History of Philadelphia, 1609-1884, Part 28

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992

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Monsieur Sicard commenced to teach dancing as early as 1790. That he was popular as a teacher is evident from the fact that he retired from the profes- sion with a competency about 1812. He lived in Philadelphia for some years afterward, his name being set down in the Directory with the affix "gen- tleman." Dupuy assisted Sicard in 1809, when they gave a ball for the benefit of distressed mariners.

The year 1800 seems to have been particularly pro- lific in daneing-masters. In addition to those already mentioned, the following-named made their appear- ance in that year : Auguste Auriol, " late from Paris," announced himself as a teacher of the art, and became an assistant of Quesnet, but before the year was out he established his own dancing academy. He taught until 1809, giving balls regularly every season. He then went to France, and was absent one year, during which time Mr. Audrale managed the academy. Auriol returned in 1810, and remained in Philadel- phia until 1818, when he was succeeded by Mr. Shira. Auguste Auriol came from a family of famous dancers.

In October, 1800, Henry Paul Nugent, " formerly principal dancer at the theatre," proposed to give lessons in literature and the art of dancing. In a long and curious advertisement, Nugent says of him- self, -

" He was regularly bred to letters and the ornamental arts, by which alone he has supported himself for several years. He was a pupil to Mr. Sheridan, the author of 'The Art of Reading,' and has taught the classics in a reputable academy near London. The art of dancing he learned in France and England, and he practiced as an assistant to the most eminent dancing-master in Bath. The languages Nugent is ac- qnninted with are the English, French, Latin, nud Greek. These he has been accustomed to teach ; but he wishes to teach the English language alone, ne there are fewer skillful teachers of that language thno of the others, as he has made it hie principal study, and as the improvemente which pupils make in their vernacular tongue, if properly instructed, render the task of the tencher no way irksome."

Insisting npon the necessity of teaching children to read with propriety, he incidentally states that " many young ladies of good abilities, on leaving an expen- sive boarding school, have been found by their parents strangely deficient in reading and writing English," a remark which is lamentably true in the present time.

Ignace Fraisier, a French gentleman of good family

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and education, and who had held an officer's com- mission in the American army during the Revolu- tionary war, opened a dancing-school in 1801. From some motive of sensitive pride he dropped his family name, and was commonly known as Monsieur Ignace. In 1802 he announced that iu addition to lessons in dancing, he proposed "to instruct about twelve scholars in the French language, and to act as in- terpreter." His success as a teacher of French was so great that for some years he devoted most of his attention to this branch, although he did not give up his dancing-school. In 1823 he gave instruction to ladies and gentlemen in music and dancing, and in the French and English languages, and also gave notice that he was a sworn interpreter. Mr. Fraisier died in 1825, aged seventy-eight years. The fact that he had served his adopted country as an officer was not generally known until his obituary notice was published. As the obscure Monsieur Ignace, he had won the respect of the community among which he had labored so industriously during a quarter of a century.

Mr. Warrell, of the theatre, kept a dancing acad- emy for a short time in 1804. Monsieur Epervil, in 1808, made an attempt to introduce masquerade balls in Philadelphia. He published the programme of a series of three balls, but only two were given. Public opinion was decidedly opposed to this kind of amuse- ment, and within two weeks of the publication of Epervil's programme an act of Assembly was passed declaring masquerades and masked balls to be com- mon nuisances. The penal provisions of the bill were very stringent, showing that the evil to be suppressed was considered a serious one. Section 1 of the act provided that-

"every housekeeper within this Commonwealth who shall knowiogly permit and suffer a masquerede or masked ball to he given in bis or her house, and every person who shall eet on foot, promote, or encourage any masquerade or masked ball, and every person who shall knowingly attend or be present at any masquerade or masked ball in mask or other- wise, being thereof legally convicted, . . . shall for each and every of- fense he sentenced to an imprisonment not exceeding three months, and to pay a fine not exceeding one thousand nor less than fifty dollars, and to give security in such aum as the court may direct to keep the peace and be of good behavior for one year."

This had the immediate effect of putting a stop to Mr. Epervil's preparations to initiate the Philadel- phians into the follies of the Parisian Bals de l' Opera, and he left for other parts, deploring the want of (bad) taste of the legislators.

