History of the American theatre

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CORNELL UNIVERSITY LIBRARY

3 1924 091 760 003

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Cornell University
Library

The original of this book is in
the Cornell University Library.

There are no known copyright restrictions in
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http://www.archive.org/details/cu31924091760003

HISTORY

OF THB

American Theatre:

BEFORE THE REVOLUTION.

GEORGE O. SEII.HAMER.

philadelphia :
globe; printing housb.

y=h

CORNELL?^
UNIVERSITY
\ LIBRARY^

A, 3?5G7

Copyriglit, 1888, Georgk O. Se;ii,ham^r.

Press op Globe Printing House, Philadelphia.

AUGUSTIN DALY,

This Work is Inscribed by
THE AUTHOR,

IN Recognition of

His Rare Earnestness as a Student of Dramatic Literature,
Evinced by Revivals of the Works of the Masters;

His Faithful Adherence Throughout his Career as a Manager and

Dramatist to the Methods Which Make the Drama

AN Art as well as a Business;

His Enthusiasm in Gathering the Scattered Records of the
Stage, so that the Achievements of the Past may
DO Honor to the Present, and Delight
and Instruct Posterity.

CONTENTS.

CHAPTER I.
Thomas Kean.
Dawn of the American drama — The first actor who played Richard III, and Captain
Macheath, in America — Were he and his associates amateurs or professional
players? I

CHAPTER II.
Robert Upton.
The first advance agent and business manager in America — Initial performance of

" Othello " in the American Colonies — Arraignment of Upton by Hallam .... 12

CHAPTER III.
William Hallam.
The first "backer" who sent a company on the road in America — Who were the Hal-
lams? — How the company was organized, and its repertoire igf

CHAPTER IV.
The Virginia Comedians.
Continued existence of the Philadelphia Company — It plays at Annapolis, in 1752 —

Re-inforced by two of Hallam's players — The Annapohs Theatre 30

CHAPTER V.
Hallam at Williamsburg.
Initial performance of the Hallam Company in Virginia — A novelist's account of it —

The " Merchant of Venice " — Incidents of the season 35 *

CHAPTER VI.
Hallam in New York.
The first season of which there is definite knowledge — Opposition to the theatre —

A sketch of the plays and the players and their, parts 44

CHAPTER VII.
Hallam in Philadelphia.
Determined opposition to the theatre in the Quaker City — A short but successful season —

Quaint controversy over a farewell epilogue 65

vi CONTENTS.

CHAPTER VIII.
American Theatrical Towns, 1750-58.
Adverse conditions of the dawn of the drama in America — Virginia and Maryland —
New York — Philadelphia — American society and morals at the middle of the
eighteenth century o"

CHAPTER IX.
David Douglass.
Hallam's theatrical successor arrives — Speculations relating to the Hallam family — The
new members of Mr. Douglass' company — Names that became historic on the
American stage 87

CHAPTER X.
Douglass in New York.
A new theatre on Cruger's Wharf — Permission to perform denied— Opening of a histri-
onic academy announced — A brief theatrical season finally allowed 92

CHAPTER XI.
Douglass in Philadelphia.
The theatre on Society Hill — Opposition to the drama — A law against plays — A brilliant

season of six months — The j)lays and the casts 99 <

CHAPTER XII.
Douglass at Annapolis.
The players in Maryland — A complete list of performances-^More theatrical verse —

Changes in Mr. Douglass' company — Guesses conceiming the players 113 «

CHAPTER XIII.
Douglass in Rhode Island.
A successful seasonal Newport in 1761 — Two benefits for the poor — Playing in dis-
guise — Were there two Newport seasons ? — The company at Providence — Act
against stage-plays 122.

CHAPTER XIV.
Chapel Street Theatre, New York.
Mr. Douglass builds another new theatre — The season of 1 76 1-2 in New York — Bal-
ance-sheet of a benefit for the poor — Curious glimpses of the theatrical manners and f
customs of the time 129,

CHAPTER XV.
A Review.
Dramatic progress in America from 175210 1766 — What is known of the early players —

Charlotte Charke's son-in-law — Good-bye to Douglass' first company .... 143

CONTENTS. vii

CHAPTER XVI.
The Southwark Theatre.
Building of the first permanent playhouse in America— A new and strong company and

brilliant repertoiig— Season of 1766-7 in Philadelphia — The plays and the casts . 151 ■

CHAPTER XVII.
"The Disappointment."
The first American comedy accepted for production — A satire on the searchers after
hidden treasure — An account of this forgotten play — Why it was determined not to
produce it 176

CHAPTER XVIII.
"The Prince of Parthia."
The first American play ever produced — Thomas Godfrey's tragedy — Who the actors

were — All that is known in regard to the piece 183

CHAPTER XIX.
The American Company.
A supplementary season at the Southwark Theatre — Strength of the company — John
Henry and the Storer sisters — Miss Cheer and her romantic marriage — Mr. Hal-
lam — Miss Wainwright, Mr. WooUs and the others 196

CHAPTER XX.
John Street Theatre, New York.
Amusements while the players were absent — Dp ^rriptinn nf \yip npw tlipqtrp — The first
season in the new playhouse — Death of Mrs. Morris — Fatal accident to a car-
penter — Renewed opposition to plays and players 210

CHAPTER XXI.

The New Virginia Company.
A season at Norfolk and Williamsburg — The company and the plays — Casts from the

Virginia Gazette — An attempt to compete with Mr. Douglass' American Company . 235

CHAPTER XXII.
Southwark Theatre, 1768-9.
A brief season in Philadelphia — Hard work fighting against adversity — More new plays
and new actors — An exhibition of fireworks — Another specimen of anti-theatrical
cant 241 I

CHAPTER XXIII.
John Street Theatre, 1769.
A season that was not prosperous — The management and the players embarrassed —
Efforts to raise money — Retirement of Miss Cheer and Miss Wainwright — Their
parts 248

viii CONTENTS.

CHAPTER XXIV.
The New American Company.
Another season at Annapolis — The company a composite one — A striking list of per-
formances—Old plays and farces and new comedies i Iiirnl J "''^'"jim r'' " . ^Nviy

.^- 1 . AT , J f- J ■ . , ' ^«?Tull and mati>

partial casts — Malone and Godwm s parts 2^-

CHAPTER XXV. i%

SouTHWARK Theatre, 1769-70. - " — '-<'.>.,.-

Dunlap's lost players — Where they were — Another brilliant season in Philadelphia —

Miss Hallam the leading lady — First production of a number of noteworthy plays . 269

CHAPTER XXVI.
In Maryland and Virginia.
At Annapolis in 1770 — A visit to WiUiamsburg — The new Annapolis Theatre — Account
of the opening — The prologue and epilogue — Peak's portrait of Miss Hallam^
New plays at the Williamsburg Theatre 277

CHAPTER XXVII.
SouTHWARK Theatre, 1772-3.
Another brilliant season in Philadelphia — More new pieces produced — Presentation of
the second American play, the " Conquest of Canada" — Mrs. Morris, an old-time
favorite, makes her debut — Changes in the American Company 296

CHAPTER XXVIII.

Leave-takings.
Closing engagements of the old American Company ^Last season in New York — Death
of Mrs. Harman — A fortnight at the Southwark Theatre — Farewell to Philadel-
phia — Dr. Cooper's prologue, New York, and the last Philadelphia epilogue . . . 316

CHAPTER XXIX.
The Charleston Theatre. ,
Opening of the first theatre in South Carolina — A complete list of the performancesj— A
brilliant season — Charleston audiences in 1773-4 — A slight spirit of opposition
manifested 329

CHAPTER XXX.

General Summary.

Close of the epoch — Death of Mrs. Douglass — Review of Mr. Hallam's career — Mr.

Douglass, Mr. Henry, Mr. Morris and Mr. Woolls — Miss Hallam — The Storer

family — The second Mrs. Morris — Mr. Goodman — Miss Richardson — The minor

members of the company . 337

1749 -1774

A History of the American Theatre:

Before the Revolution.

CHAPTER I.

THOMAS KEAN.

DAWN OF THE AMERICAN DRAMA THE FIRST ACTOR WHO PLAYED

RICHARD III, AND CAPTAIN MACHEATH, IN AMERICA WERE HE

AND HIS ASSOCIATES AMATEURS OR PROFESSIONAL PLAYERS?

THE dawn of the drama in America is unfortunately without a
historian. This is the less to be regretted, however, because it
was a dawn that emitted only a feeble light. It is known, for instance, \
that a regularly organized theatrical company played in New York as
early as 1732. Whether the company was made up wholly of ama- \^
teurs or whether it numbered among its members professional players
from England makes little difference, because, as an attempt to trans-
plant the drama to the Colonies, it had no effect upon the development
of the American stage. Neither is it necessary to investigate the

2 HISTORY OF THE AMERICAN THEATRE.

reputed theatrical visit of John Moody, afterwards a celebrated London
comedian, to Jamaica, in 1745, as it in no way contributed to the intro-
duction of the drama to this continent. Nor is the performance of
Otway's " Orphan " at a coffee-house in King Street, in Boston, in
1750, by two young EngHshmen, assisted by some young men of the
town, to be looked upon as in itself a part of American dramatic
history. The performance with which that history may be said to
begin, was the production of Addison's " Cato " in Philadelphia, in
August, 1749. The only direct information on this point is derived
from a MS. journal left by John Smith, Esq.,^ who was a son-in-law
of James Logan. His testimony is important, because, brief as it is,
his entry treats the theatre, as it then existed, from the standpoint of
its possible development as a permanent force in society. That the
Philadelphia season began with " Cato " is probable, but it i? likely that
other pieces were presented, and that a regular series of theatrical
entertainments followed, since early in 1750 the Recorder, William
Allen, afterwards Chief Justice of the Province, reported to the Common
Council that certain persons had lately taken upon them to act plays
in the city, and, as he was informed, they intended to make frequent
practice thereof, he expressed the fear that their performances would
be attended with mischievous effects. Among these evils he named
the encouragement of idleness and the possibility of the performers
" drawing great sums of money from weak and inconsiderate persons
who are apt to be fond of such entertainment, though the performance

1 Entry in John Smith's MS. Jour- were going to hear the tragedy of " Cato "

NAL. — Sixth Month (August) 22d, 1749. — acted, it occasioned some conversation, in

Joseph Morris and I happened in at Pea- which I expressed my sorrow that anything

cock Bigger's, and drank tea there, and his of the kind was encouraged,
daughter, being one of the company who

THOMAS KEAN. 3

be ever so mean and contemptible." In consequence of this present-
ment, the board unanimously requested the Magistrates to take the
most effectual measures for suppressing the "disorder," by sending
for the actors and binding them to their good behavior.

Were these players professional actors or only amateurs ?

In Watson's " Annals of Philadelphia " it is assumed that they
" were Thespians of home-made production, of such untutored genius
as had never trod the stage," while Dunlap in his " History of the
American Theatre" declares that "as early as 1749 it is on record that
the Magistracy of the city had been disturbed by some idle young
men perpetrating the murder of sundry plays in the skirts of the town,
but the culprits had been arrested and bound over to their good
behavior after confessing their crime and promising to spare the poor
poets for the future."

Neither the implied condemnation of the Recorder nor Dun-
lap's snap judgment is to be taken as conclusive either that the per-
formances were " mean and contemptible," or that the actors were
"idle young men perpetrating the murder of sundry plays." A
Recorder, who had probably never seen a play in his life, was not a
competent critic, and Dunlap was only asserting what he knew nothing
about. The historian of the American theatre had made up his mind
that the drama in America should begin with the Hallam company,
and so he contemptuously ignored all previous theatrical efforts.

The probabilities in the case of the Philadelphia performers of
1749 are that the company was made up in part of actors who had had
some experience in England, and in part of amateurs who were desir-
ous of adopting the stage as a profession. An aged colored man,
Robert Venable, who was born in Philadelphia in 1736 and died in

4 HISTORY OF THE AMERICAN THEATRE.

1844, told John F. Watson that he "went to the first play at Plum-
stead's store;" that "the company there was genteel," and that many
persons "fell out with Nancy Gouge because she went there to play."
Mr. Watson throws doubt on Venable's statement in regard to seeing
the first play at Plumstead's, but if Nancy Gouge, or George, played
there at all, it was with Murray and Kean's Company, and not with
Hallam's. That this company was to all intents a professional one is
apparent from the fact that Nancy, although she may have been an
amateur, went with it to New York, where she had a regular benefit
in the spring of 175 1 as a member of the same company that had pre-
viously played in Philadelphia.

It is worthy of remark that at the time the theatre was so
earnestly opposed because of its evil influences, crime was common in
Philadelphia. Highway robberies were of frequent occurrence, though
the penalty was death, and by an odd coincidence, while Kean is sup-
posed to have been playing in Plumstead's store, in September, 1749,
a Mr. Garrick was stopped by a highwayman in Walnut Street, but
gave the fellow a blow with his stick and managed to get away with-
out being robbed.

There is no reason to doubt that " the company of comedians "
from Philadelphia which appeared in New York for the first time on
the 5th of March, in 1750, was substantially the same that Dunlap
described as "some idle young men perpetrating the murder of sundry
plays in the skirts of the town." The managers were the same, Messrs.
Murray and Kean, and in both cities Thomas Kean played the leading
roles, both in tragedy and comedy. Subsequently Mr. Kean described
himself as a writer by profession, and John Tremain, another member
of the company, was by trade a cabinet-maker. That Tremain, as an

THOMAS KEAN. 5

actor, was next in importance to Kean is apparent from the fact that
his benefit in New York followed immediately after those of Murray
and Kean. To assume that Tremain was no actor because he was a
cabinet-maker, would be as unfair as to deny to John McCullough his
character as a tragedian because he was a chairmaker, and because
Thomas Kean spoke of resuming his employment of writing, no more
proves that he had not learned the business of acting than the fact
that William E. Burton edited the Gentleman's Magazine proves that
he was not a comedian of distinguished merit. Indeed, it must be
conceded that Robert Venable would not have been likely to remember
the Philadelphia company of 1749 as a "genteel" one if it had been
composed of amateurs, and it is not likely that a mere collection of
barn-stormers, without any knowledge of stage business, would have
been able to gather "a very numerous audience" in New York a year
later to witness. such a play as "Cato," in whose opinion, according to
the Weekly Postboy, " it was pretty well performed." It seldom happens
that a company of professionals in these later years is able to extort
any higher praise from the press.

It is scarcely surprising that we should know little of the merits
of Thomas Kean as an actor, in 1749—51, when the primitive state of
the journalism of that epoch is considered. But that Kean was the
first actor to attempt Richard III on the American stage is certain,
and it is equally certain that he was the original Captain Macheath in
the "Beggars' Opera'' in America. On the 26th of February, 1750,
the New York Gazette, revived in the Weekly Postboy, announced that
a company of comedians had arrived the previous week from Phila-
delphia, and taken a room in" Nassau Street, that formerly belonged to
Rip Van Dam, as a playhouse. This announcement was afterwards

6 HISTORY OF THE AMERICAN THEATRE.

copied by the Pennsylvania Gazette^ which is in itself a proof of the

claim to regularity of the company. Had the performers been only

some idle young men and women perpetrating the murder of sundry

plays, it is not likely that their appearance in New York would have

been regarded as legitimate news in Philadelphia, where they were

well known.

The opening play was "King Richard III," with Kean as the

crook-backed tyrant. Because the play was actually produced in that

,, , , city March 5th, 1750, New York

Advertisement for March 5, 1750. ■' j r / j >

claims the honor of the first

By his Excellency's Permission.
At the Theatre in Nassau Street, Shaksperean production in this

This Evening will be presented . i_ i -^ • i_

The Historical Tragedy of King Richard III. ^°"''*''y' '^"^ '^ '^ '^^ "° '"^^'^^

Wrote originally by Shakespeare and altered certain that "Richard III" waS
by CoUey Gibber, Esq.

Tickets to be had of the Printer hereof, "ot among the plays that caused
itt, 5s^ a ery, 3s. ^j^^ actors belonging to this com-

To begin precisely at Half an Hour after ° °

6 o'clock, and no person to be admitted be- pany to be bound Over tO their
hind the scenes.

good behavior in Philadelphia two

months before. Whatever the fact in regard to the pieces that so
scandalized the Philadelphians in 1749-50, "King Richard III" was
the only one of Shakspere's plays given by Murray and Kean's com-
pany in New York during their first season in 1750. It was repeated r
on the 1 2th of March, together with the farce of " Beau in the Suds," ^
and was followed by the " Spanish Fryar," Otway's " Orphan," and the
"Beaux' Stratagem." "Richard III" was repeated on the 30th of

'Pennsylvania Gazette, March 6th, the buildings lately belonging to the Hon.

I750- — New York, February 26th. — Last Rip Van Dam, deceased, in Nassau Street,

week arrived here a company of comedians where they intend to perform as long the

from Philadelphia, who, we hear, have taken season lasts, provided they meet with suitable

a convenient room for their purpose in one of encouragement.

THOMAS KEAN.

Murray and Kean's Repertoire.

April, with the "Mock Doctor," and the season closed July 23d with
"Love for Love" and the "Stage Coach." The second season opened
September 13th, 1750, with the
"Recruiting Officer," and "Cato"
was first produced a week later.
According to the Postboy of Sep-
tember 24th, " Cato " attracted the
largest houses ever seen in New

Plays.
A Bold Stroke for a Wife,
Amphitryon, .
Beaux' Stratagem,
Beggars' Opera,
Busybody,
Cato,

Distressed Mother,
York, whereupon that journal re- Fair Penitent, .

George Barnwell,

joiced that this fact showed that
"the taste of the place was not so
much vitiated or lost to a sense of
liberty as not to prefer a represen-
tation of virtue to one of a loose
character." But when " Cato " was
repeated, a pantomime was added.
During October, November and
December, 1750, the plays that
were new to New York were
"Amphitryon," " George Barn-
well," "A Bold Stroke for a Wife," the "Beggars' Opera" and
the " Fair Penitent," with the farce of the " LyingValet." Additional
pieces were offered at the benefits, which began January 7th, 175 1,
although it is probable that most, if not all, of these had been pre-
viously presented during the regular season. Our knowledge of the
work actually performed is necessarily incomplete, because the sources
of information are confined to the few advertisements that have been
preserved in the newspapers of the time. In Philadelphia Murray and

Love for Love,
Orphan, .
Recruiting Officer,
Richard III, .
Sir Harry Wildair,
Spanish Fryar,

Payees.
Beau in the Suds,
Damon and Phillida,
Devil in the Wine7Cellar,
Devil to Pay, .
Hob in the Well,
Miss in her Teens,
Mock Doctor, .
Stage Coach, .
Virgin Unmasked,

Centlivre
Dryden
Farquhar
Gay
Centlivre
Addison
Philips
Rowe
Lillo
Congreve
Otvi^ay
Farquhar
Shakspere
Farquhar
Dryden

Anonymous

Gibber

Coffey

Hill

Gibber

Garrick

Fielding

Farquhar

Fielding

8 / ' HISTORY OF THE AMERICAN THEATRE

Kean did not advertise at all, and in New York but seldom. A fair
specimen of their announcements, when any were made, was the
advertisement of Otway's "Orphan" in the Weekly Postboy of

the 2d of April, 1750. As the
list stands, however, it must be
looked upon as a formidable
undertaking for mere amateurs,
without professional training, or
a knowledge of stage business,
pretending to be a company of
comedians from Philadelphia.

The benefits taken by the

By his Excellency's Permission :
At the Theatre in Nassau-street, This evening
will be presented

A Tragedy called
The ORPHAN, or the Unhappy Marriage.
To which will be added
A Farce called. The
BEAU in the SUDS
Tickets to be had at the Theatre in Nassau-
street and of the Printer hereof:

Pitt, 5s. Gallery, 3s.
To begin precisely at half an Hour after
6 o'clock.

performers who seem to have held
the highest rank in the company were those of Mr. Kean, Mr. Mur-
ray, Mr. Tremain, Mr. Scott, Mr. Woodham, Mrs. Taylor, Miss
Osborne and Miss Nancy George. Mrs. Taylor, who evidently was
Mrs. Taylor's First Benefit. ^he leading lady, first announced
her benefit in the Weekly Postboy

By his Excellency's Permission,
At the Theatre in Nassau-street of the 28th of January, I750-51,

(For the Benefit of Mrs. Taylor,) , . i-Vi i Sf Vi f TT K

On Monday Evening next, will be presented ^

A Comedy called Love /a?- Love, with enter- she printed another announce-
tainments of Singing and Dancing between

ment that is a model of theatrical
frankness and simplicity. Among
the pieces played at the benefits
were the " Recruiting Officer" and
"Miss in Her Teens" for Tre-
main's, and "Cato" and the "Devil to Pay" for Scott's. Murray's bill
comprised "A Bold Stroke for a Wife," the "Devil to Pay" and

the Acts. To which will be added an Opera,
called. The Devil to Pay, or, the Wives
metamorphosed ; . . . . Those Gentlemen
and Ladies who please to favor this Benefit
are desired to send for Tickets either to the
Theatre, or to the Printer's hereof.

Box, 5s. Pitt, 4s. Gallery, 2s.

THOMAS KEAN. 9

"Colin and Phoebe," the sketch being "sung by Mr. Woodham
and Mrs. Taylor in pastoral dresses." The pieces for Kean's bene-
fit were the " Beggars' Opera," ^^ ^^^^^^,^ g^^^^^ ^^^^^^^

"Miss in Her Teens," and "an

By his Excellency's Permission,
Oratorio to be sung by Mr. Kean." At the Theatre in Nassau-street,

A jj-i.- 1 ij. i- (1 (For the Benefit of Mrs. Taylor;)

As an additional attraction "a „\, , ,, „, t . . -u J

' On Monday the 2Sth Instant will be pre-
Harlequin Dance, a Pierot Dance rented the tragical history of King Richard

III. To which will be added a Ballad Opera
and the Drunken Peasant, all by called Damon and Philida and a favourite

a gentleman recently from Lon- dialogue called Jockey and Jenny to be sung

° ■'by Mr. Woodham and Mrs. Taylor. As there

don," were done between the acts, wasn't much company at Love for Love, the

Managers took the Profit arising by that
Whether it was that Kean was a Night to themselves and gave Mrs. Taylor

very great favorite, or that the taste ""f " f '^^'1' 'J^° ^°Pff *^' 'I' ^f'''

^ ° and Gentlemen that favour d the other Bene-

of New York had become so viti- fit will be so kind as to favour hers with their

Company.
ated in a few months as to prefer

a play of loose character to one of virtue, the pernicious "Beggars'
Opera " drew a larger house than that which had assembled to wit-
ness Addison's dull but virtuous " Cato." Kean had a bumper, but
unfortunately not all to whom tickets had been sold were able to gain
admittance. This occasioned great dissatisfaction, and to allay the
storm Kean induced James Parker, the publisher of the Postl^py, by
whom the tickets were printed, to certify that, in all, the tickets
printed were as follows :

161 Pit tickets,
10 Boxes,

121 Gallery.
Mr. Kean evidently was as keen as Mr. Boucicault in using
the press to hoodwink the public; but as money was taken at the
door, it is not difficult to understand how some of the ticket-holders

lo HISTORY OF THE AMERICAN THEATRE.

came to be excluded. The principles taught on the stage that night
seem to have been practiced in the front of the house for the benefit
of the Macheath of the evening. But Kean's troubles did not stop
with the dissatisfaction of the outsiders; the insiders also had a
grievance. It was asserted that Mrs. Taylor " endeavored to perform
her part in a worse manner than she was capable" in consequence
of a falling out with Kean, whereupon he was again compelled to
resort to the friendly columns of the Postboy, by means of a card in
which he said : " There was no falling out between her and me, and I
believe her being out so much in her part was owing to her not
getting the part in time."

In those early days of the drama in America the theatrical
business could not have been a very profitable one at best. Taking
Mr. Parker's figures as the capacity of the New York Theatre in 175 1,
and the shillings in the scale of prices as New York shillings, the
following would have been the result of Mr. Kean's benefit had no
money been taken at the door :

Boxes — 10 at 5 shillings — 50 . . . . ;^6 25
Pit — 161 at 4 shillings — 644, . . . . 90 50

Gallery — 121 at 2 shillings — 242, . . . 30 00

Total, ;^ 1 26 75

Even in shillings sterling a clear benefit would have amounted
to only ;^253.50. It is not surprising, therefore, that before the close
of the season Mr. Kean should announce that "by the advice of
several gentlemen in town who are his friends" he had "resolved to
quit the stage and follow his employment of writing, wherein he
hopes for encouragement." Of course he took another benefit, and
his announcement, taken in connection with the foregoing figures, will

THOMAS KEAN. ii

give an idea of the value of the theatrical, properties of the New York
Theatre at that time. The benefit was announced for April 29th,
"Mr. Murray having agreed to give him a clear night of all his
expenses for his half of the cloaths, scenes, etc.," of the playhouse.
Kean announced " Richard III " for this occasion, " the part of
Richard to be performed by Mr. Kean, being the last time of his
appearing on the stage." Instead, however, he gave the "Busybody"
and " Virgin Unmasked," and Mr. Woodham sang " Briton's Charter."
After Kean's retirement a number of benefit performances took
place, including one for Master Dickey Murray; one for Mr. Moore
and Mr. Marks, when " a comedy called ' Sir Harry Wildair,' being
the sequel to 'The Trip to the Jubilee,' with a, farce called 'Hob in
the Well, or the Country Wake,'" was given; one for Mr. Jago, "as
he has never had a benefit before and is just out of prison," and one

for Mrs. Davis, " granted to enable

Widow Osborne's Advertisement.

her to buy off her time." The

, Ti/r 1 11 On Monday next will be presented for the

Distressed Mother was played ^^^^^^ „f ^^e Widow Osborne, the Distrest

for Mr Taffo's benefit and Mrs Mother with several Entertainments to which

will be added the Beau in the Suds. As 'tis
Davis' bill comprised "George the first Time this poor Widow has had a
T-, ,, ,, , , „ T-x .1 • 1 benefit, and having met with divers late

Barnwell and the "Devil in the hardships and Misfortunes, 'tis hoped all

Wine Cellar." Besides the Widow Charitable Benevolent Ladies and others

will favour her with their Company.

Osborne, whose advertisement

was a curiosity in its way, Mrs. Leigh and Mr. Smith were each
accorded a benefit. Smith's was the last on the list. It took place
July 8th, 175 1, and then the house closed, and the company, of which
Thomas Kean had been the bright and particular star, disbanded.

CHAPTER II.

ROBERT UPTON.

THE FIRST ADVANCE AGENT AND BUSINESS MANAGER IN AMERICA

INITIAL PERFORMANCE OF " OTHELLO '' IN THE AMERICAN COLO-
NIES ARRAIGNMENT OF UPTON BY, HALLAM.

THE first man in advance of a theatrical company in America
was Robert Upton. Upton's merits as an actor are not cele-
brated in the picturesque chapters of Doran's "Annals of the Stage,"
nor is his skill as a manager on record in the known pages of English
dramatic history. Such fame as is his — and it must be confessed it is
not creditable either to his integrity or his histrionic abilities — is
entirely confined to America. That he was an Englishman is to be
assumed, for he was sent from London to New York in 175 1 to pre-
pare the way for the Hallam company, which followed the next year.
In those days the most influential class in the community, especially
in Philadelphia, New York and Boston, was opposed to the theatre.
Puritan and Quaker and worthy Dutch burgher alike looked upon
the stage as the devil's workshop. In Philadelphia the first attempt
to give theatrical representations had been summarily crushed. Even
in New York there had been pronounced opposition to Murray and
Kean's company in 1750-51, and besides, it was necessary to obtain
the permission of the Governor of the Province in which it was
intended to perform. To obtain such permission for his principals
was Mr. Upton's first duty after his arrival in America. To build a

(12)

ROBERT UPTON. 13

theatre, at least in New York, was also a part of the duty with which
this advance agent was charged, as it was a fact well known in Eng-
land that in America there were no buildings suited to the production
of plays. The Philadelphia company in 1749 had performed in Plum-
stead's store. The same company, when it went to New York in 1750,
was content with a room in Nassau Street. It is probable that only a
temporary structure was intended by the projectors of the enterprise
in behalf of which Upton was sent out from England, and it is on
record that he was supplied with the funds necessary for the purpose.
From all this it is plain that Robert Upton, the first advance agent
and business manager in America, was charged with duties not less
arduous than those that have devolved upon his successors.

There was no announcement of Robert Upton's arrival in New
York in the newspapers of the time, which is a proof that the business
manager of the period had not yet acquired all the arts of a press
agent. Either the man in advance was more modest then than he is
now or the newspapers were not so obliging. Whatever the time of
Upton's departure from England or the indifference of the press to his
arrival in America, it is known that he was in New York in December,
175 1, where he made the acquaintance of John Tremain, actor and
cabinet-maker. Mr. Upton, according to a card published by Lewis
Hallam, in 1753, upon his arrival in New York "quite neglected the
business he was sent about from England," but instead he joined his
fortunes with "that sett of pretenders," the "company of comedians
from Philadelphia," which Jiad afforded the Knickerbockers "a taste
of their quality" at intervals between March 5th, 1750, and July 8th,
175 1. Upton's conduct after his arrival in America does not show him to
have been a man of the strictest integrity, especially if, as was charged,

14

HISTORY OF THE AMERICAN THEATRE.

William Hallam^ had supplied him with a sum of money with which
to erect a theatre in New York. But the Hallam fling at the " sett of

1 The Case of the London Company of
COMEDIANS, lately arrived from Virginia:

As our Expedition to New York seems likely
to be attended with a very fatal Consequence,
and our selves haply censur'd for undertaking
it, vifithout Assurance of Success; v\'e beg
leave, humbly to lay a true State of our Case
before the worthy Inhabitants of this City; if
possible, endeavour to remove those great
Obstacles which at present lie before us, and
give very sufficient Reasons for our Appear-
ance in this part of the World, where we all
had the most sanguine Hopes of meeting a
very different Reception; little imagining,
that in a City, to all Appearance so polite as
this, the Muses would be banished, the
Works of the immortal Shakespear, and
others the greatest Geniuses England ever
produc'd, deny'd Admittance among them,
and the instructive and elegant Entertainment
of the Stage utterly protested against : When,
without Boasting, we may venture to affirm.
That we are capable of supporting its Dignity
with proper Decorum and Regularity.

In the Infancy of this Scheme, it was pro-
posed to Mr. William Hallam, now of
London, to collect a Company of Comedians,
and send them to New York, and the other
Colonies in America. Accordingly he as-
sented, and was at a vast expense to procure
Scenes, Cloathes, People, &c. &c. And in
October 1750, sent over to this Place, Mr.
Robert Upton, in order to obtain Permission
to perform, erect a Building, and settle every
Thing against our Arrival ; for which Service,
Mr. Hallam advanc'd no inconsiderable Sum.
But Mr. Upton on his Arrival found here that
Sett of Pretenders, with whom he joined, and
unhappily for us, quite neglected the Business
he was sent about from England; for we
never heard from him after.

Being thus deceived by him the Company
was at a Stand, 'till April I7S2> when by the

Persuasion of several gentlemen in London,
and Virginia Captains, we set sail on Board
of Mr. William Lee, and arrived after a very
expensive and tiresome Voyage, at York
River, on the 28th of June following : Where
we obtained JLeave of his Excellency the
Governor, and performed with universal Ap-
plause, and met with the greatest Encourage-
ment; for which we are bound by the
strongest Obligations, to acknowledge the
many and repeated Instances of their Spirit
and Generosity. We were there eleven
Months before we thought of removing ; and
then asking Advice, we were again persuaded
to come to New York, by several Gentlemen,
&c. whose Names we can mention, but do
not think proper to publish : They told us,
that we should not fail of a genteel and
favourable Reception; that the Inhabitants
were generous and polite, naturally fond of
Diversions rational, particularly those of the
Theatre : Nay, they even told us, there was
a very fine Play-house Building, and that we •
were really expected. This was Encourage-
ment sufficient for us, as we thought, and we
came firmly assured of Success ; but how far
our Expectations are answered, we shall leave
to the Candid to determine, and only beg
leave to add. That as we are People of no
Estates, it cannot be supposed tliat we have
a Fund sufficient to bear up against such un-
expected Repulses. A Journey by Sea and
Land Five Hundred Miles, is not undertaken
without Money. Therefore, if the worthy
Magistrates would consider this in our Favour,
that it must rather turn out a publick Advan-
tage and Pleasure, than a private Injury,
They would, we make no Doubt, grant Per-
mission, and give an Opportunity to convince
them we were not cast in the same Mould
with our Theatrical Predecessors ; or that in
private Life or publick Occupation, we have
the Affinity to them.

ROBERT UPTON. 15

pretenders" Upton found there, and with whom he joined, proves
nothing. There never yet was a theatrical manager who did not look
with disdain upon the pretensions of a rival company, but in every age
the public has found that their depreciation of each other was nothing
more than the pot calling the kettle black.

Mr. Hallam's manifesto shows the perfidy of Upton beyond all
question, but it shows also that his defection was known in London
before the Hallam company left England. Its importance, however,
as a historical document is in the light it sheds upon the difficulties
that beset the drama in its early days in America. There seems to be
no doubt, from the tone of Hallam's card, that Upton's conduct had
tended to bring the stage into disrepute in New York. It is not likely
that this disfavor was purely professional. A want of integrity in
Upton does not excuse Hallam's bitterness toward his predecessors,
although his claims to superiority for his own company were probably
effective in removing the prejudices that Upton had excited against all
play-actors. But apart from these considerations, this card is interest-
ing in being the first contribution toward the voluminous literature
for and against the theatre that was written during the infancy of the
American drama.

The outcome of Upton's desertion of the cause of his principals,
in whose behalf he had been sent to pave the way in America, was a
dramatic season in New York in the winter of 1751-52, with Upton
himself as the star. These representations began December 26th,
175 1, in the same room that had been occupied by Murray and
Kean's company. The opening piece was " Othello," with Upton as
the Moor. This was the second of Shakspere's plays produced on
the American stage, and thus Robert Upton achieved the distinction

i6 HISTORY OF THE AMERICAN THEATRE.

of being the original Othello in America. It is probable that-Tremain
played lago and that Mrs. Upton was the Desdemona. "Othello" was
repeated on the 30th of December, and on the 6th of January, 1752,
the "Provoked Husband" was produced, together with the farce of
" Lethe." A week later there was another performance, the bill com-
prising the " Fair Penitent" and the " Miller of Mansfield." On the 23d
of January Tremain had a benefit, when " Richard III " was given, with
Upton as Richard. This play was repeated on the 17th of February
for the benefit of Widow Osborne. Thus it will be seen that Upton was
not only the first Othello, but the second Richard to tread the American
Upton's Repertoire. boards. Such a repertoire de-

Plays. mands better material than was

Fair Penitent r&.r>^^ likely to be at Upton's command,

Othello Shakspere ■' ^ '

Provoked Husband Vanbrugh and SO, unworthy as the manager's

Richard III Shakspere

Venice Preserved Otway Othello and Richard must have

"'""' ^ . , been, it is not unlikely the other

Lethe Gamck

Miller of Mansfield Dodsley parts were even less acceptable.

Upton did not meet with much encouragement in New York.
His want of success, and not improbably a fear that Lewis Hallam
would arrive and compel him to give an account of his stewardship,
led him to determine upon a return to England early in 1752. Previous
to his departure, on the 20th of February, Mrs. Upton took a benefit,
" Venice Preserved " being the play. This performance was intended
as the last night of the season, and was so announced, but as the vessel
in which Mr. and Mrs. Upton were to make their return voyage was
delayed, the " Fair Penitent " was repeated, with Mrs. Tremain in the
part of Lavinia. It is to be assumed that this lady was the wife of
John Tremain, and this was apparently her debut, as it was announced

ROBERT UPTON. 17

that she would " attempt " the part. At this performance " a farewell
epilogue adapted to the occasion by Mr. Upton " was recited. From
this it appears that Upton was not only the first business manager and
the first Othello in America, but also the first " adapter " who had the
courage to spoil the work of another for the American public.

It is a noteworthy fact that of the twenty plays and their attend-
ant farces which comprised the repertoire of the Hallam company that
was forming in England, while Murray and Kean's and Upton's com-
panies were playing in New York, not fewer than five — " Richard III,"
A " Beaux' Stratagem," the " Recruiting Officer," " George Barnwell "
\,»'^ and the " Fair Penitent " — among the plays, and three — " Mock
Y -J Doctor," " Lying Valet " and " Miss in her Teens " — among the
farces, had been performed by Murray and Kean's company, while of
the Hallam repertoire Upton added to the plays and farces produced
before the arrival of the Hallams, " Othello," " Provoked Husband "
and " Lethe." Besides, Murray and Kean had presented Otway's
"Orphan," the "Spanish Fryar," "Love for Love," "Cato," "Amphi-,
tryon," "A Bold Stroke for a Wife" and the "Beggars' Opera," and
the farces of " Beau in the Suds " and " Stage Coach," and Upton
"Venice Preserved," and the farce, " Miller of Mansfield," which were
not included in the Hallam repertoire. There is something exceed-
ingly suggestive in this anticipation of seven out of twenty plays and
four out of eight farces provided by the Hallams for their American
campaign. Even when the Hallam company went outside of its
original repertoire it was apt to find that it had been anticipated.
Considering how determined Lewis Hallam was to ignore " that sett
of pretenders " that had preceded him, it must have annoyed him to
hear complaints about the production of "old pieces," or to receive

1 8 HISTORY OF THE AMERICAN THEATRE.

requests for "something new," while the leading actors of his com-
pany no doubt had the mortification of being compared with their
predecessors, whom they affected to despise.

^ Altogether fourteen plays and eight farces are known to have

been produced in New York before the arrival of the Hallams, in

, 1752. Most of them were played more than once, and contemporary
criticism shows that they were acceptably played. All this was
done between the 5th of March, 1750, and the 4th of March, 1752 —
exactly two years. That mere amateurs should have accomplished so
much in a city containing only seven thousand inhabitants, that they
should have been "able to keep the house open" month after month,
is contrary to all theatrical experience. Audiences in those days were
at least as critical as they are now, as Mrs. Taylor discovered when
she was believed to have played " her part in a worse manner than she
was capable." Besides, the plays selected by Murray and Kean, and
afterwards by Upton, were beyond the reach of mere amateurs. It is
thus seen that argument as well as history is in favor of the professional
claims of these early players.

It is to be regretted that so little is known in regard to these
early actors. It is barely possible that Thomas was a brother or other
relative of Aaron, the reputed father of Edmund Kean. It would, be
interesting to know something of the fortune that befell Robert Upton
after his return to England. But the newspapers of those days were
not much given to personal and especially theatrical journalism, and
we may never hope to know even whether Mrs. Tremain's first night
was her last.

CHAPTER III.

WILLIAM HALLAM.

THE FIRST " BACKER " WHO SENT A COMPANY ON THE ROAD IN

AMERICA WHO WERE THE HALLAMS ? HOW THE COMPANY

WAS ORGANIZED, AND ITS REPERTOIRE.

THE first "backer" of an American theatrical enterprise, to use
a modern phrase, was William Hallam. Dunlap calls this
man "the father of the American stage," a title that he does not
deserve. He was at most only a projector who sent a company of
poor players to the New World to retrieve his own fortunes at home.
It is an old story, believed to be true because it has been often repeated,
that when Giffard retired from the management of the theatre in Good-
man's Fields, where Garrick made his debut in 1741, William Hallam
succeeded him. There does not seem to be any foundation for the
story. After Giffard's retirement, in 1742, the Goodman's Fields'
Theatre was closed, and there is no record in Genest's remarkably
full history of the London stage of Hallam's management between that
time and 1750, when Dunlap says he failed and was compelled to
relinquish the undertaking. It is not unlikely, however, that Mr.
Hallam was in some sense the manager of another theatre in Good-
man's Fields, described as "at the Wells in Lemon Street." Giffard's
was in Ayliffe Street. Adam Hallam, the father of William and Lewis
Hallam, had a benefit at the Wells Theatre, in March, 1746. Sub-
sequently this Lemon Street Theatre was " altered in a more theatrical

(19)

20 HISTORY OF THE AMERICAN THEATRE.

manner, is made warm, and front boxes made at the upper end of the
pit." Previously it had been used for rope dancing and performances
of a low grade, but a Mrs. Hallam played there in legitimate roles in
the autumn and winter of 1746, appearing on the 29th of October as
Lady Percy in " Henry IV," on the 6th of November as Angelica in
" Love for Love," and on the 22d of December as Lady Outside in
"Woman's a Riddle." Genest notes that at this time there were
three Hallams engaged at the theatre in Goodman's Fields, which
was not the Goodman's Fields' Theatre — Hallam, Sr., L. Hallam
and G. Hallam. There is no mention of W. Hallam, but he may

have been the manager then, as

William Hallam's Benefit.

he certainly was ten years later,

1756. — William Hallam had a benefit at
Sadler's Wells, Islington, on account, he said, aS appears from a scrap record of
of being turned out of his house, G. F. Wells.

the old Sadlers Wells Theatre,

now in possession of Charles N. Mann, of Philadelphia. This is all

the more probable since on the 5th of September, 175 1, exactly one

year before the iirst appearance of the Hallam company in America, at

Williamsburg, Va., Mrs. Hallam had a benefit at the Lemon Street

house, appearing as Desdemona, while Lewis Hallam played Roderigo.

This is clearly the Lewis Hallam who was soon to sail for America,

and the Desdemona, it may be assumed with safety, was his wife. It

may also be assumed that the Mrs. Hallam who played Lady Percy,

Angelica and Lady Outside at the Wells, in 1746, was the Mrs. Hallam

who was the Desdemona there in 175 1.

Little is known of William Hallam's personal history beyond

the fact that he was a Whitechapel victualer, who was gazetted a

bankrupt in 1745, but the accounts of him printed in Brown's " History

of the American Stage" and "Dunlap's History of the American

WILLIAM HALLAM. 21

Theatre" are amusing, if not instructive. In the former it is said that
he "was an actor of great reputation at Goodman's Fields' Theatre,
England," and then it is gravely asserted that " he was manager, but
not actor." There is evidence that he played Mother Coupler in
"Marina," a play taken from Shakspere's "Pericles," at Covent
Garden for three nights, in 1738, and the Poet in the puppet-show
called "The Pleasures of the Town," in Fielding's "Author's Farce,"
when it was acted at the Haymarket, in 1729, but beyond this there is
no reason to suppose that William Hallam ever was an actor. If he
was it is strange that nobody except Colonel Brown knows anything of
his great reputation. That he was the successor of "the great Garrick "
in any sense is simply preposterous. The last clause, " he was man-
ager, but not actor," probably refers to his relations to the American
Company, but of that his brother, Lewis Hallam, was manager, while
he was only the backer. Dunlap is equally absurd. On winding up
the business of the Goodman's Fields' Theatre, that acute historian
says, " Hallam's debt proved five thousand pounds, a trifling sum as
the amount of loss in such a complicated and hazardous speculation."
If money had been worth only as much as now, instead of twice as
much, ;^25,ooo was rather large for a "trifling sum." Dunlap adds
that "the accounts and conduct of Mr. Hallam were so fair and satis-
factory to his creditors that they presented him with the wardrobe and
other theatrical property of the establishment, thus discharging him
from debt and leaving him in possession of a capital to commence
business anew." These large-hearted creditors no doubt knew the
exact value of the wardrobe and other theatrical properties of an old
barn of a theatre at the Wells in Lemon Street, on the outskirts of
London.

22 HISTORY OF THE AMERICAN THEATRE.

The Hallams, William and Lewis, were brothers of Admiral
Hallam, of whom the cyclopaedias do not condescend to give any
account, and another brother, George Hallam, was the actor mentioned '
by Genest. There was still another Hallam on the English stage,
Thomas, who was killed by accident by the celebrated Charles Mack-
lin, in the green-room at Drury Lane Theatre. Thomas Hallam and
Macklin were friends. They were together at the Haymarket, in
1734, where Hallam played Dr. Wrench and Macklin Squire Badger
in " Don Quixote in England," and together they went to Drury
Lane. There, on the loth of May, 1735, they played the two servants
in a farce called "Trick for Trick." The farce was acted but once, in
consequence of the fatal quarrel between Macklin and Hallam about a
wig that Macklin had worn the night before in " Love Makes a Man."
In his excitement Macklin ran a stick into Hallam's eye, as the result
of which Hallam died the next day. Macklin was tried at the Old
Bailey and convicted of manslaughter. His punishment was not
severe, however, for in 1741, the year of Garrick's debut, he established
his fame by playing Shylock for the first time as a serious part. It is
generally assumed that Thomas was an uncle of William and Lewis
Hallam, but Mrs. Mattocks, who was a daughter of Lewis Hallam, is
quoted as saying that he was a relation, but she did not know in what
degree. Dunlap, with the capacity for blundering for which he was
remarkable, says this Hallam was a brother of Lewis and William.

According to Dunlap, Lewis Hallam was a member of his
brother William's company at Goodman's Fields, and "sustained the
first line of low comedian," while his wife, who was related to Mr.
Rich, the manager of Covent, played the first line of tragedy and
comedy. "To 'have been the first low comedian and the first tragic

WILLIAM HALLAM. 23

and comic actress in a company which had to strive against Covent
Garden and vie with Drury Lane, having Garrick for its leader,"
says that marvelous chronicler, " gives us reason to believe that Mr.
and Mrs. Hallam were far above mediocrity in their profession, and
tradition fully supports the belief" If the Hallams had been in Ayliffe
Street, Goodman's Fields, instead of at the Wells in Lemon Street, it
would have been up-hill work to strive against Covent Garden and vie
with Drury Lane having Garrick for its leader, but in an old barn that
had been " altered in a more theatrical manner," there could be no
chance either to strive or to vie.

There is nothing in the annals of the English stage to indicate
that either Lewis Hallam or his wife ever played at Covent Garden.
It was his mother-in-law, Mrs. Anne Hallam, who was a relation of
Rich, and his father, Adam Hallam, who was with his wife in Rich's
company. This Mrs. Hallam was a large, unwieldly person, utterly
unsuited to comedy parts or light tragedy roles long before the
second Mrs. Hallam appeared at the Wells in Lemon Street, Good-
man's Fields. Before she became Mrs. Hallam she was Mrs. Berri-
man, and before she became Mrs. Berriman she was known on the
stage, both in London and the Provinces, as Mrs. Parker. Davies says
that as Mrs. Parker she distinguished herself in the Norwich Theatre
before she joined Rich in London, and she was with Rich as early
as 1723 when he was still at the Theatre in Lincoln's Inn Fields.
Even at this early period — thirty years before the appearance of the
Hallams in New York and Philadelphia — she was an actress of
mature powers, commanding the best of everything. When Rich
went to Covent Garden she went with him, appearing as Mrs. Mar-
wood in the "Way of the World" on his opening night, December

24 HISTORY OF THE AMERICAN THEATRE.

7th, 1732. She was then Mrs. Berriman, having changed her

name in 1726. It is believed she married Berriman, an actor who

played a small part in " Philip of

Anne Hallam's Parts. *■ ,

Macedon," in 1727. On the 20th

As Mrs. Parker — Lincoln! s Inn Fields.

J.2 of September, 173 1, she played

Nov. 2.-lsland Princess . . . . Quisara Isabella in the " Conscious Lov-

4. — Tamerlane Arpasia

26. — Rival Queens Statira ers" as Mrs. Berriman, and on

Dec. 2. — Spanish Fryar Queen , . ^ , . ,, .

7._Mariamne Mariamne the 14th of December followmg

1-24. she appeared in the same part as

Feb. 24.-Edwin, King of Britain . Adeliza y^^^_ Ralkm. So quietly was her
Mar. 1 5. — Beaux' Stratagem . Mrs. Sullen

26. — King and No King . . Spaconia marriage with Mr. Hallam con-
April 9. — Measure for Measure . . Isabella

14.— Belisarius Valeria ducted that the celebrated Dr.

28.-Merry Wives of Windsor Burney, who kept the cast-book

Mrs. Page ^ ^

29, — Don Sebastian .... Aimeyda at Covent Garden, wrote after the

Sept. 23— CEdipus Jacasta

Oct. 22.-Richard III Queen "^me of Mrs. Hallam on this oc-

1725. casion, "her first appearance on

Jan. 27.-Bath Unmasked .... Cleora ^he stage," but he afterward

Apnl 5. — Rover Angellica

Sept. 24. — Lear Cordelia scratched it out again. As an

Oct. 4. — Country Wife Alithea

i5.-Rival Queens Roxana ^^^ress, Mrs. Hallam was a great

23.— Love's Last Shift . . . Amanda favorite with the public in spite of

28. — Hamlet Queen

Nov. 2.— Double Dealer. Lady Touchwood her bulk, and even in parts for

II. — Rover Florinda ... - . , ,

Dec. 2.-Macbeth . . . . Lady Macbeth ^^1'=^ ^^^ Size made her unsuit-

7.— ^sop Hortensia able. How unsuited her appear-

8. — Capricious Lovers . Mrs. Fading

16.— Confederacy Clarissa ance often was to her parts is

1726. illustrated by an anecdote that

Jan. 7. — Female Fortune Teller . Astraea -r-> ■ r r-^ ■ r^ ■

Mar. ig.-Provoked Wife . . . Lady Brute Davies relates of Quin. Seeing

2i.-She Would if She Could a barrel on the stage, the actor

Lady Cockwood

April 22.— .Henry VIII Queen asked what it was. " Ah, I see,"

WILLIAM HALLAM. 25

he said; "Mrs. Hallam's stays in 1726. As Mrs. Berriman.

... , , t n^ • • 1 Oct. 24. — Mistake Isabella

which she played Monimta last ^ov. l4.-0rphan Monimia

night." In "Hamlet" Mrs. Hal- 3°— Fond Husband Maria

lam was the Queen Mother of '^^7-

Jan. 1 5. — Fall of Saguntum . . . Candace

Ryan, as Mrs. Porter was of Feb. 7.— Venice Preserved . . . Belvidera

,-,.„ T^ . 1 ,• , April 17. — ^Tew of Venice Portia

Wllks. Davies says she died zg.-Philip of Macedon . . . Isteria

about 1738, but unless there were '^^^ 19-— Caradoc the Great . Cartismanda

two Mrs. Hallam's at Covent '728.

Jan. 17. — Sesostris Nitocris

Garden, the one succeeding to Mar. 9.— Fortune Hunters . . . Mrs. Sly

. 28. — Love Makes a Man . . . Elvira

the other s professional rank and

1729.
parts, her demise could not have peb. 10.— Themistocles .... Artemisia

occurred before 1740— in fact, ^^- 4-Frederick, Duke of Brunswick-

Leinenberg .... Adelaide
Tune 6th, 1740. Sept. 17. — Sir Walter Raleigh. Lady Raleigh

Nov. 8. — Maid's Tragedy .... Evadne
Is it possible that such a 25. Rape Que^n

startling hypothesis can be true?

There is only one thing May 9.— False Friend Isabella

23. — Don Quixote Duchess

that would suggest such a possi- Oct. 27.— Unhappy Favorite .... Queen

, .,., ^ ,t . ■ • Nov. 23. — Conscious Lovers . . .Isabella

bility, and that is an examina-
tion of the parts attributed to 'J^'-

Apnl 3. — Orestes Circe

Mrs. Anne Hallam. In her earlier

As Mrs. Hallam — Covent Garden.

years at the theatre in Lincoln's 1732.

.,_.,,, . Dec. 7. — Way of the World. Mrs. Marwood

Inn Fields she was seen in many

new parts, sometimes as many as '7^?; _ , „ t^ , <• ,» ,r

^ ' ■' Apnl 4. — Fatal Secret . . Duchess of Malfy

four in a month, but from the

1734-
close of 1730 to the beginning of Jan. 9. — Lady's Revenge . . Lady Traffic

Feb. 14. — Careless Husband . . Lady Easy
1738 she seldom created a new g^p^ 3o._Albion Queens .... Elizabeth

role. During this period her best

year was 1734, when she is set Feb. 22.— Rival Widows . .Lady Lurcher

26 HISTORY OF THE AMERICAN THEATRE.

1737- down for Lady Traffic in " Lady's

Feb. 26. — King John Constance

Revenge," Lady Easy in the
1738.
Jan. 12.— Distrest Mother . . . Hermione "Careless Husband," and £&ato^

14. — AH for Love Octavia • .1 « a ii-- r\ » -d ^ •

^ ^ „ ,,. . in the Albion Queens. But in

28. — Jane Shore Ahcia ^

Feb. 6.— Richard II .. Duchess of York January, 1 738, she again came to

Mar. 13. — Henry VI . . . Joan la Pucelle

16.— Theodosius Pulcheria the front, and from that time until

20. — Cymbehne Queen a -i 1 j j

» ., ,; • T3 J rj April, 1739, she was accorded a

Apnl 19. — Mourning Bnde /ara -"^ ' ' >^-"

28.— Relpase Amanda number of parts that, perhaps,

'739- ought to have gone to a younger

Jan. 3. — Parricide Ehza

Mar. 25.— Married Philosopher . . Mehssa and less robust actress. These
April 26.-Ladys Last Stake^^^^^^^^^^^^ later parts were in the younger

29.— Philotas Antigona Mrs. Hallam's line of business ten

years after. It is not easy to conceive such a transfer of parts, if at all,
without the fact being on record, but without such a transfer the Ameri-
can Mrs. Hallam could not have been at Covent Garden at all, as it is
certain Lewis Hallam never was. After Anne Hallam's death there
were no longer any Hallam's under Rich's management, and so the
American print collectors, who fondly hoped they had found in the
frontispiece to Thomson's suppressed play, " Edward and Eleanora," a
portrait in character of Mrs. Hallam-Douglass, will be compelled to
concede it was intended for the elder Mrs. Hallam. Thus is not only
the hypothesis shattered, but the apparent discrepancy may be ac-
counted for by a remark of Davies to the effect that Rich always mani-
fested a spirit of hostility to her progress, probably because of her bulk,
notwithstanding she was a relative, that may have been overcome by
the exigencies of the theatre and the favor in which she was held by
the public. When Mrs. Hallam died in 1740 she was recorded in the
Gentleman! s Magazine as " an excellent actress," a tribute that would

WILLIAM HALLAM. 27

not likely have been paid to her if she had failed to retain her place
and rank in the theatre until her death.

There was a Mr. Hallam at Smock Alley in Dublin playing
such parts as the Bookseller in the " Committee," and the Musician in
"Timon of Athens," as early as 1715. In 1733 there was a Hallam
booth at Bartholomew Fair, and the next year, 1734, Adam Hallam is
first noticed at Covent Garden as Gregory in the " Plain Dealer." It
would be impossible to say whether the Mr. Hallam of Smock Alley
and Adam Hallam of Covent Garden are identical, but it is likely that
Adam was the father of the American adventurers, with Mrs. Anne Hal-
lam as his second wife. The history of Adam Hallam, the father, is
important, as showing why William projected the American company
and Lewis conducted it across the Atlantic. Adam Hallam succeeded
in making a seven years' engagement with Rich, at Covent Garden,
probably through his wife's influence, but as an actor his best parts
were Worthy, in the " Recruiting Officer ; " Malcolm, in " Macbeth ; "
Lcertes, in "Hamlet;" Careless, in the "Double Gallant," and Altamont,
in the " Fair Penitent." He was an imitator of Wilks, especially in
his way of pulling down his ruffles and rolling his stockings. He was
useful, however, in the mechanical department, and when " Richard
II" was revived at Covent Garden in 1738, after being shelved for
forty years, he invented the armor and decorations for the scene in the
lists. He was at Drury Lane in 1742-43, and translated the "Beg-
gars' Opera" into French for the Haymarket, where it met with. some
success. Subsequently he became an itinerant player and a pensioner
on the managers, taking a benefit in 1 746, as has been shown, at the
rope-dancing establishment at the Wells. These facts not only show
the financial condition of the Hallams about the year 1750, but indi-

28 HISTORY OF THE AMERICAN THEATRE.

cate the estimation in which they were held in England as actors after
the family ceased to enjoy the favor of their relative, Rich, at Covent
Garden. They organized the company that crossed the Atlantic be-
cause the wilds of America could not well be worse than the barns of
England. Curiously enough Adam Hallam created the part of Severn
in a play called the "Prodigal Reformed," at Covent Garden in 1738,
young Severn being sent as a boy to America to be educated, where
he was reduced by pecuniary difficulties and deserted by supposed
Original Hallam Repertoire. friends. Young Hallam crossed

Plays. '^' the ocean expecting better luck

Beaux' Stratagem Farquhar . , , r 1 1 .-

Careless Husband Gibber ^^^^ befell young Severn.

Committee Howard In regard to the organiza-

Conscious Lovers Steele

Constant Couple Farquhar tion of the American Company,

Fair Penitent Rowe -r\ ^ ■ ^^. ^ • j t^

George Barnwell LiUo Dunlap IS the only guide. It was

Hamlet Shakspere formed on the sharing plan. The

Inconstant Farquhar

Jane Shore Rowe number of shares was fixed at

Merchant of Venice Shakspere ^j j^teen. There were twelve adult

Othello Shakspere

Provoked Husband Vanbrugh performers, including the manager,

Recruiting Officer Farquhar

Richard the Third Shakspere ^"^ ^^^h performer was allowed a

Suspicious Husband Hoadly ghare. Lewis Hallam had another

lamerlane Farquhar

Theodosius Lee share as manager and a share was

Twin Rivals Farquhar , ■ ,

Woman's a Riddle Bullock ^Howed to his three children. The

Farces. remaining four shares were for

Anatomist . Ravenscroft the profit of the backer for the use

Damon and Philhda Cibber

Devil to Pay Coffey of his money. As the amount in-

Hob in the Well Cibber

Lethe Garrick Vested was necessarily small, com-

^T^.^^^^'t ^""'I' i'^g as it did from a man situated

Miss m Her Teens Garrick

Mock Doctor Fielding as William Hallam was, the capi-

WILLIAM HALLAM. 29

talist, in case of success, could not fail to have the best of it. The
scheme being arranged, a company willing to agree to the terms
was enlisted, the plays were selected and the parts assigned. The
pieces chosen were those that were most popular on the London
stage at the time, and many of them continued to be played by the
American Company from 1752 down to the Revolution. With this
repertoire and one pantomime, " Harlequin Collector; or, the Miller
Deceived," the adventurers set sail in the Charming Sally, Captain
Lee, early in May, 1752.

CHAPTER IV.

THE VIRGINIA COMEDIANS.

CONTINUED EXISTENCE OF THE PHILADELPHIA COMPANY IT PLAYS AT

ANNAPOLIS, IN 1752 RE-INFORCED BY TWO OF HALLAM'S

PLAYERS THE ANNAPOLIS THEATRE.

ALTHOUGH the Company of Comedians from Philadelphia dis-
banded at the close of the New York season of 175 1, it was
soon re-organized, and was playing in Virginia in the spring of 1752.
Unfortunately the journalism of the period gives few traces of the
travels in the Old Dominion of these wandering thespians.

Within a fortnight of Lewis Hallam's arrival at Yorktown, the
" Company of Comedians from Virginia " reached Annapolis. This
company had some kind of existence for more than twenty years. In
Virginia it was generally known as the Virginia Company of Come-
dians, but it did not always retain its distinctively Virginia character,
for when it appeared at Upper Marlborough, in the autumn of 1752,
it was billed as the Company of Comedians from Annapolis. As this
history proceeds it will be found showing itself in unexpected places,
and on one occasion, it will be seen, it ventured to assert itself as
the New American Company. These facts not only prove that the
Hallam Company was not the first regularly organized theatrical com-
pany in this country, but that the American Company, so-called, was
never without a rival south of the Chesapeake.

When the Company of Comedians arrived at Annapolis, it

' (30)

THE VIRGINIA COMEDIANS.

31

announced its presence through the advertising columns of the
Maryland G'azette. There was no editorial meiition of their arrival
previous to their appearance and

no remark upon the performances
afterward. As a consequence the
only source of information is that

Maryland Gazette, June 18, 1752.

By Permission of his Honor, the

President,

At the New Theatre

in Annapolis by the Company of Comedians

afforded by the advertisements. fr°™ Virginia, on Monday, being the 22nd of

this instant, will be performed

The Beggars' Opera,
likewise a Farce called

The Lying Valet.

To begin precisely at 7 o'clock.

Tickets to be had at the printing ofKce.

Box, \os. Pit, 7j. (>d.

No person to be admitted behind the scenes.

N.B. — The Company immediately intend
to Upper Marlborough, as soon as they have
done performing here, where they intend to
play as long as they meet with encourage-
ment and so on to Piscataway and Port To-
bacco. And hope to give Satisfaction to the
Gentlemen and Ladies in each Place, that
will favor them with their Company.

These, however, tell their story
with such simplicity and direct-
ness, that it is surprising that the
writers on early American theatri-
cal history never thought it worth
while to consult them in the pages
where they were first printed. It
is easier, perhaps, to take sup-
posed facts at second hand, but in
thus avoiding the duties of verifica-
tion the blunders of an incompetent historian become consecrated as
historical truth. No better example of such perpetuation of error can
be cited than Dunlap's treatment of this season at the Annapolis
theatre. In 1828, a writer in the Maryland Gazette claimed for
Annapolis the first theatre, in point of time, erected in the United
States. This writer quoted the advertisement of the i8th of June,
1752, ignoring that of June 13th, and as printed by Dunlap, omitting
the words " from Virginia " in the name of the company. Ridgely, in
his " Annals of Annapolis," prints the advertisement of June 1 3th, but
omits the note concerning the company, which was the concluding
and most interesting part of it. The article assumes that the descrip-

32 HISTORY OF THE AMERICAN THEATRE.

tion, "new theatre," was employed in contradistinction to the tempo-
rary theatres, generally commercial warehouses, previously used. Had
this writer taken the trouble to examine the files of the Gazette he
would have found an announcement of the 7th of December * that
shows the Annapolis theatre of 1752 to have been little better
than a commercial warehouse, instead of a theatre that he describes
as " a neat brick building, tastefully arranged and competent to contain
between five and six hundred persons." Dunlap, without further in-
quiry, cites this as proof that the claim for Annapolis of having
erected the first theatre appears fully made out, when the truth is that
the brick building described in the Maryland Gazette, in 1828, was
not built until 1771.

If the writer in the Maryland Gazette, in 1 828, had examined
the files of that journal for 1752, he would have known that the Com-
pany of Comedians from Virginia played two engagements at An-
napolis in that year, and that the appearance of the Company at
Upper Marlborough^ was an important part of their programme.
Besides, he would have had no occasion to bewail his inability to
ascertain anything in regard to the identity of the company, "as no
dramatis persona are given," the advertisement of the " Beggars'
Opera" at that place being in itself a clue. Mr. Woodham, who
sang the "Mason's Song," was a member of the Company of Come-
dians from Philadelphia, when they played in New York. Had
he looked further he would have found also that Kean and Miss

'Maryland Gazette, December 7, 1752. ^ Maryland Gazette, July 2, 1752. —
— N.B. — The House is entirely lined through- N.B. — As the Company have now got their
out for the reception of Ladies and Gentle- Hands, Cloaths &c. compleat, they now con-
men ; and they have also raised a Porch at firm their Resolution of going to Upper Marl-
fat Door that will keep out the inclemency borough, as soon as ever encouragement fails
of the weather. here.

THE VIRGINIA COMEDIANS.

33

Maryland Gazette, August 13, 1752.

Osborne, who were New York favorites, were the leading members
of the Company of Comedians from Virginia.

So far as the Maryland
Gazette shows, the same bill was
twice given at Upper Marlbor-
ough, the first time on the 20th of
August, and the second time on
the 14th of September, but the An-
napolis repertoire was more com-
plete, and extended over a period
embracing the months of June and
December. If the names of the
performers and the dates of the
performances had been considered,
much oracular but irrelevant dis-
cussion would have been avoided,
and erroneous conclusions would

By Pennission of his Honor, the
President
At the New Theatre
in Upper Marlborough' by the Company of
Comedians from Annapolis, on Thursday
next being the 14th of September, (at the re-
quest of the Ancient and Honorable Society
of Free and Accepted Masons) will be
performed

The

Beggars' Opera

with instrumental to each air given by a set

of Private Gentlemen ;

And

" A Solo on the French Horn : "

also

A Mason's Song by Mr. Woodham ; with a

Grand Chorus.

To which will be added a Farce call'd

The Lying Valet.

Tickets to be had at Mr. Benjamin Barry's.

Pit, 7^'. dd. Gallery, t,s.

Annapolis Repertoire.

not have been made to pass for

history. Dunlap, for instance, argues that as Hallam's company
did not appear at Williamsburg until the 5th of September, there

was ample time for Wynell and
Herbert, who were inferior mem-
bers of the company, to have gone
to Annapolis and "performed with
a Mr. Eyanson," and he thought
the fact of their performing the
parts of Richard and Richmond
accords with this supposition. As

1752-

June 22. — ^Beggars' Opera Gay

Lying Valet Garrick

July 6. — Busybody Centlivre

Lying Valet.

13. — Beaux' Stratagem . . . Farquhar

Virgin Unmasked . . . Fielding

21. — Recruiting Officer . . . Farquhar

Mock Doctor Fielding

34

HISTORY OF THE AMERICAN THEATRE.

July 27. — George Barnwell Lillo

Damon and Phillida . . . Gibber
. — Bold Stroke for a Wife. Gentlivre
Beau in the Suds.

. — Drummer Addison

Devil to Pay Goffey

. — Constant Couple . . . Farquhar
Lying Valet.

. — Cato Addison

Miss in her Teens . . . Garrick
(Benefit of Mr. Eyanson.)

Dec. II. — Richard III Shakspere

Miss in her Teens.

Richard .... Mr. Wynell
Richmond . . . Mr. Herbert
(From the Theatre in Williamsburg.)

31
Aug. 3
Oct. 2

21

they appeared in December in-
stead of in July, and were dis-
tinctly announced as from the
theatre at Williamsburg, specu-
lative theory gives place to fact
by showing that they were in An-
napolis after and not before Hal-
lam's engagement at the capital of
the Old Dominion. The facts
settle another problem that puzzled

While he
concedes, erroneously, as was his
habit, that Annapolis has the honor
of having erected the first temple
to the muses, he is surprised that
this circumstance should have escaped Lewis Hallam, the second.
The description contained in the advertisement in the Maryland
Gazette of the 7th of December shows that the " new theatre " at
Annapolis, in 1752, was like those that were previously erected at
Williamsburg and New York, and so it was unworthy of mention as
a " temple to the muses."

13. — Constant Couple,

Anatomist Ravenscroft the ingenious Dunlap

Principal parts by Mr. Wynell,
Mr. Kean, Mr. Herbert and Miss
Osborne.
16.— Richard III.
Lying Valet.
(Benefit of Talbot Go. Charity School.)

CHAPTER V.

HALLAM AT WILLIAMSBURG.

INITIAL PERFORMANCE OF THE HALLAM COMPANY IN VIRGINIA A

novelist's account of it THE MERCHANT OF VENICE —

INCIDENTS OF THE SEASON.

IT would be surprising had not the appearance of the Hallam
Company in the "I^erchant of Venice" at WiUiamsburg, on
September sth, 1752, been utiHzed in some of the novels it has long
been the ambition of Virginia novelists to write of the " Old Dominion "
in the colonial period. In itself the advent of the first theatrical com-
pany ever specially organized in England for America is an interesting
and important event. It not only possessed the charm of novelty at
the time, but it readily blended with the romance of a romantic epoch
when the obscuring mists of years had made it a mere tradition.
When it was announced, therefore, that the late John Esten Cooke
had seized upon the episode as the foundation of one of his stories
there was a tremor of delight among the students of American dra-
matic history. Unfortunately Mr. Cooke drew too largely upon his
imagination for his facts. In his " Virginia Comedians " he brings the
Hallams to Williamsburg eleven years later than the year of their
arrival — that is, in 1763 instead of 1752. He makes Mr. Hallam, whom
he describes as "a fat little man of fifty or fifty -five, with a rubicund
and somewhat sensual face," play Bassanio instead oi Launcelot, and he
assigns the part of Portia to Miss Beatrice Hallam, Hallam's daughter,

(35)

36 HISTORY OF THE AMERICAN THEATRE.

instead of to his wife, Mrs. Hallam. For Mr. Malone, who was the
Shylock on the occasion, he substitutes a fictitious Mr. Pugsby, but
Mr. Hallam is introduced in his own name. Both are drawn as
exceedingly repugnant characters. Hallam is represented as brutal,
base and selfish, and the manager is made to say after the initial per-
formance that "Shylock was too drunk" to play this great role
acceptably. As compensation for this harsh treatment of the real Mr.
Hallam, he makes the fictitious Miss Beatrice Hallam one of the most
striking, truthful and lovable characters in modern fiction. All this, it
must be confessed, is open to grave objection. In a historical novel
in which dates are given some respect is due to chronology. Mr.
Hallam was dead and buried when he is made to figure in Mr. Cooke's
story. In a historical novel in which real men are introduced by
name, it is incumbent on the novelist that the figures he draws shall be
as nearly as possible truthful portraits. These laws Mr. Cooke boldly
set aside, and so, instead of presenting a brilliant, if ideal, picture of
the introduction of the drama into America, the "Virginia Comedians"
is only a rude caricature of a party of barn-stormers, such as leave
New York annually for a Thanksgiving or Christmas "snap."

While Mr. Cooke's treatment of Mr. Hallam is open to such
serious objection, his description of the first night of the "Merchant of
Venice" is in every way worthy of his subject. It is easy enough to
imagine the interest that would be excited among the Virginia planters
by the arrival of a company of comedians at Williamsburg from
England.

"Ah, I see we are to have a theatrical performance in Williams-
burg next week," says Mr. Lee, looking up from the latest number
of the Williamsburg Gazette and then reading the announcement in

HALLAM AT WILLIAMSBURG. 37

the newspaper. " Mr. Hallam and his Virginia Company of Comedians
in the ' Merchant of Venice,' by permission of his worship, the Mayor,
at the Old Theatre near the Capitol." " Let us go to see the play,
father," said Henrietta. "Oh, yes," said Clare. "Certainly, if you
wish it," the father assents.

When the time comes for going to the theatre Miss Henrietta
is radiant in a dress of surpassing elegance — flowered satin, yellow
lace, jewels, powdered hair, pearl pendants and rich furbelows.

"You know I have never seen a play," says Clare on the way
to the theatre to her cousin Champ Effingham, a Virginia exquisite,
who has just returned from London and who is of the party. "But
read a plenty," he answers. "Oh, yes," Clare replies; "and I like the
'Merchant of Venice' very much: the c\iz.ra.cteY oi Portia is so delicate
and so noble." "Who will act Portia f" Henrietta asks. " Shylock —
Mr. Pugsby; Portia — Miss Beatrice Hallam," the fop answers, reading
from a copy of the play-bill with which he had provided himself " I
have never seen or heard of her," Champ then says. " Which means,"
Henrietta interposes, laughing, "that Miss Beatrice Hallam cannot be
well worth going to see."

In the boxes were Parson Tag, a Virginia fox-hunting clergy-
man, and 'Squire Effingham, the father of Champ, while a young
reformer of the epoch, Charles Waters, was in the pit. "Not so bad
as you predicted, eh Parson?" said the 'Squire to Tag, when the
curtain fell on the first act. " I don't think that fellow, Antonio, acts
so badly." " Oh, lovely, papa ! " exclaimed Kate Effingham, clapping
her hands. "I was never more pleased with anything," said Clare to
Champ. " Much like Shuter at Covent Garden," the Anglo-American
fop remarks of the Shylock. The scene between Portia and Nerissa in

38 HISTORY OF THE AMERICAN THEATRE.

the first act was cut out, but Miss Beatrice Hallam played the scene
with the Prince of Morocco for all it was worth in the second act.
"Every word rang and told; there was no hurry, no slurring, no hesi-
tation." Finally came the scene with the caskets. "It ended with
great applause. The young woman had evidently produced a most
favorable impression on the audience." Champ, after the London
fashion, forced his way behind the scenes during the play and insisted
on speaking to Portia, whereupon the gallery hissed and the young
reformer in the pit frowned. "What were they hissing for?" Clare
asked, when the curtain went down. "Some folly which deserved
hissing, probably," Champ answered, without a blush. The play
ended amid universal applause, but the next morning Champ Effing-
ham told his father, the 'Squire, that all the parts were well acted
except Portia — that was overacted. The 'Squire thought his son "too
English."

In marked contrast with this imaginary description is the
account given by Dunlap, which is probably the first theatrical inter-
view printed in America. It was furnished by Lewis Hallam, the
younger, forty years after the event — then, after another forty years it
found its way into print. According to Dunlap's recollections of the
recollections of the younger Hallam, Lewis Hallam, the elder, found a
building in the suburbs of the town which he turned into a theatre.
It was said to be so near the wood that the manager often stood in his
door and shot pigeons for dinner. After its destruction by fire some
years later, Dunlap says another theatre was built below the Old
Capitol. It is, perhaps, too late to determine the exact locality of
Hallam's theatre, but wherever it was situated it is certain that Wil-
liamsburg had a theatre many years before the arrival of the Hallam

HALLAM AT WILLIAMSBURG. 39

Company, as appears from an advertisement in the Virginia Gazette
of September loth, 1736. In an early work entitled "The British

Empire in America" it is said that

_ ,, 1 i 1 -I . Advertisement.
near the market-place, or what

perhaps was only an area for a '^''^^ evening will be performed at the

Theatre by the young Gentlemen of the
market-place, there was a good College, the Tragedy of" Cato," and on Mon-
VI- 11 J 11 day, Wednesday and Friday next will be

bowlmg alley and a play-house, , ' ^, , „ • ^ ,• , ,,

° J sr J > acted the followmg Comedies by the young

but doubt is expressed of the ex- Gentlemen and Ladies of this country— The

"Busybody," the "Recruiting Officer" and
cellence of the performances on the the " Beaux Stratagem."

Virginia stage at that early day.

Advertisements in the Virginia Gazette of 1768 accord with Mr.
Cooke's description. If any credence is given to Dunlap's statement
the London company occupied neither of these, but in his eagerness to
prove that the company that landed at Yorktown, Virginia, in June,
1752, and appeared at Williamsburg in the "Merchant of Venice"
on the 5th of September, was the first professional company of come-
dians in America, he was blinded to every fact that militated against
his theory. In order to make the facts square with his theory, he is
not only compelled to assert that the building occupied by Lewis
Hallam at Williamsburg was " the first theatre opened in America by
a company of regular comedians," but is led to assume that a theatre
at Annapolis, Md., built before the arrival of the Hallams, "was used
by boys or young men to enact plays after their fashion, as was the
case and probably will be the case everywhere." The only thing that
gives Dunlap's statement value is the fact that he received it from
Lewis Hallam, the younger.

It is, of course, impossible to give any connected account of the
Williamsburg season. There does not seem to be extant a file of the

40 HISTORY OF THE AMERICAN THEATRE.

Virginia Gazette for 1752, although it was revived in 1751, and so it
is necessary to accept for the opening night the statement that Dun-
lap derived from the younger

DuNLAP's Williamsburg Casts. jo

Lewis Hallam forty years after-

Merchant of Venice.
Shylock Mr. Malone '^^'^- "^^^ P^^^ ^^ *^^ ^^^"^"^

Bassanio Mr. Rigby was the " Merchant of Venice,"

Antonio Mr. Clarkson

Gratiano Mr. Singleton which was followed by the farce

Eu^'°} Mr. Herbert of " Lethe." That these were the

Gobbo°} Mr. Wynell pieces is probable, but whether

Tubar^°'} Mr. Hallam the casts as printed by Dunlap

Servant to Portia . . Master Lewis Hallam are absolutely accurate it is im-

(His first appearance on any stage.)
Nerissa Miss Palmer POSsible tO Say. Although " Mr.

J'^^'^" • Miss Hallam Hallam seemed to remember

(Her first appearance on any stage.)

I'ortia Mrs. Hallam every transaction of that period,

^'*^^- every circumstance attending

^sop Mr. Clarkson

Old Man Mr. Malone these first histrionic adventures,

Fine Gentleman Mr. Singleton ^s though they were of yester-

Frenchman Mr. Rigby a j j

Charon Mr. Herbert day," experience teaches that no-
Mercury Mr. Adcock

Drunken Man! thmg IS more untrustworthy than

Tattoo ... I Mf- Hallam

John Mr. Wynell ^"^"^ recollection. The bill com-

^^'^- '^^"°° Miss Palmer prised the entire strength of the

Fme Lady Mrs. Hallam

company, except Mrs. Clarkson,
Mrs. Rigby and Adam Hallam, a child. It will be observed that the
Tailor was cut out of the farce. The absence of Lord Chalkstone is
accounted for by the fact that the part was an afterthought of the
author. Miss Hallam, who made her first appearance on the stage as
Jessica in the play, was, Dunlap says, the daughter of Lewis Hallam.
The surroundings must have been exceedingly primitive. There was

HALLAM AT WILLIAMSBURG.

41

no orchestra, but Mr. Pelham, who taught the harpsichord in the
town, was engaged with his instrument to supply the music. The
performance began with a
prologue, written for the oc-
casion by Mr. Singleton. It
was spoken by Mr. Rigby.
As it was the first composi-
tion written for and addressed
to an American audience that
was preserved, it may be re-
garded as a curiosity. John
Singleton, by whom it was
written, was content with
small parts as an actor, but
he aspired to be a poet, and
in 1767 he published at Bar-
badoes "A General Descrip-
tion of the West Indian
Islands " in blank verse, and
had his poem republished in
London ten years later. As
to the merits of the perform-
ance we know nothing ex-
cept that Master Lewis Hal-
lam, who had only one line
to speak, stood speechless
before the audience when his time came, and then bursting into tears
rushed off the stage.

Prologue.

To this new world, from fam'd Britannia's shore,
Through boist'rous seas where foaming billows roar,
The Muse, who Britons charm'd for many an age.
Now sends her servants forth to tread the stage ;
Britain's own race, though far removed, to show ,
Patterns of every virtue they should know.
Though gloomy minds through ignorance may rail.
Yet bold examples strike where languid precepts fail.

The world's a stage, where mankind act their parts ;
The stage a world to show their various arts ;
While th' soul, touch'd by Nature's tend'rest laws,
Has all her passions rous'd in Virtue's cause.
Reason we hear, and coolly will approve.
But all's inactive till the passions move.
Such is the human mind, so weak, so frail,
" Reason's her chart, but passion is her gale."
Then raise the gale to waft fair Virtue o'er
The sea of life where Reason points the shore.
But ah ! let Reason guide the course along,
Lest Passion, list'ning to some siren's song,
Rush on the rocks of Vice, where all is lost.
And shipwreck'd Virtue renders up the ghost.

Too oft, we own, the stage with dangerous art.
In wanton scenes has played the siren's part.
Yet if the Muse, unfaithful to her trust,
Has sometimes strayed from what is pure and just,
Has she not oft, with awful, virtuous rage,
Struck home at vice and nobly trod the stage —
Made tyrants weep, the conscious murderer stand
And drop the dagger from his trembling hand ?
Then, as you treat a favorite fair's mistake.
Pray spare her foibles for her virtue's sake
And while her chastest scenes are made appear —
For none but such will find admittance here —
The Muse's friends, we hope, will join our cause
And crown our best endeavors with applause.

42 HISTORY OF THE AMERICAN THEATRE.

The only subsequent performance of the Williamsburg engage-
ment that I find anywhere is that of the 9th of November, 1752.
This occurs in a Williamsburg letter to the Maryland Gazette} but
it is probable that even this performance would have been passed by
without notice had not a lot of savages visited the theatre as the
guests of the Governor. On this occasion "Othello " and " Harlequin
Collector" comprised the bill. Malone probably played the Moor,
Rigby lago and Singleton Cassio. Mrs. Hallam certainly was the
Desdemona. So far as is known these were the only performances
in America of the "Merchant of Venice" and "Othello" by the
original Hallam Company. It will be observed that the simplicity
exhibited by " the Empress '' at the play was more than equaled by
the grotesque servility of the high-flown language in which the visit
of savage royalty to the theatre is described.

Lewis Hallam remained in Virginia eleven months, and went
directly from Williamsburg to New York. He was accompanied by
his entire company, except Wynell and Herbert, who had seceded the
previous December and joined "the Virginia Comedians " at Annapo-
lis. It is evident from the assumption of such roles as Richard by
Wynell and Richmond by Herbert, that parts like Salanio and Salarino,
the Duke of Venice and old Gobbo could not satisfy their ambition.
The Annapolis opportunity, therefore, was not to be lost, but it seems

'Maryland Gazette. Williamsburg, ship and were that Evening entertained at

Nov. 17. — The Emperor of the Cherokee the Theatre with the Play (the Tragedy of

nation with his Empress and their son, the "Othello") and a Pantomime Performance

young Prince, attended by several of his War- which gave them great surprise as did the

riors and Great Men and their Ladies were fighting with naked swords on the Stage

received at the Palace by his Honour the which occasioned the Empress to order some

Governor, attended by such of the Council as about her to go and prevent them killing one

were in Town on Thursday the gth instant another,
with all the Marks of Courtesy and Friend-

H ALLAH A T WILLI AMSB URG. 43

to have brought them no permanent advantage, for neither of them
was ever heard of afterward, unless indeed the Herbert of whom an
anecdote is related in Bernard's " Retrospections of America " is the
same. It is an account of an adventure in Jamaica with Three-
fingered Jack, in which a member of the old American Company, Owen
Morris, is made to say that Herbert, who had a sweet voice and
was of respectable parentage, " had quitted England, owing to an
unfortunate attachment." His melancholy led him to take long
rambles in the country, in which he was occasionally joined by
another actor. One sultry day, when they reached the shelter of an
"umbrageous palm," Herbert proposed they should open their wallet
and take some refreshment. Unfortunately they found the brandy,
so necessary to a lover's melancholy, had been forgotten. Herbert
remained under the " umbrageous palm " while his friend visited a
neighboring plantation to obtain the required fluid. When his friend
was gone, " the loneliness and stillness of the spot " brought back to
Herbert " the thought of home, and he gave vent to his oppressed
spirit in some vocal effusion, unconscious that the savage scourge of
the island, driven by hunger from his hiding place on the hills, was
ready to dispatch him " just as his " lips opened and the breathings
of a broken heart " poured forth. It is unnecessary to add that the
" breathings " so charmed the outlaw that Herbert's life was saved.
The next day Three-fingered Jack was captured. As Herbert left
Hallam's Company in 1752, and Three-fingered Jack was not captured
until 1 78 1, it will be noted that his broken heart had lasted him fully
thirty years.

CHAPTER VI.

HALLAM IN NEW YORK.

THE FIRST SEASON OF WHICH THERE IS DEFINITE KNOWLEDGE OPPO-
SITION TO THE THEATRE A SKETCH OF THE PLAYS AND THE

PLAYERS AND THEIR PARTS.

AN entire year elapsed between the initial performance of the
Hallam Company in Virginia and their first appearance in
New York. Where was the year spent, and how? Dunlap says that,
after leaving Williamsburg, Lewis Hallam's Company performed at
Upper Marlborough, Piscataway and Port Tobacco, then places of
wealth and consequence in Maryland, but that the whole Company
was not at Annapolis, he thinks, is proved by the silence of Lewis
Hallam, the second. The fact is that no part of it was at Annapolis
at any time, except the two seceding members, Wynell and Herbert,
who joined the Company of Comedians from Virginia, the existence
of which the historian ignores. Indeed, there is no reason to believe
that the Company stopped at any of the places of wealth and con-
sequence in Maryland on the journey from Williamsburg to New
York. Proof of this is contained in Mr. Hallam's appeal to the New
York public, printed in 1753. Dunlap's mistake was due to the fact
that he confounded Hallam's Company with the comedians whose
existence he so strenuously denied. There was good reason why
Hallam should go direct to New York. The Maryland field had been
pretty thoroughly tilled by the Virginia comedians, and in Philadel-

(44)

HALLAM IN NEW YORK. 45

phia the opposition to the theatre was too violent to make a stop pos-
sible at that time. When the Company left the capital of the "Old
Dominion " Governor Dinwiddle gave Mr. Hallam a certificate, recom-
mending the comedians as actors and testifying to the correctness of
their conduct as men. Such a testimonial was useful at that time,
especially with the functionaries whose consent it was necessary to ob-
tain before performances could be given. Armed with this "char-
acter," Hallam arrived in New York in June, 1753. But even in New

York the welcome to the players „ , _. ,

1- y Hallam's First Advertisement.

was not very cordial, and permis-

By His Excellency s Authority
sion to perform was at first denied. By a Company of Comedians from London
rr-. ■ 1./-/- ii 1. At the New Theatre in iVajjaK ^ifrefA

This difficulty was overcome, how- ^^^ ^^^^.^^ ^^^ ^^ ^^^^^^^^^^ ^ ^^^^^^^

ever, Hallam using the wrongs he called,

, , , ^^^ THE CONSCIOUS LOVERS,

had suffered at the hands of Upton a/t u- i.

Young Bevil Mr. Rigby

as a means of softening the hearts Mr. Sealand Mr. Malone

Sir John Bevil Mr. Bell

of the authorities. There was still My^ie Mr. Clarkson

another difficulty. The old theatre Cimberton V^'lf"?

•' Hmnphrey Mr. Adcock

in Nassau Street was not adapted Daniel Master L. Hallam

Tom Mr. Singleton

to the use to which it had been -ptms Mrs. Beccely

put, and so it was demolished and f -; S-land Mrs. CUrkson

i^ ' Lucinda Miss Hallam

another one erected in its place. Isabella Mrs. Rigby

Indiana Mrs. Hallam

Finally, Hallam announced in ^ „ew Occasional Prologue to be spoken

Gaine's Mercury, on the 17th of by Mr. Rigby.

An Epilogs (addressed to the Ladies) by

September, that he had built a fine, ^,5. hallam.

, . . ,1 , , .1 Prices: Box, 8j. Pit, 6j. Gallery, 3^.

large theatre in the place where the ^^ ^^^^^^^ ;^^^^^^^ ; ^^ admitted behind

old one stood, and "by his Excel- the Scenes.

N.B. Gentlemen and Ladies that chuse
lency's authority " would that eve- Tickets, may have them at the New Printing

1 „ii„j +v,~ Office in Beaver Street. To begin at 6 o'clock.
ning present a comedy, called the

46 HISTORY OF THE AMERICAN THEATRE.

" Conscious Lovers," and the ballad farce of " Damon and Phil-
lida." The bill of the evening for the opening night, as it was
published in the New York Gazette, or Weekly Postboy, contained no
allusion to the farce. The bill has often been reprinted, but is
necessary here as part of the record. The new occasional pro-
logue, spoken by Mr. Rigby, was the one given in Williamsburg
a year before, and the epilogue, unfortunately, was not printed.
The prices on the opening night: Box, 8 shillings; pit, 6 shillings;
gallery, 4 shillings; for the second night were reduced to: Box, 6
shillings; pit, 5 shillings; gallery, 3 shillings. A month later there
was a further reduction, the pit being put at 4 shillings and the gallery
at 2 shillings. The days of performance were Mondays, Wednesdays
and Fridays, the season lasting from the 17th of September, 1753, to
the 1 8th of March, 1754.

In those days the newspapers appeared only once a week, and
consequently it is not possible to list more than one-third of the per-
formances of the season. Fortu-

LisT OF Performances.

nately the plays and farces com-

s2'i7-Conscious Lovers Steele P"^^^ ^" ^^^ "^^ are of a character

Damon and Phillida . . . Gibber to give a very complete idea of

24 — Tunbridge Walks .... Baker

Oct. I— Constant Couple . . . Farquhar the entertainments afforded the

Anatomist Ravenscroft -vt -ir i ii- -i .1

8-Conscious Lovers. ^^^ ^""'^ P^^llC by the com-

virgin Unmasked . . . Fielding pany of comedians from London.
22 — Love for Love .... Congreve

Tom Thumb Fielding Here were twenty-one distinct

Nov. 5— Distressed Mother .... Philips ing only one-third of the perform-

Hob in the Well .... Cibber

12— Richard III Shakspere ^"^^^^ °^ ^ Season of six months,

^'"^^'°^^y ^°^'^ given under circumstances that

HALLAM IN NEW YORK.

47

Feb.

must have rendered the represen-
tations doubly difficult, but always
played with full casts, and, if tra-
dition is to be believed, with all
the parts acceptably filled.

To the modern play-goer
the work of the Hallam Company
must seem marvelous, but apart
from the labor of presenting so
many pieces in such rapid suc-
cession, both the plays and the
farces comprised in the list are
capable of an exceedingly interest-
ing analysis. It comprises not
only the best works in a dramatic
sense, but the purest plays the
English stage had produced up
to that time. The dramatists
were men with a few exceptions
whose fame will form a part of
the glory of English dramatic
literature until the world ceases
to prize English letters. As
names these writers for the stage
have a familiar sound, but, with the exception of Shakspere's, their
plays have disappeared from the boards. None of the farces and
none of the comedies survive, and only two of the tragedies — Moore's
" Gamester " and a revamped version of Rowe's " Jane Shore " — have

Nov. 19 — Beggars' Opera Gay

Lying Valet.

26 — Committee Howard

Dec. 3 — Careless Husband .... Cibber

Lethe Garrick

10 — Beaux' Stratagem . . . Farquhar

Harlequin Collector.
17 — Committee.

Miss in her Teens . . . Garrick

26 — Twin Rivals Farquhar

Damon and Phillida.
1754-

Jan. 7 — Drummer Addison

14 — King Lear Shakspere

21 — Woman is a Riddle . . . Bullock

Devil to Pay.
28 — Romeo and Juliet . . Shakspere
(Mr. Clarkson's Benefit.)

4 — Gamester Moore

(Mr. Rigby's Benefit.)

II — Earl of Essex Jones

Miller of Mansfield . . . Dodsley
(Mrs. Beccely's Benefit.)
18 — Suspicious Husband . . Hoadley
Harlequin Skeleton.
(Mr. Miller's Benefit.)

25 — ^Albion Queens Banks

Virgin Unmasked.
(Mrs. Hallam's Benefit.)

Mar. 4 — Jane Shore Rowe

Harlequin Skeleton.
(Mrs. Rigby's Benefit.)
1 1 — Romeo and Juliet.

Stage Coach Farquhar

(Benefit of Miss Hallam and her two
brothers.)
16 — Beggars' Opera.
Devil to Pay.
(Mr. and Mrs. Love's Benefit.)

48 HISTORY OF THE AMERICAN THEATRE.

been seen by this generation. That they should have been so com-
pletely forgotten is all the more remarkable because their authors are
still acknowledged as the masters of English dramatic writing, and
Mr. Hallam's list comprised only the masterpieces of the masters. To
begin with Hallam's initial production, the " Conscious Lovers," it was
not only Steele's best play, but the most moral play produced since
the Restoration, and in itself a protest against stage immorality. In
Bevil Steele portrayed a model gentleman, of whom Thomson sang in
" The Seasons " : —

•whate'er can deck mankind

Or charm the heart in generous Bevil showed.

It will thus be seen that Mr. Rigby had an excellent part for

his introduction to the favor of New York theatre-goers. When the

"Conscious Lovers" was originally presented at Drury Lane Mrs.

Oldfield was the Indiana, and it is not improbable that Mrs. Hallam

had seen that great actress in the part before she played it in America.

Colley Cibber, who did not disdain to give Shakspere the benefit of

his improving touch, had a hand in preparing the piece for the stage,

but it is not likely that Single-
Hallam's Second Advertisement.

ton ever saw him as Tom. Mrs.

By m Excellency's AutkoHty Beccely's part of PMllis had

By a Company of Comedians from London,

At the New Theatre in Nassau Street, been created by Mrs. Younger,

This Evening will be presented a Comedy,

called ^nd was yet to become a favor-

TUNBRIDGE WALKS ,-4.^ t, j vi, t\t ai_- ^

Q^ ite hoyden with Mrs. Abmgton

The Yeoman of Kent, and Peg Woffington. Baker's

Woodcock Mr. Malone

Reynard Mr. Rigby P'^X' "Tunbridge Walks," was

Loveworth Mr Miller j-u 1 ». -^ •

Capt. Squib Mr.H^l^am ^^ ^^^* meritorious piece m

Maiden Mr. Singleton the list. But even Baker's com-

HALLAM IN NEW YORK.

49

edy was interesting and entertain-
ing in its day, Singleton's part
of Maiden being the original of
all the Fribbles and Foppingtons
of the first half of the last century.
The part, it is said, was a portrait
of the author of the comedy when
he was a young man, and was
written by him to enable others
to avoid the rock of contempt
on which he had himself been
wrecked.

After William Congreve,

Hillaria Mrs. Hallam

Belinda Mrs. Beccely

Mrs. Goodfellow Mrs. Rigby

Penelope Mrs. Clarkson

Lucy Miss Hallam

In Act II. Singing by Mrs. Love.

End of Act III. a Scotch Dance by Mr.
HULETT.

End of Act IV. Song by Mrs. Love.

End of the Play, a Hornpipe by Mr.
HuLETT.

Prices : Box 6.r. Pitt 5^. Gallery 3^.

No Persons whatever to be admitted be-
hind the Scenes.

N.B. Gentlemen and Ladies that chuse
Tickets, may have them at the New Printing
Office in Beaver Street.

To begin at 6 o'clock. Money will be
hkewise taken at the Door.

The Company intend to Play on Mondays,
Wednesdays, and Fridays.

Lewis Hallam.

Constant Couple.

George Farquhar, whom Pope

sought to depreciate by calling him a farce-writer, was the most sue- i

cessful dramatist of his day. He excelled in the gay relation of

sprightly incidents. His two
comedies, the " Constant Couple "
and the "Twin Rivals," and his \
farce, the "Stage Coach," were,
after his " Beaux' Stratagem," his
best pieces. In the "Constant '
Couple" Mr. Singleton as Sir
Harry Wildair had by all odds
the best part. Sir Harrj/, although
a profligate, was as gay in man-
ners as he was easy in morals,

and he was not altogether selfish and abandoned. The character was
4

Sir Harry Wildair Mr. Singleton

Colonel Standard Mr. Rigby

Vizard Mr. Miller

Alderman Smuggler Mr. Malone

Clincher, Sr Mr. Hallam

Clincher, Jr Mr. Clarkson

Dicky Master L. Hallam

Tom Errand Mr. Bell

Constable Mr. Adcock

Lady Lurewell Mrs. Hallam

Lady Darling Mrs. Rigby

Angelica Mrs. Beccely

Parly Miss Hallam

Porter's Wife Mrs. Clarkson

so HISTORY OF THE AMERICAN THEATRE.

created by Wilks, but it afterward became a favorite actress' role, Peg
Woflfington esteeming it as her greatest part, and Mrs. Jordan playing

it long after Singleton played it
in America. The second of Far-
quhar's pieces played by the

Beaux' Stratagem.

Aimwell Mr. Adcock

Archer Mr. Singleton

Sir Oiarles Freeman Mr. Bell Hallam Company in New York

was the " Beaux' Stratagem." The

Mr. Sullen Mr. Rigby

Foigard Mr. Hallam

Boniface Mr. Miller ^^q beaux, Aimwell and Archer,

Gibbet Mr. Clarkson

Scrub Mr. Malone having run through their money,

go to Lichfield as "master and

Mrs. Sullen Mrs. Hallam

Dorinda Mrs. Beccely

Lady Bountifiil Mrs. Rigby man," fortune hunting. Aimwell

Cherry Miss Hallam

Gipsy Mrs. Clarkson is very fascinating and handsome,

but altogether a man of the world.
He pretends to be ill, and as Lady Bountiful s hobby is playing the
leech, she orders him to be removed to her house. There he falls in
love with and marries Dorinda, her daughter. Archer is in eveiy way
a less satisfactory character than Aimwell, and his love affair with
Mrs. Sullen is far from commendable. Squire Sullen is the son of
Lady Bountiful by a former marriage — Mrs. Sullen is the sister of Sir
Charles Freeman. Never was a pair, even in a play, worse mated.
The Squire was sullen, she was sprightly; he would not drink tea
with her, and she would not drink ale with him ; he disliked ombre
and picquet, and she hated cock-fighting and racing; he declined to
dance, and she refused to hunt. It was natural enough that such a
pair should be divorced, but not even Farquhar dared to make Archer's
marriage to the real heroine of the comedy a part of the play. The
third and last of Farquhar's full pieces given this season was the
" Twin Rivals." It was the least successful of his comedies, although

HALLAM IN NEW YORK.

SI

Twin Rivals.

Mr. Malone

Elder Wouldbe Mr. Rigbjr

Young Wouldbe Mr. Clarkson

Richmore Mr. Bell

Trueman Mr. Singleton

Subtleman Mr. Miller

Balderdash "1

Alderman J

Clear-account Mr. Adcock

Teague Mr. Hallam

Frizure Master L. Hallam

Constance Mrs. Hallam

Aurelia Mrs. Beccely

Mrs. Midnight Mrs. Adcock

Mrs. Clear-account Mrs. Rigby

Maid Mrs. Clarkson

the one most praised by the critics. The outre qualities of the

younger Wouldbe, Teague and Mrs. Midnight, however, served to

make it a success, but it fell far

below the "Beaux' Stratagem" and

" Constant Couple " in popularity.

It is a curious commentary on the

soundness of American taste even

at that early period, that this the

least meritorious of Farquhar's

works should have proved also

the least acceptable, and conse-
quently it was dropped from the

Hallam repertoire. In addition to

these three comedies, Mr. Hallam presented one of Farquhar's farces,

the " Stage Coach," for the benefit of his children, as the afterpiece to

" Romeo and Juliet." The scene is laid at an inn upon the arrival of

the coach, but the plot and much
of the dialogue were borrowed
from a French piece called " Les
Carosses d'Orleans." One entire
scene between Captain Basil and
Sir Nicodemus was transferred
bodily from the French original.
This diverting farce proved as

popular in America when first produced in this country as it had been

in England during the previous half century.

