USA > Washington > Standard history of the city of Washington from a study of the original sources > Part 43
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Gardner Green Hubbard wrote "American Railroads," "Education of Deaf Mutes" and other things.
William Torrey Harris wrote books on education and philosophy.
Emily Edson Briggs, known as "Olivia," won quite a repu- tation as a journalist and author.
Simon Wolf, the eminent Jewish orator and author, whose literary productions cover almost every phase of human interest resides here.
Judson C. Welliver, has a national reputation as an essayist and editor.
Molly Elliott Seawell wrote several of her novels here, as did Anna Hanson Dorsey. The latter, a native and resident of the District of Columbia, wrote numerous novels. One of them entitled "May Brooke" was quite successful and was republished in Scotland. It was the first Catholic book published in that country since the Reformation.
Elizabeth R. Scidmore wrote of Alaska, the Sitka Archi- pelago, the Berkeleys, et cetera.
Frances Hodgson Burnett, a native of Manchester, England, came to Washington in 1875, and after making the American city her home, her books became a mixture of American and English life, which have been read with delight in both coun- tries. "Little Lord Fauntleroy" is known to all the reading world and never ceases to charm its readers.
Some of the other numerous worthy historical writers, who lived in Washington various lengths of time, are, Edward McPherson ; Charles C. Nott; P. H. Sheridan, who wrote "Per- sonal Memoirs;" William T. Sherman, also author of his own memoirs ; Julia Seaton, author of "William W. Seaton ;" Frank
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G. Carpenter ; William E. Curtis; Mary S. Lockwoot; Samuel C. Busey, whose "Pictures of the City of Washington in the Past," is a widely consulted volume; Olive Risley-Seward; Reverend J. L. M. Curry ; Clara Barton; Mrs. John A. Logan; Sir Augustus G. Foster, Minister of Great Britain in 1811; G. T. Poussin, Minister of France in 1848, who wrote several volumes on America; Senor D. F. Sarmiento; Senor Filipe Molina; Baron Kurd von Schlozer, Ambassador from Germany in 1876-1877; Manuel Larrainzar; Matias Romero, Minister from Mexico to the United States for twenty years; Sir Henry Lytton Bulwer, Minister from Great Britain, 1850-1851; and several other ministers and embassadors.
Mr. Spofford tells us that thirteen Presidents of the United States have been writers of books, namely : "Jefferson, Madison, Monroe, both the Adamses, Van Buren, Buchanan, Lincoln, Grant, Garfield, Harrison, Mckinley and Roosevelt." Since the last named, President Wilson, a well-known writer of history, has been added to the list.
Some strong scientific writers not already mentioned are: Clarence E. Dutton; Henry Gannett; Henry C. Bolton; Simon Newcomb, the well-known astronomer; Robert Fletcher; Flor- ence A. Merriman, the bird-lover; Theodore N. Gill and George Brown Goode, two naturalists of note; Garrick Mallery; Thomas C. Mendenhall; Lester F. Ward; Charles V. Riley; A. W. Greely ; Samuel P. Langley ; Major J. W. Powell, a voluminous scientific writer, especially on geology; Professor W. G. McGee ; Alexander D. Anderson ; and many others, some of whom would be quickly mentioned if such a sea of names did not make it so difficult to choose.
As early as 1797 the Washington Library was formed, with Nicholas King, Librarian. In Georgetown a library was estab- lished in 1793 or 1794, known as the Columbian Library. In June, 1801, a circulating library was established by Richard Dinmore on Pennsylvania Avenue, and in August following Hugh Somerville opened a second circulating library in his grocery store near the market.
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In 1811 another Washington Library was established and this was the chief library of Washington for a great many years.
A library for Congress was early established and had grown to considerable size when the British destroyed it. After that war was ended renewed determination for a library was aroused and we read of how Thomas Jefferson's long-collected library was purchased by the Government.
As art and literature went hand in hand, so music and the drama marched side by side in municipal culture.
Washington had so many serious business problems and so much opposition to combat, that it was some time before theatres could be made to compensate their owners.
