History of Philadelphia, 1609-1884, Part 31

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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In 1822, Charles S. Porter assumed control of the Winter Tivoli Theatre, and opened it under the name of the City Theatre. Mr. Porter was stage manager, and in the company were Messrs. Meer, Mestayer, Forbes, Hamilton, Webb, D. Eberle, Irwin, Klett, Mrs. Smith, Mrs. Mestayer, and others. This was not a very successful enterprise. Porter had no ambition to make another trial, and at the end of the season the history of this theatre was closed.

Pepin & Breschard, who had built the circus at the corner of Walnut and Ninth Streets, bought additional ground and enlarged the building in 1811, so as to combine stage and ring performances. The house was opened on the 1st of January, 1812, and called the "Olympic Theatre." On this occasion Mrs. Beaumont, a fine English actress, made her first appearance, supported by Mr. Knox, of the Park Theatre. The theatrical company was good, and the equestrian performances brilliant. The first season was a fair success, but the second was bad and came to a premature ending. Pepin & Breschard had gone heavily in debt to build the theatre, and creditors were pressing. Finally, the whole establishment was sold by the sheriff on the 5th of February, 1813. Pepin & Breschard opened the house once more in the month of August following, for circus perform- ances only. In 1814, Twaits' Commonwealth Com- pany played there a short, unprofitable season. Ex- cept for some rope-dancers' exhibitions, the house remained nnoccupied nntil Angust, 1816, when Pepin & Co. opened it for equestrian, pantomime, and hallet performances. In November, West's splendid circus company, from England, made their appearance at the Olympic. Ferdinand Durang made quite a hit in "Timour the Tartar." In the spring of 1818 the Alexandria and Washington theatrical companies, under Managers James H. Caldwell and James En- twistle, made a coalition with Pepin, and opened the Olympic for the performance of light pieces and dramas in which horses could be used, with occa- sional variations in the ring. In 1818 a stock-com- pany was formed, at Pepin's suggestion, to purchase the theatre property and make necessary repairs and improvements. One hundred and sixty-nine shares of two hundred dollars were subscribed.1 The follow-

) The whole number of shares subscribed for originally was one hun- dred and ninety -five. This number wne reduced in 1821 to one hundred and sixty-nine, end it was then agreed that the association should con-

ing-named trustees were to hold the property for the benefit of the association : Dr. John Redman Coxe, William Meredith, and Frederick Ravezies. William Meredith was chosen president; Frederick Ravezies, Richard Ashhurst, John R. Neff, John Meany, John Swift, and William Montelius, superintending com- mittee; George Davis, secretary and treasurer.

The season of 1818-19 was not a very profitable one. Among the new performers who appeared this season was Mr. Lamb, of the English Opera-House, London, who was afterward with Coyle (the scene- painter), manager of the Chestnut Street Theatre; John Green, subsequently famous in Irish characters ; and John Blair, also an Irish comedian, came out during the season.

The honse was not reopened after this until the de- struction of the Chestnut Street Theatre, in 1820, led to the leasing of the Olympic by Warren & Wood. The house, refitted and improved by the lessees, was opened on Nov. 10, 1820, as " The Walnut Street Theatre," a name by which it was, except during a brief period, afterward popularly known, although during the several years that Francis C. Wemyss was manager he called it "The American Theatre." A memory forever connected with the Walnut Street Theatre was the appearance upon its boards, during that first season, of the great tragedian of whom America, and more especially Philadelphia, will ever be justly proud. On the 27th of November it was announced that Young Norval would be per- formed "by a young gentleman of this city." His

