallam Steer Mr. Douglass production this season, and a Lovewell Mr. Wall ^ „ „ ,, . J Mr. Partlett Mr. Morris repetition of "Catherine and ^^^^ Mr. AUyn Petruchio," and Mr. Morris fol- Miss Harriet Miss Wainwright Betty Mrs. Morris lowed with the "Beaux' Stratagem" Mrs. Partlett Mrs. Harman and " Don Quixote in England " as the afterpiece. Although Field- ing's comedy had long been a favorite in London, where it was Don Quixote in England. acted at the little theatre in the ^ ^ . ,T TT „ Haymarket as early as 1733, Don Quixote Mr. Hallam •' j 1 jjj Sancho Panca Mr. Morris this WaS its first production in Grizzel Mr. Douglass . ,,,,.. .,, , Squire Badger Mr. Wall America. Macklin, It Will be re- Sir Thomas Mr. Tomiinson membered, was the Squire Badger Fairlove Mr. Greville John Mr. AUyn the night he killed Thomas Hal- Cook Mr. Woolls Jezebel Mrs. Morris lam at Drury Lane. Dorothea Miss Wainwright ]y[j._ Hallam in his own be- half, eager, no doubt, to appear as Postkumus, presented Shakspere's " Cymbeline " for the first time in Cymbeline. this country. As with " Gather- posthumus Mr. Hallam ine and Petruchio," it was the lachimo Mr. Douglass Cymbeline Mr. AUyn Garrickversion produced at Drury Cloten Mr. Wall Belarius Mr. Morris Lane in 1761 that was first seen caius Lucius Mr. Tomiinson on the American stage. Although Guiderius T; ^r'!!^ Arviragus Mr. Woolls Miss Cheer was the original Imo- Doctor Mr. Piatt Philario Mr. Morris gen in this country, the part was p;^^^^;^ ji,^ H^^3„ that in which Mi.ss Hallam was Q"««° Mrs. Douglass Helen Mrs. Tomiinson destined to win her chief renown. Imogen Miss Cheer 172 HISTORY OF THE AMERICAN THEATRE. Miss Wainwright, not content with a comedy, the " Country Lasses," new to American theatre-goers, gave also a new farce, the Country Lasses. " Chaplet." The comedy, which ^, ^^ „ had been originally acted as early Modely Mr. Hallam & / / Heartwell Mr. Douglass aS I/IS, Comprised tWO distinct Sir John English Mr. AUyn tt, . i . Freehold Mr. Morris plots, one borrowed from Fletcher's L"^'^!'^'^ Mr. Wall "Custom of the Country," and the Vulture Mr. Tomlinson ^ Sneak Mr. Woolls other from Mrs. Behn's " City Longbottom Mr. Greville -_ . , Carbuncle Mr. Broadbeh Heiress, who, m her turn, had Shacklefigure Mr. Piatt appropriated Middleton's "Mad Countryman Mr. Matthews Flora Miss Wainwright World, my Masters." In this Aura Miss Cheer . i i ■ r r- piece the character of larmer Freehold, played by Mr. Morris, was the most admirable. The after- piece was a musical entertainment with some excellent music by Boyce. It was first given at Chaplet. Drury Lane, in 1749. The "Chap- Damon Mr. Woolls let" belonged to a class of per- ^"'^"'°° Mr. Wall ° "■ rastora Mrs. Harman formance now unfortunately ban- Laura Miss Wainwright ished from the stage altogether, but presenting the combination of pleasing poetry and exquisite music, in itself an argument for the res- toration of the afterpiece. This production was of course due to the Laura. In the advertisement of her benefit Miss Wainwright announced that, having lost a number of tickets, "none but the stamped ones will be received." A like misfortune befell Mr. Wall, who advertised the loss of his chest, which contained almost all of his apparel and nearly a thousand tickets. In consequence he had a new set printed, on which were engraved the emblems of masonry, to dis- tinguish them from the stolen ones. THE SOUTHWARK THEATRE. ^71 Mr. Tomlinson's choice of Thomson's " Coriolanus " was, it must be confessed, an odd selection, and Mr. Allyn's presentation of Moses Mendez' " Double Disap- Roman Father. pointment" could only have been „ ^ , „ ^^ „ Roman Father Mr. Hallam intended to afford him an oppor- Publius Horatius Mr. Douglass Tullus Hostilius Mr. AUyn tunity to play the Frenchman, a Valerius Mr. Wall class of parts that he affected. Fi>^«t Citizen Mr. Morris Second Citizen Mr. GreviUe Mrs. Douglass made a happier Third Citizen Mr. Woolls , . . , ,. ,^,, . , „ Fourth Citizen Mr. Piatt choice m addmg Whiteheads v^i^ria Mrs. Douglass "Roman Father "to the repertoire ^°''^^^ Miss Cheer of the American Company. In no tragedy, except Shakspere's, have so many actors been seen to advantage as in the title-role of this great play. On this occasion Mr. and Mrs. Parker, from the theatre in Jamaica, appeared as Hob and Flora in the afterpiece. Finally, as the last new piece of the season. Miss Hallam selected the farce " Neck Neck or Nothing. o"" Nothing," as the afterpiece for her night, and notwithstanding Slip Mr. Hallam Martin Mr. Morris the performance for her benefit Belford Mr. Wall ._ ^ c ^^. a. ^ Sir William Mr. AUyn ^^^ postponed from the 1 2th tO Mr. Stockwell Mr. Tomlinson the 29th of June, because of the Miss Nancy Miss Hallam Jenny Miss Wainwright Weather, she retained it, while sub- Mrs. Stockwell Mrs. Douglass ... .. ,, ^ , ,. „ r .^ ^ stituting Cymbelme for the " School for Lovers." This farce, if it was Garrick's, had not met with the usual success of his pieces at Drury Lane, where it was laid aside after being acted only six or eight times. The heat in Philadelphia in the second week of June, 1767, must have been intense. Notwithstanding it was said in the announce- ment of Miss Hallam's benefit, " there are some alterations made in 174 HISTORY OF THE AMERICAN THEATRE. • the house in order to render it cool," the weather caused its post- ponement, and some of the company determined not to take benefits at all. Miss Hallam's was consequently advertised as the last of the season, but later on the heat moderated, and Mr. Broadbelt and Mrs. Wall reconsidered their determination. It thus happened that the Fourth of July had passed before the theatre closed for the summer. The incidents of the first season at the Southwark Theatre, of which the prints of the time give a hint, were not of a startling char- acter. As to the patronage, it was not great, as we learn from the critic of the Pennsylvania Gazette, already quoted, who regretted that he could not see the house better filled. One reason for this was that the old spirit of opposition to the drama was still active. On the 9th of February, 1767, Gpddard's Pennsylvania Chronicle contained the first of a series of articles trying to prove the absolute unlawfulness of stage entertainments. These papers were signed " Philadelphus," and they were not concluded till the 4th of May. As a matter of fact these articles were only reprints of the writings against the theatre of Wil- liam Jay, an English clergyman. According to Mr. Jay, as quoted by " Philadelphus," theatrical representations are akin to image wor- ship, and contrary to the spirit of religion. " You go to hear a play," he exclaimed, "I tell you, you go to hear ribaldry and profaneness; that you entertain your mind with extravagant thoughts, wild rants, blasphemous speeches, wanton amours, profane jests and impure passions." The editor, however, was careful to explain that the on- slaught on the worship of images was " no reflection on the Roman Catholics of this city and Province," but it was boldly asserted that no actor could be a Christian. The same journal on the i6th of February contained an article by "Eugenio," who believed he would THE SOUTHWARK THEATRE. 175 not stand single when he asserted that plays have an evil tendency to corrupt and debauch the mind, and he declared that even in Shaks- pere the sublime flights of poesy scarcely atone for the low, droll buffoonery with which his best pieces abound. These attacks drew an answer from Mr. Douglass, who wrote to the Chronicle in regard to " the torrent of incomprehensible abuse of late so plentifully be- stowed upon the theatre." " I should look forward with terror," he said, " if I thought myself engaged in a business that could be pro- ductive of the horrid consequences imputed to it." He enclosed an essay, dated New York, March 17th, 1762, which he considered an answer to those who had attacked him " in so indecent and illiberal a manner." This essay, which was printed for the first time, was intended for New York, but had not been published because the oppo- sition subsided. On the same day that the letter of " Eugenio " was published, the remonstrance against the new theatre, in the usual terms of denunciation, was presented to the General Assembly. As every other means of suppressing the play-actors failed Goddard's Chronicle on the 6th of April was enriched with a satirical description of a strolling company of players, which, like nearly everything else printed in this country against the theatre at that time, was conveyed from a London journal. CHAPTER XVII. " THE DISAPPOINTMENT." THE FIRST AMERICAN COMEDY ACCEPTED FOR PRODUCTION A SATIRE ON THE SEARCHER^ AFTER HIDDEN TREASURE AN ACCOUNT OF THIS FORGOTTEN PLAY WHY IT WAS DETERMINED NOT TO PRODUCE IT. THE first American comedy, or comic opera, as it was called, that was accepted by a manager and put into rehearsal for a speedy production, was a local satire intended to ridicule an idea then prevalent that Blackbeard, the pirate, had concealed much of his ill- gotten treasure on the banks of the Delaware, in the neighborhood of Cooper's Point. The popular conceit was that the pirates some- times killed a prisoner and buried his body with the treasure, so that his " spook," or ghost, keeping its vigils over the grave might frighten away intruders. Naturally, the reported presence of a ghost at a par- ticular spot was a sufficient incentive to dig there for hidden wealth. As one superstition always begets others the professors of the black art of the period were in great demand, both to discover the places where the treasure was concealed and to put a " magic ring " round the spot to keep the searchers harmless while digging. These super- stitions sometimes led to practical joking by the young wags of the time, and it is understood that it was one of these practical jokes that supplied the story for the "comic opera" put in rehearsal by Mr. (176) " THE DISAPPOINTMENT!' 17; Advertisement. By Authority. By the American Company, At the New Theatre in Southwark on Mon- day next, being the 20th of April, will be presented a new Comic Opera, called THE DISAPPOINTMENT; or, the Force of Credulity. To which will be added a farce called The Mayor of Garratt. Douglass' company in the winter and spring of 1767 and announced for production at the Southwark Theatre. The announcement was printed in Goddard's Pennsylvania Chronicle for the i8th of April, 1767. It was, it must be confessed, an exceedingly modest advertise- ment of the intended production of the first American comedy ever I prepared for the stage. It was not even said that it was Ameri- can in authorship or local in theme. These important facts only appeared by implication in the notice of its withdrawal printed in the Pennsylvania Gazette on the following Wednesday by way "The Disappointment" (that was adver- °f explanation. As it waS not tised for Monday), as it contains personal produced, although it came SO reflections, is unfit for the stage. near production that it was only withdrawn between Saturday and Monday, one might be tempted to believe it was published in consequence, but that such was not the case appears from the following advertisement printed in the Penn- sylvania Chronicle simultaneously with the announcement of its in- tended production. This so-called comic opera is now so scarce that a copy was recently sold in New York at auction for ^13. The Advertisement. Just published and to be sold at Samuel Taylor's, Book-Binder, at the Comer of Market and Water Streets, price One Shilling and Six- pence, a new American Comic Opera of two Acts, called The Disappointment; or, the Force of Credulity. By Andrew Barton, Esq. piece was originally printed in New York, as appears from the title- page of the first edition, but it was reprinted in Philadelphia after the 178 HISTORY OF THE AMERICAN THEATRE. Revolution, where its local interest caused it to be sought after for many years. The "personal reflections" that induced Mr. Douglass to withdraw it were evidently well-founded, for it is described in the preface as a " local piece," and the publication was explained as due to the following reasons : 1. The infrequency of dramatic compositions in America. 2. The torrent of solicitations from all quarters. 3. The necessity of contributing to the entertainment of the city. 4. To put a stop, if possible, to the foolish and pernicious prac- tice of searching after supposed hidden treasure. Evidently the name of Andrew Barton, Esq., on the title-page is an assumed one, and in the Ridgway Library copy the name of Colonel Thomas Forrest, of Germantown, is written in ink as the Title-Page. author. Colonel Forrest, at one The time captain of a company of Disappointment; Revolutionary scouts dressed as or, the Force of Credulity. Indians, and later on a colonel in ^^ the War for Independence, died in American Comic Opera of Two Acts. 1828, at the age of eighty-three. By Andrew Barton, Esq. t -l ■ Enchanting gold! thou dost conspire to blind In his youth he was a noted wag, Man's erring judgment, and misguide the mind; -,. 'jr-L* -ttt i In search of thee the wretched worldling goes, and it IS Said Of him m WatSOn S Nor dangers fears, tho' fiends of night oppose. New York. "Annals of Philadelphia" that Printed in the Year M, DCC, LXVII. -u u u ». i. i. ' ' when he was about twenty-one years of age a tailor who was measuring him for a coat happened to remark, " Ah, Thomas, if you and I could only find some of the money of the sea-robbers we might drive our coach for life." Forrest pretended to take the suggestion seriously, and through the tailor they were joined by one Ambruster, a printer, who believed he could conjure the " THE disappointment:' 179 pirate and compel him to give up the treasure. Forrest made an en- gagement to meet Ambruster and the tailor at a public-house in the city, where the printer was to show Forrest and several other persons, who were to share in the hidden wealth, a proof of his powers. By an arrangement with the innkeeper preparation was made to lower from the room above, by means of a pulley, the ghost of the pirate at Am- bruster's invocation. The company assembled and the conjuror began to "hex,"' as the process of incantation was called. When Ambruster finally invoked the pirate, " du Verfluchter, komm heraus" the pulley began to reel and the ghost, with staring eyes and a ghastly counte- nance, was among them. The whole company fled dismayed, except Forrest. The apparition only served to whet the appetite of those who had taken part in the incantation for possession of the treasure, and Forrest's joke was carried out very much in the way described in the play. In turning a joke of this kind into a play the situations could not fail to be irresistibly comic, but the prologue seems to have been designed to relieve the piece Prologue. from the imputation that Tho' distant far from fam'd Britannia's isle, ^1, ... -it- J 1 Where comic scenes call cynics forth to smile: finally caused its withdrawal. ^ „ x. ,%. a x. c , •' Our artless muse hath made her first essay A much graver objection to T' instruct and please you with a modern play. Theatric business was and still shou'd be the comedy, and one that Topointout vice in its deformity; should have prevented its ac- ^"^^ "''f f '' ' ^^'"^ eminently bright, Rapture the breast and captivate the sight, ceptance in the first instance, No matter which, the pulpit or the stage, Condemn the vice and folly of the age ; was Its coarseness and immo- These are our boast and on sure ground we stand, rality, making it unfit for the ^^^ ^'^'"^'= =^"^^ throughout this infant land ; We mount the stage and lend an helping hand. stage. In the plot of the com- Wits, fools, a knave and conjuror to-night, The objects make both of your ears and sight, edy the scheme was planned ^ band of dupes are humm'd with idle schemes. i8o HISTORY OF THE AMERICAN THEATRE. Quit solid sense for airy golden dreams. by four humorOUS gentlemen, Our flatt'ring muse think's she's some merit gain'd, Pursuing truth and things, like truth, well feign'd. Hum, Parchment, Quadrant The subjects suited to our present times, ^^^ Rattletrap, the last-named No person s touch d, altho she lash their cnmes; Nor gall or copp'ras tincture her design, being a Supposed COnjuror. But gay, good humor breathe in every line. If you condemn her— she for censure stands; The dupeS were Raccoon, an But if applaud-then thund'ring clap your hands. ^j j debauchee ; Washball, an avaricious barber; Trusthoop, a cooper, and McSnip, a tailor. The other characters were Mean-well, a gentleman in love with Washball' s niece ; Topinloft, a sailor ; Spitfire, Rattletrap' s assistant ; Moll Placket, a dissolute woman; Mrs. Trusthoop, and Lucy, Washball' s niece. When the curtain rises on the first act. Hum, Parchment and Quadrant are discovered seated around a table in a tavern, where they are drink- ing and discussing their scheme. Raccoon, who, " though great coward as they say he is," will " venture to the gates of hell " for money, is expected. Hum announces that he has contrived matters so that Raccoon "shall make the discovery himself." Quadrant informs the others that he has drawn in both Trusthoop and McSnip. With his share of the treasures, Quadrant says Trusthoop "talks of building a chapel at his own expense and employing a score of priests to keep up a continual rotation of prayers for the repose of the souls of those poor fellows who buried it." As for McSnip, he " intends to knock off business, go home to England and purchase a title." Mr. Parch- ment prepared the papers which were duly enclosed in a letter to Mr. Hum, purporting to come from his sister in England. One of these papers, that looked old enough to have been " preserved in the Temple of Apollo or the Tower of Babel," contained a list of the treasure buried by Edward Teach, alias Blackbeard: "Imprimis, 17 golden candlesticks, chalices and crucifixes; 30,000 Portugal pieces; 20,000 " THE DISAPPOINTMENT." i8i Spanish pistoles, 470,000 pistareens, 73 bars of gold, a small box of diamonds, 60,000 pieces of eight and 150 pounds weight of gold dust." There was, of course, a draft of the place where the treasure lies, almost as ingenious as that introduced by Poe into his story of " The Gold Bug." This leads Quadrant to sing to his fellow-conspirators to the air of " I am a brisk and lively lass : " In all the town there's none like you, When you're on mischief bent, sirs ; With pen and ink one well can write What you do both invent, sirs. When Raccoon enters Hum steps out for a moment, dropping the papers. Raccoon picks them up, looks over them and crams them into his bosom. Hum returns lamenting the loss of his papers, and declaring that the drawer must have picked his pocket. The poor servant is roughly handled and searched. At the beginning of this scene Washball, Trusthoop and McSnip enter. Finally Raccoon gives up the papers, on condition that Hum lets him in for a share. Parch- ment pretends to know nothing of the papers, and declares that if they contain any scheme, plot, combination, rout, riot or unlawful assembly — in fine, anything against his most sacred Majesty, George II, etc., etc. — he'll at once to the Attorney-General and lodge an information against every man in the company and hang every mother's son of them. Parchment is finally convinced and then wishes he had been " in such a plot twenty years ago." "By my saul," cries McSnip, "\\S. away we all me dranken joorneymen and keck the shap-boord oot a' the wandow." " I'll shave no more," exclaims Washball — "No, not I — I'll keep my hands out of the suds." 1 82 HISTORY OF THE AMERICAN THEATRE. " Dis will make me cut de figure in life," says Raccoon, " and appear in de world de proper impotance; and den I'll do someting for my poor ting." The conspirators obtain two pistoles each from the dupes, and the scene closes with a solo from Parchment: Air — '^How Blest Has My Time Been.'' Now let us join hands and unite in this cause, 'Tis glorious gold that shall gain us applause ; How blest now are we with such treasure in store, We'll clothe all the naked and feed all the poor. How happy for me to this country I came, You all, my dear friends, now can witness the same ; In wealth to abound — oh, the thought is most sweet, No more will I write for one farthing a sheet. In the second scene of the first act Trusthoop finds himself locked out by his wife. The old reprobate. Raccoon, in the third scene carries a spit, pick-axe and spade into Moll Placket's house and puts them under the bed. Moll calls him her " dear Cooney," and he not only tells his " pet " and " dear ting " all about the treasure, but promises her ;^50O a year for pin money when it is obtained. The fourth is a street scene where Hum, Rattletrap and Quadrant agree to assemble their dupes at the Ton Tavern. In the fifth scene McSnip turns his journeymen out of the shop. Then comes a love-scene between Lucy and Meanwell. Lucy tells her lover that her uncle, Washball, has ordered her to discard him, and promised her a marriage portion of ;^ 1 0,000 if she marries agreeably to his wishes. The seventh scene — think of seven scenes in the first act of a comic opera — shows the con- spirators and dupes at the tavern, and the act closes with a song sung by Rattletrap to the air of " The Jolly Toper." " THE disappointment:' 183 The second act opens with a broad, coarse scene that would be inadmissible nowadays between Topinloft, the sailor, and Moll Placket, during which Raccoon cornes for his spit, pick-axe and spade. Topin- loft conceals himself under the bed where the implements were placed, but to prevent Raccoon from going there for them Moll pretends that she is about to raise a familiar spirit, and the sailor makes his escape as a ghost, knocking Raccoon over as he rushes out. The next scene is "the place of action near the Stone Bridge." Rattletrap draws "the magic circle" and pronounces the words of incantation — "Diapaculum interravo, testiculum stravagansa." While the digging proceeds the convulsions of nature are rather queer, and finally the ghost of the pirate appears and spits fire. Trusthoop says the spook " looks like no slouch of a fellow." Washball, thoroughly frightened, prays " Mea culpa" and Raccoon, who now wishes he had lived a better life, asks him to pray in English, saying " dese spirits don't understand de Latin." The ghost resists the search for the treasure, but in vain, and when the chest is secured Rattletrap sings : Tho' my art some despise, I appeal to your eyes For a proof of my magical knowledge ; Tho' the -wisdom of schools damn our art and our tools, We can laugh at the fools of the college. Now, my friends, we're possessed of the glorious chest, Join hands and rejoice without measure ; Let it be our first care that great blessing to share Whose contents are an infinite treasure. The piece ought to end with the opening of the chest, which is found to contain only stones, but it does not, for Lucy and Meanwell have eloped and are to to be forgiven, and there is besides an epilogue in which all the characters, including Moll and the sailor, appear. The 1 84 HISTORY OF THE AMERICAN THEATRE. " local reflections " in this piece are only such as would belong to an actual event. Although without merit as a dramatic composition, " The Dis- appointment" is worthy of preservation as a picture of a credulous and superstitious epoch in the history of Pennsylvania. In casting the piece it is probable that Hallam was to have played Rattletrap, Woolls Parchment, Douglass Raccoon, Morris McSnip, Mrs. Harman Moll and Miss Wainwright Lucy. Beyond these it is not easy to guess at the distribution of the parts. By some the authorship of the comedy was attributed to Joseph Leacock, who was a jeweler and silversmith in Philadelphia at the time, and by others to John Leacock, who became Coroner after the Revolution. There is no reason to doubt, however, that the author was Colonel Forrest. CHAPTER XVIII. "THE PRINCE OF PARTHIA." THE FIRST AMERICAN PLAY EVER PRODUCED — THOMAS GODFREY'S TRAGEDY WHO THE ACTORS WERE ALL THAT IS KNOWN IN REGARD TO THE PIECE. WHILE the comic opera, "The Disappointment," was the first American play announced for production, the first American play written for the stage and actually produced was " The Prince of Parthia," a tragedy by Thomas Godfrey, the younger. The elder Godfrey was a poor glazier, but he was remarkable as a mathematician, and was the original inventor of the quadrant that came to be known as Hadley's. He died in Philadelphia in the month of December, 1749. The announcement of his death, in which it was said that he had a genius for all kinds of mathematical knowledge, was printed in the Pennsylvania Gazette for the 19th. Thomas Godfrey, the younger, was born in Philadelphia in 1736. As a lad he was apprenticed to a watchmaker. In 1758 he served as a lieutenant in the Pennsylvania forces that formed a part of the expedition against Fort Duquesne. Subsequently, in 1759, young Godfrey went to North CaroHna, where he gave his leisure during the summer and autumn to completing his tragedy, intending it for production in Philadelphia by Douglass' com- pany. "By the last vessel from this place," he wrote to a Philadelphia friend in a letter dated November 17th, 1759, "I sent you the copy of a tragedy I finished here, and desired your interest in bringing it on (185) 1 86 HISTORY OF THE AMERICAN THEATRE. the stage; I have not yet heard of the vessel's arrival, and believe if she is safe it will be too late for the company now in Philadelphia." This letter proves conclusively that Godfrey wrote the " Prince of Parthia " with a view to its production, and as it was printed in the introduction to Godfrey's poems, of which the tragedy formed a part, published in 1765, there is no excuse for Mr. Dunlap's ignorance in regard to the author's intentions respecting it. Young Godfrey had many influential friends in Philadelphia. Among them were Dr. Smith, the first principal of the Philadelphia Academy; Francis Hopkinson, the author of" The Battle of the Kegs;" Benjamin West, the distinguished artist, and Nathaniel Evans, a young clergyman, who also aspired to be a poet. It was through Dr. Smith's influence that Godfrey obtained his lieutenant's commission in the Pennsylvania forces in the Duquesne expedition. In August, 1758, the young soldier wrote a poetical epistle from Fort Henry, which is A Specimen of Godfrey's Verse. a favorable specimen of God- ' . , , , ,. , . frey's versification, and a strik- Here no enchanting prospect yields delignt, ■' But darksome forests intercept the sight; jng picture of the deep distress Here, filled with dread, the trembling peasants go, And start with terror at each nodding bough, that overwhelmed the frontier Nor as they trace the gloomy way along, settlements in that epoch of Dare ask the influence of a cheenng song. -^ ^, . , unsparing savage warfare. But If in this wild a pleasing spot we meet, x o o In happier times some humble swain's retreat; J)r. Smith not only promoted Where once with joy he saw the gratefiil soil Yield a luxuriant harvest to his toil. Godfrey's military ambition— [Blest with content, enjoyed his solitude, ^^ ^^^ ^^^ -^ jj^^^.. And knew his pleasures, though of manners rude ; J ^ o » The lonely prospect strikes a secret dread, ary sponsor aS Well. As the While round the ravag'd cot we silent tread. Whose owner fell beneath the sav^e hand, editor of the American Magu- Or roves a captive on some hostile land, ^-^^ ^^ -^^^^ ^^^ ^^^^^^^ While the rich fields with Ceres blessings stor d, '■ Grieve for their slaughter'd, or their absent lord. productions of Godfrey's mUSC "THE PRINCE OF PARTHIA." 187 and extolled the verses of his aspiring contributor. It was not Dr. Smith who collected Godfrey's productions and secured their publica- tion aftfer the author's death, as his biographer asserts, but the Rev. Mr. Evans. The collection, to which Mr. Evans contributed a life of the poet, and Dr. Smith a critical estimate of Mr. Godfrey's writings, fails to sustain the opinions of the critic as to their merits. The best of Godfrey's poems un- Fancy. questionably was his "Court ., High in the midst, raisM on her roUing throne, of Fancy," first published Subhmely eminent bright Fancy shone: A glitt'ring tiara her temples bound, in 1762. As a specimen Rich set with sparkling rubies all around, . , . -r ■ r 1 Her azure eyes rolled with majestic grace, of his versification the de- ^^^ ^^^^^ ^^^^^^^ ^j^^^,^ „p„^ j^^, ^^^ scription of Fancy, printed ^ radiant bough, ensign of her command. Of polish'd gold, waved in her lily hand; herewith, will serve. God- The same the sybil to Eneas gave, r 1 . ..1 , When the bold Trojan cross'd the Stygian wave. frey was almost without ^ 1 . c .j » u .' In silver traces fax d unto her car, education, but his poems F°"'' ™°""y ^^^ns, proud of th' imperial fair, Wing'd lightly on, each in gay beauty drest, are chiefly remarkable for Smooth'd the soft plumage that adom'd her breast, /y . . • r 1 • Sacred to her the lucent chariot drew, an affectation of learning „ , ,, .,,, . , , . , ' ° Or whether wildly through the air she flew, that he did not have. In Or whether to the dreary shades of night, Oppress'd with gloom, she downwards bent her flight, the estimation of his friends Or, proud, aspiring, sought the blest abodes, he was an untutored child ^""^ ^°'^^^^ ''^°' "-"""^ '^" ^^^'"^^^'^ sods." of genius. His friend Evans, in a doggerel ode beginning: While you, dear Tom, are forc'd to roam In search of fortune far from home, invoked him to renounce the muse and With me henceforward join the crowd, And, like the rest, proclaim aloud That money is all virtue. Prefixed to Godfrey's poems is an elegy to his memory by Evans, in which the most appropriate lines were as follows : 1 88 HISTORY OF THE AMERICAN THEATRE. Stranger, whoe'er thou art, by fortune's hand Lost on the baleful Carolinian strand, Oh ! if thou see'st perchance the Poet's grave The sacred spot with tears of sorrow lave. Oh ! shade it, shade it with ne'erfading bays — Hallow'd the place where gentle Godfrey lays. John Green, a portrait-painter, who was also one of the poet's early friends, contributed an additional elegy to the memorial vol- ExTRACT FROM Green's Elegy. ume of Godfrev's verse. Ye gentle swains on Carolina's shore. Green's lines, although Who knew my Damon, (now alas, no more), ., , ,.,,, T3 r 1,/ J 1,- V. II M • they show little poetic By moonlight round his hallow d grave repair, -' ^ Strew sweetest flow'rs and drop a sorrowing tear, merit are Superior in With never fading laurel shade his tomb, And bid the rising bay forever bloom, tender Sympathy and Teach springing flow'rs their purpl'd heads to rise, ... . . , i , , . , „ , = V «w •, V » appreciation to the halt- And sweetly twmmg write, " Here virtue lies. ^'^ Sing in sad strains each venerable name, jncr numbers of God- In Fortune's spite that struggled up to fame; By Virtue led life's rugged road along, frey's literary exeCUtor. Their lives instructive as their sweetest song. -^ r" <4f Vi' Say while their praises tremble on the tongue, ° •^ ' Thus lived this youthftil Bard — thus gentle Damon sung. part in his poem en- titled " A Night Piece," paid this compliment to Green : What hand can picture forth the solemn scene. The deep'ning shade and glimm'ring light ! How much above the expressive art of Green, Are the dim beauties of the dewy night ! Still another evidence of the esteem in which Godfrey was held by his friends is found in the fact that his portrait was painted by Benjamin West. The picture was among the earliest efforts of that great painter. It has been described as " indicative of talent neither in the artist nor the person delineated." Godfrey died in North Carolina, August 3d, 1763. His poems, including "The Prince of Parthia," were then collected and published in a small folio volume, in 1765. The book has long been regarded as a scarce one, but may " THE PRINCE OF PARTHIA." 189 be found occasionally on the shelves of the second-hand dealers. Among the original subscribers were Chief Justice William Allen and William Plumstead, the latter taking two copies. Benjamin Franklin's private copy with his autograph — he subscribed for twelve copies — was on sale at Scribner's, in New York, a few years ago. As an acting play " The Prince of Parthia " has no merit what- ever. The speeches are long and are in blank verse, remarkable only for its measured dulness. All the characters are on stilts. There is little plot to the piece and no action. As a first attempt at play-writing in America by a young man who had had few opportunities of seeing plays acted, the tragedy is not without interest. It has none of the interest, however, that makes it readable as a poem or presentable as a play. That it ever should have met with favor on the stage is im- possible, and it is probable that its production was in the nature of a peace-offering to the Philadelphia public for the failure to produce " The Disappointment." The tragedy followed immediately upon the withdrawal of the comedy, as the announcement printed in the Penn- sylvania Gazette on the 23d of Advertisement. April shows. It is in the face gy authority. of this advertisement that Dunlap ^^ '^^ American Company. At the new Theatre m Soutkwark, to- asserts with his usual inaccuracy, morrow, being the 24th of April, will be pre- sented a Tragedy, written in America by the "Whether mtended for the stage i^je ingenious Mr. Godfrey, of this city, or only for the closet is unknown ; <^^^^ ^ THE PRINCE OF PARTHIA; that it was not performed by the To which will be added . „ The Contrivances. players is certam. j^ \ifi^-o. precisely at seven o'clock. The plot of the tragedy, such V'^^' ^" ^' ^«i^°^- as it is, is not well-knit nor well wrought out. Arsaces, son of Arta- banes. King of Parthia, has just returned from a successful campaign 190 HISTORY OF THE AMERICAN THEATRE. against Arabia. The play opens in the Temple of the Sun at Ctesi- phon. The opening scene is between Gotarzes, the youngest brother of Arsaces, and Phraates, a courtier. It requires a number of long speeches in blank verse to enable Gotarzes to inform his friend that his gallant brother Triumphant enters now our joyful gates ; Bright Victory waits on his glittering car And shows her fav'rite to the wond'ring crowd. Thereupon Phraates takes occasion in fifteen lines to answer that Glad Ctes'phon Pours forth her numbers like a rolling deluge To meet the blooming Hero. With more than doubtful grammar and in lame measure Go- tarzes exclaims: Happy Parthia ! Now proud Arabia dreads her destined chains, While shame and rout disperses all her sons. Barzaphernes pursues the fugitives, The few whom fav'ring night redeem'd from slaughter. There is, of course, just there no lack of praises of the victorious Prince of Parthia. According to Phraates : In blest Arsaces every virtue meets ; He's generous, brave and wise and good, Has skill to act and noble fortitude To face bold danger in the battle firm, And dauntless as a lion fronts his foe. This panegyric reminds Gotarzes of "one luckless day" when " in the eager chase " A monstrous leopard from a bosky den Rushed forth, and foaming lash'd the ground. As was to be expected, Gotarzes' " treach'rous blade " snapped short, and of course " THE PRINCE OF PARTHIA." 191 Arsaces then, Hearing the din, flew like some pitying power, And quickly freed me from the monster's jaws. Drenching his bright lance in his spotted breast. Arsaces has a wicked brother, Vardanes, who hates the elder prince, For standing 'twixt him and the hope of empire. This Vardanes was seized with a cramp while bathing in the Euphrates, but his cries Arsaces heard. And thro' the swelling waves he rushed to save His drowning brother, and gave him life ; And for the boon the ingrate pays him hate. The poetic license allowed only to young men of genius enabled the author of " The Prince of Parthia " to represent the Queen as the widow of Tissaphesenes and the mother of the fierce Vonones when she became the wife of Artabanes. Vonones conspired against the King's life, and the Queen resolved to ruin Arsaces — Because, that fill'd with filial piety. To save his royal Sire, he struck the bold Presumptuous traitor dead. The second scene is between Vardanes and his friend, Lycias. Vardanes takes occasion to say — I hate Arsaces Tho' he's my mother's son, and churchmen say There's something sacred in the name of brother, My soul endures him not, and he's the bane Of all my hopes of greatness. Like the sun He rules the day and like the night's pale queen My fainter beams are lost when he appears. Vardanes had still another reason to hate his brother, and he declares : 192 HISTORY OF THE AMERICAN THEATRE. In love as well as glory he's above me ; I dote on fair Evanthe, but the charmer Disdains my ardent suit ; like a miser He treasures up her beauties to himself. The Queen and Edessa have the third scene, in which the former gives expression to her discontent with Arsaces, and utters a curse that comprises the most satisfactory lines in the play : O may he never know a father's fondness, Or know it to his sorrow ; may his hopes Of joy be cut like mine, and his short life Be one continued tempest ; if he lives ' Let him be cursed with jealousy and fear. And vext with anguish of neglecting scorn ; May torturing hope present the flowing cup, Then hasty snatch it from his eager thirst. And when he dies base treach'ry be the means. She announces that " Vardanes is the minister of vengeance." The fourth scene is between Evanthe and Cleone. Evanthe, in speeches not fewer than sixteen lines in length, says: Twice fifteen times Has Cynthia dipt her horns in beams of light. Twice fifteen times has wafted all her brightness. Since first I knew to love; 'twas on that day When curs' d Vonoues fell upon the plain — The lovely victor doubly conquer'd me. She was a captive of Vonones, and, of course, the daughter of Bethas. The King and Arsaces are seen in the last scenes of the act, where Bethas is shown in chains. Arsaces asks for the life of the captive and the King grants it. In the second act the lovers meet in the cell of the captive father, while Vardanes and Lycias begin to scheme to overthrow Arsaces and To gain a crown or else a glorious tomb. " THE PRINCE OF PARTHIA." 193 The third act opens with a scene between the King and Queen, in which she accuses him of a guilty design upon Evanthe, which he does not deny, but as he retires, exclaims : No more I'll wage a woman's war with words. Then Vardanes enters, asking the Queen — Dread Thermusa, Say, what has roused this tumult in thy soul ? She informs him that his father is his rival. Not suspecting his father's passion, Arsaces asks the hand of Evanthe as a reward for his services, but Evanthe lets him know how she is persecuted by the King. The King plots with Vardanes against Evanthe, saying : Indulge thy father with this one request, Seize with some horse Evanthe, and bear her To your command. Oh, I'll own my weakness, I love her with a fondness mortal never knew. Lycias murders the King at the instigation of the Queen, and in the fourth act Vardanes imprisons his brother Arsaces, and the Queen plots the assassination of the Prince. While she is in his cell, intending to stab him, the Ghost of Artabanes rises, and at once pro- ceeds to make a speech eighteen lines in length. This deters her, as well it might. To close the fourth act Barzaphernes returns with his army from Arabia and releases Arsaces. In the last act Vardanes makes love to Evanthe, much against her will, in the royal palace, but the palace is assaulted by Arsaces and captured. Evanthe, unfortu- nately hearing that Arsaces has fallen in the battle, takes poison, and is dying when her lover succeeds in rescuing her. It only remains for A.r.saces also to commit suicide. After one hundred and twenty years the first production of an 13 194 HISTORY OF THE AMERICAN THEATRE. American play is a matter of great interest to students of American theatrical history; but beyond the fact of the production of the " Prince of Parthia," on the 24th of April, 1767, and the play itself, which has come down to us as a token of the first attempts at dramatic authorship in America, nothing is known of the event. There was. The Chronicle Advertisement. however, a second advertisement By Authority. printed in the Pennsylvania Chron- Never Performed Before. . , , . , , . , 1 • , r . r By the American Company. '^^'' ^^^^^ COntamed a llSt of the At the New Theatre in Southwaxk performers who had parts in God- On Friday the Twenty-fourth of April will be presented a Tragedy written by the late frey's tragedy. Mr. Hallam, ap- ingenious Mr. Thomas Godfrey of ^, ,■ 1 ^i this city called The parently, never mentioned the PRINCE OF PARTHIA. fact of its production to Dunlap— The principal characters by Mr. Hallam, Mr. Douglass, Mr. Wall, Mr. Morris, Mr. indeed, he may have forgotten it AUyn, Mr. Tomlinson, Mr. Broadbelt, Mr. ,, ,i q,, r Greville, Mrs. Douglass, Mrs. Morris, Miss ° ' " " Wainwright and Miss Cheer. the time are silent in regard to it. As no second edition of the tragedy was ever printed, no information in regard to the play or the cast has been preserved in that way. The only thing that is possible under the circumstances is to make up a probable cast from the list of names in the advertisement. There is no reasonable doubt that the roles Probable Cast. taken by Douglass and Hallam Artabanes, King of Parthia . . Mr. Douglass and Mrs. Douglass and Miss Cheer vlrdanes,|his sons,! '. '. ."Mr.TomlL^ • J- 4. J • 4.1,- "B u Gotarzes, {. ) Mr. Wall were as mdicated in this rrob- „ , i„,t..„„„t „=„.=,„i Barzaphernes, heutenant-general able Cast." By whom the minor ""der Arsaces Mr. AUyn Lysias, f g- t c rt 1 '^^' ^'■°^ 1 .11 .1 J Last week was married in Maryland the Lord RosehiU was the son and „. , , „ , , ^ a-d utw t^t- vt Right Honorable Lord RosehiU to Miss Mar- heir of the sixth Earl of North- garet Cheer, a young lady much admired for her theatrical performances. esk in the Scotch peerage. In Burke's "Peerage" it is said that Lord RosehiU married Catherine Cameron in 1768. This indicates either that Margaret Cheer was only the stage name of the actress, or that the young Lord was twice married within a year. At the time of his marriage Lord RosehiU had just entered upon his twentieth year, and it may be assumed that Miss Cheer was several years his senior, and that the union was the result of a boyish passion for the leading lady of the American Company. The young nobleman was in Philadelphia in 1768, where he was much petted by society. Lord Rosehill's father was a naval officer of distinc- tion, who attained the rank of Admiral of the White. Of the motives that brought the young lord to America, thus making possible his marriage with Miss Cheer-Cameron, there is no account, nor have we any account of the length of his stay. If Lady RosehiU lived with her husband during his lifetime, it is certain they did not return to Scotland imme- diately after her retirement, for she played Queen Elizabeth, in "Richard III," for Mrs. Douglass' benefit in New York as late as 1773. David Carnegie, Lord RosehiU, died in France without issue in 1788. As the Earl, who was succeeded by his second son, William, also a distinguished naval officer, lived until 1792, Lady RosehiU never became a countess. Dunlap is authority for the state- ment that she was afterward known as Mrs. Long. Miss Cheer was 208 HISTORY OF THE AMERICAN THEATRE. the only actress on the American stage who ever succeeded in captur- ing a lord for a husband, and after Lavinia Fenton, who became Duchess of Bolton, she was the first actress to marry a title. At a later period it was not unusual for favorite actresses to become the wives of noble lords. Miss Eliza Farren becoming Countess of Derby in 1797, Miss Louisa Brunton, sister of our own Mrs. Warren, Countess of Craven in 1 807, and Mrs. Coutts, known to the stage as Miss Mellon, Duchess of St. Albans in 1827. It is surprising that Miss Cheer's marriage to Lord Rosehill should have passed at the time with no other public mention than the brief announcement in the Pennsylvania Chronicle and should afterward have been completely lost sight of by the historians of the American theatre. According to another historian of the American theatre, Colonel Brown, Miss Wainwright also made her American debut in New York, December 7th, 1767, as Cherry in the "Stratagem." She, too, had played her first New York role in Philadelphia nearly a year before she appeared in it in New York, and when the John Street Theatre was opened she was already an established Philadelphia favorite in the more important parts of Polly in the " Beggar's Opera," and Rosetta in " Love in a Village." Colonel Brown also makes the astounding declaration that Ann Storer (Mrs. Hogg) made her debut as a child in 1767 at the John Street Theatre. It is not likely that a child who had already played Miss Biddy Belair in " Miss in her Teens," Regan in "King Lear" and Betty in the " Clandestine Marriage" in Philadelphia should become an infantile Betty in New York a few weeks later. It is unnecessary to follow the mistakes of the historians further in this chapter, and so it only remains to be added that during the supplementary season of 1767 tickets were advertised to be had "at THE AMERICAN COMPANY. 