Mr. A. I. Mudd, in an interesting paper prepared for the Columbia Historical Society, gives a full and interesting resume of the history of the Washington stage, which dates from the removal of the seat of the National Government to this city. When the Government was moved from Philadelphia there were then existing in the Quaker City two theatres. One of these was known as the "New Theatre," and its season closed while the Government possessions were being removed. The man- agers, Messrs. Wignell and Reinagle, moved their players to the new Government center and gave performances in part of the "Lottery Hotel," which had been fitted up for a play-house and was named the "United States Theatre." The new enterprise was unfortunate in its start, as most of the company's scenery was destroyed by a storm at the time of its removal. This mis- fortune did not prevent the players from opening for a season in June, 1800, and they continued for several months to play to appreciative audiences.
In 1803 some leading citizens agitated the building of a theatre, and subscriptions for the enterprise were pledged, a site selected at the northwest corner of C and Eleventh Streets, north- west, and a building begun.
On November 16, 1804, the new play-house, which was named the "Washington Theatre," was opened with a "Grand Medley Entertainment by the celebrated Mr. Maginnis from Lon-
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don who had performed in most of the Capital Cities of Europe and America."
On September 9, 1805, the theatre was re-opened with the Philadelphia Company, who played "Wives as They Were and Maids as They Are." Prices to these performances were one dollar for the boxes and seventy cents for seats in the "pit," which was then on the first floor.
There was a short season in 1806, after which the Wash- ington Theatre remained dark for nearly two years. In Sep- tember, 1808, it was opened by the Philadelphia and Baltimore Company with "The Rivals," in which Mr. Joseph Jefferson took the part of Bob Acres. This was the grandfather of the great Joseph Jefferson of Rip Van Winkle fame.
For several years following, the Philadelphia and Baltimore Company, with occasional changes of members, filled a summer engagement in the Capital city, giving such plays as "The Poor Gentleman," "She Stoops to Conquer,"numerous farces ; several of Shakespeare's plays, and several patriotic dramas.
The Thespian Society won local distinction for its members, and in the autumn of 1815 this Society gave several perform- ances for the benefit of the poor, which were largely attended by people of all classes, one night being honored by General Andrew Jackson's presence.
Summer engagements of the Philadelphia and Baltimore Company continued until 1818, when the Theatre's management changed and it was opened for the winter and spring season. On February 26, 1818, Charles Incledon, a famous singer of London, was engaged for one night.
Another London favorite was Mrs. Bartley, who came to Washington March 8, 1819, and played for four nights. On the night of the last performance she recited "A Monologue," writ- ten especially for her by the Irish poet "Tom" Moore.
April 19, 1820, the Washington Theatre was destroyed by fire. In 1821 the theatre site was purchased by Lewis Carusi, who built on the ground a new theatre which was opened in 1822, as the "Washington City Assembly Rooms."
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Another theatre was also erected in 1821 on Louisiana Ave- nue. This little theatre, called "The Washington Theatre," ac- commodated seven hundred people and was conducted in first class manner. It is noted that smoking was prohibited and liquor "excluded from the box lobbies." The colored people were also provided for in the new Washington Theatre by hav- ing boxes set apart for them.
On the night of August 1, 1822, Washington had for the first time the elder Booth, who had been playing to crowded houses in London.
In the spring of 1824 Washington had opera, when "Clari ; or the Maid of Milan," was given. This opera was well re- ceived, especially as it had been written by a former actor of the Washington Theatre, John Howard Payne. It is recorded that the singing of "Home, Sweet Home," by Mrs. Waring was tumultuously received.
In the fall of 1826 Hackett and Edwin Forrest made their first appearance in Washington, one in September, in "The Duke of Gloster," and the other in October in "Pizarro."
Mdlle. Celeste, a great favorite of her day, first appeared in Washington March 29, 1828, as Julietta in "The Dumb Girl of Genoa." She also gave some of her wonderful dances, which had helped to make her famous. Others who appeared that sea- son were Clara Fisher, Cooper, Pearman, Hamblin and Mr. and Mrs. Sloman.
In 1832 Mrs. Drake starred with Edwin Forrest and they appeared in Washington in several plays.
The autumn season of this year commenced in October. Among the actors who came were T. D. Rice, a minstrel whose success with negro songs made him popular, two of his best being "Clare de Kitchen" and "Jim Crow;" the latter with its dancing making a great impression on the then small Joseph Jefferson. The young Jefferson's imitation of Mr. Rice was so pronounced and funny that the comedian conceived the idea of having the little boy of four years sing with him. He took him on the stage in a bag, and during the song emptied the bag, and the two sang and danced alternate stanzas of the song, which so
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delighted the audience that twenty-four dollars in coins were thrown onto the stage to the little fellow.
