I II MEMORIES OF THE PROFESSIONAL AND SOCIAL LIFE OF JOHN E. OWENS, BY HIS WIFE JOHN MURPHY AND COMPANY BALTIMORE - MDCCCXCII I'ol'YUKJHT, 1VJ2. 15Y JolIN MUKl'HY ,t Co. PREFACE. To my husband's memory I dedicate this volume, with the earnest wish that the gift of eloquence had been mine, empowering me to render a more worthy tribute to a well- spent life. The incentive which led me to write the book is fully designated by its title " Memories." These imprints of happier days, ever present with me, have sometimes been voiced to our friends; and, observing how heartily they wel- comed and enjoyed anecdote or incident of him they knew so well, and the enthusiasm with which his dramatic genius and fame was spoken of, I gradually became impressed with the desire to arrange in readable form the record of my husband's theatrical experience, and combine with it little events of every-day life. Of all this, as his constant com- panion, I had thorough knowledge, even though my ability to convey it may have proved insufficient. I fully realize that in more competent hands a biography of John E. Owens would have been brilliantly written and ranked as a finished literary work. I am not so presumptuous as to aspire to that standard. It has been a pleasure to me to (mentally) go step by step over the months and years we lived together ; iii M82724 IV PREFACE. and if my readers will indulgently regard that which I have transcribed as something I might have talked to them about in my own home circle, they will recognize the intent of my true position. In so doing, their thoughts may, perhaps, dwell more upon the spirit in which my book is written than the manner in which it is rendered. On this possibility I rest my hope, that happily I shall receive lenient criticism. BALTIMORE, MD., December 7th, 1892. CONTENTS. CHAPTER I. pAOE Birth of John E. Owens School days First theatrical engagement W. E. Burton Astronomical lectures Season in Baltimore Mrs. John Drew D6but in New Orleans, .... 1 CHAPTER II. Visit to relatives in England Engagement in Philadelphia "Jakey" Italian Opera A psychologist Purchases Balti- more Museum Uriah Heep a hit in New York, ... 30 < IIAPTER III. Ascent of Mont Blanc Engaging David Garrick Aigburth Vale Dramatic portraits Dion Boucicault " The schoolmaster abroad," 59 CHAPTER IV. A lesson in French "Solon Shingle" "Self" H. L. Bateman Debut in Boston " Caleb Plummer" Mrs. John Wood- Origin of the popularity of " Dixie's Land," .... 80 CHAPTER V. New Orleans season 1860-61 Obtaining a substitute Witty repartee A lover of Shakespeare Reception of Solon Shingle in Xew York Constant Meyer's picture, .... 112 CHAPTER VI. Adelphi Theatre, London Appreciative public Liverpool engage- ment Re-appearance in New York patented "cow-milker" Owens "the farmer" Visit to a circus, .... 132 V VI CONTENTS. CHAPTER VII. Sea voyage to San Francisco Lawrence Barrett" Grimaldi " Tour of mining towns Foss Salt Lake City " War prices out of date" A mulberry story, ...... 161 CHAPTER VIII. Inauguration of an Opera House " Owens' Ride "Montreal J. W. Albaugh An English gardener Country vs. City "A man skilled in fence ""Paul Pry "Louisville" I play this for low," .......... 185 CHAPTER IX. Comic sequence of weighing baggage A boy's letter The bond of masonry A big chandelier" Timothy Toodles" Journey- ing in an ox -cart A gentle Alsacian priest, .... 206 CHAPTER X. New Orleans season of 1874-75 Political excitement Towson- town "Where is it ? "Purchase of Academy of Music, Charleston, S. C.Perkyn MiddlewickK telegram Dr. Peter Pangloss, LL. D. and A. S. S., ..... 231 ( IFAPTER XI. "De Captain's butter ""T/te Serimi* F,,,nihj" Departure for Australia San Francisco en routi A mining investment Return a n 1881-82, with John T. Ford, . . . _'."> 7 < HAI'TKK XII. nlda" Kntertainin- friends at Aijjlmrth Vale The 1'iek- wick Club Hrilliant performanee at Harlem Theatn "A golden set "Winter in ( 'liarh-tmi. S. C. Will. T. Ken^'h Illnc- K. .,!!( F.artli(|iiak< Fileet >!' r\frti>n and agita- tion SnflVrini: Peaceful and final sleep, .... ILLUSTRATIONS. I'AGK. JOHN E. OWENS, Frontispiece. MRS. JOHN E. OWENS, 4 WILLIAM E. BURTON, Comedian, 10 JAKEY, in " A Glance at Philadelphia," 40 AIGBURTH VALE in 1853, 66 AIGBURTH VALE in 1868, 70 SOLON SHINGLE, from a painting by A. Cross, .... 84 JOHN UNIT, in "Self," 90 MAJOR WELLINGTON DEBOOTS, in " Everybody's Friend, . .102 CALEB PLUMMER, in " The Cricket on the Hearth," . . .108 LAUNCELOT GOBBO, in " The Merchant of Venice," . . .122 SOLON SHINGLE, from a painting by Constant Meyer, . .128 FRANK OATLAND, in " A Cure for the Heartache," . . . 144 DR. OLLAPOD, in " The Poor Gentleman," 164 PAUL PRY, 202 JOSHUA BUTTERBY, in " Victims," 218 OWENS' ACADEMY OF Music, Charleston, S. C., 240 PERKYN MIDDLE WICK, in " Our Boys," 244 DR. PETER PANGLOSS, in " The Heir at Law" .... 256 ELBERT ROGERS, in " Esmeralda," 278 HEZEKIAH PERKINS, in " Choke's Corners." (Act I.) . . 280 HEZEKIAH PERKINS, in " Choice's Corners." (Act II.) . . 282 vii MEMORIES OF JOHN E. OWENS. CHAPTER I. Birth of John E. Owens English and Welsh ancestors School days in Philadelphia Early indications of dramatic talent Read- ing play -books Owens hopelessly stage-struck lie meets a kindred spirit Hamlet with comic denouement First visit to a theatre Supernumerary at the National Theatre "speaking parts" Relinquishes theatrical hopes William E. Burton En- couraging advice Return to the stage Pronounced hit Alexina Fisher Mr. and Mrs. D. P. Bowers " I am so confoundedly young " Astronomical lecture Transient prosperity A stampede 1844-45 Season with Peale at Baltimore Museum Mary Gannon Mrs. Russell (Mrs. John Hoey) Wallack Booth Mrs. John Drew Charlotte Cushman "A bear on the Roof!" Consequences ! Season of 1846-47, with Ludlow & Smith Debut at New Orleans The pill box dressing case. TT7HE professional life of an artist belongs to the public. ' They have a right to discuss and pronounce upon its merits and demerits, however unknown to them may be his personal career. Having, by talent and devotion to his art, achieved fame and position, he invokes deserved admiration ; but when in addition to this, he 1 MEMORIES OF eiev.-ines Yiir-sBjf' flbput the hearts of people by geniality, integrity,, and - kind , deeds, there is a bond between the a ciist Mid the ipufrjiei rendering a natural sequence that whatever concerns their favorite, will be received with in- terest. Under this impression I submit my " memories " of a life, whose brilliant histrionic record was only equalled by the goodness and sympathetic tenderness known best to friends in every-day life. Many of the incidents I shall narrate are personal recollections of my own. Others have been gathered from friends and acquaintances. All are authentic and reliable, which I hope will entitle them to attention, even though I am well aware that an abler pen than mine is required to do justice to the work I have undertaken. I do not make the faintest claim to literary merit ; on the contrary, I deprecate the criticism that would meet my reminiscences on the plane of authorship. I simply desire to speak of my husband's career and associations, and trust that for his sake I may obtain indulgent hearing. John Edmond Owens was born in Liverpool, England, April 2d, 1823. His father, tin- son of ap Griffith Owen, of Nant, and Annie, his wife, was christened Owen Griffith Owen ; but <>n arriving at manhood added a final s to his la-t name, for euphony. The family resided at Aberdanm, JOHN E. OWENS. 3 in tho county of Carnarvon, North Wales, until 1809, when they removed to Liverpool; Owen G. Owen was ten years old when he left his native place. Eight years afterwards, he met with John Anderton, a prom- inent origin builder; the acquaintance ripening into friendship resulted in an introduction to the home circle of the Audertons. They were all musical people ; some of them having attained conspicuous proficiency as amateurs. Many pleasant hours were passed there ; but gradually the strong attraction to the house for Owen, concentrated in the eldest daughter, Mary An- derton, whose beauty and sweetness of disposition ren- dered her very loveable. After a somewhat prolonged courtship they were married. Their first-born child was John E. Owens, destined to render famous the name he bore. During the summer of 1828, Owen G. Owens decided to make a home in America for himself and family. They left Liverpool in a sailing vessel, and after eight weeks voyage landed in Philadelphia. Several relatives had already taken up their residence in that city. Among them, the mother of Owen G. Owens, who, though she had acquired the English language, still spoke in her native tongue to those who understood it. She became prominent and useful in Welsh Societies, and often acted as interpreter to those newly arrived from Wales. Her children and grandchildren being much with the old 4 MEMORIES OF lady, were familiar with the language; and all his life, John Owens would now and again at home use a Welsh word or sentence with perfect accent. On the maternal side, John's people were English ; some of them being clergymen in the Episcopal church, of which they were all members. His father became a naturalized citizen of America shortly after arriving here. As soon as the family were settled in their new home, John's education was looked to. He had the advantage of the best schools in Philadelphia, and at an early age gave evidence of aptness for intelligent study. Not content with simply memorizing his lessons, he was always eager to propound questions with a view to deeper insight and clearer knowledge of the subject. On composition and "recitation days" especially he was a favorite scholar. While still a little chap, his teacher would place in his hand a cane, and putting spec- tacles on his nose have him recite "Pity the sorrows of a poor old man," or rather ad it for this he did intuitively. Quick of memory, and fond of reciting, the home circle was not free from the boy's bent of "speaking pieces" apropos of which, on one occasion, the l>al>v sister was iriven to him to hold. Proud of the trust reposed, lie kept her tightly clasped, until, through his mind IM-HII to run the lines of " Young Norval," to which he imiiK diately gave voice safely -.<., I JOHN E. OWENS. 5 enough till the words "Rush'd like a torrent down the vale ; " impelled him to suit the action to the word, and throw out both arms; when down tumbled the baby sister, whose cries brought John to his senses and his mother to the rescue. Fortunately, no injury beyond fright was sustained. As he advanced in boyhood, his taste for reading and study increased, but not to the extent of becoming a bookworm. Gifted with a retentive mind, so great was the impression made thereon by his studies, that he could render full justice to them, and yet have leisure for enjoyment of boating, gunning, and like sports to which athletic youths incline. Replete with health and joyous spirits, and lovingly tender-hearted to those at home, he was as the good mother often said, "the sunshine of the house." When about fourteen years old, he chanced to come into possession of two play-books " Richard the Third," and "The Spectre Bridegroom." He read, and re-read them, not only at home, but they were smuggled into school. Masking them under cover of a study book, he regaled himself by stealth. This went on unsuspected for awhile, but one day the schoolmaster surprised the deception, and wresting the play-books from young John, severely remarked : " I will settle with you about this, later on." Deprived of his limited, but sole dramatic literature, under the dis- 6 MEMORIES OF pleasure of Gray, the schoolmaster, of whom ho was really fond, the lad was very unhappy. Deeply chagrined, he awaited the expected reprimand and punishment. Several days elapsed, and then Gray called him aside and returned the books with a mild rebuke for reading them in school; adding, after a pause "If you have any more play-books, my boy, lend them to me." Thus, the dreaded scolding was not only averted, but the schoolmaster and his pupil became great chums. Years afterwards, while playing a star engagement in Pittsburg, he unexpectedly met his former teacher ; now a very old man, and in poverty. Pleased at the ren- contre, which brought back the memory of his boyhood, he prevailed upon Gray to adjourn with him to a res- taurant, where they had a delightful talk over a good dinner and a bottle of wine. Invigorated in mind and body, the old gentleman's depression vanished, and he was for the nonce happy. Regarding Owens proudly, he exclaimed, "Ah! my boy, your professional success is founded on our reading play-books together. I fos- tered the In-lit of your taste and sec the result!" He witnessed the performance at night, and was yet more enthused. Waiting at the stage door to say "good- bye," In- <|iiite bnke down in expressing gratitude for the brightness which Owens had brought into his JOHN E. OWENS. 7 life, so long an experience of gloom. They met no more, but Gray was always remembered so long as he lived. Strongly attracted to theatrical life, Owens yet deemed it almost unattainable, as no source however remote, seemed open to him to form the acquaintance of any one connected with a theatre. Despairing of this, his next choice of a future was "going to sea" the outcome of reading Capt. Cook's voyages, and similar books, that inspire such taste in boys of brave and adventurous nature. He made known this desire to his father, requesting that a position as cabin boy be obtained for him. Both parents gave a decided negative to this request. The father inclined to the medical profession for his son; and to further this intention placed him with Dr. Samuel Jackson, druggist, Tenth Street, Phila- delphia. In the same store was a very bright youth, named James Woodhouse, somewhat John's senior. Soon they discovered to their delight, that they had a mutual taste I may say longing. Each desired to become an actor. Much "spouting" went on in that store during the proprietor's absence, for Woodhouse was the fortunate owner of many play-books. One day they were essay- ing a portion of the fifth act of Hamlet. Woodhouse personating Laertes, and Owens, with a table cover draped over him for a cloak, striving to look melan- 8 MEMORIES OF choly, as Hamlet. All went on to their satisfaction, until the " divine afflatus " reached a climax and Owens, with much gesticulation, throwing aside the " inky cloak " gave the lines "This is I, Hamlet, the Dane" came in violent collision with a shelf of bottles. Crash on crash they tumbled down, and the boys, horror-stricken, viewed the shattered fragments before them. Luckily, their employer was lenient, and the penalty of the accident fell lightly. By and by, James Woodhouse imparted the startling information, that he, had actually stood before the foot- lights. " How did you get there ? " said the awe- stricken Owens. " How ? Why, as a supernumerary ; and so can you." This was the thin edge of the wedge to revive hope in the heart of the young aspirant for histrionic life. Though unmistakably stage-struck, he had never been in a theatre but twice. The first time, was with his father; the bill being " The Mountaineer" and " l\ol tin- son Crusoe" A most blissful evening to the boy, ail'ording him enjoyment which lasted for weeks after- wards. Obtaining a book of the Mountaineer, he read it with avidity, over and over again; every page bcinu; to him, not only entrancing, but illuminated akin to reality, from having seen it enacted. Kdnxm S. (\.nner (who played Oetavian) he regarded as almost superhu- man ; and had the future been then predicted that he JOHN E. OWENS. 9 would he professionally associated with this hero, such a prophecy could not have been regarded as otherwise than impossible of fulfilment. On his second visit to a theatre, from the pit of the "Arch Street," he enjoyed the spectacle of "The Forty Thieves" Arriving early, he obtained a seat quite near the stage ; and as the play progressed, somewhat regretted his close proximity to the band of robbers. To his youthful and inexperienced eye, they appeared exceed- ingly fierce, and seemed to threateningly scowl at those near them in the audience ; repressing with difficulty a desire to make an attack upon the inoffensive spectators. Long years afterwards, in mentioning this experience, he used to laugh at the thrill inspired by burnt cork mous- tachios; and a scowl engendered from nervous fright, awkwardness, and a fear of being recognized, and guyed by acquaintances. But, to return from this digression, to the conference between Woodhouse and Owens, about going on the stage. An advertisement shortly afterwards appeared in the "Ledger," requiring a large number of "supers" for a spectacle about to be produced at the National Theatre, by William E. Burton, the famous comedian, manager, and author. Owens presented himself as an applicant, was accepted ; and thus, at the age of seven- teen, he began his theatrical life. Night after night, he managed to be on duty unknown to his parents or 10 MEMORIES OF employer. One evening he had quite a scare. While advancing in a procession of supers, he saw his father with some friends in a box near the stage. Forgetting how much the super's dress and make-up disguised him, he thought the time of discovery had arrived. To use his own words when relating the incident : "I could have sworn that our eyes met, and what astonished me was, that no angry manifestations fol- lowed." Weeks went on and the novelty of being behind the scenes, and before the footlights waned. No prospect of advancement appeared. True, he had now and then a few lines to speak, but the result was not always satisfactory. As, for instance. In a melodrama, being cast for first murderer, and another youth for second murderer, they were much elated with having "speaking parts " assigned them ; and ambitious to make the most of the opportunity overstudied. Their first dialogue, informs the audience of intention to commit a murder. During the Third Act, they again appear, and discuss the deed that has been done, an1> Roy for which lie was east. lie confided his woe, thus li I know the lines, and the luisi- neaa perfectly, but I can't look like the character. Oh, JOHN E. OWENS. 17 Mr. Ferris, what shall I do ; I am so confoundedly young!" With a shrewd dry smile, Ferris replied "Don't be worried about it, time will cure that, cheer up!" " Dr. Ollapod " in The Poor Gentleman was played by Owens at twenty-four hours' notice, and he was dead- letter perfect. True, it did not equal the polished rendi- tion of that character in his riper years; but the per- formance was creditable. In the summer vacation of 1840, Owens joined a company which was organized on commonwealth basis, to travel through small towns. Their experience was limited and the treasury even more infinitesimal. Bad business made a short season. In Richmond, Virginia, they disbanded. During the fortnight they played there, Owens became quite a favorite. His clever, though crude, portrayal of the leading comedy, his ready wit, and inexhaustible humor, attracted much attention ; and made for him, friends, as well as admirers. One of the prominent citizens, Dr. H took a great fancy, and personal liking to the young comedian ; and invited him to make a visit to his home on Shockoe Hill. This courtesy was accepted ; and Owens became the Doctor's guest, after the disbanding of the company. Not only was the hospitality of the Doctor and his family charm- ingly agreeable, but access to Dr. H 's extensive and valuable library was an additional enjoyment. Among 2 18 MEMORIES OF other books, were many rare works on Astronomy. This having been a favorite study with Owens, he was glad of the opportunity to increase his knowledge. By and by, an idea occurred to him. The renewal of theatrical engagement during the summer was impos- sible. "Why shouldn't he lecture on Astronomy, and earn money to keep him till the fall season began ?" He consulted Dr. H , who much amused, said " You look far too young for a Professor of Astronomy moreover, everyone will know you, and laugh, remem- bering your comicalities. " I can change my name, and wear green spectacles," retorted the youngster ; the Doc- tor laughed, entered into the matter as a frolic, and promised every assistance in his power; and so, the writing of the lecture began. Hard study and the Doctor's library stood Owens good stead. His MS. was soon written. Seeking the companionship of an acquaintance, they joined issue in finances, purchased a magic lantern with astronomical pictures ; and arranged a partnership. Owens as lecturer and illustrator, Dawes as door-keeper and general facto- tum. Off they started to make a tour of the adjacent villages. Sometimes journeying by stage coach, but more frequently on foot for sake of economy. Light-hearted, young, and strong in health, they thoroughly enjoyed the adventurous freedom of the project. Their advertisements and programmes were written in a big round hand, and JOHN E. OWENS. 19 nailed up in the grocery store, tavern, and blacksmith shop of each village they visited. At first, the entertainment scored a success with the country people ; for (in those days) any public amusement was a novelty to them. Professor Roberts (?) wearing green spectacles and his hair brushed back, was of im- posing appearance as a lecturer ; and his fluently delivered discourse interested the listeners. His assistant, Mr. Smith (?) was equally acceptable. They made sufficient money to meet expenses, and maintain their dignity by sojourning at the tavern, in each town, and ordering the best it afforded. This pleasant experience was brief. Slim attendance in one or two villages exhausted the exchequer. From bad to worse, they became reduced to hunger. When referring to this escapade, Owens used to, laugh- ingly, say, that the sorest temptation of his life, was, when standing before the cake stand of an old darkey woman, he offered her his pocket-handkerchief in exchange for a ginger cake. She refused and turned away from him the cakes were within his reach hunger gnawing with the intensity of twenty-four hours' fasting he could scarcely refrain from helping himself; adding, " Indeed, it's a mercy I didn't devour the entire cake stand, old woman included." At New Glasgow, the astronomical enterprise received its death blow. A crowd of rustics gathered in front of the hall, impatient to see " the show," 20 MEMORIES OP but the owner of the building refused to light candles, and open the door, until a portion of the rent was paid in advance. The Professor and his assistant being penniless, were unable to meet this demand ; and deeming discretion the better part of valor, retreated through the back door to the hotel ; inasmuch as the prospective audience were becoming noisy at the delay, and murmured threats of violence were heard. Next day the partners discussed the situation, and agreed that their scheme was a failure ; although it had its bright side in the way of " great fun." From the sale of the magic lantern, they realized enough to help them on to Richmond, each having written to their parents for funds to take them thence, home. For the season of 1844-45, Owens received three offers for the position of first low comedian a situation which he strongly desired to occupy, and of course, never could in Burton's theatre, as that line of business belonged to Mr. Burton. Moses Kimball of the Boston Museum wrote to him offering an engagement for the position of first comedian mentioning as un inducement the long duration of the season in his theatre, and detailed its comfortable surroundings; concluding by saying: "I believe the enirairemcut which I propose, would prove mutually agreeable ami advantageous. Do me the favor to think the matter over thoroughly before you decide." JOHN E. OWENS. 