209 the London Coffee House and at Mr. Allyn's, next door but one to the theatre." The prices were: Boxes js. 6d., pit 5^., gallery 2s. With a brief interval during the summer of 1767 Philadelphia had had a long series of theatrical performances at the new theatre in Southwark, beginning with "Douglas," November 21st, 1766, and finally closing with the " Clandestine Marriage," November 23d, 1767. It was now to be New York's turn, and a long period elapsed before the players returned to the Quaker City. 14 CHAPTER XX. JOHN STREET THEATRE, NEW YORK. AMUSEMENTS WHILE THE PLAYERS WERE ABSENT DESCRIPTION OF THE NEW THEATRE THE FIRST SEASON IN THE NEW PLAY- HOUSE DEATH OF MRS. MORRIS FATAL ACCIDENT TO A CAR- PENTER RENEWED OPPOSITION TO PLAYS AND PLAYERS. WHILE the Philadelphians were enjoying the acting of the American Company, whatever its quality, in the winter and spring and again in the autumn of 1767, the New Yorkers were determined not to be entirely bereft of amusements. On the 14th of April there was a concert of music at the New Assembly Room, for the benefit of Mr. Leonard, whoever he may have been, and the same evening Mr. Bayly, a sleight-of hand performer, took what was called a benefit, the bill comprising " a new farce called the ' Enchanted Lady of the Grove,'" the "Drunken Peasant" and the "Miller." Mr. Tea was the Peasant and Mr. Bayly the Clown in the former of the last two pieces, and Mr. Bayly the Miller and Mr. Tea the Harlequin in the latter. The entertainment closed with "a negro dance," in character, by Mr. Tea. Strangely enough, although the entertainment was frequently repeated, the place where it was given was not named in the announcements until the i8th of May, when it was said that the performance would take place " at the Orange Tree on Golden Hill." (210) JOHN STREET THEATRE, NEW YORK. 211 On the 5th of May "Harlequin's Escape" was in the bills with this cast: Pantaloon, by a Gentleman; Spaniard, Mr. Bayly; Harlequin, by a Gentleman; Clown, Mr. Tea. On the 1 8th Otway's " Orphan " was played " by Gentlemen and Ladies for their amusement," and " Harlequin Statue" was given, thus cast: Pantaloon, Mr. Shaw; Harlequin, Mr. Martin; Clown, Mr. Tea; Columbine, Mrs. Bayly. The Royal American Band of Music had a benefit at Burns' New Assembly Room on the 20th of April, and on the 1 3th of August the first of a series of concerts was given at Ranelagh Garden. During the summer Mr. Douglass visited New York, probably to superintend the building of his new theatre. During his visit he gave the celebrated " Lecture on Heads " in three parts at Burns' Assembly Room, begin- ning July 17th, with singing between the parts and at the end of the lecture by Mr. Woolls. Tickets were one dollar, but the price being objected to "as rather too high" Mr. Douglass lowered it after the first night to half a dollar. The lecture was delivered every Tuesday and Friday evening, the last performance taking place on the 6th of August. William C. Hulett, who was the dancer of the original Hallam Com- pany, had a benefit at Burns' on the 2d of December, at which he was assisted by Mr. Woolls and Miss Hallam. In the first American play produced in New York, and the first comedy by an American that was American in theme — " The Con- trast," by Judge Tyler, of Vermont — the original Jonathan is made to describe the theatre in New York at the time it was re-opened after the Revolution. "As I was looking here and there for it," Jonathan says, " I saw a great crowd of folks going into a long entry that had lanterns over the door, so I asked the man if that was the place they 212 HISTORY OF THE AMERICAN THEATRE. played hocus pocus ? He was a very civil kind of a man, though he did speak like the Hessians; he lifted up his eyes and said: 'They play hocus pocus tricks enough there, Got knows, mine friend.' So I went right in and they showed me away clean up to the garret, just like a meeting house gallery. And so I saw a power of topping folks, all sitting around in little cabins just like father's corn-crib." This was the theatre in John Street, which for a quarter of a century was to New York what the Southwark Theatre was to Phila- delphia. Both houses were alike in appearance, but the New York theatre stood back about sixty feet from the street, with a covered way of rough wooden materials from the sidewalk to the doors. It was principally of wood and was painted red. It had two rows of boxes and a pit and gallery, the capacity of the house when full being about eight hundred dollars. The stage was sufficiently large for all the requirements of that theatrical era, and the dressing-rooms and green- room were in a shed adjacent to the theatre. The theatre in John Street was opened to the public on the 7th of December, 1767, the season lasting until the 2d of June, 1768. List of Performances. Some idea of the work performed 1767- by the American Company in Dec. 7 — Beaux' Stratagem . . . Farquhar Lethe Garrick New York during the season may 1 1 — School for Lovers . . Whitehead 1 .1 jr i.\. ^• 1. c • „ , ^ „ ^ be gathered from the list of pieces Mayor of Garratt Foote => '^ 14— Richard III Shakspere known to have been produced. Oracle Mrs. Gibber , ,. . 18-Clandestine Marriage . Even now the list is not complete, Garrick and Colmaa t^^^ ^ ;^. stands it shows thirty- Old Maid Murphy 21— Hamlet Shakspere eight full pieces — tragedies and Thomas and Sally . . BickerstafF . , ,. . , 28-Cymbeiine Shakspere comedies, including eight of 30— Mourning Bride . . . Congreve Shakspere's masterpieces — and Upholsterer Murphy (Benefit of debtors in the City Gaol.) twenty-six farces. This, it must JOHN STREET THEATRE, NEW YORK. 213 be confessed, is a remarkable 1768. Jan. I — Busybody Centlivre showing, to which no modern Deuce is in Him . . . . Colman company would be equal. Al- 4-Romeo and Juliet . . Siiakspere Miss in her Teens . . . Garriclc though most of the pieces had 7 — Gamester Moore Catherine and Petrucliio. Shakspere been previously presented at the i,_Love in a Village . . Bickerstaft Southwark Theatre, none of them Contrivances Carey 15 — Earl of Essex Jones had been played more than two Witches. , . , , 18 — Wonder Centlivre or three times, and so every play witches. must have required a fresh study 22-A Bold Stroke for a Wife. Centlivre Reprisal Smollett from all concerned. How exact- --25 — King Lear Shakspere Hob in the Well . . . .Gibber ing these studies were may be 28-Merchant of Venice . .Shakspere gathered from the delays in pro- ^^'°- i-Suspi^ous Husband . . Hoadly ducing Murphy's "All in the 4— George Barnwell Lillo __, ,, ,., ..,, Catherine and Petruchio. Wrong, which was originally 8-Love in a Village. announced for production, and is High Life Below Stairs . Townley II — Orphan Otway set down by Mr. Ireland as pre- Hariequin Collector. sented in New York on the 6th IS-Recruiting Officer . . . Farquhar Citizen Murphy of April, 1768. This was intended 18— Recruiting Officer. Citizen. to be the first production of the 22— Venice Preserved .... Otway comedy, but owing to the pressure ^ oi'd* m •T'^ ' '^^'^''^ of the regular repertoire it was 29— Committee Howard March 3 — Macbeth Shakspere found necessary to postpone its Oracle, presentation until a later date. 7-School for Lovers. '■ Apprentice Murphy There is no existing record of its 1° — Roman Father . . . Whitehead Catherine and Petruchio. actual production this season. 14— Miser Fielding Murphy's comedy was produced ^''^P'^' '^^"'^^^ ^ ^ .' r 19— Cato Addison by command of Lady Moore, the Witches. . „. ^^ ,, , 24 — Fair Penitent Rowe wife of Sir Henry Moore, at that ^eck or Nothing .... Garrick 214 HISTORY OF THE AMERICAN THEATRE. April 4 — Constant Couple . . , Farquhar High Life Below Stairs. 6 — All in the Wrong . . . Murphy 8— Wonder. Harlequin Collector. II — Othello Shakspere 14 — Romeo and Juliet. Catherine and Petruchio. (Miss Cheer's Benefit.) 18 — Country Lasses .... Johnson Citizen. (Miss Wainwright's Benefit.) 21 — Conscious Lovers .... Steele Polly Honeycomb . . . Colman (Mr. Morris' Benefit.) 25 — Cymbeline. High Life Below Stairs. (Mr. Hallam's Benefit.) 28 — ^All for Love Dryden Upholsterer. (Mr. Douglass' Benefit.) May 2 — Richard IIL Taste (Interlude) .... Foote (Benefit of the Misses Storer.) 5 — Hamlet. Miller of Mansfield . . Dodsley (Mr. Tomlinson's Benefit.) 9 — Orphan of China .... Murphy Brave Irishman. (Mr. Hallam's Benefit.) 13 — ^Venice Preserved. Love a la Mode .... Macklin (Mr. Henry's Benefit.) 16 — Distressed Mother . . . Philips Thomas and Sally. (Mrs. Harman's Benefit.) 19 — Love in a Village. Lying Valet Garrick (Miss Hallam's Benefit.) 23 — ^Jane Shore Rowe Miss in her Teens. (Mrs. Douglass' Benefit.) 26 — Provoked Husband . . Vanbrugh Honest Yorkshireman. (Mr. and Mrs. Wall's Benefit.) time Governor of New York. Besides this the only new comedy presented this season was Mack- lin's " Love a la Mode." Although Mr. Hallam was first in everything from Hamlet, Macbeth and Lear, and Marc An- tony, in "All for Love," and Don Felix, in the "Wonder," to Slip, in " Neck or Nothing," and Har- lequin, in the " Witches," and Mr. Henry's parts, as a rule, were little above "responsible utility" — Tybalt, in " Romeo and Juliet," Tubal, in the " Merchant of Ven- ice," Malcolm, in " Macbeth," the Tailor, in " Catherine and Petru- chio," and Crispin Heel-Tap, in the " Mayor of Garratt " — the latter showed not only a worthy ambi- tion but sound judgment in tak- ing advantage of his benefit to be seen as Sir Callaghan O'Bral- laghan, in Macklin's comedy. After Henry's death Hallam was accustomed to describe him as "a splendid amateur actor," but in many parts he was beyond doubt JOHN STREET THEATRE, NEW YORK. 215 Hallam's superior. In Irish char- May 30— Gamester. Devil to Pay. acters especially he was unex- June (Mr. Tomlinson's Benefit). 2 — Earl of Essex. Cock-lane Ghost. Catherine and Petruchio. (Mrs. Douglass'Benefit.) celled by any actor who appeared on the American stage previous to the Revolution or after it as Patrick in the " Poor Soldier," in which he was a great favorite with General Washington, who first saw him in the role in Philadelphia, during the sittings of the Federal Convention, in 1787. In Macklin's comedy an Irish officer, a Jew broker, a Scotch baronet and an English squire are addressing a young lady of very- great fortune, but only one of them, the Irishman, is a disinter- ested lover — Macklin was an Irishman. The character of the Irishman bears a strong resem- LovE A LA Mode. Sir Callaghan O'Brallaghan . . Mr. Henry Sir Archy MacSarcasm . . . Mr. Douglass Squire Groom Mr. Hallam Beau Mordecai Mr. Morris Sir Theodore Goodchild . . Mr. Tomlinson Charlotte Miss Hallam blance to the elder Sheridan's Captain 0' Blunder — a part in which Henry delighted — and the thought of the catastrophe is borrowed from Theophilus Gibber's comedy, "The Lover." The piece was originally brought out at Drury Lane in 1760. Besides this two other farces that were new to the American stage were presented this season. One of these was the elder Colman's " dramatic novel," as it was called, " Polly Honeycomb." It was aimed at the evil effects of the fashionable taste for mischievous Polly Honeycomb. Mr. Honeycomb Mr. Morris Scribble Mr. Wall Ledger Mr. Tomlinson Mrs. Honeycomb Mrs. Harman Nurse Mrs. Tomlinson Polly Miss Wainwright novels, and met with amazing success when it was first produced at Drury Lane. It owed much of its success, however, to the exquisite absurdity of the fulsome tenderness of Mr. and Mrs. Honeycomb. 2 1 6 HISTOR V OF THE AMERICAN THEA TRE. The other, " Fanny, the Phantom ; or, the Cock-lane Ghost," was pre- sented for Mrs. Douglass' benefit on the closing night of the season. Cock-lane Ghost. It was, no doubt, an interlude The Orator 1 j^^ ^^jj based on the episode of 1762 in Peter Paragraph / Irish Sergeant Mr. Douglass Cocklane, Stockwell, which, for Counsellor Prosequi .... Mr. Tomlinson , ., j j.i i_^ ^^ ci, J 1. T) J, ■ AT AT ■ • awhile engrossed the attention Shadrach Bodkin Mr. Moms " The Justice Mr. WooUs of all London. The repertoire of the New York season of 1767-8 included nine pieces, more or less familiar, that had not been seen in Phila- delphia in 1766-7. Among these busybody. was Mrs. Centlivre's " Busybody," Marplot Mr. Hallam first played in this country by sir George Airy Mr. Henry Murray and Kean's company in Sir Francis Gripe Mr. Morris Charles Mr. Wall 1 75 I. It was originally acted at Sir jealous Traffic Mr. Douglass Whisper Mr. AUyn Drury Lane in 1709. Wilks had Butler Mr. GreviUe such a mean opinion of his own ^'^^'f^ Miss Hallam '■ Patch Mrs. Hannan part, Sir George, that one morning Scentwell Mrs. Tomhnson Mirinda Miss Cheer at rehearsal he threw it into the pit and swore nobody should sit out such silly stuff. The actors reported that it was a silly thing written by a woman, and so when it was produced there was only a small audience. In spite ol the poor Distressed Mother. opinion the players had of it it was successful. Pack was the original Pyrrhus Mr. Douglass Orestes Mr. Hallam Marplot, but the following year Pylades Mr. Morris ,-- 111 1 Phoenix Mr. Tomlinson ^ogget played the part at the Hermione Miss Cheer Haymarket. Another play acted Cephisa Miss Storer cieone Miss Hallam this season that was in the Murray Andromache Mrs. Harman , tt- - tm -i- . and Kean repertoire was Philips JOHN STREET THEATRE, NEW YORK. 217 " Distressed Mother." This tragedy had been long laid aside by the American Company, and it was only revived on this occasion to allow Mrs. Harman to play Andromache for her benefit. The third of the Murray and Kean repertoire by alphabetical arrangement in the list of pieces this season was Fair Penitent. Rowe's " Fair Penitent." It was Altamont A Gentleman , ,, 1 J , • .1 (Being his first appearance on this stage.) probably produced to give the ^^^^J^_ _ /^ Ur. ZlL amateur who played Altamont an Horatio Mr. Douglass Sciolto Mr. Henry opportunity to appear in New Rossano Mr. Wooils York. Still another piece from ^^™'^ ^J'' ^°"g'^= ^ LuciUa Miss F. Storer the same repertoire was Otway's Calista iVfiss Cheer " Orphan." Miss Cheer probably desired its production in order to try her powers as Monimia. Then came Farquhar's "Recruiting Orphan. Officer." Although Recruiting Officer. this comedy is named Chamont . . . Mr. Hallam Captain Plume . Mr. Hallam Castalio .... Mr. Henry in the Dunlap reper- Captain Brazen . Mr. Henry Polydore .... Mr. Wall _ ... Justice Balance . Mr. Morris Acasto . . . . Mr. Morris toire of the original Sergeant Kite .Mr. Douglass Chaplain. . Mr. Tomlinson Hallam Comoanv Worthy. . . Mr. Wooils Ernesto . . .Mr. AUyn ^ ^ Bullock .... Mr. Wall Page . . . Miss M. Storer there IS no evidence Melinda . . . Miss Storer Serina .... Miss Storer . , j ^°^^ • • ^'^^ Wainwright Florella . . . Mrs. Harman that it was played, -^^^^ .... Mrs. Harman Monimia . . . Miss Cheer ^^^^p^ by "the COm- Sylvia . . . . Miss Cheer pany of comedians from Philadelphia," until the arrival of Douglass in New York, in 1758. The first American cast on record is that of the theatre on Society Hill, Philadelphia, in 1759. The characters are drawn from life. Captain Plume being a portrait of the author; Worthy of a Mr. Owen, of Russason ; Justice Balance of Mr. Berkely, Recorder of Shrewsbury; Sylvia of Mr. Berkely's daughter, and Melinda of a Miss Harnage, of Balsadine, near the Wrekin. 2l8 HISTORY OF THE AMERICAN THEATRE. Two of Shakspere's tragedies seldom played by the American Company, " Othello " and the first part of " King Henry IV," were King Henry IV. Sir John Falstaff . Mr. Douglass Hotspur Mr. Hallam King Henry .... Mr. Morris Prince of Wales . . . Mr. Wall Sir Walter Blunt . . Mr. Henry Worcester . . . Mr. Tomlinson Sir Richard Vernon . Mr.Greville Northumberland . . Mr. Woolls Westmoreland . . Mr. Raworth Poins Mr. Malone Peto Mr. Roberts Prince John .... Mrs. Wall Hostess .... Mrs. Harman produced this sea- son. The former was played by Up- ton in New York and the elder Hal- lam at Williams- burg as early as Othello. Othello . . . Mr. Douglass lago Mr. Hallam Cassio . . Brabantio . Roderigo . Duke . . , Ludovico . , Montano . Emilia . . Desdemona . . Mr. Henry . . Mr. Morris . . Mr. Wall . Mr. Greville Mr. Tomlinson . Mr. Malone . Mrs. Harman . . Miss Cheer 1752. The earliest cast of it extant was that at Annapolis in Lady Percy. . . . Miss Cheer 1760, when Palmer played lago to Doug- lass' Moor. The latter was first played at the Chapel Street Theatre, New York, in 1761, with Mr. Douglass, as now, as the fat knight This is the first full cast of the tragedy that has been preserved. Only one more full play, Hoadly's " Suspicious Husband," and one farce, Carey's " Honest Yorkshireman," remain to be noticed as not in the list of honest Yorkshireman. pieces played by the American Company in Philadelphia, but Suspicious Husband. Ranger . . . Mr. Hallam Strictland . . Mr. Douglass Frankly .... Mr. Wall Jack Meggot . . Mr. AUyn Mrs. Strictland . Miss Storer given in New York Clarinda . . . Miss Cheer Jacintha . . Miss F. Storer this season. No in- Lucetta . Miss Wainwright Gaylove . . . Mr. Hallam Sapscull .... Mr. Wall Muckworm . . Mr. Morris Slango . . . Mr. Tomlinson Blunder . . Mr. Raworth Arabella . . . Miss Hallam Combrush . . Miss Cheer terest attaches to these casts except as part of the record. Hallam had a fondness for the roles that Garrick had made famous, which was probably the reason for the revival of the comedy, but on this occasion he played Gaylove in the farce as well as Ranger in the comedy. JOHN STREET THEATRE, NEW YORK. 219 Only three plays were presented in New York in 1767-8 that had been played in Philadelphia in 1766-7, without advertisement Bold Stroke for a Wife. of the casts in the newspapers. These Wonder. Col. Feignwell . Mr. Hallam Obadiah Prim . . Mr. Allyu Sir Philip . . Mr. Douglass Tradelove . . . Mr. Henry Periwinkle . . . Mr. Morris Freeman .... Mr. Wall Simon Pure . . Mr. WooUs Sacbut . . . Mr. Tomlinson Mrs. Prim . Mrs. Douglass Betty . . Miss Wainwright Masked Lady . . Mrs. Wall Ann Lovely . . Miss Cheer tragedy, " Jane Shore." Don Felix . . Mr. Hallam Colonel Blinker . Mr. Wall Gibby . . . Mr. Douglass Don Lopez , . Mr. Morris Don Pedro . Mr. Tomlinson Lissardo . . . Mr. Greville Frederick . . Mr. WooUs Isabella . . . Miss Hallam Flora . . Miss Wainwright Iris Mrs. Harman Violante . . . Miss Cheer were Mrs. Centlivre's two comedies, "A Bold Stroke for a Wife" and the "Wonder: A Woman Keeps a Secret," and Rowe's Both of Mrs. Cent- livre's comedies had held the stage over fifty years, tlje former being especially popular with American audiences, while in the latter many of the great lights of the English stage made reputation, from Wilks to Garrick as Don Felix, and from Mrs. Oldfield to Mrs. Abington as Violante. On the occasion of the production of the " Wonder " in New York, in 1768, the audience, however, was more noteworthy than the play. Toward the close of the year 1 767 an Indian delegation visited 'New York.' It comprised the famous Attakullakulla, or the Little Carpenter ; Onconostota, or the Great Warrior, and the Raven King of Toogoloo, with six other chiefs. They were Cherokees from South Carolina, who had come to see General Gage to ask his interoosition 1 Pennsylvania Gazette's Report. — New York, December 17. The expectatfon of seeing the Indian chiefs at the play on Monday night occasioned a great concourse of people. The house was crowded, and it is said great numbers were obhged to go away for want of room. The Indians regarded the play, which was " King Richard III," with seriousness and attention, but, as it cannot be supposed that they were sufficiently acquainted with the language to understand the plot and design and enter into the spirit of the author, their countenances and behavior were rather ex- pressive of surprise and curiosity than any other passions. Some of them were much surprised and diverted at the tricks of Har- lequin. 220 HISTORY OF THE AMERICAN THEATRE. in mediating a peace with the Six Nations. Hearing that there was a theatre in New York, they expressed a desire to see a play acted, whereupon the General caused places to be taken for them. This was the second time an Indian delegation was entertained with a theatrical representation, the first, as already mentioned, being at Williamsburg, Va., during the first season of the original Hallam Company. To ■c^^^.r-,. ^„„., A„„^„^,,^.,™^ meet the tastes of these untutored Extract from Advertisement. theatre-goers, a pantomime was For the Entertainment of the Cherokee Chiefs and Warriors. substituted for the " Oracle," Harlequin Collector: ,.,,,, , „ which had been announced as Or, The Miller Deceived. the afterpiece for the evening. Harlequin Mr. Hallam Clown Mr. Morris The Substitution was no doubt Miller Mr. Tomlinson . r- tit tt 11 i „ . . ,, „, „ m consequence of Mr, Hallam s Magician Mr. WooUs '■ Baboon Mr. Wall recollection of what pleased the Anatomist Mr. Douglass Porter Mr. Roberts savages at Williamsburg, in Haymakers by Mr. Henry, Mr. Malone, Mr. ^j^j^ performance tOok Greville, Mr. Raworth, Mr. Roberts, Miss / J " r Hallam, Miss Storer, Miss F. Storer, Miss place on the 14th of December, Wainwright, Mrs. Harman, Mrs. Tomlin- son, Mrs. Wall, etc. 1 767. ^nd on the 8th of April fol- ^°''™^''^^ M'^= ^^^" lowing the Indians paid a second *** The Cherokee Chiefs and Wamors, ^ ^ being desirous of making some return for the visit tO the theatre. This waS the friendly Reception and Civilities they have received in this city, have offered to entertain night when Mrs. Centllvre S COm- the Public with the gd the " Wonder," was produced. War Dance, Which they will exhibit on the stage after the The quaint language of the part of the bill relating to the entertain- )|@" It is humbly presumed that no part of the audience will forget the proper Deco- ment of the Cherokees will be rum so essential to all public Assemblies, ^ 1 ^i i_ ^ -li j _^. , , ,, • ^ ■ », T> found the best possible descrip- particularly on this Occasion, as the rersons '^ ^ who have condescended to contribute to their tion of the event. So Strong waS entertainment are of Rank and Consequence in their own country. the reverence for royalty in those JOHN STREET THEATRE, NEW YORK. 221 days that even respect for rank and consequence in savages was insisted upon. The most interesting feature of the second enter- tainment, however, was that provided by the savages themselves, this being the first time an Indian war-dance was danced on any stage by native performers. The tragedy of " Jane Shore " was evidently selected by Mrs. Douglass for her benefit to afford her an opportunity to repeat the title-role. It was only natural •' ■ Jane Shore. that the actress who had been the Hastings Mr. Hallam acknowledged star of the Ameri- cioster Mr. Morris can stage from 1752 to 1766 ^7°°' M""-^^" ^ ' -" ' Belmour Mr. WooUs should wish to put aside such Jane Shore Mrs. Douglass Alicia Miss Cheer subordmate roles as Mrs. Heidel- berg and Mrs. Wisely to appear on her benefit night in one of the parts in which she had been a favorite, and this in itself will account for her re-appearance as the merriest and most unfortunate of the mistresses of Edward IV. Nothing relating to the early history of the American stage is more interesting than the farces presented from time to time by the Citizen. American Company. ^ ■" Apprentice. Citizen Mr. Wall In that age these de- Yoxrng Wilding . Mr. Henry . . Dick Mr. Wall Old Philpot . Mr. Douglass hcious morceaUX were Wingate .... Mr. Morris Sir Jasper . Mr. Tomlinson as carefully cast as the ^^'■g^^ • ■ • -^^-^ri Beaufort . . . Mr. WooUs President . . . Mr. WooUs Quilldrive . . . Mr. Malone full pieces, and SO Simon . . . Mr. Tomlinson Dapper . . . Mr. Greville Charlotte . Miss Wainwright Corunna . Mrs. Tomlinson there was occasion to Mana . . Miss Wainwright regret that Mr. Douglass refrained from adver- tising the performers in so many of them in his .first season at the Southwark Theatre. In New York, however, he repaired this omis- 222 HISTORY OF THE AMERICAN THEATRE. sion in a great degree. Arthur Murphy's farces were just coming into vogue, and we thus have the casts, slightly modified, of three of them, the "Apprentice," the "Citizen" and the "Upholsterer." The "Apprentice" was written in derision of the "spouting clubs" then so common in London and thence transplanted to the Colonies. The " Citizen" was originally produced as a comedy, making the repu- tation of a new London actress, Miss Elliot, as Maria, but it was printed as a farce, and it was as a farce that it was always played in this country. The young girl who escaped an unwelcome lover by passing herself on him for a fool must have afforded Miss Wainwright Upholsterer. excellent scope for her talents. Upholsterer Mr. Douglass The "Upholsterer" was taken Barber Mr. Wall Pamphlet Mr. Haiiam from The Tattler, Nos. 15s, 160 _^ ™^,, ■kit'\i,t^^^ and 178, and was first acted for Rovewell Mr. WooUs ' ' Feeble Mr. Morris Mr. Mossop's benefit at Drury Maria Mrs. Wall Termagant Mrs. Harman Lane, in 1 75 8. All the characters are outre, the old upholsterer, when he is declared bankrupt, showing no concern for himself or his family, but busying himself with schemes for the payment of the national debt. This farce, which was very funny, had great success both in England and America. The " Brave Irishman " was written by Thomas Sheridan, the „ - father of Richard Contrivances. Brave Irishman. Brinsley Sheridan, Rovewell . . . Mr. Woolls Capt. O'Blunder . Mr. Henry Argus Mr. Morris Dr. Clyster . . Mr. Hallam when a mere boy at Hearty Mr. AUyn Dr. Gallipot . Mr. Douglass ^^ Itwasori- Robin ... Mr. Tomlinson Cheatwell .... Mr. Wall & Betty .... Mrs. Harman Tradewell . . .Mr. Morris ginally produced in Arethusa . Miss Wainwright Marquis . . . Mr. Roberts Lucy .... Miss Hallam Dublin. As Henry was an Irishman, and Betty . . Miss Wainwright ^^^^^^ ^^^j^ ^^^^^^ ^^ jj.jgh parts, the coura- JOHN STREET THEATRE, NEW YORK. 223 geous but blundering Captain was just in his way. Another interest- ing farce, of which we have this season the first American cast that was preserved, was the " Contrivances," by Henry Carey, the author of" Sally in our Alley." A fact worth recalling in connection with this farce is that Arethusa used to be the probationary part for female singers before they were allowed to venture upon characters of more con- sequence. But a still more interesting cast of this season was that of the "King and the Miller of Miller of Ma nsfield. Mansfield." Dodsley's dramatic The King Mr. Henry The Miller Mr. Hallam tale, based on the well-known Dick . Mr. Morris ^ -_ TT 1 ,1 -11 Lord Ixivewell Mr. Wall Story of Henry II and the miller, ^^ j^^ ^^^^ had been played ever since the Peggy Mrs. Wall Kate Mrs. Tomlinsou dawn of the drama in this country, Margary Mrs. Harman but this is the first cast apparently ever printed in the newspapers. It is noteworthy also that of the two men who played the King and the Miller, the King was afterward to become the king of the Ameri- can stage. This season also gave us the first casts by the American Com- pany, since its reorganization in 1766, of two familiar farces, Garrick's Lying Valet. " Lying Valet " and Hob in the Well. Lying Vale77~Mr. Hallam Cibber's " Hob in the Hob Mr.AUyn Beau Trippet . Mr. Greville Well." These are S^tf IV / ' ' ^'J^"""' Gayless Mr. Wall Hob s Mother . Mrs. Harman Drunken Cook . Mr. Morris Only introduced as Flora .... Miss Hallam Justice Guttle . Mr .Tomlinson ,. e ix. j t.- u -i • ^i. • r ^i ■ ;. ,. ,. „ part of the record which it is the aim of this Melissa , . . Mrs. Harman '■ Kitty Pry . Miss Wainwright work to preserve with as much completeness as possible. Hallam it will be noticed played Sharp in Garrick's farce. An interesting study of the methods and conditions of theatri- cal management in America in the earlier years of the old Ameri 224 HISTORY OF THE AMERICAN THEATRE. can Company is afforded by the indented table, showing the modifica- tions the Philadelphia casts of Yj^b-y underwent in New York in 1767-8. It will be CONTRASTED CASTS. Plays. New York. Philadelphia. observcd, first of All for Love. all, that Mr. Henry Octavia Miss Storer . . . Mrs. Douglass . r, , o^ . only succeeded to Seaux stratagem. ^ Aimwell Mr. Henry . . Mr. Douglass . . tJ^e roles of the Sullen Mr. Tomlinson . Mr. Wall. . . . Sir Charles Mr. Malone . . Mr. Greville . . actors of inferior Boniface Mr. Douglass . . Mr. Tomlinson . •■ • t> j c 1, ivT w n AT A«^ • position, as Broad- Scrub Mr. Wall . . . Mr. Morns . . . ^ ' Cato. belt, Wall and Fortius Mr. Henry ... A Gentleman . . . , , - ^ t, ■, Syphax Mr. Morris. . . Mr. Allyn . . ^11^"- M""" ^^^1- Marcus Mr. Greville . . Mr. Godwin . . Jam's name appears Lucia Miss Hallam . . Mrs. Harman . . Clandestine Marnage. i" this list only T™sty Mrs. Tomlinson. Mrs. Morris . . Qjjce, because he Committee. Teague Mr. Henry ... Mr. Allyn . . . had already pos- Mr- Day Mr. Morris . . . ^^3^^^ himself of Obadiah Mr. Tomlinson . Conscious Lovers. all the best roles. Sir John Bevil . . . Mr. Henry . . . Mr. Broadbelt . . . r 77- Cymberton Mr. Greville . . Mr. Allyn . . . ^^^^^P* Lovegold in Daniel Mr. Roberts . . Mr. Godwin . . the " Miser " which Isabella Miss Storer , . . Mrs. Douglass . Constant Couple. ^^ "OW added tO Beau Clincher . . . Mr. Henry . . . Mr. Allyn . . . Jjjg own reoertoire Tom Errand .... Mr. Greville . . Parly Miss F. Storer . Miss Wainwright. Miss Cheer's name Country Lasses. ^^^^^^ ^^^y four Sir John English . . Mr. Tomlinson . Mr. Allyn ... Carbuncle Mr. Henry . . . Mr. Broadbelt . times, once becaUSe Shacklefigure .... Mr. Roberts . . Mr. Piatt „ , ,. it had not been Cymaehne. Bellarius Mr. Henry . . . Mrs. Morris . . printed, probably Pissanio Mr. Morris . . . Mrs. Harman . . Earl of Esse.. ^V mistake, in the Countess of Nottingham Miss Storer. . . Miss Hallam . , Philadelphia ad- JOHN STREET THEATRE, NEW YORK. 225 vertisement of the Gamester. Charlotte .... . Miss Hallam . . Mrs. Harman . . "Orphan of China," Hamlet. and once because Horatio . Mr. Henry . . . A Gentleman . . Osric . Mr. Roberts . . Mr. Godwin . . she had turned Marcellus .... . Mr. Greville . . over the part of Player King . . . Queen . Mr. Malone * . . . Mrs. Harman . . Mr. Allyn . . . Mrs. Douglass . Kitty in " High Player Queen . . . Miss Storer . . Mrs. Harman . . Life Below Stairs" King Lear. Edmund . Mr. Henry . . . Mr. Wall . . . to Miss Storer, Mrs. Kent . A Gentleman . . Mr. Morris . . . Albany . Mr. AUyn . . . Mr. Wall . . . Sneak in the " May- Usher . Mr. Wall . . . Mr. Godwin . . Regan . Miss Storer . . . Mrs. Harman . . or of Garratt" to Love in a Village. Miss Wainwright, Eustace . Mr. Henry . . . Mr. Allyn . . . and Dorcas in Macbeth. Duncan . Mr. Greville . . Mr. Allyn . . . "Thomas and Sal- Malcolm . Mr. Henry . . . Mr. Godwin . . Donaldbain . . . . Mr. Malone . . Mr. Piatt. . . . ly" to Mrs. Har- Fleance . Miss M. Storer . Miss Dowthwaite man. It will be Hecate Merchant of Venice, . Mr. WooUs. . . Mrs. Harman . . seen also that, as Salarino . Mr. Malone . . Mr. Matthews . Mrs. Douglass had Gobbo' Tubal . Mr. Raworth . . . Mr. Henry . . . previously yielded Miser. Lovegold .... . Mr. Hallam . . Mr. Allyn . . . up her great roles Ramillie . Mr. Morris . . . Mr. Hallam . . to Miss Cheer, so Decoy . Mr. Raworth . . Mr. Morris . . . List . Mr. Henry . . . now she gave up Furnish Mr. Malone . . Mr. Piatt. . . . Charles . Mr. Roberts . . Mr. Godwin . . many of her smaller Mrs. Wisely . . . . Mrs. Douglass. - Mrs. Douglass . Mrs. Tomlinson , parts to MissStorer. Orphan of China. The minor changes Timurkan .... . Mr. Henry . . . Mr. Allyn . . . Octar . Mr. Greville . . Mr. Tomlinson , in these casts are Morat . Mr. Tomlinson . only important in Mandare Provoked Husband. . Miss Cheer . . . showing the ease Squire Richard . . . Mr. Woolls . . Mr. Allyn . . . with which small Lady Grace . . . . Mrs. Harman . . Mrs. Douglass . IS 226 HISTORY OF THE AMERICAN THEATRE. Lady Wronghead Mrs. Motherly . Hichard III, Richmond . . . Buckingham . . Prince of Wales Romeo and Juliet. Escalus . . . Friar Laurence Benvolio . . . Tybalt. . . . Friar John . . Lady Capulet . School for Lovers. Steward . . . Farces. Catherine and Petruchio. Music Master .... Tailor . . . Bianca . . . Devil to Pay. Nell . . . Miss Wainwright. Mrs. Tomlinson . Mr. Henry . Mr. Douglass Mr. Wall. . Mr. Malone Mr. Greville Mr. Wall . Mr. Henry . Mr. Roberts Miss Storer . Mr. Tomlinson Mr. Raworth , Mr. Henry . . Mr. Malone , Miss Storer . . Mrs. Harman . . Miss Wainwright. Mr. Douglass . . ■Mr. Wall. . . . Mr. Godwin . . Mr. Broadbelt . Mr. Allyn . . . Mr. Godwin . . Mr. Wall . . . Mr. Piatt .... Mrs. Douglass . Mr. Allyn . Mr. Henry . Mrs. Wall , Miss Wainwright. Mrs. Morris High Life Below Stairs. Sir Harry Tom Kingston Robert Lady Charlotte , . . Cloe Kitty Lethe. Tattoo . Mrs. Tattoo .... Mrs. Riot Mayor of Garratt. Crispin Heel-tap . . Roger Snuffle Mrs. Sneak Miss in her Teens. Fribble Flash Miss Biddy .... Mr. Henry . Mr. Malone Mr. Tomlinson Mr. Greville Miss F. Storer Mr. Roberts Miss Storer . Mr. Malone Miss Hallam , Miss Wainwright. Mr. Allyn . . . Mr. Tomlinson . Mr. Matthews . Miss Wainwright. Mr. Piatt .... Miss Cheer . . . Mrs. Harman . Mr. Henry . . . Mr. Morris . Mr. Malone . . Mr. Godwin Mr Roberts . . Mr. Piatt . . Miss Wainwright. Miss Cheer . Miss M. Storer . Mr. Allyn . Miss F. Storer . Mr. Hallam Miss Hallam . . Miss Storer . parts were filled at a time when actors can not be supposed to have been nu- merous in the Col- onies. The cast of " Miss in her Teens," for Mrs. Douglass' benefit, was an exceptional one for that time, the younger Storer sisters playing Flash and Fribble. Maria, the Mrs. Henry of a later period, made her first appearance in New York on the 7th of January, 1768, as a singer, between the play and the farce of the evening. Fan- ny, afterward Mrs. Mechler, remained on the stage for a comparatively brief JOHN STREET THEATRE, NEW YORK. 227 period and was the ^^<:^ "^ Nothing. Sir William .... Mr. Henry . . . Mr. AUyn . . . least distinguished jenny Miss Storer . . . Miss Wainwright. of the sisters. It Old Maid. Clerimont Mr. Wall ... Mr. Hallam . . may be well to add j-f^^^ ^„^ ^ally. that all the parts ^°'''^^ Mrs. Harman . Miss Cheer. , . Witches. omitted in this Monsieur Mr. Roberts . . table were played in New York by the same actors and actresses by whom they had previously been performed in Philadelphia. A refer- ence to the Southwark Theatre performances will in all cases give the New York casts. The incidents of the season were not numerous, but some of the advertisements afford quaint glimpses of the company and the Regulations for Carriages. theatrical customs of the time. VToprevent a^ddlis by carriages meet- Early in the SCaSOn the bills COn- ing it is requested that those coming to the tained directions for carriages ap- House may enter John-street from the Broad- way, and returning drive from thence down proaching and leaving the theatre, John-street into Nassau-street or forwards , • i • .1 , , , to that known as Cart and Hor.e street, as ^^ich m themselves Suggest not may be most convenient. ^nly the interest that the wealth and fashion of New York felt in the play-house, but the manner in which the rich Knickerbockers went to the play. Another advertise- ment shows that printed plays, not even Shakspere's, were common at that period, for when "Macbeth" was produced, on the 3d of March, Hugh Gaine announced that copies of the tragedy might be had at the Bible and Crown, in Hanover Square. Generally the benefit bills were the most interesting. One or two of those of this season were particularly so. Mr. Hallam, for instance, boldly announced that as his benefit had not been up to his expectations, and as the rules of the theatre made it undesirable that he should take a second night, 228 HISTORY OF THE AMERICAN THEATRE. he had arranged with Mr. WooUs to have his night in return for the profits of " Cymbeline." Miss Hallam, too, met with a misfortune Miss Hallam's Change of Bill. that is apt to befall aspiring V As the " Cla^^e Marriage," which ^ctresses with pretensions to the Miss Hallam designed for her benefit, can Jg^d — the leading lady was ill. not be performed on account of Miss Cheer's indisposition, she flatters herself the Ladies This announcement of the change and Gentlemen who intended to honor her /• i -n i i ■»■-. -.1. », • . J • i .^ -11 .. of bill can only mean that Miss with their countenance and interest will not •' "'<*>• let an unavoidable accident deprive her of Cheer, notwithstanding her iU- their appearance in her favor, and that they will be kind enough to approve of her neSS, WOuld not allow MisS Hal- choice of " Love in a Village," as it is the , , . , 1 ■ c ■. • v^- I, Ti/r- 1-1, lam to assume any of her parts, only piece of any ment in which Miss Cheer ■' r" •"» does not appear. ^.j^^g imposing upon the benefici- ary the necessity of substituting a piece in which the leading" lady did not appear, for the comedy originally chosen for Miss Hallam's benefit. Mr. Wall, too, had his woes and consequent wail. One can not help wondering whether a report was Mr. Wall's Wail. really " propagated with intent to ^^ ^^ ^^^.^^ ^^eported about town injure him," or whether this was that Mr. Wall intends to postpone his benefit of this evening, he takes this method to in- a device on his part to fill the form the pubUc that such report is false and .,•■ it, i- ■ r malicious and propagated with intent to in- treasury with sympathetic coin of . , ■ i, • , j j r •. •' •' ^ jure him, being resolved not to defer it on the realm — Boxes, 8 shillings; any consideration whatever. Pit, 5 shillings ; Gallery, 3 shillings — tickets " to be had of Mr. Wall at Mrs. Sproul's in De Peyster's Street near the Fly Market." After the regular season closed the famous " Lecture on Heads " was given, August 22d, by Messrs. Douglass and Hallam, supplemented by the singing of Miss Hallam. The first secession among the members of Mr. Douglass' original company, who returned with him in 1766, was in the retire- ment of Mr. and Mrs. Allyn this season. Mr. AUyn was an actor JOHN STREET THEATRE, NEW YORK. 229 who was ready to play anything at any time, as will be seen from the diverse characters in the list of his parts. Mrs. AUyn probably was not an actress at all, and it is Mr. Allyn's Parts. likely she played the two roles Plays. A Bold Stroke for a Wife . . Obadiah Prim credited to her because there was Beaux' Stratagem Foigard T) ) /"I f Peachum no one else at hand to play them, '^^gg^ ^P^'* .... ^ jemmy Twitcher As to the causes of Allyn's retire- (-.^j^ Svchax ment history is silent. All we Clandestine Marriage Canton Committee Teague know of him is his work as an Conscious Lovers Cymbertou , , ... ... , Constant Couple Beau Clincher actor, but of its quality we have country Lasses Sir John English no knowledge. Mr. Allyn must Cymbeline Cymbeline Don Quixote in England John not be confounded with Mr. Allen, ^ r Vellum ' Drummer \ ' ^"""' I. Gardener who came to America immediately Fair Penitent Sciolto before and was seen on the stage Gamester . . Dawson George Barnwell Uncle in this country immediately after Jpf^'^'^V- the Revolution. The latter was loravedigger Inconstant First Bravo the father of the self-styled An- Tg„io„. w-f. / Sir Harry Beagle J ' ICapt. O' Cutter drew Jackson Allen. An interest- r Albany - . , . , , , „ ^^"^ \ Usher ing fact m relation to Mr. Allyn Lo^e for Love Scandal was that he was the original in Lo^« '° ^ tillage Eustace Love Makes a Man Antonio this country of Lord Chalkstone ... , ^, /Duncan ■^ '^^'^^^"^ twitch in "Lethe," after Garrick intro- Merchant of Venice Gratiano duced the character into the farce. ^'=^^• ' "., ^^1^°'"^ Moummg Bnde Perez It is not improbable that Allyn Orphan Ernesto Orphan of China Timurkan was seen to best advantage in othello lago such roles, but as the Miser and ^^''^\°\^^'''t \ ' ' ' ' l^'^-^^tTl Provoked Husband .... Squire Richard lagO he must have been absurdly Recruiting Officer Constable inadequate. It is evident, how- Richard III { Stanley 230 HISTORY OF THE AMERICAN THEATRE. Roman Father ; TuUus Hostilius ever, that he was useful because Romeo and Juliet . . . . jpriL licence of his versatility, whatever his Suspicious Husband Tack Meggot . , .„ , » • . , ^ ^ , •" ^?^ talents, and he is to be remem- Tamerlane Frmce Theodosius JLeontine ^^^^'^ ^^ posterity as one of the Venice Preserved Officer most active of the pioneers of the „ , . , „ , """' ,,-,,. drama in America. It is a note- Catherme and retrucnio . . . Music Master Contrivances Hearty worthy fact that Mr. Allyn's best Damon and Phillida Areas Devil to Pay Coachman foles Were accorded him while Harlequin Collector ^-.'^f"^^' Mr. Douglass' company was in Harlequm Restored Petit Maitre ° ^ ■' High Life Below Stairs Sir Harry Rhode Island, in I761-2, his posi- Hob in the Well Hob Honest Yorkshireman Blunder tion m the Stronger American Lethe {^enchmf''°" Company of 176^8 being a sub- Mayor of Garratt Fourth Mob ordinate one. It is not impossible Miss in her Teens Fribble ,, , ^ , f Mock Doctor that he left the stage because of a Mock Doctor i^^^^ & Neck or Nothing Sir WiUiam want of managerial appreciation. ^^^^^^ Mr. Harlow ^arly in this season the first Repnsal M. Champignon Spirit of Contradiction Ruin recorded death Occurred among Witches Petit Maitre r 1 a • ^ the players of the American Com- Mrs. Allyn's Parts. Romeo and Juhet Lady Capulet P^ny- I* was that of Mrs. Morris,' Theodosius Flaviiia ^j^o was drowned in crossing the ferry from Kill von Kull to New York, together with her maid servant. In a book entitled "Retrospections of America," pub- lished in 1887, but purporting to be compiled from the diary of John Bernard, an English comedian, who came to America ' Drowning of Mrs. Morris. — (New themselves in the wagon, but in approaching York Mercury, December 14th, 1767.) — the shore the wagon was by some means We hear that last week one of the stage- overturned into the river, by which two wagons, crossing the ferry at Kill von Kull women (Mrs. Morris, belonging to the play- in a scow, some of the passengers seated house, and her maid) were drowned. JOHN STREET THEATRE, NEW YORK. 231 in 1797. and knew Mr. Morris in the closing years of his life, the statement is made that Morris told the story of his wife's death while crossing the Delaware with Bernard as occur- ring on that river. The statement is quoted here only to contrast an old man's recollections with the contemporary report of the accident. Mrs. Morris made her first appearance in this country at Annapolis, in 1760, as one of the Conspirators in "Venice Pre- served," and her last part was Mrs. Morris' Parts. Trusty in the " Provoked Hus- p, band," at the Southwark Theatre, ^ ^old Stroke for a Wife ... . Mrs. Prim Beggars' Opera Lucy November 19th, 1767. In the Cato Lucia , 11111 Distressed Mother Hermione meantime, however, she had played Don Quixote in England Jezebel some important roles, and in 1 76 1 Douglas Anna Fair Penitent Lavinia and 1762 she shared the lead with George Barnwell Maria Mrs. Douglass in Rhode Island oZlt' .■.■.■.■.■.■.■.■.■.". Desdemona and New York. After Miss Cheer Provoked Husband Trusty Richard III Lady Anne joined the company, in 1766, Mrs. Romeo and Juliet Nurse 1,, . , , 1 1 ^1 Theodosius Pulcheria Morns seldom appeared, and then ,r ■ t> a r ■ , '^^ ' Venice Preserved Conspirator apparently only to oblige the Farces. Devil to Pay Nell management. . jj^^^^^ Yorkshireman Arabella Mrs. Morris' death was not Mock Doctor Dorcas Old Maid Trifle the only fatal accident that marked Spirit of Contradiction Betty the history of the John Street "^° "™^ Theatre in the month of December, 1767. On Monday, the 28th of December, John Abraham, a carpenter, went on the roof of the shed over the dressing-room to hang a window, when his foot slipped and he fell about twenty-eight feet into the yard. He was so terribly bruised that he died on the following Sunday. Because Hallam and 232 HISTORY OF THE AMERICAN THEATRE. Henry, after the Revolution, built dressing-rooms and a green-room on the west side of the theatre, Dunlap assumes that previously they Mr. Greville's Parts. ^^^ ^een under the stage. The report of the accident by which the Plays. Beaux' Stratagem Freeman Carpenter lost his life, in the news- Busybody Butler r ^i. l ■ • r t Cato. . . . '. Marcus P^P^"^^ ^^ ^he begmnmg of Janu- Clandestine Marriage Truman ary, 1 768, shoWS that, aS USUal, his Conscious Lovers Cymberton Constant Couple Tom Errand assumption waS unfounded. Country Lasses Longbottom ^^^ ^^^^jjj^ j^^ ^j^^ ^^^_ Cymbelme Guidenus Don Quixote in England Fairiove pany at this time. His history Drummer Coachman Hamlet Marcellus IS in his parts. f^""^^^ Sir Richard Vernon ^ ^^^^ determined attack Inconstant fourth Bravo Lear Cornwall -^as made upon the theatre this Love for Love Buckram Love Makes a Man Governor season, especially in the columns ^^'=^"'^- ■.; ^"""^^^ of Holt's iV>zy York Journal. On Mournmg Bnde Alonzo Orphan of China {80^^'°^ ^^ ^*^ of January "Philander" Othello Duke wrote, Saying : " The erecting of a Prince of Parthia Phraates , , . ., . •. 1 u»=„ „ ^ , c J n-,- play-house m this city has been Roman Father Second Citizen ^ -i •' Romeo and Juliet .... { p^tr Laurence ^""^ ^^'^^ '^ ^ "^^^^"^ °^ uneasineSS Venice Preserved Eliot to a very great part of the inhabi- Wonder Lissardo , ,. - r, . .x, v tants, and hoping that those who rarces. Citizen Dapper were thus affected toward it would High Life Below Stairs Robert Lying Valet Beau Trippet show their disapprobation by stay- ^^P"=^l ^^^'^'J' ingaway. "Philander" kept up his assaults, and the following week he declared that he had confidence in the good wishes and endeavors of the opponents of the drama " for rendering the play-house in the city of New York a useless fabric, by letting it remain a monument of the rashness and folly of JOHN STREET THEATRE, NEW YORK. 233 those who erected it against the- general opinion and sentiments of the people." A friend of the theatre, who signed himself " Dramaticus," undertook to defend the stage in Parker's Gazette, in reply to " Phi- lander." Because this defender did not persist in the controversy he was assailed in the Journal in a communication that was only remark- able for its peculiar and flaming heading. Not only was a funeral eulogium pronounced upon young " Dramaticus," but the muse was invoked to sing his elegy. The eulogium was too dull to be pre- served, and the elegy is only worthy of preservation because of its rancor and bitterness toward Funeral Eulogium on The Death of Dramaticus, Who departed this life in January, 1768, ^tatis Suse, 22. By a friend of the Deceased. Calcanda semel via lete — nee viteri mortem posse, nee retardari. Horace. We must all tread the valleys of the dead — we can neither escape death nor retard it. Towers. the stage and its defenders. This was signed "T," to whom the editor apologized for omit- ting the lines indicated by asterisks, but he thought the charge begin- ning "Ye gentle nymphs" too general, as, in justice to the ladies, it must be ac- knowledged that a great number of them refrained from going to the play- house on principle. There- upon "Belinda" took up the pen to say that she was " one of those females " who were Elegy. Ye daring witlings that infest this town, Reflect upon the horrid deed you've done ; He's dead ! he's dead ! Dramaticus is dead ! From his pale cheek the rosy hue is fled; His eyes are closed that sparkl'd once with fire ; His tongue is silent — that could mirth inspire, Charm every ear — and in his comic vein ******** But now, behold, his death the gay deplore, Absorbed in grief his corse stand weeping o'er ; Each gentle nymph gives vent to mournful sighs. While pearly tears o'erflow the pitying eyes ; So great their sorrow at this fatal shock ! 