History of Philadelphia, 1609-1884, Part 29

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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Notwithstanding the determination of the Assem- bly to prohibit theatrical exhibitions, the indefatiga-

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AMUSEMENTS OF THE PHILADELPHIANS.

ble Hallam always found some new subterfuge by means of which he and his company could appear before the public withont incurring the penalty of the law. Thus, in June, 1787, on their return from New York, where they had been performing, they opened at the Southwark, with a "Concert, vocal and instrumental," in which was introduced "The Grateful Ward; or, the Pupil in Love," and the "musical entertainment" of "The Poor Soldier." The theatre was designated in the bills as the "Opera-House, Southwark." This entertainment was for the relief of the American captives in Algiers.

Hallam and John Henry, who were now partners, continned the struggle, petitioning year after year for authority to open a new theatre, and for the | The theatre was fashionable, and the return of Con- repeal of the law against theatrical exhibitions, in the mean time evading that law by giving operas and musical pieces and occasionally plays, disguised Charles Durang, in his " History of the Philadel- phia Stage," says, --- under the title of "Lectures." Thus, "The Game- ster" was announced as a "serious and moral lec- "The east stage-box in the South Street Theatre was fitted up ex- pressly for the reception of Gen. Washington. Over the front of the box was the United States coat of arms. Red drapery was gracefully festooned ia the interior and about the exterior. The seats and front were cushioned. Mr. Wigaell, in a full dress of black, hair powdered and adjusted to the formal fashion of the day, with two silver caadle- sticks and wax candles, would thus await the general's arrival at the box-door entrance, and, with great refinement of address and courtly manuers, conduct this best of public mea and suite to his hox. A guard of the military attended. A soldier was generally posted at each stage- doar, aud four were posted in the gallery, assisted by the high coastahle of the city and other police officers, to preserve something like decorum among the sons of social liberty, who, as Lingo says, in speaking of American aotions of iadepeadeace, 'The very babes, uursing on their mothers' laps, are fed with liberty and-pap"" ture, in five parts, on the vice of gaming," while "Hamlet" was introduced as "a moral and instruc- tive tale, called 'Filial Piety Exemplified in the His- tory of the Prince of Denmark.'" The contest came at last to a crisis in 1789, when a petition, signed by nineteen hundred citizens, asking the repeal of the prohibitory provision relating to theatres, was pre- sented to the Legislature. The religious community took the alarm. A remonstrance against the repeal of the law, signed by three thousand three hundred and ten persons, was taken to the Assembly by a committee, headed by all the ministers of the gospel of the Protestant sects in the city, viz., Right Rev. Bishop White, Rev. George Duffield, Rev. William Rogers, Rev. Henry Helmuth, Rev. John Meder, Rev. Joseph Pilmore, Rev. Ashbel Green, and several elders of the Society of Friends.

Counter petitions were immediately gotten up by the friends of the theatre, the proceedings on their part being conducted by a society called "The Dra- matic Association," for whom Gen. Walter Stewart, Dr. Robert Bass, Dr. John Redman, Maj. Moore, John Barclay, William Temple Franklin, Jacob Barge, and William West, acted as a committee.

The newspapers, as might be expected, discussed the question at length, and every means was used to arrive at a true expression of public opinion. When the question came up for final settlement, it was found that six thousand citizens had signed the peti- tions in favor of the theatre, and four thousand against it. The restrictive portion of the act was ac- cordingly repealed, and an act was passed authorizing licenses to be issued for theatrical entertainments for three years, and subjecting unauthorized exhibitions to a fine of two hundred pounds, so that improper or scandalous plays should not be performed.

Hallam & Henry opened the Southwark Theatre on the 6th of January, 1790, with " The Rivals" and

"The Critic." Their company consisted of Ryan, Vaughan, Lake, May, Harper, Wignell, Wools, Head, Biddell, Robinson, John Durang, Gay, Hallam, and Henry; Mrs. Wools, Mrs. Henry, Miss Took (after- ward Mrs. Hallam), Mrs. Hamilton, and Mrs. Harper. Mr. Kenna, Mrs. Kenna, with Master and Miss Kenna, arrived from London during the season, and strength- ened the company. In December, 1790, when they reopened, some changes had taken place in this list of performers. Four American plays were produced that season : Dunlap's " American Shandyism," Trum- bull's " Widow of Malabar," "Constitutional Follies," a comedy, by Mr. Robinson, a member of the com- pany, and " The Recess," a translation and adapta- tion by a citizen of Philadelphia, name unknown. gress to Philadelphia insured a good attendance. The season was unusually brilliant.