The next dramatist in Mr. Hallam's list was Congreve, of

whom Voltaire said that he raised the glory of comedy to a greater

Stage Coach.

Torlough Rawer Macahone . . Mr. Hallam

Captain Basil Mr. Bell

Sir Nicodemus Somebody . . . Mr. Miller

Uncle Michai Mr. Clarkson

Filch Mr. Rigby

Jolt Mr. Adcock

Landlord Mr. Singleton

Isabella Mrs. Clarkson

Dolly Miss Hallam

52 HISTORY OF THE AMERICAN THEATRE.

height than any English writer before or since his time, but singularly

enough he was represented by only one piece, but that his best, " Love

for Love." In this play the part
Love for Love.

of Angelica was created by Mrs.

Sir Sampson Legend Mr. Malone t> ■ ji • i. j j

,^ , . „ T, ,. Bracegirdle in her advanced age,

Valentine Mr. Rigby ° " '

Scandal Mr. Bell but it was said of her that she

Tattle Mr. Singleton

Ben, the Sailor Mr. Haiiam showed the same melting tender-

f^'='st' ^\?'^^T ness and playful 'coquetry she had

Jeremy Mr. Miller ^ •' ^ '

Angelica Mrs. Haiiam displayed as Statira and Milla-

Mrs. Foresight Mrs. Rigby

Mrs. Frail Mrs. Adcock merit. Valentine was Betterton's

Miss Prue Miss Haiiam . „t t cv c„^ j.„„,. T „

,, . , , great part. In Sir Sampson Le-

Nurse Mr. Adcock ^ r r

gend Malone had one of those
testy, prejudiced and obstinate old men to which he seems to
have been adapted. Although Congreve never borrowed either his
plots or his dialogue, and notwithstanding that his plays were ex-
quisite in spite of the heartlessness and duplicity of many of the char-
acters, it is not improbable that the controversy with Jeremy Collier
operated toward his exclusion from the stage in America. Even " Love
for Love" would not be tolerated at this day, when Mrs. Foresight

and Mrs. Frail are played by ac-

rr t . 1 George Barnwell.

tresses off but not on the stage.

Lillo's tragedy of " George Xhorowgood Mr. Malone

Barnwell" was originally produced J^°"'" ;, ^^'t^Z^

^ ' ^ Barnwell Mr. Bell

in 1730, with Theophilus CibberaS Trueman Mr. Rigby

Blunt Mr. Miller

George, and Mrs. Gibber as Mana. ^aria Mrs. B'eccely

In 1752, when Ross was playing ^'"''°°<^ Mrs. Halkm

Lucy Mrs. Adcock

George Barnwell, a merchant's

apprentice in Great St. Helen's was so stricken by remorse upon

HALLAM IN NEW YORK.

S3

seeing the performance that he became ill, and narrowly escaped

death in consequence of his own embezzlements.

Ambrose Philips' tragedy, the " Distressed Mother," was a

translation of the "Andromache" of Racine. The heroine was a

favorite part with Charlotte Charke, distressed Mother.

the wayward daughter of Colley

Pyrrhus Mr. Singleton

Cibber, and afterward with Mrs. Orestes Mr. Rigby

Yates. The epilogue to this trag- p^'^nix ! '.'.'.'.'.'.'.'. .' Mr Cllrfe!"
edy was the most successful ever Hermione Mrs. Adcock

Cleone Miss Hallam

spoken on the stage, and it con- Cephisa Mrs. Rigby

, , , , , 1 ,. Andromache Mrs. Hallam

tmued to be expected by audi-
ences while the play held the boards. It was printed in the name of
Budger but is known to have been written by Addison.

Three of Shakspere's plays were produced during the New
York season of 1753-4, all of which still hold the stage. These

Richard III. P^^y^ were " Rich- j^^^^ ^ear.

ard III," the Col-
Richard Mr. Rigby Lear .

Henry VI Mr. Hallam ley Cibber version, Kent .

of course, " King

Gloster

Prince of Wales . Master L. Hallam

Duke of York . . Master A. Hallam "' v-v^^.ov,, ^^...g g^^^

Richmond Mr. Clarkson Lear" and " RomeO Edmund .

Buckingham Mr. Malone ^ Cornwall

Norfolk Mr. Miller and Juliet" In the Albany .

^'^"'?y ^if'^f^'Z first mentioned Mr. f "^"-^^ '

Catesby Mr. Adcock Usher . .

Lieutenant Mr. Bell Rigby played the Cordelia ,

Queen Elizabeth . . . Mrs. Hallam _ Regan .

Lady Anne Mrs. Adcock title role. This was Goneril .

Duchess of Rutland . . . Mrs. Rigby . , . , Aranthe .

^ ■' evidently a com-
promise with Malone, who, on this occasion, sank into the unimport-
ant part of Buckingham. In " King Lear," however, Malone again
had the commanding role, while Rigby was only the Usher. While

. Mr. Malone
. Mr. Hallam

. . Mr. Bell
Mr. Singleton
Mr. Clarkson

. Mr. Miller
. Mr. Adcock

. Mr. Hulett

. Mr. Rigby
, Mrs. Hallam

Mrs. Adcock
Mrs. Beccely

. Mrs. Rigby

54 HISTORY OF THE AMERICAN THEATRE.

Malone has the honor of being the first Shylock and the first Lear
on the American stage, to Rigby must be accorded the distinction

of being the first Romeo. The

Romeo and Joliet. • • t tt 7 7 ^i ■

origmal Richard on this contment,

Romeo Mr. Rigby it will be remembered, was Thomas

Mercutio Mr. Singleton

Paris Mr. Adcock Kean, who played the part two

Tybalt Mr. Malone , , ,, ■ 1 r it.

Capulet Mr. Bell y""^'^ before the arrival of the

Montague Mr. Hallam Hallam Company at Yorktown.

Friar Laurence Mr. Clarkson

Balthazar Master L. Hallam The representatives of these parts

Juliet Mrs. Hallam . « . . _^ ,

; , ^ , , T.^ ^. , in America since 1754 comprise

Lady Capulet Mrs. Rigby ' -"^ '^

Nurse Mrs. Adcock nearly all the great names on both

the English and American stage, Edwin Booth being the latest.

Gay's Newgate pastoral, the " Beggars' Opera," had been
sung in New York by Murray and Kean's company, but it was pre-
sented at least twice during the season by Hallam. Miss Fenton,

who afterward became Duchess _ , ^ .

Beggars' Opera.

of Bolton, was the original Polly, ^^^^^^^ _ _ _ — _ _ _ ^^ ^^^^^

and Walker the first Macheath, Lockit Mr. Malone

Macheath Mr. Adcock

but Charles Hulett, whose family YAoh Mr. Miller

i J • ii. 717" • Mat o' the Mint Mr. Bell

was represented in the Nimmmg ^^^^^^^^ Mr. Singleton

Ned of the American cast, was Nimming Ned Mr. Hulett

Mrs. Peachum Mrs. Adcock

subsequently esteemed as his PoUy Mrs. Beccely

/-p, , .. r it-- Lucy Mrs. Clarkson

superior, ihe popularity 01 this „ ■'„ ,,. „ ,,

^ r r J jyfjj Coaxer Miss Hallam

work continued down to the Re- Diana Trapes Mrs. Adcock

Mrs. Vixen Mrs. Rigby

volution, and among the many jenny Diver Mrs. Love

Macheaths of that period was the ^°" ^'^^^ ^'- ^''^^^^

younger Lewis Hallam after he had long been pre-eminent in all the
great parts of comedy and tragedy.

HALLAM IN NEW YORK.

55

Another comedy, presented apparently to give Mr. Malone a
part, was the "Committee," which was originally produced as early
as 1665, and long continued to hold the stage. It was written by

Sir Robert Howard, who was not

Committee.

a great dramatist, but who was so

Mr. Day Mr. Malone

dogmatic that he was ridiculed by Abel Day Mr. Ckrkson

Shadwell, in the "Sullen Lovers," Colonel Careless Mr. Singleton

' ' Colonel Blunt Mr. Bell

as Sir Positive At-all. The low Obadiah Mr. Miller

Teague Mr. Hallam

comedy parts in this play, Oba- Bailiff Mr. Adcock

^^«/%, a clerk to Justice Day, very f=;^^y Mrs. Adcock

' ■' J" J Ruth Mrs. Hallam

dull, but very fond of drinking, Arabella Mrs. Beccely

Mrs. Chat Mrs. Clarkson

and Teague, an Irish lad, always

blundering, and always doing mischief with the best intentions, were
very amusing. In a one-act version by T. Knight, " Honest Thieves,"
Munden was exquisite as Obadiah, and Jack Johnstone, the grandfather
of Lester Wallack, was irresistible as Teague. One night the property-
man supplied Teague with a bottle of lamp-oil instead of sherry and
water, with which he dosed Obadiah. When the curtain fell, Johnstone
asked Munden why he had not given a hint of the mistake. "There
was such a glorious roar at the faces I made," Munden answered,
"that I hadn't the heart to spoil it."

Colley Gibber, who was still alive to hear of the production

of his pieces in America, was rep-
resented by two farces and his best
comedy, the "Careless Husband."
Singleton played Cibber's part of
Lord Foppington, and Mrs. Hal-

Careless Husband.

Sir Charles Easy Mr. Miller

Lord Foppington Mr. Singleton

Lord Morelove Mr. Rigby

Lady Betty Modish Mrs. Hallam

Lady Easy Mrs. Adcock

Lady Graveairs Mrs. Beccely

Edging Miss Hallam lam took Mrs. Oldfield's original

56 HISTORY OF THE AMERICAN THEATRE.

role of Lady Betty Modish. Macklin used to say that nature formed

Gibber for a coxcomb. It is no wonder, therefore, that he made

Foppington the king of court fops. After Mrs. Oldfield, Lady Betty

DAMON AND PHiLLiDA. ^^^ Pl^yed by Mrs. Pritchard and

Areas Mr. Bell

Mrs. Abington. Sir Charles Easy
^g°i» Mr.Rigby jg the " careless husband," and he

Corydon Mr. Clarkson

Cymou Mr. Miller is SO careless he even leaves his

Mopsus Mr. Hallam , /--uu >

Damon Mr. Adcock love-letters lymg about. Gibbers

Pl^ilMa Mrs.Beccely ballad farce, "DamonandPhilHda,"

was given as the afterpiece on the first night of the season. It was

followed a few weeks later by " Flora, or Hob in the Well," as the

afterpiece to the tragedy of the jjob in the Well.

'• Distressed Mother." The former

Hob Mr. Hallam

of these farces has a curious his- sir Thomas Testy Mr. Clarkson

tory. In 1729, Mr. Gibber pro-
duced his comedy, " Love in a

Friendly Mr. Adcock

Dick Master L. Hallam

Old Hob Mr. Miller

Flora Mrs. Beccely

Riddle," at the theatre in Lincoln's Betty Miss Hallam

T -n- 1 J /-^ i.1. CL 1. ■ 1.1. -i. Hob's Mother Mrs. Clarkson

Inn Fields. On the first night it

was received with so much clamor that only Miss Raftor (Mrs. Glive)
was given a hearing. The following evening Frederick, Prince of
Wales, was present, but it was only allowed to proceed out of respect
to his Royal Highness, upon a promise that it should be then with-
drawn. Gibber kept the agreement, but out of the comedy he selected
the scenes of the farce, which, being produced without his name, met
with instant success. " Hob " was only an appropriation of Dogget's
"Gountry Wake."

Addison was represented by his comedy, the " Drummer,"
and Rowe by his tragedy, "Jane Shore." The " Drummer," although

HALLAM IN NEW YORK.

57

elegantly written, is slight in plot and deficient in action. Conse-
quently whatever success it attained was almost wholly due to
the popularity of its author. Ad- Drummer.

dison's play will probably never Sir George Truman Mr. Bell

. Tinsel Mr. Miller

be seen again, but Jane Shore, as pantome Mr. Adcock

Rowe paints her in her penitence, ^^"""^ ^^^- ^^^1°°^

^ ^ Butler Mr. Clarkson

and suffering the agony of remorse Coachman Mr. Singleton

Gardener ....;.... Mr. Hallam
m abject poverty, must be acknowl- Lady Truman Mrs. Beccely

edged to be one of the great hero- ^•'^^'l Mrs. Adcock

ines of the English stage, worthy of resuscitation. When the trag-
edy was originally produced,

Mrs. Oldfield was Mistress Shore,

Jane Shore Mrs. Hallam .,-,-. i-. i tt ■

Gloster Mr. Hallam With Barton Booth as Hastings

^"^o'^t Mr. Singleton and Gibber as 6^/<7Jif^r. Later Miss

Hastings Mr. Rigby

Belmour Mr. Bell O'Neil played the part, Genevieve

Catesby Mr. Adcock ,-,7 i , ■ -.

Ratciiffe Mr. Miller Ward being its most recent repre-

Alit^'^ Mrs. Adcock sentative, in England and America.

The rest of the plays produced by Mr. Hallam during the
season — five in all — were those by which the author of each made
his reputation as a dramatist. The first of these, the " Gamester," in
which Moore had the assistance gamester

Jane Shore.

of Garrick, was a very popular

Beverly Mr. Rigby

tragedy for many years. It was Stukely Mr. Singleton

, . , - .-I . ,1 Lewson Mr. Miller

last presented in this country by ^^^.^ j^^ j^^j,^

Barry Sullivan. As showing the Dawson Mr. Clarkson

Bates Mr. Bell

enterprise, as we should now call Mrs. Beverly Mrs. Hallam

.. TT11 -i ii -J Charlotte Mrs. Beccely

It, of the Hallams, it must be said

of this piece that it was presented in New York within a year of its

58

HISTORY OF THE AMERICAN THEATRE.

Sir Walter Raleigh Mr. Miller

Lieutenant of the Tower . . . Mr. Adcock
Queen Elizabeth ...... Mrs. Adcock

Countess of Rutland .... Mrs. Hallam

Countess of Nottingham . . Mrs. Beccely

original production in London, and the same is true of Henry Jones'

" Earl of Essex." The poetic interest in this tragedy turns upon

Earl of Essex. *^ assumption that Essex had

married the Countess of Rutland,

Earl of Essex Mr. Rigby

Earl of Southampton Mr. Bell thus provoking the jealousy both

Lord Burleigh Mr. Singleton ^ , , ,-. ^ r .t r^

of the y ueen and of the Countess
of Nottingham. Mrs. Melmoth,
afterward a favorite actress in
this country, was one of the most

noteworthy representatives of Elizabeth ever seen on the London

stage or on the American boards.

Dr. Hoadly's " Suspicious Husband" was originally produced

in 1747, but even of this it may be said, in the language of Dunlap,

that it " exhibits licentiousness that Susficious Husband.

we turn from as unfit for repre- ,, „ . , ,

^ Mr. Stnctland Mr. Rigby

Sentation." With a young and Frankly Mr. Singleton

. , , .. Bellamy Mr. Bell

sprightly wife, an attractive ward, Ranger Mr. Miller

and a gay young lady visitor in J^<=k Meggot Mr.ciarkson

^ ' ^ & •' Tester Master L. Hallam

his house, Mr. Stnctland could Simon Mr. Hulett

Buckle Mr. Adcock

not fail to see that he was sur-
rounded by a great deal of in-
trigue. He is suspicious of every-
body about him, including his
servants. George H was so well
pleased with this comedy that he sent the author ;^ioo, a liberal con-
tribution for the German king who then ruled over England.

The comedy of "Woman is a Riddle" has a curious history.
It was a translation of a Spanish comedy, " La Dama Duenda," by

Mrs. Strictland Mrs. Beccely

Clarinda Mrs. Hallam

Jacintha Mrs. Adcock

Lucetta Miss Hallam

Landlady Mrs. Rigby

Milliner Mrs. Clarkson

Maid Mrs. I^ve

HALLAM IN NEW YORK.

59

Mrs. Price, wife of Baron Price, one of the judges of the Court of
Exchequer. She gave copies of it to three different persons, in-
cluding the eccentric Richard

Savage and Christopher Bullock,
a performer at Lincoln's Inn Fields.
Bullock was the first to have the
piece produced, but while the
authorship really belonged to
neither. Savage laid claim to a

Woman is a Riddle.

Colonel Manly Mr. Bell

Courtwell Mr. Singleton

Sir Amorous Vainwit Mr. Hallam

Vulture Mr. Rigby

Aspen Mr. Miller

Butler Mr. Adcock

Lady Outside Mrs. Hallam

Miranda Mrs. Adcock

Clarinda . Mrs. Clarkson

share in it. Bullock has always Necessary Miss Hallam

been credited with it, because he

made some changes in Mrs. Price's translation.

The tragedy of the "Albion Queens" was, of course, based

upon the misfortunes of Mary, Queen of Scots, made familiar to

ALBION QUEENS. theatrc-gocrs in recent years by

Ristori's representation of Marie

Duke of Norfolk Mr. Singleton

Davison Mr. Rigby Stuart, in Schiller's tragedy. Both

Morton Mr. Miller

Cecil Mr. Bell

Gifford Mr. Clarkson

Douglas, the Page . . . Master L. Hallam

Queen Elizabeth Mrs. Adcock

Mary of Scotland Mrs. Hallam

Bullock, the author of "Woman's
a Riddle," and Banks, who wrote
the "Albion Queens," are com-
pletely forgotten ; but of the latter
it was said that his plays drew more tears and excited more terror,
even from judicious audiences, than the works of better writers.

In the early days of the American stage the English rule of
a farce or pantomime as an afterpiece to the play was rigidly followed.
In England this custom is still observed, but in this country it has
been so long disused that many theatre-goers are unaware that it ever
existed. It is perhaps to be regretted that the custom has fallen into

6o HISTORY OF THE AMERICAN THEATRE.

desuetude, for many of these pieces were in their day among the most
perfect specimens of dramatic writing in the English language, and
some of the most distinguished English dramatists had occasion to be
proud of their exquisite little comedies. Two of these were in this
Lying Valet. list. Of the farces presented dur-

Sharp Mr. Singleton ing Hallam's first season three were

Gayless Mr. Adcock . i -c- u-

Justice Guttle Mr. Malone by Garrick and two by Fieldmg.

BeauTrippet Mr. Bell Garrick's were the " Lying Valet,"

Dick Mr. Miller •' ^ '

Melissa, . . . .' Mrs. Adcock "Lethe" and "Miss in her Teens."

Kitty Pry Miss Hallam or , • ,i /- . ,• i

Mrs. Gadabout Mrs. Rigby •S'/^^r/, m the first mentioned, as

Mrs. Trippet Mrs. Clarkson the valet of Gayless, is the Mer-
cury between his master and Melissa. His lying consists in trying
to make Gayless, who has not a sixpence in the world, pass for a man
of fortune. " Lethe," played by Lethe.
the Hallam Company at Williams- Tattoo Mr. Miller

, . . , , , Charon Mr. Bell

burg on the openmgmght, showed pi^eLady Mrs. Beccely

some changes in the cast when it ^'''- T'^""" '^'^^ ^^^°'''^

was presented in New York. In view of these changes it is impos-
sible not to wonder where the new members of the company came

from. It is worthy of note, that

Miss in her Teens. , , , ,, ... . , „ ,,
although Miss in her Teens

Captain Loveit Mr. Adcock had been produced as early as

Captain Flash Mr. Clarkson

Fribble Mr. Singleton 1747, it was played in New York

P„g- ' ' j^j.' jyjjjjg^ the same year that it was published

Miss Biddy Belair Miss Hallam J^ London. It is possible that

Tag Mrs. Adcock

Singleton as Fribble, and Clarkson

as Captain Flash, had seen Garrick and Woodward in their respective

parts at Drury Lane.

HALLAM IN NEW YORK.

6i

The present generation has not seen either of Fielding's two
pieces, the " Virgin Unmasked " virgin Unmasked.

and " Tom Thumb," produced by Goodwill . . . . . . . . . Mr. Clarkson

Hallam during the season of ^^'''"^ ^'- ^^'°"^

° Coupee Mr. Singleton

1753-4, but of the former it has Quaver Mr. Adcock

Wormwood Mr. Miller

been said that it was presented in Thomas Mr. Bell

its day Oftener than it deserved, Miss Lucy Miss Hallam

while the latter was not played in America, at least, often enough.

The "Virgin Unmasked" was without plot, and it was laughable only

Tom Thumb. because all the characters were

outre. "Tom Thumb," on the
contrary, which preceded Kane

Tom Thumb Master A. Hallam

King Arthur Mr. Singleton

Lord Grizzle Mr. Rigby

Noodle Mr. Miller O'Hara's burletta by half a cen-

Doodle Mr. Bell

Bailiff Mr. Clarkson

Follower Mr. Malone

Queen DoUalolla Mrs. Hallam

Princess Huncamunka .... Mrs. Adcock
Cleora Miss Hallam

Anatomist.

tury, was an admirable burlesque
on the tragedies of its time ; the
meeting between Octavia and
Cleopatra, in Dryden's "All for

Love," especially, being most effectively parodied.

According to Dunlap, whose statements must always be

accepted with caution, Ravens-
croft's farce, the "Anatomist,"

stood first on the Hallam list for

popularity and profit, because of

the excellence of Rigby as the

French doctor. A better one,

and one that was oftener played,

in spite of S^igby's excellence and popularity, was Coffey's " Devil to

Pay." The cobbler's wife, Nell, had been reduced to obedience by

M. le Medicin Mr. Rigby

Old Gerald Mr. Clarkson

Young Gerald Mr. Adcock

Crispin ." Mr. Hallam

Martin Mr. Bell

Beatrice Mrs. Hallam

Doctor's Wife Mrs. Rigby

Angelica Mrs. Clarkson

Waiting Maid Miss Hallam

62 HISTORY OF THE AMERICAN THEATRE.

the application of "strap-oil." By a device of the spirits, Nadir and

Abishog, Sir John Loverule, whose wife was a termagant, and Jobson

were made to exchange spouses.
Devil to Pay.

Before Lady Loverule is restored

Sir John Loverule Mr. Adcock i i t ,

Jobson Mr. Malone ^o her husband, the cobbler s strap

^'^'i^'- '^'■- M"i^^ had made her also one of the

Footman Mr. Singleton

Coachman Mr. Rigby most amiable of women. It was

Lady Loverule Mrs. Adcock ,_ „ . , . , , ,,r

Nell Mrs. Becceiy ^s Nell, m this farce, that Mrs.

Lattice Mrs. Clarkson Qj^g fifst showed her excellence.

Lucy Mrs. Love

No cast ■ of Dodsley's farce, the

" King and the Miller of Mansfield," has been found. Speaking of the

pantomime, Dunlap says that for a long time the company had only

one, " Harlequin Collector," but Harlequin Collector.

if this was so it was sometimes Harlequin Mr. Miller

Miller Mr. Singleton

played as " Harlequin Skeleton. ^^^^^ Mr. Hallam

The manner in which the principal Columbine Mrs. Hallam

parts in the pantomime were distributed has peculiar interest.

It is noteworthy that Mrs. Clarkson and Mrs. Rigby come in
for many of the smaller roles. Their parts, by their insignificance,
determine the relation of the two ladies as the wives of the actors
whose names they bear, and show beside that neither of them was
identical with Miss Palmer, the Nerissa at Williamsburg, whose name
has disappeared from the bills. But the Regan of " Lear " and the
Nurse of " Romeo and Juliet " filled roles scarcely less ambitious than
those of Mrs. Hallam, pointing to the probability that the Nerissa of
the " Merchant of Venice" and the Mercury of" Lethe," in 1752, had
in the meantime made the first theatrical marriage in Amwica. Mrs.
Adcock's New York debut was made as Mrs. Frail in " Love for

HALLAM IN NEW YORK. 63

Love." She also played Mrs. Tattoo in "Lethe." Mrs. Tattoo was
Miss Palmer's part at Williamsburg. If Miss Palmer and Mrs. Adcock
are identical, her New York parts show that she must have developed
into a capable actress.

It is apparent from the Shaksperean casts that Malone and
Rigby were rivals, although apparently friendly ones, for when Malone
played Shylock and Lear, Rigby was content with Bassanio and Usher,
while when Rigby was Richard and Rcfneo, Malone sank into Buck-
ingham and Tybalt. Of the two Rigby was clearly the better actor,
for he was given most of the parts really worth having, except the
juveniles that fell to Singleton. Between these two again there was
the natural rivalry of the "lead" and "juvenile lead." These contrasts
are important as showing the liberality in the distribution of parts that
prevailed under Hallam's management. It is still further illustrated
by the cases of Adcock and Clarkson. The former, as has been
shown, had the satisfactory part of Macheath in the " Beggars' Opera,"
but for the rest was content with small parts. Mr. Clarkson had
Jack Meggot in the " Suspicious Husband," a charming bit that many
distinguished actors did not disdain, but in everything else he was
simply useful.

While their parts determine the relative standing of the mem-
bers of the company, it is, of course, impossible from them to gain
any real knowledge of their merits as performers. That Rigby was
the first in consequence there is no doubt, but the only direct testi-
mony to his ability is Dunlap's record of the tradition that he was so
excellent as the French doctor in the "Anatomist" that it was the
most popular piece in the repertoire. This, however, had no influence
on Dunlap's judgment, and he goes on to assure us that " Mr. and

64 HISTORY OF THE AMERICAN THEATRE.

Mrs. Hallam were first in consequence and in talents," and Mr. Rigby
" only inferior to the leaders." This may or may not have been true
of Mrs. Hallam, but it was certainly not true of the manager. The
lady had the choice of parts, and that she took full advantage of her
liberty is apparent from the fact that she disdained the farces, appear-
ing only as Beatrice in the "Anatomist," but appropriating to herself
everything that she considered best adapted to her powers, and yield-
ing to others only those parts in which she would have made a sorry
figure. Mr. Hallam, on the contrary, was quite content to be out of
the bills altogether, and when he was in he was not always exacting
as to the first low comedy roles, as the list of his parts will show.

The new members of the company were Mrs. Beccely and
Messrs. Miller and Bell. Mrs. Beccely was the singing soubrette, her
best part being Polly, in the "Beggars' Opera." Whether the lady was
a member of the company at Williamsburg there is probably no means
of ascertaining, nor is there any source of information in regard to the
actors. Besides, Mr. and Mrs. Love and Mr. Hulett were engaged as
dancers. Mrs. Love appeared twice in a " speaking part," as Jenny
Diver in the " Beggars' Opera," and Lucy in the " Devil to Pay," and
Mr. Hulett was the Nimming Ned in the " Beggars' Opera," and had
one or two other small parts. The Loves were apparently resident
in New York, where Mr. Love was a teacher of music. It is probable
that Mr. Love was Mr. Hulett's assistant in the Hallam orchestra.
Mr. Hulett afterward kept a dancing-school in New York, and spent
the rest of his life in that city.

CHAPTER VII.

HALLAM IN PHILADELPHIA.

DETERMINED OPPOSITION TO THE THEATRE IN THE QUAKER CITY

A SHORT BUT SUCCESSFUL SEASON QUAINT CONTROVERSY OVER

A FAREWELL EPILOGUE.

LEWIS HALLAM, comedian, intending for Philadelphia, begs
the favor of those that have any demands upon him to bring
in their accounts and receive their money.

Such was an announcement contained in the bills for the closing
performance of the Hallam Company in New York, March i8th, 1754.
It is gratifying in a double sense, showing that the manager had money
enough to pay his bills and was willing to pay them. The invasion
of Philadelphia was not made without due consideration and prepara-
tion. Even while the company was playing in New York^Malone was
detached and sent on in advance to prepare the ground. As a reward
for his exertions, if successful, he was to have the parts of Falstaffm.
" Henry IV " and the " Merry Wives of Windsor " and Don Lewis in
" Love Makes a Man." As he was not accorded the parts it may be
assumed that his success was not considered satisfactory by the man-
ager. Indeed, he seems himself to have considered his mission a
failure, for, finding the opposition more determined than he expected,
he wrote to Mr. Hallam to come to his assistance. The application to
Governor Hamilton for leave to open a theatre even for a limited
number of nights was vigorously resisted. A petition numerously
5 (65)

66 HISTORY OF THE AMERICAN THEATRE.

signed was presented to the Governor, protesting against profane stage-
plays, and this was met by a counter-petition from the friends of the
theatre. In the end the theatrical party prevailed, and permission was
granted to Mr. Hallam to give twenty-four performances, on condition
that nothing indecent or immoral should be presented. Mr. Hallam
was also required to give one night for the benefit of the poor, and
enter into security for all debts contracted on behalf of the company.
The theatre occupied by "the company of coniedians from
London " at that time was the same that had previously been used by
Murray and Kean's Company in 1749-50. It was in a warehouse
belonging to William Plumstead, in King or Water, between Pine and
Lombard Streets. The building extended through to Front Street,
from which there was an entrance by means of stairs placed on the
outside of the warehouse. This building remained standing until
1849. It was used as a sail-loft for many years, and Dunlap said in
1832 that "the remains or traces of scenic decoration were to be seen
in it within forty years." Among these decorations was a glittering
motto over the stage : " Totus mundus agit histrionem." The attitude
of William Plumstead toward the theatre must be conceded to be a
bold one, when his position and surroundings are considered. To let
a building for theatrical purposes at that time in Philadelphia was
something that required courage. For a Magistrate to become the
lessor must have been in the nature of a scandal. William Plumstead
was elected a Common Councilman in 1739, an Alderman in 1747,
and became Mayor of Philadelphia in 1 750. He was three times
Mayor — first from October, 1750, to October, 1751, again for the un-
expired term of Charles Willing, deceased, from December, 1754, to
October, 1755, and finally by re-election from October, 1755, to Octo-

HALLAM IN PHILADELPHIA. 67

ber, 1756. He was four times commissioned a Justice of the Peace^
in 1752, 1757, 1761 and 1765, the date last named being the year of
his death. Mr. Plumstead besides represented Northampton County
in the General Assembly of the Province in 1757-8, and he was
Register-General of Pennsylvania from 1745 until his death. He was
one of the first contributors to the Pennsylvania Hospital, and for
many years a Trustee of the College and Academy of Philadelphia.
Originally a Quaker, he abandoned the principles of the Society of
Friends early in life and became a vestryman and warden of Christ
Church. As a sign of the liberality of sentiment that would lead him
to become the lessor of a theatre against the prejudices of a large part
of the community it may be noted that he was an original member of
the famous fishing club, "the Colony in Schuylkill," instituted in 1732,
and a subscriber to the first dancing assembly in Philadelphia, held in
1748. This biography is important in affording a glimpse of the power-
ful social and political influence that assisted in the introduction of the
drama into the city, in spite of a determined and active opposition.

How the good people of the Quaker City must have been
shocked when they found the London play-actors acting stage-plays.
The first performance of the Epilogue.

Hallam Company in Phila- „ , , ^ ■,.'~T. ^

Much has been said in this reforming age
delphia, which occurred on To damn in gross the business of the stage;

. Some for this end, in terms not quite so civil,
the ISth of April, 1754, is Have given both plays and players to the devil,
especially memorable for the With red-hot zeal, in dreadful pomp they come,

And bring their flaming tenets warm from Rome —
epilogue spoken on the OC- Fathers and Councils, hermits from their cell,

TT 11 ^^^ brought to prove this is the road to hell.

Casion by Mrs. Hallam. To me, who am, I own, but a weak woman.
The prologue was the one This way to reformation seems uncommon ;

If these authorities are good, we hope
attributed to Singleton, which To gain a full indulgence from the Pope—

68

HISTORY OF THE AMERICAN THEATRE.

We, too, will fly to Holy Mother Church

And leave these sage reformers in the lurch.

But to be serious — now let's try the cause

By Truth and Reason's most impartial laws.

The play just finish'd, prejudice apart —

Let honest nature speak — ^how feels the heart ?

Did it not throb, then tell it to our foes ;

To mourn the parent, friend and husband's woes,

Whilst at the cause of all a noble indignation rose ?

If, then, the soul in virtue's cause we move.

Why should the friends of virtue disapprove ?

We trust they do not by this splendid sight

Of sparkling eyes that greet our scenes to-night.

Then smile, ye fair, propitious on the cause.

And every generous heart shall beat applause.

had been spoken originally
in Williamsburg and repeated
in New York, but the epi-
logue was written for the oc-
casion and took special cog-
nizance of the opposition that
had been encountered by the
company. In its nature it was
an argument in behalf of the

drama, but the lines relating
to " flaming tenets warm from Rome," and to " Fathers and Councils,"
brought to prove that the play-house is the road to hell, would be
unintelligible but for a note which accompanies the epilogue as
printed in the Pennsylvania Gazette. It is there explained that the
allusions are to "the Pamphlet
lately published here, entitled
Extracts, &c., and given away
gratis." ' What could be more
grotesque than this attempt to
discourage the stage in America
by the reproduction of the opin-
ions of a dissolute Bourbon prince,
written at the close of a dissipated
life ? What could be more amus-
ing in a city whose inhabitants
had a horror of Rome, than a
recommendation of " the senti-
ments of the Fathers " and the " Decrees of the Councils " to the

Extracts

of

Several Treatises

wrote by the

Prince of Conti,

with the

Sentiments of the Fathers

and some of the

Decrees of the Councils

concerning

StE^e Plays :

Recommended to the Perusal and Serious

Consideration of the Professors of

Christianity in the City of

Philadelphia.

Philadelphia :

Printed by William Bradford at the sign of

the Bible in Second Street.

MDCCLIV.

HALLAM IN PHILADELPHIA. 69

perusal of Quakers and Presbyterians ? - At best this was rather
a heavy document to be hurled by the good people of Philadelphia
at a company of strolling players, who had been required to give
security that they would pay their debts. But the pamphlet was not
the only resort to types to overcome the players. On the 19th of
March, A. B. wrote to the Pennsylvania Gazette, asking for the publica-
tion of some extracts from " Britain's Remembrances " against profane
plays, to which Y. Z. responded the following week. The opposition
only served to attract attention to the theatre, and on the opening
night the house was crowded. The play was Rowe's " Fair Penitent,"
with " Miss in her Teens " as the afterpiece. It is worthy of remark
that on this night an incident occurred that shows how bitter the feel-
ing was against the anti-theatrical party. One of the petitioners was
found among the audience, but his presence created so much dissatis-
faction that he was ejected from the theatre. He was looked upon not
only as an enemy, but as a spy.

The only way by which it is possible to learn what plays

were presented during the brief

Gazette List.

season of two months is from the

advertisements in the Pennsylvania '/^f; ,„.,,.,, ,,

Apnl 15 — Fair Femtent Rowe

Gazette, all of which are included Miss in her Teens . . . Garrick

June 10 — Gamester Moore

in the subjoined list. It is some- Miss in her Teens.

1 i i J i.1. i ii- J c (Benefit of Miss Hallam and her brothers.)

where stated that the comedy of ^'' „, , t,

"^ June 12 — iamerlane Kowe

"Tunbridge Walks" and the farce A Wife Well Managed . Centlivre

(Mr. Adcock's Benefit.)
of " Hob in the Well " were pre- 20— Careless Husband .... Gibber

sented during the season. Besides ,^,^^^::%^^

these, it is likely that many of the 27— Provoked Husband . . . Gibber

Miss in her Teens.
pieces produced in New York were

^o

HISTORY OF THE AMERICAN THEATRE.

given in Philadelphia between the iSth of April and the loth of June,
Only two additional casts have been preserved — those of Rowe's
tragedies, the " Fair Penitent " and " Tamerlane." The former was a
mere rechauffe of Mas- Tamerlane.

Fair Penitent.
Sciolto .

singer's "Fatal Dowry." Tamerlane . Mr. Singleton

Monesses . . . Mr. Rigby
The part of Calista was Axalla Mr. Bell

r- .. , r- -BT Prince .... Mr. Adcock

a favorite role oi Mrs. „, . , ,, ,..,,

Stratocles . . . Mr. Miller

Siddons Bajazet . . . Mr. Malone

Omar .... Mr. Clarkson

. Mr. Hallam

. Mr. Malone
Altamont . . Mr. Clarkson
Horatio .... Mr. Rigby
Lothario . . Mr. Singleton
Rossano . . . Mr. Adcock

Servant . Master L. Hallam , ■■ , , , ^ ^

Calista . . . Mrs. Hallam ^nd Mrs. Merry. Of Deroise

Barry, Mrs.

Lavinia
Lucilla .

Mrs. Adcock
. Mrs. Rigby

the latter it is said that ?f " " ^^^t'^' ?'"T

Sehma . . . Mrs. Beccely

Louis XIV was Rowe's Arpasia . . . Mrs. Hallam

Bajazet, and William III his Tamerlane. While King William lived,
and long afterward, it was the custom to produce the piece on the
5th of November, the king's birthday. A singularly interesting
souvenir of this season is a play-bill of the benefit of the Hallam
children on the loth of June, in the possession of Mr. Charles R.
Hildeburn, the compiler of a monumental record of the work of the
early Pennsylvania printers. This, it is believed, is the earliest Ameri-
can play-bill in existence.

The Philadelphia Academy was opened the same month that

the players of Murray and
Kean's Company were held
to their good behavior. In
connection with the Academy
was a charity school. In
1753 Dr. William Smith took
charge of the Academy. Like
most English divines of the

Charity Prologue.

Our humble Prologue means not to engage
Candor for Scenes that long have grac'd the Stage ;
Nor vainly strives to pay with words, at last,
For cheering smiles and kind protection past.
Weak is the power of language to explain
The sacred feelings, or th' ingenious pain
And silent stragglings of the virtuous breast.
Beneath the load of Gratitude opprest.

But tho' no words can picture what we feel.
Our aims may speak it and our actions tell.

HALLAM IN PHILADELPHIA.

71

Established Church, he was
not opposed to a well regu-
lated stage nor averse to
drawing upon the theatre for
aid to the church schools.
When the agreement in re-
gard to the charity perform-
ance was fulfilled on the 19th
of June, with the "Careless
Husband " and " Harlequin
Collector" comprising the bill,
the proceeds went "for the
benefit of the charity children
belonging to the Academy in
this city," according to the
Pennsylvania Gazette. The
audience was a very crowded
and polite one, in the language
of the same authority. On
this occasion a prologue suited
to the character of the enter-
tainment was spoken by Mr.

To-night we glory in the double view

Of pleasing soft-eyed Charity — and You.

For this our cheerful service we bestow —

'Tis all our slender fortunes will allow ;

" And those who give the little in their power,"

The Skies acquit — and Earth can ask no more.

Thrice happy you, whom kinder fates have given.
With liberal hand to ease the care of Heaven;
To raise the drooping head of modest Worth;
From Fortune's blast to save the Orphan-birth,
To pierce the dark retreats where mis'ry sighs,
And vripe the trickling tear that dews her eyes;
If deeds like these can bid the bosom glow
With Joys sincere, — ^what bosom glows not now ?
For sure, if aught be gen'rous, great or fair,
It must be Truth and public Worth to rear !

Where Virtue blooms in yonder hallow'd Ground,*
With each ennobling Science opening round ;
How many t Maids and Youths, with kindling fires.
Now grow in all that Uving worth inspires.
Whom Fortune, in their dawn, neglected laid.
To pine untutor'd in the barren Shade,
Where Wisdom never did her page unroll,
And Want still froze the current of their soul;
Till, by your bounteous hand, redeem'd from fate,
You bade them rise to grace a rising State.

Thus pinch'd beneath stem winter's rigid reign.
The flowers lie mourning thro' the frozen plain,
Till Spring, soft issuing from her southern hall,
Sweeps o'er the dew-bright lawn, with breezy call.
And wakes them into life ; — they straight unfold
To th' orient sun their vegetable gold';
And in return embalm the fost'ring air.
Or grace the lovely bosoms of the fair.

Rigby. By whom it was

written is not known, but had Dunlap found it, he would have been
sure to attribute the authorship to Singleton. Indeed, he did this
with an epilogue delivered in New York in 1758, the original version
of which was recited by Mrs. Hallam, in Philadelphia, June 27th, 1754,

* The Academy.

t The Charity Children.

72

HISTORY OF THE AMERICAN THEATRE.

when the Hallam Company took its farewell of that city and the

continent. With that facility for

Farewell Epilogue.

Oft thankless slaves for favours humbly ask,
But to be grateful is a nobler task :
That task to-night be ours. — And thus to you,
Our generous friends, we pay the tribute due,
Accept our hearty thanks for favors past,
And for the present, should it prove the last;
Yet wou'd we fain presume some hopes remain,
Some distant hopes, that we may meet again;
Again to hear the virtuous fair complain
In Shakspere's, Lee's or Otway's moving strain.
And teach the heart another's grief to know
And melt the soul in tears of generous woe.
Who was not grieved to-night to see the strife
Betwixt a generous husband and a thoughtless wife ?
And who from tears of joy could well refrain
To see them meet in mutual love again ?
But when to humorous mirth you're more inclin'd
Sheer comic wit shall feast the cheerfiil mind,
Fools of all sorts, and fops, a brainless crew.
To raise your mirth we'll summon to your view ;
Make each pert coxcomb merry with his brother.
Whilst knaves concealed shall grin at one another.
'Tis magic ground we tread, and at our call
Those knights appear that represent you all.
But, hold ! methinks I hear some snarler cry,
"Pray, Madam, why so partial — ^rat me — why
Don't you do justice to your own sweet sex ?
Are there no prudes, coquettes or jilts to vex ?
Or must we be confined to female rules,
To laugh at none but brainless fops and fools ? "
Be calm, kind sir, the satire's not at you —
You rob your coxcomb brethren of their due.
'Tis granted ; vice and folly's not confined
To men alone, but spreads to womankind.
We frankly own — we may, indeed, as well —
For every fluttering beau we've an affected belle.
Nor has dramatic satire's candid page,
Failed to chastise them justly on the st^e.
Thus human life's our theme — a spacious field,
Which nature's noblest entertainments yield,

guessing, for which he was re-
markable, he not only at-
tributed the New York epi-
logue to the author of the
company's first prologue, but
reprinted it as " marking the
improvement of poet Single-
ton by transplantation." Curi-
ously enough the original of
this New York epilogue was
printed in the Pennsylvania
Gazette the week following
its delivery in the theatre on
Water Street, where it was
explained that the allusion to
" our Latin motto " was to the
inscription over the stage:
Totus Mundus agit Histrionem.
A recently established or-
ganization called the "Dun-
lap Society," has actually in-
cluded this epilogue among
its publications as Single-
ton's, thus perpetuating the
mistaken assumption of the
historian after whom the so-
ciety was named by its foun-

HALLAM IN PHILADELPHIA.

71

ders. There probably never
was a writer who was less de-
serving of such an honor than
William Dunlap. As a the-
atrical manager he confessed
himself a failure. As a dra-

By men of worth admired from ancient time
Who following nature never judged a crime.
Then bravely dare to assert the taste you've shown,
Nor be ashamed so just a cause to own ;
And tell our foes what Shakspere said of old —
Our Latin motto speaks it I am told —
That here the world in miniature you see,
And all mankind are players as well as we.

Parody.

matist his plays are deservedly forgotten; they were without merit
either for stage representation or as literary productions. As a his-
torian he was at once dull and inaccurate. That a society should
have been named after him is perhaps not more remarkable than that

it should perpetuate his
blunders. The epilogue
attracted so much at-
tention in Philadelphia
that it was parodied in
the Gazette of August
iSth, 1754. The parody
was signed " Buckram "
and purported to be the
address of a journeyman
tailor to his sweetheart.
It was feeble enough, it
must be confessed, but
feeble as it was, there
was somebody who was
willing to pay for the
privilege of answering
it, as appears from a

Let thankless slaves for favors humbly ask,
But to be grateful is a nobler task ;
Accept my thanks then. Sue, for favors past
And for the last, if it should prove the last.

Yet would I fain

Presume some hopes remain.
Some distant hopes that we may meet again —
Ag^n to hear your constant swain complain,
And whistle through his nose a dying strain.
From tears of grief I could not well refrain,
To think, dear Sue, we should not meet again.
But hark ! methinks I hear some snarler cry,
Zounds, Buckram, 'tis vain — why, demme, why ?
Kind Sue will never let a lover die.
Then, Snarler, peace, for rat me, but I'll try.
Forbid it. Sue, that I should ever see
Some dog stroll o'er thy sweets and drink them all from me.
This sight would drive me to some fatal tree
And, rat me, but I'd rather hang on thee.
Then trust me, Sue, my love is aimed at you —
To mend your gown I'll summon to your view
Patches of every hue, both old and new,

Brown, yellow, black and blue.
Of velvet, worsted, silk, a motley crew.
And when to mirthful mirth you are inclin'd.
Sheer comic wit shall feast the cheerful mind.
For comic sheer wit was design'd, you'll find

74 HISTORY OF THE AMERICAN THEATRE.

Like sharpest shears to shape the humankind. quaintly WOrded notice
Thus shaping is my trade — a spacious field

"Which nature's noblest entertainments yield. m the Gazette of the

By men of cloth admired from ancient time 2ClCa. * In a note ao-

Who fitdng nature never thought a crime. " ' "

Then, dearest Sue, accept my whining rhyme, pended tO the parody it
And let your heart to mine in loving measure chime.

Buckram. was said that the author
of the epilogue was also the author of " Julia Imitated " and of a
play. All this had the effect of bringing to the front the writer
of the epilogue, Adam Thomson, a Scotchman, in an elaborate reply
(September I2th), entitled "The humble remonstrance of the Journey-
man Taylors against a certain Journeyman Schoolmaster for imperi-
ously assuming the character of one of their fraternity in a late dull,
pedantic and ill-natured performance subscribed Buckram." Like
most Scotchmen Thomson was impervious to a joke. The result was
that he not only took " Buckram's " burlesque to heart, but explained
his personal allusions with great seriousness and sincerity. " As this
epilogue," he said, " was wrote by particular desire, on a short warn-
ing, the author could have no other view than to oblige and enter-
tain." Mr. Thomson's poem, to which allusion was made, was verse
in praise of an American beauty, published in the Gentleman's Maga-
zine, in June, 1752, with the title of "The Fifth Elegy in Joannes
Secundus' First Book, intitled Julia, imitated." His play was called
the " Disappointed Gallant, or Buckram in Armour," and was acted
at the New Theatre in Edinburgh, in 1738, when its author was only
fifteen years old. "Though full of puerilities," Mr. Thomson wrote,
■' a good and polite audience was pleased to applaud, as they knew

^ The person that left the Piece at the being no name to it, and the publishers are

New Printing-office signed Buckram in Ar- well assured it was not wrote by the Author

mour is desired to call for it, and the money of the Epilogue lately burlesqued,
therewith sent, as it will not be printed there

HALLAM IN PHILADELPHIA. 75

it to be the performance of a boy." But of all the liberties taken
with his epilogue by the "Journeyman Critic," its author was most
hurt with the lines in the burlesque,

This sight would drive me to some fatal tree,
And, rat me, but I'd rather hang on thee,

and in justification of the couplet he, quaintly enough, offered the fol-
lowing translation : —

Yet let me die, my Julia, in thy arms.
Around thy neck my dying arms to twine.
Whilst you support my falling corpse with thine.
Far happier thus suspended I should be
Than through despair suspended on a tree.

Joannes Secundus, El. V.

An incident of the Philadelphia season was a visit from William
Hallam, the projector of the company, who returned to England after
a settlement of their accounts by the brothers. When the season
closed the company went to Jamaica, in the West Indies, where Lewis
Hallam died and the organization disbanded.

With the exception of Mrs. Hallam, when she became Mrs.
Douglass, and her two sons. Masters Lewis and Adam Hallam, none of
the regular members of the company were seen on the American stage
again. In taking leave of them, therefore, the accompanying statement
of the parts each of them was known to have played, will have a pecu-
liar interest in showing the work accomplished by them, and as a basis
for future comparison. It will be seen from this summary that during
the Hallam campaign of two years, twenty-four distinct full pieces and
eleven afterpieces were produced. These include only the productions
of which the casts have been preserved. A glance at the tables will
show how completely the strength of the company was utilized. Mr.

76

HISTORY OF THE AMERICAN THEATRE.

Singleton, for instance, had a part in all the plays except " George
Barnwell." Mr. Rigby was in all except three — the "Beggars' Opera,"
the " Committee " and the "Drummer." Even Malone was only out
of seven and Hallam out of eight of the twenty-four plays. Besides,
Malone had parts in five, Hallam and Rigby in seven and Singleton in
eight of the farces. Turning from the first to the second table, it will
be found that the supporting actors, Messrs. Adcock, Clarkson, Bell

RETIRING ACTORS.— LEAD.— PARTS.

Plays.

■-^Albion Queens . . .
V Beaux' Stratagem .
"^Beggars' Opera . .
>'-<^areless Husband .
u Committee . . .
' Conscious Lovers .

Constant Couple , .
V Distressed Mother .

-Drummer

Earl of Essex . .
^ Fair Penitent . . .
..Gamester

vGeorge Barnwell . .
4 Jane Shore ....
,, Lear

Love for Love . . .
^.-Merchant of Venice
-Richard III . . . .

' Romeo and Juliet .
'Auspicious Husband

"Tamerlane . . . ,

■ Tunbridge Walks .
\/ Twin Rivals . . . .
^ Woman is a Riddle

E^V' '/'^ Farces.

Atiatomist

'■" Damon and Phillida

, , Devi! to Pay ....

Harlequin Collector

Hob in the Well . .

Lethe

Lying Valet . . . .
Miss in her Teens .
Stage Coach . . . .
Tom Thumb . . .
Virgin Unmasked .

Foigard .
Peachum

Hallam.

Rigby.
Davison . . .
Sullen . . . .

Teague

Clincher, Sr.
Gardener .

Jarvis .

Gloster

Kent

Ben

Launcelotf Tubal .
Henry VI ....
Montague ....

Dervise

Captain Squib . . .

Teague

Sir Andrew Vainwit

Crispin .

Mopsus .

Clown ,

Hob ,

Drunken Man.Tattoo

Macahone .

Lord Morelove

Young Bevil . . .
Colonel Standard
Orestes

Elarl of Essex .
Horatio ....
Beverly ....
Truemaa . . .
Hastings . . .
Usher . . .
Valentine . . .
Bassanio . . .
Richard ....
Romeo ....
Mr. Strictland .
Monesses . . .
Reynard . . .
Elder Wouldbe
Vulture . . , ,

M, le Medecin .

^gon

Coachman . . .

Malone.

Scrub ,
Lockit .

Mr. Day

Sealand

Alderman Smuggler

Vellum

Singleton,
Duke of Norfolk .

Archer

Wat Dreary . . .
Lord Foppington .
Colonel Careless .

Tom

Sir Harry Wildair

Pyrrhus

Coachman ....
Lord Burleigh . .
Lothario ....
Stukely

Thorowgood

Frenchman

Jasper . . .
Filch ....
Lord Grizzle .

Lear

Sir Sampson Legend

Shylock

Buckingham . . .
Tybalt . . . ,

Bajazet .....
Woodcock ....
Balderdash, Alderm 'n

Jobson

Old Man . .
Justice Guttle

Follower
Blister .

Dumont
Edgar . . .
Tattle . .
Gratiano
Stanley . .
Mercutio .
Frankly . .
Tamerlane
Maiden . .
Trueman .
Courtwell .

Footman
Miller . .

Fine Gentleman

Sharp

Fribble . . .
Landlord . . .
King Arthur . .
Coupee ....

HALLAM IN PHILADELPHIA,

77

and Miller, were seldom without parts either in the plays or the after-
pieces, and the same thing is true of the two ladies, Mrs. Adcock and
Mrs. Beccely, in the list of the parts of the retiring actresses. All this
is interesting in itself, but these Hsts must be looked upon simply as
a record of the work actually performed by these early players, not as
indicative of their professional merits. Like all pioneers they were
hard workers, and they are to be honored for what they accomplished

RETIRING ACTORS.— SUPPORT.— PARTS.

Plays.
Albion Queens . . .
Beaux' Stratagem .
Beggars' Opera , .
Careless Husband .
Committee ....
Conscious Lovers .
Constant Couple . .
Distressed Motber .

Drummer

Earl of Essex . . .
Fair Penitent . . .

Gamester

George Barnwell , .
Jane Shore ....

Lear

Love for L-ove . . .
Merchant of Venice
Richard III ... .
Romeo and Juliet .
Suspicious Husband
Tamerlane . . . .
Tunbridge Walks .
Twin Rivals ....
Woman is a Riddle

Farces.

Anatomist

Damon and PhiUida
Devil to Pay . . .
Harlequin Collector
Hob in the Well . .

Lethe

Lying Valet . . . .
Miss in her Teens .
Stage Coach ....
Tom Thumb . . .
Virgin Unmasked .

Aimwell .
Macheath

Bailiff . . .
Humphrey
Constable .

Uncle . ,
Catesby .
Albany ,
Nurse

Adcock.

Gifford
Gibbet

Fantome

Lieut, of the Tower
Rossano

Abel Day .
Myrtle . .
Clincher, Jr.
Phcenix . .
Butler , . ,

Altamont
Dawson .

Catesby

Paris

Buckle

Prince of Tanais

Clear-account .
Butler

Young Gerald . .

Damon

Sir John Loverule

Friendly . . . .
Mercury . . .
Gayless . . . .
Captain Loveit .
Jolt

Quaver

Clarkson,

Cecil

Sir Charles Freeman
Mat o' the Mint .

Colonel Blunt . . .
Sir John Bevil . . .
Tom Errand . . . .

Pylades

Sir George Truman
Southampton , . .

Edmund ....
Foresight , . .
Antonio . . . .
Richmond . . .
Friar Laurence
Jack Meggot .
Omar

Young Wouldbe .

Old Gerald
Corydon -

Sir Thomas Testy
jEsop

Captain Flash
Uncle Michar
Bailiff ....
Goodwill . ,

Bell.

Morton

Boniface . . . .

Filch

Sir Charles Easy .

Obadiah

Cimberton . . . .
Vizard

Bates . .
Barnwell
Belmour .
Gloster .
Scandal .

Lieutenant
Capulet
Bellamy , .
Axalla . .

Richmore . . .
Colonel Manly ,

Martin
Areas .

Charon ...
Beau Trippet

Captain Basil
Doodle . . .
Thomas . . .

Tinsel . .
Raleigh ,

Lewson .
Blunt , .
Ratcliffe
Cornwall
Jeremy .

Norfolk

Miller.

Ranger . .

Stratocles .
Loveworth
Subtle man .
Aspen . . ,

Cymon . , , .

Butler

Harlequin . . .
Old Hob . . .
Tattoo . . . .

Dick

Puff

Sir Nicodemus
Noodle . . . .
Wormwood . .

78

HISTORY OF THE AMERICAN THEATRE.

in clearing the way for the drama in the New World, without regard
to their artistic excellence. It is in the fact that these pioneers were
able to hold their own that the subsequent existence of the American
Company was due, and nothing can be clearer than the conclusion
that they were able to hold their own only by the earnestness and
sincerity with which they devoted themselves to their calling.

There was one result incident to this Hallam campaign of which

RETIRING ACTRESSES.— PARTS.

Plays.
Albion Queens . . ,
Eeaux' Stratagem .
Beggars' Opera . .

Mrs. Adcock.

Mrs. Beccely,

Mrs. Clarkson.

Mrs. Righy.

Mrs. Peachum , , ,
Diana Trapes . . .
Lady Easy ....
Mrs. Day ...

Dorinda

Polly

Gipsy

Lucy

Lady Bountiful . .
Mrs. Vixen ....

Arabella

Phillis

Angelica

Mrs. Chat

Mrs. Sealand . . .
Porter's Wife . . ,

Isabella

Lady Darling . . .
Cephisa

Abagail

Elizabeth

C. of Nottingham .

Lucilla

George Barnwell . .
Jane Shore , . . ,
Lear

Lucy

Regan

Mrs. Frail

Mrs. Foresight , . .

Richard III ... .

Romeo and Juliet .
Suspicious Husband

LadyCapulet . . .
Landlady

Jacintha

Mrs. Strictland . .

Milliner

Belinda

Aurelia

Penelope

Maid

Clarinda

Angelica

Mrs. Goodfellow . .
Mrs. Clear-account
Betty

Doctor's Wife • . .

Twin Rivals ....

Mrs. Midnight . . .

Farces.

PhiUida

Devil to Pay . .
Harlequin Collector

Lady Loverule . . .

Nell

Lettice . ,

Hob in the Well . .

Flora

Fine Lady

Lethe

Mrs. Tattoo ....

Lying Valet ....
Miss in her Teens .

Mrs. Trippet . . .

Tag

Stage Coach ....

Isabella

Princ's Huncamunka

HALLAM IN PHILADELPHIA. 79

America has reason to be proud. The boy who made his first appear-
ance on the stage at Williamsburg, in 1752, was destined, while still a
youth, to redeem the failure with which he began, and to occupy the
front rank on the American boards for half a century. Lewis Hallam
the second was essentially an American actor. He came to this con-
tinent a boy. His debut was made here. He learned his art before
American audiences. By the Americans he was esteemed as equal to
the best English actors. He never became a really great actor, but in
his prime, it is not to be denied, he was above mediocrity. What
Lewis Hallam the elder attempted in vain, Lewis Hallam the younger
accomplished. To his skill before the Revolution the American stage
owed much of the credit it enjoyed — his reputation and example
entitled him to be regarded as its father under the Republic.

CHAPTER VIII.

AMERICAN THEATRICAL TOWNS, 1750-58. .

ADVERSE CONDITIONS OF THE DAWN OF THE DRAMA IN AMERICA

VIRGINIA AND MARYLAND NEW YORK PHILADELPHIA AMERI-
CAN SOCIETY AND MORALS AT THE MIDDLE OF THE EIGHTEENTH
CENTURY.

AS an example of the carelessness with which theatrical biogra-
phy and history have been written, it may be mentioned that
the " Thespian Dictionary " and other publications of the epoch when
Mrs. Mattocks died (1808) unite in declaring that Mr. Hallam made
;^io,ooo by his American adventure, and notwithstanding the fact that
he died as early as 1755, it is added that he lost his money in the
American war. It is not likely that Hallam did much more than make
two ends meet between 1752 and 1754, and even had he lived until
1774, fifty thousand dollars in the English money of the period would
have been a large sum with which to measure the acquisitions of the
manager of a troupe of strolling players. His successor, who was his
superior both as a business-man and an actor, could not, it is certain,
boast of such good fortune. America, in the middle of the eighteenth
century, was not a land of gold like California in 1 849. As a rule the
people were poor, and even those who were richest were not rich

(80)

AMERICAN THEATRICAL TOWNS, 1750-58. 81

according to modern standards. America, in the Hallam period, was
a rough land of earth and stone and tree, and even the theatrical
towns — Williamsburg, Annapolis, New York and Philadelphia — were
mere villages in comparison to what is called " a good show town "
in the theatrical slang of this age. In 175 1, Dr. Franklin estimated
the English population of the Colonies at only a million. Scattered
as it was from Maine to Georgia, but little of it was available as patrons
of the theatre.

It is probable, Dunlap writes with that readiness of assumption
to which he was so apt to resort in the absence of facts, that William
Hallam was induced to send his company to Virginia, in preference to
the other Colonies, from the knowledge that Episcopalians were more
liberal in regard to the drama than most other denominations of
Christians. Much as the historian commends Hallam's wisdom in
directing his brother Lewis to the genial South, the joyous welcome
with which he claims the adventurers were received seems to have
brought with it no substantial profit, and but little temptation for a
return of " the Thespians in their manifold wanderings." The truth is
that Lewis Hallam found greater encouragement in the North than
the South, as is proved by the fact that he did not return to Williams-
burg after the Philadelphia season of 1754, and never played at An-
napolis at all. The capitals of Virginia and Maryland were both small
towns in 1752-4, incapable of yielding a prolonged support to a
theatrical company. At Williamsburg much of the patronage came
from the Virginia planters, who differed from the plain farmers in the
neighborhood of Philadelphia, and the self-sufficient country gentle-
men of the county of Westchester in Ne'R^ York, but the Virginians
of that period were too busy with schemes of territorial aggrandize-
6

82 HISTORY OF THE AMERICAN THEATRE.

merit to devote much time to the drama, and the comedians of Hal-
lam's company found the columns of the Virginia Gazette devoted to
negotiations with the Mingoes, Shawnees and Twightees, and accounts
of Indian massacres instead of criticisms on plays and players. While
the stage in Virginia was not retarded by the opposition of sectarian
narrowness, it suffered from the neglect due to the hard conditions of
life in a new land.

New York and Philadelphia, on the contrary, had some claims
to be considered cities even then. Each, however, had disadvantages
peculiar to itself New York, originally a Dutch province, retained
much of the language and manners of its first settlers. These were
alike indifferent to English literature and the English stage. The
Quakers of Philadelphia were of all people the most opposed to
dramatic representations, while their Presbyterian neighbors surpassed
them in active hostility to what were called in the cant of the time
" profane stage-plays." With the non-theatrical elements in both cities
eliminated, the possible patrons of the theatre in either were reduced to
so small a number that the only wonder is that Mr. Hallam found his
seasons as profitable as they proved.

New York, in 1753, was a little city clustered around Fort
George and the Battery. The theatre in Nassau Street was near Maiden
Lane and on the outskirts of the town. None of the buildings now
standing had yet been erected. Even the famous old Federal Hall, as
it was afterward called, where Washington was inaugurated the first
President of the United States, was little more than half as old as the
present City Hall is now. The population was about twelve thousand,
of which one-sixth were negro slaves. The means of communication
with the surrounding country was exceedingly primitive, and between

AMERICAN THEATRICAL TOWNS, 1750-58.

83

New York and Philadelphia there was only Andrew Ramsay's'
promise of a " stage waggon " from Brunswick to Trenton, and of a
" stage boat " from Philadelphia to Trenton, as indicated by his adver-
tisement in Gaine's Mercury, in 1753. Indeed, it was not until 1756
that the first regular stage started between the two cities. In the
winter, for many months at a time. New York was completely isolated
from the rest of the world, except by sea. It was probably by sea
that the Hallam Company went from Williamsburg to New York, in
the summer of 1753. A city so situated could not be expected to
support a theatre for many months year after year. Besides, Mr.
Hallam was not entirely without
opposition. Before his season
began, in 1753, Dugee, a per-
former on the slack wire, had
been giving entertainments at Van
Denberg's Garden, as appears
from his elaborate advertisement

hornet Caratha, On a Slack Wire scarcely,

in the Mercury, August 13th, perceptible, with and without a Balance. To

_,, _. ... give the Reader a just Idea of this Perfomi=

1753. That Dugee seriously m- ^^^ ^^ ^ ^^^^ Description, (which h^
terfered with the patronage of the g'^«° *« highest Satisfaction to the King of

Great Britain, and most of the great Person-
theatre is not to be doubted. ages and Virtuosoes in that Kingdom) would

Mr. Dugee's Advertisement.

By Permission,
This is to inform the Pdblick, That there
is just arrived in this City, and to be seen at
a new House built for that Purpose, in Mr.
Adavi Van Denberg''s Garden, This EVEN-
ING, being Monday the 13th instant, The
Surprizing Performances of the celebrated

Anthony Joseph Dugee,
Late an Apprentice to the Grand Turk Ma-

1 This is to give Notice, To all Travellers,
who may have Occasion to travel between
New York and Philadelphia, that the Tren-
ton Ferry is now revived by Andrew Ramsay,
late of Long Island Ferry ; where all Travel-
lers, who are pleased to put up at his House,
may depend on having good Entertainment
for themselves and Horses : Said Ramsay is
providing a Stage Waggon to go from
Brunswick to Trenton, and a Stage Boat

iirom Philadelphia to Trenton. Such Passen-
gers as are pleased to favour him with their
Custom, may depend upon being forwarded on
their Journey, with the utmost Expedition,
from the latter to the former, or from the
former to the latter. — N.B. Notice will be
given, what Days in the Week the Boat and
Waggon will proceed from Sts^e to Stage,
per me.

Andrew Ramsay.

84

HISTORY OF THE AMERICAN THEATRE.

be too difficult a Task to undertake; how-
ever a faint Conception of it may be formed
by these few following Particulars, viz I. He
raises the Wire to a Swing, then rises on his
feet, walking forwards and backwards in full
Swing ; and turns himself, and swings to Ad-
miration on one Foot. II. He will balance
a single Pipe on his Nose. III. He balances
a Stone on his Nose also. IV. He plays
with four Balls at once, in a surprising man-
ner. V. He balances a Plate on the point
of a Sword, turning it round at the same time.
VI. He stands on his Head on the Wire at
fiill Swing. Also, Several new Exercises on
the Stiff Rope, by Mr. Dugee, the Indian,
and young Negro Boy. And a Hornpipe,
and several curious Equilibres, on a Table,
three Pins, and a Chair, by the young Negro
Boy.

Doors open at six o'Clock, and to begin
precisely at Seven.

Tickets to be sold at the Plouse of Mr.
James Ackland, at the Royal Exchange;
and at the Printing Office opposite the Old
Slip Market. Pitt, Four Shillings.GALLERY,
Two Shillings.

N.B. — Mr. Dugee intends to perform every
Monday, Wednesday and Friday (Weather
permitting) in every Week during his resi-
dence here, which will be but short, as he
proposes to exhibit eighteen Nights only.

There were other things that
diverted money from Hallam's
treasury, as the church lotteries
and the Greenwich races, and
finally the smallpox became epi-
demic and was raging with great
virulence at the time the company
left for Philadelphia. The prints
of the period give us but few
glimpses of the way in which the
comedians lived in New York.
We only know that tickets for
the benefits could be had at
" Scotch Johnnie's," probably the
favorite theatrical tap-room in
1754; that Mrs. Beccely lodged
at Mrs. Milliner's, and that the
Hallams and Rigbys lived to-

gether as one family.
Philadelphia, in 1754, was the leading city on the American
continent, its taxable inhabitants alone approaching the entire white
population of New York. It was also the wealthiest and most enter-
prising city in America. Its people were more public-spirited than
any of their fellow-countrymen. The Philadelphia Library had already
been in existence nearly a quarter of a century. The famous structure
on Chestnut Street, which is still standing and revered by the whole
country as Independence Hall, had been erected, and its historic bell,
that was to proclaim liberty throughout the land, had been hung the

AMERICAN THEATRICAL TOWNS, 1750-58. 85

year before. The Philadelphia Academy, later on the Philadelphia
College and now the University of Pennsylvania, had just been estab-
lished. The ground had been purchased on which was erected and
where still stands the Pennsylvania Hospital. But in spite of its size,
of the wealth of its inhabitants and their public spirit, Hallam encoun-
tered a stronger opposition to the drama in Philadelphia than would
have been possible anywhere in the Colonies, outside of New England.
The Quakers were not only hostile, but they exercised great influence
both in the municipality and the government of the Province. The
Presbyterians had, if possible, a greater horror of " profane stage-
plays." Then there was the German element, already a large one in
the city of Penn, which, if it was not opposed to the theatre, was
wholly indifferent to it. As a consequence the play-goers were reduced
to a very small number, and like New York, Philadelphia was not yet
prepared to become the permanent home of the drama. Paradoxical
as it may seem, another circumstance that militated against the imme-
diate success of the stage was the fact that Philadelphia was proud
of its scientific and literary pre-eminence in the Colonies. The golden
youth of the metropolis, emulating the solid attainments of Dr. Frank-
lin, affected to regard the lectures of Professor Kinnersly on electricity
and his practical experiments at the Academy as more instructive and
entertaining than the exhibition of stage-plays by a company of stroll-
ing players. Besides, politics at this period ran unusually high. There
were constant disputes between the General Assembly and the Pro-
prietaries over the question of paper money, and Hallam's patrons
always paid him in a depreciated currency. It was at a time, too,
when the campaign that ended in Braddock's defeat the next year was
impending, and enlistments for the forces designed to resist the

86 HISTORY OF THE AMERICAN THEATRE.

encroachments of the French on the Monongahela were going forward
with great activity. Under conditions so unfavorable it is not sur-
prising that Mr. Hallam resolved to abandon the continent for awhile.
This conclusion may have been accelerated by the fact that when his
season closed in Philadelphia a fever plague was raging in that city.

Of the domestic life of the comedians during their stay in Phila-
delphia there is no trace whatever. When Miss Hallam and her two
brothers had their benefit on the lotli of June, tickets were on sale at
Mrs. Bridges', over against the Globe, in Front Street; at Mr. Nichol-
son's, sign of the Admiral Warren's Head, in Arch Street; and at
Mr. Mullen's, sign of the One Tun, in Water Street. These are the
only names that have come down to us as taking even so slight an
interest in the personal fortunes of the players.

American society and morals at the middle of the eighteenth
century were not to be measured by the same standard that was
applied to the stage. The rich were higher and the poor lower in the
social scale than they are to-day. In Philadelphia there were many
showy equipages, but there was no provision for those unable to keep
their own carriages. Wealth everywhere was a species of aristocracy.
The Virginia planter was a fox-hunting squire with the airs of an
English duke. In the cities the first families were scarcely less
haughty than royalty itself The rich were too mighty to patronize
the theatre at home. Among rich and poor wines or liquors were
in universal use. Although the penalties were severe crime was
common. The condition of the working population was little better
than that of the slaves. It thus happened that at its dawn the
drama in America was encouraged almost wholly by the middle
class, through whose influence the Republic itself was established.

CHAPTER IX.

DAVID DOUGLASS.

HALLAM's theatrical successor arrives SPECULATIONS RELATING

TO THE HALLAM FAMILY THE NEW MEMBERS OF MR. DOUG-
LASS* COMPANY NAMES THAT BECAME HISTORIC ON THE

AMERICAN STAGE.

IT was four years after the dissolution of the Hallam Com-
pany, in 1754, when the Hallam family again bid for the
patronage of the American theatrical public. It is generally believed
the intervening years were spent in the West Indies. While the
family was sojourning on the island of Jamaica, Lewis Hallam, the
elder, died, and there his widow subsequently married David Doug-
lass, who reorganized the company in 1756, and renewed the ex-
periment of 1752, with Mrs. Hallam, now known as Mrs. Douglass,
as the star, and young Lewis Hallam, then only eighteen years
of age, as the leading man, except in the heavier roles, such as
Richard III, Lear and Tamerlane. Adam Hallam, who was younger
than Lewis, was with the company, and was occasionally entrusted
with a small part. His success, apparently, was not great, for
after a year or two his name disappears from the bills altogether.
Miss Helen Hallam was not with the company at this time, but
in her stead Miss Nancy Hallam occasionally was seen in children's
parts. Nancy Hallam is not mentioned by any of the historians

(87)

88 HISTORY OF THE AMERICAN THEATRE.

of the American stage, but it is fair to assume that she is not
the child referred to by Dunlap, who was left with her uncle
William six years before, and who afterward became famous in
English dramatic history as Mrs. Mattocks. Isabella Hallam, who
became Mrs. Mattocks, was younger than the Miss Hallam that
was in America from 1752 to 1754, and Nancy must have been
younger than Isabella. Who, then, was Nancy Hallam ? Probably
the Miss Hallam of later years, and who was referred to in the
newspapers of 1773 as the niece of Mrs. Douglass. In 1761 the
name of Mrs. Hallam appears in the bills playing parts like those
previously filled by Miss Hallam. Mr. Ireland, in his " Record
of the New York Stage," assumes that this Mrs. Hallam was identical
with Miss Hallam of an earlier and a later period. A more probable
assumption would seem to be that the Mrs. Hallam of 1761 was,
in fact, Mrs. Hallam, wife of Lewis Hallam, the younger. It is
known that Mr. Hallam married early in life, but that he and his wife
soon separated and lived apart many years, until her death after
the Revolution enabled- him to marry again. That his first wife
should at least try to be an actress would not be surprising. At the
time the name of Mrs. Hallam disappears from the bills Nancy
Hallam was old enough to take her place. It does not seem probable
that the Jessica of 1752 should be the Juliet of twenty years later,
having only attained the rank of leading lady. Such, however, would
be the natural progress of the Fleance of 1759 if she was the Miss
Hallam of 1766-74. If this reasoning is incorrect, it is singular that
Miss Hallam began as the daughter of Lewis Hallam, the elder,
and ended by becoming the niece of Mrs. Douglass.

David Douglass, by virtue of his marriage with the widow

DAVID DOUGLASS. 89

Hallam, became not only the manager of the company, but an actor.
At first he was content with small parts, the roles that Malone had
previously filled falling to Mr. Harman, who had married a grand-
daughter of the celebrated Colley Cibber. Mrs. Catharine Maria
Harman, who died in New York in 1773, was the successor of Mrs.
Adcock. Mrs. Harman was an excellent actress and an exemplary
woman, of whom it was said, at the time of her death, that she was
sensible, humane and benevolent. Mrs. Beccely's parts were now
taken by Mrs. Love, who was the only member of the old company,
outside of the Hallam family, who had a place in the new. Mr.
Douglass, the new manager, was a man of character and ability. He
continued to control the theatrical destinies of this continent until the
feeling against English players, consequent upon the stamp act and
the impending war for independence, compelled him to relinquish the
undertaking, when he returned to Jamaica, where he subsequently
became one of His Majesty's printers, a master in chancery and a
magistrate. Mr. Douglass died at Spanish-Town, in 1786, having, it
is said, accumulated a fortune of ^^25,000.

Besides the performers already named, the company included
Mr. Morris, Mr. and Mrs. Allyn, Mr. and Mrs. Tomlinson and Mr.
Reed. Of these Owen Morris became the most distinguished. With
the exception of Reed and the Allyns, they remained under Mr.
Douglass' management down to the Revolutionary period. How they
were recruited by Douglass, or whether they had any previous theatri-
cal experience, is nowhere reported. Mr. Harman, whose name none
of the historians mention at all, was at first the leading actor of the
company in the heavy roles, Mr. Hallam succeeding to most of the
parts that had previously been played by Mr. Rigby. Mr. Reed was

90 HISTORY OF THE AMERICAN THEATRE.

Singleton's successor, AUyn and Tomlinson sharing the lighter roles
with him. Morris played the low comedy parts. That the ladies,
with the exception of Mrs. Harman, were without experience is appar-
ent from the fact that Mrs. Love was accorded better parts than those
filled by Mrs. Allyn and Mrs. Tomlinson. It may be added, that
while Allyn and Tomlinson occupied a respectable professional stand-
ing before the American public for a number of years, their wives
never advanced to positions of consequence.

It is to be regretted that so little is known of the personal
history of these early players. It is probable that all of them made
their American debuts at the beginning of the New York season of
1758-9, but neither the prints of the time nor the recollections of the
memoir-writers give any information respecting them, except as their
work is recorded in the play-bills of the period. This is all the more
singular, because they were favorites as actors and thoroughly identi-
fied with American interests by long residence. This is especially true
of Morris. He was, after the elder Hallam, the first noteworthy
representative of comic old men on the American boards, and he con-
tinued on our stage until the close of the century. Late in life Morris
was known both to John Bernard and William B. Wood. In what
purports to be Bernard's " Retrospections of America" there are several
references to this old comedian, with an American experience of forty
years behind him, but not one that gives any information in regard to
him or that is accurate in matters of fact. Wood refers to him only
incidentally as the husband of his second wife, and as looking " like
the wearer of the first cut of coat and vest, when the earliest approach
to modern dress was attempted," in a part that he played at Annapolis,
in 1798. Dunlap only speaks of him as playing "the old men of

DAVID DOUGLASS. 91

comedy and farce, when the shuffling gait and whistling treble which
time had forced upon him were applauded as most exquisite imitations
of old age." To the Harmans the newspapers and the annalists are
equally indifferent. Their motives in coming to America, and the
causes that led to their joining their fortunes with the players of Mr.
Douglass' company, would make an interesting chapter in theatrical
history could they be ascertained. Who were the Tomlinsons and
the Allyns, and what finally became of them ? These were the actors
and actresses who took up the work of the pioneers and carried
it forward. America became their home. With one or two exceptions
their dust forms part of the mould in our graveyards. That they were
enthusiasts in their work is certain, and yet how little do we know of
these players whose names are historic on our stage.

Dunlap says that his object in writing his " History of the
American Theatre" was to rescue from oblivion such facts relative to
the drama in this country as could then be collected, and to combine
them with his own knowledge of the players of the past. The only
real monument to these early actors and actresses and their predeces-
sors was the record of their work, and that could never " be swept
from the memory of man," because the newspapers of the period pre-
served it for posterity.

-i#-

CHAPTER X,

DOUGLASS IN NEW YORK.

A NEW THEATRE ON CRUGER's WHARF PERMISSION TO PERFORM

DENIED OPENING OF A HISTRIONIC ACADEMY ANNOUNCED

A BRIEF THEATRICAL SEASON FINALLY ALLOWED.

MR. DOUGLASS arrived in New York with his company in
the autumn of 1758. As the old theatre in Nassau Street
had been removed and a church built upon the site, Douglass built a
new theatre on what was then known as Cruger's Wharf. It was near
what is now called Old Slip, not far from the present Wall Street
Ferry. Cruger's Wharf had water on both sides of it in what were
called docks. The site does not seem to have been well chosen, but
Mr. Douglass soon found other obstacles in the way of his enterprise,
in comparison with which the situation was a matter of no great im-
portance. He had built his theatre without obtaining the permission
of the Magistracy to enact plays, and when he applied for it, it was
refused. Thereupon he printed a card in Gaine's Mercury} in which,

Mr. Douglass' Card. — Mr. Douglass, the Magistrates would indulge him in acting

who came here with a Company of Comedi- as many Plays as would barely defray the.

ans having appUed to the Gentlemen in Power expenses he and the Company have been

for permission to play has (to his great mor- at in coming to this city, and enable them to

tification) met with a positive and absolute proceed to another, he has been unfortunate

denial : He has in vain represented that enough to be peremptorily refused it. As he

such are his circumstances and those of the has given over all thoughts of acting he begs

other members of his company that it is im- leave to inform the Public that in a few days

possible for them to move to another place; he will open an Histrionic Academy of which

and tho' in the humblest manner he begged proper notice will be given in this Paper.

(92)

DOUGLASS IN NEW YORK.

93

after pointing out that when he " applied to the gentlemen in power
for permission to play," and had " met with a positive and absolute
denial," he announced that he had given over all thoughts of acting,
and in a few days would open a histrionic academy. This card was
dated the 6th of November, but on the 8th of December^ Douglass
found it necessary to explain that his histrionic academy was not
intended as an attempt to evade or resist the prohibition of the magis-
trates, but for dissertations on subjects moral, instructive and enter-
taining, and to endeavor to qualify such as would favor him with
attendance to speak in public with propriety. It must be confessed
that Mr. Douglass' iirst card does not read like the announcement
of a manager with a company of comedians on his hands who had
"given over all thoughts of acting," especially in an age when

^ Mr. Douglass' Explanation. — ^Where-
as, I am informed that an advertisement
of mine which appeared some time ago in
this paper, giving notice that I would open
an Histrionic Academy, has been understood
by many as a declaration that I had proposed
under that color to act plays without the con-
sent of the Magistracy.

This is therefore, to inform the public that
such a construction was quite foreign to my
intent and meaning — that so vain, so insolent
a project never once entered my head; it is
an imputation on my understanding to im-
agine that I would dare in a public manner
to aim an afiront on gentlemen on whom I am
dependent for the only means that can save
us from utter ruin.

All that I proposed to do was to deliver
dissertations on subjects Moral, Instruct-
ive and Entertaining and to endeavor to
qualify such as would favor us with their at-
tendance — To Speak in Public with Pro-
priety. But as such an undertaking might

have occasioned an Enquiry into my capacity
I thought the public would treat me with
greater favor when they were informed that
I was deprived of any other means of getting
my bread, nor would that have done more
than barely supplied our present necessities.

The expenses of our coming here — our
living since our arrival, with the charge of
building, etc. (which, let me observe, we had
engaged for before we had any reason to ap-
prehend a denial) amounted to a sum that
would swallow up the profits of a great many
nights acting had we permission.

I shall conclude with humbly hoping that
those gentlemen who have entertained an ill
opinion of me from my supposed presump-
tion will do me the favor to believe that I
have truly explained the advertisement and
that I am to them and the Public,

A very humble and devoted servant,

David Douglass.

Dec. 8, 1758.

94 HISTORY OF THE AMERICAN THEATRE.

" moral lectures " and " concerts of music " were the usual subter-
fuges in England for the presentation of unauthorized plays. It was
by such a device that Garrick was enabled to make his deduf as
Richard III, at Goodman's Fields' Theatre, in 1741, and Mr. Douglass
himself did not disdain to resort to a similar subterfuge some time
afterward at Newport, R. I. The probability is that the explanation
was made in return for a promise from the magistrates of permission
to act, for after Douglass had been made to eat what was considered
a sufficient quantity of humble pie, leave was graciously accorded
him to perform thirteen nights, to enable him to pay his debts and
get away.

The season, the first of many that were to follow under Mr.
Douglass' management in New York, began December 28th, 1758,
and closed on the 7th of February following. The list of perform-
ances shows a constant change of bill from night to night, the plays

List of Performances. and farces comprising the most

1758.

Dec. 28— Jane Shore Rowe popular pieces of the time. Un-

'^^^' ^ , fortunately no casts were printed

Jan. I — Inconstant Farqunar •' '■

Mock Doctor Fielding in the advertisements, but it has

3 — Orphan Otway

S— Spanish Fryar Dryden been assumed, no doubt correctly,

8-Recruiting OfKcer . . . Farquhar ^j^^^ j^^^ DouglaSS played the
Lovers' Quarrels.

10— Othello Shakspere title role in "Jane Shore" on the

12 — Beaux' Stratagem . . . Farquhar

IS— Venice Preserved .... Otway openmg night. Mrs. Harman was
Stage Coach Farquhar of course the Alicia, and Mr. Har-

24 — Douglas Home

Lethe Garrick man probably played Hastings.

26 — Tamerlane Rovce _^

29-Drammer Addison Dunng the season Mrs. Douglass

Damon and PhiUida . . . Gibber probably played Lady Randolph

Feb. 7— Richard III Shakspere } i- 3 J' F

Damon and PhiUida. in " Douglas," Arpasia in " Tamer-

■DOUGLASS IN NEW YORK.

95

lane," Lady Truman in the "Drummer," and Queen Elizabeth in
"Richard III;" Mrs. Harman, Anna, Selima, Abagail and Lady
Anne; Mr. Harman, Old Nerval, A Douglass Advertisement.

Tamerlane, Vellum and Richard; At the Theatre

on Mr. Cruger's Wharff
Mr. Douglass, Lord Randolph, ^his present Monday will be presented a

Comedy written by Captain Farquhar, call'd

The Inconstant,

or

The Way to Win Him.

Farce,

The Mock Doctor.

********

On Wednesday, the 3d Instant

a Tr^edy called

The Orphan,

or the

Unhappy Marriage.

********

On Friday, the 5th Instant,

the comic scenes of

The Spanish Fryar

with entertainments as will be expressed in

the bills.

Tickets to be had at the Printing Office in

Hanover Square, at the Coifee House, at the

tion of the company. There was Fountain Tavem and nowhere else.

The doors of the Gallery will be opened
no box-office; reserved seats were at Four O'clock, but the Pit and Boxes, that

Ladies may be well accommodated with
seats — not till Five — and the Play begins

play in the afternoon. ' Prices precisely at Six,

Box, 8 Shillings. Pit, 5 ShiUings.

were then as high as now, while Gallery, 2 Shillings.

N.B. — No more tickets will be given out
than the house will hold. And positively no

dinner-hour of the present time, money taken at the door.

On the opening night young Lewis Hallam was accorded the
honor of speaking Singleton's prologue, and Mrs. Douglass recited
Adam Thomson's epilogue, originally delivered in Philadelphia, in
1754. Both of these productions were transmitted by Mr. Douglass

Monesses, and Coachman ; and Mr.
Hallam, Young Norval, Bejazet,
Tinsel and Richmond. These as-
sumptions are based upon the
Philadelphia casts of the following
season. As a specimen of Mr.
Douglass' earlier advertisements
in the New York papers, the one
that is here reproduced is the
most interesting, because it is
the most comprehensive. It will
be noticed that there is no men-

unknown, and people went to the

the hour of performance was the

96

HISTORY OF THE AMERICAN THEATRE.

to Gaine's Mercury, and the letter^ and enclosures were printed in
that journal January 8th, 1759. In this letter Mr. Douglass conveys
the impression that both poems were the work of the same hand, and
that they had been specially written by the ingenious author for this
occasion. This led Dunlap, who was unacquainted with the previous
pubHcation of Thomson's epilogue, to infer that it was Singleton who
was meant, and his error has been perpetuated ever since, even in the
collection of prologues and epilogues recently printed by the Dunlap
Society of New York. As this epilogue was frequently repeated
and underwent many changes, it is worth reprinting in its second
stage. It will be observed that the introductory lines are entirely new

and that the first half of it is
remodeled and rewritten. The
second version, it must be
confessed, is a great improve-
ment over the first, and it

Thomson's Epilogue. — Second Version.

Much has been said at this unlucky time,
To prove the treading of the stage a crime.
Mistaken zeal, in terms oft not so civil,
Consigns both play and players to the devil.
Yet wise men own, a play well chose may teach
Such useful moral truths as the parsons preach.

' Mr. Douglass' Letter. — Sir : Be
pleased to give the enclosed Prologue and
Epilogue, spoken at the opening of the
New Theatre in this city a place in your
columns. They were both written in North
America and generously sent us by the in-
genious author, to whom we acknowledge
ourselves greatly obliged, and as we can not
imagine the difficulty we met with in obtain-
ing liberty to act here proceeded from any
ill opinion those in authority had of a well
regulated stage but rather from a tender
regard for the mistaken opinions of others we
humbly beg to embrace this opportunity of
recommending this performance to the candid
perusal of such unprejudiced though we doubt
not well meaning minds.

They will be found, we imagine, on ex-

amination to contain a sensible, elegant and
impartial statement of the true nature and use
of theatrical entertainments, which, as the
famous Mr. Addison expresses it, " were in-
vented for the accomplishment and refining
of human nature."

It would be ungrateful, likewise, on this
occasion, to omit making our thankful ac-
knowledgments to the Town for the generous
encouragement given much beyond our merit
by the crowded houses since we began to
perform; but if the assiduous endeavors to
the utmost of our ability to please, can make
amends for our deficiencies, we flatter our-
selves with the kind continuance of their
favors which shall ever be gratefully acknowl-
edged by Sir, (in the name of the Company)
The Town's most obedient Servant,
D. Douglass.

DOUGLASS IN NEW YORK.

97

would be interesting to Icnow
if the ingenious author of the
original epilogue was allowed
to revise his own work.

Mr. Douglass must have
been a man of unusual energy
and persistence, or he would
not have continued his Ameri-
can theatrical campaign in the
face of the obstacles that he
found in his way at the out-
set. Not only was there a
determined opposition to the
theatre in the two leading
cities, New York and Phila-
delphia, but there was not a
building really adapted to
theatrical purposes anywhere
in the country. Wherever
Douglass went it was first
necessary for him to erect a
temporary structure before it
was possible for his company
to perform at all. In New
York, as we have seen, he
built a so-called theatre on
Cruger's Wharf It must
have been an exceedingly

May teach the heart another's grief to know,
And melt the soul in tears of generous woe.
So when the unhappy virtuous fair complains
In Shakspere's, Lee's or Otway's moving strains,
The narrowest hearts expanded wide appear,
And soft compassion drops the pitying tear.
Or would you warn the thoughtless youth to shun
Such dangerous arts which numbers have undone,
A Barnwell's fate can never fail to move.
And strike with shame and terror lawless love.
See, plunged in ruin, with a virtuous wife,
The Gamester weeps, despairs and ends his life.
When Cato bleeds he spends his latest breath.
To teach the love of country strong in death.
With such examples and a thousand more.
Of godlike men who lived in times before,
The tragic Muse renewing every age.
Makes the dead heroes tread the living stage.
But when to social gayety inclined
Our comic Muse shall feast the cheerful mind,
Fools of all sorts and fops a brainless crew.
To raise your mirth we'll summon to your view ;
Make each pert coxcomb merry with his brother.
Whilst knaves conceal'd shall grin at one another.
'Tis magic ground we tread, and at our call
Those knights appear that represent you all.
Yet, hold ! methinks I hear some snarler cry,
" Pray, madam, why so partial — ^rat me — why
Don't you do justice to your own sweet sex ?
Are there no prudes, coquettes or jilts to vex ? "
'Tis granted ; vice and folly's not confined
To man alone, but spreads to womankind.
We frankly own — ^we may indeed, as well —
For every fluttering beau we've an affected belle.
Nor has dramatic Satire's candid page
Failed to chastise them justly on the stage.
Thus human life's our theme — a spacious field
Which the soul's noblest entertainments yield.
By men of worth admired from time,
Who nature's picture never judged a crime ;
And if the soul in nature's cause we move.
The friends of nature cannot disapprove.
We trust they do not by the splendid sight
Of sparkling eyes that grace our scenes to-night;
Then bravely dare to assert the taste you've shown.
Nor be ashamed so just a cause to own ;

98 HISTORY OF THE AMERICAN THEATRE.

And tell our foes what Shakspere said of old- primitive affair, aS it WaS de-
Our former motto spoke it, I am told —

That here the world in miniature you see, molished SOOn after he Vacated

And all mankind are players as well as we. . t, r

It. Before he could venture
into Philadelphia with his company, it was necessary for him to build
a new theatre there also. This required time, and nearly five months
elapsed after the close of the New York season before the Philadelphia
structure was ready for his accommodation. In the meantime, it is
not improbable that the company played a brief engagement at Perth
Amboy. Dunlap records his recollection of hearing old ladies of that
place speak in raptures of the beauty and grace of Mrs. Douglass, and
the pathos of her personation of Jane Shore. Perth Amboy was the
capital of the province of New Jersey, and a garrison town. There
were at that time not fewer than twenty-four New Jersey baronies —
lords-proprietors under the Berkeley and Cartaret grants — and Perth
Amboy was the social as well as political centre for this peculiar
aristocracy. Even now it is said, whimsically enough, it must be
confessed, that these Jersey barons or baronets meet once a year in
their ancient capital to consider the best interests of their order, on
which occasions they wear white wigs and address each other as " My
Lord." This annual assemblage seems to be a continuation of the
Council of Proprietors established in 1682. Previous to the Revolu-
tion the meetings of the Council were held twice a year, and as one
of these occurred on the second Tuesday in April, there was ample
time for a brief theatrical season at Perth Amboy, in 1759, between
the closing of the theatre on Mr. Cruger's Wharf and the opening
of the new theatre on Society Hill.

CHAPTER XI.

DOUGLASS IN PHILADELPHIA.

THE THEATRE ON SOCIETY HILL OPPOSITION TO THE DRAMA A LAW

AGAINST PLAYS A BRILLIANT SEASON OF SIX MONTHS THE

PLAYS AND THE CASTS.

MR. DOUGLASS, when he arrived in Philadelphia, in the
spring of 1759, showed that he had profited by his New York
experience, for his first act was to obtain the authority of Governor
Denny to perform, the Governor stipulating as a condition to his
assent that the company should give one night for the benefit of the
Pennsylvania Hospital. This was agreed to, but before the campaign
could begin it was necessary to have a theatre, and so Mr. Douglass
proceeded to build one at the south-west corner of Vernon and South
Streets, at what was known as " Society Hill," in the Southern Liber-
ties. The building, which was of wood, was not well suited for the-
atrical purposes, and was used as a theatre for only one season. Sub-
sequently it was turned into three dwelling-houses, which were finally
replaced by the brick structure that now stands on the site of the old
play-house. Mr. Douglass probably chose to begin his performances
in Philadelphia in a building so ill-suited to his purposes, instead of in
Plumstead's warehouse, because it was outside, of the city limits, and
consequently beyond the control of the municipal authorities. There
was a determined opposition, however, and Judge Allen was applied

i99)

loo HISTORY OF THE AMERICAN THEATRE.

to for an injunction to restrain the players, but there is a story that the
Judge repHed that he had got more moral virtue from plays than sermons,
and declined to grant the application. To this it was added that as
Judge Allen was prevented from attending the first performance through
the death of his wife, his domestic misfortune was looked upon as in
the nature of a judgment upon him for affording protection to profane
stage-plays. This assertion is made not only by Dunlap, but in some
of the local histories of Philadelphia. It is a pity to spoil such a nice
story of the Chief Justice of Pennsylvania, whose wife was a sister of
Governor Hamilton, but as Mrs. Allen died May I2th, 1760, when
there were not only no players in the province, but when plays were
prohibited by law, her death can not be looked upon as so clearly a
judgment as if it had not been delayed for nearly a year. Besides, if
the judge made any such declaration he must have undergone a com-
plete change of opinion in a few years, for the Chief Justice Allen of
1759 was the Recorder Allen of 1750, whose action led to the sup-
pression of Murray and Kean's Company.

Mr. Douglass seems to have stolen a march upon the opponents
of the theatre on this occasion, obtaining Governor Denny's authority
to build a play-house and give performances before his purpose was
known to the community. It was no sooner announced, however,
than all the religious bodies in the city were up in arms against him.
The Quakers led off The journal of the General Assembly shows
that on the 22d of May, 1759, an address from the Society called
Quakers was presented to the House, setting forth that " they have,
with real concern, heard that a company of stage-players are preparing
to erect a theatre and exhibit plays to the inhabitants of this city, which
they conceive, if permitted, will be subversive of the good order and

DOUGLASS IN PHILADELPHIA. loi

morals which they desire may be preserved in this Government."
They therefore prayed the House to frame and present to the Governor
for his assent " a bill to prohibit such ensnaring and irreligious enter-
tainments." On the following day (May 23d) a Petition from the
Minister, Churchwardens and Elders of the Lutheran German Con-
gregation of Philadelphia was presented, praying " that a law may be
enacted to prevent the building of a play-house or theatre in or near
the said city, which the petitioners hear is intended and already
begun." This was referred for further consideration. The same day
an address was received from the Synod of New York and Philadelphia
(Presbyterian) to the same effect, and on the 26th, the Baptist Con-
gregation of Philadelphia was heard from, making a similar appeal.
It is evident that these addresses and petitions were not directed toward
deaf ears, for on the date last nientioned a Committee, comprising nine
members, was appointed to prepare and bring in a bill to prevent the
exhibition of theatrical entertainments and for suppressing lotteries.
Both the Committee and the House acted without a moment's unneces-
sary delay, the bill being presented The Law against Plays.

on the 28th, ordered to a third And Whereas, several companies of idle

, persons and strollers have come into this

readmg on the 30th, and passed p,„^;„,, f,„^ fo,,ig„ p^^s in the characters
on the 31st of May. A Committee °^ P'^5'^'''' ^''^"^^^ '■'^^ ^"^ ''^^^^^^ ^^^

thereon acted divers plays by which the -weak,

was immediately appointed to poor and necessitous have been prevailed on

,, ^ , . ,. to neglect their labor and industry and to give

wait on the Governor and ask his » . ■ r ,.•.•, ^ j *

extravagant pnces for their tickets and great
assent to the measure, which re- ^'nt.e" of disorderly persons have been

drawn together in the night to the great dis-
ported that his Honor was pleased tress of many poor families, manifest injury of
,, , , , , , , , .,, this young colony and grievous scandal of

to say that he would take the bill ^^^.^^^^ ^„^ ^^^ ^^^^ „f ^^^ Government.

under his immediate COnsidera- ^^ '' Therefore Enacted, That every per-

son and persons whatsoever that from and
tion. The object of this haste, after the First day of January which will be

102 HISTORY OF THE AMERICAN THEATRE.

A.D. 1760 shall erect, build or cause to be apparently, was to prevent the

erected or built any play-house, theatre, stage

or scaffold for acting, shewing or exhibiting appearance of the players under

any tragedy, comedy, tragi-comedy, farce, ^j^^ authority which the Governor
interlude, or other play, or part of a play ^

whatsoever, or shall act, shew or exhibit had previously accorded them, but

them, or any of them, or be in any ways con-
cerned therein or in selling any of the tickets Governor Denny kept the bill
aforesaid in any city town or place within ^^^^jj ^^^ ^j^ ^f j^^^^ ^^^^ ^^
this Province and be thereof legally con-

victed in manner aforesaid shall forfeit and returned it with Some amend-
pay the sum of five hundred pounds lawful

money aforesaid. ments, which were accepted by

the House. The principal amendment, no doubt, was in regard to the
time when the law should go into effect, so as to enable the Governor
to keep faith with Mr. Douglass. The measure was finally passed,
and received the Governor's sanction on the 20th of June, but it was
set aside by the King in Council, September 2d, 1760.

As it was eariy summer list of Performances.

before Mr. Douglass' season be- }1^^

June 25 — Tamerlane Rowe

gan, it is fair to assume that his Virgin Unmasked . . . Fielding

June 29 — Richard III Shakspere

plans were delayed by the un- Lethe Garrick

certainties attendant upon the J"'^ ^Provoked Husband . . Vanbmgh

Honest Yorkshireman . . . Carey

pending legislation, but the terms 13— Douglas Home

. , , - , , Mock Doctor Fielding

of the law once defined, there was 20-Recruiting Officer . . . Farquhar

no delay in opening the new Advent's of Half an Hour. Bullock

27— Hamlet Shakspere

theatre at Society Hill, and the Stage Coach Farquhar

^ , , ^ , . Aug. 3 — The Drummer Addison

Utmost use was made of the inter- Anatomist Ravenscroft

vening six months before the act lo-Theodosius Lee

Lethe.

went into effect, the house being 17— George Barnwell Lillo

1 . .. , r ^1 Harlequin Collector.

kept open continuously from the 24-Beggars' Opera Gay

25th of June to the 28th of De- ^"'le.

31 — Fair Penitent Rowe

cember. Originally the site of School Boy cibber

DOUGLASS IN PHILADELPHIA. 103

the theatre was a declivity on the Sept. 7— Douglas.

14 — Hamlet.
bank of Dock creek, opposite the Adventures of Half an Hour.

famous old Blue Anchor Inn, 26-Recmiting Officer.

