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THE DRAMA IN UTAH 
 
 THE STORY OF THE 
 SALT LAKE THEATRI] 
 
 Digitized by the Internet Archive 
 
 in 2007 with funding from 
 i_ IVIicrosoft Corporation 
 
 Bv HORACE G. WHITNEY 
 
 PRICE TWENTY-FIVE GENTS 
 
 THK DESEREl NEWS 
 1 8 1 5 
 
 http://www.archive.org/details/dramainutahstoryOOwhitnch 
 
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 THE DRAMA IN UTAH 
 
 THE STORY OF 
 
 THE SALT LAKE 
 
 THEATRE 
 
 ill 
 
 By HORACE G. WHITNEY 
 
 Dramatic Editor of The Deseret Neius 
 
 THE DESERET NEWS 
 
 1915 
 
PREFACE 
 
 The main facts in this compilation were prepared 
 for an address dehvered before the Cleofan Society of 
 Salt Lake City on January 27, 1915, and printed in the 
 "Improvement Era" in four parts the same year. A 
 number of friends having suggested that the data gath- 
 ered, especially the names of those who took part in 
 early theatricals, the plays and the various dates given 
 were of sufficient importance to justify their being 
 preserved, it was decided to group the four parts of the 
 address and to issue them in the present form. If a 
 perusal of the narration affords but a small part of 
 the pleasure the author felt in preparing it, he will feel 
 more than repaid. 
 
 H. G. W. 
 
 ; i \n 
 
 
The Story of the Salt Lake Theatre 
 
 Part I 
 Nauvoo Days 
 
 AM ASKED to tell you the 
 story of the Salt Lake Thea- 
 tre. To perform that task in- 
 telligently, means that one 
 must hark back many a long 
 year prior to the date the first 
 
 ^^ spadeful of earth was turned, 
 or the first stone laid for the 
 historic structure. He must, 
 
 , in fact look into the pages of 
 the history of Nauvoo, that 
 
 THE HISTORIC SALT LAKE THEATRE onCC-famoUS city On the Mis- 
 
 ^"'piS ^o^tl^eiMfr'^STZT' ^is'^iPPi' built by the ''Mor- 
 
 mons," and where they laid 
 the foundations for much of the culture, social pleasure, and 
 entertainment, which years afterwards characterized the life 
 of the Utah pioneers. In Nauvoo, in the early forties, 
 music, both vocal and instrumental, flourished ; there were several 
 bands and choral societies, and many teachers and performers. 
 Schools were founded, and advanced classes studied Latin, Greek, 
 and Hebrew, and there, more than all, the drama was encouraged 
 and cultivated to a degree quite remarkable in a community so iso- 
 lated, and so far from the centers of wealth and population. 
 
 Joseph' Smith, T. A. Lyne and H. B. Clawson 
 
 Joseph Smith, the prophet, thought so highly of the mission 
 of the drama, that he formed a dramatic company in Nauvoo. 
 and among those who took part in some of the plays were Brig- 
 ham Young, Erastus Snow and George A. Smith. Thomas A. 
 Lyne, then a prominent tragedian of the east, came from Phil- 
 adelphia to play with the Nauvoo company. He became so 
 enamored of life among the people there, that he joined the 
 ''Mormon" faith, and for a time was a zealous expounder of its 
 
 920629 
 
THE DRAMA IN UTAH 
 
 tenets. The rock on which he foundered, however, was the call 
 to a foreign mission ; when that call came he faded away, to re- 
 appear among the people, as we shall see later, in a somewhat 
 romantic manner, after a silence of nearly twenty years. While 
 he lived in Nauvoo, however, he was vastly popular, and the 
 plays he produced, mostly tragedies, with himself in the leading 
 roles, never failed to draw enthusiastic audiences. 
 
 One day Joseph Smith brought to him a young man named 
 Hiram Clawson. ''Here's a boy," he said, ''who is clever at mim- 
 icry. I wish you would 
 give him a chance." 
 Lyne told the boy he 
 was then engaged on 
 "Pizzaro," and the 
 only position vacant 
 was that of the stage 
 hand who sat in the 
 flies and threw down 
 the fire from the heav- 
 ens at the proper cue. 
 Young Clawson eag- 
 erly accepted the task, 
 and thus began the 
 theatrical career 
 which ripened so fully 
 in Salt Lake, years 
 afterward. Brigham 
 Young played the High Priest in the same production, and the 
 long and intimate acquaintance between those two which there 
 had its beginning, and the taste for theatricals which took so deep 
 a root among the people from those performances, without doubt 
 were the first causes, the germs from whence sprang the wide- 
 spread interest in the drama among the Utah pioneers, and which 
 culminated in the building of the Salt Lake theatre, nearly twenty 
 years later. 
 
 The Earliest Plays and Players 
 
 In many of his moves, Brigham Young has been compared 
 to Napoleon. He was never more Napoleonic than when, in 
 1846, on the banks of the Missouri River, after the exodus from 
 Nauvoo, he laid out his plans for the great westward march to the 
 Rockies, or perhaps to the Californias. Napoleon paused on the i 
 banks of the Vistula, as he prepared for the invasion of Russia, ( 
 to receive couriers from Paris, telling him what plays and operas 
 were being produced, and to forward his instructions to the play- 
 ers and managers, with the programs they should present during 
 his absence. Even so, Brigham Young, with far-seeing eye, made 
 
 HIRAM B. CLAWSON AND JOHN T. CAINE 
 First Managers of the Salt Lake Theatre 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 out his programs for the social hfe, employment, and entertain- 
 ment of his people before he knew where their future home was 
 to be. The schools, music, the press, and the drama were alike pro- 
 vided for, and the pioneers were no sooner located than those fou-r 
 great civilizing agencies, whose roots had been carefully taken up 
 from the soil of Nauvoo, and tenderly nurtured in the great mi- 
 gration across the plains, were transplanted amid the more con- 
 genial soils of 'The Valley," where they blossomed and shed their 
 fragrance on "wide neighborhoods of men." 
 
 The famous Nauvoo brass band, under Captain William Pitt, 
 ministering angels to the souls of the pioneers, was never allowed 
 to lapse ; the Nauvoo choirs be- 
 came the Tabernacle choir; the 
 University of Deseret began its 
 operations as soon as the crops 
 could be planted and shelter pro- 
 vided ; the first issue of the Des- 
 eret News was printed in June, 
 1850, not three years after the 
 first body of pioneers arrived, 
 and in the same year the first play 
 ever produced in the intermoun- 
 tain region, if not in all the west, 
 was given in the"Bowery,"an ed- 
 ifice made half of lumber, half of 
 boughs, located on the Temple 
 block, and in which the religious 
 assemblies of the people were 
 also held. "Robert Macaire" was 
 the play chosen, and naturally we 
 find the name of Hiram B. Claw- 
 son prominent in the cast. Who 
 can doubt that the revival of the 
 
 drama amid such surroundings was largely the result of the ex- 
 periences of Brigham Young and Hiram B. Clawson, in Nauvoo, 
 yeai-s before? Would that we had preserved to us, some of the 
 details of those "Bowery" performances, the rehearsals, the casts, 
 the means by which plays, costumes, lights and the thousand and 
 one adjuncts of a theatre, were procured. 
 
 Two years later, 1852-3, saw the opening of the Social Hall, 
 then the marvel of the time, with H. B. Clawson again in the 
 front, now reinforced by other talented players. For ten years 
 the Social Hall was the center of the social, musical and theatrical 
 life of the pioneers. Then Brigham Young saw that the commu- 
 nity was outgrowing it, and as it began to be monopolized, more 
 and more, as a place of dancing, he turned his thoughts to the 
 erection of a more ambitious and permanent temple of the drama. 
 
 THOMAS A. LYNE 
 
 ■First Trainer of Our Pioneer Actors, Nau- 
 voo, 1842, Utah, 1863 
 
THE DRAMA IN UTAH 
 
 The Margetts-Bowring Company. 
 
 The late Phil Margetts, who took part with H. B. Clawson in 
 ^'Robert Macaire," and all the later plays that followed in the 
 ''Bowery" and the Social Hall, was always fond of claiming that 
 he was largely instrumental in causing President Young to reach 
 his decision to build the Salt Lake Theatre. He and Henry Bow- 
 ring, with a number of associates, organized the Mechanics Dra- 
 matic Association, an offshoot of the Social Hall company. They 
 gave a number of performances in *'Bowring's" theatre, located 
 on East First South, in the Twelfth-Thirteenth Ward. Presi- 
 dent Young attended the performances there, and was so well 
 pleased that he took steps to bring the two companies together, 
 and he then promised them a real theatre, worthy of their talents. 
 
 In. the Mechanics 
 Company were in- 
 cluded the followinij;- : 
 Phil Margetts, Henry 
 McEwan, J.A.Thomp- 
 son, Joseph Barker, 
 John B. Kelley, John 
 Chambers, Jos. Bull, 
 Pat Lynch, William 
 Wright, William Poul- 
 ter, William Price, 
 Henry E. Bowring, 
 Mrs. Marian Bowring, 
 Mrs. Bull, Mrs. Mc- 
 Ewan, Elizabeth Tul- 
 lidge, and Ellen Bow- 
 ring. The perform- 
 ance referred to by 
 Phil Margetts occurred in the winter of 1860. In 1861 the exca- 
 vation for the new building was commenced on "the Reynolds- 
 Cahoon corner," First South and State Streets. 
 
 Theatre Built With Speed 
 
 President Young, as usual, allowed no grass to grow under 
 his feet. I searched the files of the Deseret Nezvs, for 1861, and 
 found that in October of that year, it was stated the walls of the 
 "new theatre" were completed on the afternoon of October 22. 
 On Christmas day, 1861, the Nezvs said the roof was on the build- 
 ing, and a few weeks more would make it ready for use. In a 
 speech before the curtain, on Christmas night, 1862, the stage 
 manager, John T. Caine, said that the work on the building had 
 begun in July, 1861, and up to Christmas, 1862, he said the cost 
 was $100,000. This is the first mention I ever remember to hav<^ 
 
 
 M 
 
 HENRY BOWRING AND PHIL MARGETTS 
 Twin Comedians of the Salt Lake Stage 
 
THE STORY OF THE SALT LAKE THEATRE 7 
 
 seen of the cost of the original structure. He said, however, it was 
 still far from completion. 
 
 I have often heard that the center of interest with Salt Lake's 
 population, in the winter of 1861, alternated between two points: 
 ( 1 ) the wall in front of the Deseret News, whereon were posted 
 bulletins of the great Civil War, then raging, and (2) the mam- 
 moth structure going up two blocks away, the long awaited "new- 
 theatre," so-called in contradistinction to the Social Hall, which 
 was generally styled the "old" theatre. 
 
 The Theatre's First Night 
 
 We can but faintly imagine the gratification that must have 
 filled the breast of Brigham Young, as he sat upon the stage that 
 first night of the great playhouse, and gazed upon the audience 
 which had responded to his invitation. That event has been so 
 often narrated, and written about, and was so recently celebrated 
 by a week of festivities (in March, 1912, when its fiftieth anni- 
 versary was observed), that I shall only refer to it briefly. The 
 house held then about what it does now, 1200 to 1500, and the 
 demand for accommodations was so great that two nights were 
 set apart, Thursday, March 6, and Saturday, March 8, 1862. The 
 dedication occurred the first night, the attendance being by invita- 
 tion, the guests being Church officials, and the men who worked 
 on the building, and their families. William H. Folsom, the arch- 
 itect, also had a place of honor. 
 
 The following is a copy of the invitation issued by President 
 Brigham Young, for the opening night : 
 
 Mr and familv are respectfully invited to 
 
 be present at the dedication of the New Theatre, on Thursday evening, 
 March 6, 1862, at 6 o'clock. 
 
 "Brigham Young, 
 "P. S. — Children under four years of age not admitted. As the 
 house is not finished, care should be taken to come warmly clothed. 
 
 "This ticket must be presented at the door of the Theatre. 
 "Great Salt Lake City, 
 "Feb. 28, 1862." 
 
 The dedication exercises consisted of addresses by Presidents 
 Brigham Young, Heber C. Kimball, and Elder John Taylor. The 
 dedicatory prayer, a long and eloquent one, was given by Presi- 
 dent Daniel H. Wells. A large choir and orchestra, under Prof. 
 C. J. Thomas, furnished several selections, one of them an anthem, 
 the words by Eliza R. Snow, the music by Prof. C. J. Thomas, 
 composed for the occasion ; W. C. Dunbar ( another name famous 
 in our amusement annals) sang 'The Star-spangled Banner;" he 
 and Agnes Lynch sang the solo parts in the anthem. A song by 
 John Taylor and C. J. Thomas was also rendered by W. C. Dunbar 
 during the evening. 
 