In January of 1833, the famous Fanny Kemble and her father made their first appearance before a Washington audi- ence, playing "The Stranger." The following month the Ravel family came for the first time and became great favorites.
In 1835 a new theatre called "The National Theatre," was built on Pennsylvania Avenue, and was opened December 7, of that year. The play presented was "The Man of the World," with Maywood as Sir Pertinax Macsycophant.
After the transformation of the old Washington Theatre, it was opened December 25, 1835, renamed "The American Theatre."
George Washington Parke Custis, wrote a national drama, placed in Virginia, called "Pocahontas; or the First Settlers of Virginia." This drama was produced in Washington on the night of February 6, 1836, and was repeated several nights with great success.
General Alexander Macomb, Commander of the United States Army, wrote a play, "Pontiac; or The Siege of Detroit," which was presented at the National Theatre March 4, 1836, to an interested audience. This play was staged with great splendor, the United States marines being used as soldiers who fought the Indians.
Celeste, the popular actress who had been to the old Wash- ington Theatre had become the rage with theatre-goers, and in one season she received $50,000 in the United States. She came to the National Theatre in Washington March 9, 1836, and pre- sented "The French Spy; or The Wild Arab of the Desert." She also danced La Bayadere, the operatic ballet from "The Maid of Cashmere." So much in demand was this stage-queen that she was twice re-engaged, and left Washington the most applauded performer who had come to the city up to that time.
Ellen Tree, who made her debut in Washington in 1838 as Rosalind in "As You Like It," made a great impression on Washington audiences in that and other characters.
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The next decade brought many old and new favorites, and theatres underwent changes. On January 4, 1840, the Ameri- can favorite, Virginia Monier, gave "The Merchant of Venice," herself taking the part of Portia. Charles Keen came January 6, after which he and Miss Monier played together in "Hamlet," "Merchant of Venice," "Richard the Third," and "The Iron Chest."
Mrs. Fitzwilliam, who had been starring in the London theatres, came to Washington, making her debut here January 13, as Miss Peggy, in "The Country Girl." Her Irish songs were especially well received, and she was called one of the most brilliant stars of her day.
The American Theatre opened in March, 1840, for a few niglits only, but re-opened later under a new management, Messrs. Jackson and Hardy having leased it, themselves forming part of the company of players. "The Iron Chest" and other plays were given.
At the National Theatre, which opened May 25, 1840, ap- peared Fanny Elssler and Sylvain from the Royal Academy of Music of Paris in July, when Miss Elssler made an impression on her audiences almost equal to that of Celeste.
During part of the year 1844, the National Theatre was used for a circus and performances came rather spasmodically for a while.
March 5, 1845, while a performance was in progress, the National Theatre took fire and in a short while the entire build- ing was in flames. The audience and actors became panic- stricken, but all the people got out safely.
On November 30, 1846, a new theatre was opened on the northeast corner of Pennsylvania Avenue and Four-and-a-Half Street, called the Odeon. The company was a good one and the expense of keeping them and other added expenses caused the manager to double the prices of admission.
The Odeon was small, accommodating only about four hun- dred people, so in December, 1847, another theatre was fitted up in a building on Pennsylvania Avenue, not far from the Odeon. The new amusement-house was called "The Adelphi," and could
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accommodate one thousand people. A stock company was formed, of which the managers, Messrs. Brown and Nichols, were members. This theatre became popular and several good plays were rendered on its boards during its first season.
To the Adelphi came in 1849, Julia Dean, Charley Burke, Bellamy, Kate Horn, Mrs. Drake, and the forty-eight members of the Danseuse Viennoises.
Charlotte Cushman made her first appearance in Washing- ton in 1849, as Meg Merriles in "Guy Mannering," and her fin- ished acting brought much enthusiasm. She gave several other plays and was pronounced one of the best players who had ever come to Washington or had been on the stage.
On the night of November 8, 1850, another Booth, then a lad of sixteen, came to the Capital City with his father, when the to-be famous Edwin took the part of Hemeya in "The Apostate."
In September, 1850, Jenny Lind, whose singing and acting had created a sensation in Europe, landed in America. The "Sweedish Nightingale" became the rage in America as she had been in Europe, and cities that secured engagements from her had difficulty in accommodating the thousands of people who wished to hear the new wonder sing. Washington had no hall large enough to even half-way provide for the crowds, so some enterprising managers erected one on the site of the old National Theatre. This quickly constructed auditorium was named Na- tional Hall and could seat three and a half thousand persons.
