I 
 
d*****, 7h ^i c - ( ^^J 
 
 MEMORIES OF THE PROFESSIONAL 
 
 AND SOCIAL LIFE OF JOHN E. 
 
 OWENS, BY HIS WIFE 
 
 SV i 
 
 JOHN MURPHY AND COMPANY 
 BALTIMORE - MDCCCXCII 
 
Copy X 
 
 Copyright, 1892, by John Murphy & Co. 
 
PREFACE 
 
 To my husband's memory I dedicate this volume, with 
 the earnest wish that the gift of eloquence had been mine, 
 empowering me to render a more worthy tribute to a well- 
 spent life. 
 
 The incentive which led me to write the book is fully 
 designated by its title — " Memories." These imprints of 
 happier days, ever present with me, have sometimes been 
 voiced to our friends ; and, observing how heartily they wel- 
 comed and enjoyed anecdote or incident of him they knew 
 so well, and the enthusiasm with which his dramatic genius 
 and fame was spoken of, I gradually became impressed with 
 the desire to arrange in readable form the record of my 
 husband's theatrical experience, and combine with it little 
 events of every-day life. Of all this, as his constant com- 
 panion, I had thorough knowledge, even though my ability 
 to convey it may have proved insufficient. I fully realize that 
 in more competent hands a biography of John E. Owens 
 would have been brilliantly written and ranked as a finished 
 literary work. I am not so .presumptuous as to aspire to 
 that standard. It has been a pleasure to me to (mentally) 
 go step by step over the months and years we lived together ; 
 
 iii 
 
IV PEEFACE. 
 
 and if my readers will indulgently regard that which I have 
 transcribed as something I might have talked to them about 
 in my own home circle, they will recognize the intent of my 
 true position. In so doing, their thoughts may, perhaps, 
 dwell more upon the spirit in which my book is written than 
 the manner in which it is rendered. On this possibility I 
 rest my hope, that happily I shall receive lenient criticism. 
 
 Baltimore, Md., December 7th, 1892. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 PAGE. 
 
 Birth of John E. Owens — School days — First theatrical engagement 
 — W. E. Burton — Astronomical lectures — Season in Baltimore 
 — Mrs. John Drew — Debut in New Orleans, .... 1 
 
 CHAPTER II. 
 
 Visit to relatives in England — Engagement in Philadelphia — 
 "Jakey" — Italian Opera — A psychologist — Purchases Balti- 
 more Museum — Uriah Heep a hit in New York, ... 30 
 
 CHAPTER III. 
 
 Ascent of Mont Blanc — Engaging David Garrick — Aigburth Vale 
 — Dramatic portraits — Dion Boucicault — "The schoolmaster 
 abroad," 59 
 
 CHAPTER IV. 
 
 A lesson in French — "Solon Shingle" — "Self" — H. L. Bateman 
 — Debut in Boston — "Caleb Plummer" — Mrs. John Wood — 
 Origin of the popularity of " Dixie's Land," .... 80 
 
 CHAPTER V. 
 
 New Orleans season 1860-61 — Obtaining a substitute — Witty 
 repartee — A lover of Shakespeare — Reception of Solon Shingle 
 in New York — Constant Meyer's picture, .... 112 
 
 CHAPTER VI. 
 
 Adelphi Theatre, London — Appreciative public— Liverpool engage- 
 ment — Re-appearance in New York — patented " cow -milker " 
 — Owens " the farmer " — Visit to a circus, .... 132 
 
VI CONTENTS. 
 
 CHAPTER VII. 
 
 PAGE. 
 
 Sea voyage to San Francisco— Lawrence Barrett—" Grimaldi" — 
 Tour of mining towns — Foss — Salt Lake City — " War prices 
 out of date " — A mulberry story, 161 
 
 CHAPTER VIII. 
 
 Inauguration of an Opera House — "Owens' Ride" — Montreal — 
 J. W. Albaugh — An English gardener — Country vs. City — 
 "A man skilled in fence " — "Paul Pry " — Louisville — " I play 
 this for low," 185 
 
 CHAPTER IX. 
 
 Comic sequence of weighing baggage — A boy's letter — The bond 
 of masonry — A big chandelier — "Timothy Toodles" — Journey- 
 ing in an ox-cart — A gentle Alsacian priest, .... 206 
 
 CHAPTER X. 
 
 New Orleans season of 1874-75 — Political excitement — Towson- 
 town — "Where is it?" — Purchase of Academy of Music, 
 Charleston, S. C. — Perkyn Middlewick— A telegram — Dr. 
 Peter Pangloss, LL. D. and A. S. S., 231 
 
 CHAPTER XL 
 
 "De Captain's butter" — "The Serious Family" — Departure for 
 Australia — San Francisco en route — A mining investment — 
 Return east— Season 1881-82, with John T. Ford, . . .257 
 
 CHAPTER XII. 
 
 "Esmeralda" — Entertaining friends at Aigburth Vale — The Pick- 
 wick Club — Brilliant performance at Harlem Theatre — "A 
 golden set" — Winter in Charleston, S. C. — Will. T. Keogh — 
 Illness — Rescue — Earthquake — Effects of exertion and agita- 
 tion — Suffering — Peaceful and final sleep, .... 275 
 
ILLUSTRATIONS 
 
 PAGE. 
 
 John E. Owens, Frontispiece. 
 
 Mrs. John E. Owens, 4 
 
 William E. Burton, Comedian, 10 
 
 Jakey, in " A Glance at Philadelphia, " 40 
 
 Aigburth Vale in 1853, 66 
 
 Aigburth Vale in 1868, 70 
 
 Solon Shingle, from a painting by A. Cross, . ■ . . .84 
 
 John Unit, in "Self," 90 
 
 Major Wellington DeBoots, in "Everybody's Friend, . . 102 
 
 Caleb Plummer, in " The Cricket on the Hearth" . . . 108 
 
 Launcelot Gobbo, in " The Merchant of Venice" . . . 122 
 Solon Shingle, from a painting by Constant Meyer, . .128 
 
 Frank Oatland, in " A Cure for the Heartache," . . . 144 
 
 Dr. Ollapod, in " The Poor Gentleman," 164 
 
 Paul Pry, 202 
 
 Joshua Butterby, in " Victims," 218 
 
 Owens' Academy of Music, Charleston, S. C, 240 
 
 Perkyn Middle wick, in " Our Boys," 244 
 
 Dr. Peter Pangloss, in " The Heir at Law," . . . . 256 
 
 Elbert Kogers, in " Esmeralda," 278 
 
 Hezekiah Perkins, in " Cooke's Corners" (Act I.) . . 280 
 
 Hezekiah Perkins, in " Cooke's Corners." (Act II.) . . 282 
 
 vii 
 
MEMORIES OF JOHN E. OWENS. 
 
 CHAPTER I. 
 
 Birth of John E. Owens — English and Welsh ancestors— School days 
 in Philadelphia — Early indications of dramatic talent — Read- 
 ing play -books — Owens hopelessly stage-struck — He meets a 
 kindred spirit — Hamlet with comic denouement — First visit to 
 a theatre — Supernumerary at the National Theatre — "speaking 
 parts" — Eelinquishes theatrical hopes — William E. Burton — En- 
 couraging advice — Return to the stage — Pronounced hit — Alexina 
 Fisher— Mr. and Mrs. D. P. Bowers — " I am so confoundedly 
 young " — Astronomical lecture — Transient prosperity — A stampede 
 1844-45 — Season with Peale at Baltimore Museum — Mary Gannon 
 — Mrs. Russell (Mrs. John Hoey) — Wallack — Booth — Mrs. John 
 Drew — Charlotte Cushman — "A bear on the Roof!" — Consequences ! 
 Season of 1846-47, with Ludlow & Smith— Debut at New Orleans 
 — The pill box dressing case. 
 
 YT7HE professional life of an artist belongs to the public. 
 They have a right to discuss and pronounce upon 
 its merits and demerits, however unknown to them may 
 be his personal career. Having, by talent and devotion 
 to his art, achieved fame and position, he invokes 
 deserved admiration; but when in addition to this, he 
 1 
 
Z MEMOEIES OF 
 
 entwines himself abont the hearts of people by geniality, 
 integrity, and kind deeds, there is a bond between the 
 artist and the public, rendering a natural sequence that 
 whatever concerns their favorite, will be received with in- 
 terest. Under this impression I submit my " memories " 
 of a life, whose brilliant histrionic record was only 
 equalled by the goodness and sympathetic tenderness 
 known best to friends in every-day life. 
 
 Many of the incidents I shall narrate are personal 
 recollections of my own. Others have been gathered 
 from friends and acquaintances. All are authentic and 
 reliable, which I hope will entitle them to attention, 
 even though I am well aware that an abler pen than 
 mine is required to do justice to the work I have 
 undertaken. 
 
 I do not make the faintest claim to literary merit ; on 
 the contrary, I deprecate the criticism that would meet 
 my reminiscences on the plane of authorship. 
 
 I simply desire to speak of my husband's career and 
 associations, and trust that for his sake I may obtain 
 indulgent hearing. 
 
 John Edmond Owens was born in Liverpool, England, 
 April 2d, 1823. 
 
 His father, the son of ap Griffith Owen, of Nant, and 
 Annie, his wife, was christened Owen Griffith Owen ; 
 but on arriving at manhood added a final s to his last 
 name, for euphony. The family resided at Aberdaron, 
 
JOHN E. OWENS. 3 
 
 in the county of Carnarvon, North Wales, until 1809, 
 when they removed to Liverpool ; Owen G. Owen was 
 ten years old when he left his native place. Eight 
 years afterwards, he met with John Anderton, a prom- 
 inent organ builder; the acquaintance ripening into 
 friendship resulted in an introduction to the home circle 
 of the Andertons. They were all musical people ; some 
 of them having attained conspicuous proficiency as 
 amateurs. Many pleasant hours were passed there ; 
 but gradually the strong attraction to the house for 
 Owen, concentrated in the eldest daughter, Mary An- 
 derton, whose beauty and sweetness of disposition ren- 
 dered her very loveable. After a somewhat prolonged 
 courtship they were married. Their first-born child 
 was John E. Owens, destined to render famous the 
 name he bore. 
 
 During the summer of 1828, Owen G. Owens decided 
 to make a home in America for himself and family. 
 They left Liverpool in a sailing vessel, and after eight 
 weeks voyage landed in Philadelphia. Several relatives 
 had already taken up their residence in that city. Among 
 them, the mother of Owen G. Owens, who, though she 
 had acquired the English language, still spoke in her 
 native tongue to those who understood it. She became 
 prominent and useful in Welsh Societies, and often acted 
 as interpreter to those newly arrived from Wales. Her 
 children and grandchildren being much with the old 
 
4 MEMORIES OP 
 
 lady, were familiar with the language; and all his 
 life, John Owens would now and again at home use a 
 Welsh word or sentence with perfect accent. 
 
 On the maternal side, John's people were English ; 
 some of them being clergymen in the Episcopal church, 
 of which they were all members. His father became 
 a naturalized citizen of America shortly after arriving 
 here. 
 
 As soon as the family were settled in their new home, 
 John's education was looked to. He had the advantage 
 of the best schools in Philadelphia, and at an early age 
 gave evidence of aptness for intelligent study. Not 
 content with simply memorizing his lessons, he was 
 always eager to propound questions with a view to 
 deeper insight and clearer knowledge of the subject. 
 On composition and "recitation days" especially he 
 was a favorite scholar. While still a little chap, his 
 teacher would place in his hand a cane, and putting spec- 
 tacles on his nose have him recite "Pity the sorrows 
 of a poor old man," — or rather ad it — for this he did 
 intuitively. Quick of memory, and fond of reciting, 
 the home circle was not free from the boy's bent of 
 " speaking pieces " — apropos of which, on one occasion, 
 the baby sister was given to him to hold. Proud of 
 the trust reposed, he kept her tightly clasped, until, 
 through his mind began to run the lines of "Young 
 Norval," to which he immediately gave voice — safely 
 
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JOHN E. OWENS. 5 
 
 enough till the words — "Rushed like a torrent down 
 the vale ; " impelled him to suit the action to the word, 
 and throw out both arms; when down tumbled the 
 baby sister, whose cries brought John to his senses 
 and his mother to the rescue. Fortunately, no injury 
 beyond fright was sustained. 
 
 As he advanced in boyhood, his taste for reading and 
 study increased, but not to the extent of becoming a 
 bookworm. Gifted with a retentive mind, so great w T as 
 the impression made thereon by his studies, that he 
 could render full justice to them, and yet have leisure 
 for enjoyment of boating, gunning, and like sports to 
 which athletic youths incline. Replete with health and 
 joyous spirits, and lovingly tender-hearted to those at 
 home, he was as the good mother often said, "the 
 sunshine of the house." 
 
 When about fourteen years old, he chanced to come 
 into possession of two play-books — " Richard the 
 Third," and a The Spectre Bridegroom." He read, 
 and re-read them, not only at home, but they were 
 smuggled into school. Masking them under cover of 
 a study book, he regaled himself by stealth. This 
 went on unsuspected for awhile, but one day the 
 schoolmaster surprised the deception, and wresting the 
 play-books from young John, severely remarked : "I 
 will settle with you about this, later on." Deprived of 
 his limited, but sole dramatic literature, under the dis- 
 
b MEMOEIES OF 
 
 pleasure of Gray, the schoolmaster, of whom he was 
 realty fond, the lad was very unhappy. Deeply 
 chagrined, he awaited the expected reprimand and 
 punishment. 
 
 Several days elapsed, and then Gray called him 
 aside and returned the books with a mild rebuke for 
 reading them in school; adding, after a pause — "If 
 you have any more play-books, my boy, lend them 
 to me." Thus, the dreaded scolding was not only 
 averted, but the schoolmaster and his pupil became 
 great chums. 
 
 Years afterwards, while playing a star engagement in 
 Pittsburg, he unexpectedly met his former teacher ; now 
 a very old man, and in poverty. Pleased at the ren- 
 contre, which brought back the memory of his boyhood, 
 he prevailed upon Gray to adjourn with him to a res- 
 taurant, where they had a delightful talk over a good 
 dinner and a bottle of wine. Invigorated in mind and 
 body, the old gentleman's depression vanished, and he 
 was for the nonce happy. Regarding Owens proudly, 
 he exclaimed, " Ah ! my boy, your professional success 
 is founded on our reading play-books together. I fos- 
 tered the bent of your taste — and see the result ! " He 
 witnessed the performance at night, and was yet more 
 enthused. Waiting at the stage door to say "good- 
 bye," he quite broke down in expressing gratitude 
 for the brightness which Owens had brought into his 
 
JOHN E. OWENS. 7 
 
 life, so long an experience of gloom. They met no 
 more, but Gray was always remembered so long as 
 he lived. 
 
 Strongly attracted to theatrical life, Owens yet deemed 
 it almost unattainable, as no source however remote, 
 seemed open to him to form the acquaintance of any one 
 connected with a theatre. Despairing of this, his next 
 choice of a future was "going to sea" — the outcome of 
 reading Capt. Cook's voyages, and similar books, that 
 inspire such taste in boys of brave and adventurous 
 nature. He made known this desire to his father, 
 requesting that a position as cabin boy be obtained 
 for him. Both parents gave a decided negative to this 
 request. The father inclined to the medical profession 
 for his son ; and to further this intention placed him 
 with Dr. Samuel Jackson, druggist, Tenth Street, Phila- 
 delphia. 
 
 In the same store was a very bright youth, named 
 James Woodhouse, somewhat John's senior. Soon they 
 discovered to their delight, that they had a mutual taste 
 — I may say longing. Each desired to become an actor. 
 Much "spouting" went on in that store during the 
 proprietor's absence, for Woodhouse was the fortunate 
 owner of many play-books. One day they were essay- 
 ing a portion of the fifth act of Hamlet. Woodhouse 
 personating Laertes, and Owens, with a table cover 
 draped over him for a cloak, striving to look melan- 
 
8 MEMOEIES OF 
 
 choly, as Hamlet. All went on to their satisfaction, 
 until the " divine afflatus " reached a climax and Owens, 
 with much gesticulation, throwing aside the " inky cloak " 
 — gave the lines "This is I, Hamlet, the Dane" came 
 in violent collision with a shelf of bottles. Crash on 
 crash they tumbled down, and the boys, horror-stricken, 
 viewed the shattered fragments before them. Luckily, 
 their employer was lenient, and the penalty of the 
 accident fell lightly. 
 
 By and by, James Woodhouse imparted the startling 
 information, that he, had actually stood before the foot- 
 lights. " How did you get there ? " said the awe- 
 stricken Owens. " How ? Why, as a supernumerary ; 
 and so can you." This was the thin edge of the wedge 
 to revive hope in the heart of the youug aspirant for 
 histrionic life. 
 
 Though unmistakably stage-struck, he had never been 
 in a theatre but twice. The first time, was with his 
 father ; the bill being " The Mountaineer " and " Robin- 
 son Crusoe" A most blissful evening to the boy, 
 affording him enjoyment which lasted for weeks after- 
 wards. Obtaining a book of the Mountaineer, he read 
 it with avidity, over and over again; every page being 
 to him, not only entrancing, but illuminated akin to 
 reality, from having seen it enacted. Edmon S. Conner 
 (who played Octavian) he regarded as almost superhu- 
 man; and had the future been then predicted that he 
 
JOHN E. OWENS. 9 
 
 would be professionally associated with this hero, such 
 a prophecy could not have been regarded as otherwise 
 than impossible of fulfilment. 
 
 On his second visit to a theatre, from the pit of the 
 "Arch Street/' he enjoyed the spectacle of "The Forty 
 Thieves" Arriving early, he obtained a seat quite near 
 the stage ; and as the play progressed, somewhat regretted 
 his close proximity to the band of robbers. To his 
 youthful and inexperienced eye, they appeared exceed- 
 ingly fierce, and seemed to threateningly scowl at those 
 near them in the audience ; repressing with difficulty a 
 desire to make an attack upon the inoffensive spectators. 
 Long years afterwards, in mentioning this experience, he 
 used to laugh at the thrill inspired by burnt cork mous- 
 tachios; and a scowl engendered from nervous fright, 
 awkwardness, and a fear of being recognized, and guyed 
 by acquaintances. 
 
 But, to return from this digression, to the conference 
 between Woodhouse and Owens, about going on the 
 stage. An advertisement shortly afterwards appeared 
 in the " Ledger," requiring a large number of " supers " 
 for a spectacle about to be produced at the National 
 Theatre, by William E. Burton, the famous comedian, 
 manager, and author. Owens presented himself as an 
 applicant, was accepted ; and thus, at the age of seven- 
 teen, he began his theatrical life. Night after night, he 
 managed to be on duty unknown to his parents or 
 
10 MEMOEIES OF 
 
 employer. One evening he had quite a scare. While 
 advancing in a procession of supers, he saw his father 
 with some friends in a box near the stage. Forgetting 
 how much the super's dress and make-up disguised 
 him, he thought the time of discovery had arrived. 
 To use his own words when relating the incident : 
 "I could have sworn that our eyes met, and what 
 astonished me was, that no angry manifestations fol- 
 lowed." 
 
 Weeks went on and the novelty of being behind the 
 scenes, and before the footlights waned. No prospect 
 of advancement appeared. True, he had now and then 
 a few lines to speak, but the result was not always 
 satisfactory. As, for instance. In a melodrama, being 
 cast for first murderer, and another youth for second 
 murderer, they were much elated with having "speaking 
 parts " assigned them ; and ambitious to make the most 
 of the opportunity — o?;erstudied. 
 
 Their first dialogue, informs the audience of intention 
 to commit a murder. During the Third Act, they again 
 appear, and discuss the deed that has been done, and 
 their fear of detection. Owing to excitement, the lines 
 in the Third Act, were spoken first. Coming off the 
 stage, they gazed hopelessly at each other. "What 
 shall we say in the Third Act?" was the mutual inter- 
 rogation. 
 
WILLIAM E. BURTON, 
 Comedian. 
 
JOHN E. OWENS. 11 
 
 Owens met the emergency, by striving to bridge over 
 the dilemma with interpolation ; but his efforts were only 
 partially successful. He was fined and severely repri- 
 manded. This, together with the information that " speak- 
 ing parts" would be withheld from him for awhile, 
 was very depressing. Despairing of making progress 
 in the profession, he withdrew, and tried to concen- 
 trate his thoughts on the duties of his situation at 
 the drug store. 
 
 One day, on his way home to dinner, he heard his 
 name called from the opposite side of the street ; looking 
 up, he saw Mr. Burton ; he went over and was accosted 
 thus : — " My little Owens, I haven't seen you about the 
 theatre for some time ! " " No, Mr. Burton," he replied, 
 " I don't think I'll ever make an actor, so I keep away." 
 " Nonsense," said Burton, " you haven't tried long enough 
 — must learn to walk before you can run — I'd like to 
 have a talk with you. Can you come up to my house ? " 
 "Certainly, Mr. Burton; whenever it suits you." An 
 appointment was made, and kept, the result of which 
 was, the return of Owens to the National Theatre ; not 
 as a supernumerary, but for speaking parts of a few lines, 
 with promise of advancement. 
 
 The Ocean Child was brought out at the National 
 Theatre, September 23, 1841, and Owens cast for Peter 
 Poultice, the first part of importance that had ever been 
 given to him. He made a hit. This prominence being 
 
12 MEMORIES OF 
 
 mentioned by the press, revealed to his parents the fact 
 that their son was on the stage. Their surprise was 
 great ; but resentment for the concealment was overcome 
 by gratification at his success. Relatives, friends, and 
 neighbors, were invited by the family to go to the 
 National Theatre to see the "Ocean Child," and witness 
 "our John's" performance of Peter Poultice. The piece 
 had a good run, and was revived later in the season. 
 The original cast being as follows : 
 
 THE OCEAN CHILD. 
 
 Captain Mandeville Mr. J. B. Koberts. 
 
 (of the Windsor Castle). 
 
 Captain Sturdy (of the Earl Grosvenor) Mr. Sherman. 
 
 Harry Helm Mr. E. S. Conner. 
 
 (an able sailor, on the Windsor Castle). 
 
 Dennis O'Trot (his messmate) Mr. E. Shaw. 
 
 Kohrek (a Malay sailor) Mr. Oakey. 
 
 Peter Poultice (an apothecary's apprentice) Mr. Owens. 
 
 Joel Junk (otherwise Old Davy Jones) Mr. Archer. 
 
 Mary Helm (Harry's wife) Mrs. Geo. Jones. 
 
 Malays, European Sailors, Midshipmen, &c, &c. 
 
 Act 2. 
 
 (After a lapse of eighteen years). 
 
 Sir Arthur Hamilton Mr. J. B. Eoberts. 
 
 (formerly Captain Mandeville). 
 
 Captain Worthyman Mr. W. Thompson. 
 
 (of the Antelope). 
 
JOHN E. OWENS. 13 
 
 Jack Helm Neptune Miss Alexina Fisher. 
 
 Lieutenant Manly Me. Vanstavosen. 
 
 Will Capstan (a midshipman) Mr. Bowers. 
 
 Dennis O'Trot (landlord of the Shamrock) Mr. E. Shaw. 
 
 Dr. Poultice (Surgeon Dentist) Mr. Owens. 
 
 (Man, Horse, and Cow Doctor). 
 
 Old Curious (the steward) Mr. Archer. 
 
 Mary Helm (a maniac) Mrs Geo. Jones. 
 
 Margery O'Trot Miss H. Shaw. 
 
 Kate (her daughter) Mrs. R. Cantor. 
 
 It is a singular coincidence, that his first mark in the 
 profession, should have been made by the personation of 
 an apothecary's apprentice, the position he then occupied 
 in real life. Once having tasted applause, over went the 
 mortar and pestle, and every energy was bent to becom- 
 ing an actor. Though young, he was not unduly elated 
 by the praise he received, but realized that much study 
 was indispensable. He, therefore, severed his connection 
 with the drug store, and entered with intensity of purpose 
 into the profession — to which, in later years, he was so 
 great an acquisition, so brilliant an ornament. 
 
 His course was now onward and upward. The National 
 Theatre, this season, had an excellent stock company ; 
 among whom was Miss Alexina Fisher, Edmon S. Con- 
 ner, Mrs. Rachel Cantor and others. 
 
 Alexina Fisher was, perhaps, one of the most polished 
 and attractive juvenile actresses that ever adorned the 
 stage. She afterwards starred successfully, and is best 
 
14 MEMOEIES OF 
 
 known to the present generation as Mrs. John Lewis 
 Baker. She died in 1887, leaving a son, John Lewis 
 Baker, and a daughter, who is the wife of John Drew. 
 Mrs. Rachel Cantor (then an excellent soubrette) in later 
 years played first old woman acceptably. She travelled 
 with Laura Keene and other prominent stars. At pres- 
 ent, she is an inmate of the Forrest Home. 
 
 D. P. Bowers, was among the youngsters of the com- 
 pany. He had been popular as a " boy star ; " but after 
 retiring from the role of a prodigy, wisely determined to 
 commence at the bottom of the ladder, and strive for 
 eminence on a more secure and gradual footing. He 
 became a clever light comedy actor. Graceful, easy, and 
 natural in whatever character he assumed, and was well 
 known throughout the country. He died in 1857 at the 
 age of thirty-five, leaving a widow who has always been 
 a favorite with the public, and for many years a promi- 
 nent star in the profession she graces. The name of 
 Mrs. D. P. Bowers is familiar to all, and her talent as 
 a great actress thoroughly established. 
 
 From 1841 to 1844, Owens played frequently under 
 Burton's management. Mostly in Philadelphia, but 
 occasionally in Baltimore and elsewhere; during which 
 time many brilliant actors were associated with the 
 company, not only as stars, but in the stock. I find 
 a cast of Hamlet in a play-bill of December 16th, 1841 ; 
 the strength of which, it would be difficult to surpass. 
 
JOHN E. OWENS. 15 
 
 BURTON'S NATIONAL THEATRE, PHILADELPHIA. 
 
 Hamlet Mr. Edwin Forrest. 
 
 Ghost Mr. J. B-. Scott. 
 
 Laertes Mr. J. Wallace:. 
 
 Horatio Mr. E. S. Conner. 
 
 Claudius (King of Denmark) Mr. J. B. Eoberts. 
 
 Polonius Mr. W. Jones. 
 
 Kosencrantz Mr. Howard. 
 
 Osrick Mr. Beck. 
 
 Guildenstern Mr. Sherman. 
 
 Marcellus Mr. Watson. 
 
 First Gravedigger Mr. W. E. Burton. 
 
 Second Gravedigger Mr. Owens. 
 
 Francisco Mr. Oakey. 
 
 First Actor Mr. Bowers. 
 
 Second Actor Mr. Watson. 
 
 Priest Mr. Venua. 
 
 Gertrude (Queen of Denmark) Mrs. George Jones. 
 
 Ophelia Miss Josephine Clifton. 
 
 Player Queen Mrs. A. Knight. 
 
 Our young aspirant for theatrical fame had every 
 advantage in daily observation of so much genius ; and 
 the rehearsals as well as performances were closely 
 watched as a medium of instruction. His ambition was 
 great, but never overleaped itself, for he realized how 
 very much he had to learn, before he could, in any 
 degree, approach the position for which he was striving. 
 
 One day Mr. Burton said to him : " I think you 
 would play Zekiel Homespun, well — that is, if you can 
 
16 MEMOEIES OF 
 
 speak the dialect — will you try it?" "Let me read the 
 part first, Mr. Burton, and then I can tell you." He 
 took home the book of " The Heir at Law " which Mr. 
 Burton lent him, but made no additional remark ; for, 
 impressed with the importance of the character assigned 
 him, he was too excited to speak. Past midnight before 
 Zekiel and he parted company, and even when he fell 
 asleep, the lines were in his mind. Next day he asked 
 Mr. Burton to hear him speak a sentence, that his dialect 
 might be tested. " Perfect, my boy," said Burton ; 
 " now learn the part." " I have memorized the words 
 already," replied Owens, "and I shall study the part 
 and hope to know it too." 
 
 He was very nervous when the night for " The Heir 
 at Law" arrived. Burton, who played Dr. Pangloss, 
 tried to inspire him with confidence, and thus encouraged 
 he gave a truly excellent performance of Zekiel, eliciting 
 warm encomiums. His youthful appearance admirably 
 suited with the hearty, healthy country lad he was rep- 
 resenting — albeit, sometimes the bright eyes and boyish 
 face, were obstacles to his make-up. 
 
 One night, Mr. Ferris, a mature actor whose dressing 
 room he shared, found him almost crying over unsatis- 
 factory endeavors to effect a resemblance to Bailie Nicol 
 Jarvie, the part in Rob Roy for which he was cast. He 
 confided his woe, thus — " I know the lines, and the busi- 
 ness perfectly, but I can't look like the character. Oh, 
 
JOHN E. OWENS. 17 
 
 Mr. Ferris, what shall I do ; I am so confoundedly 
 young ! " With a shrewd dry smile, Ferris replied — 
 " Don't be worried about it, time will cure that, cheer 
 up!" 
 
 " Dr. Ollapod " in The Poor Gentleman was played by 
 Owens at twenty-four hours' notice, and he was dead- 
 letter perfect. True, it did not equal the polished rendi- 
 tion of that character in his riper years ; but the per- 
 formance was creditable. 
 
 In the summer vacation of 1840, Owens joined a 
 company which was organized on commonwealth basis, 
 to travel through small towns. Their experience was 
 limited and the treasury even more infinitesimal. Bad 
 business made a short season. In Richmond, Virginia, 
 they disbanded. During the fortnight they played there, 
 Owens became quite a favorite. His clever, though 
 crude, portrayal of the leading comedy, his ready wit, 
 and inexhaustible humor, attracted much attention ; and 
 made for him, friends, as well as admirers. One of the 
 
 prominent citizens, Dr. H took a great fancy, and 
 
 personal liking to the young comedian ; and invited him 
 to make a visit to his home on Shockce Hill. This 
 courtesy was accepted ; and Owens became the Doctor's 
 guest, after the disbanding of the company. Not only 
 was the hospitality of the Doctor and his family charm- 
 ingly agreeable, but access to Dr. H 's extensive and 
 
 valuable library was an additional enjoyment. Among 
 2 
 
18 MEMOEIES OF 
 
 other books, were many rare works on Astronomy. This 
 having been a favorite study with Owens, he was glad of 
 the opportunity to increase his knowledge. 
 
 By and by, an idea occurred to him. The renewal 
 of theatrical engagement during the summer was impos- 
 sible. "Why shouldn't he lecture on Astronomy, and 
 earn money to keep him till the fall season began?" 
 
 He consulted Dr. H , who much amused, said — 
 
 " You look far too young for a Professor of Astronomy 
 — moreover, everyone will know you, and laugh, remem- 
 bering your comicalities. " I can change my name, and 
 wear green spectacles," retorted the youngster ; — the Doc- 
 tor laughed, entered into the matter as a frolic, and 
 promised every assistance in his power; — and so, the 
 writing of the lecture began. 
 
 Hard study and the Doctor's library stood Owens 
 good stead. His MS. was soon written. Seeking the 
 companionship of an acquaintance, they joined issue in 
 finances, purchased a magic lantern with astronomical 
 pictures ; and arranged a partnership. Owens as lecturer 
 and illustrator, Dawes as door-keeper and general facto- 
 tum. Oif they started to make a tour of the adjacent 
 villages. Sometimes journeying by stage coach, but more 
 frequently on foot for sake of economy. Light-hearted, 
 young, and strong in health, they thoroughly enjoyed the 
 adventurous freedom of the project. Their advertisements 
 and programmes were written in a big round hand, and 
 
JOHN E. OWENS. 19 
 
 nailed up in the grocery store, tavern, and blacksmith 
 shop of each village they visited. 
 
 At first, the entertainment scored a success with the 
 country people ; for (in those days) any public amusement 
 was a novelty to them. Professor Roberts (?) wearing 
 green spectacles and his hair brushed back, was of im- 
 posing appearance as a lecturer ; and his fluently delivered 
 discourse interested the listeners. His assistant, Mr. 
 Smith (?) was equally acceptable. They made sufficient 
 money to meet expenses, and maintain their dignity by 
 sojourning at the tavern, in each town, and ordering the 
 best it afforded. This pleasant experience was brief. 
 Slim attendance in one or two villages exhausted the 
 exchequer. From bad to worse, they became reduced to 
 hunger. 
 
 When referring to this escapade, Owens used to, laugh- 
 ingly, say, that the sorest temptation of his life, was, when 
 standing before the cake stand of an old darkey woman, 
 he offered her his pocket-handkerchief in exchange for 
 a ginger cake. She refused and turned away from him 
 — the cakes were within his reach — hunger gnawing with 
 the intensity of twenty-four hours' fasting — he could 
 scarcely refrain from helping himself; adding, " Indeed, 
 it's a mercy I didn't devour the entire cake stand, old 
 woman included." At New Glasgow, the astronomical 
 enterprise received its death blow. A crowd of rustics 
 gathered in front of the hall, impatient to see " the show," 
 
20 MEMOEIES OF 
 
 but the owner of the building refused to light candles, 
 and open the door, until a portion of the rent was paid in 
 advance. The Professor and his assistant being penniless, 
 were unable to meet this demand ; and deeming discretion 
 the better part of valor, retreated through the back door 
 to the hotel ; inasmuch as the prospective audience were 
 becoming noisy at the delay, and murmured threats of 
 violence were heard. 
 
 Next day the partners discussed the situation, and 
 agreed that their scheme was a failure ; although it had 
 its bright side in the way of " great fun." From the sale 
 of the magic lantern, they realized enough to help them 
 on to Eichmond, each having written to their parents for 
 funds to take them thence, home. 
 
 For the season of 1844-45, Owens received three offers 
 for the position of first low comedian — a situation which 
 he strongly desired to occupy, and of course, never could 
 in Burton's theatre, as that line of business belonged to 
 Mr. Burton. Moses Kimball of the Boston Museum 
 wrote to him offering an engagement for the position of 
 first comedian — mentioning as an inducement the long 
 duration of the season in his theatre, and detailed its 
 comfortable surroundings ; concluding by saying : " I 
 believe the engagement which I propose, would prove 
 mutually agreeable and advantageous. Do me the 
 favor to think the matter over thoroughly before you 
 decide." 
 
JOHN E. OWENS. 21 
 
 Peale of the Baltimore Museum, and William Shires 
 of "Shires' Gardens," Cincinnati, also desired his services 
 for the season. Moses Kimball claimed that greater ad- 
 vantage would accrue from an engagement with him, but 
 did not offer as much salary as Peale; who again was 
 exceeded in terms by Shires. The latter, afterwards 
 became manager of the National Theatre, and Pike's 
 Opera House in Cincinnati, but at the time I refer to he 
 was owner and proprietor of " Shires' Gardens," corner 
 of Third and Vine streets, where the Burnet House now 
 stands. The garden occupied an entire block. It was 
 planted with shade trees, and beautified with flower beds. 
 Interspersed through it, were ice cream booths and places 
 of refreshment. In the centre, stood a pretty frame 
 theatre which was ably managed, with a good stock com- 
 pany supporting stars during the regular season. 
 
 In the summer months, day as well as night perfor- 
 mances were given by the stock company. Here, is 
 marked, the first introduction of mat'me'es in this country. 
 The innovation was not a great success with the public, 
 and decidedly unpopular with the profession. In fact, 
 the matinee element, caused Owens to decline Shires' offer. 
 For some time he deliberated between Boston and Balti- 
 more, but finally decided in favor of the latter ; signing 
 for the season with Peale, at fourteen dollars a week, and 
 two benefits. The position with Moses Kimball, at the 
 Boston Museum, was afterwards accepted by William 
 
22 MEMOKIES OF 
 
 Warren ; and thus began, as local favorites, the career of 
 two comedians destined to become famous to the world, 
 and brighten many lives. Endeared to hosts of friends, 
 they were most beloved by those who knew them best. 
 As this epoch marked the dawn of Owens' great success 
 in his profession, the little theatre where he attained over- 
 whelming popularity, and from whence he emerged as a 
 brilliant star, may claim some interest with my readers. 
 I, therefore, give a succinct account of the Baltimore 
 Museum. It was situated on the corner of Calvert and 
 Baltimore streets. Mr. John Clark, a prominent lottery 
 broker, purchased the site, and erected the building in 
 1829. The lower part was used for a banking house; 
 and the upper part rented to Rembrandt Peale for the 
 exhibition of curiosities, stuffed birds, pictures, &c. Five 
 years later, Edmund Peale assumed the management 
 and inaugurated dramatic entertainments in the Lecture 
 room. 
 
 In 1846, P. T. Barnum bought the museum from 
 Edmund Peale, and appointed his uncle, Alonso Taylor, 
 manager. Mr. Taylor lived but six months afterwards. 
 At his death the place was put in charge of Mr. Charles 
 S. Getz, the celebrated scenic artist, whose work and 
 talent is so widely known. Mr. Getz conducted the place 
 until it passed into the possession of Joshua Silsbee (Yan- 
 kee Comedian) and Albert Hamm — a member . of the 
 musical troupe known as the Orphean Family. 
 
JOHN E. OWENS. 23 
 
 On that little stage appeared some of the best talent 
 that ever delighted an audience. Mrs. Kussell (Mrs. 
 John Hoey), Mary Gannon, Mrs. Watts, Miss St. Clair, 
 Mrs. D. P. Bowers, Chippendale, Davenport, J. W. 
 Albaugh, and a host of others, won their first laurels here. 
 Among the stars we find James Murdoch, J. B. Booth 
 (the elder), J. W. Wallack, Joe Cowell, J. E. Scott, 
 Charles Burke, Charlotte Cushman, Fanny Wallack, 
 Mrs. Farren, Julia Dean, Eliza Logan, Mr. and Mrs. 
 Barney Williams, Mrs. C. Sinclair Forrest, and many 
 more. 
 
 Of John Owens' connection with the Museum, I shall 
 speak more in detail as my narrative progresses. His 
 first season began September 5th, 1844; vaudeville and 
 farce constituted the usual dramatic attraction. Later on, 
 Kate Ludlow joined the company as a feature in " Kate 
 Kearney;" being noted for her singing and dancing. 
 In November Mr. and Mrs. H. Hunt (now Mrs. John 
 Drew) played a star engagement. Mrs. Hunt was a 
 most fascinating and talented comedienne. Her Widow 
 Cheerly in the Soldier's Daughter ; Marian, in the Wind- 
 mill; Fortunio, and all that line of characters, were 
 wonderfully charming. 
 
 I always find pleasure in remembering them, and con- 
 gratulate myself that I had the privilege of seeing her in 
 these exquisite renditions, which will rank with the 
 extremely different character of Mrs. Malaprop that she 
 
24 MEMOEIES OF 
 
 gives with such perfection to the public of the present 
 day. To descant upon Mrs. John Drew's versatility and 
 excellence as an artist is a work of supererogation — akin 
 to " painting the lily, or gilding refined gold." 
 
 The next great attraction at the museum was " Beauty 
 and the Beast," prettily gotten up, with the following 
 strong cast. 
 
 BEAUTY AND THE BEAST. 
 
 Beauty Mrs. J. B. Booth. 
 
 The Beast Mr. James L. Gallagher. 
 
 John Quill Mr. John E. Owens. 
 
 Sir Aldgate Pump Mr. John Sefton. 
 
 Dressalinda Mrs. Russell. 
 
 Marygold Mrs Watts. 
 
 The Wild King Mr. Macklin. 
 
 Not only the talent of the dramatis personal, but con- 
 siderable musical ability added thereunto, rendered this 
 bill sufficiently attractive to draw full houses. 
 
 The Lecture room became Baltimore's fashionable place 
 of resort, and Owens the leading favorite with all. Pop- 
 ular too, among his fellow actors, always bubbling with 
 the mirthfulness which springs from a sunny nature, he 
 found much amusement in his surroundings; though 
 many of them were the reverse of agreeable. 
 
 Peale, not content with the inanimate curiosities of the 
 saloon, alone, would from time to time exhibit freaks and 
 monstrosities of various kinds. Owens was antagonistic 
 
JOHN E. OWENS. 25 
 
 to this mingling of theatre and menagerie ; but always 
 saw the ludicrous side of the situation. I have heard 
 him laughingly refer to it thus : " Matters culminated 
 when I read on the bill-boards, a startling advertisement 
 of the performance — headlines in immense letters : 
 
 1 Gee at Attraction ! 
 
 JOHN SEFTON ! ! JOHN OWENS ! ! ! 
 
 and 
 
 A BEAR ON THE ROOF ! ! ! ! ' 
 
 "I had been reasonably patient, but here I drew the 
 line. Mentally, I ejaculated, 'this association, even in 
 type, is more than I can endure.' I remonstrated with 
 Peale, and suggested that his aim should be to elevate 
 the drama; and lhat certainly could not be effected by 
 placing its representatives on a plane with brute attrac- 
 tions. I made some impression, and he promised to 
 reflect on what I said. Meanwhile, fate intervened. The 
 roof of the museum did not afford congenial atmosphere 
 to the bear. Poor Bruin pined, sickened and died; and 
 thus we were relieved of a mortifying incubus." 
 
 Early in the autumn of 1845, W. E. Burton managed 
 the Chestnut Street Theatre in Philadelphia. Mr. and 
 Mrs. Charles Kean being the first stars. To strengthen the 
 support, Owens was engaged to play second comedy to 
 Burton, in some of the pieces, and first comedy in such as 
 
26 MEMORIES OF 
 
 Burton did not care to appear in. Also for the farces; 
 in the latter he was to be made a feature. 
 
 During this engagement, Mr. and Mrs. Kean fre- 
 quently made gracious recognition of the young actor's 
 merit. He was proud of their good opinion, and his grati- 
 fication was unbounded when Mrs. Kean, after the per- 
 formance of " The Stranger," complimented him by 
 saying, " she had never seen the part of ' Peter ' so well 
 enacted, it being ludicrously comic, yet neat, and withal 
 artistically rendered." In December, Owens played a 
 star engagement of one week at the Baltimore Museum, 
 but the rest of the season he was in Philadelphia and 
 elsewhere, under Barton's management, diligently study- 
 ing, and all the while advancing in his profession, play- 
 ing more important parts and with greater finish and 
 force. 
 
 Among the offers received for the season 1846-47, was 
 one from Ludlow and Smith, managers of the St. Charles 
 Theatre, New Orleans, for first low comedy business, at a 
 moderate salary, and two benefits. This position was 
 accepted; after signing the contract, Owens arranged to 
 play at various towns on his way down the river to New 
 Orleans. The route mapped out, commenced with an 
 engagement in Pittsburg, under the management of C. S. 
 Porter. The result was satisfactory — he made a hit — and 
 the good impression increased during the fortnight of his 
 stay there. The packed house, and enthusiastic audience 
 
JOHN E. OWENS. 27 
 
 which greeted him on his farewell night, not only grati- 
 fied, but surprised, the young star. 
 
 With this inspiring beginning to the journey, he pro- 
 ceeded pleasantly to New Orleans, making his debut 
 there as Sampson Low, in " The Windmill" on the even- 
 ing of November 21st, 1846. He was received with 
 hearty approbation ; and this success, so instantaneously 
 attained, grew and strengthened while he remained in 
 New Orleans. From that time until his last appearance 
 in the dear old city, he was their favorite and beloved 
 comedian. The stock company at the St. Charles Theatre 
 this season was excellent — prominent therein were Sol 
 Smith, Jerry Merryfield and wife (Rose Cline), John 
 Weston, C. F. Adams, Proctor, Bynar, and James 
 Wright. 
 
 At this time " The Louisiana Histrionic Association " 
 held exalted position in New Orleans. They owned a 
 pretty theatre on St. Charles street; it was organized 
 and conducted with perfect discipline — each member hav- 
 ing his line of business allotted. During the summer the 
 players from the regular theatres were engaged by the 
 Histrionic Association, at high salaries, and many first- 
 class stars appeared. Of course, the amateurs being 
 devotees of the drama were prone to seek companionship 
 with the leading lights thereof. In this way Owens made 
 the acquaintance of Fred N. Thayer, who came of a well 
 known theatrical family ; many of his relatives being on 
 
28 MEMOKIES OF 
 
 the stage — prominently, his uncle, E. N. Thayer, so long 
 a favorite in Philadelphia and elsewhere. 
 
 Mr. F. N. Thayer possessed the requisites of an accom- 
 plished actor. To attractive personal appearance he 
 added culture and refined taste, a well modulated voice, 
 and strong elocutionary power ; these gifts, prominent as 
 an amateur, were fully developed, when, in 1855, he went 
 on the regular stage as leading man in Dion Boucicault's 
 company at the Gaiety Theatre, New Orleans. There, 
 and in other cities he distinguished himself; noticeably 
 in the role of Armand Duval ; supporting Matilda Heron 
 in her great success of " Camille." Later on, he was 
 chosen by that famous actress to play the part during 
 her New York engagement. 
 
 After a few years of theatrical life, Mr. Thayer retired 
 and engaged in mercantile business. The friendship 
 formed between Mr. Owens and Mr. Thayer ripened as 
 time went on and strengthened with frequent intercourse. 
 To the close of Mr. Owens' life none held higher place 
 in our regard than Mr. Thayer and his family. In 
 speaking of the St. Charles Theatre Company, I omitted 
 the names of Mr. and Mrs. George Farren. The latter 
 was leading lady; her talent and popularity so well 
 known, I need not descant upon. 
 
 Mr. Farren used to relate an anecdote of Owens which 
 was amusing and also characteristic. The St. Charles 
 Theatre Stock Company having heard that Owens was 
 
JOHN E. OWENS. 29 
 
 an immense favorite north, were quite prepared for the 
 manifestation of self-importance on the part of the " New 
 Comic/' as they facetiously designated the recent addition 
 to their corps. Mr. Farren said to them, "Well, boys, 
 as the young man dresses with me, I will observe and 
 report any peculiarities that may need subduing." Later 
 in the evening, in reply to their eager questioning he 
 said — " It is quite a mistake ; our ' new comic ' is by no 
 means arrogant or ostentatious ; his deportment is modest 
 and quiet, but he has peculiarities, for his dressing-case 
 of paints, &c, consists of two pill boxes ! " I once heard 
 Mr. Farren tell this story ; and here he was interrupted 
 by Mr. Owens good-humoredly ejaculating, "I vow, 
 Farren, that's too rough ; I deny the pill boxes ; " but 
 Farren, much to our amusement, insisted on the veracity 
 of his story, adding, " The greater credit to you for being 
 able to draw from such limited sources such wonderful 
 inake-ups." 
 
CHAPTER II. 
 
 Owens' method of preparing for the stage— A paradoxical manager — 
 Departure for Europe — Visit to the old homestead of "Aigburth 
 Vale," near Liverpool — Return to Baltimore — The organ grinder 
 and the monkey — Epes Sargent — Engagement at Arch Street 
 Theatre — " Glance at Philadelphia " — " Jakey " creates a furore 
 — January, 1849 — Owens purchases Silsbee's half of the Baltimore 
 Museum — Marriage of Mr. Owens — Methodist prejudices — Col. 
 George P. Kane as a mediator — Italian Opera — "We are mooch 
 talented" — A psychologist astonished — "I want to ketch on to 
 your play-acting tricks" — Eliza Logan — The Live Indian — Mr. 
 and Mrs. Barney Williams — James Murdoch — Julia Dean — The 
 Bateman children — 1850, Owens sole owner of the Museum — Mor- 
 ton's farces — " Don't make such good fun " — Brougham's Lyceum, 
 New York — Startling hit as " Uriah Heep " — The Forty Thieves — 
 " The rest of the band will remain in the wood." 
 
 TT7HE facility and rapidity with which Mr. Owens 
 made up his face for the stage was marvellous. 
 His preparations, including change of costume, required 
 but a few moments ; my early experience as his dresser 
 was somewhat fraught with nervousness. As he would 
 leisurely chat or read the evening newspaper, I could not 
 refrain from saying, "Do you know how late it is? 
 The first music has been called." " All right," he would 
 30 
 
JOHN E. OWENS. 31 
 
 reply, " I shall be ready," and he invariably was. I soon 
 learned that there was no danger of a stage wait, whether 
 the part chanced to be the merry one of Joshua Butterby, 
 or poor old Caleb Plummer with his piteous, deeply fur- 
 rowed face, or the wizen visage of miserly old Spruggins. 
 The latter, perhaps, altered Mr. Owens' appearance more 
 than any part he played, and for that, I have seen him 
 make up his face in five minutes. He never liked to be 
 entirely dressed until his cue was near, and often said, " I 
 couldn't feel the character if I waited — the excitement 
 inspires me." In Solon Shingle, he was always putting 
 on his gloves hurriedly, as he spoke the first lines with- 
 out. But, I have digressed, and must pick up the thread 
 of my narrative by returning to Mr. Owens' season at the 
 St. Charles. Among the stellar attractions, he then had 
 the opportunity of observing, were Mr. and Mrs. James 
 Wallack, Mr. and Mrs. Charles Kean, Anderson, 
 Murdoch ; association with whom, could not fail to im- 
 prove a young and studious actor. In speaking of the 
 jolly and clever manager, Sol Smith, Mr. Owens used 
 to describe his personal appearance as attractive but very 
 remarkable in one respect ; the right side of his face had 
 a merry expression ; the left, was of serious aspect. Mr. 
 Owens would jokingly add, " the former was invariably 
 turned to whoever he addressed during good business, 
 and the latter when the houses were slim ; and this was 
 the only way in which Sol Smith could be double-faced • " 
 
32 MEMOEIES OF 
 
 the usual acceptation of that expression, was the anti- 
 thesis of his nature. 
 
 Owens' engagement in New Orleans closed April 16th, 
 1847, with a bumper benefit. About this time numer- 
 ous cases of yellow fever had occurred in the French 
 quarter of the city. That, being the locality in which 
 Owens resided, his friends became alarmed for him, though 
 he did not share their fears. In compliance with much 
 importunity on the score that he was not acclimated, he 
 concluded to run no further risk by remaining in New 
 Orleans ; so, made up his mind for the pleasure of a sea 
 voyage, to terminate with a visit to his relatives in Eng- 
 land. 
 
 On May the third, he sailed in the bark Emerald, and 
 though delayed by adverse winds, the trip was very enjoya- 
 ble. His recollections of England were vague ; the most 
 vivid was that of his mother's sister, Aunt Bessie Orme, 
 with her sweet face, and gentle ways, and Uncle Orme, 
 who played and sung so delightfully, and always petted 
 him. When he arrived in Liverpool, some of his childish 
 impressions became dispelled; Nelson's monument was 
 puny, in contrast to his remembrance of it. The big 
 river Mersey greets his gaze as a mere stream. Proceed- 
 ing to the home of his relatives, at Aigburth Vale, all 
 memories of dear Aunt and Uncle Orme were more than 
 realized. The same warm-hearted loving welcome met 
 him as in childhood. Many happy days were passed at 
 
JOHN E. OWENS. 33 
 
 the old homestead, and it became so endeared to him that 
 he registered this vow : " If I am ever rich enough to 
 have a country place, I will call it ( Aigburth Vale.' " 
 And so he did, six years later — improving and beautify- 
 ing an estate which was home to us in every sense of the 
 word, so long as he lived. 
 
