Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 114

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360

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In November, 1849, the writer was induced to play six nights. The engagement was accepted with the understanding that they should be made subscription nights and giving two performances a weck. The plan was adopted, and made to pay. The piece se-

lected for the opening night was the tragedy of "EVADNE ":

Ludovico, Gabriel Harrison; Colonna, Mr. McDonald; King of Naples, Mr. Connor; Vicentio, Mr. De Forest ; Spalatro, Mr. Rogers; Eradne, Miss Mason; Olivia, Miss Norton.

On the second night, " Damon and Pythias," with McDonald as "Damon," and Harrison as "Pythias " Third night, " Rolla," Mr. Harrison; " Pizzaro," Mr. McDonald. Fourth night, "The Wife," with Mr. Harrison as "Julian St. Pierre." Fifth night, Harrison as "William Tell." Sixth night, as " Carwin."

1850 .- The Brooklyn Museum .- Messrs. Chanfrau* and Burke (according to their advertisement) " cansed to be erected " a large brick building on the northwest corner of Fulton and Orange streets, at a cost of ten thousand dollars, which they called the " Brooklyn Museum," containing a collection of pic- tures, stuffed beasts and birds. On the top floor was a room fitted up with a stage and scenery, styled a "Iceture room," for the representation of " chastc and moral dramas. This "lecture room " was nothing less than a pretty little theatre. The Museum opened its doors for the first time on Monday evening, July 1st, 1850, with the following company and pieces :- " THE GAMBLER'S FATE."

Mr. Derance, Mr. C. Burke; Augustus, Mr. D. P. Bowers; Amelia, Mrs. D. P. Bowers; Louisa, Miss Smith. Concluding with the Farce of "THE DUMB BELLE." Vivian, Mr. Bowers; 0'Smirk, Mr. Burke; Eliza, Mrs. Bowers. Price of admission, 25 cents.

On the second day of the opening, performances were given on afternoon and evening. The manage- ment continued the stock company till July 29th. Mr. Couldoek commenced a star engagement as "The Stranger," with Mrs. Bowers as Mrs. Haller. He played for a few nights, when the Museum suddenly closed its doors for the want of support. The edifice was the finest place of amusement that had hitherto been given to the Brooklyn publie, and deserved a far better success. The building was owned by Mr. Cam- meyer. "Kimberly's Minstrels " reopened the place on the 26th of August, with little or no success.

Chanfrau and Burke made another attempt at the management of the Museum, aud re-opened it Septem- ber 9th, with a splendid stock company. Charles Dib- din Pitt played a star engagement for one week, open- ing in " Hamlet;" on September 16th, Mr. Charles Kemble Mason appcared as a star. September 23d, on the same night, T. D. Rice gave the people of Brooklyn a taste of his peculiar genius in the character of " Jumbo Jum." On the 30th, Mr. W. H. Reeves, an English singer of fine ability, appeared in scenes from the operas of "Maritana " and the " Love Spell."

. J. R. SCOTT was an actor of splendid abillty. In such characters as " Rob Roy," and " William," In " Black Eyed Susan," he was nusurpassed. Hle had a splendid stage appearance, and one of the fincal-shaped heads that "vor mat npon an actor's shoulders. His voice was full and flexible, and lie always gave ovldence of clone study In the characters he performed. Hlo Was born In l'hiladelphia, and died there March 221, 1856. Fanny Wal- lack, Dyott, and Bass were all prominent members of the New York theatres, whoso interesting blographles must be sought for elsewhere, as our limited Place will not allow us to do them justice hero.

* Mr. CHANFRAU was born in New York, 1824. Ho commenced his dra- matle life at the bottom of the ladder, and by his talents and Industry le & n advanced to higher posl(lons. He made a great hit In the character f "Moso," a local drain writton by Mr. Ben Baker, entitled " Life in New York." He performed this character to crowded houses for a whole season at Mitchell's Olymple Theatre, New York. He was a man of versatile talent and In every way a credit to the profession of his choice.

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THE DRAMA, OPERA, MUSIC AND ART.

