USA > Massachusetts > Suffolk County > Boston > The memorial history of Boston : including Suffolk County, Massachusetts. 1630-1880, Vol. IV > Part 47
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HAY-MARKET THEATRE.
On MONIVA Y. Evening, December &6, 1796, will be prefented The finite COMO DY of THE BELLE'S STRATAGEM. Preceding the picte, an occasional Allrefs, written, & to be Spoken by Mr. Powell. Doricourt, Mr .- $. POWELL Sir George Touchwood Mr. MARRIOTT, his first appearance in Bofica Flytter,
Mr. POWELL Saville, Mr. DICKINSON, his first appearance on any Stage Courtall, Mr.' . TAYLOR Villers by a YOUNG AMERICAN Mr. CUNNINGTON
Gibfon,
Hardy,
Mr. SIMPSON (From the Theatre-Royal, Bah, bring My first appearance in America.) Letitia Hardy, Mrs. POWELL
Lady Frances Touchwood,
HUGHES
Mifs, Ogle, HARISON Kitty Willis, Mis. IPICK
Mrs. Rachè , Mrs. SIMPSON ( From the Theatre Royal, L'ain, "w. naher ;) + " face in America. ) in Att 4. Laisserkan bare i which will be Introduced A PASTORAL BLEET DANCE,
Compoled by Mos. Francifqui.
A PAS DE SIX, by Mefficurs Dubois, Renaud, Rogers, Scvens, mefdame Pick and Sevens, aud ati Gowen. A PAS DE DEUX, by Mous. Fr .neifqui and Madame Val, 1 A. P.A SEUL, ty Mons. lege --- A Pas SPUL, by mons. Fraucifqui, To conc not with a DANCE ty Mons. Lege, Mont. Francifqui, and Madame Val.
To which will be added, a Grant lift rical and Tragi-Heroic Pastimine, called
MIRZOR AND LINDOR. Interiperfeu with Dances, righte, omander the direction of mons. FRANCISQU .. Madur, Governor of an Himala in America, Mons. VAL Lindor, a French Colonel In garril' nia the liaad, Friend of Mondor, and feeretly In love FRANCISQUI
* with Mint, Mars.
Commander of a Spamif Private. , in love w.i: ] Mirza, but not beloved by her, and likewifo Mons. I.F.GE
friend of Mondu, , "'> de Chamw. Mir . CUNNINGTON
L'Mirza's Mother, with a Sig, Mrs. PICK
Madame VAL.
Daughter of the Governor,
Madame LEGE Nina Ih han. Servant to Mirza, Madame SEVENS Wcz, Servants of Mirza, Mrs. MARRIOTT, and
Javits, Suilu's, and French Soltiers, by the rest of the Company,
In Act 3, the Entering and Marainy of the SAVAGES.
Negroes, Melfleurs Mary's, RENAUn, SEVENs, and ROGERS . Colif f'ile Sacager, Mons. LEGE.
LINDOR orders a Military cvolution with the Savages, to remind the Governor of the inaper the furopeans and the Savares forinerly went to war. The celebration of Mirzi and Lindr's MARRIAGE. MINUE I' de la Cour, by Lions. FRANCISQUI and Madame VAL DANCE,
A Creo'e Dance, hy Mad. Santos -- "A Savage Dince, by Mons. I.Ica A Pas Sea, by Mous. FRANCE !!
In adition lot e above. a Ver Fel en Overture, prepared by Me VAN HAGEN
First and accend row of BeALS, 6. - Thed row. .. . '-PIT. V. GALLERY. .. To forty merely as the o'Clock VIKT RESPUBLIC. I.
want towant the occasion. 06
, may
of the appoin? on this . ?
novelto. hai a. Mentes. Con kind enauch. to pay in to . In Filetes hands.
its receiptin
EARLY PLAYBILI ..
EDMUND KEAN TO JAMES A. DICKSON, MAY, 1821.
363
THE DRAMA IN BOSTON.
·
the character of Apollo. The directors appointed by the stockholders had a supervisory management of the house, but when the season terminated in June, 1795, the management was bankrupt.