In 1809, F. C. Labbe, " late from Paris," announced himself by giving a grand ball at the City Hotel, and a few days later opened a dancing academy. About the year 1812 he gave up dancing to embark in the calico-printing business, but was probably not very successful in that enterprise, for in 1818 he returned to his old profession, and took Auriol's old ball-room, in Spruce Street. Shortly after he moved to Carey's building, hitherto occupied by Quesnet, who now re- tired. This building was destroyed by fire in 1820,

and Labbe transferred his ball-room and school, tem- porarily, to Washington Hall. When Carey's build- ing was rebuilt he returned to his old quarters, which were elegantly fitted np. Mr. Labbe continned in the exercise of his profession for some years after this, and is still well remembered by old Philadelphians. He is described as "small in stature, with bushy black hair, and jet-black eyes. He was very graceful in his carriage and manners, and very nimble on his feet."

Monsieur Trigant & Son opened a dancing academy in 1809; they were also associated with Monsieur L. Auguste in a fencing academy. In 1816 they were joined by Monsieur Gigion. In 1820, B. Auguste succeeded to the dancing interests of this school. In 1821 he opened a French academy in addition to his dancing-school. In 1825 he was teaching dancing at reduced rates, from which it is to be supposed that he was not as successful as some of his competitors. A Mr. Hipolite taught dancing in 1809, together with the broadsword and small-sword exercises. He gave, in the spring of that year, a grand exhibition, which was called " a grand tournament and ball." He does not appear to have made a long stay in Philadelphia.

Thomas Whale, an Englishman, kept a dancing- school from 1809 to 1812, when he either died or removed from the city. He was the father of Master Henry Whale, who, in 1809, was attached to the Chestunt Street Theatre Company as a dancer, and appeared under the title of the "Infant Vestris." On the 27th of November of that year The Tangram said of Whale, "Considering that Englishmen are not reputed for the elegance and grace of their move- ments, he promises fair to be the head of his profes- sion, for, laying aside the gentility of his address and the politeness of his phraseology, he powders his hair, which is at least respectably, if not ele- gantly, done." In September, 1825, notice was given that "Henry Whale, known some twenty years ago as the Infant Vestris,-having danced on the Phila- delphia stage with much éclat, though very young then,-now proposes to open a dancing academy." He stated that he had been teaching dancing in New York and Albany. He opened his dancing-school at the northwest corner of Seventh and Chestnut Streets.

The dancing-masters who practiced their art in Philadelphia in the early period were mostly, as it has been shown in the preceding sketches, dancers attached to a theatre company, or professional dan- cers, who, in many instances, taught also the art of fencing. The French Revolution and, to a still greater extent, the exodus from San Domingo of white families who had escaped massacre at the hands of the revolted blacks brought to the various American ports numerous refugees, who, in this hour of their misfortune, turned to account the accom- plishments acquired in better days with no other view than that of shining in the polished society in

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which they moved. Fencing, dancing, and music were indispensable arts with the French gentleman of the old régime. Some added to these a fair knowl- edge of drawing and painting, while not a few, whose fathers had adopted Jean Jacques Rousseau's ideas concerning education, were lucky enough to know some genteel trade and could turn or carve wood and ivory, engrave on metal, etc. They set themselves to work bravely, and by steady industry managed to eke out a support for themselves and their families. Their native politeness, their industry, and the cheer- fulness with which they accepted poverty after having known all the advantages of wealth and social posi- tion, won the regard and sympathy of the people among whom fate had made them cast their lot.