October 7th, James E. Murdock* made his entree on the Brooklyn stage. He performed " Hamlet," " Claud," " Beverly," and his other best characters. Murdock was followed by John Brougham. On Saturday, No- vember 2d, Miss Mary Taylor, once famous at Mitchell's Olympic Theatre, New York, appeared in the after- piece of "Jenny Lind." She made a hit with her audience. She appeared in "Cinderella" for twelve nights. She proved the only great success that had as yet ap- peared at the Museum, in spite of the fact of many other superior artists that had gone before her. At the conclusion of her engagement, Chanfrau and Burke wisely gave up the management, with what little cash they had made. November 23d, the names of Lovell and King appear at the head of the bills as managers, with Mary Taylor, continuing her engagement till November 30th. Monday, December 2d, the celebrated elder Booth appeared for the first time in Brooklyn. The piece selected was :

" NEW WAY TO PAY OLD DEBTS."

Sir Giles Overreach, Mr. Booth; Lord Lovell, Mr. Lindon; All- porth, Mr. Lovell; Justice Greedy, Mr. King; Marall, Mr. Kent; Margaret Overreach, Mrs. Lovell.

The newspapers hailed Mr. Booth's appearance in Brooklyn with muchı favor. The Star remarked the next day, " that this child of true genius renewed their old impressions of his former days."

" Tuesday, December 10th." " THE IRON CHEST."

Sir Edward Mortimer, Mr. Booth; Wilford (his first appearance

* JAMES E. MURDOCK was one of the finest actors America has produced. is a light comedian, in his own day he had not his superior. As a tragedian te was fine, and of the Cooper school. He was a man of marked poetic fecl- ng, and an unusually mature scholar. His love of the dramatic art was a ove for its elevation. He was a student of close application, and his repre- entation of characters an intellectual treat. He had a fine figure, a rich onorous voice, was graceful in action, and with the exception of Edwin Forrest, the finest elocutionist on the American stage. It is an unusual thing to find actors and actresses accomplished elocutionists, for most of hem treat this branch of their profession with too much neglect.

Mr. MURDOCK was born in Philadelphia in 1812. He made his first appear- nce at the Arch Street Theatre, that city, as "Frederick " in "Lovers' ows " In 1838 he appeared as " Benedict," and made a fine impression. bout 1842, he withdrew from the profession for the purpose of completing college education, and after three years' hard study, he reappeared upon ne boards of the Park Theatre, in New York, Tuesday, October 21st, 1845. n this occasion the writer performed the part of the "King " to his " Ham- t " He had a splendid audience, and performed a weck's engagement with reat success. In 1856 he went to England, and appeared for the first time before a select British audience, September 22d, at the Haymarket, London ; "Young Mirable," in which character he made a fine impression. He erformed the part of "Young Rapid," in "Cure for the Heart Ache," for any consecutive nights to crowded houses. In 1857 he returned to the nited States, and performed in all the principal theatres throughout the untry, making admirers wherever he went. Mr. Murdock was also a itriot, as the following anecdotes will show:

During the rebellion, and while he was playing an engagement at Milwau- lee, hearing that his son had joined the Union troops and was on his way to ashington, he immediately gave up his engagement, joined the army, and clared he would not act again till the war was over. His health failing m, he was forced to give up the active service of the field, and devoted his ur years to the cause by attending to the sick and wounded soldiers in the fferent hospitals ; while doing so, he frequently gave readings for the ausement of the soldiers, and for the benefit of the Sanitary Commission in ashington and other cities. He was appointed Volunteer Aid on the staff General Rousseau. After the war he reappeared upon the stage, and rformed several brilliant engagements. For several years past he has not peared upon the stage as an actor, but occasionally gives public readings. this time he still lives, honored and respected in his old age.

on any stage), Master Edwin Booth; Wenterton, Mr. C. W. Taylor; Lady Helen, Mrs. Lovell.

