History of Philadelphia, 1609-1884, Part 30

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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" The theatre on Chestnut near Sixth Street was founded in the year 1791; aud enlarged and improved, as it now stands, in 1805. It presents a handsome front on Chestnut Street of ninety feet, including two wings of fifteen feet each. The centre building is ornamented with two spirited and well-executed figures of tragedy and comedy (by Rush) ou each side of a great Venetian window, over which, in two circular tablets, are emblematical insignia. The top of. this centre building is crowned by a pediment. The wings, opened hy large windows, recede a little from the front above, but project below, twelve feet to the line of tho street, faced with marble ; these pavilions are decorated by emblem- atic figures in tablets, and connected together by a colon- nade of ten fancy Corinthian columns. The extreme depth of the theatre is one hundred and thirty-four feet ; the in- terior is judiciously and handsomely arranged. In the wings are the green-roome, dressing-rooms, scene-rooms, etc. Through the projecting wings or pavilione, you pass to the atairs of the galleries; under the colonnade, the left-hand door leads to the pit, but to the boxes you ascend in front by a flight of marble steps, enter the lobby, and pass to the corridors which commu- nicate with all the boxes. Those in front of the stage are disposed in

Charles Pettit, Thomas M. Moore, James Read, Thomas Wignell (for & friend), John Swire (for J. D. A. R. N. O. Y.), Thomas Ketland, Jr., Griffith Evans, James Barclay, Robert Westcott, J. Swanwick (for James Abercrombie), Joseph Harmar, Francia West, Andrew Speace, A. Reinagle (for a friend), Thomas Carradine, J. Delany, Robert Weet- cott (for a friend), John Brown (for James Crawford), John Harrison (L. M.).

" At a meeting of the subscribers to Mesara. Wignell & Reinagle's proposale for erecting a theatre, held at the City Tavern the 22d June, 1792, in consequence of three days' previous advertisement,

" Resolved, That Messrs. Wignell & Reinagle be authorized to open au additional subscription for forty shares upon the same terms and eecu- rity as the former shares.

" JOHN VAUGHAN, Secretary pro tem.

"HENRY HILL, Chairman."

Additional subscribers, one share each': Charles Biddle, D. C. Clay- poole, G. W. Plumsted, Edward Fox, Robert Rainey, Edw. Fox (for & friend), George Meade, C. Richmond (for John Wright), John Mitchell (for A. Caldwell), John Williams, Jr., John Williams (for Miss U. Alex- aoder), Joseph Donaldson, John Bidwell, George Keppele, Adam Zaat- zinger, C. A. Bertier, William Stiles, Philip Nicklin, T. Goyaux de la Boche, Jobn Kean, Elizabeth Bordley (by Beale Bordley), Thomas Smith, Hanosh Paleski, Pater Blight, Samuel Anderson (for a friend), John Nicholson (two shares), Thomas P. Anthony, David Pinkerton, Jobu Bioos, William Smith, Norton Pryor, Jr.

[Three names in addition to those given in the first list and one name in the second list are left out, it being Impossible to decipher them.]

form of an amphitheatre; the seats of the whole, with those of the pit and gallery, are arranged so as to give the spectator the greatest advau- tages. The stage occupies a front between the boxes of thirty-six feet, and runs back upwards of seventy-ovo feet. Over the stage, occupying part of the entablature and plafond of the front scene, is an emblematic representation of America encouraging the drama, under which are the words, 'For useful mirth and salutary woe,'"

This theatre was computed to hold about two thou- sand persons, of which number nine hundred conld be accommodated in the boxes.

The company was very strong, both as to number

INTERIOR FIRST CHESTNUT STREET THEATRE, 1794.

and combination of talent. Wignell went to England in 1796, to replace some of his actors who had left him. Among those whom he engaged were Thomas A. Cooper, afterward famons as a tragedian, and William Warren, of equal merit as a comedian. Mr. and Mrs. Byrne, the dancers, also came with him. John A. Bernard, already in this country, and who had acquired celebrity in light comedy, was engaged by the manager on his return. Wignell died in 1803, after seeing his enterprise a continued success. His widow entered into partnership with Reinagle, and Warren and Wood became the stage managers.

Joseph Jefferson, the elder, made his first appear- ance in Philadelphia at the commencement of the season of 1803, in the characters of Frank Oatland and Dr. Lenative.

The melodrama, which for a number of years may be said to have almost driven regular tragedy from the stage, was first introduced in Philadelphia in 1804, when " A Tale of Mystery," by Holcraft, was produced at the Chestnut Strect Theatre.