Philadelphia had her full share of these worthy refugees. Of such was Vietor Guillou, who, about 1810, had a dancing academy at No. 294 Market Street. His ancestors were originally from Brittany, and of very ancient lineage. Keradec Guillou left France in 1697, and settled in San Domingo, where he purchased land, and in a few years was known as a wealthy sugar and coffee planter, the proprietor of vast estates. Vietor, his great-grandson, was born in 1776. In accordance with the custom prevailing among the wealthy San Domingans, he was sent to France at the tender age of seven years to receive the education befitting his station,-an education which included a complete course of artistic accom- plishments. The stormy beginning of the French Revolution did not hinder Victor Guillou from pur- suing his studies, but when, in 1794, the Convention decreed the emancipation of the blacks, already in open rebellion, in San Domingo, the young man re- turned immediately to the colony and joined the mili- tary force organized by the planters for the protec- tion of their homes and families. Love claims its supremacy even in the most troublous times: two years after his return home Victor married the ami- able daughter of Dieudonné de Las Casas, a French nobleman, who had been banished by Louis XV. The young couple were not allowed very long the peaceful enjoyment of the honeymoon. Matters had grown worse in the colony, the fine plantations of the valley of the Artibonite were sacked and burned by the blacks, and whole families of whites massacred. Capt. Guillou's wife and the female members of his family were saved almost by a miracle, his father losing his life while protecting their flight. The young soldier succeeded in placing these terrified ladies on board of a vessel bound for Philadelphia ; bidding them God-speed, he returned to his post. It was not until after the last hope of the planters was destroyed by the capitulation of the French expedition to the English, in 1803, that Guillou could think of joining his wife and family in Philadelphia. Here he resorted to giving lessons in dancing as a means of support. To this he soon added the teaching of fencing and the French lan-

guage. In later years he assisted his wife in con- ducting a large boarding-school for young ladies, in which establishment he was among the first teachers in the United States to introduce the Jacotot or Pes- talozzian method of instruction.

Guillou's dancing academy was transferred to Ma- sonic Hall in 1812. In 1819, this building having been destroyed by fire, the academy was removed to Washington Hall, but Guillou returned to his old quarters as soon as Masonic Hall was rebuilt in 1820. In 1821 he announced his practicing ball for Febru- ary 3d, in honor of which was introduced a great novelty : " His ball-room will be brilliantly illumi- nated with gas, the light representing a fanciful fire- work, which will be represented as the bat's wing, oak-leaf, and honeysuckle flower." On the 8th of January, 1823, Mr. Guillou gave a grand military ball at Masonic Hall, to celebrate the battle of New Orleans and Gen. Jackson's victory. This was per- haps the first commemoration of this day by a ball. In December, 1824, Mr. Guillou removed his dancing- school to Musical Fund Hall, and gave notice that he would leave this country in the following spring. He recommended as his successor F. D. Mallet, a teacher of eighteen years' experience. Mr. Guillou joined in 1827 with Gen. Henry Lallemand, who mar- ried a niece of Stephen Girard, in a scheme to induce French emigration to Florida, then recently acquired by the United States. This failing, he bought a plantation in the island of Porto Rico, but he was unfortunate in this venture, and after three years of trouble and disappointment, he returned to Philadel- phia in 1828, and resumed his profession of dancing- master. But he still longed for that pleasant planter's life, to which he had been brought up, as a reward for his laborious exertions, and in 1836 he purchased a sugar estate in Cuba, and removed to that island. He died there in 1841.

In 1813, Louis Arnal, from Paris, had a dancing academy in Gofforth Alley. Mr. and Mrs. Ferdi- nand Durang gave their annual ball at Quesnet's, in Library Street, in April, 1814. Mr. Durang was a son of John Durang, a member of the old American Theatre Company ; and the lady was Miss Plane, an actress attached to New York and Charleston theatres.

A. Bonaffon opened his academy in 1819. In Sep- tember, 1824, he gave a grand ball at the Masonic HIall, on the evening of the arrival of Gen. Lafayette, and illuminated the saloon with gas and transparen- cies of Washington at Trenton and Lafayette at Yorktown.

M. Fedelon, "lately from France," and Monsieur J. Pauppinelle both opened dancing-schools here in 1822.

The Quakers and rigid Presbyterians who, in the early days, frowned down dancing and other "frivo- lous amusements," could not be expected to counte- nance the introduction of the drama in Philadelphia. So when Murray and Kean's company of Thespians

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made their appearance, in 1749, they were not per- mitted to make a long stay, but were ordered off as soon as the worthy rulers of the city's morals realized the fact that their entertainments possessed irresisti- ble attractions. So Murray and Kean went to New York, and for five years the Philadelphians did not : see a play. During this time, however, the population had increased, and the ruling influence was divided. A very large proportion of the citizens, among whom were not a few men of wealth and position, advocated more liberal ideas as regarded public amusements.