8 THE DRAMA IN UTAH 
 
 The play, "The Pride of the Market," followed, after which 
 dancing by the company concluded the entertainment. 
 
 The second night, Saturday, March 8, saw the first paid per- 
 formance. It began at 7 o'clock, and the crowds commenced to as- 
 semble at 5. Hundreds were turned away from the door, and all 
 the standing room was occupied. The prices charged were, par- 
 quet and first circle, 75 cents ; upper galleries, 50 cents. "The 
 Pride of the Market" was repeated^ followed by "State Secrets," 
 and between the two, W. C. Dunbar sang a comic song, "Bob- 
 bing Round." H. B. Clawson and John T. Caine were joint man- 
 agers, and their connection with the house continued many years 
 thereafter. 
 
 Two Disputed Points Settled 
 
 It may be interesting if we settle here an oft-dispr.ted ques- 
 tion, whether or not there was any dramatic performance on the 
 opening night, or whether the entire evening was occupied by the 
 dedicatory exercises. The memory of the old timers, and some 
 printed records, are greatly at variance on this point, but it may 
 be taken as certain that "The Pride of the Market" formed part 
 of the exercises on the opening night, Thursday, March 6. The 
 late Mrs. M. G. Clawson, says she remembered it very well, be- 
 cause she sat shivering in the wings, in a character costume, 
 through Squire Wells' very extended prayer. She is corrobo- 
 rated by the diary of the late George Goddard, who wrote as fol- 
 lows: 
 
 "Thursday, March 6, 1862, at 6 p. m., the new theatre was dedi- 
 cated, after which a new play was performed; Eliza and Mary [his 
 daughters] took part as French peasant girls." 
 
 In passing, it may be said that there is a similar confusion re- 
 garding the play which opened the Social Hall, in 1853. Some 
 accounts give it as "The Lady of Lyons," others as "Pizzaro." 
 The diary of the late James Ferguson, now in the possesion of his 
 daughter, Mrs. Mary Ferguson Keith, says that "Don Caesar 
 de Bazan" was the bill. 
 
 A Roll of Honor 
 
 That rare old roll of honor, made up of the names of those 
 who took part in the first two plays at the Salt Lake Theatre, is as 
 follows: John T. Caine, Henry Maiben, Jos. Simmons, R. H. 
 Parker, David McKenzie, H. B. Clawson, S. D. Sirrine, R. Mat- 
 thews, Henry Snell, John B. Kelly, Mrs. Woodmansee, Mrs. Mar- 
 garet G. Clawson, W. C. Dunbar, H. E. Bowring, W. H. Miles, 
 Phil Margetts, Mrs. Bowring, and Miss Maggie Thomas. They 
 are well worth preserving in the memories of everyone interested 
 in the history of pioneer theatricals in the state, and the story of 
 the Salt Lake Theatre. The Maggie Thomas of those days is now 
 
TIIR STORY OF Till': SALT LAKE THEATRE 9 
 
 Mrs. Margaret Romney, President of the Relief Societies of En- 
 sign stake. She is the sole survivor of that list of players. Her 
 hrother, C. J. Thomas, led the orchestra that night. He also sur- 
 vives, but is in quite feeble health. When the fiftieth anniversary^ 
 of the opening of the house was celebrated, in 1912, both were 
 present, as were H. B. Clawson, Phil Margetts, David McKenzie, 
 Geo. M. Ottinger, the first scene painter, and Charles Millard, the 
 first property man. Of the last named five, only Messrs. Ottinger 
 and Millard are surviving. 
 
 The company played fifteen times, that month and the next, 
 and it may be imagined reaped a golden harvest at Conference, 
 April, 1862, when country visitors had their first opportunity to 
 enter the new building. Operations were then suspended. The 
 interior work was again taken up, and on Christmas eve, Decem- 
 ber 24, 1862, the house was re-opened for another big social func-- 
 tion. Church officials and members of the Legislature, with their 
 families, responding to the invitation of President Young. No 
 dramatic entertainment was given that night. The Tabernacle 
 choir sang, and addresses were delivered by President Young, 
 John Taylor, Orson Hyde, Amasa M, Lyman, and George A. 
 Smith, J. D. T. McAllister gave a song, and Mrs. Clara Stenhouse 
 rendered ''The Cottage by the Sea," the remainder of the evening 
 being passed in dancing. 
 
 Next night, Christmas, 1862, there was a grand dramatic per- 
 formance, at which 'The Honeymoon" and "Paddy Miles' Boy" 
 were rendered. Between the acts a patriotic poem by T. A. Lyne 
 was recited by John R. Clawson. The editor of the Nezvs, Judge 
 Elias Smith, gave the performance a front page position, and as a 
 prelude to the program, with remarkable foresight, he said : "As 
 a matter of local history, which may be looked for by the genera- 
 tion to come, as well as of interest on the stage of life, we publish 
 the opening bill in full." Then followed the complete cast and 
 the poem referred to. 
 
 H. B. Clawson's Surprise 
 
 Manager Clawson delighted in nothing so much as spring- 
 ing surprises. One of these was the announcement that T. A. 
 Lyne, the^pioneer actor in Nauvoo days, twenty years before, was 
 in Denver, and would soon be in the midst of the Deseret players. 
 Encouraged by President Young and Manager Clawson, Lyne 
 came by stage from Denver, and very hearty was the greeting be- 
 tween him and the boy he had placed in the flies, to throw down 
 the fire from the heavens in the Nauvoo performance. Lyne was 
 at once engaged to coach the local players, but he was not long 
 content to remain in that capacity. In 1863, we find him playing 
 in rapid succession such dramas as "Damon and Pythias," "Riche- 
 lieu." "Othello." "Richard TTT." "William Tell." "A New Wai- to 
 
10 THE DRAMA IN UTAH 
 
 Pay Old Debts," and the always favorite "Pizzaro." He could 
 no longer call on Brigham Young for the high priest, in the latter 
 play, but he secured another, who later rose to a high Church po- 
 sition, George Teasdale. President Young's only objection to the 
 Lyne plays was that they ran too greatly to the tragic, and he 
 used to say that the people had known tragedy enough in their 
 lives, and he would like the theatre offerings to run more to com- 
 edies. Under the influence of Mr. Lyne's fine renditions, how- 
 ever, he gradually relented, and finally came to allow his own 
 daughter, Alice, to play Virginia, the maid who was killed by her 
 own father, Virginius, to save her from the Roman tyrant. Alice 
 Young later married Manager Clawson, and became the mother 
 of the noted artist, J. W. Clawson. 
 
 The names of those with whom Mr. Lyne worked, with some 
 others who joined the company later (in addition to the first night 
 players already named) were as follows: James Ferguson, Ber- 
 nard Snow, John S. Lindsay, John C. Graham, J. M. Hardie, Nel- 
 lie Colebrook, Mrs. Gibson, Henry Maiben, J. A. Thompson, John 
 R. Clawson, Horace K. Whitney, R. H. Parker, George M. Ottin- 
 ger, C. R. Savage, Joseph Bull, D. J. Mcintosh, Henry McEwan, 
 John B. Kelly, Richard Matthews, J. E. Evans, John D. T. Mc- 
 Allister, and Sara Alexander. On July 25, 1865, Annie Asenath 
 Adams made her first appearance. She and David McKenzie 
 played the leading roles for years, and later she became famed as 
 the mother of Maude Adams. 
 
Part II 
 A Complete Theatre 
 
 It is doubtful whether in all the annals of the drama, a more 
 unique condition could be found than that which existed in the 
 ''Mormon" playhouse, when T. A. Lyne arrived in Salt Lake. It 
 was eight years before the advent of the railroad, and the theatre 
 had been built entirely of timbers from the mountains, native 
 stone, and adobes. Yet all the appointments of the house (ex- 
 cept the seats, which were wooden benches) were as complete as 
 those in the large eastern cities. Artists like Ottinger and Mor- 
 ris, provided scenery for all the plays. A large wardrobe for 
 ancient and modern dramas was kept on hand in charge of Robert 
 Neslen, C. Give, Mrs. Maiben and Mrs. Bowring; a small army 
 of supers could be clothed in fashion historically correct at any 
 time. John Squires, wig maker and barber, saw that every char- 
 acter in the "dress" plays, was provided with suitable headgear 
 before he or she stepped upon the stage ; a captain of supers was 
 responsible for the appearance of his men whether they were 
 Indians, courtiers, slaves, or the army of Richard III. Harry 
 Horsley, the veteran street car conductor of today, won his first 
 spurs as super captain, and later became locally famous as the 
 waiter who bore the baby Maude Adams across the stage upon 
 a platter ; the fine old greenroom, then the place where the actors 
 met to receive their parts from the stately stage manager and 
 occasional player, John T. Caine (now the dressing room of 
 visiting stars) contained a huge mirror, where each character sur- 
 veyed himself or herself just prior to venturing before the audi- 
 ence, and where fellow players passed judgment upon the cos- 
 tumes, and "makeups ;" Charlie Millard, most ingenious of prop- 
 erty men, could tumi out anything from a throne to a mouse trap, 
 and mantifactured all the fire works, lightnings and thunders 
 that any demon required, while William Derr, in charge of the 
 lighting, though limited to coal oil lamps, produced some illumin- 
 ations of which the house had no reason to feel ashamed. As for 
 music, there was an orchestra of twenty, and when choral effects 
 were desired, as in "Macbeth," the whole strength of the taber- 
 nacle choir could be called on. In fact, Mr. Lyne, fresh from a 
 chain of eastern theatres, was wont to say that nowhere outside 
 of the houses of the great populous cities, and in but few of them, 
 was there such completeness of stage appointments, scenery and 
 
12 THE DRAMA IN UTAH 
 
 accessories as were found in Brigham Young's theatre, in the 
 heart of the Rockies, in 1862. 
 
 * 
 
 .Lambourne on ''The Playhouse " 
 
 Alfred Lambourne, the poet-artist, succeeded Ottinger as 
 scene painter of the house. In his poetic work, A Playhouse, 
 speaking of conditions at the Salt Lake Theatre in those early 
 days, Lambourne says : 
 
 'Tn my mind's eye, I do not see the Playhouse, as it now is, 
 overlooked by buildings higher than itself, but as the structure 
 was when its bulk entirely dominated all that was around it. How 
 calmly imposing it used to appear, how grandly massive it showed 
 in the twilight, or when the moonlight was falling on its white 
 walls! I, for one, could not go from home to the Playhouse, 
 without passing through and inhaling the odor of the Artemisia 
 and the sunflower. That odor is mixed up in my mind with the 
 first seeing of many a great play. But how can I bring back to 
 your understanding those times? How suggest the indefinable 
 something that then existed — out amid the semi-solitude, the iso- 
 lation? How am I to recall the humorous earnestness, the fine- 
 ness or roughness of fibre, the pathetic side, the laughing deter- 
 mination of religious pioneer life as associated with a theatre? 
 Yet such are all mixed up again, with my memories of the Play- 
 house. 
 
 "Swing a circle around the Playhouse — I mean as it was in 
 those early days: swing a circle of hundreds, of thousands of 
 miles, and how unique it was ! Men who assisted in the building 
 of that theatre acted upon its stage. That was the strong time 
 of the legitimate drama. Even the people in the isolated west 
 became connoisseurs. In this particular Playhouse, people would 
 go to performances, not to see a new play, but to see some new 
 actor or actress in the old parts. Each star, man or woman, as 
 they stepped upon the boards, was tested by the acting of those 
 who had gone before. 'Damon and Pythias,' Tizzaro,' 'Vir- 
 ginius,' The Duke's Motto,' 'The Man with the Iron Mask,' 
 and the like plays, not to mention those of the Bard of Avon, 
 were those in which the newcomers were held to the lines. How 
 many times, in that Playhouse, did I not see Shakespeare's mas- 
 terpiece ? How many actors did I not see play Hamlet ? Paunce- 
 fort, Lyne, Adams, Kean, McCullough, Davenport, Miss Evans, 
 Chaplin, Barrett, Booth — that is not half. 
 
