USA > Connecticut > New Haven County > Waterbury > The town and city of Waterbury, Connecticut, from the aboriginal period to the year eighteen hundred and ninety-five. Volume III > Part 55
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GEORGE E. BOYD was born on June 6, 1864, at Bangor, Me. He studied the piano at the New England conservatory in Boston, and harmony, etc., with S. A. Emery, having already received at Bangor some instruction in organ playing from F. S. Davenport. He came to this city October 8, 1885, and assumed the duty of organist and director at Trinity church in May, 1886,-a position which he still retains. He has taught vocal music in private, and for several seasons at St. Margaret's school. He was secretary of the Har- monic society from the first, and by his large acquaintance with out-of-town artists, and by dint of the hardest work, did more than any other person to build up that organization.
HENRY BURTON LANE, son of S. B. Lane (page 374), was born in Waterbury, April 11, 1870. He was educated in the schools of the city, and since reaching manhood has been associated with his father in manufacturing. He began the study of the piano at the age of ten, under the instruction of Julius Baier, and soon after the removal of A. S. Gibson to Waterbury became his pupil on the organ. Although he has not made music his profession, he has given much time to it, and of late years has filled various brief
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engagements as organist at St. John's, the Second Congregational and the Baptist churches in this city, and with churches in Nauga- tuck, Watertown and Thomaston.
JOHN LOUIS BONN, the son of John Louis and Barbara Julia (Denner) Bonn, was born in the city of New York, August 18, 1871. He received a classical education at St. Francis Xavier's college, with which he was connected for five years, and studied archi- tecture for three years at the Cooper Union. He began the study of the piano at the age of seven, under the tuition of his father, who has been his only instructor in music, and at the age of eleven played the organ. Prior to 1888 he was his father's assistant organist and choir master of the Dominican church in New York city. During that year he was organist at St. Lawrence's, New York, and on May 1, 1889, he came to Waterbury to take charge of the organ in the church of the Immaculate Conception. He made his début as a concert pianist at a charity concert at Steinway hall, New York, April 28, 1889. In 1895 he was appointed teacher of harmony at St. Margaret's school.
PROMINENT MUSICIANS WHO HAVE APPEARED IN PUBLIC IN WATERBURY.
Soprano Singers: Clara Louise Kellogg, Mrs. E. A. Osgood, Maria Wilt, Emma Juch, Clementine De Vere, Madame Varian, Madame Lillian Nordica,
Contralto: Adelaide Phillips, Gertrude Edmands, Clara Poole, Olive Fremstadt. Tenor: Harvey, Fessenden, Tom Karl, Albert King, G. L. Osgood, Jules Jordan, Brignoli, Whitney Mockridge, W. C. Tower, G. L. Parker, J. C. Bartlett.
Basso: L. G. Gottschalk, Ericsson Bushnell, Heinrich Meyn, M. W. Whitney, Edward Payson, Max Heinrich, H. C. Barnabee, J. F. Rudolphson.
Violinists: Camilla Urso, Carl Hamm, G. Dannreuther, F. Kneisel, William Schultze, Edward Mollenhauer, F. Winternitz, Ole Bull, Remenyi.
Clarionet: Theodore Ryan, H. Kayser,
Flute: Edward Heindl, Otto Oesterle.
Violoncello: Rudolph Hennig, Adolf Hartdegen, Victor Herbert, Wulf Fries, ₹. Giese.
Cornet: Levy, Arbuckle, Bowman, Bent.
Organ: George W. Morgan, Dudley Buck, John M. Loretz, Jr., Eugene Thayer. Piano: Franz Rummel, William H. Sherwood, L. M. Gottschalk, Neally tevens, Constantin Sternberg.
THE CHIME OF BELLS AT ST. JOHN'S.
The chime of bells in the belfry of St. John's church was presented to the parish y G. W. Burnham (see page 620). The bells were cast at the foundry of E. A. & . R. Meneely of West Troy, N. Y. They are ten in number, and, beginning ith the largest, are keyed as follows: E, F-sharp, G-sharp, A, B, C-sharp, D, -sharp, E, F-sharp. The large E bell bears the presentation inscription, and the xt, " My mouth shall show forth thy praise," and each of the others is inscribed ith a text of Scripture, expressive of gladness and thanksgiving. The chimes ive been rung since 1871 by Alfred Crossland, with the exception of a few months.
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He has reduced his work to a science, and his method of striking the levers which connect with the bell-hammers does away with much of the reverberation com- monly heard from less experienced performers.
JOSEPH MUNGER'S VIOLINS.