21 Peale of the Baltimore Museum, and William Shires of "Shires' Gardens," Cincinnati, also desired his services for the season. Moses Kimball claimed that greater ad- vantage would accrue from an engagement with him, but did not offer as much salary as Peale; who again was exceeded in terms by Shires. The latter, afterwards became manager of the National Theatre, and Pike's Opera House in Cincinnati, but at the time I refer to he was owner and proprietor of " Shires 7 Gardens," corner of Third and Vine streets, where the Burnet House now stands. The garden occupied an entire block. It was planted with shade trees, and beautified with flower beds. Interspersed through it, were ice cream booths and places of refreshment. In the centre, stood a pretty frame theatre which was ably managed, with a good stock com- pany supporting stars during the regular season. In the summer months, day as well as night perfor- mances were given by the stock company. Here, is marked, the first introduction of matinees in this country. The innovation was not a great success with the public, and decidedly unpopular with the profession. In fact, the matinee element, caused Owens to decline Shires' offer. For some time he deliberated between Boston and Balti- more, but finally decided in favor of the latter ; signing for the season with Peale, at fourteen dollars a week, and two benefits. The position with Moses Kimball, at the Boston Museum, was afterwards accepted by William 22 MEMORIES OF . Warren ; and thus began, as local favorites, the career of two comedians destined to become famous to the world, and brighten many lives. Endeared to hosts of friends, they were most beloved by those who knew them best. As this epoch marked the dawn of Owens' great success in his profession, the little theatre where he attained over- whelming popularity, and from whence he emerged as a' brilliant star, may claim some interest with my readers. I, therefore, give a succinct account of the Baltimore Museum. It was situated on the corner of Calvert and Baltimore streets. Mr. John Clark, a prominent lottery broker, purchased the site, and erected the building in 1829. The lower part was used for a banking house; and the upper part rented to Rembrandt Peale for the exhibition of curiosities, stuffed birds, pictures, &c. Five years later, Edmund Peale assumed the management and inaugurated dramatic entertainments in the Lecture room. In 1846, P. T. Barnum bought the museum from Edmund Peale, and appointed his uncle, Alonso Taylor, manager. Mr. Taylor lived but six months afterwards. At his deatli the place was put in charge of Mr. Charles S. Getz, the celebrated scenic artist, whose work and talent is so widely known. Mr. Getz conducted the place until it |>:is.-rd into the possession of Joshua Silsbce (Yan- kee Comedian) and Albert Hiimm a member of the musical troupe known as the Orphean Family. JOHN E. OWENS. 23 On that little stage appeared some of the best talent that ever delighted an audience. Mrs. Russell (Mrs. John Hoey), Mary Gannon, Mrs. Watts, Miss St. Clair, Mrs. D. P. Bowers, Chippendale, Davenport, J. W. Albaugh, and a host of others, won their first laurels here. Among the stars we find James Murdoch, J. B. Booth (the elder), J. W. Wallack, Joe Cowell, J. R. Scott, Charles Burke, Charlotte Cushman, Fanny Wallack, Mrs. Farren, Julia Dean, Eliza Logan, Mr. and Mrs. Barney Williams, Mrs. C. Sinclair Forrest, and many more. Of John Owens 7 connection with the Museum, I shall speak more in detail as my narrative progresses. His first season began September 5th, 1844 ; vaudeville and farce constituted the usual dramatic attraction. Later on, Kate Ludlow joined the company as a feature in " Kate Kearney ; " being noted for her singing and dancing. In November Mr. and Mrs. H. Hunt (now Mrs. John Drew) played a star engagement. Mrs. Hunt was a most fascinating and talented comedienne. Her Widow Cheerly in the Soldier's Daughter ; Marian, in the Wind- mill ; Fortunio, and all that line of characters, were wonderfully charming. I always find pleasure in remembering them, and con- gratulate myself that I had the privilege of seeing her in these exquisite renditions, which will rank with the extremely different character of Mrs. Malaprop that she 24 MEMORIES OF gives with such perfection to the public of the present day. To descant upon Mrs. John Drew's versatility and excellence as an artist is a work of supererogation akin to " painting the lily, or gilding refined gold." The next great attraction at the museum was " Beauty and the Beast," prettily gotten up, with the following strong cast. BEAUTY AND THE BEAST. BEAUTY ........................................................ MRS. J. B. BOOTH. THE BEAST ....................................... MR. JAMES L. GALLAGHER. JOHN QUILL .............................................. MR. JOHN E. OWENS. SIR ALDGATE PUMP ....................................... MR. JOHN SEFTON. DRESSALINDA ..................................................... MRS. KUSSELL. MAUYGOLD ........................................................... MKS WATTS. THE WILD KING ................................................. MR. MACKLIN. Not only the talent of the dramatis perxonu', but con- siderable musical ability added thereunto, rendered this bill sufficiently attractive to draw full houses. The Lecture room became Baltimore's fashionable place of resort, and Owens the leading favorite with all. Pop- ular too, among his fellow actors, always bubbling with the inirthfulness which springs from a sunny nature, he found much amusement in his surroundings; though many of them were the reverse of agreeable. I Vale, not content with the inanimate curiosities of the saloon, alone, would from time to time exhibit freaks and monstrosities of various kinds. Owens was antagonistic JOHN E. OWENS. 25 to this mingling of theatre and menagerie; but always saw the ludicrous side of the situation. I have heard him laughingly refer to it thus : " Matters culminated when I read on the bill-boards, a startling advertisement of the performance headlines in immense letters : 1 GREAT ATTRACTION ! JOHN SEFTON ! ! JOHN OWENS ! ! ! and A BEAR ON THE ROOF ! ! ! ! ' " I had been reasonably patient, but here I drew the line. Mentally, I ejaculated, l this association, even in type, is more than I can endure/ I remonstrated with Peale, and suggested that his aim should be to elevate the drama; and that certainly could not be effected by placing its representatives on a plane with brute attrac- tions. I made some impression, and he promised to reflect on what I said. Meanwhile, fate intervened. The roof of the museum did not afford congenial atmosphere to the bear. Poor Bruin pined, sickened and died; and thus we were relieved of a mortifying incubus." Early in the autumn of 1845, W. E. Burton managed the Chestnut Street Theatre in Philadelphia. Mr. and Mrs. Charles Kean being the first stars. To strengthen the support, Owens was engaged to play second comedy to Buiion, in some of the pieces, and first comedy in such as 26 MEMORIES OF Burton did not care to appear in. Also for the farces; in the latter he was to be made a feature. During this engagement, Mr. and Mrs. Kean fre- quently made gracious recognition of the young actor's merit. He was proud of their good opinion, and his grati- fication was unbounded when Mrs. Kean, after the per- formance of " The Stranger," complimented him by saying, "she had never seen the part of 'Peter' so well enacted, it being ludicrously comic, yet neat, and withal artistically rendered." In December, Owens played a star engagement of one week at the Baltimore Museum, but the rest of the season he was in Philadelphia and elsewhere, under Burton's management, diligently study- ing, and all the while advancing in his profession, play- ing more important parts and with greater finish and force. Among the oifers received for the season 1846-47, was one from Ludlow and Smith, managers of the St. Charles Theatre, New Orleans, for first low comedy business, at a moderate salary, and two benefits. This position was aeeepted; after signing the contract, Owens arranged to pltiy at various towns on his way down the river to New Orleans. The route mapped out, commenced with an engagement in I'ittslmrir, under the management of C. S. Porter. The result was satisfactory he made a hit and the good impression increased during the fortnight of his stay there. The parked house, and enthusiastic audience JOHN E, OWENS. 27 which greeted him on his farewell night, not only grati- fied, but surprised, the young star. With this inspiring beginning to the journey, he pro- ceeded pleasantly to New Orleans, making his debut there as Sampson Low, in " The Windmill" on the even- ing of November 21st, 1846. He was received with hearty approbation ; and this success, so instantaneously attained, grew and strengthened while he remained in New Orleans. From that time until his last appearance in the dear old city, he was their favorite and beloved comedian. The stock company at the St. Charles Theatre this season was excellent. prominent therein were Sol Smith, Jerry Merry field and wife (Rose Cline), John Weston, C. F. Adams, Proctor, Rynar, and James Wright. At this time " The Louisiana Histrionic Association " held exalted position in New Orleans. They ow r ned a pretty theatre on St. Charles street; it was organized and conducted with perfect discipline each member hav- ing his line of business allotted. During the summer the players from the regular theatres were engaged by the Histrionic Association, at high salaries, and many first- class stars appeared. Of course, the amateurs being devotees of the drama were prone to seek companionship with the leading lights thereof. In this way Owens made the acquaintance of Fred N. Thayer, who came of a well known theatrical family ; many of his relatives being on 28 MEMORIES OF the stage prominently, his uncle, E. N. Thayer, so long a favorite in Philadelphia and elsewhere. Mr. F. N. Thayer possessed the requisites of an accom- plished actor. To attractive personal appearance he added culture and refined taste, a well modulated voice, and strong elocutionary power ; these gifts, prominent as an amateur, were fully developed, when, in 1855, he went on the regular stage as leading man in Dion Boucicault's company at the Gaiety Theatre, New Orleans. There, and in other cities he distinguished himself; noticeably in the role of Armand Duval ; supporting Matilda Heron in her great success of " Camille" Later on, he was chosen by that famous actress to play the part during her New York engagement. After a few years of theatrical life, Mr. Thayer retired and engaged in mercantile business. The friendship formed between Mr. Owens and Mr. Thayer ripened as time went on and strengthened with frequent intercourse. To the close of Mr. Owens' life none held higher place in our regard than Mr. Thayer and his family. In speaking of the St. Charles Theatre Company, I omitted the names of Mr. and Mrs. George Farren. The latter was leading lady; her talent and popularity so well known, I need not descant upon. Mr. Farren used to relate an anecdote of Owens which was amusing and also characteristic. The St. Charles Theatre Stock Company having heard that Owens was JOHN E. OWENS. 29 an immense favorite north, were quite prepared for the manifestation of self-importance on the part of the "New Comic/' as they facetiously designated the recent addition to their corps. Mr. Farren said to them, " Well, boys, as the young man dresses with me, I will observe and report any peculiarities that may need subduing." Later in the evening, in reply to their eager questioning he said " It is quite a mistake ; our ' new comic ' is by no means arrogant or ostentatious ; his deportment is modest and quiet, but he has peculiarities, for his dressing-case of paints, &c., consists of two pill boxes ! " I once heard Mr. Farren tell this story ; and here he was interrupted by Mr. Owens good-humoredly ejaculating, "I vow, Farren, that's too rough ; I deny the pill boxes ; " but Farren, much to our amusement, insisted on the veracity of his story, adding, " The greater credit to you for being able to draw from such limited sources such wonderful make-ups." CHAPTER II. Owens' method of preparing for the stage A paradoxical manager Departure for Europe Visit to the old homestead of "Aigburth Vale," near Liverpool Return to Baltimore The organ grinder and the monkey Epes Sargent Engagement at Arch Street Theatre "Glance at Philadelphia" "Jakey" creates a furore January, 1849 Owens purchases Silsbee's half of the Baltimore Museum Marriage of Mr. Owens Methodist prejudices Col. George P. Kane as a mediator Italian Opera "We are mooch talented " A psychologist astonished " I want to ketch on to your play-acting tricks" Eliza Logan The Live Indian Mr. and Mrs. Barney Williams James Murdoch Julia Dean The Bateman children 1850, Owens sole owner of the Museum Mor- ton's farces " Don't make such good fun " Brougham's Lyceum, New York Startling hit as " Uriah Heep "The Forty Thieves " The rest of the band will remain in the wood." TT7HE facility and rapidity with which Mr. Owens made up his face for the stage was marvellous. His preparations, including change of costume, required but a few moments ; my early experience as his dresser was somewhat fraught with nervousness. As he would leisurely chat or read the evening newspaper, I could not refrain fnmi saying, "Do you know how late it is? The first music has been called." " All right," he would 30 JOHN E. OWENS. 31 reply, " I shall be ready," and he invariably was. I soon learned that there was no danger of a stage wait, whether the part chanced to be the merry one of Joshua Butterby, or poor old Caleb Plummer with his piteous, deeply fur- rowed face, or the wizen visage of miserly old Spruggins. The latter, perhaps, altered Mr. Owens' appearance more than any part he played, and for that, I have seen him make up his face in five minutes. He never liked to be entirely dressed until his cue was near, and often said, " I couldn't feel the character if I waited the excitement inspires me." In Solon Shingle, he was always putting on his gloves hurriedly, as he spoke the first lines with- out. But, I have digressed, and must pick up the thread of my narrative by returning to Mr. Owens 7 season at the St. Charles. Among the stellar attractions, he then had the opportunity of observing, were Mr. and Mrs. James Wallack, Mr. and Mrs. Charles Kean, Anderson, Murdoch ; association with whom, could not fail to im- prove a young and studious actor. In speaking of the jolly and clever manager, Sol Smith, Mr. Owens used to describe his personal appearance as attractive but very remarkable in one respect ; the right side of his face had a merry expression ; the left, was of serious aspect. Mr. Owens would jokingly add, " the former was invariably turned to whoever he addressed during good business, and the latter when the houses were slim ; and this was the only way in which Sol Smith could be double-faced ; " 32 MEMORIES OF the usual acceptation of that expression, was the anti- thesis of his nature. Owens' engagement in New Orleans closed April 16th, 1847, with a bumper benefit. About this time numer- ous cases of yellow fever had occurred in the French quarter of the city. That, being the locality in which Owens resided, his friends became alarmed for him, though he did not share their fears. In compliance with much importunity on the score that he was not acclimated, he concluded to run no further risk by remaining in New Orleans ; so, made up his mind for the pleasure of a sea voyage, to terminate with a visit to his relatives in Eng- land. On May the third, he sailed in the bark Emerald, and though delayed by adverse winds, the trip was very enjoya- ble. His recollections of England were vague ; the most vivid was that of his mother's sister, Aunt Bessie Orme, with her sweet face, and gentle ways, and Uncle Orme, who played and sung so delightfully, and always petted him. When he arrived in Liverpool, some of his childish impressions became dispelled; Nelson's monument was puny, in contrast to his remembrance of it. The big river Mersey greets his gaze as a mere stream. Proceed- ing to the home of his relatives, at Aigburth Yale, all memories of dear Aunt and Uncle Orme were more than realized. The same warm-hearted loving welcome met him as in childhood. Many happy days were passed at JOHN E. OWENS. 33 the old homestead, and it became so endeared to him that he registered this vow : " If I am ever rich enough to have a country place, I will call it ' Aigburth Vale.' r> And so he did, six years later improving and beautify- in i:- mi estate which was home to us in every sense of the word, so long as he lived. After adieux to Aunt and Uncle Orme he made a fly- ing visit to Paris, then back to Liverpool, where he took passage in the bark Emerald, bound for the port of Balti- more. There he arrived in September. The Baltimore Museum had been much improved during the summer, the Lecture room having been altered and enlarged into a cosey theatre, with cushioned seats, private boxes, parquette, and gallery. New scenery, and decorations were designed and executed by that well known artist, Charles S. Getz. When completed, the theatre was as pretty a little place as one would wish to see. The Baltimoreans attested their appreciation by crowding the house on the night of September 7th, 1847, when Hamni and Silsbee (new managers) inaugurated the theatre with a good stock company playing The Honeymoon, and a farce. On the 16th Owens began a star engagement, opening in The Poor Gentleman and State Secrets. His return was warmly welcomed ; and so unanimous was the de- mand of the public for a continuance of his engagement, that the management offered inducements which decided 3 34 MEMORIES OF him to remain as a stellar attraction. Apart from business considerations, he was well content in Baltimore, having long inclined to that city with a home feeling. After entering into a permanent agreement with Hamm and Silsbee, for an extended period, he arranged with his father that the entire family should remove from Phila- delphia and reside in Baltimore. At this time, the attractions at the Holliday St. Theatre were mostly Shakespearean (or other) tragedies. Edwin Forrest was playing to enthusiastic audiences. But these performances being so diiferent by reason of their legiti- mate grandeur, in no way interfered with the cosey Museum's comedy and vaudeville entertainments. In this connection the remark was made after rehearsal, one morning, "our little place is always crowded, notwith- standing Forrest's great success." Whereupon, Owens retorted : " Apropos of that, I'll give you a conundrum. Why are we, at the Museum, more fortunate than those at the Holliday St. Theatre?" Several guesses being made, without solving the riddle, the perpetrator was desired to give the answer ; which came in this guise : " Because, they have only one Forrest, great and grand as he is. While we, have our little Forrest , our shady Bowers, our green Field*, our lovely Woods, with Dawes pecking about ; our beautiful Rivers, and always Wr'njht with us." Thus, introducing the names of some of the ladies and gentlemen of the company ; all of whom, .IOHN E. OWENS. 35 heartily enjoyed the joke, except Mr. Fields, who rather nscnted the descriptive adjective appended to his name. Many new plays were given this season, noticeably, "77/c Merchant and his Clerks" which met with great favor from the public. Owens personated Kit Cockles, a jolly ne'er-do-well, who among various occupations becomes an organ grinder ; whilst his wife, Betty, plays upon the tambourine, and collects pennies (more or less generally less) from the street crowd. The part is replete with humor, and was vividly embodied. To make it realistic, Owens obtained from a genuine organ grinder, the use of his organ and monkey ; and received instruc- tions how to manage both. He soon found the under- taking beyond accomplishment so far as the monkey was concerned. The little imp was vicious when trans- ferred to a stranger ; though docile enough with his owner, who, standing at the wing, endeavored to control the animal by an admixture of menaces and profanity. Only partially succeeding as all on the stage were in dread of being bitten by the chattering beast. To talk of, afterwards, the scene was very funny, but anything else but amusing at the time. Struggling with the hand-organ, and fighting off the monkey in such a way as to prevent the audience from being cognizant of the contretemps was, as Mr. Owens said, "the hardest work he ever tackled." When the scene was over, he went up to the Italian, and remarked : " There, my good 36 MEMORIES OF man, is your property, I gladly relinquish it. Come again to-morrow night; bring the organ, but not the monkey. I am convinced that I have no vocation for managing monkeys. The hand-organ alone is a gigantic undertaking. I am sure it weighs a thousand pounds." The fellow stared, scratched his head in a puzzled way, and walked off; not at all understanding the covert humor, for which he had been a target. The play had a good run, and after its withdrawal, the query was often made of Owens : " Why don't you play Kit Cockles? it's such a funny part." "Yes/' he would reply, "very funny to the audience, perhaps, but it's rather heavy for me." I never knew him to pass an organ grinder without giving him money; "they earn it," he would say, "for it's hard work carrying an organ. Kit Cockles and I, know all about that weighty business." Owens' contract with the managers of the Baltimore Museum, concluded April 22, 1848, and during its seven months' duration he appeared in various characters, too numerous to mention. His versatility has never been excelled. With a voice which embraced every tone in its register, he was equally effective in humor or pathos. Gifted with personal magnetism, he held his audience spellbound ; to laugh with him in rollicking merriment, or with misty eyes respond to the tenderness of his pathetic acting. Baltimore was loth to part with so great a favorite even for a short time. A mouth earlier Owi-ns JOHN E. OWJ-N-. 