It will here be observed that EDWIN BOOTH, the famous tragedian, made his first attempt as an actor upon the Brooklyn stage. Through the indisposition of Mr. Booth, he was prevented from filling out his week's engagement. In fact, the houses were so poor that it was not worth the great actor's exertions to continue. A few more nights of ill-success, and it was found necessary for some of the prominent and liberal- minded citizens, headed by the ever noble-spirited gen- tleman and editor of the Star, Alden J. Spooner, to give the manager, Mr. Lovell, a complimentary benefit.

This took place on December the 20th, and we might say that here the ill-fated Museum closed its public career.

Upon the stage of. the Brooklyn Museum, within a few months, appeared the finest dramatic talent of the country, and yet the managers and actors did not meet with a success that might be expected in any country town of five thousand inhabitants; Brooklyn's popula- tion at the time was two hundred thousand. The only solution we can give of this singular neglect to support a well-regulated place of amusement is in the sup- position that Brooklyn was too convenient to New York, where abounded theatres and opera-houses of more gorgous proportions, and performances of greater attractions.

1851,-February 7th, some of the principal citiz- ens of Brooklyn and New York gave a complimentary benefit, at Burton's Chambers Street Theatre, New York, to Dr. NORTHALL, of Brooklyn, the dramatic author. They were John C. Vanderbilt, Gen. George P. Morris the poet, Hon. Samuel Johnson, Hon. Edward Copeland, Hon. John Greenwood, Hon. John A. King, Hon. Henry C. Murphy, Arthur James, Alden J. Spooner, and many others. The bill offered for the occasion was Dr. Northall's dramatization of "David Copperfield." The cast of characters comprised the names of William E. Burton, Rufus R. Blake, Lester Wallack, T. B. Johnston, Mrs. Russell, (Mrs. Hoey), Mrs. Hughes, Mrs. Skerret and Miss Hill (afterwards Mrs. W. E. Burton). The after-piece was a burlesque from the pen of Dr. Northall* entitled "Lucy-did- Sham-Amour." Miss Caroline Chapman appeared in her original character of Lucia.

* Dr. WILLIAM KNIGHT NORTHALL was the son of William Knight Northall of England ; his father came over to Brooklyn in 1830, and finding here a promising field, sent for his son, who had been educated for a surgeon- dentist. The Doctor soon got into an extensive practice, interrupted, how- ever, by sickness and nervousness, which forced him at times to scek relief in opium. He soon began to display his accomplishment as a writor, and was the first editor of the " Brooklyn Daily Advertiser." Subsoquently he engaged as dramatist with Mr. Mitchell, manager of the N. Y. Olympic Theatre, and Mr. Burton, of the Chambers Street Theatre, N. Y. He wrote travesties for these managers, all of which met with great succoss. Many of them embraced Shakespeare's plays. He had also „reat aptitude for sketch- ing, as his capital portrait of Jacob Patchen, "The last of the leather breeches," now in the rooms of the Long Island Historical Society will attest. Besides editorials and plays in great numbers, he wrote the life of

1112

HISTORY OF KINGS COUNTY.

During the winter and spring of 1851, several other attempts were made to revive the Museum, with J. R. Seott in some of his best parts, and Chanfran as " Mose, " but to no effect.

On December 7th, several members of the profession gave the Fire Department a benefit, on which occasion C. W. Clark, Gabriel Harrison, Mr. Maedonald, Conner, Mrs. J. R. Seott and Miss Mestayer appeared. It was a success, turning in, as it did, over two hundred dol- lars.

1852 .- The Museum now fell into the hands of the amateurs, with an occasional performance by pro- fessionals.

1853 .- " THE BROOKLYN ATHENAEUM" opened its doors for the first time on May 2d. The building, a very fine structure, stands on the northeast corner of Atlantie and Clinton streets. It contains a fine, large leeture and concert room, with a small stage and drop eurtain, but not convenient for dramatic perform- anees.