234 HISTORY OF THE AMERICAN THEATRE. In sober sadness, beaus inclined the head, not ashamed to Say they And this their cry, Dramaticus is dead ! He's dead ! alas ! how awful is the sound ! were enemies of the theatre. Ye guilty wretches say. Who gave the wound ? ^ correspondent, sign- To you, Philander, we his fall ascribe, ^ ° And your inhuman, wrong-head, scribbling tribe. jng his communication " R. But if resentment can avenge his death. Oh, tremble at each fop's and female's breath ! S.," wrote On the 28th that How much I pity and lament his fate, ^^ j^^^ ^^^ thought of In strains elegiac shall the muse relate ; While cypress wreaths around our brows shall twine troubling the public on the As wanton tendrils clasp the clust'ring vine. 11. And for his tomb these verses I'll compose, subject of the play-house, aS To brand the name of his malignant foes: j^g ^^^^^ imagined it COuld Here lies a youth that once each grace adom'd, be SO long supported against Belov'd by all but bigots, whom he scom'd ; . , , . , . . And who blind superstition did engage ^he Wishes and mclmations With labor'd dullness and unmanly rage ^f ^Jje most Sober and re- To murder the great patron of the stage. spectable inhabitants. He computed the weekly receipts at ;^300, which he of course looked upon as a tax upon the community. The opposition was based upon both moral and economic grounds, and it was so bitter that, according to "Thrifty," whose letter was dated the 21st of January, some poor debtors, who were seen at the play, were sued by their creditors in consequence and sent to jail. Notwithstanding the reputed tax of £yX) a week upon the poor New Yorkers for tickets to the theatre, the management was so seriously embarrassed that it was proposed to keep the company together by selling thirty boxes in advance for the next season. This led " Democritus " to suggest the raising of a fund of ;£'3,ooo for the actors, in consideration of which they were to sink into non-existence as a company. He thought that as the money would be lost if they came back, it was better to pay them for not coming back. CHAPTER XXI. THE NEW VIRGINIA COMPANY. A SEASON AT NORFOLK AND WILLIAMSBURG THE COMPANY AND THE PLAYS CASTS FROM THE VIRGINIA GAZETTE AN ATTEMPT TO COMPETE WITH MR. DOUGLASS' AMERICAN COMPANY. WHILE the American Company was performing in New York, in the season of 1767-8, the good people of Norfolk and Williamsburg were entertained by a number of players who styled themselves the "Virginia Company of Comedians." With one or two exceptions none of them had ever been heard of before, as they were destined never to be heard of afterward. The only knowledge we have of the Norfolk season is an allusion in the Virginia Gazette of February 4th, 1768, to a prologue spoken by Mrs. Osborne on the 19th of January, her benefit night. Mrs. Osborne was the leading lady, and she may have been identical with Miss Osborne who played in New York with Murray and Kean in 1750-51. This is not clear, but the fact that there was no Mr. Osborne in the company suggests the adoption of the maturer title, as was customary at that time. The season at Williamsburg began on the 4th of April, 1768, and lasted until June. The record is far from being complete, but as it stands it will afford a fair idea of the material composing the Vir- (23s) 236 HISTORY OF THE AMERICAN THEATRE. List of Performances. ginia Company of Comedians, and the scope and character of their work. The titles of only six plays and as many farces have come down to us as the list of performances of the season, but these com- prise in the full pieces tragedy, comedy and musical comedy. The repertoire of the Virginia Company of Comedians, so far as it is known, is surprisingly similar 1768. April 4 — Douglas Home Honest Yorkshireman . . Carey 6 — Drummer Addison Miss in her Teens . . . Garrick 8 — Venice Preserved .... Otway Damon and Phillida . . . Gibber to that of the American Company, S — Orphan Otway Harlequin Skeleton. even down to the pantomime, May i8-ConstantGouple . . Farquhar "Harlequin Skeleton." From all Miller of Mansfield . . Dodsley (Mrs. Osborne's Benefit.) this it is evident that the manager June 3— Beggars' Opera Gay . Anatomist Ravenscroft 1" ^IS selection of plays took a (Mrs. Parker's Benefit.) j^^f ^j.^^ ^^_ Douglass' book. There was no announcement of the opening bill, but on the date of the initial performance the Virginia Gazette printed a full advertise- A Specimen Bill. ment of the entertainment for the following Monday. We find from the casts contained in this an- nouncement that Mr. Godwin, who was a member of the Ameri- can Company at the Southwark ._,,.,,,,.. -, Lord Randolpli Mr. „.„«.„v^gv. Theatre m Philadelphia, m 1766-7, cienalvon Mr. Godwin was now one of the Virginia ^orval Douglas Mr. Verling Old Norval Mr. Parker Comedians, playing a better line Officer Mr. Walker _ , , , , ■■ , 11 Lady Randolph Mrs. Osborne of parts than had been accorded ^^^^ j^^^ P^^^^ him by Mr. Douglass. Playing ^° occasional Prologue by Mr. Verling, and after the Play a Dance by Mr. Godwin, " old men " was Mr. Parker, who To which will be added a Farce, called By permission of the Worshipful the Mayor of Williamsburg, At the Old Theatre, near the Capitol By the Virginia Company of Comedians, On Monday the 4th of April will be pre- sented a Tragedy called DOUGLAS. ■ e THE NEW VIRGINIA COMPANY. 237 was in Philadelphia with the The Honest Yorkshireman. A • ^ , Sir Penurious Muckworm . . Mr. Bromadee American Company the next caylove Mr.VerEng winter, where he was advertised Sapscull Mr. Parker Slango Mr. Godwin as from the theatre in Jamaica. Blunder Mr. Walker ■»«■ T) 1 .lU Li,. Arabella Mrs. Osborne Mrs. Parker was the soubrette r- v. 1, ,» t, , Combrush Mrs. Parker and leading singer. Of Mr. Tickets to be had of Mr. William Russell, at his store next door to the Post Office, and Verling, who played the juvenile, at the door of the Theatre. and Mr. Bromadge, who had the ^°'''' '''■ ^''■' ^'^ ^'I'^f^"^ ^- ^'^- ° Vwant Rex &• Regma. heavy lead, there are no previous N.B.— No person whatever can be ad- mitted behind the Scenes. accounts, but Mrs. Osborne's name [On Wednesday the Drummer, with Miss has a familiar sound. Other names '■■>'''''' "^''"'-^ occur in the later casts, so that the company seems to have been as fully organized, so far as numbers go, as that which it attempted to rival. William Russell was the publisher of the Virginia Gazette. The second bill printed in the Virginia Gazette comprised " Venice Preserved," in which Mr. Godwin had the important part Venice Preserved. of Jaffier, and " Da- Damon and Phillida, ~" mon and Phillida," Areas ... Mr. Bromadge Duke .... Mr. Charlton Qoryior, ... Mr. Godwin PriuU ... Mr. Bromadge with the Belvidcra of Damon . . . Mrs. Osborne Bedamer . . Mr. Bromadge ^^^ y^^^^ ^^^-^^^ ^^ p^Hida . . . Mrs. Parker Renault .... Mr. Parker Eliot Mr. Walker Phillida. It is only necessary to contrast the Belvidera . . Mrs. Osborne parts played by Messrs. Verling and Brom- adge and Mrs. Osborne with those of Godwin and the Parkers to reach the conclusion that the company was composed of professional players. It would be interesting to compare the Belvidera of Mrs. Osborne, fond of coat and trousers as she was, with that of Miss Cheer, but not a line of criticism relating to either exists. 238 HISTORY OF THE AMERICAN THEATRE. In the third bill that has come down to us, which comprised Otway's " Orphan," besides a dance called the " Bedlamites," and the Orphan. pantomime, " Harlequin Skele- ton," there are two names made Acasto Mr. Bromadge Castalio Mr. Verling familiar by the casts of the Ameri- Polydore Mr. Parker . Chamont Mr. Godwin can Company m Philadelphia — '^^^^Pl'^'" M-^- ci^^"^!'"" those of Mrs. and Miss Dowth- Emesto Mr. Walker Page Miss Dowthwaiie waite. As in Philadelphia their Monimia Mrs. Osborne tt-h- Serina Mrs. Parker parts at Williaftisburg were unim- ^"^^ M^^- Dowthwaite portant, the chief interest of their presence with the Virginia Company being the tenacity with which they clung to the stage under the discouraging conditions of that time. Mr. Godwin, in recompense perhaps for his in- Harlequin Skeleton. ' r r r creased importance as an actor, made himself Harlequin . . Mr. Godwin Pantaloon ... Mr. Verling exceedingly useful as a dancer, appearing be- Conjuror . . Mr. Bromadge i i Merchant. . . Mr. Walker tween the play and the Bedlamites. rrlnchman. . Mr. Charlton f^rce almost nightly, , . ^^ . Clown .... Mr. Parker Bedlamite . . Mr. Godwm Scaramouch . . Mr. Walker Sometimes in a very Mad Doctor . Mr. Charlton Columbine . . Mrs. Parker , , . , Simon .... Mr. Walker elaborate terpsicho- rean production, as the "Bedlamites." In pantomime he was the Harlequin, showing a disposition on his part to rival Mr. Hallam in versatility, if not in talent. At the time of these performances Williamsburg society was very gay, as was shown by the fact that Peyton Randolph, who became the first President of Congress, a few months later gave a dinner that was the talk of the whole Province. If the players had the favor of this society their lives were cast in pleasant places. Only two benefits were advertised this season, those of Mrs. THE NEW VIRGINIA COMPANY. 239 Osborne and Mrs. Parker. The former chose for her bill Farquhar's comedy, the " Constant Couple," and the familiar farce, " Miller of CoNSTANTCouPLE. Mansfield." Mrs. miller of Mansfield. Sir Harry Wildair. Mrs. Osborne Osborne's evident ^^^^ Mr Verlin Cdonel Standard . Mr. Charlton fondness for gay mUer .'.'.'.'. Mr. Parser *■ J J 1 • 1 Lord Lurewell . Mr. Godwin Alderman Smuggler . Mr. Parker and dashmg male -r,- , „ . ,, ^ ^ ^v , ^, TT ,• F^s' Courtier . Mrs. Osborne Beau Clincher . . Mr. Verlmg , , . „ j/-, . ,, ™ , ™. , . . AT r- J ■ roles, she mam- Second Courtier. Mr.Charlton Clincher, lunior . . Mr. Godwin ' ., ,, t, „ ^. , ' ■* ,, _ „ , Joe Mr. Farrell Dicky Mr. Farrell fegted on this OC- Tom Errand ... Mr. Walker Lady Darling . Mrs. Dowthwaite casion by playing Sir Harry in the comedy Angelina . . Miss Dowthwaite , . , „ . . Parley Miss Yapp ^"^^ appearmg as one of the Courtiers m Lady Lurewell . . Mrs. Parker ^^ f^fce. In the fifth act of the play she danced a minuet in character with Miss Yapp. Between the first and second acts Mr. Parker recited a prologue in the character of a Country Boy ; after the second act Godwin, Bromadge and others gave a dance called the " Coopers," and after the third act Mrs. Parker sang a cantata. Mrs. Parker for her benefit manifested an economical spirit, refraining from printing the casts either of the opera or the farce. It may be assumed, how- mrs. Parker's Benefit. ever, that she was the Polly of the ^^^ ^~^r.^^, of evening, and it is not improbable Mrs. Parker. By Permission that Mrs. Osborne played Captain o£the Worshipful the Mayor of Williamsburg, Macheath. '^' '^^ °'^^ Theatre near the Capitol, By the Virginia Company of Comedians, It is clear that it was the OnFriday the adof June . . will be presented Virgmia Company of Comedians r^^^ beggars' Opera, of 1768 and their advertisements ^""^ The Anatomist in the Virginia Gazette that sug- or gested to John Esten Cooke the theatrical atmosphere and local color of his novel, "The Virginia 240 HISTORY OF THE AMERICAN THEATRE Comedians." It was these advertisements, no doubt, that induced Mr. Cooke to give the name of the "Virginia Company of Comedians" to the original Hallam Company, and led him to describe the Hallam theatre as " the old Theatre near the Capitol." It led, however, to his confounding the rival companies, but this is not surprising, because the files of the Virginia Gazette for 1768 are the earliest containing theatrical advertisements that have been preserved so far as the best informed librarians in the United States are aware. CHAPTER XXII. SOUTHWARK THEATRE, 1768-9. A BRIEF SEASON IN PHILADELPHIA HARD WORK FIGHTING AGAINST ADVERSITY MORE NEW PLAYS AND NEW ACTORS AN EXHIBI- TION OF FIREWORKS ANOTHER SPECIMEN OF ANTI-THEATRICAL CANT. AFTER an absence of eleven months from Philadelphia, during six of which the American Company gave performances at the new John Street Theatre in New York, Mr. Douglass returned with his forces to the Southwark Theatre, which was re-opened with the " Spanish Fryar " and " Honest Yorkshireman " on the 2 1 st of October, 1 768. Originally this season was intended to last only three weeks, and the announcement of the " Mourning Bride " and " Honest York- shireman " for the 28th of October was advertised as the " last week but one." Subsequently, however, it was determined to extend it, but so far as the newspapers are concerned there was no explanation of this change of purpose. The reason was probably the sufficient one of good business. The New York season had not been satis- factory, and when it closed the outlook for the future was a gloomy one. Indeed it seemed as if the disbandment of the company was impending. The cost of the New York theatre probably proved too heavy a load for the management in the face of a most determined effort to crush the enterprise. Never was the opposition to the drama in New York so bitter as in the spring of this year. As far as possible, the detested play-house was boycotted. Play-going was not only an 16 (241) 242 HISTORY OF THE AMERICAN THEATRE. offense in the eyes of those who were opposed to the theatre, but it was punished as such, as is evident from the imprisonment of the poor debtors who were known to have been to the play. When the season closed Mr. Douglass was almost without money. In consequence, he was compelled to practice the most rigid economy in Philadelphia. Always before and always after this year his advertising was on an exceedingly liberal scale. This season, with a few exceptions, and in the following season in New York, it was confined to a mere mention of the pieces for the evening. The list of productions of a brief season, lasting only little over two months, must necessarily be a short one ; but, brief as this season List of Performances. was, four pieces never before acted 1768. in America were produced at the Oct. 21 — Spanish Fryar Dryden rr xx. 1 Tt. ^ i_ i. ax. ^l ., \ ,. ' bouthwark iheatre between the Honest Yorksmreman . . Carey 28 Mourning Bride . . . Congreve 1 2th and 30th of December, 1 768. Miss in her Teens .... Garrick Nov. 4-Cymbeline Shakspere These Were " King John," " False Love a la Mode . . . Macklin Delicacy," "Zara" and "Alexander 25 — Clandestine Marriage . . Garrick and Colman the Great." Besides, the opening Lethe Garrick Dec. 2— Tamerlane Rowe piece, the " Spanish Fryar," had High Life Below Stairs . Townley . ■> 1 j • -i. j „ ^ , J „ ,■ not been played smce its produc- 9 — Busybody Centlivre '■ "^ ^ Contrivances Carey tion at the theatre on Cruger's 12 — King John Shakspere 14— Macbeth Shakspere Wharf in New York, in 1759, when Miss in her Teens. only the comic sccnes were given. 16 — False Dehcacy . . Kelly ■' ° Catherine and Petruchio Shakspere The first production of Shaks- 26— Zara Hill 30— Alexander the Great .... Lee pere's " King John " in this coun- DissertationuponNoses_(Wall) ^ j^ ^jjj ^^ observed, WaS fol- Neck or Nothing . . . Gamck 1769- lowed four days later by the first Jan. 6 — Alexander the Great. Contrivances. production of Hugh Kelly's "False SOUTHWARK THEATRE, 1768-g. 243 Delicacy " in America. But even apart from the novelties the season was a successful one. A company capable of playing Shakspere's " Cym- beline " and Macklin's " Love a la Mode " the same evening, with a change of bill every acting night, was something known only at that early period in the development of the American stage. The first advertisement of the season that contained the names of the performers was that of Rowe's tragedy, " Tamerlane." Some changes had occurred in the com- Tamerlane. pany after the close of the New Bajazet Mr. Hallam York season. Malone, Greville Monesses Mr. Henry , . ,, , , Axalla Mr. Parker and Allyn gave up the modest omar Mr.Tomiinson line of parts they were accustomed ^^^rvise Mr. Morris Haly Mr. Wall to fill to Parker, Darby and By- Tamerlane Mr. Douglass , T,, - , Tanais Mr. Darby erly. The newcomers are first ^irvan Mr. Woolls noticed in the existing bills on Stratocles Mr. Byerly Zama Mr. Raworth this occasion. Mr. Parker, it will Selima Miss Cheer , , , .,, .1 Arpasia Miss Hallam be remembered, was with the Virginia Company of Comedians at Williamsburg in the beginning of the year. Of Darby and Byerly we have no knowledge beyond the parts they played. The production of a tragedy as elaborate as " King John " is at once a proof of the strength of the company and of the taste of the time. Many years afterward when it was revived by Charles Kean upon something like the splendid scale of his Shaksperian revivals in London, the undertaking was looked upon as an extraordinary theatri- cal event. It is not to be supposed that Mr. Douglass' production compared in mise en scene with Charles Kean's, but it is supposable that the acting of the earlier was fully equal to that of the later company. 244 HISTORY OF THE AMERICAN THEATRE. King John. No cast of "King John" was printed in the Philadelphia papers on the occasion of the first production of the tragedy in America. Indeed, the only recognition of the importance of the production on the part of the management was in underlining the tragedy in the advertisements of the " Busy- body " in the Pennsylvania Gazette and the Pennsylvania Journal. As the cast was printed in the New York papers when " King John " was produced in that city just four weeks later, and as no changes had occurred in the company in the meanwhile, it may be assumed that the parts were played by the same players in the two cities. The most interesting production of the season was, of course, Hugh Kelly's " False Delicacy." This comedy was published soon after its production at Drury Lane, and it had been in print only a few months when it was presented in Philadelphia by the American Company. Kelly was an Irishman, who had learned the business of a staymaker in Dublin, but being disinclined to an occupation so King John Mr. Douglass Falconbridge Mr. Hallam Hubert Mr. Henry Pembroke Mr. Tomlinson Salisbury Mr. Parker Robert Falconbridge Mr. Roberts King Philip Mr. Byerly Dauphin Mr. Wall Austria Mr. Darby Pandulph Mr. Morris Chatillon Mr. Raworth Melun Mr. WooUs Prince Arthur Miss M. Storer Prince Henry Mrs. Harman Queen Eleanor Mrs. Douglass Lady Constance Miss Cheer Lady Falconbridge Miss Storer Blanche of Castile Miss Hallam False Delicacy. Colonel Rivers Mr. Douglass Cecil Mr. Hallam Lord Winworth Mr. Henry Sir Harry Newburg Mr. Wall Sidney Mr. Byerly Mrs. Harley Mrs. Douglass Miss Marchmont Miss Hallam Miss Rivers Miss Storer Sally Mrs. Harman Lady Betty Lambton ..... Miss Cheer humble he went to London in 1763, hoping to live by his pen. His first literary work to attract attention was a poem called " Thespis," in SOUTHWARK THEATRE, 1768-9. 245 which he satirized Mr. Moody, Mrs. Clive and Mrs. Dancer among others, after the manner of Churchill's "Rosciad." This was an ill- judged beginning for a man who was soon to turn dramatic author, for when Garrick accepted his comedy neither Moody nor Mrs. Clive would consent to play in it, and Mrs. Dancer was with difficulty induced to accept the part of Lady Betty. The critics, too, were hostile and attacked the play as a dull, sentimental sermon, — Vending in dialogue sermonic scenes, sang one of them in dull verse, — but the piece was received with applause by the public. Its success was so great that it was almost immediately translated into most of the modern languages — Portuguese, French, Italian and German — and it had the unusual distinction of being played in America while it was still in the iirst flush of its European popularity. In " Zara," a tragedy based on the " Zaire " of Voltaire, Miss Cheer had the title-role, with Hallam as Ozman and Douglass as Lusignan. "Alexander the Great " ° Alexander the Great. was Lee's tragedy known as the , „, . . Alexander Mr. Hallam " Rival Queens. This piece, the ciytus Mr. Douglass scene of which is in Babylon, was if^^f^-^l"" Mr. Henry •^ Hephestion Mr. Wall revived at Drury Lane with great Cassander Mr. Morris ._ , , Polyperchon Mr. Parker magnificenceaslateas i79S,when phuip Mr. Tomiinson John Philip Kemble was Alex- ^hessalus Mr. WooUs Perdiccus Mr. Byerly under. Although it shows evi- Eumenes Mr. Roberts . ^ , . , Meleager Mr. Raworth dences ot Lees madness, it has Aristander Mr. Darby many merits, among them the ^'^''"'^ Miss Hallam Lysigambis Mrs. Douglass admirable manner in which the Parisates Miss storer ^ J ^, , . 4. .. J •... Roxana Miss Cheer steady Ciytus is contrasted with 246 HISTORY OF THE AMERICAN THEATRE. the fiery Alexander, and the mild and secure Statira with the disap- pointed and raging Roxana. It may be added that this was the only period before the Revolution when the American Company could safely have ventured upon a production so elaborate and exacting. Besides the pieces, old and new, presented this season, Mr. Douglass sought to please the Philadelphia public by an exhibition of fireworks on the stage after the farce, which was announced for the 9th of December. " It having been hinted to Mr. Douglass," the manager said in his advertisement, " that an exhibition of this kind (the first upon any stage in America) would be acceptable to the public ; he with pleasure embraced the opportunity of manifesting his zeal and attention by presenting them with this additional entertain- ment, for which, tho' the expense of the evening will be greatly increased, he demands no more than the usual prices." The fireworks were arranged by " the two Italian brothers," and comprised a large wheel illuminated with brilliant fire ; a triumphal arch with a globe in the middle; a tornant with variegated fire and several fountains of different composition. The experiment seems to have been eminently successful, for on the 14th the fireworks were repeated with new combinationSj the management making an acknowledgment of past At Great Expense. f^^O-'S and indulging in cheerful promises for the future. It will *jt* Mr. Douglass having with great pleas- ure observed the satisfaction which the Ex- be observed that down tO "Nothing hibition on Friday gave to the audience in . ... general has, at much greater expense, engaged "^Ore than the USUal prices Will the conductors to prepare this act, which, he j^g demanded " Mr. Douglass' doubts not, will meet with that countenance and encouragement every attempt of his to methods are identical with those entertain the town has been favored with. ^ , Nothing more than the usual prices will be ^^ t"^ modern manager. demanded. ^^ amusing Specimen of the SOUTHWARK THEATRE, 1768-g. 247 cant of the period directed against the theatre found its way into print this season in the columns of the Pennsylvania Gazette. It was signed "J. R.," and described as a " genuine relation." ^ Anything more silly it is not easy to imagine. This man, who accepted a box-ticket to the play through " a principle of complaisance," had the bad taste to bestow it upon a negro, who, in turn, sold it for half price. As a consequence an intruder was introduced into the box, which evidently was in- tended only for the friends of the family where " J. R. " found his way. It would not have been impolite for him to refuse the ticket, but the use to which he put it is surprising. 1 A Genuine Relation. — Having been introduced a few evenings ago ii^to the com- pany of some ladies and gentlemen (to most of whom I was an entire stranger), after the tea equipage was removed, one of the gentle- men produced some box tickets for the play, which he generously bestowed on the com- pany. I, as a stranger, being presented with one, which (having no taste for theatrical performances) a principle of complaisance prevailed on me to accept. What the un- happy consequence was of this piece of gen- erosity in the gentleman follows : Some of the company who had before resolved to hear service at St. Paul's Church on that night found themselves now much straitened to put their pious resolution in practice, in short, a division in sentiment took place, some being strenuously bent to see the play and some to hear a sermon, and in order to reduce their versatile inclinations they agreed the matter should be determined by drawing cards, which was accordingly done, when giddy chance determined in favor of the theatre. Good God, gentlemen, what a degenerate ^e ' do we live in ! Into what a state of apostacy are we fallen, when our zeal for religion is actuated by the turn of a card and the mim- icry of buffoons is put in competition with the sacred oracles of truth ! I had almost forgot to tell you that the ticket which was conferred on me I gave to a negro who attended me at tea, but the virtuous slave (as I have since understood) immediately sold it for half price, with which he purchased a prayer- book. An example of religion and virtue in a slave worthy the imitation of the greatest ruler upon earth. Philadelphia, December 19th, 1768. CHAPTER XXIII. JOHN STREET THEATRE, 1769. A SEASON THAT WAS NOT PROSPEROUS THE MANAGEMENT AND THE PLAYERS EMBARRASSED EFFORTS TO RAISE MONEY RETIRE- MENT OF MISS CHEER AND MISS WAINWRIGHT THEIR PARTS. JUST ten days after the close of the Southwark Theatre for the season of 1768-9 Mr. Douglass' company re-opened the John Street Theatre, in New York. The season was not a prosperous one, but the players remained in New York until the middle of June, when they went to Albany, where they opened with "Venice Preserved," on the 3d of July, according to Dunlap. This reputed visit of the players to the ancient city of Albany is based upon tradition only and can not be verified, as no newspaper was printed there at that time. According to this tradition the performances were given in the hospital. The tradition is probably well founded, as Mr. Douglass had learned that neither Philadelphia nor New York could support a prolonged theatrical season every year, in consequence of which the necessity of seeking fresh pastures would force itself upon him. The Albany ex- periment -does not appear to have proved satisfactory, however, and Mr. Douglass afterward looked to the South for new theatrical cities. Business embarrassments this season also taught him, apparently, to look to public subscriptions, as at Annapolis and Charleston, for the means with which to build new theatres. (248) JOHN STREET THEATRE, 1769. 249 Among the pieces acted in New York this season were many- old favorites, and the new plays presented in Philadelphia the preced- ing December. Besides, there list of Performances. were several productions then seen , ^ 1769. for the first time in America. Jan. 16— King John Shakspere 20 — ^Jealous Wife Colman Steele's "Tender Husband," Gar- Picture of a Playhouse. rick's "Guardian" and Bicker- Miss in her Teens . . . .Garrick 27 — Beaux' Stratagem . . . Farquhar staff's " Padlock " comprised the Citizen Murphy . 30 — Zara Hill list of new productions. In j.^^. 2-Romeo and Juliet . . .Shakspere Steele's comedy there was genu- Guardian Garrick 9 — Cymbeline . . . . Shakspere ine humor without indelicacy. Miller of Mansfield . . . Dodsley , . , ., , . . , , 17 — Orphan Otway which until his time was thought j^ethe . Garrick to be inseparable from wit. The 24— Alexander the Great .... Lee Contrivances Carey " Guardian " was still a new piece, Marchs— Beggars' Opera Gay "W/^itchcs having been first acted at Drury ,o-King Henry IV . . .Shakspere Lane, in 1759, for the benefit of Guardian. 17 — Busybody Centlivre Christopher Smart, a poet, at that Brave Irishman .... Sheridan ... J. , , . T ±x. 20 — Tender Husband Steele time in lail for debt. In the r„ , „ ■ j •' 27 — Tender Husband. " Padlock," which was newer still, Upholsterer Murphy April 10 — Othello Shakspere having had a run of fifty-three Hob in the Well .... Gibber nights at Drury Lane, in 1768, I4-False Delicacy . Kelly » J ' ' ' Cathenne and Petruchio Shakspere when it was originally produced, 27— King John. Thomas and Sally . . Bickerstaff Mr. Hallam made a great " hit " (m,. and Mrs. Tomlinson's benefit.) as Mungo. He continued to be ^'■y '->°^.,S^°;^ ^^^ ° Devil to Pay Coffey unrivaled in the part until his (Benefit of Miss and Miss M. Storer.) 4 — Maid of the Mill . . . Bickerstaff death, surpassing even Dibdin, 8_Romeo and Juliet. the original, who also composed (Miss Hallam's benefit.) ° II — Jane Shore. the music for the piece. It has Miss in her Teens 2SO HISTORY OF THE AMERICAN THEATRE. Harlequin Skeleton. been Suggested that Mr. Hallam (Benefit of Mr. Henry and Miss and Miss M. Storer.) owed much of his excellence as May 25 — Richard III Shakspere j^ ^ 1. • ^ j c ^^ Love a la Mode .... Macklin ^""""SO tO his Study of the negro (Mrs. Douglass' benefit.) character and dialect in Jamaica 29 — Constant Couple . . . Farquhar Padlock Bickerstaff and the Colonies. (Mr. Hallam's benefit.) a 11 ^.u • j- ,• , ^ , fT7 T -^il the indications seem to June I — tarl 01 Essex Jones Padlock. point to unusual embarrassment (Mr. WooUs' benefit.) 9— Love Makes a Man . . , Cibber both on the part of the manage- /•KT j"lf ^^ v ' " ,\' ' c^T^'^ ment and the members of the (Mr. and Mrs. iomlmson s benefit.) 15— Drummer Addison company individually. As early Alexander's Feast (Byerly). Padlock. as the 1 0th of April, when (Parker and Byerly's benefit.) » Qthello " WaS in the bills, it waS 17 — Love lor Love .... Congreve Padlock. announced that the part of Othello 29 — An Entertainment by Mr. Henry. would be "attempted by a gentle- man, assisted by other gentlemen in the characters of the Duke and Senate of Venice, from a benevolent and generous design of encourag- ing the theatre and relieving the performers from some embarrassments in which they are involved." Mr. Ireland believes that the Othello on this occasion was Major Moncrief, a British officer, who was the mo.st distinguished amateur actor in the Colonies before and during the Revolution. Even before this extraordinary efforts had been made to obtain good houses. On the 30th of March it was announced that the bill would be " performed by the particular desire of the Grand Knot of the Friendly Brofiiers of St. Patrick," * on the following 1 New York Journal, March 30TH. — Evening ; such Gentlemen as propose to join The Friendly Brothers of St. Patrick, and them will be pleased to send in their Names several Gentlemen of this City intend dining to the Bar of said Tavern two days before, together at Bolton and Sigel's, next Monday, New York, March 28th, 1769. and from thence to go to the Play in the JOHN STREET THEATRE, 1769. 251 A Masonic Entertainment. Monday, the 3d of April. Dunlap gives the 17th of March as the date when the "Busybody" and the "Brave Irishman" were performed. The bill for the 3d of April was not advertised, but Sheridan's farce was probably the afterpiece. It may be that the Friendly Brothers encouraged the theatre both on St. Patrick's Day and afterward. A similar discrepancy exists in regard to a performance advertised for " the entertainment of the Right Worshipful the Grand Master, the Masters, Wardens and Brethren of the Ancient and Honorable Society of Free and Accepted Masons." According to the original advertise- ment the performance was set down for the 20th, but it was afterward announced for the 27th of March, without any explanation either of postponement or repeti- tion. For the latter date, how- ever, the "Upholsterer" was in the bill "by command," instead of the " pantomime entertainment " intended for the 20th. Previous to the performance of the 27th Mr. Douglass announced that it would be " taken as a favor if the ladies and gentlemen who desire to have places in the boxes re- served for them would send to bespeak 'em before Saturday eve- ning at farthest, that proper lists may be made out for the box- keepers and every possible care taken to prevent mistakes." By Command of his Excellency the Governor. For the Entertainment of the Right Worship- ful the Grand Master, the Masters, War- dens and Brethren of the Ancient and Honorable Society of Free and Accepted Masons ; By the American Company At the Theatre in John-Street on Monday the 20th of March, Inst., will be presented a Comedy never acted there, call'd, The TENDER HUSBAND or the Accomplished Fools. With a Prologue and Epilogue and several Songs proper for the Occasion. To which will be added a Pantomime Entertainment. The Company of all the Brethren in Town is earnestly requested to meet at Burns' at five o'clock on the day of Performance and walk from thence in Procession to the Theatre where the Pit will be reserved for their Ac- commodation. Boxes and Pit, 8j. Gallery, 3^. 252 HISTORY OF THE AMERICAN THEATRE. Although " a new set of scenes " was provided for the " Othello " night, when the part of Othello was "attempted by a gentle- man, assisted by other gentlemen in the characters of the Duke and Senate of Venice, from a benevolent and generous design of encourag- ing the theatre and relieving the performers from some embarrassments in which they are involved," there were many signs of unusual poverty on the part of the company. Among these was the peculiar character of the benefits. Mr. and Mrs. Tomlinson had two, Woolls had two, the Misses Storer had one, and another in conjunction with Mr. Henry. Mrs. Harman made an extraordinary effort to raise the wind by giving a concert at Burns' Room on the 13th of June, at which she had the assistance of Miss Hallam, Miss M. Storer, Mr. Woolls and Miss Waihwright. Besides, Mr. Henry gave a monologue entertain- ment at the theatre on the 29th of June. His bill comprised a lecture on " Hearts," with an original prologue ; Hippesley's Drunken Man, and some pantomimic bits which he called " Harlequin's Frolic." He announced, oddly enough, that as the late hours of the theatre had been complained of, he would begin at 8 o'clock, and assured the public that his entertainment would be over by half-past 10. On the day following, the 30th, Mr. Woolls and Miss Hallam assisted at a concert at Vauxhall Garden, Woolls singing " Black Sloven " and " Blest as the Immortal Gods is he," and Miss Hallam " Ye Men of Gaza " of Handel, and the two artists uniting in the duet " Fair Aurora" from " Artaxerxes." These later entertainments show that if Messrs. Henry and Woolls and Miss Hallam joined the com- pany at Albany they gave themselves little time to make the journey. A somewhat startling episode of the production of the " Beg- gars' Opera" this season in New York was Mr. Hallam's appearance JOHN STREET THEATRE, 1769 253 as Captain Macheath, and another event of some importance was Miss Hallam's appearance for the first time as Juliet, on the 8th of May. After many years of steady work on the American stage she had at last become the leading lady of the company, as the successor of Miss Cheer. This position she continued to hold until the company finally disbanded in 1774. The motives for Miss Cheer's retirement are not clear. If it was in consequence of her marriage to Lord Rosehill, it is singular that it did not take place sooner, Miss Cheer's Parts. that event having occurred nearly Plays. A Bold Stroke for a Wife . . . Ann Lovely a year before. That Lady Rose- Alexander the Great Roxana h.iij.j . .T- 1 J- All for Love Cleopatra ill did not go to England imme- t, , c . nr c 1, =" ^ Beaux' Stratagem Mrs. Sullen diately after her retirement is evi- Busybody Miranda Cato Marcia dent from the fact that she played clandestine Marriage .... Miss Sterling Queen Elizabeth m"'^-^c\i'axdi\\\;' Committee Ruth Conscious Lovers Indiana for Mrs. Douglass' benefit, in New Constant Couple Angelica Country Lasses Aura York, in 1773. This may or may Cymbeline Imogen not be accounted for by a story that Distressed Mother Hemiione Drummer Lady Truman somehow found its way into print, Earl of Essex .... Countess of Rutland Fair Penitent Calista that she had previously eloped with False Delicacy . . . . Lady Betty Lambton her father's coachman. In any case Gamester Mrs. Beverly George Barnwell Millwood she must have been a woman of Hamlet Ophelia . Henry IV Lady Percy good birth and education, and to inconstant Bizarre have possessed both experience J^"^ ^^"''^ •'^''"^ Jealous Wife Mrs. Oakley and adaptability to enable her to King Johfi Lady Constance , , , 1- , r ■ 1 Lear Cordelia play the long list of trying roles Love for Love Miss Prue that must be put to her credit Love Makes a Man Angelina Macbeth Lady Macbeth within the brief period of three Merchant of Venice Portia 254 HISTORY OF THE AMERICAN THEATRE. Miser Mariana years. During her short reign Mourning Bride Almeria Orphan Monimia on the American stage, besides a Orphan of China Mandare r , ■ , • . r ^ , „ ^ J few parts in pantomime and larce, Othello Desdemona '■ '■ Prince of Parthia Evanthe she is knOWn to have played ex- Provoked Husband Lady Townly Recruiting Officer Sylvia actly fifty of the leading characters T>- u J TTT f Oueen Elizabeth , . , ,^, . Richard III I Lady Anne of the drama. This, It must be Roman Father Horatia Romeo and Juliet Juliet Confessed, IS a wonderful showmg School for Lovers Araminta ^^^ ^^^ ^j^j^j^ ^^ modern actresS Suspicious Husband Clarinda Tameriane Selima has exceeded in a life-time. „, J . ( Athenais ineoaosms t Puicheria Whatever may have been Miss Venice Preserved Belvidera Wonder Violante Cheer's artistic capabilities her ■ ■ industry is unquestionable, and I'arces. ■" Catherine and Petruchio .... Catherine she probably earned a greater Harlequin Collector Columbine High Life Below Stairs Kitty reward than her exertions ever Honest Yorkshireman . . . . Combrush obtained for her. After the Rev- Mayor of Orarratt Mrs. Sneak Old Maid Mrs. Harlow olution she reappeared upon one Thomas and Sally Dorcas Witches Columbine occasion but was coldly received. A change almost equally important as the loss to the company of Miss Cheer was the retirement of Miss Wainwright. She did not appear in Philadelphia at all the previous season, and in New York in the beginning of 1769 she was seen only three times. Her services in two of the parts in which she appeared, Polly in the " Beggars' Opera" and Patty in the "Maid of the Mill," seem to have been gratui- ties, and she evidently appeared, in "Thomas and Sally" for the Tom- linsons, on the 27th of April, as ^^^^ Wainwright's Farewell. appears from a quaint notice an- Miss Wainwright's performance on nexed to the announcement of Monday se'nnight was advertised for the last, .1 J i- r ii «-i\yr -J c and intended to be so: but at the particular the production of the Maid of , . , ' ,. . . ^ ■^ desire of some persons of distinction she per- the Mill," on the 4th of May. forms in this opera JOHN STREET THEATRE, 1769. 255 Miss Wainwriglit was an accomplished actress and singer. She had been with the American Company two years, her most important roles being Polly in the " Beggars' Miss Wainwright's Parts. Opera" and Rosetta in " Love in Plays. AH for Love Charmian a Village," in both of which she Beaux' stratagem Cherry appeared at the Southwark The- „f^^!^^ . ^^l^ '. „° '^ '^ '^ Clandestine Mam^e Betty atre in 1766-7. Her American Conscious Lovers Mrs. Sealand Constant Couple Parly debut was made in the former, and Country Lasses Flora she was the original Rosetta in Disappointment^. ... Lucy ° Don Quixote m Lngland .... Dorothea America. After leaving the stage Gamester Lucy Inconstant Lamorce Miss Wainwnght lived in retire- jealous "Wife Betty ment in Philadelphia for many ^^^^ Goneril* Love in a Village Rosetta years, appearing a few times after- Love Makes a Man Elvira Macbeth Witch ward, out of comphment to her Maid of the Mill Patty old manager, when the company Merchant of Venice Jessica Mourning Bride Attendant played in the Southwark Theatre Prince of Parthia Cleone for the last time before the Revo- Provoked Husband . . { La'^dy^ronghead lution. Miss Wainwright's place R^<=™iting Officer Rose ° '■ Suspicious Husband Lucetta was not filled, her parts being Wonder Flora taken by the Storer sisters and Apprentice . . . .'"^^".' .... Charlotte Miss Hallam, as occasion required. Brave Irishman Betty ^ Chaplet Laura Whether the company went Citizen Maria Contrivances Arethusa to Albany after the close of the j^^^^^ ^„j p^iiMa Philiida New York season of 1769, as has I^^"<=^== '° ^'"^ ^^" ' ^ Devil to Pay Nell been shown, is open to doubt. High Life Below Stairs . . Lady Charlotte _ , , A „ Lethe Mrs. Riot According to Dunlap the Albany Lying Valet Kitty Pry season was announced as for one Mayor of Garratt Mrs. Sneak Miss in her Teens Tag month only. This would have Neck or Nothing Jenny 2S6 HISTORY OF THE AMERICAN THEATRE. Polly Honeycomb Polly given the players ample time to Spirit of Contradiction .... Miss Harriet Thomas and Sally Sally go to Philadelphia for the next Upholsterer Harriet i. iu c ii. i i-"! ^ season at the bouthwark Theatre, which did not begin until November. It is unfortunate that Dunlap is so uniformly inaccurate that what was perhaps the first theatrical season at what is now the capital of the State of New York should not only be without a history, but in doubt. At that time Albany was only a village, as is shown in the pictures of the period, and it does not seem likely that it should have been able to support a theatrical company, even for a month. This fact in itself is not a proof, however, that it was not visited by the Thespians in 1769. CHAPTER XXIV. THE NEW AMERICAN COMPANY. ANOTHER SEASON AT ANNAPOLIS THE COMPANY A COMPOSITE ONE — A STRIKING LIST OF PERFORMANCES OLD PLAYS AND FARCES AND NEW COMEDIES PRODUCED SOME FULL AND MANY PARTIAL CASTS MALONE AND GODWIN'S PARTS. WHILE the American Company was playing in New York, from January to June, 1769, another theatrical organization, styling itself the New American Company, was entertaining the good people of Annapolis, the season beginning on the i8th of February and lasting until the 13th of June. This company was apparently organized, or rather re-organized by Mr. Godwin, who was with the American Company in 1766-7, but had left it and joined the Virginia Company of Comedians in 1768. This assumption is based on the fact that Godwin now had better roles than he ever had before. The new company was made up in part of the leading people of the Virginia Company^, of some of the least important members of the American Company at the Southwark Theatre in 1768, and of fresh accessions. Among the actors from the American Company besides Godwin and Parker, both of whom had been with the Virginia Comedians, were Malone and Darby. Mr. Verling, of the Virginia Company, had the lead, and next in consequence to him was Godwin. Mrs. Parker was the leading actress early in the season, but sub- 17 (257) 258 HISTORY OF THE AMERICAN THEATRE. sequently Mrs. Osborne joined the company, assuming the heavy tragedy roles. With the exception of the Walkers the rest of the troupe was new to the American stage. Among the latter was a Mr. Jefferson, who, oddly enough, lodged with a Mr. Adams, at Annapolis. Who Mr. Jefferson was it is impossible to say. It is not likely, but he may have been John Jefferson, a son of the great Jefferson of Drury Lane, and the elder brother of Joseph Jefferson, afterward a favorite Philadelphia comedian. It was not uncommon for young English barnstormers to visit the Colonies at that time, and John Jefferson with Manager Godwin at Annapolis, in 1769, would not have been more out of place than he was with Manager Davis at Brixham, in 1786, as related by Ryley in the "Itinerant." The Annapolis season of 1769 shows remarkable activity on the part of the company, such as it was, and a wide range of plays List of Performances. and farces for the entertainment 1769. of the patrons of the theatre. A Feb. 18 — Romeo and Juliet . . . Shakspere Virgin Unmasked . . . Fielding noteworthy feature of the season 22-OtheUo ■••••• Shakspere ^^3 ^j^^ number of amateurs who Honest Yorksmreman . . . Carey 24— Jealous Wife Colman aspired to Thespian honors. On Brave Irishman Sheridan 2s_Beggars' Opera Gay the 22d of February the part of Brave Irishman. Othello was "attempted by a gen- March 4 — Douglas Home High Life Below Stairs . Townley tleman for his amusement, being 6 — Richard III Shakspere ... . , . Lethe Garrick the first time of his ever appearmg 9-jealous Wife. on the Stage." The same gentle- Upholsterer Murphy 1 1— Romeo and Juliet. man played Hamlet on the 3d of Honest Yorkshireman. a -i 11 > ^ r n 14-lnconstant Farquhar ^P"!' ^nd he repeated Othello on Merhn Hill the 1 3th of May for Mrs. Walker's 15 — Douglas. Mock Doctor . . . . Fielding benefit. Another gentleman, on THE NEW AMERICAN COMPANY. 259 one occasion, appeared as Damon in " Damon and Phillida," and still another was advertised for Obadiah Prim in "A Bold Stroke for a Wife.'' But perhaps the most daring of the amateurs was a gentleman who appeared " for his amusement " on the tight- rope for the benefit of Mr. Malone. The repertoire in its leading fea- tures was patterned after that of the American Company, but it comprised two pantomimes, two interludes, a farce and a comedy that were new in this country. The pantomime advertised as " Merlin " was probably Aaron Hill's " Mer- lin in Love," though it may have been Theobald's, or Giffard's al- teration of Dryden's " King Ar- thur." It may be assumed that Henry Woodward's " Genii " was not the splendid spectacle at An- napolis, in 1769, that it was at Drury Lane when it was first acted, in 1752. The farce, "Wrang- ling Lovers," was taken by Wil- liam Lyon from Vanbrugh's Mar. 16 — Beaux' Strat^em . . . Farquhar Devil to Pay Coffey 17— Miser Fielding High Life Below Stairs. 18 — Revenge Young Damon and Phillida . . . Cibber April I — Miser. Devil to Pay. 3 — Hamlet Shakspere Mayor of Garratt Foote 8— Richard III. Polly Honeycomb .... Colman (Mr. Verling's benefit.) 18 — Provoked Husband . Vanbrugh Miller of Mansfield . . Dodsley (Mr. Godwin's benefit.) 22 — Busybody Centlivre Genii (Pantomime) . . Woodward (Mr. Spencer's benefit.) 25 — Merchant of Venice . . Shakspere Lying Valet Garrick (Mr. Malone's benefit.) 29 — Mourning Bride .... Congreve Honest Yorkshireman. (Mr. Jefferson's benefit.) May I — Suspicious Husband . . Hoadly Wranghng Lover . . . Vanbrugh Lethe. (Mr. Burdett's benefit.) 2— Richard IH. High Life Below Stairs. 3 — Douglas. Mayor of Garratt. 4 — King Henry IV . . . Shakspere Damon and Phillida. 9 — Bold Stroke for a Wife . Centlivre Farmer's Return from London Garrick (Mrs. Malone's benefit.) 13 — Othello. Trick upon Trick .... Yarrow (Mrs. Walker's benefit.) 16 — George Barnwell Lillo 17 — Conscious Lovers .... Steele Citizen Murphy (Mrs. Osborne's benefit.) 