Although the success of the new theatre was not such as to tempt the cupidity of any one seeking a fortune, there appears to have been even at this early date a strange infatuation regarding the erection of theatres, which has continued to the present day. Without sufficient legitimate patronage to support one theatre, it was proposed to erect another; and Mr. C. S.
THE FIRST BOSTON THEATRE.1
Powell, the first manager of the Boston Theatre, availed himself of the strong political antagonism which prevailed between the Federalists and so- called Jacobins to induce the latter to believe that the old theatre was managed with a view of promoting political animosities. The estimated cost of a new theatre was twelve thousand dollars. A site was selected near the corner of Tremont and Boylston streets, and the Haymarket Theatre was opened Dec. 26, 1796.2 The most intense jealousy existed between the stockholders, managers, and others connected with the two establishments, and the presence of a supporter of the old theatre at the Haymarket was
1 [This cut is based on a water-color painting, 14 by 734 inches, representing the theatre on fire, with groups of allegorical figures in the fore- ground. The sketch is from a scrap-book, ar- ranged by the late Mrs. Ann Bromfield Tracy, of Newburyport, and was kindly furnished for this work by Miss. E. S. Quincy. The façade of
the theatre, forming the design on a medal given to the architect, Mr. Charles Bulfinch, will be found in the chapter on Architecture in Boston. -ED.]
2 [A heliotype of the bill for the opening night is given herewith, following an original owned by Coloneł Clapp. - ED.]
364
THE MEMORIAL HISTORY OF BOSTON.
regarded as a disloyal act. The rivalry continued until the afternoon of Feb. 2, 1798, when the Boston Theatre was destroyed by fire.
The opening of the Haymarket Theatre introduced to the public several actors who made Boston their permanent residence; and it was also marked by the first appearance on any stage of Mr. James A. Dickson, who subse- quently became the manager of the Boston Theatre, and also achieved a high reputation as an actor. He was born in London in 1774, received a business education, and his coming to Boston from Philadelphia was one of
VIEW OF THE HAYMARKET THEATRE.1
those accidental moves which was regarded only as a temporary expedient to secure a few months' change, but proved of lifelong continuance, - Mr. Dickson becoming in 1806 joint lessee with Snelling, Powell, and John Ber- nard, of the Boston Theatre. He was manager and actor for some fifteen years, and died in this city, April 1, 1853. He gave a tone to the theatre by his personal deportment, and won many friends by his deeds of charity. He closed the theatre on days of public fast and church days, and he gave liberally of his receipts for charitable purposes. He crossed the ocean in search of theatrical talent some forty times in sailing ships; and it was
1 [This cut follows a water-color painting now in the Boston Public Library. It was painted by Robertson, in 1798; was once owned by John Howard Payne; it is also engraved in Drake's Landmarks. The arch on the right is on the spot where the West-Street gate of the Common now is. On the opposite side is the haymarket, tak- ing most of the space lying now between Mason and Tremont streets, and which for a long time
was a part of the Common. The theatre is the large building nearly on the spot where the Evans House now stands, as appears by Os- good Carleton's map of 1800. To the right of it is a house where now Hotel Pelham stands. The waters of the back bay stretch beyond. The wall on the extreme left bounds the estate of James Swan, which later (1815) became the Washington Gardens. - ED.]
365
THE DRAMA IN BOSTON.
through his efforts, in connection with managers of New York and Phila- delphia, that George Frederick Cooke, Edmund Kean, and other notabilities came to the United States. The Haymarket witnessed the first appearance in Boston of Thomas A. Cooper, the tragedian, in 1798. His daughter did the honors of the White House under the administration of her father-in- law, President Tyler.
The Haymarket was never a paying theatre, and was taken down in 1803. The large window was carried to Dedham by Mr. Dowse, where it was put in a house, which was occupied for many years by the late Edmund Quincy ; the window is still in existence. The Boston Theatre, notwithstanding the protestations of many citizens, was rebuilt, - Mr. Bulfinch, the architect, receiving high praise for his skill in the interior arrangements. It was re- opened to the public on Oct. 29, 1798,1 under the management of Mr. John Hodgkinson, and was continued till 1835, when it was converted into a public lecture-room, under the name of the Odeon. In 1846 it was re- converted into a theatre, and was opened under the management of Mr. O. C. Wyman. With varied fortunes, it continued as a place for dramatic performances until 1852, when it gave place to a block of warehouses, which were destroyed by the great fire in 1872.