They could not admit that it was sinful to laugh at a > ters L. and - Hallam, Messrs. Malone, Clarkson, good farce, or even to weep over the tragic fate of the Rigby, Singleton, Adcock, Miller, and Bell, and Mesdames Adcock, Rigby, Becceley, and Clarkson, and, possibly, Mr. and Mrs. Love and Mr. Hewlet, who were members of the company when they per- formed in New York. The pieces performed, so far as ascertained, were (beside the two already named), " Tunbridge Walks; or, the Yeomen of Kent ;" " The Country Wake; or, Hob in the Well;" " The Game- ster ;" " Tamerlane ;" " A Wife well Managed ;" "The Careless Husband ;" " Harlequin Collector" (a farce) ; and " The Provoked Husband." virtuous hero or heroine. Whether a play is meant to show the inevitable defeat of villainy and punish- ment of crime, or it merely holds up to ridicule the foibles and follies of society, it contains a good moral lesson,-our old plays did, at all events, and the play- wright's motto, " Castigat ridendo mores," was true then, if it has ceased to be so now. In the year 1753, Lewis Hallam's English company, after traveling a year in the Southern colonies, and performing in various places in Virginia and Maryland, went to New York, where they opened their theatre in the month of September. The report of the great suc- cess of their talented actors awakened a desire among the most liberal-minded Philadelphians that Hallam should visit the Quaker city. The matter was not arranged without opposition, and a goodly quantity of printer's ink was used in arguments pro and con ; but the required license had been obtained from Governor Hamilton, upon the recommendation of a number of gentlemen of influence, and Hallam's com- pany came to Philadelphia.

On the 25th of April, 1754, they gave their first performance in a large brick warehouse of William Plumsted, situated in King or Water Street, between Pine and Lombard Streets. The house extended through to Front Street, on which there was an en- trance by means of stairs placed on the outside of the building. This house remained standing until the year 1849, when it was pulled down. The opening piece was the tragedy of "The Fair Penitent," followed by the farce, " Miss in her Teens." Mr. Rigby spoke a prologue, and Mrs. Hallam an epilogue written for the occasion, in which, after defending the stage from the accusation of sinfulness, and alluding to the effect produced by the tragedy npon the audience, she asked,-

" If then the soul in Virtue's cause we move, Why should the friends of Virtue disapprove ?"

This temporary theatre was neatly fitted np. Over the stage glittered the motto, " Totius mundus agit histrionem." On the opening night the house was very full. The audience was in the best of spirits, but an unpleasant disturbance occurred when it was discovered that one of the unfriendly opponents of the theatre occupied a seat in the pit. Instead of heing allowed to sit the play through, with the

chance of his becoming converted to a more liberal course, he was summarily ejected. The Governor's license was for twenty-four nights. This number was extended to thirty, and the theatre closed on the 24th of June, after having had a brilliant and profit- able season. One of the performances was given for the benefit of the charity school.

The members of this company, whose performances were as the introductory chapter of the history of the stage in Philadelphia, were Mr. and Mrs. Hallam, Miss Helen Hallam, and her two brothers, the Mas-

Hallam's company came hack to Philadelphia in 1759, to occupy a permanent theatre, erected for them in Southwark, at the corner of Cedar (or South) and Vernon Streets, on Society Hill, which was just outside of the corporated limits. David Douglass, who had married the widow of the elder Hallam after the latter's death in the West Indies, was the director. He had contracted with Alexander, a blacksmith, and William Williams, painter, for the erection and decoration of this theatre, and leave had been obtained from Governor Denny to that effect. The Quakers, the Presbyterian Synod, the ministers and elders of the German Lutheran congregation, and the Baptist congregation, respectively, petitioned the Assembly to prohibit the building of the theatre. The Assembly passed a bill to suppress lotteries and plays. Alexander and Williams, the contractors, who had progressed with their work, petitioned the Governor to take their case into consideration. The Governor, however, signed the bill, and it went to England, where it was repealed by the king and Conneil, as had always been most of the provincial laws against popular amusements. This theatre was opened on the 25th of June, 1759, but either because the house was too small and not well fitted up, or because the opposition had a discouraging effect, the company only played in it one season. They left Philadelphia, and remained away more than five years. On their return a new house, much larger than the first one, was built, at the corner of South and Apollo Streets. This new theatre was opened on the 12th of November, 1766. The company, which formerly had been designated as " a company of comedians from London," now assumed the title of " The American Company." It was at this theatre, and by this company, that the first play by an Amer-

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Ican author performed on any regular stage was given, on the 24th of April, 1767. This was " The Prince of Parthia," by Thomas Godfrey, Jr., of Philadelphia.

