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 HISTORY 
 
 PROVIDENCE STAGE, 
 
 1762=1891. 
 
 GEORGE O. WILLARD, 
 
 Including Sketches of Many Prominent Actors who have 
 Appeared in America. 
 
 PROVIDENCE : 
 
 THE RHODE ISLAND NEWS COMPANV 
 
 Publisher's Agent. 
 
 1 891.
 
 Respectfully Dedicated to my Friend, 
 
 Mr. CHARLES BLAKE, 
 
 Author of First History of Providence Stage. 
 
 SNOW & FARNHAM, PRINTERS.
 
 UNIVERSITY OF CALIFORNI 
 SANTA BARBARA 
 
 PREFACE 
 
 The author has taken such an interest in theatrical 
 matters, that for many years he has kept almost a complete 
 record of plays and players in Providence. He has often 
 been asked to write a history of the Providence stage, but 
 has not found time to devote to such a work until recently. 
 In 1868, Mr. Charles Blake, Clerk of the Supreme Court, 
 published such a history, bringing the record up to the latter 
 part of 1859. Obtaining the consent of Mr. Blake to em- 
 body his history in this work, the writer has added several 
 sketches of prominent stars to the former, and has continued 
 the record up to the present year. Mr. Blake's work made 
 the latter a comparatively easy task, although a search of old 
 files of newspapers for more than thirty years was necessary 
 to obtain criticisms, accounts of prominent events, etc. 
 
 The writer is greatly indebted to Brown's History of the 
 American Stage, Phelps's Players of a Century, and that ex- 
 cellent work recently published in Philadelphia by Gebbie & 
 Co., entitled Stage and its Stars, Past and Present, for va- 
 rious matters of interest, together with sketches, etc., of 
 
 prominent stars. 
 
 Geo. O. Willard.
 
 CHAPTER I. 
 
 1745-1761. 
 
 Introduction of the Drama into the West Indies by Moody- 
 Amateurs in Philadelphia and New York— William and Lewis 
 Hallam send a company of Actors to Yorktown— Hostility to 
 Theatres in the Northern Colonies— The Virginia Comedians 
 play in Newport in 1761— Charity Benefits— Moral Dialogues— 
 A curious play-bill— Sketches of the performers— Douglass— 
 Hallam— Morris. 
 
 THE founder of the American Stage was Moody, of 
 Drury Lane, a man who in early life had been a barber, 
 but who, having a taste for the drama, subsequently 
 attempted the histrionic profession. He was naturally a 
 comedian, and was somewhat distinguished for his personation 
 of Irish characters, but he aspired to play the heroes of tragedy, 
 and, as he was unable to attain the accomplishment of his 
 desires at home, he resolved to try his fortunes in the New 
 World. Accordingly he set sail, and reached the island of 
 Jamaica about the year 1745. There he found an amateur 
 company playing in a ball-room, and, offering his services, he 
 proved so superior to any actor the planters had seen, that 
 he achieved a signal success. His popularity was so great 
 that he was induced to propose to them the opening of a 
 regular theatre with a company which he offered to bring 
 out from England. This offer met with the warmest ap- 
 proval ; a subscription was set on foot, and he returned home 
 for recruits, with whom he made his appearance the follow- 
 ing winter, when he opened with due dignity the first temple 
 of Thespis that was reared in the colonies. 
 
 He prospered so well in his enterprise that in a few years 
 he amassed a considerable fortune, when he was obliged to 
 return to England to make fresh engagements. An offer 
 was made him by Mr. Garrick to enlist at Drury Lane, and, 
 accepting this offer, he transferred the expedition to the com-
 
 2 HISTORY OF THE 
 
 pany which he had raised, the chief members of which were 
 Messrs. Douglass, Kershaw, Smith, Daniels, and Morris, 
 with their wives, and a Miss Hamilton, who was their prin- 
 cipal actress. They reached Jamaica about 1 75 1 , and suc- 
 ceeded not only to Moody's rights, but to his gains. 1 
 
 In 1749 a theatrical company was playing in Philadelphia, 
 and on the police records of that city, bearing date January 
 8, 1749, it is written that the Recorder acquainted the 
 Board with some facts concerning certain persons who had 
 lately taken upon themselves to act play acts, etc. In 1750 this 
 same company went to New York, and played in a wooden 
 building in Nassau street which they had hastily converted 
 into a theatre capable of seating about three hundred per- 
 sons. They then went to Williamsburg, Va., and, under 
 the Presidency of Thomas Lee, the " Philadelphia and New 
 York Company of Comedians," as they were called, obtained 
 permission to erect a theatre in Williamsburg, which was be- 
 gun and finished in the year 1750. This company consisted 
 of amateur performers, assisted by one or two actors, who 
 had straggled from the British West India Islands, 2 probably 
 from Moody's company. 
 
 Theatrical performances of some kind had taken place in 
 New York as early as 1733, but there is no information 
 touching the names, number, or quality of the performers, 
 the only evidence of their existence being an advertisement 
 in Bradford's Gazette of that year, by which a tradesman calls 
 public attention to his place of business "next door to the 
 Play-House." 3 It is not probable that this place was the 
 scene of any professional acting. 
 
 The tidings of the good fortune of the Jamaica comedians 
 were borne to London, and occasioned the organization of a 
 similar expedition, designed for the Continental colonies. 
 William Hallam, who had succeeded Giffard in the manage- 
 ment of Goodman's Fields Theatre, when Giffard and Gar- 
 rick had been invited to Drury Lane, first conceived the plan 
 of sending a thoroughly organized troop of actors to America ; 
 from which circumstance he has been termed " The Father 
 of the American Stage." He associated with himself his 
 
 1 Early days of the American Stage, by John Bernard. 2 Fifty years of a Play -goer's 
 Journal. 3 Judge Daly's Lecture.
 
 PROVIDENCE STAGE. 3 
 
 brother Lewis, who consented to cross the Atlantic with his 
 wife, and attempt the introduction of the drama into the 
 Western world. His first step was to send as an avant- 
 couricr one Robert Upton, who was charged with the duty 
 of obtaining the permission of the authorities to prepare a 
 theatre in New York, and to make such other preliminary ar- 
 rangements as might be necessary. This Upton proved 
 faithless to his trust ; for, on his arrival, finding the Nassau 
 street " theatre " unoccupied, he turned the circumstance to 
 his own advantage, and, with the assistance of some of the 
 former occupants he collected several recruits, and tried to 
 maintain a theatre. After a few feeble attempts, disheart- 
 ened by failure, he left the country. Mr. Hallam, receiving 
 no tidings from his ambassador, continued his preparations. 
 He secured the services of a number of actors of well estab- 
 lished reputation and undeniable talents, and put into re- 
 hearsal twenty-four of the most approved plays, with attend- 
 ant farces. When all were familiar with their parts they 
 sailed for America on Board the Charming Sally, and after 
 six weeks' passage arrived at Yorktown, Va. The com- 
 pany were not idle during the voyage, but rehearsed all the 
 plays which had been selected, on the quarter-deck of the 
 vessel whenever the weather permitted. 
 
 From Yorktown the company proceeded to Williamsburg, 
 where they arrived in the month of June. Lewis Hallam 
 obtained permission of Governor Dinwiddie to give perform- 
 ances and began his preparations. Meanwhile some of his 
 inferior actors went to Annapolis, Maryland, and, associating 
 themselves with the "New York and Philadelphia Com- 
 pany," opened the new theatre, a brick building capable of 
 holding about six hundred people, with the " Beaux Strata- 
 gem " and the farce of "The Virgin Unmasked." When Mr. 
 Hallam had completed his arrangements they returned to 
 Williamsburg, and there, on the fifth of September, 1752, 
 Shakspeare's "Merchant of Venice," and Garrick's farce of 
 " Lethe " were represented to a delighted audience. 1 
 
 When the comedians left Williamsburg, Governor Din- 
 widdie gave the manager a certificate signed in council, 
 recommending the company as comedians, and testifying to 
 
 1 Dunlap's History of tlie American Theatre.
 
 4 HISTORY OF THE 
 
 the propriety of their behavior as men. They then performed 
 in Annapolis and other towns in Maryland, and finally in New 
 York ami Philadelphia. 
 
 William Hallam meanwhile had remained in England with 
 the understanding that he should receive half of the profits 
 of the enterprise. This engagement was faithfully kept by 
 Lewis until the year 1754, when William arrived in Phila- 
 delphia, and, after a brief stay sold his interest to his brother, 
 and returned to England. Lewis Hallam, now sole proprietor, 
 transported the company to Jamaica, where they remained 
 until 1758. 
 
 It may surprise some that William Hallam did not send his 
 comedians to New York, Philadelphia, or Boston instead of 
 selecting a town comparatively so small as Williamsburg for 
 their first appearance ; but he was well aware that dramatic 
 adventurers would not be welcomed with cordiality, either in 
 New England, Pennsylvania, or New York, where a general 
 hostility prevailed to amusements of all kinds, but especially 
 to stage-plays. New England, which had been settled by the 
 Puritans, retained to a late period that bigoted spirit and 
 hostility to amusements which had characterized many of its 
 original settlers ; while in the South the people were more 
 inclined to liberality, and more fond of recreation. 
 
 The states of Massachusetts and Connecticut were the 
 strongholds of Puritanism, though in Boston a spirit of tol- 
 erance had gained way among the inhabitants, and was making 
 innovations upon their ascetic habits. As early as 1750 two 
 Englishmen had attempted to give a representation of the 
 tragedy of "The Orphan" in the public room of a Boston 
 tavern, and the eagerness of the public to witness the per- 
 formance occasioned a serious disturbance at the door. The 
 attention of the legislature was thereby directed to the drama, 
 and a law was immediately passed forbidding stage-plays 
 under extremely severe penalties. This enactment for a 
 long time effectually repressed any attempt at producing 
 plays in Massachusetts. 
 
 On the return of the Virginia comedians from Jamaica, 
 they desired to enlarge their dramatic circuit, and meditated 
 a visit to Rhode Island, a colony which, as was popularly be- 
 lieved, was, in a great measure, owing to the views of its 
 noble founder, exempt from the rule of bigotry, and which
 
 
 #1 
 
 I
 
 PROVIDENCE STAGE. 5 
 
 contained a town famed for the wealth and cultivation of its 
 inhabitants. 
 
 The town of Newport claims the distinction of being the 
 first place in New England in which a temple of the muses 
 was raised. Isaiah Thomas in his History of Printing 
 says that the first play publicly performed in New England 
 was acted in Providence in 1762. This erroneous statement 
 is repeated in other works of an historical character, and to 
 this day the boast is frequently made by the citizens of 
 Providence that their town reared the first theatre in New 
 England. 
 
 It is true that the Virginia comedians played in Providence 
 in 1762, but it cannot be controverted that they had performed 
 in Newport the previous year. Were there no positive 
 proof, it would still be a reasonable inference, judging from 
 the relative importance of the two towns, that when the com- 
 pany arrived from the South they would direct their steps to 
 Newport, a large and thriving place, before visiting Provi- 
 dence, a town scarcely half as populous. 1 It is a matter of 
 record that in the summer of 1761 the company under the 
 direction of David Douglass came to Newport from Williams- 
 burg. In the Newport Mercury of Aug. n, 1761, appeared 
 the following announcement: 
 
 " The company of comedians propose to entertain the town for a short 
 time with theatrical performances. As they have been at considerable 
 expense, thev humbly hope that the inhabitants will grant them their pro- 
 tection; and, if they are so happy as to meet with encouragement, they 
 propose to give a benefit night for the support of the poor. The follow-* 
 ing recommendation, copied from the original, was signed by the Gover- 
 nor, Council, and near one hundred of the principal gentlemen of Vir- 
 ginia : 
 
 • Williamsburg, June 11, 1761. 
 
 ' The company of comedians under the direction of David Douglass 
 have performed in this colony for near a twelvemonth; during which time 
 thev have made it their constant practice to behave with prudence and 
 discretion in their private character, and to use their utmost endeavours 
 to give general satisfaction in their public capacity. We have therefore 
 thought proper to recommend them as a company whose behaviour merits 
 the favour of the public, and who are capable of entertaining a sensible 
 and polite audience.' " 
 
 1 At this time Newpsrt contained about sixty Jewish families, many >>t ■ 
 wealthy; and from these the actors would naturally expect a liberal patronage, as the 
 Jews from time immemorial have been conspicuous in their support of the drama.
 
 6 HISTORY OF THE 
 
 It appears from the records of the town that on the first 
 of August a special town meeting was called at the request 
 
 a number of freemen, by warrant of the town council, 
 and it being put to vote whether the freemen "were for 
 lys to be acted in town or not, it was voted, not." 
 The players, notwithstanding this intimation of. the popular 
 will, prepared a temporary theatre, and gave their initial per- 
 formance on the 7th of September, consisting of the "Pro- 
 voked Wife, or a Journey to London," for the benefit of the 
 poor, when the sum of one thousand and thirty pounds, old 
 tenor, was raised. 1 This money was paid by Mr. Douglass 
 to Mr. George Gibbs, who expended it in the purchase of 
 corn, which was stored until the succeeding winter, and then 
 distributed among the deserving poor. 
 
 This was the first dramatic performance given in New 
 England by a regular company of professional actors. The 
 theatre was a slight wooden structure, and stood on a lot on 
 the north of that part of the town called Easton's Point, near 
 Dyer's Gate. A violent storm occurred in the latter part of 
 
 tober, and we learn from the Mercury of the 27th, that it 
 broke off a part of the steeple of Trinity Church, wrought 
 great injury to the shipping in the harbor, tore up trees by 
 the roots, and "came near spoiling the entertainment" of 
 the ladies and gentlemen at the theatre. - 
 
 In Arnold's History of Rhode Is/and it is stated that the 
 blew down the theatre, and that the comedians narrowly 
 
 aped with their lives. That this statement is erroneous 
 appears by the extract from the local paper. Still further: 
 In the Newport Mercury of November 3d, there appeared 
 the following complimentary notice of the closing perform- 
 ance of the season, which took place one week after the 
 storm : 
 
 Friday evening last, the company of comedians finished their per- 
 ances in this town by enacting the tragedy of ' Douglas ' for the 
 the poor. This second charity is undoubtedly intended as an 
 expression of gratitude for the countenance and favour the town has 
 shown them, and it can not without an uncommon degree of malevolence 
 l>e ascribed to an interested or selfish view, because it is given at a time 
 when the company are just leaving the place, and consequently can have 
 neither hopes nor fear- from the public. In return for this generosity it 
 ought in justice to be told that the behaviour of the company has been 
 
 silver. 2 Bull's Memoir of Rhode Island.
 
 PROVIDENCE STAGE. 7 
 
 irreproachable; and with regard to their skill as players, the universal 
 pleasure and satisfaction they have given is their best and most honour- 
 able testimony. The character they brought from the Governor and 
 gentlemen of Virginia has been fully verified, and therefore we shall run 
 no risk in pronouncing that ' they are capable of entertaining a sensible 
 and polite audience.'" 
 
 After this charity benefit the comedians left Newport and 
 went to New York, where the republication of this extract 
 from the Newport paper in Gaine's Mercury, a New York 
 newspaper, did them no little service, although they met with 
 much opposition from the religious Dutch. They continued 
 playing there during the winter and spring, and early in the 
 summer of 1762 again visited Newport, and gave several per- 
 formances in the large room of an inn. 
 
 An explanation is necessary concerning their contuma- 
 cious conduct in disregarding the vote of the town-meeting. 
 When they first appeared in Newport they found the more 
 intelligent and influential of its citizens desirous of encour- 
 aging dramatic exhibitions, although the majority were bit- 
 terly opposed to them, as was evinced by their vote. There was 
 no general statute prohibiting stage-play, and the enemies of 
 the theatre were more numerous than powerful, and were igno- 
 rant how to proceed under the circumstances. To conciliate 
 all Mr. Douglass resorted to an expedient similar to that 
 used by John Philip Kemble and Mrs. Siddons in the Eng- 
 lish provincial theatres to evade the law against playing (12 
 of Anne), but marked with characteristic peculiarities. 1 He 
 eluded the objections to stage-plays with the same success^ 
 which in later years attended the substitution of the word 
 " Museum " or " Lyceum " for " Theatre " in several Ameri- 
 can cities. In some places he had announced to the citizens 
 that he had opened an "Histrionic Academy in order to 
 deliver dissertations on subjects instructive and interesting," 
 and to qualify the visitors "to speak in public with propriety." 
 In Newport he advertised entertainments called " Moral 
 Dialogues." Thus far his method of securing favor resem- 
 bled that of Kemble, but Douglass showed originality in the 
 form of his bills. The original of the one here presented 
 was preserved by Mr. Morris of this company, and by him 
 given to Mr. John Bernard, the eminent actor, in whose pos- 
 
 1 See Appendix A.
 
 8 HISTORY OF THE 
 
 thumous papers, published in 1850 in an English Dramatic 
 Magazine, a copy first appeared. It ran in the following- 
 manner : 
 
 "KINGS ARMS TAVERN — NEWPORT, RHODE ISLAND. 
 
 On Monday, June 10th, at the Public Room of the above Inn, -will be de- 
 livered a series of 
 
 MORAL DIALOGUES, 
 
 IN FIVE PARTS, 
 
 Depicting the evil effects of jealousy and other bad passions, and proving 
 
 that happiness can only spring from the 
 
 pursuit of virtue. 
 
 Mr. Douglass — Will represent a noble and magnanimous Moor called 
 Othello, who loves a young lady named Desdemona, and after he has 
 married her, harbours (as in too many cases) the dreadful passion of 
 jealousy. 
 
 Of jealous} - , our being's bane, 
 
 Mark the small cause and the most dreadful pain. 
 
 '■ Mr. Ally/i — Will depict the character of a specious villain, in the 
 regiment of Othello, who is so base as to hate his commander on mere 
 suspicion, and to impose on his best friend. Of such characters, it is to 
 be feared, there are thousands in the world, and the one in question may 
 present to us a salutary warning. 
 
 The man that wrongs his master and his friend, 
 What can he come to but a shameful end? 
 
 " Mr. Hallam — Will delineate a young and thoughtless officer who is 
 traduced by Mr. Allyn, and, getting drunk, loses his situation Mid his 
 general's esteem. All young men whatsoever, take example from Cassio. 
 
 The ill effects of drinking would you see, 
 Be warned and fly from evil company. 
 
 "Mr. Morris — Will represent an old gentleman, the father of Desde- 
 mona, who is not cruel or covetous, but is foolish enough to dislike the 
 noble Moor, his son-in-law, because his face is not white, forgetting that 
 we all spring from one root. Such prejudices are very numerous and 
 very wrong. 
 
 Fathers beware what sense and love ye lack, 
 'Tis crime, not colour, makes the being black. 
 
 "Mr. Qiielch — Will depict a fool who wishes to become a knave, and 
 trusting to one, gets killed by him. Such is the friendship of rogues. 
 Take heed. 
 
 When fools would knaves become, how often you'll 
 
 Perceive the knave not wiser than the fool. 
 
 '• Mrs. Norris — Will represent a young and virtuous wife, who, being 
 wrongfully suspected, gets smothered (in an adjoining room) by her hus- 
 band. 
 
 Reader, attend, and ere thou gocst hence, 
 Let fall a tear to hapless innocence.
 
 PROVIDENCE STAGE. 9 
 
 " Mrs. Douglass — Will be her faithful attendant, who will hold out a 
 good example to all servants, male and female, and to all people in sub- 
 jection. 
 
 Obedience and gratitude 
 
 Are things as rare as they are good. 
 
 " Various other dialogues, too numerous to mention here, will be de- 
 livered at night, all adapted to the improvement of the mind and man- 
 ners. The whole will be repeated on Wednesday and on Saturday. 
 Tickets, six shillings each; to be had within. Commencement at 7. 
 Conclusion at half past 10. in order that every spectator may go home at 
 a sober hour, and reflect upon what he has seen, before he retires to rest. 
 
 God save the King, 
 
 And lonsj may lie sway, 
 East, north and south, 
 
 And fair America." 
 
 This bill furnishes a proof of the fertility of Mr. Doug- 
 lass's invention, and occasions regret that others have not 
 been preserved. Mr. Clapp, in his Records of the Boston 
 Stage has inserted this bill, and adds that it is undoubtedly 
 similar to those used at the Exhibition Room in Boston about 
 thirty years later. There is no foundation for this assertion, 
 as such elaborate vindications of the morality of the drama 
 were peculiar to Douglass's company, and to the period be- 
 fore the American Revolution. The Boston stage dates 
 back only to 1792, and the sole vestige of the old means of 
 propitiating public favor then existing was the use of the 
 term "Moral Dialogues." 
 
 The company in 1762 consisted of Messrs. David Doug- 
 lass (manager), Hallam the 2nd (son-in-law of Douglass), 
 Allyn, Morris, Ouelch, Tomlinson, Sturt, Reed, and Tre- 
 maine, Master A. Hallam, Mesdames Douglass, Morris, 
 Crane, Allyn, and Moor, and Miss Hallam, besides several 
 others whose names are unknown. These pioneers of the 
 drama in Rhode Island were not ignorant and unskilled vaga- 
 bonds, but artists of talent and position. William and Lewis 
 Hallam, the originators of the American dramatic enterprise, 
 were brothers of Admiral Hallam. William, as has already 
 been stated, had succeeded Giffard as manager at Goodman's 
 Fields, when Giffard and Garrick had left that establishment 
 to go to Drury Lane. Lewis was first low comedian at 
 Goodman's Fields, and his wife was a relative of Mr. Rich, 
 the manager of Covent Garden. 
 
 David Douglass was a gentleman by birth and fortune, 
 who had emigrated to Jamaica about the year 1750. Hither
 
 IO HISTORY OF THE 
 
 had Lewis Hallam transported his Virginia comedians after 
 he had found that the colonies could not yield him an abund- 
 ant harvest in return for his labors. Here he formed a part- 
 nership with Mr. Douglass, who, after the death of Hallam, 
 married his widow, and with her and the rest of the company 
 visited the continent in 1758, where he established theatres 
 successively in New York, Philadelphia, Newport, Perth 
 Amboy, and Charleston, and between these localities he con- 
 tinued to travel, acting and superintending his company, till 
 Congress closed the theatres by an act passed Oct. 24, 
 1774. After this enactment he returned to Jamaica, was 
 appointed one of King George's Judges, and died universally 
 respected In his early life he had been a printer, and on 
 his return to Jamaica he became a partner in a thriving print- 
 ing establishment, and, receiving a valuable contract from 
 the government, he accumulated a fortune of .£25,000. 
 
 Mrs. Douglass had been an eminent actress at Goodman's 
 Fields, when Mrs. Hallam, and was the heroine of that thea- 
 tre at the time of Garrick's first success. She came with 
 her first husband to America in 1752, and made her debut at 
 Williamsburg as Portia in the " Merchant of Venice." She 
 had fine talents, and her favorite line was the pathetic. She 
 was much admired both North and South, and Mr. Dunlap 
 says that in his youth he has heard the old ladies of Perth 
 Amboy speak almost in raptures of her beauty and grace, 
 and especially of the pathos of her representation of Jane 
 Shore. She retired from the stage in declining health in 
 1769, and died in Philadelphia in 1773. 
 
 Mr. Hallam the 2nd, made his first appearance upon any 
 stage on the first night of the performance of his father's 
 company in America, when twelve years old. He had but 
 one line to speak, but when he came into the presence of the 
 audience he was panic-struck. He stood a little while, very 
 much confused, then, bursting into tears, retired. He after- 
 wards became an accomplished actor, and in 1769 he was 
 principal tragedian and comedian in the company. In 1773, 
 Josiah Ouincy said, he had merit in every character he played. 
 In 1774 he went to England to engage performers, and while 
 there he acted Hamlet at Covent Garden Theatre with con- 
 siderable success. After the Revolution he collected a small 
 company of actors of sterling merit, and returned to Phila-
 
 PROVIDENCE STAGE. I I 
 
 delphia, where he, in conjunction with Mr. John Henry, pro- 
 duced tragedies with such beauty of decorations that he 
 greatly delighted the citizens. He was afterwards a manager 
 in most of the theatres of the country. 1 
 
 Mr. Morris played the "old man " in comedy and farce. 
 In 1797, being the oldest actor on the American stage, he 
 still retained his powers sufficiently to keep his place on the 
 boards, and at that time he communicated to Mr. John Bernard 
 the particulars of the introduction of the drama into the 
 New World. He had been one of the original company who 
 arrived in Jamaica from England in 175 1, and was well quali- 
 fied to impart information on the subject. 
 
 Nothing more is known respecting the other performers 
 than that they had been selected for their talents and moral 
 worth, and that their behavior justified their reputation. 
 
 1 Dunlap's History of the American Theatre.
 
 CHAPTER II. 
 
 1762. 
 
 Introduction of the Drama into Providence— A town meeting 
 prohibits plays— The General Assembly is petitioned to pass 
 a.n act to suppress theatrical amusements— the act is passed— 
 Its promulgation in Providence— Anecdote of John Brown- 
 Theatrical customs before the Revolution— Comedians from 
 North Carolina make application for license to play in 
 Rhode Island. 
 
 AFTER a few performances in Newport the company 
 visited Providence, and opened a theatre in Meeting 
 • street, east of Benefit street, near the cadet gun-house 
 and alarm-post. This edifice was little better than a barn, 
 but it was visited by the elite of the town, and also by many 
 visitors from Boston and other places, who expressed them- 
 selves highly pleased with the performances. The opening 
 night was about the first of July. A printing-press was 
 established in town just at this time, and the first articles 
 printed were play-bills, and a hand-bill headed " Moro Castle 
 taken by storm." None of these bills are in existence, but 
 there is good reason to believe that they were like those used 
 by the same company in Newport a fortnight previously. 
 
 Mr. Douglass did not long enjoy unmolested the privilege 
 of delivering "dissertations " at his " Histrionic Academy " in 
 Providence. He had opened it without asking leave of the 
 authorities, at which disrespectful conduct many of the citi- 
 zens were offended, and, at a town-meeting on the 19th of 
 July, 1762, specially called by warrant at the request of a 
 number of freemen of the town, Daniel Jenckes, Esq., 
 moderator, it was voted and resolved that the actors should 
 not be permitted to exhibit stage-plays, and that the depu- 
 ties of the town should be instructed to make application to 
 the General Assembly at their next session to have an act
 
 PROVIDENCE STAGE. I 3 
 
 made for suppressing all kinds of stage-plays, or theatrical 
 shows within the colony. 
 
 The actors disregarding the town vote, as in Newport, con- 
 tinued to perform regularly ; which conduct so incensed the 
 opponents of the drama that they drew up a petition to the 
 General Assembly, praying the immediate suppression of all 
 theatrical entertainments. The objections which these good 
 people assigned for their hostility to the theatre may be 
 learned from the original petition, a copy of which is here 
 presented : 
 
 " To the Honourable General Assembly oj the Colony of Rhode Island, 
 no~v sitting at East Green-Mich, Aug. 2j, 1*62 : 
 
 "The petition of us, the subscribers, inhabitants of the County of 
 Providence, humbly sheweth that a number of stage-players have latelv 
 appeared, and a play-house has lately been built in the town of Providence, 
 that the inhabitants of said town being legally called by warrant did, at 
 their late town meeting, by a large majority, pass a vote that no stage- 
 plays be acted in said town; yet the actors, in defiance of said vote, and 
 in defiance of the public authority of said town have begun, and are now 
 daily continuing to exhibit stage-plays and other theatrical performances, 
 which has been, and still is, the occasion of great uneasiness to many 
 people in this Colony, but more especially to your Honours' petitioners in 
 this county, humbly conceiving that so expensive amusements and idle 
 diversions cannot be of any good tendency among us, especially at this 
 time, when this Colony as well as others is labouring under the grievous 
 calamity of an uncommon draught, and very great scarcity of hay and 
 provisions. 
 
 " Wherefore your petitioners pray that you will take this matter into 
 your consideration, and make some effectual law to prevent any stage- 
 plays, comedians, or theatrical performances being acted in this Colony 
 for the future. 
 
 "And your petitioners further pray that Elisha Brown and Baizillai 
 Richmond may be admitted further to present this affair to your Honours. 
 And as in duty bound, will ever pray," etc. 
 
 This petition was ostensibly signed by four hundred and 
 five male inhabitants of the county, the population of the 
 town at this time being about four thousand. The original 
 copy had only two hundred and fifty-four names appended to 
 it, the first in order being those of John Graves, Missionary, 
 Samuel Winsor, Elder, Joseph Snow, Pastor, Edward Mitch- 
 ell, Elder, and Joseph Winsor, Elder. It is believed that 
 there were other copies in circulation which obtained enough 
 names to make the aggregate of signatures four hundred and 
 five. It is noteworthy that all the names subscribed to the
 
 14 HISTORY OF THE 
 
 original draught are in one handwriting, and that the only 
 evidence there is of any signers having been obtained for 
 the auxiliary petitions are certain computations at the foot of 
 the original. 
 
 The petition was presented to the General Assembly on 
 the 24th of August, and immediately found favor in both 
 Houses. A committee consisting of Captain Benjamin 
 Groome and William Potter from the lower House, with 
 Joseph Harris from the upper House, was appointed to pre- 
 pare a bill accordingly. They went to work without delay, 
 drew up an act on the model of one which had passed the 
 Massachusetts Legislature, and reported it the next day to 
 the Assembly, who instantly adopted it. 
 
 On the day of the presentation of this petition, an address 
 in opposition thereto was forwarded to Daniel Ayrault and 
 Augustus Johnson, requesting them to use their influence 
 with the General Assembly that the players might be per- 
 mitted to act sometime longer, as the signers and a number 
 of their friends in Boston were very desirous of attending 
 the entertainments. The address was signed by B. Lech- 
 mere, John Brown and eight others. 
 
 The subject was thus hastily disposed of without the de- 
 liberation merited by its importance, because at that time 
 party politics ran high, and, the suppression of theatrical 
 entertainments being made an issue, the dominant party 
 advocated the measure with so much violence that no opposi- 
 tion could withstand them. The act was pervaded by a ran- 
 corous spirit, and its severity contributed to make it inoper- 
 ative in after years. Although in some respects it resembled 
 that of Massachusetts (its preamble and first two sections 
 being almost verbatim copies of it), it exceeded it in severity. 
 The Massachusetts act imposed a penalty of jQio for each 
 day's letting of a building for the representation of plays, 
 and on the actor a penalty of ^5 for playing when more than 
 twenty persons were congregated together. The Rhode 
 Island law imposed a penalty of ^50 for each clay's letting 
 of a building for the representation of plays, and ,£100 on 
 the actor who played. The facilities for procuring convic- 
 tions were numerous. Any freeholder could prosecute before 
 the Inferior Court, and, if that was not soon to be in session, 
 a Special Court of the Justices could be summoned for the
 
 PROVIDENCE STAGE. I 5 
 
 purpose of hearing the complaint, and there could be no 
 appeal from the decision of such court. The prosecutor 
 could use as witnesses the spectators, who incurred severe 
 penalties if they should refuse to give evidence ; and he also 
 received half of the penalty after conviction. Thus, if ten 
 actors should perform in a play, the informer's share of the 
 spoils would be ^500 
 
 Such was the law as enacted for general operation, and for 
 the statute book ; but it possessed a supplement having refer- 
 ence to Providence, and consisted of a preamble and a clause 
 prescribing the mode of promulgation in that town. It was 
 worded as follows : 
 
 "Whereas, a number of stage-players have lately appeared, and a play- 
 house has lately been built in the town of Providence, and the players 
 have continued to act in spite of a vote of a large majority of the inhabit- 
 ants at a town meeting called by warrant. 
 
 "It is enacted that the more speedily those persons may have the earli- 
 est notice, the Governor is requested to issue a warrant, directed to a pro- 
 per officer or officers in the County of Providence, directing him or them, 
 forthwith, on sight and receipt thereof, to immediately proclaim the act by 
 beat of drum through the streets of the compact part of the town of Provi- 
 dence, any law, custom, or usage to the contrary notwithstanding." 
 
 After the passage of the act, Paul Tew, the sheriff of the 
 county, brought a copy from the Assembly, and attended the 
 theatre with it in his pocket ; and, after the performance was 
 finished, he drew it forth and read it to the audience. Of 
 course plays were now at an end in Providence and Newport, 
 but the comedians continued to play in other colonies till 
 Congress recommended the suspension of all amusements of 
 a public nature. The business of the theatres throughout 
 the country was at once destroyed, and the players were 
 forced to betake themselves to the West Indies, or to remain 
 in retirement until the end of the war. 
 
 Tradition recites that before the passage of the act by the 
 Rhode Island Legislature, by which stage plays were de- 
 clared unlawful, the enemies of the drama, impatient at the 
 delay of the law, took upon themselves to abate the theatre 
 as a nuisance ; but their intentions were frustrated by the 
 energetic conduct of John Brown, the most prominent citizen 
 of the town, who, with the assistance of some friends, having 
 drawn the cannon from the neighboring gun-house to the 
 protection of the building, threatened to fire upon the tres-
 
 1 6 HISTORY OF THE 
 
 passers if they should commit any violence. This timely 
 action intimidated the fanatics, who withdrew without exe- 
 cuting their purpose, although they soon afterwards enjoyed 
 a triumph when the theatre was closed by the legislative en- 
 actment. 
 
 Before the Revolution there prevailed many customs which, 
 if revived at the present day, would occasion surprise. 
 
 The entrance to the boxes was always by the stage-door, 
 and gentlemen passing to them were in the habit of stopping 
 upon the stage, mingling with the performers behind the 
 scenes, obstructing the actors, and annoying the actresses 
 with their attentions. In some theatres they actually had 
 seats on the stage itself. On the 31st of December, 1761, 
 there appeared in a New York newspaper this notice, inserted 
 by Mr. Douglass : 
 
 "Complaints have been made that a number of gentlemen crowd the 
 stage, and very much interrupt the performances; and, as it is impossible 
 the actors should do that justice to their parts they otherwise would, it 
 will be taken as a particular favour if no gentleman will be at the stage 
 door unless he has previously secured himself a place in either the stage, 
 or upper boxes." 
 
 About a fortnight later the manager, advertising the tragedy 
 of " Romeo and Juliet," with the funeral procession of Juliet 
 to the tomb of the Capulets, appends to the bill the following 
 note : 
 
 "That the procession may be conducted with necessary decorum, we 
 must renew our application to the gentlemen to give us the entire use of 
 the stage." 
 
 The close proximity of the boxes to the stage is indicated 
 by an advertisement which appeared in the same paper on 
 the 3d of May, 1762, directly after a benefit for a charity 
 school : 
 
 "A Pistole Reward will be given to whoever can discover the person 
 who was so very rude as to throw eggs from the gallery upon the stage 
 last Monday, by which the clothes of some ladies and gentlemen in the 
 boxes were spoiled, and the performance in some measure interrupted." 
 
 David Douglass." 
 
 Upon the return of the actors at the restoration of peace, 
 but few attempts were made to renew the custom of passing 
 upon the stage.
 
 proyide:s t ce stage. 17 
 
 As the ladies used to complain of the partiality of the 
 manager in the assignment of particular seats, the bills an- 
 nounced not only the hour of beginning the performances, 
 but also the hour at which the doors would be opened for the 
 admission of servants to secure seats for their masters. At 
 about six o'clock on the nights of performance the servants 
 purchased the tickets, chose the most desirable seats and 
 occupied them until the coming of their employers with their 
 families, when they vacated them, and retired to their homes, 
 or to the upper circle. Thus the theatre at the rising of the 
 curtain usually presented a variegated appearance, with num- 
 erous black serving-men retaining seats for late comers, in 
 close proximity to the belles of the day. 
 
 The actors played only twice a week ; a season in a town 
 of a few thousand inhabitants comprising generally twenty- 
 four nights, at the conclusion of which each of the chief per- 
 formers took a benefit, and performances were given for the 
 benefit of two or three of the inferior actors collectively, and 
 lastly for some public charity. The beneficiaries visited the 
 houses of the principal citizens to dispose of tickets. Their 
 calls were generally welcome, and the tickets were liberally pur- 
 chased. A gentleman felt honored in being thus called upon, 
 considering it an acknowledgment of his influence as a citi- 
 zen, and of his taste as a patron of the drama. This prac- 
 tice was however soon discontinued, on account of the vari- 
 ous inconveniences which attended it ; the actor in most 
 cases feeling a sense of degradation in thus personally solicit- 
 ing patronage, and also being unwilling to submit himself to 
 the mortification of a contemptuous refusal when by accident 
 he addressed some strict enemy of the stage, and the patron 
 himself not always being willing to compete with others in 
 the purchase of tickets. Douglass's company dropped the 
 custom at an early period ; for, at the foot of a bill announc- 
 ing the benefit of Mrs. Douglass in February, 1762, we find 
 this paragraph : 
 
 " The ceremony of waiting on ladies and gentlemen at their houses 
 with bills has been for some time left off in this company; the frequent 
 solicitations on these occasions having been found rather an inconven- 
 ience to the persons so waited on than a compliment." 
 
 The manager always travelled with a "character" from 
 the governors of the respective colonies, in the manner of the
 
 1 8 PROVIDENCE STAGE. 
 
 old companies in the time of Queen Elizabeth ; and after he 
 had gained entrance to a town, he seldom dared openly to 
 advertise plays, but substituted less objectionable terms, as 
 has been previously stated. 
 
 Mr. Douglass never again attempted to establish the drama 
 in New England ; but in a few years after his departure 
 another manager contemplated visiting Rhode Island, as will 
 appear from the following letter received by Governor 
 Ward, and now on file in the office of the Secretary of 
 State : 
 
 North Carolina, Brunswick, 
 the 15th of June, 1768. 
 
 Sir: Mr. Mills, who is the manager of a company of comedians, in- 
 tends to solicit your permission to act in some parts of your Government. 
 He has therefore entreated me to mention their behaviour during their 
 stay here of six months, which, as far as I have understood, has been 
 decent, orderly, and proper. 
 
 " I am, sir, your most obedient servant, 
 
 " Wm. Gryon." 
 " Governor Ward." 
 
 These comedians never came to Providence, probably be- 
 cause Governor Ward advised them of the existence of the 
 statute prohibiting theatrical entertainments. 1 
 
 1 It has been said that dramatic performances took place in Newport in 1767, but the re- 
 port is untrue. The facts are as follows : On the 26th of August, 1767, the brig Dolphin, 
 John Malborn, master, from Jamaica, with a cargo of rum ancl sugar was destroyed by tire 
 off Block Island. On board this vessel were John Henry, his wife, and seven or eight other 
 actors as passengers, five of whom were burned to death. The survivors landed at Newport, 
 and contributions for their aid were taken up the ensuing Sunday by the several religious 
 societies; after which they removed to New York, where Henry made his first appearance 
 on the American stage in the following December.
 
 CHAPTER III. 
 
 1790-1795. 
 
 Return of the actors after the Revolution— In 1790 the petition 
 of Hallam and Henry to open a theatre in Boston denied— 
 Joseph Harper, attempting to give a theatrical exhibition 
 there in 1792, is arrested— he visits providence with a com- 
 PANY of actors— Public sentiment favorable to a theatre- 
 Action OF THE TOWN COUNCIL— PL A. YS ENACTED IN THE COURT HOUSE 
 
 —The town council of Newport licenses a play-house by per- 
 mission of the General Assembly— Another company performs 
 several nights in providence— the coffee house theatre— the 
 Bill of the Play— Efforts to establish a permanent theatre- 
 Description OF THE NEW THEATRE. 
 
 AT the close of the Revolution the players returned, and 
 performed successively in Philadelphia, New York, 
 Baltimore, and elsewhere in the South. Henry went 
 to England, and came back with reinforcement for his com- 
 pany. In 1790, he and his partner, Hallam, petitioned for 
 leave to open a theatre under proper regulations in Boston, 
 which application was refused. The next year a petition, 
 signed by many literary gentlemen of the town, setting forth 
 the advantages of well-regulated public amusements, was pre- 
 sented to the selectmen, requesting them to take the opinion 
 of the inhabitants on the subject of permitting a theatre in 
 the town of Boston, and on instructing their representa- 
 tives to obtain a repeal of the prohibitory law. The subject 
 was debated in town-meeting, and a committee was appointed 
 to draw up instructions to the representatives. The instruc- 
 tions state that the inhabitants of Boston consider the pro- 
 hibitory law of 1750 an infringement of their privileges, and 
 that a theatre, where the actions of great and virtuous men 
 are represented, will advance the interests of private and po- 
 litical virtue, and for such reasons instruct their representa- 
 tives to obtain a repeal of the law, so as to permit theatrical
 
 20 HISTORY OF THE 
 
 representations, sanctioned by some authority appointed for 
 that purpose. In January, 1792, the subject was introduced 
 into the House of Representatives, but the strenuous efforts 
 of the friends of the drama could not effect the repeal of 
 the law. The principal advocates of the repeal were 
 William Tudor, Dr. Charles Jarvis, and Rev. Mr. Gardiner ; 
 the opponents were Samuel Adams and Benjamin Austin, 
 the latter of whom wrote a series of essays to prove that 
 Sliakspeare had no genius ! 
 
 Nothwithstanding the result of the debate in the legislature, 
 Mr. Joseph Harper, oneof the prominent members of Hallam 
 and Henry's company, by the advice and assistance of several 
 influential citizens, opened a convenient theatre, where he 
 gave exhibitions in August, 1792. The government officials 
 deemed this conduct an open insult to the laws, and a defi- 
 ance to themselves ; and Governor Hancock, who was bitterly 
 opposed to the stage, in his annual message, in November, 
 to the Legislature, called their attention to the fact that act- 
 ors were daily violating the statutes, and enacting plays 
 under the transparent disguise of " Moral Dialogues," or 
 " Lectures," and recommended such action as would bring 
 the offenders to condign punishment. The Legislature, con- 
 curring with the views of the Governor, promised him that they 
 would adopt such measures as might be necessary to give 
 effect to the law. They however passed no additional acts ; 
 but the State officials in Boston were incited to increased 
 activity, and, on the 5th of December, Mr. Harper was ar- 
 rested. At the end of the second act of the " School for 
 Scandal," he came upon the stage and informed the audience 
 of his arrest, and read a card from the sheriff, threatening to 
 arrest the whole company unless the performance ceased. 
 The audience were much agitated, but, at the request of the 
 performers, quietly retired, refusing to receive back the ad- 
 mission money. Mr. Harper was brought before the Court 
 on the next day, but was soon discharged from custody on 
 motion of his counsel, because the complaint had not been 
 grounded on an oath. He immediately proceeded to perform 
 plays as before, but was stopped by a second warrant, executed 
 during the performance, which so incensed the spectators that 
 they pulled down the painting of the State arms, but were at 
 length quieted by Judge Tudor.
 
 PROVIDENCE STAGE. 2 1 
 
 Mr. Harper now found that he could not continue in Bos- 
 ton, and therefore decided to remove to Providence. He was 
 aware that, although the law against theatrical entertain- 
 ments had not been repealed, public opinion in Rhode Island 
 condemned its severity, and reprehended the spirit of its 
 framers. He at once came with his company to Providence, 
 but did not proceed to acting until he had consulted the 
 principal citizens, and learned their views. 
 
 Much interest was taken in the movements of the players, 
 and numerous communications on the subject were sent to 
 the Providence Gazette, one or two condemning the insolence 
 of the comedians in entering the State, but the greater 
 number advising tolerance. One of each kind is here pre- 
 sented. 
 
 The first correspondent says, that 
 
 " He has heard with pleasure of the virtuous and patriotic exertions of 
 Governor Hancock, in suppressing the progress of a company of strolling 
 stage-players, who were in actual violation of the laws of Massachusetts, 
 but that it is with concern he hears that the same company are now in 
 town endeavoring to induce the citizens to establish them here, in viola- 
 tion of a good and wholesome law of the State, which lays a fine of £100 
 lawful money upon the person found in transgression thereof, recover- 
 able by any person who may sue for the same, either at a special court, or 
 Court of Common Pleas. This information is given as a caution against 
 their further proceeding to violate the said law. The civility shown by 
 the Town Council in suffering them to reside in the town so long as they 
 live in obedence to the law, is consistent with the liberal policy which has 
 characterized the State. But there are bounds, and it is hoped that none 
 will go beyond them by giving offence to the law." 
 
 A writer friendly to the stage in his communication, after 
 intimating that Governor Hancock was influenced by politi- 
 cal motives, thus continues : 
 
 " Permanent good frequently flows from partial evil, and it will not be 
 forgotten that the banishment of the benevolent Roger Williams laid a 
 foundation for the settlement of this State. The interests of religion 
 and virtue should certainly be our first care, but a theatre under proper 
 regulations, it is humbly presumed, would not prove incompatible with 
 this object. In the old world, time out of mind, the drama has been coun- 
 tenanced by the wise and the good, and in the Middle and Southern 
 States theatres have been licensed. Let us not then suppose that all 
 wisdom and virtue is confined to New England, or that religion consists 
 altogether in austerity. The law of this State passed against Stage-plays 
 was confessedly passed at a time when parties ran high, and was probably 
 founded on sinister views. That it may be repealed is the wish of numer- 
 ous friends to this town as well as to the State at large, and of every 
 friend to rational and innocent amusements."
 
 2 2 HISTORY OF THE 
 
 These sentiments accorded with those of the editor, who 
 appended to them the following remarks : 
 
 " The comedians referred to are said to be a set ot decent, orderly 
 people, and respectable in their profession. So far as has been observed 
 of them here, they are remarkably temperate, studious, and engaging in 
 their manners." 
 
 In a few days the comedians had assured themselves that 
 they had the good will of the more influential of the citizens, 
 and prepared to give entertainments. On the ioth of De- 
 cember the town council voted to grant them such liberty of 
 giving theatrical exhibitions as was in their power to grant, 
 namely : that the council would not prosecute the performers, 
 or support any person who should on his own account begin 
 such a prosecution ; on condition that the proceeds of the 
 sales of tickets on every fifth night should be collected by 
 the town sergeant, and by him be paid into the town treasury. 
 So far were the authorities from being opposed to the desires 
 of the actors, that Mr. Harper obtained the Court House for 
 the place of exhibition, and, converting it into a temporary 
 theatre, produced several comedies and farces, and also a 
 pantomime, called "The Birth, Death, and Animation of 
 Harlequin." 
 
 The novelty of the entertainments, and the favor with 
 which the players were regarded, ensured for them good 
 houses for every performance. On one occasion a party of 
 visitors from Pawtuxet came to town to attend the play, and 
 attempted to gain admission to the Court House, but the 
 crowd within was so dense, that they were obliged to return 
 home ungratified. Tickets were sold at half a dollar apiece, 
 and were obtainable at Dixon's stage office, and at the print- 
 ing-office in the Market House chambers. 
 
 Even at this late date the comedians dared not announce 
 the performance of plays, but still adhered to the term, " lec- 
 tures." The comedies were usually designated as comic lec- 
 tures, tragedies as moral lectures, and farces as humorous or 
 entertaining lectures ; but there was no disguise for the 
 pantomime. The performance began at an early hour, the 
 door being open at five, and the curtain rising at six o'clock. 
 
 Mr. Harper met with so much encouragement this season 
 that he would gladly have protracted his visit, but, as he had
 
 PROVIDENCE STAGE. 2$ 
 
 made engagements to be in Philadelphia some time in Janu- 
 ary, he was obliged to take leave of the town. In the month 
 of February a small company, under the management of 
 Messrs. Solomons and Murray, inferior actors who were sub- 
 sequently employed in Boston by Mr. Harper, obtained per- 
 mission to give three theatrical exhibitions on condition of 
 paying to the town sergeant for the use of the poor, three- 
 fourths of the proceeds of the tickets of the first evening. 
 These performances met with but little encouragement, be- 
 ing destitute of merit. 
 
 It is easy to perceive that the prohibitory law had become 
 unpopular ; and one is not surprised to learn that, at the Feb- 
 ruary session of the General Assembly the town council of 
 Newport were empowered to grant licenses for theatrical en- 
 tertainments, notwithstanding any law, custom or usage to 
 the contrary, provided that the State House in that town 
 should not be used for that purpose. 
 
 Mr. Harper gave no representations in Providence during 
 the year 1793, as he profited by the permission of the legis- 
 lature, and played in Newport. He however was not un- 
 mindful of his Providence friends, as will appear from the 
 following advertisement inserted in the United States Chron- 
 icle, of June 13th : 
 
 " Messieurs J. Harper and H. Placide respectfully acquaint the public that 
 hv the middle of this month they will open a theatre in Newport, in the 
 State of Rhode Island, wherein will be represented all the theatrical en- 
 tertainments to be seen in America. The theatre is a large brick building, 
 and will be elegantly furnished. It will be open from the middle of June 
 to October." 
 
 The theatre thus referred to was the brick market, which 
 was built in 1762 by the town of Newport, from proceeds 
 of lotteries granted for that purpose by the General As- 
 sembly, on a lot given to the town by the proprietors of Long 
 Wharf. It was three stories high, sixty-five feet long by 
 thirty-three feet broad, and was intended for a public granary, 
 but was never used for that purpose. Before the Revolution 
 the lower story was occupied as a market, and the second and 
 third stories were used for shops and offices. After the 
 Revolution the upper stories were used as a printing-office 
 until 1793, when they were leased by the town to Alexander 
 Placide, and by him converted into a play-house. 1 This 
 
 1 \> w port Mercury,
 
 24 HISTORY OF THE 
 
 theatre was occupied by various companies of actors at dif- 
 ferent intervals of time, until 1842, when it was altered into a 
 town hall. 
 
 When Mr. Harper returned to Providence in 1794, he 
 found that his friends were exerting themselves to provide 
 him with better accommodations than the Court House had 
 afforded him two years before, and were about to prepare a 
 place of entertainment having some semblance to a theatre. 
 Before these arrangements were completed, several members 
 of his company gave exhibitions for their own benefit in the 
 public halls. At the end of December the theatre was ready 
 for opening. It had been fitted up behind Major McLane's 
 Coffee House, but formed part of the same building, which, 
 long known as the " Old Coffee House," was destroyed about 
 1855 to make room for the Bank of Commerce building and 
 the adjoining edifice. The addition used as a theatre had 
 been pulled down long before. The entrance to the boxes 
 was at the first door east of the Coffee House ; and that to 
 the gallery was at the north end of the building. The open- 
 ing performance took place December 30, 1794. A copy of 
 the first bill is here presented : 
 
 " By authority." 1 
 "THEATRE, PROVIDENCE. 
 
 "Mr. Harper most respectfully informs the ladies and gentlemen of this 
 town that the new theatre will be opened on Thursday evening next, 30th 
 December, with a Comedy called 
 
 THE FOUNDLING, OR VIRTUE REWARDED. 
 
 Sir Charles Raymond, - - Mr. Kenna. 
 
 Sir Robert Belmont, .... Mr. Clapham. 
 
 Col. Raymond, - - Mr. Copeland. 
 
 Young Belmont, - - - Mr. Harper. 
 
 Faddle, - Mr. Watts. 
 
 Rosetta, - Mrs. Metchler. 
 
 Fidelia, - - - - Mrs. Harper. 
 
 To which will be added an entertainment called 
 THE KING AND THE MILLER OF MANSFIELD. 
 
 King Henry, .... Mr. Watts. 
 
 Lord Lurewell, ... - Mr. Copeland. 
 
 The Miller, ..... Mr. Kenna. 
 
 Dick, (the Miller's man), ... Mr. Harper.
 
 PROVIDENCE STAGE. 25 
 
 Joe, with a song in character, ... Mr. Clapham. 
 
 Peggv, - - - - Mrs. Harper. 
 
 Margery, ..... Mrs. Metchler. 
 
 Kate, ----- Mrs. Watts. 
 
 " Tickets to be had at the Post office; and places in the boxes may be 
 taken at the bar of the Coffee House every day of the performance from 9 to 
 12 a m., and from 2 to 6 p. m. 
 
 "The doors will be opened at 5 o'clock, and the performance will begin 
 precisely at 6 o'clock. 
 
 " Boxes, 65. ; Pit, 3s. ; Gallery, 25. 3d." 
 
 At first the curtain rose at six o'clock, but that hour being 
 found too early it was soon changed to six and a half. At 
 the bottom of the bill it was recommended that those who 
 wished to secure particular boxes should send their servants 
 at a quarter before five o'clock. 
 
 In the early days of the American stage the term "come- 
 dian " had not the restricted signification which is now 
 assigned to it. Comedians performed every season with 
 equal success tragedy, comedy, melodrama, opera, farce, and 
 pantomime. It was expected in every theatre that all the 
 performers should be able to sing, and there was no company 
 of respectability that could not perform the old English 
 operas. The comedies which were most approved in 1795 
 would not be tolerated at the present day upon the stage. In 
 the Spring of that year several plays of such objectionable 
 character that they have long since been shelved were re- 
 ceived with general approbation ; such as " Barnaby Brittle," 
 "Provoked Wife," "Deuce is in Him," "Devil to Pay," 
 " Beaux Stratagem," and " The Beggar's Opera," which was 
 produced with additions and alterations April 13th, being the 
 last night of the season, when Mr. Harper personated Cap- 
 tain Machcath, and Mrs. Harper, Polly. 
 
 The next day, April 14th, a meeting of gentlemen interested 
 in the permanent establishment of the stage in the town was 
 held at McLane's Coffee House, and subscriptions for a new 
 theatre were so liberally promised that a building committee 
 was immediately appointed to make the necessary contracts, 
 with the understanding that the work was to be completed at 
 Commencement time. John Brown gave the lot and sub- 
 scribed for seven shares of stock. Messrs. T. L. Halsey, Sr., 
 John Corliss, Cyprian Sterry, and George and Jeremiah 
 Olney were also liberal in their subscriptions. As soon as a
 
 26 PROVIDENCE STAGE. 
 
 sum sufficient for the completion of the building had been 
 guaranteed workmen began to prepare the frame, and on 
 Thursday, Aug. 6, 1795, commenced raising the edifice. The 
 work was pushed forward with energy, and when it seemed 
 doubtful whether it would be possible to have it ready for 
 use at the time proposed, the prospect was at once bright- 
 ened by a demonstration of good will from a quarter where it 
 was scarcely looked for. All the carpenters of the town, 
 clubbing together, formed a "bee," and, abandoningall other 
 employments, labored without fee or reward upon the edifice 
 until the opening night. As the work progressed the town 
 was on tiptoe with expectation, and such was the general 
 good feeling prevailing that it was manifest that the drama 
 was to become a permanent institution. 
 
 This theatre was situated at the corner of Westminster 
 and Mathewson streets, on the site now occupied by Grace 
 Church. It was eighty-one feet long by fifty feet wide, front- 
 ing on Westminster street. Access to the interior was 
 gained by three doors in front ; the entrance to the boxes 
 being in the middle, that to the pit on the East, and that to 
 the gallery on the West side. Over the middle door was 
 suspended a light wooden canopy, which served both for or- 
 nament and for a protection from rains. The theatre con- 
 tained two tiers of boxes, a gallery, and a pit. The pro- 
 scenium was sixteen feet high by twenty-four wide ; and over 
 the arch was a scroll bearing the motto : " Pleasure the 
 means ; the end virtue," a pithy sentiment worthy of adoption 
 by every theatrical manager. The few scenes that were pre- 
 pared were tolerably good ; but as no act drop was painted, 
 the traditional green curtain was obliged to serve a double 
 purpose.
 
 CHAPTER IV. 
 
 1795-1810. 
 
 The opening of the new theatre— the prologue— The Company — 
 " George Barnwell "—Mr. Villiers — "Bunker Hill "— Hodgkin- 
 son— Mrs. Whitlock— " The Stranger "—German plays in vogue 
 —Aaron Burr attends the theatre— Phantasmagoria— Reap- 
 pearance of Hodgkinson— His death— The tragedian Cooper — 
 Anachronisms in Costume— Bates's benefits— Newspaper criti- 
 cisms—Anecdote OF AMATEUR THEATRICALS— PROLOGUE BY PAUL 
 
 Allen— John Hoavard Payne— Termination of Mr. Harper's 
 Management— Theatrical customs— Mr. and Mrs. Harper- 
 William Bates— Anecdote— Newspaper strictures on the im- 
 morality OF THE THEATRE— MR. AND MRS. DARLEY. 
 
 THE efforts to have the new theatre ready for Com- 
 mencement-Day were so far successful that Mr. Harper 
 advertised a dramatic performance for the second of 
 September, but as all the requisite arrangements could not 
 be completed in time for opening it on that day, the in- 
 augural performance was deferred until the next evening, 
 when to an interested audience were acted with eclat, "The 
 Child of Nature," and " Rosina, or the Reapers." Preceding 
 the comedy an occasional address was pronounced by the 
 manager, a copy of which has been preserved, and is here 
 presented. It is unknown who was its author, but the pre- 
 sumption is, that it was written either by Paul Allen, or Miss 
 Ann Maria Thayer, both residents of Providence, and known 
 to have had commerce with the Muses : 
 
 PROLOGUE. 
 
 " The eve contemplating this simple dome ' 
 
 Views not the art of Greece, the wealth of Rome ; 
 Nor towering arch, nor roof of vast design. 
 Which prove the virtues of the Parian mine; 
 Nor Painting's touch, nor Sculpture's breathing mould, 
 Nor Life enchased in elephant and gold.
 
 28 HISTORY OF THE 
 
 It boasts them not; alas, it boasts alone 
 The wish to please — and let that wish atone. 
 Ye fair, who deign our efforts to repay, 
 Ye give its honours, and ye take away. 
 
 " Here to your eyes we hold the mirror true, 
 Here pass your virtues in their bright review. 
 Nor cold reproof, nor satire's caustic smart 
 Can crimson Virtue's cheek, or chill her heart. 
 Laugh then secure, or yield to Pity's call; 
 The strokes of censure on the guilty fall. 
 Here view yourselves, nor fear t' applaud the scene, 
 Live o'er your lives, and be what ye have been, 
 Give to th' unbidden tear its generous flow,— 
 Not more can Pity give to fancied woe ; 
 Nor fear that hid beneath the mimic guise 
 Vice waits her victim with impatient eyes. 
 Here shall ye learn with purity of heart 
 To meet the artful in the fields of art. 
 The eye which beams intelligence and love 
 Shall learn to blend the serpent with the dove, 
 The righteous claim of bashful worth to scan, 
 And well discern the coxcomb from the man. 
 
 " In ancient days when Rome could boast her name, 
 When Scipio fought, and Terence wrote for fame, 
 Ere taste, or genuine wit were forced to yield, 
 And low buffoonery had usurped the field, 
 The Roman stage was Virtue's primal school. 
 There heroes learned to conquer and to rule, 
 And (while they wept as mimic woes were shown) 
 To feel for others', and t' endure their own. 
 Nor did the jest, ambiguous and obscene, 
 Disturb the cheek of Innocence serene — 
 But Nature's mother-wit, sublime and chaste, 
 Met the full voice of Modesty and Taste. 
 If such the manners of the Roman age, 
 Such must delight when Yankees seek the stage. 
 See a new Rome in western forests rise. 
 Her manners simple, and her maxims wise, 
 These t' improve, to cherish fresh and fair 
 Shall be our best reward, our only care. 
 This humble house, its office so divine, 
 With more than all Yitruvius' art shall shine. 
 Enough for us, we rest secure the while 
 Of Virtue's plaudit, and of Beauty's smile." 
 
 The company was larger and possessed more talent than 
 that of the previous year ; for the old American company 
 having divided, Hodgkinson had led part of it to Hartford, 
 where he opened a theatre in August, 1795, while Hallam 
 added the remainder to the company under the management 
 of Harper, and came to Providence. Thus reinforced, it con-
 
 PROVIDENCE STAGE. 29 
 
 tained Messrs. Hallam, Harper, Patterson, Prigmore, Hallam, 
 Jr., Wools, Miller, Copelancl, Tompkins, and Humphries, and 
 Mesdames Hallam, Metchler, Harper, and Kenna, — a number 
 sufficiently large to perform with success a few standard 
 comedies, but in those containing numerous dramatis personce 
 deficiencies were supplied by what is technically called 
 "doubling." It may be truly said that in the early days of 
 the American stage, "one man in his time played many 
 parts," frequently sustaining two or three of the lesser 
 characters in the same play, and that, too, aided by changes 
 of dress, so skilfully that audiences seldom had suspicions 
 of the variety of shapes taken by these Protean performers. 
 
 On the 7th of this month the tragedy of " Percy and 
 Elwina" was performed. A correspondent of the United 
 States Chronicle thus describes its effect upon himself : 
 
 "Mr. Printer: I attended the theatre on Monday evening last, and 
 cannot help saying a few words on the subject of the performance. It ap- 
 pears to me that the tragedy of " Percy and Elwina," is filled with excel- 
 lent sentiments, and the public exhibition of it must be useful. The com- 
 pany of comedians, I think, did themselves great honour. I was partic- 
 ularly pleased with the gentleman who did the part of Douglas; he acted 
 a jealous madman to the life. Old Lord Raby did the distressed father 
 beyond anything I had any idea of. I could not help crying with him. 
 The part of Percy I was much delighted with, but Elwina, poor girl, I 
 shall not forget you as long as I live. 
 
 " Yours, Z." 
 
 To the bills was appended the following notice : 
 
 "Tickets and places for the boxes to be had at the theatre, of Mr. Cope- 
 land, every da_y of performance, from 9 to 12 a. m., and from 3 to 9 P. 
 m. As the door-keepers are prohibited in the strictest manner from tak- 
 ing money at the door, it is hoped that every visitor of the theatre will 
 provide himself with tickets. 
 
 " The doors will be opened at 6, and the performances will begin at 
 7 o'clock. 
 
 " Ladies and gentlemen are requested to send their servants by half 
 past 5 at farthest, to keep places in the boxes. 
 
 "Boxes, 1 dollar: Pit, J dollar; Gallery, two and three pence. 
 
 " Nights of performance, Mondays, Wednesdays and Fridays." 
 
 The theatre closed November 2d, when Harper's com- 
 pany again united with Hodgkinson's and went to Boston. 
 
 The tragedy of "George Barnwell" was produced the next 
 season, and through the whole time of Mr. Harper's manage-
 
 30 HISTORY OF THE 
 
 merit, and that of the gentleman immediately succeeding him, 
 it continued to be performed at least once every winter, by 
 reason of the moral influence it was supposed to exert over 
 the minds of youth. It soon became repulsive to many who 
 witnessed its performance, but nevertheless the managers, 
 firmly convinced of its value, were unwilling to lay it aside, 
 and persisted in administering the nauseous dose. 
 
 The prevalence of the yellow fever, and other causes made 
 the season of 1797 a broken one. The chief performers in 
 tragedy were Mr. and Mrs. Barrett, both of stately appear- 
 ance, but the lady superior in point of talent. The low 
 comedian, admired by all who could relish genuine humor, 
 was Mr. Villiers, a young gentleman of education, who had 
 left good connections in England to become a player in 
 America, assuming the name of Villiers for family reasons. 
 
 In November for Mr. Barrett's benefit was produced for 
 the first time in Providence, the new tragedy of " Bunker 
 Hill," a miserable compound of fustian, which had proved 
 very remunerative to the theatrical treasury in Boston. It 
 was well received here, and the company then left town, to 
 produce it in Newport. Miserable as the play was, it sur- 
 vived many dramas superior to it in every respect, and was 
 often brought out on the fourth of July in New England 
 cities for the benefit of visitors from the rural districts. It 
 has a history of its own. It was written when politicians 
 indulged in party feelings with a virulence now unknown, 
 and which was wont to seek expression at the theatre. The 
 design of the author was to gratify the animosities of the 
 anti-federalist portion of the public, and it was originally pro- 
 duced in Boston at a theatre raised by democratic subscrip- 
 tions for the purpose of establishing a democratic drama. 1 A 
 good conception of the character of this play is afforded by a 
 brief criticism which President Adams is said to have made 
 upon it in New York. He happened to be in the city when 
 this piece was performing there, and was invited to attend. 
 At the conclusion of the entertainment he was conducted by 
 the manager and the leading actors to his carriage with con- 
 siderable pomp, and Mr. Barrett, who had played General 
 Warren, ventured to express a hope that the President had 
 been pleased, — " Sir," replied Mr. Adams, " my friend, Gen- 
 
 1 Bernard.
 
 PROVIDENCE STAGE. 3 I 
 
 eral Warren, was a gentleman and a scholar, but your author 
 has made him a bully and a blackguard." 1 
 
 This season Mr. Harper found it necessary to reduce the 
 price of admission to the pit to fifty cents, and to the gallery 
 to twenty-five cents. 
 
 The season of 1798 was short but brilliant; for the cele- 
 brated actor, Hodgkinson, came here with the Boston com- 
 pany, and played several nights near Commencement. In 
 this company were Mr. Dickenson, and Mr. and Mrs. S. 
 Powell, who afterwards became established favorites as ar- 
 tists with the citizens of Providence, and who as individuals 
 were worthy of the general esteem in which they were held 
 by their contemporaries. 
 
 This year the statute against theatrical representations was 
 repealed. A committee, previously appointed by the General 
 Assembly to revise the laws of the State, and to make such 
 amendments and alterations as might appear to them useful, 
 reported the result of their labors, which, being ratified by 
 the Legislature, was at once printed, and is now known as 
 the Digest of 1798. In this revision the statute does not 
 appear. 
 
 The great event of the next year was the appearance of 
 Mrs. Whitlock, sister of the celebrated Mrs. Siddons. She 
 opened the fourth of July in the character of Isabella. Her 
 fine acting was appreciated as it merited, and attracted large 
 audiences. The " Castle Spectre " drew two full houses, and 
 the " Stranger," produced for the first time in Providence, 
 was much admired. 
 
 Mrs. Whitlock was the sister of Mrs. Siddons, John 
 Philip Kemble, Stephen Kemble, and Charles Kemble. She 
 was an admirable actress, who had established a good reputa- 
 tation at Drury Lane, had played at Bath, and after her mar- 
 riage with Mr. Whitlock had acted under the management of 
 Whitlock and Munden in the provincial theatres, being the 
 main support of the company. In features she resembled the 
 Kembles, but her complexion was fairer, and she had not 
 their imposing stature. Her eyes were very expressive, and 
 her voice was powerful, and reminding the spectator of her 
 eminent sister, sometimes raised expectations, which were 
 not fully realized, of seeing a second Siddons. 2 
 
 2 Clapp's Record of the Boston Stage. 2 Dunlap.
 
 3* 
 
 HISTORY OF THE 
 
 During the years 1 800-1 the plays most in vogue were 
 translations from the German. Baron Kotzebue's dramas 
 were exceedingly popular in Germany and England, and be- 
 came models for the dramatic writers of the day. The 
 American stage owed their introduction to Mr. Dunlap, who 
 was indefatigable in translating them. These plays have 
 long been shelved, as they tend to the development of mawk- 
 ish sentimentality, and are believed to lessen the abhorrence 
 of vice. 
 
 The company that appeared at the theatre on the 27th of 
 June, 1803, was almost entirely new to the citizens of Provi- 
 dence. It contained Messrs. Harper, Darley, Wilmot, Dykes, 
 Perkins, Bates, Coles, West, and Buckingham, with Mesdames 
 Darley, Harper, Dykes and Simpson, and Miss Bates. Per- 
 formances were given only twice a week. On the 7th of 
 July, "Abaslino, the Great Bandit," was produced, and the 
 audience expressed so much satisfaction that it was repeated. 
 It was announced in the bills as " the best dramatic work of 
 the best dramatic writer of the age, Schiller." This state- 
 ment of the authorship of the piece was erroneous, the play be- 
 ing the work of Zchokke, a German novelist and play-writer, 
 translated by Dunlap, who did not disclose the name of the 
 author. It is the original of a great many imitations, some 
 of which are now occasionally reproduced. 
 
 On the 24th of July, Aaron Burr, Vice-President of the 
 United States, arrived from New York by packet, and was 
 hospitably entertained by his numerous friends. On the 
 28th, the " Point of Honour, or School for Soldiers," and the 
 " Highland Reel " were played. The Vice-President having 
 signified his intention of visiting the theatre, it was an- 
 nounced in the bills. A crowded audience was in attendance, 
 and enthusiastic cheers welcomed him on entering. 
 
 On the occasion of Mr. Bates's benefit, in 1804, a part of 
 the entertainment consisted of Phantasmagoria, being a dis- 
 play of optical illusions, exhibiting the following phantasies : 
 The March of Father Time ; the King of Terrors ; a female 
 spirit rising from the tomb ; Ghost and Hamlet ; Washing- 
 ton ; Bonaparte, etc. The newspapers of the day in their 
 account of the performances remark that the appearance of 
 the head of Washington was hailed with rapturous applause,
 
 PROVIDENCE STAGE. 33 
 
 and " an emphatic hiss of contempt and detestation sponta- 
 neously rose to salute the shade of the bloody usurper Bona- 
 parte, 'a pompous wretch, accursed upon a throne.' ' 
 
 At the end of July, 1805, Hodgkinson arrived in town and 
 played a few nights. On the 5th of August he took his ben- 
 efit, appearing in the tragedy as Macbeth to Mrs. Simpson's 
 Lady Macbeth, and in the afterpiece as Lingo. By his 
 arrangement with Mr. Harper he received no remuneration 
 for his acting, except on this benefit night, when the entire 
 proceeds became his. After this performance he went with 
 the company to Newport, and there played his last engage- 
 ment. He then set out for Washington, but, as he was pass- 
 ing through New York, he was taken with an epidemic fever 
 and died near Washington, the 12th of September. Mr. Jan- 
 sen, an English lawyer, at that time residing in Providence, 
 says that Hodgkinson in his last hours was attended by Mr. 
 Hopkins, one of the performers, who soon after sickened, 
 and died of the same disease that proved fatal to the friend 
 whom he had nursed. 
 
 Mr. Hodgkinson was much above the common height, with 
 full chest, broad shoulders and erect carriage. He had great 
 versatility of talent and burned to be admired as an universal 
 genius. Though many of his admirers lavished unbounded 
 praise on all his impersonations, and impartial critics accused 
 him of ranting in tragedy, every one admitted that in pure 
 comedy he had few equals, and that in comic opera he could 
 not be surpassed. 
 
 The tragedian, Thomas A. Cooper, appeared for the first 
 time in Providence during the week succeeding Commence- 
 ment. On the occasion of his benefit he played Otlicllo, 
 dressed in the Moorish costume, in which we are accustomed 
 to see the Othellos of the present day attired. At that time, 
 however, it was an innovation which was violently assailed 
 by some critics. In 1789, only fifteen years previously, 
 Henry used to act the part in the uniform of a British gen- 
 eral officer. Dunlap saw John Philip Kemble, in 1786, "in 
 a suit of modern military of scarlet and gold lace, coat, waist- 
 coat, and breeches. He wore white silk stockings ; his face 
 was black, and his hair was worn in a queue." Garrick first 
 adopted the Moorish dress, and was much censured for so 
 doing. Kemble introduced the use of the turban, and many
 
 34 HISTORY OF THE 
 
 patterned in this respect after him. A critic of much taste 
 in the Mirror of Taste, a dramatic review published in Phila- 
 delphia, referring to the new custom, asks whether Othello 
 wears the turban out of compliment to the Ottomites he is 
 sent to overthrow, or to the malignant and turbaned Turk 
 who beat a Venetian and traduced the state ? This, he 
 thinks, is studying the picturesque with a vengeance. 
 
 When Hodgkinson played Macbeth in August, he was 
 habited in Scottish costume, and thus the character has 
 always been played in America. Macklin changed the dress 
 from a modern one, and succeeding actors have wisely 
 adopted the substitution. 
 
 Bates, the low comedian, had his benefit September 30th, 
 when was presented for the first time in America the comedy, 
 "Who wants a Guinea ? " The announcement of his benefit 
 and of the plays to be performed was made in verse ; and for 
 several seasons in succession it appeared in this form, always 
 beginning with the same heading and initial lines. The 
 verses had no poetical merit, and so little wit that they 
 scarcely deserve to be quoted. A few, however, are here 
 presented : 
 
 " Theatrical Intelligence, ordinary and extraordinary. 
 
 " On Monday evening next, as the play-bill relates, 
 To discount other bills is a bill of Bill Bates, 
 To which he invites all the town, grave and gay, 
 To see wit and humour portrayed in a play. 
 Twas wrote by young Colman, a whimsical ninny, 
 To interrogate wittily, who wants a guinea? 
 To which Bates replies, as an indigent elf, 
 He hopes there's none wants one so much as himself. 
 So, respectfully now on the public-he draws, 
 Who his credit support by lending applause," — 
 
 and so on to the end, particularly naming each part of the 
 evening's entertainment. Bates's idea was subsequently 
 much better elaborated by the lamented Finn, whose poet- 
 ical advertisements, sparkling with wit, were eagerly expected 
 in Boston, and when published were extensively copied by 
 the newspapers. 
 
 In the month of August, 1807, Mr. Morse, a graduate of 
 Brown University, and a pupil of Cooper, played here three 
 nights, and it was prophesied by his friends that he would
 
 PROVIDENCE STAGE. 35 
 
 attain eminence in the histrionic profession. The theatre 
 closed on the 12th of October, the receipts being for the 
 benefit of Mr. and Mrs. Harper. 
 
 On the 19th of the same month it was reopened for the 
 performance of " Douglas " and the "Agreeable Suprise," by 
 a Thespian Club for the benefit of the poor. A large audi- 
 ence was in attendance, perhaps the largest ever congre- 
 gated up to that time in the theatre, as many persons were 
 present who had never before witnessed a dramatic repre- 
 sentation. The regular actors had left town the preceding 
 week, though Mrs. Harper and one or two other ladies 
 remained and assisted in the plays. The male characters 
 were personated by young gentlemen of the town, the part 
 of Douglas being sustained by Benjamin Paige. The per- 
 formance progressed smoothly until the end of the fifth act, 
 when the young hero dies in the embrace of his mother, 
 Lady Randolph, played by Mrs. Harper. A young man of 
 the name of Smith, well known as a bon vivant, whose potations 
 this evening had been unusually frequent, had looked from 
 his seat in the pit with a contemptuous eye on the efforts of 
 his friend, Paige, during the early part of the play, but when 
 the catastrophe approached, and he saw him expiring fall 
 into the arms of Mrs. Harper, who in the struggle of death 
 clasped him to her bosom, he broke out in a voice that 
 plainly betrayed his admiration, tinged perhaps with envy, 
 " That's the happiest death you'll ever die, Benny ! " 
 
 The shouts of laughter that hailed this outburst, though 
 they disconcerted the performers, indicated how thoroughly 
 the audience appreciated the spirit of the remark. 
 
 The performance on this occasion was begun with an 
 original Prologue, contributed by Paul Allen. It was recited 
 by Mr. Cambreling with such feeling as to create a most 
 favorable impression, and to give to the poem a " music 
 scarce confessed its own." 
 
 PROLOGUE. 
 
 BY PAUL ALLEN, ESq_. 
 
 " All who, with cynical contempt, refuse 
 And shun all commerce with the tragic muse, 
 Have jet to learn (though many a comic scene 
 On this eventful stage may intervene)
 
 36 HISTORY OF THE 
 
 That soon the hour of fond delusion's past, 
 
 And life is but a tragedy at last. 
 
 Search nature through, and tragedy appears 
 
 In every shape; the husband's, widow's tears; 
 
 The orphan of a mother's care bereft, 
 
 To want, to pride, to griping guardians left; 
 
 The wretched beggar, whose unsheltered head 
 
 Is white with snows by seventy winters shed, 
 
 Beholds the 'wildering tempest round him roar, 
 
 And knocks at wealth's inhospitable door; — 
 
 These dire examples show in nature's plan 
 
 How deeply tragic is the life of man ! 
 
 We copy life, and show by transcript fair 
 
 The melancholy picture, what we are, 
 
 Whatever grief the drama has in store, 
 
 The Earth, that stage of life, abounds with more. 
 
 Not hoarding Av'rice, now, with sordid views, 
 
 Invokes assistance from the tragic muse : 
 
 To comfort those oppressed with want or care, 
 
 The many evils life is doomed to bear; 
 
 To flush the cheek of sorrow with delight, 
 
 This mimic tragedy appears to-night. 
 
 " Come then, ye noble souls, whose hearts can feel, 
 O tender sympathy, thy holy zeal ! 
 Assist our common labours for relief, 
 And kindle sunshine on the face of grief ! 
 Then, when returning from dramatic woes, 
 Your heads shall press the pillow of repose — 
 Soft as yon moonbeams slumbering on the cloud, 
 Dreams of delight shall every sense enshroud." 
 
 This club performed for the same praiseworthy object, 
 "The Fair Penitent" and "The Spoiled Child," on the 2d of 
 November. 
 
 In June, 1808, the interior of the theatre was tastefully- 
 repainted by Mr. Warrall, of the Boston Theatre. The com- 
 pany contained Messrs. Caulfield, Bates, Dykes, Harper, 
 Bailey, Jones, Huntingdon, Claude, Stockwell and Vining ; 
 also Mesdames Claude, Harper, Dykes, Downie and Bates. 
 Mr. Jones was scenic artist. Mr. Vining was the principal 
 vocalist, and Mr. Caulfield, who had been brought from 
 Drury Lane by Mr. Bernard in 1806, was the chief trage- 
 dian. The evenings of performance were Mondays and 
 Thursdays. 
 
 The season of 1809 began on the 4th of July. The addi- 
 tions to the company were Messrs. Mills, Barnes (who had 
 just married Miss Bates), Adams, Robertson and Andrew J. 
 Allen. September 8th brought a " star," the " young Amer-
 
 PROVIDENCE STAGE. 37 
 
 ican Roscius," Master Payne, then seventeen years of age. 
 Much pleasure was experienced by the play-goers during this 
 engagement, and every one was loud in praise of the young 
 actor. The editor of the American first heard him at a pri- 
 vate party read several poems, and in his next issue eulogized 
 him in the warmest terms as a prodigy of talent ; at the same 
 time asserting that his own judgment was impartial, that he 
 had struggled against the popular prepossessions, but had 
 been involuntarily caught by the magnetism of Master 
 Payne's manner. 
 
 " It has been," he concludes, " the usual fate of genius to contend with 
 the public insensibility and neglect. The trial has in most instances 
 been too severe, and genius has fallen a victim in the contest. A strug- 
 gle of another kind, though less arduous, awaits Mr. Payne. He has to 
 contend with the admiration of the public; he has to continue to deserve 
 it. Let him reflect that the splendid plume that he now wears on his 
 brow, tinged by the beams of an auspicious sun, may lose its lustre for- 
 ever. Popular applause has often proved a Delilah's lap, in which those 
 who slumber are shorn of their strength. In his future exertions he has 
 our best wishes, and we should feel an honest pride in their eventual 
 accomplishment. Many will think this paragraph a tame subservience 
 to flattery, which we have not manhood to resist. To these hunters for 
 mean motives for actions coldly just, a contemptuous silence shall be our 
 only reply." 
 
 Payne played only two nights ; on the 8th, Hamlet, and on 
 the nth, Octaviau, in "The Mountaineers." His uncom- 
 mon beauty and his modest air won for him the admiration 
 of all. His form was slight, and not capable of great physi- 
 cal exertion ; his features were round and smooth, evidencing 
 juvenility; and his vocal organs were only partially devel- 
 oped. All these were obstacles to astonishing effects in 
 those characters requiring a powerful frame and marked 
 features, but, though they militated against successful per- 
 sonation in scenes of turbulent passions, his few defects were 
 counterbalanced by a soundness of judgment that would have 
 done credit to experienced actors, and by the tenderness and 
 pathos with which he delivered affecting passages. The 
 critics in other places considered Norval his best part, but he 
 did not attempt it here. 
 
 His eventful life terminated in 1852. Among his numer- 
 ous literary productions was the opera of " Clari," which 
 contained the affecting song, " Sweet Home." This piece 
 made the fortune of every one connected with it. It gained
 
 38 HISTORY OF THE 
 
 for Miss M. Tree (the sister of Mrs. Charles Kean), who first 
 sang " Home, sweet Home," a wealthy husband, and it filled 
 the theatre treasury. More than one hundred thousand 
 copies of the song were sold by the original publishers, whose 
 profits within two years after it was issued, amounted to two 
 thousand guineas. It is said that Mr. Payne did not receive 
 the pitiful sum that was to have been paid to him on 
 the twentieth night of performance, and that he was not 
 complimented by the publishers with a copy of his own 
 song. 1 
 
 1 8 10 was the last year of Mr. Harper's management in 
 Providence. He had found that of late years the theatre 
 under his direction was not such paying property as he had 
 wished and expected. The novelty of theatrical representa- 
 tions had long since worn away, and it was with difficulty he 
 could obtain profitable houses, except when his expenses 
 were increased beyond prudence by the engagement of 
 " stars," or the production of spectacles. At first he was 
 able to give three performances a week, but latterly the 
 receipts scarcely supported two. To those conversant with 
 theatricals this lack of success will not occasion surprise, but 
 they will rather wonder that so small a town as Providence 
 could maintain a theatre for a single season, and that, too, 
 at a time when actors were regarded with aversion by a con- 
 siderable part of the community. In Boston, a much larger 
 place, the theatre was never profitable until Mr. Powell as- 
 sumed the managerial baton. 
 
 The families who had originally established the theatre in 
 Providence were wealthy and influential, and felt bound to 
 bestow a liberal patronage on those whom they had encour- 
 aged to come here, and who catered for their amusement, 
 and consequently they frequently attended the theatre. The 
 proprietors owned boxes in which their families had regular 
 seats. Many others, following the example of the leaders of 
 fashion, often visited it, and thus it seldom presented an 
 empty appearance. The price of admission being high, the 
 rougher inhabitants of the town were in a measure excluded, 
 and the audience was orderly, quiet, and polite. Then the 
 term "dress circle" was no unmeaning name. The ladies 
 
 1 Record of the Boston Stage.
 
 PROVIDENXE STAGE. 39 
 
 and gentlemen of the town, the Corlisses, the Nightingales, 
 the Halseys, and others came in their carriages, and entered 
 the boxes with powdered heads and dressed in the stately 
 costume of the period. Between the acts their liveried ser- 
 vants entered the circles, bearing trays laden with wines and 
 sherbets, and served them to their masters and mistresses. 
 These refreshments were procured at a small bar or refectory 
 attached to the theatre. Thus the theatre was made the 
 scene of fashionable reunion, the place of full dress, of ele- 
 gant demeanor, and of polite intercourse. In those days 
 there were no concerts, no lectures, no panoramas, and no 
 Ethiopian serenaders to rival the attractions of the drama, 
 and, as the facilities for communication with the large cities 
 were few, the citizens of the town were compelled to rely 
 upon their own resources for recreation. Hence the theatre 
 came to be the focus at which the beauty, fashion, and intel- 
 ligence of Providence regularly met. 
 
 Inclement weather, however, always diminished the attend- 
 ance of the habitues, and Mr. Harper, when the skies wore a 
 threatening aspect, was accustomed to postpone the per- 
 formance, giving notice of such postponement by means of 
 the town crier, who with his bell, announced at the corners 
 of the streets that the theatre would be closed until fair 
 weather. Whenever the season was unusually inclement, 
 frequent postponements took place, and the manager would 
 sustain considerable loss. When this fact was communicated 
 to the stockholders, they used to unite for the purpose of 
 bettering the condition of his treasury. Thus, the season 
 of 1796 had been so unfavorable that the management had 
 lost money by their Providence campaign ;• in consideration 
 of which circumstance the proprietors on the 22d of July 
 tendered a benefit to the company. In reference to this 
 occasion the following editorial notice appeared in the United 
 States Chronicle : 
 
 "This evening the proprietors have generously agreed to forego their 
 privileges in the house for the benefit of those who merit so much for 
 their exertion to please. It is hoped that a full house will recompense 
 their exertions, and stimulate them to continue that line of conduct which 
 they have heretofore followed, and which would do honour to any theat- 
 rical corps in the United States."
 
 40 HISTORY OF THE 
 
 By particular desire of the proprietors on this occasion, the 
 " Provoked Husband" was played, Mr. Powell as Lord Town- 
 ley, and Mrs. Powell as Lady Townley. If this comedy, then 
 performed by " particular desire," should now be produced, 
 its licentiousness would excite general disgust. 
 
 At other times social festivities were very frequent, and, as 
 a result the theatre was neglected ; but its friends would 
 eventually come to its aid, and make good the losses sus- 
 tained. Thus, in 1802 the attendance of the fashion of the 
 town had been very small on account of numerous balls and 
 parties. At this juncture a friend of the drama by a well- 
 timed communication to one of the newspapers established a 
 better state of affairs. He suggested the propriety of omit- 
 ting the entertainments of assemblies, balls, and parties, while 
 the theatre was open, as it was only a small part of the year 
 that the citizens could be favored with dramatic performances, 
 it being difficult and expensive to maintain a company whose 
 talents would command the respect of the amateurs of the- 
 atricals, and, as the ladies and gentlemen who usually at- 
 tended the assemblies were the friends of the theatre, and its 
 most brilliant and enlivening company. 
 