 After adieux to Aunt and Uncle Orme he made a fly- 
 ing visit to Paris, then back to Liverpool, where he took 
 passage in the bark Emerald, bound for the port of Balti- 
 more. There he arrived in September. The Baltimore 
 Museum had been much improved during the summer, 
 the Lecture room having been altered and enlarged 
 into a cosey theatre, with cushioned seats, private boxes, 
 parquette, and gallery. New scenery, and decorations 
 were designed and executed by that well known artist, 
 Charles S. Getz. When completed, the theatre was as 
 pretty a little place as one would wish to see. The 
 Baltimoreans attested their appreciation by crowding the 
 house on the night of September 7th, 1847, when Hamm 
 and Silsbee (new managers) inaugurated the theatre with 
 a good stock company playing The Honeymoon, and a 
 farce. 
 
 On the 16th Owens began a star engagement, opening 
 in The Poor Gentleman and State Secrets. His return 
 was warmly welcomed; and so unanimous was the de- 
 mand of the public for a continuance of his engagement, 
 that the management offered inducements which decided 
 3 
 
34 MEMORIES OF 
 
 him to remain as a stellar attraction. Apart from business 
 considerations, he was well content in Baltimore, having 
 long inclined to that city with a home feeling. After 
 entering into a permanent agreement with Hamm and 
 Silsbee, for an extended period, he arranged with his 
 father that the entire family should remove from Phila- 
 delphia and reside in Baltimore. 
 
 At this time, the attractions at the Holliday St. Theatre 
 were mostly Shakespearean (or other) tragedies. Edwin 
 Forrest was playing to enthusiastic audiences. But these 
 performances being so different by reason of their legiti- 
 mate grandeur, in no way interfered with the cosey 
 Museum's comedy and vaudeville entertainments. In 
 this connection the remark was made after rehearsal, one 
 morning, "our little place is always crowded, notwith- 
 standing Forrest's great success." Whereupon, Owens 
 retorted : " Apropos of that, I'll give you a conundrum. 
 Why are we, at the Museum, more fortunate than those 
 at the Holliday St. Theatre?" Several guesses being 
 made, without solving the riddle, the perpetrator was 
 desired to give the answer ; which came in this guise : 
 " Because, they have only one Forrest, great and grand as 
 he is. While we, have our little Forrest, our shady 
 Bowers, our green Fields, our lovely Woods, with Davjes 
 pecking about ; our beautiful Rivers, and always Wright 
 with us." Thus, introducing the names of some of the 
 ladies and gentlemen of the company ; all of whom, 
 
JOHN E. OWENS. 35 
 
 heartily enjoyed the joke, except Mr. Fields, who rather 
 resented the descriptive adjective appended to his name. 
 
 Many new plays were given this season, noticeably, 
 "The Merchant and his Clerks" which met with great 
 favor from the public. Owens personated Kit Cockles, 
 a jolly ne'er-do-well, who among various occupations 
 becomes an organ grinder ; whilst his wife, Betty, plays 
 upon the tambourine, and collects pennies (more or less — 
 generally less) from the street crowd. The part is replete 
 with humor, and was vividly embodied. To make it 
 realistic, Owens obtained from a genuine organ grinder, 
 the use of his organ and monkey; and received instruc- 
 tions how to manage both. He soon found the under- 
 taking beyond accomplishment — so far as the monkey 
 was concerned. The little imp was vicious when trans- 
 ferred to a stranger; though docile enough with his 
 owner, who, standing at the wing, endeavored to control 
 the animal by an admixture of menaces and profanity. 
 Only partially succeeding — as all on the stage were in 
 dread of being bitten by the chattering beast. 
 
 To talk of, afterwards, the scene was very funny, but 
 anything else but amusing at the time. Struggling with 
 the hand-organ, and fighting off the monkey in such a 
 way as to prevent the audience from being cognizant of 
 the contretemps was, as Mr. Owens said, "the hardest 
 work he ever tackled. " When the scene was over, he 
 went up to the Italian, and remarked : " There, my good 
 
36 MEMOEIES OF 
 
 man, is your property, I gladly relinquish it. Come 
 again to-morrow night ; bring the organ, but not the 
 monkey. I am convinced that I have no vocation for 
 managing monkeys. The hand-organ alone is a gigantic 
 undertaking. I am sure it weighs a thousand pounds." 
 The fellow stared, scratched his head in a puzzled way, 
 and walked off; not at all understanding the covert 
 humor, for which he had been a target. 
 
 The play had a good run, and after its withdrawal, the 
 query was often made of Owens : " Why don't you play 
 Kit Cockles ? it's such a funny part." " Yes," he would 
 reply, "very funny to the audience, perhaps, but it's 
 rather heavy for me." I never knew him to pass an 
 organ grinder without giving him money; "they earn 
 it," he would say, "for it's hard work carrying an organ. 
 Kit Cockles and I, know all about that weighty business." 
 
 Owens' contract with the managers of the Baltimore 
 Museum, concluded April 22, 1848, and during its seven 
 months' duration he appeared in various characters, too 
 numerous to mention. His versatility has never been 
 excelled. With a voice which embraced every tone in 
 its register, he was equally effective in humor or pathos. 
 Gifted with personal magnetism, he held his audience 
 spellbound; to laugh with him in rollicking merriment, 
 or with misty eyes respond to the tenderness of his 
 pathetic acting. Baltimore was loth to part with so great 
 a favorite even for a short time. A month earlier Owens 
 
JOHN E. OWENS. 37 
 
 had signed with Burton to star at the Arch Street 
 Theatre, in "A Glance at Philadelphia" a local drama, 
 in which he played Jakey, a volunteer fireman. 
 
 Two years previous, he had been cast for a character 
 of the same nature, in " Change makes Change ; " a play 
 written for Mrs. Mowatt, by Epes Sargent. The part 
 was short and sketchy, but made a hit, and was much 
 talked of. The play, not being a success, was soon with- 
 drawn ; but, Owens remembering the " fire laddie," so 
 favorably received, felt confident that he should make a 
 mark as Jokey — and he did ; far beyond his most san- 
 guine expectations ; creating such a furore that the thea- 
 tre was packed nightly — the sidewalks impassable long 
 before the doors were open. A droll incident happened 
 one evening, as Owens (being rather late) was hurrying 
 along Arch street, striving to elbow his way through the 
 surging crowd, a stout and rather rough man savagely 
 accosted him thus : " Stop a pushing of me ; do you think 
 nobody wants to see Owens but yourself? " 
 
 The original cast, in Philadelphia, gives John Crocker, 
 as Harry Gordon ; T. B. Johnson, as George Petriken ; 
 and Mrs. C. Howard, as Lize. After six weeks 7 run, 
 Burton brought the piece to the Front St. Theatre, Bal- 
 timore, where it met with the same enthusiastic reception 
 and crowded houses. Returning to Philadelphia, it was 
 again played at the Arch St. Theatre, supplemented with 
 Jakey's Marriage ; repeating its original success. Some 
 
38 MEMOEIES OF 
 
 changes in the cast were made during the run of the piece. 
 Mrs. J. B. Booth, Mrs. Burke, Annie Cruise, alternating 
 as Lize. 
 
 The character of Jakey, given by Owens, was so real- 
 istic, so exactly like the " fire boy," seen then, in every- 
 day life, that it did not seem at all like acting. It was 
 perfect as a type of the volunteer fireman of that period ; 
 and as artistically true to nature in every detail, as the 
 most elaborated Shakespearean part he ever played ; the 
 same powerful conception of character was seen on this 
 lower plane, as he evinced in Touchstone, Launcelot Gobbo, 
 and other characters, emanating from the grand master. 
 On the 15th of July, 1848, the season closed, with the 
 same bill still in the meridian of its drawing power. 
 " Jokey " brought thousands of dollars into Mr. Burton's 
 treasury ; not only retrieving his losses ; but, additionally, 
 giving him wealth. This engagement furnished Burton 
 with the means to purchase the property in New York, 
 afterwards known as the Chambers Street Theatre. At 
 Burton's request, Mr. Owens went with him to inspect the 
 premises, and give his opinion as to the eligibility of the 
 site for a comedy theatre. They arrived in New York 
 after dark, and Burton proposed that, having had supper, 
 they should wend their way to Chambers street ; saying, 
 " Why should we wait till to-morrow ? — it's a beautiful 
 moonlight night — we can see." 
 
JOHN E. OWENS. 39 
 
 Soon they were on the premises, and having stepped 
 off the ground, discussed its purchase, the probable cost 
 of starting the theatre — in fact, the investment in all its 
 bearings, arriving at the conclusion, that it was in every 
 way desirable. Thus began W. E. Burton's Metropolitan 
 management, which marks an epoch in dramatic history, 
 for the " Chambers Street " rapidly ranked as the leading 
 theatre of New York; superbly producing not only the old 
 comedies, but every new play of merit, and with a company 
 of unsurpassed excellence. Burton played the leading 
 comedy ; his name was a tower of strength. He made 
 his first appearance in America as Dr. Ollapod in The 
 Poor Gentleman at the Arch St. Theatre, Philadelphia, 
 September, 1834. He began his career as an actor in 
 London, appearing at the Pavilion Theatre, Whitechapel, 
 as Wormwood in The Lottery Ticket Mr. Burton had 
 much experience as a manager, he was also well known 
 in literature, but his superlative merit was seen on the 
 stage; he was a great actor. Captain Cuttle was, per- 
 haps, his best part ; but in all that he did, superior 
 talent shone brilliantly attractive. He was coarse at 
 times, but his humor was infectious, and his command 
 over an audience, something marvellous. 
 
 But, to return to the inception of the Chambers St. 
 Theatre. Burton appreciated the fact that to Owens, he 
 was indebted for this rapid stride to fortune, and evinced 
 the same at the conclusion of the Philadelphia engage- 
 
40 MEMORIES OF 
 
 ment, by the presentation of a massive silver vase bearing 
 the following inscription : 
 
 Presented by 
 
 WILLIAM E. BUKTON 
 
 to 
 
 JOHN E. OWENS 
 
 As a memorial of his unprecedented popularity in 
 
 the character of Jakey, in the local Drama 
 
 of "A Glance at Philadelphia" at 
 
 the Arch Street Theatre, 
 
 Philadelphia, 
 
 1848. 
 
 The summer vacation Owens passed in New England, 
 recuperating health and strength, after a long season of 
 over ten months' laborious work. Returning to Balti- 
 more, in September, he again signed with Hamm and 
 Silsbee, for a star engagement, to be renewed if mutually 
 satisfactory. In November, he retired from this contract, 
 in consequence of disagreement with the managers ; he 
 then rented the little theatre at the corner of Charles and 
 Baltimore streets known as " The Howard Athenaeum. " 
 This he inaugurated with a strong company headed by 
 himself. The public responded to the undertaking by 
 cramming the house nightly. 
 
 En passant, it was here that Dolly Davenport made 
 his debut. He was in the employment of S. Kirk & 
 Sons, jewelers and silversmiths, under his real name, A. 
 
MR. OWENS as JAKEY 
 In "A Glance at Philadelphia. 
 
JOHN E. OWENS. 41 
 
 D. Hoyt. Becoming stage-struck, he sought an introduc- 
 tion to Owens, and obtained the opportunity to try his 
 power. The experiment was made as Fred Thornton in 
 " The Dead Shot." I have heard him say, that the stage 
 fright he experienced, amounted almost to collapse. In 
 the scene where Thornton is brought on, feigning to be 
 dangerously wounded, he has to rise suddenly, and 
 acknowledge the ruse. When the cue came, the un- 
 fortunate debutant was too frightened to move, and the 
 whispered promptings of the soubrette were unheeded, 
 until she stealthily stuck a pin in him, and thereby 
 caused a reaction. Dolly Davenport continued under 
 Mr. Owens' management, and improved rapidly ; in three 
 months he was playing leading juvenile comedy accept- 
 ably. 
 
 Under the same management (at the Baltimore Mu- 
 seum) George Jordan, then a printer, made his first 
 appearance on the stage. He was afterwards prominent 
 in the New York theatres ; and later on a favorite in 
 New Orleans at La Yariete Theatre, while Owens was 
 manager of that famous temple of the drama. George 
 Jordan left New Orleans in 1861, for England; from 
 whence he returned to this country but once; then, in 
 support of Kate Bateman. 
 
 As the year 1848 waned, Joshua Silsbee became desir- 
 ous of retiring from management, and offered to sell his 
 half of the Baltimore Museum to Owens. After some 
 
42 MEMORIES OF 
 
 negotiation, the transfer was made. The bright, though 
 brief, season at the Howard Athenseum closed January 
 1st, 1849. Owens returned to the Old Museum, and 
 took the helm ; the management being known as Hamm 
 and Owens ; though Hamm's interest was entirely mone- 
 tary, he being without experience in theatrical affairs. 
 Prosperity smiled on this enterprise, and the winter of 
 1849 was marked with brilliant performances, both star 
 and stock. 
 
 April 19th, 1849, Mr. Owens was married in Balti- 
 more, after an engagement of three years, to Mary C. 
 Stevens, daughter of John G. Stevens, Merchant, Bowly's 
 Wharf. The ceremony was performed by the Eev. 
 Alfred Miller, Eector of Mount Calvary Church. The 
 marriage did not meet with the approbation of Mr. 
 Stevens ; he being a member of the primitive Methodist 
 church, and holding prejudices against a profession of 
 which he really knew nothing. On the day of the mar- 
 riage, whilst he was seated in his counting room, brooding 
 over the shock the news had given him, Col. George P. 
 Kane, an intimate friend, came in, and approaching him 
 joyously, said : " Mr. Stevens, I take pleasure in con- 
 gratulating you on the acquisition of such a son-in-law 
 as John E. Owens. Had I daughters, I would be proud 
 if they were so fortunate in the selection of a husband. 
 J know Owens and his reputation, well ; he is a man who 
 combines talent with a noble nature and moral integrity." 
 
JOHN E. OWENS. 43 
 
 To this kindly recognition, the young couple owed 
 their restoration to parental favor. Mr. Stevens had 
 great faith in Col. Kane's opinion, and wisely reflected 
 that his personal association with Mr. Owens was likely 
 to be a basis for truer judgment than the inherited 
 prejudices of Methodism. He realized this fully when 
 he became acquainted with his son-in-law. A strong 
 attachment sprang up between them, and increased as 
 time went on. No son could have been more devoted 
 than was John E. Owens to his father-in-law, to whose 
 declining years he was a comfort and a blessing. 
 Daughter and son shared alike, nursing him through 
 his protracted and final illness. The last words spoken 
 were a loving call for "my son, John E. Owens." 
 
 I refer to these family personalities as briefly as pos- 
 sible, and would not mention them at all, could they be 
 omitted consistently with the continuity of my narrative. 
 
 In May, 1849, Owens became lessee of the National 
 Theatre, in Washington, for the purpose of producing 
 Italian Opera on a grand scale. The troupe included 
 Rossi Crossi, Susini, Strini, Amalia Patti, and many other 
 luminaries ; together with a full chorus. Appreciative 
 audiences attended the excellent performances given ; but, 
 unfortunately, the meagreness of numbers gave little 
 encouragement to the manager in his ambitious enterprise. 
 The expenses incurred were heavy; the receipts, disas- 
 trously light. After two weeks of ruinous business, 
 
44 MEMORIES OF 
 
 Owens brought the company to the Baltimore Museum, 
 inaugurating " Grand Opera " at cheap prices ; thinking 
 thereby to create an excitement and pack the house ; but, 
 instead of such a result, dire bad business ensued. As 
 the same ill luck continued in Washington, where the 
 elder Booth had followed the Opera Company, the young 
 manager was losing money right and left — but he was 
 not disheartened. " Buying experience," he called his 
 reverses, and found a humorous side to his misfortune. 
 
 One of his stories, in connection with that time, was 
 about Rossi Crossi (director of the Opera Company). 
 With excellent imitation of the Italian artist, Owens 
 would relate the usual Monday interview. The terms of 
 the engagement were : " a certainty, payable weekly." 
 Rossi Crossi with much suavity, would receive a check 
 for the amount and remark : " I am mooch desolate, to 
 to be oblige* to receive dis monish, when ze people do not 
 attendez ze Opera. I can recognize no reason why we 
 not draw ; for I do assure you, Monsieur Owens, we are 
 mooch talented." Then, he would fold the check, put it 
 in his pocket and walk away, leaving the perplexed 
 manager to financier for ways and means to meet the 
 requirement of a repetition of the interview, a week later. 
 
 It is impossible for me to narrate this, or any other 
 story, with the effect it had when told by Mr. Owens. 
 His graphic and vivid manner of relating an occurrence, 
 merging his individuality into the persons of whom he 
 
JOHN E. OWENS. 45 
 
 spoke, gave a reality to circumstances, and life to words, 
 far beyond that obtained when one reads of, or merely 
 listens to a bare recital of an incident. 
 
 There is an end to all things ; even the intense disa- 
 greeableness of losing money with a " mooch talented" 
 Opera Troupe. Five weeks closed the Italian speculation, 
 and relieved of this incubus, Owens resolved never again 
 to indulge in operatic ventures. His experience had cost 
 him dearly, but the lesson was salutary. It also recalled 
 a piece of sage advice, which Mr. Burton once gave him : 
 " Don't endeavor to control more than one theatre at a 
 time " — albeit, Burton did not always stick to this rule ; 
 for he sometimes directed two or three theatres at once, 
 and invariably regretted so doing. 
 
 The dramatic company which had been sent to Wash- 
 ington to support the elder Booth, returned to finish out 
 the Baltimore season. Jokey, and other popular plays 
 were revived, and replenished the depleted treasury. The 
 regular dramatic season closed July 4th. A fortnight 
 later, Dr. Fisk rented the little Theatre for the purpose 
 of giving lectures and experiments in Psychology. The 
 Doctor was an enthusiast about the science, and his own 
 wonderful power. He frequently importuned Owens to 
 give him a private sitting, but would receive the laughing 
 reply, "You can't psychologize me. I have quite as 
 much power as you possess." Still, he persisted, and the 
 test came unexpectedly. The lectures were over, and in 
 
46 MEMOEIES OF 
 
 settling up business, there was a slight monetary discrep- 
 ancy, which each thought his own due. " We will toss 
 up for it," said Owens, taking a half dollar from his 
 pocket. "No, no," replied the Doctor; "suppose we 
 decide it another way ! Whichever one of us can psy- 
 chologize the other, takes the difference." This was 
 agreed upon, and in the presence of witnesses the test was 
 made. The Doctor had no effect whatever upon Owens ; 
 but, on the contrary, succumbed to his magnetic power, 
 and after sundry satisfactory experiments, was fast asleep. 
 Owens had frequent applications from persons ambi- 
 tious to appear on the professional stage ; as a rule, he 
 discouraged such aspirations ; believing them ofttimes to 
 be inspired by the glitter of a life, whose close study and 
 labor never occurred to stage-struck enthusiasts. Occa- 
 sionally something out of the usual groove, would trans- 
 pire, and eventuate in a droll story which Owens would 
 tell with relish. One day an eccentric-looking fellow 
 came to him and said, " Mr. Owens, I've been staying in 
 Baltimore for two weeks on a visit, and all that while I've 
 been haunting the Museum. I never did see such a funny 
 chap as you be. I am a private play-actor myself, and I 
 want you to hire me, so as I can ketch on to your ways, 
 and astonish the folks when I go back home." " What 
 have you played ? " asked Owens (who being at leisure 
 just then, concluded to draw the man out, and" be amused). 
 "Well, many things; but my best holt is Temperance 
 
JOHN E. OWENS. 47 
 
 dramas. Put me whar' you like, so as I get a chance to 
 learn your tricks." " Won't you be frightened before a 
 strange audience ? " " Frightened ? just you wait till I 
 get top of that staging; and you'll see, I'm middling 
 easy about acting." 
 
 By way of a frolic, Owens consented to give him a 
 trial, and entrusted him with three lines to speak. He 
 rehearsed fairly, and with supreme confidence; but, at 
 night failed to take up his cue. The prompter gave him 
 the word ; and regardless of his imploring "wait" pushed 
 him on the stage, but not a syllable did he utter. After 
 the fall of the curtain, Owens said to him : " I had to 
 speak your lines, you were frightened ! " " No, I wasn't ; 
 I was all right; but when I got fronting that there 
 proscenery, something frustrated my plans. Frightened? 
 No, sir-ee, not a bit." 
 
 The Museum season of 1849-50, began September 5th. 
 Eliza Logan and her father were the first stars. With 
 her name, arises pleasurable recollections of a finished 
 artiste, a genial companion, and a big-hearted woman ; 
 whose loving nature and sterling integrity rendered her 
 peerless. During this engagement, Mr. Logan appeared 
 in his great success of "Aminidab Slocum" in "Chloro- 
 form, or Baltimore in 1949," of which play he was the 
 author. The title is suggestive of the intent of the piece. 
 Aminidab (under the influence of chloroform) sleeps for 
 a hundred years, and awakes to find his surroundings 
 
48 MEMORIES OF 
 
 advanced in science, inventions, and various improve- 
 ments. His amazement, and the misunderstandings 
 therefrom, gave scope for much humor. The popular 
 book written by Edward Bellamy, " Looking Backward," 
 is founded on the same idea, and though of greater 
 importance as a literary work, it lacks the comic element 
 and wit of " Chloroform" After Eliza Logan retired 
 from the stage, she gave Mr. Owens the MS. and sole 
 right of the play. He always intended to include it in 
 his repertoire. 
 
 November 19th, 1849, a farce entitled, "The Live 
 Indian" had its first representation. It was originally 
 written by W. H. Thompson, a Baltimorean, and sub- 
 mitted to Mr. Owens, with whom it found but little 
 favor. He frankly told the author, that, though the 
 farce had merit, it lacked originality ; the motive being 
 the same as "The Mummy." "But, you might write 
 up the dialogue, and make a great difference ! Put it in 
 better shape," he added, "and I will play it." Mr. 
 Thompson declined making alterations, wishing to effect 
 an immediate sale of the MS., as he needed money. 
 Taking this view of the matter, Mr. Owens agreed at 
 once to give Thompson the price he named; and thus 
 became owner of "The Live Indian." The play was 
 laid aside for awhile, until Owens coming by chance 
 across the dust-covered MS., concluded to give it another 
 reading. After which he re-wrote it, altering the dia- 
 
JOHN E. OWENS. 49 
 
 logue to make it more effective. Also, introducing another 
 character — Miss Crinoline, a dress-maker, whom he per- 
 sonated in addition to Corporal Tim, and The Live Indian. 
 
 Miss Crinoline made the farce a success. The quick 
 change (three minutes), from the dress of a gay young 
 man to that of a fashionably costumed lady, was startling ; 
 and (at that time) a novelty. With blonde wig, and 
 stylish dress of handsome material, he came on the stage 
 so soon after Corporal Tim's exit, that the audience were 
 dazed ; and, until they became familiar with the piece, 
 doubted the identity of the two. The dress-maker's scene, 
 with old Brown and his niece, was full of telling points, 
 which evoked roars of laughter. From this to the Indian 
 made another striking contrast, enlivened by Owens' 
 inimitable acting. But Miss Crinoline made the farce a 
 hit ; without that introduction it would have failed. At 
 its best, Mr. Owens never considered that it possessed 
 merit, otherwise than a funny absurdity to contrast with 
 legitimate pieces. In this light it was immensely attrac- 
 tive and prominent. The minstrel act of " The Black 
 Statue" was copied from " The Live Indian ; " and many 
 other variety acts sprang into existence as popular imi- 
 tations. 
 
 Among the stars of this season, beside Owens himself, 
 
 came Mr. and Mrs. Barney Williams, James Murdoch, 
 
 Fanny Wallack, Charles Burke, J. P. Adams, and Oliver 
 
 Eaymond (known as " Toots" Eaymond, from having 
 
 4 
 
50 MEMORIES OF 
 
 created that part in Dombey and Son), Charlotte Cushman, 
 Couldock, Matilda Heron, Bateman children, Julia Dean, 
 &c, &c. With strong stellar attraction at his little 
 theatre, Owens often delegated the management tempo- 
 rarily, while he filled engagements of a week or two in 
 Philadelphia, Pittsburg, Washington and other cities. 
 
 January 7th, 1850, Owens became sole owner of the 
 Museum, having bought Hamm's share therein. A 
 noticeable feature of this season was the production of 
 " The Ocean Child/' with Owens as Peter Poultice, his 
 first theatrical hit. Many new pieces were given. The 
 Serious Family met with great favor ; Owens as Amini- 
 dab Sleek, Mr. and Mrs. D. P. Bowers, Davenport, 
 Gallagher, the Kembles and Miss Crocker (afterwards 
 Mrs. F. B. Conway) in the cast. This, and other pieces, 
 were played simultaneously with their production in New 
 York. As I look over the play-bills of each week, a 
 bright record of talent meets my eye, and the remem- 
 brance of the pleasure of that period is a heritage most 
 valuable. At this time, J. Madison Morton's farces were 
 at the height of popular favor. Those who have seen 
 Slasher and Crasher, Betsey Baker, Poor Pillicoddy, &c, 
 &c, know how mirth-provoking was the language, plot 
 and wit which they combined. Owens revelled in the 
 subtlety and unctuousness of their humor, and every farce 
 went off uproariously. One night, during a momentary 
 lull in the laughter, a tall countryman arose in the par- 
 
JOHN E. OWENS. 51 
 
 quette, and with his hands pressed to his sides, called out, 
 " Stranger, don't make such good fun ; I'm weak ; for 
 IVe laughed all over." The audience gave the rustic a 
 round of applause. 
 
 In November, an offer was received from John 
 Brougham, to play at the theatre then being constructed, 
 corner of Broadway and Broome street, New York, which 
 was to be inaugurated January, 1851, under the name of 
 " Brougham's Lyceum," and managed as a stock theatre, 
 no member being made a feature on the bills, although 
 most of the company were stars. Mr. Owens accepted 
 the offer, and this was his debut in New York. He 
 played there two months, and became a leading favorite ; 
 but his crowning success was won in the part of Uriah 
 Hcep, for which he was cast when Brougham put David 
 Copperfield on his stage, at the same time it was produced 
 at Burton's Chambers Street Theatre. The two dramati- 
 zations were essentially different. That used by Mr. Bur- 
 ton being arranged by Dr. Northal, and Mr. Brougham's 
 adaptation being his own work. A strong array of talent 
 appeared in both. I subjoin the casts : 
 
 BROUGHAM'S LYCEUM. 
 
 JANUARY, 1851. 
 
 David Copperfield Mr. David Palmer. 
 
 Uriah Heep Mr. John E. Owens. 
 
 WlLKINS MlCAWBER Mr. JOHN BROUGHAM. 
 
 Daniel Peggotty Mr. H. Lynne. 
 
52 MEMORIES OF 
 
 James Steerforth Me. J. Dunn. 
 
 Betsy Trotwood Mrs. Vernon. 
 
 Mrs. Steerporth Mrs. Dunn. 
 
 Eose Dartle Miss Kate Horn. 
 
 Mrs. Micawber Mrs. W. E. Blake. 
 
 Little Em'ly Mrs. Geo. Loder. 
 
 Agnes Wickfield Miss Mary Taylor. 
 
 Martha Mrs. Lynne. 
 
 BURTON'S CHAMBERS ST. THEATRE. 
 
 JANUARY, 1851. 
 
 David Copperfield Mr. Jordan. 
 
 Uriah Heep Mr. Johnston. 
 
 Wilkins Micawber Mr. Burton. 
 
 Daniel Peggotty Mr. Blake. 
 
 James Steerforth Mr. Lester. 
 
 Betsy Trotwood Mrs. Hughes. 
 
 Mrs. Steerforth Mrs. Holman. 
 
 Eose Dartle Mrs. Eussell. 
 
 Mrs. Micawber Mrs. Skerrett. 
 
 Little Em'ly Miss J. Hill. 
 
 Martha Miss Weston. 
 
 The character of Uriah Heep did not belong to the line 
 of business for which Owens was engaged. A villain, and 
 an extremely mean one was Uriah ; in sharp contrast to 
 the comic portrayals which had made Owens popular in 
 New York. But he determined that Uriah Heep should 
 strengthen instead of weaken his hold upon the public. 
 Close study of the "umble" clerk, resulted in a wonder- 
 ful creation. The make-up was perfect, and so was his 
 
JOHN E. OWENS. 53 
 
 manner and gait. In every detail, he gave artistic ren- 
 dition of this obnoxious character, which surprised even 
 his warmest admirers. 
 
 The press rendered unanimous commendation. Many, 
 and lengthy, were the criticisms, from which I quote only 
 a few lines', to indicate the general tone. 
 
 "The slimy, squirming nature of the 'umble clerk 
 was powerfully shown. The stage cannot boast of any- 
 thing more truthful and effective." 
 
 " Owens' embodiment of the part of Uriah JETeep is 
 sufficient to establish his position as a great and extraor- 
 dinary actor. It shows the creative power of genius, and 
 is the truest representation of any character in the novel. " 
 &c, &c. 
 
 During the run of David Copperfield, a friend met 
 Owens on the street, and said : " John, I don't like you 
 at all in that part of Uriah Heep ; not at all ! " "I am 
 
 sorry, for that, E ," replied the comedian ; "I value 
 
 your opinion highly. What do you object to?" " Every 
 bit of it ; but, principally to the scene where you make 
 love to Agnes Wickfield. When you attempt to take the 
 girl's hand, I hate you so, that I'd like to kill you. 
 Sneaking hypocrite ! " " My dear friend," laughingly 
 said Owens, "the entire press of New York has not paid a 
 higher compliment to my acting than you have ; by thus 
 identifying me with the character I assume. Thank you 
 very much, for your unconsciously encouraging criticism." 
 
54 MEMORIES OF 
 
 Thomas Hamblen, manager of the Bowery Theatre, 
 came to Owens, after seeing him play Heep, and offered 
 a large certainty or good sharing terms, if he would sign 
 with him, to star in Shylock, and Sir Giles Overreach. 
 " Drop comedy," he said ; " you have struck the keynote 
 of your forte. I've seen nothing to surpass this masterly 
 performance." Though appreciative of approbation so 
 alluring, Owens could not be prevailed upon to forsake 
 comedy. I would here remark that the engagement at 
 Brougham's Lyceum, was the first stock company Owens 
 had joined since he became a recognized star. All 
 through his brilliant career he, afterwards, at times, made 
 these restful breaks from the fatigue of travelling, or 
 tedious rehearsals with new companies ; but it was always 
 when surrounded with prominent artists, never on any 
 occasion as support to a star. More than once, he made 
 a New England tour in combination with E. L. Daven- 
 port, William Wheatly, George Ryer, John Gilbert, and 
 others of eminence. With an equally strong association 
 he played four months in Boston, under the management 
 of Jacob Barrow. When lessee of the Varieties Theatre, 
 in New Orleans, in ante-bellum days, Owens conducted 
 the place on the stock company system, to the exclusion 
 of starring. So it was, in the same theatre, when it was 
 known as the Gaiety, under Dion Boucicault's manage- 
 ment ; where Owens was regarded as " the highest salaried 
 actor " ever known in this country. I have often heard 
 
JOHN E. OWENS. 55 
 
 him say, that the comfort of being surrounded by talent, 
 and certainty that every part would be well played, was 
 indescribable. 
 
 The last of his restful departures was made when he 
 joined the Madison Square company, 1882-83. These 
 voluntary releases from care and responsibility, never 
 interfered with his stellar brilliancy, which he resumed 
 at pleasure. Another great comedian had the same 
 method. Charles Matthews, during his last visit to this 
 country, played a stock engagement with Barrow, in Bos- 
 ton, and also with Wallack, in New York ; starring in 
 other cities during the interval. Whilst these stock 
 engagements were not so profitable, they were vastly 
 more pleasant, and a luxury worth indulging in by those 
 who could afford it. But, I have wandered from Uriah 
 Heep ; however, there is but little more to say. Owens 
 remained in New York two months, following up this 
 great hit with others in legitimate comedy. He returned 
 to his own theatre, well satisfied with his first Metropoli- 
 tan engagement. During the spring of 1851, David 
 Copperfield was presented to the Baltimore public, Owens 
 repeating his success as Uriah Heep ; and later on playing 
 Wilkins Micawber, a part, by the way, which he greatly 
 enjoyed for its unctuous humor, to fully develop it 
 being just to his taste. 
 
 Following these Dickens dramatizations, came the 
 spectacle of the Forty Thieves, with Owens as Ali Baba. 
 
56 MEMORIES OF 
 
 Bather a venturesome production, considering the small- 
 ness of the Museum stage. That able scenic artist, 
 Charles S. Getz, did his best in the way of scenery and 
 effects ; but a difficulty arose, which appeared formidable. 
 There was no space for forty thieves on that stage ! Not 
 foothold for half the number. To overcome this dilemma, 
 an additional speech was given to Abdallah, captain of 
 the robbers. Upon his entrance, closely followed by Jive 
 robbers, he cries, "halt!" and impressively adds, "The 
 rest of the band will remain in the wood." Happy 
 thought! which quite reconciled the audience to the 
 absence of the thirty-five thieves. Owens was intensely 
 amused at the absurdity of the expression " the rest of the 
 band will remain in the wood." Ever afterwards, it was 
 used, apropos of any incompleteness that occurred, either 
 at the theatre, home, or elsewhere. For some weeks 
 Owens had been importuned by an acquaintance (a young 
 lawyer of Baltimore) to produce a play written by him- 
 self, entitled, "Gammon and Backgammon" Always 
 ready to lend a helping hand to aspiring youth, Owens 
 promised to consider the request and if possible comply 
 with it. He read the manuscript, and realizing that 
 alterations were indispensable, pruned and shaped the 
 play to make the most of its resources. A strong cast, 
 thorough rehearsals, and the concentrated efforts of the 
 dramatis personse resulted in Gammon and Backgammon 
 being worked up into a success so far beyond its merits 
 
JOHN E. OWENS. 57 
 
 that everyone thought the author would be delighted. 
 On the contrary, when called before the curtain, instead 
 of making grateful acknowledgments, he denounced Mr. 
 Owens and the company for mutilation of, and general 
 injustice to, his play. 
 
 The audience received these remarks in silence, but the 
 moment he concluded called loudly for "Owens!!" who 
 immediately appeared and quietly stated, that " the piece 
 had received far better treatment from himself and the 
 company than it deserved. He had omitted the marriage 
 service, and expurged much coarse dialogue, thereby 
 rendering the play admissible for representation. Those 
 who desired to satisfy themselves on these points could 
 do so by inspecting the original manuscript at the Box 
 office on the morrow." All through this explanation, 
 Owens was from time to time interrupted by applause 
 and expressions of approval ; subsequently the author's 
 work intact was examined by many citizens, with the 
 result of concurrence in Mr. Owens' opinion, and com- 
 mendation of his position. Thus ended the dramatic 
 authorship of a gentleman who turning his ambition 
 in another channel, became later on a distinguished 
 lawyer and a leading politician. He frequently said, 
 that he could complacently take a retrospective glance 
 at his career except for "Gammon and Backgam- 
 mon" the folly of his youth, and of that he was 
 ashamed. 
 
58 MEMOEIES OF 
 
 The first night having proved also the last night of 
 the new play, The Serious Family and other attractive 
 pieces held the boards until the date of the next star 
 Julia Dean. An even run of prosperity continued until 
 the close of the season, July 5th, 1851 ; and the following 
 year was a repetition of satisfactory management, and 
 successful starring visits to neighboring cities. 
 
CHAPTER III. 
 
 Ascent of Mont Blanc — A charming entertainment — A deluded Quaker 
 — " Thee don't say so ? " — Engaging David Garrick — Managerial 
 changes — Baltimore & Ohio Railroad site — Owens becomes a farmer 
 — Description of Aigburth Vale — -Erroneous idea of a fertilizer — 
 Dramatic portraits — Edmund Kean — Neagle — " Shakespeare's bust 
 at Aigburth Vale" — Charles Street Theatre, season of 1854-55 — 
 Edwin Adams — Caroline Richings — Mr. and Mrs. G. C. Howard 
 — " Uncle Tom's Cabin " — " Make or break " — Owens as Uncle 
 Tom— John Sleeper Clark — Replenished coffers and new laurels — 
 Season 1855-56 — Gaiety Theatre — Dion Boucicault — Agnes Robert- 
 son — Fred. N. Thayer — The Keller troupe— Rubens' Altar piece — 
 — Azael — Crude geography — The schoolmaster abroad. 
 
 OWENS passed the summer of 1852 in European 
 ^ travel, most of the time on the continent. While 
 in Switzerland he made the ascent of Mont Blanc. The 
 London Times, in a long descriptive article about the 
 achievement, remarked : " Mr. John E. Owens is the 
 first American who has accomplished that undertaking 
 for upwards of twenty years." At the present day the 
 ascent of Mont Blanc is not so infrequent or so hazardous 
 as it then was. Owens intended his summer tour simply 
 for recreation, but en route he met with so much that was 
 amusing and characteristic, that he determined to combine 
 
 59 
 
60 MEMORIES OF 
 
 these experiences with the greater and grander ones of 
 his tour, and so, form an entertainment, on his return to 
 America, which would prove attractive. On this basis 
 originated his " Alpine Rambles" which met with such 
 great success in 1853 ; commencing in Baltimore, thence 
 to New York and Philadelphia. 
 
 The entertainment was novel, and also one of the 
 cleverest and most effective ever inaugurated; the de- 
 scriptive monologue being illustrated by superb paintings, 
 copied from drawings taken (under Mr. Owens' direction) 
 at the various localities presented. Some of these pictures 
 were painted by James Hamilton, so celebrated for marine 
 views, others by Hilliard, whose landscapes have rendered 
 his name prominent among artists, but the principal part 
 of the work was executed by Charles S. GJ-etz, in a beau- 
 tiful and finished style. These, combined with optical 
 illusions, incidental music and songs, rendered the effect 
 entrancingly realistic — not at all like the usual panoramic 
 representation. The tour presented, embraced a rapid 
 journey; starting from New York, per ocean steamer, 
 visiting England, and making brief stops at Dieppe, 
 Paris, Boulogne, and all places of interest in Switzerland ; 
 concluding with the perilous ascent of Mont Blanc ; then, 
 returning homeward. 
 
 No dry description of travel was given, but graphic 
 and vivid delineations, and information delightfully 
 blended with original anecdote and humorous impersona- 
 
JOHN E. OWENS. 61 
 
 tion of his compagnons du voyage; characteristics and 
 adventures, of people with whom he travelled, were 
 wittily and brilliantly reproduced : and being woven into 
 a slight plot, interested the auditors, and made them feel 
 that they quite knew these chance acquaintances. The 
 written dissertation is one hundred and fifty pages ; so I 
 give only a condensed account of an entertainment which 
 is something to be remembered through a lifetime, by 
 those who had the privilege of enjoying it. An aggrega- 
 tion of fun, fancy, sublimity, and sentiment, agreeably 
 and skilfully intermingled with dramatic effect. 
 
 Peculiar gifts are requisite to hold an audience en- 
 tranced by one's individual efforts through an entire 
 evening ; and this was achieved by Owens with his 
 "Alpine Rambles " — as attested by the laudations of the 
 daily press in the various cities, and the crowded houses 
 which nightly applauded him. A ludicrous equivoke 
 occurred while Mr. Owens was giving the "Alpine 
 Rambles " in Philadelphia. A dear old uncle of mine, 
 born and reared a Quaker, and still continuing to wear 
 the primitive garb and broad brim of that sect, called to 
 see Mr. Owens, and was, of course, cordially welcomed. 
 
 After some pleasant converse, he said : " John, I hear 
 that thee has quit play-acting for the present, and are 
 telling folks about thy travels. It is said that thy dis- 
 course is very interesting." After modestly replying on 
 the merits of the entertainment, Mr. Owens, briefly, gave 
 
62 MEMORIES OF 
 
 the old gentleman an idea of the manner in which it was 
 presented ; adding, " Many people attend, who do not go 
 to theatres, and I would like to see yon and your family 
 there. It will give me pleasure to send you tickets." 
 " Thank thee, John, very much, but may I ask thee ; do 
 many friends come to see thee ? " " Yes, indeed," said 
 Mr. Owens, thinking that uncle took a family interest in 
 his success. Looking pleased, the simple-hearted soul 
 rejoined, "How many does thee think was there, last 
 night ? " " Well, about fifteen hundred ; maybe more." 
 "Thee don't say so, John ! Does thee really mean it?" 
 " Certainly," replied Mr. Owens, at a loss to account for 
 the astonishment with which his assertion was received. 
 A few minutes later, the old gentleman arose to leave, 
 saying, " I shall be glad to hear thee talk of thy travels, 
 John, and I shall not feel strange in thy public hall." 
 
 Pondering on the final words, Mr. Owens was some- 
 what puzzled to understand them. Afterwards, it occurred 
 to him that uncle used the word "friends" as a synonyme 
 for " Quakers." Mr. Owens, understanding it in its 
 literal sense, had unintentionally included an entire 
 audience in the " Society of Friends." He used to say, 
 laughingly, that the gentle old Quaker doubtless con- 
 sidered his new nephew a deliberate falsifier; or, else 
 inferred that the Quakers of Philadelphia had rushed en 
 masse to the entertainment during its early production, 
 and thenceforth given it over to " the world's people." 
 
JOHN E. OWENS. 63 
 
 Descanting upon the "Alpine Rambles" I have gone 
 somewhat in advance of my narrative, as the entertain- 
 ment was not presented until January, 1853, and Owens 
 returned from Europe, October, 1852, resuming active 
 management of the Baltimore Museum ; where the season 
 had commenced a month previous, under delegated super- 
 vision. In December, 1852, Henry C. Jarrett expressed 
 a desire to buy the Museum. Owens consented to con- 
 sider the proposition made; reflecting that, relieved of 
 managerial responsibilities, he would be freer to give 
 ample attention to the " Alpine Rambles " entertainment ; 
 and also (later on) to farther extend his professional tours. 
 He was not altogether averse to selling the little Museum, 
 notwithstanding it had been both profitable and pleasant 
 to him. After frequent interviews and discussions, the 
 transfer was made. 
 
 In connection with the preliminaries thereof, some 
 amusing episodes occurred. Mr. Jarrett calling one day 
 at Owens' house, was accompanied by a friend — possibly, 
 a silent partner in the impending investment ; but not in 
 other respects was he mute. Gazing at a portrait of 
 David Garrick, he asked Owens : " Who is that fellow ? " 
 " Garrick, the tragedian/' was the reply. " Garrick ! 
 Garrick ! I never heard of him ; amount to much ? " 
 " Very celebrated." " Could Harry get him to play at 
 the Museum ? " " No ; that would be impossible." Mr. 
 Jarrett, by this time, was covered with confusion, and 
 
64 MEMOEIES OF 
 
 made wild endeavors to drown the voice of his friend ; 
 but soon again he was heard, eagerly saying, " Oh, Harry, 
 don't forget to ask Mr. Owens where you can hire hands 
 to dance." " Yes, yes," responded Jarrett, imploringly, 
 " please don't interrupt us again." 
 
 Owens made his final appearance at the Baltimore 
 Museum on the 30th of December, 1852, after having 
 been its manager for four years. His farewell and com- 
 plimentary benefit packed the house and hundreds were 
 turned away. At the conclusion of the performance, in 
 response to vociferous calls, he appeared before the cur- 
 tain, and in his speech was frequently interrupted by 
 applause. Adverting to having transferred the Museum 
 to Mr. Jarrett, he asked for that gentleman an extension 
 of the kindness which had so long and so generously been 
 bestowed upon himself, as a manager. A few more 
 words of heartfelt acknowledgment, and the final " good- 
 bye " was spoken. Mr. Jarrett took charge of this pros- 
 perous little theatre, January 1st, 1853. In 1856 he sold 
 the Museum to Mr. George Zeigler ; but by that time it 
 had lost prestige. The collection of paintings and curiosi- 
 ties were purchased by Mr. Charles S. Getz, who dis- 
 tributed the works of art that were left, among the 
 different public institutions throughout the country. 
 
 The amusements henceforth offered at this place, were 
 of the variety show and concert hall order ; and were not 
 given continuously. In 1872 the building was totally 
 
JOHN E. OWENS. 65 
 
 destroyed by fire, thus obliterating one of the land- 
 marks of Baltimore; for the "old Museum" was fraught 
 with reminiscences inseparable from many remarkable 
 events. During the following year the Directors of 
 the Baltimore and Ohio Railroad purchased the site, 
 together with adjacent ground, and erected a magnifi- 
 cent edifice for the use of the company. I have already 
 recorded Owens' enterprise of " Mont Blanc " and 
 " Alpine Rambles" 
 
 In February, 1853, he bought Rock Spring farm — 198 
 acres — six and a half miles from Baltimore. He changed 
 the name to " Aigburth Vale ; " and, from time to time, 
 added more acres to the original purchase, improving the 
 farm agriculturally, and building a mansion which was 
 surrounded with ornamental shrubbery and grounds de- 
 signed by exquisite taste in landscape gardening. In 
 fact, he transformed a good plain farm into one of the 
 most beautiful and magnificent estates in Baltimore 
 county. He would often say, " Every man must have 
 his hobby, and mine is harmless. Spending money on 
 my country residence entertains me, and the improve- 
 ments I make gives work to people who need it." I 
 cannot better convey an impression of the place that was 
 John E. Owens' home for nearly thirty-four years — 
 where he ended his life — than by condensing a description 
 of Aigburth Vale, contained in a letter which appeared 
 in a Washington paper, during August, 1877. 
 5 
 
66 MEMORIES OF 
 
 " The home of John Owens lies to the north of Balti- 
 more about six miles, on the verge of the little village of 
 Towsontown. You reach it by a lovely road, displaying 
 a mixture of all pictorial ingredients which give such 
 enviable distinction to Maryland scenery. The greatest 
 variety of trees, crowded together with picturesque aban- 
 don, variegate the perspective. At last, we reach a broad 
 gate which is pointed out as Mr. Owens' grounds. On 
 the left, as we enter, is a stretch of clear meadow, to the 
 right, a waving cornfield. Nothing more can be seen till 
 we saunter along the avenue of smiling maples, for per- 
 haps four hundred yards, when the road suddenly droops 
 and bends, and we stand in full view of a stately manor 
 house nestling in the valley below. Descending by a 
 winding path, the visitor passes through grounds culti- 
 vated with charming skill, and laid off into plats of 
 diamond and semicircle, fringed with loveliest parterres. 
 Dainty bits of country gardening, watched and defended 
 by sentinel elms, make up the immediate surroundings 
 of Aigburth Vale. Around this charming scene, at a 
 respectful distance, is a circle of green hills. 
 
 "Mr. Owens has lived here since 1853; loving his 
 country home so well, that he has gradually extended it, 
 until now he is monarch of nearly three hundred acres. 
 Here, from the rare June days, at the close of the season, 
 till the September revival on the boards, Solon Shingle 
 doffs his footlight regalia, and plays farmer. 'My 
 
% 
 
 ' 
 
 
JOHN E. OWENS. 67 
 
 country friends/ says the comedian, with a droll sense of 
 feeling hurt, ' call me a dandy farmer. Bless their sweet 
 souls ! they don't realize the struggles I make to become 
 one of their craft ! ' To indulge in an agricultural meta- 
 phor, the tale is rather harrowing. In his early country 
 experience his farm manager came to him one day, and 
 asked for thirty dollars to buy a fertilizer. He got the 
 money, and Mr. Owens made a memorandum of the 
 purchase. On his return from a starring tour his thoughts 
 became violently bucolic. He looked over his books, and 
 took an inventory of his stock and material. Among 
 other things he wanted to know where that thirty-dollar 
 fertilizer was ? ' Out in the field, yonder/ was the 
 reply. Out sauntered the bucolic Shingle to inspect 
 the new farm implement. Finding nothing that met 
 his views of a fertilizer, he came back at a quick 
 pace, wondering whether the faithless servant should 
 be shot or hung. 
 
 " ' James, you want to show me that fertilizer now 
 p — d — q — .' ' Lord ! Mr. Owens, how can you see 
 it when its all been harrowed into the ground.' The 
 crushed comedian whistled his way back to the house 
 with his thumbs digging into his ribs. 
 
 " When his friends call, he sets out milk and champagne, 
 with the tearful request that they will take champagne, 
 because it doesn't cost as much ; and he calculates that 
 he swallows a dollar bill with every Royal Trophy 
 
68 MEMORIES OF 
 
 tomatoe. The expense of producing his delicious fruits 
 would paralyze the ambition of most people ; but he 
 keeps reaching out after the choicest and rarest varieties. 
 When the end of the year comes, and he finds he 
 must enter up the balance on the off side of his Aig- 
 burth Yale ledger he is quite content. The pastime 
 is expensive, but delightful. To say that his plod- 
 ding neighbors refuse encouragement, would be unjust. 
 i Their sympathies appear to be directed chiefly to my 
 hennery/ says the actor, 'for they often write to me 
 about " Egg-birth." ' 
 
 " The house is very large, generously constructed with 
 all modern improvements, and is far handsomer than any 
 other in the region around. A piazza runs the entire 
 length of the southern or principal front, and the wings 
 are tastily finished off with gables. The comedian's 
 sanctum, on the right as you enter the wide hall, is a 
 large apartment, and opens into a cozy smoking room. 
 Over the well-filled bookcase is an oil copy of Droeshout's 
 Shakespeare. The walls are entirely covered with paint- 
 ings and engravings of celebrated actors and authors. 
 One space is filled by the life-size half figure of the 
 comedian as Solon Shingle, by the painter, Cross ; another, 
 three-quarter figure of Br. Ollapod, by D' Almaine ; both, 
 wonderfully realistic pieces of work in expression, dra- 
 pery and coloring. 
 
 "The furniture is rich and solid, not gaudy. Good 
 
JOHN E. OWENS. 69 
 
 taste prevails in all things. The walls of the hall are 
 hung with the portraits of characters once famous on the 
 English and American boards. To one of these the 
 comedian points with especial pride as the only portrait 
 ever taken of Edmund Kean. This dramatic giant 
 (physically he weighed but 110 pounds) had an anti- 
 pathy to picture makers, and would never grant them 
 a sitting. When Kean was playing an engagement at 
 Philadelphia, the painter Neagle determined to steal a 
 march on the great tragedian. By connivance with Mr. 
 Lee, his manager, the painter was present at a banquet, 
 given privately to Kean. Lee had surreptitiously brought 
 the costume for Richard the Third, and Neagle was, in 
 like manner, supplied with canvas, paints, &c. Under 
 the melting influence of champagne, Kean was persuaded 
 to make an exception just once, under promise that it 
 would only take a few minutes. Neagle seized the oppor- 
 tunity and his brush ; and, as a consequence, this vivid 
 likeness of Edmund Kean was created. 
 