The scope of this chapter will not permit of a record in detail of the dra- matic events of the past sixty years, nor is it, perhaps, desirable in a paper designed to be only an outline sketch. The drama has flourished in Boston to the same extent as in other cities. The earlier managers, with the excep- tion of Mr. Dickson, were totally lacking in that knowledge of business affairs which is requisite to success. Mr. Dana, of the Tremont Theatre, was a good business manager; and Mr. William Pelby, of the old National, had qualifications to meet the requirements of the strictly business duties which secure success. For sixty years no manager accumulated a fortune, and it was reserved for the present generation to see examples in Boston of men of acute perceptions, shrewd in their financial conduct, bringing to the management of theatricals the same talents which are exhibited by suc- cessful traders and merchants.
The Boston Theatre, from 1798 to 1827, was the only thoroughly ap- pointed theatre in Boston, though entertainments were given in halls and museums, and from time to time the small theatre in the Washington Gar- dens was used by travelling companies and by amateurs. For nearly thirty years the larger theatre had a monopoly, but with the exception of Mr. Dickson none of the several managers acquired large fortunes. The theatre in winter opened at five o'clock, and the performance began at six; and in the spring months half an hour later was the time for the curtain to rise. It was beneath this roof that Hodgkinson, Fennel (the first to give Shake- spearian readings in Boston), Cooper, John Howard Payne (then a youth- ful prodigy), Wallack, Bartly, Edmund Kean, Macready, Forrest, Conway,
1 [Mr. Edmund Quincy has described this view of the building is given in Snow's Boston, opening in his Life of Josiah Quincy, p. 40. A p. 334. - ED.]
1
366
THE MEMORIAL HISTORY OF BOSTON.
Junius Brutus Booth, Charles Matthews, Sr., and other lesser lights inter- preted the masterpieces of the great dramatists. It was here that the Kean riot took place, when the great actor was driven from the stage (Dec. 21, 1825). During a previous visit to Boston he had refused to perform on account of the small audience assembled to witness his performance. This was made the pretext for an organized opposition, which was intended merely to prevent his playing, but which resulted in the destruction of prop- erty inside the theatre to the amount of about eight hundred dollars. The riot act was read, but no arrests were made, and Kean escaped,1 though no intention whatever of doing him personal injury was entertained. A dozen policemen of the present day would have speedily brought the riot to a close. On Nov. 3, 1831, there was an incipient riot at the Tremont Theatre. Mr. J. R. Anderson, an English singer, with his wife, - formerly Miss Bar- tollozzi, - were announced to appear in Guy Mannering. On his passage from England to New York his servant was treated badly by the colored stewards, and a difficulty arose between one of the passengers, an American, and Mr. Anderson on this account. A very trivial affair was so magnified that the indiscretion of a hot-headed foreigner became a topic of public interest. Mr. Anderson was accused of speaking "disrespectfully of the American people," which in those days was regarded as an offence worthy of most signal rebuke. He was driven from the stage at the Park Theatre in New York, and came to Boston. There was considerable opposition manifested when he appeared on the stage, which subsided till late in the evening, when a large crowd collected outside, broke a few of the windows, and rushed into the theatre, the cry of " fire !" being raised. Mr. Anderson made his escape that night, but he resumed his engagement with partial suc- cess, and the public became convinced that a riot instigated by New York- ers, based upon a few hasty words, was not very creditable to the city of Boston. This was the last theatrical disturbance of any magnitude. It is a gratifying feature of the present dramatic period that theatrical riots have ceased to interrupt performances. The busy community no longer take an interest in the personal quarrels of rival actors, or attach importance to their opinions of our institutions.