Wignell withdrew from the company that year, and Henry went to England to engage new actors. He brought back John Hodgkinson and wife, the former a dashing light comedian and his wife a lively singing actress, Mrs. and Miss Brett (the latter after- ward Mrs. King), Mrs. Pownell (celebrated on the London stage for many years as Mrs. Wrighton), Mr. King, Samuel and James West, Prigmore, Chambers (vocalist), Luke Robbins (actor and scene-painter), and Floar (an ingenious machinist and property- man).

The firm of Hallam & Henry was dissolved in 1793, and Hallam formed a partnership with Hodg- kinson for the season of 1794. Among the attractions presented were the celebrated tragic actress, Mrs. Melmoth, the popular dancer and pantomimist, Mon- sieur Quesnet (already spoken of in these pages as a successful dancing-master), and the beautiful Madame Gardé, a French danseuse of merited reputation.

This was the last season of the old Southwark or " American Theatre" as a fashionable theatre. Hallam & Hodgkinson left Philadelphia for New York. They felt that the old building on South Street had had its halcyon days, and could not com- pete with a rival which offered the public vastly superior accommodations and elegant improvements until then undreamt of. They were wise, for from

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that time the popularity of the Southwark Theatre gradually faded away before the rising glory of the Chestnut Street Theatre. It could scarcely have been otherwise; the old theatre, according to the reminis- eenees of " Lang Syne," was "an ugly, ill-contrived affair outside and inside; the stage lighted by plain oil-lamps without glasses. The view from the boxes was intercepted by large square wooden pillars sup- porting the upper tier and roof. It was contended by many at the time that the front bench in the gal- lery was the best seat in the house for a fair view of the whole stage." Such was the place where the most brilliant array of fashion had assembled during a quarter of a century. The new theatre in Chestnut Street was fitted up in the interior with two rows of boxes and a gallery above, supported by fluted Corin- thian columns highly gilt, a crimson ribbon twisted from the base to the capital. The tops of the boxes were decorated with crimson drapery. The panels were of pale-rose color, adorned with gilding.

So the name of Hallam, which had been connected with theatrical affairs for the last forty years, disap- peared from the boards. Yet it has remained indel- ibly written in our annals, for if the elder Hallam be not entitled to the appellation, " Father of the Amer- ican Stage," conferred upon him by Dunlap, he has an undisputed right to that of " Founder of the Phila- delphia Stage." His son continued his work and gave us the best interpretations of the old English drama, now forsaken for the clumsy adaptations of French pieces by modern playwrights, who have discovered that it is easier to imitate than to create, and-it pays better.

The old Southwark, after this, ceased to have regu- lar seasons, but it was opened from time to time to the performances of transient companies, amateurs, or temporary combinations of seceders from different companies and actors out of work. In the spring of 1800 " The Orphans" and "The Irish Widow" were played at this theatre by au association of amateurs, called the Thespian Society. John Durang and his family, assisted by a few others, occupied the theatre in the summer months following. In August, 1801, a portion of the Chestnut Street Theatre Company announced the opening of a summer season at the South Street Theatre. Almost simultaneously with this announcement there appeared one by Messrs. Barrett, Placide & Robertson, who, singularly enough, had also engaged the theatre. The two companies, instead of quarreling over the possession of the stage, very wisely agreed to join their forces,-an advanta- geous combination which increased the chances of securing good audiences, for while the Chestnut Street actors were prepared for tragedy, high comedy, and English opera, their new associates were particularly strong in recitations, daneing, and pantomime, and they could boast of having in their ranks "that wonder of the world, the Antipodean Whirligig," Mr. Robertson, " late from London." Robertson was a

great attraction, and thousands viewed with never- ceasing wonder his great whirling feat. He appeared with his head protected by a sort of metallie eap, lined inside with felt, and mounting a strong table, the legs of which were made fast to the floor, he was fixed head downward in the centre. He immediately began a rotary motion of his body, increasing in rapid- ity until he looked more like a piece of machinery than like a man. "Indeed," says Durang, "he was so very rapid that you could not observe by the eye his figure ; you could only discern a perpendicular object like the axle of a wheel, going around with immense rapidity." Sometimes he would have fire- works attached to his heels and other parts of his person. Placide performed the extraordinary feat of playing the fiddle with the bow in his mouth, the instrument being held behind his back and over his head. There was no lack of talent in the dramatic company, which counted among its members Mr. Fullerton, from the Theatre Royal, Liverpool; Wil- liam B. Wood, Cain, Francis, Warren, Blissett, Prig- more, L'Estrange, Mrs. Snowden, and Mrs. Shaw. During the season "The Battle of Bunker Hill; or, the Death of Gen. Warren," was played in very good style. In July, 1802, another company, formed from the Chestnut Street actors, had a short season at the South Street Theatre. Among the plays which they brought out was " The Federal Oath ; or, the Independence of 1776," a pantomimical sketch, interspersed with songs. In this troupe were Warren, Wood, Cain, Bernard, Usher, Blissett, Francis, Milbourne, Miss Westray, Mrs. Jones, Misses Arnold, K. Solomon, Hunt, Sereven, and others.