 " To the right and left of this cherished gem, hang the 
 portraits of Mr. and Mrs. Duff, Macready, Foote, Mrs. 
 Darley, Mr. and Mrs. Francis, and many more ; all being 
 the work of the celebrated artist, Neagle (who, it will be 
 remembered, was the son-in-law of the famous painter, 
 Thomas Sully). A great variety of choice landscapes 
 hang in parlor, sitting-room and dining-room, represent- 
 ing French, Flemish and English art, as well as our own. 
 
70 MEMORIES OF 
 
 Take it all in all, Aigburth Yale is a home which reflects 
 the refined taste and generous nature of its owner. It is 
 not necessary to tell the members of the theatrical profes- 
 sion that John E. Owens, during his many years of 
 experience and success on the stage, has done very many 
 acts of kindness towards his professional brethren. They 
 have a grateful realization of the fact ; and they will have 
 to let it be known, for he never will. The vicissitudes 
 he has passed through — for, of course, he has had his 
 share of them — only give sauce to his quiet charity and 
 relish to his present lot. At the age of fifty-three he has 
 c reached the haven of happiness, financial, domestic, and 
 professional ; the richest actor in America, and apparently 
 the most contented and jolly man. 7 " 
 
 Speaking of the dramatic portraits in Mr. Owens' 
 library, I am reminded of an incident relative to the 
 bust of Shakespeare, occupying a prominent place in the 
 sanctum. Within a week of its being placed there, 
 among other guests spending the day at Aigburth Vale 
 was William P. Preston, a distinguished lawyer, of Balti- 
 more ; and for many years an intimate friend and neigh- 
 bor, his country home being near ours. Mr. Preston was 
 an art connoisseur ; and during the after-dinner chat, 
 expressed great admiration for the new acquisition. Much 
 Shakespearean conversation ensued, whiling away the 
 time delightfully. A day or two afterwards, Owens 
 received from Mr. Preston the following lines : 
 
JOHN E. OWENS. 71 
 
 Shakespeare's Bust at Aigburth Vale. 
 
 " In ancient days in good old Kome, 
 Each household gave its god a home ; 
 Then well may Avon's bard divine, 
 At Aigburth claim a hallowed shrine. 
 Here, when the Thespian fires scarce gleam, 
 The world's comedian reigns supreme. 
 With health and plenty fully blest, 
 Dispensing comfort to his guest ; 
 At festive board, with dainties crowned, 
 Passing the social glasses round ; 
 And, while the heart with rapture beats, 
 Eehearsing Thalia's brilliant feats. 
 Long may he reign ; and long dispense 
 His learning, wit, and common sense. 
 While pious cant dare not assail 
 The household god of Aigburth Vale." 
 
 The autumn of 1854 Owens devoted entirely to farm 
 life, making a visit now and then to the city. Early in 
 1855 he played in Baltimore, Washington and Phila- 
 delphia ; cancelling later engagements in New York and 
 other cities, on account of the serious and prolonged 
 illness of his wife. The ensuing summer was passed, 
 partly at the Greenbrier White Sulphur Springs, Va., 
 and finished at his country home. And here I would 
 remark, that his rural life was not only an enjoyment to 
 himself, but productive of good and happiness to many. 
 He was the poor man's friend ; administering help in 
 such a delicately adroit manner, that no sense of humilia- 
 
72 MEMORIES OF 
 
 tion was experienced by the recipient of benefits bestowed 
 by his bountiful hand. Unobtrusively thoughtful of the 
 welfare of those who needed work or help, he quietly 
 relieved want, and sympathetically alleviated suffering. 
 A contribution, with the loud blast of subscription paper 
 notoriety, he abhorred; but the same cause he would, 
 privately, aid largely. The working people, of Baltimore 
 county, regarded him as their true friend; and acts of 
 kindness were as essential to his life as the breath he drew. 
 At home and abroad, wherever he has sojourned, many 
 arise and call him blessed. The brightest stars in his 
 eternal crown are the good deeds so lavishly and disinter- 
 estedly done on earth. 
 
 The season of 1854-55 finds Owens again a manager 
 in Baltimore, he having leased the Charles Street Theatre, 
 corner of Baltimore and Charles streets. The Company, 
 headed by himself, comprised much talent — Mrs. D. P. 
 Bowers, Charles Walcot, Sr., and his wife, Norton, Colin 
 Stuart, Miss Gaszyneske, &c, &c. The opening bill was 
 Tobin's " Honeymoon" and " Turning the Tables" Only 
 moderate encouragement met the new Theatre — full 
 houses sometimes, but the average was not good. The 
 comic interlude " Villikins and hys Dinah" (which he 
 re-wrote), sung inimitably by Owens, created a sensation, 
 and went far to bring up the business. The song itself 
 amounted to nothing, but was made irresistibly funny by 
 the quaint manner of rendering it. The mock gravity 
 
JOHN E. OWENS. 73 
 
 attached to the importance of remembering that there was 
 & front garden and a back garden, and the tragic injunc- 
 tion to the audience not to become confused in these 
 localities as the action of the song progressed, together 
 with the comic solemnity of pauses to explain matters 
 clearly, was ludicrous beyond description. 
 
 It was at this theatre Edwin Adams made his first 
 histrionic mark as Edward Mapleton in " The Merchant 
 and his Clerks." He developed such force and emotional 
 power that Mr. Owens advised him to devote attention 
 to tragedy, feeling sure that his talent was great for that 
 line of the drama. The company was further strengthened 
 by Caroline Bichings and her father, " Yankee Locke," 
 and others ; new pieces, well staged, were tried, but the 
 desired result — good business — did not ensue. 
 
 In March, Mr. and Mrs. G. C. Howard and little 
 Cordelia Howard were announced in "Fashion and 
 Famine." The piece was well gotten up and strongly 
 cast, but proved a failure, drawing only dismally slim 
 houses. " Hot Corn " and the " Lamplighter " followed, 
 but effected no improvement in the business. Mr. and 
 Mrs. Howard said little Cordelia was sick ; no wonder, 
 so was the manager (with depression). The Howards 
 retired for awhile, and Owens, supported by the stock 
 company, filled in the time with the result of better 
 houses for a few nights ; but the change was only spas- 
 modic, a cloud of ill-luck seemed to have settled over the 
 
74 MEMOKIES OF 
 
 theatre, and the manager was losing money hand over 
 hand. 
 
 At this crisis Owens thought of the dramatization of 
 "Uncle Tom's Cabin" then a great success, north. He 
 purchased the right of the play for Baltimore, and after 
 careful reading of the manuscript, made some alteration 
 in the text and situations. To present to a Baltimore 
 audience the original play intact, would, at that time, 
 have been a hazardous proceeding. When " Uncle Tom's 
 Cabin " was underlined, Owens' lawyer (also an intimate 
 friend), William P. Preston, came to him and urgently 
 implored that he would forego the production of the 
 piece, saying : " You will ruin yourself with the ' South/ 
 and get into all sorts of trouble ; the people will tear the 
 theatre down or do you a personal injury." Though 
 holding his friend Preston's judgment in high esteem, 
 Owens was not, in this instance, to be dissuaded from his 
 purpose. Desperate cases require desperate remedies ; 
 and with the consciousness of empty coffers the emergency 
 was a case of " make or break." The dramatization of 
 " Uncle Tom's Cabin " was revised ; all that was glaringly 
 obnoxious to southern sentiment modified, and some of 
 the parts were re- written. 
 
 The role of Marks, the Lawyer, was assigned to John 
 Sleeper Clarke, and he made a decided hit ; so pronounced 
 that he started out on his career upon the strength of it. 
 The part was crammed with fun and frolic, and the result 
 
JOHN E. OWENS. 75 
 
 was immense; the people laughed so uproariously over 
 Clark's mishaps, as Marks, that they lost sight of the 
 more solemn slavery element. Owens played Uncle Tom 
 (something not at all in his line). He undertook the part 
 to strengthen the bill, and also to be on the spot should 
 any trouble take place. The following is the initial cast : 
 
 BALTIMORE. 
 CHARLES STREET THEATRE. 
 
 APRIL I6TH, 1855. 
 
 Uncle Tom John E. Owens. 
 
 George Harris Colin Stuart. 
 
 Simon Legree Edwin Adams. 
 
 St. Clair G. C. Howard. 
 
 Marks, the Lawyer John Sleeper Clarke. 
 
 Gumpton Cute John O'Brien (Jno. T. Eaymond). 
 
 Deacon Perry Joseph Parker. 
 
 Topsy Mrs. G. C. Howard. 
 
 Aunt Ophelia Mrs. Jane Germon. 
 
 Eliza Harris Mrs. Parker. 
 
 Marie St. Clair Miss De Vere. 
 
 Eva Little Cordelia Howard. 
 
 This was the first presentation of " Uncle Tom's Cabin " 
 south of Mason and Dixon's line, and I doubt if it has 
 ever been better played. Owens made a tremendous hit 
 as Uncle Tom, and the entire play set the town wild with 
 delight and admiration • this success retrieved the heavy 
 losses of the season. Owens had no sectional feeling in 
 regard to the play, and the Baltimoreans accepted it as 
 
76 MEMORIES OF 
 
 given, packed the house, and thus filled the hitherto 
 attenuated treasury. 
 
 The season of 1855-56 was a restful and delightful 
 one, passed in New Orleans, at the Gaiety Theatre, Dion 
 Boucicault, Manager; this (like "Wallack's" in New 
 York) was conducted solely with a stock company, com- 
 prising John E. Owens, Dion Boucicault, Agnes Robert- 
 son (Mrs. Boucicault), Jessie McLane, James Brown (the 
 original Robert Macaire), Mrs. Place, Johnston, Frazier, 
 Morton, and Fred. N. Thayer ; the latter being leading 
 man. The old friendship of 1846, between Thayer and 
 Owens, was revived ■ and henceforth had no lapse from 
 close intimacy. Nearly ten years had passed, since Owens' 
 first visit to New Orleans ; but he now felt quite at home, 
 so cordial was the welcome extended to him. His old 
 friends had kept themselves posted as to his steady advance 
 in histrionic fame, and rejoiced at the position he had 
 attained. At once he achieved general popularity with 
 the public, both in legitimate comedy and lighter drama. 
 
 Mr. Boucicault' s aim was to give the theatre a brilliant 
 position ; the plays were always thoroughly rehearsed and 
 faultlessly produced ; he was a strict disciplinarian, and his 
 system produced satisfactory results. Infringement on the 
 rules of the theatre seldom occurred ; although the com- 
 pany, among themselves, were much given to having " a 
 bit of fun/' which sometimes verged on practical joking. 
 They were a merry set, and derived amusement from 
 
JOHN E. OWENS. 77 
 
 slight causes, as is evinced by the following incident : 
 Mr. Thayer, while rehearsing for "John Dobbs" in the 
 farce of that name, remarked : " The business of this part 
 calls for piano playing ; I am not a musician." " Only 
 a few bars needed," said the Stage Manager. " Stoepel 
 can indicate the keys by having figures pasted on them ; 
 strike in rotation as numbered, and there you are, all 
 right!" 
 
 The plan worked admirably at first, but on the third 
 night, when Mr. Thayer took his seat at the piano, with 
 self-confident manner, he discovered to his horror that 
 the keys were quite free from numbers. It broke him 
 up, momentarily ; but rallying, he picked out " Days of 
 Absence," in faltering tones, and retired ingloriously. 
 For awhile he was uncertain as to the perpetrator of the 
 joke ; but reflecting that Owens and himself were wont 
 to play pranks upon each other, he taxed the comedian, 
 who freely confessed, aud made the amende honorable; 
 so they adjudged it, "give and take," and cried quits. 
 
 The Keller Troupe arrived in New Orleans from 
 Havana. At the Tacon Theatre they had created a 
 furore, the fame of which had preceded them, and an 
 engagement was speedily made with Boucicault. Their 
 exquisite tableaux have never been exceeded in beauty, 
 grace and picturesqueness : " The Birth of the Flowers" 
 " The Battle of the Amazons," " The Shower of Gold," 
 and dozens of other dreams of loveliness were charm- 
 
78 MEMOEIES OF 
 
 ingly and purely represented. They also reproduced 
 Rubens' great Altar piece ; three pictures of the Cruci- 
 fixion, Bearing the Gross, The Ascent of the Cross, and 
 The Last Sigh. The effect of these representations on 
 the audience was that of intense solemnity. I am sure no 
 irreverent thought intruded, as they gazed with breath- 
 less awe, realizing the Bible story with deeper feeling 
 than reading it ever evoked. The tableaux of "The 
 Crucifixion" were given nowhere in America, except New 
 Orleans ; when the Kellers went thence on their tour 
 through the country, all other cities protested against 
 what was denounced by the majority of the public as a 
 sacrilegious representation. 
 
 While the Keller troupe were at the Gaiety, Mr. 
 Boucicault got up, magnificently, "Azael, or the Prodigal 
 Son" which afforded ample opportunity for superb 
 grouping and tableaux. Agnes Robertson, F. "N. Thayer, 
 and most of the Company were in the cast ; but, being a 
 biblical drama, there was no comic part for Owens, so he, 
 for the nonce, became a gentleman of leisure. After 
 awhile, the manager grew restless under this state of 
 affairs, and "didn't see why the largest salary ever 
 given to an actor should be drawn for naught ; " so he 
 decided to have Owens sing Villikins and hys Dinah, 
 after the curtain fell on "Azael." I am not certain but 
 what he half inclined to have it sung between the acts. 
 Rather an incongruous entertainment ! However, supple- 
 
JOHN E. OWENS. 79 
 
 meriting "Azael" may have arisen from a desire to 
 strengthen the attraction, as the biblical drama did not 
 meet with much favor, notwithstanding its magnificent 
 setting, costuming, artistic effect and clever acting. 
 
 In those days New Orleans was filled with strangers, 
 during the winter, and "AzaeV was rather beyond the 
 understanding of some of the audience — if one might 
 judge from remarks overheard. As for instance, after 
 the curtain fell on one of the grandest scenes, " Temple at 
 Memphis" a rural party, discussing the play, agreed that 
 it was altogether incorrect. " There is no such building 
 there," said one. " No ; nor do they dress that way in 
 Memphis," rejoined another. " We have been there often 
 enough to know something about the town." The school- 
 master was evidently abroad when Egypt and Tennessee 
 could be thus confounded. 
 
 At the termination of the " Keller " engagement the 
 management returned to the standard plays and comedies. 
 The public responded to this change with a heartiness 
 which indicated that they had experienced a surfeit of 
 tableaux and spectacular drama. Nothing of marked 
 nature occurred during the remainder of the season, the 
 close of which took place March 12th, 1856. 
 
CHAPTEE IV. 
 
 Owens in Paris— A lesson in French—" Say nothing about the bridges " 
 — 1856-57 — " Solon Shingle " for the first time — Original inspiration 
 of character — Jefferson's Kip Van Winkle — John Unit — The will 
 scene — Mary Devlin — Snow-bound train — Two merry days at 
 "Strawberry hill farm" — "Self" in Cincinnati — The prototype of 
 Unit an auditor — H. L. Bateman — March, 1858, Owens' dSbut in 
 Boston — Julia Bennett — Fanny Morant — "The Rivals" — "The 
 Queen's Heart" — Versatility — William Warren — Saturday night 
 performances inaugurated in Boston — Season 1858-59 in New 
 Orleans — 1859-60 — Owens manager of "Varieties Theatre" — Ma- 
 jor Wellington DeBoots — E. S. Sothern — Realistic properties — 
 " American Cousin " — Christmas, 1859 — Dot — Owens' Caleb Plum- 
 mer — A poem — A comedy — A sermon — Mrs. John Wood — Origin 
 of the popularity of " Dixie's land." 
 
 HE ensuing summer was varied by an unpremedi- 
 tated and brief visit to Europe ; a few days being 
 passed in London, but the greater part of the time in 
 Paris. Many bright anecdotes and incidents were told on 
 his return home ; among them the following, afterwards 
 narrated by a friend, in these words : " It is rare fun to 
 hear John Owens relate his interview with Barney Wil- 
 liams, in Paris. Fancy John having cultivated a formi- 
 dable suit of facial hair, and attired at every point ' a la 
 mode de Paris/ rapping one fine day at the door of a 
 80 
 
JOHN E. OWENS. 81 
 
 room eligibly located on the Boulevard des Italiens, and 
 receiving in response the exclamation from within, i En- 
 tree ! ' — of course in the purest Parisian (?) accent. Tip- 
 ping the rim of his highly polished castor, over his eyes, 
 till it rests on the bridge of his nose, and assuming some- 
 thing of a swaggering air, John enters ; and is received 
 with the extremest demonstrations of courtesy by Barney, 
 who is lying off in all the luxury of morning costume, 
 sipping his cafe-au-lait and reading Galignani. ' Com- 
 ment vous portez vous, Monsieur ? ' says Barney, turning 
 to the visitor without the smallest suspicion, and with all 
 the politeness and admirable imitation of manner of the 
 people he was living among; and receiving from his 
 heavily-bearded caller the usual response. 'Asseyez 
 vous, Monsieur/ added he, at the same time placing his 
 guest a chair, and with the most marked French emprease- 
 ment waving him an invitation to sit. Owens could not 
 carry on the joke. The metamorphose of Barney into a 
 Parisian was too much for his gravity. Taking off his 
 hat, and at the same moment clapping his host upon the 
 back, he exclaimed, in his natural voice and manner : 
 ' How are you, Barney ! ' ' And is it you, ye divil ? ? 
 said Barney, whose first impulse had evidently been to 
 throw the poker at the head of his visitor, when he found 
 out to whom he had been airing his French. ' And what 
 the deuce are you doing in this part of the world?' 
 1 Studying the language, my boy, that's all ; and what an 
 6 
 
82 MEMORIES OF 
 
 "illigant" lesson I have just had; especially in the accent 
 —eh, Barney ? ' " 
 
 Having passed a few weeks pleasantly in Paris, Owens 
 returned home, and after a swift and agreeable passage 
 across the Atlantic, arrived at the pier in New York. 
 As he was leaning on the taffrail, like Juliet in the bal- 
 cony scene, " his cheek upon his hand," and facilitating 
 himself that he had reached his native land once more in 
 safety ; one of those amiable gentlemen who signalize 
 themselves by poking whips in the faces of travellers, by 
 way of catching their eyes, clambered over the rail, and 
 giving our friend a gentle slap on the back, said : " Have 
 a carriage?" Owens being knocked quite out of his 
 revery, and nearly out of all the breath in his body, by 
 this energetic salutation, stood for a moment speechless ; 
 and the Coachee, scanning his costume and the cut of his 
 whiskers, evidently began to think he was a Frenchman. 
 Owens perceived this, and immediately determined to 
 humor the idea, and have some fun out of it. "Car- 
 riazhe ! Vat ees ze carriazhe ? " " Why, the coach — 
 horses — wheels — things that go round, round, so ! Go 
 ? lang ! Crack ! Take you to hotel ! " said the other, 
 gesticulating all the while, and describing pantomimically 
 the motion of a carriage, the driving of the horses, and so 
 on. " Aha ! Oho ! Oui, oui ; je comprend ! To ze hotel. 
 Tres bien ; you sal mak me come to ze hotel Metropoli- 
 tang, eh ? You know where is ze Metropolitang ? " " The 
 
JOHN E. OWENS. 83 
 
 Meetropolitern ? Of course ! Take you there iu a jiffy. 
 Show your baggage ! Come along, Mounseer." " Oui, 
 oui ! zat all ver good ; but how mosh for take moim£me 
 et mon baggazhe to ze hotel Metropolitang ? " " Three 
 dollars; that's all." "Tre dollar! Mon Dieu ! Zat is too 
 mosh for ze leetle vay to ze hotel." " A little ways ! 
 My eyes ! Why, do you happen to know, Mounseer, 
 about how fur it is, say? Why," continued Coachee, 
 rising in excitement as he proceeded with his pantomimic 
 description, "there aint no less than three bridges to 
 cross, and ever so much toll to pay before you get there." 
 " What zat, you call ze bridzhe and ze tol, eh ? " " The 
 bridge ? Why," gesticulating, " high up, so ! water run- 
 ning under, so ! Cross over ; stop ! Pay money every 
 time ! " "I tell you what it is, Coachee," said Owens, 
 resuming his natural voice, " I'll give you fifty cents." 
 
 The scamp was dumbfounded for a second; but see- 
 ing that he was " sold," and if he rode rusty, he would 
 find himself in an awkward fix ; putting his hand to his 
 mouth and whispering confidentially to Owens, said, with 
 a wink that spoke volumes : " Call it seventy-five, and 
 say nothing, you know, about the bridges!" 
 
 Owens began the season of 1856-57 in Philadel- 
 phia, pleasantly and profitably; thence to the Baltimore 
 Museum, cramming the house with enthusiastic audi- 
 ences. It was during this engagement that he played 
 Solon Shingle for the first time. " The People's Lawyer ' ? 
 
84 MEMORIES OF 
 
 was then given in two acts; Robert Howard being the 
 prominent part. Owens was pleased with the quaint 
 vein of humor which characterized Solon; and later on 
 made a study of the garrulous countryman; cut the 
 Drama to farce length, introduced much new business, 
 and so elaborated the part and altered the piece, that he 
 copyrighted it under the title of " Solon Shingle? 
 
 It has been said that Owens imitated Charles Burke 
 in this part. Such an assertion is utterly untrue. Mr. 
 Owens never saw Burke, or anyone else play " Solon 
 Shingle? With equal injustice, the would-be wiseacres 
 assume that Mr. Joseph Jefferson reproduced his brother's 
 portrayal of "Rip Van Winkle;" whereas the two per- 
 formances differ widely. Mr. Burke was a gifted artist — 
 wonderfully so ; but the play which Mr. Jefferson has 
 rendered famous has no similarity to that in which Mr. 
 Burke appeared, save that they both are founded on 
 Washington Irving's story. Neither Mr. Owens nor 
 Mr. Jefferson were ever imitative. To each character 
 assumed, they gave distinctive expression; original to 
 the degree of inspiration, their genius never required the 
 methods or ideas of others to render perfect those won- 
 derful embodiments which have established their world- 
 wide fame. 
 
 In November, 1856, Owens signed with H. L. Bate- 
 man to star in Mrs. Sidney Bateman's play of "Self? 
 This Comedy had been produced in New York with Bur- 
 
MR. OWENS as SOLON SHINGLE. 
 
 (From a Painting by A. Cross.) 
 
JOHN E. OWENS. 85 
 
 ton as John Unit, and in St. Louis with Mark Smith in 
 the same part, and was a failure in both cities. Owens 
 hesitated about undertaking a play already received coldly 
 by the public; but upon reflection, was sanguine of 
 making John Unit a character part, and thereby leading 
 up to success for the piece. He took for his model in 
 dress and manner of playing Unit, a prominent citizen of 
 Cincinnati, and " like unto a mirror depicted his eccen- 
 tricities." Those who have seen Owens play John Unit, 
 and heard the expression to which he was prone, "It 
 won't pay, sir/' need not be told what a natural repre- 
 sentation he gave of the crusty old banker ; who, beneath 
 his hard exterior had a tender heart for those who really 
 understood him. It was a leaf from life, touching kin- 
 dred chords in many natures. 
 
 John Unit proved a valuable addition to Owens' reper- 
 toire, winning for him new laurels and establishing success 
 for "Self" — a success so entirely identified with his name 
 that he purchased from H. L. Bateman entire right to the 
 possession of the Comedy. Owens' "John Unit" was in 
 fidelity of conception, unsurpassed by anything on the stage. 
 His grasp of the character was perfect, and every light and 
 shade stood forth intensely life-like. Prominent in per- 
 fection, the library scene may be considered the gem of 
 the part. The soliloquy, after having made his will, was 
 like the unfolding of the inner nature of the old banker, 
 giving glimpses of its asperity and of its tenderness. The 
 
86 MEMORIES OF 
 
 ingenuous retrospection of his life — realization that his 
 methods had brought him to a lonely old age, recollections 
 of boyhood and home, yearnings for family ties, were 
 delineated with such depth of sentiment and rugged 
 pathos as to invoke sympathetic response. During Owens' 
 first visit to California, this scene had intense effect upon 
 the rough, red-shirted miners in the galleries. Many of 
 them had been absent from home for years, and the long- 
 ings for the associations of early life so vividly expressed, 
 found echo in their hearts, and ofttimes caused them to 
 weep like children. The interview with Mary Apex, 
 which follows Unit's soliloquy, where he talks with her 
 in a half-bantering, half-earnest, and entirely affectionate 
 manner, was a type of quaint and hearty wisdom, won- 
 derfully portrayed. 
 
 "Self" had a prosperous run in Baltimore, and the 
 experience was repeated in Washington. "Mrs. Apex" 
 found a strong representative in Mrs. Melinda Jones, 
 " Mrs. Codliver " in Mrs. Jane Germon, and " Mary 
 Apex" in Miss Mary Devlin (who afterwards became 
 Mrs. Edwin Booth). The latter lady was not only a 
 talented actress, but one of the loveliest and best women 
 in the world. Mary Apex's nature seemed akin to that 
 of the ingenuous girl who personated her. 
 
 After Washington, Eichmond was the next date to be 
 filled by "Self." The company left Washington in good 
 spirits, not apprehending that the light snow just begin- 
 
JOHN E. OWENS. 87 
 
 ning to fall would at all interfere with their journey ; but 
 it was destined to culminate in a storm, to be hereafter 
 spoken of as " unparalleled in the memory of the oldest 
 inhabitants." The snow steadily increased, involving fre- 
 quent stoppages to clear the railroad tracks; and finally 
 the storm became violent. At daybreak, Sunday, the train 
 had been snow-bound for several hours. The engine fires 
 were extinguished, and the snow (already banked up above 
 the car windows) was still rapidly falling. No sign of 
 habitation near ; nor could the passengers form an idea of 
 their location, until later on, the church bells of Richmond 
 were heard. " So near, and yet so far," were they. 
 
 Having consumed all eatables that were on the train, 
 the situation was growing serious as to ways and means 
 of extrication from this perilous condition. At this crisis 
 a stalwart colored man said, that " he knew all the sur- 
 rounding country, and would sally forth to seek assist- 
 ance, if his master would give consent." This was 
 readily obtained, and amidst expressions of gratitude, the 
 passengers made up a purse of fifty dollars, to be given 
 to the man on his return. Additionally incited by this 
 promised reward, he plunged into the snow, which sub- 
 merged him to his neck ; and striking vigorously across 
 country, was soon lost to view. The prospect of relief 
 revived the drooping spirits of the snow-bound passen- 
 gers; but as hour after hour passed by, without any sign 
 of the return of the adventurous pioneer, hope waned, cold 
 
OO MEMORIES OF 
 
 and hunger increased, and the situation became alarming. 
 Towards night the faint tinkle of bells was heard, and then 
 the far-off sound of voices — the listeners were almost afraid 
 to trust their senses, lest disappointment might ensue — 
 but louder and louder came the welcome sounds until, in 
 the distance, they saw a wagon drawn by a team of six 
 oxen, preceded by a snow-plow ; the latter driven by 
 their sable deliverer, who had found a farm house, and 
 returned with a relief corps. The hospitable farmer not 
 only brought food for immediate necessity, but insisted on 
 taking all the passengers to his house to stay until the road 
 should be in condition for trains to resume travel. 
 
 A merry party were packed away in the long wagon — 
 hunger and cold forgotten, as the farmer started the 
 team, and with a loud " huzza ! " and bells jingling, off 
 they drove for "Strawberry Hill," three miles distant. 
 There they remained two days, entertained in true Vir- 
 ginia style by Mr. R. F. Adams and his household. It 
 was a delightful episode to the guests, and also to their 
 host and his family ; the former exerted themselves to be 
 agreeable and entertaining ; to the latter, this break in 
 their quiet life was a sensational revelation. The even- 
 ings were full of mirth and laughter; one source of 
 amusement to the guests being the singing and banjo 
 playing of Mr. Adams' colored people, which was genu- 
 ine plantation minstrelry ; exceeding the best imitations. 
 There was mutual regret when the time came for guests 
 
JOHN E. OWENS. 89 
 
 and host to part. The intimation of remuneration for the 
 hospitality extended by Mr. Adams, was rejected by that 
 gentleman, with kindly but dignified firmness. Much 
 hearty hand-shaking, and many cordial wishes attended 
 the leave-taking, and with merry laughter, amidst the 
 babel of many tongues, the party drove off from the old 
 farm-house, which they never forgot. 
 
 On their way to Richmond, the passengers held a 
 meeting, organized by John E. Owens and H. L. Bate- 
 man, and decided to present a testimonial to Mr. R. F. 
 Adams, expressive of their thanks and appreciation of 
 his kindness and lavish hospitality. Mr. Adams and his 
 family had been invited to visit the theatre towards the 
 close of the engagement of the "Self" company ; and on 
 their arrival in Richmond, were surprised by the presen- 
 tation of a handsome silver service and tray, of exqui- 
 site workmanship. The largest piece being beautifully 
 wrought with a representation of a snow-bound train in 
 the foreground, a farm-house in the distance ; and, in the 
 middle ground, an ox-team wagon coming to the rescue. 
 On the reverse side, the following engraved inscription : 
 
 " Presented 
 by the passengers who were detained by the severe snow storm of 
 January 18th, 1857, on the Virginia Central Kailroad, to 
 
 K. F. Adams 
 as a token of their gratitude for the true Virginia hospitality ex- 
 tended to them at his house, and for his heroic exertions in releasing 
 them from their perilous and suffering condition." 
 
90 MEMOEIES OF 
 
 Mr. Adams was so much overcome by this unexpected 
 token of remembrance, that he could scarcely falter his 
 acknowledgment — grasping Mr. Owens' hand, he said : 
 " Not only do I appreciate this gift, but my children and 
 grandchildren will regard it as an heirloom. v 
 
 From Richmond " Self" wended its triumphal course 
 to Cincinnati, where the prototype of John Unit fre- 
 quently witnessed the play. One of his nephews said 
 to Owens : " My Uncle recognizes himself in the char- 
 acter ; and though sensitive about some points you make, 
 he is well pleased at the denouement which elaborates 
 Unit's good qualities ! " En passant, it is rather strange 
 that the likeness should have been admitted, as people 
 are seldom conscious of their own peculiarities. I re- 
 member an eminent Italian impressario saying to Mr. 
 Owens : " Mr. Owens, I hear that you have mak' imitate 
 of me ; I am mooch distress, and I so speak that you no 
 more do zat same ting." Owens gravely expressed sur- 
 prise at the accusation, and " really could not imagine 
 who had brought such a charge against him;" this re- 
 sponse being given with the accent and manner of the 
 impressario, who failed to perceive the imitation ; though 
 the bystanders recognized it with infinite amusement. 
 
 While in Cincinnati, Owens and Bateman talked over 
 a project of organizing a strong "American Comedy 
 Company," to play through England during the summer 
 months. Something that had not, at that time, been 
 
MR. OWENS as JOHN UNIT 
 In " Self." 
 
JOHN E. OWENS. 91 
 
 attempted. The more that it was discussed the more 
 feasible the enterprise seemed. Henry C. Jarrett was 
 deputed to ascertain if John Gilbert, William Wheatley 
 and other eminent artists were open to offers ; and favora- 
 ble replies were received. Before making engagements, 
 Mr. Jarrett was dispatched to England, to personally 
 investigate the prospect of securing theatres in different 
 cities, commencing in London. It being understood that 
 a triple partnership, to manage the dramatic enterprise, 
 should be organized on Jarrett's return, if favorable re- 
 port was brought, justifying the venture. Meanwhile, 
 Owens continued his professional engagements. 
 
 After an absence of six weeks, Mr. Jarrett returned, 
 and a meeting of the trio was appointed. Verbal re- 
 sponses and letters from several English managers were 
 most auspicious to the undertaking ; consequently, the 
 details of business came under discussion. Owens sug- 
 gested that each member of the partnership should be 
 allotted separate duties and responsibilities — giving cer- 
 tain views based on his managerial experience; and 
 Jarrett acquiesced in this course, which impressed him as 
 being practical and conducive to their mutual interest; 
 but Bateman fought every opinion, step by step. After 
 considerable talk, Owens remarked : " We are wasting 
 time going over the same ground, Bateman ; suppose you 
 give us your views of an organization ? " " Well, I will," 
 replied Bateman ; and after a preliminary remark or two, 
 
92 MEMORIES OF 
 
 he summed up the matter by saying : " I must be busi- 
 ness manager, absolutely ; and I must have sole control 
 of the entire affair, without dictation from any one. All 
 power and direction must be vested in me, if we want 
 success." 
 
 " Oh," said Owens, calmly, " that is your idea, is it ? " 
 "Yes," said Bateman, "and the only sensible way to 
 carry the thing through." "Then, gentlemen," said 
 Owens quietly (rising), "count me out of the enterprise;" 
 and he left the room. So little excitement did he mani- 
 fest, that Bateman could not believe the affair was closed. 
 Three days later he approached Owens with some ques- 
 tion relative to preparation for the " American Comedy 
 Company ; " and was quite startled by the unmistakable 
 firmness of the reply given — " I gave my ultimatum, and 
 will not waste further words on the subject." 
 
 Speaking of H. L. Bateman — he was a compound of 
 good qualities and objectionable traits. His strong will 
 and love of power inclined him to presumptuous and 
 overbearing conduct. He was ofttimes captious and fault- 
 finding. Mr. Owens, referring to this spirit of discontent, 
 once said to him : " I really think, Bateman, if in the 
 next world you are fortunate enough to be placed with 
 the sheep, you will think it looks pleasanter among the 
 goats." Bateman's indomitable energy and judgment 
 eminently qualified him for a progressive business man. 
 The fame of the celebrated "Bateman Children" (his 
 
JOHN E. OWENS. 93 
 
 daughters) extending, as it did, over both continents, was 
 greatly enhanced by his acumen in properly developing 
 their talents. Later on, when Kate Bateman, in early 
 womanhood, achieved fame in " Leah" and other parts, 
 her triumphs were much increased by the skilful engi- 
 neering of her father, who was her indefatigable director. 
 
 Matilda Heron, Parepa Eosa, and other illustrious 
 artistes, first appeared in this country under Bateman's 
 management. With Tostee in " The Grand Duchess" 
 he inaugurated Opera Bouffe in America. The St. Louis 
 Theatre and others were, at different times, under his 
 management. His latest managerial success was at the 
 Lyceum Theatre, London. Then it was that Henry 
 Irving (now so famous) first came into prominence — with 
 the great run of "Hamlet" and "The Bells," which set 
 all London talking of the rising star. Socially Bateman 
 was companionable and entertaining. An excellent racon- 
 teur, he also had keen sense of the ludicrous, and appre- 
 ciated wit and humor in others. He was not free from 
 petty weakness, and this was evinced by his sensitiveness 
 about his christian name, "Hezekiah Linthicum." It 
 was so obnoxious to him, that he invariably made his 
 signature H. L. Bateman, and tacitly permitted his letters 
 to be addressed " Henry L. Bateman." 
 
 On one occasion, some little business disagreement 
 occurred between Owens and Bateman. A correspondence 
 ensued, and Bateman, as usual, waxed wrathful, and be- 
 
94 MEMORIES OF 
 
 came voluminous in expression. Owens declined further 
 discussion, but Bateman persisted in freighting the mail 
 with reiterative contention. Finally Owens, impressed 
 with the absurdity of this " Much Ado about Nothing," 
 took a comical view of it, and wrote : " If you write to 
 me again on this subject, I will return your letter addressed 
 ' Hezekiah Linthicum Bateman/ " A telegraphic response 
 came — "I will stop." Thus the matter was good- 
 humoredly settled. The next time they met, Bateman, 
 laughingly referring to the ludicrous termination of their 
 difficulty, said : " John, you wouldn't really have been so 
 cruel as to direct a letter to me, • Hezekiah Linthicum ?'" 
 " Indeed, I would," said Owens. " I don't believe you 
 capable of such deliberate wickedness," retorted Bateman, 
 " though you frightened me terribly by the threat." 
 
 Bateman prided himself, and justly, too, on his admi- 
 rable tact in extricating himself from a dilemma. His 
 inventive genius seemed inexhaustible. Mr. Owens said 
 he never saw Bateman nonplussed but once, and then not 
 utterly. They were standing on the steps of the Burnet 
 House, Cincinnati, when Bateman exclaimed : " Gracious 
 goodness ! here comes a man that I like ; a man who 
 entertained me when I was in this city a few months ago, 
 and I have forgotten his name ! but I do remember he is 
 very sensitive on that point. John, what is his con- 
 founded name?" "I don't know," said Owens, exas- 
 peratingly. By this time the gentleman was ascending 
 
JOHN E. OWENS. 95 
 
 the steps. Bateman rushed to meet him, shaking hands 
 cordially, and beaming with delight — hoping to gain time 
 by talking rapidly, and thus recall the name. Failing to 
 do so, he said : " I've thought of you so often ; wanted 
 to send you a newspaper now and again, but did not know 
 exactly how to spell your name. How do you spell it ? " 
 "s-m-i-t-h," was the response. To any one else this 
 would have been total discomfiture ; but Bateman rallied, 
 and rejoined : " I was uncertain whether you used an i or 
 a y, and most people are liable to take offence at an inac- 
 curacy of the kind." 
 
 After the Cincinnati engagement Owens proceeded to 
 St. Louis where he scored a triumph, thence to Pittsburg 
 with like result. The remainder of the season was filled 
 in Washington, Philadelphia and Baltimore. In the 
 latter city he played several weeks at the Holliday Street 
 Theatre, and re-appeared there at the commencement of 
 the next season ; after which he made his usual starring 
 tour through the principal cities, being considered by all 
 managers a strong drawing attraction. On the 2nd of 
 March, 1858, Owens appeared for the first time in Bos- 
 ton. Dr. Ollapod, in " The Poor Gentleman" was the 
 part that chronicled his successful d6but. He was sur- 
 rounded by a galaxy of talent : George Jordan, James 
 Bennett, Geo. Ryer, Henry Wallack, Williams, Stuart, 
 Norton, Julia Bennett, Fanny Morant, Mary Carr, &c. 
 The performances given by such a company were charm- 
 
96 MEMORIES OF 
 
 ing, so perfectly studied and rendered was every char- 
 acter. 
 
 March 24th Owens played Bob Acres, in The Rivals, 
 for the first time, and made an immense hit. The 
 idiosyncrasies of the character were given with zest and 
 originality. It was a clear-cut picture of the country 
 Squire. His scene in the second act, with Captain Abso- 
 lute, was enthusiastically encored ; and all through the 
 Comedy laughter and applause confirmed his success. 
 Mr. Owens' propensity to hurriedly dress for the stage, 
 extended to his preparation of costume for a new part. 
 A few hours before he was to appear as Bob Acres he 
 sallied forth to procure some accessory which was required 
 to make his dress complete. Meeting William Warren, 
 he asked where he would be most likely to be suited 
 in the article required. " Good gracious ! " said Mr. 
 Warren, " you don't mean to say that you haven't every 
 thing ready for a part you play to-night, and a new part 
 too ! Why, I shouldn't be able to remember my lines if 
 I had to think about a dress. It would upset me to be 
 so hurried." " That very hurry suits me, " replied 
 Owens, " the excitement gives me a kind of nervousness 
 which tends to vivacity, and brightens my wits." 
 
 Many old comedies were played at this time, but " The 
 Road to Ruin" was perhaps the one in which Owens 
 gave the greatest surprise to even his most ardent ad- 
 mirers. " Silky " is so entirely m-comic that much com- 
 
JOHN E. OWENS. 97 
 
 ment was made when Mr. Owens was announced for the 
 part. But, having made a study of it, he knew he could 
 do justice to its portrayal. The delineation he gave was 
 a gem, and by its excellence became the feature of the 
 comedy. His make-up was perfect. The angularity of 
 limbs, the stooping shoulders, the semi-palsied appearance 
 of hands, and the wizen face were all marvellous person- 
 alities of the miserly usurer. The shrewd avaricious 
 glance which gave way to servile obsequiousness, in 
 change of situation, the piping voice and cackling laugh 
 were each and all masterly points. 
 
 Owens simulated age with extraordinary accuracy, but 
 he was not unmindful that age has many phases and 
 personal distinctive traits; hence, of the numerous old 
 men he played, no one resembled the other. In Solon 
 Shingle his voice ruralized into eccentricity, and in Caleb 
 Plummer it sobered into pathos. His versatility was 
 wonderful ; he could be a young man, a romping lad, or 
 a centenarian with equal fidelity to nature. " Silky " and 
 " Gillman " (the youthful bridegroom) constituted an 
 evening's entertainment which, in their contrast, vividly 
 displayed these remarkable gifts ; so did " Tony Lumpkin " 
 and " Spruggins" and numerous other equally astonishing 
 and delightful performances. During this Boston en- 
 gagement, among other novelties produced, was " The 
 Queen's Heart" by Dr. John W. Palmer, of Baltimore. 
 Dr. Palmer was well known in literary circles as the author 
 7 
 
98 MEMORIES OF 
 
 of many able and brilliant works in prose and poetry. 
 One of his specialties in poetry is the never-to-be-for- 
 gotten and thrilling poem of " Stonewall Jackson's Way." 
 
 The comedy of the Queen's Heart possessed self-assert- 
 ing merit ; inasmuch as the plot and action were original, 
 and the dramatis personse different from the stereotyped 
 pattern so often found in plays. Madame Mondieu, 
 created by Miss Fanny Morant, was a superb piece of 
 acting. I say acting, for though true to nature, no other 
 word can express how much this talented artiste made 
 of the part by look and gesture. The text became elo- 
 quent by the inimitable shrug of the shoulders with 
 which she emphasized its meaning. Owens as Napoleon 
 Bonaparte Aravier, a French comedian, made a decided 
 hit, and strongly depicted the eccentricities of the loqua- 
 cious comedian, who, under the guise of flippant bom- 
 bast, plots to defeat wicked designs and bring help to 
 the deserving. His rendering of the semi-inebriated 
 song, " The Little Brown Man/' was nightly encored. 
 The " Queen's Heart" won deserved popularity. Later 
 on Dr. Palmer gave the play to Mr. Owens, who in- 
 tended to include it in his repertoire, but always found 
 it difficult to secure a competent Madame Mondieu. 
 
 The first theatrical performance ever given on Satur- 
 day night in Boston took place May 1st, 1858. The 
 play-bills for more than a week previous having the 
 preliminary announcement, by this heading : 
 
JOHN E. OWENS. 99 
 
 "SPECIAL NOTICE. 
 
 " The Legislature of Massachusetts during the last session, having 
 abrogated an old law, which prevented Dramatic Eepresentations 
 from taking place on Saturday evenings, and the Board of Aldermen 
 also having granted the petition of Mr. Barrow to open this Theatre 
 on Saturday evenings, he purposes testing 
 
 Public Opinion 
 by giving a Dramatic Performance of a High Order on Saturday even- 
 ing next." 
 
 The public did not respond cordially to the innova- 
 tion. Slim attendance being the rule for many Saturday 
 nights ; but gradually business increased, and before the 
 season was over, Boston made no distinction between 
 Saturday and other night performances. Owens remained 
 in Boston several months. The favorable impression he 
 made at first strengthened as his engagement became pro- 
 longed. Much social enjoyment brightened the time. 
 With his professional associates, and many friends, he 
 found congenial companionship. Many pleasant hours 
 were spent in the society of William Warren. Occa- 
 sionally a charming re-union and supper in Miss Amelia 
 Fisher's renowned and picturesque kitchen made a red 
 letter day. 
 
 One of the warmest friendships formed at this time 
 was with Henry A. M'Glenen, now business manager 
 of the Boston Theatre. It strengthened as time went on, 
 and to the end of his life Mr. Owens esteemed " Harry 
 
100 MEMORIES OF 
 
 M'Glenen" with deep regard, and knew it to be sin- 
 cerely reciprocated. No truer friend mourned his loss, 
 or rendered tenderer tribute to his memory. 
 
 The evening previous to leaving Boston, Mr. Owens 
 entertained a few friends at the Parker House. As they 
 were about separating, one of the guests (a jolly but 
 impecunious individual) said : " By the way, Owens, I 
 owe you three hundred dollars — perhaps more." "Don't 
 mention it," answered the comedian, who, liking the man 
 personally and knowing his irresponsibility, mentally 
 regarded the money as a gift, not a debt. " Ah ! my 
 boy, that won't do ; business is business, and I prefer to 
 settle the matter before you leave the city." Then tak- 
 ing from his pocket a slip of paper, he said : " Here is 
 my I. O. U., that will secure you." At this Micaw- 
 berish adjustment, a covert smile pervaded the company, 
 but Owens gravely received the note, and held it in 
 his hand while they stood chatting, ere they separated. 
 Finally, with affected unconsciousness, he twisted the 
 paper and used it to light his cigar. A horrified remon- 
 strance arose from the giver of the note. " My dear boy, 
 see what you are doing ! Don't be so absent-minded ! " 
 
 " That's all right, B , such a lighter must needs give 
 
 my cigar a good flavor, and at the same time relieve you 
 from the shadow of responsibility." 
 
 October, 1858, finds Owens again in Boston, but only 
 for a short engagement, as he had signed for the season 
 
JOHN E. OWENS. 101 
 
 with Thomas Placide, Manager of the " Varieties Thea- 
 tre," New Orleans. The original Varieties Theatre, erected 
 1849, was managed by Thomas Placide until 1854 ; dur- 
 ing that year it was destroyed by fire. When the theatre 
 was rebuilt, Dion Boucicault assumed the management 
 and changed the name to " Gaiete Theatre — it was so 
 known for two years. When in 1858, Placide again 
 became manager, he restored the old and more popular 
 title. This theatre was situated on Gravier street, and 
 owned by the "Varieties Club," an exclusive, aristo- 
 cratic and wealthy association. The name was suggested 
 by " La Variete" " in Paris. The theatre ranked as the 
 most fashionable in New Orleans. At that time song 
 and dance and specialty performances were limited to 
 music halls, and not termed " variety shows ; " but later 
 on, when thus designated, it became necessary to change 
 the name of New Orleans' famous theatre, least the origi- 
 nal title, "Varieties," might give a wrong impression 
 in regard to its dramatic position. 
 
 The season of 1858-59 was conducted on the stock 
 system; a superb company having been engaged. The 
 sterling old comedies were given, varied with the new 
 pieces, then being played in London and New York. 
 As usual with New Orleans seasons, Owens found this 
 one delightful as well as profitable. At its close, Pla- 
 cide's lease having terminated, Owens was solicited by the 
 stockholders to become the next manager, and accepted a 
 
102 MEMORIES OF 
 
 four years' lease, beginning 1859-60. Upon the conclu- 
 sion of the present season, Owens took the company to 
 St. Louis and Cincinnati, and gave six performances in 
 each city ; so great was the furore created, that the houses 
 were packed and many unable to obtain even standing 
 room. 
 
 Perhaps there can be found no more brilliant dramatic 
 record than the New Orleans season of 1859-60. The 
 stockholders gave Owens carte blanche in respect to beau- 
 tifying and furnishing the Varieties Theatre ; and this 
 unlimited power, guided by his judgment and exquisite 
 taste, resulted in the Theatre being a model of elegance 
 in regard to auditorium, stage setting and general effect. 
 The dramatic corps selected was second to none in the 
 country, and the splendor of the season was unparalleled. 
 The wealth, beauty and fashion congregated in New 
 Orleans, this winter, was never exceeded in that notably 
 gay city ; the " Varieties " nightly thronged with pleas- 
 ure seekers ; and Owens, both as an actor and manager, 
 considered peerless. 
 
 Among the new comedies produced this season was 
 " Everybody's Friend." It was put on the boards simul- 
 taneously with its production in New York. E. F. 
 Sothern as Feaiherley, Sara Stevens as Mrs. Swandown, 
 and Owens as Major Wellington DeBoots. To the latter 
 character Owens brought original conception, and played 
 perfectly ; making so great a mark that ever afterwards 
 
MR, OWENS as MAJOR WELLINGTON DeBOOTS 
 In "Everybody's Friend." 
 
JOHN E. OWENS. 103 
 
 it was included in his starring repertoire. Owens' concep- 
 tion of DeBoots was not as an eccentric braggart, only 
 to be laughed at, but a man of excessive vanity, weak 
 character and infirm purpose. The self-satisfied catchy 
 little laugh or chuckle, which he originated in this part, 
 has often been imitated, but never reproduced with the 
 vitality and infectious mirth wherewith Owens invested 
 it. The business introduced was irresistibly droll, but 
 neat, and, with an occasional interpolating line, made the 
 bombastic Major's character vividly life-like. 
 
 And here I would remark, that a tendency to gag has 
 been attributed to Mr. Owens which he did not deserve 
 in the actual sense of the word ; it is true he was prone 
 now and then to introduce a sentence not set down in the 
 text, but it always fitted so perfectly with the character 
 he was representing that it seemed exactly what the 
 author would have consistently written. Exuberance of 
 spirits never led Mr. Owens to the objectionable habit of 
 making topical jokes, or allusion to those surrounding 
 him. He was far too conscientious an artist to sacrifice 
 the integrity and illusion of a play to raise a laugh, or 
 create merriment at variance with principle and taste. 
 
 Sara Stevens made a charming Mrs. Swandown, and 
 E. S. Sothern was admirably suited to Felix Feathzrley ', 
 which he played in his usual graceful, mercurial and 
 polished manner. Each of the cast seemed to have a part 
 that might have been written for their especial abilities ; 
 
104 MEMORIES OF 
 
 and this insured a favorable reception for the comedy. 
 The first and second nights of its representation there 
 was a bit of amusement not set down in the bill. For 
 the scene where Featherley presents Mrs. Swandown with 
 an Angora cat (supposed to be sleeping peacefully in the 
 covered basket which he carries), Sothern insisted upon 
 being realistic, to the extent of having a live cat. Of 
 course, puss became frightened when the cover was re- 
 moved, jumped out, and having made a bewildered 
 plunge here and there, scampered off the stage amid the 
 laughter of the audience. For the next night, Sothern 
 suggested a small guinea pig as being less nimble, and 
 sure to remain quiet, but the same exhibition of stage 
 fright (?) occurred, except that the pig dived awkwardly 
 into the orchestra. The general impression prevailed 
 that these innovations were not actuated so much by 
 Sothern's desire to be realistic as by his propensity for 
 practical joking. 
 
