I iiHil PERSONAL RECOLLECTIONS OF TIIK ID :r. J^ Isdl -A. OR Theatrical Reminiscences, ICMBRACING Sketches of Prominent Actors and Actresses, their chief char- acteristics, original anecdotes of them, and incidents connected therewith. BY Henry Dickinson Stone, To wake the sonl by gentle strokes of art, To raise the genius ami to mend the heart." ALBANY, N. Y. : Charles van Benthuvsen & Sons. 1873 13510 4 DEDICATION TO THE jEdwin ^orrest " Old Guard," TO THE ^EMBERS otvve y^LBANY HiSTRIONIC ASSOCIATION AND THE Admirers of the Legitimate Drama generally, THIS WORK IS RESPECTFULLY DEDICATED. p INTRODUCTORY. "Vain is his Task who Strives to Please ye All." A^ apology for undertaking a Avork from some incompe- tency, is almost as common as a preface ; yet such an apology the Avriter feels himself bound to offer, for he considers him- self incompetent, for several reasons, with which he will not trouble the reader, to write well of the many shining dramatic lights that during the past half a century or more have graced tlie American stage. It might be asked, in the present flood of publications, why was a work of this kind attempted ? and in answer to such a question we can truth- fully say that it Avas not in exact accord with the feelings of the Avriter, but at the earnest solicitations of many kind friends, that the gathering of these Keminiscences Avas com- menced, and even then Avith much reluctance and diffidence did Ave enter upon the task. The preparation of the folloAving pages has given us some pleasant employment for a number of leisure Aveeks. AVhether they Avill prove as easy in the reading as they Avere in the Avriting, is another question, for aware that our state of health rendered all literary exertion impossible, Ave have not attempted to come Avithin the limits of a pleasing purity of diction, but Avritten these simple recollections in a " plain, unvarnished" manner, relying upon the indulgence of the IV reader not to criticise them too closely, but remember that with us the iuditing of this volume was a pasthne not an occy.pation. It has been our care to embrace as many historical sketches in this work as will be of general interest (in rela- tion to the drama and its exponents) as possible, in order that its value may be for more than a day. A personal and gratifying intimacy with many of our most sterling actors, many of whom, alas I have "gone the way of all flesh," has enabled us to speak of their peculiarities and characteristics as perhaps few others can, and this knowledge, more than aught else, has given what especial interest there nuiy be attached to these running chapters. These few Avords of explanation being given, Ave have only to leave these sketches to produce their oavu impression. If they serve to Avhile away a dull hour, our task will have been accom})lished; if they are recei^'ed Avith public favor, Ave shall indeed be gratified. These records are true to our own impressions; and secure in this main particular, Ave have no misgivings in offering them to readers Avhose curiosity and interest about the distinguished actors and actresses of their time, claim such satisfaction as any survivor like ourself may be able to give. EDWIN FORREST. A Question for Genealogists to Solve. There are doubtless very many persons, even those accus- tomed to handle our Government paper currency, who have never taken particular notice of the engraving which embel- lishes the backs of the "Twenty Dollar Currency Notes," or made themselves acquainted with the subject represented in the engraving. This engraving is a fac- simile of the original painting, Avliich graces the walls of the Capitol at AYashington, and represents the baptism of Pocahontas, at Jamestown, Virginia, in 1613, ten years previous to the landing of the "Mayflower" at Plymouth Eock. The key to this picture, which we have examined, gives the names of all the persons present at the baptismal ceremony of Pocahontas, among them Mr. and Mrs. For- rest and child, who occupy a prominent place in the picture. This Mrs. Forrest, it appears, "was the first gentleAvoman Avho arrived from England in the Colony of Virginia." NoAv, whether Edwin Forrest is a lineal descendant of this Forrest family is a question for genealogists to solve. OUR ENGRAVINGS. As reorards the likenesses of Edwix Forkest and Mrs Catharixe Sinclair, which embellish these pages, little need be said on our own part in their praise, as they speak for themselves, as also does the artistic execution of the engravings by Mr. Hiram Ferguson, designer and photo- graph engraver, wliich may challenge the criticism of the most exacting connoisseur. The photograph of Mrs. Sinclair was taken soon after she obtained the divorce from Mr. Forrest. She is repre- sented as Lady Teazle in the " School for Scandal." The particular scene in which she is represented is the famous one Avhere Lady Teazle is discovered by Charles Surface and Sir Peter, secreted behind the library screen of Joseph Sur- face. The likeness of Mrs. Sinclair is perfect and life-like, as will be readily admitted by those who have eA'er seen her, especially in the character of Lady Teazle, It will be found, on comparing the likeness of Mrs. Sinclair Avith that of Lady AVashington, there is a remarkable resemblance. The photograph of Mr. Forrest was taken when the great actor was in the very prime of life, and at the zenith of his histrionic fame. The artist has represented him as stand- ing in his library, in a deeply contemplative mood, his hand gracefully resting upon the works of his favorite Shakspeare. Mr. Forrest's likeness is also exceedingly truthful in every particular. In speaking of the artist, Mr. Ferguson, we would here simply ask Avhy Albanians need go to New York or Boston to procure their work done, wlicn tlu-y have competent artists at liome? We believe, as did Edwin Forrest, that native or hovie talent, genius, labor, should be encouraged in i>refercnce to that of a foreign character. In the produc- tion of these engravings, Mr. Ferguson has done himself credit, and it is very doubtful whether his work could be sur- passed, if equaled, by any artist in the country. CONTENTS. Chapter I. PAGE. Old Actors, Old Actresses, Old Theatres, etc 1 Chapter II. The Great Edmund Kean^Kiot 15 Chapter III, Green Street Theatre, erected in 1811 20 Chapter IV. The Pearl Street Theatre, erected in 1825 2G Chapter V. "William Duffy's First Appearance, etc 33 Chapter VI. Pearl Street Theatre, with the different Managers 38 Chapter VIL Old Pearl Street Theatre, William Rufus Blake, his vanity 43 Chapter VII I. Tom. Puller, The "' Artful Dodger " 48 Chapter IX. yj Grand Firemen's Ball, Charlotte Cushman the Belle. . . 53 vm Chapter X. Page. Eebuilding The Academy of Music, The Trimble Opera House GO Chapter XI. Division Street Academy of Music 64 Chapter XIL The Odeon Theatre— Anecdote of the Elder Booth 60 Chapter XIII. The Gayety Theatre — Castle, The Popular Singer, etc., 67 Chapter XIV. ».^dwin Forrest, The Eminent Tragedian 72 Chapter XV. yEdwin Forrest, His First Appearance at the Old Pearl ^ Street Theatre 78 Chapter XVI. y Edwin Forrest, His Generous Donation to the Young ^ Men's Association 87 Chapter XVII. Why Mr. Forrest remained so long on the Stage 04 Chapter XVIII. Mrs. Catharine Sinclair 97 Chapter XIX. Junius Brutus Booth, His First Appearance 102 Chapter XX. Gustavus V. Brooke, The Irish Tragedian 108 Chapter XXI. The Celebrated Comedian, William Warren 113 IX / Chapter XXIL. Page. Cliarlotte Oushman, The Great American Actress ] 17 Chapter XXIIL Edward L. Davenport, His First Appearance on the Stage 121 Chapter XXIV. James E. Murdock, the Great Actor and Elocutionist. . 12-4 Chapter XXV. The Albany Histrionic Association 120 Chapter XXVI. General Theatrical Reminiscences 141 Chapter XXVII. U6 Chapter XXVIII. John Biven's Theatre 153 Chapter XXIX. Mons. Mallet— Hacket 164 Chapter XXX. " Pinkster Day "—Old King Charley 170 Chapter XXXI. Dummy Allen — Forrest's Costumer 177 Chapter XXXII. Capt. Page's Circus 181 Chapter XXXIII. Jim Bancker — John Gossin, the Clown 185 Chapter XXXIV. " Nosey" Phillips 188 X Page. ClIAPTEK XXXV. 192 Chapter XXXVI. Nichols, Amphitheatre 194 Chapter XXXVII. Paddy Burns, and His Bugle 196 Chapter XXXVIII. John Augustus Stone, the American Dramatic Author, 199 Chapter XXXIX. Master Payne, Dramatic Prodigy. . 302 Chapter XL. Thomas Cooper, the Celebrated Actor 207 Chapter XLL George Frederick Cook, and John Kemble 210 Chapter XLII. Tiie Great Actor, George Frederick Cook 213 Chapter XLII I. The Old Trowbridge Museum 222 Chapter XLIV. The Albany Museum 228 Chapter XLV. New Dramatic Department of Museum 232 Chapter XLVL Anecdotes of Albany Museum 236 Chapter XLVII. Origin of Negro Minstrelsy 240 XI Chapter XLVIII. Page. Lord Adancourt and the Celebrated Actress 242 Chapter XLIX. Carol i lie Itichings. 247 Chapter L. Mrs. 8cott Siddons 249 Chapter LI. William J. Florence 251 Chapter LIL Albany Actors and Actresses 254 Chapter LIIL Actors' Lives, their Labors, etc 256 Chapter LIV. John Hunbnry Dwyer 260 Chapter LV. J A Pleasant Episode — Charlotte Cushman 262 Chapter LVL How the Printer Collects his Bill 365 Chapter LVIL Female Dramatic Performers 268 Chapter LVIIL Amusing Anecdotes of Edwin Forrest 270 Chapter LIX. Anecdotes 273 Chapter LX. Charley W. Taylor — AVhy he became an Actor 277 Xll Chapter LXI. Page. Good Friday — Conway 281 Chapter LXIL Encoring Actors 384 Chapter LXIII. Remarkable Stage Effect 286 Chapter LXIV. A Real Tragedy— Effect of Good Acting 289 Chapter LXV. Theatrical Emeute 202 Chapter LXVI. A Convenient Dramatic Record 305 Chapter LXVIL Amusements in New York 31 1 Chapter LXVIII. Historical Fire Record 313 THE STAGE -THE DRAMA. Amusement with Instruction Blended." That amusement is necessary to man, the most su- perficial observation of his conduct and pursuits may con- vince us. The Creator never implanted in the hearts of all his intelligent creatures one common universal appe- tite Avithout some corresponding necessity; and that He has given them an instinctive appetite for amusements as strong as any other which we labor to gratify, may be clearly perceived in the efforts of infiincy, in tlie exertions of youth, in the pursuits of manhood, in the feeble en- deavors of old age, and in the pastimes Avhich human creatures, even the uninstructed savage nations themselves, have invented for their relaxation and delight. This ap- petite evinces a necessity for its gratification as much as hunger, thirst, and weariness, intimate the necessity of bodily refreshing by eating, drinking, and sleeping ; and not to yield obedience to that necessity, would be to coun- teract the intentions of Providence, who would not have furnished us so bountiful!}' as He has with faculties for the perception of pleasure, if He had not intended us to enjoy it. Had the Creator so willed it, the process neces- sary to the support of existence here below might have been carried on without the least enjoyment on our part ; 2 The Stage — The Drama. the daily waste of the body might be repaired without the sweet sensations which attend eating and drinking; we might have had the sense of hearing without the delight we derive from sweet sounds; and that of smelling with- out the capability of enjoying the fragrance of the rose; but He whose wisdom and beneficence are above all com- prehension, has ordained in another and a better manner, and annexed the most lively sensations of pleasure to every operation He has made necessary to our support, thereby milking the enjoyment of pleasure one of the conditions of our existence. That man must have amusement of some kind, " Na- ture speaks aloud." He, therefore, who supplies society with entertainment unadulterated by vice, who contributes to the pleasure without impairing the innocence of his fellow-beings, and, above all, who instructs while he de- lights, may justly be ranked among the benefactors of mankind, and lays claim to the gratitude and respect of the society he serves. To that gratitude and respect the dra- matic poet, and those who contribute to give effect to his works, are richly entitled. Accordingly, history informs us, that in all recorded ages theatrical exhibitions have been not only held in high estimation by the most wise, learned, and virtuous men, but sedulously cultivated and encouraged by legislators as matters of high public impor- tance, particularly in those nations that have been most renowned for freedom and science. In the multitude and diversity of conflicting opinions which divide mankind upon all, even the most manifest truths, wo find some ui)on this subject. Many well mean- ing, sincere christians, have waged war against the enjoy- ment of pleasure, as if it were the will of God that we should go weeping and sorrowing through life. The learned bishop of Rochester, si)eaking of a religious sect Avhicii carries this principle as far as it will go, says : " Their error is not heterodoxy, but excessive, overheated zeal." Introduction. 3 Thus we find that the Stage has ever been with many Avell meaning though mistaken men, a constant object of cen- sure. Of those, a vast number express themselves with the sober, calm tenderness which comports with the character of christians,, while others again have so far lost their tem- per as to discard in a great measure from their hearts the first of all christian attributes — charity. We hope for the honor of Christianity, that there are but few of the latter description. There are men, however, of a very different mould ; men respectable for piety and for learning, who have suffered themselves to be betrayed into opinions hostile to the dra- ma, upon other grounds. These will even read plays and profess to admire the poetry, the language, and the genius of the dramatic poet, but still make war upon scenic rep- resentations, considering them as stimulants to vice, as a kind of moral cantharides which serves to inflame the pas- sions and break down the ramparts behind which religion and prudence entrench the human heart. Some there are again who entertain scruples of a different kind, and turn from a play because it is a fiction ; while there are others, and they are most worthy of argument, who think that theatres add more than their share to the aggregate mass of luxury, voluptuousness, and dissipation, which brings nations to vitious refihement, enervation and decay. It might not be difficult to prove by inference from a multitude ol facts scattered through the history of the world, that a passion for the dramatic art is inherent in the nature of man. How else should it happen that in every age and nation of the world vestiges remain of some- thing resembling theatrical amusements. It is asserted that the people of China, full three thousand years ago, had something of the kind and presented on a public stage, in spectacle, dialogue and action, living pictures of men and manners for the suppression of vice, and the circula- tion of virtue and moralitv. 4 The Stage — The Drama. In England, where the clonds of religious intolerance were first broken and dispersed by the reformation, the Stage has flourished, and exhibited a mass of excellence and a constellation of genius unparalleled in the annals of the world. There it has been encouraged and admired by men whose authority, as persons deeply versed in christian theology and learned as it is given to human creatures to be, we do not scruple to prefer to that of the persons who raise their voices against the Stage. Milton, Pope, Addi- son, Johnson, Warburton, bishop of Gloucester, and many others have given their labors to the Stage. In many of his elegant periodical papers, Mr, Addison has left testimo- nies of his veneration for it, and of his personal respect for players ; nay, he wrote several pieces for the Stage, in com- edy as well as tragedy ; yet we believe it will not be doubted that he was an orthodox christian. The illustrious Pope, in a prologue which he wrote for one of Mr, Addison's Plays — the tragedy of Cako — speaks his opinion of the Stage in the following lines : " To -wake the soul by tender strokes of art, To raise the genius and to mend the heart, To make mankind in conscious virtue bold, Live o'er each scene, and be what the}* behold ; For this the tragic muse first trod the stage, Commanding tears to stream through every age. Tyrants no more their savage nature kept, And foes to virtue wondered how tlwy wept." "Warburton, the friend of Pope, a divine of the highest rank, wrote notes to Shakspeare. And an infinite num- ber of the christian clergy of as orthodox piety as any that ever lived, have admired and loved plays and play- ers. If, in religion. Doctor Johnson had a fault, it certainly was excessive zeal; and assuredly his morality cannot be called in question. What his idea of the Stage was, may be inferred from his labors and from his private friend- ships. His preface to Shakspeare; his illustrations and Introduction. 5 characters of the Bard's plays ; his tragedy of Irene, of Avhich he diligently superintended the rehearsal and rep- resentation ; his friendship for Garrick, and his constant attendance on the theatre, loudly proclaim his opinion of the Stage. To him who would persist to think sinful that which the scrupulous Johnson constantly did, we can only say. in the Avords of one of Shakspeare's clowns — " God comfort thy capacity." THEATRICAL REMINISCENCES. CHAPTER I. Old Actors — Old Actresses — The Influexce and Effects of Good Acting — Old Theatres of New York — The Great Ed- mund Kean " Emeute" at the Park Theatre, &g. In looking over a copy of Appleton's, we fouud an arti- cle Avhich greatly interested us, reviving, very vividly, memories of scenes and incidents of the past. In this article reminiscences of the old theatres of New York interested lis not a little. Very accurate and life-like illustrations of those ancient landmarks are also given, the illustrations being so remarkably truthful that any one having seen the original, or entered their portals, will at once recognize their plain, unostentatious and familiar faces, or fronts. An illustration is also given of the cor- ner-stone of the first old Park Theatre, which stood oppo- site the City Hall Park, between Broadway and Beekman street, and was erected in 1795. By-the-by, at the second Park Theatre a scene occurred that will long be remember- ed by those who witnessed it, as one of the most thrilling theatrical emeufes that ever transpired in this country, with the exception, perhaps, of the celebrated "Astor Place" riot, when the English actor, Macready, was mobbed and driven from the stage : — In this terrible riot it will be recollected that many lives were lost by being shot down by the military. The scene was occasioned by the api^earance at the Park TJieatre of Edmund Kean ; he 8 Theatrical Reminiscences. was pelted with all sorts of obscene missiles, and only allowed to play Richard III in dumb show, or pantomime. We will endeavor to give the particulars, having been present during the riot, and an eye witness to the whole affair. The first theatre erected in New York, it would seem, was the John Street Theatre, in 175.3, the population of the city at that time being only 10,000. The first play bill had the following announcement : "The historical tragedy of King Richard III, wrote by William Shakspeare, and altered by Colly Gibber, Esq. Pit, five shillings; gallery, three shillings ; to begin precisely an half an hour after six o'clock, and no admittance behind the scenes ! " The role of Richard was enacted by an actor of the name of Kean, supposed to have been a relative of his illustrious successor, Edmund Kean. General Washing- ton, while a resident of New York, and while President, frequently visited this theatre. In speaking of the old " Chatham Garden Theatre," which was located on Chatham street, between Sweeney's present hotel and, if we mistake not. Pearl street, in the rear of the main building, and in the centre of a beautiful garden, the entrance from the street being through a spa- cious hallway, with the ticket and other offices on either side, we would say we are reminded of many of the names of the unequaled dramatic company attached. The thea- tre was uiuler the management of a Frenchman by the name of Barrier, and was managed in the most admirable and acceptable manner. The names of some of the com- pany, as near as Ave can recollect, were as follows: Henry Wallack, brother of James Wallack, and his accomplished and talented wife; Mr. Dnrang, Mr. Scott, who Avent by the soubriquet of " Long Tom Coffin," owing to his im- mense size, as well as so often playing "Long Tom" in a nautical play ; Mr. and Mrs. Harry Williams, accomplished artiste. Mrs. Williams was a remarkable woman, often Theatrical, Reminiscences. 9 assuming male characters, and especially that of '*' Richard III," which she enacted in such a manner that she received the most flattering encomiums of popular critics. Henry and David Ebberlee, their two talented sisters, were dan- seuses and vocalists; Mr. and Mrs. Walstein, who were once attached to old John Biven's Theatre, corner of Green and Division streets, of this city, also Mrs. Hatch, an ex- cellent actress, who was at Biven's theatre ; Alexander Simpson, for short called "Alic." Simpson, was an Albany boy, and served his time as a printer in the old Albany Daily Advertiser office, and commenced his theatrical career in the old " Thespian Theatre," located on North Pearl street, opposite the Clinton Park, the ground of which was occupied by dwellings at that time. Many old theatre-goers Avill remember the names of the above men- tioned actors and actresses. The record of the old play-houses has a very sad value in recalling interesting phases of the social life of New York, and also brings before the mind of the reader the great changes that have taken place, especially in dramatic representations. For twenty-five years after the first play was performed in New York, the " legitimate drama " was in the ascendancy. The actors, not their artificial sur- roundings, were the centres of interest. Scenery and machinery, spectacles and gaudy efiects, Avere almost un- known. Old actors and audiences shed tears over the jierfection of imitated nature. Hyatt, a veteran actor, was so overcome by the performance of Helen McGregor, by Mrs. J. Dutf, that he cried from emotion like a child. [This George Hyatt, alluded to, was the first Ioav come- dian of Charles Gilford's unequaled dramatic company, of the old Pearl Street Theatre in this city, and of the very first of his class; he also possessed high literary attainments. George composed several popular pieces of music, among them the once popular song of the " Mel- low Horn," sung with great effect by the celebrated vocal- 10 Theatrical Remixiscences. ist, Phillips.] We saw the stock actors lose their presence of mind in Sir Giles Overreach, in " New Way to Pay Old Debts," and actually start to follow the prostrate form of the elder Booth, as he was borne, in the last scene, faint- ing and dying, from the stage, while the audience arose, and, pale with terror, leaned forward with painful interest to see the end of what, for the moment, appeared a real catastrophe ! Clara Fisher, on one occasion, sang what was intended to be a ludicrous appeal for sympathy, with such wonder- ful truthfulness of suffering, that a majority of the audi- ence were overcome with tears. [It will be recollected by many, no doubt, that Clara Fisher, iii her young and palmy days, introduced for the first time in this city, at the Pearl Street Theatre, then under the management of Duffy & Forrest, the popular and affecting ballad of " Home, Sweet Home," when performing the role of Clara, in the "Maid of Milan." At last advices, December 15, 1872, Clara Fisher Maeder Avas doing the role of " Old Woman " at Aikin Theatre, Chicago, and yet in a remark- able state of preservation.] Such incidents are character- istic examples of the "old school" of acting, and the most enthusiastic admirer of "modern inventions" must admit that the old theatres of New York, at least, sur- passed their successors in holding the " mirror up to nature," and that at this time, Avith but few honored ex- ceptions, the era of great actors and actresses has passed away with the temples in which they achieved their tri- umphs. Mrs. John Greene, attached to Duffy & Forrest's Pearl Street company — a great favorite, a lady of the high- est dramatic attainments, and a model woman in public as well a.s private life — in her portrayal of Mrs. Haller, in the "Stranger," Bianca, in the " Italian Wife," "Evadne," &c., &c., very seldom failed to work upon the sympathies of her uudience, by throwing such intensity of feeling and Theatrical Reminiscences. 11 earnestness in the characters as to have the entire audience in tears, and not unfrequently in audible sobs. Mr. William Duffy, (Duffy & Forrest,) while doing the role of Pliasarius in Forrest's Gladiator, portrayed the crucifixion of the gladiators with such truthfulness, nay, electric effect, that portions of the audience would posi- tively turn their faces from the actor during his recital with utter horror and disgust! Even Forrest, at times of its recital, would evince an unusual degree of emotion, It will be recollected by those who have witnessed the play of the Gladiator, that portions of Spartacus' (Forrest) army were taken prisoners, and "no quarters'' shown them by their foes. Along the highways rude crosses were erected, and upon each cross was nailed by the hands and feet a living gladiator — thousands being thus cruci- fied. In the dreadful agonies of death, the poor wretches would struggle till they tore their hands from the iron spikes that confined them to the cross, and attempt to throw their bodies outward, madly grasping at vacancy, their bleeding and lacerated feet still being fastened to the cross ! It was this scene that Mr. Duffy described so fearfully truthful as to produce the effect upon the audi- ence above referred to. Mr. Forrest paid Mr. Duffy the high compliment of sajing in our presence, " Duffy is the best Phasarius that ever played with me." At the representation of " Mary Stuart," in Philadel- phia, when Lord Linsley seized Mary by the wrist, and left the impress of his gauntlet on her flesh, Mr. Wil- liam Forrest, (brother of Edwin,) as Douglas, stepped be- tween and says, " Shame ! shame ! " — an honest, good- hearted fellow, sitting in the pit, near the stage, his feelings becoming gradually excited, jumped up and cried out in very audible tones, " So it is a d — d shame ! Knock the fellow down, Forrest," which incident not being in the programme, brought down the house. There appears in these latter days so much of the \\-Ug- 12 Theatrical Reminiscences. itimate drama, so much of the flashy, trashy, sensational afloat and tolerated, that the true, solid, intellectual old tragedies, comedies, and sterling melodramas are wholly icrnored, and made to " take a back seat." As Hamlet says, and to the point, too — " 'Tis true, 'tis true, 'tis pity, Aud pity 'tis, 'tis true." The old John Street Theatre was erected in the year 1753. Very accurate plate illustrations were given in Appleion's of the two Bowery Theatres, the La Fayette Theatre, which stood in Laurens street, near Canal, and the old National Theatre, corner of Leonard and Church streets. The National, in those davs. was deemed one of the most beautiful aud commodious establishments of the kind in New York, and was under the management of the veteran actor, James Wallack, Esq., father of J. W. AVallack, present manager of Wallack's popular theatre in New York. It is a somewhat remarkable fact that all of these thea- tres were destroyed by fire. No city in the Union has suffered so much by the destruction of theatres by fire as New York. The theatres tlius destroyed by fire are as follows: Park Theatre, July 4,1831; Bowery Thea- tre, May 28, 1821; La Fayette Theatre, 1829; Bowery Theatre, Feb. 18, 1838; National Theatre, Sept. 23, 1839; National Theatre, May 29, 1845 ; Bowery Tiieatre, April 28, 1845; Niblo's, Sept. 18, 1840; Park Theatre, Dec. 16, 1848; Barnum's Museum, July 13, 1855 ; Butler's Ameri- can Theatre, Feb. 15, 1866; Academy of Music, May 22, 1866; New Bowery Theatre, Dec. 18, 1866; Winter Garden Theatre, March 23, 1867; Barnum's Museum, March 3, 1868; Butlers American Theatre, April 8, 1868; Theati-e Comique, Dec. 4, 1868; Niblo's Garden Theatre, May 6, 1872; Lina Edward's Theatre, Nov. 28, 1872; Barnum's Circus, Dec. 24, 1872; Fifth Avenue Theatre, Jan. 1,1873. Theatrical Reminiscences. 13 Some of the above have been burned as follows : Park Theatre, twice; Bowery, three times; National, three ; Niblo's, twice ; Butler's American, twice ; Barnum's Museum, twice; Barnum's Circus and Menagerie, once. Speaking of the old Bowery Theatre reminds us that it was here that Edwin Forrest, after leaving the old Pearl Street Theatre in this city, (he then being a member of Gilfort's stock company,) commenced his career as a "star." The second Park Theatre, which in its day was considered the theatre of New York, Avas the fovorite resort of the wealth, aristocracy and fashion of the city, and one of the best stocked, best appointed, and admira- bly managed theatres in the world. It was conceded that its stock company Avas never before equaled. Many old theatre-goers will no doubt remember a portion of its names, which we give from memory, and are as folloAvs : Peter Richings, (foster father of the universally admired and accomplished actress and vocalist, Caroline Richings,) then in his prime, and a finished, genteel comedian and vocalist. Henry Placide, a very versatile and brilliant actor. [When Edwin Forrest was in Europe on a visit, he Avas asked Avhom he deemed the best American actor ; he promptly and unequivocally replied, "Henry Placide is unquestionably the best general actor on the American boards, and I doubt Avhether his equal can be found in England."] Thomas Placide, brother of Henry, Mr. Fisher, Mr. Hilson, the original representative of " Paul Pry" in this country, and inimitable in that rule; Mr. Wood, Mr. IsherAvood, Mr. AVheatley, Mr. Johnson, John Barnes, usually called '"old Jack Barnes," Obe. AVood- hull. [Here Ave Avould remark, that Woodhull Avas the "heavy man," doing, of course, all the villains, and so naturally did he not only look but act the villain, tliat many of the old Park patrons positively hated the man. The " gallery boys," (always an important theatrical ap- pendage,) Avlieu they happened to meet Woodhull on the 14 Theatrical Reminiscences. street, -would cry out, '-'There's that 'ere chap what played such and such a villian, and we're all d-o-w-u on him any how." A more flattering compliment could not very well have been bestowed upon an actor, but Obe.'s excellent acting always aifected him financiaUy, as he never suc- ceeded in getting a decent " benefit," until Forrest kindly volunteered to play for him, and the benefit was a "rouser ;" but it was Forrest who drew the house.] Chippendale, and many others, among them Harry Hunt, well known to Albanians as a member of Meech's unsurpassed comi)any at the old Museum. Mrs. John Drew, the enterprising manageress of the Arch Street Theatre, Philadelphia, Avasa protege of Harry Hunt, and by him brought out at the old Park as a " prodigy," under the name of '' Louisa Lane ;" when grown up, she became Mrs. Hunt. In some future reminiscences we may refer more fully to this talented and estimable lady, and versatile and unequaled dramatic artist, who played all roles from Lady Macbeth down to such juvenile characters as the ''Eaton Boy," Fortunio, &c., and it would seem that this lady, at the present day, even, still retains much of the sparkling gen- ious and vivacity of former days. Mr. Clarke, an admira- ble actor, was one of the company of the old Park Theatre. Among the actresses were Mrs. Barnes, Avife of Jack Barnes, a very accomplished comedienne and tragedienne, who afterwards became a star of the first magnitude, play- ing in the principal cities with eminent success. Theu there were Madames Hilson, Johnson, Clarke, the two Misses Wheatley, &c. One of the Misses Wheatley — Emma, the name was — and a highly accomplislied and beautiful young lady, retired from the Park stage, after a brilliant dramatic career, and became the wife of one of the distinguished "merchant princes" of New York. CHAPTER II. Teb Great Edmund Kean Riot at the Old Park Theatre, N'ew York — He is Hissed and Pelted with Missiles — Richard Played in Dumb Show, &g. We close the sketches of the old theatres of New York with an account, as nearly as our memory serves us — having been present — of the great emeute theatricale, on the occasion of Kean's appearance at the Old Park The- atre as Richard III : It would seem that while on shipboard, e7i route to this country from England, Kean, in one of those "fits of inebriety" to which he was subject, made certain remarks in relation to our institutions which were con- sidered to be positively ofiensive, and grossly insulting, to every American citizen. The report of Kean's conduct spread like Avild-fire immediately after his arrival, and a firm determination was at once formed by a large portion of the public to resent the insult, as summarily as circum- stances would permit ; and this determination was fully carried into effect, on the appearance of Kean at the Park Theatre. Richard III, his great and favorite role, was announced for the opening night, and long before the time for open- ing the doors, nay, as early as 4 o'clock in the afternoon, crowds commenced assembling, and before 7 o'clock the entire area in front of the theatre was solidly packed 16 Theatrical Eeminiscexces. with a surging, excited mass of humanity, extending far into the City Hall Park ! " Old Hays," the veteran and redoubtable detective, and a " terror to all evil doers," was on hand with a strong police force to aid in prevent- ing any acts of violence. When the doors were finally thrown open, the rush was positively fearful, and those having secured seats at an early hour, were obliged to "run the gauntlet," at the hazard of getting bruised limbs, shockingly bad smashed beavers, buttonless and badly rent coats, &c. After the house was filled to its utmost capacity, the ticket sellers left their posts, and free access was allowed to all who chose to squeeze in. As the curtain "rang up," the scene presented in front beggars all description. Such a perfect ocean of heads — 'such excitement — such a roar of voices, was probably never before witnessed on an occasion of the kind. Of course, there was not a solitary female present iu the audi- torium. At length Kean entered from the right wing, looking quite pale, but exhibiting much firmness and con- fidence, and was at once greeted with a perfect storm of hisses, cat-calls, and terrific yells! but the storm subsi- ded for a moment, and Kean commenced the soliloquy, "Xow is the winter of our discontent (slight applause and hisses) made glorious by this son of York, (yells) and all the clouds that lowered over our heads " — here the storm that had been so long brewing burst forth in all its inten- sity and fury, and cries of " llussle him off," "Down with the English ingrate," " He can't gull us," &c. Kean's lips were seen to move, accompanied by nervous gesticulations, but not a word he uttered was heard. Then came a missile of some sort, an orange or ^g^g, perhaps, with the accom- paniment of " there, d — m you, take that." One of these missiles struck Kean on the side of his head, when he turned his face in the direction wlience it came, and gave one of his terribly defiant looks, which once beheld, would not soon Theatrical Reminiscences. 17 be forgotten ! Kean, of course, had many friends pres- ent — mostly Englishmen — who made spasmodic attempts at applause, but how perfectly impotent were their efforts against the demoniac demonstrations of his opponents! Confusion appeared to be getting worse confounded, — pandemonium, with all its evil spirits let loose, would have been as nought in comparison. The play went on, but in pantomime or dumb show, especially when Kean was on the stage — the rest of the play was but little disturbed, the rioters taking but little interest in it, as it was Hamlet to them with Hamlet left out. In the scene where Eichard stops the corpse of King Henry, and in the wooing scene of Queen Anne, a huge missile, too obscene to be mentioned in print, was hurled upon the stage, falling directly at the feet of Queen Anne (Mrs, Hilson). At this juncture of the affiiir the husband of Mrs. Hilson sprang from a side wdng and bore his wife off the stage in a lit of unconsciousness. The play proceeded to its close 'mid shouts, cat-calls, &c., in- terspersed with a shower of all kinds of missiles. As many may be desirous of knowing the meaning of the offensive missiles being thrown upon the stage, we would say that it was intended as a reminder to Kean of a certain liaison, or affaire cV amour, with the wife of an Alderman Cox, of London ! The combat scene between Eichard and Eichmond was positively terrific, so intensely did Kean's acting absorb the undivided attention of the rioters, and there was quite a calm in the storm for several minutes. [We never saw the equal of this combat scene, except, per- haps, that between the elder Booth and William Duffy, in Eichard, at the old Pearl Street Theatre, in this city, when Booth, in one of his fearfully earnest fits, fought with a desperation that is utterly indescribable.] Kean, fighting with the desperation and earnestness of an en- raged tiger, resembled a maniac more than a sane man ; the 2 18 Theatrical Keminiscences. entire contour of his face presented a most repulsive as- pect, and it was with Herculean efforts that Eichmond prevented Kean from inflicting serious, if not fatal inju- ries upon his person. Kean's dying scene was fearful to behold, and we venture to say was not soon forgotten by those present. The curtain then dropped upon one of the most remark- able dramatic scenes, both on the stage, as well as in the auditorium, that probably has ever occurred in the history of the stage. Kean did not again appear at the Park for some time after this affiiir. His next appearance was in Boston, when he met Avith full as warm, if not a warmer, reception, as at the Park — threats were made to even lynch him, in Bos- ton — and he getting wind of this, made a hasty "exit" through the private entrance to the street, in the disguise of a female, a la Jeif Davis, but he was more fortunate than Jeff., as Kean escaped, while Jeff, was caught and "bottled up!" Kean, after his hasty exit from Boston, appeared at the old Pearl Street Theatre, in this city, Dec. 13, 1825, in the character of Kichard III, and, contrary to the general expectation, he was received without the least riot or disturbance whatever. He played the first niglit to the fullest house ever witnessed in this theatre, many hidies were present, and nothing occurred to attract the atten- tion of the audience from the masterly acting of the "mimic monarch." The '-'opposition," if any existed, was overawed, by the evident respectability of the house, from commencing any affray. After the tragedy was concluded, Kean was loudly called for by the audience, who, on his appearance, greeted him with a burst of applause which shook the edifice. He briefly addressed the audience, and expressed his gratitude for the kindness and partiality evinced towards him in the manner of his reception "in this ancient metropolis," and retired amid the most enthu- Theatrical Reminiscences. 19 siastic tokens of the popularity which his late persecution had secured to him. Kean returned to New York, meeting with a very cor- dial reception ; also in Philadelphia, Boston, etc. Alba- nians seemed to take the right view of the matter; they cared nothing about the piccadillos or short-comings of the MAN ; they desired to see the great actor, and to witness his nnequaled impersonations of Shakspeare's grand creations. It is said that long before he appeared before the audi- ence, his countenance betrayed an asliey or death-like pale- ness, his every limb trembling like an aspen ; but he finally entered from the right wing, as usual, and was received with — instead of hisses and a storm of missiles — a perfect storm of applause, the entire audience rising to their feet and waiving their hats and handkerchiefs. So much was Kean taken back with this demonstration that it was sev- eral minutes before he was enabled to proceed, so great was the reaction ; but he went on, and it was said he never played with such force and positively electrical effect before. He plaj^ed out a week's engagement here to splendid houses. It would seem that Albanians possessed more of the " milk of human kindness" than either the N'ew Yorkers or Bostonians, they deeming him sufficiently punished for his indiscretions. After his engagement in Albany, he again returned to New York, and was well received. As Shakspeare says : " All the world's a stasre, And all the men and women merely players. They have their entrances and their exits, And many men pla^'ing many parts." Kean passed through a terrible fiery ordeal, coming out a wiser if not a better man, no doubt. He played many parts, too, both on and off the stage, as we have shown in the above sketches. Thus ends our reminiscences of the old theatres, old actors and actresses of New York. CHAPTER III. Green Street Taeatre Erected in 1811 — Attempts made to Prevent Theatrical Performances — Common Council Re- fuses TO Interfere — Looking-Glass Curtain — Theatre Fi- nally Converted into a Pork-Packing Establishment. The first knowledge we have of theatricals of anv sort in Albany is that which Mrs. Grant communicates in her " American Lady," of their having been performed by the officers of the British army, in the time of the French war, about 1759. These gave such offence to the Dutch Re- formed clergyman, the Rev. Theodorus Frelinghuysen, that he made them the subject of severe censure in his pulpit; but instead of affecting any reform, a very singu- lar suggestion was made to him to depart. He found at his door on Monday morning a staff, a pair of shoes, a loaf of bread, and some money. This so wrought upon his feelings that he left his charge, crossed the ocean, and was never more heard of. The first theatricals in Albany were enacted by a com- pany of comedians from New York, who gained permis- sion, for one month only, from the Governor. They occupied the hospital, which stood about whore the Lutheran Church now stands, on Pine street. The first play was "Venice Preserved," July 3, 1769. In 1785 the hospital Avas again fitted up for theatrical purposes, and opened on the 14th of December with "Cross Purposes," and "Catharine and Petruchio," be- tween which was a dance, a "La Polonaise," and an eulogy on Free Masonry. Tickets were sold at Lewis' tav- Theatrical Reminiscences. 