 Whenever the company was rather deficient in talent, or 
 when from the caprice of the public, or from the excessive 
 heat of the weather the audiences became very small, Mr. 
 Harper would find himself unable to remunerate his company 
 so well as he wished. During these disastrous periods they 
 were sore pressed to make a subsistence, and it is said that 
 some of them actually suffered from hunger. It is related 
 that at one of these extremely severe times Kenney, the 
 "first old-man " of the company, went into Major McLane's 
 Coffee House at about eleven o'clock in the forenoon, that 
 being the hour at which it was the custom of the merchants 
 to assemble there for a lunch and a brief moment of conver- 
 sation, and, approaching a group of .gentlemen, addressed 
 Col. Ephraim Bowen, who sat among them, and asked if he 
 knew of any one who had need of a set of teeth. The Colonel 
 expressing surprise at the inquiry, Mr. Kenney remarked that 
 he had a very good set of his own to dispose of, having no 
 use for them. The gentlemen commiserating his necessitous 
 condition, at once provided him with a dinner, and made him 
 a substantial present. Kenney was very tall, and generally
 
 PROVIDENCE STAGE. 4 1 
 
 wore dove-colored clothes. He was liked by the public, who 
 sometimes forgot that their favorites needed their attention, 
 but when reminded of their claims, always endeavored to 
 atone for the remissness of the past by increased liberality. 
 This incident, it should be remembered, occurred when the 
 town was very small. 1 
 
 Certain occasions always brought good audiences to the 
 theatre. These were Independence Day, Commencement 
 Day, Training Day, and, during Mr. Harper's residence in 
 Providence, St. John's Day. The manager and several of his 
 company were Free Masons, and on the occurrence of their 
 benefits or of the annual festival of the order, the frater- 
 nity attended the performances in large numbers. The pro- 
 grammes then announced that the entertainments were "un- 
 der the patronage of the most worshipful Grand Master of 
 the most ancient and honourable fraternity of Free and Ac- 
 cepted Masons of the State of Rhode Island." 
 
 About the year 1805, the following notice was appended to 
 the play-bills : 
 
 " It is earnestly requested that no person will carry a lighted cigar into 
 any part of the theatre, or attempt to renew the very dangerous practice 
 of smoking, either in the lobbies, or in the presence of the audience." 
 
 There was urgent necessity for this notice ; for many per- 
 sons were in the habit of leaving their seats during the in- 
 termissions to obtain refreshments, and of promenading the 
 lobbies with lighted cigars. As the lobbies were small, and 
 the doors to the auditorium were open, the smoke penetrated 
 within, and annoyed the occupants of seats. Sometimes, in- 
 deed, lads would bring cigars into the gallery and other parts 
 of the house, but that practice never prevailed to a great ex- 
 tent. At this time there was much fear in the neighborhood 
 that the theatre would take fire, and certain reports concern- 
 ing the peril to which the building was exposed impelled the 
 manager to take all the precautions requisite for its safety. 
 
 1 A death in any of the principal families would seriously affect the attendance at the 
 theatre. On the 19th of September, 180S, the following notice was placarded in the town 
 
 "THEATRE. 
 
 "POSTPONEMENT. 
 
 "The much lamented death of the Hon. Judge Uourne, of Bristol, whose funeral is tin- 
 day attended by his numerous friends and connections, imposes on Mr. and Mrs. Claude 
 the painful necessity of postponing the Entertainments, announced for this Evening, un- 
 til Wednesday Evening, Sept. 21, when the performance will positively take place. 
 
 " Monday, Sept. in."
 
 42 HISTORY OF THE 
 
 Similar requests in regard to cigar smoking appeared about 
 this time in other towns, and long afterwards formed a reg- 
 ular part of theatrical bills. The manners of Americans in 
 general were then unpolished, and, at promiscuous public 
 assemblies, indecorous to a disgraceful degree. Mr. Jansen, 
 in his " Stranger in America," a very severe book on this 
 country, published in 1807, reprobates in the strongest terms 
 the behavior of the audiences in our theatres. His censure 
 was applicable to those in Southern cities. 
 
 Mr. and Mrs. Harper had by their private worth endeared 
 themselves to many friends, and their society had been 
 courted by some of the best families of the town ; but as per- 
 formers they had lost much of their power of attraction. 
 Their acting had been witnessed night after night by the 
 same audiences, and it therefore lacked the charm of novelty. 
 Seen too frequently, even their merits became tiresome, and 
 their defects appeared more prominent. It was hard that he 
 who had so assiduously labored to create a taste for the 
 drama should be obliged after years of faithful service to leave 
 the scene of his toil and seek a new home. As we have seen, 
 he had withstood fanatical laws, and the bigoted hostility of 
 individuals, in his efforts to plant the drama in New England, 
 and by his perseverance and zeal he had succeeded in living 
 down opposition, accomplishing his dearest wish, while his 
 private character had dissipated many of the prejudices 
 against his profession. He was like the pioneer who con- 
 quers the ruggedness of nature, and sows seed, the fruit of 
 which, those who come after him, reap. Mr. Harper and his 
 wife on their departure bore with them a multitude of kind 
 regards. 
 
 In his youth Mr. Harper was considered handsome. He 
 had fine teeth and expressive eyes, but his face was slightly 
 marked with small-pox. He personated characters of every 
 description, from Richard III. to Falstaff. In the latter part 
 he was for a long while unrivalled, there being no other repre- 
 sentative of the fat knight in America. Eventually he re- 
 signed the part to Mr. Bates. 
 
 Mrs. Harper was an amiable woman, but possessed no great 
 talent as an actress, though there were a few characters 
 which she performed very well. She became somewhat 
 fleshy as she advanced in years, and was little inclined to
 
 PROVIDENCE STAGE. 43 
 
 study ; hence not unfrequently she was negligent of her duty, 
 and gave offence by imperfectness. 
 
 Bates was a true son of Momus, a fellow of infinite jest, 
 equally amusing on the stage and in private life. Of him it 
 might be said with truth : 
 
 " His life was laughter, and the ludicrous 
 
 So mixed in him, that Nature might stand up 
 And saj to all the world — this was an actor." 
 
 Like many other comedians he had in early life labored 
 under the mistaken idea that he was peculiarly adapted to 
 tragedy. He was a broad, short, strongly-built man, with 
 low comedy written on every feature. Mr. Dunlap, however, 
 who was no admirer of him, says it was low, conceited cun- 
 ning. At any rate in some comic parts Bates shone brightly, 
 especially in that of Sir John Falstaff, whose unctuous sensu- 
 ality and waggish knavery he represented with an abandon 
 and a relish that made the personation appear a complete 
 identification. In spite of his figure, his agility as Harle- 
 quin in pantomimes was surprising, and the height of his leaps 
 was an unfailing source of admiration to the young. A 
 ludicrous anecdote is related of him, by his friend Bernard. 
 Bates was engaged in Covent Garden Theatre when Reddish 
 and Smith were its stilted tragedians, and he thought it 
 proper to adapt his own bearing to theirs ; so, having on one 
 occasion to announce somebody's carriage, he did it with all 
 the declamatory pomp of old Ouin. Smith heard him, — 
 stared, and angrily asked why he couldn't say, "The carriage 
 waits " in a natural manner; whereupon Bates replied with a 
 deprecatory air, " Ton my word, Mr. Smith, I thought I had 
 kept down the sentiment completely." This anecdote has 
 been fastened upon Wignell, but Mr. Bernard, who was well 
 acquainted with both Bates and Wignell, assigns it to the 
 former. Wignell was the manager who found Mr. Bates in 
 1773 filling a subordinate station in one of the London thea- 
 tres, and brought him to America with other performers en- 
 gaged by him. When he came under Mr. Harper's manage- 
 ment he used to visit Providence every year, and then go 
 with the company to Charleston and the other places in their 
 regular circuit, but in the later years of his stay in Provi- 
 dence, he had become weakened by the approaches of age, 
 and illness prevented him from fulfilling winter engagements.
 
 44 HISTORY OF THE 
 
 He had therefore to depend for subsistence solely on the 
 profits of the summer campaign here and in Newport, which 
 were often very small. He, however, managed to eke out his 
 means by giving one or two exhibitions of a humorous char- 
 acter in the winter season when there was a dearth of amuse- 
 ments. His distresses were also alleviated by the kind assist- 
 ance of a benevolent gentleman. 
 
 Bates's benefits were always well attended, and, in general 
 the performances were satisfactory to the audience ; but on 
 one unlucky occasion, in the year 1809, he made an injudi- 
 cious selection, bringing out the comedy of " The Beaux 
 Stratagem." The house was full ; but it proved an unfor- 
 tunate performance for the theatre, as the licentiousness of 
 the play offended the patrons, and evoked severe strictures 
 on stage exhibitions from the opponents of the drama. The 
 fault was not wholly in the comedy ; for Mr. Bates had pre- 
 sumed upon the indulgence of his friends, and gave additional 
 breadth to its humor, already sufficiently gross. Several let- 
 ters from indignant correspondents appeared in the papers, 
 and, in The American, a warfare against theatres was waged 
 for a number of weeks by a writer signing himself " Morali- 
 tas." Others defended them, but " Moralitas," though evi- 
 dently prejudiced and too positive in his assertions, had the 
 best of the argument. He was capable of writing well, and 
 moreover had the greater part of his readers on his side, their 
 minds having been biased by whatever they had seen deserv- 
 ing of censure in the obnoxious comedy ; while those who 
 took up arms in defence of the stage were the actors them- 
 selves, unaccustomed to literary composition, and having 
 scarcely anything to adduce in justification of Mr. Bates's con- 
 duct. The strictures of "Moralitas" on the characters of 
 actors were not sufficiently qualified, and were understood to 
 be aspersions on the private lives of the performers then in 
 town. He was therefore constrained to publish a card ex- 
 pressing his regret that his attack on theatrical performances 
 should have been mistaken for an attack on the actors, and 
 stating that he " had hoped that two or three gentlemen well 
 known in the town and much respected (one of whom had 
 spent much time with us, and established a character of 
 which the author would speak in the highest terms, had he 
 the right to speak at all of the characters of individuals),
 
 PROVIDENCE STAGE. 45 
 
 would have thought themselves excepted when he said, 'some 
 of them, I am told, are entitled to respect,' and, in speaking 
 of actors generally as he has done, such were undoubtedly 
 excepted." 
 
 We owe to Mr. Harper the introduction of Mr. and Mrs. 
 Darley to our citizens. Mr. Darley came to this country 
 when a boy with his father who was a celebrated singer. He 
 often appeared upon the stage to assist in choruses, but after- 
 wards entered the navy as a lieutenant of marines. He how- 
 ever abandoned his new profession, returned to the stage in 
 1800, and married the beautiful and accomplished Miss Ellen 
 Westray, one of the most fascinating beings that ever graced 
 the stage. He performed light comedy very well, but sing- 
 ing was his forte, and his aid in operatic pieces was invalu- 
 able. He died about 1850, in the seventy-eighth year of his 
 age. 
 
 Wherever Mrs. Darley played she charmed all beholders 
 by her vivacity, and rare personal beauty and grace. The 
 critics of New York, Boston, and Philadelphia, vied with one 
 another in praises of her excellence, and for many years she 
 was the pride of the American stage. Her society was much 
 courted in every place she visited, and in every circle she 
 entered she became the chief ornament. She was an "ever- 
 during" source of inspiration to the young poets of the time, 
 who racked their imaginations to find wherewithal to liken 
 her perfections. Others searched their memories for com- 
 parisons, and decked her with all the graces ascribed to the 
 goddesses of classical mythology, or the heroines of history ; 
 from Venus to Publicola's sister, 
 
 " Chaste as the icicle 
 That's curded by the forest from purest snow, 
 And hangs on Dian's temple." 
 
 Soon after her return to Boston from a visit to another 
 part of the country in 1802, she received the following com- 
 pliment through the channel of one of the public papers : 
 
 " As on Olympus' loft}' brow 
 
 The Heavenly Fair assembled sat, 
 Look'd down on mortals here below, 
 And talked of this and talked of that: — 
 
 " Says Juno, ' Who, of Heavenly birth, 
 Obedient to our high command,
 
 46 PROVIDENCE STAGE. 
 
 Will freely wing her way to earth, 
 Awhile to grace the Thespian band?' 
 
 " Nature, soft, simple, modest, mild, 
 In sweetest accents begg'd to go: 
 Fair Venus kiss'd the prattling child, 
 And lent the magic cestus too. 
 
 " Columbia owns her power to move, 
 The cold to warm, the savage tame, 
 With pity melt, or wound with love — 
 And Darley calls her favorite's name." 
 
 This poem was supposed to be the production of Paul 
 Allen, at that time the poet of Providence, whose odes were 
 read on every public occasion, and whose fugacious verses 
 appeared from time to time in the periodicals of Providence 
 and Boston. 
 
 Mrs. Darley removed in 18 12 to Philadelphia, where she 
 died in 1848, in the seventy-first year of her age, lamented by 
 a large circle of attached friends. 
 
 Many others of Mr. Harper's company are still remem- 
 bered by our older citizens. There was Mrs. Marshall, whose 
 hearty, joyous manner, made her a most charming actress in 
 romps and similar characters — the delight of every theatre 
 in which she played, charming the spectators by her natural- 
 ness and sparkling vivacity. Then there were Mr. and Mrs. 
 Villiers, honored by all ; Mr. and Mrs. Young ; Mrs. Barnes, 
 who continued to reside among us for a long series of years ; and 
 Mr. Andrew J. Allen, who subsequently essayed the manage- 
 ment of a theatre in Dorrance street, and died several years 
 ago in New York. He was the last of all the performers 
 whom Mr. Harper brought to Providence, and only a few of 
 the spectators who used to attend the theatre in those days 
 survive him.
 
 CHAPTER V. 
 
 1811-1812. 
 
 The theatre Leased by Powell and Dickson— A liberal patron- 
 age BESTOWED ON THE NEW MANAGERS— THE PRESS DEMAND THE 
 
 engagement of mr. morse— james entwistle— the theatre at 
 klchmond destroyed by fire— a petition for the suppression 
 of the Providence theatre circulated— Great efforts made 
 to procure signatures— the contest in the general assembly 
 —Speeches of John Whipple and Tristam Burges— The subject 
 referred to a special committee— Anecdote of Thomas L. Hal- 
 sey— An act is passed respecting the Providence theatre — 
 This act withheld from the Statute Book— Action of the town 
 council. 
 
 THE Providence theatre opened for the season of 1811, 
 on the first of July, under the auspices of Messrs. 
 Powell and Dickson. Mr. Powell leased the building 
 for five years, agreeing to pay an annual rent of two hundred 
 dollars ; and to allow nightly thirty box tickets, which at an 
 average of forty nights a season would amount to twelve 
 hundred dollars. By this contract the stockholders obtained 
 fifteen per cent, on the cost of the edifice ($9,300). 
 
 The new managers were as competent for their business as any 
 that have ever figured in America. They brought with them 
 from Boston, a company far superior to Harper's, and at once 
 revived the dramatic taste. The company contained, besides 
 the managers, Messrs. Duff, Darley, Entwistle, Robertson, 
 Barnes, Vaughn, Drake, and Bailey, and Mesdames S. Powell, 
 Duff, Barnes, Drake, Mills, Doigne, and others. 
 
 The initial performance consisted of "The Mountaineers," 
 and "The Weathercock." During the second week Mr. 
 Duff produced "Three and the Deuce," in which he per- 
 sonated three characters ; and this novelty ensured its fre- 
 quent repetition. Performances were now given three times 
 a week.
 
 48 HISTORY OF THE 
 
 The public were not slow in recognizing the merits of the 
 actors, and on the nth of July a correspondent of the Rhode 
 Island American congratulated his townsmen on the im- 
 proved condition of theatricals, and the managers on the lib- 
 eral support they had received, and would continue to experi- 
 ence so long as they should maintain the existing standard of 
 excellence. "The best productions of the English drama- 
 tists," he wrote, "are presented (here) as well as in Boston, 
 New York, and Philadelphia, and I have no hesitancy in say- 
 ing, from the regularity with which the business is conducted, 
 and the judicious arrangements of the entertainments, that 
 the Providence theatre will become a school of morality."/ 
 During this season " Forty Thieves " was played, with the 
 original music, dresses, and decorations with which it had 
 been performed in Boston forty nights. The MustapJia of 
 Mr. Dickson, and the Morgiana of Mrs. Duff were much ad- 
 mired, and the play was represented six nights ; books with 
 descriptions of the scenery, and the words of the song, being 
 sold at the box office. 
 
 The patronage bestowed on the theatre was as liberal as 
 could be desired, and the managers labored to retain the 
 favor of their patrons. Play-going was "all the rage" until 
 a slight disagreement with the public occurred about the end 
 of August. Mr. Morse, a gentleman well known in the town, 
 having been a student in Brown University, had gone to Bos- 
 ton several years before to begin the study of law. His 
 towering figure, muscular and well-formed limbs, together 
 with some elocutionary skill which he had displayed, attracted 
 the attention of the tragedian, Cooper, who, after some pre- 
 liminary tuition, brought him upon the stage in November, 
 1806. From that time Mr. Morse gradually improved as an 
 actor, until his fame had spread over New England. In 1807 
 he had played three nights in Providence, and had then shown 
 indications of such considerable ability that many of the 
 theatre-goers were now desirous of seeing how well his ma- 
 turity had fulfilled the promises of his youth. 
 
 He arrived in Providence, for the purpose of visiting his 
 friends, early in August, 1811. The newspapers announced 
 his arrival, and suggested that he should be forthwith en- 
 gaged at the theatre. Many of the citizens concurred in this 
 desire. Notwithstanding this expression of the popularwish,
 
 PROVIDENCE STAGE. 49 
 
 the play-bills did not announce Mr. Morse. The editors were 
 chagrined at the seeming slight from the managers, and, be- 
 ing also willing to teach the new comers that they must look 
 to the press for directions concerning their conduct, urged 
 the town to stay from the play-house, and let Messrs. Powell 
 and Dickson see the folly of denying their wishes, asserting 
 that the citizens had a right to prescribe what entertainments 
 they desired to enjoy. The articles grew more threatening 
 in tone in every issue, and the Rhode Island American was 
 especially loud in its denunciations of the management. 
 
 At first the managers did not regard these demonstrations, 
 but at length, fearing that their silence might do them an in- 
 jury, they published in the Gazette a card, in which they in- 
 formed the public that they had offered Mr. Morse an en- 
 gagement for the remainder of the season upon the terms 
 given to the best actors of the theatre, and that the offer was 
 the best their circumstances warranted. This announcement 
 was of service to the theatre, as it made known the endeavors 
 of the managers to gratify the wishes of their patrons, and 
 allayed the acrimonious feelings which had been manifested. 
 The matter was soon forgotten after Mr. Morse had given 
 public recitations, and the theatre regained its popularity. 
 
 Mr. Morse shortly afterwards went to London, where he 
 met with indifferent success. He there mingled in scenes of 
 dissipation, and on his return to Boston had lost one of his 
 eyes. On the breaking out of war with England he entered 
 the army, but on the return of peace he was in a state of des- 
 titution. He, however, made a vigorous effort, a change came 
 over his life, and, at the time of his death he was a clergy- 
 man, settled in Virginia. 
 
 The season was brought to a close on the 27th of Sep- 
 tember with a series of benefits for the leading performers. 
 James Entwistle, the low comedian, — and a good one he was, 
 too — on his night appeared as Shylock in the " Merchant of 
 Venice," and Risk in " Love Laughs at Locksmiths." Risk 
 was the first character he had personated in this country, 
 and in it he always gained applause : so when his friends ex- 
 pressed doubts whether he could play Skylock, he replied that 
 should he incur 
 
 " Risk by his S/iylock, being out of his station, 
 His Risk in the farce would secure approbation." 
 4
 
 50 HISTORY OF THE 
 
 Entwistle, who was desirous of playing tragedy, carried 
 comedy in his face, and even in his dress ; his very hat seem- 
 ing to have a comical twist. Wherever he appeared he be- 
 came the centre of an admiring circle, and every remark he 
 made was hailed with transports of delight. He boarded on 
 North Main street and was known to all the region boys for 
 his waggeries, his witticisms having general currency. The 
 poor man, however, must have had tragedy in his soul ; for 
 he very soon died under circumstances too painful to relate. 
 About the first of the following January, news of a great 
 calamity at Richmond, Virginia, reached Providence. The 
 theatre was destroyed by fire, and many lives were lost. From 
 some mismanagement of the lights the scenery was ignited, 
 the flames spread with rapidity, and the cry of " Fire ! " rang 
 through the house. The occupants of the pit and gallery at 
 once made their escape, but those in the boxes were not so 
 fortunate. The entrance to the hall was narrow and ap- 
 proached by a winding passage ; and the struggle to gain it 
 was so great that it became blocked up. All present might 
 have escaped, if they had jumped into the pit, but no one 
 thought of that expedient. They became panic-struck. The 
 smoke blinded them, and, terrified by the progress of the 
 flames, they became powerless, and were trodden under foot, 
 or perished in the raging fire. Seventy-one persons, includ- 
 ing the governor of the State, lost their lives by this disas- 
 ter. The next day all places of business in Richmond were 
 closed, a law was passed prohibiting amusements of every 
 kind for the term of four months, and the citizens wore mourn- 
 ing for a month. At Washington the representatives of the 
 several States assumed the customary badges of grief, and 
 all amusements were suspended. This sad occurrence cre- 
 ated a deep sensation throughout the country, and in Provi- 
 dence it produced an unusual gloom and depression. 
 
 It was now deemed by some well-meaning people an aus- 
 picious time for renewing an attack upon the Providence 
 theatre, and, believing, or affecting to believe, that the recent 
 calamity at Richmond should be regarded as a manifestation 
 of the Divine displeasure at the increase of theatres, they at 
 once began to bestir themselves. Two years previously 
 many labored addresses against theatrical entertainments had 
 appeared in the local newspapers, and an opinion had pre-
 
 PROVIDENCE STAGE. 5 I 
 
 vailed that the promoters of the views maintained in those 
 articles had been influenced not so much by their zeal for the 
 public morals, as by more selfish considerations. It was, per- 
 haps, unfortunate that some who had been connected with 
 the former onslaught were identified with the new move- 
 ment. A petition was immediately prepared, reciting numer- 
 ous charges against actors and theatres, and asking the Gen- 
 eral Assembly for an enactment to suppress the theatre in 
 Providence. This petition was industriously circulated, and 
 it soon became well known that its friends, in their eagerness 
 for numbers, had obtained the signatures not only of respect- 
 able men, but of mere lads, and even of some of the most 
 disreputable characters of the town. It was taken by the 
 town-sergeant, "Deacon" James Hammond, a worthy func- 
 tionary, who, in dress and manners was the ideal of a paro- 
 chial beadle, into the public schools, and the teachers en- 
 couraged their pupils to sign it. One master in particular 
 was very authoritative in urging his scholars to subscribe 
 their names, arguing that the effect upon the legislature 
 would be much enhanced, could that body perceive the rising 
 generation thus zealous in the cause of virtue, and predicting 
 a disastrous fate for those who should refuse to comply with 
 his wishes. A venerable gentleman, living until recently, 
 remembered to his sorrow how severely he was whipped be- 
 cause he withheld his name. 
 
 While the petition was circulating, the preachers were ful- 
 minating every Sunday in their pulpits, and inciting their 
 hearers to "come up to their help" against the great social 
 evil in the community ; and during the rest of the week the 
 morality of the drama was the subject of continual debate, 
 both in private circles and in the public prints. The oppo- 
 nents of the petition were all the most intelligent and influ- 
 ential citizens, except the Ives and the elder branch of the 
 Browns ; but the staunchest friends of the theatre were 
 Thomas L. Halsey, Sr., James Brown, Moses Lippitt, John 
 Corliss, the elder Nightingales, and Col. William Blodget. 
 Several elaborate essays, pro and con, appeared in the col- 
 umns of the American and Gazette, and never before in Provi- 
 dence was the subject discussed at such length, or with such 
 earnestness and ability. The articles then published were 
 the productions of the most literary men of the town, and, if 
 they should be reprinted, would now be read with interest.
 
 52 HISTORY OF THE 
 
 It happened that a party issue was made on the success of 
 this measure. The town was nearly equally divided in pol- 
 itics ; and the indefatigable zeal of Philip Martin, Charles 
 Hartshorn, and Ezekiel Burr in circulating the petition was 
 ascribed to their desire "of blowing up the federalists." 
 These gentlemen were active members, each of one of the 
 religious societies in the town, and were doubtless innocent 
 of any political designs ; but when the report gained currency 
 that they were influenced by sinister motives, it may readily 
 be perceived how futile would be all their exertions in some 
 directions, and how many persons, previously friendly or 
 indifferent to their plans, at once became hostile to them. 
 It was said that some who had signed the petition, influenced 
 by the representations of others, were desirous of withdraw- 
 in- their names, after having found that these representa- 
 tions were untrue. The intention of the enemies of the 
 stage was to have the theatre immediately closed, " once and 
 forever," and to declare invalid the contract by which the 
 stockholders had leased the building to the managers for a 
 number of years ; but, when it was argued that such a pro- 
 ceeding would be manifestly unjust to both parties, they 
 consented that, in the contemplated legislation there should 
 be some provision respecting the lease, or that arrangements 
 should be made for the purchase of the theatre, as it stood, 
 for about $2,400. Influences were brought to bear upon the 
 town authorities, and, on the 27th of January the petition 
 was presented for their approbation to the town council, who 
 passed a resolution that the law prayed for would be highly 
 beneficial to the town, and recommended the General Assem- 
 bly to enact the same. 
 
 Early in the session of the General Assembly, which 
 convened Feb. 24, 1812, the petition was presented, and 
 Saturday, the 29th, set down for the day of hearing. At the 
 appointed time the subject was debated. John Whipple, 
 then a young man, appeared at the bar of the House in 
 behalf of the petitioners, and Tristam Burges, whose adver- 
 tisement proffering his services of an advocate in the Gen- 
 eral Assembly was about that time conspicuous in the Provi- 
 dence newspapers, represented their opponents. Mr. Whip- 
 ple did not on this occasion display those talents which a few 
 years afterward made him so eminent ; yet he was not want-
 
 PROVIDENCE STAGE. 53 
 
 ing in zeai, not to say ferocity of manner and language. He 
 denounced the drama as a species of black art, which had 
 debased mankind, and had incurred the vengeance of the 
 Almighty. He was so unsparing of his denunciations that 
 he injured the cause he was advocating. Mr. Whipple had 
 little sympathy for the written or the acted drama, and has 
 been heard to avow that he had never witnessed, and never 
 would witness, a theatrical performance. 
 
 Mrs. Sarah Helen Whitman, the poet, told Mr. Charles 
 Blake that she remembered Mr. Whipple as a regular visitor 
 of the theatre during the first engagement of Clara Fisher, 
 and that he was a great admirer of Miss Kelly in 1828. It 
 is probable that his sentiments respecting the influence of 
 theatres were modified in his later years. 
 
 Mr. Burges created a profound impression by his defence 
 of the drama. He reviewed its history from the earliest 
 times, and urged that, if it became debased, it was by reflect- 
 ing the public mind ; its own natural tendencies being 
 elevating and refining. He showed the erroneousness of the 
 statements of the petitioners, and made tatters of their argu- 
 ments, in a speech abounding in quaint metaphor and cutting 
 irony. He was frequently interrupted by the applause of his 
 hearers, and the concluding portion of his address produced 
 such an effect that after he had resumed his seat a long 
 pause ensued, as though no one felt competent to proceed. 
 
 After a short interval it was voted to postpone the further 
 consideration of the subject in the House, and to refer the 
 petition to a special committee of five, consisting of one 
 member from each county, who were instructed to hear the 
 allegations and evidence upon both sides of the question. 
 This postponement was deemed equivalent to a defeat, and 
 gave great offence to the promoters of the petition. The 
 Patriot asserted that that course was determined upon be- 
 cause "federalism feared a falling off of some of her disciples, 
 however the question might be decided, and dared not meet 
 it until after election." 
 
 The committee met at the Court House in Providence on 
 the 16th of March, and proceeded to hear the evidence 
 adduced for and against the petition. The testimony showed 
 that the inmates of the house of Mr. E. Talbot, which was 
 situated next west of the theatre, were inconvenienced by
 
 54 HISTORY OF THE 
 
 nuisances committed in the vicinity, and were often in fear 
 of fire. Farther than that, not much was proved against the 
 theatre, although one of the counsel read many lewd pas- 
 sages culled from the works of dramatic writers, and endeav- 
 ored to convince the committee that the plays performed 
 nightly before modern audiences were equally vile and de- 
 moralizing. After hearing both sides in full, the committee 
 expressed no opinion ; but upon consultation among them- 
 selves it was ascertained that two of them favored the peti- 
 tion, while three, constituting a majority, were opposed to it. 
 They then separated, and, at the June session made a verbal 
 report, reciting the facts and making no recommendation. 
 They were then discharged, two of them receiving compen- 
 sation for their services. 
 
 It is somewhat remarkable that the petition was at this 
 time surreptitiously abstracted from the Assembly, and has 
 never been returned to the files. 
 
 Now for a piece of secret history. At the end of the first 
 day's session of the committee, Mr. Halsey (T. L., Sr.,) in 
 some manner received an intimation that two of the members 
 had concluded to vote to recommend the passage of the act 
 prayed for in the petition, two were in opposition to it, 
 and one, whose name need not be disclosed, was in a state 
 of indecision. This latter member had never seen a play, 
 and apparently had no idea, indistinct or otherwise, concern- 
 ing a theatre. He was as uncouth and ignorant a country- 
 man as ever plodded beside a yoke of oxen, and could com- 
 prehend neither argument nor description. He wore a long 
 blue overcoat, with immense side flaps, a high collar, and 
 large buttons, apparently a transmitted heir-loom in his 
 family ; and also walked in huge, dusty boots. He had a 
 vote, and to win that, Mr. Halsey bent his mind. He paid 
 court to him, invited him home to dinner at his house on 
 Prospect Hill, and put everything the place afforded at the 
 service of the abashed representative. The family and the 
 servants were instructed to demean themselves with the ut- 
 most deference, while Mr. Halsey himself lost no opportunity 
 of waiting upon his guest, and showing how fully he appre- 
 ciated the distinction conferred upon his house by a visit 
 from a member of the legislature. After dinner the repre- 
 sentative said he must go ; but that was now impossible, for
 
 PROVIDENCE STAGE. 55 
 
 the young ladies, who readily aided their father in his scheme 
 to save the theatre, had conceived such an affection for him 
 that he must needs remain and hear them sing. " Did the 
 Squire like music?" " Wa'al, the Squire didn't know," and 
 so the ladies must play ; and through an extensive repertory 
 they played and sang, recommending this and that to the 
 taste of their guest. The host was anxious for his opinion 
 on dancing. The Squire had formed none, and so nothing 
 could stay the ladies from executing a pas de deux before 
 him. He pronounced it pretty. Another was called for, 
 and then another, until tea was announced. The Squire had 
 now become very uneasy, and evidently wanted to change the 
 scene, but did not know how to get away ; and when he 
 tried to signify that he supposed it was time he was getting 
 along to his boarding-house on Christian Hill, he perceived 
 that the announcement caused the family such grief, that he 
 yielded a consent to remain to tea. Once seated at the 
 board, he was served with everything that was at hand, dili- 
 gent pains being taken to find viands to his liking. During 
 the evening all contributed to entertain him at the same 
 time losing no opportunity of obtaining on all subjects the 
 opinions of one who assisted in making laws for the State. 
 Mr. Halsey brought up certain questions and asked instruc- 
 tions in regard to them. It was surprising how completely 
 in unison were Mr. Halsey's views with his on almost every 
 point ; and on the subject of the theatre it was soon apparent 
 that the representative, although he would not commit him- 
 self as to the course he should pursue, intended to make no 
 very vigorous opposition in committee to the side favored by 
 his entertainer. 
 
 Night at length came, when another movement was made 
 for Christian Hill, and the same difficulty was experienced in 
 doing violence to the expectations of the family that the 
 Squire should lodge with them. It was evident that they 
 had set their hearts upon it, and he had not the strength to 
 resist. The procession to the bed-chamber was imposing. 
 Two servants led the way with the candles (tall spermaceti 
 candles they were, in silver candlesticks), while the host and 
 the man whom the host delighted to honor, followed. " This 
 is your room, Squire," said Mr. Halsey, as they entered the 
 northeast chamber, its stately and sumptuous aspect at once
 
 56 HISTORY OF THE 
 
 bewildering and subduing the Squire. On each side of an im- 
 mense mirror were sconces, every branch bearing a tall candle 
 lighted, while the bed with its heavy carving, its cambric pillow- 
 cases, and its dainty Marseilles counterpane stood ready to re- 
 ceive the weary guest. He was shown a bell, and besought to 
 ring it if he should have need for anything, and then all with- 
 drew. The door was closed, and the dazed Squire sank upon a 
 chair, and helplessly stared at the surrounding grandeur. 
 Long he sat, and made no motion. He knew that he was a 
 legislator, a man of great influence, and the superior of his 
 entertainer, but he was crushed with the homage. He was 
 encumbered with no luggage, but his mere presence burdened 
 him beyond relief. The night was far advanced, and he was 
 still sitting. At last with an effort he rose, turned down the 
 counterpane, divested himself of his coat and boots, and, with 
 the candles all ablaze lay down, waiting for the morning, and 
 big with a purpose. 
 
 As soon as the first streaks of Hay were visible from the 
 east window he donned his coat, cautiously opened the door, 
 and with the boots in his hand began creeping down stairs. 
 He reached the bottom without discovery, although those 
 stairs creaked as they never did in honest daylight, and was 
 just slipping the bolt of the outer door, when Mr. Halsey 
 suddenly joined him with a hearty greeting, delighted to find 
 the Squire, like himself, an early riser. " We'll take a walk 
 together, Squire. I want to show you our country about 
 here." " I'm going home." "Oh, not until after breakfast, 
 I hope ; the ladies would be so much distressed." "I'm going 
 home now," repeated the Squire, with such firmness that Mr. 
 Halsey no longer resisted, but, shaking hands with him, bade 
 him remember that whenever he came to town the Halsey 
 house was to be his home. He then watched the Squire turn 
 down Olney's lane with his boots still in his hands. Whether 
 he put them on before reaching Christian Hill is not known. 
 Mr. Halsey extinguished the candles, and broke the intelli- 
 gence to his family that they should that morning breakfast 
 alone. He soon afterwards learned that when the vote was 
 taken in the committee, the idol of his family had proved a 
 staunch friend of the theatre. 
 
 It has often been stated, and is now the prevailing opinion, 
 that no legislation ever took place in relation to the subject
 
 PROVIDENCE STAGE. 57 
 
 of the petition ; and, as the schedules for that year and those 
 succeeding, contain no enactment concerning theatrical exhi- 
 bitions, such is the natural conclusion. A search of the 
 Journals of the House of Representatives and of the Senate, 
 however, brings to light some interesting disclosures. We 
 find that on the 27th of February, 18 13, a law was enacted, 
 having passed both houses on that day, and was engrossed at 
 length on the Journal of the lower House. The original 
 draught of the act with the official file marks thereon is in 
 preservation in the office of the Secretary of State, and by 
 inspection of it we are enabled to learn its history, and to 
 form a satisfactory theory touching the cause of the suppres- 
 sion of the act after its passage. 
 
 It was at first entitled, "An Act prohibiting Theatrical 
 Exhibitions," and contained three sections. The first briefly 
 and peremptorily prohibited theatrical performances within the 
 State ; the second prescribed the penalties to be incurred by 
 the violation of the first ; and the last consisted of a long 
 provision of involved construction, excepting the Providence 
 theatre from the operation of the law, upon certain specified 
 contingencies. The act was intended to have especial refer- 
 ence to the Providence theatre, and its framers, having dis- 
 covered in the preceding year that there was but little pros- 
 pect of its adoption, cut out its more obnoxious parts, and 
 then presented it, thus changed, at the February session of the 
 year 1813. These changes completely altered its tenor. The 
 title and the two prohibitory sections were stricken out, and 
 over them was wafered a paper containing in another hand 
 the amendments. These consisted of a new title and two 
 sections. Section one empowered the town councils of the 
 several towns to license, regulate, and, as they should find ex- 
 pedient, prohibit and suppress theatrical performances. Sec- 
 tion two prescribed the penalties to be visited upon those 
 who should give or permit such divertisements, unlicensed 
 by the town council. Section three, retained from the 
 original draught, ran as follows : 
 
 " Provided, nevertheless, that three judicious and impartial men shall 
 be appointed by the town-council of the town of Providence l<> appraise 
 and set upon the present theatre in said town and the lot whereon it 
 stands, the full valuation it would hear if this act had not been passed, 
 which valuation they shall report to said council, and shall give notice
 
 58 
 
 HISTORY OF THE 
 
 thereof to the proprietors of said theatre; and in case no person or per- 
 sons shall present [themselves] within sixty days to purchase said theatre 
 and lot. and shall make and execute to said proprietors, and deposit in the 
 hands of said appraisers for the benefit of said proprietors, a good and suf- 
 ficent bond or bonds to the satisfaction of the appraisers, stipulating 
 therein to purchase and pay for said property at a full and a fair price and 
 valuation, or in case (said bond or bonds "being executed as aforesaid) 
 the proprietors shall make and execute and deposit in the hands of said 
 appraisers within ten days after notice to them of the deposit of said bonds 
 as aforesaid a good and sufficient deed, or deeds, as aforesaid of their right, 
 title, and interest in said theatre, or in said lot, or both at their option, 
 to be delivered to said purchaser or purchasers upon payment by them to 
 the appraisers at the price at which said property shall be valued, or (be- 
 ing dissatisfied with said valuation, and prosecuting said bond or bonds 
 for the purpose of obtaining a further valuation by a jury.) shall within 
 ten days after the verdict of one jury, and judgment thereon, make, exe- 
 cute, and deposit such deed or deeds as aforesaid to the person, or persons 
 signing said bond, and if the price and amount of compensation for said 
 property so ascertained shall not be paid into the hands of said appraisers 
 for the benefit of said proprietors within sixty days after the deposit ot 
 said deed or deeds in either case as aforesaid, then and in either of the be- 
 fore stated cases the provisions of this act shall not be extended to theatri- 
 cal exhibitions in said theatre in the town of Providence, nor shall any- 
 thing in this act contained be construed to prohibit or suppress the same." 
 
 Another section enabled guardians and trustees of such 
 stockholders as might be non compotes mentis, or under age, 
 to make valid deeds in their names. 
 
 Such was the act after amendment, and when it became a 
 law. There can be no doubt of its passage. It bears the 
 file marks of both Houses ; it is engrossed at length upon the 
 Journal of the lower House ; its enactment was announced 
 at the close of the session in one of the local newspapers ; 
 and the town council of Providence promptly proceeded to 
 act in accordance with its provisions. 
 
 At a meeting of the council held March 22cl, three gentle- 
 men were appointed a committee of appraisement, all of 
 whom declined serving in that capacity. The next week 
 another committee, consisting of Messrs. Jonathan Adams, 
 John Howland, and William Church, were nominated in their 
 place, and on the 26th of the succeeding month they made a 
 report, in which they stated that they had appraised the 
 theatre and the lot on which it stood at seven thousand dol- 
 lars, estimating the value of the building at five thousand six 
 hundred dollars, and that of the lot at fourteen hundred dol- 
 lars. Their labors then ended. What action may have been 
 subsequently taken by others can not now be ascertained.
 
 PROVIDENCE STAGE. 59 
 
 The theory offered to account for the omission of this act 
 from the schedules published by public authority is, that Mr. 
 Eddy, the Secretary of State, whose duty it was to prepare 
 the legislative enactments for publication, had personal 
 knowledge that the provisions of the third section upon the 
 fulfilment of which the vitality of the act depended, had not 
 been complied with, because no purchaser had appeared 
 within the stipulated time to buy the theatre at its appraised 
 value, and, supposing the statute thereby virtually repealed, 
 did not deem it necessary to include it among the other acts 
 of that session, which made their appearance under his sup- 
 ervision in the month of October following. 
 
 The law thus made, and thus suppressed, became a dead 
 letter, but was destined to be resuscitated. In February, 
 1820, the General Assembly appointed Samuel Eddy, together 
 with the Secretary and Attorney General, a committee to 
 digest the laws of the State, and to propose such alterations 
 as they should deem proper. In 1 821, at the January ses- 
 sion, Governor Knight, James Fenner, and Thomas Burgess, 
 the last of whom had in 1813 been clerk of the House of 
 Representatives, and therefore as well as Mr. Eddy cognizant 
 of the passage of the act, were added to this committee, and 
 the digest prepared by them appeared in 1822, in which vol- 
 ume the resurrected act appears, shorn of its third section, 
 and with a marginal note, thus : " 1813-22."
 
 CHAPTER VI. 
 
 1812. 
 
 Panoramic view of Providence— Engagement of George Fred- 
 erick Cooke— His success in other theatres — A thunder 
 storm thins the audience— anecdote of thomas l. halsey— 
 Anecdotes of Cooke— His Death— His Character— Phillips's 
 Eulogy. 
 
 THE year 1812 marks an era in the history of the 
 Providence theatre. That year was made memorable # 
 by the appearance on its boards of no less a person- 
 age than the illustrious George Frederick Cooke, an actor 
 of transcendent genius, second, to none, and equalled by only 
 one, David Garrick. Impelled by his erratic genius, he who 
 had played before the Majesty of England, and been the 
 admiration of the nobility — he, in whose train artists and 
 critics were proud to follow — had left the scene of his tri- 
 umphs, and had come to our western shores. Now after 
 winning new laurels in all the American cities he came to this 
 little town to interpret the words of Shakespeare, and to 
 brighten its historic page. By this event, the people of Provi- 
 dence were enabled to witness as fine acting as the world has 
 ever enjoyed, and then the name of their town became for- 
 ever associated with the records of the drama ; for in this 
 obscure corner George Frederick Cooke played his last part. 
 In many a place to which the fame of our local worthies, 
 fondly perpetuated by us, can never penetrate — wherever our 
 noble English drama is studied and the names of its great 
 lights are cherished — Providence is a name well remembered 
 for the distinction it thus received. 
 
 The dramatic season commenced on the 29th of June, with 
 the performance of the romantic and affecting play, entitled 
 " Lovers' Vows." The company comprised, besides the man- 
 agers, Messrs. Young, Waring, Clark, Drake, Robertson,
 
 PROVIDENCE STAGE. 6 I 
 
 Spiller, Barnes, and Entvvistle, Mesdames Powell, Young, 
 Barnes, and Drake, Miss Dillinger, and others. 
 
 On the 8th of July a new act-drop, which had recently 
 been painted by the best scenic artist of the day, Mr. War- 
 rail, from drawings made by him two or three years before, 
 was exhibited for the first time. It was a panoramic repre- 
 sentation of the town of Providence, as viewed from the old 
 fort on Federal Kill, near the junction of Atwell's avenue 
 and Broadway, and included the space between Meeting street 
 on the north, and Wickenden street on the south. Its me- 
 chanical execution is excellent, all the buildings represented 
 upon it being painted with scrupulous fidelity. This curtain 
 was for a year or two displayed two or three times a season 
 as a part of the entertainments, but was finally appropriated 
 to its legitimate purpose. It is still in a tolerable state, of 
 preservation, and is the property of the Rhode Island His- 
 torical Society. 
 
 On the 13th of July Cooke made his first appearance in 
 Providence. He and Mrs. Cooke left New York by the Provi- 
 dence packet on the 5th of July, and arrived here on the 8th. 
 His fame -had preceded him. He had arrived in New York 
 from England, on the 16th of November, 1810, and made his 
 debut in America in the character of Richard III The ex- 
 citement among the citizens was intense. The throng about 
 the theatre was so dense and pressing that many were forced 
 through the doors without payment. On his entrance he 
 was welcomed by twenty-two hundred spectators with thun- 
 ders of applause ; and the performance excited the wildest 
 enthusiasm, more than gratifying every expectation. He 
 played seventeen nights, and the receipts of the managers 
 were twenty-one thousand five hundred and seventy-eight 
 dollars. 
 
 He played in Boston and Baltimore with similar success ; 
 but in Philadelphia the citizens were almost frantic in their 
 eagerness to see him. On the Saturday before his appear- 
 ance the streets around the theatre were densely blocked by 
 people struggling to reach the box-office to secure tickets ; 
 some of whom had spent the whole of the preceding night 
 near the portico in order to be the earliest on the ground 
 when the office should be opened. He began his engagement 
 March 25, 181 1, as Richard III. The ticket-holders were
 
 62 HISTORY OF THE 
 
 obliged to be taken through the back entrance of the theatre, 
 over the stage to their seats, as the crowd in front rendered 
 access by the usual way impracticable. 
 
 He made several visits to New York, and in January, 1S12, 
 he played a second engagement in Boston, where the rage 
 for seeing him was so great, that, though the weather was ex- 
 ceedingly cold, the box-office was surrounded from three 
 o'clock in the morning until ten, the hour at which the sale 
 of tickets began. It is said that during one of these Boston 
 engagements a Providence boy, excited by the reports of 
 those who had witnessed the acting of Cooke, and fearing 
 that he would never visit Providence, walked to Boston for 
 want of the means to travel by the usual conveyance, 
 and then beheld the renowned actor, and felt himself com- 
 pensated for his pains. The delirium of his delight when 
 Cooke actually came to Providence can only be appreciated 
 by those who had the luck to witness the impersonations of 
 that wonderful genius. 
 
 Mr. Cooke opened on Monday, July 13th, as Shy lock in 
 "The Merchant of Venice," to a house of $268.50. On 
 Wednesday, the 15th, he played Richard III., a part that he 
 had wrested from John Philip Kemble, to a house of $286.00. 
 On Friday, the 17th, Sir Pertinax McSycopliant in "The 
 Man of the World," to $227.50 ; on Monday, the 20th, Mac- 
 beth, to $259.00 ; on Wednesday, the 22d, Pcnruddock in 
 "The Wheel of Fortune," to $165.75 ; on Friday, the 24th, 
 Zanga in the " Revenge," and Sir ArcJiy McSairasam in 
 " Love a la Mode," to $198.00. This was the last night of 
 his engagement, but he was reengaged for three additional 
 nights. On Monday, the 27th, he played Lear to $157.00 ; 
 on Wednesday, the 29th, Falstajf in "Henry IV.," to $93.50 ; 
 and on Friday, the 31st, for his own benefit, Sir Giles Over- 
 reach in "A New Way to Pay Old Debts," to $285.00. 
 
 The sums given above as the receipts of each night, are 
 the takings at the box-office for tickets promiscuously sold, 
 but it is to be recollected that many of the best seats were 
 occupied by the stockholders, who, according to the condi- 
 tions of the lease, paid no admission fee. The audiences, it 
 will thus be perceived, were therefore larger than the re- 
 ceipts alone would indicate.
 
 PROVIDENCE STAGE. 6 
 
 
 
 Cooke's engagement at this time was to share equally after 
 one hundred and fifty dollars, and to have a clear benefit. 
 So these nine nights yielded him five hundred and fifty dol- 
 lars, a very large sum considering the population of the town, 
 many of whom were not play-goers. This was to have been 
 his last engagement prior to leaving for England. . 
 
 It will be observed that there was a remarkable falling off 
 in the receipts on the 29th of July, when Falstaff was played. 
 He had undertaken the character to oblige his friend Colonel 
 Blodget, and on the evening in question, before the rising of 
 the curtain, there occurred a violent thunder-storm, and very 
 few had gathered to witness the performance. Mr. Cooke 
 looked at the empty boxes, and then, addressing the manager, 
 said, "What shall we do — postpone the play ?" " Oh, no ; 
 that is not according to the rule of the Boston theatre ; we 
 always play ; good houses, or poor houses," was the reply. 
 ■"Why," said Cooke, "there are not twenty dollars in!" 
 "The Boston theatre has been opened, and the whole per- 
 formance given, when there were only nine dollars in the 
 house," replied the manager. " Well, then, we will play," 
 said Cooke. Before the curtain went up the house was pretty 
 well filled, for Mat. Williams's hack, the only public vehicle 
 that Providence then possessed, had made repeated calls at 
 the theatre, delivering each time a load of eager occupants. 1 
 Cooke's Falstaff was far from being his best impersona- 
 tion, yet in many respects it was delightfully unctuous. An 
 expression of Mr. Harwood, the box-keeper, in his admira- 
 tion of his acting, obtained currency, because recognized as 
 apposite. In the passage where Falstaff recounts his pro- 
 digious deeds of daring, and exaggerates the number of his 
 assailants until the Prince, unable to endure his shameless 
 mendacity, reveals the truth, Cooke, thus caught, instantly 
 replies : "By the Lord, Harry, I knew ye," etc. As he be- 
 gins the remark he laughs, and Mr. Harwood used to protest 
 that he saw the laugh come rippling into sight at his ankles, 
 and then spread up over his body until his face was all ablaze 
 with drollery, and his frame shaking like jelly. "I saw his 
 ankles laugh," said Harwood. 
 
 1 Clapp's Record of the Boston St;iu>-.
 
 64 HISTORY OF THE 
 
 S. S. Southworth, the veteran journalist, has recorded the 
 following incident, which occurred at this time. One of the 
 most honored citizens of the town was Thomas Lloyd Hal- 
 sey, a man of large fortune, of irascible temperament, and 
 great fondness for theatrical entertainments. He had al- 
 ways been a patron of the theatre, and had supported it with 
 his influence and his purse. His vigorous action in its de- 
 fence, when its enemies were urging their petition for its 
 suppression made him particularly conspicuous, and of his 
 adroit management of legislative committees, when the inter- 
 ests of the drama were at stake, an illustration has been al- 
 ready given. On the night when Cooke was playing Sir 
 Giles Overreach — at that point where he is overwhelmed by 
 the production of the forged parchment — Mr. Halsey became 
 so excited that he involuntarily rose from his seat, and ejac- 
 ulated in the presence of a crowded audience, "Throttle the 
 damned infamous villain ! " to the amazement and horror of 
 the whole assembly. 
 
 This outburst of such an impulsive person as Mr. Halsey, 
 is to be regarded as strong testimony to the genius of the 
 matchless Cooke, whose personations of the malignant pas- 
 sions have never been equalled. His representation of the 
 infernal craft of the super-subtle Iago, once procured for him 
 similar testimony ; for such was the profound dissimulation 
 and treachery he manifested in his rendition of the charac- 
 ter, that he excited a hiss, which, considering its cause, was 
 the highest compliment that could be awarded. 
 
 Mr. Cooke regularly attended to his professional duties 
 during his stay in Providence ; and never played better in 
 his life ; his efforts here surpassing those at Boston. Al- 
 though he lived a considerable distance from the theatre, on 
 Benefit street, at the Golden Ball Inn, now known as the 
 Mansion House, he walked to and from it every morning, and 
 on the evenings of performance, and never missed a re- 
 hearsal, or disappointed the audience. Every day as he came 
 down Thomas street on his way across the river, he stopped 
 at Thurber's, near the foot of the street, to regale himself 
 with oysters. At about nine o'clock in the morning he called 
 at the post-office and spent half an hour chatting with Mi- 
 Gabriel Allen, who was then acting as postmaster. Wher- 
 ever he moved he was followed by curious eyes, being as much
 
 PROVIDEJsXE STAGE. 65 
 
 an object of general interest as President Monroe became, 
 when he visited the town five years later. 
 
 Many persons who were living until quite recently, spoke 
 with enthusiasm of the genius of this wonderful man, who 
 not only astonished by the brilliancy of his talents, but de- 
 lighted by the clearness of his articulation. His pronuncia- 
 tion of the English language was faultless, and it used to be 
 said that none could appreciate the beauties of the language 
 until he heard it from the lips of Cooke ; while his acting 
 was of such excellence that the efforts of the vaunted prodi- 
 gies who succeeded him were barely tolerable in comparison 
 with his. But it was his eminence in elocution, more than 
 his fame as an actor, that drew to the theatre during his en- 
 gagement all of the bar, the rector of the church, and the 
 pastors of several of the other religious societies of the town, 
 one of the most able of whom afterwards forsook his former 
 vocation, and became a prompter in a New York theatre. 
 There were some other persons present, who had never be- 
 fore witnessed the performance of a play. Amos M. Atwell 
 took his son, Samuel Y., then a young lad, but in after years 
 distinguished as a lawyer, to every one of Cooke's perform- 
 ances, and when certain acquaintances remonstrated with him 
 for adopting a course so likely, as they said, to create a taste 
 for such an absorbing and deleterious amusement, he an- 
 swered that it was for the purpose of giving his son a per- 
 manent distate for the stage that he treated him in this un- 
 usual manner : "for," said he, "after the boy has seen Cooke 
 he never will endure second-rate acting — his theatre clays will 
 then be over." 
 
 It has been related that the managers used stratagems to 
 keep Cooke in a fit condition to perform, and that once when 
 they had locked him in his room at the inn to prevent him 
 from obtaining the means of intoxication, he outwitted them 
 by bribing a servant to bring him a bowl of punch and a 
 straw, and with the straw sucked the liquor through the key- 
 hole, thus solacing himself for the inconvenience of his im- 
 prisonment. But slight credence can be given to the story, 
 inasmuch as it as been related of others, and as it was in- 
 consistent with the violent temper of Cooke to brook re- 
 straint.
 
 66 HISTORY OF THE 
 
 A mistaken impression has prevailed that he was an ha- 
 bitual drunkard ; but the truth is, that he was accustomed to 
 abstain for months at a time from intoxicating liquors, and 
 then to indulge for a few days in riotous excess. When he 
 came to Providence he had just partially recovered from a se- 
 vere attack of the liver disease, and dropsical symptoms had 
 begun to manifest themselves. He was, therefore, following 
 a regimen dictated by prudence, and not until the close of 
 his engagement did he make the slightest departure from it. 
 He then went to Boston for a few days, but soon returned to 
 Providence, where he fell into the society of certain convivial 
 spirits, and was again seduced into intemperate habits. It 
 ought, perhaps, to be stated that on one of the nights of 
 performance he had made such a lapse from the abstemious 
 course he had determined upon, that when he went to the 
 theatre it appeared doubtful whether he would be capable of 
 going through with the play ; but though reeling when off 
 the stage, as soon as he showed himself in the scene all traces 
 of intoxication vanished, and he became master of himself, 
 and of all the passions that sway mankind. 
 
 After his return from Boston he was frequently seen in 
 lamentable plight, staggering in the streets, or resting upon 
 house-steps. One of his haunts was Esek Eddy's bowling 
 saloon, which, situated at the back of the Cove, was a place 
 of general resort, and here he occasionally procured the means 
 of exhilaration. One afternoon while there he became so far 
 overcome with liquor as to be scarcely able to walk, but he 
 managed without assistance to reach a point in Thomas street 
 where Noah Smith had a wheelwright's shop, a little east of 
 North Main street. Mr. Smith was at work upon the body 
 of a carriage then resting upon saw-benches standing on the 
 sidewalk. When Mr. Cooke gained this spot he sat upon the 
 end of one of the benches to rest himself, but the fumes of 
 the liquor, mounting to his head, stupefied him, and he fell 
 upon the ground. Mr. Smith hastened to his assistance, and 
 helping him to rise, led him to the inn. 
 
 This imprudent mode of life made sad havoc with his 
 health, and very soon his dropsical symptoms increased to 
 such an alarming degree that it was feared he could not 
 survive a removal to New York, where his wife's kindred 
 lived. He was, however, removed thither, but death soon
 
 PROVIDENCE STAGE. 67 
 
 ensued. He breathed his last on the 26th of September, 
 1 81 2, in the sixty-second year of his age. 
 
 His remains were deposited in the Stranger's Vault of St. 
 Paul's church-yard. When Edmund Kean was in this coun- 
 try he was pained to find that no monument had been erected 
 to the memory of the departed genius, and he accordingly 
 determined to erect one. The monument was finished on 
 the 4th of June, 1821, and placed over the remains which had 
 been removed to a suitable spot in the burial-ground on the 
 corner of Broadway and Vesey street. It is a work of dura- 
 bility and taste, and bears the following inscription : 
 
 " Erected to the memory of 
 
 GEORGE FREDERICK COOKE, 
 
 By Edmund Kean, of the Theatre Royal, Drury Lane, 
 
 1 82 1 . 
 
 Three kingdoms claim his birth. 
 
 Both Hemispheres pronounce his worth." 
 
 Mr. Cooke was about five feet ten inches in height, and 
 scrupulously neat in his dress. His manners were dignified, 
 self-possessed, and courteous. His nose was prominent, in 
 shape between the aquiline and the Roman ; his eyes were 
 full, brilliant, and satirical in expression ; and his complexion 
 singularly clear and beautiful. He wore when in Providence, 
 a blue coat with gold buttons, breeches, and top boots, his 
 hair being powdered and worn in a queue. No one would 
 suppose from his appearance that he had any proclivity for 
 indulgence in intoxicating liquors ; but would set him down 
 as a precise, well-bred "gentleman of the old school." In 
 society he was affable, and his conversation gave evidence of 
 excellent judgment, and a well-stored mind. At those inter- 
 vals when he gave way to his only vice he never lost his pre- 
 cise air, though he became overbearing in his assumption of 
 superiority, and occasionally fierce in his vituperations. At 
 such times, in the very tempest and whirlwind of his passion, 
 he never evinced any malignity, but, on the contrary, by 
 some chance expression, gave indisputable evidence of a 
 noble nature. It is related that once after receiving ^400 
 in bank notes, he thrust the whole amount into the fire in 
 order to put himself on a level to fight a man, in a pot-house
 
 68 HISTORY OF THE 
 
 row, who had said that Cooke provoked him to battle because 
 he was rich and the other poor ! 
 
 One of his most striking peculiarities was his indifference 
 to the results of his caprices. While never condescending to 
 propitiate his audiences, he not unfrequently treated them 
 with open contempt. During his stay in Providence it ap- 
 pearing probable that he intended to neglect the perform- 
 ance on one occasion for another occupation, two of the most 
 prominent of the citizens called on him and urged him to 
 keep his engagement, if only out of regard to them, they 
 being as they sought to impress upon his mind, the " no- 
 bility " of Providence. At this announcement the tragedian 
 became exasperated, and returned such an answer that the 
 ambassadors beat a precipitate retreat, carrying with them 
 the conviction that Cooke was a low fellow, unable to com- 
 prehend the delicacy of gentle-folk. This answer wicked 
 people of the baser sort have not yet forgotten. 
 
 When in Boston he once indulged his capricious mood and 
 kept his audience waiting until their patience was nigh ex- 
 hausted. The managers humbly suggested that the cream of 
 Boston society were waiting his pleasure. "Let them wait," 
 said he with a contemptuous sneer, " I've made the King of 
 England wait !" 
 
 During one of his early appearances in New York, he is 
 said, being elated, to have refused to act till the orchestra 
 had played "God save the King"; and then insisted with 
 tipsy gravity that the audience should be " upstanding." 1 
 
 When playing an engagement in Liverpool, he was called 
 on to offer an apology for some offence on the stage. Liv- 
 erpool merchants had much fattened then by a fortunate 
 pushing of the trade in human flesh. " Apology ! from 
 George Frederick Cooke ! " he cried ; " take it from this re- 
 mark : There's not a brick in your infernal town which is 
 not cemented by the blood of a slave ! " l 
 
 To the actors who supported him in his renditions he was 
 ever courteous, his conduct in this regard being in charming 
 contrast to the insolent demeanor of Cooper, and of many 
 other of the stars, who in return for certain pelf deign to 
 exhibit their glory in provincial theatres. 
 
 The late Edward Simpson, who had no friendship for him, 
 
 i Dunlap's Annals of the English Stage.
 
 PROVIDENCE STAGE. 69 
 
 said that he never saw him vexed with an actor but once. 
 He had been, after many importunities, induced to play 
 Hamlet, a character for which he certainly was not fitted, 
 and in assenting he made a positive stipulation that the 
 Ghost should be sustained by an old stager, named Chapman, 
 in whom he had great confidence. "My success in the 
 part," said Cooke, " depends on the correctness of the Ghost, 
 and Chapman is my man." Chapman was what is called "a 
 conscientious actor," and he was delighted when he was in- 
 formed that the Ghost had been entrusted to him at Cooke's 
 especial instance. Such a compliment he could not estimate 
 too highly, and he resolved to make the part realize Cooke's 
 expectations. At rehearsal he appeared "letter-perfect," and 
 received his instructions with profound deference ; and when 
 the night came for him to immortalize himself he was un- 
 usually attentive to business. Being somewhat advanced in 
 years, he wore spectacles ; and when the cue was given for 
 his entrance he was standing at the wings, spectacles on 
 nose, looking over his part. Responding at once, he pre- 
 sented himself in spectacles to the horror of Hamlet, and 
 amid deafening peals of laughter from the audience. A 
 ghost in spectacles ! Cooke lost all patience, denounced the 
 unlucky and confounded actor, and vowed he never would 
 attempt Hamlet again. 
 
 Every one must abhor the vice to which Mr. Cooke was 
 addicted. It was indeed a grievous fault, and has furnished 
 a subject on which the opponents of the stage delight to 
 dwell, while they forget to touch upon his lavish charities, 
 and to relate how the greater portion of his large income was 
 distributed among the sick and needy ; yet those who are 
 acquainted with the incidents of his life, can suggest circum- 
 stances which palliate the offence, and turn indignation into 
 pity. Mr. Cooke's parents deeply resented his adopting the 
 stage as a profession, and died without forgiving him, exclud- 
 ing him from his little patrimony. Opinions may differ as to 
 the amount of constraint parents may rightfully use in con- 
 trolling their children's choice of a profession, but none can 
 justify that unrelenting spirit which his parents showed in 
 not pardoning their child's opposition to their preferences 
 when it had led him to eminence, and when after years of 
 successful toil he had found no cause to repent his course.
 
 JO HISTORY OF THE 
 
 By their harshness his sensibilities were deeply wounded, 
 his hopes of happiness were dissipated; he reproached him- 
 self for unfilial conduct, and when he could no longer hope 
 for reconciliation with his estranged parents, he resorted to 
 the wine-cup for Lethean draughts. 
 
 He despised himself for his weakness, and filled his diary 
 with humilating confessions. The recollection of the impro- 
 prieties he committed when intoxicated was always present 
 to him, and shame made him avoid society, and plunge 
 deeper into ruin. Had he faithful friends he might have 
 been rescued ; but he knew not the sweets of friendship. 
 Although surrounded by flatterers, and a frequent guest at the 
 tables of the rich, he had sufficient penetration to discrimi- 
 nate between friendship and ephemeral popularity which he 
 derived from the display of his histrionic abilities. Travelling 
 from city to city, and from country to country, he had no 
 settled home, and his isolated position as an actor also mili- 
 tated against the cultivation of the social relations. Thus 
 alone in the world, he had ample opportunity for bitter reflec- 
 tions, and, when these became too oppressive, wine came to 
 his relief. 
 
 While Mr. Cooke was in this country a number of portraits 
 of him were painted, one by Stuart in Boston, and several 
 by Dunlap ; but the finest of all was painted by Sully, repre- 
 senting him as Richard III. It now adorns the Philadelphia 
 Academy, and is not only a truthful portrait of the great 
 actor, but an excellent Shakspearian illustration. 
 
 The late Mr. C. Leslie when an unknown lad in Philadel- 
 phia, attracted attention to his own talents by the surprising 
 readiness with which he caught the likeness of Cooke, as he 
 was playing the characters of Richard, and Sir Pertinax 
 McSycopJiaiit in that city. His spirited drawings gave such 
 promise of future attainments, that a number of gentlemen 
 contributed to send him for competent instruction to Eng- 
 land, where he rose to distinction. Several engravings were 
 made of the portraits, and for many years after the death of 
 Mr. Cooke were hanging upon the walls of the citizens of 
 Providence. 
 
 The great talents of Mr. Cooke were undoubted, and when 
 he shook off the debasing habits that sometimes clouded his 
 excellence, he commanded the admiration of all the critics,
 
 PROVIDENCE STAGE. J I 
 
 and was attended by all the literati of the day. Wherever 
 he played he won victorious wreaths, and his path was bright 
 with glory. Volumes might be filled with adulatory lines 
 addressed to him, but no one more feelingly recites his 
 praises than Phillips in his Emerald Isle : 
 
 " The rival muses owned the alternate reign, 
 With mutua'l feelings each their feuds forsook, 
 Combined their efforts, and created Cooke. 
 Pure child of Nature ! foster child of Art ! 
 How all the passions in succession rise, 
 Heave in thy soul, and lighten in thine eyes! 
 Beguiled by thee, old Time with aspect blythe, 
 Leans on his sceptre, and forgets his scythe; 
 Space yields its distance, ancient glories live, 
 Ages elapse, remotest scenes revive — 
 For thee creation half inverts his reign, 
 And captive reason wears a willing chain."
 
 CHAPTER VII. 
 
 1812-1816. * 
 
 The production of Cinderella— A melancholy incident occasions 
 
 GREAT SCANDAL— REAPPEARANCE OF MRS. WhITLOCK— MR. ENTWIS- 
 
 tle in Yorkshire characters— Benefit of Mrs. Barnes— The 
 interior of the theatre decorated— mr. and mrs. duff— re- 
 APPEARANCE of Cooper— Anecdote of " Rule a Wife and Have a 
 AVife "—Cooper's Retirement from the Stage— The Great Gale 
 —Anecdote of Mr. Legg— Mr. and Mrs. Young— Mr. and Mrs. 
 Powell— James A. Dickson. 
 
 AFTER the departure of Mr. Cooke the managers were 
 put to their wits to devise some novelty unusually 
 attractive, that the attendance at the theatre might 
 not diminish. They had peculiar disadvantages to combat ; 
 for the last engagement, though perfectly successful, had 
 exhausted the resources of the humbler patrons of the theatre, 
 while the richer citizens, after enjoying the brilliant person- 
 ations of a " mighty actor," were but little inclined to attend 
 performances which would now seem mean and contemptible. 
 Still farther, the whole community was saddened by the 
 recent declaration of war between England and the United 
 States, and every one felt averse to public amusements of 
 any kind. The news of that event had reached Providence 
 near the close of Cooke's engagement, and the attendance at 
 the theatre was perceptibly diminished. The war was not 
 popular in this town. The bells were tolled, other demon- 
 strations of sorrow were made, and every countenance wore 
 an expression of grief. The 23d of July, 181 3, was by recom- 
 mendation of the legislature of the State, observed as a public 
 fast clay. 
 
 At such a crisis nothing could be so remunerative as a 
 spectacle. Accordingly a pantomimic show-piece, founded on 
 the nursery tale of " Cinderella," was produced with much 
 attention to stage appointments and scenic effects, and it
 
 PROVIDENCE STAGE. 73 
 
 realized the expectations of the managers, drawing nearly all 
 the families of the town to the exhibition. 
 
 During this eventful season, and while as yet the embers 
 of hostility to the theatre were aglow, there occurred a melan- 
 choly incident, fraught with misery to a peaceful home, and 
 kindling a new but transient indignation against actors and 
 plays. An actor of decided merit who had recently arrived 
 from England, and had made his first appearance on our stage 
 on the opening night of the season in the character of Fred- 
 erick, in "Lovers' Vows," had succeeded in enticing a young 
 girl, the daughter of a respectable citizen, from her home, and 
 had clandestinely married her. He was about six and twenty 
 years of age, of graceful person, and fascinating address. 
 With his flattering tongue he made rapid advances, and found 
 an easy victim in one who at his first approach was charmed, 
 and became powerless to repel his advances. A brief court- 
 ship was succeeded by a flight into an adjoining state, and a 
 marriage. Almost immediately after this marriage he 
 neglected to provide for his wife the ordinary necessaries of 
 life, treated her with coldness and cruelty, and exasperated 
 her beyond endurance by his shameless infidelities. He had 
 the hardihood to play before an audience incensed by his con- 
 duct. The public resentment was so manifest that he was 
 discharged from the theatre ; but for want of means he was 
 unable to remove from town until the end of the dramatic 
 season, when, assisted by one or two of the company, he gave 
 a public entertainment, and then disappeared. His unhappy 
 wife returned to her friends ; a divorce was easily pro- 
 cured, and then this blighted young creature remained years 
 buried in seclusion. She at length listened to the proposals 
 of another and more honorable suitor, and marrying a second 
 time, removed to Charleston, South Carolina. She had re- 
 sided in her new home but a brief period, when her betrayer 
 made his appearance in that place, and married again, first 
 having engaged in a duel with Mr. Charles Young, whose 
 wife he had insulted. The incident of meeting him in this 
 remote part of the country, where she and her husband had 
 taken refuge in the hope of finding that repose and retire- 
 ment which both of them earnestly desired, produced a mel- 
 ancholy depression, which finally consigned her to the grave. 
 It was afterwards discovered that her heartless destroyer had
 
 74 HISTORY OF THE 
 
 run the same career in England, and that he had there 
 abandoned three wives before coming to America. It is re- 
 lated that these deserted women all came to America, and 
 that the three on one occasion by some accident, were brought 
 into each other's society. 
 
 The extraordinary baseness of this one delinquent was 
 long remembered in Providence, and operated to the detri- 
 ment of the whole theatrical profession. His wickedness, 
 great enough in reality, was exaggerated, and by many be- 
 lieved to be the inseparable characteristic of all actors. The 
 unthinking multitude forgot the unblemished reputation of 
 those who had long adorned their stage, and been examples of 
 all public and private virtues, and indulged in violent invectives 
 against all who were connected with the theatre. Even yet 
 there lingers among the ignorant some suspicions of the play- 
 ers, and though no one institution in our midst had borne a 
 more honorable record than the theatre, yet let some obscure 
 actor make a false step, and numbers are ready to bruit it 
 abroad, and visit retribution on all his associates. Let the 
 same retribution be visited upon any other profession, and 
 is there one that could bear the light? 
 
 The season of 1813 began on the 4th of July. The addi- 
 ditions to the company were Messrs. Cleary, Johnson, and 
 McFarland, with Mesdames Wheatley and McFarland. On 
 the 1 2th, Mrs. Whitlock, who had been engaged for three 
 nights, opened as Widozv Cheerly. She had lately returned 
 from England, and was making a tour through all the theatres 
 of the country. The critics thought that she had much im- 
 proved since her former visit to America. She had become 
 very large, but in spite of her corpulence had sufficient talent 
 to force admiration of her acting from every spectator. On 
 her second night the entertainments were under the patron- 
 age of a number of literary gentlemen of the town, on which 
 occasion she played Lady Macbeth to the Macbeth of Mr. 
 Cleary, recited Colins's ode, " The Passions," and performed 
 Catherine to Mr. Young's Petruchio. She remained a fourth 
 night, appearing as Elvira for her own benefit. 
 
 After her departure the company depended upon their own 
 exertions in standard plays. Mr. Entwistle appeared to much 
 advantage as FartnerOldfield, in " Speed the Plow." He was 
 admired in all Yorkshire characters, but his masterpiece was
 
 PROVIDENCE STAGE. 75 
 
 Tyke, in "The School of Reform." It was a splendid piece 
 of acting, and one which has never been surpassed. Mrs. 
 Duff, a very competent judge of playing, used to say that she 
 would at any time walk five miles to witness his personation 
 of the character. 
 
 Mrs. Barnes's benefit on the 16th of August, proved very 
 remunerative. She had seen much affliction during the year, 
 having lost both her husband and her father, the old favorite 
 of the Providence theatre, Mr. Bates. She undertook the 
 maintenance of her young brother, and was entirely depend- 
 ent for support on her earnings as an actress. These circum- 
 stances awakened general sympathy in her behalf, and called 
 to the theatre a numerous assemblage on the night set apart 
 for her benefit. 
 
 Early in the summer of 1814, Mr. Warrall was sent here to 
 decorate the theatre. Under his directions the embellish- 
 ment was completed in season for the opening night. Over 
 the proscenium was an Ionic entablature, the freize adorned 
 with a gold scroll ornament. On the centre, resting on a 
 tablet, were the sterns of three ships, viz. : the Ijidependence y 
 supported by the United States on the right, and the Consti- 
 tution on the left. The motto on this tablet was : "To hold 
 the Mirror up to Nature." From this hung a crimson cur- 
 tain with gold fringe and tassels. The ceiling of the pros- 
 cenium was divided into panels of purple and gold. The 
 dados around the upper tier of boxes was adorned with three 
 tablets ; those on the right and left contained representations 
 of vessels which had signalized themselves ; the Wasp, the 
 Hornet, the Enterprise, and the Peacock; that in the centre 
 contained the Lawrence, the Niagara, and the Caledonia. 
 Rostrated columns bore the names of Hull, Decatur, Bain- 
 bridge, Lawrence, Jones, Burrows, Washington, and Perry. 
 
 The stage was lighted by a new set of brass lamps with 
 globe glasses, which gave brilliancy of effect, and were a 
 security against accident. Many of the scenes were entirely 
 new, being the work of Mr. Warrall. 
 
 At this time that class of plays now contemptuously stig- 
 matized as " contemporaneous dramas " was in vogue, and 
 every important event was dramatized, and at once produced 
 upon the stage. The victories of the Americans over the 
 British forces afforded subjects for many plays, and during
 
 j6 HISTORY OF THE 
 
 each season two or three of these novelties were presented 
 to the public. The patriotic piece of this season was the 
 " Heroes of the Lake," written to celebrate Commodore 
 Perry's victory on Lake Erie. 
 
 The company consisted of Messrs. Young, Dixon, Bray, 
 Hughes, Stockwell, Legg, W. Jones, Gardner, Savage, J. Jones, 
 and Fennell, Jr. ; also Mesdames Powell, Young, Mills, Bray, 
 Barnes, and Hughes, Miss White, (who soon became Mrs. 
 Savage), and Miss Stockwell (who afterwards became Mrs. 
 George H. Barrett). 
 
 The star of the season was Duff, who opened in the mid- 
 dle of July, and played a series of tragedy heroes until August 
 5th. His performances were applauded by almost all the 
 play-goers, but people of the most correct taste preferred to 
 see him in comedy and farce, for which he was best qualified. 
 As an actor of comedy he was one of the best who has ever 
 trod the American stage, but as a tragedian he was but little 
 above mediocrity. 
 
 He had been the leading actor at the Dublin theatre, where 
 he was engaged by Mr. Dickson, and came with Mrs. Duff to 
 Boston in November, 18 10. In 18 n he went to Philadelphia, 
 where he became exceedingly popular, his benefits always 
 netting him large sums. He there attracted immense audi- 
 ences in " Three and the Deuce," which was played as a first 
 piece, and soon became the most profitable actor that any 
 theatre could engage.. He travelled through the United 
 States as a star, but did not accumulate so much money as he 
 might have done had he remained in Philadelphia. He be- 
 came subject to attacks of gout, which sometimes confined 
 him for many weeks to the house. He was extravagant in his 
 habits, and too much disposed to conviviality. On his visits 
 to Providence he made his home at the Messer place, on 
 Cranston street. He died in 183 1. 
 
 Mrs. Duff was one of the most beautiful women that ever 
 appeared upon the stage, and she was equally conspicuous 
 for her talents. Her maiden name was Dyke, and she and 
 her sister had been dancers at the Dublin theatre. This 
 sister married the celebrated Thomas Moore, and the well 
 known song, commencing 
 
 " Mary, I believe thee true," 
 was addressed to Mrs. Mary Duff.
 
 PROVIDENCE STAGE. J J 
 
 Mr. Dyke, the father of Mrs. Duff, was a subaltern actor 
 on the Irish stage. He had three daughters ; the eldest mar- 
 ried Mr. Duff ; the youngest married Mr. Murray, of the Edin- 
 burg theatre ; the second, Elizabeth, married the poet, Moore. 
 They were all on the stage when young, as dancers, and after- 
 wards as actresses. In both these capacities they, were en- 
 gaged to fill the female parts in the Amateur Theatricals of 
 Kilkenny in the years 1809 and 18 10, when Moore, then one 
 of the performers (and said to be a good one), became ac- 
 quainted with them and enamored of Miss E. Dike. These 
 young persons were always under the care of their mother, 
 and their personal characters were irreproachable. Moore 
 married Miss E. Dyke, March 22, 1811. 1 
 
 In her youth she had manifested no inclination for the 
 stage, and entered with but little spirit into the business of 
 the profession. Several years later, however, she astonished 
 everyone by throwing off her indifference, and appearing be- 
 fore the audience as an actress of splendid talents. 
 
 Her husband's improvidence and frequent excesses oc- 
 casioned her much uneasiness. She passed days and nights 
 in sorrowing over his derelictions of duty, fearing that in the 
 event of his death there would be no provision for her child- 
 ren, for whose welfare she had ever been tenderly solicitous, 
 nurturing them in the practice of the strictest morality. 
 Stimulated by her maternal affection she bent her energies 
 to the mastery of the most difficult characters, and after 
 severe study showed herself capable of maintaining a high 
 rank in her profession. During the engagement of the great 
 Kean, she played opposite parts with such spirit, that once 
 she divided the applause with him. It is said that he disap- 
 proved of the warmth of her personation, and informed her 
 that he was to be the prominent person, whom . she was to 
 second, and not seek to equal. Mrs. Duff replied that she 
 should like to oblige him in any other matter, but that the 
 maintenance of herself and her children depended on her pro- 
 fessional eminence, and that she felt it her duty to act in such 
 a manner as would best further her interests in this respect. 
 She spared no exertions, and, after her fame had become 
 wide-spread, she travelled through the United States as a 
 
 1 Note to Review on " Memoirs of Thomas Moore," Quarterly Review. Reprinted in 
 LitteWs Living Age, Sept. 7, 1853.
 
 78 HISTORY OF THE 
 
 star, visited England, and, in March, 1828, played at Drury 
 Lane theatre. She subsequently returned to this country, 
 and, after she became a widow, retired from the stage, and 
 married a member of the New Orleans bar. 
 
 She was an actress whose power lay in her identification 
 with the characters she assumed. She was once performing 
 the part of Mrs. Haller, and so deeply was she imbued with 
 the emotions of the repentant wife, that in the last scene, 
 where the interest culminates, she swooned outright, fell 
 upon the stage, and was not able to recover until assistance 
 came to her relief. 
 
 The season of 181 5 began St. John's Day, June 26th, with 
 "The Foundling of the Forest," the company being enlarged 
 by the addition of Mr. and Mrs. Green. On the 4th of July 
 the decorations and transparencies which had been exhibited 
 in Boston at the Peace celebration, were displayed upon the 
 front of the theatre. 
 
 The tragedian Cooper began an engagement July 24th, as 
 Hamlet, the principal characters in the play being thus dis- 
 tributed : King, Hughes ; Polonius, Bray ; Horatio, W. Jones ; 
 Laertes, Legg ; Rosencrantz, Fennell, Jr. ; Guildeusteru, Sav- 
 age ; Osric, Clark ; 1st Grave Digger, Bray ; 2nd do., J. 
 Jones; Ghost, Young; Queen, Mrs. Mills; Ophelia, Mrs. 
 Young ; Player-queen, Mrs. Savage. Towards the close of 
 his engagement Mr. Cooper was supported by Mrs. Williams, 
 who had been engaged for four nights, and was an actress of 
 much talent, capable of playing the heroines of tragedy and 
 comedy. For his benefit he personated Leon in Beaumont 
 and Fletcher's comedy of " Rule a Wife and Have a Wife." 
 
 The selection of this lively, but extremely indelicate com- 
 edy was not made by Mr. Cooper. In Providence he had 
 many admirers, and his society was courted by all the promi- 
 nent families who countenanced the theatre. On one of his 
 off -nights he was the principal guest of a social party, and 
 some of the ladies inquired what play he intended to produce 
 for his benefit. He gallantly answered that they might make 
 the selection. They received the proposition with pleasure, 
 but, being unable to agree in their choice, they at last de- 
 cided to refer the question to the hostess, Mrs. T., who at 
 once named " Rule a Wife and Have a Wife." After the 
 representation much surprise was expressed at the selection,
 
 PROVIDENCE STAGE. 79 
 
 as the grossness of the language of the piece gave much of- 
 fence. Many believed that the lady was familiar with its 
 character, and that it was her favorite play ; but it is more 
 probable that she was completely ignorant of everything con- 
 cerning it, except its name, and this she flippantly mentioned 
 as it rose in her memory. 
 
 Thomas A. Cooper arrived in this country from England, 
 in 1796. and soon became the delight of the American stage, 
 maintaining the highest position as an actor for about thirty 
 years. In his visits to Providence he was always welcomed 
 by large audiences, and was the pet, the idol of the town. 
 He was richly endowed in voice, person, and feature, and 
 possessed all the other qualifications essential to distinguished 
 success upon the stage. Macbeth and Othello were his best 
 Shakspearean delineations, and his Damon has never been 
 equalled by any one except Edwin Forrest. He received 
 immense sums in the exercise of his professional talents, but 
 they were spent in sumptuous living. As old age was stealing 
 upon him he studied no new parts, but confined himself to an 
 unvarying repetition of a few, in which when his genius shone 
 in its meridian brightness, he had won full-handed thunders, 
 and consequently he declined in popular favor. For a while 
 he endeavored to maintain his old position, and to wrest from 
 the audiences that applause which had become his life — his 
 more than daily food ; but at length, with no provision for 
 his declining years, he saw that his day had passed, that new 
 aspirants for dramatic fame were rising on every side, and 
 that he had become an object of commiseration. Then he 
 realized the truth of Doctor Johnson's sounding line : 
 
 " Superfluous lags the veteran of the stage." 
 
 His daughter at this conjuncture married Robert Tyler, son 
 of President Tyler, who procured for him a lucrative office in 
 Philadelphia, from which he was removed by President Polk. 
 By the intercession of some friends he was at length ap- 
 pointed an examiner in the New York custom house, and 
 officiated in that capacity until his death in April, 1849. 
 
 The season closed on the 13th of September, with Mrs. 
 Powell's benefit, after which most of the comedians went to 
 Boston.
 
 SO HISTORY OF THE 
 
 On the 23d occurred the "great gale." A tornado from 
 the southeast caused the tide to rise to an unprecedented 
 height, and to inundate the streets on the west side of the 
 river, as well as the wharves on both sides. It carried away 
 the great bridge, and extended in Westminster street beyond 
 the theatre. The vessels in the harbor broke from their 
 moorings, and went ashore, at the head of the cove. One of 
 them' floated up Weybosset street into Eddy street, and 
 grounded with her bow close to the Webb house, nearly 
 opposite the present Boston store. Nearly five hundred 
 buildings were destroyed, and the loss to the town was 
 estimated at more than a million of dollars. When the 
 water had subsided a ferry afforded means of communication 
 between the two sides of the river until the erection of a 
 new bridge. The novelty of this arrangement gave delight 
 to Mr. Joseph Legg, 1 one of the actors, and he found much 
 pleasure in crossing and recrossing. The first day that the 
 ferry-boat made its trips, he spent all the day in it, to the 
 wonder of the citizens, who were unable to understand how 
 any amusement could be derived from such an occupation. 
 
 The gale destroyed the salt-works, near Sabin's Point, a 
 few miles down the river, which had been erected by a com- 
 pany of speculators upon the representations of James Fen- 
 nell, the celebrated actor. He was a man of splendid phys- 
 ical proportions, and of commanding talents, but was the 
 most visionary of speculators. He had studied law in Eng- 
 land, had tried the stage and won a high reputation, when 
 he suddenly took a whim to visit America. In every theatre 
 in which he played he proved exceedingly attractive, but in 
 Philadelphia he attained a degree of popularity resembling 
 adulation. He could easily have acquired a fortune, but his 
 devotion to the wildest projects kept him always poor, and 
 only when destitute of means would he bestow attention 
 upon his profession. He had once visited the Bahamas, and 
 had there seen salt made by solar evaporation. Professing 
 
 1 This Mr. Legg was a young man of much personal beauty, and in light comedy won 
 admiration by his grace and elegant manners. Being possessed of a melodious voice and 
 a tine figure, he became a great favorite w itli the girls of Providence, and it was said that 
 many ot them were hopelessly in love with him. He was attentive to his professional 
 duties, and never presumed on his great popularity. One night when he was advertised 
 in the part of Doricourt, he absented himself from the theatre, and the next day his admir- 
 ers were shocked to hear that he had gone to Boston and there eloped with a young lady 
 of wealth. His marriage proved very unhappy, and Legg after a life of trouble died in 
 Louisiana.
 