26o HISTORY OF THE AMERICAN THEATRE May i8 — Beggars' Opera. Miss in her Teens . . . Garrick 20 — Distressed Mother .... Philips Harlequin Skeleton. 23 — Way to Keep Him . . . Murphy Mock Doctor. (Mr. Darby's benefit.) 27 — Earl of Essex Jones Chaplet Mendez (Mrs. Parker's benefit.) 30— She Wou'd and She Wou'd Not Cibber (Mrs. Jones' benefit.) June 3 — Conscious Lovers. Catherine and Petruchio Shakspere (Mrs. Walker's benefit.) 6— A Bold Stroke for a Wife. Upholsterer. (Mr. Page's benefit.) 10 — Love in a Village . . . Bickerstaff Anatomist Ravenscroft (Mr. Parker's benefit.) 13 — Theodosius Lee Devil to Pay. (Mrs. Burdett's Benefit.) " Mistake," printed in Edinburgh in 1745, and "Trick upon Trick" suggests R. Fabian's " Trick for Trick," during the first perform- ance of which occurred the fatal quarrel between Macklin and Tho- mas Hallam, but the cast shows it was the piece published by Joseph Yarrow, at York, in 1742. The comedy new to the American stage was Gibber's "She Wou'd and She Wou'd Not," of which, unfortunately, no cast was printed in the newspapers. This is the only comedy of the many written by Colley Cibber that has been seen on the modern stage, Mr. Augustin Daly including it among the revivals which almost annually were a part of his policy as a manager. The piece was originally acted at Drury Lane. Cibber borrowed his plot from Leonerd's " Counterfeits." Mrs. Jones was probably the original Hypolita in this country. In his advertisement of his benefit Mr. Malone supplied a quaint bit of autobiography. According to his announcement he must have been a more accomplished juggler than he was skillful as an actor. Malone was evidently an Irish- man, and he utilized the opportu- nities afforded him by the An- Malone's Bit of Autobiography. Between the Play and the Farce several performances on the slack rope in full swing by Mr. Malone — I. He vaults the rope. II. He Ues on it at full length. III. He beats a drum. THE NEW AMERICAN COMPANY. 261 napolis season to appear as Captain IV. He balances a pyramid of smoking pipes on the edge of a drinking 0' Blunder in Sheridan's farce, as glass. 11 . J- 1 u- _-i-t. V. He balances the pipes and a pyramid well as to display his agility on . , . , ^ '^ ^ . „ . '^ ' ° ' 01 thirty glasses of jelly m each the slack rope. In the full pieces \wD.d.. VI. He stands on his head on a small Malone was generally content pack-cord and holds a pistol in each with very modest parts. He evi- ^^"<^' ^^<=^, "^l ^'" ^'^' '^ ^^«- ' '■ able to the Ladies. dently belonged to the class of N.B.-There will be several performances performers that in these latter on the tight-rope by a Gentleman. days are called variety actors, although in this age it is not often that the juggler is able to act even such small parts as were played by Malone during his brief career on the American stage. Full casts of only five pieces produced at Annapolis by the New American Company were printed in the Maryland Gazette. The Beggars' Opera. first of these was the "Beggars' Captain Macheath Mr. Veriing Opera," in which Mr. Verling and Lockir" Mr Parker Mrs. Parker had the favorite roles. Filch Mr. Godwin jhgy j^ad had many predecessors, Robin of Bagshoti Mr. Malone , ^, ^u T7 r I, ^ A Drawer / both on the English and Amen- Jemmy Twitcher Mr. P^e Crook-Fingered Jack Mr. Walker can Stage, as they were to have Mat o' the Mint Mr. Godwin ^ successors. When Gay Ben Budge .Mr. Burdett •' Nimming Ned Mr. Jefferson showed his musical COmedy tO Beggar Mr. Parker . r v j ^■ Player Mr. Burdett Congreve before Its production, Mrs. Peachum) Mrs. Walker that great dramatist Said it would Lucy Lockit / ° (Her first appearance in these characters.) either take greatly or be damned Diana Trapes "( at t Mrs. Vixen | ^"^^ J°°^' confoundedly. It had now held Mrs. Slammekiu Mrs. Walker , . , ,. , M13. Coaxer Mrs. Burdett ^e Stage for half a century, and Jenny Diver Mrs. Malone for almost half of that period there Moll Brazen Mr. Walker Polly Mrs. Parker was no American company so "mean and contemptible" as not to sing or attempt to sing it. 262 HISTORY OF THE AMERICAN THEATRE. If Mr. Godwin was the manager of the New American Company the advertisement of the full cast of the "Miser" is readily accounted for: Miser. he was himself the Lovegold. In Lovegold Mr. Godwin Philadelphia, in 1766, when the ^'^^^'"^ f-I'^'r comedy was first played in this Clenmont Mr. Burdett ■' ^ ■' List Mr. Malone country, he was compelled to be Ramillie Mr. Darby Tames 1 satisfied with a very small part, Decoy} ^^- ^^*^' Mercer Mr. Page while Mr. Allyn played the J/w^^. S ^arkr I • ^'■- "^^^^^ Hallam afterward played Love- F"™ish Mr. jefiferson gold, and now Godwin was, in one Mrs. Wisely Mrs. Burdett Harriet Mrs. Jones part at least, Hallam's rival. All ^.S'^^, 1,/^' ,^^, ^"^ this is guess-work, of course, but Wheedle Mrs. Malone ** Mariana Mrs. Parker it is guess-work based on human nature — the human nature of the footlights, which is even more lasting than theatrical tradition. The performance must have been wretched. Dr. Young's tragedy, the " Revenge," is a play that never proved attractive on the American stage. Why it should have been Revenge. produced at Maryland Gazette, March 9th, 1769. Don Alonzo . Mr. Godwin ^ The Public may be assured that the Corn- Don Carlos . Mr. Burdett is impossible pany of Comedians in this city have gained Alvarez . . . Mr. Parker great applause by their two last perform- Don Manuel Mr. Malone to Say, un- ances, Viz: the tragedies of "Douglas" Zanga . . . Mr. Verling j^^^ -^^ Ver- ^^ " ^<^^"<^ ^^^■" Isabella . . Mrs. Walker Leonora . . . Mrs. Jones ling was desirous of showing his great tragic powers as Zanga, as he had previously gained distinction as Lord Randolph and Richard III. Although the "Revenge" had been pre- viously played by the American Company, this is the earliest cast of it that was preserved. Mr. Darby for his benefit chose a comedy never before acted THE NEW AMERICAN COMPANY. 263 in America, Arthur Murphy's " The Way to Keep Him," partly, perhaps, because it was a novelty, and partly to enable him and his wife to appear as Sir Bashful and the Way to Keep Him. Lady Constant. The piece, as it Sir Bashful Constant Mr. Darby was now played at Annapolis, had Sir Brilliant Fashion Mr. Spencer William Mr. Parker been produced at Drury Lane as sideboard Mr. Burdett long before as 1761, but Mr. Lovemore Mr.Veriing Mrs. Lovemore Mrs. Parker Darby was careful to announce Mignionet Mrs. Jones , , . . , , Muslin Mrs. Walker that on that occasion it had run L^^y Constant Mrs. Darby twenty-six nights without inter- (Being her first appearance.) Widow Bellmore Mrs. Osborne mission. Subsequently the com- edy became a favorite one in the repertoire of the American Company. Mrs. Parker went further than any of her associates in the New American Company and printed the casts of both pieces in her benefit Earl of Essex. bill-Jones'trag- Chaplet. „ , , „ ,, ,r ,. edy, the " Earl Damon .... Mr. Spencer Earl of Essex .... Mr. Verling "^ M D h Southampton Mr. Darby of Essex," and daemon. . . . ^ ^'' 7 -__,., „ T> J „ Laura .... Mrs. Osborne Lord Burleigh . . . . Mr. Burdett ,, , , „ . „ ,, ,, , _. „, , Ti , • 1 »» n Mendez musi- Pastora .... Mrs. Parker Sir Walter Raleigh . . Mr. Spencer iviciiuci iiiusi Lieutenant Mr. Parker cal entertainment," the " Chaplet." Both Queen Ehzabeth . . . Mrs. Jones Countess of Nottingham. Mrs. Parker these pieces had been- frequently acted Countess of Rutland . Mrs. Osborne , , . . ^ ^, by th6 American Company. 1 hese casts are only interesting for comparison and as part of the record. When Mrs..Malone took her benefit she announced Garrick's " Farmer's Return from London " as the afterpiece, but as " Thomas Thomas and Sally. and Sally" was sub- Farmer's Return. Squire .... Mr. Spencer sequently advertised Fanner .... Mr. Parker Thomas Mr.Veriing ^j^j^^^^ ^^^^j^^ Farmer's Wife . Mrs. Parker Sally Mrs. Parker ^ Roger .... Mr. Malone Dorcas . . . Mrs. Osborne of the interlude, it is not Certain whether it 264 HISTORY OF THE AMERICAN THEATRE. was dropped from the bill or given between the play and the farce, as was the custom in London. Garrick originally wrote it to do Mrs. Pritchard a service at her benefit. It was a humorous description in rhyme of what the farmer saw in London — the coronation of George III and Queen Charlotte, the entertainments of the theatres and the famous imposition of the Cock-lane ghost. The partial casts that were printed this season in the Maryland Gazette are interesting in showing who were the stars of the company. Partial Casts. These casts show that Mr. Ver- Plays. ling was to this company what A Bold Stroke for a Wife: ht„ tt n ^ iU -i. •. ^ , , r- ■ „ ,T 17 ,• Mr. Hallam was to the one it at- Colonel Feignwell Mr. Verlmg Ann Lovely Mrs. Osborne tempted tO rival — the first in Biisybody. Marplot Mr. Spencer everything. His parts ranged ^^".""'^^ ^'=- ^"^^^^ from Shylock and Romeo to Fal- Conscious Lovers. Young Bevil Mr. Verling staff and PetrucMo ; from Haw- Indiana Mrs. Osborne Distressed Mother. tho'"^ to Captain 0' Blunder, for it ^y-"*"' ff'-pf"^ is to be remarked that he did not Orestes Mr. Godwin Hermione Mrs. Jones allow Malone a monopoly of the Andromache Mrs. Osborne Douglas. brave Irishman.. He was, after ^°"gi^ ^^- "^^'■""g Mr. Hallam, the first Petruchio, as Lady Randolph Mrs. Osborne George Barnwell. Mrs. Walker was, after Miss Barnwell Mr. Godwin ■, r ^ t • Maria Mrs. Walker Cheer, the first Catherine. This *^"^^°°'i ^■''- Osborne production of "Catherine and Pe- King Henry IV. Prince of Wales Mrs. Osborne truchio " was the familiar farce, Poins Mrs. Parker , . , . , „ . , , Falstaff Mr. Verling ^^eing advertised as "with altera- Love in a Village. tions and additions by David Gar- Young Meadows Mr. Spencer Hawthorn Mr. Verling rick." There were four ladies in Rosetta Mrs. Parker ^, , , , Lucinda Mrs. Osborne *^^^ Company who were accorded THE NEW AMERICAN COMPANY. 265 important roles. Of these, Mrs. Merchant of Venice. Shylock Mr. Verling Parker was apparently the most Portia Mrs. Osbome versatile, and Mrs. Osborne in pos- ^""S Bride. Almena Mrs. Osborne session of the greatest tragic force. Othello. Desdemona Mrs. Osborne It was, however, no mean distinc- prmoked Husband. tion to Mrs. Walker to be given ^^^^ '^"^'^ ^'^- 0='^°™^ Romeo and Juliet. the part of Catherine in " Cath- Romeo Mr. Veriing Juliet Mrs. Jones erme and Petruchio, or to Mrs. suspicious Husband. Jones to be allowed to become ^^°g^"^ ^'^- 0*°™^ the Juliet of the company. Farces. Anatomist. The character of the theatre M. le Medeciu Mr. Spencer in which the New American Com- 71"^™ a. '^ r, T ^ Leatnce Mrs. rarker pany played at Annapolis may be Brave Irishman. Capt. O'Blunder ., Mr. Verling learned from a note appended to Catherine and Petruchio. one of the advertisements. "Up- e™c 1° '■ ^"^'"S '■ Crrumio Mr. rarker per boxes," it was said, " are now Catherine Mrs. Walker Citizen. preparing, the passage to which Maria Mrs. Osbome must be from the stage; 't is Damon and PhUlida. Damon Mr. Spencer therefore hoped such ladies and Phiiuda Mrs. Parker Genii. gentlemen as choose to fix on Genii Master Knapp them seats will come before the Harlequin Mr. Spencer Columbine Mrs. Parker play begins, as it is not possible Harlequin Skeleton. Harlequin ........ Mr. Godwin they can be admitted after the columbine Mrs. Parker curtain is drawn up." The hour ^^^"^ ^''^'*- Sharp Mr. Verhng for beginning was six o'clock, and Melissa Mrs. Malone Kitty Pry . . ; Mrs. Parker the prices were "js. bd. to the Merlin. lower boxes, and JJ. to the pit Harlequin Mr. Godwin Clown Mr. Malone and upper boxes. There was no Columbine Mrs. Parker 266 HISTORY OF THE AMERICAN THEATRE. Mock Doctor. Mock Doctor Mr. Darby Dorcas Mrs. Parker Polly Honeycomb. Polly Mrs. Osborne Trick upon Trick. Vizard Mr. Verling Mrs. Mixune Mrs. Jones gallery. It can scarcely be claimed for a structure such as this must have been that it was, in the language of Charles Durang, "that old Temple of the Muses, known as the first theatre erected in America." " This theatre," Durang wrote, " was built of old-fashioned brick. It was not very lofty, and might be called a one-story edifice. It had a very good depth for its proportions. When I saw it years afterward it had the appearance of being at one period of time surrounded with a flower-garden, taste- fully laid out. It was viewed with reverence, on account of its histori- cal associations with the earliest efforts of the drama on this continent." As the theatre that Mr. Durang saw was not built until 1771, his reverence was wasted at a false shrine. With the close of the season at Annapolis the New American Company apparently ceased to exist. With it Mr. Malone, whose versatile talents as actor and jug- gler must have been exceedingly useful in such an organization, disappeared also, and the name of Mr. Godwin does not afterward occur in American dramatic an- nals until after the Revolution. The parts filled by these two players, under the different con- ditions in which they appeared, afford an insight into the dramatic methods of the time that is deserv- Mr. Malone's Parts. Plays. Beaux' Stratagem Sir Charles Beggars' Opera { g"^™"^ ^'^^'^°' Clandestine Marriage Traverse Hamlet Player King Henry IV Poins Macbeth Donaldbain Merchant of Venice Salarino ^■- {[r^' Othello Montano Romeo and Juliet Escalus Venice Preserved Spinosa Farces. Catherine and Petruchio Tailor Citizen Quilldrive Fanner's Return from London . . . Roger THE NEW AMERICAN COMPANY. 267 Mr. Godwin's Parts. ing of attention. In the American Harlequin Collector Haymaker _ , , , , ^ , . ^'Sh Life Below Stairs Tom Company Malone and Godwm Lethe Tattoo held the same rank. If there was May°r of Gan-att Roger Merlm Clown any diiference it was in Malone's favor. Under Mr. Douglass' management he played the Player King in " Hamlet," P(??«J in "Henry IV," and Donaldbain in "Macbeth," while Godwin's best parts were Osric, Malcolm and Benvolio. In the New American Company Ma- lone obtained no advance, but while he made himself useful in such insignificant roles as Tom, in " High Life Below Stairs," and Roger, in the " Farmer's Return from London," Godwin leaped at a single bound from Bubbleby to Lovegold, in the " Miser," and accorded himself such parts as Clincher, Jr., in the " Constant Couple," Orestes,vi\ the "Distressed Mother," Glenalvon, in "Douglas," Chamont, in the " Orphan," and Jaffier, in "Venice Preserved." For an actor who had begun a few years before as Daniel, in the " Conscious Lovers," Usher, in " Lear," Jeremy, in " Love for Love," the Messenger, in the "Or- Plays. Beaux' Stratagem Honslow Beggars' Opera Filch Cato Marcus Conscious Lovers Daniel Constant Couple Clincher, Jr. Distressed Mother Orestes Douglas Glenalvon George Barnwell Barnwell Hamlet Osric Lear Usher Love for Love Jeremy Love Makes a Man Monsieur Macbeth Malcolm Miser jBubbleby ( Lovegold Mourning Bride Selim Orphan Chamont Orphan of China Messenger Revenge Don Alonzo Richard HI Prince Edward Romeo and Juliet Benvolio Tamerlane Haley Venice Preserved Jaffier Farces. Bedlamites Bedlamite Damon and Phillida Corydon Harlequin Skeleton Harlequin Honest Yorkshireman Slango Mayor of Garratt Roger Merlin Harlequin Miller of Mansfield Lurewell Mock Doctor Harry 268 HISTORY OF THE AMERICAN THEATRE. phan of China," and Haly, in " Tamerlane," Mr. Godwin's new line of parts ought to have been a sign of great advancement in his pro- fession, but somehow it does not seem possible that an actor who played only the humblest roles with the American Company in 1766, and was retained only for a single season, should have been able to play acceptably the parts attempted by Godwin at Williamsburg and Annapolis. After the Revolution Godwin again tried his fortunes both as actor and manager, but none of the other members of the New American Company were ever heard of after this season. CHAPTER XXV. SOUTHWARK THEATRE, 1769-70. DUNLAP'S LOST PLAYERS WHERE THEY WERE ANOTHER BRILLIANT SEASON IN PHILADELPHIA MISS HALLAM THE LEADING LADY FIRST p'rODUCTION OF A NUMBER OF NOTEWORTHY PLAYS. AFTER the visit to Albany, in the summer of 1769, Dunlap finds no trace of the American Company until 1772, when it was playing at Annapolis. The fact was that Mr. Douglass once more transferred his forces to Philadelphia, where he reopened the South- wark Theatre, on the 8th of November, for a long and vigorous cam- paign. This season was one of the most brilliant in the history of the American stage. The repertoire was unusually attractive, and, although Miss Cheer and Miss Wainwright were no longer with the company, their absence does not seem to have proved a serious embarrassment. The older members had now had a sufficiently long experience to play almost any role acceptably, and fresh recruits were added from time to time. At last the American Company had reached that degree of perfection that its name was, in itself, a guar- antee of a worthy entertainment in spite of the withdrawal of old favorites, and regardless of the addition of new candidates for public favor — that height of popularity that it was no longer necessary for (269) 270 HISTORY OF THE AMERICAN THEATRE. Mr. Douglass to resort to elaborate advertising. As a consequence, List of Performances. the announcements in the news- '769- papers this season contained only Nov. 8 — Busybody Centlivre Padlock Bickerstaff the name of the company, the 10 — Hamlet Shakspere ..,, c ,\_ ■ , i_ ,^ . , T , „ , titles of the pieces to be per- Musical Lady Colman '^ '^ 14— Gamester Jioore formed and the dates of the per- Padlock. 17— Constant Couple .... Farquhar formances. This departure made ^ °'^ ' ^ ,. „^ , it possible for the manager to 20— Romeo and Juliet . . . shakspere ^ ° Love a la Mode .... Mackiin advertise in the three papers pub- 24 — Midas O'Hara Citizen Murphy lished in Philadelphia at that time °''' ^~^^J^'^ "°'"' —\^& Gazette, l\i^-Journal3xyd.\h^ Midas. ' -^ S— Love in a Village . . Bickerstaff Chronicle — and, consequently, the Musical Lady 8— Cymbeiine Shakspere list of productions this Season ^ ^' , is nearly complete. This list 12 — Beaux Stratagem . Farquhar Padlock. shows a number of important 15 — Beggars' Opera . . . Gay Love a la Mode. additions to the repertoire of the 19-Siege of Damascus . . . Hughes American Company— Some full Harlequin Collector. 22 — Suspicious Husband . . . Hoadly pieces never before acted in 26-Ckndestine Marriage America, besides new farces and Garrick and Colman interludes. These pieces, some Love a la Mode 29— George Barnwell . . . . Liiio of them produced with unusual Harlequin Restored. , , . _,. ^-,,tt 1 1770. elaboration, were Kane O Hara s Jan. 2-King John ... . Shakspere „ ^jj^ „ ^^^ ^j- ^^ ^ jj , Padlock. ' ^ 5— Maid of the Mill . . Bickerstaff ful mythological burlesques ever Miller of Mansfield . . Dodsley 9_0rphan . . Otway written, and in which, at a later Hob in the Well . . Cibber j^j Madame Vestris was to 12— Maid of the Mill. ^ Harlequin Restored. become SO great a favorite as 19 — Tempest . . . . shakspere Neptune and Amphitrite. Apollo ; Dryden's version of SOUTHWARK THEATRE, 1769-70. 271 Shakspere's " Tempest," an atroc- ity with its Caliban's sister, and the scarcely less acceptable sister of Miranda that, happily, has long been banished from the stage; the "Siege of Damascus," by John Hughes, first acted at Drury Lane, in 1720, on the night of the author's death; "Wit's Last Shift," which had been produced at Drury Lane only a few months before its pro- duction in Philadelphia; "Ed- ward, the Black Prince," Shir- ley's, not the play of Mrs. Hofer, originally produced in a theatre in Goodman's Fields, in 1748, "by a patched-up, wretched set of performers" — if Dunlap is right — by William Hallam's com- pany; Goldsmith's "Good-Natured Man," produced at Covent Gar- den, in 1768; Steele's " Funeral " and "Tender Husband," once popular, but now, happily, no longer on the boards, and Shaks- pere's "Merry Wives of Wind- sor." The new interludes and Jan. 23 — Tempest. Neptune and Amphitrite. Mayor of Garratt Foote 29 Same bill as the 23d Feb. 2 — Tempest. Neptune and Amphitrite. Padlock. 6 — Edward, the Black Prince . Shirley Citizen Murphy 9 — Funeral Steele Damon and Phillida . . . Gibber 16 — Orphan of China .... Murphy Upholsterer Murphy 19 — Funeral Upholsterer. Mar. 2 — Merry Wives of Windsor . Shakspere High Life Below Stairs . Townley 6 — Tempest. •> Neptune and Amphitrite. Padlock. 9 — Comus Milton Edgar and Emmeline Hawkesworth 12 — Edward, the Black Prince. Edgar and Emmeline. 16 — Revenge Young Harlequin Restored. 19 — Tempest. Neptune and Amphitrite. Devil to Pay Coffey 22 — Beaux' Stratagem. Edgar and Emmeline. 30 — Tender Husband Steele Miss in her Teens .... Garrick (Miss Storer's benefit.) April 2 — Fair Penitent Rowe Harlequin Collector. (Mrs. Henry's benefit.) 16 — Alexander the Great .... Lee Thomas and Sally. . . Bickerstaff (Mrs. Harman's Benefit.) 20 — ^Jane Shore Rowe Padlock. (Miss Hallam's benefit.) 27 — Good-Natured Man . . Goldsmith Devil to Pay. (Mr. Morris' benefit.) 272 HISTORY OF THE AMERICAN THEATRE. May 3 — Good-Natured Man. Catherine and Petruchio . Shakspere (Mr. Tomlinsou's benefit.) 10 — Love for Love . . . Congreve Wit's Last Stake King (Mrs. Douglass' benefit.) 1 7 — Wild Irishman. High Life Below Stairs. (Benefit of Mr. and Mrs. Henry and Miss Storer.) 24 — Cymbeline . . Shakspere Guardian (iarrick (Benefit of Parker and Broadbelt.) afterpieces comprised Colman's "Musical Lady," Hawkesworth's "Edgar and Emmeline," and " Neptune and Amphitrite," a musical interlude popular in London, but never printed. It must be confessed that the pres- entation of so many new pieces by the American Company, at the time it was lost sight of by the historians, is some evidence that Mr. Dunlap, and those that came after him, might have found the players if they had looked for them. The success of the .season, judging from the number of times it was played and the commendations of an amateur critic' of the period, was the " Tempest." As no cast of the comedy was pre- served, it is not possible to say how much of the Dryden version was retained. As, however, the whole of the Dryden title — "The Tempest, or the Enchanted Island " — was used, it is likely the ex- cisions extended only to verbal "luxuriances." Apart from these, the Dryden version was more showy, more intricate, more ex- ' Extracts From Candidus' Critique. — As the representation of this play is cer- tainly the greatest attempt ever made by the performers in this part of the world, the curiosity of the town was verj' much excited, and I felt a secret satisfaction in seeing it honored with the appearance of a numerous American audience, who had taste enough to distinguish and relish the beauties of that immortal bard. ***** It would be doing great injustice to the performers to pass unnoticed their manifest attention on this occasion to the entertain- ment of the audience, which, with the good taste shown in the disposition of the ma- chinery and decorations, certainly rendered this play the most delightful entertairunent ever exhibited on the American stage. The thanks of the public are due to the person who superintended the getting up of this piece for his good judgment and discretion in pruning it of many indecent luxuriances, which Dryden had introduced into it with the vitiated taste of the age in which he wrote. As there is nothing now to offend, but very much to delight, in this celebrated performance, I shall hope each evening it SOUTHWARK THEATRE, 176^70. 273 tended in the musical parts, and better fitted to keep up the atten- tion of an audience than Shakspere's delightful comedy. It may be assumed, therefore, that the " Tempest " produced on this occasion is to be credited to Dryden rather than to Shakspere, and it will be ob- served that there is nothing in the contemporary critique of " Candidus," printed in the Pennsylvania Journal, to contradict this assumption. Later the casts show the additional creations that Dryden added to Prospero's island thus settling the question definitely. The Dryden version was acted at Dorset Gardens as early as 1670. It is remarkable that such a production should have retained the stage for a century but such was the case not only in America but in England, even Kemble's revivals including some of Dryden's alterations. As no casts were printed in the newspapers this season it is not easy to give a satisfactory account of the changes that had occurred in the company. It is not improbable that Mr. Goodman, who be- came an excellent actor, and the second Mrs. Morris, one of the most noted of the earlier actresses on the American stage, were brought for- ward at this time, and it is certain that Miss Richardson made her debut at the Southwark Theatre this season. The fact that Miss Richardson was may hereafter be given to the town to see a that I am not ashamed to own my admira- numerous appearance of the friends to usefiil tion of dramatic performances hath induced recreation, bearing testimony of their invalu- me, now and then, to associate with some of able obhgations to the great poet of nature, the performers, from whose conversation I and endeavoring to make some return to the have often received both pleasure and advan- players for their assiduity and expense in tage. It is this that gives me the satisfac- procuring this great addition to our rational tion to advertise your readers, who are lovers amusements. I am not insensible, gentle- of the drama, of another play which I think men, in saying this much in favor of theatri- was never acted here, and will be highly in- cal performances, how obnoxious I render teresting to every one zealous for the honor myself to the censure of a few, who, being of his country. It is founded on the story of entirely ignorant of their nature or uses, are the immortal son of Edward III, sumamed continually railing against them ; but so care- the Black Prince, a man in whom innate less am I of the evil report of such people, courage shone with superior lustre. * * * 18 274 HISTORY OF THE AMERICAN THEATRE. with the American Company in 1769-70 is established by a house- bill for Miss Storer's benefit, in the possession of the Pennsylvania Historical Society. This bill contains the casts of the "Tender Hus- Tender HnsBAXD. band " and " Miss in her Teens," ^ , , . , „ but is partially mutilated, so that Humphrey Gubbin Mr. Hallam Sir Harry Gubbiu Mr. Douglass it is Uncertain whether Miss Rich- Mr. Clerimont Mr. Henry Captain Clerimont .... Mr. Byerly ardson or Miss Hallam played ^'^■^'P'^'" Mr Moms Miss Biddy. It is probable, how- Mr. Pnnce Mr. Wall '^ The Niece Miss Hallam ever, that the part was given to the Aunt Mrs. Tortilinson Fainlove Mrs. Harman former, as Miss Hallam was now J^°°y ^^^= Richardson f^^y jngtalled as the leading lady of the company. Among the parts she is known to have played dur- ing the season wercjtdiet in " Romeo and Juliet" and Mrs. Sullen in the " Beaux' Stratagem." Oddly miss in her Teens. enough she appeared as Nell and „ . , , ^ ^^ Captain Flash Mr. Henry Mr. Hallam as Jobso7l in the Captain Loveit Mr. Parker Fribble Miss Storer "Devil to Pay" for the first time Pujf Mr. Morris this season. "A young gentle- "^^ ^'=- ^"-"^ woman " made her debut as Dorinda in the " Stratagem," December 1 2th, 1769. It is of course impossible to say whether this was Miss Richardson. The name of Mrs. Henry now occurs for the first time. Miss Storer was evidently Miss Maria Storer, the younger of the Storer sisters, while this Mrs. Henry was the Miss Storer of previous years. When she took her benefit Mr. Henry announced that as Harlequin in the pantomime he would " run up a perpendicular scene twenty feet high." History is silent as to the manner in which this remarkable feat was accomplished. This, however, was not the only outre incident relating to the benefits, for in the announcement of Mrs. Douglass' it was SOUTH W ARK THEATRE, 1769-70. 275 promised that Mr. Wall would speak an epilogue, riding on an ass. Mr. Douglass sometimes indulged in advertisements that have a quaint sound to modern ears. One of these was as follows : " Mr. Douglass will be extremely obliged to any lady or gentleman who will lend him the burlesque of the ' Dragon of Wantley.' " At that time the newspapers gave little or no attention to the theatres, and consequently his advertisements are the only sources of information left to us in regard to the surroundings of the theatre in Southwark, or his foresight and energy in providing for the comfort of his patrons. "A foot-path is made," he announced in February, 1770, "across the common to the corner of Pine Street, in Fourth Street, on which those ladies who are not provided with carriages may come to the house without dirtying their feet." There is no attempt at fine writing in this announcement, but words could scarcely give a more vivid picture of the desolate and forbidding situation of the Southwark Theatre previous to the Revolution. The peculiar relations of the theatre toward the public were frequently illustrated in the newspapers at that time. Everybody connected with the play-house was apparently outside of the pale of respectable society. According to his letter in the Pennsylvania Journal " Candidus " expected to be ostracised for writing it. Mr. Douglass evidently feared that some musical persons belonging to the city would be insulted for assisting his orchestra on opera nights. "As they have no view," he said in one of his advertisements, "but to con- tribute to the entertainment of the public, they certainly claim a pro- tection from any manner of insult." After the close of the season Mr. Wall gave, on the 6th of June, a monologue entertainment made up from the writings of George Alexander Steevens, at the Lodge Room. 2;6 HISTORY OF THE AMERICAN THEATRE. He called it "A Rhapsody," but even for this entertainment he thought it necessary to assure the public that no party, sect or denomination would be aimed at. But he must have horrified the good people who petitioned the General Assembly against the theatre, in 1759, by announcing that after the entertainment the music would be at the service of such ladies and gentlemen as might choose to dance. The Southwark Theatre was now closed, not to be re-opened again for many months, although at that time Philadelphia was certainly the best theatrical city in the Colonies. CHAPTER XXVI. IN MARYLAND AND VIRGINIA. AT ANNAPOLIS IN I770 — A VISIT TO WILLIAMSBURG THE NEW AN- NAPOLIS THEATRE ACCOUNT OF THE OPENING THE PROLOGUE AND EPILOGUE PEALE's PORTRAIT OF MISS HALLAM NEW PLAYS AT THE WILLIAMSBURG THEATRE. AFTER the close of the Philadelphia season in May, 1770, the American Company went South, playing at Annapolis and Williamsburg in the winter of 1770-1 and again the following year. Unfortunately the material available for the history of these two years in Maryland and Virginia is not so full as would be desirable. Announce- ments of the intended performances were not regularly made, either in the Maryland Gazette at Annapolis or the Virginia Gazette at Wil- lianisburg. This was owing, no doubt, to the small number of inhabi- tants in the two capitals and the necessity of depending upon the planters in the vicinity of each for patronage, whom it was necessary to reach by some other means than the tardy newspapers of the period. It is likely that during these two years other places were visited besides Annapolis and Williamsburg, but in that case all record of the travels of the American Company has been hopelessly lost. The first stop was at Annapolis, where the season began early and was very short. It was announced at the outset that the company's (277) 2/8 HISTORY OF THE AMERICAN THEATRE. engagement at Virginia would prevent more than a month's stay at that time, and a careful examination of the files of the Maryland Performances— Annapolis. Gazette shows only the bills for 1770. three nights of that brief season. Aug. 27 — Suspicious Husband . . Hoadly ., . . , , . Thomas and Sally . . Bickerstaff It IS evident, however, from a com- 30-Cymbeline . ... Shakspere munication printed in that jour- Miller of Mansfield . . . Dodsley Sept. I— Love in a Village . . Bickerstaff nal on the 6th of September that Miss Hallam ^ succeeded in making a deep impression on the Mary- landers as Imogen in "Cymbeline." No modern actress, not even Miss Neilson, has been able to extort such unreserved praise from the critics as "Y. Z." bestowed on Miss Hallam. So far as the actress is concerned the communication was not so much a criticism as a rhapsody. Praise certainly could not go farther than a com- parison of the unknown Miss Hallam with the celebrated Mrs. Cibber. Never before had an American actress called forth such eulogy, and, as will be seen hereafter, this was only the beginning of the high ' Miss Hallam as Imogen. — To the Prin- ter : — As I make it a matter of conscience to do justice to merit to the utmost of my abilities in whatever walk of life I chance to discover it, I shall take the liberty of publishing through the channel of your paper the observations which the representation at the Theatre on Thursday night drew from me. I shall not at present expatiate on the merits of the whole performance, but confine myself principally to one object. The actors are indubitably entitled to a very consider- able portion of praise. But by your leave, gendemeu (to speak in the language of Ham- lei) — " Here's metal more attractive." On finding that the part of Imogen was to be played by Miss Hallam I instantly formed to myself from my predilecdon for her the most sanguine hope of entertainment. But how was I ravished on experiment ! She exceeded my utmost idea ! Such delicacy of manner ! Such classical strictness of expression ! « The music of her tongue — the vox Uquida, how melting ! Notwithstanding the injuries it re- ceived from the horrid ruggedness of the roof and the untoward construction of the whole house, methought I heard once more the warbling of Cibber in my ear. How true and thorough her knowledge of the part she personated ! Her-whole form and dimensions how happily convertible and universally adapted to the variety of her part. A friend of mine, who was present, was so deeply impressed by the bewitching grace and justness with which the actress filled the whole character, that immediately on going IN MARYLAND AND VIRGINIA.- 279 regard in which Miss Hallam was to be held by the Maryland public. In Imogen, especially, their admiration for her was unbounded. Not only did the local poets sing her praises, comparing her face with Cytherea's and her form with the perfections of Diana, but they invoked their native artist, destined to become one of America's greatest painters, Charles Wilson Peale, to paint her in the part in which they best liked to see her, an invocation to which he gave heed. The poem of " Y. Z.'s " friend was, of course, printed in the Maryland Gazette at the same time with the critique. While it does not show a high order of poetic merit it is as gushing as anything in these latter days by unfledged singers to actresses of imagined charms and imaginary merits. But even fulsome praise is a sign that praise is not entirely undeserved, and it To Miss Hallam. home he threw out, warm from the heart as well as brain, the verses I enclose. The house, however, was thin for want of sufficient acquaintance with the general as well as particular merits of the performers. The characteristical propriety of Mrs. Doug- lass cannot but be too striking to pass un- noticed. The fine genius of that young crea- ture, Miss Storer, unquestionably affords the most pleasing prospect of an accomplished actress. The discerning part of an audience must cheerfiilly pay the tribute of applause due to the solid sense which is conspicuous in Mrs. Harman, as well as to her perspicuity and strength of memory. The sums lavished on a late set whose merits were not of the transcendent kind, in whatever point of light they are viewed, are still fresh in our mem- ories. And should these their successors, Hail, wondrous maid ! I grateful hail Thy strange dramatic power; To thee I owe that Shakspere's tale Has charmed my ears once more. 'Twas his to paint, with touch refined, Beyond the rules of art. Each varying passion of the mind. And probe the human heart. whose deportment, decency and unremitting study to please have ever been confessedly marked, meet with discountenance, me- thinks such a conduct would not reflect the highest honor either on our taste ot spirit. The merit of Mr. Douglass' company is notoriously in the opinion of every man of sense in America, whose opportunities give him a title to judge — take them all in all — superior to that of any company in England, except those of the metropolis. The dresses are remarkably elegant ; the dispatch of the business of the theatre uncommonly quick; and the stillness and good order preserved behind the scenes are proofs of the greatest attention and respect paid to the audience. Y. z. 28o HISTORY OF THE AMERICAN THEATRE. 'Tis thine, with kindred reach of thought And magic powers to please, What he, sweet child of Fancy, wrought To act with grace and ease. Great Bard of Nature ! Hard the part Thy forceful scenes to play ; And few Uke Hallam have the art To catch thy glowing ray. Say ! Does she plead as though she felt The tender tale of woe ? Our eyes, albeit unused to melt, With tears of pity flow. Or does she charm the jocund hours With strokes of comic wit ? See, laughter holds his sides, and pours Full los round the pit. She speaks ! —What elocution flows ! Ah ! softer far her strains Than fleeces of descending snows, Or gentlest vernal rains. Do solemn measures slowly move ? Her looks inform the strings : Do Lydian airs invite to love ? We feel it as she sings. Around her, see the Graces play. See Venus' wanton doves ; And in her eye's pellucid ray, See little laughing loves. Ye God's ! 'Tis Cytherea's face ; 'Tis Dian's faultless form ; But hers alone the nameless grace That every heart can charm. When laid along thy grassy tomb What pencil, say, can paint Th' unlustrous but expressive gloom Of thee, fair sleeping saint. Or thine, or none, self-tutored Peale ! Oh ! then, indulgent hear Thy bard's request, and let him kneel A weeping hermit there ! may be assumed with safety that Miss Hallam had developed into an actress of more than usual ability. As an evidence that her Annapolis critic, who first sounded her praises, was a man of sound dramatic instinct his early appre- ciation of Miss Storer may be cited. This young girl, after the Revolution, completely fulfilled the prediction^ that were made by " Y. Z." concerning her future. Besides, his judgment of Miss Hallam is corroborated by the course pursued by the "self-tutored Peale." Charles Wilson Peale was born at Chestertown, near Annapolis. Early in life he was apprenticed to a saddler, and he subsequently carried on that busi- ness. Mr. Peale was "a jack-of- all-trades," being, besides, a sil- versmith, watchmaker and carver, sportsman, naturalist and pre- server of animals. As an inven- tor he perfected some important improvements, and he was the first dentist in America who made sets of artificial teeth. As a IN MARYLAND AND VIRGINIA. 281 portrait painter he showed remarkable proficiency, even before he received any instruction in the art. In the winter of 1770-71 Mr. Peale studied under Copley, at Boston, and it is likely The grand design in Grecian schools was taught; To Mr. Peale on his Painting Miss Hallam in the character of Fedile in " Cymbeline." that his picture of Miss Hal- lam as Imogen was painted in the summer and autumn of the latter year, after his return from New England. This assumption is based on the fact that the lines in which his skill and this paint- ing were so highly praised were printed in the Maryland Gazette, November 7th, 1771. There is no evidence that the picture was ever exhibited at Peak's Museum, in Philadel- phia, and all trace of it has been lost. , After the close of the short season at Annapolis the American Company went to Virginia, but there is no record of the tour nor even of the Venetian colors gave the pictures thought. In thee, oh Peale, both excellences join ; Venetian colors and the Greek design. Thy style has matched what e'en the ancients knew, Grand the design and as the coloring true. Pursue the path thou hast so well begun, And second be to nature's eldest son. Shakspere's immortal scenes our wonder raise. And next to him thou claim'st our highest praise. When Hallam as Fedele comes distressed, Tears fill each eye and passion heaves each breast; View with uplifted eyes the charming maid, Prepared to enter though she seems afraid. And see, to calm her fears and soothe her care, Bellarius and the royal boys appear. Thy pencil has so well the scene conveyed, Thought seems but an unnecessary aid. How pleased we view the visionary scene. The friendly cave and rock and mountain green; Nature and art are here at once combined, And all Elysium to one view confined. Another scene still claims thy pencil's aid, — Storer in Ariel — Enchanting maid ! Whose easy nature every grace affords. And charms without the empty pomp of words; The list'ning ear on every word intent. Catches the sound and guesses what is meant. " Her name, the boast of every tuneful choir. Shall tremble on the strings of every lyre." Accept, oh Peale, these friendly artless lays. The tribute that a fond admirer pays ; Unrivaled, as unmatched, be still thy fame. And Shakspere's scenes still raise thy envy'd name. engagement at Williamsburg during the winter of 1770-71 beyond a reference in the Virginia Gazette to the production of the "Tender Husband" and the "Honest Yorkshireman," on the 22d 282 HISTORY OF THE AMERICAN THEATRE. of April, 1 77 1. It is not certain, however, that this production was by the American Company. On the contrary, the probability is that Mr. Douglass paid a brief visit to Jamaica early in 1771, while Mr. Henry went to England for recruits. This supposition is strengthened by an announcement in the Maryland Gazette, on the 19th of Sep- tember, 1771, that Henry arrived at Norfolk on the nth, a passenger on the brigantine "Jenny," Isaac Mitchenson, master, from White- haven. At this time the American Company was again at Annapolis, while a company of comedians without any distinctive name was playing at Williamsburg. The performance of the "West Indian" and the " Musical Lady," on the 23d of October, was the opening night, the season lasting two months. So far as is known these are the first performances of the "West Indian," and of one of Ben Jon- WiLLiAMSBURG PERFORMANCES. son's plays lu AmcHca, but it is 1771. probable they had previously been Oct. 23 — West Indian .... Cumberland ^iitw i_ t. Musical Lady Cobnan ^^^" ^* Williamsburg, because no 26— West Indian. Special mention of them was Musical Lady. Nov. 12— King Lear .... Shakspere ^ade in the advertisements, while 23-Every Man in his Humor . jonson ., j^j^^ Lear " was announced as , Damon and PhiUida . . Cibber Dec. 21 — Jealous Wife Colman " never performed in Virginia." Padlock Bickerstaff When the American Company returned to Annapolis in the autumn of 1771 it was to dedicate a new temple to the drama. This was the theatre that Dunlap was led into accepting, on the authority of a writer in the Maryland Gazette, in 1828, as "the earliest temple reared in our country to the dramatic muse," and as being in existence in 1752. Contemporary authority in regard to the erection of the Annapolis theatre thus erroneously described is abundant. The clearest account of the building of the IN MARYLAND AND VIRGINIA. 283 Annapolis theatre of 1771 is contained in " Letters from America,"^ 1769-77, by William Eddis (London, 1792), who was surveyor of the customs at Annapolis. There is internal evidence in this letter that Mr. Eddis was the critic who so favorably reviewed the performance of Miss Hallam as Imogen, already quoted, but his letter is chiefly valuable in showing how the funds were obtained for the erection of the new theatre. Although Mr. Eddis gives the credit of initiating the plan to the incumbent of the Province House there is no reason to doiPbt that it was suggested by Mr. Douglass. The manager had previously resorted to the same policy in New York to relieve himself from embarrassments incurred by the erection of the John Street Theatre. This is apparent from his appeal to the subscribers, dated nearly a fortnight before Mr. Eddis' letter was written. As has happened with subscriptions of every kind, in every age, some of Mr. Douglass' subscribers who were quick to sign were slow to pay, and he was consequently compelled to resort to a card in the Maryland Gazette to let them know that they were expected 1 Eddis' Letter. — Annapolis, June i8th, to the great interests of religion and virtue 1 77 1. — *** When I bade farewell to Eng- patronizes the American Company; and as land I little expected that my passion for the their present place of exhibition is on a smaH drama could have been gratified in any toler- scale and inconveniently situated, a subscrip- able degree at a distance so remote from the tion by his example has been rapidly com- great mart of genius ; and I brought with me pleted to erect a new theatre on a commodi- strong prepossessions in behalf of favorite ous if not elegant plan. The manager is to performers whose merits were fully established deliver tickets for two seasons for the amount by the universal sanction of intelligent judges. of the respective subscriptions, and it is imag- My pleasure and my surprise were therefore ined that the money which will be received excited in proportion, on finding performers at the doors from non-subscribers will enable in this country equal at least to those who him to conduct the business without difficulty, sustain the best of the first characters in your and when the limited number of perform- most celebrated provincial theatres. Our ances is completed the entire property is to be Governor, from a strong conviction that the vested in him. The building is already in a stage, under proper reguladons, may be ren- state of forwardness, and the day of opening dered of general udlity and made subservient is anxiously expected. 284 HISTORY OF THE AMERICAN THEATRE. to keep their promises.