During the early part of September, 1853, the writer proposed and organized a society, called the Brooklyn Dramatic Academy. The object of the association was to educate ladies and gentlemen for the stage, and give private performances twice a month. The Museum was taken for the purpose, and after some renovation they gave their first performance to a crowded and seleet audience. Among the members were several profes- sional gentlemen, who had partly retired from the stage. The organization had a prosperous existence for several years. The press of Brooklyn spoke of the Society in the highest terms, and on the day after its first performance, one of the Brooklyn papers made the following remarks : " The first dramatie perform- ance of the 'Brooklyn Dramatie Academy' took place last night, and was attended by an overflowing audience. The stage and boxes were beautifully decorated for the occasion. In front of the stage hung a large wreath of flowers, in the center of which were the words, 'The Drama." The columns on each side of the stage bore the names in gold of the most celebrated American

George Frederick Handel Hill (the Yankee comedian), and lectures on den- tintry. lle at length accepted an invitation to visit New Orleans, and take a position as one of the editors of the " Delta." He was there a short time when the cholera appeared, and he attempted to return home to Brooklyn, by steamer; when a few days ont he, with several others, Was seized with the frightful malady, and died. The Doctor was a most excellent companion. Hlin wit was always genial and playful. MHas Julia Northall, so well known for a time am an admirably vocalist, was his sister. He was for several years a member of the Brooklyn Hamilton Literary Association, and some of his piquant papers are noteil in its early records. Ho was a most excel- lent dramatic critic, and was doubtless the best alapter of humorous pleces at the time the stage had In the country. lle was the Arst Brooklyn man noted an a dramatint, and this (too inadequate) sketch of him, in connection with the progress of the drama In Brooklyn, In eminently proper. He was the anthor of the following pieces : " David Copperfield " " She's come." " Musical Arrivals," " Macbeth Travestie," " Virginion Travestie," " Oll King Cole," " Magic Arrow," " Tamning a Tartar, " " Mount Cristey," " Lucy- Bil.sham-amour." " Here and There," " Jenny Phobia," " Arrival of the Kings of Europe," " New York in Slices," " Three Gifts," "Two Dukes," " Magic Horno," and several laughable pieces for the negro minstrel stage.

and Enropean dramatie authors. The seenery and all the stage appointments were the finest ever wit- nessed in Brooklyn. The opening play was William 'Tell,' with Gabriel Harrison as "Tell.' The characters were well cast, and the performance excellent throngh- ont. Perhaps the organization will be able to aeeom- plish its main objeet in trying to create a taste for the drama in Brooklyn."

1854 .- About the only thing of any note in the way of the drama that was done in this year, was a benefit, given by the members of the " Dramatie Acad- emy," for the widows and orphans of the firemen who lost their lives at what was called the "Jennings Fire " in New York. The result yielded several hun- dred dollars.

1855 .- The Howards took the old Brooklyn Museum, and produced "Unele Tom's Cabin," with little Cordelia Howard, the original Eva, and Mrs. Howard, the original Topsy, in the east. It had a suc- eessful twelve nights' run.

After a few weeks' absence, the Howards reappeared at the Museum in "The Lamplighter," with little Cordelia as the attractive feature of the play. The drama in Brooklyn was now dead in almost every par- tieular. In 1856-'57 and '58, there were some few at- tempts at the drama on the little stage of the Brooklyn Athenæum. The only prominent dramatie feature that oeenrred there, was on February 2d, 1858, when Mrs. Frances Ann Kemble read to a select but small audience Shakespeare's " Cymbeline." On the 4th of February, she read " Richard III," and on the 6th, " Henry VIII." On the last two nights the audience im- proved in numbers, and well they might, or Brooklyn be eternally disgraced for the want of sufficient intelli- genee to appreciate this woman's remarkable genius.

The Brooklyn Academy of Music .- Brooklyn now was growing rapidly, and many of its citizens who did not like going to New York to seek dramatie entertainment, began to talk about the want of a first-elass building in Brooklyn, where the opera and the drama eould both be performed. The writer, in con- junetion with Judge Greenwood, Alden J. Spooner, and a few others interested in the progress of the drama and musie in Brooklyn, ealled a meeting at the old Museum (which had now changed its name to that of Music Hall) for the purpose of seeuring the erectiou of an Academy of Music.