 PROVIDENCE STAGE. 5 I 
 
 to be familiar with the processes, he succeeded in inducing 
 capitalists to assist him to erect salt-works near New Lon- 
 don, and to build vats under his direction near Sabin's Point, 
 about the year 1807. These projects proved unremunera- 
 tive. Pennell was denounced as an impostor ; numerous 
 suits were commenced against him, and he was scarcely free 
 from one jail before he was consigned to another. While in 
 Providence he became engaged to the widow Suzman, a for- 
 eigner then residing in the town ; involved her property in 
 his schemes, and was dismissed with contumely. He strug- 
 gled for some time against his misfortunes, still clinging to 
 his salt theories, and finally died in destitution in Philadel- 
 phia, on the day when the great gale destroyed his vats. 
 
 Mr. and Mrs. Young this season took their farewell of 
 Providence, where they had always been favorites. Mr. 
 Young was finely formed, six feet in height, with full chest, 
 erect carriage, and clear complexion. He was not distin- 
 guished for talents, though he was well qualified for many of 
 the characters of melodrama. 
 
 His wife was considered by many the most beautiful 
 woman of the day, and counted her admirers by thousands ; 
 but her beauty was not of an intellectual kind. She was 
 rather small, well formed, and had a beautiful complexion. 
 Her talents would never have made her conspicuous, but 
 with almost every one her beauty atoned for all her deficien- 
 cies. Her husband was exceedingly jealous of her admirers, 
 and his jealousy once involved him in a duel in Charleston, 
 in which he was wounded. 
 
 In 1 8 16 theatrical performances were given during the 
 month of July, and two weeks in September. Among the 
 new faces in the-company were Messrs. Williams, Pelby and 
 Stamp, and Mrs. Moore, formerly Mrs. Woodham, from the 
 New York and Philadelphia theatres. 
 
 During the management of Powell and Dickson the last 
 night of every season was assigned for the benefit of Mrs. 
 Powell. At the close of that of 18 16 Mr. Dickson made his 
 first appearance in two years to perform Sir Peter Tea 
 On this occasion the editor of the American made the follow- 
 ing remarks :
 
 82 HISTORY OF THE 
 
 "Mrs. Powell's claims on the esteem and patronage of the public are 
 universally allowed, and we trust that those who admire her in the walks 
 of private life, will give this evening a solid proof of their willingness to 
 encourage the excellence they have the discernment to discover, and the 
 candour to approve." 
 
 Mrs. Powell hardly needed the editorial recommendation 
 to secure a large house, she being too well appreciated for 
 that to be indispensable. Her great ability as an actress, 
 both in comedy and tragedy, was acknowledged by all thea- 
 tre-goers, while her private character was admired by numer- 
 ous friends. She was the cherished companion of the wives of 
 the principal citizens, and adorned their drawing-rooms with 
 that grace which was conspicuous on the stage. When in 
 Providence she always attended St. John's Church, and sat 
 either in Colonel Blodget's pew, or that of J. B. Wood, the 
 esteemed banker. On her benefit nights the theatre was 
 usually crowded. In Boston on these occasions the receipts 
 used to exceed a thousand dollars ; and here they sometimes 
 reached the sum of five hundred dollars. At the ordinary 
 prices the house could not contain that amount, but gentle- 
 men when purchasing their tickets would pay for them with 
 large bills, refusing to receive change. In this way the re- 
 ceipts were much increased. 
 
 Mrs. Powell was born in England in 1774. Her maiden 
 name was Harrison. She was of good family, but, being 
 dependent upon her own exertions, adopted the profession of 
 an actress, and soon attained a respectable position on the 
 stage. She had appeared before George the Third by com- 
 mand, and had often performed second characters to Mrs. 
 Siddons, having made a tour in the provinces in company 
 with her. She was induced to come to the United States by 
 Mr. Charles Powell, and, in 1794 married his brother, Mr. 
 Snelling Powell. She died Dec. 10, 1843, and was buried in 
 Mount Hope Cemetery, near Boston. She made her first 
 appearance in Boston in 1794. Her husband was of Welsh 
 parentage, and inherited from his father, who was a theatri- 
 cal manager, a taste for the stage. Pie came to America in 
 1793, and, after a few years' experience as an actor, assumed 
 the direction of a theatre in Boston, where by his honorable 
 conduct and generous disposition he obtained an enviable 
 reputation.
 
 PROVIDENCE STAGE. 03 
 
 James A. Dickson was a man of sterling integrity, and as 
 an actor, a manager, and merchant, was highly esteemed. 
 He had a portly figure, and his graceful movements and dis- 
 tinguished bearing proclaimed him a gentleman. He was 
 born in London in 1744, and, on attaining his majority came 
 to this country with the intention of engaging in commercial 
 pursuits ; but, being much praised for his talents for dramatic 
 recitation, he became an actor. He changed his name, for 
 the sake of his relations, to Dickenson, but afterwards re- 
 sumed his family name. His line of business was " first old 
 man," and in that he excelled. He was scrupulously perfect 
 in the words of his characters, had an excellent taste in cos- 
 tume, and showed himself a complete artist by his faithful 
 attention to the minutest details of personation. After he 
 became a manager he several times visited England to pro- 
 cure theatrical recruits, and it was under his auspices that 
 many well-reputed actors were introduced to the American 
 stage. He retired from the profession as an actor in 18 17, 
 but twice reappeared for Mrs. Powell's benefits. He did not 
 abandon the labors of a manager till several years later. He 
 then engaged in mercantile life and accumulated a compe- 
 tency. During his visits to England he used to execute the 
 orders of American merchants, and there took the agency 
 of Day & Martin's blacking.
 
 CHAPTER VIII. 
 
 1817-1827- 
 
 mr8. powelii becomes lessee of the theatre— appearance of 
 Incledon— The first Saturday Evening Performance— The West 
 Point Cadets attend the play— Death of Mr. Bray— J. Wal- 
 lace— A CALAMITOUS FIRE— EDMUND KEAN IN PROVIDENCE— DIF- 
 FICULTIES OF A JOURNEY TO BOSTON— CLARK AND ClIARNOCK BECOME 
 LESSEES OF THE THEATRE — DEBUT OF EDAVIN FORREST — DEATH OF 
 
 Mary Ann McBride— Benefit of Mrs. McBride— Samuel J. Smith 
 —William A. Conway. 
 
 AFTER the expiration of the lease held by Powell and 
 Dickson, Mrs. Powell became the lessee, and main- 
 tained the theatre for several years, Duff and others 
 acting as managers. 
 
 In 1 817 and 18 18 the theatre remained closed, except for 
 a few nights in the early part of September, when a very good 
 company, the prominent members of which were Mr. and 
 Mrs. Duff, Mr. and Mrs. F. Brown, Mr. and Mrs. Drummond, 
 and Messrs. Green, Pelby, and Adamson, profited by the in- 
 flux of strangers attending the Commencement festivities, 
 and came to Providence. 
 
 In the summer of 1818 the celebrated Incledon, assisted by 
 Bianchi Taylor, gave a concert upon its stage. The pieces 
 sung by Incledon were "Washington's Star ; " " Encompassed 
 in an Angel's Frame ; " Black-eyed Susan ; " Blow high, blow 
 low ; " " Scot's wha ha'e wi' Wallace bled ; " " Sailor's Last 
 Whistle;" " Quaker Song," and the famous "Storm." His 
 fame is associated with his execution of the " Storm," which, 
 as rendered by him, produced an intense effect. 
 
 In the autumn of 1819 the first performance ever given on 
 a Saturday evening in Providence (except in 1807, when the 
 4th of July fell on that day) took place, the curtain rising 
 earlier than usual that the entertainment might be concluded
 
 PROVIDENCE STAGE. 85 
 
 at a seasonable hour. The novelty gave offence to some 
 scrupulous people, and several communications respecting the 
 innovation appeared in the newspapers ; but the subject was 
 soon dropped. 
 
 In August, 182 1, the West Point cadets, numbering rank, 
 file, and musicians, two hundred and thirty-five, arrived in 
 town, and encamped on Camp Hill, in front of Colonel 
 Blodget's residence, now the house of Mr. Albert Smith. 
 In the evening they visited the theatre by invitation, and 
 witnessed the performance of "Laugh when You Can," and 
 of "Of Age To-morrow." 
 
 The great tragedian, Junius Brutus Booth, made his first 
 appearance before a Providence audience in 1822, and at- 
 tracted crowded houses. The Providence Journal pronounced 
 him the best actor that had ever visited the town, except 
 Cooke, and in excellent criticisms pointed out his merits. 
 From that time Mr. Booth made frequent visits to Providence, 
 and he never found a more appreciative audience, or more 
 sincere friends than in this place. Here he played his grand- 
 est characters in his best manner, and here too he indulged 
 in some of his wildest pranks. 
 
 This year was missed the low comedian, Br*ay. In the 
 preceding year, while playing in Boston he became very ill, 
 and his disease baffled the skill of the physicians of that city. 
 In the hope of regaining his health he left America to revisit 
 his native country in the spring of 1822, but died two days 
 after his arrival, at the house of his sister, on the day he 
 completed his fortieth year. He was a gentleman of irre- 
 proachable morals and elegant manners. He had enjoyed the 
 advantages of a good education, and his talents as a musical 
 and dramatic author were considerable. He was master of 
 the French language, and adapted many plays from the French 
 stage for the Boston theatre. As a low comedian he ex- 
 celled, being one of the best in his time. He had that rare 
 kind of comic talent that maybe called the "serio-comic." 
 He was not obliged to say more than was set down for him ; 
 nor resort to the grimaces or other spurious artifices with 
 which many actors endeavor to set on a quantity of barren 
 spectators to laugh ; but his humor was natural, and his self- 
 control so complete, that when the audience were in tears 
 from excessive merriment, himself remained imperturbable
 
 86 HISTORY OF THE 
 
 and stolidly unconscious. He was a comedian of the true 
 stamp, one 
 
 '• Whose every look and gesture was a joke 
 To clapping theatres and shouting crowds, 
 And made e'en thick-lipped melancholy 
 To gather up her face into a smile 
 Before she was aware." 
 
 His death was lamented by all who had the fortune to be 
 acquainted with him. 
 
 After this season theatricals were better patronized. For 
 three or four years they had not prospered ; there being less 
 taste for the drama, and the character of the performances 
 having deteriorated. The old supporters of the theatre had 
 begun to weary of their proteges, and no longer was it a 
 passport to the most cultivated circles to be an actor. Times 
 were changed since the principal families contended for Mr. 
 Harper's society, — when he dined every Sunday with the 
 Olneys, the Goddards, or the Carters. But this lack of in- 
 terest in the theatre was in some measure the fault of the 
 actors. They did not maintain so high a standard of char- 
 acter as they did when all their motions were observed, set 
 in note-books, learned, and conned by rote, and when pun- 
 ishment would have followed any misbehavior. Many of 
 them were too fond of conviviality, and on their "off-nights" 
 nearly all of them would indulge in excessive hilarity, so that 
 people began to associate the actor's profession with dis- 
 orderly conduct. The actors had too much time on their 
 hands, performing only three times a week ; and their repre- 
 sentations, being merely repetitions of their Boston perform- 
 ances, cost them but little study. Still further, when the 
 heat of summer prevented the people of Boston from attend- 
 ing the theatre, the actors always came here ; and when the 
 citizens of Providence had become familiar with most of the 
 acting plays, they became fastidious in their criticisms, and 
 could not be induced to crowd into the theatre to witness in- 
 ferior entertainments. 
 
 This year the season began in May, and after a few weeks 
 the theatre closed, to reopen in September. 
 
 In 1823 the principal event was the engagement of the el- 
 der Wallack ; Messrs. Kilner and Clark beino- the managers.
 
 PROVIDENCE STAGE. 87 
 
 He opened as Rolla to an excellent house, the receipts being 
 $330.00, and all his performances were well attended. 
 
 In 1824 Henry J. Finn first appeared before the Providence 
 public, playing a round of tragic parts, and producing " Tom 
 and Jerry," in which he personated Bob Logic. This play 
 whenever presented proved very attractive, although there 
 were not wanting some who pronounced it immoral, and de- 
 plored the vitiated taste then prevailing. 
 
 Finn was succeeded by Conway, who produced a favorable 
 impression, attracting excellent houses. 
 
 Mr. Finn was born at Cape Breton, Sidney, in 1785. He 
 was brought to this country when a child, and sent to school 
 at Hackensack, N. J., from thence to Princeton (N. J.) Col- 
 lege. He was property boy's assistant at the Park Theatre, 
 New York. At the death of his father he visited Europe and 
 made his debut at the Haymarket Theatre, London. Re- 
 visited America and opened at the Park Theatre as Shylock. 
 In 1 820 he was associate editor of the Savannah Georgian. 
 Went to England in 1821, but returned to America and ap- 
 peared Oct. 22, 1822, at the Federal Street Theatre, Boston, 
 as Richard. First appeared in Philadelphia March 9, 18 18, 
 as Hamlet. His last appearance on the stage was Jan. 8, 
 1840, at the Chestnut Street Theatre, Philadelphia, as Mons. 
 Jaques. He was lost on the steamer Lexington, which was 
 burned on Long Island Sound, Jan. 10, 1840, almost in sight 
 of his own home at Newport. 
 
 During the spring of 1825 a calamitous fire occurred, oc- 
 casioning much distress. It was discovered about eleven 
 o'clock on the evening of the 23d of May, and, despite the 
 efforts of all the inhabitants, it consumed many dwellings on 
 or adjacent to Westminster street, and the Universalist 
 chapel, with the rich contents of its basement, being one hun- 
 dred bales of cotton and three hundred barrels of whiskey, 
 which had been taken for storage by the thrifty worshippers. 
 As soon as the alarm was given the audience and the actors 
 of the theatre, which then chanced to be open, repaired to the 
 scene, and did good service in saving the property. Mrs. 
 Henry was then the leading lady of the company, and she 
 was particularly conspicuous that night in ministering to the 
 necessities of the houseless. The theatre was used as a 
 store-house for goods saved from the flames, and, a few
 
 S8 HISTORY OF THE 
 
 nights afterwards, the actors gave a performance for the ben- 
 efit of the sufferers, the proceeds of which were put into the 
 hands of a gentleman of the town for distribution, the man- 
 agers adding to the sum a liberal gift. 
 
 The theatre remained open only twelve nights at this time, 
 but was reopened in August for a brief season, Mr. and Mrs. 
 J. Barnes being the chief attraction. The stock company in- 
 cluded Messrs. Finn, Kilner, Brown, Fielding, Clark, Thayer, 
 Scott, Bernard, Charnock, Spear, Reed, and Mrs. Henry, 
 and Miss Elizabeth Powell, daughter of Mrs. Powell, the 
 lessee, and subsequently the wife of Mr. Finn. She died in 
 Boston, Nov. 17, 1 85 1 , and was buried in Mount Hope 
 Cemetery. 
 
 In December a very distinguished actor made his first and 
 only appearance in Providence, but not to win loud plaudits 
 from audiences frenzied with delight, as had been his wont 
 in the great London theatres. It was Edmund Kean, who, a 
 fugitive from the fury of a Boston mob, in disguise made 
 Providence his temporary resting place, as he sought security 
 in flight. It is well known that when Kean played in Boston, 
 in 182 1, his second engagement, on the night when he was 
 announced to appear as Richard III., so few persons were 
 present at the time of the rising of the curtain that he re- 
 fused to play, and at once left Boston. On his return to 
 America in 1825, the Boston managers, believing that all ani- 
 mosity towards him had become extinct, engaged him, and ad- 
 vertised his appearance in his greatest character of Richard, 
 on the 2 1 st of December. At this time occurred a disgraceful 
 riot, which resulted in great damage to the theatre, and the 
 flight of Kean from a mob thirsting for his blood. Two citi- 
 zens of Providence, S. S. Southworth and Samuel J. Smith, 
 were upon the stage, and, aided by the managers, were instru- 
 mental in saving his life. They conducted him by a private 
 door which opened from the stage to a small dwelling, occu- 
 pied by Mr. George Clark, the prompter, where he remained 
 several hours in a distracted state of mind, anticipating vio- 
 lence from the mob, who, suspecting his hiding place, made 
 several attempts to enter. Mr. Southworth stood upon the steps 
 of the dwelling, and, when the rioters presented themselves, 
 held them at bay by assuring them that Kean was not there, 
 and, appealing to their manhood and gallantry, told them that
 
 PROVIDENCE STAGE. 89 
 
 Mrs. Clark, who, as everybody knew, was daily expecting to 
 become a mother, was in an extremely critical condition. 
 About one o'clock that night Kean escaped through Theatre 
 alley, was conveyed to the Exchange Coffee House, and, being 
 there placed under the protection of Thomas Perkins and a 
 man named Collamore, started for Providence. After a few 
 hours rest in Providence, they set out for Worcester, stopping- 
 only at Ware, at which place Kean threw off his disguise. 
 This circuitous route was taken to elude the vigilance of the 
 mob, who had been told that the fugitives were going to 
 Worcester. Kean was much frightened, and his terror was 
 expressed in continual ejaculations. It was said that the 
 Boston truckmen were banded to tar and feather him, and it 
 was feared that in their rage they might kill him. He never 
 afterwards visited Providence. In 1826 the theatre was re- 
 painted, and was open from May 31st to September 8th. 
 The most attractive performers were Mr. and Mrs. Hamblin, 
 Mr. Finn, and Mr. and Mrs. Barratt. Mrs. Barratt had be- 
 come very popular the previous season, as Mrs. Henry. She 
 was a sister of Samuel Stockwell, the scene painter, and 
 possessed great talents. Her brother was the adopted son 
 of that benevolent lady, Mrs. Barnes, who for more than 
 twenty-five years appeared every season on the Providence 
 stage, and despite the disadvantages of a short and corpulent 
 figure, remained till her death unrivalled in her personations 
 of the old woman of comedy. The company comprised some 
 actors of excellent repute, among whom were Messrs. William- 
 son, Stanley, Reed, Brown, Kilner, and Spooner ; among the 
 ladies were Mesdames Kelly, Powell, Barnes, and Spooner, 
 with Misses Kelly, Powell, and the McBrides. 
 
 The expectation of seeing Kean was very high, but the 
 managers, Kilner & Clark, did not deem it prudent to engage 
 him, as they had cause to fear he might not receive a gracious 
 welcome from all classes of the citizens. When Kean played 
 his first engagement in Boston, his performances had been wit- 
 nessed by scores of Providence people who took the journey 
 for that purpose, 1 and were now desirous of seeing him 
 on their own stage ; but this consummation of their wishes 
 was never attained. 
 
 1 The journcv to Boston was not dispatched in i s^i with the same celerity as it now i~. bu( 
 was performed in stage coaches, which left Providence at 9 a. m., and arrived in Boston ai 
 6 P. M. They stopped at intervals of eight or nine miles to change horses, and to gi
 
 90 HISTORY OF THE 
 
 On the 9th of May, 1827, Clark & Charnock, having pur- 
 chased the unexpired lease of Mrs. Powell, opened the theatre 
 at reduced prices of admission, and, in June, introduced to 
 Providence the American tragedian, Edwin Forrest. Small 
 but fashionable houses witnessed the personations of this gen- 
 tleman, whose name soon afterwards became sufficient to 
 crowd the houses nightly. When he played Damon for his 
 benefit, the audience was somewhat larger than on the pre- 
 ceding nights. Being called before the curtain, he thus ad- 
 dressed those who were present : 
 
 " Ladies and gentlemen, — Though much fatigued by the labors of this 
 evening, I obey your call, and assure you that for the many and brilliant 
 evidences you "have given me of your approbation and respect, you have 
 my sincere thanks. 
 
 "This is the first season I ever had the honor of appearing before a 
 Providence audience, and though since I have been with you the theatre 
 has not been, for some cause unknown to me, so fully attended as I an- 
 ticipated, still the silence and attention that has been evinced by those who 
 have honored it with their presence, has been far more grateful to my feel- 
 ings, than the vain, empty, and injudicious noise and applause of the mil- 
 lion." 
 
 Some who were not present took umbrage at this speech 
 as it was reported, but after it was published all offence died 
 away, and here, as elsewhere, no actor proved so attractive as 
 Mr. Forrest. 
 
 Edwin Forrest, one of the greatest tragedians and expo- 
 nents of Shakspeare, was born in Philadelphia, March 9, 
 1806, and died in the same city in 1872. His father was a 
 Scotchman and his mother an American. There were six 
 children, Edwin being the fourth. His elder brother was a 
 
 passengers opportunities for obtaining spirituous drinks. The first stopping place was at 
 liarrows's, where all drank; and then, after short delay, the coach proceeded to Hatch's, 
 where there was another delay and a repetition of the drinking process. The longest rest 
 was at Fuller's, the half-way house; and here the passengers dined, smoked, slept, or 
 strolled about for two hours, when the coach was brought to the door, where it waited a 
 long while for them to reassemble; it being as difficult a task for the driver to collect 
 them together, as for a captain of a ship to get his crew aboard for a voyage. The after- 
 noon was spent in the same manner as the early part of the day, the tired travellers reach- 
 ing Boston in time to take some refreshment and visit the theatre. 
 
 When a steamboat line was established between New York and Providence, the greater 
 number of the travellers came from Boston, and gave such an impetus to the transporta- 
 tion business, that there were two lines of stages running daily between Providence and 
 Boston; one of them leaving this town early in the morning, and the other at about eleven 
 o'clock, A. M., on the arrival of the New York boat. Of course there was much emulation 
 between the lines, each competing with the other in celerity, the excellence of the coaches, 
 and the cheapness of the fares. One of these lines employed two hundred and thirteen 
 horses and twenty coaches, and, during the year 1S2S, received from passengers the sum of 
 $S2,ooo. The other line received that year $35,000. This competition shortened the time 
 of the journey to seven hours.
 
 PROVIDENCE STAGE. 9 I 
 
 tanner and currier, and in his shop Edwin gave his first reci- 
 tation, on a stone table (used by his brother for dressing 
 leather), for the amusement of the workmen. At ten years 
 of age he was taken from school and placed in a German im- 
 porting house. Young Forrest gave so much more of his 
 attention to play-acting than he did to his "boss's" interest, 
 that the latter would often remark : " Edwin, this theoretical 
 infatuation will be your ruin." He soon left and went to the 
 old South Street Theatre. He next joined a Thespian society 
 in Chestnut street, where he became the " star " of the even- 
 ing. In 1 817 he appeared at the Apollo Theatre. His cos- 
 tume on this occasion consisted of thick, heavy shoes, coarse 
 woollen stockings and a short white dress, which reached to 
 his knees only, with a red scarf around his head. His first 
 appearance on a regular stage was as Young Norval at the 
 Walnut Street Theatre, Philadelphia, Nov. 27, 1820. The 
 cool reception accorded him on this occasion did not discour- 
 age him in the least ; on the contrary, he continued studying 
 harder and harder, resolved to adopt the stage as his profes- 
 sion. On the 6th of January, 1821, he took his first benefit, 
 appearing as Octavian, in "The Mountaineers." He then 
 wended his steps westward, and made his first appearance in 
 Cincinnati in the fall of 1822, as Malfort, in "The Soldier's 
 Daughter." During his engagement there he played Rich- 
 ard, and the editor of a paper there was called a madman for 
 prophesying his future greatness. 
 
 In Louisville, Mr. Forrest played Othello and several other 
 characters for the first time, with scarcely any knowledge of 
 the text. Strange as it may seem now, at this time Mr. For- 
 rest's taste was decidedly for low comedy, and he played 
 Blaise and Lubin with much success. While in Louisville he 
 assumed the character of a negro dandy. He suffered many 
 privations, being obliged on one occasion to swim over the 
 Muskingum river, the stream being very high and his funds 
 very low. He boiled corn as hard as Pharoah's heart to k< 
 up life. This was in the wilds of Kentucky. After playing 
 in the different cities out west, he joined a circus company as 
 tumbler and rider, at a salary of twelve dollars per week, for 
 a season of twelve months. It has been doubted by some 
 that Forrest ever performed feats of agility in the circus, but 
 there is no mistake about it. He performed in the old North
 
 92 HISTORY OF THE 
 
 Pearl Street Amphitheatre, in Albany, for a wager. (He was 
 at the time attached to the Pearl Street Theatre, under the 
 management of Gilfert), in a stilt-vaulting act, eliciting 
 shouts of laughter and applause. He also made a flying leap 
 through a barrel of red fire on another occasion, singeing his 
 eyebrows off. Mr. Forrest's first appearance as a star was 
 at the Chestnut Street Theatre, Philadelphia, July 5, 1826, as 
 Othello. He made a tour of Europe in 1834-35; returned 
 to New York in 1836, where he played for about six weeks, 
 and returned to England to play a professional engagement. 
 He first appeared on the London stage, Oct. 17, 1836, at 
 Drury Lane Theatre, as Sparticus. It was during this visit 
 he married Miss Catherine Sinclair. Had his suit in Amer- 
 ica succeeded when he tried to secure the hand of Jane 
 Placide, very different would have been his lot. Her charac- 
 ter would have softened his asperities and made him a very 
 superior man. The misery which resulted from his marriage 
 with Miss Sinclair is well known. 
 
 Catharine Norton Sinclair, the daughter of John Sinclair, 
 the vocalist, was born in England, and there she was married 
 to Forrest in 1837. They were mutually smitten with each 
 other ; the course of true love for once ran smooth, and they 
 were united. For ten years their married life was happy, 
 but they had no children that lived, although four were born 
 to them. Despairing of an heir to his fortune, Forrest 
 bought an estate above New York, upon the Hudson, with a 
 view to the establishment, after his death, of a home for su- 
 perannuated actors, and also a dramatic school. Here the 
 castle, which is still the object of admiration to all who pass 
 up and down the noble river, was built ; to serve first as a 
 home for Mr. and Mrs. Forrest, and, after their death, for the 
 object mentioned. In the spring of 1848 circumstances oc- 
 curred which led to the bitter jealousy of the actor, to crimi- 
 nation, separation, and at length to a suit for divorce. A 
 cross-suit was immediately begun, and the trial opened in De- 
 cember, 1851, with Charles O'Connor as her counsel. The 
 interest was intense and public opinion much divided. The 
 result was an acquittal of the wife and judgment that Mr. 
 Forrest pay her $3,000 a year alimony. Five times he ap- 
 pealed the case, and for eighteen years it was in the courts. 
 Then he paid over the award. Out of $64,000 coming to her
 
 PROVIDENCE STAGE. 93 
 
 at last, $59,000 went to the lawyers and for other legal ex- 
 penses. Edwin Forrest was a defeated man ever after this 
 miserable lawsuit, and though gold flowed in on him from the 
 multitude of friends who believed in him, life was soured in 
 him, and he was a disappointed man so long as he lived. In 
 1852 we find him playing MacbetJi in New York to crowded 
 houses. In 1854 he retired from the stage for four years. 
 In i860 he again began playing in New York with his accus- 
 tomed vigor and with renewed applause, and he held the 
 stage from thence onward, with occasional lapses, till 1871, 
 when he retired because of sickness — gout and other compli- 
 cations. He sought rest at his home in Philadelphia in the 
 early months of 1872, and feeling better, determined to enter 
 theatrical life as a reader, but the trial resulted unsatisfacto- 
 rily. On the nth of December he wrote to his friend, Mr. 
 Oakes, of Boston, his last letter. On the 12th of December, 
 1872, his servants noticed that he had not called them as was 
 his wont, and his valet, going to his bedchamber, knocked, 
 and, receiving no response, entered and found him cold in 
 death. He had died painlessly and suddenly, and with his 
 arms folded. 
 
 His wife died on the 24th of June, 1891. She had many 
 years previous retired from the stage. 
 
 Mr. Forrest was supported during his engagement by 
 Mr. Alexander Wilson and Mrs. Stone ; the assistance of art- 
 ists of superior talent being indispensable to the successful 
 rendition of the Shakspearean drama. Mrs. Stone was orig- 
 inally Miss Banister, of Boston, and married Mr. Joseph 
 Legg, an actor well known in Providence. Her second hus- 
 band was Mr. Stone. 
 
 In August, Miss Mary Ann McBride, a young lady at- 
 tached to the company, whose excellent character had won 
 her many friends, died in the eighteenth year of her age. 
 She had adopted the stage from necessity, and had become 
 the main support of her mother and a brother of tender 
 years. 
 
 Her father had come from Scotland to New York, about 
 the year 18 17, and being of indolent and thriftless habits, 
 was unable to support his family. In this emergency Mis. 
 McBride conceived the idea of introducing her two daugh- 
 ters, Mary Ann, aged fourteen, and Cecilia, aged twelve, upon
 
 94 HISTORY OF THE 
 
 the stage ; and, as they were too young to be accepted by any 
 manager, she resorted to the expedient of presenting them 
 as infant prodigies. She gave them lessons in elocution, and 
 taught them a number of scenes from the dramatic poets. 
 Then, with a pamphlet of commendations from M. M. Noah, 
 Samuel Woodworth, George P. Morris, and other influential 
 journalists, this little Thespian band directed their footsteps 
 westward, taking Mr. McBride, whose skill as a harpist made 
 him useful as an orchestra. 
 
 After a year of profitless wanderings, they at length found 
 themselves at New Orleans, discouraged, without funds, and 
 almost destitute of wardrobe. The girls were engaged by 
 James H. Caldwell, who had recently opened a theatre there, 
 and played under his management such parts as are within 
 the capacity of children. In 1823 they obtained employment 
 at the Federal Street Theatre, in Boston, and came with the 
 company to Providence, Mary Ann appearing as Sue in " Life 
 in London." They continued to visit Providence till 1827, 
 Mary Ann playing the line of "walking ladies," and Cecilia 
 being available principally as a dancer, though in a few parts, 
 such as Albert in "William Tell," she won general admira- 
 tion. The spectacle of "Cherry and Fair Star" being pro- 
 duced, Mary Ann as Cherry made a hit, and at once became 
 a reigning toast. Many young men were suitors for her 
 hand, but she favored none except Mr. Samuel Jenks Smith, 
 a gentleman about twenty-six years of age, of literary tastes, 
 gifted with rare colloquial powers, and of high moral char- 
 acter. His generous nature and fine promise had gained him 
 hosts of friends, and those who knew him most intimately, 
 prized him highest. 
 
 Mr. Smith's suit prospered, his overtures were approved by 
 the lady's mother, and the nuptial day was fixed. At this 
 time the theatre had been closed for lack of patronage, and 
 all the actors had gone away, leaving this family busy pre- 
 paring for the wedding. While engaged upon the bridal 
 wardrobe, Miss McBride pricked her hand between the second 
 and third fingers with her needle, but paid no attention to 
 the wound, apparently so trivial. In a day or two it became 
 painful, and the physician who attended her could afford no 
 relief. Another day passed, tetanus appeared, and in a few 
 hours the young lady was dead. The announcement of her
 
 PROVIDENCE STAGE. 95 
 
 death was received with general regret, and, on the day of 
 her funeral, a numerous train of mourners followed her re- 
 mains to the grave. 
 
 The week after this sad event Mr. Kilner came with the 
 Federal street company from Boston, and, on the 31st of 
 August, reopened the Providence theatre for a single night 
 for the benefit of Mrs. McBride, who had become somewhat 
 involved in debt by the calamity that had befallen her, and 
 was likely to suffer from straitened circumstances. 
 
 The alacrity with which player-folk have ever manifested 
 to spring to the relief of those who are in sorrow, need, sick- 
 ness, or any other adversity, still characterizes them. More 
 than the members of any other profession they feel for others' 
 woes, and the sight of distress will draw from them their en- 
 tire treasures of money and sympathy. Age does not wither, 
 nor custom stale their infinite humanity. Surely the art 
 which cherishes so tenderly the heaven-born charity, most 
 precious of all graces, the coverer of multitudinous sins — 
 which preserves to extreme age the generous impulses of 
 youth, and, while it binds its votaries in ties as close as those 
 of consanguinity, does not diminish a benevolence that would 
 embrace all mankind — cannot deserve the condemnation con- 
 tinually invoked upon it by the sectarian pulpits. 
 
 The play selected for the benefit was " The Soldier's 
 Daughter;" Mr. Thomas Kilner enacting, as the part was 
 never before played, Governor Heartall, and Mrs. Pelby, then 
 in her prime, sustaining in a matchless manner the char- 
 acter of Widow Cheerly. At the close of the performance 
 Mr. Kilner came forward and made an address, pronounced 
 by those who heard it to be inimitable for pathos, appro- 
 priateness, and elegance of diction, deeply affecting the au- 
 dience. 
 
 The receipts from the sale of tickets at the box-office ex- 
 ceeded three hundred dollars. The amount was much in- 
 creased by the contributions of several gentlemen who sym- 
 pathized with the beneficiary in her great bereavement. 
 
 Mr. Conway, the celebrated tragedian, was accidentally in 
 town at this time, and was requested to take part in the per- 
 formance. He would gladly have consented, but, being then 
 a candidate for holy orders, he felt obliged to decline the in- 
 vitation. He however contributed twenty dollars, and made
 
 96 HISTORY OF THE 
 
 one of the audience on the night of the benefit. Voluntary 
 gifts were received from Mr. Dickson of one hundred dollars ; 
 Mr. Finn of twenty dollars ; and from two merchants of two 
 hundred dollars. It has been stated that the entire amount 
 received by Mrs. McBride was about eight hundred dollars ; 
 no contingent expenses being deducted from this sum by the 
 noble-hearted actors. 
 
 Mr. Stimpson, the manager of the circus then performing 
 in the brick building erected for equestrian performances in 
 the rear of the Washington Garden, was desirous of closing 
 his house for that night, had he felt at liberty to do so ; but, 
 although his performance was given as usual, he purchased 
 tickets for his whole company, thus contributing nearly twenty 
 dollars to the receipts. 
 
 A number of the residents of Pawtucket came to the 
 theatre that night to assist on an occasion which drew so 
 largely upon the sympathies of the public. 
 
 Miss Cecilia (or Celia) continued on the stage until 1844, 
 dying in New York in January, 1846, after having obtained 
 the distinction of being the best walking lady in America. 
 
 Of all the English actors who have visited this country 
 since the advent of Kean, William Augustus Conway was in . 
 some respects the best, and certainly his personal history 
 was the most interesting. He has been pronounced by 
 mouths of wisest censure the prince of Hamlets, and the 
 lordliest Coriolamts that ever appeared upon our stage. His 
 style of acting was intellectual, and devoid of every kind of 
 trick; his figure was stately, and his voice, of surprising 
 clearness and compass, was long remembered by those who 
 had listened to his expressive enunciation of those noble pas- 
 sages in which our greatest dramatist gives utterance to some 
 generous sentiment which finds an echo in every breast. To 
 eminent success in the higher walks of the histrionic art 
 there is one indispensable requisite, and that was Conway's — 
 soul. Art may counterfeit pathos, and wear the similitude of 
 passion — and be highly applauded withal ; but unless the 
 heart of the actor be in harmony with that of mankind, his 
 personations will have no vitality ; they will lack the ring of 
 true metal ; and the expectant, yearning listener will miss an 
 essential something, not describable, but whose absence may 
 be potently felt. You may hear a prima donna of the opera
 
 TROVIDENCE STAGE. 97 
 
 sing, and while the dilettanti are exhausting their vocabularies 
 to find panegyrics for her wonderful execution of passages, 
 whose difficulty is appreciated only by scientific musicians, a 
 miscellaneous audience will yawn as she triumphs over the 
 seeming impossibilities of the score. Then shall another be- 
 gin the same song, and, as face answers to face in water, so 
 shall her sympathetic tones call tears from unsounded depths 
 of feeling ; and, long after that sweet voice is still, " shall vi- 
 brate in the memory." 
 
 To some, like Malibran and Edmund Kean, nature has 
 given the " key of staunchless tears ; " and, at their bidding we 
 laugh, we sigh, we weep. Conway possessed this rarest of 
 gifts, and pathetic passages delivered by him had an unusual 
 tenderness, and awakened in his hearers an interest in the 
 man himself. The modulations of his voice in "Hamlet," in 
 "Othello," and especially in the "Stranger," can never be 
 forgotten. 
 
 He had been educated for the law, but abandoned the study 
 of his profession for the stage, and speedily attained distinc- 
 tion as an actor in the London theatres. He was religiously 
 inclined, his manners were unexceptionable, and his tastes 
 refined ; but he was of a melancholic disposition, and morbidly 
 sensitive. His conspicuous position as an actor exposed him 
 to severe trials, the chief of which were the attacks of certain 
 unscrupulous critics in the interest of a rival player, their 
 vindictiveness increasing when the sufferings of their victim 
 became apparent. One unfeeling wretch having become 
 possessed of a piece of family scandal relating to Conway's 
 parentage, gave publicity to it ; and then the actor, over- 
 whelmed with shame, abandoned his place of vantage, and 
 sought shelter in the obscurity of the condition of a prompter. 
 He was soon induced by the entreaties and the encourage- 
 ment of real friends to resume his rightful station, and was 
 again winning golden opinions, when some newspaper offen- 
 sively suggested to him that he ought to understand that for 
 a tragedian something was needful besides legs and arms. 
 Conway was again crushed to earth, loathing his own person 
 — for he was unreasonably sensitive on the subject of his 
 height, being a little over six feet tall — and, breaking away 
 from the theatre, he hid himself a while, reduced to a condi- 
 tion bordering on insanity. 
 
 7
 
 98 HISTORY OF THE 
 
 He was at this time engaged to come to America, and ap- 
 peared in New York in his great part of Hamlet, creating a 
 most favorable impression. For two or three years he was 
 occupied in visiting the principal theatres, achieving fame in 
 his progress, admired by the public, and loved by his inti- 
 mates. At length he resolved to take holy orders, for which 
 he had long cherished a predilection, chose a retreat in New- 
 port, R. I., and devoted himself to the study of theology, 
 though occasionally emerging to give poetical readings for the 
 purpose of replenishing his purse. He remained in Newport 
 several months, as secluded as a hermit. His sedentary life 
 gave him opportunities for sad remembrances, his griefs made 
 inroads on his health, and, it was feared that they had unsettled 
 his mind. Certain it is that he perpetually brooded over his 
 sorrows, and deemed himself the child of misfortune. In the 
 spring of 1828, while a passenger* by sea from New York to 
 Savannah, he was lost overboard Many surmised that in a 
 fit of mental aberration he had leaped into the sea, but his 
 friends believed that his death was the result of an accident. 
 Even after his life was ended the voice of calumny was raised 
 against him ; and those who decried the stage pointed their 
 morals with allusions to his untimely fate. It was reserved 
 for a Providence newspaper — that one claiming to represent 
 the sentiments of the most religious of the community — to 
 publish some innuendoes, as malevolent as they were un- 
 founded, impugning his motives in taking orders. Near the 
 same period a bookseller in a southern city published certain 
 letters which had passed between Conway and Mrs. Piozzi 
 (formerly Mrs. Thrale), written when she was eighty years of 
 age, and tried to give an impression that the relations between 
 them had been of a criminal character. Nothing but the vile- 
 ness of the slander could have given the tale a moment's cur- 
 rency, for Conway's conduct towards Mrs. Piozzi showed that 
 he was the soul of honor, and governed by chivalrous motives, 
 almost quixotic in their loftiness. 
 
 He was of a retiring disposition, and carefully avoided all 
 those adventitious aids by which men attain notoriety. In 
 oik of his visits to Providence he lodged at the Franklin 
 House, and occupied a commodious apartment, such as was 
 befitting his quality ; but, there being a great influx of strang- 
 ers on account of some extraordinary attraction, the public
 
 PROVIDENCE STAGE. 99 
 
 houses of the town were pressed for space to set up beds 
 for their guests ; and Conway hearing the landlord lamenting 
 his want of accommodations, tendered his own large room. 
 His offer being accepted, he betook himself to the attic, and 
 there remained until the landlord's exigency was overpast, 
 and the inn had regained its accustomed appearance. 
 
 His extreme modesty was equally observable in the theatre. 
 When he was playing an engagement he assumed no lofty 
 demeanor towards the stock actors, and when the hour for 
 performance drew near, he was always seen unobtrusively 
 making his way towards the theatre, carrying his own swords 
 and other essential " properties." 1 
 
 On the 24th of September a goodly company from Provi- 
 dence visited Boston to be present at the opening of the new 
 Tremont theatre, and were highly delighted with their trip. 
 
 1 An interesting- biography of this ill-fated gentleman appeared in the Literary Cadet of 
 Feb. 9, 1S28; and an original poem in the next number of the same paper makes a feeling 
 allusion to his sad death. They are accessible in the alcoves of the Providence Athenx'um.
 
 CHAPTER IX. 
 
 1828-1832. 
 
 William Dinneford leases the theatke— appearance of Clara 
 Fisher — Charles Young maintains a summer season — Joseph 
 Cowell's misadventure— A new manager— A theatrical dis- 
 turbance—Disastrous speculation of Moses S. Phillips— A new 
 
 THEATRE PROJECTED— ANECDOTE OF BOOTH — REPARATION OF THE 
 THEATRE— A NEW ACT DROP GIVES DISSATISFACTION— WILLIAM DlN- 
 
 neford— The lottery system— Master Burke— Mishaps of A. W. 
 Jackson— Man ag em knt of Thomas Hilson— The final perform- 
 ance—The THEATRE SOLD TO GRACE CHURCH CORPORATION— THE 
 
 demolition of the building— The change in the charactei: of 
 the patronage of the theatre in its last years. 
 
 IN 1828 Mr. William Dinneford took a lease of the theatre, 
 and, on the 18th of March, opened with a redecorated 
 house, new scenery, and a good company of performers ; 
 among whom were Messrs. Hyatt, T. Placide, Kelsey, Duffy, 
 Crouta, Mestayer, and Lawton, with Mesdames Dinneford, 
 Buckley, and Brewster. An opening address of much merit, 
 written by Mr. Hyatt, was pronounced by Mr. Duffy. The 
 bill consisted of the equestrian drama of "Timour the Tar- 
 tar," performed by a troupe from New York ; and the farce 
 of "The Turnpike Gate." 
 
 On the 26th of the same month, Clara Fisher, then seven- 
 teen years of age, made her dibut as Albina Mandevillc in 
 the "Will ; " and Julia in the " Four Mowbrays." Her en- 
 gagement, though short, was a triumph. She elicited as 
 much enthusiasm here as in other places. Throughout the 
 country Clara Fisher's name appeared on everything vendi- 
 ble, and her brother having established a newspaper in New 
 York, to secure popularity for it and himself, advertised it 
 as edited by " C. B. J. Fisher, brother of the celebrated Clara 
 Fisher." The excitement in Providence pervaded the breasts 
 of the sedate old merchants, as well as of the younger and
 
 PROVIDENCE STAGE. IOI 
 
 more inflammable sort ; and the main topic of conversation 
 everywhere was the charms of Clara Fisher. Her benefit 
 crammed the house, the proceeds reaching the sum of five 
 hundred dollars, being the largest amount ever within the 
 walls of the theatre. 
 
 Clara Fisher was born in England, July 14, 181 1, the 
 daughter of Frederick George Fisher. Taken at the age of 
 six to see a rehearsal of "Gulliver in Lilliput," to be played 
 by children at Drury Lane, she was as badly " stage-struck " 
 as many have been at a later period in life, and begged her 
 father's permission to join the little company. Having 
 pleased the manager by her recitations, she was engaged, and 
 in a masque written for her by her father, made a hit to start 
 with. She was subsequently engaged at Covent Garden, 
 and was looked upon as a youthful prodigy. As such, she 
 starred for several years, totally eclipsing all other juvenile 
 performers. At the age of seventeen she came to America, 
 and at this time must have been a very bewitching creature. 
 She is thus described by Ireland: 
 
 " Her person, below the middle height, and just reaching, 
 but not exceeding, a delicate plumpness, was exquisitely 
 formed ; her manners were sprightly and vivacious, yet per- 
 fectly natural and artless ; her expression arch and intelli- 
 gent, her cheeks dimpling with smiles. Appearing as she 
 constantly did, in the characters of boys and striplings, she 
 had her fine hair closely cut on the back of her head, while 
 on her brow she wore rolls or puffs, which were immediately 
 adopted as the fashion, while an imitation of her delicate, but 
 natural lisp, was considered equally indispensable. Her name 
 was borrowed to give popularity to new fashions and old 
 hotels, slow stagers and fast racers ; and anything or any- 
 body who could claim the most distant connection with 'the 
 celebrated Clara Fisher,' was sure of attracting notice and 
 distinction." 
 
 In her earlier years her success was equally apparent in 
 tragedy, opera, or farce, but later in life her face, voice, and 
 person were best adapted to the lighter characters of opera 
 and comedy. She played Oplielia and Viola, but produced 
 far more effect in the more every-day character of Clari, in 
 Payne's opera, which she played with such pathos as to force 
 tears to the eyes of her audience, whether they would or no.
 
 102 HISTORY OF THE 
 
 Her Lady Teazle is said to have been a charming perform- 
 ance, and also her Lady Gay Spanker, although her petite 
 figure was not suitable to represent the generally received 
 idea of those characters. She possessed a thorough knowl- 
 edge of music, and in opera appeared to all the advantage 
 that her limited range of voice permitted. It was in ballads, 
 however, that her greatest musical success was won, her ex- 
 pression in singing Irish and other sentimental songs gain- 
 ing for her her greatest popularity. One of her best charac- 
 ters, in later days, was the Fool, in " Lear," which she made 
 very important when Macready brought out the play as orig- 
 inally written. 
 
 Her American debut was at the Park Theatre, New York, 
 Sept. n, 1827, as Albina Mandeville, in "The Will," and in 
 the farce " Old and Young," in which she personated the 
 four Mowbrays. After a most successful career, she married, 
 Dec. 6, 1834, Mr. James Gasper Maeder, a distinguished 
 musician, and the vocal preceptor of Charlotte Cushman and 
 many others. Much of Mrs. Maeder's fortune was lost in 
 the United States Bank, and much more in theatrical man- 
 agement. She retired from the stage for nearly a decade, 
 but reappeared in Lucy Rushton's New York company, and 
 is still in the profession. She has visited Providence two or 
 three times within the past ten years, as a member of Arthur 
 Rehan's company. She is still bright and active, and as well 
 qualified to play the parts she now undertakes, as any in the 
 business. 
 
 Miss Fisher was followed by Miss Kelly, and then by Mr. 
 and Mrs. Blake. Mr. Dinneford terminated his season on 
 the 1st of May, having lost a considerable sum by his enter- 
 prise. 
 
 About the middle of June, Mr. Charles Young, formerly 
 well known in Providence, came with a portion of the Bow- 
 ery theatre company, containing some good actors, namely: 
 Messrs. Archer, Comer, J. Mills Brown, Faulkner, and Lawes ; 
 also Mesdames Young, Lawes, and Spooner; and Miss Ham- 
 ilton. He kept the theatre open until the 10th of Septem- 
 ber, with this succession of stars : Cooper, Miss Rock, Mrs. 
 Duff, Hackett, Louisa Lane (eight years old), and Arthur 
 Keene, the vocalist. Mr. Keene took his benefit on the 1st 
 of July, and Joseph Cowell, the comedian, being on his way
 
 PROVIDENCE STAGE. IO3 
 
 from Boston to New York, had agreed to stop over night, 
 and play Darby in the " Poor Soldier," on this occasion. 
 
 Air. Cowell left Boston in the mail stage, at one o'clock in 
 the morning, and arrived in Providence in time for rehearsal 
 the same day. The weather being exceedingly warm, he de- 
 termined after dinner to take his lost share of sleep. So he 
 selected a file of papers from the reading-room, and, finding a 
 mattress thrown down in the corner of a balcony of his hotel, 
 where all the air Providence could bestow seemed to flutter, 
 he arranged a siesta. When he awoke it was dusk, and, after 
 repairing his toilet, he set off for the theatre, all his compan- 
 ions being there, although he had to play only in the last 
 piece. As he passed through the bar he inquired of a servant 
 sweeping it out, "what is the time ? " "About four, sir," said 
 he. "About eight, more likely," replied Mr. Cowell, and on 
 he walked. 
 
 The shops were all closed, and everything appeared exceed- 
 ingly quiet ; but, as he was prepared by report for the steady 
 habits of Providence, its appearance did not strike him as 
 extraordinary. The carriers hanging morning papers over the 
 knobs of the doors, or insinuating them beneath, were the 
 only human beings he met on his way to the theatre, which 
 to his astonishment he found closed and quiet. A thought 
 flashed across his mind — could it be possible? He made an 
 inquiry of a milkman, and found to his amazement that it was 
 not to-nigJit, but to-morrow inoming. To return to the hotel 
 and make an explanation he knew full well would be at the 
 expense of remaining to perform that night. So he quietly 
 went on board the steamboat Connecticut, which was to take 
 him to New York, leaving his baggage behind. His old 
 friend Captain Bunker, met him with astonishment. He had 
 been at the play, and fully described the consternation that 
 had been occasioned. The theatre had been crowded; and. 
 after every room in the Franklin House had been searched, 
 and every conceivable place in the town, it had been unani- 
 mously agreed that in walking to tin- theatre after dark, he 
 had walked off the dock. Already a reward had been offered 
 for the recovery of his body, and had not his busings been 
 too urgent to admit of the delay, he would have delivered 
 himself up and claimed the ten dollars for the joke's sake; 
 but, as it was, he got the captain to keep the scent, lay perdu
 
 104 HISTORY OF THE 
 
 till the boat was off, and took the news of his supposed un- 
 timely end to personally contradict it in New York and Phil- 
 adelphia. 1 
 
 The theatre was again opened in 1829, under the manage- 
 ment of Mr. Wilson, Mr. J. Phalen, a gentleman from New 
 York, becoming the lessee of Mr. Dinneford, with the inten- 
 tion of maintaining a winter season ; but, after four weeks 
 of losses, he abandoned the undertaking. 
 
 Near the close of Mr. Wilson's management there was a 
 near approach to a theatrical riot. On the 27th of February, 
 Mr. Ball, one of the members of the company, while playing 
 the part of Cassio, was fiercely hissed. The storm increas- 
 ing, he addressed the audience, and, in a brief and manly 
 speech, offered to meet any one to whom he had given of- 
 fence, after the performance. He was then allowed to pro- 
 ceed. On the next night of his appearance a large party 
 went to the theatre to drive him from the stage. They pre- 
 vented the progress of the play, and, when the manager 
 asked the cause of the interruption, they said that Mr. Ball 
 had insulted Americans. They finally succeeded in termi- 
 nating the performance in confusion. A mob collected about 
 the door, and were loud in their threats. Mr. Ball in some 
 way eluded their pursuit, and, after some delay, they dispersed 
 without any act of violence. The words spoken by the actor, 
 as it afterwards proved, were uttered in jest to a friend, and, 
 having been overheard, were misconstrued, and thus mischief 
 ensued. 
 
 In June, Moses J. Phillips made a disastrous dramatic spec- 
 ulation. He came here with a company, much larger than 
 any that had ever before appeared in Providence, his or- 
 chestral department being also of unusual strength. He had 
 also made many engagements with other actors in New York, 
 and, after he had inaugurated his season, they were contin- 
 ually arriving in town. Unfortunately he had over-estimated 
 the inclination of the public towards dramatic entertainments, 
 and for several weeks his receipts rarely equalled the amount 
 of salaries he had engaged to pay. The dancers, Mons. and 
 Mdme. Charles Ronzi Vestris, brought good houses, but their 
 aid could not long hold up his sinking fortunes. His chief 
 attraction was Mrs. Austin, an eminent vocalist, whose per- 
 
 I Cowell's T/iir/y Years Among the Players.
 
 PROVIDENCE STAGE. IO5 
 
 sonal beauty was celebrated. He soon found himself unable 
 to pay his company, and, at the same time, his other creditors 
 were clamorous for their pay. For a few days he purchased 
 peace with promises, but at length the actors rebelled, and 
 officers were understood to have writs for his arrest. At this 
 juncture a few friends clandestinely took him to a steamer, 
 hid him in an obscure corner, and he soon distanced his pur- 
 suers. 
 
 The distressed condition of the performers induced them 
 to give a performance in order to obtain means of reaching 
 other places ; and Mr. John Duff happening to be in town, 
 was announced in the tragedy of "Venice Preserved." The 
 receipts did not exceed fifty dollars, but with this sum and a 
 liberal gift from Mrs. Austin, who was rich, and said to be 
 the wife of an English baronet, they managed to reach more 
 hospitable cities. 
 
 Three of the company, Gobright, Read, and another, were 
 journeymen printers, and, procuring some employment in one 
 of the printing-offices here, they managed to secure means 
 to enable them to get away. 
 
 Phillips was really an honest man in his intentions, and it 
 was his misfortune, rather than his fault, that he miscalcu- 
 lated the patronage of the town. He was always unlucky 
 in his speculations, and died some years ago in New York, 
 in indigent circumstances, just as he had paid up, it was said, 
 his dues to the Dramatic Association Fund, and was fancy- 
 ing himself provided with a moderate subsistence for his old 
 age. 
 
 The unprofitable results of the last few seasons, gave a 
 death-blow to an enterprise which several public-spirited citi- 
 zens had been planning for two or three years. The success 
 of the old theatre for several seasons had been so decided, 
 that the stockholders were receiving an interest of more than 
 thirty per cent, on their property ; and, on benefit occasions, 
 it not unfrequently happened that all seeking admittance 
 could not be accommodated. In the spring of 1825, shares 
 in the theatre stock, which a few years before could haw- 
 been bought at sixty-five dollars, sold at public auction for 
 two hundred and twenty-five dollars each. In 1827 the news- 
 papers had advocated the erection of a new theatre, capable 
 of being used in winter as well as in summer, and in appear-
 
 106 HISTORY OF THE 
 
 ance and commodiousness befitting the increasing prosperity 
 of the town; The proposed site was a lot in the rear of 
 Colonel Atwell's estate, and had frontage on Dorrance, Pine 
 and Orange streets. At this time the gentleman who was 
 the most zealous promoter of the project died, and the sub- 
 ject was temporarily abandoned. In April, 1829, another 
 movement was made in the same direction. A plan of the 
 contemplated theatre, drawn by Warren and Bucklin, was on 
 exhibition at Mr. Dinneford's office, where books were 
 opened for subscriptions for the stock, the value of the shares 
 being fixed at two hundred and fifty dollars. The affair how- 
 ever lagged, and, business being everywhere in a depressed 
 condition, it was soon dropped. Theatricals felt the effects 
 of the stagnation in commerce, and from this time the occu- 
 pation of Providence managers became more and more un- 
 profitable. 
 
 On the 16th of November, Booth began an engagement in 
 Boston. He performed one or two nights with fine effect, 
 when he was taken ill, and obliged to keep his room. He at 
 length improved in health, and was announced December 7th 
 as Ludovico in " Evadne." The house was crowded to its 
 utmost capacity, about one thousand dollars being taken at 
 the doors. 
 
 " Mr. Booth's first entrance on the stage denoted something unusual. 
 He was careless and hesitating in his delivery, and his countenance had 
 none of its customary expression. He would falter in his discourse, jum- 
 ble scraps of other plays in his dialogue, run to the prompter's side of the 
 stage, and lean against the wings, while the prompter endeavored to help 
 him forward in the play, by speaking out the language of his part loud 
 enough to be heard in the galleries. In this manner he made a shift to 
 get through the first two acts of the tragedy. Those familiar with the 
 theatre saw very plainly that something was rotten in the state of Den- 
 mark ; but a great proportion of the audience, not knowing much of his 
 manner of acting, did not comprehend the business, but only looked on, 
 and wondered that an actor of so much celebrity could play with so little 
 spirit — some even doubting his identity. 
 
 " Still the play progressed ; and, in the early part of the third act, while 
 he was engaged in parlance with the King of Naples, the audience were 
 surprised by his suddenly breaking off from the measured heroical dig- 
 nity of his stage tone, and, with a comical simper, falling at once into a 
 colloquial, gossiping sort of chatter with His Majesty, thus : ' Upon my 
 word, sir, I don't know, sir,' etc. For a moment all was silence, when 
 Mr. Booth turning round, and facing the spectators, began to address 
 them in this manner : 'Ladies and gentlemen, I really don't know this 
 part. I studied it only once before, much against my inclination, I will
 
 PROVIDENCE STAGE. IOJ 
 
 read the part, and the play shall go on. By your leave the play shall go 
 on, and Mr. Wilson shall read the part for me. Here an overpowering 
 burst of hissing and exclamations rose from all parts of the house, while 
 Mr. Booth continued to face the audience with a grinning look, which 
 at length broke out into an open laugh. Mr. Smith then came from be- 
 hind the scenes and led him off, Mr. Booth exclaiming : ' I can't read ; 
 I'm a charity boy ; ' (in reference probably to his part in the afterpiece) 
 ' I can't read — take me to the Lunatic Hospital ! ' Here the drop curtain 
 fell amid the murmurs and hisses of the spectators. 
 
 " Mr. Smith then appeared in front, and explained to the audience that 
 Mr. Booth was subject to fits of temporary insanity, and that such was 
 his condition at present, assuring them that his indisposition could not 
 be attributed to the effects of liquor, as his attendants, who had been with 
 him through the day, averred that he had tasted nothing of a spirituous 
 kind. 
 
 "Mr. Booth was immediately carried to his lodgings, and, his disorder 
 having increased, it was on Wednesday deemed advisable to obtain a con- 
 sultation as to the propriety of placing him in the Lunatic Asylum; but, 
 on repairing to his room, he was not to be found. Search was made for 
 him, but the only information that could be obtained was, that he had 
 applied at the Marlboro' Hotel for a seat in the Providence stage ; but 
 hearing that the stage had already departed, he went off, and whither, no 
 one knew. It was not until the arrival of a stage from Providence, that 
 intelligence was conveyed by the driver that on Wednesday he met Mr. 
 Booth between Dedham and Walpole, on foot, and almost destitute of 
 clothing, walking towards Providence. He reached Providence on Thurs- 
 day, having slept, as it was supposed, in the woods on Wednesday 
 night.' i 
 
 • 
 
 Immediately after his arrival here he proceeded to Dem- 
 ing's sailor boarding-house, at the junction of South Main 
 and Wickenden streets, which he reached in his stocking 
 feet, having thrown away his shoes. It was soon noised over 
 the town that Booth, in miserable plight, had gone there; 
 and the news coming to the ears of his friend, Col. Josiah 
 Jones, he at once hastened to the place. On entering, he mel 
 Booth, who gave him a kindly greeting, and asked him to take 
 off his boots that he, Booth, might try them on. Colonel 
 Jones complied with this strange request, and was surprised 
 to see him after putting them on, leave the house without a 
 word. Colonel Jones borrowed a pair of shoes oi Mr. Dem 
 ing, and overtook Mr. Booth, whom he found hurrying along 
 the street in a highly excited manner. He at once took him 
 in charge and led him to his own residence on Aborn street. 
 In a few days Mr. Booth's fit passed away, and a rational 
 frame of mind ensued. Many visitors flocked to the house 
 
 1 Clapp's Record of the Boston Stage a
 
 IOS HISTORY OF THE 
 
 to see and converse with the eccentric actor. One Sunday 
 evening when the parlor was filled with company, — mostly 
 religious people, who were unaccustomed to attend the theatre, 
 but none the less desirous of witnessing the effect which he 
 was capable of producing by his skill in elocution, — Colonel 
 Jones asked him to read some selections for the gratification 
 of the visitors. He yielded assent, and desired that a Bible 
 should be brought. He was provided with one, and, opening 
 it with reverence, he chose a passage and began to read. As 
 his impressive voice was heard, every sound was hushed, and 
 the reading proceeded in perfect silence. The words of in- 
 spiration continued to flow from the lips of the reader, sobs 
 were occasionally heard, and, when he had concluded, scarcely 
 one in the room was not weeping. All testified that never 
 before had the sublimity of the language of Holy Writ been 
 made apparent to them, and Booth seized the opportunity to 
 descant on the frame of mind in which the Scriptures should 
 be approached, and to condemn the soulless readings of those 
 pastors who read as an unwelcome task to listless hearers the 
 awful revelations of their Maker. 
 
 Mr. Booth did not immediately regain his old vigor of 
 mind. He had some lucid intervals, and then aberrations of 
 intellect would succeed, continuing so long that sometimes it 
 was feared that his reason was completely destroyed. He at 
 length so far recovered that it was deemed safe to allow his 
 return to his family. He was received in New York by Ed- 
 win Forrest, and, after a little rest, proceeded to his desti- 
 nation. 
 
 In the early part of 1830, Mr. Dinneford made some im- 
 provements in the equipments of the stage, and in the 
 arrangement of the auditorium. He substituted light iron 
 pillars for the large wooden posts which had supported the 
 galleries, and carried the lower tier of boxes forward, thus 
 gaining a few more box seats. He also procured at an 
 expense of one hundred dollars, a new act-drop, painted by 
 Mr. R. Jones, of Boston, which was much disliked by the 
 patrons of the house, many of them preferring Warrall's pan- 
 oramic view of Providence, which had been in constant use 
 since 18 12. Mr. Dinneford made a public explanation' of the 
 reasons for the change, stating that the old drop, haying for 
 several years been deteriorating in appearance, had sustained
 
 PROVIDENXE STAGE. IO9 
 
 such additional injury during the past winter that it could 
 not be safely used. The public continued to express their 
 dissatisfaction, until the new curtain was removed. The old 
 favorite was then rehung, and remained in its accustomed 
 place as long as the building was used as a theatre. 
 
 Although Mr. George Barrett officiated as manager during 
 the season, the lease continued in the hands of Mr. Dinne- 
 ford. This gentleman was a native of Somersetshire, in 
 England, and had been a clerk in a London banking house ; 
 but, becoming enamored of Isabella Mordecai, an employe of 
 Drury Lane theatre, he married her and came to the United 
 States about the year 1825. Changing his name from Ford 
 to Dinneford, he went upon the stage, but failed to achieve 
 any marked success as an actor. His business habits being 
 good, he was employed to take charge of a large equestrian 
 and dramatic company, in the capacity of treasurer and busi- 
 ness manager. This company he brought to Providence, on 
 becoming the lessee of the theatre. Here he met with no 
 profit, except during the engagement of Clara Fisher, and, 
 after one season's experience as a theatrical manager, he 
 became a broker and dealer in lotteries, occasionally acting 
 as an auctioneer, and finally opened a restaurant on West- 
 minster street, and a public house at Horton's Grove. Fail- 
 ing in business here, he removed to New York, opened the 
 Franklin theatre in Chatham street, and in two years accum- 
 ulated a fortune. He then rebuilt the Bowery theatre, which 
 had just been destroyed by fire, and became a bankrupt. 
 After this reverse he travelled several years as the manager 
 of a troupe of strollers, and finally started for California. He 
 stopped at Panama to open a hotel, but soon fell a victim to 
 the climate. 
 
 The business of the theatre proved so unremunerative that 
 it was kept open only a few weeks. Mr. and Mrs. Barrett, 
 Mr. and Mrs. W. II. Smith, and several other actors of e\ 
 lent talents, had little power of attraction, and, save the brief 
 engagements of Clara Fisher, and Hackett, who played a 
 round of Yankee characters, the whole season was unfor- 
 tunate. 
 
 In October, Monsieur Villaneuve, with a small company oi 
 acrobats, gave a series of entertainments upon the stage, and, 
 to increase his audiences, introduced a system, then novel,
 
 IIO HISTORY OF THE 
 
 but bearing a resemblance to the "gift concerts" of a later 
 day. The lotteries which were then authorized for public 
 purposes were well patronized, and tickets were sold by Mr. 
 Dinneford at his office near " Lucky Corner," as he termed 
 the junction of North Main street and Market Square. Mon- 
 sieur Villaneuve each night distributed among those present 
 at his exhibitions ten tickets in these lotteries, each pur- 
 chaser of a box seat being entitled to two chances for a 
 ticket, and each purchaser of a seat in the upper boxes, the 
 pit, or the gallery having one chance. 
 
 After Mr. Dinneford's retirement from the management he 
 still retained the lease, as has been before stated, but sub-let 
 the theatre to any one making application for it. At length, 
 however, losses in business compelled him to assign his 
 rights to two friends, to whom he was indebted for money 
 advanced by them to him in his necessities. These gentle- 
 men, Messrs. Philip Case and William Marshall, let the build- 
 ing with the scenery and properties to traveling companies, 
 and others desirous of experimenting with the dramatic in- 
 clinations of the citizens. Thus, in March, 1831, a company 
 of actors were brought here by Mr. Richard Russell, for the 
 purpose of presenting Master Burke, the young Irish Roscius, 
 as he was called. This prodigy played here eleven nights 
 with good success, the houses several times containing three 
 hundred dollars. One of these performances took place on 
 Saturday evening, being the second time that a performance 
 was ever given in Providence on that evening of the week ; 
 and the smallness of the audience showed that even at that 
 late day the public were indisposed to countenance innova- 
 tions upon their New England habits and principles. Mas- 
 ter Burke was really a marvellous boy, and, in his renditions, 
 displayed talents surpassing those of many well reputed actors 
 of mature years, lie spoke with force and feeling, but at 
 the end of a long performance he usually showed signs of 
 fatigue, as was but natural in one so young. He was accus- 
 tomed between the plays to take a violin, and lead the 
 orchestra, where his masterly execution of difficult music 
 never failed to excite the admiration of the audience. 
 
 At this time Chapel street was very steep at its western 
 end. Beginning at Burrill street was a famous coasting 
 ground. While the infant prodigy was in the evening de-
 
 PROVIDENCE STAGE. I I I 
 
 lighting the town with his acting, in the daytime he could 
 have been seen enjoying the pastime of coasting with many 
 playmates. A constable came there and warned them that 
 they ran the risk of being fined, and as they were at this in- 
 timation about to suspend their sport, Master Burke changed 
 their determination by crying out, "Go ahead, boys, and if 
 any of you are fined, I'll pay it all." 
 
 In December of the same year a company from New York 
 kept the theatre open several weeks, just long enough to run 
 themselves out of cash and into debt. They were without 
 means to leave town, and, in their distress, their manager, 
 Andrew W. Jackson, applied to Mr. S. S. Southworth, to 
 write them a play which would draw the unwilling public. 
 He accordingly with much expedition wrote a three act drama, 
 entitled : "The Capture of Prescott, or the Heroism of Bar- 
 ton." This play was hastily produced, and for several nights 
 attracted remunerative houses, supplying the players with 
 funds enough to return to New York. The heroine was per- 
 sonated by Miss Eliza Emery, who had once been a leading 
 actress, and had lately straggled into Providence under pecu- 
 liar circumstances. One of the last nights being assigned 
 for her benefit, she appeared upon the stage in such a condi- 
 tion as to be unable to utter the words of her part. This 
 misguided woman, who had once been lauded by certain crit- 
 ics as superior to Mrs. Siddons, and had caused acrimonious 
 contests between rival managers in their efforts to secure her 
 talents, died several years later in squalid poverty, debased 
 by her degrading vices. 
 
 The prominent feature of the play was the part of Guy 
 Watson, personated by Mr. McGuire, an excellent delinea- 
 tor of Ethiopian characters before T. D. Rice and others 
 had acquired distinction in that line. The author had writ- 
 ten him a song called " Cold Frosty Morning," and on its 
 execution depended in a great measure the success of the 
 part. From indolence, or from inability to perceive any 
 merit in the song, he refused to learn it, and substituted 
 "The Coal Black Rose." The disgusted author could not 
 by entreaties change the determination of the actor, but at 
 length found a convincing argument ; and then Mr. Maguire, 
 with a bank note in his pocket, committed to memory the 
 words of the song, and sang it. It " took" immensely, and
 
 I 12 HISTORY OF THE 
 
 was subsequently a favorite with Ethiopian serenaders. The 
 play gave rise to some ill feeling, as it was supposed by some 
 that the dramatist had indulged his party prejudices and indi- 
 vidual malevolence in writing the language of one or two of 
 the dramatis pcrsonce ; but for this suspicion there was no 
 foundation. 
 
 The last manager who essayed to make the old theatre 
 profitable was Thomas Hilson. His initial performance took 
 place Feb. 13, 1832, when the entire receipts of the 
 evening were given by him to the Providence Charitable 
 Fuel Society ; a proceeding calling to remembrance that of 
 David Douglass, when seeking to propitiate an unsympa- 
 thetic public. The final performance occurred March 23, 
 1832, and consisted of Shakspeare's comedy, " The Merry 
 Wives of Winsor;" the music of Macbeth sung as an inter- 
 lude by the company; and the farce of "The Sleepwalker." 
 Mrs. Hilson, formerly the popular and admired Miss Johnson, 
 recited in the guise of the Goddess of Liberty, an epilogue 
 written by Mr. Southworth, into which had been introduced 
 a compliment to Andrew Jackson, which was vociferously 
 applauded ; followed by a flattering allusion to Henry Clay, 
 which as most of the audience were "locofocos " was vehe- 
 mently hissed. This epilogue having been mutilated in the 
 green room before its delivery, was subsequently published 
 entire by the author. 
 
 At this final performance Mr. Hilson sustained the part of 
 SirJoJui Falstaff. He had stuffed for the fat knight with an 
 unusual quantity of packing, and was waiting to be summoned 
 to the stage from his dressing-roong below it. When the 
 time for his entrance upon the scene arrived, he attempted 
 to mount the staircase, but to his dismay found that he was 
 too bulky to pass up the narrow stairs. What was to be 
 done he could not at first decide ; for, if he should undress 
 and then remake his person, the stage would be kept waiting 
 long beyong the patience of the audience ; and he was on 
 the point of having the matter laid before them, when, at the 
 suggestion of a bystander, he was led to a large trap in the 
 centre of the stage behind the scene, through which he was 
 speedily hoisted by the supernumeraries, and was thus 
 enabled to appear before the spectators with scarcely any 
 delay. Such an accident can not happen in these days of
 
 PROVIDENCE STAGE. I I 3 
 
 invention to the actor playing Falstaff, who has now merely 
 to don an india rubber undersuit, which can be inflated to 
 any required size, like a life-preserver. 
 
 The theatre was now sold by the stockholders to the cor- 
 poration of Grace Church, who at once proceeded to make 
 the alterations requisite for the purposes to which the build- 
 ing was to be appropriated, despite the remonstrances of the 
 lessees, who offered no obstacles from a desire of maintaining 
 further theatrical performances, but because they deemed 
 themselves entitled to compensation for the remaining por- 
 tion of their unexpired term. This amount they were willing 
 to receive in pew stock, instead of money, because they were 
 not unwilling to aid the church. Their claims being disre- 
 garded, litigation would have ensued, had not the dispute 
 been unexpectedly terminated by the accidental omission 
 of the lessees to tender their rent on a day certain, accord- 
 ing to the conditions of the lease. The corporation promptly 
 availed themselves of the laches of their opponents, and, 
 refusing the money proffered three days too late, proceeded 
 with their original intention, and altered the theatre into a 
 place of worship. It continued to be used for religious pur- 
 poses a number of years, when it was torn down, and re- 
 placed by the statelier structure, which now forming the chief 
 ornament of that part of the city, is the seat of the Bishop 
 of Rhode Island. 
 
 The process of demolition revealed traces of the earlier 
 uses of the old edifice, and vestiges of its former occupants. 
 As the plastering was removed where the stage had been, 
 especially near that part where the scene painter's gallery 
 once hung, there became visible upon the walls, painted in 
 vacant hours, the names of the actors, who in days gone by 
 had been the darlings of the town, but were now sleeping in 
 their unknown graves. Thus had the listless hands of idle- 
 ness given brief resurrection to the almost forgotten past, 
 and the bystanders who had lingered to look their last upon 
 the disappearing monument, sighed as they recalled the forms 
 of those who had been the delight and wonder of their youth, 
 and walked away heavy with tender recollections. Had the 
 names uncovered by the falling plaster been those of the 
 recognized benefactors of their day and generation — men who 
 had contributed largely to the material wealth of the town,
 
 I 14 HISTORY OF THE 
 
 building it up until it had become a prosperous city — they 
 would not have evoked such kindly emotions as were produced 
 by the sight of these mementos of thriftless, houseless, but 
 joyous players. Who can explain the marvel ? 
 
 The loss of the theatre was but little lamented, for of late 
 years the taste for the drama had declined among the opulent 
 citizens, and theatrical performances had been attended by 
 another class of frequenters ; the stockholders and their 
 families never entering the doors, except on very rare occa- 
 sions, such as the last engagement of Cooper, in 1828, when 
 there was a large assemblage of his old friends, many of 
 whom had not witnessed a play since his former visit to 
 Providence, several years previous. So little interest was 
 manifested by the old supporters of the stage for plays, that 
 they were accustomed to send their tickets to certain shops 
 to be sold each day at an abatement from the price demanded 
 at the box-office ; and, in case they could not find purchasers, 
 the tickets were given to lads and servants. The attendance 
 during the last two years of the existence of the theatre was 
 so small, that not unfrequently the books showed a sum less 
 than ten dollars as the receipts of an evening's performance. 
 As a consequence the house was allowed to fall out of repair, 
 and it soon became unsightly, the proprietors being unwill- 
 ing, and the managers unable to make expenditures in its 
 improvement. The green curtain, suspended within the pro- 
 scenium arch in the days of Mr. Harper, hung there thirty- 
 five years, becoming full of rents; the boards of the stage 
 were splintered or warped ; the box-doors would not latch, 
 and an appearance of shabbiness pervaded the place. In 
 winter, the building was insufficiently warmed, and, in sum- 
 mer, the smell of the oil lamps was so offensive as to make it 
 unpleasant for the spectators. 
 
 The little fact that at the final performance the utterance 
 of the name of Henry Clay was the signal for groans and 
 hisses, well illustrates the great change that had occurred in 
 the character of the audiences. The old patrons of the the- 
 atre, it will be remembered, were federalists, and their oppo- 
 nents, democrats. Now, democrats alone patronized plays, 
 and a turbulent audience they often were. The entertain- 
 ments were sometimes interrupted by the concerted action of 
 a number of the regular attendants, who assumed an arbitrary
 
 PROVIDENCE STAGE. I 1 5 
 
 •control over the managers. They were never regularly 
 organized as a club, but their constant presence, their simi- 
 larity of tastes, and their mischievous dispositions formed a 
 bond of union, and gave them the appearance of an organ- 
 ization, to which, as some of the most prominent were shoe- 
 makers' journeymen or apprentices, was given the nickname 
 of "The Shoemakers' Literary and Dramatic Society." It 
 was under the guidance of these competent leaders, that, in 
 1828 and 1829, several attempts at rioting were made, which 
 are recounted in the next chapter. 
 
 When the theatre was not occupied for dramatic purposes, 
 the proprietors let it to travelling exhibitors, and upon its 
 stage took place entertainments of every kind, from the 
 chemical lectures of Professor D'Wolf, to the tricks of jug- 
 glers and posturers. 
 
 The Providence theatre was frequently selected for the 
 first appearances of aspirants for dramatic honors, who, if 
 successful, would remain upon its stage a few weeks to acquire- 
 some experience before facing a metropolitan audience. Of 
 course, the greater number of these debutants had few quali- 
 fications for theatrical success, and, after their first night, 
 were no more seen. A few, however, would persevere, and, 
 in time would become accomplished actors. It is difficult to 
 correctly assign the date of each ddbut, inasmuch as the bills 
 in order to excite public curiosity, never gave any names ; 
 merely announcing "the first appearance on any stage of a 
 young gentleman." In the next chapter the incidents attend- 
 ing several of these first appearances are narrated.
 
 CHAPTER X. 
 
 J. T. Buckingham— Alexander Drake— John Savage— Henry Field- 
 ing—Edward Padelford — John Hart — George Hazard— Seth 
 Ballou— Mr. Holden— Edward Quarles— Charles Edward Ball 
 —Other debutants— Riotous conduct of the audience— Mr. 
 Waldegrave— Spear. 
 
 IN the summer of the year 1803, Mr. Joseph Tinker Buck- 
 ingham, whose original family name was Tinker, made his 
 first appearance on any stage, in Providence, under the 
 management of Mr. Harper. He was then a journeyman 
 printer, but subsequently became famous as a dramatic critic, 
 and as editor of the Boston Galaxy, the Boston Daily Cou- 
 rier, and the New England Magazine, He also became dis- 
 tinguished as a legislator and statesman, if that title can be 
 applied to one whose parliamentary efforts were confined to 
 the Legislature of Massachusetts. He was a native of Con- 
 necticut, and sprang from a very obscure parentage, but by 
 dint of industry, aided by natural talents, he attained a con- 
 siderable degree of distinction. As a critic he was regarded 
 as among the ablest, and a line from his pen was sure to de- 
 cide the fate of an actor, or of a book. 
 
 In an interesting work, entitled " Personal Memoirs," he 
 gives an account of his experience on the stage ; from which 
 it appears that he adopted the life of a player for the sake of 
 relaxation, and with the hope that he might also benefit the 
 condition of his purse. This latter expectation was not real- 
 ized ; his share of the profits of Mr. Harper's scheme being 
 so small, that it scarcely paid his board and incidental ex- 
 penses. His first appearance as an actor was in the charac- 
 ter of the Uncle, in the tragedy of " George Barnwell, or the 
 London Apprentice." In a marginal note on page 54, Vol- 
 ume I., of "Personal Memoirs," Mr. Buckingham thus refers 
 to the Providence company of the year 1803 :
 
 PROVIDENCE STAGE. I I 7 
 
 •• Some readers may be curious to know of whom this company was 
 composed, and what rank the writer held in it. The individuals compris- 
 ing it, besides myself, were Bates and his daughter (afterwards Mrs. 
 Barnes), Harper and his wife, Darley and his wife, Mrs. Simpson, mother 
 of Mrs. Darley, Djkes and his wife, West and Perkins from the Virginia 
 theatres, and a man named Hayman, as green a cockney as ever migrated 
 from the sound of the Bow bells,. who sometimes took the prompter's 
 book, but was chiefly employed with a son of Bates in running the scen- 
 ery, and performing the duty of property man. There was really no talent 
 in the company except what belonged to the Bateses, the Harpers, and the 
 Darleys. Yet, by doubling and trebling, they contrived to get up "Absel- 
 lino," (then in the height of its popularity,) "Alexander the Great," 
 "Romeo and Juliet," "The Mountaineers," "The Poor Gentleman," 
 "Count Benyowsky," "Blue Beard," "The Point of Honor, "Child of 
 Nature," etc. Old Doctor Shaffer, as he was called, long known as the 
 second violin player in the Boston theatre, was the leader of the orches- 
 tra, which consisted of one fiddler beside himself, and occasionally a 
 couple of students in Brown University, who volunteered as amateurs, 
 with a violin and a flute, or clarionet. Readers may smile at the idea of 
 such a company performing the pieces above mentioned; but I have seen 
 plays as badly mangled and cut up, and played with no more spirit or 
 propriety in Boston or New York. The receipts of this summer's work 
 (it was work and not play) were barely sufficient to pay expenses." 
 
 The old Doctor Shaffer referred to by Mr. Buckingham, 
 was a German ; the father of Mr. Francis Shaffer, who was 
 for many years a teacher of dancing in Providence. After the 
 Doctor's death, the orchestra consisted of old Mr. Granger 
 and his son, Thomas, and was never much augmented, ex- 
 cept on special occasions, until Mr. Dinneford became lessee 
 of the theatre, when he introduced a tolerable band of six or 
 seven performers, led by Mr. James Meader, who afterwards 
 married Clara Fisher, and assumed the management of the 
 Dorrance street theatre. 
 
 In July, 181 1, Master Alexander Drake, then about eleven 
 years of age, was introduced to the stage, and sang the 
 " Curly Headed Boy." His performance was loudly ap- 
 plauded, and gave evidence of the possession of those tal- 
 ents which ultimately placed him in the foremost rank of low 
 comedians. He was the son of Mr. Samuel Drake, the pio- 
 neer of the drama in the west, and the uncle of Miss Julia 
 Dean, the distinguished actress, who, as Mrs. Hayne, closed 
 her theatrical career in Salt Lake City, and died in New York 
 March 6, 1868. She was born July 22, 1830. The elder 
 Drake, who enjoyed a well merited popularity in Boston and 
 Providence, in which latter place several of his children were 
 born, had a very large family. With them he travelled to
 
 I iS HISTORY OF THE 
 
 Cincinnati, and opened a theatre, his family constituting his 
 entire force. He subsequently gave dramatic representations 
 in Louisville and Lexington, Kentucky ; and it was by his 
 efforts that the drama was permanently established in the val- 
 ley of the Mississippi. 
 
 In July, 1 8 14, Mr. John Savage made his first appearance 
 in Providence, and his debut upon the stage. He was a native 
 of Jamaica, and had been sent to this country to be educated 
 at Harvard University. Becoming enamored of Miss Eliza- 
 beth White, of the Boston and Providence company, a very 
 plain girl and a poor actress, he married her, and adopted the 
 stage as a profession. His first attempt was a complete fail- 
 ure, but he persevered in his design, and at length became a 
 respectable "walking gentleman." He afterwards played in 
 Boston, New York, and Philadelphia, and, in 1817, joined 
 Drake's company in Ohio, and Kentucky. He was a young 
 man of pleasing address, and won many personal friends, but 
 as an actor he could not be applauded. About the year 1820, 
 he became connected with a steamboat plying on the Ohio 
 and Mississippi rivers ; and, it is said, that this steamer once 
 occupied six months in making the trip from New Orleans to 
 Louisville, Kentucky. About this time he inherited a for- 
 tune from one of his West India relatives, and soon after- 
 wards was appointed consul in Guatamala. On his return to 
 the United States, he took up his residence in Philadelphia, 
 where he died in 1834. 
 
 Nowithstanding the plainness of Savage's wife, he fondly 
 doted upon her, and would not allow any one to speak dis- 
 paragingly of her professional merits. A critic having been 
 one day somewhat harsh in the tone of his comments in one 
 of the papers concerning Mrs. Savage, was challenged by her 
 indignant husband to mortal combat. The invitation was 
 accepted ; the belligerents had a meeting at Cold Spring, near 
 the Central Bridge, and, the aggressor, a Bostonian, received 
 a dangerous wound in his thigh. After his recovery he re- 
 peated his offence, when Savage fell upon him with a cow- 
 hide, and whipped him soundly. In other cities he had sev- 
 eral encounters with the newspaper critics, gaining nothing 
 but hostility by his too readily displayed gallantry. 
 
 A year or two later, a young man, named Henry Fielding, 
 an Irishman by birth, who had received a collegiate education
 
 PROVIDENCE STAGE. II9 
 
 in Dublin, and had been employed as a lawyer's clerk in 
 Boston, made his first appearance on any stage, in Providence. 
 He became a good actor, and, for several years, was attached 
 to the Boston and Providence company, but at length went 
 to New York. About the year 1825 he returned here, and 
 very soon had a collision with a turbulent portion of the audi- 
 ence, who assumed to be arbiters of the fate of the players. 
 One evening he pronounced the word "revenue" with the 
 accent upon the penultimate syllable, and the self-constituted 
 critics, deciding the pronunciation faulty, insisted that he 
 should correct it. Fielding refused, and, in an unlucky mo- 
 ment, asserted that there was not an American who was com- 
 petent to speak the English language correctly. For this 
 speech he was denounced, and a demonstration was made of 
 the patriotic intention to drive from the stage the man who 
 had insulted the American people. The manager, perceiving 
 that Mr. Fielding's imprudent conduct had made him a multi- 
 tude of enemies, cancelled his engagement. The disgusted 
 actor forsook the stage, and, entering mercantile life, be- 
 came a merchant in Rio de Janeiro. 
 
 Near this time Mr. Edward Padleford, a native of Taun- 
 ton, Mass., who was then employed as a clerk in Provi- 
 dence, made his first and last appearance in the theatre of 
 this town, playing the character of Octavian in " The Moun- 
 taineers." He was young, handsome, and gifted with a voice 
 of considerable power and flexibility, and his success was emi- 
 nent beyond precedent. It was reported that he had been led 
 by accident to play the part he appeared in on the night of 
 his debut. An actor had attempted the personation a week or 
 two before, and Mr. Padelford, condemning the delineation, 
 thoughtlessly said that he could play a better Octavian himself. 
 He was instantly challenged to make good his words ; and, as 
 he was unwilling to appear a mere braggart, he made the 
 necessary arrangements, mastered the part, and in due time 
 was announced. Although his first theatrical effort gave in- 
 dications of capacity for a high rank in the histrionic profes- 
 sion, he declined all offers from the manager, and, devoting his 
 energies to commerce, became an influential merchant. 
 
 On the 10th of July, 1826, a young man, named John Hart, 
 the son of a worthy blacksmith, residing in Bristol, commenced 
 a theatrical career, essaying the character of Reuben Glenroy f
 
 120 HISTORY OF THE 
 
 in "Town and Country." He had youth, vigor, and a comely 
 person in his favor, but he possessed but little of the talent 
 essential to respectibility as an actor. A party of warm friends 
 combined to give him encouragement, but their injudicious 
 and clamorous applause served only to secure for him the 
 steady and relentless persecution of enemies. His supporters, 
 in order to control public opinion, obtained permission to pub- 
 lish encomiums upon his acting in one of the contempo- 
 raneous newspapers ; but the articles were of such a fulsorhe 
 character, that they defeated their own intention, and procured 
 for Hart vollies of hisses whenever he appeared. He played 
 a season in Boston, and then after discovering that success 
 did not go hand in hand with desire, he retired from the stage, 
 disheartened by his failure. 
 