21 em, as no money would be taken at the door. Boxes $1, gallery 50 cents. A vigorous effort was made to prevent the continuance of the performances by a number of influ- ential citizens, but the common council determined by a vote of six to four, that they had no legal right to prohibit theatrical exhibitions. In 1803, a company calling themselves the " Old Amer- ican Company," gave an entertainment at the " Thespian Hotel," in North Pearl street. They opened on the 2d of August, and continued their representations several weeks. This house a Mr. Hayman seems to have had possession of in 1810, and opened it on the 14th of November, with the comedy of " The Poor Gentleman," Mr. Bates speak- ing the prologue. The epilogue was spoken at the end of the comedy, and was followed by the farce of " The Lying Valet." This company concluded the season on the 28th of May, 1811. The edifice in which these performances took place, was first known as " Angus' Long Room," where the " City Assemblies," as they were called, were held — in other words, it was a dancing room. In 1801 the "United Presbyterian Church" held their meetings there. It seems to have been a convenient place for almost any public purpose. It was finally taken down about the year 1835. It is said that John Burnard, deci- dedly the best low comedian that ever appeared in Albany, had an excellent company at this place for one or two sea- sons before the Green Street Theatre was erected. Mr. and Mrs. Young, Horton, Anderson, Johnson and Gra- ham, belonged to that company, and Mrs. Young acquir- ed her great popularity in this city at that theatre, in the character of " Adelgitha." Hop. Robinson and Dwyer ap- peared here as stars ; and the " Forty Thieves " was first produced here, William Robinson personating Hasserack, the last of the Forty Thieves. Here Avere introduced as stars, many of the most celebrated actors of the day. 22 Theatrical Reminiscences. Holman and his daughter, afterwards Mrs. Gilbert, made their first appearance here. John Howard Payne, author of " Home, Sweet Home," and of several dramatic pieces, appeared on this stage. Theatrical performances were also given at a house fitted up at 140 State street, and in a wooden building on the southeast corner of Green and Division streets. Bliven carried on a theatre, which was known at orte time as the " Pavilion," and was afterwards the site of a circus and menagerie, made memorable by the death of an elephant in it. Green Street Theatre. The first edifice erected for the purposes of a theatre, was begun in 1811, in Green street, near Hamilton, and it is still standing. It was of brick, 5G by 110 feet; Lewis Farnham builder, and was the enterprise of a joint stock company, consisting of .Tolui Van Ness Yates, Isaac Han- Theatrical Reminiscences. 23 sen, Geoi'ge Sharp, Isaac Q. Leake, John I. Godfrey, and others. It was opened by John Buruard, and an excellent company, 18th Jan. 1813, with " The West Indian and Fortune's Frolic." The opening address was written by Solomon Southwick. In this company, the notabilities were Mr. Waring, Mr. Tyler, Mr. Southey, Mr. Dvvyer, [Mr. Dwyer died in this city. His widow, aged 66 years, is still living with Mr. Vose, on Madison avenue, February, 1873 ;] Mr. Young, Mr. Hopkins Eobinson, [Robinson married the daughter of the late Judge Woodworth, who resided corner North Pearl street and Maiden lane, on Dr. Hun's estate ;] Mr. Placide, and William Robin- son — for short, called " Bill " — Mrs. Bernard, Mrs. Lewis, Mrs. Wheatley, and Mrs. Young. The prices were — boxes, one dollar ; j^it, seventy-live cents ; gallery, fifty cents. Mr. Young died here, and his widow retired from the stage, afterwards marrying the Hon. Mr. Hughes, and was the mother of Charles Hughes, Esq., late clerk of court of appeals. She afterwards returned to the stage, under Burton, in New York. Many of the habitues of that theatre will remember her admirable rendition of the characters of " Mrs. Toodles," and " Lady Sowerby Creamly," in Avhich she was unequaled. On the death of Mr. Burton she retired to a farm in AVashington county, and at last date Avas still living. This theatre proved to be a good speculation during the war Avitli Great Britain, after which there was a general depression of business and it remained some time unoccu- pied. In June, 1818, it was sold to the Baptist society, and was dedicated January 1, 1819. The Baptists occu- pied it until 1851, when it Avas sold to a new society called the ''People's Church," which lasted but a short time, and in 1852 passed into private hands. It was re-sold to a theatrical company for $6,000, and opened 5th July under the lesseeship of William S. Preston. On the 12th of August following, the performances were brought to a 24 Theatrical Reminiscences. close by the sheriff taking out the scenery. On the 20th December it was again opened, greatly improved and decorated by " Madame de Marguerites." This theatre had a glass or mirror curtain, which, instead of a " drop," Avas divided in the centre and run in "grooves" the same as the side " scenes." The curtain, which Avas very beau- tiful, cost fifteen hundred dollars or thereabouts, and Avas gotten up by Riley, Avho kept a looking-glass manufactory in the building in Green street, noAV occu- pied by our old friend Hiram Livingston. When the au- ditorium of the theatre was full, the effect produced by the reflection of this immense mirror was really gorgeous and novel in the extreme — the entire audience, especially in the parquette and dress-circle, Avere reflected in full, representing a double audience, and shoAving distinctly the minutest portion of the ladies' costumes; so perfect in fact was the reflection that the disarrangement of a lady's hair could be detected, and if any " billing and cooing " Avere going on betAveen fond lovers, they too would " see themselves reflected there." It is quite doubtful Avhetiier another curtain of the kind Avas ever seen in this coun- try, at least we are not aware of any. The Avriter saAV two of these glass curtains in Paris, and another, if we mistake not, in a small theatre in Vienna. [By the way, poor Riley came out minus in furnisliing the curtain, and Avhen the theatre " bursted np " had to take back his curtain, the glass being in good order. The author of this Avus also victimized by Madam de Marguerites to the tune of five hundred dollars for printing, to say nothing of newspaper advertising, &c.] This theatre Avas soon re-opened by W. S. Preston, and on the 8th of Febru- ary, 1853, Avas sold by the sheriff" for |!6,97o. It was again opened on tlie 28th of March, by Edmund S. Connor, hus- band of Charlotte Barnes, the daughter of the old come- dian, "Jack " Barnes — but it was in tlie end a losing con- Theatrical Reminiscences. 25 cern. A great many attempts were afterwards made by Charles T. Smith, Davy Barues, and others, to carry on the drama successfully at this place, but it finally sank to a very low grade and was closed in despair. In the fall of 1865 it was converted into a "pork packing" estab- lishment by Jennings, one of the most famous pork packers east of the great lakes. Immediately after, the rear Avail fell down — a disastrous " finale" to its inglorious career. Attached to the early dramatic company of this theatre was Mrs. George Jones, in those days an actress of consider- able dramatic celebrity. She was a fine looking woman, though rather masculine in appearance, and pretty well known, especially in the west, by the sobriquet of the " Man Flogger " — deriving the title from the fact of her having cow-hided a larger number of actors and editors than any other strong-minded woman in the country. In order to have things "handy" she usually carried a good-sized raw-hide under her cloak. The mention of her name brings vividly to mind a little incident that occurred in a Cincinnati theatre. Mrs. Jones was playing a star engage- ment at this theatre at the time, and at the close of her engagement she went to the "captain's office to settle " — but the manager was, to use a modern term, being well up in the role of "Artful Dodger," had "vamoosed." An attache thinking it a good chance to perpetrate a joke at the expense of George Stone, low comedian of the theatre, pointed out George as the manager — the lady at once made a leap towards poor, unsuspecting George, who was standing near an open " trap ;" seeing the lady ap- proaching, and being well posted in her style, he made a sudden dive through the "trap," and a rapid exit out of the rear of the theatre. In the course of the day, Mrs. •Jones met George and made a very humble and satisfactory apology. " All right," replied George, and went on his way rejoicing. CHAPTER IV. The Pearl Street Theatre — ^I^aiies of First Stockholders — When and Where the Incipient Steps were Taken for Building it — What they had to Contend with, etc., etc. The next theatre erected exclusively for the representa- tion of the legitimate drama, was the edifice known from time immemorial as the *' Pearl Street Theatre." It was erected by a joint stock company, composed of some of our most prominent and enterprising capitalists, in the year 1825, the ground upon which it was built having been donated by the late Isaac Dennison. The architect was Phillip Hooker, who drew the plan for the Xew York State Bank on State street, the Boy's Academy in the park, and other prominent public buildings in the city. In those days this theatre was admitted to be one of the very finest establishments of the kind in this country. It was 116 feet deep, 60 feet wide, and 40 feet high. The audi- torium consisted of a pit of vast dimensions, extending under the boxes nearly to the front vestibule. The stage was 52 by 58 feet. There was also a spacious refreshment room, elaborately furnished, a ladies' boudoir, and a large " punch room," as it was called, extending the entire width of the building. [The following is a list of the original stockholders: Stephen Van Rensselaer, Tennis Van Vech- ten, Gerrit L. Lansing, Isaiah Townsend, John Townsend, James Stevenson, Francis Bloodgood. Abel French, James McKown, James McNaughton. Dr. McNaughton must be the only surviving stockholder.] This theatre was opened to the public under the man- agement of Charles Gilfert, Esq., on the 18th of May, Theatrical Rejsiiniscences. 27 1835, under the most flattering auspices, and with one of the most thoroughly efficient dramatic companies ever organized in the United States, or perhaps in Europe, there being scarcely a member, male or female, but what Old Pearl Street Theatre. was far more worthy to rank as a " star," than scores who now-a-days make large and ostentatious pretentions to the title. The names of the company were as follow : Charles Gilfert, manager and musical composer ; Charles Young, " the heavy man ;" Edwin Forrest, tragedian ; Anderson, tragedian ; Joe Horton, tragedian ; Lindsley, tragedian ; Morton, tragedian and general utility; George Barrett, light comedian ; Rufas W. Blake, comedian ; Barry, gen» 28 Theatrical Reminiscences. eral business ; Faulkner, dialect and old man ; John Augustus Stone, (author of "Forrest's play of Matamo- ra,"' and other plays, and a near relative of the author of this work,) eccentric old man ; George Hyatt, low come- dian ; Spiller, low comedian and vocalist ; Howard, vocal- ist ; Johnson, general utility ; Mrs. Grey, vocalist ; Mrs. Gilfert, tragedienne; Mrs. John Augustus Stone, tragedy and comedy; Miss Tilden, comedienne; Miss Neville, Avaiking lady ; Miss Robertson, chambermaid ; Mrs. Bar- rett, old woman. The Pearl Street Theatre forms a complete history of itself. One event in its history, at least, will render it ever memorable, or while the nam.e and fiime of Edwin For- rest lasts. It was in this theatre, it will be remembered, his unsurpassed histrionic genius was developed, encouraged and nurtured by an Albany public, until it finally impelled him onward and upward to the very highest niche in the dramatic temple of fame and fortune. The innumerable and varied scenes, incidents, &c., that have transpired within the walls of this venerable edifice, from the time of its erection to the present, Avould, if Avritten out, afford an exceedingly amusing as well as instructive volume. Having come across a copy of the bill for the first night's performance, we give it entire : ALBAXT THEATRE. The inhabitants of Albaii}- are respectfully informed that the New Theatre will be opened "Wednesday evening, 18th of May, 1825. Performances four nijihts in the week. Prize Address, written by Thomas Wells, Esq., of Boston, will be spoken by George Barrett. After which the admirable Comedy of " Laugh "When Yoti Can." Gossamer Mr. BaiTctt. [ Tom Mr. Singleton Bonus Mr. Faulkner, l (.'iiarles Mortimer. Master Arthur Delville Mr. Liudslay. j Mrs. Mortimer.. Mrs. .T. A. Stone Mortimer Mr. Anderson, j Emily Miss Roltertson Sambo Mr. Spiiler. Miss "Gloomy Mrs. BaiTett Costly Mr. Kosser. Dorothy Mrs. Horton Gregory Mr. Lamb. Theatrical Reminiscences. 29^ Evening's entertainment to conclude with the admired Farce of "Raising the "Wind." Jeremy Diddler Mr. Ban-ett. Plainway Mr. Faulkner. Plainwood Mr. Liudslay. Sara Mr. Hyatt. Richard Mr. Lamb. Waiter Mr. Singleton. Miss Dorable Mrs. Barrett. Peggy Miss Robertson. Seats for the lower tier of boxes can be taken from 10 to 1, and from 3 to 5 o'clock. Box tickets, $1 ; Pit, 50 cents; GaUery, 25 cts. Doors open at a quarter to 7 o'clock. A first class orchestra was attached to this theatre, and all its appointments were upon a most liberal scale. Soon after the opening, the eminent actor, Lucius Ju- nius Booth, made his dehut in this city, being the first star that appeared at the Pearl Street Theatre, and was received with the greatest enthusiasm by a large and fash- ionable audience ; and during the season all the stars of the first magnitude appeared in rapid succession, viz: "Pat" Keene, the vocalist ; the charming young English co- median, Miss Kelly; Mrs. Barnes, Conway, Cooper, Hamb- lin, Edmund Keau, and other dramatic magnates. Kean made his debut at the Pearl Street Theatre Dec. 8, 1825, as Richard III. He had previously been driven from the Boston stage and the theatre nearly destroyed by the mob. In Albany, however, Kean was greeted by an overflowing house, the crowd being so great that many retired through fear of suffocation, and large numbers who came from Troy and the surrounding villages, were unable to obtain admission. [For a full and graphic description of the great Kean riot at the Park Theatre, New York, see Chapter II, of this work, giving a history of old theatres, old actors, old actresses, &c., of New York.] We would here state for the information of old play- goers, that the project of building a theatre here was first broached at " Bement's Recess," No. 1, Green street, by a number of leading and wealthy citizens, who, after a brief discussion and interchange of views, decided to go 30 Theatrical Reminiscences. on with the work with as little delay as possible. Four of tlie stockholders, viz., James Stevenson, Francis Blood- good, John Towusend, and Tennis Van Vechten, were each afterwards honored with the title of "Mayor" of our city — for it ^uas an lionor in those days to be mayor, or even alderman ! These were the men who inaugurated and carried out successfully an enterprise they firmly be- lieved would result in a,2)0siHve benefit to our city; and that a well conducted theatre docs produce such a result, there can be little doubt. The enterprise, however, met with spii'ited opposition from men of contracted views and fanatical notions ; but notwithstanding the opposition and the doubts and " predictions dire," of many " slow coaches" — for this class of persons were as numerous then as now-a-days, and who were ever ready to throw a wet blanket upon any improvement or enterprise that did not directly " put money in their purse " — we repeat, that, notwithstanding all these obstacles, these public spirited capitalists pushed the enterprise to completion. In speaking of " Bement's Recess," our readers will par- don a slight digression whicli, we trust, may not prove the less acceptable, as the '' Recess " was, in a large measure, identified with the old Pearl Street Theatre, or, at least, with its inception. This " Recess" then stood in the rear of the south end of the Express building, corner of State and Green streets, there being a good sized court- yard fronting on Green street, the main entrance being from Green. This " Recess " was an extensive establish- ment having numerous and very spacious apartments, sit- ting rooms, parlors, lunch rooms, &c. It had an enviable celebrity, far and near, it being the "head centre" where " most did congregate " our principal business men — mer- chants, doctors, lawyers, editors, politicians, devotees of Epicurus, and lovers of good company, good cheer, and sumptuous living generally. Green street, in tliose days, was very narrow, being Theatrical Reminiscences. 31 scarcely wide enough for two teams to pass abreast. It was widened many years ago, as many of our older citizens are aAvare, from State to Hamilton street. Between State and Beaver, there were three hotels besides Bement's Ec- cess — two on the spot Avhere now stands " Norton's Block" — one called the "Stone House," kept by James Colvin, father of Andrew J., the other, the '' City Tavern," kept by Peter Grermon, and the third on the corner of Green and Beaver, where Hood's jewelry store now stands, called the "Albany Coffee House," kept by Christopher Dunn, better known as " Kittv " Dunn, father of our worthv fel- low citizen, "Tommy" Dunn, and a counterpart of jolly " old Crit," of the " Old Eagle," which, with so many other fine hotels, fell a prey to the terrible and ever memorable fire of 1848. The Green street hotels, as well as the " Utica House, " Connecticut Coffee House," " Montgomery Hall," in old South Market street, were called " stage houses," as, in those days, stages were immense institutions, and Al- bany was the grand converging point for them. Eegular lines were run by Thorpe & Sprague, Eice & Baker, Young & Walbridge, John Swan, &c., from Albany to Boston and New York, in the winter season, Montreal, Buffalo, Cherry Valley, &c. ; and in the summer season, to Saratoga, Lake George, Niagara, Lebanon, Sharon, and other watering places. At almost all times of the day and night could be heard the rattling and rumbling of heavily laden stages over the rough pavements, accompa- nied by the sound of the coachman's horn, and the crack- ing of his huge whip, handled with a skill that none but those experienced " ribbon holders " could boast. Land- lords, porters, cartmen, hackmen, runners and "baggage- smashers," were all astir on the arrival of the stages. Even now one can fancy he hears, far above the din of the excited crowd, the shrill voices of those old sta^e and steamboat " institutions," Chauncey Dexter, George Bor- tle, Willard Adams, and Eichard or " Dick " Graves ; for 32 Theatrical Remixiscences. there was occasionally strong opposition in the stage busi- ness then, and consequently these old workers Avere brought " to the rescue." There were no railroads then; but times were really good, living cheap, rents low, taxes nominal, people con- tented with moderate incomes, no thoughts oi gold, or the rise and fall thereof, no gambling in stocks, no whiskey and other government frauds and peculations; in fact, no boring for He ! . CHAPTER V. south pearl street theatre. "William Duffy's First Appearance Here, Playing Bertram — His Private and Professional Character — Extraordinary Memory — Business Capacities — He Assumes the Manage- ment OF the Pearl Street Theatre in the year 1329 — Commences the Erection of a Theatre in Buffalo — Cere- mony OF Laying the Corner-Stone — Remarks of the Mayor, and Mr. Duffy's Response — R. W. Blake Assumes the Man- agement. William Duffy made his dehut in Albany at the South Peurl Street Theatre July 23, 182;, in the difficult role of Bertram, one of the favorite characters of the elder Booth. Mr. Duffy came from New Orleans, where he had been playing as a stock actor for some time. His second appearance here was in the tragedy of " Venice Preserved," he doing Jaffier to '- Obe." Woodhull's Piere. Mr. Duffy was a native of Albany, one "to the manor-born," but, as did Forrest, he left Albany when quite a young man, to seek his fortune in the South and Southwest. In the year 1829, after playing occasionally at the South Pearl Street Theatre, at Providence, R. I., and in other theatres, he yielded to the urgent solicitations of many friends, and reluctantly assumed the management of the South Pearl Street Theatre. He, however, deemed the venture rather hazardous, involving large responsibilities, especially at that time, when theatricals were at a low ebb throughout the country. He was deemed on all hands to be one 3 fe 34 Theatrical Reminiscences. of the best general actors in the country, and when Forrest played star engagements liere, Mr. Duffy sec- onded him in all his principal pieces. In the role of Pharsarius, in the Gladiator, Mr. Duffy won golden opin- ions from all sorts of people, Forrest pronouncing him most unequivocally and decidedly the best Pharsarius that ever assumed the role. Mr. Duffy possessed a most re- markable memory. It was seldom that he more than glanced or ran over his part, notwithstanding Avhich he was generally " letter perfect." In fact, we have known instances when his managerial duties required much of his time and attention, and he had a lengthy part to play, he would don his "harness theatrical" a short time before the curtain rose, run hurriedly over his part, and occasionally "winging it," to speak professionally, Avould go through Avith his part with as much ease and truthfulness as though he had given hours of study to it. Mr. Duffy was peculiarly and admirably adapted to the positions which he held — acting manager and actor. His powers of endurance were very marked — he having a splendid pliysique, besides being exceedingly active and energetic in all his multifarious duties. At one time Mr. Duffy, it may be recollected, was running the Pearl Street Theatre, and the Arch Street Theatre, Pliiladelphia, his time being divided between the two places. He had also in contemplation — in fact, under way — for some time be- fore his untimely "taking off," a theatre at Buffalo; his intention being to establish a complete line of theatres from Albany to Buffalo, taking in, in course of time, Syracuse and Rochester. Under his indefatigable and judicious management, this would no doubt have proven a successful enterprise ; his extraordinary business capaci- ties affording ample assurance of such result. Speaking of tlie Buffalo enterprise, the ceremony of laying the corner-stone of the theatre occurred on the 4th January, 1835, in presence of the mayor, common Theatrical Eemlniscences. 35 council, and a large collection of citizens. A silver plate, containing the following inscription, was deposited by the master builder beneath the corner-stone : Buffalo Theatre. Founded by "VTilliain Duffy, .1 auiiary 3d, 1835. L. Howard, Master Builder. In presence of E. Johuson, Mayor, aud Common Council. The mayor, on presenting this plate, made the following appropriate remarks : '• We are called as witnesses to the laying of the corner- stone of another ornament of a public character to our city. Modern history, for more than 250 years, tells of the building of Temples to the Muses in all enterprising and groAving cities; and I believe, gentlemen, you will all freely accord with me, tliat few more years are to elapse before this public building will adorn the second city of this Empire State. " We welcome you, Mr. Duffy, and cordially wish you success in your enterprise." To which Mr. Duffy made a pertinent and appropriate reply, speaking of the rise and progress of the " City of the Lakes," the enterprise and liberality of its citizens, his visit to it in years past, and intention long cherished to erect an edifice of this character so soon as the growth and prosperity should reasonably Avarrant. That time, he was happy to say, had arrived, and by the advice of many of its most respectable citizens, aud in the presence of many of them, the work had been commenced; and Avhatever might betide his experiment, he should never forget the open hospitality which had been extended to him, the frankness with Avhich he had been met and wel- comed; and that the present moment would be cherished as one of the happiest of his life. The elaborate and very efficient manner in Avliich Mr. Duffy placed Forrest's new pieces on the stage, viz : Meta- 36 Theatrical Reminiscences. mora, Gladiator, Broker of Bogata, and Orolooso, elicited very flattering encomiums from not only Mr. Forrest, but the press and the public generally. Mr. Duffy Avas a gen- tleman of refinement and taste, generous heart, highly respected, and an ornament to the profession which he so much loved. After running the theatre single-handed for some time with the most satisfactory results, Mr. Duffy connected himself with Mr. William Forrest, brother of Edwin For- rest, under the firm name of Duffy & Forrest, and under whose eflBcient management the Pearl Street Theatre was elevated to the highest standard of excellence and pros- perity. After Mr. Duffy's death, the theatre was closed for quite a time, and afterward opened, with a powerful dramatic company, by Blake & Dinneford. During their man- agement several gorgeous spectacular pieces were brought out, among them the Bride of Abydos, Xorman Leslie, Cherry and Fair Star, the Jewess, and several other imposing spectacles which were run many consecutive nights to large and fashionable audiences. After the close of the season under the management of Blake & Dinne- ford, the theatre was re-opened under the sole management of RufusAV. Blake, with the following dramatic company: John R. Scott, R. W. Blake, Nickinson, llenkins, Mossop, Germon, Shinotti, Gibson, Smith, H. Anderson, G. Ander- son, Lansing, Madison, Leigh, Burnett, Mrs. George H. Barret, {nee Miss Henry, one of the most really beautiful actresses on the American boards) ; Mrs. Blake, sister of Harry Placide ; Miss Virginia Monier, a remarkably pre- possessing young lady, and fine actress; Miss Watts, Mrs. Anderson, Mrs. Wright, Mrs. Monier, (mother of Virginia Monier,) Miss Eliza Monier, Mrs. DeGrouch. The corps de ballet consisted of the Misses Farren, Ludlow, Broome, Brookes, Bruce, and ^fadam Truss as principal Ter])sico- rian leader. Theatrical Reminiscences. 37 The ballet dancers in those days did not dress so closely to imitate nature as at tlie present time; though when Madame Houton and other celebrated danseuses from Europe first appeared in this country, the style of their costumes was carried to such extremes as to disgust the female portions of the audiences; consequently an appeal was made to the managers, protesting in earnest terms against the very broad innovations made upon the good old plain style of Terpsicorian costume, and resulted in a decided reformation. 135194 CHAPTER VI. PEARL STREET THEATRE. Forrest Leaves the Old Pearl Street Theatre — Appears as Othello at the Park Theatre, Making a Successful De- but — Afterwards Appears at the Bowery, Playing Eighty Consecutive Xights to Crowded Houses — Mrs. Vernon — Sketch of her Private and Dramatic Character— Her Death and Burial — Different Managers of the Old Pearl Street Theatre, &g. Eorrest remained at the South Pearl Street Theatre un- til Gilfert relinquished its management and assumed the management of tlie New Bowery Theatre, Xew York, the corner-stone of which was laid April 15, 1826. After ap- pearing as Othello, at the Park Tlieatre, for Obe. Wood- hull's benefit, meeting with eminent success, and receiving the most flattering notices of Major M. Noah and other experienced tlieatrical critics, he commenced an engage- ment with Gilfert, at the New BoAvery, playing some eighty consecutive nights to crowded audiences. At this time Forrest had reached within a few rounds of the top of the dramatic ladder to fame, carrying, as the saying is, " everything before him." After leaving the Bower}', For- rest made the tour of the States, creating a furore wher- ever he appeared. After Gilfert left the Pearl Street Theatre it remained closed for some months, until re-opened by George Barret, Gilfert's old stage manager, who had a very effi- cient stock company comprising many of the members Theatrical Reminiscences. 39 of Gilfert's unsurpassed company; but the fates appeared to be against " Gentleman George," as he was familiarly called, and he was obliged to retire, and take a position as leading genteel comedian in one of the New York theatres. The exorbitant rent of the Pearl Street Theatre was a great drawback, as it took the lion's share of the receipts of the establishment. About August 8th, the theatre was opened by Henry Wallack, brother of the eminent actor, James "Wal- lack founder of "Wallack's Theatre," New York, with a lirst-class dramatic company. It was exj^ected that Wal- lack would appear at the opening ; in fact, he was to have advertised as Eolla, Mr. Parsons playing Pizarro. Wallaek had been on a pleasure jaunt South, leaving his assistants to run the establishment during his absence, and on re- ceiving information of the proceeds of the house during his absence, they not proving, perhaps, to be sufficient to- pay his lordship's expenses while on his pleasure trip, swore in the bitterness of hiswu'ath that the house should be closed, and remain so for aught he cared, sine die ; and the thing was done, although tliere was a prospect of do- ing a fair business. The pure English blood of Mr. Henry Wallaek had been very much excited, and he took this method of "teaching the d d Yankees a sense of their duty!" And perhaps he served them about right, as at that time Americans Avere such consummate fools, or toadies, as to exalt every upstart foreigner, no matter how undeserving, over their own countrymen ! At this time both the theatre and splendid amphitheatre on North Pearl street were closed, and the play-going public for a time experienced a perfect dearth in the way of amusements. The stockholders leased the theatre to Mr. Lement, (pronounced Lema.) who kept a hotel south side of State street, a few doors east of Pearl, but soon re-leased it to Mr. Sanford, proprietor of tiie La Fayette Theatre, New York. 40 Theatrical Reminiscences. Sanford tlien had a lease of the North Pearl Street Amphi- theatre, which he deemed more advantageous to close and run only one establishment. Sanford's dramatic company was considered one of the very best in the coun- try, with Mr. Burrough, a great and very versatile actor, as stage manager. Mr. Sanford produced all ihe sterling legitimate old comedies, tragedies and melodramas, be- sides spectacular pieces gotten up on a most mag- nificent and elaborate scale. But notwithstanding the indefatigable manner in Avhich the establishment was managed, the unsurpassed dramatic company attached, and the rich intellectual treats nightly presented, the theatre was only indifferently supported, and Mr. Sanford, after struggling hard to keep the ship afloat liad to strike his colors, and surrender with a much lighter exchequer than when he came hei'e. During Mr. Sanford's entire management not a dollar remained on the debit side of any man's ledger against him, and he left the city with a truly honorable record, which was rather a rare instance with managers even in those days. Elijah J. Roberts, editor of a paper called the Crafts- man, leased the theatre, but soon found it an up-hill busi- ness, and after a pretty thorougli depletion of his purse, he abandoned the enterprise, and again assumed the chair editorial, a position for which he was far better qualified than running a theatre. George Vernon, with a full and talented stock company, succeeded Roberts. He continued the management of the theatre for several months, when his health became so greatly impaired — losing his voice — that he was obliged to relinquish his interest in the establishment and retire to a farm he had purchased a few miles west of this city Mr. Vernon was one of nature's noblemen, a gentleman of the old school, higlily educated, and a dramatic artist of the very first order. Mr. Vernon died soon after he gave up the theatre, and was buried in the old Protestant Theatrical Eeminiscences. 41 Episcopal burying ground on State street, in this city. Mrs, Vernon erected a fine tablet to his memory. Speak- ing of George Vernon, brings vividly to mind his estima- ble widow, who was the leading female artist of Vernon's company. The career of a lady like that of the late Mrs. Vernon, who died in the seventy-seventh year of her age, is one of the thorough refutations of the charges often made against the stage and its surrounding influences. Mrs. Vernon, who had passed her Avhole life in active ser- vice as an actress, was as thoroughly and entirely a lady as any of the honored matrons — American wives and moth- ers — who never ventured beyond the sanctity of private life. To the present generation of play-goers she was not only a valued artist but almost a traditional name ; for but few of our citizens who attend theatrical representa- tions have done so further back than 1827, when Mrs. Ver- non first appeared in this country. Ever since that date she has been recognized as a sterling actress. Every face lighted up with pleasure Avhen Mrs. Vernon entered on the scene. Years fell upon her lightly, and though they robbed her of the freshness of youth, they imparted a ten- der dignity which, while it assorted Avell with her time of life, did not destroy the sense of humor and the delicate gaiety that were always so characteristic of her acting. For many years our theatre-goers have looked upon Mrs. Vernon as a beloved friend, nor was this friendly feeling taxed to allow her failing faculties, as is so often the case with veteran actors, for Mrs. Vernon up to Avithin three months of her death, acted with as much Energy and skill as at any time during the last twenty years. It is some- thing worthy of special record in the annuls of the stage, that an actress should, in her seventy-seventh year, delight and srratifv as much as she did when she was forty. The mere fact that she retained the memory needed to play long parts to this advanced age, and with it her bodily activity, is as remarkable as it is gratifying. When to all 42 Theatrical, Reminiscences. this it can be added that she inspired in private life an affection and esteem even greater than that reflected in her public associations, it will be seen that the American stage has lost in her one whose honorable reputation it must ever be grateful for. Mrs. Vernon Avas a native of Brighton, England, her maiden name being Jane Merchant Fisher. Shortly after her arrival in this country in 1827, she married Mr. George Vernon, who died three years later, leaving a young widow who never after changed her name. At the Bowery The- atre in the days Avhen it was one of the most prominent places of amusement in New York, and at the Chatham, Park, the Old Broadway, Burton's and AVallock's, Mrs. Vernon has played a great variety of parts in the wide range of modern comedy. In her younger days she took the leading characters, but for many years past has been known by her inimitable representations of " first old women." Mrs. Skeleton was a personation in which she excelled; Mrs. Malaprop was one of her favorite parts; and as the housekeeper in " The Old English Gentleman," she mingled with the absurd elements of the character a touch of pathos that was as beautiful as it was natural. She never overstepped the modesty of nature, and she, a genuine talent and an accomplished lady, proved how un- necessary to a cultivated mind, are the extravagances and " dodges " wliich so many of the actresses of the day deem essential to secure success and popular recognition. Mrs. Vernon was a regular communicant of the Pro- testant Episcopjtl Church. Her funeral in New York was very numerously attended, not only by the profession, but by a large representation of the very first citizens of New York. Mrs. Vernon, it is pretty generally understood, was the elder sister of Mrs. James Maeder, nee CHara Eisher, wlio is still engaged in her professional capacity. CHAPTER VII. OLD PEARL STREET THEATRE. "William Eufus Blake— His Vanity — His Eccentricities— His Affaires d' Amour — His Theatrical Management — His Suc- cess — How HE Lost his Dinner— The Consequences Thereof — The Poor Scotch Cook, and her Dilemma — Blake goes to Boston — Has a Laison with a Beautiful Boston Bellb — Leaves Boston, and goes to New York, etc. Old play-goers will doubtless well remember "William Eufus Blake, commonly called in his profession, the " Duke," who assumed the management of the Pearl Street Theatre after the dissolution of the copartnership of Blake & Dinneford. The private as well as dramatic career of Blake, had it been truthfully written out, would have af- forded a very rare treat for those theatrically inclined. We can, hoAvever, give only an inkling of some of the scenes and incidents of his theatrical career while in Albany. Blake, we think, was born in Nova Scotia, coming to this country when quite young. After appearing in Bos- ton and New York, he was engaged by Gilfert, of the Pearl Street Theatre — one of the most accomplished, genteel, or light comedians of the day, and withal a splendid looking fellow — a great favorite with all classes, and especially the upper classes of Albany — the hemi ideal of i\\e female por- tion, who seemed to regard him as "The glass of fashion, and the mold of form, The observed of all observers." 44 Theatrical Keminiscences. Blake became more of a favorite among some distingue fair ones of the upper classes of society in Albany, than Avould seem fitting. Blake left the Pearl Street Theatre some time before Giltert relinquished it, and moved to Boston. He soon left the " Hub," on account of a rather important affaire d' amour ^\ii\l a distinguished belle of that city, and ob- tained an engagement in New York. He often boasted — for he was inflated Avith vanity — that he was actually obliged to leave Albany on account of his beauty and rare accomplishments ; that they were playing the d — 1 with all the pretty women in the city! The imposing title of "Duke" was given to Blake on account of his high aris- tocratic notions and bearing, and his inflated idea of '• having come of gentle blood." Probably Blake thought, as did Madame Melnotte in the " Lady of Lyons," that her son Claude, " though he was not a Prince, he ought to be one, as he looked and acted so like a Prince." Blake, when manager of the Pearl Street Theatre, made money very rapidly, but his extravagance in living ever kept him " short." He had an exceedingly fine stock com- pany, with an occasional sprinkling of first-class stars, and produced many magnificent spectacles on a very elaborate and expensive scale; but after running the es- tablishment for a few months, he relinquished its manage- ment and went to New York, leaving many lasting "re- membrances " behind him in the shape of large debit balances on many a ledger. He resumed his position as leading light comedian on the boards of one of the metro- politan theatres. In later days he became quite corpulent, and finding himself approaching the "sere and yellow leaf of time," and that it had began seriously to tell upon him, he was ol)liged to assume the role of " old man," at Wallack's Theatre, in which line, and at which theatre, he was playing until a short time previous to his death, in 1865 or"''CG. Theatrical Eeminiscences. 