37 had sioiu'd with Burton to star at the Arch Street Theatre, in "A Glance (it Philadelphia" a local drama, in which he played Jakey, a volunteer fireman. Two years previous, he had been cast for a character of the same nature, in " Change makes Change ; " a play written for Mrs. Mo watt, by Epes Sargent. The part was short and sketchy, but made a hit, and was much talked of. The play, not being a success, was soon with- drawn ; but, Owens remembering the " fire laddie," so favorably received, felt confident that he should make a mark as Jokey and he did ; far beyond his most san- guine expectations ; creating such a furore that the thea- tre was packed nightly the sidewalks impassable long before the doors were open. A droll incident happened one evening, as Owens (being rather late) was hurrying along Arch street, striving to elbow his way through the surging crowd, a stout and rather rough man savagely accosted him thus : " Stop a pushing of me ; do you think nobody wants to see Owens but yourself? " The original cast, in Philadelphia, gives John Crocker, as Harry Gordon; T. B. Johnson, as George Petriken ; and Mrs. C. Howard, as Lize. After six weeks' run, Burton brought the piece to the Front St. Theatre, Bal- timore, where it met with the same enthusiastic reception and crowded houses. Returning to Philadelphia, it was again played at the Arch St. Theatre, supplemented with Jakey 1 s Marriage; repeating its original success. Some 38 MEMORIES OF changes in the cast were made during the run of the piece. Mrs. J. B. Booth, Mrs. Burke, Annie Cruise, alternating as Lize. The character of Jokey, given by Owens, was so real- istic, so exactly like the " fire boy," seen then, in every- day life, that it did not seem at all like acting. It was perfect as a type of the volunteer fireman of that period ; and as artistically true to nature in every detail, as the most elaborated Shakespearean part he ever played ; the same powerful conception of character was seen on this lower plane, as he evinced in Touchstone, Launcelot Gobbo, and other characters, emanating from the grand master. On the 15th of July, 1848, the season closed, with the same bill still in the meridian of its drawing power. " Jakey " brought thousands of dollars into Mr. Burton's treasury ; not only retrieving his losses ; but, additionally, giving him wealth. This engagement furnished Burton with the means to purchase the property in New York, afterwards known as the Chambers Street Theatre. At Burton's request, Mr. Owens went with him to inspect the premises, and give his opinion as to the eligibility of the site for a comedy theatre. They arrived in New York after dark, and Burton proposed that, having had supper, they should wend tln-ir way to Chambers street; saying, "Why should \\<- wait till to-morrow? it's a beautiful moonlight night we can see." JOHN E. OWENS. 39 Soon they were on the premises, and having stepped off the ground, discussed its purchase, the probable cost of starting the theatre in fact, the investment in all its bearings, arriving at the conclusion, that it was in every way desirable. Thus began W. E. Burton's Metropolitan management, which marks an epoch in dramatic history, for the "Chambers Street" rapidly ranked as the leading theatre of New York ; superbly producing not only the old comedies, but every new play of merit, and with a company of unsurpassed excellence. Burton played the leading comedy ; his name was a tower of strength. He made his first appearance in America as Dr. Ollapod in The Poor Gentleman at the Arch St. Theatre, Philadelphia, September, 1834. He began his career as an actor in London, appearing at the Pavilion Theatre, Whitechapel, as Wormwood in The Lottery Ticket. Mr. Burton had much experience as a manager, he was also well known in literature, but his superlative merit was seen on the stage; he was a great actor. Captain Cuttle was, per- haps, his best part; but in all that he did, superior talent shone brilliantly attractive. He was coarse at times, but his humor was infectious, and his command over an audience, something marvellous. But, to return to the inception of the Chambers St. Theatre. Burton appreciated the fact that to Owens, he was indebted for this rapid stride to fortune, and evinced the same at the conclusion of the Philadelphia engage- 40 MEMORIES OF ment, by the presentation of a massive silver vase bearing the following inscription : Presented by WILLIAM E. BURTON to JOHN E. OWENS As a memorial of his unprecedented popularity in the character of Jakey, in the local Drama of "A Glance at Philadelphia," at the Arch Street Theatre, Philadelphia, 1848. The summer vacation Owens passed in New England, recuperating health and strength, after a long season of over ten months' laborious work. Returning to Balti- more, in September, he again signed with Hamm and Silsbee, for a star engagement, to be renewed if mutually satisfactory. In November, he retired from this contract, in consequence of disagreement with the managers ; he then rented the little theatre at the corner of Charles and Haiti more streets known as "The Howard Athcna'iim." This he inaugurated \\ith a strong company headed by himself. The public responded to the undertaking by cramming the house nightly. En passant, it was here that Holly Davenport made his d.'lmt. He was in the employment of S. Kirk ov Sons, jewelers and silversmith-, under his real name, A. MR. OWENS as JAKEY In "A Glance at Philadelphia." JOHN E. OWENS. 41 D. Hoyt. Becoming stage-struck, he sought an introduc- tion to Owens, and obtained the opportunity to try his power. The experiment was made as Fred Thornton in " The Dead Shot." I have heard him say, that the stage fright he experienced, amounted almost to collapse. In the scene where Thornton is brought on, feigning to be dangerously wounded, he has to rise suddenly, and acknowledge the ruse. When the cue came, the un- fortunate debutant was too frightened to move, and the whispered promptings of the soubrette were unheeded, until she stealthily stuck a pin in him, and thereby caused a reaction. Dolly Davenport continued under Mr. Owens' management, and improved rapidly ; in three months he was playing leading juvenile comedy accept- ably. Under the same management (at the Baltimore Mu- seum) George Jordan, then a printer, made his first appearance on the stage. He was afterwards prominent in the New York theatres; and later on a favorite in New Orleans at La Variete Theatre, while Owens was manager of that famous temple of the drama. George Jordan left New Orleans in 1861, for England; from whence he returned to this country but once; then, in support of Kate Bateman. As the year 1848 waned, Joshua Silsbee became desir- ous of retiring from management, and offered to sell his half of the Baltimore Museum to Owens. After some 42 MEMORIES OF negotiation, the transfer was made. The bright, though brief, season at the Howard Athenaeum closed January 1st, 1849. Owens returned to the Old Museum, and took the helm ; the management being known as Hamm and Owens ; though Hamm's interest was entirely mone- tary, he being without experience in theatrical affairs. Prosperity smiled on this enterprise, and the winter of 1849 was marked with brilliant performances, both star and stock. April 19th, 1849, Mr. Owens was married in Balti- more, after an engagement of three years, to Mary C. Stevens, daughter of John G. Stevens, Merchant, Bowly's Wharf. The ceremony was performed by the Rev. Alfred Miller, Rector of Mount Calvary Church. The marriage did not meet with the approbation of Mr. Stevens ; he being a member of the primitive Methodist church, and holding prejudices against a profession of which he really knew nothing. On the day of the mar- riage, whilst he was seated in his counting room, brooding over the shock the news had given him, Col. George P. Kane, an intimate friend, came in, and approaching him joyously, said : " Mr. Stevens, I take pleasure in con- gratulating you on the acquisition of such a son-in-law as John E. Owens. Had I daughters, I would be proud if they were so fortunate in the selection of a husband. / know ( hvons and his reputation, well ; he is a man who combines talent with a noble nature and moral integrity." JOHN E. OWENS. 43 To this kindly recognition, the young couple owed their restoration to parental favor. Mr. Stevens had great faith in Col. Kane's opinion, and wisely reflected that his personal association with Mr. Owens was likely to be a basis for truer judgment than the inherited prejudices of Methodism. He realized this fully when he became acquainted with his son-in-law. A strong attachment sprang up between them, and increased as time went on. No son could have been more devoted than was John E. Owens to his father-in-law, to whose declining years he was a comfort and a blessing. Daughter and son shared alike, nursing him through his protracted and final illness. The last words spoken were a loving call for "my son, John E. Owens." I refer to these family personalities as briefly as pos- sible, and would not mention them at all, could they be omitted consistently with the continuity of my narrative. In May, 1849, Owens became lessee of the National Theatre, in Washington, for the purpose of producing Italian Opera on a grand scale. The troupe included Rossi Crossi, Susini, String Amalia Patti, and many other luminaries ; together with a full chorus. Appreciative audiences attended the excellent performances given ; but, unfortunately, the meagreness of numbers gave little encouragement to the manager in his ambitious enterprise. The expenses incurred were heavy; the receipts, disas- trously light. After two weeks of ruinous business, 44 MEMORIES OF Owens brought the company to the Baltimore Museum, inaugurating " Grand Opera " at cheap prices ; thinking thereby to create an excitement and pack the house ; but, instead of such a result, dire bad business ensued. As the same ill luck continued in Washington, where the elder Booth had followed the Opera Company, the young manager was losing money right and left but he was not disheartened. " Buying experience/' he called his reverses, and found a humorous side to his misfortune. One of his stories, in connection with that time, was about Rossi Crossi (director of the Opera Company). With excellent imitation of the Italian artist, Owens would relate the usual Monday interview. The terms of the engagement were : " a certainty, payable weekly." Rossi Crossi with much suavity, would receive a check for the amount and remark : " I am mooch desolate, to to be oblige' to receive dis monish, when ze people do not attendez ze Opera. I can recognize no reason why we not draw ; for I do assure you, Monsieur Owens, we are mooch talented." Then, he would fold the check, put it in his pocket and walk away, leaving the perplexed manager to financier for ways and means to meet the iv<|iiiivment of a repetition of the interview, a week later. It is impossible for me to narrate this, or any other story, with the effect it had when told by Mr. Owens. His graphic and vivid manner of relating an occurrence, merging his individuality into the persons of whom he JOHN E. OWENS. 45 spoke, gave a reality to circumstances, and life to words, fur beyond that obtained when one reads of, or merely listens to a bare recital of an incident. There is an end to all things ; even the intense disa- greeableness of losing money with a " mooch talented " Opera Troupe. Five weeks closed the Italian speculation, and relieved of this incubus, Owens resolved never again to indulge in operatic ventures. His experience had cost him dearly, but the lesson was salutary. It also recalled a piece of sage advice, which Mr. Burton once gave him : " Don't endeavor to control more than one theatre at a time " albeit, Burton did not always stick to this rule ; for he sometimes directed two or three theatres at once, and invariably regretted so doing. The dramatic company which had been sent to Wash- ington to support the elder Booth, returned to finish out the Baltimore season. Jakey, and other popular plays were revived, and replenished the depleted treasury. The regular dramatic season closed July 4th. A fortnight later, Dr. Fisk rented the little Theatre for the purpose of giving lectures and experiments in Psychology. The Doctor was an enthusiast about the science, and his own wonderful power. He frequently importuned Owens to give him a private sitting, but would receive the laughing reply, " You can't psychologize me. / have quite as much power as you possess." Still, he persisted, and the test came unexpectedly. The lectures were over, and in 46 MEMORIES OF settling up business, there was a slight monetary discrep- ancy, which each thought his own due. " We will toss up for it," said Owens, taking a half dollar from his pocket. "No, no/ 7 replied the Doctor; "suppose we decide it another way ! Whichever one of us can psy- chologize the other, takes the difference." This was agreed upon, and in the presence of witnesses the test was made. The Doctor had no effect whatever upon Owens ; but, on the contrary, succumbed to his magnetic power, and after sundry satisfactory experiments, was fast asleep. Owens had frequent applications from persons ambi- tious to appear on the professional stage; as a rule, he discouraged such aspirations ; believing them ofttimes to be inspired by the glitter of a life, whose close study and labor never occurred to stage-struck enthusiasts. Occa- sionally something out of the usual groove, would trans- pire, and eventuate in a droll story which Owens would tell with relish. One day an eccentric-looking fellow came to him and said, " Mr. Owens, I've been staying in Baltimore for two weeks on a visit, and all that while I've been haunting the Museum. I never did see such a funny chap as you be. / am a private play-actor myself, and I want you to hire me, so as I can ketch on to your ways, and astonish the folks when I go back home." " What have you played?" asked Owens (who being at Insure just then, concluded to draw the man out, and be amused). "Well, many things; but my best holt is Temperance JOHN E. OWENS. 47 dramas. Put me whar' you like, so as I get a chance to learn your tricks." " Won't you be frightened before a xt range audience?" "Frightened? just you wait till I get top of that staging; and you'll see, I'm middling easy about acting." By way of a frolic, Owens consented to give him a trial, and entrusted him with three lines to speak. He rehearsed fairly, and with supreme confidence; but, at night failed to take up his cue. The prompter gave him the word ; and regardless of his imploring "wait" pushed him on the stage, but not a syllable did he utter. After the fall of the curtain, Owens said to him: "/ had to speak your lines, you WERE frightened ! " " No, I wasn't ; I was all right; but when I got fronting that there proscenery, something frustrated my plans. Frightened ? No, sir-ee, not a bit." The Museum season of 1849-50, began September 5th. Eliza Logan and her father were the first stars. With her name, arises pleasurable recollections of a finished artiste, a genial companion, and a big-hearted woman ; whose loving nature and sterling integrity rendered her peerless. During this engagement, Mr. Logan appeared in his great success of "Aminidab Slocum" in "Chloro- form, or Baltimore in 1949," of which play he was the author. The title is suggestive of the intent of the piece. Aminidab (under the influence of chloroform) sleeps for a hundred years, and awakes to find his surroundings 48 MEMORIES OF advanced in science, inventions, and various improve- ments. His amazement, and the misunderstandings therefrom, gave scope for much humor. The popular book written by Edward Bellamy, " Looking Backward," is founded on the same idea, and though of greater importance as a literary work, it lacks the comic element and wit of " Chloroform" After Eliza Logan retired from the stage, she gave Mr. Owens the MS. and sole right of the play. He always intended to include it in his repertoire. November 19th, 1849, a farce entitled, "The Live Indian" had its first representation. It was originally written by W. H. Thompson, a Baltimorean, and sub- mitted to Mr. Owens, with whom it found but little favor. He frankly told the author, that, though the farce had merit, it lacked originality ; the motive being the same as "The Mummy." "But, you might write up the dialogue, and make a great difference ! Put it in better shape," he added, (< and I will play it." Mr. Thompson declined making alterations, wishing to effect an i in mediate sale of the MS., as he needed money. Taking this view of the matter, Mr. Owens agreed at once to give Thompson the price he named; and thus became owner of "The Live Indian" The play was laid aside for awhile, until Owens coining by chance across the dust-covered MS., concluded to give it another reading. After which he re-wrote it, altering the diu- JOHN E. OWENS. 49 logue to make it more effective. Also, introducing another character Miss Crinoline, a dress-maker, whom he per- sonated in addition to Corporal Tim, and The Live Indian. J/7.SV? Crinoline made the farce a success. The quick change (three minutes), from the dress of a gay young man to that of a fashionably costumed lady, was startling ; and (at that time) a novelty. With blonde wig, and stylish dress of handsome material, he came on the stage so soon after Corporal Tim's exit, that the audience were dazed ; and, until they became familiar with the piece, doubted the identity of the two. The dress-maker's scene, with old Brown and his niece, was full of telling points, which evoked roars of laughter. From this to the Indian made another striking contrast, enlivened by Owens 7 inimitable acting. But Miss Crinoline made the farce a hit ; without that introduction it would have failed. At its best, Mr. Owens never considered that it possessed merit, otherwise than a funny absurdity to contrast with legitimate pieces. In this light it was immensely attrac- tive and prominent. The minstrel act of " The Black Statue" was copied from " The Live Indian ; " and many other variety acts sprang into existence as popular imi- tations. Among the stars of this season, beside Owens himself, came Mr. and Mrs. Barney Williams, James Murdoch, Fanny Wallack, Charles Burke, J. P. Adams, and Oliver Raymond (known as "Toots" Raymond, from having 4 50 MEMORIES OF created that part in Dombey and Son), Charlotte Cushman, Couldock, Matilda Heron, Bateman children, Julia Dean, &c., &c. With strong stellar attraction at his little theatre, Owens often delegated the management tempo- rarily, while he filled engagements of a week or two in Philadelphia, Pittsburg, Washington and other cities. January 7th, 1850, Owens became sole owner of the Museum, having bought Hamm's share therein. A noticeable feature of this season was the production of " The Ocean Child," with Owens as Peter Poultice, his first theatrical hit. Many new pieces were given. The Serious Family met with great favor ; Owens as Amini- dab Sleek, Mr. and Mrs. D. P. Bowers, Davenport, Gallagher, the Kembles and Miss Crocker (afterwards Mrs. F. B. Conway) in the cast. This, and other pieces, were played simultaneously with their production in New York. As I look over the play-bills of each week, a bright record of talent meets my eye, and the remem- brance of the pleasure of that period is a heritage most valuable. At this time, J. Madison Morton's farces were at the height of popular favor. Those who have seen Slasher and Crasher, Betsey Baker, Poor Pillicoddy, &c., &c., know how mirth-provoking was the language, plot and wit which they combined. Owens revelled in the subtlety and unctuousness of their humor, and every farce went off uproariously. One night, during a momentary lull in the laughter, a tall countryman arose in the par- JOHN E. OWENS. 51 quettt', and with his hands pressed to his sides, called out, " Stranger, don't make such good fun ; I'm weak ; for I've laughed all over." The audience gave the rustic a round of applause. In November, an oifer was received from John Brougham, to play at the theatre then being constructed, corner of Broadway and Broome street, New York, which was to be inaugurated January, 1851, under the name of " Brougham's Lyceum," and managed as a stock theatre, no member being made a feature on the bills, although most of the company were stars. Mr. Owens accepted the offer, and this was his debut in New York. He played there two months, and became a leading favorite ; but his crowning success was won in the part of Uriah Hcep, for which he was cast when Brougham put David Copperfield on his stage, at the same time it was produced at Burton's Chambers Street Theatre. The two dramati- zations were essentially different. That used by Mr. Bur- ton being arranged by Dr. Northal, and Mr. Brougham's adaptation being his own work. A strong array of talent appeared in both. I subjoin the casts : BROUGHAM'S LYCEUM. JANUARY, 1851. DAVID COPPERFIELD MR. DAVID PALMER. URIAH KEEP , MR. JOHN E. OWENS. WlLKINS MlCAWBER MR. JOHN BROUGHAM. DANIEL PEGGOTTY MR. H. LYNNE. 52 MEMORIES OF JAMES STEERFORTH MR. J. DUNN. BETSY TROTWOOD MRS. VERNON. MRS. STEERFORTH MRS. DUNN. KOSE DARTLE Miss KATE HORN. MRS. MICAWBER MRS. W. K. BLAKE. LITTLE EM'LY MRS. GEO. LODER. AGNES WICKFIELD Miss MARY TAYLOR. MARTHA MRS. LYNNE. BURTON'S CHAMBERS ST. THEATRE. JANUARY, 1861. DAVID COPPERFIELD MR. JORDAN. URIAH HEEP MR. JOHNSTON. WILKINS MICAWBER MR. BURTON. DANIEL PEGGOTTY MR. BLAKE. JAMES STEERFORTH MR. LESTER. BETSY TROTWOOD MRS. HUGHES. MRS. STEERFORTH MRS. HOLMAN. KOSE DARTLE MRS. KUSSELL. MRS. MICAWBER MRS. SKERRETT. LITTLE EM'LY Miss J. HILL. MARTHA Miss WESTON. The character of Uriah Heep did not belong to the line of business for which Owens was engaged. A villain, and an extremely mean one was Uriah ; in sharp contrast to the comic portrayals which had made Owens popular in New York. But he determined that Uriah Heep should strengthen instead of weaken his hold upon the public. Close study of the "umble" clerk, resulted in a wonder- ful creation. The make-up was perfect, and so was his JOHN E. OWENS. 53 manner and gait. In every detail, he gave artistic ren- dition of this obnoxious character, which surprised even his warmest admirers. The press rendered unanimous commendation. Many, and lengthy, were the criticisms, from which I quote only a few lines, to indicate the general tone. "The slimy, squirming nature of the 'umble clerk was powerfully shown. The stage cannot boast of any- thing more truthful and effective." "Owens' embodiment of the part of Uriah Heep is sufficient to establish his position as a great and extraor- dinary actor. It shows the creative power of genius, and is the truest representation of any character in the novel." &c., &c. During the run of David Copperfield, a friend met Owens on the street, and said : " John, I don't like you at all in that part of Uriah Heep ; not at all ! " "I am sorry for that, E ," replied the comedian ; " I value your opinion highly. What do you object to?" " Every bit of it ; but, principally to the scene where you make love to Agnes Wickfield. When you attempt to take the girl's hand, I hate you so, that I'd like to kill you. Sneaking hypocrite ! " " My dear friend," laughingly said Owens, " the entire press of New York has not paid a higher compliment to my acting than you have ; by thus identifying me with the character I assume. Thank you very much, for your unconsciously encouraging criticism." 