 "The greater number of actors and actresses who belonged 
 to the regular stock company of the Playhouse, and who support- 
 ed the stars, had crossed the plains and mountains in ox or mule 
 trains, and on "2, I believe, in a hand-cart company. And who 
 
THE STORY OF THE SALT LAKE THEATRE 13 
 
 were their critics? Men and women who had done the same. 
 There was a pecuHar sympathy between those who acted upon 
 the stage, and those who comprised their audience. Many a man 
 who watched the play at night, had done the roughest of pioneer 
 work during the day. Perhaps he had "grubbed sage" for an 
 order for a theatre-ticket; perhaps he had toiled in the fields, 
 irrigated an orchard, or dug on a water ditch. Perhaps he helped at 
 building a saw-mill, or at blazing a trail up to the mountain pines. 
 It may be that he had brought down a load of logs and stood 
 thereafter, for many hours in rain or shine, in the wood-yard op- 
 posite the Playhouse, until he sold that load of fire-wood, and 
 the pay that he received for it might have partly been used for 
 his theatre admission fee. There was, indeed, a strange bond ex- 
 isting between the stage and the auditorium. All were friends ; 
 they would meet in daily labor, they would dance together, they 
 might bear 'their testimony' in the same meetinghouse, or listen 
 to the same sermon on the coming Sunday. Every actor was a 
 'Brother ;' every actress was a 'Sister.' Their salaries were partly 
 paid in that which had been received by the Church as religious 
 tithes. The man who guffawed at the comedian might talk with 
 him on the morrow, whilst he chiseled granite on the Temple 
 Square. Another who watched the tragedian might visit him dur- 
 ing the coming week in the capacity of a 'Teacher.' Those who 
 sympathized with the hero and heroine of the play, might soon 
 meet them in social intercourse of a 'Surprise Party,' and they 
 might tell how they 'Crossed the Plains' in the same 'company.' 
 All were one big family, Thespians and audiences, performers 
 and watchers. And more than this, each and every actor was 
 liable to be 'Called on a Mission' to Europe or to 'the States.' 
 Again, each and every actor was liable to become a Church official, 
 and each and every one of the actresses to become a worker in 
 the 'Relief Society.' On the morrow, perhaps, all would look with 
 the same emotions on the great, watchful mountains, and take a 
 like interest in the planting of trees and vines, or, it may be, the 
 setting out of a flower garden. All were alike interested in bring- 
 ing about that miracle — when the desert should blossom as the 
 rose. 
 
 "Do you think I put it too strongly, my friend? Not in the 
 least. Certain of these facts justify me in the claim that this 
 Playhouse and that theatrical organization were unmatched by 
 any other in the world." 
 
 A Notable Decade 
 
 Over fifty years have passed since those days, and every one 
 of the five decades has been crowded with events of interest. In- 
 deed, the history of the Salt Lake Theatre during those five 
 
14 
 
 THE DRAMA IN UTAH 
 
 periods is a huge part of the history of the drama and music, and 
 much of the social uplift of Utah for the past half century. Most 
 of you here present, are familiar with the record of the theatre 
 for the past twenty or twenty-five years. In that time it has had 
 visits from many of the world's notables, who have left some 
 brilHant pages in the history of the house, but to my mind the 
 most interesting period since the doors of the famous structure 
 were opened, was the first decade, between the '60s and early 70s. 
 
 when the community was passing 
 through its formative period — 
 when the crude material assembled by 
 the pioneers first began to come in con- 
 tact with actors and actresses from 
 abroad, and when the foundations were 
 laid for the dramatic and musical cul- 
 ture which radiated from the players 
 in the Salt Lake Theatre, and formed 
 the basis of the taste and appreciation 
 so widespread throughout the state to- 
 day. As the fame of the "Mormon" 
 theatre extended, some of the fore- 
 most artists of America turned their 
 steps in this direction and tarried for 
 long periods. The first, as already 
 narrated, was T. A. Lyne, who came 
 at the age of 56, remained several 
 years, departed on several starring 
 tours, but came back from time to time, finally settling here, and 
 dying at an advanced age. 
 
 SELDEN IRWIN 
 
 One of the earliest foreign stars 
 to visit Salt Lake. 
 
 Mr. and Mrs. Irwin 
 
 Next came Mr. and Mrs. Selden Irwin, in 1863. The plays 
 they produced were generally along the lines of comedy and ro- 
 mance — a relief from the somewhat ponderous tragedies presented 
 by Lyne. In his speech before the curtain, Christmas, 1862, John 
 T. Caine impressed upon the audience that the players were not 
 professionals, simply amateurs, but after Irwin's engagement, it 
 was generally voted that most of the leading players, were entitled 
 to a place in professional ranks. The advance of John T. Caine 
 and David McKenzie was especially noticeable. The Irwins re- 
 mained in Salt Lake about six months, closing at the April con- 
 ference, in 1864, and returning two years later. The friendship 
 between the Clawsons and Irwins was so pronounced that one of 
 IT. ^^Clawson's sons was named Selden Irwin, after the actor, and 
 youjig Mr. tlawson, |.Qj)erpetuate the old bonds of friendship, 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 15 
 
 named his eldest son Irwin. Mrs. Selden I. Clawson is one of the 
 prominent members of your association. 
 
 The Scholarly Pauncefort ~ ~ 
 
 In the middle of 1864, came an artist who probably exerted 
 the strongest influence for refinement in art and modern methods 
 of any other artist of those days — 
 George Pauncefort, a scholarly and 
 polished actor, who had acquired con- 
 siderable fame on the London stage. 
 He was the original Armand Duval, 
 in "Camille," when Matilda Heron 
 first produced that play in New York. 
 He came from Denver to Salt Lake 
 by stage, accompanied by a co-star, 
 Mrs Florence Bell. His opening bill 
 July 20, 1864, was "The Romance 
 of a Poor Young Man," which caused 
 a sensation. Under his direction, David 
 McKenzie made a strong success in 
 the part of the old doctor, and six- 
 teen years later, when the Home Dra- 
 matic Club was casting about for a 
 play in which to make its bow to the 
 pubhc, Mr. McKenzie suggested "The 
 Romance of a Poor Young Man," and 
 he coached Bishop Whitney in his orig- 
 inal role. 
 
 Lyne and Pauncefort played a num- 
 ber of memorable performances to- 
 gether. It was during Pauncefort's 
 stay that "Hamlet" and "Macbeth" 
 were first produced at the Salt Lake 
 theatre, stellar attractions which our 
 
 mothers and fathers rewarded with some tremendous audiences. 
 The first performance of "Hamlet" was justly deemed so im- 
 portant an event, that the News featured the cast. The date was 
 August 10, 1864, and the players were as follows : 
 
 Hamlet Mr. Pauncefort 
 
 King John Lindsay 
 
 Polonius ■ David McKenzie 
 
 Laertes John T. Caine 
 
 Horatio Joseph Simmons 
 
 Marcellus . .' . H. K. Whitney 
 
 Francisco E. G. Woolley 
 
 GEORGE PAUNCEFORT 
 
 The scholarly actor, who exer 
 cised a great influence on 
 Salt Lake's pioneer players 
 
16 THE DRAMA IN UTAH 
 
 First Actor Geor^^e Teasdale 
 
 Ophelia Mrs. Florence Bell 
 
 Queen Mrs. Gibson 
 
 Player Queen Sara Alexander 
 
 Margetts and Dunbar appeared in their inimitable roles of 
 the two grave diggers, and John R. Clawson and Henry Maiben 
 had lesser parts. 
 
 The old green room of the Salt Lake Theatre is hoary with 
 legends and anecdotes of the old days. - One of them which has 
 come down through a generation of stage hands, pertains to 
 George Pauncefort. In the production of "Macbeth" given under 
 his direction, it was featured by bringing in one hundred voices 
 from the Tabernacle choir to do proper justice to the Witches' 
 Chorus. A weird and fantastic group they made in their dis- 
 guises, and the fine old strains of Locke's music had a ringing 
 rendition. 
 
 The leader of the orchestra had been rehearsing his chorus 
 and musicians in a separate hall, and the night before the produc- 
 tion, they all came together for a dress rehearsal on the stage. 
 The leader invited Mr. Pauncefort to sit in front of the house, while 
 the witches scene was on, asking him to observe the effect, giving 
 special attention to the echoes, a quartet of witches stationed far 
 off in the flies, who echoed the strains of the chorus on the stage. 
 The leader said his "echo quartet" had just arrived from Eng- 
 land, and were said to have fine voices. Mr. Pauncefort seated 
 himself, and the work began. The great chorus sang the music 
 and came to the strains : 
 
 "To the Echo, to the Echo." 
 
 Back from the flies came the faint but distinct call : 
 
 "To the Hecho, to the Hecho." 
 
 "The chorus proceeded: 
 
 "To the Echo of a Hollow Hill," and the faithful echo re- 
 sponded: 
 
 "To the Hecho of an 'Ollow Til." 
 
 History does not record the denoument, but it is likely that 
 Mr. Pauncefort suggested an echo quartet selected from the 
 American section of the weird sisters. 
 
 Pauncefort settled in Japan and died there a few years ago, at 
 an advanced age. 
 
 Julia Dean Hayne 
 
 Following Pauncefort came the most brilliant star that ever 
 illuminated the western theatrical horizon, Julia Dean Hayne, who 
 played in 1865 and 1866. She was an actress who in her youth 
 had been the sweetheart of Joe Jefferson, and in his famous 
 Memoirs, he says he preferred her Juliet to that of Mary An- 
 
TIU«: STORY OF THE SALT LAKI-: THEATRli 
 
 17 
 
 derson. She came with a traveling company, headed by George 
 B. Waldron, another eminent actor, who died years ago, but 
 whose son has lately made a success in New York in the role of 
 Daddy Longlegs, recently played here by Henry Miller. Julia, 
 Dean Hayne was fairly worshiped in Salt Lake, and the members 
 of the Deseret Dramatic Association, male and female, looked 
 upon playing with her as a privilege and a liberal education. Her 
 leading parts were Camille, Lady Macbeth, Leah the Forsaken, 
 Parthenia in *'Ingomar," Julia in *The Hunchback," Lucretia 
 Borgia, Medea, Marco in 'The Marble Heart," Lady Teazle, Peg 
 Woffington, and Pauline in "The Lady of Lyons." E. L. Sloan, 
 editor of the Salt Lake Herald, wrote an Indian play for her, 
 
 THREE PICTURES OF JULIA DEAN IIAYNE 
 
 On tlie left, from a photograph presented by her to the late Phil Margetts; center, a 
 
 youthful picture in the possession of William Naylor; right, from a 
 
 picture presented by Mrs. Hayne to President Brigham Young. 
 
 called "Osceola," and E. W. Tullidge, the historian, wrote a 
 drama entitled "Eleanor DeVere." As a sort of diversion, she 
 produced "Aladdin, or The Wonderful Lamp," and "The Forty 
 Thieves," all the music for which was composed by Prof. George 
 Careless, ^then leader of the orchestra. 
 
 It might be a matter of astonishment to us that Mrs. Hayne, 
 then at the height of her fame, should have tarried in Salt Lake 
 ten months, did we not know that it was here that she met the 
 gentleman who became her second husband, James G. Cooper, 
 then secretary of the Territory. They were married and went 
 east, where, two years later, the great actress died, and was buried 
 in Port Jervis, New York ; her grave was unmarked until lately, 
 when her niece, Julia Dean, a Salt Lake girl, and today a prom-, 
 inent actress, had her resting place sought out, and erected over it 
 a handsome headstone. 
 
18 THE DRAMA IN UTAH 
 
 Many here will remember that President Young, who was 
 one of the great actress' friends, had a huge sleigh built, and 
 named it "The Julia Dean;" for many years drawn by six 
 horses, and filled with sleighing parties, it was one of the sights 
 on the streets of our city. It is worth noting that Miss A. A. 
 Adams, made her first appearance on the stage of the Salt Lake 
 Theatre, the same day that Julia Dean Hayne arrived in the city, 
 July 25, 1865, and her frequent appearances with that great ac- 
 tress did much to shape her after career. 
 