45 Blake was an epicure of the very first water — we miglit safely say a gormand — as his abdominal proportions in after life so plainly indicated. He would never forego his dinner — his principal meal — for either pleasure or busi- ness, no matter how pressing. He was similar in this re- spect to old Fallstaff, who would forego all things rather than his favorite " cup of sock ! " There are many very amusing anecdotes of Blake which we should like to relate, but must be content with one only, and that is how he '•'lost his dinner." B. occupied rooms adjoining the green room in the Pearl Street Theatre, where he and his wife kept house. For his dinner he had ordered a splendid turkey. His directions to his cook — a buxom Scotch girl — were to have his dinner ready precisely at a certain hour, without fail. It happened that he was unexpectedly called to Troy on business, his wife accompanying him, and was detained considerably beyond the time appointed for dinner. B. had a very intimate confidential friend, Avho, happening to drop in during the absence, thought it an excellent chance to perpetrate a joke at B.'s expense. He accord- ingly took the turkej^ Avhich was nearly ready for the spit, and secreted it in an under closet, Avhere he was pretty sure it would not be found in time to spoil his joke, and hastily left the theatre. The joke was favored by the girl's stepping out to procure some condiment to season the trimmings, leaving the field clear for the successful oper- ator. The girl's feelings and astonishment on her return, to find the turkey gone, is more easily imagined than des- cribed. At length B. and his Avife returned, B. rushing in, his appetite having been sharpened by his ride, as well also, perhaps, as a glass or so of eaic de vie, on the Troy road. On reaching the inner door he heard loud sobbing and wailing from Avithin — they came from the bewildered girl, who was lamenting the loss of the turkey, and the attending consequences of the dreadful mishap. He opened the dooi', and exclaimed, " Good gracious " — his 46 Theatrical Reminiscences. favorite exclamation — " Margery', what's the matter ? Have you burnt yourself basting the turkey? " " Nae, nae, Mister Blaik, I wish it wa' na' worst — oh sic an afiair — gin I's a woman, auld Clotie, that's the deil himsel', and his imps, them's the bogels, ha' tak'n awa' the crither!" " Why, what do you mean — are you mad, old Clotie, bogles — you don't say the turkey's gone, and if so, who took it?" " I dinna ken Avha' teuk it, but it's a gane — I dinna think it was the dog, or I Avo'd ha' ken'd it." " Did you leave the room for any length of time ? " "Just aboon sax minutes I was gang awa' to get a wee bit o' somethin' for the trimmins. I'll tak' ma aith wi' ma han' upon the gude book I was na' gan aboove sax minutes, na mair, an' I'm sure the deil himsel' ha' speerit'd it awa'." Here was a catastrophe, indeed. Cheated out of his dinner! Finding it was useless to question the supersti- tious girl farther, diligent search was made for the stray turkey, but all in vain. Then, indeed, did Blake enact the " Manager in Distress " more naturally than he had ever before performed it — also Delph, in " Family Jars." Chairs were overturned, dishes misplaced and considerably damaged — a blue streak of something that would'nt look well in print coming from B.'s mouth, and the "de'l him- sel' to pay generally. Blake did not feast upon the plump, juicy turkey that day, but made a luncheon of the remains of a piece of corned beef that happened to be left over. The turkey was, however, found the following day, none the worse for ''laying over;" and in spite of poor Mar- gery's " bogles," Blake had a sumptuous feast, to the great delight of all, but to none more than to poor Margery, the Scotch cook. Blake was pretty well satisfied that some old acquaint- ance had perpetrated the hoax, but had made up his mind Theatrical Reminiscences. 47 to say as little as possible about it. It was some two mouths before the "cat was let out of the bag." This friend and Blake being at a private free and easy, "owned up," and the affair was pleasantly discussed over several bottles of choice Heidseick, at the expense, of course, of the perpetrator of the joke. Blake used often to tell the story of the lost turkey, as well as the lost dinner, when with a convivial party, and enjoyed the joke with great gusto. CHAPTER VITI. Tom. Fuller, the "Artful Dodger" — His Characteristics— His Sudden and Mysterious Escape to New York — Forrest Makes His Last Appearance at the Pearl Street Thea- tre — Amateur Performances — Master Burke and Tyron Power — A Row at the Theatre — Preston's Management — Theatre Sold to St. Paul's Church — Church Converted into Academy op Music by John M. Trimble, &c. Tom. Fuller succeeded Blake in the management of this theatre, and met with considerable success. His stock company comprised members of the profession with talent and character, and had Fuller been a man of honor or honesty, he might have had a splendid success; but he was truly an "artful dodger" — a name he won from those whom he had made to suffer. Forrest played a two Aveeks' engagement under Fuller's management to overflowing audiences, the theatre closing the last night of Forrest's engagement, the house being the largest of the season. This was the last time Forrest appeared at the old Pearl Street Theatre. Among the many victims to the dodge-game of Fuller was Charley Eaton, the young tragedian who had sup- ported Forrest through the engagement just closed. The day after, Charley, with a huge cudgel in hand, searched the premises, but Fuller was non-comatible. Charley de- clared, after a vain search, that "had he found him, his life would have been of no more account than that of a dog's." It appeared that F. had seci'eted himself in the Theatrical Reminiscences. 49 garret of Washington Hall, kept by jolly Sam. Fuller, (no connection of the manager,) a hotel adjoining the theatre on the south, and there remained till towards evening, when he slipped into a carriage from the back door of the hotel, and was driven down the river to a point, where he was taken aboard the night boat in a small boat — (way-passengers in those days were taken aboard and put ashore in small boats). So poor Charley was left, with many other victims of misplaced confidence, to chew the bitter cud of disappointment. It is a somewhat remarkable fact, that it was, in 1826, thirteen years before, that Forrest made his first appear- ance on the boards of this venerable edifice. The theatre was then closed for quite a length of time, until Mr. W. S. Preston opened it with an excellent company, running it with very fair success till the year 1839, when it was sold to St. Paul's Church, an Episcopal congregation then wor- shipping in the edifice now occupied by St. John's Catho- lic Church, in Ferry street. It continued as a church until 1862, when it was sold for 114,000, (it originally cost $25,000,) and in December, 186.3, was opened by J. M. Trimble as the Academy of Music. On removing the floor of the church, the original pit and orchestra were found to have been left as they stood twenty years before, when the edifice was transformed and remodeled for a church. Mr. Trimble fitted up the old edifice in splendid style, and opened it December 28, 1863, with the play of Lady of Lyons, with the following cast of characters : Claude Melnotte Mr. Stetson. Beauseant Mr. Page. Col. Demas Mr. Ryer. Glavas Mr. Ashley. Gaspard Mr. Murdock. Deshapelles Sydnoy Smith. Pauliue Anne Wait. Mad. Deshapelles.. Mrs. La Bmn. Widow Melnotte.. Miss Hampton. The Academy of Music was considered one of the most successful enterprises of the kind ever undertaken in Al- bany, Mr. Trimble making a net profit of $20,000 the first 50 Theatrical Eemixiscexces. year. After the death of Mr. Trimble, his daughter, Miss Georgiana, (now Mrs. Lucieu Barnes,) who possessed much business tact and capacity, assumed the management, and run the establishment with eminent success until it Avas destroyed by fire January 29, 1868. During the intervals between the various managements, occasionally amateur and other performances of a dramatic character were given at the Old Pearl Street Theatre. Miss E. Davenport, who has since figured as one of the most charming actresses — and, as Mrs. Lander, has appeared with such eclat in England and America — opened the theatre for several nights, just after she had entered the profession as a " prodigy." On this occasion she was sup- ported by several members of the old Histrionic and For- restonian Societies, among them Stephen Hutcliins and Frank Briare. The plays Avere Douglas, Miss Davenport doing Young Nerval ; The Four Mawbrays, Therese, The Orphan of Geneva — Hutchins doing Carwin, Quacken- bush. Father Fontaine, and Frank Briare, Mariette — and very creditably did they acquit themselves. Frank had enacted Julia, in the play of the Hunchback, and several other female characters, with success. He possessed dra- matic talent of an extraordinary character, and would have made his mark had he followed the dramatic pro- fession. Another Dramatic Festival was given at this theatre, Avhen Sheridan Knowles' fine drama of the Wrecker's Daughter was enacted, the performers being mainly com- posed of the Histrionic and Forrestonian Societies. The arduous role of Marian was personated by Frank Briare, and in it he made a very splendid hit. In the delivery of some of the soliloquies, young Briare appeared to many competent judges present the counterpart of that eminent actress, Mrs. John Greene, who had often enacted the character. In the abstracted scenes, he gave a bold imita- tion of those celebrated artists, Josephine Clifton and Theatrical Reminiscences. 51 Julia Dean, wlio had made the character a specialty. The part of Robert, the Wrecker, was enacted by James Can' roll, and that of Black Norris by Stephen Hutchins, and were impersonated in a manner that elicited the hearty approbation of the large and respectable audience present. The National Brass Band, under the leadership of Lewey Undener, volunteered their services for the occasion, and discoursed excellent music. COMPLIMENTARY BENEFIT TO MR. DUFFY. There were many events that took place within the walls of the Old Pearl Street Theatre that will no doubt be well remembered by old play-goers, two of them having produced at the time no little excitement. The first was the complimentary benefit tendered to Manager William Duffy, which was indeed a brilliant and very successful affair. Our leading and influential citizens took a lively interest in it — the tickets were S3 each, and the theatre was graced bv the beautv and fashion of the citv. It was a compliment he richly merited as a man and an actor. Mr. D. was called before the curtain, and made a very feel- ing and appropriate response. TYRONE POWER. The next event was the appearance of the great Irish comedian, Tyrone Power. Power was inflated with very high notions, and was exceedingly aristocratic ; he claimed to "come of gentle blood,"' and that he was a brother of the celebrated Lady Blessington, priding himself verv highly on that score, and deeming himself far superior to every body and every thing in young Yankee land. It ap- pears that on one night of his engagement the audience was not as large as suited his fancy, and, to use his own language, he said, "I Avill not play to such contemptible houses." This at once aroused the indignation of many 52 Theatkical Eemijtiscences. prominent citizens. Handbills were circulated, contribu- ting greatly to increase the flame ; hissing, howling, and cries of " Hustle him out," were the order of the night. Power attempted to speak, showing that he was desirous of making an apology, but could not be heard. John Greene, stage manager, appeared, and the house was hushed ; he told the audience Mr. Power wished to have a hearing, and Avould no doubt explain himself in such a manner as to do away with the prejudice. Still it was not till after several attempts that Power was enabled to speak, when he finally made a rapid statement of the case, and an attempt at an apology, whether sincere or not. The play was finally allowed to go on, in pantomime, however, for the clamor was such that scarcely an actor's voice could be heard, and it continued till the fall of the cur- tain. This was Power's last appearance here. He was one of the many victims in the ill-fated steamer President, lost on her passage from Xew York to Liverpool, not a vestige of the passengers or steamer ever being heard of. DEMONSTEATION AGAINST MASTER BURKE. When the celebrated Master Burke, then in the zenith of his fame as a " prodigy," appeared at this theatre, sev- eral of his countrymen made a demonstration against him, the provocation being, it was understood, that young Burke's father had made some remarks disrespectful to Daniel O'Connell, that keenly touched their patriotic sensibilities. Tlie American portion of the audience, deeming it unjust to visit the sins of tlie father upon the child, espoused the cause of young Burke. For a time matters assumed a serious aspect ; in fact, the demonstra- tion reached so high a pitch that the "watch" — for we hud no " Capital Police" in those days — were called to the rescue, and the active and leading spirits in the melee were unceremoniously ejected from tlie theatre. The perform- ance was then allowed to go on without further disturbance. CHAPTER IX. Grand Firemen's Ball — Its Managers — Charlotte Cushman the Belle of the Affair — The Observed of all Observers — Thomas McMullen, is fcll character, as Floor Manager — Terrific Sword Combat between the Elder Booth and William Duffy — Richard III, in Burlesque, by Geo. Hyatt AND old Jack Barnes — Richard III again by Hyatt and Roberts — Col. Pluck's Spurs, etc. Among the Tnemorable events that occurred in this theatre, were tlie celebrated ball in honor of General Jackson and the battle of New Orleans — the Firemen's Ball, and benefit of the Young Men's Association, on which occasion the celebrated Master Burke appeared as Richard III. We Avill only allude to one of these balls, the one probably surpassing in splendor any event of the kind ever gotten up in Albany, especially by that noble body of men, the firemen. This ball was attended not only by our first-class citizens, but by large numbers from Philadelphia, New York, Boston and other cities. The military of this city and military and firemen of other cities were largely represented. Among the ladies who figured most conspicuously in the brilliant throng, was Charlotte Cushman. In all the freshness and bloom of youth, magnificently attired, her head adorned with an immense and beautiful bird of Paradise ; as she threaded the mazes of the dance, or moved gracefully in the prome- nade, her stately form towering above her companions, was the " observed of all observers," the " bright particu- lar sbir " of the evening. 54 Theatrical Eeminiscences. The space occupied for dancing included the entire stage and covering of the pit, affording ample accommodations for over fifty sets — the entire circle of the boxes was elaborately decorated with flags, banners, insignia of the department — massive mirrors, elegant paintings and por- traits were suspended on all sides. The first tier of boxes was filled with that portion of the fair assemblage who chose to remain as "lookers on," rather than join in the dancing. The most gorgeous portion of the scenery, such as parlors, castles, woods, streets, courts, mountains, used in the representations of those grand spectacles, " Norman Leslie," *' Bride of Abydos," " The Jewess," &c., were ar- tistically arranged around the stage, and, giving additional beauty and grandeur to the Itiiry scene, reminded the spectator of oriental scenes desciubed in the Arabian Nights. The music — a full orchestra — was under the direction of Professor Anthony G. Graves. " An entire new set composed expressly for the occasion and called the " Fire- men's Cotillions," were introduced, in parts of which, Avith the Kent bugle, drum, violin and a large bell, an effect, resembling all the noise, bustle, and confusion incident to an alarm of fire, was produced. It is strange these once so popular cotillions are not more frequently introduced at our large balls. The spacious saloon of the theatre was fitted up as a gentlemen's supper room, and suits of rooms in B. M. 13riare's large cream and confectionery establishment ad- joining the theatre, Avere elegantly and tastefully fitted up as a ladies' supper room, an entrance having been cut through from tlie theatre. When it is known that they were furnished by that well known caterer, B. M. Briare, it is unnecessary to say that the supper and accompani- ments Avere recherche. Alderman Thomas McMullen Avas chairman of tlie floor managers, and well he performed the duties assigned to Theatrical Eeminiscences. 55 him. He was dressed in character, satin tights, bhick swallow-tail coat, Avith a large red and white rose looming out on either breast. " Tommy" was a character — active, energetic and ever ready to take a hand in any good thing. He was the first man who essayed to reform our miserable militia system, by getting up burlesque parades with the raw material, and dubbing them " The Fusilliers." Sim- ilar parades were immediately inaugurated in the principal towns in the State, and finally resulted in giving the death blow to " fuss and feathers " of the old general training. Mr. McMulien received, by unanimous consent, the title of "Colonel Reform," and bore it with modesty and meekness to his deatli. We doubt whether the fetes and balls gotten up in the present fast age surpass, or even equal, those given so many years ago. The following gentlemen were managers of this mag- nificent ball: — John G. Tread well, Charles Gay, Samuel Van Vechten, H. J. Clark, W. L. McLaughlin, C. L. Woodruff. B. M. Briare, P. B. Leddy, T. L. Booth, R. S. Cushman, John Brooks, jr., C. Vanderbilt, J. H. Chad- wick, J. Linecare, W. W^ Jones, George B. Steele, J. F. McPherson, J. L. Badgely, J. 0. Wilson, John Osborn, Cornelius Glenn, H. C. Southwick, C. McLoughlin, Philo Booth, Alex. Brown, S. H. Strain, John Fredenrich, H. H. Yates, Cornelius J. Cuyler, S. Putnam, Jacob Leonard, Jacob Ten Eyck, W. Harrison, Thomas McMulien, E. L. Hart, James Kidd, Spencer S. Benedict, J. McPherson, Isaac N. Comstock, P. E. Bowman, John W. Cluett. This event took place over thirty years ago. Alas ! how many of those who participated in these joyous scenes, have passed to that "undiscovered country, from whose bourne no traveler returns." Of the managers, more than one-fourth of the number have passed away. 56 Theatrical Eeminiscences. combat between booth and duffy. "When Lucius Junius Booth was plavinor an engacfement at the Pearl Street Theatre, he came in the box office one morning looking quite moody, and apparently not a little out of sorts. He was greeted by Mr. Duffy, with a " How is the citizen soldier this morning?" {This sohriqnet -was given Booth by Mr. Duffy, and as such he was pretty generally knoAvn in the profession.) " Well," said DuflFy, " it seems we are to measure steel to-night." " Yes," re- plied Booth, "and I charge you, by all that you hold sacred, to look well to your guard in the combat scene, for I am in fighting trim." " Never you fear, sir," was Duffy's reply, "you'll find me fully up in my part or 1 much mistake myself." And, as the sequel will show, he was up in his part, for Duffy evidently knew that Booth " meant mischief." The play was Eichard III, Booth, of course, doing his favorite role of Eichard, and Duffy that of Eichmond. Both actors were in fine trim, and " eager for the fi-ay." The play went off admirably. Booth never, perhaps, ap- pearing more brilliant in the character. There appeared to be a premonition among a few of the audience that the combat scene on this occasion was to be something more than usual, and great anxiety was evinced to see it. The combat at last commenced, and a terrific one it was. Booth having worked himself up to a high degree of ex- citement in the battle scene, where he cries, "A horse! a horse! my kingdom for a horse," had become desperate. His thrusts, lunges and cuts were fearful. Duffy was cool and collected, parrying with consummate skill. He was an excellent fencer — sparks of fire rolling from their swords, the chances appearing to be about equal. Booth finally, finding that he had his match, resorted to his old dodge of " playing down," or " driving to the corner," his antagonist. Duffy, however, was fully on his guard, and by making a " feint," threw Bootli off his guard, striking Theatrical Reme^iscexces. 57 Booth's sword with great force, and hurling it several feet over his head. Booth, evidently greatly chagrined at his discomfiture, storming and fretting like a caged tiger, quickly made vain attempts to regain his weapon, but finding himself much exhausted, made the " last fall," thus ending one of the most severe stage combats we ever witnessed. The dying scene of Booth was truly frightful — his eyes, naturally large and piercing, appeared to have greatly increased in size, and fairly gleamed with fire ; large drops of perspira- tion oozed from his forehead, and coursing down his cheeks, mingling with and moistening the large black ringlets of the wig he usually Avore in Richard, caused them to adhere to his face, rendering his appearance doubly horrible. The remarkable portrayal of the pas- sions — the despair, hate, grief — in the passage in the original text, which reads — "But the vast renown thou Ha*t acquired in conquering Kichard, doth grieve him more Than the soul parting from the body," has probably never been surpassed, even by George "Fred- erick Cooke, whose Richard is said to have excelled all others. GEORGE HYATT AXD OLD JACK BARNES. It will be recollected by many of our older citizens that on the corner of South Pearl and Beaver streets stood an old yellow brick tavern, called the " Rising Sun Tavern," kept by Crosby, and at a later date by Carter. Speaking of this old tavern, which was afterwards called " Crosby's Hotel," brings to mind George Hyatt, the inimitable low comedian, attached to Gilfert's Pearl Street company. Hyatt was a gentleman of polished manners, brilliant in- tellect, and a highly finished education. He was the au- thor of several valuable works, and possessed a fine musical 58 Theatrical Reminiscences. taste and talent. He composed several popular airs, among which Avas the beautiful song, " The Mellow Horn," sung with great eclat by Phillips. Hyatt had a benefit at the " Old Pearl," doing Richard to the Richmond of "old Jack Barnes," the celebrated low comedian, for many years attached to the Old Park Theatre, New York — the piece was, of course, played in iurlesque throughout. The idea of two such eminent comedians playing tragedy, was sufficiently novel and ludicrous to attract an immense audience, and it was kept in continued roars of laughter throughout the perform- ance. The combat scene between Richmond and Richard was as good as a score of lirst-class farces. During the fiercest of the combat Hyatt got his sword between his legs, and fought with his back to his antagonist, as if fearful of getting a slash across the face or stomach. Barnes was equally ludicrous in his cuts, parries, thrusts and guards. After Hyatt had fallen, Barnes stabbed him a la posteriori, and raised his weapon as if to strike, when Hyatt, looking up, shook his fist at him, and exclaimed: "Jack, would you hit a fellow when down— it's foul- cowardly!" Hyatt then made preparations to die; took off" his mantle, folded and laid it down for a pillow, and quietly laying himself down, addressed Richmond (Barnes): " Jack, I'm done for— the game's up— go and treat, and we'll call it quits!" It is scarcely necessary to say this brouglit down the house, cheer followed cheer, making the welkin ring, and continuing till long after the curtain went down. Hyatt then came forward and made one of his unique and laughter-provoking speeches. From the scene in Richard, when the dead body of King Henry is borne in upon a bier, we quote the dia- logue between Richard and the bearers of the corse, in order that it may be more fully understood by the reader: RiCHAKD — Take up the corse, sirs. Theatrical Reminiscences. 59 Beareks — Towards Chertsey, noble Lord ? Richard— No; to White Friars; there attend my coming. Hyatt gave the following version of the above text: Hyatt— No; to Crosby's (meaning Crosby's hotel,) there wait my coming, and weUl have a drink all round! This scene also created great applause, a large part of the audience rising to their feet, waiving hats, handker- chiefs, &c. With two such eminent comedians as Hyatt and Barnes, this was probably the richest burlesque per- formance ever witnessed on any stage. ANOTHER similar SCENE. At the old Chatham Garden Theatre in New York, Roberts, an unsurpassed low comedian, and George Hyatt, played Richard III — Roberts appearing as Richard, and Hyatt as Richmond. Owing to the singular cast of char- acters, it Avas generally expected that the play was to be a burlesque, but with the exception of now and then a Avord, Roberts closely imitated the "proud representative of Shakspeare's heroes," until the fifth act, when the an- ticipations of the crowded audience Avere fully realized on beholding the crook-backed tyrant, his boots adorned with the celebrated '•' Col. Pluck's" huge spurs, which had been brought on from Philadelphia and presented to the late Col. William L. Stone, editor of the old New York Commercial Advertiser. Col. Stone kindly loaned them to Roberts for the occasion. Hyatt, (Richmond,) after having slain Richard, slapped his arms against his sides in imitation of a rooster, and crowed three times at the top of his voice in triumph over Richard's remains! The eft'ect upon the audience can be imagined — the applause elicited lasting for a long time after the curtain fell. CHAPTER X. THE TRIMBLE OPERA HOUSE. Incipient Steps for Rebuilding the Academy of Music — Jfu- MEROus Plans and Movements Fail — Ltjcien Barnes FinaIi- LT Succeeds in Organizing a Company to go on with it — Brief Sketch of its Management, &c., from the Period OF its Opening to the Present. After the burning of the Academy of Music, there was for a long time perfect dearth in regular theatrical amuse- ments in Albany. The play-going public demonstrated, in a marked degree, their desire for the revival of this class of amusement, and numerous projects sprung up. The legislature was appealed to, to throw the protecting arm of an enabling enactment over the parties who pro- posed to organize a company to replace the lost dramatic temple; but this, like all the other plans, was at length abandoned. At last Mr. Lucien Barnes took hold of the matter, and succeeded in forming a company that should remain sufficiently permanent to insure the success of a first-class theatre. Mr. Barnes matured his plans during the summer, and on the first day of November he began work. In the short space of fifty-three days he had erected the Trimble Opera House, and the first entertainment was given on the evening of December 31, 1869. The theatre was opened by as good a stock company as could be se- cured at that season of tlie year. Mr. Barnes played his stock company to a very fair business till some time in January, when the star system was introduced. Mr. E. Theatrical Eeminiscences. 61 Eddy appeared as the first star, playing a very successful engagement, the nightly receipts being larger than that of any star that had preceded him, even in the days of the Academy of Music. The po])ular actor, Edwin Adams, succeeded Mr. Eddy, doing a large business. The great sensational play of " After Dark " was then brought out in magnificent style, and played by the stock company many consecutive nights to very remunerative houses. Following this were the engagements of the Watkyns, the "Williams, the Florences, Chanfrau, Brougham, and other stars. The sensational and beautiful play of " Ixion " was then placed upon the stage in a very gorgeous style, and had a profitable run of several weeks. The "Black Crook " soon followed " Ixion," and so magnificently was it gotten up and admirably played, that it had (for Al- bany) the unprecedented run of thirty-five nights, and up to the time it was withdrawn the house was tilled to its utmost capacity. This closed one of the most successful theatrical seasons known in Albany — the season being quite short, (about one hundred and thirty-seven nights,) and the grand total of receipts amounting to considerably over $44,000. During Mr. Barnes' management of the Trimble Opera House, besides producing a large number of gorgeous spectacular pieces, the most prominent being the " Field of the Cloth of Gold," all the prominent stars, Forrest included, appeared in rapid succession, besides all the grand Italian and English combination opera troupes extant. Mr. Barnes evinced a remarkable activity and energy in erecting so elegant a place of amusement in the unprece- dently short period of fifty-three days. The theatre is conceded to be the equal of any of its size in the Union, and Edwin Forrest declared, on his last appearance here, " that the Trimble Opera House was, in all its appoint- ments and surroundings, one of the finest theatres that he 62 Theatrical Reminiscences. had yet appeared in, and that Albanians had just cause to be proud of such an institution." But it would seem that, with all his energy and activity as a practical busi- ness man, Mr. Barnes did not prove a success. Either from a lack of experience in the general conduct of a theatre, or a seemingly marked disinclination to avail himself of the ripe experience of successful managers, his inevitable failure was early predicted by those familiar with theatrical matters. After he retired from the management, the lease was put up at auction, and purcliased by Aaron Eichardson, who immediately went to work, and at a very liberal outlay effected many important and desirable improvements. Many of Mr. Richardson's friends seemed to think that it was a useless expenditure of money to undertake to im- prove the interior of the edifice— that it would be like attempting to *' gild refined gold;" but Mr. Richardson saw room for improvement, and at once acted upon the suggestion, and effected in a short space of time almost an entire transformation of the interior of the edifice. Among the improvements were the putting in of ten addi- tional boxes, or " stalls," accommodating six persons each, fitted up with elegant carpeting, comfortable chairs — making quite a new feature, and adding greatly to the general appearance of the auditorium. In place of wooden settees in the parquette, nearly an entire new set of iron chairs were added, giving greater cheerfulness to that part of the house. The walls Avere elegantly frescoed and painted, the blending of the maroon, gold and drab pro- ducing a charming effect upon the whole. Another great desideratum was accomplished in the way of improve- ments, by placing heavy mattings through the vestibules, lobbies, passage-ways, and on the stairs leading to the dress circle, thus wholly deadening the noise heretofore produced by people moving about the house. And taking it all in all, it can be said without fear of successful con- Theatrical Reminiscences. 63 tradiction, that the present Opera House is not surpassed by any similar establishment in this country, and Alba- nians have ample cause to be proud of the institution. Mr. Richardson is now running it with energy, tact and success. CHAPTER XI. DIVISION STREET ACADEMY OF MUSIC. Conversion of the Unitarian Church into a Theatre — List OP Lawlor's Opening Company — E. L. Davenport — Toney Dernier — Success of "Walter Keeble's Management op THE Capitol Theatre — His Personation of Shaksperian Characters, etc. Some time prior to any definite movement having been made to build the Trimble Opera House, and when there seemed little prospect of our city again being favored with a regular dramatic temple, Frank Lawlor, at the sugges- tion of his friends, leased the old Division Street Unita- rian Church, which Mr. Oppenheim had just commenced to convert into a place of amusement. Mr. Lawlor took hold of the work with energy, and at a considerable out- lay converted the old church edifice into a very neat and commodious theatre. It was opened on the evening of the 5th of October, 1869, under the imposing name of the Academy of Music, and with an efficient stock company, composed of Messrs. George 0. Bonniface, George Ryer Charles Hilliard, William C. Crosbie, A. L. Cooke, A. J. Sawtelle, C. E. Edwin, J. W. Walsh and Frank Lawlor; Miss Augusta L. Dargon, Mrs. M. A. Farren, Miss Maggie Newton, Miss Alice Brooks, Miss Caroline Carman, Miss Florence Vincent, Miss Lana Hall and Miss Louisa Howard. Mr. Lawlor's enterprise proved an eminent success. He was indefatigable in catering to the amusement of his Theatrical Reminiscences. 65 patrons, and exercised au excellent taste and judgment in selecting the most approved and popular dramas. He placed them upon the stage in an unexceptionable man-^ ner^ and they were satisfactorily rendered by his efficient dramatic company. At various periods prominent stars appeared from time to time. E, L. Davenport, the accom- plished gentleman and finished actor, was among them, and he attracted numerous and delighted auditories. Mr. Lawlor continued to run the Academy quite a length of time with fair success, but having another project in view, relinquished its management, and Toney Dernier assumed the management of it. Mr. Dernier expended a large amount in improving the interior, rendering it a neat, comfortable place of amusement, and for a time his suc- cess was quite flattering, but not sufficiently so to induce him to continue its management. Mr. Walter Keeble, who was acting in the capacity of stage manager, succeeded Mr. Dernier as lessee and man- ager, and the People's Capitol Theatre, under his judicious and energetic management, has proved a success far sur- passing his most sanguine expectations, and become es- tablished as among the permanent institutions of Albany. During Mr. Keeble's residence in Albany, and particu- larly during his managerial career, he has succeeded in securing a large share of public confidence, as well as enlisting hosts of Avarm-hearted, disinterested friends, who evince a determination to stand by him under all circum- stances. Mr. K. has lately impersonated Shaksperian and other prominent roles in a style of excellence that has stamped him second to few dramatic artists on the Ameri- can boards. 5 CHAPTER XII. THE ODEON" THEATRE. Anecdote of the Elder Booth — He Fails to make His Appear- ance AS Announced— Is Found in the " Hole in the Wall- Is Taken to the Howard Street Jail and Locked Up in the Debtor's Room — Hls Stragetic Operation in Obtaining Brandy — The Shaker Pipe — Jailor Isaac Winne in a Quan- dary — Destruction of the Odeon by the Great Fire of 1848. In the year 1846 or '47, a building on the east side of South Market street (now Broadway,) between Hamilton street and the steamboat landing, Avas converted into a theatre, and opened under the management of John Cruta. It was fitted up in neat style, though it was of rather limi- ted dimensions, and opened with a very fair dramatic com- pany. Several fine scenic pieces were brought out in a manner that would have been creditable to a much more pretentious establishment, and several leading stars ap- peared upon its boards — among them the elder Lucius Junius Booth, who was engaged for six nights. Tlie an- nouncement of this engagement and of Eichard III for the opening night, as a matter of course, filled the theatre to its utmost capacity, witli an audience on the very tip- toe of expectation and interest to witness the great imper- sonation of Richard. At the time for the performance to commence, the "call boy" tapped upon Mr. Booth's dress- ing room door, but could not obtain a response from within. After a diligent search through the theatre, and no traces of Booth being discovered, the manager announced the Theatrical Reminiscences. 67 fact to the audience and threw himself upon their kind indulgence, stating, that as Mr. Booth would not appear, he should be obliged to substitute another play. Many left the house, their money being returned. The manager knowing Booth's infirmities, felt sure that he was on one of his terrible sprees, and several attaches of the tlieatre were dispatched in pursuit of the missing actor. After a long and diligent search. Booth was found in a groggery called " Hole in the Wall," in Trotter's Alley, laid out on a bench stupidly drunk. In order to guard against the repetition of the event and to make sure of his appearance on the following evening, Booth was taken in a carriage to the old Howard street jail, now the City Hospital, and locked up in what was called the " debtor's room." Booth did not get over the effects of his orgies till the next morning, when he became quite sober, but declared himself to be "infernal dry," and that his throat was filled with cobwebs. Brandy was the panecea, and brandy he must have; but how to obtain it was the next question. This point, however, was soon disposed of. It seems "Jim Boardman," who occasionally did chores around the jail and who knew Booth well, happened to look through the prison door. Discovering the prisoner to be Booth, he bid him good morning. The salutation met a read}'' response coupled with a request for some brandy. Jim replied 'twas against the rules of the prison, and, besides, how could he get the liquor through the nar- row grating even if he brought it? Booth handed out a quarter, and instructed him to get half pint of brandy in a cup and a long Shaker pipe, and bring both secreted un- der his coat. Jim did as directed, handed the pipe to Booth, and placed the cup of liquor near the grating. Booth then inserted the bowl of the pipe in the cup, the stem in his mouth, and instantly drained the cup to the very last drop! AVlien the jailor, Isaac Winne, generally known as " Major Winne," entered the prisoner's room a 68 Theatrical Eeminiscences. little later, judge of his surprise at finding his prisoner certainly as tipsey, if not more so, than when lie left him the night before. How he became in this plight, or how he could have obtained the liquor to produce it, remained a mystery to Winne until a long time after Booth left the city, when Jim acknowledged his agency in the matter. Whether the manager succeeded in keeping Booth suffi- ciently sober to fulfil the engagement, we do not remem- ber, but are inclined to think that he did appear one or two nights after this unexpected incident. The " Odeon " was destroyed in the memorable and dis- astrous fire in the summer of 184S, when nearly all the dwellings, stores and hotels, from Hudson to Lydius street, were totally consumed. CHAPTER XIII. THE GATETY THEATKE. Castle, the Popular Opera Singer, makes his First Appearance IN Albany in a Professional Capacitt at the Gayety — Peter and Caroline Kichings appear in Opera and Comedy — Also appear J. E. Murdock, Sothern, Chanfrau, Ada Isaacs Menkin, Henrietta Irving, J. TTilkes Booth, who was Seri- ously "Wounded by a Dagger entering his Side. lu the year 1859, when Albany could not boast of any place of regular dramatic entertainment, and theatricals were at a rather low ebb, A. J. Leavett and David Allen, aided by the contributions of a few friends of the drama, inaugurated a place for dramatic representations, fitting up the large building in Green street, a few doors south of Beaver, for many years occupied by Mr. John Van Gaas- beck as a carpet store, and Mr. Blair as an upholstering establishment. It was converted into a theatre under the immediate direction of Dr. J. Monroe, a theatrical archi- tect, and fitted up in a really elegant and commodious style. It had two tiers of boxes, several private boxes and a parquette. It opened under the title of the " Gayety Theatre," with a small dramatic company, under very favorable auspices. The liberal patronage of the public soon enabled the management to increase their company, until it became quite formidable in numbers as well as in character and histrionic talent. Mr. Spackman, a talented and versatile actor, who afterwards became stage manager of J. M. Trimble's Academy of Music, J. W. Albaugh, 70 Theatrical Eeminiscences. Charley Kane, David Allen and Mrs. Allen, constituted a portion of the company. Dramas of the first order, and even scenic pieces of quite an imposing character, were produced and represented in a style of excellence that would reflect no little credit to establishments of larger dimensions and assuming higher claims to public recog- nition. Many of the eminent stars in the dramatic firmament appeared in regular and rapid succession at the Gayety. Mr. Castle, the celebrated tenor vocalist, made his first ap- pearance in Albany in a professional capacity at this thea- tre, in conjunction with a Miss Miller, a beautiful blonde and a fine vocalist; Peter Eichings, and his accomplished daugher Caroline, completed two extended and highly re- munei'ative engagements here, and rendered English opera with full and artistic companies, and with great success. Eddy played the first star engagement, Chanfrau, J. E. Murdock, Sothern, Julia Dean Ilayne, Ada Isaacs Menkin, Mrs. Waller, Miss Kimberly, Eoberts, and J. Wilkes Booth, playing with Miss Henrietta Irving. The grand spectacular drama of " The Last Days of Pompeii," was brought out at this little theatre on a scale of magnificance, considering the limited capacity of tlie stage, that excited the astonishment of the entire play- going public. It was at the Gayety that J. Wilkes Booth, while enact- ing the role of Pascara, in the Apostate, met with quite a serious accident. In making "the fall" at the close of tlie play, his dagger accidentally penetrated the right arm pit, inflicting a severe wound some three inches in depth, from which the blood flowed profusely upon the stage. Dr. Crounse happened to be present in a private box, was called and dressed the wound, and Booth was moved to his hotel. The wound did not prove sutticiently serious to prevent his appearance the second night after and he Theatrical Eeminiscences. 71 played the role of Richard III, doing the combat scene with his left arm, with all his usual tact and force. [Had the dagger then but entered the heai't of Booth, what a terrible calamity mis:ht have been averted, and the martyred Lincoln might still have been living. As it is, the just doom of J. Wilkes Booth can be related without a sigh !] The Gayety, after having been run by various managers with good, and again with indifferent success, for quite a length of time, finally succumbed to the fate of many of its predecessors in Albany — went by the board. It was closed in 1861, and the building has since been re-con- verted into stores. CHAPTER XIV. EDWIIf FORREST, THE EMINENT TRAGEDIAN. Sketch of His Private and Professional Life, from His First Appearance on the Mimic Stage, to His Final Exit from THE Shifting Scenes of Life — His Early Struggles — His Indomitable Energy, Perseverance and Courage, etc., etc. The death of this justly celebrated and unapproachable actor, has elicited so many exhaustive sketches of his pri- vate and professional life, that but a narrow margin re- mains for further comment or enlargement upon it, and renders it the work of supererogation to more than allude to a few prominent features of his private and professional character. Mr. Forrest was, for many years, acknowledged by emi- nent and experienced theatrical critics, as well as the play- going public, to be pre-eminently the finest actor that this or any other country ever produced. In a wide range of characters he stood without a rival; nor can one person of note be called to mind who has been so uniformly and eminently successful. It mattered not in what part of the country he appeared, east, west, north or south, he seldom failed to be greeted by intelligent, fashionable, and over- flowing houses. Now and then he was more fiercely and often unjustly assailed than severely criticised, especially by individual pi-esses; but, after all, the popular verdict pronounced him " the noblest Roman of them all." Ed«iii Forrest -was born in the city of Philadelphia, Theatrical Reminiscences. 