54 MEMORIES OF Thomas Hamblen, manager of the Bowery Theatre, came to Owens, after seeing him play Heep, and offered a large certainty or good sharing terms, if he would sign with him, to star in Shy lock, and Sir Giles Overreach. " Drop comedy," he said ; " you have struck the keynote of your forte. I Ve seen nothing to surpass this masterly performance." Though appreciative of approbation so alluring, Owens could not be prevailed upon to forsake comedy. I would here remark that the engagement at Brougham's Lyceum, was the first stock company Owens had joined since he became a recognized star. All through his brilliant career he, afterwards, at times, made these restful breaks from the fatigue of travelling, or tedious rehearsals with new companies ; but it was always when surrounded with prominent artists, never on any occasion as support to a star. More than once, he made a New England tour in combination with E. L. Daven- port, William Wheatly, George Ryer, John Gilbert, and others of eminence. With an equally strong association he played four months in Boston, under the management of Jacob Barrow. When lessee of the Varieties Theatre, in New Orleans, in ante-bellum days, Owens conducted the place on the stock company system, to the exclusion of starring. So it was, in the same theatre, when it was known as the Gaiety, under Dion Boucicault's manage- ment; where Owens \va< regarded as "the highest salaried actor" ever known in this country. I have often heard JOHN E. OWENS. 55 him say, that the comfort of being surrounded by talent, and certainty that every part would be well played, was indescribable. The last of his restful departures was made when he joined the Madison Square company, 1882-83. These voluntary releases from care and responsibility, never interfered with his stellar brilliancy, which he resumed at pleasure. Another great comedian had the same method. Charles Matthews, during his last visit to this country, played a stock engagement with Barrow, in Bos- ton, and also with Wallack, in New York ; starring in other cities during the interval. Whilst these stock engagements were not so profitable, they were vastly more pleasant, and a luxury worth indulging in by those who could afford it. But, I have wandered from Uriah Heep ; however, there is but little more to say. Owens remained in New York two months, following up this great hit with others in legitimate comedy. He returned to his own theatre, well satisfied with his first Metropoli- tan engagement. During the spring of 1851, David Copperfield was presented to the Baltimore public, Owens repeating his success as Uriah Heep ; and later on playing Wilkins Micawber, a part, by the way, which he greatly enjoyed for its unctuous humor, to fully develop it being just to his taste. Following these Dickens dramatizations, came the spectacle of the Forty Thieves, with Owens as Ali Baba. 56 MEMORIES OF Rather a venturesome production, considering the small - ness of the Museum stage. That able scenic artist, Charles S. Getz, did his best in the way of scenery and effects ; but a difficulty arose, which appeared formidable. There was no space for forty thieves on that stage ! Not foothold for half the number. To overcome this dilemma, an additional speech was given to Abdallah, captain of the robbers. Upon his entrance, closely followed by five robbers, he cries, "halt!" and impressively adds, "The rest of the band will remain in the wood." Happy thought! which quite reconciled the audience to the absence of the thirty-five thieves. Owens was intensely amused at the absurdity of the expression " the rest of the band will remain in the wood." Ever afterwards, it was used, apropos of any incompleteness that occurred, either at the theatre, home, or elsewhere. For some weeks Owens had been importuned by an acquaintance (a young lawyer of Baltimore) to produce a play written by him- self, entitled, "Gammon and Backgammon." Always ready to lend a helping hand to aspiring youth, Owens promised to consider the request and if possible comply with it. He read the manuscript, and realizing that alterations were indispensable, pruned and shaped the play to make the most of its resources. A strong cast, thorough rehearsals, and the concentrated efforts of the dramatis personse resulted in Gammon and Backgammon being worked up into a success so far beyond its merits JOHN E. OWENS. 57 that everyone thought the author would be delighted. On the contrary, when called before the curtain, instead of making grateful acknowledgments, he denounced Mr. Owens and the company for mutilation of, and general injustice to, his play. The audience received these remarks in silence, but the moment he concluded called loudly for "Owens! !" who immediately appeared and quietly stated, that " the piece had received far better treatment from himself and the company than it deserved. He had omitted the marriage service, and expurged much coarse dialogue, thereby rendering the play admissible for representation. Those who desired to satisfy themselves on these points could do so by inspecting the original manuscript at the Box office on the morrow." All through this explanation, Owens was from time to time interrupted by applause and expressions of approval ; subsequently the author's work intact was examined by many citizens, with the result of concurrence in Mr. Owens' opinion, and com- mendation of his position. Thus ended the dramatic authorship of a gentleman who turning his ambition in another channel, became later on a distinguished lawyer and a leading politician. He frequently said, that he could complacently take a retrospective glance at his career except for "Gammon and Backgam- mon" the folly of his youth, and of that he was ashamed. 58 MEMORIES OF The first night having proved also the last night of the new play, The Serious Family and other attractive pieces held the boards until the date of the next star Julia Dean. An even run of prosperity continued until the close of the season, July 5th, 1851 ; and the following year was a repetition of satisfactory management, and successful starring visits to neighboring cities. CHAPTER III. Ascent of Mont Blanc A charming entertainment A deluded Quaker " Thee don't say so ? " Engaging David Garrick Managerial changes Baltimore & Ohio Railroad site Owens becomes a farmer Description of Aigburth Vale Erroneous idea of a fertilizer Dramatic portraits Edmund Kean Neagle " Shakespeare's bust at Aigburth Vale "Charles Street Theatre, season of 1854-55 Edwin Adams Caroline Richings Mr. and Mrs. G. C. Howard " Uncle Tom's Cabin " " Make or break "Owens as Uncle Tom John Sleeper Clark Replenished coffers and new laurels Season 1855-56 Gaiety Theatre Dion Boucicault Agnes Robert- son Fred. N". Thayer The Keller troupe Rubens' Altar piece Azael Crude geography The schoolmaster abroad. OWENS passed the summer of 1852 in European ^ travel, most of the time on the continent. While in Switzerland he made the ascent of Mont Blanc. The London Times, in a long descriptive article about the achievement, remarked : " Mr. John E. Owens is the first American who has accomplished that undertaking for upwards of twenty years." At the present day the ascent of Mont Blanc is not so infrequent or so hazardous as it then was. Owens intended his summer tour simply for recreation, but en route he met with so much that was amusing and characteristic, that he determined to combine 59 60 MEMORIES OF these experiences with the greater and grander ones of his tour, and so, form an entertainment, on his return to America, which would prove attractive. On this basis originated his " Alpine Rambles," which met with such great success in 1853 ; commencing in Baltimore, thence to New York and Philadelphia. The entertainment was novel, and also one of the cleverest and most effective ever inaugurated; the de- scriptive monologue being illustrated by superb paintings, copied from drawings taken (under Mr. Owens' direction) at the various localities presented. Some of these pictures were painted by James Hamilton, so celebrated for marine views, others by Hilliard, whose landscapes have rendered his name prominent among artists, but the principal part of the work was executed by Charles S. Getz, in a beau- tiful and finished style. These, combined with optical illusions, incidental music and songs, rendered the effect entrancingly realistic not at all like the usual panoramic representation. The tour presented, embraced a rapid journey ; starting from New York, per ocean steamer, visiting England, and making brief stops at Dieppe, Paris, Boulogne, and all places of interest in Switzerland ; concluding with the perilous ascent of Mont Blanc ; then, returning homeward. No dry description of travel was given, but graphic and vivid delineations, and information delightfully blended with original anecdote and humorous impersona- JOHN E. OWENS. 61 tion of his compagnons du voyage; characteristics and adventures, of people with whom he travelled, were wittily and brilliantly reproduced : and being woven into a slight plot, interested the auditors, and made them feel that they quite knew these chance acquaintances. The written dissertation is one hundred and fifty pages ; so I give only a condensed account of an entertainment which is something to be remembered through a lifetime, by those who had the privilege of enjoying it. An aggrega- tion of fun, fancy, sublimity, and sentiment, agreeably and skilfully intermingled with dramatic effect. Peculiar gifts are requisite to hold an audience en- tranced by one's individual efforts through an entire evening; and this was achieved by Owens with his "Alpine Rambles " as attested by the laudations of the daily press in the various cities, and the crowded houses which nightly applauded him. A ludicrous equivoke occurred while Mr. Owens was giving the "Alpine Rambles " in Philadelphia. A dear old uncle of mine, born and reared a Quaker, and still 'continuing to wear the primitive garb and broad brim of that sect, called to see Mr. Owens, and was, of course, cordially welcomed. After some pleasant converse, he said : " John, I hear that thee has quit play-acting for the present, and are telling folks about thy travels. It is said that thy dis- course is very interesting." After modestly replying on the merits of the entertainment, Mr. Owens, briefly, gave 62 MEMORIES OF the old gentleman an idea of the manner in which it was presented ; adding, " Many people attend, who do not go to theatres, and I would like to see you and your family there. It will give me pleasure to send you tickets." " Thank thee, John, very much, but may I ask thee ; do many friends come to see thee ? " " Yes, indeed," said Mr. Owens, thinking that uncle took a family interest in his success. Looking pleased, the simple-hearted soul rejoined, "How many does thee think was there, last night ? " " Well, about fifteen hundred ; maybe more." "Thee don't say so, John ! Does thee really mean it?" " Certainly," replied Mr. Owens, at a loss to account for the astonishment with which his assertion was received. A few minutes later, the old gentleman arose to leave, saying, " I shall be glad to hear thee talk of thy travels, John, and I shall not feel strange in thy public hall." Pondering on the final words, Mr. Owens was some- what puzzled to understand them. Afterwards, it occurred to him that uncle used the word "friends," as a synonyme for "Quakers." Mr. Owens, understanding it in its literal sense, had unintentionally included an entire audience in the " Society of Friends." He used to say, laughingly, that the gentle old Quaker doubtless con- sidered his new nephew a deliberate falsifier; or, else inferred that the Quakers of Philadelphia had rushed en masse to the entertainment during its early production, and thenceforth given it over to " the world's people." JOHN E. OWENS. 63 Descanting upon the "Alpine Rambles" I have gone somewhat in advance of my narrative, as the entertain- ment was not presented until January, 1853, and Owens returned from Europe, October, 1852, resuming active management of the Baltimore Museum ; where the season had commenced a month previous, under delegated super- vision. In December, 1852, Henry C. Jarrett expressed a desire to buy the Museum. Owens consented to con- sider the proposition made; reflecting that, relieved of managerial responsibilities, he would be freer to give ample attention to the " Alpine Rambles " entertainment ; and also (later on) to farther extend his professional tours. He was not altogether averse to selling the little Museum, notwithstanding it had been both profitable and pleasant to him. After frequent interviews and discussions, the transfer was made. In connection with the preliminaries thereof, some amusing episodes occurred. Mr. Jarrett calling one day at Owens' house, was accompanied by a friend possibly, a silent partner in the impending investment ; but not in other respects was he mute. Gazing at a portrait of David Garrick, he asked Owens: "Who is that fellow? " " Garrick, the tragedian," was the reply. " Garrick ! Garrick ! I never heard of him ; amount to much ? " " Very celebrated." " Could Harry get him to play at the Museum ? " " No ; that would be impossible." Mr. Jarrett, by this time, was covered with confusion, and 64 MEMORIES OF made wild endeavors to drown the voice of his friend ; but soon again he was heard, eagerly saying, " Oh, Harry, don't forget to ask Mr. Owens where you can hire hands to dance." " Yes, yes," responded Jarrett, imploringly, " please don't interrupt us again." Owens made his final appearance at the Baltimore Museum on the 30th of December, 1852, after having been its manager for four years. His farewell and com- plimentary benefit packed the house and hundreds were turned away. At the conclusion of the performance, in response to vociferous calls, he appeared before the cur- tain, and in his speech was frequently interrupted by applause. Adverting to having transferred the Museum to Mr. Jarrett, he asked for that gentleman an extension of the kindness which had so long and so generously been bestowed upon himself, as a manager. A few more words of heartfelt acknowledgment, and the final " good- bye " was spoken. Mr. Jarrett took charge of this pros- perous little theatre, January 1st, 1853. In 1856 he sold the Museum to Mr. George Zeigler ; but by that time it had lost prestige. The collection of paintings and curiosi- ties were purchased by Mr. Charles S. Getz, who dis- tributed the works of art that were left, among the different public institutions throughout the country. The amusements henceforth offered at this place, were of the variety show and concert hall order ; and were not given continuously. In 1872 the building was totally JOHN E. OWENS. 65 destroyed by fire, thus obliterating one of the land- marks of Baltimore; for the "old Museum" was fraught with reminiscences inseparable from many remarkable events. During the following year the Directors of the Baltimore and Ohio Railroad purchased the site, together with adjacent ground, and erected a magnifi- cent edifice for the use of the company. I have already recorded Owens' enterprise of " Mont Blanc " and " Alpine Rambles" In February, 1853, he bought Rock Spring farm 198 acres six and a half miles from Baltimore. He changed the name to " Aigburth Vale ; " and, from time to time, added more acres to the original purchase, improving the farm agriculturally, and building a mansion which was surrounded with ornamental shrubbery and grounds de- signed by exquisite taste in landscape gardening. In fact, he transformed a good plain farm into one of the most beautiful and magnificent estates in Baltimore county. He would often say, " Every man must have his hobby, and mine is harmless. Spending money on my country residence entertains me, and the improve- ments I make gives work to people who need it." I eannot better convey an impression of the place that was John E. Owens' home for nearly thirty-four years where he ended his life than by condensing a description of Aigburth Vale, contained in a letter which appeared in a Washington paper, during August, 1877. 5 66 MEMORIES OF " The home of John Owens lies to the north of Balti- more about six miles, on the verge of the little village of Towsontown. You reach it by a lovely road, displaying a mixture of all pictorial ingredients which give such enviable distinction to Maryland scenery. The greatest variety of trees, crowded together with picturesque aban- don, variegate the perspective. At last, we reach a broad gate which is pointed out as Mr. Owens' grounds. On the left, as we enter, is a stretch of dear meadow, to the right, a waving cornfield. Nothing more can be seen till we saunter along the avenue of smiling maples, for per- haps four hundred yards, when the road suddenly droops and bends, and we stand in full view of a stately manor house nestling in the valley below. Descending by a winding path, the visitor passes through grounds culti- vated with charming skill, and laid off into plats of diamond and semicircle, fringed with loveliest parterres. Dainty bits of country gardening, watched and defended by sentinel elms, make up the immediate surroundings of Aigburth Vale. Around this charming scene, at n respectful distance, is a circle of green hills. "Mr. Owens has lived here since 1853; loving his country home so well, that he has gradually extended it, until now he is monarch of nearly three hundred acres. Here, from the rare June days, at the close of the season, till the September revival on the hoards, Solon Shingle doffs his footlight regalia, and plays farmer. 'My JOHN E. OWENS. 67 country friends/ says the comedian, with a droll sense of feeling hurt, ' call me a dandy farmer. Bless their sweet souls ! they don't realize the struggles I make to become one of their craft ! ' To indulge in an agricultural meta- phor, the tale is rather harrowing. In his early country experience his farm manager came to him one day, and asked for thirty dollars to buy a fertilizer. He got the money, and Mr. Owens made a memorandum of the purchase. On his return from a starring tour his thoughts became violently bucolic. He looked over his books, and took an inventory of his stock and material. Among other things he wanted to know where that thirty-dollar fertilizer was? 'Out in the field, yonder/ was the reply. Out sauntered the bucolic Shingle to inspect the new farm implement. Finding nothing that met his views of a fertilizer, he came back at a quick pace, wondering whether the faithless servant should be shot or hung. " ' James, you want to show me that fertilizer now p d q .' ' Lord ! Mr. Owens, how can you see it when its all been harrowed into the ground.' The crushed comedian whistled his way back to the house with his thumbs digging into his ribs. " When his friends call, he sets out milk and champagne, with the tearful request that they will take champagne, because it doesn't cost as much ; and he calculates that he swallows a dollar bill with every Royal Trophy 68 MEMORIES OF tomatoe. The expense of producing his delicious fruits would paralyze the ambition of most people; but he keeps reaching out after the choicest and rarest varieties. When the end of the year comes, and he finds he must enter up the balance on the oft side of his Aig- burth Vale ledger he is quite content. The pastime is expensive, but delightful. To say that his plod- ding neighbors refuse encouragement, would be unjust. f Their sympathies appear to be directed chiefly to my hennery/ says the actor, 'for they often write to me about " Egg-birth." ' " The house is very large, generously constructed with all modern improvements, and is far handsomer than any other in the region around. A piazza runs the entire length of the southern or principal front, and the wings are tastily finished off with gables. The comedian's sanctum, on the right as you enter the wide hall, is a large apartment, and opens into a cozy smoking room. Over the well-filled bookcase is an oil copy of Droeshout's Shakespeare. The walls are entirely covered with paint- ings and engravings of celebrated actors and authors. One space is filled by the life-size half figure of the comedian as Solon Shingle, by the painter, Cross ; another, tl in -('-quarter figure of Dr. Ollapod, by D'Almaine; both, wonderfully realistic pieces of work in expression, dra- pery and coloring. "The furniture is rich and solid, not gaudy. Good JOHN E. OWENS. 69 taste prevails in all things. The walls of the hall are hung with the portraits of characters once famous on the English and American boards. To one of these the comedian points with especial pride as the only portrait ever taken of Edmund Kean. This dramatic giant (physically he weighed but 110 pounds) had an anti- pathy to picture makers, and would never grant them a sitting. When Kean was playing an engagement at Philadelphia, the painter Neagle determined to steal a march on the great tragedian. By connivance with Mr. Lee, his manager, the painter was present at a banquet, given privately to Kean. Lee had surreptitiously brought the costume for Richard the Third, and Neagle was, in like manner, supplied with canvas, paints, &c. Under the melting influence of champagne, Kean was persuaded to make an exception just once, under promise that it would only take a few minutes. Neagle seized the oppor- tunity and his brush ; and, as a consequence, this vivid likeness of Edmund Kean was created. " To the right and left of this cherished gem, hang the portraits of Mr. and Mrs. Duff, Macready, Foote, Mrs. Darley, Mr. and Mrs. Francis, and many more ; all being the work of the celebrated artist, Neagle (who, it will be remembered, was the son-in-law of the famous painter, Thomas Sully). A great variety of choice landscapes hang in parlor, sitting-room and dining-room, represent- ing French, Flemish and English art, as well as our own. 70 MEMORIES OF Take it all in all, Aigburth Vale is a home which reflects the refined taste and generous nature of its owner. It is not necessary to tell the members of the theatrical profes- sion that John E. Owens, during his many years of experience and success on the stage, has done very many acts of kindness towards his professional brethren. They have a grateful realization of the fact ; and they will have to let it be known, for he never will. The vicissitudes he has passed through for, of course, he has. had his share of them only give sauce to his quiet charity and relish to his present lot. At the age of fifty-three he has ' reached the haven of happiness, financial, domestic, and professional ; the richest actor in America, and apparently the most contented and jolly man. 7 r ' Speaking of the dramatic portraits in Mr. Owens' library, I am reminded of an incident relative to the bust of Shakespeare, occupying a prominent place in the sanctum. Within a week of its being placed there, among other guests spending the day at Aigburth Vale was William P. Preston, a distinguished lawyer, of Balti- more ; and for many years an intimate friend and neigh- bor, his country home being near ours. Mr. Preston was an art connoisseur ; and during the after-dinner chat, expressed great admiration i'<>r the new acquisition. Much Shake-|>rare:m conversation ensued, whiling away the time delightfully. A day or two afterwards, Owens received from Mr. Preston the following lines : JOHN E. OWENS. 