In the month of July, 1803, Mr. MeGinnis, under the title of " A Theatric Lounge," opened a miscellaneous entertainment, consisting of songs and recitations and scenes from "The Mountaineers,"-Octavian, Mr. Mc- Ginnis. After an unsuccessful experiment, in August, at a place opposite the Lombardy Garden, MeGinnis returned to the old theatre, and brought out "The Virgin Unmasked," the characters in which were taken by McGinnis, Durang, Parsons, Shaefer, "a gentleman," and Mrs. Brumley.

During the summer of 1804 there was a short season at the old theatre by the Chestnut Street Theatre Company. On the 4th of July was produced a piece written by James Workman, entitled "Liberty in Louisiana." Mr. Wood delivered an oration "in honor of Louisiana and the United States." The house was opened for a single night in October, when Mr. Story, from the London and Charleston theatres, presented "The Point of Honor" and " The Spoiled Child."

The Manfredi family opened this theatre in Feb- ruary, 1806, and gave a series of tight-rope perform- ances, ballets, pantomimes, etc. They were succeeded by a portion of the Chestnut Street Company, among which were Mr. and Mrs. Poe, the latter formerly Miss Arnold. It was then and there Spencer H.

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Cone made his first appearance on any stage. He i the history of that stage1 of which his father had played with much success Achmet, in " Barbarossa." Cone became a favorite afterward at the Chestnut Street Theatre, where he played during several sea- sons. In the midst of a successful career he suddenly left the stage and went to Baltimore, where he became associate editor of The American, exchanged his quill for a sword when the war with Great Britain broke out, and served as a captain of artillery ; returned to the stage after the restoration of peace, and again left it, finally this time, to become a minister of the Baptist Church, in which last profession he continned until the time of his death. Kate Claxton, one of the most deservedly popular actresses of a later time, is a granddaughter of Spencer H. Cone.

In 1807 the first French dramatic company that had ever appeared in Philadelphia opened at the South Street Theatre for a short season, playing va- rieties and vaudevilles. Their advertisements show that they performed several good pieces of the old French répertoire, which required actors of a fair average of talent. "Le Directeur dans l'Embarras" (The Perplexed Manager), "L'Avocat Pathelin," by Palaprat, "On fait ce qu'on Peut, en non pas ce qu'on Veut," "Heureusement," by Rochon de Cha- bannes, " Le Sourd, ou l'Auberge Pleine," and several lighter pieces and farces were produced. In March, Manfredi came back to the old theatre, and the French company removed to Sicard's ball-room. Daudet, one of the principal actors, was the manager. His name and that of Monsieur Bridan are the only ones that have come down to us.

In the summer of that year John Durang opened at the old theatre with a company of which his three sons, Augustus F., Ferdinand, and Charles, and his daughters, Catharine and Charlotte, formed part, with Baillie, Taylor, Drummond, Wright, and Miss M. Mullen. Old Hallam, who owned the theatre, played occasionally. This company was considerably strengthened in September by the accession of Giles Leonard Barrett, Wilmot, Mckenzie, Johnson, Wil- liams, Yeates, George H. Barrett, Mrs. Wilmot, and others. They brought out several heavy pieces.

The name of Durang has occurred several times in these pages, and it is fit that it should form the closing chapter of the history of the old South Street or South- wark Theatre, with which it was so closely connected. John Durang was connected with Hallam's company ever since 1785. Engaged at first for his merits as a dancer, he became a useful member of the dramatic company. His children were brought up to the stage. One of his sons, Charles Durang, was born in Phila- delphia, and appeared for the first time in a ballet in 1803. He was then only nine years old. He was des- tined to perpetuate the name of Durang in the annals of the Philadelphia stage long after his father had gone to rest in the silent city of the dead, near his old man- ager and friend, Hallam. Charles Durang, after being an actor, ballet-master, and manager, lived to write

been one of the pioneers, and on which he himself had passed his life from boyhood through to manhood and old age, renouncing it only when his infirmities prevented his further prosecution of his profession. The " stars" of more than half a century had been his associates, and he had witnessed the first efforts of actors and actresses since famous. Who better than he could write a truthful, interesting narrative of reminiscences of the stage? He had played his part honorably on another stage beside that consecrated to Melpomene and Thalia : when the last war broke out between England and the United States he flew to the defense of his native land, and was one of the little garrison which guarded the six-gun battery at the battle of North Point, Md. This fight was immortal- ized by Francis S. Key's glorious song of " The Star- Spangled Banner," which was sung for the first time in public by Ferdinand Durang, in a building adjoin- ing the Holliday Street Theatre, Baltimore, Charles Durang leading the chorus.