^ This was apparently the first time that scenery was expressly painted in London for America,- the regular scene painter of the American Company being Jacob Snyder, whom Mr. Douglass found at Providence in 1762. Snyder was esteemed a fair artist Charles Durang wrote that he remembered an excellent street-scene of Snyder's painting in the old Southwark Theatre, as well as other stock scenery that remained in it till the house was burnt, in 1821. The set of scenes by Doll, for Annapolis, was an unusual luxury. Another set painted by Richards, of London, was procured for the Annapolis theatre the following year. The new theatre was built on ground leased from St. Anne's Parish, in West Street, on the site now occupied by Adams' Express Office. "The structure," Eddis wrote, in November, 1771, "is not inelegant, but, in my opinion, on too narrow a scale for its length ; the boxes are commodious and neatly decorated ; the pit and gallery are calculated to hold a number of people without incommoding each other; the stage is well adapted for dramatic and pantomimical exhibi- tions; and several of the scenes reflect great credit on the painter." • 1 Mr. Douglass' Appeal. — Mr. Doug- he most gratefully acknowledges, -will, he lass begs leave to acquaint the Gentlemen flatters himself, be convinced by the efforts who have subscribed to the new Theatre he makes to entertain them, that he has a in Annapohs that all the materials for the proper sense of their goodness, and an un- building are now purchased and work- remitting desire to make every return in his men engaged to complete it by the first of power for the obligations he is under to them. September. He assures them that nothing He would esteem it a very great favor if will be wanting on his part nor on the parts the Gentlemen who have neglected to pay of the gentlemen who have undertaken to their subscription money will be good enough superintend the work, to render it as com- to send it as soon as possible, as the sum col- modious and elegant as any theatre in lected is by no means sufficient to answer the America. He has sent to London to engage necessary demands that will very soon be some performers, and expects them and a new made. set of scenes painted by Mr. Doll in a few Annapolis, June 6th, 1 77 1. weeks. In short, the Public, whose favors IN MARYLAND AND VIRGINIA. 285 Church and Theatre. The building was of brick, with seating capacity for about six hundred persons. The new theatre was certainly in marked contrast with the old church. It is not surprising, therefore, to find in the columns of the Maryland Gazette a rhymed address from the old church to the inhabitants of Maryland's an- cient capital complaining that. Here in Annapolis alone God has the meanest house in town, and asking, at least, an equal share with the theatre in the in- dulgence and esteem of the people. Of sunshine oft a casual ray Ereaks in upon a cloudy day O'erwhelmed with woe; methinks I see A ray of hope thus dart on me. Close at my door, on my own land, Placed, it seems, by your command, I've seen, I own, with some surprise A novel structure sudden rise. There let the stranger stay, for me, If virtue's friend, indeed, she be; I would not if I could restrain A moral stage ; yet would I fain Of your indulgence and esteem At least an equal portion claim. And decency, without my prayers. This address, both in its temper Will surely whisper in your ears,— " To pleasure if such care you show and logic, is entirely different from everything relating to the theatre printed in America previous to the Revolution. It is a singular fact that a A mite to duty, pray, bestow." Say, does my rival boast the art One solid comfort to impart. Or heal, like me, the broken heart ? Does she, like me, pour forth the strain Of peace on earth, good will to men ? Merit she has ; but, let me say. The highest merit of a play, claim for Annapolis, that it had ^ho' Shakspere wrote it, but to name With mine were want of sense or shame, the first theatre on this continent built expressly for dramatic uses, should ever have been made in the face of such ample testimony to the contrary, or being made, should have been allowed. The only authority for it is the assertion of a single blunderer — the writer in the Maryland Gazette in 1828. His mistake, being accepted by Dunlap, has been repeated ever since without inquiry, even by the Annapolis historians, Ridgely and Riley, not- withstanding its contradiction stared them in the face in the Maryland 286 HISTORY OF THE AMERICAN THEATRE. State Library. While Dunlap stands pre-eminent as a historical blunderer, Mr. Benson J. Lossing, who has been making mistakes in American history for fully half a century, is almost his equal. Los- sing, in a note in the first number of the American Historical Record, of which he was the editor, ntot only repeats Dunlap's mistake, but in describing a sketch of Annapolis in water color by Chevalier Colbert who came to this country with the Count de Volney, in 179S, and returned with him in 1798, adds one of his own. "The most promi- nent building delineated," he says in describing the sketch, "is the old State House, yet standing. On its left is seen the tower of the old Episcopal church, and on its right a three-story building, the theatre in which Hallam performed, built on ground leased from the church." Not only had the State House in Colbert's sketch been long replaced by the present structure, but the three-story building " on its right " was the college, not the theatre. The theatre, if it is included in the sketch, must be the insignificant looking structure on the high ground near the church. According to the Maryland Gazette "the new Theatre in West Street " was opened on the 9th of September with the " Roman Father " and the " Mayor of Garratt," " to a numerous and brilliant audience, who expressed the greatest satisfaction not only at the per- formance but with the house, which is thought to be as elegant and commodious for its size as any theatre in America." An occasional Prologue. prologue was spoken To call forth genius, bid fair science bloom, previous to the perform- Whilom enveloped in Cimmerian gloom : ■u ■\it t\ i Tu ■ J u ■ • u „ 1 ,• ance by Mr. Douglass, The mmd, by ignorance mthralled, to free ' ° ' From the hard bonds of rude barbarity; and at itS cloSC Mrs. For this, at first was formed, — for this the stage Still claims th' indulgence of a polished age. Henry Spoke an OCCa- IN MARYLAND AND VIRGINIA. 2B7 sional epilogue. In the prologue such local al- lusions as that to the rising stadthouse show that the poet was either an American by birth or long association, while the pedantic allusions to Greece and Rome, to Thespis and ^schylus, were characteristic of Colonial scholarship. The reverence for Shaks- pere, too, was then, as now, more thoroughly American than English. This prologue seems to indicate that the house was not fully completed on the opening night Indeed the epilogue as well as the prologue al- ludes to the unfinished state of the theatre, showing that the players had taken possession of the house before the carpenters departed. In ancient Greece, in distant era, long From some rude cart, his dramas Tliespis sung; And Athens saw revolve full many an age Ere buskins, scenes and all the pomp 0' the stage Grave ^schylus taught ; and with well-earned applause Fast fixed the system of dramatic laws. Long, too, had Rome, for arms and arts renowned. Extended far her empire's narrow bound. Ere she beheld her theatres arise With towers and columns reaching to the skies. Thus has true taste, like the revolving sun. From East to West in even tenor run. Now on these shores the goddess stands confest And reigns supreme in every generous breast. Nobly exerted by the thirst for fame, To emulate the Greek and Roman name. View yonder stadthouse, rising from the ground. Whilst private buildings multiply around ; Sacred to Shakspere ! this your structure, see. For which each actor thanks you thus, — ^by me. Here solemn tragedy, imperial queen. In awfiil and majestic state is seen ; An unsheathed dagger in her zone she wears. And in her hand her regal sceptre bears ; 'Tis hers each manly feeling of the heart, Each soft sensation, to awake by art ; To teach the lab'ring breast to heave the sigh When lovers suffer, or when heroes die. Here, too, behold with soft bewitching smiles, Gay Comedy the yielding heart beguiles. 'Tis hers with gentle force and happy powers To wing with joy your gayer, lighter hours; Oh, may she often here these arts di&se, And you, receiving from a sportive Muse Pleasing instruction, mixed with soft delight, Retire improved on each successive night. So shall ye chase that demon. Spleen, away And all shall catch good humor at a play. To you, our friends, raised by whose bounteous hands, This rude and yet unpohshed structure stands. Great is the debt of gratitude we owe, — Great are the bounties you may yet bestow. This debt to pay shall be our constant aim. Whilst fiiture favors shall increase your claim ; The heart that triily feels a favor done. Hastes not impatient to repay it soon. 288 HISTORY OF THE AMERICAN THEATRE. Epilogue. Be ours the pleasing task each night to learn This haste WaS prob- The happy art your plaudits how to earn ; Be 't yours with candor — ^yes — it rests with you, ably QUe tO a CleSire tO Not to withhold your praise.-should praise be due. j^^^^ ^j^^ ^^^^ j^ ^^^^^ ing order before the week of the races — a gala-week at Annapolis — which began on the Monday following the opening of the theatre. The epilogue was different in measure and in theme, but it was not so smooth in treatment as the prologue. The charm of the epi- logue is the avowal of Mrs. Henry (Ann Storer) that she was born an actress. If, as has been assumed, the Storer sis- ters were the daughters of the once famous Cov- ent Garden vocalists, each of these actresses might with truth have asserted, " i' faith, I was born one." Although this Miss Storer was recognized as Mrs. Henry at the time this epilogue was written, as Mrs. Hogg she was destined to be the mother of a family of sons, some of whom lived down to the present decade, avoiding. Well, now that 'tis over — the ice fairly broken, The epilogue must be, by me, they say, spoken ; At a loss, I must own, I am for a beginning. Which divines say the case is seldom in sinning ; And a sinner I am, for no woman e'er breathing Turned actress but straight she was reckon'd a heathen. And how then, in conscience, can I, a forlorn one Be thought any other, for i' faith, I was born one. 'Twas but lately in France (the politest of nations Where actresses all have the best educations) Allowed that a Christian funeral's befitting An actor, this great stage of life on his quitting ; To our sins (if they're such) we hope you will be kinder And to the fair actress, if really you find her Deserving of favor, give due commendation, (The heaven she aspires to) instead of damnation. But to come to the point ; suppose me just entered. And excuse the digression on which I have ventured; Yet before I say more — let me look on your faces — And learn from your smiles, ye wits, critics and graces, That you of your bounty have not yet repented, And — with our endeavors to please you're contented. For the unfinished state of ou house make allowance. Seeing we, of the time we've had, have not been truants. To correct what is wrong, to add what is deficient In the house ; and ourselves, if we can, more proficient To render, in this our theatrical calling. Is a determination united we're all in. Of our obligations I know 'tis expected. That I should say something — I have been directed To t^U you — as how — it shall be our endeavor And ambition to merit your favor forever — IN MARYLAND AND VIRGINIA. 289 as far as was possible, ^'•i' ^oxt to that purpose-^But lest I should tire ye Excuse me till some other night I desire ye. all mention of their the- Por epilogue, so much,— yet ere I dismiss it, atrical descent. ^°."''^ '""'^ ""^ ^""^ P'""''' ^^ ^ ^^ °°' =°l'"'' Fair Ladies and Gentlemen, from you some token Considering the in- That you're not displeased with what I have spoken On behalf of us all, — Your applause must declare it, terest that attaches to xhen grant it to me— and the others shall share it. the opening of a new theatre, built as the Annapolis theatre was, it is possible to obtain only a very unsatisfactory account of the season Annapolis Performances. that followed from the columns of the Maryland Gazette. Only 1771- Sept. 9— Roman Father . . . Whitehead three of the performances were Mayor of Garratt .... Foote t i- i • ^ i . • i . 20-MaidoftheMill. . .Bickerstaff advertised m that journal, and Old Maid Murphy besides these three bills the name Oct. 5 — Jealous Wife Colmau Midas O'Hara of only one play presented during 7 — Cymbeline Shakspere ., , , ^ ' ^ the season has come down to us. This was Shakspere's " Cymbeline," and it is only mentioned because another of the local poets of Annapolis rushed into print with some more verse in praise of Miss ^^ ^^^^ ^^^.^ Hallam as Imogen. These 0° seeing her last Monday night in the character of Imogen. stanzas were signed " Pala- Say, Hallam, to thy wondrous art dour," and as they were dated what tribute shall I pay? Tu J /-v i i_ ii -i Say, wilt thou from a feeling heart Thursday, October loth, it -^ .„ ,,,. ,. , ° ^ ' Accept this votive lay ? follows that the performance a votive lay to thee belongs, of " Cymbeline " must have For many a pleasing tear, That fell for Imogen's foul wrongs occurred on the 7th. This On fair Fedele's bier. poem, although it has no Fair, fair Fedele ! how thy charms The huntsmen's pity moved ! merit in itself, has some value. Artless as theirs, such soft alarms 1 . v ■ 1 • . , ^ My melting bosom proved, both m showmg the esteem In nature's breast, superior joy in which Miss Hallam con- The power of beauty wakes; 19 f 290 HISTORY OF THE AMERICAN THEATRE. And the wild motion of her eye tinued to be held, and in fix- An easier prisoner takes. ing the date of one of the From earliest youth, with raptures oft I've turned great Shakspere's page ; most important productions Pleased when he's gay, and soothed when soft, Or kindled at his rage. of the season at AnnapoHs. Yet not till now, till taught by thee. It will be remembered, be- Conceived I half his power ! • 1 1 1 1 • I read, admiring now I see, ^ides, that the Imes addressed I only not adore. ^^ pg^le on his portrait of the E'en now amid the laurel choir Of blissful bards on high, actress were dated just one Whom list'ni,^g deities admire, month later. It is not im- The audience of the sky ! Methinks I see his smiling shade, probable that Peale's lost And hear him thus proclaim, picture was on exhibition at " In Western worlds to this fair maid, I trust my spreading fame ! Annapolis at the time. " Long have my scenes each British heart Onlv One cast of the An- With warmest transports filled ; Now equal praise, by Hallam's art, napolis SeaSOn of I77I has America shall yield." , . ,1 . r ,1 come down to us, that of the " Roman Father " on the opening night. The only new name is that of Mr. Goodman, who probably made his debut in Philadelphia the previous season. Goodman was not only more than a substitute for Mr. Allyn, but, with the exception of Mr. Henry, he was the most capable recruit added to the American Company before the Revolu- tion. He was a Philadelphian by Rom an Fat her. residence and education and, prob- l^°™an Father Mr. Hallam Tullus Hostilius Mr. Douglass ably, by birth. At the time he Publius Mr. Goodman , ,, , , , ,, , Valerius Mr. Wall became "stage-struck he was a p^^^ citizen Mr. Morris student in the office of Mr. Ross, Second Citizen Mr.WooUs Third Citizen Mr. Parker a lawyer. He accompanied the Fourth Citizen Mr. Roberts .1 o ii i. Soldier Mr. Tomlinson company on the bouthern tour ,. , . », tt '^ •' Valeria Mrs. Henry of 177 1-2, and returned with it Horatia Miss Hallam IN MARYLAND AND VIRGINIA. 291 to Philadelphia in October, 1772, where, so far as the bills are a guide, he made his first appearance for the season of 1772-3 on the nth of November as Major Sturgeon in the " Mayor of Gar- ratt." From this it may be inferred that he played the same part in the afterpiece on the opening night at Annapolis. At the close of the Annapolis season, about the beginning of February, 1772, the American Company went to Williamsburg, as appears from a preliminary notice printed in the Virginia Gazette, January 23d, 1772. It is impos- sible to give anything like a full list of the company's repertoire Preliminary Notice. *^* The American Company of Comedians intend for this place by the meeting of the General Assembly, and to perform till the end of the April Court. They then proceed to the Northward by engagement, where it is prob- able they will continue some years. this season, but that Mr. Douglass' forces arrived on time and began a vigorous campaign is apparent from an announcement of the intended production of new plays,^ which the Gazette afforded its readers simultaneously with its account of the meeting of General Assembly. When "A Word to the Wise" was produced the Virginia Gazette ' 1 New Plays. — ^We hear that a new com- edy, called " The Brothers," written by Mr. Cumberland, author of the much approved "West Indian," is now in rehearsal and will soon make its appearance on our theatre; ^ A Word to the Wise. — Williams- burg, April 2d. — Mr. Kelly's new comedy of "A Word to the Wise" was performed at our theatre last Thursday for the first time, and repeated on Tuesday to a very crowded and splendid audience. It was re- ceived both nights with the warmest marks of approbation; the sentiments with which this excellent piece is replete were greatly and deservedly applauded, and the ^.udience, while they did justice to the merit of the author, did no less honor to their own refined taste. If also that " False Delicacy " and a ." Word to the Wise," the productions of the ingeni- ous Mr. Hugh Kelly, whose spirited letter to the Lord Mayor (Beckford) has been read by most people, are in great forwardness. the comic writers would pursue Mr. Kelly's plan and present us only with moral plays the stage would become (what it ought to be) a school of politeness and virtue. Truth, in- deed, obhges us to confess that for several years past most of the new plays that have come under our observation have had a moral tendency, but there is not enough of them to supply the theatre with a variety of exhibitions sufficient to eng^e the attention of the public, and the most desirable enjoyment by too fre- quent repetition becomes insipid. 292 HISTORY OF THE AMERICAN THEATRE. criticised the comedy, not as was customary at that time, under the guise of correspondence, but as the opinion of the paper itself This was not only one of the best of Mr. Kelly's comedies, but its success at Williamsburg is especially noteworthy, because it had failed at Drury Lane only two years before. The cause of the Drury Lane failure was purely political. Kelly, after the success of his first comedy, " False Delicacy," went into journalism and espoused the ministerial cause in his newspaper with great warmth. This made him many powerful enemies, who went deliberately to work to damn his next play, regardless of its merits. The plot succeeded and the piece was played only twice. In Virginia the comedy had a better fortune. As the virulence of English faction did False Delicacy. not reach the Colonies it was ^ „ , ^, "TT , , , judged solely upon its merits and On Tuesday Next, being the I4tli Instant, -> => j r A new Comedy, called approved. So unanimous was this FALSE DELICACY. By the Author of A Word to the Wise. approval that when " False Deh- J3@- It may not be improper to give notice cacy " waS announced for produc- that the Theatre in Williamsburg will be closed at the end of the April Court, the Ameri- tion in the Gazette, On the 9th can Company's engagements calhng them to ^^ April— One of the few formal the IMorthward, from whence, it is probable, they will not return for several years. advertisements of the SeaSOn — it was thought worth while to declare that it was by the author of " A Word to the Wise." Even at that day, it will be observed, there was a newspaper demand for moral plays, and the desire for novelty combined with excellence was stronger in Virginia than it is now. On the 22d of April the bill comprised the " Provoked Hus- band " and " Thomas and Sally," with Mrs. Stamper for the first time as Dorcas in the farce, and on the 28th "The Way to Keep Him" and the "Oracle" were the pieces. The last announcement of the season IN MARYLAND AND VIRGINIA. 293 was dated May 7th. Whether either of Mr. Cumberland's comedies were actually produced is not proved, but the probabilities are that both the " Brothers " and the Last Announcement. " Fashionable Lover " were seen -,-^ ■,,. ,, . , . . . ,, , B^° We are authorized to inform the pub- at Williamsburg in 1772, because ''<= "^^' '^^ ^^'^ comedy of the " Fashionable Lover," now acting at the Theatres Royal, Mr. Douglass never made prom- Drury Lane and Edinburgh with the utmost . , . 1 r- -1 1 j_ 1 Ti applause, will shortly appear on our theatre. ises that he failed to keep. It may I , ■ .i, ■ j , r.u a ■ r- '^ •' buchis the mdustry of the American Company be assumed, therefore, that the that although the piece has not been above ten days in the country it has been rehearsed more " Fashionable Lover " closed the than once and is already, we hear, fit for n. -L- 1. ii- representation. season, after which the company '^ made its way Northward, stopping at Annapolis in September. Either during or at the close of this Southern tour the connec- tion of Mr. and Mrs. Tomlinson with the American Company came to HI T-^ „, ,„™.. T>.„ „ an end. The Tomlinsons had been Mrs. Tomlinson's Parts. under Mr. Douglass' management Plays. ,„ f Mr. siammekin since 1758, a period of nearly fif- Beggars' Opera JMrs.Coaxer Busybody Mrs. Scentweil teen years. It is probable their Clandestine Marri^e Trusty ^^^^ appearances in this Country Committee Mrs. Chat Constant Couple Lady Darling were made in New York at the Cymbehne Helen , ,-,ri /- ^ Lear Aranthe theatre on Cruger s Wharf. On Macbeth Witch ^j^g opening night of the theatre Mourning Bride Attendant _,,■,, f Myrtilla on Society Hill, near Philadelphia, Provoked Husband ••• | Mrs. Motherly ^ ^ Recruiting Officer Lucy on the 25th of June, I7S9, Mr. Suspicious Husband Lucetta jomlinson played Cw«^ in " Tam- Tender Husband Aunt ^ •' Theodosius {Carina ^'^^"^•" ^rs. Tomlinson was first seen at that house as Myrtilla in Farces. •' Citizen Corunna the"Provoked Husband," on the Devil to Pay Lucy Miller of Mansfield Kate 6th of July. The lady seldom 294 HISTORY OF THE AMERICAN THEATRE. appeared, her list of parts comprising only twenty roles in fifteen Mr. Tomlinson's Parts. years, but Mr. Tomlinson was sel- Pi'^y^- dom out of the bill. That he was A Bold Stroke for a Wife Sacbut Alexander the Great Philip not an actor of much force is appa- ^" '■°' ^^" • ^''^^;°° rent in the fact that as was his rela- ■D > c. » _ f Mr. Sullen Beaux' Stratagem i T! f . .... (.coniiace ^jyg rank at the beginning so it ■D 1 (-> . r Peachum eggais p ra i^ Y^oSa'i was at the end of his career. But Cato Lucius Clandestine Marriage . . . Sergeant Flower that he waS USeful and trustworthy ^°"^^"^\ ^Obadiah is equally apparent in the fact that Conscious Lovers Humphrey ^ i. ± Constant Couple Vizard he held a position that was at least Country Lasses • • • • | gir John English respectable for SO many years. Cymbeline Caius Lucius tt i • i i t^ Distressed Mother Phcenix ^^ ^egan With such parts as Kent Don Quixote in England ... Sir Thomas j^ " Lear," Antouio in the "Merch- Douglas Officer Drummer .Butler ant of Venice," ^a'^/i*^ in the " Fair Earl of Essex Sir Walter Blunt t, •■ ^ >, ?■ 7 n/r j ■ l\. itn Fair Penitent Sciolto ^^'^^^^'^t, /okn Moodj m ths "-PrO- Gamester I J''™^ voked Husband " and Obadiah in \ Bates George Barnwell .Blunt the " Committee," and epded with „ , Kino- Philip in "Alexander the Great," Hamlet < t ^ \ Lucianus . [ Gravedigger Pembroke in " King John and f^"'^^^ '''°^=f" i?^« P^^r^ in the" Wonder." Allyn Inconstant Petit •' Jealous Wife John -^as in his Way at the outset. King John Pembroke _ , Lear Kent Henry at a later period, and finally Love for Love Sir Sampson Legend Qoodman, toward the close of his Love Makes a Man Chanus Macbeth Seyton career. In the activity of the last Merchant of Venice Antonio Miser James two years of the company's exist- Mouming Bride Hali ence he took no part, and SO missed Orphan Chaplain Orphan of China \^^^^ many roles that would have been Othello Ludovico his in the new productions of that IN MARYLAND AND VIRGINIA. 295 Prince of Parthia Vardanes period, beginning with the "Way- Provoked Husband John Moody Recruiting Officer Recruit to Keep Him " and ending with J^'^l^""!! {Bucltngham "She Stoops to Conquer." No Roman Father Soldier bij^ notice was taken of his re- f Capulet Romeo and Juliet \ Montague tirement, and SO it is impossible I Paris School for Lovers Steward to say whether it was his own act Suspicious Husband Tester . /- i • Tamerlane Omar o"^ '" consequence of his death. Theodosius | ^t^°„5°^ The latter supposition is the more Venice Preserved Duke probable, as it is known that Mrs. Wonder Don Pedro p^^i-g; Tomlinson was living in New York Apprentice Simon during the British occupation, Catherine and Petruchio Baptisto Citizen Sir Jasper where she played with the military Cock-lane Ghost . . . Counsellor Prosequi ,_- . , i .1 t i Contrivances Robin Thespians who opened the John Devil to Pay Jobson Street Theatre in 1777, and was ( Doctor Harlequin Collector \ Porter accorded a benefit at the close of (.Miller Harlequin Restored Pierot the season of 1 777-78. There was High Life Below Stairs .... {xom''°'' a Miss Tomlinson, but nothing is Honest Yorkshireman Slango , - , , j ^i. r i ^t. i. , „, known of her beyond the fact that Lethe [^^°'' ^ , ,_ .. ^ . I T".t! she made her debut as one of An- Love a la Mode . . Sir Theodore Coodchud Lying Valet Justice Suttle tony's children in "All for Love." Mayor of Garratt Sir Jacob Jollop Miss in her Teens Captain Loveit Of the actors on the American Mock Doctor { Ha^''"^ Stage in 1758 only Hallam, Doug- Neck or Nothing Mr. Stockwell lass and Morris were with the Polly Honeycomb Ledger Virgin Unmasked Quaver company when Tomlinson left it. Witches Pierot > . 1. i_ • • r -- j m the begmmng of 1772, and of these only Hallam was earlier as a pioneer of the drama in America. Tomlinson's parts comprise his biography. CHAPTER XXVII. SOUTHWARK THEATRE, 1772-3. ANOTHER BRILLIANT SEASON IN PHILADELPHIA MORE NEW PIECES PRODUCED PRESENTATION OF THE SECOND AMERICAN PLAY, THE " CONQUEST OF CANADA " MRS. MORRIS, AN OLD-TIME FAVORITE, MAKES HER DEBUT CHANGES IN THE AMERICAN COMPANY. ON its way to the Northward from Williamsburg, as noted in the preceding chapter, the American Company again stopped at Annapolis, where " A Word to the Wise " was presented on the first of September. A new set of scenes, painted by Mr. Richards, of London, was provided for the comedy. After this, Dunlap informs us, with his usual recklessness of statement, the " routine of playing and traveling from the North American Colonies to the West Indies and back again occupied the Thespians, without leaving any memor- able trace until the year 1773, when, on the 14th of April, Douglass opened the theatre in New York, giving notice that it would be impossible to keep it open ' longer than the end of May.' " So far were the Thespians from making a voyage to and from the West Indies at that time, that after a brief season at Annapolis they returned to Philadelphia, where they reopened the Southwark Theatre on the 28th of October, 1772, and kept it open until the last day of March, 1773, (296) SOUTHWARK THEATRE, 1772-3. 297 This was the fourth prolonged season of the American Com- pany at the Southwark Theatre. It will be seen from the list of performances, which, full as it is. List of Performances. ^ 1772. unfortunately is not complete, that Oct. 28— Word to the Wise .... Kelly Padlock Bickerstaff thirty-two full pieces and twenty- ^ov. 2-Roman Father . . . .Whitehead two farces, some of them new, ^'^ O'^^" 4 — Love in a Village . . Bickerstaff were produced in Philadelphia at Old Maid Murphy . . 9 — West Indian .... Cumberland the time Dunlap says the com- Miss in her Teens . . . .Garrick pany was not " leaving any mem- " Mourning Bride . . . Congreve Mayor of Garratt Foote orable trace." Among the pieces 16— Hamlet Shakspere . Miller of Mansfield . . . Dodsley played for the first time before a is-Shipwreck Cumberland Philadelphia audience were "A Lethe Garrick 23 — Way to Keep Him . . . Murphy Word to the Wise," by Kelly, Honest Yorkshireman . . Carey , , ,, ,,. T 1- >> 1 .1 25 — Maid of the Mill . . .Bickerstaff" and the "West Indian and the Lying Valet Garrick " Fashionable Lover," both by 30— Fashionable Lover . Cumberland Guardian Garrick Cumberland, and all previously Dec. 2— George Bamvirell Lillo , ,.-,..... , Love a la Mode .... Macklin produced in Virgmia; another 7_cymbeline Shakspere comedy by Cumberland, played Upholsterer Murphy 9 — ^West Indian. at Williamsburg as the "Brothers" Devil to Pay Coffey ... ,, ,, ,,(-.!■ 14 — Lionel and Clarissa . . Bickerstaff but here presented as the Ship- ^.^^ ^ife Below Stairs . Townley wreck ; " Bickerstaff's " Lionel 16— Romeo and Juliet . . . Shakspere Old Maid, and Clarissa," Foote's "English- 21— Romeo and Juliet. . _ . „ r^ . , , ,,,-. „ Old Maid. man in Pans, Garrick s "Cymon, „ . . „ k ^ u ji , ' ' ' 23 — Suspicious Husband . . . Hoadly Arthur Murphy's " Way to Keep Thomas and Sally . . Bickerstaff 28 — Richard III Shakspere Him," previously played in Vir- Musical Lady Colman , , ,. „ i r /- ^o — School for Lovers . . Whitehead ginia, and the Conquest 01 Can- -^ Padlock ada," an American drama never ■773- Jan. 4 — Lionel and Llanssa. before acted. None of the farces Love a la Mode. 298 HISTORY OF THE AMERICAN THEATRE. Jan. 6— Tamerlane Rowe played during the season were Catherine and Petruchio Shakspere 1 1— King Henry IV . . . Shakspere new to the American stage, ex- 13-LoTifor^lXe .... Congreve ^^P* °"^' J^^^P^ Reed's "Register High Life Below Stairs. Office." This list of productions, 18 — Conscious Lovers .... Steele Love a la Mode. new and old, must be acknowl- 20 — Shipwreck. j j ^ t- t . Englishman in Paris . . . Foote ^^^^^ ^^ extraordmary. It m- 25— False Delicacy Kelly eluded the best of the English Lethe. 27— Othello Shakspere dramatists, from Shakspere to Feb. ,_?elp;st Shakspere ^^"^ ^""^ Cumberiand. With Neptune and Amphitrite. the single exception of Shakspere Miss in her Teens. 3— Tempest. the works of all these playwrights Neptune and Amphitrite. j^^^^ ^^^^ banished from the Stage, High Life Below Stairs. ° ' 8— Beggars' Opera Gay and of the nine pieces of the mas- Mayor of Garratt. 10— Theodosius Lee t^r, played in Philadelphia in Honest Yorkshireman. 1 772-3, three, " Cymbeline," IS— Lionel and Clarissa. / / J> > 3 > Edgar and EmmelineHawkesworth "Henry IV" and the "Tempest," 17 — Conquest of Canada . Cockings , 11. 22-Conquest of Canada (last time.) ^.^^^ not been Seen by this genera- Love a la Mode. ^Jqjj Qf play-goers. There is no liv- 24-^Word to the Wise. Catherine and Petruchio. ing Imogen or Falstaf. Neither March 3 — Cymon Garrick ,-.-i , t^ 1 /-. 8-Fashionable Lover. Cibber nor Farquhar,Congreve nor Edgar and Emmeline. Rowe, Lee Dor Whitehead, Steele 10 — Merchant of Venice . . Shakspere Hob in the Well .... Cibber nor Macklin, Foote nor Garrick, (Mr. and Mrs. Henry's benefit.) -^r , ^ -i -n- 1 ^ a- \ ,„ , T J- Murphy nor Colman, Bickerstaff 15 — West Indian. ^ ■' ' Bucks Have at Ye All. nor O'Hara, Kelly nor Cumber- Padlock. (Mr. Haiiam's benefit.) land, has been accorded a revival 17 — Beaux' Stratagem . . . Farquhar Catherine and Petruchio. since early in the century. Tra- (Mr. and Mrs. Morris' benefit.) 22— Eari of Essex Jones gedies such as the "Mourning (Benefit of'woolls'andWali.) ""^ ^ Bride" and the " Roman Father" SOUTHWARK THEATRE, 1772-3. 299 have no modern representative. Mar. 24— Recruiting Officer . . . Farquhar Edgar and Emmeline. There is no actress on the English (Byerly, Parker and Johnson's benefit.) 1 • . 1.1 r 1 • 20 — Wonder Centlivre speaking stage capable of playing ^^^^^^^ ^^^ ^^^^ these high comedy roles. No liv- (Mr- and Mrs. Henry's benefit.) 31 — Tempest. ing manager, except Augustin Neptune and Ampbitrite. Daly, has sufficient knowledge of Guardian. stage-business to produce one of these masterpieces of the last cen- tury. If "A Word to the Wise" or the " Fashionable Lover" was to be played by any company except his, it would be so utterly lacking in the flavor of the old school that we should think our grandfathers were satisfied with very insipid stuff. And yet were it possible to realize, even in imagination, the performances of Mr. Douglass' com- pany for a season, we should learn how completely the Nineteenth century has failed to realize the dramatic promise of the Eighteenth. Kelly's "Word to the Wise," with which the season opened, was probably played in Philadelphia with the same cast as at Williams- WoRD TO THE WisE. burg aud Annapolis. Although Captain Dormer . 777. . . Mr. Hallam t^e comedy failed at Drury Lane Sir George Hastings Mr, Henry through the Opposition of a party Sir John Dormer Mr. Douglass Villars Mr. Goodman formed to prevent its representa- Willoughby Mr. Morris . r i-.- i ±a ix. Mrs.Willougbby Mrs. Morris tion for political reasons, the author (Being her first appearance on that stage.) •^;^,as COnsoled for his disappoint- Miss Willoughby Miss Storer Lucy Miss Richardson ment by a large subscription to its Miss Montagu Miss Hallam i i- i- ,. m-, r,^ f„.- ^ publication, at a crown, g 1.2 5, for each copy. It is not improbable that Mr. Kelly also found consolation in the success that attended the successive productions of the comedy in America. At Williamsburg, as has been shown, it was highly praised by the Virginia Gazette, and in Philadelphia it was favorably 300 HISTORY OF THE AMERICAN THEATRE. noticed by a correspondent of the Pennsylvania Chronicle} The ladies in the cast are all warmly praised, but only Miss Hallam, as Miss Montagu, is specially mentioned. This is to be regretted, as Mrs. Morris made her Philadelphia debut as Mrs. Willoughby. In this critique Mr. Hallam's Mungo in the " Padlock," which was the after- piece, was accorded higher praise than was ever before given to any part acted on the American stage, except Miss Hallam's Imogen. While it is uncertain whether Mr. Cumberland's comedy, the "Brothers," was played at Williamsburg, where it was announced for Shipwreck. production early in 1772, it is certain it was produced in Phila- Young Belfield Mr. Hallam Belfield Mr. Henry delphia as the "Shipwreck." When Captain Ironsides Mr. Goodman ^1. « t> 1.1 11 c j. \ j ^"^ . . ^ T,, ,, . the Brothers was first played Sir Benjamin Dove Mr. Moms ^ •' Patterson Mr. Byerly Woodward had the part of Iron- Skiff Mr. Woolls Old Goodwin Mr. Douglass sides, Yates that of Sir Benjamin ^ '^ ' ^'r, !^ Dove and Quick, then a young Jonathan Mr. Parker >i > / & Francis Mr. Johnson performer, was the Skiff. Smith, Lady Dove Mrs. ilorris Vioietta Mrs. Henry ^t whose Suggestion the comedy Lucy Waters Miss Storer was written, played F^«;2P-5^//f^/^. Kitty Mrs. Harman 'r j a j Fanny Miss Richardson Mrs. Green was the Lady Dove, Sophia Miss Hallam . „ , . and Mrs. Yates the heroine, Sophia. ' Pennsylvania Chronicle, Oct. 31st, 1772.— On Wednesday last the theatre in Southwark was opened by the American Com- pany with Kelly's " Word to the Wise " and the "Padlock" to a most crowded and brilliant audience. The "Padlock" we have with pleasure seen many repetitions of the last season, and Mr. Hallam in Miin;:;o was then supposed excellent, but we now, upon the judgment of gentlemen of undoubted knowl- edge and taste in theatrical performances, pronounce him to be the best Mim^o upon the British stage ; the other characters, except Leander, which we verily believe Mr. Wall does as well as he can, and therefore we must by no means censure him, are well supported. * * * The performers in the " Word to the Wise " are entitled to much praise for being so correct, spirited and characteristic. The ladies, besides their pleasing figures, were genteel, elegant and fashionable in their de- portment. Miss Hallam, in the sprightly Miss Montagu, was as much a woman of fashion as we have seen on any stage. SOUTHWARK THEATRE, 1772-3. ;oi Garrick was in the house on the first night of the comedy, and was surprised at hearing himself complimented in the epilogue to a new piece in the rival establishment. The epilogue was spoken by Mrs. Yates. The piece had a good run at Covent Garden, where it was originally produced in 1769, but neither in merit nor success did it compare with either of Mr. Cumberland's pieces, the " Fashionable Lover " or the " West Indian," played at the Southwark Theatre this season. When the former was originally produced at Drury Lane it was coldly received, but after its objectionable features were modified it met with a fair degree of success. The latter was not only one of Fashionable Lover. Mortimer .... Mr. Hallam Aubrey Mr. Henry Tyrrel Mr. Goodman Lord Abberville . . Mr. Byerly Dr. Druid Mr. Morris Bridgemore .... Mr. Parker Napthali Mr. Wall Jarvis Mr. Woolls Le Jeunesse . . . Mr. Roberts Colin Macleod . Mr. Douglass played in 1 77 1, Lucinda Mrs. Henry Mrs. Bridgemore . Mrs. Douglass a year before Betty Miss Storer the best come- dies of its time, but it had a great and de- served success. The "West In- dian " was first West Indian. Belcour Mr. Henry Major O'Flaherty . Mr. Goodman Mr. Stockwell . . . Mr. Morris Captain Dudley . Mr. Douglass Charles Dudley ... Mr. Wall Fulmer Mr. Byerly Varland Mr. Parker Stukeley .... Mr. Johnson Sailor Mr. WooUs Lady Rusport . . Mrs.Douglass Louisa Dudley . . Miss Storer Mrs. Fulmer . . . Mrs. Henry Lucy .... Miss Richardson ■""^"•'' "''""' '-"■"'^' it,p nrodurtion Charlotte Rusport Miss Hallam Mrs.MackintoshMissRichardson ^"^^ prouuciioii v Augusta Aubrey . Miss Hallam ^f ^^ « Fashionable Lover." King was the original Belcour, Moody the O'Flaherty and Mrs. Abington the Char- lotte Rusport. In the " Fashionable Lover" Lord Abberville was origi- nally acted by Dodd, Aubrey and his daughter Augusta by Mr. and Mrs. Barry, Mortimer by King, and Dr. Druid by Baddeley. Hallam generally played Belcour — as O'Flaherty Henry was admirable. Miss Hallam as Augusta Aubrey and Charlotte Rusport had no possible rival in the company except Mrs. Morris. 302 HISTORY OF THE AMERICAN THEATRE. After the success that attended the production of Dryden's version of the "Tempest," in 1770, Mr. Douglass evinced a partiality ^™°'^- for "show-pieces." Among these Cymon Mr.Hallam was " Cymon," a so-called "dra- Merlin Mr. Goodman Linco 1 j^j ^^^jj^ matic romance," by Garrick, a First Demon J Doras Mr. Morris wretched production, devoid of Damon Mr. Wall Doriias Mr. Byerly ^it, humor and poetry, which Rrst'^Shepherdess} Miss Storer Owed whatever success it obtained Dorc^^''^^^^"^^''} • • Miss Richardson at Drury Lane to the vocal per- Urganda Mrs. Morris formers and the scene-painter. It Fatima Mrs. Henry Sylvia MissHaiiam was the story of Cymon and Iphigenia greatly extended, heightened by incantation, and rendered entertaining by fine scenery, splendid dresses, brisk music and lively dances. It made the judicious grieve but met with great success. Another " show-piece " which was produced for the first time on any stage this season was a play called the "Conquest of Canada," which is interesting because of the Conquest of Canada. elaborate way in which it was presented, as well as from the -n ., a^ " °"-?' '^ By the American Company, fact that it was supposed to have At the Theatre in Southwark This Evening will be presented a New Historical Tragedy, been of American origin and con- never performed, called the sequently the second American Conqukt of Canada, or ^ •' The Siege of Quebec. play ever performed on the stage. General Wolfe Mr.Hallam Leonatus * » Mr. Douglass It was a tragedy based upon the Britannicusf Mr. Henry conquest of Quebec and the death Montcalm Mr. Goodman Levi Mr. Morris of Wolfe, but the author, George Bougainville Mr. Wall „ , . , Ochterlony Mr. Henry Cockmgs, was an Englishman who pgyt^^ ^^ 3^^^,^ held a small place under the Gov- * Mon-t-n. f T-n-d. SOUTHWARK THEATRE, 1772-3. 303 ernment at Boston. His later life was spent in England, where for thirty years previous to his death, which occurred February 6th, 1802, he was register of the So- ciety of Arts* Manufactures and Commerce. Mr. Cockings wrote a poem called " The American War," and at one time he read Milton by way of a lecture. His play was printed in London, in 1766. It was a wretched com- position, neither prose nor verse. It is apparent from Mr. Douglass' advertisement that he had the earnest co-operation of the mili- tary then stationed in Philadelphia, First Caledonian Chief by a Gentleman (Being his first appearance on any Stage.) Second Caledonian Chief by Mr. WooUs. Sea and Land officers by Messrs. Byerly, Johnson, Parker, Woolls, Roberts and a Young Gentleman (who never appeared on any Stage before). Jemmy Chaunter (with a song in character) by Mr. Woolls. Sailors by Messrs. Johnson, Roberts, &c., &c. Sophia Miss Hallam Abbess Mrs. Morris First Nun Mrs. Henry Second Nun Miss Storer Maid Miss Richardson Sophronia Mrs. Douglass After the Play Dancing by Mr. Francis. It will be taken as a favor if the Town for this night will dispense with a Farce, as the Stage will be much crowded with the Artil- lery, Boats, &c., necessary for the Repre- sentation ot the Piece, and with the men from both Corps, whose assistance the Command- ing Officers are good enough to indulge us with. Tickets, without which no Person can be admitted, are sold at the bar of the Coffee house. Boxes, "Js. (id. Pit, Sj. Gallery, 3^. Lionel and Clarissa. but, notwithstanding the pagean- try, the play failed. It was played only twice. Bickerstaff's comic opera, " Lionel and Clarissa," which was originally produced at Covent Garden, in 1768, was presented for the first time in America this season as the " School for Fathers," the name applied to it when it was revived at Drury Lane after its successful run at the rival house. Mr. Vernon was the original Lionel, and Mrs. Baddeley the first Clarissa. Lionel Mr. Woolls Colonel Oldboy Mr. Goodman Sir John Flowerdale .... Mr. Douglass Mr. Jessamy Mr. Wall Harman Mr. Henry Jenkins Mr. Parker Clarissa Miss Storer Lady Mary Oldboy Mrs. Harman Jenny Mrs. Henry Diana Oldboy Miss Hallam 304 HISTORY OF THE AMERICAN THEATRE. Mrs.Wrighten, known in this country as Mrs.Pownall,was the Covent Gar- den Diana. The originality of this production has never been questioned, neither the characters nor incidents being borrowed from any other author. Foote's two-act comedy, the " Englishman in Paris," although it was produced at Covent Garden for Macklin's benefit as early as Englishman in Paris. 1753, was not played in the Colo- Buck Mr. Goodman nies until this season, and then Sir John Buck Mr. Morris Mr. Subtle Mr. Henry only as an afterpiece. Mr. Mack- „^^"^. \/'t>^1^^ lin was the original .ff^^c,^ and Miss Daupame Mr. I^oberts ° Solitaire Mr. Wall Macklin the Lucinda. It was said Gamut Mr. WooUs Roger Mr. Johnson of Lucinda that the part seemed AT „ ,,, ,.. „. , , written to give Miss Macklin an Mrs. Subtle Miss Richardson ° Marquis Mr. Byerly Mrs. Subtle Miss Richardson Lucinda Miss Storer opportunity of displaying her varied qualifications of acting, singing and dancing, in all of which she obtained universal applause. Its production in this country was intended, no doubt, to give Miss Storer, who possessed like talents, a similar opportunity. The only new farce this season, unless Foote's "Englishman in Paris " is regarded as a farce rather than a comedy, was the " Register Office," at that time a popular Register Office. afterpiece at Drury Lane. The Captain Le Brush Mr. Hallam object of this little piece was to ^■'d Brilliant Mr. Goodman Scotchman Mr. Douglass expose the pernicious practices Irishman Mr. Henry ..,,,. „ , Frenchman , Mr. Roberts of mtelhgence offices or employ- Garwood Mr. Wall ment agencies, still called "register Tricket Mr. Morris Gulwell Mr. Byerly offices " in England. The provin- Frankly Mr. Woolls . , 1 . ,10.1 1 11 Williams Mr. Johnson cial characters, the Scotch peddler, j^^^^ j^j^^ g^^^^ the Irish spalpeen and Maria, the Margery Monfort Mrs. Henry SOUTH WARE THEATRE, 1772-3. 305 Yorkshire servant-maid, are particularly well drawn. In Captain Le Brush Mr. Hallam had the part of a slip-slop military man, whose ignorance constantly led him into the use of hard words, the meaning of which he did not understand, but his impudence was so great that he was never known to blush when his absurdities were detected. The farce never became a favorite afterpiece with American audiences, probably because the evils at which it was aimed did not exist in this country at that time. While the company was in Virginia Arthur Murphy's comedy, the "Way to Keep Him," was played, probably with the same cast as at Philadelphia this season. The Way to Kpe p Him. lesson of the comedy is to teach Lovemore Mr. Hallam Sir Bashful Constant .... Mr. Douglass wives to preserve the affections Sir Brilliant Fashion Mr. Henry - , . , . . William Mr. Goodman of their husbands by practicmg sideboard Mr. Morris the same arts after as before mar- Richard Mr. Parker Thomas Mr. Roberts riage. Originally this piece was Mrs. Lovemore Mrs. Henry , , , . Lady Constant Mrs. Morris m only three acts, but it was ex- j^^^j;^ j^iss Storer tended to five by the deft intro- Mignionet Miss Richardson Furnish Mrs. Harman duction of Sir Bashful and Lady widow Belmour . . j . . . Miss Hallam Constant into the comedy. The play was not without humor, but its great charm was in the fact that it was a series of pictures of domestic life. This comedy, it will be remembered, was first acted in this country by the New American Company at Annapolis, in 1769. The first of Shakspere's plays presented at the Southwark Theatre this season was " Hamlet," last played at that house during the engagement of 1769-70. The masterpiece, which was presented on the 1 6th of November, 1772, was followed by "Cymbeline," on the 7th of December. The casts of these tragedies at this time not only 20 3o6 HISTORY OF THE AMERICAN THEATRE. show the changes that had been made in the company, but the rise or descent of the actors. In " Hamlet " Hallam, Douglass and Morris re- Hamlet. tained their former Cymbeline. Hamlet . . . Mr. Hallam roles, but Henry, Posthumous . . Mr. Hallam King Mr. Douglass i i r j Cymbeline . . Mr. Douglass Polonius Mr. Morris '^"O before played lachimo .... Mr. Henry Laertes Mr. Henry Horatio now SUC- Bellarius . . Mr. Goodman Ghost Mr. Goodman ' Cloten Mr. Wall Horatio ... Mr. Parker ceeded Wall aS Guiderius ... Mr. Parker Marcellus . . Mr. WooUs Arviragus . . . Mr. WooUs. Bernardo Mr. Byerly LaerteS, while Wall ^aius Lucius . . Mr. Byerly Player King . . . . Mr. Wall sank into the P/ay^r P'=™i° • • • -Mr. Morris Lucianus .... Mr. Roberts Philario .... Mr. Parker Francisco . . Mr. Johnson King, previously Cornelius ... Mr. Roberts Guildenstem . . . Mr. WooUs j u All Frenchman . . Mr. WooUs Rosencranz .... Mr. Byeriy Played by Allyn Captain ... Mr. Johnson Player Queen . Miss Richardson g^j^^j Malone • Good- Queen ■ • ■ Mrs. Douglass Queen . ... Mrs. Douglass Helen . . Miss Richardson OpheUa .... Miss HaUam man waS the SUC- Imogen . . . Miss Hallam cessor of Tomlinson as the Ghost, Parker was Horatio, instead of Henry, Byerly had Piatt's part of Bernardo, Miss Richardson was Romeo and Juliet. the Player Queen, Richard III. Romeo Mr. Hallam instead of Mrs. Richard . . . Mr. HaUam Mercutio .... Mr. Douglass Edward V . . . Mr. Wall Capulet Mr. Henry Harman or Mrs. Henry VI . . . Mr. Morris Friar Laurence . . Mr. Morris tj ,-^. ^ Richmond . . . Mr. Henry Escalus .... Mr. Goodman ■' ^ Buckingham . Mr. Douglass Paris Mr. WooUs rer) and Miss York. . . Miss Richardson Benvolio Mr. Wall Tressel .... Mr. Henry Tybalt Mr. Parker Hallam succeeded Catesby .... Mr. Parker Montagu Mr. Byerly ^ . p, Ratchff .... Mr. WooUs Apothecary . . . Mr. Roberts Oxford .... Mr. Johnson Lady Capulet . . Mrs. Douglass Ophelia, In "Cvm- Lady Anne . . Mrs. Henry Nurse .... Mrs. Harman Duch'ss of York Mrs.Harman Juliet .... Miss Hallam beline " DouglaSS Queen Elizabeth . Mrs.Morris now had the title-role, instead of Allyn; Henry, who had previously played Bellarius, was now lachimo, instead of Douglass, Goodman was Bellarius, Parker Guiderius, instead of Greville, and Philario, instead of Morris ; Byerly Caius Lucius instead of Tomlinson; Miss SOUTHWARK THEATRE, 1772-3. 