71 SHAKESPEARE'S BUST AT AIGBURTH VALE. " In ancient days in good old Rome, Each household gave its god a home ; Then well may Avon's bard divine, At Aigburth claim a hallowed shrine. Here, when the Thespian fires scarce gleam, The world's comedian reigns supreme. With health and plenty fully blest, Dispensing comfort to his guest ; At festive board, with dainties crowned, Passing the social glasses round ; And, while the heart with rapture beats, Rehearsing Thalia's brilliant feats. Long may he reign ; and long dispense His learning, wit, and common sense. While pious cant dare not assail The household god of Aigburth Vale." The autumn of 1854 Owens devoted entirely to farm life, making a visit now and then to the city. Early in 1855 he played in Baltimore, Washington and Phila- delphia ; cancelling later engagements in New York and other cities, on account of the serious and prolonged illness of his wife. The ensuing summer was passed, partly at the Greenbrier White Sulphur Springs, Va., and finished at his country home. And here I would remark, that his rural life was not only an enjoyment to himself, but productive of good and happiness to many. He was the poor man's friend ; administering help in such a delicately adroit manner, that no sense of humilia- 72 MEMORIES OF tion was experienced by the recipient of benefits bestowed by his bountiful hand. Unobtrusively thoughtful of the welfare of those who needed work or help, he quietly relieved want, and sympathetically alleviated suffering. A contribution, with the loud blast of subscription paper notoriety, he abhorred; but the same cause he would, privately, aid largely. The working people, of Baltimore county, regarded him as their true friend; and acts of kindness were as essential to his life as the breath he drew. At home and abroad, wherever he has sojourned, many arise and call him blessed. The brightest stars in his eternal crown are the good deeds so lavishly and disinter- estedly done on earth. The season of 1854-55 finds Owens again a manager in Baltimore, he having leased the Charles Street Theatre, corner of Baltimore and Charles streets. The Company, headed by himself, comprised much talent Mrs. D. P. Bowers, Charles Walcot, Sr., and his wife, Norton, Colin Stuart, Miss Gaszyneske, &c., &c. The opening bill was Tobin's " Honeymoon," and " Turning the Tables." Only moderate encouragement met the new Theatre full houses sometimes, but the average was not good. The comic interlude " VUlilclnx and ht/s Dinah" (which he rc-\\ rot<-), siiMr inimitably by Owens, created a sensation, and went far to bring up the business. The song itself amounted to nothing, but was made irresistibly funny by the quaint manner of rendering it. The mock gravity JOHN E. OWENS. 73 attached to the importance of remembering that there was & front garden and a back garden, and the tragic injunc- tion to the audience not to become confused in these localities as the action of the song progressed, together with the comic solemnity of pauses to explain matters clearly, was ludicrous beyond description. It was at this theatre Edwin Adams made his first histrionic mark as Edward Mapleton in " The Merchant and his Clerks." He developed such force and emotional power that Mr. Owens advised him to devote attention to tragedy, feeling sure that his talent was great for that line of the drama. The company was further strengthened by Caroline Kichings and her father, " Yankee Locke," and others ; new pieces, well staged, were tried, but the desired result good business did not ensue. In March, Mr. and Mrs. G. C. Howard and little Cordelia Howard were announced in "Fashion and Famine." The piece was well gotten up and strongly cast, but proved a failure, drawing only dismally slim houses. " Hot Corn " and the " Lamplighter " followed, but effected no improvement in the business. Mr. and Mrs. Howard said little Cordelia was sick ; no wonder, so was the manager (with depression). The Howards retired for awhile, and Owens, supported by the stock company, filled in the time with the result of better houses for a few nights ; but the change was only spas- modic, a cloud of ill-luck seemed to have settled over the 74 MEMORIES OF theatre, and the manager was losing money hand over hand. At this crisis Owens thought of the dramatization of "Uncle Tom's Cabin" then a great success, north. He purchased the right of the play for Baltimore, and after careful reading of the manuscript, made some alteration in the text and situations. To present to a Baltimore audience the original play intact, would, at that time, have been a hazardous proceeding. When " Uncle Tom's Cabin " was underlined, Owens 7 lawyer (also an intimate friend), William P. Preston, came to him and urgently implored that he would forego the production of the piece, saying : " You will ruin yourself with the l South/ and get into all sorts of trouble ; the people will tear the theatre down or do you a personal injury." Though holding his friend Preston's judgment in high esteem, Owens was not, in this instance, to be dissuaded from his purpose. Desperate cases require desperate remedies ; and with the consciousness of empty coffers the emergency was a case of " make or break." The dramatization of " Uncle Tom's Cabin " was revised ; all that was glaringly obnoxious to southern sentiment modified, and some of the parts were re- written. The role of Marks, the Lawyer, was assigned to John Sleeper ( 'larke, and he made a decided hit ; so pronounced that he started out on his career upon the strength of it. The part was crammed with fun and frolic, and the result JOHN E. OWENS. 75 \vus immense; the people laughed so uproariously over Clark's mishaps, as Marks, that they lost sight of the more solemn slavery element. Owens played Uncle Tom (something not at all in his line). He undertook the part to strengthen the bill, and also to be on the spot should any trouble take place. The following is the initial cast : BALTIMORE. CHARLES STREET THEATRE. APRIL IGTH, 1855. UNCLE TOM JOHN E. OWENS. GEORGE HARRIS COLIN STUART. SIMON LEGREE EDWIN ADAMS. ST. CLAIR G. C. HOWARD. MARKS, THE LAWYER JOHN SLEEPER CLARKE. GUMPTON CUTE JOHN O'BRIEN (JNO. T. EAYMOND). DEACON PERRY JOSEPH PARKER. TOPSY MRS. G. C. HOWARD. AUNT OPHELIA MRS. JANE GERMON. ELIZA HARRIS MRS. PARKER. MARIE ST. CLAIR Miss DE VERB. EVA LITTLE CORDELIA HOWARD. This was the first presentation of " Uncle Tom's Cabin " south of Mason and Dixon's line, and I doubt if it has ever been better played. Owens made a tremendous hit as Uncle Tom, and the entire play set the town wild with delight and admiration ; this success retrieved the heavy losses of the season. Owens had no sectional feeling in regard to the play, and the Baltimoreans accepted it as 76 MEMORIES OF given, packed the house, and thus filled the hitherto attenuated treasury. The season of 1855-56 was a restful and delightful one, passed in New Orleans, at the Gaiety Theatre, Dion Boucicault, Manager; this (like "Wallack's" in New York) was conducted solely with a stock company, com- prising John E. Owens, Dion Boucicault, Agnes Robert- son (Mrs. Boucicault), Jessie McLane, James Brown (the original Robert Macaire), Mrs. Place, Johnston, Frazier, Morton, and Fred. N. Thayer ; the latter being leading man. The old friendship of 1846, between Thayer and Owens, was revived ; and henceforth had no lapse from close intimacy. Nearly ten years had passed, since Owens' first visit to New Orleans ; but he now felt quite at home, so cordial was the welcome extended to him. His old friends had kept themselves posted as to his steady advance in histrionic fame, and rejoiced at the position he had attained. At once he achieved general popularity witli the public, both in legitimate comedy and lighter drama. Mr. Boucicault's aim was to give the theatre a brilliant position ; the plays were always thoroughly rehearsed and faultlessly produced ; lie was a strict disciplinarian, and his system produced satisfactory results. Infringement on the rules of the theatre seldom occurred ; although the com- pany, among themselves, were much given to having " a bit of fun," which sometimes verged on practical joking. They were a merry set, and derived amusement from JOHN E. OWENS. 77 slight causes, as is evinced by the following incident: Mr. Thayer, while rehearsing for "John Dobbs" in the farce of that name, remarked : " The business of this part calls for piano playing ; I am not a musician." " Only a few bars needed," said the Stage Manager. " Stoepel can indicate the keys by having figures pasted on them ; strike in rotation as numbered, and there you are, all right!" The plan worked admirably at first, but on the third night, when Mr. Thayer took his seat at the piano, with self-confident manner, he discovered to his horror that the keys were quite free from numbers. It broke him up, momentarily ; but rallying, he picked out " Days of Absence," in faltering tones, and retired ingloriously. For awhile he was uncertain as to the perpetrator of the joke ; but reflecting that Owens and himself were wont to play pranks upon each other, he taxed the comedian, who freely confessed, and made the amende honorable; so they adjudged it, "give and take," and cried quits. The Keller Troupe arrived in New Orleans from Havana. At the Tacon Theatre they had created a furore, the fame of which had preceded them, and an engagement was speedily made with Boucicault. Their exquisite tableaux have never been exceeded in beauty, grace and picturesqueness : " The Birth of the Flowers" " The Battle of the Amazons," " The Shower of Gold," and dozens of other dreams of loveliness were charm- 78 MEMORIES OF ingly and purely represented. They also reproduced Rubens' great Altar piece ; three pictures of the Cruci- fixion, Bearing the Cross, The Ascent of the Cross, and The Last Sigh. The effect of these representations on the audience was that of intense solemnity. I am sure no irreverent thought intruded, as they gazed with breath- less awe, realizing the Bible story with deeper feeling than reading it ever evoked. The tableaux of " The Crucifixion" were given nowhere in America, except Xe\v Orleans; when the Kellers went thence on their tour through the country, all other cities protested against what was denounced by the majority of the public as a sacrilegious representation. While the Keller troupe were at the Gaiety, Mr. Boucicault got up, magnificently, "Azael, or the Prodigal Son" which aiforded ample opportunity for superb grouping and tableaux. Agnes Robertson, F. N. Thayer, and most of the Company were in the cast ; but, being a biblical drama, there was no comic part for Owens, so he, for the nonce, became a gentleman of leisure. After awhile, the manager grew restless under this state of affairs, and "didn't see why the largest salary ever given to an actor should be drawn for naught ; " so he decided to have Owens sing Vlllikim and hys Dinah, after the curtain fell on "Azael" I am not certain but what he half inclined to have it sung between the acts. Rather an incongruous entertainment ! However, supple- JOHN E. OWENS. 79 meriting "Azael" may have arisen from a desire to strengthen the attraction, as the biblical drama did not meet with much favor, notwithstanding its magnificent setting, costuming, artistic effect and clever acting. In those days New Orleans was filled with strangers, during the winter, and "Azael" was rather beyond the understanding of some of the audience if one might judge from remarks overheard. As for instance, after the curtain fell on one of the grandest scenes, " Temple at Jlemphis" a rural party, discussing the play, agreed that it was altogether incorrect. " There is no such building there," said one. " No ; nor do they dress that way in Memphis/ 7 rejoined another. " We have been there often enough to know something about the town." The school- master was evidently abroad when Egypt and Tennessee could be thus confounded. At the termination of the " Keller " engagement the management returned to the standard plays and comedies. The public responded to this change with a heartiness which indicated that they had experienced a surfeit of tableaux and spectacular drama. Nothing of marked nature occurred during the remainder of the season, the close of which took place March 12th, 1856. CHAPTER IV. Owens in Paris A lesson in French" Say nothing about the bridges " 1856-57 " Solon Shingle " for the first time Original inspiration of character Jefferson's Rip Van Winkle John Unit The will scene Mary Devlin Snow-bound train Two merry days at "Strawberry hill farm" "Self" in Cincinnati The prototype of Unit an auditor H. L. Bateman March, 1858, Owens' de"but in Boston Julia Bennett Fanny Morant "The Rivals" "The Queen's Heart "Versatility William Warren Saturday night performances inaugurated in Boston Season 1858-59 in New Orleans 1859-60 Owens manager of "Varieties Theatre" Ma- jor Wellington DeBoots E. S. Sothern Realistic properties "American Cousin "Christmas, 1859 Dot Owens' Caleb Plum- mer A poem A comedy A sermon Mrs. John Wood Origin of the popularity of " Dixie's land." YT7HE ensuing summer was varied by an unpremedi- tated and brief visit to Europe ; a few days being passed in London, but the greater part of the time in Paris. Many bright anecdotes and incidents were told on his return home ; among them the following, afterwards narrated by a friend, in these words : " It is rare fun to hear John Owens relat<- his interview with Barney Wil- liams, in Paris. Fancy John having cultivated a formi- dable suit of facial hair, and attired at every point ' a la mode de Paris/ rapping one fine day at the door of a 80 JOHN E. OWENS. 81 room eligibly located on the Boulevard des Italiens, and receiving in response the exclamation from within, ' En- tree ! ' of course in the purest Parisian (?) accent. Tip- ping the rim of his highly polished castor, over his eyes, till it rests on the bridge of his nose, and assuming some- thing of a swaggering air, John enters ; and is received with the extremest demonstrations of courtesy by Barney, who is lying off in all the luxury of morning costume, sipping his cafe-au-lait and reading Galignani. < Com- ment vous portez vous, Monsieur?' says Barney, turning to the visitor without the smallest suspicion, and with all the politeness and admirable imitation of manner of the people he was living among ; and receiving from his heavily-bearded caller the usual response. 'Asseyez vous, Monsieur/ added he, at the same time placing his guest a chair, and with the most marked French empresse- ment waving him an invitation to sit. Owens could not carry on the joke. The metamorphose of Barney into a Parisian was too much for his gravity. Taking off his hat, and at the same moment clapping his host upon the back, he exclaimed, in his natural voice and manner : i How are you, Barney!' ' And is it you, ye divil?' said Barney, whose first impulse had evidently been to throw the poker at the head of his visitor, when he found out to whom he had been airing his French. l And what the deuce are you doing in this part of the world?' 1 Studying the language, my boy, that's all ; and what an 6 82 MEMORIES OF "illigant" lesson I have just had; especially in the accent eh, Barney? 7 " Having passed a few weeks pleasantly in Paris, Owens returned home, and after a swift and agreeable passage across the Atlantic, arrived at the pier in New York. As he was leaning on the taffrail, like Juliet in the bal- cony scene, " his cheek upon his hand," and facilitating himself that he had reached his native land once more in safety ; one of those amiable gentlemen who signalize themselves by poking whips in the faces of travellers, by way of catching their eyes, clambered over the rail, and giving our friend a gentle slap on the back, said : " Have a carriage?" Owens being knocked quite out of his revery, and nearly out of all the breath in his body, by this energetic salutation, stood for a moment speechless ; and the Coachee, scanning his costume and the cut of his whiskers, evidently began to think he was a Frenchman. Owens perceived this, and immediately determined to humor the idea, and have some fun out of it. "Car- riazhc ! Vat ees ze carriazhe ? " " Why, the coach horses wheels things that go round, round, so ! Go 'lang ! Crack ! Take you to hotel ! " said the other, gesticulating all the while, and describing pantomimic-ally the motion of a carriage, the driving of the horses, and so on. " Aha ! Oho ! Oui, oui ; je comprend ! To ze hotel. Tres bien ; you sal mak me come to ze hotel Metropoli- tang, eh ? You know where is ze Metropolitang ? " " The JOHN E. OWENS. 83 Meetropolitern ? Of course! Take you there in a jiffy. Show your baggage! Come along, Mounseer." "Oui, oui ! zat all ver good ; but how mosh for take moime'me et mon baggazhe to ze hotel Metropolitang ? ' ' " Three dollars; that's all." "Tre dollar ! Mon Dieu ! Zat is too mosh for ze leetle vay to ze hotel." " A little ways ! My eyes ! Why, do you happen to know, Mouuseer, about how fur it is, say? Why," continued Coachee, rising in excitement as he proceeded with his pantomimic description, "there aint no less than three bridges to cross, and ever so much toll to pay before you get there." " What zat, you call ze bridzhe and ze tol, eh ? " " The bridge ? Why," gesticulating, " high up, so ! water run- ning under, so ! Cross over ; stop ! Pay money every time ! " "I tell you what it is, Coachee," said Owens, resuming his natural voice, " I'll give you fifty cents." The scamp was dumbfounded for a second; but see- ing that he was " sold," and if he rode rusty, he would find himself in an awkward fix ; putting his hand to his mouth and whispering confidentially to Owens, said, with a wink that spoke volumes : " Call it seventy-five, and say nothing, you know, about the bridges!" Owens began the season of 1856-57 in Philadel- phia, pleasantly and profitably; thence to the Baltimore Museum, cramming the house with enthusiastic audi- ences. It was during this engagement that he played Solon Shingle for the first time. " The People's Lawyer " 84 MEMOKIES OF was then given in two acts; Robert Howard being the prominent part. Owens was pleased with the quaint vein of humor which characterized Solon; and later on made a study of the garrulous countryman ; cut the Drama to farce length, introduced much new business, and so elaborated the part and altered the piece, that he copyrighted it under the title of " Solon Shingle. 7 '' It has been said that Owens imitated Charles Burke in this part. Such an assertion is utterly untrue. Mr. Owens never saw Burke, or anyone else play " Solon Shingle." With equal injustice, the would-be wiseacres assume that Mr. Joseph Jefferson reproduced his brother's portrayal of "Rip Van Winkle;" whereas the two per- formances differ widely. Mr. Burke was a girled artist wonderfully so ; but the play which Mr. Jefferson has rendered famous has no similarity to that in which Mr. Burke appeared, save that they both are founded on Washington Irving's story. Neither Mr. Owens nor Mr. Jefferson were ever imitative. To each character assumed, they gave distinctive expression ; original to the degree of inspiration, their genius never required the methods or ideas of others to render perfect those won- derful embodiments which have established their world- wide fame. In November, 1856, Owens signed with H. L. Bate- man to star in Mrs. Sidney Bateman's play of "Self" This Comedy had been produced in New York with Bur- MR. OWENS as SOLON SH5H6LI. (From a Painting by A. Cross.) JOHN E. OWENS. 85 ton as John Unit, and in St. Louis with Mark Smith in the same part, and was a failure in both cities. Owens hesitated about undertaking a play already received coldly by the public; but upon reflection, was sanguine of making John Unit a character part, and thereby leading up to success for the piece. He took for his model in dress and manner of playing Unit, a prominent citizen of Cincinnati, and " like unto a mirror depicted his eccen- tricities." Those who have seen Owens play John Unit, and heard the expression to which he was prone, " It won't pay, sir/' need not be told what a natural repre- sentation he gave of the crusty old banker ; who, beneath his hard exterior had a tender heart for those who really understood him. It was a leaf from life, touching kin- dred chords in many natures. John Unit proved a valuable addition to Owens' reper- toire, winning for him new laurels and establishing success for "Self" a success so entirely identified with his name that he purchased from H. L. Bateman entire right to the possession of the Comedy. Owens' "John Unit" was in fidelity of conception, unsurpassed by anything on the stage. His grasp of the character was perfect, and every light and shade stood forth intensely life-like. Prominent in per- fection, the library scene may be considered the gem of the part. The soliloquy, after having made his will, was like the unfolding of the inner nature of the old banker, giving glimpses of its asperity and of its tenderness. The 86 MEMORIES OF ingenuous retrospection of his life realization that his methods had brought him to a lonely old age, recollections of boyhood and home, yearnings for family ties, were delineated with such depth of sentiment and rugged pathos as to invoke sympathetic response. During Owens' first visit to California, this scene had intense effect upon the rough, red-shirted miners in the galleries. Many of them had been absent from home for years, and the long- ings for the associations of early life so vividly expressed, found echo in their hearts, and ofttimes caused them to weep like children. The interview with Mary Apex, which follows Unit's soliloquy, where he talks with her in a half-bantering, half-earnest, and entirely affectionate manner, was a type of quaint and hearty wisdom, won- derfully portrayed. "Self" had a prosperous run in Baltimore, and the experience was repeated in Washington. " Mrs. Apex " found a strong representative in Mrs. Melinda Jones, 11 J//-.S. Oodlwer" in Mrs. Jane Germon, and " Alari/ Apex" in Miss Mary Devlin (who afterwards became Mrs. Edwin Booth). The latter lady was not only a talented actress, but one of the loveliest and best women in the world. Mary Apex's nature seemed akin to that of the ingenuous girl who personated her. After Washington, Richmond was the next date to be filled by "Self." The company left Washington in good spirits, not apprehending that the light snow just begin- JOHN E. OWENS. 