Stage Coach.

where Penn landed from his boat 28 — Lear shakspere

Oct. 5 — Provoked Husband,
when he came from Chester, in Toy Shop Dodsley

1682. Of this hill Spruce Street 12-Provoked Husband.

'■ 26 — Macbeth Shakspere

was the base, and Pine Street the Nov. 2— Romeo and Juliet . . . Shakspere

Miss in her Teens . . . Garrick
summit. In 1730 and after, a (Benefit of Mr. Douglass.)

flag was hoisted on the hill when- 9-Beggars' Opera.

Harlequin Collector.

ever the Assembly was in session, (Benefit of Mrs. Love.)

16 — ^Theodosius.
and on Sundays and holidays. Ijpng Valet.

There was also a redoubt there (Benefit of Mr. Scott.)

23 — Provoked Husband.
and a battery, the shot for the Harlequin Collector.

, ^ , .„ (Benefit of Mr. Hallam.)

cannon being cast by John Pass, ^ec. i-Macbeth.
by whom was re-cast that national ^"^^ Coach.

(Benefit of Mr. Allyn.)
inheritance, the State House bell. 7— Suspicious Husband . . . Hoadly

A 1 • 1 -n T -r-v Virgin Unmasked.

At the time when Mr. Douglass (Benefitof Adam Hallam.)

built his theatre there. Society 14— Gamester Moore

School Boy.

Hill was deserving of its name. (Benefit of Mr. Reed.)

rr,, , r 1 ^• 1 ,r 1 21 — Romeo and Tuliet.

1 here was a number of delightful „ , . „ ,, ^

° Harlequm Collector.

dwellings in the neighborhood, (Benefit of Mr. Palmer.)

27 — George Barnwell.
and among others Alderman Plum- Lethe.

. J i_ J , ,./- , J J., (A charity performance.)

stead had a beautiful descendihg j^ \, , ,

garden in Union Street, which (Benefit of the Pennsylvania Hospital.)

was the admiration of the town. It was in part, perhaps, because
of these surroundings that there was such violent opposition to the
theatre at that time.

The cast of " Tamerlane," the piece with which Mr. Douglass

104 HISTORY OF THE AMERICAN THEATRE.

began his first season in Philadelphia, shows the new company in

definite roles. Harman had the part originally played here by

Tamerlane. Singleton, and Mrs. Harman suc-

^ , ,, ,^ ceeded Mrs. Beccely. Douglass

Tamerlane Mr. Harman

Bejazet Mr. Hallam himself filled Rigby's part, and,

Monesses Mr. Douglass

Axalla Mr. Reed oddly enough, young Lewis Hal-

°"'" ^'- To'niinson j^^ ^^^ ^^^ successor of Malone.

Prince of Tanais Mr. Home

Dervise Mr. Morris Five years before Mr. Hallam had

Haly Mr. A. Hallam

Arpasia Mrs. Douglass been content with Haly, now

S"'™^ Mrs. Harman ^\^y^^ by his brother, Adam

Hallam, who had none of his genius. The only name in the farce,
"Virgin Unmasked," that is recorded is Mrs. Harman as Lucy.

The second play on record as produced this season was
Richard III. " Richard III." It Lear.

Richard . . . . . . .Mr. Harman Was the first of five Lear . . . Mr. Harmaa

Richmond ..... . Mr. Hallam of Shakspere's tra- Gloster . . . . Mr. Scott

King Henry Mr. Douglass Kent . . Mr. TomUnson

Prince Edward . . .Mr. A. Hallam gedies presented Edgar . . Mr. Hallam

Duke of York . Miss Nancy Hallam . _, .^ j i -i ■ • Edmund. . . Mr. Reed

Buckingham Mr. Reed ^"^ rniladelphia m (-.ornwall . . Mr. Home

Catesby Mr. Tomlinson ^Jjg summer and Albany - . . Mr. Morris

Stanley Mr. Morris Burgundy . Mr. Douglass

Oxford Mr. Home autumn of 1 759. Usher. . . . Mr. AUyn

Oueen Elizabeth . . Mrs. Douglass r^, ^ , Goneril . . . Mrs. Love

T J A »f rj I he cast shows _ ,, ,^

Lady Anne Mrs. Harman Regan . Mrs. Harman

Duchess of York . . . Mrs. Love ]y[j-_ Harman Still Cordelia . Mrs. Douglass

in the lead, with Mrs. Harman as the successor of Mrs. Adcock.
Mr. Hallam was second in rank, a part better adapted to his youth
than the heavier role of Richard. On this occasion the name of Miss
Nancy Hallam first occurs as the Duke of York. She subsequently
played Fleance in "Macbeth," and .other children's parts. She has
never been mentioned by any of the annalists. The production of

DOUGLASS IN PHILADELPHIA. 105

" Hamlet " this season was probably the first presentation of Shaks-
pere's masterpiece in America. Fortunately the cast has been pre-
served. It is especially remarkable in showing the great stride Mr.
Hamlet. Hallam had made Macbeth.

Hamlet .... Mr. Hallam '" ^'^ profession. Macbeth . . .Mr. Hallam

Poloniiis .... Mr. Harman gy(- ^-q ]y[j._ Har- Duncan Mr. Harman

Ghost .... Mr. Douglass Donaldbane . . Mr. A. Hallam

Laertes Mr. Reed man, perhaps aS Lenox Mr. Morris

Horatio Mr. Morris r Banquo Mr. Scott

King .... Mr. Tomlinson ^ recompense tor Macduff .... Mr. Douglass

Gravedifrcrers / '^'^- ^^^^ the Hallam Stride, Seyton .... Mr. Tomlinson

^^ . ^ y^^_ Harman Fleance . . Miss Nancy Hallam

Player King . . Mr. Scott was aCCOrded the Lady Macbeth . Mrs. Douglass

Osric .... Mr. A. Hallam Lady Macduff . . . Mrs. Love

Guildenstern ... Mr. Home ^^'^^ gTe3.t hhaks- jjecate Mrs. Harman

Ophelia . . .Mrs. Harman pgrean role, ^?«:^ . , f!!'-^'^^"

Queen .... Mrs. Douglass ^ Witches . . . ] Mr. Harman

Player Queen . . Mrs. Love Lear. Then tO the L Mr. Tomlinson

dignity of Hamlet Hallam added Macbeth, being, as in the master
role, the first tragedian seen in the part in America.

Later on, for Mr. Douglass' benefit, Hallam played Romeo to his
mother's Juliet, perhaps the only instance in the history of the drama
where a son was the lover and Romeo and Juliet.
his mother the girlish heroine in Romeo Mr. Hallam

Mercutio Mr. Harman

Shakspere's love tragedy. This Mont^ue Mr. Douglass

1 <r T i-1. )) • Capulet Mr. Tomlinson

season, when Lethe was given „ . -^i, ^

' ° Pans Mr. Home

as the afterpiece to " Richard III," Friar Laurence Mr. Scott

Tybalt Mr. Reed

Lord , Chdkstone, played by Mr. Apothecary Mr. Allyn

Allyn, was introduced into the ^ff' \ Mrs. Douglass

■' ' Lady Capulet Mrs. Love

farce for the first time in this Nurse Mrs. Harman

country. The farce was exceedingly popular at that time, as will be
observed from the number of times it served as the afterpiece at the
theatre on Society Hill.

io6

HISTORY OF THE AMERICAN THEATRE.

Provoked Husband.

When Vanbrugh's " Provoked Husband " was produced in
Philadelphia, on the 6th of July, it was its first representation, so far

as the record shows, since its pro-
duction in New York by Upton
and his " sett of pretenders." This
comedy, being left imperfect by
Vanbrugh, Mr. Gibber completed
it. When it was first produced,
the "journey to London," which

Lord Townly Mr. Douglass

Manly Mr. Hallam

Sir Francis Wronghead . . . Mr. Harman

Squire Richard Mr. Morris

Count Bassett Mr. Reed

John Moody Mr. Tomlinson

Constable Mr. Home

Lady Townly Mrs. Douglass

Recruiting Officer.

Lady Grace Mrs. Harman

Lady Wronghead .... . Mrs. Love was Vanbrugh's, was Condemned,

Myrtilla Mrs. Tomlinson , . , , . , ,

because it was believed to be
Gibber's. For his benefit Mr. Hallam played Lord Townly, and Mr.
Harman, as Sir Francis, was replaced by Mr. Scott.

Among the pieces presented by Murray and Kean's Gompany
Farquhar's " Recruiting Officer " held a favorite place, but it is not
known to have been produced by
Hallam's Gompany at all. A char-
acteristic anecdote is told of Quin
in this comedy. On one occasion,
having taken a little more wine
than usual after dinner, he thus
addressed Mrs. Woffington, who,
as Justice Balance, was his daugh-

uc ^ • 1 11 Sylvia Mrs. Douglass

ter: Sylvia, how old were you r^^^ Mrs. Love

when your mother was married?" ^""^^ Mrs. Tomlinson

"What, Sir ! " exclaimed the actress. " Pshaw ! " he said, " I mean
how old were you when your mother was born ? " The only change
in Philadelphia was Home for AUyn as the Constable on one occasion.

Justice Balance Mr. Reed

Captain Plume Mr. Hallam

Captain Brazen Mr. Harman

Mr. Worthy Mr. Morris

Sergeant Kite Mr. Douglass

Mr. Scale Mr. Scott

Constable Mr. AUyn

^-™^'^ {Mr:IS'"°"

Bullock Mr. Tomlinson

Melinda Mrs. Harman

DOUGLASS IN PHILADELPHIA. 107

Home's tragedy of " Douglas " was produced the first time in

New York the previous season, but this is the first cast of it that has

come down to us. The plot of this tragedy was suggested by the

pathetic old Scotch ballad of " Gil Douglas.

Morrice." It was originally pro- Lord Randolph . .■ . . . .Mr. Douglass

Glenalvon Mr. Reed

duced at Edinburgh, in 1756, and Nerval Mr.Hallam

played at Covent Garden for the P^^/r"! ,V ;.^'''^T'°

' J^ady Randolph Mrs. Douglass

first time the next year. On this Anna Mrs. Harman

occasion Mr. Harman spoke the original prologue, from which the
following extract was printed in the Pennsylvania Gazette :

This night a Douglass your protection claims;
A wife ! A mother ! Pity's softest names —
The story of her woes indulgent hear.
And grant your suppUant all she begs — a tear.

The quotation was remarkably apposite.

Addison's " Drummer " still held the boards this season, but

the cast was entirely different' from that of four years before. Mr.

Drummer. Hallam now played the fop, Mr.

Sir George Truman Mr. Reed Harman was the faithful Steward,

Fantome Mr. Morris

Tinsel Mr. Hallam ^^rs. Douglass took the role that

^^""■^ ^'- ^^^° she had before yielded to Mrs.

Butler Mr. Tomlmson

Coachman Mr. Douglass Beccely, and Mrs. Harman, who

Gardener Mr. AUyn .

Lady Truman Mrs. Douglass WaS proving herself a very USeful

^''^^'l '^''^- Harman actress, replaced Mrs. Adcock as

the sprightly maid. This comedy when it was originally produced
without the name of the author, failed utterly although exquisitely
acted; afterward it succeeded because it was believed that Addison
had written it.

io8

HISTORY OF THE AMERICAN THEATRE.

Dunlap asserts, on the authority of the younger Lewis Hallam,
that Lee's tragedy, " Theodosius," named in the original Hallam

repertoire, was always a great
favorite everywhere. Be this as it

Theodosius.

Theodosius Mr. Reed

Varanes Mr. AUyn may, this apparently was its first

Marcian Mr. Hallam

Atticus Mr. Harman

Leontine Mr. Tomlinson sentation Mr. Douglass played

Lucius Mr. Douglass

Aranthes Mr. Morris the title-role, and Mr. Home took

Pulcheria Mrs. Harman

Athenais Mrs. Douglass

Marina Mrs. Tomlinson was Lee's masterpiece. One great

riavilla Mrs. Love

reason for its marked success on

production. On its second repre-

his original part. This tragedy

Beggars' Opera.

Macheath Mr. Harman

Peachum Mr. Tomlinson

Moll Brazen Mr. Douglass

Lockit Mr. Scott

Mat o' the Mint Mr. Reed

the American stage was, no doubt, the solemn church music com-
posed for it by Henry Purcell, the first he ever furnished to the stage.'

Upon the production of the
" Beggars' Opera" in mid-summer
a quaint distribution of parts will
be noticed, not only in the cast of

Gay's work, but of the pantomime Beggar Mr. Morris

Player Mr. Douglass

that followed. The assumption jemmy Twitcher Mr. Allyn

oi Macheath hy ^r. Harman does ,' ' ' ' ^\' ^^ ^^

■' Harry Paddmgton Mr. Home

not seem exactly in his line, but PoUy Mrs. Love

Mrs. Peachum I M W

even that is not so surprising as Diana Trapes / ^^^- "a™an

Mrs. Coaxer Mrs. Douglass

the transition of Mrs. Douglass Mrs. Slammekin Mrs. Tomlinson

from Mrs. Coaxer to Columbine.

Harlequin Collector.

Mrs. Love's assumption of Polly, Harlequin Mr. Hallam

,, , ., . . , - ,, Miller Mr. Allyn

the favorite singing role of the ^lown Mr. Douglass

time, shows that she must have Conjuror Mr. Harman

Doctor Mr. Tomlinson

possessed merit as a singer what- Columbine Mrs. Douglass

DOUGLASS IN PHILADELPHIA. 109

ever her qualifications as an actress. Mr. Douglass evidently had a
taste for outre parts as indicated by his appearance as Moll Brazen in
the opera and the Clown in the pantomime.

Rowe's " Fair Penitent " and Dr. Hoadly's " Suspicious Hus-
band " were both played, Mrs. Harman taking Mrs. Hallam's former

Fair Penitent. ^°^^' ^"^ ^''^- Do"g- Suspicious Husband.
lass contenting herself ,, „, . ,, ' ,, „ ,

Sciolto . Mr. Tomlinson ^ ^r. Stnctland ... Mr. Palmer

Altamont . . Mr. Reed with Mrs. Adcock's Frankly .... Mr. Douglass

Lothario. .Mr. Harman ^ ■ ^u c J ^^"^^ Mr. Morris

Horatio . . Mr. Hallam part m the former and Ranger Mr.Hallam

Rossarao . . Mr. Morris Mrs. Harman playing ^^f !, • • • • ^" ^^^T'l

Calista . .Mrs. Harman f y & Jack Meggot . . . .Mr. Reed

Lavinia . Mrs. Douglass Mrs. Beccely's in the buckle Mr. Home

Lucella . . . Mrs. Love , ^ HT u 11 > Chairman Mr. Scott

latter. Mr. Hallam S Mrs. Strictland . Mrs. Harman

1-.1 t-ju 1 juT)-u Tacintha Mrs. Love

role m the one had been played by Kigby i „ ^ ,.

^ ■' ■' ° •' Lucetta .... Mrs. Tomlmson

and in the other by Miller. In Hoadly's Clarinda .... Mrs. Douglass

comedy Rigby was the original Strictland, now played by Palmer.

Powell was the first Lothario in the "Fair Penitent" and the first Mrs.

Barry the original Calista. Garrick's performance of Ranger in the

comedy was inimitable and Bridgewater's Mr. Strictland was scarcely

inferior in merit.

Moore's " Gamester " was presented only once, and then, like

the " Suspicious Husband," at a benefit. The noteworthy thing in

the cast was the fact that Mr.

Gamester.
Hallam, young as he was, found

. ^11 ii. r^i- i Beverly Mr. Hallam

m the play another of those strong , • i«t a- ,•

^ ■' o Jarvis Mr. Tomlmson

parts which he retained for many Lewson Mr. Harman

Bates Mr. Morris

years. The most interesting fact stukely Mr. Palmer

connected with this production ,/^^°° ', ^, ' t^' /"

■* Mrs. Beverly Mrs. Douglass

was the appearance of Palmer as Charlotte Mrs. Harman

no HISTORY OF THE AMERICAN THEATRE.

Stukely, a part of which it was said when John Palmer died that
Stukely died with him.

These casts, which comprise the names and show the rank
of the members of Douglass' company in 1759, are also a proof
of the carelessness with which American theatrical history has been
written. In " Watson's Annals of Philadelphia " Misses Cheer and
Morris are named as among the performers, and it is said that Francis
Mentges (William Francis) was the dancing performer. Neither of
these ladies appeared at that time, and the dancer was a Mr. Abbington,
not impossibly the man who afterward gave his name to the celebrated
Mrs. Abington. When Mr. Palmer, of whom no mention is made by
any of the historians, had his benefit he played Romeo, " the first time
in that character in this city," and Mr. Hallam appeared as Mercutio.
Mr. Palmer's name occurs in the bills only for benefits, when, besides
playing Romeo in his own behalf, he appeared as Mr. Strictland in the
" Suspicious Husband " for Adam Hallam, Macbeth for Mr. Allyn and
Stukely in the " Gamester " for Mr. Reed. It is not unlikely that this
Mr. Palmer was the distinguished London actor John Palmer, the
original Joseph Surface in the " School for Scandal," who made his
first London appearances the next year.

When Mrs. Douglass had her benefit, Mr. Douglass spoke a
prologue in the character of a Master Mason, and Mrs. Douglass an
epilogue in the character of a Mason's wife. The manager announced
on that occasion that it was his intention to wait upon as many ladies
and gentlemen as possible, " but intreats those whom it may be his
misfortune to neglect, rather to attribute it to his care in preparing for
their entertainment in the most compleat manner in his power than to
disrespect." Because the feast of St. Andrew occurred on Friday, the

DOUGLASS IN PHILADELPHIA.

Ill

30th of November, Mr. Allyn's benefit took place on Saturday, instead
of the regular play-day. On that occasion the beneficiary appeared as
Macahone, the brave Irishman, in which he introduced " The History
of Mr. AUyn and the Three Lawyers." Adam Hallam, for his own
benefit, performed a grotesque dance in the character o{ Punch.

What was called in the bills the closing performance " at the
theatre on Society Hill" took place on the 27th of December, 1759,
when " George Barnwell " and
" Lethe " were given, " for a fund
for purchasing an organ to the
College Hall and instructing the
children in Psalmody." On this

Charity Advertisement.

Philadelphia, December 27, 1759.

By Permission and by Particular Desire

Towards the raising a Fund for purchasing

an Organ to the College-Hall in this

city and instructing the Charity

Children in Psahnody.

occasion a prologue in praise of At the Theatre on Society Hill, this evening

will be presented the tragical and

music was spoken by Mr. Hallam,
and the occasional epilogue above
printed was again recited by Mrs.
Douglass. But in reality it was

interesting History of
GEORGE BARNWELL
Thorowgood by Mr. Douglass; Uncle, Mr.
Morris ; George Barnwell, Mr. Hallam; Blunt,
Mr. Harman; Trueman, Mr. Tomlinson;
Millwood, Mrs. Douglass ; Maria, Mrs. Love ;

not the last, as on the following ^'°-'^' "^''s- Harman.

Before the Play and between the Acts sev-
evening a performance was given eral celebrated Pieces of Concert Music will
r ii 1 /^._ r ii n r • ^^ performed by some Gentlemen of this city,

for the benefit of the rennsylvania , , , . ,, , , , . ,/

•' who have kindly consented to promote the

Hospital, in pursuance of the Design of this Entertainment; for which Pur-
pose a neat Harpsichord will be provided.

Also a Prologue in praise of Music will
be spoken by Mr. Hallam and an occasional
Epilogue by Mrs. Douglass.
To which will be added a Farce called
Lethe, or M%oy in the Shades.
In which the character of Lord Chalkstone
will be introduced by Mr. Allyn.
N.B. — As this Benefit is wholly intended
for improving our Youth in the divine Art of
Psalmody and Church Music in order to
the other, which appeared only in render the entertainment of the Town more

agreement with Governor Denny.
The advertisements for these
benefits give a curious insight
into the tastes and feelings of the
time. That for the College was
elaborate in the extreme, while

112 HISTORY OF THE AMERICAN THEATRE.

compleat at Commencements, and other public Bradford's Journal, waS aS meagre
occasions in our College, it is not doubted but

it will meet with all due encouragement from aS it WaS possible tO make it.

the inhabitants of this Place. t^. ■ , CxX. j-cc

^ ^ . , „. ^,„, , 1 his was because oi the dirterence

To begm exactly at bix O Clock.

Tickets to be had of Mr. Dunlap, Mr. Hurry of sentiment in the two institutions

and of several Gentlemen.

toward the " stage -players." In-
deed, the Hospital authorities were even urged to refuse the money,
as appears by an advertisement of the loth of January, 1760, in which
it is explained that it was not in Hospital Advertisement.

the power of the Treasurer to For the Benefit of

The Pennsylvania Hospital
commit this act of folly, notWlth- jo-morrow night at the Theatre on Society

Standing it was " raised by exhibit- ^ill will be presented the celebrated

Tragedy of
ing a stage-play near this city, HAMLET, Prince of Denmark.

. Tickets will be sold by William Dunlap, W.

which was done without the con- Bradford, at the London Coffee House,

sent of the said managers, in con- Thomas Gordon and Evan Morgan.

sequence of the injunction of the late Governor Denny, at the time
he granted liberty to the stage-players to erect the theatre near this
city." When this card was printed, Pennsylvania had a law against
such sinful indulgences as the "stage-play" of "Hamlet," under which
the Hospital was to receive the forfeitures and penalties. The Act,
however, failed to take cognizance of Mr. Douglass' losses, as at the
time of its passage he had already incurred a debt of .^300 and upward
to Alexander Alexander, a builder, and ;^ioo and upward to William
Williams, a painter, for scenery.

CHAPTER XII.

DOUGLASS AT ANNAPOLIS.

THE PLAYERS IN MARYLAND A COMPLETE LIST OF PERFORMANCES —

MORE THEATRICAL VERSE CHANGES IN MR. DOUGLASS* COM-
PANY GUESSES CONCERNING THE PLAYERS.

FROM Philadelphia Mr. Douglass made his way into Maryland,
where there were no laws prohibiting " stage-plays," and at
once began to give performances in the smaller towns of that Province.
This is apparent from an announcement in the Maryland Gazette of
the 7th of February, 1760, in which it was said, "by permission of his
excellency the governor a theatre is erecting in this city which will
be opened soon by a company of comedians who are now at Chester-
Town." In spite of what Dunlap wrote about Annapolis having the
luxury of a brick theatre as early as 1752, it is plain from this
that there, as at New York, at Philadelphia, indeed everywhere, Mr.
Douglass was compelled to build a play-house before he could give
plays. By the 3d of March, however, he was ready to begin his
season, and he continued the campaign until the middle of May. The
season was a long one for a little city such as Annapolis was at that
time — it would be far too long for Annapolis as it is to-day. The list
of performances is the most interesting in our early theatrical history,
because it is the only one before the Revolution, with the exception
of that at Charleston, in 1773-4, that is complete. This completeness
8 ("3)

1 14 HISTORY OF THE AMERICAN THEATRE.

is due to the publisher of the Maryland Gazette, who printed, when

the season closed, a full list of the pieces produced. In this way a

List of Performances. record was preserved that is in-

J^So. teresting, not only because it is

March 3 — Orphan Otway

Lethe Garrick the first one of its kind, and con-

6 — Recruiting OfBcer . . . Farquhar

Miss in her Teens . . .Garrick SCqucntly an almost unique con-
s-Venice Preserved . . . .Otway tribution to history, but as the

Mock Doctor Fielding

ID— Richard III Shakspere first instance in which an Ameri-

Miller of Mansfield . . Dodsley . , • , 1 ,1.1

13-Provoked Husband . . Vanbrugh ^^^ journalist showed that he

Stage Coach Farquhar possessed an appreciation of the

15 — Fair Penitent Rowe

Anatomist Ravenscroft fact that matters relating to the

20 — Beaux' Stratagem . . . Farquhar . 1 . t- ii_ n

^ , ^ ^ theatre are news, liven the Fenn-

Lethe.

22— George Barnwell Lillo sylvania Gazette seldom mentioned

Lying Valet Garrick

24— Busybody Cendivre the theatre at all, and never once

oc ocor. jjj jj. condescend in these early

27 — Revenge Young

Lying Valet. days of the American drama to

29 — A Bold Stroke for a Wife, Ce'ntlivre . - ,

Damon and PhiUida . . . Gibber Comment on the merits of the

April 7-Romeo and Juliet . . Shakspere performers. The Same thing was
Stage Coach.

8— Provoked Husband. true of Gaine's Mercury. As

Honest Yorkshireman . . Carey r • r .■ r ,1

9_Othello Shaispere sources of information for the

Devil to Pay Coffey historian it is only their advertis-

10 — Constant Couple . . . Farquhar

Devil to Pay. ing columns that contain the facts

1 1 — Romeo and Juliet. , , , . , , , . , . .

Miss in her Teens. t^at comprise the history of the

J 2— Suspicious Husband . . Hoadly American theatre. There is no

Mock Doctor.

14— Richard III. reason to doubt that the prologues
Hob in the Well .... Gibber , -, ^1 ^ • 11

(Mr. Douglass' Benefit.) ^^ epilogues that Occasionally

, 15— Fair Penitent. appeared in them were paid for.

Lying Valet.

(Mr. Palmer's Benefit.) as were also the communications

DOUGLASS AT ANNAPOLIS

"S

in defence of the drama, whatever
may have been the case with the
dull essays that were often printed
against it. A more liberal spirit
prevailed in the office of the Mary-
land Gazette. When Douglass'com-
pany appeared in the " Orphan "
at Annapolis there was for the first
time in any American newspaper
an article^ upon the performance
in the nature of dramatic criticism.
It is, to be sure, only hearty com-
mendation, but it is something to
know that Douglass' company
was able to please its Maryland
patrons. This criticism, together

1 6 — Venice Preserved.
Devil to Pay.
(Mr. Murray's Benefit.)
17 — Provoked Husband.
Honest Yorkshireman.
(Mrs. Douglass' Benefit.)
19 — Revenge.
Lethe.

(Mr. Hallam's Benefit.)
22 — Beaux' Stratagem.
Lying Valet.
(Mrs. and Miss Dowthwaite's Benefit.)
23 — Orphan.
Lethe.

(Miss Crane's Benefit.)
24 — Constant Couple.

Honest Yorkshireman.
(Mr. Morris' Benefit.)
May 5 — Douglas.

Virgin Unn\asked . . . Fielding
(Mr. A. Hallam's Benefit.)
8 — Merchant of Venice . . Shakspere
Lethe.
(Mrs. Morris' Benefit.)

12 — Gamester Moore

Toy Shop Dodsley

(Mr. Scott's Benefit.)

with the prologue and epilogue,
was printed on the 6th of March. The prologue was spoken by Mr.
Douglass and the epilogue by Mrs. Douglass. The name of the
local poet, who was so highly praised in the Gazette, has not been
preserved. While no great literary merit can be claimed for these pro-
ductions they were creditable to their author and to the occasion for

1 Critique. — Monday last the Theatre in
this city was opened when the tragedy of
Orphan and Lethe (a dramatic satire) was per-
formed in the presence of his Excellency the
Governor to a polite and numerous audience
who all expressed their satisfaction. The
principal characters both in the play and enter-
tainment were performed with great justice,
and the applause which attended the whole

representation did less honor to the abilities of
the actors than to the taste of their auditors.
For the amusement and emolument of such of
our readers as were not present we here insert
the Prologue and Epilogue, both written by
a gentleman of this Province whose poetical
works have rendered him justly admired by
all encouragers of the liberal arts.

ii6

HISTORY OF THE AMERICAN THEATRE.

which they were written. They are both

The Maryland Poems.

Prologue spoken by Mr. Douglass.

Lo ! to new worlds th' adventurous muse conveys
The moral wisdom of dramatic lays ! '

She bears thro' ocean Phoebus' high command,
And tunes his lyre in fair Maria's land ;
O'ertakes his sun, communicates his fires,
And rising bards in Western climes inspires.

See ! Genius wakes, dispels the former gloom.
And sheds light's blaze, derived from Greece and Rome.
With polished arts wild passions to control ;
To warm the breast and humanize the soul ;
By magic sounds to vary hopes and fears ;
Or make each eye dissolve in virtuous tears ;
'Til sympathizing youths in anguish melt.
And virgins sigh for woes before unfelt !
Here as we speak each heart-struck patriot glows
With real rage to crush Britannia's foes I
To quell bold tyrants, and support the laws.
Or, like brave Wolfe, bleed in his country's cause !

Europe no more sole arbitress shall sit,
Or boast the proud monopoly of wit ;
Her youngest daughter here with filial claim,
Asserts her portion of maternal fame !

Let no nice sparks despise our humble scenes.
Half buskin'd monarchs and itin'rant queens !
Triflers 1 who boast they once in tragic fury
Heard Garrick thund'ring on the stage of Druiy !
Or view'd, exulting, o'er each gay machine.
The feats of Govent Garden's Harlequin !

Athens, from such beginnings mean and low.
Saw Thespis' cart a wondrous structure grow ;
Saw theatres aspire, and with surprise.
Ghosts, gods or demons, or descend or rise.

To taste, from censure draw no rash pretence,
But think good nature the sure test of sense.
As England's sons attend to reason's strains.
And prove her blood flows richly in your veins ;
Be what we act, the heroes of our parts,
And feel that Britons here have Roman hearts.

Epilogue spoken by Mrs. Douglass.
Well ! — since the dreadful business is all over.
How strange a creature is your furious lover ?

racy of the soil. To the
players they must have
proved an unexpected
pleasure after the se-
verity of their experi-
ences in New York and
Philadelphia. They at
last found themselves
in a community where
the drama was not only
not despised but which
took a hearty and gener-
ous interest in them as
the exponents of dram-
atic art. Even the lines
themselves show that
in "Maria's land " at that
time badinage was not
looked upon as neces-
sarily bad, and, perhaps,
upon the whole, the
verses are more charac-
teristic than any that
were spoken from the
American stage before
the Revolution. The
allusion in the prologue
to "Garrick thundering

DOUGLASS AT ANNAPOLIS.

"7

on the stage of Drury"
was evidently aimed at
the American or Anglo-
American boasters, who
arrogated to themselves
superior dramatic taste,
because they had seen
the greatest actor of that
age in England. These,
of course, would admit
no excellence on the
Colonial boards. The
epilogue, on the con-
trary, compliments the
"provincial fair ones" be-
cause of their freedom
from metropolitan vices
and the false spirit of
British belles. Local
allusions in a newly,
settled country are al-
ways gratefully accepted,
and so these productions
of the Maryland muse,
coming as they did from

Your hot-brained spark ! who for a httle jilting,
Blasphemes the sex, swaggers and runs a tilting !
Without the least regard to virgin-fear,
As tho' he had been married — a whole year.

" Why sure — we now must lead most happy lives, —
If slaves rebel against their sovereign wives ! —
Had poor Monimia been like one of us
The wretch had never dared to use her thus !
By marriage-articles we stand prepared,
And fellows by our settlements are scared !
Th' exclusion of a night shall they take ill, —
Or, for a husband — ^must we quit quadrille ?
When pin-money's secur'd if they turn Hectors,
We'll plague them worse than by stale curtain-lectures,
With play, rout, op'ra, masquerade and ball,
And the nocturnal joys of dear Vauxhall."

But you, provincial fair ones, with meek merit
Detest such practices of female spirit !
Here none but planters of a field are found,
While there the planters of the head abound !
From whence arise such plenteous crops of horn
As well may vie in growth with Indian corn.

You saw how fortune favors younger brothers,
The finer gentlemen and brisker lovers !
Sly Polydore ! — ^he stole into her arms.
While the delicious theft improv'd her charms.
From such a feat, pray, how could she defend her,
Or know by instinct spouse from a pretender ?

Reasons like these. Ladies, I own are strong,
And all confess Castalio in the wrong !
Yet, think, he came with beauty's charm inspir'd,
By love and glowing expectation fired —
Then — then — to meet a balk — ^in such a season ! —
Ah ! — it might well deprive him of his reason !
Yet still, — impatience causes man's undoing ! —
Next night had been as well and saved his ruin !
The bride might sure have kept th' affair unknown,
And told all other secrets — ^but her own !
Then the good man, ere honey-moon was past,
Might find his fit too violent to last.
And grown at once most careless and well-bred.
In the fifth week sneak to a sep'rate bed.

the lips of Mr. and Mrs.

Douglass, must have seemed to the good people of Annapolis more

complimentary and significant than they really were. Besides, they

ii8 HISTORY OF THE AMERICAN THEATRE.

have interest in the fact that they were the first original productions
recited on the stage under the Douglass management.

The casts of the Annapolis season that were preserved are only

five in number, but they give an interesting insight into the resources

Venice Preserved. that were open to an energetic

Duke. .• Mr. Morris manager even at that early period.

P™ili Mr. Douglass Thg first of these is the cast of

Jaffier Mr. Palmer

Pierre Mr. Hallam Otway's " Venice Preserved," pro-
Renault Mr. Scott , J ii ^r- J i- ■ ■>.

fMr. A Hallam ^"'^^'^ °" ^^^ *"^^ ^"^^mg night.

Conspirators | Mr-^^ouglass ^^^^^ f^^^ ^j^^ ^^^^^ j^ contains

Eel^'-iera Mrs. Douglass j^. jj^^g interest as the first Ameri-
can cast extant of this tragedy. It had been previously produced at
New York at the theatre on Cruger's Wharf, with Mrs. Douglass as
Belvidera, as a matter of course. Fai r Penit ent.
Mr. Harman was probably the Scioko Mr. Scott

Altamont Mr. Hallam

Jaffier. The next cast is that of Horatio Mr. Palmer

1 ,, -r^ • -n ■ ) 1-1 Lothario Mr. Douglass

the Fair Penitent, ' which was j^^^^^^ ^^_ ^^^^

presented a week later. On this ^aiista Mrs. Douglass

Lavinia Mr?. Morris

occasion Mrs. Douglass resumed Lucilla Miss Dowthwalte

the part of Calista, which had been played in Philadelphia by Mrs.

Harman. This is the first occasion, also, when Mrs. Morris is set

down for an important role, and
George Barnwell.

it is the first mention of Miss

Thorowgood. ^l^^^^r Dowthwaite. "George Barnwell"

George Barnwell Mr. Hallam °

Trueman Mr. Morris ^ was the third of the pieces adver-

Uncle Mr. Murray

Blunt Mr. Scott tised. In this occurs the suggest-

f;":^°°^ ^Z^"^^"^ ivenameof Mr. Murray, and for

Mana Mrs. Moms -^

Lucy Miss Crane the first time the name of Miss

DOUGLASS AT ANNAPOLIS.

119

A Bold Stroke for a Wife.

Crane, who played Lucy. The cast of "A Bold Stroke for a Wife,"

which followed, reveals apparently the full strength of the company

at this time, with the exception of

Miss Crane. Mrs. Dowthwaite's

first recorded appearance was made

in this piece. The cast of "Othello"

is especially noteworthy, this

being the first time Mr. Douglass

is positively known to have

played the Moor. Besides the

parts indicated by these casts we

Sir Philip Morelove Mr. Murray-
Periwinkle Mr. Palmer

Tradelove Mr. Morris

Obadiah Prim Mr. Scott

Colonel Fainwell Mr. Douglass

Freeman Mr. Hallam

Sackbut Mr. Scott

Quaking Boy Mr. A Hallam

Mrs. Lovely Mrs. Douglass

Mrs. Prim Mrs. Morris

Betty Mrs. Dowthwaite

Masked Lady Miss Dowthwaite

Othello.

know only that Mr. Palmer played Townly in the "Provoked
Husband," and Mr. Hallam Shy lock in the "Jew of Venice." Had
these casts, few as they are, been lost we should have missed a pecu-
liar phase in our early theatrical history. They show that with

the exception of Mr. Morris and
the immediate members of Mr.
Douglass' family the company was
entirely different from the origi-
nal organization. Instead of Mr.
Harman was Mr. Palmer, who
had previously appeared only for
benefits; Mrs. Harman was succeeded by Mrs. Morris, and for
Messrs. Allyn and Tomlinson and their wives were substituted
Mr. Murray and Mrs. and Miss Dowthwaite and Miss Crane. Mrs.
Morris was the wife of the comedian, Owen Morris. It would be
interesting to know more of this actress than the destroying hand of
time has left to us. Whether she came to the Colonies with her

Duke Mr. Murray

Othello Mr. Douglass

lago Mr. Palmer

Cassio Mr. Hallam

Roderigo Mr. A. Hallam

Desdemona Mrs. Douglass

Emilia Miss Crane

I20 HISTORY OF THE AMERICAN THEATRE.

husband or whether her Annapolis appearances were her first season
on the stage is not told anywhere, but from this time until her death
she was a regular member of the company. Mr. Murray may have
been the Murray who was Thomas Kean's partner, in 1750-52.
Some reason for this supposition may be found in the fact that he
seems to have made Annapolis his home. The Dowthwaites and
Miss Crane continued with the company for some time. From her
parts Miss Crane seems to have been an actress of experience, what-
ever may have been her merit. How came Mr. Douglass to
secure these recruits, and why were the members of his company, who
were with him before and afterward, absent from Annapolis ? These
questions are not easily answered, but the Annapolis season shows
that even at that early period, it was possible to reorganize a theatrical
company in America upon short notice.

When the season at Annapolis closed on the 8th of May, an

epilogue addressed to the ladies was spoken by Mrs. Douglass. This,

Address to the Ladies. uj^g ^^i^ prologue and epi-

Ye gen'rous fair, ere finally we part, j^ spoken on the Open-
Accept the tribute of a grateful heart;

O'erlooking faults, and lib'ral of your favors ing night, WaS also printed

You've smiled indulgent on our weak endeavors. - • i nr 7 i ^

Our wand'ring theatre, o'erpaid and graced 1" the Maryland Gazette. As

Now hails your bounty and proclaims your taste, ^^ mention is made of its
While all those charms of person, so refined.

Shine brighter from the splendor of your mind. having been specially Writ-

Blush not to own you caught the noble fire, . , . .
Which high-wrought scenes and tragic strains inspire. , ^n for the OCCasiOn, it may

Blush not, that for imaginary woes, ^g assumed it was the same

Your tender bosoms heav'd with real throes.

Think, while those tears in humid lustre roll, Mrs. DouglaSS WaS aCCUS-

They testify benevolence of soul. , , . 1 . • -i

T,, „ ' . c . . ,, A- , ^ tomed to speak at similar

1 hese, nowmg for heroic worth distrest, '^

Speak the rich virtues of a female breast ! ^ farewells. If this WaS SO,

— Should lovers sneer at these, — oh, scorn their suit.

The worst of coxcombs is the unfeeling brute. however, the address mUSt

DOUGLASS AT ANNAPOLIS.

121

have been adapted to the
occasion, in order to pay a
compliment to " fair Mary-
land." It may be said here,
as a logical deduction of
this thought, that Mr.
Douglass in no way showed
his skill as a manager more
clearly than in the flattery
he was careful to prepare
for his patrons. His desire
to please made him subser-
vient, but in this no doubt
was the secret of his success.

— Nay — should the formal prude in peevish age

Rail at the comic humors of the stage;

— Then say — you're proud those patterns to enjoy,

Who teach the world and rationally toy.

Say that true mirth, to vicious minds unknown

Is the just claim of innocence alone ;

That characters of jilt, rake, knave and fool

Are best expressed by moral ridicule !

And maids are arm'd by each instructive plan

'Gainst all the wily arts of dang'rous man.

Oh, may your influence still propitious prove,
To cheer our distant labors as we rove !
Till sister colonies assert our cause
And their's resound fair Maryland's applause.

To aid the muse, if still such circles shine.
Brave youths shall glow with sentiments divine,
Love's vot'ries thence shall merit Britain's praise,
And kindle into patriots as they gaze !

While gen'rous excellence their heart inflames
France shall droop conscious of her painted dames,
And still deplore the triumphs of our arms
Till Gallic beauty rivals English charms.

In spite of Mrs. Douglass'
of their "wandering theatre," the
Upper Marlborough Performances.

1760.

May 22 — Douglas Home

Lethe Garrick

26 — Provoked Husband . . Vanbrugh

Virgin Unmasked . . . Fielding

June 2 — Beaux' Stratagem . . . Faiquhar

Miss in her Teens . . . Garrick

9 — Richard III Shakspere

Miller of Mansfield . . . Dodsley

16 — Revenge Young

Devil to Pay Coffey

24— Gamester Moore

Lethe.
July I — Romeo and Juliet . . . Shakspere
Miller of Mansfield.

way to William.sburg, playing there

allusion to the " distant labors "
thespians went no further than
Upper Marlborough as their first
stage. The company remained
at that place more than six
weeks, advertising one perform-
ance weekly in the Maryland
Gazette during their stay. After
the close of the Upper Marl-
borough season a hiatus occurs
in the recorded wanderings of
Mr. Douglass and his forces, but
subsequently they made their
in the winter of 1760-61.

CHAPTER XIII.

DOUGLASS IN RHODE ISLAND.

A SUCCESSFUL SEASON AT NEWPORT IN 1 76 1 TWO BENEFITS FOR

THE POOR PLAYING IN DISGUISE WERE THERE TWO NEWPORT

SEASONS ? THE COMPANY AT PROVIDENCE ACT AGAINST STAGE-
PLAYS.

WHEN the Williamsburg season closed Mr. Douglass and his
company made their way to Newport, Rhode Island, where
they played during the summer of 1761. Imitating the example of
his predecessor, Hallam, Douglass seems to have provided his com-
pany with a certificate vouching for their conduct and capacity, for it
was said in a letter from Newport, dated November 3d and printed in
Gaine's Mercury on the 9th, that " the character they brought from the
Governor and gentlemen of Virginia " had been fully verified. This
certificate was that " they were capable of entertaining a sensible and
polite audience," and the Newport writer adds that the behavior of
the company at that place was irreproachable; " and with regard to
their skill as players the universal pleasure and satisfaction they have
given is their best and most honorable testimony."

Notwithstanding this satisfactory testimony to the presence of
the players at Newport in the summer and autumn of 1 761, it has
been found impossible to obtain anything like a complete account of
what was unquestionably the first theatrical incursion into New Eng-

(122)

DOUGLASS IN RHODE ISLAND.

123

A Newport Play-Bill.

land. No file of the Newport Mercury for that year exists, and owing
to a visit which Douglass made to Providence, and perhaps to New-
port, in 1762, there is a confusion of dates in the local histories that it
is difficult to unravel.

There are only three publications extant in relation to the
drama at Newport at this early period. The first of these is a play-
bill, which John Bernard copied
many years afterward from one
that had been preserved by Mr.
Morris. As the year is not given
there is a doubt whether it applies
to 1 76 1 or 1762. The names in
the cast afford no assistance in
determining the question. The
only one in the list that is new is
that of Mr. Quelch, who succeeded
Ki^zxn.Yi-aSS.'axa.zsRoderigo. Quelch
was with the company in New
York during the season of 1 761-2,
and so he may have been at New-
port either year or both. Indeed
it is certain that he was at Provi-
dence in the latter year. Was
this an announcement of a play
in disguise? It is evident that
"Moral Dialogues in Five Parts"
meant a play, but it does not fol-
low that this disguise was due to

King's Arms Tavern, Newport, Rhode Island.

On Monday, June 10, at the Public Room
of the Above Inn, will be delivered a Series of

MORAL DIALOGUES,

IN FIVE PARTS,

Depicting the Evil Effects of Jealousy and
other Bad Passions, and Proving that
Happiness can only Spring from
the Pursuit of Virtue.
Mr. Douglass will represent a noble and
magnanimous Moor named Othello, who
loves a young lady named Desdemona, and
after he has married her, harbors (as in too
many cases) the dreadful passion of jealousy.

Of jealousy, our being's bane,

Mark the small cause, and the most dreadful pain.

Mr. Allyn will depict the character of a
specious villain, in the regiment of Othello,
who is so base as to hate his commander on
mere suspicion, and to impose on his best
friend. Of such characters, it is to be feared,
there are thousands in the world, and the
one in question may present to us a salutary
warning.

The man that wrongs his master and his friend,
What can he come to but a shameful end ?

Mr. Hallam will delineate a young and
thoughtless officer, who is traduced by Mr.
Allyn, and, getting drunk loses his situa-
tion, and his general's esteem. All young
men, whatsoever, take example from Cassio.

The ill effects of drinking would you see?

Be warned and keep from evil company.

124

HISTORY OF THE AMERICAN THEATRE.

legal prohibition. A comparison
with the Providence hjU after the
passage of the Rhode Island Act
to prohibit plays shows no simi-
larity between the two announce-
ments. The play and farce were
given " gratis " at the new school-
house in Providence, but the
"Concert of Music," as a matter
of course, was not free. It was
only possible to witness the dra-
matic performances by paying for
the concert. As there is nothing
of this in the Newport bill, it-
seems probable that "Othello"
and the other pieces given at the
King's Arms were called " Moral
Dialogues" only because they
were not produced in a theatre.
As there probably was neither
stage nor scenery, no better de-
scription of the performances was
possible than that of "moral dia-
logues." The second publication
shows conclusively that the com-
pany was at Newport in 1761, but it sheds no light upon the date of
the play-bill. As will be seen, it is an account of a charity perform-
ance which took place at Newport, September 7th, 1761. The

Mr. Morris will represent an old gentleman,
the father of Desdemona, who is not crael
or covetous, but is foolish enough to dis-
like the noble Moor, his son-in-law, because
his face is not white, forgetting that we all
spring from one root. Such prejudices are
very numerous and very wrong.
Fathers beware what sense and love ye lack,
'Tis crime, not color, makes the being black.

Mr. Quelch will depict a fool, who wishes

to become a knave, and trusting one gets

killed by him. Such is the friendship of

rogues — take heed.

When fools would knaves become, how often you'll

Perceive the knave not wiser than the fool.

Mrs. Morris will represent a young and
virtuous wife, who being wrongfully sus-
pected gets smothered (in an adjoining
room) by her husband.

Reader, attend ; and ere thou goest hence

Let fall a tear to hapless innocence,

Mrs. Douglass will be her faithful attend-
ant, who will hold cut a good example to '
all servants, male and female and to all
people in subjection.

Obedience and gratitude

Are things as rare as they are good.

Various other dialogues, too numerous to
mention here, will be delivered at night, all
adapted to the improvement of the mind and
manners. The whole will be repeated on
Wednesday and Saturday. Tickets, six
shillings each, to be had within. Com-
mencement at 7, conclusion at half-past lo,
in order that every spectator may go home
at a sober hour and reflect upon what he has
seen before he retires to rest.
God save the king

And long may he sway
East, North, and South,
And fair America,

DOUGLASS IN RHODE ISLAND.

125

letter was dated at Boston, and was printed in Parker's Gazette '
(New York) on the ist of October. The part in brackets is apparently
Parker's comment. This shows that there was a building called
the theatre in Newport, in September, 1761, whatever may have
been the case in June. The play-house stood at Easton's Point,
near Dyer's Gate, in the north part of the town. It is said this
theatre was blown down in a gale, the company narrowly escaping
with their lives. The gale must have occurred in May, or early in
June, 1762, as the season for 1761 closed without mention of any
such catastrophe.' It is evident from all this, especially from the ac-

' First Newport Benefit. — Boston,
Sept. 21. We hear from Newport, Rhode
Island, that on Monday the 7th inst. the
comedy of the Provoked Husband, or Jour-
ney to London was acted at the theatre by the
company of comedians in that town for the
benefit of the poor; when the sum of One
thousand and thirty pounds, Old Tenor (about
fifty pounds Massachusetts lawful money) was
raised for that charitable purpose and the
money paid by Mr. Douglass in behalf of the
company into the hands of Mr. George Gibbs
who has undertaken to lay it out in com
which he is to store till the winter and then
deal it out to such of the poor as shall be

* Second Newport Benefit. Newport,
Nov. 3. On Friday evening last the company
of comedians finished their performances in
this town by enacting the tragedy of " Doug-
las " for the benefit of the poor. This second
charity is undoubtedly meant as an expression
of gratitude for the countenance and favor
the town has shown them; and it cannot
without an uncommon degree of malevolence
be ascribed to an interested or selfish view,
because it is given at a time when the com-
pany are just leaving the place, and conse-

judged worthy to receive. [This money is
surely well applied as the drought of the
summer it is feared will render the article of
corn scarce and dear the ensuing winter:
And what will be the distress of the poor on
that account is matter worthy of attention
Railing against vice, luxury and de-
bauchery is a cheap and empty sacrifice;
but to relieve the distresses of our fellow
creatures and to visit the widow and father-
less are the happy effects of the only true and
undefiled religion ; for without benevolence
and charity every pretension to reformation
will be as sounding brass or a tinkling cym-
bal.]

quently can have neither fear nor hope firom
the public. In return for this generosity it
ought in justice to be told, that the behaviour
of the company here has been irreproachable :
and with regard to their skill as players the
universal satisfaction they have given is their
best and most honorable testimony. The
character they brought from the Governor
and gentlemen of Virginia has been fully
verified, and therefore we shall run no risk in
pronouncing " that they are capable of enter-
taining a sensible and polite audience."

126

HISTORY OF THE AMERICAN THEATRE.

count of his second benefit for the poor in Gaine's Mercury, that
Mr. Douglass had a prosperous season in Newport in 1761, and it
is not unlikely that his success tempted him to make a return
visit to Rhode Island's capital the next year.

It is assumed by some of the local historians that when Mr.

Douglass first applied for permission to act at Newport a license was

refused, but afterward granted. This may have been in 1761. When

Providence Advertisement. "Othello" was presented at the

. , ,.T c ,. rr^^ ■ r, J King's Arms Inn in disguise, there

At the New Scnool House in Providence on v '

Thursday next, being the 1 2th of August will is some reason for believing the

be performed,

A Concert of Musick, year was 1 762, as the statement is

Vocal and Instrumental j ^i. j. ii_

, , . „ ^ o /-i.ri 1 made that the company went

to begin exactly at seven OClock. *^ •'

Vivat Rex. from Newport to Providence.

Between the several Parts of the Concert will
be presented (gratis) A Tragedy, call'd the I" Providence the opposition to

Sciolto . . ^^."'. ^■^';™; . Mr. AUyn stage-plays was very pronounced,
Altamont Mr. Queich but Douglass built " the new

Lothario Mr. Hallam

Horatio Mr. Douglass school-house " in Meeting Street,

Rossano Mr. A. Hallam ^ r -n r, <^.

Calista Mrs. Douglass ^^'* °^ ^^"^^^^ Street, as appears

Lavinia Mrs. Morris from an advertisement in the New-

Lucilla Mrs. Hallam

To which will be added (gratis) A port Mercury on the lOth of

Pastoral Farce call'd \ , 1 r

Damon and Philuda. August, and gave performances

^"""°'' .V^^^?!' for several weeks in defiance of

Mopsus Mr. Queich

Cymon Mr. A. Hallam the popular Sentiment and a vote

Phillida Mrs. Morris

Areas Mr. Allyn °' ^"^ town. What information we

^°^t°° ^ ■■:„•.■ V ■ ■ ^'■' ^°'^ l^ave in regard to this Providence

N.B. There will be a Concert on Friday
and on every Day next week except Saturday. season is derived from William

Goddard, afterward publisher of the Pennsylvania Chronicle, who
opened a printing office in Providence in 1762. One of the first

DOUGLASS IN RHODE ISLAND.

127

things that Goddard printed was a play-bill. This was in June, the
month of the disguised performance at Newport. In a letter to
Isaiah Thomas, the author of the " History of Printing," Mr. Goddard
says, "much company from Boston, etc., attended the theatre and
were highly gratified. The theatrical campaign was short. Party
politics occasioned the suppression of plays." It is asserted in Peter-
son's " History of Rhode Island " that when the Act' demanded by the
people of Providence was passed Paul Tew brought it in his pocket
from Newport and the same evening, at the close of the performance,
proclaimed it from the stage. If Mr. Peterson had taken the trouble
to examine the original authorities he would have found that the

^ An Act to Prevent Stage Plays and other
Theatrical Entertainments within this Col-
ony.

For preventing and avoiding the many mis-
chiefs which arise from public stage-plays, inter-
ludes and other theatrical entertainments which
not only occasion great and unnecessary ex-
penses and discourage industry and frugality
but likewise tend generally to increase im-
morality, impiety and contempt of religion.

Be it therefore enacted by this General
Assembly and by the authority thereof it is
enacted that immediately from and after the
publication of this Act, no person or persons
whatsoever shall or may for his or her gain
or any price or valuable consideration, by or
under any pretence whatsoever, let or suffer
to be used or improved, any house room or
place whatsoever in this colony, acting or
carrying on any stage-plays, interludes or
other theatrical entertainments, on pain of
forfeiting and paying for each and every day
or time such house room or place shall be let,
used or improved, contrary to the true intent
and meaning of this Act £$0 lawful money.
********

And whereas by a petition preferred to this

Assembly by a number of inhabitants of the
County of Providence setting forth that a
number of stage-players have lately appeared
and a play-house hath lately been built in
said town of Providence ; that the inhabitants
of said town, being legally called by warrant,
did at their late town meeting by a great
majority pass a vote that no stage-plays be
acted in said town; yet the actors thereof, in
defiance of said vote and in defiance of the
public authority of said town have been and
are now daily continuing to exhibit stage-
plays and other theatrical performances; —

Be it therefore further enacted by the
authority aforesaid that in order more speed-
ily to cause this Act to be proclaimed where
those present may have the earliest notice
thereof, that his Honor the Governor be and
is hereby requested to issue a warrant directed
to a proper ofEcer or officers in said county
of Providence directing him or them on sight
or receipt thereof to immediately proclaim the
aforesaid Act by beat of drum through the
streets of the compact part of said town of
Providence; any law, custom, or usage to the
contrary hereof in any wise notwithstanding.

128 HISTORY OF THE AMERICAN THEATRE.

Act was passed at East Greenwich on the 30th of August, 1762,
not at Newport. According to the Act of the Rhode Island As-
sembly "a play-house hath lately been built in said town of Provi-
dence " ; while according to Mr. Douglass' advertisement, the concerts
for which he charged and the plays and farces that were performed
" gratis " were given in " the new school-house." There is no reason
to doubt that the school-house was in fact a theatre, being so called
as part of the scheme to evade the town prohibition. This is probably
the only time in the history of the drama when a theatre was called a
school-house, but what seems humorous now must have been ex-
ceedingly serious in 1762.

These two seasons at Newport and Providence were the first
and last times that a company of comedians was able to obtain a
hearing in any part of New England before the Revolution.

CHAPTER XIV.

CHAPEL STREET THEATRE, NEW YORK.

MR. DOUGLASS BUILDS ANOTHER NEW THEATRE THE SEASON OF

1 76 1-2 IN NEW YORK — BALANCE-SHEET OF A BENEFIT FOR THE

POOR CURIOUS GLIMPSES OF THE THEATRICAL MANNERS AND

CUSTOMS OF THE TIME.

BETWEEN his first and last campaign in Rhode Island Mr.
Douglass played a brief season in New York. As early as the
20th of August, 1 76 1, the New York Gazette announced that the
previous week Mr. Douglass had obtained permission from the
Lieutenant-Governor, Cadwallader Colden, " to build a theatre to per-
form in this city the ensuing winter." Thus we see that while the
company was still playing a summer engagement at Newport Mr.
Douglass was in New York, making preparations for the work of the
winter. Theatre-building was an essential part of these preparations,
even in New York. The building on Cruger's Wharf had been
abandoned, and the new theatre was erected in Beekman Street, a
short distance below Nassau, on the south side of what was then
called Chapel Street. The Chapel or Beekman Street Theatre was the
third theatre erected in New York. When Mr. Douglass made his
application for authority to build this theatre, one of the New York
papers opposed to the enterprise declared that if the request was
acceded to the company would cost the city ;£'6,ooo. To this Mr.
9 ('29)

130 HISTORY OF THE AMERICAN THEATRE.

Douglass replied with an array of figures that is as interesting as it is
curious. He estimated the cost of the theatre at ^1,625. The house
held only ;^i8o, or ;^450. For a season limited to two months or six-
teen nights — the limit was rigidly insisted upon — ^the average receipts
were estimated at ;^300 per night, a total of only ^4,800. The outlay
of the season was set down at ;^ 1,000 for scenery and ^39.07 per night
for current expenses, amounting for the sixteen nights to ;^250, or
^^625. These figures may be tabulated as follows :

Probable receipts, l6 nigbts, $4,8oo

Cost of the theatre, |Sl,62S

Cost of scenery, l,ooo

Current expenses 625 3,25°

Balance, JSi.SSO

As salaries and living expenses are not included in this estimate,
it will be seen that the expectations of both the manager and the actors
were very moderate.

The season, which began on the 19th of November and lasted
five months, was the last Mr. Douglass was to give in New York for

T, a number of years. Originally it

List of Performances. ^ b j

1761. was the intention to limit the

Nov. 19 — Fair Penitent Rowe

Lethe Garrick season to sixteen nights, only two

23 — Provoked Husband . . Vanbrugh „„„r„„,v,„„^„„ „ i u ■

•; ,, , o, , pertormances a week bemg given.

26 — Hamlet Shakspere ^ ^^ °

Honest Yorkshirem*i . . Carey Even the partial list of plays pro-

Dec. 4 — Tamerlane Rowe

Toy Shop Dodsley duced, which it is possible to re-

I8-King Henry IV . . . Shakspere ^^^^^ f^^^ ^^^ newspapers of the
Hob in the Well .... Cibber ^ ^

26 — George Barnwell Lillo time, exceeds the limit. This list,

1762. ^* '^^^1 ^^ observed, includes only

Jan. i-Beggars' Opera Gay pj^yg and farccs of the highest

4 — Venice Preserved .... Otway

7— Cato "... Addison character, but notwithstanding

CHAPEL STREET THEATRE, NEW YORK. 131

this the opposition to the theatre J^^- 7 — Honest Yorkshireman.

1 1 — Romeo and Juliet . . . 'Shakspere

was as determined and bitter as 20-Recruiting Officer . . . Farquhar

at any time before or since. Harlequin Collector.

25 — Othello Shakspere

The controversy was car- Lying Valet Garrick

(Benefit of the Poor.)

ried on m the columns of Parker's peb. i-Richard HI Shakspere

Gazette. '^ Philodemus " opened "^^-

(Benefit of Mrs. Douglass.)

the ball with an essay on " The- 4— Theodosius Lee

Virgin Unmasked . . . Fielding

atrical Entertainments," in which (Bej^^fit ^f Mrs. Morris.)

he charged all ladies who attended is-Committee Howard

° (Benefit of Adam Hallam.)

the theatre as lacking in modesty, 18 — Douglas Home

Harlequin Collector.

and declared that play-going had (Benefit of Mr. Douglass.)

often proved fatal to the reputa- March I-Romeo and Juliet.

^ (Benefit of Mr. Quelch.)

tions of women by criminal assig- 15 — Love for Love .... Congreve

. . . . Harlequin Collector.

nations and lascivious intrigues. (Benefit of Mr. Hallam.)

This was answered by "Amanda" 22— Beaux' Stratagem . . . Farquhar

Hob in the Well.
on the 14th of December. (Benefit of Mr. Morris.)

2g — Inconstant Farquhar

"Amanda" declared that she Miss in her Teens ...Garrick

, , , , , 1 ii. (Benefit of Mrs. Hallam.)

could only recall one play, the ^^^^,^_)^,^,,^

" Fair Penitent," in which a loose Devil to Pay Coffey

(Benefit of Mr. Tomlinson.)

amour was carried on, and 19— Distressed Mother .... Philips

, , ... Mock Doctor Fielding

pointed out how often in plays (Benefit of Mr. Reed.)

vice is painted in its most glaring 26-Committee.

Honest-Yorkshireman.
colors. She called " Philodemus " (Benefit of the Charity School.)

an "impudent fellow," and said, "he is some superannuated animal

that has past his grand climacteric, and whose earlier time of life has

been employed in luxury and debauchery, and now being satiated,

concludes that all is vanity and every pleasure criminal."

The following week " Philodemus " in a long letter, which the

132 HISTORY OF THE AMERICAN THEATRE.

publisher of the Gazette said was well paid for, asked "Amanda"
which was the best teacher, the play-house or the Bible ? He resented
" Amanda's " stigma upon himself, but was very bitter toward " play-
house ladies." Indeed, he even intimated that "Amanda " was herself
" a strolling player," an aspersion that she was not slow to resent, say-
ing she had written in favor of the theatre some months before the
players came. This communication seems to have been printed in
Weyman's Gazette, for "Dolly Blithe" next undertook to ridicule
"Amanda," telling her that by referring to her former piece in Wey-
man's paper, she had discovered herself, since most people knew who
it was that laughed so prettily in church and wrote so handsome a
vindication of the decency and propriety of it.

The opposition to the theatre in New York at this time had two
curious phases. One was the readiness with which the opponents of
the drama paid for the insertion of their "pieces" in Parker's paper;
the other was a surprising fatality among play-goers to lose articles of
value at the play-house, and to advertise for them with the intimation
that they were stolen. When Dolly Blithe sent her letter to Parker,
she remarked that some weighty arguments were enclosed with it.
Parker said these arguments were the weight of a dollar. In the
dearth of news he hoped his readers would think his being paid for
such pieces a sufficient apology for inserting them. At the same time
he announced that he had on hand another piece in vindication of the
stage, but as it wanted the "proper arguments for its admission," he
was in doubt whether he would use it. As it was not used, it may be
assumed that no arguments of the weight of a dollar were forthcoming.
While this controversy was going on, Thomas Harrison, organist of
Trinity Church, advertised for a ring that had been lost coming from

CHAPEL STREET THEATRE, NEW YORK.

133

the play.^ His advertisement, without doubt, was genuine, but it was
almost immediately followed by another,^ which suggests an effort to
bring the theatre into disrepute. It is impossible to imagine anything
more injurious to Mr. Douglass' prospects, especially at a time of bitter
hostility to the theatre, than mention of the play-house, so soon after
Mr. Harrison's advertisement, as if it was the resort of thieves and
pickpockets.

One of the few play-bills of these early performances which
were preserved, was one for the 26th of November, when " Ham-
let," and the "Hon-

Advertisement in the Newspapers.

est Yorkshireman "
were given. This
bill was exhibited
for many years at
Windust's Restau-
rant, at one time
a noted theatrical
resort, in Park Row,
New York. It is
especially valuable

Theatre in Chapel Street.

By Permission of his Honor the Lieutenant-Governor

By a Company of Comedians at the New Theatre in Chapel Street

This day will be presented a Tragedy written by Shakspere, call'd

HAMLET

Prince of Denmark

And a Baled Farce, call'd A

Wonder ! An Honest Yorkshireman

No Person to be admitted without tickets, which are sold by Mr.

Hugh Gaine, Printer in Hanover Square.

Boxes 8j-. Pit 5-f. Gallery 3^.

No Money to be received at the Doors, which will be open'd

at Four and the Play begin exactly at Six o'CIock. No

Person to be admitted behind the scenes.

1 (From Parker's Gazette, Dec. 10, Harrison, organist of Trinity Church, near

1 76 1.) — Lost coming from the play or con- Mr. Reed's in King Street will have 3 dollars

cert a lady's hoop-ring with one stone out; leward and no questions ask'd.
whoever will bring the same to Thomas

"^ A Lost Letter Case. — New York, De-
cember 31, 1761. Lost at the Play-House,
on Monday the 28th instant a double black
leather Letter Case containing New York and
Jersey bills and some Letters and Papers of
no use to any Person but the Owner. Who-

ever has found the said letter case and bills
and will bring them to the Printer of this
Paper shall receive Five Pounds reward and
no questions asked.

N.B. Particulars of the Bills will be left
with the Printer.

134

HISTORY OF THE AMERICAN THEATRE.

Casts from the Winddst Play-Bill.

Hamlet.

Hamlet Mr. Hallam

King Mr. Douglass

Marcellus . . Mr. A. Hallam
Guildenstem .... Mr. Sturt
Lucianus . . . Mr. Tomlinson
Francisco . . . Mr. Tremaine
Queen .... Mrs. Douglass
Player Queen . . Mrs. Hallam

Ophelia Mrs. Morris

Honest Yorkshireman.
Gaylove .... Mr. Quelch Muckworm . . . Mr. Morris

Horatio Mr. Reed

Ghost Mr. Quelch

Polonius .... Mr. Morris

Laertes Mr. Allyn

„ ,. f Mr. Quelch

Grayediggers | Mr. Tomlinson

Blunder
Slango

, . . Mr. Allyn
Mr. A. Hallam

because it was the
means of preserv-
ing the cast of
" Hamlet " when
Shakspere's mas-
terpiece was pro-
duced for the sec-
ond time on the
American stage.
The play-bill also

SapscuU Mr. Sturt

Arabella .... Mrs. Morris
Combrush Mrs. Douglass

contained a curious announcement/ not printed in the newspapers,
which is interesting because it shows the theatrical customs of the
period. Later on, Mr. Douglass' advertisements contained a notice^
even more curious. It was aimed at the vice of crowding the stage
during the performance, which was copied in this country from a
pernicious custom that then prevailed in England. It would be diffi-
cult to determine which is the more remarkable, the abuse to which
attention is called, or the obsequiousness of the manager. It was im-
possible in those days to give the stage to the actors without offense

1 Mr. Douglass to his Patrons. — Mr.
Douglass will be obliged to those Ladies and
Gentlemen who had not an opportunity to
deliver their tickets at the " Provoked Hus-
band " to send them to his lodgings at Mr.

Keen's, Confectioner on Hunter's Quay.
Those Ladies who would have places kept in
the boxes will please send a sensible servant
to the theatre at 3 o'clock every play-day.
New York, November 24, 1761.

^ A Notice. — Complaints hafving been
several times made that a number of gentle-
men crowd the stage and very much interrupt
the performance, and as it is impossible the
actors, when thus obstructed, should do that
justice to their parts they otherwise would, it

will be taken as a particular favor if no
gentleman will be offended that he is ab-
solutely refused admittance at the stage door,
unless he has previously secured himself a
place in either the stage or upper boxes.

CHAPEL STREET THEATRE NEW YORK. 135

and loss of patronage, and it is only reasonable to suppose that the
sgg-throwing episode, a few weeks afterward, grew out of this perni-
cious practice. Mr. Douglass made that episode historical by a card
which he printed in Gaine's Mercury, a few days after the close of the

season of 1761-2. This card

Mr. Douglass' Card.

proves that the egg, as a vehicle theatre in New York, May 3, 1762.

of dramatic criticism, came into ^ Pistole Reward will be given to who-

ever can discover the person who was so
use early on this Continent. It very rude as to throw Eggs from the Gallery

does not follow, however, that on "?- '»^«/'^« last Monday, by which the

' ' Cloaths 01 some Ladies and Gentlemen were

this occasion the eggs were spoiled and the performance in some measure

interrupted, D. Douglass.

thrown as an expression of dis-
approbation with the performance or the performers. The proba-
bility is that they were aimed at some of the beaus of the period, who,
with their powdered wigs, long, stiff-skirted coats, and waistcoats with
flaps reaching nearly .to the knees, silk stockings, short-quartered
shoes, and silver or paste buckles, were in the habit of crowding the
stage or ogling the actresses during the play. That this custom should
lead to the resentments of the " gallery gods " was only natural; but it
was also the subject of complaints from theatre-goers who went to see
the play and the players, and not the fops of the town, as is apparent
from Mr. Douglass' half-hearted appeal to the bucks of the town not
to take it amiss if he compelled them to pay more than pit prices for
the privilege of crowding his stage.

In the early part of the season the newspaper advertising was
limited and only partial casts were printed. As these included the
principal performers in the plays and sometimes in the farces, they
will, however, be found interesting. These casts, meagre as they are,
show that Mrs. Douglass was still the principal attraction of the com-

136 HISTORY OF THE AMERICAN THEATRE.

pany; Mrs. Morris had attained the second place as an actress;

Partial Casts. and Mr. Douglass held the front

£eau^ Stratagem. ""^^k, sharing the best roles with

^'■'=h'='' ^■•- Hallam Mj-. Hallam. Douglass, it will be

Aimwell Mr. Douglass

Scrub Mr. A. Hallam observed, was the original Falstaff

Mrs. Sullen Mrs. Douglass 1 a • -r^

Beggars' Opera. o" ^^^ American stage. From

Captain Macheath .... Mr. Quelch their parts in the " Beggars'

Peachum A Gentleman

Polly Mrs. Hallam Opera," Mr. Quelch and Mrs. Hal-
Lucy Mrs. Morris , , , , , , .

^^^^ lam must have had some claim to

Cato Mr. Douglass consideration as singers. In the

Sempronius Mr. Hallam

Marcia Mrs. Douglass farces Mrs. Hallam and Mrs.

Devl^Tpay. ^''' ^°"" ^^"""^ ^'^^''''^ ^he best roles be-

J*=°n Mr. Tomlinson tween them. Notwithstanding

Nell Mrs. Morris

Distressed Mother. the opportunities afforded to these

Orestes Mr. Hallam . j ^ .. .1 • • 1

T3 , TIT T^ 1 actors and actresses at this period,

Pyrrhus Mr. Douglass J^ '

Hermione Mrs. Morris Mr. Hallam was the only member

Andromache Mrs. Douglass

Hob in the Well. of the company who earned con-
Flora Mrs. Hallam . . • , • j ^ • 1

„ , ,T ^ , ,, stant appreciation and continued

Hob Mr. Quelch '^^

Inconstant. promotion by actual merit. The

Mirabel Mr. Hallam

Old Mirabel ' . Mr. Morris Others, including Mr. and Mrs.

Bissarre Mrs. Douglass DouglaSS, were possessed of re-

King Henry IV. '■

King Henry Mr. Quelch spectable talents only, a judgment

Hotspur Mr. Hallam

Sir John Falstaff .... Mr. Douglass 'Or which there is ample contem-
love for Love. p^j.^^ evidence. Even in her

Valentine Mr. Douglass

Ben, the Sailor Mr. Hallam prime Mrs. Douglass was not an

Angelica Mrs. Douglass

Miss in her Teens. actress of the highest rank, and

Captain Flash Mr. Hallam before her career closed she sank

Captain Loveit .... Mr. Tomlinson

Miss Biddy Mrs. Hallam into a subordinate place.

CHAPEL STREET THEATRE, NEW YORK.

137

Mrs. Douglass' Bill.

Romeo and Juliet.

When the benefits began some oi the beneficiaries printed full
casts, both of the play and farce that comprised their bills. The first of
these was Mrs. Douglass', on the ist of February, 1762, when " Richard

III" and "Lethe"
were played. A
month later, when
Mr.Quelchhadhis

benefit, he printed Benvoiio . 'yix"Z"^^m
the cast of "Romeo
and Juliet " as the
parts were distrib-
uted this season.

A curious fact that is revealed by these
bills is the manner in which the parts
were doubled. Neither Hallam nor
Douglass disdained to appear as two
characters in the same play, and Hallam
even played the Fine Gentleman and
Drunken Man in " Lethe." Taken in

Richard III.

Richard Mr. Douglass

Richmond Mr. Hallam

King Henry Mr. Allyn

King Edward V . . Mr. A. Hallam
Duke of York ... A young master
Buckingham .... Mr. Tomlinson

Stanley Mr. Morris

Lieutenant of the Tower . . Mr. Sturt

Catesby Mr. Reed

Tressel Mr. Hallam

Duchess of York .... Mrs. Crane

Lady Anne Mrs. Morris

Queen Elizabeth . . Mrs. Douglass

Lethe.
Lord Chalkstone .... Mr. Allyn

jEsop Mr. Douglass

Mercury Mr. Sturt

Charon Mr. Tomlinson

Tattoo Mr. Reed

Fine Gentleman .... Mr. Hallam

Frenchman Mr. Allyn

Old Man Mr. Morris

Bowman Mr. Tomlinson

Drunken Man .... Mr. Hallam
Mrs. Riot Mrs. Douglass

Romeo . . Mr. Hallam
Prince . . Mr. Douglass
Paris . . Mr. Tomlinson
Montague . . Mr. Sturt
Mercutio . Mr. Douglass

Tybalt ... Mr. Reed
Friar Laurence .Mr. Allyn
Friar John . Mr. Tremaine
Juliet . . Mrs. Douglass
Lady Capulet . Mrs. Allyn
Nurse . . . Mrs. Morris

connection with the cast of " Hamlet "
these bills show the changes that had occurred in the company since
the Philadelphia season of 1759. Mr. and Mrs. Harman, Mrs. Love
and Messrs. Home and Scott have disappeared from the casts. Mr.
Morris took Harman's place as Polonius in " Hamlet," and Mrs. Morris
was the Ophelia instead of Mrs. Harman. Mr. Reed played Laertes
instead of Horatio, and Mr. Douglass played the King instead of the
Ghost, the latter part going to Mr. Quelch, a new member of the com-
pany. Mr. Sturt, who was also new, took Mr. Home's place as

138 HISTORY OF THE AMERICAN THEATRE.

Guildenstem. Mrs. Hallam was the Player Queen instead of Mrs.

Love. The Francisco, Mr. Tremaine, was probably the ambitious

cabinet-maker of Murray -and Kean's Company. In " Romeo and

Juliet " Mrs. Morris was the Nurse, instead of Mrs. Harman, and Mrs.

Love gave place to Mrs. AUyn as Lady Capulet. Mrs. Douglass was

still the Juliet to her son's Romeo. From this it will be seen that the

only important changes were the loss of the Harmans. Quelch, Sturt

and Tremaine were probably residents of New York, and Scott and

Home of Philadelphia, who were called upon to play small parts in

their respective cities. Whoever they were, they were performers of

little merit, as is evident from their parts and the fact that after a

brief service their names disappear from American dramatic history.

Mrs. Morris, for her benefit on the 4th of February, published

the full casts of " Theodosius " and the " Virgin Unmasked," which

^. ^ , _ comprised her bill, mrs. Morris' Bill.

Mr. Douglass' Bill.

as did also Mr. ^

Douglas. Theodosius.

Douglas Mr. Hallam DouglaSS, On the Varanes .... Mr. Hallam

T J T> J 1 1, ivj- T^ ! Theodosius . . . Mr. Morris

LordRandolph . Mr.Douglass igth, of the tragedy Marcian ... Mr. Douglass

Glenalvon .... Mr. Reed ^

Norval Mr. Morris of "Douglas" and ,^"""' Mr. Sturt

r^rr nj- T r Leontme . . Mr. Tomlinson

Otncer . . . Mr. Tomhnson ,

Attendant . . Mr. Tremaine ^^^ pantomime, Aranthes . . Mr. A. Hallam

Anna Mrs. Morris " Harleouin Col f^ ' ' ■^'^■^°^^

-i A x> A ^ u 1.x T^ 1 rtarlequm L,Ol- Marina .... Mrs. Hallam

Lady Randolph. Mrs. Douglass

lector." It will be ^''^""^ M"' ^"y"

Harlequin Collector. Julia Mrs. Crane

Harlequin ... Mr. Hallam seen that Mr. Mor- Athenais . . . Mrs. Douglass

^^^" ^'- ^"y" ,; . , , . Virgin Unmasked.

Magician. . . . Mr. Sturt ris took advantage j^.^^L^^y _ _ .Mrs. Morris

Anatomist. . .Mr. Moms of his wife's benefit Goodwill .... Mr. Morris

Porter .... Mr. Tomhnson toupee ... Mr. A. Hallam

Clown ..... Mr. Douglass to appear in a tra- Quaver ... Mr. Tomlinson

Columbine . . Mrs. Douglass tt,^™.,,. tm -d j

^ gedy role. As he ^^"'^^ ^'- ^'^^

was fitted only for comedy parts, his performance of Theodosius could

CHAPEL STREET THEATRE, NEW YORK.

139

scarcely fail to be funny. The incident proves that Morris, like most
comedians, was ambitious to play tragedy. Besides these casts the
only one for the season of 176 1-2 "mock Doctor.

that has come down to us was

Gregory Mr. Douglass

that of the " Mock Doctor," Sir jasper Mr. Morris

Leander Mr. Sturt

prmted in the advertisement of Robert Mr. A. Hallam

Mr. Reed's benefit. In this cast "^^ '^■■- ^"y°

Hellebore Mr. Tremaine

occurs the name of Mrs. Crane, Harry Mr. Tomlinsou

James Mr. Reed

who played small parts on several charlotte Mrs. Crane

occasions during the season. She °°'<=^ ^^- *^°"^'

was probably identical with Miss Crane, who was with the company
at Annapolis, in 1760.

One of the most interesting incidents of these early days
of the American stage was the account rendered by Mr. Douglass

of the receipts and
disbursements of the
"Othello" night for the
benefit of " such poor
families as are not other-
wise provided for." In
dollars the expenses
were ^46.31 and the re-
ceipts ;^332.s6, leaving
as the fund for the poor
;^286.25. All that the
actors obtained from the
performance was wine
to the amount of two

A Benefit Account.

£. s. d.
Box tickets sold at the door, 116 at 8j. . . .46 8
Pit tickets sold at the door, 146 at S^. ... 36 10
Gallery tickets sold at the door, 90 at 3^. . .13 10
Cash received at the doors 36 12 6

£m

Charges.
To candles, 26 lb. spermaceti, at 3J. dd. . . \ ,

To candles, 14 lb. tallow, at u /

To music, Messrs. Harrison & Van Dienval . 3 12
To the front doorkeeper, i6j., stage door-
keeper, %s I 4

To the assistants, I3J'., bill-sticker, 4r. . . . 17

To the men's dressers, 41 "J

To the stage-keeper, 32r \ 2

To the drummer, 4f _)

To wine in the second act 2

To Hugh Gaine for two sets of bills, advertise-
ments and commissions S '°

Balance, £i\i„ loj.

£\?> 10 6

140 HISTORY OF THE AMERICAN THEATRE.

and six. It is not likely their own benefits brought to any one of
them anything like this sum. To their benefit announcements, how-
ever, we owe all that we know of the personal history of these for-
gotten actors and actresses. From Mrs. Douglass' advertisement it is
learned that Mr. and Mrs. Douglass no longer lodged at Mr. Keen's,
confectioner, on Hunter's Quay, but were living in Chapel Street, near
the theatre. Mr. and Mrs. Hallam, on the contrary, had lodgings in
Nassau Street. These facts, apparently so unimportant, settle the
question of the identity of the Mrs. Hallam in the casts, showing that
she was Mrs. Hallam, the wife, not Miss Hallam, the sister, of Lewis
Hallam. We learn also that Adam Hallam's benefit was postponed
in consequence of the illness of Mrs. Morris, his announcement * to
this effect being made in Parker's Gazette, February nth, 1762. The
advertisement was printed in two lines across the bottom of the page
of Parker's paper. Mr. Quelch lodged " at Captain Crew's next door
but one to the theatre," and Mr. and Mrs. Morris " at Mr. Earle's,
Hatter, at Beekman's Slip." On the i8th of March, Mr. Morris

By Particular Desire Mr. Morris has changed announced a change of mind in
his Play from RICHARD to the , , . r 1 r 1 • 1

BEAUX' STRATAGEM. ^he choice of a play for his benefit,

The Entertainment as before mentioned; and worded in the quaint phraseology
hopes it will be agreeable to the Ladies

and Gentlemen of the City. of the time. That a comedian

should have selected a tragedy in the first instance for such an occa-
sion is one of those incongruities of which theatrical history is full.
It is not likely that aiiy of the benefits this season yielded a rich
harvest, for it must be confessed that players were not popular at that

1 A. Hallam's Announcement. — Mr. A. it will certainly be acted, as another Performer

Hallam is sorry to acquaint the town that he will be ready in the character of Mrs. Day

is under the disagreeable necessity of again should Mrs. Morris's indisposition continue,
postponing his Play till Monday next, when

CHAPEL STREET THEATRE, NEW YORK. 141

time, except among a small class of play-goers. Opposition to the
drama was not the only cause of hostility to the stage. Even before
the passage of the Stamp Act a strong republican sentiment had grown
up in America and especially in New York. Actors were not only
unpopular as actors, but, being English, they were looked upon as
sympathizing with British aggression. As early as 1764 this feeling
took offensive shape in wrecking the theatre in Chapel Street, which
Douglass had built in 1761, and in which his company played during
the season of 1761-62. Dunlap had the story of the destruction of
the theatre from a gentleman residing on Long Island, who, as a boy,
had helped to pull down the structure. According to this gentleman
a number of persons assembled in a yard or open space opposite the
theatre and set on some boys to begin the work, which, once begun,
found hands enough to aid in it. This was the iirst American mob
that directed its fury against the theatre, but as the company was
absent at the time and had been for two years, it is not very clear what
the impelling motive of the rioters was.

Dunlap assumes, with his usual confidence, that the theatre
was utterly wrecked, but such could not have been the case, for on
the loth of April, 1765, "George Barnwell" and the "Brave Irish-
man " were played in " the theatre in Chapel Street " for the benefit of
the prisoners in the gaol. This was probably the effort of a company
of amateurs. Only one name was mentioned in the advertisement —
Mr. Walsh as Captain 0' Blunder, in the farce. A year later, on the
9th of April, 1766, the "Twin Rivals" and the "Miller of Mansfield"
were announced, but it seems the performance was not allowed, be-
cause of the excited condition of political feeling. This inference
follows from the fact that the same bill was advertised for the 6th of

142 HISTORY OF THE AMERICAN THEATRE

May, the advertisement stating: "As the packet is now arrived and
has been the messenger of good news relative to repeal, it is hoped
that the public has no objection to the ab6ve performance." Whether
this was Douglass' company, then about to change its name and
become "the American Company," instead of the Company of Come-
dians from London, there is no means of knowing, but it seems likely,
as during the summer of 1766, Mr. Douglass built a new theatre in
Philadelphia preparatory to another campaign in the city of " Brotherly
Love." As Dunlap is the only authority for the year of the destruc-
tion of the Chapel Street Theatre, it will be doing no violence to his
accuracy by changing the date from 1764 to 1766. In that case the
company may have been in New York and the mob would then have
had a motive, in the excited feelings of the time, for. pulling it down,
in order to prevent the players from occupying it

CHAPTER XV.

A REVIEW.

DRAMATIC PROGRESS IN AMERICA FROM 1 75 2 TO 1 766— WHAT IS
KNOWN OF THE EARLY PLAYERS CHARLOTTE CHARKE's SON-IN-
LAW GOOD-BYE TO DOUGLASS' FIRST COMPANY.

IN the fourteen years that intervened between the performance of
the "Merchant of Venice," at Williamsburg, on the 5th of
September, 1752, and the opening of the old Southwark Theatre on
the 2 1st of November, 1766, many changes had occurred, not only in
the company, but in the Hallam family. Lewis Hallam, the elder,
had died and his widow had married again. For nearly ten years she
had been known to the American public as Mrs. Douglass, and was
now about to yield many of her best roles to a younger actress.
From a stammering boy young Lewis Hallam had become the lead-
ing actor on the American stage, with a long theatrical history behind
him at the age of twenty-six, and a still longer career, both as actor
and manager, before him. In his later years Mr. Hallam was accus-
tomed to say that he owed whatever success he was able to achieve
to the early instructions of Rigby. Mr. Douglass, too, now also
about to yield his supremacy, had succeeded to the great Shaksperean
roles of Malone and Harman, and had proved himself a man of much

(H3)

144 HISTORY OF THE AMERICAN THEATRE.

capacity, both as actor and manager. The other members of the
family had not been so fortunate. Miss Helen Hallam had advanced

slowly, and despite her oppor-

Parts of Miss, Mrs. and Nancy Hallam.

tunities had not been able to

Miss Hallam. .

PI achieve distinction as an actress.

Beaux' Stratagem Cherry gj^g j^fj ^j^g ^^ -^^

Beggars' Opera Mrs. Coaxer

Careless Husband Edging Miss Nancy Hallam was never

Constant Couple Parly ....

Distressed Mother cieone ^eard of again after being seen in

Love for Love Miss Prue children's parts in Philadelphia in

Merchant of Venice Jessica

Suspicious Husband Lucetta 1 76 1. If she lived tO WOman-

Tuubridge Walks Lucy ...

Woman is a Riddle Necessary ^Ood it may be accepted aS

Farces. established that she was the Miss

Anatomist . Waiting Maid ttii ri^ tmt tti

Hob in the Well f Betty Hallam of later years. Mrs. Hal-
Lying Valet Kitty Fry lam's name was never in the bills

Miss in her Teens Miss Biddy

Stage Coach Dolly after 1 762. It is probable that

om um . . eora j^^^ separation from her husband

Virgin Unmasked Miss Lucy

Mrs. Hallam. occurred before 1766. The Mrs.

^'"y^- Hallam of 1761-62 and the Miss

Beggars' Opera Polly

Hamlet Player Queen Hallam of 1 766-74 were musical,

Theodosius Marina ,.,.1 y.,,- tth r

which the Miss Hallam of I7i52-i;4

Farces. ' ■' ^^

Hob in the Well Flora was not in any marked degree.

Miss in her Teens Miss Biddy

It seems proper, in view of these
Miss Nancy Hallam.

Macbeth Fleance considerations, that their parts

^'^'^^^'1™ Duke of York 3^^^!^ ^e Summarized in this

place, and that we should take a final leave of them. The Mrs. Hal-
lam of later years, who was said to be a niece of Mrs. Douglass, be-
came an actress of decided merit, and was celebrated down to the
Revolution for youth and beauty as well as strong dramatic powers.

A REVIEW. 145

Another Hallam of whom there is no further account is Adam,
the younger brother of Lewis Hallam. Mr. Ireland, in his " Record
of the New York Stage," says he a^am Hallam's Parts.

found the name of Adam Hallam,

Plays.

shoemaker, in a New York Direc- Beaux' stratagem Scrab

r o T^ ■ • 1. 1 t Beggars' Opera Filch

tory for 1798. It is improbable. Bold Stroke for a Wife . . . Quaking Boy

though not impossible, that a Hamlet | °^"'^

poor actor left the stage to be- Lear Attendant

Macbeth Donaldbain

come a good shoemaker. Othello Roderigo

The best actor seen in Richard III {F^tell^ard

America during these fourteen Romeo and Juliet Benvolio

Tamerlane Hali

years was Mr. Rigby of the orig- Theodosius Aranthes

, tt-ry -1 Venice Preserved Conspirator

inal company. While young •

Lewis Hallam had succeeded to Honest Yorkshiremen ■ - Slango

Mock Doctor Robert

his parts, all the evidence goes to -^^^ T^umb Tom Thumb

show that the pupil had not yet '^'"'g'" Unmasked Coupee

become the equal of his master. Mr. Harman, who succeeded
Malone in the heavy fathers, but who was a more versatile actor than
his predecessor, must have died or retired soon after the Philadelphia
season of 1759, for he was never seen in New York and never
appeared with the company afterward, while Mrs. Harman resumed
her connection with it with reduced consequence in 1766. The only
knowledge we have of Harman is that derived from Charlotte Charke's
Memoirs. "Though I had no fortune to give her," Charlotte Charke
writes, " without any partiality I look on her as a more advantageous
match for a discreet man than a woman who might bring one and
confound it in unnecessary expenses, which, I am certain, Kitty never
will do ; and had she met with as sober and respectable a creature as

10

146 HISTORY OF THE AMERICAN THEATRE.

herself in the few years they have had a company might have been

worth a considerable sum of money, to have set them up in some

Mr. Harman's Parts. creditable business that might

have redounded more to their

Beggars' Opera Macheath

Douglas Old Nerval quiet and reputation." Harman

Drummer Vellum . , ^^. ^, , r- •

Fair Penitent Lothario married Kitty Charke at Syming-

G^mester Lewson ^ ^^^ ^j^ played together as

Hamlet Polonius J ir j

Harlequin Collector Conjurer strolling actors for several years

uZhei '. ' .' .' .' .' .' .' .' .' .' . DuncTn *" ^nd about Bath and the Isle of
Provoked Husband . Sir Francis Wronghead Wight. While Mrs. Charke never

Recruiting Officer Captain Brazen

Richard III Richard mentions the man whom her

Romeo and Juliet Mercutio • i „

Tamerlane Tamerlane daughter imprudently married

T'>^°'1°='"^ • ^"''="= by name, she does not fail to do

justice to Mrs. Harman's talents. Among other parts she praises her
daughter's acting as Horatia in the " Roman Father," and as Boadicea,
wishing "she was so settled as to constantly play in that walk." The
little we know of Harman and his wife is so interesting that it is to be
regretted that so little was recorded of the personal history and profes-
sional merits of these forgotten actors.

Another interesting figure of this period, who has been
utterly ignored, is Mr. Palmer. In Philadelphia, in 1759, he played

only at benefits, but singularly

■' > & J- -^^^ Palmer's Parts.

enough he was himself accorded

, Bold Stroke for a Wife .... Periwinkle
a benefit. At Annapohs, in 1760, pair Penitent Horatio

he was a regular member of the Gamester stukely

Macbeth Macbeth

company. Then he disappeared, Othello lago

, , , ^ ^ T 1 Romeo and Juliet Romeo

but the next year, 1761-62, John suspicious Husband . . . . Mr. Strictland

Palmer, the younger, appeared in ^^"'<=^ Preserved jaffier

A REVIEW. 147

similar roles at Drury Lane on benefit occasions. Did Palmer find his
way to the Colonies in his strolling days ? Dates and circumstances
coincide with this theory. There is no account of John Palmer before
1761, except the general assertion of Dr. Doran and others, that, pre-
vious to this time, he had been a stroller. In those days Englishmen
of his class were apt to find their way to America only to return to
England with unpleasant recollections of the New World. That
Palmer should have tried his fortunes here is not more remarkable
than the advent of Lewis Hallam, the elder, or the presence of Mr.
and Mrs. Harman. They were, in fact, all strollers, to whom the
provincial boards in England gave little reward and the London stage
no encouragement. There is, perhaps, in all English dramatic history
no more forcible example of this than Palmer. He was nearly ten
years in London before he began to make his mark. Garrick decried
him. Anything like a fair opportunity was denied him. In spite of
every obstacle he obtained the favor of the town and attained the high
distinction of being the best general actor of his time. Comedy was
his forte, but he was able to perform the tyrannical parts of tragedy
with great eifect. His Villeroy in "Isabella" and Stukely in the
" Gamester " were excellent. " When shall we see such a Villeroy and
Stukely again?" Mrs. Siddons once asked. His Sneer in the "Critic"
and Joseph Surface in the " School for Scandal " were the complete
embodiments of the characters, for Palmer's strength lay in the
delivery of sarcasm and irony, insincere humility and hypocritical self-
reproach. It is scarcely assuming too much to conclude that the
Stukely of Mr. Reed's benefit in Philadelphia was the Stukely whose
demise Mrs. Siddons lamented.

Among these early actresses was Mrs. Love, whose career

148 HISTORY OF THE AMERICAN THEATRE.

furnishes some interesting features. She was the wife of Charles
Love, a teacher of music, located in New York as early as 1753.

When the original Hallam Com-

Mrs. Love's Parts.

pany first gave performances in

fPoUv Nassau Street, Mrs. Love was

Beggars' Opera j Jenny Diver , . ,

Fair Penitent Lucilla engaged to smg between the acts,

Hamlet Player Queen ^^^ g^g had the little part of

Lear Goneril

Macbeth Lady Macduff Jenny Diver in the " Beggars'

Provoked Husband . . . Lady Wronghead _ „ -r^ r i i r -n/i-

Recruiting Officer Rose 0?^^- Before the close of Mr.

Richard III Duchess of York Douglass' first campaign she had

Romeo and Juliet Lady Capulet

^ . . „ , , f Maid developed into an actress of con-

Suspicious Husband jjacintha

Theodosius Flaviiia siderable prominence, as will be

Farce. seen from her parts, and from

Devil to Pay Lucy

Jenny had become the Polly of

Gay's work. As an actress, her training must have been entirely

American. Another actress of the period known also to the American

stage was Miss or Mrs. Crane. She was with Douglass at Annapolis,

in 1760, as Miss Crane, and in

Mrs. Crane's Parts.

New York, in 1761-62, as Mrs.

Crane. She was probably an old- ^ ■„ „

'^ ■" George Barnwell Lucy

time amateur, "desirous of mak- Othello Emilia

Richard III Duchess of York

ing the stage a profession," who Theodosius Julia

found herself inadequate to the Farce.

Mock Doctor Charlotte

undertaking and soon retired.

The actors who bade a final farewell to the American stage

with the close of Mr. Douglass' first campaign were Reed, Home,

Scott, Quelch, Sturt, Tremaine and Murray. Mr. Reed was a

useful member of Mr. Douglass' company, as his parts show, and

A REVIEW. 149

so, also, in a lesser degree, was Mr. Home. To the same cate-
gory belong both Mr. Scott and Mr. Quelch. Beyond their parts
nothing whatever is known of any Mr. Reed's Parts.

of them. This remark applies piays.

. Beggars' Opera Mat o' the Mint

also to Sturt, Tremame and Mur- Douglas Glenaivon

ray. Reed was the successor of D™"™^'^ Sir George Truman

Fair Penitent Altamont

Bell, of the original company, al- Hamlet Laertes

. Lear Edmund

though he occasionally filled parts p^voked Husband Count Basset

that fell to the lot of Clarkson. Recruiting Officer Justice Balance

, J , ,, . Richard HI f Buckingham

Home played only walkmg L^-atesby

Romeo and Juliet Tybalt

gentlemen, generally in the trag- suspicious Husband Jack Meggot

J. TT T.ifu I Tamerlane Axalla

edies. Home was Millers sue- ^, , . r„, , •

Theodosms Iheodosms

cessor, but he had few parts. Farces.

Lethe Tattoo

Quelch, on the contrary, had now Mg^k Doctor James

and then a good role in tlie singing Virgin Unmasked Thomas

pieces, but, singularly enough, while he was the Macheath in the

" Beggars' Opera" he was only the Mopsus in the ballad-farce of

Mr. Quelch's Parts. " Damon and Phil- Mr. Horne's Parts.

Pi'^y^- hda." Quelch was ^'"y-

Beggars' Opera . . . Macheath Beggars' Opera . Paddington

Fair Penitent .... Altamont apparently the only Hamlet . . Guildenstern

., , , f Ghost c iU ■ Lear Cornwall

Hamlet .... joravedigger O^^ of these minor ^^^^^^ m . . . . Oxford

Henry IV ... . King Henry actors who accom- Romeo and Juliet . . Paris

Othello Cassio Suspicious Husband . Buckle

Farces. panied Mr. Doug- Tamerlane Prince

Damon and Phillida . . Mopsus j^^^, ^ ;„ ^he visitS tO Rhode Island.

Hob m the Well .... Hob ^ ■'

Honest Yorkshireman . Gaylove He is not mentioned in the Annapolis casts
of 1760. Scott not only formed part of the Annapolis contingent,
but he was with Murray and Kean in 1750. In the advertisement
for his benefit Scott is described as a "Naadecker," whatever that may

ISO HISTORY OF THE AMERICAN THEATRE.

mean. Sturt appeared only a few times, in small parts, Tremaine had

still fewer and smaller parts, and Murray was in the bills only thrice.

If these players, playing only the smaller roles of the drama,

belonged to a later epoch, they would scarcely be worthy of men-

Mr. Scott's Parts. tion ; but as parts of the theatrical

Beggars' Opera Lockit machinery of their own time they

Bold Stroke for a Wife . • {sackbut """ are exceedingly interesting, be-

Georee Barnwell Blunt ^, , . i ^ ■««■

Hamlet Player King cause they show US that Manager

Lear Gloster Douglass was never at a loss for

Macbeth Banquo

Recruiting Officer Mr. Scale actors. There is a little reason to

Romeo and Juliet .... Friar Lawrence j i . . i . -ii ^i , ■ c

„..„,,, ™ . doubt that, with the exception of

auspicious Husband Chairman ' ^

Venice Preserved Renault the Hallams and English strollers,

hke Palmer and the Harmans, his company was made up from time

to time of thespians of West India and colonial manufacture. Who

Mr. Sturt's Parts. or what they were, or Mr. Tremaine's Parts.

„, how Mr. Douglass Plays.

■^'"y^- Douglas .... Attendant

Hamlet . . . Guildenstem found them, we may Hamlet Francisco

Richard HI . .Lieutenant Romeo and Juliet. Friar John

Romeo and Juliet. Montague never know, but they ^^^^^ ■'

Theodosius . . . .Lucius ,.,, , , Mock Doctor Hellebore

are entitled to remem- "^°'^'' uoctor^^ neiieoore

'^^'■"- u_„„„„ r„_ 4.i,„:„ „i „„ Mr. Murray's Parts.

HarlequinCoilector.Magician brance for their share

Honest Yorkshirem'nSapscuU • i : „ iU r j Bold Stroke ... Sir Philip

- , ,,^ in laying the lounda- _ „ „ ,, ,

Lethe Mercury ■' ° George Barnwell . . Uncle

Mock Doctor . . . Leander tions of the American Othello Duke

theatre. They strutted their brief hour and disappeared, but their

names and their parts belong to the theatrical record of their time.

CHAPTER XVI.

THE SOUTHWARK THEATRE.

BUILDING OF THE FIRST PERMANENT PLAY-HOUSE IN AMERICA A NEW

AND STRONG COMPANY AND BRILLIANT REPERTOIRE SEASON OF

1766-7 IN PHILADELPHIA THE PLAYS AND THE CASTS.

ALL the theatres built in America previous to the year 1766
were temporary structures and soon ceased to be used for
theatrical purposes. In that year, however, a theatre was built in
Philadelphia that continued to be used for dramatic representations
until the beginning of the present century. This was what is known
in history as the old Southwark Theatre, in South Street, above
Fourth, the original walls of which are still standing. The upper part
of the building was of wood, only the walls of the first story being of
brick. It was partly destroyed by fire in 1821. Soon afterward the
walls were raised to their present height and it is now and has been
known for many years as Young's Distillery. Even Dunlap, whose
book was published in 1832, notes the uses to which it had been put.
" Once pouring out a mingled strain of good and evil," he says, and it
may be said still, "it now dispenses purely evil." These old walls,
now of 120 years' duration, for 55 years the foundation of a theatre,
have been for nearly 65 years a temple on which was inscribed
Y. P. M.— Young's Pure Malt.