Thomas A. Cooper, whose fame as a tragedian was now well established, came back to the Chestnut in 1804. During the season of 1808-9 he acted twice

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HISTORY OF PHILADELPHIA.

a week in New York, and twice a week in Philadel- phia. Master John Howard Payne, afterward eele- brated as the author of the song " Home, Sweet Home," made his first appearance on the 5th of December, 1809. Durang says of him,-

" His youth, figura, and beauty of features were highly prepossessing. But sixteen years of age, and petite io stature, yet he appeared the epitome of a Prince Hamlet in soul and manner. His face beamed with intelligence, and his bearing was of the most courtly mould. He was vigorous with rant ; chaste, but not dull. He portrayed all the quick thought, restless disposition, and infirm philosophy of Hamlet with great judgment and tact.“

Reinagle died in Baltimore Sept. 21, 1809. A part- nership was then formed between Warren-who had married the Widow Wignell-and Wood. The firm of Warren & Wood continued until 1826.

In 1811 the theatre-goers of Philadelphia were thrown into a fever of excitement, such as had never been known before, by the arrival of George Frederick Cooke, the English tragedian. He was engaged for twelve nights, and made his first appearance, on the 25th of March, as Richard III. There were no re- served seats in those days, and it was not an unusual thing to see a servant, or some one hired for the pur- pose, rush into the house as soon as he could gain admittance, drop into some desirable seat, and occupy it until his master or employer came to claim it. On the occasion of Cooke's first appearance, which was on a Monday, such precautionary measures were of little avail. As early as Sunday evening-as related by Charles R. Leslie in his " Autobiography" -the steps of the theatre were covered with men who had come prepared to spend the night there, that they might have the first chance of taking places in the boxes. Some actually took off their hats and put on nightcaps. When the doors were opened at ten o'clock, Monday morning, the street in front of the theatre was impassable. The rush was tremendous. Men literally fought their way through, coats were torn off the backs of their owners, hats knocked off and mashed; one fellow, swinging himself up by means of the iron bracket of a lamp, ran over the heads of the crowd into the theatre. By evening the crowd that besieged the doors was so dense and tumul- tuons that it was evident'ticket-holders, and especially ladies, could not make their way through it without danger.

" A placard was therefore displayed stating that all persons who had tickets would be admitted at the stage-door, before the front doors were opened. This notice soon drew such a crowd to the back of the theatre that when Cooke arrived he could not get in. He was on foot, with Dunlap, one of the New York managers, and he was obliged to make himself known before he could be got through the press, 'I am like the man going to be hanged,' he said, 'who told the crowd they would have no fun unless they made way for him.' "

In The Cynic, by "Growler Gruff," the following notice of Cooke's acting appeared in 1812 :

" Hia Richard III. was received with shouts. His denth-scene was truly appalling. As he lifted his left arm over his forehead, and gave the last withering look at Richmond-the expressivo of his eyes as they for a moment vividly rolled, then became fixedly glazed, and all visiou seemed gone-was peculiar, and thrilled the audience. His style was quiet, but astonishingly impressive. You felt everything he did. The face fixed your attention at once. The words that followed riveted your attention, and absorbed all objects else. Your mind dwelt oo naught beside. You did not see Cooke. You only saw the character. He never lost the feeling of his part. The coloring of the passion was preserved in graphic tiots to the end. We think that Kean bottomed much of his Glos'ter on that of Cooke. The basis of his acting bore a strong resemblance. But Keao made more detached points. In action he was more of the melodramatic school. Their performances were alike, yet distinct."

The receipts on Cooke's first night were $1348.50. The highest receipts during his engagement were $1434; the lowest, $778. He was re-engaged for four nights, with as good results. In the succeeding month Cooper and Cooke played together. The highest receipts were, on the first night, $1604; the lowest, 81183. These were large receipts when the prices were,- Box, $1 ; pit, 75 cents ; gallery, 50 cents.

Durang says that "the performance of 'Othello' was the most magnificent effort ever witnessed on the American boards. It never has been surpassed to our recollection."

In the season of 1812-13, John Duff made his first appearance in Philadelphia ; he was then a handsome young man, scarcely over twenty-one years of age; his wife (Miss Dyke), a sister of the wife of the poet, Thomas Moore, was about eighteen, and very beauti- ful. She played light parts. In her more mature womanhood she revealed herself as one of the finest tragie actresses that ever trod the American stage. In the same season Holman and his daughter, Miss Holman, were among the Chestnut Street stars.

