The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 114

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 114

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1112

HISTORY OF KINGS COUNTY.

During the winter and spring of 1851, several other attempts were made to revive the Museum, with J. R. Scott in some of his best parts, and Chanfrau 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. Macdonald, Conner, Mrs. J. R. Scott 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 Atlantic and Clinton streets. It contains a fine, large lecture and concert room, with a small stage and drop curtain, but not convenient for dramatic perform- ances.

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 select 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 ternis, and on the day after its first performance, one of the Brooklyn papers made the following remarks : "The first dramatic perform- ance of the ' Brooklyn Dramatic 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- tietry. He 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 daye out he, with several others, was seized with the frightful malady, and died. The Doctor wae a moet excellent companion. Hie wit was always genial and playful. Mise Julia Northall, so well known for a time as an admirable vocalist, was hie eister. He was for several yeare a member of the Brooklyn Hamilton Literary Association, and some of hie piquant papers are noted in its early recorde. He was a most excel- lent dramatic critic, and wae doubtless the beet adapter of humorous pieces at the time the stage had in the country. Ho was the first Brooklyn man noted as a dramatiet, and this (too inadequate) sketch of him, in connection with the progrese of the drama in Brooklyn, le eminently proper. He was the author of the following pieces : "David Copperfield," "She'e come," "Musical Arrivals," "Macbeth Travestie," " Virginius Travestie," " Old King Cole," "Magic Arrow," "Taming a Tartar," " Mount Cristey," "Lucy- did-sham-amour," "Here and There," "Jenny Phobia," "Arrival of the Kings of Europe," "New York in Slices," "Three Gifte," "Two Dukes," "Magic Horse," and several laughable piecee for the negro minstrel etage.

and European dramatic authors. The scenery 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 through- out. Perhaps the organization will be able to accom- plish its main object 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 " Dramatic 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 "Uncle Tom's Cabin," with little Cordelia Howard, the original Eva, and Mrs. Howard, the original Topsy, in the cast. It had a suc- cessful 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- ticular. In 1856-'57 and '58, there were some few at- tempts at the drama on the little stage of the Brooklyn Atheneum. The only prominent dramatic feature that occurred 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- gence 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 dramatic entertainment, began to talk about the want of . a first-class building in Brooklyn, where the opera and . the drama could both be performed. The writer, in con- junction with Judge Greenwood, Alden . J. Spooner, and a few others interested in the progress of the drama and music in Brooklyn, called a meeting at the old Museum (which had now changed its name to that of Music Hall) for the purpose of securing the erection 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. Whitehonse 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 :

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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 amusementa. 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, whereon 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 offered 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. Vacel 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. Jas. Noll, leader of the full and complete orchestra of the Philharmonic Society.

PART I.

Overture-" Der Freischutz.

. Weber

Quartette de " I Purilani,"-" 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

(2)

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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 & 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 " sacred 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 continuous 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 scenery, etc., for opera or drama- tic 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 archways of this fine temple. The celebrated Hackett 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 John S. Rarey, 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 occurred there.

The first performance after the opening of the build- ing was given by the Brooklyn Philharmonic Society, on Saturday evening, Jan. 10th ; after this many operas and concerts followed in rapid succession, which will be particularized in our chapter upon the His- tory of Music in Brooklyn.

Brooklyn at this time had nearly 400,000 inhabi- tants and, was still withouta permanently open theatre. This is unprecedented in the histories of cities of the same size throughout the civilized world. Yet, from the fact of the opening of the Academy of Music, we shall find the space at our command crowded with a larger number of performances than hitherto; and can

notice only those entertainments which were of a superior character; minor concerts and dramatic performances can find no record here. The beginning of the dramatic history of any city showing its struggles for advance- ment and recognition, is far more important and inter- esting than its history after it has obtained a proper basis.

The following is a copy of the bill of the inauguration of the drama in the Academy:

BROOKLYN ACADEMY OF MUSIC.

Lesee.

. Henry C. Jerrett.

First Dramatic Performance

ever given in this building will take place on Monday Evening, December 23d, 1861. When will be presented Shakespeare's great Tragedy of

" HAMLET."

Hamlet, Prince of Denmark . Mr. E. L. Davenport

The Ghost of Hamlet's Father Mr. J. W. Wallace

Polonius .Mr. Mark Smith

Laertes. .Mr. J. H. Allen

Horatio. Mr. Henry Langden

First Gravedigger Mr. T. Placide

Gertrude, Queen of Denmark Mrs. J. W. Wallsck

Ophelia Mrs. Julia Bennett Barrow

King. .Mr. Kingsland

Osrick Mr. H. G. Clark

Bernardo Mr. Matthews

Francisco Mr. Proctor

Actress .