87 ning to fall would at all interfere with their journey ; but it was destined to culminate in a storm, to be hereafter spoken of as " unparalleled in the memory of the oldest inhabitants." The snow steadily increased, involving fre- quent stoppages to clear the railroad tracks ; and finally the storm became violent. At daybreak, Sunday, the train had been snow-bound for several hours. The engine fires were extinguished, and the snow (already banked up above the car windows) was still rapidly falling. No sign of habitation near; nor could the passengers form an idea of their location, until later on, the church bells of Richmond were heard. " So near, and yet so far," were they. Having consumed all eatables that were on the train, the situation was growing serious as to ways and means of extrication from this perilous condition. At this crisis a stalwart colored man said, that " he knew all the sur- rounding country, and would sally forth to seek assist- ance, if his master would give consent." This was readily obtained, and amidst expressions of gratitude, the passengers made up a purse of fifty dollars, to be given to the man on his return. Additionally incited by this promised reward, he plunged into the snow, which sub- merged him to his neck ; and striking vigorously across country, was soon lost to view. The prospect of relief revived the drooping spirits of the snow-bound passen- gers ; but as hour after hour passed by, without any sign of the return of the adventurous pioneer, hope waned, cold 88 MEMORIES OF and hunger increased, and the situation became alarming. Towards night the faint tinkle of bells was heard, and then the far-off sound of voices the listeners were almost afraid to trust their senses, lest disappointment might ensue but louder and louder came the welcome sounds until, in the distance, they saw a wagon drawn by a team of six oxen, preceded by a snow-plow ; the latter driven by their sable deliverer, who had found a farm house, and returned with a relief corps. The hospitable farmer not only brought food for immediate necessity, but insisted on taking all the passengers to his house to stay until the road should be in condition for trains to resume travel. A merry party were packed away in the long wagon hunger and cold forgotten, as the farmer started the team, and with a loud " huzza ! " and bells jingling, off they drove for "Strawberry Hill," three miles distant. There they remained two days, entertained in true Vir- ginia style by Mr. R. F. Adams and his household. It was a delightful episode to the guests, and also to their host and his family ; the former exerted themselves to be agreeable and entertaining ; to the latter, this break in their quiet life \vusasensationalrevelation. The even- ings were full of mirth and laughter; one source of amusement to the guests being the singing and banjo playing of Mr. Adams' colored people, which was genu- ine plantation minstrelry ; exceeding the best imitations. There was mutual regret when the time came for guests JOHN E. OWENS. 89 and host to part. The intimation of remuneration for the hospitality extended by Mr. Adams, was rejected by that gentleman, with kindly but dignified firmness. Much hearty hand-shaking, and many cordial wishes attended the leave-taking, and with merry laughter, amidst the babel of many tongues, the party drove off from the old farm-house, which they never forgot. On their way to Richmond, the passengers held a meeting, organized by John E. Owens and H. L. Bate- man, and decided to present a testimonial to Mr. R. F. Adams, expressive of their thanks and appreciation of his kindness and lavish hospitality. Mr. Adams and his family had been invited to visit the theatre towards the close of the engagement of the "Self" company ; and on their arrival in Richmond, were surprised by the presen- tation of a handsome silver service and tray, of exqui- site workmanship. The largest piece being beautifully wrought with a representation of a snow-bound train in the foreground, a farm-house in the distance ; and, in the middle ground, an ox-team wagon coming to the rescue. On the reverse side, the following engraved inscription : " Presented by the passengers who were detained by the severe snow storm of January 18th, 1857, on the Virginia Central Kailroad, to K. F. ADAMS as a token of their gratitude for the true Virginia hospitality ex- tended to them at his house, and for his heroic exertions in releasing them from their perilous and suffering condition." 90 MEMORIES OF Mr. Adams was so much overcome by this unexpected token of remembrance, that he could scarcely falter his acknowledgment grasping Mr. Owens' hand, he said : " Not only do I appreciate this gift, but my children and grandchildren will regard it as an heirloom. 1 ' From Richmond " Self" wended its triumphal course to Cincinnati, where the prototype of John Unit fre- quently witnessed the play. One of his nephews said to Owens : " My Uncle recognizes himself in the char- acter ; and though sensitive about some points you make, he is well pleased at the denouement which elaborates Unit's good qualities ! " En passant, it is rather strange that the likeness should have been admitted, as people are seldom conscious of their own peculiarities. I re- member an eminent Italian impressario saying to Mr. Owens : " Mr. Owens, I hear that you have mak' imitate of me ; I am mooch distress, and I so speak that you no more do zat same ting." Owens gravely expressed sur- prise at the accusation, and " really could not imagine who had brought such a charge against him;" this re- sponse being given with the accent and manner of the impressario, who failed to perceive the imitation ; though the bystanders recognized it with infinite amusement. While in Cincinnati, Owens and Bateman talked over a project of organizing a strong " American Comedy Company," to play through England during the summer months. Something that had not, at that time, been MR. OWENS as' JO'HN J DMT r 5 ' In " Self." JOHN E. OWENS. 91 attempted. The more that it was discussed the more feasible the enterprise seemed. Henry C. Jarrett was deputed to ascertain if John Gilbert, William Wheatley and other eminent artists were open to offers ; and favora- ble replies were received. Before making engagements, Mr. Jarrett was dispatched to England, to personally investigate the prospect of securing theatres in different cities, commencing in London. It being understood that a triple partnership, to manage the dramatic enterprise, should be organized on Jarrett's return, if favorable re- port was brought, justifying the venture. Meanwhile, Owens continued his professional engagements. After an absence of six weeks, Mr. Jarrett returned, and a meeting of the trio was appointed. Verbal re- sponses and letters from several English managers were most auspicious to the undertaking; consequently, the details of business came under discussion. Owens sug- gested that each member of the partnership should be allotted separate duties and responsibilities giving cer- tain views based on his managerial experience; and Jarrett acquiesced in this course, which impressed him as being practical and conducive to their mutual interest; but Bateman fought every opinion, step by step. After considerable talk, Owens remarked : " We are wasting time going over the same ground, Bateman ; suppose you give us your views of an organization ? " " Well, I will," replied Bateman ; and after a preliminary remark or two, 92 MEMORIES OF he summed up the matter by saying : " I must be busi- ness manager, absolutely ; and I must have sole control of the entire affair, without dictation from any one. All power and direction must be vested in me, if we want success." "Oh," said Owens, calmly, "that is your idea, is it?" "Yes," said Bateman, "and the only sensible way to carry the thing through." "Then, gentlemen," said Owens quietly (rising), "count me out of the enterprise;" and he left the room. So little excitement did he mani- fest, that Bateman could not believe the affair was closed. Three days later he approached Owens with some ques- tion relative to preparation for the " American Comedy Company ; " and was quite startled by the unmistakable firmness of the reply given " I gave my ultimatum, and will not waste further words on the subject." Speaking of H. L. Bateman he was a compound of good qualities and objectionable traits. His strong will and love of power inclined him 'to presumptuous and overbearing conduct. He was ofttimes captious and fault- finding. Mr. Owens, referring to this spirit of discontent, once said to him : " I really think, Bateman, if in the next world you are fortunate enough to be placed with the sheep, you will think it looks pleasanter among the goats." Bateman's indomitable energy and judgment eminently qualified him for a progressive business man. The fame of the celebrated "Bateman Children" (his JOHN E. OWENS. 93 daughters) extending, as it did, over both continents, was greatly enhanced by his acumen in properly developing their talents. Later on, when Kate Bateman, in early womanhood, achieved fame in " Leah" and other parts, her triumphs were much increased by the skilful engi- neering of her father, who was her indefatigable director. Matilda Heron, Parepa Rosa, and other illustrious artistes, first appeared in this country under Bateman's management. With Tostee in " The Grand Duchess" he inaugurated Opera Bouffe in America. The St. Louis Theatre and others were, at different times, under his management. His latest managerial success was at the Lyceum Theatre, London. Then it was that Henry Irving (now so famous) first came into prominence with the great run of " Hamlet" and "The Bells," which set all London talking of the rising star. Socially Bateman was companionable and entertaining. An excellent racon- teur, he also had keen sense of the ludicrous, and appre- ciated wit and humor in others. He was not free from petty weakness, and this was evinced by his sensitiveness about his Christian name, "Hezekiah Linthicum." It was so obnoxious to him, that he invariably made his signature H. L. Bateman, and tacitly permitted his letters to be addressed " Henry L. Bateman." On one occasion, some little business disagreement occurred between Owens and Bateman. A correspondence ensued, and Bateman, as usual, waxed wrathful, and be- 94 MEMORIES OF came voluminous in expression. Owens declined further discussion, but Bateman persisted in freighting the mail with reiterative contention. Finally Owens, impressed with the absurdity of this " Much Ado about Nothing," took a comical view of it, and wrote : " If you write to me again on this subject, I will return your letter addressed ' Hezekiah Linthicum Bateman. 7 " A telegraphic response came "I will stop." Thus the matter was good- humoredly settled. The next time they met, Bateman, laughingly referring to the ludicrous termination of their difficulty, said : " John, you wouldn't really have been so cruel as to direct a letter to me, i Hezekiah Linthicum?" " Indeed, I would," said Owens. " I don't believe you capable of such deliberate wickedness," retorted Bateman, " though you frightened me terribly by the threat." Bateman prided himself, and justly, too, on his admi- rable tact in extricating himself from a dilemma. His inventive genius seemed inexhaustible. Mr. Owens said he never saw Bateman nonplussed but once, and then not utterly. They were standing on the steps of the Burnet House, Cincinnati, when Bateman exclaimed : " Gracious goodness! here comes a man that I like; a man who entertained me when I was in this city a few months ago, and I have forgotten his name ! but I do remember he is very sensitive on that point. John, what is his con- founded name?" "I don't know," said Owens, evxas- peratingly. By this time the gentleman was ascending JOHN E. OWENS. 95 the steps. Bateman rushed to meet him, shaking hands cordially, and beaming with delight hoping to gain time by talking rapidly, and thus recall the name. Failing to do so, he said : " I've thought of you so often ; wanted to send you a newspaper now and again, but did not know exactly how to spell your name. How do you spell it ? " " S-M-I-T-H," was the response. To any one else this would have been total discomfiture ; but Bateman rallied, and rejoined : " I was uncertain whether you used an i or a y, and most people are liable to take offence at an inac- curacy of the kind." After the Cincinnati engagement Owens proceeded to St. Louis where he scored a triumph, thence to Pittsburg with like result. The remainder of the season was filled in Washington, Philadelphia and Baltimore. In the latter city he played several weeks at the Holliday Street Theatre, and re-appeared there at the commencement of the next season ; after which he made his usual starring tour through the principal cities, being considered by all managers a strong drawing attraction. On the 2nd of March, 1858, Owens appeared for the first time in Bos- ton. Dr. Ollapod, in " The Poor Gentleman" was the part that chronicled his successful d6but. He was sur- rounded by a galaxy of talent : George Jordan, James Bennett, Geo. Ryer, Henry Wallack, Williams, Stuart, Norton, Julia Bennett, Fanny Morant, Mary Carr, &c. The performances given by such a company were charm- 96 MEMORIES OF ing, so perfectly studied and rendered was every char- acter. March 24th Owens played Bob Acres, in The Rivals, for the first time, and made an immense hit. The idiosyncrasies of the character were given with zest and originality. It was a clear-cut picture of the country Squire. His scene in the second act, with Captain Abso- lute, was enthusiastically encored ; and all through the Comedy laughter and applause confirmed his success. Mr. Owens' propensity to hurriedly dress for the stage, extended to his preparation of costume for a new part. A few hours before he was to appear as Bob Acres he sallied forth to procure some accessory which was required to make his dress complete. Meeting William Warren, he asked where he would be most likely to be suited in the article required. " Good gracious ! " said Mr. Warren, " you don't mean to say that you haven't every thing ready for a part you play to-night, and a new part too ! Why, I shouldn't be able to remember my lines if I had to think about a dress. It would upset me to be so hurried." "That very hurry suits me," replied Owens, " the excitement gives me a kind of neryousness which tends to vivacity, and brightens my wits." Many old comedies were played at this time, but " The Road to Ruin" was perhaps the one in which Owens gave the greatest surprise to even his most ardent ad- mirers. " >'///;// " is so entirely wn-comic that much com- JOHN E. OAVENS. 97 ment was made when Mr. Owens was announced for the part. But, having made a study of it, he knew he could do justice to its portrayal. The delineation he gave was a gem, and by its excellence became the feature of the comedy. His make-up was perfect. The angularity of limbs, the stooping shoulders, the semi-palsied appearance of hands, and the wizen face were all marvellous person- alities of the miserly usurer. The shrewd avaricious glance which gave way to servile obsequiousness, in change of situation, the piping voice and cackling laugh were each and all masterly points. Owens simulated age with extraordinary accuracy, but he was not unmindful that age has many phases and personal distinctive traits; hence, of the numerous old men he played, no one resembled the other. In Solon Shingle his voice ruralized into eccentricity, and in Caleb Plummer it sobered into pathos. His versatility was wonderful ; he could be a young man, a romping lad, or a centenarian with equal fidelity to nature. " Silky " and " Gillman " (the youthful bridegroom) constituted an evening's entertainment which, in their contrast, vividly displayed these remarkable gifts ; so did " Tony Lumpkin " and " Spruggins" and numerous other equally astonishing and delightful performances. During this Boston en- gagement, among other novelties produced, was " The Queen's Heart" by Dr. John W. Palmer, of Baltimore. Dr. Palmer was well known in literary circles as the author 7 98 MEMORIES OF of many able and brilliant works in prose and poetry. One of his specialties in poetry is the never-to-be-for- gotten and thrilling poem of " Stonewall Jackson's Way." The comedy of the Queen's Heart possessed self-assert- ing merit ; inasmuch as the plot and action were original, and the dramatis personse different from the stereotyped pattern so often found in plays. Madame Mondieu, created by Miss Fanny Morant, was a superb piece of acting. I say acting, for though true to nature, no other word can express how much this talented artiste made of the part by look and gesture. The text became elo- quent by the inimitable shrug of the shoulders with which she emphasized its meaning. Owens as Napoleon Bonaparte Aravier, a French comedian, made a decided hit, and strongly depicted the eccentricities of the loqua- cious comedian, who, under the guise of flippant bom- bast, plots to defeat wicked designs and bring help to the deserving. His rendering of the semi-inebriated song, " The Little Brown Man" was nightly encored. The " Queen's Heart" won deserved popularity. Later on Dr. Palmer gave the play to Mr. Owens, who in- tended to include it in his repertoire, but always found it difficult to secure a competent Madame Mondieu. The first theatrical performance ever given on Satur- day night in Boston took place May 1st, 1858. The play-bills for more than a week previous having the preliminary announcement, by this heading : JOHN E. OWENS. 99 "SPECIAL NOTICE. " The Legislature of Massachusetts during the last session, having abrogated an old law, which prevented Dramatic Representations from taking place on Saturday evenings, and the Board of Aldermen also having granted the petition of Mr. Barrow to open this Theatre on Saturday evenings, he purposes testing PUBLIC OPINION by giving a Dramatic Performance of a High Order on Saturday even- ing next." The public did not respond cordially to the innova- tion. Slim attendance being the rule for many Saturday nights ; but gradually business increased, and before the season was over, Boston made no distinction between Saturday and other night performances. Owens remained in Boston several months. The favorable impression he made at first strengthened as his engagement became pro- longed. Much social enjoyment brightened the time. With his professional associates, and many friends, he found congenial companionship. Many pleasant hours were spent in the society of William Warren. Occa- sionally a charming re-union and supper in Miss Amelia Fisher's renowned and picturesque kitchen made a red letter day. One of the warmest friendships formed at this time was with Henry A. M'Glenen, now business manager of the Boston Theatre. It strengthened as time went on, and to the end of his life Mr. Owens esteemed " Harry 100 MEMORIES OF M'Glenen" with deep regard, and knew it to be sin- cerely reciprocated. No truer friend mourned his loss, or rendered tenderer tribute to his memory. The evening previous to leaving Boston, Mr. Owens entertained a few friends at the Parker House. As they were about separating, one of the guests (a jolly but impecunious individual) said : " By the way, Owens, I owe you three hundred dollars perhaps more." "Don't mention it," answered the comedian, who, liking the man personally and knowing his irresponsibility, mentally regarded the money as a gift, not a debt. " Ah ! my boy, that won't do ; business is business, and I prefer to settle the matter before you leave the city." Then tak- ing from his pocket a slip of paper, he said : " Here is my I. O. U., that will secure you." At this Micaw- berish adjustment, a covert smile pervaded the company, but Owens gravely received the note, and held it in his hand while they stood chatting, ere they separated. Finally, with affected unconsciousness, he twisted the paper and used it to light his cigar. A horrified remon- strance arose from the giver of the note. " My dear boy, see what you are doing ! Don't be so absent-minded ! " " That's all right, B , such a lighter must needs give my cigar a good flavor, and at the same time relieve you from the shadow of responsibility." October, 1858, finds Owens again in Boston, but only for a short engagement, as he had signed for the season JOHN E. OWENS. 101 with Thomas Placide, Manager of the " Varieties Tnea- tre," New Orleans. The original Varieties Theatre, erected 1849, was managed by Thomas Placide until 1854 ; dur- ing that year it was destroyed by fire. When the theatre was rebuilt, Dion Boucicault assumed the management and changed the name to "Gaiete Theatre it was so known for two years. When in 1858, Placide again became manager, he restored the old and more popular title. This theatre was situated on Gravier street, and owned by the "Varieties Club," an exclusive, aristo- cratic and wealthy association. The name was suggested by " La Variete " in Paris. The theatre ranked as the most fashionable in New Orleans. At that time song and dance and specialty performances were limited to music halls, and not termed " variety shows ; " but later on, when thus designated, it became necessary to change the name of New Orleans' famous theatre, least the origi- nal title, "Varieties," might give a wrong impression in regard to its dramatic position. The season of 1858-59 was conducted on the stock system ; a superb company having been engaged. The sterling old comedies were given, varied with the new pieces, then being played in London and New York. As usual with New Orleans seasons, Owens found this one delightful as well as profitable. At its close, Pla- cide's lease having terminated, Owens was solicited by the stockholders to become the next manager, and accepted a 102 MEMORIES OF four years' lease, h^g-inmag 1859-60. Upon the conclu- sion of the present season, Owens took the company to St. Louis and Cincinnati, and gave six performances in each city ; so great was the furore created, that the houses were packed and many unable to obtain even standing room. Perhaps there can be found no more brilliant dramatic record than the New Orleans season of 1859-60. The stockholders gave Owens carte blanche in respect to beau- tifying and furnishing the Varieties Theatre ; and this unlimited power, guided by his judgment and exquisite taste, resulted in the Theatre being a model of elegance in regard to auditorium, stage setting and general effect. The dramatic corps selected was second to none in the country, and the splendor of the season was unparalleled. The wealth, beauty and fashion congregated in New Orleans, this winter, was never exceeded in that notably gay city; the " Varieties " nightly thronged witli pleas- ure seekers ; and Owens, both as an actor and manager, considered peerless. Among the new comedies produced this season was "Everybody's Friend" It was put on the boards simul- taneously with its production in New York. E. F. Sothern as Fcuthcrley, Sara Stevens as Mrs. Swandown, and Owens as Major Wellington DtBoots. To the latter character Owens brought original conception, and pla\ < d perfectly; making so great a mark that ever afterwards MR. OWENS as MAJOR WELLINGTON DEBOOTS In "Everybody's Friend." JOHN E. OWENS. 