James N. Barker's play of " Marmion" was brought out during the following season, with Duff as Marmion. The feeling toward Great Britain was not very friendly at that time, for all saw impending war in the diffi- culties then existing between the two countries. Re- sistance to England formed the theme of " Marmion," and the sentiments expressed by the Scots found an echo in the breasts of the Americans. Hence an inci- dent, as related by Durang, which occurred on the first night the piece was played. The scene was between King James and Marmion. Gen. John Bar- ker, the father of the author, was seated in the stage box. King James replies to Marmion as follows :

" My lord! my lord ! under such injuries, How shall a free and gallant nation act ? Still lay its sovereignty at England's feet -- Still basely ask a boon from England's bounty -- Still vainly hope redress from England's justice ? No! by our martyred fathers' memories. The land may sink, but, like a glorious wreck, 'Twill keep its colors flying to the last !"

Old Mr. Barker, swinging his cane over his head and rising up in the box, exclaimed, "No, sir! no! We'll nail them to the mast, and sink with the Stars and Stripes before we'll yield !" This patriotic effu- sion brought the audience to their feet, and the shouts

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AMUSEMENTS OF THE PHILADELPHIANS.

and applause continned for upward of ten minutes. When, at last, the actors could proceed with the scene, every patriotic sentiment they nttered was received with rounds of applause. "Marmion" became a very popular piece which never failed to draw a good house.

The success of George Frederick Cooke had awak- ened a desire among English actors of note to cross the ocean in order to win the plaudits of American audiences and, what was still more acceptable, a re- spectable pile of American dollars. This landable desire has been perpetnated since, and the parabolic course of the "stars" which shoot annually from the theatrical heavens of the Old World is invariably directed to the United States. Success is not always certain, however, as Mr. Betterton, of the Covent Garden Theatre, discovered in 1817, when he came to the Chestnut. He had been, at one time, consid- ered the first among great English actors, but he failed to make an impression on the Philadelphians.

The Chestnut Street company counted enough able singers among its members to give vocalists a good support, so the operas gave as much satisfaction as the comedies. Henry Wallack made his first ap- pearance as Don Juan, in " The Libertine," a musical play adapted to the music of Mozart's opera, in De- cember, 1818. Mr. Jefferson, as Leporello, sustained him with excellent effect. James Wallack appeared as Rolla on the 8th of January, 1819. He played Macbeth, Hamlet, Shylock, and some melodramas during his engagement, and created great excitement. Robert C. Maywood, of the Theatre Royal, Drury Lane, followed the Wallacks, and played with success the first-class parts of Shylock, Othello, and others. Mrs. Bartley, a tragic actress of great reputation in England, played a two weeks' engagement in Feb- ruary. Her husband, who accompanied her, played comedy parts, such as Falstaff, Puff, etc. The season closed on the 13th of April, with John Howard Payne's tragedy of "Brutus." In October, 1819, Arthur Keene, a lively young Irishman, with a very fine voice, but utterly ignorant of musical notes, com- menced an engagement and played in several musical pieces.

This season, which closed on the 27th of March, 1820, was the last of the fine theatre erected by Wig- nell & Reinagle. The company had gone to Balti- more, when, on Easter Sunday night, April 2d, the building was totally destroyed by fire. An old eight- day clock, an antique mirror, and the old sick-chair which was used in the business of the stage, were the only articles saved from the flames. The wardrobe destroyed included the principal part of Lord Barry- more's private wardrobe, conrt costumes, and costly dresses. The beautiful drop-curtain, which was the admiration of every artist and connoisseur, was lost. It was the work of Wignell's brother-in-law, the cele- brated Richards, and was commonly called " Richard's Drop." The subject was a Grecian triumphal arch,

with a most exquisitely-wrought Italian sky in the perspective, relieved with variegated foliage.

The burnt-out company went to the Olympic The- atre in the fall of 1820. Meanwhile the stockholders adopted means to have the Chestnut Street Theatre rebuilt without delay. They created new stock, at six hundred dollars per share, which was readily taken, and they contracted with the able architect, William Strickland, for the construction of the new building. On the 2d of December, 1822, the new theatre opened with "The School for Scandal" and " The Wandering Boys; or, the Castle of Olival," with a very strong cast.