tinue until the 1st of June, 1828. The following were the shareholders : Richard Ashhurst, Laurence Astolfi, Samuel Allen, John Beugers, Peter Bousquet, Joha Binns, John Breban, John Bernard, John L. Baker, Thomas Bloxton, George E. Blake, Joseph Beylle, John Byerly, Samnel Badger, Thomas Brown, Jamee N. Barker, William Bargh, Richard Bache, Edward Barry, John R. Coxe, Edward D. Corfield, Anthony Chardon, George H. Cooke, William Campbell, Edmund T. Crawley, Isaac P. Cole, Charlee Carpenter, Jr., Daniel B. Charpentier, Clement E. Chevalier, Fortune Clapier, John M. Chepron, Robert Desilver, John T. David, Lewis Duval, Simon Dance, Joseph Dooath, Lonis de la Croix, George Davie, Thomas Desilver, Lewis Desauque, Lewis Desanque, Jr., William Delany, John Dutton, John Ducker, Leonard Englebert, Adolph Elringhane, John J. Edwards, Andrew Farioalh, Peter Gaudichanld, Themas Hope, Wilson Hunt, John Hart, Peter Hntz. Alexander Hamp- ton, George Harrison, William Irwin, John Jackson, John Knox, Am- brose Lausatt, John Leadbeater, Jamee Lyle, Paul Lajne, John Meany, Horatio L. Melcher, Anthony Michiel, Jr., Charles Magner, Jacob Mar- tin, Henry Meyers, Charles Mercier, Samuel A. Mitchell, Thomas S. Maoning, Robert P. McCulloh, James P. Moore, James Maxwell, James J. R. Malanfant, Richard Mckenzie, William McDonough, Louls R. F. Marotti, John U. Meynie, Alexander McCalla, William Montelins, Wil- liam Meredith, John R. Neff, Stephen F. Nidelet, Matthew Newkirk, Bayse Newcomb, James Nixon, Elenzar Oswald, William A. Peddle, George Pfeiffer, Richard C. Potter, James Potter, Joseph Randall, Fred- erick Ravezies, John Rea, Richard S. Risley, Joseph Robard, William Renehaw, William W. Smith, John Swift, Frederick Seckle, James W. Sproat, Thomas Sergeant, William T. Stockton, Benjamin Sharpnack, David Seeger, William Short, Joseph Sevelluge, John Sibbet, Mrs. Ann Townes, Anthony Teisseire, John C. Tillinghast, John B. Wallace, Charles C. Wataon, Reuben M. Whitney, Robert Welford, Samuel H. Williams, William Woods. The largest number of these subscribers were generally owners of one or two sharee. Ann Townes had sixteen shares; Louis R. F. Marotti, teu shares; John R. Neff, ten; Adolph Ehringhaus, eix ; Richard Ashhurst, six ; Richard C. Potter, four ; John Swift, four.

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performance met with such success that he repeated it on the 2d of December. On the 29th of the same month was presented "Lovers' Vows," altered from Kotzebue by Mrs. Inchbald,-" Frederick, by the young gentleman who performed Douglass." On the 6th of Jannary, 1821, a benefit was given to the débutant, which was announced to be "for Master Forrest's benefit." The play was "The Mountain- eers," Octavian, Master Forrest. The playbill said,- " After the play . .. an epilogue, in the character of a harlequin (written by Dr. Goldsmith), will be spoken by Master Forrest."

Edwin Forrest was then fourteen years of age. He was born in George Street [now Guilford Street], in a small frame house, bearing No. 51.1 His father, William Forrest, was runner for the old United States Bank. Little Edwin was employed for a time in the office of the Aurora news- paper, which he left to go to a cooper-shop. There, it is said, he was in the habit of turning a tub up- side down, mounting upon it, and making speeches to the great amusement of the workmen. We after- ward hear of bim as a youthful clerk in the store of Baker & Sons, impor- ters, Race Street. But his passion for the stage was too strong, and he joined a Thespian society. He is said to have appeared at the old South Street Theatre in the part of Rosalia De Borgia in the melodrama of "Ru- dolph ;" then, in 1817, at the Apollo Theatre as Lady Anne in " Dong- lass," and subsequently as Young Norval at the Tivoli Gardens. Howbeit, his first appearance on a regular stage was at the Walnut Street Theatre. In this theatre he also made his last appearance on the stage in Philadelphia in 1871. His first appearance as a " star" was at the Chestnut Street Theatre July 5, 1826, as Othello. He had had