It was the custom in the earlier days of the theatre to signalize passing events by such appropriate notice as the resources of the stage would per- mit. The proposed launch of the frigate "Constitution," which was set down for Sept. 20, 1797, was regarded by Manager Hodgkinson as an event worthy of his attention. In forty-eight hours he completed a very passable piece, and announced its performance. The historic frigate moved only a few feet on the first attempt to launch it, and a second trial was abortive ; but the third trial, Oct. 21, 1797, proved successful. At the theatre the
1 [Kean fled to a house in Roxbury, and the next morning started for New York. Drake's Town of Roxbury, p. 160. The heliotype, given herewith, of the letter from Mr. Kean is a fac-
simile of the original, which was addressed to Mr. James A. Dickson, the manager of the Bos- ton Theatre, and presented by him to Colonel Clapp. - ED.]
367
THE DRAMA IN BOSTON.
launch of the new piece was more successful, for it took place according to the programme. It abounded in patriotic allusions, and its songs, in keep- ing with the spirit of the times, became very popular. In December, 1799, the death of Washington cast a gloom over the whole nation. The theatre remained closed during the week, and was reopened on the evening of Jan. 10, 1800, - on the day devoted by the citizens to public obsequies. The commemorative ceremony at the theatre, which followed the play, was thus announced : -
" A MONODY, on the death of GENERAL WASHINGTON, by Mrs. Barrett, in the charac- ter of the GENIUS OF AMERICA weeping over the tomb of her beloved HERO. With a solemn March of Officers, Drums, Fifes, Band of Music, Soldiers with Arms and Colors reversed, forming a Grand Processional Dirge. After the recital, Military Hon -· ors will take place over the Monument of the Departed, but never to be forgotten, SAVIOUR OF HIS COUNTRY.
"N. B. - The theatre will be hung with black, and every tribute of respect due to the melancholy occasion properly attended to."
The capture of the British frigate "Guerrière" by the American frig- ate "Constitution" induced a patriotic effusion on Oct. 2, 1812. In the course of the entertainment the following scenery and incidents were introduced : -
" SCENE I. - State Street. Huzza for the ' Constitution.' SCENE 3. - Cabin of the ship. Song, A Cruising we will go. Duett, Conquer, or Die. The 'Guerrière' is seen through the cabin-window under sail; orders are given to clear the ship for action, and scene changes to a view of the ocean. The 'Guerrière' is seen under easy sail, and the 'Constitution' in chase. The action commences, - the mizzenmast of the 'Guerrière ' goes by the board ; the action continues, and the 'Guerrière ' loses her foremast and mainmast, - fires a gun to the leeward, and surrenders to the ' Constitution.' SCENE last. - State Street. American officers, sailors, and marines enter with American colors, and the piece concludes with a song and chorus, called The Good Ship ' Columbia.'"
In 1813 The Heroes of the Lake, or the Glorious Tenth of September, was produced, to commemorate the brilliant victory of the youthful Perry. In the following spring Commodore Perry came to Boston and visited the theatre, where his presence was greeted with the wildest applause. The treaty of peace with England was also duly celebrated by an occasional piece ; and when the frigate " Constitution " returned to Boston, the day was made notable by the production of scenes interspersed with songs, entitled The Sailor's Return, or " Constitution" Safe in Port, which proved not only attractive, but stimulated the spirit of patriotism, and in a measure educated the audience to a proper appreciation of passing events. Mr. Dickson, in 1823, arranged a pageant in commemoration of Shakespeare. The house in which the dramatist was born at Stratford-on-Avon was represented with fidelity by the scenic artists, and a procession of the most celebrated
368
THE MEMORIAL HISTORY OF BOSTON.
characters, and a selection of scenes, was made from his plays. The prize ode by Charles Sprague was recited by Henry J. Finn, who became one of Boston's most popular actors. The visit of Lafayette to the theatre in 1825 was noted by a new and appropriate drop act.
The second dramatic temple of note in Boston was the Tremont Theatre, which opened its doors to the public, under the management of William
CHARLOTTE CUSHMAN.I
Pelby, Sept. 24, 1827. The first season was an unprofitable one, and the contest between the two theatres was disastrous to both. Mr. J. B. Booth, Richard Russell, George H. Barrett, Francis W. Dana, Thomas Barry, J. S. Jones, Andrews and Preston, were charged with the management. The the-
1 [Charlotte Cushman was born in Boston, July 23, 1816, and made her first appearance on the stage at the Tremont Theatre, April 8, 1835. She had previously appeared at a concert. She died in Boston, Feb. 18, 1876. Emma Stebbins pub- lished in 1878 Charlotte Cushman : her Letters, and Memories of her Life. See also Belgravia,
May, 1876, and Blackwood's Magazine, August, 1878. The City of Boston built a public school on the site of her birth-place, and the school was named for her, - indicating a striking change in public sentiment from even days within the mem- ory of living citizens. She was present at the dedication, and made an address. - ED.]