In the rear of his residence on Waterville street, Joseph Munger has fitted up a little workshop, from which he has sent out some of the finest violins made in this country. Mr. Munger has always been interested in violin-making. His first attempt was when seven years old, and at the age of eighteen he made "a full- fledged one." He was for twenty-five years mechanical superintendent for the Scovill Manufacturing company, but he left that concern in 1890 and has since devoted his time to violin making. His sunshiny room is hung with instruments in all stages of development; and wood (mostly spruce) is seasoning overhead; some of it obtained from old church steeples and ancient houses which have been torn down for one reason or another. One of his best violins was made from the top of the pulpit of the old Holly street church in Boston.
The instruments sell at prices ranging from $150 to $250. All the artists who come to the city make it a point to see Mr. Munger. Among his various testimonials he prizes the following very highly:
"WATERBURY, February 12, 1894.
Connecticut, the land where they make wooden nutmegs but keep the Sabbath all the same! Munger is a good fiddle maker, and don't you forget it.
REMENYI."
Mr. Munger makes his own tools-many of them delicate almost beyond belief; for the minutest fraction of an inch is a factor in the construction of a violin. He has produced some twenty-five or thirty violins, and they are in great demand.
CHAPTER L.
EARLY THEATRICALS-THE CITY HALL-THE THOMAS ORCHESTRA- JEAN JACQUES AS A MANAGER-TRAVELLING COMPANIES-"HAMLET" WITHOUT COSTUMES-THE OPERA HOUSE-THE AUDITORIUM- PROFESSOR RUSSELL AND HIS PUPILS-WATERBURY ACTORS-THE ARCADIAN AND OTHER CLUBS-AMATEUR PLAYS-ATHLETIC ORGAN- IZATIONS-BASE-BALL CHAMPIONS-OUT-DOOR SPORTING CLUBS- IN-DOOR SOCIAL CLUBS.
1 HE dramatic history of Waterbury begins, one may almost say, with the opening of the City hall in 1869. It is true that before this time travelling companies of players of a very ordinary variety paid occasional visits here. But, as there was no convenient place, with the proper accessories, for giving a play, the rarity of the occasions on which Waterbury was visited by " shows" is easily accounted for. What was true of the rest of the state was true of Waterbury. Early in the century Hartford was the one city which had what could be properly called a theatre. In New Haven, even so late as between 1840 and 1850, the only places in which plays could be given were halls at the tops of buildings which afforded the poorest accommodations for either actors or audience. Here in Waterbury there were, from about [825 to 1860, occasional school theatricals, that is, plays given by the pupils in the schools. There were also wax-figure exhibitions ind exhibitions by jugglers. The Tyrolean singers appeared here ind Signor Blitz gave his far famed sleight-of-hand performances. Such " shows " appeared first in Gothic hall and afterward in Hotch- :iss (now Irving) hall. Of other amusements of a similar kind the nenagerie, with some features of the circus, is a conspicuous exam- le. It usually contained a few lions and elephants, a giraffe, a nu, a zebra, a hippopotamus, a boa constrictor and single specimens f other uncommon animals. As we come nearer to our own time, minstrel shows become more frequent and "Uncle Tom's Cabin" egins that career of unparalleled popularity which still, at the resent day, makes it one of the features of the country theatrical ason. The absence of theatrical entertainments was perhaps urgely due to the religious prejudice against them. This prejudice, owever, did not extend to acting in itself. The "colloquies" hich formed a prominent feature of the Commencement exercises
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at Yale college were in reality a kind of amateur theatricals, although Yale at that time was perhaps a more religious institution than it is to-day.
As we approach the days of the travelling companies (companies that travelled in wagons) we find that the Wyatt Family, whose repertoire consisted of such plays as "Uncle Tom's Cabin" and "East Lynne," were popular favorites here. The head of the family, George Hallett Wyatt, died at the Scovill House, October 24, 1859. The scenery of those days and the days just following was very primitive. It was displayed by means of rollers and was often changed two or three times in an act. Conspicuous among the favorites who appeared here during this period were Tony Pas- tor, Dollie Bidwell (in society plays) and the Clark Family. The plays of the period included "A School for Scandal," " The Ticket- of-Leave Man," and "The Long Strike," whose plot was founded on English labor troubles.