This theatre, which may claim the honor of being the first real
temple of the drama in America, was an ugly, ill-contrived affair, both

(150

152 HISTORY OF THE AMERICAN THEATRE.

outside and inside. The brick-work was rude but strong, and the
wooden part of the building rough and primitive. The whole was
painted a glaring red. The stage was lighted by, plain oil-lamps, with-
out glasses, and the view from the boxes was intercepted by large
wooden pillars supporting the upper tier and the roof. " It was con-
tended by many at the time," wrote a chronicler who had been there,
" that the front bench in the gallery was the best seat in the house for
a fair view of the whole stage." Unsatisfactory as this theatre must
have been, it was in every way superior to the temporary structures
that had preceded it, and it was the forerunner of the theatres that Mr.
Douglass was soon to build in New York, Annapolis and Charleston.
It was scarcely to be expected that the new theatre should be
built and opened without opposition. There was in Philadelphia at
that time a spirit of hostility to the stage that could be deterred by no
discouragement, and the Assembly was in sympathy with the narrow
views of the Quakers and other sects opposed to the drama. In view
of all this it is not surprising that a Remonstrance^ was presented to

• A Remonstrance. — A Remonstrance come useful members of society, renders it ex-
from a great number of the inhabitants of the pedient for every well wisher to our trade
City and County of Philadelphia of several and commerce to exert his endeavors to sup-
religious denominations was presented to the press them. — And when these Remonstrants
House and read, setting forth that they have consider the greater and more dangerous con-
with much concern observed the design to sequences of their enervating those senti-
establish stage-playing by erecting a theatre ments and principles of the Holy Religion
in the suburbs of this city, and being appre- they profess and their direct repugnance to
hensive of the pernicious consequences thereof, the spirit, temper and precepts of the Gospel —
conceive it necessary to express their earnest they hope this request from a number of the
desire that every lawful measure may be taken citizens and others of the several different de-
to discourage the continuance of those at- nominations of Christians united in a desire
tempts that are now made to promote such a to promote the cause and interest of religion
design. — That the direct tendency of stage- and virtue, will engage the endeavors of the
, plays to divert the minds of the people and House to suppress these ensnaring entertain-
more especially of the unwary youths from the ments by such an application to the Governor
necessary application of the several employ- as on mature consideration they may judge
ments by which they may be qualified to be- will be most effectual.

THE SOUTHWARK THEATRE. 153

the Assembly as soon as possible when the House convened after the
building of the theatre.. The Remonstrance was received on the i6th
of February, 1767. On the i8th a committee was appointed to draft
an Address to the Governor. This Address was reported on the 19th,
and presented to Governor John Penn the same day. The Address,
like the Remonstrance, was as illogical in its arguments as it was
bigoted in its views, but the Governor received it unfavorably, and
refused to give it his sanction or to seek to enforce its recommenda-
tions. Governor Penn returned for answer that he shoiild consider
the said Remonstrance and act agreeably to his judgment, "with-
out regard to persons or parties." As a matter of fact he never inter-
fered with the players, and so the Remonstrance came to naught.

The Southwark Theatre was first opened to the public on the
2 1st of November, 1766. It was on this occasion that the company

was first called "The American

List of Performances.

Company." The plays that were

.1766.
advertised in the Pennsylvania Ga- Nov. 21— Douglas Home

, ,, „ 7 ■ /^i Catherine and Petruchio. Shakspere

zette zxiQ.xs\& Pennsylvania Lhron- c 1. 1 r t iiru-. if j

-^ 24 — achool for Lovers . . Wnitenead

icle make up a long and interest- 26— Jane Shore Rowe

,. . T,, , 28— Beggars' Opera Gay

mg list. The season was a long Qld Maid Murphy 1

one, lasting until the 6th of July, ^^=- S-Richard III Shakspere

' ^ ■> ■" Oracle Mrs. Gibber {

1767, and the productions were re- 12— Merchant ofVenice . . Shakspere

, , , . , . . , . Miller of Mansfield . . Dodsley \

markable for their variety and im- i9_constant Couple . . , Farquhar

portance. After an experience of ^^^^ '° ^^y ^°^*y '

26 — Theodosius Lee

four years as a manager in the. col- Lethe .Garrick \

1767

OnieS,followedbyanabsenceoffour ^^^ / ^.Tamerlane Rowe

years, Mr. Douglass had returned ,;- Oracle.

'■ ' 9 — Hamlet Shakspere

with a new company, in which. Mock Doctor Fielding

154

Jan.

HISTORY OF THE AMERICAN THEATRE.

. . Murphy

1 6 — Orphan of China . .

Devil to Pay.
23 — Beaux' Stratagem . , . Farquhar

Upholsterer Murphy

26 — Mourning Bride . . . Congreve

High Life Below Stairs . Townley
30 — Lear Shakspere

Citizen Murphy

Feb. 2 — Cato Addison

Reprisal SmoUet

6 — Orphan of China.

High Life Below Stairs.
9 — Miser Fielding

Reprisal.
13 — Romeo and Juliet . . Shakspere

Catherine and Petruchio.
16 — Conscious Lovers .... Steele

Damon and PhiUida . . . Gibber
20 — Inconstant Farquhar

Thomas and Sally . . Bickerstaif
23 — George Barnwell Lillo

Mayor of Garratt Foote

27 — Love for Love .... Congreve

Damon and PhiUida.
March 3 — Provoked Husband . . Vanbrugh

Harlequin Collector.
S — Miser.

Harlequin Collector.
9 — All for Love Dryden

Harlequin Collector.
14 — Love Makes a Man . . . Cibber

Deuce is in Him .... Colman
17— Richard HI.

Brave Irishman.
19 — Love in a Village . . Bickerstaff

Mayor of Garratt.
23 — Earl of Essex Jones

Harlequin Collector.
28 — Macbeth Shakspere

Oracle.
30 — Macbeth.

Lying Valet.
April 2 — Gamester Moore

The Witches (a pantomime) Love
7 — Romeo and Juliet.

Lethe.

however, were several members of
his old corps, including Morris, Al-
lyn and Tomlinson, and their wives.
It is evident that he had returned
determined to stay, a purpose that
was only thwarted by the Revolu-
tion. The company became the
American Company not only in
name, but in fact. Most of its
members made this country their
home, and at least one of those
who made his first appearance
during this period became a dis-
tinguished officer in the patriot
army. Having come to stay, Mr.
Douglass naturally brought with
him as strong a company as pos-
sible ; but not only was the com-
pany a vast improvement on its
predecessor, but the list of plays
shows that the repertoire had
been greatly increased since 1762.
Among the pieces played for the
first time, so far as is known, were
the "Orphan of China," the
"Miser," "Love Makes a Man,"
"Love in a Village," the "Jealous
Wife," " Country Lasses," "School

THE SOUTHWARK THEATRE. 155

for Lovers," the "Wonder," and April 9— Hamlet.

Witches.
the "Roman Father." Many of 20— Mourning Bride.

the farces were new, notably the Contrivaiices Carey

■' 24 — Pnnce of Parthia .... Godfrey

"Old Maid," the "Oracle," the Contrivances.

27— A Bold Stroke for a Wife. Centlivre
" Upholsterer," " High Life Below Devil to Pay.

Stairs," the "Deuce is in Him," ^^^ '~t\^°'^^'- „

' ' Hob in the Well.

" Mayor of Garratt," the " Spirit of 4— A Bold Stroke for a Wife.

Apprentice.

Contradiction," the " Contriv- 7_jealous Wife Cohnan

ances," the "Chaplet," the "Double Lying Vaiet Garrick

^ (Miss Cheer's Benefit.)

Disappointment" and "Neck or 11— Committee.

Picture of a Playhouse.

Nothing." There was also a new gpirit of Contradiction.

pantomime, the "Witches," to (Mr. Douglass' Benefit.)

14 — Romeo and Juliet.

supplement the well-worn " Harle- Reprisal.

(Mrs. Morris' Benefit.)
qum Collector. But the season iS-Dmmmer Addison

was especially-noteworthy for the Catherine and Petruchio.

^ J ' (Mrs. Harman's Benefit.)

production of the first American 21— Beaux' Stratagem.

Don Quixote in England.

play ever seen on the stage, the (^r. Morris' Benefit.)
"Princeof Parthia," which appar- 2S-Cymbeiine Shakspere

Mayor of Garratt.

ently was not a success, as it cer- (Mr. Hallam's Benefit.)

. , ,. , , , . „ 28 — Love in a Village.

tamly did not deserve to be. All jjigh Life Belov. Stairs.

this goes to show that since Mr. (M'"- Woolls' Benefit.)

June 1 — Revenge.
Douglass' company was last seen Tom Thumb ..... Fielding

. T->, -1 . 1 1 ■ 1 TWT tr 1 •, (Mr. Wall's Benefit.)

m Philadelphia and New York it 4_Country Lasses .... Johnson

had met with good fortune else- Chaplet Mendez

(Miss Wainvfright's Benefit.)

where, for the enterprising spirit 8— Coriolanus Thomson

it exhibited could only come with ^MnTomlLon's Benefit.)

prosperity. The most important 12— School for Lovers.

Neck or Nothing .... Garrick
addition to the company, as it was (Miss Hallam's Benefit.)

IS6 HISTORY OF THE AMERICAN THEATRE.

June 15— Miser. then organized, was the acquisition

Double Disappointment . Mendez
(Mr. AUyn's Benefit.) of Miss Cheer. As she succeeded

18 — Roman Father . . . Whitehead , ^ r i\t t~. 1 > r

„ , . ,, ,„ ,, to most 01 Mrs. Douglass former

Hob m the Well. °

(Mrs. Douglass' Benefit.) roles, and had the choice of parts

22 — Merchant of Venice.

Lying Valet. in the new plays, it follows that

(Mrs. Tomlinson's Benefit). j^^^ engagement was due to the

25 — ^Wonder Centhvre ^ ^

Citizen. advancing age of the manager's

(Mr. Greville's Benefit.)

29— Cymbeiine. wife. Miss Wainwright was next

Neck or Nothing. in importance. These ladies were

(Miss Hallam's Benefit.)
July 2— Gamester. probably engaged in the West

Reprisal. t i- a 1

(Mr! Broadbelt's Benefit.) Indies. Another important ac-

e-Constant Couple. quisition was Mr. Woolls, a good

Apprentice.

(Mrs. Wall's Benefit.) actor, an excellent singer and an

honest man. Except the few people who can only be described as
useful the rest of the company comprised the previous members, all
well known to American theatre-goers.

The season began with the tragedy of " Douglas," and Gar-
rick's version of " Catherine and Petruchio " as an afterpiece. In
previous years it had been per- Douglas.
formed with Mr. Harman as Nor- Douglas Mr. Hallam

Lord Randolph Mr. Douglass

val, Mr. Reed as Glenalvon and cienalvon Mr. Wall

Mrs. Morris as y3«;««. In the other ^orval Mr. Morris

Anna Mrs. Harman

parts the cast was the same as Lady Randolph Mrs. Douglass

when the tragedy was played for Mr. Douglass' benefit in New York,
in 1762. It is a singular fact that the Shakspere comedy, or
rather farce, was not only originally played in America as ar-
ranged by Garrick for Drury Lane, in 1754, but that it contin-
ued to be so played until 1887, when the "Taming of the Shrew"

THE SOUTHWARK THEATRE.

157

was produced for the first time in its entirety by Augu,stin Daly, in

New York. Since the appearance of Mr. Hallam and Miss Cheer in

the two title roles, the parts have Catherine and, Petruchio.

been filled by such noted players „ , . ,,. ^,

■' '^ ■' Cathenne Miss Cheer

as Cooper and Mrs. Mason (l 8 14); Petruchio Mr. Hallam

Hortentio Mr. Douglass

Macready and Mrs. Darley (1827); G„^io Mr. Morris

W. B. Wood and Mrs. Sharpe ^^P^^^'^ ^■^- ^,7'^°^

^ Biondello Mr. Wall

(1839); Vandenhoff and his daugh- Music Master Mr. Allyu

Peter Mr. WooUs

ter,MissVandenhoff(i839);Coul- ^^^^^ Mrs. Wall

dock and Mrs. Hoey (1850) ; Ed- ^urds Mrs. Hannan

win Booth and Ada Clifton (1862); and finally (1887) John Drew and

Ada Rehan in the "Taming of the Shrew." But only the original

Catherine in this country, Miss Cheer, chose the part for her debut.

Whitehead's " School for Lovers " at this time was still a

new play in London. It was played only once in Philadelphia

School for Lovers. during the season of 1 766-7, so

Sir John Dorilant Mr. Douglass far as the records show, for al-

Modely Mr. Hallam r ht- tt i

Belmour Mr. Wall though announced for Miss Hal-

f 7^°'^ • :/'S^^''' lam's benefit, the benefit was post-

Lady Beverly Mrs. Harman

Celia Miss Hallam. poned. Garrick was the original

Sir John, Mrs. Clive the Araminta and Mrs. Cibber the Celia.

It is probable that "Jane Shore," the play announced for
the third night of the season, was not performed, a notice
appended to the advertisement Notice.

of the "Beggars' Opera" indi- *^* The Director"^Theatre begs leave

eating that want of patronage t° ^^^''^ '^^ "^o^" '^^' ^°y '^^ *".'"';^ °° ^""

dience be it ever so small will be disappointed
had caused it to be postponed. upon any account whatsoever, and that the play
T , 1 1 .1 , advertised will be certainly performed.

In those days theatre-goers re-

IS8 HISTORY OF THE AMERICAN THEATRE.

fused to be trifled with, as is shown by Mr. Douglass' apol-
ogy. The cast of Gay's work on this occasion was noteworthy for
Beggars' Opera. the introduction of Old Maid.

Mr.Woollsasj^a^-

Macheath Mr. WooUs ' Old Maid . Mrs. Haiman

Peachum Mr. Allyn heath, and MisS Captain Cape Mr.Douglass

Lockit Mr. Tomlinson Clerimont . . Mr. Hallam

Filch Mr. Wall Wainwright as Mr. Harlow . . Mr. Allyn

Beggar ... Mr. Morris p^^ Jhese sing- ^"^^""^^ 'm '' m°"'

Jemmy Twitcher . Mr. Matthews "^ ° Tnfle .... Mrs. Morns

Moll Brazen . . .Mr. Douglass ers were both pu- ^''^- barlow . Miss Cheer

Lucy Mrs. Morris

Mrs. Peachum . . Mrs. Harman pils of the celebrated Dr. Arne. Mr.

Mrs. Coaxer . . Mrs. Tomlinson M Vi ' ^^ <- A a\^ "CWA

Mrs. Slammekin. Miss Dowthwaite r J Jt

Polly Miss Wainwright Maid," originally produced at Drury

Lane, in 1761, had its first presentation in America as the afterpiece
to the " Beggars' Opera," on this occasion. It is worthy of particular
mention as the first of Murphy'.s many pieces produced on the Ameri-
can stage before the Revolution.

The first of Shakspere's tragedies presented this season was
"Richard III," with Mrs. Gibber's little farce, the "Oracle," as the
afterpiece. The cast of the tragedy is only important in showing the
re-arrangement of the parts since Richard III

its last production. Mr. Douglass

, , 1 1 T,r T T Richard Mr. Hallam

had succeeded Mr. Harman as ^i^^mond Mr. Douglass

Richard, but Hallam now sue- King Henry Mr. Morris

Prince Edward Mr. Godwin

ceeded Douglass, the two latter Duke of York Miss Dowthwaite

exchanging parts. Instead of Buckingham Mr. Wall

^ ^ ^ Stanley Mr. Allyn

Mrs. Morris, Miss Cheer was the Tressel Mr. Douglass

. Catesby Mr. Tomlinson

Lady Anne. The afterpiece was ^^j^ng- Mr.WooUs

a translation from the French, ex- Lady Anne Miss Cheer

Duchess of Yoiic Mrs. Harman

ecuted by Mrs. Gibber for her Queen Elizabeth Mrs. Douglass

THE SOUTHWARK THEATRE. 159

benefit at Covent Garden, in 1752. The character of Cynthia was little
more than a transcript from Shakspere's Miranda. Mr. Hallam was
evidently determined to shine in Oracle
Shaksperean parts this season; for Cynthia TTT . . Miss Hallam

a week after his first appearance <^'^«''°° ^"■- '^^^l

Faiiy Queen Mrs. Douglass

as Richard he played Shylock,

and followed this part two weeks later with Hamlet. In the meantime,
Merchant OF Venice. however, he ap- Constant Couple.

Shylock .T^r. Hallam '^^^'^^ '""^ '" Sir Harry Wildair . Mr. Hallam
Bassanio .. Mr. Douglass COmedy and trag- Colonel Standard . Mr. Douglass

... A/r -r V Beau Clincher . . . Mr. AUyn

Antonio . . Mr. Tomlmson , , . . ■'

Gratiano . . ." . Mr. AUyn ^^J^' ^"'^ '" ^^'^'^^ Young Clincher . . . Mr. Wall

Launcelot ... Mr. Morris _ as Sir HarrV Alderman Smuggler . Mr. Morris

Lorenzo ... Mr. Woolls ^'"^^'^ .... Mr. Tomlinson

Salanio Mr. Wall Wildair in the Dickey Mr. Woolls

Salarino .. Mr. Matthews ,<^ , .^ , „ ^^^^^''^^ .... Miss Cheer

T . ,,. „r ■ . , , "Constant Couple, Lady Darling . Mrs. Tomlinson

Jessica . . Miss Wamwright '^ ' ° .

Nerissa . . . Mrs. Harman nlaved orifinallv in ar y . . . . g

pidycu uiigiiiaii^ 111 Mob''! Wife Mrs Harman

Portia .... Miss Cheer ^^°^ ^ ™"^ ^"- "a™^°

this country by Mr. Lady Lurewell . Mrs. Douglass

Singleton, when, as Master Lewis Hallam, he was only the Dickey;

as Varanes in Lee's tragedy of " Theodosius," advertised for the 26th

Theodosius. of December, a part Tamerlane.

Varanes . . . Mr. Hallam he had played in New ^ Tp .

Theodosius . . Mr. Morris ^ ' Monesses . . A Gentleman

Marcian ... Mr. Douglass York four years be- Bajazet .... Mr. Hallam

Atticus .. Mr. Tomlinson ^ ^ ,^ ,, ., Tamerlane .. Mr. Douglass

Leontine .... Mr. Allyn ^O^e for Mrs. MorriS Axalla Mr. Wall

Aranthes . . . . Mr. Wall benefit, Mr. Morris ^'^'^ ■ - Mr. Morris

Lucius • . . . .Mr. Woolls Omar ... Mr. Tomhnson

Pulcheria . . Mrs. Harman then, aS now, having Pr'nce Mr. Allyn

Marina . . . Miss Hallam , , . , , , ^^* M"^- ^'^"

FlaviUa . Miss Wainwright ^^ title-role; and as Mirvan . . . . Mr. Woolls

Julia. . . Miss Dowthwaite Bajazet in Rowe's ^f ' ' " -^'-.^i,^'"
Delia . . . Mrs. Tomlinson Sehma .... Miss Cheer

Athenais . . . Miss Cheer " Tamerlane," another Arpasia . . Mrs. Douglass

part which he had previously made his own. As a rule Mr. Hallam

i6o HISTORY OF THE AMERICAN THEATRE

kept aloof from the afterpieces as not comporting with his position
in the company. The afterpiece to Farquhar's comedy on this night,

December 19th, was the popular farce of the "Devil to Pay," in which

Devil to Pay. ^^.^^ ^^^^.j^ ^^^ ^^^^^^

SirJohnLoverule Mr.Woolls compensated with '

Jobson .... Mr. Tomlinson ^ Drunken Man . Mr. Hallam

Butler Mr. Morris the part of Nell, ^sop .... Mr. Douglass

Coachman Mr. AUyn Frenchman ... Mr. Allyn

F°°t— Mr. Wall ^r havmg been ^^^ Man . . . Mr. Morris

Doctor .... Mr. Douglass left out of the COm- Mercury ...Mr.Woolls

Lady Loverule . Mrs. Harman pj^g Gentleman . Mr. Wall

Lucy .... Mrs. Tomhnson edy, but Mr. Hal- charon . . Mr. Tomhnson

Lettice . . . Miss Dowthwaite ^„.„„.^j u;,^ Mrs. Tattoo . Mrs. Harman

Nell Mrs. Morris lam Contented him-
self with his role in the comedy. Oddly enough, however, he
played the Drunken Man in " Lethe," after appearing as Varanes in
" Theodosius." It was probably his desire to show his versatility that
Hamlet. induced him to play Mock Doctor.

„ , ^ ~ ^ .. such diverse parts on Mock Doctor . . Mr. Allyn

Hamlet . . . Mr. Hallam ^. , ,, ,, .

,,. ,, T^ , ii • Sir Tasper . . . Mr. Moms

Kmg . . . . Mr. Douglass the same evenmg. ^ / ,, ,„ „

„ ,. A r^ ., Leander . . .Mr. WooUs

Horatio . . . A Gentleman „ . ^, . .. , „ . „ , ,, „, „

Laertes Mr. Wall But m " Hamlet " he Squire Robert . . Mr. Wall

T, , • * ' ^, ,1 • Tames Mr. Piatt

Polonius . •• Mr. Moms ^^^ ^^Xy Hamlet. He Harry . . . . Mr. Godwin

Ghost . . , Mr. Tomhnson ,., , ; ,, .„ ,.

„ . -,, ^ 3 • i. i „; 1, 4. Helebore . . Mr. Tomhnson

Osnc ^. . -Mr^Go^dwin was twenty-s,x, but ^^^^j^^^^ _ _ ^^^^^^^

Be^ardo".^ ■. ■. m" PlI!J ^e had played the Dorcas Mrs. Morris

Rosencranz . . Mr. Woolls p^^t five years before at the Chapel Street

Player Queen . Mrs. Harman

Queen . . . Mrs. Douglass Theatre in New York, when he was only

Ophelia .... Miss Cheer .ii,,r t.t • ^.rr-

twenty-one, with Mrs. Morris as Uphelia, in-
stead of Miss Cheer, and Mrs. Hallam, his wife, as the Player
Queen, instead of Mrs. Harman. The tragedy was followed by the
farce of the " Mock Doctor," but while the Dorcas was the same as
before, the King in the play now refrained from appearing as Gregory
in the farce.

THE SOUTHWARK THEATRE.

i6i

Orphan of China.

After " Hamlet " the next full piece in the list was Murphy's
"Orphan of China," which was then produced for the first time in
America. It was characteristic
of the theatrical taste of the time
that Arthur Murphy's only trag-
edy, which was far inferior in
merit to his comedies, should pre-
cede them on the American stage.
Its production was due, perhaps,
to Mrs. Douglass' desire to appear

Zamti Mr. Douglass

Zapheniri Mr. Hallam

Timurkan Mr. Allyn

Hamet Mr. Wall

Mirvan Mr. Morris

Octar - Mr. Tomlinson

Orasming Mr. Greville

Zimventi Mr. WooUs

Messenger Mr. Godwin

Mandare Mrs. Douglass

Beaux' Stratagem.

in a role in which Mrs. Yates had found her first opportunity to dis-
play her tragic powers. A week later Farquhar's masterpiece, the

" Beaux' Stratagem," was again
reproduced, and with it Murphy's
farce, the " Upholsterer." This
farce, first acted at Mr. Mossop's
benefit at Drury Lane, was founded
on Nos. 155, 160 and 178 of The
Tattler. No cast of its first pro-
duction in this country has been
found. Farquhar's comedy had
now been familiar to play-goers
for the long period of sixty years.

Archer Mr. Hallam

Aimwell Mr. Douglass

Sullen Mr. Wall

Foigard Mr. Allyn

Freeman Mr. Greville

Scrub Mr. Morris

Gibbet Mr. WooUs

Boniface Mr. Tomlinson

Honslow Mr. Godwin

B^shot Mr, Piatt

Dorinda Miss Hallam

Lady Bountiful Mrs. Harman

Cherry Miss Wainwright

Gipsy Mrs. Wall

Mrs. Sullen Miss Cheer

When it was originally produced at the Haymarket in 1707 the dra-
matist attributed its success to the acting of Mr. Wilks. The fact that
it held the stage for more than a century after Farquhar's death and
continued to be frequently acted both in England and America is a
proof how little it owed to any actor.

1 62

HISTORY OF THE AMERICAN THEATRE.

When Mr. Congreve's " Mourning Bride " was announced for

the 26th of January, the advertisement was accompanied by a curious

note of explanation. It is to be regretted that there was no capable

An Explana tion. dramatic critic in Philadelphia at

V Mr. Congreve's comedies are allowed that time tO put On record his
to abound with genuine wit and true humor;

but in comphance with the licentious taste of Opinion of the manner in which

the time in which they were written the -bt .^ . .

.,, T, ■ , • »!, ■ , Mr. Congreve s trasredv was croo-

author has m some places given the rem to ° "S^"/ ""■^ y-iKj^

his wanton muse and deviated from those ped on that Occasion. This waS
rules a more refined age and chaste stage

require : The reviser of this play has taken the great dramatist's Only tragedy,

the freedom to crop such luxuriances and 1. im-. ■ r ■ ■..

n, » ■ u. ^ cc but while It was mferior to his

expunge every passage that might be offen-

sive either to decency or good ipanners. comedies it waS even more popu-

lar. Zara was one of Mrs. Siddons' great parts. As the afterpiece
to Congreve's tragedy Townley's farce, " High Life Below Stairs," was

Mourning Bride.

Osmyn .... Mr. Hallaui

King Mr. Douglass

Gonzales Mr. Morris

Garcia Mr. Wall

Hali Mr. Tomlinson

Selim Mr. Godwin

Alonzo Mr. Greville

Perez Mr. AUyn

Mutes fMr.Woolls

mutes . . • • -j^ Mr. Piatt

Zara Mrs. Douglass

Almeria ..... Miss Cheer
Attendants J Mrs. Tomlinson

to Zara . . \ Mrs. Wall
Attendants f Miss Wainwright

to Almeria 1 Miss Hallam

presented. The
author of this
farce was a cler-
gyman. It was
at this time com-
paratively new,
having been ori-
ginally produced
in 1759. It was

High Life Below Stairs.

Lovel Mr. Hallam

Freeman .... Mr. Douglass

Lord Duke Mr. Wall

Sir Harry Mr. AUyn

Philip Mr. Morris

Coachman .... Mr. WooUs

Tom Mr. Tomlinson

Kingston . . . Mr. Matthews

Cloe Mr. Piatt

Lady Charlotte. Miss Wainwright
Lady Bab .... Miss Hallam

Cook Mrs. Harman

Kitty Miss Cheer

a very diverting

picture of life in the servants' hall at the
period when it was written. Mr. Lovel, a wealthy commoner, pre-
tending to go to his country-seat in Devonshire, assumes the character
of a country bumpkin from Essex, and puts himself under the charge
of his own butler. In this character he participates in a large supper-

THE SOUTHWARK THEATRE. 163

party given by Philip, the butler, at which his servants assume the
titles of his friends. In the midst of the feast he reveals himself and
dismisses all his domestics, except Tom, who has received scant courtesy
from the rest. This was one of the few farces in which both Mr. Hal-
lam and Miss Cheer condescended to appear.

The next bill on the list comprised " King Lear " and another
of Murphy's farces presented for the first time, the "Citizen."
As with the "Upholsterer," no Ki ng Lea r.
cast of this farce has been pre- Lear Mr. Hallam

Edgar Mr. Douglass

served. In the tragedy Mrs. Edmund Mr. Wall

T^ , • 1 1 1 ^ » 7- Gloster Mr. Morris

Douglass now yielded Cordelia ^^^^^ j^^ ^H^^

to Miss Cheer, and Mr. Hallam ComwaU Mr. Greville

Kent Mr. Tomlinson

appeared for the first time in the Usher Mr. Godwin

. 1 ^ ^.^, , . . ^ Burgundy Mrs. Wall

mighty title-role, m succession to ^J^^^ \ Miss Wainwright

Mr. Harman. Hallam retained Regan Mrs. Harman

Arante Mrs. Tomlinson

the part for many years, but finally Cordelia Miss Cheer

was compelled to concede it to younger and more powerful actors.

A week later (February 2d) came Addison's " Cato " and Dr.

Cato. Smollett's farce, the Reprisal.

Cato . . . .Mr. Douglass "Reprisal." In the M. Champignon . . Mr. AUyn

Sempronius . . Mr.Hallam Lieut. O'Claber . . Mr. Morris

Fortius . . .A Gentleman tragedy MlSS Cheer Ens'nMcCIaymore.Mr.Douglass

(Being his first appearance) ^^^^^^^^^ ^jrs. Block Mr.Hallam

M^ ^'■- ^^" Lieut. Lyon . . Mr. Broadbelt

Syphax .... Mr. AUyn DouglaSS aS Mar- Heartly ..... Mr. Greville

Marcus. . . . Mr. Godwin . , . m ^rush Mr. Wall

Lucius ... Mr. Tomlinson Cta, but MeSSrS. jj^j^^^^ y^^ -^^^jj^

Decius . . . MrJVooUs 00^1^35 and Hal- Miss Harriet . . Miss Hallam
Lucia .... Mrs. Harman '^

Marcia .... Miss Cheer lam retained the roles they had previously
played. In the farce AUyn played the Frenchman, Morris the Irish-
man, Douglass the Scotchman and Hallam the Englishman.

i64 HISTORY OF THE AMERICAN THEATRE.

Upon the production of " Romeo and Juliet " Mrs. Douglass for

the first time relinquished Shakspere's youthful heroine, which was in

keeping with her een- mkvm.

Romeo and Juliet. ^ ^ ^ miser.

eral surrender of her

Romeo .... Mr. Hallam " Lovegold .... Mr. Allyn

Mercutio . . Mr. Douglass P^^S tO MlSS Cheer Frederick . . Mr. Douglass

r- i„t Aj, i/r _• . Clerimont .... Mr. Wall

Capulet . . . .Mr. Moms ^j^is season. In the T^es Mr Tomlinson

Friar Lawrence . Mr. Allyn J^^^ . . . Mr. lomlmson

Montagu . . Mr. Tomlinson " Miser," the produc- ^^""^ .... Mr. Morris

Escalus ... Mr. Broadbelt . , , . , , S^'''° .... Mr. GreviUe

-p l^ajt jyj^ -yYail tion OI whlch preceded Sparkle .... Mr. Woolls

Paris . ". '. ". '. Mr. Woolls that of "-Rnmen anH ^""'''' ^^^ ^'^"

Benvolio . . . Mr. Godwin ^ ^^ ""^ ^"""^^ ^""^ ^^^^A^oy . . . Mr. Godwin
Balthazar. . . Mr. GreviUe Juliet," she waS an- R^milhe . . Mr. Hallam
Friar John . . . Mr. Piatt ^ ^ „^ ^^™^' • • ■ Miss Hallam

Lady Capulet. Mrs. Douglass "OUnced for Mrs. Mrs. Wisely . Mrs. Tomlinson
Nurse. . . . Mrs. Harman Wiselv but o-avp ,m ^^^^^^ ' * • ^rs. Harman

Juliet Miss Cheer '^"^^-^' ^ut gave up ^^^.^^ ^^^ ^^j

the part, and in the Mariana .... Miss Cheer
" Conscious Lovers," which followed, she played Isabella, instead of
her previous role of Indiana. As Miss Wainwright was excluded
Conscious Lovers. fj-Qm acceptable roles Damon and Phillida.

Young Bevil . . Mr. Hallam Jjj ^^ tragedies and Damon .... Mr. WoolU

Sealand ... Mr. Douglass Mopsus ... Mr. Hallam

Myrtle .... Mr. Wall COmedieS,Cibber'sbal- Cimon Mr. Wall

SirJohnBevil. Mr. Broadbelt , , ^ . Areas Mr. Allyn

Cymberton . . . Mr. Allyn ^^d farce waS given ^^^^^^ ^r.^Jr..

Tom Mr. Morris ^g ^he afterpiece to Phillida . Miss Wainwright

Humphrey . Mr. Tomlinson

Daniel .... Mr. Godwin the " Conscious Lovcrs," to afford her an

Isabella . , . Mrs. Douglass .... _, ,

Phillis . . . Mrs. Harman opportunity in a Singing part. The only new
Mrs.Seal'ndMissWainwright pjgce among these productions was the

Lucmda . . Miss Hallam

Indiana .... Miss Cheer " Miser." There are a number of comedies
called by this name, beginning with one by Shadwell, 1672. They
were all based on the "Avare" of Moliere. This was Fielding's
version, of which Mr. Murphy said it had the value of a copy from a
great painter by an eminent hand.

THE SOUTHWARK THEATRE.

i6s

The next bill (February 20th) comprised Farquhar's " Incon-
stant," a comedy requiring a strong cast, and Bickerstaff's "Thomas
and Sally," then given for the Inconstant.

first time. In the comedy Mr. Young Mirabel . 777 ... Mr. Hallam

Hallam played one of those hand- Old Mirabel Mr. Morris

Capt. Duretete Mr. Douglass

some, dashing young rakes that Dugard Mr. Wall

, , ^ ., , . - , Petit Mr. Tomlinson

could not fail to satisfy any actor, p;^^j g^^^^ I^^ ^n^^

but his Oriana, being no longer Second Bravo Mr. Broadbelt

Third Bravo Mr.WooUs

young, was some excuse for his Fourth Bravo Mr. Greville

, , , , , , Oriana Mrs. Harman

inconstancy. Although the plot l^„,^^ ^^^^ Wainwright

turns upon Oriana' S love for Young Bizarre Miss Cheer

Mirabel, and she saves him from the Bravos in the house of Lamorce,

Miss Cheer's role of Bizarre has always been the favorite one with

Thomas and Sally. leading actresses, and it was in

this part that Mrs. Yates took her
farewell of the stage in 1799.
The farce was a musical enter-
tainment, for which the celebrated Dr. Arne, the instructor of Mr.
Woolls and Miss Wainwright, composed the music.

This season was remarkable for the number of new comedies
produced as afterpieces, Foote's " Mayor of Garratt," presented with
the tragedy of "George Barnwell," Georg e Barn well.

being among them. The tragedy, '^^"'S^ Barnwell Mr. Hallam

Thorowgood Mr. Douglass

as produced this season, is only Truman Mr. Morris

interesting to the student of dra- ^ °'„\' ' ; ; ; ; / ; ; ; / Mr:-^mlt"on
matic history because of the '^^"a Miss Hallam

Lucy Mrs. Harman

changes in the cast, but the Millwood Miss Cheer

comedy was a novelty, and it was the first of Foote's works seen on

Dorcas Miss Cheer

Sally Miss Wainwright

Squire , Mr. Woolls

Sailor Mr. Wall

i66

HISTORY OF THE AMERICAN THEATRE.

Mayor of Garratt.

the American boards. Foote played Major Sturgeon when the piece
was originally produced at the Haymarket in 1763, hvX Jerry Sneak,

frequently played in this country
by the elder Booth, became in the
hands of Russell — Jerry Sneak
Russell — the part of the piece as
a type of the henpecked husband.
The part of Matthew Mug was
intended as a caricature of the
Duke of Newcastle. The origin
of the Sneaks and Bruins, it has

Mr. Hallam
Wall

Major Sturgeon f

Matthew Mug \

Jerry Sneak f j^^.

Lint \

Sir Jacob JoUop Mr. Tomlinson

Bruin Mr. Douglass

Crispin Heel-tap Mr. Morris

Roger , Mr. Godwin

Snuffle Mr. Piatt

First Mob Mr. WooUs

Second Mob Mr. Matthews

Third Mob Mr. Broadbelt

Fourth Mob Mr. Allyn

Mrs. Bruin Mrs. Harman been claimed, is found in Bisket

Mrs. Sneak Miss Cheer ,_.,,, , 1 ■

and Iribble, and their respective

wives in the " Epsom Wells " of Shadwell, which, by the way. Shad-
well's contemporaries said was not his.

The second of Congreve's pieces produced at the Southwark
Theatre was " Love for Love."
hold the stage, Ben, the sailor,
being a favorite part with Jack

This comedy long continued to
Love for Love.

Bannister and Miss Prue with Mrs.
Jordan. It was acted in this coun-

Valentine Mr. Douglass

Ben Mr. Hallam

Sir Sampson Legend .... Mr. Tomlinson
Foresight Mr. Morris

try almost as oilen as in England, Scandal .' . . Mr. AUyn

Tattle Mr. Wall

being originally produced by jeremy Mr. Godwin

■.r J T7- I /-• Buckram Mr. Greville

Murray and Kean s Company. . ,. ,,. ,^ „

-' ^ ■' Angelica Miss Hallam

Afterward the elder Hallam Mrs. Frail Mrs. Douglass

Mrs. Foresight Mrs. Wall

played Ben and Rigby Valentine. Nurse Mrs. Harman

The cast on this occasion showed ^'^= ^"^ Miss Cheer

Mr. Hallam in his father's part, but is especially noteworthy because

THE SOUTHWARK THEATRE. 167

of Mrs. Douglass' acceptance of Mrs. Frail, the part in which Mrs.

Adcock made her American debut. The next piece on the Hst was

Provoked Husband. Vanbrugh and Cib- Harlequin Collector.

~^ ber's " Provoked Harlequin . . Mr. Hallam

Lord Townly . . . Mr. Hallam ^^^^ _ _ _ . Mr. Morris

Manly Mr. Douglass Husband, With the MJUer Mr. Allyn

SirFrancisWronghead Mr.Morris • r , Magician ".'.'. Mr. WooUs

Squire Richard . . . Mr. Allyn pantomime of the ^^^^^ _ _ . Mr. Douglass

Count Basset . . . .Mr. Wall " Harlequin Collec- Porter . . . Mr.Tomlinson

John Moody . . Mr. Tomlinson ^^^^^ Mr. Wall

Lady Grace . . Mrs. Douglass tor. In the trag- skeleton . . Mr. Matthews

Lady Wronghead. Mrs. Harman m-ii. .. m.= t Mr.Broadbelt

Miss Jenny . . . Miss Hallam e^y MlSS Cheer waS Miller s Men | j^^ ^^^^^^^

Mrs. Motherly . MissWainwright 4-j,g Ladv Townlv Columbine . . . Miss Cheer
Myrtilla Mrs. Wall

Trusty Mrs. Morris for the first time. It will be observed that

Lady Townly . . . Miss Cheer , « i • i ■ t~.

she appeared also m the pantomime. Dry-
den's version of the love episode of Antony and Cleopatra, "All for
Love," had its first representation in America this season, with Mr.
Hallam as the Roman conqueror, all for Love.

who lost all for love of the beauti- Marc Antony Mr. Hallam

c t -T' i- 1 T^ii- /-I • Ventidius Mr. Douglass

ful Egyptian, and Miss Cheer in ^^^^^^^ Mr. Wall

the part in which Mrs. Oldfield Alexas Mr. Morris

Serapion Mr. Tomlinson

and Peg Woffington were un- Myris Mr. Woolls

rivaled. There were two debuts °f^^ .;.^w^°"^'t'

Charmion Miss Wainwnght

in this piece — ^those of Master Iras Mrs. Wall

Cleopatra Miss Cheer

Hallam and Miss Tomlinson as Antonius Master Hallam

Antony's children. It will be (His first appearance on any stage.)

Agrippina Miss Tomlinson

readily supposed that Miss Tom- (Her first appearance on any stage.)

linson was the daughter of Mr. and Mrs. Tomlinson, of the company,

but this Master Hallam has never been mentioned by any of the

American historians. The inference is that he was the son of Lewis

Hallam and of the Mrs. Hallam who was with the company in 1761-2.

1 68 HISTORY OF THE AMERICAN THEATRE.

One of the most interesting bills of the season was the pro-
duction, for the first time in this country, of Gibber's " Love Makes

a Man" and Colman's farce, the

Love Makes a Man. '

Clodio 777. . .Mr.Hallam "Deuce is in Him." The comedy

Carlos Mr. Douglass ^^s One of Gibber's earlier pro-
Don Lewis Mr. Morris

Antonio Mr. Allyn ductions, its first performance at

Charius Mr. Tomlinson _^ _ , . ,

DoaDuart Mr. Wall ^rury Lane bemg as early as

Governor Mr. Greville \'JQ\, The SprightlineSS of C/Offw

Monsieur Mr. Godwin

Priest Mr. WooUs and the manly tenderness and

Page Miss Dowthwaite c /- t j i.^.

Lawyer Mr. Piatt openness of C«r^J were, no doubt,

Louisa Mrs. Douglass temptations to Hallam and Doug-
Elvira Miss Wainwright

Honoria Mrs. Wall lass, and it may be that its first

Angelina Miss Cheer , , . . , , . .

production in this country was
so long delayed because of the elder Lewis Hallam's misfortune
in the part of Don Lewis at Govent Garden. The farce was new,
having been first acted at Govent Deuce is in Him.

Garden, in 1762, where it met Colonel Tamper Mr.Hallam

Major Belfort Mr. Douglass

With a success almost as great as prattie Mr. Wall

that of the "Beggars' Opera" in ^ad. Florival Mrs. Harman

'="' ^ Bell Miss Wainwright

its first season. But even more in- Emily Miss Hallam

teresting was the first production, in America, this season of " Love

Love in a Village. in a Village." According to the

Justice Woodcock .... Mr. Douglass Pennsylvania Gazette Bickerstaff's

Hodge Mr. Hallam

Hawthorn Mr. WooUs comic Opera was " done here be-

Sir William Meadows Mr. Morris , ^ i- d j i.i. ■,.•,

-ir ,, , ,, ,„ „ yond expectation, and the critic

Young Meadows Mr. Wall •' '^

Eustace Mr. Allyn says " Miss Wainwright is a very

Rosetta Miss Wainwright

Lucinda Miss Hallam good Singer and her action ex-

?J™ ■ • .!^''-^'™'° ceeds the famous Miss Brent;

Mrs. Deborah Mrs. Douglass

THE SOUTHWARK THEATRE. 169

Mr. Hallam exceeds everything in the character of Hodge, and Mr.
WooUs almost equals Beard in Hawthorn!' The piece was still new,
even in London, having been originally presented at Drury Lane in
1763. It is based upon the episode of "Lindor," in Marmontel's
" Tales," but the character of Madame Florival was taken from a
story originally published in the British Magazine.

A number of pieces which the American Company had made
familiar to the play-going public were reproduced in quick succession,

Macbeth. among them the " Earl of Essex," " Macbeth,"

Macbeth ... Mr. Hallam the " Gamester," and " A Bold Stroke for a

Macduff . . Mr. Douglass -^jfgV jj^ ^jj Earl of Essex.

Duncan .... Mr. AUyn '

Banquo .... Mr. Morris these the castS Essex Mr. Hallam

Lenox Mr. Wall Southampton .... Mr. Douglass

Seyton . . . Mr. Tomlinson were almost Burleigh Mr. Morris

") Mrs. Harman 1 t- 1 ^'' Walter Raleigh . Mr. Tomlinson

Witches I Miss Wainwright Completely re- Ljeutenantof the Tower . Mr. WooUs

J Mrs. Tomhnson modeled MisS Q"«^° Elizabeth . . Mrs. Douglass

Malcolm. . . Mr. Godwin ' CountessofNottingham Miss Hallam

Donaldbain ... Mr. Piatt Cheer obtaining Countess of Rutland . . Miss Cheer
Fleance . Miss Dowthwaite

Officer ... Mr. Greviile the leading female roles. With the " Game-
fTt ". V ^^'^^T" ster " a new pantomime, " The Witches," was

Lady Macduff . Mrs. Douglass *

Lady Macbeth . Miss Cheer given for the Gamester.

first time. Anew pantomime was cer- Beverly Mr. Hallam

Witches. tainly needed, f'"^^'^ *^'\?"£'',^

■' ' Lewson Mr. Wall

Harlequin . . Mr. Hallam the Well-worn Jarvis Mr. Morris

Pantaloon . . . Mr. Morris Dawson Mr. Allyn

Petit Maitre . . Mr. Allyn "Harlequin Col- Bates Mr. Tomhnson

Statuary . . . Mr. Douglass i j. » -u • Charlotte Mrs. Harman

Constable . . Mr. Broadbelt ° Lucy Miss Wainwright

Cook .... Mrs. Harman become thread- Mrs. Beverly .... Miss Cheer

Mercury . . . Mr. WooUs

Pierot ... Mr. Tomlinson bare. This was the piece invented by Mr.

^^^^' -y^^y^f Love, and acted at Drury Lane in 1762. It

Necromancer . Mr. Woolls

Columbine . . Miss Cheer seems identical with "Harlequin Restored."

170

HISTORY OF THE AMERICAN THEATRE.

When the benefits began a number of new pieces were pro-
duced. Miss Cheer chose for her night Colman's "Jealous Wife,"

Jealous Wife.

making her first appearance as
Mrs, Oakley. The comedy had
been originally produced at Drury
Lane, in 1761, with prodigious
success, Mr. Garrick playing Oak-

Jealous Wife Miss Cheer

Oakley Mr. Hallam

Major Oakley Mr. Douglass

Charles Mr. Wall

Russet Mr. Morris

Sir Harry Beagle Mr. Allyn

Lord Trinket Mr. Hallam ley. The groundwork of the play

Captain O' Cutter Mr. Allyn

■Pom Mr. WooUs '^^^ taken from Fieldmg s " Tom

J°^" Mr.Tomlinson jones," the cpisode of Sophia tak-

William Mr. Matthews J ' i' i-

Harriet Miss Hallam ing refuge at Lady Bellaston's

Toilet Mrs. Harman

Betty Miss Wainwright ^ouse servmg as an underplot for

Lady Freelove Mrs. Douglass j^e exhibition of the henpecked

husband and his domineering and termagant rather than jealous wife.

Mr. Douglass for his benefit, besides Howard's familiar play,

the " Committee," and a recitation by Mr. Hallam of " Bucks, have at

Committee. y^ all," gener-

ally called in

Drummer.

Colonel Careless . Mr. Douglass

Colonel Blunt ... Mr. Hallam the bills of the

Teague Mr. Allyn

Abel Mr. WooUs

Bailiff Mr. Piatt

Soldier Mr. Matthews

Mrs. Day . . . Mrs. Douglass house,"
Arabella .... Miss Hallam
Mrs. Chat . . Mrs. Tomlinson
Ruth Miss Cheer

Tinsel Mr. Hallam

Sir George Truman . Mr. Douglass

Vellum Mr. Allyn

Gardener Mr. Morris

Butler Mr. Wall

Coachman Mr. Greville

Abagail Mrs. Harman

Lady Truman .... Miss Cheer

time a " Pict-
ure of a Play-
pre-
sented for the

first time in America an English farce in
two acts, called the "Spirit of Contradiction." This was a piece
of inferior merit which met with little success at Covent Garden,
where it was originally produced, and with no favor here, Mrs.
Partlett, for which Mrs. Harman was well adapted, being the

THE SOUTHWARK THEATRE.

171

only good part in the farce. That excellent actress for her own
benefit contented herself with Spirit of Contr adiction.
Addison's " Drummer," its first '^■^^ Mr. Hallam

Steer Mr. Douglass

production this season, and a Lovewell Mr. Wall

^ „ „ ,, . J Mr. Partlett Mr. Morris

repetition of "Catherine and ^^^^ Mr. AUyn

Petruchio," and Mr. Morris fol- Miss Harriet Miss Wainwright

Betty Mrs. Morris

lowed with the "Beaux' Stratagem" Mrs. Partlett Mrs. Harman

and " Don Quixote in England " as the afterpiece. Although Field-
ing's comedy had long been a favorite in London, where it was
Don Quixote in England. acted at the little theatre in the

^ ^ . ,T TT „ Haymarket as early as 1733,

Don Quixote Mr. Hallam •' j 1 jjj

Sancho Panca Mr. Morris this WaS its first production in

Grizzel Mr. Douglass . ,,,,.. .,, ,

Squire Badger Mr. Wall America. Macklin, It Will be re-
Sir Thomas Mr. Tomiinson membered, was the Squire Badger

Fairlove Mr. Greville

John Mr. AUyn the night he killed Thomas Hal-
Cook Mr. Woolls

Jezebel Mrs. Morris lam at Drury Lane.

Dorothea Miss Wainwright ]y[j._ Hallam in his own be-
half, eager, no doubt, to appear as Postkumus, presented Shakspere's
" Cymbeline " for the first time in Cymbeline.
this country. As with " Gather- posthumus Mr. Hallam

ine and Petruchio," it was the

lachimo Mr. Douglass

Cymbeline Mr. AUyn

Garrickversion produced at Drury Cloten Mr. Wall

Belarius Mr. Morris

Lane in 1761 that was first seen caius Lucius Mr. Tomiinson

on the American stage. Although Guiderius T; ^r'!!^

Arviragus Mr. Woolls

Miss Cheer was the original Imo- Doctor Mr. Piatt

Philario Mr. Morris

gen in this country, the part was p;^^^^;^ ji,^ H^^3„

that in which Mi.ss Hallam was Q"««° Mrs. Douglass

Helen Mrs. Tomiinson

destined to win her chief renown. Imogen Miss Cheer

172 HISTORY OF THE AMERICAN THEATRE.

Miss Wainwright, not content with a comedy, the " Country

Lasses," new to American theatre-goers, gave also a new farce, the

Country Lasses. " Chaplet." The comedy, which

^, ^^ „ had been originally acted as early
Modely Mr. Hallam & / /

Heartwell Mr. Douglass aS I/IS, Comprised tWO distinct

Sir John English Mr. AUyn tt, . i .

Freehold Mr. Morris plots, one borrowed from Fletcher's

L"^'^!'^'^ Mr. Wall "Custom of the Country," and the

Vulture Mr. Tomlinson ^

Sneak Mr. Woolls other from Mrs. Behn's " City

Longbottom Mr. Greville -_ . ,

Carbuncle Mr. Broadbeh Heiress, who, m her turn, had

Shacklefigure Mr. Piatt appropriated Middleton's "Mad

Countryman Mr. Matthews

Flora Miss Wainwright World, my Masters." In this

Aura Miss Cheer . i i ■ r r-

piece the character of larmer

Freehold, played by Mr. Morris, was the most admirable. The after-
piece was a musical entertainment with some excellent music by
Boyce. It was first given at Chaplet.

Drury Lane, in 1749. The "Chap- Damon Mr. Woolls

let" belonged to a class of per- ^"'^"'°° Mr. Wall

° "■ rastora Mrs. Harman

formance now unfortunately ban- Laura Miss Wainwright

ished from the stage altogether, but presenting the combination of
pleasing poetry and exquisite music, in itself an argument for the res-
toration of the afterpiece. This production was of course due to
the Laura. In the advertisement of her benefit Miss Wainwright
announced that, having lost a number of tickets, "none but the
stamped ones will be received." A like misfortune befell Mr. Wall,
who advertised the loss of his chest, which contained almost all of his
apparel and nearly a thousand tickets. In consequence he had a new
set printed, on which were engraved the emblems of masonry, to dis-
tinguish them from the stolen ones.

THE SOUTHWARK THEATRE.

^71

Mr. Tomlinson's choice of Thomson's " Coriolanus " was, it
must be confessed, an odd selection, and Mr. Allyn's presentation of
Moses Mendez' " Double Disap- Roman Father.

pointment" could only have been „ ^ , „ ^^ „

Roman Father Mr. Hallam

intended to afford him an oppor- Publius Horatius Mr. Douglass

Tullus Hostilius Mr. AUyn

tunity to play the Frenchman, a Valerius Mr. Wall

class of parts that he affected. Fi>^«t Citizen Mr. Morris

Second Citizen Mr. GreviUe

Mrs. Douglass made a happier Third Citizen Mr. Woolls

, . . , ,. ,^,, . , „ Fourth Citizen Mr. Piatt

choice m addmg Whiteheads v^i^ria Mrs. Douglass

"Roman Father "to the repertoire ^°''^^^ Miss Cheer

of the American Company. In no tragedy, except Shakspere's, have
so many actors been seen to advantage as in the title-role of this great
play. On this occasion Mr. and Mrs. Parker, from the theatre in
Jamaica, appeared as Hob and Flora in the afterpiece. Finally, as the
last new piece of the season. Miss Hallam selected the farce " Neck
Neck or Nothing. o"" Nothing," as the afterpiece for

her night, and notwithstanding

Slip Mr. Hallam

Martin Mr. Morris the performance for her benefit

Belford Mr. Wall ._ ^ c ^^. a. ^

Sir William Mr. AUyn ^^^ postponed from the 1 2th tO

Mr. Stockwell Mr. Tomlinson the 29th of June, because of the

Miss Nancy Miss Hallam

Jenny Miss Wainwright Weather, she retained it, while sub-
Mrs. Stockwell Mrs. Douglass ... .. ,, ^ , ,. „ r .^

^ stituting Cymbelme for the
" School for Lovers." This farce, if it was Garrick's, had not met with
the usual success of his pieces at Drury Lane, where it was laid aside
after being acted only six or eight times.

The heat in Philadelphia in the second week of June, 1767,
must have been intense. Notwithstanding it was said in the announce-
ment of Miss Hallam's benefit, " there are some alterations made in

174 HISTORY OF THE AMERICAN THEATRE. •

the house in order to render it cool," the weather caused its post-
ponement, and some of the company determined not to take benefits
at all. Miss Hallam's was consequently advertised as the last of the
season, but later on the heat moderated, and Mr. Broadbelt and Mrs.
Wall reconsidered their determination. It thus happened that the
Fourth of July had passed before the theatre closed for the summer.

The incidents of the first season at the Southwark Theatre, of
which the prints of the time give a hint, were not of a startling char-
acter. As to the patronage, it was not great, as we learn from the
critic of the Pennsylvania Gazette, already quoted, who regretted that
he could not see the house better filled. One reason for this was that
the old spirit of opposition to the drama was still active. On the 9th of
February, 1767, Gpddard's Pennsylvania Chronicle contained the first
of a series of articles trying to prove the absolute unlawfulness of stage
entertainments. These papers were signed " Philadelphus," and they
were not concluded till the 4th of May. As a matter of fact these
articles were only reprints of the writings against the theatre of Wil-
liam Jay, an English clergyman. According to Mr. Jay, as quoted
by " Philadelphus," theatrical representations are akin to image wor-
ship, and contrary to the spirit of religion. " You go to hear a play,"
he exclaimed, "I tell you, you go to hear ribaldry and profaneness;
that you entertain your mind with extravagant thoughts, wild rants,
blasphemous speeches, wanton amours, profane jests and impure
passions." The editor, however, was careful to explain that the on-
slaught on the worship of images was " no reflection on the Roman
Catholics of this city and Province," but it was boldly asserted that
no actor could be a Christian. The same journal on the i6th of
February contained an article by "Eugenio," who believed he would

THE SOUTHWARK THEATRE. 175

not stand single when he asserted that plays have an evil tendency to
corrupt and debauch the mind, and he declared that even in Shaks-
pere the sublime flights of poesy scarcely atone for the low, droll
buffoonery with which his best pieces abound. These attacks drew
an answer from Mr. Douglass, who wrote to the Chronicle in regard
to " the torrent of incomprehensible abuse of late so plentifully be-
stowed upon the theatre." " I should look forward with terror," he
said, " if I thought myself engaged in a business that could be pro-
ductive of the horrid consequences imputed to it." He enclosed an
essay, dated New York, March 17th, 1762, which he considered an
answer to those who had attacked him " in so indecent and illiberal
a manner." This essay, which was printed for the first time, was
intended for New York, but had not been published because the oppo-
sition subsided. On the same day that the letter of " Eugenio " was
published, the remonstrance against the new theatre, in the usual terms
of denunciation, was presented to the General Assembly. As every
other means of suppressing the play-actors failed Goddard's Chronicle
on the 6th of April was enriched with a satirical description of a
strolling company of players, which, like nearly everything else printed
in this country against the theatre at that time, was conveyed from a
London journal.

CHAPTER XVII.

" THE DISAPPOINTMENT."

THE FIRST AMERICAN COMEDY ACCEPTED FOR PRODUCTION A SATIRE

ON THE SEARCHER^ AFTER HIDDEN TREASURE AN ACCOUNT

OF THIS FORGOTTEN PLAY WHY IT WAS DETERMINED NOT TO

PRODUCE IT.

THE first American comedy, or comic opera, as it was called,
that was accepted by a manager and put into rehearsal for a
speedy production, was a local satire intended to ridicule an idea then
prevalent that Blackbeard, the pirate, had concealed much of his ill-
gotten treasure on the banks of the Delaware, in the neighborhood
of Cooper's Point. The popular conceit was that the pirates some-
times killed a prisoner and buried his body with the treasure, so that
his " spook," or ghost, keeping its vigils over the grave might frighten
away intruders. Naturally, the reported presence of a ghost at a par-
ticular spot was a sufficient incentive to dig there for hidden wealth.
As one superstition always begets others the professors of the black
art of the period were in great demand, both to discover the places
where the treasure was concealed and to put a " magic ring " round
the spot to keep the searchers harmless while digging. These super-
stitions sometimes led to practical joking by the young wags of the
time, and it is understood that it was one of these practical jokes that
supplied the story for the "comic opera" put in rehearsal by Mr.

(176)

" THE DISAPPOINTMENT!'

17;

Advertisement.

By Authority.
By the American Company,
At the New Theatre in Southwark on Mon-
day next, being the 20th of April, will
be presented a new Comic Opera,
called
THE DISAPPOINTMENT;
or, the
Force of Credulity.
To which will be added a farce called
The Mayor of Garratt.

Douglass' company in the winter and spring of 1767 and announced
for production at the Southwark Theatre. The announcement was
printed in Goddard's Pennsylvania Chronicle for the i8th of April, 1767.
It was, it must be confessed, an
exceedingly modest advertise-
ment of the intended production
of the first American comedy ever
I prepared for the stage. It was
not even said that it was Ameri-
can in authorship or local in
theme. These important facts
only appeared by implication in the notice of its withdrawal printed
in the Pennsylvania Gazette on the following Wednesday by way

"The Disappointment" (that was adver- °f explanation. As it waS not
tised for Monday), as it contains personal produced, although it came SO

reflections, is unfit for the stage.

near production that it was only
withdrawn between Saturday and Monday, one might be tempted to
believe it was published in consequence, but that such was not the
case appears from the following
advertisement printed in the Penn-
sylvania Chronicle simultaneously
with the announcement of its in-
tended production. This so-called
comic opera is now so scarce that
a copy was recently sold in New
York at auction for ^13. The

Advertisement.

Just published and to be sold at
Samuel Taylor's,
Book-Binder, at the Comer of Market and
Water Streets, price One Shilling and Six-
pence, a new American Comic Opera
of two Acts, called
The Disappointment;
or, the
Force of Credulity.
By Andrew Barton, Esq.

piece was originally printed in New York, as appears from the title-
page of the first edition, but it was reprinted in Philadelphia after the

178 HISTORY OF THE AMERICAN THEATRE.

Revolution, where its local interest caused it to be sought after for
many years. The "personal reflections" that induced Mr. Douglass
to withdraw it were evidently well-founded, for it is described in the
preface as a " local piece," and the publication was explained as due
to the following reasons :

1. The infrequency of dramatic compositions in America.

2. The torrent of solicitations from all quarters.

3. The necessity of contributing to the entertainment of the city.

4. To put a stop, if possible, to the foolish and pernicious prac-
tice of searching after supposed hidden treasure.

Evidently the name of Andrew Barton, Esq., on the title-page

is an assumed one, and in the Ridgway Library copy the name of

Colonel Thomas Forrest, of Germantown, is written in ink as the

Title-Page. author. Colonel Forrest, at one

The

time captain of a company of
Disappointment; Revolutionary scouts dressed as

or, the

Force of Credulity. Indians, and later on a colonel in

^^ the War for Independence, died in

American Comic Opera

of Two Acts. 1828, at the age of eighty-three.

By Andrew Barton, Esq. t -l ■

Enchanting gold! thou dost conspire to blind In his youth he was a noted wag,

Man's erring judgment, and misguide the mind; -,. 'jr-L* -ttt i

In search of thee the wretched worldling goes, and it IS Said Of him m WatSOn S

Nor dangers fears, tho' fiends of night oppose.

New York. "Annals of Philadelphia" that

Printed in the Year M, DCC, LXVII. -u u u ». i. i.

' ' when he was about twenty-one

years of age a tailor who was measuring him for a coat happened to

remark, " Ah, Thomas, if you and I could only find some of the money

of the sea-robbers we might drive our coach for life." Forrest pretended

to take the suggestion seriously, and through the tailor they were

joined by one Ambruster, a printer, who believed he could conjure the

" THE disappointment:' 179

pirate and compel him to give up the treasure. Forrest made an en-
gagement to meet Ambruster and the tailor at a public-house in the
city, where the printer was to show Forrest and several other persons,
who were to share in the hidden wealth, a proof of his powers. By an
arrangement with the innkeeper preparation was made to lower from
the room above, by means of a pulley, the ghost of the pirate at Am-
bruster's invocation. The company assembled and the conjuror began
to "hex,"' as the process of incantation was called. When Ambruster
finally invoked the pirate, " du Verfluchter, komm heraus" the pulley
began to reel and the ghost, with staring eyes and a ghastly counte-
nance, was among them. The whole company fled dismayed, except
Forrest. The apparition only served to whet the appetite of those
who had taken part in the incantation for possession of the treasure,
and Forrest's joke was carried out very much in the way described in
the play.

In turning a joke of this kind into a play the situations could
not fail to be irresistibly comic, but the prologue seems to have been
designed to relieve the piece Prologue.

from the imputation that Tho' distant far from fam'd Britannia's isle,

^1, ... -it- J 1 Where comic scenes call cynics forth to smile:

finally caused its withdrawal. ^ „ x. ,%. a x. c ,

•' Our artless muse hath made her first essay

A much graver objection to T' instruct and please you with a modern play.

Theatric business was and still shou'd be
the comedy, and one that Topointout vice in its deformity;

should have prevented its ac- ^"^^ "''f f '' ' ^^'"^ eminently bright,

Rapture the breast and captivate the sight,
ceptance in the first instance, No matter which, the pulpit or the stage,

Condemn the vice and folly of the age ;
was Its coarseness and immo- These are our boast and on sure ground we stand,

rality, making it unfit for the ^^^ ^'^'"^'= =^"^^ throughout this infant land ;

We mount the stage and lend an helping hand.
stage. In the plot of the com- Wits, fools, a knave and conjuror to-night,

The objects make both of your ears and sight,
edy the scheme was planned ^ band of dupes are humm'd with idle schemes.

i8o HISTORY OF THE AMERICAN THEATRE.

Quit solid sense for airy golden dreams. by four humorOUS gentlemen,

Our flatt'ring muse think's she's some merit gain'd,

Pursuing truth and things, like truth, well feign'd. Hum, Parchment, Quadrant

The subjects suited to our present times, ^^^ Rattletrap, the last-named

No person s touch d, altho she lash their cnmes;

Nor gall or copp'ras tincture her design, being a Supposed COnjuror.

But gay, good humor breathe in every line.

If you condemn her— she for censure stands; The dupeS were Raccoon, an

But if applaud-then thund'ring clap your hands. ^j j debauchee ; Washball, an

avaricious barber; Trusthoop, a cooper, and McSnip, a tailor. The
other characters were Mean-well, a gentleman in love with Washball' s
niece ; Topinloft, a sailor ; Spitfire, Rattletrap' s assistant ; Moll Placket,
a dissolute woman; Mrs. Trusthoop, and Lucy, Washball' s niece.
When the curtain rises on the first act. Hum, Parchment and Quadrant
are discovered seated around a table in a tavern, where they are drink-
ing and discussing their scheme. Raccoon, who, " though great coward
as they say he is," will " venture to the gates of hell " for money, is
expected. Hum announces that he has contrived matters so that
Raccoon "shall make the discovery himself." Quadrant informs the
others that he has drawn in both Trusthoop and McSnip. With his
share of the treasures, Quadrant says Trusthoop "talks of building a
chapel at his own expense and employing a score of priests to keep
up a continual rotation of prayers for the repose of the souls of those
poor fellows who buried it." As for McSnip, he " intends to knock
off business, go home to England and purchase a title." Mr. Parch-
ment prepared the papers which were duly enclosed in a letter to Mr.
Hum, purporting to come from his sister in England. One of these
papers, that looked old enough to have been " preserved in the Temple
of Apollo or the Tower of Babel," contained a list of the treasure
buried by Edward Teach, alias Blackbeard: "Imprimis, 17 golden
candlesticks, chalices and crucifixes; 30,000 Portugal pieces; 20,000

" THE DISAPPOINTMENT." i8i

Spanish pistoles, 470,000 pistareens, 73 bars of gold, a small box of
diamonds, 60,000 pieces of eight and 150 pounds weight of gold dust."
There was, of course, a draft of the place where the treasure lies, almost
as ingenious as that introduced by Poe into his story of " The Gold
Bug." This leads Quadrant to sing to his fellow-conspirators to the
air of " I am a brisk and lively lass : "

In all the town there's none like you,

When you're on mischief bent, sirs ;
With pen and ink one well can write

What you do both invent, sirs.

When Raccoon enters Hum steps out for a moment, dropping
the papers. Raccoon picks them up, looks over them and crams them
into his bosom. Hum returns lamenting the loss of his papers, and
declaring that the drawer must have picked his pocket. The poor
servant is roughly handled and searched. At the beginning of this
scene Washball, Trusthoop and McSnip enter. Finally Raccoon gives
up the papers, on condition that Hum lets him in for a share. Parch-
ment pretends to know nothing of the papers, and declares that if they
contain any scheme, plot, combination, rout, riot or unlawful assembly —
in fine, anything against his most sacred Majesty, George II, etc., etc. —
he'll at once to the Attorney-General and lodge an information against
every man in the company and hang every mother's son of them.
Parchment is finally convinced and then wishes he had been " in such
a plot twenty years ago."

"By my saul," cries McSnip, "\\S. away we all me dranken
joorneymen and keck the shap-boord oot a' the wandow."

" I'll shave no more," exclaims Washball — "No, not I — I'll keep
my hands out of the suds."

1 82 HISTORY OF THE AMERICAN THEATRE.

" Dis will make me cut de figure in life," says Raccoon, " and
appear in de world de proper impotance; and den I'll do someting
for my poor ting."

The conspirators obtain two pistoles each from the dupes, and
the scene closes with a solo from Parchment:

Air — '^How Blest Has My Time Been.''

Now let us join hands and unite in this cause,
'Tis glorious gold that shall gain us applause ;
How blest now are we with such treasure in store,
We'll clothe all the naked and feed all the poor.

How happy for me to this country I came,
You all, my dear friends, now can witness the same ;
In wealth to abound — oh, the thought is most sweet,
No more will I write for one farthing a sheet.

In the second scene of the first act Trusthoop finds himself
locked out by his wife. The old reprobate. Raccoon, in the third scene
carries a spit, pick-axe and spade into Moll Placket's house and puts
them under the bed. Moll calls him her " dear Cooney," and he not
only tells his " pet " and " dear ting " all about the treasure, but promises
her ;^50O a year for pin money when it is obtained. The fourth is a
street scene where Hum, Rattletrap and Quadrant agree to assemble
their dupes at the Ton Tavern. In the fifth scene McSnip turns his
journeymen out of the shop. Then comes a love-scene between Lucy
and Meanwell. Lucy tells her lover that her uncle, Washball, has
ordered her to discard him, and promised her a marriage portion of
;^ 1 0,000 if she marries agreeably to his wishes. The seventh scene —
think of seven scenes in the first act of a comic opera — shows the con-
spirators and dupes at the tavern, and the act closes with a song sung
by Rattletrap to the air of " The Jolly Toper."

" THE disappointment:' 183

The second act opens with a broad, coarse scene that would be
inadmissible nowadays between Topinloft, the sailor, and Moll Placket,
during which Raccoon cornes for his spit, pick-axe and spade. Topin-
loft conceals himself under the bed where the implements were placed,
but to prevent Raccoon from going there for them Moll pretends that
she is about to raise a familiar spirit, and the sailor makes his escape
as a ghost, knocking Raccoon over as he rushes out. The next scene
is "the place of action near the Stone Bridge." Rattletrap draws "the
magic circle" and pronounces the words of incantation — "Diapaculum
interravo, testiculum stravagansa." While the digging proceeds the
convulsions of nature are rather queer, and finally the ghost of the
pirate appears and spits fire. Trusthoop says the spook " looks like no
slouch of a fellow." Washball, thoroughly frightened, prays " Mea
culpa" and Raccoon, who now wishes he had lived a better life, asks
him to pray in English, saying " dese spirits don't understand de
Latin." The ghost resists the search for the treasure, but in vain, and
when the chest is secured Rattletrap sings :

Tho' my art some despise, I appeal to your eyes
For a proof of my magical knowledge ;

Tho' the -wisdom of schools damn our art and our tools,
We can laugh at the fools of the college.

Now, my friends, we're possessed of the glorious chest,
Join hands and rejoice without measure ;

Let it be our first care that great blessing to share
Whose contents are an infinite treasure.

The piece ought to end with the opening of the chest, which
is found to contain only stones, but it does not, for Lucy and Meanwell
have eloped and are to to be forgiven, and there is besides an epilogue
in which all the characters, including Moll and the sailor, appear. The

1 84 HISTORY OF THE AMERICAN THEATRE.

" local reflections " in this piece are only such as would belong to an
actual event.

Although without merit as a dramatic composition, " The Dis-
appointment" is worthy of preservation as a picture of a credulous and
superstitious epoch in the history of Pennsylvania. In casting the
piece it is probable that Hallam was to have played Rattletrap, Woolls
Parchment, Douglass Raccoon, Morris McSnip, Mrs. Harman Moll and
Miss Wainwright Lucy. Beyond these it is not easy to guess at the
distribution of the parts. By some the authorship of the comedy was
attributed to Joseph Leacock, who was a jeweler and silversmith in
Philadelphia at the time, and by others to John Leacock, who became
Coroner after the Revolution. There is no reason to doubt, however,
that the author was Colonel Forrest.

CHAPTER XVIII.

"THE PRINCE OF PARTHIA."

THE FIRST AMERICAN PLAY EVER PRODUCED — THOMAS GODFREY'S

TRAGEDY WHO THE ACTORS WERE ALL THAT IS KNOWN IN

REGARD TO THE PIECE.

WHILE the comic opera, "The Disappointment," was the first
American play announced for production, the first American
play written for the stage and actually produced was " The Prince of
Parthia," a tragedy by Thomas Godfrey, the younger. The elder
Godfrey was a poor glazier, but he was remarkable as a mathematician,
and was the original inventor of the quadrant that came to be known
as Hadley's. He died in Philadelphia in the month of December,
1749. The announcement of his death, in which it was said that he had
a genius for all kinds of mathematical knowledge, was printed in the
Pennsylvania Gazette for the 19th. Thomas Godfrey, the younger, was
born in Philadelphia in 1736. As a lad he was apprenticed to a
watchmaker. In 1758 he served as a lieutenant in the Pennsylvania
forces that formed a part of the expedition against Fort Duquesne.
Subsequently, in 1759, young Godfrey went to North CaroHna, where
he gave his leisure during the summer and autumn to completing his
tragedy, intending it for production in Philadelphia by Douglass' com-
pany. "By the last vessel from this place," he wrote to a Philadelphia
friend in a letter dated November 17th, 1759, "I sent you the copy of
a tragedy I finished here, and desired your interest in bringing it on

(185)

1 86 HISTORY OF THE AMERICAN THEATRE.

the stage; I have not yet heard of the vessel's arrival, and believe if
she is safe it will be too late for the company now in Philadelphia."
This letter proves conclusively that Godfrey wrote the " Prince of
Parthia " with a view to its production, and as it was printed in the
introduction to Godfrey's poems, of which the tragedy formed a part,
published in 1765, there is no excuse for Mr. Dunlap's ignorance in
regard to the author's intentions respecting it.

Young Godfrey had many influential friends in Philadelphia.
Among them were Dr. Smith, the first principal of the Philadelphia
Academy; Francis Hopkinson, the author of" The Battle of the Kegs;"
Benjamin West, the distinguished artist, and Nathaniel Evans, a young
clergyman, who also aspired to be a poet. It was through Dr. Smith's
influence that Godfrey obtained his lieutenant's commission in the
Pennsylvania forces in the Duquesne expedition. In August, 1758,
the young soldier wrote a poetical epistle from Fort Henry, which is
A Specimen of Godfrey's Verse. a favorable specimen of God-

' . , , , ,. , . frey's versification, and a strik-

Here no enchanting prospect yields delignt, ■'

But darksome forests intercept the sight; jng picture of the deep distress

Here, filled with dread, the trembling peasants go,

And start with terror at each nodding bough, that overwhelmed the frontier

Nor as they trace the gloomy way along, settlements in that epoch of

Dare ask the influence of a cheenng song. -^

^, . , unsparing savage warfare. But

If in this wild a pleasing spot we meet, x o o

In happier times some humble swain's retreat; J)r. Smith not only promoted

Where once with joy he saw the gratefiil soil

Yield a luxuriant harvest to his toil. Godfrey's military ambition—

[Blest with content, enjoyed his solitude, ^^ ^^^ ^^^ -^ jj^^^..

And knew his pleasures, though of manners rude ; J ^ o »

The lonely prospect strikes a secret dread, ary sponsor aS Well. As the

While round the ravag'd cot we silent tread.

Whose owner fell beneath the sav^e hand, editor of the American Magu-

Or roves a captive on some hostile land, ^-^^ ^^ -^^^^ ^^^ ^^^^^^^

While the rich fields with Ceres blessings stor d, '■

Grieve for their slaughter'd, or their absent lord. productions of Godfrey's mUSC

"THE PRINCE OF PARTHIA." 187

and extolled the verses of his aspiring contributor. It was not Dr.
Smith who collected Godfrey's productions and secured their publica-
tion aftfer the author's death, as his biographer asserts, but the Rev.
Mr. Evans. The collection, to which Mr. Evans contributed a life
of the poet, and Dr. Smith a critical estimate of Mr. Godfrey's writings,
fails to sustain the opinions of the critic as to their merits. The best
of Godfrey's poems un- Fancy.

questionably was his "Court ., High in the midst, raisM on her roUing throne,
of Fancy," first published Subhmely eminent bright Fancy shone:

A glitt'ring tiara her temples bound,
in 1762. As a specimen Rich set with sparkling rubies all around,
. , . -r ■ r 1 Her azure eyes rolled with majestic grace,

of his versification the de- ^^^ ^^^^^ ^^^^^^^ ^j^^^,^ „p„^ j^^, ^^^

scription of Fancy, printed ^ radiant bough, ensign of her command.

Of polish'd gold, waved in her lily hand;

herewith, will serve. God- The same the sybil to Eneas gave,

r 1 . ..1 , When the bold Trojan cross'd the Stygian wave.

frey was almost without ^ 1 . c .j » u

.' In silver traces fax d unto her car,

education, but his poems F°"'' ™°""y ^^^ns, proud of th' imperial fair,

Wing'd lightly on, each in gay beauty drest,
are chiefly remarkable for Smooth'd the soft plumage that adom'd her breast,
/y . . • r 1 • Sacred to her the lucent chariot drew,

an affectation of learning „ , ,, .,,, . , , . , '

° Or whether wildly through the air she flew,
that he did not have. In Or whether to the dreary shades of night,

Oppress'd with gloom, she downwards bent her flight,
the estimation of his friends Or, proud, aspiring, sought the blest abodes,

he was an untutored child ^""^ ^°'^^^^ ''^°' "-"""^ '^" ^^^'"^^^'^ sods."
of genius. His friend Evans, in a doggerel ode beginning:

While you, dear Tom, are forc'd to roam
In search of fortune far from home,

invoked him to renounce the muse and

With me henceforward join the crowd,
And, like the rest, proclaim aloud
That money is all virtue.

Prefixed to Godfrey's poems is an elegy to his memory by
Evans, in which the most appropriate lines were as follows :

1 88 HISTORY OF THE AMERICAN THEATRE.

Stranger, whoe'er thou art, by fortune's hand
Lost on the baleful Carolinian strand,
Oh ! if thou see'st perchance the Poet's grave
The sacred spot with tears of sorrow lave.
Oh ! shade it, shade it with ne'erfading bays —
Hallow'd the place where gentle Godfrey lays.

John Green, a portrait-painter, who was also one of the poet's

early friends, contributed an additional elegy to the memorial vol-

ExTRACT FROM Green's Elegy. ume of Godfrev's verse.

Ye gentle swains on Carolina's shore. Green's lines, although

Who knew my Damon, (now alas, no more), ., , ,.,,,

T3 r 1,/ J 1,- V. II M • they show little poetic

By moonlight round his hallow d grave repair, -' ^

Strew sweetest flow'rs and drop a sorrowing tear, merit are Superior in

With never fading laurel shade his tomb,

And bid the rising bay forever bloom, tender Sympathy and

Teach springing flow'rs their purpl'd heads to rise, ... . . , i , ,

. , „ , = V «w •, V » appreciation to the halt-

And sweetly twmmg write, " Here virtue lies. ^'^

Sing in sad strains each venerable name, jncr numbers of God-
In Fortune's spite that struggled up to fame;

By Virtue led life's rugged road along, frey's literary exeCUtor.
Their lives instructive as their sweetest song. -^ r" <4f Vi'
Say while their praises tremble on the tongue, ° •^ '
Thus lived this youthftil Bard — thus gentle Damon sung. part in his poem en-
titled " A Night Piece," paid this compliment to Green :

What hand can picture forth the solemn scene.
The deep'ning shade and glimm'ring light !

How much above the expressive art of Green,
Are the dim beauties of the dewy night !

Still another evidence of the esteem in which Godfrey was held
by his friends is found in the fact that his portrait was painted by
Benjamin West. The picture was among the earliest efforts of that
great painter. It has been described as " indicative of talent neither
in the artist nor the person delineated." Godfrey died in North
Carolina, August 3d, 1763. His poems, including "The Prince of
Parthia," were then collected and published in a small folio volume,
in 1765. The book has long been regarded as a scarce one, but may

" THE PRINCE OF PARTHIA." 189

be found occasionally on the shelves of the second-hand dealers.
Among the original subscribers were Chief Justice William Allen and
William Plumstead, the latter taking two copies. Benjamin Franklin's
private copy with his autograph — he subscribed for twelve copies —
was on sale at Scribner's, in New York, a few years ago.

As an acting play " The Prince of Parthia " has no merit what-
ever. The speeches are long and are in blank verse, remarkable only
for its measured dulness. All the characters are on stilts. There is
little plot to the piece and no action. As a first attempt at play-writing
in America by a young man who had had few opportunities of seeing
plays acted, the tragedy is not without interest. It has none of the
interest, however, that makes it readable as a poem or presentable as a
play. That it ever should have met with favor on the stage is im-
possible, and it is probable that its production was in the nature of a
peace-offering to the Philadelphia public for the failure to produce
" The Disappointment." The tragedy followed immediately upon the
withdrawal of the comedy, as the announcement printed in the Penn-
sylvania Gazette on the 23d of Advertisement.
April shows. It is in the face gy authority.

of this advertisement that Dunlap ^^ '^^ American Company.

At the new Theatre m Soutkwark, to-
asserts with his usual inaccuracy, morrow, being the 24th of April, will be pre-
sented a Tragedy, written in America by the

"Whether mtended for the stage i^je ingenious Mr. Godfrey, of this city,

or only for the closet is unknown ; <^^^^

^ THE PRINCE OF PARTHIA;

that it was not performed by the To which will be added

. „ The Contrivances.

players is certam. j^ \ifi^-o. precisely at seven o'clock.

The plot of the tragedy, such V'^^' ^" ^' ^«i^°^-

as it is, is not well-knit nor well wrought out. Arsaces, son of Arta-
banes. King of Parthia, has just returned from a successful campaign

190 HISTORY OF THE AMERICAN THEATRE.

against Arabia. The play opens in the Temple of the Sun at Ctesi-

phon. The opening scene is between Gotarzes, the youngest brother

of Arsaces, and Phraates, a courtier. It requires a number of long

speeches in blank verse to enable Gotarzes to inform his friend that

his gallant brother

Triumphant enters now our joyful gates ;
Bright Victory waits on his glittering car
And shows her fav'rite to the wond'ring crowd.

Thereupon Phraates takes occasion in fifteen lines to answer that

Glad Ctes'phon
Pours forth her numbers like a rolling deluge
To meet the blooming Hero.

With more than doubtful grammar and in lame measure Go-
tarzes exclaims:

Happy Parthia !
Now proud Arabia dreads her destined chains,
While shame and rout disperses all her sons.
Barzaphernes pursues the fugitives,
The few whom fav'ring night redeem'd from slaughter.

There is, of course, just there no lack of praises of the victorious
Prince of Parthia. According to Phraates :

In blest Arsaces every virtue meets ;
He's generous, brave and wise and good,
Has skill to act and noble fortitude
To face bold danger in the battle firm,
And dauntless as a lion fronts his foe.

This panegyric reminds Gotarzes of "one luckless day" when

" in the eager chase "

A monstrous leopard from a bosky den
Rushed forth, and foaming lash'd the ground.

As was to be expected, Gotarzes' " treach'rous blade " snapped
short, and of course

" THE PRINCE OF PARTHIA." 191

Arsaces then,
Hearing the din, flew like some pitying power,
And quickly freed me from the monster's jaws.
Drenching his bright lance in his spotted breast.

Arsaces has a wicked brother, Vardanes, who hates the elder

prince,

For standing 'twixt him and the hope of empire.

This Vardanes was seized with a cramp while bathing in the

Euphrates, but his cries

Arsaces heard.
And thro' the swelling waves he rushed to save
His drowning brother, and gave him life ;
And for the boon the ingrate pays him hate.

The poetic license allowed only to young men of genius enabled
the author of " The Prince of Parthia " to represent the Queen as the
widow of Tissaphesenes and the mother of the fierce Vonones when
she became the wife of Artabanes. Vonones conspired against the
King's life, and the Queen resolved to ruin Arsaces —

Because, that fill'd with filial piety.

To save his royal Sire, he struck the bold

Presumptuous traitor dead.

The second scene is between Vardanes and his friend, Lycias.
Vardanes takes occasion to say —

I hate Arsaces
Tho' he's my mother's son, and churchmen say
There's something sacred in the name of brother,
My soul endures him not, and he's the bane
Of all my hopes of greatness. Like the sun
He rules the day and like the night's pale queen
My fainter beams are lost when he appears.

Vardanes had still another reason to hate his brother, and he
declares :

192 HISTORY OF THE AMERICAN THEATRE.

In love as well as glory he's above me ;
I dote on fair Evanthe, but the charmer
Disdains my ardent suit ; like a miser
He treasures up her beauties to himself.

The Queen and Edessa have the third scene, in which the
former gives expression to her discontent with Arsaces, and utters a
curse that comprises the most satisfactory lines in the play :

O may he never know a father's fondness,

Or know it to his sorrow ; may his hopes

Of joy be cut like mine, and his short life

Be one continued tempest ; if he lives '

Let him be cursed with jealousy and fear.

And vext with anguish of neglecting scorn ;

May torturing hope present the flowing cup,

Then hasty snatch it from his eager thirst.

And when he dies base treach'ry be the means.

She announces that

" Vardanes is the minister of vengeance."

The fourth scene is between Evanthe and Cleone. Evanthe, in
speeches not fewer than sixteen lines in length, says:

Twice fifteen times
Has Cynthia dipt her horns in beams of light.
Twice fifteen times has wafted all her brightness.
Since first I knew to love; 'twas on that day
When curs' d Vonoues fell upon the plain —
The lovely victor doubly conquer'd me.

She was a captive of Vonones, and, of course, the daughter of
Bethas. The King and Arsaces are seen in the last scenes of the
act, where Bethas is shown in chains. Arsaces asks for the life of the
captive and the King grants it. In the second act the lovers meet in
the cell of the captive father, while Vardanes and Lycias begin to
scheme to overthrow Arsaces and

To gain a crown or else a glorious tomb.

" THE PRINCE OF PARTHIA." 193

The third act opens with a scene between the King and Queen,
in which she accuses him of a guilty design upon Evanthe, which he
does not deny, but as he retires, exclaims :

No more I'll wage a woman's war with words.
Then Vardanes enters, asking the Queen —

Dread Thermusa,
Say, what has roused this tumult in thy soul ?

She informs him that his father is his rival. Not suspecting
his father's passion, Arsaces asks the hand of Evanthe as a reward for
his services, but Evanthe lets him know how she is persecuted by the
King. The King plots with Vardanes against Evanthe, saying :

Indulge thy father with this one request,
Seize with some horse Evanthe, and bear her
To your command. Oh, I'll own my weakness,
I love her with a fondness mortal never knew.

Lycias murders the King at the instigation of the Queen, and
in the fourth act Vardanes imprisons his brother Arsaces, and the
Queen plots the assassination of the Prince. While she is in his cell,
intending to stab him, the Ghost of Artabanes rises, and at once pro-
ceeds to make a speech eighteen lines in length. This deters her, as
well it might. To close the fourth act Barzaphernes returns with his
army from Arabia and releases Arsaces. In the last act Vardanes
makes love to Evanthe, much against her will, in the royal palace, but
the palace is assaulted by Arsaces and captured. Evanthe, unfortu-
nately hearing that Arsaces has fallen in the battle, takes poison, and is
dying when her lover succeeds in rescuing her. It only remains for
A.r.saces also to commit suicide.

After one hundred and twenty years the first production of an
13

194 HISTORY OF THE AMERICAN THEATRE.

American play is a matter of great interest to students of American
theatrical history; but beyond the fact of the production of the
" Prince of Parthia," on the 24th of April, 1767, and the play itself,
which has come down to us as a token of the first attempts at dramatic
authorship in America, nothing is known of the event. There was.
The Chronicle Advertisement. however, a second advertisement

By Authority. printed in the Pennsylvania Chron-

Never Performed Before. . , , . , , . , 1 • , r . r

By the American Company. '^^'' ^^^^^ COntamed a llSt of the

At the New Theatre in Southwaxk performers who had parts in God-
On Friday the Twenty-fourth of April will be

presented a Tragedy written by the late frey's tragedy. Mr. Hallam, ap-
ingenious Mr. Thomas Godfrey of ^, ,■ 1 ^i

this city called The parently, never mentioned the

PRINCE OF PARTHIA. fact of its production to Dunlap—

The principal characters by Mr. Hallam, Mr.

Douglass, Mr. Wall, Mr. Morris, Mr. indeed, he may have forgotten it

AUyn, Mr. Tomlinson, Mr. Broadbelt, Mr. ,, ,i q,, r

Greville, Mrs. Douglass, Mrs. Morris, Miss ° ' " "

Wainwright and Miss Cheer. the time are silent in regard to it.

As no second edition of the tragedy was ever printed, no information

in regard to the play or the cast has been preserved in that way.

The only thing that is possible under the circumstances is to make up

a probable cast from the list of names in the advertisement. There is

no reasonable doubt that the roles Probable Cast.

taken by Douglass and Hallam Artabanes, King of Parthia . . Mr. Douglass
and Mrs. Douglass and Miss Cheer vlrdanes,|his sons,! '. '. ."Mr.TomlL^

• J- 4. J • 4.1,- "B u Gotarzes, {. ) Mr. Wall

were as mdicated in this rrob- „ , i„,t..„„„t „=„.=,„i

Barzaphernes, heutenant-general

able Cast." By whom the minor ""der Arsaces Mr. AUyn

Lysias, f g- t c rt 1 '^^' ^'■°^<i^^^'

characters were actually played is Phraates, \ ° '^^''^ a ou , j- j^^^ Greville

Bethas, a noble captive .... Mr. Morris
not a matter of great importance, Thermusa, the queen .... Mrs. Douglass

especially as we have the names ^^^°*^' ^^^°^^<i ^^ ^'^''^^^ ■ ■ ^'== ^'^T

Cleone, her confidant . . Miss Wainwright
of all the performers in the piece. Edessa, attendant on the queen . Mrs. Morris

" THE PRINCE OF PARTHIA." 19s

As the work of a young man of twenty-three, without educa-
tion and without a knowledge of stage requirements, " The Prince
of Parthia " is not discreditable to its author. Neither as a poem nor
as an acting play has it any merit that would cause it to be remem-
bered, were it not for the fact that it was the first American play ever
written as well as the first actually produced. The absence of com-
ment in the newspapers is not surprising, since to the journalists of
that day the first production of an American play, or a play of any
kind, was not a matter of any public interest or importance. In
society, however, there was a deep interest in plays. In the "Journal
of William Black " it is said that in the society of some fair Phila-
delphia ladies the talk turned to "criticising on plays" and their
authors, Addison, Prior, Otway, Congreve, Dryden, Pope and Shaks-
pere being among the poets criticised. " The words genius," wrote
Mr. Black, in 1744, "and no genius — invention, poetry, fine things,
bad language, no style, charming writing, imagery, and diction (as the
author of 'Dr. Simple' says), with many more expressions which swim
on the surface of criticism, seemed to have been caught by those female
fishers for the reputation of wit." In 1773, Miss Sarah Eve recorded
in her journal that she had just read the "Fashionable Lover," a
" prodigious, fine comedy, wrote by Cumberland ; " and shortly after-
wards she says she was reminded of " those lines of our poet Godfrey : "

Curiosity's another name for mar( ;
The blazing meteor streaming thro' the air,
Commands our wonder, and admiring eyes.
With eager gaze we trace the lucent paths.
Till spent at last it shrinks to native nothing,
While the bright stars, which ever steady glow,
Unheeded shine and bless the world below.

CHAPTER XIX.

THE AMERICAN COMPANY.

A SUPPLEMENTARY SEASON AT THE SOUTHWARK THEATRE STRENGTH

OF THE COMPANY JOHN HENRY ANQ THE STORER SISTERS

MISS CHEER AND HER ROMANTIC MARRIAGE MR. HALLAM MISS

WAINWRIGHT, MR. WOOLLS AND THE OTHERS.

DURING the summer and autumn of 1767 Mr. Douglass was
busy building a theatre in New York that was almost identical
in plan and appearance with the old Philadelphia theatre. This was
the house that became known in American theatrical history as the
John Street Theatre. While it was in course of construction the
Southwark Theatre was re-opened for a brief period, during which
the American Company was seen at its best at any time before the
Revolution. The supplementary season lasted from the 24th of
September to the 23d of November, during which new members of
the company were introduced to the public and the company's large
repertoire presented in rapid succession. But strangely enough, this
year spent at the Southwark Theatre is utterly ignored by most of
those who write about the early American stage, the re-organized
American Company being treated as if its history began with the New
York season of 1767-8. This is due to the assumption in Ireland's
" Records of the New York Stage " that what was first in New York

(196)

THE AMERICAN COMPANY. 197

was first in America, although in reality that city played a secondary

part in the early development of the American stage.

The list of performances of the brief supplementary season of the

autumn of 1767 shows only two pieces that had not already been

given in the Southwark Theatre. List of Performances.

One of these was "Venice Pre- 1767.

Sept. 24 — Lecture on Heads,
served " and the other the "Clan- oct. 6-Roman Father .... Whitehead

destine Marriage." The repro- Miss in her Teens . . . Garrick

9— Jealous Wife Colman

ductions, however, were pieces Harlequin Restored.

. . 12 — Hamlet Shakspere

that required strong casts, m- Qtizen Murphy

eluding as they did the "Roman i6-Romeo and Juliet. . . Shakspere

Mayor of Garratt Foote

Father," " Jealous Wife," " Game- 19— Beaux' Stratagem . . . Farquhar

Ster" "Theodosius" "Beaux' High Life Below Stairs . Townley
srer, 1 neoaOSlUS, ceaux 23— Gamester Moore

Stratagem," "Wonder " and "Love Harlequin Collector.

26 — Love in a Village . . . Bickerstaff

in a Village," together with three Oracle Mrs. Gibber

P „, , , , ,. ,, TT ■^o — ^Wonder Centlivre

of Shakspere s tragedies. Ham- Devil to Pay Coffey

let," " Romeo and Juliet " and Nov. 2— Venice Preserved .... Otviray

Neck or Nothing .... Garrick

" Lear." Besides, the list of per- — 9— Lear Shakspere

r 1. 1. r Miller of Mansfield . . . Dodsley

formances shows a change of t,. j • ■,

° 13 — Theodosms Lee

farce every acting night, some Chaplet Mendez

19 — Clandestine Marriage.
of the farces, as the " Mayor of Garrick and Colman
/-• ij. )) u • • 1-^ Brave Irishman Sheridan

Garratt, being in reality com- ^, , • ,, ■

° ■' 23 — Clandestine Marriage.

edies. These performances, so Lying Valet Garrick

remarkable for their extent and variety, are in themselves evidence
of the merit of the performers.

All that is known of the "Lecture on Heads" is contained in the
advertisement for the opening night, as it was printed in Goddard's
Pennsylvania Chronicle. Mr. Hallam also recited " Bucks Have at

198 HISTORY OF THE AMERICAN THEATRE.

Ye All." On the first play-night, October 6th, when the "Roman

Father" was repeated, Mr. Henry played Publius Hor alius, instead

Lecture on Heads. of Mr. Douglass, and Mr. Doug-

^ , ,^. , , lass was Tullius Hostilius, instead

For that Night only, '

At the Theatre in SouthwArk, of Mr. Allyn. This was John

(By particular desire)

On Thursday next being the 24th instant, Henry, who was Set down in the

Messrs. DOUGLASS and HALLAM housebills and in the newspaper
will deliver

A Lecture on Heads, etc., advertisements as " from the thea-
and

The Dissection of the Hearts of a British tre in Jamaica." Mr. Henry was

Sailor and his Agents for Prize Money ^^^^ -^^ Dublin, and it is said that
With several pieces of Music between the

Parts of the Lecture by he made his debut at Drury Lane,

Mr. Woolls, . ^ . . , ,. ,

Miss Hallam and 1" 1 762, meetmg With little success.

Miss Wainwright, &c., &c. Dunlap says that his introduction

To begin at half an hour after six o'clock.

Tickets are sold at the London Coffee to the Stage Was under the auspiceS

House and at Mr. Douglass' in Lombard - ,— , ^ r t r t-. • 1 1

street, where Places in the Boxes may be had. ^^ Thomas, the father of Richard

Boxes ss.. Pit 3s., Gallery 2s. Brinsley Sheridan, but Dunlap was

so uniformly inaccurate that it is impossible to accept anything he
asserts as a fact. It certainly was not a fact, as stated in Dunlap's
" History of the American Theatre," that Henry made his first appear-
ance in America at the John Street Theatre, in New York, on the 7th
of December, 1767, as Aimwell in the "Beaux' Stratagem," for, as has
been shown, he appeared in Philadelphia for the first time two months
previously. Besides Publius Horatius and other parts, Mr. Henry
appeared during the brief Philadelphia season as Charles, in the
"Jealous Wife ; " Lovewell, in the " Clandestine Marriage ; " Jaffier, in
"Venice Preserved," and Edmund, in "King Lear." He also played
Captain O' Blunder, in the farce of the " Brave Irishman." At this
time Hallam always had the best parts in everything, and it was not

THE AMERICAN COMPANY. 199

often that Henry was accorded a good role, but notwithstanding this

it was not long until he proved himself one of the best performers ever

seen in the Colonies. He was tall and commanding in person, and it

is possible to agree with Dunlap for once when he says that Henry

must have been as handsome an Aimwell as ever trod the stage.

On the same night that Mr. Henry made his first appearance

at the Southwark Theatre in the " Roman Father " Miss Storer, also

from the theatre in Jamaica, made her American debut as Biddy Belair

in " Miss in her Teens." This was Ann Storer, who, as Mrs. Hogg,

was a great favorite at the old ^^^^ ^^ ^^^ ^^^^^

Park Theatre in New York in

Miss Biddy Belair Miss Storer

the beginning of the present (From the theatre in Jamaica.)

_,, 1 r. 11 Captain Flash Mr. Hallam

century. Though often played ^^^^^^ Mr. AUyn

by the American Company there Captain Loveit Mr. Tomlinson

Jasper Mr. WooUs

is no record of Garrick's farce Puff Mr. Morris

1 . , . 1 • ±.x. Tag Miss Wainwright

havmg been given during the '^ "

previous season at the Southwark Theatre. It was probably pre-
sented on this occasion to allow Miss Storer to make her debut as
Biddy. It is a tradition that Miss Storer's mother was the Mrs. Storer
(Miss Clark) of Covent Garden, of whom some poetaster sang : —

Then Storer, with her sweet enchanting strains,
Steals to our hearts, and o'er our senses reigns ;
With ravished ears we hear the pleasing sounds,
And heavenly joys the vaulted roof resounds

The Storer family in Jamaica comprised Mrs. Storer and her four
daughters. Henry married the eldest, but the vessel on which she
made the voyage from Jamaica was burnt and she was lost at sea.
Henry subsequently lived with Ann Storer as his wife, by whom he
had a son, who afterward became the captain of a ship. Ann after-

200 HISTORY OF THE AMERICAN THEATRE.

ward married John Hogg, who was the comic old man when she was
the comic old woman of the New York Theatre. As Mrs. Hogg she was
the mother of a number of sons and a daughter, who was known on the
stage as Mrs. Claude. After the death of Mr. and Mrs. Hogg the family-
name was changed to Biddle by an act of the New York Legislature.
George Edgar Biddle, professionally known as George Edgar, is her
grandson, and consequently he can lay claim to the earliest theatrical
descent of any living American actor. The third sister, Fanny Storer,
became Mrs. Mechler, and Maria Storer, the youngest, was the last
Mrs. Henry. At this time she was still a child. The late William B.
Wood, speaking of Mrs. Henry in his " Personal Recollections of the
Stage," says of her in the last decade of the last century: "She usually
came full-dressed to the theatre in the old family coach ; and the
fashion of monstrous hoops worn at that day made it necessary for
Mr. Henry to slide her out sideways, take her in his arms and carry
her like an infant to the stage entrance. The carriage was a curious
and rather crazy-looking affair, and lest the gout, which rendered it
indispensable to him, might not be generally known as an excuse for
such a luxury, he decorated the panels with two crutches crossed —
the motto, ' This, or These.' " Mrs. Henry was described by Wood
as a perfect fairy in person. Even before the Revolution as Miss M.
Storer and Miss Storer she acquired a place second only to the front
rank. In the succeeding pages the sisters must not be confounded
with each other.