 After he left the stage he sailed to the coast of Africa in a 
 vessel belonging to Samuel Sandford, Esq., of Boston, in whose 
 employ he had been as a clerk before he tried acting. He 
 died of the African fever and was buried on the coast there. 
 
 George Hazard, an actor, who, had he lived to maturity, 
 would have eclipsed all his contemporaries, was a native of 
 Newport, Rhode Island. He was a grandson of George Haz- 
 ard, one of the colonial mayors of Newport, and son of 
 Nathaniel Hazard, a member of Congress. He had acquired a 
 taste for the stage in his youth, and had played once or twice 
 with some amateurs in his native town. On the occasion of 
 the benefit of Mrs. Young, on the 18th of August, 1828, he came 
 to Providence, and for the first time trod the regular stage, 
 enacting Osmand in the "The Castle Spectre." He also 
 played during the next week, Pierre in "Venice Preserved," 
 and then went to Philadelphia, where he was a member of a 
 theatrical company an entire season, creating so favorable an 
 impression that he was engaged to play in Baltimore and 
 Richmond. Wemyss, in his CJironology of the American 
 Stage, states that young Hazard's first appearance was made 
 in the Arch street theatre, in Philadelphia, in 1830; but this 
 is manifestly an error. Sometime in the year 1830, he at- 
 tracted the attention of Thomas S. Hamblin, who transferred 
 him to the Bowery theatre, and entrusted him with "juvenile 
 tragedy " and " leading comedy." He immediately won the 
 favor of the patrons of the house, and, in a few months, be- 
 came a reigning star, being invested with all the great Shaks- 
 pearean characters.
 
 PROVIDENCE STAGE. 121 
 
 Hamblin was always desirous of encouraging talent, riot 
 merely to put money in his own purse, but from a disinterested 
 wish to develop real merit. Under his management Mr. Hazard 
 was rapidly making a brilliant reputation, when, in the very 
 outset of his career, he fell a victim of the small-pox. Hamblin 
 generously erected a monument to his memory, and his loss 
 was long mourned by those who knew his abundant deserts. 
 
 During the season of 1827 or 1828, another aspirant for 
 theatrical honors appeared, in the person of Seth Ballou, of 
 Springfield, who was then pursuing his studies in Providence. 
 Becoming stage-smitten, he made one trial here, and another 
 at the Bowery theatre, but he met with so cool a reception, 
 that he abandoned further dramatic attempts. His failure 
 was owing rather to a want of confidence in himself, than to 
 any lack of ability. He was of excellent character, had a fair 
 education, and, with perserverance, would have become a good 
 actor. 
 
 This period was prolific in debutants. A son of Mr. Joel 
 Adams, the keeper of India Bridge toll-house, came out in an 
 insignificant part, and, in due course of time, was playing a 
 very respectable line of parts. In after years he became the 
 manager of several southern theatres, and his name was con- 
 spicious on the bills in leading characters. 
 
 Mr. Holden, of Boston, made a first appearance upon the 
 Providence stage in 1828, and shortly afterwards was entrusted 
 with the part of Sir John Lambert in "The Hypocrite." 
 His performance was so tumultuously hissed, that the stage 
 manager was obliged to go forward, and demand the cause of 
 the riotous demonstrations. No response being made, he 
 descanted on the rights of actors, and of auditors, and assured 
 the audience that he should not permit the rights of the com- 
 pany to be trampled on with impunity. They play was then 
 suffered to proceed without further interruption. Mr. Holden 
 eventually attained a good position in the histrionic profes- 
 sion, and married in Providence, a young lady of high respect- 
 ability. 
 
 Yet another candidate for popular applause made a first ap- 
 pearance on the 30th of April, [828. It was Edward Quarles, 
 then about thirty three-years of age, and a paper hanger 1>\ 
 occupation, having once been an apprentice to Thomas Webb. 
 He had received few advantages from education but was gifted
 
 122 HISTORY OF THE 
 
 with an intelligent mind, and a voice of great compass. He 
 was also endowed with unusual sarcastic powers, which he 
 wielded on all occasions with such effect as to acquire for him- 
 self a host of enemies. He had previously tried his strength 
 as an amateur actor, and selected for his regular debut the 
 character of Mawivorm in " The Hypocrite," as he cherished 
 a bitter animosity toward certain preachers who had gained 
 much influence over his widowed mother, and the part would 
 afford him an opportunity for mimicking their peculiarities. 
 He was small of stature, but so well proportioned that upon 
 the stage his diminutive size was scarcely noticeable. His 
 appearance had been announced a week or ten days previous, 
 and, his name being concealed, the event was anticipated 
 with much curiosity. 
 
 Ouarles studied the part with diligence, and had the bene- 
 fit of several rehearsals. He was therefore eager for the trial 
 night. An expectant audience filled the seats, conspicuous 
 among them being the band of despotic critics to whom ref- 
 erence has been made in the preceding pages. They were 
 present in full force, and eager for action. As Mawivorm 
 does not enter until near the close of the first act, these rest- 
 less spirits amused themselves with picking a quarrel with 
 Mr. Holden, who played Sir Jolin Lambert. After some 
 moments of commotion peace was restored, the debutant 
 made his entrance, and was received with a boisterous wel- 
 come. Such a Mawivorm was never before seen ! He had 
 so disguised himself that his identity was not discovered until 
 he began speaking. Then his voice was recognized, and he 
 was saluted with shouts of "Ned Ouarles ! " and other evi- 
 dences uf his penetrated disguise. The poor fellow was 
 so frightened that he forgot almost every word of his 
 part, and was able only by the assistance of the prompter 
 to keep up the dialogue. By dint of great exertion the 
 play was conducted until the famous pulpit scene was 
 reached, and then Mawivorm had arrived at the climax of his 
 labors. A sermon, not laid down in the book, had been writ- 
 ten for him, which was so ludicrously absurd that it filled the 
 house with the most uproarious laughter. Ouarles had recov- 
 ered from his embarrassment, and delivered the sermon with 
 excellent emphasis and exceeding energy. It was a carica- 
 ture of the productions of an itinerant sensationalist, who
 
 PROVIDENCE STAGE. I 2 3, 
 
 was then preaching in the town, and the satire was so palpa- 
 ble, and withal so forcibly delivered, that the audience were 
 in ecstacies. Ouarles was called out for a speech, and a 
 speech he made, thanking his friends for their favorable recep- 
 tion of his efforts, condemning the disgraceful disturbance 
 that had occurred in the early part of the evening, and, in 
 conclusion, saying that his first appearance on the stage should 
 also be his last. 
 
 A year or two after his histrionic display he fell into the 
 Cove, and was drowned. 
 
 Near this time Charles Edward Ball, a young Englishman, 
 made his entrance upon the stage, winning so much applause 
 that it was said that he must have previously played in his own 
 country. He denied the allegation with much warmth. He 
 was well proportioned, had a full-toned voice, and a clear, 
 florid complexion. He was a thorough Briton, withal gentle 
 and manly in his deportment, and soon became a pet of the 
 young girls frequenting the theatre, who caused him to be 
 presented with a dress for Romeo. 
 
 On some convivial occasion, Ball, in the confidence of pri- 
 vate friendship, expressed an opinion that the British stage 
 was superior to the American. This remark was carried to 
 the ears of a number of young men who were at that time 
 conspicuous in their unruly behavior at the theatre, and had 
 already caused more than one disturbance in their efforts to 
 dictate to the performers. They at once decided that, as 
 Kean had been expelled from Boston for disrespect to 
 America, a like example should be made of Ball. It was be- 
 lieved that some offence had been occasioned by the partiality 
 of the givers of the Romeo dress ; but the ostensible cause oi 
 hostility was the alleged insult to the country. This band of 
 patriots packed the house for several evenings, and, by offen- 
 sive sounds and threats, prevented Mr. Ball from being heard, 
 until finally the manager announced that the offending actor had 
 withdrawn from the company. Before he left town he took 
 occasion to give a whipping to two or three of those who had 
 been most active in their hostile demonstrations towards him- 
 self, and the next season he reappeared here without interrup- 
 tion of any kind. He subsequently played an engagement in 
 New York and then returned to England.
 
 I 24 HISTORY OF THE 
 
 A number of other appearances of ambitious youths might 
 be chronicled ; but, as those whose names have already been 
 given attracted the most attention, only their attempts have 
 been particularly noticed. 
 
 On the 29th of May, 1827, two men, named respectively 
 Perkins and Cowles, 'came from Hartford and played Old 
 Snacks and Robin RongJiJiead, in the farce of " Fortune's 
 Frolics." They were successful, and, after paying the man- 
 ager the sum previously agreed upon, they returned to their 
 homes. 
 
 It will be perceived how unruly a portion of the audience 
 had become after Mr. Kilner had relinquished the manage- 
 ment. Their violent conduct contributed to banish the more 
 fastidious friends of the theatre, and hastened its decline. 
 No principle appeared to guide the originators of the disturb- 
 ances, other than a love of mischief, and they were not un- 
 willing to improve an opportunity for making their influence 
 felt. It was seldom that any other results attended their 
 actions than the annoyance of the more respectable portion 
 of the spectators ; but once at least they wrought an irrepar- 
 able injury to one of the actors, a Mr. Waldegrave, who had 
 some years previously been a member of the Drury Lane 
 company. He was inclined, when in his cups, to boast of 
 having played I ago to the OtJiello of John Philip Kemble, and 
 of the general superiority of British institutions. It was re- 
 ported that while partaking of a lunch at a well-known res- 
 taurant, he had said there was not an actor of native birth 
 in the Union capable of sustaining the characters in which 
 Kemble had shone. Information of this injudicious remark 
 had been widely circulated, and, in consequence, it had been 
 determined that the Providence theatre should be purged of 
 such a public enemy. 
 
 In the course of a day or two, Waldegrave was obliged to 
 undertake an important part (perhaps that of Dr. Cantzvell on 
 the night of Ouarles's debut) at very short notice. As soon 
 as he entered upon the scene he was saluted with vollies of 
 hisses, cat-calls, groans and other outcries. The stage man- 
 ager presented himself to inquire the cause of such an un- 
 merited reception. A voice from the pit in response, said 
 that an apology was demanded of Waldegrave for insults of- 
 fered by him to the country. The poor actor replied that he 
 was innocent of such an offence, and therefore could make no 
 apology. His refusal was accepted as a defiance, and the
 
 PROVIDENCE STAGE. I 25 
 
 demonstrations of resentment became tumultuous. Again 
 the stage manager appeared and asked if the play should pro- 
 ceed, at the same time stating that if Waldegrave should be 
 withdrawn, no substitute could be procured that evening. 
 There were now heard cries of "yes ! " and " no ! " the former 
 preponderating. When it was decided to go on at all haz- 
 ards, a gentleman in the boxes pledged himself that the inter- 
 ruptions should cease, adding that they were disgraceful to 
 the community. When Waldegrave made his next entrance 
 the hisses began anew, but, upon one of the ladies making an 
 appeal for her own sake to the gallantry of the spectators, 
 permission was given him to finish the performance on condi- 
 tion that he should make an explanation at the end of the 
 play. At the conclusion of the comedy he attempted to make 
 the promised explanation, but was met with jibes and jeers. At 
 length he was allowed to say that he was wrongfully accused, 
 that he knew not what to say beyond this — that he was guilt- 
 less of any intentional insult to America ; but, as he had be- 
 come so unpopular, he should resign his situation, and go 
 with his children into beggary, to which the loss of his occu- 
 pation would consign him. 
 
 He remained several months in Providence, deriving a pre- 
 carious livelihood from menial labor, until a benevolent gen- 
 tleman supplied him with funds to remove to New York, 
 where he lingered till 1837, dying a broken-hearted pauper. 
 His son, a boy about twelve years old, obtained employment 
 in a newspaper office ; in time became foreman in one of the 
 departments of the United States Telegraph (newspaper), 
 and finally removed to London, where he was engaged by the 
 London Times company. The daughter was taken under 
 the protection of a gentleman of Boston, and became an or- 
 nament to society. 
 
 The rioters did not always succeed in coercing the managers 
 to submit to their caprices. An actor of the name of Spear 
 took umbrage at being left out of the " cast " of a popular play ; 
 and, enlisting in his favor by intrigue the sympathies <>( the 
 cabal, endeavored by their aid to compel the manager to re- 
 instate him, with however no other result than to ensure his 
 own prompt dismissal. 
 
 An attempt by the same restless spirits to drive Henry 
 J. Finn from the Providence theatre, also met with a signal 
 failure.
 
 CHAPTER XI. 
 
 1836-1844. 
 
 The Lion Theatre— Sketch of E. L. Davenport— The Washington 
 Amateur Theatre— The Dorkance Street Theatre Begun— 
 Memorials Against Theatres Presented to the Board of Al- 
 dermen— Description of the New Theatre— The Opening Per- 
 formance—The Prologue— The Orchestra— The Company— Mrs. 
 Maeder's Benefit— III Success of the Second Season— Gretna 
 Green— J. A. Littlefield— J. F. Adams— Anecdotes of Booth- 
 Debut of Edward Shales— William H. Russell Becomes the 
 Lessee— Fanny Ellsler— Unsuccessful Attempts at Manage- 
 ment— E. F. Keach— A Local Drama— The Theatre Burned— An 
 Incident of the Fire— The Theatre Unprofitable— The Enmity 
 of the Second Baptist Society— Elder Knapp— The Misfor- 
 tunes of the Actors. 
 
 PROVIDENCE now remained several years without a 
 theatre, though not wholly destitute of theatrical enter- 
 tainments. At various times performances were given 
 by travelling companies in the armories on Benefit street, 
 just south of College street. At length the Lion Theatre 
 was opened. This was a brick building, situated on Fulton 
 street. It had been built for a circus in the rear of the 
 Washington Garden, and then had two entrances ; one on 
 North Union street, and the other through the Garden to 
 Westminster street. For a number of years it had been used 
 for performances in equitation, and for a while had offered to 
 the public sufficient attractions to be a formidable rival of the 
 theatre. At length its popularity declined, and it had long 
 remained untenanted. 
 
 It was opened on the ioth of May, 1836, by Messrs. Houpt 
 and Barrett, with a theatrical company, the stage manager 
 being Mr. Ingersol. The initial performance consisted of 
 " The Wandering Boys " and " The Young Widow." A pro- 
 logue, written for the occasion, was spoken by Mrs. Houpt.
 
 PROVIDENCE STAGE. 12J 
 
 The company played till the 12th of July, with the exception 
 of ten clays, when they visited Newport. The stars were 
 Booth, and J. Reeve, who were so attractive that it was be- 
 lieved that the time had come when Providence could sustain 
 a good theatre. It was in this place that Edward L. Daven- 
 port made his first appearance on any stage, performing 
 Willdo in a " New Way to Pay Old Debts," to the Sir Giles 
 Overreach of the elder Booth. This theatre was burned by 
 an incendiary, Sept. 12th, 1836, it being then unoccupied. 
 
 Edward L. Davenport was born in Massachusetts in 18 16, 
 and died in Pennsylvania in 1877, an American actor. He 
 made rapid progress after his first appearance here, and was 
 soon recognized as a leading artist in tragedy, comedy, and 
 melodrama. He supported Anna Cora Mowatt Ritchie in a 
 wide range of characters, both in this country and in Eng- 
 land, and played with Macready and other stars. While in 
 England he married Mrs. Vining, herself an actress, of a fam- 
 ily of actors. Returning about i860, he travelled over the 
 United States, playing in the principal cities, chiefly in Shakes- 
 pearian characters and those drawn from Dickens's novels. 
 Among his latest conspicuous representations weir such 
 widely diversified characters as Brutus in "Julius Cassar," 
 and Bill Sykes in "Oliver Twist." He was highly esteemed 
 for his genial and open-hearted manners. Boyle Bernard 
 wrote of him in 1852, as follows : 
 
 " If Mr. Forrest and Mr. H.ackett have been recognized as the tragedian 
 and comedian of America, Mr. Davenport stands between them, partaking 
 the powers of both, if not to the extent of either. He is the tragicomic 
 genius, which holds the 6ame place on the stage that the romantic play 
 does in the drama — that mixture of humor and passion which has always 
 been a compound most agreeable to English feelings. That most plastic 
 class of faculty which makes some sacrifice of depth in order to increase 
 its range of surface, and which passes with equal truth from a Benedick to 
 a Romeo, and Jaffier to a Faulcotibridgc, has been illustrated in our time 
 by the genius of Charles Kemble, and will soon have no exponent so ac- 
 complished as Mr. Davenport. Thus we see his great distinction— an ex- 
 traordinary versatility, in which he has no rival, with the sole exception 
 of James Wallack, and for which his physical endowments are quite com- 
 mensurate with his mental. Nature has been most liberal in her outfit <.i 
 this gentleman, and his taste and artistic feeling show his sense ol tin 
 ligation. He has an open, well-marked countenance, expressive eyes ami 
 pliant brow, a voice that is clear and flexible, and a well-formed, man ly 
 person."
 
 128 HISTORY OF THE 
 
 In the spring of 1837, a small company of actors were play- 
 ing in Masonic Hall, in the upper story of the Market House, 
 but with such unsatisfactory pecuniary results that they were 
 soon obliged to relinquish their undertaking. A short time 
 before this disruption a number of amateurs under the direc- 
 tion of Jonathan M. Wheeler, G. N. Warren and G. W. Rob- 
 inson obtained a license for dramatic performances in Wash- 
 ington Hall, near the junction of Westminster and Weybos- 
 set streets, and, having fitted up a stage, kept open for two or 
 three months "The Washington Amateur Theatre," with 
 some profit to themselves and pleasure to their patrons. 
 From the outset the female performers of this company had 
 been actresses of some professional experience ; but the at- 
 tractiveness of the exhibitions was much enhanced by the 
 accession of the ladies and some of the gentlemen who had 
 been playing at Masonic Hall. A range of boxes was then 
 built, for admission to which the charge was fifty cents, while 
 that to the other parts of the house remained as before, at 
 twenty-five cents. The audiences became larger and the re- 
 ceipts showed a corresponding increase. At this time some 
 persons made representations to the mayor that the perform- 
 ances were not given by amateurs, but by real actors, and con- 
 sequently that the license was forfeited. An investigation 
 was at once set afoot ; the objection was decided to have been 
 well taken, and the license was revoked. John B. Gough, the 
 well-known temperance lecturer, then a journeyman book- 
 binder, was the principal comedian of the " Washington 
 Amateur Theatre." 
 
 Another long time passed, and Providence had no 
 theatre, although the need of one was seriously felt. Accord- 
 ingly, a number of public-spirited gentlemen decided to erect on 
 the east side of Dorrance street, between Pine and Friendship 
 streets, one that should be a credit to the city for its appear- 
 ance and capacity. They appointed a building committee, 
 consisting of Messrs. James G. Anthony, John Gould, John 
 A. Littlefield, John W. Richmond, and Ezra Dodge, who 
 selected Mr. James Bucklin as the architect, under whose 
 direction the work was begun on the 28th of May, 1838. 
 
 This enterprise from its inception was exposed to the siings 
 and arrows of enemies. As soon as the ground was broken 
 by the workmen, Mr. Samuel Wheeler, a very well meaning
 
 PROVIDENCE STAGE. I 29 
 
 citizen, conceived the plan of committing the city authorities 
 to hostility towards the projected theatre ; and, with this 
 design, he zealously labored in procuring signatures to a 
 memorial, in which the Board of Aldermen were prayed " to 
 take such immediate action in relation to the erection of a 
 new theatre, as would indicate a determination to refuse all 
 licenses for such purposes." This memorial was presented 
 on the 1 8th of June, and the consideration of the subject was 
 then postponed one week. On the 25th of the same month, 
 the board again assembled, and found that during the inter- 
 vening time many additional signatures had been obtained to 
 Mr. Wheeler's document, swelling the whole number to about 
 six hundred. The Second Baptist Society, whose house was 
 directly opposite the site chosen for the theatre, also presented 
 a memorial, representing in substance, that they had erected a 
 house of worship in a retired and peaceful situation, in which 
 they had hoped to hold their meetings undisturbed, but that the 
 theatre would prevent their doing so, and impair their rights 
 as a Christian society ; and also setting forth that theatrical 
 amusements are opposed to the true interests of the com- 
 munity at large. After a discussion of the subject, the 
 board passed a resolution " that, however much the members 
 may regret that a building for theatrical performances is now 
 erecting, they consider it premature and inconsistent with 
 former usages to give their opinion as to the propriety of 
 granting licenses to theatres or anything else, until a request 
 for the same is made by persons interested." 
 
 The work upon the new theatre now advanced with rapid- 
 ity, and competent managers were desirous of obtaining a 
 lease as soon as it should be completed, provided a license 
 could be procured. On the 22d of October, a petition was 
 presented to the Board of Aldermen from Mr. James G. 
 Maeder, the eminent musician, representing that he and 
 others had become lessees of the new building called '' Shaks- 
 peare Hall," on Dorrance street, for the purpose of theatrical 
 representations ; that he had engaged a stock company 
 respectable in talent and character, who were well aware 
 that they could not hope to be sustained by the public, unless 
 they should maintain a reputation for professional and pri- 
 vate good character ; and that he intended to enforce such 
 regulations as would conduce to good order, especially £01 
 9
 
 I3O HISTORY OF THE 
 
 bidding the sale of wines and strong liquors upon the prem- 
 ises, and excluding all persons of notoriously bad character ; 
 and asking a license for one year. After a full hearing of the 
 parties interested, the license was granted on the conditions 
 named in the petition, subject to such regulations as the 
 board might thereafter deem expedient. One hundred 
 dollars for the use of the city, and ten dollars for the state, 
 constituted the fee exacted. It was stipulated that perform- 
 ances should not be given either on Saturday or Sunday 
 evenings, and that they should always be terminated before 
 twelve o'clock at night. The sheriff of the county and two 
 police constables were appointed to attend at " Shakspeare 
 Hall " to keep order, at the expense of the manager. 
 
 The theatre was a stone edifice, one hundred and ten feet 
 in length, by sixty-five in width ; and its stage was a little 
 more than fifty feet deep. The exterior was plastered and 
 pointed in imitation of granite, and had pilasters in front and 
 a granite basement. The principal external decoration was a 
 medallion bust of Shakspeare. The interior was beautifully 
 decorated by accomplished artists ; the ceiling representing 
 a dome with a sun in the centre, surrounded by the signs of 
 the zodiac in gold. This was the work of Mr. Heister, then 
 eighteen years of age, who has since had the reputation of 
 being the ablest scenic artist in America. The fronts of the 
 boxes were exquisitely painted in panels. The auditorium 
 contained, besides a pit, two tiers of boxes and a gallery of 
 semi-circular form, and could seat about thirteen hundred 
 spectators." The act-drop represented a moonlight view of 
 the Capitol at Washington. The entire cost of the theatre 
 was twenty thousand dollars. 
 
 The inauguratory performance took place Oct. 29, 1838, 
 and consisted of " The Soldier's Daughter," and "A Pleasant 
 Neighbor." An elegant prologue, written by Mrs. Sarah H. 
 Whitman, was recited by Mrs. Maeder. The following lines 
 heralding the advent of the drama, were enthusiastically re- 
 ceived : 
 
 " And now she comes with all her shadowy train, 
 To hold her court within this gorgeous fane — 
 Here her bright banner fearlessly unfurls, 
 And scorns the pointless shaft the bigot hurls — 
 Pure are her means, her high intents sublime,
 
 PROVIDENCE STAGE. I3I 
 
 To cherish virtue and deter from crime, 
 With loftiest theme to rouse the languid heart, 
 And stern reproof with subtle grace impart; 
 To wake the noble love of well-earned fame, 
 And teach the glory of a deathless name. 
 She shows how heroes lived and martyrs died, 
 And fills the exulting breast with god-like pride, 
 That such high energies to man are given 
 To conquer earth, and ope the gate of Heaven." 
 
 The managers were James G. Maeder and Thomas Flynn ; 
 the leader of the orchestra was at first a Mr. Woods, who was 
 succeeded by Mr. Clemens, and under him were two violins, 
 two clarionets, two horns, a trumpet, a trombone, and a double 
 bass ; forming the largest and best drilled orchestral band 
 that had ever been heard in Providence. Whenever operas 
 or other musical pieces were performed, Mr. Maeder played 
 the piano-forte in the orchestra. 
 
 The prices of admission were one dollar to the boxes, fifty 
 cents to the pit, and twenty-five cents to the gallery. 
 
 The company contained Messrs. Gates, comedian, Nicker- 
 son, Flynn, Fenno, McDonald, McCutcheon, Merryfield, and 
 Edwin, also Mesdames Maeder, Rider, Fletcher, Mathews, 
 and others, constituting a combination better suited for the 
 lighter drama than for tragedy or standard comedy. 
 
 Several injudicious regulations adopted by the management 
 were offensive to the public, and resulted in a decrease of pa- 
 tronage soon after the opening, as well as a disagreement with 
 the newspapers. One regulation, common enough in other 
 cities, was novel here, and occasioned no little displeasure on 
 the part of the visitors to the house. By this rule the front 
 seats of the boxes were reserved for such persons as should 
 engage a whole row. It appearing that the public dissatis- 
 faction was in a great measure caused by the mismanagement 
 of Mr. Flynn, that gentleman dissolved his partnership with 
 Mr. Maeder, and moved away. Mr. Maeder at once made 
 vigorous exertions to win the popular favor, and, at the same 
 time, to maintain a high standard of excellence in all the 
 performances. The stars of the season were Miss Shirrefl 
 and Mr. Wilson, in English opera, and the tragedian llam- 
 blin, whose engagement was a great success. 
 
 On the 7th of January occurred the benefit of Mrs. Mae 
 •der, formerly the celebrated Clara Fisher, when the house
 
 132 HISTORY OF THE 
 
 was densely packed by a brilliant assemblage. The bene- 
 ficiary, besides the large sum of money resulting from the 
 tickets, received as a gift from her numerous admirers, a gold 
 chain with a medallion, and an emerald ring. A few days 
 previously, she had presented to the stockholders for the 
 adornment of the box lobby a bust of Shakspeare, and a rep- 
 resentation of Shakspeare's house, modelled by her father. 
 
 Mrs. Shaw shortly after this event fulfilled a star engage- 
 ment, drawing remunerative audiences ; and, when the sea- 
 son closed on the 6th of February, 1839, ^ was found that 
 after paying all the expenses, a small profit had accrued to 
 the manager. 
 
 Mr. Maeder began a second season in April, and closed on 
 the 24th of July. Although he produced actors of celebrity, 
 such as Mr. and Mrs. Sloman, Ellen Tree, Mile. Augusta, 
 Miss Clifton, H. J. Finn, and M. and Mme. Taglioni, his re- 
 ceipts seldom equalled the disbursements ; and, as he became 
 involved in debt, he concluded not to obtain a renewal of his 
 license. A complimentary benefit was tendered to him by 
 the stockholders, after which he removed to New York. Xo 
 incident worthy of note occurred during the period in which 
 he held the managerial baton, except, perhaps, a certain coin- 
 cidence trivial In its nature, but which at the time occasioned 
 some little amusement — we allude to the fact that on the 
 10th of June the farce of " Gretna Green " was performed, 
 and the character of Jenkins was sustained by Mr. Fenno, 
 who a few hours before had actually made a runaway mar- 
 riage of his own. 
 
 Mr. John A. Littlefield attempted in September to keep 
 the theatre open, but after a few weeks' profitless experience, 
 found himself compelled to abandon his design. His succes- 
 sor was J. F. Adams, who, with a poor company, gave support 
 to a succession of stars, viz : Forrest, Ranger, Mrs. Fitzwil- 
 liam, Charles Kean, J. Wallack, Booth, Dan. Marble, H ack- 
 ett, and the elder Vandenhoff with ffts daughter. He brought 
 his season to a termination early in June, 1840. The business 
 of the stage had been ably conducted by W. H. Smith, who 
 made every effort to conceal the deficiencies of the " stock ; " 
 but several times when a "full " piece was to be produced, or 
 some star more exacting than ordinary was to be supported, 
 temporary engagements were made with actors from other 
 cities.
 
 PROVIDENCE STAGE. I 33 
 
 Attended by such satellites, stars came and shone ; but 
 Booth blazed with dazzling glory, fully sustaining the reputa- 
 tion he had long before achieved. His advent had been anx- 
 iously awaited, and his appearance crammed the theatre to its 
 utmost capacity. He more than satisfied every expecta- 
 tion, playing with wonderful power, and nightly winning 
 round upon round of applause from the enthusiastic specta- 
 tors. Despite his low stature and certain other physical draw- 
 backs, his genius supplied altitude, and gave him absolute 
 power over those whom he willed to subdue. Be the audience 
 ever so apathetic in the earlier scenes of a tragedy, let Booth 
 present himself and utter a word, and, quick as#the light- 
 ning's flash, the spectators roused themselves and thundered 
 their welcome. In every scene he reigned absolute master, 
 actors and audiences quailing before his fiery glances, and 
 breathless with terror when he gave unrestrained flow to the 
 multitudinous passions that swelled the breast of royal 
 Richard in his death struggle. With a whisper he could chill 
 the blood, with a glance he could extort obeisance, with a 
 gesture he drew tears. His acting may be analyzed, his in- 
 tonation may be imitated, his appearance may be described, 
 but the magnetism of his manner is indescribable — it is in- 
 comprehensible. 
 
 This great actor was a singular compound of eccentrici- 
 ties, absurdities, virtues, and talents — his own enemy — yet 
 the friend of humanity, and as tender of animal life as the 
 fastidious Brahmin. Delighting in the glare of the play- 
 house, he yet cherished a fondness for a pastoral life. Well 
 read in professional lore, and conversant with the most ele- 
 gant poetry, he chose for his companions the dissipated, the 
 worthless, and the uneducated. Devoted to self-indulgence, 
 he still revered the rules of godly living, and would at any- 
 time forsake his revelries to read to appreciative listeners 
 chapter after chapter from the Bible. Himself without any 
 profession of religion, ha reverenced piety in others, and was 
 indifferent to the form of worship, if only true devotion was 
 apparent. 
 
 It has been disputed whether Booth was subject to fits of 
 insanity or not, and some of his freaks would seem to give 
 tokens of a disordered intellect, while others evinced too 
 much method to justify such a conclusion. During this en-
 
 134 HISTORY OF THE 
 
 gagement he lodged at the City Hotel, and his strange de- 
 meanor was a constant source of amazement to the proprietor 
 and to the guests. One night he did not make his appear- 
 ance at the theatre in season to begin the performance, and 
 Mr. Adams, the manager, guided by one of the clerks of the 
 hotel, went to his room and found it locked. To their calls 
 and knocks there was no response, but as it was possible that 
 he had fallen asleep, the clerk climbed upon the roof of an 
 adjoining piazza, and peered through the window. The 
 room was apparently empty. Then the corridors and offices 
 were visited without success, and the manager was about to 
 go away in disappointment, when the clerk, to make assur- 
 ance doubly sure, again scaled the piazza, entered the window 
 and looked under the bed. There lay the missing tragedian,, 
 calm and sober, quietly meeting the gaze of the intruder with 
 his own. He at once consented to proceed to the theatre, 
 and, after a few preparations, followed the manager, who, re- 
 lying on his promise, had hastened back to his post. The 
 clerk, unperceived, followed Booth, and saw him in his pro- 
 gress by the route he had often before walked, accost every 
 person he met, and asked to be directed to the Providence 
 theatre. When he reached his dressing-room he lost no time,, 
 but was soon upon the stage, hailed with rapturous delight by 
 the audience, whose patience he had so severely tried. 
 
 Instances of a similar nature might be multiplied, but two' 
 or three will suffice. One evening when he was to play I ago, 
 he was missing at the hour when the play was to begin. The 
 audience was unusually large, and the manager being unwill- 
 ing to change the programme, and thereby incur the risk of 
 many persons demanding the repayment of the entrance 
 money, resorted to the expedient of playing the farce as a 
 first piece, and in the meantime searching for Booth. By 
 good fortune a gentleman was seated in the boxes who was an 
 intimate friend of the great actor, and knew all his haunts. 
 The straits of the manager having been made known to him, 
 he procured a carriage, and proceeded to Morris Deming's 
 sailor boarding-house. There the tragedian was found, a lit- 
 tle the worse for his potations, and carousing with his host, 
 whom he designated " a learned Theban — a sage philoso- 
 pher." He was immediately taken to the theatre, his dress
 
 PROVIDENCE STAGE. I 35 
 
 was speedily changed, and he not only acted his part, but 
 played it superbly. 
 
 At another time he evaded the watchful eyes of his friends, 
 and, after an ineffectual search in the various bar-rooms of the 
 city, was at length discovered sitting on Peck's wharf, with a 
 parcel of crackers, from which he was feeding a number of 
 hogs which he had collected together in that neighborhood, 
 where they then roamed at large. 
 
 During an engagement at this theatre, or at the " Lion," 
 he disappointed the audience, and was found late in the even- 
 ing, blindly making his way through the town of Johnston. 
 When he was overtaken by his friends, he yielded to their 
 wishes, and readily returned to Providence in their company. 
 
 He was often perfectly sober when indulging in these va- 
 garies, and his acquaintances differed as to their cause. It 
 can not, however, be concealed, that he sometimes did indulge 
 his appetite for intoxicating liquors to an immoderate extent, 
 but not so frequently as is popularly believed. It is doubtful 
 if he ever was so completely overcome by drink as to be inca- 
 pacitated from playing a familiar character. As soon as he 
 came before the foot-lights and began to speak, his aspect 
 changed, and, as the play progressed, he regained over all his 
 faculties sovereign sway and masterdom. He abandoned him- 
 self so entirely to the passions of the part he personated, 
 that he produced such a degree of mental excitement as 
 would neutralize the effects of other stimulants. 
 
 About five o'clock one afternoon, when the play-bills were 
 advertising that he was to play Richard the Third in the 
 evening, he had drunk in some bar-room to excess, and was 
 lying on a bench, to all appearances helplessly intoxicated. A 
 college student chanced to see him in this besotted condition, 
 and two hours later attended the theatre for the purpose of 
 witnessing the lamentable failure he was sure would occur ; 
 but he was delighted and amazed to behold Booth tread the 
 stage with firmness, and perform that masterpiece of acting 
 in such a manner as to electrify the audience, and to leave 
 upon his own mind an ineffaceable expression. 
 
 As Booth advanced in age he yielded more and more to the 
 cravings of his appetite, and some reliable friend was in con- 
 stant attendance to protect him from the allurements of his 
 boon companions. He could, however, at any time, be tern-
 
 I36 HISTORY OF THE 
 
 porarily withdrawn from their society by an invitation to read 
 the Scriptures, as before remarked ; and those who had been 
 present when he complied with the request, are enthusiastic 
 in their descriptions of the impressiveness of his delivery. 
 There was a religious vein in his nature which was continu- 
 ally showing itself, whether he was sober or under the influ- 
 ence of his potations. One morning before sunrise, late in 
 the autumn of 1839, two gentlemen started for Seekonk to 
 hunt rabbits. As they approached India Point Bridge, they 
 observed that the door of a small bar-room, kept in that vicin- 
 ity by one Rawson, stood open at that unusually early hour, 
 and they entered for the purpose of procuring some cigars. 
 As they passed in, an unexpected sight presented itself. 
 Before a picture of General Washington a small boy was 
 kneeling with hands joined, and by his side was the trage- 
 dian, Booth, engaged in teaching the boy the Lord's Prayer, 
 solemnly dictating each separate petition, and so intent upon 
 his occupation that he did not observe the entrance of the 
 spectators. The hunters stood awhile, regarding in silence 
 this strange display, and, after having made their purchase, 
 continued on their way, leaving the actor, then haggard as 
 from a revel, still engaged in imparting his lesson in religion. 
 How Booth chanced to be so occupied and in such a remote 
 place, they never ascertained. 
 
 Mr. Nathan Porter, since an eminent lawyer in San Fran- 
 cisco, California, was a member of the company this year 
 (1839). He was very successful in "Yankee" characters, 
 and a farce, written by himself to display to the best advan- 
 tage his peculiar talents, was frequently performed. For his 
 benefit, March 12, 1840, the Boston tragedian, Edward 
 Shales, appeared as Gloster in the fifth act of " Richard III." 
 This Shales was a desperately stage-struck amateur, who, 
 being puffed up by the flattery of mischievous acquaintances, 
 believed himself thoroughly qualified for the highest walks 
 of the drama. He had attempted to play two acts of the 
 same tragedy on the 1 ith of the previous June, and had been 
 pelted from the stage by the jeering audience. Undaunted 
 by his failure, he was resolute in his determination to make 
 a second trial of his powers. Mr. Porter therefore procured 
 his services for the benefit, at the same time circulating ac- 
 counts of the dramatic treat which he intended to offer. A
 
 PROVIDENCE STAGE. I 37 
 
 good house was in attendance, who gave the debutant a fair 
 chance for a hearing ; but he proved to be so utterly incom- 
 petent, that they employed the time in laughing at his ridicu- 
 lous failure. 
 
 Shales soon afterwards repeated the performance, and the 
 audience went to the theatre, anticipating a merry time. The 
 actors had had their sport with him before that of the specta- 
 tors began, and had amused themselves with decking him 
 with a novel apparel for the great part he was to play. One 
 foot wore a boot, the other was dressed in a sandal. The 
 remainder of his attire was as absurd as could be devised, 
 embracing the costumes of widely remote periods, each por- 
 tion as incongruous with the rest as possible. As soon as he 
 presented himself to the view, he was saluted with shouts of 
 laughter from the house, composed wholly of males. His 
 efforts to speak were hailed with renewed peals of laughter. 
 Soon missiles began to fly. Turnips, apples, eggs, cabbages, 
 and other articles were thrown at him, littering the stage on 
 every side. The uproar reached its climax when a man in 
 one of the upper tiers was seen to stand up, swing a cat by 
 the tail around his head two or three times, and then let it 
 fly through the air. Straight to the mark went the cat and 
 lighted on the back of Shales, who, though a little staggered 
 by the shock, stood his ground like a hero, shook off the ani- 
 mal, and waited for the din to cease. An apple fell near 
 him. Picking it up, he coolly ate it until some degree of 
 silence was restored, when he attempted the part, and after 
 some further interruptions, he was permitted to finish the per- 
 formance. 
 
 On the 14th of June, 1841, William H. Russell, a native of 
 Bristol, Rhode Island, who had been the treasurer of Burton's 
 National theatre in New York, became the manager of the 
 Providence theatre, and kept it open with a succession of 
 stars, viz. : Mrs. Maeder, Ranger, Burton and Hamblin, until 
 September 10th. In October he reopened with a newly 
 decorated auditorium, and a new act-drop, the work of Mr. 
 H. Isherwood. His company was far from being a powerful 
 one, although several of the performers were not destitute oi 
 merit. These were George Jamieson, Fenno, Mrs. Russell, 
 (formerly Miss J. Shaw), Mr. and Mrs. Kcmble, ami Miss C. 
 Shaw. Mr. and Mrs. Creswick were subsequently added.
 
 138 
 
 HISTORY OF THE 
 
 The principal attractions were T. D. Rice, Edwin Forrest, 
 Mrs. Shaw, and the spectacular drama of " The Naiad Queen." 
 
 On the 19th of November, Fanny Ellsler, the celebrated 
 danseuse, was engaged for one night at an expense of six 
 hundred dollars. Although the house was well filled, and the 
 prices of tickets had been raised to meet the increased expendi- 
 ture, the manager lost money by the engagement ; but Miss 
 Ellsler the next morning returned him one hundred dollars 
 of the sum she had received. 
 
 The season was brought to a close in February, 1842, Mr. 
 Russell having become involved in debt by the undertaking,, 
 although the stockholders, who had adopted the plan of re- 
 ceiving, in lieu of a definite sum, a certain percentage of the 
 receipts of each performance, obtained a larger rent than had 
 ever before fallen to their share, and, on the 4th of March, 
 advertised a dividend. 1 
 
 On the 30th of May, 1842, Messrs. Jamieson and Isher- 
 wood obtained the lease for a short term, but were soon glad 
 to relinquish it. They were succeeded in February, 1843, by 
 Wyzeman Marshall, who, soon after the engagement of Booth 
 and Mrs. Shaw, closed the doors for lack of patronage. 
 
 In February, 1842, the celebrated Doctor Dionysius Lard- 
 ner delivered five lectures on scientific subjects, in the theatre, 
 to appreciative audiences. In September Mrs. Fitzwilliam 
 and Buckstone gave three successful performances there with 
 a small company brought from Boston, and, in June, 1843. 
 Jerome, Gabriel, and Francois Ravel, with ten other pantomi- 
 mists, performed several times. The theatre, however, was 
 not regularly open till July 3, 1843, when the principal mem- 
 bers of the National company came from Boston, under the 
 management of W. R. Blake and G. J. Spear, and maintained 
 a series of dramatic entertainments for five or six weeks, 
 during which time Hamblin reappeared as a star, and the 
 
 1 The destruction of the books of the theatre makes it impossible to present a statement 
 of the financial condition of the management for any period, except for the first season of 
 Mr. Russell's lesseeship. The treasurer's account for those thirteen weeks is yet in exist- 
 ence, and from that we ascertain that the receipts for sixty-seven performances amounted 
 to $7, S49.5S, averaging $117.1; each night. The rent, being seven and a half per cent., 
 amounted to $588.23. The opening night brought in $164. The best nights were June 21st,. 
 on the occasion of Mrs. Maeder's benefit, when nine hundred and sixty-four persons were 
 present, paying for their admission $296.75; Julv 5th, when twelve hundred and thirteen 
 spectators were present, paying $424.25; and August 16th, being the first night of the 
 Equestrian drama ot " Mazeppa," when $364.25 were taken. The smallest house was that 
 of July 2d, when the entire audience comprised ninety-two persons, the receipts being 
 1 22.75. It will be observed that the house was seldom more than one-fourth filled.
 
 PROVIDENCE STAGE. I 39 
 
 managers gave a benefit performance for the sufferers by the 
 great conflagration in Fall River. 
 
 Among the performers in this troupe was Mr. Edward 
 Frank Keach, a young gentleman who had several years 
 earlier been engaged in commercial pursuits in Providence. 
 He had fostered such a decided taste for the drama, that, 
 after a preliminary trial of his abilities in Boston, despite the 
 remonstrances of his friends, he had gone to Baltimore and 
 begun the arduous career of an actor. There he met with 
 but indifferent success, and soon returned to the north, play- 
 ing on the 25th of June, 1841, one night in this city. He 
 soon joined the National company in Boston, and, after along 
 experience, achieved an honorable position in the profession 
 of his choice. He was the principal actor at the Boston 
 Museum for several years, winning general admiration by his 
 attention to duty, his grace, and his talent. In i860 he be- 
 came the manager of the Museum, and his peculiar qualifica- 
 cations for that most responsible position became at once 
 apparent. He devoted his entire energy to the sole purpose 
 of making that theatre the foremost establishment of its kind 
 in America ; endeavoring by undeviating attention to the 
 minutest details of the multifarious duties of a manager, to 
 render every performance an elegant and rational entertain- 
 ment, and, at the same time, indirectly profitable for the 
 instruction of the audience. In the selection of plays he 
 aimed chiefly at effectiveness of incident and picturesqueness 
 of stage appointments. He bestowed much attention on cor- 
 rectness of costume, in which department he found an able 
 coadjutor in Mr. Thomas Joyce ; and he insisted on the literal 
 delivery of the text of the dramas, taking unwearied pains at 
 rehearsals to have the "business" of the scene well under- 
 stood, and the pronunciation of the actors uniform, ami in 
 accordance with the best orthcepists. He had a wonderful 
 faculty of imparting his own spirit to those surrounding him, 
 and, in a little time, he had a band of assistants intent on the 
 fulfilment of their individual parts in his general plan, hi 
 one year after his induction into the managerial chair, the 
 Museum became a source of pride to the Bostonians, and its 
 reputation was widely extended. Its stage was decorated 
 with beautiful scenery, its actors were selected for their relia- 
 bility and talent, its music was of the highest character, and
 
 I4O HISTORY OF THE 
 
 the entire trtise en scene free from the anomalies and anachro- 
 nisms so common, even in the metropolis, as to be accepted 
 as inevitable. 
 
 For three years Mr. Keach devoted himself to the duties of 
 the management, at the same time playing the leading parts 
 in juvenile tragedy and comedy ; but his incessant toil shat- 
 tered his health, and he was sent to Europe for rest. After 
 a brief sojourn in London and Paris he returned home some- 
 what improved in health, and bringing for the benefit of the 
 Museum the fruits of his travel ; but, unable to refrain from 
 the absorbing pursuits so dear to his heart, he suffered a re- 
 lapse and soon died. His death was an irreparable loss to 
 the Museum and to the whole dramatic profession. It is but 
 reasonable to believe that had his life been spared for fifteen 
 or twenty more years he would have enjoyed a national repu- 
 tation, and would have been acknowledged as a great public 
 benefactor. 
 
 Mr. C. H. Saunders was also attached to this company. 
 He was a good actor and a prolific dramatist. A play writ- 
 ten by him called " Amy Cranston," founded on events in 
 Rhode Island history, was performed on the 2d of August, 
 but did not enjoy a protracted run. 
 
 On the 1 8th of December of the same year, Mr. Thomas 
 B. Russell opened the theatre for a winter season, with a 
 company small in number, and far from efficient in point of 
 talent. His stage manager, who was also his leading actor, 
 soon left him, and, as the manager had had but little experi- 
 ence in " stage business," he was seriously embarrassed in the 
 production of plays. By good fortune he was enabled to se- 
 cure the aid of Mr. J. Gustavus Burrough, a young gentleman 
 of the city, who possessed the necessary qualifications, and 
 chanced at this time to have just returned from a professional 
 visit to Baltimore. Thus reenforced, Mr. Russell protracted 
 his season for several weeks, during which time he produced 
 as stars Booth, December 25th ; Charlotte Cushman, Janu- 
 ary 10th, 1844; Chippendale, Buckstone, Mrs. Fitzwil- 
 liams, Miss Josephine Clifton and Miss Bradbury ; but bad 
 success attended his efforts, and he, too, removed to another 
 field. 
 
 The theatre now remained desolate until July, 1844, when 
 Andrew J. Allen, who had been a member of Mr. Harper's
 
 PROVIDENCE STAGE. I 4 I 
 
 company in 1809, brought a company of players and began a 
 summer season. He produced Brougham, Forrest and Miss 
 Clifton, and William H. Smith. The enterprise resulted un- 
 fortunately ; Mr. Allen forsook Providence, and the theatre 
 was again tenantless. 
 
 It was destroyed by fire on the morning of Oct. 25, 1844. 
 At the time of the disaster it was occupied by Doctor 
 Lardner for astronomical lectures. The fire destroyed his 
 famous planetarium, which occupied the entire pit, and was 
 valued at thirteen thousand dollars, besides other apparatus 
 of a costly description. The origin of the fire was never 
 ascertained. Some ascribed it to the furnace used with the 
 little steam engine which gave motion to the planetarium ; 
 but the majority deemed it the work of an incendiary, im- 
 pelled by fanaticism or by a love of malicious mischief. The 
 total loss, exclusive of insurance, was $52,000. Dr. Lard- 
 ner's planetarium, which was destroyed, had been twenty 
 years in construction. During the last four years of this 
 theatre, Mr. G. H. Greene (now connected with the Boston 
 and Providence Clothing Company) was the treasurer. 
 
 During the conflagration the flames caught the spire of 
 the wooden meeting-house opposite, which, however, was by 
 great exertions preserved, and also ignited a coffin warehouse 
 in the neighborhood. The doors were broken open, and the 
 crowd who were watching the burning theatre and listening 
 to the shouts of the firemen and the clangor of the alarm- 
 bells, were startled at the unexpected sight of coffins borne 
 on the shoulders of men running to and fro in search of a 
 place of safety. 
 
 The Dorrance street theatre had always been an unprofitable 
 investment for the stockholders and for the managers ; to the 
 former because often unrented, and to the latter for several 
 causes. Every exertion had been made to attract the citi- 
 zens, but they never made a liberal response. The first year 
 had been the best. Then, Mr. Maeder, whose education and 
 proficiency in music had given him a predilection for oper- 
 atic drama, had given particular attention to their produc- 
 tion, 1 endeavoring to please the most fastidious taste ; but 
 he met with nothing but disaster. His successors had ex- 
 
 1 At one time the orchi ined among its mei 
 
 the Rhine, who had been compelled by political troubles to leave his © gain a 
 
 livelihood by the exercise of his musical talents.
 
 I42 HISTORY OF THE 
 
 pcrimented with spectacles and with stars, but all had aban- 
 doned their attempts in despair, and one of them for some 
 time was an inmate of the debtor's prison. The knowledge 
 of these failures could not be concealed, and there had been 
 no candidates for the lease for a long while before the fire. 
 
 The ill success of the theatre may be in part attributed to 
 its inaccessible situation. It will be remembered that Dor- 
 rance street did not then extend from Weybosset street to 
 Westminster street ; and the passengers through the latter 
 thoroughfare, not having before their eyes the inviting aspect 
 of the building with its gay lamps, were often forgetful of its 
 existence. 
 
 The situation of the theatre proved to be unfortunate in 
 other respects. It faced the Second Baptist Society's meet- 
 ing-house, on the other side of the street, and met from them 
 opposition even before the foundation was laid, as has been 
 before stated. The society were no little chagrined that a 
 license had been granted for theatrical performances, and 
 their hostility to the drama in general was succeeded by en- 
 mity to the Dorrance street theatre in particular. They tried 
 to suffer inconveniences from its proximity, and held meet- 
 ings with great frequency on unusual nights ; but were un- 
 able to find themselves annoyed, as they expected. The in- 
 difference with which their behavior was treated exasperated 
 them, and they became more demonstrative of their opposi- 
 tion. The bell was rung long and often, with so evident a 
 design of disturbing the dramatic entertainments, that Mr. 
 Russell once lost patience and silenced the ringing by ap- 
 pending to his bills a notice that the hour of performance at 
 the theatre would be regularly announced by the bell in the 
 steeple opposite. 
 
 The most disagreeable of their demonstrations was made by 
 preaching against the stage and the actors in such loud tones 
 that the sound, entering the windows of the theatre, made it 
 difficult for the company in the boxes to hear the plays. A 
 revivalist of stentorian lungs and untamable zeal, of the name 
 of Knapp, was engaged, and he "bore testimony" with such 
 violence against the sinfulness of the theatre, particularizing 
 the performers by name, that he was near occasioning 
 breaches of the peace. A distinguished tragedian when 
 playing an engagement here, was the special object of thedi-
 
 PROVIDENCE STAGE. I 43 
 
 atribes of this zealot, who indulged in his personalities with 
 such virulence that he so angered the actor, that he entered 
 the meeting-house, and, in the face of the worshippers, re- 
 buked his assailant. Although the theatre was the chief ob- 
 ject of attack, Knapp dealt his abuse with no unsparing hand 
 towards other victims ; and, at length, to escape the ven- 
 geance of an exasperated crowd who surrounded the meeting- 
 house, he was obliged to flee through a window. 
 
 After the flight of this apostle, unseemly manifestations 
 of hatred gradually, became more rare, and had wholly ceased 
 some time before the theatre was burned. 1 
 
 Other causes cooperated to render the theatre unprofit- 
 able. The best friends of the drama were the stockholders, 
 but from these the managers received nothing ; for all of 
 them had free passes to the performances, and they were so 
 numerous that the best seats were sometimes respectably 
 full, while the treasury was almost empty. Those stockhold- 
 ers who seldom went to the theatre were in the habit of let- 
 ting their tickets to others, and thus kept money from the 
 manager, who soon found himself compelled to depend for 
 support upon that part of the play-going public which could 
 not be allured by any attraction other than the most expen- 
 sive. To be able to procure stars, it was necessary to re- 
 trench in the stock company, and, consequently, stars at 
 length became indispensable. The star system once adopted, 
 
 1 As early as 1S13, or 1S14, this society, then popularly known from their situation as 
 the " Muddy Dock Baptist Church," manifested towards theatrical amusements an in- 
 tolerant spirit, which once culminated in a riotous proceeding- on the part of some of 
 their young and enthusiastic converts. A number ol lads under the direction of Mr. 
 Benjamin Henry Talbot, a young man of considerable literary ability, opened a little 
 amateur theatre on the north side of Pine street, not far from the "conventicle." They 
 fitted up their hall with no little taste, erected a stage, and supplied it with a stock of 
 scenery sufficient for all their probable wants. Their scheme was immediately denounced 
 in unmeasured terms by the pastor of the meeting opposite, a very peculiar man, Strong in 
 his prejudices, ami not unduly stocked with profane learning 1 . The town sergeant 
 gave the young actors to understand that the town council would probably consign them 
 to the bridewell, if they should persist in their intention, and actually enact plays. The 
 lads, notwithstanding the semi-ollicial nature of this intimation, did produce pla\ , 
 ginning with " The Merchant of Venice," and gave performances several nights, without 
 molestation from the town authorities. The pastor redoubled his denunciations, and 
 probably nothing of a more serious character won 1,1 have Occurred, had not the am.r 
 in retaliation produced an original satiric drama entitled, " Muddy Dock iii a Stew ; or, 
 the Parson without Breeches. This was more than human weakness Could bear; and 
 one- night several of the devotees of the flock, headed, it was said, by one or two of the 
 deacons, entered the little theatre after the lads had retired to their homes, and destroyed 
 the scenery, lamps, costumes, and every piece of property that had been used for su< 
 unholy purpose as playing. Satisfied with this indulgence of their indignation .iL:.iin-t an 
 object, which they verily, though ignorant! to be an engine of Satan, 
 
 away rejoicing that virtue had triumphed. No legal proceedings were ever taken against 
 the perpetrators of this act of vandalism.
 
 144 HISTORY OF THE 
 
 the decline of the theatre became only a question of time. 
 Although often large audiences were gathered within the 
 walls, the receipts were all taken by the stars, leaving no profit 
 for the manager. Sometimes, when it was currently reported 
 that the audiences were very large, and that the theatre 
 must be doing well, the actor whose reputation had proved 
 so attractive, had taken as his share not only all the receipts, 
 but had actually left the treasury in a worse condition than 
 it had been before his appearance. The town, after having 
 had a taste of good acting, was so indifferent towards the 
 stock company, that when they attempted to play without 
 extraneous aid, the receipts scarcely paid for the lights and 
 the advertising. At such times the poor actors were reduced 
 to dismal straits, and their salaries being in arrear, they were 
 destitute of provisions for the passing hour, and harassed by 
 the clamors of their creditors. 
 
 The spring of 1842 was peculiarly disastrous to their in- 
 terests. During the few nights when the theatre was open, 
 the nightly receipts when divided gave them a scanty sub- 
 sistence ; but this last resource failed when political troubles 
 resulting from the Dorr insurrection occupied public atten-. 
 tion, and compelled the closing of the theatre. They were 
 then left without occupation and without means of any kind. 
 A few of the superior actors were enabled by friends to re- 
 move to other cities, but starvation confronted the others. 
 Without credit, and without money, all doors were shut against 
 them, and, with the assent of the proprietors, eleven of them 
 betook themselves to the theatre, and there lived several 
 weeks under the stage, maintaining life and hope in privation 
 and suffering. The dressing-rooms served them as sleeping 
 apartments, the hard banks and sofas of the property-room 
 were their beds, and the green-room stove gave them warmth, 
 and cooked their poor supplies of food, procured by the sale 
 of their clothes, trinkets, costumes, and books. During this 
 time their spirits never failed them, but at the period of 
 their greatest destitution they remained cheerful and joyous. 
 Indeed, it may be doubted if in any of the households of the 
 city there was then as much happiness, as in the cellarage of 
 the Dorrance street theatre. 
 
 At length this family was divided. Remittances from 
 brother actors in distant theatres came, and enabled several
 
 PROVIDENCE STAGE. 1 45 
 
 to remove, and the remnant owed their deliverance to the 
 liberality of John A. Littlefield and Walter R. Danforth. 
 
 The destruction of the theatre was not so complete as to 
 overthrow the walls, which now exist, presenting nearly the 
 same external appearance as before the fire, while the in- 
 terior, rebuilt, is used for various mechanical purposes. 
 
 10
 
 CHAPTER XII. 
 
 1846-1860. 
 
 Howard and Foxes— The Providence Museum— Mr. William C. 
 Forbes Becomes Lessee— Lola Montez— Uncle Tom's Cabin— The 
 Museum Burned— Complimentary Benefit— Forbes's Theatre- 
 Engagement of Forrest— Presentation of Plate to Mrs. Forbes 
 — Pyne & Harrison Opera Troupe— The Naiad Queen— Presen- 
 tation of Plate to Mr. Forbes— Engagement of Lola Montez— 
 Anecdotes of Lola Montez— Mr. and Mrs. D. S. Palmer— A Sea- 
 son of Misfortunes — Complimentary Benefit to Mr. Forbes— De- 
 struction of Forbes's Theatre— William C. Fobbes— Death of 
 Mrs. Forbes— The Varieties Theatre— Swarts's Hall— Pine 
 Street Theatre. 
 
 FROM 1846 to 1850 regular dramatic performances were 
 given by a small company, under the management of 
 G. C. Howard and G. and J. A. Fox, at first in Brown 
 Hall, in South Main street, and afterwards in Cleve- 
 land Hall, in North Main street. These managers met with 
 unequivocal success until the opening of the Providence 
 Museum, with superior resources, gave them a formidable 
 competitor for public patronage. They relinquished their 
 lease in July, 1850, but dramatic entertainments were con- 
 tinued in the same hall by E. W. Bradbury, their principal 
 actor, for several months later. The performances had con- 
 sisted principally of melodrama and farce, and had been re- 
 spectable in character. Such performers as Mr. Howard, the 
 Foxes, G. C. Germon, E. Varrey and E. W. Bradbury, were 
 at the same time members of the company, and were able to 
 give an entertainment very satisfactory to the audiences who 
 nightly filled Cleveland Hall ; the price of admission being 
 only twelve and a half cents. There is an old gentleman in 
 town, who, bred in the notions of the most strictest sect of 
 the day, had always regarded the theatre as the most danger- 
 ous of the entrances to Erebus, and often expressed this con-
 
 PROVIDENCE STAGE. I 47 
 
 viction in the presence of his family. The dreadful news 
 was communicated to him that his son had clandestinely 
 gone to spend an evening at "Howard and Foxes." Bent 
 upon rescuing the lad from destruction, he entered the hall, 
 and, while he was searching for his son, the curtain drew up 
 and the play began. He became deeply interested in the in- 
 cidents of the drama, and remained, forgetful of the purpose 
 of this, his first visit to a theatre, until the conclusion of the 
 performance, and then the two went home together, the 
 father unable to reproach the son for being attracted by a 
 diversion, by which he himself had been equally fascinated. 
 
 "The Providence Museum " was situated in Westminster 
 street, fronting on Orange street. It was opened Dec. 25, 
 1848, under the management of William C. Forbes, he being 
 employed by the proprietors, who had originated the plan of 
 erecting a hall for dramatic performances as an appendage 
 to a museum of curiosities. They completed the hall, but 
 never furnished the latter portion of the attractions. The 
 auditorium was lighted by gas from Almy's gas works, which 
 was the name given to the building constructed within the 
 walls of the Dorrance street theatre. The opening bill con- 
 sisted of "The Honeymoon," Duke Aranza by Mr. Forbes; 
 Rolando, A. Andrews ; Jacques, J. Colwell ; Juliana, Mrs. 
 Forbes ; Volante, Miss Kinlock ; a Pas de deux by the Misses 
 Emmons ; and the farce of "The Turnpike Gate." The hall 
 contained a parquet and a gallery, and the price of admission 
 to all parts was fixed at twenty-five cents. By the terms ot 
 the contract with the manager, tragedy was never to be 
 played at this theatre, the proprietors believing that a strong 
 prejudice against that form of drama prevailed among the 
 stricter sort of citizens. In two or three weeks after the 
 opening night request was made by some influential person 
 that "The Stranger" should be performed, and the Mrs. 
 Hallcr of Mrs. Forbes made so deep an impression that the 
 proprietors assented to the production of a regular 1 
 "Jane Shore" being accordingly played, the performance 
 was so much admired that its repetition was demanded, and 
 all restrictions were removed from the acting of tragi 
 
 Disagreements between the proprietors and the manager 
 soon afterwards occurred, and, it having become apparent 
 that the speculation would be unprofitable, the house closed 
 March 28, 1849.
 
 I48 HISTORY OF THE 
 
 Mr. Forbes immediately made proposals for a lease of the 
 Museum in his own name for five years, and was successful. 
 The yearly rent agreed upon was three thousand dollars. 
 During the negotiations most of the actors remained in town 
 awaiting the result, and, to maintain themselves, gave several 
 entertainments in the public halls. On one of these occa- 
 sions Joseph Cowell introduced upon the stage his grandchil- 
 dren, Kate and Ellen Bateman. It has been said that this 
 was the first appearance in a dramatic performance of these 
 young girls, who afterwards became famous for their preco- 
 cious histrionic talents. 
 
 Mr. Forbes reopened May 16th, with a good company, con- 
 taining Joseph Cowell, D. S. Palmer, C. W. Hunt, A. R. 
 Phelps ; E. F. Keach, Mesdames Forbes, Hunt, and C. Mes- 
 tayer, and the Misses Carpenter and Gertrude Dawes, dan- 
 seuse, and others. Mr. Forbes being disabled by a sprain on 
 the opening night, his place was supplied, for several weeks, 
 by Mr. Joseph Proctor. The house was kept open until July 
 23d, the only stars of the season being Proctor, Derr, in 
 equestrian drama, and Wyzeman Marshall. 
 
 The second season began Sept. 1, 1849, and closed June 
 17, 1850. During the recess a circle of boxes had been par- 
 titioned from the parquet, and other improvements had been 
 made. The price of entrance to the. side boxes was fifty 
 cents, to the rear boxes thirty seven cents, to the parquet 
 twenty-five cents, and to the gallery twelve and a half cents. 
 Mr. W. A. Arnold became the treasurer, and occupied that 
 position during the whole time of Mr. Forbes's management, 
 winning many friends by his courteous manners. The com- 
 pany was strengthened by the addition of E. Varrey, H. O. 
 Pardey, John Drew, W. H. Meeker, Bradshaw, Ward ; Mes- 
 dames Yeoman and Ward ; and Misses Eberle and Julia 
 Leonard. The stars produced were Herr Cline, Mdlle. 
 Blangy, Booth, J. H. Oxley, Mrs. Maeder, Derr with his 
 trained horse, Mrs. Mossop, the Martinetti family, George 
 Vandenhoff, Mrs. Farren, the Seguin opera troupe, T. D. 
 Rice, and Proctor. 
 
 The third season began Sept. 2, 1850, and closed July 5, 
 185 1. W. B. Chapman, Emily Mestayer, and the Misses 
 Wilmot were additions to the company. The following stars 
 appeared : C. D. Pitt (two engagements), J. E. Murdock,
 
 PROVIDENCE STAGE. 1 49 
 
 Mrs. Mossop, Mr. and Miss Nickerson, J. Drew, Booth, Miss 
 Davenport, Miss Kimberly, J. Proctor, Mr. and Mrs. Barney 
 Williams, Mr. and Mrs. J. P. Adams, Mr. Neafie, Mc.K. 
 Buchanan, Mr. and Mrs. J. Gilbert, and F. S. Chanfrau. 
 
 Francis S. Chanfrau was born in New York, 1824; he re- 
 ceived a good education and went to learn the trade of a car- 
 penter. He joined a dramatic society of young men and at 
 once begot such a taste for the stage that he accepted the 
 position of "super" at the Bowery Theatre, where he soon 
 became a favorite, especially from his imitations of Mr. For- 
 rest. He made his first hit as Jerry Clip, in "The Widow's 
 Victim," and followed this with " Mose, the Fireman ; " but 
 his most permanent success was Kit, in " The Arkansas 
 Traveller." In this piece he acted till his death, in 1884. 
 Kit was to the American public with Chanfrau what Fal- 
 staff was to Hackett ; Bardivell Slotc to Florence ; Rip Van 
 Winkle to Jefferson ; Solon Shingle to John E. Owens ; 
 Colonel Sella s to Raymond ; Sir Anthony Absolute to John 
 Gilbert, or Major Wellington de Boots to John S. Clark. 
 
 The fourth season began Sept. 6, 185 1, and ended July 
 10, 1852. Messrs. Wharton, J. D. Grace, J. G. Hanley, S. 
 Johnston, and P. Cunningham, and Miss Graham were the 
 new appearances. Star engagements were played by Fanny 
 Wallack, Mr. McVicker, Mr. and Mrs. Barney Williams, Me- 
 linda Jones, Booth, J. R. Scott, Julia Turnbull, Mrs. Warner, 
 Mr. and Miss Barrett, Mr. Neafie, Charlotte Cushman, G. V. 
 Brooke, Lola Montez, Mr. Collins, Mrs. Sinclair, and George 
 Vandenhoff. During the engagement of Miss Cushman the 
 price of tickets was advanced fifty per cent. The engage- 
 ment of Lola Montez extended to only one night, March 20th, 
 when the price of admission was doubled, and the choice of 
 seats was sold at auction. The highest price bid was for a 
 box containing twelve seats, which brought twenty-three dol- 
 lars premium. The whole of the parquet was bought by a 
 speculator at an advance of twelve and a half cents on each 
 seat, and he made a considerable profit by disposing of them 
 to the throngs who contended for admission. 
 
 The fifth season opened Sept. 4, 1852, and closed June 4, 
 1853. Several performers made their first Providence ap- 
 pearances this year. These were C. Stuart, W. Leffingwell, 
 Emma Taylor, Emily Waldegrave, and Mrs. Kinlock. The
 
 I50 HISTORY OF THE 
 
 stars presented were Julia Dean, Anna C. Mowatt, Miss 
 Kimberly, Ellen and Kate Bateman, J. R. Scott, Goodall, 
 Susan and Kate Denin, Mrs. Warner, Mr. and Mrs. J. Drew 
 (Mrs. Drew being the Mrs. Mossop of former seasons), Miss 
 Fitzpatrick, J. Oxley, Lysander Thompson, the Rousetti 
 family with John Sefton, and W. Marshall. The great suc- 
 cess of the season was the production on the 10th of January,. 
 1853, of H. J. Conway's dramatization of "Uncle Tom's 
 Cabin." It was played four weeks and one night consecu- 
 tively, and until February 7th ; was revived February 17th, 
 for three nights ; May 3d, for six nights ; and June 3d, one 
 night for the benefit of H. O. Pardey, who, as the hero of the 
 drama, had been the centre of interest. This play has been 
 performed in every theatre of the northern states, and has 
 made the fortunes of several managers ; but, it may be con- 
 fidently asserted, that in no other theatre has the principal 
 character been so effectively sustained as in the Museum. 
 Mr. Pardey, although he loathed the part on account of the 
 necessity of blacking his face, won for himself a more per- 
 manent fame as Uncle Tom, than all the other triumphs of his 
 life could have procured him. The play attracted large 
 audiences until its withdrawal, many of the spectators being 
 present at several of the representations, and not a few of 
 them being persons who visited the Museum because it was 
 not a theatre, to see " Uncle Tom's Cabin " because it was a 
 " moral drama." 
 
 The sixth season began Sept. 3, 1853. In addition to 
 many of the favorites of former years, the manager had se- 
 cured the services of L. P. Roys, John Dunn, H. Linden, F. 
 Hardenburg, and Isabella Andrews, the Misses Kendall (dan- 
 cers), and Mrs. C. A. Adams. Star engagements had been 
 played by Kate and Ellen Bateman, Sir William Don, Bart., 
 and T. D. Rice; and the spectacular drama of "Paris and 
 London" had run nine nights with such remunerative returns, 
 that it was believed it would prove as great a success as 
 " Uncle Tom's Cabin," when the Museum was destroyed by 
 fire on the night of October 27th. The fire was the most 
 disastrous of all with which the city had been afflicted, prop- 
 erty of the value of two hundred and forty thousand dollars 
 being consumed. It originated in a haberdasher's shop in 
 "Howard Block," separated only by a narrow alley from the
 
 PROVIDENCE STAGE. 151 
 
 Museum building, and, in a few hours, communicated itself to 
 the Museum, burning it to the ground. Mr. Forbes lost his 
 properties and costumes, of the value of twenty-five hundred 
 dollars, being the entire savings of his five years of manage- 
 ment. He paid his indebtedness to all the members of his 
 company to the day of the disaster, and discharged them. 
 Before their dispersion they tendered him a complimentary 
 benefit, which took place November 3d, in Westminster Hall, 
 when the bill consisted of "The Honeymoon" and "My 
 Precious Betsey," with dances by the Misses Kendall. These 
 plays were acted in costume, but without scenery. 
 
 " Forbes's Theatre " was a commodious edifice, raised by 
 George A. Howard, upon the site of the Museum. It con- 
 tained a parquet, a row of boxes called the dress circle, a 
 second tier called the family circle, and a gallery. The stage 
 was well provided with accommodations for the preparation 
 of scenery, and the working of the necessary mechanism. 
 The proscenium arch had an imposing sweep, and contained 
 a tastefully decorated box on each side for the use of the 
 performers. 
 
 The auditorium during the first season presented a cheer- 
 less aspect, as the walls were unpainted, owing to a misun- 
 derstanding between the manager and the proprietor of the 
 building, who had purchased it in the process of construction, 
 subject to a contract made by the former owner to build a 
 theatre provided with necessary scenery and fixtures, and to 
 lease the same for five years to Mr. Forbes, but not stipulat- 
 ing for the painting of the walls. A lawsuit grew out of the 
 matter, causing much ill feeling between the parties. 
 
 This theatre was opened Sept. 6, 1854, with an admirable 
 stock company, whose performances proved so attractive that 
 Mr. Forbes was able for about five months to dispense with 
 the assistance of stars. On the 12th of February, 1855, 
 Edwin Forrest made his first appearance in eleven years, 
 opening his engagement with " Hamlet." The prices wen- 
 advanced thirty-three per cent., and so great was the desire 
 to witness the acting of the greatest tragedian of the day, 
 that his stay was protracted from the two weeks, origin 
 contemplated, to three. The theatre was visited by large 
 numbers from the neighboring towns. On the night he 
 played Macbeth, one party from Woonsocket secured one
 
 152 HISTORY OF THE 
 
 hundred and twenty tickets. The house had been intended 
 to accommodate fifteen hundred people with seats, yet more 
 than seventeen hundred witnessed the performances of 
 "Richelieu," "Macbeth," and "Othello." The audiences 
 increased as Mr. Forrest proceeded to enact the plays written 
 specially for himself, and the house overflowed on the first 
 nights of " Metamora," "Jack Cade," and "The Gladiator" ; 
 each of which was performed three times during this engage- 
 ment, the smallest audience being present at each third per- 
 formance, when they numbered about twelve hundred. On 
 the 17th, Mr. Forrest was prevented by hoarseness from ap- 
 pearing in "Damon and Pythias," as advertised; but he 
 remained one day after the expiration of his three weeks, and 
 played the part to an excellent house. By the terms of his 
 agreement he received half of the gross receipts ; yet so 
 great was his attractiveness that the management, after 
 deducting all expenses, made large gains. 
 
 Forrest was followed by Mrs. Farren, J. Proctor, and J. 
 Bennett. On the 23d of April, Mrs. Forbes received a com- 
 plimentary benefit, when a beautiful silver tea service, con- 
 sisting of eight pieces, was presented to her by her many 
 friends. 
 
 E. L. Davenport began an engagement April 27th, in his 
 celebrated personation of Hamlet, and played two weeks a 
 round of romantic and tragic characters, repeating St. Marc 
 four times. On the evening of his benefit, Miss Fanny Vin- 
 ing made her appearance in " Love and Loyalty," and "A 
 Morning Call." 
 
 He was succeeded by the Pyneand Harrison English opera 
 troupe, containing Louisa and Susan Pyne, W. Harrison, 
 Borrani, Horncastle, and a small though efficient chorus. All 
 the fashion of the town crowded the theatre during this week 
 of opera, and the prices of admission, though raised to double 
 the usual tariff, were not too high to exclude even some of 
 the wealthiest of the citizens. The college authorities re- 
 laxed their rigorous rules, and gave the students permission 
 to visit the theatre so long as nothing but opera was played ; 
 and many of them who would have been promptly expelled had 
 they been detected at the representations of " Hamlet," or 
 " Ion, "or " Comus," were present unprohibited at the perform- 
 ance of "The Beggar's Opera," the most immoral, perhaps the
 
 PROVIDENCE STAGE. I 53 
 
 only immoral play that was ever produced — one in which all the 
 dramatis persona were thieves and prostitutes, and through 
 the representation of which, were it given without the music, 
 no decent person would sit. 
 
 It is to be mentioned to the credit of Louisa Pyne, that 
 when tenders were made to her of large sums of money, one 
 party guaranteeing five hundred dollars, if she would give a 
 concert one afternoon during her stay in Providence, for the 
 gratification of those whose principles would not permit them 
 to hear her in a theatre, she peremptorily declined, saying that 
 she was engaged to Mr. Forbes for the week, and felt bound 
 to give him all her services during that period. 
 
 The theatre was closed from May 26th to June 1 8th, when 
 Charlotte Crampton played two weeks, and the season was 
 terminated July 7th. 
 
 Charlotte Crampton might have been one of the most fam- 
 ous actresses of the clay, were it not for unfortunate habits. 
 She was born in 18 16, and made her debut at the age of fifteen, 
 in Cincinnati. She was, at that time, a petite and lovely 
 brunette, with a voice wonderfully strong for so slight a girl, 
 and with all the requisites for what is now called an emotional 
 actress. But she chose the more robust types, and particu- 
 larly enjoyed playing Hamlet, Shy lock and Richard. She was 
 acknowledged to be more than ordinarily good in male parts, 
 and in the west, was called the Little Siddons. Celia Logan 
 says she had, naturally, more talent than Charlotte Cush- 
 man, (?) but unlike the greater actress, this other Charlotte, 
 hot-headed and warm-hearted, threw away both her money and 
 her affections, disappointed the managers, disgraced the pro- 
 fession, and ruined herself. One bitter cold night, in Boston, 
 after playing Mazeppa to a crowded house, she jumped on her 
 horse in stage costume and rode home through the streets, 
 followed by the rabble. After her star had set, and she could 
 get no engagements, she fell into poverty, but was befriended 
 by a Boston lady, who discovered that the actress was also a 
 fine French and Latin scholar, and obtained pupils for her. 
 Now, for a period, she tried to reform, signed the pledge, and 
 joined the Baptist church. Her temperance lectures in 1 lan- 
 over street are still remembered as being productivr ol greal 
 good. But her reformation was only transient, and before the 
 war broke out, she was leading her old life again. Her sun
 
 154 HISTORY OF THE 
 
 joining the army, she, although now more than a middle-aged 
 woman, became a vivandiere and followed her. boy's regiment 
 through the campaign. Her last appearance here was in 
 November, 1872, in the support of Edwin Booth. She died 
 in Louisville, Oct. 5, 1875. Her last appearance on the stage 
 was in Macauley's Theatre, Louisville, Sept. 22, 1875, in the 
 company with John McCullough, Harry Eytinge, W. N. 
 Griffiths, R. G. Scott, E. F. Goodrich, Hattie Russell, Frank 
 Bosworth, Ed. Marble and Ada Rehan. 
 
 The season of 1855-6 began September 5th. The manager 
 had decorated the interior of the house, and had secured the ser- 
 vices of a large company of twenty-three actors, the orchestra, 
 machinists, and other assistants swelling the entire number 
 to fifty. The principal additions were Mr. and Mrs. J. J. 
 Prior, L. R Roys, E. C. Prior, W. H. Finn, and Mrs. M. A. 
 Tyrrell The succession of stars commenced with Mr. 
 and Mrs. G. C. Howard with their daughter Cordelia, for 
 three weeks, who were followed by E. L. Davenport and 
 Fanny Vining, the Pyne and Harrison troupe, eight nights to 
 excellent houses, the Boon children, Eliza Logan, J. W. Wal- 
 lack, Maggie Mitchell, from January 15th to February 2d, to 
 immense audiences, J. Proctor, E. F. Keach, (one night), \V. 
 Marshall, and Mrs. Farren. The theatre was closed from 
 May 17th to June 15th. when it was reopened and perform- 
 ances were given until July 5th. 
 
 Maggie Mitchell has appeared in Providence more than any 
 other living star. For nearly forty years she has been com- 
 ing to this city, and most of her visits have been very profit- 
 able ones. Upon one occasion, in 1870, when she played in 
 Harrington's Opera House, every seat upon the lower floor 
 was sold before the doors were opened, and also about one- 
 half of the seats upstairs. She was born in New York in 
 1832, and may be said to have been born on the stage, be- 
 cause she was used as a child on the stage before she could 
 walk, and when she could walk took a child's part in the Old 
 Bowery Theatre before she was five years old. She made 
 her debut as an actress as Julia, in " The Soldier's Daughter " 
 at Burton's Chambers Street Theatre. She achieved a fair 
 success in various cities as the French Spy, etc., but her 
 great role, with which her name will be most permanently 
 associated, is Fanchon, in which she appeared for the first 
 time at Laura Keene's Theatre in 1862.
 
 PROVIDENCE STAGE. 155 
 
 The great success of the year was the production of the 
 spectacular drama of "The Naiad Queen," which proved very 
 profitable from April 14th to May 10th, Miss Anna Cruise 
 enacting Lurline. On the occurrence of Mr. Forbes's benefit, 
 March 20th, six pieces of silver plate were presented to him, 
 the gift of the ladies of the city. 
 
 The season of 1856-7 opened September 1st, and continued 
 to June 6, 1857, when the company visited New Bedford, re- 
 turning to Providence during the first week in July. The prin- 
 cipal performers were G. H. Griffith, D. S. Palmer, E. Varrey, 
 Loveday, E. C. Prior ; Mesdames Forbes, Palmer, and Baker ; 
 and Misses G. Kinlock, and I. Andrews. The stars were J. 
 Drew, J. Proctor, Miss Davenport, G. E. Locke, J. Oxley, J. 
 R. Anderson and Agnes Elsworthy, Lola Montez from 
 February 12th to February 17th, Mrs. McMahon, Miss 
 Kimberly, Maggie Mitchell, Forrest for one week, and E. L. 
 Davenport. 
 
 The most attractive of the stars was Lola Montez, Countess 
 of Lansfeldt. Very little accurate knowledge of this lady's 
 career was possessed in Providence ; but there was scarcely a 
 person who had not often read, or heard of her figuring in 
 disgraceful notoriety at the Bavarian court, and of her fre- 
 quent castigations of journalists, who had, by giving currency 
 to scandals concerning her life, incurred her resentment. 
 Authentic information was scarcely required ; for, where 
 rumors had lacked definiteness, imagination furnished ample 
 supplies of details. The capacity of the theatre was 
 tested to the fullest extent on her opening night, a little more 
 than two thousand spectators being present. In that im- 
 mense audience there were but few who did not expect to be- 
 hold a figure largely developed and muscular, and a face dis- 
 playing the multifarious charms which had enslaved herroyal 
 suitor, but yet bold in its expression. She appeared — her 
 face — Spanish in its outline — pale and thin, and her only 
 trace of beauty her lustrous eyes ; her expression modest and 
 intellectual, and her performance chaste and graceful, though 
 indicating talent of no high order — a disappointment <>l the 
 prurient expectations of those who during her engagement 
 crowded into unwonted seats. She remained one week, draw- 
 ing full houses to the last, living during the day in retire-
 
 I56 HISTORY OF THE 
 
 ment, reading religious works, and steadily, calmly, hopefully 
 preparing for death, having full persuasion that consumption 
 had sapped the pillars of her life, and that she was soon to 
 make her final exit. With this fearful conviction resting on 
 her mind, she spoke freely of her past life, and, though she 
 acknowledged grievous faults and numberless short-comings, 
 she characterized as baseless slanders the aspersions so 
 lavishly bestowed upon her character. Here she persistently 
 asserted to those whose good opinion she prized, her inno- 
 cence of the black offences charged against her, alluding to 
 her calumniators with a disdain as haughty as she had evinced 
 when a few years before in Boston, in a letter to an offend- 
 ing editor, she defied her accusers to the proof. 
 
 The company at the theatre did not then contain many 
 actors of talent. Among those whose personations were 
 least successful, was the "second old man," who, though of 
 excellent character, had never been designed by nature for 
 the stage. His peculiarities were a monotonous voice and a 
 perpetual sawing of the air with his hand. He soon became 
 a mark for the boys in the gallery, who found a pleasure in 
 ridiculing and mocking him. This was their nightly sport, 
 and, as hunting is one of the natural delights of mankind, 
 they soon found ready coadjutors in other parts of the house; 
 and, even those who took no part in the persecution, mightily 
 enjoyed the excitement. Poor Duffy (this was the name of 
 the actor) became grieviously depressed, but redoubled his 
 exertions to please. His increased activity was so ludicrous, 
 that the boys were frantic with delight, and their joy culmi- 
 nated one night during the engagement of Lola Montez, whose 
 indignation was aroused at the brutality of their behavior. 
 After a successful coup on her benefit night, she was called 
 before the curtain, and, instead of delivering the conventional 
 speech tendering thanks, she broke at once into invective, 
 uttering those short, sharp, and pinging upbraidings, which 
 can never be forgotten by those who heard them. She told 
 the audience, now still from curiosity and shame, how she had 
 observed the effect of their cruelty on an inoffensive man, 
 whose simplicity of character and singleness of aim had en- 
 deared him to those who knew him best. At first, she said 
 he thought that some remissness on his part had incurred 
 their displeasure, and he gave his whole time and all his
 
 PROVIDENCE STAGE. I 57 
 
 thoughts to perfecting himself in his duty, but with so little 
 avail that greater insults* had been heaped upon him, and he 
 had that evening announced his intention of forsaking the 
 stage and leaving Providence. " Boys," said she, "his heart 
 is broken — and by you ! I have tried to persuade him to re- 
 main, and have assured him that you have no malice towards 
 him, but he says he shall go. Boys, would you ruin the old 
 man ! Let me tell him that it is your wish that he remain ; may 
 I ? " Such plaudits as broke from the throng, now sensible 
 of the wickedness of their conduct, that theatre never 
 heard before. 
 
 Mr. Duffy, however, did not appear again. A paper signed 
 by many citizens, requesting him to remain, and assuring 
 him of protection, was carried a few days afterwards to him 
 in Boston, where he had gone ; but he had not the resolution 
 to return ; and, in a few months, it was currently reported 
 that he was dead. 
 
 At this time, in a little cottage on Fulton street, lay dying- 
 one of the most graceful " light comedians " on the stage, — 
 David S. Palmer. Though in the last stages of consumption, 
 and daily growing weaker, he would not admit the thoughts 
 of dissolution, and his faithful wife dared not communicate 
 to him the dreadful tidings. For a long series of days she 
 had pursued her laborious avocations at the theatre, and had 
 ministered to all the necessities of her husband, and her two 
 infants. Her beauty was a continual source of pleasure 
 to the spectators, and to them her life seemed joyous, while 
 care and sorrow were robbing her of health, and preying upon 
 her beauty. The peculiar claims of this family- being con- 
 fided to Lola Montez, touched her sensibilities, and thence- 
 forth, while she remained in Providence, she was a daily vis- 
 itor in their household, provided generously for their needs, 
 bore her part in the offices of the sick-room, and, with gentle 
 sympathy, subdued the stubborn will of the dying man, pre- 
 paring the way for other consolations. When she left Provi- 
 dence grateful hearts remembered her, and blessings followed 
 her. "Sick, and ye visited me." Poor Palmer, however, 
 lived but a short while, and was buried before the end <>l the 
 season in Grace Church Cemetery. His friend and ben 
 did not long survive him, and she too passed from a cruel 
 world to find mercy and plenteous redemption.
 
 158 HISTORY OF THE 
 
 Palmer had been aprotegeoi Mr. Forbes, by whom he had been 
 introduced to the stage, and encouraged until his merit as an 
 actor was generally recognized. During his last illness, he was 
 constantly visited by Mrs. Forbes, whose sympathy for the suf- 
 ferings of the members of the dramatic company won their love 
 and admiration, and evinced the noblest attributes of the Chris- 
 tian character. Her presence brightened his household — it was 
 she who communicated his hopeless condition to Lola Montez ; 
 and she it was who brought to his side the clergyman whose 
 ministrations soothed his dying moments. Nor was the man- 
 ager himself remiss in his attentions to the sorrowing family 
 of the poor actor ; but he continued his salary while he lived, 
 and then from his own little means defrayed the expenses of 
 the funeral. Mrs. Palmer, at the end of the season, removed 
 from Providence, and, in a few months, her death was re- 
 corded in the public prints. 
 