On the 10th of October, 1807, notice was given in the newspapers that there would be a performance of " Douglas" at the South Street Theatre, " to bring forward a boy of thirteen, who has been for some time past the admiration of New York, Charleston, and Virginia, under the title of the 'Infant Ameri- can Roscius.'" Another "Infant Roscius," said to have been born in Walnut Street, Philadelphia, Jan. 18, 1802, and consequently only six years old, was brought forward in 1808. "Having found it impos- sible to get a room for exhibition," this young prodigy, it was announced, would " wait on families in their houses and give recitations." John Howard Payne was also called the " American Roscius," and he has been erroneously identified by some with the first "Infant American Roscius" of 1807. Payne, accord- ing to the biographical sketches of him, made his first appearance at the Park Theatre, New York, Feb. 26, 1809, as Young Norval. He was then sixteen years old. During the spring of 1808 the old theatre was "opened for public amusement." The performances were legerdemain, balancing, ventriloquism, imita- tions, etc. The place must have deteriorated when the manager found it necessary to announce that " smoking cigars is not allowed in the theatre."

An amateur association gave performances at vari- ous times in 1812 and afterward at the old theatre. This society was known as "The Moretonians," and took its name from John Pollard Moreton, a young American actor of merit, who was a native of Sara- toga, N. Y. He had been in India and England, and was brought over by Wignell to be a member of the first Chestnut Street Theatre Company in 1793. He made his first appearance in Philadelphia in 1794, and died in 1798. No public notice was given of these amateur performances.

1 History of the Philadelphia Stage, by Charles Durang.

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HISTORY OF PHILADELPHIA.

In 1812, Mr. Beaumont, who had been manager of the Edinburgh Theatre, brought out his wife's nieces, the Misses Abercrombie, two fine dancers. Failing to negotiate with Warren & Wood, managers of the Chestnut Street Theatre, for their appearance, he or- ganized a company and opened the old South Street Theatre. Beaumont had with him, besides his wife and two nieces, Mrs. Morris, Mr. Fell, Jr., Mr. Fisher, and James Abercrombie. During the season several performers of note joined this company, none of whom had ever played in Philadelphia. Among them were Mrs. Goldson, of the Haymarket Theatre, London ; Mrs. Riddle, mother of Cordelia and Eliza Riddle ; Mr. William Jones, afterward one of the managers of the Arch Street Theatre; and Joseph Hutton, schoolmaster and playwright. The ballet pantomime of "Little Red Riding-Hood" was pro- duced for the first time in America by this company.

The Abercrombie sisters created such a furor by their admirable dancing that the managers of the Chestnut Street Theatre found it their interest to offer them an engagement, and the South Street Theatre season came to a close on the 30th of January, 1813. " The Theatrical Commonwealth," a company com- posed of seceders from various theatres, and which had been organized in New York by Twaits, opened the old place on the 13th of April, 1813. The mem- bers of this company were Messrs. Clark, Burke, Caulfield, and Anderson ; Mesdames Burke aud Clark ; Miss Clark, of the Charleston Theatre ; Messrs. Twaits, Jacobs, Fisher, Hathwell, and Fennell, Jr .; Mrs. Twaits, and Mrs. Goldson. Mr. Leigh Waring and old Mrs. Morris soon joined the company.

Mrs. Burke (afterward Mrs. Joseph Jefferson ) made her first appearance in Philadelphia as Leonora, in "The Padlock." This lady, the mother of the two comedians so eminent in later times, Charles Burke and "Joe" Jefferson,1 was a daughter of Monsieur Thomas, a planter of San Domingo.

Probably the last performance at this old theatre was on the 7th of June, 1817, when Higgins and Bernard, who had opened it for a few nights, after it had remained unoccupied some years, brought out " Manuel," a tragedy, by Rev. C. R. Maturin, the author of "Bertram." The old South Street Theatre was destroyed by fire on the 9th of May, 1821. The event caused little excitement ; the very existence of the old place was almost forgotten, -sic transit gloria mundi.