The only piece presented for the first time in this country this
season was the " Clandestine Marriage." It was advertised as produced
"by particular desire." It was still a new comedy, having been
originally produced at Drury Lane in 1765. According to Mr. Gait,

THE AMERICAN COMPANY. 201

in his " Lives of the Players," the " Clandestine Marriage " was a
plagiarism from a piece called the " False Concord," written by the
Rev. James Townley, author of Clandestine Marriage.

" High Life Below Stairs." The ^ ^ ^ ,^ ,, „ „

° Lord Ogelby Mr. Hallam

characters of Lord Lavendre, Mr. Sir John Melvil Mr. Douglass

Lovewell Mr. Henry

Suds— a soap-boiler, of course— sterling Mr. Morris

and a pert valet in Mr. Townley's ^™^^ ^'^- ^^"

■^ Canton Mr. AUyn

comedy, were, it is said, " trans- Sergeant Flower Mr. Tomlinson

Traverse Mr. Malone

planted with the dialogue of some Xruman Mr.Greville

scenes in the ' Clandestine Mar- ^'^- Heidelberg . . : . Mrs. Douglass

Fanny Miss Hallam

riage ' under the names of Lord Betty Miss Storer

Chambermaid Miss Wainwright

Ogelby, Mr. Sterling and Mr. Trusty Mrs. Morris

Brush!' It has always been ^'^^ Sterling Miss Cheer

claimed, however, and Colman admits in a letter to Garrick, dated
December 4th, 1765, that "it is true, indeed, that by your suggestion
Hogarth's proud lord " — from the first plate of the ' Marriage a la
Mode' — "was converted into Lord Ogelby." The part is an expansion
of the idea of Lord Chalkstone in " Lethe," and was for the most part
written by Garrick for himself Owing to his advanced age and fre-
quent attacks of the gout Garrick relinquished the part to King, whose
Ogelby proved to be one of his most meritorious characters. In Mrs.
Heidelberg Mrs. Clive almost closed her long list of comic characters —
indeed it was her last except one. Lady Fuss in the " Peep Behind the
Curtain."

A third pantomime, " Harlequin Restored," was added to the
company's repertoire this season, and Otway's "Venice Preserved"
was presented for the first time by the American Company, as it was
then organized. On this occasion Miss Cheer made her first appear-

202

HISTORY OF THE AMERICAN THEATRE.

ance as Belvidera. These two casts — that of the " Clandestine Mar-
riage " and this of " Venice Preserved " — are important in showing the

Venice Preserved.

Pierre Mr. Hallam

Jaffier Mr. Henry

Priuli Mr. Douglass

Bedamar Mr. Wall

Renault Mr. Morris

Duke Mr. Tomlinson

Spinosa Mr. Malone

Eliot Mr. Greville

strength of the
company as a
whole and the
relative rank of
its members.
It is not sur-

Harlequin Restored.

Harlequin .... Mr. Hallam

Pantaloon Mr. Morris

Petit Mache .... Mr. AUyn
Statuary .... Mr. Douglass

Cook Mrs. Harman

Mercury Mr. WooUs

Pierot .... Mr. Tomlinson
Valet de Chambre . . Mr. Wall

Theodore .... Mr. Woolls prising that the Necromancer ... Mr. WooUs
Durand Mr. Roberts Columbine .... Miss Cheer

Officer Mr. Aiiyn newspapers from

Belvidera .... Miss Cheer ^^^^ ^^ j^g^^ ^^^^^p^ j^^ jj^^jj. advertising

columns and through paid-for contributions, were silent in regard to
the theatre. In that age players were considered as little better than
vagabonds — strollers — were looked upon as tramps. To condemn
profane stage-plays was part of the cant of the epoch. Even Captain
Graydon, in his " Memoirs of a Life Chiefly Passed in Pennsylvania," '

1 Extract from Graydon's Memoirs. —
A short time before the epoch of my becom-
ing a student of law, the city was visited by
the company of players since styhng them-
selves the old American Company. They
had for several years been exhibiting in the
islands, and now returned to the continent in
the view of dividing their time and labors
between Philadelphia and New York. At
Boston,

They did not appear.
So peevish was the edict of the may'r,

or at least of those authorities which were
charged with the custody of public morals.
The manager was Douglass, rather a decent
than shining actor, a man of sense and dis-
cretion, married to the widow Hallam, whose
son, Lewis, then in full culmination, was the
Roscius of the theatre. As the dramatic

heroes were all his without a competitor, so
the heroines were the exclusive property of
Miss Cheer, who was deemed an admirable
performer. The singing department was sup-
plied and supported by the voices of Woolls
and Miss Wainwright, said to have been
pupils of Dr. Arne ; while in the tremulous
drawl of the old man, in low jest and buf-
foonry, Morris, thence the minion of the
gallery, stood first and unrivaled. As for the
Tomlinsons, the Walls, the Allyns, etc., they
were your Bonifaces, your Jessamys, your
Mock Doctors, and what not. On the female
side Mrs. Douglass was a respectable, matron-
like dame, stately or querulous as occasion
required, a. very good Gertrude, a truly ap-
propriate Lady Randolph, with her white
handkerchief and her weeds ; but then, to
applaud, it was absolutely necessary to forget

THE AMERICAN COMPANY.

203

speaks of the American Company with an apology for introducing the
players into his narrative. Fortunately he did not consider the merits
of the performers comprising the American Company, when it was first
called by that name, unworthy of his pen, and to him posterity owes
the only creditable characterization of the players at the Southwark
Theatre in 1766-67 that has been preserved — perhaps the only one
ever written. The minor actors and actresses who were with the
company at this time Captain Graydon does not mention at all.
Among these were Godwin, a dancer, who played insignificant roles,
such as Haly in " Tamerlane," Honslow in the " Beaux' Stratagem,"

that to touch the heart of the spectator had
any relation to her function. Mrs. Harman
bore away the palm as a duenna, and Miss
Wainwright as a chambermaid. Although
these were among the principal performers at
first, the Company was from time to time
essentially improved by additions. Among
these the Miss Storers, Miss Hallam and Mr.
Henry were valuable acquisitions, as was also
a Mr. Goodman, who had read law in Phila-
delphia with Mr. Ross. This topic may be
disgusting to persons of gravity, but human
manners are my theme, as well in youth as
in age. Each period has its playthings ; and
if the strollers of Thespis have not been
thought beneath the dignity of Grecian his-
tory, this notice of the old American stagers
may be granted to the levity of memoirs.

Whether there be any room for comparison
between these, the old American Company
and the performers of the present day, I ven-
ture not to say. Nothing is more subject to
fashion than the style of public exhibitions ;
and as the excellence of the Lacedemonian
black broth essentially depended, we are told,
on the appetite of the feeder, so, no doubt,
does the merit of theatrical entertainments.
I can not but say, however, that in my opinion

the old company acquitted themselves with
most animation and glee — they were a pass-
able set of comedians. Hallam had merit in
a number of characters, and was always a
pleasing performer. No one could tread the
stage with more ease. Upon it, indeed, he
might be said to have been cradled and
wheeled in his go-cart. In tragedy it can
not be denied that his declamation was either
mouthing or ranting; yet a thorough master
of all the tricks and finesse of his trade, his
manner was both graceful and impressive,
" tears in his eyes, distraction in his aspect, a
broken voice, and his whole function suiting
with forms to his conceit." He once ven-
tured to appear in Hamlet, either at Dniry
Lane or Covent Garden, and was endured.
In the account given of his performance he is
said not to have been to the taste of a Lon-
don audience, though he is admitted to be a
man of pleasing and interesting address. He
was, however, at Philadelphia as much the
soul of the Southwark Theatre as ever Garrick
was of Drury Lane, and if, as Dr. Johnson
allows, popularity in matters of taste is un-
questionable evidence of merit, we cannot
withhold a considerable portion of it from Mr.
Hallam, notwithstanding his faults.

204 HISTORY OF THE AMERICAN THEATRE.

Selim in the " Mourning Bride," the Messenger in the " Orphan in
China," and Osric in " Hamlet; " Matthews, Greville and Piatt, of whom
there is no information, apart from the unimportant roles that they
filled ; Broadbelt, who seldom played, but was apparently employed in
the business office of the theatre; Malone, who was a dancer and
juggler, and whose name is only interesting from the fact that it was
the same as the original Shylock zxi^ Lear 'm. this country; and the
Dowthwaites, mother and daughter, of whom we know nothing. Two
of these, Messrs. Matthews and Piatt, withdrew after the close of the
Southwark Theatre, in 1 767, when their theatrical careers ended. Their
lists of parts are short ones, and the parts were in themselves unim-
portant, but the summaries are worth making, in order to show the
Mr. Plait's Parts. """les that were Mr. Matthews' Parts.
filled at this time „,

Plays. P'^y-

Beaux' Stratagem . Bagshot under Mr. Doug- Beggars' Opera Jemmy Twitcher

Committee BailifiF , , , Committee Soldier

CountryLasses ShackleBgure ^^'^ management Country Lasses . . Countryman

Cymbeline Doctor bv orentice hands ^^"^^^ ^'^^ ' ' ' ' ^^''^

Hamlet Bernardo . . ' Merchant of Venice . . Salarino

Macbeth . . . Donaldbain It is a CUriouS Fanes.

Miser Furnish r ■ . Harlequin Collector . Skeleton

MourningBride '. '. .Mute ^^^^ '" connection High Life Below Stairs Kingston

Roman Father Fourth Citizen with these early Mayor of Garratt . Second Mob

Romeo and Juliet. Friar John

Tamerlane Zama actors and actresses that nearly everything

^'^f'"^- that has passed for history in regard to them

High Life Below Stairs . Cloe

Mayor of Garratt . . Snuffle is inaccurate. All the historians unite in
oc or . . . . James g^yjjjg ^j^^^. ]y[igs Cheer made her dedut

December 7th, 1767, at the John Street Theatre, New York,
as Mrs. 'Sullen in the "Beaux' Stratagem." This error is due to
Dunlap, from whom it has been copied by all his successors.
"The name of Miss Cheer," he says, "appears for the first time on

THE AMERICAN COMPANY. 205

occasion of opening the house in John Street. She played the part of
Mrs. Sullen, and from this time shared the first rank of characters with
Mrs. Douglass." The surprise is not that Dunlap blundered. He
was a failure in. every undertaking of his long and laborious career —
as a dramatist, as a theatrical manager, as an artist, as a novelist and
as a historian. On the contrary, the wonder is that what he wrote
should have been accepted as authentic for so many years. It must
be conceded that it was worth the historian's while to ascertain the fact
that Miss Cheer, the second leading lady of prominence on the American
stage, made her first appearance in this country, at the Southwark
Theatre, November 21st, 1766, as Catherine, in "Catherine and Petru-
chio," and had been in possession of nearly all of Mrs. Douglass' parts
for more than a year before the John Street house was opened. Nearly
all the parts in which she was ever seen she created at the Southwark
Theatre. Of the role in which Miss Cheer made her first appearance
at the John Street Theatre it is only necessary to say that she played
Mrs. Sullen in Philadelphia as early as January 23d, 1767, and repeated
the part nearly two months before she was seen in it in New York.

When Miss Cheer made her American debut as Catherine to
Mr. Hallam's Petruchio, she was already an actress of established repu-
tation, as is evident from the indorsement of the Pennsylvania Gazette,
which described her as one of the best players in the empire. This
was, no doubt, an over-statement of her claims to professional stand-
ing, but in this country her rank was undisputed. Among the parts
in which she was seen in her first season in Philadelphia were Lady
Anne, in " Richard III ; " Portia, in the "Merchant of Venice ; " Ophelia,
in " Hamlet ; " Juliet, in " Romeo and Juliet ; " Imogen, in " Cymbeline ; "
Cordelia, in "Lear;" and Lady Macbeth in the Shaksperean repertoire;

2o6 HISTORY OF THE AMERICAN THEATRE.

as Almeria, in the "Mourning Bride;" Marcia, in "Cato;" Angelica,
in the "Constant Couple;" Mrs. Sullen, in the " Beaux' Stratagem;"
Millwood, in " George Barnwell," Bisarre, in the " Inconstant ; " Miss
Prue, in "Love for Love;" Angelina, in "Love Makes a Man;" Indiana,
in the "Conscious Lovers;" Mariana, in the "Miser;" Mrs. Beverly,
in the " Gamester ; " Mrs. Oakley, in the " Jealous Wife ; " Aura, in
"Country Lasses;" Cleopatra, in "All for Love;" Countess of Rutland,
in " Earl of Essex; " Ruth, in the "Committee ; " Ann Lovely, in "A Bold
Stroke for a Wife;" Lady Townly, in the "Provoked Husband;"
Araminta, in the " School for Lovers," and Horatia, in the " Roman
Father," in the plays, and as Mrs. Harlow, in the "Old Maid;" Mrs.
Sneak, in the " Mayor of Garratt," and Dorcas, in " Thomas and Sally,"
among the farces. In the supplementary season, in November and
December, she added to the parts in which she had been previously
seen Violante, in the " Wonder ; " Belvidera, in " Venice Preserved ; "
Pulcheria, in " Theodosius," and Miss Sterling, in the " Clandestine
Marriage." During the New York season of 1767-8 she added to
these parts Miranda, in the " Busybody ; " Clarinda, in the "Suspicious
Husband;" Sylvia, in the " Recruiting Officer;" Calista, in the "Fair
Penitent ; " Desdemona, in " Othello ; " Monimia, in the " Orphan ; "
Hermione, in the " Distressed Mother," and Lady Percy, in " Henry IV."
To these parts she finally contributed Lady Constance in " King John,"
the title-role in "Zara," Roxana in "Alexander the Great," and Lady
Betty Lambton in " False Delicacy." This, it must be confessed, is a
wonderful showing for two years' work lor an actress.

Whether Miss Cheer's withdrawal from the American Company
was due to her marriage it is impossible to say, especially as she
remained on the stage for nearly a year after it was announced. That

THE AMERICAN COMPANY. 207

event was one of the most romantic in dramatic history. In the Penn-
sylvania Chronicle for the 28th of August, 1768, it is reported in

the concise terms characteristic

Miss Cheer's Marriage.
of the journaHsm of that period.

T 1 T-> 1 .11 .1 J Last week was married in Maryland the

Lord RosehiU was the son and „. , , „ , , ^ a-d utw t^t- vt

Right Honorable Lord RosehiU to Miss Mar-
heir of the sixth Earl of North- garet Cheer, a young lady much admired for

her theatrical performances.

esk in the Scotch peerage. In

Burke's "Peerage" it is said that Lord RosehiU married Catherine
Cameron in 1768. This indicates either that Margaret Cheer was
only the stage name of the actress, or that the young Lord was twice
married within a year. At the time of his marriage Lord RosehiU had
just entered upon his twentieth year, and it may be assumed that Miss
Cheer was several years his senior, and that the union was the result
of a boyish passion for the leading lady of the American Company.
The young nobleman was in Philadelphia in 1768, where he was much
petted by society. Lord Rosehill's father was a naval officer of distinc-
tion, who attained the rank of Admiral of the White. Of the motives that
brought the young lord to America, thus making possible his marriage
with Miss Cheer-Cameron, there is no account, nor have we any account
of the length of his stay. If Lady RosehiU lived with her husband
during his lifetime, it is certain they did not return to Scotland imme-
diately after her retirement, for she played Queen Elizabeth, in
"Richard III," for Mrs. Douglass' benefit in New York as late as
1773. David Carnegie, Lord RosehiU, died in France without
issue in 1788. As the Earl, who was succeeded by his second son,
William, also a distinguished naval officer, lived until 1792, Lady
RosehiU never became a countess. Dunlap is authority for the state-
ment that she was afterward known as Mrs. Long. Miss Cheer was

208 HISTORY OF THE AMERICAN THEATRE.

the only actress on the American stage who ever succeeded in captur-
ing a lord for a husband, and after Lavinia Fenton, who became
Duchess of Bolton, she was the first actress to marry a title. At a
later period it was not unusual for favorite actresses to become the
wives of noble lords. Miss Eliza Farren becoming Countess of Derby
in 1797, Miss Louisa Brunton, sister of our own Mrs. Warren, Countess
of Craven in 1 807, and Mrs. Coutts, known to the stage as Miss Mellon,
Duchess of St. Albans in 1827. It is surprising that Miss Cheer's
marriage to Lord Rosehill should have passed at the time with no
other public mention than the brief announcement in the Pennsylvania
Chronicle and should afterward have been completely lost sight of by
the historians of the American theatre.

According to another historian of the American theatre, Colonel
Brown, Miss Wainwright also made her American debut in New York,
December 7th, 1767, as Cherry in the "Stratagem." She, too, had
played her first New York role in Philadelphia nearly a year before
she appeared in it in New York, and when the John Street Theatre was
opened she was already an established Philadelphia favorite in the
more important parts of Polly in the " Beggar's Opera," and Rosetta
in " Love in a Village." Colonel Brown also makes the astounding
declaration that Ann Storer (Mrs. Hogg) made her debut as a child in
1767 at the John Street Theatre. It is not likely that a child who had
already played Miss Biddy Belair in " Miss in her Teens," Regan in
"King Lear" and Betty in the " Clandestine Marriage" in Philadelphia
should become an infantile Betty in New York a few weeks later.

It is unnecessary to follow the mistakes of the historians further
in this chapter, and so it only remains to be added that during the
supplementary season of 1767 tickets were advertised to be had "at

THE AMERICAN COMPANY. 209

the London Coffee House and at Mr. Allyn's, next door but one to
the theatre." The prices were: Boxes js. 6d., pit 5^., gallery 2s. With
a brief interval during the summer of 1767 Philadelphia had had a
long series of theatrical performances at the new theatre in Southwark,
beginning with "Douglas," November 21st, 1766, and finally closing
with the " Clandestine Marriage," November 23d, 1767. It was now
to be New York's turn, and a long period elapsed before the players
returned to the Quaker City.

14

CHAPTER XX.

JOHN STREET THEATRE, NEW YORK.

AMUSEMENTS WHILE THE PLAYERS WERE ABSENT DESCRIPTION OF

THE NEW THEATRE THE FIRST SEASON IN THE NEW PLAY-
HOUSE DEATH OF MRS. MORRIS FATAL ACCIDENT TO A CAR-
PENTER RENEWED OPPOSITION TO PLAYS AND PLAYERS.

WHILE the Philadelphians were enjoying the acting of the
American Company, whatever its quality, in the winter and
spring and again in the autumn of 1767, the New Yorkers were
determined not to be entirely bereft of amusements. On the 14th
of April there was a concert of music at the New Assembly Room,
for the benefit of Mr. Leonard, whoever he may have been, and the
same evening Mr. Bayly, a sleight-of hand performer, took what was
called a benefit, the bill comprising " a new farce called the ' Enchanted
Lady of the Grove,'" the "Drunken Peasant" and the "Miller." Mr.
Tea was the Peasant and Mr. Bayly the Clown in the former of the
last two pieces, and Mr. Bayly the Miller and Mr. Tea the Harlequin
in the latter. The entertainment closed with "a negro dance," in
character, by Mr. Tea. Strangely enough, although the entertainment
was frequently repeated, the place where it was given was not named
in the announcements until the i8th of May, when it was said that the
performance would take place " at the Orange Tree on Golden Hill."

(210)

JOHN STREET THEATRE, NEW YORK. 211

On the 5th of May "Harlequin's Escape" was in the bills with this
cast: Pantaloon, by a Gentleman; Spaniard, Mr. Bayly; Harlequin,
by a Gentleman; Clown, Mr. Tea.

On the 1 8th Otway's " Orphan " was played " by Gentlemen
and Ladies for their amusement," and " Harlequin Statue" was given,
thus cast: Pantaloon, Mr. Shaw; Harlequin, Mr. Martin; Clown, Mr.
Tea; Columbine, Mrs. Bayly.

The Royal American Band of Music had a benefit at Burns'
New Assembly Room on the 20th of April, and on the 1 3th of August
the first of a series of concerts was given at Ranelagh Garden. During
the summer Mr. Douglass visited New York, probably to superintend
the building of his new theatre. During his visit he gave the celebrated
" Lecture on Heads " in three parts at Burns' Assembly Room, begin-
ning July 17th, with singing between the parts and at the end of the
lecture by Mr. Woolls. Tickets were one dollar, but the price being
objected to "as rather too high" Mr. Douglass lowered it after the first
night to half a dollar. The lecture was delivered every Tuesday and
Friday evening, the last performance taking place on the 6th of August.
William C. Hulett, who was the dancer of the original Hallam Com-
pany, had a benefit at Burns' on the 2d of December, at which he was
assisted by Mr. Woolls and Miss Hallam.

In the first American play produced in New York, and the first
comedy by an American that was American in theme — " The Con-
trast," by Judge Tyler, of Vermont — the original Jonathan is made to
describe the theatre in New York at the time it was re-opened after
the Revolution. "As I was looking here and there for it," Jonathan
says, " I saw a great crowd of folks going into a long entry that had
lanterns over the door, so I asked the man if that was the place they

212 HISTORY OF THE AMERICAN THEATRE.

played hocus pocus ? He was a very civil kind of a man, though he
did speak like the Hessians; he lifted up his eyes and said: 'They
play hocus pocus tricks enough there, Got knows, mine friend.' So
I went right in and they showed me away clean up to the garret, just
like a meeting house gallery. And so I saw a power of topping folks,
all sitting around in little cabins just like father's corn-crib."

This was the theatre in John Street, which for a quarter of a
century was to New York what the Southwark Theatre was to Phila-
delphia. Both houses were alike in appearance, but the New York
theatre stood back about sixty feet from the street, with a covered way
of rough wooden materials from the sidewalk to the doors. It was
principally of wood and was painted red. It had two rows of boxes
and a pit and gallery, the capacity of the house when full being about
eight hundred dollars. The stage was sufficiently large for all the
requirements of that theatrical era, and the dressing-rooms and green-
room were in a shed adjacent to the theatre.

The theatre in John Street was opened to the public on the
7th of December, 1767, the season lasting until the 2d of June, 1768.

List of Performances. Some idea of the work performed

1767- by the American Company in

Dec. 7 — Beaux' Stratagem . . . Farquhar

Lethe Garrick New York during the season may

1 1 — School for Lovers . . Whitehead 1 .1 jr i.\. ^• 1. c •

„ , ^ „ ^ be gathered from the list of pieces

Mayor of Garratt Foote => '^

14— Richard III Shakspere known to have been produced.

Oracle Mrs. Gibber , ,. .

18-Clandestine Marriage . Even now the list is not complete,
Garrick and Colmaa t^^^ ^ ;^. stands it shows thirty-
Old Maid Murphy

21— Hamlet Shakspere eight full pieces — tragedies and

Thomas and Sally . . BickerstafF . , ,. . ,

28-Cymbeiine Shakspere comedies, including eight of

30— Mourning Bride . . . Congreve Shakspere's masterpieces — and

Upholsterer Murphy

(Benefit of debtors in the City Gaol.) twenty-six farces. This, it must

JOHN STREET THEATRE, NEW YORK. 213

be confessed, is a remarkable 1768.

Jan. I — Busybody Centlivre

showing, to which no modern Deuce is in Him . . . . Colman

company would be equal. Al- 4-Romeo and Juliet . . Siiakspere

Miss in her Teens . . . Garriclc

though most of the pieces had 7 — Gamester Moore

Catherine and Petrucliio. Shakspere

been previously presented at the i,_Love in a Village . . Bickerstaft

Southwark Theatre, none of them Contrivances Carey

15 — Earl of Essex Jones

had been played more than two Witches.

, . , , 18 — Wonder Centlivre

or three times, and so every play witches.

must have required a fresh study 22-A Bold Stroke for a Wife. Centlivre

Reprisal Smollett

from all concerned. How exact- --25 — King Lear Shakspere

Hob in the Well . . . .Gibber
ing these studies were may be 28-Merchant of Venice . .Shakspere

gathered from the delays in pro- ^^'°- i-Suspi^ous Husband . . Hoadly

ducing Murphy's "All in the 4— George Barnwell Lillo

__, ,, ,., ..,, Catherine and Petruchio.

Wrong, which was originally 8-Love in a Village.

announced for production, and is High Life Below Stairs . Townley

II — Orphan Otway

set down by Mr. Ireland as pre- Hariequin Collector.

sented in New York on the 6th IS-Recruiting Officer . . . Farquhar

Citizen Murphy

of April, 1768. This was intended 18— Recruiting Officer.

Citizen.

to be the first production of the 22— Venice Preserved .... Otway

comedy, but owing to the pressure ^ oi'd* m •T'^ ' '^^'^''^
of the regular repertoire it was 29— Committee Howard

March 3 — Macbeth Shakspere

found necessary to postpone its Oracle,

presentation until a later date. 7-School for Lovers.

'■ Apprentice Murphy

There is no existing record of its 1° — Roman Father . . . Whitehead

Catherine and Petruchio.
actual production this season. 14— Miser Fielding

Murphy's comedy was produced ^''^P'^' '^^"'^^^

^ ^ .' r 19— Cato Addison

by command of Lady Moore, the Witches.

. „. ^^ ,, , 24 — Fair Penitent Rowe

wife of Sir Henry Moore, at that ^eck or Nothing .... Garrick

214

HISTORY OF THE AMERICAN THEATRE.

April 4 — Constant Couple . . , Farquhar
High Life Below Stairs.
6 — All in the Wrong . . . Murphy
8— Wonder.

Harlequin Collector.

II — Othello Shakspere

14 — Romeo and Juliet.

Catherine and Petruchio.
(Miss Cheer's Benefit.)
18 — Country Lasses .... Johnson
Citizen.
(Miss Wainwright's Benefit.)
21 — Conscious Lovers .... Steele
Polly Honeycomb . . . Colman
(Mr. Morris' Benefit.)
25 — Cymbeline.

High Life Below Stairs.
(Mr. Hallam's Benefit.)

28 — ^All for Love Dryden

Upholsterer.
(Mr. Douglass' Benefit.)

May 2 — Richard IIL

Taste (Interlude) .... Foote
(Benefit of the Misses Storer.)
5 — Hamlet.

Miller of Mansfield . . Dodsley
(Mr. Tomlinson's Benefit.)
9 — Orphan of China .... Murphy
Brave Irishman.
(Mr. Hallam's Benefit.)
13 — ^Venice Preserved.

Love a la Mode .... Macklin
(Mr. Henry's Benefit.)
16 — Distressed Mother . . . Philips
Thomas and Sally.
(Mrs. Harman's Benefit.)
19 — Love in a Village.

Lying Valet Garrick

(Miss Hallam's Benefit.)

23 — ^Jane Shore Rowe

Miss in her Teens.
(Mrs. Douglass' Benefit.)
26 — Provoked Husband . . Vanbrugh
Honest Yorkshireman.
(Mr. and Mrs. Wall's Benefit.)

time Governor of New York.
Besides this the only new comedy
presented this season was Mack-
lin's " Love a la Mode."

Although Mr. Hallam was
first in everything from Hamlet,
Macbeth and Lear, and Marc An-
tony, in "All for Love," and Don
Felix, in the "Wonder," to Slip,
in " Neck or Nothing," and Har-
lequin, in the " Witches," and Mr.
Henry's parts, as a rule, were
little above "responsible utility" —
Tybalt, in " Romeo and Juliet,"
Tubal, in the " Merchant of Ven-
ice," Malcolm, in " Macbeth," the
Tailor, in " Catherine and Petru-
chio," and Crispin Heel-Tap, in
the " Mayor of Garratt " — the latter
showed not only a worthy ambi-
tion but sound judgment in tak-
ing advantage of his benefit to be
seen as Sir Callaghan O'Bral-
laghan, in Macklin's comedy.
After Henry's death Hallam was
accustomed to describe him as "a
splendid amateur actor," but in
many parts he was beyond doubt

JOHN STREET THEATRE, NEW YORK.

215

Hallam's superior. In Irish char- May 30— Gamester.

Devil to Pay.
acters especially he was unex-

June

(Mr. Tomlinson's Benefit).
2 — Earl of Essex.
Cock-lane Ghost.
Catherine and Petruchio.
(Mrs. Douglass'Benefit.)

celled by any actor who appeared

on the American stage previous

to the Revolution or after it as

Patrick in the " Poor Soldier," in which he was a great favorite with

General Washington, who first saw him in the role in Philadelphia,

during the sittings of the Federal Convention, in 1787.

In Macklin's comedy an Irish officer, a Jew broker, a Scotch

baronet and an English squire are addressing a young lady of very-
great fortune, but only one of
them, the Irishman, is a disinter-
ested lover — Macklin was an
Irishman. The character of the
Irishman bears a strong resem-

LovE A LA Mode.

Sir Callaghan O'Brallaghan . . Mr. Henry
Sir Archy MacSarcasm . . . Mr. Douglass

Squire Groom Mr. Hallam

Beau Mordecai Mr. Morris

Sir Theodore Goodchild . . Mr. Tomlinson
Charlotte Miss Hallam

blance to the elder Sheridan's Captain 0' Blunder — a part in which
Henry delighted — and the thought of the catastrophe is borrowed from
Theophilus Gibber's comedy, "The Lover." The piece was originally
brought out at Drury Lane in 1760. Besides this two other farces
that were new to the American stage were presented this season. One
of these was the elder Colman's
" dramatic novel," as it was called,
" Polly Honeycomb." It was
aimed at the evil effects of the
fashionable taste for mischievous

Polly Honeycomb.

Mr. Honeycomb Mr. Morris

Scribble Mr. Wall

Ledger Mr. Tomlinson

Mrs. Honeycomb Mrs. Harman

Nurse Mrs. Tomlinson

Polly Miss Wainwright

novels, and met with amazing success when it was first produced at
Drury Lane. It owed much of its success, however, to the exquisite
absurdity of the fulsome tenderness of Mr. and Mrs. Honeycomb.

2 1 6 HISTOR V OF THE AMERICAN THEA TRE.

The other, " Fanny, the Phantom ; or, the Cock-lane Ghost," was pre-
sented for Mrs. Douglass' benefit on the closing night of the season.
Cock-lane Ghost. It was, no doubt, an interlude

The Orator 1 j^^ ^^jj based on the episode of 1762 in

Peter Paragraph /

Irish Sergeant Mr. Douglass Cocklane, Stockwell, which, for

Counsellor Prosequi .... Mr. Tomlinson , ., j j.i i_^ ^^

ci, J 1. T) J, ■ AT AT ■ • awhile engrossed the attention

Shadrach Bodkin Mr. Moms "

The Justice Mr. WooUs of all London.

The repertoire of the New York season of 1767-8 included
nine pieces, more or less familiar, that had not been seen in Phila-
delphia in 1766-7. Among these busybody.
was Mrs. Centlivre's " Busybody,"

Marplot Mr. Hallam

first played in this country by sir George Airy Mr. Henry

Murray and Kean's company in

Sir Francis Gripe Mr. Morris

Charles Mr. Wall

1 75 I. It was originally acted at Sir jealous Traffic Mr. Douglass

Whisper Mr. AUyn

Drury Lane in 1709. Wilks had Butler Mr. GreviUe

such a mean opinion of his own ^'^^'f^ Miss Hallam

'■ Patch Mrs. Hannan

part, Sir George, that one morning Scentwell Mrs. Tomhnson

Mirinda Miss Cheer

at rehearsal he threw it into the

pit and swore nobody should sit out such silly stuff. The actors

reported that it was a silly thing written by a woman, and so when it

was produced there was only a small audience. In spite ol the poor

Distressed Mother. opinion the players had of it it was

successful. Pack was the original

Pyrrhus Mr. Douglass

Orestes Mr. Hallam Marplot, but the following year

Pylades Mr. Morris ,-- 111 1

Phoenix Mr. Tomlinson ^ogget played the part at the

Hermione Miss Cheer Haymarket. Another play acted

Cephisa Miss Storer

cieone Miss Hallam this season that was in the Murray

Andromache Mrs. Harman , tt- - tm -i- .

and Kean repertoire was Philips

JOHN STREET THEATRE, NEW YORK. 217

" Distressed Mother." This tragedy had been long laid aside by
the American Company, and it was only revived on this occasion
to allow Mrs. Harman to play Andromache for her benefit. The third
of the Murray and Kean repertoire by alphabetical arrangement in the
list of pieces this season was Fair Penitent.

Rowe's " Fair Penitent." It was Altamont A Gentleman

, ,, 1 J , • .1 (Being his first appearance on this stage.)

probably produced to give the ^^^^J^_ _ /^ Ur. ZlL

amateur who played Altamont an Horatio Mr. Douglass

Sciolto Mr. Henry

opportunity to appear in New Rossano Mr. Wooils

York. Still another piece from ^^™'^ ^J'' ^°"g'^=

^ LuciUa Miss F. Storer

the same repertoire was Otway's Calista iVfiss Cheer

" Orphan." Miss Cheer probably desired its production in order to
try her powers as Monimia. Then came Farquhar's "Recruiting
Orphan. Officer." Although Recruiting Officer.

this comedy is named

Chamont . . . Mr. Hallam Captain Plume . Mr. Hallam

Castalio .... Mr. Henry in the Dunlap reper- Captain Brazen . Mr. Henry

Polydore .... Mr. Wall _ ... Justice Balance . Mr. Morris

Acasto . . . . Mr. Morris toire of the original Sergeant Kite .Mr. Douglass

Chaplain. . Mr. Tomlinson Hallam Comoanv Worthy. . . Mr. Wooils

Ernesto . . .Mr. AUyn ^ ^ Bullock .... Mr. Wall

Page . . . Miss M. Storer there IS no evidence Melinda . . . Miss Storer

Serina .... Miss Storer . , j ^°^^ • • ^'^^ Wainwright

Florella . . . Mrs. Harman that it was played, -^^^^ .... Mrs. Harman

Monimia . . . Miss Cheer ^^^^p^ by "the COm- Sylvia . . . . Miss Cheer

pany of comedians from Philadelphia," until the arrival of Douglass in
New York, in 1758. The first American cast on record is that of the
theatre on Society Hill, Philadelphia, in 1759. The characters are
drawn from life. Captain Plume being a portrait of the author; Worthy
of a Mr. Owen, of Russason ; Justice Balance of Mr. Berkely, Recorder
of Shrewsbury; Sylvia of Mr. Berkely's daughter, and Melinda of a
Miss Harnage, of Balsadine, near the Wrekin.

2l8

HISTORY OF THE AMERICAN THEATRE.

Two of Shakspere's tragedies seldom played by the American
Company, " Othello " and the first part of " King Henry IV," were

King Henry IV.

Sir John Falstaff . Mr. Douglass

Hotspur Mr. Hallam

King Henry .... Mr. Morris
Prince of Wales . . . Mr. Wall
Sir Walter Blunt . . Mr. Henry
Worcester . . . Mr. Tomlinson
Sir Richard Vernon . Mr.Greville
Northumberland . . Mr. Woolls
Westmoreland . . Mr. Raworth

Poins Mr. Malone

Peto Mr. Roberts

Prince John .... Mrs. Wall
Hostess .... Mrs. Harman

produced this sea-
son. The former
was played by Up-
ton in New York
and the elder Hal-
lam at Williams-
burg as early as

Othello.

Othello . . . Mr. Douglass
lago Mr. Hallam

Cassio . .
Brabantio .
Roderigo .
Duke . . ,
Ludovico . ,
Montano .
Emilia . .
Desdemona

. . Mr. Henry
. . Mr. Morris

. . Mr. Wall
. Mr. Greville
Mr. Tomlinson

. Mr. Malone
. Mrs. Harman
. . Miss Cheer

1752. The earliest

cast of it extant was that at Annapolis in
Lady Percy. . . . Miss Cheer 1760, when Palmer played lago to Doug-
lass' Moor. The latter was first played at the Chapel Street Theatre,
New York, in 1761, with Mr. Douglass, as now, as the fat knight
This is the first full cast of the tragedy that has been preserved.

Only one more full play, Hoadly's " Suspicious Husband," and

one farce, Carey's " Honest Yorkshireman," remain to be noticed as

not in the list of honest Yorkshireman.

pieces played by the

American Company

in Philadelphia, but

Suspicious Husband.

Ranger . . . Mr. Hallam

Strictland . . Mr. Douglass

Frankly .... Mr. Wall

Jack Meggot . . Mr. AUyn

Mrs. Strictland . Miss Storer given in New York

Clarinda . . . Miss Cheer

Jacintha . . Miss F. Storer this season. No in-

Lucetta . Miss Wainwright

Gaylove . . . Mr. Hallam
Sapscull .... Mr. Wall
Muckworm . . Mr. Morris
Slango . . . Mr. Tomlinson
Blunder . . Mr. Raworth
Arabella . . . Miss Hallam
Combrush . . Miss Cheer

terest attaches to these casts except as part
of the record. Hallam had a fondness for the roles that Garrick had
made famous, which was probably the reason for the revival of the
comedy, but on this occasion he played Gaylove in the farce as well as
Ranger in the comedy.

JOHN STREET THEATRE, NEW YORK.

219

Only three plays were presented in New York in 1767-8 that
had been played in Philadelphia in 1766-7, without advertisement

Bold Stroke for a Wife.

of the casts in the
newspapers. These

Wonder.

Col. Feignwell . Mr. Hallam
Obadiah Prim . . Mr. Allyu
Sir Philip . . Mr. Douglass
Tradelove . . . Mr. Henry
Periwinkle . . . Mr. Morris
Freeman .... Mr. Wall
Simon Pure . . Mr. WooUs
Sacbut . . . Mr. Tomlinson
Mrs. Prim . Mrs. Douglass
Betty . . Miss Wainwright
Masked Lady . . Mrs. Wall
Ann Lovely . . Miss Cheer tragedy, " Jane Shore."

Don Felix . . Mr. Hallam
Colonel Blinker . Mr. Wall
Gibby . . . Mr. Douglass
Don Lopez , . Mr. Morris
Don Pedro . Mr. Tomlinson
Lissardo . . . Mr. Greville
Frederick . . Mr. WooUs
Isabella . . . Miss Hallam
Flora . . Miss Wainwright

Iris Mrs. Harman

Violante . . . Miss Cheer

were Mrs. Centlivre's

two comedies, "A Bold

Stroke for a Wife"

and the "Wonder: A

Woman Keeps a

Secret," and Rowe's

Both of Mrs. Cent-
livre's comedies had held the stage over fifty years, tlje former being
especially popular with American audiences, while in the latter many
of the great lights of the English stage made reputation, from Wilks
to Garrick as Don Felix, and from Mrs. Oldfield to Mrs. Abington as
Violante. On the occasion of the production of the " Wonder " in
New York, in 1768, the audience, however, was more noteworthy than
the play. Toward the close of the year 1 767 an Indian delegation visited
'New York.' It comprised the famous Attakullakulla, or the Little
Carpenter ; Onconostota, or the Great Warrior, and the Raven King
of Toogoloo, with six other chiefs. They were Cherokees from South
Carolina, who had come to see General Gage to ask his interoosition

1 Pennsylvania Gazette's Report. —
New York, December 17. The expectatfon
of seeing the Indian chiefs at the play on
Monday night occasioned a great concourse
of people. The house was crowded, and it
is said great numbers were obhged to go
away for want of room.

The Indians regarded the play, which was
" King Richard III," with seriousness and

attention, but, as it cannot be supposed that
they were sufficiently acquainted with the
language to understand the plot and design
and enter into the spirit of the author, their
countenances and behavior were rather ex-
pressive of surprise and curiosity than any
other passions. Some of them were much
surprised and diverted at the tricks of Har-
lequin.

220

HISTORY OF THE AMERICAN THEATRE.

in mediating a peace with the Six Nations. Hearing that there was a

theatre in New York, they expressed a desire to see a play acted,

whereupon the General caused places to be taken for them. This was

the second time an Indian delegation was entertained with a theatrical

representation, the first, as already mentioned, being at Williamsburg,

Va., during the first season of the original Hallam Company. To

■c^^^.r-,. ^„„., A„„^„^,,^.,™^ meet the tastes of these untutored
Extract from Advertisement.

theatre-goers, a pantomime was

For the Entertainment of the Cherokee Chiefs

and Warriors. substituted for the " Oracle,"

Harlequin Collector: ,.,,,, ,

„ which had been announced as

Or,

The Miller Deceived. the afterpiece for the evening.

Harlequin Mr. Hallam

Clown Mr. Morris The Substitution was no doubt

Miller Mr. Tomlinson . r- tit tt 11 i

„ . . ,, „, „ m consequence of Mr, Hallam s

Magician Mr. WooUs '■

Baboon Mr. Wall recollection of what pleased the

Anatomist Mr. Douglass

Porter Mr. Roberts savages at Williamsburg, in

Haymakers by Mr. Henry, Mr. Malone, Mr. ^j^j^ performance tOok

Greville, Mr. Raworth, Mr. Roberts, Miss / J " r

Hallam, Miss Storer, Miss F. Storer, Miss place on the 14th of December,
Wainwright, Mrs. Harman, Mrs. Tomlin-
son, Mrs. Wall, etc. 1 767. ^nd on the 8th of April fol-

^°''™^''^^ M'^= ^^^" lowing the Indians paid a second

*** The Cherokee Chiefs and Wamors, ^ ^

being desirous of making some return for the visit tO the theatre. This waS the

friendly Reception and Civilities they have

received in this city, have offered to entertain night when Mrs. Centllvre S COm-

the Public with the gd the " Wonder," was produced.

War Dance,

Which they will exhibit on the stage after the The quaint language of the part

of the bill relating to the entertain-

)|@" It is humbly presumed that no part

of the audience will forget the proper Deco- ment of the Cherokees will be

rum so essential to all public Assemblies, ^ 1 ^i i_ ^ -li j

_^. , , ,, • ^ ■ », T> found the best possible descrip-

particularly on this Occasion, as the rersons '^ ^

who have condescended to contribute to their tion of the event. So Strong waS
entertainment are of Rank and Consequence

in their own country. the reverence for royalty in those

JOHN STREET THEATRE, NEW YORK. 221

days that even respect for rank and consequence in savages was
insisted upon. The most interesting feature of the second enter-
tainment, however, was that provided by the savages themselves,
this being the first time an Indian war-dance was danced on any
stage by native performers.

The tragedy of " Jane Shore " was evidently selected by Mrs.
Douglass for her benefit to afford her an opportunity to repeat the

title-role. It was only natural

•' ■ Jane Shore.

that the actress who had been the

Hastings Mr. Hallam

acknowledged star of the Ameri- cioster Mr. Morris

can stage from 1752 to 1766 ^7°°' M""-^^"

^ ' -" ' Belmour Mr. WooUs

should wish to put aside such Jane Shore Mrs. Douglass

Alicia Miss Cheer

subordmate roles as Mrs. Heidel-
berg and Mrs. Wisely to appear on her benefit night in one of the
parts in which she had been a favorite, and this in itself will account
for her re-appearance as the merriest and most unfortunate of the
mistresses of Edward IV.

Nothing relating to the early history of the American stage is
more interesting than the farces presented from time to time by the

Citizen. American Company.

^ ■" Apprentice.

Citizen Mr. Wall In that age these de-

Yoxrng Wilding . Mr. Henry . . Dick Mr. Wall

Old Philpot . Mr. Douglass hcious morceaUX were Wingate .... Mr. Morris

Sir Jasper . Mr. Tomlinson as carefully cast as the ^^'■g^^ • ■ • -^^-^ri

Beaufort . . . Mr. WooUs President . . . Mr. WooUs

Quilldrive . . . Mr. Malone full pieces, and SO Simon . . . Mr. Tomlinson

Dapper . . . Mr. Greville Charlotte . Miss Wainwright

Corunna . Mrs. Tomlinson there was occasion to

Mana . . Miss Wainwright regret that Mr. Douglass refrained from adver-
tising the performers in so many of them in his .first season at the
Southwark Theatre. In New York, however, he repaired this omis-

222 HISTORY OF THE AMERICAN THEATRE.

sion in a great degree. Arthur Murphy's farces were just coming
into vogue, and we thus have the casts, slightly modified, of three
of them, the "Apprentice," the "Citizen" and the "Upholsterer."
The "Apprentice" was written in derision of the "spouting clubs"
then so common in London and thence transplanted to the Colonies.
The " Citizen" was originally produced as a comedy, making the repu-
tation of a new London actress, Miss Elliot, as Maria, but it was
printed as a farce, and it was as a farce that it was always played in
this country. The young girl who escaped an unwelcome lover by
passing herself on him for a fool must have afforded Miss Wainwright
Upholsterer. excellent scope for her talents.

Upholsterer Mr. Douglass The "Upholsterer" was taken

Barber Mr. Wall

Pamphlet Mr. Haiiam from The Tattler, Nos. 15s, 160

_^ ™^,, ■kit'\i,t^^^ and 178, and was first acted for

Rovewell Mr. WooUs ' '

Feeble Mr. Morris Mr. Mossop's benefit at Drury

Maria Mrs. Wall

Termagant Mrs. Harman Lane, in 1 75 8. All the characters

are outre, the old upholsterer, when he is declared bankrupt, showing

no concern for himself or his family, but busying himself with schemes

for the payment of the national debt. This farce, which was very

funny, had great success both in England and America.

The " Brave Irishman " was written by Thomas Sheridan, the

„ - father of Richard Contrivances.
Brave Irishman.

Brinsley Sheridan, Rovewell . . . Mr. Woolls

Capt. O'Blunder . Mr. Henry Argus Mr. Morris

Dr. Clyster . . Mr. Hallam when a mere boy at Hearty Mr. AUyn

Dr. Gallipot . Mr. Douglass ^^ Itwasori- Robin ... Mr. Tomlinson

Cheatwell .... Mr. Wall & Betty .... Mrs. Harman

Tradewell . . .Mr. Morris ginally produced in Arethusa . Miss Wainwright
Marquis . . . Mr. Roberts

Lucy .... Miss Hallam Dublin. As Henry was an Irishman, and
Betty . . Miss Wainwright ^^^^^^ ^^^j^ ^^^^^^ ^^ jj.jgh parts, the coura-

JOHN STREET THEATRE, NEW YORK. 223

geous but blundering Captain was just in his way. Another interest-
ing farce, of which we have this season the first American cast that was
preserved, was the " Contrivances," by Henry Carey, the author of" Sally
in our Alley." A fact worth recalling in connection with this farce is
that Arethusa used to be the probationary part for female singers
before they were allowed to venture upon characters of more con-
sequence. But a still more interesting cast of this season was that of
the "King and the Miller of Miller of Ma nsfield.

Mansfield." Dodsley's dramatic The King Mr. Henry

The Miller Mr. Hallam

tale, based on the well-known Dick . Mr. Morris

^ -_ TT 1 ,1 -11 Lord Ixivewell Mr. Wall

Story of Henry II and the miller, ^^ j^^ ^^^^

had been played ever since the Peggy Mrs. Wall

Kate Mrs. Tomlinsou

dawn of the drama in this country, Margary Mrs. Harman

but this is the first cast apparently ever printed in the newspapers.
It is noteworthy also that of the two men who played the King and
the Miller, the King was afterward to become the king of the Ameri-
can stage.

This season also gave us the first casts by the American Com-
pany, since its reorganization in 1766, of two familiar farces, Garrick's
Lying Valet. " Lying Valet " and Hob in the Well.

Lying Vale77~Mr. Hallam Cibber's " Hob in the Hob Mr.AUyn

Beau Trippet . Mr. Greville Well." These are S^tf IV / ' ' ^'J^"""'

Gayless Mr. Wall Hob s Mother . Mrs. Harman

Drunken Cook . Mr. Morris Only introduced as Flora .... Miss Hallam

Justice Guttle . Mr .Tomlinson ,. e ix. j t.- u -i • ^i. • r ^i ■

;. ,. ,. „ part of the record which it is the aim of this

Melissa , . . Mrs. Harman '■

Kitty Pry . Miss Wainwright work to preserve with as much completeness
as possible. Hallam it will be noticed played Sharp in Garrick's farce.
An interesting study of the methods and conditions of theatri-
cal management in America in the earlier years of the old Ameri

224 HISTORY OF THE AMERICAN THEATRE.

can Company is afforded by the indented table, showing the modifica-
tions the Philadelphia casts of Yj^b-y underwent in New York in

1767-8. It will be
CONTRASTED CASTS.

Plays. New York. Philadelphia. observcd, first of

All for Love. all, that Mr. Henry

Octavia Miss Storer . . . Mrs. Douglass .

r, , o^ . only succeeded to

Seaux stratagem. ^

Aimwell Mr. Henry . . Mr. Douglass . . tJ^e roles of the

Sullen Mr. Tomlinson . Mr. Wall. . . .

Sir Charles Mr. Malone . . Mr. Greville . . actors of inferior

Boniface Mr. Douglass . . Mr. Tomlinson . •■ • t> j

c 1, ivT w n AT A«^ • position, as Broad-
Scrub Mr. Wall . . . Mr. Morns . . . ^ '

Cato. belt, Wall and

Fortius Mr. Henry ... A Gentleman . . . , , - ^ t, ■,

Syphax Mr. Morris. . . Mr. Allyn . . ^11^"- M""" ^^^1-

Marcus Mr. Greville . . Mr. Godwin . . Jam's name appears

Lucia Miss Hallam . . Mrs. Harman . .

Clandestine Marnage. i" this list only

T™sty Mrs. Tomlinson. Mrs. Morris . . Qjjce, because he

Committee.

Teague Mr. Henry ... Mr. Allyn . . . had already pos-

Mr- Day Mr. Morris . . . ^^3^^^ himself of

Obadiah Mr. Tomlinson .

Conscious Lovers. all the best roles.

Sir John Bevil . . . Mr. Henry . . . Mr. Broadbelt . . . r 77-

Cymberton Mr. Greville . . Mr. Allyn . . . ^^^^^P* Lovegold in

Daniel Mr. Roberts . . Mr. Godwin . . the " Miser " which

Isabella Miss Storer , . . Mrs. Douglass .

Constant Couple. ^^ "OW added tO

Beau Clincher . . . Mr. Henry . . . Mr. Allyn . . . Jjjg own reoertoire

Tom Errand .... Mr. Greville . .

Parly Miss F. Storer . Miss Wainwright. Miss Cheer's name

Country Lasses. ^^^^^^ ^^^y four

Sir John English . . Mr. Tomlinson . Mr. Allyn ...

Carbuncle Mr. Henry . . . Mr. Broadbelt . times, once becaUSe

Shacklefigure .... Mr. Roberts . . Mr. Piatt

„ , ,. it had not been

Cymaehne.

Bellarius Mr. Henry . . . Mrs. Morris . . printed, probably

Pissanio Mr. Morris . . . Mrs. Harman . .

Earl of Esse.. ^V mistake, in the

Countess of Nottingham Miss Storer. . . Miss Hallam . , Philadelphia ad-

JOHN STREET THEATRE, NEW YORK.

225

vertisement of the

Gamester.

Charlotte ....

. Miss Hallam . .

Mrs. Harman . .

"Orphan of China,"

Hamlet.

and once because

Horatio

. Mr. Henry . . .

A Gentleman . .

Osric

. Mr. Roberts . .

Mr. Godwin . .

she had turned

Marcellus ....

. Mr. Greville . .

over the part of

Player King . . .
Queen

. Mr. Malone * . .
. Mrs. Harman . .

Mr. Allyn . . .
Mrs. Douglass .

Kitty in " High

Player Queen . .

. Miss Storer . .

Mrs. Harman . .

Life Below Stairs"

King Lear.

Edmund

. Mr. Henry . . .

Mr. Wall . . .

to Miss Storer, Mrs.

Kent

. A Gentleman . .

Mr. Morris . . .

Albany

. Mr. AUyn . . .

Mr. Wall . . .

Sneak in the " May-

Usher

. Mr. Wall . . .

Mr. Godwin . .

Regan

. Miss Storer . . .

Mrs. Harman . .

or of Garratt" to

Love in a Village.

Miss Wainwright,

Eustace

. Mr. Henry . . .

Mr. Allyn . . .

and Dorcas in

Macbeth.

Duncan

. Mr. Greville . .

Mr. Allyn . . .

"Thomas and Sal-

Malcolm

. Mr. Henry . . .

Mr. Godwin . .

Donaldbain . . .

. Mr. Malone . .

Mr. Piatt. . . .

ly" to Mrs. Har-

Fleance

. Miss M. Storer .

Miss Dowthwaite

man. It will be

Hecate

Merchant of Venice,

. Mr. WooUs. . .

Mrs. Harman . .

seen also that, as

Salarino

. Mr. Malone . .

Mr. Matthews .

Mrs. Douglass had

Gobbo'

Tubal

. Mr. Raworth . .
. Mr. Henry . . .

previously yielded

Miser.

Lovegold ....

. Mr. Hallam . .

Mr. Allyn . . .

up her great roles

Ramillie

. Mr. Morris . . .

Mr. Hallam . .

to Miss Cheer, so

Decoy

. Mr. Raworth . .

Mr. Morris . . .

List

. Mr. Henry . . .

now she gave up

Furnish

Mr. Malone . .

Mr. Piatt. . . .

Charles

. Mr. Roberts . .

Mr. Godwin . .

many of her smaller

Mrs. Wisely . . .

. Mrs. Douglass. -

Mrs. Douglass .
Mrs. Tomlinson ,

parts to MissStorer.

Orphan of China.

The minor changes

Timurkan ....

. Mr. Henry . . .

Mr. Allyn . . .

Octar

. Mr. Greville . .

Mr. Tomlinson ,

in these casts are

Morat

. Mr. Tomlinson .

only important in

Mandare

Provoked Husband.

. Miss Cheer . . .

showing the ease

Squire Richard . .

. Mr. Woolls . .

Mr. Allyn . . .

with which small

Lady Grace . . .

. Mrs. Harman . .

Mrs. Douglass .

IS

226

HISTORY OF THE AMERICAN THEATRE.

Lady Wronghead

Mrs. Motherly .
Hichard III,

Richmond . . .

Buckingham . .

Prince of Wales
Romeo and Juliet.

Escalus . . .

Friar Laurence

Benvolio . . .

Tybalt. . . .

Friar John . .

Lady Capulet .
School for Lovers.

Steward . . .

Farces.

Catherine and Petruchio.

Music Master ....

Tailor . . .
Bianca . . .
Devil to Pay.
Nell . . .

Miss Wainwright.
Mrs. Tomlinson .

Mr. Henry .
Mr. Douglass
Mr. Wall. .

Mr. Malone
Mr. Greville
Mr. Wall .
Mr. Henry .
Mr. Roberts
Miss Storer .

Mr. Tomlinson

Mr. Raworth ,
Mr. Henry . .
Mr. Malone ,
Miss Storer . .

Mrs. Harman . .
Miss Wainwright.

Mr. Douglass . .
■Mr. Wall. . . .
Mr. Godwin . .

Mr. Broadbelt .
Mr. Allyn . . .
Mr. Godwin . .
Mr. Wall . . .
Mr. Piatt ....
Mrs. Douglass .

Mr. Allyn .

Mr. Henry .
Mrs. Wall ,

Miss Wainwright. Mrs. Morris

High Life Below Stairs.

Sir Harry

Tom

Kingston

Robert

Lady Charlotte , . .

Cloe

Kitty

Lethe.

Tattoo .

Mrs. Tattoo ....

Mrs. Riot

Mayor of Garratt.

Crispin Heel-tap . .

Roger

Snuffle

Mrs. Sneak

Miss in her Teens.

Fribble

Flash

Miss Biddy ....

Mr. Henry .
Mr. Malone
Mr. Tomlinson
Mr. Greville
Miss F. Storer
Mr. Roberts
Miss Storer .

Mr. Malone
Miss Hallam ,
Miss Wainwright.

Mr. Allyn . . .
Mr. Tomlinson .
Mr. Matthews .

Miss Wainwright.
Mr. Piatt ....
Miss Cheer . . .

Mrs. Harman .

Mr. Henry . . . Mr. Morris .

Mr. Malone . . Mr. Godwin

Mr Roberts . . Mr. Piatt . .

Miss Wainwright. Miss Cheer .

Miss M. Storer . Mr. Allyn .

Miss F. Storer . Mr. Hallam

Miss Hallam . . Miss Storer .

parts were filled at
a time when actors
can not be supposed
to have been nu-
merous in the Col-
onies. The cast
of " Miss in her
Teens," for Mrs.
Douglass' benefit,
was an exceptional
one for that time,
the younger Storer
sisters playing
Flash and Fribble.
Maria, the Mrs.
Henry of a later
period, made her
first appearance in
New York on the
7th of January,
1768, as a singer,
between the play
and the farce of
the evening. Fan-
ny, afterward Mrs.
Mechler, remained
on the stage for a
comparatively brief

JOHN STREET THEATRE, NEW YORK. 227

period and was the ^^<:^ "^ Nothing.

Sir William .... Mr. Henry . . . Mr. AUyn . . .
least distinguished jenny Miss Storer . . . Miss Wainwright.

of the sisters. It Old Maid.

Clerimont Mr. Wall ... Mr. Hallam . .

may be well to add j-f^^^ ^„^ ^ally.

that all the parts ^°'''^^ Mrs. Harman . Miss Cheer. , .

Witches.
omitted in this Monsieur Mr. Roberts . .

table were played in New York by the same actors and actresses by
whom they had previously been performed in Philadelphia. A refer-
ence to the Southwark Theatre performances will in all cases give the
New York casts.

The incidents of the season were not numerous, but some of

the advertisements afford quaint glimpses of the company and the

Regulations for Carriages. theatrical customs of the time.

VToprevent a^ddlis by carriages meet- Early in the SCaSOn the bills COn-

ing it is requested that those coming to the tained directions for carriages ap-

House may enter John-street from the Broad-
way, and returning drive from thence down proaching and leaving the theatre,

John-street into Nassau-street or forwards , • i • .1 , , ,

to that known as Cart and Hor.e street, as ^^ich m themselves Suggest not

may be most convenient. ^nly the interest that the wealth

and fashion of New York felt in the play-house, but the manner in
which the rich Knickerbockers went to the play. Another advertise-
ment shows that printed plays, not even Shakspere's, were common at
that period, for when "Macbeth" was produced, on the 3d of March,
Hugh Gaine announced that copies of the tragedy might be had at
the Bible and Crown, in Hanover Square. Generally the benefit bills
were the most interesting. One or two of those of this season were
particularly so. Mr. Hallam, for instance, boldly announced that as
his benefit had not been up to his expectations, and as the rules of
the theatre made it undesirable that he should take a second night,

228 HISTORY OF THE AMERICAN THEATRE.

he had arranged with Mr. WooUs to have his night in return for the

profits of " Cymbeline." Miss Hallam, too, met with a misfortune

Miss Hallam's Change of Bill. that is apt to befall aspiring

V As the " Cla^^e Marriage," which ^ctresses with pretensions to the

Miss Hallam designed for her benefit, can Jg^d — the leading lady was ill.
not be performed on account of Miss Cheer's

indisposition, she flatters herself the Ladies This announcement of the change
and Gentlemen who intended to honor her /• i -n i i ■»■-.

-.1. », • . J • i .^ -11 .. of bill can only mean that Miss

with their countenance and interest will not •' "'<*>•

let an unavoidable accident deprive her of Cheer, notwithstanding her iU-
their appearance in her favor, and that they

will be kind enough to approve of her neSS, WOuld not allow MisS Hal-
choice of " Love in a Village," as it is the , , . ,
1 ■ c ■. • v^- I, Ti/r- 1-1, lam to assume any of her parts,

only piece of any ment in which Miss Cheer ■' r" •"»

does not appear. ^.j^^g imposing upon the benefici-

ary the necessity of substituting a piece in which the leading" lady did
not appear, for the comedy originally chosen for Miss Hallam's benefit.
Mr. Wall, too, had his woes and consequent wail. One can not help
wondering whether a report was Mr. Wall's Wail.

really " propagated with intent to ^^ ^^ ^^^.^^ ^^eported about town

injure him," or whether this was that Mr. Wall intends to postpone his benefit

of this evening, he takes this method to in-

a device on his part to fill the form the pubUc that such report is false and

.,•■ it, i- ■ r malicious and propagated with intent to in-

treasury with sympathetic coin of . , ■ i, • , j j r •.

•' •' ^ jure him, being resolved not to defer it on

the realm — Boxes, 8 shillings; any consideration whatever.
Pit, 5 shillings ; Gallery, 3 shillings — tickets " to be had of Mr. Wall
at Mrs. Sproul's in De Peyster's Street near the Fly Market." After
the regular season closed the famous " Lecture on Heads " was given,
August 22d, by Messrs. Douglass and Hallam, supplemented by the
singing of Miss Hallam.

The first secession among the members of Mr. Douglass'
original company, who returned with him in 1766, was in the retire-
ment of Mr. and Mrs. Allyn this season. Mr. AUyn was an actor

JOHN STREET THEATRE, NEW YORK. 229

who was ready to play anything at any time, as will be seen from
the diverse characters in the list of his parts. Mrs. AUyn probably
was not an actress at all, and it is Mr. Allyn's Parts.

likely she played the two roles Plays.

A Bold Stroke for a Wife . . Obadiah Prim
credited to her because there was Beaux' Stratagem Foigard

T) ) /"I f Peachum

no one else at hand to play them, '^^gg^ ^P^'* .... ^ jemmy Twitcher

As to the causes of Allyn's retire- (-.^j^ Svchax

ment history is silent. All we Clandestine Marriage Canton

Committee Teague

know of him is his work as an Conscious Lovers Cymbertou

, , ... ... , Constant Couple Beau Clincher

actor, but of its quality we have country Lasses Sir John English

no knowledge. Mr. Allyn must Cymbeline Cymbeline

Don Quixote in England John

not be confounded with Mr. Allen, ^ r Vellum

' Drummer \ ' ^"""'

I. Gardener

who came to America immediately Fair Penitent Sciolto

before and was seen on the stage Gamester . . Dawson

George Barnwell Uncle

in this country immediately after Jpf^'^'^V-

the Revolution. The latter was loravedigger

Inconstant First Bravo

the father of the self-styled An- Tg„io„. w-f. / Sir Harry Beagle

J ' ICapt. O' Cutter

drew Jackson Allen. An interest- r Albany

- . , . , , , „ ^^"^ \ Usher

ing fact m relation to Mr. Allyn Lo^e for Love Scandal

was that he was the original in Lo^« '° ^ tillage Eustace

Love Makes a Man Antonio

this country of Lord Chalkstone ... , ^, /Duncan

■^ '^^'^^^"^ twitch

in "Lethe," after Garrick intro- Merchant of Venice Gratiano

duced the character into the farce. ^'=^^• ' "., ^^1^°'"^

Moummg Bnde Perez

It is not improbable that Allyn Orphan Ernesto

Orphan of China Timurkan

was seen to best advantage in othello lago

such roles, but as the Miser and ^^''^\°\^^'''t \ ' ' ' ' l^'^-^^tTl

Provoked Husband .... Squire Richard
lagO he must have been absurdly Recruiting Officer Constable

inadequate. It is evident, how- Richard III { Stanley

230 HISTORY OF THE AMERICAN THEATRE.

Roman Father ; TuUus Hostilius ever, that he was useful because

Romeo and Juliet . . . . jpriL licence of his versatility, whatever his

Suspicious Husband Tack Meggot . , .„ , » • . ,

^ ^ , •" ^?^ talents, and he is to be remem-

Tamerlane Frmce

Theodosius JLeontine ^^^^'^ ^^ posterity as one of the

Venice Preserved Officer most active of the pioneers of the

„ , . , „ , """' ,,-,,. drama in America. It is a note-

Catherme and retrucnio . . . Music Master

Contrivances Hearty worthy fact that Mr. Allyn's best

Damon and Phillida Areas

Devil to Pay Coachman foles Were accorded him while

Harlequin Collector ^-.'^f"^^' Mr. Douglass' company was in

Harlequm Restored Petit Maitre ° ^ ■'

High Life Below Stairs Sir Harry Rhode Island, in I761-2, his posi-

Hob in the Well Hob

Honest Yorkshireman Blunder tion m the Stronger American

Lethe {^enchmf''°" Company of 176^8 being a sub-
Mayor of Garratt Fourth Mob ordinate one. It is not impossible

Miss in her Teens Fribble

,, , ^ , f Mock Doctor that he left the stage because of a

Mock Doctor i^^^^ &

Neck or Nothing Sir WiUiam want of managerial appreciation.

^^^^^^ Mr. Harlow ^arly in this season the first

Repnsal M. Champignon

Spirit of Contradiction Ruin recorded death Occurred among

Witches Petit Maitre r 1 a • ^

the players of the American Com-

Mrs. Allyn's Parts.

Romeo and Juhet Lady Capulet P^ny- I* was that of Mrs. Morris,'

Theodosius Flaviiia ^j^o was drowned in crossing the

ferry from Kill von Kull to New York, together with her maid
servant. In a book entitled "Retrospections of America," pub-
lished in 1887, but purporting to be compiled from the diary
of John Bernard, an English comedian, who came to America

' Drowning of Mrs. Morris. — (New themselves in the wagon, but in approaching
York Mercury, December 14th, 1767.) — the shore the wagon was by some means
We hear that last week one of the stage- overturned into the river, by which two
wagons, crossing the ferry at Kill von Kull women (Mrs. Morris, belonging to the play-
in a scow, some of the passengers seated house, and her maid) were drowned.

JOHN STREET THEATRE, NEW YORK. 231

in 1797. and knew Mr. Morris in the closing years of his
life, the statement is made that Morris told the story of his
wife's death while crossing the Delaware with Bernard as occur-
ring on that river. The statement is quoted here only to contrast
an old man's recollections with the contemporary report of the
accident. Mrs. Morris made her first appearance in this country
at Annapolis, in 1760, as one of the Conspirators in "Venice Pre-
served," and her last part was Mrs. Morris' Parts.
Trusty in the " Provoked Hus- p,

band," at the Southwark Theatre, ^ ^old Stroke for a Wife ... . Mrs. Prim

Beggars' Opera Lucy

November 19th, 1767. In the Cato Lucia

, 11111 Distressed Mother Hermione

meantime, however, she had played Don Quixote in England Jezebel

some important roles, and in 1 76 1 Douglas Anna

Fair Penitent Lavinia

and 1762 she shared the lead with George Barnwell Maria

Mrs. Douglass in Rhode Island oZlt' .■.■.■.■.■.■.■.■.■.". Desdemona

and New York. After Miss Cheer Provoked Husband Trusty

Richard III Lady Anne

joined the company, in 1766, Mrs. Romeo and Juliet Nurse

1,, . , , 1 1 ^1 Theodosius Pulcheria

Morns seldom appeared, and then ,r ■ t> a r ■ ,

'^^ ' Venice Preserved Conspirator

apparently only to oblige the Farces.

Devil to Pay Nell

management. . jj^^^^^ Yorkshireman Arabella

Mrs. Morris' death was not Mock Doctor Dorcas

Old Maid Trifle

the only fatal accident that marked Spirit of Contradiction Betty

the history of the John Street "^° "™^

Theatre in the month of December, 1767. On Monday, the 28th of

December, John Abraham, a carpenter, went on the roof of the shed

over the dressing-room to hang a window, when his foot slipped and

he fell about twenty-eight feet into the yard. He was so terribly

bruised that he died on the following Sunday. Because Hallam and

232 HISTORY OF THE AMERICAN THEATRE.

Henry, after the Revolution, built dressing-rooms and a green-room
on the west side of the theatre, Dunlap assumes that previously they

Mr. Greville's Parts. ^^^ ^een under the stage. The
report of the accident by which the

Plays.

Beaux' Stratagem Freeman Carpenter lost his life, in the news-

Busybody Butler r ^i. l ■ • r t

Cato. . . . '. Marcus P^P^"^^ ^^ ^he begmnmg of Janu-

Clandestine Marriage Truman ary, 1 768, shoWS that, aS USUal, his

Conscious Lovers Cymberton

Constant Couple Tom Errand assumption waS unfounded.

Country Lasses Longbottom ^^^ ^^^^jjj^ j^^ ^j^^ ^^^_

Cymbelme Guidenus

Don Quixote in England Fairiove pany at this time. His history

Drummer Coachman

Hamlet Marcellus IS in his parts.

f^""^^^ Sir Richard Vernon ^ ^^^^ determined attack

Inconstant fourth Bravo

Lear Cornwall -^as made upon the theatre this

Love for Love Buckram

Love Makes a Man Governor season, especially in the columns

^^'=^"'^- ■.; ^"""^^^ of Holt's iV>zy York Journal. On

Mournmg Bnde Alonzo

Orphan of China {80^^'°^ ^^ ^*^ of January "Philander"

Othello Duke wrote, Saying : " The erecting of a

Prince of Parthia Phraates , , . ., . •. 1 u»=„

„ ^ , c J n-,- play-house m this city has been

Roman Father Second Citizen ^ -i •'

Romeo and Juliet .... { p^tr Laurence ^""^ ^^'^^ '^ ^ "^^^^"^ °^ uneasineSS

Venice Preserved Eliot to a very great part of the inhabi-

Wonder Lissardo , ,. - r, . .x, v

tants, and hoping that those who

rarces.

Citizen Dapper were thus affected toward it would

High Life Below Stairs Robert

Lying Valet Beau Trippet show their disapprobation by stay-

^^P"=^l ^^^'^'J' ingaway. "Philander" kept up his

assaults, and the following week he declared that he had confidence

in the good wishes and endeavors of the opponents of the drama

" for rendering the play-house in the city of New York a useless

fabric, by letting it remain a monument of the rashness and folly of

JOHN STREET THEATRE, NEW YORK.

233

those who erected it against the- general opinion and sentiments
of the people."

A friend of the theatre, who signed himself " Dramaticus,"
undertook to defend the stage in Parker's Gazette, in reply to " Phi-
lander." Because this defender did not persist in the controversy he
was assailed in the Journal in a communication that was only remark-
able for its peculiar and flaming
heading. Not only was a funeral
eulogium pronounced upon young
" Dramaticus," but the muse was
invoked to sing his elegy. The
eulogium was too dull to be pre-
served, and the elegy is only
worthy of preservation because
of its rancor and bitterness toward

Funeral Eulogium

on

The Death of

Dramaticus,

Who departed this life in January, 1768,

^tatis Suse, 22.

By a friend of the Deceased.

Calcanda semel via lete — nee viteri mortem

posse, nee retardari. Horace.

We must all tread the valleys of the dead —
we can neither escape death nor retard it.

Towers.

the stage and its defenders.

This was signed "T," to whom the editor apologized for omit-
ting the lines indicated by asterisks, but he thought the charge begin-
ning "Ye gentle nymphs"
too general, as, in justice to
the ladies, it must be ac-
knowledged that a great
number of them refrained
from going to the play-
house on principle. There-
upon "Belinda" took up the
pen to say that she was " one
of those females " who were

Elegy.

Ye daring witlings that infest this town,
Reflect upon the horrid deed you've done ;
He's dead ! he's dead ! Dramaticus is dead !
From his pale cheek the rosy hue is fled;
His eyes are closed that sparkl'd once with fire ;
His tongue is silent — that could mirth inspire,
Charm every ear — and in his comic vein

********

But now, behold, his death the gay deplore,
Absorbed in grief his corse stand weeping o'er ;
Each gentle nymph gives vent to mournful sighs.
While pearly tears o'erflow the pitying eyes ;
So great their sorrow at this fatal shock !

234 HISTORY OF THE AMERICAN THEATRE.

In sober sadness, beaus inclined the head, not ashamed to Say they

And this their cry, Dramaticus is dead !

He's dead ! alas ! how awful is the sound ! were enemies of the theatre.

Ye guilty wretches say. Who gave the wound ? ^ correspondent, sign-

To you, Philander, we his fall ascribe, ^ °

And your inhuman, wrong-head, scribbling tribe. jng his communication " R.

But if resentment can avenge his death.

Oh, tremble at each fop's and female's breath ! S.," wrote On the 28th that

How much I pity and lament his fate, ^^ j^^^ ^^^ thought of

In strains elegiac shall the muse relate ;

While cypress wreaths around our brows shall twine troubling the public on the

As wanton tendrils clasp the clust'ring vine. 11.

And for his tomb these verses I'll compose, subject of the play-house, aS

To brand the name of his malignant foes: j^g ^^^^^ imagined it COuld

Here lies a youth that once each grace adom'd, be SO long supported against

Belov'd by all but bigots, whom he scom'd ; . , , . , . .

And who blind superstition did engage ^he Wishes and mclmations

With labor'd dullness and unmanly rage ^f ^Jje most Sober and re-

To murder the great patron of the stage.

spectable inhabitants. He

computed the weekly receipts at ;^300, which he of course looked

upon as a tax upon the community. The opposition was based upon

both moral and economic grounds, and it was so bitter that, according

to "Thrifty," whose letter was dated the 21st of January, some poor

debtors, who were seen at the play, were sued by their creditors in

consequence and sent to jail.

Notwithstanding the reputed tax of £yX) a week upon the poor

New Yorkers for tickets to the theatre, the management was so

seriously embarrassed that it was proposed to keep the company

together by selling thirty boxes in advance for the next season. This

led " Democritus " to suggest the raising of a fund of ;£'3,ooo for the

actors, in consideration of which they were to sink into non-existence

as a company. He thought that as the money would be lost if they

came back, it was better to pay them for not coming back.

CHAPTER XXI.

THE NEW VIRGINIA COMPANY.

A SEASON AT NORFOLK AND WILLIAMSBURG THE COMPANY AND THE

PLAYS CASTS FROM THE VIRGINIA GAZETTE AN ATTEMPT TO

COMPETE WITH MR. DOUGLASS' AMERICAN COMPANY.

WHILE the American Company was performing in New York,
in the season of 1767-8, the good people of Norfolk and
Williamsburg were entertained by a number of players who styled
themselves the "Virginia Company of Comedians." With one or two
exceptions none of them had ever been heard of before, as they were
destined never to be heard of afterward. The only knowledge we
have of the Norfolk season is an allusion in the Virginia Gazette of
February 4th, 1768, to a prologue spoken by Mrs. Osborne on the
19th of January, her benefit night. Mrs. Osborne was the leading
lady, and she may have been identical with Miss Osborne who played
in New York with Murray and Kean in 1750-51. This is not clear,
but the fact that there was no Mr. Osborne in the company suggests
the adoption of the maturer title, as was customary at that time.

The season at Williamsburg began on the 4th of April, 1768,
and lasted until June. The record is far from being complete, but as
it stands it will afford a fair idea of the material composing the Vir-

(23s)

236

HISTORY OF THE AMERICAN THEATRE.

List of Performances.

ginia Company of Comedians, and the scope and character of their
work. The titles of only six plays and as many farces have come
down to us as the list of performances of the season, but these com-
prise in the full pieces tragedy,
comedy and musical comedy.
The repertoire of the Virginia
Company of Comedians, so far as
it is known, is surprisingly similar

1768.

April 4 — Douglas Home

Honest Yorkshireman . . Carey
6 — Drummer Addison

Miss in her Teens . . . Garrick
8 — Venice Preserved .... Otway

Damon and Phillida . . . Gibber to that of the American Company,

S — Orphan Otway

Harlequin Skeleton. even down to the pantomime,

May i8-ConstantGouple . . Farquhar "Harlequin Skeleton." From all

Miller of Mansfield . . Dodsley

(Mrs. Osborne's Benefit.) this it is evident that the manager

June 3— Beggars' Opera Gay .

Anatomist Ravenscroft 1" ^IS selection of plays took a

(Mrs. Parker's Benefit.) j^^f ^j.^^ ^^_ Douglass' book.

There was no announcement of the opening bill, but on the date
of the initial performance the Virginia Gazette printed a full advertise-

A Specimen Bill.

ment of the entertainment for the
following Monday. We find from
the casts contained in this an-
nouncement that Mr. Godwin,
who was a member of the Ameri-
can Company at the Southwark

._,,.,,,,.. -, Lord Randolpli Mr. „.„«.„v^gv.

Theatre m Philadelphia, m 1766-7, cienalvon Mr. Godwin

was now one of the Virginia ^orval Douglas Mr. Verling

Old Norval Mr. Parker

Comedians, playing a better line Officer Mr. Walker

_ , , , , ■■ , 11 Lady Randolph Mrs. Osborne

of parts than had been accorded ^^^^ j^^^ P^^^^

him by Mr. Douglass. Playing ^° occasional Prologue by Mr. Verling,

and after the Play a Dance by Mr. Godwin,
" old men " was Mr. Parker, who To which will be added a Farce, called

By permission of the Worshipful the Mayor
of Williamsburg,
At the Old Theatre, near the Capitol
By the Virginia Company of Comedians,
On Monday the 4th of April will be pre-
sented a Tragedy called
DOUGLAS.

■ e

THE NEW VIRGINIA COMPANY. 237

was in Philadelphia with the The Honest Yorkshireman.
A • ^ , Sir Penurious Muckworm . . Mr. Bromadee
American Company the next caylove Mr.VerEng

winter, where he was advertised Sapscull Mr. Parker

Slango Mr. Godwin

as from the theatre in Jamaica. Blunder Mr. Walker

■»«■ T) 1 .lU Li,. Arabella Mrs. Osborne

Mrs. Parker was the soubrette r- v. 1, ,» t, ,

Combrush Mrs. Parker

and leading singer. Of Mr. Tickets to be had of Mr. William Russell,

at his store next door to the Post Office, and

Verling, who played the juvenile, at the door of the Theatre.

and Mr. Bromadge, who had the ^°'''' '''■ ^''■' ^'^ ^'I'^f^"^ ^- ^'^-

° Vwant Rex &• Regma.

heavy lead, there are no previous N.B.— No person whatever can be ad-

mitted behind the Scenes.
accounts, but Mrs. Osborne's name [On Wednesday the Drummer, with Miss

has a familiar sound. Other names '■■>'''''' "^''"'-^

occur in the later casts, so that the company seems to have been as

fully organized, so far as numbers go, as that which it attempted to rival.

William Russell was the publisher of the Virginia Gazette.

The second bill printed in the Virginia Gazette comprised

" Venice Preserved," in which Mr. Godwin had the important part

Venice Preserved. of Jaffier, and " Da- Damon and Phillida,

~" mon and Phillida," Areas ... Mr. Bromadge

Duke .... Mr. Charlton Qoryior, ... Mr. Godwin

PriuU ... Mr. Bromadge with the Belvidcra of Damon . . . Mrs. Osborne

Bedamer . . Mr. Bromadge ^^^ y^^^^ ^^^-^^^ ^^ p^Hida . . . Mrs. Parker
Renault .... Mr. Parker

Eliot Mr. Walker Phillida. It is only necessary to contrast the

Belvidera . . Mrs. Osborne

parts played by Messrs. Verling and Brom-
adge and Mrs. Osborne with those of Godwin and the Parkers to
reach the conclusion that the company was composed of professional
players. It would be interesting to compare the Belvidera of Mrs.
Osborne, fond of coat and trousers as she was, with that of Miss
Cheer, but not a line of criticism relating to either exists.

238 HISTORY OF THE AMERICAN THEATRE.

In the third bill that has come down to us, which comprised

Otway's " Orphan," besides a dance called the " Bedlamites," and the

Orphan. pantomime, " Harlequin Skele-

ton," there are two names made
Acasto Mr. Bromadge

Castalio Mr. Verling familiar by the casts of the Ameri-

Polydore Mr. Parker .

Chamont Mr. Godwin can Company m Philadelphia —

'^^^^Pl'^'" M-^- ci^^"^!'"" those of Mrs. and Miss Dowth-

Emesto Mr. Walker

Page Miss Dowthwaiie waite. As in Philadelphia their

Monimia Mrs. Osborne tt-h-

Serina Mrs. Parker parts at Williaftisburg were unim-

^"^^ M^^- Dowthwaite portant, the chief interest of their

presence with the Virginia Company being the tenacity with which

they clung to the stage under the discouraging conditions of that time.

Mr. Godwin, in recompense perhaps for his in-
Harlequin Skeleton. ' r r r

creased importance as an actor, made himself

Harlequin . . Mr. Godwin

Pantaloon ... Mr. Verling exceedingly useful as a dancer, appearing be-

Conjuror . . Mr. Bromadge i i

Merchant. . . Mr. Walker tween the play and the Bedlamites.

rrlnchman. . Mr. Charlton f^rce almost nightly, , . ^^ .

Clown .... Mr. Parker Bedlamite . . Mr. Godwm

Scaramouch . . Mr. Walker Sometimes in a very Mad Doctor . Mr. Charlton

Columbine . . Mrs. Parker , , . , Simon .... Mr. Walker

elaborate terpsicho-

rean production, as the "Bedlamites." In pantomime he was the

Harlequin, showing a disposition on his part to rival Mr. Hallam in

versatility, if not in talent.

At the time of these performances Williamsburg society was
very gay, as was shown by the fact that Peyton Randolph, who became
the first President of Congress, a few months later gave a dinner that
was the talk of the whole Province. If the players had the favor of
this society their lives were cast in pleasant places.

Only two benefits were advertised this season, those of Mrs.

THE NEW VIRGINIA COMPANY. 239

Osborne and Mrs. Parker. The former chose for her bill Farquhar's
comedy, the " Constant Couple," and the familiar farce, " Miller of

CoNSTANTCouPLE. Mansfield." Mrs. miller of Mansfield.

Sir Harry Wildair. Mrs. Osborne Osborne's evident ^^^^ Mr Verlin

Cdonel Standard . Mr. Charlton fondness for gay mUer .'.'.'.'. Mr. Parser

*■ J J 1 • 1 Lord Lurewell . Mr. Godwin

Alderman Smuggler . Mr. Parker and dashmg male -r,- , „ . ,, ^ ^

^v , ^, TT ,• F^s' Courtier . Mrs. Osborne

Beau Clincher . . Mr. Verlmg , , . „ j/-, . ,, ™ ,

™. , . . AT r- J ■ roles, she mam- Second Courtier. Mr.Charlton

Clincher, lunior . . Mr. Godwin ' ., ,, t, „

^. , ' ■* ,, _ „ , Joe Mr. Farrell

Dicky Mr. Farrell fegted on this OC-

Tom Errand ... Mr. Walker

Lady Darling . Mrs. Dowthwaite casion by playing Sir Harry in the comedy

Angelina . . Miss Dowthwaite , . , „ . .

Parley Miss Yapp ^"^^ appearmg as one of the Courtiers m

Lady Lurewell . . Mrs. Parker ^^ f^fce. In the fifth act of the play she
danced a minuet in character with Miss Yapp. Between the first and
second acts Mr. Parker recited a prologue in the character of a
Country Boy ; after the second act Godwin, Bromadge and others
gave a dance called the " Coopers," and after the third act Mrs. Parker
sang a cantata. Mrs. Parker for her benefit manifested an economical
spirit, refraining from printing the casts either of the opera or the
farce. It may be assumed, how- mrs. Parker's Benefit.

ever, that she was the Polly of the ^^^ ^~^r.^^, of

evening, and it is not improbable Mrs. Parker.

By Permission
that Mrs. Osborne played Captain o£the Worshipful the Mayor of Williamsburg,
Macheath. '^' '^^ °'^^ Theatre near the Capitol,

By the Virginia Company of Comedians,
It is clear that it was the OnFriday the adof June

. . will be presented

Virgmia Company of Comedians r^^^ beggars' Opera,

of 1768 and their advertisements ^""^

The Anatomist

in the Virginia Gazette that sug- or

gested to John Esten Cooke the

theatrical atmosphere and local color of his novel, "The Virginia

240 HISTORY OF THE AMERICAN THEATRE

Comedians." It was these advertisements, no doubt, that induced Mr.
Cooke to give the name of the "Virginia Company of Comedians"
to the original Hallam Company, and led him to describe the Hallam
theatre as " the old Theatre near the Capitol." It led, however, to his
confounding the rival companies, but this is not surprising, because
the files of the Virginia Gazette for 1768 are the earliest containing
theatrical advertisements that have been preserved so far as the best
informed librarians in the United States are aware.

CHAPTER XXII.

SOUTHWARK THEATRE, 1768-9.

A BRIEF SEASON IN PHILADELPHIA HARD WORK FIGHTING AGAINST

ADVERSITY MORE NEW PLAYS AND NEW ACTORS AN EXHIBI-
TION OF FIREWORKS ANOTHER SPECIMEN OF ANTI-THEATRICAL

CANT.

AFTER an absence of eleven months from Philadelphia, during
six of which the American Company gave performances at the
new John Street Theatre in New York, Mr. Douglass returned with
his forces to the Southwark Theatre, which was re-opened with the
" Spanish Fryar " and " Honest Yorkshireman " on the 2 1 st of October,
1 768. Originally this season was intended to last only three weeks,
and the announcement of the " Mourning Bride " and " Honest York-
shireman " for the 28th of October was advertised as the " last week
but one." Subsequently, however, it was determined to extend it,
but so far as the newspapers are concerned there was no explanation
of this change of purpose. The reason was probably the sufficient
one of good business. The New York season had not been satis-
factory, and when it closed the outlook for the future was a gloomy
one. Indeed it seemed as if the disbandment of the company was
impending. The cost of the New York theatre probably proved too
heavy a load for the management in the face of a most determined
effort to crush the enterprise. Never was the opposition to the drama
in New York so bitter as in the spring of this year. As far as possible,
the detested play-house was boycotted. Play-going was not only an
16 (241)

242 HISTORY OF THE AMERICAN THEATRE.

offense in the eyes of those who were opposed to the theatre, but it
was punished as such, as is evident from the imprisonment of the poor
debtors who were known to have been to the play. When the season
closed Mr. Douglass was almost without money. In consequence, he
was compelled to practice the most rigid economy in Philadelphia.
Always before and always after this year his advertising was on an
exceedingly liberal scale. This season, with a few exceptions, and in
the following season in New York, it was confined to a mere mention
of the pieces for the evening.

The list of productions of a brief season, lasting only little over
two months, must necessarily be a short one ; but, brief as this season

List of Performances. was, four pieces never before acted

1768. in America were produced at the

Oct. 21 — Spanish Fryar Dryden rr xx. 1 Tt. ^ i_ i. ax.

^l ., \ ,. ' bouthwark iheatre between the

Honest Yorksmreman . . Carey

28 Mourning Bride . . . Congreve 1 2th and 30th of December, 1 768.

Miss in her Teens .... Garrick

Nov. 4-Cymbeline Shakspere These Were " King John," " False

Love a la Mode . . . Macklin Delicacy," "Zara" and "Alexander

25 — Clandestine Marriage . .

Garrick and Colman the Great." Besides, the opening

Lethe Garrick

Dec. 2— Tamerlane Rowe piece, the " Spanish Fryar," had

High Life Below Stairs . Townley . ■> 1 j • -i. j

„ ^ , J „ ,■ not been played smce its produc-

9 — Busybody Centlivre '■ "^ ^

Contrivances Carey tion at the theatre on Cruger's

12 — King John Shakspere

14— Macbeth Shakspere Wharf in New York, in 1759, when

Miss in her Teens. only the comic sccnes were given.
16 — False Dehcacy . . Kelly ■' °

Catherine and Petruchio Shakspere The first production of Shaks-

26— Zara Hill

30— Alexander the Great .... Lee pere's " King John " in this coun-

DissertationuponNoses_(Wall) ^ j^ ^jjj ^^ observed, WaS fol-
Neck or Nothing . . . Gamck

1769- lowed four days later by the first

Jan. 6 — Alexander the Great.

Contrivances. production of Hugh Kelly's "False

SOUTHWARK THEATRE, 1768-g. 243

Delicacy " in America. But even apart from the novelties the season was

a successful one. A company capable of playing Shakspere's " Cym-

beline " and Macklin's " Love a la Mode " the same evening, with a

change of bill every acting night, was something known only at that

early period in the development of the American stage.

The first advertisement of the season that contained the names

of the performers was that of Rowe's tragedy, " Tamerlane." Some

changes had occurred in the com- Tamerlane.

pany after the close of the New

Bajazet Mr. Hallam

York season. Malone, Greville Monesses Mr. Henry

, . ,, , , Axalla Mr. Parker

and Allyn gave up the modest omar Mr.Tomiinson

line of parts they were accustomed ^^^rvise Mr. Morris

Haly Mr. Wall

to fill to Parker, Darby and By- Tamerlane Mr. Douglass

, T,, - , Tanais Mr. Darby

erly. The newcomers are first ^irvan Mr. Woolls

noticed in the existing bills on Stratocles Mr. Byerly

Zama Mr. Raworth

this occasion. Mr. Parker, it will Selima Miss Cheer

, , , .,, .1 Arpasia Miss Hallam

be remembered, was with the

Virginia Company of Comedians at Williamsburg in the beginning
of the year. Of Darby and Byerly we have no knowledge beyond
the parts they played.

The production of a tragedy as elaborate as " King John " is at
once a proof of the strength of the company and of the taste of the
time. Many years afterward when it was revived by Charles Kean
upon something like the splendid scale of his Shaksperian revivals in
London, the undertaking was looked upon as an extraordinary theatri-
cal event. It is not to be supposed that Mr. Douglass' production
compared in mise en scene with Charles Kean's, but it is supposable that
the acting of the earlier was fully equal to that of the later company.

244

HISTORY OF THE AMERICAN THEATRE.

King John.

No cast of "King John" was printed in the Philadelphia papers

on the occasion of the first production of the tragedy in America.

Indeed, the only recognition of
the importance of the production
on the part of the management
was in underlining the tragedy in
the advertisements of the " Busy-
body " in the Pennsylvania Gazette
and the Pennsylvania Journal. As
the cast was printed in the New
York papers when " King John "
was produced in that city just
four weeks later, and as no changes
had occurred in the company in
the meanwhile, it may be assumed

that the parts were played by the same players in the two cities.

The most interesting production of the season was, of course,

Hugh Kelly's " False Delicacy." This comedy was published soon

after its production at Drury Lane,

and it had been in print only a

few months when it was presented

in Philadelphia by the American

Company. Kelly was an Irishman,

who had learned the business of a

staymaker in Dublin, but being

disinclined to an occupation so

King John Mr. Douglass

Falconbridge Mr. Hallam

Hubert Mr. Henry

Pembroke Mr. Tomlinson

Salisbury Mr. Parker

Robert Falconbridge Mr. Roberts

King Philip Mr. Byerly

Dauphin Mr. Wall

Austria Mr. Darby

Pandulph Mr. Morris

Chatillon Mr. Raworth

Melun Mr. WooUs

Prince Arthur Miss M. Storer

Prince Henry Mrs. Harman

Queen Eleanor Mrs. Douglass

Lady Constance Miss Cheer

Lady Falconbridge Miss Storer

Blanche of Castile Miss Hallam

False Delicacy.

Colonel Rivers Mr. Douglass

Cecil Mr. Hallam

Lord Winworth Mr. Henry

Sir Harry Newburg Mr. Wall

Sidney Mr. Byerly

Mrs. Harley Mrs. Douglass

Miss Marchmont Miss Hallam

Miss Rivers Miss Storer

Sally Mrs. Harman

Lady Betty Lambton ..... Miss Cheer

humble he went to London in 1763, hoping to live by his pen. His
first literary work to attract attention was a poem called " Thespis," in

SOUTHWARK THEATRE, 1768-9. 245

which he satirized Mr. Moody, Mrs. Clive and Mrs. Dancer among
others, after the manner of Churchill's "Rosciad." This was an ill-
judged beginning for a man who was soon to turn dramatic author,
for when Garrick accepted his comedy neither Moody nor Mrs. Clive
would consent to play in it, and Mrs. Dancer was with difficulty
induced to accept the part of Lady Betty. The critics, too, were
hostile and attacked the play as a dull, sentimental sermon, —

Vending in dialogue sermonic scenes,

sang one of them in dull verse, — but the piece was received with

applause by the public. Its success was so great that it was almost

immediately translated into most of the modern languages — Portuguese,

French, Italian and German — and it had the unusual distinction of

being played in America while it was still in the iirst flush of its

European popularity.

In " Zara," a tragedy based on the " Zaire " of Voltaire, Miss

Cheer had the title-role, with Hallam as Ozman and Douglass as

Lusignan. "Alexander the Great "

° Alexander the Great.

was Lee's tragedy known as the

, „, . . Alexander Mr. Hallam

" Rival Queens. This piece, the ciytus Mr. Douglass

scene of which is in Babylon, was if^^f^-^l"" Mr. Henry

•^ Hephestion Mr. Wall

revived at Drury Lane with great Cassander Mr. Morris

._ , , Polyperchon Mr. Parker

magnificenceaslateas i79S,when phuip Mr. Tomiinson

John Philip Kemble was Alex- ^hessalus Mr. WooUs

Perdiccus Mr. Byerly

under. Although it shows evi- Eumenes Mr. Roberts

. ^ , . , Meleager Mr. Raworth

dences ot Lees madness, it has Aristander Mr. Darby

many merits, among them the ^'^''"'^ Miss Hallam

Lysigambis Mrs. Douglass

admirable manner in which the Parisates Miss storer

^ J ^, , . 4. .. J •... Roxana Miss Cheer

steady Ciytus is contrasted with

246 HISTORY OF THE AMERICAN THEATRE.

the fiery Alexander, and the mild and secure Statira with the disap-
pointed and raging Roxana. It may be added that this was the
only period before the Revolution when the American Company
could safely have ventured upon a production so elaborate and exacting.
Besides the pieces, old and new, presented this season, Mr.
Douglass sought to please the Philadelphia public by an exhibition
of fireworks on the stage after the farce, which was announced for the
9th of December. " It having been hinted to Mr. Douglass," the
manager said in his advertisement, " that an exhibition of this kind
(the first upon any stage in America) would be acceptable to the
public ; he with pleasure embraced the opportunity of manifesting his
zeal and attention by presenting them with this additional entertain-
ment, for which, tho' the expense of the evening will be greatly
increased, he demands no more than the usual prices." The fireworks
were arranged by " the two Italian brothers," and comprised a large
wheel illuminated with brilliant fire ; a triumphal arch with a globe
in the middle; a tornant with variegated fire and several fountains of
different composition. The experiment seems to have been eminently
successful, for on the 14th the fireworks were repeated with new
combinationSj the management making an acknowledgment of past
At Great Expense. f^^O-'S and indulging in cheerful
promises for the future. It will

*jt* Mr. Douglass having with great pleas-
ure observed the satisfaction which the Ex- be observed that down tO "Nothing
hibition on Friday gave to the audience in . ...
general has, at much greater expense, engaged "^Ore than the USUal prices Will
the conductors to prepare this act, which, he j^g demanded " Mr. Douglass'
doubts not, will meet with that countenance

and encouragement every attempt of his to methods are identical with those

entertain the town has been favored with. ^ ,

Nothing more than the usual prices will be ^^ t"^ modern manager.

demanded. ^^ amusing Specimen of the

SOUTHWARK THEATRE, 1768-g.

247

cant of the period directed against the theatre found its way into print
this season in the columns of the Pennsylvania Gazette. It was signed
"J. R.," and described as a " genuine relation." ^ Anything more silly it
is not easy to imagine. This man, who accepted a box-ticket to the play
through " a principle of complaisance," had the bad taste to bestow it
upon a negro, who, in turn, sold it for half price. As a consequence
an intruder was introduced into the box, which evidently was in-
tended only for the friends of the family where " J. R. " found his
way. It would not have been impolite for him to refuse the ticket,
but the use to which he put it is surprising.

1 A Genuine Relation. — Having been
introduced a few evenings ago ii^to the com-
pany of some ladies and gentlemen (to most
of whom I was an entire stranger), after the
tea equipage was removed, one of the gentle-
men produced some box tickets for the play,
which he generously bestowed on the com-
pany. I, as a stranger, being presented with
one, which (having no taste for theatrical
performances) a principle of complaisance
prevailed on me to accept. What the un-
happy consequence was of this piece of gen-
erosity in the gentleman follows : Some of
the company who had before resolved to hear
service at St. Paul's Church on that night
found themselves now much straitened to put
their pious resolution in practice, in short, a
division in sentiment took place, some being
strenuously bent to see the play and some to
hear a sermon, and in order to reduce their

versatile inclinations they agreed the matter
should be determined by drawing cards,
which was accordingly done, when giddy
chance determined in favor of the theatre.
Good God, gentlemen, what a degenerate ^e '
do we live in ! Into what a state of apostacy
are we fallen, when our zeal for religion is
actuated by the turn of a card and the mim-
icry of buffoons is put in competition with
the sacred oracles of truth ! I had almost
forgot to tell you that the ticket which was
conferred on me I gave to a negro who attended
me at tea, but the virtuous slave (as I have
since understood) immediately sold it for half
price, with which he purchased a prayer-
book. An example of religion and virtue in
a slave worthy the imitation of the greatest
ruler upon earth.
Philadelphia, December 19th, 1768.

CHAPTER XXIII.

JOHN STREET THEATRE, 1769.

A SEASON THAT WAS NOT PROSPEROUS THE MANAGEMENT AND THE

PLAYERS EMBARRASSED EFFORTS TO RAISE MONEY RETIRE-
MENT OF MISS CHEER AND MISS WAINWRIGHT THEIR PARTS.

JUST ten days after the close of the Southwark Theatre for the
season of 1768-9 Mr. Douglass' company re-opened the John
Street Theatre, in New York. The season was not a prosperous one,
but the players remained in New York until the middle of June, when
they went to Albany, where they opened with "Venice Preserved,"
on the 3d of July, according to Dunlap. This reputed visit of the
players to the ancient city of Albany is based upon tradition only and
can not be verified, as no newspaper was printed there at that time.
According to this tradition the performances were given in the hospital.
The tradition is probably well founded, as Mr. Douglass had learned
that neither Philadelphia nor New York could support a prolonged
theatrical season every year, in consequence of which the necessity of
seeking fresh pastures would force itself upon him. The Albany ex-
periment -does not appear to have proved satisfactory, however, and
Mr. Douglass afterward looked to the South for new theatrical cities.
Business embarrassments this season also taught him, apparently, to
look to public subscriptions, as at Annapolis and Charleston, for the
means with which to build new theatres.