307 Richardson Helen, instead of Mrs. Tomlinson, and Miss Hallam Imogen, in which she made a greater impression than her predecessor, King Henry IV. Miss Cheer. The Tempest. Hotspur. ... ,Mr. Hallam Other Shakspere p,ospero TT^r. Douglass King Henry ... Mr. Morris , ^ Ferdinand . Mr. Hallam Prince of Wales . . Mr. Henry P^^y^ ^^"'"^ ^'"^'^^^ ^i„„,„ j^^ B^^^l^ Sir Walter Blunt. Mr. Goodman contrasts. In " Ro- Antonio. . . . Mr. Parker Worcester . . . . Mr. Byerly jjipolito . . . . Mr. Wall V^™- Mr. Parker meo and Juhet c^^^j^ _ _ .Mr. Johnson Westmoreland . ^Mr^Wall j^.^^ j^^jj^^ ^^^ g^^^^^^ _ . Mr. Morris Northumberland. .Mr.WooUs Trinculo . . . Mr. Henry Bardolph . . . .Mr. Johnson played >/?V/ to Mr. Ventoso . . . Mr. Johnson F'^^"= ^''- R°'^^>^'= „ , , , „ Mustachio . . Mr. Woolls Sir John Falstaff . Mr. Douglass Hallam s Romeo. ^^^^ Miss Storer !°'°l ,^'\^rf7 Henry was C«/2^/^/, Caliban. . Mr. Goodman J=>°"gl^ Mr. Woolls ^ ^ sy^„^^^ _ _ .Mr. Roberts P«° Mr. Wall instead of Morris; Miranda . . . Mrs. Henry First Carrier . . Mr. Goodman . p^^nda . . Miss Hallam Second Carrier . . Mr. Parker MorriS jt'nar Lau- Princejohn . Mr. Roberts ^^ j^^^^^^ ^f ^jj ^^ Qreville; Good- Hostess Qmckly . Mrs. Harman • Lady Percy .... Mrs. Morris man Escalus, instead of Broadbelt or Malone ; Wall Benvolio, instead of Godwin, as at the John Street Theatre, New York, in 1767; Parker T/^a/^, instead of Wall or Henry, and Merchant of Venice. Byerly Montagu, in- Othello. Shylock .... Mr. Henry Stead of Tomlinson. : ' . ,T ti ,1 Othello .... Mr. Hallam Antonio . . . Mr. Hallam i,, jtvtt^ , ,,„, „ . „ T^ 1 Mr. and Mrs. Uoug- lago .... Mr. Douglass Bassanio . . .Mr. Douglass ° „ ■■ ,, ^ , „ . TMi-^j , ,T.,rxT Cassio . . . Mr. Goodman Grat:ano . • Mr^Gootoari lass and Mrs. Harman ^^^^^ _ _ j^^^^u Lorenzo . . . Mr. Woolls ^ ^ . Duke Mr. Byerly retained their previous Ludovico . . . Mr. Henry „ , . ,«■ iir 11 Brabantio . . . Mr. Morris Saamo. . . • • Mr. Wal rolcs. In"Richardin" Duke Mr. Byerly Salarmo . . . Mr. Dermot M P v Tubal . . . -Mr. Roberts Henry played Rich- (,~ ; ; 'm^wooIiI Gobbo .... Mr. Byerly ^^^ ,, , , Launcelot ... Mr. Morris »^^W,insteadof Doug- °f ^^' " * " " ^/^ J"'^"'"" -. . -,..-,,, Messenger . . Mr. Roberts Jessica . . .MissHaUam ^ ^j^jj^ DouglaSS Emilia . . . Mrs. Douglass Nenssa . . Miss Richardson n ^ m t-t Portia .... Mrs. Morris was content with .Sz^t'^- ' ' ' ingham, as in New York, in 1767. Miss Richardson was the 3o8 HISTORY OF THE AMERICAN THEATRE. Duke of York, a part that had been played by Miss S. Dowth- waite, among others. • Parker succeeded Tomlinson as Catesby, and Mrs. Morris was Queen Elizabeth, instead of Mrs. Douglass. Miss Cheer, in her time, had been the Lady Anne, now in possession of Mrs. Henry. In " King Henry IV " Mrs. Morris succeeded Miss Cheer as Lady Percy, Henry became the Prince of Wales, instead of Wall ; Goodman Sir Walter Blunt, instead of Henry ; Byerly Worcester, instead of Tomlinson, and Poins, instead of Malone; Parker Vernon, Catherine and Petruchio. instead of Greville; Wall West- Petnichio Mr. Goodman moreland, instead of Raworth, and ^.■^t*^, ^!;^r!= Peto, instead of Roberts, and Biondello Mr. Wall ' ' Hortensia Mr. Parker Roberts Francis, instead of Peto, Baptista^ Mr. Byerly Tailor '. Mr. Roberts and Prince John, instead of Mrs. ^!"^^ • \;.^'t?T'" Wall. This is the first cast Bianca • . Miss Richardson Catherine Mrs. Morris extant of the Shakspere-Dryden "Tempest." In "Othello" and the "Merchant of Venice" the only 'important changes were the assumption of Desdemona in the former by Mrs. Henry and of Portia in the latter by Mrs. Morris, in which Miss Hallam condescendingly consented to play Nerissa. These contrasts show that the company had four young actresses capable of playing leading roles, that Mr. Goodman was already a favorite with the public and the management, and that Mr. Henry was ascending slowly and Mr. Wall descending rapidly. The " Conscious Lovers" was seen in Philadelphia for the first time in six years. In New York the comedy had not been played since 1768 when it was given for Mr. Morris' benefit. The only changes in the cast were Goodman as Sir John Bevil, Byerly as Cym- berton, Parker as Humphrey, Roberts as Daniel, Miss Storer as Phillis, SOUTHWARK THEATRE, 1772-3. 309 Mrs. Harman as Mrs. Sealand, Miss Richardson as Lucinda and Mrs. Morris as Isabella. The casts that are appended at the bottom of this and the fol- lowing pages show the changes that had occurred in the representatives of familiar parts. Mr. and Mrs. Tomlinson had withdrawn, while Messrs. Goodman, Byerly and Johnson, and Mrs. Morris and Miss Richardson were recent acquisitions. It is not improbable that all these were seen at the Southwark Theatre before the Southern tour was undertaken — Miss Richardson certainly was. Little is known of this lady, who apparently was an actress of experience, beyond the fact that she played " walking ladies," such as Fanny in the " Ship- wreck," in which she is first noticed, and afterward Lucy Waters in the same play; Theodosia in the " Maid of the Mill," and Mrs. Trippet in the " Lying Valet ; " the Lady in " Love a la Mode;" Lucy in the " West Indian " and in the " Devil to Pay ; "Lucetta in the " Suspicious Husband " and Mrs. Subtle in the " Englishman in Paris ; " the Player Queen in " Hamlet," Mysis in " Midas " and Lucy in a " Word to the Wise." Her first appearance this season was in the part last named. More important than the acquisition of Miss Richardson was that of Mrs. Morris. She began with the little part of Margery in " Love in NEW CASTS OF FAMILIAR PIECES. Mourning Bride. Osmyn Mr. Hallam King . ... Mr. Douglass Garcia Mr. Henry Gonzales . . Mr. Morris Heli Mr. Parker Selim . ... Mr. Wall Alonzo . . ... Mr. Byerly Perez Mr. Woolls Zara Mrs. Morris Leonora Miss Storer Almeria Miss Hallam Tamerlane. Theodosius. Monesses . Mr, Goodman Varanes . , . ... Mr. Hallam Axalla . . .Mr. Wall Theodosius . .... Mr. Henry Omar ... . Mr. Henry Leontine . . . . . Mr. Goodman Dervise . ... . Mr. Morris MarcJan . . . , . Mr. Douglass Haly . Mr. Parker Atticus . . . . . .Mr. Woolls Stratocles , . . Mr. Byerly Lucius . Mr. Parker Tanais . ... Mr. Woolls Aranthus . . .Mr. Wall Zama . , Mr. Johnson Pulcheria . . Mrs. Morris Mirvan . .... Mr. Roberts Marina . . . . Miss Storer Selima . , Mrs. Henry Flavella . . . . Miss Richardson Arpasia , Mrs. Morris Athenais . . . . . Miss Hallam. 3IO HISTORY OF THE AMERICAN THEATRE. a Village," but was seen a week later as Zara in the " Mourning Bride." When Lady Dove was introduced into the " Shipwreck/* on its second representation, she played the part, and subsequently she appeared as Millwood in " George Barnwell," Mrs, Sullen in the " Con- scious Lovers," Lady Beverly in the "School for Lovers," Portia in the " Merchant of Venice," Lady Constant in the " Way to Keep Him," Catherine in " Catherine and Petruchio " and Queen Elizabeth in " Richard III." Her first appearance was made as Mrs. Willoughby in a *' Word to the Wise." This Mrs. Morris was the second wife of Owen Morris. She was described by Dunlap as a tall, elegant woman, and by William B. Wood as an imposing, well-formed person, with a NEW CASTS OF FAMILIAR PIECES. George Barnwell. George Barnwell Thorowgood Trueman . Uncle . Blunt . Maria Lucy . Millwood . . Mr. Hallam . Mr. Douglass , Mr. Parker . Mr. Henry . . Mr. Morris . Miss Store r . Mrs. Harman . Mrs. Morris Suspicious Husband. Ranger . Mr. Strictland Frankly . . Bellamy . Jack Meggot Jester . Buckle Simon . Mrs. Strictland Jacintha . . . Lucetta . Milliner Landlady Maid Clarinda . . Mr. Hallam . Mr. Douglass . Mr. Henry . Mr. Parker . . Mr. Wall . . Mr. Morris . Mr. Woolls . Mr. Johnson . Mrs. Henry . . Mrs. Morris Miss Richardson . Miss Storer , Mrs. Harman Mrs. Wall . Miss Hallam Neptune and Amphitrite. Neptune Mr. Woolls Amphitrite . . . Miss Storer School for Lovers. I\Iodely . Sir John Dorilant Eellmour Steward Lady Beverly . . Araminta . . Celia . Mr. Hallam Mr. Douglass . Mr. Wall . Mr. Morris . Mrs. Moms . Mrs. Henry . Miss Hallam Love for Love. Valentine , Mr. Hallam Sir Sampson Legend . Mr. Henry Scandal Tatde . Foresight Jeremy . Frupland Buckram Ben . Angelica M'ss Prue . Mr. Douglass . . Mr. Wall . Mr. Morris . Mr. Byerly . Mr. Parker . Mr. Woolls . Mr. Goodman . Mrs. Henry . . Miss Storer Mrs. Foresight . Miss Richardson Nurse . . Mrs, Harman Mr=. Frail . . Mrs. Morris Thomas and Sally. The Squire , . Mr. Woolls The Sailor ... . Mr. Henry Dorcas Mrs. Harman Sally Miss Hallam Earl of Essex. Essex Mr. Hallam Southampton .... Mr. Henry Lord Burleigh .... Mr. Morris Raleigh . . . Mr. Byerly Lieutenant ... . Mr. Woolls Queen Elizabeth . Mrs. Morris C. of Nottingham . . Mrs. Henry Countess of Rutland Miss Hallam Beaux' Stratagem. Archer . . . Aimwell . . Sullen . Foigard Freeman Gibbet Boniface . Bagshot . Hounslow . Scrub . Dorinda . Cherry Gipsy Mrs. Sullen . Mr. Hallam . Mr. Douglass . . Mr. Henry . Mr. Goodman . Mr. Wall . . Mr. Woolls . Mr. Byerly . . Mr, Dermot . . . Mr. Roberts . . . Mr. Morris . Miss Richardson . Mis. Henry . . Miss Storer . . Mrs. Morris Edgar and Emmeline. Edgar Mr. Hallam Emmeline . , Miss Hallam SOUTHWARK THEATRE, 1772-3. 3" very mysterious manner. Wood, however, did not know her until twenty years after this period. She was long considered the greatest attraction in the company, but Wood says she was greatly overvalued, as she was without education and her enunciation was wretchedly imperfect. Late in life she suffered from the want of a retentive mem- ory, and Wood says that from his knowledge of her professional pride this must have been a natural defect. Mrs. Morris' portrait is included among the prints known as the Lopez and Wemyss collection. She continued in the Philadelphia theatre until late in hfe, and died in that city about 1825. NEW CASTS OF FAMILIAR PIECES. Recruiting Officer. Beggars' Opera. WOND ER. Captain Plume . . .Mr. Hallam Macheath . . . . Mr. Hallam Don Felix . Mr. Hallam Sergeant Kite . . Mr. Douglass Peachum . . . . Mr. Douglass Colonel Briton . . . . Mr. Henry Captain Brazen . . Mr. Byerly Lockit . . Mr. Morris Don Pedro , . Mr. Goodman Justice Balance , Mr. Morris Mat . Mr. Goodman Don Lopez . . Mr. Byerly Worthy . . . ... Mr. Woolls Filch . . . . . .Mr. Wall Frederick . . Mr. Woolls Bullock . . , Mr. Goodman Nimming Ned . ', Mr. Byerly Lissardo . Mr. Morris Justice Scale . . . Mr. Dermot Ben Budge . . Mr. Parker Valguez . . Mr. Roberts First Recruit . ... Mr. Wall Jemmy Twitcher . . Mr. Johnson Gibby . Mr. Douglass Second Recruit . . Mr. Roberts Lucy . . Miss Storer Isabella . Miss Storer Melinda . Mrs. Henry Mrs. Peachum . Mrs. Morris Flora . . Mrs. Henry Rose . . . Miss Hallam Mrs. Coaxer . . . Mrs. Henry Iris . . Miss Richardson Lucy Miss Richardson Jenny Diver . . Miss Richardson Violante . . Miss Hallam Mrs. Slammekin . . . Mrs. Wall — False Delicacy. Moll Brazen . . Mr. Roberts Love in a Village. CecU. . . . Mr. Hallam Diana Trapes . Miss Richardson Justice Woodcock . Mr. Douglass Colonel Rivers . Mr. Douglass Polly . . . Miss Hallam Hawthorn . . Mr. Woolls Lord Winworth . Mr. Henry — Young Meadows . Mr. Henry Sir Harry . ' . . Mr. Wall Maid of THE Mill. Sir William .Mr. Morris Sidney . . . Mr. Byerly Aimworth . Mr. Hallam Eustace , . Mr. Byerly Lady Betty . Mrs. Morris Sir Harry Sycamore Mr. Goodman Hodge . Mr. Parker Miss Rivers . , . Mrs. Henry Fairfield . . ^ . Mr. Douglass Lucinda . . Miss Storer Miss Marchmont . . Miss Storer Farmer Giles . Mr. Woolls Mrs. Deborah Mrs. Douglass Sally ... . Miss Richardson Ralph . Mr. Wall Margery . . Mrs. Morris Mrs. Harley . Mrs. Douglass Mervin . Lady Sycamore . . Mr. Parker . Mrs. Douglass Rosetta . Miss Hallam Lying Valet. Theodosia . Miss Richardson Lethe. Sharp . Mr. Morris Fanny . Miss Storer Frenchman . . Mr. Hallam Gayless . . . . .Mr. Wall Patty .... . Miss Hallam ./Esop . Mr. Douglass Guttle . . Mr. Goodman Mercury . . . . Mr. Woolls Trippet . .Mr. Byerly Padlock. Old Man . Mr. Morris Cook. . . . Mr. Parker Mungo . . Mr. Hallam Fine Gentleman . . Mr. Byerly Melissa . . , . Mrs. Morris Don Diego . . Mr. Woolls Tattoo . . . Mr. Goodman Mrs. Gadabout . . Mrs. Harman Leander . . . Mr. Wall Charon . Mr. Johnson Mrs. Trippet . Miss Richardson Ursula. . . . , . ,. Mrs. Morris Mrs. Tattoo . . Miss Hallam Kitty Pr . Mrs. Henry Leonora . . . Miss Hallam Mrs. Riot . . . Miss Storer U2 HISTORY OF THE AMERICAN THEATRE. "The mysterious manner alluded to in Mrs. Morris/' Mr. Wood wrote, " was not confined to the stage, but the chariness of her exposure to the vulgar eye of day was very amusing. So inveterate was her dislike to being seen in daylight that Mr. Morris obtained from a near relative of mine permission to put up a little gate in his garden, by which Mrs. Morris could pass from her lodgings in Maiden Lane direct to the theatre, without a circuit of Broadway. On the few occasions of her showing off freely as a pedestrian, I can truly assert that much more curiosity and bustle were excited than latterly at a Fanny Ellsler or a Fanny Kemble. She seemed to realize the boast of Bolingbroke — " Being seldom seen, She could not stir, but like a comet She was wondered at. NEW CASTS OF FAMILIAR PIECES. High Life Lovel . . . Freeman Lord Duke Sir Harry . Philip . . Coachman Kingston Lady Bab . Lady Charlotte Cook Chloe .... Kitty . . Below Stairs. . Mr. Hallam . . . Mr. Parker . . Mr. Wall . Mr. Henry . Mr. Morris . Mr. Woolls . Mr. Byerly . . . Miss Storer Miss Richardson . Mrs. Harman . Mr. Roberts . Mrs. Henry Musical Lady. Old Mask Mr. Morris Mask . . . Freeman Rosini . Lady Scrape Laundress Sophy . . Mr. Wall . . Mr. Parker . Mr. Roberts . Miss Storer . Mrs. Harman . Miss Hallam Old Maid. Old Maid . . Captain Cape Clerimont . Mr, Harlow . Heartly , Mrs. Harlow . . Mrs. Harman . Mr. Morris . Mr. Wall . Mr. Byerly . Mr. Parker . Mrs. Henry Mayor of Garratt, Major Sturgeon , . Mr. Goodman Sir Jacob Jollop . Sneak Lint Bruin . Roger Mrs. Bruin Mrs. Sneak . Mr. Douglass . . Mr. Morris . Mr. Wall . Mr. Byerly . Mr, Parker . Mrs. Harman . Mrs, Henry Miller of Mansfield. King Miller . . Richard Lord Lurewell Joe . . . Peggy Kate Margery . . . . Mr. Henry . . . Mr, Morris . Mr, Byerly . Mr, Wall . . « . Mr. Woolls , Miss Richardson . Miss Storer . Mrs. Harman Hob IN" THE Well, Hob Mr. Hallam Friendly ... . Mr. Woolls Sir Thomas Testy . . Mr. Morris Old Hob .... Mr, Byerly Dick . . . Mr. Johnson Hob's Mother . Miss Richardson Betty . .... Mrs. Henry Flora . . Miss Storer Devil to Sir John Loverule , Jobson . . Butler Doctor Coachman . . Cook . . Footman , Blind Fiddler Lady Loverule Lucy , . M Lettice . Nell . . . Pay. . . Mr, WooUs . . Mr. Henry . . Mr. Morris . . Mr, Byerly , Mr. Johnson . Mr, Parker . Mr, Wall . Mr. Roberts , Mrs. Harman iss Richardson . Mrs. Wall . Miss Storer Upholsterer, Barber . , Mr, Wall Quidnunc Mr. Byerly Feeble ... . Mr. Morris Bellmour Mr. Parker Rovewell Mr. Woolls Harriet . . Miss Richardson Termagant . . Mrs, Henry Love a la Mode, CallaghanO'BrallaghanMr.Henry Archy MacSarcasm Mr. Douglass Squire Groom ... . Mr. Wall Beau Mordecai . . Mr. Morris Sir Theodore . . . Mr. Parker The Lady . . Miss Richardson SOUTHWARK THEATRE, 1772-3. 313 " The walk of half a dozen miles, which the less artificial actors of modern times sometimes bodily execute, between the rehearsal and dinner, would have puzzled Mrs. Morris not a little, from the fact of her indulging, among other peculiarities of dress, in a pair of heels of such dangerous altitude as required the utmost caution." The season was almost without incidents, but a note appended to the announcement of the " Recruiting Officer " for the 24th of March, 1773, when Mrs. Morris played Sylvia for the joint benefit of Messrs. Byerly, Parker and Johnson, is curious in itself and indicative of the character of the actress. Mrs. Morris' Card. Mr. Durang, in his " History of *^* Mrs. Moms in Respect to those few fVi Ph'l rl 1 Ti' Qf " KliqVipr! Ladies and Gentlemen, who thro' kindness to " S > r jjgj. jj^yg advised her not to play the Part of in the Sunday Dispatch, thinks the Sylvia, begs leave to assure them, that she performs it now in compliance with the Re- deprecatory manner of this an- q^gst of many friends to the Theatre, and . . J- . c . with a fixed Rule amongst the Performers, to nouncement mdicates a fear on . , .,, • t- lend each other every help they can m Time the part of the actress that she of Benefits. would not be able to play Sylvia well. The probability is that Mrs. NEW CASTS OF FAMILIAR PIECES. Miss in her Teens. Guardian. Honest Yoekshireman. Captain Flash . . . Mr. Henry Guardian ... .Mr. Hallam Gaylove . Mr. Woolls Captain Loveit ... Mr, Johnson Sir Charles . ... Mr. Morris SapscuU . . .Mr. Wall Fribble Mr. Wall Young Clackit . Mr. Wall Muckworm . Mr. Morris Puff . . Mr. Morris Lucy Mrs. Henry Blunder . . . . Mr. Parker Jasper Mr, Woolls Miss Harriet . Miss Hallam Slango . . . Mr, Byerly Tag Mrs. Henry Combrush . . . Mrs. Morris Miss Biddy . . . Miss Storer Roman Father, Arabella . ... Miss Storer Roman Father . Mr. Hallam Midas. TuUus Hostilius , . Mr. Douglass Citizen. Midas . . . Mr, Goodman Publius . . , Mr, Goodman Young Wilding , . Mr, Hallam Apollo Mr, Woolls Valerius ... Mr. Wall Young Philpot . . Mr, Wall Jupiter . . , Mr, Morris p^^j Citizen . . Mr. Morris Old Philpot , . Mr. Morris Sileno . . . Mr. Parker Second Citizen . . Mr. Byerly Beaufort . . Mr, Woolls Damatus ... .Mr. Wall Third Citizen . . Mr. Woolls Sir Jasper Mr. Byerly Pan Mr, Byerly Fourth Citizen . . .Mr. Johnson Quilldrive . . . . Mr. Roberts Juno Mrs, Henry Soldier Mr, Parker Corunna . . , Miss Richardson Mysis Mrs, Harman Valeria Mrs. Henry Maria Miss Hallam Daphne . . Mrs. Morris Hoiatia Miss Hallam Nysa Miss Storer 3 1 4 HISTOR Y OF THE AMERICAN THEA TRE. Morris did not consider the part sufficiently stately for her grand style. Other incidents of the season were the occasional appearances, between the acts, of Mrs. Stamper, as a singer, and Mr. Francis, as a dancer. Mrs. Stamper was the lady who played Dorcas in " Thomas and Sally," at Williamsburg. She was now advertised as from the Theatre Royal, Edinburgh. Mr. Francis was announced as from the Theatre in Amsterdam. This dancer's real name was Francis Mentges, which he made illustrious as a Colonel in the Revolutionary army, while he afterward rendered his assumed name of William Francis distinguished as an actor. When General Washington came to Philadelphia, in 1787, as a member of the Constitutional Convention, Francis was among those who welcomed him and escorted him into the city. The old actor's features as Sir George Thunder have been preserved in an engraving in the series of prints known as the Lopez and Wemyss series. Nothing is known of the actors who were added to the com- pany about this time beyond the parts played by them. In the letter of " Philo-Theatricus," dated October 30th, 1772, and printed in the Pennsylvania Chronicle, from which the criticism of the acting in a " Word to the Wise " and the " Padlock," above quoted, was taken, complaint is made of a grievance that the writer said must be remedied. " Some ruffians in the gallery who so fre- quently interrupted the performance, and in the most interesting scenes," wrote "Philo-Theatricus" in his suggestive letter, "deserve the severest reprehension ; they are too despicable to argue, otherwise they might be told that because they pay three shillings for their admittance into a public assembly they are not therefore entitled to commit frequent outrages upon that part of the audience who go there really to see the play and be instructed and entertained ; or to interrupt SOUTHWARK THEATRE, 1772-3. 315 the actors who are doing their best to entertain them. They might be informed that, though they have an undoubted right to every species of entertainment promised them in the bills, they have not the smallest title to anything else, and that if they call for a song or a prologue of which no notice is given in the bills, the actors have an equal demand upon them for an extraordinary price for a compliance with their request." The remedy suggested by " Philo-Theatricus " to the man- ager of the theatre was "to engage a number of constables and dispose them in different parts of the gallery, who, upon the smallest disturb- ance for the future, may be authorized by any magistrate—and there are always enough in the house — to apprehend and carry to the work- house such rioters, by which means peace will be restored and a few examples deter others from the like outrages." When the Philadelphia season closed the company went to New York to play its last engagement in that city prior to the Revolution. CHAPTER XXVIIi; LEAVE-TAKINGS. CLOSING ENGAGEMENTS OF THE OLD AMERICAN COMPANY — LAST SEASON IN NEW YORK DEATH OF MRS. HARMAN ^A FORTNIGHT AT THE SOUTHWARK THEATRE FAREWELL TO PHILADELPHIA DR. cooper's PROLOGUE, NEW YORK, AND THE LAST PHILA- DELPHIA EPILOGUE. NOTWITHSTANDING Mr. Douglass announced when he opened the New York Theatre on the 14th of April, 1773, that it would be impossible to keep it open longer than the end of May the season was' extended to August. This season, which was destined to be the last in New York for many years, seems to have begun with a disposition among a part of the audience to annoy the actors. " The repeated insults," Mr. Douglass announced on the 3d of May, " which some mischievous persons in the gallery have given, not only to the stage and orchestra, but to the other parts of the house, call loudly for reprehension." He then says that unless these disorders are amended " the gallery for the future will be shut up." This threat seems to have had the desired effect. The season in New York opened with Murphy's comedy, the " Way to Keep Him," which was new to that city, and " Catherine and Petruchio," with Mrs. Morris for the first time there as the Shrew. (316) LEA VE- TAKINGS. 3 1 7 Mrs. Wall was Curtis, instead of Mrs. Harman. A comparison of the list of performances with that of the previous season at the South- wark Theatre will show that most List of Performances. of the pieces played there were 1773- reproduced at the John Street April 14— Way to Keep Him . . . Murphy r^^. , rr^, ^ ... . . Catherine and Petruchio Shakspere Iheatre. Ihe famihar pieces m , ^^^ a ,■ t.s ■ ^ 19 — Clandestine Marriage this list not produced in Philadel- Garrick and Colman 26 — King John Shakspere phia during the season of 1772-3 30_Earl of Essex Jones _^. • ^ , ,, << /— 1 ^ 4_- Englishman in Paris . . . Foote were Kmcr John, Clandestine ,, ^ ' > c. . t7 i, ° ■' ' May 3 — Beaux' Stratagem , . . Farquhar Marriage," "Gamester," "Constant Midas O'Hara 7 — Love in a Village . . . Bickerstaff Couple," " Jane Shore," " Damon Mayor of Garratt Foote 1 Til Ml- 1 ,j 1 the succeeding in tragedy and genteel comedy. papers reported the accident in in private life she was sensible, humane and benevolent. Her little fortune she has left to the fewest possible words, adding, Miss Cheer, and her obsequies were on Satur- day night attended by a very genteel pro- by way of description, that the ^^^^^^ ^^ (he cemetery of the old English victim was "of the play-house." Church. Now, however, a number of interesting facts relating to the deceased actress were printed. Mrs. Harman's full name was given. This, in Mrs. Harman's Parts. connection with the fact that she Plays. was a granddaughter of Colley Beaux' Stratagem Lady Bountifiil cj^ber, enables US to identify her ■p , f^ f Mrs. Peachum iieggars upera ^ Diana Trapes ^S the daughter of Charlotte Busybody Patch Cato Lucia Charke. Dying in her forty-third 21 322 HISTORY OF THE AMERICAN THEATRE. Conscious Lovers { Mrs!'sealand ^^^''' ^^^"^ ^^'"^ fifteen -years in Constant Couple Mob's Wife America, Mrs. Harman must have Cymbeline Pisanio , ' . , * . , , Distressed Mother Andromaclie been m her twenty-eighth year I5°'igi^ ^""'^ when she crossed the Atlantic. Drummer . Abagail Fair Penitent Calista We gather, besides, fi-om this False Delicacy Sally Gamester Charlotte obituary a just estimate of her George Barnwell .Lucy abilities as an actress and of the ^™ ^ 1 Player Queen esteem in which she was held as Henry IV Hostess Quickly Inconstant Oriana a woman. Indeed, we even catch Jealous Wife Toilet < ■ c \. c i \.- T , „ . „ a glimpse of her figure and per- Kmg John Pnnce Henry or o r- Lear Regan son in the intimation that her Lionel and Clarissa , . Lady Mary Oldboy Love for Love Nurse comeliness was not equal to her Love in a Village Margery ^j^jjj^ !„ the bequest of her little Macbeth /^^^'^ *■ "^"'^'^ fortune to Miss Cheer we see evi- Merchant of Venice Nerissa Midas Mysis dence that her husband had long Miser Lappet , i , , Orphan Florella ceased to occupy her thoughts, Otiie"° Emilia and that Miss Cheer, for whom ■ 1 Lady Wronghead she must have felt a peculiar friend- Recruiting Officer jMehnda ^^.^^ ^^^ continued to reside in Richard III . . {DucLss°ofYork New York after her retirement. Romeo and Juliet ^Nurse ^^^^ ^^^^ ^^^ j^ j^ ^^^ j^^ j^_ bchool for Lovers Lady Beverly '^ Shipwreck Kitty able that Miss Cheer's benefit was Suspicious Husband . . . { ^^;^;jf^'j;'^^"'^ part of the Harman legacy, and Tamerlane Selima , , , Tender Husband Fainlove that her re-appearance was due to Theodosius ... . Puicheria j-j^e death of that estimable actress. Way to Keep Him . . . . Furnish Wonder Iris Visitors to the New York of „ , . , „ l^'f"' twenty years ago will remember Cathenne and Petruchio Curtis Contrivances Betty the Splendid Structure in Broad- LEA VE-TAKINGS. 323 way that was then the New York Deuce is in Him Mad. Florfval -_ . , Devil to Pay Lady Loverule Hospital. It was as a Contrijau- Harlequin Restored Cook tion toward this noble charity that High Life Below Stairs Cook Hob in the Well Hob's Mother the performance of the 26th of Lethe Mrs. Tattoo July was given. The advertise- Lying Valet { Mrs! Gadabout , r .!_• 1 ri. i • J Mayor of Garratt Mrs. Bruin ment for this benefit contained a ,,.„ , ., ^ , , Miller of Mansfield Margery quaint reference to its object. * Musical Lady Laundress Old Maid Old Maid From this it will be seen that the Polly Honeycomb .... Mrs. Honeycomb • . . 1. i-L t L. Spirit of Contradiction .... Mrs. Partlet assistance given by the players to ^, , „ ,, ^ ° ■' ^ ■' Thomas and Sally Dorcas the New York Hospital, at the Upholsterer Termagant Witches Cook close of Mr. Douglass' admini- stration, was not characterized by the illiberality of sentiment displayed by the managers of the Pennsylvania Hospital in accepting a similar gift fourteen years before, when he was only beginning his career as a theatrical manager in the American Colonies. For the Hospital benefit the Rev. Dr. Myles Cooper, Provost of King's, now Columbia, College, wrote a prologue suited Dr. Cooper's Prologue. to the occasion, that was -.TT-.i. 1 ■ u . .1. IT. . r 1 spoken by Mr. Hallam. With melting breast the wretch s pangs to teel, ^ ' His cares to soften, or his anguish heal ; This waS the Only time in Woe into peace by pity to beguile. And make disease, and want, and sorrow smile ; '•^^ ^^ng niStory Ot tne Are deeds that nobly mark the gen'rous mind, American Stage before the Which swells with hberal love to human kind. And triumphs in each joy to others known Revolution when a clergy- As blissful portions added to his own. man in any way contributed ' Extract from the Hospital Adver- as providing a receptacle for the sick and TISEMENT. — *^* It is hoped that all who needy. It is hoped by the friends of the are charitably disposed or wish well to so hospital that the moral of the play to be actec. laudable and useful an undertaking will coun- will have some influence with those who are tenance this play with their presence, or other- otherwise no friends to the theatre. wise contribute their mite to so good a work 324 HISTORY OF THE AMERICAN THEATRE. Small though our powers, we pant with honest heart, In pity's cause to bear a humble part ; We gladly give this night to aid a plan Whose object's charity and good to man. Patrons of charity ! While time endures. Be every bliss of conscious virtue yours ! The hoary father snatched from want and pain, Oft to his consort and his youthful train Shall praise the hand that rais'd his drooping head, AA^en every hope, when every friend had fled, That raised him, cold and naked, from the ground. And pour'd the healing balsam in his wound. With kindly art detain' d his parting breath. And back repelled the threat'ning dart of death. The plaintive widow, shedding tears of joy. As fondly watching o'er her darling boy. Her anxious eyes with keen discernment trace The dawn of health relumining his face. Shall clasp him to her breast with raptures new, And pour the prayer of gratitude to you. In you the long lost characters shall blend. Of guardian, brother, father, husband, friend ! And sure if bliss in mortal heart can shine, That purest bliss, humanity ! is thine. Let not mistaken avarice deplore Each mite diminished from his useless store. But tell the wretch — that liberal acts bestow Delights which hearts like his can never know. Tell — for you feel — that generous love receives A double portion of the joy it gives, Beams o'er the soul a radiance pure and even, And antedates on earth the bliss of heaven. This night to youth our moral scene displays How false, how fatal are the wanton's ways ; Paints her alluring looks, fallacious wiles. And the black ruin lurking in her smiles ; Bids us the first approach of vice to shun. And claims a tear for innocence undone. While scenes like this employ our humble stage We fondly hope your favors to engage ; No ribald page shall here attendance claim. Which decency or virtue brands with shame ; No artful hint that wounds the virgin's ear. to the literature of the theatre or gave the drama any recognition, either direct or indirect. It will be observed that Dr. Coop- er's prologue is by all odds the best written for our stage between 1752 and 1774. Dr. Cooper, who was a graduate of Oxford University, was an active Tory when the Revolution broke out, and was reported to be one of the authors, if not the author, of a tract, entitled "A Friendly Ad- dress to all Reasonable Americans," which was answered by Alexander Hamilton, then a student in the college, in a pam- phlet of great ability. Cooper became very ob- noxious to the Whigs, and on the loth of May, 1776, he was driven from the college by a mob, led by "Sons of Liberty." He LEAVE-TAKINGS. 325 succeeded in reaching a No thought that modesty would blush to hear; . . _ We ask no patronage — disclaim applause — British vessel and sailed for But while we act and speak in virtue's cause, England. This event he ™s is our aim, and while we this pursue We ne er can fail of patronage from you. commemorated in a poem, printed in the Gentleman's Magazine, describing the attack of the mob and his flight when the furious throng An entrance forcing, poured along. And filled my peaceful cell ; Where harmless jest, and modest mirth, And cheerfixl laughter oft had birth, And joy was wont to dwell. Although Mr. Douglass was still the manager of the American Company Mr. Henry appears to have been taking an active part in Advertisement. the business, as is shown by an All persons having any demands on the advertisement in the New York American Theatre are requested to send in ^ ^^ ^^e 1st of July, jUSt their accounts to the subscriber, that they may be paid. John Henry. four days before the close of the season and the final leave-taking of the New York public. From New York the Company went to Annapolis for the races. A similar event to the final departure of these favorite performers from New York occurred in Philadelphia four months later. Before the Southwark Theatre opened, on the ist of November, 1773, for the brief season that proved to be the last engagement of the company in Philadelphia before the Revolution, it was announced that the Stay of Mr. Douglass' forces could be for a fortnight only. The limit was not exceeded, except by one night, when, in consequence of the vessel in which the company was to sail for Charleston being delayed, the "West Indian " was given, with Mrs. Douglass as Lady Rusport. The bills for five of the six nights of this short season have been preserved. 326 HISTORY OF THE AMERICAN THEATRE. List of Performances. »773- Nov. I — Lionel and Clarissa . . Bickerstaff Love a la Mode .... Macklin 3 — Earl of Essex Jones Citizen Murphy 8 — Hamlet Shakspere Irish Widow . . . Garrick 10 — Clandestine Marriage Garrick and Colman Padlock Bickerstaff 15 — ^West Indian .... Cumberland Cross Purposes O'Brien and of these we have casts for three nights — the 3d, loth and 15th of November. In the "Earl of Essex" no change was made since the play was last performed in Philadelphia, except the substitu- tion of Miss Storer for Mrs. Henry as Countess of Nottingham and of Mr. Hughes for Mr. Byerly as Sir Walter Raleigh. In the farce Miss Wainwright appeared as Maria, the first time in six years. Hughes also succeeded Byerly as Sir Jasper Wilding, and Mr. Douglass was advertised as Dapper, Mr. Roberts as Quilldrive being dropped. The cast of the "Padlock" was identical with that previously printed, but for the "Clandestine Mar- riage " there was a new distribu- tion of parts. As this was the last time the comedy was per- formed in Philadelphia by the old American Company, and on the last night but one of acting at the Southwark Theatre before the Revolution, it is worth reproduc- tion here. It will be noted that Clandestine Marriage. Lord Ogelby Mr. Hallam Sir John Melville Mr. Douglass Lovewell Mr. Henry Sterling Mr. Morris Sergeant Flower Mr. Goodman Canton Mr. Hughes Brush Mr. Wall Traverse Mr. Dermot Truman Mr. WooUs Miss Sterhng Miss Hallam Miss Fanny Miss Storer Betty Miss Richardson Chambermaid Miss Wainwright Housekeeper Mrs. Wall Mrs. Heidelberg Mrs. Douglass Miss Wainwright was the Cham bermaid. This, however, was not her last appearance on the stage, her farewell being made as Lucy in " Cross Purposes," which was the afterpiece to the "West Indian" on the 15th. In the "West Indian," LEAVE-TAKINGS. 327 on this occasion, Hallam played Belcour, Henry 0^ Flaherty, Woolls Varland, Hughes Fulmer, and a gentleman made his debut as Charles Dudley. The other parts were unchanged. In "Cross Purposes" Morris played Mr. Grub, instead of Goodman, Hughes Robin, instead of Morris, and Dermot Consol, instead of Byerly. When the curtain fell that .night the doors of the theatre Mr. Douglass had built seven years before closed forever upon his management. On the last night of the performance in Philadelphia Mr. Good- man spoke an epilogue, which, although not intended as such, proved a last farewell. No mention of it was made in the Phila- delphia papers, but it was printed in the Virginia Gazette at Williamsburg, on the 1 3th of January, 1 774. There is no hint as to the au- thorship, but its phraseology is so personal to the ac- tor as to convey the impression that he was also the poet. The most interesting fact in connection with it Goodman's Epilogue. To strike with magic touch the attentive ear; To draw from pity's eye the generous tear ; To soothe the heart and feel another's woe; To catch the uplifted sword and save the blow ; To wake with melody the breathing lyre ; To warm the soul and animate its fire : Labors like these, in far sublimer lays, Be crowned with laurels and unenvied bays. Should friendship move poor me to paint distress, For I can feel, ye rich, but not redress ; Oh could each generous heart whose tears will flow For others' griefs, but mitigate the woe ! Then would the world in happy concord join. And warring nations feel the change divine ; Friendship and love erect their sacred throne, And hail sweet peace an offspring of their own. But I, alas, by fortune placed so low, Must check my fond ideas as they flow. What ! cries the proud, shall paltry play'rs engage To preach up reformation to the age ? Shall they, whose borrowed wit can scarcely raise The sniggering leer, or vulgar shouts of praise. Shall they by reason or by judgment shine, Whose " ten low words oft creep in one dull line ? " Mere strollers, so our chronicles have shown, [gone. Like Hamlet's ghost — they're here — they're there — they're To these good gentlemen I'd speak one word — A slave ere now gave counsel to his lord — 328 HISTORY OF THE AMERICAN THEATRE. Tho' we inured to bear the public jeers Of ambling authors, in their awkward gears, Yet can we whip and cut the comic muse. And beat, if virtue drives, whene'er we chuse; Or, if with tragedy we're loaded deep 'We mourn Monimia, and for virtue weep, Praise virtue's cause in whatsoe'er we say, For she's the heroiue, wliaie er the play. Thus Belisarius, seamed with many a fear, The poor returns of long and fearful war, 'Whose mind with virtue and with truth elate Beyond the vassals of inglorious state, 'Twas thus she spoke aloud tins ;;rm decree, **My sons, be virtuous and, my sons, be free.'' {Taking '.-a^ ; Ladies, the favors which your : dunty show 'Will raise my gratitude, where'er we go ; And now, kind gentlemen, with heart sincere, I take my leave and thank yo-ur goodness here. is that it should have been first printed in Virginia weeks after its delivery in Philadelphia and while the company- was performing at Char- leston. It is to be re- membered, however, that the advertisements in the Philadelphia papers an- nounced the Farewell Epilogue to be spoken by Mr. Hallam. This intention was probably changed to allow Mr. Goodman to speak his own production. It may be well to add that down to the Revolution Philadelphia was the most important theatrical city in the Colonies. CHAPTER XXIX. THE CHARLESTON THEATRE. OPENING OF THE FIRST THEATRE IN SOUTH CAROLINA A COMPLETE LIST OF THE PERFORMANCES A BRILLIANT SEASON CHARLES- TON AUDIENCES IN 1 77 3-4 A SLIGHT SPIRIT OF OPPOSITION MANIFESTED. IN Rivington's Gazette, under date of July 27th, 1773, it was announced that a large subscription had been solicited and was raising for building an elegant theatre in Charleston, S. C, in which Mr. Douglass' American Company would perform during the winter. Mr. Douglass evidently had gone to Charleston on this business before the close of the New York season, leaving Mr. Henry in charge, as it was announced he would sail thence for Philadelphia on the 30th of August with Captain Blewer, " having secured the patronage of the gentlemen of that city, which will enable him to build and open an elegant theatre before Christmas." This indicates that the Charleston Theatre was built upon a plan similar to that which enabled Mr. Douglass to build the theatre at Annapolis, in 1771. The house was not large, but it was more commodious than either the Southwark Theatre at Philadelphia or the John Street Theatre in New York. It was said of it that it was elegantly finished and well supplied with new scenery. How long this theatre stood is uncertain, but it does not seem to have been used as a play-house after the Revolutionary war. (■329) 330 HISTORY OF THE AMERICAN THEATRE. Previous to the erection of this building entertainments such as the concerts of the St. Cecilia Society were given in a large, inelegant structure, situated, Josiah Quincy, Jr., says in his "Journal," down a yard. The new Charleston Theatre was opened on the 2 2d of Decem- ber, 1773, with "A Word to the Wise" and " High Life Below Stairs." List of Perfor mances. This was the beginning of a season i^^22-WordtotheWise . . . .Kelly o^ Sfty-nine nights, during which High Life Below Stairs . Townley as many as forty-eight distinct 24 — Hamlet Shakspere Cross Purposes O'Brien plays and twenty -nine farces were 27 — Suspicious Husband . . . Hoadly . t-., , , ., Catherine and Petruchio. Shakspere S'^^"" ^he season lasted until 30— Clandestine Marriage the 19th of May, 1 774, a period Garrick and Colman ^ . Mayor of Garratt Foote ^^ ^^e months. When it closed jln."*' I— Earl of Essex Jones ^ complete list of the perform- Irish Widow. . . .Garrick ^nces, from the beginning, was 3_Love in a Vill^e . . BickerstafF '^ °' Lethe . .... Garrick printed in the South Carolina 5 — Gamester Moore High Life Below Stairs. Gazette. As already mentioned, 8— Beaux' Stratagem . . Farquhar t^is is the only complete list of Miller of Mansfield . . . Dodsley 10— Constant Couple . Farquhar any season before the Revolution, Catherine and Petruchio. 13-Mouming Bride . . . Congreve except that for the Annapolis en- Lying Valet .Garrick gagement of 1760. It is, how- 15 — She Stoops to Conquer . Goldsmith Irish Widow. ever, in every way more interest- 17— Jane Shore Rowe . , , , ,. Cross Purposes. '"g than the Annapolis repertoire. 19— Busybody . . . Centlivre jj^e good people of Charleston Love a la Mode .... Macklin 24 — Cymbeiine .... Shakspere had not only an opportunity of Honest Yorkshireman . Carey . . -i « • ^ > 25_Beggars' Opera ... Gay Witnessing the American Com- LovealaMode. pany's last performances before 27 — Romeo and Juliet . Shakspere Miss in her Teens . . .Garrick the Revolution and of seeing the THE CHARLESTON THEATRE. 331 performers at their best, but the list of performances presented for their approbation is almost bewil- dering in extent and variety. Nearly everything that then held the stage was produced at least once during the season. Nine of Shakspere's masterpieces were given, including " Julius Caesar," for the first time in America. Dryden, Vanbrugh, Congreve, Farquhar, Colley Gibber, White- head, Otway and Addison were all represented. Eight of Garrick's productions were in the list. Bickerstaff's English operas, then in the height of their popularity, were sung, and the comedies of Kelly and Cumberland were in the bills from time to time. Gold- smith's masterpiece, " She Stoops to Conquer," was twice played, and Murphy's " Way to Keep Him " and " Apprentice " once each. There was, besides, an afterpiece, "Young America in London," the title of which seems to indicate that it was of local Jan. 2g — Merchant of Venice . . Shakspere Devil to Pay Coffey 31 — Richard III .... Shakspere Thomas and Sally . . Bickerstaff Feb. i — Tempest Dryden 4 — Love in a Village. Love a la Mode. 7 — Wonder Centlivre Midas O'Hara 10 — Alexander the Great .... Lee Miller of Mansfield. 12 — Tempest. Guardian Garrick 14 — George Barnwell Lillo Edgar and Emmeline Hawkesworth 17 — King Henry IV . . . Shakspere Thomas and Sally. 19 — Theodosius Lee Citizen Murphy 21 — Bold Stroke for a Wife . Centlivre Mayor of Garratt. 24 — Othello Shakspere Damon and Phillida . . . Cibb^r 26 — She Stoops to Conquer. Edgar and Emmeline. 28 — ^Jealous Wife Colman Citizen. Mar. 2 — Shipwreck Cumberland Catherine and Petruchio. 4 — Lionel and Clarissa . . Bickerstaff Lethe. 7 — Fashionable Lover . Cumberland Padlock Bickerstaff 10 — Maid of the Mill '. . . Bickerstaff High Life Below Stairs. ^3 — Lear Shakspere Irish Widow. 14 — Tempest. Padlock. 16 — Cymon Garrick Miss in her Teens. 18 — Recruiting Officer . . Farquhar Oracle Mrs. Gibber 21— West Indian .... Cumberland Devil to Pay. 332 HISTORY OF THE AMERICAN THEATRE. Mar. 25 — Provoked Husband . . Vanbrugh Lying Valet. 26 — Romeo and Juliet. Hob in the Well .... Gibber April 4 — Lionel and Clarissa. Englishman in Paris . . . Foote 6 — English Merchant . . . Colman Contrivances Carey 8 — Fair Penitent Rowe Cross Purposes. 1 1 — Roman Father .... Whitehead Irish Widow. 13 — Way to Keep Him . . . Murphy Contrivances. 15 — Constant Couple. Lying Valet. 18 — False Delicacy Kelly Witches. 20 — ^Julius Cassar Shakspere Register Office Reed 22 — Macbeth Shakspere Young America in London. 25 — West Indian. Midas. 27 — Tamerlane Rowe Catherine and PetrucMo. 29 — Cymbeline. Love a la Mode. May 2 — Bold Stroke for a Wife. Neck or Nothing .... Garrick 4 — Orphan Otway Miss in her Teens. 7 — Clandestine Marriage. Apprentice .... Murphy Opening OF the Charleston Theatre. — On Wednesday last the new theatre in this town was opened with Mr. Kelly's "Word to the Wise " and " High Life Below Stairs," with an occasional prologue and epilogue spoken by Mr. Hallam and Mrs. Douglass. The performance gave universal satisfaction. Mr. Hallam in particular in Captain Doriner displayed his extraordinary theatrical talents in a most splendid manner. Indeed, all the performers did great justice to their characters ; origin. If this assumption is cor- rect it was the first farce by an American author that found its way to the stage. The records of this season, doubly interesting because it was the first and last campaign before the Revolution, are exceedingly meagre. All the Charleston pa- pers printed just before and im- mediately after the opening of the new theatre are lost. Fortunately Rivington's New York Gazette, which was the best newspaper of that period in the modern sense, contained an account of the open- ing that almost compensates the loss of the South Carolina reports. Indeed, it is not improbable that the account printed in Rivington's Gazette^ was copied from the South but that gentleman's superior abilities were so remarkably striking that we could not pass them over unnoticed. The house is elegantly finished and supposed for the size to be the most commodious on the continent. The scenes, which are new and well designed, the dresses, the music and what had a very pleas- ing effect, the disposition of the lights, all contributed to the satisfaction of the audience, who expressed the highest approbation of their entertainment. THE CHARLESTON THEATRE. 