An old dwelling-house on Apollo Street, running from South to Shippen, between Fourth and Fifth Streets, was fitted up in 1811, and opened as " The Apollo Street Theatre." It was an unfortunate undertaking, although the house had been prettily fitted up and arranged, the scenery well painted, and the company good, being composed of members of the Chestnut and Walnut Street Theatres. Among them were Webster (a vocalist of some reputation), Cross, Lindsley, Anderson, Morgau, Lucas, Legg, old Mrs. Morris, Mrs. Bray (formerly Miss McMullin), Miss Williams, Mrs. Roberts, and Mrs. Sweet. On the opening night an address, written for the occasion by a gentleman of Philadelphia, was spoken by Mr. Webster. Mr. and Mrs. Wilmot joined the company after the season commenced, but did not remain long. John Hodgkinson's play of "The Man of Fortitude" was performed there on the 19th of July, shortly after which the Apollo Street Theatre closed its doors forever.

In the year 1791 the Kenna family, which had per- formed at the South Street Theatre for a time, opened a theatre in the Northern Liberties, on Front Street, near Pool's bridge, and not far from the Noah's Ark Tavern. Being subsequently reinforced by some actors out of employment, they took the name of " The New American Company," and played tragedies and light pieces. Doneganni's troupe of tumblers and posturers, and Monsieur De Moulin's company of dancers afterward performed at this theatre, closing finally in May, 1792.

The great event in dramatic circles in 1794 was the opening of the new theatre on Chestnut Street, above Sixth, on the 17th of February. When Thomas Wig- nell separated from Hallam, at the close of the season of 1790, he associated himself with Hugh Reinagle, a musician, and the two determined to establish a new theatre. While prepared to supply the necessary funds to engage the best performers from Europe and to procure scenery, dresses, and everything concerning the internal arrangements of the theatre, they required assistance to purchase the ground and to erect the necessary buildings. They proposed, therefore, to create a stock of sixty shares, at three hundred dol- lars each share. Six per cent. interest and a season ticket to each shareholder were the inducements offered. Ten shares were to be redeemed aud paid off annually. The stock was readily taken up by the liberal patrons of the drama,2 and the building was

1 There have been three actors of thnt name. The first Joseph Jeffer- son, a great favorito in his time and one of the most valuable members of the Chestnut Street Theatre company, was not only A great comic actor of versatile talent, but a fine singer. His son, Joseph the second, who played nt the same theatre, was an actor of ordinary merit, but an nrlist and scene-painter. Hle married Mrs. Burke, and was the Inther of Jee Jefferson, third of the name-so well known for his personation of " Rip Van Winkle" -- who has Inherited his grandfather's genius, and moves the present generation from tears to laughter with a single glance or a change of intonation,-Irresistibly comic, yet never vulgar or CURTS(.

" The following were the originnl subecribers, each for one shure: Robert Morris, Henry Hill, J. Swanwick, J. Swanwick (for W. Macken- zie), Walter Stewart, Mark Prager, Jr., J. L. (for C. Fehiger), Joseph Rivarl, Matthew McConnell, Samuel Anderson, Robert Bass, Pearson Ilunt, Samuel Hays, William Bingham, C. Richmond, lamee Lyle, Wil- liam Cramond, Edward Tilghman, John Travie, James Cramond, John Ashley, Thomas M. Taylor, George Padst, Robert S. Bickley, John Vaughan, Thomas Fitzsimons, Michnel Prager, John Duffield, Rich- ard Potter, John Brown, Thomas M. Willing, Matthew Saddler, Robert Patton, John Leniny, Robert Rainey, David Cay (for Andrew Clow), David Cay, Thomas Rushton, James Glentworth, John Lawrence, Sam- nol Anderson (for a friend), John Mitchell, John Dunlap, Isaac Frauks,

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commenced in the year 1791. The corner-stone was laid, with Masonic ceremonies, by Mr. Reinagle, who was a master mason. Jared Ingersoll delivered an address on the occasion.

The plan of the building, which was a perfect copy of the Bath Theatre, was furnished by Mr. Richards, of London, a brother-in-law of Mr. Wignell. The theatre had so far progressed in February, 1793, as to permit of its being opened to the public for one night, when a grand concert, vocal and instrumental, was given. The interior decorations were fin- ished, and they excited the admiration of the spectators, but, outside, the building was far from presenting the fine appearance it did some years later, when the colounade was added. The following description, taken from "The Picture of Philadelphia," by James Mease, M.D., will give a correct idea of a structure which was acknowledged to be the finest theatre in America at the time :

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History of Philadelphia, 1609-1884, Part 29

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