 " The American Cousin" in which Sothern had made 
 a hit at Laura Keene's New York Theatre, the previous 
 season, was strongly cast, but met with only mod- 
 erate favor from the public, and less from the press. It 
 was at this time that Sothern originated the " Brother 
 Sam " letter which he introduced into the part of Dun- 
 dreary, and afterwards rendered so celebrated. The 
 American Cousin held the boards for two weeks. On 
 the night of final representation Sothern (as Dundreary) 
 
JOHN E. OWENS. 105 
 
 read a witty letter conveying a request from the company 
 for permission to testify their admiration by crowning 
 him with an appropriate wreath. His lordship having 
 expressed gratification and given consent, the imposing 
 ceremony was performed, and the renowned Dundreary 
 crowned with a chaste wreath of " woathed chestnutzs" 
 beautifully relieved by " Oythter Theltz" and " Shwimp 
 Think." " My Lord " made a brilliant acknowledgment, 
 replete with stammerings and hops. The audience and 
 the artists evidently enjoyed the joke intensely, and the 
 majority of them quite understood that it was a good- 
 humored rebuke to the overdone gush of floral pre- 
 sentations which had become rather tiresome during the 
 season. 
 
 Sothern's Dundreary is so much a part of stage history 
 that everybody knows he continued to elaborate and im- 
 prove the character, until it became identified with his 
 name, placing him on a pinnacle of prominence which he 
 had failed to reach through his equally clever and more 
 legitimate personations. 
 
 The great sensation of season 1859-60 was "Dot" 
 Boucicault's dramatization of The Cricket on the Hearth, 
 in which Owens played Caleb Plummer for the first time. 
 Careful rehearsals were given, and also every attention 
 to the stage setting and transformation scene. The Fairy 
 Prologue was charming. The initial performance took 
 place on Christmas night with the following cast : 
 
106 MEMORIES OF 
 
 Caleb Plummer Mr. John E. Owens. 
 
 John Peerybingle Mb. C. W. Couldock. 
 
 Tackleton Mr. M. Leffingwell. 
 
 Edward Plummer Mr. H. A. Copland. 
 
 Dot Miss Charlotte Thompson. 
 
 Bertha Miss Sara Stevens. 
 
 Mrs. Fielding Mrs. W. A. Chapman. 
 
 Tilly Slowboy Miss Polly Marshall. 
 
 May Fielding Miss Eliza Couldock. 
 
 Polly Marshall, the soubrette, was much dissatisfied 
 with having the part of Tilly Slowboy assigned to her. 
 The lady was an English actress who had been a favorite 
 at Burton's Theatre, New York, and it was expected she 
 would be equally popular in New Orleans, but a mild 
 liking was the extent of approbation she inspired ; sensi- 
 tively aware of this fact, she entreated Mr. Owens to 
 substitute some one else for Tilly, assuring him that the 
 part was utterly out of her style, and to attempt it would 
 culminate her unpopularity. Mr. Owens thought dif- 
 ferently, and courteously but firmly declined to change 
 the cast ; whereupon the lady retired from the interview 
 in a distressed and tearful condition. Short-sighted mor- 
 tals we are. Tilly Slowboy proved to be the first hit of 
 Miss Marshall's engagement; she took the audience by 
 storm, and afterwards every part she played was favora- 
 bly received. No soubrette, in New Orleans, ever held 
 greater sway over an audience than did Polly Marshall. 
 
JOHN E. OWENS. 107 
 
 Owens' personation of Caleb Plummer belongs to the 
 annals of the stage. It stands unrivalled and crowned 
 with well-earned glory. The public, the press and his 
 fellow artists have conceded to him the perfection of 
 finished art in this character, and ranked him as incom- 
 parable. His great charm was unaffected adherence to 
 nature. He took Caleb Plummer bodily from the word- 
 painting of Dickens, and made him flesh and blood. 
 There was no attempt at heroism in depicting this affec- 
 tionate-hearted old man who had suffered so long with 
 cheerful resignation ; it was simple nature in all its purity 
 and goodness, and the illusion perfect in delicate blending 
 of pathos and quaint humor. 
 
 The " God bless us all " of old Caleb lingered in sweet 
 influence with the audience, and found echo in the hearts 
 of all who saw and felt his nature as embodied by John 
 E. Owens. It was a poem, a comedy and a sermon. 
 No description can do justice to his bits of by-play — the 
 quick transition from distress to cheerfulness, for the 
 blind daughter's sake, caused the auditor to break into 
 laughter while yet the eyes were moist. 
 
 When depicting tender emotion Mr. Owens had what 
 the French term " tears in the voice " (as well as in his 
 heart), and the effect was magnetic. It has been said of 
 Owens' personation of Caleb Plummer, that " it compares 
 with Solon Shingle as an oil painting does with a crayon 
 sketch." 
 
108 MEMOEIES OF 
 
 So many able criticisms have been written on this 
 exquisite performance, so much has been spoken in its 
 praise, that I feel almost presumptuous in adding a line 
 to the unanimous tribute ; but knowing that he dearly 
 loved the part, I cannot refrain from a few words of 
 comment on this chef-d'oeuvre of his repertoire. 
 
 Owens always merged his identity into whatever char- 
 acter he assumed, and was for the time being garrulous 
 old Solon, guileless-hearted Caleb, pedantic Pangloss, or 
 whoever he represented. He played hundreds of parts 
 effectively, and yet was modestly free from vanity. Him- 
 self the severest critic he had, he was often dissatisfied 
 with his own performance when others were lavish in 
 commendation. His lack of self-confidence had one phase 
 that was peculiar. As the summer vacation drew to a 
 close he would frequently say to me : " I don't feel at all 
 like an actor, or as if I could ever play again. Suppose 
 the gift has gone from me ! " This laughingly but still 
 in earnest. I remember once, when the season com- 
 menced with Caleb Plummer, he remarked to me, on our 
 way to the theatre : " I am still Farmer Owens, but 
 perhaps I shall find Owens the Comedian in the dressing 
 room." When partly dressed, and beginning to make up 
 his face, he turned to me, humorously saying : " Farmer 
 Owens is receding." He afterwards said that as soon as 
 he stepped on the stage, even before the applause of his 
 reception had ceased, all feeling of uncertainty had van- 
 
MR. OWENS as CALEB PLUMMER 
 In "The Cricket on the Hearth." 
 
JOHN E. OWENS. 109 
 
 ished, farm and country life were forgotten, and he be- 
 came absorbed in dear old Caleb. 
 
 "Dot" was immensely popular in New Orleans, and 
 was played for two months — an unprecedented run for 
 that city, no piece having previously had such a hold on 
 public enthusiasm. It was withdrawn in the height of 
 success, and given at intervals later in the season. Hav- 
 ing made so great a mark as Caleb Plummer, Owens 
 purchased from Boucicault the sole right and possession 
 of his adaptation of Cricket on the Hearth, entitled "Dot." 
 
 A very sad event occurred towards the spring. Harry 
 Copland (juvenile man of the company) had some diffi- 
 culty with Mr. Overall, dramatic critic of the True Delta, 
 arising from adverse and personal criticism. The quarrel 
 eventuated in a rencontre, during which Copland was 
 shot. The arrest of Overall followed, but he was released 
 on bail, pending Copland's treatment at the hospital 
 where he had been taken for amputation of his leg. The 
 symptoms were serious from the first. Copland was a 
 manly ingenuous young fellow, and a great favorite with 
 Mr. Owens, who was devoted to him during his illness. 
 Copland craved this constant presence, and found much 
 comfort in his friendly ministration. At the final hour 
 Owens was with him, and afterwards drove immediately 
 to the Mayor's office and gave notification of the fatal 
 result of the affray. Overall's re-arrest ensued. He was 
 tried for murder, but acquitted on the plea of self-defence. 
 
110 MEMORIES OF 
 
 The prosecution made a strong effort to secure conviction 
 on the charge of premeditated malice on the part of 
 Overall; the evidence was powerful, but was rendered 
 ineffectual by reason of a peculiar defence. It was proved 
 that Copland died of lock-jaw, resulting from gangrene 
 caused by verdigris on the pistol ball. The defense 
 maintained that this could not have been the case had the 
 pistol been freshly loaded by Overall, with murderous 
 intent; hence the shooting had not been premeditated, 
 but the pistol picked up hurriedly when needed for self- 
 defence. On this plea Overall was acquitted. 
 
 After the regular season a supplementary summer one 
 was inaugurated by the engagement of Mrs. John Wood, 
 who fascinated the New Orleans people, as " Pochahon- 
 tas" and with many equally charming bits of acting. 
 The company included much musical talent, which was a 
 desirable element in the production of " Pochahontas ; " 
 and to render it yet more attractive, Owens introduced a 
 drill and march of forty female Zouaves. Requiring 
 appropriate music, he was difficult to please, as he wanted 
 something spirited and yet not too martial. Carlo Patti 
 (brother of Adelina Patti), the leader of the orchestra, 
 was called upon for suggestions. He ran over various 
 airs, all of which were rejected, and was growing hopeless, 
 when he struck the chords of Dixie, then a minstrel song 
 but little sung. " That suits," said Owens, " it is exactly 
 what I want. We will have a song and chorus with the 
 
JOHN E. OWENS. Ill 
 
 drill and march." It was thoroughly rehearsed, and the 
 Zouave drill with Dixie chorus took the town by storm. 
 Soon the air was whistled in the streets, played by the 
 bands, hummed by everyone ; in fine, became the sensa- 
 tion of the times. And thus originated the popularity 
 of "Dixie's land," which resulted in its adoption as a 
 southern war song. 
 
 In May the theatre closed, and Owens returned to 
 Aigburth Yale, his Maryland farm ; passing the summer 
 months pleasantly there, except for an occasional sojourn 
 in New York to make preparations for the ensuing New 
 Orleans season. 
 
CHAPTER V. 
 
 Experience and executive ability — Brilliant inauguration of New Or- 
 leans season 1860-61 — States' rights excitement — Pittsburg emeute 
 — Great engagement played in Boston — An interrogative loafer — 
 Witty repartee — A disagreeable draft — Obtaining a substitute — 
 Presentiment — New England tour — E. L. Davenport — John Gilbert 
 — William Wheatley — Eecreation on the farm — A lover of Shakes- 
 peare — New York offer from George Wood — Deliberation — Accepts 
 for six weeks — Solon Shingle a whirlwind of success — " In a hun- 
 dred days " — Mr. and Mrs. Charles Kean — Constant Meyer's picture 
 — Close of nine months' engagement — Phenomenal financial result 
 — Owens takes steamer for England. 
 
 MR, OWENS took great pride in his theatre, and 
 having now become a stockholder, determined 
 that it should exceed its former record for elegance and 
 attractiveness. He therefore did not limit himself to the 
 liberal amount authorized by the board of directors for 
 the renovation of the theatre, but expended much of his 
 private means for costly furniture, carpets, &c. When 
 the "Varieties" opened November, 1860, with a strong 
 dramatic corps in keeping with its surroundings, the 
 manager was satisfied with his preliminary labor, and the 
 public amazed and delighted with the magnificence and 
 brilliancy presented for their patronage. 
 112 
 
JOHN E. OWENS. 113 
 
 Legitimate comedy and all the new plays were pro- 
 duced with that close attention to correct costume and 
 appropriate scenery which ever marked the management 
 of John E. Owens. These he held secondary to dramatic 
 force, but he considered them indispensable to the pre- 
 sentation of a play, and his personal attention was always 
 given to the superintendence of every detail in the thea- 
 tre. From the paint room to the stage he was present 
 and directed the veriest minutise. Thus executive ability 
 combined with judgment and refined taste rendered his 
 success as a manager Napoleonic. "Dot" was revived 
 and warmly welcomed in 1860-61 — "The Romance of a 
 Poor Young Man " and "Playing with Fire " were among 
 the novelties. The casting of the pieces was simply per- 
 fect, embracing such talent as George Jordan, Mark 
 Smith, Charles Bass, Doily Davenport, Charles Thorne, 
 Jr., Myron Leffingwell, C. H. Morton, F. Maeder, Geo. 
 Wallack, Charlotte Thompson, Annie Graham, Mrs. W. 
 H. Chapman, Mrs. Leighton and a host of others. The 
 most important new production was "Jeannie Deans" (or 
 Heart of Mid Lothian), for which the entire resources of 
 the theatre, in scenic painting and mechanical effects, were 
 brought into requisition, and the strength of the company 
 included. The famous pictures of the trial, &c, were 
 represented in tableaux effect with exquisite accuracy, 
 and were nightly encored. The storming of the Tol- 
 booth was exciting and impressive. This representation 
 
114 MEMORIES OF 
 
 was appreciated by crowded houses for nine consecu- 
 tive weeks. 
 
 Towards the close of the winter much restlessness pre- 
 vailed through the community, and the " States' rights " 
 question was increasedly agitated. Opinions, at first 
 quietly expressed, developed until the " cloud no bigger 
 than a man's hand/' grew ominously threatening. The 
 gay crowd in New Orleans, hitherto on pleasure bent, 
 became thoughtful, and gave less time to amusement and 
 more to the impending crisis ; and the topic oftenest dis- 
 cussed was " Secession." 
 
 My narrative has no connection with the Civil War, 
 except to mention it as it affected Mr. Owens. He was 
 a Southern sympathizer, but never took up arms against 
 the United States. Had the seat of war been in Mary- 
 land he would have defended his home. No honorable 
 nature can censure him for standing firm to his honest 
 convictions. It was a matter of principle with him, in- 
 volving the sacrifice of prosperity, for he not only lost 
 his property in New Orleans but forfeited the three years' 
 lease of the theatre, which proved an El Dorado to the 
 Northern manager who used the theatre and its expensive 
 appointments. 
 
 A course dictated by policy was foreign to Mr. Owens' 
 nature, hence he was willing to endanger his popularity 
 rather than express views which he did not entertain. 
 Quietly resolved, but never aggressive, no one can truly 
 
JOHN E. OWENS. 115 
 
 say that lie was ever treacherous to the government. He 
 played a short engagement in Washington and in Balti- 
 more — a long interval between these, on account of serious 
 illness in the family. Then followed the Pittsburg date, 
 rendered memorable from the fact that he was not per- 
 mitted to play. So great was the antagonism against 
 him, for alleged Southern sentiments, that threats of per- 
 sonal violence were rife, and Mr. Owens' friends pre- 
 vailed upon him to quietly leave town without making 
 any attempt to fulfil his engagement. 
 
 A fortnight later he was due in Boston, where he 
 nightly packed the large auditorium of the Boston Thea- 
 tre ; his friends and the public there not lessening one 
 whit of their cordiality because his opinions did not coin- 
 cide with theirs. He came before them as an artist, not 
 as a politician, and they knew full well that he was inca- 
 pable of dishonorable conduct, and respected him for his 
 moral courage and dignified course which increased their 
 admiration and regard. 
 
 After the War was over, an amusing incident occurred 
 one election day, when Owens presented himself at the 
 polls to vote. An effort was made to interfere with his 
 right of suffrage — the time was past when such a thing 
 could be done on the ground of Southern sympathy. 
 Owens' vote was challenged under charge of " non-resi- 
 dence." The animus was patent ; but taking the matter 
 coolly, Owens said : " I beg your pardon, I don't quite 
 
116 MEMORIES OF 
 
 understand the objection." " Non-residence, where do 
 you live?" "Well, I live in London, Paris, Boston, 
 New York and many other places, but my home is here 
 in Baltimore County, and here I vote." 
 
 At this juncture a half-tipsy loafer, with unkempt hair 
 and soiled attire, lounged in front of Owens and said : 
 " Where d'ye get your washing done ? There's where a 
 feller votes." "In that case, my friend," responded 
 Owens, " I should say you never had a vote in all your 
 life." A roar of laughter followed this sally, which put 
 even the antagonistic element in a good humor. The 
 challenger laughingly said : " Go on and vote, Owens ; 
 we give in." October, 1861, Owens was drafted in the 
 Union army ; he received the notice in Washington, just as 
 he was coming off the stage, and meeting one of the actors, 
 while passing to his dressing room, remarked: "There 
 is a very disagreeable draft here." The literal young 
 man called to some of the stage hands : " Shut that door ; 
 Mr. Owens complains of the draft." Whereupon Owens 
 laughed heartily, and explained the misapprehension. 
 
 He speedily obtained a substitute, but on the way to 
 Baltimore the man vanished. A few days afterwards 
 another was secured, a regular vagabond specimen. De- 
 termined to hold possession this time, Owens fitted the 
 man out with good clothing, took him to the farm and 
 lodged him in an upper room of one of the cottages on 
 the place ; keeping him under close surveillance for three 
 
JOHN E. OWENS. 117 
 
 days, until the papers, &c, were arranged. The fellow 
 was more than satisfied with his quarters, and having his 
 meals served to him three times a day j loudly asserting, 
 that "he wished it might continue, as he never before 
 lived so well." After his examination and acceptance, 
 he was taken to camp ; where he pocketed his $400, and 
 Mr. Owens gladly received his release. 
 
 Next morning, about dawn, Mr. Owens (as was his 
 frequent custom) sallied forth with his dogs and gun, for 
 an hour or two's shooting before breakfast. While stand- 
 ing on the portico, he saw a carriage driving rapidly down 
 the road. When within a few yards of the house, it 
 stopped under a huge oak tree ; the driver got down, 
 opened the door of the vehicle, and lifted out something 
 like a large bundle which he placed under the tree. By 
 this time Owens had reached the spot. He recognized the 
 driver as an employe at Barnum's Hotel, and said : 
 "Hello! Michael, what's all this about?" "Sure, sir, 
 and the young man has been on a bit of a spree ; he says 
 he's your nephew, and told me to bring him out home ; 
 and I didn't like to wake the family up before sunrise, 
 so I thought I'd lave him quiet here. 
 
 Turning his eyes to the supposed bundle, Owens saw his 
 substitute huddled up in a drunken stupor. " Michael," 
 said he, solemnly, " that person is not my relative, he is a 
 deserter ; take him to the camp. If he escapes, you are 
 liable to be arrested as an accessory." Michael needed 
 
118 MEMORIES OF 
 
 no second bidding. Picking up the ninety-pound sub- 
 stitute, he deposited him in the carriage, and drove off to 
 the camp ; where he was given into custody. 
 
 Owens played in Cincinnati, St. Louis, and Nashville 
 and Memphis this winter. Later on in Boston, from 
 thence a return date in Cincinnati. The Burnet House 
 was military headquarters, and Owens, who stopped 
 there, was thrown into daily intercourse with the com- 
 manders, who sought him socially, and admired him pro- 
 fessionally ; not concerning themselves about his Southern 
 sentiments. In Cincinnati he closed his season, but 
 before retiring for the summer to his farm, consented to 
 play for the benefit of a friend connected with Wood's 
 Theatre. This necessitated remaining over a few days in 
 Cincinnati, which he was quite willing to do. The 
 decision having been made, I was astonished when he 
 returned from rehearsal and said to me : " I want you 
 to pack up, so that we can leave here to-night." Noting 
 my look of amazement, he continued : " I can't tell you 
 why, but on my way to the theatre an overwhelming 
 impression possessed me to start for home ; I could not 
 shake it off. I told my friend that I was called home, 
 and asked him to say what my name on the bill was 
 worth to him, and oblige me by accepting a check instead 
 of my services ; so that is all arranged." 
 
 Presentiments and forebodings were so utterly incon- 
 sistent with Mr. Owens' nature that I could not realize 
 
JOHN E. OWENS. 119 
 
 that he was actually altering his plans on that basis, and 
 queried : " Have you bad news from home which you 
 intend to break to me gradually ? " He assured me to 
 the contrary. 
 
 We left by the midnight train. Mr. Owens did not 
 appear at all depressed, but bright and cheerful all the 
 journey. We were not expected at home till several days 
 later, therefore no carriage was at the County station to 
 meet us. Mr. Owens procured a wagon, and we jolted 
 slowly along. Our arrival was a joyful surprise. The 
 family, at that time, consisted of Mr. Owens' father and 
 mother. They were both seated on the portico, as we 
 drove up, and greeted us with exclamations of delight. 
 
 I don't think four happier people existed that charm- 
 ing summer afternoon, as we chatted together with the 
 blessed sensation of homefelt rest and peace. A few 
 hours later Mr. Owens said to me : " Just see the ab- 
 surdity of presentiments ! If we had found sickness or 
 trouble at home, my strong impression to return would 
 have been regarded as a warning. On the contrary, ' all 
 is well ' to the full extent of that comprehensive phrase." 
 
 The next morning, at ten o'clock, Mr. Owens' mother 
 died suddenly of heart failure. He was standing beside 
 her, when she fell back in his arms and expired with 
 loving gaze fixed upon him, but powerless to speak. I 
 do not say that this sad event was foreshadowed ; I only 
 tell the facts. 
 
120 MEMOKIES OF 
 
 The loss of Mr. Owens' mother was the first grief of 
 his hitherto sunny life. He loved her with a devotion 
 and tenderness which only a pure and noble nature is 
 capable of. Thoughtful and attentive to her comfort, 
 his every word seemed to convey a caress which her 
 warm heart cherished and responded to. They were 
 alike in nature, and worthy of each other. For months 
 after her death Mr. Owens did not resume his profession. 
 Most of the time was passed on his farm. He bore his 
 affliction bravely, but he suffered intensely. 
 
 His first engagement of 1863 was in Boston, from 
 thence (as oft before) a tour of the New England towns. 
 The company at this time was superb, including E. L. 
 Davenport, Wm. Wheatley, John Gilbert, and other fa- 
 mous names. In fact the cast was a galaxy of stars. 
 Old comedies were the leading attraction : "Heir at 
 Law" "Poor Gentleman" "She Stoops to Conquer," &c. 
 One of the most pronounced events was the production 
 of " Money" brilliantly performed throughout. The im- 
 pression Owens made as Graves was immense; he not 
 only elicited triple calls, but encores after the most 
 effective scenes. 
 
 A return engagement was played in Boston by this 
 grand combination of talent, with results even greater 
 than that of a few weeks previous. Boston was one of 
 the cities which Owens especially loved. He had there 
 many warm and congenial personal friends, and as an 
 
JOHN E. OWENS. 121 
 
 actor was ever en rapport with his audience. He was a 
 favorite with Longfellow, Holmes, Agassiz, Felton, and 
 others of that wonderful literary coterie. The public of 
 Boston claimed him for their own, as also did Baltimore 
 and some other cities. Though born in England, Owens 
 belonged to America. Through all the length and 
 breadth of this country the mention of his name will 
 cause a twinkle of the eye and a joyous remembrance of 
 his mirth-provoking genius. 
 
 Leaving Boston he returned to Baltimore, appearing 
 there in a round of his popular characters, which he 
 repeated the following week in Washington. Much of 
 this season was passed quietly on the farm, restfully and 
 pleasantly affording an opportunity to indulge in reading 
 and study, of which Mr. Owens was very fond. An 
 enthusiastic lover of Shakespeare, he was a close stu- 
 dent of the immortal bard ; always discovering fresh 
 beauties and new points of interest in the most familiar 
 passages. He delighted to read over and over again 
 a favorite speech, and discuss its intricate yet clear 
 significance. 
 
 In the copy of Shakespeare, which he read oftenest, I 
 find on the fly-leaf the following quotation from Dr. 
 Johnson : " Time which is continually washing away the 
 dissoluble fabrics of other poets, passes without injury by 
 the adamant of Shakespeare." Mr. Owens was not only 
 cultured and refined, but scholarly in his taste. As a 
 
122 MEMORIES OF 
 
 comedian his Shakespearean characters held exalted posi- 
 tion. "Touchstone" "The First Grave-digger" " Dromio 
 of Syracuse" " Launcelot Gobbo" and others were enacted 
 with the full quantum of humor, and yet legitimately 
 and entirely free from coarseness. He would have con- 
 sidered it akin to sacrilege to render them otherwise than 
 in their integrity. 
 
 About the middle of June, 1864, Owens received a 
 letter from George Wood, formerly manager in Cincin- 
 nati and St. Louis, stating that he intended to open the 
 theatre, corner of Broadway and Broome street, New 
 York, originally known as "Brougham's," and after- 
 wards as " Wallack's." He purposed making it a comedy 
 theatre, and desired to have Owens inaugurate it by 
 being the first star. This place of amusement had 
 deteriorated from a first class position, having verged on 
 entertainments of the variety show species. 
 
 Owens hesitated about entering into negotiations, 
 though excellent terms were offered. Upon stating his 
 objection to Mr. Wood, he was met by the argument that 
 " the reputation of John Owens would elevate any theatre, 
 and stamp its position as equal to the best." He was not 
 so sanguine as the manager, but at length upon the promise 
 of Mr. Wood to provide for support, "a company capable 
 of playing the old comedies in a manner acceptable to a 
 New York, audience," Owens signed a contract for six 
 weeks, renewable if mutually satisfactory. 
 
.■ :*■ 
 
 A. 
 
 MR. OWENS as LAUNCELOT GOBBO 
 In "The Merchant of Venice." 
 
JOHN E. OWENS. 123 
 
 This he did with the consciousness that the circum- 
 stances of his re-entree before the New York public were 
 inauspicious, as he would have to overcome prejudice 
 against the theatre in order to draw the class of audience 
 to which he was entitled. That he accomplished this in 
 a superlative degree, and won continued fame and enthu- 
 siasm, marks a well-earned histrionic triumph which has 
 never been excelled. 
 
 August 29tb, 1865, Owens commenced his engagement 
 at the Broadway Theatre, where thirteen years previous 
 he had made his first success in New York. The opening 
 bill was "Married Life" and "Solon Shingle." In both 
 pieces he made a favorable impression, but in the latter 
 an overwhelming hit ; a hit which grew into a sensation, 
 and culminated in a furore. Crowds packed the theatre 
 nightly, and before the rise of the curtain, "standing 
 room" was unattainable. Owens' marvelous delineation 
 of the old farmer became the leading attraction of New 
 York. 
 
 "Solon Shingle" was the theme everywhere. " The 
 apple sass case," "Jesso, Jesso," and other quotations 
 were heard on the streets, in the cars. Acquaintances 
 meeting, facetiously greeted each other with : " Why, Mr. 
 Winslow, how do you do?" On all sides "Solon" was 
 the reigning excitement. "Married Life" was with- 
 drawn after the first week, and " Victims " substituted. 
 In this piece Owens won high encomiums. It was played 
 
124 MEMORIES OF 
 
 eleven consecutive weeks ; then " The Poor Gentleman " 
 was produced, and afterwards other comedies ; but all 
 the while Solon Shingle kept steadily on increasing in 
 popularity, and achieved the longest run hitherto known 
 in New York, or any city in America. 
 
 Noting the hundredth performance of Solon Shingle, 
 one of the leading papers drew attention to many won- 
 derful things history records to have taken place in that 
 given space of time ; and terminated with the following 
 paragraph : " In one hundred days France passed through 
 the throes of two revolutions — lost a king, gained an 
 emperor, and again bowed to a king. In one hundred 
 days Napoleon left Elba, marched to the throne of 
 France, fought Waterloo, and was conquered. In one 
 hundred nights ( John Owens' fought a fight for popu- 
 larity single-handed against the hordes of New York 
 theatre-goers, and conquered them. In one hundred 
 nights the Broadway Theatre passed from the position of 
 a concert hall to the height of fashion. We take pleasure 
 in chronicling such great victories. Solon Shingle will 
 run additional hundreds of nights, if this great artist so 
 chooses." 
 
 A true prophecy, for it would have continued uninter- 
 ruptedly the whole season, had not Owens, at the end of 
 six months, become weary with the monotonous repetition 
 of Solon, and suggested to Mr. Wood an entire change of 
 bill. " What ! " said the manager, " take a piece off in 
 
JOHN E. OWENS. 125 
 
 the full tide of success, while we are turning people away, 
 and actually filling other theatres with our overflow ! " 
 " Well, all the easier to pick up t Solon 9 again, when I 
 have had a little rest from him," replied Owens. Mr. 
 Wood finally yielded, when to these importunities others 
 were added from friends of Mr. Owens who had seen 
 him play " Caleb Plummer" and were desirous that New 
 York should enjoy this masterpiece. "Dot" was pro- 
 duced early in March, and Owens' Caleb Plummer proved 
 to be a dramatic sensation. 
 
 The encomiums lavished upon it were quite as numer- 
 ous as those elicited by Solon Shingle, with the additional 
 tribute that the artist had " mounted into an atmosphere 
 rarer and more delicate than that which surrounds Solon 
 Shingle." The piece was played a month to immense 
 business, and universally conceded to be the most ex- 
 quisite embodiment of Caleb Plummer ever witnessed. 
 
 During this month Mr. and Mrs. Charles Kean arrived 
 in New York. Mr. Owens had known them in England, 
 and the pleasant acquaintance was now renewed. They 
 remembered Owens as a young actor in Burton's Theatre, 
 and many courteous references were made to his embryo 
 talent in those days, and much pleasure expressed con- 
 gratulatory of his present fame. 
 
 The Keans came frequently to see Caleb Plummer. 
 After their first evening's enjoyment of it Mrs. Kean 
 wrote the following letter to Mr. Owens : 
 
126 MEMOEIES OF 
 
 "Metropolitan Hotel, March 23d. 
 "John E. Owens: 
 
 "My Dear Sir, — Accept the best thanks of Mr. Kean and myself 
 for the great pleasure you gave us on Saturday evening. We laughed 
 and wept like children, over the amusing and touching simplicity of 
 old Caleb ; and we both agreed that we had not for a long time seen 
 such admirable acting. 
 
 "You were very well supported, for the drama was well done 
 throughout. Your Bertha was very blind and very handsome. Wish- 
 ing you a great success in London. Believe me, my dear sir, 
 
 " Yours truly, 
 
 "Ellen Kean." 
 
 Mr. Owens always prized this letter. 
 
 Mr. Kean was equally enthusiastic about the perform- 
 ance, and was also much impressed with Owens' make-up. 
 "Why, my dear boy/' he said, "not only does your face 
 simulate age, but your figure is shrivelled, your neck and 
 hands are withered, and your eyes are dim ! What do 
 you do with your sparkling eyes, and doesn't it take you 
 a long time to accomplish this metamorphosis ? " Owens 
 laughingly replied : " I allow myself fifteen or twenty 
 minutes to dress and make up." Mr. Kean asked if it 
 would be admissable for him to witness the process, and 
 received a cordial assent. An appointment was made, 
 and Kean looked on while Owens, quietly chatting, got 
 old Caleb ready for the stage. When finished, Kean 
 expressed amazement and thanks for what he termed " an 
 artistic revelation." 
 
JOHN E. OWENS. 127 
 
 Mr. and Mrs. Charles Kean came to New York with- 
 out an engagement^ but with firm belief that an opening 
 would be made for them in one of the leading theatres. 
 No disposition was evinced to meet their views. Unfor- 
 tunately all dates were filled for the season ; and the indi- 
 cations were that they would have to abandon the idea 
 of playing in New York. Mr. Owens thought that these 
 famous artists should not be permitted to return to Eng- 
 land without receiving the honor and attention to which 
 they were entitled — and additionally conferring upon 
 their many admirers the pleasure of enjoying their per- 
 formances. He spoke to Mr. Wood, expressing his desire 
 to relinquish a fortnight of his engagement, the time to 
 be placed at the disposal of the Keans. Mr. Wood com- 
 plied with this solicitation to make a special opening for 
 the Keans ; and offered them a fortnight engagement, 
 which they accepted. 
 
 Mr. and Mrs. C. Kean were appreciative of this 
 courtesy extended to them by Mr. Owens, and cordially 
 expressed acknowledgment. They played to full houses 
 for the two weeks ; at the end of which time Owens re- 
 sumed his engagement, appearing in " The Live Indian " 
 and " Solon Shingle" This bill continued to be strong 
 attraction until the close of the season. Solon Shingle 
 became identified with Owens' name, so much so that he 
 received many letters facetiously directed to "Solon Shin- 
 gle Owens" and " John E. Owens, care of Solon Shingle," 
 
128 MEMORIES OF 
 
 &c. I have in my possession many humorous epistles of 
 the kind, two of them very wittily written by Howard 
 Paul, in England, but as they are of a social and some- 
 what confidential nature, I do not incorporate them in 
 my narrative. 
 
 Owens' Solon Shingle was a finished piece of character 
 acting, perfect in detail, and yet free from exaggeration. 
 The power of the artist is prominent from the fact that 
 this great success was evolved from a mere sketch, which 
 his own genius elaborated and clothed with vitality. 
 This marvellous portrayal has formed the basis for many 
 rural dramas, wherein the central figure is a palpable 
 imitation of Owens' original conception and manner of 
 playing Solon Shingle; but their light is a borrowed one, 
 relatively as bright as the moon compared to the sun. 
 
 One performance was given in Brooklyn for the benefit 
 of the Orphans' Asylum there. A crowded house brought 
 large pecuniary aid to the orphans, and their presence 
 secured for them au unusual enjoyment, if one might 
 judge by the silvery peals of childish laughter. 
 
 Several portraits of Solon have been taken, prominent 
 among which are two oil paintings — a full-length figure, 
 by Constant Meyer, and a life-size three-quarter length, 
 by A. Cross, of Louisville, Kentucky. The former 
 excelled in artistic merit and finish, but the latter was 
 equally striking as a likeness, and perhaps more charac- 
 teristic. Constant Meyer's picture was on exhibition in 
 

 MR. OWENS as SOLON SHINGLE. 
 
 (From a Painting by Constant Meyer.) 
 
JOHN E. OWENS. 129 
 
 New York for some time, and attracted much attention. 
 It was subsequently purchased by a wealthy French 
 gentleman, and is now in his private collection in Paris. 
 The painting by Cross was taken for Mr. Owens, who 
 considered it admirable. It found place in his library, 
 the position it still maintains among other treasures. 
 
 The celebrity attained by Solon Shingle rendered it 
 thereafter inseparable from Owens' repertoire, but it was 
 by no means his favorite. I think he best loved Caleb 
 Plummer, and he was devoted to the old comedies. He 
 gave conscientious work to all he did, but in some 
 characters he especially delighted. He revelled in the 
 unctuous humor of Perky n Middlewick, and played that 
 jolly butter-man with power unexcelled. A slight touch 
 of dialect conduced to the naturalness with which he 
 invested the part. He was peculiarly gifted in render- 
 ing dialect, not only of nationalities, but the delicate 
 shading of localities. The Lancashire, Yorkshire and 
 others were spoken with a nicety of accent that would 
 delight those whose ear and taste were attuned to the 
 accurateness of tones. 
 
 May 27th, 1865, Owens sailed per steamer City of 
 Boston, for England, to fulfil an engagement of six 
 weeks, for which he had signed with Benjamin Webster, 
 to play Solon Shingle at the Theatre Royal Adelphi, 
 London. He had hoped for a week or two of leisure 
 before leaving America, wishing to pass a few days at 
 9 
 
130 MEMOEIES OF 
 
 home on the farm, and also to have time for enjoying the 
 social companionship of his friends in New York. To 
 his surprise Mr. Wood refused to release him from any 
 portion of the engagement for which he had contracted. 
 In vain was monetary remuneration offered, and the 
 surety of supplying a star to fill the unexpired time 
 pleadingly urged. 
 
 Mr. Wood was inexorable ; no inducement could alter 
 his determination that " Owens must play continuously 
 up to the time of his departure/' So the curtain fell on 
 his final performance within ten hours of the sailing of 
 the steamer. He had not the opportunity of even a 
 hurried adieu to his friends. Naturally he felt vexed 
 and distressed at being obliged to leave in this abrupt 
 manner. Conduct seemingly so discourteous was incom- 
 patible with his nature ; and to extricate himself from a 
 false position he wrote (on the eve of his departure) the 
 following card for publication in the New York Herald : 
 
 "A Card from John E. Owens to the Public. 
 
 "The lengthy period of my twice-extended engagement at the 
 Broadway Theatre has now closed, and I am left free personally to 
 express, in terms of unconstrained sincerity, my grateful appreciation 
 of the cordial favor and unvarying kindness, and generous considera- 
 tion with which my professional efforts have been received by the 
 public of New York. 
 
 " Success does not at all times appeal to the same emotions ; and 
 though in my long and varied professional experience it has been 
 
JOHN E. OWENS. 131 
 
 my proud fortune to receive many flattering and cherished marks 
 of popular favor and esteem, yet never before has my pride as an 
 artist and my gratitude as a man been more deeply stirred than 
 by the kindnesses here lavished upon me; and I can but say that 
 the thanks which now I seek to convey spring from the most earnest 
 and warmest impulses of my nature. 
 
 "To the gentlemen of the critical press, whose impartial sense of 
 justice and of the true requirements of art, have pointed alike their 
 praises and their censure, I rest under many courteous obligations 
 which will be as pleasantly remembered as they are now warmly 
 acknowledged. 
 
 " In a few hours I shall bid adieu to the citizens of New York, to 
 gratify in a distant land those ambitious longings which their favor 
 has intensified and stimulated anew. But in the comparatively brief 
 period of my absence my heart will still be linked to them by the 
 proudest and happiest recollections, and by the cherished hope that 
 their esteem may prove as enduring as the gratitude of 
 
 "The Public's obedient servant, 
 
 "John E. Owens. 
 "New York, May 27th, 1865." 
 
 The engagement thus terminated had been of nine 
 months' duration, and for length, brilliancy and success 
 was unprecedented in the record of New York theatricals. 
 The overflowing house which greeted the star on the 
 closing night attested his unabated popularity. Financi- 
 ally it was phenomenal in results ; Mr. Owens' personal 
 emolument being $65,891.39. 
 
CHAPTEE VI. 
 
 Adelphi Theatre, London — Cordial welcome from manager and personal 
 friends — Professional antagonism — "A wonderful artist" — Charles 
 Dickens — Charlotte Cushman — "Solon Shingle a diamond among 
 rubbish" — Liverpool engagement — Home again — January, 1866 — 
 Re-appearance in New York — An ovation — Uncle Solon Shingle at 
 Boston Theatre — Labor saving machines — The cow-milker — Non- 
 progressive — 1866 — Opens season in Philadelphia — Western tour — 
 "I 'lowed he was goin' to throw knives" — They "wanted to see 
 Owens' diploma" — Demoralized farm laborers — "We see'd you 
 play Solon Shingle last night" — Hospitality — "John Owens the 
 farmer, and John Owens the actor" — Visit to a circus — "Consider 
 Mr. Robinson's feelings, cully." 
 
 CT HORTLY after Owens arrived in London "Solon 
 **^ Shingle " was put in rehearsal. Benjamin Webster, 
 manager of the Adelphi, received the American come- 
 dian with cordiality, and manifested every disposition to 
 render his surroundings in the theatre agreeable ; and 
 many warm friends welcomed him to London. What- 
 ever coldness he encountered arose from professional 
 antagonism. To this phase of feeling there were pleasing 
 exceptions; but the theatrical atmosphere was largely 
 charged with the unuttered thunder of "we don't want 
 you here," and "we hope you will be a failure." For- 
 132 
 
JOHN E. OWENS. 133 
 
 tunately this stormy and disagreeable element did not 
 possess the public. 
 
 From the first night of Owens' appearance in London 
 he made a favorable impression, which steadily increased 
 as his engagement progressed. The house that welcomed 
 him was full, and not only fashionable, but intellectual 
 and discriminating. Among the audience were Charlotte 
 Cushruan, Hon. B. F. Moran, American Minister, Charles 
 Dickens, and other famous people, distinguished in lit- 
 erary and social life. From Dickens, Miss Cushman, 
 and many others present, Mr. Owens afterwards received 
 warm congratulations, and pleasantly written notes of 
 commendation, which with his innate modest unobtrusive- 
 ness he refrained from making public. But he prized 
 these kindly words from such illustrious sources, and 
 always kept them. They are now in my possession, and 
 regarded as an invaluable heritage. 
 
 The English public were not familiar with the special 
 type of individuality embodied in Solon Shingle, but they 
 recognized it as a magnificent piece of character-acting ; 
 and rendered homage to Mr. Owens' talent in the verdict : 
 " The worst play we have had from America, but the 
 best comedian. The piece a failure, but Solon Shingle a 
 great hit." 
 
 Everybody was enthusiastic over Owens' wonderful 
 powers of delineation, and irresistible humor. The 
 theatre was thronged by an audience delighted with the 
 
134 MEMORIES OF 
 
 power of an actor who could win unqualified praise, 
 when handicapped with such a poor piece as "Solon 
 Shingle." Universally the play was condemned • but 
 the voice of the public was forcibly given in one of the 
 leading papers, in speaking of Solon Shingle as being 
 the ruling sensation : " The man who found a diamond 
 amongst a heap of rubbish is not reported to have talked 
 much about the rubbish. The play-goers will find 
 Owens' Solon Shingle the diamond in the dust-heap ; 
 the piece is not worthy a second thought. The diamond 
 has a bad setting ; but anything more brilliant than the 
 gem itself we have never seen." 
 
 Owens not only made a success in London, but a 
 triumphant one. The fact that the English public did 
 not accept the piece with favor, in no way deteriorated 
 from the artist's celebrity, but on the contrary added 
 thereto. Before the six weeks of his original contract 
 with Benjamin Webster had expired, an offer was made 
 to extend the engagement until September. This Mr. 
 Owens consented to do ; continuing to draw large and 
 appreciative audiences, and being complimented by en- 
 thusiastic calls nightly, encores of scenes, &c. 
 
 The London engagement having been concluded, Owens 
 played a fortnight at " The Prince of Wales Theatre," 
 Liverpool. From the opening to the closing night was 
 a series of well-earned triumphs, responded to by a hearty 
 jovial audience who gave vent to their approval with a 
 
JOHX E. OWENS, 135 
 
 cordiality that warms an actor's heart, and stimulates 
 him to his best work. AYhile in London, and afterwards, 
 Owens received flattering offers from several leading 
 theatres in the provinces. These he declined, as he had 
 already prolonged his absence from home far beyond the 
 time allotted. 
 
 Some weeks previous George Wood wrote reminding 
 Owens of the offer for the following season at the 
 " Broadway," Xew York, which had been made before 
 his departure for England. Mr. Wood urged that fa- 
 vorable consideration and an early reply be given to this 
 offer ; and suggested opening in November with " Vic- 
 tims " and "Solon Shingle" Mr. Owens accepted the 
 offer conditionally, but declined to commence at so early 
 a date ; naming January 8th as the time which would 
 suit him. For this delay he had more than one reason. 
 He desired to have a few days' relaxation at home ; and 
 he was averse to reappearing in Xew York with insuf- 
 ficient rehearsals. Moreover he intended, before playing 
 Solon again, to reconstruct the piece. 
 
 The English opinion of its ninisiness turned his 
 thoughts to the advisabilitv of introducing the same 
 old Solon to the public with improved surroundings. 
 Though not blindly swayed by criticism, Mr. Owens 
 always gave it consideration ; and was quite willing to 
 acknowledge any imperfection pointed to, if it was 
 apparent to him, and improvement suggested could be 
 
136 MEMORIES OF 
 
 made. His reflections on the play of Solon Shingle 
 resulted in the creation of a three-act drama, entitled 
 "Uncle Solon Shingle" This was formulated by Mr. 
 Owens, Clifton Tayleure, and others; and finally re- 
 vised by Mr. Owens. 
 
 In November, 1865, Mr. Owens returned from Eng- 
 land, having been absent six months instead of less than 
 half that time, as originally intended. He proposed 
 indulging in a home-rest on his farm until his presence 
 was required in New York. But hosts of friends and 
 admirers in Baltimore were so importunate for him to 
 play in that city, that he consented to do so for a few 
 nights. Opening in Caleb Plummer and Happiest Day 
 of My Life, November 26th, he received a glowing wel- 
 come. This appreciation continued for the entire two 
 weeks, during which time he appeared in various char- 
 acters. 
 
 January 8th, 1866, Owens made his re-entree at the 
 Broadway Theatre, New York, producing " Uncle Solon 
 Shingle." He was greeted with a hearty reception, 
 the house being jammed, notwithstanding bitterly cold 
 weather — the coldest night ever known in that locality ; 
 thermometer twenty degrees below zero. This chilliness 
 did not seem to pervade the sentiments of the audience. 
 The enthusiasm of the former season had in no wise 
 abated, but appeared to increase as they renewed their 
 acquaintance with " Solon Shingle." 
 
JOHN E. OWENS. 137 
 
 The new comedy, though it was poorly cast, met with 
 approval ; nothing being lost of Solon's eccentricities and 
 amusing peculiarities. Increased interest was added to 
 the old man's movements from the fact that he had 
 strong motives for every action in this play, which had 
 a plot to sustain it. A month's run of "Uncle Solon 
 Shingle " was given to crowded houses ; and so it would 
 have continued, but urgent requests being made for 
 "Caleb Plummer" Owens, ever inclined to play that 
 part, changed the bill. After a pleasing episode of 
 " Caleb Plummer" the public clamoring again for "Solon 
 Shingle" he concluded to play the one-act piece, that 
 he might give the younger characters with it as a con- 
 trast : this being impossible with the three-act " Uncle 
 Solon Shingle" as its length precluded a double bill. 
 Unabated prosperity continued until the closing night 
 at the Broadway, April 28th, 1866. 
 
 The comedian's next engagement was at the Boston 
 Theatre, beginning May 12th. "Uncle Solon Shingle" 
 held the boards the entire twelve performances, and 
 gave promise of cramming the house indefinitely had 
 he been able to prolong his stay in Boston, but he 
 was under contract for Providence, and other New 
 England towns. These dates satisfactorily filled com- 
 pleted the professional labors of 1865-66. This sojourn 
 in Boston recalls an incident which occurred at that 
 time. 
 
138 MEMOEIES OF 
 
 Mr. Owens was ultra-progressive — always kept abreast 
 of the times, and availed himself of every facility to 
 expedite business. His telegraphic correspondence was 
 in excess of that by mail. All labor-saving inventions 
 received investigation from him ; and those possessing 
 merit were added to his already numerous agricultural 
 implements. Reapers, binders, &c, of the most approved 
 patents, abounded at Aigburth Vale. Jocosely he would 
 say to me : " You are n on-progressive, or your housekeep- 
 ing would be better supplied with modern inventions ; 
 but I won't censure your ' grandmother's y system while 
 the results are so satisfactory. All the same you are 
 non-progressive." While in Boston we made our usual 
 tour of inspection in Cornhill. After persuading me 
 to purchase sundry labor-saving kitchen utensils, Mr. 
 Owens had his attention called to a patent cow-milker, 
 which being explained to him, found favor in his sight ; 
 and the dealer was instructed to pack it with the nu- 
 merous articles to be expressed to Aigburth Vale. 
 
 Shortly after our arrival at home, Mr. Owens observed 
 to me : "I think I will personally test that cow-milker 
 before giving it in charge of the milking boy ; my best 
 opportunity to do so will be while the farm people are 
 away at dinner. I might as well experiment to-day ! " 
 Laughing and joking, he sallied forth at noon, and 
 wended his way to the cow-house ; but in less than half 
 an hour he returned, looking much discouraged, and 
 
JOHX E. OWEXS. 139 
 
 bearing upon his coat evidence of contact with dust. I 
 refrained from questioning, but soon he remarked : " I 
 can't manage this machine alone. The 'sarned cows 
 switch their tails so viciously." I suggested that we 
 should make a combined effort to prove the utility of 
 the milker ; he assented, and the next day at noon we 
 went to the cow-house. 
 
 Mr. Owens selected a mild-looking Alderney, placed 
 the milking stool and pail for me, adjusted the patent 
 milker, and then holding the cow's tail in one hand, with 
 the other turned the crank. The cow kicked (literally 
 and figuratively) against the machine. I was precipi- 
 tated to one end of the cow-house, and Mr. Owens to the 
 other. Regaining our feet, we gazed a second at each 
 other, and then broke forth into peals of hearty laughter. 
 
 Clearing away all traces of our discomfiture, we re- 
 turned somewhat crestfallen to the house. With a merry 
 twinkle of the eye, Mr. Owens said : " I suppose you 
 think this wonderful invention is a failure ! Nothing of 
 the kind. The blame rests entirely with the cows. They 
 are now-progressive — like — like — yourself ! " Whereupon 
 we had another hearty laugh. 
 
 The cow-milker was never again tested. Some time 
 afterwards I came across it in a trunk, the contents of 
 which Mr. Owens had desired me to catalogue ; but this 
 article he had already classified by placing upon it a tag 
 labelled: " Owens' follv." 
 
140 MEMORIES OF 
 
 The summer vacation of 1866 was passed at Aigburth 
 Vale, except a month at the Virginia Springs. Septem- 
 ber 24th Owens began his season in Philadelphia, at the 
 New Chestnut Theatre, W. E. Sinn, manager; Caleb 
 Plummer being the initial character. As usual, much 
 praise was lavished on this exquisite and beautiful piece 
 of acting ; so perfect that no trace of acting was visible, 
 for nature and art were so charmingly mingled that the 
 illusion was complete in consistency and naturalness. 
 
 ~No one ever thought of Owens ; he was merged into 
 Caleb Plummer — his personality entirely lost. One of 
 his greatest charms was, that he was never obtrusive ; 
 he had mastered the great art of repose, and in everything 
 he did, the thorough rendering of the play was his object. 
 At no time did he subordinate the supporting cast to 
 himself, that he might be elevated higher ; on the con- 
 trary he was always desirous for even the smallest part 
 to be well played, and receive deserved praise. To this 
 end, he was careful at rehearsal to be as helpful as pos- 
 sible in promoting opportunities for developing good 
 points for each and every one in the cast. 
 
 When any of the company (especially the younger 
 people) played a part meritoriously, Mr. Owens took 
 pleasure in seeking them after performance, and to his 
 commendation adding thanks for the support they had 
 given him. I have heard many persons (who now have 
 assured prominence in the profession) refer to the en- 
 
JOHN E. OWENS. 141 
 
 couragement and kindly words thus given them by Mr. 
 Owens, in their early career. They valued his praise, 
 for he was equally quick to detect incompetence or 
 carelessness, and did not hesitate to speak forcibly of 
 these shortcomings. 
 
 "Solon Shingle" and the "Live Indian" were given 
 the second week at the Chestnut Street Theatre ; "Solon 
 Shingle " and "John Dobbs" the third week. " Victims " 
 and the "Live Indian" constituted attractions for the 
 fourth week, which concluded a satisfactory engage- 
 ment. 
 
 On the 12th of November Owens appeared at the 
 National Theatre, Cincinnati, in "Self" and "Happiest 
 Day of My Life" to what was pronounced by the mana- 
 ger "the biggest crowd ever in that very big theatre." 
 The bill was unchanged for two weeks, then succeeded 
 by other pieces for a fortnight. One week in Buffalo, 
 another in Troy, filled the time to December 17th, for 
 which date he was booked to begin an engagement of 
 four weeks at the Broadway Theatre, New York. The 
 opening attraction was Solon Shingle, of whom the public 
 never seemed to weary. Solon was supplemented by The 
 Live Indian, Forty Winks, and other short plays. The 
 houses kept up to Owens' original standard at the 
 Broadway Theatre, and that announcement, so pleasing 
 to a manager's eye, " standing room only," was nightly 
 indispensable. 
 