 Mrs. Hayne s Farewell 
 
 The last appearance in Salt Lake of Julia Dean Hayne was 
 a memorable event. It took place July 4, 1866, and the play was 
 "The Pope of Rome." The house was packed, and President 
 Brigham Young occupied a prominent place in the audience when 
 the fair actress, being called before the curtain, made the follow- 
 ing graceful speech : 
 
 "Ladies and Gentlemen: It is but seldom I lose the artist in 
 the woman or permit a personal feeling to mingle with my public 
 duties ; yet, perhaps, in now taking leave, I may be pardoned if 
 I essay to speak of obligations which are lasting. If, during my 
 lengthened stay within your midst, some trials have beset my 
 path, many kindnesses have cheered the way, the shafts of malice 
 have fallen powerless, and the evil words of falser hearts have 
 wasted as the air. And perhaps in teaching me how sweet the 
 gratitude I owe these friends, I should almost thank the ma- 
 lignancy which called their kindness forth. For such, believe me. 
 memory holds a sacred chamber where no meaner emotion can 
 intrude. 
 
 *'To President Young, for very many courtesies to a stranger, 
 alone and unprotected, I return these thanks which are hallowed 
 by their earnestness ; and I trust he will permit me, in the name 
 of my art, to speak my high appreciation of the order and beauty 
 that reigns throughout this house. 
 
 "I would the same purity prevailed in every temple for the 
 drama's teachings. Then, indeed, the grand object would be 
 achieved and it would become a school 
 
 " 'To wake the soul by tender strokes of art, 
 To raise the genius and to mend the heart.' 
 
 "But I Speak too long and pause — perhaps, before the last 
 farewell, 
 
 '' *A word that has been and must be, 
 A sound which makes us linger, 
 Yet, Farewell.' " 
 
THE STORY OF THE SALT LAKE THEATRE 19 
 
 It was at that time that the gifted Utah poetess, Sarah 
 Carmichael, whose offerings appeared regularly in the Deseret 
 News, inscribed the following beautiful lines to Mrs. Hayne : 
 
 "jULIA DEAN HAYNE 
 
 "A form of sculptured beauty; 
 
 A deep, magnetic face, 
 That draws the gazer's worship 
 
 To its intense embrace; 
 Her beauty presses on the heart. 
 
 Yet shines above it far 
 
 "With a strange polar Lister, 
 
 Exquisite woman's star 
 Her beauty hath a splendid stress 
 
 That words cannot explain, 
 Expression swoons in its caress — 
 
 Julia Dean Hayne. 
 
 "A still repose of motion, 
 
 An animate repose; 
 Expressive power of silence, 
 
 No language can disclose; 
 Her lip, with languid motion, turns 
 
 Each leaf in feeling's book; 
 
 "Her voice can picture all things, but 
 
 Her eloquence of look. 
 A warm pulse in the world's great heart, 
 
 She thrills its every vein; 
 And bids its tear-drops stay or start — 
 
 Julia Dean Hayne." 
 
 Couldock mid Other Stars 
 
 Other foreign stars who appeared in that first decade, all of 
 whom exercised a strong influence on the Deseret players, were 
 A. R. Phelps, C. W. Couldock and his daughter Eliza. Couldock 
 was one of the famous players of the day, and his presentation of 
 "The Willow Copse," the play from which "Hazel Kirke" was 
 produced years after, is a vivid remembrance with old time theatre- 
 goers. He also brought out "Rosedale," playing the role of Miles 
 McKenna, the gypsy, in rare fashion. Couldock and his daughter 
 played several engagements here, and during one, in the rniddle 
 '60s, she died, and was buried in the Mt. Olivet cemetery. Coul- 
 dock also appeared in Salt Lake several times in later years, one 
 notable engagement being with the Home Dramatic Club, in 1890, 
 
20 
 
 THE DRAMA IN UTAH 
 
 when he revived "Hazel Kirke" to im- 
 mense business. He never failed to 
 visit the resting place of his daughter 
 when he passed through Salt Lake. 
 
 Couldock was long known as the 
 "grand old man of the stage," and his 
 two farewells in New York were red 
 letter events. In one, in 1887, Booth, 
 Barrett, Fanny Davenport, Joe Jeffer- 
 son and Mrs. John Drew appeared. In 
 another, in 1895, Joe Jefferson, Nat 
 Goodwin, Tom Keene, W. H. Crane, 
 Kyrle Bellew, Henry Miller, DeWolf 
 Hopper, Viola Allen and Mrs. John 
 Drew gave a performance of "The 
 Rivals," the receipts of which were 
 sufficient to guarantee him an income 
 of $1200 a year as long as he lived. He 
 died in 1898, at the age of 84. 
 
 Another of our "green room leg- 
 ends" illustrates the autocratic manner and irascible temper for 
 which Couldock was noted. He was, in fact, a veritable terror 
 to the stage hands when anything went wrong. W. C. Spence, 
 of the Church office, who filled minor roles in the Couldock days, 
 is authority for the following: 
 
 They were playing "The Willow Copse," and the leader of 
 the orchestra should have played a plaintive, melancholy air, to 
 mark the entrance of Couldock, who was carried in on a 
 stretcher. Through some mischance, the wrong cue was given, 
 and the leader struck up a lively jig. The old man delivered his 
 lines, but could be heard fuming and swearing under his breath. 
 The curtain had no sooner descended than he leaped to his feet, 
 tore down to the prompt stand, pushed aside the curtain, and 
 pushing his head out, shouted to the leader of the orchestra, 
 
 "Blast your eyes. Professor — ■ , if I had a brick bat, Fd let 
 
 you have it on the head." The astonishment of the audience 
 and the discomfiture of the leader may well be imagined. 
 
 C. W. COULDOCK 
 
 The "grand old man of the 
 American stage," as he ap- 
 peared in "Hazel Kirke." 
 
 Davenport an4 Sara Alexander 
 
 Amy Stone and her husband, who gave us our first glimpse 
 of such plays as "Wept of the Wishton Wish," "Fanchon the 
 Cricket," and "The Pearl of Savoy," came in 1867-68. James 
 Stark, who brought out "Money," "Victorine," "Brutus" or "The 
 Fall of Tarquin," came in the same year. Mme. Scheller was an- 
 other popular star, and during her engagement. Salt Lake first 
 
THK STORY OF THE SALT LAKE THEATRE 
 
 21 
 
 beheld ''Under the Gaslight," in which Phil Margetts as Byke, 
 Mrs. M. G. Clawson as Judas, John C. Graham as Bermudas, 
 David McKenzie as Snorkey, Sara Alexander as Peachblossom, . 
 and Johnny Matson as Peanuts, made an impression that was long 
 remembered. Charlotte Crampton, another noted star, who played 
 male parts, such as Shylock, Hamlet and Richard III, with the 
 same facility that she enacted Lady Macbeth and Meg Merrilies, 
 
 came in 1868. In 
 
 many respects she was 
 said to rival the great 
 Charlotte Cushman. 
 Anette Ince then came 
 in a round of trag- 
 edies, followed by one 
 of the most distin- 
 guished stars of the 
 day, E. L. Davenport, 
 father of the famous 
 Fanny Davenport. He, 
 Mrs. Davenport (well 
 known as Fanny Vin- 
 ing) and Miss Ince 
 formed a trio whom 
 the Deseret Dramatic 
 players were proud 
 to support. Davenport 
 essayed everything, 
 from Richelieu down to the role of William in ''Black Eyed 
 Susan," and in that play the sailor's hornpipe, which he and Miss 
 Alexander executed together, was a delight to them and their 
 audience. He often complimented the little Salt Lake dancer upon 
 her grace. Another "green room legend" says that Sara Alex- 
 ander was the heroine of the following : 
 
 She lived with one of President Young's families, who had 
 befriended her and her mother after they came to Utah from the 
 east, where they had been converted to the Church by the late 
 James Dwyer. An eastern actor who played here for some time, 
 wished to marry Miss Alexander. Calling on President Young he 
 stated his request. "Young man," the President replied, "I have 
 seen you attempt Richard III and Julius Caesar with fair success, 
 but I advise you not to aspire to Alexander." 
 
 McCullough, Heme, Lucille Western 
 
 One of the great musical events of this day came with the 
 engagement of Parepa Rosa who, with her husband, Carl Ro-n. 
 gave three concerts. Then came the visit of the famous John 
 
 E. L. DAVENPORT AND SARA ALEXANDER 
 
 Who danced the Hornpipe in "Black Eyed Susan." 
 E. L. Davenport was one of the foremost tragedians 
 of the American stage, and father of Fanny Daven- 
 port. 
 
22 
 
 THE DRAMA IN UTAH 
 
 McCullough, whose list of Shakespearean roles left a record that 
 has seldom been equaled here. The en- 
 gagement ran twenty-three nights, and 
 George B. Waldron and Mme. Schel- 
 ler, lately back from Montana, lent 
 support. Annie Lockhart, an English 
 actress of rare refinement, next played 
 here a short time. She returned to 
 Salt Lake a year or two later, and 
 died here. Then came James A. 
 Heme and his wife, Lucille West- 
 ern. Such plays as "Green Bushes," 
 "Flowers of the Forest," "Foul 
 play," and "Oliver Twist" were 
 their headliners. It was in the latter 
 play that Lucile Western indulged in a 
 bit of realism where she is supposed 
 to be killed by Bill Sykes, which was 
 so revolting to the audience that many 
 women fainted. President Young ad- 
 vised that the piece should not be al- 
 
 MME. SCHELLER 
 
 Who gave Salt Lake its first 
 
 production of "Under 
 
 the Gaslight." 
 
 lowed to be repeated. Miss Western's 
 farewell performance in "Arrah Na- 
 Pogue" was a melancholy affair, as it 
 is one of the few instances in the his- 
 tory of the Salt Lake Theatre when the 
 curtain had to be rung down, owing to 
 the indisposition of a star. The Hess 
 Opera Company, which gave us our 
 first vision of those glorious tenors, 
 Maas and Castle, and the baritone, 
 Carleton, then a young man, who 
 often visited us in later years at the 
 head of the Carleton Opera Company, 
 also belongs to those days. 
 
 Charles Wheatleigh in "After Dark" 
 and "The Lottery of Life," the How- 
 son Opera Company, George D. Chap- 
 lin,who gave us our first view of "Arm- 
 adale," and the burlesque of "The 
 Seven Sisters," the famous Lotta 
 in "Little Nell," and "Uncle Tom's 
 Cabin," Joe Murphy, Neil Warner, the great tragedian, 
 Kate Denin, Charlotte Thompson, McKee Rankin, Kitty Blanch- 
 drd, Rose Evans, Daniel Bandmann, J. K. Emmett in "Fritz," The 
 Lingards, Edwin Adams, an actor who has been compared with 
 
 LUCILLE' WESTERN 
 
 Whose rendition of Nancy Sykes 
 
 in "Oliver Twist" was the 
 
 sensation of the decade 
 
 in Salt Lake. 
 
THE STORY OF THE SALT LAKE THEATRE 23 
 
 Booth, and a few days later Adams and John McCullough to- 
 gether in a wonderful round of plays ; Milton Nobles, then an un- 
 known young actor, in 'The Marble Heart," and Mr. and Mjs. 
 F. M. Bates with their infant, later famed as Blanche Bates — ~ 
 these are some of the visiting stars, but by no means all of them, 
 who came and went during the first decade of the Salt Lake The- 
 atre, and left their impressions alike on their audiences and their 
 fellow players. 
 
 This brings us down to 1872, and, like the preacher, I might 
 say, "Here endeth the first lesson," for that period was a com- 
 plete epoch in itself, unique and peculiar, and unlike any other 
 in the history of the famous playhouse. 
 
Part III 
 A McKenzie Reminiscence 
 
 The second epoch in ''The Story of the Salt Lake Theatre" 
 might be said to have ended with the death of President Brigham 
 Young, which occurred in 1877. After 1872, the house had en- 
 tered upon a new career. The old stock company began to disin- 
 tegrate. The railroad had entered Salt Lake, business opportu- 
 nities expanded, and many of the active men connected with the 
 drama, turned to other channels. Z. C. M. L had been founded 
 with H. B. Clawson as its superintendent. John T. Caine went 
 into public life and was elected to various positions, which finally 
 culminated in his going to Congress. David McKenzie who, prob- 
 ably with most justice, can be called the dominating figure among 
 the home players of those days, retired from acting, but occasion- 
 ally took a hand in the management of the house. 
 
 Mr. McKenzie's later years were passed in the active ser- 
 vice of the Church. He was a clerk in the office of the First Pres-. 
 idency, and was also president of the High Priests' Quorum of 
 
 THE OLD GUARD. 
 
 Reading from left to right: David McKenzie, Phil Margetts (lower), John T. Cainc, 
 
 Mrs. M. G. Clawson, H. B. Clawson. (Posed for the Christmas News of 1910. 
 