 The season of 1857-8 opened on the 26th of August. The 
 manager made great efforts to provide attractive performers, 
 beginning with the Keller troupe, who were followed by Mr. 
 and Mrs. G. Pauncefort, Miss Davenport, F. S. Chanfrau, J. 
 Proctor, the Ronzani ballet troupe, Maria Ouinn, Mr. and 
 Mrs. Drew, Sallie St. Clair, McK. Buchanan, Mr. and Mrs. 
 Howard, J. Sefton and his daughter, Alice Grey, and Mag- 
 gie Mitchell. This year was one of great financial depression 
 in all parts of the country, and theatres suffered severely. 
 Forbes's theatre was closed two weeks in January, and two 
 weeks in March ; and no performances were given by the 
 company after the 28th of April. Notwithstanding the unin- 
 termitted exertions of the manager, almost every performance 
 occasioned a loss, and, when he closed, his entire savings 
 had disappeared. No star could fill the house, and even 
 Maggie Mitchell, whose previous engagements had always 
 proved exceedingly remunerative, lost her prestige. Many a 
 night the play was acted to houses varying from ten to 
 twenty dollars, when the nightly expenses ranged from one 
 hundred to one hundred and fifty dollars. At length, Mr. 
 Forbes called the company together, and, having made known 
 to them his inability to pay full salaries, proposed that the lar- 
 ger stipends should be reduced, while the others should remain 
 unaltered, liberty being given to any performer to withdraw 
 whenever he could procure a better engagement elsewhere.
 
 PROVIDENCE STAGE. I 59 
 
 This plan was adopted, and performances were regularly- 
 given until the diminished receipts of the treasurer rendered 
 it impossible to continue them. The personal friends of Mr. 
 Forbes gave him a benefit in the month of March, when 
 ''The School for Scandal" was played, Mr. John Gilbert per- 
 sonating Sir Peter Teazle. A very large audience was in 
 attendance, and the excellent acting of all the performers on 
 this occasion, was for a long time afterward a subject of gen- 
 eral remark. The language of the comedy seemed to scintil- 
 late with brightness, each sentence cracking like an electric 
 spark. The actors, stimulated by the unusual spectacle of a 
 full house, were in perfect sympathy with the audience, 
 each reacting on the other, and the play throughout warmly 
 applauded, closed like a feu de joie. The valet, Trip, never 
 a great part, elicited that night for Mr. G. Sydney, who 
 played it as none other could, an outbreak of admiration, 
 while the great screen scene was as enthusiastically received 
 as though it had never before been witnessed. 
 
 Later in the spring, under the auspices of Mr. Forbes, the 
 Boston Theatre Company came and performed "Guy Man- 
 nering" one night, with Charlotte Cushman as Meg Merri/ies, 
 and E. L. Davenport as Henry Bertram. The night was 
 stormy, yet the crowd was very dense. 
 
 This was the last year of Mr. Forbes's management, and it 
 had been so disastrous that he was unwilling to attempt 
 another season. The theatre remained untenanted several 
 months, with the exception of five nights, when it was occu- 
 pied by the Cooper English opera company, with Anna 
 Milner as prima donna; and of two nights, when Italian 
 opera was produced for the first time in Providence. The 
 edifice was burned on the evening of Nov. 15, 1858, the fire 
 having communicated from Howard Block, where it had 
 originated. 
 
 William C. Forbes, who for ten years had maintained the 
 theatre with credit to himself and to the city, was no strati 
 to the citizens when he opened the Museum. A native of 
 the State of New York, he had been sent in his youth to New 
 port for the benefit of his health, and, in 1S25, he visited Prov- 
 idence. Becoming attached to the place, he made it his 
 abode, and soon attended the theatre. The play was to him 
 a revelation of delights before undreamed of, and produced
 
 l6o HISTORY OF THE 
 
 so deep an impression on his mind that he burned to be an 
 actor. A young man named Parsons, who subsequently be- 
 came an actor of repute, and is now a prominent Methodist 
 preacher in Kentucky, was similarly affected by a desire for 
 theatrical fame, and they both were accustomed to meet in 
 the woods behind the Cove and practise their elocutionary 
 powers by moonlight. 
 
 After a little while young Forbes determined to gain a foot- 
 ing on the stage, and, as he was nearly destitute of means, he 
 started on foot for Albany, where a theatre was open, and 
 where several kind friends resided. When he had accom- 
 plished half of his journey he reached a village inn, where he 
 proposed to lodge for the night. In a conversation with the 
 landlord, he learned that the villagers had few opportunities 
 of enjoying any public amusements, although concerts were 
 much liked by them. It then occurred to him that by an en- 
 tertainment he might replenish his purse, and he applied for 
 the large room of the inn. This the landlord agreed to fur- 
 nish, provided the performance should be followed by a dance. 
 Mr. Forbes thereupon made a number of manuscript posters, 
 advertising a selection of songs and recitations, and conspic- 
 uously announcing the Terpsichorean festivities with which 
 the evening would conclude. These bills were well distrib- 
 uted, and brought a good audience, who endured the singing, 
 and warmly applauded the recitations. The pecuniary results 
 were so satisfactory that the young man was enabled to ac- 
 complish the remainder of the distance in the stage-coach. 
 Mr. Forbes made his debut at Albany, and, at length, after 
 some experience of the vicissitudes of an actor's life, he found 
 himself in Jamaica, playing the first line in tragedy and com- 
 edy. On his return to the United States, he was engaged by 
 James H. Caldwell as a star, and made his first appearance in 
 that capacity at the Camp street theatre, in New Orleans, as 
 Virginius. His reputation extended, and he made the tour of 
 the western theatres with unequivocal success. At the open- 
 ing of the Tremont theatre in Boston, he became its leading 
 actor, and made his mark in many characters. After his mar- 
 riage, he managed for ten years theatres in Savannah, Charles- 
 ton, Columbia, and Augusta, all at the same time, except when 
 at intervals the Charleston theatre was shut. Notwithstand- 
 ing his avocations in these remote places, he came to Provi-
 
 PROVIDENCE STAGE. l6l 
 
 dence nearly every year, and, when the Dorrance street thea- 
 tre was building. Henry J. Finn, to whom its lease had been 
 tendered, proposed to him a partnership for the purpose of 
 undertaking its management. Doubts regarding the proba- 
 bilities of its success deterred them from this enterprise ; but, 
 in 1849, the city had received such an increment of population, 
 that the support of a theatre seemed to him feasible. He 
 thereupon secured the Museum, and, when he finally left 
 Providence, he had attained an enviable reputation for profes- 
 sional skill, business capacity, benevolence, and integrity. 
 
 Mr. Blake pays the following well-merited tribute to Mr. 
 Forbes and to some of the prominent members of his com- 
 panies : 
 
 " It is scarcely necessary to dwell with more particularity 
 upon the incidents of his management, and to speak of the 
 tone which he gave by his well-considered regulations to the 
 stage while under his charge ; for these are matters yet fresh 
 in the recollections of the people of Providence — bright spots, 
 like the green circles that betray the fairy revels of the moon- 
 lit nights. The play-goers of to-day will not soon forget the 
 actors to whom they owe so many hours of pleasure, and they 
 still rejoice as they observe the success of their old favorites 
 achieved in other cities — as they see their own Hardenburg 
 attain distinction in the home of fastidious critics, and others 
 who in times gone by began their stage experience in Provi- 
 dence, take prominent positions in the best theatres of the 
 metropolis, and hold them against all competitors. They need 
 no chronicler to revive their memories of Isabella Andrews, 
 that charming " soubrette ; " of Varrey, whose dry humor 
 would wring laughter from a cynic; of Frank Drew, whose 
 Triplet was a masterpiece of serio-comic acting ; of John 
 Dunn, the funniest of low comedians ; of John Drew and \V 
 J. Florence, who here began that career which led them to 
 eminence; or of Forbes himself, the high-minded manager, 
 and staunch friend, whose every glance was a benediction, 
 and whose kind acts were as the sands of the sea, number- 
 less." 1 
 
 1 Mr. Forbes's hatred of oppression was manifested in a signal instance when 
 after his induct ion into the managerial chair in Providence, 1 Macready 
 
 had been driven from the Astor Place Opera House b; Mr. Forb 
 
 dered him an engagement, from no expectation ol profit, but to mark his di 
 the course pursuea by the instigators of the riot, and his sympathy wi.h M 
 Although Macready declined the offer, he duly appreciated the -onerous spirit in which it 
 was made. 
 
 11
 
 l62 HISTORY OF THE 
 
 While we may not linger over the trivial, fond records of 
 their lives, or yet on those of Prior, of the Palmers, of Emma 
 Taylor, of Georgiana Kinlock, of Mrs. Varrey, or of the hos- 
 pitable, big-hearted George Sydney, all of whom have passed 
 away from earth, we can not thus dismiss the name of Mrs. 
 Forbes, who, too, has gone to her long rest, mourned by the 
 friends of her heart, and lamented also by those who knew her 
 only as an artist. In her public capacity she was admired for 
 her conscientious fidelity to every duty, for perfectness in the 
 text of the parts she played, and for unsurpassed taste in 
 dressing her characters. In all her personations she was 
 more than respectable, in some admirable, in a few incompar- 
 able ; and it was the unvarying testimony of all the stars, 
 that in no theatre in their course were they as satisfactorily 
 supported by any other leading lady as by Mrs. Forbes. Al- 
 though after several years the public, familiar with her rendi- 
 tions, might have sometimes desired other performers for the 
 sake of variety, none could ever characterize her as incompe- 
 tent in any part, while as Widow Cheerly, as Mrs. Hallcr, as 
 Elizabeth in "Richard III.," and as Helen in "The Hunch- 
 back," she was acknowledged to be without compeer. In the 
 latter character the frequenters of the theatre always exulted 
 in her great success, which in some instances has made the 
 Julia of the evening, albeit a star of lustre, carry away divided 
 honors. And who that had the luck to see can forget her 
 Elinor Mowbray, played so beautifully for the judicious few, 
 but caviare to the general. 1 
 
 In the summer of 1857 a dramatic company, under the di- 
 rection of George H. Griffith, endeavored to maintain vaude- 
 ville performances in a small wooden building on the corner 
 of Pine and Orange streets, but after a few weeks of experi- 
 ment the doors were closed, and the company disbanded." 
 
 1 Mrs. Forbes's professional career after her departure was observed with much pleas- 
 ure by the friends she left. Proceeding to London, she appeared as a " star " at the Hay- 
 market Theatre, then under the management of J. B. Buckstone, opening as Widow 
 Cheerly to a house filled almost to suffocation. Her success was decided and triumphant, 
 and she was pronounced by the London papers the most meritorious American actress 
 who had appeared in England since Charlotte Cushman. She played the same part every 
 night of her first week applauded to the echo ; and, her engagement, wliich could not be 
 protracted beyond two weeks by reason of arrangements made long previous, was alike 
 profitable to herself and to the management. She then played in the principal provincial 
 theatres before she sailed for Australia. During her residence in London, she and Mr. 
 Forbes were frequently the guests of Miss Louisa Pyne, then the manager of Drury Lane 
 Theatre.
 
 PROVIDENCE STAGE. I 63 
 
 In the winter of 1858 and the summer of 1859, a small 
 company, under the management of Mr. George Wyatt, per- 
 formed on the corner of Pine and Dorrance streets, in Swarts' 
 Hall, a building which had been the meeting-house of the 
 Second Baptist Society, from whom came the memorial to the 
 Board of Aldermen respecting the Dorrance street theatre, 
 to which allusion has been previously made. The chief at- 
 tractions of this place were the talents of the Misses Julia 
 and Helen Wyatt, young girls whose precocious ability and 
 pleasing manners made them general favorites. 
 
 This hall, altered into a theatre, and called the Pine Street 
 Theatre, was opened Sept. 5, 1859, with "The Soldier of 
 France" and "Married Life," under the management of E. 
 Varreyand W. A. Arnold, both well known to the habitues 
 of the Museum and of Forbes's theatre. This establishment 
 was so unfortunately situated and so inconveniently arranged 
 that the enterprise soon proved so unprofitable that Messrs. 
 Varrey and Arnold surrendered their lease. The company 
 was, however, kept together, and performances were given 
 during the winter months by the actors, under the direction 
 of Messrs. Johnston and Petrie, the principal performers. 
 Upon the stage of this theatre Maggie Mitchell, Fanny Her- 
 ring, George Jamieson, Cordelia Howard with her parents, 
 Mr. and Mrs. J. W. Wallack, J. W. Booth, and C. W. Coul- 
 dock played star engagements. The stock company, though 
 limited in numbers, was respectable for talent and character, 
 embracing, besides Mr. Varrey, Robert Johnston, Petrie, Mr. 
 and Mrs. Marden, Mary Mitchell, H. Linden, Mrs. Warden, 
 Miss Gillett, and several others of lesser note. The audi- 
 ences decreased until at length the receipts became too small 
 to pay for necessary fuel, and then the Pine Street Theatre 
 was closed.
 
 CHAPTER XIII. 
 
 1860-1864. 
 
 Name of Pine Street Theatre changed— Sketch of Adah Isaacs 
 Menken— Closing of the Providence Theatre— Opening of the 
 Academy of Music— Sketch of Charlotte Cushman— Sketch of 
 Senora Isabel Cub as— Sketches of Lucille and Helen West- 
 ern—Davenport and Wallace— Sketch of J. Wilkes Booth— 
 "Vestvali, the Magnificent"— Messrs. Tompkins & Thayer 
 lease the Academy. 
 
 THE Pine Street Theatre closed Tuesday evening, Jan. 
 3, i860, with "Rob Roy" and "Santa Claus." It 
 was, however, reopened March 19, i860, by the Cooper 
 English Opera troupe, with the " Barber of Seville," Annie 
 Milner being the prima donna. Myers and Boniface took the 
 management March 28th, and ran the " Octoroon " for a few 
 nights. April 9th, Adah Isaacs Menken came for four nights 
 in the "French Spy." This lady had a checkered career. 
 She was born in a small village near New Orleans, La., June 
 15, 1835. Her father died when she was seven years of age, 
 and Adah and her sister made their debut as dansenses at the 
 French Opera House, New Orleans, with great success. Dur- 
 ing her career as a danseusc, Adah mastered the French and 
 Spanish languages. She remained at the opera house, New 
 Orleans, then joined the Monplaisir troupe, visiting Havana, 
 and became a great favorite with the habitue's. She was 
 called the " Queen of the Piazza." She next visited Texas 
 and Mexico, and played a brilliant engagement at the lead- 
 ing opera house in Mexico. Returning to New Orleans, 
 she retired from the stage and published a volume of poems 
 called Memories, under the signature of " Indizina." While 
 in Galveston, in 1856, she married Alexander Isaacs Men- 
 ken, a musician. She then made her debut at the Vari- 
 eties Theatre, New Orleans, in " Fazio/' during the season
 
 PROVIDENCE STAGE. 1 65 
 
 of 1858. She soon left the stage again and studied sculpt- 
 ure in Columbus, Ohio. On the 3d of April, 1859, she was 
 married to John C. Heenan, from whom she was divorced by 
 an Indiana court in 1862. She went back to the stage, play- 
 ing in New York and then through the south and west. In 
 October, 1861, she was married to Robert H. Newell (known 
 in the literary world as " Orpheus C. Kerr"), and on July 13, 
 1863, she sailed for California, accompanied by Orpheus. 
 After playing to magnificent houses in California, she sailed 
 for England April 22, 1864, where she also played. She 
 was divorced from Mr. Newell in October, 1865. Re- 
 turned to America in 1866, and played in New York, then 
 through the West. On the 21st of August, 1866, she was 
 married to James Barclay in New York. She then made 
 another trip to Europe, playing engagements both in Eng- 
 land and France. On Monday, Aug. 10, 1868, she died in 
 Paris. 
 
 The theatre was rechristened as the Providence Theatre, and 
 on Oct. 7, 1 86 1, was opened by J. C. Myers with the " Siege 
 of Manassas." During his management he had as stars J. 
 Wilkes Booth, Joseph Proctor, S. W. Glenn, and Lucille 
 Western. The final closing was on July 4, 1862, R. E. J. 
 Miles being the last star to appear there. 
 
 Upon the ruins of Forbes's Theatre a new structure arose, 
 bearing the name of " Phenix Building," in which there was a 
 capacious hall, provided with a stage and some of the appli- 
 ances of a theatre. This was called the Academy of Music, 
 and it continued in existence for nearly twenty years, much 
 of the time being the principal theatre in the city. It was 
 long and narrow, had only a parquette and gallery, and the 
 entrance was up two flights of stairs. If there had ever been 
 a fire, or anything to create a panic, while a performance was 
 being given there, loss of life would have almost certainly 
 resulted. 
 
 Upon this stage in 1861, several dramatic companies ap 
 peared, the large majority of them under the managemenl ol 
 either A. Macfarland or J. C. Myers. Among the most not- 
 able was Charlotte Cushman, who came June 3d and remained 
 for five nights. She had in her support Messrs John Gil- 
 bert, J. B. Studley, and others, and during her engagement 
 she appeared in " Henry VIII.," and also impersonated Romeo
 
 1 66 HISTORY OF THE 
 
 to the Juliet of Viola Crocker, Portia, in the "Merchant of 
 Venice," and Meg Merrilies. 
 
 This estimable lady and great artist was born in Boston in 
 1 8 14, of old Puritan stock. After she had left school, and 
 having a good voice, she resolved to make her appearance as 
 a public singer. Having received thorough instruction from 
 the best masters, she made her first appearance in public at a 
 social concert given in Boston at No. 1 Franklin avenue, 
 March 25, 1830. During Mrs. Joseph Wood's engagement in 
 Boston, Miss Cushman sang at one of her concerts. Mrs. 
 Wood was so pleased with her voice — which was a fine con- 
 tralto — that she advised her to turn her attention to singing 
 on the stage, and Mr. Meader, the husband of Clara Fisher, 
 brought her out as the Countess of Almaviva, in " The Mar- 
 riage of Figaro," at the Tremont Theatre, Boston, April 8, 
 1835. This was her first appearance. She shortly after- 
 wards sailed for New Orleans, where she came very near 
 losing her voice, having seriously impaired it by trying to 
 force it up to the soprano register. This was the cause of 
 her taking to the stage, and becoming one of the greatest 
 actresses that ever walked the boards of any theatre in this 
 country. Her next appearance was at the Bowery Theatre, 
 New York, in 1836, as Lady Macbeth. From the Bowery she 
 went to the Park, where she became the leading actress. She 
 next visited Philadelphia, and made her first appearance at the 
 opening of the National Theatre, Aug. 31, 1840, as Lady L^an- 
 guish. Before her talent could be recognized at home, she was 
 obliged to visit Europe, where she found critics to acknowl- 
 edge her as one of the greatest artistes of the day. In 1844 
 she sailed for Europe. On the 13th of February, 1845, she 
 made her debut at the Princess Theatre, London, as Bianca, 
 in " Fazio." She was supported by Mr. Macready. After 
 three or four years' residence abroad she returned to her native 
 land, and made her first appearance at the Broadway Theatre, 
 New York, Oct. 8, 1849, as Mrs. Haller. In 1852 she played 
 a farewell engagement throughout the States, and returned to 
 Europe again ; after a sojourn there of five years, she returned 
 to the United States, and made her appearance at Burton's 
 Theatre, New York, Sept. 28, 1857, as Bianca. She made 
 her appearance in Philadelphia, May 21, 1858, at the Arch 
 Street Theatre, as Mrs. Haller. On the 16th of August,
 
 PROVIDENCE STAGE. 1 67 
 
 1850, she played at Liverpool, and, on the 30th of the same 
 month appeared at Niblo's Garden, New York — just two 
 weeks after her performance three thousand miles away. On 
 the 7th of July, 1858, she sailed from New York in the steam- 
 ship Persia, for Europe, and, after an absence of two years, 
 returned to New York, and, during the month of September, 
 i860, made her debut at the Winter Garden. For the benefit 
 of the Sanitary Committee, on the 17th of October, 1863, she 
 played Macbeth at Grover's Theatre, Washington, to an over- 
 flowing house. She crossed the ocean sixteen times ; she 
 " retired " from the stage almost as many times. She spent 
 many years in Rome. In 1871 she began her dramatic read- 
 ings, which were highly successful. Her final farewells to the 
 stage were undertaken in 1875, and the great ovation at 
 Booth's Theatre, with the ode by Stoddard and the presenta- 
 tion of the laurel by William Cullen Bryant, was one of the 
 most brilliant events in stage history. She died at the Par- 
 ker House, in Boston, Feb. 18, 1876, aged sixty. With all 
 her genius, she possessed enough Yankee thrift to accumu- 
 late her earnings, and died worth $600,000. She was buried 
 at Mt. Auburn. 
 
 Another notable engagement that season was that of Senora 
 Isabel Cubas, the Spanish dancer, who attracted a crowded 
 house. 
 
 Isabel Cubas was born in Cadiz in 183 1. At thirteen years 
 of age she was engaged as a solo dancer in Madrid, and, after 
 dancing in some of the first theatres in Spain, she returned 
 to Madrid, where she remained two years, After dancing 
 at all the principal opera houses in the Old World, she visited 
 America in May, 1861, and made her debut in Canada. She 
 danced in New York and Philadelphia, and then started on a 
 starring tour, assisted by a full ballet corps, and played in all 
 the principal theatres of the country. Died in Nev» York, 
 June 20, 1864, and was buried in Greenwood. She was mar- 
 ried to a Mr. Blasco, and left one beautiful daughter behind, 
 about six years of age. 
 
 The only other prominent organization that appealed that 
 year was an Italian Opera Company, which presented the 
 "Barber of Seville," with Sig. Brignoli and Isabella Hinckley 
 in the leading roles. 
 
 The elder Hermann was the first attraction at this house
 
 l68 HISTORY OF THE 
 
 in 1862. He gave exhibitions of legerdemain for three nights 
 beginning January 13th. J. C. Myers had a benefit February 
 3d. H. C. Jarrett brought an excellent dramatic company 
 March 4th and 5th. It included E. L. Davenport, J. W. 
 Wallack, William Wheatley, Julia Bennett Barrow, Mrs. 
 Wallack and John E. Owens. The plays were " Hamlet " 
 and "The Stranger." Lucille Western played Camille on 
 the evening of March 7th. 
 
 Lucille and Helen Western were born in New Orleans, 
 La., in 1843 ar >d ^44 respectively. Their father (in the to- 
 bacco business), removed to Binghamton, N. Y., where he died 
 in 1859; their mother subsequently married William B. Eng- 
 lish, the once popular theatrical manager, which may account 
 for their adopting the stage as a profession. Their careers 
 were very closely identified until the death of Helen, in 1868,. 
 when the best days of Lucille may be said to have begun. 
 For several seasons, about 1855, the two sisters appeared 
 under their step-father's management in the larger New Eng- 
 land towns in small parts, and were known as " The Star 
 Sisters," their principal piece being " The Three Fast Men." 
 
 Lucille, in after years, became the well known exponent 
 of emotional dramas like "East Lynne" and "The Child 
 Stealer." During the war she travelled with the Davenport- 
 Wallack Combination, playing Nancy Sykes, in " Oliver 
 Twist " to Davenport's Bill and J. W. Wallack's Fagin. She 
 died in Philadelphia, Jan. 11, 1877, while playing a star en- 
 gagement in the Walnut Street Theatre. She was the wife 
 of James H. Meade. Her first great hit was in the dual role 
 in " East Lynne," as dramatized by Clifton W. Tayleure, a 
 part which she at first refused to even rehearse. It is esti- 
 mated that it afterwards brought her over a quarter of a mil- 
 lion of dollars, all of which was frittered away by others. Her 
 life was one of incessant toil, without fruition. Had her 
 great powers been properly directed, far different would have 
 been her record. 
 
 May 2 1 st and 22d, Davenport and Wallack returned and 
 presented " The School for Scandal." The Journal, on the 
 following day, said it was the finest cast ever seen here. July 
 10th, nth and 12th the Boston Museum Company gave the 
 operatta "The Doctor of Alcantara," with L. Mesteyer, George 
 Ketchum, Henry Peakes, Emily Mesteyer, Josie Orton and
 
 PROVIDENCE STAGE. I 69 
 
 others in the cast. August 22c], E. L. Davenport, E. L. 
 Tilton, A. W. Fenno, Charles Barron and others appeared in 
 " Damon and Pythias." The Ravel troupe played two engage- 
 ments within a few weeks. W. J. Florence and wife came 
 October 13th, 14th and 15th, and the manager announced 
 that new United States currency would be given in change. 
 J. C. Myers took the management of the house October 20th 
 and held it until the 24th of March, 1863. His stock com- 
 pany included Georgianna Anna Reynolds, Rebecca Adams, 
 Lottie Howland, Fannie Marsh, Emma Leone, Mrs. D. 
 Nourse, Louisa Morse, Mrs. J. H. Browne, Mrs. J. Dunn, E. 
 W. Beattie, B. Fuller, D. Nourse, Harry Howland, J. H. 
 Browne, J. Dunn, C. Fredericks, J. Keefe, W. D. Crolins, C. 
 Rogers, W. H. Preston, and J. Holmes. During this manage- 
 ment the stars were Alice Placide, Mr. and Mrs. Barney Wil- 
 liams, Matilda Heron, J. H. Hackett, Maggie Mitchell, Laura 
 Keene, and John E. Owens, and the Holman Opera Company 
 also came. 
 
 The theatre was occupied most of the time in 1863. As 
 stated above, Mr. Myers's management continued until March 
 24th. He also brought companies here after that date 
 at frequent intervals. The Wallack-Davenport combination 
 came for one week, beginning April 6th, and their almost 
 perfect performances are still remembered with pleasure by a 
 large number of our citizens. Among the other notable en- 
 gagements were those of Peter and Caroline Richings, Kate 
 Reignolds, supported by Stuart Robson and Owen Marlowe, 
 Laura Keene, William Warren, Jane Coombs, J. Wilkes 
 Booth, October 15th, 16th, 17th, and Mrs. Barrow. 
 
 Booth was at this time twenty-five years old, and as hand- 
 some a man as ever graced the stage. He retired from the 
 profession soon after this and speculated in oil. Nov. 23, 
 1864, he, with his brothers, Edwin and Junius Brutus, 
 played " Julius Caesar," at the Winter Garden in New York. 
 for the benefit of the Shakspeare monument fund. 1 1 is last 
 appearance as an actor on the mimic stage was at Ford's 
 Theatre in Washington, where he played Pescara tor John 
 McCullough's benefit. April 14, 1865, in the same theatre, 
 while the third act of "Our American Cousin" was being 
 performed, he shot Abraham Lincoln, president of the United 
 States, through the head, inflicting a fatal wound. The
 
 I70 HISTORY OF THE 
 
 assassin jumped from the private box in which the presiden- 
 tial party were seated, to the stage, brandishing a dagger 
 and shouting sic semper tyrannis, fled to the door, mounted 
 a horse and rode away. On the 26th he was discovered armed 
 to the teeth, in a barn, near Bowling Green, and bidding the 
 world defiance. He was shot and killed by Boston Corbett. 
 He was at first secretly buried at midnight, under the flag-stones 
 of the arsenal warehouse in Washington ; but, in February, 
 1869, by permission of the government, the remains were dis- 
 interred by the relatives, and now rest near those of his 
 father, in the cemetery at Baltimore. This terrible deed is the 
 more remarkable from the rarity of criminals among the 
 dramatic profession. 
 
 The Davenport-Wallack company returned again Novem- 
 ber 13th, and Mrs. Barrow also played an engagement from 
 December 14th to the 19th. 
 
 The following year, 1864, was one of the most flourishing 
 the Academy had ever known. Mr. A. Jantz had engaged 
 an Italian opera company to appear on the evening of the 1st 
 of February at an expense of $3,000, but the subscriptions 
 not warranting the expense, the engagement was given up. 
 Among the dramatic stars who appeared that year were 
 Harry Watkins, J. B. Roberts, Yankee Locke, Ettie Hen- 
 derson (wife of William Henderson, the first manager of the 
 Providence Opera House), "Vestvali, the Magnificent," H. 
 G. Clarke, John Murray, McKean Buchanan, Mrs. D. P. 
 Bowers, William Warren, with Josie Orton and Charles 
 Baum. The Davenport-Wallack company also came, with 
 Rose Eytinge, and delighted large audiences with " Still 
 Waters Run Deep " 
 
 One of the most notable events of the year was the ap- 
 pearance of the German opera company, under the manage- 
 ment of Leonard Grover. In this company were Karl 
 Formes, Marie Frederici, Johannsen, Herrmann and Habel- 
 man. The operas presented were " Faust," " Don Juan " and 
 " Robert le Diable." The American Band appeared in the 
 first opera, and created quite a sensation. The houses were 
 crowded during this engagement, and the general opinion 
 was that it was the best opera company that had ever visited 
 Providence up to that time. It returned October 29th, and 
 presented " The Jewess."
 
 PROVIDENCE STAGE. I 7 I 
 
 Another important engagement of this season was that of 
 " Yestvali, the Magnificent," who came March 7th and 8th. 
 I have asked at least a score of theatre-goers of from twenty- 
 five to thirty years ago if they remembered her, and in every 
 case the reply has been in the negative ; and yet she created 
 a profound sensation at the time, as the following notice from 
 the Providence Journal of March 8, 1864, will testify : 
 
 "The Academy of Music seldom, if ever, contained such 
 an audience as crowded its orchestra, parquet and gallery 
 last night, and never before was anything presented on its 
 boards so near the sublime as Mile. Vestvali, in her character 
 of Gamec, the Jewish mother. If the audience was unde- 
 monstrative and tame in their manifestations of approval of the 
 impassioned periods, they must be excused, for they were 
 spell-bound and feared lest they should lose the lightest tone 
 or miss the simplest expression of that most queenly, superb, 
 and powerful actress. Vestvali was truly "the magnificent." 
 She dressed, looked, acted and almost lived her nice and ac- 
 curate conception of the part. Every tone had its proper 
 modulation, every gesture its fittest expression, every glance 
 of her eye was a faithful mirror of thought, and every smile 
 or frown told its tale of joy or bitterness." 
 
 Felicita Vestvali was born on the banks of the Vistula, in 
 Cracow, on Feb. 23, 1839. Her father was the Governor of 
 Cracow. At the age of twelve she spoke six languages, 
 understood most of the ancient as well as modern poets of 
 Europe, and played upon several instruments. Came to this 
 country in May, 1855, and, after great success, returned to 
 Europe in June, 1867. 
 
 Messrs. Tompkins and Thayer, of the Boston Theatre, 1< 
 the Academy in October, 1864, and managed it for the suc- 
 ceeding five years.
 
 CHAPTER XIV. 
 
 1865-1866. 
 
 Opening of the City Hall— Mlle. Parepa— Wallack-Davenport 
 Combination— Fikst Visit of Agnes Perry— Sketch of this pop- 
 ular Artiste — Sketch of Fanny Davenport — Clara Louise 
 Kellogg's Appearance— Parepa, Brignoli, and Ferkanti— Bos- 
 ton Theatre Company in "Streets of New York"— Almost a 
 Riot— Sketch of Adelaide Ristori— Sketch of John Brougham- 
 Sketch of Lotta. 
 
 FOR a year or two the Academy of Music had had prac- 
 tically no opposition, especially in the way of dramatic 
 entertainments, because there was no other hall in the 
 city fitted up with scenery and the other appliances of a 
 theatre. On the 4th of January, 1865, the City Hall, built 
 upon the site of the present City Hall, was opened. It was 
 built by Messrs. Charles N. Harrington and R. M. Larned. 
 Mr. Harrington had had considerable experience as a stage 
 carpenter in Mr. Forbes's theatre, and he made good use of 
 his knowledge in his new venture. Mayor Doyle made a 
 pleasant address at the opening, and the remainder of the 
 programme consisted of a concert by the American Band, 
 with the late Addie Ryan, of Boston, as soloist. 
 
 The entertainments given in this house during the first 
 year of its existence consisted of a lecture by Artemus Ward, 
 Chadwick & Webb's minstrels, concert by Richard Cooper, 
 the boy soprano, American Band concert, Norwood, the Fakir,. 
 Chase & Newcomb's minstrels, Cotton & Murphy's minstrels, 
 lecture by Anna Dickinson, Duprez & Greene's minstrels, 
 Newcomb's minstrels, Allyne, the wizard, Chrysty's minstrels, 
 lecture by Josh Billings, Tony Pastor's troupe, Bryant's min- 
 strels, concert by Mile. Parepa, Herrmann, Morris Bros., 
 Pell & Trowbridge's minstrels, Hagar's Allegory of the Re- 
 bellion, and a concert by Blind Tom.
 
 PROVIDENCE STAGE. I 73 
 
 We give this list principally to show what a large number 
 of minstrel companies came to the city that year. Many of 
 the same companies also came to the Academy of Music 
 that year, either before or after they had appeared in City 
 Hall, and there were also others not mentioned in the above 
 list, among them Cal. Wagner's. 
 
 The principal entertainments of a dramatic and musical 
 character, given in the Academy of Music in 1865, were as 
 follows ; Jan. 16, one week, Mrs. D. P. Bowers ; Feb. 20, 
 21, 22, Laura Keene, in " Our American Cousin ;" April 25, 
 26, Wallack-Davenport combination in " Still Waters Run 
 Deep; May 6, Wm. Warren combination; July 11 to 21, 
 McKean Buchanan, in "Richelieu," etc.; Aug. 9, 10, Emilie 
 Melville in " Fanchon " and "Hidden Hand;" Aug. 21, 
 engagement of Helen Western for one week, in " French 
 Spy" and " St. Marc ; " and of R. S. Meldrum for one week 
 in "Streets of New York;" Sept. 14, 15, 16, Italian opera, 
 with Sig. Susini, in " Ernani," " Norma" and " Faust." Sept. 
 21, Joseph Proctor, in "Nick of the Woods ; " Sept. 28, 29, 
 30, " Arrah Na Pogue," with first visit to this city of Agnes 
 Perry (now Agnes Booth Schoeffel ;) Nov. 0, 7, 8, 9, Edwin 
 Forrest in "Richelieu," "Hamlet" and " King Lear," sup 
 ported by John McCullough, J. W 7 . Collier and Agnes Perry ; 
 Nov. 30, H. C. Jarrett's combination, when Fanny Daven- 
 port made her first appearance in Providence ; Dec. 23, The- 
 atre Francais from New York. 
 
 It will be noticed that this year was marked by the appeal 
 ance here of two actresses who have since become very prom 
 inent, namely : Agnes Perry and Fanny Davenport. Agnes 
 Perry, uce Agnes Land Rookes, was burn in Australia 
 about 1843, anc l witn ncr sister Belle, arrived at San Fran- 
 cisco in 1858, and shortly after her arrival she married Harr) 
 Perry, a very able actor, but "too jovial" fellow, with 
 whom she remained in San Francisco till [861, when he died. 
 She shortly afterwards came East and immediately was recog- 
 nized as a star of the first magnitude. About [866, while 
 playing in New York, she was married to Junius Brutus Booth, 
 and after that acted in a desultory way in New York till Ml 
 Booth's death. He left her his entire fortune, near $200,000. 
 After a widowhood of one year she was married to Mi John 
 Schoeffel, manager of the Tremont Theatre in Boston, and
 
 174 HISTORY OF THE 
 
 partner with Mr. Henry E. Abbey. Mrs. Schoeffel still re- 
 tains her stage name of Agnes Booth, and could easily retire 
 from the stage if she chose to do so, but she occupies to-day 
 the proud position of being a great public favorite — a place 
 hard to abandon. 
 
 Fanny Davenport was born in London, in 1850, and is the 
 daughter of the late E. L. Davenport. Her first appearance 
 was as a child in the Howard Athenaeum, Boston. She first 
 appeared in New York at Niblo's, in 1862, but never created 
 much of a sensation till, under Daly's fostering care, she 
 blossomed forth into an emotional actress. Her first import- 
 ant part was as the sentimental heroine in T. W. Robert- 
 son's "Play," which she 'performed during the illness of 
 Agnes Ethel, and soon after succeeded to that lady's position 
 in the company. A very beautiful woman, an actress inherit- 
 ing from both father and mother much dramatic talent, she is 
 one of the most popular stars of the day, playing a wide 
 range of parts. She is, in fact, the most versatile of all the 
 star actresses in the country. She is married to Mr. Mel- 
 bourne McDowell. 
 
 Maggie Mitchell was the first dramatic star to come to the 
 City Hall in 1866. Her nights were Feb. 5 and 6, and the 
 house was crowded on both occasions. Feb. 19, E. W. Mar- 
 ston was seen there in " Ten Nights in a Bar Room." Oct. 
 2, Parepa, Brignoli, J. L. Hatton, Carl Rosa and S. B. Mills 
 gave a concert which was fully attended by the fashionable 
 people of the city. Nov. 9, 10, Clara Louise Kellogg, with 
 Fanny Stockton, Sig. Bellini, etc., sang to crowded houses. 
 Nov. 24, Hagar's Allegory was given, Nov. 30. Parepa, Brig- 
 noli and Ferranti appeared in concert, and Dec. 1 r, Howard 
 Paul and wife were seen in " Dream of the Reveller." The 
 remainder of the time at this hall that year was occupied by 
 lecturers in the Franklin Lyceum and Mechanics' courses, 
 and by minstrel entertainments, the latter being nearly as 
 numerous as in the preceding year. 
 
 At the Academy of Music 1866 was one of the most pros- 
 perous years it had ever known. It was an important year, 
 not only on account of the very large number of excellent 
 stars and dramatic companies appearing there, but also on 
 account of a disturbance, amounting almost to a riot, growing
 
 PROVIDENCE STAGE. I 75 
 
 out of a performance given there April 13th, which will be 
 referred to a little later in this chapter. 
 
 January 1st, the Winslow & Co. combination began a 
 week's engagement with Sam Hemple as the star ; January 
 1 6th, the Boston Theatre Company began an engagement of 
 two weeks, playing the " Streets of New York," with Frank 
 Mayo as Badger, and Charles T. Parsloe as the Bootblack; 
 February 16th, the Boston Theatre Company came again for 
 two nights, with Frank Mayo, Louis Aldrich and others in 
 the " Robbers of the Forest of Bohemia." February 20th, 
 2 1 st, came an English Opera Company with the " Bohemian 
 Girl," Harry Peakes as DevilsJioof, and Mrs. William Gomer- 
 sal as Arline. March $th, Lotta appeared here for the first 
 time, with Frank Hardenberg and W. J. LeMoyne in support. 
 March 12th, 13th, T. M. Tyrrell had a benefit. March 14th, 
 15th, 16th, Mr. and Mrs. Barney Williams appeared. The 
 Hanlon Brothers came the 19th and 20th. Barber's Dra- 
 matic Company played the "Hidden Hand " the 29th. April 
 2d, Robert Heller gave his delightful performances in magic, 
 adding to them his skillful piano playing, which was the talk 
 of the town. April 9th, 10th, nth, Laura Keene came. 
 April 13th, J. H. Hackett came, with William F. Burroughs 
 in the cast. This was the performance referred to above. 
 The Providence Journal, the next morning, had the following 
 account of it : 
 
 " Once more a large and respectable audience has been 
 treated in a very shabby and dishonest manner by the ' Star 
 Company from Winter Garden,' New York, under the man- 
 agement, as the bills announced, of William Stuart, of Win- 
 ter Garden, New York, and C. W. Tayleure, of the Broadway 
 Theatre, N. Y. Instead of presenting Shakspeare's immor- 
 tal comedy, in five acts, called the ' Merry Wives of Wind- 
 sor,' as was promised, the play was so cut and mutilated that 
 Shakspeare would have disowned and repudiated it, as the 
 audience did last night. As was the case some time since, 
 when the same company pretended to bring out ' Arrah na 
 Pogue,' the management was resolved to have the actors' 
 wardrobes, properties and appurtenances on board the ten 
 o'clock train to New York. In consequence of that deter- 
 mination, the performance commenced before scarcely any of 
 the people who had secured seats had arrived, and the play
 
 I76 HISTORY OF THE 
 
 was slashed and mutilated until it was finally brought to an 
 ignominious end soon after nine o'clock, the last act, or so 
 much of it as was recited by the actors, being entirely inau- 
 dible, because of the storm of disapprobation that was kept 
 up in all parts of the house. When the curtain dropped, a 
 rush was made for the depot, and the ' Star Company from the 
 Winter Garden ' took their departure from Providence, amid 
 the hootings and groanings of 500 exasperated and disgusted 
 people. There was no actual violence that we hear of, but a 
 serious breach of the peace was at one time imminent." 
 
 April 16th, Helen Western came in the " Corsican Broth- 
 ers," and "Satan in Paris ;" April 20th, Mr. and Mrs. Gomer- 
 sal ; 26th, E. L. Davenport as Sir Giles Overreach, in " A 
 New Way to Pay Old Debts," the play in which he first made 
 his appearance upon the stage as Willdo. May 7th, E. T. 
 Stetson appeared in the "Marble Heart;" 14th, John E. 
 Owens as Solon Shingle; 16th, Lucille Western in "East 
 Lynne ; " 25th, E. L. Davenport and Lucille Western, for the 
 benefit of George K. Goodwin ; 25th, first appearance of W. 
 C. Forbes, after an absence of eight years," as Master Wal- 
 ter in "The Hunchback." A cordial greeting was given to 
 him by his old friends and admirers, who filled the house. 
 June 4th, 5th, Rose Eytinge came in " Miriam's Crime," and 
 had among her support W. F. Burroughs, James Duff, and 
 W. A. Donaldson; June nth, Maggie Mitchell; 18th, 19th, 
 20th, Anderson, the Wizard ; 21st, 22d, 23d, the Naddi Opera 
 Company ; July 4th, W. C. Forbes Dramatic Company ; 10th, 
 Benefit of Portland Sufferers, W. C. Forbes, Frank Drew, 
 Madame Andrieu, and Mrs. M. W. Fish being among the vol- 
 unteers ; 23d, Maffit & Bartholomew. August 7th, 8th, E- 
 L. Davenport, with his daughter, Fanny; 17th, 18th, the 
 Buisley Family; 29th, Helen Western ; 31st, Mr. and Mrs. 
 W.J.Florence. September 8th, Helen Western ; 13th, 14th, 
 15th, Laura Keene in "Our American Cousin;" 17th, the 
 Webb Sisters; 24th, 25th, 26th, the "Naiad Queen," adver- 
 tised as entirely new, with Laura Cavendish in the principal 
 role. October 9th, Lotta ; 17th, Mr. and Mrs. Barney Wil- 
 liams ; 22d, E. L. Davenport ; 29th, J. S. Clarke, with Boston 
 Theatre Company ; 30th, 31st, "Doctor of Alcantara," by 
 company from French Theatre, New York, with Rosa Cooke 
 in the cast. November 6th, F. S. Chanfrau and Olive Logan ;
 
 PROVIDENXE STAGE. 177 
 
 7th, Ristori as Mary Stuart ; 9th, 10th, Mr. and Mrs. Howard 
 Paul; 1 2th, Boston Theatre Company in "Three Guards- 
 men," with C. R. Thorne, Jr., F. Hardenberg, Agnes Perry, 
 Rachel Noah, Susie Cluer, and H. L. Bascomb in the cast. 
 November 19th, 20th, John Brougham in " Playing with Fire," 
 and " Dombey and Son ; " 27th, Helen Western. December 
 6th, 7th, Joseph Proctor; 17th, Mrs. F. W. Lander (formerly 
 Jean M. Davenport) in "Adrienne, the Actress ; " 24th, Leo 
 Hudson, equestrienne; and 25th, John Brougham. 
 
 Even up to the present time, with the very large increase 
 in population, there has rarely been a year when so many 
 stars of distinction and combinations of rare merit have vis- 
 ited this city. Ristori was greeted with a crowded house, 
 composed of the most fashionable people in the city, and the 
 receipts were the largest ever known on a single evening, up 
 to that time, and have been equalled not more than once 
 or twice since. It was said that they reached upwards of four 
 thousand dollars. 
 
 Adelaide Ristori was born in 1821 ; is a native of Friuli, 
 and the child of strolling actors ; appeared on the stage when 
 but two months old. Her first instructress was her grand- 
 mother, Teresa Ristori ; but having made her debut as Fran- 
 cesco, di Rimini, 1835, she joined a year later the Royal Sar- 
 dinian Company, where Carlotta Marchioni, perceiving the 
 genius of the young actress, trained her as her own successor 
 in the leading parts. A romantic love affair, followed by her 
 marriage in 1847 with the young Marquis Capranica del 
 Grillo, caused Ristori to relinquish her profession for a short 
 period, but fortunately the objections of her husband's family 
 were overcome by an exhibition of her genius at a charitable 
 performance, and she returned to the stage. Caroline I11U1 
 nari gave her lessons in tragedy, and, having established her 
 reputation in Italy as Myrrlia, Rosamondc, Octavia, Antigone, 
 Mary Stuart, and other characters, she went in 1855 to Paris, 
 where she made her debut as Francesca, while Rachel was at 
 the zenith of her fame. In spite of the severe nature of the 
 test, Ristori's genius triumphed, and her acting was praised 
 by Lamartine, Dumas and other celebrated critics. Nor was 
 she less successful in England (1858). Fresh laurels were 
 gained in every European capital from Moscow to Dublin, 
 and her travels were extended to Egypt and Constantinople 
 12
 
 178 HISTORY OF THE 
 
 Nor was she less successful in the New World, where she 
 visited not only the United States, but also the principal 
 countries of South America. In 1873 Ristori revisited Eng- 
 land, and gave her farewell performance at the Queen's The- 
 atre, Manchester. Her grand impersonation of Lady Mac- 
 beth, despite the inadequate support accorded to it, was 
 received with enthusiasm by London audiences during a short 
 season in 1884. 
 
 Ristori's first appearance in America was at the French 
 Theatre, New York, as Medea. She visited thirty cities on 
 this visit, playing Mary Stuart, Myrrha, and Lady Macbeth. 
 Since that time she has twice visited America, last time in 
 1886, without any diminution of her powers of pleasing the 
 cultured public. 
 
 John Brougham was born in Ireland in 1810, and died in 
 New York in 1880. He was one of the most prolific of 
 playwrights, and a most excellent Irish comedian. One writer 
 says of him : " John Brougham's inexhaustible flow of spirits 
 in his best days pervaded all his acting, and invested the most 
 unattractive part with an alluring charm, as many a prosaic 
 spot in nature becomes enchanted land by the music of fall- 
 ing waters. Add to this exuberant vitality a rich endowment 
 of mother wit, a bright intelligence, keen sympathy and ap- 
 preciation, and rare personal magnetism, and you have before 
 you glorious John, whose hearty voice it was always a pleas- 
 ure to hear, and whose face beaming with humor was always 
 welcomed with delight." Among the plays from his pen 
 were "Vanity Fair." Dombey & Son," "David Copperfield," 
 " Actress of Padua," (written especially for Charlotte Cush- 
 man), "Bleak House," "Playing With Fire," " Pocahontas," 
 "Game of Life," and "John Garth." Like many others, he 
 was improvident, and when old age came, he was poor. Two 
 years before his death his friends in New York gave him a 
 benefit, which netted him $10,000. 
 
 That was the first season of Lotta in this city. Lotta 
 Mignon Crabtree — for so she was christened — was born at No. 
 750 Broadway, New York City, Nov. 7, 1847. She lived in 
 the house where she was born till 1854, when she was taken to 
 California, and made her first appearance on any stage at a con- 
 cert given in Laport, "for one night only." Her second appear- 
 ance was at Petaluma (1858), where she played Gertrude in
 
 PROVIDENCE STAGE. 1 79 
 
 " The Loan of a Lover." She then travelled as the star of a 
 company for nearly two years, being called " La Petite 
 Lotta," and ranked as an infant prodigy. She then went into 
 the variety and minstrel business, becoming, in i860, the pet 
 of San Francisco, many nights being literally showered with 
 gold and silver coins by the delighted public. Each year she 
 took a tour through the state, and also played engagements at 
 Maguire's Opera House. After one of the most successful 
 benefits ever given on the Pacific slope, she sailed for the 
 East, and arrived May 16, 1864, and gave her first perform- 
 ance in New York, at Niblo's Saloon June 1st. She was not 
 a success. In August she was at McVicker's Theatre, in 
 Chicago, where, one night, while playing in "The Seven Sis- 
 ters," an .unknown admirer threw her, neatly done up in a 
 handkerchief, a $300 gold watch and chain. From Chicago 
 she returned to Boston, and then made a tour of the United 
 States. In the summer of 1867 she made her second ap- 
 pearance in New York, this time at Wallack's, under the man- 
 agement of C. W. Tayleure, and played the most brilliant 
 summer engagement ever known there. 
 
 In 1869 sh# returned to California, and was welcomed back 
 in one of the most brilliant engagements ever played there. 
 She has played many very successful engagements in Prov- 
 dence. Her last visit here was during the early part of last 
 season.
 
 CHAPTER XV. 
 
 1867-1869. 
 
 Adelaide Phillips, Brignoli and Susini — The three Worrell 
 Sisters— Laura Keene in "Our American Cousin "— Mme. Anna 
 de la Grange— Clara Louise Kellogg in opera— The " Long 
 Strike"— Debut of JIannah E. Bailey— Sketch of Edwin Booth- 
 Sketch of Mrs. Scott-Siddons — Visit of Charles Dickens — 
 Agatha States. 
 
 IN 1867, the City Hall had but few attractions other than lec- 
 tures and minstrel performances, but some of these were 
 excellent. February 28th to March 1st, " Don Pasquale " 
 and the " Barber of Seville " were given very satisfactorily in 
 Italian by Adelaide Phillips, Brignoli, Susin% and others. 
 April 1 2th, "Cinderella" and "Aladdin " were produced in 
 gorgeous style by a large company under the management of 
 B. F. Whitman. The three Worrell Sisters, Jennie, Sophie, 
 and Irene, were at the head of the company. Sophie has 
 since become the wife of George S. Knight. April 25th, 26th, 
 Laura Keene appeared in "Our American Cousin," the same 
 play in which she appeared at Ford's Opera House in Wash- 
 ington on the 14th of April, 1865, when President Lincoln 
 was shot by J. Wilkes Booth. June 17th the " Black Crook " 
 began a week's engagement, and attracted overflowing houses. 
 The Ronconi Italian Opera Company produced " Barber of 
 Seville " August 23d. September 2d, Marietta Ravel ap- 
 peared in the "French Spy." November 12th, Parepa Rosa 
 and Ferranti gave a concert. November 28th, Madame Anna 
 de la Grange, one of the best of operatic artists, appeared in 
 "Norma." 
 
 The Academy of Music had many good attractions in 1867, 
 among them being the Boston Theatre Company in the 
 "Octoroon" and "Griffith Gaunt," with C. R. Thorne, H. L. 
 Bascomb and Louis Aldrich in the casts, Clara Louise Kel-
 
 PROVIDENCE STAGE. l8l 
 
 logg in "Fra Diavolo " and "Lucia di Lammermoor ; " the 
 New York Olympic Company, in the "Long Strike,'' with 
 J. H. Stoddard and young Vandenhoff ; "Uncle Tom's Cabin," 
 with Louis Aldrich as Uncle Tom and Rachel Noah as Topsey , 
 the Boston Theatre Company in " Rosedale " ; Howard Paul 
 and wife ; Edwin Booth as Hamlet; Ristori's farewell. In 
 this engagement she impersonated Elizabeth, but there was a 
 great falling off in receipts compared with her former visit ; 
 Frank Mayo as Richard III., and as Badger in " Streets ot 
 New York ; " Davenport and Wallack Combination, with 
 Emily Jordan and Thomas Placide, the plays being " Othello," 
 "Still Waters Run Deep," "Black Eyed' Susan" and "Da- 
 mon and Pythias ; " Wyzeman Marshall in the " Honeymoon," 
 on which occasion Miss Hannah E. Bailey, of this city, made 
 her de'bat; Kate Reignolds ; C. R. Thorne, Louis Aldrich, 
 James Lewis, N. D. Jones, Louisa Morse, etc., in "Corsican 
 Brothers" and "Carpenter of Rouen;" E. L. Davenport, 
 Frank Mayo and Lucille Western in "Oliver Twist ; " Helen 
 Western in " East Lynne ; " Joseph Proctor and Kitty 
 Blanchard in "Hidden Hand;" Mrs. Lander in "Queen 
 Elizabeth" and " Mary Stuart ; " Mr. and Mrs. Florence in 
 "Handy Andy;" Boston Theatre Company in "Griffith 
 Gaunt" and "Nobody's Daughter;" the Hanlons ; compli- 
 mentary benefit to W. C. Forbes, November 22d ; La Grange 
 and Brignoli in opera; and "Norwood," a play written by 
 Henry Ward Beecher. 
 
 It will be seen that the most notable engagement of the 
 season was that of Mr. Edwin Booth. Mr. Booth was born at 
 his father's country-seat, Belair, Maryland, in November, 1833. 
 When a mere boy, he accompanied his father in his travels as 
 his dresser, studying with and caring for him. His firsl 
 ular appearance on the stage was made at the Boston Museum, 
 in a minor part in "Richard IIP," Sept. 10, 1S49. On the 
 27th of September, 1850, he appeared in the "Iron Chest," 
 as Wilfordy for his father's benefit, at the National Theatre 
 in New York. After the death of his father, young Booth 
 went to California and engaged for utility business. In [854 
 he went to Australia and the Sandwich Islands. Returning 
 to New York, he burst upon the town at Burton's Theatre, 
 May, 4, 1857, as Richard III., and has ever since been i> 
 nized as one of the foremost of American tragedians. In
 
 l82 HISTORY OF THE 
 
 July, 1 86 1, he married Mary Devlin, and sailed for England. 
 Three years after she died. On the 28th of November, 1864, 
 Mr. Booth began an engagement at the Winter Garden, in 
 New York, as Hamlet, which he played one hundred nights. 
 His second wife, whom he married June 7, 1869, was Mary 
 McVicker, daughter of Manager McVicker, of Chicago. Mr. 
 Booth has been a deep and careful student. All the minutiae 
 of the stage he has mastered. His readings are all that can 
 be desired ; his gestures and poses are grace itself. In pri- 
 vate life he is a singularly reserved and silent man. It is not 
 strange. Over his life, from boyhood up, have hung clouds 
 of the darkest gloom, out of which darted one thunderbolt, 
 that almost paralyzed a nation. Through all his trials, and 
 amid assaults as dastardly as they were uncalled for, Edwin 
 Booth still enjoys the respect and honor of his country- 
 men. 
 
 The next season, 1868, brought another-list of the strong- 
 est attractions in the country to this city. At the Academy 
 of Music the Boston Theatre Company presented " Rosedale " 
 and the " Streets of New York ; " January 8th, 9th and 10th, 
 Wyzeman Marshall and Lucette Webster appeared in the 
 " Rag Picker of Paris ; " January 13th to January 20th, M. W. 
 Leffingwell ; January 28th, Nellie Germon ; February 3d, 
 McKean Buchanan; February 17th, 18th, Ada Gray ; March 
 2d, Yankee -Locke and Dollie Bidwell ; March nth, John E. 
 Owens ; March 30th, Joseph Proctor ; April 27th, Mr. and 
 Mrs. E. L. Davenport ; April 29th, four nights, Jarrett & 
 Palmer's company in "White Fawn ;" May nth, 12th, 13th, 
 Edwin Booth in "Hamlet," "Richelieu" and "Katharine 
 and Petruchio ; " May 19th, Adelaide Ristori, another fare- 
 well ; June 1st, Edwin Booth again ; June 2d, Parisian com- 
 pany, with Mile. Lambele in " Grand Duchesse," one of the 
 best entertainments ever given here ; June 16th, Kate Fisher 
 as Maseppa ; July 17th, William Warren as Paul Pry ; Sep- 
 tember 14th, Frank Mayo in " Hamlet," " Corsican Brothers " 
 and "Streets of New York;" September 18th, 19th, "Grand 
 Duchesse" in English, with Eva Brent; September 23d, 
 " Foul Play," with C. R. Thorne and Rachel Noah ; Septem- 
 ber 25th, "Under the Gaslight," with Thorne as Snorkey ; 
 September 28th, Laura Keene in " Our American Cousin ; " 
 October 1st, 2d, 3d, Miss Major Pauline Cushman in "The
 
 PROVIDENCE STAGE. 1 83 
 
 Gypsey Queen ; " October 5th, Maggie Mitchell ; October 
 9th, 10th, Mile. Zoe; October 23d, 24th, Mrs. F. W. Lander; 
 November 6th, 7th, F. S. Chanfrau ; November 18th, 19th, 
 20th, 2 1 st, Edwin Adams in "The Heretic;" November 
 23d, 24th, Mrs. Scott Siddons in " Romeo and Juliet," " As 
 You Like It," with C. R. Thorne, W. F. Burroughs and 
 Rachel Noah in the cast ; December 3d, 4th, 5th, E. L. Dav- 
 enport ; December 7th, John Brougham in the " Lottery of 
 Life;" December 14th, Charles Baum in "The Fool's Re- 
 venge;" December 18th, 19th, E. L. Davenport, advertised 
 as "the greatest actor of the age;" December 22d, J. M. 
 Ward; December 31st, McKean Buchanan. 
 
 This was Mrs. Scott Siddons's first appearance here on the 
 histrionic stage. She came to America only a few months 
 previous, and honored Providence with her first reading in 
 America. She is the great granddaughter of the Mrs. 
 Siddons, and, according to Fanny Kemble, " her exquisite 
 features present the most perfect living miniature of her 
 great grandmother's majestic beauty." She was born in 
 India in 1844, and was educated in Germany. Her first pro- 
 fessional appearance was at Nottingham, England, as Lady 
 Macbeth. Her first American appearance as an actress was 
 at the Boston Museum. 
 
 At the City Hall, the important engagements in 1868, 
 were Charles Dickens, February 20th, 21st, who read from 
 his own works, "The Trial of Pickwick," "Christmas Carol," 
 "Dr. Marigold" and "Bob Sawyer's Party." The house 
 was crowded at both entertainments, and the audiences were 
 delighted. March 27th, La Grange and Brignoli ; April 
 30th, Ole Bull; May 1st, Parepa Rosa; June 6th, "Grand 
 Duchesse," with Tostee ; August 24th, 25th, Grand German 
 Opera Company; August 27th, Blind Tom ; October 12th, 
 Frank Mayo and E. L. Davenport ; November 9th, Clara 
 Louise Kellogg, in concert. 
 
 In 1869 the Academy probably had a larger number of at- 
 tractions than in any other year before or since, during its 
 existence. Some of the most prominent were : January 
 8th, 9th, Florence burlesque troupe in "Grand Duchesse;'" 
 January nth, week, Boston Theatre Company in "After 
 Dark," with Thorne, Aldrich, Weaver, J. M. Ward, Shirley 
 France, T. H. Burns, Rachel Noah, and Helen Tracy; Janu
 
 184 HISTORY OF THE 
 
 ary iSth, 19th, the same in "Foul Play;" January 25th, 
 26th, Edwin Forrest in "Jack Cade" and " Metamora ; " 
 January 28th, Mr. and Mrs. Barney Williams; February 1st, 
 2d, 3d, Florence Burlesque Company, with Jennie Kimball ; 
 February 4th, 5th, 6th, Frank Roche in "Iron Mask," 
 " Rosedale," " Corsican Brothers," and "Dick Turpin ; " 
 February 8th, Elise Holt Burlesque Company in " Lucretia 
 Borgia;" February 9th, 10th, nth, 12th, Boston Theatre 
 Company in "Lancashire Lass" and "Victorine, or, I'll 
 Sleep On It;" 17th, 18th, the same in "Three Guards- 
 men," "Under the Gaslight ;" March 1 1 th, 12th, 13th, Agnes 
 Ethel ; 22d, 23d, 24th, Riching's English Opera Company in 
 "Crown Diamonds," " Martha," etc., with Castle, Campbell, 
 Seguin and others ; April 5th, benefit of J. D. Grace ; 8th, 
 9th, 10th, Mr. and Mrs. Florence; 14th, Lotta in "Fire 
 Fly;" 15th, Boston Theatre Company in " School ; " 20th, 
 21st, 22d, Laura Keene ; 24th, benefit Louisa Morse; June 
 14th, 15th, Wallack's Theatre Company, with Rose Eytinge, 
 Blanche Gray, G. H. Gilbert, Mrs. Sedley Brown, Fanny 
 Reeves, J. F. Hall, J. H. Stoddard, Owen Marlowe, J. C. 
 Williamson, C. H. Rockwell, etc.; 16th, 17th, 18th, another 
 company from Wallack's in "Rosedale" and "The Rivals," 
 Charles Fisher, B. T. Ringgold, J. B. Polk, Emily Mestayer 
 and others in the casts; June 21st, Ada Harland in bur- 
 lesque, " Forty Thieves ;" July 16th, 17th, Kate Reignolds, 
 in "Angel of Midnight;" August 18th, 19th, Whitman's 
 Burlesque Company, in "Field of the Cloth of Gold," with 
 Jennie Kimball, Mrs. Fred Williams, Hattie Snow, Minnie 
 Foster, Eliza Jordan, " Corinne, the Child Wonder," Harry 
 Murdock, C. A. Stedman, etc.; October nth, 12th, 13th, 
 Maggie Mitchell; 19th, 20th, Mr. and Mrs. Barney Wil- 
 liams; November 10th, nth, 12th, George L. Fox; 15-th, 
 16th, Mrs. Howard; 18th, D. J. McGuinness, in "Irish 
 Tutor; "24th, Edwin Booth, in "Hamlet;" 29th, 30th, Lin- 
 gard and Alice Dunning ; December 3d, Jennie Kimball and 
 Corinne; 22d, Kate Reignolds, in "East Lynne ; " 25th, 
 Boston Theatre Company, in " Arrah na Pogue," with Mrs J. 
 B. Booth, Helen Tracy, Frank Roche, Leslie Allen, D. J. Mc- 
 Guinness, H. A. Weaver, H. S. Murdoch in the cast. 
 
 At City Hall, the first event of interest in 1869 was 
 February 1st, appearance of Agatha States as Elvira in
 
 PROVIDENCE STAGE. 1S5 
 
 "Ernani." She was a handsome woman and a thorough art- 
 ist. April 19th, Clara Louise Kellogg was announced for a 
 farewell concert; May 8th, Parepa Rosa; May 21st, Clara 
 Louise Kellogg in "Don Pasquale ; " May 31st, Ole Bull's 
 farewell ; September 30th, the name was changed to Harring- 
 ton's Opera House, and Flora Myers appeared there in the 
 "Sea of Ice;" October 19th, Carlotta Patti in concert; 
 October 29th, Sheridan Histronic Club, in "Gunmaker of 
 Moscow," with Dennis O'Reilly as the Gunmaker; November 
 2d, Theodore Thomas ; November 10th, benefit T. M. Tyrrell ; 
 November 19th, Kate Fisher; November 27th, 29th, 30th, 
 Yankee Locke; December 8th, Mrs. Scott Siddons ; Decem- 
 ber 20th, 2 1 st, Selwyn's Theatre Company in "Follies of a 
 Night ; " December 27th, Dollie Bidwell.
 
 CHAPTER XVI. 
 
 1870-71. 
 
 Harrington's Opera House takes the lead— Clara Louise Kel- 
 logg's third "Farewell"— The Russian Concert Troupe— Bene- 
 fit op Anita L. Harris— Tompkins and Thayer's lease of the 
 academy expires— A long list of good attractions— Lawrence 
 Barrett in the " Man o' Airlie"— Sketch of Mr. Barrett. 
 
 IN 1870, Harrington's Opera House took the lead in the 
 number and excellence of its attractions, although 
 the Academy had a few of the best. At the former 
 house Clara Louise Kellogg appeared in concert January 5th, 
 this being her third "farewell ; " January 20th, 21st, Russian 
 Concert troupe, with the great tenor, Agreneff Slaviansky. 
 (This company created a great sensation here by its excellent 
 singing and the novelty of the music produced.) January 26th, 
 27th, 28th, F. S. Chanfrau, Ettie Henderson, C. R. Thorne, 
 C. T. Parsloe, etc., in " Sam " and "Joe," an extra attraction 
 being the recital of " Sheridan's Ride," by Mr. Thorne ; 
 February 1st, Parepa Rosa in "Maritana" and " Fra 
 Diavolo." On this occasion Rose Hersee made her d3ut 
 here. She soon became a great favorite in this country. 
 February 24th, 25th, 26th, E. L. Davenport came in " Enoch 
 Arden," etc. March 9th, Selwyn's comedians came. Among 
 the familiar names in this company were Stuart Robson, H. F 
 Daly, Harry Pearson, H. L. Bascomb, H. Melmer, T. H 
 Burns, C. Stedman, O. A. Dinsmore, T. Goldthwait, Kittie 
 Blanchard, Mrs. E. L. Davenport, Mary Cary, Ida Savory, 
 Miss Athena, Jennie Pearson. March 17th, 18th, 19th, John 
 Brougham came in the " Lottery of Life ; " March 24th, 25th, 
 26th, Lester Wallack in "Ours;" April 18th, 19th, Mrs. 
 Scott Siddons as Rosalind and Lady Teazle; April 26th, 
 27th, 28th, Maggie Mitchell ; May 7th, farewell of Howard 
 Paul and wife ; May 14th, Mrs. Scott Siddons in " King 

 
 PROVIDENXE STAGE. I 87 
 
 Rene's Daughter" and " Frou Frou"; May 16th, Emma 
 Waller ; June 8th, 9th, Sophie Worrell Company ; June 10th, 
 nth, " The Lancers," with Charles Wyndham, J. C. William- 
 son, C. H. Rockwell, Louise Moore and Amelia Harris in the 
 cast; August 1st, complimentary benefit to Miss Anita L. 
 Harris, of this city. Fanny Burt, Frank Evans, Dennis 
 O'Reilly and others appeared. August 15th, 16th, Maffitt 
 and Bartholomew ; August 24th, Lingard and Alice Dunning ; 
 September 12th, Lucille Western; September 26th, 27th, 
 Albert Aiken ; October 2d, week, Lydia Thompson troupe ; 
 October 10th, nth, J. K. Emmet ; October 12th, 13th, Theo- 
 dore Thomas; October 21st, 22d, Mrs. Scott Siddons in 
 "Twixt Axe and Crown ; " October 24th, 25th, 26th, Maggie 
 Mitchell ; October 28th, Adelaide Phillips and Jules Levy ; 
 October 29th, 31st, Rose and Harry Watkins ; November 3d, 
 Harry Taylor in " Ticket of Leave Man," with Lillie Wilkin- 
 son as Sam Willoughby ; November 5th, 6th, Mrs. J. A. Oates 
 in " The Fair One with the Blonde Wig ; " November 1 ith, 
 Christine Nilsson, with Annie Louise Cary and Brignoli ; 
 November 22d, 23d, 24th, Fannie Herring, Yankee Locke, T. 
 H. Burns and others, in "Sam Patch in France," etc. ; No- 
 vember 28th, 29th, Mrs. D. P. Bowers ; December 5th, Mrs. 
 G. C. Howard ; December 10th, English Opera Company, 
 with Castle, Bowler, Lawrence, Campbell, Drayton, Seguin, 
 Rose Hersee, Zelda Seguin, etc. ; the operas were " Martha " 
 and " Dinorah ; " December 26th, 27th, Stuart Robson ; 
 December 29th, 30th, Mr. and Mrs. Barney Williams. 
 
 The principal attractions at the Academy of Music in 1870 
 were Lucille Western, January nth, 12th, 13th; Italian 
 Opera Company, with Sig. Torriani, Miss Kellogg and Sig. 
 Lefranc, in "Lucia" and "Trovatore;" March 28th, 20th, 
 Lisa Weber's Burlesque Company, April nth, 12th, 13th; 
 E. L. Davenport and Wyzeman Marshall, April 20th ; Mrs. 
 Howard, April 30th ; Parepa Rosa in " Rose of Castile" and 
 "Marriage of Figaro," with Rose Hersee, Mr. and Mrs. 
 Seguin, Castle and Campbell in the cast. This was one of 
 the most successful as well as most agreeable operatic per- 
 formances ever given in Providence, and merited, as it re- 
 ceived, the patronage of the best people in the city ; Sep- 
 tember 26th, 27th, Lisa Weber in burlesque, advertised as 
 the only successful rival of Lydia Thompson.
 
 1 88 HISTORY OF THE 
 
 The lease of the Academy of Music by Tompkins & 
 Thayer, of the Boston Theatre, had now expired, and for a 
 few years there were no dramatic entertainments given there. 
 This left Harrington's Opera House as the only place in the 
 city for such entertainments, and, for the year 1 871, except 
 during the hottest months, it was almost constantly filled. 
 
 The principal attractions were as follows : January 6th, Lil- 
 lie Wilkinson ; 20th, John Murray; 23d, Wyzeman Mar- 
 shall ; February 2d, Maretzek's new German Opera Company 
 in "Stradella," with Karl Formes, Theodore Hablemann,etc; 
 February 6th, John E. Owens ; 8th, Kellogg, in concert ; 
 14th, H. G. Clarke's Dramatic Company in "Streets of New 
 York ;" 23d, 24th, 25th, Adelphi Burlesque Company ; March 
 4th, Lina Edwin; 6th, 7th, John E. Owens; 10th, nth, 
 12th, John L. Hall; 14th, 15th, Ravel-Martinetti troupe; 
 31st, benefit C. T. Parsloe ; April 3d, 4th, 5th, Fox and 
 Denier troupe; nth, 12th, 13th, Maggie Mitchell ; 17th, M. 
 W. Leffingwell ; 21st, 22d, Lingard and Alice Dunning; 
 24th, Mrs. G. C. Howard ; May 5th, 6th, Oliver D. Byron ; 
 8th, 9th, 10th, Lucille Western; 12th, Stuart Robson ; 22d, 
 J. L. Hall ; 29th, 30th, Joseph Jefferson ; June 5th, 6th, J. 
 W. Wallack ; 8th, 9th, 10th, John Brougham; 14th, 15th, 
 16th, Butler & Gilmore's Combination ; 23d, 24th, Tony Pas- 
 tor ; 30th, Sheridan & Mack ; July 4th, H. C. Clarke's Com- 
 pany ; August 3d, benefit John Murray; 16th, 17th, 18th, 
 19th, Lauri troupe ; 26th, 28th, J. G. Campbell; September 
 4th, 5th, O. D. Byron; 8th, 9th, Edwin Adams; nth, 12th, 
 Lawrence Barrett in " Man 0' Airlie ; " 16th, 18th, Albert W. 
 Aiken ; 23d, 24th, E. T. Stetson ; October 2d, John L. Hall ; 
 9th, J. K Eaimet; nth, 12th, J. M. Ward; 13th, 14th, Kate 
 Reignolds ; 19th, Lydia Thompson; 23:1, 24th, Rose and 
 Harry Watkins ; 30th, 31st, Gus Phillips in " Oofty Gooft ; " 
 November 9th, benefit of J. D. Grace; 13th, 14th, Mrs. 
 Macready in the character of SJiylock ; 15th, D. E. Band- 
 mann ; 21st, 22d, Joseph Murphy; 23d, 24th, 25th, Villa & 
 Miner's Comic Opera Company; 30th, Lotta ; December 
 23d, 25th, Frank Mayo. 
 
 One of the most pleasing events of the season at this house 
 was the appearance of Mr. Lawrence Barrett in " The Man 
 o' Airlie." It made a deep impression upon the better class 
 of theatre-goers, and was talked about for a long time. The
 
 PROVIDENCE STAGE. I 89 
 
 Providence Journal said of it : " Mr. Lawrence Barrett has 
 made the charactor of James Harebell 'his own, and from first 
 to last does it just justice. Easy, smooth, natural, he not only 
 enters into the spirit of the character, but he carries the audi- 
 ence with him, and he makes them a part of the play." 
 
 This play was always a favorite with Providence audiences, 
 but Mr.Barrett found it unprofitable in many other cities, and 
 especially in the smaller places, so that he played it but sel- 
 dom after the first year or two. It was what is known in the 
 profession as " over the heads " of the average audience. 
 
 Mr. Lawrence Barrett was born at Paterson, N. J., April 
 14, 1838. He was so sickly and feeble in his young clays 
 that his mother often had to carry him to school in her arms. 
 His health improved after his family moved to Detroit, while 
 he was quite young. But the family was poor, and he had to 
 seek employment while still a boy. He became call-boy in 
 the Metropolitan Theatre, at a salary of $2.50 per week. It 
 may be imagined that a bright boy was not slow at the theatre 
 to gain a love for plays and acting, and that an ambitious boy 
 was not slow to resolve to be an actor, and a great one. He 
 watched all that he saw around him with studious attention, 
 and treasured all that he could learn, adding to it in all his 
 leisure moments by diligent study. As he gained in learn- 
 ing, he began to study speeches from Shakspeare, and to re- 
 cite them to amuse his companions, and he watched the 
 method of such good actors as he had the fortune to hear. 
 At length he attracted the attention of the manager, and on 
 a happy day in 1853 the part of Muirad in "The French 
 Spy" was given to him. He did it so well that other small 
 parts were given to him from time to time. Soon afterwards 
 he went to Pittsburg, and for two years played in the support 
 of many of the leading stars. In 1857, he was playing lead 
 ing parts at the Old Chambers Street Theatre in New York, 
 and attracted so much favorable attention from managers that 
 he was placed in the position of being able to make cli 
 among the theatres of New York for his next season's en- 
 gagement. He went to Burton's and there met Edwin 
 Booth, who came as a star. A friendship was thus early 
 formed between them, which continued up to the death of 
 Mr. Barrett. In 1858 he went to the Boston Museum as
 
 I9O HISTORY OF THE 
 
 leading man. He remained there two years and then went 
 to the Howard Athenaeum. When the war broke out he en- 
 listed and served as captain of Company B, of the Twenty- 
 eighth Massachusetts Volunteers, from Oct. 8, 1861, to Au- 
 gust, 1863. Upon his return to the North he played in Phil- 
 adelphia, Washington, and New York, and finally went to New 
 Orleans to manage a theatre there. His starring began in 
 1864. He made trips to Europe in 1866, '67 and '68, and in 
 '69 opened the California Theatre with John McCullough as 
 his partner. The following year he sold out to his partner 
 and resumed starring. He soon after opened at Niblo's Gar- 
 den in New York, and during his engagement there " Julius 
 Caesar " was produced. His impersonation of Cassius was 
 considered superior to that of any other man who had ever 
 played the part there. Soon after he went to Booth's 
 Theatre, and for sixteen weeks played opposite characters to 
 Mr. Booth. June 5, 1871, the first production in this coun- 
 try of the "Man o' Airlie" was given. In 1872 he was in 
 the great cast of "Julius Caesar" at Booth's, and again in 
 1875. I n 1884 he played an engagement at Irving's theatre 
 in London, and was given a banquet by the leading literary 
 men of the great metropolis at the Langham Hotel. Mr. 
 Barrett's subsequent career is pretty well known to all theatre- 
 goers. He produced more good plays than almost any other 
 man in the country. He was a brilliant writer, an excellent 
 speaker, and no man in his profession has ever held a higher 
 position among men of distinction in this country. After his 
 final union of interests with Mr. Booth, the season began at 
 Buffalo, Sept. 12, 1887, the supporting company being one 
 of judiciously selected people, acting together under the 
 stage direction of Mr. Barrett. Such audiences were never 
 known in the theatres of the United States, as patronized 
 Booth and Barrett throughout the season, the unprecedented 
 success of which is defined by the fact that the profit to the 
 tragedians was undoubtedly greater than had ever before been 
 realized by any two actors in this country. 
 
 Messrs. Booth and Barrett were playing at the Broadway 
 Theatre in New York at the time of his death. He had 
 caught a severe cold while at rehearsal, but thought lightly of 
 it. March 16, 1891, he was cast for Adrian De Mauprat in
 
 PROVIDENCE STAGE. I9I 
 
 "Richelieu," but was too ill to appear. The following night 
 he played the part without apparent difficulty, but that was 
 his last night on the stage, for in spite of the skill of dis- 
 tinguished physicians, he passed away on Friday morning, 
 March 20th. He left a widow and three daughters, the latter 
 being all married.
 
 CHAPTER XVII. 
 
 1871. 
 
 Opening of the Providence Opera House— A building that cost 
 more than all the other theatres providence had ever had— 
 The original stockholders— Sketch of the opening exercises— 
 Ex-Gov. Van Zandt's poem— Cast of the First Play— Some of 
 
 THE POPULAR PLAYS GIVEN— PAREPA ROSA AND CHARLOTTE CUSH~ 
 MAN THE ONLY STARS OF THE FIRST SEASON. 
 
 THE great event of 1871, and one of the greatest events 
 in the dramatic history of the city, was the opening 
 of the Providence Opera House. For many years a 
 movement had been on foot to erect an opera house here, 
 and a few wealthy gentlemen had gone so far as to purchase 
 land for such a building. At this point, however, there 
 seemed to be a sudden collapse, and it was freely predicted 
 that it would be years before any building such as contem- 
 plated would be erected. In July, 1871, the writer was vis- 
 iting at the residence of Maggie Mitchell, then on Cedar 
 Avenue, Long Branch. Mr. William Henderson was a near 
 neighbor, and, in conversation with .him one day about the 
 lack of a good theatre in Providence, he said that he had so 
 much confidence in its being a profitable investment, that he 
 would willingly take $10,000 worth of the stock. The writer 
 told Mr. Henderson that if he would accompany him to Prov- 
 idence, he would introduce him to the gentlemen most inter- 
 ested in the matter, and he had no doubt that they would act 
 favorably upon it at once, if a man with his experience was 
 willing to prove his faith in the enterprise by subscribing the 
 amount named. Mr. Henderson came to Providence the fol- 
 lowing week, and the writer took him to Col. Henry Lippitt's 
 office, then in the Reynolds Building, on Weybosset street, 
 and introduced him to Mr. Lippitt. They had not been in 
 conversation half an hour before Mr. Lippitt said the matter
 
 PROVIDENCE STAGE. 1 93 
 
 was as good as settled ; that there would be a new opera 
 house here, and that it would be a good one. With his well- 
 known energy, he left his office, and, before night had come, 
 as it has often been stated, all the necessary money had been 
 pledged. Just as soon as the preliminary details could be 
 arranged, the work began on the foundation at the corner of 
 Dorrance, Pine and Eddy streets, and in ninety working days 
 the structure had been completed, and the new Providence 
 Opera House was opened on the evening of Dec. 4, 1871. 
 The carpenters were at work even after the doors opened, 
 and the last nail was not driven until within ten minutes of the 
 time for the curtain to go up. Eight days before the opening 
 the scene painter, Mr. Richard Marston, had not touched the 
 drop curtain, and that seemed to annoy Mr. Henderson more 
 than anything else. He finally made a wager of a basket of 
 wine with Mr. Marston that the curtain would not be com- 
 pleted in time. The wager was readily accepted, and it was 
 won by the painter, but he had very little time to spare. 
 
 Other difficulties which Mr. Henderson encountered in 
 opening were in regard to his leading man, and the leader of 
 the orchestra. Mr. Charles R. Thorne, Jr., had been engaged 
 for the first position, and Mr. Frank Howson for the second. 
 Both of them asked to be excused a very few days in advance 
 of the opening, on account of having much more flattering 
 offers in New York. At the last moment Mr. William F. 
 Burroughs was secured in Mr. Thome's place, and Mr. Ferd 
 Von Olker in Mr. Howson's place. There were minor diffi- 
 culties numerous enough to discourage ninety-nine men out 
 of one hundred, but Mr. Henderson had sufficient pluck to 
 overcome them. The following account of the opening from 
 the Providence Journal of Dec. 5, 1871, will give an adequate 
 idea of the occasion : 
 
 "The long-desired and long waited-for Opera House for 
 the city of Providence was brilliantly inaugurated Last even- 
 ing. The event was of great interest to our citizens, and the 
 locality became a great centre of attraction. Long beJ 
 the doors were opened a dense crowd gathered upon the side- 
 walk and in the street in front of the entrance, evincing much 
 eagerness to obtain an early admittance. As soon as an op- 
 portunity was afforded there was a rapid influx of people to 
 all parts of the house, which was speedily filled with an 
 
 13
 
 194 HISTORY OF THE 
 
 enthusiastic auditory. Before the commencement of the per- 
 formance it was thoroughly packed. All seemed in excellent 
 spirits, and everywhere from amid the buzz of voices one 
 might overhear expressions of surprise and pleasure at the 
 beauty, neatness and fitness of the house and its decorations. 
 There seemed to be a general feeling of rejoicing at the happy 
 and successful completion of the important enterprise, and 
 the taste and liberality of the builders received unstinted 
 praise." 
 
 At eight o'clock the performance of the evening was intro- 
 duced with a national overture by the orchestra. The first- 
 raising of the curtain was greeted by hearty cheers. Upon 
 the stage were Col. Henry Lippitt, President of the Opera 
 House Association, and His Honor Mayor Doyle. Colonel 
 Lippitt delivered a formal address, giving a brief history of the 
 stage in Providence up to that time. He then spoke of the 
 strength of the present building, its arrangements for the 
 extinguishing of fires, modes of egress, etc. He said it had 
 been built from its foundation in ninety working days. The 
 lot cost $62,000, the building proper, $90,000, the stage fur- 
 niture, scenery, etc., $20,000, chairs, furniture, etc., $15,000, 
 making the total $187,000, more money than all the theatres 
 that had been built in the city had cost from the beginning. 
 The " Star Spangled Banner " was then sung by the stock 
 company very creditably, after which a poem, written expressly 
 for the occasion by Gen. C. C. Van Zandt, was read by E. L. 
 Tilton, the stage manager. Mayor Doyle and Manager Hen- 
 derson then made appropriate addresses. 
 
 Following is the poem of General Van Zandt : 
 
 Bright fairy Puck! swifter than rifle shot, 
 
 Put round the earth, thy girdle span of light, 
 
 And tie it in a jewelled lover's knot; 
 
 There by the footlights — on the stage to-night 
 
 'Tis done — it swings as musical as chimes 
 
 Of " sweet bells " never "jangling out of tune," 
 
 A star-beam ladder — how the fairy climbs 
 
 To dress his elf locks in the mirror moon. 
 
 Now Puck ! leap down ; don't bump, your little head 
 
 On the proscenium, you may break a bone — 
 
 Or singe your silver wings, or voice, instead 
 
 By?<7/bv falling in the big trombone; 
 
 Here, take my hand, stretch up on your tip-toe, 
 
 Stop winking at the girls — the men will hiss! 
 
 You've lived forever! now I want to know
 
 PROVIDENCE STAGE. I 95 
 
 What Roger Williams would have thought of this ? 
 Why ! when he landed on the Seekonk shore 
 The Indians said " What Cheer?" and it's but fair 
 That if he was with us now once more, 
 He'd say " I'll take the best orchestra chair ! " 
 For, after his long life, so orthodox — 
 His very bones don't fill a. private box, 
 Yet I believe that stalwart Baptist bore, 
 Wit brightening wisdom's 'neath his thatch of gray, 
 And would have loved the stage, and cried encore! 
 Although he travelled in another way. 
 Never by stage — but made tracts on the shore. 
 Come, Puck! trot out your memories from their cloisters. 
 These opening nights are death to rhymes and oysters. 
 
 Throwing up his dimpled heels, 
 Turning somersaults and wheels, 
 Every feather in his wings, 
 Like a song-bird trills and sings; 
 Dancing eyes, like diamonds bright, 
 Tangled curls of sun-rise light, 
 Teeth as white as snowdrops are, 
 Laugh like music from a star, 
 Cheeks as red as sunset hue, 
 Breath like violets wet with dew, 
 Little Puck paints fair and fast, 
 Mystic pictures from the past. 
 
 My Lords and Ladies, for upon my word, 
 
 Each Yankee is a Lady or a Lord ; 
 
 The night was dark, a gale was rising fast, 
 
 And Newport's spires quivered in the blast, 
 
 When, in a little building by the shore, 
 
 Half deafened by the Equinoctial roar, 
 
 A band of players from across the sea, 
 
 Acted a queer, old-fashioned comedy — 
 
 Giving their earnings to sweet charity. 
 
 There first upon our fields the buskin trod, 
 
 Where beaded moccasins had pressed the sod. 
 
 And there, a century since, the fair Muse bore 
 
 Her first glad offering on New England's shore. 
 
 Your city has a pleasant pictured page, 
 
 In history for her annals of the Stage, 
 
 Radiant with stars, how brilliant seems, for60 
 
 The kingly splendor of the elder Booth; 
 
 Whether with tragedy he rent the air, 
 
 Or, with a tender pathos, rich and 
 
 Gave a new music to the Lord'6 own prayer. 
 