142 MEMORIES OF 
 
 From New York Owens went to Newark, playing 
 with D. W. Waller, who was managing the Opera 
 House with a first class company. Four nights were 
 pleasantly filled there. January 28th inaugurated a 
 satisfactory week in Louisville, Ky. As it drew to a 
 close the manager made a request, at the instigation of 
 the citizens of New Albany, that Owens would play one 
 night in that town. At the same time promising to 
 arrange all details of company, scenery, &c. Owens con- 
 sented, and directed "Solon Shingle" and "Live Indian" 
 to be announced for performance. 
 
 The night arrived, and brought all one could wish in 
 the way of numbers and enthusiasm. Many cultured 
 people were present, but the crowd included considerable 
 rough element. The town had been lavishly billed by 
 the manager. Some of the posters of "The Live Indian" 
 being very showy, attracted much attention, which led 
 up to somewhat of a mistaken impression. This inad- 
 vertently came to the ears of the star. As he and his 
 agent were taking supper in a restaurant, two men who 
 occupied a table near by began to discuss the play. One 
 of them seemed jubilant, and declared "the show was 
 chock full of fun." The other disagreed, and remarked : 
 "Well, to tell the truth, I was terribly disapinted." 
 "You laughed tarnation much," rejoined his- friend. 
 " Yes, I s'pose I did, and enjoyed the feats, but still I 
 warn't satisfied with the show. From them thar Indian 
 
JOHN E. OWENS. 143 
 
 picters I 'lowed the feller was going to throw knives or 
 do juggling tricks. I tell you I was misled — it warn't 
 a square show." 
 
 It was in this same town that a gawky individual 
 came to the box-office, and stated that " he wanted to see 
 Mr. Owens' diploma." The bewildered treasurer was 
 about to ask for an explanation, when the man added : 
 " I want to get some seats." With this flood of light 
 upon his meaning, the diagram of seats was courteously 
 submitted for inspection. 
 
 The next date to be filled was February 18th, in New 
 Orleans. Six years had elapsed since Owens played 
 there. The Civil War which devastated the South, had 
 made marked changes during the interval ; but some of 
 the old families yet remained. Their cordial welcome 
 was extended to our comedian as a favorite actor and a 
 cherished friend. In the new element of the community 
 were numbers with whom he had established popularity 
 in other sections of the country. 
 
 This visit to New Orleans was at the solicitation of 
 Ben DeBar, manager of the St. Charles Theatre, and it 
 was the only departure Owens ever made from being 
 located at the " Varieties Theatre," when playing in the 
 Crescent City. DeBar knew that the re-entree of New 
 Orleans' favorite comedian would create a sensation, and 
 asked on the basis of old acquaintance, that the eclat 
 should be given to his theatre in preference to the new 
 
144 MEMORIES OF 
 
 management at the " Varieties." Owens consented, and 
 opened his engagement at the St. Charles in "Solon 
 Shingle " and " The Live Indian." 
 
 The New Orleans public had, years before, given full 
 meed of praise to Solon Shingle, as played by John E. 
 Owens ; and the press now plumed itself on having 
 discerned and dilated on this merit in advance of the 
 furore which its performance had created in New York. 
 The two weeks at the St. Charles Theatre bore no novel 
 record. I should but tautologize were I to speak of the 
 crowded houses, and manifestations of approval and de- 
 light. After a short rest at home, an engagement was 
 filled at the Holliday Street Theatre, Baltimore, with 
 John T. Ford as manager ; beginning with Victims and 
 Solon Shingle — followed by The Rivals, Heir at Law, 
 Sweethearts and Wives, Ticket-of-Leave-Man, and other 
 comedies of his repertoire. The attendance and success 
 was nightly in accord with Owens' great popularity. It 
 was during this engagement that an old acquaintance 
 
 (Judge S ) came up to the comedian one morning at 
 
 Barnum's, while he was breakfasting, and said : " John, 
 I saw you play Solon Shingle, Monday night — funny old 
 man. I laughed all the time — always do. But you play 
 another old fellow, quite different, but even funnier — that 
 miserly chap who hunts for a bed, and tries to steal a 
 nap from the tavern keeper ! What is his name ? " 
 " i Spruggins/ in Forty Winks," replied Owens. " Yes, 
 
MR. OWENS as FRANK OATLAND 
 In "A Cure for the Heartache." 
 
JOHN E. OWENS. 145 
 
 yes ; that's it. Say, John, why don't you play him f " 
 " I played the piece last night." " Well, why don't 
 you play him again f " " Just give me time." " Yes, 
 yes ! John, play him again." Moving off to the door, 
 the Judge called back : " Play him again John, keep 
 on playing him. I want to see him often." Whereupon 
 the guests at the table were much amused, and Owens 
 rather embarrassed by this conspicuousness forced upon 
 him. 
 
 While professionally engaged in Baltimore, Mr. Owens 
 always went out to the farm (if only for an hour or two), 
 on such days as no rehearsal occurred. In one of these 
 visits he had occasion to inspect some work recently done, 
 and to direct future employment. He found that the 
 work had, through carelessness, been badly botched. Of 
 course he was indignant, and proceeded to set forth to 
 the men their shortcomings, and his consequent dis- 
 pleasure. 
 
 Instead of excuses, or looks of contrition which usually 
 responded to such rebukes, the men seemed to find diffi- 
 culty in suppressing laughter. Some of them turned 
 their backs and walked off a few paces, and all appeared 
 demoralized. This conduct enraged Mr. Owens, and he 
 was about to discharge the entire party; when one of 
 them stepped forward, and exerting much self-control, 
 said apologetically: " Indeed, Mr. Owens, we are sorry 
 the work is wrong, and we beg your pardon for laughing ; 
 10 
 
146 MEMORIES OF 
 
 but we couldn't help it. We saw you act Solon Shingle 
 last night, and was a- talking it over when you corned up, 
 and — and (here another smothered laugh) — and — please 
 excuse us, sir ; we hadn't got over the funniness, and 
 couldn't listen just right when you began talking serious." 
 
 Owens called up his gravest demeanor, and bade them 
 " in working hours to keep their minds on work ; " 
 turned away, and walked to the house, pursued by sub- 
 dued giggling. He used to, laughingly, say that the 
 moral of this incident was : " Never allow your servants 
 to see you play a comic part if you wish to maintain 
 dignified authority." 
 
 From Baltimore Owens went to Washington, playing 
 a varied round of characters at the National Theatre, 
 under the management of Spalding and Eapley ; then 
 short engagements in Albany, Utica, and other New 
 York towns ; after which he filled three weeks in Boston. 
 The record of the time I have thus condensed was satis- 
 factorily monotonous, being an experience of professional 
 success, and pleasant social intercourse with friends ; 
 agreeably rendering a fitting termination to the season 
 of 1866-67. 
 
 A portion of the ensuing vacation was passed at Brat- 
 tleboro, Vermont, and the remainder in the repose of 
 home comfort at Aigburth Yale ; where, as usual, friends 
 from time to time enjoyed the hospitality of "Farmer 
 Owens," and added to the pleasure of his home by their 
 
JOHN E. OWENS. 147 
 
 presence under his roof. Guests he dearly loved to have, 
 when they would be informally of the family circle ; but 
 company requiring frigid conventionality did not at all 
 accord with his idea of companionship. 
 
 He liked to have his friends sally forth with him, 
 and inspect stock, fields of growing grain, vineyard 
 and orchards; and would wax eloquently in praise of 
 country life. I have known guests to catch the enthu- 
 siasm, and express desire to buy a farm. Then Mr. 
 Owens would look solemn, and warn them against such 
 a step ; invoking the amazed query : " Why not? You 
 find everything delightful here, and such stock, such crops 
 must bring you in a good return for the investment ! " 
 " Delightful ? yes ; but revenue ? no. Honestly I tell 
 you that if it were not for John Owens the actor, John 
 Owens the farmer would starve. I don't want it on my 
 conscience that I have led another man to assume the 
 responsibility (though enjoyable in some respects) of sup- 
 porting a farm." 
 
 No one thoroughly knew the true inwardness of Mr. 
 Owens' broad nature until they associated with him in 
 his own house. There the sunshine of his presence was 
 experienced to its full extent, making each visitor feel 
 "this is my home while I am here." Mr. Owens was 
 essentially jovial, and had ever a pleasant greeting for 
 acquaintances even casually met. I have heard many 
 say that ofttimes when depressed, passing moodily along 
 
148 MEMORIES OF 
 
 the street, the sight of Owens' bright face and merry 
 smile would dispel the clouds, and make them cheerful 
 again. 
 
 During August of this home-rest, much excitement 
 pervaded the adjacent village of Towsontown, anent the 
 arrival of old John Kobinson's Circus. Mr. Owens 
 insisted on our household attending the afternoon per- 
 formance ; and as we had at that time a young relative, 
 of seven years old, staying with us, we all consented to 
 go, "just to please the child." (Strange ! how often 
 ehildren are the alleged cause of grown-up people visiting 
 a circus.) Mr. Owens took charge of the party ; we 
 clambered over the rough benches, and were comfortably 
 seated before the orchestra heralded the " grand entree " 
 into the ring. In less than ten minutes some of the 
 circus people had recognized Mr. Owens, and communi- 
 cated the fact of his presence in the audience ; thereafter, 
 from the clown to the ring-master, the dialogue was 
 spoken at him. Gradually this dawned upon the con- 
 gregated multitude, and afforded them much enjoyment. 
 
 Our friends and neighbors seemed intensely amused 
 at sundry personal and local hits, and even more so 
 at the increasing embarrassment of Mr. Ow T ens. His 
 confusion culminated when, between two acts of horse- 
 manship, the door-keeper came in breathlessly, and 
 casting a searching glance around the tent, discovered 
 Mr. Owens. He made straightway for him, and in a 
 
JOHN E. OWENS. 149 
 
 wheezing (but alas ! audible) voice said : " Mr. Owens, 
 here's your money back. You hadn't oughter pay to 
 come in here ; Mr. Robinson would feel 'urt if we took 
 pay from a big light in our perfesh ! So here's your 
 money, Mr. Owens." Mr. Owens declined to be re- 
 imbursed, but was met with persistent remonstrance in 
 pleading tones : " Now, I just ask you to please consider 
 Mr. Robinson's feelings, cully ! " 
 
 By this time the discussion had attracted concentrated 
 attention ; and to avoid further conspicuousness, Mr. 
 Owens was obliged to receive the money. The amount 
 being speedily invested in peanuts, pink lemonade, &c, 
 for the child, gorged that youngster to his temporary 
 delight and subsequent illness. When the first half of 
 the programme was over Mr. Owens escaped from the 
 tent, and returned no more until he came to escort the 
 party home. At night he sent all the house servants 
 and every farm laborer on the place to the circus. When 
 I jestingly asked, "Are you going to-night? " he replied : 
 "Never again to a circus in my own neighborhood. No, 
 not for a herd of Alderneys as a reward." 
 
 Mr. Owens dearly loved a good story, and if the point 
 of it was against himself he seemed to derive the greater 
 pleasure from telling it. Adjoining the boundaries of 
 Aigburth Yale, a German owned an acre or two of land, 
 upon which stood the little home he had built. The 
 man had but slight command of English, and Owens 
 
150 MEMORIES OF 
 
 having some knowledge of German endeavored to com- 
 municate with him through that language ; and managed 
 to be understood so long as the subject of discourse was 
 lending a horse, plough, or aught else to the German. 
 The same intelligibility was not apparent about a matter 
 upon which it was necessary to speak often, viz., the 
 breaking down of fences by the German's cbw, hogs, 
 or boys. 
 
 Many mild exhortations proving ineffectual, Owens 
 discovering one day a fine field of grain trampled down 
 through repetition of the offence, lost all command of 
 patience and temper. Giving full vent to his indignation, 
 he roundly berated the man with forcible expletives in 
 strongest English. The countenance of the Teutonic 
 cottager remained placid until Mr. Owens paused for 
 lack of breath ; when he stolidly remarked : " Mr. 
 Owens, dot ish not de Sharman language." The effect 
 was like a douche bath. Mr. Owens calmed down, re- 
 gretting that " so much good rage had been wasted." 
 
 The season of 1867-68 commenced in quite a different 
 locality from any previous one. September 19th, the 
 comedian appeared at the Opera House, Leavenworth, 
 Kansas, under the management of Miss Susan Denin. 
 Many persons will remember Susan Denin as a beautiful 
 woman and clever actress. The fame of the lovely 
 " Denin sisters " extended throughout the country. Susan, 
 a perfect type of brunette beauty, and Kate, equally 
 
JOHN E. OWENS. 151 
 
 enchanting in blonde loveliness. Both of them were 
 charming in manner, and made hosts of friends, who 
 admired them for their manifold attractions and their 
 devotion to each other. To this popularity Susan Denin 
 added the qualification of a competent business woman, 
 which was evinced by her theatrical management at 
 Leavenworth ; and there, aided by G. D. Chaplin, the 
 lessee, she achieved for the Opera House position and 
 success. 
 
 Leavenworth at that time was a very different place 
 from the enterprising city it now is. No unusual occur- 
 rence then to meet in one's daily walks Indians attired 
 in their native costume, and gay with painted faces ; 
 still many cultured people resided in the town and sub- 
 urbs. At Fort Leavenworth, the military post, quite a 
 number of distinguished officers were stationed, who 
 together with their families were a valuable acquisition 
 to the refined society of the town. Thus the audience 
 which greeted the comedian, was not entirely of the 
 typical " far west " aspect. Many of the leading citizens 
 called upon him to renew acquaintance pleasantly made 
 elsewhere, and introduced friends of theirs. 
 
 Among the strangers presented was one whose gentle- 
 ness of manner and physical beauty rendered him 
 conspicuous. He was clad in huntsman attire, which 
 well became his graceful and athletic figure. The golden 
 hair worn in ringlets had no appearance of effeminacy, 
 
152 MEMORIES OF 
 
 for the manly bearing and honest blue eyes invested him 
 with quiet dignity. Mr. Owens did not clearly hear the 
 name at the time of introduction, but being strongly 
 impressed with the stranger, he questioned Mr. Chaplin 
 next day. Great was his surprise at the reply : " J. B. 
 Hickock, known as ' Wild Bill/ the most famous scout 
 of the West." Having knowledge of this hero of the 
 plains, he seemed incompatible with the quiet-mannered 
 gentleman who had conversed so courteously for the 
 pleasant quarter of an hour. 
 
 The terror of the country round to those who had 
 incurred his animosity, "Wild Bill" was chivalrous in 
 his nature, and as honorable and generous-hearted as 
 man could be; and without qualification he hated all 
 Indians. For that matter so did many people in and 
 around Leavenworth — apropos of which an incident. 
 Owens innocently proposed to play "The Live In- 
 dian; " the suggestion was received with much laughter. 
 " Good gracious," said Mr. Chaplin, " the sight of you 
 in an Indian dress would end your popularity here, 
 perhaps your life. In fact I don't think we would 
 get further than putting out the printing; for the 
 pictures of the Indian (as an attraction) would most 
 likely create a riot, and result in an attack on the 
 theatre. No, my dear boy, this atmosphere is not 
 favorable for the delineation of Indians ; for that " go 
 east; go east, young man." 
 
JOHN E. OWENS. 153 
 
 Leaving Leavenworth, Owens was next due at the 
 Crosby Opera House, Chicago. Before starting for that 
 city considerable chaffing went on at the theatre relative 
 to the coming engagement, based on Mr. Owens' assertion 
 that he expected to open to immense business or a dis- 
 gustingly small house. " It is sure to be one or the 
 other/' said he. " Chicago is a city I can never reckon 
 upon ; I am always at extremes there." The chronic 
 joking continued until his departure, when he prom- 
 ised to telegraph them the amount of the gross receipts 
 of the first night. On the 30th of September he appeared 
 at the Crosby Opera House in Solon Shingle and The Live 
 Indian, and the next day telegraphed the result to his 
 friends in Leavenworth : "House, $1,548.90 ; " quickly 
 receiving from the manageress the facetious response : 
 " We don't believe there is so much money in the world." 
 The opening bill continued unchanged for a week, and 
 was followed by Caleb Plummer, Heir-at-Law, Every- 
 body's Friend, Victims, &c. ; securing appreciation com- 
 mensurate with Owens' genius and talent. 
 
 The next date, October 21st, was at the Louisville 
 Opera House, under the management of George F. Fuller ; 
 from thence to Cincinnati to fill an engagement of four 
 weeks with Samuel Colville. Solon Shingle, Victims, 
 She Stoops to Conquer, Rivals, &c, being represented in 
 a manner which multiplied the laurels of this famous 
 comedian. The last week of the engagement was ren- 
 
154 MEMORIES OP 
 
 dered memorable by the production of " Grimaldi; or, 
 The Life of an Actress;" Owens having some time 
 previous bought the sole right of that play from Dion 
 Boucicault. 
 
 The character of Grimaldi, the old French actor, is 
 difficult to portray with discrimination and delicacy of 
 touch, owing to its admixture of qualities. The tri- 
 umphant hit which Owens made was another proof of 
 his great versatility. His accent was faultless, and his 
 bearing entirely natural. Voice and gesture, though not 
 inspiration, are an actor's symbols; and he used these 
 gifts to intensify a graphic picture. 
 
 The divers phases in the life of the poor artist, step by 
 step until he is seen as the rich nobleman, were sympa- 
 thetically rendered, and a distinctive personation given 
 of the tender-hearted old man who was merry, pathetic, 
 ambitious, affectionate and proud, which held the audi- 
 ence spellbound, and by its realism invoked the tribute 
 of alternate smiles and tears. 
 
 December 9th Owens returned to the Holliday Street 
 Theatre, Baltimore, for twelve nights, appearing in his 
 usual round of characters ; from thence to Washington 
 for a few nights. December 14th, 1866, he played for 
 the " Benefit of the Association for the Education of 
 Southern Children." The free use of the Holliday Street 
 Theatre, Baltimore, being tendered by Mr. John T. 
 Ford (the company and attaches having volunteered their 
 
JOHN E. OWENS. 155 
 
 services), the entire gross receipts were given to the cause. 
 u All that Glitters is not Gold" and "The Happiest Day 
 of My Life," with Owens in both pieces, constituted the 
 bill. The immense audience was one of the most fash- 
 ionable which ever filled the theatre, and the performance 
 went off with eclat. 
 
 Mr. Owens afterwards received a courteous letter from 
 Mrs. Win. H. Brune, President of the Association, con- 
 veying her thanks, and those of the ladies of the Board, 
 for the aid extended to the cause. Mrs. Brune's manner 
 of appreciating this offering, and the good wishes which 
 she expressed, were so charmingly conveyed, that her 
 letter was not only highly prized by Mr. Owens at 
 the time, but found place among the mementoes he 
 ever retained of sunshiny events in his professional 
 life. 
 
 January 20th inaugurated an engagement of two weeks 
 in Philadelphia. Commencing with Caleb Plummer, he 
 found that the dear old toy-maker had lost none of his 
 attraction, nor yet his power to draw smiles and tears 
 from those who had often before laughed and wept with 
 him. From Philadelphia brief visits were made to 
 Trenton, Newark and Brooklyn ; thence to Boston for 
 three weeks, where he repeated the old comedies "Self" 
 and " Caleb Plummer" the greater part of the time being 
 filled with the latter attraction, which was always a great 
 favorite in Boston. 
 
156 MEMORIES OF 
 
 After a tour of the New England towns Owens re- 
 turned to Baltimore, appearing at the Holliday Street 
 Theatre in an entirely new character : "Farmer Allen" 
 in Charles Readers dramatization of Tennyson's poem 
 of "Dora." His conception and portrayal of Farmer 
 Allen was equal in finish and dramatic power to anything 
 he ever did. The imperative nature which veils (and 
 even hardens) a loving heart, which endures self-torture 
 while asserting "my will is law," was graphically 
 drawn. The father's affection for his son, subordinated 
 to maintain parental authority at all risks, was so forcibly 
 personified as to render "Farmer Allen" one of Owens' 
 masterpieces. The variety of emotions depicted — rage, 
 grief, remorse and affection — require extraordinary power 
 to convey them fully, and yet free from exaggeration ; 
 and this Owens was equal to, blending and harmonizing 
 these emotions perfectly. 
 
 "Dora" was superbly staged; the exquisite painting, 
 scenic effects and stage setting being the work of Mr. 
 Charles S. Getz. Three scenes were given : Winter, 
 Spring and Summer. All w r ere gems of art, but the last 
 act was super-excellent — a wheat-field radiant in the 
 glow of the setting sun, with the gleaners picturesquely 
 grouped. The incidental music to "Dora" was effec- 
 tively rendered, especially the Christmas Carols which, 
 with fine voices and choruses, were a feature of the 
 play. A western tour, including St. Louis, Cincin- 
 
JOHN E. OWENS. 157 
 
 nati, Indianapolis and Cleveland, closed the season of 
 1867-68. 
 
 The summer vacation was passed at Aigburth Vale in 
 luxurious restfulness — with two breaks therein of a pro- 
 fessional nature. On these two occasions Mr. Owens 
 played in Baltimore. Appearing in June as " Aminidab 
 Sleek" and "Paul Pry" for the annual benefit of James 
 L. Gallagher, an intimate friend of " Auld Lang Syne ; " 
 and on July 29th for a benefit for the sufferers from a 
 flood, which had occurred in East Baltimore, causing 
 much affliction and destitution. 
 
 October 12th, 1868, he began his season at Pittsburg 
 as "Major DeBoots" and "Solon Shingle." Eight years 
 had elapsed since he played in that city. Listening to 
 the prolonged plaudits of the audience, no one could 
 realize that aught like animosity had ever existed in that 
 city against the comedian whom they thus delighted to 
 honor. Mistaken and blinded prejudices, engendered by 
 the excitement of the war, had long since passed away, 
 and the Pittsburg people now placed Owens in the posi- 
 tion he originally held as their favorite comedian. From 
 Pittsburg he went to Cincinnati ; and while there pro- 
 duced " The Lancashire Lass," appearing in a new rdle — 
 "A Painty by the name of Johnson." 
 
 This character was of a different type from those he 
 usually essayed, and strongly evinced his illimitable 
 histrionic power. The cool villainy and imperturbable 
 
158 MEMORIES OF 
 
 sangfroid of " The Party by the name of Johnson" and 
 the vindictiveness and depth of feeling underlying these 
 qualities being thrillingly depicted. The scene where he 
 exposes the hypocritical character of Danville was mas- 
 terly ; the intense and electrifying tones of his voice, the 
 eloquence of his expressive eyes, conduced to culminate 
 an effect which produced not only a storm of applause, 
 but most frequently a persistent encore. 
 
 I remember at the time he was playing this part, com- 
 ments upon the perfection with which he rendered the 
 denunciatory scenes, so rife with hatred and desire for 
 revenge, called forth a revival of an old report that Mr. 
 Owens was originally ambitious of becoming a tragedian. 
 The story runs that even his early success in comedy 
 failed to eradicate this aspiration; his final cure could 
 not be effected until he attempted and failed to play 
 Richard the Third. 
 
 This mis-statement has the shadow of foundation. At 
 the close of a season in Baltimore Mr. Owens announced, 
 among other attractions for his benefit, " the 5th Act of 
 Richard the Third" knowing it would be a sensational 
 advertisement. As he expected, the house was packed. 
 He affected to play the part seriously until full attention 
 was gained ; and then gradually burlesqued, increasing 
 in fun until the combat scene at the close, for which he 
 had provided (and rehearsed with) a basket horse — in 
 other words it was a hoax, for he never intended to enact 
 
JOHN E. OWENS. 159 
 
 the character tragically. The whole thing was arranged 
 as a novelty for his benefit — understood by some of the 
 audience, and laughed at by all. 
 
 Later on it was repeated elsewhere with the same 
 rollicking fun. With his power of pathos, and strong 
 well-modulated voice, Owens could have shown in 
 tragedy, had he so elected • but he preferred that jollity 
 should predominate, and thus developed into a peerless 
 comedian. 
 
 After " The Lancashire Lass" was played in Cin- 
 cinnati, "Dora " was put on the boards with exquisite 
 stage setting. "Farmer Allen " won his deserved position, 
 and was thoroughly appreciated. A pleasant week in 
 Louisville followed ; from thence to St. Louis, opening 
 November 30th at the Olympic Theatre, with Spalding 
 and Albaugh. Legitimate comedy was given, in which 
 the star was strongly supported by Mr. and Mrs. John W. 
 Albaugh. Then came "The Lancashire Lass," well cast. 
 Mrs. Albaugh (Miss Mary Mitchell), as Kate Gar stone, 
 invested the character with strength and depth which 
 could not be excelled. Mr. Albaugh was the author's 
 ideal of Robert Redburn. 
 
 Of Mrs. Albaugh's support during this engagement 
 nothing was more acceptable than her "Mary Apex" in 
 "Self." That part Mr. Owens often found difficult to 
 fitly cast. It required a good actress, but one who had 
 judgment and taste to avoid the appearance of acting. 
 
160 MEMORIES OF 
 
 " Mary Apex's " genuine simplicity rendered any seem- 
 ing effort utter destruction to the correct impersonation of 
 her sweet guilelessness. Mrs. Albaugh brought out all the 
 salient points, and yet with delicacy and ease which gave 
 to Mary Apex just the gentle nature and firm principle 
 that so endeared her to her crusty old god-father — and to 
 the audience. Mrs. Albaugh ranked in this part as one 
 of the very few whom Mr. Owens pronounced entirely 
 satisfactory to him. 
 
 Two weeks in Chicago was the next booking; after 
 which followed a short engagement at the Broadway 
 Theatre, New York, on the eve of his departure for Cali- 
 fornia. Opening January 22d in " Victims " and "Solon 
 Shingle" which had been a favorite bill with the New 
 York public two years previous, Owens had the grati- 
 fication of realizing that its attraction had not decreased. 
 A succession of crowded and fashionable houses continued 
 through the engagement. 
 
CHAPTER VII. 
 
 Owens' sea voyage to San Francisco — His appearance at the Cali- 
 fornia Theatre — Lawrence Barrett — John McCullough — "Caleb 
 PlummeT" and "Grimaldi" prominent successes — Playing in the 
 mining towns — Big Jake H — Pleasure tour — The Geysers — Owens 
 captivates Foss — Whiskey Spring, No. 1, 2 and 3 — Fritz, the hunter 
 — Santa Bosa Valley — Salt Lake City — Courtesy of Elder Claussen 
 — Season 1869-70 — Avaricious hotel keeper — " War prices are out 
 of date " — Mishap at Vicksburg — " Where's the ale ? " — Eeturn 
 to New Orleans — Benefit of W. P. Floyd — Jefferson and Owens 
 play — Crowded house — Improvements on farm — A mulberry story 
 — Good humored satire and wit. 
 
 F7EBRUARY 12th, 1869, Owens started for Cali- 
 * fornia by the Aspinwall and Panama route. He 
 was always fond of a sea voyage, and this one proved 
 to be especially delightful. From the time of arrival 
 at Aspinwall (or Colon, as the inhabitants call it), to 
 the hour of entering the harbor of San Francisco by 
 the Golden Gate, was an enjoyable experience. Inter- 
 mediately, the tropical gorgeousness of the Isthmus of 
 Panama, the quaint town itself, the charming exploration 
 of Acapulco and other Mexican towns, all combined to 
 render the voyage a holiday excursion, rather than busi- 
 ness travel. 
 
 11 161 
 
162 MEMORIES OF 
 
 Subsequent journeys to California (after completion of 
 the railroad) were made by that speedier transit ; but, 
 though fraught with many advantages, could not compare 
 in comfort and enjoyment with the steamer route. The 
 latter was often referred to, and dilated upon, by Mr. 
 Owens as a red-letter reminiscence. After twenty-three 
 days of the pleasurable travel, we arrived on a gloriously 
 bright morning at San Francisco — having been met in 
 the harbor by Lawrence Barrett and other friends. 
 
 The engagement which he came to fulfil was with 
 Barrett and McCullough, at the New California Theatre, 
 the first star appearing at that theatre under their man- 
 agement. The initial bill, March 15th ("Everybody's 
 Friend" and "Solon Shingle"), included the following 
 strong cast : 
 
 EVERYBODY'S FRIEND. 
 
 Major DeBoots Mr. John E. Owens. 
 
 Mr. Icebrook Mr. John McCullough. 
 
 Felix Featherley Mr. W. F. Burroughs. 
 
 Mrs. Featherley Miss Emily Melville. 
 
 Mrs. Swandown Miss Fanny Marsh. 
 
 Mrs. DeBoots Mrs. C. R. Saunders. 
 
 SOLON SHINGLE. 
 
 Solon Shingle Mr. John E. Owens. 
 
 Robert Howard Mr. W. Mestayer. 
 
 Charles Otis Mr. W. F. Burroughs. 
 
 John Ellsley Mr. John Wilson. 
 
JOHN E. OWENS. 163 
 
 Hugh Winslow Me. E. B. Holmes. 
 
 Tripper Mr E. J. Buckley. 
 
 Timid Mr. G. Matthews. 
 
 Clerk of the Court Mr. Edward Marble. 
 
 Judge Mr. S. W. Leach. 
 
 Thompson Mr. F. Robinson. 
 
 John Mr. J. Torrance. 
 
 Mrs. Otis Miss Wetherill. 
 
 Grace Otis Miss K. Lynch. 
 
 (Many other strong casts followed this, notably that 
 of "The Poor Gentleman" combining brilliancy of talent 
 seldom equalled.) 
 
 CALIFORNIA THEATRE. 
 APRIL 15th, 1869. 
 
 THE POOR GENTLEMAN. 
 
 Doctor Ollapod Mr. John E. Owens. 
 
 Lieutenant Worthington Mr. John McCullough. 
 
 Sir Robert Bramble Mr. W. H. Sedley Smith. 
 
 Frederick Bramble Mr. Lawrence Barrett. 
 
 Corporal Foss Mr. Harpy Edwards. 
 
 Humphrey Dobbins Mr. John T. Raymond. 
 
 Sir Charles Cropland Mr. W. F. Burroughs. 
 
 Emily Worthington Miss Emilie Melville. 
 
 Lucretia MacTab Mrs. Judah. 
 
 Mary Harrowby Miss Minnie Walton. 
 
 Owens was received by a crowded house, and cordially 
 welcomed. Through his six weeks at the California Thea- 
 tre, he continued to win golden opinions, and maintain 
 
164 MEMOEIES OF 
 
 his exalted position as an artist. He played numerous 
 parts with his usual effectiveness ; but of the many en- 
 comiums bestowed upon him, those elicited by his "Caleb 
 Plummer" and " GrimaldV took precedence in unani- 
 mously pronouncing him peerless in these characters. 
 
 Mr. Owens lingered in San Francisco awhile, after his 
 professional duties ceased, for he found his surroundings 
 very pleasant. In addition to the approbation of the 
 public for his histrionic merit, he bad also gained many 
 congenial friends. Prominent among these was Lawrence 
 Barrett, with whom a friendship, founded on esteem, was 
 formed, which grew and strengthened into affection as 
 time went on; being mutually cherished and prized. 
 To the last of his life Mr. Owens spoke of Barrett with 
 admiration, and in the faith of warm regard. 
 
 An offer from Virginia City, Nevada, for twelve nights 
 was accepted. The citizens were well pleased with every 
 performance, and the comedian found entertainment in 
 this town and other mining districts quite equal to that 
 which he afforded the public by his dramatic talents. 
 The Pacific Slope, and its peculiarities, revealed a new 
 experience to him. The country then was exceedingly 
 primitive, and daily observation of various types of 
 humanity, with whom he met, formed an interesting 
 and ofttimes amusing study ; and the grandeur of the 
 country — exploring its resources, and gaining information 
 thereof, was a matter of delightful investigation to him. 
 
MR. OWENS as DR. OLLAPOD 
 In "The Poor Gentleman." 
 
 (From a Painting by D'Almaine.) 
 
JOHN E. OWENS. 165 
 
 The theatres in the mining districts were decidedly 
 ineligible to the correct production of a play. The resi- 
 dent managers deemed but one thing necessary for their 
 prosperity — securing a star ; the supporting company, 
 and other accessories, they considered of little impor- 
 tance. Unacquainted with these local opinions, Owens 
 was astonished at a first rehearsal to find the company so 
 limited as to render the casting of his pieces impossible. 
 
 Appealing to the manager, he said : " I sent you my 
 manuscripts and books, and was assured of full support. 
 You know the number of people required ; why are they 
 not here?" "No use getting mad about it," replied the 
 imperturbable manager. " I didn't read no books or 
 things you sent. I knowed we could pick up people 
 when we wanted 'em. They'll be on time, you bet ! " 
 Determined to reconcile himself to this novel situation, 
 Owens viewed it in its amusing originality, and refrained 
 from further irritation. The "pick-up" people came, 
 and though eccentric in some respects, had the merit of 
 good memories and strong voices ; so the first night's 
 performance was given to the satisfaction of a jolly crowd. 
 
 The manager had heard some one from San Francisco 
 speak of "The Poor Gentleman" having made a hit 
 there, and was urgent to have that comedy announced 
 for the third night. "It is impossible," was the re- 
 sponse. "We can't cast it; our company is too short 
 and weak for such a play. And especially, we lack a 
 
166 MEMORIES OF 
 
 man strong enough for Sir Robert Bramble." " If that's 
 all that stands in the way," retorted the manager, " I can 
 get the right sort of people." 
 
 While Mr. Owens was smoking his after-dinner cigar 
 at the hotel, the manager came up to him, accompanied 
 by a six-foot Hercules miner, whom he introduced thus : 
 " Here's your i Robert Bramblers/ and " surveying his 
 friend with pride, " I'd like to know where you'd find a 
 
 stronger man than big Jake H ! I told you I'd 
 
 fetch the right party." Owens, suppressing a smile at 
 this literal acceptation of his objections, received big 
 Jake affably ; and entering into conversation with him, 
 learned that the stalwart miner had at times been tran- 
 siently connected with strolling companies, and was 
 still theatrically inclined. 
 
 An appointment was made to meet at the theatre next 
 day, from which arrangement resulted the engagement 
 of the miner for the part of Sir Robert Bramble. He 
 frankly admitted that he had not the " proper fixings " 
 to dress in; but he would do the best he could. 
 Nothing more dreadful in the way of costume can be 
 imagined than what "the best" proved to be. Coarse 
 pantaloons stuffed into long rough boots, questionable 
 coat and slouched hat were the equipments in which the 
 " Baronet of the old school " appeared before the audi- 
 ence ; and worse yet, his pronunciation was equally 
 startling. The line, " Had I the patience of a Job," 
 
JOHN E. OWENS. 167 
 
 was given with stentorian force ; but alas ! for miscon- 
 ception, it was rendered " had I the patience of a job" 
 thus utterly obliterating all analogy with the scriptural 
 character noted for endurance. 
 
 Fortunately the audience were good-natured enough 
 to be indulgent to this and other inaccuracies, and the 
 comedy went off mirthfully. Some of those present were 
 unaware of errors; and the cultured portion of the 
 audience put up with the inevitable weakness of the cast, 
 as they came to the theatre to see the star, and expected 
 no enjoyment in addition thereto. 
 
 Concluding his provincial engagements, Owens re- 
 mained some weeks longer in California, that he might 
 indulge in a pleasure tour : beginning with a flying visit 
 to Sacramento and other towns, thence to the Geysers in 
 Sonoma County. The stage-coach ride, to the latter 
 place, was ever one of the brightest memories of that 
 charming holiday jaunt. The novelty of the mode of 
 conveyance, the characteristic stage driver "Foss," who 
 had attained celebrity in his way, was a revelation ; and 
 these specialties, together with sundry incidentals of the 
 trip, concentrated more than the usual excitement and 
 pleasure in what, to most people, would have been an 
 ordinary ride. 
 
 The drive from Calistoga Springs was the customary, 
 exhilarating summer-morning bowling over a beautiful 
 country — the effect being blithesome, and giving to one 
 
168 MEMORIES OF 
 
 the " glad I am alive " feeling. The distinctive episode 
 of the journey began when the Calistoga stage came to 
 its terminus at the house of " Foss," and the passengers 
 were transferred to the care of that famous whip. Mr. 
 Owens always liked to recall his first meeting with Foss, 
 and their subsequent fellowship. 
 
 Standing on the porch, awaiting the summons to lunch 
 (the delicious fragrance of its preparation whetting one's 
 appetite with promise of good cheer), Mr. Owens was 
 contemplating the grand scenery around him; when a 
 tall broad-shouldered man passed him, and stopped before 
 a state-room trunk, a few steps distant, which he eyed 
 with unfavorable glance. Giving it a slight kick, he 
 asked in a gruff voice, "What's this?" " Looks like a 
 small trunk," said Owens, calmly. "Whose is it?" 
 " Mine." " What's it here for?" " Going to the Gey- 
 sers." "Oh no! guess not; don't take trunks to the 
 Geysers. If you want to put on style, better stay at 
 Calistoga Springs — Geysers too rough for frills." " Just 
 suits me," said Owens, laughingly, "and I am going 
 there; so is that trunk." 
 
 Foss looked searchingly at him, but seeing that no 
 offense was meant, weakened in his determination, and 
 rejoined : " If I take that trunk, I shall have to put on 
 six mustangs, and I intended to drive only four, to-day ! " 
 " I have no objection to six ; I am sure you are equal 
 to managing a dozen," was the response. Just then lunch 
 
JOHN E. OWENS. 169 
 
 was announced, and the discussion dropped ; entire atten- 
 tion being given to the delicious chicken, rich cream, and 
 other dainties, for which Foss* meals were as justly 
 famed as for the appetizing manner in which they were 
 served at his beautiful cottage. 
 
 When the coach was in readiness and the passengers 
 called to take their places, Owens noticed, admiringly, 
 the team of six mustangs, and also the fact that the 
 objectionable little trunk was safely stowed away, to bear 
 him company. As he passed along, Foss inquired : " Do 
 you care to ride on the box-seat with me?" "Very 
 glad to do so, if I don't inconvenience you," was the 
 ready response. " Like to have you ; jump up." Need- 
 ing no second bidding for this opportunity to see the 
 country to the best advantage, and cultivate further 
 acquaintance with the eccentric Foss, he was speedily 
 seated ; and off went the team. No reference whatever 
 was made to "that trunk." Foss, at first taciturn, 
 gradually relaxed, and finally thawed entirely under the 
 influence of agreeable conversation. Anecdotes and inci- 
 dents were narrated, and the antagonism of the first 
 meeting was magnetically dispelled, resolving itself into 
 pleasant companionship. 
 
 Owens delighted in the rough-and-tumble ride, the 
 magnificent scenery, and the masterly control which this 
 wonderful driver held over his horses. Foss quickly 
 perceived this admiration of his skill, and was pleased 
 
170 MEMOEIES OF 
 
 with the appreciation of an accomplishment upon which 
 he prided himself. Much of the road to the Geysers 
 is steep, narrow and apparently dangerous. While cross- 
 that portion of it known as " the Hog's back " (a mere 
 ridge overhanging precipices on either side), some of the 
 passengers became nervous, and made exclamations of 
 fear. Foss, looking over his shoulder, glanced at them, 
 and remarked : " No, you wont be upset ; though I 
 des'say you felt the motion of the wagon a leetle." Scant 
 comfort, when one's breath was nearly jolted out of 
 one's body. 
 
 Some one asked : " Has there ever been an accident on 
 this road ? " " Not when / drive/' said Foss, " nor with 
 my men. A smash-up did happen about a year ago. 
 A Sacramento galoot was handling the reins; but that 
 fellow wasn't a regular — only a substitute ; he don't 
 count. What could you expect from a driver who wore 
 gloves and blacked his boots ? Bah ! " and Foss touched 
 up his leader with an imperative " g'lang ! " to give vent 
 to his feelings. 
 
 As the afternoon lengthened its shadows, the stage 
 stopped at a wayside spring to water the horses. Foss 
 then tethered them to rest awhile, and signalling Mr. 
 Owens, walked away a pace or two, saying as he did so : 
 " There is a cooler spring a few steps off, if you'd like to 
 refresh yourself." By a turn in the chapparel, they 
 quickly reached the place; and from a hidden nook, 
 
JOHN E. OWENS. 171 
 
 behind the spring, Foss produced a bottle and glasses, 
 tersely asking : " Do you ever drink ? " " Sometimes," 
 replied Owens. " Well, try that ; the Occidental Hotel 
 never set anything better before you." After the recom- 
 mendation had been proved true, in the pledging of 
 " good health," he remarked : " This is whiskey spring, 
 number 1. On the way to the Geysers, there is num- 
 ber 2 and number 3, just like it. I don't invite 
 anyone here, unless I feel that they are of the right 
 stripe." 
 
 Owens was attracted by the mixture of trustfulness 
 and reticence, kindly manner and curtness, in the de- 
 meanor of this singular man. The remainder of the 
 drive was replete with interest. Alighting at the Geyser 
 Hotel, Owens unexpectedly met with some acquaintances, 
 who immediately set up a shout of welcome. After 
 exchanging salutations, he went in-doors to register ; 
 and Foss took the opportunity to inquire : " Who is 
 that man?" "Why, don't you know him?" replied 
 
 Col. G , of San Francisco, " that is John E. Owens, 
 
 the comedian." "Well," said Foss, "I ain't often 
 wrong in taking a man's measure, and this time I hit 
 it mighty straight. I froze to him from the first ten 
 minutes. I haven't been as well pleased since I drove 
 Forrest." And this, by the way, was a superlative com- 
 pliment. Forrest was the standard of perfection for 
 Foss ; the pride of his life being, that it had been said 
 
172 MEMORIES OF 
 
 he bore a physical resemblance to the great tragedian, 
 whose manner he was ambitious of imitating. 
 
 The sojourn at the Geysers was fraught with such 
 enjoyment and content to Owens, that his intended stay 
 of two days was prolonged to as many weeks. The 
 guests were refined and agreeable people ; and the daily 
 life, and its environments, was fascinatingly wild and 
 rough, with the charm of novelty. The primitive hotel 
 was supplied with delicious fish and game, captured by 
 " Fritz," the hunter, and upon his good or ill luck 
 depended the dinner hour ; the time varying anywhere 
 from two until eight, p. M. If the supplies came in 
 early, the guests dined accordingly ; but no one thought 
 of being dissatisfied when an improvised lunch was 
 served, and dinner delayed indefinitely. 
 
 Of the Geysers as a wonder of nature, everybody is 
 now aware. In 1869 it was more difficult of access, 
 and excited greater astonishment with its two hundred 
 mineral springs, including every variety that can be 
 named, and every temperature also ; for side by side are 
 boiling springs and icy cold ones, only a few inches 
 apart. Exploring the canyons was a never-failing source 
 of interest; equestrian parties to the Indian Spring, 
 trout-fishing, an occasional bear hunt, for the gentlemen, 
 the daily arrival of the stage (including a chat with Foss 
 when he was not too grumpy), constituted varied and 
 pleasant entertainment from sunrise until sunset. 
 
JOHX E. OWENS. 173 
 
 The Geyser Hotel of to-day is an imposing building, 
 elegantly appointed ; but I doubt if it resounds with as 
 much genuine mirth as did the old wooden structure, 
 with its canvass walls, whose unconventional guests 
 enjoyed to the utmost, the u camping-out style " of living, 
 which characterized the place at that time. Leaving the 
 Geysers, Owens' route lay through Santa Kosa Valley, 
 which gave him further opportunity of stage-coach riding. 
 The exhilaration of these new scenes was indescribable ; 
 on every side bloomed flowers in rank luxuriousness, 
 and orchards of oranges, pomegranates and other fruits 
 abounded. Stopping now and again at an inn, to refresh 
 man and beast, a lovely panorama met the eye at every turn. 
 
 The name Santa Rosa speaks for itself, but no words 
 can describe the roses it denotes. In size, fragrance and 
 profusion they are incomparable. All these delights 
 were of the long ago, when California was less frequently 
 visited by Eastern people. Mr. Owens always liked to 
 talk over this episode in his life, and would recount 
 many incidents thereof, long after stage-coaches and their 
 noted drivers — Foss, Hank Monk, Yuba Bill and others, 
 had passed away ; and the railroad rendered the trip to 
 California of small moment, instead of the undertaking 
 it was considered when much time was required, and 
 novelty attended the journey. 
 
 En route home, a stoppage of two days was made at 
 Salt Lake City. The honors of the beautiful town 
 
174 MEMORIES OF 
 
 were courteously extended by Elder Claussen, who acted 
 as cicerone to all places of interest. The Tabernacle, 
 President Young's house, Masonic Temple, Theatre 
 and other buildings were thoroughly shown, with many 
 pleasant words of information respecting them. En- 
 deavors were made to prevail upon Mr. Owens to play 
 a week or two at Salt Lake City • but he declined these 
 flattering offers, having already been absent from home 
 much longer than he originally intended. 
 
 It was the middle of July when he arrived at " Aig- 
 burth Yale/' but he did not feel as if his summer vacation 
 only began then. The pleasure tour in California had 
 been delightful recreation, and the rural life strongly 
 recuperative. 
 
 Shortly after this return home, Mr. Wm. E. Floyd 
 came to the farm, partly on a friendly visit, and (as 
 afterwards transpired) with a view to effect a plan 
 which he thought might not be accomplished by corres- 
 pondence. It was to obtain Mr. Owens' consent to play 
 a short engagement at Wallack's Theatre, New York, in 
 August; "Self" being the comedy suggested. This scheme 
 was broached the day after Mr. Floyd's arrival, and at first 
 found no favor ; but persuasion and strong inducements 
 finally resulted in acceptance of the offer. Supported 
 by the full strength of Wallack's company, he began 
 his engagement August the 2d, and had every reason to 
 be satisfied with its artistic and financial success. 
 
JOHN E. OWENS. 175 
 
 The season of 1869-70 commenced with a Western 
 tour, including Pittsburg, Cincinnati, Indianapolis, Louis- 
 ville and St. Louis, during which time good business 
 and the full meed of appreciation greeted our comedian. 
 Many interesting incidents of the sojourn in these cities 
 find place in his diary ; but as they are in the main a 
 record of social intercourse, I refrain from giving the 
 witty and pleasant jottings, lest in being made public, 
 they might be regarded as an infringement on personality. 
 
 A disastrous finale marked the close of the Western 
 tour, in St. Louis. The weather there was bitterly cold 
 — almost beyond thermometer register ; and Mr. Owens, 
 while playing "Caleb Plummer" was so placed on the 
 stage as to be exposed to the many draughts for which 
 DeBar's theatre was (among other discomforts) renowned. 
 The thin dress worn for " Caleb " intensified the ill 
 effects; and a heavy cold and severe cough were con- 
 tracted. Finding that the exertion of playing increased 
 these ailments, he endeavored to cancel the last week 
 of his engagement, but the manager declined to release 
 him ; so night after night he continued to play, at the 
 risk of permanent loss of voice and health. 
 
 His strong will powder enabled him, despite physical 
 suffering, to keep up to the degree of his usual perform- 
 ance ; but when the engagement was over, this tension 
 gave way, he succumbed to illness, and was obliged to 
 remain in St. Louis several days, under medical care. 
 
176 MEMORIES OF 
 
 This inevitable delay fretted him exceedingly, as he was 
 due at the Varieties Theatre, New Orleans, November 
 2 2d, and naturally desirous to be there in advance, for 
 the purpose of thorough rehearsals. The manager, Mr. 
 W. R. Floyd, having been informed of Mr, Owens' 
 illness, kindly telegraphed him to refrain from uneasiness, 
 as the plays would be put in preliminary rehearsal, and all 
 would be right. He recuperated rapidly, though still a 
 very sick man when he started for New Orleans ; but on 
 his arrival there, signified his intention of commencing 
 the engagement on time, Mr. Floyd positively refused 
 to allow an exertion which might cause not only suffering 
 but a relapse to illness — adding : " I have arranged 
 stock performances for next week, that you may be 
 entirely relieved, and as a friend I insist upon your 
 taking care of your health." 
 
 Mr. Owens gladly availed himself of such considerate 
 forethought ; and appreciating this regard for his health, 
 he could not forbear reflecting that his illness would not 
 have occurred had his previous manager been as humane 
 as Mr. Floyd. A week under the care of Dr. Chopin 
 proved effectual in making a permanent cure. 
 
 November 29th Owens appeared at the Varieties Thea- 
 tre, after nine years' absence from that stage — a stage 
 associated with his theatrical management (the most 
 brilliant ever known in New Orleans) and with some of 
 his greatest professional triumphs. In fact "John Owens " 
 
JOHN E. OWENS. 177 
 
 and "the Varieties" were so inseparable in the minds 
 of play-goers that the mention of one suggested the 
 other. He had reason to be proud of his reception. 
 Despite a pelting rain-storm, the house was crowded in 
 every part; and deafening applause, together with up- 
 roarious laughter, proved that the comedian had not lost 
 the hold upon the habitues of the old " Varieties " which 
 he maintained in former years. 
 
 The engagement extended over four weeks, and in- 
 cluded many of his most renowned personations. The 
 closing week was marked by the production of "Dot" 
 — always a favorite play with New Orleans people, who 
 inclined to think they had a special right to Owens' 
 Caleb Plumnier, as it was on the Varieties' stage he first 
 played the part, and won the hearts of all by this dra- 
 matic inspiration. 
 
 Opening in Mobile, on the 27th of December, Owens 
 gave seven performances to full and fashionable houses. 
 From thence to Vicksburg, where he was due January 3d. 
 Three railroad accidents en route (though not serious), 
 caused detention, and rendered his arrival on time im- 
 possible. The longest delay occurred at Meriden, Miss., 
 and involved the necessity of remaining over night in 
 that uncomfortable locality. The hotel was a barn-like, 
 cheerless place, with accomodations even worse than its 
 appearance. Poor food badly cooked, unrestful beds, 
 broken window-panes and uncleanliness were among the 
 12 
 
178 MEMORIES OF 
 
 discomforts. The only alleviation being that the endur- 
 ance of these ills was temporary. 
 