As has been said, the popularity of the theatre as an amuse- ment dates from the erection of the City hall. It was opened with a grand dedication concert on Tuesday evening, October 26, 1869. The music was furnished by Theodore Thomas's orchestra, assisted by Maria Brainerd and Eugenie Simonson. The sale of tickets being somewhat limited by the high prices charged, the audience was a very select one and numbered about 800 persons. The pro- ceeds, which amounted to $543.30, were given to the Riverside cem- etery association. The next entertainment in the new building was on Thursday evening of the same week, and consisted of a grand gift concert. The music was furnished by Gilmore's cele- brated band, and a large number of valuable prizes were secured by the drawing of lucky numbers. At this concert the hall was filled to its utmost capacity, the number present being estimated at 2300.
The 8th of January, 1874, was the date of perhaps the most unique experience which the amusement-loving citizens of Water- bury ever had. Theodore Thomas's orchestra, always a favor- ite here, was to give a concert on the evening of that day, and a large audience gathered to enjoy it in City hall. The hour for beginning came, but the orchestra had not reached town. There had been a great freshet in the Naugatuck river the day before, which had so damaged the track of the Naugatuck railroad that travel was impossible. The members of the orchestra, which had left New York at 8 in the morning and Bridgeport at 10.15, mnade their way, partly on foot, as far as Ansonia-their baggage being transported in wagons-but found themselves compelled to return
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to Bridgeport. Finding that the Hartford, Providence and Fishkill railroad was in running order beyond Waterbury, they took the five o'clock express to New Britain, and there took a special train for Waterbury. After a long delay at Terryville, and another journey on foot-their baggage being again transferred by wagon-the exhausted party of musicians reached Waterbury at about half- past 10 at night. Meanwhile telegrams had been sent to the City hall to inform the audience of the misfortunes of the orchestra, and they patiently awaited its arrival. By request, Professor F. T. Russell beguiled the monotony of the occasion by recitations of Poe's "Raven " and other poems, and in the intervals the assembly indulged in social converse. A vote was taken on the question whether the audience should wait for the musicians or have their money refunded and disperse, but everybody preferred to wait, and at 11.15 p. m., after a hasty luncheon at the Scovill House, the musicians came upon the stage and the concert began. It lasted until one o'clock, a. m., the full programme being rendered, and was evidently enjoyed by the patient and enthusiastic audience.
From this conspicuous event in the annals of the Waterbury stage, dates the connection of Jean Jacques with the management of entertainments here .* Mr. Jacques has been so long and so fully identified with the theatrical business of Waterbury that the way in which he came to engage in it is of more than passing interest. There had been a "hitch" in regard to the sale of tickets for the Thomas concert, and young Jacques was called in to take charge of the matter. So energetic and capable did he prove that nearly 1200 tickets were sold. "Aleck" Calhoun, of a printing company in Hartford, was at this time a circuit manager for Connecticut, and he appointed Mr. Jacques his local representative. Soon afterward, in connection with E. L. White and E. L. Frisbie, Jr., Mr. Jacques started the business of local theatrical management on an inde- pendent basis, and later he bought out the interests of the other two men. One of his earliest successes was with Neal Mowrey, the celebrated polo player. The exhibition was given with horses and Indians on the meadows, and drew an immense crowd. It was, in its way, a precursor of Buffalo Bill's "Wild West" show. At one time or another he has "played " here the principal theatrical stars of the country, such as Lawrence Barrett in "Richelieu " and " Hamlet "; Katie Putnam (from whom first dates the system of sharing a percentage with the local manager in place of the pay- ment of an agreed sum); Charles Furbisher's Fifth Avenue company
*He was preceded by F. B. Rice and F. B. Dakin of the American, who for a short time rented the City hall, and were local managers of visiting companies.
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(the "Daly " of the period) in which Ada Deaves was a star; Jarrett & Palmer's "Sardanapalus," the cast of which included Agnes Booth and Bangs ;* the Bangs, Barrett, Davenport and Milnes Levick com- bination, in their remarkable presentation of "Julius Cæsar"; George L. Fox, the clown, who made Waterbury his first "stand " outside of New York; and, naming simply individual " stars," Mary Anderson, Booth, Jefferson, Modjeska, Fanny Davenport, Drew and Lewis of the Daly company, and Denman Thompson. The first intro- duction of the ballet in Waterbury was under the management of Howard, Languisch & Karl, and consisted of a presentation of "The Black Crook" with six ballet girls. Despite the smallness of the ballet, they played to a " business" of $2500 at two per- formances. "The White Swan," another spectacular ballet exhibi- tion of the same sort, did not prove a financial success. Another favorite " show" of about the same time was "Ten Nights in a Bar-room," as given by Edward Eddy. The Union Square com- pany, with " Led Astray " and similar plays, always drew crowded houses.