 Old men are living now, who loved to n 
 
 George Frederick Cooke upon the busj street, 
 
 Heard Hackett roar in Falsi, ij, or ; 
 
 Finn flash his wit's electric-pointed lai 
 
 Seen Charles Roan's Hamlet, and you; 
 
 And mad Joe Cowell play his pranks 80 queer,
 
 I96 HISTORY OF THE 
 
 Heard Conway's voice, who sleeps beneath the wave, 
 
 Or Hazard's fire, quenched in an early grave, 
 
 Or Charlotte Cushman, seem the blood to freeze 
 
 In gaunt, prophetic, weird Meg Merrilies. 
 
 Here Taglioni whirled in firefly maze, 
 
 Madame Augusta flashed between the plays. 
 
 Or Fanny Ellsler's sweet, bewitching glance, 
 
 Made hearts beat cadence to her airy dance. 
 
 And later still, came Howard, Forbes and Drew, 
 
 The Palmers' grassy mound is wet with dew. 
 
 Old Pardey's nights were crowned with an encore, 
 
 And Varrey " set the table on a roar." 
 
 Grace strode the stage superbly rich in health, 
 
 Now he lies palsied — aid him from your wealth! 
 
 Three times the fire-fiend flung his blazing torch 
 
 Against the lintels of the Thespian porch. 
 
 Three times the Drama sank in dark eclipse, 
 
 The very fruit was ashes on the lips. 
 
 A truce to memories! We have come to-night, 
 
 With bursts of music and a flood of light, 
 
 To dedicate to the Historic Muse 
 
 This splendid temple ; not alone we choose 
 
 To garland her white limbs and crown her head 
 
 With flowers plucked from the past, but we instead 
 
 Would nightly on this mimic stage rehearse, 
 
 Great thoughts embalmed in purest prose and verse, 
 
 And elevate the drama from a trade, 
 
 To what it was when Shakespeare wrote and played, 
 
 Call a glad smile to lips grown white with care; 
 
 Show virtue radiant as she is fair. 
 
 Act comedies culled from " the golden age," 
 
 Retouch with living hues each master's page; 
 
 Call Garrick's spirit from across the sea, 
 
 And Siddons, stately Queen of Tragedy. 
 
 Then Science, Art, the Drama, linked will stand, 
 
 The Sister Graces of this Western Land. 
 
 The play selected for the opening was " Fashion," written 
 by Miss Anna Cora Mowatt. The cast was as follows : 
 
 Adam Trueman, . . Mr. Milton Rainsford. 
 
 Count Jolimaitre, 
 
 Col. Howard, 
 
 Mr. Tiffany, 
 
 T. Tennyson Twinkle, 
 
 Augustus Fogg, 
 
 J. Timpkins, 
 
 Gordon, 
 
 Snobson, 
 
 H. L. Bascomb. 
 Mark Price. 
 W. A. Donaldson. 
 S. Phileo. 
 W. C. Raymond, 
 W. Part el lo. 
 J. M. Allison, 
 W. P. Sheldon.
 
 PROVIDENCE STAGE. I 97 
 
 Zeke, 
 
 Gertrude, 
 
 Millinette, 
 
 Prudence, 
 
 Mrs. Tiffany, 
 
 Seraph ina Tiffany, 
 
 Angelica, 
 
 Miss Gordina, 
 
 Mr. \Y. W. Moreland. 
 Miss Isadore Cameron. 
 Mrs. Nellie Morant Bowen. 
 Miss Ada Monk. 
 Miss Isabella Preston. 
 Miss Anita Harris. 
 Miss R. Rainsford. 
 Miss E. Rainsford. 
 
 The play was not the best that might have been chosen, 
 but it was selected because it gave the ladies an opportunity 
 to show some handsome dresses. 
 
 The original stockholders of the Opera House were : Wm. 
 Henderson, Henry Lippitt, Earl P. Mason, Wm. S. Slater, 
 Lyman B. Frieze, Christopher Lippitt, Alfred Anthony, Henry 
 J. Steere, Wm. Butler, Francis S. Brownell, Wm. H. Rey- 
 nolds, Henry C. Clarke, Martin C. Stokes, John T. Mauran, 
 James Eddy, Albert C. Eddy, H. A. Hidden, Wm. D. Davis, 
 Caleb Seagraves, Wm. B. Wightman, Henry G. Russell, 
 John Carter Brown, Moses B. I. Goddard, Alfred Read, S. 
 Henry Angell, Henry L. Fairbrother, Edmund Davis, B. F. 
 Thurston. 
 
 The second night of the season there was a great contrast 
 in the audience, the house being not more than two-thirds oc- 
 cupied. Fears were expressed that it was going to be a fail- 
 ure after all, but from that night on until the season was 
 nearly closed crowded houses were the rule, and at the matinees 
 the " standing room only" sign was almost invariably dis- 
 played. 
 
 Mr. W. F. Burroughs, the leading man, joined the com- 
 pany at the beginning of the second week, when the 
 " Romance of a Poor Young Man " was produced. He- 
 made a "hit" at once, and was a great favorite throughout 
 the season. Nearly all of the other members became quite 
 popular, especially Misses Cameron and Monk, and Messrs. 
 Sheldon andTilton. 
 
 Stars were unnecessary that season, but Mr. Henderson 
 made some sacrifices in order to allow his patrons to 
 Parepa Rosa in opera, and Charlotte Cushman. The former 
 came January 29, 30, 31, 1872, in "Trovatore," " Satanella," 
 and "Don Giovanni," and the latter May 29th, 30th, 31st,
 
 I98 HISTORY OF THE 
 
 and June 1st and 3d in "Henry VIII." and "Guy Manner- 
 ing." The most popular plays of the season were " Rose- 
 dale," " Dot," " Divorce," " Honeymoon," and " Ours." The 
 season continued with one or two short intervals, until August 
 10th, Geo. L. Fox, with his " Humpty Dumpty " being there 
 the last week.
 
 CHAPTER XVIII. 
 
 1872-1873. 
 
 FlEST APPEARANCE IIERE OF FANNY JaNAUSCHEK— SKETCH OF Hi I. 
 
 Dramatic Career— Harrington's Opera House has a Number 
 of Good Attractions— Second Season at the Peovtdeni i. 
 Opera House— First Appearance at this house of Edavin Booth- 
 First AND ONLY APPEARANCE IN PitOVIDKNCE OF ADELAIDE NEILSOH 
 
 —Sketch of Miss Neit.son-The "Froo Opeba"-Long engagemeki - 
 of stars— The third season brings hard work for the stock 
 company— First appearance of the Vokes Family— Sketch of 
 J. K. Emmet. 
 
 EVEN with its great advantages the Providence Opera 
 House did not by any means have a monopoly of the 
 best of the dramatic and lyric entertainments in 1872, 
 for Harrington's Opera House continued to get many of 
 the leading stars and combinations, and they were patron- 
 ized in accordance with their merits. J. K. Emmet came to 
 the latter house January 1st with "Fritz." Fanny Jan au- 
 schek made her first appearance in this city at that house 
 January 9th, in " Mary Stuart " and "Deborah." This greal 
 actress is a Bohemian, and was born in Prague, July 20, 1830. 
 She made her American debut at the Academy of Music, 
 New York, as Medea, Oct. 9, 1867. It is said that her early 
 life was one of privation and hardship, but that her intel 
 triumphed at last, and from her dibut as Tpkigenia, at Frank- 
 fort in 1848, her success has been assured. For twelve y< 
 she was a favorite in that city, and subsequently appeared in 
 Dresden and other cities of Germany. At Moscow the em- 
 peror gave her a diadem of diamonds, and her jewels are said 
 to exceed in value those of any actress on the stage. Up to 
 1871 she performed only in German, but aftei a return to 
 Germany and a tour of the continent, she determined to 
 in English, and has done so with greal success. Jan 
 has been justly styled a grand actress. Lacking the finish
 
 200 HISTORY OF THE 
 
 and grace of Ristori and Rachel, she has excelled in the mas- 
 sive strength of her personations. She is a disciple of what 
 is termed the Northern school of art, and, as such, knows no 
 equal in America. The heroic roles are hers by right, al- 
 though in more trifling parts she has shown herself an artist. 
 Among the characters enacted by her with success have been 
 Adrienne, Medea, Marie Stuart, Brunhild, Bianca, Deborah, 
 Emilia Galotti, Elizabeth, Lady Macbeth, Catherine II, Her- 
 mione, Queen Katherine, Iphigenia and the dual role of Lady 
 Dedlock and Hortcnsc. 
 
 January 16th, 17th, E. A. Sothern appeared as Lord Dun- 
 dreary, supported by D. J. Maguinnis, Shirley France, Louis 
 Aldrich, C. Leslie Allen, Rachael Noah, Clara Poole, Dora 
 Goldthwaite, etc.; January 27th, Frank Mayo ; 29th, Butler 
 Pantomime Company ; February 3d, John Murray ; 6th, Jane 
 Coombs; 12th, Mrs. G. C. Howard; 16th, 17th, Christine 
 Nilsson, with Annie Louise Cary and Brignoli ; 22d, Stra- 
 kosch Company, with Victor Capoul, Marie Leon Duval, 
 Annie Louise Cary, in " Fra Diavolo ; " 23d, 24th, Mile Zoe ; 
 26th, five nights, Mr. and Mrs. W. J. Florence ; March 2d, 
 Albert W. Aiken; 7th, 8th, 9th, Martinetti-Ravel troupe; 
 nth, 1 2th, Maggie Mitchell, prior to her departure for Cali- 
 fornia; nth, Buffalo Bill ; 22d, Oliver Doud Byron; 29th, 
 Mrs. John Wood, in "Poll" and "Partner Joe," supported 
 by Rachel Noah, George W. Wilson and H. S. Murdoch ; 
 May 6th, Tony Pastor, 13th, week, Mr. and Mrs. John L. 
 Hall ; 21st, 22d, Mile. Aimee, first appearance in Providence ; 
 25th, Yankee Locke ; June 3d, benefit of John Murray ; 17th, 
 Joseph Proctor ; July 3d, 4th, Kate Reignolds ; 10th, compli- 
 mentary benefit to Lin W. Harris of this city ; August 20th, 
 Oliver Doud Byron ; 20th, Mrs. Howard ; September 2d, 3d, 
 4th, 5th, George L. Fox; 9th, Tony Pastor; 13th, 14th, 
 Lawrence Barrett, in "Julius Cassar," and "Man o' Airlie ; " 
 1 8th, Mrs. Macready; 26th, 27th, 28th, Maggie Mitchell; 
 October 10th, J.J. McCloskey; nth, 12th, Gen. Tom Thumb 
 and wife, with Commodore Nutt and Minnie Warren ; Novem 
 ber4th, 5th, Lydia Thompson ; nth, 12th, Leo Hudson ; 18th, 
 Little Nell; 21st, Ada Harland ; December 2d, "Black 
 Crook," for two weeks ; 28th, 30th, John Thompson. 
 
 The second season of the Providence Opera House, which 
 opened Sept. 7, 1872, ran continuously until July 10, 1873, or 

 
 PROVIDENXE STAGE. 201 
 
 about forty-two weeks. This second season was a notable 
 one in many ways. It brought many good stars, some excel- 
 lent plays, and some of the stars played long engagements. 
 Mr. J. E. Whiting was the leading man. Miss Isadore Cam- 
 eron was the leading lady for the first part of the season, but 
 she retired and gave place to her sister, Victoria, who di- 
 vided the honors with Marie Bates, the latter coming to the 
 company when the season was well advanced. Nellie Young 
 was the soubrette, and Frederic O. Smith, now Frederick 
 Bryton, was also a member. The stock company opened 
 with " Eustache," a French play, and rather a weak one. It 
 was put on mainly to give the soubrette and comedian an op- 
 portunity to display their ability. The stock company played 
 uninterruptedly until October 30th, when Miss Charlotte 
 Cushman, accompanied by J. B. Booth, came for four per- 
 formances. Mr. W. E. Sheridan was also added to the cast. 
 After Miss Cushman, the stock company continued again 
 until November 22d, with "Article 47." Then Edwin Booth 
 came for one week, supported by the stock, with the addition 
 of Frank Bangs, Bella Pateman, R. Dorsey Ogden and Char- 
 lotte Crampton. The best of society came out during that 
 engagement, and the house was crowded every night. The 
 next star was Jean Burnside, tall and stately, but rather ama- 
 teurish in acting. She was a society lady of New York, and 
 I believe she is still on the stage, but in a rather humble 
 capacity. J. M. Ward and Winnetta Montague followed. The 
 latter was very handsome, but not a good drawing card. F. 
 S. Chanfrau and Carlotta Leclercq followed, each for a week. 
 The former had packed houses, but the latter did not. The 
 stock company produced "Saratoga" in an elaborate man- 
 ner. This was the first of Bronson Howard's plays which 
 made a success. Pauline Lucca, the distinguished prima 
 donna, came with an excellent company and produced 
 " Faust " and "Trovatore." Lester Wallack made his first 
 appearance at the Opera House February 10th, remaining foi 
 a week to crowded nouses. The next star was the famous 
 Adelaide Neilson, who played her first and only engagement 
 here on that occasion. Her characters were Juliet and Rosa- 
 lind. She was sought after and entertained by several dis- 
 tinguished families during her stay here, and one lady gave an 
 immense reception in her honor, two or three hundred people
 
 202 HISTORY OF THE 
 
 being present. Miss Neilson did not arrive there until about 
 midnight. 
 
 Lillian Adelaide Neilson (born 1850, died 1880), was a 
 native of Saragossa, her father being a Spaniard and her 
 mother English. She appeared upon the stage at the age of 
 fifteen as Julia in "The Hunchback." During the next few 
 years she enacted a number of characters successfully. In 
 1872 she reappeared as Juliet in the maturity of her powers, 
 and was recognized as one of the finest exponents of Shaks- 
 perian female characters that the modern English stage had 
 produced. Her career in the United States was one of extra- 
 ordinary success. She visited this country three times, re- 
 turning the last time in 1880 to Paris, where she died. 
 
 Another great event of that season was the first produc- 
 tion of the " Frog Opera " by amateurs. This was the 24th 
 and 25th of February, 1873. Miss Blanche Vaughn, of this 
 city, made her first appearance on the stage on this occasion. 
 Since that time she has made a good stage record. The 
 " Frog Opera " attracted crowded houses and " swell " audi- 
 ences. Mrs. Oates came March 17th with the best company 
 she ever had with her. She jumped into immediate favor, had 
 houses crowded to the utmost capacity for a week, and came 
 back at the end of the month with the same success. For 
 several seasons she played two engagements each season, of 
 one week each, and always to full houses. No star was more 
 popular than she at that time, but in later years she failed to 
 draw even at a much cheaper house. She was born in Nash- 
 ville, Tenn., Sept. 29, 1849, an d was educated in a convent. 
 Her maiden name was Merritt. She had a -dashing style, 
 with the chic of a French artist. She was married three 
 times. During the latter part of her career she grew to be 
 very stout. 
 
 The other stars who came that season were Lillian Eld- 
 ridge, Charles R. Thorne, Jr., J. W. Albaugh and wife (the 
 latter being a sister of Maggie Mitchell), John E. Owens, F. 
 S. Chanfrau, Baker and Farron, Kate Fisher, and George L. 
 Fox. Messrs. Thorne, Wallack, and Chanfrau each played 
 two weeks continuously to large houses, and Kate Fisher's 
 engagement was extended to three weeks. This was Baker 
 & Farron's first visit to Providence as stars, but they became 
 so popular that every successive visit of theirs for years was
 
 PROVIDENCE STAGE. 2C>3 
 
 certain to command crowded houses. Taken as a whole, the 
 season might be called good, bad, and indifferent. The stock 
 company had no great successes such as in the previous sea- 
 sons, " Saratoga " being the only play which brought out full 
 houses. Some of the members lost money when they took 
 their benefits, while only two of the eight who tried this 
 means of adding to their income made a complete success. 
 
 The third season at the Providence Opera House was prob- 
 ably as full of hard work as the members of any stock com- 
 pany ever experienced. They were frequently obliged to 
 study a new play for every night in the week, as they sup- 
 ported all the dramatic stars who came that season, with the 
 exception of Salvini. To give an illustration of what was 
 done, it is only necessary to state that the number of plays and 
 operas presented in the forty-two weeks was 136. The com- 
 pany consisted of Misses Isadore Cameron, Nellie Jones, M. 
 A. Pennoyer, Victoria Cameron, Jennie Bryant, Alice Marie, 
 Mrs. W. P. Sheldon, Monte Ransom, Ida Phillips, Lizzie 
 Aldrich, Misses Fairman and Knapp, and Messrs. Edwin F. 
 Thorne, E. L. Tilton, W. A. Donaldson, W. P. Sheldon, J. 
 Burrows, J. L. Ashton, J. E. Ince, H. L. Bascomb, Frank Cot- 
 ter, F. O. Smith, J. Chrystal, M. Millwood, Messrs. Deering 
 and Thomas. The regular season opened September 10th 
 with " Town and Country." There was a brief preliminary 
 season in which J. VV. Albaugh and wife appeared, supported 
 by their Albany company, and J. H Stoddart came as a star, 
 supported by Rockwell & Ringgold's company. In the latter 
 were Miss lone Burke, a pleasing vocalist, and Miss Julia 
 Gaylord, who has since become famous in Europe as a prima 
 donna in Carl Rosa's company. The stock company strug- 
 gled for several weeks with such plays as " Pizarro," " Money 
 and Misery," " Oliver Twist," " Black Eyed Susan," " Peril," 
 "Far West,"" Sea of Ice," " Ragpicker of Paris," "Ben 
 Bolt," "London After Dark," " Brother Bill and Me," " Wil- 
 low Copse," "Flying Dutchman," " Nick of the Woods," 
 " The Assassin Husband," " Moll Pitcher," " Michael El 
 "Last Days of Pompeii," "Yankee Jack," " Workmen of 
 New York," " Rosina Meadows," "Robert Macai 
 "Trumps," "Dick Turpin," "Nick Whiffles," "Battl< oi 
 Fredericksburg," etc. The audiences were no! large, except 
 in the gallery, during the production of these plays, and it
 
 204 HISTORY OF THE 
 
 was quite a relief when Pauline Lucca came with her opera 
 company for one evening, October 24th. After that the stock 
 kept on until December 1st, when Mrs. Oates came for a 
 week, with her usual success. She was followed by Edwin 
 Booth, who played two weeks successively to crowded houses, 
 presenting a different play at nearly every performance. He 
 was supported by the regular stock company, and with their 
 study, rehearsals and performances they had little time to 
 sleep and eat those two weeks, and none at all for pleasure. 
 
 The next star was J. B. Roberts, who presented "Faust 
 and Marguerite," and this was undoubtedly the poorest en- 
 gagement ever played by any star in Providence. It is 
 doubtful if the receipts reached $100 at any performance. 
 He gave up the engagement on Friday night. Then came 
 Clara Morris, her first engagement in Providence. She ap- 
 peared in the " Geneva Cross," and met with great success, 
 financially and artistically. Frank Mayo, Mrs. Chanfrau, E. L. 
 Davenport, Jane Coombs, Christine Nilsson, the Majiltons, 
 Yankee Locke, Ettie Henderson, Clara Louise Kellogg, F. 
 S. Chanfrau, Edwin Adams, Salvini, Carlotta Leclercq, Lydia 
 Thompson, Kate Fisher and Hernandez Foster were the 
 other stars of that season. The Vokes Family made their first 
 appearance here March 16, 1874, and created 2. furore. Stand- 
 ing room was at a premium during the engagement and 
 each subseqent engagement of this family was equally suc- 
 cessful. 
 
 The grand operas presented that season were as follows : 
 Lucca, " Favorita ; " Christine Nilsson, "Huguenots" and 
 "Martha;" Kellogg, "Marriage of Figaro," "Faust" and 
 " Bohemian Girl." All of these were liberally patronized and 
 all at largely increased prices. The best seats during Nils- 
 son's engagement were $4 each, and not less than $2 when 
 the other artists named were here. 
 
 The benefits to members of the stock company were as 
 disastrous as they were the previous season. Mr. F. O. 
 Smith, was, however, quite successful, because Mr. Dennis 
 O'Reilly appeared upon that occasion as Gaston in the " Iron 
 Mask." 
 
 The principal attractions in Harrington's Opera House in 
 1873 were as follows : January 15th, 16th, 17th, 18th, Wallace 
 Sisters' Burlesque Company; January 18th, 19th, 20th, Buf-
 
 PROVIDENCE STAGE. 205 
 
 falo Bill, with Texas Jack and Ned Buntline ; February 24th, 
 25th, 26th, Robert McWade ; March 3d, 4th, Mr. and Mrs. 
 Dion Boucicault in " Kerry," " Night and Morning," etc. ; 
 February 6th, Little Nell ; February 19th, Joseph Jefferson ; 
 April 1 st, Janauschek in " Chesney Wold ; " April 16th, 17th, 
 Maggie Mitchell ; April 18th, 19th, Tony Pastor ; April 22d, 
 23d, John Murray in " Man Without a Country ; " May 7th, 
 John C. Robinson ; May 12th, 13th, 14th, J. H. Budworth ; 
 May 22d, 23d, Oliver Doud Byron ; August 25th, Helen 
 Temple in " New Magdalen ; " September 5th, 6th, Little 
 Nell ; September 9th, 10th, Lucille Western ; September 1 ith, 
 Clara Norris ; September 13th, Maffiitt and Bartholomew ; 
 September 22d, 23d, Tremaine Brothers ; September 27th, 
 Boston Dramatic Company ; October 3d, 4th, Lydia Thomp- 
 son ; October 13th, 14th, 15th, George L. Fox in "Around 
 the Clock," " Midsummer Night's Dream," etc. ; October 
 23d, Mrs. Howard ; October 31st, Lotta ; November 5th, 6th, 
 Mile. Zoe ; November 12th, J. K. Emmet; December 1st, 
 Salvini, in " The Gladiator ; " December 2d, Vokes Family ; 
 December 25th, C. T. Parsloe in " Streets of New York." 
 
 J. K. Emmet was born in St. Louis, Mo., March 13, 1841, 
 and died at Cornwall-on-the-Hudson, June 15, 1S91. His 
 first occupation was that of a sign painter, and he then be- 
 came a drummer boy in the army. Shortly afterward he tried 
 to do a German specialty in Cincinnati, and was so success- 
 ful that he had no difficulty in getting an engagement. In 
 1868 he played with Dan Bryant's minstrels in New York, 
 and became a great favorite in character songs in German 
 dialect. Then he appeared in a play written for him by 
 Charles Gayler, and soon rose to fame and fortune. It is esti- 
 mated that he was worth upwards of half a million of dollars. 
 His songs at one time were sung all over the country. His 
 histrionic success was largely due to his genial face, sympa- 
 thetic manner, his innate love of fun and the sweet voice 
 with which he sang his own songs. He had many imitators 
 but no equals. For twenty years he maintained his phenom- 
 enal prosperity against all comers and in spite oi certain draw- 
 backs. He was beloved by children and an immense favoi 
 with women, who thronged his performances.
 
 CHAPTER XIX. 
 
 1874-1875. 
 
 Closing of Harrington's Opkra House and reopening of Acad- 
 emy of Music— Academy partially Destroyed by Fire— Fourth 
 Season at Providence Opera House begins discouragingly— 
 List of the stock company and stars— Great Production of 
 the "Two Orphans"— John T. Raymond's First Appearance as 
 "Colonel Sellers "—Sketch of Mr. Raymond — Academy of 
 Music Attractions— Several new stars at Providence Opera 
 House— Great cast of "Julius Cesar"— Mrs. Siddons's Great 
 Week— Sketches of John McCullough and Edwin Adams. 
 
 THERE were two events of considerable importance in 
 1874, namely: the closing of Harrington's Opera 
 House, and the reopening of the Academy of Music. 
 The latter had been closed since 1871. It was partially de- 
 stroyed by fire June 28, 1873, but the damages had been 
 repaired and the house was again in competition. There 
 were but few dramatic attractions upon its stage, however, 
 that year. Several minstrel companies, a few variety organ- 
 izations, and a number of panoramas were the occupants of 
 the house. Cole's Dramatic Company, H. G. Clarke's Com- 
 pany, the Boston Theatre Company, Buffalo Bill, and Charles 
 T. Howard's Company played there at different times during 
 the year. 
 
 Harrington's Opera House continued until August 1st, 
 when Callender's Minstrels gave the closing performance. 
 The attractions at this house that year were as follows : Jan- 
 uary 3d, Tennie C. Claflin as Portia ; 9th, 10th, the Lingards ; 
 1 6th, V tn > Buffalo Bill ; 20th, testimonial benefit to Archie 
 Stalker ; 26th, Dollie Bidwell ; 28th, " Black Crook," recon- 
 structed ; February 23d, Martinetti-Ravel ; March 2d, 3d, 
 Howard Star Company ; 5th, Howard, Langrishe and Carle's 
 "Black Crook;" 9th, E. A. Sothern ; 16th, "Ten Nights in
 
 PROVIDENCE STAGE. 20~ 
 
 a Bar Room," with little Minnie Maddern, Adah Richmond, 
 Gus Williams and Harry Bloodgood in the cast ; April ;th, 
 Mrs. Howard as Topsey ; 17th, 18th, Tony Pastor; 24th. 
 Ada Gray; June 3d, five nights, George L. Fox; July 4th, 
 Flora Myers; 31st, August 1st, closing night. 
 
 The first half of the fourth season at the Providence Opera 
 House must have been decidedly discouraging to the man- 
 ager. There was hardly one good house during the first three 
 months. Melodrama, military drama, society plays, comedies, 
 tragedies, farces were all tried for several weeks, but failed 
 to "catch on." The preliminary season opened August 24th, 
 with the "Seven Dwarfs," which was presented by a good 
 company, but failed to draw. The Majiltons followed, with a 
 little better success. Then came the "Mirror of Ireland," 
 to weak houses. The regular stock opened on Saturday 
 evening, September 12th. The principal members were J. 
 C. Padgett, W. F. Burroughs, Sid Smith, H. C. Norman, 
 Walter Treville, F. G. Cotter, Harry Harwood, Emmie Wil- 
 mot, Lizzie Mahon, Belle Bailey and M. A. Pennoyer. The 
 opening plays were "Woman Keeps a Secret," and " Snow- 
 Bird. " Other plays which immediately followed were "Clouds," 
 "Griffith Gaunt," "Blow for Blow," "Little Emily," "School 
 for Scandal," " Frou Frou," "Foul Play," "Not Guilty," 
 " Flash of Lightning," etc. Not one of these was what might 
 be called a success, and the manager must have been consid- 
 erably out of pocket. 
 
 The Vokes F'amily came for a single night, October 3d, 
 and that was the first full house of the season. Maffit and 
 Bartholomew, and the Stoddard Company, which followed, 
 played to only fair audiences. Barney Williams, the greal 
 Irish comedian, who had hitherto been so popular here that 
 crowded houses always awaited him, gave up his week's en 
 gagement at the end of the third night, telling Manager Hen 
 derson that it was no use for him to go on further; that it 
 was evident the public didn't want him. and lie didn't want 
 any manager to lose mone) on his a< count. 
 
 Mr. Henderson recovered a port ion ol his losses when 
 Mrs. Oates came, and still more when Janauschek followed 
 soon after. About the last oi December business materiall) 
 improved. Baker and Farron came for two weeks to lull 
 houses, Lester Wallack followed lor eight nights, to crowded
 
 208 HISTORY OF THE 
 
 audiences. Frank Mayo succeeded with "Davy Crockett," 
 which was then in its infancy. He remained a second week, 
 with "The Streets of New York." Then came the great 
 stock company success, equal to anything ever known. It 
 was the "Two Orphans." People were turned away at 
 every one of the sixteen performances given of it. Thous- 
 ands still remember how well the characters seemed to fit 
 those who impersonated them ; how well Lizzie Mahon en- 
 acted the blind Louise ; with what force Emmie Wilmot 
 impersonated Henriette ; what a glorious Mother Frochard 
 Mrs. Pennoyer made ; what a villainous Jacques Mr. Treville 
 gave ; what success Messrs. Burroughs and Padgett met with, 
 and they also remember that the scenic display was by far 
 the best that Mr. Henderson had ever given. The run of 
 the piece would have been much longer but for its inter- 
 ruption by previous engagements with stars. It was put on 
 again near the close of the season, but it was after the 
 weather had become too warm for most of the theatre- 
 goers. 
 
 One of the events of that season was the appearance of 
 the Kellogg Opera troupe for a whole week. The houses 
 were crowded, and seats in the parquette readily sold for $2 
 each. The operas given were " Fra Diavolo," "Trovatore," 
 "Mignon," " Ernani," " Faust," "Bohemian Girl," and 
 "Martha." 
 
 March 31st, April 1st and 2d, the " Game of Chess " was. 
 brought out under the management of W. S. Daboll. It was 
 repeated April 19th. 
 
 Lawrence Barrett played a good week's engagement that 
 season. He appeared in Shakspearian plays mostly, but on 
 Friday night and Saturday afternoon he gave his masterly 
 performance of Jamie Harebell in the " Man o' Airlee," and 
 at the matinee there were a large number of church people 
 present, who go to the theatres only about once in ten years. 
 
 John T. Raymond came here for the first time that year as 
 a star, with his Colonel Sellers. Among the other events of 
 the season were the last appearance here of Lucille Western, 
 and the first and only appearance of Kate Field. Taken al- 
 together the season proved one of average profit with its pred- 
 ecessors, notwithstanding the bad beginning. 
 
 John T. Raymond was born in Buffalo, New York, in 1836.
 
 PROVIDE.N'CE STAGE. 209 
 
 His right name was John O'Brien, and he first appeared on 
 the stage at Rochester, New York, as Lopez, in " The Honey- 
 moon," in 1S53. The first part that brought him into promi- 
 nence was Asa Tvcnchard in " Our American Cousin." This 
 character may be said to have made Raymond, as much as 
 Lord Dundreary in the same play undoubtedly made Sothern. 
 This play first appeared at Laura Keene's Theatre, New 
 York, in 1861. One of his greatest successes was made in 
 Mark Twain's dramatized version of his "Gilded Age." He 
 first appeared in the character of Colonel Sellers in this play 
 in 1873, and its success was everywhere instantaneous, and, 
 in spite of other successes, made more recently, the names 
 of Raymond and Colonel Sellers are in the memory of play- 
 goers of this generation convertible terms. He died in Evans- 
 ville, Indiana, on April 21, 1887. 
 
 Having no opposition other than the Providence Opera 
 House in 1875, the Academy of Music was frequently occu- 
 pied by stars and travelling combinations. Among the dra- 
 matic attractions appearing there were the following : Jan- 
 uary 9th, Lingard Comedy Company ; 22d, 23d, Wallace 
 Sisters ; 29th, 30th, Grau & Chizzola's Lyceum Theatre 
 Company; February 25th, 26th, 27th, John Thompson's 
 Company ; March 2d, 3d, John Stetson's Howard Athenaeum 
 Company; 4th, 5th, 6th, George L. Fox; r ith, Barnabee 
 Operetta Company; April 8, Mme Ristori ; 19th, 20th, 
 Fifth Avenue Theatre Company ; 23d, 24th, Tony Pastor ; 
 27th, Archie Stalker; May 1st, 2d, Bessie Darling Com- 
 pany; September nth, Haymarket Theatre Company ; 13th, 
 14th, 15th, Charlotte Thompson; October 8th, 9th, 10th, 
 Harrigan and Hart ; November nth, 12th, Fleming's " Around 
 the World ; " December 25th, T. Charles Howard. Many 1 if 
 these companies came to this house two or three times that 
 season, and there were besides a large number of minstrel 
 companies, etc. 
 
 The fifth season at the Providence Opera House wa 
 of the most memorable in the history of the house. It was 
 not only the first appearance at that house of the ever popu- 
 lar star, Maggie Mitchell, but it also witnessed the first ap- 
 pearance thereof John McCullough, of George Rignold, ol 
 Theresa Titiens, of George Honey, of the great cast in 
 
 14
 
 2IO HISTORY OF THE 
 
 "Julius Caesar," of Barry Sullivan, of Buffalo Bill, of Har- 
 rigan and Hart, of Mrs. Scott Siddons, etc. The majority 
 of these stars attracted immense audiences, and the manager, 
 Mr. Henderson, would have reaped a rich harvest but for the 
 excessive rent which he had to pay and the frequent losses 
 which his stock company made for him. The season opened 
 better than any of its predecessors, because the original 
 Vokes Family was there the first week, beginning Septem- 
 ber 6th. They had made themselves known to Providence 
 audiences the previous year, and, although the weather was 
 decidedly hot, there were no vacant seats during their en- 
 gagement. They were all there : Jessie, Victoria, Rosina, 
 Fred, and Fawdon, and their patrons enjoyed their "Belles 
 in the Kitchen," " Fun in a Fog," " The Wrong Man in the 
 Right Place," etc. After the Vokes came the stock com- 
 pany, the principal members of which were Ida Savory, Josie 
 Bailey, Nannie Egberts, Mrs. Pennoyer, Ada Dow, Ida 
 Waterman, William H. Power, W. P. Sheldon, E. L. Tilton, 
 C. A. Stedman, Walter Treville, I. N. Beers, Harry Harwood, 
 and H. B. Norman. The opening was on Saturday night, 
 Sept. n, 1875, an d a double bill was presented, namely: 
 "Woman's Life" and Wandering Boys." Manager Hender- 
 son was favorable to Saturday night openings for some rea- 
 son or other. The stock company did not make any sub- 
 stantial success during the season, although Miss Ida Savory, 
 who, by the way, was a very handsome young lady, distin- 
 guished herself several times in the support of stars, and 
 also won merited praise by her superb impersonation of Gal- 
 atea in the play of " Pygmalion and Galatea," as well as by 
 a dialect character part in the " Cherry Tree Inn." 
 
 As previously stated, Maggie Mitchell played her first en- 
 gagement at this house that season, and she had a succession 
 of crowded houses. Mrs. Oates followed her with equal suc- 
 cess. Barry Sullivan came after a week's intermission, and 
 he also had crowded houses. Then came the Kellogg Opera 
 Company, with William Castle, Henry Peakes, Mrs. Jennie 
 Van Zandt, and other good people. The operas were " Mig- 
 non " and "Carmen." The " Marriage of Figaro" was an- 
 nounced, but as Miss Kellogg was ill, a change was made. 
 " Henry V.," with the handsome George Rignold, was one of 
 the great sensations of the season. It was one of the most
 
 PROVIDENCE STAGE. 2 I I 
 
 notable productions ever witnessed here. There were up- 
 wards of forty speaking parts, and an auxiliary force of up- 
 wards of one hundred people. The scenery was very hand- 
 some, and it was "the talk of the town." Jarrett & Palm- 
 er's "Two Orphans" Company, with Frank Bangs, Harry 
 Weaver, E. K. Collier, Rosa Rand, Rose Lisle and others, 
 made a great success for a week. No less a success was John 
 T. Raymond, who followed. Lawrence Barrett had a profit- 
 able week, beginning December 13th. Edwin Adams was 
 one of the stars of that season, but his business was not 
 good. F. S. Chanfrau had crowded houses for two weeks, 
 and among the characters he presented was that of S<r/t-w 
 Scudder in the " Octoroon." Mrs. Scott Siddons, who had 
 not been on the histrionic stage for some time, was induced 
 by her friends to accept an engagement. Mr. Henderson 
 gave her $500 for the week, and probably made four or five 
 times that amount out of the engagement, as the house was 
 packed at every performance, and at the Saturday matinee 
 hundreds of people were turned away, even after the orches- 
 tra members had been removed to the stage. Among the 
 plays which she presented was a little gem entitled, " King 
 Rene's Daughter," in which she took the part of Iolanthc, a 
 blind girl. Never was an artist more heartily applauded by 
 a Providence audience than she was on that occasion. 
 
 E. A. Sothern, accompanied by Linda Dietz, was one of 
 the very profitable stars of that season. Theresa Titiens, 
 the great operatic artist, came with the support of Tom Karl, 
 Brignoli, Tagliapietra, and others, and gave "Norma" and 
 "Trovatore" to good houses. "Julius Caesar," with its 
 great cast, Barrett as Cassias, Bangs as Marc Antony, 
 Levick as Cczsar, and Davenport as Brutus, were here May 
 nth, 1 2th and 13th, 1876, with houses crowded to the doors. 
 Buffalo Bill, Texas Jack and the "peerless Morlacchi" 
 made their first visit, and a profitable one it was. Some oi 
 the stars who came that season, who did not do as well as 
 those mentioned above, were Mrs. D. P. Bowers, Char) 
 Thompson, George F. Rowe, E. T. Stetson and G< 
 Honey. One other attraction which remained for nine nights, 
 and which filled the houses as well as creatt ensation, 
 
 was "Around the World in Eighty Days." This was its 
 first production here, and it was a grand one in every respi
 
 212 PROVIDENCE STAGE. 
 
 It has never been done here so well since that time. The 
 season closed June 3d, having continued nearly forty weeks. 
 
 John McCullough was born near Londonderry in 1832, and 
 was brought to this country by his father in 1842. Joining 
 an amateur association in Philadelphia, he made his debut at 
 the Arch Street Theatre, Aug. 15, 1857, as the Servant in 
 "The Belle's Stratagem." His salary as an actor was at first 
 four dollars a week ; the following season it was increased to 
 ten dollars, and his duties extended to the representation of 
 the " heavies." In 1 860-1 he was at the Howard in Boston, 
 under Davenport, and the following season engaged to sup- 
 port Forrest, and was with him until 1866. In that year 
 McCullough took up his abode in California, managing in 
 San Francisco with gratifying success, till the last two years 
 he remained there, when he lost more than he had made. No 
 other man on the stage ever made more sincere friends than 
 genial John McCullough. He died in 1885. 
 
 Edwin Adams was born at Medford, Mass., 1834. He was 
 one of the most promising and versatile actors that ever trod 
 the American stage. First appeared in 1853 at the National 
 Theatre, Boston, as Stephen in " The Hunchback," and in 
 1854 in the Chestnut Street Theatre, Philadelphia, as 
 Charles Woodley in "The Soldier's Daughter." He made 
 his first great hit in Baltimore in 1863 as Enoch Arden. He 
 became famous in England and also in Australia, in Rover, 
 Claude Melnotte, Frank Hawthorne, in " Men of the Day ; " 
 and, after his health began to fail, he showed high promise in 
 Adrian in "The Heretic," and in Macbeth. His William in 
 " Black Eyed Susan," was very fine. He died at Philadelphia 
 Oct. 28, 1877, aged forty-three. 

 
 CHAPTER XX. 
 
 1876-1877. 
 
 Globe Theatre Company in "Our Boys"— Great Cast of "Julius 
 Cesar" for a Second Time— .Sixth Season at Providence 
 Opera House— Daly's Company in " Pique "—Maggie Mitchell 
 Plays Two Weeks— First appearance of Ada Rehan in Provi- 
 dence— Sketch of Miss Rehan— Palmer's Fine Company in i hi. 
 "Danicheffs" —Sketch of Mary Anderson— A disgraceful 
 occurrence at the opera house— Sketch of X. C. Goodwin. 
 
 THERE were two dramatic companies at the Academy 
 of Music in 1876, which attracted immense houses. 
 They were the Globe Theatre Company of Boston, in 
 " Our Boys," and the great "Julius Caesar." Company. In 
 the former were John C. Cowper, George Honey, Owen Mar- 
 lowe, H. S. Murdock, Katherine Rogers and Maude Granger. 
 All of the male portion of the company have since passed 
 away. The "Julius Caesar " Company had but one change 
 in the great quartette since its former appearance at the 
 Providence Opera House, Fred. Warde taking the place of 
 Mr. Bangs. Of the other dramatic attractions at the Acad- 
 emy of Music that year there were February 21st, Murray 
 Dramatic Company ; March 3d, 4th, George L. Fox ; March 
 9th, 10th, 1 ith, " Our Boys " Company; March 20th. 2ist, 
 22d, the same ; April 3d, 4th, 5th, Shook & Palmer's Union 
 Square Company, with Rose Eytinge as the star ; April 1 ith, 
 Stetson's Howard Athenaeum Company ; April 17th, Frank 
 Frayne ; September 2d, Clinton Eddy ; November 14th, 15th, 
 Dow Opera Company, an excellent organization ; November 
 22d, "Julius Caesar " Combination. There were about the 
 usual number of minstrel and variety organizations. 
 
 At the Providence Opera House, Manage] Hender- 
 son evidently didn't know just what to do Li the be- 
 ginning of the sixth season about engagirj om-
 
 2 14 HISTORY OF THE 
 
 pany. Business had not been good for two or three seasons, 
 except with stars and combinations, but there were not yet a 
 sufficient number of stars who carried supporting companies 
 to occupy much more than one-half of the season. He opened 
 Monday, August 28th, with the " Black Crook," under the 
 management of T. Charles Howard. He had the Miaco 
 Family with him, and also Charles and Carrie Austin in drill 
 and bayonet exercises. The company was a fair one. 
 
 The first really good attraction was Augustin Daly's com- 
 pany in " Pique," the cast including D. H. Harkins, W. H. 
 Crisp, Owen Fawcett, C. D. Bainbridge, B. T. Ringgold, 
 Misses Jeffreys Lewis, Ada Gilman and Alice Gray. 
 
 Maggie Mitchell came in October for two weeks, supported 
 by the Leland Opera House Company, of Albany, the leading 
 woman of which was Ada Rehan, who is now so much wor- 
 shipped by the patrons of Daly's Theatre in New York. 
 Besides her there were two good leading men in the company, 
 William Harris and R. Fulton Russell. The first week was 
 devoted to the production of " Mignon," written by James B. 
 Runnion, of the Chicago Tribune, and he was here to super- 
 intend it. The second week a comedy called " Becky Mix," 
 written especially for the star by Clifton W. Tayleure, was 
 brought out. It was a pretty clever piece, but it died an early 
 death. 
 
 Stuart Robson came that season with his play of "Two 
 Men of Sandy Bar," and made one of the most lamentable 
 failures ever known here. There were hardly one hundred 
 people in the house at any one performance, and those who 
 did go always looked as if they had been severely punished for 
 something they were not guilty of. There were excellent 
 people in the company, too, Mark Bates, Hart Conway, 
 Charles T. Parsloe, and Laura Don, being in the cast. 
 
 The spectacular play of " Paolo," by the Kiralfys, was 
 another lamentable failure. It was a very expensive com- 
 pany, with rich scenery, etc., but the receipts were less than 
 two hundred dollars per night. 
 
 During Janauschek's engagement in the middle of Novem- 
 ber, Mr. Henderson inserted the following card both in the 
 newspapers and in the programme: "The Opera House will 
 close after to-night's performance, to open Thursday, Novem- 
 ber 23d, with entire new scenery, new decorations, and new 

 
 PROVIDENCE STAGE. 2 I 5 
 
 carpets in front of the house, and a new stock company. 
 Manager Henderson is confident the opening night will reveal 
 to the public of Providence and vicinity one of the handsom- 
 est arranged and decorated opera houses in this or any other 
 country. The scenery has been for several weeks under the 
 painter's hands, and the company will be of such material as 
 to warrant the public in dispensing with cheap stars. 
 
 This is the only time that Manager Henderson did not 
 fulfill his promises to the public. He was called a very close 
 man, but he always paid his bills; always paid what he agreed 
 to, and often made a heavy outlay in scenery, as in the case of 
 " Rosedale," the " Two Orphans," " Divorce," etc. The stock 
 company which he presented this time had as principals Emily 
 Baker, Augusta Chambers, Georgie Langley, Isabella Pres- 
 ton, Belle Melville, Henry P. Mitchell, George Jordan, S. E. 
 Springer, A. H. Hastings, and I. N. Beers. It did not meet 
 with success. 
 
 Soldene was here that season with the best company she 
 ever had. "Sardanapalus," with Frank Bangs, Louis Aldrich, 
 E. F. Knowles, and Agnes Booth, was a notable production. 
 It had a large cast, fine scenery, and an Italian ballet of fifty 
 dancers. 
 
 H. J. Montague, the handsome actor from Wallack's, came 
 for three nights and had good houses. He received numer- 
 ous notes from the young girls of Providence while he was 
 here, and after the Saturday matinee there were a dozen or 
 more waiting in the parlor of the City Hotel, eager to catch 
 a glimpse of him when he came in, just to see how he looked 
 off the stage. 
 
 Edwin Booth played an engagement of two weeks, 1- 
 ning April 16th, giving his famous impersonation of Bertuccio 
 in the "Fool's Revenge" two or three times. 
 
 The Hoffman Comic Opera Company, Hart/, the magician, 
 Carncross and Dixey, Harrigan and Hart, Adah Richmond, 
 Mr. and Mrs. Florence, Lewis Morrison, Sothem and Fechter, 
 were attractions of that season. 
 
 Near the close Palmer's fine company, including Ch 
 R. Thorne, James O'Neill, Louis James, Fanny Morant, 
 Sara Jewett and Ida Jeffreys, came and produced the " 1 lani- 
 cheffs," making a sensation.
 
 2l6 HISTORY OF THE 
 
 Miss Ada Rehan was born in the city of Limerick on 
 April 22, i860, was taken to America when only six years of 
 age, and has made the United States her home ever since. 
 It was quite by accident that she joined the theatrical profes- 
 sion. She was travelling for pleasure with her sister and 
 brother-in-law. A member of his company was taken ill, 
 and Miss Rehan volunteered to "go on " and play the part, 
 that of an old crone, and so made her debut. The next year 
 she was in Mrs. Drew's stock company in Philadelphia. 
 Then she went to the Louisville Theatre, where she played 
 Ophelia to Mr. Booth's Hamlet, Virginia with Mr. John Mc- 
 Cullough, and leading juvenile parts in support of other 
 stars. These, with a season at Albany and Baltimore thea- 
 tres, were a good schooling, and gave her experience before 
 Mr. Augustin Daly engaged her for his present company, and 
 she has been under his management ever since. She made 
 her New York debut in 1879. She is a sister of Mrs. Oliver 
 Doud Byron. 
 
 Lotta began at the Academy of Music in 1877, her dates 
 being January 1st and 2d. Then came the Boston Museum 
 Company, 12th. The other principal attractions of a dra- 
 matic and musical nature were as follows : January 27th, Kit 
 Carson, Jr. ; February 16th, 17th, Juvenile Opera Company; 
 March 14th, 15th, John T. Raymond; April 9th, 10th, Broad- 
 way Theatre Company ; June 26th, 27th, Mose Fiske in war 
 drama; November 5th, 6th, 7th, "Pink Dominoes." Half 
 a dozen minstrel companies, one or two magical perform- 
 ances, etc., completed the attractions at this house for the 
 year. 
 
 The days of stock companies at the Providence Opera 
 House ended with the sixth season, \Z']6-'j, and that also 
 ended Mr. Henderson's management. After Mr. Henderson 
 left Providence he took the management of the Standard The- 
 atre in New York, where he was very successful. At the time 
 of his death, which occurred in 1890, he was manager of the 
 Academy of Music in Jersey City. His stage career began 
 in 185 1, and as an actor he supported nearly all the principal 
 stars in the country. Before coming to Providence he had 
 managed two theatres in Pittsburg, where he made a fortune. 
 He owned thousands of dollars' worth of real estate at Long
 
 PROVIDEN'CE STAGE. 2 I 7 
 
 Branch, and was one of the wealthiest men in the profession, 
 as well as one of the most honorable. 
 
 His wife, Ettie Henderson, now the lessee of the Acad- 
 emy of Music in Jersey City, has often appeared as a star 
 before Providence audiences. She is very talented, thor- 
 oughly proficient in music, and has written and adapted many 
 successful plays, among- them being " Lena, the Street 
 Singer," "Tot, the Match Girl," "Our Heroes," "Mar- 
 riage," "Bound Forever," "Claire and the Forge Master," 
 "Almost a Life," etc. 
 
 Mr. David O. Black was Mr. Henderson's successor, and 
 the season was a good one, not only financially, but many of 
 the best stars and combinations were seen for the first time 
 in this house. The season continued almost uninterruptedly 
 from the 10th of August, 1877, to the nth of June, 187X. It 
 opened with Haverly's Minstrels, then the leading organiza- 
 tion of the kind, and, although the weather was extremely 
 hot, the houses were full. Barlow and Wilson followed soon 
 afterwards and they also did an excellent business. The 
 "Corsair," Rentz Minstrels, and Tony Pastor came early in 
 the season, all to full houses. Among some of the other 
 great successes were Augustine Daly's company, Kate Clax- 
 ton, Mrs. Oates, Joseph Murphy, Buffalo Bill, Janauschek, 
 Maggie Mitchell, Frank Mayo, the "Drummer Boy," Den- 
 man Thompson, Lotta, the Morris Brothers' Minstrels, Jo- 
 seph Jefferson, Lawrence Barrett, John E. Owens, Fanny 
 Davenport, Barlow, Wilson, Primrose and West, George Rig- 
 nold, Texas Jack, the Frog Opera, Joe Emmet, John T. Ray- 
 mond, the Williamsons in "Struck Oil," John Stetson's 
 "Robin Hood" Company, Jarrett and Palmer's great " Uncle 
 Tom's Cabin Company, Clara Morris, McKee Rankin, Wil- 
 liam Horace Lingard, Robson and Crane (their first visit). 
 the Kellogg Opera Company, with Annie Louise Cary and 
 Marie Rose, the San Francisco Minstrels and Eli/a Weath- 
 ersby and Nat Goodwin. Several of the companies played 
 two engagements that season, including Haverly's Minstn 
 the "Shaughraun," Harry Bloodgood, Tony Pastor, tin I 
 Opera, Mrs. Oates, etc. The principal event was the first 
 appearance in Providence of Mary Anderson, who - ame for 
 two nights only, and attracted the very largesl and most 
 fashionable audiences of the season. The dates ol her ap- 
 pearance here were May 7th and 8th.
 
 21 8 HISTORY OF THE 
 
 Mary Anderson was born at Sacramento, California, in 
 1859. Her father died three years after her birth, fighting 
 under the Confederate flag. Miss Anderson was brought up 
 at Louisville, Kentucky, where her stepfather practiced med- 
 icine, having given up his plantation after the war. Her 
 dramatic tastes showed themselves from her childhood. 
 When she was about thirteen, she saw Booth in " Richard 
 III.," and her imagination was instantly fired. She en- 
 treated to be allowed to adopt the stage as a profession, and 
 after much opposition her parents consented and gave her 
 lessons from the best instructors. At sixteen she made her 
 dtbut as Juliet. For some years she acted all over the 
 States and Canada in various parts, and she had great 
 success in London during her seasons at the Lyceum Thea- 
 tre in 1884 and 1885. In 1889 she revisited America, and 
 made a most successful tour of the chief cities, but her health 
 broke down, and she had to return to England before she had 
 filled all her engagements. She is now married, and has re- 
 tired from the stage. 
 
 Another great event of that season was the second visit of 
 the " Shaughraun " Company. John A. Mackay then imper- 
 sonated Conn, the part usually played by Mr. Boucicault. 
 Only a short time previous, in one of the Southern cities, 
 Nashville, I believe, the " wake " scene had created consider- 
 able disturbance in the audience. The news of the disturb- 
 ance had reached Providence, and some of the "toughs" de- 
 termined to repeat it here. The following account, taken 
 from the Providence Journal of April 26, 1878, gives the par- 
 ticulars of this " Disgraceful Occurrence : " 
 
 " ' Conn, the Shaughraun,' was presented at the Opera 
 House last evening, to a fair audience. The play was very 
 well presented, and ran smoothly up to the third act, in which 
 occurs a representation of an Irish wake over the supposed 
 dead body of Conn. The ' keeners ' had just taken their places, 
 and the long wail was beginning to rise, when a missile, evi- 
 dently apiece of turnip, struck the stage. Another quickly 
 followed, and then half a dozen more came whizzing over the 
 heads of the audience. Some of the missiles struck pretty 
 close to the performers, and there was a sudden cessation of 
 the play. Eggs then began to be thrown, and the ladies on 
 the stage hastily retired. The gallery was hissing sharply,
 
 PROVIDENCE STAGE. 219 
 
 and the order was given for lowering of the curtain. The 
 curtain was not down more than half a minute when it went 
 up again, Conn lay on the shutter as cool as could be, and the 
 thread of the dialogue was taken up where it had broken off, 
 except that the 'keening' was left out. Several more eggs 
 were thrown, and the hissing was so loud as to almost drown 
 the voices of the actors. Comparatively few eggs, however, 
 were thrown after the rising of the curtain, but the hissing 
 continued all through the scene. The next scene passed 
 without interruption or noticeable features, except that Conn, 
 who had come to life, having occasion to call a couple of men 
 on the stage 'cowards,' added, 'like your hissing friends up 
 there.' At this a burst of hissing arose in the gallery, while 
 the occupants of the parquette and dress circle applauded 
 furiously. The applause carried the day, as far as continu- 
 ance went, and the play was finished without further inter- 
 ruption." 
 
 There was only one police officer in the gallery when the 
 egging began. The eggs were not thrown by boys, but by 
 young men. They came from several portions of the gallery. 
 The officer got hold of one man whom he saw throw an egg, 
 but the crowd rushed in and threw the officer down, and the 
 man escaped. Two men were ordered out of the gallery 
 and they left. By the time the officer on duty down stairs 
 had reached the gallery the disturbance was checked. Several 
 eggs were found in the gallery after the close of the perform- 
 ance. 
 
 The following day, April 27th, the Journal said : 
 " ' Conn, the Shaughraun,' was presented again last evening, 
 and the wake scene passed without serious interruption. 
 There were a few hisses when the ' keeners ' came on, and one 
 man is alleged to have tried to make some additional disturb- 
 ance. At any rate he was taken out of the gallery by the 
 police, and there was outward peace after that. The 
 wake scene was very much shortened, in fact was deprived ol 
 most of its characteristic features. The Opera House looked 
 all the evening as if it was under martial law. There w 
 police officers in about every other row of seats, upstairs and 
 down, and two officers sat at the fronl of the orchestra, with 
 their backs to the stage, and never took their eyes of] the 
 gallery the whole evening. When the confusion occasioned
 
 2 20 HISTORY OF THE 
 
 by the removal of the objectionable gallery god, who, by the 
 way, was locked up at the Fifth Station, broke out, there was 
 an uprising of police which would have awed down a small 
 insurrection." 
 
 That year also brought here for the first time as a star Mr. 
 N. C. Goodwin. 
 
 Nat. C. Goodwin, the distinguished comedian, was born in 
 Boston July 25, 1857. He attended first the grammar 
 school, then the high school, of Boston, and subsequently 
 graduated from the little "Blue College" of Farmington, 
 Maine. During the period of his schooling he was noted for 
 his wonderful power of mimicry. He also developed the 
 faculty for committing long essays to memory in a remark- 
 able degree. Having, in 1873, graduated from the college 
 just spoken of, he became a clerk in the dry goods house of 
 Wellington Brothers, of Boston, where he remained for two 
 months. Then he secured a place with B. L. Solomon's 
 Sons, upholsterers, where he managed to remain a whole 
 month. From here he went to Providence and was engaged 
 in William Henderson's Providence Opera House Stock Com- 
 pany, and was cast for the part of Sir George Honnsloiv, in 
 the melodrama of " The Bottle." He was given his part at 
 two o'clock in the afternoon, and at four he was letter perfect. 
 His college training stood him in hand, and he at once won 
 the admiration of every member of the company. The man- 
 ager declared that in the young man Goodwin he had found 
 a jewel. Intelligent, bright and witty, they all predicted a 
 great future for him. At last evening came, and Nat. was 
 " eager for the fray." When the call boy announced his turn 
 he stepped upon the stage, and, having taken his place indi- 
 cated by the manager at the afternoon rehearsal, waited a second 
 for his cue, and, at the proper moment, raised his arm in the 
 attitude of a command, opened his lips, but not a single sound 
 escaped them. He stood there, spell-bound and speechless, 
 a horrible victim of stage fright. He does not remember how 
 he escaped from the theatre, but when his senses had returned 
 he found himself at the depot dressed just as he had appeared 
 on the stage — wig, grease-paint, costume and all. In this 
 condition he boarded the first train for Boston, vowing that 
 never more would he attempt to become an actor. However, 
 he studied elocution for the next six months with Wyzeman
 
 PROVIDENCE STAGE. 22 1 
 
 Marshall, and did some "barnstorming " around Boston, and 
 finally began imitations of prominent people, which, proving 
 successful, he went to New York, and in 1875 was engaged 
 by Tony Pastor, where he continued his imitations in costume, 
 meeting with instantaneous success. Soon after he joined 
 E. E. Rice's company playing Le Blanc in " Evangeline " and 
 winning great success. His advancement was then steady 
 and sure. At the time of the famous dramatic festival in 
 Cincinnati he was the principal comedian, a great honor, as 
 the casts included nearly all the prominent stars in the country. 
 
 Mr. Goodwin tells the story of his debut here in the follow- 
 ing humorous manner : 
 
 " Before I ever went on the stage I used to take part in 
 amateur affairs in my mother's parlors in Boston, and I 
 bothered Charlie Thorne to death to get me a place in some 
 company. My friends also said that they were convinced I 
 had talents. So, finally, Thorne secured me a position in. a 
 company then playing a piece called "A Bottle." Providence 
 was to be the place where I made my debut and the part 
 assigned me was the old-time gentlemanly villain who comes 
 to the village and captures the heart of the rustic beauty. I 
 had rehearsed several times and was sure I knew it all. The 
 heroine was to rush on with a scream and I run after her ; 
 but she hadn't rehearsed the scream with me, so when she 
 dashed on and gave an unearthly yell it nearly frightened me 
 to death. I stubbed my toe, fell sprawling, and lost one of 
 my side-whiskers. I couldn't utter a word and didn't do so 
 during the whole performance. They thought I would gain 
 courage as the piece progressed, but during the third act the 
 orchestra came in w 7 ith a few thrilling bars of music and I 
 completely lost my head, and I dashed out of the theatre to 
 find the depot and take the next train for Boston. 
 
 "As I entered the cars with make-up mi, a black streak on 
 my cheek from blackened eyebrows, and my wig at one side, 
 passengers thought I was staring mad. On reaching home I 
 rushed in to my mother, who thought I was going t<> It a 
 second Booth, begging her not to send me on the stage again, 
 but to get me a position in some store."
 
 CHAPTER XXI. 
 
 1878-1880. 
 
 Close of the Academy of Music— Opening of Low's Opera House- 
 Many GOOD ATTRACTIONS IN THAT HOUSE— FIRST APPEARANCE HERE 
 
 of Annie Pixley— Sketch of Miss Pixley— First production here 
 of " Pinafore"— Ninth Season at Providence Opera House- 
 First production here of the " Pirates of Penzance "—Success 
 of Annie Pixley and Aldrich and Parsloe at Low's— Boston 
 Theatre Company in "False Shame "—First appearance here 
 of Sarah Bernhardt— Sketch of Miss Bernhardt. 
 
 THE year 1878 witnessed the closing performances in 
 the Academy of Music, and the opening of Low's 
 Opera House. There were but two companies in the 
 Academy, namely: January 16th, 17th, 18th, Centennial 
 Jubilee Singers, and October 7th, 8th, 9th, Old Dominion 
 Minstrels. 
 
 Low's Opera House opened on the evening of March 4, 
 1878. There was an address by Mayor Doyle and a concert 
 by the American Band, with Dora Wiley and H. C. Barna- 
 bee as the soloists. The only entrance was at that time, and 
 for two or three years later, on Union street. 
 
 Wilkinson's " Uncle Tom's Cabin " Company came the 
 second night, and then followed Bourne & Company's Fe- 
 male Minstrels, Colonel Ingersoll's lecture on "Hell," the 
 Berger Family, Shook & Palmer's Company in "A Cel- 
 ebrated Case," the Hess English Opera Company, in " Chimes 
 of Normandy," and " Fra Diavolo," with Emilie Mellville 
 as the star, Milton Nobles in "The Phoenix," Mile. Aimee's 
 farewell to America, and Boston Museum Company, with all 
 the favorites. This closed the spring season, and many alter- 
 ations were made in the house, which were necessary to make 
 it comfortable for theatrical representations. 
 
 The season of 1878-9 opened at this house September 23d, 
 with the Rice Surprise Partv, then an excellent organization.
 
 PROVIDENCE STAGE. 223 
 
 Warde & Barrymore's " Diplomacy " Company followed, and, 
 although the audiences were small, the company made a most 
 favorable impression. Colonel Ingersoll followed to rather 
 a small audience compared with those which have greeted 
 him on his later visits. Fanny Davenport, then a new star, 
 also appeared before a small audience. The Franklin Ly- 
 ceum had their entertainments there that season, and among 
 their attractions were the Berger Family, Theodore Tilton, 
 Professor Churchill, Francis Murphy, the Barnabee Concert 
 Company and Mrs. Scott Siddons. One of the most notable 
 events of the season at Low's was the first appearance in 
 Providence of Annie Pixley. She came on the 5th and 6th 
 of November. The houses were good, but not very large 
 She returned on the 13th and 14th of December to much 
 larger houses and more enthusiastic audiences. She was the 
 talk of the town, and when she came back early the next sea- 
 son the house was none too large to hold her admirers. 
 Another attraction at Low's which did good business and 
 made a good impression, was the Tracy Titus Opera Com- 
 pany, with Laura Joyce, Catherine Lewis, the late Mose 
 Fiske, Eugene Clarke, etc., in the cast. 
 
 Annie Pixley, nee Shea, was born in Brooklyn, New York, 
 about 1857. Her uncle was the Hon. George Shea, Judge of 
 the Marine Court, New York. Her parents removed to San 
 Francisco, where her father died. She went upon the stage 
 at a very early age and soon made her mark as a star in the 
 Golden Gate city. In 1876 she accepted an engagement in 
 Australia, singing in comic opera successfully. In 1877 sne 
 returned to San Francisco, where she made a decided hit as 
 The Widoiv in "The Danites," with McKee Rankin, and as 
 Gretchen to Mr. Jefferson's Rip Van Winkle. She came East 
 when "Pinafore" was the rage, and in Philadelphia was the 
 original JosepJiine. About this time she made an arrange- 
 ment with Bret Harte for his play, " M'liss," and as The 
 Child of the Sierras she has achieved a world-wide reputa- 
 tion. In private life she is Mrs. Robert Fulford. 
 
 The Providence Opera House opened its eighth si 
 September 2d, with George S. Knight, who was then .1 most 
 popular star. The Jewish ladies gave a benefil .it the < >pera 
 House, September 16th, for the yellow fever sufferers, and 
 had a good house. John A. Stevens brought his " Un-
 
 224 HISTORY OF THE 
 
 known " Company here that season and filled the house for a 
 week. Lotta was also a great success that season. Steele 
 Mackaye was here that season with his play of " Won at 
 Last," with Blanche Meda as the star. Mary Anderson 
 came November iitb, 12th and 13th, and all night long be- 
 fore the opening of the sale of seats there were one hundred 
 or more in line waiting to be the first purchaser. The Police 
 Association had a benefit November 14th, with the Laura 
 Phillips Company, and the capacity of the house was tested. 
 The Boston Museum Company came with " Pinafore," with 
 Rose Temple as Ralph Rackstrazv, and Marie Wainwright as 
 Josepliine, and it was liberally patronized. The Museum 
 Company came later with " My Son," in which the late 
 William Warren and the late Harry Crisp made the greatest 
 hits of their experience with Providence audiences. Mod- 
 jeska was a great success of that season, and so were the 
 Philadelphia Church Choir, Tony Pastor, Lawrence Barrett, 
 Frank Mayo, the Kellogg Opera troupe, Denman Thompson, 
 Robson and Crane, the Butterflies' Ball, the Lilliputian 
 Opera Company, Genevieve Ward, who played two engage- 
 ments, and John Stetson's Company. A. M. Palmer's Com- 
 pany came for the last week in May, with the " Banker's 
 Daughter," with J. H. Stoddart, Sara Jewett, Mat. Lingham, 
 J. B. Polk, and other good artists in the cast. The first night 
 the house was so poor that Mr. Palmer talked about taking 
 his company back to New York by the midnight train, but 
 he was persuaded to remain, and, before the week was over, 
 the house had no vacant seats. 
 
 The ninth season at the Providence Opera House opened 
 Sept. 22, 1879, with Gus Williams in his play of " The Sena- 
 tor." He was rather new in the legitimate business then, and 
 his profits were not great. The Rice Surprise Party, which 
 followed, had crowded houses, but then the bottom seemed 
 to drop out of theatricals, and it was several weeks before 
 another full house was seen. Even such favorites as Tony 
 Pastor, F. S. Chanfrau, Maggie Mitchell, and Joseph Murphy, 
 failed to draw more than ordinary audiences, and no one 
 could give any good reason for it, Hoffman's " Pinafore " 
 Company, which played on the 13th of November, was the 
 second attraction of the season, which drew largely. Joseph 
 Jefferson followed for two nights, and he met with equal sue-
 
 PROVIDENCE STAGE. 
 
 - - 5 
 
 cess. Robert L. Downing, who has since been a star, was 
 then his leading man. There was not another full house 
 until Lester Wallack came December 15th, although be- 
 tween these two stars were " The Tourists," " The Black 
 Crook," and Robson and Crane. The Police Association had 
 a great benefit December 18th, but John McCullough, who 
 followed them, was not so successful. The Boston Theatre 
 Company presented the play of " Drink," with Tom Keene, 
 and it made a great sensation. Mary Anderson had as large 
 audiences as the Opera House ever held on January 15th, 
 1 6th, and 17th. There was not an inch of vacant standing 
 room in any part of the house, and the orchestra played from 
 the stage during this engagement. From that date to the 
 latter part of the season, except on very few occasions, the 
 houses were very good and very often crowded. Among 
 those who drew well were Frank Mayo, Mrs. Oates, Law- 
 rence Barrett, the Strakosch Opera Company, Bartley Camp- 
 bell's play of "Fairfax," Haverly's Minstrels, Daly's Com- 
 pany in "An Arabian Night," Fanny Davenport, B. Macauley, 
 Denman Thompson, Colonel Ingersoll, "The Pirates of 
 Penzance " Company (the original), with Signor Brocolini, 
 Blanche Roosevelt, J. H. Ryley, Jesse Bond and other great 
 artists; Lotta, J. T. Raymond, Daly's Company in "The 
 Royal Middy," with Catherine Lewis as the Middy. Harri- 
 gan and Hart also played here that season, and as the city 
 was crowded with strangers who had come to see the interna- 
 tional boat race, they turned hundreds of people away. Their 
 dates were the 16th and 17th of June. Among the visitors 
 to the city were Charles R. Thorne, Jr., William H. Crane. 
 Stuart Robson, Charles A. Stevenson, and a score or two "l 
 lesser lights in the profession, and they applauded the people 
 on the stage as probably they were never applauded before or 
 since. 
 
 At Low's Opera House that season the attractions were 
 more numerous than almost any other season while the house 
 was under his management, and the majority of them u 
 very good. The opening night was September 5th, with 
 Emerson's Megatherians, with good business. Harlow, Wilson, 
 Primrose and West followed with equal success. Then came 
 Annie Pixley to crowded houses. The weather was extremely 
 hot, both gardens were running, the Park Garden still having 
 15
 
 226 HISTORY OF THE 
 
 the realistic " Pinafore " on the lake, but in spite of this Miss 
 Pixley did not get left. One of the principal events of the 
 season at this house was the first production on any stage of 
 the "Iron Will," the title of which was within a few weeks 
 changed to " Hazel Kirke." Under the latter name it has 
 been played in every city, town and village of any size in the 
 United States. Aldrich and Parsloe with "My Partner," 
 came for the first time that season and met with immediate 
 favor. The Boston Ideal Opera Company were here three 
 times, playing three fine engagements, the second time with 
 " Fatinitza." The "Galley Slave" company, with Joseph 
 Wheelock, Marie Prescott, Frank Evans, and others of note, 
 was here and made a sensation. The Boston Theatre Com- 
 pany produced " False Shame" here for the first time on any 
 stage. It died an early death. No less than six minstrel 
 companies were at this house during the season, and most of 
 them went away with a balance on the right side. The stars 
 who have not been mentioned were Rose Lisle, Frank Bangs, 
 D. E. Bandmann, Gus Phillips, Josh Hart, Victoria Loftus, 
 Pat Rooney, Neil Burgess, Denman Thompson, Buffalo Bill, 
 Minnie Palmer, W. J. Florence, J. B. Studley, and Maud For- 
 rester. 
 
 The tenth season at the Providence Opera House opened 
 with Colonel Ingersoll, August 20th. The crowded houses 
 of the season were drawn by Joseph Jefferson, Maggie 
 Mitchell, Haverly's "Coons," Robson and Crane, Tony Pas- 
 tor and Lotta. Good houses witnessed Hermann, Jarrett's 
 "Cinderella," the Strakosch and Hess Opera Company, Kate 
 Claxton, Soldene, "Voyagers in Southern Seas," Neil Bur- 
 gess, "Hazel Kirke," the Troubadours, the Tourists, the 
 Criterion Comedy Company, Mrs. Scott-Siddons, the Ideal 
 Opera Company, Frank Mayo, the Laurent-Corelli Company, 
 Emma Abbott, Rice Surprise Party, De Wolf Hopper in 
 "100 Wives," Boucicault, "Two Nights in Rome " Com- 
 pany, Denman Thompson, and Corinne. The very poor 
 houses were drawn by the Norcross Company, Aberle's Min- 
 strels, Annie Ward Tiffany, the Bijou Opera Company, Ab- 
 bey's " Humpty Dumpty " Company, Ada Cavendish, the 
 " Four Seasons," Studley's " Monte Cristo," Fred Paulding, 
 Soldene, the "Legion of Honor," John Murray, " Dengre- 
 mont," George S. Knight, Balabrega, and the New York Com-
 
 PROVIDENCE STAGE. 
 
 --/ 
 
 edy Company in " Billee Taylor." The Narragansett Boat 
 Club produced the "Pirates of Penzance" February ist and 2d. 
 It was an artistic success, but the profits were not large. 
 Among the attractions that have not been mentioned were 
 Mrs. Morgan's benefit, Dufur and Ross wrestling match, 
 Stella Bellmore, Thayer's "Celebrated Case," " Sam'l of 
 Posen," Daly's " First Families," Leavitt's Specialty Com- 
 pany, "Around the World," the "Jollities" company, Gill's 
 "Goblins," with Francis Wilson and Emma Carson, William 
 Chace's benefit, the Royal Mastodons, the Boston Museum 
 Company, Anthony and Ellis's "Uncle Tom's Cabin" Com- 
 pany, Callender's Minstrels, the Grayson-Norcross Company, 
 and Maggie Weston. The season was not a very profitable 
 one. Mr. George Hackett was then the manager. 
 
 The season of 1880-81 at Low's was one of the very poor 
 ones for that house, also. In fact, the people did not come 
 out that season to theatrical entertainments only on rare oc- 
 casions. The house was opened September 24th, 25th, with the 
 " Strategists," who were poorly patronized. Harry Miner's 
 Company appeared 27th, to a fair house. Annie Pixley had 
 overcrowded houses for a week, beginning October nth. 
 The Tile Club did fairly for the week of October 24th. The 
 Boston Ideals had a good house November 17th. Minnie 
 Palmer played to fair business November 18th, 19th, 20th. 
 " My Partner " played to the capacity of the house November 
 24th to 27th. "Deacon Crankett " was fairly patronized De- 
 cember 13th, 14th, 15th. Mahn's Opera Company in " Boc- 
 caccio " gave splendid entertainments to meagre patrona 
 Crowded houses were drawn by the Police Association ben- 
 efit, the Boston Museum Company, and the Union Square 
 Theatre Company. The other attractions were the "Jolli- 
 ties" Company, "Uncle Tom's Cabin" Company, Willie 
 Edouin, Hickey's "Humpty Dumpty," Joseph Murphy, the 
 " Galley Slave," Ford's Opera Company in "Olivette," Bar- 
 low, Wilson, Primrose and West's Minstrels, Gus Phillips, 
 Jennie Yeamans in "Jack Sheppard," Pat Rooney, Sarah 
 Bernhardt in "Camille," the "Banker's Daughter," Herr- 
 mann, Charles L. Davis, and Rice's " Billee Taylor." 
 
 The great event of the season was the first and only ap. 
 pearance up to the present time of Sarah Bernhardt. Thi s 
 talented actress is the daughter of a French* lawyer and a
 
 2 28 HISTORY OF THE 
 
 Dutch Jewess. She was entered as a pupil at the Conserva- 
 toire, Paris ; admitted to the classes of Provost and Samson, 
 and in 1861 gained the second prize in tragedy, which she 
 followed up by the second prize in comedy. Signs of her 
 genius were very early recognized by Auber. Her first ap- 
 pearance was by no means a success, and her second 
 was even worse, so that she retired from the stage for a 
 time. It was not until 1869 that her merits began to be rec- 
 ognized. Perhaps her first real triumph was in the character 
 of the Queen of Spain in " Ruy Bias." It gained a warm 
 tribute of praise from Victor Hugo, and has always been rec- 
 ognized as one of the greatest of her creations. In the 
 Franco-German War she was a nurse during the siege of 
 Paris. She made her second appearance at the Comedie 
 Francaise in November, 1872, in "Madame de Belle Isle." 
 This was followed by a number of great creations, until her 
 rendering of the role of Dona Sol in " Hernani" stamped her 
 as the greatest of living actresses. Her first visit to London 
 was in 1879. ^ n 1881 she toured in the United States. 
 Madame Bernhardt is above all things a tragic actress, and 
 conquers by sheer force of passion. She is her characters, 
 and, though seldom aiming directly at studied effect, she can 
 command at will an extraordinary variety of voice and gesture 
 

 
 CHAPTER XXII. 
 
 1881-1883. 
 
 Eleventh season at Providence Opera House— Somi vkky had 
 companies and worse plays— frank mayo's two w i:i k- engage- 
 MENT in tragedy— Sketch of Mb. Mayo— Edwin Booth at 
 Low's— Only appearance here of Rossi— Other good btabs a i 
 this house— Twelfth season at Providence Opera Hoi be 
 -Mlle. Theo's only appearance here— A naughty show— The 
 Continental Guards-Oscar Wilde— Charles Wyndham— Mar- 
 garet Mather's first appearance— Sketch of Miss Mather 
 Sketch of Mlle. Rhea. 
 
 THE eleventh season at the Providence Opera House 
 was a long one, beginning the 23d of August, 1881, 
 and closing the 14th of June, 1882. There were sev- 
 eral attractions which had crowded houses, among them being 
 Haverly's Minstrels, Leavitt's Giganteans, Baker and 1 
 ron, the Vokes Family, Lotta, "Michael Strogoff," Maggie 
 Mitchell, Mary Anderson, Denman Thompson, and Tony 
 Pastor, but the season was not a very profitable one, even at 
 that. Mr. George Hackett was still the manager, and he 
 was not a very energetic one. He had the reputation of 
 booking almost any combination that would play on low per- 
 centage, and some of the attractions which played under his 
 management were decidedly queer. Take, for instance, 
 the "After the Opera" Company, the "Jolly Bachelors," the 
 " Legaire " Company, the "Florinel" Company, the "Mis. 
 Partington " Company, the " All-at-Sea " Company, and the 
 "Thro' the Rye" Company, all of which the theatre-gi 
 had to endure that season. Fortunately there were not 
 many patrons at those performances (they could not be 
 called entertainments), and it is feared that a majority oi 
 the few who did go wondered over what crime the) had com- 
 mitted that they should be made to suffer so. One of the
 
 23O HISTORY OF THE 
 
 important features of the season was the two weeks' engage- 
 ment of Frank Mayo in tragedy. He had long cherished a 
 desire to escape from "Davy Crockett," the constant repeti- 
 tion of which had become nauseating to him, and he was 
 anxious to show the people what he could do in such char- 
 acters as Macbeth, Richard, Richelieu, etc. He spent several 
 thousand dollars for costumes, armors, and other parapher- 
 nalia, and he devoted the entire summer to preparation for 
 his new departure. He secured a very large and able com- 
 pany to support him, and he started in for a run of " Mac- 
 beth." The play was finely staged, all the appointments 
 were complete, the original music was given by vocalists 
 specially engaged, and altogether it was a production such as 
 Providence had never seen before. It ran for one week, be- 
 ginning September 12th, but the weather was hot, and many 
 of those who would have been patrons had not yet returned 
 to their city homes. Mr. Mayo was not, however, discour- 
 aged, but continued another week in the other characters 
 spoken of. The result of the engagement was the loss of a 
 few hundred dollars, and even at that he fared better in 
 Providence than in other cities which he visited later. The 
 general verdict of his patrons was that he enacted the tragic 
 roles very satisfactorily, but they preferred to see him in 
 "Davy Crocket," just the same as the majority of theatre- 
 goers prefer to see Joseph Jefferson in " Rip Van Winkle." 
 Mr. Frank Mayo was born in Boston, April 19, 1839, but 
 made his first appearance on the stage at the American The- 
 atre in San Francisco, under Laura Keene's management, in 
 1856, occupying every position from supernumerary to that 
 of leading actor, and supporting almost every star that visited 
 the Pacific slope from i860 to 1865. He was never engaged 
 for any line of business, but played old men, young men, 
 middle-aged men, comedy, tragedy, black and white, as it 
 happened. Having acquired in this way, an experience not 
 otherwise possible, he left San Francisco in 1865, and be- 
 came a stock star at the Boston Theatre, under the manage- 
 ment of Jarrett, Tompkins & Thayer, opening August 28th of 
 that year as Badger, in " The Streets of New York," a part 
 in which the handsome actor made a hit, which he repeated 
 in many other leading roles. The following season he be- 
 came a star, at first presenting the Shakespeare dramas, in-
 
 PROVIDENCE STAGE. 23 I 
 
 terspersed with romantic plays of less dignity, but at length 
 making a specialty of " The Streets of New York." In 1872 
 Mr. Mayo, while managing at Rochester, New York, first 
 played Davy Crockett, with which his name is as closely as- 
 sociated as Jefferson's with Rip Van Winkle, or Maggie 
 Mitchell's with Fanchon. 
 
 To resume : The stars of the season who have not been 
 previously mentioned were John T. Raymond, F. S. Chan- 
 frau, B. McAuley, James A. Heme, Fanny Davenport, 
 Corinne, Genevieve Ward, Mrs. G. C. Howard, Rose Ey- 
 tinge, Robson and Crane, W. H. Gillette, A. Caufman, Miss 
 Jeffreys Lewis, C. Murielle, Kate Claxton, George S. 
 Knight, T. W. Keene, Tony Denier, Lawrence Barrett, John 
 A. Stevens, Joseph Murphy, Gus Williams, Neil Burgess, 
 Lizzie May Ulmer and Pearl Eytinge. Emma Abbott ami 
 her opera company gave the operas of "Martha," "Patience," 
 "Chimes of Normandy," "Maritana" and "Romeo and 
 Juliet." The Strakosch Opera Company gave " Faust," 
 with Clara Louise Kellogg, and "Carmen," with Minnie 
 Hauk, John Stetson's Opera Company gave " Patieni 
 with Vernona Jarbeau in the title role. The Hanlons first 
 brought out " Le Voyage en Suisse "that season, and hail 
 large but not crowded audiences. They came late in the 
 season, beginning May 22d. Miss Jeffreys Lewis made an 
 artistic but not a financial success in "Two Nights in Rome." 
 
 Low's Opera House had a remarkably bad opening that 
 season with a melange called "Medical Students," written b) 
 Dr. Sweet, of Springfield, who ought to have been made to 
 swallow some of the worst physic he ever administered before 
 he ever gave such a dose to the public. This was followed by 
 another abortion called "Mimics." Then came Robinson's 
 " Humpty Dumpty," a great improvement over the others, 
 but poor enough at that. Calender's Minstrels followed and 
 gave a very good show. Frank Frayne came next, with pooi 
 success. Annie Pixley had crowded houses for the week 
 ginning October 3d. The other crowded houses of the 
 son were drawn by Neil Burgess, the Boston Museum " 
 tience" Company, Barry and Fay, Edwin Booth, the Boston 
 Ideals, and Miss Ada Coombs. The two great events oi the 
 season were the appearance of Rossi on the i;th and [8th of 
 October, and of Edwin Booth, January 3d and 4th. Both of
 
 232 HISTORY OF THE 
 
 these distinguished artists attracted audiences of excellent 
 quality, Mr. Booth, of course, having much the largest house. 
 Boucicault, Joseph Jefferson, Janauschek, J. K. Emmet, and 
 others also appeared at this house, were kindly received, a*d 
 went away with a balance on the right side. 
 
 The theatrical season of 1882-83, which was the twelfth of 
 the Providence Opera House, was one of the most important 
 ones in the history of that house, as it was also in the history 
 of Low's house. At the first-named house it brought Mr. 
 James O'Neill for the first time as a star". It also brought for 
 the first time here Mr. F. S. Chanfrau and wife together, 
 Mile. Theo, "Esmeralda," James E. Murdoch, Celia Logan, 
 Ada Dyas, Margaret Mather, Mrs. Langtry, Mile. Rhea, and 
 it was further distinguished by the appearance of the Conti- 
 nental Guards, of New Orleans, who gave a series of pretty 
 tableaux, which were much admired by military men. 
 
 At Low's the season first brought out here Mr. Oscar 
 Wilde, who created a great sensation ; Haverly's excellent 
 " Merry War " Company, the "Squatter Sovereignty," from 
 Harrigan's, which crowded the house for a week ; the Equine 
 Paradox of Bartholomew's, which made another great suc- 
 cess ; Rice's " Iolanthe," giving the first production of that 
 opera in Providence and filling the house nightly ; Stuart 
 Cumberland, the mind reader, who was the talk of the town 
 for his clever work ; Charles Wyndham's celebrated comedy 
 company, which also drew fashionable audiences ; Etelka 
 Borry, the Viennese star, and the Thalia Theatre Company, 
 which gave three of the best entertainments ever witnessed 
 in Providence, but which were not well patronized, principally 
 on account of the hot weather. 
 
 With such a list of good attractions the season ought to 
 have been a very profitable one, but it was not so. At the 
 Providence Opera House, the crowded houses were drawn by 
 the " Lights o' London " Company, Mme. Theo, Gus Williams, 
 (who played for the benefit of the Police Association), Sal- 
 vini, Thatcher, Primrose and West, Mary Anderson, and Tony 
 Pastor. The fairly good houses were attracted by " Hearts 
 of Oak," Lawrence Barrett, Lotta, Maggie Mitchell, Modjeska, 
 " Esmeralda," Wallack's Company in the " Queen's Shilling," 
 George S. Knight, Baker and Farron, the Boston Theatre 
 " White Slave " Company, Thomas Keene, Ada Dyas, John
 
 PROVIDENCE STAGE. 233 
 
 McCullough, the Hanlons, Robscn and Crane, Margaret 
 Mather, " Monte Cristo," Haverly's Minstrels, John T. Ray- 
 mond, Joseph Murphy, and Mile. Rhea. 
 
 " Alvin Joslin " opened the season August 28th, and it 
 closed June 23d with Mason and Griffin. Mme. Theo gave 
 the "Parfameuse" to much the largest and most fashionable 
 audience of the season. It was a pretty "loud" performance 
 for Providence, and many of the ladies present would have no 
 doubt parted with a good sum if they could have escaped with- 
 out too much notice. Mrs. Langtry gave three performances. 
 She drew from the wealthy class of theatre-goers, but she 
 was not considered much of an artist at that time. The small- 
 est audience that ever assembled in the Opera House was at 
 a lecture given by Mrs. Celia A. Logan on Sunday evening, 
 December 3d, the receipts being but a trifle more than four 
 dollars. 
 
 Some of the attractions of the season which have not been 
 mentioned above, were the Strakosch Opera Company, with 
 Letitia Fritch, Zelda Seguin, Montegriffo and others, in the 
 operas of " Fatinitza" and the "Bohemian Girl ;" the "World" 
 Company, Doud Byron, Neil Burgess, Hague's Minstrels, who 
 on that occasion first introduced to Providence the song of 
 " We Never Speak as We Pass By ; " the Troubadours, Spaukl- 
 ing Bell Ringers; "Youth" for ten nights by the Boston 
 Theatre Company; "Hazel Kirke;"the Lingards; Barry and 
 Fay, Herrmann, Joseph Proctor, McKee Rankin, Boston 
 Theatre Company in "Free Pardon," Carrie Swain, Snydei 
 and Grau "Iolanthe" Company, Charles Fostelle in "Mrs. 
 Partington," "The Professor," Palmer and Ulmer's Company, 
 Janauschek, Frank Frayne, John A. Stevens, Ada Gray, 
 "Romany Rye," with Robert Mantell in the leading rd/e, 
 Pauline Markham, Lizzie May Ulmer and Joe Emmet. 
 