333 Carolina Gazette. From this it May ii— Cato Addison Reprisal Smollett will be seen that Mrs. Douglass (A Masonic benefit.) spoke the epilogue on this occa- i6-Douglas Home ^ r t. jjgYil to Pay. sion, thus proving beyond all 19— King John Shakspere Guardian. question that a report other death, printed in many newspapers the previous September, was a mistake. In the South Carolina Gazette ' of the 30th of May there was, however, a very satisfactory report of the close of the season. From this account it will be noted that Mr. Douglass had laid out a very elaborate programme for the future, extending over a period of three years. This programme, fortunately for the country but unfortunately for the theatre, was not destined to be carried out, for on the 24th of October, 1774, the Continental Congress passed a resolution recom- mending a suspension of all public amusements. Information of this resolution was conveyed to Mr. Douglass in a letter from Peyton Randolph, the President of Congress, and with its receipt was closed the history of the American theatre before the Revolution. ' Close of the Charleston Season. — their performances. The choice of plays hath On Friday last the theatre which opened been allowed to be very judicious, the director here the 22d of December was closed. having selected from the most approved Eng- Warmly countenanced and supported by the lish poets such pieces as possess in the high- public the manager and his company were est degree the utile duke, and while they excited to the most strenuous efforts to render entertain improve the mind by conveying the their entertainments worthy of so respectable most useful lessons of industry and virtue, a patronage. It was considered how late it The company have separated until the winter, was in the season before the house could be when the New York Theatre will be opened, opened, the variety of scenery and decorations Mr. Hallam being embarked for England to necessary to a regular theatre, the number of engage some recruits for that service. The plays represented and that almost every piece year after they will perform at Philadelphia, required particular preparations, it must be and in the winter following we may expect confessed that the exertions of the American them here with a theatrical force hitherto un- Company have been uncommon and justly known in America. entitles them to those marks of public favor Scratch me, countryman ! — and I'll scratch that have for so many years stampt a merit in thee. 334 HISTORY OF THE AMERICAN THEATRE. Only one advertisement printed this season, that was in any- way complete, has come down to us through the existing files of the Advertisement. Charleston papers. This is an announcement of a Masonic bene- The last time but one of performing this season fit, contained in the South Carolina His Honof L!™enan?Govemor ^'^^ ^^^'^^''-^ ^«^^^^^ Joumaloi the For the BENEFIT of the Charity Fund of the jq^Jj pf May, 1/74. It affords US Union Kilminning Lodge, appropriated to the ReUef of all Members of the Society full CastS of the play and farce, the of Freemasons, their Wives, Widows, Chil- , -l r iU /-i. i , „ ' , ,. . only ones we have of the Charles- dren and Orphans when m distress ^ At the New Theatre ton season of 1 773-4. The only On Wednesday, May nth, 1774 By the American Company new name is that of Mr. Davis, Will be presented the Tragedy of 1. 1 j zlt .< • it, r CATO played Hearty in the farce. Never Performed There. These casts indicate that no im- Cato Mr. Douglass Sempronius Mr. Hallam portant changes had been made f""^"^ .;^^'"^""^ in the company, only the name Marcus Mr. Goodman Juba Mr. Hughes of Mr. Wall being missing among Syphax Mr. Morris Lucius Mr. Dermot those of the older members. It ^^"■^^ ^': ^°°^^ may be assumed, therefore, that Lucia Miss Storer Marcia Mrs. Morris with slight modifications, Owing An occasional Prologue to be spoken by . Mr. Hallam. to these unimportant changes, the An EuLOGiuM on Masonry to be spoken -^^^ presented at Charleston as an Epilogue by Mr. Goodman. The Masonic Anthem by Mr. Woolls. were played substantially as they To which will be added . . , , - - A Comedy of Two Acts called ^ad previously been cast at New THE REPRISAL, York and Philadelphia. or The Tars of Old England. Never Performed There. The first theatrical seas'on in Lieut. O'Clabber, with a song . . Mr. Henry ^1 , . , . Ensign Maclaymore Mr. Douglass Charleston was evidently a great Lieut. Lyon Mr. Goodman • event in the histofy of that City. It Capt. Champignon Mr. Roberts Black, a drunken sailor . . . Mr. Hallam is not Surprising that the players THE CHARLESTON THEATRE. 335 met with a warm reception at the Hearty Mr. Davis Brush Mr. Hughes hands of the Charleston play-goers. Halyard, with " Hearts of Oak " Mr. Woolls In Philadelphia and New York """''•;,, •■•;••■ -^'^^Storer (With a song in Character.) those who arrogated to themselves To conclude with Rule Britannia. At the end of Act I a new Mason's song, a finer clay than the ordinary ^jth a Chorus. mortal is made of disdained the ^°''"=' 35^- P''' ^5^- ^^"^T, 20.. No money will be taken at the doors, nor drama as interpreted by the stroll- any person admitted without tickets. The doors will be opened at Five and the mg players of the American p^Av begin precisely at a Quarter past Six Company. Ladies who held °'<='°<=''- themselves aloof from their commoner sisters seldom went to entertainments of any kind and never to the play. In Charleston the best society was fond of amusement — it was the fashion for the fine lady to be seen in public. Early in 1773 Josiah Quincy, Jr., of Boston, attended a concert of the St. Cecilia Society, and was astonished to find as many as two hundred and fifty ladies present, this, he was assured, being an unusually small number. In richness of dress he found the Charleston ladies to surpass their sisters of the North, and their superiors in manners — as he quaintly put it, " in taciturnity dur- ing the performance greatly before our ladies." The gentlemen, too, dressed with richness and elegance, and many wore their swords. Mr. Douglass' audiences throughout the season were always large, and in the matter of attire the most brilliant the American Company had ever played before. Still there was opposition to profane stage- plays, even in Charleston. " From the bad opinion I begin to enter- tain of the play-house now building," a lady signing herself "Cleo- patra" wrote in the South Carolina Gazette, on the first of November, 1773, "and the evils it might probably produce, I considered it as no other than the D 's Synagogue, and resolved never to set foot 336 HISTORY OF THE AMERICAN THEATRE. on the inside of it." " Cleopatra," however, seems to have changed her mind, for she added that she had actually adopted a plan of life quite contrary to that which she was so foolish as to think a more laudable way of spending her time and money. Later, '' at a time when the theatre is crowded and the Church neglected," a " Friend of the Clergy" recommended for their imitation, through the South Carolina and Country Gazette Journal, a specimen of the pulpit elo- quence aimed at the stage by the Rev. Mr. Toplady. The opposition, however, does not seem to have become virulent, and the season closed as brilliantly as it had opened. CHAPTER XXX. GENERAL SUMMARY. CLOSE OF THE EPOCH DEATH OF MRS. DOUGLASS REVIEW OF MR. HALLAM's CAREER MR. DOUGLASS, MR. HENRY, MR. MORRIS AND MR. WOOLLS MISS HALLAM — THE STOKER FAMILY THE SECOND MRS. MORRIS — MR. GOODMAN — MISS RICHARDSON — THE MINOR MEMBERS OF THE COMPANY. ALTHOUGH the season at Charleston was the last work per- formed by the American Company before the Revolution, the last performances by professional players took place at the Southwark Theatre, on the 19th and 23d of September, 1774. These were called "An Attic Evening's Entertainment," and were given by Mr. Goodman, of the American Company, and Mr. Allen, of the Theatre Royal, Edin- burgh. This is the first mention of Allen, who remained in America during the War for Independence, and was a manager and actor after- ward. He was the father of Andrew Jackson Allen, a noted theatrical character of the first half of the present century. Goodman and Allen's entertainments consisted of " specimens of elocution taken from the writings of the most approved English authors," together with an Introductory Address to the Town, spoken by Mr. Goodman, a humor- ous and satirical oration delivered by Mr. Allen, the "Lecture on Heads," by Goodman and Allen, and " Bucks Have at Ye All," after 22 (337) 338 HISTORY OF THE AMERICAN THEATRE. the manner of Mr. King, of the Theatre Royal, Drury Lane, by Mr. Allen. A month later, on the 24th of October, Congress passed a reso- lution recommending a suspension of all amusements, and thus closed the first epoch in American theatrical history. In parting with the actors and actresses who made the theatrical epoch previous to the Revolution the first place must of course be ,, ^ , _ accorded to Mrs. Douglass. Ac- Report OF Mrs. Douglass Death. ° cording to Dunlap she died in Last week died at Philadelphia Mrs. Doug- lass, wife of Mr. Douglass, manager of the Philadelphia in I773. This is ap- Americair Company °f Comedians mother of e^tj ^ased on a report of her Mr. Lewis Hallam and of Mrs. Mattocks, of "^ -^ ^ -^ Covent Garden Theatre, and aunt of Miss death, published in Rivington's Hallam; a lady who, by her excellent per- formances upon the stage and her irreproach- (jrazette, beptember 23d, 1773- able manners in private Hfe,had recommended ^j^^ announcement WaS Copied herself to the friendship and affection of many -^ of the principal families on the Continent and into the Pennsylvania Chronicle of in the West Indies. the 27th, but as the company was not at the Southwark Theatre at the time Annapolis was substituted for Philadelphia. The report, however, was a mistake, for Mrs. Doug- lass played Mrs. Heidelberg in the Mrs. Douglass' Parts. " Clandestine Marriage," on the 1 0th, and Lady Rusport in the '^^^' ' ■' i^ A Bold Stroke for a Wife . . . Mrs. Lovely "West Indian," on the 15th of Albion Queens Mary of Scotland Alexander the Great Lysigambis November, at the Southwark The- ah for Love Octavia atre, and then accompanied her Beaux' stratagem Mrs. Sullen Beggars' Opera Mrs. Coaxer husband and the company to Careless Husband Lady Betty , , , , ,. , Cato Marcia Charleston, where she delivered clandestine Marriage . . . Mrs. Heidelberg the epilogue on the opening night Committee j Mr* Da"" of the new theatre. Her death, Conquest.of Canada Sophronla „ . T f Isabella therefore, must have occurred in Conscious Lovers j Indiana GENERAL 1774. According to the recollec- tions of John North, who was the janitor or care-taker of the South- wark Theatre for many years, both before and after the Revolu- tion, Mrs. Douglass died at a large frame house that then stood at Fifth and South Streets, nearly opposite the theatre. She had been complaining for a long time of a hurt she received in the the- atre, and the inference is that it was this that finally led to her death. Mrs. Douglass was highly respected in Philadelphia, and Mr. North said all the ladies in the neighborhood of the theatre at- tended her funeral. She was buried in the grounds of the Second Pres- byterian Church, at Third and Arch Streets. This burial-ground unfortunately has been dug up and the ashes of the dead scat- tered, so that it is impossible to identify the spot where her re- mains reposed. The house in which Mrs. Douglass died was a tavern, and was afterward known SUMMARY. 339 Constant Couple .... / Lady Lurewell '^ \ L,aay Darling Cymbeline Queen Distressed Mother Andromache Douglas Lady Randolph Drummer Lady Truman - Earl of Essex .... Countess of Rutland Fair Penitent / ^alista (^ Lavmia False Delicacy Mrs. Harley Fashionable Lover .... Mrs. Bridgemore Gamester Mrs. Beverly George Barnwell Millwood Hamlet Queen Inconstant Bissarre Jane Shore Jane Shore Jealous Wife Lady Freelove" King John Queen Eleanor Lear Cordeha Love for Love \^^ Love in a Village Mrs. Deborah Love Makes a Man Louisa M-^^'l^ {L^St Maid of the Mill Lady Sycamore Merchant of Venice Portia Miser Mrs. Wisely Mourning Bride Zara Orphan of China Mandare Othello j^™!'^ t Desdemona Prince of Parthia Thermusa Provoked Husband . . . . \ ■, ? c \ Lady Grace Recruiting Officer Sylvia Richard III Queen Elizabeth Roman Father Valeria Romeo and Juliet .... { {^"^dy Capulet Suspicious Husband Clarinda Tamerlane Arpasia. Theodosius Athenais . Tunbridge Walks Hillaria Twin Rivals Constance Venice Preserved Belvidera West Indian Lady Rusport Woman is a Riddle Lady Outside 340 HISTORY OF THE AMERICAN THEATRE. Farces. Anatomist Beatrice Harlequin Collector Columbine ^^^ {S^R^ Neck or Nothing Mrs. Stockwell Oracle Fairy Queen Tom Thmnb Queen DollaloUa as the "Convention of 1787." For a sign it had a painting represent- ing the Federal Convention, be- neath which were inscribed the following lines : Mr. Hallam's Parts. Plays. A Bold Stroke for a Wife , These thirty-eight men have signed a powerfiil deed That better times to us shall very soon succeed. Besides his mother, Mrs. Douglass, Mr. Hallam was the only member of the American Company who began with it at its beginning and remained with it without in- terruption from 1752 to 1774. Mr. Hallam enjoyed the distinc- ^ Bold Stroke for a Wife . { CofFdgnwell tion among his contemporaries of Albion Queens Page , . ,, , Alexander the Great Alexander bemg an excellent general actor, ^ufo^L^^, Marc Antony both in tragedy and comedy. ^^^^' Stratagem Archer Beggars' Opera Macheath High comedy, however, was his Busybody Marplot Cato Sempronius Clandestine Marri^e .... Lord Ogleby Committee Colonel Blunt Conquest of Canada .... General Wolfe ( Daniel ' ■ ■ \ Young Bevil forte. In parts like Ranger, Mar- plot and Capt. Dormer he was very clever. But his style of acting, like the costumes of the period, was formal, stiff and prim. One of his most noteworthy low com- Conscious Lovers Constant Couple . . . { sir^Harry Wildair Country Lasses Modely Cymbeline Posthumous Cymon Cymon edy roles was Tony Iltmpkin in Distressed Mother Orest«s Don Quixote in England . . . Don Quixote "She Stoops to Conquer," of which he was the original in America. As a pantomimist Hal- lam was a great favorite, his Har- lequin being especially remarkable Douglas Norval • Drummer Tinsel Earl of Essex Essex Englishman in Paris Buck (Servant Horatio Lothano Altamon GENERAL SUMMARY. 341 for activity and grace. It was False Delicacy Cecil Fashionable Lover Mortimer also said of him that he was very Gamester Beverly piquant in the delivery of pro- ^'°'f ^^™''"" ^^°'e^ ^ ^ ^ ^ Hamlet Hamlet logues and epilogues, which were Henry iv Hotspur . Inconstant Mirabel then indispensable to the play, j^ne shore Hastings His list of parts shows a wonder- Jealous Wife / ?^i^ • ful range, and he seems to have ^™s 1°*™ Falconbridge been equally admired whether he ^^'^ ILear appeared in tragedy, comedy, Love for Love {valentine , , r i • TD 1. ■ Love in a Village Hodge farce or pantomime. But previous Lo,e Makes a Man ciodio tothe Revolution he had practically Macbeth Macbeth Maid of the Mill Aimworth no rival. There was no actor with c portia's Servant , 1 ■ , 1 Merchant of Venice . . . ■! Antopio whom to compare him, and he (shybck took care that there should be no Miser JLo^egold opportunity for comparisons. For Mourning Bride Osmya Orphan Chamont nearly a quarter of a century the Oiphan of China Zapheniri stage of the New World was his Othello \ lagb , , *■ (.Othello own. He was an absolute SOV- Prfnceof Parthia Arsaces ereign of the theatre. Not only Provoked Husband . . . . | ^^^io-s„r,\ did he have the choice of parts. Recruiting OfKcer Capt. Plume (Prince of Wales Tressel Richmond „ „ Richard Roman Father Roman Father Henry was not allowed to aspire r Balthazar Romeo and Juliet |j^^^^^ to many important roles until after school for Lovers Modely the Revolution, when he became ^^^ Stoops to Conquer . . . Tony Lumpkin Shipwreck Young Belfield Hallam's partner. According to „ . . „ , , r Ranger '^ ° Suspicious Husband "i T te John Durang, Hallam was accus- r Beiazet Tamerlane I jj^, tomed to say of Henry after the Tender Husband . . . Humphrey Gubbiu 342 HISTORY OF THE AMERICAN THEATRE. Theodosius f Marcian latter's death that he was a Splendid Twin Rivals Frizure _ amateur actor. It would, perhaps, V6nic6 Preserved • • ■ Pierre Way to Keep Him '. Lovemore "Ot be unjUSt tO Hallam should ^^='^°<"^ ^<='™" he be placed in the same category. Wonder Don Felix ^ ^ ^ Word to the Wise .... Captain Dormer Hallam was a graceful dancer and Zara Ozman ,.,,., ^ a skillful fencer. In learning the rarces. ° Brave Irishman Dr. Clyster latter accomplishment, it was Said, Catherine and Petruchio . . . Petruchio Citizen Young Wilding he received a hurt in one of his Cross Purposes George Devil ^j^j^j^ j^^ ^^^^ -^^^ Damon and Phulida Mopsus ^ Deuce is in Him Colonel Tamper of vieW, an odd expression tO his Edgar and Emmeline Edgar Guardian Guardian face. This was scarcely percept- Harlequin Collector Harlequin jj^j however, and generally his High Life Below Stairs .... .^Lovel ' > t> / Hob in the Well [ ^'^'^ Countenance was well adapted to ' \ Hob Honest Yorkshiremau ... . Gaylove the business of the Stage, espe- T „*!,„ f Fine Gentleman . ,, . , -. , ^^"'^ [Drunken Man _^ cially in comedy. In person he Love a la Mode Squire Groom ^^^ ^^^^^ ^^^ medium height, Lying Valet Sharp =" ' Mayor of Garratt .... / ^l^Khew Mug thin, straight and wiry. This is ■' I, ivlajor Sturgeon Miller of Mansfield Miller all we know of the personal ap- Miss in her Teens F'lash . , - , Neck or Nothing Slip pearance of the first actor whose •^^^ ^^^^ Clerimont training and career entitles him to Padlock Mungo Register Office Captain Le Brush _, be called American. The descrip- Reprisal . Block . . ,. -n, i t*. • i. Upholsterer Pamphlet t'°" ^^ °^^ ^O Dunlap. It IS at 'W'"^^^^ Harlequin least not SO much of a caricature as the drawing Dunlap made of him for the frontispiece to Major Tyler's comedy, the " Contrast." After Mr. Hallam the oldest members of the company of con- tinuous service were Messrs. Douglass, Morris, Woolls and Henry. Among these the name of Mr. Douglass stood first, both as actor GENERAL SUMMARY. 343 and manager, throughout the entire period. Whatever may have been his qualifications for the stage, and they certainly were respectable, THE LEADING MEN— THEIR PARTS. Plays. A Bold Stroke for a Wife Alexander the Great All for Love . . . Beaux' Stratagem . Beggars* Opera . . Busybody . Cato .... Clandestine Marriage Committee . Conquest of Canada Conscious Lovers . Constant Couple . . Country Lasses Cymbeline .... Cymon Distressed Mother . Don Quixote in Eng- land . ... Douglas Drummer Earl of Essex . Englishman in Paris Fair Penitent False Delicacy . Fashionable Lover . Gamester . George Barnwell . , Hamlet . . . Henry IV . . Inconstant . . Jane Shore Jealous Wife King John . . Doufflass. Colonel Feignwell Sir Philip . . Clytus Ventidius . Boniface . Aimwell . ... Peachum . Moll Brazen , . . Sir Jealous Traffic Cato Sir John Melville Colonel Careless Leonatus Sealand . Colonel Standard Heartwell .... Cymbeline . lachimo .... Lear Lionel and Clarissa Love for Love . . , Henry. Tradelove . Lysimachus . Aimwell . Sullen . . Sir George Airy Portius .... Lovewell . . . Teague Ochterlony . Britannicus . Sir John Bevil . Beau Clincher . Carbuncle . lachimo .... Bellarius Pyrrhus Grizzel . . . Lord Randolph Coachman Sir George Truman Southampton . . . Lothario Horatio . Colonel Rivers . . . Colin Macleod . . . Stukely Thorowgood . Ghost King ... Sir John Falstaff . . Major Oakley King John . . Edgar. Sir John Flowerdale Valentine ... Scandal Southampton Mr. Subde . . Sciolto .... Lord Winworth Aubrey . . Uncle . Horatio Laertes Prince of Wales . Sir Walter Blunt . Charles . Hubert . Periwinkle . Tradelove . Cassander . Alexas . . Scrub Lockit Beggar Sir Francis Gripe Syphax Sterling Mr. Day . . . . Levi Tom Alderman Smuggler Freehold ... Bellarius . . Pisanio Edmund . . . Harman . . . Sir Sampson Legend Foresight Morris. Simon Pure Thessalus , Myris . . . Gibbet . . Decius Truman ... , , Abel 2d Caledonian Chief Jemmy Chaunter . Dorus .... Pylades . . . . Sancha Panza Norval . . . , Fantome . Gardener . . , Burleigh . . . . Sir John Buck . Rossano . . . . Dr. Druid . , James . . . Bates . . . . Trueman , Blunt . . . . Horatio . . . Polonius King Henry . Old Mirabel Gloster . . Russet . . . Pandulph , , Kent . . . . Gloster . . . Albany . Woolls. Macheath Dickey . . . Sneak . . . . Arviragus . . Frenchman . Linco . . . , First Demon . Cook . Lieutenant Gamut . . Jarvis . Guildenstern . . . Rosencranz . . . Marcellus . . . . Northumberland . Douglas . . . . Third Bravo . . . Belmour Tom Melun Lionel . . Buckram 344 HISTORY OF THE AMERICAN THEATRE, his ability as a business man is unquestionable. The fact that he maintained the American Company intact for the long period of fifteen THE LEADING MEN— THEIR PARTS. Plays. Love in a Village . Love Makes a Man Macbeth Maid of the Mill . Merchant of Venice Midas Miser Douglass. Justice "Woodcock • Carlos . . . Macduff Fairfield Bassanio .... Frederick Mourning Bride . . Orphan ... Orphan of China . . Othello Prince of Parthia . Provoked Husband Recruiting Officer . Richard III ... . Roman Father . . . Romeo and Juliet . School for Lovers . SheStoops toConquer Shipwreck . ... Suspicious Husband King Garcia, Tamerlane Tempest Tender Husband . Theodosius . . . . Venice Preserved . Way to Keep Him . "West Indian . . . . "Wonder "Word to the Wise . Zara Henry. Eustace Young Meadows . Malcolm Morris, Sir William Meadows Don Lewis . Banquo Lenox Tubal . . Shylock . List , Zaniti Othello . . . . lago . . Artabanes . . Manly Lord Townly . . Sergeant Kite Buckingham . King Henry Richmond . Richard . Tullius Hostilius . Publius Horatius Mercutio . Montagu Sir John Dorilant Old Godwin Strictland . Frankly Tamerlane Monesses Prospero . . . Sir Harry Gubbin . Lucius . Marcian Priuli ... Sir Bashful Constani Captain Dudley Gibby . Sir John Dormer . Lusignan Castalio . . Timurkan Ca^sio . . Ludovico Launcelot , Jupiter Ramillie . . Decoy . . . Gonzales Acasto Mirvan . . Brabantio . Captain Brazen Richmond . I'ressel Publius Horatius . Tybalt . . . . Capulet . , . Young Marlow 'Belfield . , . nkly Monesses . . Omar Trinculo Mr. Clerimont . Theodosius . . Jaffier t Sir Brilliant Fashion Fvr'cour U' Flaherty . . . . L -lonel Briton . . . Sir George Hastings IVaolls. Hawthorn . . Priest . , , . Hecate . . . Farmer Giles Lorenzo . . . Apollo . . . Sparkle , , Mute Perez Zimventi Gratiano Bethas Sir Francis .... Squire Richard . . Worthy Justice Balance . . Stanly . . King Henry First Citizen . . . . Friar Laurence . . Steward Sir Charles Marlow Sir Benjamin Dove Tester Bellamy Dervise Stephano . , . Mr. Tipkin . . . . Aranthes Theodosius . . . . Squire Richard Worthy .... Ratcliff .... Sideboard . . . Mr. Stockwell Lissardo . . . , Don Lopez . Willoughby , , Farces. Apprentice . . . Brave Irishman . . Catherine and Pe- truchio Dr. Gallipot . Hortentio ''^rgle Capt. O' Blunder . Tailor , Wingate . . Tradewell . Third Citizen Landlord Skiff . , Buckle . Mirvan . . Tanais . . Mustachio . Sailor . . Frederick President Grumio ...... iPeter GENERAL SUMMARY, 345 years is in itself a proof of his managerial skill. His list of parts shows that he played many important roles in his time. He was especially fond of Scotchmen. In the Shaksperean drama he was the original King John and Sir John Falstaff on the American stage. Mr. Douglass' services in the establishment and development of the drama on this THE LEADING MEN— THEIR PARTS. Farces. Chaplet Citizen Cock-lane Ghost . . Comus Contrivances . Cross Purposes . . Damon and Phillida Deuce is in Him, . . Devil to Pay Guardian ... OldPhilpot . . Irish Sergeant . Francis Bevil Major Belfort Doctpc . Harlequin Collector HighLife BelowStairs Hob in the Well HonestYorkshireman Lethe . . . Love a la Mode Anatomist . Clown . . Doctor Freeman . ^sop ... SirArchy . . . Lying Valet Mayor of Garratt . . Miller of Mansfield . Miss in her Teens . Mock Doctor . . . Musical Lady . Neck or Nothing . Neptune and Amphi- trite . ... Old Maid . . . Padlock . Polly Honeycomb . Register Office Reprisal spirit of Contradic- tion Thomas and Sally . Upholsterer Virgin Unmasked . Witches Douglass. Henry. Young Wilding Comus Harry Bevil , Jobson Sir Jacob JoUop Bruin .... Gregory . Captain Cape Scotchman . EnsignMacClaymore Steer . . , Upholsterer , Statuary . Sir Harry Crispin Heeltap King Capt. Flash Sir William . . OldPhilpot . , Shadrach Bodkin . Second Spirit . . Argus Robin Corydon SirCallaghan . . Lieut. O'Clabber . Sailor Bellman . Morris. PFbaiis. Damon ... Beaufort . . . Third Spirit , Rovewell . . Damon Butler Sir Charles . . . Clown Anatomist . . . Philip Sir Thomas Testy Muckworm Old Man Beau Mordecai . Cook Sharp Crispin . Sneak . Dick ..... Miller Puff Sir Jasper Old Mask .... Martin Capt. Cape Heartly . , Mr. Honeycomb . Tricket Lieut. O'Clabber. Mr. Parlett . . . Feeble . , Goodwill . Pantaloon . Sir John Loverule Magician . Coachman . Friendly . . Gaylove . . Mercury . . First Mob , Joe . , . Jasper . Leander . Neptune , Don Diego Halyard , . Squire , . Rovewell Mercury . . . Necromancer 346 HISTORY OF THE AMERICAN THEATRE. continent have never been fully appreciated, his achievements being robbed of their significance by the fictions relating to the Hallams with which Dunlap began his so-called " History of the American Theatre." Although Mr. Henry was kept in the background by Hallam during this period of his service on the American stage he had man- aged to impress the public with his general excellence, while in Irish parts it was universally recognized that he was inimitable. Owen Morris — "Old Mr. Morris," as he was afterward known — was held to be an excellent actor in the serious fathers, and he was especially clever in humorous and eccentric old men, as Sir Francis Gripe, Alderman Smuggler, Old Mirabel and Beau Mordecai. His Shaksperean roles, as Polonius, Brabantio, King Henry and Friar Laurence were highly esteemed. Mr. Morris lived to be a very old man, his latter years being spent in retirement in Philadelphia. Stephen WooUs was a fair singer, but as an actor it is fair to assume his merits were not great. It was said that he sang the music of Hecate very effectively, and he was above all things else an honest man. Both Morris and Woolls were sharers in the American Com- pany down to the Revolution. They resumed their places in the company under Hallam and Henry after the War for Independence, Mr. Douglass being the only one of the quintette whose career on the American stage ended with the epoch. As the leading lady of the old American Company at the time of its dissolution Miss Hallam asserts her right to consideration. That she was the niece of Mrs. Douglass and the cousin of Mr. Hallam may be accepted as established. It is not likely that a journalist as well informed as James Rivington would have made GENERAL SUMMARY. 347 the mistake of calling Mrs. Douglass her aunt instead of her mother, especially as he mentions Mrs. Mattocks as Mr. Hallam's sister. Her list of parts shows her to Miss Hallam's Parts. have been first in everything, from p^ Statira ^.nd, Juliet to Po/fy in the Alexander the Great Statira Beaux' Stratagem Dorinda " Beggars' Opera," — in tragedy, Beggars' Opera Polly , , . T 1 1 Busybody Isabinda comedy and farce. In her day ^^^^^ i^ucia her admirers sang her praises Clandestine Marriage .... Miss Sterling Committee Isabella with a fervor and passion that her Conquest of Canada Sophia , nT- /-^i 11 Conscious Lovers Lucinda predecessor, Miss Cheer, had never r- . . /- i a v ^ ' ' Constant Couple Angelica been able to command. Even al- Cymbeline Imogen Cymon Sylvia lowing for poetic license and Distressed Mother Cleone enthusiasm she must have had a Earl of Essex. . {countess of Rutland'^"' fair share of personal beauty, else F^lfDehcacy Miss Marchmont Fashionable Lover .... Augusta Aubrey the Maryland poet would scarcely George Bamwell Maria ... Hamlet Ophelia have dared to exclaim in his im- j^^^^^ ^ff^J^ Harriet passioned, pedantic way :— King John Blanche Lionel and Clarissa .... Diana Oldboy Ye Gods ! 'Tis Cytherea's face ! Love,for Love Angelica The poem accords Miss Hal- Love in a Village {Roslttl^ lam theatrical talents of the most Maid of the Mill Patty Merchant of Venice Jessica versatile order, making her one Miser Harriet of the few actresses who have had Mourning Bride | Almeria" the ability to catch Shakspere's ^'°^°^^^ Husband Miss Jenny Recruiting Officer Rose glowing ray ; investing her com- Roman Father Horatia . Romeo and Juliet Juliet edy with the power to compel gchool for Lovers Celia laughter to hold his sides and She Stoops to Conquer . . Miss Hardcastle Shipwreck Sophia make the pit resound with ios of Suspicious Husband Clarinda Tamerlane Arpasia enjoyment, and matching her elo- lender Husband Niece 348 HISTORY OF THE AMERICAN THEATRE. ^ , . f Mirina cutioii onlv with the notes of her Theodosius \Athenais ' Way to Keep Him .... Widow Leimour singing voice when her looks in- ^--^^^^-- Charlotte Rusport f^^.^ ^he Strings. Of Miss Hallam ) \ lolante ° °° ^^ ^ Isabella ^^^^^ ^^^ retum to England there Word to the Wise Miss Montagu Farces. is no information. After being Si'"!":":".* .■ .■ .■ .• ; .■ ; • . i^l ^^^S of by the poets and painted Comus Sabiua ]^y Peale she was destined to be Deuce is in Him Emily- Edgar and EmmeUne .... Emmeiine ignored, if not entirely forgotten S"^f "° : ;, ^^'" ^^'' by the dramatic historians. She Harlequm Collector ... . Haj-maker •' High Life Below Stairs ... . Lady Bab Jj^s alwayS been confounded with Hob in the Well Flora Honest Yorkshireman Arabella her COUsin, the MisS Hallam of Lethe Mrs. Tattoo , ■• ■. , , ,, ^ r-u , . 1752-4, and her merit as an actress Love a la Mode Charlotte ' ■' ^' Miss in her Teens Miss Biddy denied, while her parts show that Musical Lady Sophy Neck or Nothing Miss Xancy she occupied a more important ^^^, ^, }-n la position on the American stage radJock Leonora '■ ° Reprisal Miss Harriet than had ever been filled by her Thomas and Sally . Sally aunt, Mrs. Douglass. Of the three Storer sisters who came to the Southwark Theatre at the same time with 'Sir. Henry, in 1767, Ann was the eldest, and until shortly before the Revolu- ^nn Stoker's Parts. tion, when she was known as Mrs. Plays. Henry, the most prominent actress. Alexander the Great Parisates TT ,. r 1 1 • All for Love Octavia Her list of parts shows her in a beaux' Stratagem Cheny favorable light as an actress from Beggars' Opera Mrs. Coaxer Clandestine Marriage Betty the very beginning of her career. Conquest of Canada First Nun T, - , , ,. , , Conscious Lovers Isabella It IS true she did not occupy the ^ymon Fatima front rank, especially in tragedy, Distressed Mother Cephisa Earl of Essex . . . Countess of Nottingham at any time, Desdevwna being her False Delicacy Miss Rivers GENERAL SUMMARY. 349 best role in the Shakesperean Fashionable Lover Lucinda Hamlet Player Queen drama, but all her parts were King John Lady Falconbridge responsible, and some of them , ^" ," ' ' " ". ^^^^° Lionel and Clarissa Jenny excellent. She suddenly dropped Love for Love Angehca Midas Juno out of the bills altogether, Miss orphan Serina Richardson taking her part of °*'".°. • ' Desdemona ° Recruiting Officer Melinda Betty in the " Clandestine Mar- Richard III Lady Anne Roman Father Valeria nage, when it was last played Romeo and Juliet LadyCapulet in Philadelphia, in 1773, and her School for Lovers Araminta ^ ' ''•" Shipwreck Violetta sister succeeding her in the "Earl Suspicious Husband .... Mrs. Strictland Tamerlane Sehma of Essex, as already noted. It Tempest Miranda Way to Keep Him .... Mrs. Lovemore West Indian Miss Fulmer remain with the company until Wonder Flora the end, although it is more prob- ^ , . , „ Farces. ° '^ Catherine and retruchio Bianca able that she separated from Mr. Guardian Lucy High Life Below Stairs Kitty does not follow that she did not Hob in the Well ......... Betty Lying Valet Kitty Pry Mayor of Garratt Mrs. Sneak Miss in her Teens |MJ Biddy Neck or Nothing Jenny Register Office Margery Monfort Upholsterer Termagant Henry in the winter of 1772-3 and retired. She died in New York, in 18 16. Her son, the late George Hogg Biddle, used to tell of meeting the celebrated Mrs. Wheatley in the street as a boy, who recognized him because of his resemblance to his mother. Fanny Storer, the second of the sisters, who became Mrs. Mechler, was on the stage with the old American Company for only Fanny Stoker's Parts. a brief period. Dunlap is authority Plays. for the statement that she became Constant Couple Parly ^^g_ Mechler, but he Seems to fix Fair Penitent Lucilla Suspicious Husband Jacintha the date of her marriage after Mr. 3 so HISTORY OF THE AMERICAN THEATRE. Farces. Henry's death, while Mr. Ireland High Life Below Stairs . . Lady Charlotte Miss in her Teens Flash confounds her with her younger sister, Maria. Her list of parts shows her in only three plays and two farces. Her last appearance was in New York, in 1768, when she played Flash, and her sister, Maria, Fribble in " Miss in her Teens." As Maria was called Miss Storer in the bills, when Ann became Mrs. Henry, it is probable that Fanny's marriage occurred about this time. Maria Storer became more of a favorite than either of her elder sisters. Growing from childhood into womanhood under Mr. Henry's eye their subsequent relationship Maria Storer's Parts. is peculiar — perhaps reprehensible. „/ It is sad to reflect that her girlish beaux' Stratagem Gipsy Beggars' Opera Lucy beauty and great gifts should have Cato Lucia ,j,. ., .,. , , , Clandestine Marriage Miss Fanny led him mto wishmg to make her „ „ , . ° Comus Euphrosme the successor of her sister, or that Conquest of Canada Second Nun ^ / Cupid she should have been willing to ^°" t First Shepherdess . T^ , Earl of Essex . . . Countess of Nottingham occupy her Sisters place. Dunlap Englishman in Paris Lucinda sees in Henry's successive rela- ^^'^^ Eelicay Miss Marchmont Fashionable Lover Betty tionships to the Storer family " a George Barnwell Maria , . , ,, , , , King John Prince Arthur glimpse at the state of manners ^o^el and Clarissa Clarissa and morals among these teachers Love for Love Miss Pme Love in a Vill^e Lucinda of virtue and morality," and de- Macbeth Fleance Maid of the Mill Fanny clares that "it is unjust to fix a Midas Nysa stigma on a profession which ap- Mourning Bride Leonora '^ ^ Orphan Page pertains to an unworthy indi- She Stoops to Conquer .... Miss Neville Shipwreck Lucy Waters Vldual, but he does not pomt out suspicious Husband Milliner the unworthy individual. On the Tempest Ariel Theodosius Marina contrary, his ambiguity and dul- Way to Keep Him Muslin GENERAL SUMMARY. 351 ness have left the stigma on Ann West Indian Louisa Dudley Wonder Isabella Storer's name. To her it cer- Word to the Wise .... Miss Willoughby tainly did not belong, whether Fanes. Cross Purposes Emily there was or was not a marriage Damon and PhilUda Phillida ^- -.1, i- u a ^ ^^^" '° P^y Nell ceremony at the time Henry first High Life Below Stairs Lady Bab recognized her as his wife. Whether Hob in the Well Flora Honest Yorkshireman Arabella he afterward actually married Maria Lethe Mrs. Riot „, . ,, ,, ,• ^ •rj_ Miller of Mansfield Kate Storer is equally problematical. It Miss in her Teens Fribble seems certain, however, that his Musical Lady Lady Scrape Neptune and Amphitrite .... Amphitrite fondness for the younger sister Register Office Maria caused his separation from the elder, because the younger had sup- planted the elder before the public long before she took the name AN ODE Mrs. Henry. As an actress and Inscribed to Miss Storer. . ,, . _ , , , . Singer Maria htorer was held in Genius of Harmony, descend, ^igh esteem, even before she In all thy smiles appear. And pleased, thy Storer's voice attend ; reached WOmanhood. The Mary- For her thou lov'st to hear. , , , • i , t-. i T3J , J land poets invoked reale to paint Bid every ruder sound remove, ^ ^ Bid care, bid sorrow fly, her as Ariel, when singing his For now thy Storer wakes the lay • r • l- iv/r- tt 11 . J . , , , ■' praises for painting Miss Hallam And, mistress of the heart, ^ r a Does with our yielding passions play, as Imogen, and an Ode, signed Submissive to her art. •Tis hers to lead the mind along, " Philomelos," inscribed to her and With love's own ardor warm; -^^^^ j^ ^^^ Maryland Gazette, Hers all the various powers of song. And music's magic charm. October 14th, I773, WaS as ful- ■Tis portion of tv ethereal flame, ^^^^ ^g ^^e verses addressed to This high-wrought charm is given To those alone of finer frame, Miss Hallam in previous years. The favorites of heaven. t-^ 1 For sure, it asks celestial art, Dunlap pronounces her the best And all the Seraph's skill, ^vkXic singer America had known To rule th' emotions of the heart, Or fix the wavering will. previous to the year 1792, and 352 HISTORY OF THE AMERICAN THEATRE. As on the banks of Nile's famed stream, adds that she played tragedy and Old Memnon's lyre renown'd, Touch'd by the sun's enliv'ning beam, comedy with Spirit and propriety, Return'd a tuneful sound. i.i i i /* < t although her figure was rather So warm d by some divmer ray, ° ° Some emanation bright .petite for the former or for the Of harmony, fair Storer's lay Thus pains us with delight. heroines of Congreve and Gibber. While now she wakes die liring lay, Wood calls her "a prodigious Arid fills the enraptured soul, favorite," but alludes to her silly I feel my beating heart obey. And own her soft control. and capricious conduct, which Sweet Harmonist ! prolong the strain, The melody of Heaven ; frequently led to a change in the And soothe with songs the tender pain, _ r ^.u „u „„.«„ ^, , , . ^ ' performance through some cap- Ihy tender songs have given. "■ o i tious objection to a character, a slender box-sheet, or a stinted proportion of applause. Charles Durang on the other hand, apparently on the authority of his father, John Durang, tells us that " opinions differed widely as to her merits as an ac;^ress." The testimon\' of none of them has much value. Wood, if he knew her at all, could have known her only as a boy, and his knowledge of her was so slight that he says she had previously been well esteemed at Bath as a principal singer. Durang calls her " Miss Storer of the London theatres," who, " soon after her arrival, became the wife of Mr. Henrj-." As has been shown, her training, both as a singer and an actress, was entirely American. Maria Storer died soon after Henry's death, in a house he had built back of the Southwark Theatre, heart-broken, demented and very poor. No greater contrast is possible than between Maria Storer and the second Mrs. Morris. The one was slight, girlish, blue-eyed — the other tall, stately, imposing. The one was the ideal Ariel of our early drama — ^the other the Portia. Which was the greater favorite even Wood does not undertake to decide. Their line of parts was so GENERAL SUMMARY. 353 distinctly opposite that there was in reahty no opportunity for rivalry. No such queenly Elizabeth had ever been seen in America in the " Earl of Essex," Mrs. Morris' Parts. when Mrs. Morris essayed the ~, ■' Plays. role ; no such stately Shrew had Beaux' stratagem Mrs. Sullen Beggars' Opera Mrs. Peachum been presented by her predeces- Cato Marcia • • ^ j, e Lying Valet Mrs. Trippet ^^^'^ ^"^^" ^ ^"^" '^^^J^^ for Miller of Mansfield Peggy two years with the American Com- Upholsterer Harriet pany. The only actress with whom it would be possible to identify her is Miss Richardson, but the O'Briens seem to have returned to England before Miss Richardson's debut. GENERAL SUMMARY. 355 All that is known of Mr. Goodman has already been told in this volume, but his list of parts is so interesting for a young man who went fro-m a lawyer's office Mr. Goodman's Parts. to the stage, at that early period piays. of American dramatic history. Beaux' Stratagem • • • -^"'^"^ Beggars Opera Mat o the Mint that it is sure to command atten- Cato Marcus Conquest of Canada Montcalm tion. From the very outset he Constant Couple Beau Clincher was allowed as high a rank as J^ ^ °^ t,"l"^ ° Cymon Merhn was accorded to Mr. Henry, after Englishman in Paris Buck Fashionable Lover Tyrrel ten years' service. It has long Hamlet Ghost been the habit to accord the honor ^^^^ ^\ ■■. ^^ ™ofir Lionel and Clanssa .... Lolonel Oldboy of being the first actor of Ameri- Love for Love Ben Maid of the Mill ... Sir Harry Sycamore can birth to John Martin, but Merchant of Venice Gratiano Goodman seems to be entitled to ^'^^ ^'^^ Othello Cassio that distinction. At the same Recruiting Officer Bullock Richard III Buckingham time it ought to be remembered ^^^^^ p^j^er Pubiius that the old American Company Romeo and Juliet Escalus She Stoops to Conquer Hardcastle was almost wholly of American Shipwreck Captain Ironsides ,, ^ , T-r Tamerlane Monesses training, Hallam, Douglass, Henry, ^.^^^^^^ Caliban Morris, Woolls, Miss Hallam and Theodosius Leontine Way to Keep Him WiUiam Maria Storer having gained their West Indian Major O'Flaherty . , . . ^1 /- 1 Wonder Don Pedro theatrical experience in the Colo- ^^^^ ^^ the Wise Villars nies. With the close of the -^«''^"- Catherine and Petruchio .... Petruchio Charleston season Mr. Goodman's comus Younger Brother ,. r J Cross Purposes Mr. Grub name disappears from our dra- ^^^^ ^ ^^^^^ matic annals. He deserves espe- Lying Valet Guttle Mayor of Garratt Major Sturgeon cially to be remembered as the Register Office Lord Brilliant original Hardcastle in the only ^^P"^^^ ^^^'^^- ^y""" 3S6 HISTORY OF THE AMERICAN THEATRE. play of the period that has survived, " She Stoops to Conquer." It is to be regretted that as the first American actor our knowledge of Goodman is so incomplete. Mr. Wall's service with the American Company was much longer than that of Mr. Goodman, but in spite of his experience he Mr. Wall's Parts. ^as completely eclipsed by the Plays. younger actor. Wall made his A Bold Stroke for a Wife . . Freeman - , , , Alexander the Great Hephestion ^^'* appearance on the openmg All for Love Doiabelia night of the Southwark Theatre, C Mr. Sullen Beaux' Stratagem J Scrub in 1 766, aS Glenalvon in " Boug- ie Freeman Beggars' Opera Filch las " and Biondello in " Catherine Busybody Charles j t) 4. u" » u- T j • Cato . . . Tuba ^ retruchio. His roles durmg Clandestine Marriage Brush his first Season were generally Conquest of Canada Bougainville Conscious Lovers ... . Myrtle those in which youth and good Constant Couple .... Young Clincher , ■, . . . t . ■ Country Lasses Lurcher ^°°^^ ^^^ important, as Laertes in Cymbeline cioten "Hamlet," Belmour in the "School Cymon Damon Don Quixote in England . Squire Badger for Lovers," Sullen in the " Beaux' „°"^ ^ ena von Stratagem" and Young Clincher in Englishman in Paris ... . Solitaire the " Constant Couple." Some- False Delicacy .... Sir Harry Newburg Fashionable Lover Napthali ^ow he has left behind him the H^lir. '.'.'.'.'.'... jPiaye^r King impression that he was the dandy t aertes ^^ ^^ company, both on and off f W estmoreland '^ •" '^'''^^^ ipnn°ce of Wales ^^^ ^^age. Durang left a note to Inconstant Dugard the effect that the early players Jane Shore Dumont Jealous Wife Charles Were always fashionably attired. King John . Dauphin r ix. j • • > 1 ,^^^ J some of them dressing in the ex- Lear /Edmund '^ T . , , ™ . - ^'''°-^'' treme of the foppish costume of Lionel and Clanssa :Mr. Jessamy Love for Love Tattle the period. First among these GENERAL SUMMARY. 357 theatrical fops I am irresistibly Love in a Village .... Young Meadows Love Makes a Man Don Duart led to place Wall. A number of Macbeth Lenox circumstances, each unimportant ^aid of the Mill Ralph Merchant of Venice Salanio in itself, suggests this portrait. Midas Damastas _ .„,.,,,,., , . , Miser Clerimont Once m Philadelphia he advertised Mournine Bride /Seiim ° (^ Garcia the loss of his chest, indicating the Orphan Polydore , , , , , Orphan of China value that the owner placed upon othello Roderigo the wearing apparel it contained. Prince of Parthia Gotarzes Provoked Husband Count Basset In New York, at a later period, he ^^^^^^^ ^^^^^ | BuUock ^^.