73 March 9, 1806, and consequently was in the sixty-seventh year of his age at the time of his death, December 14, 1872. His father was a Scotchman and his mother an American, and both were strong adherents to the Scotch Presbyterian church. Forrest's father Avas, for many years, an attache of the old United States Bank, in Philadelphia, and died in its service. Edwin was designed by his parents for the pulpit, a vocation for which he seemed fitted from the earnest attention that, when a mere boy. he paid to the sermons he heard, and the happy manner in which he re- cited from memory the long passages. But the death of his father, leaving a large family in embarrassing circum- stances, and the consequent necessity of immediate exer- tion, interrupted the education of young Forrest, and at ten years of age he was taken from school and compelled to enter as clerk in a large German importing house, but he remained but a short time in their employ, as he spent more of his time in '•' spouting theatricals," than in caring for the interests of his employers. The Forrest family consisted of six children — Lyman, Henrietta, William, Edwin, Edgar, and Caroline. Edgar, the youngest son, Avas supposed to have been assassinated in South America many years ago. Lyman was a tanner and currier, and it Avas in his shop that EdAvin gave, for the amusement of the workmen, his first dramatic recitation, standing on the stone table used for dressing leather. EdAvin is next found on the boards of the old South Street Theatre, Philadelphia. He soon joined a Thespian Society, and at once became the "star" of the company. In 1817, he appeared at the Apollo Theatre as Lady Anna, in the tragedy of Douglas, his costume con- sisting of a thick pair of shoes, coarse AA^oolen stockings, and a short Avhite dress that reached to his knees only, and a red scarf Avound around his head so as to form a turban. He next appeared at the Tivoli Gardens, in the summer of 1820, as Young Norval. His first appearance on a regu- 74 Theatrical Reminiscences. • lar stage was as Young Xorval at the old Walnut Street Theatre, then under the management of those eminent actors, Wood and Warren, (Warren being the father of AVilliani Warren, tlie celebrated comedian who was at one time attaclied to the Albany Museum dramatic company.) In " Wood's Eecollections of the Stage," is related the sub- joined account of Forrest's appearance on the Walnut Street Theatre boards : *' A very interesting event in theatricals took place last evening on the first appearance of a young man, Master Edwin Forrest. This youth, at sixteen years of age, Avas introduced to the management by Col. John Swift, as a person who was determined to be an actor, and had suc- ceeded in obtaining ' the slow leave ' of his family, who were, however, naturally enough opposed to their son adopting that profession. AVe have been so unfortunate in the numerous 'first appearances' of late, that the young aspirant could hope for little encouragement of his wishes — the drooping state of theatricals furnishing an- other and stronger reason for such course. The usual arguments were strongly urged against embracing a pro- fession, at this time so especially unpromising. The toils, dangers, and sufferings of a young actor, were represented with honest earnestness, but, as was soon discovered, all in vain. Forrest was at this time a well grown young man, with a noble figure, unusually developed for his age, his features handsome, powerfully ex]n"essive, and of a deter- mination of purpose, which at once overruled all further objections on our part, and we finally very reluctantly yielded to his desires. He accordingly appeared at the Walnut Street Theatre, November 27, 1820, as Young Norval, in the tragedy of Douglas, with the following cast : Lord Randolph, Mr. Wheatley ; Glcnalvin, Mr. Wood; Old Norval, Mr. Warren ; Lady Randolph, Mrs. AVilliams; Anna, Mrs. Jefferson — which was a powerful cast, render- ing Master Forrest admirable and really efficient support, Theatrical Reminiscences. 75 which gave him much more confidence, than had the cast of the play been made up of less acceptable material. So much disappointment had been experienced by the public at many late 'first' appearances, already alluded to, that no great excitement was perceptible on the above occasion. The novice, however, acquitted himself so well as to create a desire for a repetition of the play, which soon followed, and with increased approbation. Soon after Master For- rest added to his reputation by a very spirited effort in Frederick, in ' Lover's Vows.' These performances were considered by all the principal actors as far beyond any- thing they had ever witnessed from a novice. Still no great enthusiasm was evident in the public, and the re- ceipts at his benefit as Octavion in the ' Hunters of the Alps,' Avere even less than the former nights. They had been — Douglas, $319; Frederick, $255 ; Octavion, benefit, $215. "This cool reception in his native city, that might have discouraged a less ardent and confident mind, had no such effect on Forrest, who boldly reiterated his intention to adopt a theatrical life. The theatre at this time presented no vacancy Avorthy young Forrest's acceptance. Two cir- cumstances we must not forget to mention, largely con- tributed to the failure of his benefit — an uncommonly heavv snow storm, and the announcement of the eminent actor, Edmond Kean, for the following week — two greater drawbacks could not easily have happened. After a con- sultation with Master Forrest's friends, it was resolved that he should abandon the young Rocius' plan and take a range through the western theatres, for the purpose of passing a regular apprenticeship to his profession, and young Forrest left us with flattering auguries for the future." Forrest did "go Avest," (as the departed philosopher, Horace Greeley, advised so many young men to do.) making his first appearance at Cincinnati, Ohio, in the autumn of 76 Theatrical Reminiscences. 1822, as Malfort, in the "Soldier's Daughter," which was followed by Richard III, and other Shaksperian and Ro- man roles. An editor of a Cincinnati paper was called a lunatic for prophesying Forrest's future greatness. For- rest played Othello at Louisville, besides many other char- acters, for the first time, and with little knowledge of the text. It is also understood that at times his taste was for comedy, and he enacted various comedy characters with great eclat. Forrest, it would seem, did not appear again in his native city of Philadelphia until four years after he made his first debut at the Walnut Street Theatre, as Young Nerval. On his return to Philadelphia, he was announced, says Wood, "from the Albany theatre, it being his first appearance in four years in Philadelphia, and to play Jaffier in 'Venice Preserved,' in conjunction with Mr. C. Foster, as Piere." He subsequently appeared as Rolla, and other prominent characters, much to the sur- prise of the public. Col. Forney, one of his early friends, writes of Forrest: "He was very fond of children and flowers, and had stores of poetry to make them happy ; and his description of the beautiful painting of the girls preparing to take a bath, in his fine collection, was itself a picture."' Among many memoranda in my possession none are more useful than the "Forrest Souvenir" of Mr. Wm. D. Gemmill, of this city, which he has kindly allowed me to use. It is a collection of the portraits and pliotographs of Forrest from his youth, the bills of the phiys in wliich lie has acted for fifty years, criticisms of all kinds, anec- dotes, and a series of remarkable reminiscences of the great actor by the veteran Charles Durang, who died in Philadelphia, February 15, 1870, in his 76th year. He has annotated many pages, in his own handwriting, with inci- dents of P'orrest. Here Ave have a playbill of the Walnut Street Theatre for February 2, 1822, announcing the cele- brated tragedy of " Mahomet, the Impostor," with Master o Theatrical ReminiscexVCes. 77 Forrest as Zapliana. He was then just sixteen. He had first appeared at the same theatre in his fifteenth year, as Young Norval, to a house worth $319. In Mr. Gemmill's collection we have the original cast of "Metamora" in New York, in 1830, and the playbill of the same produc- tion at Boston in the same year. This work Avas written for Forrest by the brilliant J. A. Stone. Forrest was then only twenty-four. In 1817, Mr. Durang tolls us that as a mere boy, for lack of female performers, young Forrest played girls' characters frequently. He was then eleven years old. When at Louisville, in 18-23, Forrest and James M. Scott, known as " Long Tom Coffin," played a pair of dandies with great eclat ; and in a piece called the " Tailor in Distress," Forrest took a negro part " Avith so much African nature that he seemed the very incarnation of the race." The troupe with which Forrest was connected at this time had many a severe struggle, one of their houses only netting §7. In May of 1826, he came back from his wanderino-s, and flashed forth a star at the Chestnut Street Theatre, as Jaffier, in " Venice Preserved," for the benefit of Charles S. Porter, another honored Philadelphia name." CHAPTER XV. EDWIX FORREST. His First Appearance on the Boards of the Old Pearl Street Theatre — He Supports the Great English Actors, Conway AND Kean — His Great Success in the Kole of Mark An- tony — His Unprecedentedly Rapid March to the Topmost Round on the Ladder to Dramatic Fame — Interesting Sketch of his Inhaling Laughing Gas when a Boy — His Sudden and Final Exit from Life's Busy Stage! We have followed Edvvia Forrest, in his earlier dramatic career, from the interesting event of his first appearance, Avlien sixteen years of age, on the boards of an obscure thespian establishment in Philadelphia, to his departure from his native city as a poor, friendless young man, to the then new and sparsely settled Western States, to un- dertake a wider range of characters, and to serve a regular apprenticeship in the theatrical profession. The many vicissitudes incident to his life Avhile a stroll- ing actor — how he was obliged to lash his scanty wardrobe upon his back and swim a river for lack of the trifling fee to pay tlie ferriage ; how compelled to feed upon the most common fare to keep body and soul together; and of the many other privations which the young Eoscius endured, we will not attempt to sketch, as a full account of them is to be found in our "General Theatrical Reminiscences." AMUSING ANECDOTE OF FORREST. Before closing, however, we would add the following incident, giving further evidence of Forrest's privations Theatrical EexAiiniscexces. 79 during his wanderings in the west. He had taken lodg- ings at a low-priced lodging house, in a room containing two beds; the second bed being occupied by a person who was an entire stranger to him. At ratlier a late hour in the morning, Forrest, being tired of longer remaining in bed, cried out to his room-mate, " I say, stranger, don't you think it's time to get up — it's growing late?" " That's just what I Avas thinking about, and I was anxiously waiting for you to get up, as I have very strong reasons for not getting up first," replied the stranger. " Why, what are your reasons?" inquired Forrest. "To tell you the sober truth then, friend," was the reply, " I haven't got a shirt to my back, and was a little ashamed to expose myself!" " Well, stranger, I must confess it's rather a queer coincidence," was Forrest's rejoinder, "I happen to be in a similar fix, as I haven't a shirt to my back either, and also felt ashamed to get up before you ! " The twain enjoyed a hearty laugh over their mutual dilemma, jumped up and donned their scanty wardrobes, shook hands and parted the best of friends, despite having met under those embarrassing and ludicrous circum- stances. In a previous chapter slight allusion has been made to Mr. Forrest's first appearance at the Pearl Street Theatre as a member of the stock company. A concise review of his eventful dramatic career, from the time he made his dehut as a stock actor in Gilfert's company, to his final exit from life's busy stage, will not seem inappropriate here. Mr. Forrest made his del)ut at the old Pearl Street Theatre in the autumn of 1825, as Jaffier, in Venice Pre- served, having volunteered liis services for the benefit of a member of the stock company. Soon after he joined ihe company as a regular stock actor, playing, on Septem- iDer 30, 1825, Macduff to Conway's Macbeth. He also played Michael, to Conway's " Tell," in Sheridan Knowles' drama of " William Tell" that had just been introduced 80 Theatrical Reminiscences. in this country. It was in the simple character of " Michael," the Swiss peasant, wlio so boldly confronts the minions of Gessler and indignantly refuses to bow to the tyrant's cap, that Forrest unconsciously startled his audience with the electric spark of his budding genius. Forrest seconded CouAvay through his entire engage- ment, and with marked ability. We wel^ remember the night he enacted Mark Antony to Conway's Brutus, in the tragedy of Julius Cfesar. The house was filled to its utmost limit with the wealth and aristocracv of Albany — the fashion patronizing theatricals, particularly the legiti- mate drama, well in those days. As few people had yet seen Forrest in his best roles, they had no true idea of his dramatic power, and were of course greatly surprised, nay, electrified, with his speech over the dead body of CtBsar ; not having supposed the "vaulting young strip- ling" possessed so large amount of true dramatic talent. It was very apparent Conway was greatly chagi'ined, if not positively jealous, at the course things were taking. After Conway concluded his engagement at the South Pearl Street Theatre, Forrest assumed Conway's roUf^, rendering them, in many instances, with full as great eclat as had Conway, if one can judge from the warm encomiums of the press and the entire approval of the public. Forrest continued playing various tragic and melo- dramatic characters in an acceptable manner, adding fresh laurels to his dramatic wreath. During Edmund Kean's engagement at this theatre, he supported that distin- guished tragedian through all his dillicult roles so excel- lently as to elicit the most unequivocal marks of appro- bation, and Kean warmly predicted the great dramatic future of the aspiring young actor. A warm friendship between Kean and Forrest existed from that time until Kean was called to his great final reckoning! And now, as to Forrest's first successful step in his on- ward march to histrionic fame : and how, and when, he Theatrical Reminiscences. 81 became a star. On the night of the representation of Julius Caesar alluded to, Major M. M. Noah, editor of a leading New York journal, and conceded the finest theat- rical critic of the day in America, was one of the audience. Mr. Noah was stopping at Congress Ilall, near the Capitol, kept by Robert G. Cruttenden, {' old Crut.') and Gilfert was also boarding at Congress Hall. They met, and Mr. Noah describes the circumstances as follows: " Went to the theatre to see Julius Csesar. Forrest, a young man of nineteen or twenty, thick set, athletic, stiff, and with coarse but powerful voice, played Mark Antony. Returning to Congress Hall, I found Gilfert rapidly eating his lunch of corned beef and horse-radish. We com- menced the following dialogue : * Gilfert, who is that young man who played Mark Antony ? ' ' His name is Forrest.' ' Where from ? ' ' Philadelphia, I believe.* ' What's his character ? ' ' Good.' ' Is he sober — steady ? ' * Yes.' * Keeps good company ? ' * Why, I believe so.' * Always perfect in his parts ? ' ' Always perfect.' ' How long have you engaged him ? ' ' For a year or two.' * What salary ? ' ' Very small.' " We paused while Gilfert got through his supper, and after a glass of brandy and water, he looked at us across the table, over his specs, in his peculiar way, and said : " ' Tell me, Noah, why you asked me those questions about that young man ? ' '' ' Because, said I, he has all the material of a great actor, and if his habits are good, we would advise you to make a long engagement with him, and by all means increase his salary.' " Gilfert lighted his candle and went to bed. He sub- sequently told us that he had extended the time of his engagement with him, and when the Bowery Theatre first opened Ave all agreed to make Forrest a star, and his re- ception the first night set him afloat in the world on the voyage which has now brought him successfully into port." 6 82 Theatrical Keminiscences. Gilfert did " strike a bargain " with Forrest, and all who are at all posted in theatricals, or know anything of Edwin Forrest, know whether the predictions of Major Noah Avere true or false. Forrest, after going to the Bowery, at once "turned over a new leaf" in his habits, applied himself closely to study, but continued to play nightly at that theatre to crowded and enthusiastic audiences — in fact, carrying, as it were, the whole town " by storm." We Avell remember the circumstances of many of For- rest's old Albany friends and associates paying him a friendly visit, to tender him their hearty congratulations on his success. He informed them that he "owed them much for what they had done in his behalf, while struggling along up the dramatic ladder; that he was, and ever should be extremely gratified to meet them, but that he had now ' turned over a new leaf,' and that here- after Ills line of conduct must be directed in another channel — no more of the old-time convivialities — no more dissipation — no more frittering away of precious time. I now have absolute hard work to do, both mentally and physically." His friends, and they might be numbered as "legion," most heartily wishing him success, listened to the declarations regarding his future course with delight, and finally bid him an affectionate adieu, with " God bless you, Ned." In 182G, fortune began to favor him, and in July of that year he made his first appearance as a " star," at the Chestnut Street Theatre in Philadelphia, in the character of Othello. From that onward his career was a success. In 1S36 he went to England, and in October of that year first appeared on the London stage at Drury Lane, as SpartacuH. During this visit he was married to Miss Catharine Sinclair, who, divorced from him at her own request many years ago, has since resided in New York and on Staten Island. On the return of Mr. Forrest from Theatrical Remimscences. 83 Eii^/an ). in 1837, lie entered into an engagement at the Park Theatre, Avhere he received an enthusiastic welcome — the receipts for tlie first three nights of his performances o>mounting to $4,200. In 1845, after continued and suc- cessful engagements in this countiy, he visited England Again, and appeared at the Princess' Theatre in London as Macbeth. Having been hissed on his re-appearance, he ascribed that indignity to the intrigues of Mr. Macready, a,ud the ill-feeling thus engendered between the eminent <"ragedians continued Avithout abatement until it culmi- nated in the outrageous attack upon Mr. Macready on his appearance in New York, at the Astor Place Opera House, 'U Ma}', 1849. Forrest's first appearance in New York ifter his divorce took place at the Broadway Theatre, in February, 1852, when he played Damon — the engagement (asting for sixty-one nights. He afterward made a pro- fessional tour of the United States, playing a round of Shaksperian characters. In 1855, announcing his in- tention to retire into private life, he purchased an elegant mansion on Broad street, Philadelphia, and did not again appear on the stage till the season of 1860-61, when tempt- ing offers were made to him by Mr. James M. Nixon, which were accepted. He continued to appear at intervals until 1866, when he made his first appearance in San Francisco in the character of Richelieu. During the past five or six years he has taken frequent " farewells " of the stage, only to be re-enticed by profitable opportunities, and at the solicitation of his friends. Mr. Forrest's last appearance in public was as a reader, at Steinway Hall, a short time previous to his death ; and even at those readings he seemed to be in comparatively full vigor, and to retain all his attractiveness of elocution and action. It is a somewhat singular coincidence that Mr. Forrest commenced his real dramatic career at the Albany Pearl Street Theatre, and made his last appearance in a regular 84 Theatrical, Keminiscences. theatre on the precise spot (though on different boards, the Trimble Opera House,) upon which he had appeared forty-seven years before. FOREEST INHALING LAUGHING GAS. Frequent allusions have been made to the circumstance of Forrest inhaling exhilirating, or laughing gas. On his return from England after his unprecedentedly successful engagement in London, Forrest's friends, as well as the friends of the drama, in Philadelphia, desirous of evincing their admiration of his talents and respect for his charac- ter, invited him to a public entertainment. Over 200 distinguished citizens being present, among the number Nicholas Biddle — " old Xick," as he Avas familiarly called — of the old IJ. S. Bank memory — assisted by the venerable Mayor Swift, and the large-hearted Col. James Page — two gentlemen whom our Burgess' Corps, and Firemen, will ever have occasion to remember with the liveliest emotions of gratitude and pleasure. Forrest was, of course, called upon for a speech ; and he responded in a truly eloquent and feeling manner, giving an account of his reception and success in London. Among other matters, he gave the following particulars of his inhaling exhilirating or laughing gas, when a poor and unfriended boy : " A crowd was gathered one evening in the Tivoli Garden to behold the curious varieties of delirium men exhibit on inhaling nitrous oxide gas. Several years had then elapsed since the great chemist of England had made known the singular properties of exhilirating gas. Strange antics performed under its influence by distinguished philosophers, poets and statesmen of Europe, were then on record, but it was yet a novelty with us, and so the public experiments drew throngs to witness them. Among those to whom the intoxicating agent was administered on the occasion referred to, there chanced to be a little unfriended Theatrical Reminiscences. 85 boy, who, in tlie instant ecstacy which the subtle fluid in- spired, threw himself into a tragic attitude and commenced declaiming the following passage in one of Shakspeare's plays: 'What, hoi young Richmond, ho! 'tis Richard calls — I hate thee Harry, for thy blood of Lancaster!' But the effect of the serial draught was brief as it was sud- den and irresistible. The boy, awakening as from a dream, was surprised to find himself the centre of attraction — ' the observed of all observers.' Abashed at his novel and awkward position, he shrank timidly from the glances of the spectators, and would have stolen in haste away, but a stranger stepped from the crowd and taking him kindly by the hand, pronounced words which thrilled through him with a spell-like influence. " ' This lad,' said the stranger, ' has the germ of a tragic greatness in him. The exhilirating gas has given him no new power. It has only revealed one which lay dormant in him before. It needs only to be cherished and culti- vated to bring forth goodly fruit.' Gentlemen, the present Chief Magistrate of your city was that benevolent stranger, and your guest was that unfriended boy. If the prophesy has, in any degree, been fulfiled — if, since that time, I have attained some eminence in my profession, let my full heart acknowledge that the inspiriting prediction, followed, as it was, Avith repeated and considerate kindness, exer- cised the happiest influence on the result. It was a Avord in season. It Avas a kindly greeting, calculated to arouse all the energies of my nature, and direct them to a par- ticular aim. Prophesy oftentimes shapes the eA'ont Avliich it seems only to foretell. One shout of friendly confidence at the beginning of the race may nerve the runner Avith strength to Avin the goal ! Happy is he, Avho, on accom- plishing this round, is received with generous Avelcome by the same friends that cheered him at the start. Among such friends I stand. You listened Avith inspiring praise and augurv to the immature efforts of the boy. and yon 86 Teteatrical Reminiscences. now honor him with this proud token of your approba- tion — the achievements of the man. You nurtured me in the bud, early blossom of my life, and labored to make me full of growing. If you have succeeded the honor is your own." CHAPTER XVI. EDWIN FORKEST. His Gknerous Donation to the Young Men's Association — His Letter to the President of the Association — The Presi- dent's Reply— What was said of Mr. Forrest by the Writer at the time the Donation was made — Tribute to Mr. Forrest by his early friend. James Hunter. Esq. — Forrest attends Hunter's Funeral as Chief Mourner, etc. Many years ago the writer prepared the following brief sketch of Edwin Forrest, in connection with the Young Men's Association of the city of Albany. It Avas Avritten about seven years after Mr. Forrest's appearance as a stock actor in the Gilfert Dramatic Company, attached to the old Pearl Street Theatre, and during the herculean strug- gles through which his indomitable energy and persever- ance enabled him in a so incredibly brief period to attain to the height of dramatic fame he for so many years proudly and incontestably occupied. In the earlier period of his histrionic career, and even for some time after he had become famous as a leading actor, Mr. Forrest's finan- cial position scarcely warranted or justified him in making large beneficence. The donation he so generously and spontaneously made to tlie Young Men's Association, at a time, too, when that association was in its infancy, and struggling for an honorable position among the literary institutions of our country, was, therefore, hardly given from an overflowing exchequer. 88 Theatrical Reminiscences. Innumerable instances could be adduced to prove the noble and generous impulses of Mr. Forrest's great heart to the day of his death. His last and crowning act of munificence was the appropriation of a large amount of money for the establishment of the " Edwin Forrest Home," for members of the dramatic profession, that he so dearly loved and honored, when age and disease shall have rendered them incapable of longer pursuing it. Who, even among those who have been classed as his un- compromising enemies, would be so uncharitable as to assert that Edwin Forrest was a selfish, mercenary man. Mr. Forrest was but human, and his many generous acts, his upright conduct through life, his fair dealings with his fellow-men, will avail his plea " when mercy tempers justice." It is thirty years since we wrote: "We invariably speak of this distinguished individual with the most exalted emotions of pleasure. His brief dramatic history of only a few years is one altogether unprecedented in the histri- onic annals of this country — perhaps the world. His short and brilliant career has ali'eady thrown around him the gratitude and affection of every American heart. In this extremely brief period of time he arose from obscurity to an enviable fame. He has been successful beyond all expectation in elevating and planting on a firm basis the tragic muse of our country; lie has taught us that our wandering to foreign climes for histrionic sources was en- tirely unnecessary — that at home, in our very midst, the SUBJECT, the AUTHOR, and the actor w'ere at hand; for no one exercising even a spark of dramatic taste, but must acknowledge his Metamora an excellent specimen of the American Aborigines. And what characters so interesting to us as those who inherited from the God of Nature, the soil upon which our footsteps are now im})lanted? " But it is not of Mr. Forrest as a tragedian or a profes- sional man that we alone would speak. It is also for the Theatrical Reminiscences. 89 purpose of showing his heart, in all its varied aspects, to the world. His generous, liberal hand is always stretched forth in administering its noble charities. In our city, where the buds of his towering genius were first devel- oped, cherished and rewarded; here, where the little rivu- let that has now grown to his present exalted ability, first gushed from the fountain of his hidden faculties; here, we say, we have abundant evidence of his nobleness of soul. " As an American citizen, he is an honorable example ; for he has contributed more to encourage American talent than any other of our native citizens, with their millions at command. It is the utmost pride of his heart that literature, the essential attribute of human happiness, should be encouraged. His liberal donation to the Young Men's Association is an act of generosity, which every member — yes, every Albanian — should bear in lasting and perpetual remembrance. We have great pleasure in being able to lay before our readers Mr. Forrest's admirable letter enclosing his handsome donation to the Young Men's Association, a copy having been kindly furnished us by the Executive Committee of the Association : MR. Forrest's letter to the young mens' association. "'Sir — The laudable and successful zeal you have re- cently evinced in the purpose of forming an association for mutual improvement of young men of Albany, with- out regard to individual condition, is alike creditable to the heads that projected, as to the hearts that resolved it In a country like ours, Avhere all men are ' free and equal,' no aristocracy should be tolerated, save only the aristocracy of SUPERIOR MIND, before which none need be ashamed to bow. Young men of all occupations will now have a place, stored with useful knowledge, where, at their leisure, they nijiy assemble for mutual instruction, and the free interchange of sentiment. A taste for American letters 90 THJLi.TRicAL Reminiscences. should be carefully and sedulously disseminated among them, and the false and parasitical opinion cannot too soon explode, which teaches ' nothing can be so good as that which emanates from abroad.' Our literature should be independent; and with a hearty wish that the iron fet- ters of prejudice which surround it may soon be broken, I herein enclose the sum of one hundred dollars, to be appropriated solely to the purchase of books pukely AMERICAN, and to be placed in the library for the use of the young men of Albany. "'Yours, with much respect, "*EDWIX FORREST. "'Henry Hart, Esq., Albany, 8th January, 1834.'" REPLY TO MR. FORREST'S LETTER. " ' Executive Committee Eooms, r " 'Albany, Jan. 9, ld34. 5 " ' Edwin Forrest, Esq. : — "'i)e«/' Sir — Your communication of the 8th inst. has been placed before the Executive Committee of the Young Men's Association, and they, on behalf of the Association, have instructed me to tender you their sincere thanks for your liberal and generous donation ; tlie committee take a pride and a pleasure in responding to sentiments from whicli they cannot withhold their unqualilied concurrence. In the unrestricted admission of all classes and orders to the high privileges of the Association, they did anticipate, as a resulting consequence, the formation of the aristo- cracy of wliich you speak, 'before which none need be ashamed to bow.' Wliile, therefore, enacting those gen- eral principles, they exclude nothing good. Whether it emanates from home or abroad, they will cheerfully em- ploy the means you have so generously afforded in pos- sessing themselves of the works of those authors who have mainly contributed to extend the American name and influence through the entire empire of reason. Theatrical Eeminiscences. 91 "'The committee propose, sir, to expend your donation in the purchase of books containing our political history which, unlike that of most other nations, is made up of the opinions and acts of a people, and not of a court. Our national existence was the commencement of a new era in the political liistory of our world. In the com- mencement and continuance of that existence three things are to be regarded — the reason, the act, and the conse- quence. The first is found in the recorded wisdom of Washington, Jefferson, Adams, Madison, Hamilton, Jay, Franklin, and a host of other worthies Avho shed the bril- liant light of the most gifted order of intellect around the incipient struggles of an infant nation. The second in the firm resolves of our first councils, and the eloquent voice of our early battle-fields ! The third, in the many interesting events of our present prosperity. " ' In the first, we meet with the most splendid triumph, not of American, but of human reason. In the second, with the first instance on the records of our race in which the propensities of our nature have accomplished their ends in complete subserviency to the high sentiments and intellectual powers. In the third, we recognize the high harmony of things, as evidenced in the interesting general fact, that the consequences have been, and are now actu- ally being, precisely such as are a priori reason would have deduced from such acts, grounded upon such reasons. These constitute an entire whole, and the books from which that whole is derivable must necessarily be ' hooks purely American.^ We shall preserve and regard them as the monuments of your munificience. Accept for your- self our best assurances, and believe us, with sentiments of esteem, respectfully yours, the Executive Committee on behalf of the Association, by "'AMOS DEAN, President:" 92 Theatrical Eemixiscences. a tribute to forrest from james hunter, esq. At Mr. Forrest's farewell benefit at the old Pearl Street Theatre, previous to his first visit to Europe, the late Jaraes Hunter, Esq., editor of the old Daily Advertiser, and afterward of the Albany Daily News, an experienced theatrical critic, and an early friend of Mr. Forrest, paid him the following tribute. Mr. Hunter had been the tutor, counselor, and one who probably exercised greater influence over the young tragedian's early dramatic course, and incipient steps and dramatic progress, than any other man in this country. Mr. Hunter was an excellent Shaksperian scholar, and strongly advised Mr. Forrest to perfect himself in Shaksperian plays. Forrest did not forget the manv kindnesses of Mr. Hunter, and on receiv- ing, while playing an engagement in a far distant part of the country, the sad tidings of his death, hastened with all possible speed to be present and pay the last tribute of respect to his old friend and benefactor, following his re- mains to their last resting place. The writer well remem- bers the circumstance of Forrest walking alone, Avith downcast mein, following immediately in rear of the hearse, as chief mourner. Mr. Hunter wrote: "This young man, who has given such lustre to the histrionic character of America, and who has shown that this side of the Atlantic can produce talent at least equal to the trans-atlantic shores, takes his farewell benefit to-night. He ])lays in a piece written by an American — John Augustus Stone. "Albany was the tirst phice which discovered and en- couraged Mr. Forrest's genius. Now, acknowledging their kindness by paying lionor to them as citizens, and feeling gratitude towards them as his early and continued patrons, he makes his farewell thanks and his last bow previous to his sojourn in foreign lands. That the Alba- Theatrical Reminiscejjces. 93 nians will in a mass, and with the utmost warmth, greet him to-night, there is no doubt. " Edwin Forrest, independent of his universally admitted abilities as an actor, is a man of the most amiable and virtuous character. He is, to speak all of him briefly, A GOOD MAN". We know him well ; we esteem him ; we ad- mire him ; we love him ; and we never knew of an ac- quaintance of his who did not. "Pleasant breezes while going, and fast winds while returning, be your guerdon, and god be your guardian, OUR FRIEND ! " CHAPTER XVII. WHY MR. FORREST REMAIXED SO LONG OX THE STAGE. Having beea for many years intimately acquainted with Mr. Forrest, opportunities Avere afforded us of becoming familiar with many features of his private life. To us he evinced but little reserve in speaking of his private rela- tions. Our last interview was had at the Metropolitan Hotel in New York. Among the various topics dwelt upon was the cause of his remaining so long on the stage, and which had been for many years a mooted subject. "We said, in the course of our conversation, '* Mr. Forrest, don't YOU think you ought to have retired from the sta":e when your 'brow was bound with fresh and victorious wreaths,' and before the 'sere and yellow leaf began to tell upon you ? " His prompt reply was, " Yes, I confess such would have been my true course, and I had fully determined to do so, in fact, did retire for a few years with a firm resolve never again to 'buckle on the armor theatrical;' but I found it impossible to leave the exc'itmg, faioard. I believe this company are all dead, with perhaps tliree or four exceptions. Page knew no such word as fail. He visited every part of the globe General Theatrical Reminiscences. 183 that white men have seen. He searched tlie jungles of the East Indies for show stock. He penetrated the regions of scorching Africa, searched all the fairs of Europe, and furnished for the American market more "what is it" in the shape of giants, red-eyed negroes, glass spinners, and other sights too numerous to speak of, than any other showman, not excepting P. T. Bar- num. The last I saw of the captain was in Philadel- phia, and he Avas far advanced in the " sere and yellow leaf." He had just returned from South America with the Aztec children, and was on his way to Europe. The cap- tain was a Yankee, had great knowledge of the world, could speak several languages, was full of enterprise, but dame fortune seldom smiled upon him. The following a]Dpeared in one of the Albany papers in 1857: "J. W. Bancker, formerly Master Bancker, of the North Pearl Street Circus, called on us yesterday, and posted us up in a few reminiscences. Bancker first rode in this city in 1823, in a circus located on the corner of Eairle and State streets. The North Pearl Street Circus opened in 1826. Bancker belonged to the first company, and rode the first horse and threw the first sommersault in the house. The company consisted of the following persons: Manager, Sam. Parsons; Treasurer, Edward Tucker; Assistant Manager, Sam. McCracken; Clown, William Gates; Riding Master, J. W. Bancker; Riders, Dan. Champlin, Jacob Burton, Edward Carter, Alexander Downie and John Shay. Miss Mary Robinson was the leading melo-dramatic actress. Miss R. was a very tal- ented woman, and played her parts with great power. Downie died in tlie West Indies. Gates attached himself to the Bowery Theatre, and died in New York in 1843. Champlin died in Mobile. Burton joined the army, and died in Florida. Carter is also dead. McCracken died in Springfield, Ohio; he married a Miss Brown, Avho lived opposite the circus, in North Pearl street. Of the com- 184 General Theatrical Reminlscences. pany existing in 1826, Bancker is the only one living. The North Pearl Street Circus was built bv Sam. Parsons, and cost $22,000, horses included. It failed to pay in 1829, and then passed into the hands of S. J. Penniman. Mr. Penniman sold it to the Methodists, who have since used it as a church." CHAPTER XXXIII. Jim Bancker— John G-ossin, the Clown. Jim Bancker opened a circus, in 1831, on the same spot in Beaver street that Page had occupied, with a very good company. Among the performers was a young man by the name of John Weaver, Herculean in appearance, beau- tifully formed, and called the American Sampson. He performed some astonishing feats of strength. A native of Philadelphia, he was much respected for his amiable disposition and kindness of heart. He had become en- gaged to a young lady of Philadelphia, and was to aban- don his profession forever the following fall, and marry a young and beautiful wife. The company started on its tour. At that day in some of the Western towns there was great difficulty in procuring a license. There ap- peared to be a very bitter antipathy by the religious com- munity to such amusements — the exercise of horsemanship being considered demoralizing and a sin ! Many lawsuits were the result, but the circus non-suited the citizens. In some instances the commonwealth contrived to con- vince the jury that these wicked shows were prompted by the devil, and a mist was cast before the eyes of the audience by the incantations of the showman. The stand- ing on a horse, when at full speed, was deemed by them a base deception — a load-stone being used, they said, to make the man stick to his back! The clown was one of the devil's imps, etcetera; but the disciples of blue laws failed to C(nivince the jury. Theatricals fared no better in 186 Gexekal Theatrical Reminiscences. some of these benighted regions. Banckers company made a halt at a small village for two days. AVitchcraft and law-breaking Avere charged against the unfortunate performers. Weaver was about to be aj-rested, but not wishing to be detained on the eve of embarking home- ward to Philadelphia, he made his escape, with the inten- tion of proceeding to the next county, where he could be safe; but the night being dark and rainy, he lost his way ill the woods — becoming bewildered, he Avas not found for two days. The Aveather being cold and Weaver thinly clad, he took a violent cold, which developed into bilious fever, and in a few days after he died at Fort Niagara, and was buried in an old church-yard on the banks of Lake Ontario. Tail's G-reat Feat— A Fearful Dilemma. John Gossin, about this time, joined Bancker's troupe in Little York, L^pper Canada. John Avas a native of Pittsburgh, Pa. In this company Avas also a person by the name of Vail, a poAverful man, and a native of Mans- field, Ohio. He Avas the successor of Weaver in feats of strength. His early days Avere occupied as a boatman on the Western rivers, and he had had many hairbreadth es- capes from death. He ])erformed his feats on a pole that supported the large pavilion. It Avas croAvded one )iight in a toAvn in Indiana, Avhen Vail Avas suspended by his knees to the pole, some ten feet aboA-e the ground ; in his hands he held tAvo anvils, and by his teeth he held several fifty-six pound Aveights. At this moment one of those fearful tornadoes that Ave so often hear of in the Avest, ' suddenly came up; the pavilion Avas blown to atoms, the seats fell Avith a fearful crash, the hoAvling of the Avind and the screams of Avomcn and children, Avere terrible. The Y)o\o on Avhicli Vail Avas suspended broke, and he fell, Avith the great weiglit of iron he Avas grasping, General Theatrical Remixiscexces. 