Perhaps the most noteworthy event in the history of the City hall was the appearance of Edwin Booth and his company in " Ham- let," without either costumes or scenery, on the evening of Novem- ber 28, 1881. The programme had twice been changed. The first announcement was " The Merchant of Venice," with the "Taming of the Shrew "; the second, the substitution of "Richelieu." What the audience finally saw was "Hamlet," sans properties, sans cos- tumes, sans everything but the dramatis personae. The first intima- tion that there was anything wrong came when the curtain was rung up and the entire company stood in a semi-circle on the stage, Mr. Booth himself in the centre, clad in their travel-stained, every- day dress. Mr. Booth stepped forward and in a quiet tone described the situation in a very few words. Then the curtain was dropped and Manager Jacques, in order that there might be no misunderstand- ing, gave notice that all who did not care to stay might leave and have their money refunded at the door. About sixty persons took advantage of the offer, much to their subsequent regret. Those who remained had the experience of a lifetime. Many of the effects were most comical, especially when the ghost appeared clad in black, with standing collar and with diamonds flashing from his shirt- front. The only bit of "property" on the stage was the sword with which "Hamlet " killed "Polonius," a glittering blade, bor-
* This company appeared here with the celebrated fire scene, the night after the great Brooklyn theatre fire of which Kate Claxton in the " Two Orphans" was the heroine and of which Claude Burroughs, well known here, was one of the victims; but very few ventured to go to see it.
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rowed from one of the "Knights of Pythias." But all these incon- gruities were soon forgotten in the dramatic power and intensity with which Booth delineated "Hamlet." Those who saw him in this character many times-and there were not a few such persons in the audience-declared that never before or after was his imper- sonation so perfect. After three acts had been played, Mr. Booth thanked the audience for their indulgence and cordiality, and the farce " A Quiet Family " was given, the entertainment being pro- longed until half-past eleven. The missing costumes, by the way, were in a baggage car at the railroad station all the evening. The car had been lost over Sunday at Bridgeport, and arrived here by the nine o'clock train on the night of the performance.
THE JACQUES OPERA HOUSE.
The Jacques Opera house, from which dates a new era for the local stage, was built during the summer of 1886, at a cost of $50,000. For some years the in- conveniences and limi- tations of the City hall had been a source of dissatisfaction, both to local theatre-goers and to those in whose hands was the task of provid- ing first-class entertain- ments, and the need of a more suitable building had long been evident. The transformation of the Jacques & Fenn skating rink (opened November 30, 1882) first into the Casino, on Nov- ember 15, 1883, and then, on September 29, 1885, into the People's Thea- THE JACQUES OPERA HOUSE. tre, improved the situa- cion somewhat, but Waterbury was without an opera house worthy of the name. The growth of the new building was watched with 10 little interest, and a large audience gathered within its walls on the opening night, November 1, 1886. Great care had evidently been taken to make it convenient and comfortable for audience and actors, many novel features having been introduced.
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The auditorium was built in the shape of a fireman's trumpet, with the stage at the mouthpiece, and the seats were so arranged that the stage was visible from all parts of the house. All corners were rounded, all rails curved, no angles being visible to mar the general effect. The decorations were bright, warm and cheerful, the woodwork being in Tuscan red, terra cotta and gold, and the tints of the walls, ceilings and draperies harmonizing with it. A unique feature was the scene on the drop-curtain, which was a view of the celebrated glen in High Rock grove. The stage was large and thoroughly equipped with modern appliances. The orchestra pit was below the level of the floor, separated from the house by a curved rail. There were sixteen boxes, four on each side of the stage. The dressing rooms, lobby, etc., are in the basement, under the stage.
The initial entertainment was given under the auspices of Profes- sor J. E. Bartlett, and consisted of a concert in which the Venetian quartette, Constantin Sternberg, the pianist, Marshall P. Wilder and Lizzie Gaffney of New Haven took part. The first regular play given in the new building was W. J. Scanlan's "Shane na Lawn " on Thursday night of the opening week. A few years later, the seating arrangements were somewhat altered and several rows of plush covered sofas put in. During the summer of 1895 the inte- rior of the building was thoroughly remodelled and redecorated, and on the evening of September 3 was formally reopened to the public, the entertainment consisting of "The Girl I Left Behind Me," played by one of Frohman's companies.