(248)

JOHN STREET THEATRE, 1769. 249

Among the pieces acted in New York this season were many-
old favorites, and the new plays presented in Philadelphia the preced-
ing December. Besides, there list of Performances.

were several productions then seen ,
^ 1769.

for the first time in America. Jan. 16— King John Shakspere

20 — ^Jealous Wife Colman

Steele's "Tender Husband," Gar- Picture of a Playhouse.

rick's "Guardian" and Bicker- Miss in her Teens . . . .Garrick

27 — Beaux' Stratagem . . . Farquhar

staff's " Padlock " comprised the Citizen Murphy

. 30 — Zara Hill

list of new productions. In j.^^. 2-Romeo and Juliet . . .Shakspere

Steele's comedy there was genu- Guardian Garrick

9 — Cymbeline . . . . Shakspere
ine humor without indelicacy. Miller of Mansfield . . . Dodsley

, . , ., , . . , , 17 — Orphan Otway

which until his time was thought j^ethe . Garrick

to be inseparable from wit. The 24— Alexander the Great .... Lee

Contrivances Carey

" Guardian " was still a new piece, Marchs— Beggars' Opera Gay

"W/^itchcs

having been first acted at Drury ,o-King Henry IV . . .Shakspere

Lane, in 1759, for the benefit of Guardian.

17 — Busybody Centlivre

Christopher Smart, a poet, at that Brave Irishman .... Sheridan

... J. , , . T ±x. 20 — Tender Husband Steele

time in lail for debt. In the r„ , „ ■ j

•' 27 — Tender Husband.

" Padlock," which was newer still, Upholsterer Murphy

April 10 — Othello Shakspere

having had a run of fifty-three Hob in the Well .... Gibber

nights at Drury Lane, in 1768, I4-False Delicacy . Kelly

» J ' ' ' Cathenne and Petruchio Shakspere

when it was originally produced, 27— King John.

Thomas and Sally . . Bickerstaff
Mr. Hallam made a great " hit " (m,. and Mrs. Tomlinson's benefit.)

as Mungo. He continued to be ^'■y '->°^.,S^°;^ ^^^

° Devil to Pay Coffey

unrivaled in the part until his (Benefit of Miss and Miss M. Storer.)

4 — Maid of the Mill . . . Bickerstaff
death, surpassing even Dibdin, 8_Romeo and Juliet.

the original, who also composed (Miss Hallam's benefit.)

° II — Jane Shore.

the music for the piece. It has Miss in her Teens

2SO HISTORY OF THE AMERICAN THEATRE.

Harlequin Skeleton. been Suggested that Mr. Hallam

(Benefit of Mr. Henry and Miss and

Miss M. Storer.) owed much of his excellence as

May 25 — Richard III Shakspere j^ ^ 1. • ^ j c ^^

Love a la Mode .... Macklin ^""""SO tO his Study of the negro

(Mrs. Douglass' benefit.) character and dialect in Jamaica

29 — Constant Couple . . . Farquhar

Padlock Bickerstaff and the Colonies.

(Mr. Hallam's benefit.) a 11 ^.u • j- ,•

, ^ , fT7 T -^il the indications seem to

June I — tarl 01 Essex Jones

Padlock. point to unusual embarrassment

(Mr. WooUs' benefit.)

9— Love Makes a Man . . , Cibber both on the part of the manage-
/•KT j"lf ^^ v ' " ,\' ' c^T^'^ ment and the members of the

(Mr. and Mrs. iomlmson s benefit.)

15— Drummer Addison company individually. As early

Alexander's Feast (Byerly).

Padlock. as the 1 0th of April, when

(Parker and Byerly's benefit.) » Qthello " WaS in the bills, it waS

17 — Love lor Love .... Congreve

Padlock. announced that the part of Othello

29 — An Entertainment by Mr. Henry.

would be "attempted by a gentle-
man, assisted by other gentlemen in the characters of the Duke and
Senate of Venice, from a benevolent and generous design of encourag-
ing the theatre and relieving the performers from some embarrassments
in which they are involved." Mr. Ireland believes that the Othello on
this occasion was Major Moncrief, a British officer, who was the mo.st
distinguished amateur actor in the Colonies before and during the
Revolution. Even before this extraordinary efforts had been made to
obtain good houses. On the 30th of March it was announced that
the bill would be " performed by the particular desire of the Grand
Knot of the Friendly Brofiiers of St. Patrick," * on the following

1 New York Journal, March 30TH. — Evening ; such Gentlemen as propose to join

The Friendly Brothers of St. Patrick, and them will be pleased to send in their Names

several Gentlemen of this City intend dining to the Bar of said Tavern two days before,
together at Bolton and Sigel's, next Monday, New York, March 28th, 1769.

and from thence to go to the Play in the

JOHN STREET THEATRE, 1769.

251

A Masonic Entertainment.

Monday, the 3d of April. Dunlap gives the 17th of March as the
date when the "Busybody" and the "Brave Irishman" were performed.
The bill for the 3d of April was not advertised, but Sheridan's farce
was probably the afterpiece. It may be that the Friendly Brothers
encouraged the theatre both on St. Patrick's Day and afterward. A
similar discrepancy exists in regard to a performance advertised for
" the entertainment of the Right Worshipful the Grand Master, the
Masters, Wardens and Brethren of the Ancient and Honorable Society
of Free and Accepted Masons." According to the original advertise-
ment the performance was set
down for the 20th, but it was
afterward announced for the 27th
of March, without any explanation
either of postponement or repeti-
tion. For the latter date, how-
ever, the "Upholsterer" was in
the bill "by command," instead
of the " pantomime entertainment "
intended for the 20th. Previous
to the performance of the 27th
Mr. Douglass announced that it
would be " taken as a favor if the
ladies and gentlemen who desire
to have places in the boxes re-
served for them would send to
bespeak 'em before Saturday eve-
ning at farthest, that proper lists may be made out for the box-
keepers and every possible care taken to prevent mistakes."

By Command of his Excellency the
Governor.
For the Entertainment of the Right Worship-
ful the Grand Master, the Masters, War-
dens and Brethren of the Ancient and
Honorable Society of Free and Accepted
Masons ;

By the American Company

At the Theatre in John-Street on Monday

the 20th of March, Inst., will be presented

a Comedy never acted there, call'd, The

TENDER HUSBAND

or the

Accomplished Fools.

With a Prologue and Epilogue and several

Songs proper for the Occasion.

To which will be added a
Pantomime Entertainment.
The Company of all the Brethren in Town
is earnestly requested to meet at Burns' at
five o'clock on the day of Performance and
walk from thence in Procession to the Theatre
where the Pit will be reserved for their Ac-
commodation.

Boxes and Pit, 8j. Gallery, 3^.

252 HISTORY OF THE AMERICAN THEATRE.

Although " a new set of scenes " was provided for the
" Othello " night, when the part of Othello was "attempted by a gentle-
man, assisted by other gentlemen in the characters of the Duke and
Senate of Venice, from a benevolent and generous design of encourag-
ing the theatre and relieving the performers from some embarrassments
in which they are involved," there were many signs of unusual poverty
on the part of the company. Among these was the peculiar character
of the benefits. Mr. and Mrs. Tomlinson had two, Woolls had two,
the Misses Storer had one, and another in conjunction with Mr.
Henry. Mrs. Harman made an extraordinary effort to raise the wind
by giving a concert at Burns' Room on the 13th of June, at which she
had the assistance of Miss Hallam, Miss M. Storer, Mr. Woolls and
Miss Waihwright. Besides, Mr. Henry gave a monologue entertain-
ment at the theatre on the 29th of June. His bill comprised a lecture
on " Hearts," with an original prologue ; Hippesley's Drunken Man,
and some pantomimic bits which he called " Harlequin's Frolic." He
announced, oddly enough, that as the late hours of the theatre had
been complained of, he would begin at 8 o'clock, and assured the
public that his entertainment would be over by half-past 10. On the
day following, the 30th, Mr. Woolls and Miss Hallam assisted at a
concert at Vauxhall Garden, Woolls singing " Black Sloven " and
" Blest as the Immortal Gods is he," and Miss Hallam " Ye Men of
Gaza " of Handel, and the two artists uniting in the duet " Fair
Aurora" from " Artaxerxes." These later entertainments show that
if Messrs. Henry and Woolls and Miss Hallam joined the com-
pany at Albany they gave themselves little time to make the journey.

A somewhat startling episode of the production of the " Beg-
gars' Opera" this season in New York was Mr. Hallam's appearance

JOHN STREET THEATRE, 1769 253

as Captain Macheath, and another event of some importance was Miss

Hallam's appearance for the first time as Juliet, on the 8th of May.

After many years of steady work on the American stage she had at

last become the leading lady of the company, as the successor of Miss

Cheer. This position she continued to hold until the company finally

disbanded in 1774.

The motives for Miss Cheer's retirement are not clear. If it

was in consequence of her marriage to Lord Rosehill, it is singular

that it did not take place sooner, Miss Cheer's Parts.

that event having occurred nearly Plays.

A Bold Stroke for a Wife . . . Ann Lovely
a year before. That Lady Rose- Alexander the Great Roxana

h.iij.j . .T- 1 J- All for Love Cleopatra

ill did not go to England imme- t, , c . nr c 1,

=" ^ Beaux' Stratagem Mrs. Sullen

diately after her retirement is evi- Busybody Miranda

Cato Marcia

dent from the fact that she played clandestine Marriage .... Miss Sterling

Queen Elizabeth m"'^-^c\i'axdi\\\;' Committee Ruth

Conscious Lovers Indiana

for Mrs. Douglass' benefit, in New Constant Couple Angelica

Country Lasses Aura

York, in 1773. This may or may Cymbeline Imogen

not be accounted for by a story that Distressed Mother Hemiione

Drummer Lady Truman

somehow found its way into print, Earl of Essex .... Countess of Rutland

Fair Penitent Calista

that she had previously eloped with False Delicacy . . . . Lady Betty Lambton

her father's coachman. In any case Gamester Mrs. Beverly

George Barnwell Millwood

she must have been a woman of Hamlet Ophelia

. Henry IV Lady Percy

good birth and education, and to inconstant Bizarre

have possessed both experience J^"^ ^^"''^ •'^''"^

Jealous Wife Mrs. Oakley

and adaptability to enable her to King Johfi Lady Constance

, , , 1- , r ■ 1 Lear Cordelia

play the long list of trying roles Love for Love Miss Prue

that must be put to her credit Love Makes a Man Angelina

Macbeth Lady Macbeth

within the brief period of three Merchant of Venice Portia

254 HISTORY OF THE AMERICAN THEATRE.

Miser Mariana years. During her short reign

Mourning Bride Almeria

Orphan Monimia on the American stage, besides a

Orphan of China Mandare r , ■ , • . r

^ , „ ^ J few parts in pantomime and larce,

Othello Desdemona '■ '■

Prince of Parthia Evanthe she is knOWn to have played ex-
Provoked Husband Lady Townly

Recruiting Officer Sylvia actly fifty of the leading characters

T>- u J TTT f Oueen Elizabeth , . , ,^, .

Richard III I Lady Anne of the drama. This, It must be

Roman Father Horatia

Romeo and Juliet Juliet Confessed, IS a wonderful showmg

School for Lovers Araminta ^^^ ^^^ ^j^j^j^ ^^ modern actresS

Suspicious Husband Clarinda

Tameriane Selima has exceeded in a life-time.

„, J . ( Athenais

ineoaosms t Puicheria Whatever may have been Miss

Venice Preserved Belvidera

Wonder Violante Cheer's artistic capabilities her

■ ■ industry is unquestionable, and

I'arces. ■"

Catherine and Petruchio .... Catherine she probably earned a greater

Harlequin Collector Columbine

High Life Below Stairs Kitty reward than her exertions ever

Honest Yorkshireman . . . . Combrush obtained for her. After the Rev-

Mayor of Orarratt Mrs. Sneak

Old Maid Mrs. Harlow olution she reappeared upon one

Thomas and Sally Dorcas

Witches Columbine occasion but was coldly received.

A change almost equally important as the loss to the company
of Miss Cheer was the retirement of Miss Wainwright. She did not
appear in Philadelphia at all the previous season, and in New York in
the beginning of 1769 she was seen only three times. Her services
in two of the parts in which she appeared, Polly in the " Beggars'
Opera" and Patty in the "Maid of the Mill," seem to have been gratui-
ties, and she evidently appeared, in "Thomas and Sally" for the Tom-
linsons, on the 27th of April, as ^^^^ Wainwright's Farewell.

appears from a quaint notice an-

Miss Wainwright's performance on

nexed to the announcement of Monday se'nnight was advertised for the last,
.1 J i- r ii «-i\yr -J c and intended to be so: but at the particular

the production of the Maid of , . , ' ,. . . ^

■^ desire of some persons of distinction she per-

the Mill," on the 4th of May. forms in this opera

JOHN STREET THEATRE, 1769. 255

Miss Wainwriglit was an accomplished actress and singer. She had
been with the American Company two years, her most important
roles being Polly in the " Beggars' Miss Wainwright's Parts.

Opera" and Rosetta in " Love in Plays.

AH for Love Charmian

a Village," in both of which she Beaux' stratagem Cherry

appeared at the Southwark The- „f^^!^^ . ^^l^ '. „° '^

'^ '^ Clandestine Mam^e Betty

atre in 1766-7. Her American Conscious Lovers Mrs. Sealand

Constant Couple Parly

debut was made in the former, and Country Lasses Flora

she was the original Rosetta in Disappointment^. ... Lucy

° Don Quixote m Lngland .... Dorothea

America. After leaving the stage Gamester Lucy

Inconstant Lamorce

Miss Wainwnght lived in retire- jealous "Wife Betty

ment in Philadelphia for many ^^^^ Goneril*

Love in a Village Rosetta

years, appearing a few times after- Love Makes a Man Elvira

Macbeth Witch

ward, out of comphment to her Maid of the Mill Patty

old manager, when the company Merchant of Venice Jessica

Mourning Bride Attendant

played in the Southwark Theatre Prince of Parthia Cleone

for the last time before the Revo- Provoked Husband . . { La'^dy^ronghead

lution. Miss Wainwright's place R^<=™iting Officer Rose

° '■ Suspicious Husband Lucetta

was not filled, her parts being Wonder Flora

taken by the Storer sisters and Apprentice . . . .'"^^".' .... Charlotte

Miss Hallam, as occasion required. Brave Irishman Betty

^ Chaplet Laura

Whether the company went Citizen Maria

Contrivances Arethusa

to Albany after the close of the j^^^^^ ^„j p^iiMa Philiida

New York season of 1769, as has I^^"<=^== '° ^'"^ ^^"

' ^ Devil to Pay Nell

been shown, is open to doubt. High Life Below Stairs . . Lady Charlotte

_ , , A „ Lethe Mrs. Riot

According to Dunlap the Albany Lying Valet Kitty Pry

season was announced as for one Mayor of Garratt Mrs. Sneak

Miss in her Teens Tag

month only. This would have Neck or Nothing Jenny

2S6 HISTORY OF THE AMERICAN THEATRE.

Polly Honeycomb Polly given the players ample time to

Spirit of Contradiction .... Miss Harriet

Thomas and Sally Sally go to Philadelphia for the next

Upholsterer Harriet i. iu c ii. i i-"!

^ season at the bouthwark Theatre,

which did not begin until November. It is unfortunate that Dunlap
is so uniformly inaccurate that what was perhaps the first theatrical
season at what is now the capital of the State of New York should
not only be without a history, but in doubt. At that time Albany
was only a village, as is shown in the pictures of the period, and it
does not seem likely that it should have been able to support a
theatrical company, even for a month. This fact in itself is not a
proof, however, that it was not visited by the Thespians in 1769.

CHAPTER XXIV.

THE NEW AMERICAN COMPANY.

ANOTHER SEASON AT ANNAPOLIS THE COMPANY A COMPOSITE ONE —

A STRIKING LIST OF PERFORMANCES OLD PLAYS AND FARCES

AND NEW COMEDIES PRODUCED SOME FULL AND MANY PARTIAL

CASTS MALONE AND GODWIN'S PARTS.

WHILE the American Company was playing in New York,
from January to June, 1769, another theatrical organization,
styling itself the New American Company, was entertaining the good
people of Annapolis, the season beginning on the i8th of February
and lasting until the 13th of June. This company was apparently
organized, or rather re-organized by Mr. Godwin, who was with the
American Company in 1766-7, but had left it and joined the Virginia
Company of Comedians in 1768. This assumption is based on the
fact that Godwin now had better roles than he ever had before.

The new company was made up in part of the leading people
of the Virginia Company^, of some of the least important members of
the American Company at the Southwark Theatre in 1768, and of
fresh accessions. Among the actors from the American Company
besides Godwin and Parker, both of whom had been with the Virginia
Comedians, were Malone and Darby. Mr. Verling, of the Virginia
Company, had the lead, and next in consequence to him was Godwin.
Mrs. Parker was the leading actress early in the season, but sub-
17 (257)

258 HISTORY OF THE AMERICAN THEATRE.

sequently Mrs. Osborne joined the company, assuming the heavy
tragedy roles. With the exception of the Walkers the rest of the
troupe was new to the American stage. Among the latter was a Mr.
Jefferson, who, oddly enough, lodged with a Mr. Adams, at Annapolis.
Who Mr. Jefferson was it is impossible to say. It is not likely, but
he may have been John Jefferson, a son of the great Jefferson of
Drury Lane, and the elder brother of Joseph Jefferson, afterward a
favorite Philadelphia comedian. It was not uncommon for young
English barnstormers to visit the Colonies at that time, and John
Jefferson with Manager Godwin at Annapolis, in 1769, would not have
been more out of place than he was with Manager Davis at Brixham,
in 1786, as related by Ryley in the "Itinerant."

The Annapolis season of 1769 shows remarkable activity on
the part of the company, such as it was, and a wide range of plays

List of Performances. and farces for the entertainment

1769. of the patrons of the theatre. A

Feb. 18 — Romeo and Juliet . . . Shakspere

Virgin Unmasked . . . Fielding noteworthy feature of the season
22-OtheUo ■••••• Shakspere ^^3 ^j^^ number of amateurs who

Honest Yorksmreman . . . Carey

24— Jealous Wife Colman aspired to Thespian honors. On

Brave Irishman Sheridan

2s_Beggars' Opera Gay the 22d of February the part of

Brave Irishman. Othello was "attempted by a gen-

March 4 — Douglas Home

High Life Below Stairs . Townley tleman for his amusement, being

6 — Richard III Shakspere ... . , .

Lethe Garrick the first time of his ever appearmg

9-jealous Wife. on the Stage." The same gentle-

Upholsterer Murphy

1 1— Romeo and Juliet. man played Hamlet on the 3d of

Honest Yorkshireman. a -i 11 > ^ r n

14-lnconstant Farquhar ^P"!' ^nd he repeated Othello on

Merhn Hill the 1 3th of May for Mrs. Walker's

15 — Douglas.

Mock Doctor . . . . Fielding benefit. Another gentleman, on

THE NEW AMERICAN COMPANY.

259

one occasion, appeared as Damon
in " Damon and Phillida," and
still another was advertised for
Obadiah Prim in "A Bold Stroke
for a Wife.'' But perhaps the
most daring of the amateurs
was a gentleman who appeared
" for his amusement " on the tight-
rope for the benefit of Mr. Malone.
The repertoire in its leading fea-
tures was patterned after that of
the American Company, but it
comprised two pantomimes, two
interludes, a farce and a comedy
that were new in this country. The
pantomime advertised as " Merlin "
was probably Aaron Hill's " Mer-
lin in Love," though it may have
been Theobald's, or Giffard's al-
teration of Dryden's " King Ar-
thur." It may be assumed that
Henry Woodward's " Genii " was
not the splendid spectacle at An-
napolis, in 1769, that it was at
Drury Lane when it was first
acted, in 1752. The farce, "Wrang-
ling Lovers," was taken by Wil-
liam Lyon from Vanbrugh's

Mar. 16 — Beaux' Strat^em . . . Farquhar

Devil to Pay Coffey

17— Miser Fielding

High Life Below Stairs.

18 — Revenge Young

Damon and Phillida . . . Cibber
April I — Miser.

Devil to Pay.

3 — Hamlet Shakspere

Mayor of Garratt Foote

8— Richard III.

Polly Honeycomb .... Colman
(Mr. Verling's benefit.)
18 — Provoked Husband . Vanbrugh
Miller of Mansfield . . Dodsley
(Mr. Godwin's benefit.)

22 — Busybody Centlivre

Genii (Pantomime) . . Woodward
(Mr. Spencer's benefit.)
25 — Merchant of Venice . . Shakspere

Lying Valet Garrick

(Mr. Malone's benefit.)
29 — Mourning Bride .... Congreve
Honest Yorkshireman.
(Mr. Jefferson's benefit.)
May I — Suspicious Husband . . Hoadly
Wranghng Lover . . . Vanbrugh
Lethe.

(Mr. Burdett's benefit.)
2— Richard IH.

High Life Below Stairs.
3 — Douglas.

Mayor of Garratt.
4 — King Henry IV . . . Shakspere

Damon and Phillida.
9 — Bold Stroke for a Wife . Centlivre
Farmer's Return from London

Garrick
(Mrs. Malone's benefit.)
13 — Othello.

Trick upon Trick .... Yarrow
(Mrs. Walker's benefit.)

16 — George Barnwell Lillo

17 — Conscious Lovers .... Steele

Citizen Murphy

(Mrs. Osborne's benefit.)

26o

HISTORY OF THE AMERICAN THEATRE

May i8 — Beggars' Opera.

Miss in her Teens . . . Garrick
20 — Distressed Mother .... Philips

Harlequin Skeleton.
23 — Way to Keep Him . . . Murphy

Mock Doctor.

(Mr. Darby's benefit.)
27 — Earl of Essex Jones

Chaplet Mendez

(Mrs. Parker's benefit.)
30— She Wou'd and She Wou'd Not

Cibber

(Mrs. Jones' benefit.)
June 3 — Conscious Lovers.

Catherine and Petruchio Shakspere

(Mrs. Walker's benefit.)
6— A Bold Stroke for a Wife.

Upholsterer.

(Mr. Page's benefit.)
10 — Love in a Village . . . Bickerstaff

Anatomist Ravenscroft

(Mr. Parker's benefit.)
13 — Theodosius Lee

Devil to Pay.

(Mrs. Burdett's Benefit.)

" Mistake," printed in Edinburgh
in 1745, and "Trick upon Trick"
suggests R. Fabian's " Trick for
Trick," during the first perform-
ance of which occurred the fatal
quarrel between Macklin and Tho-
mas Hallam, but the cast shows
it was the piece published by
Joseph Yarrow, at York, in 1742.
The comedy new to the American
stage was Gibber's "She Wou'd
and She Wou'd Not," of which,
unfortunately, no cast was printed
in the newspapers. This is the
only comedy of the many written

by Colley Cibber that has been
seen on the modern stage, Mr. Augustin Daly including it among the
revivals which almost annually were a part of his policy as a manager.
The piece was originally acted at Drury Lane. Cibber borrowed his
plot from Leonerd's " Counterfeits." Mrs. Jones was probably the
original Hypolita in this country.

In his advertisement of his benefit Mr. Malone supplied a quaint
bit of autobiography. According to his announcement he must have
been a more accomplished juggler
than he was skillful as an actor.
Malone was evidently an Irish-
man, and he utilized the opportu-
nities afforded him by the An-

Malone's Bit of Autobiography.

Between the Play and the Farce several
performances on the slack rope in full swing
by Mr. Malone —

I. He vaults the rope.
II. He Ues on it at full length.
III. He beats a drum.

THE NEW AMERICAN COMPANY. 261

napolis season to appear as Captain IV. He balances a pyramid of smoking

pipes on the edge of a drinking
0' Blunder in Sheridan's farce, as glass.

11 . J- 1 u- _-i-t. V. He balances the pipes and a pyramid

well as to display his agility on . , . , ^ '^ ^ . „ .

'^ ' ° ' 01 thirty glasses of jelly m each

the slack rope. In the full pieces \wD.d..

VI. He stands on his head on a small
Malone was generally content pack-cord and holds a pistol in each

with very modest parts. He evi- ^^"<^' ^^<=^, "^l ^'" ^'^' '^ ^^«-

' '■ able to the Ladies.

dently belonged to the class of N.B.-There will be several performances

performers that in these latter on the tight-rope by a Gentleman.

days are called variety actors, although in this age it is not often that
the juggler is able to act even such small parts as were played by
Malone during his brief career on the American stage.

Full casts of only five pieces produced at Annapolis by the

New American Company were printed in the Maryland Gazette. The

Beggars' Opera. first of these was the "Beggars'

Captain Macheath Mr. Veriing Opera," in which Mr. Verling and

Lockir" Mr Parker Mrs. Parker had the favorite roles.

Filch Mr. Godwin jhgy j^ad had many predecessors,

Robin of Bagshoti Mr. Malone , ^, ^u T7 r I, ^ A

Drawer / both on the English and Amen-

Jemmy Twitcher Mr. P^e

Crook-Fingered Jack Mr. Walker can Stage, as they were to have

Mat o' the Mint Mr. Godwin ^ successors. When Gay

Ben Budge .Mr. Burdett •'

Nimming Ned Mr. Jefferson showed his musical COmedy tO

Beggar Mr. Parker . r v j ^■

Player Mr. Burdett Congreve before Its production,

Mrs. Peachum) Mrs. Walker that great dramatist Said it would

Lucy Lockit / °

(Her first appearance in these characters.) either take greatly or be damned
Diana Trapes "( at t

Mrs. Vixen | ^"^^ J°°^' confoundedly. It had now held

Mrs. Slammekiu Mrs. Walker , . , ,. ,

M13. Coaxer Mrs. Burdett ^e Stage for half a century, and

Jenny Diver Mrs. Malone for almost half of that period there

Moll Brazen Mr. Walker

Polly Mrs. Parker was no American company so

"mean and contemptible" as not to sing or attempt to sing it.

262 HISTORY OF THE AMERICAN THEATRE.

If Mr. Godwin was the manager of the New American Company

the advertisement of the full cast of the "Miser" is readily accounted for:

Miser. he was himself the Lovegold. In

Lovegold Mr. Godwin Philadelphia, in 1766, when the

^'^^^'"^ f-I'^'r comedy was first played in this

Clenmont Mr. Burdett ■' ^ ■'

List Mr. Malone country, he was compelled to be

Ramillie Mr. Darby

Tames 1 satisfied with a very small part,

Decoy} ^^- ^^*^'

Mercer Mr. Page while Mr. Allyn played the J/w^^.

S ^arkr I • ^'■- "^^^^^ Hallam afterward played Love-

F"™ish Mr. jefiferson gold, and now Godwin was, in one

Mrs. Wisely Mrs. Burdett

Harriet Mrs. Jones part at least, Hallam's rival. All

^.S'^^, 1,/^' ,^^, ^"^ this is guess-work, of course, but

Wheedle Mrs. Malone **

Mariana Mrs. Parker it is guess-work based on human

nature — the human nature of the footlights, which is even more lasting

than theatrical tradition. The performance must have been wretched.

Dr. Young's tragedy, the " Revenge," is a play that never

proved attractive on the American stage. Why it should have been

Revenge. produced at Maryland Gazette, March 9th, 1769.

Don Alonzo . Mr. Godwin ^ The Public may be assured that the Corn-
Don Carlos . Mr. Burdett is impossible pany of Comedians in this city have gained
Alvarez . . . Mr. Parker great applause by their two last perform-
Don Manuel Mr. Malone to Say, un- ances, Viz: the tragedies of "Douglas"
Zanga . . . Mr. Verling j^^^ -^^ Ver- ^^ " ^<^^"<^ ^^^■"
Isabella . . Mrs. Walker

Leonora . . . Mrs. Jones ling was desirous of showing his great tragic
powers as Zanga, as he had previously gained distinction as Lord
Randolph and Richard III. Although the "Revenge" had been pre-
viously played by the American Company, this is the earliest cast of
it that was preserved.

Mr. Darby for his benefit chose a comedy never before acted

THE NEW AMERICAN COMPANY. 263

in America, Arthur Murphy's " The Way to Keep Him," partly,
perhaps, because it was a novelty, and partly to enable him and his
wife to appear as Sir Bashful and the Way to Keep Him.

Lady Constant. The piece, as it

Sir Bashful Constant Mr. Darby

was now played at Annapolis, had Sir Brilliant Fashion Mr. Spencer

William Mr. Parker

been produced at Drury Lane as sideboard Mr. Burdett

long before as 1761, but Mr. Lovemore Mr.Veriing

Mrs. Lovemore Mrs. Parker

Darby was careful to announce Mignionet Mrs. Jones

, , . . , , Muslin Mrs. Walker

that on that occasion it had run L^^y Constant Mrs. Darby

twenty-six nights without inter- (Being her first appearance.)

Widow Bellmore Mrs. Osborne

mission. Subsequently the com-
edy became a favorite one in the repertoire of the American Company.

Mrs. Parker went further than any of her associates in the New
American Company and printed the casts of both pieces in her benefit

Earl of Essex. bill-Jones'trag- Chaplet.

„ , , „ ,, ,r ,. edy, the " Earl Damon .... Mr. Spencer

Earl of Essex .... Mr. Verling "^ M D h

Southampton Mr. Darby of Essex," and daemon. . . . ^ ^'' 7

-__,., „ T> J „ Laura .... Mrs. Osborne

Lord Burleigh . . . . Mr. Burdett ,, , , „ . „ ,, ,, ,

_. „, , Ti , • 1 »» n Mendez musi- Pastora .... Mrs. Parker

Sir Walter Raleigh . . Mr. Spencer iviciiuci iiiusi

Lieutenant Mr. Parker cal entertainment," the " Chaplet." Both

Queen Ehzabeth . . . Mrs. Jones

Countess of Nottingham. Mrs. Parker these pieces had been- frequently acted

Countess of Rutland . Mrs. Osborne , , . . ^ ^,

by th6 American Company. 1 hese casts
are only interesting for comparison and as part of the record.

When Mrs..Malone took her benefit she announced Garrick's
" Farmer's Return from London " as the afterpiece, but as " Thomas
Thomas and Sally. and Sally" was sub- Farmer's Return.

Squire .... Mr. Spencer sequently advertised Fanner .... Mr. Parker

Thomas Mr.Veriing ^j^j^^^^ ^^^^j^^ Farmer's Wife . Mrs. Parker

Sally Mrs. Parker ^ Roger .... Mr. Malone

Dorcas . . . Mrs. Osborne of the interlude, it is not Certain whether it

264 HISTORY OF THE AMERICAN THEATRE.

was dropped from the bill or given between the play and the farce, as
was the custom in London. Garrick originally wrote it to do Mrs.
Pritchard a service at her benefit. It was a humorous description in
rhyme of what the farmer saw in London — the coronation of George
III and Queen Charlotte, the entertainments of the theatres and the
famous imposition of the Cock-lane ghost.

The partial casts that were printed this season in the Maryland

Gazette are interesting in showing who were the stars of the company.

Partial Casts. These casts show that Mr. Ver-

Plays. ling was to this company what

A Bold Stroke for a Wife: ht„ tt n ^ iU -i. •.

^ , , r- ■ „ ,T 17 ,• Mr. Hallam was to the one it at-

Colonel Feignwell Mr. Verlmg

Ann Lovely Mrs. Osborne tempted tO rival — the first in

Biisybody.

Marplot Mr. Spencer everything. His parts ranged

^^".""'^^ ^'=- ^"^^^^ from Shylock and Romeo to Fal-

Conscious Lovers.

Young Bevil Mr. Verling staff and PetrucMo ; from Haw-

Indiana Mrs. Osborne

Distressed Mother. tho'"^ to Captain 0' Blunder, for it

^y-"*"' ff'-pf"^ is to be remarked that he did not

Orestes Mr. Godwin

Hermione Mrs. Jones allow Malone a monopoly of the

Andromache Mrs. Osborne

Douglas. brave Irishman.. He was, after

^°"gi^ ^^- "^^'■""g Mr. Hallam, the first Petruchio, as

Lady Randolph Mrs. Osborne

George Barnwell. Mrs. Walker was, after Miss

Barnwell Mr. Godwin ■, r ^ t •

Maria Mrs. Walker Cheer, the first Catherine. This

*^"^^°°'i ^■''- Osborne production of "Catherine and Pe-

King Henry IV.

Prince of Wales Mrs. Osborne truchio " was the familiar farce,

Poins Mrs. Parker , . , . , „ . , ,

Falstaff Mr. Verling ^^eing advertised as "with altera-

Love in a Village. tions and additions by David Gar-
Young Meadows Mr. Spencer

Hawthorn Mr. Verling rick." There were four ladies in

Rosetta Mrs. Parker ^, , , ,

Lucinda Mrs. Osborne *^^^ Company who were accorded

THE NEW AMERICAN COMPANY. 265

important roles. Of these, Mrs. Merchant of Venice.

Shylock Mr. Verling

Parker was apparently the most Portia Mrs. Osbome

versatile, and Mrs. Osborne in pos- ^""S Bride.

Almena Mrs. Osborne

session of the greatest tragic force. Othello.

Desdemona Mrs. Osborne

It was, however, no mean distinc- prmoked Husband.

tion to Mrs. Walker to be given ^^^^ '^"^'^ ^'^- 0='^°™^

Romeo and Juliet.

the part of Catherine in " Cath- Romeo Mr. Veriing

Juliet Mrs. Jones

erme and Petruchio, or to Mrs. suspicious Husband.

Jones to be allowed to become ^^°g^"^ ^'^- 0*°™^

the Juliet of the company. Farces.

Anatomist.
The character of the theatre M. le Medeciu Mr. Spencer

in which the New American Com- 71"^™ a. '^ r, T ^

Leatnce Mrs. rarker

pany played at Annapolis may be Brave Irishman.

Capt. O'Blunder ., Mr. Verling

learned from a note appended to Catherine and Petruchio.

one of the advertisements. "Up- e™c 1° '■ ^"^'"S

'■ Crrumio Mr. rarker

per boxes," it was said, " are now Catherine Mrs. Walker

Citizen.

preparing, the passage to which Maria Mrs. Osbome

must be from the stage; 't is Damon and PhUlida.

Damon Mr. Spencer

therefore hoped such ladies and Phiiuda Mrs. Parker

Genii.
gentlemen as choose to fix on Genii Master Knapp

them seats will come before the Harlequin Mr. Spencer

Columbine Mrs. Parker

play begins, as it is not possible Harlequin Skeleton.

Harlequin ........ Mr. Godwin

they can be admitted after the columbine Mrs. Parker

curtain is drawn up." The hour ^^^"^ ^''^'*-

Sharp Mr. Verhng

for beginning was six o'clock, and Melissa Mrs. Malone

Kitty Pry . . ; Mrs. Parker

the prices were "js. bd. to the Merlin.

lower boxes, and JJ. to the pit Harlequin Mr. Godwin

Clown Mr. Malone

and upper boxes. There was no Columbine Mrs. Parker

266

HISTORY OF THE AMERICAN THEATRE.

Mock Doctor.

Mock Doctor Mr. Darby

Dorcas Mrs. Parker

Polly Honeycomb.

Polly Mrs. Osborne

Trick upon Trick.

Vizard Mr. Verling

Mrs. Mixune Mrs. Jones

gallery. It can scarcely be claimed
for a structure such as this must
have been that it was, in the
language of Charles Durang, "that
old Temple of the Muses, known

as the first theatre erected in America." " This theatre," Durang
wrote, " was built of old-fashioned brick. It was not very lofty, and
might be called a one-story edifice. It had a very good depth for its
proportions. When I saw it years afterward it had the appearance
of being at one period of time surrounded with a flower-garden, taste-
fully laid out. It was viewed with reverence, on account of its histori-
cal associations with the earliest efforts of the drama on this continent."
As the theatre that Mr. Durang saw was not built until 1771, his
reverence was wasted at a false shrine.

With the close of the season at Annapolis the New American
Company apparently ceased to exist. With it Mr. Malone, whose
versatile talents as actor and jug-
gler must have been exceedingly
useful in such an organization,
disappeared also, and the name
of Mr. Godwin does not afterward
occur in American dramatic an-
nals until after the Revolution.
The parts filled by these two
players, under the different con-
ditions in which they appeared,
afford an insight into the dramatic
methods of the time that is deserv-

Mr. Malone's Parts.

Plays.
Beaux' Stratagem Sir Charles

Beggars' Opera { g"^™"^ ^'^^'^°'

Clandestine Marriage Traverse

Hamlet Player King

Henry IV Poins

Macbeth Donaldbain

Merchant of Venice Salarino

^■- {[r^'

Othello Montano

Romeo and Juliet Escalus

Venice Preserved Spinosa

Farces.

Catherine and Petruchio Tailor

Citizen Quilldrive

Fanner's Return from London . . . Roger

THE NEW AMERICAN COMPANY.

267

Mr. Godwin's Parts.

ing of attention. In the American Harlequin Collector Haymaker

_ , , , , ^ , . ^'Sh Life Below Stairs Tom

Company Malone and Godwm Lethe Tattoo

held the same rank. If there was May°r of Gan-att Roger

Merlm Clown

any diiference it was in Malone's

favor. Under Mr. Douglass' management he played the Player King
in " Hamlet," P(??«J in "Henry IV," and Donaldbain in "Macbeth,"

while Godwin's best parts were
Osric, Malcolm and Benvolio. In
the New American Company Ma-
lone obtained no advance, but
while he made himself useful in
such insignificant roles as Tom,
in " High Life Below Stairs," and
Roger, in the " Farmer's Return
from London," Godwin leaped at
a single bound from Bubbleby to
Lovegold, in the " Miser," and
accorded himself such parts as
Clincher, Jr., in the " Constant
Couple," Orestes,vi\ the "Distressed
Mother," Glenalvon, in "Douglas,"
Chamont, in the " Orphan," and
Jaffier, in "Venice Preserved."
For an actor who had begun a
few years before as Daniel, in the
" Conscious Lovers," Usher, in
" Lear," Jeremy, in " Love for
Love," the Messenger, in the "Or-

Plays.

Beaux' Stratagem Honslow

Beggars' Opera Filch

Cato Marcus

Conscious Lovers Daniel

Constant Couple Clincher, Jr.

Distressed Mother Orestes

Douglas Glenalvon

George Barnwell Barnwell

Hamlet Osric

Lear Usher

Love for Love Jeremy

Love Makes a Man Monsieur

Macbeth Malcolm

Miser jBubbleby

( Lovegold

Mourning Bride Selim

Orphan Chamont

Orphan of China Messenger

Revenge Don Alonzo

Richard HI Prince Edward

Romeo and Juliet Benvolio

Tamerlane Haley

Venice Preserved Jaffier

Farces.

Bedlamites Bedlamite

Damon and Phillida Corydon

Harlequin Skeleton Harlequin

Honest Yorkshireman Slango

Mayor of Garratt Roger

Merlin Harlequin

Miller of Mansfield Lurewell

Mock Doctor Harry

268 HISTORY OF THE AMERICAN THEATRE.

phan of China," and Haly, in " Tamerlane," Mr. Godwin's new line
of parts ought to have been a sign of great advancement in his pro-
fession, but somehow it does not seem possible that an actor who
played only the humblest roles with the American Company in 1766,
and was retained only for a single season, should have been able to
play acceptably the parts attempted by Godwin at Williamsburg and
Annapolis. After the Revolution Godwin again tried his fortunes
both as actor and manager, but none of the other members of the New
American Company were ever heard of after this season.

CHAPTER XXV.

SOUTHWARK THEATRE, 1769-70.

DUNLAP'S LOST PLAYERS WHERE THEY WERE ANOTHER BRILLIANT

SEASON IN PHILADELPHIA MISS HALLAM THE LEADING LADY

FIRST p'rODUCTION OF A NUMBER OF NOTEWORTHY PLAYS.

AFTER the visit to Albany, in the summer of 1769, Dunlap finds
no trace of the American Company until 1772, when it was
playing at Annapolis. The fact was that Mr. Douglass once more
transferred his forces to Philadelphia, where he reopened the South-
wark Theatre, on the 8th of November, for a long and vigorous cam-
paign. This season was one of the most brilliant in the history of
the American stage. The repertoire was unusually attractive, and,
although Miss Cheer and Miss Wainwright were no longer with the
company, their absence does not seem to have proved a serious
embarrassment. The older members had now had a sufficiently long
experience to play almost any role acceptably, and fresh recruits were
added from time to time. At last the American Company had
reached that degree of perfection that its name was, in itself, a guar-
antee of a worthy entertainment in spite of the withdrawal of old
favorites, and regardless of the addition of new candidates for public
favor — that height of popularity that it was no longer necessary for

(269)

270 HISTORY OF THE AMERICAN THEATRE.

Mr. Douglass to resort to elaborate advertising. As a consequence,

List of Performances. the announcements in the news-

'769- papers this season contained only

Nov. 8 — Busybody Centlivre

Padlock Bickerstaff the name of the company, the

10 — Hamlet Shakspere ..,, c ,\_ ■ , i_

,^ . , T , „ , titles of the pieces to be per-

Musical Lady Colman '^ '^

14— Gamester Jioore formed and the dates of the per-

Padlock.

17— Constant Couple .... Farquhar formances. This departure made
^ °'^ ' ^ ,. „^ , it possible for the manager to

20— Romeo and Juliet . . . shakspere ^ °

Love a la Mode .... Mackiin advertise in the three papers pub-

24 — Midas O'Hara

Citizen Murphy lished in Philadelphia at that time

°''' ^~^^J^'^ "°'"' —\^& Gazette, l\i^-Journal3xyd.\h^

Midas. ' -^

S— Love in a Village . . Bickerstaff Chronicle — and, consequently, the

Musical Lady

8— Cymbeiine Shakspere list of productions this Season

^ ^' , is nearly complete. This list

12 — Beaux Stratagem . Farquhar

Padlock. shows a number of important

15 — Beggars' Opera . . . Gay

Love a la Mode. additions to the repertoire of the

19-Siege of Damascus . . . Hughes American Company— Some full

Harlequin Collector.

22 — Suspicious Husband . . . Hoadly pieces never before acted in

26-Ckndestine Marriage America, besides new farces and

Garrick and Colman interludes. These pieces, some

Love a la Mode

29— George Barnwell . . . . Liiio of them produced with unusual

Harlequin Restored. , , . _,. ^-,,tt 1

1770. elaboration, were Kane O Hara s

Jan. 2-King John ... . Shakspere „ ^jj^ „ ^^^ ^j- ^^ ^ jj ,

Padlock. ' ^

5— Maid of the Mill . . Bickerstaff ful mythological burlesques ever

Miller of Mansfield . . Dodsley

9_0rphan . . Otway written, and in which, at a later

Hob in the Well . . Cibber j^j Madame Vestris was to

12— Maid of the Mill. ^

Harlequin Restored. become SO great a favorite as

19 — Tempest . . . . shakspere

Neptune and Amphitrite. Apollo ; Dryden's version of

SOUTHWARK THEATRE, 1769-70.

271

Shakspere's " Tempest," an atroc-
ity with its Caliban's sister, and
the scarcely less acceptable sister
of Miranda that, happily, has
long been banished from the
stage; the "Siege of Damascus,"
by John Hughes, first acted at
Drury Lane, in 1720, on the
night of the author's death;
"Wit's Last Shift," which had
been produced at Drury Lane
only a few months before its pro-
duction in Philadelphia; "Ed-
ward, the Black Prince," Shir-
ley's, not the play of Mrs. Hofer,
originally produced in a theatre
in Goodman's Fields, in 1748,
"by a patched-up, wretched set
of performers" — if Dunlap is
right — by William Hallam's com-
pany; Goldsmith's "Good-Natured
Man," produced at Covent Gar-
den, in 1768; Steele's " Funeral "
and "Tender Husband," once
popular, but now, happily, no
longer on the boards, and Shaks-
pere's "Merry Wives of Wind-
sor." The new interludes and

Jan. 23 — Tempest.

Neptune and Amphitrite.

Mayor of Garratt Foote

29 Same bill as the 23d
Feb. 2 — Tempest.

Neptune and Amphitrite.

Padlock.
6 — Edward, the Black Prince . Shirley

Citizen Murphy

9 — Funeral Steele

Damon and Phillida . . . Gibber
16 — Orphan of China .... Murphy

Upholsterer Murphy

19 — Funeral

Upholsterer.
Mar. 2 — Merry Wives of Windsor . Shakspere

High Life Below Stairs . Townley
6 — Tempest. •>

Neptune and Amphitrite.

Padlock.
9 — Comus Milton

Edgar and Emmeline Hawkesworth
12 — Edward, the Black Prince.

Edgar and Emmeline.
16 — Revenge Young

Harlequin Restored.
19 — Tempest.

Neptune and Amphitrite.

Devil to Pay Coffey

22 — Beaux' Stratagem.

Edgar and Emmeline.
30 — Tender Husband Steele

Miss in her Teens .... Garrick

(Miss Storer's benefit.)
April 2 — Fair Penitent Rowe

Harlequin Collector.

(Mrs. Henry's benefit.)
16 — Alexander the Great .... Lee

Thomas and Sally. . . Bickerstaff

(Mrs. Harman's Benefit.)
20 — ^Jane Shore Rowe

Padlock.

(Miss Hallam's benefit.)
27 — Good-Natured Man . . Goldsmith

Devil to Pay.

(Mr. Morris' benefit.)

272

HISTORY OF THE AMERICAN THEATRE.

May 3 — Good-Natured Man.

Catherine and Petruchio . Shakspere
(Mr. Tomlinsou's benefit.)

10 — Love for Love . . . Congreve

Wit's Last Stake King

(Mrs. Douglass' benefit.)

1 7 — Wild Irishman.

High Life Below Stairs.
(Benefit of Mr. and Mrs. Henry and
Miss Storer.)

24 — Cymbeline . . Shakspere

Guardian (iarrick

(Benefit of Parker and Broadbelt.)

afterpieces comprised Colman's
"Musical Lady," Hawkesworth's
"Edgar and Emmeline," and
" Neptune and Amphitrite," a
musical interlude popular in
London, but never printed. It
must be confessed that the pres-
entation of so many new pieces
by the American Company, at the time it was lost sight of by the
historians, is some evidence that Mr. Dunlap, and those that came
after him, might have found the players if they had looked for them.
The success of the .season, judging from the number of times
it was played and the commendations of an amateur critic' of the
period, was the " Tempest." As no cast of the comedy was pre-
served, it is not possible to say how much of the Dryden version
was retained. As, however, the whole of the Dryden title — "The
Tempest, or the Enchanted Island " — was used, it is likely the ex-
cisions extended only to verbal "luxuriances." Apart from these,
the Dryden version was more showy, more intricate, more ex-

' Extracts From Candidus' Critique.
— As the representation of this play is cer-
tainly the greatest attempt ever made by
the performers in this part of the world, the
curiosity of the town was verj' much excited,
and I felt a secret satisfaction in seeing it
honored with the appearance of a numerous
American audience, who had taste enough to
distinguish and relish the beauties of that
immortal bard.

*****

It would be doing great injustice to the
performers to pass unnoticed their manifest
attention on this occasion to the entertain-

ment of the audience, which, with the good
taste shown in the disposition of the ma-
chinery and decorations, certainly rendered
this play the most delightful entertairunent
ever exhibited on the American stage. The
thanks of the public are due to the person
who superintended the getting up of this
piece for his good judgment and discretion in
pruning it of many indecent luxuriances,
which Dryden had introduced into it with
the vitiated taste of the age in which he
wrote. As there is nothing now to offend,
but very much to delight, in this celebrated
performance, I shall hope each evening it

SOUTHWARK THEATRE, 176^70. 273

tended in the musical parts, and better fitted to keep up the atten-
tion of an audience than Shakspere's delightful comedy. It may be
assumed, therefore, that the " Tempest " produced on this occasion is
to be credited to Dryden rather than to Shakspere, and it will be ob-
served that there is nothing in the contemporary critique of " Candidus,"
printed in the Pennsylvania Journal, to contradict this assumption.
Later the casts show the additional creations that Dryden added to
Prospero's island thus settling the question definitely. The Dryden
version was acted at Dorset Gardens as early as 1670. It is remarkable
that such a production should have retained the stage for a century
but such was the case not only in America but in England, even
Kemble's revivals including some of Dryden's alterations.

As no casts were printed in the newspapers this season it is not
easy to give a satisfactory account of the changes that had occurred
in the company. It is not improbable that Mr. Goodman, who be-
came an excellent actor, and the second Mrs. Morris, one of the most
noted of the earlier actresses on the American stage, were brought for-
ward at this time, and it is certain that Miss Richardson made her debut
at the Southwark Theatre this season. The fact that Miss Richardson was

may hereafter be given to the town to see a that I am not ashamed to own my admira-

numerous appearance of the friends to usefiil tion of dramatic performances hath induced

recreation, bearing testimony of their invalu- me, now and then, to associate with some of

able obhgations to the great poet of nature, the performers, from whose conversation I

and endeavoring to make some return to the have often received both pleasure and advan-

players for their assiduity and expense in tage. It is this that gives me the satisfac-

procuring this great addition to our rational tion to advertise your readers, who are lovers

amusements. I am not insensible, gentle- of the drama, of another play which I think

men, in saying this much in favor of theatri- was never acted here, and will be highly in-

cal performances, how obnoxious I render teresting to every one zealous for the honor

myself to the censure of a few, who, being of his country. It is founded on the story of

entirely ignorant of their nature or uses, are the immortal son of Edward III, sumamed

continually railing against them ; but so care- the Black Prince, a man in whom innate

less am I of the evil report of such people, courage shone with superior lustre. * * *

18

274 HISTORY OF THE AMERICAN THEATRE.

with the American Company in 1769-70 is established by a house-
bill for Miss Storer's benefit, in the possession of the Pennsylvania
Historical Society. This bill contains the casts of the "Tender Hus-
Tender HnsBAXD. band " and " Miss in her Teens,"

^ , , . , „ but is partially mutilated, so that

Humphrey Gubbin Mr. Hallam

Sir Harry Gubbiu Mr. Douglass it is Uncertain whether Miss Rich-
Mr. Clerimont Mr. Henry

Captain Clerimont .... Mr. Byerly ardson or Miss Hallam played

^'^■^'P'^'" Mr Moms Miss Biddy. It is probable, how-

Mr. Pnnce Mr. Wall '^

The Niece Miss Hallam ever, that the part was given to the

Aunt Mrs. Tortilinson

Fainlove Mrs. Harman former, as Miss Hallam was now

J^°°y ^^^= Richardson f^^y jngtalled as the leading lady

of the company. Among the parts she is known to have played dur-
ing the season wercjtdiet in " Romeo and Juliet" and Mrs. Sullen in
the " Beaux' Stratagem." Oddly miss in her Teens.

enough she appeared as Nell and „ . , ,

^ ^^ Captain Flash Mr. Henry

Mr. Hallam as Jobso7l in the Captain Loveit Mr. Parker

Fribble Miss Storer

"Devil to Pay" for the first time Pujf Mr. Morris

this season. "A young gentle- "^^ ^'=- ^"-"^

woman " made her debut as Dorinda in the " Stratagem," December

1 2th, 1769. It is of course impossible to say whether this was Miss

Richardson. The name of Mrs. Henry now occurs for the first time.

Miss Storer was evidently Miss Maria Storer, the younger of the Storer

sisters, while this Mrs. Henry was the Miss Storer of previous years.

When she took her benefit Mr. Henry announced that as Harlequin in the

pantomime he would " run up a perpendicular scene twenty feet high."

History is silent as to the manner in which this remarkable feat was

accomplished. This, however, was not the only outre incident relating

to the benefits, for in the announcement of Mrs. Douglass' it was

SOUTH W ARK THEATRE, 1769-70. 275

promised that Mr. Wall would speak an epilogue, riding on an ass.
Mr. Douglass sometimes indulged in advertisements that have a
quaint sound to modern ears. One of these was as follows : " Mr.
Douglass will be extremely obliged to any lady or gentleman who
will lend him the burlesque of the ' Dragon of Wantley.' " At that
time the newspapers gave little or no attention to the theatres, and
consequently his advertisements are the only sources of information
left to us in regard to the surroundings of the theatre in Southwark,
or his foresight and energy in providing for the comfort of his patrons.
"A foot-path is made," he announced in February, 1770, "across the
common to the corner of Pine Street, in Fourth Street, on which those
ladies who are not provided with carriages may come to the house
without dirtying their feet." There is no attempt at fine writing in
this announcement, but words could scarcely give a more vivid picture
of the desolate and forbidding situation of the Southwark Theatre
previous to the Revolution.

The peculiar relations of the theatre toward the public were
frequently illustrated in the newspapers at that time. Everybody
connected with the play-house was apparently outside of the pale of
respectable society. According to his letter in the Pennsylvania
Journal " Candidus " expected to be ostracised for writing it. Mr.
Douglass evidently feared that some musical persons belonging to the
city would be insulted for assisting his orchestra on opera nights. "As
they have no view," he said in one of his advertisements, "but to con-
tribute to the entertainment of the public, they certainly claim a pro-
tection from any manner of insult." After the close of the season Mr.
Wall gave, on the 6th of June, a monologue entertainment made up
from the writings of George Alexander Steevens, at the Lodge Room.

2;6 HISTORY OF THE AMERICAN THEATRE.

He called it "A Rhapsody," but even for this entertainment he thought
it necessary to assure the public that no party, sect or denomination
would be aimed at. But he must have horrified the good people who
petitioned the General Assembly against the theatre, in 1759, by
announcing that after the entertainment the music would be at the
service of such ladies and gentlemen as might choose to dance. The
Southwark Theatre was now closed, not to be re-opened again for
many months, although at that time Philadelphia was certainly the
best theatrical city in the Colonies.

CHAPTER XXVI.

IN MARYLAND AND VIRGINIA.

AT ANNAPOLIS IN I770 — A VISIT TO WILLIAMSBURG THE NEW AN-
NAPOLIS THEATRE ACCOUNT OF THE OPENING THE PROLOGUE

AND EPILOGUE PEALE's PORTRAIT OF MISS HALLAM NEW

PLAYS AT THE WILLIAMSBURG THEATRE.

AFTER the close of the Philadelphia season in May, 1770, the
American Company went South, playing at Annapolis and
Williamsburg in the winter of 1770-1 and again the following year.
Unfortunately the material available for the history of these two years in
Maryland and Virginia is not so full as would be desirable. Announce-
ments of the intended performances were not regularly made, either in
the Maryland Gazette at Annapolis or the Virginia Gazette at Wil-
lianisburg. This was owing, no doubt, to the small number of inhabi-
tants in the two capitals and the necessity of depending upon the
planters in the vicinity of each for patronage, whom it was necessary
to reach by some other means than the tardy newspapers of the
period. It is likely that during these two years other places were
visited besides Annapolis and Williamsburg, but in that case all record
of the travels of the American Company has been hopelessly lost.
The first stop was at Annapolis, where the season began early and
was very short. It was announced at the outset that the company's

(277)

2/8

HISTORY OF THE AMERICAN THEATRE.

engagement at Virginia would prevent more than a month's stay at

that time, and a careful examination of the files of the Maryland

Performances— Annapolis. Gazette shows only the bills for

1770. three nights of that brief season.

Aug. 27 — Suspicious Husband . . Hoadly ., . . , , .

Thomas and Sally . . Bickerstaff It IS evident, however, from a com-

30-Cymbeline . ... Shakspere munication printed in that jour-
Miller of Mansfield . . . Dodsley
Sept. I— Love in a Village . . Bickerstaff nal on the 6th of September that

Miss Hallam ^ succeeded in making a deep impression on the Mary-
landers as Imogen in "Cymbeline." No modern actress, not even Miss
Neilson, has been able to extort such unreserved praise from the
critics as "Y. Z." bestowed on Miss Hallam. So far as the
actress is concerned the communication was not so much a criticism
as a rhapsody. Praise certainly could not go farther than a com-
parison of the unknown Miss Hallam with the celebrated Mrs. Cibber.
Never before had an American actress called forth such eulogy, and,
as will be seen hereafter, this was only the beginning of the high

' Miss Hallam as Imogen. — To the Prin-
ter : — As I make it a matter of conscience to
do justice to merit to the utmost of my abilities
in whatever walk of life I chance to discover
it, I shall take the liberty of publishing through
the channel of your paper the observations
which the representation at the Theatre on
Thursday night drew from me.

I shall not at present expatiate on the
merits of the whole performance, but confine
myself principally to one object. The actors
are indubitably entitled to a very consider-
able portion of praise. But by your leave,
gendemeu (to speak in the language of Ham-
lei) — " Here's metal more attractive." On
finding that the part of Imogen was to be
played by Miss Hallam I instantly formed to
myself from my predilecdon for her the most

sanguine hope of entertainment. But how
was I ravished on experiment ! She exceeded
my utmost idea ! Such delicacy of manner !
Such classical strictness of expression ! « The
music of her tongue — the vox Uquida, how
melting ! Notwithstanding the injuries it re-
ceived from the horrid ruggedness of the
roof and the untoward construction of the
whole house, methought I heard once more
the warbling of Cibber in my ear. How true
and thorough her knowledge of the part she
personated ! Her-whole form and dimensions
how happily convertible and universally
adapted to the variety of her part.

A friend of mine, who was present, was so
deeply impressed by the bewitching grace
and justness with which the actress filled the
whole character, that immediately on going

IN MARYLAND AND VIRGINIA.-

279

regard in which Miss Hallam was to be held by the Maryland public.
In Imogen, especially, their admiration for her was unbounded. Not
only did the local poets sing her praises, comparing her face with
Cytherea's and her form with the perfections of Diana, but they
invoked their native artist, destined to become one of America's
greatest painters, Charles Wilson Peale, to paint her in the part in which
they best liked to see her, an invocation to which he gave heed.
The poem of " Y. Z.'s " friend was, of course, printed in the Maryland
Gazette at the same time with the critique. While it does not show
a high order of poetic merit it is
as gushing as anything in these
latter days by unfledged singers
to actresses of imagined charms
and imaginary merits. But even
fulsome praise is a sign that praise
is not entirely undeserved, and it

To Miss Hallam.

home he threw out, warm from the heart as
well as brain, the verses I enclose.

The house, however, was thin for want of
sufficient acquaintance with the general as
well as particular merits of the performers.
The characteristical propriety of Mrs. Doug-
lass cannot but be too striking to pass un-
noticed. The fine genius of that young crea-
ture, Miss Storer, unquestionably affords the
most pleasing prospect of an accomplished
actress. The discerning part of an audience
must cheerfiilly pay the tribute of applause
due to the solid sense which is conspicuous in
Mrs. Harman, as well as to her perspicuity
and strength of memory. The sums lavished
on a late set whose merits were not of the
transcendent kind, in whatever point of light
they are viewed, are still fresh in our mem-
ories. And should these their successors,

Hail, wondrous maid ! I grateful hail
Thy strange dramatic power;

To thee I owe that Shakspere's tale
Has charmed my ears once more.

'Twas his to paint, with touch refined,

Beyond the rules of art.
Each varying passion of the mind.

And probe the human heart.

whose deportment, decency and unremitting
study to please have ever been confessedly
marked, meet with discountenance, me-
thinks such a conduct would not reflect
the highest honor either on our taste ot
spirit.

The merit of Mr. Douglass' company is
notoriously in the opinion of every man of
sense in America, whose opportunities give
him a title to judge — take them all in all —
superior to that of any company in England,
except those of the metropolis. The dresses
are remarkably elegant ; the dispatch of the
business of the theatre uncommonly quick;
and the stillness and good order preserved
behind the scenes are proofs of the greatest
attention and respect paid to the audience.

Y. z.

28o

HISTORY OF THE AMERICAN THEATRE.

'Tis thine, with kindred reach of thought
And magic powers to please,

What he, sweet child of Fancy, wrought
To act with grace and ease.

Great Bard of Nature ! Hard the part
Thy forceful scenes to play ;

And few Uke Hallam have the art
To catch thy glowing ray.

Say ! Does she plead as though she felt

The tender tale of woe ?
Our eyes, albeit unused to melt,

With tears of pity flow.

Or does she charm the jocund hours
With strokes of comic wit ?

See, laughter holds his sides, and pours
Full los round the pit.

She speaks ! —What elocution flows !

Ah ! softer far her strains
Than fleeces of descending snows,

Or gentlest vernal rains.

Do solemn measures slowly move ?

Her looks inform the strings :
Do Lydian airs invite to love ?

We feel it as she sings.

Around her, see the Graces play.
See Venus' wanton doves ;

And in her eye's pellucid ray,
See little laughing loves.

Ye God's ! 'Tis Cytherea's face ;

'Tis Dian's faultless form ;
But hers alone the nameless grace

That every heart can charm.

When laid along thy grassy tomb
What pencil, say, can paint

Th' unlustrous but expressive gloom
Of thee, fair sleeping saint.

Or thine, or none, self-tutored Peale !

Oh ! then, indulgent hear
Thy bard's request, and let him kneel

A weeping hermit there !

may be assumed with safety that
Miss Hallam had developed into
an actress of more than usual
ability. As an evidence that her
Annapolis critic, who first sounded
her praises, was a man of sound
dramatic instinct his early appre-
ciation of Miss Storer may be
cited. This young girl, after the
Revolution, completely fulfilled
the prediction^ that were made by
" Y. Z." concerning her future.
Besides, his judgment of Miss
Hallam is corroborated by the
course pursued by the "self-tutored
Peale." Charles Wilson Peale
was born at Chestertown, near
Annapolis. Early in life he was
apprenticed to a saddler, and he
subsequently carried on that busi-
ness. Mr. Peale was "a jack-of-
all-trades," being, besides, a sil-
versmith, watchmaker and carver,
sportsman, naturalist and pre-
server of animals. As an inven-
tor he perfected some important

improvements, and he was the
first dentist in America who made sets of artificial teeth. As a

IN MARYLAND AND VIRGINIA.

281

portrait painter he showed remarkable proficiency, even before he
received any instruction in the art. In the winter of 1770-71 Mr.
Peale studied under Copley,
at Boston, and it is likely

The grand design in Grecian schools was taught;

To Mr. Peale on his Painting Miss Hallam in
the character of Fedile in " Cymbeline."

that his picture of Miss Hal-
lam as Imogen was painted
in the summer and autumn
of the latter year, after his
return from New England.
This assumption is based on
the fact that the lines in
which his skill and this paint-
ing were so highly praised
were printed in the Maryland
Gazette, November 7th, 1771.
There is no evidence that the
picture was ever exhibited at
Peak's Museum, in Philadel-
phia, and all trace of it has
been lost. ,

After the close of the
short season at Annapolis the
American Company went to
Virginia, but there is no record
of the tour nor even of the

Venetian colors gave the pictures thought.

In thee, oh Peale, both excellences join ;

Venetian colors and the Greek design.

Thy style has matched what e'en the ancients knew,

Grand the design and as the coloring true.

Pursue the path thou hast so well begun,

And second be to nature's eldest son.

Shakspere's immortal scenes our wonder raise.

And next to him thou claim'st our highest praise.

When Hallam as Fedele comes distressed,

Tears fill each eye and passion heaves each breast;

View with uplifted eyes the charming maid,

Prepared to enter though she seems afraid.

And see, to calm her fears and soothe her care,

Bellarius and the royal boys appear.

Thy pencil has so well the scene conveyed,

Thought seems but an unnecessary aid.

How pleased we view the visionary scene.

The friendly cave and rock and mountain green;

Nature and art are here at once combined,

And all Elysium to one view confined.

Another scene still claims thy pencil's aid, —

Storer in Ariel — Enchanting maid !

Whose easy nature every grace affords.

And charms without the empty pomp of words;

The list'ning ear on every word intent.

Catches the sound and guesses what is meant.

" Her name, the boast of every tuneful choir.

Shall tremble on the strings of every lyre."

Accept, oh Peale, these friendly artless lays.

The tribute that a fond admirer pays ;

Unrivaled, as unmatched, be still thy fame.

And Shakspere's scenes still raise thy envy'd name.

engagement at Williamsburg during the winter of 1770-71 beyond
a reference in the Virginia Gazette to the production of the
"Tender Husband" and the "Honest Yorkshireman," on the 22d

282 HISTORY OF THE AMERICAN THEATRE.

of April, 1 77 1. It is not certain, however, that this production was
by the American Company. On the contrary, the probability is that
Mr. Douglass paid a brief visit to Jamaica early in 1771, while Mr.
Henry went to England for recruits. This supposition is strengthened
by an announcement in the Maryland Gazette, on the 19th of Sep-
tember, 1771, that Henry arrived at Norfolk on the nth, a passenger
on the brigantine "Jenny," Isaac Mitchenson, master, from White-
haven. At this time the American Company was again at Annapolis,
while a company of comedians without any distinctive name was
playing at Williamsburg. The performance of the "West Indian"
and the " Musical Lady," on the 23d of October, was the opening
night, the season lasting two months. So far as is known these are
the first performances of the "West Indian," and of one of Ben Jon-
WiLLiAMSBURG PERFORMANCES. son's plays lu AmcHca, but it is

1771. probable they had previously been

Oct. 23 — West Indian .... Cumberland ^iitw i_ t.

Musical Lady Cobnan ^^^" ^* Williamsburg, because no

26— West Indian. Special mention of them was

Musical Lady.

Nov. 12— King Lear .... Shakspere ^ade in the advertisements, while
23-Every Man in his Humor . jonson ., j^j^^ Lear " was announced as

, Damon and PhiUida . . Cibber

Dec. 21 — Jealous Wife Colman " never performed in Virginia."

Padlock Bickerstaff

When the American Company
returned to Annapolis in the autumn of 1771 it was to dedicate a new
temple to the drama. This was the theatre that Dunlap was led into
accepting, on the authority of a writer in the Maryland Gazette, in
1828, as "the earliest temple reared in our country to the dramatic
muse," and as being in existence in 1752. Contemporary authority
in regard to the erection of the Annapolis theatre thus erroneously
described is abundant. The clearest account of the building of the

IN MARYLAND AND VIRGINIA. 283

Annapolis theatre of 1771 is contained in " Letters from America,"^
1769-77, by William Eddis (London, 1792), who was surveyor of the
customs at Annapolis. There is internal evidence in this letter that
Mr. Eddis was the critic who so favorably reviewed the performance
of Miss Hallam as Imogen, already quoted, but his letter is chiefly
valuable in showing how the funds were obtained for the erection
of the new theatre. Although Mr. Eddis gives the credit of initiating
the plan to the incumbent of the Province House there is no reason
to doiPbt that it was suggested by Mr. Douglass. The manager had
previously resorted to the same policy in New York to relieve
himself from embarrassments incurred by the erection of the John
Street Theatre. This is apparent from his appeal to the subscribers,
dated nearly a fortnight before Mr. Eddis' letter was written. As
has happened with subscriptions of every kind, in every age, some
of Mr. Douglass' subscribers who were quick to sign were slow to
pay, and he was consequently compelled to resort to a card in
the Maryland Gazette to let them know that they were expected

1 Eddis' Letter. — Annapolis, June i8th, to the great interests of religion and virtue
1 77 1. — *** When I bade farewell to Eng- patronizes the American Company; and as
land I little expected that my passion for the their present place of exhibition is on a smaH
drama could have been gratified in any toler- scale and inconveniently situated, a subscrip-
able degree at a distance so remote from the tion by his example has been rapidly com-
great mart of genius ; and I brought with me pleted to erect a new theatre on a commodi-
strong prepossessions in behalf of favorite ous if not elegant plan. The manager is to
performers whose merits were fully established deliver tickets for two seasons for the amount
by the universal sanction of intelligent judges. of the respective subscriptions, and it is imag-
My pleasure and my surprise were therefore ined that the money which will be received
excited in proportion, on finding performers at the doors from non-subscribers will enable
in this country equal at least to those who him to conduct the business without difficulty,
sustain the best of the first characters in your and when the limited number of perform-
most celebrated provincial theatres. Our ances is completed the entire property is to be
Governor, from a strong conviction that the vested in him. The building is already in a
stage, under proper reguladons, may be ren- state of forwardness, and the day of opening
dered of general udlity and made subservient is anxiously expected.

284 HISTORY OF THE AMERICAN THEATRE.

to keep their promises.^ This was apparently the first time that
scenery was expressly painted in London for America,- the regular
scene painter of the American Company being Jacob Snyder, whom
Mr. Douglass found at Providence in 1762. Snyder was esteemed a
fair artist Charles Durang wrote that he remembered an excellent
street-scene of Snyder's painting in the old Southwark Theatre, as
well as other stock scenery that remained in it till the house was
burnt, in 1821. The set of scenes by Doll, for Annapolis, was an
unusual luxury. Another set painted by Richards, of London, was
procured for the Annapolis theatre the following year.

The new theatre was built on ground leased from St. Anne's
Parish, in West Street, on the site now occupied by Adams' Express
Office. "The structure," Eddis wrote, in November, 1771, "is not
inelegant, but, in my opinion, on too narrow a scale for its length ; the
boxes are commodious and neatly decorated ; the pit and gallery are
calculated to hold a number of people without incommoding each
other; the stage is well adapted for dramatic and pantomimical exhibi-
tions; and several of the scenes reflect great credit on the painter."

• 1 Mr. Douglass' Appeal. — Mr. Doug- he most gratefully acknowledges, -will, he
lass begs leave to acquaint the Gentlemen flatters himself, be convinced by the efforts
who have subscribed to the new Theatre he makes to entertain them, that he has a
in Annapohs that all the materials for the proper sense of their goodness, and an un-
building are now purchased and work- remitting desire to make every return in his
men engaged to complete it by the first of power for the obligations he is under to them.
September. He assures them that nothing He would esteem it a very great favor if
will be wanting on his part nor on the parts the Gentlemen who have neglected to pay
of the gentlemen who have undertaken to their subscription money will be good enough
superintend the work, to render it as com- to send it as soon as possible, as the sum col-
modious and elegant as any theatre in lected is by no means sufficient to answer the
America. He has sent to London to engage necessary demands that will very soon be
some performers, and expects them and a new made.

set of scenes painted by Mr. Doll in a few Annapolis, June 6th, 1 77 1.
weeks. In short, the Public, whose favors

IN MARYLAND AND VIRGINIA.

285

Church and Theatre.

The building was of brick, with seating capacity for about six hundred
persons. The new theatre was certainly in marked contrast with the
old church. It is not surprising,
therefore, to find in the columns
of the Maryland Gazette a rhymed
address from the old church to
the inhabitants of Maryland's an-
cient capital complaining that.

Here in Annapolis alone

God has the meanest house in town,

and asking, at least, an equal
share with the theatre in the in-
dulgence and esteem of the people.

Of sunshine oft a casual ray

Ereaks in upon a cloudy day

O'erwhelmed with woe; methinks I see

A ray of hope thus dart on me.

Close at my door, on my own land,

Placed, it seems, by your command,

I've seen, I own, with some surprise

A novel structure sudden rise.

There let the stranger stay, for me,

If virtue's friend, indeed, she be;

I would not if I could restrain

A moral stage ; yet would I fain

Of your indulgence and esteem

At least an equal portion claim.

And decency, without my prayers.

This address, both in its temper Will surely whisper in your ears,—

" To pleasure if such care you show
and logic, is entirely different from

everything relating to the theatre
printed in America previous to
the Revolution.

It is a singular fact that a

A mite to duty, pray, bestow."

Say, does my rival boast the art

One solid comfort to impart.

Or heal, like me, the broken heart ?

Does she, like me, pour forth the strain

Of peace on earth, good will to men ?

Merit she has ; but, let me say.

The highest merit of a play,

claim for Annapolis, that it had ^ho' Shakspere wrote it, but to name

With mine were want of sense or shame,
the first theatre on this continent

built expressly for dramatic uses, should ever have been made in the face
of such ample testimony to the contrary, or being made, should have
been allowed. The only authority for it is the assertion of a single
blunderer — the writer in the Maryland Gazette in 1828. His mistake,
being accepted by Dunlap, has been repeated ever since without
inquiry, even by the Annapolis historians, Ridgely and Riley, not-
withstanding its contradiction stared them in the face in the Maryland

286 HISTORY OF THE AMERICAN THEATRE.

State Library. While Dunlap stands pre-eminent as a historical
blunderer, Mr. Benson J. Lossing, who has been making mistakes in
American history for fully half a century, is almost his equal. Los-
sing, in a note in the first number of the American Historical Record,
of which he was the editor, ntot only repeats Dunlap's mistake, but in
describing a sketch of Annapolis in water color by Chevalier Colbert
who came to this country with the Count de Volney, in 179S, and
returned with him in 1798, adds one of his own. "The most promi-
nent building delineated," he says in describing the sketch, "is the old
State House, yet standing. On its left is seen the tower of the old
Episcopal church, and on its right a three-story building, the theatre
in which Hallam performed, built on ground leased from the church."
Not only had the State House in Colbert's sketch been long replaced
by the present structure, but the three-story building " on its right "
was the college, not the theatre. The theatre, if it is included in the
sketch, must be the insignificant looking structure on the high ground
near the church.

According to the Maryland Gazette "the new Theatre in West
Street " was opened on the 9th of September with the " Roman
Father " and the " Mayor of Garratt," " to a numerous and brilliant
audience, who expressed the greatest satisfaction not only at the per-
formance but with the house, which is thought to be as elegant and
commodious for its size as any theatre in America." An occasional
Prologue. prologue was spoken

To call forth genius, bid fair science bloom, previous to the perform-

Whilom enveloped in Cimmerian gloom : ■u ■\it t\ i

Tu ■ J u ■ • u „ 1 ,• ance by Mr. Douglass,

The mmd, by ignorance mthralled, to free ' ° '

From the hard bonds of rude barbarity; and at itS cloSC Mrs.
For this, at first was formed, — for this the stage

Still claims th' indulgence of a polished age. Henry Spoke an OCCa-

IN MARYLAND AND VIRGINIA.

2B7

sional epilogue. In the
prologue such local al-
lusions as that to the
rising stadthouse show
that the poet was either
an American by birth or
long association, while
the pedantic allusions to
Greece and Rome, to
Thespis and ^schylus,
were characteristic of
Colonial scholarship.
The reverence for Shaks-
pere, too, was then, as
now, more thoroughly
American than English.
This prologue seems to
indicate that the house
was not fully completed
on the opening night
Indeed the epilogue as
well as the prologue al-
ludes to the unfinished
state of the theatre,
showing that the players
had taken possession of
the house before the
carpenters departed.

In ancient Greece, in distant era, long
From some rude cart, his dramas Tliespis sung;
And Athens saw revolve full many an age
Ere buskins, scenes and all the pomp 0' the stage
Grave ^schylus taught ; and with well-earned applause
Fast fixed the system of dramatic laws.
Long, too, had Rome, for arms and arts renowned.
Extended far her empire's narrow bound.
Ere she beheld her theatres arise
With towers and columns reaching to the skies.
Thus has true taste, like the revolving sun.
From East to West in even tenor run.
Now on these shores the goddess stands confest
And reigns supreme in every generous breast.
Nobly exerted by the thirst for fame,
To emulate the Greek and Roman name.
View yonder stadthouse, rising from the ground.
Whilst private buildings multiply around ;
Sacred to Shakspere ! this your structure, see.
For which each actor thanks you thus, — ^by me.

Here solemn tragedy, imperial queen.
In awfiil and majestic state is seen ;
An unsheathed dagger in her zone she wears.
And in her hand her regal sceptre bears ;
'Tis hers each manly feeling of the heart,
Each soft sensation, to awake by art ;
To teach the lab'ring breast to heave the sigh
When lovers suffer, or when heroes die.

Here, too, behold with soft bewitching smiles,
Gay Comedy the yielding heart beguiles.
'Tis hers with gentle force and happy powers
To wing with joy your gayer, lighter hours;
Oh, may she often here these arts di&se,
And you, receiving from a sportive Muse
Pleasing instruction, mixed with soft delight,
Retire improved on each successive night.
So shall ye chase that demon. Spleen, away
And all shall catch good humor at a play.

To you, our friends, raised by whose bounteous hands,
This rude and yet unpohshed structure stands.
Great is the debt of gratitude we owe, —
Great are the bounties you may yet bestow.
This debt to pay shall be our constant aim.
Whilst fiiture favors shall increase your claim ;
The heart that triily feels a favor done.
Hastes not impatient to repay it soon.

288

HISTORY OF THE AMERICAN THEATRE.

Epilogue.

Be ours the pleasing task each night to learn This haste WaS prob-
The happy art your plaudits how to earn ;

Be 't yours with candor — ^yes — it rests with you, ably QUe tO a CleSire tO

Not to withhold your praise.-should praise be due. j^^^^ ^j^^ ^^^^ j^ ^^^^^

ing order before the week of the races — a gala-week at Annapolis —
which began on the Monday following the opening of the theatre.

The epilogue was different in measure and in theme, but it was
not so smooth in treatment as the prologue. The charm of the epi-
logue is the avowal of
Mrs. Henry (Ann Storer)
that she was born an
actress. If, as has been
assumed, the Storer sis-
ters were the daughters
of the once famous Cov-
ent Garden vocalists,
each of these actresses
might with truth have
asserted, " i' faith, I was
born one." Although
this Miss Storer was
recognized as Mrs. Henry
at the time this epilogue
was written, as Mrs.
Hogg she was destined
to be the mother of a
family of sons, some of
whom lived down to the
present decade, avoiding.

Well, now that 'tis over — the ice fairly broken,
The epilogue must be, by me, they say, spoken ;
At a loss, I must own, I am for a beginning.
Which divines say the case is seldom in sinning ;
And a sinner I am, for no woman e'er breathing
Turned actress but straight she was reckon'd a heathen.
And how then, in conscience, can I, a forlorn one
Be thought any other, for i' faith, I was born one.

'Twas but lately in France (the politest of nations
Where actresses all have the best educations)
Allowed that a Christian funeral's befitting
An actor, this great stage of life on his quitting ;
To our sins (if they're such) we hope you will be kinder
And to the fair actress, if really you find her
Deserving of favor, give due commendation,
(The heaven she aspires to) instead of damnation.

But to come to the point ; suppose me just entered.
And excuse the digression on which I have ventured;
Yet before I say more — let me look on your faces —
And learn from your smiles, ye wits, critics and graces,
That you of your bounty have not yet repented,
And — with our endeavors to please you're contented.
For the unfinished state of ou house make allowance.
Seeing we, of the time we've had, have not been truants.

To correct what is wrong, to add what is deficient
In the house ; and ourselves, if we can, more proficient
To render, in this our theatrical calling.
Is a determination united we're all in.
Of our obligations I know 'tis expected.
That I should say something — I have been directed
To t^U you — as how — it shall be our endeavor
And ambition to merit your favor forever —

IN MARYLAND AND VIRGINIA. 289

as far as was possible, ^'•i' ^oxt to that purpose-^But lest I should tire ye

Excuse me till some other night I desire ye.
all mention of their the- Por epilogue, so much,— yet ere I dismiss it,

atrical descent. ^°."''^ '""'^ ""^ ^""^ P'""''' ^^ ^ ^^ °°' =°l'"''

Fair Ladies and Gentlemen, from you some token
Considering the in- That you're not displeased with what I have spoken
On behalf of us all, — Your applause must declare it,
terest that attaches to xhen grant it to me— and the others shall share it.

the opening of a new theatre, built as the Annapolis theatre was, it is

possible to obtain only a very unsatisfactory account of the season

Annapolis Performances. that followed from the columns

of the Maryland Gazette. Only

1771-

Sept. 9— Roman Father . . . Whitehead three of the performances were

Mayor of Garratt .... Foote t i- i • ^ i . • i .

20-MaidoftheMill. . .Bickerstaff advertised m that journal, and

Old Maid Murphy besides these three bills the name

Oct. 5 — Jealous Wife Colmau

Midas O'Hara of only one play presented during

7 — Cymbeline Shakspere ., , , ^

' ^ the season has come down to us.

This was Shakspere's " Cymbeline," and it is only mentioned because

another of the local poets of Annapolis rushed into print with some

more verse in praise of Miss ^^ ^^^^ ^^^.^

Hallam as Imogen. These 0° seeing her last Monday night in the character

of Imogen.

stanzas were signed " Pala-

Say, Hallam, to thy wondrous art
dour," and as they were dated what tribute shall I pay?

Tu J /-v i i_ ii -i Say, wilt thou from a feeling heart

Thursday, October loth, it -^ .„ ,,,. ,. , °

^ ' Accept this votive lay ?

follows that the performance a votive lay to thee belongs,

of " Cymbeline " must have For many a pleasing tear,

That fell for Imogen's foul wrongs
occurred on the 7th. This On fair Fedele's bier.

poem, although it has no Fair, fair Fedele ! how thy charms

The huntsmen's pity moved !

merit in itself, has some value. Artless as theirs, such soft alarms

1 . v ■ 1 • . , ^ My melting bosom proved,

both m showmg the esteem

In nature's breast, superior joy
in which Miss Hallam con- The power of beauty wakes;

19 f

290 HISTORY OF THE AMERICAN THEATRE.

And the wild motion of her eye tinued to be held, and in fix-

An easier prisoner takes.

ing the date of one of the

From earliest youth, with raptures oft

I've turned great Shakspere's page ; most important productions

Pleased when he's gay, and soothed when soft,

Or kindled at his rage. of the season at AnnapoHs.

Yet not till now, till taught by thee. It will be remembered, be-

Conceived I half his power ! • 1 1 1 1 •

I read, admiring now I see, ^ides, that the Imes addressed

I only not adore. ^^ pg^le on his portrait of the

E'en now amid the laurel choir

Of blissful bards on high, actress were dated just one

Whom list'ni,^g deities admire, month later. It is not im-

The audience of the sky !
Methinks I see his smiling shade, probable that Peale's lost

And hear him thus proclaim, picture was on exhibition at

" In Western worlds to this fair maid,

I trust my spreading fame ! Annapolis at the time.

" Long have my scenes each British heart Onlv One cast of the An-

With warmest transports filled ;

Now equal praise, by Hallam's art, napolis SeaSOn of I77I has

America shall yield." , . ,1 . r ,1

come down to us, that of the
" Roman Father " on the opening night. The only new name is that
of Mr. Goodman, who probably made his debut in Philadelphia the
previous season. Goodman was not only more than a substitute for
Mr. Allyn, but, with the exception of Mr. Henry, he was the most
capable recruit added to the American Company before the Revolu-
tion. He was a Philadelphian by Rom an Fat her.

residence and education and, prob- l^°™an Father Mr. Hallam

Tullus Hostilius Mr. Douglass

ably, by birth. At the time he Publius Mr. Goodman

, ,, , , , ,, , Valerius Mr. Wall

became "stage-struck he was a p^^^ citizen Mr. Morris

student in the office of Mr. Ross, Second Citizen Mr.WooUs

Third Citizen Mr. Parker

a lawyer. He accompanied the Fourth Citizen Mr. Roberts

.1 o ii i. Soldier Mr. Tomlinson

company on the bouthern tour ,. , . », tt

'^ •' Valeria Mrs. Henry

of 177 1-2, and returned with it Horatia Miss Hallam

IN MARYLAND AND VIRGINIA.

291

to Philadelphia in October, 1772, where, so far as the bills are a
guide, he made his first appearance for the season of 1772-3 on
the nth of November as Major Sturgeon in the " Mayor of Gar-
ratt." From this it may be inferred that he played the same part in
the afterpiece on the opening night at Annapolis.

At the close of the Annapolis season, about the beginning of
February, 1772, the American Company went to Williamsburg, as
appears from a preliminary notice
printed in the Virginia Gazette,
January 23d, 1772. It is impos-
sible to give anything like a full
list of the company's repertoire

Preliminary Notice.

*^* The American Company of Comedians
intend for this place by the meeting of the
General Assembly, and to perform till the end
of the April Court. They then proceed to the
Northward by engagement, where it is prob-
able they will continue some years.

this season, but that Mr. Douglass' forces arrived on time and began
a vigorous campaign is apparent from an announcement of the intended
production of new plays,^ which the Gazette afforded its readers
simultaneously with its account of the meeting of General Assembly.
When "A Word to the Wise" was produced the Virginia Gazette '

1 New Plays. — ^We hear that a new com-
edy, called " The Brothers," written by Mr.
Cumberland, author of the much approved
"West Indian," is now in rehearsal and will
soon make its appearance on our theatre;

^ A Word to the Wise. — Williams-
burg, April 2d. — Mr. Kelly's new comedy
of "A Word to the Wise" was performed
at our theatre last Thursday for the first
time, and repeated on Tuesday to a very
crowded and splendid audience. It was re-
ceived both nights with the warmest marks
of approbation; the sentiments with which
this excellent piece is replete were greatly and
deservedly applauded, and the ^.udience, while
they did justice to the merit of the author, did
no less honor to their own refined taste. If

also that " False Delicacy " and a ." Word
to the Wise," the productions of the ingeni-
ous Mr. Hugh Kelly, whose spirited letter
to the Lord Mayor (Beckford) has been read
by most people, are in great forwardness.

the comic writers would pursue Mr. Kelly's
plan and present us only with moral plays the
stage would become (what it ought to be) a
school of politeness and virtue. Truth, in-
deed, obhges us to confess that for several
years past most of the new plays that have
come under our observation have had a moral
tendency, but there is not enough of them to
supply the theatre with a variety of exhibitions
sufficient to eng^e the attention of the public,
and the most desirable enjoyment by too fre-
quent repetition becomes insipid.

292 HISTORY OF THE AMERICAN THEATRE.

criticised the comedy, not as was customary at that time, under
the guise of correspondence, but as the opinion of the paper itself
This was not only one of the best of Mr. Kelly's comedies, but its
success at Williamsburg is especially noteworthy, because it had
failed at Drury Lane only two years before. The cause of the
Drury Lane failure was purely political. Kelly, after the success
of his first comedy, " False Delicacy," went into journalism and
espoused the ministerial cause in his newspaper with great warmth.
This made him many powerful enemies, who went deliberately to
work to damn his next play, regardless of its merits. The plot
succeeded and the piece was played only twice. In Virginia the
comedy had a better fortune. As the virulence of English faction did
False Delicacy. not reach the Colonies it was

^ „ , ^, "TT , , , judged solely upon its merits and

On Tuesday Next, being the I4tli Instant, -> => j r

A new Comedy, called approved. So unanimous was this

FALSE DELICACY.
By the Author of A Word to the Wise. approval that when " False Deh-

J3@- It may not be improper to give notice cacy " waS announced for produc-
that the Theatre in Williamsburg will be

closed at the end of the April Court, the Ameri- tion in the Gazette, On the 9th

can Company's engagements calhng them to ^^ April— One of the few formal
the IMorthward, from whence, it is probable,

they will not return for several years. advertisements of the SeaSOn — it

was thought worth while to declare that it was by the author of " A
Word to the Wise." Even at that day, it will be observed, there
was a newspaper demand for moral plays, and the desire for novelty
combined with excellence was stronger in Virginia than it is now.
On the 22d of April the bill comprised the " Provoked Hus-
band " and " Thomas and Sally," with Mrs. Stamper for the first time
as Dorcas in the farce, and on the 28th "The Way to Keep Him" and
the "Oracle" were the pieces. The last announcement of the season

IN MARYLAND AND VIRGINIA. 293

was dated May 7th. Whether either of Mr. Cumberland's comedies
were actually produced is not proved, but the probabilities are
that both the " Brothers " and the Last Announcement.

" Fashionable Lover " were seen -,-^ ■,,. ,, . , . . . ,, ,

B^° We are authorized to inform the pub-

at Williamsburg in 1772, because ''<= "^^' '^^ ^^'^ comedy of the " Fashionable

Lover," now acting at the Theatres Royal,

Mr. Douglass never made prom- Drury Lane and Edinburgh with the utmost

. , . 1 r- -1 1 j_ 1 Ti applause, will shortly appear on our theatre.

ises that he failed to keep. It may I , ■ .i, ■ j , r.u a ■ r-

'^ •' buchis the mdustry of the American Company

be assumed, therefore, that the that although the piece has not been above ten

days in the country it has been rehearsed more
" Fashionable Lover " closed the than once and is already, we hear, fit for
n. -L- 1. ii- representation.

season, after which the company '^

made its way Northward, stopping at Annapolis in September.

Either during or at the close of this Southern tour the connec-
tion of Mr. and Mrs. Tomlinson with the American Company came to

HI T-^ „, ,„™.. T>.„ „ an end. The Tomlinsons had been

Mrs. Tomlinson's Parts.

under Mr. Douglass' management

Plays.

,„ f Mr. siammekin since 1758, a period of nearly fif-

Beggars' Opera JMrs.Coaxer

Busybody Mrs. Scentweil teen years. It is probable their

Clandestine Marri^e Trusty ^^^^ appearances in this Country

Committee Mrs. Chat

Constant Couple Lady Darling were made in New York at the

Cymbehne Helen , ,-,ri /- ^

Lear Aranthe theatre on Cruger s Wharf. On

Macbeth Witch ^j^g opening night of the theatre

Mourning Bride Attendant

_,,■,, f Myrtilla on Society Hill, near Philadelphia,

Provoked Husband ••• | Mrs. Motherly ^ ^

Recruiting Officer Lucy on the 25th of June, I7S9, Mr.

Suspicious Husband Lucetta jomlinson played Cw«^ in " Tam-

Tender Husband Aunt ^ •'

Theodosius {Carina ^'^^"^•" ^rs. Tomlinson was first

seen at that house as Myrtilla in

Farces. •'

Citizen Corunna the"Provoked Husband," on the

Devil to Pay Lucy

Miller of Mansfield Kate 6th of July. The lady seldom

294 HISTORY OF THE AMERICAN THEATRE.

appeared, her list of parts comprising only twenty roles in fifteen

Mr. Tomlinson's Parts. years, but Mr. Tomlinson was sel-

Pi'^y^- dom out of the bill. That he was

A Bold Stroke for a Wife Sacbut

Alexander the Great Philip not an actor of much force is appa-

^" '■°' ^^" • ^''^^;°° rent in the fact that as was his rela-

■D > c. » _ f Mr. Sullen

Beaux' Stratagem i T! f . ....

(.coniiace ^jyg rank at the beginning so it

■D 1 (-> . r Peachum

eggais p ra i^ Y^oSa'i was at the end of his career. But

Cato Lucius

Clandestine Marriage . . . Sergeant Flower that he waS USeful and trustworthy

^°"^^"^\ ^Obadiah is equally apparent in the fact that

Conscious Lovers Humphrey ^ i. ±

Constant Couple Vizard he held a position that was at least

Country Lasses • • • • | gir John English respectable for SO many years.

Cymbeline Caius Lucius tt i • i i t^

Distressed Mother Phcenix ^^ ^egan With such parts as Kent

Don Quixote in England ... Sir Thomas j^ " Lear," Antouio in the "Merch-

Douglas Officer

Drummer .Butler ant of Venice," ^a'^/i*^ in the " Fair

Earl of Essex Sir Walter Blunt t, •■ ^ >, ?■ 7 n/r j ■ l\. itn

Fair Penitent Sciolto ^^'^^^^'^t, /okn Moodj m ths "-PrO-

Gamester I J''™^ voked Husband " and Obadiah in

\ Bates

George Barnwell .Blunt the " Committee," and epded with

„ , Kino- Philip in "Alexander the Great,"

Hamlet < t ^

\ Lucianus .

[ Gravedigger Pembroke in " King John and

f^"'^^^ '''°^=f" i?^« P^^r^ in the" Wonder." Allyn

Inconstant Petit •'

Jealous Wife John -^as in his Way at the outset.

King John Pembroke _ ,

Lear Kent Henry at a later period, and finally

Love for Love Sir Sampson Legend Qoodman, toward the close of his

Love Makes a Man Chanus

Macbeth Seyton career. In the activity of the last

Merchant of Venice Antonio

Miser James two years of the company's exist-

Mouming Bride Hali ence he took no part, and SO missed

Orphan Chaplain

Orphan of China \^^^^ many roles that would have been

Othello Ludovico his in the new productions of that

IN MARYLAND AND VIRGINIA. 295

Prince of Parthia Vardanes period, beginning with the "Way-
Provoked Husband John Moody

Recruiting Officer Recruit to Keep Him " and ending with

J^'^l^""!! {Bucltngham "She Stoops to Conquer." No

Roman Father Soldier bij^ notice was taken of his re-

f Capulet

Romeo and Juliet \ Montague tirement, and SO it is impossible

I Paris

School for Lovers Steward to say whether it was his own act

Suspicious Husband Tester . /- i •

Tamerlane Omar o"^ '" consequence of his death.

Theodosius | ^t^°„5°^ The latter supposition is the more

Venice Preserved Duke probable, as it is known that Mrs.

Wonder Don Pedro

p^^i-g; Tomlinson was living in New York

Apprentice Simon during the British occupation,

Catherine and Petruchio Baptisto

Citizen Sir Jasper where she played with the military

Cock-lane Ghost . . . Counsellor Prosequi ,_- . , i .1 t i

Contrivances Robin Thespians who opened the John

Devil to Pay Jobson Street Theatre in 1777, and was

( Doctor

Harlequin Collector \ Porter accorded a benefit at the close of

(.Miller

Harlequin Restored Pierot the season of 1 777-78. There was

High Life Below Stairs .... {xom''°'' a Miss Tomlinson, but nothing is

Honest Yorkshireman Slango , - , , j ^i. r i ^t. i.

, „, known of her beyond the fact that

Lethe [^^°'' ^

, ,_ .. ^ . I T".t! she made her debut as one of An-
Love a la Mode . . Sir Theodore Coodchud

Lying Valet Justice Suttle tony's children in "All for Love."

Mayor of Garratt Sir Jacob Jollop

Miss in her Teens Captain Loveit Of the actors on the American

Mock Doctor { Ha^''"^ Stage in 1758 only Hallam, Doug-

Neck or Nothing Mr. Stockwell lass and Morris were with the

Polly Honeycomb Ledger

Virgin Unmasked Quaver company when Tomlinson left it.

Witches Pierot > . 1. i_ • • r -- j

m the begmmng of 1772, and
of these only Hallam was earlier as a pioneer of the drama in
America. Tomlinson's parts comprise his biography.

CHAPTER XXVII.

SOUTHWARK THEATRE, 1772-3.

ANOTHER BRILLIANT SEASON IN PHILADELPHIA MORE NEW PIECES

PRODUCED PRESENTATION OF THE SECOND AMERICAN PLAY,

THE " CONQUEST OF CANADA " MRS. MORRIS, AN OLD-TIME

FAVORITE, MAKES HER DEBUT CHANGES IN THE AMERICAN

COMPANY.

ON its way to the Northward from Williamsburg, as noted in
the preceding chapter, the American Company again stopped
at Annapolis, where " A Word to the Wise " was presented on the
first of September. A new set of scenes, painted by Mr. Richards, of
London, was provided for the comedy. After this, Dunlap informs
us, with his usual recklessness of statement, the " routine of playing
and traveling from the North American Colonies to the West Indies
and back again occupied the Thespians, without leaving any memor-
able trace until the year 1773, when, on the 14th of April, Douglass
opened the theatre in New York, giving notice that it would be
impossible to keep it open ' longer than the end of May.' " So far
were the Thespians from making a voyage to and from the West
Indies at that time, that after a brief season at Annapolis they returned
to Philadelphia, where they reopened the Southwark Theatre on the
28th of October, 1772, and kept it open until the last day of

March, 1773,

(296)

SOUTHWARK THEATRE, 1772-3. 297

This was the fourth prolonged season of the American Com-
pany at the Southwark Theatre. It will be seen from the list of

performances, which, full as it is. List of Performances.
^ 1772.

unfortunately is not complete, that Oct. 28— Word to the Wise .... Kelly

Padlock Bickerstaff

thirty-two full pieces and twenty- ^ov. 2-Roman Father . . . .Whitehead
two farces, some of them new, ^'^ O'^^"

4 — Love in a Village . . Bickerstaff

were produced in Philadelphia at Old Maid Murphy

. . 9 — West Indian .... Cumberland

the time Dunlap says the com- Miss in her Teens . . . .Garrick

pany was not " leaving any mem- " Mourning Bride . . . Congreve

Mayor of Garratt Foote

orable trace." Among the pieces 16— Hamlet Shakspere

. Miller of Mansfield . . . Dodsley

played for the first time before a is-Shipwreck Cumberland

Philadelphia audience were "A Lethe Garrick

23 — Way to Keep Him . . . Murphy

Word to the Wise," by Kelly, Honest Yorkshireman . . Carey

, , ,, ,,. T 1- >> 1 .1 25 — Maid of the Mill . . .Bickerstaff"

and the "West Indian and the Lying Valet Garrick

" Fashionable Lover," both by 30— Fashionable Lover . Cumberland

Guardian Garrick

Cumberland, and all previously Dec. 2— George Bamvirell Lillo

, ,.-,..... , Love a la Mode .... Macklin

produced in Virgmia; another 7_cymbeline Shakspere

comedy by Cumberland, played Upholsterer Murphy

9 — ^West Indian.

at Williamsburg as the "Brothers" Devil to Pay Coffey

... ,, ,, ,,(-.!■ 14 — Lionel and Clarissa . . Bickerstaff

but here presented as the Ship- ^.^^ ^ife Below Stairs . Townley

wreck ; " Bickerstaff's " Lionel 16— Romeo and Juliet . . . Shakspere

Old Maid,
and Clarissa," Foote's "English- 21— Romeo and Juliet.

. _ . „ r^ . , , ,,,-. „ Old Maid.

man in Pans, Garrick s "Cymon, „ . . „ k ^ u ji ,

' ' ' 23 — Suspicious Husband . . . Hoadly

Arthur Murphy's " Way to Keep Thomas and Sally . . Bickerstaff

28 — Richard III Shakspere

Him," previously played in Vir- Musical Lady Colman

, , ,. „ i r /- ^o — School for Lovers . . Whitehead

ginia, and the Conquest 01 Can- -^ Padlock

ada," an American drama never ■773-

Jan. 4 — Lionel and Llanssa.

before acted. None of the farces Love a la Mode.