Miss Lind was engaged for two nights, December sixteenth and eighteenth, and although seats sold for seven, five and four dollars, the hall was filled at both performances. It proved well that a strong building had been erected for the "Nightingale's" performances, for when she appeared before the audience the walls shook from the applause. When she sang the audience was spell-bound and the pieces especially mentioned for their marvellous rendition are the Bird Song, the Echo Song and the flute imitation.
Carusi's Saloon was a popular place of vaudeville entertain- ment during this season.
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In 1852 we find a new amusement house on Pennsylvania Avenue, between Ninth and Tenth Streets, called the Iron Hall Assembly Rooms. Here were studios of teachers of the different arts and the hall was used for occasional concerts and various exhibits for instruction and entertainment. In 1853 this hall was fitted up for a first-class theatre and renamed, Risley's Varietie.
In the year 1856 this theatre again changed hands and be- came the "People's Theatre, (Late Varieties)" and it was that year the chief theatre, giving numerous popular plays and bring- ing some good actors. In May it became the Varietie again and under that name staid open for a short time.
November 19, 1855, it again opened with Kunkle and Com- pany, proprietors and John T. Ford, manager. The theatre had been renovated throughout with "Costumes, Scenery and prop- erties unexcelled for tasteful elegance and effect," and with "new and comfortable seats."
In November, 1853, Ole Bull came to Carusi's Saloon as- sisted by Adelina Patti, then young in her brilliant career.
1856 and 1857 shows Carusi's still in popular favor, when many musical treats were there given to Washington audiences, as well as high-class readings; but during 1859 the hall's an- nouncements cease.
Circuses appear yearly too, some having other entertain- ment features than animals. Franconi's Hippodrome gave ath- letic performances which lasted a week, during which time were represented "The Tournament of the Field of the Cloth of Gold," "classic games of Greece and Rome, and National sports of all countries and all ages."
In the Smithsonian Lecture Room, which was continually used for scientific lectures and demonstrations, there was an occasional popular entertainment. In May, 1855, was a Grand Vocal and Instrumental Concert by the Musical Convention, under patronage of the Union Choir Association. In May of the following year this hall had a Children's concert, which was well patronized.
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Among other halls of the latter part of the decade the Phil- harmonic and Willard's halls seemed to divide honors, in both of which were given several high-class concerts, readings, lectures and other entertainments.
On January 5, 1858 the Washington Theatre was opened, under the management of W. Stuart, the leassee. Its first artist was Teresa Rolla, who, with good support, had a run of a number of nights.
The season of 1859 for the Washington Theatre opened Sep- tember 1, under the management of S. W. Glenn, with "select and strong dramatic company."
The Washington Theatre had crowded houses during the winter of 1859-1860. It had several seasons of Grand Opera and among other recognized singers of the day was Adelina Patti, who was growing in popularity for her wonderful voice, and Washington audiences were among the most appreciative of her genius. Her sister Carlotta was considered one of the great- est singers of that time. Among the dramatists who came were Maggie Mitchell and Joseph Jefferson.
1861 shows that the Washington had Hackett; The French Zouaves, real French soldiers who had formed a dramatic corps during the Crimean War and were later joined by some "Lady Zouaves;" Sothern; Charlotte Cushman and other celebrities.
In October The Theatre opens a season under the manage- ment of Mr. Bland and in December it is again The Washington Theatre with "crowded houses."
September opened with Ada Isaacs Menken, in her first ap- pearance in Washington, where she became popular.
In February of 1863, Maggie Mitchell received a warm wel- come from Washingtonians, who called her "Our Maggie."
In April there was Grand Opera for over a week, followed by John Wilkes Booth in Shakespeare and other tragedies. The Intelligencer described him as "the distinguished young American tragedian."
One of the actors especially attracting attention was Laura Keene, in February, 1864, when she had a very successful en-
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gagement. When she left the Intelligencer asserted: "We are almost vexed with her for this elopement," and of her acting, that it "comes so near Nature as almost to rob Art."
In 1862 three theatres and several halls were having almost nightly performances during the autumn and winter but all were closed during the summer following, 1863, except the Washington Theatre, and Canterbury Hall on the south side of Louisiana Avenue, between Four-and-a-Half and Sixth Streets, a variety resort.