1 Mr. Bernard Reilley says in a communication to the Dispatch, "I and my family moved into that house on the day that the great ship "Pennsylvania' was launched at the navy-yard, and lived there until the 7th of March, 1844, when it was burned down. Several horses were also burned in a neighboring stable. I think it was in the winter of 1839 that Mr. Forrest and a lady came in, and she, taking a look at the bumble appearance of the place, with a smile, said, 'So, Ed, this is the house yon were born in?' He replied, 'This is the house.' One of my little boys was playing on the floor. Mr. Forrest inquired if he, like- wise, was born in that honse. My wife answered in the affirmative. lle then put his hand in his pocket and gave the child a silver dollar."

choin forest

a varied experience of the stage, however, before he attained such eminence. He had gone West after his début in Philadelphia, and had played Shakesperian tragedy, low comedy, negro characters, and had even joined a circus company as a rider and tumbler, -a strange prelude to the honors he was to win in the service of the tragic muse. Mr. Forrest died on Dec. 12, 1872, in the fine house at the corner of Broad and Master Streets, which he had bought in 1855, when he resolved to retire into private life. This resolve was broken in 1860, when he was prevailed upon to return to the stage, but he kept bis much-loved Philadelphia home, and he died, as he had wished, in the city of his birth. He left his fortune to less fortunate members of his profession, for the Edwin Forrest Home, at Spring Brook, was "instituted for the support and mainte- nance of actors and ac- tresses decayed by age or disabled by infirmity, etc." A noble foundation perpetuating a name al- ready too famous to be forgotten.

Two days after young Forrest's benefit another notable event happened at the Walnut Street Theatre,-Edmund Kean made his first appearance in Philadelphia in the character of Richard III. At first he did not make a very great impression ; people remembered the inimitable rendering of Richard by George Fred- erick Cooke, and the com- parison was not favorable to Kean; but as the play went on, the great actor's power revealed itself, and the rapturous applause which greeted the last scenes was a final verdict from which there was no appeal. The fourteen nights of his engagement and two benefit nights which he played were so many triumphs. Kean came back in April, and played a second engagement. It was very successful until the last night, when " Venice Preserved" was given, Kean playing Jaffier. Kean must have been taken with a sudden fit of insanity, or he had been drinking more than was good for him, for Durang, describing the incident, says, " He com- menced Jaffier in a very impressive manner, but soon fell into eccentric contrasts, doing strange things, so palpably nonsensical that the audience, especially the box portion, began to wince, and at length to express disapprobation more decidedly." Kean perceiving this, treated this manifestation with such offensive

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AMUSEMENTS OF THE PHILADELPHIANS.

hauteur that hisses and cries of 'Off! off!' came from every part of the house. Availing himself of a Jull in the general uproar, the infuriated actor ad- dressed the audience in the most insulting manner, calling them 'cowards' and other hard names. He had raised a tempest, and pretty soon he had to seek safety in flight. A riot ensued, and the lights had to be put out before it could be quelled."

That Kean had " a bee in his bonnet" is well known. During his second visit to America he played at Que- bec. Four Huron chiefs who had witnessed his mag- nificent acting were introduced to him, and expressed their admiration. Mutual compliments followed ; Kean presented each of the noble savages with a silver medal, and they proposed to him to become a member of their tribe. He accepted, and was dubbed a Huron chief, under the high-sounding name of Alantenaida (or Alantenoidet, as some have it).