 All have since passed away.) 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 25 
 
 the old Salt Lake Stake, and later of the Pioneer Stake. He has 
 often shown me an interesting book in which he had compiled a 
 list of all the plays in which he ever appeared. He was also^ 
 rare narrator of some of the ''green room legends" of the Salt 
 Lake Theatre, and among others of his stories was one relating 
 to the first production of "The Lonely Man of the Ocean." He 
 told of the shipwreck scene in which he played the hero, and Nel- 
 lie Colebrook the heroine. All the crew had been stricken down 
 by yellow fever, the bodies of the sailors lay on deck, and he and 
 the heroine were about to give up in despair, when on the horizon 
 appeared a distant ship. The hero seized a match to fire a signal 
 gun, exclaiming to the' heroine, "Dear one, thou shalt yet be 
 saved !" He applied the match to the cannon, but a faint sizzle 
 was the only response. The cannon went on sputtering, the hero 
 kneeling in agony. The property man, Charles Millard, who had 
 loaded the cannon, stood in the wings, filled with equal anxiety. 
 Finally, seeing that the cannon 
 was not "going ofif," he whis- 
 pered to McKenzie, "Touch her 
 again." Again the sailor applied 
 the match, whereupon the in- 
 genious Millard fired a pistol In 
 the wings. It was only a crack, 
 but it sufficed, and McKenzie 
 shouted "Our signal is heard. 
 We are saved !" The curtain fell, 
 and no sooner was the view of 
 the audience shut out from the 
 actors than the yellow fever vic- 
 tims on deck began to sit up and 
 demand an explanation. Phil 
 Margetts, one of the stricken 
 sailors, was standing in front of 
 the cannon, when "bang" it 
 went off with a roar. The wad 
 struck him in the back, and laid 
 him flat, ^and re-bounding hit 
 Bert Merrill in the hand, inflict- 
 ing a wound whose effects he 
 felt for several days. The audi- 
 ence, mystified at the explosion, sent a committee behind the cur- 
 tain, to learn what the trouble was, and Mr. McKenzie himself 
 had to appear and explain the reasons for the belated signal. 
 
 Stock Company Scatters 
 
 Annie (Asenath) Adams, the heroine to McKenzie's heroes, 
 and with him immensely popular with the audiences of those days, 
 
 JAMES M. HARDIE 
 A popular singer and actor of the '60s. 
 
26 
 
 THE DRAMA IN UTAH 
 
 married James H. Kiskadden, in 1869. Her daughter, Maude 
 Adams, was born November 11, 1872, and soon after her mother 
 took her to the coast. The two returned to Salt Lake several 
 times, as our narrative later will show, and it has often been 
 narrated as a part of the history of the American stage, how 
 Maude, at the age of nine months, was carried across the 
 stage of our theatre on a platter, as a substitute for another 
 infant suddenly incapacitated by a crying spell — her very first 
 appearance on any stage. J. M. Hardie, by this time a fine 
 romantic actor, went abroad to seek his fortune, and for 
 
 years was heard of starring in 
 
 this country and England. He 
 died some years ago, jand is bur- 
 ied in Liverpool. Sara Alexan- 
 der also left the state to follow a 
 professional life. She is now liv- 
 ing in New York with her niece. 
 Lisle Leigh, a well-known ac- 
 tress. John C. Graham went into 
 the newspaper business and re- 
 moved to Provo, where he acted 
 occasionally, and died in 1906. 
 Nellie Colebrook appeared only 
 at rare intervals after 1874, 
 and died some years ago. John 
 Lindsay left and became a travel- 
 ing star in the west, re-visiting 
 the old playhouse at intervals 
 with his daughters. He wrote 
 his experiences in a book called 
 The Mormons and the The- 
 atre, which is full of interesting 
 episodes. W. C. Dunbar, with 
 John T. Caine and E. L. Sloan, 
 founded the Salt Lake Herald, in 
 1870, and Dunbar, drollest of all our comedians, rarely appeared 
 on the stage thereafter. Margaret Clawson retired to care for her 
 rapidly growing family, and H. E. Bowring removed to Brigham 
 City and died there. Henry Maiben, a delightful comedian and 
 a rare Christian gentleman, only occasionally appeared, but once 
 or twice came out of his retirement to play with the Home Club, 
 in the '80s. Phil Margetts alone, of all the old players, remained 
 almost constantly in the harness till age and illness incapacitated 
 him. Long after his fellow placers had retired, he formed vari- 
 ous companies to support him in "Our Boys," "The Lancashire 
 Lass," 'The Charcoal Burner," "The Chimney Corner," and many 
 others. He appeared in the Home Dramatic Club's production of 
 
 GEORGE M. OTTINGER 
 
 The veteran fire chief as the King, 
 "Hamlet." 
 
THE STORY OF THE SAET LAKE THEATRE 
 
 27 
 
 "The Lights o' London," about 1887, and imparted all his old 
 vigor and humor to his role, that of Joe Jarvis ; when the fiftieth 
 anniversary of the Theatre was celebrated, in 1912, though he was 
 partially paralyzed, he was wheeled upon the stage, and from his 
 chair, he delivered a selection from Shakespeare with a readiness 
 and distinctness which told his mind was as clear as in his old his- 
 trionic days. He died in September, 1914, ''the last of the Old 
 Guard." 
 
 The Old Guard 
 
 And speaking of the **01d Guard" — I feel a personal pride in 
 having been instrumental in bringing together, a few years ago, the 
 five pioneer players known as "The Old Guard of the Drama in 
 L'tah," Messrs. Clawson, Caine, McKenzie, Margetts, and Mrs. 
 Clawson, having them photographed in a group, and securing 
 their personal memoirs. I realized it could only be a short time 
 before all of them would receive the final call from the great man- 
 ager who arranges all our entrances and exits. Each has since 
 joined the "innumerable cara- 
 van." Their pictures will be 
 found in the Christmas Neivs of 
 1910, accompanied by the follow- 
 ing notice : 
 
 "Those familiar with the 
 history of the drama in Utah will 
 not need to be told the names of 
 the grand old quintet whose faces 
 look forth from this page, or the 
 distinguished part they played in 
 the early history of the state. 
 They are almost the sole links 
 that connect us with the days of 
 Nauvoo. Glawson, Caine, Mar- 
 getts, McKenzie, and Margaret 
 Clawson ! What a pathway of 
 achievements they can look back 
 upon ! What a stupendous total 
 in the sum of general good is 
 piled up to their credit ! What a 
 debt did the pioneers of Utah, 
 for whose pleasure they toiled, 
 owe to them ! How many cares 
 they vanquished, how many smiles they started, how many tears 
 they wiped away, in the old days when the community was coming 
 up through the hard processes of formation !" 
 
 "A joyful occasion it was, as may be imagined, when the five 
 survivors of the old Deseret Dramatic Association (its official 
 
 MRS. M. BOWRING 
 
 As Lady Macbeth. 
 
28 
 
 THE DRAMA IN UTAH 
 
 title) came together a few weeks since at the request of the man- 
 agement of The Deseret Nezus and posed before the camera for 
 the picture shown on this page. It was the first time they had met 
 in many years, and the greetings, the inquiries for each other's 
 health and welfare, the solicitude for 'dear old Phil,' who still 
 suffers from a paralytic stroke, and is helped in and out of the 
 carriage by members of his family — all make up a delightful babel 
 of sounds. What a flood of reminiscences is let loose! Mrs. 
 
 Clawson, Mr. Margetts, and Da- 
 vid McKenzie, three survivors 
 of the once famous 'Under the 
 Gaslight' cast, salute each other 
 by their stage names. Who that 
 beheld them can ever forget them 
 —'Old Judas,' 'Byke' and 
 'Snorkey,' the one-armed sol- 
 dier whom the villains tried to 
 kill by tying him to the railroad 
 track ? Imagine the gentle-faced 
 Annt Margaret of today in that 
 role or as Judy O'Trot! Bishop 
 Clawson comes in a few minutes 
 late, and his old time managerial 
 associate, John T. Caine, aus- 
 terely informs him that he is 
 docked $2.00 for keeping the re- 
 hearsal waiting! 
 
 " 'Dear old John Graham ; 
 wouldn't he have liked to be 
 here?' ruminates his old associ- 
 ate and fellow-comedian, Phil 
 Margetts. Graham, the Bermu- 
 das of that 'Under the Gaslight' cast : how his image stands out ! 
 Lindsay, Hardie, Nellie Colebrook, Harry Bowring, W. C. Dun- 
 bar, Al Thorne, and a host of others whose names are now but a 
 memory, come in for some mention or other, as the skein of rec- 
 ollections is unwound, and very tender, very gentle, grow the tones 
 of the veterans, as the exchange of reminiscences goes around." 
 
 BERNARD SNOW 
 
 /it! actor of the early Social Hall and 
 Theatre days. 
 
 President Young's Interest 
 
 During all those years, President Brigham Young maintained 
 the active, personal and almost affectionate regard that he always 
 manifested for the threatre. In the middle and later seventies, 
 when increasing responsibilities and advancing years told upon his 
 energy, he attended the performances less frequently, but through 
 his agents he kept in the closest touch with its affairs. Some idea 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 29 
 
 of his interest in and connection with the house, and of the respect 
 and veneration with which the players regarded him, is obtained 
 from the following selections : 
 
 In his interesting recollections of the early drama in Utah, 
 contributed to the Christmas Nezvs some years ago, David Mc- 
 Kenzie says : 
 
 ''President Young was ardently devoted to theatrical enter- 
 tainments, especially those of an amusing character. He said to 
 the audience, on the opening night of the theatre: *If I had my 
 way I would never have a tragedy played on these boards. There 
 
 iv 
 
 ^^_ .^ 
 
 
 1 
 
 
 LEADING MEMBERS OF THE DESERET DRAMATIC ASSOCIATION 
 
 Standing (from left to right), David McKenzie, Phil Margetts, John S. Lindsay, James 
 /\. Thompson. Seated: Henry Maiben, Nellie Colebrook, Annie A. Adams. (This 
 group was taken by Savage & Ottinger, in the later '60s. The only active member 
 of the company missing is John C. Graham.) 
 
 is enough tragedy in every-day life, and we ought to have amuse- 
 ment when we come here!' He was equally interested in the art 
 of dancing, but he deprecated waltzing. 
 
 "It was indispensable with him that all those entertainments 
 should be conducted under the terms of the strictest morality. 
 As early as 1854, he personally attended our rehearsals. He had 
 his private carriage convey the lady actresses to and from the 
 Social Hall on every occasion, so as to avoid the society that might 
 embarrass them after the performances. Those rehearsals and 
 dances were invariably opened with prayer. He sternly opposed 
 the habits of smoking and drinking, and he insisted that the play- 
 
30 
 
 THE DRAMA IN UTAH 
 
 house ought to be as sacred as the temple, and might be made so 
 by the proper conduct of those 
 who were engaged in them. He 
 used every laudable means to in- 
 culcate those views, but Presi- 
 dent Young was no autocrat and 
 his good counsels were not al- 
 ways enforced, although not al- 
 together unheeded. Yet I know 
 of several instances where im- 
 proper conduct on the part of 
 performers caused their instant 
 dismissal." 
 
 John T. Caine, in his speech, 
 Christmas night, 1862, said: 
 
 "For all the grandeur of 
 conception, magnificence of de- 
 sign, and beauty of execution, 
 which characterize everything 
 that surrounds us here tonight, 
 we are pre-eminently indebted to 
 him who is ever foremost in 
 every good work, the patron of John c. graham 
 
 the fine arts, the friend of the ^""^ ^^^"^ ^""""^'Sin"" "°"' ^^"^"'■''^" 
 
 industrious talent, and in the 
 fullest and broadest sense the 
 first citizen of Utah." 
 
 President Young, in the 
 familiar arm-chair, in the body 
 of the house, sat and listened 
 to this encomium and we can 
 well imagine the applause which 
 followed. 
 
 Mrs. Adams' Reminiscences 
 
 Mrs. Annie Adams Kis- 
 kadden once said, in an article 
 contributed to the Christmas 
 Nezvs, entitled "Green Room 
 Memories :" 
 
 "Our first nights in those 
 days were very interesting 
 events. Though the city was 
 small, we often played to audi- 
 ences that filled every portion of 
 the house, and sometimes O'lr 
 
 
 MRS. A. A. ADAMS 
 Mother of Maude Adams, in 1868. 
 