The idea met with general approval. Several other meetings were called, and finally, on the evening of Oc- tober 22d, 1858, about fifty of the first citizens of Brook- lyn attended a public meeting to consider the necessity of a first-class building for opera and concert purposes. Mr. Whitehouse was called to the chair. Mr. A. A. Low and several other gentlemen made strong speeches in favor of amusements in Brooklyn, and Judge Green- wood offered the following resolution :

1113

THE DRAMA, OPERA, MUSIC AND ART.

Resolved, That the time has come when the citizens of this rapidly growing city should have a building where they can ob- tain the benefits to be derived from innocent and instructive amusements. And instead of being obliged, as they now are, to go beyond the bounds of their own city for such purposes, a building should be immediately erected of sufficient capacity to accommodate the largest audience which will likely be drawn together.

Other resolutions provided for a joint stock corpora- tion, with a capital of $200,000, whercon Mr. A. A. Low, Edward Whitehouse, Luther B. Wyman, S. B. Chittenden, Judge Greenwood, A. M. White, H. E. Pierrepont, E. D. Plympton, J. Carson Brevoort and others were appointed as a committee to make definite plans for the object. On the 19th of March, 1859, the act of corporation was passed, authorizing a capital of $150,000, with power to increase the sum to $200,000 ; the stock to be held in shares of $50 each, with an inducement offercd that each subscriber to the amount of ten shares should have free admission to all enter- tainments without the right to reserved seats. Among the largest subscribers were A. A. Low, S. B. Chitten- den, Thomas Hunt and H. E. Pierrepont. In a few weeks the desired amount was obtained ; and on May the 18th, 1859, the following gentlemen were appointed the Building Committee : A. A. Low, S. B. Chitten- den, G. F. Thomas, H. E. Pierrepont, Luther B. Wy- man, Arthur W. Benson, and E. I. Lowber. Mr. Eidlitz was selected as the architect, John French mason, I. Reeves carpenter, and H. W. Calyo scenic artist. The work of excavation commenced on October 6th, 1859. As the building advanced, the stock was in- creased to $200,000, which proved to be the full cost of the edifice when completed, allowing it to start free of debt, a fact seldom occurring in the erection of an opera-house.

1861 .- The Academy of Music was duly inaugu- rated by a grand concert on Tuesday evening, Janu- ary 15th, and a ball on Thursday evening, January 17th. On the opening night, Mr. S. B. Chittenden, at that time President of the Board of Directors, delivered an address. The Committee on Entertainments were Luther B. Wyman, S. B. Chittenden, A. Cooke Hull, Judge John Greenwood, W. M. Richards, and J. W. Degrauw.

PROGRAMME

OF THE OPENING ENTERTAINMENTS,

Tuesday evening, Jan. 15, 1861.

Vocal and Instrumental Concert, under the direction of Mr. Theo. Eisfeld, conductor. The Committee of Arrangements take pleasure in stating that the services of the following eminent artists have been secured ; Madame Colson

. Soprano.

Signor Brignoli

.Tenor.

Ferri.

Baritone.

Susini. Basso.

Signor Muzio, conductor of the vocal part.

Jos. Noll, leader of the full and complete orchestra of the Philharmonic Society.

PART I.

Overture --- " Der Freischutz Weber

Quartette de " I Puritani,"-" A te Cara amor Focoso"

Madame COLSON, BRIGNOLI, FERRI and COLLETTI.

Aria de " Don Giovanni "-" Madamina" Mozart

Signor COLLETTI.

Belerode, "Vespers Siciliennes" . Verdi

Madame COLSON.

Duetto de " Don Pasquale"-E rimasto impietrato" Madame COLSON, BRIGNOLI, FERRI and COLLETTI.

PART II.

Overture-"Guillaume Tell " Rossini Duetto de " Don Giovanni"-" La ci darem la mano. Mozart

MADAME COLSON and FERRI.

Romanza de " Martha." Floton

Signor BRIGNOLI.

Chanson a vere de " Manon L'Escant" Auber

Madame COLSON.

Romanza de " Ernani."

Verdi

Signor FERRI.

Gran Finale de " Lucia.". . Donizetti Madame COLSON, BRIGNOLI, FERRI and COLLETTI.