Dr. Francis, an ardent friend and admirer of Kean, furnishes an interesting sequel to this incident :

"Some time after, not aware of his return to the city, I received & call to wait upon an Indian chief by the name of Alantenaida, as the highly-finished card left at my house had it. . . . I repaired to the hotel, and was conducted up-stairs to the folding-doors of the hall. . . . I en- tered, aided by the feeble light of the moon ; but at the remote end I eoou perceived something like a forest of evergreens lighted up by many rays from floor-lamps, and surrounded by a stage or throne, and seated in great state was the chief. I advanced, and a more terrific warrior I never surveyed. Red Jacket (or Black Hawk) was an unadorned, sim- ple personage in comparison. Full dressed, with skins tagged loosely abont his person, a broad collar of bear-skin over his shoulders, his leg- gings with many stripes, garnished with porcupine quills ; his mocca- sins decorated with beads, his head decked with the war eagle's plumes, behind which flowed massive black locks of disheveled horsehair ; golden-colored rings pendent from the nose and ears, streaks of yellow paint over the face, massive red danbings about the eyes, with various lines in streaks about the forehead, not very artistically drawn. A broad belt surrounded hie waist, with tomahawk ; his arms, with shining bracelets, stretched out with bow and arrow, as if ready for a mark. He descended bis throne, and rapidly approached me. His eye was meteoric and fearful like the furnace of the cyclops. Ha vocifer- ously exclaimed, ' Alantenaida !' I was relieved. It was Kean !"

The eccentric actor had his portrait painted in full Huron costume, and had visiting-cards made with his own English name engraved on the one side, and his Indian name, with a miniature likeness of himself in Huron dress, on the other. In later years this portrait puzzled many people, who thought that it was in- tended to represent the actor in some Indian charac- ter performed by him on the stage. The following anecdote, in connection with this portrait, is told by W. Grattan, in a note to the " Life of Edmund Kean :"

" When I first called on him at Hummso's, one day early io 1827, he was sitting up in his bed, a buffalo-skin wrapped around him, a huge, hairy cap, decked with many-colored feathers, ou his head, a scalping- knife in his belt, and a tomahawk in his hand. He was making up his face for a very savage look, a tumbler-glass of white-wine negus stood at his bedside, two shabby-looking heroes were close by, with eimilar potations within reach, and a portrait-painter was placed before an easel at the window, taking the likeness of the renowned Alanteuoidet,-s name in which the chieftain (most sincerely) rejoiced. I was announced by a black boy in livery. I saw Kean's eye kindle somewhat, perhaps with pleasure, at iny visit, but more so, I thought, from the good oppor- tunity of exhibiting himself in his eavage costume. He gave a fero-

cions roll of his eyes and a flourish of his tomahawk, then threw off bis cap and mantle, and cordially shook me by the hand. The painter quietly retired and the satellite visitors soon followed," etc.

After Kean's first engagement in Philadelphia, Mrs. Allsop, a daughter of the celebrated Mrs. Jor- dan, of Drury Lane, played a round of light comedy characters at the Walnut Street Theatre. Then came Mrs. John Barnes, the leading heavy-tragedy lady of the Park Theatre. Her engagement was renewed when her husband, John Barnes, joined ber, playing low comedy and eccentric characters. About the same time, David C. Johnson, a native of Philadel- phia, made his first appearance on any stage at the Walnut Street Theatre. Mr. Johnson afterward be- came celebrated as a designer, caricaturist, and en- graver. For some years he published annually, under the title of "Scraps," a very popular series of comic drawings.