369
THE DRAMA IN BOSTON.
atre in 1843 was sold to the Baptists, and the closing performance occurred June 23, 1843. The most notable events of the sixteen years of its exist- ence were the appearances of Charles John Kean, Master Burke, Charles Kemble, Fanny Kemble, Charles H. Eaton, Tyrone Power, the Woods, J. Sheridan Knowles, Fanny Jarman, Charlotte Cushman, James E. Murdoch, Ellen Tree, John Vandenhoff, Fanny Ellsler, Buckstone, and John Gibbs Gilbert. The theatre had its profitable seasons, but they were not numer- ous, and its financial history differs but little from that of the old Boston Theatre. Mr. Thomas Barry was manager for seven years, without profit to himself, though his efforts to advance the legitimate drama were worthy of large success. The theatre was too small to enable even crowded houses to meet the extraordinary expenses incidental to great attractions.
The City Theatre, before alluded to, at Washington Gardens was so named in 1823. It was formerly an amphitheatre and intended for summer presentations. It was located in the rear of the present St. Paul's Church. Private theatricals by amateurs were often produced at this house. Of the more modern establishments devoted to the drama we cannot give more than a mere outline as a matter of historic record.
WARREN THEATRE, Portland Street, near corner of Traverse Street. - Opened July.3, 1832, by William Pelby, having been remodelled from the American Amphi- theatre, which had been opened Feb. 27, 1832, by William and Thomas L. Stewart, for equestrian performances. Reconstructed in 1836 by Mr. Pelby, and reopened Aug. 15, 1836, as the National Theatre. In 1848 Thomas Barry became stage man- ager under Mr. Pelby, and so continued until Mr. Pelby's death, which occurred May 28, 1850, when he became acting manager for Mrs. Rosalie Pelby. Mrs. Pelby retired from the proprietorship Feb. 28, 1851, and March 3 of the same year the house re- opened under the proprietorship and management of Messrs. Barry, Wright (John B.), & Co. The season closed June 13, 1851. For the season of 1851-52 Messrs. Wright, Fenno (Henry W.), and Bird (George) were the managers, Mr. Fenno having been for several years the treasurer, and the previous season one of the joint managers. April 22, 1852, the theatre was burned. It was rebuilt and reopened Nov. 1, 1852, by Joseph Leonard. Mr. Leonard was manager for one year (season of 1852-53), and WV. M. Fleming during the seasons of 1853-54, 1854-55, and a part of 1855-56 (to Dec. 8, 1855). For the remainder of the season the theatre was under the manage- ment of the stock company until December 26; Mr. Cushing, of Cushing's New York Circus, from Dec. 31 to Feb. 23, 1856 ; G. H. Griffiths, from March 3, two weeks ; and James Pilgrim, from March 19 to June 4. The house then had a checkered existence. Sept. 8, 1856, it was opened as Willard's National Theatre, Henry Willard manager. Mr. Willard's term of management ended early in Decem- ber ; and Dec. 10, 1856, the house was opened as the People's National Theatre by a committee of management, with Henry Farren as acting manager. Soon after Mr. Farren's name appeared as stage manager, and James Pilgrim as acting manager. This season closed Feb. 6, 1857, and February 9 there was a reopening by James Pilgrim. March 2 Mr. Pilgrim appeared as lessee, and William B. English as manager. March 30 Mr. English's name alone appeared, and he remained sole manager until the clos- ing of the season, July 30, the house having meanwhile resumed its old title of National
VOL. IV. - 47.
370
THE MEMORIAL HISTORY OF BOSTON.