Miss Gimber

Rosencrantz. Mr. Ferguson

Guildenstein Mr. Van Deering

First Actor. .Mr. Livingston

Marcellus.

Mr. Carland

Second Gravedigger

Mr. J. Sefton

Prices of Admission.

Secured seats in Parquette and Balcony .. $1.00.

Balcony, Parquette, and Dress Circle 50c.

Family Circle 25g.

The piece was well placed upon the stage and well performed. Davenport and Wallack were fine in their respective parts. The house was crowded in every part.

The Second Dramatic Performance took place on Tuesday, December 24th, on which oc- casion Sheridan's great comedy of The School for Scandal was performed, with the following cast:

Joseph Surface, Mr. J. W. Wallack ; Charles Surface, Mr. E. L. Davenport ; Sir Peter Teazel, Mr. Mark Smith ; Sir Oliver Surface, Mr. George H. Andrews ; Crabtree, Mr. Thomas Placide ; Sir Benjamin Backbite, Mr. J. H. Allen ; Careless, Mr. Langdon ; Moses, Mr. J. O. Sefton ; [Lady Teazet, Mrs. J. B. Barrow ; Mrs. Candow, Mrs. Brougham ; Lady Sneerwell, Miss Irving ; Maria, Miss Gimber.

THIRD DRAMATIC NIGHT .- Wednesday, December 25th, 1861, Shakespeare's tragedy of "Othello," with the following cast: Othello, Mr. E. L. Davenport ; Iago, Mr. J. W. Wallack ; Brabantio, Mr. Mark Smith ; Cassio, Mr. J. H. Allen ; Montano, Mr. H. Lang- don; Emelia, Mrs. J. W. Wallack; Desdemona, Mrs. Julia B. Barrow; Roderigo, Mr. J. O. Sefton ; Duke of Venice, Mr. Kings- land ; Gratiano, Mr. Ferguson; Ludouico, Mr. Van Deering; Julio, Mr. Matthews ; Messenger, Mr. Carland.

The fourth performance was that of London Assurance; the fifth that of Damon and Pythias, concluding with the comedy of the Honey-moon.

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THE DRAMA, OPERA, MUSIC AND ART.

These performances were great successes. Nothing further of dramatic importance occurred at the Aca- demy of Music in the first season of its existence.

1862 .- Mr. James W. Nixon, manager, presented the celebrated tragedian Mr. Edwin Forrest, for eight nights, at the Academy of Music, with new scenery, etc.

Mr. Forrest's first appearance here was on Monday, February 10th, 1862, as King Lear, supported by John McCullongh as Edgar, Miss Athena as Cordelia, Mad. Ponisi as Goneril, and Mrs. N. R. Forrester as Regan. The tragedywas remarkably well placed npon the stage. Mr. J. R. Smith, one of the best scenic artists in America at the time, painted several new scenes for the piece ; and, indeed, it was the first time that any effort had been made to place a performance on the Academy stage with sufficient attention to make it worthy of public remark. The house on this occasion was crowded in every part, and the reception which the grand actor received must have been even highly satisfactory to him, who had so often stood before crowded audiences in the largest theatres in the world. On Wednesday, Feb. 12, he played in Jack Cade, supported by the same company, and with new and appropiate scenery, by J. R. Smith; on Thursday, February 13, in Vir- ginius; on Friday, February 14, in Richelieu ; on Monday, February 17, as Damon in Damon and Py- thias; on Wednesday, February 19, in Metamora, (never before performed in Brooklyn), with new scenery, etc .; on Thursday, February 20 as Spartacus in The Gladiator ; on Friday evening, February 21, he had a benefit, on which occasion he appeared in the tragedy of Hamlet. During Mr. Forrest's en- gagement the price of admission was 50c., reserved seats 50c. extra.

Other combinations soon followed, with such stars as John Gilbert, John E. Owens, Lester Wallack, Miss Bateman, Matilda Heron, Hackett as Falstaff, etc., etc. Tuesday, Dec. 23, Mr. Edwin Booth appeared for three nights, as Richelieu, Sir Edward Mortimer, and Shylock.

After these performances followed all the best drama- tic combinations and stars. Mr. Lester Wallack fre- quently brought over his company from New York, and presented the old English comedies with the full strength of his company. Joseph Jefferson performed his great character of Rip Van Winkle many times to crowded houses. Miss Charlotte Cushman played Queen Catherine, Meg Merrilies, and Lady Macbeth with great success. Laura Keene frequently brought over her Olympic company.