 Kate Claxton opened the season at Low's Opera House, 
 September 16th, and it closed May 30th with the Thalia 
 Theatre Company. The only crowded houses were drawn b> 
 Annie Pixley, the Boston Ideals, the Letter Carriers an.: 
 Equine Paradox. Those who did fairly well were B. Mi 
 Auley, Mrs. Morgan, the Rentz-Santley Company, Tony Pas 
 tor, Baird's Minstrels, Tom Thumb Company, Arnold Post 
 with "The Volunteers," Duprez and Benedict, "Sam'l o' 
 Posen" Calender's Minstrels, Willie Edouin, the Kampa
 
 234 HISTORY OF THE 
 
 Orchestra, the Brownson Lyceum with " Colleen Bawn," 
 Aldrich and Parsloe, Nellie Everett in Spiritualism, Buffalo 
 Bill, Pat Rooney, Barlow and Wilson, and the Norfolk Jubilee 
 Singers. 
 
 As stated above this was Margaret Mather's first visit to 
 Providence. Her maiden name was Margaret Finlayson. 
 She was born in Tillbury, Canada, in i860. She was pre- 
 pared for the stage by Mr. George Edgar, of New York, and 
 does great credit to her tutor. She possesses natural ability 
 in a marked degree. About 1885 she was married to Mr. 
 Haberkorn, formerly leader of the orchestra at the Union 
 Square Theatre in New York. 
 
 Mile. Rhea also came here for the first time that season. 
 She was born in Brussels, the capital of Belgium, about 1848. 
 Her father was a wealthy manufacturer, who died while she 
 was still very young, and she resolved to prepare herself for 
 the stage, for which she had a passionate love. In 1865 she 
 was thrown in the way of Charles Fechter, then in the full 
 tide of success, and he introduced her to Samson, the famous 
 teacher of Rachel. She was admitted to the Paris Conserva- 
 toire, and placed under the renowned Beauvallet. For ten 
 years she was a favorite in France, and in 1881 made her first 
 appearance in Boston in the part of Adrienne Lecouvreur, in 
 the tragedy of the same name. Her most recent success is as 
 the Empress Josephine. She is equally a favorite in England 
 and America. 
 
 James O'Neill, who came here as a star that season, was 
 born in Ireland, but came to this country when very young. 
 He made his first appearance on the stage at the old National 
 Theatre in Cincinnati. After playing a round of parts as 
 juvenile man in that theatre he went with John Ford, of 
 Baltimore, in 1868-69. After that he was leading man with 
 John Ellsler, of Cleveland, O., where he supported all the 
 travelling stars at that time, including Edwin Forrest, Joseph 
 Jefferson, Lawrence Barrett, Edwin Adams, Mrs. Bowers, 
 Maggie Mitchell, and many others. After the Chicago fire 
 he was leading man at McVicker's Theatre, where he re- 
 mained for two years, supporting Edwin Booth, Charlotte 
 Cushman, Adelaide Neilson, Wm. J. Florence, etc. From 
 there he went to Hooley's Theatre, in Chicago, as leading 
 man. The following year he went to California with a com-
 
 PROVIDENCE STAGE. 235 
 
 pany from Hooley's Theatre, where he remained one year. 
 He then joined A. M. Palmer's company at the Union Square 
 Theatre in New York, to share the leading business with 
 Charles R. Thorne, Jr., during which he played in all of the 
 Union Square successes. Returning to San Francisco, under 
 Mr. Palmer's management, to play in "A Celebrated Case," 
 he remained there three months, when his engagement with 
 A. M. Palmer came to an end. Mr. Palmer desired him to 
 renew the engagement, but he preferred to take the position 
 of stock star at the Baldwin Theatre, where he remained 
 three years. It was during this engagement that he was 
 called upon to impersonate Our Saviour in the " Passion 
 Play," a translation from the German by Salmi Morse. The 
 play ran for three weeks. A few months later he was en- 
 gaged by Henry E. Abbey to play the same part at Booth's 
 Theatre in New York. Mr. Abbey failed to produce the 
 play, and Mr. O'Neill remained at the theatre as leading man 
 for the rest of the season. The year following he starred in 
 all of the principal cities in a play called the "American 
 King" and "A Celebrated Case," returning to Booth's The- 
 atre, under the management of John Stetson, where he 
 played the part of Edmond Dantes in "Monte Cristo." He 
 then travelled throughout the country for seven years in this 
 same part, making a snug little fortune by it. In May, 1890, 
 he produced Henry Irving's version of "The Dead Heart " 
 at .Hooley's Theatre in Chicago, playing it for an entire 
 season, with the exception of the usual summer vacation. In 
 May, 1891, he produced "The Envoy " at the Star Theatre 
 in New York.
 
 CHAPTER XXIII. 
 
 1884-1886. 
 
 a poor theatrical season—" young mrs. wlnthrop " and" j alma " 
 —Lawrence Barrett in "Francesca di Rimini " — Engagement 
 of Henry Irving at Low's— Sketch of Mr. Irving— Last season 
 of Mr. Hackett's management at Providence Opera House- 
 Duff's Opera Company in "A Night in Venice "— Janish, the 
 Austrian actress— Sketch of Robert B. Mantell— Robert Mor- 
 row TAKES THE MANAGEMENT OF THE PROVIDENCE OPERA HOUSE— 
 
 —The "Mikado" and other successes— Sketch of the Yokes 
 Family— Sketch of Rose Coghlan. 
 
 THE theatrical season of 1883-84, which was the thir- 
 teenth at the Providence Opera House, was one of the 
 poorest, financially, that was probably ever known in 
 Providence. There were sixty-one different attractions at 
 the Providence, and forty-four at Low's, yet at the former 
 only six of these attractions had crowded houses, and at the 
 latter there were only three. A large majority of the attrac- 
 tions were of good quality, and some of them far above the 
 standard. "Young Mrs. Winthrop " was first seen here that 
 season, and so was "Jalma," with all its glittering armors, its 
 grand staircase and elaborate scenery. This, in many re- 
 spects, was the most complete spectacular play ever produced 
 in Providence ; but while it was the talk of the town, the 
 audiences were never large enough to fill the house. It was 
 the more surprising, because it had just had a very long and 
 successful run in Boston, and, therefore, it could not be said 
 that its merits were unknown to Providence people. Law- 
 rence Barrett came here that year with his play of " Francesca 
 di Rimini," then in its first season. On the opening night it 
 rained in torrents, and the audience was so small that Mr. 
 Barrett was quite discouraged. The second night the house 
 was nearly full, and for the remainder of the week it was
 
 PROVIDENCE STAGE. 2 3 7 
 
 crowded to its utmost capacity. Margaret Mather made her 
 second visit that season and had crowded houses from the 
 start. The other crowded houses of the season were drawn 
 by James O'Neill in "Monte Cristo," Haverly's Minstrels, 
 the Elks' benefit, and Barlow and Wilson's Minstrels. Fair 
 houses were drawn by Barry and Fay, the "Siberia" Com- 
 pany, the " Black Flag," Kate Claxton, Roland Reed, the 
 Boston Bijou Company in the opera of "Virginia," Stetson's 
 "Pique" Company, Hearts of Oak," Maggie Mitchell, Janau- 
 schek, " Esmeralda," Brownson Lyceum, Stetson's " Confu- 
 sion," Nat. Goodwin, Lizzie May Ulmer, Thomas Keene, 
 Robinson and Crane, the Boston Museum Company in the 
 " Celebrated Case," the Lucier Family, the " Bunch of Keys," 
 John T. Raymond (who presented his new play " For Con- 
 gress "), Baker and Farron, the "Devil's Auction," the 
 Hanlons, Oliver Doud Byron, Salsbury's Troubadours, the 
 " Rajah," the " Romany Rye," Joseph Murphy, Joseph Jeffer- 
 son, and Hackett's benefit. There were some very bad 
 " shows " that year at this house, such' as " Yakee," with the 
 Wymans in it, the " Flying Dutchman," " Carrick-a-Rede," 
 written for D. J. Maguinness, the " Power of Money," " Uncle 
 Sam," etc. All of these attracted very poor houses, the 
 Wymans, especially, hardly getting a corporal's guard present 
 in any night during the week. Of the others who were 
 poorly patronized there were Topsy Venn, in " Furnished 
 Rooms," Lizzie Harold, Daly and Derious, Gus Williams, 
 Tony Denier, the Davene troupe, Sol. Smith Russell and 
 Sully's " Corner Grocery." The season opened with " Ranch 
 10," August 27th, and was closed by Dan Sully May 24th. 
 
 Low's Opera House did not open that season until the 1 6th 
 of September, when the American Band played to large audi- 
 ences. The great event of the season was the engagement 
 of Henry Irving, the nights of March 14th and 15th; the 
 houses were large, but not crowded. His failure to bring 
 Ellen Terry along probably lost him several hundred dollars 
 on the engagement. Tony Pastor, Annie Pixley and the 
 Equine Paradox were the only attractions that had crowded 
 houses, but there were quite a number who did an average 
 business, such as C. L. Davis, the Boston [deals, "Her 
 Atonement," the Duprez Minstrels, "7-20-S," "McSoi 
 Inflation," Dowling's "Nobody's Claim," Win. J. Scanlan,
 
 238 HISTORY OF THE 
 
 the Rentz-Santley Company, Rose Eytinge, Dr. Hutchinson, 
 the Tourists, the Kernells, Wheatley and Trainor organiza- 
 tion, the Howard Specialty Company, Buffalo Bill, Bouci- 
 cault, Callender's Minstrels, Pat Rooney, the " Truth " Com- 
 pany, the play being almost identically the same as that 
 which had been played the last week at the same house under 
 the name of " The Wages of Sin." The latter is the original 
 name, and the company which came here and played it under 
 the name of "Truth " were nightly expecting an injunction 
 from Maubury and Overton, who owned the original. Small 
 audiences were drawn by such good artists as Mr. and Mrs. 
 Chanfrau, the Boston Museum Company, Frank Mayo, John 
 E. Owens, B. McAuley, and Aldrich and Parsloe. Many of 
 the artists who played to poor business in Providence that 
 season said they would never come here again, and some of 
 them have kept their word. 
 
 Henry Irving was born in Keinton, near Glastonbury, Eng- 
 land, Feb. 6, 1838. He was educated in London. His first ap- 
 pearance on the stage was at the Sunderland Theatre, in 1856. 
 He then went to Edinburgh, where he remained for two 
 years. In September, 1859, ne appeared at the Princesses' 
 Theatre, London, for a few months. In the following year 
 he was "leading man" in Glasgow, afterwards becoming a 
 member of the Theatre Royal, Manchester, where he re- 
 mained until April, 1865. It was at this well-conducted es- 
 tablishment Mr. Irving may be said to have learned the tech- 
 nique of his art, as he played quite a hundred characters in 
 all sorts of plays, besides supporting the various stars that 
 visited the great manufacturing city. His salary at the 
 Theatre Royal was less than ^5 per week, and the work he 
 did for this modest sum was enormous. From Manchester 
 he went to Liverpool, and from Liverpool to London, where 
 he came out at St. James's Theatre as Doricourt in the " Belle's 
 Stratagem." He played several other characters at that 
 theatre, and from that period he became identified with the 
 portraiture of villainy in all its forms. Mr. Irving's chef 
 d'ceuvre, in the opinion of his greatest admirers, is undoubt- 
 edly Mephistophelcs, which is a marvellous performance, and 
 his Louis the Eleventh will long live in the memory as a 
 powerful and highly finished stage performance. His visits
 
 PROVIDENCE STAGE. 
 
 ^39 
 
 to America have rendered him as great a favorite here as he 
 is in his native England. 
 
 The season of 1884-85, the fourteenth at the Providence 
 Opera House, was the last of Mr. Hackett's management. 
 It was not a very profitable one, although a majority of the 
 attractions were better than for a season or two pre vii 
 The house was opened by the Redmund and Barry company 
 in a " Midnight Marriage," and they had fairly good houses 
 for the week. " Mugg's Landing" followed, but it didn't 
 suit the popular taste, consequently vacant seats were abund- 
 ant. The next attraction that followed was one of Archi- 
 bald Clavering Gunter's peculiar plays, with the peculiar title 
 of " D. A. M." It was not so bad a play as Gunter has 
 sometimes written, but it was so bad that nobody wanted to 
 see it twice. "Crimes of London" was the next, and, with 
 one exception, it was the worst of the season. The excep- 
 tion was a hodge-podge called "P. Q., or a Night in the Si- 
 erras." It is safe to say that a night in the Sierras would not 
 be so dreadful a sentence as to be compelled to listen to this 
 play. The only crowded houses of the season were drawn 
 by James O'Neill in "Monte Cristo," Thatcher, Primrose & 
 West, Margaret Mather, Edwin Booth, and the author of 
 this volume, whose benefit took place on Friday afternoon, 
 March 20th. In addition to the plays already spoken of, 
 which were produced that season, were the " Parlor Match," 
 " Storm Beaten," "In the Ranks," " Pavements of Paris," 
 "Adamless Eden," " Excelsior," "Twins," "Shadows of a 
 Great City," " May Blossom," "Siberia" and "Fantasma." 
 Among the stars who came that season were Minnie Maddern, 
 Roland Reed, Eric Bayley, George S. Knight, Minnie Palmer, 
 Sol Smith Russell, Robson and Crane. Lotta, Ristori, Baker 
 and Farron, J. A. Stevens, T. W. Keene, J. K. Emmet, 
 Murray and Murphy, Maggie Mitchell, Joseph Murphy and 
 Jacques Kruger. Margaret Mather made two visits that 5 
 son, doing a great business each time. Anion- the gi 
 things of that season were Duff's Opera Company in "A 
 Night in Venice," and Kiralfy Brothers' " Excel; i 
 
 Three attractions only drew crowded houses that season to 
 Low's Opera House. These were "Adamless Eden," ' I I 
 vene and Austin," and the Boston Ideals. The former was 
 then new to Providence, and it came at a time when the Gity
 
 24O HISTORY OF 
 
 Council Committee was inclined to be rather strict about the 
 morality of entertainments. The house was crowded with 
 males. Everybody expected to see a very "loud" show, 
 judging by the pictorial printing that had been put upon 
 the walls. Nothing out of order was given, however, and it 
 was really so good that the company came to the Providence 
 Opera House later in the season and played to good business 
 for two nights. Mile. Aimee came with her play of " Mam'- 
 zelle " for the first time that season, and played to large bus- 
 iness, even against political torchlight parades. The same 
 play has subsequently been given in the same house by 
 Alice Harrison. " Orpheus and Eurydice " was another 
 popular attraction of the season. Moore and Holmes's Bur- 
 lesque Company made a good impression, but were none too 
 well patronized. The " Seven Ravens," " Called Back," with 
 Mantel], " Her Atonement," " Zozo, the Magic Queen," all 
 came that season for the first time. Janish, the Austrian 
 actress, tried hard to make herself popular, but failed to do 
 so. On her second night she was the guest of the Ladies' 
 Rhode Island Hospital Aid Association, at one of their re- 
 ceptions at the Narragansett Hotel. Among the other vis- 
 itors to Low's that season were Tony Pastor, Fannie Os- 
 borne, Bennett and Moulton's Opera Company, the Leopolds, 
 Neil Burgess, William Stafford and Evelyn Foster, Dominick 
 Murray, George S. Knight, Harrison and Gourlay, William 
 Carroll and the Southern Minstrels. Reeves's " Pinafore " 
 Company gave three entertainments to three good houses. 
 
 Robert B. Mantell, who came that season in " Called 
 Back," was born in Irvine, Ayreshire, Scotland, in 1854; was 
 brought up in the city of Belfast, where he made his debut 
 as an amateur. His first appearance as a professional was in 
 1874, at Rochdale, in England, as the Sergeant, in "Arrah 
 na Pogue." He afterwards played opposite characters to 
 Miss Wallis, the English tragedienne, for about three years. 
 His next engagement was in the United States as leading- 
 man in the " Romany Rye," the part in which he was first 
 seen in this city. Subsequently he was leading man in 
 Fanny Davenport's "Fedora" Company; next as a star in 
 "Called Back" and "Tangled Lives ;" then as "Monbars," 
 and in 1889-90 in the " Corsican Brothers." He is now a 
 citizen of the United States, and is likely to be a prominent 
 figure in the dramatic world for years to come.
 
 PROVIDENCE STAGE. 24 1 
 
 Mr. Robert Morrow succeeded George Hackett as the 
 manager of the Providence Opera House, and although it 
 was a new experience to him, he succeeded in greatly im- 
 proving the list of attractions offered, and also in improving the 
 appearance of the house, both before and behind the curtain. 
 His first treasurer was Mr. A. II. Dexter, who was succeeded 
 by Harry Wilson, and the latter by Harry Callender. Mile. 
 Rhea opened the season Sept. 21, 1885, and did a fair week's 
 business, notwithstanding the weather was exceedingly hot. 
 She presented nearly all the plays in her repertoire, and 
 pleased the audiences. Redmund and Barry followed, but 
 were not successful. Then came several attractions, includ- 
 ing "Around the World," Daly's "Vacation" Company, 
 "Clio," Effie Ellsler, Rosina Vokes and Maggie Mitchell, 
 all appearing to excellent houses. Rosina Vokes came for 
 the first time that season, unaccompanied by the other 
 members of her family, and the people liked her immensely, 
 especially in "My Milliner's Bill " and the "Private Re- 
 hearsal." 
 
 "The Vokes Family," so long known to the American 
 stage, comprising Fawdon, Frederic M., Jessie, Victoria and 
 Rosina Vokes, were born in London, and the four eldest made 
 their appearance in America in 1868. They made a tremen- 
 dous success here. Rosina, the youngest, with her infect- 
 ious laugh and high spirits, was the favorite. She is still ex- 
 ceedingly popular in all parts of the country. She is the 
 wife of Cecil Clay, formerly an attorney in London, but now 
 her manager. 
 
 The " Mikado," with John Stetson's Company, also came 
 for the first time that season, and the houses were so crowded 
 for a week that a return date was made a feu weeks after, 
 and then still another. The last of the three engagements 
 was with the No. 2 Company, but the opera was so pleasing 
 to the people that the houses were still large. Mar) Ander- 
 son also came that season, fresh from her first visit and gi 
 success in Europe, and the seats were all takm early. Hei 
 date was December 14th. Clara Morris made her first ap- 
 pearance for some years, January 29th, and then- was only 
 standing room, and not much of that. Margaret Mather, 
 Thatcher, Primrose and West, Lawrence Barrett, the Han 
 Ions, Fanny Davenport, Denman Thompson, Joseph Mur- 
 
 10
 
 242 HISTORY OF THE 
 
 phy, and Robson and Crane had no reason to complain of 
 their patronage, most of them having crowded houses. In 
 contrast to this were Professor Cromwell (who couldn't draw 
 enough to pay for the gas), Loudon McCormack, " Dark Days," 
 (one of the best companies and best plays ever seen in this city), 
 Lillian Lewis, Kate Castleton, Bella Moore, Ethel Tucker, 
 the " Coronation of Columbus," the " Ivy Leaf," J. B. Polk 
 and Tony Hart. All of these had poor business. The 
 " Ratcatcher " was one of the attractions which had hard 
 luck. The company was a large one and the houses were 
 only fair. They were to go away on Saturday night, but the 
 flood which came on Friday, Feb. 12, 1886, had broken up 
 all railroad connection between Providence and Stonington, 
 so that New York could not be reached. Finally on Sun- 
 day night the Stonington Steamboat Company sent one of 
 their boats to Providence, and it took away this company, as 
 well as numerous other delayed passengers. 
 
 Mr. Morrow tried a stock company for several weeks after 
 the close of his regular season. It began May 18th, and con- 
 tinued until after the Fourth of July. The plays presented 
 were the "Three Guardsmen," "Sea of Ice," "Lucretia Bor- 
 gia," "Omnibus," "Under the Gaslight," "Two Orphans," 
 " Man Without a Country," " Ingomar," and " My Awful 
 Dad." The company met with fair success, and Mr. Morrow 
 probably did not lose any money, while at the same time he 
 had an experience which was of value to him. 
 
 Crowded houses were not very numerous at Low's Grand 
 Opera House this season. The opening was excellent, how- 
 ever, with Thatcher, Primrose and West's Minstrels, Septem- 
 ber 4th and 5th. The large houses were drawn by the " Rag 
 Baby " (with Marion Elmore in it) ; Rose Coghlan, who made 
 her first appearance as a star ; Kate Claxton, Annie Pixley, 
 Professor Bristol's horses, Mile. Aimee, George S. Knight, 
 John W. Sayles, Dan Sully, the Boston Ideals, C. W. Coul- 
 dock, the " Rajah," Lester and Allen, James O'Neill, Jack 
 Ashton, "Young Mrs. Winthrop," and the "Mikado." One 
 of the failures of that season was the Irish play, entitled 
 " Denny Doon," written for Hugh Fay to star in, and backed 
 by William Harris, of Boston. It had a short life. 
 
 Rose Coghlan, who first appeared as a star at this house, 
 this season, was born in London about 1856. She is the 

 
 PROVIDENCK STAGE. * 243 
 
 daughter of a Church of England clergyman, and, like her 
 brother Charles, she received an excellent education. She 
 made her de'but as one of the witches in "Macbeth," it 
 said, with very unsatisfactory results, because of an attack oi 
 stage fright. However, she became leading lady at the age 
 of eighteen, and supported at the provincial theatres a num- 
 ber of the prominent stars. At Drury Lane she played the 
 leading feminine roles to Barry Sullivan's Hamlet, Richard 
 III., Benedick, and Macbeth. 
 
 In 1875 Miss Coghlan accompanied Mr. Sothern to Amer- 
 ica, where her career has been one grand triumph. She was 
 at once recognized as an actress of rare ability, and as Lady 
 
 Teazle, Peg Woffington, Jocelyn, etc., she has no superior on 
 
 the American stage.
 
 CHAPTER XXIV. 
 
 1887-1889. 
 
 Mk. Morrow's second season— "The Little Tycoon," "Ruddygore" 
 and "Theodora" — Richard Mansfield and other good stars- 
 Sketch of Joseph Haworth- Sketch of Frederic B. Warde— 
 Sketches of Stuart Robson and Wm. H. Crane— Mr. 13. F. Keith 
 secures the lease of Low's Opera House — Seventeenth and 
 eighteenth seasons at the Providence Opera House— First 
 appearance here of julia marlowe— sketch of mlss mar- 
 lowe— Sketch of Joseph F. Wheelock. 
 
 THE sixteenth season at the Providence Opera House 
 opened Sept. 6, 1886, and closed June i, 1887. PVed- 
 eric Warde, the vigorous young actor, opened it, 
 and John L. Sullivan, the champion pugilist, closed it. That 
 was before Sullivan had gone upon the stage as an actor. 
 This was Mr. Morrow's second season, and his able manage- 
 ment had become so well known to theatrical people that he 
 was almost able to select his attractions just as he wanted 
 them. Mr. Warde made a good opening — much better than 
 was expected. Lewis Morrison followed with a version of 
 "Faust," which was carefully and somewhat elaborately 
 staged, and in which Mr. Morrison did some excellent 
 acting. 
 
 The first great treat of the season was the production of 
 the " Little Tycoon," by the original company, with Will S. 
 Rising, Elma Delaro, Robert E. Graham and the others who 
 became such prime favorites with the patrons. The week's 
 business was very large, but it was exceeded by " Erminie," 
 although it was difficult to tell which gave the best satisfac- 
 tion. Another success in the operatic way was " Ruddy- 
 gore," by John Stetson's grand company, with Helen La- 
 mont, Alice Carle, George Frothingham, Brocolini, Phil 
 Branson and others. "Ruddygore," it is said, was not such
 
 PROVIDENCE STAG] . 245 
 
 a great success in other cities, but Providence people lib 
 great many things that other communities do not like, and 
 dislike a great many things that are liked elsewhere. 
 
 A dramatic production which created quite a sensation 
 that year was "Theodora," with its wealth of scenery, 
 its lions, etc. Poor Lillian Olcott, the heroine, has since 
 passed away. She was not a first-class artist, but one could 
 not resist admiration of her energy, her brave struggle to 
 reach a lofty position, and her success in obtaining a play for 
 which so many were bidding. Genevieve Ward's visit that 
 season will not soon be forgotten. She was accompanied by 
 W. H. Vernon, one of the most graceful actors that the local 
 stage has ever seen. 
 
 Richard Mansfield made his first and only visit as a star. 
 The business was light, but the artistic success was great. 
 Robert Downing, Louis James and Frederic Bryton were 
 three other new stars who came, although all of them 
 had been seen here before in stock companies. Among t he- 
 other attractions of more than ordinary interest were Viola 
 Allen, James O'Neill, Denman Thompson, the "Mikado," 
 "Evangeline," " Held by the Enemy," Barry and Fay, Marie 
 Prescott, "Shadows of a Great City," Maggie Mitchell, J. B. 
 Polk, Eben Plympton, Dion Boucicault in "The jilt," 
 (which was a grand success), Lawrence Barrett in " Rien 
 Margaret Mather, Effie Ellsler, Rose Coghlan, "Aphrodite," 
 " Hoodman Blind," with Joseph Haworth and Sydney Arm- 
 strong, etc. There were forty-nine attractions, alto-ether, 
 and among those not previously mentioned were "Michael 
 Strogoff," "One of the Bravest," "Devil's Auction," •• Our 
 Heroes," "The Main Line," Duff's Opera Company, Tony 
 Hart, "Peck's Bad Boy," "Tin Soldier," the " Ratcatchi 
 Fanny Davenport, "Saints and Sinners," Patti Rosa and 
 Joseph Murphy. 
 
 Low's Grand Opera House had forty-five differenl 
 tions that season. Kate Claxton opened it Sept. <>. 1 
 and Louise Arnott closed it July 4, 1SS7. The 
 tions were Wilson Barrett, the American Opera Company, 
 Modjeska, and the McCaull impany. The only 
 
 really crowded houses were drawn b) I tcher, Prin roseand 
 West's Minstrels and by tin- American Opera Company. 
 Some of the other companies and stars were the " Bankers
 
 246 HISTORY OF THE 
 
 Daughter," Pat Rooney, Henry Chanfrau, the Australian 
 Novelty Company, Arthur Rehan's Company in " Nancy & 
 Co.," the "Parlor Match," Frank Mayo, the Hungarian 
 Gypsy Band, Haverly's Minstrels, " Called Back," Redmund 
 and Barry, M. B. Curtis, "Hazel Kirke," Ada Gray, "Pina- 
 fore," by the Rhode Island Yacht Club, etc. 
 
 Joseph Haworth, who came that season, is a native of 
 Providence. He was born here in 1859. At a youthful age 
 his ambition to become an actor was encouraged by his de'bnt 
 at Cleveland, Ohio, in 1874. He served a patient apprentice- 
 ship at John Ellsler's Theatre, Cleveland, till he received an 
 offer from the Boston Museum, which he accepted, and re- 
 mained there four years, when he was offered the position of 
 leading man, but he aspired to high dramatic preferences. 
 His ambition was gratified by an engagement with the late 
 John McCullough, in whose support he was for two seasons, 
 playing in such roles as Icilius in "Virginius," Cassius, Iago, 
 Phasariiis, and in " Ingomar," with pronounced success. 
 After Mr. McCullough's retirement, Mr. Haworth supported 
 Mary Anderson, as Romeo to hex Juliet. He has made many 
 successes still more recently. 
 
 Frederic B. Wardewas born at Oxford, England, 185 1. Pie 
 was educated for the bar, but came to America about 1866, 
 where he immediately made a success on the stage. He has 
 made successes in Forrest's roles, Ingomar, RicJiard III., 
 Damon, Virginius, Spartacus, etc. 
 
 The seventeenth season at the Providence Opera House 
 opened Aug. 22, 1887, with Sweatnam, Rice and Fagan's 
 Minstrels, and closed with Joseph Murphy on the 12th of 
 May, 1888. The opening was an excellent one, the house 
 being crowded and the entertainment one of the best. 
 Hoyt's "Hole in the Ground " followed, with only fair success. 
 Ezra Kendall came next and was treated very poorly. Then 
 came a perfect fiasco entitled " Circus in Town." Much 
 was expected of it, as it had been approved by E. E. Rice and 
 H. E. Dixey, who seldom make a mistake, and also from the 
 names of the people engaged to appear in it. But it met with 
 ignominious failure. As great a surprise on the other side was 
 met with in the attraction which followed. It was the time worn 
 " Streets of New York," with George C. Boniface as Badger, 
 and it had four large houses. For the next four weeks the
 
 PROVIDENCE STAGE. 247 
 
 Dalys, Annie Pixley, Denman Thompson, Rhea, and James 
 O'Neill had full houses, and then came another great fail- 
 ure, that of the " Two Johns," which suited other parts of 
 the country, but did not suit Providence. The next three at- 
 tractions, which were "Shadows of a Great City," Frederick 
 Bryton, and " Lights o' London," had good patronage, but 
 Alice Harrison, who followed, was unlucky. Then came 
 Redmund-Barry, Louis Aldrich, Clara Morris. Herrmann, 
 "Erminie," Frederic Warde, E. H. Sothern, Sweat nam, 
 Rice and Fagan (their second visit), Gillette in a " Pink 
 Pearl " and " Editha's Burglar," Lotta, Arthur Rehan's Com- 
 pany, the "Dark Secret," Rosina Yokes, Frank Daniels, 
 Frankie Kemble, Minnie Palmer, the Parlor Match," Fanny 
 Davenport, R. B. Mantell, Vernona Jarbeau, Duff's Opera 
 Company, " She," the " Arabian Nights," all of which were 
 well patronized. Such a list of good attractions following 
 each other is seldom found, and ought to have made Man- 
 ager Morrow rich and happy. Among the other attract 1 
 which came that season were " Lost in New York," the "Tin 
 Soldier," "Held by the Enemy," Dockstader's Minstrels, 
 " Hoodman Blind,"" with Frederick de Belleville in the 1< 
 ing role, Kate Claxton, Robson and Crane, Margaret 
 Mather, the " Little Tycoon," the "Corsair," Maggie Mitch- 
 ell, " Evangeline," and Joseph Murphy. Robson and Crane's 
 engagement was played on the 12th, 13th, 14th and 15th of 
 March, during the great blizzard, and the last night was an 
 extra one, because they couldn't get away, the railroad tracks 
 being blocked with snowdrifts. The public was -lad oi it, 
 and the stars were probably not very sorry, as their receipts 
 were much larger than they had expected. The) were then 
 playing "The Henrietta." 
 
 This was the last appearand oi Robson and < 
 
 as joint stars, and it is therefore appropriate that a sketch oi 
 each should be given here. 
 
 Stuart Robson was born in Annapolis. Maryland, Mai 
 1836, in which ancient city, it is claimed, was given tin- I 
 theatrical performance known in America. He was , 
 cated at St. John's College. Designed foi the ministry, but 
 preferring another style of acting, he made his firs! 
 ance on any stage a't the Museum in Baltimore, ' 1 
 1853, as the Waiter in "Heir-al Liu." First appeared in
 
 248 HISTORY OF THE 
 
 New York, Sept. 3, 1863, at Laura Keene's Theatre. The 
 three following seasons he was in Philadelphia. Then he 
 went to Selwyn's Theatre, Boston, where he played Bottom 
 in " Midsummer Night's Dream " for ten consecutive weeks. 
 It may be said of Mr. Robson that he has had more ex- 
 perience in legitimate comedy characters than any other com- 
 edian of the present generation, with the possible exception 
 of Mr. Jefferson. His partnership with Mr. Crane continued 
 for eleven years, and was dissolved in the spring of 1889. 
 
 William H. Crane was born in Leicester, Massachusetts,, 
 on the 30th of April, 1845, and was educated in Boston. At 
 an early age he evinced decided musical and dramatic ability. 
 In July, 1863, he joined the Holman Opera 'Company, com- 
 posed of young people, and made his first appearance, July 
 13th, as the Notary in the " Daughter of the Regiment." 
 He remained with this company for seven years. In 1870 
 he joined the Oates Opera company and remained with it for 
 four years. In August, 1874, he went to Hooley's Theatre 
 in Chicago, as first comedian, afterwards playing for a year 
 in San Francisco, with the same company. Coming east in 
 1876, he met Mr. Robson, and they appeared jointly for the 
 first time at the Park Theatre, New York, in Grover's com- 
 edy, "Our Boarding House." Mr. Crane created a genuine 
 sensation by his wonderful imitation of the peculiarities of 
 voice and manner of his partner, Mr. Robson, though phys- 
 ically totally dissimilar, in their grand production of the 
 " Comedy of Errors." Later Mr. Crane attracted much 
 critical attention by his masterly performance of the greatest 
 of all of Shakspeare's comedy creations — Sir John Falstaff, 
 in the "Merry Wives of Windsor." 
 
 The season was one of the best in the history of the Opera 
 House. 
 
 Low's Opera House opened August 25th, with Gorman 
 Brothers' Minstrels, who were quite successful. Augusta 
 Van Doren followed with Morris's play, " Charlotte Russe," 
 and met with a dismal failure. Then came "We, Us & Co.," 
 J. K. Emmet, Jennie Calef, Keller, Henry Chanfrau, Thatcher, 
 Primrose and West, Lillian Olcott, C. A. Gardiner, Monroe 
 and Rice, J. C. Roach, in "Dan Darcy," C. T. Parsloe, J. 
 F. Crossen, Hanlon's "Fantasma," Ada Gray, "Jim, the 
 Penman," the Triple Alliance, Gilmore's Band, Sunday af-
 
 PROVIDENCE STAGE. 249 
 
 ternoon and evening concert, the National Opera Company 
 in "Faust" and " Tannhauser," Lily Clay Company, Ari- 
 zona Joe, Night Owls, Modjeska, Re'illy and Wood, T. W. 
 Keene, the Troubadors, " Fantasma," "Hearts oi Oak," 
 Gorman's Minstrels, and " Le Voyage en Suisse." This 
 was the last of Mr. Low's management, the closing night be- 
 ing May 3d. 
 
 The Theatre Comique was burned on the night of Fri- 
 day, Feb. 17, 1888. The Lily Clay company was perform- 
 ing there and the female members lost very heavily of their 
 wardrobe, although the jokers insisted that it wa inty 
 
 it couldn't have cost much. The company appeared before a 
 crowded house at Low's on the night succeeding the fire. 
 Many other attractions booked at the Comique, filled their 
 time at Low's, but the Clay company was the only one that 
 did well. 
 
 Mr. B. F. Keith had now secured the lease of Low's Grand 
 Opera House for a term of years. He made some important 
 alterations in it, and opened May 14th with the opera oi 
 " Girofle-Girofla " and a strong variety company in addition. 
 He continued the season until the middle of July, present- 
 ing a change of opera each week, and adding such strong 
 specialty artists as the Vaidis Sisters, Smith and Lord, the 
 Bratz Brothers, the Viennese lady fencers and the Julians. 
 The houses were invariably crowded. 
 
 The eighteenth season at the Providence Opera 1 louse 
 continued for about thirty-eight weeks. It was one of the 
 best seasons that had been known for several years, but it 
 ought to have been still better with the excellent attractions 
 which Manager Morrow presented. Very few theatres in tin- 
 country have offered in a single season such a list as Rose 
 Coghlan, Frederic Warde, James O'Neill, Henry E. I >i 
 Duff's Opera Company, the Kellogg Opera Company, .1 " Pos- 
 sible Case " Company, "The Wife" Company, " Paul Kau- 
 var" Company, Lotta, Harry Lacy, Cora Tanner, J 
 Marlowe, Joseph Jefferson, "Jim, the Penman," Clara Moi 
 ris, Annie Pixley, "Yeomen of the Guai I," the "Ruddy- 
 gore" Company, Margaret Mather, Rosina Vokcs, N C 
 Goodwin, Booth and B Mitchell and Mrs. 
 
 Langtry.
 
 25O HISTORY OF THE 
 
 The preliminary season opened August 10th, with Johnson 
 and Slavin's Minstrels, an excellent company, which did a 
 good business for two nights, considering the extreme heat. 
 The " Two Sisters " came for a week, beginning August 27th. 
 The play was almost new at that time and was very crude. 
 " Uncle Tom's Cabin," with the great cast, began a week's 
 engagement September 3d. The company died here. Stet- 
 son's Opera Company, in " Ruddygore," had good business 
 the week of September 10th, and pleased the people. "A 
 Dark Secret " played the week of September 17th to excel- 
 lent business. "A Parlor Match" had good houses Sep- 
 tember 24th, 25th, 26th. The Howard Specialty Company 
 filled out the balance of the week, and, although it was the best 
 company of the kind that ever visited Providence, the patron- 
 age was only fair. The "Stowaway" put in a week, begin- 
 ning October 1st, to fair business. Rose Coghlan, in her 
 pretty play of "Jocelyn," came October 8th, 9th and 10th, 
 and had first-class audiences and full houses. " Shadows of 
 a Great City," October 11th, 12th and 13th, had only fair 
 business. Frederic Warde was fairly treated October 1 5th, 
 16th and 17th. James O'Neill, in "Monte Cristo," played 
 to good houses the balance of that week. Henry E. Dixey 
 played for a week, beginning November 5th, to crowded 
 houses and at raised prices. "Siberia," for the week of 
 October 29th, did well, notwithstanding it was the week be- 
 fore the Presidential election. "A Possible Case" did well 
 the week beginning November 5th, and deserved it. Duff's 
 Opera Company, not of as good material as in its former 
 visits, did only fairly well November 12th, 13th and 14th. 
 The Kellogg Opera Company, which was no better, followed 
 November 15th, 16th and 17th, and the business was no 
 better. The Lyceum Theatre Company, in "The Wife," 
 came for the week beginning November 19th. No other 
 company has pleased the people better, and the houses were 
 very large, especially toward the end of the week. " Paul 
 Kauvar," the following week, did not suffer. December 3d, 
 4th and 5th Thatcher, Primrose and West had large business. 
 Lotta followed for three nights to good business. Cora Tan- 
 ner came with her play of "Fascination," December 10th, 
 nth and 12th. Dore Davidson, with "Dr. Jekyll and Mr. 
 Hvde," December 13th, I4thand 15th, gave the poorest show
 
 PROVIDENCE STAGE. 25 I 
 
 of the season, and had the. poorest houses. December 13th, 
 
 Julia Marlowe, a decidedly pleasing and promising young star, 
 began a week's engagement, and although it was the week 
 before Christmas, her fame attracted good audiences. 
 
 Julia Marlowe was born in Cumberland. England, and was 
 brought to America when only six years of age. She studied 
 for about three years under the care of Miss Ada Dow, a former 
 member of the Providence Opera House Stock Company. 
 She played soubrettes in a travelling company for about one 
 year. She is now (1891) in the twentieth year of her age. 
 and it is predicted that she has a great future before her. 
 
 Harry Lacy, with his " Still Alarm," played for the week 
 beginning December 24th to some of the largest houses ol 
 the season. December 31st. January 1st and 2d, Joseph 
 Jefferson looked out upon crowded houses. "Jim, the Pen 
 man," was well patronized January 3d, 4th and 5th, and the 
 Hanlons, with their "Fantasma," played to good houses for 
 the week of January 7th. Clara Morris was fairly patronized 
 January 14th, 15th and 16th. Dockstader's Minstrels had 
 good houses January 17th, 18th and 19th. The " Paymas- 
 ter" was lightly attended the week of January 21st. Annie 
 Pixley had her usual crowded houses for the week begin- 
 ning January 28th. "The Yeomen of the Guard" did well 
 for a week beginning February 4th, and the "Twelve Temp- 
 tations," which came the following week, also had good 
 houses. Margaret Mather, of course, did a large busil 
 the week of February 18th. Rosina Vokes also proved that 
 she was a favorite 'February 25th, 26th and 27th. X. C. 
 Goodwin was well treated February 28th, March ist and 
 The "Corsair" and "Evangeline" Company had - 
 houses the week of March 4th. " Zozo " and the "St: 
 of New York" came the following week, and both had light 
 houses. The engagement of Booth and Barrett, the week oi 
 March 18th, was the great event of the season. 'I 
 ionable people turned out in very large numbers and 
 houses were crowded. The Cleveland-Haverly Minsti 
 had fair patronage March 25th, 26th and 27th. The 1. 
 had to be closed the following three nights on a< 
 illness of W. J. Scanlan. Rice's " Pearl oi Pekin " al 
 good houses the week of April rst, and Maggie Mitchell had 
 fair audiences the following week. Dixe) returned April
 
 252 • PROVIDENCE STAGE. 
 
 15th, 1 6th and 17th, and had good houses, despite its being 
 Holy Week. Mrs. Langtry followed, and to the surprise of 
 most people, her audiences were very large, that of the sec- 
 ond night crowding the house. Harry Lee, with his " Chev- 
 alier," did wretched business the week of April 22d. 
 "Sweet Lavender" made fair profits April 29th, May 1st 
 and 2d, and " Le Voyage en Suisse " also did well the bal- 
 ance of the week. Joseph Murphy, the week of May 6th, 
 had fair audiences, and Lydia Thompson had poor houses 
 May 13th, 14th and 15th. 
 
 The name of Low's Grand Opera House had now been 
 changed to Keith's Gaiety Opera House, and many other 
 changes had also been made there. Mr. Keith opened his 
 second season therewith Corinne, September 10th. Crowded 
 houses every night greeted the little lyric star, and would 
 have continued another week, probably, if the engagement 
 could have been extended. Mr. Keith made a rule that 
 every attraction should play one week at his house, and up 
 to the present time it has never been broken. The attrac- 
 tions which played there this season were as follows : Cor- 
 inne, Neil Burgess, ''Kindergarten," "Monte Cristo," Mrs. 
 Rankin in the "Golden Giant," Dan Mason, in " Over the 
 Garden Wall," Henry Chanfrau, " Passion's Slave," " Ro- 
 many Rye," George C. Boniface, Jennie Calef, J. B. Polk, 
 "We, Us & Co.," the "Rag Pickers's Daughter," "Soap 
 Bubble," Fanny Louise Buckingham, " Mam'zelle," with Alice 
 Harrison, "Beacon Lights," "Wages of Sin," "My Part- 
 ner," the Kimball Opera Company, " Hoodman Blind," Ed- 
 win F. Mayo, " Nobody's Claim," " Zitha," Frank I. Frayne, 
 C. T. Ellis, N. S. Wood, Redmund and Barry, "True Irish 
 Hearts," "Lights 0' London," "Hazel Kirke," "Queen's 
 Evidence," John A. Stevens in " Unknown," " One of the 
 Finest," Oliver Byron, McKee Rankin in the " Runaway 
 Wife," "May Blossom," with Joseph Wheelock in the princi- 
 pal role. 
 
 Joseph F. Wheelock, an actor of the highest merit, was 
 born about 1S38. He began his theatrical career at the 
 Boston Museum in 1855. He was for two years the leading 
 man at Booth's Theatre, New York. For three years (1885 
 to 1887) he played the leading parts to Mrs. D. P. Bowers in 
 her star engagements. He is a splendid elocutionist, a 
 scholar and a gentleman.
 
 CHAPTER XXV. 
 
 1890-1891. 
 
 "Little Lord Faunti.eroy"— Appearance of Booth am. Mod 
 jeska— Sketch of Modjeska— Sketch of Tommaso Sal vim- 
 Jefferson and Florence combination— Sketch of Josepb J] i 
 ferson— Sketch of William J. Florence— Season of 1890-91— A 
 good year at both houses— keith's gaiety opera hi 
 Brown University students at the theatre. 
 
 THERE were fifty-four different attractions at the Prov- 
 idence Opera House during the season of 1889-90, 
 and most of them were very good ones. Still, the 
 business was not up to the previous year. The preliminary 
 season began August 19th and 20th, with Gorman's Min- 
 strels, who had fair houses. "Jim, the Penman," came 
 September 5th, 6th and 7th, with about the same patron.. 
 The "Dark Secret" played for a week beginning September 
 9th, to very poor houses. "A Possible Case," [6th, 17th, 
 1 8th, had but little better success ; "A Hole in the Ground," 
 19th, 20th, 2 1 st, about the same; "Little Lord Fauntleroy," 
 for a week beginning 23d, had full houses; the "Two Sis- 
 ters," September 30th, October 1st and 2d, very pooi patron- 
 age; Maggie Mitchell, October 3d, 4th, 5th, but little better; 
 October 7th, for one week, "The Wife," to good houses; 
 14th, 15th, 16th, "Monte Cristo," fair business; 17th, [8th, 
 19th, "Captain Swift," about the same; 21st, for one week, 
 "Nadjy" and "Erminie," to large business ; October 30th, 
 31st, November 1st and 2i\, E. II. Sothern in " Lord Chum- 
 ley" and "Highest Bidder," to full h November nth, 
 for one week, Annie Pixley, with her usual success; Novem- 
 ber 18th and 20th, Salvini, to full houses; November 19th, 
 
 the Salvini company, with young Salvini, to very ] 1 
 
 house; 21st, 22d, 23d, Primrose and West's Minstrels, full 
 houses; 25th, for one week, Rose Coghlan, in "Jocelyn,"
 
 254 HISTORY OF THE 
 
 " Peg Woffington," " Forget-Me-Not," and " London Assur- 
 ance," to good business ; December 2d, one week, the 
 "Exiles," very small audiences; 9th, 10th, nth, "Bells of 
 Haslemere," the same; 12th, 13th, 14th, " Fantasrna," good 
 business; 16th, one week, Carleton Opera Company in the 
 "Brigands" and "Nanon," light business, but excellent en- 
 tertainments ; 23d, one week, R. B. Mantell in " Corsican 
 Brothers," to good houses ; 30th, one week, Adam Fore- 
 paugh, Jr., to wretched business ; January 6th, Booth and 
 Modjeska, in " Shylock," "Hamlet," "Macbeth," "Riche- 
 lieu," "Much Ado about Nothing," "Fool's Revenge," and 
 "Donna Diana," full houses; 13th, 14th, 15th, Duff Opera 
 Company in " Paola," good patronage ; 16th, 17th, 18th, Vic- 
 toria Vokes, very poor business ; 20th, one week, " Little 
 Lord Fauntleroy," fair business; January 27th, one week, 
 "Twelve Temptations," to fair houses; February 3d, 4th, 
 5th, Thomas W. Keene in "Richelieu," "Louis XI." and 
 "Richard III.," good business; 6th, 7th, 8th, Rosina Vokes, 
 the same; 10th, one week, "A Still Alarm," very large pat- 
 ronage; 17th, 18th, 19th, "The Burglar," poor houses ; 20th, 
 21st, 22d, W. J. Scanlan, good business; 24th, one week, 
 " Hands Across the Sea," first night for Elks' benefit, good 
 houses ; March 3d, "The Great Metropolis," the same ; 10th, 
 11th, 12th, Barry and Fay, the same; 13th, 14th, 15th, "A 
 Midnight Bell," full houses; 17th, one week, "Kajanka," 
 fair business ; 24th, 25th, 26th, " Brass Monkey," full nouses ; 
 27th, 28th, 29th, "Corsair," fair business; 31st, one week, 
 Stetson's "Gondoliers," to fair houses; April 7th, one week, 
 Margaret Mather, only fair houses; 14th, 15th, 16th, Fanny 
 Davenport, large patronage; 17th, 18th, 19th, Jefferson and 
 Florence in the "Rivals" and "Heir-at-Law," with crowded 
 houses ; 23d, Brown University Minstrels, the same ; 24th, 
 25th, 26th, Joseph Murphy, the same ; 28th, 29th, 30th, 
 Emma Abbott in " Ernani," "Trovatore," "Bohemian Girl," 
 and "Rose of Castile," to good houses; May 1st, 2d, 3d, 
 Mary Shaw, in "A Drop of Poison;" 5th, one week, Frank 
 Mayo, in " Nordeck " and "Davy Crockett," light houses; 
 15th, 16th, 17th, Herrmann, to crowded houses; May 30th, 
 "Hazel Kirke," to good business. 
 
 One of the great events of the season was the appear- 
 ance of Booth and Modjeska. Mr. Booth was then in ex-
 
 PROVIDEN< I. M \«.l . 
 
 
 cellent health and it seemed to be the general opinion that 
 
 he never appeared to better advantage in this city. 
 
 Helena Modjeska (born about [843), Polish actress, a native 
 of Cracow, married her guardian, M. Modjeska, at the ago of 
 seventeen, and, in 1868, three years alter his death, married a 
 second time — M. Chlapowski, a Polish patriot and journalist. 
 Having become celebrated as a player in amateur theatrh 
 she began to practice acting as a profession in \SC>2, starting 
 with a travelling company. In 1868 she appeared before a 
 Warsaw audience in a version of "Adrienne Lecouvreur," 
 and at once became a popular favorite. Driven from Poland 
 by professional jealousy, in 1876 she emigrated to America 
 with her husband, and tried farming in California without 
 pecuniary success. She accordingly determined to return to 
 the stage, and, having learned English, appeared as Adrienne 
 before a San Francisco audience in August, 1877. Her suc- 
 cess was immediate. She won a fine reputation as an emo- 
 tional actress and then went abroad, appearing in London 
 and other cities. Since her return she has visited nearly 
 every city in the country and is everywhere recognized 
 superior artiste. 
 
 Salvini's appearance was also quite an event of thi 
 son. Tommaso Salvini was born at Milan, Jan. 1, [830. His 
 father was an able actor, and his mother a popular act: 
 When quite a boy he showed a rare talent for acting, and before 
 he was thirteen years old he had already wona kindol renown 
 in juvenile characters. At fifteen he lost both his parents, 
 and the bereavement so preyed upon his spirits that In- was 
 obliged to abandon his career for two years. When he again 
 emerged from retirement he joined the Ristori troupe, and 
 shared with that great actress many a triumph. In [849 he- 
 entered the army, and fought valiantly, receiving in reco 
 tion of his services several medals of honor. He went upon 
 the stage again after the war, and soon achieved great su< ■ 
 He visited America in 1874, again in 1884-85, and again in 
 
 1889-90. 
 
 Still another event of much more than ordinary importance 
 was the appearance of the Jefferson-Floren >ination, 
 
 which, as stated above, had crowded houses at largely in- 
 creased prices. 
 
 Joseph Jefferson was bom in Philadelphia, I
 
 256 HISTORY OF THE 
 
 He is descended of an old theatrical family, his grandfather, 
 Joseph Jefferson, comedian, having been a special favorite in 
 Philadelphia early in this century. Mr. Jefferson's father was 
 a scenic artist, afterwards a manager, and then an actor. The 
 present Mr. Jefferson very early entered the dramatic profes- 
 sion in the United States, and earned distinction in a great 
 variety of comic parts, ranging from Bob Acres, in the higher 
 range of English comedy, to Caleb Plummer in the domestic 
 drama of more recent years. When only three years old he ap- 
 peared on the stage as Rolla's child. He had a pretty hard 
 struggle up to 1849, when he entered into partnership with 
 John Ellsler and took a company over the southern circuit. 
 From 1852 to 1856 he was in Baltimore; then he went to 
 Laura Keene's Theatre in New York, playing several charac- 
 ters very acceptably, but his first great hit was in " Our Ameri- 
 can Cousin," in which he enacted the part of Asa Trenchard. 
 In i860 he first began playing his inimitable impersonation of 
 Rip Van Winkle, from a play founded on Washington Irving's 
 story by Charles Burke. During the civil war he went to 
 Australia and returned home by the way of England, playing 
 the part of Rip in London in 1865, achieving a triumphant 
 success. He has visited England once or twice since, winning 
 additional fame each time. For the past two or three years 
 Mr. Jefferson has united with Mr. Win, J. Florence, and the 
 Jefferson-Florence combination has been one of the very best 
 paying attractions in the country. 
 
 William J. Florence was born in Albany July 26, 1831. His 
 father died in 1846, and William being the eldest of a family 
 of eight children, was called upon for unusual exertion. He 
 first tried newspaper work, and then a New York counting- 
 house, but having a taste for theatricals, and becoming a mem- 
 ber of the Murdock Dramatic Association of that city, drifted 
 upon the stage and began his theatrical experience at the Rich- 
 mond Theatre in 1849. December 6th of the same year he 
 made his New York debut. The next year he was in Provi- 
 dence and played Macduff here to the Macbeth of Booth. Soon 
 afterwards he took to Irish characters at Brougham's Theatre, 
 New York, and perfected himself as a dialect actor. On New 
 Year's day, 1853, he married Mrs. Littell, a danseuse, whose 
 maiden name was Pray, and who is a sister of Mrs. Barney 
 Williams. Williams and his wife were now in the height of
 
 PROVIDENCE STAGE. 257 
 
 their success as Irish boy and Yankee girl delineators, and 
 Mr. and Mrs. Florence, believing the world was wide enough 
 for another "team" of that kind, decided to adopt the same 
 line, an experiment which proved eminently successful, but 
 the rivalry was sharp and not always good-natured. They 
 began their starring tour on the 13th of June, 1853.- In 1S56, 
 they went to England, where more success awaited them. 
 Florence was the first to bring out the " Ticket of Leave Man " 
 in this country, and has played the part of Robert Brierly many 
 hundred times. That and Captain Cuttle were his favorite 
 characters for many years. His Hon. Bardwell Slote in " The 
 Mighty Dollar," is remembered with much pleasure by Provi- 
 dence theatre-goers 
 
 Keith's Gaiety Opera House had forty different attractions 
 for the season of 1889-90, each one remaining one week, ex- 
 cept the last, Alexander Salvini, who remained two weeks. 
 Twenty-three of these attractions had crowded houses, and 
 all of the others had very large audiences. The season began 
 September 9th and ended June 28th. The list of attractions 
 was as follows : Corinne in "Arcadia;" " Held by the En- 
 emy;" N. S. Wood; "Shadows of a Great City;" Charles 
 Erin Vernerin " Shamus O'Brien ;" the Vaidis Sisters Com- 
 pany; the " Blue and Gray ;" "In the Ranks;" "Tourists 
 in a Pullman Palace Car;" " Equine Paradox ; " "< me oi the 
 Bravest ;" John A. Stevens; "Bandit King;" Rich and 
 Harris Specialty Company; Mason Mitchell in " 1. Fugi- 
 tive;" "A Royal Pass;" Daniel Sully; Hallen and Hart, 
 in "Later On;" "A Legal Wreck ; " " Under the Lash ; " 
 "Nobody's Claim;" "Harbor Lights;" "After Dark;" 
 " Passion's Slave ; " Daniel Sully again, Richard Golden in 
 " Old Jed Prouty ; " Nelson's " World Combination ; 
 con Lights;" "Lights and Shadows;" J. 11. Wallick in 
 "Sam Houston;" the "White Slave;" "Lost in N 
 York;" " Spicier and Fly ; " "Daniel Boone;' 
 kit-;" Vernona Jarbeau in "Starlight ;" Boston Theal 
 pany in "Mankind;" "She;" A. Salvini in "Child 
 pies," and "Three Guardsmen." 
 
 Most of these stars had been seen at higherpriced 1 
 in the city, and were quitefamili irto the general theati 
 There is, therefore, barely any other way to explain 
 crowded houses they received than by the supposition that the 
 
 17
 
 258 HISTORY OF THE 
 
 ranks of patrons were largely increased from the class who 
 had hitherto felt that they could not go to the theatre. 
 
 The season of 1890-91 began very encouragingly at the 
 Providence Opera House, with Gillette's entertaining play, 
 "All the Comforts of Home." The " Brass Monkey" fol- 
 lowed to excellent houses, and then came " Mr. Barnes, of 
 New York," to crowded houses, which was a surprise to 
 everybody. "Raglan's Way," with Edwin Arden as the 
 star, had beggarly houses, although it pleased all who saw it. 
 "A Straight Tip," with J. T. Powers, brought back good 
 houses again. Maggie Mitchell had a week of fair business. 
 "Aunt Jack" was witnessed by large audiences. Herrmann 
 attracted full houses, but Lotta, who followed, failed to draw 
 with "Ina" and "Musette." The Casino Company, in 
 "Mme. Angot," did not draw well. George Thatcher's min- 
 strels met with great financial success. "Shenandoah " had 
 crowded houses for one week. John L. Sullivan made his 
 first appearance here as an actor, and was greeted by full 
 houses. " Hands Across the Sea" played to good business. 
 Evans and Hoey, in "A Parlor Match," had crowded houses. 
 Margaret Mather succeeded almost as well as usual. Mile. 
 Rhea, in "Josephine," was both a financial and artistic suc- 
 cess. Cleveland's Consolidated Minstrels were liberally 
 patronized. The Howard Specialty Company, Hanlon's 
 "Superba" and " Money Mad," all suffered by light houses. 
 Messrs. Booth and Barrett, for one week beginning Decem- 
 ber 15th, had large houses and delighted audiences. "A 
 Dark Secret " had light attendance, but "A Trip to China- 
 town " had much better success. Then came Annie Ward 
 Tiffany, in the "Step Daughter," which was financially a fail- 
 ure. " Mr. Barnes, of New York " returned, and again at- 
 tracted full houses. Pauline Hall, in "Erminie" and "Amo- 
 rita," took away large profits. The " Soudan " had crowded 
 houses for one week. " Mr. Potter of Texas " came to see if 
 "Mr. Barnes, of New York" had takenawaya.il the money 
 here, but found that there was an abundance left. Dixey, in 
 "Adonis " and the " Seven Ages " played to crowded houses for 
 one week. "Yon Yons'on" was greeted with good houses for 
 three nights. "A Midnight Bell " played to crowded houses 
 for three nights, the first being for the benefit of the The- 
 atrical Mechanics. Barry and Fay, without Fay (who was
 
 PROYIDENCE STAGE. 
 
 ill) had fair audiences. The " Twelve Temptations " had poor 
 houses. Russell's "City Directory" had large audieno 
 but the "Pearl of Pekin," which followed, was not a suco 
 Cleveland's Minstrels did a Large business, and "The Charity 
 Ball " had to put out the " standing room " sign. The " Still 
 Alarm" was not so well patronized as in former years. 
 " Ship Ahoy," even though it came in Holy Week, met with 
 good success. Annie Pixley played <>ne week to good hous 
 One night was for the benefit of the Elks. Primrose and 
 West's Minstrels had fine business. Agnes Huntington, in 
 "Paul Jones," delighted full houses. The " Clemenceau 
 Case" had a full house the opening night of its week's en- 
 gagement, but hardly a corporal's guard after that. " Poor 
 Jonathan," by the Casino Company, was liberally patronized. 
 The " Prince and Pauper," with Elsie Leslie, did fairly. E. 
 H. Sothern, in " The Maister of Woodbarrow," had crowded 
 houses. The Talma Club occupied the house for one night, 
 and presented " She Stoops to Conquer" to a good hoi 
 The Brown University Minstrels had three large nights. A 
 week of opera carnival, for the benefit of the Rhode Island 
 Homoeopathic Hospital, was only fairly patronized. Stetson's 
 "Hornet's Nest" did poor business, and a " Fair Rebel," for 
 the benefit of some military companies, did not meet with 
 success. 
 
 The season at Keith's Gaiety Opera House continued 
 thirty-nine weeks. It opened September 15th with " M) 
 Jack," which, notwithstanding the hot weather, had crowded 
 houses. September 22d, Donnelly and Guard came with 
 " Natural Gas," and had equally good success. The bright 
 soubrette of the company, Katie Hart, died suddenly in New 
 York afew weeks later. September 29th, the Vaidis Sisters 
 putinaweekof large business, although not as crowded as 
 their predecessors. Henshaw and Ten Broeck, with the 
 "Nabobs," had the week of October 6th, with huge hous 
 The "Bottom of the Sea," October [3th, the "Spider and 
 the Fly," October 20th, and the " Blue and the I 
 ber 27th, had only fair business comparatively. Kal • 
 ton, with the oft-repeated plaj ol th< "Two Orphans," 
 crowded houses the week oi Novembei B 
 
 in the " Irish Arab," Novembei nd " Woi 
 
 Woman," November 17th. had only I ■ «ne
 
 260 PROVIDENCE STAGE. 
 
 Hallen and Hart, with " Later On," to such tremendous busi- 
 ness that an extra matinee was given the day following 
 Thanksgiving, and even that was crowded to the doors. 
 Hardie-Von Leer came December ist, to fair houses; Wills 
 and Jerome, in "Two Old Cronies," December 8th, to the 
 same ; "Inshavogue," December 15th, about as good; Decem- 
 ber 22d, "Limited Mail" had fine houses; December 29th, 
 Katie Emmett in "Waifs of New York," to large houses ; the 
 "Great Metropolis," January 5th, and "One of the Bravest," 
 January 12th, met with the same success. Charles Erin 
 Verner, in " Shamus O'Brien," had only fair houses the week 
 of January 19th, but Monroe and Rice the following week, in 
 " My Aunt Bridget," looked upon packed houses. February 
 2d, "Paul Kauvar" was played to a good business. Henry 
 Aveling, the leading man, committed suicide a few weeks 
 later at the Sturtevant House in New York. " After Dark," 
 February 9th, attracted large houses, and so did " Master 
 and Man," February 16th. "The Fakir," with Mark Sulli- 
 van, had successful business, and so did Ullie Akerstrom, 
 March 2d. " Lost in New York " was welcomed by crowded 
 houses the week of March 9th, and it was difficult to find 
 even standing room the week following, when " Old Jed 
 Prouty " occupied the stage. "The Hustler," with Dan 
 Mason, John Kernell, and other popular people in the cast, 
 also had crowded houses the week of March 23d. Fair busi- 
 ness greeted Reill-y and Wood's great show week of March 
 30th. " Siberia," April 6th ; Frank Daniels in " Little Puck," 
 April 13th ; "Jim, the Penman," April 20th ; J. H. Wallick, 
 April 27th ; Nellie McHenry, May 4th ; McKee Rankin in the 
 "Kanuck," May nth ; Minnie Oscar Gray, May 18th ; " The 
 Burglar," May 25th ; "The World," June ist ; and Edwin 
 Arden, in " The Eagle's Nest," June 8th, completed the 
 list. The house was managed in a commendable manner by 
 Mr. P. F. Connell, Mr. Keith's local representative. 
 
 On one of the evenings of the Hallen and Hart engage- 
 ment, a large number of Brown University students attended, 
 and applauded the young ladies in the company enthusiasti- 
 cally. They also frequently interrupted the performance 
 with a round or two of their peculiar cheers, but everything 
 passed off pleasantly, and everybody enjoyed the additional 
 entertainment which the college boys furnished.
 
 CHAPTER XXVI. 
 
 Reminiscences of the Providence Opkba House— Leading members 
 of the first stock company— Messrs. Burroughs, Tilton, Bascomb, 
 Sheldon, Rainsfohd and Donaldson, and Misses Cameron, Monk, 
 Harris, etc.— Terms of Mr. Henderson- Lease— Casts of rwo 
 
 SUCCESSFUL PLAYS. 
 
 THE great interest manifested in theatrical matters just 
 preceding the opening of the Providence Opera II 
 and during its first season, has never been so promi- 
 nent since, and probably never will be in Providence again. 
 unless the conditions should be similar. For many years the 
 city had been without a good theatre, and it had never had 
 one so thoroughly equipped in every particular as the Provi- 
 dence Opera House was. Then, too, there had been no stock 
 company here for several years. Travelling companies came 
 and went, as they do now, but the fact of having the pla) 
 residents of the city, and meeting them almost daily, made it 
 very interesting to hundreds of people. Night after night 
 until the season was far advanced, the theatre was crowded, 
 and at the matinees late comers were indeed fortunate il they 
 could obtain entrance. At the Athenaeum, it was said, there 
 was an immense falling off in the Saturday afternoon appli- 
 cants for books that season, and the librarian attributed it to 
 the fact that the young ladies had become so enthusiastic over 
 the theatre performances that they had lost their interest in 
 books apparently. 
 
 The members of Mr. I [enderson's firsl c< >mpany were 
 
 ladies and gentlemen who generally conducted themselves in 
 a praiseworthy manner, and made many w irm friends M 
 Isadore Cameron, the leading lady, was rathei r< 
 especially among strangers, but in the few families she visited 
 during her residence here, she wa welcome. She was 
 
 tall and stately, not handsome, but so pleasing in her manner,
 
 262 HISTORY OF THE 
 
 and withal so capable an artist, that she was exceedingly 
 popular with the patrons of the house. This was particularly 
 shown by the following incident. Mrs. Henderson, wife of 
 the manager, played a star engagement about the middle of 
 the season, and some busybody circulated a report that Miss 
 Cameron was to be dismissed and Mrs. Henderson was to 
 take her place in the company. Much dissatisfaction was ex- 
 pressed, not because Mrs. Henderson was disliked, but be- 
 cause the patrons were so pleased with Miss Cameron that 
 they did not want her to go, and especially to have her forced 
 out of a position. On the first night that Miss Cameron re- 
 appeared, she had a most enthuiastic reception, and the stage 
 was almost literally covered with the flowers which were either 
 thrown to her by the audience, or handed up by the leader of 
 the orchestra. 
 
 Miss Cameron, although a resident of New York, was that 
 season engaged in Chicago, but the great Chicago fire de- 
 stroyed the theatre where she was playing, and so Mr. Hender- 
 son was able to secure her services. She was married to Mr. 
 James F. Fuller, of New York, a few months after she came 
 here, became the mother of two or three children, and died 
 five or six years ago. Her sister, Victoria, also joined the 
 company before the season finished. 
 
 Miss Ada Monk, the soubrette, was a general favorite both 
 on and off the stage, and was received in some of the best 
 families of the city. She was engaged before the end of the 
 first season to be married to a wealthy and highly respected 
 citizen, but the engagement was broken off at the last moment. 
 She subsequently married a widower to whom she had been 
 engaged some years before. She was considered a handsome 
 woman, and was certainly a very pleasant lady and a good 
 artiste. For several years, now, she has been an invalid at 
 her home in New York city, a martyr to rheumatism. For 
 many months she was in the hospital, but did not find much 
 relief there. After she left Providence she travelled for a 
 season or two with C. H. Furbish's " Led Astray " Company, 
 then joined the "Strategists" Company, and finally became 
 a member of Fanny Davenport's Company, in which she met 
 with much success during the long run of "Fedora" at the 
 Fourteenth Street Theatre in New York, and also in several 
 other cities. That was the last of her professional career.
 
 PROVIDENCE STAGE. 
 
 Nellie Morant Bowen was a sister of the popular acl 
 Fanny Morant. She was fairly good as an actress, but much 
 more talented as a vocalist. 
 
 Anita Harris, another member of this company, was and 
 still is, a resident of Providence. She became a favorite s 
 after the season opened by her excellent personation of the 
 blind girl in " Dot, or, the Cricket on the Hearth." 
 
 Isabella Preston, the " old lady " of the company, won 
 opinions from all of the patrons of the house, because she 
 thoroughly competent for any part which was given to her. 
 She is still on the stage. 
 
 Mr. E. L. Tilton, the stage manager, was an experienced 
 actor, having supported all of the great stars of his time. He 
 was also congenial and made hosts of friends, who were 
 always glad to see him in his subsequent visits to Provi- 
 dence. His last appearance here was with Louis Jam 
 Company, in December, 1886. He died a few months after- 
 wards in Birmingham, Ala. He was born in Framingham, 
 Mass., in 1824, and had been on the stage since he was twenty 
 years old. 
 
 William F. Burroughs, the leading man, was an excellent 
 reader, and in a majority of the many characters in which he- 
 appeared that first season was very successful. His Eliot 
 Gray in " Rosedale " was quite as good, the public thought, as 
 that of Mr. Lester Wallack's ; and his Badger in ' 
 of New York," could not be excelled. He was married to 
 Miss Anita Harris while here, but she has since obtained a 
 divorce from him. 
 
 William P. Sheldon, the comedian, was one of the most 
 popular of the entire company, as was shown by the over- 
 crowded house at his benefit near the end of the season. I le 
 remained two or three seasons, and was a favorite with many 
 to the end. 
 
 H. L. Bascomb was a good general actor, and, until h 
 came dissipated, was a general favorite. He "dressed" his 
 parts with excellent taste, and in gentlemanly rdics he 
 thoroughly at home. ( >ne of hi- failings was his inabilil 
 take flattery for what it was worth. To , m iny and 
 
 too much flattery led him into dissipation and bro 
 his many eccentricities. At one time h<
 
 264 HISTORY OF THE 
 
 sane on the subject of religion, and would pray loud and fer- 
 vently in the most unseemly places. One evening in partic- 
 ular, he went direct from one of his scenes on the stage to 
 the green-room, and falling on his knees made an earnest 
 prayer for forgiveness for himself and those around him. 
 
 A few years after he left Providence he undertook, one 
 bitter cold night, to walk from New York to Hartford, and 
 his legs and feet were so badly frozen that it was found neces- 
 sary to amputate them. He is now in the Forrest Home 
 for Invalid Actors at Philadelphia. 
 
 Mr. Milton Rainsford and W. H. Donaldson were the " old 
 men " of the company. The former was a very conscientious 
 actor and worked very hard to please the people, with a good 
 measure of success. He passed most of his time at home, 
 when not engaged at the theatre, and met very few people ; 
 still he was very companionable with those whom he liked. 
 He was in the same Chicago theatre that Miss Cameron was 
 at the beginning of that season, and the great fire also enabled 
 Mr. Henderson to obtain his services. 
 
 Mr. Donaldson was also a good actor and a man of much 
 intelligence. His health was not by any means perfect, and 
 he was therefore not seen much outside of the theatre. 
 
 One member of the company, whose name I will not 
 mention, made such a ridiculous figure upon the stage, 
 that he was laughed at almost every time he appeared. Some 
 of the leading stockholders were very much displeased with 
 him and they asked Mr. Henderson to dismiss him. The 
 latter said he had engaged him by contract for the full sea- 
 son and that he could not afford to let him go. Thereupon 
 one of the stockholders offered to pay the salary, and I be- 
 lieve he did pay it, upon condition that the man should not 
 appear upon the Opera House stage again during the sea- 
 son. Mr. Henderson did not dismiss him altogether, but 
 employed him to do something else besides acting. The 
 gentleman has since become a good actor, and has held many 
 important positions in first-class theatres. 
 
 Mr. Henderson appeared here only once as an actor. Upon 
 that occasion he took a benefit and personated Ingomar to 
 the Parthenia of Mrs. Henderson. 
 
 Mr. Henderson leased the Opera House building for ten 
 years. He was to pay seven per cent, interest upon the
 
 PROVIDENCE STAG] . 
 
 mortgage of seventy-five thousand dollars, the taxes and in- 
 surance, and eight per cent, upon the capital invested forthe 
 first five years. The second five years the terms were to be 
 the same with the exception that Mr. Henderson was to \ 'ax- 
 ten per cent, on the capital. This made a very good tl 
 for the stockholders, and was at first also good forthe lessee. 
 His rent amounted to about $17,500, and he received hack 
 for the rent of the stores in the building about $3,000. 
 When Mr. Henderson took the lease the Spragues were in 
 the full tide of success, and all kinds of business in Provi 
 dence was generally prosperous. After the Sprague failure, 
 which took place a year or two succeeding the opening of 
 the Opera House, there was a remarkable change for the 
 worse, and theatrical business suffered materially. 
 
 Mr. Henderson was strictly an honest man, but his business 
 methods might have been improved. Although generally 
 considered very shrewd, he was often very careless, and thi 
 who ought to know, have often said that he trusted some oi 
 his employes far too much, and was so careless about retain- 
 ing receipts, etc., that he frequently paid bills at least twice. 
 Some of his intimate friends would often call his attention 
 to the fact that certain of his employes were living in a n 
 extravagant manner. He would cordially thank the in- 
 former, intimate that he had already become satisfied that it 
 was the truth, promise to look into it at once, and there t he- 
 matter ended. When he began to lose money, he also began 
 to cheapen his companies, and economize in the wrong pi; 
 This led to great dissatisfaction among the stockholders as 
 well as to the public, and finally he became anxious to give 
 up his lease. 
 
 Mr. F. S. Brownell proposed to him that if he would give 
 up his stock in the Opera House, which then amounted to 
 $12,000, the other stockholders would doubtless release him ; 
 he readily accepted the proposition, and the stockholders did 
 as agreed upon. 
 
 Mr. Henderson went to New York, took a lease ol the 
 Standard Theatre, which he managed foi several \< 
 for two or three years before his death, he was man 
 the Academy of Music in Jersey City. 
 
 When Mr. Henderson left, th holderstook the house 
 
 incharsre and leased it to travelling combinations I' said
 
 266 
 
 HISTORY OF THE 
 
 that their profits in this venture amounted to $14,000 the 
 first year. Finally, Mr. George Hackett took the lease, and 
 during the five years that he was the manager the public 
 saw many queer "shows," and the stockholders realized very 
 little on their property. The last year, it is said, he did not 
 pay one cent for rent, and the house was permitted to run 
 down so much that when Mr. Morrow succeeded him, in 
 1885, about nine thousand dollars had to be spent in making 
 the necessary repairs. The stockholders have received no 
 dividends since 1882, but there is a good prospect that one 
 will soon be paid. 
 
 Going back to Mr. Henderson's management, it is quite 
 certain that the most popular play ever produced by any of 
 his stock companies was " Rosedale," which was first brought 
 out on the evening of Jan. 8, 1872, and had a run of three 
 consecutive weeks, and was put on again later in the season. 
 The cast of characters was as follows : 
 
 Elliot Grey, 
 Matthew Leigh, 
 Col. Cavendish May, 
 Bunberry Kobb, 
 Sir Arthur May, 
 Siles McKenna, 
 Farmer Greene, 
 Corporal Daw, 
 Romany Rob, 
 Docrey, . 
 Robert, 
 Florence May, 
 Rosa Leigh, 
 Lady Adela Gray, 
 Tabitha Stark, 
 Sarah Sikes, 
 Primrose, 
 Mother Mix, 
 
 W. F. Burroughs. 
 H. L. Bascomb. 
 W. A. Donaldson. 
 W. P. Sheldon. 
 La Petite Hattie. 
 E. L. Tilton. 
 Mr. Pierson. 
 J. M. Allison. 
 \V. C. Raymond. 
 W. H Partello. 
 S. Phileo. 
 
 Miss Isadore Cameron. 
 Miss Ada Monk. 
 Miss Minnie Doyle. 
 Miss Isabella Preston. 
 Miss Anita Harris. 
 Miss Nellie Mabel. 
 Miss Naomie. 
 
 The next play, in point of interest, presented by any of 
 Mr. Henderson's companies, was the "Two Orphans," first 
 produced on Feb. 8, 1875. Mr. Henderson spent more
 
 PROVIDENCE STAGE. 
 
 267 
 
 money upon this play than upon any other during his man- 
 agement, and it was generally conceded that the production 
 was fully as enjoyable here as the original at the Union 
 Square Theatre in New York. The cast of characters was 
 as follows : 
 
 Chevalier Maurice de Vaudrey, 
 
 Count de Linieres 
 
 Picard, 
 
 Jacques Frochard, 
 
 Pierre Frochard, 
 
 Marquis de Presles, 
 
 Lafleur, . 
 
 Doctor, 
 
 Martin, . 
 
 Officer of the Guard, 
 
 Qhief Clerk in the Ministry of 
 
 Police, 
 De Mailly, 
 D'Estrees, 
 Antoine, 
 Footman, 
 Countess Diane de Linieres, 
 
 tT . ' The Two Orphans, 
 
 Hennette, \ l 
 
 Marianne, an outcast, 
 
 La Frochard, . 
 
 Sister Genevieve, 
 
 Julie, 
 
 Florette, 
 
 Cora, 
 
 Sister Therese, 
 
 W. F. Burrouj 
 
 H. B. Norman. 
 Sid Smith. 
 W. Treville. 
 J. C. Padgett. 
 F. (i. Potter. 
 Harry Harwood. 
 Mr. Raymond. 
 Mr. Williams. 
 Mr. Edwards. 
 
 Mr. Sutton. 
 Mr. Morrison. 
 Mr. Jones. 
 Mr. Deering. 
 Mr. Thompson. 
 Miss Lillie Wilkinson. 
 \ Miss Lizzie Mahon. 
 / Miss Emmie Wilmot. 
 Miss Belle Bailey. 
 Miss C. A. Pennoyer. 
 Miss II. Willis. 
 Miss Carrie Leclaire, 
 Miss I List in 
 Miss Waterman. 
 Miss Browning. 
 
 This play ran fur two weeks at first and was frequently 
 revived later in the season. 
 
 Of the above-named, Mr. Burroughs is occasionally heard 
 of in and about New York; Messrs. Norman and Smith 
 have both passed away; Mr. Treville's whereabouts are un- 
 known; Mr. Padgett is a member of W. 11. Crane's com- 
 pany; Mr. Potter has for some years been a manager^ol
 
 268 PROVIDENCE STAGE. 
 
 prominent stars ; Mr. Harvvood has become a very popular 
 character actor; Miss Lillie Wilkinson is in Worcester, and 
 not long ago managed a theatre there ; Miss Emmie Wilmot 
 is said to be teaching elocution in California ; Miss Lizzie 
 Mahon has been here within a few years as leading lady of 
 Crossen's "Banker's Daughter" Company, and Mrs. M. A. 
 Pennoyer is still upon the stage, playing good roles with her 
 accustomed success. 
 
 Of the twenty-eight original stockholders of the Providence 
 Opera House Association, sixteen have passed away up to the 
 date of this writing, Aug. 10, 1891. Their names are as 
 follows : Henry Lippitt, William Henderson, William S. 
 Slater, Earl P. Mason, Henry Fairbrother, Henry J. Steere, 
 John Carter Brown, Amos Beckwith, James Eddy, Martin C. 
 Stokes, Alfred Anthony, William Butler, John T. Mauran, 
 Alfred Read, B. F. Thurston, Edmund Davis. Of the orig- 
 inal building committee, Mr. Francis S. Brownell is the qnly 
 survivor.
 
 CHAPTER XXVll. 
 
 Notable Amateur Organizations— Providence Dramatk So< ikty— 
 Amateuk Dramatic Club— Hammer and Tongs Society— Daven- 
 port Dramatic Club— The Talma Club— Theatkk Comique— 
 Westminster Mu8ee— Providence Museum— Sans Sulci Garden— 
 Park Garden— Conclusion. 
 
 ONE of the most celebrated of the local amateur associ- 
 ations of which there is record was the Providence 
 Dramatic Society, whose opening performance took 
 place April 8, 1859, in a hall on Weybosset street, opposite 
 the Post Office. The plays performed were "Sent to the 
 Tower" and "No. 1, 'Round the Corner," and these pie 
 had been selected because they required no female perform- 
 ers. No ladies were ever on the list of active members of 
 the Society, as it was feared that as volunteers they could not 
 be depended upon for punctuality. Consequently, several 
 ladies of excellent character and possessed of some previous 
 stage experience were engaged, and they justified all the So- 
 ciety's expectations, for during a service of four years they 
 never missed a rehearsal or a performance, and were always 
 tastefully attired and "letter perfect " in their parts. These 
 ladies were Miss Mary Morse, Miss Amanda Morse, and Miss 
 Francis, afterwards Mrs. Fiske. When the exigencies <>t the 
 cast required an additional lady, Miss Louisa Morse rend 
 valuable assistance. On one occasion (Sept. 26, iS; 
 Jean Margaret Davenport, now the widow of General Lander, 
 personated Laura Leeson in ••Time Tries All," Mis. Albert 
 Dailey playing Fanny Fact. 
 
 The most noteworthy performance oi the Society during 
 its first year was " Richelieu," the title rdle being sustained 
 by James G. Markland, a prominent law; ! 
 
 performed four consecutive evenings in May, [859. Dui 
 this year twenty-five performance iven.
 
 270" HISTORY OF THE 
 
 At the expiration of the year's lease the Society moved 
 into the Infantry Armory Hall, on Meeting street, which 
 they had turned into a pretty theatre. The scenery was 
 excellent in quality, some of the scenes being presents 
 from liberal friends of the Society, and the act drop, repre- 
 senting the city of Rome, with the castle of St. Angelo in 
 the foreground and the Church of St. Peter in the distance, — 
 a fine work of art by Ernest Barton, — was always admired by 
 the spectators. The initial performance, consisting of 
 "Dreams of Delusion" and "The Two Buzzards," took 
 place April 11, i860. During the year twenty-four perform- 
 ances were given. 
 
 During the third year of the Society's existence there were 
 only sixteen performances. The War of the Rebellion broke 
 out in the spring of 1861 and absorbed public attention, and 
 the Society voted in May not to play again until the end of 
 the war. The war, however, did not end as soon as was ex- 
 pected, and plays were again put upon the stage. On the 
 26th of November, 1861, Mr. and Mrs. E. L. Davenport 
 played the " Morning Call " and read several selected pieces 
 for the benefit of the Society. 
 
 During the fourth year, as many of the active members 
 had left the city, some to enter the military service of the 
 United States, and others to change their residence, it was 
 impossible to produce plays as well as was desirable. Hence 
 there were only four performances, the last one occurring 
 Feb. 5, 1863, when the bill was " The Weathercock " and 
 " Slasher and Crasher." Soon afterwards the Society dis- 
 banded, and the scenery was sold to parties in Boston. 
 
 The organization was supported partly by a tax on its ac- 
 tive members and partly by a yearly payment from each of 
 its subscribing members, who, with their families, were alone 
 admitted to the performance, a privilege much coveted. The 
 principal performers were James G. Markland, leading old 
 man ; John Howe, comedian and stage manager ; William 
 J. Clarke, tragedian ; Walter Manton, comedian ; George Syd- 
 ney, eccentric comedian ; Charles Blake, comedian ; George 
 H. Ware, A. V. D'Costa, Samuel N. Woodruff, J. H. Allen, 
 Frederick Anthony, George Anthony, Frank Knowles, Wil- 
 liam B. Dennis, Thomas A. Randall, E. K. Godfrey, John G. 
 Hazard, and James H. Bugbee ; but there were others who
 
 PROVIDENCE MACE. 27 1 
 
 occasionally rendered assistance. Three of the active mem- 
 bers, viz., Messrs. Howe, Marklarid, and Sydney, had b< 
 fessional actors, and two others became such. Mr. Carlo 
 Mauran, whose stage name was Harry Bloodgood, was on< 
 the latter. 
 
 About fourteen years ago the Amateur Dramatic Club, that 
 had found previous accommodations in Union and then in 
 Barney's Hall, took possession of Dramatic Hall, on South 
 Main street. The building was formerly a church, then a 
 morgue, then a livery stable and hack office, and then a riding 
 school. After laying out $4,00001- S5, 000 upon it they opened 
 it as a club theatre and society gathering place. For five or 
 six seasons they were eminently successful, and then the 
 "green-eyed monster, jealousy," cooperated with some one 
 who managed to get the accounts into very complicated con- 
 dition, and the club died out. Friday, Jan. 7, 1877, this club 
 opened their new theatre with the three-act play, "Apple 
 Blossoms," with the following cast : Mr. Penryn, Arthur L 
 Brown ; Tom Penryn, his son, W. S. Daboll ; Bob Pro///, 
 Jeffrey Davis ; Mr. Temple, John F. Tobey ; The Great 
 Baggs, a showman, H. B. Bowen ; Handsome />/'//, Rath bone 
 Gardner ; Town Crier, Clinton Mauran ; Jennie, Kitty, and 
 Mrs. Page, by Misses Minnie Hitchcock, Balch, and Neei. 
 
 The club met with much encouragement. Nearly all their 
 plays were privately produced to audiences consisting solely 
 of subscribers and invited guests. They gave many pleasant 
 entertainments, yet it always was left to be wished that they 
 had cast their plays more upon the professional lines oi special 
 ability in the performers for their parts, than for the purely 
 social standpoint that they considered fust of all. 
 
 Several other standard plays were produced that season, 
 and prominent among the casts besides those already men- 
 tioned were Messrs. S. W. Nickerson, Matthew Watson, 
 William G. Nightingale, Elisha Dyer, )v., S. C. Blodget, 
 H. F. Lippitt, Miss Emily Jones, Miss Mary Simmons, Mrs, 
 Frederick Grinned and Miss E. I >. Potter. 
 
 Important plays of the second season were "S< ho-!," with 
 Augustus S. Miller as Bean Farintosh, A. S. Nickerson 
 as Jack Poyntz, S. W. Nickerson as Lord ■ I 
 
 Philip Mason as Dr. Sutcliffe, and " Our Boys," with I B 
 Greene as Middlcivick.
 
 2 72 HISTORY OF THE 
 
 Among other performances of the third year were "Take 
 That Girl Away," " Who Killed Cock Robin ?" and " Weak 
 Woman ; " and the fourth season, which opened with a con- 
 cert, saw Howard Hoppin's operatta, " Oleo-Margarine," and 
 "Papa Perichon," "She Stoops to Conquer," L'Homme 
 Blaze," and a "Tangled Skein," with A. D. Payne as Sir 
 Reginald Houghton. 
 
 In the season of 1881-82, was given "A Lesson in Love," 
 and the following year " Woodcock's Little Game," and 
 " Ours." 
 