The tone of the decorations was entirely changed, lighter and more delicate tints replacing the old color scheme. Eight boxes, of new and graceful design, replaced the sixteen of former days, and new seats were added to parquet and balcony, the seating capacity of the house being thus increased. A new and handsome drop-cur- tain, new sets of scenery, improvements in lighting facilities, etc., made the opera house seem almost like a new building, and added much to the comfort and pleas- ure of theatre-goers.
A passing allusion has been made to the People's Theatre. Its history is hardly of sufficient importance to warrant more than a brief reference, but it is interesting to note that Denman Thomp- son's "Old Homestead " was given there, at a matinee, before it achieved its remarkable popularity. It is believed that this is the first place in which " The Old Homestead " was given. Margaret Mather also appeared in the People's Theatre.
Mr. Jacques, not satisfied with his contributions thus far to the convenience of the amusement-loving public, built in 1891, in the rear of the Scovill block on South Main street, the building known as the Auditorium. It has a hard-maple floor, containing 5000 square feet of dancing surface, a good stage, a dining room, a smoking room, a ladies' room, a kitchen, and other accessories. The interior is finished in rustic style, and the lights, with their various
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colored globes, are so arranged as to produce a softened and pleas- ing effect. The building was formally opened to the public on the evening of October 29, 1891, when a sociable was given under the aus- pices of Canton Waterbury, No. 14, Patriarchs Militant of the Order of Odd Fellows. No dramatic entertainments worthy of note have been given in it, but it has been frequently used for lectures-such as those of the famous Murphy campaign, and that of General Booth of the Salvation Army, on the occasion of his visit to this city-and for fairs, sociables and similar entertainments.
Any history of the drama in Waterbury would be incomplete without a reference to Professor Francis T. Russell, who has been so faithful a critic of the stage, and has done so much in develop- ing amateur talent in the community. Professor Russell, like his eminent father, finding in his work as an educator that elocution was a neglected branch of education, has since his boyhood devoted much time and study to this subject. Reference to his work in this department has already been made (page 525). President Porter of Yale, while pastor of the Second Congregational church in Spring- field, Mass., was Professor Russell's first private pupil in 1845, and he is justly proud of the commendation received from Dr. Porter and from pupils in all parts of the Union. As a public reader, he has been heard with great favor in many of the cities in this sec- tion and as far west as California, and he has taken high rank as an interpreter of Shakespeare, having given public readings from more than half of his plays. Recognizing the moral mission of the stage, he has always been interested in its literature and exhi- bitions. He has contributed illuminating criticisms to the press and nas had extensive correspondence with editors and eminent critics for the purpose of furthering the usefulness of the drama. His ser- vices as an educator and his work in the ministry, which gave him i still stronger claim upon the affectionate regard of the citizens of Waterbury, are referred to elsewhere, as already indicated.
Of all of Professor Russell's pupils, the one whom he regards as nost promising is Medora Platt, a granddaughter of Dr. Gideon L. Platt, so long the leading physician of the town. In Professor Russell's opinion, Miss Platt might achieve a remarkable career on he stage in some of the most difficult parts of Shakespeare. In his he is fortified by the judgment of the elder Salvini, who said o Miss Platt, after listening to her in Florence, "You must go on he stage." Thus far she has devoted herself principally to the art f reading, having appeared with great acceptance in several cities, ncluding Boston, chiefly in drawing rooms, and at public entertain- ients for charitable purposes. Another elocutionist, also a pupil
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of Professor Russell's, who some years ago achieved more than a local reputation, his readings having been received with great favor, was Bacon Minor Huxley. His career was terminated by death long before it reached its culmination. He was born in Goshen, January 31, 1857, and died December 8, 1888.
Among the few young men of talent whom Waterbury has given to the stage, is Charles T. Grilley. His father, William Grilley, served as a soldier in the war for the Union, and was for a time stationed at Fort Trumbull, near New London. Charles T. Grilley was born there. Before he ever thought of "going on the stage," his power of mimicry was generally recognized. His first profes sional engagement was with the Atkinson & Cook company in the season of 1887-88. He took comedy parts, appearing as "Philip Kirby, a Lancashire farmer," in "The Lancashire Lass," as " Patrick Grace, an Irish gentleman," in "Peep o' Day Boys," and as " Jeames, allus on hand, sah," in " Jess, the Pet of the Mine." He appeared in Waterbury with this company in 1888 and received a warm wel- come from his townsmen. The following season he procured an engagement with the "Muggs Landing " company, playing the part of the old soldier. In 1891 he took a course at the Emerson School of Oratory in Boston. Of late years he has chosen the career of monologue artist, having appeared with great acceptance in Boston and its vicinity and at summer resorts.
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