 When Mr. Owens was paying his bill the following 
 dialogue took place : " How much do I owe you ? n 
 Gazing at the opposite wall, the landlord mumbled, 
 " Nine dollars." " What did you say ? " " Nine dollars," 
 reiterated the man. " Look me in the face, and tell me 
 your charge." Staring up to the ceiling, the fellow 
 repeated, " Nine dollars." " Come now, look me in the 
 face, and say for what I owe you nine dollars." The 
 man ejaculated spasmodically, " Nine dollars — dinner — 
 supper and lodging ; " but looked steadily on the floor. 
 " Ah, my friend," said Owens, " I see it is impossible for 
 you to meet my eye, and make a charge like that for the 
 tortures of this hostelry. As you are not entirely lost to 
 shame, I have some hope of your reformation. I present 
 you with nine dollars, and enlighten you gratuitously. 
 The civil conflict is over ; war prices are out of date. You 
 don't seem to know that fact. Bye-bye ; I shall remem- 
 ber Meriden, and beware of a return to your hospitality." 
 
 The landlord was angry, but bewildered too, not under- 
 standing the mock gravity which Mr. Owens maintained 
 while speaking. It was one of his peculiarities to 
 always extract a " bit of fun " out of not only pleasant, 
 but disagreeable surroundings. A keen sense of the 
 ludicrous enabled him to find amusement where most 
 people would discern only annoyance. These railroad 
 
JOHN E. OWENS. 179 
 
 detentions were so prolonged that Owens did not arrive 
 in Vicksburg until Tuesday, 8.30 P. M. He hurried to 
 the Opera House, where a large audience was patiently 
 waiting for him. The curtain rose at nine o'clock. Lack 
 of rehearsal, the inebriation of the leading man and much 
 confusion behind the scenes rendered the performance 
 anything but smooth ; and at the fall of the curtain 
 the star felt that the evening had been exhaustive both to 
 his patience and physical strength. 
 
 The reaction after vexatious excitement and fatigue, 
 made him thankful to get back to the hotel for supper 
 and a night's rest. An uncouth and stupid boy brought 
 supper to the room, and while he was placing it on 
 the table, Mr. Owens remarked : " You have forgotten 
 the ale I ordered." " Well, so I have,' 7 was the non- 
 chalant reply. " Go bring it." " Can't get it this 
 late; bar is closed," stolidly spoke the boy; "but," 
 brightening up, "you can have it first thing in the 
 morning." "Thank you," said Mr. Owens, ironically. 
 " Tell you what I'll do," continued the imperturbable 
 youth, "I'll bring it to your room myself, at six 
 o'clock ! " " No, you won't ; not if you value your life. 
 The person who knocks at my door at that early hour 
 surely dies," responded Mr. Owens in solemn tones. 
 The boy being impervious to a joke, looked puzzled ; 
 then, in a frightened way, turned to me, and lowering his 
 voice, asked in all seriousness, " What's he mean ? Is he 
 
180 MEMORIES OF 
 
 crazy?" The question was never answered, except by 
 hearty laughter ; and the boy precipitately left the room. 
 " It appears/' said Mr. Owens, " my fun comes after the 
 play, for an appetizer." 
 
 A thorough rehearsal on Wednesday rendered the 
 performance creditable, and the remainder of the week 
 was an experience of like nature, to crowded houses. 
 Another engagement in Mobile followed, with an entire 
 change of plays from those given the previous fortnight. 
 Closing in Mobile, he returned to New Orleans for a 
 visit of pleasure to enjoy the society of his friends. 
 
 Only one theatrical appearance was made by Mr. Owens 
 during this holiday, and that was for the " Benefit of 
 W. R. Floyd." A very strong bill was presented — 
 " Arrah na Pogue" with Floyd in his famous part 
 of " Shaun the Post" Owens in "Solon Shingle," and 
 Jefferson in " A Regular Fix." Of course the house was 
 crowded. It was not the first time that Jefferson and 
 Owens had played in the same bill, or in the same cast. 
 Long ago the public had been favored with this double 
 attraction in " A Comedy of Errors" " Two Gregories" 
 "Wags of Windsor" "Village Lawyer" "Money" and 
 other plays. 
 
 I remember the little piece, " To Parents and Guard- 
 ians" being given with Mr. Owens as Waddilove, and 
 Mr. Jefferson as Tourbillon, a French tutor. The parts 
 were not especially strong or important, but they were 
 
JOHN E. OWENS. 181 
 
 made so by capital acting. Both artists being conscien- 
 tious, believed that whatever they did was worth doing 
 well. Mr. Jefferson's quaint punctilious picture of the 
 old Frenchman was a fine characterization. In the more 
 important triumphs of later years, the remembrance of 
 this part may not linger with Mr. Jefferson ; but it will 
 never be forgotten by those who enjoyed it. 
 
 Mr. Owens was ever an appreciative admirer of Mr. 
 Jefferson's genius, and highly prized the life-long friend- 
 ship which existed between them. Late in February 
 we left the Crescent city, returning home per steamer 
 by way of Havana. 
 
 A few days quiet enjoyment on the farm preceded an 
 engagement in Washington, commencing March 14th; 
 after which he closed his season, that he might have a 
 good long vacation at home. Many buildings and other 
 improvements were added to his estate during this sum- 
 mer. Superintending this work and enjoying the society 
 of guests at Aigburth Vale made the time pass pleasantly 
 and swiftly. 
 
 One of Mr. Owens' stories of the happenings of this 
 
 summer was in regard to a call he had from Mr. S , 
 
 a theatrical agent, and an old friend. The gentleman 
 came out in the York Road car ; sauntering up the 
 avenue, he reached the house just as Mr. Owens was 
 about stepping into his buggy to drive to the city. After 
 salutations, Mr. Owens said : " I haven't time to talk 
 
182 MEMORIES OF 
 
 business, I am late for an engagement in town now ; 
 jump in, we will chat as we go along, and I'll bring you 
 
 back with me." Mr. S declined, and made an 
 
 appointment for later on. Casting his eyes up to a large 
 tree, beneath which the horses had been hitched, he 
 remarked, " What magnificent mulberries ; I haven't 
 seen such large ones since I was a boy." " Go up to the 
 house," said Mr. Owens, " and my wife will send one of 
 the men to shake the tree, and you can have full enjoy- 
 ment of the berries." " No," said Mr. S , " but I 
 
 would like to climb the tree and help myself." " Do so, 
 and welcome," cried Mr. Owens, hurriedly jumping into 
 the buggy and driving off. 
 
 With agility Mr. S reached the dense branches of 
 
 the tree, and regaled himself plentifully ; but when ready 
 to descend, he saw at the base of the tree several dogs 
 intently watching him. Here was a perplexing dilemma ! 
 It was dangerous for him to come down ; and if he called 
 for help he risked being regarded as a marauder, as no 
 one had seen him in conversation with the master of the 
 place. His only hope was that the dogs would become 
 weary and go away, but they were too vigilant for that. 
 One or two of them would leave for awhile, but never 
 all at a time. 
 
 When Mr. Owens returned from the city (some five 
 hours later), as he was walking his horses slowly beneath 
 the shade of the mulberry tree, he heard a voice from its 
 
JOHN E. OWENS. 183 
 
 recesses calling piteously : " Owens, for mercy sake, get 
 me out of this ; I'm nearly dead." Looking up, he saw 
 
 Mr. S peering through the foliage with woe-begone 
 
 and fruit-stained face. " Great Scott ! you haven't been 
 there ever since I left ! " " Indeed but I have ; and now 
 drive away those dogs, and let me come down." 
 
 The " sentinels " were dispersed, and the weary prisoner 
 released. An explanation, amidst much laughter, ensued ; 
 
 and Owens insisted on Mr. S going to the house for 
 
 refreshment and rest. The hero of this adventure, seem- 
 ingly mindful only of its ludicrous side, gave it extensive 
 publicity. Mr. Owens used to tell the story with gusto, 
 in his own droll way. 'No one was fonder of a joke, but 
 there was never any animus in his raillery. 
 
 When he indulged in satire, wit and humor, so tem- 
 pered its edge that however keen it never wounded 
 or humiliated. He had a facetious way of replying to 
 questions. One day (in Xew York) I heard a gentleman 
 ask him about a member of the company : " Where does 
 
 G live now?" and receive the reply, "He thinks 
 
 he lives in Harlem ; but in reality his life is passed in 
 the theatre, rehearsing and playing, with the prelude and 
 finale of hanging on to a strap in a crowded car, to and 
 from Harlem." A friend mentioning some contemptibly 
 mean act of a man they both knew, indignantly concluded 
 by saying : " He is a hog ! " " Try to be just," said 
 Owens ; " the comparison is unfair." " I maintain it is 
 
184 MEMORIES OF 
 
 not," was the vehement rejoinder. " Oh, yes, it is," per- 
 sisted Owens ; " unfair to the hog" 
 
 The season of 1870-71 opened September 19th; and 
 from that date until November 26th the tour was under 
 the management of George F. Fuller, who furnished 
 a competent supporting company. Albany, Buffalo, 
 Rochester and other New York cities were included in 
 the route, which also extended through Pennsylvania's 
 most important towns. This tour was a pleasurable 
 success, with no especial event to mark it different from 
 its predecessors. 
 
CHAPTER VIII. 
 
 Effie Ellsler — Inauguration of Terre-Haute Opera House — " The audi- 
 ence will wait" — "Owens' Ride "—Theatre Royal, Montreal — 
 "John W. Albaugh" — An English gardener — 'Appy h'aspira- 
 tions — Globe Theatre, Boston — A graceful souvenir — Letter from 
 the author of "The People's Lawyer" — "Fighting Bob" — Country 
 vs. City — Napoleon's blankets — Surprising historical data — John 
 Unit's second visit to Richmond — Encouraging industry — "A 
 man skilled in fence" — Paul Pry — A whilom factotum — " The- 
 ay-ters is low" — Masonic Temple — Louisville — Old and new 
 friends — " I play this for low." 
 
 T^OVEMBER 28th, 1870, Owens appeared at Wood's 
 k Theatre, Cincinnati, then under the management of 
 Barney Macauley. After a fortnight there, he proceeded 
 to Cleveland to fill a week for which he was booked with 
 John Ellsler. It was during the latter engagement that 
 the lady cast for Mary Apex was taken suddenly ill, and 
 there being no understudy, the withdrawal of "Self" 
 seemed inevitable. Fully aware that Owens was averse 
 to changing the bill, Mr. Ellsler suggested his little 
 daughter for Mary Apex, saying : " She has not ventured 
 a speaking part beyond a few lines; but her voice is 
 good, and she has a quick memory. If you can rehearse 
 
 185 
 
186 MEMORIES OF 
 
 the scenes with her, she may possibly get through." 
 Owens was quite willing to run the risk. Miss Effie 
 (not yet grown) undertook the part with much trepida- 
 tion ; but made such a sweet ingenuous Mary Apex as to 
 score a triumph. Mr. Owens praised and congratulated 
 her at the close of the performance ; and the audience 
 had already, by unstinted plaudits, assured her of their 
 approval. This was the first mark made by Effie 
 Ellsler, in the profession she has since won distinguished 
 position. 
 
 While in Cincinnati a flattering offer was received to 
 inaugurate the new Opera House in Terre-Haute. He 
 hesitated about accepting it, as he was wistfully looking 
 towards home, having arranged to give himself two or 
 three weeks' vacation at Christmas time. However, he 
 finally telegraphed an affirmative for the four nights 
 requested. The management offered as an additional 
 inducement, relief from rehearsals ; the company engaged 
 having recently played as Mr. Owens' support. 
 
 He left Cleveland in ample time to reach Terre-Haute 
 Monday afternoon ; but en route detention occurred, 
 the road being blocked by the debris from a collision 
 of freight trains, in consequence he did not arrive in 
 Indianapolis until 7.30, some while after the hour he 
 was due in Terre-Haute — seventy-eight miles further 
 on. Much annoyed, he gave up all hope of fulfilling 
 his promise to inaugurate the new Opera House; but 
 
. JOHN E. OWEXS. 187 
 
 nevertheless continued his journey, having telegraphed 
 the manager about the dilemma. At the first station 
 after leaving Indianapolis, a telegram was brought on 
 the train to him (a response to his own) which read : 
 " The audience will wait for you." At every succeed- 
 ing station was received a telegram to the same effect, 
 variously worded. The entire ride of seventy-eight 
 miles was made while the audience were waiting for 
 the star of the evening. Upon arriving at Terre-Haute 
 he drove rapidly to the Opera House, and exceeded 
 even his own record for quick dressing. The curtain 
 arose at eleven o'clock, and when " Major DeBoots" 
 stepped on the stage, a deafening shout of welcome 
 arose. The whole performance went off with eclat ; 
 the Major and Solon being applauded to the echo until 
 the fall of the curtain at two o'clock in the morning, 
 when the crowd dispersed in jolly good humor. 
 
 Previous to Owens' arrival, telegrams had been read 
 to the audience, from time to time, giving information 
 that " Owens was within seventv miles of Terre-Haute," 
 then " fifty miles," then " thirty-three miles," and so on. 
 The entire episode made quite a talk, and was dilated 
 on in the various newspapers. A contributor to the 
 Cincinnati Enquirer gave a descriptive rhyme of the 
 incident — a parody on " Sheridan's Ride " — of which I 
 quote a portion : 
 
188 MEMORIES OF 
 
 " Owens' Ride." 
 
 Up from the ground a magnificent pile 
 
 Of granite and marble and Terra-Haute tile, 
 
 Arose with a grandeur terrific, sublime, 
 
 As if wrought by the touch of a magical mind; 
 
 A Temple where Thespeus sports in his play, 
 
 West of the Capital, seventy-eight miles away. 
 
 Like a herald in haste the news spread away, 
 That "Owens" the invincible King of the play, 
 Was engaged to be here on opening day, 
 And tell unto all what "Solon" would say; 
 And the news seemed to strike us all with dismay, 
 That "Owens" was seventy-eight miles away. 
 
 i 
 The first snow was falling in dreary December, 
 
 When this house of the muses, in all its splendor, 
 
 Was opened to the gaze of admiring legions, 
 
 Who came from the nearest and remotest regions ; 
 
 Well represented was fashion's array, 
 
 To see "Owens" who was seventy-eight miles away. 
 
 The crowd grew impatient, smiles yielded to frowns, 
 Nowhere could either of the managers be found ; 
 But a man always "Early" with kindness abounding, 
 Suggested the play should begin by refunding 
 The greenbacks to those who no longer could stay 
 To see " Owens" seventy-eight miles away. 
 
 " But stay," said a voice — all was attention — 
 
 "While the contents of a telegram I'll mention." 
 
 There is a road from Indianapolis town, 
 
 A broad-guage railroad leading down ; 
 
 And there, through the flash of a brilliant head-light, 
 
 An engine passed with an eagle's flight. 
 
JOHN E. OWENS. 189 
 
 As if it knew the terrible need, 
 
 It stretched away with the utmost speed ; 
 
 Bridges came and passed away, 
 
 With "Owens" only thirty-three miles away. 
 
 Under its iron hoof the road, 
 
 Like an angry Wabash river, flowed ; 
 
 And the landscape sped away behind, 
 
 Like an ocean flying before the wind. 
 
 And the engine, with its wild eyes full of fire, 
 
 Is nearing unto our heart's desire ; 
 
 It is snuffing the scent of "Lubin's" spray, 
 
 With " Owens " only fifteen miles away. 
 
 The first thing that (i Owens" did, I think, 
 
 Was to get on the outside of a healthy drink. 
 
 That was done ; what to do next he knew well, 
 
 For the audience set up a terrible yell, 
 
 So he rushed on the stage 'mid a storm of huzzas, 
 
 And checked the wave of impatience, because 
 
 The sight of John Owens compelled it to pause. 
 
 With frost and with snow the engine was gray; 
 
 It seemed most eloquently to say, 
 
 "I have brought you Owens, all the way 
 
 From Indianapolis, to begin the play." 
 
 The ladies now, all impatience forgetting, 
 Begin their old habits with lovers coquetting. 
 All were well pleased, and expressed it en masse, 
 That Owens was there to dispense "apple sass." 
 And now, Mr. Owens, " how dew you dew?" 
 We hope you will like us as we like you; 
 And should you by chance again happen this way, 
 Don't begin the play — seventy-eight miles away! 
 
190 MEMORIES OF 
 
 The exciting success of the first night extended through 
 the remaining three performances • and the Opera House 
 was prosperously launched on its dramatic career. Leav- 
 ing Terre-Haute, Mr. Owens played a week in Louisville, 
 then took a rest at home. He resumed his professional 
 work January 16th, at the Park Theatre, Brooklyn, 
 Mrs. F. B. Conway being manageress — " Victims " and 
 "Solon Shingle" for the first week, "Solon Shingle" and 
 " The Live Indian" the second week. Snow, sleet, rain 
 and bitter cold was the weather record of the fortnight ; 
 but inclemency did not seem to interfere with amusement 
 seekers, as the theatre was nightly crowded with old 
 " Solon's " admirers. 
 
 After closing in Brooklyn, dates of a New England 
 tour were filled, with Clifton Tayleure as manager. This 
 included all of the eastern cities as far northward as 
 Portland, Maine : after which he played a week in 
 Baltimore, another in Washington, thence to McVicker's 
 Theatre, Chicago. These were, in detail, a recurrence of 
 others I have already dwelt upon. From the west Owens 
 came direct home, having completed his season 1870-71. 
 Scarcely had he begun to be settled in rural pursuits 
 when he received an offer to play in Montreal, which he 
 decided to accept, and after its fulfilment make a pleasure 
 tour up the St. Lawrence, visiting Quebec and other places. 
 
 An additional inducement to draw Mr. Owens to Mon- 
 treal was the fact that the Theatre Royal was managed 
 
JOHN E. OWENS. 191 
 
 for the summer season by Mr. John W. Albaugh, who 
 was a favorite and companionable friend. He also played 
 the leading business of his theatre, which was an impor- 
 tant matter to the comedian, who remembered the able 
 support rendered him by Mr. Albaugh in previous 
 engagements, prominently so during the season of 1864, 
 in New York, where he distinguished himself by polished 
 and conscientious work in " Uncle Solon Shingle" " Vic- 
 tims " and other plays. 
 
 After the Montreal engagement, and the ensuing 
 pleasure trip, Owens returned to the farm; resting and 
 enjoying the society of his friends during his vacation. 
 In July some changes were made in employees on the 
 place, and the position of head gardener was difficult to 
 fill. Among the applicants came an Englishman, whose 
 language was obscure from the wild and promiscuous 
 disposal of the letter h. Not being able to understand 
 his name, Mr. Owens (considerately desiring to spare the 
 man the embarrassment of a third interrogation) asked, 
 "how do you spell your name?" And the reply was 
 given thus : "A he — a double hell — a hi — a hess — a ho 
 and a hen — ' Ellison.' " Mentally, Mr. Owens decided, 
 " if this man's reference is fairly good, I'll engage him. 
 I foresee a fund of amusement which I must not lose." 
 For the three years that Ellison was employed at Aig- 
 burth Vale, he was an inexhaustible source of entertain- 
 ment to Mr. Owens — not in the way of ridicule, but as a 
 
192 MEMORIES OF 
 
 study of character. The white cliffs of Albion were 
 suggested by his every utterance; and combined with 
 this was stolid wit and shrewd good sense. To hear Mr. 
 Owens relate some of their interviews, was as good a bit 
 of character-acting as one could have. He liked this 
 head gardener personally, for the sterling integrity and 
 mental ability which entitled him to general respect. 
 
 The summer weeks flew swiftly by until Mr. Owens 
 again returned to theatrical life. This occurred September 
 5th, at the Globe Theatre, Boston, Arthur Cheney being 
 proprietor, and W. R. Floyd, manager. The ranks of 
 the stock company were filled by F. F. Mackey, W. E. 
 Sheridan, D. Harkins, H. L. Daly, J. Jennings, Peakes, 
 Miss Josie Orton, Miss Ada Gilman, Mrs. Barry, Mrs. 
 Hunter and others. Mr. Owens was the first star of the 
 season ; he opened in Victims and Forty Winks, and was 
 received with overwhelming cordiality. 
 
 " The Heir at Law" " The Rivals " and other comedies 
 followed successfully ; but the salient feature of the en- 
 gagement was " Grimaldi." It set critical Boston wild 
 with admiration, and packed the theatre for six consecutive 
 weeks. Owens' personation of Grimaldi was pronounced 
 an unexcelled characterization — a carefully studied, yet 
 thoroughly natural piece of acting. He graphically 
 pictured the old French emigre struggling with want 
 and hunger — proud, tender, shrewd, and withal a gentle- 
 man. Every intonation of the voice, the raising of the 
 
JOHN E. OWENS. 193 
 
 eyebrow, the glance of the eye, was perfect ; and in delicate 
 shading vitalized " Grrimaldi." Owens had disappeared 
 as completely as if swept from the face of the earth ; the 
 old Frenchman stood in his place, and bore the audience 
 with him through poverty, sorrow, pathetic affection — 
 changing with prosperity to the volatility of supreme hap- 
 piness. Boston audiences are ever discriminating; and 
 they realized that this r6le was worthy of the artist's great 
 reputation, and regarded it as a cluster of dramatic jewels. 
 It was at this time in Boston that Mr. Owens made 
 inquiry relative to the author of " The People's Lawyer." 
 The play had never been copyrighted, and in its origi- 
 nality widely differed from the "Solon Shingle" which 
 Mr. Owens had made famous. Though only indebted 
 to the author for the skeleton upon which he had formed 
 "Solon Shingle" he desired, in view of his success, to 
 tender a complimentary recognition to Dr. Jones. Having 
 obtained his address in Boston, he wrote a pleasant letter, 
 and enclosed a substantial souvenir. To this he received 
 the following acknowledgment : 
 
 "Boston, September 23d, 1871. 
 "John E. Owens, Esq: 
 
 "My Dear Sir, — Your favor enclosing a check drawn by you and 
 payable to my order, for ' Five hundred dollars,' was duly received. 
 'The Souvenir,' so gracefully tendered, I accept with peculiar gratifi- 
 cation in consequence of its relation to one of my earliest efforts as a 
 dramatist, 'The People's Lawyer,' written nearly two-score years ago. 
 
 13 
 
194 MEMORIES OF 
 
 "You, sir, have made Solon Shingle famous, prolonged his 
 stage-existence, and preserved to this time this relic of the dramatic 
 past. 
 
 " My inclination would lead me to thank you, in presence of the 
 public, for your novel recognition of my claim to the authorship of 
 the drama in which Mr. Shingle was first introduced. I have not 
 considered it proper, without your approval, to reply to your note 
 through the press. 
 
 "I wish, however, that your gratuitous manifestation should be 
 known to all who have interest in the success of plays and players. 
 
 " Let me again repeat my appreciation of the gift, and the generous 
 motive that suggested it. 
 
 "Very truly yours, 
 
 "Jos. S. Jones." 
 
 Mr. Owens replied by assuring Dr. Jones how deeply 
 he valued such kind sentiments, but positively declined 
 to have their correspondence published ; concluding 
 to this effect : " The pleasure you express at the 
 reception of the souvenir is not one-tenth of that which 
 I experience in knowing that I have rendered to your 
 gratification. Let that content us. 7 ' This graceful act 
 was never mentioned to anyone by Mr. Owens. Whether 
 Dr. Jones was equally reticent, I do not know. They 
 have both passed into the spirit land, and I do not think 
 it amiss now to relate an incident which was creditable to 
 both, evincing as it did the best feelings of human nature. 
 
 Owens next played at the Walnut Street Theatre, 
 Philadelphia, to excellent business, and afterwards at 
 Booth's Theatre, New York — opening November 6th, 
 
JOHN E. OWENS. 195 
 
 1871, as " Caleb Plummer," in "Dot." That the charac- 
 terization met with appreciative welcome, was a foregone 
 conclusion. Never had this peerless performance elicited 
 warmer praises ; but the cast (though comprising much 
 talent) lacked adaptability to the parts assigned, and 
 the ensemble was unsatisfactory. Two weeks of Caleb 
 Plummer ; and then Victims and Solon Shingle held the 
 boards for the same length of time. 
 
 To the details of setting pieces the management gave 
 every attention j but nothing could counteract the fact 
 that it was not a theatre for comedy. The company had 
 been selected for tragedy, and a serious element lingered 
 depressingly in the atmosphere. The immensity of the 
 theatre was more suitable for declamatory acting than for 
 the subtlety of humor, where the play of the features, or 
 neatness of action intensifies points. The month at 
 Booth's Theatre was chronicled by the press as an artistic 
 success ; but this meed of praise, and the large pecuniary 
 results were insufficient to reconcile the comedian to the 
 solemnity of his surroundings. " It is the home of classic 
 tragedy, and unfit for comedy/' said he. "Lotta," who 
 was the next star, was similarly impressed. Some of her 
 friends described the theatre as so antagonistic to fun as to 
 render the merry little sprite entirely out of her element. 
 
 On the 11th of December Owens appeared, as the first 
 star of the season, at the Varieties Theatre, New Orleans, 
 Lawrence Barrett being manager. During the previous 
 
196 MEMORIES OF 
 
 year the old theatre had been destroyed by fire, and a 
 more magnificent structure reared in its stead. Under 
 the supervision of Mr. Barrett the new theatre gave 
 evidence of the excellent judgment and refined taste so 
 inseparable from that gentleman. The stock company 
 was efficient in talent, and full in numbers. 
 
 Mr. Barrett delivered the opening address in a polished 
 manner. Then followed "Everybody's Friend" and 
 "Solon Shingle;" and the vast audience, already in a 
 good humor, became exuberantly mirthful. This bill, 
 announced for two nights, was by request continued the 
 entire week, thus deferring " The Rivals " until Monday, 
 18th inst. Sheridan's witty comedy was strongly cast, 
 with Bob Acres as the central light ; and that character 
 was played by Owens with dash and spirit. Rollicking 
 merriment contrasted forcibly with the abject fear of 
 "fighting Bob," when his cowardice became uncon- 
 trollable. In every phase artistic, he evoked laughter 
 and won unanimous approval. 
 
 On Christmas night " Dot " was produced with Owens 
 as " Caleb Plummer" The old toy-maker was ever wel- 
 come in New Orleans, but especially at this season of the 
 year, from the memory of many other Christmas times 
 that he had held the hearts of his auditors. This 
 retrospection went back as far as 1860, when Caleb's 
 timid tap at John Peerybingle's door was answered by 
 the hearty " come in ! " of the carrier. Entering irreso- 
 
JOHN E. OWENS. 197 
 
 lutely, and meekly responding, "It's only me/' there 
 stood old Caleb with his patient manner. As he paused 
 inside the door, wistfully gazing at the home circle, he 
 was such a pathetic figure — meagre, cold and simply 
 humble, that one felt like joining in the cordial greeting 
 of Dot and John, that cheerily bid the old man " come 
 close to the fire." 
 
 Long before Christmas time many New Orleans people 
 would appeal to the manager: "Give us 'Dot'; the 
 holidays are incomplete without Caleb Plummer and his 
 humanizing tenderness. The play is Christmaslike, and 
 every one is better for having heard the cricket's merry 
 chirping." 
 
 The New Orleans engagement having terminated, Mr. 
 Owens returned home by steamer, via Havana, and 
 indulged in a brief respite from professional duties by 
 enjoying country life; for since home and farm had 
 become synonymes, he had grown to love the country 
 at all seasons. He claimed that he had always innately 
 had that taste; but I remember a long-ago incident 
 when this liking was somewhat modified. 
 
 Before removing from the city to Aigburth Vale, Mr. 
 Owens and myself accepted an invitation to visit some 
 friends in the country — driving out Sunday morning and 
 remaining until next day. The hospitality, cordial wel- 
 come and genial conversation that marked this visit was 
 exceedingly enjoyable. The winter landscape, beautiful 
 
198 MEMORIES OF 
 
 with its garment of snow and jewels of prismatic icicles, 
 was a novelty to us city people, and greatly admired. 
 Indoors the ruddy warmth and cheerful blaze from the 
 big open fire-place, with its huge hickory logs, sent a 
 glow on the Christmas evergreens and holly which 
 decorated the room, making a charming picture. 
 
 The bed-rooms of this home were of cottage style; 
 and though exquisitely appointed, not comfortable as the 
 wood fires died out. Narrow blankets increased the 
 danger of taking cold. In the morning Mr. Owens 
 remarked to me, " I fear I have contracted an influenza ; 
 if so, I hereafter veto the country in winter time — it is at 
 the best in summer, and ought only to be visited then." 
 
 While breakfasting, our friends with attentive solici- 
 tude, " hoped that a good night's rest had refreshed us." 
 Replying with conventional courtesy, Mr. Owens was 
 about to change the topic ; when he was interrupted by 
 our host observing : " I will tell you something very 
 remarkable about those blankets you slept under. They 
 belonged to Napoleon Bonaparte. I have authentic proof 
 of this relic ; they came into my possession," &c, &c. 
 Of course, we listened with interested attention, and 
 made the natural ejaculations of wonder and admiration. 
 
 As we drove to the city in a jaded and sneezing con- 
 dition, Mr. Owens suddenly remarked : " I have made 
 a discovery which will be valuable to history. The true 
 cause of the divorce between Napoleon and Josephine is 
 
JOHN E. OWENS. 199 
 
 now clear to me — Narrow blankets ! A lifetime of har- 
 mony together was impossible ! " 
 
 Owens played in Washington and Baltimore during 
 February and March, 1872, with the same pleasant 
 results that had heretofore attended his engagements in 
 those cities. In addition to his popularity with the 
 general public, he had hosts of friends who loved to chat 
 with him, and for these he always had a pleasant word, 
 and ofttimes a merry story. To chance acquaintances he 
 was ever affable; but sometimes his patience became 
 sorely tried by a class of individuals who think they 
 have a right (unintroduced) to intrude upon the time of 
 an actor, even to the interruption of business or his social 
 intercourse with personal friends. The usual intro- 
 ductory sentence "you don't know me, Mr. Owens," 
 was met serenely at most times; but occasionally it 
 became unbearable, and merited the reply, " No ; and I 
 don't want to know you" — especially if followed by 
 prosy reminiscence and many questions. 
 
 One of the penalties of prominence is to be a target 
 for bores, who sometimes have more imagination than 
 memory. A case in point occurred one day as Owens 
 was walking up Baltimore street with a friend. He was 
 effusively accosted by a tottering senile individual : " I 
 declare if that aint Jack Owens ! I'm real glad to see 
 you. I've been away from this city these many years. 
 How do you do, Jack?" extending a tremulous hand. 
 
200 MEMORIES OF 
 
 " Oh, I'm quite well," replied the comedian ; " but I 
 don't remember you." " Now, that's hard/ 7 mumbled 
 the octogenarian. " /never forgot you. Always would 
 go to see Jack Owens play — 'old Jack Owens/ as we 
 boys used to call you. Never shall forget the first time 
 I saw you. It was in the Baltimore Museum ; my 
 nurse took me when I was about six years old, and — " 
 "Oh, that was my grandfather you saw/' interrupted 
 Owens. " No, no, no," insisted the mendacious bore ; 
 " it was you, I remember I — " " It couldn't have been 
 my father, for he would be about your own age if he was 
 alive — Ta ! ta ! " laughingly rejoined Owens, as he turned 
 away and walked off, leaving the retrospective humbug 
 uncertain whether he had been snubbed or misunderstood. 
 After the engagement in Baltimore, Owens made a 
 brief southern tour; commencing in Augusta, Ga., and 
 closing in Richmond, Ya. On his arrival in the latter 
 city (where he had not played since 1857), a committee 
 of leading citizens waited upon him to request that 
 he would favor the public with the performance of 
 "John Unit" He cheerfully complied, remembering 
 with pleasure the long-ago success of "Self" and the 
 episode of the snow storm which delayed his first night 
 in Richmond. Many of the persons who witnessed it 
 then were among the audience of May 10th, 1872. The 
 Richmond papers became reminiscent, and printed the 
 original cast and criticisms. After the curtain fell on 
 
JOHN E. OWENS. 201 
 
 "Self" Mr. Owens received warm congratulations on his 
 success, and ultra perfection as John Unit. Strenuous 
 efforts were made to induce him to prolong his engage- 
 ment; but to these flattering appeals he was unable to 
 respond affirmatively, though tendering his regrets at his 
 inability to do so. The warm days had prematurely 
 commenced in springtime, and Mr. Owens was desirous 
 of entering upon his summer vacation at home. 
 
 I don't know whether, on this occasion, it was rest 
 he was impatient to attain, as the fact that he had in 
 prospect sundry improvements on the farm, in the way 
 of fencing, ditching, &c, which he was eager to set going. 
 Nothing delighted him more than to have the place 
 pervaded with laborers ; and to give occupation to those 
 who asked for it was his constant rule. The invariable 
 direction to his farm manager being : " Never refuse an 
 application for employment. Don't turn a man away ; 
 make work for him." On one occasion he had a long 
 line of fence moved a few feet back, and six months 
 later returned to its original position. I always believed 
 it was done for the sole purpose of giving employment 
 
 to Tom B , who by the way, was a favorite with 
 
 Mr. Owens. He often said, that Diogenes' lantern- 
 hunt for an honest man would have come to a speedy 
 termination had he met B . 
 
 Away from home once, Mr. Owens had occasion to 
 write to B — , relative to some fencing ; and as many 
 
202 MEMOKIES OF 
 
 of the same name lived in Baltimore County, he was 
 puzzled about directing the letter so as to insure its being 
 received. Jocosely, he said : " I'll indicate him by a 
 
 quotation ; " and wrote " Thomas B , ' a man skilled 
 
 in fence.' " The letter was delivered to the right man ; 
 
 though B was serenely unconscious of the witty 
 
 address. 
 
 Having enjoyed a delightful summer at home, Owens 
 began his next season in Brooklyn at the Park Theatre, 
 September 2d, 1872. During the vacation he had or- 
 ganized a company to support him in a starring tour of 
 thirty-seven weeks ; playing in one hundred and thirty- 
 seven towns. The perfection of this undertaking was 
 then a laborious task ; for it was in the early days of 
 such continuous travel, and unattended with the present 
 facilities. The result, however, was eminently satis- 
 factory. A well selected company of marked ability 
 rendered the various plays admirably. The leading 
 lady, Mrs. John T. Raymond (known professionally as 
 " Marie Gordon "), proved an immense favorite every- 
 where. After a fortnight in Brooklyn, the cities of 
 Albany, Utica, and others in New York state came in 
 rotation; from thence a tour of the western towns en 
 route for Cincinnati. There at Pike's Opera House 
 he played the most brilliant engagement of his many 
 great ones in the Queen city. The Heir at Law, Poor 
 Gentleman, The Rivals, Sweethearts and Wives and other 
 
MR. OWENS as PAUL PRY. 
 
JOHN E. OWENS. 203 
 
 popular comedies from his extensive repertoire filled the 
 time with varied attractions; and the public rendered 
 hearty tribute to his versatility. 
 
 By especial request he played " Paul Pry" that having 
 been a favorite during his early engagements in Cincin- 
 nati. Owens was regarded as one of the best Paul Prys. 
 He gave a piquant delineation of that eccentric character, 
 rendering the full quota of dry humor without the 
 slightest shade of buffoonery. The play of features, so 
 expressive, testified his marvellous mobility of counten- 
 ance — his magnetic eye-power was wonderful ; and the 
 artistic judgment with which he used these gifts, rendered 
 the effect charmingly natural. His laugh was so hearty 
 and genuine that it was echoed by all who heard it. 
 The blunders unwittingly committed by Paul Pry were 
 intensified in ludicrousness by the surprise he evinced 
 at the resentment of those for whom he persisted "he 
 was doing a kind act." No description can do justice 
 to Owens' portrayal of this character, or to the manner 
 in which he vividly brought out the idea of the play, 
 that Paul Pry was not the mar-plot of the piece but 
 rather the ma&e-plot ; for on his meddling hinges the 
 working out of events. 
 
 While in Cincinnati, going to rehearsal one morning, the 
 comedian encountered a brisk little man, who greeted him 
 with the stereotyped salutation, "You don't remember 
 me, Mr. Owens?" Scarcely waiting for response, he 
 
204 MEMORIES OF 
 
 continued, " I was in your company when you managed 
 the Charles Street Theatre, Baltimore. Don't you recol- 
 lect when we made that big hit with the ( Comedy of 
 
 Errors ? ' I played the officer." " Oh, it's C » said 
 
 Owens, laughing; for he at last recognized a whilom 
 factotum who, on the occasion referred to, had been 
 entrusted with one line to speak. Breaking down hope- 
 lessly the first night, a tap on the shoulder was thereafter 
 substituted for the few words (and that was how we made 
 
 the hit). "Well, C ," inquired Mr. Owens, "at 
 
 which of the theatres are you now ? " " Oh, I've cut 
 the the-ay-ters," disdainfully replied the youth, "I am 
 in the book business ; that is our establishment, across 
 the street." 
 
 The large and handsome store indicated betokened 
 
 wealth incompatible with C 's costume. Making a 
 
 margin for eccentricity, Owens congratulated his former 
 employe on this rapid advancement in prosperity. " Yes, 
 indeed, Mr. Owens, I am indeed much better off; I'm 
 doing fust rate. The-ay-ters are low, except for stars 
 like you. Well, good-by, sir, I have to be on the 
 Hamilton & Dayton train by schedule time, and I've got 
 to call for my books, peanuts and other things." The 
 train-boy hurried away, all unconscious of the amusement 
 he had afforded Mr. Owens by the denouement of his 
 real occupation, so entirely at variance with his assump- 
 tion of mercantile importance. 
 
JOHN E. OWENS. 205 
 
 From Cincinnati Owens went to Lexington for two 
 nights, thence to Louisville; and in the latter city he 
 played at the Masonic Temple, the large auditorium 
 being crowded all the week. He was the recipient of 
 much complimentary congratulation, both from his old 
 friends and from strangers; the latter often using the 
 mail only, as a medium to convey expression of their 
 commendation. Among the many letters received from 
 unknown admirers was an eminently piquant one, whose 
 envelope bore the following doggerel address : 
 
 "To Mr. Solon Shingle, 
 
 A dealer in Produce; 
 'Tis apple sass, he calls it 
 
 (That's apples biled in juice). 
 His alias, 'John E. Owen] 
 
 An actor rare, all know. 
 He plays De Boots and Solon, 
 
 And I play — this for low ! 
 Please leave this at the Temple, 
 
 Where Masons congregate, 
 In Louisville (Fall city), 
 
 In old Kentucky State." 
 
CHAPTER IX. 
 
 Bleak weather — Weighing Baggage — Comic sequence — " Where's your 
 brass band?" — A boy's guileless letter — Two winters in nine 
 months — Illness and death of the Hon. Frederick Pinkney — The 
 bond of masonry — A colored brother — An "interrogated" leg — 
 Season of 1873-74 — Arch Street Theatre, Philadelphia — " Joshua 
 Butterby" Presentation Scene — A French valet — A patent boot-jack 
 — "Timothy Toodles" — The big chandelier — Mobile — Disaster en 
 route to Selma — Stranded in Greenville, Ala. — A gentle Alsacian 
 priest — Journeying in an ox-cart — Montgomery — "A committee 
 (?) of one " — A recreative fortnight in the Crescent city. 
 
 n FTER Louisville the tour was westward, and be- 
 came fraught with much fatiguing travel. The 
 weather was unusually severe, even for that inclement 
 locality. Heavy snow-storms often prolonged the jour- 
 neys; and though Mr. Owens endeavored by frequent 
 use of special trains, and in many, other ways, to insure 
 the comfort of his combination, it was impossible to 
 entirely obviate great fatigue. His sturdy health and 
 buoyant nature rendered him equal to emergencies, 
 and many a jest and laugh arose from taking a mishap 
 in its ludicrous aspect. The flagging spirits of the 
 company revived to a pleasant degree ; and at night, 
 206 
 
JOHN E. OWENS. 207 
 
 before a brilliant audience, they forgot the discomforts 
 of travel. 
 
 Snow-bound trains made many delays. The afternoon 
 
 before Christmas the combination, overdue at B , 
 
 arrived just as the official in charge of the baggage-room 
 was preparing to leave the station. Hurriedly approach- 
 ing him, Owens said : " Please check my baggage quickly 
 as possible ; it is important for me to make connection to 
 Milwaukee." Gruffly inquiring " Where is it?" the 
 baggage master had the stack of over fifty trunks pointed 
 out to him, with the information that "it was the 
 ( Owens Combination ' luggage." " You'll have to pay 
 extra baggage," snarled the man. "I don't think so, 
 because — " began Owens, mildly. " Tell you, yes ; tell 
 you that baggage is far over weight." " But," suggested 
 Owens, " if you will listen to — " " No, I won't listen. 
 Aint here to listen to nonsense. I'll weigh that baggage." 
 " You are giving yourself needless trouble, I can show 
 you — " " Don't want you to show me anything ; " and 
 the official savagely began to wrestle with the trunks, 
 throwing them one by one viciously on the scales. 
 "Well, if you insist on fatiguing yourself, I'll leave 
 you," said Owens, retiring to the waiting-room. 
 
 After having remained there awhile, and becoming 
 partially thawed, he returned to the scene of baggage 
 weighing ; and again endeavored to expostulate on the 
 subject, but could not obtain a hearing. When the last 
 
208 MEMORIES OF 
 
 trunk was crashed down, the official made a memo- 
 randum of the aggregate weight, and calling to Mr. 
 Owens, said: "Now, I'll talk to you; you owe $38.98 
 for extra baggage. Got anything to say, eh ? " " Yes, 
 I have ; and I wish you had permitted me to say it 
 sooner. This," handing him a note, "is an order from 
 the Superintendent of the road, to pass all of my baggage 
 free of extra charge." 
 
 Inspecting the document, and finding it genuine, the 
 man became voluble in expletives ; and indignantly de- 
 manded, " Why didn't you tell me you had this paper ? " 
 " Because you wouldn't allow me to speak," was the 
 reply, in a comically meek voice. A sense of his self- 
 inflicted labor seemed to impress the baggage master as 
 rather a grim joke. After a pause, he broke into a 
 laugh, and said : " It's a big sell ; you come out ahead. 
 Good night." 
 
 The snow continued to fall, and all trains being 
 belated, there was no prospect of reaching the next 
 town for performance. Hope was now limited to arriv- 
 ing there, in time to secure a night's rest. 
 
 At nine p. m. the officials returned to the station to 
 be on duty, in event of arrival of trains ; though the 
 violence of the storm rendered that occurrence improba- 
 ble. At midnight, the baggage master, whose incipient 
 dislike to Owens had changed to reverse feeling, came to 
 him, saying : " There will be no travel to-night ; I want 
 
JOHN E. OWENS. 209 
 
 you to come up to my house ; I can make you comfort- 
 able, and it will give me pleasure to do so." 
 
 Thanking him cordially, Mr. Owens declined the 
 proffered hospitality, preferring to remain with his com- 
 pany in this mishap of travel — -a most disagreeable 
 experience it was, as they passed the entire night in the 
 dreary waiting room. On every subsequent tour, when 
 a change was made at this station, the baggage master 
 would facetiously salute Owens with the query : " Any 
 extra baggage to be weighed to-day? I am not in as 
 great a hurry to get home as I was on Christmas eve," 
 &c, &c. It was a chronic joke between them ; and the 
 acquaintance, which began in a wrangle, was afterwards 
 fraught with many a pleasant encounter. 
 
 The westward travel continued as far as Omaha, and 
 despite some personal discomfort, was satisfactory. In 
 the small towns at this time the advent of a promi- 
 nent theatrical star was a novelty which was variously 
 responded to ; appreciatively by some, whilst others, 
 accustomed only to a circus, stereopticon, or moral lec- 
 ture, were puzzled as to the nature of the coming enter- 
 tainment. Numerous and diverse were the interrogations, 
 but none more absurd than that propounded to one of 
 the ladies of the company. As she was leaving the 
 dining room, the landlord's wife intercepted her, and 
 the following dialogue ensued : "I am going to the 
 show to-night ; what feats does you perform ? I should 
 14 
 
210 MEMORIES OF 
 
 say you was rayther stout to jump through hoops, and 
 just a leetle too old." " Think so?" "Yes, I guess 
 you hev to take a back seat and let the youngsters 
 do them tricks now?" "Oh, no, it is as easy to me 
 as when I was younger. Couldn't go through hoops 
 and over ribbons a bit better then." " Well, well, I 
 shouldn't 'a thought it; I mean to see you to-night 
 for certain." "I hope you will be pleased," was the 
 merry rejoinder. 
 
 At one of the hotels a citizen, who was lounging in 
 the office, inquired : " Mister, do you belong to the show 
 that's just got here ? " " No," said Owens, " the show 
 belongs to me." " Well, where's your horses ; where's 
 your brass band ? " Eyeing the man quizzically, the 
 comedian remarked : " This is not a circus, my friend, and 
 there is nothing brazen about the company ; as for my- 
 self I pose as the most modest individual and rely upon 
 the public to discern my merit." Chaffing seemed to 
 irritate the questioner, as he rejoinded : " I don't know 
 what stuff you are talking, but I can tell you we expect 
 a brass band ; no show catches on in this town without 
 it; make no mistake, mister." The auditorium at night 
 proved the individual a false prophet. Retracing the 
 route from Omaha, Owens played in Kansas City and 
 other towns until he arrived at St. Louis, where he 
 opened at De Bar's Theatre, January 20th, 1873. The 
 seven performances here were eminently satisfactory, 
 
JOHN E. OWENS. 211 
 
 which was peculiarly gratifying in view of the unpro- 
 pitious weather — cold, sleet, and snow prevailing. 
 
 The day before we left St. Louis, Mr. Owens received 
 a letter, the superscription of which was in a boyish 
 hand-writing. It contained a small photograph of a 
 handsome lad and these lines : 
 
 "Dear Mr. Owens,— 
 
 "I want you to see a boy you have made happy. Father says 
 
 I'd be a bother to you if I went to the hotel; so I send my 
 
 picture, and tell you I've seen you play ever so often. I laughed 
 
 and laughed — why, I just hollered. Now, Mr. Owens, some time 
 
 when I'm bigger — I'm going on twelve now — will you give me 
 
 your picture? I'd be so glad to get it. No more at present from 
 
 Andrew L , 
 
 "who lives at No. — Olive St." 
 
 The naivete and earnestness of the boy was charming. 
 I don't know when Mr. Owens was more pleased with a 
 letter. His photograph and a few genial words were 
 speedily sent in response. 
 
 After six nights at Memphis, Tenn., Owens proceeded 
 to New Orleans, where he appeared at the Varieties 
 Theatre, February 3d, as "Major DeBoots" and "Solon 
 Shingle" The transition from the rigor of winter 
 (endured for so many weeks) to this genial climate was 
 delightful ; and the entire fortnight was an epitome of 
 pleasant hours to the comedian, his personal friends and 
 many admirers. Until March the time was filled with 
 
212 MEMORIES OF 
 
 southern travel from Mobile to Kichmond. The tour 
 then extended through the states of Pennsylvania and 
 New York ; thence playing the New England circuit 
 as far north as Portland and Bangor, Maine. 
 
 Mr. Owens always inspected the setting of the stage 
 before the curtain went up, so as to be sure that the 
 properties, &c, were in place. In one of the small 
 eastern towns, after the customary precaution, he called 
 to a friend who was standing at the wing : " Come 
 here ; I have something to tell you. This theatre is 
 remarkable; the management intends to make a horse 
 piece of Solon Shingle. I have played old Solon many 
 hundred times, and under various circumstances ; but I 
 never thought the part would lead me to the equestrian 
 drama ! " " What do you mean ? " asked the puzzled 
 listener. Crossing over to the witness-box, Owens threw 
 up the drapery, and disclosed a wooden clothes-horse 
 which had been utilized to improvise the witness-stand. 
 " There, look at the fiery steed ! Doesn't it suggest the 
 circus ring and the odor of sawdust ?" They both 
 laughed at the " sell," and Owens rejoined, " The entire 
 vamped set is so outrageously dismal, that I either had 
 to fly into a rage, or make a joke ; and I chose the latter 
 alternative, even though I had but feeble foundation." 
 
 The route recently spoken of brought to Owens and 
 his company the singular experience of two winters in 
 nine months, with a summer intervening. In January 
 
JOHN E. OWENS. 213 
 
 they left the western cities, where the extreme cold tested 
 the limit of thermometers ; proceeding southward, they 
 basked in summer temperature for two months, and then 
 journeyed northward to Maine, where winter reigned 
 supreme — no vehicles but sleighs being available. Later 
 on, in the state of New York, this season drew to a close. 
 The last performance was given in Troy, terminating a 
 tour of thirty-six weeks. 
 
 An abridgment of one week was caused by illness at 
 Aigburth Yale — illness unto death of Mr. Frederick 
 Pinkney, a near and dear friend who was visiting there. 
 When we were apprised by telegram that Mr. Pinkney's 
 case was hopeless, and liable at any moment to terminate 
 fatally, Mr. Owens arranged to close the season, and 
 speedily return home. So desperate was this illness 
 that he feared Mr. Pinkney might not survive many 
 hours. Fortunately he rallied, and was sufficiently 
 conscious to affectionately recognize Mr. Owens on his 
 arrival. 
 
 He continued to fluctuate in strength, sometimes equal 
 to conversing, but often oblivious of those around. It 
 was a mournful satisfaction for Mr. Owens to be near 
 him for the three weeks of his survival ; at the end of 
 which time he passed away, surrounded by his devoted 
 family and friends. 
 
 Frederick Pinkney held so prominent and exalted a 
 position in life, that not only was he mourned by his 
 
214 MEMORIES OF 
 
 bereaved family, but his death was an irreparable loss to 
 his own city. He was one of Maryland's representative 
 men. A son of the Hon. William Pinkney, the illus- 
 trious statesman ; he had inherited his father's acute and 
 comprehensive intellect, and early distinguished himself 
 in legal lore. Being of a retiring nature, he did not 
 share the ambition of his father for public life, but con- 
 fined himself to the practice of law, in addition to the 
 office he held as Deputy State's Attorney. 
 
 His scholarly attainment in all branches of science 
 was great, his erudition unsurpassed ; as a poet, he was 
 unusually gifted. But beyond wisdom, learning and 
 talent, he left even a more precious heritage of remem- 
 brance to his family in the record of his personal char- 
 acter, which was manly, pure and unimpeachable. The 
 devoted affection of his domestic life was equal in force 
 to the acumen evinced with sagacious jurisdiction in 
 discharge of his public duties. 
 
 Mr. Owens passed the remainder of the summer at 
 Aigburth Vale. His presence at home was always a 
 delight, not only to his family, but most welcome to 
 those employed on the farm. They were pleased by the 
 interest he manifested in the work which had been done 
 during his absence ; and the fact that he listened to every 
 detail, increased their satisfaction. Moreover, from the 
 farm manager down to the herding boy each held the 
 firm belief that "the master" cared for their personal 
 
JOHN E. OWENS. 215 
 
 joys and sorrows ; and they came to him for advice, sure 
 of ready sympathy and (if needed) assistance. 
 