^ bewailed the evil reports put in jy^j^^^^ jjj r Buckingham , . . , , . , 1 Edward V Circulation in regard to him by r„^^„ ^^^^^ v^l^^^^ some malicious person, showing Romeo and Juliet I B^^yojiQ in his wail the vanity of the cox- School for Lovers Belmour Shipwreck Philip comb. In Baltimore, where he suspicious Husband . . . . -f ^T'^JJ . '^ (.Jack Meggot lived during the Revolution, he Tamerlane {naf^ kept a horse for his own pleasure, Tempest Hipolito ,, , , , , , Tender Husband Mr. Prince until he became so hard pressed ^heodosius Aranthes for money that he was compelled Venice Preserved Bedamar West Indian Charles Dudley to advertise the animal for sale. Wonder Colonel BHnker As an actor Wall's ambition was . . Farces. \ Apprentice JDick ; certainly greater than his merit. Brave irishman Cheatwell Catherine and Petruchio .... Biondello * In spite of his opportunities he Chaplet Palemon; gradually sank in the favor of his C'''^^" /^r^^'^^^l \ , Cock-laneGhost . . . .l^^'fJ^^g^^PVl manager and the public, until he i^raior , Damon and Phillida Cymon ; found himself allowed only the Deuce is in Him Prattle ; . . . - , T • ■ L)evil to Pay Footman ' most insignificant roles, Lint, in- Guardian Young Clackit stead of/^rrySwm^, in the "Mayor Harlequin Collector Baboon : Harlequin Restored Valet > * of Garratt," and the Usher, instead High Life Below Stairs .... Lord Duke 358 HISTORY OF THE AMERICAN THEATRE. Honest Yorkshireman SapscuU of the Bastard, in " King Lear." Lethe Fine Gentleman Love a la Mode Squire Groom He WaS pronOUnced unequal to Lying Valet Gayless Mayor of Garratt i T ' t Leander in the " Padlock." He , , . „ seems to have dropped out alto- , Lord Lovewell ^■*- Miller of Mansfield . Miss in her Teens iiibbie gether after the season at An- Mock Doctor Squire Robert Musical Lady Mask napolis, in 1 773, where he remained Neck or Nothing Belford u -u ■ j j. _• « t i ^i:,,, •, r,, ■ behmd to give a Lecture on Old Maid Clenmont ° Oracle . Observer Heads " after the company had Padlock Leander Polly Honeycomb Scribble departed for Philadelphia. In re- Register Office Harwood tiremcut, however, he was ill at Repnsal Brush Spirit of Contradiction Lovewell ease, and even before the close of Thomas and SaUy . . Sailor Upholsterer Barber the War for Independence he or- '^'"'^^' ^'''^' ganized a company at Baltimore, where he built and opened the first theatre there, in the beginning of 1782. Mrs. Wall, who occasionally played small parts, was probably not an actress, but being the wife of a member of the com- pany was sometimes utilized by the management. The slight ex- Mrs. Wall's Parts. Plays. A Bold Stroke for a Wife . . Masked Lady All for Love Iras Beaux' Stratagem Gipsy Beggars' Opera Mrs. Slammekin perience thus gained enabled her Clandestine Marriage .... Housekeeper Henry IV Prince John to shine for a very brief period as Love for Love Mrs. Foresight the leading lady of the Baltimore Love Makes a Man Honoria * ' Miser Wheedle Company under her husband's Mourning Bride Attendant Suspicious Husband Maid management, where their daugh- ter, Miss Wall, was also brought before the public. What became of them afterward is unknown. Wall was the cause of the Hallam Theodosius Julia Farces. Catherine and Petruchio -[ ^lanca (^ Curtis Devil to Pay Lettice Miller of Mansfield Peggy Mock Doctor Charlotte Upholsterer Maria GENERAL SUMMARY. 359 and Henry company being officially called the Old American Com- pany after the Revolution, as he adopted the name of the American Company for his Baltimore corps. Whether there were two Parkers on the American stage at the same time, one, together with his wife, with the Virginia Company at Williamsburg, in 1768, and the Mr. Parker's Parts. New American Company at An- piays. napolis, in 1769, and one without Alexander the Great Polyperchon ^ ' ' ^' f Ben Budge a wife, at least on the stage, with Beggars' Opera lif'^f^ theAmerican Company, from 1768 Conscious Lovers Humphrey Constant Couple . . . Alderman Smuggler to 1774, is a question that existing „ , ,. rGuiderius. Cymbelme \Philario records fail to settle. Mr. and Mrs. Douglas Old Norval Parker made their first appear- Earl of Essex . Lieutenant Englishman in Paris Classic ance at the Southwark Theatre, Fashionable Lover Bridgemore -_.,.,, George Barnwell Truman June 4th, 1767. While they were Hamlet Horatio with the Virginia Company, from Henry IV | Jg^™°^ Carrier April to June, 1768, there was King John Salisbury Lionel and Clarissa Jenkins no person of the name with the Love for Love Frapland American Company in New York. °^^ "^ ^ ' ^^ „° ^^ ^ ■' Midas Sileno Mr. Parker first joined Mr. Doug- -^^^^^ / 7«'«^-' lass' forces at the Southwark Mourning Bride Heli „, . , r rr. Orphan Polydore Theatre m the season of 1768-9. o^^ello Montano As the Philadelphia season closed ^^'^'^^^ HI Catesby Roman Father -f '^^^^ Citizen January 2d, 1 769, there was ample °^^^ ^ I Soldier Romeo and Juhet Tybalt time for him to join the New shipwreck Jonathan American Company at Annapolis, Suspicious Husband Bellamy in February. While a Parker was '■ ^"^^^5' Tempest Antonio at Annapolis from February to Theodosius Lucius 36o HISTORY OF THE AMERICAN THEATRE. Venice Preserved Renault June the American Company was ir TT- f William Way to Keep Him \ Richard playing in New York, but as there West Indian Varland _ , , . . , west inaian are no casts extant for this period Farces. Catherine and Petrachio . . . \^°^^^^° it is impossible to say whether he Damon and PhiUida { ^J^)"/ ^nd the Parker who was at Phila- Devil to Pay Cook delphia a few months before are Farmer's Return from London . . Farmer . , . , t i i j ^1 i. Harlequin Skeleton ci^n identical. I have placed the parts High Life Below Stairs Freeman played by Mr. Parker in Maryland Honest Yorkshireman ...... {^il^^l and Virginia in Italics. It will be Ix>ve a la Mode . . Sir Theodore Goodchild Lying Valet Cook observed that they are not of a Mayor of Garratt Roger ^h^racter to disprove identity. Miller of Mansfield Miller ^ "' Miss m her Teens Captain Loveit If Parker left the American Com- Musical Lady Freeman ..... ^ , . Old Maid Heartiy pany and rejoined it after playing Upholsterer Belmonr ^ ^^^^^^ ^j^j^ ^j^^ opposition, it was the only case of the kind that occurred before the Revolution. When the American Company closed its first season at the Southwark Theatre, in 1767, Messrs. Matthews and Piatt retired, their places being filled by Malone and Roberts. Malone's career has been summed up in the chapter devoted to the New American Com- ,, „ , _ Danv Roberts Ms^- Roberts' Parts. Mr. Byerly's Parts. pci"y. ±vuucil3 remained under pi^ys Plays. , „ T> J- T\/r.- T~>„, ,„!.,.,.,• Alexander the Great . Eumenes Alexander the Great . Perdiccus Mr. DoUgiaSS „ , „ ^^ , .„ , _, T, r Beaux Stratagem . . Hounslow Beaux' Stratagem . . Boniiace ^ . ^ -^^ . , , _ ° ... . , . , management un- Conscious Lovers . . Daniel Beggars' Opera . Nimmmg Ised & „,,,.- ^ „. „ . . . Country Lasses . Shacklengure Comus . . First Spmt til the old Amen- cymbeline Cornelius Conquest of Canada . Feyfon -r. ,• , ■ t^ . -.^ Conscious Lovers . Cymberton can Company f "1^!=^7° '° ^^"= " ^^"P""^ _ , ,. _ . . . 1" ashionable Lover . Le Teunesse Cymbeline . . . Cams Lucius ,■ , , i a .; . J -n -1 disbanded. A TT„„i„t fLucianus Cymon Donlas Hamlet i Osric Earl of Essex. SirWalter Raleigh Jj^^er acquisition f Francis Englishman in Paris . Marquis Henry IV ... J Peto False Delicacy . . . .Sidney was Mr. Darby, (.Prince John GENERAL SUMMARY. 361 Henry IV . King John . Love for Love . . Love in a Village . Merchant of Venice Fashionable Lover . Abberville TT , . f Bernardo Hamlet .... |Ro,e„eranz j Worcester ; Poins , King Philip . . Jeremy . . Eustace ( Duke \ Gobbo Midas Pan Mourning Bride . . . Alonzo Othello Duke Recruiting Officer . Capt. Brazen Roman Father . Second Citizen Romeo and Juliet . Montagu She Stoops to Conquer . Hastings Shipwreck Patterson Tamerlane Stratocles Tempest Alonzo TenderHusband .Capt.Clerimont West Indian Fulmer Wonder Don Lopez Farces. Catherine and Petruchio. Baptista Citizen Sir Jasper Cross Purposes .... Consol Damon and Phillida . . Areas Devil to Pay .... Doctor High Life Below Stairs. Kingston Hob in the Well . . Old Hob Honest Yorkshireman . Slango Lethe .... Fine Gentleman Lying Valet Trippet Mayor of Garratt .... Bruin Miller of Mansfield . . Richard Old Maid .... Mr. Harlow Register Office .... Gulwell Upholsterer .... Quidnunc who joined it with Parker and Byerly in 1768, and left it with Godwin and Ma- lone after only one season. Darby's parts with the Ameri- can Company are in Roman letters — with the New American Company in Italics. The sum- King John . Robert Falconbridge Merchant of Venice . . Tubal Miser Charles Othello Messenger Recruiting Officer Second Recruit Roman Father . Fourth Citizen Romeo and Juliet . •{ p • j ^ Tamerlane Mirvan Tempest Sycorax Venice Preserved . . . Durand Way to Keep Him . . Thomas Wonder Valquez Farces. Brave Irishman . . . Marquis Catherine and Petruchio . Tailor Citizen Quilldrive Devil to Pay . . BUnd Fiddler Harlequin Collector . . Porter High Life Below Stairs . . Cloe Mayor of Garratt . . . Snuffle Musical Lady Rosini Register Office . . Frenchman Reprisal . . Capt. Champignon Witches Monsieur mary of his parts has been reserved for this place to show how unappreci- Mr. Darby's Parts. ated genius was sometimes able to assert itself even at that early period in the his- tory of the Am- erican stage, while unassuming usefulness, as in the case of Roberts, and modest talent, as in that of Byerly, went plodding on without recognition or reward. With Mr. Darby in such roles as Sir Bashful Constant and the Mock Plays. Alexander the Great . Aristander Beggars' Opera . . . Peachum Earl of Essex . . Southampton King John Austria Miser Ramillie Tamerlane Tanais Way to Keep Him . Sir Bashful Farces. Anatomist Crispin Chaplet Palemon Mock Doctor .... Gregory 362 HISTORY OF THE AMERICAN THEATRE. Doctor there may have been reason for the judicious to grieve over the performances of the New American Company at Annapolis. Darby was, perhaps, the first actor on the American stage who left one company to seek promotion in another. The remaining names that occur in the casts of the American Company during the last two years of its existence are John- son, Dermot, Hughes, Blackler and Davis. Of these Mr. Johnson had the greater number of small parts that fell to the rank and Mr. Dermot's Parts. file under Mr. Douglass' man- agement. John- Mr. Johnson's Parts. Plays. Beaux' Stratagem . . Bagshot Cato Lucius Clandestine Marriage . Traverse son joined the Merchant ofVenice . . Salarino Recruiting Officer . Justice Scale company at the Farce. Cross Purposes . . . Consol Mr. Hughes' Parts. Plays. Cato Juba Clandestine Marriage . Canton Plays. Beggars' Opera . Jemmy Twitcher Cymbeline Captain Englishman in Paris . . Roger Hamlet Francisco Henry IV Bardolph Othello Officer Richard III Oxford Roman Father . Fourth Citizen son of 1772—3, Shipwreck Francis Suspicious Husband . . Simon but remained Tamerlane Zama Southwark The- atre in the sea- Earl of Essex. SirWalter Raleigh with it for only Tempest ..... {ventoso She Stoops to Conquer . DiKCory ^ ^ ^ a short time. Mr, West Indian Fulmer Farces. Cross Purposes .... Robin Reprisal Brush Mr. Blackler's Part. West Indian Stukely Farces. Devil to Pay .... Coachman Hob in the Well .... Dick Lethe Charon- of the company Miss in her Teens . Capt. Loveit Register Office . . . Williams Dermot also be- came a member that season, but he went with it to New York for the fare- well engagement there. In New York Hughes and Blackler were added to the company. Hughes accompanied Mr. Douglass' forces to Charleston, where Davis is named in the existing bills as playing Hearty in the Comus Elder Brother Mr. Davis' Part. Reprisal Hearty GENERAL SUMMARY. .363 " Reprisal." Oddly enough Dunlap ignores Hughes and says the only new name added to the dramatis personce during the last New York engagement was that of Blackler. Every preparation had been made for a vigorous campaign during the winter of 1774-5; Mr. Hallam, who had gone from Charleston to London, having sent out his cousin, Thomas Wignell, as his own substitute. Wignell, who afterward became an important figure on the American stage, especially in Philadelphia, where he was the first manager of the Chestnut Street Theatre, arrived in New York only a day before the news that Congress had passed a resolution recommending that all public amusements should be suspended reached that city. He was sitting under his hairdresser's hands, Dunlap says, when he learned that all the theatres on the Continent were virtually closed by this recommendation. Wignell hearing the news in the barber's chair was the last incident in the History of the American Theatre before the Revolution. End of the Epoch. INDEX. ABBINGTON, Mr. — A dancer, no Abington, Mrs. — Mention, no; as Violante, 219 Adcock, Mr. — Debut, 40; references, 63; parts, 77 Adcock, Mrs. — Debut, 52 ; her identity, 62 ; parts, 78 Adventures of Half an Hour — Pro- duction, 102 Albany — American Company at, 248, 256 Albion Queens — Production, 47 ; cast, 59 Alexander the Great — Cast, 245 ; pro- ductions, 242, 271, 331 Alexander's Feast — Byerly, 250 Allen, Andrew Jackson — Mention, 229, 337 Allen, Mr. — Mention, 229; appears in Phila- delphia, 337 Allen, William — Proscribes the players, 2 ; the judgment upon, 100 All for Love — First cast, 167 ; change in cast, 224; productions, 154, 214 All in the Wrong — Production, 213 Allyn, Mr. — Debut, 104; as Lord Chalk- stone, 105 ; secedes, 228 ; parts, 229 Allyn, Mrs. — Debut, 137; parts, 230 Amateurs — Question as to Murray and Kean's company, 3; at Annapolis, 258 American Company — Name first used, 153; pirated at Baltimore, 359 Amphitryon — Production, 7; reference, 17 Anatomist — First played, 34; at New York, 1753, 46; cast, 5l ; at Williamsburg by Virginia Company, 236 Annapolis — ^Virginia Comedians at, 30 ; first theatre, 32; Douglass at, 113; New American Company at, 257 ; how the planters were reached, 1770, 277; season American Company, 278 ; new (365) theatre, 282; poem on church and theatre, 285 ; Lossing on Colbert's sketch, 286; season 1772, 296; last season, 325 Apprentice — Cast, 221 ; productions, 213, 332. BADDELEY, Mrs. — As Clarissa, 303 Bannister, John — As Ben, \(>ii Barry, Mrs. — As Calista, 70, 109 Beau in the Suds — References, 6, 8, 17; productions, 7, 34 Beaux' Stratagem — First mention, 5; reference, 17; advertised at Williams- burg, 1736, 39 ; New York cast, 1754, 50; partial cast, 1762, 136; Morris' advertisement, 140; Southwark cast, 1767, l6l; changes, 224; Southwark cast, 1772-3,310; productions, 7, 33, 47, 94, "4, 121, 131, 154, 197, 212, 249, 270, 298, 317, 330 Beccely, Mrs. — Debut, 45; reference, 64; parts, 78 Bedlamites — Production, 238. Beggars' Opera — First mention, 5 ; played for Kean's benefit, 9 , reference, 1 7 ; advertised by Virginia Comedians, 31 ; at Upper Marlborough, 33 ; New York cast, 1754,54; Philadelphia cast, 1759, 108; changes, 136; Southwark cast, 1766, 158; advertisement for Mrs. Parker's benefit, 239 ; New American Company cast, 261 ; productions, 7, 33, 47, 102, 130, IS3, 236, 249, 258, 270, 298, 317, 330 Bell, Mr. — Debtct, 45 ; parts, 77 Benefits — Charity School, Philadelphia, 70; for an organ for the College Hall, Philadelphia, in; Pennsylvania.Hos- 366 INDEX. pital, 112; Newport, 125; benefit ac- count, New York, 139; New York, 1769,252; New York Hospital, 1773, 323; masonic lodge, Charleston, 334 Bernard, John — Anecdote of Herbert, 43 ; reference to Morris, 90; Mrs. Morris' death, 230 Black, William — Extract from Journal, 195 BlAckler, Mr. — Debut, 320; part, 362 Bold Stroke for a Wife — First mention, 7; reference, 17 ; Annapolis cast, 1760, 119; New York cast, 1768, 219; partial cast. New American Company, 264; productions, 7, 34, 1 14, 155, 213, 259. 331 Booth, Barton — As Hastings, 57 Booth, Edwin — As Petruchio, 157 Boston — "Orphan" performed at, 2 BouciCAULT, Dion — Allusion to, 9 Brave Irishman— Mr. Walsh as O' Blun- der, 1765, 141 ; New York cast, 1768, 222; partial cast, Xew American Company, 265 ; productions, 141, 154, 197, 214, 249, 258 BromAdge, Mr. — Debut, 236 Brothers — See " Shipwreck." Brown, Col. — Account of William Hallam, 21 Buckley, Mrs. — As Miss Hardcastle, 319 Burdett, Mr. — First mention, 26 Burton, Wm. E. — Allusion to, 5 Busybody — Played for Mr. Kean's benefit, 1 1 ; advertised at Williamsburg, 1736, 39; New York cast, 1768, 216; par- tial cast, New American Company,264 ; productions, 7, 33, 1 14, 213, 242, 249, 259, 270, 330 Careless Husband — Production, 47 ; cast, 55 Catherine and Petruchio — First cast, 157; changes, 226; partial cast, New American Company, 265 ; Southwark cast, 1772-3, 308 ; Mr<. Morris as Catherine, 310; productions, 153, 223, 242, 249, 260, 272, 298, 317, 330 Cato — ^First produced in America, 2 ; in New York, 5 ; reference, 9 ; at Williams- burg, 39 ; partial cast. New York, 1762, 136; Southwark cast, 1767, 163; changes, 224; Charleston advertise- ment and cast, 334 ; productions, 7, 34, 130, 154, 213, 333 Chapel Street Theatre, New York — Built, 129; cost, 130; destruction, 141-2 Chaplet — First cast, 172; New American Company cast, 263; productions, 155, 197, 213, 260 Charke, Charlotte — As Andromache, 53 ; Mrs. Harman, her daughter, 145, 323 Charleston Theatre — Season of 1773-4, 329; account of the opening, 332; notice of close, 333 ; audiences, 335 Charlton, Mr. — First appearance, 237 Cheer, Margaret — Debut, 156; as Catherine, 157; as Belvidera, 202; account of, 204; marriage, 207 ; parts, 253 ; bene- fit; 1773> 317; re-appearance, 321 ; bequest from Mrs. Harman, 322 Cibber, Colley — As Gloster in " Jane Shore," 57 ; completes " Provoked Husband," io5 Cibber, Mrs. — As Celia, 157; her farce, the "Oracle," 158. Citizen — First cast, 221 ; Mrs. Osborne as Maria, 265 ; Southwark cast, 1772-3, 313; changes, 326 ; productions, 213, 249, 259, 270, 298, 326, 331 Clandestine Marrlage — First cast, 200; change, 224; Southwark cast, 1773, 326; productions, 197, 212, 270, 317, 326, 330 Clarkson, Mr. — Debut, 40; parts, 77 Clarkson, Mrs. — First mention, 40 ; debut, 45; parts, 78 CUFTON, Ada. — As Catherine, 157 Clive, Mrs. — In "Love is a Riddle," 56; as Nell, 62; as Araminta, 157; last characters, 201 ; refuses a part in " False Delicacy," 245 INDEX. 367 CoCKlNGS, George — ^Account of, 302 Cock-lane Ghost — Production, 216 Committee — First cast, 55; Southwark cast, 1767, 170 ; changes, 224; produc- tions, 47, 131, ISS, 213 CoMUS — New YorliL cast, 318; productions, 271,317 Conquest of Canada — Production, 298 ; advertisement and cast, 302 Conscious Lovers— First cast, 45; Rigby as Bevil, 48; Southwarli cast, 1767, 164 ; clianges, 224 ; partial cast. New American Company, 264 ; Southwark, 1772-3, 308; productions, 46, 154, 214, 259, 298. Constant Couple — First cast, 49; South- wark cast, 1766, 159; changes, 224; WilUamsburg cast, 1768, 239; New York cast, 1773, 320 ; productions, 34, 46, 114, 153, 214, 236, 270, 318, 330 CONTI, Prince — Extracts from, distributed in Philadelphia, 68 Contrivances — Cast, 222 ; productions, 155, 213, 242, 249, 332 Cooke, John Esten — "Virginia Comedians," 35 ; atmosphere, 239 Cooper, Myles, D.D. — Prologue by, 323 ; account of, 324 Cooper, Thomas A. — As Petruchio, 157 Coriolanus — Production, 155 CouLDOCK, Charles W. — As Petruchio, 157 Country Lasses — First cast, 172; changes, 224; productions, 155, 214 Crane, Miss and Mrs. — First mention, 119; parts, 14S Cross Purposes — First mention, 317 ; New York cast, 319; changes, 327; pro- ductions, 317, 326, 330 Cruger's Wharf Theatre, New York — Built, 92 Cymbeline — First cast, 171 ; changes, 224; Southwark cast, 1772-3, 306; produc- tions, 155, 212, 242, 249, 270, 278, 289, 297, 330 Cymon — First cast, 302; productions, 298, 3>7. 331 DALY, Augustin — Production of 'Taming of the Shrew," 157 Damon and Phillida — First cast, 56; Providence cast, 126; Southwark cast, 1767, 164; played at Williamsburg, 237 ; partial cast, New American Com- pany, 265; New York cast, 1773, 320; productions, 7, 34, 46, 94, 114, 154,236,259,282,317,331 Darby, Mr. — First mention, 243 ; with New American Company, 257; parts, 361 Davis, Mr. — As Hearty, 335, 362 Davis, Mrs.-^Benefit, 1 1 Dermot, Mr. — Debut, 326 ; parts, 362 Deuce is in Him — Cast, 168; productions, 154, 213 Devil in the Wine-cellar — Production, II Devil to Pay — Advertised for Mrs. Tay- lor's benefit, 8; first cast, 62; New York cast, 1762, 136 ; Southwark cast, 1766, 1 60; change, 226; Southwark cast, 1772-3,312; productions, 7,34, 46, 114, 121, 131, 153, 197, 213, 249, 259, 271, 297, 331 Disappointed Gallant — Mention, 74 Disappointment — Account of, 176; adver- V tisements, 177; title-page, 178; pro- logue, 179; characters and plot, 180; authorship, 184 Distressed Mother — Advertised forWidow Osborne's benefit, 1 1 ; New York cast, 1753, 53; partial cast. New York, 1762, 136; New York cast, 1768,216; partial cast. New American Company, 264; productions, 7, 46, 131, 214, 260 Dogget, Mr. — As Marplot, 216 Don Quixote in England — Macklin and T. Hallam in, 22; cast, 171 ; produc- tion, 155 Double Disappointment — Production, 156 Douglas — Philadelphia cast, 1759, 107; played at Newport, 125 ; New York cast, 1762, 138; Southwark cast, 1766, 156; played at Williamsburg, 236; partial cast. New American Company, 368 INDEX. 264; productions, 94, 102, 115, 121, 125, 131, ,153, 236, 258, 270, 333 Douglass, David — Account of, 87 ; in New York, 92; proposed histrionic acad- emy, 93 ; in Philadelphia, 98 ; at An- napolis, 113; in Rhode Island, 122; builds Chapel Street Theatre, N. Y., 129; offers a reward, 135; builds Southwark Theatre, 151 ; builds John Street Theatre, N. Y., 211 ; appeal to Annapolis subscribers, 283-4; threat- ens to close the gallery, New York, 316; builds Charleston Theatre, 329; career, 342; parts, 343-5 Douglass, Mrs. — At the Wells, 20 ; never at Covent Garden, 26 ; at New York, 44-62 ; Dunlap's estimate of, 64 ; be- comes Mrs. Douglass, 87 ; as Jane Shore^ 98 ; Graydon's notice, 202 ; last time zs, Jane Shoi-e, 221 ; last ap- pearances in Philadelphia, 325 ; re- cites epilogue at Charleston, 332 ; parts, 338 ; death, 338-40 DOWTHWAITE, Miss — First mention, 118; at Williamsburg, 238-9 DOWTHWAITE, Mrs. — First mention, 1 1 g ; at Williamsburg, 239 Dragon of Wantly — Douglass advertises for, 27s Dramaticus — Funeral eulogium and eleg}', 233 Drew, John — As Petruchio, 157 Drummer — First cast, 57; reference, 95; Philadelphia cast, 1759, 107; South- wark cast, 1767, 170; productions, 47, 94. 102, 155. 236, 250 DuBellamy, Mr. — Mention, 319 DuGEE, Mr. — Adverdsement, 83 Dunlap, WiUiam — On the Philadelphia players, 3; on WiUiam Hallam, 19; mistake concerning Annapolis, 31, 113; account of Williamsburg theatre, 38; mistake about Hallam's travels, 44; on Mr. and Mrs. Lewis Hallam, 63 ; mistake concerning Thomson's epilogue, 72 ; on the Hallam project, 81 ; account of destruction of the Chapel Street Theatre, 141-2; mis- take relating to the " Prince of Par- thia," 186; Miss Cheer's debut, 204; assumption relative to the John Street Theatre, 232 ; loses sight of the play- ers, 269 DuRANG, Charles — Recollections of Snyder, 284; opinion of Mrs. Morris' Sylvia, 313 EARL OF Essex — First cast, 58; South- wark cast, 1767, 169; changes, 224; New American Company cast, 263; Southwark cast, 1772-3, 310; changes, 326; productions, 47, 154, 213, 250, 260, 298, 317,326,330 Eddis, WiUiam — Letter concerning Annapo- lis Theatre, 283 Edgar, George — Ancestry, 200 Edgar and Emmeline — Cast, 310; pro- ductions, 298, 318, 331 Edward, the Black Prince — Production, 27 1 ; reference, 273 Edward and Eleanora — Portrait in, 26 Elegy— On " Dramaticus," 233 Elliot, Miss — Notice of, 222 English Merchant — Production, 332 Englishman in Paris — First cast, 304; change, 1773, 320; productions, 298, 317, 332 Epilogue — Spoken by Mrs. Hallam, in Phil- adelphia, 67 ; Adam Thomson's, 72 ; parody, 73 ; second version, 96 ; An- napoHs, 1760, Ii5; address to the ladies, 120; Annapolis Theatre, 1771, 288; Goodman's, Southwark, 1773, 327 Evans, Nathaniel — Godfrey's literary execu- tor, 186 Eve, Miss Sarah — Extract from Journal, 195 Every Man in his Humor — Played at Williamsburg, 282 FAIR Penitent — Reference to first produc- tions, 17; first cast, 70 ; Philadelphia cast, 1759, 109; Annapolis cast, 1760, INDEX. 369 118; Providence cast, 1762, 126; New York cast, 1768, 217; produc- tions, 7, 16, 69, 102, 114, 126, 130, 213. 271, 332 False Delicacy — First cast, 244 ; Williams- burg advertisement,'! 772, 292; South- wark cast, 1772-3, 31 1; productions, 242, 249, 292, 298, 332 Farmer's Return from London — Men- tion, 263 Fashionable Lover — Williamsburg an- nouncement, 1772, 293; Southwark cast, 1772-3,301; productions, 297, 331 Forrest, Thomas — Author of the " Disap- pointment," 184 Francis, William — First notice of, no; dances at the Southwark Theatre, 303 ; some account of, 314 Funeral — Production, 271 Gamester — First cast, 57; Philadelphia cast, 1759, 109; Southwark cast, 1767, 169 ; changes, 225 ; productions, 47, 69, 103, IIS, 12'. 154, 197.213,270, 317.330 Gardner, Mr. — Original Sir Charles Mar- low, 319 Garrick, David— As Ranger, 109 ; original Sir John Dorilant, 157; as Oakley, 170; as Don Felix, 219 Genii — Production, 259 George, Nancy — Plays in Philadelphia, 4 ; beneHt, 8 George Barnwell — First produced, 7 ; reference, 17; New York cast, 1753, 52; Philadelphia advertisement and cast, 1759, III; Annapolis cast, 1760, 118; New York cast, 1762, 138; Southwark cast, 1767, 165; partial cast, New American Company, 264 ; Southwark cast, 1772-3, 310; pro- ductions, 7, 34, 46, IG2, H4, 130, 154, 213, 259, 270, 297, 318, 331 Goddard, William — Prints for Douglass at Providence, 126 Godfrey, Thomas, the elder — Notice of, 185 Godfrey, Thomas, the younger — Account of, 185; specimen of his verse, 186; extract from his " Court of Fancy," 187; the " Prince of Parthia," 189 Godwin, Mr. — Debut, 158; notice of, 203; at Williamsburg, 237; at Annapolis, 257 ; plays Lovegold, 262 ; parts, 267 Goodman, Mr. — Noticed by Graydon, 203 ; probable debut, 273; at Annapolis, 1771,290; parts, 355 Goodman's Fields Theatre — Never man- aged by W. Hallam, 19 Good-Natured Man — Production, 271 Graydon, Alexander — Extract from his Memoirs, 202 Green, John — Elegy on Godfrey, 188 Green, Mrs. — Original Mrs. Hardcastle, 319 Greville, Mr. — Parts, 232 Guardian — First mention, 249; Southwark cast, 1772-3, 313; productions, 249, 272, 297, 318, 331 HALLAM, Adam, the elder — At the Wells, 19; account of, 27 Hallam, Adam, the younger — First men- tion, 40; with Douglass' company, 87; advertisement, 140; parts, 145 Hallam, Anne — Account of, 23 ; parts, 24 Hallam, G. — At the Wells, 20 Hallam, Miss Helen — Debut, t^o; not with Douglass' comp*iy, 87; parts, 144 Hallam, Lewis, the elder — Card relating to Upton, 14; at the Wells, 20; Dun- lap's account of, 22 ; American reper- toire, 28; reaches Virginia, 30; at Williamsburg, 35; in New York, 44; Governor Dinwiddle's certificate, 45 ; Dunlap on, 64 ; in Philadelphia, 65 ; parts, 76; profits, 80 Hallam, Mrs. — See Mrs. Douglass Hallam, Lewis, the younger— His account of first Wilhamsburg performance, 38; debut, 40; leading man of Douglass' company, 87 ; plays Hamlet, Macbeth and Romeo, 105 ; Beverly, 109 ; Pierre, 370 INDEX. Il8; Mirabel, 136; Petruchio, 157; Richard III, 158; Lear, 163; .Mzr^ Anto7ty, 167; Clodio, 1 68; Oakley, 170; PosthuTnus, 171; Roman Faiher; 173; Arsaces, 194; Zora' Ogelby, 201 ; noticed by Graydon, 203 ; first in every tiling, 214; Mai-plot, 216; Hotspur and -/iz^^', 218; Sharp, 223; benefit expectations, 227; Falcon- bridge, 244; Mungo, 249; Macheath, 253; Jobson, 274; Captain Dormer, 299; General Wolfe, 302; Charles- ton opinion of his acting, 332; parts, 340 Hallam, ■ Mrs. — With Douglass' company, 88; Lewis Hallam's wife, 140 ; her identity and parts, 144 Hallam, Miss — Debut as Miss H. as Celia, 157; change of benefit bill, 2 2S ; first appearance as Juliet. 253 ; plays 7V^//, 274; a Marylar.J critic on her Imogen, 278; poem, 270; Peale's portrait, 281 ; poem to, as Imogen, 289 ; estimate, 346 ; parts, 347 Hallam, Miss Nancy — ^Yilh Douglass' company, 88; part5, 144 Hallam, Thomas — Account of, 22 Hallam, William — Advances money, card, 14; account of, 19-21 ; visits Philadel- phia, 75 Hamlet — First cast, 105 ; Permsylvania Hospital advertisement, 112; Nevir York cast, 1761, 134; ^ outtiwark cast, 1767, 160; cha:__es, 225 : ^outhwark cast, 1772-3,306; proJuctions, I02, 130. 153. 197. 2r2, 259, 270, 297, 317, 326, 330 Harlequin Collector— Fir=t mention, 29; partial cast, 1753, 62; I" '.idelphia cast, 1759, loS; New York List, 1 762, 138; Southwark ca-t, 1767, 167; New York cast, 171.5 (Indian entertain- ment), 220; producdons, 47, 69, 102, 131. IS4> 197, 213, 270, 31S Harlequin Restored— Cast, 202 ; pro- ductions, 197, 270 Harlequin Skeleton — WilUamsburg cast, 238; partial cast. New American Com- pany, 265 ; productions, 47, 236, 250, 260 Harman, Mr. — With Douglass' company, 89 ; As Richard III and Lear, 104 ; account of, 145 ; parts, 146 Harman, Mrs. Catherine Maria — With Douglass' company, 89; parentage, 145 ; obituary and parts, 321 Henry, John— First mention, 198; Hallam on, 214; as Capt. O' Blunder, 222; monologue entertainment in New York, 252 ; makes perpendicular ascent, 274 ; arrives from England, 282 ; busi- ness card, 1773, 325 ; parts, 343-5- Henry, Mrs., the first— Lost at sea, 1 19. Henry, Mrs., the second — See Ann Storer Henry, Mrs., the third — See Maria Storer Henry IV. — Mrs. Hallam as Lady Percy ; partial cast, New York, 1762, 136; New York cast, 1768, 218; partial cast. New American Company, 264; Southwark cast, 1772-3, 307 ; pro- ductions, 130, 213, 249, 259, 298, 331 Herbert, Mr. — At Annapolis, 34, 42 ; debut, 40; anecdote of, 43 High Life Below Stairs — First cast, 162; changes, 226; Southwark cast, 1772.3, 312; productions, 154, 197, 213, 242, 258, 271, 297, 317, 330 Hildeburn, Charles R. — His early play-bill, 70 Hob in the Well— First played, 1 1 ; first cast, 56; New York cast, 1761, 136; New York cast, 1768, 223; South- wark cast, 1772-3, 312; productions, 7,46, 114, 130, 213, 249, 270, 298, , 332 HOEY, Mrs. — As Catherine, 157 Honest Yorkshireman — First cast, 218; Williamsburg cast, 1768, 237; South- wark cast, 1772-3, 313; productions, 102, 114, 130, 214, 236, 242, 258, 281, 297, 330 HoPKlNSON, Francis — Godfrey's friend, 186 INDEX. m HORNE, Mr. — Debut, 104 ; parts, 149 Hughes, Mr. — Mention, 320; parts, 362 HuLETT, Mr. — A dancer, 64 INCONSTANT — Advertisement, 95; partial cast, New York, 1762, 136; South- wark cast, 1 767, 165 ; productions, 94, 131.154 Indians — At the theatre, Williamsburg, 42 ; in New York, 219 Ireland, Joseph N. — Assumption concern- ing Mrs. Hallam, 88; opinion con- cerning Major Moncrief, 250; con- founds Fanny with Maria Storer, 350 Irish Widow — Mention, 317; productions, 318, 326, 330 JAMAICA — Visit of Moody, 2; possible visit of American Company, 282 Jane Shore — First cast, 57 ; at Perth Am- boy, 98; New York cast, 1768, 221; productions, 47, 94, 153, 214, 249, 271.318,330 Jealous Wife — Cast, 170; productions, 15s, 197, 249, 282, 289, 331 Jefferson, John — Allusion to, 258 Jefferson, Mr. — With the New American Company, 258 John Street Theatre, New York — De- scription of, 211; fatal accident to a carpenter, 231 ; season of 1769, 248; farewell engagement, 316 Johnstone, Jack — As Teague, 55 Jones, Mrs. — Mention, 260 Jordan, Mrs. — As Miss Prue, 166 Julius C^sar — Production, 332 KeAN, Thomas— In Philadelphia, 1749-50, 4 ; in New York, 5 ; as Richard J II, 6 ; repertoire, 7 ; benefit, 9 ; troubles, 10; retires, 11, 18; at Annapolis, 32-3 Kelly, Hugh — Notice of, 244 Kemble, John Philip — As Alexander, 245 King, Mr. — As Lord Ogelby, 20i King John — Cast, 244; productions, 242, 249. 270, 317 LEAR — First cast, 53 ; Philadelphia cast, 1759, 104; Southwark cast, 1767, 163; changes, 225; productions, 47, 103, 154,197. 2J3, 282,331 Lecture on Heads— -Southwark Theatre, 197-8; in New York, 211 Lethe — Produced by Upton, 16; Williams- burg, 1752, cast, 40; changes, 60; New York cast, 1 761, 137; South- wark cast, 1766, 160; changes, 226; Southwark cast, 1772-3, 311; pro- ductions, 16, 47, 94, 102, 114, 121, 130, 153, 212, 242, 249, 258, 297, 317, 330 Lewis, Lee — As Young Marlow, 319 Lionel and Clarissa — Cast, 303 ; produc- tions, 297, 326, 331 Love, Mr. — A dancer, 64 Love, Mrs. — A dancer, 64 ; with Douglass' company, 89 ; parts, 148 Love a la Mode — First cast, 215; South- wark cast, 1772-3, 312; productions, 214, 242, 250, 270, 297, 317, 326, 330 Love for Love — Advertised for Mrs. Tay- lor's benefit, 8 ; reference, 1 7 ; Mrs. Hallam as Angelica, 20; first cast, 52; partial cast, New York, 1762, 136; Southwark cast, 1767, 166; Southwark, 1772-3,310; productions, 7, 46, 131, 154, 250, 272, 298 Love in a Village — First cast, 168; changes, 225 ; partial cast. New Amer- ican Company, 264; Southwark cast, 1772-3,311; productions, 154, 197, 213, 260, 270, 278, 297, 317, 330 Love Makes a Man — Cast, 168; produc- tion, 154 Lovers' Quarrels — Production, 69 Lying Valet — First production, 1 7 ; New York cast, 1753, 60; New York cast, 1 768, 223 ; partial cast. New Amer- ican Company, 265; Southwark cast, 1772-3. 3"; productions, 33, 46, "4. 131. 155. 197. 214, 250, 259, 297. 317. 330 372 INDEX. 11 f CCULLOUGH, John — Allusion to, 5 Macbeth — First cast, 105 ; South wark cast, 1767, 169; changes, 225; produc- tions, 103, 154,213,242,332 Macklin, Charles — Kills T. Hallam, 22 ; as Buck, 304 Macklin, Miss — Original Lucinda, 304 Maid of theMill — Southwarkcast,i772-3, 311 ; productions, 270, 289, 297, 317, 331 Malone, Mr. — Mr. Cooke's allusion to, 36; debut, 40 ; as an actor, 63 ; mission to Philadelphia, 65 ; parts, 76 Malone, Mr.— First mention, 218 ; with the New American Company, 257; as a juggler, 260; parts, 266 Mann, Charles N. — Sadler's Wells scrap- book, 20 Marks, Mr. — Benefit, 11 Mason, Mrs. — As Catherine, 157 Masons — Go to the play, 250 ; masonic bene- fit, 334 Matthews, Mr. — Debut, 15S; parts, 204 Mattocks, Mrs. — Speaks of T. Hallam, 22; never in America, SS; Rv.ngton's mention, 338 Mayor of Garratt — First cast, 166; changes, 226; Armapolis, 1771,286; Southwark cast, 1772-3. 3121 produc- tions, 154, 197, 212, 259, 271, 289, 296, 317. 330 Melmoth, Mrs. — As EIi--c.'-:lk. 5S Merchant of Venice — Hallam's produc- tion at Williamsburs:, 35; cast, 40; Southwark cast, 1766, 150; changes, 225 ; partial cast, Xew American Com- pany, 2651 Southwark cast, 1772-3, 307 ; changes, 320 : productions, 40, "5. I53>2i3. 259. 29S. 31S, 331 Merlin — Mention, 259 Merry, Mrs. — As Cahsta. 70 Merry Wives of Wini-.jr — Production, 271 Midas — Cast, 313; productions, 270, 289, 297> 317, 331 Miller, Mr. — Debut, 45 : parts, 77 Miller of Mansfield — First cast, 223; Williamsburg cast, 1768, 239; South- wark cast, 1772-3, 312; productions, 16, 47, 114, 121, 153, 197, 214, 236, 249. 259. 270, 278, 297, 318, 330 Miser — First cast, 164; changes, 225 ; New American Company cast, 262; pro- ductions, 154, 213, 259 Miss in her Teens — Played for Mr. Kean's benefit, 9; reference, 17; first cast, 60; New York cast, 1762, 136; South- wark cast, 1767, 199; changes, 226; partial cast, Southwark, 1770, 274; Southwark, 1772-3, 313; productions, 7, 34, 47, 69, 103, 114, 121, 131, 197, 213, 236, 242, 249, 260, 271, 297, 330 Mock Doctor — First production, 7 ; refer- ence, 1 7 ; advertisement, 95 ; first cast, 139; Southwark cast, 1767, 160; par- tial cast. New American Company, 266 ; productions, 7, 33, 94, 102, 1 14, 131,153,258 MoNCRlEF, Major — As Othello, 250 Moody, John — In Jamaica, 2 ; refuses part in " False Delicacy," 245 Moore, Mr. — Benefit, 11 Morris, Owen — With Douglass' company, 89; early appearances, 104; at An- napolis, 119; benefit advertisement, 140; parts, 343-5; account of, 346 Morris, Mrs., the first — First mention, 118; drowning of, 230; parts, 231 Morris, Mrs., the second— First mention, 273 ; account of, 309 ; card relating to . Sylvia,i\Ti; estimateof,352; parts,353 Mourning Bride — First cast, 162; partial cast, New American Company, 265 ; Southwark cast, 1772—3, 309 ; produc- tions, 154, 212, 242, 259, 297, 317, 330 Munden, Mr. — As Obadiah, 55 Murphy, Arthur — Notice of his farces, 222 Murray, Master Dicky — Benefit, 1 1 Murray, Mr. — Partner of Thomas Kean, 4; repertoire, 7 ; benefit, 8 ; at Annapolis, 118 Musical Lady— Cast, 312; productions, 270, 282, 297, 318 INDEX. 373 NASSAU Street Theatre, New York — .First mention, 6 ; Hallam at, 44 Neck or Nothing — First cast, 173; change, 227; productions, 155, 197, 213, 332 Neptune and Amphitrite — Cast, 310; productions, 270, 297, 317 New American Company — Account, 257 Newport, R. I. — Douglass' company at,i22 ; play-bill, 123; benefits, 125 New York— First performance at, i ; Hal- lam in, 44 ; as a theatrical town, 82 ; Cruger's Wharf Theatre, 129; amuse- ments in 1767, 210; regulations for carriages, 227; farewell season, 316; hospital benefit, 323 O'Brien, Lady Susan — Mention, 319; not on stage, 354 O'Brien, William — Mention, 318-19 Oldfield, Mrs — As Indiana, 48 ; as Jane Shore, 57; as Cleopatra, 167; as Violante, 2 19 Old Maid — First cast, 158; change, 227; Southwark cast, 1772-3, 312; produc- tions, 153, 212, 297 O'Neil, Miss — As Jane Shore, 57 Oracle — Cast, 159; productions, 153, 197, 212, 292, 331 Orphan — Played in Boston, 2; in New York, 6 ; advertisement, 8 ; reference, 17; first cast, 95; New York cast, 1767, 217; Williamsburg cast, 1768, 238; productions, 2, 7, 94, 114, 213, 236, 249, 270, 332 Orphan of China — First cast, 161 ; changes, 225 ; productions, 154,214, 271 Osborne, Miss and Mrs. — ^With Murray and Kean, 8; at Annapolis, 34; in Vir- ginia, 1768, 235 ; at Annapolis, 258 Osborne, Widow — Advertisement, 1 1 Othello — Upton's production, 15; Hal- lam's at Williamsburg, 42 ; Annapolis cast, 1760, 119; Newport bill, 123; New York cast, 1768, 218; Major Moncrief as, 250; partial cast, New American Company, 265 ; Southwark cast, 1772-3, 307; productions, 16, 94= "4. 131, 214, 249, 258, 298, 331 Padlock — First mention, 249 ; Southwark cast, 1772-3, 31 1; productions, 250, 270, 297, 317, 326, 331 Palmer, Mr. — First notice of, no; at An- napolis, 119; speculations concerning, and parts, 146 Palmer, Miss — Debut, 40 ; was she Mrs. Adcock, 63 Parker, Mr. — First mention, 173; at Wil- liamsburg, 236 ; with New American Company, 257; with American Com- pany, 274 ; parts, 359 Parker, Mrs. — First mention, 173; at Wil- liamsburg, 237; benefit advertisement, 239 ; at Annapolis, 257 Parthia, Prince of — Account of, 185; advertisement, 189; summary of the plot, 190; advertisement and probable cast, 194 PeALE, Charles Wilson — Notice of, 280; poem on his portrait of Miss Hallam, 281 Pennsylvania — Law against plays, loi Philadelphia — First performance in, 2; company at Plumstead's, 3 ; Hallam , in, 69; as a theatrical town, 84; Douglass in, 1759, 99; Southwark Theatre built, 151; supplementary season, 196; season 1768-9, 124; season 1769-70, 269; season 1772-3, 296 ; farewell season, 325 Platt, Mr. — Debut, 159; parts, 204 Plumstead, William — Account of, 66 Polly Honeycomb — First cast, 215 ; par- tial cast. New American Company, 266; productions, 214, 259 Prologues— Singleton's at Williamsburg, 41 ; Charity at Philadelphia, 70 ; at Annapolis, 1760, 116; to the "Dis- appointment," 179; Annapolis, 1771, 286; Dr. Cooper's, New York, 323 374 INDEX. Providence, R. I. — Douglass at, 125 ; ad- vertisement, 126 Provoked Husband — Upton's production, 16; Philadelphia cast, 1759, 106; Southwark cast, 1767, 167; changes, 225 ; partial cast. New American Com- pany, 265; productions, 16, 69, 102, 114, 121, 130, 154, 214, 259, 292, 332 QUELCH, Mr. — First mention, 123; parts, 149 Quick, Mr. — As Tony Lumpkin, 319 QuiN, Mr. — On Mrs. Hallam's stays, 24 QuiNCY, Josiah, Jr. — On Charleston audi- ences, 335 RECRUITING Officer — First production, 7 ; reference, 1 7 ; Williamsburg adver- tisement, 1736,39; Philadelphia cast, 1759,106; New York cast, 1768,217; Southwark cast, 1772-3, 113; Mrs. Morris' card, 313; productions, 7, 33, 94, 102, 114, 131, 213, 299, 31S, 331 Reed, Mr. — With Douglass' company, S9 ; parts, 149 Register Office — Cast, 304; productions, 299. 332 Rehan, Ada — As Catherine, 157 Reprisal — First cast, 163; Charleston cast, 334; productions, 154, 213, 333 Revenge — New American Company cast, 262 ; productions, 114, 121, 259, 271. Rhode Island — Douglass at Xe«-port, 122 ; at Providence, 125 ; law against plays, 127 Richard III — First American actor as, 5 ; played for Kean's benefit, 1 1 ; Upton as, 16 ; Virgina Comedians, 34 ; New York cast, 1753, 53; Philadelphia cast, 1759, 104; New York erst. 1762. 137; Southwark cast, 1766, 15S; changes, 226; New American Com- pany, noticed, 262 ; Southwark cast, 1772-3, 306; production^, 6, 16, 34, 46, 94, 102, 114, 121, 131, 153, 212, 250, 258, 297, 317, 331 Richardson, Mrs. — Debut, 273-4; notice of, 309 ; parts, 354 Rigby, Mr. — Debut, 40 ; in New York, 45, 48 ; notice of, 63 ; parts, 76 Rigby, Mrs. — First mention, 40; parts, 78 Ristori, Mrs. — As Marie Stuart, 59 Roman Father — First cast, 173; Annapo- lis, 1 77 1, 286; cast, 290; Southwark cast, 1772-3, 313; productions, 156, 197, 213, 289, 297, 332 Romeo and Juliet — First cast, 54 ; Phila- delphia cast, 1759, 105 ; New York, 1762, 137; Southwark cast, 164; changes, 226 ; partial cast. New Amer- ican Company, 265 ; Southwark cast, 1772-3, 306; productions, 47, 103, 114, 121, 131, 154, 197, 213, 249, 258, 270, 297, 330 Rosehill, Lord — Marries Miss Cheer, 207 Ross, Mr. — A lawyer, 290 SCHOOL Boy — Production, 102 School for Lovers — First cast, 157; change, 226; Southwark cast, 1772-3, 310; productions, 153, 212, 297, 317 ScOTT, Mr. — With Murray and Kean, 8; with Douglass in Philadelphia, 103; parts, 150 Seige of Damascus — Production, 270 Sharps, Mrs. — As Catherine, 157 Sheridan, Thomas — His farce, 222 She Stoops to Conquer — First mention, 317; cast, 319; productions, 318, 330 She Wou'd and She Wou'd Not— Produc- tion, 260 Shipwreck — Announced as the "Brothers," 291 ; Southwark cast, 300; produc- tions, 297, 331 Shuter, Mr. — Reference, 37 ; as Hardcas- (!<:, 319 SiDDONS, Mrs.— As Calisia, 70; asZara, 162 Singleton, John — Debut, 40 ; his prologue, 41 ; parts, 76 Sir Harry Wildair — Production, 1 1 Smart, Christopher — Notice of, 249 INDEX. 375 Smith, John — Entry in Journal, 2 Smith, William, D.D. — Godfrey's literary sponsor, i85 Snyder, Jacob — Scene painter, 284 Society Hill Theatre— Built, 99 SouthwarkTheatre— Built, 151 ; opened, 153; supplementary season, 197; season of 1768-9, 241; fireworks, 246; season of 1769—70, 269; foot- path leading to, 275 ; season of 1772— 3, 296 ; farewell season, 325 ; Good- man's epilogue, 327 Spanish Fryar — First production, 6 ; refer- ence, 17 ; advertised by Douglass, 95 ; Southwark theatre, 242 Spirit of Contradiction — Production, 170 Stage Coach — First production, 7; refer- ence, 1 7 ; Hallam production, 47 ; cast, 51 Stamper, Mrs. — Debut at Williamsburg, 292; at Philadelphia, 314 Storer, Ann (Mrs. Hogg) — First mention, 199; her New York debut, 208; called Mrs. Henry, 274; recites epi- logue at Annapolis, 288 ; parts, 348 Storer, Fanny (Mrs. Mechler) — First men- tion, 200 ; parts, 349 Storer, Maria (Mrs. Henry) — Wood's de- scription of, 200; debut, 217; plays Fribble, 274 ; a poet's allusion to, as Ariel, 281 ; parts, 350; ode to, 351 ; characteristics, 352 Storer, Mrs. — Mother of the Storer Sisters, 199 Sturt, Mr. — At Providence, 126; parts, 150 Sullivan, Barry — As Beverly, 57 Suspicious Husband — First cast, 58 ; Phila- delphia cast, 1759, 109; New York cast, 1768, 218; partial cast. New American Company, 265 ; Southwark cast, 1772-3, 310; productions, 47, 103, 114, 213, 259, 270, 278, 297, 330 Tamerlane — First cast, 70; Philadelphia cast, 1759, 104; Southwark cast, 1766,159; 1768,243; 1772-3,309; productions, 69, 94, 102, 130, 153, 242, 298, 318, 332 Taste— Production, 214 Taylor, Mrs. — First benefit, 8 ; second ben- efit, 9 ; accused, 10 Tempest — First mention, 272 ; cast, 307 ; change, 320; productions, 270, 298, 317,331 Tender Husband — First mention, 249 ; ad- vertisement, 25 1 ; Southwark cast, 1770, 274 ; productions, 249, 271, 281 Theatre, Opposition to — In Philadelphia, ♦ 1750, 2; in Philadelphia, 1754,65; in New York, 1758, 92 ; in Philadel- phia, 1759, 99; in Rhode Island, 1762, 127; in New York, 1762, 131 ; remonstrance in Pennsylvania, 1767, 152; hostility in New York, 1768, 232; specimen cant, 247; shielding amateur orchestra, 275 ; gallery distur- bances, Southwark, 314; New York, 316; Charleston opposition, 335 Theodosius — First cast, loS; New York cast, 1762, 138; Philadelphia cast, 1759, 159; Southwark cast, 1772-3, 309; productions, 102, 131, 153, 197, 242, 260, 298, 317, 331 Thomas and Sally — First cast, 165 ; change, 227; New American Company cast, 263; Southwark cast, 1772-3, 310; productions, 154, 212, 249, 271, 278, 292. 297, 331 Thomson, Adam — Epilogue by, 72 ; account of, 74 Tomlinson, Mr. — Philadelphia debut, 104; account of, 293 ; parts, 294 Tomlinson, Mrs. — Debut, 106 ; parts, 293 Tom Thumb — Cast, 61 ; productions, 46, 155 Toy Shop — Productions, 103, 115, 130 Tremain, John — A cabinet maker, 4, 5 ; benefit, 8 ; meets Upton, 1 3 ; original lago, 16 Tremain, Mrs. — Debut, 16 Tremaine, Mr.— Parts, 150 Trick Upon Trick — Production, 259 ; refer- ence, 260 ; partial cast, 266 376 INDEX. TuNBRiDGE Walks — Production, 46 ; adver- tisement, 48; in Philadelphia, 69 Twin Rivals — Production, 47 ; cast, 5 1 UPHOLSTERER — First Cast, 222; Southwark cast, 1772-3, 312; productions, 154, 212, 249, 258, 271, 297 Upton, Robert — First advance agent, 12 ; in New York, 13; Hallam's card, 14; plays, 15; repertoire, 16 Upton, Mrs. — Debut, 16 VANDENHOFF, Mr. and Miss — hsPetruchio and Catherine, 157 Venice Preserved — First production, 16; first cast, 118; Southwark cast, 1767, 201 ; Williamsburg cast, 1768, 237; productions, 94, 114, 130, 197, 236 Verling, Mr. — First mention of, 236 ; at Annapolis, 257 Vernon, Mr.— As Lionel, 303 Virgin Unmasked — Cast, 61 ; New York cast, 1762, 138; productions, 7, ^-^, 46, 102, 115, 121, 131 Virginia Comedians — At Annapolis, 30; at Upper Marlboro', 33 ; Cooke on, 35 ; new company, 235 WAINWRIGHT, Miss — First mention of, 156; debut, 158; noticed by Graydon, 204; farewell, 254; parts, 255; ref- erence, 1773, 326 Wall, Mr. — Debut, 156; his wail, 228; re- cites epilogue riding an ass, 275 ; gave monologue entertainment in Philadel- phia, 275-6; parts, 365 Wall, yixs.— Debut, 157 ; parts, 358 Ward, Genevieve — Ks Jane Shore, 57 Way TO Keep Him— First cast, 263 ; first cast, American Company, 305; change, 320; productioni, 260, 292, 297> 317, 332 West, Benjamin — Godfrey's friend, 1S6; his portrait of Godfrey, 188 West Indian — First performance, 2S2 ; Southwark cast, 1772-3, 301; change, 320; Southwark, 1773, 326; produc- tions, 282, 297, 317, 326, 331 Wife Well Managed — Production, 69 Wild Irishman — Production, 272 WILKS, Mr. — In "Beaux' Strat^em," 161 ; opinion oi Sir George Airy, 216 Williamsburg — Hallam at, in fiction, 35 ; in fact, 38 ; early theatre, 39 ; first- performance, 40; Indians at the theatre, 42 ; as a theatrical town, 81 ; society in 1768, 238; how the plan- ters were reached, 277; season, 1770— 71, 280; American Company, 1772, 291 W1TCHF.S— Cast, 169; change, 227; pro- ductions, 154, 213, 249 Wit's Last Stake — Production, 272 Woffington, Mrs. — As Cleopatra, 157 Woman is a Riddle — At the Wells, 20; production, 47 ; cast, 59 Wonder — First cast, 219 ; Southwark cast ; 1772-3,311; productions, 197, 213, 299. 331 Wood, William B. — Reference to Morris, 90; plays Petruchio, 157; his account of Mr. and Mrs. Henry, 200 ; of Mrs. Morris, 310-12; of Mrs. Henry, 352 Woodham, Mr. — With MuiTay and, Kean, 8-9 ; at Annapolis, 32 Word to the Wise— Criticism of WiUiams- burg performance, 291 ; Southwark cast, 1772, 299-300; Charleston theatre opened with, 330 ; produc- tions, 291, 296, 297, 330 Wrangling Lovers — Mention of, 259 Wrighten, Mrs. — Original Diana Oldboy, 304 VTapp, Miss. — Debut, 237 Young America in London — Notice, 331-, production, 332 ZARA — First production, 242 ; partial cast, 245 ^