THE CELEBRATION OF THE 300TH BIRTHDAY OF SHAKESPEARE, 1864 .- On April 23d, 1864, a "com- plimentary testimonial" was given to Gabriel Harrison, under the auspices of the members of the Long Island Historical Society. The date of 23d of April happening

to be the three hundredth anniversary of Shakespeare's birthday, Mr. Harrison turned the occasion into a cele- bration of the Bard's birthday, and, in order to make the occasion befitting, produced a series of tableaux vi- vants, illustrating scenes from Shakespeare's principal plays. The groupings contained over one hundred personsin costume. Between the play and the tableaux, Sprague's great ode to Shakespeare was read by Miss Ellen Grey, in the character of Melpomene. The evening's entertainment commenced, for the first time in Brooklyn, with Shakespeare's five-act comedy of the Twefth Night, with the following cast : Viola, Mrs. Con- way; Malvolio, Mr. Conway; Duke Orsino, Mr. J. Duff; Sir Toby Belch, Mr. A. Vincent; Sir Andrew Aguecheek, Mr. C. W. Lewis ; Clown, Mr. H. Hawks; Antonio, Mr. T. H. Dow; Sebastian, Mr. H. S. Mur- dock ; Fabian, Mr. T. Duncan; Valentine, Miss Bur- nett; Roberto, Mr. Wilkes ; Friar, Mr. Perry; Olivia, Miss E. King; Maria, Miss Mowbray.

1863, like 1861, will stand out in bold relief in the history and progress of the Drama in the City of Brooklyn. Even the inauguration of the Academy of Music had not yet satisfied the people, or given them a temple devoted to the Drama solely, where they could nightly gather for the enjoyment of rational amuse- ment. The performances at the Academy were but occasional, and, frequently, the prices too high to suit all classes. Besides, the place became the resort of the fashionable, who vied with each other in the display of dress, which was the means of shutting out a large number of highly intellectual people, who could not afford the display of silks and velvets, or roll in fine carriages to the Opera, Grand Concerts, or the Drama. The public, however, by the opening of the Academy of Music, had been awakened to the desire for the Drama, and had tasted from the magic goblet of the tragic muse, as presented by the great Forrest, with his magnificent figure, voice, passion and pathos ; or Matilda Heron, in her wonderful rendering of Camille, with her tender and mysteriously sympathetic depths of human nature, and whose mantle as an artist was fit to adorn the shoulders of a Rachel. Miss Bateman, too, had touched the hearts of young lovers of both sexes by her charming personification of Juliet ; while Falstaff, as rendered by Hackett, cracked the sides of his audience by his unctuously told lies. Indeed, a new spirit was infused in the people for a theatre proper in the city, and not a building devoted to all kinds of entertainments. In 1862 the upper part of the building at the corner of Court and Remson streets was fitted up in the form of a theatre, and opened as

Hooley's Opera House, and was devoted wholly to negro minstrel exhibitions. This place be- came a success at the start, and acted as another incent- ive for a theatre. The writer, who was always anxious to have a theatre in Brooklyn, appreciated these facts, at once called on Buckley T. Benton, Esq., who was

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HISTORY OF KINGS COUNTY.

finally induced to build a theatre. On the 1st of May, 1863, the foundation for the building was com- menced. The writer at once became an applicant, among many others, for the lesseeship, and accom- plished his object at a rental of $6,500 per year.

The Park Theatre Opened .- On Monday evening, September 14th, 1863, the first regularly established Theatre was opened in the City of Brook- lyn. The writer named it the " Park Theatre," after the old Park Theatre of New York, for many years the honored temple of the Drama in this country.

The location of the theatre is on Fulton street, directly oppo- site the City Hall. The front is of Nova Scotia stone, presenting a handsome elevation of 60 feet, with a width of 56 feet. The entrance is in the centre of this building, while the theatre ex- extends 110 feet along Adams street. The auditorium has a parquette and a dress circle, or gallery. The theatre seated 1,200 people. Mr. Gabriel Harrison here introduced, for the first time in any theatre, what he termed "sunken footlights," so that the front edge of the stage was not interrupted by the scolloped tins, which usually prevented a full sight of the actors' feet. This was an innovation that was soon followed by almost every theatre in the country. The ceiling was handsomely frescoed with the representation of the patron-muses ; and, instead of the usnal brackets and globes of light projecting out from the side walls, perplexing the sight, a large corrugated reflector hung from the ceiling, imparting a mellowness of light that was perfectly agreeable to the sight. The stage was 60 feet broad by 31 feet deep. There were two private boxes, and the whole theatre had a bright and pleasing effect.

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 114

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345