Theatre. The ensuing season he opened the house Aug. 31, 1857, and remained as manager until Feb. 20, 1858. April 5 it was opened for a brief period under the man- agement of Charles R. Thorne, Sr. For the season of 1858-59 it was opened, August 23, by James Pilgrim and John Moran. Mr. Moran retired Jan. 1, 1859. The house, after being closed a short time, was reopened January 15 by James Pilgrim. This season was brief, and February 14 the theatre was opened, with Walter Gay as the ostensible, but William B. English as the real, manager. Mr. English closed his season
JOHN GILBERT.1
July 4. For the season of 1859-60 the establishment was opened under the manage- ment of Henry Willard, who retired October 3, to be succeeded (from October 3 to 22) by F. B. Conway. November 9 it was reopened as the People's National Theatre by William B. English, with whom John Moran became associated December 9. This firm continued in control during most of the winter. March 10, 1860, E. B. Williams and Thomas Hampton became managers for a time, the season closing May 15. Dur- ing the season of 1860-61 J. C. Myers and C. J. Boniface were the managers, the
1 [This cut follows a photograph taken some years ago, and furnished by Mr. Gilbert. Mr. Gil- bert was born in Boston in 1810; was christened
by Dr. John Lathrop in the Old North Church, and made his first appearance here, at the Tre- mont Theatre, Nov. 28, 1828. - ED.]
37I
THE DRAMA IN BOSTON ..
house again being known as the National Theatre. In 1861-62, William B. English was again the manager, and during a part of the time, beginning in January, 1862, it was known as the Union Concert Hall, and devoted largely to variety performances. During the season of 1862-63 Mr. English was also manager, and the house resumed its former name of National Theatre. Dramatic and variety entertaininents were given up to, and including, March 23, and the theatre was burned March 24. The stage fix- tures, to a considerable extent, had been removed to the new Tremont Theatre upon the opening of that house in the early part of 1863.
LION THEATRE, west side of Washington Street, south side of present Boston Theatre. - Opened Jan. 11, 1836, by James Raymond and others of New York for dramatic and equestrian performances, E. C. Weeks being at the head of the establishment. In 1839 it was converted into a lecture and concert hall by John Redman, and known for a time as the Mechanics' Institute. It was then leased by the Handel and Haydn Society who opened Dec. 29, 1839, as the Melodeon. For a series of years this was the leading concert and exhibition hall in Boston. In 1844 it was temporarily converted into a theatre, by Leander Rodney, for a series of performances by William Charles Macready and Charlotte Cushman, who opened there October 2, with Henry J. Con- way as stage manager. Subsequently it was occupied chiefly for concerts, lectures, and entertainments, but rarely for theatrical entertainments. When the Boston Theatre was built in 1854, the Melodeon became the property of the corporation owning that estab- lishment, but some years later it was sold to other parties. In 1857 it was occupied for a short season by E. Warden as the Melodeon Varieties, and then resumed its former name of the Melodeon. In 1859 the hall was rebuilt, and the New Melodeon was opened Dec. 12, 1859, by the Melodeon Minstrels, J. W. Anderson manager. After a six weeks' season Mr. Anderson and the Minstrels retired, and for two seasons the hall was under the control of J. P. Ordway. It continued to be let for concerts, lectures, panoramic, minstrel, and other exhibitions. From April 2 to May 12, 1860, - six" weeks, - Mr. and Mrs. Henri Drayton gave a series of parlor operas. In September, 1860, they returned, but were prevented from appearing by the enforcement of a restric- tion against dramatic performances which had been placed upon the Melodeon by the owners of the Boston Theatre when the Melodeon was sold by them. March 4, 1862, a company of French Zouaves appeared in a semi-dramatic entertainment, but two nights later were transferred to Allston Hall, where they appeared from March 6 to II. During the National Sailors' Fair, held in the Boston Theatre from Nov. 9 to 22, 1864, amateur theatrical entertainments were nightly given in the Melodeon for the benefit of the Fair, by Arthur Cheney, H. C. Barnabee, John F. Pray, and others. The Me- ·lodeon eventually became a billiard-hall, and continued as such until 1878, when it was leased to Jason Wentworth, who opened it, Oct. 15, 1878, as the Gaiety Theatre, the restrictions against theatrical performances having expired some years previous.
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