 A marked trait in his nature was consideration 
 for the feelings of his inferiors. I remember one day 
 when he had been in the city since early morn; as he 
 drove up to the house one of the farm hands met him 
 when he alighted from the carriage and said : " Oh, Mr. 
 Owens, I'm thankful you've gotten back. Please come 
 to see my boy Dave, and tell me what to do for him. 
 He has had a fall, and I'm afeared his leg is interrogated. 
 I've rubbed it with merriment, but it's no good — he cries 
 all the time." Some one standing by broke into laughter 
 at these malapropisms. Mr. Owens rebuked this sharply, 
 adding : " There's nothing amusing in a man's distress, 
 or the boy having dislocated his leg. Go for a doctor 
 instead of grinning over suffering." Then turning to 
 the anxious father, he said : " Come, we will go to Dave 
 and stay with him till the doctor arrives." 
 
 There was an old colored man on the farm who had 
 been a servant in our family for many years. He was 
 devoted to Mr. Owens, not only for the kindness he 
 received, but under the fancied impression that the bond 
 of free masonry existed between them ; the latter delusion 
 Mr. Owens encouraged, because it amused him to hear 
 Luther talk, and gratified the old man to know that 
 he could come to " Marse John " with his troubles and 
 ask advice. I have heard him say to the other farm 
 
216 MEMORIES OF 
 
 people : " We just passes the signs and ' Marse John y 
 knows almost before I axes what I wants. Dat's de 
 good of being brudder masons. " 
 
 The old fellow, years before, had a legacy of a piece 
 of land with a little house on it ; but his title was dis- 
 puted by the heirs-at-law, and litigation ensued. The 
 dignity of "a lawsuit" was a matter of great pride to 
 him, and rendered him somewhat important with his 
 associates ; but still he was anxious to come in possession 
 of his land. Mr. Owens tried to arrange matters for 
 him, but "the law's delays" seemed insurmountable. 
 One day he came from town (where he had asked per- 
 mission to go " to look after my lawsuit "), and, radiant 
 with delight, he sought Mr. Owens, exclaiming : " Marse 
 John, I've seed my lawyer, and sure as you is bawn he'll 
 fix things for me now." 
 
 "Tell me all about it, Luther." "Well, sah, I 
 
 went to Lawyer B 's office ; thar' was a gemlan 
 
 thar' with him ; and he 'sensed hisself so as to talk 
 to me, cos he knowed I had to ketch a car. Then 
 he talked to me ; same old story ; wot e he wos sorry, but 
 my case would have to be put off agin.' I just said, 
 werry respectful but werry positive : e It's done been put 
 off too many times a'ready ; if there aint something done 
 soon I'll fling de papers among de jury.' I tell you he 
 was skeered ! He got werry red in de face, and made 
 believe to laugh. The other gemlan come over to him 
 
JOHN E. OWENS. 217 
 
 and says : ' For mercy sake, B -, hurry up that case ; 
 
 if the old man does what he says he will the court will 
 be broken up ! then what's to become of the country ? ■ 
 Yes, Marse John, I skeered 'em awful, and they das' sent 
 keep me out of my rights now." 
 
 "Marse John" had almost as much difficulty to control 
 his amusement as had the lawyer, but took care not to 
 wound Luther's feelings by rendering it perceptible. He 
 gave him words of good cheer, but cautioned him not to 
 be too hopeful of settlement. 
 
 When the summer rest of 1873 was over, Owens 
 resumed his professional work, supported by his own 
 company ; opening at the Arch Street Theatre, Phila- 
 delphia, in " Victims" and "Solon Shingle." The delicious 
 humor of the comedian was never more thoroughly 
 enjoyed. To render Joshua Butterby and Solon Shingle 
 salient creations, could only be possible with a man of 
 absolute genius. In less competent hands, Butterby 
 might have degenerated into buffoonery. To elaborate 
 the coxcomb's peculiarities, and present the character 
 with all its unconscious idiosyncrasies, was a triumph of 
 art. The presentation to Minerva Crane was one of the 
 best comic situations ever seen, and ably handled ; or in 
 other words, " Owens was Butterby throughout the entire 
 play." 
 
 Possibly, but few reflected how much had been 
 achieved in making " Victims " a success. The comedy 
 
218 MEMORIES OF 
 
 was produced by others with strong casts, in various 
 cities, but never attained prominence. " Butterby " was 
 not considered the star part, and when Mr. Owens 
 assumed it as such, much wonderment was expressed ; 
 but this surprise merged into admiration, when he made 
 it so brilliant a feature as to insure success for a comedy 
 which had hitherto been a comparative failure in this 
 country. Thenceforth "Victims" was incorporated with 
 his repertoire, and gradually became associated with his 
 name solely. 
 
 "Everybody's Friend" and "Forty Winks" filled the 
 second week at the Arch Street Theatre, except one night 
 when the "Poor Gentleman" was given by particular 
 request, and Doctor Ollapod was personated with the usual 
 dashing manner and delicious humor of the comedian. 
 
 The day Mr. Owens arrived in Philadelphia, he was 
 importuned by a shabby-genteel Frenchman for employ- 
 ment as valet or stage dresser. The applicant received the 
 reply : " I can't give you either position. I couldn't be 
 bothered with a valet, and my wife is always my dresser j 
 but I'll see if I can place you elsewhere." The man spoke 
 his native language with pure accent, and seemed to be 
 well educated. He was enrolled as factotum ; but the only 
 perceptible use he appeared to be, was to give Mr. Owens 
 practice in the French language — it being understood 
 that all communications between them should be thus 
 spoken. Mr. Owens suggested that it would be well for 
 
MR. OWENS as JOSHUA BUTTERBY 
 In "Victims." 
 
JOHN E. OWENS. 219 
 
 me to instruct this man in regard to costumes, &c., so 
 that he could be utilized in event of my absence through 
 sickness, or other contingency. 
 
 At the close of the week I was called home to remain 
 
 over Sunday. Having thoroughly drilled De R 
 
 about the dress and properties for "Butterby" and 
 "Solon" I hoped that all would be right. Returning on 
 Monday, I went direct to the theatre to arrange costumes 
 for change of bill. I found the Frenchman in the dress- 
 ing-room, and asked : " Did you have everything right 
 Saturday evening ?" " Parfaitement, Madame. True, 
 I forget to give Monsieur ze spectacle for So-lon ; but of 
 himself he remember, before ze entrez, and did return for 
 zem. Not, Madame, dat ze leetle zing like unto such trifle 
 would make difPerance to so great actor. He would say 
 somesing to turn him off." I could not repress a smile at 
 this blissful ignorance of the importance of properties 
 evolving the action of the play. I quietly remarked : 
 " You are right ; he would have said something ,? — men- 
 tally adding, " something that would have startled you." 
 
 As weeks rolled on the factotum grew to be such an 
 ardent admirer of Mr. Owens' acting that he hung about 
 the wings of the stage and was a chronic hindrance to 
 everyone behind the scenes ; he, moreover, became stage- 
 struck, purchased play-books, and grew absorbed in them 
 to the exclusion of all occupation. Worse yet, he took 
 to drink, and assigned as an excuse that " he didn't care 
 
220 MEMORIES OF 
 
 to live if he couldn't be an actor." After much patient 
 endurance he was discharged. 
 
 A few days afterwards a package was received, and 
 
 with it a note from De B, , the latter written in 
 
 broken English, and of the wildest tenor. Depths of 
 grief to begin with ; followed by a request for the loan of 
 five dollars, to take him to his dying son ; followed up with 
 the matter-of-fact statement : " I present to you a patent 
 boot-jack ; in ze future I will explain him. P. S. — I wait 
 below for ze money, and ze train leave in an hour." 
 
 For a moment after reading this effusion Mr. Owens 
 hesitated between anger and amusement, but finally laughed 
 at the absurdity and sangfroid of the writer, saying : " I 
 think the fellow is either crazy or a fraud ; but I may as 
 well give him the money ; perhaps he really has a dying 
 
 son." So he went down stairs and sent De R to the 
 
 alleged train, and no more was ever heard of him. 
 
 After the conclusion of the engagement in Philadel- 
 phia, two prosperous weeks were filled at Pike's Opera 
 House, Cincinnati, with " The Heir at Law," " The 
 Poor Gentleman" " Siveethearts and Wives," and other 
 comedies, together with " Solon Shingle " and several 
 farces. Among the latter " Toodles " was in great favor. 
 In the character of " Timothy Toodles " Owens was sui 
 generis. Long ago he had received the high commen- 
 dation of comparing favorably with William E. Burton 
 (who was the original Toodles in this country). Avoid- 
 
JOHN E. OWENS. 221 
 
 ing the broadness which marred the effect of that great 
 actor's rendition of the part, he adhered to his own concep- 
 tion. His drunken scene was original, and excruciatingly 
 funny, but devoid of coarseness. With the finest instinct 
 for humor, he never permitted anything coarse or vulgar to 
 find place in language or situations of the parts he played. 
 Returning to Baltimore, he appeared at Ford's Grand 
 Opera House for a week, thence to Washington, dupli- 
 cating the performances and success; after which he 
 made a tour through the State of New York. In the 
 cities business was excellent, and audiences appreciative ; 
 but in the smaller towns the houses were not uniformly 
 good. In one of these places (where expectations of 
 manager and star were unfulfilled) the weather was dis- 
 mally rainy, the hotel unbearable ; aggregating a feeling 
 of general dissatisfaction. Mr. Owens, while changing 
 to his street costume, said : " Well, it is a one-night 
 stand, let it go and be forgotten." He never dwelt on 
 disagreeable matters, and did not like to have them dis- 
 cussed. As we were quitting the theatre his agent came 
 
 forward to meet him, saying : " Mr. H , a prominent 
 
 citizen of this town, requests to be introduced to you." 
 I knew that Mr. Owens was not in a mood for conver- 
 sation ; but the gentleman had advanced, and the inevi- 
 table introduction took place. Of course, Mr. Owens 
 (though annoyed) was polite ; but the coolness of his 
 courtesy increased as, with mistaken zeal, Mr. H 
 
222 MEMORIES OF 
 
 indulged in stupid retrospection and fulsome praise of 
 the comedian's acting, adding that " he himself once had 
 an idea of going on the stage." By and by Mr. Owens 
 began to extract amusement from the interview, and 
 became sarcastic in a humorous way. Utterly uncon- 
 scious of the shafts aimed against him, Mr. H con- 
 tinued his meandering remarks, verging into regrets that 
 the house had not been crowded, and lamenting that the 
 engagement had occurred at such an inauspicious time. 
 
 " Ah ! I begin to understand," said Owens, " Mr. 
 Brown raffles a turkey to-night?" "Oh, no," was the 
 eager response. "Well, then, Mrs. Robinson gives a 
 party ; I am sure there must be some counter-attraction 
 in town." "That's just it," innocently rejoined Mr. 
 H . " Local election excitement ; that is what inter- 
 feres with amusement, but please don't give us the go by ; 
 try us another time." This imperturbable earnestness of 
 manner quite conquered the irritability of the comedian ; 
 he merged into a genial mood, and made himself so 
 agreeable that the interview terminated pleasantly. 
 
 A successful fortnight at the Park Theatre, Brooklyn, 
 was followed by a tour westward through Ohio, Indiana 
 and Illinois, arriving in Chicago for an engagement 
 beginning January 18th, during which time he pre- 
 sented many of his famous characters. All were appre- 
 ciated, but none received greater praise than his portrayal 
 of " Caleb Plummer." In Chicago, as elsewhere, this 
 
JOHN E. OWENS. 223 
 
 was a favorite part, and so closely associated with Owens, 
 that in its consistency and fidelity to nature, he was 
 recognized as peerless and inimitable. Through Wis- 
 consin, Minnesota and Kentucky, the principal towns 
 were visited, and though the travel proved tiresome at 
 times, it had its bright side of pleasant happenings, and 
 good business results. Inevitable discomforts are easily 
 borne, when one has a light heart and good health ; and 
 the happy faculty of brightening the tedium by a good 
 laugh at amusing or absurd occurrences of daily life. 
 
 Arriving at midnight in one of the towns, Owens had 
 the gratification of finding that the small hotel was, at 
 least, clean and neat. Next morning, he went out for 
 a drive, the surrounding country being picturesque and 
 beautiful. Before leaving the hotel, instructions were 
 given to have the room put in order during his absence. 
 At one P. M. he returned, much exhilarated by the drive, 
 and proceeded to his room to write important letters, but 
 found the place still in disorder. Having no bell, the only 
 resource was a loud call for the chambermaid, who lazily 
 sauntered down the hall, inquiring, " wot's up ? " 
 
 When the situation was explained to her, she rejoined : 
 a Oh, that's the fuss. Well, I'll do the room after 
 awhile." " But," remonstrated Mr. Owens, " the day is 
 half gone ; I wish to write, and I can't sit down in such 
 disorder!" This appeal was met by a burst of tears, 
 with loud wailing and, between sobs, ejaculations of: 
 
224 MEMORIES OF 
 
 "I can't a-bear to be scolded: I ain't used to work. 
 My pah, he got burnt out, or I shouldn't be here now. 
 I ain't no common chambermaid." " I believe you ; 
 you are a very uncommon one," and sotto voce, "I 
 hope there are none like you." " Don't cry any more." 
 Suddenly drying her tears, she said : " Say, Mister, now 
 you're talking straight ; and if you'll give me two passes 
 for the show, I'll fix these things in a jiffy." "All 
 right," said Mr. Owens, beating a hasty retreat to escape 
 details of how " pah got burnt out of house and home ; 
 and we gals had to go to work," &c. 
 
 In another town a new hotel had just been completed, 
 the size, furnishing and appointments of which were 
 many years in advance of the locality. ~No famous star, 
 had yet appeared in this town ; and the announcement 
 of Owens created a great excitement, not only in the 
 town, but the country around it. The proprietor of the 
 hotel (a former citizen of New York) was delighted to 
 have him for a guest, and assigned to his use the best 
 room in the house ; remarking, as he handed the key : 
 " I want you to notice the chandelier ; I am rather proud 
 of it." 
 
 When the porter brought the trunks to the room, he 
 paused a moment, and with upward gaze, exclaimed : 
 " I don't suppose New York City has a chandelier equal 
 to that." The chambermaid seemed awe-stricken that 
 anyone should occupy a room decorated with such a 
 
JOHN E. OWENS. 225 
 
 chandelier; and when her attention was called to the 
 lack of towels and the scarcity of blankets, she failed 
 to recognize the possibility of discomfort where that 
 chandelier could be contemplated. The dinner was 
 unsatisfactory ; but request for food more palatable was 
 ignored by the waiter remarking : " You is in 39, I 
 believe, wid de big chandelier. Reckon you never seed 
 anything like it before ! " The fireman failing to start 
 the fire properly, thought he apologized fully by the 
 assertion : " I was just looking at that chandelier." 
 
 In fine, it was considered an adequate recompense for 
 all manner of discomforts. This pertinacity grew so 
 ludicrous as to be amusing to Mr. Owens ; but preferring 
 comfort to splendor, he asked to have his room changed. 
 The amazement of the proprietor cannot be described — he 
 exclaimed : " What ! don't like that room with the big 
 chandelier ? I am surprised." " My friend, its mag- 
 nificence demoralizes all who approach it. I need towels, 
 fire and other e very-day comforts, and to secure these, 
 will gladly dispense with any amount of crystal and gas." 
 The proprietor, with a puzzled manner, said : " You're 
 always getting off some joke ; all the same I'll change 
 your room to 42 — but," with a sigh, "I gave you the 
 best in the house, and I did think you'd appreciate the 
 big chandelier." 
 
 Proceeding southward, Owens played a week at Mem- 
 phis giving a change of bill nightly, thence to Mobile for 
 15 
 
226 MEMORIES OF 
 
 seven performances. Many " theatre parties " came over 
 from New Orleans, thus bringing pleasant intercourse 
 with old friends. Bright skies and summer temperature 
 prevailed until Saturday, when a heavy rain set in. The 
 company, under the charge of Theodore Hamilton (busi- 
 ness manager), left the city after the final performance ; 
 taking the midnight train for Selma, Alabama, where per- 
 formance was announced for Monday following. During 
 the afternoon telegrams had been received, stating that 
 all reserved seats were sold, and a jammed house would 
 greet the star on his first appearance in Selma. 
 
 Mr. Owens had promised some friends to remain in 
 Mobile until Sunday evening. The rain increased in 
 violence throughout the day, flooding the streets, so that 
 it was with difficulty we could drive to the station at 
 eight p. M. Arriving there, the prospect for the journey 
 was discouraging. All through the night the train made 
 frequent stoppages, owing to inundation. At seven A. M. 
 the difficulty of progress culminated with a crash. The 
 engine had passed over a submerged culvert, but the 
 tender jumped the track, and all the cars except the 
 two sleepers were smashed to fragments. Fortunately 
 most of the passengers had, an hour earlier, exchanged 
 to the Pullman cars, as the water was pouring in the 
 windows of the day coaches. 
 
 With insecure bridges on either side, to advance or 
 proceed was equally dangerous. After remaining twenty- 
 
JOHN E. OWENS. 227 
 
 four hours iu this stranded condition, the passengers piloted 
 by the conductor, braved the rain, and walked back to 
 Greenville, Alabama. The disagreeableness of this four 
 miles' tramp through mud and over dilapidated bridges, 
 from which the flooring had been partly washed away, re- 
 quired nerve and strength. But anything was better than 
 sitting by the roadside. When the weary pedestrians 
 arrived at Greenville, the plain hotel seemed to them a 
 palatial refuge from temporary hardship and fatigue. 
 Three days' delay ensued, telegraphic wires being down, 
 communication with the outer world was impossible. 
 
 Among the passengers was an Alsacian priest, whose 
 knowledge of the English language was limited. He 
 attached himself to Mr. Owens, courteously requesting to 
 be seated by him at the table — gently explaining : " I 
 can receive ze word zat you speak ; but I no comprenez 
 ze rapide talk wiz ze mutter." Ways and means of pro- 
 ceeding on the journey, of course led all conversation ; 
 and theories were advanced, more or less impracticable. 
 When the opinion of the Alsacian priest was asked, he 
 invariably looked at Mr. Owens with a beaming smile, 
 and replied : " I sail do whatever zis gentleman do." 
 Mr. Owens afterwards laughingly said " he had never 
 expected to attain the high position of mentor to a holy 
 Father." 
 
 On the fourth day conductor Howard gave the welcome 
 tidings that a resumption of our journey was possible for 
 
228 MEMORIES OF 
 
 those who were willing to encounter rough travel. Most 
 of the passengers declined, preferring to wait until com- 
 fortable transit could be had. The Alsacian priest, a 
 Hebrew drummer, Mr. Owens and myself were all who 
 bore the conductor company an hour later. A wagon 
 drawn by oxen jolted the party over seven miles to a 
 junction ; there exchanging to a hand-car, propelled by 
 relays of laborers on the railroad, they crossed the crib- 
 bing and trestles of the dilapidated road until a station 
 was reached, where travel was resumed with all the 
 comforts of a well-appointed train. 
 
 All this time Mr. Owens was in ignorance of the 
 movements of his company ; knowing only that his 
 detention had entailed upon him heavy pecuniary loss. 
 Arriving in Montgomery, he found the company waiting 
 there, and learned that the immense audience in Selma 
 had been dismissed, after which the company proceeded 
 to Montgomery, where they gave two performances with 
 meagre results. He never fretted over mishaps, or allowed 
 them to dwell in his memory. Quickly relegating the 
 Greenville disaster to the past, it was not spoken of 
 again, save to mention some amusing occurrence of the 
 four days 7 isolation. 
 
 A continuance of the southern trip extended to Atlanta, 
 Augusta, Savannah, Macon and Columbus, Ga. ; and then 
 the season of thirty weeks terminated. During the final 
 performance, a card was brought to the dressing- 
 
JOHN E. OWENS. 229 
 
 room, bearing the name of an old acquaintance, and a 
 pencilled line : " Can I see you, just for a moment ? " 
 To which query Owens appended the reply, " Yes, if the 
 moment (?) is limited to sixty seconds." The gentleman 
 was ushered in, and after a cordial greeting, he said : 
 " I've been trying to come up with you for three days. 
 Misinformed as to your route, I went to the wrong towns ; 
 but here I am at last, and bent on accomplishing my 
 mission. My dear boy, I am ambassador, committee or 
 aught else you may term it from the powers that be — 
 Charles Howard, lessee of the Varieties Theatre, New 
 Orleans, and the public of the same city; all being 
 desirous to prevail on John E. Owens to manage the 
 theatre next season." 
 
 "Why this pilgrimage? I have already giving a 
 negative reply to Howard's letter offering me that 
 position." "Yes, I know that, but I am freighted 
 with many arguments and much eloquence to change 
 your decision." "Can't talk to you now. Your sixty 
 seconds have vanished long ago. That's my cue — 
 see you after the play — good-bye," said Owens, hur- 
 riedly leaving the room. The interview was resumed, 
 and subject discussed at supper. Urgent persuasion 
 finally gained hearing so far as consent to go on to New 
 Orleans for a visit, and meanwhile, reflect, before utterly 
 rejecting the managerial proposition. A fortnight was de- 
 lightfully passed in the Crescent city, and the final decision 
 
230 MEMORIES OF 
 
 was made to accept the alluring terms to become manager 
 of the Varieties Theatre for the season of 1874-75. 
 
 Leaving New Orleans, by steamer for New York, Mr. 
 Owens remained in the latter city several days, partly for 
 recreation, but more especially that he might take pre- 
 liminary steps towards forming a first class company. 
 The summer vacation at Aigburth Vale was broken by 
 frequent trips to New York on the same business ; never- 
 theless, much delightful home rest and intercourse with 
 friends was enjoyed. 
 
CHAPTER X. 
 
 Preliminary Season of 1874-75— Auspicious opening of Varieties Thea- 
 tre — "School for Scandal" — Owens as Sir Peter Teazle — John 
 McCullough — Political excitement — General Phil Sheridan — En- 
 gagement in Galveston, Texas — Provincial pride — Evoking indig- 
 nation — The town of " Kateyfow" — Chance meeting on cars — 
 " Towsontown" — "There is no such place" — Owens purchases 
 Academy of Music, Charleston, S. C. — John M. Barron — October 
 sport — Hunting dogs — Fever and ague — A mouse story — " Perkyn 
 Middewick" at Ford's Opera House — Christmas jollity — " Our 
 Boys " in Brooklyn — Claude Burroughs — Harry Murdoch — Season 
 1876-76, westward — A heavy coupon — Visit to Lawrence Barrett's 
 Cohasset home — A new play — A telegram — Second visit to California 
 — " Doctor Peter Pangloss," LL. D. and A. S. S. 
 
 'HE dramatic company organized for the season of 
 1874-75, included E. F. Thorne, Chippendale, 
 Laura Don, Ada Gilman and many other talented 
 artists. Before proceeding to New Orleans, Owens 
 supported by this company, played at Mrs. Drew's 
 Arch Street Theatre, Philadelphia, opening August 29 th 
 with " Victims " and " Solon Shingle" the same bill in 
 which he had appeared at this theatre the first night of 
 the previous season. The satisfactory results were equally 
 coincident. A varied programme filled the second week. 
 
 231 
 
232 MEMORIES OF 
 
 In this preliminary season, Brooklyn, Boston, Wash- 
 ington and Baltimore were also included, and in each 
 city the personations of the great comedian were appre- 
 ciatively enjoyed. 
 
 " The School for Scandal" was the comedy selected 
 for the opening of the New Orleans theatre. Close 
 attention having been paid to accurate costumes, stage 
 setting, and thorough rehearsals, the initial performance 
 took place November 4th. Owens' name being a tower 
 of strength, led the cast as " Sir Peter Teazle" that the 
 full force of the company might be utilized to fill the 
 other characters. He assumed the part of " Sir Peter " 
 for this reason only; not being drawn to it with a 
 feeling of inspiration or desiring to achieve a triumph 
 in its representation. 
 
 Possessing keenness as well as quickness of perception, 
 he could not fail to bring into prominence any char- 
 acter he assumed ; therefore his " Sir Peter Teazle " was 
 an excellent performance. It did not reach the brill- 
 iancy of his famous characters, but came quite up to his 
 expectation. Having attained its object in successfully 
 inaugurating the season with a comedy which included 
 the entire company, Owens, after the week allotted to 
 the " School for Scandal," resumed his especial repertoire, 
 and as usual found the public appreciative. Later on he 
 indulged in a rest, and announced " Clancarty" which 
 had for weeks been in process of preparation ; then came 
 
JOHN E. OWENS. 233 
 
 "Belle Lamar" by Dion Boucicault, and several of 
 Bartley Campbell's comedies. 
 
 Guided by managerial experience and good judgment, 
 lie bad purchased the rights to these and other plays. 
 All through his life he bought many original plays, 
 absolutely ; some with a view of adding them to his per- 
 sonal repertoire, others to be available in his managerial 
 capacity. After reading a play, if he deemed it possessed 
 merit, he purchased it for possible future use ; not nar- 
 rowed down by the pressure of needing something new 
 at the moment. Thus thousands of dollars were invested 
 in manuscripts, which are now in my possession. Some 
 of them he used, but even those not tested had the stamp 
 of his approval. 
 
 In addition to the strongly attractive stock company 
 which had been engaged for this New Orleans season, 
 many prominent stars appeared. Lawrence Barrett, John 
 McCullough, Emmett, and others, alternated with the 
 stock performances. The theatre opened with every 
 prospect of a great season ; but its career was gradually 
 overshadowed by much political excitement. A state of 
 unrest had been brewing since the Pitt-Kellogg embroil- 
 ment, and ultimately developed strong antagonistic parties. 
 The influence on the theatres was slightly felt at first, 
 but increased with various phases, and culminated when 
 General Phil Sheridan and his staff were stationed in 
 New Orleans, and martial law declared. This and the 
 
234 MEMORIES OF 
 
 "armed banditti" accusation roused the indignation of 
 southerners ; whilst the northern element in the city 
 were equally hot-headed in asserting their views of the 
 situation. 
 
 The Rotunda of the St. Charles Hotel, and other public 
 places, were thronged by those who excitedly discussed 
 the political crisis. Amusements occupied but little 
 thought. The floating population constituted the main 
 attendance at the theatres ; and the effects of political 
 engrossment became increasedly apparent in the audi- 
 torium, and in the depleted receipts of the box-office. 
 Adelaide Neilson arrived to fulfil her engagement at the 
 St. Charles Theatre, but failed to appear. She speedily 
 discovered that the climate (or the political atmosphere) 
 made her ill ; and cancelling the date left for less tur- 
 bulent localities. At the Varieties Theatre attractions 
 which, under usual circumstances, would have insured 
 crowded houses, failed to draw even moderately well. 
 
 In January, Owens played in Galveston, Texas ; and 
 would have been entirely satisfied with his engagement 
 there except for the intense cold weather, caused by a 
 " norther," which prevailed during the latter part of the 
 time; however, (as he remarked) "it is well to have 
 experience of every peculiarity of one's country." This 
 was his first professional visit to Galveston. The place 
 had much improved since he stopped there en route 
 to another town some years before. At that time he 
 
JOHN E. OWENS. 235 
 
 inquired of the proprietor : " Why don't you have bells 
 in the rooms, and carpets on the floors? " " Good gracious ! 
 sir/' responded the landlord, u we dare not do it. We 
 should lose our custom. Even now we have complaints 
 and discontent about ' putting on too much style.' " 
 
 This position seemed to define the general patronage 
 as comprising a rough element ; which was further veri- 
 fied by some of the rules on the printed placards in the 
 bedrooms : " The proprietor will not be responsible for 
 pistols or bowie knives, except when placed in the office 
 safe. If left under the pillow, they are at the owner's 
 risk. Guests are requested to remove their boots and 
 spurs before retiring," &c. The town had made rapid 
 strides since then ; but, though dearly loved by native 
 born citizens, it was not alluring as a permanent abode, 
 in the view taken by a casual visitor. 
 
 Its magnificent beach, pre-eminent for great width, 
 inspired admiration, and its enterprise commanded appro- 
 bation ; but the climate and other drawbacks deteriorated 
 from its attractiveness to strangers. Viewing matters in 
 this light, Owens unintentionally gave serious offence to 
 a representative citizen of Galveston. Approaching the 
 comedian in an effusive way, he said : " Mr. Owens, 
 you've played a splendid engagement here. We like 
 you, sir ; yes, sir, we like you. I was born in this city, 
 and here have I lived ; and I can safely say that no star 
 ever made a greater impression than yourself." Owens 
 
236 MEMORIES OF 
 
 affably acknowledged the compliment tendered; and 
 the gentleman continued : " You ought to settle here — 
 we will build you a theatre. Make this your home ! " 
 
 Involuntarily came the exclamation, "God forbid!" 
 thereby invoking stormy indignation, and voluble asser- 
 tions of the superiority of " cultured Galveston " to New 
 York and all other cities. The peroration being : " All 
 the world may concede eminence to an actor, but his 
 position is not established until he has passed the ordeal 
 of a Galveston audience, and gained their approval." 
 Without discussing this point Mr. Owens quelled the 
 storm of words by disclaiming intention of giving offence ; 
 explaining that his home was so entirely satisfactory that 
 any suggestion to change it was objectionable. 
 
 The New Orleans season terminated April 3d ; and 
 immediately afterwards Owens, supported by the com- 
 pany, played in some of the smaller southern towns, as 
 well as the more prominent ones — closing in Charleston, 
 S. C, latter part of May. During such a tour it is 
 always a desideratum to book Saturday where one can be 
 comfortably lodged for the Sunday rest. The second 
 week closed in a town where the best hotel was located 
 in the railroad station ; but the noise of incoming and 
 outgoing trains was patiently endured for the sake of 
 good fare and attention received. An unusually compe- 
 tent waiter served us at table, and eagerly recalled his 
 identity by the reminder : " I waited on you at de ole Saint 
 
JOHN E. OWENS. 237 
 
 Charles, in N'Orleans, sah ! " Mr. Owens responded 
 pleasantly, and for the sake of manifesting interest, asked : 
 "Do you have many trains to cater for on Sunday ? " 
 " Kateyfow ! Kateyfow ! " replied the perplexed darkey, 
 " I really don't think dat town is on dis line of road, sah ! " 
 " Perhaps not," said Mr. Owens, drily ; " but I am glad 
 I asked you, because now I know my premises." 
 
 Business all through the southern circuit was excellent. 
 The perfect rendition of the plays by a strong and well 
 rehearsed company, giving additional zest to the enjoy- 
 ment of the performances. 
 
 While Owens was playing in Charleston, S. C, Mr. 
 John Chadwick strongly urged him to purchase the 
 Academy of Music in that city. Mr. Chadwick had 
 been owner of the property for several years. He paid a 
 large sum for it, and subsequently spent many thousands 
 in alterations and improvements upon the building. He 
 still considered it a good investment, but having exten- 
 sive business interests in St. Petersburg, Russia, where 
 his family resided, he was desirous to place all his capital 
 there, and permanently locate in Russia. Strong mana- 
 gerial proclivities inclined Owens favorably to becoming 
 the owner of the Academy of Music ; but in view of the 
 magnitude and importance of the purchase, he required 
 time for reflection. Mr. Chadwick was well content with 
 the promise given, " to think the matter over." 
 
238 MEMORIES OF 
 
 Homeward bound from Charleston, the comedian met a 
 party of New York friends who had been passing the 
 winter in Florida. They intended stopping over in Rich- 
 mond, and were urgent to have him tarry with them ; to 
 this he said " nay " — but invited the party to spend a 
 day at Aigburth Vale when they reached Baltimore. 
 The suggestion was received with pleasure. "I'll meet 
 you in the city ; let me know when you are due there. 
 My address is ' Towsontown, Baltimore County/ " 
 u Quizzing again/' remarked one of the party, " I never 
 heard of Towsontown — don't believe there is such a 
 place ! " " Nor I ! " " Nor I ! " ejaculated a chorus of 
 voices. " Oh, what dense ignorance ! " was the retort, 
 with an assumed injured manner, " Towsontown is famous ! 
 so well known that my letters to Baltimore are sometimes 
 directed : ' Baltimore, near Towsontown ! ' " This was 
 hailed with a shout of laughter and the reiteration of: 
 " Don't believe there is such a place." 
 
 The car door opened at this juncture and a gentleman 
 entered, who happily was known to the entire party ; at 
 once Owens seized him, and in imploring accents, said : 
 
 " Major P , come to my rescue, and the vindication 
 
 of my veracity and hospitable intentions. Is there or is 
 there not a village known as Towsontown ? " " Certainly 
 
 there is," attested Major P , " I have relatives there ; 
 
 and can personally vouch for its being a beautiful and 
 delightful town. But why am I thus abruptly questioned ? " 
 
JOHN E. OWENS. 239 
 
 An explanation, amid much laughter and joking, ensued. 
 The name of our post-office town was often a source of 
 fun with Mr. Owens' friends. He frequently received 
 letters, addressed : Towzytown, Puseytown, Tansy town, 
 Tolly town, &c, &c. 
 
 During the month of June, some correspondence was 
 held with Mr. Chadwick, relative to the purchase of 
 the Academy of Music; and in July, they met in 
 Charleston, for the final settlement of the business. 
 Investigation of title, drawing up of papers and every 
 detail of purchase was entrusted by Mr. Owens to Messrs. 
 Buist & Buist, a firm whose fame as counsellors is only 
 equalled by their brilliant record as scholars and social 
 magnates. On July 25th, 1875, Mr. Owens, by making 
 a large cash payment, became owner of the valuable prop- 
 erty that thenceforth was known as "Owens' Academy 
 of Music." Immediate arrangements were made to have 
 it thoroughly equipped for the following season. Sparing 
 no expense, the work progressed rapidly ; and when the 
 theatre was opened in September, it well merited the 
 encomiums lavished upon it. 
 
 From that time it has continued to rank as one of the 
 handsomest theatres between Baltimore and New Orleans. 
 Ably managed, the best attractions have been offered to 
 the public of Charleston ; thus meriting the position 
 conceded to it as a standard theatre. For two seasons 
 Mr. Frank Arthur was resident business manager of 
 
240 MEMORIES OF 
 
 Owens' Academy of Music. He possessed considerable 
 energy and ability, but he proved to be a very unde- 
 sirable employe ; and his connection with the Academy 
 terminated disastrously for Mr. Owens, even though the 
 theatrical engagements had been largely successful. 
 
 In the autumn of 1877, Mr. John M. Barron was 
 installed as business manager, and by excellent judgment 
 and close attention, he maintained the first-class record of 
 the theatre. Mr". Barron was thorough in everything he 
 undertook. Comfort and neatness behind the scenes was 
 as carefully considered as the completeness and effective- 
 ness of the stage and auditorium, or aught else subject to 
 public comment only. Mr. Barron previously held a sim- 
 ilar position, for several years, with Mr. J. H. McVicker, 
 at his famous theatre in Chicago. He left there to resume 
 his profession as leading man in a dramatic company. 
 Mr. Barron had charge of Owens' Academy of Music for 
 seven years. The severance of his connection with it 
 arose from the fact that (in 1884) the owner desired to 
 rest from playing, and was yet unwilling to remain 
 entirely idle ; therefore assumed personal management of 
 his theatre. 
 
 Mr. Barron kept the Academy in exquisite order, and 
 was thoroughly conversant with every business detail. 
 He spoke fluently of its antecedents. The drop-curtain 
 of the Academy was painted by Maynard Lewis, with 
 close attention to the beautiful perspective and atmos- 
 
OWENS' ACADEMY OF MUSIC, 
 Charleston, S. C. 
 
JOHN E. OWENS. 241 
 
 pheric effects, for which that great artist was famous. 
 Mr. John Chadwick paid one thousand dollars for the 
 curtain, delivered in New York, and received the worth 
 of his money. 
 
 After returning from Charleston, Oweus passed the 
 summer at Aigburth Vale ; prolonging his holiday for 
 the October shooting. And to participate in this, he 
 invited some friends who like himself were ardent sports- 
 men. It is hard to decide which was enjoyed most by 
 the host and his guests — the outdoor excitement with guns 
 and dogs, or the jovial chats at table and in smoking- 
 room. From ten years of age, Mr. Owens had been fond 
 of gunning and devoted to dogs. When a boy, a friend 
 of his father often took him out gunning, and culminated 
 his happiness by lending him an old gun. The day he 
 was actually able to buy a new gun marked a proud 
 moment in his life. 
 
 Owning fine hunting dogs was a passion with Mr. 
 Owens, and the training of them a great pleasure. I 
 recall a rather droll incident apropos of this taste. While 
 playing in Grand Rapids, a gentleman of that city gave 
 him a pointer puppy of pure pedigree. He apprecia- 
 tively accepted the gift, thinking that the care of the 
 dog would be satisfactory and brief, as the season was 
 drawing to a close. The new acquisition was named 
 after the town of his nativity, but abbreviated to " Raps." 
 Mr. Owens' liking for him increased daily, and he was 
 16 
 
242 MEMORIES OF 
 
 eager to get home and train the puppy for a hunter. A 
 few days before the close of the tour, an oifer was 
 received to play two weeks, further west, on good sharing 
 terms or fifteen hundred dollars certainty per week. He 
 remarked to me : " I'll have to think that over ; I don't 
 mind playing a fortnight longer, but what will I do 
 about my dog ? He ought to be at home and in training." 
 " Postpone his education," I jokingly suggested, " if that 
 is all interfering with signing the contract." The comic 
 side of the objection seemed to strike him, and laughing 
 heartily, he dictated a message accepting the offer. 
 
 All of Mr. Owens' dogs were fond of him, but some 
 of them gave such wonderful evidences of affection and 
 remembrance that it is with difficulty I refrain from 
 mentioning a few of these remarkable proofs of canine 
 intelligence. I am only restrained by the consciousness 
 that dog stories, like fish stories, are apt to be incredu- 
 lously received; and mine, though strictly true, might 
 share the fate of those which are manufactured. Long 
 before purchasing the farm Mr. Owens was a member of 
 two ducking clubs on the Maryland shore. A capital 
 shot, he cared more for the sport than he did for making 
 a big game bag. The few days spared now and again 
 from business were inspiriting, and the recreation health-, 
 ful ; except, indeed, when by tarrying too long in the 
 blinds, malarial influence asserted its sway in the form of 
 chills and fever. 
 
JOHN E. OWENS. 243 
 
 I remember a severe attack of this kind, which was 
 treated with medicine containing much quinine, "to be 
 given in small quantities." Mr. Owens concluded to use 
 (or rather mis-use) his own judgment by trebling the 
 doses and lessening the interval between them ; conse- 
 quently, he became flighty during the night ; being aware 
 of the cause I was not alarmed, but quietly agreed to 
 any assertion he made. In the morning, standing beside 
 him, inquiring what I should order for his breakfast, he 
 suddenly remarked : " There is a mouse in this bed." 
 Deeming this a vagary from the lingering effects of 
 quinine, I soothingly replied : " Yes, so there is." He 
 indignantly exclaimed : " I am not delirious ; I tell you 
 there is a mouse in this bed." " Yes," continued I (intent 
 on humoring the fancy), " there was a mouse there, but 
 it has gone." Becoming quite angry, he said : "It is here 
 now ; I've caught it, and I'll convince you." Meeting my 
 indulgent manner with a glance of triumphant merri- 
 ment, he took my hand and placed in it — a live mouse ! 
 
 With a shriek, I rushed to the middle of the floor and 
 sprang on a chair. Mr. Owens laughed until he cried ; 
 and presently I joined in the hilarity. Later in the day 
 he said to me : " The excitement about the mouse, and 
 the hearty laugh it evoked, threw me into a perspiration, 
 and broke my fever ; and now I am quite well. ' Throw 
 physic to the dogs' — but no; don't distress the good 
 beasts with quinine." 
 
244 MEMORIES OF 
 
 November 15th, 1875, Mr. Owens began his next 
 season, opening in "Self" at the National Theatre, Wash- 
 ington. The succeeding week was filled with the same 
 bill at the Academy of Music, Baltimore ; Mr. John T. 
 Ford having engaged that theatre for six nights, his own 
 Opera House having other attraction. At the latter 
 house Owens appeared, November 29th, in " Our Boys/ 7 
 this being the first time he had essayed the part of Perkyn 
 Middlewick. At once the character pleased him, and the 
 jolly butterman never found a better representative. 
 
 His supporting cast had strong points ; noticeably, 
 Mrs. Jane Germon, as Aunt Clarissa; Harry Lee, as 
 Charles Middlewick; M. Lannegan, as the Baronet, and 
 Miss Eugenia Paul, as Belinda. The witty, crisp dia- 
 logue and the strong situations were fully developed, 
 thus scoring a triumph for the play. Owens conceived 
 Middlewick as a man of intelligence and sensitive feel- 
 ings, with bluntness and vulgarity held in check on the 
 right side of coarseness. His blunders in polite society 
 (the inevitable sequence of ignorance) transpired without 
 apparent acting. Wounded pride, anger and that ten- 
 derness which was a fibre of Middlewick's really great 
 nature, were portrayed with touching effect. In this 
 intermingled the shading of racy humor, inseparable from 
 the naturalness of the good-hearted English parvenu. 
 
 " Our Boys " filled the week (and the theatre) satis- 
 factorily ; closing the engagement with John T. Ford, 
 
\ 
 
 MR. OWENS as PERKY N MIDDLE WICK 
 In " Our Boys." 
 
JOHN E. OWENS. 245 
 
 December 4th. After which Mr. Owens remained at 
 home through the Christmas holiday s, enjoying the rest 
 and the society of some invited friends — friends whose 
 visits to Aigburth Vale were to them and their cordial 
 host something to look forward to and remember as red 
 letter records in the calendar. The humorous stories, 
 jolly laughter and witty repartee lingered long in their 
 memory. 
 
 Resuming professional work January 3d, 1876, at 
 the Brooklyn Theatre, the opening bill was " Our 
 Boys." Shook and Palmer, managers, furnished an 
 excellent supporting company, among whom were Miss 
 Maud Harrison, Mrs. Farren, Claude Burroughs, Harry 
 Murdoch and other favorites. The Brooklyn public 
 unanimously pronounced the character of Perkyn Middle- 
 wiclc to be especially suited to Owens' style of eccentric 
 comedy ; and decided that it was destined to be associated 
 with his name. This opinion became firmly established 
 not only in Brooklyn, but wherever he played Perkyn 
 Middletvick. The clear-cut personation bore evidence of 
 infinite artistic ability and careful study. 
 
 " Our Boys" in prosperous run, was intended to fill 
 the fortnight in Brooklyn, but so many requests were 
 made for " Caleb Plummer " that the manager, in com- 
 pliance with general desire, annnounced "Dot" for the 
 last two nights of the engagement. Said a gentleman, in 
 Brooklyn, " Owens, whenever your name is heard, we 
 
246 MEMORIES OF 
 
 begin to hunger for dear old Caleb. The thought of 
 that part is inseparably linked with you, and it holds 
 exalted rank among the perfect things which have been 
 accomplished by dramatic art and impulse." 
 
 March 21st inaugurated an engagement at McVicker's 
 Theatre, Chicago ; thence to St. Louis for two weeks, 
 and next, a like period at the Walnut Street Theatre, 
 Philadelphia. The Centennial was in its incipiency 
 during the latter engagement, and Mr. Owens anticipated 
 recreation from the inspection of wonders from many lands. 
 Unfortunately, the announcement of the opening of Cen- 
 tennial Hall was premature, and early respondents were 
 disgusted by the commercial aspect of numerous packing 
 boxes, with their contents hidden away ; the din of 
 hammers, and the incompleteness of the entire aifair. 
 However, after the summer vacation the disagreeableness 
 of this experience was obliterated by spending several 
 days of September on the Centennial grounds, and fully 
 investigating its wonderful resources ; and thus overcom- 
 ing prejudices of the first unfavorable impressions, he 
 came away fully imbued with patriotic pride in the 
 "Great Centennial Fair." 
 
 A western tour inaugurated the season of 1876-77 — 
 the financial success making amends for trivial discom- 
 fort. It was not always possible to " see the players well 
 bestowed" in the hotels where they must abide awhile. 
 From the rural districts adjacent numbers flocked to enjoy 
 
JOHN E. OWENS. 247 
 
 "a good show;" and though less appreciative than the 
 denizens of the town, they were loud in praise and 
 applause. Many ludicrous happenings came within one's 
 notice. I remember an inexperienced rustic entering the 
 box-office with his dulcinea (both uncomfortably con- 
 scious of wearing best clothes) ; with a " good mornm' " 
 to the ticket agent, he continued : " Me and Sarah wants 
 to see the show to-night; can you keep good places for 
 us if I pays for them now ? " Giving an affirmative 
 reply, the agent presented the box-sheet, asking : " What 
 seats do you prefer?" " Isaiah, get the best," interrupted 
 Sarah. Orchestra seats being suggested, they were marked 
 off and paid for, but still the couple lingered ; the young 
 man nervously fingering the coupons which had been 
 given him. "Can I do anything else for you?" blandly 
 inquired the agent, as he noticed embarrassed whisperings 
 passing between the two. ""Well, yes," said Isaiah, 
 "we've got to go round right smart number of places 
 to-day, and we can't carry this big ticket with us handy 
 (pointing to the box-sheet). Will you please take care 
 of it for us till we come to-night ? " With well-assumed 
 gravity the agent assented ; and furthermore promised 
 that he would give instruction whereby the small tickets 
 alone would secure their seats. Isaiah and Sarah, with 
 many "thank 'ees," retired; much relieved that they were 
 not obliged to " tote " that big ticket round town while 
 they did their shopping. 
 
248 MEMORIES OF 
 
 The small western towns have one great charm ; their 
 vicinity abounds in lovely drives, and good horses can 
 usually be had at the livery stables. The exhilarating 
 autumn air adds additional enjoyment to this healthful 
 recreation, and gives to a professional tour the flavor of 
 a pleasure trip. In October Owens played at St. Louis, 
 then Louisville, presenting "Our Boys" in addition to 
 his usual plays. The piece took firm hold on the public, 
 and the comedian was unanimously congratulated on his 
 splendid characterization of Perkyn Middlewick His 
 method was as delightful as his personality, and each 
 were of the highest order. He next filled two weeks at 
 the Brooklyn Theatre; for the three concluding per- 
 formances of which "Our Boys" was given with a 
 strong cast, and this being a return engagement, its 
 brilliancy was all the more complimentary to the star. 
 
 After six weeks embracing Elmira, Syracuse aud other 
 New York towns, supported by the stock company of 
 " J. Clinton Hall," Owens began an engagement at the 
 Opera House of that manager in Rochester, N. Y., 
 December 4th. This was destined to be interrupted by 
 a terrible calamity, the burning of the Brooklyn Theatre. 
 Unlike the usual rumor of disaster, news of this con- 
 flagration was, at first, reported as mainly destructive to 
 property. While reading of it, a thankful feeling arose 
 in every heart that human life had not been sacrificed. 
 Hence, the shock was all the greater, when the startling 
 
JOHN E. OWENS. 249 
 
 fact was announced, that over three hundred persons had 
 met a terrible death in this holocaust. Professional 
 people, who were in close friendship with the gifted 
 actors who# perished in the flames, were horror-stricken, 
 and the effect was paralyzing. 
 
 Owens at once said, " we must close the theatre." 
 The manager, though sorely grieved at the disaster, 
 did not give ready assent. "Remember/' he said, "it 
 is the first night of 'Our Boys/ and we have a good 
 take ; Brooklyn is many miles away." " My dear 
 Hall/' urged Owens, "only a little while ago, I pro- 
 duced that piece with Murdoch and Burroughs in the 
 cast — their voices linger with me yet — I can't play. 
 Poor fellows ! let us render the tribute of silence to their 
 charred* remains." Clinton Hall, always good-hearted, 
 speedily saw the situation in its proper light, and the 
 theatre was closed until after the funeral of the victims. 
 
 February 8th, 1877, the comedian commenced an en- 
 gagement at the Boston Theatre, and met with the hearty 
 welcome ever accorded him by Bostonians. He played to 
 the capacity of the house, the fortnight being a phenome- 
 nal success. I could write many pages on this pleasura- 
 ble sojourn, but it would be a mere reiteration of incidents 
 which occurred during former visits to that city. Nowhere 
 did he find warmer friends or greater resources of intel- 
 lectual and cultured enjoyment. Charming at the time, 
 these experiences continued to be delightful in memory. 
 
250 MEMORIES OF 
 
 Returning home, Owens signed a contract with John T. 
 Ford for a southern tour ; pursuing which, he arrived in 
 Charleston, S. C, March 9th. This was his first appear- 
 ance in that city since he had become owner of the Academy 
 of Music. When, as Perkyn Middlewick, he stepped upon 
 the stage, he was received with deafening applause and 
 cheers. Modestly expecting a mildly cordial recognition, 
 he was quite taken by surprise at such an overwhelming 
 manifestation of the kindly feeling of the Charlestonians. 
 Beyond his gratification was a deeper sense, which led 
 him to understand that the enthusiasm indicated that 
 he was now regarded as being identified with Charleston ; 
 to this he rendered responsive feeling, and increasingly 
 regarded " the city by the sea " with a home feeling. 
 
 The plays given at this time were " The Rivals," 
 " Married Life," " Heir at Lata" " Poor Gentleman" 
 together with sundry after-pieces, " Happiest Day of My 
 Life," " The Spitfire," "Solon Shingle," &c. The entire 
 engagement was an ovation of which the comedian had 
 cause to feel proud. Savannah, Macon, Atlanta and 
 other southern towns came in pleasant sequence ; and 
 turning northward again, the route lay through Ten- 
 nessee, Indiana and Ohio. Owens having renewed his 
 engagement with John T. Ford, played in Michigan and 
 Canada ; closing at Hamilton, Ontario, late in April. 
 
 However much one delights in the fascination of the 
 theatrical profession and the plaudits of the public, a 
 
JOHN E. OWENS. 251 
 
 respite from excitement and mental and physical strain 
 is ofttimes an agreeable change. The repose of home 
 was a delightful transition from the bustling life of the 
 previous eight months. 
 
 One of the most enjoyable events of this vacation was 
 a visit to Lawrence Barrett, at Cohasset. The ten days 
 passed at this ideal home were charming beyond expres- 
 sion. Mr. Barrett and his family contributed to the 
 enjoyment of their guests in every way, without seeming 
 effort of entertaining. Resources were endless — yachting, 
 fishing, driving, and last, but not least, conversation. 
 Thus condensing in our brief visit more genuine pleasure 
 than could be reasonably expected in thrice the time. A 
 strong attachment existed between Barrett and Owens, 
 and it was of life-long duration. 
 