In 1862 the National Theatre was rebuilt and opened April 21, Easter Monday, as Grover's Theatre. The following year there was more rebuilding and renovation of Grover's Theatre and it opened October 6, with a company of "eminent dramatic artists."
In February of 1864 Edwin Booth had a season of Shakes- peare and other drama, during which time he received even more than usual praise as a dramatic artist.
In 1861 New Opera House was opened on Tenth Street, near E, in December with Christy's Minstrels for a short season and the following year we find the theatre changed to Christy's Opera House.
On March 19, 1862, under the management of John T. Ford, a new play-house was opened on Tenth Street, between E and F Streets, northwest, called Ford's Theatre. It was well equipped and artistically decorated, offering comfort to patrons. The opening play was "The French Spy," by Lucille Western and a superior dramatic company.
During the following September, Maggie Mitchell gave a number of attractive plays there, in all of which she seemed to excel.
In March an English Opera Company with Caroline Rich- ings, Peter Richings, Dunn and a full chorus, besides expert and artistic dancers, performed at this theatre.
Ford's began 1865 with Edwin Forrest, well supported, in Damon and Pythias; "Richelieu;" and Shakespeare. In Jan- uary, J. Mccullough, then young in his fame, played there with Forrest and Madame Ponisi.
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During the month of February J. S. Clarke, Mrs. Wilkins, Mrs. Bowers and Alice Gray, were warmly welcomed.
In March, there was a Grand Concert with an orchestra of "forty members of first-class talent." Edwin Forrest followed and then another Grand Concert; and later a week of Grand Italian Opera.
April 3, Laura Keene came, supported by John Dyott, J. C. McCollum, Harry Hawk and the stock company of the theatre. They gave "The Workmen of Washington," which comprised three acts and twelve tableaux. This ran until April 10, when "She Stoops to Conquer," was given and it was followed by "The School for Scandal," when "The Workmen of Washing- ton" was repeated by request, after which followed "Peg Woff- ington." "Our American Cousin" was staged April 14, when President Lincoln was assassinated there, about 10:20 p. m. by John Wilkes Booth, which ended the play and practically closed that theatre as a place of amusement forever.
Grover's Theatre opened the year 1865 with Avonia Jones in "Leah." She followed this night with "Medea ;" "Camille;" "East Lynne"; "Judith"; and several Shakespearean plays with John Wilkes Booth as co-star. Following this season of drama, the Marinetti Opera Troupe gave their first perform- ances in America, at Grover's. With them was a full Italian chorus and grand orchestra. They were followed later in the month by Lucille Western, whose playing and dancing, espe- cially her jigging, won great applause.
In February Barney Williams was a popular attraction and he was followed the last of the month by Chanfrau. Other play- ers came after him up to the night of President Lincoln's assassi- nation, after which people had no wish for amusement. In April the management of this theatre announced that "in view of the fearful calamity which has befallen our country in the disastrous death of our beloved President," it was considered "essential that the places of amusement of the city should re- mained closed until the general grief which our community is suffering has fully subsided," and the theatre was closed indefi- nitely. All attaches of the theatre, belonging as they did, to the
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host of mourners, immediately consented to annul their engage- ments.
In September, 1866, Grover's becomes the National Theatre, with Spalding and Rapley, proprietors. The newly fitted up theatre opened with "The Ice Witch," which stayed until Oc- tober. Among the attractions following were the comedy "Rose- dale ;" "Temptation;" "Lady of Lyons;" tragedies, comedies and operas.
Joseph Jefferson had a successful season in December, clos- ing with "Rip Van Winkle," in which play he had made a repu- tation even at that early date. The National Intelligencer, De- cember 21, gave half a column of editorial praise of this rendi- tion of Mr. Jefferson's.
The regular season was opened in October, "with a great cast and Marine Band in British Uniform." They gave "Ours" which ran for several nights, and was followed by "Black Crook."
1869 began with "Black Crook," which was followed by an- other spectacular performance, "Undine," with the same ballet troupe.
A new theatre, known as Wall's Opera House, at the inter- section of Louisiana Avenue and C Street, northwest, was in- augurated and managed by John T. Ford, September 22, 1866. Its initial performance was Italian Opera for two nights. Octo- ber 16 the Washington Dramatic Club gave a benefit in this house for the benefit of the poor.
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