298 HISTORY OF THE AMERICAN THEATRE.

Jan. 6— Tamerlane Rowe played during the season were

Catherine and Petruchio Shakspere

1 1— King Henry IV . . . Shakspere new to the American stage, ex-

13-LoTifor^lXe .... Congreve ^^P* °"^' J^^^P^ Reed's "Register

High Life Below Stairs. Office." This list of productions,

18 — Conscious Lovers .... Steele

Love a la Mode. new and old, must be acknowl-

20 — Shipwreck. j j ^ t- t .

Englishman in Paris . . . Foote ^^^^^ ^^ extraordmary. It m-

25— False Delicacy Kelly eluded the best of the English

Lethe.

27— Othello Shakspere dramatists, from Shakspere to

Feb. ,_?elp;st Shakspere ^^"^ ^""^ Cumberiand. With

Neptune and Amphitrite. the single exception of Shakspere

Miss in her Teens.

3— Tempest. the works of all these playwrights

Neptune and Amphitrite. j^^^^ ^^^^ banished from the Stage,

High Life Below Stairs. ° '

8— Beggars' Opera Gay and of the nine pieces of the mas-
Mayor of Garratt.

10— Theodosius Lee t^r, played in Philadelphia in

Honest Yorkshireman. 1 772-3, three, " Cymbeline,"

IS— Lionel and Clarissa. / / J> > 3 >

Edgar and EmmelineHawkesworth "Henry IV" and the "Tempest,"

17 — Conquest of Canada . Cockings , 11.

22-Conquest of Canada (last time.) ^.^^^ not been Seen by this genera-
Love a la Mode. ^Jqjj Qf play-goers. There is no liv-

24-^Word to the Wise.

Catherine and Petruchio. ing Imogen or Falstaf. Neither

March 3 — Cymon Garrick ,-.-i , t^ 1 /-.

8-Fashionable Lover. Cibber nor Farquhar,Congreve nor

Edgar and Emmeline. Rowe, Lee Dor Whitehead, Steele

10 — Merchant of Venice . . Shakspere

Hob in the Well .... Cibber nor Macklin, Foote nor Garrick,

(Mr. and Mrs. Henry's benefit.) -^r , ^ -i -n- 1 ^ a-

\ ,„ , T J- Murphy nor Colman, Bickerstaff

15 — West Indian. ^ ■' '

Bucks Have at Ye All. nor O'Hara, Kelly nor Cumber-
Padlock.

(Mr. Haiiam's benefit.) land, has been accorded a revival

17 — Beaux' Stratagem . . . Farquhar

Catherine and Petruchio. since early in the century. Tra-

(Mr. and Mrs. Morris' benefit.)

22— Eari of Essex Jones gedies such as the "Mourning

(Benefit of'woolls'andWali.) ""^ ^ Bride" and the " Roman Father"

SOUTHWARK THEATRE, 1772-3. 299

have no modern representative. Mar. 24— Recruiting Officer . . . Farquhar

Edgar and Emmeline.
There is no actress on the English (Byerly, Parker and Johnson's benefit.)

1 • . 1.1 r 1 • 20 — Wonder Centlivre

speaking stage capable of playing ^^^^^^^ ^^^ ^^^^

these high comedy roles. No liv- (Mr- and Mrs. Henry's benefit.)

31 — Tempest.
ing manager, except Augustin Neptune and Ampbitrite.

Daly, has sufficient knowledge of Guardian.

stage-business to produce one of these masterpieces of the last cen-
tury. If "A Word to the Wise" or the " Fashionable Lover" was to
be played by any company except his, it would be so utterly lacking
in the flavor of the old school that we should think our grandfathers
were satisfied with very insipid stuff. And yet were it possible to
realize, even in imagination, the performances of Mr. Douglass' com-
pany for a season, we should learn how completely the Nineteenth
century has failed to realize the dramatic promise of the Eighteenth.
Kelly's "Word to the Wise," with which the season opened,
was probably played in Philadelphia with the same cast as at Williams-
WoRD TO THE WisE. burg aud Annapolis. Although

Captain Dormer . 777. . . Mr. Hallam t^e comedy failed at Drury Lane

Sir George Hastings Mr, Henry through the Opposition of a party

Sir John Dormer Mr. Douglass

Villars Mr. Goodman formed to prevent its representa-

Willoughby Mr. Morris . r i-.- i ±a ix.

Mrs.Willougbby Mrs. Morris tion for political reasons, the author

(Being her first appearance on that stage.) •^;^,as COnsoled for his disappoint-

Miss Willoughby Miss Storer

Lucy Miss Richardson ment by a large subscription to its

Miss Montagu Miss Hallam i i- i- ,. m-, r,^ f„.-

^ publication, at a crown, g 1.2 5, for

each copy. It is not improbable that Mr. Kelly also found consolation

in the success that attended the successive productions of the comedy

in America. At Williamsburg, as has been shown, it was highly

praised by the Virginia Gazette, and in Philadelphia it was favorably

300

HISTORY OF THE AMERICAN THEATRE.

noticed by a correspondent of the Pennsylvania Chronicle} The ladies
in the cast are all warmly praised, but only Miss Hallam, as Miss
Montagu, is specially mentioned. This is to be regretted, as Mrs.
Morris made her Philadelphia debut as Mrs. Willoughby. In this
critique Mr. Hallam's Mungo in the " Padlock," which was the after-
piece, was accorded higher praise than was ever before given to any
part acted on the American stage, except Miss Hallam's Imogen.

While it is uncertain whether Mr. Cumberland's comedy, the

"Brothers," was played at Williamsburg, where it was announced for

Shipwreck. production early in 1772, it is

certain it was produced in Phila-

Young Belfield Mr. Hallam

Belfield Mr. Henry delphia as the "Shipwreck." When

Captain Ironsides Mr. Goodman ^1. « t> 1.1 11 c j. \ j

^"^ . . ^ T,, ,, . the Brothers was first played

Sir Benjamin Dove Mr. Moms ^ •'

Patterson Mr. Byerly Woodward had the part of Iron-

Skiff Mr. Woolls

Old Goodwin Mr. Douglass sides, Yates that of Sir Benjamin

^ '^ ' ^'r, !^ Dove and Quick, then a young

Jonathan Mr. Parker >i > / &

Francis Mr. Johnson performer, was the Skiff. Smith,

Lady Dove Mrs. ilorris

Vioietta Mrs. Henry ^t whose Suggestion the comedy

Lucy Waters Miss Storer was written, played F^«;2P-5^//f^/^.

Kitty Mrs. Harman 'r j a j

Fanny Miss Richardson Mrs. Green was the Lady Dove,

Sophia Miss Hallam . „ , .

and Mrs. Yates the heroine, Sophia.

' Pennsylvania Chronicle, Oct. 31st,
1772.— On Wednesday last the theatre in
Southwark was opened by the American Com-
pany with Kelly's " Word to the Wise " and
the "Padlock" to a most crowded and brilliant
audience. The "Padlock" we have with
pleasure seen many repetitions of the last
season, and Mr. Hallam in Miin;:;o was then
supposed excellent, but we now, upon the
judgment of gentlemen of undoubted knowl-
edge and taste in theatrical performances,
pronounce him to be the best Mim^o upon

the British stage ; the other characters, except
Leander, which we verily believe Mr. Wall
does as well as he can, and therefore we must
by no means censure him, are well supported.
* * * The performers in the " Word to the
Wise " are entitled to much praise for being
so correct, spirited and characteristic. The
ladies, besides their pleasing figures, were
genteel, elegant and fashionable in their de-
portment. Miss Hallam, in the sprightly Miss
Montagu, was as much a woman of fashion
as we have seen on any stage.

SOUTHWARK THEATRE, 1772-3.

;oi

Garrick was in the house on the first night of the comedy, and was
surprised at hearing himself complimented in the epilogue to a new
piece in the rival establishment. The epilogue was spoken by Mrs.
Yates. The piece had a good run at Covent Garden, where it was
originally produced in 1769, but neither in merit nor success did it
compare with either of Mr. Cumberland's pieces, the " Fashionable
Lover " or the " West Indian," played at the Southwark Theatre this
season. When the former was originally produced at Drury Lane it
was coldly received, but after its objectionable features were modified
it met with a fair degree of success. The latter was not only one of

Fashionable Lover.

Mortimer .... Mr. Hallam

Aubrey Mr. Henry

Tyrrel Mr. Goodman

Lord Abberville . . Mr. Byerly

Dr. Druid Mr. Morris

Bridgemore .... Mr. Parker

Napthali Mr. Wall

Jarvis Mr. Woolls

Le Jeunesse . . . Mr. Roberts

Colin Macleod . Mr. Douglass played in 1 77 1,

Lucinda Mrs. Henry

Mrs. Bridgemore . Mrs. Douglass a year before
Betty Miss Storer

the best come-
dies of its time,
but it had a
great and de-
served success.
The "West In-
dian " was first

West Indian.

Belcour Mr. Henry

Major O'Flaherty . Mr. Goodman
Mr. Stockwell . . . Mr. Morris
Captain Dudley . Mr. Douglass
Charles Dudley ... Mr. Wall

Fulmer Mr. Byerly

Varland Mr. Parker

Stukeley .... Mr. Johnson

Sailor Mr. WooUs

Lady Rusport . . Mrs.Douglass
Louisa Dudley . . Miss Storer
Mrs. Fulmer . . . Mrs. Henry

Lucy .... Miss Richardson

■""^"•'' "''""' '-"■"'^' it,p nrodurtion Charlotte Rusport Miss Hallam

Mrs.MackintoshMissRichardson ^"^^ prouuciioii v

Augusta Aubrey . Miss Hallam ^f ^^ « Fashionable Lover." King was the
original Belcour, Moody the O'Flaherty and Mrs. Abington the Char-
lotte Rusport. In the " Fashionable Lover" Lord Abberville was origi-
nally acted by Dodd, Aubrey and his daughter Augusta by Mr. and
Mrs. Barry, Mortimer by King, and Dr. Druid by Baddeley. Hallam
generally played Belcour — as O'Flaherty Henry was admirable. Miss
Hallam as Augusta Aubrey and Charlotte Rusport had no possible rival
in the company except Mrs. Morris.

302 HISTORY OF THE AMERICAN THEATRE.

After the success that attended the production of Dryden's

version of the "Tempest," in 1770, Mr. Douglass evinced a partiality

^™°'^- for "show-pieces." Among these

Cymon Mr.Hallam was " Cymon," a so-called "dra-

Merlin Mr. Goodman

Linco 1 j^j ^^^jj^ matic romance," by Garrick, a

First Demon J

Doras Mr. Morris wretched production, devoid of

Damon Mr. Wall

Doriias Mr. Byerly ^it, humor and poetry, which

Rrst'^Shepherdess} Miss Storer Owed whatever success it obtained

Dorc^^''^^^^"^^''} • • Miss Richardson at Drury Lane to the vocal per-

Urganda Mrs. Morris formers and the scene-painter. It

Fatima Mrs. Henry

Sylvia MissHaiiam was the story of Cymon and

Iphigenia greatly extended, heightened by incantation, and rendered

entertaining by fine scenery, splendid dresses, brisk music and lively

dances. It made the judicious grieve but met with great success.

Another " show-piece " which was produced for the first time

on any stage this season was a play called the "Conquest of Canada,"

which is interesting because of the

Conquest of Canada.
elaborate way in which it was

presented, as well as from the -n ., a^ " °"-?'

'^ By the American Company,

fact that it was supposed to have At the Theatre in Southwark This Evening

will be presented a New Historical Tragedy,
been of American origin and con- never performed, called the

sequently the second American Conqukt of Canada, or

^ •' The Siege of Quebec.

play ever performed on the stage. General Wolfe Mr.Hallam

Leonatus * » Mr. Douglass

It was a tragedy based upon the Britannicusf Mr. Henry

conquest of Quebec and the death Montcalm Mr. Goodman

Levi Mr. Morris

of Wolfe, but the author, George Bougainville Mr. Wall

„ , . , Ochterlony Mr. Henry

Cockmgs, was an Englishman who pgyt^^ ^^ 3^^^,^

held a small place under the Gov- * Mon-t-n. f T-n-d.

SOUTHWARK THEATRE, 1772-3.

303

ernment at Boston. His later life
was spent in England, where for
thirty years previous to his death,
which occurred February 6th,
1802, he was register of the So-
ciety of Arts* Manufactures and
Commerce. Mr. Cockings wrote
a poem called " The American
War," and at one time he read
Milton by way of a lecture. His
play was printed in London, in
1766. It was a wretched com-
position, neither prose nor verse.
It is apparent from Mr. Douglass'
advertisement that he had the
earnest co-operation of the mili-
tary then stationed in Philadelphia,

First Caledonian Chief by a Gentleman

(Being his first appearance on any Stage.)

Second Caledonian Chief by Mr. WooUs.

Sea and Land officers by Messrs. Byerly,

Johnson, Parker, Woolls, Roberts and a

Young Gentleman (who never appeared on

any Stage before).
Jemmy Chaunter (with a song in character)

by Mr. Woolls.
Sailors by Messrs. Johnson, Roberts, &c., &c.

Sophia Miss Hallam

Abbess Mrs. Morris

First Nun Mrs. Henry

Second Nun Miss Storer

Maid Miss Richardson

Sophronia Mrs. Douglass

After the Play Dancing by Mr. Francis.

It will be taken as a favor if the Town for
this night will dispense with a Farce, as the
Stage will be much crowded with the Artil-
lery, Boats, &c., necessary for the Repre-
sentation ot the Piece, and with the men from
both Corps, whose assistance the Command-
ing Officers are good enough to indulge us
with.

Tickets, without which no Person can be
admitted, are sold at the bar of the Coffee
house.

Boxes, "Js. (id. Pit, Sj. Gallery, 3^.

Lionel and Clarissa.

but, notwithstanding the pagean-
try, the play failed. It was played only twice.

Bickerstaff's comic opera, " Lionel and Clarissa," which was
originally produced at Covent Garden, in 1768, was presented for the

first time in America this season
as the " School for Fathers," the
name applied to it when it was
revived at Drury Lane after its
successful run at the rival house.
Mr. Vernon was the original Lionel,
and Mrs. Baddeley the first Clarissa.

Lionel Mr. Woolls

Colonel Oldboy Mr. Goodman

Sir John Flowerdale .... Mr. Douglass

Mr. Jessamy Mr. Wall

Harman Mr. Henry

Jenkins Mr. Parker

Clarissa Miss Storer

Lady Mary Oldboy Mrs. Harman

Jenny Mrs. Henry

Diana Oldboy Miss Hallam

304 HISTORY OF THE AMERICAN THEATRE.

Mrs.Wrighten, known in this country as Mrs.Pownall,was the Covent Gar-
den Diana. The originality of this production has never been questioned,
neither the characters nor incidents being borrowed from any other author.

Foote's two-act comedy, the " Englishman in Paris," although
it was produced at Covent Garden for Macklin's benefit as early as

Englishman in Paris. 1753, was not played in the Colo-

Buck Mr. Goodman nies until this season, and then

Sir John Buck Mr. Morris

Mr. Subtle Mr. Henry only as an afterpiece. Mr. Mack-

„^^"^. \/'t>^1^^ lin was the original .ff^^c,^ and Miss

Daupame Mr. I^oberts °

Solitaire Mr. Wall Macklin the Lucinda. It was said

Gamut Mr. WooUs

Roger Mr. Johnson of Lucinda that the part seemed

AT „ ,,, ,.. „. , , written to give Miss Macklin an

Mrs. Subtle Miss Richardson °

Marquis Mr. Byerly

Mrs. Subtle Miss Richardson

Lucinda Miss Storer opportunity of displaying her

varied qualifications of acting, singing and dancing, in all of which she
obtained universal applause. Its production in this country was
intended, no doubt, to give Miss Storer, who possessed like talents,
a similar opportunity.

The only new farce this season, unless Foote's "Englishman in
Paris " is regarded as a farce rather than a comedy, was the " Register
Office," at that time a popular Register Office.

afterpiece at Drury Lane. The Captain Le Brush Mr. Hallam

object of this little piece was to ^■'d Brilliant Mr. Goodman

Scotchman Mr. Douglass

expose the pernicious practices Irishman Mr. Henry

..,,,. „ , Frenchman , Mr. Roberts

of mtelhgence offices or employ- Garwood Mr. Wall

ment agencies, still called "register Tricket Mr. Morris

Gulwell Mr. Byerly

offices " in England. The provin- Frankly Mr. Woolls

. , 1 . ,10.1 1 11 Williams Mr. Johnson

cial characters, the Scotch peddler, j^^^^ j^j^^ g^^^^

the Irish spalpeen and Maria, the Margery Monfort Mrs. Henry

SOUTH WARE THEATRE, 1772-3. 305

Yorkshire servant-maid, are particularly well drawn. In Captain Le
Brush Mr. Hallam had the part of a slip-slop military man, whose
ignorance constantly led him into the use of hard words, the meaning
of which he did not understand, but his impudence was so great that
he was never known to blush when his absurdities were detected.
The farce never became a favorite afterpiece with American audiences,
probably because the evils at which it was aimed did not exist in this
country at that time.

While the company was in Virginia Arthur Murphy's comedy,
the "Way to Keep Him," was played, probably with the same cast as
at Philadelphia this season. The Way to Kpe p Him.

lesson of the comedy is to teach Lovemore Mr. Hallam

Sir Bashful Constant .... Mr. Douglass

wives to preserve the affections Sir Brilliant Fashion Mr. Henry

- , . , . . William Mr. Goodman

of their husbands by practicmg sideboard Mr. Morris

the same arts after as before mar- Richard Mr. Parker

Thomas Mr. Roberts

riage. Originally this piece was Mrs. Lovemore Mrs. Henry

, , , . Lady Constant Mrs. Morris

m only three acts, but it was ex- j^^^j;^ j^iss Storer

tended to five by the deft intro- Mignionet Miss Richardson

Furnish Mrs. Harman

duction of Sir Bashful and Lady widow Belmour . . j . . . Miss Hallam

Constant into the comedy. The play was not without humor, but its
great charm was in the fact that it was a series of pictures of domestic
life. This comedy, it will be remembered, was first acted in this
country by the New American Company at Annapolis, in 1769.

The first of Shakspere's plays presented at the Southwark
Theatre this season was " Hamlet," last played at that house during
the engagement of 1769-70. The masterpiece, which was presented
on the 1 6th of November, 1772, was followed by "Cymbeline," on
the 7th of December. The casts of these tragedies at this time not only
20

3o6

HISTORY OF THE AMERICAN THEATRE.

show the changes that had been made in the company, but the rise or
descent of the actors. In " Hamlet " Hallam, Douglass and Morris re-
Hamlet. tained their former Cymbeline.

Hamlet . . . Mr. Hallam roles, but Henry, Posthumous . . Mr. Hallam

King Mr. Douglass i i r j Cymbeline . . Mr. Douglass

Polonius Mr. Morris '^"O before played lachimo .... Mr. Henry

Laertes Mr. Henry Horatio now SUC- Bellarius . . Mr. Goodman

Ghost Mr. Goodman ' Cloten Mr. Wall

Horatio ... Mr. Parker ceeded Wall aS Guiderius ... Mr. Parker

Marcellus . . Mr. WooUs Arviragus . . . Mr. WooUs.

Bernardo Mr. Byerly LaerteS, while Wall ^aius Lucius . . Mr. Byerly

Player King . . . . Mr. Wall sank into the P/ay^r P'=™i° • • • -Mr. Morris

Lucianus .... Mr. Roberts Philario .... Mr. Parker

Francisco . . Mr. Johnson King, previously Cornelius ... Mr. Roberts

Guildenstem . . . Mr. WooUs j u All Frenchman . . Mr. WooUs

Rosencranz .... Mr. Byeriy Played by Allyn Captain ... Mr. Johnson

Player Queen . Miss Richardson g^j^^j Malone • Good- Queen ■ • ■ Mrs. Douglass

Queen . ... Mrs. Douglass Helen . . Miss Richardson

OpheUa .... Miss HaUam man waS the SUC- Imogen . . . Miss Hallam

cessor of Tomlinson as the Ghost, Parker was Horatio, instead of

Henry, Byerly had Piatt's part of Bernardo, Miss Richardson was

Romeo and Juliet. the Player Queen, Richard III.

Romeo Mr. Hallam instead of Mrs. Richard . . . Mr. HaUam

Mercutio .... Mr. Douglass Edward V . . . Mr. Wall

Capulet Mr. Henry Harman or Mrs. Henry VI . . . Mr. Morris

Friar Laurence . . Mr. Morris tj ,-^. ^ Richmond . . . Mr. Henry

Escalus .... Mr. Goodman ■' ^ Buckingham . Mr. Douglass

Paris Mr. WooUs rer) and Miss York. . . Miss Richardson

Benvolio Mr. Wall Tressel .... Mr. Henry

Tybalt Mr. Parker Hallam succeeded Catesby .... Mr. Parker

Montagu Mr. Byerly ^ . p, Ratchff .... Mr. WooUs

Apothecary . . . Mr. Roberts Oxford .... Mr. Johnson

Lady Capulet . . Mrs. Douglass Ophelia, In "Cvm- Lady Anne . . Mrs. Henry
Nurse .... Mrs. Harman Duch'ss of York Mrs.Harman

Juliet .... Miss Hallam beline " DouglaSS Queen Elizabeth . Mrs.Morris

now had the title-role, instead of Allyn; Henry, who had previously
played Bellarius, was now lachimo, instead of Douglass, Goodman
was Bellarius, Parker Guiderius, instead of Greville, and Philario,
instead of Morris ; Byerly Caius Lucius instead of Tomlinson; Miss

SOUTHWARK THEATRE, 1772-3. 307

Richardson Helen, instead of Mrs. Tomlinson, and Miss Hallam
Imogen, in which she made a greater impression than her predecessor,
King Henry IV. Miss Cheer. The Tempest.

Hotspur. ... ,Mr. Hallam Other Shakspere p,ospero TT^r. Douglass

King Henry ... Mr. Morris , ^ Ferdinand . Mr. Hallam

Prince of Wales . . Mr. Henry P^^y^ ^^"'"^ ^'"^'^^^ ^i„„,„ j^^ B^^^l^

Sir Walter Blunt. Mr. Goodman contrasts. In " Ro- Antonio. . . . Mr. Parker

Worcester . . . . Mr. Byerly jjipolito . . . . Mr. Wall

V^™- Mr. Parker meo and Juhet c^^^j^ _ _ .Mr. Johnson

Westmoreland . ^Mr^Wall j^.^^ j^^jj^^ ^^^ g^^^^^^ _ . Mr. Morris

Northumberland. .Mr.WooUs Trinculo . . . Mr. Henry

Bardolph . . . .Mr. Johnson played >/?V/ to Mr. Ventoso . . . Mr. Johnson

F'^^"= ^''- R°'^^>^'= „ , , , „ Mustachio . . Mr. Woolls

Sir John Falstaff . Mr. Douglass Hallam s Romeo. ^^^^ Miss Storer

!°'°l ,^'\^rf7 Henry was C«/2^/^/, Caliban. . Mr. Goodman

J=>°"gl^ Mr. Woolls ^ ^ sy^„^^^ _ _ .Mr. Roberts

P«° Mr. Wall instead of Morris; Miranda . . . Mrs. Henry

First Carrier . . Mr. Goodman . p^^nda . . Miss Hallam

Second Carrier . . Mr. Parker MorriS jt'nar Lau-

Princejohn . Mr. Roberts ^^ j^^^^^^ ^f ^jj ^^ Qreville; Good-

Hostess Qmckly . Mrs. Harman •

Lady Percy .... Mrs. Morris man Escalus, instead of Broadbelt or

Malone ; Wall Benvolio, instead of Godwin, as at the John Street Theatre,

New York, in 1767; Parker T/^a/^, instead of Wall or Henry, and

Merchant of Venice. Byerly Montagu, in- Othello.

Shylock .... Mr. Henry Stead of Tomlinson. :

' . ,T ti ,1 Othello .... Mr. Hallam

Antonio . . . Mr. Hallam i,, jtvtt^ , ,,„,

„ . „ T^ 1 Mr. and Mrs. Uoug- lago .... Mr. Douglass

Bassanio . . .Mr. Douglass ° „ ■■ ,, ^ ,

„ . TMi-^j , ,T.,rxT Cassio . . . Mr. Goodman

Grat:ano . • Mr^Gootoari lass and Mrs. Harman ^^^^^ _ _ j^^^^u

Lorenzo . . . Mr. Woolls ^ ^ .

Duke Mr. Byerly retained their previous Ludovico . . . Mr. Henry

„ , . ,«■ iir 11 Brabantio . . . Mr. Morris

Saamo. . . • • Mr. Wal rolcs. In"Richardin" Duke Mr. Byerly

Salarmo . . . Mr. Dermot M P v

Tubal . . . -Mr. Roberts Henry played Rich- (,~ ; ; 'm^wooIiI

Gobbo .... Mr. Byerly ^^^ ,, , ,

Launcelot ... Mr. Morris »^^W,insteadof Doug- °f ^^' " * " " ^/^ J"'^"'""

-. . -,..-,,, Messenger . . Mr. Roberts

Jessica . . .MissHaUam ^ ^j^jj^ DouglaSS Emilia . . . Mrs. Douglass

Nenssa . . Miss Richardson n ^ m t-t

Portia .... Mrs. Morris was content with .Sz^t'^- ' ' '

ingham, as in New York, in 1767. Miss Richardson was the

3o8 HISTORY OF THE AMERICAN THEATRE.

Duke of York, a part that had been played by Miss S. Dowth-

waite, among others. • Parker succeeded Tomlinson as Catesby, and

Mrs. Morris was Queen Elizabeth, instead of Mrs. Douglass. Miss

Cheer, in her time, had been the Lady Anne, now in possession of

Mrs. Henry. In " King Henry IV " Mrs. Morris succeeded Miss

Cheer as Lady Percy, Henry became the Prince of Wales, instead of

Wall ; Goodman Sir Walter Blunt, instead of Henry ; Byerly Worcester,

instead of Tomlinson, and Poins, instead of Malone; Parker Vernon,

Catherine and Petruchio. instead of Greville; Wall West-

Petnichio Mr. Goodman moreland, instead of Raworth, and

^.■^t*^, ^!;^r!= Peto, instead of Roberts, and

Biondello Mr. Wall ' '

Hortensia Mr. Parker Roberts Francis, instead of Peto,

Baptista^ Mr. Byerly

Tailor '. Mr. Roberts and Prince John, instead of Mrs.

^!"^^ • \;.^'t?T'" Wall. This is the first cast

Bianca • . Miss Richardson

Catherine Mrs. Morris extant of the Shakspere-Dryden

"Tempest." In "Othello" and the "Merchant of Venice" the only
'important changes were the assumption of Desdemona in the former
by Mrs. Henry and of Portia in the latter by Mrs. Morris, in which
Miss Hallam condescendingly consented to play Nerissa. These
contrasts show that the company had four young actresses capable
of playing leading roles, that Mr. Goodman was already a favorite
with the public and the management, and that Mr. Henry was
ascending slowly and Mr. Wall descending rapidly.

The " Conscious Lovers" was seen in Philadelphia for the first
time in six years. In New York the comedy had not been played
since 1768 when it was given for Mr. Morris' benefit. The only
changes in the cast were Goodman as Sir John Bevil, Byerly as Cym-
berton, Parker as Humphrey, Roberts as Daniel, Miss Storer as Phillis,

SOUTHWARK THEATRE, 1772-3.

309

Mrs. Harman as Mrs. Sealand, Miss Richardson as Lucinda and Mrs.
Morris as Isabella.

The casts that are appended at the bottom of this and the fol-
lowing pages show the changes that had occurred in the representatives
of familiar parts. Mr. and Mrs. Tomlinson had withdrawn, while
Messrs. Goodman, Byerly and Johnson, and Mrs. Morris and Miss
Richardson were recent acquisitions. It is not improbable that all
these were seen at the Southwark Theatre before the Southern tour
was undertaken — Miss Richardson certainly was. Little is known of
this lady, who apparently was an actress of experience, beyond the
fact that she played " walking ladies," such as Fanny in the " Ship-
wreck," in which she is first noticed, and afterward Lucy Waters in the
same play; Theodosia in the " Maid of the Mill," and Mrs. Trippet in
the " Lying Valet ; " the Lady in " Love a la Mode;" Lucy in the
" West Indian " and in the " Devil to Pay ; "Lucetta in the " Suspicious
Husband " and Mrs. Subtle in the " Englishman in Paris ; " the Player
Queen in " Hamlet," Mysis in " Midas " and Lucy in a " Word to the
Wise." Her first appearance this season was in the part last named.
More important than the acquisition of Miss Richardson was that of
Mrs. Morris. She began with the little part of Margery in " Love in

NEW CASTS OF FAMILIAR PIECES.

Mourning Bride.

Osmyn Mr. Hallam

King . ... Mr. Douglass

Garcia Mr. Henry

Gonzales . . Mr. Morris

Heli Mr. Parker

Selim . ... Mr. Wall

Alonzo . . ... Mr. Byerly

Perez Mr. Woolls

Zara Mrs. Morris

Leonora Miss Storer

Almeria Miss Hallam

Tamerlane.

Theodosius.

Monesses

. Mr, Goodman

Varanes . ,

. ... Mr. Hallam

Axalla

. . .Mr. Wall

Theodosius .

.... Mr. Henry

Omar

... . Mr. Henry

Leontine . .

. . . Mr. Goodman

Dervise .

... . Mr. Morris

MarcJan . .

. , . Mr. Douglass

Haly

. Mr. Parker

Atticus . . .

. . .Mr. Woolls

Stratocles

, . . Mr. Byerly

Lucius

. Mr. Parker

Tanais .

... Mr. Woolls

Aranthus .

. .Mr. Wall

Zama . ,

Mr. Johnson

Pulcheria

. . Mrs. Morris

Mirvan .

.... Mr. Roberts

Marina .

. . . Miss Storer

Selima . ,

Mrs. Henry

Flavella . . .

. Miss Richardson

Arpasia ,

Mrs. Morris

Athenais . .

. . . Miss Hallam.

3IO

HISTORY OF THE AMERICAN THEATRE.

a Village," but was seen a week later as Zara in the " Mourning
Bride." When Lady Dove was introduced into the " Shipwreck/* on
its second representation, she played the part, and subsequently she
appeared as Millwood in " George Barnwell," Mrs, Sullen in the " Con-
scious Lovers," Lady Beverly in the "School for Lovers," Portia in the
" Merchant of Venice," Lady Constant in the " Way to Keep Him,"
Catherine in " Catherine and Petruchio " and Queen Elizabeth in
" Richard III." Her first appearance was made as Mrs. Willoughby
in a *' Word to the Wise." This Mrs. Morris was the second wife of
Owen Morris. She was described by Dunlap as a tall, elegant woman,
and by William B. Wood as an imposing, well-formed person, with a

NEW CASTS OF FAMILIAR PIECES.

George Barnwell.

George Barnwell
Thorowgood
Trueman .
Uncle .
Blunt .
Maria
Lucy .
Millwood

. . Mr. Hallam

. Mr. Douglass
, Mr. Parker
. Mr. Henry

. . Mr. Morris
. Miss Store r

. Mrs. Harman
. Mrs. Morris

Suspicious Husband.

Ranger .
Mr. Strictland
Frankly . .
Bellamy .
Jack Meggot
Jester .
Buckle
Simon .

Mrs. Strictland
Jacintha . . .
Lucetta .
Milliner
Landlady
Maid
Clarinda .

. Mr. Hallam

. Mr. Douglass

. Mr. Henry

. Mr. Parker

. . Mr. Wall

. . Mr. Morris

. Mr. Woolls

. Mr. Johnson

. Mrs. Henry

. . Mrs. Morris

Miss Richardson

. Miss Storer

, Mrs. Harman

Mrs. Wall

. Miss Hallam

Neptune and Amphitrite.

Neptune Mr. Woolls

Amphitrite . . . Miss Storer

School for Lovers.

I\Iodely .

Sir John Dorilant

Eellmour

Steward

Lady Beverly . .

Araminta . .

Celia

. Mr. Hallam
Mr. Douglass
. Mr. Wall
. Mr. Morris
. Mrs. Moms
. Mrs. Henry
. Miss Hallam

Love for Love.
Valentine , Mr. Hallam

Sir Sampson Legend . Mr. Henry

Scandal
Tatde .
Foresight
Jeremy .
Frupland
Buckram
Ben .
Angelica
M'ss Prue

. Mr. Douglass

. . Mr. Wall
. Mr. Morris
. Mr. Byerly
. Mr. Parker
. Mr. Woolls

. Mr. Goodman
. Mrs. Henry

. . Miss Storer

Mrs. Foresight . Miss Richardson
Nurse . . Mrs, Harman

Mr=. Frail . . Mrs. Morris

Thomas and Sally.
The Squire , . Mr. Woolls

The Sailor ... . Mr. Henry

Dorcas Mrs. Harman

Sally Miss Hallam

Earl of Essex.

Essex Mr. Hallam

Southampton .... Mr. Henry

Lord Burleigh .... Mr. Morris
Raleigh . . . Mr. Byerly

Lieutenant ... . Mr. Woolls
Queen Elizabeth . Mrs. Morris
C. of Nottingham . . Mrs. Henry
Countess of Rutland Miss Hallam

Beaux' Stratagem.

Archer . . .
Aimwell . .
Sullen .
Foigard
Freeman
Gibbet
Boniface .
Bagshot .
Hounslow .
Scrub .
Dorinda .
Cherry
Gipsy
Mrs. Sullen

. Mr. Hallam

. Mr. Douglass

. . Mr. Henry

. Mr. Goodman

. Mr. Wall

. . Mr. Woolls

. Mr. Byerly

. . Mr, Dermot

. . . Mr. Roberts

. . . Mr. Morris

. Miss Richardson

. Mis. Henry

. . Miss Storer

. . Mrs. Morris

Edgar and Emmeline.

Edgar Mr. Hallam

Emmeline . , Miss Hallam

SOUTHWARK THEATRE, 1772-3.

3"

very mysterious manner. Wood, however, did not know her until
twenty years after this period. She was long considered the greatest
attraction in the company, but Wood says she was greatly overvalued,
as she was without education and her enunciation was wretchedly
imperfect. Late in life she suffered from the want of a retentive mem-
ory, and Wood says that from his knowledge of her professional pride
this must have been a natural defect. Mrs. Morris' portrait is included
among the prints known as the Lopez and Wemyss collection. She
continued in the Philadelphia theatre until late in hfe, and died in that
city about 1825.

NEW CASTS OF FAMILIAR PIECES.

Recruiting Officer.

Beggars' Opera.

WOND

ER.

Captain Plume

. . .Mr. Hallam

Macheath . .

. . Mr. Hallam

Don Felix

. Mr. Hallam

Sergeant Kite .

. Mr. Douglass

Peachum . .

. . Mr. Douglass

Colonel Briton . .

. . Mr. Henry

Captain Brazen

. . Mr. Byerly

Lockit

. . Mr. Morris

Don Pedro ,

. Mr. Goodman

Justice Balance

, Mr. Morris

Mat

. Mr. Goodman

Don Lopez

. . Mr. Byerly

Worthy . . .

... Mr. Woolls

Filch . . .

. . .Mr. Wall

Frederick .

. Mr. Woolls

Bullock . .

, Mr. Goodman

Nimming Ned

. ', Mr. Byerly

Lissardo

. Mr. Morris

Justice Scale .

. . Mr. Dermot

Ben Budge .

. Mr. Parker

Valguez .

. Mr. Roberts

First Recruit .

... Mr. Wall

Jemmy Twitcher . . Mr. Johnson

Gibby

. Mr. Douglass

Second Recruit

. . Mr. Roberts

Lucy .

. Miss Storer

Isabella

. Miss Storer

Melinda

. Mrs. Henry

Mrs. Peachum

. Mrs. Morris

Flora

. . Mrs. Henry

Rose .

. . Miss Hallam

Mrs. Coaxer

. . . Mrs. Henry

Iris . . Miss Richardson

Lucy

Miss Richardson

Jenny Diver . .

Miss Richardson

Violante .

. Miss Hallam

Mrs. Slammekin . . . Mrs. Wall

—

False Delicacy.

Moll Brazen

. . Mr. Roberts

Love in a Village.

CecU. . .

. Mr. Hallam

Diana Trapes .

Miss Richardson

Justice Woodcock

. Mr. Douglass

Colonel Rivers

. Mr. Douglass

Polly . .

. Miss Hallam

Hawthorn .

. Mr. Woolls

Lord Winworth

. Mr. Henry

—

Young Meadows

. Mr. Henry

Sir Harry . ' .

. Mr. Wall

Maid of

THE Mill.

Sir William

.Mr. Morris

Sidney . .

. Mr. Byerly

Aimworth

. Mr. Hallam

Eustace ,

. Mr. Byerly

Lady Betty

. Mrs. Morris

Sir Harry Sycamore Mr. Goodman

Hodge

. Mr. Parker

Miss Rivers . ,

. Mrs. Henry

Fairfield . . ^

. Mr. Douglass

Lucinda

. . Miss Storer

Miss Marchmont . . Miss Storer

Farmer Giles

. Mr. Woolls

Mrs. Deborah

Mrs. Douglass

Sally ... .

Miss Richardson

Ralph

. Mr. Wall

Margery .

. Mrs. Morris

Mrs. Harley

. Mrs. Douglass

Mervin .
Lady Sycamore

. . Mr. Parker
. Mrs. Douglass

Rosetta

. Miss Hallam

Lying Valet.

Theodosia .

Miss Richardson

Lethe.

Sharp

. Mr. Morris

Fanny

. Miss Storer

Frenchman .

. Mr. Hallam

Gayless . .

. . .Mr. Wall

Patty ....

. Miss Hallam

./Esop

. Mr. Douglass

Guttle .

. Mr. Goodman

Mercury . . .

. Mr. Woolls

Trippet .

.Mr. Byerly

Padlock.

Old Man

. Mr. Morris

Cook. . .

. Mr. Parker

Mungo .

. Mr. Hallam

Fine Gentleman .

. Mr. Byerly

Melissa . . ,

. Mrs. Morris

Don Diego

. . Mr. Woolls

Tattoo . .

. Mr. Goodman

Mrs. Gadabout

. . Mrs. Harman

Leander

. . . Mr. Wall

Charon

. Mr. Johnson

Mrs. Trippet .

Miss Richardson

Ursula. . . .

, . ,. Mrs. Morris

Mrs. Tattoo .

. Miss Hallam

Kitty Pr

. Mrs. Henry

Leonora .

. . Miss Hallam

Mrs. Riot . .

. Miss Storer

U2

HISTORY OF THE AMERICAN THEATRE.

"The mysterious manner alluded to in Mrs. Morris/' Mr.

Wood wrote, " was not confined to the stage, but the chariness of her

exposure to the vulgar eye of day was very amusing. So inveterate

was her dislike to being seen in daylight that Mr. Morris obtained

from a near relative of mine permission to put up a little gate in his

garden, by which Mrs. Morris could pass from her lodgings in Maiden

Lane direct to the theatre, without a circuit of Broadway. On the

few occasions of her showing off freely as a pedestrian, I can truly

assert that much more curiosity and bustle were excited than latterly

at a Fanny Ellsler or a Fanny Kemble. She seemed to realize the

boast of Bolingbroke —

" Being seldom seen,
She could not stir, but like a comet
She was wondered at.

NEW CASTS OF FAMILIAR PIECES.

High Life

Lovel . . .
Freeman
Lord Duke
Sir Harry .
Philip . .
Coachman
Kingston
Lady Bab .
Lady Charlotte

Cook

Chloe ....
Kitty . .

Below Stairs.

. Mr. Hallam

. . . Mr. Parker

. . Mr. Wall

. Mr. Henry

. Mr. Morris

. Mr. Woolls

. Mr. Byerly

. . . Miss Storer

Miss Richardson

. Mrs. Harman

. Mr. Roberts

. Mrs. Henry

Musical Lady.
Old Mask Mr. Morris

Mask . . .
Freeman
Rosini .
Lady Scrape
Laundress
Sophy .

. Mr. Wall

. . Mr. Parker

. Mr. Roberts

. Miss Storer

. Mrs. Harman

. Miss Hallam

Old Maid.

Old Maid . .
Captain Cape
Clerimont .
Mr, Harlow .
Heartly ,
Mrs. Harlow .

. Mrs. Harman
. Mr. Morris
. Mr. Wall
. Mr. Byerly
. Mr. Parker
. Mrs. Henry

Mayor of Garratt,
Major Sturgeon , . Mr. Goodman

Sir Jacob Jollop .

Sneak

Lint

Bruin .

Roger

Mrs. Bruin

Mrs. Sneak

. Mr. Douglass

. . Mr. Morris

. Mr. Wall

. Mr. Byerly

. Mr, Parker

. Mrs. Harman

. Mrs, Henry

Miller of Mansfield.

King

Miller . .
Richard
Lord Lurewell

Joe . . .

Peggy

Kate
Margery

. . . . Mr. Henry

. . . Mr, Morris

. Mr, Byerly

. Mr, Wall

. . « . Mr. Woolls

, Miss Richardson

. Miss Storer

. Mrs. Harman

Hob IN" THE Well,

Hob Mr. Hallam

Friendly ... . Mr. Woolls
Sir Thomas Testy . . Mr. Morris
Old Hob .... Mr, Byerly

Dick . . . Mr. Johnson

Hob's Mother . Miss Richardson
Betty . .... Mrs. Henry

Flora . . Miss Storer

Devil to
Sir John Loverule ,
Jobson . .
Butler
Doctor
Coachman . .
Cook . .
Footman ,
Blind Fiddler
Lady Loverule
Lucy , . M

Lettice .
Nell . . .

Pay.

. . Mr, WooUs

. . Mr. Henry

. . Mr. Morris

. . Mr, Byerly

, Mr. Johnson

. Mr, Parker

. Mr, Wall

. Mr. Roberts

, Mrs. Harman

iss Richardson

. Mrs. Wall

. Miss Storer

Upholsterer,
Barber . , Mr, Wall

Quidnunc Mr. Byerly

Feeble ... . Mr. Morris

Bellmour Mr. Parker

Rovewell Mr. Woolls

Harriet . . Miss Richardson

Termagant . . Mrs, Henry

Love a la Mode,
CallaghanO'BrallaghanMr.Henry
Archy MacSarcasm Mr. Douglass
Squire Groom ... . Mr. Wall
Beau Mordecai . . Mr. Morris
Sir Theodore . . . Mr. Parker
The Lady . . Miss Richardson

SOUTHWARK THEATRE, 1772-3.

313

" The walk of half a dozen miles, which the less artificial actors
of modern times sometimes bodily execute, between the rehearsal and
dinner, would have puzzled Mrs. Morris not a little, from the fact of
her indulging, among other peculiarities of dress, in a pair of heels of
such dangerous altitude as required the utmost caution."

The season was almost without incidents, but a note appended

to the announcement of the " Recruiting Officer " for the 24th of

March, 1773, when Mrs. Morris played Sylvia for the joint benefit of

Messrs. Byerly, Parker and Johnson, is curious in itself and indicative

of the character of the actress. Mrs. Morris' Card.

Mr. Durang, in his " History of *^* Mrs. Moms in Respect to those few

fVi Ph'l rl 1 Ti' Qf " KliqVipr! Ladies and Gentlemen, who thro' kindness to

" S > r jjgj. jj^yg advised her not to play the Part of

in the Sunday Dispatch, thinks the Sylvia, begs leave to assure them, that she

performs it now in compliance with the Re-

deprecatory manner of this an- q^gst of many friends to the Theatre, and

. . J- . c . with a fixed Rule amongst the Performers, to

nouncement mdicates a fear on . , .,, • t-

lend each other every help they can m Time

the part of the actress that she of Benefits.

would not be able to play Sylvia well. The probability is that Mrs.

NEW CASTS OF FAMILIAR PIECES.
Miss in her Teens. Guardian. Honest Yoekshireman.

Captain Flash . . . Mr. Henry Guardian ... .Mr. Hallam Gaylove . Mr. Woolls

Captain Loveit ... Mr, Johnson Sir Charles . ... Mr. Morris SapscuU . . .Mr. Wall

Fribble Mr. Wall Young Clackit . Mr. Wall Muckworm . Mr. Morris

Puff . . Mr. Morris Lucy Mrs. Henry Blunder . . . . Mr. Parker

Jasper Mr, Woolls Miss Harriet . Miss Hallam Slango . . . Mr, Byerly

Tag Mrs. Henry Combrush . . . Mrs. Morris

Miss Biddy . . . Miss Storer Roman Father, Arabella . ... Miss Storer

Roman Father . Mr. Hallam

Midas. TuUus Hostilius , . Mr. Douglass Citizen.

Midas . . . Mr, Goodman Publius . . , Mr, Goodman Young Wilding , . Mr, Hallam

Apollo Mr, Woolls Valerius ... Mr. Wall Young Philpot . . Mr, Wall

Jupiter . . , Mr, Morris p^^j Citizen . . Mr. Morris Old Philpot , . Mr. Morris

Sileno . . . Mr. Parker Second Citizen . . Mr. Byerly Beaufort . . Mr, Woolls

Damatus ... .Mr. Wall Third Citizen . . Mr. Woolls Sir Jasper Mr. Byerly

Pan Mr, Byerly Fourth Citizen . . .Mr. Johnson Quilldrive . . . . Mr. Roberts

Juno Mrs, Henry Soldier Mr, Parker Corunna . . , Miss Richardson

Mysis Mrs, Harman Valeria Mrs. Henry Maria Miss Hallam

Daphne . . Mrs. Morris Hoiatia Miss Hallam

Nysa Miss Storer

3 1 4 HISTOR Y OF THE AMERICAN THEA TRE.

Morris did not consider the part sufficiently stately for her grand style.
Other incidents of the season were the occasional appearances, between
the acts, of Mrs. Stamper, as a singer, and Mr. Francis, as a dancer.
Mrs. Stamper was the lady who played Dorcas in " Thomas and Sally,"
at Williamsburg. She was now advertised as from the Theatre Royal,
Edinburgh. Mr. Francis was announced as from the Theatre in
Amsterdam. This dancer's real name was Francis Mentges, which he
made illustrious as a Colonel in the Revolutionary army, while he
afterward rendered his assumed name of William Francis distinguished
as an actor. When General Washington came to Philadelphia, in 1787,
as a member of the Constitutional Convention, Francis was among
those who welcomed him and escorted him into the city. The old
actor's features as Sir George Thunder have been preserved in an
engraving in the series of prints known as the Lopez and Wemyss
series. Nothing is known of the actors who were added to the com-
pany about this time beyond the parts played by them.

In the letter of " Philo-Theatricus," dated October 30th, 1772,
and printed in the Pennsylvania Chronicle, from which the criticism
of the acting in a " Word to the Wise " and the " Padlock," above
quoted, was taken, complaint is made of a grievance that the writer
said must be remedied. " Some ruffians in the gallery who so fre-
quently interrupted the performance, and in the most interesting
scenes," wrote "Philo-Theatricus" in his suggestive letter, "deserve
the severest reprehension ; they are too despicable to argue, otherwise
they might be told that because they pay three shillings for their
admittance into a public assembly they are not therefore entitled to
commit frequent outrages upon that part of the audience who go there
really to see the play and be instructed and entertained ; or to interrupt

SOUTHWARK THEATRE, 1772-3. 315

the actors who are doing their best to entertain them. They might be
informed that, though they have an undoubted right to every species
of entertainment promised them in the bills, they have not the smallest
title to anything else, and that if they call for a song or a prologue
of which no notice is given in the bills, the actors have an equal demand
upon them for an extraordinary price for a compliance with their
request." The remedy suggested by " Philo-Theatricus " to the man-
ager of the theatre was "to engage a number of constables and dispose
them in different parts of the gallery, who, upon the smallest disturb-
ance for the future, may be authorized by any magistrate—and there
are always enough in the house — to apprehend and carry to the work-
house such rioters, by which means peace will be restored and a few
examples deter others from the like outrages."

When the Philadelphia season closed the company went to
New York to play its last engagement in that city prior to the
Revolution.

CHAPTER XXVIIi;

LEAVE-TAKINGS.

CLOSING ENGAGEMENTS OF THE OLD AMERICAN COMPANY — LAST SEASON

IN NEW YORK DEATH OF MRS. HARMAN ^A FORTNIGHT AT

THE SOUTHWARK THEATRE FAREWELL TO PHILADELPHIA

DR. cooper's PROLOGUE, NEW YORK, AND THE LAST PHILA-
DELPHIA EPILOGUE.

NOTWITHSTANDING Mr. Douglass announced when he
opened the New York Theatre on the 14th of April, 1773,
that it would be impossible to keep it open longer than the end of
May the season was' extended to August.

This season, which was destined to be the last in New York
for many years, seems to have begun with a disposition among a part
of the audience to annoy the actors. " The repeated insults," Mr.
Douglass announced on the 3d of May, " which some mischievous
persons in the gallery have given, not only to the stage and orchestra,
but to the other parts of the house, call loudly for reprehension." He
then says that unless these disorders are amended " the gallery for the
future will be shut up." This threat seems to have had the desired
effect. The season in New York opened with Murphy's comedy, the
" Way to Keep Him," which was new to that city, and " Catherine
and Petruchio," with Mrs. Morris for the first time there as the Shrew.

(316)

LEA VE- TAKINGS. 3 1 7

Mrs. Wall was Curtis, instead of Mrs. Harman. A comparison of the
list of performances with that of the previous season at the South-

wark Theatre will show that most

List of Performances.

of the pieces played there were

1773-

reproduced at the John Street April 14— Way to Keep Him . . . Murphy
r^^. , rr^, ^ ... . . Catherine and Petruchio Shakspere

Iheatre. Ihe famihar pieces m , ^^^ a ,■ t.s ■

^ 19 — Clandestine Marriage

this list not produced in Philadel- Garrick and Colman

26 — King John Shakspere

phia during the season of 1772-3 30_Earl of Essex Jones

_^. • ^ , ,, << /— 1 ^ 4_- Englishman in Paris . . . Foote

were Kmcr John, Clandestine ,, ^ ' > c. . t7 i,

° ■' ' May 3 — Beaux' Stratagem , . . Farquhar

Marriage," "Gamester," "Constant Midas O'Hara

7 — Love in a Village . . . Bickerstaff

Couple," " Jane Shore," " Damon Mayor of Garratt Foote

1 Til Ml- 1 ,j 1 <i TT 1 ■ II — Gamester Moore

and Philhda and Harlequin ^^^^^^ Bickerstaff

Collector." The works given for 14— Mourning Bride . . . Congreve

Midas.

the first time in New York were 17— Maid of the Mill . . .Bickerstaff

Milton's "Comus," Garrick's "Irish -i-Beggars' Opera ■■■_■■■ Gay

Cathenne and Petruchio.

Widow," O'Brien's " Cross Pur- 24-Theodosius Lee

Lying Valet Garrick

poses " and Goldsmith's " She 28— Hamlet Shakspere

Stoops to Conquer." Garrick's Cross Purposes O'Brien

'^ ^ June I — Cymon Garrick

" Irish Widow " was new in Lon- 3— Tempest Shakspere

Neptune and Amphitrite.

don as well as in New York. This Tiamon and PhiUida . . . Gibber

little piece was taken from Mo- ''~'^'^°'t

'■ Cross Purposes.

here's " Mariage Forcee " and was 11— School for Lovers . . Whitehead

Lethe Garrick

chiefly intended to introduce Mrs. i4_Richard HI Shakspere

Barry (Mrs. Crawford), to whom ^'^^- ^ ^ ^

^ (Mrs. Douglass benefit.)

it was dedicated, to the public in 21— Comus Milton

High Life Below Stairs . Townley
a new light. In New York Mrs. (benefit of Miss Cheer and Mr. WooUs.)

Morris played the Widow Brady. 24-West Indian .... Cumberland

^ ■' Love a la Mode Macklin

But in spite of the addition of new (Benefit of Mr. Henry and Mr. Wall.)

3i8 HISTORY OF THE AMERICAN THEATRE.

June 28— Tamerlane Rowe comedy and farce from time to

Irish Widow Garrick

(Mr. and Mrs. Morris' benefit.) time the old masterpieces Still

July I-Constant Couple . . . Farquhar j^^j^ ^ prominent place in the
-Harlequin Collector.

(Benefit of Mr. Hallam and Mr. repertoire of the Company, and

Goodman.)

8— Recruiting Ofiicer . . . Farquhar the names of Farquhar, Congreve,

Guardian • • • • • • Garrick ^^^^^^ ^^^ ^^^^ ^^^^^ ^^ ^^^^^

(Benefit of Mr. Byerly and Mr.

Parker.) as those of Garrick, Murphy,

12 — ^Jane Shore Rowe

(Benefit of Mr. Roberts and Miss Bickerstaff, Cumberland and Gold-
Richardson.) gjjjj^ij_
19 — Merchant of Venice . . Shakspere

Miller of Mansfield . . . Dodsley Milton's Masque, which waS

(Benefit of Mr. Dermot and Mr.

Francis.) origmally presented at Ludlow

26-George Barnwell . . . . LiUo ^astle, on Michaelmas Night, in

Edgar and EnunelineHawkesworth

(Benefit of the New York Hospital.) 1634, has not often been given on
Aug. 2 — She Stoops to Conquer . Goldsmith , « .

Musical Lady Colman ^he American stage. It would be

5-She Stoops to Conquer. , interesting to know if Dr. Arne's

Padlock.

music, which he composed spe-
cially for Dalton's version of " Comus," was sung on this occasion.
It may be assumed that such was the case, for while the masque

is truly poetical it is deficient

Comus. '^

in dramatic action, and it is not

Comus Mr. Henry

First Spirit Mr. Byerly "kely that WooUs would have

Second Spirit Mr. Morris ^^^^^ i^. ^^ t^e occasion of his

Third Spirit Mr, Woolls

Elder Brother Mr. Blackler joint benefit with MisS Cheer

Younger Brother Mr. Goodman . , . . , ,

Euphrosine Miss Storer Without the muSlC, even With the

S^'^ina Miss Hallam powerful assistance of that actress

The Lady Miss Cheer

so long absent from the stage.
The farce, " Cross Purposes,'' was by the celebrated Irish actor,
William O'Brien. To judge from a "preliminary notice" in Riving-

LEA VE-TAKINGS.

319

ton's Gazette} on the 6th of June, it was probably through kindly
personal remembrances that O'Brien's farce was brought out in New
York. This piece had been acted at Covent Garden a year before,
where it had considerable success. cross Purposes.

It contains many happy touches

^^^ Mr. Grub Mr. Goodman

of genuine humor and some ad- Francis Bevil Mr. Douglass

Harry Bevil Mr. Henry

George Bevil Mr. Hallam

Chapeau Mr. Wall

Robin Mr. Morris

Consol Mr. Byerly

Emily Miss Storer

Housemaid Miss Richardson

Mrs. Grub Mrs. Morris

mirable strokes of satire leveled
at the follies of the times. Of the
New York life of O'Brien and his
high-born wife there are, unfor-
tunately, few details.

As it happened, the production of Goldsmith's masterpiece,

" She Stoops to Conquer," was the farewell of the American Company

She Stoops to Conquer. at New York. It was played

,, , , ,, ^ , ■ twice. This great comedy was

Hardcastle Mr. Goodman ° ■'

Sir Charles Marlow Mr. Morris originally acted at Covent Garden

Young Marlow Mr. Henry

Hastings Mr. Byerly ^^ Same year it was first produced

Tony Lumpkin Mr. Hallam ^^ ^^^ york. Mr. Gardner was

Landlord Mr. Woolls

Diggory Mr. Hughes the original Sir Charles Marlow,

Mrs. Hardcastle Mrs. Morris

Miss Hardcastle Miss Hallam ^I""- Lee Lewis Young Marlow,

^"^^ Neville Miss Storer j^j._ q^j^,^ j^^^^ Lumpkin, Mr.

Shuter Hardcastle, Mrs. Green Mrs. Hardcastle and Mrs. Buckley
Miss Hardcastle. Mr. Du Bellamy, who came to America soon after
the Revolution, but was known by another name, was the original
Hastings. The only comment that needs to be made on this great

' Notice in Rivington's Gazette. —
The new farce of " Cross Purposes," to be
performed to-morrow, was vratten by William
O'Brien, Esq., formerly of Drury Lane The-

atre : a gentleman who, with his amiable con-
sort. Lady Susan, daughter of the Right Hon.
the Earl of Ilchester, resided several years in
this city.

320 HISTORY OF THE AMERICAN THEATRE

production is that it is the one comedy produced by the Old American
Company that still holds its place on the stage.

The only additional casts printed in the New York papers this
season, apart from those of the new pieces, were two — of the "Constant
Damon AND Phillida. Couple " and " Damon Constant Couple.

Beau Clincher . Mr. Goodman

Damon .... Mr. WooUs and Phillida." What-

Arcas Mr. Byerly

Corydon .... Mr. Morris ever changes were Angelica . . . Miss Hallam

Mopsus .... Mr. Parker j • 4.1, • ^^^^ • • • *^'^^ Richardson

Cymon Mr. Wall '"^^^ '" ^^^ ^X^CQS Lady Darling . Mrs. Douglass

Phillida. . , .MissStorer that had been played Lady Lurewell . Mrs. Morris

in Philadelphia a few months before were due, as a rule, to the changes
in the company. These, however, were not important. Mr. Johnson
had dropped out, and Messrs. Hughes and Blackler, neither of whom
attained to eminence, were occasionally put down for small parts. Mr.
Dermot, who was with the company in Philadelphia, succeeded John-
son as Roger in the " Englishman in Paris," Byerly succeeded him as
Jemmy Twitcher in the " Beggars' Opera," and Parker as Ventoso in
the " Tempest." The other minor changes were Mrs. Wall, instead
of Mrs. Harman, in the "Way to Keep Him;" Dermot as Nimming
Ned in the " Beggars' Opera," instead of Byerly ; Wall as Mat d the
Mint, instead of Goodman ; Woolls as Varland in the " West In-
dian," instead of Parker, and Henry as Major 0' Flaherty, instead of
Goodman. Miss Storer and Miss Richardson exchanged parts in
" Theodosius." In the " Merchant of Venice " Hallam was Shyloch
once more, although Henry had played the Jew that Shakspere drew
upon at least one occasion in Philadelphia ; Henry was Antonio, Der-
mot the Duke, instead of Byerly, Hughes Salarino, instead of Dermot,
and Miss SX-oxftr Jessica, instead of Miss Hallam. Mr. Hallam still
retained the lead, of course, but Miss Hallam divided the choice of the

LEA VE-TAKINGS. 321

female parts with Mrs. Morris. Mrs. Douglass seldom appeared, but

she played the Queen in " Hamlet," as usual. Miss Cheer emerged

from her retirement to take a benefit in conjunction with Mr. Woolls.

She played Araminta in the "School for Lovers," on the nth of June,

and for her own and Woolls' benefit the Ladf in " Comus " and Kitiy

in " High Life Below Stairs." She also recited a Mason's epilogue to

the " West Indian," on the 24th. Mrs. Harman was still with the

company at the opening of the season, but she died on the 27th of

May, 1773.

A notice of Mrs. Harman's death was printed in Rivington's

Gazette, on the 3d of June. This brief tribute to the virtues of a

worthy woman was the first obitu- Obituary of Mrs. Harman.

ary notice of an actress ever On Thursday last, died, in the 43d year of

her age, Mrs. Catherine Maria Harman,
printed in an American news- granddaughter to the celebrated Colley Cib-

paper. When Mrs. Morris, the ^'' ^^l- P°et-laureate. She was a just

actress, possessed much merit in low comedy,
first, was drowned in the Kill von and dressed all her characters with infinite

propriety, but her figure prevented her from
Kull, m December, I7o7> the succeeding in tragedy and genteel comedy.
papers reported the accident in in private life she was sensible, humane and

benevolent. Her little fortune she has left to
the fewest possible words, adding, Miss Cheer, and her obsequies were on Satur-

day night attended by a very genteel pro-
by way of description, that the ^^^^^^ ^^ (he cemetery of the old English

victim was "of the play-house." Church.

Now, however, a number of interesting facts relating to the deceased

actress were printed. Mrs. Harman's full name was given. This, in

Mrs. Harman's Parts. connection with the fact that she

Plays. was a granddaughter of Colley

Beaux' Stratagem Lady Bountifiil cj^ber, enables US to identify her

■p , f^ f Mrs. Peachum

iieggars upera ^ Diana Trapes ^S the daughter of Charlotte

Busybody Patch

Cato Lucia Charke. Dying in her forty-third

21

322 HISTORY OF THE AMERICAN THEATRE.

Conscious Lovers { Mrs!'sealand ^^^''' ^^^"^ ^^'"^ fifteen -years in

Constant Couple Mob's Wife America, Mrs. Harman must have

Cymbeline Pisanio , ' . , * . , ,

Distressed Mother Andromaclie been m her twenty-eighth year

I5°'igi^ ^""'^ when she crossed the Atlantic.

Drummer . Abagail

Fair Penitent Calista We gather, besides, fi-om this

False Delicacy Sally

Gamester Charlotte obituary a just estimate of her

George Barnwell .Lucy abilities as an actress and of the

^™ ^ 1 Player Queen esteem in which she was held as

Henry IV Hostess Quickly

Inconstant Oriana a woman. Indeed, we even catch

Jealous Wife Toilet < ■ c \. c i

\.- T , „ . „ a glimpse of her figure and per-

Kmg John Pnnce Henry or o r-

Lear Regan son in the intimation that her

Lionel and Clarissa , . Lady Mary Oldboy

Love for Love Nurse comeliness was not equal to her

Love in a Village Margery ^j^jjj^ !„ the bequest of her little

Macbeth /^^^'^

*■ "^"'^'^ fortune to Miss Cheer we see evi-

Merchant of Venice Nerissa

Midas Mysis dence that her husband had long

Miser Lappet , i , ,

Orphan Florella ceased to occupy her thoughts,

Otiie"° Emilia and that Miss Cheer, for whom

■ 1 Lady Wronghead she must have felt a peculiar friend-
Recruiting Officer jMehnda ^^.^^ ^^^ continued to reside in

Richard III . . {DucLss°ofYork New York after her retirement.

Romeo and Juliet ^Nurse ^^^^ ^^^^ ^^^ j^ j^ ^^^ j^^ j^_

bchool for Lovers Lady Beverly '^

Shipwreck Kitty able that Miss Cheer's benefit was

Suspicious Husband . . . { ^^;^;jf^'j;'^^"'^ part of the Harman legacy, and

Tamerlane Selima , , ,

Tender Husband Fainlove that her re-appearance was due to

Theodosius ... . Puicheria j-j^e death of that estimable actress.

Way to Keep Him . . . . Furnish

Wonder Iris Visitors to the New York of

„ , . , „ l^'f"' twenty years ago will remember

Cathenne and Petruchio Curtis

Contrivances Betty the Splendid Structure in Broad-

LEA VE-TAKINGS. 323

way that was then the New York Deuce is in Him Mad. Florfval

-_ . , Devil to Pay Lady Loverule

Hospital. It was as a Contrijau- Harlequin Restored Cook

tion toward this noble charity that High Life Below Stairs Cook

Hob in the Well Hob's Mother

the performance of the 26th of Lethe Mrs. Tattoo

July was given. The advertise- Lying Valet { Mrs! Gadabout

, r .!_• 1 ri. i • J Mayor of Garratt Mrs. Bruin

ment for this benefit contained a ,,.„ , ., ^ , ,

Miller of Mansfield Margery

quaint reference to its object. * Musical Lady Laundress

Old Maid Old Maid

From this it will be seen that the Polly Honeycomb .... Mrs. Honeycomb
• . . 1. i-L t L. Spirit of Contradiction .... Mrs. Partlet

assistance given by the players to ^, , „ ,, ^

° ■' ^ ■' Thomas and Sally Dorcas

the New York Hospital, at the Upholsterer Termagant

Witches Cook

close of Mr. Douglass' admini-
stration, was not characterized by the illiberality of sentiment
displayed by the managers of the Pennsylvania Hospital in
accepting a similar gift fourteen years before, when he was only
beginning his career as a theatrical manager in the American
Colonies. For the Hospital benefit the Rev. Dr. Myles Cooper,
Provost of King's, now Columbia, College, wrote a prologue suited

Dr. Cooper's Prologue. to the occasion, that was

-.TT-.i. 1 ■ u . .1. IT. . r 1 spoken by Mr. Hallam.

With melting breast the wretch s pangs to teel, ^ '

His cares to soften, or his anguish heal ; This waS the Only time in

Woe into peace by pity to beguile.

And make disease, and want, and sorrow smile ; '•^^ ^^ng niStory Ot tne

Are deeds that nobly mark the gen'rous mind, American Stage before the

Which swells with hberal love to human kind.

And triumphs in each joy to others known Revolution when a clergy-

As blissful portions added to his own.

man in any way contributed

' Extract from the Hospital Adver- as providing a receptacle for the sick and

TISEMENT. — *^* It is hoped that all who needy. It is hoped by the friends of the

are charitably disposed or wish well to so hospital that the moral of the play to be actec.

laudable and useful an undertaking will coun- will have some influence with those who are

tenance this play with their presence, or other- otherwise no friends to the theatre.
wise contribute their mite to so good a work

324

HISTORY OF THE AMERICAN THEATRE.

Small though our powers, we pant with honest heart,
In pity's cause to bear a humble part ;
We gladly give this night to aid a plan
Whose object's charity and good to man.

Patrons of charity ! While time endures.

Be every bliss of conscious virtue yours !

The hoary father snatched from want and pain,

Oft to his consort and his youthful train

Shall praise the hand that rais'd his drooping head,

AA^en every hope, when every friend had fled,

That raised him, cold and naked, from the ground.

And pour'd the healing balsam in his wound.

With kindly art detain' d his parting breath.

And back repelled the threat'ning dart of death.

The plaintive widow, shedding tears of joy.

As fondly watching o'er her darling boy.

Her anxious eyes with keen discernment trace

The dawn of health relumining his face.

Shall clasp him to her breast with raptures new,

And pour the prayer of gratitude to you.

In you the long lost characters shall blend.

Of guardian, brother, father, husband, friend !

And sure if bliss in mortal heart can shine,

That purest bliss, humanity ! is thine.

Let not mistaken avarice deplore

Each mite diminished from his useless store.

But tell the wretch — that liberal acts bestow

Delights which hearts like his can never know.

Tell — for you feel — that generous love receives

A double portion of the joy it gives,

Beams o'er the soul a radiance pure and even,

And antedates on earth the bliss of heaven.

This night to youth our moral scene displays
How false, how fatal are the wanton's ways ;
Paints her alluring looks, fallacious wiles.
And the black ruin lurking in her smiles ;
Bids us the first approach of vice to shun.
And claims a tear for innocence undone.

While scenes like this employ our humble stage
We fondly hope your favors to engage ;
No ribald page shall here attendance claim.
Which decency or virtue brands with shame ;
No artful hint that wounds the virgin's ear.

to the literature of the
theatre or gave the drama
any recognition, either
direct or indirect. It will
be observed that Dr. Coop-
er's prologue is by all odds
the best written for our
stage between 1752 and
1774. Dr. Cooper, who
was a graduate of Oxford
University, was an active
Tory when the Revolution
broke out, and was reported
to be one of the authors,
if not the author, of a tract,
entitled "A Friendly Ad-
dress to all Reasonable
Americans," which was
answered by Alexander
Hamilton, then a student
in the college, in a pam-
phlet of great ability.
Cooper became very ob-
noxious to the Whigs, and
on the loth of May, 1776,
he was driven from the
college by a mob, led by
"Sons of Liberty." He

LEAVE-TAKINGS. 325

succeeded in reaching a No thought that modesty would blush to hear;

. . _ We ask no patronage — disclaim applause —

British vessel and sailed for But while we act and speak in virtue's cause,

England. This event he ™s is our aim, and while we this pursue

We ne er can fail of patronage from you.
commemorated in a poem,

printed in the Gentleman's Magazine, describing the attack of the mob

and his flight when

the furious throng

An entrance forcing, poured along.

And filled my peaceful cell ;
Where harmless jest, and modest mirth,
And cheerfixl laughter oft had birth,

And joy was wont to dwell.

Although Mr. Douglass was still the manager of the American

Company Mr. Henry appears to have been taking an active part in

Advertisement. the business, as is shown by an

All persons having any demands on the advertisement in the New York

American Theatre are requested to send in ^ ^^ ^^e 1st of July, jUSt

their accounts to the subscriber, that they may

be paid. John Henry. four days before the close of the

season and the final leave-taking of the New York public.

From New York the Company went to Annapolis for the races.

A similar event to the final departure of these favorite performers
from New York occurred in Philadelphia four months later. Before
the Southwark Theatre opened, on the ist of November, 1773, for the
brief season that proved to be the last engagement of the company in
Philadelphia before the Revolution, it was announced that the Stay of
Mr. Douglass' forces could be for a fortnight only. The limit was not
exceeded, except by one night, when, in consequence of the vessel in
which the company was to sail for Charleston being delayed, the
"West Indian " was given, with Mrs. Douglass as Lady Rusport. The
bills for five of the six nights of this short season have been preserved.

326

HISTORY OF THE AMERICAN THEATRE.

List of Performances.

»773-
Nov.

I — Lionel and Clarissa . . Bickerstaff

Love a la Mode .... Macklin
3 — Earl of Essex Jones

Citizen Murphy

8 — Hamlet Shakspere

Irish Widow . . . Garrick

10 — Clandestine Marriage

Garrick and Colman

Padlock Bickerstaff

15 — ^West Indian .... Cumberland

Cross Purposes O'Brien

and of these we have casts for three nights — the 3d, loth and 15th
of November. In the "Earl of Essex" no change was made since

the play was last performed in
Philadelphia, except the substitu-
tion of Miss Storer for Mrs. Henry
as Countess of Nottingham and of
Mr. Hughes for Mr. Byerly as
Sir Walter Raleigh. In the farce
Miss Wainwright appeared as
Maria, the first time in six
years. Hughes also succeeded
Byerly as Sir Jasper Wilding, and Mr. Douglass was advertised
as Dapper, Mr. Roberts as Quilldrive being dropped. The
cast of the "Padlock" was identical with that previously printed,
but for the "Clandestine Mar-
riage " there was a new distribu-
tion of parts. As this was the
last time the comedy was per-
formed in Philadelphia by the old
American Company, and on the
last night but one of acting at the
Southwark Theatre before the
Revolution, it is worth reproduc-
tion here. It will be noted that

Clandestine Marriage.

Lord Ogelby Mr. Hallam

Sir John Melville Mr. Douglass

Lovewell Mr. Henry

Sterling Mr. Morris

Sergeant Flower Mr. Goodman

Canton Mr. Hughes

Brush Mr. Wall

Traverse Mr. Dermot

Truman Mr. WooUs

Miss Sterhng Miss Hallam

Miss Fanny Miss Storer

Betty Miss Richardson

Chambermaid Miss Wainwright

Housekeeper Mrs. Wall

Mrs. Heidelberg Mrs. Douglass

Miss Wainwright was the Cham
bermaid. This, however, was not her last appearance on the stage,
her farewell being made as Lucy in " Cross Purposes," which was the
afterpiece to the "West Indian" on the 15th. In the "West Indian,"

LEAVE-TAKINGS.

327

on this occasion, Hallam played Belcour, Henry 0^ Flaherty, Woolls
Varland, Hughes Fulmer, and a gentleman made his debut as Charles
Dudley. The other parts were unchanged. In "Cross Purposes"
Morris played Mr. Grub, instead of Goodman, Hughes Robin, instead
of Morris, and Dermot Consol, instead of Byerly. When the curtain
fell that .night the doors of the theatre Mr. Douglass had built seven
years before closed forever upon his management.

On the last night of the performance in Philadelphia Mr. Good-
man spoke an epilogue, which, although not intended as such, proved
a last farewell. No

mention of it was
made in the Phila-
delphia papers, but
it was printed in the
Virginia Gazette at
Williamsburg, on
the 1 3th of January,
1 774. There is no
hint as to the au-
thorship, but its
phraseology is so
personal to the ac-
tor as to convey
the impression that
he was also the
poet. The most
interesting fact in
connection with it

Goodman's Epilogue.

To strike with magic touch the attentive ear;
To draw from pity's eye the generous tear ;
To soothe the heart and feel another's woe;
To catch the uplifted sword and save the blow ;
To wake with melody the breathing lyre ;
To warm the soul and animate its fire :
Labors like these, in far sublimer lays,
Be crowned with laurels and unenvied bays.

Should friendship move poor me to paint distress,
For I can feel, ye rich, but not redress ;
Oh could each generous heart whose tears will flow
For others' griefs, but mitigate the woe !
Then would the world in happy concord join.
And warring nations feel the change divine ;
Friendship and love erect their sacred throne,
And hail sweet peace an offspring of their own.
But I, alas, by fortune placed so low,
Must check my fond ideas as they flow.
What ! cries the proud, shall paltry play'rs engage
To preach up reformation to the age ?
Shall they, whose borrowed wit can scarcely raise
The sniggering leer, or vulgar shouts of praise.
Shall they by reason or by judgment shine,
Whose " ten low words oft creep in one dull line ? "
Mere strollers, so our chronicles have shown, [gone.

Like Hamlet's ghost — they're here — they're there — they're

To these good gentlemen I'd speak one word —
A slave ere now gave counsel to his lord —

328

HISTORY OF THE AMERICAN THEATRE.

Tho' we inured to bear the public jeers
Of ambling authors, in their awkward gears,
Yet can we whip and cut the comic muse.
And beat, if virtue drives, whene'er we chuse;
Or, if with tragedy we're loaded deep
'We mourn Monimia, and for virtue weep,
Praise virtue's cause in whatsoe'er we say,
For she's the heroiue, wliaie er the play.

Thus Belisarius, seamed with many a fear,
The poor returns of long and fearful war,
'Whose mind with virtue and with truth elate
Beyond the vassals of inglorious state,
'Twas thus she spoke aloud tins ;;rm decree,
**My sons, be virtuous and, my sons, be free.''

{Taking '.-a^ ;
Ladies, the favors which your : dunty show
'Will raise my gratitude, where'er we go ;
And now, kind gentlemen, with heart sincere,
I take my leave and thank yo-ur goodness here.

is that it should have
been first printed in
Virginia weeks after its
delivery in Philadelphia
and while the company-
was performing at Char-
leston. It is to be re-
membered, however, that
the advertisements in the
Philadelphia papers an-
nounced the Farewell

Epilogue to be spoken
by Mr. Hallam. This intention was probably changed to allow Mr.
Goodman to speak his own production.

It may be well to add that down to the Revolution Philadelphia
was the most important theatrical city in the Colonies.

CHAPTER XXIX.

THE CHARLESTON THEATRE.

OPENING OF THE FIRST THEATRE IN SOUTH CAROLINA A COMPLETE

LIST OF THE PERFORMANCES A BRILLIANT SEASON CHARLES-
TON AUDIENCES IN 1 77 3-4 A SLIGHT SPIRIT OF OPPOSITION

MANIFESTED.

IN Rivington's Gazette, under date of July 27th, 1773, it was
announced that a large subscription had been solicited and was
raising for building an elegant theatre in Charleston, S. C, in which
Mr. Douglass' American Company would perform during the winter.
Mr. Douglass evidently had gone to Charleston on this business before
the close of the New York season, leaving Mr. Henry in charge, as it
was announced he would sail thence for Philadelphia on the 30th of
August with Captain Blewer, " having secured the patronage of the
gentlemen of that city, which will enable him to build and open an
elegant theatre before Christmas." This indicates that the Charleston
Theatre was built upon a plan similar to that which enabled Mr.
Douglass to build the theatre at Annapolis, in 1771. The house was
not large, but it was more commodious than either the Southwark
Theatre at Philadelphia or the John Street Theatre in New York. It
was said of it that it was elegantly finished and well supplied with new
scenery. How long this theatre stood is uncertain, but it does not
seem to have been used as a play-house after the Revolutionary war.

(■329)

330 HISTORY OF THE AMERICAN THEATRE.

Previous to the erection of this building entertainments such as the
concerts of the St. Cecilia Society were given in a large, inelegant

structure, situated, Josiah Quincy, Jr., says in his "Journal," down
a yard.

The new Charleston Theatre was opened on the 2 2d of Decem-
ber, 1773, with "A Word to the Wise" and " High Life Below Stairs."

List of Perfor mances. This was the beginning of a season

i^^22-WordtotheWise . . . .Kelly o^ Sfty-nine nights, during which

High Life Below Stairs . Townley as many as forty-eight distinct

24 — Hamlet Shakspere

Cross Purposes O'Brien plays and twenty -nine farces were

27 — Suspicious Husband . . . Hoadly . t-., , , .,

Catherine and Petruchio. Shakspere S'^^"" ^he season lasted until

30— Clandestine Marriage the 19th of May, 1 774, a period

Garrick and Colman ^ .

Mayor of Garratt Foote ^^ ^^e months. When it closed

jln."*' I— Earl of Essex Jones ^ complete list of the perform-

Irish Widow. . . .Garrick ^nces, from the beginning, was

3_Love in a Vill^e . . BickerstafF '^ °'

Lethe . .... Garrick printed in the South Carolina

5 — Gamester Moore

High Life Below Stairs. Gazette. As already mentioned,

8— Beaux' Stratagem . . Farquhar t^is is the only complete list of

Miller of Mansfield . . . Dodsley

10— Constant Couple . Farquhar any season before the Revolution,

Catherine and Petruchio.

13-Mouming Bride . . . Congreve except that for the Annapolis en-
Lying Valet .Garrick gagement of 1760. It is, how-

15 — She Stoops to Conquer . Goldsmith

Irish Widow. ever, in every way more interest-

17— Jane Shore Rowe . , , , ,.

Cross Purposes. '"g than the Annapolis repertoire.

19— Busybody . . . Centlivre jj^e good people of Charleston

Love a la Mode .... Macklin

24 — Cymbeiine .... Shakspere had not only an opportunity of

Honest Yorkshireman . Carey . . -i « • ^ >

25_Beggars' Opera ... Gay Witnessing the American Com-

LovealaMode. pany's last performances before

27 — Romeo and Juliet . Shakspere

Miss in her Teens . . .Garrick the Revolution and of seeing the

THE CHARLESTON THEATRE.

331

performers at their best, but the
list of performances presented for
their approbation is almost bewil-
dering in extent and variety.
Nearly everything that then held
the stage was produced at least
once during the season. Nine of
Shakspere's masterpieces were
given, including " Julius Caesar,"
for the first time in America.
Dryden, Vanbrugh, Congreve,
Farquhar, Colley Gibber, White-
head, Otway and Addison were
all represented. Eight of Garrick's
productions were in the list.
Bickerstaff's English operas, then
in the height of their popularity,
were sung, and the comedies of
Kelly and Cumberland were in
the bills from time to time. Gold-
smith's masterpiece, " She Stoops
to Conquer," was twice played,
and Murphy's " Way to Keep
Him " and " Apprentice " once
each. There was, besides, an
afterpiece, "Young America in
London," the title of which seems
to indicate that it was of local

Jan. 2g — Merchant of Venice . . Shakspere

Devil to Pay Coffey

31 — Richard III .... Shakspere

Thomas and Sally . . Bickerstaff

Feb. i — Tempest Dryden

4 — Love in a Village.

Love a la Mode.
7 — Wonder Centlivre

Midas O'Hara

10 — Alexander the Great .... Lee

Miller of Mansfield.
12 — Tempest.

Guardian Garrick

14 — George Barnwell Lillo

Edgar and Emmeline Hawkesworth
17 — King Henry IV . . . Shakspere

Thomas and Sally.
19 — Theodosius Lee

Citizen Murphy

21 — Bold Stroke for a Wife . Centlivre

Mayor of Garratt.
24 — Othello Shakspere

Damon and Phillida . . . Cibb^r
26 — She Stoops to Conquer.

Edgar and Emmeline.
28 — ^Jealous Wife Colman

Citizen.
Mar. 2 — Shipwreck Cumberland

Catherine and Petruchio.
4 — Lionel and Clarissa . . Bickerstaff

Lethe.
7 — Fashionable Lover . Cumberland

Padlock Bickerstaff

10 — Maid of the Mill '. . . Bickerstaff

High Life Below Stairs.
^3 — Lear Shakspere

Irish Widow.
14 — Tempest.

Padlock.
16 — Cymon Garrick

Miss in her Teens.
18 — Recruiting Officer . . Farquhar

Oracle Mrs. Gibber

21— West Indian .... Cumberland

Devil to Pay.

332

HISTORY OF THE AMERICAN THEATRE.

Mar. 25 — Provoked Husband . . Vanbrugh
Lying Valet.
26 — Romeo and Juliet.

Hob in the Well .... Gibber
April 4 — Lionel and Clarissa.

Englishman in Paris . . . Foote
6 — English Merchant . . . Colman

Contrivances Carey

8 — Fair Penitent Rowe

Cross Purposes.
1 1 — Roman Father .... Whitehead

Irish Widow.
13 — Way to Keep Him . . . Murphy

Contrivances.

15 — Constant Couple.

Lying Valet.

18 — False Delicacy Kelly

Witches.

20 — ^Julius Cassar Shakspere

Register Office Reed

22 — Macbeth Shakspere

Young America in London.
25 — West Indian.
Midas.

27 — Tamerlane Rowe

Catherine and PetrucMo.
29 — Cymbeline.

Love a la Mode.
May 2 — Bold Stroke for a Wife.

Neck or Nothing .... Garrick

4 — Orphan Otway

Miss in her Teens.
7 — Clandestine Marriage.

Apprentice .... Murphy

Opening OF the Charleston Theatre.
— On Wednesday last the new theatre in this
town was opened with Mr. Kelly's "Word to
the Wise " and " High Life Below Stairs,"
with an occasional prologue and epilogue
spoken by Mr. Hallam and Mrs. Douglass.
The performance gave universal satisfaction.
Mr. Hallam in particular in Captain Doriner
displayed his extraordinary theatrical talents
in a most splendid manner. Indeed, all the
performers did great justice to their characters ;

origin. If this assumption is cor-
rect it was the first farce by an
American author that found its
way to the stage.

The records of this season,
doubly interesting because it was
the first and last campaign before
the Revolution, are exceedingly
meagre. All the Charleston pa-
pers printed just before and im-
mediately after the opening of the
new theatre are lost. Fortunately
Rivington's New York Gazette,
which was the best newspaper of
that period in the modern sense,
contained an account of the open-
ing that almost compensates the
loss of the South Carolina reports.
Indeed, it is not improbable that
the account printed in Rivington's
Gazette^ was copied from the South

but that gentleman's superior abilities were so
remarkably striking that we could not pass
them over unnoticed. The house is elegantly
finished and supposed for the size to be the
most commodious on the continent. The
scenes, which are new and well designed, the
dresses, the music and what had a very pleas-
ing effect, the disposition of the lights, all
contributed to the satisfaction of the audience,
who expressed the highest approbation of
their entertainment.

THE CHARLESTON THEATRE.

333

Carolina Gazette. From this it May ii— Cato Addison

Reprisal Smollett

will be seen that Mrs. Douglass (A Masonic benefit.)

spoke the epilogue on this occa- i6-Douglas Home

^ r t. jjgYil to Pay.

sion, thus proving beyond all 19— King John Shakspere

Guardian.

question that a report other death,

printed in many newspapers the previous September, was a mistake.
In the South Carolina Gazette ' of the 30th of May there was, however,
a very satisfactory report of the close of the season. From this
account it will be noted that Mr. Douglass had laid out a very elaborate
programme for the future, extending over a period of three years.
This programme, fortunately for the country but unfortunately for the
theatre, was not destined to be carried out, for on the 24th of
October, 1774, the Continental Congress passed a resolution recom-
mending a suspension of all public amusements. Information of this
resolution was conveyed to Mr. Douglass in a letter from Peyton
Randolph, the President of Congress, and with its receipt was closed
the history of the American theatre before the Revolution.

' Close of the Charleston Season. — their performances. The choice of plays hath
On Friday last the theatre which opened been allowed to be very judicious, the director
here the 22d of December was closed. having selected from the most approved Eng-
Warmly countenanced and supported by the lish poets such pieces as possess in the high-
public the manager and his company were est degree the utile duke, and while they
excited to the most strenuous efforts to render entertain improve the mind by conveying the
their entertainments worthy of so respectable most useful lessons of industry and virtue,
a patronage. It was considered how late it The company have separated until the winter,
was in the season before the house could be when the New York Theatre will be opened,
opened, the variety of scenery and decorations Mr. Hallam being embarked for England to
necessary to a regular theatre, the number of engage some recruits for that service. The
plays represented and that almost every piece year after they will perform at Philadelphia,
required particular preparations, it must be and in the winter following we may expect
confessed that the exertions of the American them here with a theatrical force hitherto un-
Company have been uncommon and justly known in America.

entitles them to those marks of public favor Scratch me, countryman ! — and I'll scratch

that have for so many years stampt a merit in thee.

334 HISTORY OF THE AMERICAN THEATRE.

Only one advertisement printed this season, that was in any-
way complete, has come down to us through the existing files of the

Advertisement. Charleston papers. This is an

announcement of a Masonic bene-

The last time but one of performing this

season fit, contained in the South Carolina

His Honof L!™enan?Govemor ^'^^ ^^^'^^''-^ ^«^^^^^ Joumaloi the

For the BENEFIT of the Charity Fund of the jq^Jj pf May, 1/74. It affords US
Union Kilminning Lodge, appropriated to

the ReUef of all Members of the Society full CastS of the play and farce, the

of Freemasons, their Wives, Widows, Chil- , -l r iU /-i. i

, „ ' , ,. . only ones we have of the Charles-

dren and Orphans when m distress ^

At the New Theatre ton season of 1 773-4. The only

On Wednesday, May nth, 1774

By the American Company new name is that of Mr. Davis,

Will be presented the Tragedy of 1. 1 j zlt .< • it, r

CATO played Hearty in the farce.

Never Performed There. These casts indicate that no im-

Cato Mr. Douglass

Sempronius Mr. Hallam portant changes had been made

f""^"^ .;^^'"^""^ in the company, only the name

Marcus Mr. Goodman

Juba Mr. Hughes of Mr. Wall being missing among

Syphax Mr. Morris

Lucius Mr. Dermot those of the older members. It

^^"■^^ ^': ^°°^^ may be assumed, therefore, that

Lucia Miss Storer

Marcia Mrs. Morris with slight modifications, Owing

An occasional Prologue to be spoken by .

Mr. Hallam. to these unimportant changes, the

An EuLOGiuM on Masonry to be spoken -^^^ presented at Charleston

as an Epilogue by Mr. Goodman.

The Masonic Anthem by Mr. Woolls. were played substantially as they

To which will be added . . , , - -

A Comedy of Two Acts called ^ad previously been cast at New

THE REPRISAL, York and Philadelphia.

or The Tars of Old England.

Never Performed There. The first theatrical seas'on in

Lieut. O'Clabber, with a song . . Mr. Henry ^1 , . , .

Ensign Maclaymore Mr. Douglass Charleston was evidently a great

Lieut. Lyon Mr. Goodman • event in the histofy of that City. It

Capt. Champignon Mr. Roberts

Black, a drunken sailor . . . Mr. Hallam is not Surprising that the players

THE CHARLESTON THEATRE. 335

met with a warm reception at the Hearty Mr. Davis

Brush Mr. Hughes

hands of the Charleston play-goers. Halyard, with " Hearts of Oak " Mr. Woolls

In Philadelphia and New York """''•;,, •■•;••■ -^'^^Storer

(With a song in Character.)
those who arrogated to themselves To conclude with Rule Britannia.

At the end of Act I a new Mason's song,

a finer clay than the ordinary ^jth a Chorus.

mortal is made of disdained the ^°''"=' 35^- P''' ^5^- ^^"^T, 20..

No money will be taken at the doors, nor
drama as interpreted by the stroll- any person admitted without tickets.

The doors will be opened at Five and the
mg players of the American p^Av begin precisely at a Quarter past Six

Company. Ladies who held °'<='°<=''-

themselves aloof from their commoner sisters seldom went to
entertainments of any kind and never to the play. In Charleston
the best society was fond of amusement — it was the fashion for the
fine lady to be seen in public. Early in 1773 Josiah Quincy, Jr., of
Boston, attended a concert of the St. Cecilia Society, and was astonished
to find as many as two hundred and fifty ladies present, this, he was
assured, being an unusually small number. In richness of dress he
found the Charleston ladies to surpass their sisters of the North, and
their superiors in manners — as he quaintly put it, " in taciturnity dur-
ing the performance greatly before our ladies." The gentlemen, too,
dressed with richness and elegance, and many wore their swords.
Mr. Douglass' audiences throughout the season were always large,
and in the matter of attire the most brilliant the American Company
had ever played before. Still there was opposition to profane stage-
plays, even in Charleston. " From the bad opinion I begin to enter-
tain of the play-house now building," a lady signing herself "Cleo-
patra" wrote in the South Carolina Gazette, on the first of November,
1773, "and the evils it might probably produce, I considered it as no
other than the D 's Synagogue, and resolved never to set foot

336 HISTORY OF THE AMERICAN THEATRE.

on the inside of it." " Cleopatra," however, seems to have changed
her mind, for she added that she had actually adopted a plan of life
quite contrary to that which she was so foolish as to think a more
laudable way of spending her time and money. Later, '' at a time
when the theatre is crowded and the Church neglected," a " Friend
of the Clergy" recommended for their imitation, through the South
Carolina and Country Gazette Journal, a specimen of the pulpit elo-
quence aimed at the stage by the Rev. Mr. Toplady. The opposition,
however, does not seem to have become virulent, and the season
closed as brilliantly as it had opened.

CHAPTER XXX.

GENERAL SUMMARY.

CLOSE OF THE EPOCH DEATH OF MRS. DOUGLASS REVIEW OF MR.

HALLAM's CAREER MR. DOUGLASS, MR. HENRY, MR. MORRIS AND

MR. WOOLLS MISS HALLAM — THE STOKER FAMILY THE SECOND

MRS. MORRIS — MR. GOODMAN — MISS RICHARDSON — THE MINOR
MEMBERS OF THE COMPANY.

ALTHOUGH the season at Charleston was the last work per-
formed by the American Company before the Revolution, the
last performances by professional players took place at the Southwark
Theatre, on the 19th and 23d of September, 1774. These were called
"An Attic Evening's Entertainment," and were given by Mr. Goodman,
of the American Company, and Mr. Allen, of the Theatre Royal, Edin-
burgh. This is the first mention of Allen, who remained in America
during the War for Independence, and was a manager and actor after-
ward. He was the father of Andrew Jackson Allen, a noted theatrical
character of the first half of the present century. Goodman and
Allen's entertainments consisted of " specimens of elocution taken from
the writings of the most approved English authors," together with an
Introductory Address to the Town, spoken by Mr. Goodman, a humor-
ous and satirical oration delivered by Mr. Allen, the "Lecture on
Heads," by Goodman and Allen, and " Bucks Have at Ye All," after
22 (337)

338 HISTORY OF THE AMERICAN THEATRE.

the manner of Mr. King, of the Theatre Royal, Drury Lane, by Mr.
Allen. A month later, on the 24th of October, Congress passed a reso-
lution recommending a suspension of all amusements, and thus closed
the first epoch in American theatrical history.

In parting with the actors and actresses who made the theatrical
epoch previous to the Revolution the first place must of course be

,, ^ , _ accorded to Mrs. Douglass. Ac-

Report OF Mrs. Douglass Death. °

cording to Dunlap she died in

Last week died at Philadelphia Mrs. Doug-
lass, wife of Mr. Douglass, manager of the Philadelphia in I773. This is ap-
Americair Company °f Comedians mother of e^tj ^ased on a report of her
Mr. Lewis Hallam and of Mrs. Mattocks, of "^ -^ ^ -^
Covent Garden Theatre, and aunt of Miss death, published in Rivington's
Hallam; a lady who, by her excellent per-
formances upon the stage and her irreproach- (jrazette, beptember 23d, 1773-
able manners in private Hfe,had recommended ^j^^ announcement WaS Copied
herself to the friendship and affection of many -^

of the principal families on the Continent and into the Pennsylvania Chronicle of

in the West Indies.

the 27th, but as the company was
not at the Southwark Theatre at the time Annapolis was substituted
for Philadelphia. The report, however, was a mistake, for Mrs. Doug-
lass played Mrs. Heidelberg in the

Mrs. Douglass' Parts.
" Clandestine Marriage," on the

1 0th, and Lady Rusport in the '^^^'

' ■' i^ A Bold Stroke for a Wife . . . Mrs. Lovely

"West Indian," on the 15th of Albion Queens Mary of Scotland

Alexander the Great Lysigambis

November, at the Southwark The- ah for Love Octavia

atre, and then accompanied her Beaux' stratagem Mrs. Sullen

Beggars' Opera Mrs. Coaxer

husband and the company to Careless Husband Lady Betty

, , , , ,. , Cato Marcia

Charleston, where she delivered clandestine Marriage . . . Mrs. Heidelberg

the epilogue on the opening night Committee j Mr* Da""

of the new theatre. Her death, Conquest.of Canada Sophronla

„ . T f Isabella

therefore, must have occurred in Conscious Lovers j Indiana

GENERAL

1774. According to the recollec-
tions of John North, who was the
janitor or care-taker of the South-
wark Theatre for many years,
both before and after the Revolu-
tion, Mrs. Douglass died at a
large frame house that then stood
at Fifth and South Streets, nearly
opposite the theatre. She had
been complaining for a long time
of a hurt she received in the the-
atre, and the inference is that it
was this that finally led to her
death. Mrs. Douglass was highly
respected in Philadelphia, and Mr.
North said all the ladies in the
neighborhood of the theatre at-
tended her funeral. She was buried
in the grounds of the Second Pres-
byterian Church, at Third and
Arch Streets. This burial-ground
unfortunately has been dug up
and the ashes of the dead scat-
tered, so that it is impossible to
identify the spot where her re-
mains reposed. The house in
which Mrs. Douglass died was a
tavern, and was afterward known

SUMMARY. 339

Constant Couple .... / Lady Lurewell
'^ \ L,aay Darling

Cymbeline Queen

Distressed Mother Andromache

Douglas Lady Randolph

Drummer Lady Truman -

Earl of Essex .... Countess of Rutland

Fair Penitent / ^alista

(^ Lavmia

False Delicacy Mrs. Harley

Fashionable Lover .... Mrs. Bridgemore

Gamester Mrs. Beverly

George Barnwell Millwood

Hamlet Queen

Inconstant Bissarre

Jane Shore Jane Shore

Jealous Wife Lady Freelove"

King John Queen Eleanor

Lear Cordeha

Love for Love \^^

Love in a Village Mrs. Deborah

Love Makes a Man Louisa

M-^^'l^ {L^St

Maid of the Mill Lady Sycamore

Merchant of Venice Portia

Miser Mrs. Wisely

Mourning Bride Zara

Orphan of China Mandare

Othello j^™!'^

t Desdemona

Prince of Parthia Thermusa

Provoked Husband . . . . \ ■, ? c

\ Lady Grace

Recruiting Officer Sylvia

Richard III Queen Elizabeth

Roman Father Valeria

Romeo and Juliet .... { {^"^dy Capulet

Suspicious Husband Clarinda

Tamerlane Arpasia.

Theodosius Athenais

. Tunbridge Walks Hillaria

Twin Rivals Constance

Venice Preserved Belvidera

West Indian Lady Rusport

Woman is a Riddle Lady Outside

340

HISTORY OF THE AMERICAN THEATRE.

Farces.

Anatomist Beatrice

Harlequin Collector Columbine

^^^ {S^R^

Neck or Nothing Mrs. Stockwell

Oracle Fairy Queen

Tom Thmnb Queen DollaloUa

as the "Convention of 1787." For
a sign it had a painting represent-
ing the Federal Convention, be-
neath which were inscribed the
following lines :

Mr. Hallam's Parts.

Plays.
A Bold Stroke for a Wife ,

These thirty-eight men have signed a powerfiil deed
That better times to us shall very soon succeed.

Besides his mother, Mrs. Douglass, Mr. Hallam was the only
member of the American Company who began with it at its beginning
and remained with it without in-
terruption from 1752 to 1774.