There was some criticism upon the design of the theatre, particularly the front, which was said to show architectural incongruity. Thus said "Microsmus Philadelphicns," --

"Its columos Corinthian, in Italy sculptured, Atteet low the arte 'mongst ourselves have been cultured ; Fluted off and got np without flaw or disaster, What a shame they omitted to flute the pilsster 1

Their arrangement is neat, and supporting-but, rot it !- A pedimeat, only the builder forgot it !"

The niches in the wings were decorated with the statues of Tragedy and Comedy, cut by Rush, which were in front of the first theatre when destroyed, but which were saved from the wreck. They had much spirit and expression.1

Junius Brutus Booth made his first appearance at this theatre on the 17th of February, 1823. Little was known about him ; he was from the Royal Drury Lane Theatre, he had had a contest in London with Edmund Kean, he had come to America and had played an engagement in Richmond, Va.,-that was all. The Philadelphia public, which had applauded so many stars that had come heralded by the trum- pets of fame, but which also had shown discernment in not always accepting as " great" all who came thus heralded, failed to discover the mighty power of this unknown man, who was soon to be recognized, in Philadelphia and elsewhere, as one of the most suc- cessful tragedians on the American stage.

Durang says of Booth's first engagement,-

"Junius Brutus Booth made his first bow to a Philadelphia audience with very poor prospects of success. Nobody knew anything about him, nor did anybody seem to care for him. His reception was extremely lukewarm. The house was poor, the applause was poorer. A few saw merit. The verdict of his jury was ' No go!' During his engagement he played Richard III., with which he opened, Sir Edward Mortimer, Sir Giles Overreach, King Lear, Reuben Gleuroy, Octarian, and Orestes, ia ' The Distressed Mother.' These he played with his usual excellence, win- ning moderate applause from those who were present, but not drawing large houses, such as were due to his merit and great excellence."

1 The niches not being very deep, Mr. Rush was compelled to treat the figures somewhat as if they were in high relief. They showed from the wall of the niche the frout and about three-fourths of the body. Tho backs could not be finished, and the sculptures, which were of would, actually presented nothing but a sholl. But so skillfully and effectively was the work done that the spectator, who was ignorant of the device, could not, from the view taken from the street, suppose that the figures were not solid and complete. When the theatre was taken down, in 1854, these masks were sold to Edwin Forrest, and were placed by him In his library. Since his death they have been removed to the Actors' HIome, near Holmeshurg.

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HISTORY OF PHILADELPHIA.

The day was not distant, however, when the great tragedian was to conquer this indifference of the public, and change it to a lasting admiration of his genius. The season of 1823-24 commenced on the 2d of December, Booth going through an engage- ment with a moderate degree of success. But in January, 1824, a performance was to be given in aid of a fund to assist the Greeks in their war against the Turks. The matter was under the control of a com- mittee of leading citizens. Booth volunteered his services to play Hamlet. They were accepted. Sym- pathy with the Greeks was general, and in conse- quence the house was crowded by an unusually intel- ligent audience, many coming for the sake of the Greeks, who had never seen Booth, and did not care who played Hamlet. The effect produced by the wonderful rendering of this part, one of the most difficult among the creations of Shakespeare, can only be described by the word " astonishment." The spectators were not prepared for this sudden revela- tion of genius; it burst upon them and carried them by storm. When the play ended there was neither misgiving nor doubt : Junius Brutus Booth was recognized as a tragedian without superior. Henceforth he could always be sure of a full house and enthusiastic audience. The public made ample amends for its past indifference.1

Previous to this victory of Booth's, that is, in Feb- ruary and March, 1823, that most humorous of come- dians, Charles Mathews, played seventeen nights to crowded houses. He had just concluded a long and successful engagement in New York, and so many

1 In 1827 tbere appeared at the Chestnut Street Theatre a young man by the namo of Delarue, who had a peculiar talent for imitating the style of other actors. His most successful imitation was that of Booth, owing to his perfect resemblance with the latter. In size, features, voice, and artiun he was his perfect counterpart, and the resemblance even went farther, for he was very eccentric. It was rumored, probably with no better foundation for the story than this astonishing leat of nature, that Delarue was Booth's natural son. Rees, in his " Life of Edwin Forrest," tells the following anecdote of Delarue:

"On another occasion, in company with several gentlemen, Forrest visited the "Castle of St. Angelo,' Originally it was called the Man- soleum of Hadrian, a rounded pyramid of white maiblo. For a while they stood entranced, so much to see, so much to admire and com- ment upon. All around them were the traces of former greatness. Rome, with its majestic ruins; Rome, in the solemn grandeur of its churches and palaces; Rome, with its endless treasures; Rome, with ita Church of St. Peter's, built at the expense of the whole Roman world ; Rome, the glory of modern architecture, loomed up before them. The Pantheon, the most splendid edifice of ancient Rome; the Vatican, the palace of the Pope, all these were more or less visible to the eye aa they atood gazing in wonder and awe. In one of the pauses of their conver- sation a voice came up from behind a ruined column bearing upon its surface the impress of ages, anying, 'Mr. Forrest, have you been to see the ruins of the Coliseum?' Forrest turned around at these words to see from whom they proceeded. There, lying at full length on another pillar, was a young man whom none of the party knew. He went on, " It is a splendid ruin, sir! They say it held one hundred thousand prople.' 'You know me, it seems?' said Forrest. 'Know you? Why, certainly ! Don't you remember Delarne? I played Richard III. at the Walnut Street Theatre in imitation of Mr. Booth.' 'What! you here? Get up, man, and let mo have a good look at you.' Up jumped the eccentric individual ; and as he atood before the group he appeared a fac-simile of the great tragerlion he could imitate so admirably."

anecdotes of his wit and mimic powers had appeared in the newspapers that every one was anxions to hear him. His success was immense. After his departure the English burletta of "Tom and Jerry" was brought out for the first time, Jefferson playing Bob Logic.

In January, 1824, Mr. Pearman, an English vocalist, played, with moderate success, an engagement of two weeks, during part of which Vincent De Camp, a brother of Mr. Charles Kemble, acted with him. Conway, a London actor, appeared toward the end of the season; he did not justify the appellation of "great," with which he had been announced. The succeeding season was opened by Booth as Richard III. He was followed by Clason, from the Theatre Royal, Drury Lane, but who was a native of New York. Clason displayed no extraordinary ability as a comedian. The event of the season was the pro- duction of Von Weber's "Der Freischütz," with the original overture and choruses. The orchestra was doubled in size. The parts, sung by the regular actors of the company, were well rendered, yet " Der Freischütz" did not draw more than four or five nights.

Stanislaus Surin, whose success in the management of the Tivoli Garden has already been noticed, leased a large building, which had been erected for a cotton- factory, on Prune Street between Fifth and Sixth, and fitted it up as a theatre. This house was opened in 1820, under the name of the Winter Tivoli Theatre, and ran two seasons with fair success. The company was very well composed. There were Charles S. Porter, a talented actor, who was afterwards a mem- ber of the Chestnut Street Theatre, and at one time manager of the Arch Street Theatre; James H. Caldwell, a fine actor, and a man of uncommon abil- ity, who in after-years became manager of the St. Charles Theatre in New Orleans, and introduced gas into that city, of which he was elected alderman and subsequently mayor ; Mrs. Williams, who afterward became the wife of Robert C. Maywood, one of the managers of the Chestnut Street Theatre; Mrs. Riddle, a well-known actress, the mother of Mary and Eliza Riddle, two beautiful girls. Eliza mar- ried Joseph M. Field, an actor, who became a hu- morous writer, and was editor of the St. Louis Re- veille. The well-known writer, Kate Field, is their daughter. Beside these, there were in the company Messrs. McCleary, Laidley, Bard, Campbell, Thorn- ton, Morrison, Mestayer, Parke, Still, Hall, Bloom, Simpson, Klett, Mesdames Mestayer, Still, Allen, and Miss French. "The Mountain Torrent," a new American drama, by S. B. Judah, of New York, was brought out on the 20th of December, and "The American Captive; or, the Siege of Tivoli," by a gen- tleman of Boston, was played for the first time April 5, 1821. Mr. Adamson, from the Theatre Royal, Bath, made his first appearance as Peter, in "The Stranger," and Mrs. Smith made her first appearance as Adelgitha. Among the actors who strengthened the

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AMUSEMENTS OF THE PHILADELPHIANS.

company the second season were Joseph Hutton, play- wright; John Augustus Stone, who afterward wrote the tragedy of "Metamora ;" Messrs. Herbert Wil- liams, Bloxton, Sinclair, Klett, Mrs. Higgins, Miss Riddle, and others ; Misses C. and K. Durang ap- peared in fancy dances ; Adamson and Stamp sang comic songs. Mr. and Mrs. Pelby joined the company toward the end of the season. Stone brought out "Montrano; or, Who's the Traitor," an original drama of his composition. Louis De Hebrach also produced an original drama, "Oolaita ; or, the Indian Heroine."

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History of Philadelphia, 1609-1884, Part 30

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