103 it was included in his starring repertoire. Owens' concep- tion of DeBoots was not as an eccentric braggart, only to be laughed at, but a man of excessive vanity, weak character and infirm purpose. The self-satisfied catchy little laugh or chuckle, which he originated in this part, has often been imitated, but never reproduced with the vitality and infectious mirth wherewith Owens invested it. The business introduced was irresistibly droll, but neat, and, with an occasional interpolating line, made the bombastic Major's character vividly life-like. And here I would remark, that a tendency to gag has been attributed to Mr. Owens which he did not deserve in the actual sense of the word ; it is true he was prone now and then to introduce a sentence not set down in the text, but it always fitted so perfectly with the character he was representing that it seemed exactly what the author would have consistently written. Exuberance of spirits never led Mr. Owens to the objectionable habit of making topical jokes, or allusion to those surrounding him. He was far too conscientious an artist to sacrifice the integrity and illusion of a play to raise a laugh, or create merriment at variance with principle and taste. Sara Stevens made a charming Mrs. Swandown, and E. S. Sothern was admirably suited to Felix Featherley, which he played in his usual graceful, mercurial and polished manner. Each of the cast seemed to have a part that might have been written for their especial abilities ; 104 MEMORIES OF and this insured a favorable reception for the comedy. The first and second nights of its representation there was a bit of amusement not set down in the bill. For the scene where Featherley presents Mrs. Swandown with an Angora cat (supposed to be sleeping peacefully in the covered basket which he carries), Sothern insisted upon being realistic, to the extent of having a live cat. Of course, puss became frightened when the cover was re- moved, jumped out, and having made a bewildered plunge here and there, scampered off the stage amid the laughter of the audience. For the next night, Sothern suggested a small guinea pig as being less nimble, and sure to remain quiet, but the same exhibition of stage fright (?) occurred, except that the pig dived awkwardly into the orchestra. The general impression prevailed that these innovations were not actuated so much by Sothern's desire to be realistic as by his propensity for practical joking. " The American Cousin," in which Sothern had made a hit at Laura Keene's New York Theatre, the previous season, was strongly cast, but met with only mod- erate favor from the public, and less from the press. It was at this time that Sothern originated the " Brother Sam " letter which he introduced into the part of Dun- dreary, and afterwards rendered so celebrated. The Aim-rican Onmn held tin; boards for two weeks. On the night of final representation Sothern (as Dundreary) JOHN E. OWENS. 105 read a witty letter conveying a request from the company for permission to testify their admiration by crowning him with an appropriate wreath. His lordship having expressed gratification and given consent, the imposing ceremony was performed, and the renowned Dundreary crowned with a chaste wreath of " woathed chestnutzs" beautifully relieved by " Oythter Theltz" and " Shwimp Think" " My Lord " made a brilliant acknowledgment, replete with stammerings and hops. The audience and the artists evidently enjoyed the joke intensely, and the majority of them quite understood that it was a good- humored rebuke to the overdone gush of floral pre- sentations which had become rather tiresome during the season. Sothern's Dundreary is so much a part of stage history that everybody knows he continued to elaborate and im- prove the character, until it became identified with his name, placing him on a pinnacle of prominence which he had failed to reach through his equally clever and more legitimate personations. The great sensation of season 1859-60 was " Dot" Boucicault's dramatization of The Cricket on the Hearth, in which Owens played Caleb Plummer for the first time. Careful rehearsals were given, and also every attention to the stage setting and transformation scene. The Fairy Prologue was charming. The initial performance took place on Christmas night with the following cast : 106 MEMORIES OF CALEB PLUMMER MB. JOHN E. OWENS. JOHN PEERYBINGLE MR. C. W. COULDOCK. TACKLETON MR. M. LEFFINGWELL. EDWARD PLUMMER MR. H. A. COPLAND. Dor Miss CHARLOTTE THOMPSON. BERTHA Miss SARA STEVENS. MRS. FIELDING < MRS. W. A. CHAPMAN. TILLY SLOWBOY Miss POLLY MARSHALL. MAY FIELDING Miss ELIZA COULDOCK. Polly Marshall, the soubrette, was much dissatisfied with having the part of Tilly S lowboy assigned to her. The lady was an English actress who had been a favorite at Burton's Theatre, New York, and it was expected she would be equally popular in New Orleans, but a mild liking was the extent of approbation she inspired ; sensi- tively aware of this fact, she entreated Mr. Owens to substitute some one else for Tilly , assuring him that the part was utterly out of her style, and to attempt it would culminate her unpopularity. Mr. Owens thought dif- ferently, and courteously but firmly declined to change the cast; whereupon the lady retired from the interview in a distressed and tearful condition. Short-sighted mor- tals we are. Tilly Slowboy proved to be the first hit of Miss Marshall's engagement; she took the audience by storm, and afterwards every part she played was favora- bly received. No soubrette, in New Orleans, ever held greater sway over an audience than did Polly Marshall. JOHN E. OWENS. 107 Owens' personation of Caleb Plummer belongs to the annals of the stage. It stands unrivalled and crowned with well-earned glory. The public, the press and his fellow artists have conceded to him the perfection of finished art in this character, and ranked him as incom- parable. His great charm was unaffected adherence to nature. He took Caleb riummer bodily from the word- painting of Dickens, and made him flesh and blood. There was no attempt at heroism in depicting this affec- tionate-hearted old man who had suffered so long with cheerful resignation ; it was simple nature in all its purity and goodness, and the illusion perfect in delicate blending of pathos and quaint humor. The " God bless us all " of old Caleb lingered in sweet influence with the audience, and found echo in the hearts of all who saw and felt his nature as embodied by John E. Owens. It was a poem, a comedy and a sermon. No description can do justice to his bits of by-play the quick transition from distress to cheerfulness, for the blind daughter's sake, caused the auditor to break into laughter while yet the eyes were moist. When depicting tender emotion Mr. Owens had what the French term " tears in the voice " (as well as in his heart), and the effect was magnetic. It has been said of Owens' personation of Caleb Plummer, that " it compares with Solon Shingle as an oil painting does with a crayon sketch." JOHN E. OWENS. 109 ished, farm and country life were forgotten, and he be- came absorbed in dear old Caleb. " Dot " was immensely popular in New Orleans, and was played for two months an unprecedented run for that city, no piece having previously had such a hold on public enthusiasm. It was withdrawn in the height of success, and given at intervals later in the season. Hav- ing made so great a mark as Caleb Plummer, Owens purchased from Boucicault the sole right and possession of his adaptation of Cricket on the Hearth, entitled "Dot." A very sad event occurred towards the spring. Harry Copland (juvenile man of the company) had some diffi- culty with Mr. Overall, dramatic critic of the True Delta, arising from adverse and personal criticism. The quarrel eventuated in a rencontre, during which Copland was shot. The arrest of Overall followed, but he was released on bail, pending Copland's treatment at the hospital where he had been taken for amputation of his leg. The symptoms were serious from the first. Copland was a manly ingenuous young fellow, and a great favorite with Mr. Owens, who was devoted to him during his illness. Copland craved this constant presence, and found much comfort in his friendly ministration. At the final hour Owens was with him, and afterwards drove immediately to the Mayor's office and gave notification of the fatal result of the affray. Overall's re-arrest ensued. He was tried for murder, but acquitted on the plea of self-defence. 110 MEMORIES OF The prosecution made a strong effort to secure conviction on the charge of premeditated malice on the part of Overall; the evidence was powerful, but was rendered ineffectual by reason of a peculiar defence. It was proved that Copland died of lock-jaw, resulting from gangrene caused by verdigris on the pistol ball. The defense maintained that this could not have been the case had the pistol been freshly loaded by Overall, with murderous intent; hence the shooting had not been premeditated, but the pistol picked up hurriedly when needed for self- defence. On this plea Overall was acquitted. After the regular season a supplementary summer one was inaugurated by the engagement of Mrs. John Wood, who fascinated the New Orleans people, as " Pochalwn- tas," and with many equally charming bits of acting. The company included much musical talent, which was a desirable element in the production of " Pochahontas ; " and to render it yet more attractive, Owens introduced a drill and march of forty female Zouaves. Requiring appropriate music, he was difficult to please, as he wanted something spirited and yet not too martial. Carlo Patti (brother of Adelina Patti), the leader of the orchestra, was called upon for suggestions. He ran over various airs, all of which were rejected, and was growing hopeless, when he struck the chords of Dixie, then a minstrel song but little sung. " That suits," said Owens, "it is exactly what I want. We will have a song and chorus with the JOHN E. OWENS. Ill drill and march." It was thoroughly rehearsed, and the Zouave drill with Dixie chorus took the town by storm. Soon the air was whistled in the streets, played by the bands, hummed by everyone ; in fine, became the sensa- tion of the times. And thus originated the popularity of "Dixie's land," which resulted in its adoption as a southern war song. In May the theatre closed, and Owens returned to Aigburth Vale, his Maryland farm ; passing the summer months pleasantly there, except for an occasional sojourn in New York to make preparations for the ensuing New Orleans season. CHAPTER V. Experience and executive ability Brilliant inauguration of New Or- leans season 1860-61 States' rights excitement Pittsburg emeute Great engagement played in Boston An interrogative loafer Witty repartee A disagreeable draft Obtaining a substitute Presentiment New England tour E. L. Davenport John Gilbert William Wheatley Recreation on the farm A lover of Shakes- peare New York offer from George Wood Deliberation Accepts for six weeks Solon Shingle a whirlwind of success " In a hun- dred days " Mr. and Mrs. Charles Kean Constant Meyer's picture Close of nine months' engagement Phenomenal financial result Owens takes steamer for England. MR- OWENS took great pride in his theatre, and having now become a stockholder, determined that it should exceed its former record for elegance and attractiveness. He therefore did not limit himself to the liberal amount authorized by the board of directors for the renovation of the theatre, but expended much of his private means for costly furniture, carpets, &c. When the "Varieties" opened November, 1860, with a strong dramatic corps in keeping with its surroundings, the manager was satisfied with his preliminary labor, and the pul)lic amazed and delighted with the magnificence and brilliancy presented for their patronage. 112 JOHN E. OWENS. 113 Legitimate comedy and all the new plays were pro- duced with that close attention to correct costume and appropriate scenery which ever marked the management of John E. Owens. These he held secondary to dramatic force, but he considered them indispensable to the pre- sentation of a play, and his personal attention was always given to the superintendence of every detail in the thea- tre. From the paint room to the stage he was present and directed the veriest minutiaB. Thus executive ability combined with judgment and refined taste rendered his success as a manager Napoleonic. "Dot" was revived and warmly welcomed in 186061 " The Romance of a Poor Young Man " and "Playing with Fire " were among the novelties. The casting of the pieces was simply per- fect, embracing such talent as George Jordan, Mark Smith, Charles Bass, Dolly Davenport, Charles Thome, Jr., Myron Leffingwell, C. H. Morton, F. Maeder, Geo. Wallack, Charlotte Thompson, Annie Graham, Mrs. W. H. Chapman, Mrs. Leigh ton and a host of others. The most important new production was " Jeannie Deans " (or Hmrt of Mid Lothian), for which the entire resources of the theatre, in scenic painting and mechanical effects, were brought into requisition, and the strength of the company included. The famous pictures of the trial, &c., were represented in tableaux effect with exquisite accuracy, and were nightly encored. The storming of the Tol- booth was exciting and impressive. This representation 8 114 MEMORIES OF was appreciated by crowded houses for nine consecu- tive weeks. Towards the close of the winter much restlessness pre- vailed through the community, and the " States' rights " question was increasedly agitated. Opinions, at first quietly expressed, developed until the " cloud no bigger than a man's hand," grew ominously threatening. The gay crowd in New Orleans, hitherto on pleasure bent, became thoughtful, and gave less time to amusement and more to the impending crisis ; and the topic oftenest dis- cussed was " Secession." My narrative has no connection with the Civil War, except to mention it as it affected Mr. Owens. He was a Southern sympathizer, but never took up arms against the United States. Had the seat of war been in Mary- land he would have defended his home. No honorable nature can censure him for standing firm to his honest convictions. It was a matter of principle with him, in- volving the sacrifice of prosperity, for he not only lost his property in New Orleans but forfeited the three years' lease of the theatre, which proved an El Dorado to the Northern manager who used the theatre and its expensive appointments. A course dictated by policy was foreign to Mr. Owens' nature, hence he was willing to endanger his popularity rather than express views which he did not entertain. Quietly resolved, but never aggressive, no one can truly JOHN E. OWENS. 115 say that he was ever treacherous to the government. He played a short engagement in Washington and in Balti- more a long interval between these, on account of serious illness in the family. Then followed the Pittsburg date, rendered memorable from the fact that he was not per- mitted to play. So great was the antagonism against him, for alleged Southern sentiments, that threats of per- sonal violence were rife, and Mr. Owens' friends pre- vailed upon him to quietly leave town without making any attempt to fulfil his engagement. A fortnight later he was due in Boston, where he nightly packed the large auditorium of the Boston Thea- tre ; his friends and the public there not lessening one whit of their cordiality because his opinions did not coin- cide with theirs. He came before them as an artist, not as a politician, and they knew full well that he was inca- pable of dishonorable conduct, and respected him for his moral courage and dignified course which increased their admiration and regard. After the War was over, an amusing incident occurred one election day, when Owens presented himself at the polls to vote. An effort was made to interfere with his right of suffrage the time was past when such a thing could be done on the ground of Southern sympathy. Owens' vote was challenged under charge of " non-resi- dence.' 7 The animus was patent ; but taking the matter coolly, Owens said : " I beg your pardon, I don't quite 116 MEMORIES OF understand the objection." "Non-residence, where do you live?" "Well, I live in London, Paris, Boston, New York and many other places, but my home is here in Baltimore County, and here I vote." At this juncture a half-tipsy loafer, with unkempt hair and soiled attire, lounged in front of Owens and said : " Where d'ye get your washing done ? There's where a feller votes." " In that case, my friend," responded Owens, " I should say you never had a vote in all your life." A roar of laughter followed this sally, which put even the antagonistic element in a good humor. The challenger laughingly said : " Go on and vote, Owens ; we give in." October, 1861, Owens was drafted in the Union army ; he received the notice in Washington, just as he was coming oif the stage, and meeting one of the actors, while passing to his dressing room, remarked: "There is a very disagreeable draft here." The literal young man called to some of the stage hands : " Shut that door ; Mr. Owens complains of the draft." Whereupon Owens laughed heartily, and explained the misapprehension. He speedily obtained a substitute, but on the way to Baltimore the man vanished. A few days afterwards another was secured, a regular vagabond specimen. De- termined to hold possession this time, Owens fitted the man out with good clothing, took him to the farm and lodged him in an upper room of one of the cottages on the place ; keeping him under close surveillance for three JOHN E. OWENS. 117 days, until the papers, &c., were arranged. The fellow was more than satisfied with his quarters, and having his meals served to him three times a day ; loudly asserting, that "he wished it might continue, as he never before lived so well." After his examination and acceptance, he was taken to camp ; where he pocketed his $400, and Mr. Owens gladly received his release. Next morning, about dawn, Mr. Owens (as was his frequent custom) sallied forth with his dogs and gun, for an hour or two's shooting before breakfast. While stand- ing on the portico, he saw a carriage driving rapidly down the road. When within a few yards of the house, it stopped under a huge oak tree; the driver got down, opened the door of the vehicle, and lifted out something like a large bundle which he placed under the tree. By this time Owens had reached the spot. He recognized the driver as an employe at Barnum's Hotel, and said : "Hello! Michael, what's all this about?" "Sure, sir, and the young man has been on a bit of a spree ; he says he's your nephew, and told me to bring him out home ; and I didn't like to wake the family up before sunrise, so I thought I'd lave him quiet here. Turning his eyes to the supposed bundle, Owens saw his substitute huddled up in a drunken stupor. " Michael," said he, solemnly, " that person is not my relative, he is a deserter ; take him to the camp. If he escapes, you are liable to be arrested as an accessory." Michael needed 118 MEMORIES OF no second bidding. Picking up the ninety-pound sub- stitute, he deposited him in the carriage, arid drove off to the camp ; where he was given into custody. Owens played in Cincinnati, St. Louis, and Nashville and Memphis this winter. Later on in Boston, from thence a return date in Cincinnati. The Burnet House was military headquarters, and Owens, who stopped there, was thrown into daily intercourse with the com- manders, who sought him socially, and admired him pro- fessionally ; not concerning themselves about his Southern sentiments. In Cincinnati he closed his season, but before retiring for the summer to his farm, consented to play for the benefit of a friend connected with Wood's Theatre. This necessitated remaining over a few days in Cincinnati, which he was quite willing to do. The decision having been made, I was astonished when he returned from rehearsal and said to me : "I want you to pack up, so that we can leave here to-night." Noting my look of amazement, he continued : " I can't tell you why, but on my way to the theatre an overwhelming impression possessed me to start for home ; I could not si lake it off. I told my friend that I was called home, and asked him to say what my name on the bill was worth to him, and oblige me by accepting a check instead of my services ; so that is all arranged." Presentiments and forebodings were so utterly incon- sistent with Mr. Owens' nature that I could not realize JOHN E. OWENS. 119 thai he was actually altering his plans on that basis, and queried : " Have you bad news from home which you intend to break to me gradually ? " He assured me to the contrary. We left by the midnight train. Mr. Owens did not appear at all depressed, but bright and cheerful all the journey. We were not expected at home till several days later, therefore no carriage was at the County station to meet us. Mr. Owens procured a wagon, and we jolted slowly along. Our arrival was a joyful surprise. The family, at that time, consisted of Mr. Owens' father and mother. They were both seated on the portico, as we drove up, and greeted us with exclamations of delight. I don't think four happier people existed that charm- ing summer afternoon, as we chatted together with the blessed sensation of homefelt rest and peace. A few hours later Mr. Owens said to me : " Just see the ab- surdity of presentiments ! If we had found sickness or trouble at home, my strong impression to return would have been regarded as a warning. On the contrary, * all is well ' to the full extent of that comprehensive phrase." The next morning, at ten o'clock, Mr. Owens' mother died suddenly of heart failure. He was standing beside her, when she fell back in his arms and expired with loving gaze fixed upon him, but powerless to speak. I do not say that this sad event was foreshadowed ; I only tell the facts. 120 MEMORIES OF The loss of Mr. Owens' mother was the first grief of his hitherto sunny life. He loved her with a devotion and tenderness which only a pure and noble nature is capable of. Thoughtful and attentive to her comfort, his every word seemed to convey a caress which her warm heart cherished and responded to. They were alike in nature, and worthy of each other. For months after her death Mr. Owens did not resume his profession. Most of the time was passed on his farm. He bore his affliction bravely, but he suffered intensely. His first engagement of 1863 was in Boston, from thence (as oft before) a tour of the New England towns. The company at this time was superb, including E. L. Davenport, Wm. Wheatley, John Gilbert, and other fa- mous names. In fact the cast was a galaxy of stars. Old comedies were the leading attraction : "Heir at Law," "Poor Gentleman" "She Stoops to Conquer" &c. One of the most pronounced events was the production of " Money," brilliantly performed throughout. The im- pression Owens made as Graves was immense; he not only elicited triple calls, but encores after the most effective scenes. A return engagement was played in Boston by this grand combination of talent, with results even greater than that of a few weeks previous. Boston was one of the cities which Owens especially loved. He had there many warm and congenial personal friends, and as an JOHN E. OWENS. 