At the opening of the season of 1821-22, Warren & Wood's company was strengthened by the perform- ances of Mrs. Bloxton, Mr. and Mrs. Burke, Mr. and Mrs. H. Wallack, aud Mr. Nicholson, of the Charles- ton Theatre. The latter made his first appearance on the 15th of November as Count Belino in " The Devil's Bridge." William Pelby made his first appearance on the 21st of November as Macbeth, and played Rolla, Bertram, Hamlet, Pierre, and Brutus. The tragedy of " Damon and Pythias" had a run of four nights. "Undine" was performed for the first time on the 1st of January, 1822. Edwin Forrest made his fifth appearance in Philadelphia on the 2d of Febru- ary, as Zaphna, in " Mohammed the Impostor." Le Basse and Tatin, French dancers and pantomimists, appeared three nights in a ballet, and the first ele- phant that had ever trodden the boards of a Phil- adelphia stage appeared as a star of the first mag- nitude in the "Forty Thieves." The season closed on April 23, 1822, and Warren & Wood closed their lesseeship of the Walnut Street Theatre, to prepare for the opening of the new Chestnut Street Theatre. During this last season they had bought many new plays, among which were the tragedy of " De Mont- fort ; or, the Force of Hatred ;" "Yusef Caramalli ; or, the Siege of Tripoli;" "Marion ; or, the Hero of Lake George," and " She Would be a Soldier," both by M. M. Noah ; and " The Spy ; or, Neutral Ground," by a gentleman of New York.

Stephen Price and Edmund Simpson, lessees of the Park Theatre, New York, now leased the Walnut, refitted it for equestrian performances, in order to bring out a circus company, they having brought out West's circus stock, and restored the old name, "The Olympic," to the theatre. They opened with an equestrian and dramatic company, and produced sev- eral good pieces during a season of about twelve weeks, closing the house four days before the new Chestnut Street Theatre was opened. William C. Drummond, formerly of the Chestnut Street Theatre, was stage manager; Lawson was master of the circle, and John

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HISTORY OF PHILADELPHIA.

Parker was ballet-master. Among the equestrians were Yeamans, Tatnall, and Walter ; Williams, slack- rope dancer and clown; Mrs. Williams, slack-wire dancer and pantomimist ; Champlin, balancer and wire- dancer. A novel attraction which created great ex- citement was the bareback act without saddle or bridle, by Hunter, an English equestrian from Astley's Am- phitheatre, London. This feat had never been seen before, and was considered wonderful. It drew crowds to the Olympic. Tatnall, a member of the company, with bis pupil, Charles La Forrest, undertook to find out if the feat was as difficult as it appeared. They practiced in secret, and succeeded much more easily than they had expected. Tatnall then proposed to perform the feat in the ring with his pupil. Hunter took exception at this, and complained to Price & Simpson, at New York, and Tatnall and La Forrest were prohibited from undertaking the bareback act. Tatnall made an appeal to the public, and succeeded in creating a strong feeling in his behalf. On his benefit night, having the right to make up his own programme, he introduced the barehack act, proving that an American rider could perform any feat at- tempted by an English equestrian.

James Roberts, afterward a very popular comic actor, made his first appearance on any stage, during the season, in a piece written by himself, in which he gave imitations of popular actors.

When the season of 1823 opened, Simpson & Price being still the managers, George Blytbe, formerly director-general at Astley's, was director of the ring, and Daniel Reed acting as manager ; William Law- son was succeeded as riding-master by Asten. The company was nearly the same as in the previous year. William Dinneford, from London, a young actor, joined the theatrical company. Master Turner, after- ward a popular equestrian, made his first appearance. The two novelties this season were a melodrama, called " Ali Pacha; or, the Greek Struggle for Lib- erty," brought out by Hunter for his benefit, and a patriotic drama, called "The Two Sisters; or, the Heroines of Switzerland," written by W. Barrymore. Another season was opened in the fall, with the same company. Joseph Cowell was the chief manager, under Price & Simpson, during the fall season of 1824. The melodramatic manager was Mr. Gale; equestrian-master, George Blythe ; ring-masters, Law- son and Rogers ; prompter, T. Honey ; ballet-master, John Parker; scene-painters, Henry Wilkins and Henry Isherwood. The latter was an artist of no mean talent, and the new landscape scenery which he painted was much admired. James Stoker, a slack-rope performer, horrified the public by a new trick, hanging himself by the neck as if he were on the gallows. Although this repulsive exhibition was denounced, it did not fail to draw the crowd to the Olympic,-a morbid taste for the horrible will always exist among the masses. "Lafayette; or, the Castle of Olmutz," by Samuel Woodworth, of New York,

was performed on the 1st of October. "The Cata- ract of the Ganges" was brought out in grand style, real water being introduced on the stage. At Cowell's benefit the play, so popular in London, of " Tom and Jerry" was brought out. Roberts made a hit in the character of Bob Logic, which was the foundation of his popularity.