THE STORY OF THE SALT LAN 
 
 THEATRE 
 
 31 
 
 plays ran a week. Our audiences 
 always included Church leaders, 
 with President Brigham Young 
 at the head ; the judges, the terri- 
 torial officials sent out from 
 Washington, and often the mili- 
 tary from Fort Douglas. The fig- 
 ure of President Young, seated 
 at the end of a bench in a large 
 arm-chair, is as clearly before me 
 while I write, as though it were 
 yesterday. He was a great critic 
 of the drama, and was very par- 
 ticular as to the class of plays 
 that the company presented. He 
 often dropped in on us at rehear- 
 sals, and frequently went over 
 the house from top to bottom to 
 see whether it was kept in or- 
 der." 
 
 Sara Alexander is quoted in 
 the Christmas Neivs, a few years 
 
 ago, as saymg : 
 
 "There is no other 
 
 theatr 
 
 J. M. SIMMONS 
 Pioneer actor, as Alonzo in "Pizzaro. 
 
 W. C. DUNBAR 
 
 Famous comedian, vocalist, and bagpipe 
 performer; also one of the founders 
 of the Salt Lake Herald. 
 
 Duilt in these days just as 'com- 
 fy' as the old Salt Lake Theatre, 
 
 and no stock company was ever 
 quite so homelike and jolly as 
 that we belonged to, and as. for 
 the stage, President Young knew 
 more about the needs of a large 
 stage than any manager now liv- 
 
 mg:- 
 
 Lainhournes Tribute 
 
 Alfred Lambourne, in his 
 Playhouse, tells of his first 
 meeting with President Brigham 
 Young as follows : 
 
 "It was upon the Scene- 
 Painter's Gallery, that the writer 
 first met Brigham Young. It 
 was of a late afternoon in au- 
 tumn ; the rehearsal for that 
 night's play was over, the Scene- 
 Painter's brush was moving rap- 
 idly upon the broad spread of 
 
32 
 
 THE DRAMA IN UTAH 
 
 canvas before him, and he thought himself alone. Anon was 
 heard the-, sound of firm, yet almost inaudible footsteps upon the 
 gallery stairs. Then the maker appeared, and it was the Pres- 
 ident, the great 'Mormon' leader. Unheralded he had come 
 upon a tour of inspection. Brigham Young was famed for com- 
 pleteness ; he possessed a genius for details. Carefully the Pres- 
 ident examined each water tank, each barrel of salt. He ap- 
 
 MAUDE ADAMS IN GIRLHOOD DAYS— ABOUT 1890 
 
 peared to think that day, of the Playhouse's danger from fire. 
 He broke, with the end of his gold-headed cane, the thick crusts 
 that had formed over the tops of the barrels of salt. I watched 
 him shake his head and compress his lips; there came a frown 
 upon his face. His orders for safety, one could see, had been 
 
THE STORY OF THE SALT LAFCE THEATRE 33 
 
 neglected, he did a labor which should have been remembered 
 and performed by others. No doubt someone would be repri- 
 manded. I have always believed that during the handshake that- 
 came a few minutes later, the *Moses of the West' *sized me 
 up,' as we are wont to say, spiritually, mentally and physically, 
 with those steadv, keen and searchine eves." 
 
Part IV 
 Our Own Times 
 
 The third epoch (and last) in the history of our playhouse, 
 l)rings it down to our own times, or to a period within the mem- 
 ory of the present generation — so it hardly possesses the interest 
 that attaches to the performances of the pioneers. And yet the 
 new period was one that saw the birth and development of a long- 
 list of talented home players, many of whom have written their 
 names in high places on the scroll of fame. Maude x\dams, first 
 borne across the stage as a babe in ''The Lost Child," when she 
 was less than a year old (in 1873) appeared several times with 
 her mother and the local .players up till the early eighties. In 
 1881, when she w^as nine, she sang between the acts of ''Divorce,'* 
 in which her mother was playing with the Home Dramatic Club, 
 and I had the pleasure of paying her $7.50 for each performance. 
 Ada Dwyer, Sallie Fisher, Viola Pratt, E. M. Royle (author of 
 "The Squaw Man"), Arthur Shepherd, Julia Dean and Emma 
 Lucy Gates are among some of the more luminous names of our 
 gifted sons and daughters, to whom the Salt Lake Theatre has 
 been a stepping stone to broader fields of success in the outside 
 world. 
 
 Early Day Memories 
 
 The Home Dramatic Club perhaps deserves a mention by 
 itself, and if my brief narration of, its career involves the fre- 
 quent use of the personal pronoun, I trust you will criticize the 
 fates that were responsible, not me. 
 
 There were certain pioneer families connected with the Salt 
 Lake Theatre from its inception, almost, as it were, with hooks of 
 steel. The Youngs, Wellses, Clawsons and Whitneys were some 
 of these. My father, Horace K. Whitney, one of the original 
 pioneer band of 1847, an associate of Brigham Young and H. B. 
 Clawson in Nauvoo, played the flute in the band there, and was a 
 nember of the earliest musical and dramatic organization formed 
 in "the valley." He appeared in the cast of the first plays given 
 in the Social Hall in 1853, and was a member of Prof. Thomas' 
 
THE STORY OF THE SALT LAKE THEATRE 35 
 
 orchestra the night the Salt Lake Theatre opened, in 1862 ; when 
 Prof. George Careless re-organized the orchestra, and put it upon 
 a salaried basis, several years later, he was one of those retained^ 
 He alternated for some years between the stage and the orches- 
 tra as his services were needed, usually playing old men's parts. 
 
 Among my earliest memories of my father are those of see- 
 ing him in our apple orchard, walking back and forth with a roll 
 of manuscript in his hands, committing his parts to memory, and 
 my brother. Bishop Whitney, and I learned to know those were 
 the periods when he must not be disturbed. He used often to 
 take, us to the theatre, and I well remember my consternation 
 when I was informed that I had grown too tall to accompany hiiii 
 through the stage door into the orchestra, and from there lifted 
 over the rail into a seat in the parquet. Occasionally I gained 
 admission into the third circle by carrying water from across the 
 street up those interminable gallery stairs. Heber J. Grant, vice- 
 president of the theatre today, had a similar experience about 
 the same time. 
 
 Frequently when my brother and I had performed some un- 
 usual service at home, such as spreading an unparalleled acreage 
 of peeled peaches on the roof, or ''sprouting" a cellar full" of 
 fungus covered potatoes, we were rewarded with enoug'h money 
 to buy a third circle ticket. Not infrequently, too, it happened 
 that some of President Young's sons, our playmates, would per- 
 suade ''Brother Schofield," door-keeper of the President's private 
 entrance, to admit us into the section reserved for the Young 
 family. How we reveled in those stage productions! No boys 
 in fairy tales, permitted to gaze into the lands of enchantment, 
 •and behold the deeds of magicians, ever drank in those sights 
 with more avidity than that with which our eyes devoured anci 
 our ears absorbed the wonderful achievements of the old Deseret 
 Stock company. 
 
 ■ 'The Robbers of the Rockies" 
 
 In 1872, James A. McKnight, an ambitious youngster, wrote 
 a play called "The Robbers of the Rocky Mountains." We were 
 all promised a part, and the Social Hall was secured. The Young 
 boys offered to obtain some old scenery stored in their father's 
 barn, which stood on what is now First Avenue, in the rear of 
 the Bransford Apartments. They had only carried away a few 
 sets, when President Young's overseer informed them that their 
 father objected: but seeing the consternation of the youthful 
 Thespians, the president sent for the manager of the Salt Lake 
 Theatre, and said. 'Those bovs have a play. They call it 'The 
 
36 THE DRAMA IN UTAH 
 
 Robbers of the Rocky Mountains.' I don't know much about the 
 niountairis, but they certainly made a clean job of my old barn. 
 Give them a date at the Salt Lake Theatre." So the play was 
 brought out there on July 13, 1872, memorable as 'the first night 
 on which the house was illuminated by gas. I don't think the 
 date was memorable on any other account. The programs or 
 the event show that the Wellses, Clawsons, Youngs and Whit- 
 neys were well represented in the cast. 
 
 From that, it was only a step to becoming supernumeraries 
 on the real stage, good-natured Manager Jimmy Harris (Presi- 
 dent Young's son-in-law) admitting several of the bigger boys to 
 the ranks. I was only fourteen, but I was tall for the age, and 
 I shall never forget the joy I experienced when my brother Orson 
 F., three years older, informed me we were going on as jurors in 
 "Article 47." Our pride knew no bounds when we appeared the 
 same night in the army of Macbeth, and by merely changing 
 our spears for battle axes, and doffing helmets in place of bon- 
 nets, marched across the stage as the army of Macduff. Occa- 
 sionally, I believe, my brother was entrusted with such lines as 
 "My lord, the carriage waits," or 'Ts your ladyship at home?" 
 But- no such good fortune ever befell me. 
 
 One night of agony, during that period, I ])articularly re- 
 member. George D. Chaplin was playing "Pocahontas," in 
 which we all went on as Indians. I was late in arriving, and 
 Marry Horsley, then costumer and captain of supers, informed me 
 that though there was a costume for me, the supply of wigs had 
 given out. A trifle like that did not disconcert me, so, donning the 
 redskin's suit, and begriming my face with red and yellow paint, 
 I joined the band. My hair was then a pronounced sandy auburn, 
 with the auburn predominating, and when Mr. Chaplin saw me he 
 could not repress a roar. He did not ring down the curtain, but 
 when the act ended, he called Harry Horsley, and said, "Harry, 
 there may have been blonde Indians in the time of Pocahontas, 
 but they are now extinct. Get that boy a wig, or send him home.'' 
 I think Mr. Horsley compromised by taking a blacking brush to 
 my hair, and I was allowed to finish the play, but I don't think 
 I was ever expected back again. 
 
 Bishop Whitney remained actively before the footlights in an 
 amateur capacity, and finally determined to adopt the stage as a 
 l^rofession. A number of his associates tendered him a farewell 
 benefit in the Social Hall, and raised a goodly sum of money to 
 see him on his way. He was almost ready to pack his trunk, 
 when an envelope bearing the imprint of Box B, calling him to a 
 mission in Pennsylvania, changed all his plans and the current of 
 his life. Truly there is "a divinity that shapes our ends, rough- 
 hew them how we will." 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 Birth of the Home Dramatic Club 
 
 The stage next saw me when Prof. Careless produced ''Pina^ 
 fore," in 1878. Several of us boys were studying music with 
 him, and we joined the chorus, I assisting in the the business 
 management. This was the first of the famous Gilbert and Sulli- 
 van works produced here and it created a furore ; it was repeated 
 times without number. It brought us all into such prominence 
 that I well remember my employer, W. S. McCornick, the banker, 
 for whom I was then bookkeeper, used to debate with my associ- 
 ate, Frank Kimball, whether I was not wasting my talents on his 
 books. While he was in this frame of mind one day, there came 
 into the bank (which then stood on IMain Street, near the site of 
 the Kearns building) a little, plainly-dressed lady who asked for 
 Mr. Whitney. She said her name 
 was Annie Adams. Mv heart 
 leaped as I recognized the stage 
 heroine of my youth, whom T had 
 worshiped from the third circle, 
 the leading lady of the old Des- 
 eret Dramatic Company. She 
 said she had lately returned 
 from San Francisco with her 
 little daughter Maude, and had 
 brought with her the manuscript 
 of a play then all the rage in the 
 East, 'The Two Orphans." She 
 had heard of our success in "Pin- 
 afore," and said she wished to 
 know whether it would be possi- 
 ble to get a cast of amateurs 
 from that company to support 
 her in the production. As the 
 conversation took place under the 
 eye of Mr. McCornick, and as 
 his particular optic was never 
 noted for encouraging amusement themes in business hours, I 
 had to make a later appointment, which I did in conjunction with 
 J. T. White (the Doctor White of today, then badly stage and 
 opera-struck) and John S. Barnes. ''The Two Orphans" was 
 cast for Miss Adams' benefit, and the production came ofif in June, 
 1879. Every member, except herself and W. T. Harris (who 
 played the old hag, Frochard) was an amateur, and the main 
 parts were rendered by Orson F. Whitney, Laron A. Cummings, 
 Heber M. Wells, John D. Spencer, J. T. White, Dellie Clawson, 
 and Kittie Heywood. 
 
 B.B.YOUNG, EMMA WHITE AND T. 
 T. WHITE IN "H.M.S. PINAFORE'"' 
 
 First of the Gilbert & Sullivan operas 
 ever produced in Utah. 
 