Mr. Hallam enjoyed the distinc- ^ Bold Stroke for a Wife . { CofFdgnwell

tion among his contemporaries of Albion Queens Page

, . ,, , Alexander the Great Alexander

bemg an excellent general actor, ^ufo^L^^, Marc Antony

both in tragedy and comedy. ^^^^' Stratagem Archer

Beggars' Opera Macheath

High comedy, however, was his Busybody Marplot

Cato Sempronius

Clandestine Marri^e .... Lord Ogleby

Committee Colonel Blunt

Conquest of Canada .... General Wolfe
( Daniel
' ■ ■ \ Young Bevil

forte. In parts like Ranger, Mar-
plot and Capt. Dormer he was very
clever. But his style of acting,
like the costumes of the period,
was formal, stiff and prim. One
of his most noteworthy low com-

Conscious Lovers

Constant Couple . . . { sir^Harry Wildair

Country Lasses Modely

Cymbeline Posthumous

Cymon Cymon

edy roles was Tony Iltmpkin in Distressed Mother Orest«s

Don Quixote in England . . . Don Quixote

"She Stoops to Conquer," of
which he was the original in
America. As a pantomimist Hal-
lam was a great favorite, his Har-
lequin being especially remarkable

Douglas Norval •

Drummer Tinsel

Earl of Essex Essex

Englishman in Paris Buck

(Servant
Horatio
Lothano
Altamon

GENERAL SUMMARY. 341

for activity and grace. It was False Delicacy Cecil

Fashionable Lover Mortimer

also said of him that he was very Gamester Beverly

piquant in the delivery of pro- ^'°'f ^^™''"" ^^°'e^

^ ^ ^ ^ Hamlet Hamlet

logues and epilogues, which were Henry iv Hotspur

. Inconstant Mirabel

then indispensable to the play, j^ne shore Hastings

His list of parts shows a wonder- Jealous Wife / ?^i^ •

ful range, and he seems to have ^™s 1°*™ Falconbridge

been equally admired whether he ^^'^ ILear

appeared in tragedy, comedy, Love for Love {valentine

, , r i • TD 1. ■ Love in a Village Hodge

farce or pantomime. But previous Lo,e Makes a Man ciodio

tothe Revolution he had practically Macbeth Macbeth

Maid of the Mill Aimworth

no rival. There was no actor with c portia's Servant

, 1 ■ , 1 Merchant of Venice . . . ■! Antopio

whom to compare him, and he (shybck

took care that there should be no Miser JLo^egold

opportunity for comparisons. For Mourning Bride Osmya

Orphan Chamont

nearly a quarter of a century the Oiphan of China Zapheniri

stage of the New World was his Othello \ lagb

, , *■ (.Othello
own. He was an absolute SOV- Prfnceof Parthia Arsaces

ereign of the theatre. Not only Provoked Husband . . . . | ^^^io-s„r,\

did he have the choice of parts. Recruiting OfKcer Capt. Plume

(Prince of Wales
Tressel
Richmond
„ „ Richard

Roman Father Roman Father

Henry was not allowed to aspire r Balthazar

Romeo and Juliet |j^^^^^

to many important roles until after school for Lovers Modely

the Revolution, when he became ^^^ Stoops to Conquer . . . Tony Lumpkin

Shipwreck Young Belfield

Hallam's partner. According to „ . . „ , , r Ranger

'^ ° Suspicious Husband "i T te

John Durang, Hallam was accus- r Beiazet

Tamerlane I jj^,

tomed to say of Henry after the Tender Husband . . . Humphrey Gubbiu

342 HISTORY OF THE AMERICAN THEATRE.

Theodosius f Marcian latter's death that he was a Splendid

Twin Rivals Frizure _ amateur actor. It would, perhaps,

V6nic6 Preserved • • ■ Pierre

Way to Keep Him '. Lovemore "Ot be unjUSt tO Hallam should

^^='^°<"^ ^<='™" he be placed in the same category.

Wonder Don Felix ^ ^ ^

Word to the Wise .... Captain Dormer Hallam was a graceful dancer and

Zara Ozman ,.,,., ^

a skillful fencer. In learning the

rarces. °

Brave Irishman Dr. Clyster latter accomplishment, it was Said,

Catherine and Petruchio . . . Petruchio

Citizen Young Wilding he received a hurt in one of his

Cross Purposes George Devil ^j^j^j^ j^^ ^^^^ -^^^

Damon and Phulida Mopsus ^

Deuce is in Him Colonel Tamper of vieW, an odd expression tO his

Edgar and Emmeline Edgar

Guardian Guardian face. This was scarcely percept-
Harlequin Collector Harlequin jj^j however, and generally his

High Life Below Stairs .... .^Lovel ' > t> /

Hob in the Well [ ^'^'^ Countenance was well adapted to

' \ Hob

Honest Yorkshiremau ... . Gaylove the business of the Stage, espe-

T „*!,„ f Fine Gentleman . ,, . , -. ,

^^"'^ [Drunken Man _^ cially in comedy. In person he

Love a la Mode Squire Groom ^^^ ^^^^^ ^^^ medium height,

Lying Valet Sharp =" '

Mayor of Garratt .... / ^l^Khew Mug thin, straight and wiry. This is

■' I, ivlajor Sturgeon

Miller of Mansfield Miller all we know of the personal ap-

Miss in her Teens F'lash . , - ,

Neck or Nothing Slip pearance of the first actor whose

•^^^ ^^^^ Clerimont training and career entitles him to

Padlock Mungo

Register Office Captain Le Brush _, be called American. The descrip-

Reprisal . Block . . ,. -n, i t*. • i.

Upholsterer Pamphlet t'°" ^^ °^^ ^O Dunlap. It IS at

'W'"^^^^ Harlequin least not SO much of a caricature

as the drawing Dunlap made of him for the frontispiece to Major
Tyler's comedy, the " Contrast."

After Mr. Hallam the oldest members of the company of con-
tinuous service were Messrs. Douglass, Morris, Woolls and Henry.
Among these the name of Mr. Douglass stood first, both as actor

GENERAL SUMMARY.

343

and manager, throughout the entire period. Whatever may have been
his qualifications for the stage, and they certainly were respectable,

THE LEADING MEN— THEIR PARTS.

Plays.

A Bold Stroke for a

Wife

Alexander the Great
All for Love . . .

Beaux' Stratagem .

Beggars* Opera . .

Busybody .

Cato ....

Clandestine Marriage
Committee .

Conquest of Canada

Conscious Lovers .
Constant Couple . .
Country Lasses

Cymbeline ....

Cymon

Distressed Mother .
Don Quixote in Eng-
land . ...
Douglas

Drummer

Earl of Essex .
Englishman in Paris

Fair Penitent

False Delicacy .
Fashionable Lover .

Gamester .
George Barnwell . ,
Hamlet . . .

Henry IV . .

Inconstant . .
Jane Shore
Jealous Wife
King John . .

Doufflass.

Colonel Feignwell
Sir Philip . .

Clytus
Ventidius .
Boniface .
Aimwell . ...
Peachum .
Moll Brazen , . .
Sir Jealous Traffic

Cato

Sir John Melville
Colonel Careless

Leonatus

Sealand .
Colonel Standard
Heartwell ....
Cymbeline .
lachimo ....

Lear

Lionel and Clarissa
Love for Love . . ,

Henry.

Tradelove .
Lysimachus .

Aimwell .
Sullen . .

Sir George Airy
Portius ....
Lovewell . . .
Teague
Ochterlony .
Britannicus .
Sir John Bevil .
Beau Clincher .
Carbuncle .
lachimo ....
Bellarius

Pyrrhus

Grizzel . . .

Lord Randolph

Coachman

Sir George Truman
Southampton . . .

Lothario
Horatio .

Colonel Rivers . . .
Colin Macleod . . .

Stukely

Thorowgood .

Ghost

King ...

Sir John Falstaff . .

Major Oakley
King John . .

Edgar.

Sir John Flowerdale
Valentine ...
Scandal

Southampton
Mr. Subde . .

Sciolto ....

Lord Winworth
Aubrey . .

Uncle .

Horatio
Laertes

Prince of Wales .
Sir Walter Blunt .

Charles .
Hubert .

Periwinkle .
Tradelove .
Cassander .
Alexas . .

Scrub

Lockit

Beggar

Sir Francis Gripe

Syphax

Sterling

Mr. Day . . . .

Levi

Tom

Alderman Smuggler
Freehold ...
Bellarius . .
Pisanio

Edmund . . .

Harman . . .

Sir Sampson Legend Foresight

Morris.

Simon Pure

Thessalus ,
Myris . . .

Gibbet . .

Decius

Truman ... , ,

Abel

2d Caledonian Chief
Jemmy Chaunter .

Dorus ....
Pylades . . . .
Sancha Panza
Norval . . . ,

Fantome .
Gardener . . ,
Burleigh . . . .
Sir John Buck .

Rossano . . . .

Dr. Druid . ,

James . . .

Bates . . . .

Trueman ,

Blunt . . . .

Horatio . . .
Polonius

King Henry .

Old Mirabel
Gloster . .
Russet . . .
Pandulph , ,
Kent . . . .
Gloster . . .
Albany .

Woolls.

Macheath

Dickey . . .
Sneak . . . .
Arviragus . .
Frenchman .
Linco . . . ,
First Demon .

Cook .

Lieutenant
Gamut . .

Jarvis .

Guildenstern . . .
Rosencranz . . .
Marcellus . . . .
Northumberland .
Douglas . . . .
Third Bravo . . .

Belmour

Tom

Melun

Lionel . .
Buckram

344

HISTORY OF THE AMERICAN THEATRE,

his ability as a business man is unquestionable. The fact that he
maintained the American Company intact for the long period of fifteen

THE LEADING MEN— THEIR PARTS.

Plays.

Love in a Village .
Love Makes a Man

Macbeth

Maid of the Mill .
Merchant of Venice

Midas

Miser

Douglass.
Justice "Woodcock •
Carlos . . .

Macduff

Fairfield

Bassanio ....

Frederick

Mourning Bride . .

Orphan ...
Orphan of China . .

Othello

Prince of Parthia .

Provoked Husband

Recruiting Officer .
Richard III ... .

Roman Father . . .

Romeo and Juliet .

School for Lovers .
SheStoops toConquer
Shipwreck . ...

Suspicious Husband

King Garcia,

Tamerlane

Tempest

Tender Husband .

Theodosius . . . .

Venice Preserved .
Way to Keep Him .

"West Indian . . . .

"Wonder

"Word to the Wise .
Zara

Henry.

Eustace

Young Meadows .

Malcolm

Morris,
Sir William Meadows

Don Lewis .

Banquo

Lenox

Tubal . .

Shylock .

List ,

Zaniti

Othello . . . .
lago . .
Artabanes . .

Manly

Lord Townly . .

Sergeant Kite
Buckingham .
King Henry
Richmond .
Richard .
Tullius Hostilius .
Publius Horatius
Mercutio .
Montagu
Sir John Dorilant

Old Godwin

Strictland .

Frankly

Tamerlane

Monesses

Prospero . . .

Sir Harry Gubbin .

Lucius .

Marcian

Priuli ...

Sir Bashful Constani

Captain Dudley

Gibby .

Sir John Dormer .
Lusignan

Castalio . .
Timurkan
Ca^sio . .
Ludovico

Launcelot ,

Jupiter
Ramillie . .
Decoy . . .

Gonzales

Acasto
Mirvan . .

Brabantio .

Captain Brazen

Richmond .
I'ressel

Publius Horatius .

Tybalt . . . .
Capulet . , .

Young Marlow
'Belfield . , .

nkly

Monesses . .

Omar

Trinculo

Mr. Clerimont .

Theodosius . .

Jaffier

t Sir Brilliant Fashion

Fvr'cour

U' Flaherty . . . .

L -lonel Briton . . .

Sir George Hastings

IVaolls.
Hawthorn . .
Priest . , , .
Hecate . . .
Farmer Giles
Lorenzo . . .
Apollo . . .
Sparkle , ,

Mute
Perez

Zimventi
Gratiano

Bethas

Sir Francis ....
Squire Richard . .

Worthy

Justice Balance . .

Stanly . .
King Henry

First Citizen . . . .

Friar Laurence . .

Steward

Sir Charles Marlow
Sir Benjamin Dove

Tester

Bellamy

Dervise

Stephano . , .
Mr. Tipkin . . . .

Aranthes

Theodosius . . . .

Squire Richard
Worthy ....

Ratcliff ....

Sideboard . . .

Mr. Stockwell

Lissardo . . . ,
Don Lopez .
Willoughby , ,

Farces.

Apprentice . . .

Brave Irishman . .

Catherine and Pe-

truchio

Dr. Gallipot .
Hortentio

''^rgle

Capt. O' Blunder .

Tailor ,

Wingate . .
Tradewell .

Third Citizen

Landlord
Skiff . ,

Buckle .

Mirvan . .
Tanais . .
Mustachio .

Sailor . .
Frederick

President

Grumio ...... iPeter

GENERAL SUMMARY,

345

years is in itself a proof of his managerial skill. His list of parts shows
that he played many important roles in his time. He was especially
fond of Scotchmen. In the Shaksperean drama he was the original
King John and Sir John Falstaff on the American stage. Mr. Douglass'
services in the establishment and development of the drama on this

THE LEADING MEN— THEIR PARTS.

Farces.

Chaplet

Citizen

Cock-lane Ghost . .

Comus

Contrivances .
Cross Purposes . .
Damon and Phillida
Deuce is in Him, . .
Devil to Pay
Guardian ...

OldPhilpot . .
Irish Sergeant .

Francis Bevil

Major Belfort
Doctpc .

Harlequin Collector

HighLife BelowStairs
Hob in the Well
HonestYorkshireman
Lethe . . .
Love a la Mode

Anatomist .
Clown . .
Doctor
Freeman .

^sop ...
SirArchy . . .

Lying Valet

Mayor of Garratt . .

Miller of Mansfield .

Miss in her Teens .

Mock Doctor . . .
Musical Lady .

Neck or Nothing .

Neptune and Amphi-
trite . ...

Old Maid . . .

Padlock .

Polly Honeycomb .

Register Office

Reprisal

spirit of Contradic-
tion

Thomas and Sally .
Upholsterer
Virgin Unmasked .

Witches

Douglass.

Henry.
Young Wilding

Comus

Harry Bevil ,

Jobson

Sir Jacob JoUop
Bruin ....

Gregory .

Captain Cape

Scotchman .
EnsignMacClaymore

Steer . . ,
Upholsterer ,

Statuary .

Sir Harry

Crispin Heeltap

King

Capt. Flash

Sir William . .

OldPhilpot . ,
Shadrach Bodkin .
Second Spirit . .

Argus

Robin

Corydon

SirCallaghan . .

Lieut. O'Clabber .

Sailor
Bellman .

Morris.

PFbaiis.
Damon ...
Beaufort . . .

Third Spirit ,
Rovewell . .

Damon

Butler

Sir Charles . . .

Clown

Anatomist . . .

Philip

Sir Thomas Testy
Muckworm
Old Man
Beau Mordecai .
Cook

Sharp

Crispin .

Sneak .

Dick .....

Miller

Puff

Sir Jasper

Old Mask ....
Martin

Capt. Cape
Heartly . ,

Mr. Honeycomb .

Tricket

Lieut. O'Clabber.

Mr. Parlett . . .

Feeble . ,
Goodwill .

Pantaloon .

Sir John Loverule

Magician .

Coachman .
Friendly . .
Gaylove . .
Mercury . .

First Mob ,

Joe . , .

Jasper .
Leander .

Neptune ,

Don Diego

Halyard , .

Squire , .
Rovewell

Mercury . . .
Necromancer

346 HISTORY OF THE AMERICAN THEATRE.

continent have never been fully appreciated, his achievements being
robbed of their significance by the fictions relating to the Hallams
with which Dunlap began his so-called " History of the American
Theatre."

Although Mr. Henry was kept in the background by Hallam
during this period of his service on the American stage he had man-
aged to impress the public with his general excellence, while in Irish
parts it was universally recognized that he was inimitable.

Owen Morris — "Old Mr. Morris," as he was afterward known —
was held to be an excellent actor in the serious fathers, and he was
especially clever in humorous and eccentric old men, as Sir Francis
Gripe, Alderman Smuggler, Old Mirabel and Beau Mordecai. His
Shaksperean roles, as Polonius, Brabantio, King Henry and Friar
Laurence were highly esteemed. Mr. Morris lived to be a very old
man, his latter years being spent in retirement in Philadelphia.

Stephen WooUs was a fair singer, but as an actor it is fair to
assume his merits were not great. It was said that he sang the music
of Hecate very effectively, and he was above all things else an honest
man. Both Morris and Woolls were sharers in the American Com-
pany down to the Revolution. They resumed their places in the
company under Hallam and Henry after the War for Independence,
Mr. Douglass being the only one of the quintette whose career on the
American stage ended with the epoch.

As the leading lady of the old American Company at the time
of its dissolution Miss Hallam asserts her right to consideration.
That she was the niece of Mrs. Douglass and the cousin of Mr.
Hallam may be accepted as established. It is not likely that a
journalist as well informed as James Rivington would have made

GENERAL SUMMARY. 347

the mistake of calling Mrs. Douglass her aunt instead of her mother,

especially as he mentions Mrs. Mattocks as Mr. Hallam's sister.

Her list of parts shows her to Miss Hallam's Parts.

have been first in everything, from p^

Statira ^.nd, Juliet to Po/fy in the Alexander the Great Statira

Beaux' Stratagem Dorinda

" Beggars' Opera," — in tragedy, Beggars' Opera Polly

, , . T 1 1 Busybody Isabinda

comedy and farce. In her day ^^^^^ i^ucia

her admirers sang her praises Clandestine Marriage .... Miss Sterling

Committee Isabella

with a fervor and passion that her Conquest of Canada Sophia

, nT- /-^i 11 Conscious Lovers Lucinda

predecessor, Miss Cheer, had never r- . . /- i a v

^ ' ' Constant Couple Angelica

been able to command. Even al- Cymbeline Imogen

Cymon Sylvia

lowing for poetic license and Distressed Mother Cleone

enthusiasm she must have had a Earl of Essex. . {countess of Rutland'^"'

fair share of personal beauty, else F^lfDehcacy Miss Marchmont

Fashionable Lover .... Augusta Aubrey

the Maryland poet would scarcely George Bamwell Maria

... Hamlet Ophelia

have dared to exclaim in his im- j^^^^^ ^ff^J^ Harriet

passioned, pedantic way :— King John Blanche

Lionel and Clarissa .... Diana Oldboy
Ye Gods ! 'Tis Cytherea's face ! Love,for Love Angelica

The poem accords Miss Hal- Love in a Village {Roslttl^

lam theatrical talents of the most Maid of the Mill Patty

Merchant of Venice Jessica

versatile order, making her one Miser Harriet

of the few actresses who have had Mourning Bride | Almeria"

the ability to catch Shakspere's ^'°^°^^^ Husband Miss Jenny

Recruiting Officer Rose

glowing ray ; investing her com- Roman Father Horatia

. Romeo and Juliet Juliet

edy with the power to compel gchool for Lovers Celia

laughter to hold his sides and She Stoops to Conquer . . Miss Hardcastle

Shipwreck Sophia

make the pit resound with ios of Suspicious Husband Clarinda

Tamerlane Arpasia

enjoyment, and matching her elo- lender Husband Niece

348 HISTORY OF THE AMERICAN THEATRE.

^ , . f Mirina cutioii onlv with the notes of her

Theodosius \Athenais '

Way to Keep Him .... Widow Leimour singing voice when her looks in-
^--^^^^-- Charlotte Rusport f^^.^ ^he Strings. Of Miss Hallam

) \ lolante °

°° ^^ ^ Isabella ^^^^^ ^^^ retum to England there

Word to the Wise Miss Montagu

Farces. is no information. After being

Si'"!":":".* .■ .■ .■ .• ; .■ ; • . i^l ^^^S of by the poets and painted
Comus Sabiua ]^y Peale she was destined to be

Deuce is in Him Emily-
Edgar and EmmeUne .... Emmeiine ignored, if not entirely forgotten

S"^f "° : ;, ^^'" ^^'' by the dramatic historians. She

Harlequm Collector ... . Haj-maker •'

High Life Below Stairs ... . Lady Bab Jj^s alwayS been confounded with

Hob in the Well Flora

Honest Yorkshireman Arabella her COUsin, the MisS Hallam of

Lethe Mrs. Tattoo , ■• ■. ,

, ,, ^ r-u , . 1752-4, and her merit as an actress

Love a la Mode Charlotte ' ■' ^'

Miss in her Teens Miss Biddy denied, while her parts show that

Musical Lady Sophy

Neck or Nothing Miss Xancy she occupied a more important

^^^, ^, }-n la position on the American stage

radJock Leonora '■ °

Reprisal Miss Harriet than had ever been filled by her

Thomas and Sally . Sally

aunt, Mrs. Douglass.
Of the three Storer sisters who came to the Southwark Theatre
at the same time with 'Sir. Henry, in 1767, Ann was the eldest, and
until shortly before the Revolu- ^nn Stoker's Parts.

tion, when she was known as Mrs.

Plays.

Henry, the most prominent actress. Alexander the Great Parisates

TT ,. r 1 1 • All for Love Octavia

Her list of parts shows her in a beaux' Stratagem Cheny

favorable light as an actress from Beggars' Opera Mrs. Coaxer

Clandestine Marriage Betty

the very beginning of her career. Conquest of Canada First Nun

T, - , , ,. , , Conscious Lovers Isabella

It IS true she did not occupy the ^ymon Fatima

front rank, especially in tragedy, Distressed Mother Cephisa

Earl of Essex . . . Countess of Nottingham
at any time, Desdevwna being her False Delicacy Miss Rivers

GENERAL SUMMARY.

349

best role in the Shakesperean Fashionable Lover Lucinda

Hamlet Player Queen

drama, but all her parts were King John Lady Falconbridge

responsible, and some of them , ^" ," ' ' " ". ^^^^°

Lionel and Clarissa Jenny

excellent. She suddenly dropped Love for Love Angehca

Midas Juno

out of the bills altogether, Miss orphan Serina

Richardson taking her part of °*'".°. • ' Desdemona

° Recruiting Officer Melinda

Betty in the " Clandestine Mar- Richard III Lady Anne

Roman Father Valeria

nage, when it was last played Romeo and Juliet LadyCapulet

in Philadelphia, in 1773, and her School for Lovers Araminta

^ ' ''•" Shipwreck Violetta

sister succeeding her in the "Earl Suspicious Husband .... Mrs. Strictland

Tamerlane Sehma

of Essex, as already noted. It Tempest Miranda

Way to Keep Him .... Mrs. Lovemore
West Indian Miss Fulmer

remain with the company until Wonder Flora

the end, although it is more prob- ^ , . , „ Farces.

° '^ Catherine and retruchio Bianca

able that she separated from Mr. Guardian Lucy

High Life Below Stairs Kitty

does not follow that she did not

Hob in the Well ......... Betty

Lying Valet Kitty Pry

Mayor of Garratt Mrs. Sneak

Miss in her Teens |MJ Biddy

Neck or Nothing Jenny

Register Office Margery Monfort

Upholsterer Termagant

Henry in the winter of 1772-3
and retired. She died in New
York, in 18 16. Her son, the late
George Hogg Biddle, used to tell
of meeting the celebrated Mrs.
Wheatley in the street as a boy,
who recognized him because of his resemblance to his mother.

Fanny Storer, the second of the sisters, who became Mrs.
Mechler, was on the stage with the old American Company for only

Fanny Stoker's Parts. a brief period. Dunlap is authority

Plays. for the statement that she became

Constant Couple Parly ^^g_ Mechler, but he Seems to fix

Fair Penitent Lucilla

Suspicious Husband Jacintha the date of her marriage after Mr.

3 so HISTORY OF THE AMERICAN THEATRE.

Farces. Henry's death, while Mr. Ireland

High Life Below Stairs . . Lady Charlotte

Miss in her Teens Flash confounds her with her younger

sister, Maria. Her list of parts shows her in only three plays and two

farces. Her last appearance was in New York, in 1768, when she

played Flash, and her sister, Maria, Fribble in " Miss in her Teens."

As Maria was called Miss Storer in the bills, when Ann became Mrs.

Henry, it is probable that Fanny's marriage occurred about this time.

Maria Storer became more of a favorite than either of her elder

sisters. Growing from childhood into womanhood under Mr. Henry's

eye their subsequent relationship Maria Storer's Parts.

is peculiar — perhaps reprehensible. „/

It is sad to reflect that her girlish beaux' Stratagem Gipsy

Beggars' Opera Lucy

beauty and great gifts should have Cato Lucia

,j,. ., .,. , , , Clandestine Marriage Miss Fanny

led him mto wishmg to make her „ „ , .

° Comus Euphrosme

the successor of her sister, or that Conquest of Canada Second Nun

^ / Cupid

she should have been willing to ^°" t First Shepherdess

. T^ , Earl of Essex . . . Countess of Nottingham
occupy her Sisters place. Dunlap Englishman in Paris Lucinda

sees in Henry's successive rela- ^^'^^ Eelicay Miss Marchmont

Fashionable Lover Betty

tionships to the Storer family " a George Barnwell Maria

, . , ,, , , , King John Prince Arthur

glimpse at the state of manners ^o^el and Clarissa Clarissa

and morals among these teachers Love for Love Miss Pme

Love in a Vill^e Lucinda

of virtue and morality," and de- Macbeth Fleance

Maid of the Mill Fanny

clares that "it is unjust to fix a Midas Nysa

stigma on a profession which ap- Mourning Bride Leonora

'^ ^ Orphan Page

pertains to an unworthy indi- She Stoops to Conquer .... Miss Neville

Shipwreck Lucy Waters

Vldual, but he does not pomt out suspicious Husband Milliner

the unworthy individual. On the Tempest Ariel

Theodosius Marina

contrary, his ambiguity and dul- Way to Keep Him Muslin

GENERAL SUMMARY. 351

ness have left the stigma on Ann West Indian Louisa Dudley

Wonder Isabella

Storer's name. To her it cer- Word to the Wise .... Miss Willoughby

tainly did not belong, whether Fanes.

Cross Purposes Emily

there was or was not a marriage Damon and PhilUda Phillida

^- -.1, i- u a ^ ^^^" '° P^y Nell

ceremony at the time Henry first High Life Below Stairs Lady Bab

recognized her as his wife. Whether Hob in the Well Flora

Honest Yorkshireman Arabella

he afterward actually married Maria Lethe Mrs. Riot

„, . ,, ,, ,• ^ •rj_ Miller of Mansfield Kate

Storer is equally problematical. It Miss in her Teens Fribble

seems certain, however, that his Musical Lady Lady Scrape

Neptune and Amphitrite .... Amphitrite
fondness for the younger sister Register Office Maria

caused his separation from the elder, because the younger had sup-
planted the elder before the public long before she took the name

AN ODE Mrs. Henry. As an actress and

Inscribed to Miss Storer. . ,, . _ , , , .
Singer Maria htorer was held in

Genius of Harmony, descend, ^igh esteem, even before she

In all thy smiles appear.

And pleased, thy Storer's voice attend ; reached WOmanhood. The Mary-

For her thou lov'st to hear. , , , • i , t-. i

T3J , J land poets invoked reale to paint

Bid every ruder sound remove, ^ ^

Bid care, bid sorrow fly, her as Ariel, when singing his

For now thy Storer wakes the lay • r • l- iv/r- tt 11

. J . , , , ■' praises for painting Miss Hallam

And, mistress of the heart, ^ r a

Does with our yielding passions play, as Imogen, and an Ode, signed

Submissive to her art.

•Tis hers to lead the mind along, " Philomelos," inscribed to her and

With love's own ardor warm; -^^^^ j^ ^^^ Maryland Gazette,

Hers all the various powers of song.

And music's magic charm. October 14th, I773, WaS as ful-

■Tis portion of tv ethereal flame, ^^^^ ^g ^^e verses addressed to

This high-wrought charm is given

To those alone of finer frame, Miss Hallam in previous years.

The favorites of heaven. t-^ 1

For sure, it asks celestial art, Dunlap pronounces her the best

And all the Seraph's skill, ^vkXic singer America had known
To rule th' emotions of the heart,

Or fix the wavering will. previous to the year 1792, and

352 HISTORY OF THE AMERICAN THEATRE.

As on the banks of Nile's famed stream, adds that she played tragedy and

Old Memnon's lyre renown'd,

Touch'd by the sun's enliv'ning beam, comedy with Spirit and propriety,

Return'd a tuneful sound. i.i i i /* < t

although her figure was rather

So warm d by some divmer ray, ° °

Some emanation bright .petite for the former or for the

Of harmony, fair Storer's lay

Thus pains us with delight. heroines of Congreve and Gibber.

While now she wakes die liring lay, Wood calls her "a prodigious

Arid fills the enraptured soul, favorite," but alludes to her silly

I feel my beating heart obey.

And own her soft control. and capricious conduct, which

Sweet Harmonist ! prolong the strain,

The melody of Heaven ; frequently led to a change in the

And soothe with songs the tender pain, _ r ^.u „u „„.«„

^, , , . ^ ' performance through some cap-

Ihy tender songs have given. "■ o i

tious objection to a character, a
slender box-sheet, or a stinted proportion of applause. Charles
Durang on the other hand, apparently on the authority of his father,
John Durang, tells us that " opinions differed widely as to her merits
as an ac;^ress." The testimon\' of none of them has much value. Wood,
if he knew her at all, could have known her only as a boy, and his
knowledge of her was so slight that he says she had previously been
well esteemed at Bath as a principal singer. Durang calls her " Miss
Storer of the London theatres," who, " soon after her arrival, became
the wife of Mr. Henrj-." As has been shown, her training, both as a
singer and an actress, was entirely American. Maria Storer died soon
after Henry's death, in a house he had built back of the Southwark
Theatre, heart-broken, demented and very poor.

No greater contrast is possible than between Maria Storer and
the second Mrs. Morris. The one was slight, girlish, blue-eyed — the
other tall, stately, imposing. The one was the ideal Ariel of our early
drama — ^the other the Portia. Which was the greater favorite even
Wood does not undertake to decide. Their line of parts was so

GENERAL SUMMARY. 353

distinctly opposite that there was in reahty no opportunity for

rivalry. No such queenly Elizabeth had ever been seen in

America in the " Earl of Essex," Mrs. Morris' Parts.

when Mrs. Morris essayed the ~,

■' Plays.

role ; no such stately Shrew had Beaux' stratagem Mrs. Sullen

Beggars' Opera Mrs. Peachum

been presented by her predeces- Cato Marcia

• <!/- ii- ■ J Ti i I.- )) Conquest of Canada Abbess

sors in Catherine and Petruchio. n \ . r- ^ t j t

Constant Couple Lady Lurewell

In such parts as Marcia, Arpasia Earl of Essex Queen Elizabeth

False Delicacy .... Lady Betty Lambton

and Pulcheria she was superb. George Bamwell Millwood

T- J-,- 1 .,1 , Henry IV Lady Percy

Iradition speaks without reserve t r t ,. t^ •,

■^ Love for Love Mrs. Frail

of her excellence in the elegant Love in a Village Margery

Merchant of Venice Portia

comedy introduced by Kelly and Midas Daphne

QMm\,&x\^v,6.—LadyBettyLambton, ^"T'^^fJ"^^ ' " " "/^T

•^ ■' ' Richard III Queen Ehzabeth

Lady Dove, Lady Constant dSiA Mrs. School for Lovers Lady Beverly

She Stoops to Conquer . . Mrs. Hardcastle

Willoughby. She was the original shipwreck Lady Dove

Mrs. Hardcastle in " She Stoops J^f ^°' ^"^"^"^

iheodosius Pulcheria

to Conquer" in this country. An Way to Keep Him Lady Constant

Word to the Wise , . . . Mrs. Willoughby
ideal English dame of the period Farces

she must have been, for it is re- Catherine and Petruchio Catherine

Cross Purposes Mrs. Grub

corded of her in her latter years Honest Yorkshireman Combrush

, , , ,r r ■ Irish Widow Mrs. Brady

that shewasherselfa fine specimen Lyi„gValet Melissa

of the polished old lady of fantastic '^^«^°'''^ Ursula

etiquette. At the close of the first quarter of the present century she
still affected the styles of the beginning of the last quarter of the
eighteenth — white cravat for the neck, short waist, long train gown
and full head-dress. Mrs. Morris died in Philadelphia in 1829, having
survived all the actors and actresses who were on the American stage
before the Revolution.
23

354 HISTORY OF THE AMERICAN THEATRE.

Miss Richardson was an actress who came unheralded to the

American Company and left it without a biographer. No Maryland

Miss Richardson's Parts. poet sang her praises in' halting

verse, and Charles Wilson Peale

Plays. '

Beaux' Stratagem ... . . Dorinda was not implored to paint her

Beggars' Opera ... . Tenny Diver

Clandestine Marriage . . . ' . Betty portrait. Her history is Only a

Conquest of Canada Maid name, and her fame is comprised

Cymbehne Helen

Cymon f Dorcas in the modest line of parts in

' \ Second Shepherdess

Englishman in Paris . . :\ir5. Subtle which she appeared. But even as

False Delicacy ... Sally . . ,

Fashionable Lover .... Mrs. Mackintosh ^ "^"^^ ^ ^^^^^"^ m\.tr^S'l attaches

H^i«' Player Qiiee'i to her, for like her predecessors

Love for Love Mrs. Foresight

Maid of the Mill Theodosia in the same Walk of the drama,

Merchant of Venice ... . Xerissa tvt r- -bt- -r. i i

Recruiting Officer Lucy ^^'^'^^ *^^°''g^' ^'^^ ^^1"^^'' ^nd

Richard III Dute of York Miss Wainwright, the only won-

Shipwreck Fanny

Tender Husband Jenny der is that shc should ever have

Theodosius Flavella r j i ir • -^ i .^ • i

c • • TT , , T lound herself m it, only to smk

buspicious Husband Lucetta ■'

Way to Keep Him Mignionet out of sight with SUch apparent

West Indian Lucy

Wonder Iris indifference. Whether she ac-

Word to the Wise Lucy „„.. ,• j .1

■^ companied the company to

Farces.

Catherine and Petruchio . . Bianca Charleston is uncertain, her last

Citizen Corunna , ....

Cross Purposes Housemaid ^"°^" appearance bemg durmg

Devil to Pay . Lucy the farewell engagement in Phila-

High Life Below Stairs . . Lady Charlotte

Hob in the Well ... . Hob 5 Mother delphia. There is a tradition that

Love a la Mode Lady t j c /^.t> • ^ j, e

Lying Valet Mrs. Trippet ^^^'^ ^"^^" ^ ^"^" '^^^J^^ for

Miller of Mansfield Peggy two years with the American Com-

Upholsterer Harriet

pany. The only actress with whom

it would be possible to identify her is Miss Richardson, but the O'Briens

seem to have returned to England before Miss Richardson's debut.

GENERAL SUMMARY. 355

All that is known of Mr. Goodman has already been told in

this volume, but his list of parts is so interesting for a young man

who went fro-m a lawyer's office Mr. Goodman's Parts.

to the stage, at that early period piays.

of American dramatic history. Beaux' Stratagem • • • -^"'^"^

Beggars Opera Mat o the Mint

that it is sure to command atten- Cato Marcus

Conquest of Canada Montcalm

tion. From the very outset he Constant Couple Beau Clincher

was allowed as high a rank as J^ ^ °^ t,"l"^

° Cymon Merhn

was accorded to Mr. Henry, after Englishman in Paris Buck

Fashionable Lover Tyrrel

ten years' service. It has long Hamlet Ghost

been the habit to accord the honor ^^^^ ^\ ■■. ^^ ™ofir

Lionel and Clanssa .... Lolonel Oldboy
of being the first actor of Ameri- Love for Love Ben

Maid of the Mill ... Sir Harry Sycamore
can birth to John Martin, but Merchant of Venice Gratiano

Goodman seems to be entitled to ^'^^ ^'^^

Othello Cassio

that distinction. At the same Recruiting Officer Bullock

Richard III Buckingham

time it ought to be remembered ^^^^^ p^j^er Pubiius

that the old American Company Romeo and Juliet Escalus

She Stoops to Conquer Hardcastle

was almost wholly of American Shipwreck Captain Ironsides

,, ^ , T-r Tamerlane Monesses

training, Hallam, Douglass, Henry, ^.^^^^^^ Caliban

Morris, Woolls, Miss Hallam and Theodosius Leontine

Way to Keep Him WiUiam

Maria Storer having gained their West Indian Major O'Flaherty

. , . . ^1 /- 1 Wonder Don Pedro

theatrical experience in the Colo- ^^^^ ^^ the Wise Villars

nies. With the close of the -^«''^"-

Catherine and Petruchio .... Petruchio
Charleston season Mr. Goodman's comus Younger Brother

,. r J Cross Purposes Mr. Grub

name disappears from our dra- ^^^^ ^ ^^^^^

matic annals. He deserves espe- Lying Valet Guttle

Mayor of Garratt Major Sturgeon

cially to be remembered as the Register Office Lord Brilliant

original Hardcastle in the only ^^P"^^^ ^^^'^^- ^y"""

3S6 HISTORY OF THE AMERICAN THEATRE.

play of the period that has survived, " She Stoops to Conquer." It

is to be regretted that as the first American actor our knowledge of
Goodman is so incomplete.

Mr. Wall's service with the American Company was much

longer than that of Mr. Goodman, but in spite of his experience he

Mr. Wall's Parts. ^as completely eclipsed by the

Plays. younger actor. Wall made his

A Bold Stroke for a Wife . . Freeman - , , ,

Alexander the Great Hephestion ^^'* appearance on the openmg

All for Love Doiabelia night of the Southwark Theatre,

C Mr. Sullen

Beaux' Stratagem J Scrub in 1 766, aS Glenalvon in " Boug-
ie Freeman

Beggars' Opera Filch las " and Biondello in " Catherine

Busybody Charles j t) 4. u" » u- T j •

Cato . . . Tuba ^ retruchio. His roles durmg

Clandestine Marriage Brush his first Season were generally

Conquest of Canada Bougainville

Conscious Lovers ... . Myrtle those in which youth and good

Constant Couple .... Young Clincher , ■, . . . t . ■

Country Lasses Lurcher ^°°^^ ^^^ important, as Laertes in

Cymbeline cioten "Hamlet," Belmour in the "School

Cymon Damon

Don Quixote in England . Squire Badger for Lovers," Sullen in the " Beaux'

„°"^ ^ ena von Stratagem" and Young Clincher in

Englishman in Paris ... . Solitaire the " Constant Couple." Some-

False Delicacy .... Sir Harry Newburg

Fashionable Lover Napthali ^ow he has left behind him the

H^lir. '.'.'.'.'.'... jPiaye^r King impression that he was the dandy

t aertes ^^ ^^ company, both on and off

f W estmoreland '^ •"

'^'''^^^ ipnn°ce of Wales ^^^ ^^age. Durang left a note to

Inconstant Dugard the effect that the early players

Jane Shore Dumont

Jealous Wife Charles Were always fashionably attired.

King John . Dauphin r ix. j • • > 1

,^^^ J some of them dressing in the ex-
Lear /Edmund '^

T . , , ™ . - ^'''°-^'' treme of the foppish costume of

Lionel and Clanssa :Mr. Jessamy

Love for Love Tattle the period. First among these

GENERAL SUMMARY. 357

theatrical fops I am irresistibly Love in a Village .... Young Meadows

Love Makes a Man Don Duart

led to place Wall. A number of Macbeth Lenox

circumstances, each unimportant ^aid of the Mill Ralph

Merchant of Venice Salanio

in itself, suggests this portrait. Midas Damastas

_ .„,.,,,,., , . , Miser Clerimont

Once m Philadelphia he advertised Mournine Bride /Seiim

° (^ Garcia

the loss of his chest, indicating the Orphan Polydore

, , , , , Orphan of China

value that the owner placed upon othello Roderigo

the wearing apparel it contained. Prince of Parthia Gotarzes

Provoked Husband Count Basset

In New York, at a later period, he ^^^^^^^ ^^^^^ | BuUock ^^.^

bewailed the evil reports put in jy^j^^^^ jjj r Buckingham

, . . , , . , 1 Edward V

Circulation in regard to him by r„^^„ ^^^^^ v^l^^^^

some malicious person, showing Romeo and Juliet I B^^yojiQ

in his wail the vanity of the cox- School for Lovers Belmour

Shipwreck Philip

comb. In Baltimore, where he suspicious Husband . . . . -f ^T'^JJ .

'^ (.Jack Meggot

lived during the Revolution, he Tamerlane {naf^

kept a horse for his own pleasure, Tempest Hipolito

,, , , , , , Tender Husband Mr. Prince

until he became so hard pressed ^heodosius Aranthes

for money that he was compelled Venice Preserved Bedamar

West Indian Charles Dudley

to advertise the animal for sale. Wonder Colonel BHnker

As an actor Wall's ambition was . . Farces. \

Apprentice JDick ;

certainly greater than his merit. Brave irishman Cheatwell

Catherine and Petruchio .... Biondello

* In spite of his opportunities he Chaplet Palemon;

gradually sank in the favor of his C'''^^" /^r^^'^^^l \

, Cock-laneGhost . . . .l^^'fJ^^g^^PVl
manager and the public, until he i^raior ,

Damon and Phillida Cymon ;

found himself allowed only the Deuce is in Him Prattle ;

. . . - , T • ■ L)evil to Pay Footman '

most insignificant roles, Lint, in- Guardian Young Clackit

stead of/^rrySwm^, in the "Mayor Harlequin Collector Baboon :

Harlequin Restored Valet

> * of Garratt," and the Usher, instead High Life Below Stairs .... Lord Duke

358

HISTORY OF THE AMERICAN THEATRE.

Honest Yorkshireman SapscuU of the Bastard, in " King Lear."

Lethe Fine Gentleman

Love a la Mode Squire Groom He WaS pronOUnced unequal to

Lying Valet Gayless

Mayor of Garratt i T ' t

Leander in the " Padlock." He
, , . „ seems to have dropped out alto-

, Lord Lovewell ^■*-

Miller of Mansfield .

Miss in her Teens iiibbie gether after the season at An-

Mock Doctor Squire Robert

Musical Lady Mask napolis, in 1 773, where he remained

Neck or Nothing Belford u -u ■ j j. _• « t i

^i:,,, •, r,, ■ behmd to give a Lecture on

Old Maid Clenmont °

Oracle . Observer Heads " after the company had

Padlock Leander

Polly Honeycomb Scribble departed for Philadelphia. In re-
Register Office Harwood tiremcut, however, he was ill at

Repnsal Brush

Spirit of Contradiction Lovewell ease, and even before the close of

Thomas and SaUy . . Sailor

Upholsterer Barber the War for Independence he or-

'^'"'^^' ^'''^' ganized a company at Baltimore,

where he built and opened the first theatre there, in the beginning
of 1782. Mrs. Wall, who occasionally played small parts, was

probably not an actress, but being
the wife of a member of the com-
pany was sometimes utilized by
the management. The slight ex-

Mrs. Wall's Parts.

Plays.
A Bold Stroke for a Wife . . Masked Lady

All for Love Iras

Beaux' Stratagem Gipsy

Beggars' Opera Mrs. Slammekin

perience thus gained enabled her Clandestine Marriage .... Housekeeper

Henry IV Prince John

to shine for a very brief period as Love for Love Mrs. Foresight

the leading lady of the Baltimore Love Makes a Man Honoria

* ' Miser Wheedle

Company under her husband's Mourning Bride Attendant

Suspicious Husband Maid

management, where their daugh-
ter, Miss Wall, was also brought
before the public. What became
of them afterward is unknown.
Wall was the cause of the Hallam

Theodosius Julia

Farces.

Catherine and Petruchio -[ ^lanca

(^ Curtis

Devil to Pay Lettice

Miller of Mansfield Peggy

Mock Doctor Charlotte

Upholsterer Maria

GENERAL SUMMARY. 359

and Henry company being officially called the Old American Com-
pany after the Revolution, as he adopted the name of the American
Company for his Baltimore corps.

Whether there were two Parkers on the American stage at the
same time, one, together with his wife, with the Virginia Company at
Williamsburg, in 1768, and the Mr. Parker's Parts.

New American Company at An- piays.

napolis, in 1769, and one without Alexander the Great Polyperchon

^ ' ' ^' f Ben Budge

a wife, at least on the stage, with Beggars' Opera lif'^f^

theAmerican Company, from 1768 Conscious Lovers Humphrey

Constant Couple . . . Alderman Smuggler
to 1774, is a question that existing „ , ,. rGuiderius.

Cymbelme \Philario

records fail to settle. Mr. and Mrs. Douglas Old Norval

Parker made their first appear- Earl of Essex . Lieutenant

Englishman in Paris Classic

ance at the Southwark Theatre, Fashionable Lover Bridgemore

-_.,.,, George Barnwell Truman

June 4th, 1767. While they were Hamlet Horatio

with the Virginia Company, from Henry IV | Jg^™°^ Carrier

April to June, 1768, there was King John Salisbury

Lionel and Clarissa Jenkins

no person of the name with the Love for Love Frapland

American Company in New York. °^^ "^ ^ ' ^^ „° ^^

^ ■' Midas Sileno

Mr. Parker first joined Mr. Doug- -^^^^^ / 7«'«^-'

lass' forces at the Southwark Mourning Bride Heli

„, . , r rr. Orphan Polydore

Theatre m the season of 1768-9. o^^ello Montano

As the Philadelphia season closed ^^'^'^^^ HI Catesby

Roman Father -f '^^^^ Citizen

January 2d, 1 769, there was ample °^^^ ^ I Soldier

Romeo and Juhet Tybalt

time for him to join the New shipwreck Jonathan

American Company at Annapolis, Suspicious Husband Bellamy

in February. While a Parker was '■ ^"^^^5'

Tempest Antonio

at Annapolis from February to Theodosius Lucius

36o HISTORY OF THE AMERICAN THEATRE.

Venice Preserved Renault June the American Company was

ir TT- f William

Way to Keep Him \ Richard playing in New York, but as there

West Indian Varland _ , , . . ,

west inaian are no casts extant for this period

Farces.

Catherine and Petrachio . . . \^°^^^^° it is impossible to say whether he

Damon and PhiUida { ^J^)"/ ^nd the Parker who was at Phila-

Devil to Pay Cook delphia a few months before are

Farmer's Return from London . . Farmer . , . , t i i j ^1 i.

Harlequin Skeleton ci^n identical. I have placed the parts

High Life Below Stairs Freeman played by Mr. Parker in Maryland

Honest Yorkshireman ...... {^il^^l and Virginia in Italics. It will be

Ix>ve a la Mode . . Sir Theodore Goodchild

Lying Valet Cook observed that they are not of a

Mayor of Garratt Roger ^h^racter to disprove identity.

Miller of Mansfield Miller ^ "'

Miss m her Teens Captain Loveit If Parker left the American Com-

Musical Lady Freeman ..... ^ , .

Old Maid Heartiy pany and rejoined it after playing

Upholsterer Belmonr ^ ^^^^^^ ^j^j^ ^j^^ opposition, it

was the only case of the kind that occurred before the Revolution.

When the American Company closed its first season at the

Southwark Theatre, in 1767, Messrs. Matthews and Piatt retired, their

places being filled by Malone and Roberts. Malone's career has

been summed up in the chapter devoted to the New American Com-

,, „ , _ Danv Roberts Ms^- Roberts' Parts.

Mr. Byerly's Parts. pci"y. ±vuucil3

remained under pi^ys

Plays.

, „ T> J- T\/r.- T~>„, ,„!.,.,.,• Alexander the Great . Eumenes

Alexander the Great . Perdiccus Mr. DoUgiaSS „ , „ ^^ ,

.„ , _, T, r Beaux Stratagem . . Hounslow

Beaux' Stratagem . . Boniiace ^ . ^ -^^ . ,

, _ ° ... . , . , management un- Conscious Lovers . . Daniel
Beggars' Opera . Nimmmg Ised & „,,,.-

^ „. „ . . . Country Lasses . Shacklengure

Comus . . First Spmt til the old Amen- cymbeline Cornelius

Conquest of Canada . Feyfon -r. ,• , ■ t^ . -.^

Conscious Lovers . Cymberton can Company f "1^!=^7° '° ^^"= " ^^"P""^
_ , ,. _ . . . 1" ashionable Lover . Le Teunesse

Cymbeline . . . Cams Lucius ,■ , , i a .; .

J -n -1 disbanded. A TT„„i„t fLucianus

Cymon Donlas Hamlet i Osric

Earl of Essex. SirWalter Raleigh Jj^^er acquisition f Francis

Englishman in Paris . Marquis Henry IV ... J Peto

False Delicacy . . . .Sidney was Mr. Darby, (.Prince John

GENERAL SUMMARY.

361

Henry IV .

King John .
Love for Love . .
Love in a Village .

Merchant of Venice

Fashionable Lover . Abberville

TT , . f Bernardo

Hamlet .... |Ro,e„eranz

j Worcester

; Poins

, King Philip

. . Jeremy

. . Eustace

( Duke

\ Gobbo

Midas Pan

Mourning Bride . . . Alonzo

Othello Duke

Recruiting Officer . Capt. Brazen
Roman Father . Second Citizen
Romeo and Juliet . Montagu
She Stoops to Conquer . Hastings

Shipwreck Patterson

Tamerlane Stratocles

Tempest Alonzo

TenderHusband .Capt.Clerimont

West Indian Fulmer

Wonder Don Lopez

Farces.
Catherine and Petruchio. Baptista

Citizen Sir Jasper

Cross Purposes .... Consol
Damon and Phillida . . Areas
Devil to Pay .... Doctor
High Life Below Stairs. Kingston
Hob in the Well . . Old Hob
Honest Yorkshireman . Slango
Lethe .... Fine Gentleman

Lying Valet Trippet

Mayor of Garratt .... Bruin
Miller of Mansfield . . Richard
Old Maid .... Mr. Harlow
Register Office .... Gulwell
Upholsterer .... Quidnunc

who joined it
with Parker and
Byerly in 1768,
and left it with
Godwin and Ma-
lone after only
one season.
Darby's parts
with the Ameri-
can Company
are in Roman
letters — with the
New American
Company in

Italics. The sum-

King John . Robert Falconbridge
Merchant of Venice . . Tubal

Miser Charles

Othello Messenger

Recruiting Officer Second Recruit
Roman Father . Fourth Citizen

Romeo and Juliet . •{ p • j ^

Tamerlane Mirvan

Tempest Sycorax

Venice Preserved . . . Durand
Way to Keep Him . . Thomas

Wonder Valquez

Farces.
Brave Irishman . . . Marquis
Catherine and Petruchio . Tailor

Citizen Quilldrive

Devil to Pay . . BUnd Fiddler
Harlequin Collector . . Porter
High Life Below Stairs . . Cloe
Mayor of Garratt . . . Snuffle

Musical Lady Rosini

Register Office . . Frenchman
Reprisal . . Capt. Champignon
Witches Monsieur

mary of his parts

has been reserved for this place to show

how unappreci- Mr. Darby's Parts.

ated genius was

sometimes able

to assert itself

even at that early

period in the his-

tory of the Am-
erican stage, while unassuming usefulness,
as in the case of Roberts, and modest talent,
as in that of Byerly, went plodding on without recognition or reward.
With Mr. Darby in such roles as Sir Bashful Constant and the Mock

Plays.
Alexander the Great . Aristander
Beggars' Opera . . . Peachum
Earl of Essex . . Southampton

King John Austria

Miser Ramillie

Tamerlane Tanais

Way to Keep Him . Sir Bashful

Farces.

Anatomist Crispin

Chaplet Palemon

Mock Doctor .... Gregory

362

HISTORY OF THE AMERICAN THEATRE.

Doctor there may have been reason for the judicious to grieve over the
performances of the New American Company at Annapolis. Darby
was, perhaps, the first actor on the American stage who left one
company to seek promotion in another.

The remaining names that occur in the casts of the American
Company during the last two years of its existence are John-
son, Dermot, Hughes, Blackler and Davis. Of these Mr. Johnson
had the greater number of small parts that fell to the rank and
Mr. Dermot's Parts. file under Mr.

Douglass' man-
agement. John-

Mr. Johnson's Parts.

Plays.
Beaux' Stratagem . . Bagshot

Cato Lucius

Clandestine Marriage . Traverse son joined the

Merchant ofVenice . . Salarino

Recruiting Officer . Justice Scale company at the

Farce.
Cross Purposes . . . Consol

Mr. Hughes' Parts.
Plays.

Cato Juba

Clandestine Marriage . Canton

Plays.
Beggars' Opera . Jemmy Twitcher

Cymbeline Captain

Englishman in Paris . . Roger

Hamlet Francisco

Henry IV Bardolph

Othello Officer

Richard III Oxford

Roman Father . Fourth Citizen

son of 1772—3, Shipwreck Francis

Suspicious Husband . . Simon

but remained Tamerlane Zama

Southwark The-
atre in the sea-

Earl of Essex. SirWalter Raleigh with it for only Tempest ..... {ventoso
She Stoops to Conquer . DiKCory

^ ^ ^ a short time. Mr,

West Indian Fulmer

Farces.
Cross Purposes .... Robin
Reprisal Brush

Mr. Blackler's Part.

West Indian Stukely

Farces.
Devil to Pay .... Coachman
Hob in the Well .... Dick

Lethe Charon-

of the company Miss in her Teens . Capt. Loveit
Register Office . . . Williams

Dermot also be-
came a member

that season, but

he went with it to New York for the fare-
well engagement there. In New York
Hughes and Blackler were added to the
company. Hughes accompanied Mr. Douglass' forces to Charleston,
where Davis is named in the existing bills as playing Hearty in the

Comus Elder Brother

Mr. Davis' Part.
Reprisal Hearty

GENERAL SUMMARY. .363

" Reprisal." Oddly enough Dunlap ignores Hughes and says the
only new name added to the dramatis personce during the last New
York engagement was that of Blackler.

Every preparation had been made for a vigorous campaign
during the winter of 1774-5; Mr. Hallam, who had gone from
Charleston to London, having sent out his cousin, Thomas Wignell,
as his own substitute. Wignell, who afterward became an important
figure on the American stage, especially in Philadelphia, where he was
the first manager of the Chestnut Street Theatre, arrived in New York
only a day before the news that Congress had passed a resolution
recommending that all public amusements should be suspended
reached that city. He was sitting under his hairdresser's hands,
Dunlap says, when he learned that all the theatres on the Continent
were virtually closed by this recommendation. Wignell hearing the
news in the barber's chair was the last incident in the History of the
American Theatre before the Revolution.

End of the Epoch.

INDEX.

ABBINGTON, Mr. — A dancer, no
Abington, Mrs. — Mention, no; as
Violante, 219
Adcock, Mr. — Debut, 40; references, 63;

parts, 77
Adcock, Mrs. — Debut, 52 ; her identity, 62 ;

parts, 78
Adventures of Half an Hour — Pro-
duction, 102
Albany — American Company at, 248, 256
Albion Queens — Production, 47 ; cast, 59
Alexander the Great — Cast, 245 ; pro-
ductions, 242, 271, 331
Alexander's Feast — Byerly, 250
Allen, Andrew Jackson — Mention, 229, 337
Allen, Mr. — Mention, 229; appears in Phila-
delphia, 337
Allen, William — Proscribes the players, 2 ;

the judgment upon, 100
All for Love — First cast, 167 ; change in

cast, 224; productions, 154, 214
All in the Wrong — Production, 213
Allyn, Mr. — Debut, 104; as Lord Chalk-
stone, 105 ; secedes, 228 ; parts, 229
Allyn, Mrs. — Debut, 137; parts, 230
Amateurs — Question as to Murray and
Kean's company, 3; at Annapolis,
258
American Company — Name first used, 153;

pirated at Baltimore, 359

Amphitryon — Production, 7; reference, 17

Anatomist — First played, 34; at New York,

1753, 46; cast, 5l ; at Williamsburg

by Virginia Company, 236

Annapolis — ^Virginia Comedians at, 30 ; first

theatre, 32; Douglass at, 113; New

American Company at, 257 ; how the

planters were reached, 1770, 277;

season American Company, 278 ; new

(365)

theatre, 282; poem on church and
theatre, 285 ; Lossing on Colbert's
sketch, 286; season 1772, 296; last
season, 325
Apprentice — Cast, 221 ; productions, 213,
332.

BADDELEY, Mrs. — As Clarissa, 303
Bannister, John — As Ben, \(>ii

Barry, Mrs. — As Calista, 70, 109

Beau in the Suds — References, 6, 8, 17;
productions, 7, 34

Beaux' Stratagem — First mention, 5;
reference, 17; advertised at Williams-
burg, 1736, 39 ; New York cast, 1754,
50; partial cast, 1762, 136; Morris'
advertisement, 140; Southwark cast,
1767, l6l; changes, 224; Southwark
cast, 1772-3,310; productions, 7, 33,
47, 94, "4, 121, 131, 154, 197, 212,
249, 270, 298, 317, 330

Beccely, Mrs. — Debut, 45; reference, 64;
parts, 78

Bedlamites — Production, 238.

Beggars' Opera — First mention, 5 ; played
for Kean's benefit, 9 , reference, 1 7 ;
advertised by Virginia Comedians, 31 ;
at Upper Marlborough, 33 ; New York
cast, 1754,54; Philadelphia cast, 1759,
108; changes, 136; Southwark cast,
1766, 158; advertisement for Mrs.
Parker's benefit, 239 ; New American
Company cast, 261 ; productions, 7,
33, 47, 102, 130, IS3, 236, 249, 258,
270, 298, 317, 330

Bell, Mr. — Debtct, 45 ; parts, 77

Benefits — Charity School, Philadelphia, 70;
for an organ for the College Hall,
Philadelphia, in; Pennsylvania.Hos-

366

INDEX.

pital, 112; Newport, 125; benefit ac-
count, New York, 139; New York,
1769,252; New York Hospital, 1773,
323; masonic lodge, Charleston, 334
Bernard, John — Anecdote of Herbert, 43 ;
reference to Morris, 90; Mrs. Morris'
death, 230
Black, William — Extract from Journal, 195
BlAckler, Mr. — Debut, 320; part, 362
Bold Stroke for a Wife — First mention,
7; reference, 17 ; Annapolis cast, 1760,
119; New York cast, 1768, 219;
partial cast. New American Company,
264; productions, 7, 34, 1 14, 155, 213,

259. 331
Booth, Barton — As Hastings, 57
Booth, Edwin — As Petruchio, 157
Boston — "Orphan" performed at, 2
BouciCAULT, Dion — Allusion to, 9
Brave Irishman— Mr. Walsh as O' Blun-
der, 1765, 141 ; New York cast, 1768,
222; partial cast, Xew American
Company, 265 ; productions, 141, 154,
197, 214, 249, 258
BromAdge, Mr. — Debut, 236
Brothers — See " Shipwreck."
Brown, Col. — Account of William Hallam,

21
Buckley, Mrs. — As Miss Hardcastle, 319
Burdett, Mr. — First mention, 26
Burton, Wm. E. — Allusion to, 5
Busybody — Played for Mr. Kean's benefit,
1 1 ; advertised at Williamsburg, 1736,
39; New York cast, 1768, 216; par-
tial cast, New American Company,264 ;
productions, 7, 33, 1 14, 213, 242, 249,
259, 270, 330

Careless Husband — Production, 47 ; cast,
55
Catherine and Petruchio — First cast,
157; changes, 226; partial cast, New
American Company, 265 ; Southwark
cast, 1772-3, 308 ; Mr<. Morris as
Catherine, 310; productions, 153, 223,
242, 249, 260, 272, 298, 317, 330

Cato — ^First produced in America, 2 ; in New
York, 5 ; reference, 9 ; at Williams-
burg, 39 ; partial cast. New York,
1762, 136; Southwark cast, 1767, 163;
changes, 224; Charleston advertise-
ment and cast, 334 ; productions, 7, 34,
130, 154, 213, 333

Chapel Street Theatre, New York —
Built, 129; cost, 130; destruction,
141-2

Chaplet — First cast, 172; New American
Company cast, 263; productions, 155,
197, 213, 260

Charke, Charlotte — As Andromache, 53 ;
Mrs. Harman, her daughter, 145, 323

Charleston Theatre — Season of 1773-4,
329; account of the opening, 332;
notice of close, 333 ; audiences,

335

Charlton, Mr. — First appearance, 237

Cheer, Margaret — Debut, 156; as Catherine,
157; as Belvidera, 202; account of,
204; marriage, 207 ; parts, 253 ; bene-
fit; 1773> 317; re-appearance, 321 ;
bequest from Mrs. Harman, 322

Cibber, Colley — As Gloster in " Jane Shore,"
57 ; completes " Provoked Husband,"
io5

Cibber, Mrs. — As Celia, 157; her farce, the
"Oracle," 158.

Citizen — First cast, 221 ; Mrs. Osborne as
Maria, 265 ; Southwark cast, 1772-3,
313; changes, 326 ; productions, 213,
249, 259, 270, 298, 326, 331

Clandestine Marrlage — First cast, 200;
change, 224; Southwark cast, 1773,
326; productions, 197, 212, 270, 317,
326, 330

Clarkson, Mr. — Debut, 40; parts, 77

Clarkson, Mrs. — First mention, 40 ; debut,
45; parts, 78

CUFTON, Ada. — As Catherine, 157

Clive, Mrs. — In "Love is a Riddle," 56; as
Nell, 62; as Araminta, 157; last
characters, 201 ; refuses a part in
" False Delicacy," 245

INDEX.

367

CoCKlNGS, George — ^Account of, 302
Cock-lane Ghost — Production, 216
Committee — First cast, 55; Southwark cast,
1767, 170 ; changes, 224; produc-
tions, 47, 131, ISS, 213
CoMUS — New YorliL cast, 318; productions,

271,317

Conquest of Canada — Production, 298 ;
advertisement and cast, 302

Conscious Lovers— First cast, 45; Rigby
as Bevil, 48; Southwarli cast, 1767,
164 ; clianges, 224 ; partial cast. New
American Company, 264 ; Southwark,
1772-3, 308; productions, 46, 154,
214, 259, 298.

Constant Couple — First cast, 49; South-
wark cast, 1766, 159; changes, 224;
WilUamsburg cast, 1768, 239; New
York cast, 1773, 320 ; productions, 34,
46, 114, 153, 214, 236, 270, 318, 330

CONTI, Prince — Extracts from, distributed in
Philadelphia, 68

Contrivances — Cast, 222 ; productions, 155,
213, 242, 249, 332

Cooke, John Esten — "Virginia Comedians,"
35 ; atmosphere, 239

Cooper, Myles, D.D. — Prologue by, 323 ;
account of, 324

Cooper, Thomas A. — As Petruchio, 157

Coriolanus — Production, 155

CouLDOCK, Charles W. — As Petruchio, 157

Country Lasses — First cast, 172; changes,
224; productions, 155, 214

Crane, Miss and Mrs. — First mention, 119;
parts, 14S

Cross Purposes — First mention, 317 ; New
York cast, 319; changes, 327; pro-
ductions, 317, 326, 330

Cruger's Wharf Theatre, New York —
Built, 92

Cymbeline — First cast, 171 ; changes, 224;
Southwark cast, 1772-3, 306; produc-
tions, 155, 212, 242, 249, 270, 278,
289, 297, 330

Cymon — First cast, 302; productions, 298,
3>7. 331

DALY, Augustin — Production of 'Taming
of the Shrew," 157

Damon and Phillida — First cast, 56;
Providence cast, 126; Southwark cast,
1767, 164; played at Williamsburg,
237 ; partial cast, New American Com-
pany, 265; New York cast, 1773,
320; productions, 7, 34, 46, 94, 114,
154,236,259,282,317,331

Darby, Mr. — First mention, 243 ; with New
American Company, 257; parts, 361

Davis, Mr. — As Hearty, 335, 362

Davis, Mrs.-^Benefit, 1 1

Dermot, Mr. — Debut, 326 ; parts, 362

Deuce is in Him — Cast, 168; productions,
154, 213

Devil in the Wine-cellar — Production,
II

Devil to Pay — Advertised for Mrs. Tay-
lor's benefit, 8; first cast, 62; New
York cast, 1762, 136 ; Southwark cast,
1766, 1 60; change, 226; Southwark
cast, 1772-3,312; productions, 7,34,
46, 114, 121, 131, 153, 197, 213, 249,
259, 271, 297, 331

Disappointed Gallant — Mention, 74

Disappointment — Account of, 176; adver- V
tisements, 177; title-page, 178; pro-
logue, 179; characters and plot, 180;
authorship, 184

Distressed Mother — Advertised forWidow
Osborne's benefit, 1 1 ; New York cast,
1753, 53; partial cast. New York,
1762, 136; New York cast, 1768,216;
partial cast. New American Company,
264; productions, 7, 46, 131, 214, 260

Dogget, Mr. — As Marplot, 216

Don Quixote in England — Macklin and
T. Hallam in, 22; cast, 171 ; produc-
tion, 155

Double Disappointment — Production, 156

Douglas — Philadelphia cast, 1759, 107;
played at Newport, 125 ; New York
cast, 1762, 138; Southwark cast, 1766,
156; played at Williamsburg, 236;
partial cast. New American Company,

368

INDEX.

264; productions, 94, 102, 115, 121,
125, 131, ,153, 236, 258, 270, 333

Douglass, David — Account of, 87 ; in New
York, 92; proposed histrionic acad-
emy, 93 ; in Philadelphia, 98 ; at An-
napolis, 113; in Rhode Island, 122;
builds Chapel Street Theatre, N. Y.,
129; offers a reward, 135; builds
Southwark Theatre, 151 ; builds John
Street Theatre, N. Y., 211 ; appeal to
Annapolis subscribers, 283-4; threat-
ens to close the gallery, New York,
316; builds Charleston Theatre, 329;
career, 342; parts, 343-5

Douglass, Mrs. — At the Wells, 20 ; never at
Covent Garden, 26 ; at New York,
44-62 ; Dunlap's estimate of, 64 ; be-
comes Mrs. Douglass, 87 ; as Jane
Shore^ 98 ; Graydon's notice, 202 ;
last time zs, Jane Shoi-e, 221 ; last ap-
pearances in Philadelphia, 325 ; re-
cites epilogue at Charleston, 332 ; parts,
338 ; death, 338-40

DOWTHWAITE, Miss — First mention, 118; at
Williamsburg, 238-9

DOWTHWAITE, Mrs. — First mention, 1 1 g ; at
Williamsburg, 239

Dragon of Wantly — Douglass advertises
for, 27s

Dramaticus — Funeral eulogium and eleg}',

233

Drew, John — As Petruchio, 157

Drummer — First cast, 57; reference, 95;
Philadelphia cast, 1759, 107; South-
wark cast, 1767, 170; productions, 47,
94. 102, 155. 236, 250

DuBellamy, Mr. — Mention, 319

DuGEE, Mr. — Adverdsement, 83

Dunlap, WiUiam — On the Philadelphia
players, 3; on WiUiam Hallam, 19;
mistake concerning Annapolis, 31,
113; account of Williamsburg theatre,
38; mistake about Hallam's travels,
44; on Mr. and Mrs. Lewis Hallam,
63 ; mistake concerning Thomson's
epilogue, 72 ; on the Hallam project,

81 ; account of destruction of the
Chapel Street Theatre, 141-2; mis-
take relating to the " Prince of Par-
thia," 186; Miss Cheer's debut, 204;
assumption relative to the John Street
Theatre, 232 ; loses sight of the play-
ers, 269
DuRANG, Charles — Recollections of Snyder,
284; opinion of Mrs. Morris' Sylvia,
313

EARL OF Essex — First cast, 58; South-
wark cast, 1767, 169; changes, 224;
New American Company cast, 263;
Southwark cast, 1772-3, 310; changes,
326; productions, 47, 154, 213, 250,
260, 298, 317,326,330

Eddis, WiUiam — Letter concerning Annapo-
lis Theatre, 283

Edgar, George — Ancestry, 200

Edgar and Emmeline — Cast, 310; pro-
ductions, 298, 318, 331

Edward, the Black Prince — Production,
27 1 ; reference, 273

Edward and Eleanora — Portrait in, 26

Elegy— On " Dramaticus," 233

Elliot, Miss — Notice of, 222

English Merchant — Production, 332

Englishman in Paris — First cast, 304;
change, 1773, 320; productions, 298,
317, 332

Epilogue — Spoken by Mrs. Hallam, in Phil-
adelphia, 67 ; Adam Thomson's, 72 ;
parody, 73 ; second version, 96 ; An-
napoHs, 1760, Ii5; address to the
ladies, 120; Annapolis Theatre, 1771,
288; Goodman's, Southwark, 1773,

327
Evans, Nathaniel — Godfrey's literary execu-
tor, 186
Eve, Miss Sarah — Extract from Journal, 195
Every Man in his Humor — Played at
Williamsburg, 282

FAIR Penitent — Reference to first produc-
tions, 17; first cast, 70 ; Philadelphia
cast, 1759, 109; Annapolis cast, 1760,

INDEX.

369

118; Providence cast, 1762, 126;
New York cast, 1768, 217; produc-
tions, 7, 16, 69, 102, 114, 126, 130,

213. 271, 332

False Delicacy — First cast, 244 ; Williams-
burg advertisement,'! 772, 292; South-
wark cast, 1772-3, 31 1; productions,
242, 249, 292, 298, 332

Farmer's Return from London — Men-
tion, 263

Fashionable Lover — Williamsburg an-
nouncement, 1772, 293; Southwark
cast, 1772-3,301; productions, 297,

331

Forrest, Thomas — Author of the " Disap-
pointment," 184

Francis, William — First notice of, no;
dances at the Southwark Theatre, 303 ;
some account of, 314

Funeral — Production, 271

Gamester — First cast, 57; Philadelphia
cast, 1759, 109; Southwark cast, 1767,
169 ; changes, 225 ; productions, 47,
69, 103, IIS, 12'. 154, 197.213,270,

317.330

Gardner, Mr. — Original Sir Charles Mar-
low, 319

Garrick, David— As Ranger, 109 ; original
Sir John Dorilant, 157; as Oakley,
170; as Don Felix, 219

Genii — Production, 259

George, Nancy — Plays in Philadelphia, 4 ;
beneHt, 8

George Barnwell — First produced, 7 ;
reference, 17; New York cast, 1753,
52; Philadelphia advertisement and
cast, 1759, III; Annapolis cast, 1760,
118; New York cast, 1762, 138;
Southwark cast, 1767, 165; partial
cast, New American Company, 264 ;
Southwark cast, 1772-3, 310; pro-
ductions, 7, 34, 46, IG2, H4, 130,
154, 213, 259, 270, 297, 318, 331

Goddard, William — Prints for Douglass at
Providence, 126

Godfrey, Thomas, the elder — Notice of, 185

Godfrey, Thomas, the younger — Account
of, 185; specimen of his verse, 186;
extract from his " Court of Fancy,"
187; the " Prince of Parthia," 189

Godwin, Mr. — Debut, 158; notice of, 203;
at Williamsburg, 237; at Annapolis,
257 ; plays Lovegold, 262 ; parts, 267

Goodman, Mr. — Noticed by Graydon, 203 ;
probable debut, 273; at Annapolis,
1771,290; parts, 355

Goodman's Fields Theatre — Never man-
aged by W. Hallam, 19

Good-Natured Man — Production, 271

Graydon, Alexander — Extract from his
Memoirs, 202

Green, John — Elegy on Godfrey, 188

Green, Mrs. — Original Mrs. Hardcastle, 319

Greville, Mr. — Parts, 232

Guardian — First mention, 249; Southwark
cast, 1772-3, 313; productions, 249,
272, 297, 318, 331

HALLAM, Adam, the elder — At the Wells,
19; account of, 27

Hallam, Adam, the younger — First men-
tion, 40; with Douglass' company,
87; advertisement, 140; parts, 145

Hallam, Anne — Account of, 23 ; parts, 24

Hallam, G. — At the Wells, 20

Hallam, Miss Helen — Debut, t^o; not with
Douglass' comp*iy, 87; parts, 144

Hallam, Lewis, the elder — Card relating to
Upton, 14; at the Wells, 20; Dun-
lap's account of, 22 ; American reper-
toire, 28; reaches Virginia, 30; at
Williamsburg, 35; in New York, 44;
Governor Dinwiddle's certificate, 45 ;
Dunlap on, 64 ; in Philadelphia, 65 ;
parts, 76; profits, 80

Hallam, Mrs. — See Mrs. Douglass

Hallam, Lewis, the younger— His account
of first Wilhamsburg performance, 38;
debut, 40; leading man of Douglass'
company, 87 ; plays Hamlet, Macbeth
and Romeo, 105 ; Beverly, 109 ; Pierre,

370

INDEX.

Il8; Mirabel, 136; Petruchio, 157;
Richard III, 158; Lear, 163; .Mzr^
Anto7ty, 167; Clodio, 1 68; Oakley,
170; PosthuTnus, 171; Roman Faiher;
173; Arsaces, 194; Zora' Ogelby,
201 ; noticed by Graydon, 203 ; first
in every tiling, 214; Mai-plot, 216;
Hotspur and -/iz^^', 218; Sharp, 223;
benefit expectations, 227; Falcon-
bridge, 244; Mungo, 249; Macheath,
253; Jobson, 274; Captain Dormer,
299; General Wolfe, 302; Charles-
ton opinion of his acting, 332; parts,
340

Hallam, ■ Mrs. — With Douglass' company,
88; Lewis Hallam's wife, 140 ; her
identity and parts, 144

Hallam, Miss — Debut as Miss H. as Celia,
157; change of benefit bill, 2 2S ; first
appearance as Juliet. 253 ; plays
7V^//, 274; a Marylar.J critic on her
Imogen, 278; poem, 270; Peale's
portrait, 281 ; poem to, as Imogen,
289 ; estimate, 346 ; parts, 347

Hallam, Miss Nancy — ^Yilh Douglass'
company, 88; part5, 144

Hallam, Thomas — Account of, 22

Hallam, William — Advances money, card,
14; account of, 19-21 ; visits Philadel-
phia, 75

Hamlet — First cast, 105 ; Permsylvania
Hospital advertisement, 112; Nevir
York cast, 1761, 134; ^ outtiwark cast,
1767, 160; cha:__es, 225 : ^outhwark
cast, 1772-3,306; proJuctions, I02,
130. 153. 197. 2r2, 259, 270, 297, 317,
326, 330

Harlequin Collector— Fir=t mention, 29;
partial cast, 1753, 62; I" '.idelphia
cast, 1759, loS; New York List, 1 762,
138; Southwark ca-t, 1767, 167; New
York cast, 171.5 (Indian entertain-
ment), 220; producdons, 47, 69, 102,
131. IS4> 197, 213, 270, 31S

Harlequin Restored— Cast, 202 ; pro-
ductions, 197, 270

Harlequin Skeleton — WilUamsburg cast,
238; partial cast. New American Com-
pany, 265 ; productions, 47, 236, 250,
260

Harman, Mr. — With Douglass' company,
89 ; As Richard III and Lear, 104 ;
account of, 145 ; parts, 146

Harman, Mrs. Catherine Maria — With
Douglass' company, 89; parentage,
145 ; obituary and parts, 321

Henry, John— First mention, 198; Hallam
on, 214; as Capt. O' Blunder, 222;
monologue entertainment in New York,
252 ; makes perpendicular ascent,
274 ; arrives from England, 282 ; busi-
ness card, 1773, 325 ; parts, 343-5-

Henry, Mrs., the first— Lost at sea, 1 19.

Henry, Mrs., the second — See Ann Storer

Henry, Mrs., the third — See Maria Storer

Henry IV. — Mrs. Hallam as Lady Percy ;
partial cast, New York, 1762, 136;
New York cast, 1768, 218; partial
cast. New American Company, 264;
Southwark cast, 1772-3, 307 ; pro-
ductions, 130, 213, 249, 259, 298, 331

Herbert, Mr. — At Annapolis, 34, 42 ; debut,
40; anecdote of, 43

High Life Below Stairs — First cast, 162;
changes, 226; Southwark cast, 1772.3,
312; productions, 154, 197, 213, 242,
258, 271, 297, 317, 330

Hildeburn, Charles R. — His early play-bill,
70

Hob in the Well— First played, 1 1 ; first
cast, 56; New York cast, 1761, 136;
New York cast, 1768, 223; South-
wark cast, 1772-3, 312; productions,
7,46, 114, 130, 213, 249, 270, 298,
, 332

HOEY, Mrs. — As Catherine, 157

Honest Yorkshireman — First cast, 218;
Williamsburg cast, 1768, 237; South-
wark cast, 1772-3, 313; productions,
102, 114, 130, 214, 236, 242, 258, 281,
297, 330

HoPKlNSON, Francis — Godfrey's friend, 186

INDEX.

m

HORNE, Mr. — Debut, 104 ; parts, 149
Hughes, Mr. — Mention, 320; parts, 362
HuLETT, Mr. — A dancer, 64

INCONSTANT — Advertisement, 95; partial
cast, New York, 1762, 136; South-
wark cast, 1 767, 165 ; productions, 94,

131.154
Indians — At the theatre, Williamsburg, 42 ;

in New York, 219

Ireland, Joseph N. — Assumption concern-
ing Mrs. Hallam, 88; opinion con-
cerning Major Moncrief, 250; con-
founds Fanny with Maria Storer, 350

Irish Widow — Mention, 317; productions,
318, 326, 330

JAMAICA — Visit of Moody, 2; possible
visit of American Company, 282

Jane Shore — First cast, 57 ; at Perth Am-
boy, 98; New York cast, 1768, 221;
productions, 47, 94, 153, 214, 249,
271.318,330

Jealous Wife — Cast, 170; productions,
15s, 197, 249, 282, 289, 331

Jefferson, John — Allusion to, 258

Jefferson, Mr. — With the New American
Company, 258

John Street Theatre, New York — De-
scription of, 211; fatal accident to a
carpenter, 231 ; season of 1769, 248;
farewell engagement, 316

Johnstone, Jack — As Teague, 55

Jones, Mrs. — Mention, 260

Jordan, Mrs. — As Miss Prue, 166

Julius C^sar — Production, 332

KeAN, Thomas— In Philadelphia, 1749-50,
4 ; in New York, 5 ; as Richard J II,
6 ; repertoire, 7 ; benefit, 9 ; troubles,
10; retires, 11, 18; at Annapolis,

32-3
Kelly, Hugh — Notice of, 244
Kemble, John Philip — As Alexander, 245
King, Mr. — As Lord Ogelby, 20i
King John — Cast, 244; productions, 242,

249. 270, 317

LEAR — First cast, 53 ; Philadelphia cast,
1759, 104; Southwark cast, 1767,
163; changes, 225; productions, 47,
103, 154,197. 2J3, 282,331

Lecture on Heads— -Southwark Theatre,
197-8; in New York, 211

Lethe — Produced by Upton, 16; Williams-
burg, 1752, cast, 40; changes, 60;
New York cast, 1 761, 137; South-
wark cast, 1766, 160; changes, 226;
Southwark cast, 1772-3, 311; pro-
ductions, 16, 47, 94, 102, 114, 121,
130, 153, 212, 242, 249, 258, 297,

317, 330

Lewis, Lee — As Young Marlow, 319

Lionel and Clarissa — Cast, 303 ; produc-
tions, 297, 326, 331

Love, Mr. — A dancer, 64

Love, Mrs. — A dancer, 64 ; with Douglass'
company, 89 ; parts, 148

Love a la Mode — First cast, 215; South-
wark cast, 1772-3, 312; productions,
214, 242, 250, 270, 297, 317, 326,

330

Love for Love — Advertised for Mrs. Tay-
lor's benefit, 8 ; reference, 1 7 ; Mrs.
Hallam as Angelica, 20; first cast,
52; partial cast, New York, 1762,
136; Southwark cast, 1767, 166;
Southwark, 1772-3,310; productions,
7, 46, 131, 154, 250, 272, 298

Love in a Village — First cast, 168;
changes, 225 ; partial cast. New Amer-
ican Company, 264; Southwark cast,
1772-3,311; productions, 154, 197,
213, 260, 270, 278, 297, 317, 330

Love Makes a Man — Cast, 168; produc-
tion, 154

Lovers' Quarrels — Production, 69

Lying Valet — First production, 1 7 ; New
York cast, 1753, 60; New York cast,
1 768, 223 ; partial cast. New Amer-
ican Company, 265; Southwark cast,
1772-3. 3"; productions, 33, 46,
"4. 131. 155. 197. 214, 250, 259,
297. 317. 330

372

INDEX.

11 f CCULLOUGH, John — Allusion to, 5

Macbeth — First cast, 105 ; South wark cast,
1767, 169; changes, 225; produc-
tions, 103, 154,213,242,332

Macklin, Charles — Kills T. Hallam, 22 ; as
Buck, 304

Macklin, Miss — Original Lucinda, 304

Maid of theMill — Southwarkcast,i772-3,
311 ; productions, 270, 289, 297, 317,

331

Malone, Mr. — Mr. Cooke's allusion to, 36;
debut, 40 ; as an actor, 63 ; mission to
Philadelphia, 65 ; parts, 76

Malone, Mr.— First mention, 218 ; with the
New American Company, 257; as a
juggler, 260; parts, 266

Mann, Charles N. — Sadler's Wells scrap-
book, 20

Marks, Mr. — Benefit, 11

Mason, Mrs. — As Catherine, 157

Masons — Go to the play, 250 ; masonic bene-
fit, 334

Matthews, Mr. — Debut, 15S; parts, 204

Mattocks, Mrs. — Speaks of T. Hallam, 22;
never in America, SS; Rv.ngton's
mention, 338

Mayor of Garratt — First cast, 166;
changes, 226; Armapolis, 1771,286;
Southwark cast, 1772-3. 3121 produc-
tions, 154, 197, 212, 259, 271, 289,
296, 317. 330

Melmoth, Mrs. — As EIi--c.'-:lk. 5S

Merchant of Venice — Hallam's produc-
tion at Williamsburs:, 35; cast, 40;
Southwark cast, 1766, 150; changes,
225 ; partial cast, Xew American Com-
pany, 2651 Southwark cast, 1772-3,
307 ; changes, 320 : productions, 40,
"5. I53>2i3. 259. 29S. 31S, 331

Merlin — Mention, 259

Merry, Mrs. — As Cahsta. 70

Merry Wives of Wini-.jr — Production,
271

Midas — Cast, 313; productions, 270, 289,

297> 317, 331
Miller, Mr. — Debut, 45 : parts, 77

Miller of Mansfield — First cast, 223;
Williamsburg cast, 1768, 239; South-
wark cast, 1772-3, 312; productions,
16, 47, 114, 121, 153, 197, 214, 236,
249. 259. 270, 278, 297, 318, 330

Miser — First cast, 164; changes, 225 ; New
American Company cast, 262; pro-
ductions, 154, 213, 259

Miss in her Teens — Played for Mr. Kean's
benefit, 9; reference, 17; first cast,
60; New York cast, 1762, 136; South-
wark cast, 1767, 199; changes, 226;
partial cast, Southwark, 1770, 274;
Southwark, 1772-3, 313; productions,
7, 34, 47, 69, 103, 114, 121, 131, 197,
213, 236, 242, 249, 260, 271, 297, 330

Mock Doctor — First production, 7 ; refer-
ence, 1 7 ; advertisement, 95 ; first cast,
139; Southwark cast, 1767, 160; par-
tial cast. New American Company,
266 ; productions, 7, 33, 94, 102, 1 14,
131,153,258

MoNCRlEF, Major — As Othello, 250

Moody, John — In Jamaica, 2 ; refuses part
in " False Delicacy," 245

Moore, Mr. — Benefit, 11

Morris, Owen — With Douglass' company,
89; early appearances, 104; at An-
napolis, 119; benefit advertisement,
140; parts, 343-5; account of, 346

Morris, Mrs., the first — First mention, 118;
drowning of, 230; parts, 231

Morris, Mrs., the second— First mention,

273 ; account of, 309 ; card relating to

. Sylvia,i\Ti; estimateof,352; parts,353

Mourning Bride — First cast, 162; partial
cast, New American Company, 265 ;
Southwark cast, 1772—3, 309 ; produc-
tions, 154, 212, 242, 259, 297, 317, 330

Munden, Mr. — As Obadiah, 55

Murphy, Arthur — Notice of his farces, 222

Murray, Master Dicky — Benefit, 1 1

Murray, Mr. — Partner of Thomas Kean, 4;
repertoire, 7 ; benefit, 8 ; at Annapolis,
118

Musical Lady— Cast, 312; productions,
270, 282, 297, 318

INDEX.

373

NASSAU Street Theatre, New York —
.First mention, 6 ; Hallam at, 44
Neck or Nothing — First cast, 173;
change, 227; productions, 155, 197,

213, 332

Neptune and Amphitrite — Cast, 310;
productions, 270, 297, 317

New American Company — Account, 257

Newport, R. I. — Douglass' company at,i22 ;
play-bill, 123; benefits, 125

New York— First performance at, i ; Hal-
lam in, 44 ; as a theatrical town, 82 ;
Cruger's Wharf Theatre, 129; amuse-
ments in 1767, 210; regulations for
carriages, 227; farewell season, 316;
hospital benefit, 323

O'Brien, Lady Susan — Mention, 319; not
on stage, 354

O'Brien, William — Mention, 318-19

Oldfield, Mrs — As Indiana, 48 ; as Jane
Shore, 57; as Cleopatra, 167; as
Violante, 2 19

Old Maid — First cast, 158; change, 227;
Southwark cast, 1772-3, 312; produc-
tions, 153, 212, 297

O'Neil, Miss — As Jane Shore, 57

Oracle — Cast, 159; productions, 153, 197,
212, 292, 331

Orphan — Played in Boston, 2; in New
York, 6 ; advertisement, 8 ; reference,
17; first cast, 95; New York cast,
1767, 217; Williamsburg cast, 1768,
238; productions, 2, 7, 94, 114, 213,
236, 249, 270, 332

Orphan of China — First cast, 161 ;
changes, 225 ; productions, 154,214,
271

Osborne, Miss and Mrs. — ^With Murray and
Kean, 8; at Annapolis, 34; in Vir-
ginia, 1768, 235 ; at Annapolis, 258

Osborne, Widow — Advertisement, 1 1

Othello — Upton's production, 15; Hal-
lam's at Williamsburg, 42 ; Annapolis
cast, 1760, 119; Newport bill, 123;
New York cast, 1768, 218; Major

Moncrief as, 250; partial cast, New
American Company, 265 ; Southwark
cast, 1772-3, 307; productions, 16,
94= "4. 131, 214, 249, 258, 298, 331

Padlock — First mention, 249 ; Southwark
cast, 1772-3, 31 1; productions, 250,
270, 297, 317, 326, 331

Palmer, Mr. — First notice of, no; at An-
napolis, 119; speculations concerning,
and parts, 146

Palmer, Miss — Debut, 40 ; was she Mrs.
Adcock, 63

Parker, Mr. — First mention, 173; at Wil-
liamsburg, 236 ; with New American
Company, 257; with American Com-
pany, 274 ; parts, 359

Parker, Mrs. — First mention, 173; at Wil-
liamsburg, 237; benefit advertisement,
239 ; at Annapolis, 257

Parthia, Prince of — Account of, 185;
advertisement, 189; summary of the
plot, 190; advertisement and probable
cast, 194

PeALE, Charles Wilson — Notice of, 280;
poem on his portrait of Miss Hallam,
281

Pennsylvania — Law against plays, loi

Philadelphia — First performance in, 2;
company at Plumstead's, 3 ; Hallam
, in, 69; as a theatrical town, 84;
Douglass in, 1759, 99; Southwark
Theatre built, 151; supplementary
season, 196; season 1768-9, 124;
season 1769-70, 269; season 1772-3,
296 ; farewell season, 325

Platt, Mr. — Debut, 159; parts, 204

Plumstead, William — Account of, 66

Polly Honeycomb — First cast, 215 ; par-
tial cast. New American Company,
266; productions, 214, 259

Prologues— Singleton's at Williamsburg,
41 ; Charity at Philadelphia, 70 ; at
Annapolis, 1760, 116; to the "Dis-
appointment," 179; Annapolis, 1771,
286; Dr. Cooper's, New York, 323

374

INDEX.

Providence, R. I. — Douglass at, 125 ; ad-
vertisement, 126

Provoked Husband — Upton's production,
16; Philadelphia cast, 1759, 106;
Southwark cast, 1767, 167; changes,
225 ; partial cast. New American Com-
pany, 265; productions, 16, 69, 102,
114, 121, 130, 154, 214, 259, 292, 332

QUELCH, Mr. — First mention, 123; parts,
149
Quick, Mr. — As Tony Lumpkin, 319
QuiN, Mr. — On Mrs. Hallam's stays, 24
QuiNCY, Josiah, Jr. — On Charleston audi-
ences, 335

RECRUITING Officer — First production,
7 ; reference, 1 7 ; Williamsburg adver-
tisement, 1736,39; Philadelphia cast,
1759,106; New York cast, 1768,217;
Southwark cast, 1772-3, 113; Mrs.
Morris' card, 313; productions, 7, 33,
94, 102, 114, 131, 213, 299, 31S, 331

Reed, Mr. — With Douglass' company, S9 ;
parts, 149

Register Office — Cast, 304; productions,

299. 332

Rehan, Ada — As Catherine, 157

Reprisal — First cast, 163; Charleston cast,
334; productions, 154, 213, 333

Revenge — New American Company cast,
262 ; productions, 114, 121, 259, 271.

Rhode Island — Douglass at Xe«-port, 122 ;
at Providence, 125 ; law against plays,
127

Richard III — First American actor as, 5 ;
played for Kean's benefit, 1 1 ; Upton
as, 16 ; Virgina Comedians, 34 ; New
York cast, 1753, 53; Philadelphia
cast, 1759, 104; New York erst. 1762.
137; Southwark cast, 1766, 15S;
changes, 226; New American Com-
pany, noticed, 262 ; Southwark cast,
1772-3, 306; production^, 6, 16, 34,
46, 94, 102, 114, 121, 131, 153, 212,
250, 258, 297, 317, 331

Richardson, Mrs. — Debut, 273-4; notice of,
309 ; parts, 354

Rigby, Mr. — Debut, 40 ; in New York, 45,
48 ; notice of, 63 ; parts, 76

Rigby, Mrs. — First mention, 40; parts, 78

Ristori, Mrs. — As Marie Stuart, 59

Roman Father — First cast, 173; Annapo-
lis, 1 77 1, 286; cast, 290; Southwark
cast, 1772-3, 313; productions, 156,
197, 213, 289, 297, 332

Romeo and Juliet — First cast, 54 ; Phila-
delphia cast, 1759, 105 ; New York,
1762, 137; Southwark cast, 164;
changes, 226 ; partial cast. New Amer-
ican Company, 265 ; Southwark cast,
1772-3, 306; productions, 47, 103,
114, 121, 131, 154, 197, 213, 249,
258, 270, 297, 330

Rosehill, Lord — Marries Miss Cheer, 207

Ross, Mr. — A lawyer, 290

SCHOOL Boy — Production, 102
School for Lovers — First cast, 157;

change, 226; Southwark cast, 1772-3,

310; productions, 153, 212, 297, 317
ScOTT, Mr. — With Murray and Kean, 8;

with Douglass in Philadelphia, 103;

parts, 150
Seige of Damascus — Production, 270
Sharps, Mrs. — As Catherine, 157
Sheridan, Thomas — His farce, 222
She Stoops to Conquer — First mention,

317; cast, 319; productions, 318,

330

She Wou'd and She Wou'd Not— Produc-
tion, 260

Shipwreck — Announced as the "Brothers,"
291 ; Southwark cast, 300; produc-
tions, 297, 331

Shuter, Mr. — Reference, 37 ; as Hardcas-

(!<:, 319
SiDDONS, Mrs.— As Calisia, 70; asZara, 162
Singleton, John — Debut, 40 ; his prologue,

41 ; parts, 76
Sir Harry Wildair — Production, 1 1
Smart, Christopher — Notice of, 249

INDEX.

375

Smith, John — Entry in Journal, 2

Smith, William, D.D. — Godfrey's literary

sponsor, i85
Snyder, Jacob — Scene painter, 284
Society Hill Theatre— Built, 99
SouthwarkTheatre— Built, 151 ; opened,
153; supplementary season, 197;
season of 1768-9, 241; fireworks,
246; season of 1769—70, 269; foot-
path leading to, 275 ; season of 1772— 3,
296 ; farewell season, 325 ; Good-
man's epilogue, 327
Spanish Fryar — First production, 6 ; refer-
ence, 17 ; advertised by Douglass,
95 ; Southwark theatre, 242
Spirit of Contradiction — Production, 170
Stage Coach — First production, 7; refer-
ence, 1 7 ; Hallam production, 47 ;
cast, 51
Stamper, Mrs. — Debut at Williamsburg,

292; at Philadelphia, 314
Storer, Ann (Mrs. Hogg) — First mention,
199; her New York debut, 208;
called Mrs. Henry, 274; recites epi-
logue at Annapolis, 288 ; parts, 348
Storer, Fanny (Mrs. Mechler) — First men-
tion, 200 ; parts, 349
Storer, Maria (Mrs. Henry) — Wood's de-
scription of, 200; debut, 217; plays
Fribble, 274 ; a poet's allusion to, as
Ariel, 281 ; parts, 350; ode to, 351 ;
characteristics, 352
Storer, Mrs. — Mother of the Storer Sisters,

199
Sturt, Mr. — At Providence, 126; parts, 150
Sullivan, Barry — As Beverly, 57
Suspicious Husband — First cast, 58 ; Phila-
delphia cast, 1759, 109; New York
cast, 1768, 218; partial cast. New
American Company, 265 ; Southwark
cast, 1772-3, 310; productions, 47,
103, 114, 213, 259, 270, 278, 297, 330

Tamerlane — First cast, 70; Philadelphia
cast, 1759, 104; Southwark cast,
1766,159; 1768,243; 1772-3,309;

productions, 69, 94, 102, 130, 153,
242, 298, 318, 332

Taste— Production, 214

Taylor, Mrs. — First benefit, 8 ; second ben-
efit, 9 ; accused, 10

Tempest — First mention, 272 ; cast, 307 ;
change, 320; productions, 270, 298,

317,331

Tender Husband — First mention, 249 ; ad-
vertisement, 25 1 ; Southwark cast,
1770, 274 ; productions, 249, 271, 281

Theatre, Opposition to — In Philadelphia,
♦ 1750, 2; in Philadelphia, 1754,65;

in New York, 1758, 92 ; in Philadel-
phia, 1759, 99; in Rhode Island,
1762, 127; in New York, 1762, 131 ;
remonstrance in Pennsylvania, 1767,
152; hostility in New York, 1768,
232; specimen cant, 247; shielding
amateur orchestra, 275 ; gallery distur-
bances, Southwark, 314; New York,
316; Charleston opposition, 335

Theodosius — First cast, loS; New York
cast, 1762, 138; Philadelphia cast,
1759, 159; Southwark cast, 1772-3,
309; productions, 102, 131, 153, 197,
242, 260, 298, 317, 331

Thomas and Sally — First cast, 165 ; change,
227; New American Company cast,
263; Southwark cast, 1772-3, 310;
productions, 154, 212, 249, 271, 278,

292. 297, 331
Thomson, Adam — Epilogue by, 72 ; account

of, 74
Tomlinson, Mr. — Philadelphia debut, 104;

account of, 293 ; parts, 294
Tomlinson, Mrs. — Debut, 106 ; parts, 293
Tom Thumb — Cast, 61 ; productions, 46, 155
Toy Shop — Productions, 103, 115, 130
Tremain, John — A cabinet maker, 4, 5 ;
benefit, 8 ; meets Upton, 1 3 ; original
lago, 16
Tremain, Mrs. — Debut, 16
Tremaine, Mr.— Parts, 150
Trick Upon Trick — Production, 259 ; refer-
ence, 260 ; partial cast, 266

376

INDEX.

TuNBRiDGE Walks — Production, 46 ; adver-
tisement, 48; in Philadelphia, 69
Twin Rivals — Production, 47 ; cast, 5 1

UPHOLSTERER — First Cast, 222; Southwark
cast, 1772-3, 312; productions, 154,
212, 249, 258, 271, 297
Upton, Robert — First advance agent, 12 ; in
New York, 13; Hallam's card, 14;
plays, 15; repertoire, 16
Upton, Mrs. — Debut, 16

VANDENHOFF, Mr. and Miss — hsPetruchio
and Catherine, 157
Venice Preserved — First production, 16;

first cast, 118; Southwark cast, 1767,

201 ; Williamsburg cast, 1768, 237;

productions, 94, 114, 130, 197, 236
Verling, Mr. — First mention of, 236 ; at

Annapolis, 257
Vernon, Mr.— As Lionel, 303
Virgin Unmasked — Cast, 61 ; New York

cast, 1762, 138; productions, 7, ^-^,

46, 102, 115, 121, 131
Virginia Comedians — At Annapolis, 30;

at Upper Marlboro', 33 ; Cooke on, 35 ;

new company, 235

WAINWRIGHT, Miss — First mention of,
156; debut, 158; noticed by Graydon,
204; farewell, 254; parts, 255; ref-
erence, 1773, 326
Wall, Mr. — Debut, 156; his wail, 228; re-
cites epilogue riding an ass, 275 ; gave
monologue entertainment in Philadel-
phia, 275-6; parts, 365
Wall, yixs.— Debut, 157 ; parts, 358
Ward, Genevieve — Ks Jane Shore, 57
Way TO Keep Him— First cast, 263 ; first
cast, American Company, 305;
change, 320; productioni, 260, 292,

297> 317, 332
West, Benjamin — Godfrey's friend, 1S6; his

portrait of Godfrey, 188
West Indian — First performance, 2S2 ;

Southwark cast, 1772-3, 301; change,
320; Southwark, 1773, 326; produc-
tions, 282, 297, 317, 326, 331
Wife Well Managed — Production, 69
Wild Irishman — Production, 272
WILKS, Mr. — In "Beaux' Strat^em," 161 ;

opinion oi Sir George Airy, 216
Williamsburg — Hallam at, in fiction, 35 ;
in fact, 38 ; early theatre, 39 ; first-
performance, 40; Indians at the
theatre, 42 ; as a theatrical town, 81 ;
society in 1768, 238; how the plan-
ters were reached, 277; season, 1770—
71, 280; American Company, 1772,
291
W1TCHF.S— Cast, 169; change, 227; pro-
ductions, 154, 213, 249
Wit's Last Stake — Production, 272
Woffington, Mrs. — As Cleopatra, 157
Woman is a Riddle — At the Wells, 20;

production, 47 ; cast, 59

Wonder — First cast, 219 ; Southwark cast ;

1772-3,311; productions, 197, 213,

299. 331

Wood, William B. — Reference to Morris,

90; plays Petruchio, 157; his account

of Mr. and Mrs. Henry, 200 ; of Mrs.

Morris, 310-12; of Mrs. Henry, 352

Woodham, Mr. — With MuiTay and, Kean,

8-9 ; at Annapolis, 32
Word to the Wise— Criticism of WiUiams-
burg performance, 291 ; Southwark
cast, 1772, 299-300; Charleston
theatre opened with, 330 ; produc-
tions, 291, 296, 297, 330
Wrangling Lovers — Mention of, 259
Wrighten, Mrs. — Original Diana Oldboy,
304

VTapp, Miss. — Debut, 237

Young America in London — Notice, 331-,
production, 332

ZARA — First production, 242 ; partial cast,
245

^