121 actor was ever en rapport with his audience. He was a favorite with Longfellow, Holmes, Agassiz, Felton, and others of that wonderful literary coterie. The public of Boston claimed him for their own, as also did Baltimore and some other cities. Though born in England, Owens belonged to America. Through all the length and breadth of this country the mention of his name will cause a twinkle of the eye and a joyous remembrance of his mirth-provoking genius. Leaving Boston he returned to Baltimore, appearing there in a round of his popular characters, which he repeated the following week in Washington. Much of this season was passed quietly on the farm, restfully and pleasantly affording an opportunity to indulge in reading and study, of which Mr. Owens was very fond. An enthusiastic lover of Shakespeare, he was a close stu- dent of the immortal bard ; always discovering fresh beauties and new points of interest in the most familiar passages. He delighted to read over and over again a favorite speech, and discuss its intricate yet clear significance. In the copy of Shakespeare, which he read oftenest, I find on the fly-leaf the following quotation from Dr. Johnson : " Time which is continually washing away the dissoluble fabrics of other poets, passes without injury by the adamant of Shakespeare." Mr. Owens was not only cultured and refined, but scholarly in his taste. As a 122 MEMOKIES OF comedian his Shakespearean characters held exalted posi- tion. " Touchstone," " The First Grave-digger," "Dromio of Syracuse" " Launcelot Gobbo" and others were enacted with the full quantum of humor, and yet legitimately and entirely free from coarseness. He would have con- sidered it akin to sacrilege to render them otherwise than in their integrity. About the middle of June, 1864, Owens received a letter from George Wood, formerly manager in Cincin- nati and St. Louis, stating that he intended to open the theatre, corner of Broadway and Broome street. New York, originally known as " Brougham's," and after- wards as " Wallack's." He purposed making it a comedy theatre, and desired to have Owens inaugurate it by being the first star. This place of amusement had deteriorated from a first class position, having verged on entertainments of the variety show species. Owens hesitated about entering into negotiations, though excellent terms were offered. Upon stating his objection to Mr. Wood, he was met by the argument that "the reputation of John Owens would elevate any theatre, and stamp its position as equal to the best." He was not so sanguine as the manager, but at length upon the promise of Mr. Wood to provide for support, " a company capable of playing the old comedies in a manner acceptable to a New York audience," Owens signed a contract for six weeks, renewable if mutually satisfactory. MR. OWENS as LAUNCELOT GOBBO In "The Merchant of Venice." JOHN E. OWENS. 123 This he did with the consciousness that the circum- stances of his re-entree before the New York public were inauspicious, as he would have to overcome prejudice against the theatre in order to draw the class of audience to which he was entitled. That he accomplished this in a superlative degree, and won continued fame and enthu- siasm, marks a well-earned histrionic triumph which has never been excelled. August 29tb, 1865, Owens commenced his engagement at the Broadway Theatre, where thirteen years previous he had made his first success in New York. The opening bill was "Married Life" and "Solon Shingle." In both pieces he made a favorable impression, but in the latter an overwhelming hit ; a hit which grew into a sensation, and culminated in a furore. ( Crowds packed the theatre nightly, and before the rise of the curtain, "standing room" was unattainable. Owens' marvelous delineation of the old farmer became the leading attraction of New York. "Solon Shingle" was the theme everywhere. "The apple sass case," "Jesso, Jesso," and other quotations were heard on the streets, in the cars. Acquaintances meeting, facetiously greeted each other with : " Why, Mr. Winslow, how do you do?" On all sides "Solon" was the reigning excitement. "Married Life" was with- drawn after the first week, and " Victims " substituted. In this piece Owens won high encomiums. It was played 124 MEMORIES OF eleven consecutive weeks ; then " The Poor Gentleman " was produced, and afterwards other comedies ; but all the while Solon Shingle kept steadily on increasing in popularity, and achieved the longest run hitherto known in New York, or any city in America. Noting the hundredth performance of Solon Shingle, one of the leading papers drew attention to many won- derful things history records to have taken place in that given space of time ; and terminated with the following paragraph : " In one hundred days France passed through the throes of two revolutions lost a king, gained an emperor, and again bowed to a king. In one hundred days Napoleon left Elba, marched to the throne of France, fought Waterloo, and was conquered. In one hundred nights ' John Owens' fought a fight for popu- larity single-handed against the hordes of New York theatre-goers, and conquered them. In one hundred nights the Broadway Theatre passed from the position of a concert hall to the height of fashion. We take pleasure in chronicling such great victories. Solon Shingle will run additional hundreds of nights, if this great artist so chooses." A true prophecy, for it would have continued uninter- ruptedly the whole season, had not Owens, at the end of six months, become weary with the monotonous repetition of Solon, and suggested to Mr. Wood an entire change of bill. " What ! " said the manager, " take a piece off in JOHN E. OWENS. 125 the full tide of success, while we are turning people away, and actually filling other theatres with our overflow ! " " "Well, all the easier to pick up ' Solon ' again, when I have had a little rest from him," replied Owens. Mr. Wood finally yielded, when to these importunities others were added from friends of Mr. Owens who had seen him play u Caleb Plummer" and were desirous that New York should enjoy this masterpiece. "Dot" was pro- duced early in March, and Owens' Caleb Plummer proved to be a dramatic sensation. The encomiums lavished upon it were quite as numer- ous as those elicited by Solon Shingle, with the additional tribute that the artist had " mounted into an atmosphere rarer and more delicate than that which surrounds Solon Shingle." The piece was played a month to immense business, and universally conceded to be the most ex- quisite embodiment of Caleb Plummer ever witnessed. During this month Mr. and Mrs. Charles Kean arrived in Xew York. Mr. Owens had known them in England, and the pleasant acquaintance was now renewed. They remembered Owens as a young actor in Burton's Theatre, and many courteous references were made to his embryo talent in those days, and much pleasure expressed con- gratulatory of his present fame. The Keans came frequently to see Caleb Plummer. After their first evening's enjoyment of it Mrs. Kean wrote the following letter to Mr. Owens : 126 MEMORIES OF "METROPOLITAN HOTEL, March 23d. "JOHN E. OWENS: " My Dear Sir, Accept the best thanks of Mr. Kean and myself for the great pleasure you gave us on Saturday evening. We laughed and wept like children, over the amusing and touching simplicity of old Caleb ; and we both agreed that we had not for a long time seen such admirable acting. "You were very well supported, for the drama was well done throughout. Your Bertha was very blind and very handsome. Wish- ing you a great success in London. Believe me, my dear sir, " Yours truly, "ELLEN KEAN." Mr. Owens always prized this letter. Mr. Kean was equally enthusiastic about the perform- ance, and was also much impressed with Owens' make-up. " Why, my dear boy/' he said, " not only does your face simulate age, but your figure is shrivelled, your neck and hands are withered, and your eyes are dim ! What do you do with your sparkling eyes, and doesn't it take you a long time to accomplish this metamorphosis?" Owens laughingly replied : " I allow myself fifteen or twenty minutes to dress and make up." Mr. Kean asked if it would be admissable for him to witness the process, and received a cordial assent. An appointment was made, and Kean looked on while Owens, quietly chatting, got old Caleb ready for the stage. When finished, Kean expressed amazement and thanks for what he termed " an artistic revelation." JOHN E. OWENS. 127 Mr. and Mrs. Charles Kean came to New York with- out an engagement, but with firm belief that an opening would be made for them in one of the leading theatres. No disposition was evinced to meet their views. Unfor- tunately all dates were filled for the season; and the indi- cations were that they would have to abandon the idea of playing in New York. Mr. Owens thought that these famous artists should not be permitted to return to Eng- land without receiving the honor and attention to which they were entitled and additionally conferring upon their many admirers the pleasure of enjoying their per- formances. He spoke to Mr. Wood, expressing his desire to relinquish a fortnight of his engagement, the time to be placed at the disposal of the Keans. Mr. Wood com- plied with this solicitation to make a special opening for the Keans ; and offered them a fortnight engagement, which they accepted. Mr. and Mrs. C. Kean were appreciative of this courtesy extended to them by Mr. Owens, and cordially expressed acknowledgment. They played to full houses for the two weeks ; at the end of which time Owens re- sumed his engagement, appearing in " The Live Indian " and "Solon Shingle." This bill continued to be strong attraction until the close of the season. Solon Shingle became identified with Owens 7 name, so much so that he received many letters facetiously directed to "Solon Shin- gle Owens" and " John E. Owens, care of Solon Shingle" 128 MEMORIES OF &c. I have in my possession many humorous epistles of the kind, two of them very wittily written by Howard Paul, in England, but as they are of a social and some- what confidential nature, I do not incorporate them in my narrative. Owens' Solon Shingle was a finished piece of character acting, perfect in detail, and yet free from exaggeration. The power of the artist is prominent from the fact that this great success was evolved from a mere sketch, which his own genius elaborated and clothed with vitality. This marvellous portrayal has formed the basis for many rural dramas, wherein the central figure is a palpable imitation of Owens' original conception and manner of playing Solon Shingle but their light is a borrowed one, relatively as bright as the moon compared to the sun. One performance was given in Brooklyn for the benefit of the Orphans' Asylum there. A crowded house brought large pecuniary aid to the orphans, and their presence secured for them an unusual enjoyment, if one might judge by the silvery peals of childish laughter. Several portraits of Solon have been taken, prominent among which are two oil paintings a full-length figure, by Constant Meyer, and a life-size three-quarter length, by A. Cross, of Louisville, Kentucky. The former excelled in artistic merit and finish, but the latter was equally striking as a likeness, and perhaps more charac- teristic. Constant Meyer's picture was on exhibition in MR. OWENS as SOLON SHINGLE. (From a Painting by Constant Meyer.) JOHN E. OWENS. 129 New York for some time, and attracted much attention. It was subsequently purchased by a wealthy French gentleman, and is now in his private collection in Paris. The painting by Cross was taken for Mr. Owens, who considered it admirable. It found place in his library, the position it still maintains among other treasures. The celebrity attained by Solon Shingle rendered it thereafter inseparable from Owens' repertoire, but it was by no means his favorite. I think he best loved Caleb Plummer, and he was devoted to the old comedies. He gave conscientious work to all he did, but in some characters he especially delighted. He revelled in the unctuous humor of Perkyn Middlewick, and played that jolly butter-man with power unexcelled. A slight touch of dialect conduced to the naturalness with which he invested the part. He was peculiarly gifted in render- ing dialect, not only of nationalities, but the delicate shading of localities. The Lancashire, Yorkshire and others were spoken with a nicety of accent that would delight those whose ear and taste were attuned to the accurateness of tones. May 27th, 1865, Owens sailed per steamer City of Boston, for England, to fulfil an engagement of six weeks, for which he had signed with Benjamin Webster, to play Solon Shingle at the Theatre Royal Adelphi, London. He had hoped for a week or two of leisure before leaving America, wishing to pass a few days at 9 130 MEMORIES OF home on the farm, and also to have time for enjoying the social companionship of his friends in New York. To his surprise Mr. Wood refused to release him from any portion of the engagement for which he had contracted. In vain was monetary remuneration offered, and the surety of supplying a star to fill the unexpired time pleadingly urged. Mr. Wood was inexorable ; no inducement could alter his determination that " Owens must play continuously up to the time of his departure." So the curtain fell on his final performance within ten hours of the sailing of the steamer. He had not the opportunity of even a hurried adieu to his friends. Naturally he felt vexed and distressed at being obliged to leave in this abrupt manner. Conduct seemingly so discourteous was incom- patible with his nature ; and to extricate himself from a false position he wrote (on the eve of his departure) the following card for publication in the New York Herald : "A CABD FROM JOHN E. OWENS TO THE PUBLIC. "The lengthy period of my twice-extended engagement at the Broadway Theatre has now closed, and I am left free personally to express, in terms of unconstrained sincerity, my grateful appreciation of the cordial favor and unvarying kindness, and generous considera- tion with which my professional efforts have been received by the public of New York. " Success does not at all times appeal to the same emotions ; and though in my long and varied professional experience it has been JOHN E. OWENS. 131 my proud fortune to receive many flattering and cherished marks of popular favor and esteem, yet never before has my pride as an artist and my gratitude as a man been more deeply stirred than by the kindnesses here lavished upon me; and I can but say that the thanks which now I seek to convey spring from the most earnest and warmest impulses of my nature. " To the gentlemen of the critical press, whose impartial sense of justice and of the true requirements of art, have pointed alike their praises and their censure, I rest under many courteous obligations which will be as pleasantly remembered as they are now warmly acknowledged. " In a few hours I shall bid adieu to the citizens of New York, to gratify in a distant land those ambitious longings which their favor has intensified and stimulated anew. But in the comparatively brief period of my absence my heart will still be linked to them by the proudest and happiest recollections, and by the cherished hope that their esteem may prove as enduring as the gratitude of "The Public's obedient servant, "JOHN E. OWENS. "NEW YORK, May 27th, 1865." The engagement thus terminated had been of nine months' duration, and for length, brilliancy and success was unprecedented in the record of New York theatricals. The overflowing house which greeted the star on the closing night attested his unabated popularity. Financi- ally it was phenomenal in results ; Mr. Owens' personal emolument being $65,891.39. CHAPTER VI. Adelphi Theatre, London Cordial welcome from manager and personal friends Professional antagonism "A wonderful artist" Charles Dickens Charlotte Cushman "Solon Shingle a diamond among rubbish" Liverpool engagement Home again January, 1866 Re-appearance in New York An ovation Uncle Solon Shingle at Boston Theatre Labor saving machines The cow-milker Non- progressive 186C Opens season in Philadelphia Western tour "I 'lowed he was goin' to throw knives" They "wanted to see Owens' diploma" Demoralized farm laborers "We see'd you play Solon Shingle last night" Hospitality "John Owens the farmer, and John Owens the actor" Visit to a circus " Consider M r. Robinson's feelings, cully." CTHORTLY after Owens arrived in London "Solon **J Shingle" was put in rehearsal. Benjamin Webster, manager of the Adelphi, received the American come- dian with cordiality, and manifested every disposition to render his surroundings in the theatre agreeable; and many warm friends welcomed him to London. AVhat- cvcr coldness he encountered arose from professional antagonism. To this phase of feeling there were pleasing exceptions; but the theatrical atmosphere was largely charged with the unuttered thunder of " we don't want you here," and " we hope you will be a failure." For- 132 JOHN E. OWENS. 133 innately this stormy and disagreeable element did not possess the public. From the first night of Owens' appearance in London he made a favorable impression, which steadily increased as his engagement progressed. The house that welcomed him was full, and not only fashionable, but intellectual and discriminating. Among the audience were Charlotte Cushman, Hon. B. F. Moran, American Minister, Charles Dickens, and other famous people, distinguished in lit- erary and social life. From Dickens, Miss Cushman, and many others present, Mr. Owens afterwards received warm congratulations, and pleasantly written notes of commendation, which with his innate modest unobtrusive- ness he refrained from making public. But he prized these kindly words from such illustrious sources, and always kept them. They are now in my possession, and regarded as an invaluable heritage. The English public were not familiar with the special type of individuality embodied in Solon Shingle, but they recognized it as a magnificent piece of character-acting; and rendered homage to Mr. Owens' talent in the verdict : "The worst play we have had from America, but the best comedian. The piece a failure, but Solon Shingle a great hit." Everybody was enthusiastic over Owens' wonderful powers of delineation, and irresistible humor. The theatre was thronged by an audience delighted with the 134 MEMORIES OF power of an actor who could win unqualified praise, when handicapped with such a poor piece as "Solon Shingle" Universally the play was condemned ; but the voice of the public was forcibly given in one of the leading papers, in speaking of Solon Shingle as being the ruling sensation : " The man who found a diamond amongst a heap of rubbish is not reported to have talked much about the rubbish. The play-goers will find Owens' Solon Shingle the diamond in the dust-heap; the piece is not worthy a second thought. The diamond has a bad setting ; but anything more brilliant than the gem itself we have never seen." Owens not only made a success in London, but a triumphant one. The fact that the English public did not accept the piece with favor, in no way deteriorated from the artist's celebrity, but on the contrary added thereto. Before the six weeks of his original contract with Benjamin Webster had expired, an offer was made to extend the engagement until September. This Mr. Owens consented to do ; continuing to draw large and appreciative audiences, and being complimented by en- thusiastic calls nightly, encores of scenes, &c. The London engagement having been concluded, Owens played a fortnight at " The Prince of Wales Theatre," Liverpool. From the opening to the closing night was a series of well-earned triumphs, responded to by a hearty jovial audience who gave vent to their approval witli a JOHN E. OWENS. 135 cordiality that warms an actor's heart, and stimulates him to his best work. While in London, and afterwards, Owens received flattering offers from several leading theatres in the provinces. These he declined, as he had already prolonged his absence from home far beyond the time allotted. Some weeks previous George Wood wrote reminding Owens of the offer for the following season at the " Broadway," New York, which had been made before his departure for England. Mr. Wood urged that fa- vorable consideration and an early reply be given to this offer ; and suggested opening in November with " Vic- tims" and "Solon Shingle." Mr. Owens accepted the offer conditionally, but declined to commence at so early a date ; naming January 8th as the time which would suit him. For this delay he had more than one reason. He desired to have a few days' relaxation at home ; and he was averse to reappearing in New York with insuf- ficient rehearsals. Moreover he intended, before playing Solon again, to reconstruct the piece. The English opinion of its flimsiness turned his thoughts to the advisability of introducing the same old Solon to the public with improved surroundings. Though not blindly swayed by criticism, Mr. Owens always gave it consideration; and was quite willing to acknowledge any imperfection pointed to, if it was apparent to him, and improvement suggested could be 136 MEMORIES OF made. His reflections on the play of Solon Shingle resulted in the creation of a three-act drama, entitled " Uncle Solon Shingle." This was formulated by Mr. Owens, Clifton Tayleure, and others; and finally re- vised by Mr. Owens. In November, 1865, Mr. Owens returned from Eng- land, having been absent six months instead of less than half that time, as originally intended. He proposed indulging in a home-rest on his farm until his presence was required in New York. But hosts of friends and admirers in Baltimore were so importunate for him to play in that city, that he consented to do so for a few nights. Opening in Caleb Plummer and Happiest Day of My Life, November 26th, he received a glowing wel- come. This appreciation continued for the entire two weeks, during which time he appeared in various char- acters. January 8th, 1866, Owens made his re-entree at the Broadway Theatre, New York, producing " Uncle Solon 8hiny/r." He was greeted with a hearty reception, the house being jammed, notwithstanding bitterly cold weather the coldest night ever known in that locality ; thermometer twenty degrees below zero. This chilliness di