187 head foremost to the ground. He Avas picked np for dead among the mass of Aveiglits, but tliough badly in- jured, he survived his fearful fall. A number of persons ■were killed. Vail had a fortunate escape from death dur- ing an earthquake at ^Martinique, in the AYest Indies. The sides of the house that he occupied fell outwards, just as he was in the act of leaping from one of the win- dows. He fell safely in the street, the window frame pa.^ung over his head and shoulders! So close was he to the falling mass that his foot became entangled in the falling beams, and drew the boot from his lesf, as he said, with a patent boot-jack! After this occurrence he Avas shipwrecked. He abandoned the profession, and be- came very wealthy at one of the AVest India islands — Port Royal. He married a quadroon, as rich as Crcesus, and as lovely as a sunflower, and is now located at Yankee Station, California, and is known as Squire Vail, Justice of the Peace. Young Calahan also amused the Albanians Avith his elegant and superb horsemanship. He Av^as a natiA-e of the city of Ncav York. Most of his days Avere passed in Mexico and South America. Calahan died in Xcav York. Joe Blackburn also performed on the Beaver street lot. Blackl)urn Avas the clown of the American arena. He was a man of extraordinary ability; possessed a good edu- cation, and figured as a poet of no ordinary pretensions. His letters from Europe, published in the Ncav York Spirit of the Times, and other popular journals of the day, Avere perused Avitli much interest. Blackburn was a Baltimorean. His uncle left htm his entire fortune; but, poor fellow, Avhile on his Avay from IS'ew Orleans to Balti- more, in 1841, to inherit his Avealth, he sickened and died on board the steamer Express Mail, near Horse Shoe Bend, and Avas buried at Memphis, Tenn. CHAPTER XXXIV. "Nosey" Phillips. The old Xorth Pearl Street Amphitheatre began to give up the ghost about the year 1828. Nosey Phillips tried his hand in tliis place as well as at the South Pearl Street Theatre. Like all other projects that Nosey undertook, somebody was the sufferer, for he was a mad wag. • His style of financiering was peculiar to himself. He was the sole author and inventor of many shrewd and curious dodges. Moses — that was his Christian name — procured an excellent company from New York, and opened a theatre in Providence, R. I. AVith the aid of Providence he pocketed quite a sum. He owed several small scores to the inhabitants, as well as the actors, but promised that all bills against him should be liquidated on Monday, without fail. The bills of the day were issued, the lamps all trimmed, the actors all up in their parts, and sundry creditors awaited the important moment; but the eagle-eyed, as well as eagle-nosed Nosey, had fled to New York with all the rocks in his fob! Arriving in that city, he had no difficulty in finding an old sufferer to whom he owed a long standing bill. Nosey, knoAving that in a few hours he would be seized for debt and placed in du- rance vile, (there was a law for imprisonment for debt in those days,) induced said old sufferer to sue him. This he did. Nosey acknowledged the debt and was committed to jjiil. The enraged creditors from Ilhode Island arrived only to be disappointed; Nosey was already Gexekal Theatrical Reminiscences. 189 cao-ed for debt. In a few davs all excitement had sub- sided, Nosey settled the score with his lucky friend, and once more he buckled on his armor for fresh ad- ventures. Cincinnati was the scene of many of Nosey's jokes. Here he enlivened the audience of Fog & Stickney's Circus by enacting the clown in a time worn scene called the Peascmfs Frolic. Nosey was astride a beautiful black horse telling some stereotyped Joe Millers, when all of a sudden the horse flew around the ring as if a sky-rocket was fast to his tail. The ring master could not stop him, Nosey's lungs were brought into requisition — he appealed to the man with the whip, at tlie top of his voice, " Stop him, for God's sake !" " A good joke," says the ring mas- ter. " Go it. Nosey," yelled the boys. Nosey went it loose, heels over head into the pit, striking an honest Jack tar in the eye with his hand. Nosey's skull cap and a small portion of his scalp were missing. The sailor was enraged to find his eye blackened. " Well," says Jack, " that fel- low with a big handle on his mug is the d — m'st wust clown I ever did see." Nosey left the ring as soon as po^fesible, as his tiffhts had come down. A law suit Avas the result; but the ring master declared it was a joke, and, besides, that he could not stop the horse. Nosey was accordingly non-suited. His grand wind up, however, took place in New Orleans, in 1842. Caldwell, manager of the St. Charles Theatre, despatched an agent to New York with full power to engage the best talent to be found, and in particular to engage Aaron Phillips — who was a good actor and a worthy man — for his prompter. Caldwell's agent being a stranger in the capacity of theatrical negotiator, committed a sad mistake. He Avrote a note, directing the same to Mr. Phillips, comedian. Nosey's hawk-eye discovered the let- ter and received the contents with unspeakable joy, but mum was the word. He certainly was Mr. Phillips, come- dian, and was a prompter. The agent never was instructed 190 General Theatrical Reminiscences. to engage any other person for prompter but Mr. Phillips, hence the mistake. Nosey Avas placed under binding arti- cles of agreemen t, luhich he signed. The otlier party agreed to give said Phillips the sum of $30 per week, and a benefit ut the expiration of six months. What was the surprise of Caldwell, the actors, and everybody, when the immortal Nosey arrived in New Orleans! Caldwell was in for it. Nosey was sent to Mobile, but he got all the agreement called for. Phillips' name stands in Scott's Albany Directory of 1828, as "Nosey." He was one of the children of Israel. Phil- lips and old "Jack Barnes," the low comedian of the Park Theatre, New York, used to play the " Two Dromios," and most decidedly resembled each other in features, figures, and voice. Barnes' nose was not quite as prominent and " hookey" as Nosey's nose, but by the application of a lit- tle 2i)ax, the difference was scarcely noticeable, especially by those not personally acquainted with this peculiarity." The last days of the North Pearl Street Amphitheatre was ratha- an up hill business. Isaac 0. Davis was manager, I believe. At the grand finale, old Turnbull, father of Julia the danseuse, produced an abolition drama, fall of woolly-headism. I have forgotten the name of the piece. It was quite affecting, however; the author himself cried in some of the most tender points. It had a fine run of one evening! For some cause or other the manager on the next evening Avas obliged, as he said, to dismiss the audience in consequence of some of the artists rebelling and refusing to play. While the manager Avas making this moving speech the ticket seller smelt a good sized rat, and there being just $18 due him, he blew out the lights in the office and vamosed Avith all the funds, $18— all in small change. The manager threw himself upon the kind indulgence of the audience, and informed them that they could step to the box office and have the money refunded them ! The ticket seller Avas non est, and a free fight Avas General Theatrical Reminiscences. 191 the result. The chandelier was broken, as well as the manager, who made his escape through a sewer! The scene ended by old John Meigs, high constable, and his posse capturing some dozen canalers and two soldiers from the rendezvous. The old theatre soon wound up its event- ful career. CHAPTER XXXV. The history of the Albany theatre, as will have been seen, is a significant history of the conversion of play houses into churches — the only three edifices erected ex- pressly for dramatic purposes having had a very short ca- reer as such, and then their walls echoed with a different class of sounds. Even the wooden building erected in Or- chard street, by the Histrionic Society, was converted into a Baptist church. Bill Lawsou was engaged here about this time. Lawson is spoken of in Durang's History of the Stage. He came to the United States with \Yest, the bell ringer. Lawsun was a fine looking man. Thougli he could neither read nor Avrite, he could play the part of a sailor in excellent style. His Mat Mizzen was the best ever produced on the Ameri- can stage in that day. He played Joe Steadfast, in the Turnpike Gate, equally well. Joe was the first victim to the cholera in the summer of 1832 ; he died in New York in a wretched cellar in Catharine street. Near the same lo- cality, and etiually as miserable, }.Iiss Emery, the great English tragic actress, died. Her acting of Bianca was a most thrilling picture. Her untimely end Avas much regretted. Yankee Hill (George) Avas a natiA'e of New England. His father Avas a teacher of music, tuned pianos, &c., in Philadelphia, for many years; he Avas A'ery poor, but struggling hard tlirough life, managed to gain a livelihood. George, or Yankee Hill, Avas a paper hanger by trade, and worked for a long time in Albany. General Theatrical liEMixiscEXCES. 193 Dan Marble, the Yankee. As I iim speaking- of Yankee characters, I will say a few words of the lamented Dan Marble. I think he was born in New York. He made his first appearance at the old Chatham, in the farce of " Fortune's Frolic," playing Eobin Roughead. He was greatly annoyed with the toothache that night, and what, with the pain of the tooth and the first smell of the foot lights, the gaze of the fiddlers, and a view of the audience, he was at first quite bewildered. He finally frightened the toothache away and played the part as well as if he had been an old stager. Dan was full of fun ; he told many original stories that Avould draw a laugh from the ghost of old Job Gould. He Avas an excellent come- dian, and an immense favorite wherever he went. He died in Louisville, Ky. His " benefit" was to have taken place the night he died. The bill read as follows: "Benefit and last aj^pearance of Dan Marble. This evening will be presented * Cure for the Cholera !' " Poor Dan died of cholera on the same night ! 13 CHAPTER XXXYI. Nichols' Amphitheatre. Probably one of the largest and best appointed Circuses or Amphitheatres ever organized in tliis country, was that of Sam. Nichols, on Dallius street, in this city, Avhich was opened December 5, 1840. Alfred B. Street, Esq., Avrote the opening address (a #50 prize essay), which was pronounced an admirable production. The building cov- ered over an acre of ground, was fitted up on a most elegant and elaborate scale, and would comfortably accom- modate three thousand persons. The dramatic and eques- trian troupes were ample, composed of the very best per- formers in the country. These companies consisted in part, of the following: Jackson, manager; Anderson, Hall, Plumer, the celebrated vocalist ; Dickinson, Needham, Hardy, Mrs. Nichols, Mrs. M. Anderson, playing juvenile nnile characters. The equestrian troupe was com])osed of the following: Aymar, John Whitaker, Henry Madigan, William Nichols, Horace Nichols, wiio married Mrs. Pres- ton, Jolm May, John Gossin, George Knap]>, clowns. The celebrated Kent bugle player, Ned Kendall, and his splendid band, comprised the orchestra. The spectacles, such as El Hyder, St. George and the Dragon, &c., pro- duced, were magnificent, and gotten up regardless of ex- pense. This establishment was liberally patronized not only by the Albany public, but by Trojans and strangers generally. It was not a little surprising to witness the large numbei's of the upper class of society, that nightly graced the boxes ; and it was not unfrequently the case that Gf^NERAL Theatrical Remixiscences. 195 a line of carnages would occupy the street from L^'dius, now Madison avenue, to the amphitheatre. For the two first years this enterprise proved a great success, after which an evident decline was noticeable. Finally the equestrian department was withdrawn, leaving only a dra- matic company, under the management of Jackson, who was familiarlv called " Black Jack." Near the winding up of the concern, Forrest and the "magnificent" Jose- phine Clifton performed a week's engagement, but the weather being intensely warm the attendance was very light. It was during the " heated spell " in July or Au- gust, they appeared. This establishment, like the old Green Street Theatre, at last came to " base purposes," be- ing converted into a furnace or pottery ! The dramatic and equestrian companies, as well as the magnificent the- atres and amphitheatres that Albany could once boast of, could not be equaled by any city of its size in either hem- isphere — a fact which has been frequently admitted by old and experienced stagers from Europe who have ap- peared in our theatres and amphitheatres from time to time. CHAPTER XXXVII. Paddy Burns and His Bugle. In tlie orchestra of the North Pearl Street Amphithea- tre, was to be seen and heard a remarkable personage — his name was Paddy Burns, and he was one of the best Kent buglers of that day. Paddy, of course, was a son of the Emerald Isle; he was in tlie British service most of his days, and his regiment was stationed opposite Fort Niagara, Canada, Paddy had made up liis mind "solid," as he said, to Yayiheeize himself. Uncle Sam's dominions were on the opposite side of the Niagara river, only some nine or ten miles below Niagara Falls. Burns w'as suspicioned. and consequently was watchod so closely that an attempt to escape was a dangerous experiment; but he tried it and succeeded. One fine morning Puddv held an innocent confab with the sentinel, whose station was near the bank of the river. A few drops of the "crathur" cemented the bonds of friendship closer than wax ; the sentinel got three sheets in the wdnd, while Paddy Burns was as sober as a judge. He managed, unperceived, to pour some of the liquor into the vigilant soldier's gun. Paddy then re- tired from the ])resence of his friend, behind a rock, tied his bugle on his neck, plunged in the river, and had swam a great distance from the shore before he was dis- covered. The alarm was given, the sentinel's gun flashed iu the pan, and Paddy arrived safe in tlie '• land of the General Theatrical Rejiixlscexces. 197 free and tlie home of the brave," amid the loud huzzas of the spectators on the American shore, who had watched the proceedings with the most intense anxiety. Burns then mounted a high elevation and played Yankee Doodle and Hail Columbia in the very teeth of John Bull! " Paddy " was liked by all who knew him. He died in Ohio. At the temporary building on the corner of Green and Division streets (old Biven's Theatre), Mr. and Mrs. H. A. Williams played. They were both eminent perform- ers. Mrs. Williams, after Harry's death, married May- wood, the Scotch actor. There was an actor, an Eng- lishman named Eussell, who performed here; he had no fear of strychnine; he was never seen sober, and he became completely acclimated to the hissing Y)rocess. Eus- sell was famous for addressing the andience; he made apologies every night. Mrs. Williams was playing "Jane Shore;" Eussell Avas to kneel over the dead body in the last scene, but being " top heavy," he fell Avith all his Aveight on the corpse of Jane Shore. This brought the dead Shore to her feet. Eussell, as usual, attempted an apology. Stale eggs Avent up from ten cents per dozen to 81.50. Eussell made a stampede ! Mr. Forrest's Letter. The folloAving is a copy of a letter from Mr. Forrest, Avhile fulliling a professional engagement at Crosby's Opera House, Chicago, acknoAvledging the receipt of copies of Theatrical Eeminiscences occasionally published by us in the Morninrj Express : '- Chicago, Jan. 25, 1866. " Hexry D. Stoxe, Esq. — " Dear Sir — The seA'eral copies of Theatrical Eemini- scences, handed me by your young friend, Avere received with much satisfaction. The perusal of them afforded me 198 General Theatrical Reminiscences. great pleasure, as they brought vividly to mind scenes long since blotted from memory. I find, too, the facts and incidents set forth remarkably correct, as far as my recollection serves me. Thanking vou for vour manv kind considerations, " Believe me, as ever, "Yours. &c., "EDWIN FORREST." CHAPTER XXXVIII. John Augustus Stone, the American Dramatic Author. At the time of the death of this eminent author and actor, which occurred in Philadelphia, in 1834, the follow- ing affecting tribute appeared in the Alhany Daily News. The News was edited by James Hunter, Esq.. one of Edwin Forrest's warmest friends, and Avho devoted much of his time closeted with young Forrest, instructing him in Shakspeare — imparting to him that knowledge of the great dramatic poet which was the result of long and ripe ex- perience. Mr. Hunter was one of the most experienced theati.'ical critics in this country. "Death of John" Augustus Stoxe. — Within a few days past the public has been made acquainted with the melancholy fact that John Augustus Stone is no more! The tidino's were received in this city with unfeigned re- gret, and the friends of the drama who knew him so Avell when living, at the first intelligence of his departure from among us, retired, with melting hearts, to shed the bitter tears of sorrow. The news of his exit cast a solemnity and gloom over the countenances of a large circle of his acquaintances in our city, far surpassing any providential affliction of the kind that ever preceded it. The success- ful effort of Mr. Stone to elevate and establish permanently 200 General Theatrical Reminiscences. the dramatic character of our country, Avill ever be remem- bered. " Under the patronage of Forrest, Mr. Stone has con- tributed more, both as autlior and performer, to raise the character of the stage, than any other native American. He was the author of several pieces which have withstood the scrutiny of the severest critics and rivals in the country. Among those which have been thus produced by him and passed through the fiery ordeal, are these : — " 'Fauntleroy ;' tragedy; acted in Charleston. ' Meta- mora ; ' tragedy ; acted in New York with great success. [Edwin Forrest paid the author 8500 for this play.] ' La Rogue the Regicide ; ' acted in Charleston. ' The Demo- niac,' 'Tancred,' ' Touretoun,' 'The Restoration, or the 'Diamond Cross" — all pieces of distinguished merit. ' Banker of Rouen,' and ' Golden Fleece,' or < The Yankee in Italy,' (written for Hill.) At the time of his death, he was engaged in superintending the production of the ' Champion of Freedom,^ which he re-wrote from the An- cient Briton. "■ Althougli we lament the loss, and sincerely repine at his sudden death, yet we rejoice that he lived to bequeath such a lasting legacy to his country's fame. He has ac- quitted himself with the highest honor, and performed the task which was allotted him witli immortal credit. Years may elapse before another shall grasp his gifted pen ; and then it will oulv be a continuation of the great dra- raatic work which John Augustus Stone commenced. " Peace be with him ; his earthly Light is now extinguished ; May his friends weed the green grass "Which waves o'er his grave ; and his Enemies point in silence to his Tomb." To our own knowledge it was the declared intention of Mr. Forrest to erect a suitable monument to the mem- Gexeral Theatrical Keminiscexces. 201 ory of Ml-. Stone. In fact, the preliminary steps were well advanced soon after the great author's death, but whether the object was ever entirely accomplished, we have not been advised. There can be no doubt, however, but Mr. Forrest carried out this praiseworthy object to the very letter. CHAPTER XXXIX. DRAMATIC PRODIGIES. Master Payne, The First Dramatic Prodigy in this Country — He Plays Kolla WHEN A Mere Child — Laughable Anecdote about his play- ing ROLLA — Miss J. M. Davenport, now Mrs. F. W. Lander — Miss Louise Lane, now Mrs. Drew, Manageress of the Philadelphia Arch Street Theatre — Clara Fisher, now Mrs. Maedar— Maggy Mitchell— Lucille Western— Mary Gannon — Susan and Kate Denin — The Misses Parkers — Little Nell, and a host of other Prodigies. About the first dramatic prodig}'- known in America, was Master Payne, who appeared at Wood and Warren's Theatre, Phihidelphia, in 180G. In " Wood's Kecollections of the Stage," lie refers to Payne as follows : " He a,p- peared at tiuit time as Young Norval, being about the age of Master Burke when he first came out as a prodigy. Nerval was followed ])y Hamlet, Romeo, Octavian, and Rolla, nightly playing, ou au average, to ^1,600 houses." Some very ridiculous circumstances attended Master Payne's performances Avhich, from his child-like figure, a physical absurdity could not fail to strike an unsophisti- cated auditor. A learned judge, who, when crowded out of the boxes 'by the ladies, sought refuge in the gallery, related the fol- lowing : ** Master Pavne was enacting Rolla while a knot of youngsters were sitting together, some of whom were not particularly interested in what was going on before them. They were coming to the scene in which Rolla General Theatkical Keminiscexces. 203 seizes the child of Cora, wlio, in Master Payne's instance, happened to be nearly as large as Payne himself, and runs across the bridge with him, (a very effective scene Avhere the Rolla is a large and powerful man) — one of these youngsters called his companions to order, and as an in- ducement to them to stop their talking, said, " Now, boys ! look out! and presently you will see one of those little fellows shoulder the other and run away with him over that plank," pointing to the bridge. Miss Jean M. Davenport, now the eminent actress, Mrs. F. W. Lander. At Harry Meech's Museum, many years ago, there ap- peared a bright, fascinating and exceedingly precocious lit- tle girl, doing juvenile characters, and so remarkable was her rendition of her various roles, that she at once won the very appropriate soubriquet of the " dramatic prodigy." Af- ter performing a very successful engagement at the Mu- seum, and visiting several other towns, professionally, she returned to this city, and at the regular theatrical season at the old Pearl Street Theatre, arrangements were made by a few friends to engage the theatre three nights for the " Little Prodigy." The programme of the entertainment was accordingly announced, consisting of "' Douglass," she doing "Young Norval," the "Four Mowbrays," and tbe " Orphan of Geneva." She was supported in her efforts by several amateui's, members of the Histrionic and For- restonian societies, at that time in full operation in tliis city, who acquitted themselves in a very creditable man- ner. Well, as goes the old adage. *' Time works wonders ;" as, for instance, the justly celebrated and brilliant actress, Mrs. Lander, ncc Miss J. M. Davenport, is the lady who was known as the little '• Drannitic Prodigy " above alluded to. It is a fact, not generally ujiderstood, that Charles 204 Gexekal Theatrical Reminiscences. Dickens, in his Nicholas Nickleb}-, had in his mind's eye, and actually selected Miss Davenport as the counterfeit presentment of the "infant phenomenon" in his great "vvork. It is a somewhat remarkable fact in the annals of theat- ricals, that nearly, if not quite all, of the numerous dra- matic prodigies who have appeared within the last thirty or fortv Years, have either arisen as '"stars" of the first magnitude, or filled prominent situations on the stage in stock companies. Among the juvenile aspirants for dra- matic distinction, and Avho created the greatest sensation, w'ere Louise Lane (Mrs. John Drew), now the indefatiga- ble manageress of the Arch Street Theatre, Philadelphia, and who is unquestionably the finest general actress on the American stage. Miss J. M. Davenport (Mrs. Lander), Clara Fisher (Mrs. Meader), wlio Avas the first to sing in the drama of the "Maid of Milan," at the Pearl Street Theatre in this city, the popular air of "Home, Sweet Home," Avhile playing the role of Clara. Master Joseph Burke. Master Burke, in point of precocious musical and dra- matic talent and genius, eclipsed all the juvenile aspirants that ever appeared in this or any other country. Burke's «Dr. Pangloss," " Sir Peter Teazle," " Dr. O'Toole," " Ro- meo," " Young Norval " were performed in a manner that excited the wonder and admiration of the play-going pub- lic of the two hemispheres. One Avould scarcely realize the fact, after witnessing Burke's remarkable delineations of the most difficult characters at night: characters be- longing to actors of riper 3'ears and longer experience — and the next day meeting the boy in the street cutting up all sorts of boyish pranks, rolling his hoop, flying his kite, playing marbles, etc., utterly regardless of the re- marks, as well as astonishment of the passing crowd, and General Theatrical Reminiscences. 205 apparently nnconscioiis of the enviable and important po- sition he occupied before the world. We repeat, that it could not be realized that this mere child, who Avas seen the night previous rendering, in the most artistic manner, the diflticult character of Sir Peter Teazle in the " School for Scandal," was really the young Roscius, Master Burke. Joseph, or Master Burke, was born in Dublin, Ireland, in 1818, and made his debut as Dr. O'Toole, in the " Irish Tutor," at tlie Hay Market Theatre, London, at the age of seven years. He came to this country in 1830, making his appearance at the New York Park Theatre in the char- acters of Yonng Nerval, and as Dr. O'Toole, leading the orchestra after the lirst piece in the overture. After per- forming in New York, Philadelphia and Boston, he made his debut in 1832 or "3. at tlie Albany Pearl Street Theatre. Mr. Burke is now residing in Ncav York, engaged in the profession of teacher and composer of music. He moves in the first circles of society in that city, honored and re- spected by all who knoAv him. Is it not somewhat remarkable, that, with the many rare qualities Burke is admitted to possess — and doubtless the numerous advantageous opportunities presented dur- ing his many years of experience in female society, he being deemed, what the ladies call, "a good catch," that he should so long remain a bachelor — which we under- stand he still is. Mrs. Fitz "Williams. There were several other di-amatic pi-odigies of that day — for instance, Mrs. Fitz Williams — her maiden name we have forgotten. The writer saw her in 1852, at the Hay Market Theatre, London ; she appeared to be as fresh, sprightly, and vivacious as ever, and ranked among tlie first comediennes in London. Mrs. Fitz Williams was 20«) General Theatrical Remixiscexces. a great favorite in this country, especially in New York, Avhere she performed with immense success. At a later day these dramatic prodigies have appeared in astonishingly rapid succession in the theatrical horizon. There is Maggie Mitchell, and Mary Gannon. Mary died some time since. She was for a long time the favorite at "Wallack's Theatre, and aprofege of Harry Meech, he having brought her out as an infant prodigy at the Albany Mu- seum. There was Lucille and Helen "Western — Helen is dead — Susie and Kate Denin, the Parker sisters, the beautiful and talented daughters of Joe Parker — for a long time low comedian at Meech's Museum ; and of a later date still, Lotta, Leona Cavender, Little Nell, and half a score of others, who have met with flattering suc- cess as dramatic prodigies. We believe that all of the above enumerated individuals are now living, with the ex- ception of Mary Gannon and Helen Western. CHAPTER XL. Thomas Cooper, the Celebrated Actor. His Eemarkable Physical Powers of Exdcrance— He Performs HIS Professional Journeys in a Gig from Philadelphia to Xew Orleans — He offers .§100 to be ferried across the Hud- son KlVER IN order to MEET A PROFESSIONAL ENGAGEMENT — His FIRST AND ONLY FAILURE TO MEET AN ENGAGEMENT IN HIS LONG Theatrical career — His Last Appearance on any Stage, at the Pearl Street Theatre, Albany — He plays Damon, in which his Physical Powers fail him. The physical powers of endurance of this eminent actor were most remarkable, na}', unprecedented, as a proof of which we will cite one or two circumstances. He per- formed the journeys from Philadelpliia to New Orleans driving a tandem and handling the "ribbons" himself, to fulfil professional engagements, in an old style gig, suffi- ciently ample to contain his trunks and wardrobe. He frequently played at the Park Theatre, Xew York, and at the Walnut Street Theatre, Philadelphia, alternate nights in the Aveek, performing his journey, and never failing to '• come to time," which was considered through the heavy sandy roads of New Jersey, a Herculean performance. It would be deemed ratlier a rare occurrence of the present day for a star actor, Avith all the improved facili- ties of travel, to accomplish such a feat, riding that dis- tance, and playing an arduous character the same evening. But this Cooper Avould do Avith little apparent physical exhaustion. Many silk stocking stars of the present day, would deem it rather an arduous task, to accomplish the 208 General Theatrical Reminiscences. journeys Cooper did, even if in one of the splendid draw- ing-room cars in present nse. As stated above, he never failed to meet his engagement, with but one exception, and that through no fault of his. While performing in Xew York and Philadelphia alternately, late in the fall of the year, the North river betAveen New York and Jersey City became so blocked by an immense field of floating ice as to prevent the passage of the ferry boats. Cooper finding it impossible to pursue his journey, under these difficulties, made arrangements with the captain of a small vessel ply- ing between New York and Staten Island, to convey him to Jersey City — the agreement being that Cooper pay the skipper 8100 if he successfully landed him on the Jersey shore, and 850 if he failed. They had proceeded about midway of the stream, when, finding it impossible to go farther, the vessel put back to New York, the skipper re- ceiving his $50, as per agreement. Cooper was, probably, taking him all in all, the most remarkable actor in the two hemispheres. Besides the long and fatiguing journeys performed in his gig, and playing his most arduous roles many consecutive nights, he was in the constant practice of making journeys of miles on foot during an engagement, merely for exercise, as he would say. In his habits, he was scrupulously tem- perate, using neither spirituous liquor or tobacco in any shape — being also exceedingly frugal in his diet. For promptitude in fulflling a professional engagement, he stood Avithout a rival. He was never known to fail to meet an engagement, no matter what distance he had to travel, or hoAvever unfavorable the weather, except in the one in- stance above alluded to. REMAINING TOO LONG ON THE STAGE. Cooper, like Forrest, made a great mistake in remaining too long on the stage. They both should have retired be- fore their well-earned laurels began to wither; before the General Theatrical Remixiscexces. 209 "sere and yellow leaf of time" began to tell upon their pln'^sical powers. Cooper made his last appearance upon the stage, as did also Forrest, at the Albany Pearl Street Theatre. Cooper, in impersonating at this time his favor- ite character of Damon, produced a very aifecting scene, exciting the deepest sorrow among his old admirers. It was plain to be seen that his physical powers were rapidly failing. In the scene where he rushes in at the very " nick of time" to save his friend Pythias from the headsman's axe, he made an attempt to leap upon the scaffold, but his physical energies failing he became completely exhausted, [t Avas indeed a sorry sight! Soon after Cooper retired from the stage, he was ap- pointed military store keeper at tlie arsenal at Frankfort, Pa. He was afterwards surveyor of the ports of New York and Philadelphia, receiving his appointment from president Jolm Tyler, whose son Robert married Cooper's daughter, then quite an attractive young actress. Cooper died in 1849, aged 82 years. 14 CHAPTER XLI. G-eorge Frederick Cooke, and John Kemble, COMPARED BY A DISTINGUISHED GERMAN CRITIC — COOKE'S MARRIAGE. A German gentleman, after having traveled in different parts of the world, arrived in England. He resided there several years, and on his return to Germany, published in a book his observations to his countrymen. He expa- tiated largely on the English stage, and of George Fred- erick Cooke and John Kemble — the greatest actors of that time. He said : — " The countencince of Kemble was the most noble and refined, but the muscles were not so much at command as those of Cooke, who was a first rate come- dian as well as tragedian. Both were excellent in tlie gradual changes of the countenance, in which the inward emotions of the soul are depicted and interwoven, as they flow from the mind. In this excellence, the great German actor Issland, and the renowned French actors. Talma and Lafond, are far inferior to them. Kemble was a very grace- ful, manly figure, perfectly made ; his naturally command- ing stature appeared extremely dignified in every pictur- esque position ; and he studied such effects most assidu- ously. His face was a fine oval, and one of the noblest ever seen on the stage, exhibiting a remarkably handsome nose, and a well-formed and closed mouth, liis fiery and somewhat romantic eyes shadowed by bushy eyebrows, re- treated, as it were, and his front open and a little vaulted ; his cliin prominent and a lit tic pointed, and his features so softly interwoven that no deeply marked lines were per- General Theatrical Reminiscences. 211 ceptible. His physiognomy, indeed, commands respect at first sight, since it denotes, in the most expressive man- ner, a man of refined sentiment, enlightened mind, and correct judgment. Without the romantic look in his eyes, the face of Kemble would be that of a well-bred, cold and selfish man of the world; but this look, from which an ardent fancy emanates, softens the point of the chin and the closeness of the mouth. He had a pleasing voice, but feeble ; of small compass, but of great depth. This was the greatest natural impediment with which he, to whom jS'ature had been thus bountiful, had still to contend. " Cooke did not possess the elegant figure of Kemble, but his countenance beamed with great expression. His most prominent features were along and somewhat hooked nose, a pair of fiery and expressive eyes, a lofty and some- what arched Iront, and the lines of his countenance, the muscles which move the lips, were pointedly marked. His countenance is certainly not so dignified as that of Kem- ble, but discovers greater passion ; and few actors are, per- haps, capable of delineating, in such glowing colors, the storm of a violent passion, as Cooke. His voice is power- ful and of immense compass ; a pre-eminence he possessed over Kemble, of which he skilfully avails himself His exterior movements are inferior in the picturesque to those of Kemble." ANOTHER AND COMIC VIEW OF COOKE. It is well known that tliis justly celebrated actor, like Edmund Kean and the elder Booth, was in the habit of getting very "mellow" at times. The following lines were composed by a poetical wag, as to Cooke's merits : " 111 characters new, and characters old, Cooke must be allowed a good fellow; For act what he will, we are certainly told That in every part he is perfectly mellow !" 212 General Theatrical Reminiscences. cooke's marriage. The following lines were composed on George Frederick Cooke's marriage with an estimable voung lady of the name of Lamb : " To expiate the sins of yore, The fool of custom srave his store, Perhaps a ewe or lamb ; So to atone for those of wine, Eepentant grown at Hymen's shrine, Cooke ofi'ers up a Lamb .'" CHxVPTER XLII. The G-reat Actor, G-eorge Frederick Cooke. A Truly Amusing Anecdote of, or Episode in the Great Actor's Life as related bt the Renowned Mimic and Actor, Charles Mathews — Cooke preaches Temperance while guzzling down jugs of Whisky Punch — Passage up the Hudson River in the steamer Chancellor Livingston — Cooke's Monument IN St. Paul's Churchyard, New York, erected by Edmund Kean, the great English Actor, etc., etc. Dunlap, the biographer of the great actor, George Fred- erick Cooke, relates the following incident which occurred while on his passage from New York to Albany, in 1823, on board, Avhat was at that time considered the very ne plus ultra of self-propelling hotels, the steamer Chancel- lor Livingston. Among the two or three hundred pas- sengers, were the celebrated novelist, James Fennimore Cooper, and the far-famed mimic and actor, the elder Charles Mathews. The anecdote was told and acted out by Mathews. Those who have ever seen Mathews perform, will readily appreciate it : " We had but one regular meal on the passage, a very plentiful supper with tea and coffee, at about seven o'clock. We had embarked at 5 p. m., and arrived at Albany by sun- rise. The meal was not suited to the habits of Mr. Math- ews, and he was offended by both the matter and manner of it; but when the preparations for sleeping took place, and he found that the whole company, females excepted, must seek rest in the same cabin, some in berths and others accommodated with mattresses on the floor, his feelings re- 214 General Theatrical Keminiscences. volt'ed, and he protested against taking rest on such terms. To this feeling I am indebted for a night of much amuse- ment; I should be unjust if I did not add, and some in- struction. I had secured a mattress on the floor of one of the cabins and should have slept aAvay at least a part of the night, but that Fennimore Cooper gave me an inti- mation of Mathews' wish to set up, and of his (Coopers) success in obtaining the captain's cabin on the deck of the vessel, Avhere Mathews, Francis, and himself, had deter- mined to enjoy a supper, whisky punch, and such convi- vial pleasure as could be extracted from such circumstances and such a meeting. I readily accepted the invitation to make one of the party. " Seated in the captain's cabin, and free from all annoy- ance, Mathews became, as usual, the fiddle of the company, and story, anecdote, imitation and song, poured from him with the rapidity and brilliancy of the stars which burst from a rocket on a rejoicing night. To make himself still more agreeable to the senior, he introduced the memoirs of George Frederick Cooke Avith that flattery which is delicious to all men, and peculiarly so to an author. ' The story of Cooke and Mrs. Burns,' he added, 'you have told remarkably well, and when I have introduced it in my youthful days, I have always taken your words ; but Tom Cooper, from whom, as I understand you had it, forgot the termination of the story, — the real denouement, — which makes it infinitely more dramatic. All joined in the re- quest that Mathews would tell the story in his own way, and he, nothing loth, began: " I was a raw recruit in the Thespian corps, and it Avas my first campaign in Dublin. Chance made me a fellow- lodger with Cooke, at the house of Mistress Burns. 1 had looked at the great actor Avith an awful reverence, but had not yet been honored by any notice from him. "In getting up Macklin's Love a la Mode, I had been cast for Beau Mordecai, and assuredly a more unlit repre- General Theatrical Reminiscences. 215 sentative of the "little Jew" can scarcely be imagined. As tall as I now am, I then had all the rawboned awk- wardness of a hobbletehoy, and no knowledge of the world or the staffe. But Mr. Cooke must be shown to the Dub- lin public in Sir Archy, and there Avas no other Mordecai to be had. I was, however, perfect in the words, and if I murdered the Jew, I did it impartially ; I murdered him 'eA^ery inch.' " x4fter the farce I tarried, as yon Yankees say, a consid- erable time at the theatre, rather choosing to linger among the almost expiring dipped candles of the dressing-rooms, than to seek, through mist and mud, my lofty but com- fortless abode in Mrs. Burns' garret ; but the property-man gave me my cue to depart by pntting out the lights, and I was slowly mounting to my bed when, as I passed the room of the great man, I saw him (the door being open) sitting with a jug before him, indulging after the labors of the evening. I was stealing by to my apartment when I Avas arrested by a loud high-pitched voice, crying, ' come hither A^onng man.' I could scarcelv believe mv senses — I hesitated. 'Come in,' Avas repeated. I adA-anced. ' Shut the door, and sit down.' I obeyed. He assumed an air of courtesy, and calling upon Mrs, Burns for an- other tumbler, filled for himself and me. 'You will be so kind, my good Mistress Burns, as to bring another pitcher of Avhisky-punch in honor of our young friend.' 