38 THE DRAMA IN UTAH 
 
 The performance was an immense success, so much so that 
 during the following winter, plans were adopted for the organ- 
 ization of a permanent company under the name of the Home 
 Dramatic Club. There were eight original members: O. F. 
 Whitney, Heber M. Wells, John D. Spencer, L. A. Cummings, 
 Lottie Claridge and Dellie Clawson, with H. L. A. Culmer and 
 H. G. Whitney as managers. 
 
 Some Notable Plays 
 
 The first play was "The Romance of a Poor Young Man," 
 and the date was April 1, 1880. David McKenzie coached the 
 players, giving the ''business" he had learned from George 
 Pauncefort sixteen years before. The new organization created 
 a sensation, and it followed rapidly with such plays as "Ex- 
 tremes," "Ours," "Rosedale," "Pique," and "The Banker's 
 Daughter," Mr. McKenzie acting as instructor up to the produc- 
 tion of the latter. Then the company felt able to stand alone, 
 and for fourteen years, at regular intervals, producing three or 
 four new plays a year, they continued before the public. New 
 members of the club were admitted in Edith Clawson, Birdie 
 Cummings, and B. S. Young, who lent decided strength to the 
 original group. Ivy Green, Mrs. S. H. Clawson, Mrs. R. C. 
 Easton, Mrs. Henry Dinwoodey, Lyde Wells, Harry Taylor, 
 Jno. E. Evans, Harry Horsley, Nan Savage, Clara Clawson, Mrs. 
 J. D. Spencer, and Mrs. H. L. A. Culmer also appeared occa- 
 sionally. Bishop Whitney early retired from the company, as 
 did L. A. Cummings, and Heber M. Wells progressed from 
 comedy roles to those of leading man. Mr. Culmer also with- 
 drew from the management soon after the production of "The 
 r>anker's Daughter." 
 
 The main successes of the Home Dramatic Club during 
 those fourteen years were, in addition to the plays named, "Sar- 
 atoga," "Our Boarding House," "The Money Spinner" (pro- 
 duced in the Walker Opera House when the Salt Lake Theatre 
 was unobtainable), "Confusion," "Storm Beaten," "Youth," 
 "Lights o' London," "Green Lanes of England" (in which (Jrson 
 F. Whitney made his last appearance, in 1883), several revivals 
 of "The Two Orphans," "Divorce," "Diplomacy," "Shaughraun," 
 "Held by the Enemy," "The Wages of Sin," "Hazel Kirke," 
 "Called Back," "Storm Beaten," "The Silver King," and "Saints 
 ,and Sinners," besides many lesser successes. In producing 
 "Hazel Kirke" the company paid the veteran C. W. Couldock 
 five hundred dollars to cross the continent and play for a week 
 the famous role which he created in New York. 
 
THE HOME DRAMATIC CLUR--1880-1894 
 
 The members of this once popular organization are: upper left hand corner, first 
 row, reading from left to right, Heber M. Wells, Orson F. Whitney, John D. Spencer; 
 second row, Edith Clawson, Lottie Claridge, Birdie Cummings; third row, Laron A. 
 Cummings, Dellie Clawson; fourth row, B. S. Young, H. L. A. Culmer and H. G. 
 Whitney. Four members, Lottie Claridge (Mrs. B. S. Young), Birdie Cummings (Mrs. 
 II. M. Wells), Laron A. Cummings and H. L. A. Culmer, are now deceased. 
 
4C» 
 
 THE DRAMA IN UTAH 
 
 A Tribute from Stoddart 
 
 The last ])erformance of the club was in "Saints and Sin- 
 ners," with J. H. Stoddart, that rare old actor who became still 
 more famous in later years in *'The Ronnie Briar Bush." He 
 also was paid five hundred dollars for a week's engagement, and 
 
 he left an inneflfaceable impression, 
 riow he viewed his association with 
 the "Mormon" players is feelingly 
 cold in his book entitled ''Recollections 
 of a Player," printed by the Century 
 Company, in which he says : 
 
 "The opening of the next season was 
 with the production of a play in which I 
 was not cast, and in the meantime I re- 
 ceived a letter from Salt Lake, asking me 
 to go there and play for a week with an 
 amateur organization in "Saints and Sin- 
 ners." As the offer was a liberal one. and 
 Mr. Palmer consented, I went. "Saints 
 and Sinners" had always been a favorite 
 play in Salt Lake. Although it was quite 
 a long journey to take for a week's en- 
 gagement, I was amply repaid by the 
 warmth of my reception and the kindly 
 courtesy extended to me during my brief 
 stay. We had only two rehearsals, and 
 it really would have astonished many old 
 professionals to have seen the careful at- 
 tention, earnestness and abilitv displayed 
 b}'' my 'Mormon' associates. The play was excellently staged and 
 well performed. The parts of Lettie Fletcher and Hoggard were 
 acted by near relatives of Brigham Young, and Ralph Kingsley was 
 played by Mr. Heber Wells, the present governor of Utah, and in a 
 manner that would have been creditable to any experienced actor. 
 Mr, Whitne3^ of the Salt Lake Herald, was stage manager, business 
 man, and in fact general factotum of the enterprise. Mr. Palmer had 
 played his company for a great many years in Salt Lake while on its 
 way to the coast, and it has always been to me a source of pleasure to 
 visit the city. The company's visits had ever been anticipated and ar- 
 rangements for their stay made, so as to render it pleasant and agree- 
 able. Much was done for our amusement, including organ recitals at 
 the 'Mormon' Temple [tabernacle], excursions to the lake,- social re- 
 ceptions, etc. When one contemplates what has been accomplished 
 in this city in creating as it were a garden out of a desert, founding 
 and building so beautiful a metropolis, bespeaking so much toil, thrift, 
 and indomitable perseverance, it must call for sincere admiration and 
 command great respect. The week ended, I said good-bye to my 
 Salt Lake friends with much regret and returned to New York." 
 
 "Saints and Sinners," produced in October, 1894, was the 
 farewell rendition of the Home Club, for almost as soon as the 
 curtain descended the political campaign began, which took the 
 
 T.\MES II. STODDART 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 41 
 
 club's leading man, Heber M. Wells, into political life. The 
 Republican party ruined a good actor, merely to get a governor, 
 for which I have never felt to forgive it. 
 
 Salt Lake Opera Company 
 
 Another organization which might be said to have sprung 
 from the Home Dramatic Club was the Salt Lake Opera Com- 
 pany, which held the boards of the 
 Salt Lake Theatre from 1897 down 
 to two or three years ago. The 
 company was organized by the 
 lamented H. S. Goddard, W. E. 
 Weihe and John D. Spencer, with H. 
 G. Whitney as manager. Later 
 George D. Pyper entered the com- 
 pany, and Prof. J- J. McClellan suc- 
 ceeded Prof. Weihe as director. The 
 operas given were: "The Mascot," 
 "Patience," "Chimes of Normandv," 
 "Said Pasha," "The Queen's Lace 
 Handkerchief," "A Trip to Africa," 
 "Madelaine," "The Mandarin," "Fa- 
 tinitza," "The Wedding Day," "The 
 Jolly Musketeers," "The Girl and the 
 Governor," and last but not least, 
 "Robin Hood." 
 
 It would be a labor of love to heber s. goddard 
 
 linger on the delightful renditions of ^^"'""^ °^cSmp^any.^'^' ^^'" 
 this company, especially on the work 
 
 on one of the most brilliant singers Utah ever produced, H. S. 
 Goddard, but time will only permit a passing reference. The 
 singers this company brought to the front were Louise Savage, 
 Lottie Levy, Edna Dwyer, Sallie Fisher, Mabel Cooper, Elsie 
 Barrow, Arvilla Clark, Luella Ferrin, Agatha Berkhoel, Emma 
 Lucy Gates and Hazel Taylor Peery. Other singers who came 
 into prominence during these performances were H. S. Ensis^n, 
 Hugh W. Dougall, Alex Campbell, Fred C. Graham, Mrs. 
 Browning, Mabel Clark, Harry Sherman (present city commis- 
 sioner), George Westervelt and many others in smaller roles. 
 
 Other Home Opera Companies 
 
 Long before the Salt Lake Opera Company and during the 
 life of the Home Dramatic Club, the Stephens Opera Company 
 in "Martha," "The Bohemian Girl" and "The Child of the Regi- 
 ment" and the Careless and Krouse productions of "Patience," 
 
WORLD-FAMOUS STARS WHO HAVE APPEARED AT THE SALT LAKE 
 THEATRE, IN THE LAST THIRTY-SIX YEARS 
 
 Upper row, reading from feft to right: Edwin Booth, Lawrence Barrett, John 
 McCullough as Othello. Second row: Mary Anderson, Charlotte Cushman as Lady 
 Macbeth, Adelaide Nielson. Third row: Edwin Adams, Joseph Jefferson as Rip Van 
 Winkle, and Thos. W. Keene. 
 
THE STORY OF THE SALT LAKE THEATRE 43 
 
 ^The Mikado," 'The Pirates of Penzance," "lolanthe," "Fa- 
 tinitza" and 'Triscilla" set high standards for the Salt Lake Opera 
 Company to climb to. In these productions the names of George 
 D. Pyper and John D. Spencer are always among the leaders, 
 while H. S. Goddard, Jennie Hawley, Mrs. Silva, Nettie Thatcher 
 (the original Patience), Louie Wells, J. T. White, Louise Mc- 
 Ewan and others had prominent parts. 
 
 An op.era in which Nat M. Brigham, once United States 
 marshal for Utah, and B. B. Young, today a prominent Chris- 
 tian Science lecturer, took part, was ''Mr. Sampson of Omaha," 
 composed by Mme. Mazzucata Young. 
 
 Still another pioneer production was "The Sorcerer," 
 brought out under Prof. Thomas and D. O. Calder, March 5, 
 1880, Miss Libbie Sheets (Mrs. Mathoni Pratt) having the lead- 
 ing lady's role. Others who participated were Annie Midgley, W. 
 D. Owen, Henry Gardiner, Duncan McAllister, J.R. Morgan, Liz- 
 zie Edmonds and Annie McKay. Of course the name of John 
 D. Spencer appears in that cast as in most of the am.ateur pro- 
 ductions of those days. When I look back on the years that 
 have elapsed I marvel how he has escaped the ranks of the 
 patriarchs. 
 
 If the musical productions of the Salt Lake Theatre are ever 
 chronicled by themselves they will not be complete without a 
 mention of "The Messiah," the first time it was rendered here, 
 in 1875, under the direction of Prof. Careless, in the Salt Lake 
 Theatre. It was the sensation of the day and its two performances 
 drew over $2,000. 
 
 Some Immortal Names 
 
 Of course, all must know that the players I have named rep- 
 resent but a small portion of the long list that have occupied the 
 boards of the historic house. I might read till midnight and then 
 not exhaust the roll. The names of some of the leaders, how- 
 ever, cannot fail to arouse some warm memories on the part of 
 many of my listeners. The immortal Edwin Booth played his 
 first engagement at the Salt Lake Theatre in 1887, and Charjp 
 B. Hanford and Ned Royle were members of his cast. Booth 
 came again in 1889 with Lawrence Barrett, rendering a round of 
 Shakespearean plays in a manner that has never been equalled 
 here before or since, especially "Julius Caesar." Barrett's first 
 visit fell in 1879, when he was supported by a remnant of the 
 old Deseret Stock Company and a few of his own players. His 
 scholarly renditions are unforgetable memories. 
 