 The Hammer and Tongs Society of Brown University was 
 in its glory in those days, and every season they gave several 
 performances of burlesques with much merit and success. 
 Several times they essayed mfnstrel shows that are well 
 remembered, and in whose lists we may find the names of 
 many of the present leading professional and business men of 
 this city. Kate Field appeared at Dramatic Hall in January, 
 1881. 
 
 Dramatic clubs without number and some almost without 
 present record have had their rise and fall within the last 
 decade. 
 
 The Davenport Dramatic Club gave " Time and the Hour " 
 at Dramatic Hall, and the Haskins Dramatic Club have ap- 
 peared at infrequent intervals. "The Eccentrics" played 
 "Caste" in 1877, with John O. Darling as Old Eccles. Four 
 or five years later the Union Dramatic Club gave " Nick of 
 the Woods," with Mark Clemence as the Jibbcnainosay. 
 
 Many more have had their hour to " strut upon the stage 
 and then have been seen no more." It was left for the Talma 
 Club to take up the work that the Amateur Dramatic Club 
 put down, and to do more than any club in this city (with 
 perhaps one exception), has ever been able to accomplish. 
 This club was really the outgrowth of some entertainments 
 given in the Providence Opera House in the winter of 1886, 
 under the auspices of the Boating Association of Brown Uni- 
 versity, called " Grand Historical, Chronological and Alle- 
 gorical Dramatic Pageant of the Coronation of Columbus." 
 It was named after the great French actor of the Comedie 
 Francais, who was the first to strive after that perfection and 
 realism of effect, and naturalness in small parts as well as the 
 leading ones, and for harmonious and appropriate surround-
 
 PROVIDENXE STAGE. 
 
 - / J 
 
 ings of costume and scene. This club secured Dramatic 
 Kail, and, after a good deal of hard work, gave its first | 
 formance there on Feb. 15, [886, which was very succi 
 ful. Several other performances followed that season, many 
 of them in other parts of the state. 
 
 The second season of the club was more brilliant than the 
 first, and the high standard that they had set they seemed 
 to more than sustain. Strong plays, like "Helping Hands " 
 and "Our Boys," were given, the latter several times at 
 home and once in the theatre at Pawtucket. 
 
 The beginning of the third year witnessed a sudden jump 
 in the membership from about thirty-five to one hundred and 
 thirty-five. Several hundred dollars were expended in im- 
 provements. Mr. W. A. Brownell and Mr. James Hill, who 
 had been president and secretary respectively, had been suc- 
 ceeded by Hiram Kendall and Daniel Webster, Jr., during 
 the previous season. Shortly after this, Mr. Hill, who had 
 been pleased with his taste of theatrical life, sold out his 
 business in America and returned to his native country, 
 England, where he has since become a well-known theatrical 
 manager, and has written several successful comediettas. 
 He is at present associated with the English playwright and 
 actor, J. B. Mulholland, in the management of the Theatre 
 Royal, Nottingham. 
 
 This year " Esmeralda," "King Rene's Daughter," '• ( >ur 
 Boys," etc., were produced in an admirable manner. 
 
 The fourth season witnessed many accessions of new talent, 
 and one or two important productions. The club's twenty 
 seventh performance, which opened it, was given on Novem 
 ber 14th, and consisted of "To Oblige Benson," and "A Cup 
 of Tea," which was admirably played by a cist which in 
 eluded Miss Gilbreth as Lady Clara, Albeit G. Carpenter as 
 Scroggins, and James B. Ryder as Sir Charles. 
 
 The most elaborate of all their performana eason 
 
 was the production of "She Stoops to Conquer." Miss 
 Annie M. Gilbreth appeared as Miss HardcastU, and Mi 
 Henry A. Barker as Tony. Mrs. W. W. Flint 
 Hardcastle, Mr. Farnsworth was Mr. Hardca 
 Ryder and Weeden were the two young gentlem 
 and Hastings, Mr. Kranx was I Mr. M< 
 
 Charles Marlowe, Miss Lewis was C ■■■' and 8 
 
 the minor parts were unusually well taki 1 
 is
 
 2 74 HISTORY OF THE 
 
 The plays of the fifth season, 1890-91. were much more 
 numerous than those of any preceding one. From October 
 16th, when they opened in "Home," until April 30th, when 
 the season closed with a repetition of " She Stoops to 
 Conquer " at the Providence Opera House, new plays were 
 given in rapid succession, and raised the number of produc- 
 tions on their list from forty to about sixty. 
 
 For the fiftieth performance the club revived "Esmeralda," 
 in a way more elegant than before, and with all the original 
 cast, which included Miss F. E. Mosher, Francis Pratt, Mrs. 
 W. W. Flint, George Packard, Daniel Webster, Jr., Henry A. 
 Barker, Miss L. Edith Lilley, Miss Ella Stafford, Robert L. 
 Barker and Hiram Kendall. 
 
 The Talma Club is now an incorporated society. It is well 
 organized, under a strong constitution, with a board of twelve 
 general managers, who in turn elect an executive committee, 
 consisting of the president, Hiram Kendall ; the secretary, 
 Arthur P. Weeden ; the treasurer, James B. Ryder, and the 
 assistant secretary and treasurer, Wm. H. Wing. 
 
 The vice president and general manager is Mr. Henry A. 
 Barker, who has filled that position since the club started. 
 He has designed and painted all the scenes, and generally all 
 the movements of the players, and besides this has enacted 
 a wide range of important parts with success. The assist- 
 ant stage manager is Mr. A. G. Kranz, who is a character ac- 
 tor of marked ability. 
 
 The Theatre Comique opened in November, 1874. Archie 
 Stalker was the first manager. Then John D. Hopkins and 
 Mr. James Tinker became the managers. Following them 
 were Messrs. Robert Morrow and J. D. Hopkins. It made a 
 great deal of money while this firm had it, the profits being 
 about S22,ooo in one season alone. Mr. Morrow sold out in 
 1885 to Hopkins & Magee, and took the management of the 
 Providence Opera House, where he has since continued. 
 The Comique was totally destroyed by fire Feb. 17, 1887. 
 Upon its site now stands the Swarts building. 
 
 The Sans Souci Garden, located near the foot of Broad- 
 way, was first opened as a concert garden in June, 1878. 
 After a few weeks specialty performers were engaged. The 
 second season, 1879, "Pinafore" was produced for quite a 
 "run," and then the " Chimes of Normandy." The third
 
 PROVIDENCE STACK. 275 
 
 season, the opera of " Contrabandista " had a brief run, and 
 then came " Fatinitza," which attracted crowded house- 
 three months or more. For four or five years following, comic 
 opera was given almost exclusively, and then dramatic enter- 
 tainments were successfully given. Among the dramatic 
 and lyric stars and companies which have appeared there, are 
 Henry Chanfrau, the Boston Theatre Company, Murray and 
 Murphy, Tellula Evans, "Rice's Surprise Party," "Three 
 Wives to One Husband," Corinne Opera Company, Mile. 
 Lucette, Jennie Calef, "Lizzie Evans, Louise Pomroy, the 
 Redmund-Barry Company, Harry Lacy, Louise Litta, Ben 
 Maginley, Gracie Emmet, Dan Mason, Boston Opera Com- 
 pany, Lottie Church, Edmund Collier, Braham Comedy Com- 
 pany, Marland Clarke, E. P. Sullivan, Pat. Rooney, Charles 
 Bowser, Rufus Scott, etc. The Redmund-Barry Company 
 played an engagement of eight weeks there in [886, to al- 
 most continued crowded houses. 
 
 The Park Garden, under the management of Messrs. Shir- 
 ley and Reeves, was located on Broad street, near the South 
 Providence horse car barn. It comprised twenty acres of 
 land, enclosed by 41,820 feet of high board fence. It was 
 opened June 24, 1878, by a "feast of lanterns," under the 
 auspices of the Irrepressible Society. The first season was 
 devoted to a display of fireworks on the lake, with scenery 
 illustrating the eruption of Mount Vesuvius and destruction 
 of Pompeii. Performances of various kinds were given 
 there, but the principal event was the most realistic produc- 
 tion ever given in this country of Gilbert and Sullivan's 
 ebrated opera of "Pinafore." The garden was especially 
 adapted for such a performance. It had a natural lake 
 feet long and 150 feet wide, enclosed in a natural amphithea- 
 tre, and upon the banks an audience of tour or live thousand 
 people was frequently assembled. A ship rigged like .1 man 
 of-war, the deck of which was 1 10 feet in length, was built in 
 the centre of the lake, and upon its deck the opi ling 
 
 every night (Sundays excepted) for thirteen weeks, h 
 pany of about one hundred, accompanied by ^n 
 twenty-eight pieces. Anion, 1 he realistic features was the 
 manner in which Little Buttercup, the Admiral, and H 
 and the Sisters, Cousins and Aunts boarded the ship 
 performance. Three boats were used for this pui 1
 
 276 HISTORY OF THE 
 
 first was rowed by Buttercup herself, the second and third by 
 regular men-of-war men from the government vessel, Blake, 
 which was stationed here that summer. These real sailors 
 went "aloft " as soon as they reached the deck of H. 31. S. 
 Piuafore, and remained there until after the Admiral's open- 
 ing song. The original cast of " Pinafore " at the Garden was 
 as follows : Josep/iiue, Signora Marie Baratta Morgan ; But- 
 tercup, Ada Byron Coombs ; Hebe, Fannie Corey ; Admiral, 
 George W. Wilson ; Captaiu, William S. Daboll ; RalpJi 
 Rackstraiu, Charles H. Drew ; Dick Deadeye, Stanley Felch ; 
 Boatszvaiii, W. J. Cushing. 
 
 The following season the Chinese opera of "Ambassador's 
 Daughter" was also produced here in a most realistic man- 
 ner, and " Pinafore " was also tried again for a few weeks. The 
 garden was likewise celebrated for some of the most interest- 
 ing walking matches that have ever been held in New Eng- 
 land. All of the celebrated pedestrians in the country, in- 
 cluding Weston, appeared here, and contested for liberal 
 purses. 
 
 The Garden was closed in 1883, the land having been 
 leased for five years. The last two years' performances were 
 given in the Pavilion by various combinations of players. 
 
 Among the notable entertainments should be mentioned 
 the very fine displays of fireworks, which were in many cases 
 decidedly original, and were manufactured on the grounds. 
 The Grand Army of the Republic were encamped there for 
 five days, one season, and a notable feature was a very real- 
 istic sham battle. 
 
 The Westminster Musee was opened March 8, 1886, by 
 Charles F. Handy & Co. Variety entertainments were given 
 upon its stage, while in adjoining halls were exhibitions of 
 "freaks," etc. For two or three years it was an exceedingly 
 profitable house, and Mr. Handy retired with a snug little 
 fortune at the end of that time. Since then it has had vari- 
 ous managers, and they have tried almost everything to restore 
 its popularity, but without much success. 
 
 Another place of amusement is the Providence Museum, 
 now managed by Dr. Lothrop, of Boston. Mr. Handy was 
 also connected with that in its early career, and it was quite 
 popular. Mr. B. F. Keith, now the manager of Keith's 
 Gaiety Opera House, began his managerial career in Provi-
 
 PROVIDENCE STAGE. 2" 
 
 dence as the manager of that house, with Mr. E. F. Albee as 
 the local manager. While he was there business was always 
 
 equal to the capacity of the house, and the audiences were 
 much pleased with the manner in which the house was con- 
 ducted, that there was general rejoicing when it was learned 
 that Mr. Keith had secured the lease of Low's Grand Opera 
 House. 
 
 Dr. Lothrop has, since he succeeded Mr. Keith, made the 
 house very popular by giving his patrons standard drama, with 
 good companies at low prices. He has obtained adjoining 
 property, and will doubtless enlarge the theatre another 
 season. 
 
 The history of the Providence stage is now complete up to 
 the present date. The writer has endeavored to make it cor- 
 rect and as concise as possible, and he hopes that his work will 
 meet with general approval. Providence, twenty-five years 
 ago had the reputation of being one of the best show towns 
 in America, but the illiberality of a few managers who tried 
 hard to make the public accept miserable performances and 
 pay high prices for them soon resulted in destroying the con- 
 fidence of the theatrically inclined, and managers ol 
 attractions suffered so much from it that many of them would 
 not visit Providence at all. The Frohmans, Daniel and 
 Charles, were among the first who began to get a reward for 
 bringing first-class companies and first-class plays to 1': 
 dence, and now, almost anything with their names as man- 
 agers, is liberally patronized here, and probably will be while 
 they keep their reputation up to the present standard. 
 J. M. Hill's companies have also been very acceptable, and so 
 have the companies sent by Mr. John Stetson and from the 
 Casino in New York. Mr. Palmer and Mr. Daly Inn- 
 crossed Providence from their list, although, if they should s 
 their companies here now with somen! their latest su 
 they would doubtless find the visits remunerative.
 
 279 
 
 APPENDIX A.- 
 
 THE expedients to which the unlicensed votaries of the histrionic art have 
 been driven in order to evade the penalties inflicted by this Act, (12th 
 of Anne), are well exemplified in the following play-bill, (the original is 
 before ns), which is curious in another point of view, as we here find tin- 
 lady, who was destined to become the most distinguished tragic actres 
 her time, announced prima donna in the opera of "Love in a Village." 
 There is considerable merit in the scheme of insinuating " polite literature " 
 into the inhabitants of Wolverhampton, by the sale of an assortment of tooth 
 powder at 2s, is, and 6c2 a paper.— Jurist, Vol. l, p. -'TU. 
 
 "MR. KEMBLE, 
 
 With humble submission 
 
 (To the Ladies and Gentlemen of Wolverhampton, and the Town in general), 
 
 proposes entertaining them • 
 
 On Wednesday evening, the 8th instant, at the Tov? n Ham., 
 
 with a ('mm i ;b i 
 
 of 
 
 Vocal and Instbumeni \i Ml 3 re, 
 
 Divided Into three parts. 
 
 Between the several parts of The Con< i rt, 
 (For the amusement of the Town, and the further Improvement ol Politj 
 
 I.I m RATI i.i . 
 fi ll. I. BE CONTIN1 I D 
 
 THE HISTRIONK l< \\<\ m \ 
 
 with specimen 
 The various Mod: - oi Ei oi i i ion, 
 
 By Inhabitants oi rHi ro 
 
 ■ 7.
 
 280 PROVIDENCE STAGE. 
 
 (For their diversion), 
 
 Without fee, gain, hire, or reward. 
 
 The specimens of this night's amusement will be taken from 
 
 A Comic Opeua, called 
 
 LOVE IN A VILLAGE. 
 
 Sir William Meadows, 
 
 by 
 
 Mr. K-MB-LE, 
 
 Young Meadows, 
 
 by 
 
 Mrs. S-dd-ns, 
 
 Justice Woodcock, 
 
 by 
 
 Mr. B-rt-n, 
 
 Hawthorne, 
 
 by 
 
 Mr. C-RR-K, 
 
 Eustace, 
 
 by 
 
 Mr. D-l-ne, 
 
 Carter, 
 
 by 
 
 Mr. D-w-ng, 
 
 Countrymen at the Statue, 
 
 
 Mr. H-m-l-t N, 5 
 
 Hodge, 
 
 by 
 
 Mr. J-N-s, 
 
 Eosetta, 
 
 by 
 
 Miss K-MB-L-E, 
 
 Lucinda, 
 
 by 
 
 Mrs. H-m-lt-n, 
 
 Mrs. Deborah Woodcock, 
 
 by 
 
 Mrs. Bu-ch-k, 
 
 Housemaid, 
 
 by 
 
 Miss F. K-MB-LE, 
 
 Cook, 
 
 by 
 
 Mrs. Na-l-k, 
 
 Madge, 
 
 by 
 
 Mrs. K-mb-le. 
 
 -A-I ,-K, &C 
 
 And concluded with Comic Orations, &c, 
 
 from 
 
 The Fiddler turned Citizen. 
 
 *** This is to assure the public that no money will be taken for admittance, 
 nor will any Tickets be sold ; therefore all persons inclined to attend the 
 Conceit, are desired to call at Mr. Latham's, at the Swan, where tickets 
 will be delivered (Tratis to his friends and acquaintance. 
 
 N. B. Mr. Latham has a quantity of Tooth-Powder (from London), 
 which he intends selling in papers, at 2s, Is, and 6cZ each. The same 
 Powders may likewise be had at Mr. Smart's, and Mr. Smith's Printing 
 Office, and at the Talbot, in King street. 
 
 The Concert to begin at 5 o'clock, and the Lectures exactly at half-past 6. 
 
 It is humbly hoped no Ladies or Gentlemen will take it amiss, that they can 
 not possibly be admitted without a ticket."
 
 28.1 
 
 PLAY BILLS. 
 
 PROVIDENCE THE A T K E . 
 1812. 
 
 THE managers have the pleasure of announcing to tin- public that they 
 have engaged 
 
 MR. COOKE 
 
 To perform in the Providence Theatre for six nights only. During the en- 
 gagement no play can be repeated. 
 
 In order to prevent difficulty, and give an equal chance to the publick in 
 general to witness the brilliant performances of tliis justly celebrated actor, 
 a box plan with the whole of the boxes regularly numbered will be opened 
 at the Box office of the Theatre, at ten o'clock on each day of performance, 
 when places may be taken in any number not exceeding ten, nor less than 
 two. 
 
 This Evening, July 13th, (1812), will be presented tor the only time this 
 season, Shakspeare's celebrated comedy in five acts, called 
 
 T II E M ERC ll A \ T OF V E N t( I 
 
 Shylock, (for that night only,) - - . M« Cooke 
 of the Theatre Royal, Covent Garden, London, (his firsl appearance hi 
 
 Antonio, - - Mr. D 
 
 Gratiano, - - Mr. Waring. 
 
 Bassanio, - - Mr. To 
 
 Lorenzo, - Mi Robertson. 
 
 Duke, - - - - Mr. CI 
 
 Launcelot, - - - Mr. Di< I enson. 
 
 Gobbo, - - - - N 'i Barnes. 
 
 Salanio, - Mr. Roberts. 
 
 Salarino, - - Mr. Spiller 
 
 Tubal, ..-.- Mr. Entw Istle. 
 
 Balthazar, - - - Master a. Dra 
 
 Portia, - - Mrs. Powell. 
 
 Nerissa, - - Mrs. To 
 
 Jessica, (her firsl appearance In Providence,) Miss Delllnger
 
 282 
 
 HISTORY OF THE 
 
 To which will be added a much admired Entertainment, never performed 
 here, called 
 
 PLOT AND COUNTERPLOT, 
 
 or The Portrait of Ckrvantes, as performed in London with the most 
 unbounded applause. 
 
 Hernandez, 
 
 Don Gaspard, 
 
 Don Leon, 
 
 Don Fernando, 
 
 Isidore, 
 
 Fabio, 
 
 Pedrillo, 
 
 Pachio, 
 
 Donna Lorenza, 
 
 Joanna, - 
 
 Beatrice, 
 
 Mr. Drake. 
 Mr. Roberts. 
 Mr. Robertson. 
 Mr. Spiller. 
 Mr. Clarke. 
 Mr. Entwistle. 
 Mr. Dickenson. 
 Master A. Drake. 
 Miss Dellinger. 
 Mrs. Drake. 
 Mrs. Barnes. 
 
 5^" Tickets and places for the Boxes may be had of Mi:. Lyndon, at the 
 Theatre, on the days of performance, from 3 o'clock until the close of the 
 entertainment. 
 
 Doors to be opened a quarter before seven, and the curtain to rise at a 
 quarter before eight, precisely. 
 
 Ugl^On no account whatever, will the smoking of Cigars be permitted in 
 any part of the theatre. 
 
 LION THEATRE, 
 
 PROVIDENCE. 
 
 The managers respectfully inform the citizens of Providence that the 
 theatre was opened Tuesday, May 10th, (183G), with appropriate (Scenery, 
 Dresses, and Decorations. The interior of the building has undergone an en- 
 tire alteration, which they trust will be to the satisfaction and comfort of 
 the audience. 
 
 Stage Manager, Mr. Ingersoll— Acting Manager, Mr. Houpt— Artist, Mr. 
 Schinotti — Leader of the Orchestra, J. Clemens. 
 
 The managers respectfully inform the public that the performance of last 
 evening will be repeated this evening, May 11th. 
 
 The Evening's Entertainment to commence with the interesting Drama, 
 entitled, 
 
 THE WANDERING BOYS. 
 
 Mrs. Houpt. 
 Mrs. Ingersoll. 
 
 Paul - iw , • n 
 Justin, (Wandering Boys, 
 
 Count de Croissey, 
 Roland, 
 
 Mr. Houpt. 
 Verne.
 
 PROVIDENCE ST.M.I-. 
 
 -^ 
 
 Lubin, 
 
 Gregorie, 
 
 Gaspard, 
 
 Hubert, 
 
 Sentinel, 
 
 Baroness, 
 
 Marceline, 
 
 Louise, - - - 
 
 Indian Wab Dance, - 
 Comic Song, 
 Frog Dance, 
 
 lyer. 
 Marshall. 
 Curtis. 
 
 U'yatt. 
 
 Smith. 
 
 Mrs. J.. Mestayei . 
 Mi -. J. Mestayer. 
 Mi>- Elarley. 
 
 Mr. Schinotti. 
 Mr. Mestayer. 
 Master C. Mestayer. 
 
 The Evening's Entertainment to conclude with the Laughable Farce of 
 
 THE YOUNG WIDOW. 
 
 Manville, ...... Mr. Boupt. 
 
 Splash, (with a mock minuet), - - - Mr. Mestayer. 
 
 Messrs. Potter and Gould are engaged to preserve strict order ; and no 
 smoking allowed. 
 
 Boxes, 75 cents. Pit, 37^ cents. 
 
 Doors open at 7 o'clock. Performance to commence at half past 7. pre- 
 cisely. 
 
 Box office open from 10 to 1 ; and from 3 to 5 p. m. 
 
 PROVIDENCE THE A 11,1 
 
 The public are respectfully informed that this new and splendid Entertain- 
 ment will be open for the season on 
 
 ThisEveniwj, October 29 
 
 under the direction of Messrs. MsADEBand Ki.ynn, with a Full and efficient 
 Company; which for talent and respectability is nol t<> !»• surpassed. 
 
 In order to render the Orchestra complete an engagement lias been entered 
 into with the American Brass Band, aided by artists of acknow 
 talent from New STork and Boston. 
 
 Leader of Orchestra, - - ^' Wo ds. 
 
 In addition to the talented Company engaged, Mr. Gates, tin 
 Comedian from the Bowery Theatre, New Xork; Mr. Flynn, and Mrs. 
 Maede'r, (formerly Miss Cla.ua Fisher), will have the honor "f making 
 their appearance. 
 
 Director of the Music, - Mx< Maeder, 
 
 who w ill preside at the Piano Forte. 
 
 This Ev( ning, 1 1 
 
 will be performed Cherrj 's Comedj of the
 
 284 
 
 HISTORY OF THE 
 
 SOLDIER'S DAUGHTER,. 
 
 Governor Heartall, 
 FiiANK HKARTAIiL, 
 
 Captain Woodley, 
 Young Malfort, 
 Timothy Quaint, 
 Ferrett, 
 
 Widow Cheerly, 
 Mrs. Malfort, - 
 Mrs. Fidget, 
 Susan, 
 
 Mr. Nickerson. 
 Mr. Flynn. 
 Mr. Fen no. 
 Mr. Jackson. 
 Mr. Gates. 
 Mr. McDonald. 
 Mrs. Maeder. 
 Mrs. Rider. 
 Mrs. Fletcher. 
 Miss Lee. 
 
 Previous to the Comedy will be spoken by Mrs. Maeder, 
 
 AN OPENING ADDRESS. 
 
 In the course of the evening the Orchestra will perform the celebrated 
 overtures to "Masaniello " and "La Bayadere," composed by Auber. 
 The Entertainment to conclude with the new and popular farce 
 
 A PLEASANT NEIGHBOR. 
 
 Sir George Howard, - Mr. Haynes. 
 
 Christopher Strap, ----- Mr. Gates. 
 
 Thomas, ------ Mr. McDonald. 
 
 Lady Howard, ------ Mrs. Matthews. 
 
 Nancy Strap, ------ Mrs. Rider. 
 
 ! 6§ "Price of admission,— Boxes, $1; Pit, 50 cents; Gallery, 25 cents. 
 
 g3f=Private Boxes from $5 to $8 a night. 
 
 jsg^A few season tickets will be sold on early application at the Box Office. 
 
 ^^Doors to open at 6 o'clock, and Curtain to rise at 7 precisely. 
 
 glf'Tickets and places to be secured at the Box Office from 10 a. m. to 2 p. in. 
 
 Egi^An efficient police is engaged to preserve strict order. 
 
 iSI^A division in the gallery for colored persons. 
 
 PROVIDENCE MUSEUM 
 
 WESTMINSTER STREET. 
 
 The proprietors have much pleasure in announcing to the citizens of Provi- 
 dence that the exhibition saloon of the new Museum is now completed, and 
 that it will be opened on 
 
 Monday Evening, Dec. 25, (184S.) 
 
 They are resolved that the principles of the management will be such as to 
 secure the patronage of a liberal and enlightened community. 
 The dramatic department will be under the direction of 
 
 MR. W . C . FORBES, 
 
 late manager of the Charleston and Savannah Theatres.
 
 PROVIDENCK STAG!.. 
 
 Admission to the saloon, 25 cents. 
 
 For the accommodation of parties seats can be secured during the day at 
 
 the ticket office. 
 
 The doors will be open at half past 6 o'clock. 
 
 The overture will commence at 7 o'clock precisely; during which will in- 
 exhibited a magnificent 
 
 duo p CD B T A i n , 
 
 painted by Mr. G. Curtis. 
 The saloon will be brilliantly lighted with gas from Almy's Ga> Works. 
 Monday Evening, Dec. 25, 
 Will be performed Tobin's fashionable Comedy <>f the 
 
 • HONEY MOON. 
 
 Duke Aranza, ..... Mr. W. C. Forbes. 
 
 Rolando, ..... Mr. A. Andrews. 
 
 Jaques, (the Mock Duke,) ... Mr. Cowell. 
 
 Juliana, ..... Mrs. W. C. Forbes. 
 
 Volante, ....... Miss Kinlock. 
 
 A Pas de Deux by Miss K. anil C. Emmons. 
 To conclude with the musical Farce of the* 
 
 TURNPIKE GATK. 
 
 Crack, ------- Mr. Cowell. 
 
 Joe Standfast, ----- Mr. A. Andrews. 
 
 Peggy, ------- Miss Carman. 
 
 F O It B E S ' S THEATRE. 
 
 (NEW MUSEUM BUILDING.) 
 
 GRAND OPENING NIGHT, 
 
 Commencement Jubiitc. Si>lcn<li<l Entertainment. r>ui*n<ii array <•/ Talent. 
 
 Sl\eri<l»n'B j\I"-< Splendid Comedy. 
 
 New iiml Beautiful Boenery. 
 
 W. C. Forbes most respectfully announces to the citizens of Providence 
 and to the people of Rhode fsland generally, thai liaving, after his heavj 
 
 losses by the late fire, ami many subsequent disc agements, eventually 
 
 succeeded in securing the erection of a new and spacious Theatre, he will 
 have the honor of opening the same for public patronage on 
 Wednesday Evening, September*, 1864. 
 
 It will be his constant study to present such a series of evening enter- 
 tainments as will be in every respeel acceptable to the i pie and worthj
 
 286 HISTORY OF THE 
 
 of their patronage ; and to this end he has engaged an unusually large and 
 expensive company— a company which in point of strength and variety of 
 talent, will compare most favorably with any of those in the largest cities ; 
 and which is, in truth, altogether superior to any hitherto employed out of 
 those cities. 
 
 The manager has the pleasure of announcing the following names: Messrs. 
 J. H. Oxley, John Dunn, J. D. Grace, E. Varrey, H. O. Pardey, Loveday, 
 Read, Linden, McClannin, Bryant, Bishop, Miller, Murphy, and H. Pardey. 
 Mesdames W. C. Forbes, H. L. Clark, H. P. Grattan and Miss Julia Miles, 
 Miss Bryant, Miss Isabella Andrews, and Miss Munroe. Mons. and Madame 
 Gilbert, Principal Dancers, from the Edinburg and Glasgow theatres. Herr 
 Adolphe Reinicke, Leader of Orchestra ; J. V. White, Scenic Artist ; Jas- 
 per Davison, Machinist ; W. A. Arnold, Treasurer. 
 
 The stage is furnished with entirely new and very elegant scenery, painted 
 by the artist of the establishment, Mr. White, and comprises a very costly 
 and 
 
 MAGNIFICENT ACT DROP. 
 
 The audience saloon is very commodious, and is conveniently divided into 
 Boxes, Family Circle, (or second tier of Boxes), Parquet, and Gallery. 
 There are also a few Private Boxes and Stage Boxes)— The Private Boxes 
 being at each end of the Family Circle next the stage— The Proscenium 
 Boxes (that is, those on the stage) are merely for the use of the performers. 
 The entrance to the Gallery is from the avenue on the west side. All 
 other parts of the audience saloon are entered from Westminster street as 
 far as the Box office on the second floor, where three diverging stairways 
 lead to the Boxes, Parquet, and Family Circle, The stairways are all spa- 
 cious and convenient. 
 
 Wednesday Evening, September 6th, 1854, 
 
 A highly diversified and splendid entertainment will be offered. The per- 
 formances will commence with the Grand National Ode of 
 
 THE STAR SPANGLED BANNER, 
 
 which will be sung in chorus by the whole company. 
 This will be succeeded by the delivery of a 
 
 POETIC ADDRESS, 
 
 written for the occasion by a gentleman of this city. 
 
 After which will be presented Sheridan's Classic Comedy 
 of the 
 
 SCHOOL FOR SCANDAL, 
 
 With a cast of characters equal to any that this celebrated play has hitherto 
 received in this country.
 
 PROVIDENCE STAG! . 
 
 Sir Peter Teazle, - Mr. W. C. Fort 
 
 Joseph Surface, - J. H. Oxley. 
 
 Charles Surface, - - . . <,, ; 
 
 Sir Oliver Surface, - . . Pardey, 
 
 Crabtree, - . j. Dunn. 
 
 Sir Benjamin Backbite, - - - Loveday. 
 
 Careless, - Read. 
 
 Moses, --... Linden. 
 
 Snake, - . Bryant. 
 
 Rowley, - ... McClannin. 
 
 Trip, - - . Bishop. 
 
 William, Miller. 
 
 John, - - - ... . Herbert Pardey. 
 
 Lady Teazle, - - - Mrs. W. C. Forbes. 
 
 Mrs. Candour, - Mrs. II. L. Clark. 
 
 Lady Sneerwell, - Mrs. Gilbert. 
 
 Maria, - - Miss Isabella Andrews. 
 Lucy, - Miss Munroe. 
 
 Pas De Deux, - - - Mons. andMdn* I 
 
 To conclude with the rich and very laughable Fan. 
 MY PRECIOUS BETSEY. 
 Mr. Bobtail, - - - - Mr. J. Dunn. 
 
 Wagtail, ... . Linden. 
 
 Langford, - - Read. 
 
 (for the other characters see bills.) 
 
 Doors will be open at 7 o'clock. Performance will commence precise!) at 
 7 \ o'clock. 
 Prices op Admission : Boxes, 37£ cts. ; Stage Boxes, 60 cts. ; Parquet and 
 
 Family Circle, (or second tiers of Boxes,) each 28 cts.; Gallery, 13 cts. 
 -cats reserved in the boxes, 121 cts. extra will be charged. Private Bi 
 S3 each. 
 
 OLD THEATRE BILL 
 
 The N. Y. Clipper recently published a sketch of Mr. Henrj Lewis, who 
 was formerly stage manager al the Dorrance-street Theatre. Mr. Lewis is 
 the father of the well-known actress, Ettie Henderson. The bill offered al 
 
 his benefit, Dec. 27, 1841, i> as follows: 
 
 THE \Ti;i . 
 
 GREATEST vvi.l.TY OF I III SEASON 
 
 For the bcnefil of 
 
 Mr, LEWIS, SI IGE M W VGER, 
 
 who in announcing the above, begs mosl resi tfullj to return thanks f"i
 
 288 
 
 PROVIDENCE STAGE. 
 
 past favors, and trusts that his exertions in the various productions of the 
 season will insure him that support it will ever be his constant study to 
 deserve. 
 
 Monday Evening, December 27, 1841, 
 
 will be presented, for the first time a drama of intense interest, performed in 
 London for one entire season to densely crowded houses, entitled 
 
 FIFTEEN YEARS OF A DRUNKARD'S LIFE. 
 
 Vernon, 
 
 Glanville, 
 
 Franklin, 
 
 Dogrose, 
 
 Copswood, 
 
 Jupiter, 
 
 Wingbred, 
 
 Picklock, 
 
 Prudence, - 
 Temperance, 
 
 Mr. Williamson 
 
 Gann 
 
 Locke 
 
 Kemble 
 
 Lewis 
 
 - Harris 
 - W. H. Russell 
 
 - Jones 
 
 Pounce, .... Jackson 
 
 Butts, .... Murphy 
 
 Thieves, Messrs. Reed, Marks, etc. 
 
 Isabella, - - Mrs. Hautonville 
 Miss Vernon, ... Miss Burns 
 
 Alicia, ... Mrs. Russell 
 
 Patty, ... Mrs. Kemble 
 
 In act first 
 A GRAND MASQUERADE. 
 
 Mrs. W. H. Russell 
 Miss Burns 
 
 FANCY DANCE, LA PETITE BERTHA. 
 
 Comic Song— "Teetotal Society," 
 
 Song— "Rory O'Moore," 
 
 La Cracovienne, second time, 
 
 Mr. Lewis 
 Mrs. Hautonville 
 La Petite Bertha 
 
 To conclude with, for the first and only time, Mitchell's successful farce, 
 performed at the Olympic Theatre, New York, seventy-three nights, 
 entitled 
 
 A LADY AND GENTLEMAN IN A PECULIARLY PERPLEXING 
 PREDICAMENT. 
 
 A Gentleman, first appearance in that character, 
 
 Mr. Lewis 
 
 A Lady, 
 Landlady, 
 A Voice, - 
 A Coat Sleeve, 
 A Dog, 
 
 Mrs. Hautonville 
 
 Mrs. Kemble 
 
 by - - A Voice 
 
 - by - A Sleeve of a Coat 
 
 by The greatest Puppy in Providence 
 
 Private Boxes, each seat $1, may be taken by parties of five or upwards. 
 Dress Circle, 75 cts. Second Tier or Family Circle, 50 cts. Pit, 37i cts. 
 Gallery for colored persons, 25 cts. 
 
 Doors open at half-past 6 precisely, and performances will commence at 7. 
 
 The box-office will be open daily from 10 till 1, and 2 to 4 o'clock, where 
 private boxes, tickets and places may be taken of Mr. Foster.
 
 
 INDEX. 
 
 Abbey, Henry E., 17-4, 226. 
 Abbott, Emma, 226, 231, 254. 
 Adams, C. A., 150. 
 Adams, Edwin, 183, 188, 204, 211, 212, 
 
 234. 
 Adams, J. F., 132, 134. 
 Adams, Mr. and Mrs. J. F., 149. 
 Adams, Rebecca, li>9. 
 Aiken, Albert, 187, 188, 200. 
 Aimee, Mile., 200, 222, 240, 242. 
 Albaugh, J. W., 202, 203. 
 Albee, E. F., 277. 
 A Id rich, Lizzie, 203. 
 Aldrich, Louis, 175, 180, 181, 183, 200, 
 
 215, 226, 234, 238, 247. 
 Allen, Andrew J., 46, 140. 
 Allen, J. II., 270. 
 Allen, Leslie, 184, 200. 
 Allen, Paul, 27, 35, 46. 
 Allen, Viola, 245. 
 Allison, J. M., 196,266. 
 Allyn, Mr., 8. 
 
 Amateur Dramatic Club, 271. 
 Anderson, J. B., 155. 
 Anderson, Mary, 217, 21K, 224, 225. 
 
 220, 232, 241, 24ti. 
 Andrews, Isabella, 150, 155, 161. 
 Angell, S. Henry, 197. 
 Anthony, Alfred, 197, 268. 
 Anthony, Frederick, 270. 
 Anthony, George, 270. 
 Arden, Edwin, 258, 260. 
 Arizona Joe, 240. 
 Armstrong. Sydney, 245. 
 Arnold's History, ( i. 
 Arnold, W. A., 148, 163. 
 Arnott, Louise, 245. 
 Ashton, dark, 242. 
 A -1 1 ton, J. L., 203. 
 Atwell, Amos I/., 65. 
 Atwell, Col. S. S., 106. 
 Atwell, Samuel Y., 65. 
 Austin, Carrie and Charles, 21 1. 
 Aveling, Henry, 260. 
 
 Bailey, Belle, 207, 267. 
 Bailey, Hannah, 181. 
 Bailey, Josie, 210. 
 Bainbridge, C. D., 214. 
 
 19 
 
 Baker, Emily, 215. 
 Baker and Farron, 202, 2 
 
 237, 239. 
 Ball. Charles Edward, 122. 
 Ball.m. Seth, 121, 
 Bandmann. I ». K . 188, 
 Bangs, Frank, 201, 210, 213, 215, 
 Barker, Henry A., 273, J74. 
 Barker. Robert L., 274. 
 Barrett, George, 
 Barrett, Lawrence, 188, 200, 208,211, 
 
 217. 225, 231, 232, 234, 236, 241, 245, 
 
 249,251, 258. 
 Barrett, Wilson, 245. 
 Barnabee, II. «'., 209, 
 Barron, Charles, 169. 
 Barrow, Julia Bennett, 168. 
 Barry, Mrs. Thomas, 239, 241, 24 
 
 252, 275. 
 Barry, William, 
 
 258. 
 Barrymore, Maurice, 
 Bascomb, II. I... 177, 180, 1» , 
 
 203, 263. 266. 
 Bateman, Ellen, 148, L50. 
 Bateman, Kate, us, 150 
 Bates, Marie, 201. 
 Bate., Mark, 214. 
 Bate<. William, 34, 13 
 
 I, Cliai'le-. 170, 1- I 
 
 Beattfe, E. W., 169. 
 Beckwith, A 
 
 I. V, 210, 215. 
 Bellmore, Stella, 227. 
 Bennett and Moulton, 
 Bennett. J . 
 
 • Fi ly, 
 
 Bernard, John, 7. 
 Bernhardt, 5 
 Bldwell, Dollle, i 
 Black, David < I . 
 Blake, Charles, Prefn 
 Blake. W. R 
 Blancliard, I 
 
 Blind T 
 
 Blodger, S C . Ji 
 
 I Win. r . 
 
 i;i fu i. [Inn
 
 290 
 
 HISTORY OF THE 
 
 Bond, Jessie, 223. 
 Boniface, George C, 240, 252. 
 Booth, Agnes, 173, 177, 184, 215. 
 Booth, Edwin, 154, 181, 182, 184, ISP, 
 
 201, 204, 215, 231, 232, 234, 23!), 249, 
 
 251, 254, 258. 
 Booth, Junius Brutus, 85, 100, 107, 
 
 108, 132, 133, 134, 135, 136, 148, 149, 
 Booth, J. B., Jr., 201. 
 Booth, J. Wilkes, 103, 165, 109, 180. 
 Borry, Etelka. 232. 
 Bos-worth, Frank, 154. 
 Boucicault, Dion, 205, 226, 232, 238, 
 
 245. 
 Bowen, Col. Epliraim, 40. 
 Bowen, H. B., 271. 
 Bowen, Nellie Morant, 197, 203. 
 Bowers, Mrs. D. P., 170, 178, 187, 211, 
 
 234, 252. 
 Bowser, Charles, 275. 
 Bradbury, E. W., 146. 
 Braham, John, 275. 
 Branson, Phil, 244. 
 Bratz Brothers, 249. 
 Brent, Eva, 182. 
 Brignoli, Signor, 167, 174, 180, 181, 183, 
 
 187, 200, 211. 
 Bristol, Professor, 242. 
 Brocolini, Signor, 225, 244. 
 Brooks, G. v., 149. 
 Brougham, John, 177, 178, 183, 186, 
 
 188. 
 Brown, Arthur L., 271. 
 Brown, John Carter, 197, 268. 
 Brown, Mrs. Sedley, 184. 
 Brown University Minstrels, 254, 259. 
 Browne, J. H., 109. 
 Browne, Mrs. J. H., 169. 
 Brownell, Francis S., 197, 205, 208. 
 Brownell, W. A., 273. 
 Bryant, Jennie, 203. 
 Bryant, William Cullen, 107. 
 Bryton, Frederick, 201, 245. 247. 
 Buchanan, McKean, 149, 158, 170, 173, 
 
 182, 183. 
 Buckingham, Fanny Louise, 252. 
 Buckingham, Joseph Tinker, 116. 
 Budworth, J. H., 205. 
 Buffalo Bill, 200, 205, 200, 210, 211, 
 
 217, 220, 234, 238. 
 Bugbee, James H., 270. 
 Bull, Ole, 183, 185. 
 Buntline, Ned, 205. 
 Burges, Tristam, 52, 53. 
 Burgess, Neil, 226, 231, 233, 240, 252. 
 Burke, Charles. 256. 
 Burke, lone, 203. 
 Burke, Master, 110, 111. 
 Burns, T. H., 183, 180, 187. 
 Burnside, Jean, 201. 
 Burr, Aaron, 32. 
 Burrough, J. Gustavus, 140. 
 
 Burroughs, Win. F., 175, 170, 183, 193, 
 197, 207, 208, 203, 200, 207. 
 
 Burrows, J., 203. 
 
 Bart, Fanny, 187. 
 
 Butler, William, 197, 208. 
 
 Byron, Oliver D., 188, 200, 205, 233, 
 237, 252. 
 
 Caldwell, James H., 94, 106. 
 Calef, Jennie, 248, 252, 275. 
 Callender, Harry, '-41. 
 Cameron, Isadore, 197, 201, 203, 261, 
 
 262, 264, 266. 
 Cameron, Victoria, 203, 262. 
 Campbell, Bartley. 225. 
 Campbell, J. G., 188. 
 Capoul, Victor, 200. 
 Carle, Alice, 244. 
 Carleton, William, 204. 
 Carncross and Dixey, 215. 
 Carpenter, Albert G., 273. 
 Carroll, William, 240. 
 Carson, Emma, 227. 
 Carson, Kit, Jr., 210. 
 Gary, Annie Louise, 187, 200, 217. 
 Cary, Mary, 186. 
 Castle, William, 210. 
 Castleton, Kate, 242. 
 Caufman, A., 231. 
 Cavendish, Ada, 226. 
 Cavendish, Laura, 176. 
 Chambers, Augusta, 215. 
 Chanfrau, F. S., 149, 158, 170, 183, 180, 
 
 201, 202, 204, 211, 224,231, 232, 238. 
 Chanfrau, Henry, 240, 248, 252, 275. 
 Chanfrau, Mrs. F. S., 204, 238. 
 Chace, William C, 227. 
 Chapman, W. B., 148. 
 Chrystal, J., 203. 
 Church, Lottie, 275. 
 Churchill, Professor, 223. 
 Clatlin, Tennie C, 206. 
 Clapp, Mr., Records of Boston 
 
 Stage, 9. 
 Clark, George, 88. 
 Clarke, Eugene, 223. 
 Clarke, Henry C, 197. 
 Clarke, H. G., 170, 188, 206. 
 Clarke, J. S., 176. 
 Clarke Marland, 275. 
 Clarke, William J , 270. 
 Claxton, Kate, 217, 226, 231, 233, 237, 
 
 242, 245, 247. 259. 
 Clay, Cecil, 241. 
 Clay, Lily, 249. 
 Clemence, Mark, 272. 
 Clifton, Josephine, 140, 141. 
 Cline, Heir, 148. 
 Cluer, Susie, 177. 
 Coghlan, Rose, 242, 243, 245, 249, 250, 
 
 253. 
 Collier^ E. K., 211, 275.
 
 PROVIDENCE MACK. 
 
 29I 
 
 Collier, James W., 173. 
 
 Connell, P. F., 200. 
 
 Conway. Hart, 214. 
 
 Conway, William Augustus, 95, 96, 
 
 97, 98, 99. 
 Cooke, George Frederick, 00, 61, <;•_', 
 
 63, 64, 05, (56, (37, 68, 69, 70, 71, 72, 
 
 85, P»5. 
 Cooke, Rosa, 176. 
 Coombs, Ada Byron, 231, 276. 
 •Coombs, Jane, 169, 200, 204. 
 Cooper, Thomas II., 33, 78, 79, 114. 
 Corev Fannie, 27(>. 
 Corinne, 184, 226, 231, 252, 257, 275. 
 Cotter, Frank, 203, 2117. 267. 
 Conldock, C. W., 163, 242. 
 Cowell, Joseph, 102, 103, 148, 
 Cowper, John C, 213. 
 Crampton, Charlotte, 153, 201. 
 Crane, William II., 217, 224, 225, 226, 
 
 231, 233, 237, 23<i, 242, 247, 248, 267. 
 Crisp, W. H., 214, 224. 
 Crocker, Viola, 166. 
 Cromwell, Professor, 242. 
 Crossen, J. F., 248. 
 Cruise, Annie, 155. 
 Cubas, Isabelle, 167. 
 Curtis, M. B., 246. 
 Cushing, W. J., 276. 
 (ashman Charlotte, 140,149, 159, 165, 
 
 197, 201, 234. 
 Cushman, Pauline, 182. 
 
 Daboll, W. S., 208, 271, 27G. 
 
 Dailey, Albert, 269. 
 
 Dalv. Augustin, 214. 21G, 217, 225, 227, 
 
 277. 
 Daly, II. F., 186. 
 Dalv, Thomas, 2:;7. 241. 
 Danforth, Walter li.. 145. 
 Daniels, Frank. 217. 260. 
 Darling, Mr. and Mrs. John, 45, 16. 
 Darling, Bessie, 209. 
 Darling, John < >., 272. 
 Davene and Austin, 239. 
 Davenport Dramatic Club,272. 
 
 Davenport, E. L., 127, 152, 151. 155, 
 lull, 168, Hi'.', 17), 17i;, L81, 182, L83, 
 L86, L87, '-'"1, 211, 270. 
 
 Davenport, Fanny. 17.;. 171, 217, 223, 
 225, 231, 240, 211. 215, 217, 251. 
 
 262. 
 Davenport, Mrs. E. I... L86. 
 Davidson, Dore, 250. 
 Davis, Charles P.. 227,233, 237. 
 Davis, Edmund. 197, 268. 
 Davis, Jeffrey, 271. 
 Davis, William D, 197. 
 Dawes, Gertrude, 1 18. 
 D'Costa, A. V., 270. 
 Dean, Julia, 150. 
 De Belleville, Frederick, 217. 
 
 Delaro, Elma, 244. 
 Deiuing Morris, 
 Dennis, William B., 270. 
 I •c-nier, Tony, 231, 2 17 
 I ►eiiin, Kate ami Susan, 150. 
 I lerious, Lizzie, 237. 
 
 Dexter. A. 11., 241. 
 
 Dickens, Charles, 
 Dickinson, Anna. 172. 
 Dickson. James A., 81, 83, 
 
 I Met/.. Linda. 211. 
 
 Diuneford, William, 100, i"i, 106, 110, 
 
 117. 
 Dinsmore, <». a., 186. 
 Dinwiddie, Goveruoi , 
 Dixey. II. ]•'.., 246, 249, 250, 
 1 )on, I. aura, 214. 
 Don, William, 150. 
 Donaldson, W. A.. 176, 196, 203, 264, 
 
 266. 
 Donnelly and Girard, 25:1. 
 Douglas, David, 2, 5. 6, 7, 8, '.'. 12, 16. 
 Douglas, Mrs., '.'. 10, 17. 
 
 I >OV\ . Ada. 2lo, 257. 
 
 Dow ling, J. .1.. 237. 
 
 Downing, Robert i. . 22:.. 
 
 Doyle, Mayor, 172. 194, 224. 
 
 Doyle, Minnie, 266. 
 
 Drake, Blaster Alexander, 117 
 
 Drew, Charles H.,276. 
 
 Drew, Frank-, Ml, IT' 
 
 Drew, John. 148, 149, 150, 155, 1 
 
 1 M'ew, Mrs. John, 150. 
 
 Dull. James, 176. 
 
 Duff, John, 105. 
 
 Dull. Mr-. Mary, 76, 169. 
 
 Dunn, John, 150, 161, 169. 
 
 Duple/., <'. IP, 
 
 Duval, Marie Leon, 200 
 
 Dyas, Ada. 232. 
 
 Dyer, Elisha, dr.. 271 
 
 Eddy, Albert <'.. 197. 
 Eddy, Clinton, 
 Eddy, Esek, 66 
 Eddy. .lame.. 197 
 
 in, Willie. •J27, 2 
 Edwin, I.ina, 188. 
 
 Millie, 210. 
 Ellis, C.T., 252. 
 Ellsler, Effle, 241 
 
 1. Fanny, 
 Ellsler, John, 234, 246, 
 Elmore, Marlon, 
 Elswortln , a 
 Emmet, Oracle, 
 Emmet, .1. K . 1-:. 1 
 
 232, 2 
 Emmett, Katie, 200 
 Entwistle, dan.. 
 Ethel, Agnes, 1*1 
 US, Fiank. 1-7. 2
 
 292 
 
 HISTORY OF THE 
 
 Evans, Lizzie, 275. 
 Evans, Tellula, 273, 
 Everett, Nellie, 234. 
 Eytinge, Hairy, 154. 
 Eytiuge, Pearl, 231. 
 Eytinge, Rose, 170, 17G, 184, 213, 231, 
 238. 
 
 Fairbrother, Henry, 197, 268. 
 
 Farnswortli, John, 273. 
 
 Farron, Mrs., 152, 154. 
 
 Fawcett, Owen, 214. 
 
 Fay, Hugh, 231, 233, 237, 242, 245, 254, 
 
 258. 
 Fechter, Charles, 215, 234. 
 Felch, Stanley, 276. 
 Fanno, A. W., 169. 
 Field, Kate, 208, 272. 
 Fielding, Henry, 118, 119. 
 Finn, Henry J., 87, 88, 89, 96, 125, 132, 
 
 161. 
 First Theatre in Providence, 12. 
 Fisher, C. B. J., 100. 
 Fisher, Charles, 184. 
 Fisher, Clara, 100, 101, 109, 131, 166. 
 Fisher, Kate, 182, 185, 202, 204. 
 Fiske, Moses, 216, 223. 
 Flint, Mrs. W. W., 273, 274. 
 Florence, W. J., 161, 169, 176, 181, 
 
 184, 200, 215, 226, 234, 254, 255, 236, 
 
 257. 
 Flynn, Thomas, 131. 
 Forbes, William C, 147, 148, 151, 155, 
 
 158, 159, 160, 161, 176. 
 Forbes, Mrs. William C, 147, 152, 155. 
 Ford, John T., 234. 
 Forepaugli, Adam, Jr., 254. 
 Formes, Karl, 188. 
 Forrest, Edwin, 90, 138, 141, 151, 152, 
 
 155, 173, 184, 234. 
 Forrester, Maud, 226, 
 Fostelle, Charles, 233. 
 Foster, Evelyn, 240. 
 Foster, Hernandez, 204. 
 Foster, Minnie, 184. 
 Founder of American Stage, 1. 
 Fox, George L., 146, 184, 198, 205, 207, 
 
 209, 213. 
 Fox, James A., 146. 
 Fiance, Shirley, 183, 200. 
 Frayne, Frank L, 213, 231, 233, 252. 
 Fredericks, C, 169. 
 Frohman, Charles and Daniel, 277. 
 Frieze, Lyman B., 197. 
 Fritcli, Letitia, 233. 
 Frothingham, George, 244. 
 Fuller, B., 169. 
 Fuller, James F., 262. 
 Furbish, C. H., 262. 
 
 Gardner, O A., 248. 
 
 Gardner, Rathbone, 271. 
 
 Garrick, David, 1, 33. 
 
 Gaylord, Bobby, 259. 
 
 Gay lord, Julia, 203. 
 
 Germon, G. C, 146. 
 
 Germon, Nellie, 182. 
 
 Gibbs, George, 6. 
 
 Gilbert, G. H.,184. 
 
 Gilbert, Mr. and Mrs. J., 146. 
 
 Gilbert, John, 159, 165. 
 
 Gilbreth, Annie M., 273. 
 
 Gillette, W. H., 231, 247, 237. 
 
 Gilinan, Ada, 214. 
 
 Gilmore, P. S., 248. 
 
 Glenn, S. W., 165. 
 
 Goddard, Moses B. I., 197. . 
 
 Godfrey, E. K., 270. 
 
 Golden, Richard, 257. 
 
 Goldthwaite, Dora, 200. 
 
 Goldthwaite, T., 186. 
 
 Gomersal, Mrs. Win., 175. 
 
 Goodrich, E. F., 154. 
 
 Goodwin, N. O, 217, 220, 237, 249, 251. 
 
 Gougli, John B., 128. 
 
 Gourlay, John, 240. 
 
 Grace, J. D., 149, 184, 188. 
 
 Graham, R. E., 244. 
 
 Grange, Annie de la, 180, 181, 183. 
 
 Granger, Maude, 213. 
 
 Gray, Ada, 182, 207, 233, 246, 248. 
 
 Gray, Blanche, 184. 
 
 Gray, Minnie Oscar, 260. 
 
 Greene, F. B., 271. 
 
 Greene, G. H., 141. 
 
 Grev, Alice, 158, 214. 
 
 Griffin, John D.,233. 
 
 Griffith, G. H., 155, 162. 
 
 Griffiths, W. N., 154. 
 
 Grinnell, Mrs. Frederick, 271. 
 
 Grover, Leonard, 170. 
 
 Hablemann, Theodore, 188 
 Haclcett, George, 227, 229, 237, 239, 
 
 241, 266. 
 Hackett, J. H., 169, 175. 
 Hall, J. F., 184. 
 Hall, JolmL., 188, 200. 
 Hall, Pauline, 258. 
 Hallam, Master A., 9. 
 Hallam, Lewis, 3, 4, 8,9, 10. 
 Hallam, Win., 2, 3, 4, 9. 
 Hallan and Plait, 257, 260. 
 Heller, Robert, 175. 
 Halsey, T. L., 54, 55,56,64. 
 Hamblin, Thomas S., 120, 121. 
 Hamilton, Mi>s, 2. 
 Hammer and Tongs Society, 272. 
 Hancock, Governor, 20, 21. 
 Handv. U. F., 276. 
 Hanley, J. G., 149.
 
 PROVIDENCE STAGE. 
 
 293 
 
 Hanlon Brothers, 175, 181, 231, 233, 
 
 237, 258. 
 Hardenburg. F., 150,101, 175, 177. 
 Hardieand Von Leer, 260. 
 Harkins, 1). H., 214. 
 Harland, Ada, 184. 
 Harper, Joseph, 20, 22, 23. 24, 27, 28, 
 
 20, 40, 41. 42, 114, 116. 
 Harrigan, E., 209, 210, 215, 225, 232. 
 Harrington, Charles X., 172. 
 Harris, Amelia, 187. 
 Harris, Anita L.. 187, 197, 263, 2G6. 
 Harris, Lin \V., 200. 
 Harris, Win., 214. 
 Harris, Win., Manaqer, 242. 
 Harrison, Alice, 240, 247, 252. 
 Harrison, Louis, 240. 
 Harold. Lizzie, 237. 
 Hart, John, 119. 
 Hart, Josh, 226. 
 Hart, Katie, 259. 
 Hart, Tony, 209, 210, 215, 225, 242, 
 
 245. 
 Harwood. Harry, 207, 210, 2G7, 268. 
 Haskins Dramatic Club, 272. 
 Hastings, A. H., 215. 
 Hatton, J. L., 174. 
 Hank. Minnie, 231. 
 Haverly, J. H. , 225, 229, 233, 237. 
 Haworth, Joseph, 245, 246. 
 Ilavne, Julia Dean, 117. 
 Hazard, John, 120. 
 Hazard, John G., 270. 
 Hemple, Sam, 171. 
 Henderson, Ettie, 170, 186, 204, 217, 
 
 262, 264. 
 Henderson, Win., 192. 19.",. 104, 107, 
 
 207, 208, 210, 211, 213, 214, 215, '-'If,, 
 
 217, 220, 264. 265, 268. 
 Henshaw and Ten Broeck, 259. 
 Heine, James A., 231. 
 Heron, Matilda, 169. 
 Herring, Fanny, 163, 187. 
 Hersee, Kose, 186, 187. 
 Berrmann, 227, 2:::;, 247, 2.-.I. 
 Hickey, S.M.,227. 
 Bidden, H. A., 197 
 Hill, James, 273. 
 Hill, J. M., 277. 
 Hilson, Thomas, 112. 
 Binckley, Isabella, 167. 
 Hitchcock, Minnie, 271. 
 Hodgkinson, John, 28, 29, 31, 33, 34. 
 Boffllian, Edward, 215, 224. 
 Hi, lines, J., 100. 
 
 Holt, Elise, 184. 
 
 Honey, George, 209, 211, 213. 
 
 Hopkins, John D., 274. 
 Hopper, De Wolf, 2*26. 
 Hoppin, Howard, 272. 
 Howard, Bronson, 201. 
 
 Howard. Charles T., 206, •Jo:', 214. 
 
 Howard, Cordelia, 154, 
 
 Howard, George A., 151. 
 
 Howard, <;. C, 14o. 154. 
 
 Howard, Mrs <;. <'.. 154, 1-4, 1-7. L88, 
 
 200, 'Jo:,. 207, 231. 
 Howe, John, 270. J71. 
 Howland, Ada, 200. 
 Howland, Harry, 169. 
 Howland, Lottie, 169. 
 Kowson, Frank, 1:' '. 
 
 Hudson, I 177, 200. 
 
 Hugo, Victor, 228. 
 Hutchinson, Dr. \V. F 
 
 Ince, John E.,203. 
 [ngersoll. Col R. <;., 223, 225. 
 Irving, Henry, 237, 238. 
 
 Jackson, Andrew W., 111. 
 
 .lame-,. Louis, 215, 24:,. 
 
 Jamieson, < lenrge, 10:;. 
 Janausehek, Fanny, 199,207,214,217, 
 
 2:;j, 233, 237. 
 Janish. 240. 
 
 Jarbeau, Vernona, 231, J47. 257 
 Jarrett, II. C, 168. 
 Jefferson. Joseph, 188, 205. 217, 224, 
 
 2J0, 230, 231,232. 234, 237, J4\ 249, 
 
 251, 254, 255, 256. 
 Jeffreys, Ida, 215. 
 Jenckes, Daniel, 12. 
 .leweti, Sara, 215, 224 
 Johnston, liobert, LG • 
 Jones, Emily. 271. 
 
 Jones, Melinda, 1 1 9 
 Jones, Nellie, 203. 
 
 .1, s, N. D.. 181. 
 
 Jordan, Eliza, 184. 
 .Ionian, Elllilj ,181. 
 Jordan, George, 215. 
 
 Joyce, I. aura. I 
 Jo; ce, Thomas, 139. 
 Julian 
 
 Karl, Tom, 211. 
 
 Keach, Edward Prank, L39, L40, 148, 
 
 1 .1 
 
 Kean. <'harle>. I 
 
 Kean, Edmund, 6't 
 Keefe, J , L69. 
 Keene, A rthur, 102 
 . Keene, Laura, 169, L73, 175, I" 
 184 
 Keene. T, W., 2 
 
 154. 
 Keith. W. V . 249, 2 
 Prof.,24H, 
 Kellogg, Clara Louise. 174 
 
 186, 188, 204, 21 
 Kemble, Charles
 
 294 
 
 HISTORY OF THE 
 
 Kemble, Frankie, 247. 
 
 Kemble, John Philip, 7, 31, 124. 
 
 Kemble, Stephen, 31. 
 
 Kendall, Hiram, 273, 274. 
 
 Kernel!, Harry, 238. 
 
 Kernell, John, 238, 260. 
 
 Kershaw, 2. 
 
 Ketchum, George, 1GS. 
 
 Kilner, Thomas 95. 
 
 Kimball, Jennie, 184. 
 
 Kinloek, Miss G., 155, 162. 
 
 Kiralfy Brothers, 239. 
 
 Knight, George S., 180, 223, 226, 231, 
 
 232, 239, 240, 242. 
 Knowles, E. F., 215. 
 Knowles, Frank, 270. 
 Kranz, A. G., 273,274. 
 Kruger, Jacques, 239. 
 
 Lacy, Harry, 249, 251, 275. 
 
 Lambele, Mile., 182. 
 
 Laniont, Helen, 244. 
 
 Lander, Mrs. F. W., 177, 181,183,269. 
 
 Lane, Louise, 102. 
 
 Langley, Georgie, 215. 
 
 Langtry, Mrs., 232, 233, 249, 252. 
 
 Lardner, Dr., 80. 
 
 Larned, K. M., 172. 
 
 Leavitt, M. B., 227, 229. 
 
 Leclercq, Carlotta, 201, 204. 
 
 Lee, Harrv, 252. 
 
 Leffingweil, M. W., 182, 188. 
 
 Legg, Joseph, 80. 
 
 Le Moyne, W. J., 175. 
 
 Leone, Emma, 169. 
 
 Leopolds, The, 210. 
 
 Leslie C, 70. 
 
 Leslie, Elsie, 259. 
 
 Lester and Allen, 242. 
 
 Levick, Milnes, 211. 
 
 Levy, Jules, 187. 
 
 Lewis, Carrie, 273. 
 
 Lewis, Catherine, 223, 225. 
 
 Lewis, James, 181. 
 
 Lewis, Jeffreys, 214, 231. 
 
 Lewis, Lilian, 242. 
 
 Lilley, L. Edith, 274. 
 
 Lilliputian Opera Company, 224. 
 
 Lindon, H., 150. 
 
 Lingard, Alice Dunning, 184, 187, 188, 
 
 233. 
 Lingard, Wm. Horace, 184, 187, 188, 
 
 206, 209, 217, 233. 
 Lingham, Matt., 224. 
 Lion Theatre, 126. 
 Lippitt, Christopher, 197. 
 Lippitt, Henry, 192, 194, 197, 268. 
 Lippitt. H. F., 271. 
 Lisle, Rose, 211, 226. 
 Litta, Louise, 275. 
 Littlefield, John A., 132, 145. 
 
 Little Nell, 200, 205. 
 
 Locke, G. E„ 155, 170, 182, 185, 200 
 
 214. 
 Loftus, Victoria. 226. 
 Logan, Celia, 232, 233. 
 Logan, Eliza, 154. 
 Logan, Olive, 176 
 Lothrop, Dr. G. E., 276, 277. 
 Lotta, 175, 176, 178. 179, 184, 188, 205, 
 
 216, 217, 224, 225, 226, 229, 232, 239, 
 
 247, 249, 250, 258. 
 Low, Wm. H., 222, 223, 225, 227, 233, 
 
 237, 239, 240, 242, 245, 248, 249. 
 Lucca, Pauline, 201, 204. 
 Lucette, Mile., 275. 
 
 Mabel, Nellie, 266. 
 Maeauley, Barney, 225. 
 Macfarland, A., 165. 
 Mackay, Jolm A., 218. . 
 Mackaye, Steele, 224. 
 Macready, Mrs., 188, 200. 
 Maddern, Minnie, 207, 239. 
 Maeder, James Gasper, 102, 117, 129, 
 
 131, 132, 141. 
 Maginley, Ben, 275. 
 Mahon, Lizzie, 207, 208, 267, 268. 
 Mansfield, Richard, 245. 
 Mantell, Robert B., 233, 240, 247, 254. 
 Manton, Walter, 270. 
 Marble, Ed., 154. 
 Marble, Dan, 132. 
 Marie, Alice, 203. 
 Markham, Pauline, 233. 
 Markland, James G., 269, 270, 271. 
 Marlowe, Julia, 249, 251. 
 Marlowe, Owen, 169, 184, 213. 
 Marsh, Fannie, 169. 
 Marshall, Wyzeman, 138, 148, 150, 154. 
 Mars ton, Richard, 193. 
 Mason, Dan, 233, 252, 260, 275. 
 Mason, Earl P., 197, 268. 
 Mason, E. Philip, 271. 
 Mather, Margaret, 232, 234, 237, 239, 
 
 241, 245, 247, 249, 251, 254, 258. 
 Maubury, Charles, 238. 
 Mauran, Clinton, 271. 
 Mauran, John T., 197, 268. 
 Mayo, Edwin F., 252. 
 Mavo, Frank, 175, 181, 182, 183, 188, 
 
 200, 204, 208, 217, 224, 225, 226, 230, 
 
 231, 238, 246, 254. 
 McAuley, B., 231, 233, 238. 
 McBride, Cecilia, 94, 96. 
 McBride, Mary Ann, 93, 94, 95. 
 McCloskey, J. J., 200. 
 McCormack, Loudon, 242. 
 McCullough, John, 154, 173, 190, 209, 
 
 212, 216, 225, 233, 246. 
 McDowell, Melbourne, 174. 
 McGuinness, D. J., 184, 200, 237.
 
 PROVIDENCE STAG] . 
 
 295 
 
 McHenry, Nellie, 260. 
 
 McWade, Robert, 205. 
 
 Meda, Blanche, 224, 
 
 Meeker, W. H., 148. 
 
 Melmer, H.. 186. 
 
 Melville, Belle, 215. 
 
 Melville, Eniilie, 222. 
 
 Menken, Adah Isaacs, 164. 
 
 Mestayer, C, 148. 
 
 Mestayer, Emily, 148, 168, 184. 
 
 Mestayer, L.. 168. 
 
 Miles, K. E. J., 165. 
 
 Miller, Augustus S., 271. 
 
 Mills, S. B., 174. 
 
 Millwood, H., 203. 
 
 Milner, Annie, 159, 104. 
 
 Miner, Harry, 227. 
 
 Mitchell, Henry P., 215. 
 
 Mitchell, Maggie, 154, 155, 158, 163, 
 
 169, 174, 176, 183, 184, 186, 187, 188, 
 
 192, 200, 202, 205, 209, 210, 214, 217, 
 
 224, 226, 229, 231, 232, 234, 239,241, 
 
 245, 249. 251, 253, 258. 
 Mitchell, Mary, 163, 202. 
 Mitchell, Mason, 257. 
 Modjeska, Mine., 224, 232, 245, 249, 
 
 254, 255. 
 Monroe and Rice, 248, 260. 
 Monroe, President, (>">. 
 Monk, Ada, 197, 262, 266. 
 Montague, H. J., 215. 
 Montague. Winnetta, 201. 
 Montegriffo, 233. 
 
 Montez, Lola, 149, 155, 156, 157, 158. 
 Moody, 1, 2, 
 Moore, Bella, 242. 
 Moore, Louise, 187. 
 Moore, Thomas, 76. 
 Morant, Fanny, 215. 
 Mordecai. Isabella, 109. 
 Morgan, Mrs.. 227, 233, 276. 
 Morlaechi, 211. 
 Moreland. W. W., 197. 
 Monis, Clara, 204, 217, 241, 247, 249, 
 
 251. 
 Morris, Mr., 2, 7, 8. 
 Morris, George P., 94. 
 Morrison, Lewi-, 215, 244. 
 Morrow, Robert, 241, 242, 247, 249, 266, 
 
 274. 
 Morse, Amanda, 269. 
 Morse, Louisa, 169, L81, 184, 269. 
 Morse, Mary, 269. 
 Mosher, Miss F. E., 274, 
 Mowatt, Anna C, L50, 196. 
 Mulholland, J. B., 273. 
 Murdock, Harry, 184, 200, 213. 
 Murdock, .1. E., 148, 232, 
 Muriel, Constance, 231, 
 Murphy, Francis, 223. 
 
 Murpliv, Joseph, 188, 217. 224. 227, 
 231, 233, 237, 239, 241. 245, 24H, 247, 
 
 2^2, 254. 
 
 Murray, Dominick, 240. 
 Murray. John, 170, 188, 200, 205, 226 
 Myers, Flora, 185, 2o7. 
 Myers, J. C, 164, 165, 168. 
 
 Neilson, Adelaide, 201, 202, 234, 
 
 Nickerson, A. S.,274. 
 
 Nickerson, S. W., 271. 
 
 Nightingale, Wm. G.. 271. 
 
 Nilsson. Christine, 187, 200, 204. 
 
 Noah, M. M.. 94. 
 
 Noah, Rachael, 177, 181, 182, 183, 200. 
 
 Nobles, Milton, 222. 
 
 Norman, H. B., 207, 210. 
 
 Norris, Clara, 205. 
 
 Norris, Mrs., 8. 
 
 Nourse, I)., 169. 
 
 Nourse, Mrs. D., 169. 
 
 Nutt, Commodore, 200. 
 
 Gates, Mrs., 187, 202, 204, 207, 210. 
 
 217, 225. 
 Ogden, R. Dorsey, 201. 
 Old Play Bills, 24, 25, 279. 280, 281,282, 
 
 283, 284, 285, 286, 287, 288. 
 Olcott, Lilian. 245, 248. 
 O'Neill, James, 215, 232, 234. 235, 237, 
 
 239, 242, 245, 247, 249, 250. 
 
 Opening of City Hall, 172. 
 Opening of Low's Opera House, 222. 
 Opening of Pine .Street Theatre, 163. 
 ( opening of Providence Opera House. 
 
 192. 
 Opening of Providence Theatre, 27 
 Opening of Shakspeare Hall, 130. 
 O'Reilly, Dennis, 185, L87, 204. 
 Orton, Josie, 168, 170. 
 Osborne, Fannie, 240. 
 Overton, 238. 
 Owens, JohnE., 168, L69, L76, L88, 202, 
 
 217, 238. 
 Oxley, J., 155. 
 
 Packard, George, 274. 
 Padelford, Edward, 119. 
 Padgett, J. C, 207, 20C 
 Paige, Benjamin, •".">. 
 Palmer, A. M , 235, '-'77. 
 Palmer, D. S., 148, L55, L57 
 Palmer, Minnie, 226,227, 239 
 Parepa, Mile., 172, L74, 180, i- 
 
 186, 197 
 Pardey, H. O., 148, 150. 
 Park Garden, 27:.. 276, 
 Parsloe, Charles T., L75, 186, 188, 205, 
 
 21 I. 22o. 234 
 Partello, W. II I
 
 296 
 
 HISTORY OF THE 
 
 Pastor, Tony, 172, 188, 200, 205, 207, 
 
 212, 217, 221, 224, 226, 229, 23.!, 233, 
 
 237, 240. 
 Pateman, Bella, 201. 
 Pattl, Carlotta, 185. 
 Paul, Mr. and Mrs. Howard, 177, 181, 
 
 186. 
 Paulding, Frederick, 226. 
 Fauncefort, Mr. and Mrs. G., 158. 
 Payne, A. D., 272. 
 Payne, John Howard, 37. 
 Peakes, Henry, 168, 175, 210. 
 Pearson, Harry, 186. 
 Pearson, Jennie, 186. 
 Pennoyer, M. A., 203, 207, 208, 210, 
 
 267, 268. 
 Perkins, Thomas, 89. 
 Phileo, S., 196, 266. 
 Phillips, Adelaide, 180, 187. 
 Phillips, Gus, 226, 227. 
 Phillips, Ida, 203, 
 Phillips, L aura, 224. 
 Phillips, Moses J., 104. 
 Pitt, C. D., 148. 
 Pixley, Annie, 223, 225, 226, 227, 231. 
 
 233, 237, 242, 247, 249, 251, 253, 259. 
 Placide, Alice, 169. 
 Placide, H., 23. 
 Placide, Jane, 91. 
 Placide, Thomas, 181. 
 Plympton, Eben, 245. 
 Polk, J. B., 184, 224, 242, 245, 252. 
 Pomrov, Louise, 275. 
 Poole, Clara, 200. 
 Porter, Nathan, 136. 
 Porter, Miss E. 1)., 271. 
 Powell, Elizabeth, 88. 
 Powell, Mr. and Mrs., 31, 82, 83, 84, 
 
 90. 
 Power, W. H., 210. 
 Powers, J. T., 258. 
 Pratt, Francis, 274. 
 Prescott, Marie, 226, 245. 
 Preston, Isabella, 197, 215, 263, 266. 
 Preston, W. II., 169. 
 Price, Mark, 196. 
 Primrose, George, 239, 259. 
 Prior, E. C, 154, 155. 
 Prior, Mr. and Mrs. J. J., 154. 
 Proctor, Joseph, 148, 149, 152, 154, 155, 
 
 158, 165, 177, 181, 182, 200, 2:;.;. 
 Providence Dramatic Society, 269. 
 Providence Museum, 276. 
 Pyne, Louisa and Susan, 152, 153. 
 
 Quarles, Edward, 121, 122. 
 Quelch, Mr., 8. 
 Quinn Maria, 158. 
 
 Rainsford, Milton, 196, 264. 
 Rand, Rosa. 211. 
 Randall, Horace A., 270. 
 
 Rankin, McKee, 217, 233, 252, 260. 
 
 Rankin, Mrs., 252. 
 
 Ransom, Monte, 203. 
 
 Raymond, John T., 208, 211, 216, 217, 
 
 225, 231, 233, 237- 
 Raymond, W. C, 196, 266. 
 Read, Alfred, 197, 268. 
 Redinund, William, 239, 241, 246, 247, 
 
 252, 275. 
 Reed, Roland, 237, 239. 
 Reeves, D. W., 237, 240. 
 Reeves, Fanny, 184. 
 Rehan, Ada, i54, 214, 216. 
 Rehan, Arthur, 246, 247. 
 Reignolds, Kate, 169, 181, 184, 188, 
 
 200. 
 Reilly and Wood, 249, 260. 
 Reynolds, Georgianna, 169. 
 Reynolds, Win H., 197. 
 Rhea, Mlle„ 232, 233, 234, 241, 247, 
 
 258. 
 Rice, E. E., 221, 227, 232, 246. 
 Rice, T. D., 138, 148, 150. 
 Richings, Caroline, 169. 
 Richmond, Adah, 207, 215. 
 Richmond Theatre Destroyed, 50. 
 Rignold, George, 209, 210, 217. 
 Ringgold, B. 'J.'., 184, 214. 
 Rising, Will S., 244. 
 Ristori, Adelaide, 177, 178, 181, 182, 
 
 209, 239. 
 Ritchie, Anna Cora Mowatt, 127. 
 Roach, J. C, 248. 
 Roberts, J. B., 170, 204. 
 Robinson, John C, 205. 
 Robson, Stuart, 169, 186, 187, 188, 214, 
 
 217, 224, 225, 226, 231, 233, 237, 239, 
 
 242, 247, 24S. 
 Roche, Frank. 184. 
 Rockwell, C. H., 184, 187. 
 Rogers, C, 169. 
 Rogers, Katherine, 213. 
 Rois, L. P., 150, 154. 
 Roonev, Pat, 226, 227, 234, 238, 246, 
 
 275. 
 Roosevelt Blanche, 225. 
 Rosa, Carl, 174. 
 Rosa, Patti, 245. 
 Rose, Marie, 217. 
 Rossi, 231. 
 
 Rowe, George F., 211. 
 Runnion, James B., 214. 
 Russell, Hattie, 154. 
 Russell, Henry G., 197. 
 Russell, R. Fulton, 214. 
 Russell, Richard, 110. 
 Russell, Sol Smith, 237, 239. 
 Russell, Thomas B., 140. 
 Russell, William H., 137. 
 Ryan, Addie, 172. 
 Ryder, James B., 273, 274. 
 Ryley, J. H., 225.
 
 PROVIDENCE STAGE. 
 
 297 
 
 Salsbury, Nate, 237. 
 
 Salvini, Alexander, 253, 257. 
 
 Salvini, Tomaso, 204, 205.232, 253, 255. 
 
 bans Souci Garden, 274, 275. 
 
 Saunders, C. H., 140. 
 
 Savage, John, 118. 
 
 Savory, Ida, 186, 210. 
 
 Sayles, John \V., 242. 
 
 Scanlan, William J., 237, 251, 254. 
 
 Scott, J. K., 140, 150. 
 
 Scott, R. G., 154. 
 
 Scott, Rufus, 275. 
 
 Seagraves, Caleb, 107. 
 
 Sefton, John, 150, 158. 
 
 Seguin, Zelda, 187, 233. 
 
 Shales, Edward, 136. 
 
 Shaw, Mary, 254. 
 
 Sheldon, Mrs. W. P., 203,210. 
 
 Sheldon, W. P., 196, 197, 203, 263, 266. 
 
 Sheridan. W. E., 201. 
 
 Shirley, John R., 275. 
 
 Siddons, Mrs., 7. 
 
 Siddons, Mrs. Scott, 183, 185, 186, 187, 
 
 211, 223, 226. 
 Simmons, Mary, 271. 
 Simpson, Edward, 68. 
 Sinclair, Catherine Norton, 92. 
 Slater, William S., 197, 268. 
 Slaviansky, Agreneff, 186. 
 Smith and Lord, 249. 
 Smith, Noah, 66. 
 Smith, Samuel J., 88, 94. 
 Smith, Sid. 207, 267. 
 Smith, William H., 141. 
 Snow. Hattie, 184. 
 
 Soldene, Emily, 215, 226. 
 
 Sothern, K. A., 200, 206, 211, 215, 243. 
 
 Sothern, E. H., 247, 253. 259. 
 
 Southworth, S.S., 114, 88, ill, 112. 
 
 Spear, G. J., L38. 
 
 Springer, S. E.,215. 
 
 Stanford, Ella. 274. 
 
 Stafford, William, 240. 
 
 Stalker, Archie, 200, 209, 274. 
 
 States, Agatha, 184. 
 
 St. Clair, Sallie, L58. 
 
 Stedman, C. A., L84, L86, 210. 
 
 Steere, Henry J., 197, 268. 
 
 Stetson, E. T., lTD. 188, 211. 
 
 Stets Fohn, 209, 217, 231, 2:1:,. sm, 
 
 241, 244, 250, 254, 259, 277. 
 Stevens, John A. 2-:;. 231, 2:;:;, 239, 
 
 252, 257. 
 Stevenson, Charles A., 225. 
 Stockton, Fanny, 174. 
 Stoddard, .1. II.. L81, 184, 20:;, 224. 
 Stokes, Martin C, 197, 268. 
 Stiidley, J. B., 165, 226. 
 Sullivan, Barry, 210, 243. 
 Sullivan. E. P., 27.".. 
 Sullivan, John L., 244, 258. 
 
 Sullivan, Mark, 260. 
 Sully, Dan. 237, 242, 257. 
 Swain, Carrie, 233. 
 Sweet, Dr., 231. 
 Sydney, G., 159, 270, 271. 
 
 Tagliapietra, 211. 
 
 Talma Club, 259. 272, 274. 
 
 Tanner, Cora, 249, 250. 
 
 Tayleure, Clifton W., 168, 175, 179, 
 
 214. 
 Taylor, Bianchi, 84. 
 Taylor, Emma, 162. 
 Taylor, Harry, 187. 
 Temple, Helen, 205. 
 Temple, Rose, 224. 
 Terry, Ellen, 237. 
 Tew, Paul, 15. 
 Texas Jack, 211, 217. 
 Thatcher, George, 239, 258. 
 Thayer, Ann Maria, 27. , 
 Thayer, Charles H., 227. 
 Theatre Comique, 274. 
 Theo, Mile., 232, 233. 
 Thomas, Isaiah, 5. 
 Thomas, Theodore, 185, 187. 
 Thompson, Charlotte, 209, 211. 
 Thompson, Denman, 217, 224, 225, 
 
 226, 229, 241, 245, 247. 
 Thompson, John, 200, 209. 
 Thompson, Lydia, 187, 188, 200, 204, 
 
 205, 252. 
 Thompson, Lysander, 150. 
 Thorne, C. R., 177, 180, 181, 182, 183, 
 
 186, 193, 202, 215, 225, 235. 
 Thorne, E. F., 203. 
 Thumb, (Jen. Tom, 200, 233. 
 Thurston, B. F., 197, 268. 
 Tilt any. Annie Ward, 226, 258. 
 Tilton.E. L., 169, 194, 197, 203, 210, 
 
 263, 266. 
 Tilton, Theodore, 223. 
 Tinker, James, _'74. 
 Titiens, Theresa, 200,211. 
 Titus, Tracy, 223. 
 Tobey, John F.. 271. 
 Tracy. Helen, 183, L84, 
 
 Tree, Ell. 'II, 132. 
 
 Treville, Walter, 207, 208, 210, 267. 
 
 Tostee, L83. 
 Tucker. Ethel, 242. 
 Tnrnbull, Julia, 149. 
 Tyrrell, Mrs. M. A.. L54. 
 Tyrrell, T. fid., L75, L85. 
 
 I'lmcr. Lizzie May. 231, 233, 2:(7 . 
 Union Dramatic Club, 272. 
 Upton, 2. 
 
 Vaidis Sisters, 249. 257. 
 Vandenhoff, George, n*.
 
 298 
 
 PROVIDENCE STAGE. 
 
 Van Doren Augusta, 248. 
 
 Van Zandt, C. C, 194. 
 
 Van Zandt, Mrs. Jennie, 210. 
 
 Varrey, Edward,146, 148, 155, 161, 103. 
 
 Vaughn, Blanche, 202. 
 
 Verner, Charles Erin, 257, 200. 
 
 Vernon, W. H., 245. 
 
 Vestvali, Felicita, 170, 171. 
 
 Venn, Topsy, 237. 
 
 Viennese Lady Fencers, 249. 
 
 Vining, Fanny, 154. 
 
 Von Olker, Ferd,193. 
 
 Yokes Family, 204, 205, 207, 210, 229, 
 
 241. 
 Vokes, Rosina, 241, 247, 249, 251, 254. 
 Vokes, Victoria, 254. 
 
 Wainwright Marie, 224. 
 
 Wallace Sisters, 209. 
 
 Wallack, Fanny, 149. 
 
 Wallack, James W., 127, 103, 188, 254. 
 
 Wallack, Lester, 180, 201, 207, 225, 
 
 232. 
 Waller, Emma, 187. 
 Wallick, James H., 257, 200. 
 Wallace, Miss, 240. 
 Ward, Gene-- : <we, 224, 231, 245. 
 Ward, Governor, 18. 
 Ward, James M., 183, 188, 201. 
 Warde, Fred., 213, 223, 244, 240, 247, 
 
 249, 250. 
 Ware, George H., 270. 
 Warren, Minnie, 200. 
 Warren, Win., 109, 170, 173, 182, 224. 
 Waterman, Ida, 210. 
 Watkins, Harry, 170, 187, 188. 
 Watson, Matthew, 271. 
 Weathersbee, Eliza, 217. 
 Weaver, II. A., 184, 210. 
 Weber, Eliza, 187. 
 Webster, Daniel, Jr., 273, 274. 
 AVebster, Lucette, 182. 
 Weeden, Arthur P., 273. 
 West, Win, 239, 259. 
 
 Westminster Musee, 270. 
 Western, Helen, 108, 170, 177, 181. 
 Western, Lucille, 105, 108, 176, 181, 
 
 187, 188, 205, 208. 
 Weston, Maggie, 227. 
 Wheatley, Wm, 108. 
 Wheelock, Joseph, 226, 252. 
 Whipple, John, 52, 53. 
 White, Elizabeth, 118. 
 White, AVm. E, 275. 
 Whiting, John, 201. 
 Whitlock, Mrs, 31. 
 Whitman, 13. F , 180. 
 Whitman, Sarah Helen, 53, 130. 
 Wightman, Wm. B, 197. 
 Wilde, Oscar, 232. 
 Wiley, Dora, 222. 
 
 Wilkinson, Lillie, 187, 188, 207, 208. 
 Williams, Fred, 184. 
 Williams, Gus, 207, 224, 231, 232, 237. 
 Williams, Mr. and Mrs. Barney, 149, 
 
 109, 175, 176, 184, 187, 207. 
 Williamson, J. C, 184, 187. 
 Wills and Jerome, 200. 
 Wilmot, Emmie, 207, 208, 207, 268. 
 Wilson Francis, 227. 
 Wilson, George W, 200, 276. 
 Wilson, Harry, 241. 
 Wing, Wm. H, 274. 
 Wood, Mrs. John, 200. 
 Wood, N. S, 252. 
 Woodruff, Samuel K, 270. 
 Woodworth, Samuel, 94. 
 Worrell Sisters, 180. 
 Wyatt, George, 103. 
 Wvmans, The, 237. 
 Wyndham, Charles, 187, 232. 
 
 Yeamans, Jennie, 227. 
 Young, Charles, 73, 74, 81, 102. 
 Young, Mrs. Charles, 81. 
 Young, Nellie, 201. 
 
 Zoe, Mile, 183, 200, 205.
 
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