'To be sure and I Avill, Mr. Cooke.' The punch was brought, together Avith a hot supper, an unusual luxury then to me. After supper the veteran, quite refreshed and at ease, chatted incessantly of plays and players, — lashing some, commending others, — Avhile T, delighted to be thus honored, listened and laughed, thus playing naturally and sincerely the part of a most agreeable companion. After the third jug of punch I Avas sufficiently inspired to ask a feAV questions, and even to praise the acting of the veteran. '• To use vonr own Avords, as I have often done before," 216 General Theatrical Eeminiscences. said Mathews, addressing himself to the biographer, "one jug of wliisky-pimeh followed the other, and Cooke be- gan to advise his young companion how to conduct him- self on the real and on the mimic scene of life.' ' You are young, and want a friend to guide you. Talent you have, but talent without prudence is worthless, and may be pernicious. Take my word for it, there is notliing can place a man at the head of his profession but industry and sobriety. Mistress Burns! — slum inebriety as you would shun destruction. Mistress Burns ! another jug of whisky- punch. Mistress Burns.' ' Oli, Mister Cooke.' ' You make it so good, Mistress Burns — another jug.' *' Yes, Mister Cooke.' ' In our profession, my young friend, dissipation is the bane of hundreds; villianous company — low company, leads to drinking, and the precious time is lost which should have been employed in gaining that knowledge which alone can make man respectable. Ah I thank you, Mistress Burns ; this has the true Hibernian smack!' ' You may say that. Mister Cooke.' '• It is needless to remind the reader that with the aid of Mathews' powers of imitation, sometimes called ventrilo- quism in this humbugging world, all this and much more would be extremely pleasant, and more especially as the company had repeated supi)lics of the same inspiring bev- erage from the steward, and almost as good, certainly as strong, as that of Mistress Burns. " Mathews went on to describe the progress of Cooke's in- toxication, during which his protests against drunkenness became stronger with each glass. He then undertook to instruct the tyro in the histrionic art, and especially in the manner of exhibiting the passions. Here it would be vain to endeavor to follow Mathews. Cooke's grimaces and vtnce — while his physical jH)wers, under the influence of whisky, rebelled at every effort against the intention of the lecturer — were depicted by the mimic in a manner beyond the conception of even those Avho have seen the General Theatrical Keminiscences. 217 public exbibitiou of bis talents; here all was unrestrain- ed mirth and fnn, Jind the painting truly con ainore, and glowing from heart and glass. " It "must be remembered," continued Mr. Mathews, " that I was but a boy, and Cooke in the full vigor of man- hood, with strength of limb and voice Herculean. I had the highest reverence for his talents, and literally stood in awe of him ; so that when he made his horrible faces, and called upon me to name the passiou he liad depicted, I was trulv frighteued — overwhelmed with the dread of offend- ing him, and utterly at a loss to distinguish one grimace from another, except as one was 7nore and another 7nost savage and disgusting. " ' Now, sir — observe — what's that ? ' " ' Revenge, sir ! ' " ' Revenge ! you booby! pity! pity ! ' " Then, after making another hideous contortion of countenance, he cries: *' ' What is that, sir ? ' " ' Very tine, sir ; very fine, indeed ! ' •' 'But what is it, sir ? ' " Forced to answer, and utterly unable to- guess the meaning of the distorted face which he then again thrust before me, I stammered out, ' Anger, sir ! ' "'Anger!' " ' Yes, sir; anger, to be sure.' "'To be sure, you are a blockhead! look again, sir; look again ! ' " ' It's fear, sir — fear ! ' '" You play! you a player! '" " Mathews then exhibited the face of Cooke as he distorted it to express the tender 'passioii — a composition of satanic malignity, and the brutal leering of a drunken satire — and imitating Cooke's most discordant voice, cried : " Thei-e, sir; that's love!" "This," continued Mathews, "was more than I could bear : even mv fears could not restrain 218 General Theatrical Reminiscences. my laughter; I roared. Cooke stared at first, but imme- diately assuming a most furious aspect, he cried, ' What do you laugh at, sir ? Is George Frederick Cooke to be made a laughing stock for a booby ? What, sir ? ' Luckily, at that moment Mrs. Burns stood with the door partly opened, and another jug in her hands. ' You must pardon me, sir,' I said, with a quickness which must have been the inspiration of whisky, ' but you happened to turn your soft and languishing look towards the door just as Mrs. Burns opened it, and I could not but think of the dan- gerous effect of such a look upon her sex's softness.' " He laughed ; and embracing the jug as the good woman put it down, he looked at Mrs. Burns, and with some humor, endeavored to sing, '^ Hoiv liappy could I be luith either, were Votlier dear charmer away,' but with a voice "which defies art and nature for a comparison. " Mrs. Burns now protested against any more punch ; but after some time agreed, upon Cooke's solemn promise to be satisfied with one more jug, to bring it. " * But remember yoar honor, Mister Cooke; and that is the iewel of the soul, as von sav.' "' I said no such thing ; but I'll be as good as my w^ord, and one more jug you shall have, and thedivil a bit more, jewel or no jewel ! ' I was heartily tired by this time, and placed my hope on Mrs. Burns' resolution. The last jug- came, and was finished; and I wished him good night. " ' Not yet, my dear boy.' ' It's very late, sir.' ' Early, early; one jug more.' 'Mrs. Burns will not let us have it, sir.' ' She Avill not! I'll show you that presently! ' " Then followed a fine specimen of imitation ; Mathews, as Cooke, calling upon Mrs. Burns, (who was in the room l)elow, and in bed,) and then giving her answers, as coming up through the floor, in the manner called ventriloquism. "•Mistress Burns! Do you hear, Mistress Burns?' 'Indeed and I do. Mister Cooke.' ' Bring me another jug of whisky-punch. Mistress Burns I ' * Inft5Ze hit he ever made on the stage." Names of some of the Prominent Members OF THE VARIOUS DRAMATIC COMPANIES ATTACHED TO THE MUSEUM. We close our rather imperfect sketch of the Albany Museum, by giving the names of some of the prominent members of the various dramatic companies attached to its dramatic department from 1834, '5 and '6, most of them familiar not only to the old patrons of this once fa- vorite place of amusement, but to the play-going public at large. E. Eddy, C. W. Tnylor, Charley Kane, Gillespie, William Ellis, James Can noil, C. T. Smith, William Warren, J. B, Bice, Thompson, Sprague, Kent, Mr. and Mrs. Hendrick- son, Mr. and Mrs. Skerrett, Mr. and Mrs. P. F. Stone, Brandon, Purdy, Lingard, Tom Tyrrell, Fleming, George Barton, Mary Wells, Mary Gannon — both afterwards at- tached to Wallack's Theatre — Bland, Languish, John Drew, Frank Drew, Mr. and Mrs. Harry Hunt, (Mrs. John Drew), Mr. and Mrs. Isherwood, Mr. and Mrs. Harry Lov- ell, D. Myron, Lewis, Charley Salsbury, Ponissi, Joe Parker, Kelly (U. S. Marshal), Charley Mestayer, Germen, George Mossop, Mike Hennessy, J. 0. Sefton, Mrs. Meader, Mrs. Vernon, Mrs. Bradshaw, Miss E. Dearing, Mrs. and Miss Georgiana Kenlock, Mrs. Wray, Miss St. Clair, Julia Turn- 238 General Theatrical Eeminiscexces. bull, the Missos Emmons, diinseuses, and hosts of others whose names we do not now remember. The Albany Museum, from 1833 to the final closing of the establishment about the year 1856 or '7, was under the manao-ement, for short seasons, of various individuals, viz : Henry Trowbridge. Trowbridge & Meech, Meech & Van- derwater, (R. J.), George Randall, John Fursman, John Bell, the celebrated Taxidermist, Meech & Canoll, (James Canoll, the actor,) F. M. Kent, Skerrett & Anderton, and lastly and alone, Henry T. Meech. Death of Henry T. Meech. Mr. ]\[eecli died at Hartford, Conn., in 1870. Some two months previous to his death, the family and immediate friends of Mr. Meech were startled by the sudden breaking- down of his physical powers, und the serious impairment of his mind. His recovery was regarded by liis attending phvsicians as extremely doubtful, and it was deemed prac- ticable to remove him to Hartford, Conn., where two of his sons. Rev. Robert H. and Charles E. Meech reside. Some time before his death, the cloud which had tempo- rarily dimmed his faculties passed away, but left him so far exhausted physically that he continued to sink rapidly till the hour of his death. He suffered but little during his illness; and in its early stages he had strong presenti- ments that his decease was near at hand. Henry T. Meech was born in AVorthington, Mass., in May, 1805, and Avas consequently in the sixty-sixth year of liis age at the time of his death. He came to Albany, N. Y., at the age of sixteen, and found employment with liis uncle, Henry Trowbridge, who was proprietor of the Albany Museum. From the small pittance allowed him as a salary he managed to lay up something for emergen- cies, and in a few years had so far mastered the business of the Museum as to earn for himself its sole proprietor- ship. UiKU'r his mauagemeut the Museum flourislied, and General Theatrical Remixiscexces. 239 many of the finest actors and actresses the country has known, made their advent under his auspices, and remem- ber him with kindness. Among the dramatic profession it is known of liim tliat he never failed to pay salaries when they were due, — a record of which but comparatively few theatrical managers can boast. While yet the youth- ful manager of the Museum, he was married to Miss Ade- line Hondrickson, daughter of the late venerable John Hendrickson, of Alban}', a lady of marked personal beauty and fine womanly character, Avho ])ore him nine children, eight of whom are still living. For several years he was the proprietor of a line of canal boats which plied between this city and Butfalo, and for some time he conducted an extensive manufacture of oilcloths. In various other departments of business he figured with varying suc- cess, and triumphs and reverses alternated with him — the latter, generally attributable to over-confidence in friends — till he resolved to " go west," casting his lines in Buffalo. Even while suffering from a financial embarrass- ment which would have sadly demoralized most men, he built in Buffalo the Metropolitan Theatre, now the Acad- emy of Music; and the great improvement of that, at an early day, he had determined upon only a few months previous to his death. In 1858 he moved to Buffalo Avith his family and assumed the proprietorship of the Wads- Avorth House, now the Continental Hotel. Shortly after his Avife died, and her memory he ahvays held in the lofti- est: veneration. Mr. Meech's life had been an eventful one, and be Avas Avont to revicAV it circumstantially, to his friends Avith a good deal of satisfaction ; and as it drcAv near its close he derived much consolation from his devotion to his family, and from his success in providing for their fu- ture comfort. Two of Mr. Meech's sons, John H. and Henry, inheriting the tact, energy and enterprise of their father, are the present popular managers of the Buffalo Academv of Music. CHAPTER XLYII. Origin of Negro Mixstrelsy — First Effort made at the Albany Green Street Theatre by " Hop." Robinson — " Daddy, or Jim Crow Eice" — George Washington Dixon — Xed. Christy —His Popclar Music — He Acccmclates a Large Fortune — His Melancholy Death ! The Atlantic Monthly, some time since,, in an article on the subject of negro minstrelsy, gave S. C. Foster the credit of being the originator of negro minstrelsy, which was by no means correct. The negro song, entitled the "Battle of Plattsbnrgh," commencing with — '• Back side Albany standee Lakey Champlain, A leetle poud half-full ob -water," was sung first — as we are informed by an old friend who is well posted in matters of this kind — at the old Green Street Theatre in this city, by a member of the theatrical company, of the name of '• Hop." Eobinson, which is about the only truthful statement made by the Atlantic in rela- tion to the origin of negro minstrelsy ; and after this event scarcely anything of account was heard of in this class of music for many years. George Washington Dixon was the first who made anything like a feature of it in his song of " Coal Black Rose," " Long Tailed Blue," etc., which he sang in full character, and with great eclat, in New York, at the old North Pearl Street Circus, and in Albany, at the old Sou til Pearl Street Theatre. " Daddy Rice," as he was called, did not make his advent until after Dixon was •'played out," when Rice introduced the song and dance Gexp:ral Theatrical Keminiscences. 241 of ^' Jim Crow," which created an immense /wrore at the old I^ew York Bowery for a long time. Eice, after mak- ing a professional tour of the States, went to London, where his success was equally great. He accumulated a hand- some competency in this line of business, but soon squan- dered it, dying very poor. After Kice's exit, many efforts were made by itinerant aspirants to introduce minstrelsy, but they proved miserable failures. Ned. Christ}^ success- fully revived, and gave the coup de grace to negro min- strelsy, as the thousands who have listened with delight to his inimitable troupe in their palmy days, can fully attest. The credit is solely due to Christy for rendering negro minstrelsy the most popular amusement of the age. His beautiful and heart-melting melodies were once the ac- cepted and favorite music in the parlors of the wealthy and fashionable of that day. Christy inaugurated min- strelsy at Buffalo, with an old banjo and a very seedy Avard- robe, but a large amount of indomitable energy as his capital. He made his debut at Harry Meech's Museum with a troupe of three or four persons, and after playing a short time at this establishment Avith indifferent success, went to New York, leased and fitted up Mechanics' Hall, on Broadway, the enterprise being attended with unprece- dented success, and enabling him in a short time to retire upon an ample fortune ; Avhieh, hoAvever, he did not long enjoy, as the poor felloAv AA'as killed by falling from the three-story Avindow of his residence on Fifth avenue, a fcAV years ago. 16 CHAPTER XLVIII. " Lord Adancourt " and C**** F*****. A. Highly Sensational Farce in the palmy days of Miss C****— How SHE SUCCEEDED AS A FISHER-WOMAN IN CATCH- ING A Sprig of one of the F. F. A. (First Families of Albany) by the Gills. Notwithstanding the events related in the subjoined sketcli occurred many years ago, and Avas published at the time in a journal with Avhich the Avriter was connected, we trust the ventilation of this affair, which caused no little sensation at the time, especially among " good soci- ety," will be none the less acceptable now, at least to those who doubtless remember the circumstances, as well as the actress and actors who assumed the principal roles in this most amusing farce. We would here remark, en passant, that meeting the lamented William Cassidy on the street a short time previous to his decease — it being the last time we had the pleasure of speaking to him — in the course of our conver- sation he referred to the "Lord Adancourt" affair, re- marking that, " were it properly dressed up, it would form an amusing feature in our work." Acting partly upon his suggestion, therefore, we concluded to give it a place. There is magic in the name, the theme of criticism, the universally admired actress and the accomplished lady; she wiio has been the subject of poetry, flattery and acros- Gknekal Theatrical Rejiiniscences. 243 tic — who is not, if Ave are to believe tlie expressions of her admirers, mere Avomaul}' flesh and blood, but an angel, yea, verily, a real angel, a theatrical Peri — such a one as Tommy Moore sang of when he complimented the inhabitants of Heaven bv raising to the skies the earthlv passion of love. Yet C****, notwithstanding all that has been wi-itten and sung about her, has been the admired actress of one farce which we have never seen noticed in the public prints. A young gentleman claiming to be a sprig of good society, (C B — n,) who shoved a goose-quill, (not ex- actly as ive do, for a living,) fancied himself irresistible in love affairs, and determining to become the Paris of Go- tham and rob the theatre of its Helen in the person of Miss C****, exchanged the gloomy apartments of his fatlier's mansion, (old Schuyler mansion,) for lodgings at one of our most fashionable and elegant hotels in Albany, pro- cured an introduction to the F***** family, and was at once pronounced the most elegant and accomplished young gentleman this side of the Atlantic. Lord Adancourt on the Hook. The young F***** had him upon the hook, and he, poor fellow, was determined not to let go his bait. At dinner it was champagne and porter, and porter and champagne, until the purse of the quill-driver felt that it was like what nature abhors, viz.: a vacuum! Out of cash, but not destitute of credit, tick wastiie order of the day until mine host had become convinced that the man of quills was also a man of letters, for he had become deeply ac- quainted Avith his hooks! Mine host, however, perceived, or fancied he perceived, that there was something very like symptoms of a mutual affection between F***** and Adancourt. This was enough for hiin ; and as Adan- court was not troubled witli '"dun-tish," and credit Avas good, matters Avent on "sAvimniinglv" 244 General Theatrical Eemixiscences. G-oing to Saratoga. After the termination of the tlieatrical engagement, a jaunt to Saratoga Springs was proposed ; and as a noble- man was a great bait of attraction in the eyes of the " upper- tendom," especially both upon the male and female sides of the question, " the actress of all Avork," at no loss of invention and ingenuity in the clianging of characters, aided by mine host and the way-bill of the post coach line — no railroads or Pullman palace cars in those days — transformed the driver of quills into an English nobleman, with the hidi sounding title of Lord Adaxcourt ! ! ! Upon one fine sunshiny morning, off started the cavalcade, bearing with them the newly-made patent English lord. Arrival at Saratoga. Arrived at the Springs, C**** played off the game with admirable tact, and outshone every actress in the scene in carrying out the belief that our hero was a real lord ! He was a lord; and in addition to his being a lord, he was a lover that had crossed the Atlantic for love of her, and a real English lord ; and what was more passing strange and wonderful, he was a lord in love! Champagne, with the lady of tlie lord in love ; porter, with tlie mother and brother of the lady of his love, was the rule and practice with my lord. Of such astonishing celebrity had he be- come, that the moment he appeared upon the piazza every adjoining window was raised, and many a beauteous belle inwardly sighed for the smiles of the gallant, accomplished, and fascinating nobleman. But to one star, and to one only, did he bend in humble adoration, and that star did he worship with the devotion of a Persian at the shrine of the sun. The ladies smiled upon him, the gentlemen courted his acquaintance with the greatest assiduity, the dandies imi- .tated him, and the negroes, as he passed or exhibited hirn- General Theatrical Reminiscences. 245 self upon the piazza, refrained from pitching cents, and rolling up the whites of their eyes with most expressive grins, scratched their woolly heads, and swore by the "geminy hokey, dere was de Inglish lord wat was acourten de bootiful and accomplis Missy F**** " In fact, no per- son ever excited so much attention on this side of the ocean as did Lord Adancourt ; not even excepting Tobias Morgan and La Fayette. Toby, Avho was at the Springs, was the oracle of the colored gentr}', and as he had Avaited upon La Fayette, and had even been seen familiarly con- versing wath a lord, Toby was at the highest pitch of African glory. He was a wag, and his mysterious man- ner of talking about the nobleman, contributed nothing to allay the ferment. Through the agency of Lord Adan- court and Toby, the Springs became the scene of a real Morgan excitement. " Tobe " Morgan was a " character," as many of our old denizens will remember, Avho prided himself upon his ^oZ- ished looks and good manners. The funds of my lord at last became exhausted. After numerous ineffectual attempts to borrow or procure the acceptance of a draft, he at last hit upon a happy and suc- cessful expedient, and wrote to mine host of the hotel, " that affairs went on charmingly, he was in town, and C**** would shortly gently ^or^/ with him into the clear and transparent waters of matrimonial felicity." Mine host was hooked, and after some little hesitation forwarded the money, and Lord Adancourt again shone in undimin- ished and regenerated splendor. The time for a return soon came, but no news of the wedding had yet reached the ears of the impatient host of the hotel. His eves Avere soon delia^hted. how-uver, with the forms of his happy visitors returning from the Springs. Lord Adancourt still held out fair inducements — but alas, alas, that the farce should have so tragical and lim- ifced a conclusion ! The right honorable and noble Lord 24G General Theatrical Reminiscences. gallanted his charmer to the steamboat on her way to New York, and sighed a sorrowful and an affectionate farewell. The actress went to the South again to delight the the- atrical world, and Lord Adancourt retired to his solitary sanctum to chew the bitter cud of disappointment, to re- flect upon the uncertainty of all sublunary things,, and, above all, the fickleness of woman ! Thus ended the " farce." The landlord subsequently arranged the affair, and the "patent right,"' honorable and noble Lord Adancourt became a persevering driver of the gray goose-quill. " Oh, my countrymen! what a fall was there!" Lord Mortimer. In speaking of Lord Adancourt, we are reminded of quite a sensational event that occurred in Albany about the time the C**** F***** and Lord Adancourt farce was enacted. A dashing young Englishman paid Albany a visit, passing himself off as " Lord Mortimer," and by his highly polished and insinuating address soon ingra- tiated himself in the good graces of several members of fashionable society, playing liis game so successfully as to swindle them out of large sums of money in the shape of accommodation " bank checks," " promises to pay," etc. This Lord Mortimer repeated his swindling game in New York and other large cities with equal success. CHAPTER XLIX. Caroline Richings. Her Arrival in America when a mere Child— Is Adopted as the Daughter of Peter Richings — Her debut at Philadelphia as A Pianist — Her first appearance in Opera — Her appearance in Albany at Meech's Museum in Her early career — at a LATER DATE AT THE GREEN STREET GaYETY ThEATRE — ShE OR- GANIZES THE Richings' English Opera Troupe — Is Married to P. Bernard, the Vocalist. The private and professional character and career of this highly accomplished lady, eminent vocalist, and sprightly comedian, is so well and favorably known and appreciated, not only in Albany but throughout our land, that it would be simply " To gild refined gold, To paiut the lily, Or add new perfume to the rose," to give more than a brief sketch of her rather eventful private and professional career. Caroline Richings was born in England — not in Phila- delphia, as has been supposed by many — coming to this country with her parents when a mere child, and was soon afterwards adopted as his daughter by the late lamented Peter Richings, and he loved and cherished her Avith as much sincerity as thoucjh she was of his own flesh and blood. Peter Richings came to America in 1831, making his debut at the Park Theatre, New York. His name, as well as that of Caroline, has been, for over a quarter of 24tS General Theatrical Eeminiscences. a century, as familiar to the public, and particularly to Albany, as household words. It Avould seem that Caroline Richings made her first appearance before the public of Philadelphia, as a pia- nist at a Grand Concert of the Philiharmonic Society, at Musical Fund Hall, in 1847. Her first appearance on the regular stage was at the AValnut Street Theatre, in 1852, in the opera of "The Child of the Eegiment." As a come- dienne. Miss Richings appeared as Stella in the comedy of the Prima Donna, a piece first played in this country for the benefit of Mr. Richings. Her first appearance in Italian opera was in Philadel- phia, in 1857, in the opera of Norma, at the Academy of Music, and produced a very iavorable impression upon the elite of society in tlie Quaker city. From this time she rose rapidly as an opera singer, ranking among the first musical artists in this country. At the opening of the dramatic season of the Walnut Street Theatre, Philadel- phia, 1857-8, she became a permanent member of the company, in which position she remained till 1859. Since that time she traveled as a " star," and lastly as manageress of the Richings' English Opera Troupe; she was for two seasons a prominent member of the Parepa Opera Com- bination Troupe. In 18G7, Miss Richings was married in Boston, to P. Bernard, the vocalist. Peter Richings and his daughter, in their earlier days, frequently appeared at the Albany Museum in light musi- cal pieces and comedy, never failing to meet with excellent success. At later dates, Mr. and Miss Richings played very lengthy and profitable engagements at the Albany Green Street Gayety Theatre. The last appearance of this charm- ing vocalist and comedienne in Albany, was at the Trim- ble Opera House, 1872, when the Enchantress, and other popular operas were produced with fine eifect and success. CHAPTER L. Mrs. Scott Siddons. Her Relatioxship to the great English Actress, Mrs. Siddons — Her early Inclination for the Stage or the Drama— Her first appearance in a small French Play in Germany — Her subsequent success in the Plays of the great Schiller, Ra- cine, AND other distinguished Play-writers — Her Debut in America — Her appearance in Albany as an Actress and Reader, Few members of the theatrical profession, or lecturers and readers, have secured so large a number or warmer- hearted friends and admirers, particularly among the elite of Albany, than this remarkably beautiful woman and uneqnaled comedienne and tragedienne — in proof of which it is only necessary to refer to the very numerous and fashionable audiences that greeted her appearance during her several engagements at the Trimble Opera House. There are few play-goers who Avill be likely to forget Mrs. Siddons' unapproachable interpretation of Juliet, Julia, in the "Hunchback," Rosalind in '' As You Like It," tlie Duchess d'Torreneuva in "Faint Heart," and, above all, her Mind girl, in the beautiful and affecting drama of " King Renes' Daughter," rendering the chai'ac- ter with sucii truthfulness and thrilling effect as to elicit the warmest sympathies as w^ell as unrestrained demon- strations of delight. Mrs. Siddons was truly fortunate in having the very able support of two such excellent act- ors as Walter Montgomery, and the present indefatigable nanager of the Capitol Theatre, Walter Keeble. 250 General Theatrical Keminisce>ces. Mrs. Scott Siddons is tlie great graud-daugliter of the eminent Eno-lisli actress. Mrs. Siddons, and sister of John and Charles Kemble. Mrs. Scott Siddons was born in the East Indies, in 1844, and is consequently in the twenty- ninth year of her age. At a very early age she evinced a decided taste for dramatic recitations. On the death of her father, his widow and four children returned to England and took up her residence in Germany, for the better purpose of educating her daughters — and here, the subject of this sketch being only eleven years of age, at- tracted much attention by her very intelligent rendition of small parts in a French play called '* Ester," and soon subsequently appeared in the plays of Schiller, Eacine, and other distinguished play-writers. Mrs. Siddons" first appearance in England was in the character of Lady Macbeth. Her first appearance in America was as a reader at Providence, E. I., in 1868, and after appearing as a reader at Steinway Hall, New York, she made her debut as an actress in America, at the Boston Museum. Her first appearance in New York as an actress, was in 1868, at the Worrell Sisters' Theatre, in the role of Eosalind, in " As You Like It." In 1869 Mrs. Siddons again visited England, and, after a brief absence, returned to this country, opening at Daly's Fifth Avenue Theatre as Viola, in Shakspeare's "Twelfth Night," creating a very decided impression. It would appear that her married name was Canter — but her husband's father objected to his name being used on the stage — so Canter, jr., by law, took out the name of Scott Siddons, the first (Scott) the name of his mother, the second (Siddons) the name of his wife. Mrs. Scott Sid- dons' last appearance in Albany, was as a reader before the Young Men's Association. CHAPTER LI. William J. Florence, BoRX IN Albaxt, 1831— His First Dramatic Efforts — First Ap- PEARA>-CE at the OLD BOWERT THEATRE, XeW YoRK — He RuNS Kapidlt up the Dramatic Ladder — Marries Mrs. Lettell — Mr. and Mrs. Florence go to Europe— Their Success in the Principal Cities of England, Ireland and Scotland — Re- turns Home and " Stars it " through the States — Makes a Large Fortune, etc. William J. Florence, or as he is more generally and familiarly called " Billy Florence," as many may not be aware, is a native of Albany, " to the manor born." He Avas born in 1831, and is consequently in the 42d year of his age. Mr. Florence, in appearance, is exceedingly pre- possessing, both on and off the stage, courteous and gen- tlemanly in his intercourse with all, and is, beyond doubt, one of the very best delineators of certain characters, es- pecially Irish, on the American boards. His acting is always natural, easy, graceful, seldom, if ever, overdoing or coming tardily off in any role he assumes. He also pos- sesses great versatility of dramatic talent which enables him to render difficult dialect characters in an unexcep- tionable manner, especially that of Bob Brierh', in the *• Ticket-of-Ijeave-Man," in which character he has hardly an equal. Mr. Florence was engaged by Tom Hamblin, of the old Bowery Theatre, Xew York, with the elder Chippendale .mkI John Sefton. v.-ith whom he made his dehut, in 1849, 252 General Theatrical Eeminiscences. in tlie character of Peter, in the play of the " Stranger." He soon after appeared at Brougham's Theatre. On Xew Years' da}', 1853, he married Miss M. Pray, who speedily made her debut in the cliaracter of " Nan, the Good for Xothing." The Florences shortly after visited England, meeting with flattering success, in their delinea- tion of the ''Irish Boy" and "Yankee Girl," at Drury Lane Theatre. At the close of their London engagement, these artists played to enthusiastic audiences at Liverpool, Manchester, Glasgow, Dublin, Belfast, and other large towns. Eeturning to America, in 1857, Mr. and Mrs. Florence appeared in the principal cities of the United States, with a repertoire comprising '• Handy Andy," " Temptation," " St. Patrick's Eve," " Kathleen Mavourneen," " The Yan- kee Housekeeper," etc. In 1863 Mr. Florence achieved his greatest hit at the Winter Garden Theatre, Ncav York, in the " Ticket-of- Leave-Man;" and as a burlesque artist he secured dis- tinction in light pieces at Wallock's Theatre. The pieces he played were " The Returned Volunteer," " Orange Blossom," "Knight of Arva," " Fra Diavolo," " Lady of Lyons," and " Coleen Bawn." Mr. Florence has displayed his versatility by the assump- tion of roles diametrically opposed to each other, in char- acter and coloring ; as, for instance, George d'Alroy, in the play of '■' Caste," and as Obenreizer, in " No Thorough- fare." Many of the pieces enacted by Mr. and Mrs. Flor- ence arc his own, including "Mike, the Miner," a three act drama, " The Yankee Housekeeper," " Lord Flanagan," "The Irish Brogue Maker," " Mischievous Annie," " Lalla Rookh," and a version of the " Field of the Cloth of Gold," produced a few 3'^ears since at Wood's Museum, New York, in which Florence played the part of King Henry VIII. Mr. Florence, yet in all the vigor and freshness of youth, General Theatrical Kemimiscences. 253 continues "starring it," adding, if possible, new laurels in his dramatic chaplet, Mrs. Florence was formerly Mrs. Lettell — maiden name Malvina Pray. She was married to Joseph Lettell, from whom she was divorced, and married Mr. Florence in 1853. Mrs. Florence is a sister of Mrs. Barney Williams. CHAPTER LII. Albany Actors and Actresses. Those who weiie to the Manor-Born, and those who Com- menced THEIR Dramatic Career in Albany. In speaking of Billy Florence, a native-born citizen of Albany, we are reminded that the "good old Dutch Burgh " has probably produced as many members of the dramatic profession as any city of its size in the Union, with perhaps the exception of Philadelphia, which is con- ceded to be the " mother of actors." Of those who were native-born Albanians, we very well remember the names of Hopkins and William Robinson, (" Hop." and " Bill,") who made their lUbut at the old Green Street Theatre. Alexander Simpson, printer, who first appeared at the old North Pearl Street Thespian Theatre ; William Duffy, Mrs. Forbes, nee Miss Easton or Eaton, Lansing ])augherty, Mike Hennessey, Charley Kane, George Stone, Sidney Smith, James Cannoll, Wil- liam J. Florence, Frank Lawlor, Mrs. Capt, John Cooke, and others, whose names we do not now remember. James Cannoll made his first appearance as Ned Grey- ling, at the Albany Museum. After leaving Albany, he was attached to the dramatic company at Niblo's, but his health becoming much impaired by the labors of his pro- fession, was compelled to abandon it, and secured a promi- nent appointment on the Metropolitan Police, which position he held until his death, which occurred Novem- ber 5, 18G7. His remains were brought to Albany for General Theatrical Reminiscences. 255 interment in the Albany Rural Cemetery, his funeral be- ing very numerously attended. As an evidence of the high appreciation of Mr. Can- noil's dramatic abilities, during two of Mr. Forrest's en- gagements in New York, he prevailed upon the superin- tendent of the police to allow Mr. Cannoll a respite from police duty in order to secure his services in supporting him in his principal roles. Certainly a very high and well deserved compliment to Mr. Cannoll as an actor and as a gentleman. Among those who were not born in Albany but who commenced their dramatic career here, are E. Eddy, James Hall, Joe Parker, Mary Gannon, Mary Wells — both of these latter afterwards filled prominent positions at Wallock's, New York — Lucille and Helen Western, the Bateman girls. Miss Davenport (Mrs. Lander) who, like Edwin Forrest, took her first grand start on the journey to dra- matic fame, in Albany. Here the first laurels Avere gath- ered that formed the dramatic cha])let of Edwin Forrest and Mrs. Lander. Why may not, then, x\lbany justly claim the credit of being one of the principal mothers of actors and actresses, many of whom have occupied positions of distinction in the dramatic profession ? CHAPTER LIII. Actors' Lives, Their Vicissititdes, Mentally and Physically — Their Mental Agony on Particular Occasions — Their Private and Pro- fessional Character — Erroneous Impression in Eegard Thereto — Great Ages of English Actors. In speaking of the causes of the short lives of actors, the late venerable actor and manager, W. B. Wood, remarks : " The truth is, that the facts assumed by some in regard to tlie causes of the short lives of actors, are utterly un- founded, and the conclusions deduced from them are as little true. The exposure on the stage, though often severe, at the time, probably tends, in its constancy, to harden the constitution of an actor ; and the charge of 'idleness and dissipation ' can be made by only those who have no more knowledge of an actor's daily habits than they have of tliose followed by the Caucasian or Esqui- maux." An Actor's Routine of Duty. Let it, for example, be remembered that an actor passes his hours for months together in the following routine, and it will require no little ingenuity to find time for either " idleness or dissipation " : His " rehearsal '"' begins at 10 o'clock, on an average, and usually occupies till 1 o'clock, or more frequently, until 2 o'clock. Between this hour is his time for study, which in long and new parts is General Theatrical Reminiscences. 257 often most severe, and which must be constant, even with short or old parts. Costume, or mechanical or personal arrangements for the stage, require much attention al- ways ; and by 7 o'clock in the evening he must be at the theatre for the important labors of the night, frequently protracted to the very hour of morning. The hours there- fore devoted to study are limited to a short term after re- hearsal, and what can be snatched after midnioht or after rising early in the morning. Nothing is said, of course, about those cares of a family, or of interests not profes- sional, but yet common to an actor along with other men, of those which, though not connected Avith the immediate daily and nightly duties of his profession, yet spring more or less directly from that source. An Actor's Professional Sufferings. Of the professional sufferings of an actor, some little idea may be formed by any person Avho feels himself com- pelled onli/ to appear cheerful at a social party for a few moments, where no effort is expected from him, and no disappointment felt if he proves silent, gloomy or reserved. But the poor actor, while writhing under severe physical pain and anguish day after day, and month after month, must rise from his bed of sorrow to encounter the severity of winter in a dress only suited to the torrid zone, and not only appear gay and happy, but be expected to communi- cate a part of this feeling to the audience ; or, what is iiir worse, he must rouse himself from the bedside of some beloved object, whose life perhaps hangs upon a thread, and hurry into the din and forced labor of a theatre, doubtful whether his return may be in time to close the eyes, perhaps, of the last remaining object of affection upon earth ! Garrick used to remark that the privileges of an actor's life were to be petted and x)eltedl Tliis is true of some IT 258 General Theatrical Eemixiscences. favored jierformers ; while tlie life of others resemble that of tlie politician, commencing in frenzy, and continu- ing in a Avild and ceaseless struggle ! Garrick's own me- moirs furnish evidence how deeply even this cherished favorite was compelled to suffer in feeling, and in that which some person affected to consider more dear to him — his purse ! How perfectly absurd, then, to talk of the " idle life of an actor !" There is hardly a more laborious professional life in the whole range of professional careers. It is speak- ing, of course, of those who unite a praiseworthy ambition Avith an honorable feeling of a duty to the public and their employers. So far as concerns the causes of short life, as found in " idleness and dissipation," and as respects the result of such causes, the following table shows exactly what might be expected. Here is placed after the names of several actors and actresses their age at the time of their death, as follows: Smith, Drury Lane Theatre, 83; Moody, 85; Dibden, 76; Johnstone, 72; Bannister, 71 ; AV rough ton, 74; Faw- sette, 70 ; Beard, 75 ; Yates, 95 ; Munden, 74 ; Bensley, 71 ; Hull, 70 ; King, 75 ; Murphy, 75 ; Miss Pope, 76 ; Quick, 83; Incledon, 68; Mrs. Mattocks, 88; Mrs. Pitt, 70; Knight, 70; Whitlock, 70; Mrs. Davenport, 70; Talma, the great French actor, and Madame Mars, the distin- guished French actress, died at 66, or upwards ; Lafond lived to upwards of 80 ; Mrs. Gibbs and Mrs. Grover, emi- nent actresses, were also upwards of 70; Lady Grosvenor reached 72, and Catalain Avas hale and hearty at 70. All these were distinguished actors, actresses, or singers. Byrne, the great dancer, was a fine healthy man, in 1860, at 88 years ! These persons, it must be observed, embrace chiefly the names of eminent actors and actresses of London. Wbile in tbo l*rovinces, manv instances have occurred of actors General Theatrical Reminiscences. 259 attaining a great age in earlier times, as, for instance, Macklin, who reached the extraordinary age of 97 ! Gar- rick was 67 ; Quinn, 70 ; Batterton, 74 ; John Kemble and his sisters, Mrs. Siddons and Mrs. Whitlock, were near 70. A London paper stated, in 1858, that Charles Kemble, father of Fanny Kemble, was in his 81st year. Braham, the great singer, the same paper stated, still survives, at the age of 70, a musical wonder. Of the prominent actors who died in America, we give the ages (which, it will be observed, nearly average those who died in England) at the time of their death : Jefferson, 62 ; Warren, father of the great American comedian, 63 ; Bernard, 74 ; Darley, 77 ; Hallem, 75 ; W. B. Wood, 75 ; Blissett, 78 ; Morris, 84 ; Mrs. Darley, 79 ; Holland, nearly 80. CHAPTER LIV. John Hanbury Dwyer, The Eminent Comedian and Justly Celebrated Elocutionist. There are many of our older citizens who no doubt re- member Mr. Dwyer not only as an actor but as a highly polished gentleman and a finished elocutionist. His last appearance in Albany was at the old Pearl Street Theatre, wliere he made his debut before a large audience, compris- ing ourlirst class citizens. Mr. Dwyer was born in Tipperary, Ireland. His father held the office of colonel in an Irish brigade under the unfortunate King Louis the Sixteenth of France. Mr. Dwyer arrived in New York from England in 1810. His name was originally OTJwyer. He was conceded by emi- nent dramatic critics equal to the great actor Garrick, as a comedian. The elegance of his person, the fascination of his deportment, and that perfect knowledge of stage business which never suffered tlie sliglitest embarrassment to appear, confirmed him in tlie public mind as the best comedian who had appeared since tlie time of Garrick. It is related that the mere manner of drawing and sheath- ing his sword would elicit rounds of applause from the large audiences assembled at Drury Lane Theatre. Mr. Dwyer's first appearance on the American stage re- ceived fnmi an eminent theatrical critic the following highly llattering notice: "The American stage has received, in the person of Mr. Dwyer, one of the greatest acquisitions that it has ever General Theatrical Keminiscexces. 