 Other visiting artists justly entitled to the name of headlin- 
 ers, were the Salvinis, father and son, the Sotherns, father and son ; 
 the Lord Dundreary of the first, and the dozen creations of the 
 
44 
 
 THE DRAMA IN UTAH 
 
 second, are among the famous presentations of the American 
 stage. J. H. Stoddart, who made his bow here in ''Daniel 
 
 Rochat," and 'The Lights of Lon- 
 don ;" Mme. Ristori, Tom Keene, Rob- 
 son & Crane, Mary Anderson (one of 
 the few great actresses who retired 
 when her reputation was at its height, 
 and who is still living a retired life in 
 England) ; Mme. Janauschek, whose 
 Lady Macbeth and whose double roles 
 in Bleak House were her great parts ; 
 Lotta, the inimitable, Jean Clara Wal- 
 ters, Adelaide Nielson, the peerless 
 Juliet and Rosalind of her day, Clara 
 Louise Kellogg and Annie Louise 
 Cary, Joe Jefferson, in "Rip Van Win- 
 kle" and" The Rivals ;" Neil Warner, 
 Katherine Rogers, Amy Sherwin, 
 McKee Rankin, William J. Florence, 
 whose "Almighty Dollar," and John 
 T. Raymond, whose "Colonel Sellers" 
 were companion pictures in the gallery 
 of fame : Maude Adams, in her 
 long list of creations with "The Little 
 Minister," her first starring venture, 
 and "What Every Woman Knows" and "Quality Street," her last ; 
 the Emma Abbott Opera Company, who gave us a long list of 
 rare performances on their annual visits until their tour was cut 
 short by the death of Miss Abbott, which took place in Salt Lake, 
 January 6, 1891 ; that rarest of baritones, Tagliapietra, was intro- 
 duced to Salt Lake by Miss Abbott; George Rignold, the Lin- 
 gards, Alice Oates,Emilie Melville, the peerless Fanny Davenport, 
 The Carleton Opera Company, headed by W. T. Carleton, the 
 great baritone of the Hess company years before, and who first 
 introduced us to Jessie Bartlett Davis ; Vivian, founder of the 
 B. P. O. E. ; Emma Juch, Agnes Booth, Denman Thompson, 
 Mrs. Bowers, Milton Nobles, Frank Mayo, the famous "Bos- 
 tonians," with the unforgetable Barnabee at their head; Sarah 
 Bernhardt, Richard Mansfield, whose death left a gap that has 
 not yet been filled; Frank Daniels, Sol Smith Russell, Sher- 
 idan, Rhea, the Kendalls, Willard, Grismer & Davis, Mrs. John 
 Drew, Joseph Haworth, Julia Marlowe (later Mrs. Sothern), 
 Clara Morris, Bandmann, Modjeska, James O'Neil, Clay Clem- 
 ent, Maurice Barrymore, his gifted wife, Georgia Drew Barry- 
 more, and their not less gifted daughter, Ethel Barrymore, Olga 
 Nethersole, Mrs. Langtry, Francis Wilson, James K. Hackett, 
 Eleanor Robson, Viola Allen, Annie Russell, Louis James, Fred- 
 
 EMMA ABBOTT 
 
 In "The Bohemian Girl. 
 
THE STORY OF THE SALT LAKE THEATRE 45 
 
 erick Warcle, David Warfield, Faversham, Margaret Anglin, 
 Robert Mantell, William Gillette — these are some of the other 
 luminous stars who have blazed across our theatrical horizon. — 
 
 Our theatre has also entertained the great dramatic stock 
 companies of the country, whose careers have filled so notable a 
 chapter in American history : first, the Union Square, which 
 introduced us to Charles R. Thorne, Jr., Fanny Morant and 
 Sara Jewett ; Augustin Daly's Fifth Avenue Company, which 
 brought us Ada Rehan and John Drew; and the Lyceum Com- 
 pany, which gave such favorite friends as Henry Miller, W. J. 
 Lemoyne, E. M. Holland, Nelson Wheatcroft, Herbert Kelcey 
 and Georgia Cayvan, in their days as stock actors. 
 
 The visits of stars like Otis Skinner, Mrs. Fiske, Dustin 
 Farnum, Maxine Elliott, Nat Goodwin, Henry Miller, Forbes 
 Robertson, Chauncey Olcott and many others are events of cur- 
 rent history, too familiar to need describing, but they have all im- 
 parted a lustre to the reputation of the great old house, and they 
 in turn have always departed singing its praises. 
 
 During the later 70s and early '80s some of the old Deseret 
 Stock Company, associated with visiting stars, gave a round of 
 productions. These were the days of J. W. Carter, Carrie Car- 
 ter Coggswell, Vi'nson, J. Al. Sawt'elle, Mark Wilton, Lizzie 
 Piatt (mother of Treasurer Campbell Brown of the Salt Lake 
 Theatre), M. Forster, W. C. Crosbie, E. B. Marden, Harry Tay- 
 lor and others. Mr. Marden married a bright little actress, 
 Susie Spencer, who was often seen in soubrette roles, such as the 
 leads in *'The Hidden Hand" and "The Little Rebel." She was 
 sister of D. S. Spencer of Salt Lake, and died many years ago. 
 Harry Emery, who married Katie Putnam, also graduated from 
 the Salt Lake stage about this period. Ned Royle's production of 
 "Friends," with the Home Dramatic Club in support, occurred 
 August 7, 189L 
 
 Banner Attractions 
 
 The question is often asked. What attraction in the old 
 palmy days of the Salt Lake Theatre, before vaudeville and mov- 
 ing picture shows had depopulated the galleries, played to the 
 largest receipts? The answer is. Madam Gerster, in the opera 
 of "Lucia," March 6, 1884. The prices were $5.00 down to 
 $L00; boxes, $30.00 and $40.00, and the total receipts were close 
 to $5,000.00. Mapelson was the manager; another great star 
 who was not seen in Salt Lake until she appeared at the Taber- 
 nacle some time later, Adelina Patti, occupied a box. The fam- 
 ous Arditi conducted the performance of "Lucia." The company 
 headed by Edwin Booth and Lawrence Barrett, in May, 1889, had 
 average receipts exceeding $1800 per night. Close to them came 
 
46 THE DRAMA IN UTAH 
 
 Emma Abbott, whose early visits always used to be good for 
 $1500 to $1800 houses. Maude Adams' "Little Minister" engage- 
 ment also ran close to the liooth & Barrett figures. Fanny 
 Davenport and "The Bostonians," too, piled up some great box 
 office records. The longest uninterrupted flow of prosperity 
 known, accompanied the two weeks' engagement of Nance 
 O'Neill, when she gave seventeen performances, nearly every 
 night to a crowded house. 
 
 Even our local talent established some box office figures in 
 the '80s, which would make the managerial mouth water today. 
 "Rosedale," played by the Home Club, on a sweltering Twenty- 
 fourth day of July, drew a $1200 audience, and such old time fa- 
 orites as "The Green Lanes of England," "Storm Beaten," "The 
 World" and "Youth" frequently passed the $1000 mark. 
 
 Oumcrs of the Theatre 
 
 A word regarding the ownership and management of the old 
 house may be interesting. Up till the time of Pesident Young's 
 death in 1877, the financial reports by the managers were made to 
 his office. The property was then in the name of a company 
 called the Salt Lake Theatre Corporation. It became involved 
 in litigation which followed his death, and for a long period the 
 keys of the house were in the hands of the United States marshal. 
 In 1879, the litigation was ended, and David McKenzie, in his 
 memoirs, published in the Christmas Neu^s, says President John 
 Taylor (who succeeded President Brigham Young), asked him to 
 call on United States Marshall Shaughnessy and get the keys. 
 He did so, and on handing them to President Taylor, was notified 
 he was to be an officer of a new corporation called the Salt Lake 
 Dramatic Association, of which John T. Caine was to be presi- 
 dent, H. B. Clawson, secretary, and David McKenzie, treasurer. 
 The management was to be in the hands of the three. This cor- 
 poration has lasted until the present day, though the stockholders 
 have frequently changed. Today, President Jos. F. Smith is pres- 
 ident, Heber J. Grant is vice-president, Heber M. Wells secretary, 
 and Elias A Smith treasurer. 
 
 The house has witnessed many changes of management since 
 it' opened, with Caine and Clawson in charge, in 1862. In 1872, 
 George Reynolds was manager for a brief period, under the di- 
 rection of the President's office. Succeeding him, came W. T. 
 (Jimmy) Harris, the president's son-in-law; Caine, Clawson & 
 Williams were managers for a short time, and John C. Graham, 
 Phil Margetts, and David McKenzie also occasionally held the 
 reins. The house was again involved in the courts at the time 
 the government escheated the Church property, and soon after 
 
THE STORY OF THE SALT LAKE THEATRE 
 
 47 
 
 the settlement of this Htigation, Charles S. Burton became man- 
 ager (1888), holding the office for ten years, till 1898. George D. 
 Pyper was then appointed, and he has held the position ever since 
 - — a term of seventeen years. He has lately associated with him 
 John Cort, the eastern theatrical magnate, and today the man- 
 agement is in the hands of Cort & 
 Pyper. 
 
 The public records show that the 
 Salt Lake Theatre corner was first 
 owned by Reynolds Gaboon, who sold 
 it to President Young, April 23, 1860. 
 July 29, 1873, President Young sold 
 the property to H. B. Glawson, John 
 T. Gaine, Thomas Williams, Jos. A. 
 Young, LeGrand Young and John W. 
 Young, for $100,000, each an undi- 
 vided sixth. The same year, these 
 parties deeded the property to the Salt 
 Lake Theatre Corporation. In 1875, 
 that corporation, by H. B. Glawson, 
 president, deeded the property back to 
 President Young for $116,000; so it is 
 fair to presume that the cost of the 
 improvements was about $16,000. Af- 
 ter President Young's death, in 1878, 
 his executors, George Q. Cannon and 
 Brigham Young, Jr., conveyed the 
 property to John Taylor, trustee-in- 
 trust, the consideration named being 
 $125,000. President Taylor sold the 
 property to John Sharp for $62,000 the same year. In 1879, 
 John Sharp conveyed it to the Salt Lake Dramatic Association, 
 the present corporation, for $74,500. 
 
 The house was but little changed from its opening in 1862 
 till 1873-4, when the sale to H. B. Glawson and others, referred 
 to above, was made, and some extensive improvements were car- 
 ried on. The present stage boxes were installed, chairs replaced 
 the old benches, the stage was rebuilt, and the present slant to- 
 wards the auditorium imparted to it. These changes were made 
 following designs obtained in New York by Spencer Glawson 
 for his father. He secured them from A. T. Stewart's architect, 
 and they were fashioned after the interior of Niblo's gardens. 
 
 The question often has been asked where so large a sum of 
 money came from in those early days as that required for the con- 
 struction of a building so ambitious as the Salt Lake Theatre. 
 It will doubtless interest "Uncle Sam" to know that it was 
 through his army, that the first sum was realized. When John- 
 
 GEORGE D. PYPER 
 
 Present manager of the Salt Lake 
 
 Theatre, as he looked in his 
 
 early operatic days. 
 
4S THE DRAMA IN UTAH 
 
 ston's army, which Invaded Utah, went into permanent quarters 
 at Camp Floyd, President Young entrusted H. B. Clawson with 
 $4000 to invest in army supplies at a government "bargain" sale, 
 which was conducted at Camp Floyd when the army was ordered 
 back to take part in the Civil War. The bargains there ob- 
 tained were the beginning of the fortunes of many Utah men. 
 such as Walker Brothers. The supplies bought with the $4000 
 by Mr. Clawson were finally retailed for $40,000, which sum be- 
 came the nucleus of the building of the Salt Lake Theatre. 
 
 As to the Future 
 
 And what of the future of the grand old playhouse? Nearly 
 every Salt Laker, especially those of the older generation, must 
 confess to a pang whenever he hears it said that, before long, in 
 the march of progress and under the demands of business, it will 
 have to come down, and make way for a more modern struc- 
 ture. That fate might have befallen it before this had it not 
 happened that the ownership fortunately reverted to the Church, 
 one of the few institutions that can afiford to place sentiment 
 before business. We can only hope, with the many eminent 
 stars who have expressed their affection for the house, that the 
 day of its demolition may long be deferred. The most beautiful 
 tribute I have ever heard paid to our theatre and to the spirit of 
 the pioneers who founded it, was that uttered by Forbes-Rob- 
 ertson last winter, on the night of his memorable farewell, when 
 he pleaded with Salt Lakers to cherish and preserve such a rare 
 treasure house of memories — almost the last theatre of its kind 
 in America. Henry Miller, Daniel Frohman, Stoddart, Louis 
 James, Sothern, Warde, Gillette, Maude Adams and many oth- 
 ers have voiced the same sentiments. Many of them say they 
 best love to visit the old place in the day time, when its activities 
 are at rest, and sinking into one of its chairs, commune in silence 
 with the memories the hush seems to invoke. "The walls have 
 ears," goes the old saying; if these had tongues what a wealth 
 of reminiscence, of history, what stories of triumphs, ambitions, 
 of laughter and heart breaks, might not here be let loose ! Every 
 thoughtful visitor to the place confesses to feeling an influence, an 
 undefinable impression unlike that imparted by any other build- 
 ing of its kind. Who shall say? Perhaps something of the spirit 
 of good, invoked upon the edifice in the prayers of the old pio- 
 neers may still linger within its walls to hallow them, and keep 
 alive the aims and hopes of its founders. 
 
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