The spring season of 1825 was short and unimpor- tant ; there being no theatrical company, the perform- ances were limited to equestrian feats and pantomimes. The fall season, however, presented a more varied programme by a stronger company. Among the en- gagements for the circus were Collingbourne, a native of London, who was a dancer and pantomimist; Master Collet, a rider and performer of boys' parts in melodramas; James Kirby, of Drury Lane Theatre, clown and scene-painter; John Hallam, comedian, who made his first appearance in this theatre as Joe Steadfast, in "The Turnpike Gate;" Palmer Fisher and his wife, the latter afterward Mrs. E. N. Thayer; Miss Aspinall, a dancer, and Harry Moreland, a vocalist, who afterward married her.

The great success of the season was the harlequinade of "The Talking Bird," which was produced on the 14th of October. The scenery, which was very beau- tiful, was painted by Kirby and Williams. Kirby acted two parts in the play, The Talking Bird and the clown. Durang says of this piece, " The scene of 'The Dancing Waters and the Bird's Palace' was a supernatural ideal of Paradise. The entire scene revolved in the multitudinous colors of the kaleido- scope. The wings reflected transparent water pyra- mids and water-flowers, all revolving in various colors. The machinery of this piece was never surpassed in this country, if indeed equaled."

The familiar old name of " Walnut Street Theatre" was restored to the Olympic, the house was entirely rearranged and fitted up, and was opened by Inslee & Blake on the 1st of January, 1829. It is now the oldest theatre in Philadelphia, the old Chestnut Street Theatre having been torn down in 1855. The limits of this chapter will not admit of more than a cursory notice of the other places of amusement established after 1825.

Washington Museum Theatre, in Market Street, east of Second, was opened by Archbold, May 27, 1826. On the 23d of June, of the same year, Arch- bold opened the Pennsylvania Museum Theatre, in Market Street above Eighth, south side, but aban- doned it after one mouth's experiment.

Maelzel's Hall was opened in 1827, in a portion of the old Lailson Cirens, on Fifth Street. It was fitted up expressly for Monsieur Maelzel, mechanician, artist in automaton figures, etc., who had one of the most complete collections ever exhibited. The principal exhibition was that of Napoleon's expedition to Moscow, embracing the marching of the troops, the battles and skirmishes, the occupation of the city, its abandonment, and its destruction by fire. This place

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was afterward occupied by Titus, June & Angevine's Menagerie. It was injured hy fire about 1845.1

Arch Street Theatre was opened in Arch Street, west of Sixth, north side, by William B. Wood, on the 1st of October, 1828. It was built by Haviland, the architect,2 had a handsome front, and was well fitted for a theatre, with a seating capacity of fifteen hundred. The interior was torn out and rebuilt, and the house reopened Sept. 12, 1863. At various times it was under the management of Jones, Duffy, For- rest, and William E. Burton.

Washington Amphitheatre and Circus, old York road, above Buttonwood Street, was opened in 1829 by Fogg & Stickney.

In 1834 the Sansom Street Circus, in Sansom Street above Eighth, was opened by Weeks.

In October of the same year Joseph Jefferson, Jr., opened the Northern Exchange Theatre, in Third Street below Green.

In 1835 the Hall of Industry was opened at Fot- terall's Hall, northwest corner of Fifth and Chestnut Streets. It was afterward known as the American Museum, J. H. Myers, manager. This place was burned down in December, 1854. It was rebuilt and occupied as Thomeuf's Varieties, 1856-59.

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History of Philadelphia, 1609-1884, Part 31

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