261 had to boast of. He is an actor of great merit, and in his line, of the very first promise. Light dashing comedy is his forte, and in it he is always faultless. Nature has been uncommonly bountiful to this actor — he possesses all the commendation to please the eye — stature, bone, muscle, symmetry and comeliness." It may be gratifying to the friends and admirers of the late Mr. Dwver, to learn that his estimable widow is still living, in the sixty-sixth year of her age. She has resided in the family of Mr. Vose, on Madison avenue, in this city, for the past seventeen years, and we are pleased to say she is still in an excellent state of preservation, retaining all her mental faculties in a remarkable degree. Mr. Dwyer's "Essay on Elocution,'' a work of three hundred pages, and which has had a wide circulation, not only in this country but in Europe, is one of the most per- fect works on that subject extant. For several years pre- vious to his death, Mr. Dwyer devoted his time and atten- tion to teaching and lecturing on the subject of elocution, his efforts meeting with the most flattering success. CHAPTER LV. A Pleasant Episode in the Life of Charlotte Cush- man.— A Valuable Present. It was our intention when writing up the sketch of Charlotte Cushman, which appears in a previous chapter, to have incorporated in the sketch the following account of a pleasant episode, which occurred on the last night of this lady's engagement in January, 1873, at McVicker's Opera House, Chicago : — It is not often that the world at large is permitted to gain a glimpse of life " behind the scenes," much less ob- tain an inkling of the personal relations which exist between stage people of the various degrees of prominence before the public. The last day of Miss Charlotte Cushman's eno-uaement at McVicker's Theatre was the occasion of a peculiarly interesting episode, and one wliich that greatest of living actresses will remember with pleasure during her life. There seems to have sprung up between Miss Cush- man and the members of McVicker's company a mutual feeling of the most gen nine regard, growing out of the extreme kindness and friendly interest which the distin- fifuished actress has manifested toward each and all of the people employed on and about the stage. Their apprecia- tion of this unusually pleasant state of things took the form of an elegant little testimonial — not especially rare or costly, nor intrinsically of great value, but exceedingly tasteful and appropriate — which was presented to Miss Cushman by the manager in the green-room of the General Theatrical Reminiscences. 263 theatre. By general request, the presentation devolved upon Mr. McVicker, who, without a moment's warning, was called upon to do the honors. He acquitted himself neath' and fluently, first assuring Miss Cushman that it gave him peculiar pleasure* to thus act in behalf of the members of his company, her relations toward whom he had from time to time observed with especial pride and gratification. He then read the following letter : • "McVicker's Theatre, Chicago, ) January \\, ld73. ) "Miss Charlotte Cushman: "As members of a profession to which yott, not only as an artist, but as a lady and a true woman, have contributed the earnest zeal and heartfelt labors of a lifetime to en- noble and honor, Ave, the members of the company of McVickers Theatre, desiring to express to you our apj)re- ciation, present, through our worthy manager, this circlet of gold, inscribed with the motto that has so endeared you to us, and which is no less engraven in our hearts, viz.: ' Kind Words.' May your happiness here, and in the great hereafter, be only symboled by the golden circlet — endless." Signed, J. O'Xeill, J. Howard Eogers, W. H. Power, and ten other members of the company. Opening a little morocco case, Mr. McVicker took therefrom a heavy gold ring, a plain Etruscan band, on the surface of which these words were engraved and inlaid with black enamel : *' Miss Charlotte Cushman. McVick- er's Theatre, January 11, 1873. Kind Words." Though plain in a})pearance, the ring was beautifully fashioned and engraved, and reflected credit both upon tlie taste of the donors and the workmanship of the makers. During all the preliminary proceedings Miss Cushman had stood like one utterly at a loss to know what it was all about. The perspiration stood in beads on her fore- head, and she avIio had faced hundreds of thousands 264 General Theatrical Reiminiscences. glanced about her as nervously and uneasily as the veriest novice. When, however, Mr. McVicker placed the ring in her hand, with the accompanying letter, her expressive face relaxed into a broad smile of unmistakable surprise and pleasure, and as a tear glistene'd for a moment in her eye, and then stole down her cheek, in a few broken Avords she expressed her deep gratitude and delight at receiving such a token in such a Avay and from such a source. She said that hffl- three weeks' stay in the theatre had been the pleasantest engagement of her life ; that the constant de- sire of the members of the company to anticipate her every wish, and conform to it to the best of their ability, had matle her sojourn so happy and free from annoyance, that she heartily wished she were going to remain three weeks longer. "So do I!" heartily interpolated Mr. Mc- Vicker. But she might come again some time, she said, and hoped she should. She should value the testimonial as she had never valued anything in her life, the more so, perhaps, because it was the first time in her stage experi- ence that such a thing had happened to her. Once more she thanked them from her heart, and so ended one of the pleasantest little episodes imaginable. CHAPTER LVl. How the Printer Collects his Bill. An Amusing Incident at the old Pearl Street Theatre— Thk Manager Nonplussed— Forrest's Last Appearance at thk OLD Pearl — Forrest Applauds the Printer's Modus Operandi. Frequent allnsions have been made in a previous part of this work to Thomas Fuller, Avho was generally kno\vn as the " Artful Dodger," and who was the last manager but one (Mr. Preston) of the Pearl Street Theatre. To settle a question frequently asked, why the sobriquet of " Artful Dodger " was applied to Fuller, it is only neces- sary to say tliat it Avas simply because he had a very peculiar faculty of "dodging" his creditors, who were generally exceedingly numerous. He left many persons in Albany with standing accounts, as "reminders " of his theatrical reign in Albany, Avhen he made his rather hasty exit. This man Fuller was in no way related to or con- nected Avith the venerable " Sam" Fuller, ftit and jolly, " A fellow of infiuite jest and excellent fiiucy, "Whose flashes of memmeut kept the table in a roar," and Avho kept the Washington Hall, an excellent hotel adjoining the theatre on the south, Avhere Luke's dry s2:oods store stands. A little incident occurred during Fuller's management of the theatre Avhich may prove interesting to our readers, and especially to printers. It was the closing night of the season, Forrest playing "Metamora" to a house filled from 266 General Theatrical Reminiscences. pit to dome, large numbers being unable to gain admis- sion. Fullers creditors, at least a few of them, Avere on the alert. Among the number was the bill printer, and the writer of this work, who had seen service in the theat- rical line ; that is, in the way of printing, and had sufiered '• many a time and oft" from the failure of managers to liquidate the claims he held against them. Well, the printer held a claim of U25 against the establishment, and in order to circumvent Fuller, he adopted this dodge: In the building adjacent to the theatre on the north, and in which the fire that destroyed the Academy of Music originated, Mr. Benj. M. Briare kept a confectionery and ice cream saloon. The arrangement between the manager of the theatre and the printer was, that the printer should have the privilege of giving written passes, they being charged to his account. George Randall, who is still liv- ing and well, had charge of the box-door of the theatre at the time, as well as of other internal arrangements of the building. The printer accordingly prepared a large number of written passes — labeled "Box" and "Pit" — a sufficient number to cover the amount of his claim against the manager. He opened a ticket office in Briare's saloon, and jdaced a couple of young fellows, " Avell up in their parts," in front of the saloon to inform the people, as they crowded about the ticket office of the theatre, that they could ob- tain tickets in the " side office," instead of being jostled and elbowed, and without the fear of having their pockets picked! The "dodge" succeeded admirably, the printer disposing of his tickets so rapidly, tiuit long before the l)erforniance commenced he had realized a sum sufficient • to liquidate his claim, and held a balance of seventy-five cents due the manager! ! Early the morning following, managei- Fuller sent post haste for the printer to come and settle, he suiiposing from the way the tickets poured in, the ])rinler had received a sum far exceeding the amount General Theatrical Reminiscences. 267 of his claim. Tlie summons to appear at the box office was promi)tly obeyed, the tickets were counted, aud the result exliibited tliat the printer had received seventy-five cents in excess of his bill, which amount was paid over to manager Fuller, the printer remarking: " This is the first time I ever knew i\ j^rinter to be indebted to the manager of a theatre ! " Fuller was quite chopfallen, but accepted '•' the situation " gracefully I Forrest was informed of the printers successful '• dodge," and had a hearty laugh over it, remarking: "Served the d snob right.*' (Fuller was a shoemaker before he became manager of the theatre.) Forrest had secured his money before the curtain " rang up,*' so he was all right. Soon after this Fuller left town, and, if we mistake not, at a greater rate of speed than pedestrians are generally in the habit of exhibiting. Some people were so unchari- table as to intimate that he was impelled in his hasty re- treat through fear of lynching. The last we heard of him he was running a shoe shop on Chatham street, New York, having adopted the good old motto, " Stick to your last." CHAPTER LVII. Female Dramatic Performers— Then and Now. It is a very notable fact, tliat not nntil some time after the Restoration, did a female appear on the stage of Eng- land. Sir William Davenport, proprietor of one of the London theatres, it appears, first innovated npon this an- cient custom, by bringing out Mrs. Hughes in the charac- ter of Desdemona, she being the first female who ever appeared on the English stage as an actress. The annexed lines, written by a young English lady, is a capital hit at the absurd, unnatural custom, of "perri- wig-pated " hearded fellows assuming female cliaracters, enacting, for instance, such delicate roles as Juliet, Des- demona, Ophelia, etc. MALES ACTING FEMALE PAETS. In days of yore, th' historic page Says womeu were proscrib'd the stage ; And hoy>i and men in petticoats Vh\y'i\ female parts with Steutor's notes! The cap, the stays, the high-heel'd shoe, The 'kerchief and the bonnet too, With apron as the lily wliite, Put all the male attire t ) flight — The calotte, waistcoat, and cravat, The bushy wig. and gold-trinim'd hat. Ye Gods ! behold ! what high burlesque, Jane Shore and Juliet thus grotesque ! King Charles one uight, jocund and gay. To Drury went to see a play — General Theatrical Reminiscences. 269 Kynaston was to act a queen — But to his barber he'd not been ; He -was a mirth-inspiring soul, Who lov'd to quaflF the flowing bowl— And on his way the wiglit had met A roaring bacchanalian set, "With whom he to the tavern hies, Eegardless how time slyly flies ; . And while he circulates the glass, Too rapidly the moments pass. At length in haste the prompter sends, And tears Kynaston from his friends; Tho' he'd much rather there remain, He hurries on to Drury Lane. When in the green-room he appear'd, He scafd them with his bushy beard ! The barber quick his razor strops, And lather'd well her royal chops! "While he the -'stubble" mow'd away, The audience curs'd such long delay ; They scream'd— they roar'd— they loudly bawl'd. And with their cat-calls siccctly squall'd ; Th' imparient monarch storm'd and rav'd — " The Queen, dread sire, is not quite shav'd .'" TVas bellow'd by the prompter loud — This cogent reason was allow'd As well by king as noisy crowd ! ! CHAPTER LVIIL Amusing Anecdotes of Edwin Forrest. Forrest axd the Albany "^Tatchmex — Forrest and Esquire John 0. Cole— Forrest and Mrs. Wood. Soon after Forrest arrived in Albany and joined Gilfert's company, he, with several boon companions — among them the lamented Capt. George Hendrickson, for a long time commandant of the old Albany Artillery, and one of Ned's warmest friends, a generons, genial, noble-hearted fellow, who often equipped, cap-a-pie, a new recruit to his company, (the Republican Artillery,) at his own expense if not able to do so himself. As we were about to say, Ned and his companions, one night after the theatre was out, sallied forth on a bit of harmless lark. They came up old South Market street, (now Broadway,) and when opi)osite the building where the Exchange now stands, and which was occupied by the old Albany Bank, a hardware or crockery store. On either side of the main entrance to this building was an iron railing, enclosing quite a space — when the young larks arrived at this spot, they were met by several watchmen, or as they were called, " leather heads," they wearing large, stout, leather caps. The party were all jolly, of course, and full of fun, and pitching their voices at a higher key than the night guardians deemed agreeable to the quiet people who had retired to the iii-ms of Morpheus, they re})rimanded them rather liarslily. High words arose, and strong insinuations made about •' watch-liouse" and "lock-up." Ned, seeing mat- General Theatrical Remixiscences. 271 ters were assuming rather a serious turn, at once hit upon a lucky expedient, or dodge, — he leaped over the railing, and commenced spouting passages from some favorite Shaksperian character, which had the effect of giving alto- gether a different and more favorable aspect to the affair. While "Ned "was spouting with such electric effect as to absorb the earnest attention of the watchmen, Ned's companions, one by one, slipped off, leaving him and tiie watchmen sole masters of the situation ! Finding the " birds had flown," and the tables so artfully turned upon them, the watchmen took it as a capital joke, and Ned Avas allowed to go on his way rejoicing! Anecdote of Forrest and 'Squire John O. Cole. While we have been so long " talking " theatre and actors, it will not be deemed out of place, we are satisfied, to relate an incident that occurred while Forrest Avas a mem- ber of Gilfert's Pearl Street dramatic company, and Avhen he Avas what might be termed, rather fast. Being out on a lark one night with several boon companions,he was "taken in by the watch," and comfortably provided quarters under the old Howard Street Mansion. In the morning he Avas brought, Avith his companions, before 'Squire Cole, Avho, finding the offence rather trivial, discharged the party. As Forrest Avas about to leave the office, the 'Squire deem- ing it a fitting occasion to give him a little friendly admo- nition, thrcAV himself back in his chair, assuming a slight theatrical air, — (the 'Squire Avas Avell posted in theatricals in his younger days and Avell versed in Shakspeare) — and addressed Forrest in true theatrical style, quoting tlie fol- lowing Avell known passage from Othello: — " What's the matter. That you uulace your reputation thus, And spend your ricli opinion, lor the name Of a nifiht- brawler ? give me answer to it !" 272 General Theatrical Reminiscences. The effect was electric, and "Ned" made an unusually hasty exit, not a little chagrined, as well as greatly aston- touished, at the aptitude of the quotation. Forrest and Mrs. "Wood. When Forrest was playing an engagement in London, his benefit and that of the celebrated actress Mrs. Wood, happened to take place on the same night — one at Drury Lane, the other at the Hay Market Theatre. The next day Forrest meeting Mrs. Wood, who was rather of "pdite 'figure, politely asked her, "AVhat sort of a benefit she had?" Mrs. Wood instantly and laughingly replied, '• 0, the people deserted the little Woods and fled to the lig FoRRESTS ! " As much as to say her benefit was light. CHAPTER LIX. Amusing Anecdotes of Edwin Forrest. Forrest and the Two Portraits ix Hamlet — The Shaving-box AND Lather-brush — A Ludicrous Scene — Forrest in the Lion's Den — Forrest's Courage Tested. The following very amusing incident was related to us by Mr, Forrest, it having occurred while playing an en- gagement at the Cincinnati Theatre, in the rendition of Hamlet, which caused him no little cliagrin. On leaving his room at his hotel, he had forgotten to place the two miniatures in his pocket that were to represent his " father and uncle," and being in haste to reach the theatre it did not occur to him that he was minus the pictures until he was called on in the scene with the Queen, (his mother,) Avhere he is to "' speak daggers but use none." He felt in his pocket, but the miniatures were not there, and while the Queen Avas preparing to take her seat, Forrest happened to discover an attache shaving himself in a corner behind the scene. He made a rush, grabbed the attaches shaving- box, lid, soap, brush and all, and thrust them in his bosom, and took his seat by the side of the Queen, leaving the poor attache standing and gazing in utter amazement at the strange proceedings. The interview between Hamlet and his mother takes place; he thrust his hand into his bosom and pulled out the lid of the shaving-box, which contained a miniature looking-glass, exclaiming, "look here, upon this picture, (presenting the lid of the box,) and noAv look on this." " This was your husband — this is your husband." As he presented the shaving-box with a suddfu jerk, out 18 274 General Theatrical Reminiscences. tumbled the cake of soap, lather-brusli and all, into the Queen's lap ! The Queen was somewhat astounded, but finally recovering herself, tnrned her head from the audi- ence and enjoyed a hearty laugh at Forrest's discomfiture. Those of the audience near the stage who saw the inci- dent, enjoyed the joke with perfect gusto. Forrest said, " I do believe if there had been a stage trap open near by, I should have pitched into it, I was so confoundedly mortified." Forrest in the Lion's Den. The following anecdote is related of Forrest and the animal tamer Driesbach. Tliis incident occurred while he was playing at the old BroadAvay Theatre, New York. Forrest's pieces were followed by an exhibition of lions by their tamer, the renowned Herr Driesbach. Forrest was one day saying that he had never been afraid in all his life — that he could not imagine the emotion. Driesbach made no remark at the time, but in the evening, when the curtain had been rung down, he invited Mr. Forrest home with liim. Forrest assented, and the two entering a house, Avalked a long distance through many devious passages — all dark — until finally Driesbach, opening a door, said : "This way, Mr. Forrest." Forrest entered, and imme- diately heard the door slammed, and locked behind him! He had not time to express any sur])rise at this, for at the same moment he felt something soft rubbing against his leg, and putting out his hand touched what felt like a cat's back; a rasping growl saluted the motion, and he saw two fiery, glaring eyeballs looking up at him! "Are you afraid, Mr. IA)rrest?" asked Driesbach. "Not a bit," re- I)lied Mr. Fon-est. Driesbach said something — the growl deepened, became harsher, the back began to arch, and the eyes to shine more fiercely. Forrest held out two or three minutes, but the symptoms became so terrifying that lie General Theatrical RemlmscExNCes. 275 owned up in so many words, that he was afraid! "Now let me out, you infernal scoundrel," lie said to the lion tamer, " and I'll break every bone in your body." He was imprudent there, for Driesbach kept him, not daring to move a finger, with the lion rubbing against his leg all the time, until Forrest promised not only immunity, but a champagne supper in the bargain ! ! A Stage-Struck Youth's Appeal to Mr. Forrest. While Mr. Forrest was playing an engagement at the Albany South Pearl Street Theatre, in 1834, he placed in our hands the original of the following letter, to which we give place for the especial benefit of young dramatic as- pirants, Mr. Forrest remarking, " This is only a single sample of the innumerable and 2jrecions morceaii with Avhich I am constantly annoyed, and absolutely bored, by unfledged would-be young American Eosciuses ! " Here is the letter in its entirety — spellatem, et punctuatem, et capital-letterem. Of the qualifications for an actor, so glowingly set forth by this young man, we leave for those to judge, far better posted in theatrical matters than we ever dared claim to be : "Baltimore Maryland \ " June 24 1834 5 " To Mr E Forrest " Alban}- Theatre State of IST. York. " My Very dear sir — Knowing you to be distinguished for your Noble Efforts to encourage Native Talent in Ac- tors and Authors I am very Anxious to become an Actor and with your Encouragement and a little of your Teach- ing I think I might in Time make my Mark in the theat- rical Line I have been in the Occasional habit of Spoutting Shakspeere at School and they all said 1 would make a first rate Actor in Time I have a pretty fair Edducation I am about 18 years old 5 feet G inches high in my stock- 276 General Theatrical Reminiscences. ings — Bocldy well Knit together strait as a young sappling — Nose Romiin — legs plump and needs no Paddiug as so maniiy have to — and my eyes as I have often been told somewhat I'esembling Lucius Junus Booth's — If you should think these qnallifications Sufficient, be so good as to Answer this as Early as Convenient. "Your Admirer Alwavs " W. S. DANIELSON." CHAPTER LX. C. W. Taylor. He makes his advent in Boston — Enters as head Clerk in an EXTENSIVE Importing House — He falls desperately in love WITH A BEAUTIFUL OpERA SiNGER— JOINS AN OpERA TROUPE — He makes his first appearance on a Public Stage at Nor- folk, Ya. — Next Appears at the Old Chatham Garden Theatre, New, York— Makes His Debut at the North Pearl Street Amphitheatre— Goes to the Albany Museum — Ke- MAINS TILL ITS FINAL CLOSE— GOES TO NeW YoRK. JOINS HaMB- lin's Bowery Company — Retires on the Dramatic Fund. Probably no member of tlie dramatic profession was longer or more favorably known to an Albany public than the subject of this brief sketch, C. W. Taylor, or " Charley Taylor," as he was more familiarly called, and who was a resident of Albany for over a quarter of a century. Mr. Taylor was born in England, as nearly as can be ascertained, in 1800, making his (/ebuf- on a public stage at Norfolk, Va., in 1819, as Patrick, in the operatic com- edy of " The Poor Soldier." After playing a brief engage- ment at Norfolk, he proceeded to New York, ai)pearing at the old Chatham Garden Theatre, in Woodworth's ever popular musical drama of the '•' Forest Rose." Leaving New York, Mr. Taylor cast his lines in Albany, making his debut at Parson's North Pearl Street Theatre, assuming the position of vocalist and '' utility business." He soon after appeared at the old Pearl Street Theatre, and finally became what with propriety might be termed a fixture, at the Albanv Museum, as he remained at that establishment 278 General Theatrical Eemixiscences. uninterruptedly, luitil a short time previous to its final windins: up as a place of public amusement. Mr. Taylor then bid adieu to Albany and took the situa- tion of musical director of the New York BoAvery Theatre, at that time under the management of Thomas Hamblin. Mr. Taylor was an invaluable acquisition to a Theatre, having a thorough practical knowledge of its multifarious duties. He was highly educated, a ripe classic scholar, a remarkably ready and terse writer. [Should any reader entertain doubts as regards Mr. Tavlor's literary attain- ments, we would simply call their attention to the very eloquent address delivered by this gentleman at the open- ing of the new dramatic saloon, published under the head of the Albany Museum, in a preceding chapter of this Avork.] He Avas the author of a number of popular plays, tAvo or three of them being " prize plays " of Dan Marble and Yankee Hill. He Avas also the author of the cele- brated nautical drama of the " Water Witch," Avhich Avas produced at the Bowery Tlieatre, New York, at a large outhiy, and had an unprecedentedly long and successful I'un. As a dramatic Avriter and musical artist, Mr. Taylor ranked among the very first of the day. He possessed remarkable A^ersatility of dramatic talent, ready at all times to sing a song, do a low comic role, the eccentric old man, the blustering, grutf old sea captain, a juvenile lover, or almost any role in the range of the drama, rendering his parts with singular aptitude, and with entire satisfac- tion to his audiences. Charley possessed, in a remarkable degree, one peculiar- ity or faculty, Avhich was that of ekeing out, changing or adapting his rather scanty private stage Avardrobe to tlie various characters he enacted. His wardrobe for liglit pieces, generally consisted of a black frock coat, Avhite vest, Avhite linen pants, red cap, ornamented Avitli a gold lace band, and a crimson colored silk sword sash. It Avas really amusing to obserA-e with what tact and ingenuity General Theatrical Reminiscences. 279 lie would adapt his wardrobe to the character of an em- peror, admiral, duke, count, grand marshal, general, cap- tain, private gentleman, and with his wig of raven locks, would often enact the young lover equal to a youth of seventeen ! Soon after his advent in Boston, Mr. Taylor entered an extensive importing house in that city, as head or man- aging clerk, and by his upright conduct and indefatigable application to business, soon won the entire confidence and respect of his employer. After remaining in this estab- lishment for a year he was entrusted Math its most import- ant interests. He was entrusted with large sums of money and frequently sent to England as principal agent of the house to purchase goods, which responsible trust was so faithfully and scrupulously discharged that the young clerk at once became confirmed in the estimation of his employers. The probabilities are, that had Mr. Taylor remained in this establishment he would have become one of its partners in due course of time. Tliat there is a '• tide in tiie affairs of men if taken in the flood, leads to fortune," is quite true, as Avas evidenced in the case of Mr. Taylor. He failed to take advantage of the flood-tide, allowing his finely rigged bark to drift down the ebb-tide of disappointment and misfortune. "Why Charley Taylor became an Actor. At the time Mr. Taylor held the position of clerk in the importing house above alluded to, a traveling opera troupe visited Boston, and as Mr. Taylor himself Avas an excel- lent musician, it Avas quite natural for him to visit the opera. The prima donna Avas an accomplished artist, and a A^ery beautiful and fascinating young lady of some sev- enteen summers. Whether it Avas the effects of her exqui- site vocal poAvers or her beauty that trepanned the heart of our amoroso, Ave were never advised — but certain it is 280 General Theatrical Keminiscences. he at once became smitten ; cupid's unerring dart per- formed its delicate mission most effectually! There being no other alternative for Charley, he at once relinquished his position as clerk in the importing house and joined the opera troupe, in order the more fully to "breathe the same air, and constantly bask in the smiles of his lady love," Avhere he would have no further cause to " rehearse" the good old song commencing with — " Thou art so near, and yet so far !" Thus was Charley first introduced behind the scenes of the mimic stage, making his first appearance as an actor, as before stated, at Norfolk, Va. He "strutted his brief hour upon the stage" until within some ten years since, when the "sere and yellow leaf of time" reminded him it was time to leave the mimic stage, Avhich he did. and retired upon the dramatic fund. AVhen last heard from he Avas residing in Philadelphia, hale and hearty, figure erect, step as elastic, apparently, as Avhen he was in his prime, and his locks were of the raven's hue. CHAPTER LXL An Actor's Regard for the Observance of Good Friday— A Theatrical Incident. ■ The occurrence of Good Friday invariably brings vividly to mind a little episode that occurred at the Pearl Street Theatre, when under the management of Charles Gilfert. The great celebrated actor, Conway (we use the word great, as Conway was not only great, as an actor, but great in stature, being considerably over six feet in his stockings, and fairly proi)ortioned) was playing an engagement here during Holy Week. The bills were out, announcing Con- wav in Shnkspeare's " Coriolanius," and the company had assembled at the theatre on Good Friday morning for re- hearsal at the usual liour. After waiting for a long time, and Conway not appearing — he ever being prompt in his attendance at reliearsal — tlie circumstance created no little surprise, and a messenger Avas at once dispatched to Con- way's lodgings, at Congress Hall, to ascertain the cause of his non-appearance at rehearsal. Conway very promptly responded to the message, by appearing in propria persoiKB, and in a highly excited state of mind. He informed Gil- fert that he had been so deeply absorl)ed in preparing for the observance of Good Friday tliat he had entirely for- gotten that he had to appear on the stage that evening, and had it occurred to him when he made the engage- ment, he Avould most assuredly have had a proviso in the engagement that the niglit of Good Friday be excepted— that he Avas an Episcopalian, and from his youth up, he had made it an invariable practice of scrupulously and re- 282 General Theatrical Eemixiscences. ligiously observing that day above all others in Lent. There avus of course no performance that night at the theatre. Xotwithstanding it was a great disappointment as well as damage to Gilfert, as he had anticipated a large house, many seats having been early secured, Gilfert most magnanimously declined Conway's offer to pay the amount of damages Gilfert had sustained in consequence of his non-appearance. Gilfert was likewise an Episcopalian of the strictest cast. Here, then, Ave haA'e evidence that in the theatrical pro- fession, so much abused, there are to be found highly edu- cated, honorable christian men — men Avho Avould adorn the highest AA-alks of life and the most refined society. Poor CouAvay, in a fit of deep despondency or aberration of mind, while on passage in a ship from NeAV York to Charleston, S. C, and as the vessel hove in sight of that city, he Avalked deliberately to the aftei'-deck and sprang into the sea, his body never having been recovered. He Avas educated for the ministry, and had so far advanced as to " take orders " for the same before he adopted the theat- rical profession. Annoyances of Theatrical Managers. Probably there arc feAV professions subject to more grievous annoyances than the dramatic profession, es- pecially the manager. Besides his various legitimate duties, which are at times exceedingly onerous, he is very frequently and grievously annoyed by the persistent im- portunities of unfledged Avould-be authors and actors. The ^venerable W. 1?. Wood, manager of the old AValnut Street Theatre, Philadelphia, relates the folloAving incident as a specimen of the ordeals through Avhich lie Avas constantly obliged to pass: "One day, Avhile sitting in my priA'ate office, a young man entered, apparently seventeen or eighteen years of General Theatrical Remixiscexces. 283 age, slender, awkward, neatly dressed in a short blue jacket, striped waistcoat, nankeen pantaloons, and half- boots. His first salutation was : " ' Good morning. Are you the gentleman that takes play-actors ? ' '• My reply was, ' I have the direction of the theatre.' '•' ' Well, do you want any actors ? ' "'Any person of extraordinary talent would find em- ployment. Do you know of any one wanting to engage as an actor ? ' was our response. " ' I want to go on the stage myself, sir.' " ' You! Did you ever attempt to go on the stage?' " ' Only at the Academy, sir.' " ' You are an American, of course ? ' " ' Yes, sir ; true blue ! ' " ' Where were you educated ? ' " ' At Goshen, sir.' " ' What plays did you perform at the Academy ? ' " ' Wliy, we played the Catos, the Tambalines, and such ! ' " ' And pray, may I ask, what did you play ? ' " ' Why, sir, I played Cato and Bajazet — and in the play of Bold Stroke for a Wife, I played the Colonel. You see I was the biggest boy, and I played all the biggest parts! ' " ' I don't think you would do, young man, as Ave have no parts big enough for you to play ! ' was our reply." CHAPTER LXII. Encoring Actors— A Question of Taste— Should be Denounced. The sins of uudiences, in encoring at amusements, have been pretty freely ventilated by the press, in many parts of the country, in which the abominable practice is most unqualifiedly condemned. The injustice of the proceeding is often so palpable, and it is carried to such extremes, as to provoke disgust. An occasional reappearance of a favorite performer is all well enough, but the habit of encoring anything and everybody is a practice which ought to be abated. Often a small per- centage of an audience start the thing, applauding continu- ously, and thus prolong the programme till it becomes tedious to every one else. It is a mere habit, without sense or discrimination. It is an imposition both upon the sen- sible part of those who attend and a torment to performers. A poor piece on the programme is as often encored as a good one, and persons of taste and judgment Avho are bored by it the first time are inflicted with more of the same sort, all because a few foolish "claquers" enjoy the fun of hand, or worse, foot applause. To the actors, singers, etc., tlie i)ractice is still more unjust. Performers have rights "as well as the public. They furnish a programme as invit- ing as they can make it, generally, too, of considerable lenjrth, and ouglit in conscience to be asked for no more. An artist, too, is often exhausted by his first effort, and should not be asked to repeat. But these chronic applauders General Theatrical Reminiscences. 285 pay no attention to that, or rather in such cases the}- persist all the more in their demonstrations. The performer ap- pears and bows in mute entreaty to be let off. He or she says as plainly as it can be said, "For God's sake, let me oflE',"' but the applause increases, the weary actor drags him- self back on the stage, and Avith but half a heart, goes through the ordeal of another song or dance. This is sometimes kept up for the third or fourth time. The public are not impelled by heartless cruelty, but thev do not appreciate the effort expended by performers from the highest to the lowest grades. It looks easy enough, but the truth is, an actor or singer of any am- bition throws into their part so much vital energy in en- deavoring to please, that an immediate and great exhaus- tion is the consequence. The thing which electrifies an audience is not the mere going through with, in a mecha- nical way, an assigned part, but the life, the delicate and ar- tistic touches of the soul which is infused. The nervous system must, in a genuine artist, be wrought up to the highest pitch, and a day's ordinary labor may not prostrate the system so much as the exertions of a few moments. This being so, every consideration of good taste requires a " letting up" by the enthusiastic portion of the public in their habit of encoring. Albany audiences are by no means free from this grievous iniquity, or positive Z»ore .' For the sake of our reputation as a city of sensible, well- bred people, let the thing be stopped. If encores are in- sisted on, let some discrimination be used, and not demand the repetition of the good, bad, and indifferent parts of an entertainment, with the same senseless persistency ! CHAPTER LXIII. Remarkable Instance of Stage Effect. The Confession of a High Crime in consequence of a Young Man Witnessing the Performance of the Tragedy of George Barnwell — An Historical Fact, being only one of numer- ous OTHERS of a Similar Character. The folloAving sketch of one of the most remarkable in- stances of the effect of a well acted play upon a guilty conscience, will, we venture to say, be perused with no lit- tle interest. It is only one of innumerable instances of a similar character, in the historv of the stase. The great poet of Kature, Shakspeare, '"who so Avell knew the qualities of the human heart," thus discourseth upon this subject : " I have heard That guilt}' creatures, sitting at a play, Have, by tlie very cunning (if the scene, Been struck so to the soul, that presently Thej' have proclaimed their inali factions, For murder, though it have; no tongue, will speak With most miraculous orgau ! " The ftimous actor, David Ross, of London, had, during the Christmas holidays, been playing the tragedy of George Ilnrnirt'lU and the great Mrs. Pritchard that of Millwood. \)v. P.arr(jwl)y, a phy.sician belonging to the hospital of St. Bartholomew, told lloss that three davs after the play he was sent for by a young gentleman, an apprentice of a very opulent merchant, whom he found very ill of a fever. The nurse told the doctor tliat his i)atient fre- General Theatrical Reminiscences. 287 qiieutly sighed bitterly, and she was sure he had some- thing on his mind. After much intreaty on the part of the physician, the youth confessed he had something which lay very heavy on his heart, but that he had rather die than divulge it; as, if known, it would be his certain ruin. The doctor assured him, that if he Avould confide it to him, he would do all in his power to serve him, and that the secret, if he desired it, should be buried in his breast, or only told to those who could be able and willing to re- lieve him. After some subsequent conversation, he told the doctor that he was second son to a gentleman of good fortune, and that he had made an improper acquaintance witli the mistress of an East India captain, then abroad. That in one year he should be out of his time; and he had been entrusted with cash, drafts, and notes to a considerable amount, from which he had purloined two hundred pounds. That three nights before, as he witnessed the play of George Barnwell, he was so forcibly struck tliathe had not known a moment's quiet since. The doctor asked where his fother was ? He replied, that he expected him there every moment, as his master had sent for him as soon as he was taken so very ill. The doctor desired the young gen- tleman to make himself easy, as he would undertake, with his father, to make up matters ; and in order to set the mind of his patient entirely at ease, he told him if his father would not advance the mone}^ he would. On the arrival of the father, the doctor took him into an adjoining room and explained the cause of his son's illness. With tears in his eyes, the old gentleman gave him a thousand thanks, and immediately went to his bank- ei''s for the money, wliile the doctor returned to his patient, and told him every thing would be settled to his satisfac- tion in a few minutes. Wlien the father returned, he put the two hundred pounds into the hands of his son, and an affecting scene foHowed of tears and embraces between 288 General Theateical Reminiscences. the parent and the child. The son soon recovered, broke off a connection which had nearly proved so fatal to him, and became, in time, by his attention to bnsiness, one of the most opulent merchants in the city. He was always pnnctnal in his attendance at the benefit of Mr. Ross, Avho, though he never knew the name of his benefactor, constantly on that occasion received in the morniiig a note sealed up, containing ten guineas, and the following words : "A tribute of gratitude from one avIio was highly obliged, and saved from ruin, by seeing Mr. Ross' per- formance of Barnwell:' CHAPTER LXIV. Theatrical Sympathy. Edwin Forrest and Mary Stuart — An Exciting Episode — A Fact — Anecdotes of Celebrated Actors — Green Koom Drol- leries. Instances are frequently related of persons witnessing a play when theh* feelings have been so strongly wrought upon as to cause them to spring from their seat and ex- press them audibly, especially where an innocent, unpro- tected female is supposed to be wronged. Many years ago, when the play of "Mary Stuart" was being enacted, an incident of this kind occun-ed. It may be remembered by those Avho hiive seen this play, in one scene Mary's wrist is seized by a member of the court, the grip being so violent as to leave the impress of his heavy hand upon it. Forrest, then quite a young man, and who Avas personating Douglas, steps between Mary and her persecutor, pointing to the arm and exclaiming, '' Shame ! Shame ! " At this moment an honest fellow in the pit jumped upon his feet crying out, " So it is a shame, knock tlie scoundrel down, Forrest!" It is hardly necessary to say the incident brought down the house with thunders of applause. A Real Tragedy ! Effects of Good Acting ! An old English work says : The history of Sweden records a very extraordinary incident which took place at the representation of the '•' Mystery of the Passion,"' under King John TI, in 1510. The actor Avho performed the I'J 290 General Theatkical Keminiscences. part of Longinus, the soldier, who was to pierce Clirist on the cross in the side, was so transported with the spirit of his acting, that he really killed the man who repre- sented our Lord; falling suddenly, and with great vio- lence, he overthrew the actress who represented the Holy Mother. King John, who was present at the spectacle, Avas so enraged at Longinus, that he leaped upon the stage, sword in hand, and with one blow struck off the actor's head! But the spectators looked at the matter in a dif- ferent light — they were really delighted with the too vio- lent, but natural acting — became terribly infuriated against their King, and immediately fell upon him in a throng and killed him ! Roscius, the Roman Actor— His Many Excellencies. This extraordinary man's name is immortalized by Cicero, who has in various parts of his works panegyrized him no less for his virtues than for his talents. Of him that great orator, philosopher and moralist, has recorded that he was a being so perfect that any person who excelled in any art was usually called a Eoscius — that he knew better than any other man how to inculcate virtue, and that he was more pure in private life than any man in Hume. Roscius not only had the power of pleasing on the stage more than any other actor of antiquity, but as a man, seems to have been more estimable than any other man of his day. The greatest personages of his time deliglited in his company, and were proud of being ranked among his friends, wliile such as survived him underwent tlie most profound sorrow for his death ; and as if they were anxious to excel each other in posthumous praise and testimony of his personal worth, have poured forth the most enthusias- tic tributes of love and esteem to liis memory. General Theatrical Reminiscences. 