Mr. Graydon, in his "Memoirs," speaks with praise of the various members of this company, especially of Lewis Hallam, although he admits that the latter's declamation, in tragedy, was "either mouthing or ranting," and that having once ventured to appear in " Hamlet," either at Drury Lane or Covent Garden, his acting had not heen to the taste of a London audience, "though he was admitted to be a man of pleasing and interesting address." Mr. Graydon adds that "he was, however, at Philadelphia, as much the

OLD SOUTHWARK THEATRE, COR. SOUTH AND APOLLO STS.

soul of the Southwark Theatre as ever Garrick was of Drury Lane; and if, as Dr. Johnson allows, popu- larity in matters of taste is unquestionable evidence of merit, we cannot withhold a considerable portion of it from Mr. Hallam, notwithstanding his faults."

The " American Company" again performed at the Southwark Theatre in the winters of 1768 and 1769- 70. They returned in 1772, and reopened the theatre on the 28th of October; the performances closed in April, 1773. During this season "The Conquest of Canada ; or, the Siege of Quebec"-the second original American drama ever performed on the stage-was produced (Feb. 17, 1773). Great effect was given to this play by the introduction of soldiers from the bar- racks, sailors from the king's ships in port, with artil- lery, boats, etc. In January of that year Francis Mentges, who became an officer in the United States service during the Revolution, made his first appear- ance as a dancer, under the name of Monsieur Fran- cis, at the Southwark Theatre. The company was again at the theatre in November, 1773, but the season only lasted two weeks. Mrs. Douglass died, and the company left the city.

The troublous times had come, and the momentous questions which filled the public mind left little room for any thoughts of amusements. Among the earliest resolutions passed by the Provincial Congress when it assembled, in September, 1774, was the following :

" That we will discourage every species of extrava- gance and dissipation, especially horse-racing, and all kinds of gaming, cock-fighting, exhibition of shows, plays, and other expensive diversions and entertain- ments."

When the company arrived, in October, they had nothing to do but to re-embark, which they did, going to the West Indies. The only performance at the theatre that season was on the 19th of September, when the "Lecture on Heads" and the recitation of " Bucks have at ye all," were given by Mr. Goodman, of the American Company, and Mr. Allen, of the Theatre Royal, Edinburgh. Mr. Goodman was a young man, who, after reading law for some time with Mr. Ross, had felt an irresistible vocation for the stage, and had joined the American Company, prob- ably in 1770 or 1772.

The Southwark Theatre remained closed until it was opened by the British officers during their occu- pation of the city in 1777-78. These amateur per- formers gave regular plays, for which tickets of ad- mission were duly sold, the proceeds going to the widows and orphan children of the soldiers. The ill-fated Maj. André and Capt. Delancy painted the scenes and other decorations. The curtain, repre- senting a waterfall scene, the work of young André, remained in use until the theatre was burnt down, May 9, 1823. After the return of the Continental Congress, a company of actors, whose names are not now known, gave some performances at the South- wark Theatre, in September and October, 1778. Congress, at this time, passed a resolution prohibit- ing "any person holding an office under the United States" from attending play-houses and theatrical entertainments, and in March, 1779, the Legislature of Pennsylvania passed a new act upon vice and immorality, in which was incorporated a provision against theatrical performances and shows of every kind. Various efforts were made during the suc- ceeding years to have this provision repealed, but with little success. Lewis Hallam, with the old American Company, was very near obtaining a repeal during the session of 1784-85, but eventu- ally failed. He then opened the theatre on the 1st of March, 1785, for miscellaneous entertainments and singing. Growing bolder, he gave, at a later period of the year, exhibitions or readings of scenes from plays.

Hallam was assisted by Mr. and Mrs. Allen, of the old American Company, who aided in recitations and songs, John Durang, a native of Lancaster, who was popular as a dancer, and Charles Busselot, formerly an officer of the French army. The entertainments were recitations, scenes from plays, pantomimes, songs, and scenic illusions, accompanied by mechan- ical effects. The entertainments were carried on till the 29th of July.

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History of Philadelphia, 1609-1884, Part 28

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author Publication date: 1884 Publisher: Philadelphia, Pa. : L. H. Everts & Co. Number of Pages: 992

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992