Duetto de " Belissario" " Liberi Siete". Donizetti BRIGNOLI and FERRI.

" Schiller March."

Meyerbeer

SECOND ENTERTAINMENT. Thursday evening, January 17, 1861. A Grand Promenade and Ball.

Tickets of admission for both evenings, $5.00.

Reserved seats to the concert without extra charge.

The concert gave perfect satisfaction to the audience. Although the night was disagreeable, yet the house was filled to overflowing. At the close of the first overture the drop curtain, representing the "Temple of Apollo,"was slowly let down to the stage, in front of the crimson one, when of a sudden the full force of over a thousand jets of gas was turned on, producing almost an electric effect; illuminating, as it did, the fine ef- fort of the artist, and revealing more definitely the splendid proportions of the house.

The Academy of Music fronts on Montague street, 250 feet long, running parallel with the street, and 92 feet wide. There are seven entrances on Montague street. The main entrance is at the west end, towards Clinton street. The vestibule which leads into the theatre proper is spacious, and decorated in the same style as the interior, which is a sort of cross between the Turkish and Gothic, done in stencil, with the coloring sombre of brown and low key yellows, not wholly appropriate to a build- ing of its nature. There are three entrances from the vestibule to the lobby that forms itself around the auditorium. To the left and right are two stairways, seven feet wide, one leads to the gallery and the other to the dress circle. There are five en- trances from the lobby to the parquette, which contains 425 arm chairs.

The balcony around the parquette seats 460, and dress cir- cle about the same number ; while the gallery contains room enough to make the seating of the house number 2,300. There are six large proscenium boxes, several private rooms for the directors of the building, and a large assembly room over the vestibule. The stage of this building is its finest feature, and in size is almost equal to Drury Lane or Covent Garden Thea- tres, London. The width is 90 feet, depth 86 feet. The open- ing between the proscenium is 55 feet, with a height of over 60 feet, while the accommodations of stage-traps, green-room, and

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HISTORY OF KINGS COUNTY.

dressing-rooms are every ample for all purposes connected wtth drama or opera. The whole building is a solid and fine piece of masonry, and for its object has not its superior in the cauntry ; and, whatever may be its faults as to interior coloring, still it reflects the highest credit on all concerned with its incep- tion and completion.

When this building was first opened, it was intend- ed that the drama should not enter within its " saered walls," but that opera, concerts and balls would fully occupy its stage and floor. This, however, proved to be a great mistake ; operas, concerts and balls were not so plentiful, or in sufficient demand to give continnons support to the building. Besides, a large and highly respectable proportion of the public desired the drama, and demanded it. Several of the best managers of New York had made application for the building for a large number of nights, but their applications had been re- fused, on the ground that the building was not intend- ed for dramatic purposes : while, at the same time, it had every facility in seenery, ete., for opera or drama- tie performances. It was, in fact, a first-class theatre. Finally, the people's voice for the drama was so strong and the applications of managers so numerous that the matter forced itself before the Board of Directors, and a committee was appointed, consisting of Judge Greenwood, R. R. Raymond and Mr. Lambert, to de- cide whether the drama should be admitted into the building. To their honor and enlightenment be it said, they reported favorably, and saved the city of Brooklyn from a lasting stigma that would have dis- graced the bigotry of the most stupid Puritan. It was not long before the utterances of the great dramatists resounded amid the pillars and arehways of this fine temple. The celebrated Haekett and Edwin Forrest were the first applicants to introduce the drama into the Academy of Music. These gentlemen had been re- fused, while the Board of Directors allowed a " horse- trainer," by the name of Jolin S. Rarcy, to disgrace the building. However, prejudice soon hung her head in shame, and the tragic and the comic muse, as developed by the genius of a Shakespeare and a Sheridan, a John- son, a Garrick, and a Siddons, were then accorded their proper place within the walls of this splendid edifice, and did more for its maintenance and success than anything else that ocenrred there.

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Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 114

Author: Stiles, Henry Reed, 1832-1909. Publication date: 1884 Publisher: New York : Munsell Number of Pages: 1360

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360