291 Though his i>crson was not free from imperfection, and his eyes were distorted by nature, his traiiseendant powers so far counteracted those defects, that the Eomaus com- pelled him to act without a mash in order that they might the better hear his elegant jsronunciation, contemplate his physiognomical expression, and be delighted with the en- chanting melody of his voice and the harmony of his words. Some poets compared his person to the refulgent beauty of the sun ! ANECDOTES OF CELEBRATED ACTORS. A rich episode in the palmy days of Finn, the great American Comedian. George H. Finn, one of the most eminent comedians as well as the greatest wit and punster of his day, — " a fel- low of infinite jest," while, though he was ever ready to crack a joke upon a boon companion to the momentary annoyance of his victim and the unalloyed delight of the company, yet he could himself become a target for the shaft of another's wit, with equal grace and forbearance. No one, however, attempted to play -upon poor Finn, but that he sooner or later discovered to his cost, that it was, at best, rather a dangerous experiment. Tom Ilambliu and Tom Flynn, (the Tom Flynn who broke Booth's nose,) were Avhilome Avont to be sworn friends. They had indeed almost everything in common, one couldn't wear a wliite overcoat but 'tother must needs follow suit. Flynn couldn't dine on a roast leg of pork but Hamblin must have the same, or if he hadn't it at home, " fat Tom " would send him a share, or send a card of invitation to dine. So with their horses, carriages, their rides and drives, their places of " drop in," their benefits, and pretty women. 292 General Theatrical Reminiscences. In these halcyon days of Anld Lang Syne, one of their chosen friends was poor Finn. Abont nine o'clock of a misty evening in September, eighteen hnndred and forty, Hamblin, Barrett, Jerry Bell and Finn, Avere cross- ing from the Bowery to Broadway through Walker street. As they passed the corner of Mott street they were espied by riynn who was sitting at the window of his dwelling, puffing a real habana, and cogitating on some new " gag," in Frederic Morton, in Norman Leslie. No sooner did he catch a glimpse of the party than a thought struck him that a good rig might he run upon Finn, so donning his rusty white brown castor, he rushed into the street, and the first emblem of humanity he stumbled upon was 'black Nanny,' waiting Avoman to Miss Waring of the theatre. Look here ! bawled Flynn to the ebony damsel, 'Take this half dollar — you know Mr. Finn — he's just gone down the street — follow him — throw your arms about his neck — and swear that he owes you ten dollars for woi'k and laJjor done for him in New Orleans. Stick to him, and don't leave him till he pays you.' Tlie wench Avho'd done such things before, hesitated not a moment, but followed on, seized the astonished come- dian in no faint embrace about the neck, and exclaimed, 'oh! you naughty wretched mari,'^''^'^!!'! you've deceived, you've cheated me. Pay me the ten dollars you owed me in New Orleans or I'll never leave you,' and thus she Avent on for some minutes, until Finn, entirely exhausted, and out of all patience, offered to comj)romise by paying the wench $5, which she gladly accepted and vanished. Flynn Avho had been all the while standing oi)posite holding both his sides, and though seen by all Finn's companions, was unnoticed bV himself, now come forward, and Avitli a burst of laughter Avhicli came to his relief, joined the party. Finn said not a Avord on the subject of the good joke Aviiich hull just been perpetrated, but proceeded on in ((uest of iii'W advcniui-c fully determined however on ample re- General Theatrical Reminiscences. 293 veiige. But little time elapsed before an opportunity of- fered. Tl\e same party met a few evenings after at the North American Hotel, in the Bowery. They had all been drinking pretty freel}^, and Finn, who was standing in front of the bar, was seen suddenly to assume all the symptoms of one laboring under the effects of intoxica- tion. He reeled about, faltered in his speech, gave to his eyes an unwonted glare, and finally fell upon the floor in a state of apparent insensibility, with nothing escaping his lips in answer to the enquiries of those around, but oh ! oh ! dear, the doctor ! the doctor ! As Finn had anticipated, Flynn proposed that the body should be removed to his house, which proposition being acceded to, Flynn and Hamblin, assisted by Bell and Bar- rett gathered up the remains of the defunct comedian and took up their line of march for Mott street. A shower of rain had just set in and being excessively warm at the time, the party were, on reaching Flynn's house, well drenched without and within ; tliev were all in a state of profuse perspiration. Finn was carefully laid upon a sofa and a man of medicine shortly in attendance. The aff'air had, meanwhile, got wind in the neighbor- hood, and numerous were the anxious enquiries for the next two hours after Mr. Finn's health, to the no little an- novance of Mrs. Flvnn and her domestics. For half an hour Finn lav in the same state of immov- ahleness, and many were the remarks of anxious solicitude which passed among the party relative to the case in hand. Barrett vowed that it was the first time that Finn had BYer got so. Flynn swore that Finn could drink a little ocean dry and ' carry it all off.' Bell thought that something had been the matter with him all the evening. Hamblin advised, that as Finn's reputation might suffer 294 General Theatrical Eeminiscences. if his situation was made public, that the real facts should be concealed, and that it should be given out that Finn was dangerous. The party had by this time become somewhat in want, and it was proposed to leave Finn and adjourn to some place in Broadway, it being then too early to separate for the night. This was agreed upon, and the four friends walked over to the Carlton, where, surrounded by a large party of persons, all anxious in their enquiry after Finn's welfare. Among the persons present was one who seemed to doubt the truth of the statement of Finn's illness, and oflfered to wager Flynn an X that Finn would be in Broad- way again before midnight. The bet was accepted and the stakes just lodged in the hands of the barkeeper, Avhen in popped Finn himself with a " good health to ye all," and with a leer to Flynn, "hadn't you better pay over the stakes to black Nanny 9 " It is needless to add that the person who bet with Flynn was in the secret of Finn's illness, and that the latter had been playing imssum. Finn's Last Pun! Poor Finn, he was such an inveterate punster that at the time of his most imminent peril, or in the moment of the most sober and melancholv reflection, no matter what the hour or occasion, he always had a pun applicable to it, and calculated to turn it into ridicule. At the burning of the Lexington, and when a hundred and llfty human beings were expecting each moment to be swallowed up in a whirlwind of flame, or engulphed in the waves of the sea, and in hopes to save their lives, were throwing themselves from the burning boat, clinging to bales of cotton, Finn, the lamented Finn, who was one of that unha]ipy multitude, cried out in the midst of the awCiil confusion: General Theatrical Reminiscences. 295 " Why are we like criminals escaping from death ? " An awful pause ensued. " D'ye give it up ? " " Because we take hale for life ; " and he sprang from the boat to a cotton bale, and in a moment more he was forever " In the deep bosom of the ocean, buried." The G-reat Actor, John Kemble, and the Rhinoceros. A Truly Amusing Incident. Mr. Kemble had been dining with a noble duke of high convivial habits, and on this particular occasion the liba- tions to Bacchus were so frequent and of so long a con- tinuance, the party did not wend homewards until four o'clock in the morning. At a quarter past four, Mr. Kemble (who insisted on Avalking) found himself alone in the Strand, opposite Exter "Change, in the upper apart- ments of which was exhibited the menagerie of the cele- brated Polito. The 'matins' roar of a lion called forth Mr. Kemble's attention ; he paused — and, with the fumes of wine floating on his brain, he was seized with a peculiar whim, and uttered to himself, " To be or not to be, that's the question." " It shall be I — no man ever attempted it. In any book of natural history — nay, in all the voyages and travels I ever perused, no man ever did it. I — I will do it ! — the Avorld shall say, alone I will have a ride on a rhi- noceros ! " He here took a pinch of snuff, and exclaimed, "What ho! Exter 'Change! iNobody stirring ?" He then made a staggering effort to pull the bell. After he had rang the bell several times with tipsy vehemence, one of the keepers of the wild beasts, who slept in their apart- ment as a sort of groom of the chamber, made his appear- ance in an ancient heef -eater s dress, and a Welch wig. 296 General Theatrical Eeminiscences. Kemble — " Sir, are you Mr. Polito ? " Keeper — "Xo, sir; master's abed, and asleep." Kemble — " You must wake him, good fellow." Keeper — "I daren't, sir, unless it's iverry particklar." Kemble — "' Next time say ' very jiarticularJ Hark yo u, it is very particular. You have up stairs, if I remember rightly, an animal denominated a rhinoceros?" Keeper — " We've got a rhinoceros, and a fine fellei' she is." Kemble — " Introduce me to him. You object. Go call Mr. Polito, your very noble and approved good master." On the arrival of Mr. Polito, Kemble addressed him — '' Mr. Polito, I presume ? " Polito bowed. Kemble — " You know me, I suppose ? " Polito—" Very well, sir. You are Mr. Kemble, of Drury Lane Theatre." Kemble—" Right, good Polito ! Sir, I am seized with an unaccountable and uncontrollable fancy. You have a rhinoceros?" Polito— "Yes, sir." Kemble — " My desire is to have a ride upon his back." Polito — "Mr. Kemble, you astonish me!" Kemble (elated)— " I mean to astonish the world. I intend to ride your rhinoceros up Southampton street to Convent Garden market." Polito — " It is next to an impossibility." Kemble — " Were it an impossilsility I would do it." Polito — "Suppose any accident should happen — the beast is valuable. I would not permit him to be led down in the street under the sum of ten jruineas." Kcm])le— " Here are ten guineas, Mr. Polito— a bargain. Lead fortb my charger — speed I speed!" I'olitd finding that he could not get rid of the extra- ordinary application, pocketed the ten guineas, and told the keeper (who was on intimate terms with the rhinoceros) to l)ring tlic animal out, with the provision that it was to General Theatrical Eeminiscexces. 297 go no further tlian Convent Garden. When in the street, ridiculous as it may appear, the grave John Kemble actually mounted on the back of the beast, who hardly knew what to make of it, but led in the strap of its feeder, went quietly euough, until his rider, highly elated by the achievement of his whim, thought it necessary to spur with his heels. Keeper — Gently, sir. Let vel alone. This is raytlier a crusty buffer ; if you makes him unruly he'll pitch you off, and rip you up." Kemble — "Kip me up! Ha! ha! ha! What Avould they do at Drury ?" It Avas daylight ; and, of course, a mob was collected from Convent Garden market. At this moment Emery, who was also returning from a late party, saw the extra- ordinary cavalcade. Emery, somewhat startled at the situation of Mr. Kemble, immediately went up to him, and walked by his side to the top of Southampton street, when Kemble deliberately dismounted, gave a crown to the keeper, patted the rhinoceros, saying, "Farewell, poor beast!" and, holding Emery's arm, uttered, "Mr. Emery, I have doubtless committed a very silly action ; but after imbibing a certain quantity of wine, no man's deeds are nnder control ; but, nevertheless, I have done that which uo living being can say he ever accomplished. '•■ ' What man dare, I dare. Approach thou like the rugged liussiau bear, The arm'd rhinoceros .' " Bless my soul, I am getting on the rhinoceros again. Mr. Emery, will you have the goodness to see me home ?" 298 General Theatrical Reminiscences. Sol Smith— A Laughable Episode— Act First, Scene First, at the American Theatre, New Orleans, of which Sol. was Manager. " YoiCre a nice young man, hut you canH come in ! " — '•' Hollo there, friend, you can't come in!" said a faithful doorkeeper one day to a tall, eccentric looking individual, "vvho was hurrying with long strides into the new Ameri- can Theatre. " 0, just allow me to take a peep," said the tall cus- tomer, stopping and turning abruptly. '• Can't do it, sir. My orders are to let no person in but the owners and lessees." " Is Alonzo, the Spanish prisoner, confined here ? " said the intruder. " What!" said the honest doorkeeper, opening his eyes, with a bewildered expression, at the question. " Tell me, soldier, hast thou a wife ? " said the stranger, grasping the poor doorkeeper's arm. " Well, I reckon," said the man, while the blood flew from his cheek, and he looked into the tall gentleman's eyes, expecting to detect some symptoms of insanity. " And children ?" said the enquirer, with a tragic start. "Well, mister," replied the doorkeeper, "I don't know how its any of your business, but I reckon I is got a small chance of a family." "■ Here, take this wedge of massive gold ! " exclaimed the stranger, picking up a block of wood that Avas lying at his feet, and thrusting it into the doorkeeper's hand. The man looked at the wood, and then at the stranger, with a great deal of astonishment, and then said, with very solemn deliberation, " look here, now, my good man, it's pretty clear to me your mother don't know you're out, but it won't do for you to come fooling in this way 'round me. You may be a very nice young man, but you canH come in ! " General Theatrical Eeminiscences. 299 "Well, well/' said the stranger, laughing, "you're a trusty, honest fellow, and you'll find I'll like you the bet- ter for it liereafter. So let me pass, for I'm in somewhat of a hurry." " You can't come in, friend, I tell you. Who are you, any how ? " " You don't knoAV me, my good man ? " "Well, I don't." " My name is Smith." " You don't say so ! How is Mrs. Smith and the family ? and what has become of John ?" The stranger gave vent to a hearty langh. " You may laugh, neighbor, as much as you please, but you can't come in!" " My name is Sol. SinWi,^' said the individual, changing his tone, and assuming that dignified manner and grace- ful attitude peculiar to him; "I have just got here from the Gen. Pratte, which is still aground five hundred and seventy miles above Vicksburg. I am the lessee of this establishment, and I like your attention to business. You shall retain your situation as one of my doorkeepers as long as you please; and now, sir, please allow me the favor of passing in for a few moments. The man fell upon his knees, just as Triptolimus Mud- dlework did before Charles XII, and Sol., waving his hand graciously, walked in. 300 General Theatrical Reminiscences. GREEN ROOM DROLLERIES. Cora's Child and Pizarro, an Incident in Forrest's Dramatic Career— "What Good Comedy Is— Ham- let's Madness. A beautiful little girl with large and lustrous dark eyes, just old euougli to chat interestingly, was playing Cora's child in Pizarro. She had a very pretty little pair of red sandals upon her feet which seemed to excite in her a great deal of curiosity. First she would lift up one foot, and then another, to admire the fanciful shoes, keeping the au- dience laughing so that not a word spoken by Alonzo or Cora could be heard. The young lady personating Cora was an elder sister of the child, and as she held it by the hand she com- menced squeezing and pinching its little fingers to make it keep quiet and not set the audience laughing. After standing this for some time, the spirited little girl — her lips pouting and her eyes seemingly just about to launch forth a cataract of tears — suddenly pulled her hand free from Cora, and running to Rolla, who was just entering, she exclaimed, calling him by his proper name, " Mr. For- rest, 2ront yon make Sis stop pinching me?" The audience had been all along tickled half to death, and at hearing this the whole house went off into the wildest outbreak of fun. Little Alonzo and the sandals formed after this nearly the whole interest of the play, and in another scene the aiulience were favored with a still more ludicrous effect arising out of the child's independent spirit. Cora leaves her child sleeping on a bank while she runs to answer the call of Alonzo. Now this part of the busi- ness the little girl didn't like. Two Spanish soldiers were to seize and carry her Off. and at rehearsal in the morninsr, iho nifu had used her ungently, so that she was not in- General Theatrical Reminiscences. 301 cliiied to submit again to the operation. As soon as Cora turned from her, she lifted her head (though she should have been asleep), watched her sister off the stage, looked at the Spanish soldiers coming, and then quietly walked off 0. P., saying to the audience with a pretty courtesy, "/7Z come and play this for you to-morrow day ! " "What Grood Comedy Is. " Comedy is ' a graceful ornament to the civil order — the Corinthian capital of polished society.' Like a mir- ror it reflects the images of grace, gaiety, and pleasure, and completes the perspective of human life. To read a good comedy, is to keep the best company in the world, where the best things are said, and the most amusing hap- pen. The wittiest remarks are ever ready on the tongue, and the luckiest occasions are always at hand to give birth to the happiest conceptions. We don't know which to admire most — the observation, or the answer to it. In turning over the pages, or witnessing the performance of the best comedies, we are almost transported to another world, and escape from this dull age to one that was all life, and whim, and mirth, and humor." This is the opin- ion of a well-known English author, and a very just one it is: we admire comedy, 'tis a picture of life, as it was, as it is, and as it ever will be, " a walkiug shadow — a, poor player. That struts and frets his hour upon the stage.'" Therefore, since "grieving 's a folly," like true philoso- phers, we say, "■With mirth and humor let old -wrinkles come ; For why should man, whobe blood i.s warm within, Sit like his graudsire cut in alabaster ? " 302 General Theatrical Eemixiscences. Hamlet's Madness. The question of the madness of Hamlet has been a good deal discussed and variously decided, as Avell in Ameri- ca as Europe, and the very highest medical authority has pronounced upon this much mooted question. But, as an eminent writer remarks, the induction has been drawn from too narrow premises, being based on a mere diagno- sis of the case, and not on an appreciation of the charac- ter in its completeness. We have a case of pretended madness in the Edgar of King Lear ; and it is certainly true that that is a chai'coal sketch, coarsely outlined, com- pared with the delicate drawing, the lights, shades, and half-tints of the portraiture in Hamlet. But does this tend to prove that the madness of the latter, because truer to the recorded observation of experts, is real, and meant to be real, as the other to be fictitious ? Xot in the least, as it appears to me. Hamlet, among all the charac- ters of Shakspeare, is the most eminently a metaphysician and ps3'Chologist. He is a close observer, continually ana- lyzing his oAvn nature and that of others, letting ffill his little drops of acid irony on all who come near him, to make them show what they are made of. Even Ophelia is not too sacred, Osrick not too contemptible for experi- ment. If such a man assumed madness, he would play his part perfectly. If Shakspeare himself, without going mad, could so observe and remember all the abnormal symptoms as to be able to reproduce them in " Hamlet," why should it ])e beyond the power of Hamlet to repro- duce them in himself? If you deprive Hamlet of reason, there is no truly tragic motive left. He would be a fit 8ul)ject for Bedlam, but not for the stage. We might have l)athology enough, but no pathos. Ajax first becomes tragic when he recovers his wits. If Hamlet is irrespon- sible, the whole play is a chaos. That he is not so miglit be proved by evidence enough, were it not labor thrown away. CHAPTER XLY. Theatrical Emeute. Farrex, ax English Actor, slurs the American Ch\racter — He Refuses to make a Retractiox — Is xot Allowed to Ap- pear AT His own Benefit — Mob Takes Possession of the Stage — Forrest to Play Metamora — He makes a Speech TO the exasperated Crowd. Many old play-goers will no doubt remember something of the great theatrical riot at the New York Bowerv The- atre, July, 1834, which was hardly surpassed by the great Kean and Anderson riots that took place in New York several years previous. The disturbance was caused by the publication of an affidavit of one Abraham Curtiss, who deposed that Farren, the actor, (Farren was the hus- band of Mrs. Farren, the talented actress who was attach- ed to Frank Lawlor's company at the Division Street The- atre.) belonging to the Bowery Theatre, had spoken dis- respectfully of the American nation, and when requested to retract his objectionable language he repeated it and actually struck the deponent. This took place at a hotel near the Bowery Theatre on Saturday evening, and the Monday night following was set apart for Farren's benefit. A contradiction of the charges contained in the affidavit Avere published in the post bills of the theatre. Very early in the evening the performance commenc- ed — Metamora being the first piece, Forrest taking the principal character. The play had progressed to the first scene of the third act, and Mr. Forrest had just made his 304 General Theatrical EEiiiNiscExcES. exit from the stage Aviie]i the people, who had congregated in immense numbers outside of tlie theatre, made a rush and soon filled all parts of the house. The scene which ensued batfles all description. Few ladies were present, as it had been anticipated there would be a disturbance, and those few were obliged to jump from the windows and escape through an alley to an adjoining street. Those dissatisfied bavins: 2'ot possession of the sta<^e re- fused to permit the play to proceed, and demanded the immediate discharge of Mr. Farren. Mr. Forrest came out and said that, having arrived from Philadelphia late that afternoon, he had appeared before them without the slightest intimation or knowledge of any feeling against Mr. Farren. This explanation was received with hearty applause. After it had subsided somewhat Mr. Hamblin attempted to make an address, but was refused a hearing. A second demand for Mr. Farren's discharge was made, when Mr. Forrest again appeared and stated that Farren was discharged, and asked if 'the play should proceed ? This question was at once decided in the negative, when the curtain fell, and the house remained in full possession of Mr. Farren's opponents. The utmost disorder prevail- ed, but, with the exception of breaking the front lobby doors, no damage was done. The room was cleared about VI o'clock, and the doors closed without any renewal of hostilities. The number of persons who had at one time congregated in front of the theatre, could not have been less than fifteen thousand I Four English actors, viz.: Kean, Anderson, PoAvers and Farren, have been very summarily dealt with for the un- just and uncalled for remarks or insinuations against American institutions. Happily things have vastly chang- ed since those events occurred, for now the best feeling exists between us and our English cousins, individually and otherwise. Tlie more they hear and see of Brother Jona- tlian, the better they seem to like him. May it ever be thus. CHAPTER LXVI. A Convenient Dramatic Record. JS^AMES, Ages, and Place of Birth of well-known Actors, Act- resses, YOCALISTS, etc., of THE DRAMATIC PROFESSION. A large number of names of prominent members of the dramatic profession appear throughout this work, but in order to render a reference more convenient, Ave have em- bodied in one chapter many of the names above referred to, as well as many others which do not appear in the body of this work. And we would here mention that for many important facts, data, etc., we are indebted to Col. T. Alison Brown, whose " History of the American Stage " is one of the most concise, and really valuable works on the drama extant, and to the profession particularly, it is au invaluable record. Edmund Kean, born in England, 1797, died 1833, aged 64 years. His son Charles, born in Ireland, 1811, died 1868, aged 67. Charles Gilfert, first manager of the old Albany Pearl Street Theatre, born in Germany, 1797, died in Xew York, 1829. George Barrett, first stage manager in Gilfert's com- pany, and the finest light comedian in the country, born 1794, died in New York in 1860, in abject poverty. He was the leading high comedian in Gilfert's Pearl street company. His wife, also attached to Gilfert's company, a beautiful Avoman and accomplished actress, died at the Sisters of Charity Institution, New York, 1857; both of 20 306 General Theatrical Reminiscences. their deaths, under the sad circnmstauces, being a re- markable coincidence. Henry Placide — whom Forrest pronounced the best actor on the American stage — born 1T99. Mr. Placide was living, in 1871, on his beautiful farm on Long Island. We think, however, he is dead. Edwin Forrest, born in Philadelphia, March 9, 180G, died Dec. 12, 1873, in the 67th year of his age. Edwin Adams, bora in Massachusetts, 1830, is 39 years of age. Lucius Junius Booth, born in England, 1795, died 1834, aged 52. Edwin Booth, his son, of Booth's Theatre, born in Bal- timore, 1833, is in his 41th year. John Wilkes Booth, also son of Lucius Junius, born in Baltimore, 1838, was 35 years of age when he was killed. J. B. Booth, the oldest son of the elder Booth, born in 1821, is 52 years old. George Boniface, born 1833, is 40 years of age. Mrs. Boniface, born 1840, is in her 33d year. John Albaugh, born in Baltimore, 1837, is 33 years old. Barney Williams, born in Dublin, 1828, is 50 years old. John D. Murray, born in Edinburgh, Scotland, 1849, is 24 years old. Edward Eddy, born in Troy, ilade his first appearance on the stage at the Albany Museum, when quite young. He married Miss Mary Mathews, a popular actress, who died in New Orleans, 1865. Mrs. Geo. Farren made her first appearance at the old Chatham Garden Theatre, Xew York, when a mere child, 1824. She is yet, although advanced in years, an excellent actress, and following the profession. Wm. Emmet Coleman, born in Albemarle county, Va., 1843, is 30 years old. George Ryer, born in New York. Made his first appear- Gexekal Theatrical Remixiscexces. 307 ance at Chiea2:o, 1847, as Hamlet. One of the best "old men "' in the country. Mrs. H. E. Baily, born in Provideuce, E. I., 1847, is 26 years old. F. J. Morris, born in Berkenhead, 1849, is 24 years old. Frank Chanfrau, born in New York, 1824, is in the 49tli year of his ag-e. ]\Irs. Chanfrau, born in Philadel- phia, 1837, is 26 years of age. J. E. Xelson, born in Xew Orleans, 1855. George A. Hill, born in Alban\^, 1839. Commenced his dramatic career as " property man " at the Albany ]\Iuseum. Jean Davenport, (Mrs. Lander,) born in England, 1830, is 43 years old. Mrs. D. P. Bowers, born in 1830, is in the 43d year of her age. Lester Wallack, born in New York, 1819, is now 54 years of age. Sothern, (Lord Dundreary,) born in England, 1830, is 43 years old. Mark Smith, son of "old Sol. Smith," born 1827, is 44 years old. Eistori, born in Italy, 1826, is 47 years of age. "William Warren, the eminent comedian, born in Phila- delphia, 1812, is 53 years of age. C. T. Smith, (Charley.) born in England, 1817, died in Buffalo, 1869, aged 51. Charley was for a long time at- tached to the Albany Museum as actor and stage manager. Mrs. Maeder, (Clara Fisher.) born in England, 1811, is 62 years of age, and is still on the stage, doing the role of old woman. Lucille Western, born 1843, is in the 31st year of her age. In 1859, was married to J. Harrison Mead, of St. Louis. Helen Western, sister of Lucille, born 1843, died at Washington, 1868, in the 25th year of her age. Lucille and Helen Western are the daughters of the late George 308 General Theatrical Eemixiscexces. Western, known as the " Great Western." His imitative powers were most remarkable. He would imitate the whistle of a railroad locomotive, its movements from its start until under full headway so perfectly natural us to astonish the most incredulous. He was for a long time at the Albany Museum, and was a favorite. He died at Binghamton in 1858. Pauline ^Markham, born in England, is 27 years of age. Maggie Mitchell, born 183.2, is in her 38th year. James E. Murdock, born in Philadelphia in 1812, is 61 years old. Mrs. James A. Gates, born in 1840, is aged 33 years. John E. Owens, born 1823, is in the 50th year of his age. Lydia Thompson, born in England, is 35 years old. E. S. Packard, born in Albany, is aged 30. Adelini Patti, born in Madrid, Spain, is in the 30th year of her age. Rosa Rand, born in Virginia, 1848. She was reared and educated at the Convent of Xotre Dame, San Jose, Cali- fornia. Fanny Davenport, daughter of E. L. Davenport, born 1850, is 23 years of age. Charles S. Kane, born in Albany, July, 1822, died Feb- ruary 4, 1873, in the 51st year of his age. Mrs. John Drew, {7iee Mrs. Harry Hunt,) born in Eng- land, 1818, is in her 55th year. John Drew, born in Dublin, Ireland, 1827, died 1862, aged 35. Joseph Jefferson, (Rip Van Winkle.) born in Philadel- phia, 1829, is 44 years of age. Laura Keene, born in England, 1833, is in her 40th year. Frank Lawlor, born in Albany, 1835, is 38 years old. William Duffy, born in Albany, 1807, inheriting Eng- lish, Irish and Scotch extraction. His first appearance on the stage was at the old Thespian Theatre, in his native city, 1822. Afterwards appeared at the old State Street General Theatrical Reminiscences. 309 Theatre, corner State and Eagle streets. Mr. Duflfy died March 12, 1836. Jenny Lind, born 1821, in Stockholm, is noAV in her 52d year. Frank Mayo, born in New Orleans, 1829, is in his 44th year. Ada Isaac Men kin, born in New Orleans, 1835, died in Paris, France, in the Jewish faith, 1868. Charlotte Cushman, born in Boston, 1814, is in her 59th year. 0. W. Conldock, born in England, 1815, is 58 years of age. Henry Drayton, vocalist, formerly of the Eiching's Opera Troupe, born in Philadelphia, 1816, died 1872, aged 57. Joseph, or "■Master" Burke, born in Ireland, 1818, is in the 55th year of his age. Edward Seguin, born in New York. AYas educated at the Royal C'oniservatoire,Fiiv[s; joined the Riching's Opera Troupe, 1860, and in 1867 married Miss Zeadi Harrison, the present accomplished vocalist, Mrs. Seguin. Kate Bateman, born in Baltimore, 1843, is now 30 years old. She also appeared at the Albany Museum at an early age. William Burton, (Toodles.) born in London, 1802, died in Xew York, 1860, in the 61st year of his age. When he commenced his theatrical career his foi-fe Avas tragedy. He, like so many of the dramatic profession, was brought up a printer. He made his first appearance in this coun- try in Philadelphia, 1834, doing Allapod, in the " Poor Gentleman." He married the widow of the celebrated actor, Hilson, who was the first to represent "Paul Pry" in this country, and Avho was one of the dramatic company of the old NcAV York Park Theatre. Burton's fascial powers were truly remarkable, probably surpassing any actor in the two hemispheres. Walter Keeble, born in Walworth, England, 1822. is in 310 General Theatrical Eeminiscences. the 51st year of his age. Commenced his professional career in Dublin, Ireland, Avhen about 19 years old. Is the present popular manager of the Capitol Theatre, Albany. EdAvard L. Mortimer, born in Baltimore, Md., 1838, is 35 years old. Charles Waverly, born in London, 1841, is in the 35th year of his age. James E. Nugent, born in Boston, 1843, is 30 years old. Mrs. J. E. Xugent, born in Calais, Maine, 1847, is 26 years old. E. C. McCall, born in Albany, 1848, is in his 25th year. Miss Caroline Weidman, born in Albany, 1851, is 22 years old. CHAPTER LXVII. Amusements in New York as compared with Paris. The total receipts of the A-arioiis theatres, dancing sa- loons, concerts, and other places of public amusement in the city of Paris, in the month of November, 1872, it would appear, amounted to 1,915,864 francs, equivalent to $833,172. Tlie average weekly expenditures for amuse- ments in Paris, therefore, was nearly ninety-six thousand dollars for the whole month of November. Paris has thirteen theatres, including the Opera House, the Fraucais, Odeon, Opera Coniique, Lyrique, Gymnase, Palais-Royal, Vaudeville, Varictes, Bouffes Parisiens, Athenee, Porte St. Martin, and tlie Ambigii. JSTew York also has thii'teen theatres — the Grand Opera House, Academy of Music, Wallack's, Olympic, Booth's, Niblo's, Fifth Avenue, Bowery, Stadt Theatre, Theatre Coniique, Wood's Museum, Tammany, and tlie French Theatre. It is a curious fact that in the same month of whicli Ave have the Parisian record, the amounts receiA^ed at places of public amusement in New York fell short only seA'en- ty-tive thousand dollars of the sum expendtjd in simihir ways in Paris. According to tlie internal revenue returns for November, the thirteen places in Ncav York in Avhicli tlieatrical performances are given, together Avith the cir- cus and the three companies of negro minstrels, received $307,994 in that month. Tliis AA'as an aA-erage of seventy thousand dollars a Aveek. 312 General Theatrical Keminiscences. The full returns were: Grand Opera House $17,385 Wallack's 34,488 Olympic 26,204 Booth's 33,814 Academy (miscellaneous) 22,749 Tammany 18,928 Wood's Museum 14,000 New York Circus 18,225 Theatre Comique 11,468 Kiblo's 38,450 Tony Pastor's 8,258 French Theatre 10.273 Stadt 11,452 Bowery 10,973 San Francisco Minstrels 8,050 Bryant's Minstrels 11,400 Fifth Avenue Theatre 11,697 Total $307,994 New York has about one-half the population of Paris, but its patronage of amusements, as well as the character of the plays and entertainments provided for the public, show that it is running a close race with the greater and older city. New York has a population of about one mil- lion, and spends $70,000 a week for amusements. Paris, with a population of over two millions, expends $96,000 a week for similar puri)Oses. Paris, Avith twice the popu- lation of New York, leads her only $26,000. CHAPTER LXVIII. Interesting Historical Record. A Complete History of Theatres and other places of Public Amcsemext Destroyed by Fire, in the United States, from 1798 TO 1873. By way of an addenda, perhaps few subjects would be more appropriate to this work, or would be read with more interest, especially by those interested in theatri- cal matters, than the subjoined very perfect history of theatres and other places of public amusement destroyed by lire, witJiin the past seventy-five years, in the United States. In Europe, the existence of a theatre, as shown by sta- tistical tables, is about twenty years, and in this country their existence is much less. Tlie interior of these struc- tures beincj of the most combustible character, when the fire gets a start, it has a vast area in which to operate, generally successfully defying all efforts to extinguish it. It will be seen that the largest bulk of the fires have oc- curred since 1840 — a period of little more than thirty years only. Only eight of the above list bear date prior to 1830, making nearly two theatres a year on an average, since that time. Federal Street Theatre, Boston, February 2, 1798. Daniel Bowen's Museum, Boston, January 15, 180.3. Chestnut Street Theatre, Philadelphia, April 30, 1820. Park Theatre, New York, July 4, 1821. Eichmond Theatre, Richmond, December 16, 1821. 314 General Theatrical Reminiscences. Tlieatre, Xatcliez, Miss., Scptemljcr 5, 1822. liowery Theatre, Xew York, May 28, 1828. Liifavette Theatre, Kew York, 1829. Caldwell's Theatre, Cincinnati, October 22, 1830. Richmond Hill Theatre, Xevv York, July 4, 1831. Front Street Theatre, Baltimore, January 5, 1833. Cook's Theatre, Baltimore, February 2, 1838. Mobile Theatre, Mobile, February 6, 1838, Bowery Tlieatre, New York, February 18, 1838. New Theatre, Charleston, S. C, April 27, 1838. National Theatre, New York, Sept. 23, 1839. National Theatre, New York, May 29, 1841. St. Charles Theatre, New Orleans, March 13, 1842. American Theatre, New Orleans, July 29, 1842. Old American Theatre, Cincinnati, September 22, 1842. State Theatre, Mobile, November 13, 1842. Providence Theatre, Providence, October 24, 1844. National Theatre, "Washington, March 5, 1845. Bowery Theatre, New York, April 25, 1845. Niblo's Theatre, New York, December 18, 1846. l»ark Theatre, New York, December 16, 1848. Avon Theatre, Norfolk, Va., February 14, 1850. Theatre Lafayette, Ind., March 18, 1850. AVood's Museum, Cincinnati, July 15, 1851. American Theatre, Sacramento, Cal, 1852. National Theatre, Boston, April 22, 1852. American Theatre, Placerville, Cal., January 30, 1854. Chinese Museum, Philadelphia, July 15, 1854. National Theatre, Philadelphia, July 15, 1854. Placide's Varieties, New Orleans, November 21, 1854. Vanaucchi's Museum, New Orleans, May 6, 1855. Metropolitan Theatre, San Francisco, Cal., 1857. Lyceum Theatre, San Francisco, Cal., 1859. Forrest Theatre, Sacramento, Cal., 1861. Marysville Theatre, Mai-ysville, Cal., November 17, 1864 liarnum's Museum, New York, -Inly 13, 1865. General Theatkical Keminiscences. 315 Bowery Theatre, St. Louis, October 6, 1865. Butler's American Tlieatre, N. Y., February 15, 1866, Pike's Opera House, Cincinnati, IMarch 22, 1866 Academy of Music, New Yorlc, May 22, 1866. Academy of Music, Cincinnati, July 12, 1866. New Bowery Theatre, New York, December 18, 1866. Opera House, St. Louis, February 28, 1866. Winter Garden, New York, March 23, 1867. Varieties, Philadelphia, June 19, 1867. Academy of Music, Albany, January 29, 1868. American Theatre, San Francisco, February 16, 1868. Barnum's Museum, New York, March 3, 1868. Butler's American Theatre, N. Y., April 8, 1868. Theatre Comique, New York, December 4, 1868. Olympic Theatre, New Orleans, December 23, 1868. Olympic Theatre, Detroit, January 23, 1869. Opera House, Dayton, Ohio, May 16, 1869. Theatre, Atlanta, Georgia, May 28, 1869. Metropolitan Theatre, Rochester, November 6, 1869. Gaiety Theatre, Milwaukee, Wisconsin, November 15, 1869. Theatre. Galveston, Texas, December 3, 1869. Variety Theatre, Helena, Montana Territory, Nov. 7, 1869. Opera House, Lafayette, Indiana, December 24, 1869. Opera Hall, Indianapolis, Indiana, January 17, 1870. Varieties Theatre, New Orleans, December 1, 1870. Adelphi Theatre, Boston, February 5, 1871. ^IcVicker's Theatre, Chicago, October 9, 1871. Crosby's Opera House, Chicago, October 9, 1871. Hooley's Opera House, Chicago, October 9, 1871. Dearborn's Theatre, Chicago, October 9, 1871. Olvmpic Theatre, Chicago, October 9, 1871. Niblo's Garden, New York, May 6, 1872. Lina Edwin's Theatre, New York, November 28, 1872. Barnum's Circus, New York, December 24, 1872. Fifth Avenue Theatre, New York, January 1, 1873. 316 General Theatrical Reminiscences. A Lucky Theatre. On the morning of April 34, 1834, the old Albany Pearl Street Theatre came A-ery near being destroyed by fire. It canght from a vent in the chimney in Avhich some shavings were burning. The fire had communicated Avith some scenery which was standing against the chimney. In five minutes, had the fire not been discovered, it Avould have been utterly impossible to have saved the Theatre. Sev- eral slight fires occasionally occurred in this Theatre, bnt excited little alarm or caused any damage. The old Pearl Street Theatre has, probably, been one of the most fortu- nate in the United States in regard to fires, never having been burned but once, (under the name of the Academy of Music, in 1868,) since it was first erected in 1824 — nearly fifty years ago. c/ UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. L D - U R L 7 4 M MAY 28 1965 ^^^ iPRl8 ^81 JAW2 5t9W U«4UU. MARi FEB 25 \958r / REC'D LD-URC FEB 08 ; , IIEC'D LD-URC J R?1^?. 519871 -■ FEB tWl? ^^~ N 81979 1967 IPTimLlBP^-v rni^S JAN 11 19 )8 THREE WEEKS FROM D,^. NON-RENEWABLE 5EP IE Of D U 4A|l8ai968 MAY 7 1987 i.DJwm ] :c,;^^^ Form L9-26m-7,'63(D8618B8)444 ;vii «* M^iit] ^_:iia