 In additition to personal regard, Mr. Owens greatly 
 admired Barrett's talent, indomitable energy and moral 
 qualities. He considered the exalted position which this 
 conscientious artist had attained, fairly won; and his 
 untiring and liberal efforts to promote the advancement 
 of the stage, something that entitled him to the admiration 
 and gratitude of the entire theatrical profession. When- 
 ever Barrett essayed a new part, the interest of Owens as 
 to the result was second only to that of the tragedian. 
 I remember when Barrett produced " Pendragon" in 
 New York, he incidentally mentioned in a letter, his 
 nervousness at the approaching event. We were at home 
 
252 MEMORIES OF 
 
 then, and Mr. Owens consulting a New York paper, 
 said : " It is to-night that Barrett brings out his new 
 play. I thought it was to be later, and intended writing 
 to him ; however, I will telegraph." He then dictated 
 to me (his amanuensis) the following message : 
 
 "Lawrence Barrett, New York City, — 
 
 "May your success to-night be as instantaneous as the lightning 
 which flashes the good wishes of your friends from Aigburth Vale. 
 
 "John E. Owens." 
 
 I kept a copy of this impromptu telegram, for it impressed 
 me as being a concentration of earnest good wishes, 
 unaffectedly expressed. Mr. Owens thought of his friends 
 from the heart, and if he thought aloud, the words were 
 just such as endeared him to them. 
 
 The season of 1877-78 began in Pittsburg with 
 " Barncastle and Reform" a five-act comedy by a Chicago 
 journalist. If I remember right, his original authorship 
 of this piece was in the form of a story which appeared 
 in the Chicago Inter- Ocean. Afterwards he dramatized 
 it, and sent the manuscript to Mr. Owens, requesting a 
 careful reading, as the play had been written especially 
 with a view of his creating the leading part. 
 
 "Barncastle and Reform" had good points, which 
 decided Mr. Owens to give it a trial. The character he 
 assumed, Ebenezer Barncastle, was that of an impecunious 
 individual known in slang term as " a dead beat/' On 
 
JOHN E. OWENS. 253 
 
 the basis of affected familiarity with distinguished people, 
 he imposed upon the credulous by borrowing money, and 
 in various ways utilizing them to his own advantage. 
 Unscrupulous, untruthful, but with quick wit maintain- 
 ing the semblance of a gentleman, this impostor was a 
 strongly drawn character. 
 
 The action of the play transpires in Washington, and 
 some of the situations gave Barncastle, in his pretended 
 position of political influence, scope for humorous effects. 
 Owens gave an admirable portrayal of this adventurer. 
 The pomposity and brazen effrontery were clever bits of 
 acting, and the Virginia dialect assumed, was perfect. 
 Roars of laughter and much applause evinced the keen 
 enjoyment of the audience. Owens carried the piece 
 through, but even his efforts could not compass its success. 
 Five acts of " Barncastle and Reform" proved tedious. 
 Condensation and reconstruction might have saved it, but 
 the author would not take this view of his play ; so, 
 after a further trial in Brooklyn and Louisville, the piece 
 was shelved, much to the author's disappointment, who 
 said to Owens : " I firmly believed that your superb con- 
 ception and acting of the leading part of my play was 
 destined to make me a famous dramatist/' — receiving 
 the reply : " The comedy cannot survive unless a free 
 use of the pruning knife vitalizes it." 
 
 Closing in Brooklyn October 13th, Owens indulged 
 in a holiday, part of the time in New York and the 
 
254 MEMORIES OF 
 
 remainder at home. November 26th he opened in "Self" 
 at Robinson's Opera House, Cincinnati, Barney Macauley, 
 manager. The weather was bitterly cold, and a chronic 
 record of snow and sleet; and except Thanksgiving 
 matinee and night the attendance was not large. Whether 
 this was owing to the unpopularity of the theatre or the 
 inclemency of the weather, he could not determine ; but 
 that the public were not alienated from him was clearly 
 demonstrated by subsequent big engagements in Cincin- 
 nati — on a scale with all prior ones in that city. 
 
 Newark, Trenton and sundry New England towns 
 were next visited with agreeable results ; concluding in 
 Fall River, January 5th. Two weeks later Mr. Owens, 
 supported by his own company (which he had meanwhile 
 organized), played return engagements in all of these 
 towns ; the repertoire being limited to " Dot " (Cricket 
 on the Hearth) and " Our Boys" The dramatic corps 
 was selected with a view to making a strong cast for 
 these especial pieces. An admirable performance was 
 given of both plays. Caleb Plummer and Perky n Mid- 
 dleivick were most enthusiastically received. The former 
 seemed in each city to meet with increased favor. 
 
 The character of Caleb was never obtruded, but Owens' 
 personation of it was none the less a conspicuous creation. 
 The return trip, including towns recently visited, termi- 
 nated with six nights in Brooklyn. On March 11th 
 he began an engagement of two weeks at the Standard 
 
JOHN E. OWENS. 255 
 
 Theatre, New York; the brilliancy of which made an 
 appropriate finale of a successful tour. 
 
 Since Owens' visit to California in 1869, he had fre- 
 quently received offers to play in San Francisco ; but 
 other contracts prevented his acceptance. Having pleasant 
 remembrance of California, he determined to make a brief 
 visit there before settling at home for the summer. He 
 therefore booked for a fortnight at the California Theatre, 
 San Francisco, which was then under the management of 
 John McCullough, opening April 1st, 1878, as " Caleb 
 Plummer." Admirable talent distinguished the stock 
 company ; but the performances of some of the characters 
 was unmistakably mechanical. Apparently, they were 
 unsuited to the ability or taste of those in the cast. The 
 effect of the play as an entirety was marred ; but no 
 adverse surroundings could chill old Caleb's hold upon 
 the emotions of the audience. This masterpiece of the 
 artist, standing midway between the tragic and comic con- 
 fines, evoked the unanimous tribute that, " of all his histri- 
 onic triumphs, Caleb Plummer was the crowning glory." 
 
 The second week was filled with " Self/' " Our Boys " 
 and "Heir at Law." All were well received ; but especial 
 commendation was rendered to Dr. Pangloss, that per- 
 sonation being in sharp contrast with the other char- 
 acters. This human encyclopedia of learning, with his 
 apt quotations and the facial expression that gave them 
 point, was a polished performance. The pedantic and 
 
256 MEMORIES OF 
 
 obsequious tutor was depicted with subtlety of humor 
 which delightfully developed his peculiarities. Said a 
 gentleman who witnessed it for the first time, "I have 
 seen Owens in many parts, but in none of them is he 
 alike. There is a different voice in each play, a different 
 face, a different laugh, a different pair of legs ; in fact, 
 a different man altogether." A few nights in Virginia 
 City, Nev., one or two nights in Sacramento and the 
 smaller towns completed this professional visit to the 
 Occident. Afterwards six weeks of recreative travel 
 were enjoyed. 
 
 Though fraught with enjoyment, this excursion lacked 
 the keen zest of his first visit to California. The pro- 
 gressive spirit through the intervening decade, though 
 valuable in consummating improvements, had in its 
 rapid strides obliterated the attractive peculiarities of 
 various sections of the state. Characteristics were merged 
 into commonplacedness, and stage-coaches were only a 
 reminiscence. Whilst this was a matter of self-gratulation 
 to the residents, transient visitors selfishly regretted the 
 change that rendered California less unique. But no 
 march of improvement could alter the perfect climate and 
 beautiful fairy-land of flowers. These, together with the 
 grand scenery, formed an inexhaustible source of delight 
 to Owens on his pleasure tour, for as such he regarded 
 this visit to California; the professional engagement 
 being an interlude of secondary importance. 
 
p 
 
 i» 
 
 MR. OWENS as DR. PANGLOSS, LL. D. and A.S.S. 
 In " The Heir at Law." 
 
CHAPTER XI. 
 
 Astonishing disclosure — "De Captain's butter" — Owens' inimitable 
 manner — An unfaithful steward — Season 1878-79 — "The Serious 
 Family" revived — "A Double Knot"— Quick transit to Toronto — 
 "Dot " at Abbey's Park Theatre, New York — An Australian offer 
 — Summer at home — The interlude of "Pinafore" — "For sweet 
 Charity's sake " — Departure for Australia, September 19th, 1879 — 
 San Francisco en route — " Higgins" in "Doctor Clyde" — A mining 
 investment — Good judgment — A complication of ill luck — Engage- 
 ment in Portland, Oregon — Owens returns east — Opens at Fifth 
 Avenue Theatre, New York — Enthusiastic "welcome home" in 
 Baltimore — Season of 1881-82, under management of "John T. 
 Ford" — " Some of the first ladies in Norfolk " — A wrathful janitor. 
 
 T^ETURNING from California in July, the remainder 
 of the summer was passed at Aigburth Vale, in 
 home rest. Among the guests during this vacation was 
 a gentleman whom Mr. Owens had met some years pre- 
 vious in Indianapolis ; subsequent visits to that city had 
 ripened the acquaintance into friendship. Their first 
 meeting had its origin in an absurd occurrence. The 
 Bates House long ago was noted for its execrable table 
 of unpalatable viands, uninvitingly served. Mr. Owens 
 by liberally feeing the waiter impressed upon him the 
 necessity of obtaining the best the hostelry afforded, and 
 17 257 
 
258 MEMOBIES OF 
 
 above all things inveighed against the bad butter. As a 
 pleasant result of this exhortation we were served with 
 delicious butter for two days, and then the rank article 
 again appeared. " Sam," said Mr. Owens, " I can't stand 
 this axle-grease ; you gave us good butter for two days, 
 why can't you continue to do so ? " " Well, Massa, dat 
 was de Captain's butter." "What do you mean?" 
 " Just dis heah, de Captain live here all de time, and he 
 buys butter for his own self. I bin a just cuttin' off a 
 bit for you ; but now de Captain done locked it up, and 
 I can't find whar he's hid it." 
 
 The serene simplicity of the darkey while making this 
 explanation cannot be described ; nor yet can Mr. Owens' 
 consternation when informed that his waiter had been 
 stealing butter for him. Ascertaining a de Captain's" 
 full name, he immediately sought him to make amends 
 for having been the unconscious instigator of petty 
 theft. The interview was a success, if one might 
 judge from the hearty laughter which pervaded it. 
 " De Captain " proved to be a whole-souled and com- 
 panionable man. During his visit to Aigburth Vale he 
 insisted on his host telling the origin of their acquaint- 
 ance to a party of gentlemen ; supplementing the story 
 with the jocose remark : " But I have had my revenge 
 here, enjoying free run of the dairy ; and many pleasant 
 hours have come to me through peculation of 'de 
 Captain's butter.'" 
 
JOHN E. OWENS. 259 
 
 While narrating this, or any of Mr. Owens' stories, I 
 instinctively wish that I could reproduce his manner of 
 telling an occurrence. Clearly, in thought, I can see the 
 twinkle of the eye, the merry twitching of the mobile, 
 sensitive mouth, even before he began to speak. These, 
 and the vivid character with which he invested the most 
 trivial point, no description can convey. My hope is 
 that those who knew him in private and professional life 
 will, by what I write, grasp an outline, and recall some- 
 thing of his method and manner. My pen and ink 
 picture must needs be far inferior to the reality. I strive 
 to give the likeness from life ; but my mental camera is, 
 I fear, a diminutive Kodak in size and force. 
 
 I am conscious of the same inefficiency when I attempt 
 to delineate the traits of Mr. Owens' character. They 
 were naturally and unreservedly manifested to me in 
 daily life, and increasedly evoked my admiration and 
 reverence. But I hesitate even now to dilate upon his 
 grand nature, knowing that he shrank from praise and 
 the publicity of kindness extended to others. After he 
 passed into the spirit-land, I received from many persons 
 letters expressive of gratitude to John Owens, for helpful 
 service rendered in time of need. I was cognizant of 
 some of these kind acts ; but the knowledge of many of 
 them came to me thus, in letters from strangers. 
 
 The attributes of Mr. Owens' character were noble and 
 well balanced. His celebrity as an actor and popularity 
 
260 MEMORIES OF 
 
 as a man, he prized with honest pride; but fame and 
 adulation did not evolve the slightest tendency to vanity. 
 Unostentatious by nature, the greatest of his manifold 
 theatrical successes never inspired conceit or self-assertion 
 of manner, for he was as unpretentious then as when 
 roaming over the farm and talking to the laborers about 
 rural affairs. His judgment was clear, and attempted 
 imposition was always manifest to him ; but a generous 
 disposition rendered it impossible for him to withhold 
 kindness from those in trouble, even though their mis- 
 conduct had brought them to dire straits. At the risk 
 of his own interest, he extended a helping hand to save 
 the reckless. Often it has been said to him : " Don't 
 waste time and money on that fellow, he is incorrigible ; " 
 but disregarding this caution, he would quietly endeavor 
 to give aid and incite a desire for the recovery of self- 
 respect. 
 
 A strong case in point occurs to me. A young man 
 made application for a position, unaware that Mr. Owens 
 had the slightest knowledge of his antecedents. The 
 request was met with the candid response : "I know 
 your record. How can I trust a dishonest man ? " " Try 
 me, sir," said the suppliant ; " I was only a boy at the 
 time I went astray, and was sorely tempted. I have 
 repented, and am striving to earn an honest livelihood." 
 "I will give you chance to reclaim yourself," replied 
 Mr. Owens. "You shall have the situation you ask 
 
JOHN E. OWENS. 261 
 
 for; and I put you on your honor to do justice to 
 yourself and me." A few months afterwards, an old 
 acquaintance said : " Why do you keep that man in your 
 employ? He is a born thief, and an ingrate. I know 
 it from personal experience." " I am aware of what he 
 has been," was the reply, " but he is trying to live it 
 down. It seems hard that a man's life should be blighted 
 if he strives to retrieve the past." " Chimerical Owens ! " 
 laughingly ejaculated his friend. "You will find you 
 are handling bad material for reform." 
 
 Unfortunately, the result was discouraging to philan- 
 thropy. The protege, after two years of apparently irre- 
 proachable conduct, embezzled several thousand dollars, 
 and decamped. Mr. Owens was indignant at this abuse of 
 his confidence ; but whilst the dishonesty and ingratitude 
 led him to be more cautious, it did not prevent extension 
 of kind acts subsequently, to others. 
 
 The season of 1878-79 began September 23d, at Ford's 
 Opera House, Baltimore. " Our Boys " and other pro- 
 nounced successes were admirably cast, and thoroughly 
 enjoyed by large audiences. On Saturday, in compliance 
 with much solicitation, " The Serious Family " was pro- 
 duced. Owens, as Aminidab Sleek, revived the delight 
 of his admirers, who a score of years previous had 
 applauded this performance, then in the zenith of popu- 
 larity. To the young people it was new, and their 
 appreciation of its merits was equally evident. 
 
262 MEMORIES OF 
 
 When it was underlined and in preparation, the come- 
 dian hurrying home from a lengthy rehearsal was hailed 
 by an acquaintance (a physician of the city), who driving 
 up to the sidewalk, said : " I want to tell you how glad I 
 am that you are to play Aminidab Sleek. It was the 
 first part I ever saw you in, and I shall delight in 
 renewing the recollection of the old Museum days. 
 Baltimore is your debtor for many happy hours. I tell 
 you, Owens, you are a public benefactor." The recipient 
 of this compliment made brief recognition, and endeavored 
 to terminate the interview ; but the M. D. exclaimed : 
 " Hold on a bit. You have often brightened my life 
 and dispelled depression by your matchless humor. I 
 want to testify my gratitude by some special attention." 
 " That is quite unnecessary," was the response. " But I 
 insist. Jump in my carriage and drive with me to the 
 Alms House, and I'll show you some remarkable small- 
 pox cases out there ; a most interesting study, I assure you." 
 
 Declining this invitation, Owens mildly suggested that 
 "his dinner was more attractive to him just now, and less 
 dangerous than medical investigation." " Ah, I'm sorry 
 you won't go. I know you have scientific tendencies; 
 and I'm really afraid you're not likely to have another 
 opportunity of seeing such a variety of small -pox cases." 
 With surprise and disappointment, the doctor drove 
 off ; leaving Owens quizzically amused at this idea of 
 " complimentary attention." 
 
JOHN E. OWENS. 263 
 
 The Baltimore engagement being ended, it was dupli- 
 cated in Washington under the same management. After 
 a few days' rest at home, his tour was resumed with a 
 supporting company organized by J. W. Norton and 
 T. Davey. Detroit was the initial town of this route ; 
 from thence through Michigan, Minnesota, Wisconsin 
 and Iowa — arriving at Omaha, Neb., November 11th. 
 Three nights there, a week in St. Louis, and another in 
 Louisville, Ky., completed this engagement. 
 
 An incident in one of the Wisconsin towns where Mr. 
 Owens played, so truly reflects his chronic good humor 
 and dry wit, that I cannot refrain from mentioning it, 
 even though it was a trivial occurrence. The first- 
 class (?) hotel of the town was situated about a block from 
 the station. The morning we were leaving, Mr. Owens 
 remarked to me : "I am thankful we are turning our 
 faces towards Chicago and plenty, and so escaping starva- 
 tion in this house." Just as we had descended the long 
 flight of steps from the hotel, a cabman approached, 
 eagerly asking: "Have a cab, sir?" "What for?" 
 queried Mr. Owens, assuming a perplexed expression of 
 countenance. " Take you to the depot, sir." " Oh ! no, 
 thank you," was the response in an innocently simple 
 manner. "We have only been two days in this hotel, 
 and are still strong enough to walk half a block — don't 
 we look so?" "Sir, I — " stammered the cabman. 
 "Now, that gentleman," confidentially, indicating a 
 
264 MEMORIES OF 
 
 feeble old man coming out of the door, " looks as if he 
 had been a guest here for two or three weeks ; he needs 
 your cab, and will be glad to have it, I am sure. Good 
 morning." 
 
 During the western tour, Owens gave a varied reper- 
 toire, and received the usual laudations. His artistic 
 methods, mercurial temperament and inexhaustible fund 
 of humor made each and every one of his personations 
 acceptable. One of his admirers remarked : " It is not 
 only that I like to have a good laugh ; but I believe a 
 town is better after a visit from Owens. His magnetic 
 mirth smooths asperities, and puts life in a bright 
 aspect." Concluding in Louisville, with "A Double 
 Knot," on Saturday, November 29th, the next date was 
 Toronto, Canada, December 2d. Rather a long jump, 
 even now ; but then, travel had not been perfected to 
 the degree of such rapid transit as at present. It still 
 means a fatiguing journey when we say " the star closed 
 in Louisville, Kentucky, on Saturday, and conducted 
 rehearsal Monday morning in Toronto." " The Heir at 
 Law " and " Toodles " inaugurated the week — Dr. Pan- 
 gloss and Timothy Toodles winning golden opinions. 
 Other comedies making a change of bill nightly, gave 
 scope for versatility. 
 
 Returning home, after a brief rest he played a week 
 in Baltimore, another in Philadelphia. January 20th, 
 1879, he opened at the Park Theatre, New York, in 
 
JOHN E. OWENS. 265 
 
 fulfilment of a contract for one month with H. C. Abbey, 
 "Dot" (Cricket on the Hearth) the attraction. The 
 manager staged the play appropriately and beautifully, 
 new scenery having been especially and elaborately pre- 
 pared. The original fairy prologue of this (Boucicault's) 
 adaptation was effectively presented. The stock company 
 included C. W. Couldock, Sara Stevens, Minnie Palmer, 
 Ada Gilman and other noted artists. The two first- 
 mentioned names will be recognized as connected with 
 " Dot " in its earliest triumphs. 
 
 Such auxiliaries with Owens' Caleb Plummer, rendered 
 the success of the piece a foregone conclusion. The old 
 toy-maker was, as heretofore, tenderly and perfectly 
 delineated. The eloquence of many pens, the loving 
 admiration of many hearts have rendered tribute to this 
 soulful and artistic picture far in excess of my power 
 of description. " Victims" and "Solon Shingle" were given 
 towards the close of this engagement, with the full quota 
 of rollicking merriment of Butterby, and quaint eccen- 
 tricity of Solon Shingle. The entire month was a record 
 of brilliant performances, largely appreciated. A week 
 in Brooklyn concluded the comedian's season of 1878-79. 
 
 While in New York, Mr. Owens received an offer to 
 play in Australia for six months, commencing the ensuing 
 summer. Taking this offer into consideration, the terms, 
 &c, inclined him to give a favorable reply ; but, before 
 signing the contract, circumstances transpired which 
 
266 MEMORIES OF 
 
 caused him to alter his views. He therefore declined the 
 offer for the time specified ; but by no means relinquished 
 the idea of playing in Australia. The usual happy sum- 
 mer vacation began, but was pervaded with an unsettled 
 feeling, as correspondence, relative to the Australian 
 tour, continued, and decision might at any time be made 
 to start on the journey. 
 
 An interlude occurred in July, when some of the leading 
 citizens of Baltimore interested themselves to get up a 
 benefit for a charitable and patriotic cause ; the attraction 
 to be the (then craze) comic opera of Pinafore ; pro- 
 vided Mr. Owens would be the star of the evening, as 
 Sir Joseph Porter. When the request was made of the 
 comedian, he laughingly replied : " Like Fusbus, ' I haven't 
 got a singing face' — Opera is not in my line." "Ah ! but 
 your voice is good, and your name a sure drawing card. 
 Remember this is for charity, and the musical critics will 
 not be ultra exacting." " All right, I am ready to help 
 the cause ; I will play Sir Joseph, and as to the musical 
 score — do the best I can with it." July 11th, was the 
 date appointed for the benefit. 
 
 Mr. Owens studied the character thoroughly, but had 
 only two rehearsals. The Academy of Music was densely 
 packed by an audience in holiday mood ; but I doubt if 
 they enjoyed the Opera more than Mr. Owens did. From 
 the first furore in New York, when Pinafore was played 
 at five theatres simultaneously, he was enthused with its 
 
JOHN E. OWENS. 267 
 
 satirical humor. He played Sir Joseph Porter with a 
 keen relish, and from his tremendous reception until 
 the fall of the curtain, the entire house was en rapport 
 with him, taking all the points instantaneously. He 
 rendered the music fairly well ; not of course on the plane 
 of the perfect vocalization of Miss Annis Montague, Mrs. 
 C. Richings Bernard, and others of professed lyric ability, 
 in the cast. The receipts of the entertainment, yielded 
 two thousand dollars to the charity for which it was given. 
 
 In August, Mr. Owens decided to go to Australia, and 
 also to combine with that expedition a pleasure trip around 
 the world. Preparations at once began, to put business 
 and home affairs in such shape as to insure their smooth 
 running during our absence; the length of which was 
 intended to be one or two years. A state-room was engaged 
 in the steamer to sail from San Francisco, September 
 29th, and arrangements for our departure were rapidly 
 completed. September 19th, 1879, we left Baltimore; 
 everything was auspicious for the undertaking. Mr. 
 Owens seemed even brighter in spirits than his usual 
 cheery mood. 
 
 Arriving at Sacramento, two telegrams were delivered 
 to him — offers to play in San Francisco en route. Nega- 
 tive replies were returned. At another station, three 
 hours later, reiterated importunities were wired him, 
 meeting the same response. Two managers awaited his 
 arrival at Oakland, and accompanied him to 'Frisco, but 
 
268 MEMORIES OF 
 
 he declined to discuss their propositions ; merely stating 
 that " in two days he should start for Australia, and 
 at present, he was weary with a long railroad journey/' 
 and so dismissing the matter, proceeded to the Palace 
 Hotel for a comfortable rest. 
 
 In the evening, the subject was urgently renewed; 
 and finally, Mr. Owens consented to remain over, if his 
 state-room could be exchanged for one in the steamer 
 sailing a month later. Unfortunately, this was arranged, 
 and subsequent developments merged the month's post- 
 ponement of the Australian voyage into its abandonment. 
 Owens began an engagement at the Standard Theatre, 
 San Francisco, October 6th, and played his usual round 
 of characters. He also produced the comedy of "Br. 
 Clyde/' for which he had secured rights from the author, 
 Sidney Rosenfeld ; and afterwards he purchased the play 
 for his sole ownership. 
 
 The comedy made a favorable impression, and the 
 part of Higgins enacted by Owens, was pronounced a 
 great creation. His conception of the Doctor's factotum 
 (or office-boy) ever eager to display (fancied) medical 
 knowledge, was full of humor and neat points. It was 
 replete with good situations; and in managing a ludi- 
 crous position, he was without a rival. So much was 
 conveyed by a glance of the eye, quaintness of delivery, 
 and yet with repose of manner that accentuated the 
 naturalness of the mirth-inspiring words. 
 
JOHN E. OWENS. 269 
 
 Soon after Mr. Owens arrived in San Francisco, efforts 
 were made to interest him in a gold mine (already incor- 
 porated) which was situated in Arizona. Not being of a 
 speculative disposition, he at first gave but little attention 
 to the subject ; but gradually became sufficiently interested 
 to make investigation. Appearances indicated to him, 
 and to those who were more experienced in such matters, 
 that the investment was desirable. But not content to 
 rest on evidence of reliable testimony and specimen ore, 
 he went to Arizona, accompanied by two friends who 
 were celebrated mining experts. The trio thoroughly 
 inspected the mine, and found that it equalled the repre- 
 sentation given of it. 
 
 Mr. Owens personally chipped off several large pieces 
 of the ore, and immediately sealed them up in a box, 
 which remained in his posession until he placed it on the 
 assayer's table in San Francisco. These specimens being 
 tested, ranked with the richest ore ever assayed in Cali- 
 fornia. On this encouraging basis, he purchased stock, 
 and finally became owner of two-thirds of the mine. 
 
 The Australian engagement and tour around the world 
 was indefinitely postponed, and a temporary residence in 
 San Francisco substituted, with a view of exercising a 
 personal supervision to expedite development of the mine. 
 For awhile everything indicated fulfilment of sanguine 
 hopes; but adverse fate brought a change. Delay in 
 the arrival of the mill and machinery at the mine, 
 
270 MEMORIES OF 
 
 culpable neglect of employes, and other unforeseen circum- 
 stances gradually involved the enterprise. In fact, so 
 great were the complications that Mr. Owens concluded 
 to withdraw from the business, being unwilling to lose 
 further time and money in pursuing the speculation. 
 
 Even while thus deciding, he continued in the belief 
 that a fortune could be realized from the mine, if ample 
 means were judiciously rendered for its development. 
 His opinion proved to be correct four years later, when 
 a syndicate of wealthy capitalists put the mine in running 
 order, and realized from it millions annually. 
 
 I have spoken at length on this subject that I may 
 remove an impression resting with some persons that 
 Mr. Owens was duped by salted ore and mining sharpers. 
 He was by far too level-headed to have been thus vic- 
 timized. Though he never profited by his investment, 
 much satisfaction accrues from the fact that his judgment 
 of its value was corroborated by the golden harvest 
 reaped by others. 
 
 In the spring of 1881 Owens returned east. I have 
 omitted to say that, during the winter of that year, 
 he filled another theatrical engagement at the Standard 
 Theatre, San Francisco, the salient feature of which was 
 the production of a new comedy, " That Man from Cat- 
 taraugus" This play, from the German of " The Cattle 
 Dealer of Upper Austria," was translated and adapted 
 for Mr. Owens by a prominent member of the San Fran- 
 
JOHN E. OWENS. 271 
 
 cisco press. The star part was that of the cattle dealer, 
 an honest, ingenuous, warm-hearted countryman, of vig- 
 orous intellect and marked business methods. An old 
 man, but diametrically opposite to garrulous Solon Shingle, 
 or tender, self-effacing Caleb Plummer. The character 
 was replete with bluff humor, and yet had its affectionate 
 side. In light and shade it was an exquisite creation; 
 and general opinion gave the verdict that " it fitted Owens 
 like a glove," and was to him another leaf of laurel. 
 
 The comedy entire, made a hit, necessitating the use of 
 that agreeable notice — " Standing room only." The sup- 
 porting cast was excellent, especial praise being awarded 
 to Mr. Joseph Arthur, who as Stockman, the broker, 
 achieved prominence for the individuality of character 
 with which a small, but strong, part was invested. 
 
 In February, Owens commenced an engagement in 
 Portland, Oregon ; " That Man from Cattaraugus" was 
 the opening bill. An immense and enthusiastic audience 
 greeted the star on his first appearance, and never was 
 an actor more generously, courteously, and warmly wel- 
 comed. The new comedy made a sensation ; " Dr. Clyde" 
 " Self" " Our Boys" and other plays followed, and were 
 applauded to the echo. These personations marked a 
 series of triumphs. Every available seat was engaged 
 long in advance. The excitement and enthusiasm was 
 unparalleled in the record of dramatic engagements in 
 Portland. The fame thereof, spread to the neighboring 
 
272 MEMORIES OF 
 
 towns. Managers near by came to arrange dates with 
 Owens for their theatres, and from more distant places 
 telegrams and letters arrived proposing terms. 
 
 A tour was suggested onward to British Columbia, 
 and returning by a different route. This would have 
 proved lucrative and also afforded delightful travel ; but 
 Mr. Owens did not feel free to accept, as he had, before 
 leaving San Francisco, signed contract with C. R. Gardner 
 to appear at the Fifth Avenue Theatre, New York, in 
 March. He, however, telegraphed requesting a postpone- 
 ment of his New York engagement, but was refused ; 
 being strictly honorable, it never occurred to him to 
 cancel, and thus he sacrificed thousands of dollars to 
 keep faith where honor was non-responsive. 
 
 The Portland engagement closed on the 10th of Feb- 
 ruary ; its financial results were great, and the pleasant 
 visit to Oregon, fraught with social reminiscence ever 
 prized. Returning to San Francisco, Mr. Owens remained 
 there a few days, and then proceeded to meet his New 
 York date. " That Man from Cattaraugus " was the 
 piece for which he was booked. 
 
 Of this New York episode I have little to say. Many 
 details arise in my memory, but I refrain from putting 
 them into words. Difficulties at once began in regard 
 to the company which Mr. Gardner had engaged, and 
 also about other matters for which he was responsible, 
 thus engendering his animosity. A play, which else- 
 
JOHN E. OWENS. 273 
 
 where had packed theatres and turned people away, was 
 here a failure. 
 
 After three weeks in New York, Mr. Owens played 
 in the adjacent towns ; next in Philadelphia, where 
 he received a cordial welcome ; thence to Baltimore. 
 The ovation on his return home, after an absence of 
 eighteen months, was simply indescribable. His reception 
 lasted for several minutes, and was mingled with cheers. 
 This seemed likely to be of indefinite duration, had 
 he not broken it up by insisting on speaking the first 
 lines of his part. He afterwards said to me : " If I had 
 permitted my reception to keep on a second longer I 
 should have been unable to speak, I was so deeply 
 touched by this welcome home." 
 
 At the fall of the curtain the applause was uproariously 
 renewed, and continued until Owens appeared and spoke 
 a few words of heartfelt appreciation for the cordial good 
 will manifested towards him. " That Man from Catta- 
 raugus" was the opening bill, and at once became a 
 favorite. "Dr. Clyde" and some of the old pieces filled 
 the week, which as an entirety was marked with brilliant 
 eclat. The summer at home was ideal in happiness and 
 restful enjoyment. Old friends gathered around us at 
 Aigburth Vale, and content reigned supreme. 
 
 On the 29th of August Mr. Owens began the season of 
 1881-82, at Ford's Opera House, Baltimore ; thence a 
 southern tour of many cities, extending to Pensacola, 
 18 
 
274 MEMORIES OF 
 
 Florida. After leaving Baltimore the September weather 
 was unusually warm, and unfortunately the time was 
 filled in theatres where the dressing-rooms were small. 
 In one situated on the ground floor, Mr. Owens requested 
 me to leave the shutters partially open, thinking he was 
 secluded from observation. But he quickly perceived 
 male and female figures sitting on a fence, gazing into the 
 room. Indignantly closing the shutters, he remarked!: 
 " To be stifled seems inevitable ; " and calling the janitor, 
 directed him to " order those people to go away," wrath- 
 fully adding : " It is the most impertinently low-bred 
 conduct I ever saw — bad enough for men and boys, but 
 even worse for women." " Well, now, see here, Mr. 
 Owens," remonstrated the janitor, " I don't want you to 
 say that, 'cause them ladies is some of the first ladies in 
 Norfolk." 
 
CHAPTER XII. 
 
 Yule-tide at home — "Esmeralda" — "You are the man for Elbert 
 Rogers" — Entertaining friends at Aigburth Vale — The Pickwick 
 Club — Season of 1883-84 — " Cooke's Corners " — Hezekiah Perkins — 
 Owens shelves the new play — "Major DeBoots" and "Solon 
 Shingle " heartily welcomed — Brilliant performance at Harlem 
 Theatre, New York — "A golden set" — Summer at Greenbrier, 
 White Sulphur Springs, Va.— Winter in Charleston, S. C — Will. T. 
 Keogh — Return home by steamer — Illness — Mistaken choice of a 
 physician — Dr. W. C. Van Bibber called for consultation — Rescue 
 — A blissful summer — Charleston earthquake — Mr. Owens goes to 
 the stricken city — Effects of exertion and agitation — The clouds 
 gather — Patient suffering — Peaceful and final sleep. 
 
 TT7HE southern tour of 1881 was a counterpart of many 
 ^ previous ones in the same localities, where Owens 
 was ever a superlative favorite. No adverse comment 
 occurred except at Talladega, Ala., where he was booked 
 for the first time. After inspecting the so-called theatre, 
 he declined to play; assuring the owner of the build- 
 ing that "he never played in halls, destitute of scenery, 
 gas, and other indispensable appliances for theatrical 
 performances ; " but, at the same time signified his 
 willingness to pay the rent and other expenses that had 
 been agreed upon. 
 
 275 
 
276 MEMORIES OF 
 
 This arrangement was entirely satisfactory to the pro- 
 prietor, but some of the inhabitants were not so easily 
 propitiated; their disappointment at not seeing "Solon 
 Shingle " merged into indignation, and they threateningly 
 asserted that " Owens would be sorry for the day he put 
 such an insult on Talladega — he'd rue it, that he would! 
 When shows was printed in papers, and their picters 
 stuck up on walls, the people had a right to them — 
 perhaps the law might have something to say, &c." 
 These impulsive words were probably the safety valve 
 for chagrin, and did not arise from ill feeling to the 
 star, as most of the speakers thereof, went on the train 
 next day to see him play in Selma. An extension of 
 this engagement with Mr. John T. Ford included a 
 return trip through Tennessee, Ohio, and other states, 
 and terminated November 26th, 1881. 
 
 The following month was passed at home, and the 
 Christmas season fully enjoyed. During this interval 
 he organized a company for four weeks' travel through 
 the Pennsylvania towns. An inefficient business agent 
 and the illness of the stage manager trebled Mr. Owens' 
 labors. At the end of the month he felt the effect of 
 these combined duties to have been severely exhausting 
 in mental and physical stress ; and therefore determined 
 to rest for the remainder of the season. 
 
 A little while after his return home, some theatrical 
 friends, from New York, said to him : " Owens, that 
 
JOHN E. OWENS. 277 
 
 play of " Esmeralda" now on the Madison Square Theatre 
 boards, has an old man in it who would be something 
 wonderful in your hands. You ought to secure the 
 right of that play outside of New York." Later on 
 others said to him : " You are the man for that part ; " 
 and the same suggestion met him in sundry newspaper 
 articles. He concluded to run on to New York and see 
 the piece. 
 
 He was by no means enthused with the play of 
 "Esmeralda" nor with Elbert Rogers, but thought he 
 could make the latter prominent. He regarded it as a 
 desirable acquisition in the light of an easy part that 
 would be a restful change from his usual comedy char- 
 acters and double bills. The proposition to purchase 
 rights for " Esmeralda " was refused by the management ; 
 but they eulogistically descanted upon Mr. Owens' adap- 
 tability for the part, and made him an offer to join the 
 company and play Elbert Rogers in New York. This 
 was promptly declined ; but after considerable discussion 
 he consented to reflect upon the matter. 
 
 The Madisou Square Theatre was conducted with a 
 stock company which included several stars. Mr. Owens, 
 weary with the fatigue and responsibility of managing, 
 finally concluded to accept the desirable terms submitted 
 to him, and signed a contract for the remainder of the 
 season. He began in February, making an immense hit 
 as Elbert Rogers. So thorough an artist could not fail to 
 
278 
 
 MEMORIES OF 
 
 turn any character into something quaint, beautiful or 
 mirthful, and bring it into prominence by his assumption 
 of it. The popularity his personation of Elbert Eogers 
 attained, grew and strengthened with the public. 
 
 His engagement at the Madison Square Theatre was 
 pleasant and non-laborious. Being within easy access of 
 home, sundry happy Sundays were passed there ; ofttimes 
 accompanied by a party of friends, who were his guests 
 from the time they left New York until their return to 
 that city. Mr. Owens' hospitality was lavish, and to the 
 minutest detail he delicately and thoroughly attended to 
 the enjoyment of his guests. " A prince of good fellows " 
 in social life at large, he was also a perfect host at home. 
 His position at the Madison Square, being free from 
 care, gave him much leisure, as well as relieving the 
 strain of hard work which heretofore had devolved 
 upon him. He was so comfortably situated that he 
 yielded to the pleading of the management, and continued 
 another season with the company. 
 
 This was a year of travel, but not of fatigue. The 
 route was through the usual cities of Owens' former 
 tours, and everywhere he was greeted with enthusiasm. 
 Perhaps in New Orleans the greatest ovation was ren- 
 dered to him, being manifested, not only by applause 
 and cheers at the theatre, but by myriads of friends in 
 private life, eagerly competing who should shower the 
 most attention upon him. Though he was deeply touched 
 
MR. OWENS as ELBERT ROGERS 
 In "Esmeralda." 
 
JOHN E. OWENS. 279 
 
 by the evidence of such enduring attachment, he per- 
 sistently declined feasting and fetes, and enjoyed the 
 society of his friends in a quiet way. 
 
 The daily offering of many flowers, which brightened 
 his rooms in the hotel, also spoke of old associations, and 
 was pleasant incense to the heart, and lovely to the 
 sight. New Orleans people thought of Mr. Owens as 
 their own comedian. Many of his masterpieces were 
 perfected there, during his former years of management 
 of the " Varieties." At that time his genial humor, 
 sparkling wit, and noble nature, drew to him a large 
 circle of friends. Essentially cordial, he was the centre 
 of an extensive and intelligent coterie, and time intensi- 
 fied the impression then made ; this was evinced by 
 the spontaneous welcome now extended to him. 
 
 He visited all the haunts of former days — the " Chal- 
 mette," " Pickwick," and other clubs ; there enjoying 
 much pleasant intercourse with friends of yore. The 
 Pickwick Club sent an exquisitely beautiful stand of 
 flowers of immense size, symbolically arranged ; accom- 
 panying this testimonial was the following note : 
 
 Pickwick Club, New Orleans, December 14th, 1882. 
 
 "John E. Owens, Esq.: 
 
 " Dear Sir, — We desire to show you how kindly we appreciate your 
 presence here among your old friends, who have witnessed your great 
 triumphs in characters, which have been living ideals, through your 
 eminent ability as an actor. 
 
280 MEMORIES OF 
 
 " We recognize the same powers now exhibited in your personation 
 
 of Elbert Rogers, and we are glad that your heart is as warm, your 
 
 eye as bright, and your wit as keen as in the days of 'Auld Lang Syne.' 
 
 " With the best wishes of all your old friends composing this Club, 
 
 " I am yours very truly, 
 
 "James G. Clark, 
 
 President." 
 
 A copy of the reply to this note has been furnished me by 
 a prominent member of the " Pickwick Club." For this 
 favor, I am indebted to Mr. T. L. Bayne, of New Orleans, 
 a renowned lawyer and courtly gentleman, whom Mr. 
 Owens regarded with esteem and friendship. I subjoin 
 the letter, and am strongly tempted to give Mr. Bayne's 
 eloquent lines which accompanied it. 
 
 "St. Charles Hotel, New Orleans, December 15th, 1882. 
 "James G. Clark, Esq.: 
 
 "Dear Sir, — How shall I express my thanks for the kind note and 
 beautiful flowers, conveying as they do a cordial welcome from the 
 ' Pickwick Club,' and the remembrance of ' Auld Lang Syne.' 
 
 " Your assurances of esteem and friendship, and your good opinion 
 of me, both personally and professionally, touch my heart, and are 
 very precious to me. 
 
 " I will not attempt to put in words how deeply I feel your kind- 
 ness; but as long as I live, I will ever remember my warm-hearted 
 friends of the ' Pickwick Club.' 
 
 " Hoping that there are many bright days of social intercourse for 
 
 us in the future, 
 
 " I am, regardfully yours, 
 
 "John E. Owens." 
 
MR. OWENS as HEZEKIAH PERKINS 
 In " Cooke" s Corners."— Act %. 
 
JOHN E. OWENS. 281 
 
 This visit to New Orleans was not only charming at the 
 time, but remained so as a treasure of memory. It was, 
 alas ! a final adieu to that city and its people. 
 
 The "Esmeralda" season concluded June 10th, at 
 Bockville, Ind. Mr. Owens deferred his return home, 
 proceeding at once, with his wife, to Hot Springs, Arkan- 
 sas, that she might be relieved from the suffering of 
 rheumatism. The stay at these springs was prolonged 
 until August, thus rendering the summer at home very 
 brief. Mr. Owens had positively declined urgent per- 
 suasion to remain another season with the " Esmeralda " 
 company ; and no inducement offered could shake his 
 determination. The separation transpired amicably ; and 
 though much disappointment was expressed by the man- 
 agement, friendly feeling existed ever afterwards. 
 
 Some months previous, a new play had been submitted 
 to Mr. Owens, but did not entirely meet his approval. 
 Later on the author altered the piece, and solicited a 
 second reading. An appointment was made, and the 
 play had another hearing. After suggesting some further 
 improvements to which the author acceded, he consented 
 to personate the leading part. This with the under- 
 standing that a first-class supporting company was to be 
 provided, and all details of business attended to by the 
 manager ; for in that capacity the author purposed to act. 
 In this way it was agreed that the star should be entirely 
 relieved of every responsibility save that of playing. 
 
282 MEMOKIES OF 
 
 Rehearsals began in November, and the comedy of 
 " Cooke's Corners " was produced first at Wilmington, 
 Del., thence, Newark, and through the state of New 
 York. The play was unsatisfactory when staged; the 
 effect did not equal expectation made from reading the 
 manuscript; and the company falling far short of the 
 " first-class " standard promised by the manager. Liking 
 the part of Hezekiah Perkins, and reflecting that the play 
 could be built up and the company strengthened, Mr. 
 Owens continued to fulfil his engagement. All of this 
 might have been accomplished in the hands of a com- 
 petent manager; but weakness and inexperience were 
 incapable of carrying out the ideas suggested. 
 
 The inevitable result was, that though Owens received 
 highest commendation for his creation of " Hezekiah Per- 
 kins" he declined to be burdened with the weight of 
 incompetency attending " Cooke's Corners ; " therefore, 
 shelved the piece and returned to his former repertoire. 
 With a reorganized company, he appeared at the Arch 
 Street Theatre, Philadelphia, in "Everybody's Friend," 
 and "Solon Shingle," playing with his accustomed vim 
 to a responsive house. Two nights in New Brunswick, 
 and four in Providence filled the ensuing week. 
 
 At the matinee Mr. Owens was sick, but no evidence 
 thereof was apparent to the audience ; nor at night, when 
 the plays went off gloriously. After performance he 
 continued very sick, but decided to leave for New York 
 
MR. OWENS as HEZEKIAH PERKINS 
 In "Cooke's Corners." — Act 2. 
 
JOHN E. OWENS. 283 
 
 by the midnight train, that he might have a full day's 
 rest on Sunday before commencing in Harlem, which 
 was the next booking. Arriving at the Sturtevant House 
 early Sunday morning, we were comfortably located in 
 the rooms we had occupied the previous winter; thus 
 adding a home feeling to a restful one. Mr. Owens 
 refused to see a physician until he had tried repose, 
 and simple remedies for relief. After a quiet sleep of 
 several hours he felt much better, and so continued 
 through the day; retiring at night in the full belief 
 that his indisposition was rapidly vanishing. But 
 towards morning he grew ill, and a hemorrhage 
 from the stomach supervened. Dr. Quackenboss, who 
 was immediately summoned, greatly lessened my anxiety 
 by the assurance, that this, in all probability, would 
 relieve the liver and avert congestion. He strictly inter- 
 dicted resumption of professional engagements; impres- 
 sively dwelling upon the necessity of perfect rest for 
 a fortnight, and the danger of exertion at this critical- 
 juncture. 
 
 Mr. Owens acquiesced in the mandate, but later in 
 the day suggested the possibility of playing a portion 
 of the week. I implored him not to think of doing so ; 
 but on Tuesday he decided to fill the remaining nights 
 of the Harlem booking, saying to me : " I never broke 
 faith with the public, and will keep that record, if I 
 can." With superhuman effort he went through the 
 
284 MEMORIES OF 
 
 performance, and under excitement played " Major De- 
 Boots" and "Solon Shingle" with his usual brilliant 
 humor and perfection in those personations, but the 
 reaction next day was severe. Dr. Quackenboss was 
 indignant, and alarmed at Mr. Owens' persistence; but 
 he used every means to build up his strength in response 
 to the appeal — " Get me through this week, and I will 
 be an obedient patient ; go home and rest for a month." 
 
 The Harlem Theatre was well filled each night, and 
 on Saturday there was an overflowing house; as the 
 shouts of laughter penetrated the dressing-room, they 
 jarred upon me, in my great distress lest my husband 
 should suffer from the exertion he was making. At the 
 fall of the curtain he responded to a vociferous call, but 
 merely bowed in acknowledgment of the compliment; 
 some friends who were among the audience called to see 
 us next day, and were surprised to find Mr. Owens ill. 
 They said it was the general comment as the audience 
 dispersed — "Owens is in fine spirits, he never played 
 that bill better." This was his last theatrical appear- 
 ance ; and it was " made in a golden set," as brilliant as 
 the noontide of his fame. 
 
 His place in the drama, is not likely to be filled. 
 Seldom does an actor possess his power to run the entire 
 gamut of the passions, combining with it the richness 
 and variety of intonations to vividly convey every 
 emotion. Thoroughly in love with his art, experience 
 
JOHN E. OWENS. 285 
 
 gave hini a deeper insight into the philosophy of humor • 
 and time, mellowing mirth, intensified its raciness. 
 
 Mr. Owens had booked for a season to continue until 
 May; he cancelled two weeks of it, pending his ex- 
 pected recuperation. After his return home, though 
 acute illness lessened, chronic liver trouble continued, 
 and rendered the renewal of professional work impossible. 
 In a few months he had improved very much ; and the 
 baths and water of White Sulphur Springs, Ya., (where 
 he passed the summer) completed his restoration to health. 
 Returning home in September, he concluded to decline 
 all offers for the ensuing theatrical season, having de- 
 cided to fulfil an intention he had deferred from year 
 to year — that of personally managing his own theatre 
 in Charleston. 
 
 This arrangement enabled him to spend the winter 
 in a southern climate, and combine pleasurable restfulness 
 with moderate occupation. He engaged Will. T. Keogh, a 
 resident of Charleston, as assistant manager. Mr. Keogh 
 had been connected with the Academy of Music when a 
 mere lad, being nightly employed as a distributer of pro- 
 grammes. After his school days finished, he was given a 
 situation in the box-office, while Mr. John M. Barron was 
 business manager. Energetic, industrious, and quick of 
 apprehension, he attracted Mr. Owens' favorable atten- 
 tion ; but no promotion being possible at that time, young 
 Keogh associated himself with the " Hess Opera Co." for 
 
286 MEMORIES OF 
 
 advance work. Kemaining in that capacity for two sea- 
 sons, he returned to the Academy of Music in 1884 — 
 being selected from many applicants for the position of 
 assistant manager; Mr. Owens discerningly foreseeing 
 that Keogh 's aptness and conscientiousness would render 
 justice to the duties required, and stand him in good 
 stead for the lack of experience in one so young. 
 
 The result fully justified this confidence. Under Mr. 
 Owens' guidance Will. Keogh developed intelligent execu- 
 tive ability, which formed the basis for excellent business 
 habits. This pleased Mr. Owens ; and with his appro- 
 bation was combined personal esteem and regard for his 
 protege, who warmly reciprocated the sentiment. The 
 position of "Assistant Manager" continued to be filled 
 by Mr. Keogh during Mr. Owens' lifetime ; after which 
 he became lessee of " Owens' Academy of Music," and 
 has ably maintained its record as a first-class theatre. 
 
 The theatrical season 1884-85 of the Academy, with 
 the owner at the helm, was a magnificent success ; un- 
 equalled in financial and other respects. The delightful 
 climate of Charleston admirably suited Mr. Owens; 
 and the charming winter and spring, with pleasant 
 associations, were so attractive that we lingered there 
 until late in May. The weather grew very warm, and 
 it was decided that our return should be by steamer, via 
 New York ; stopping over in the latter city a few days 
 before settling at home for the summer. 
 
JOHN E. OWENS. 287 
 
 A sea voyage had ever been enjoyable and invigorating ; 
 but on this occasion an attack of dyspepsia interfered with 
 the usual experience, and for the first time in Mr. Owens' 
 life he was sea-sick. So extremely was he depleted that, 
 on arriving in New York, he felt unequal to the few 
 days' recreation he had planned. Eesting a day, he pro- 
 ceeded home; but deeming his indisposition transient, 
 did not call in medical aid. Probably he would have 
 done so, had our family physician, Dr. T. H. Wingfield, 
 been alive ; but that dear friend had passed into the spirit- 
 land some months before our return. Mr. Owens mourned 
 this loss of a personal friend, and felt the need of his 
 professional skill as sickness continued. . At length an 
 acquaintance persuaded him to consult a new physician, 
 represented to be a specialist in dyspepsia. This step 
 proved to be a fatal mistake ; for under the treatment of 
 this alleged proficient, he gradually grew worse, until he 
 became alarmingly ill. 
 
 Finally the case was pronounced to be "internal cancer — 
 incurable." Having faith in the physician, his decision 
 was believed by me, and received as a death knell. 
 After four months of this agonizing delusion, something 
 occurred which caused me to doubt the infallibility of 
 the attending M. D. I requested a consultation, and 
 selected Dr. W. C. Van Bibber. The result was total 
 annihilation of the cancer diagnosis. Like the glory of 
 sudden sunshine and warmth breaking through total 
 
288 MEMORIES OF 
 
 darkness came Dr. Van Bibber's assurance that "Mr. 
 Owens 7 illness was curable." Not the slightest symptom 
 of cancer existed. Liver and stomach trouble had been 
 the cause of sickness ; this was the true diagnosis, and 
 subsequently substantiated. 
 
 Mr. Owens 7 strength had been seriously impaired by 
 four months' lavish administration of anaesthetics ; but 
 his iron constitution enabled him to survive this treat- 
 ment, which would have proved fatal to a less vigorous 
 man. Under the care of Dr. W. C. Van Bibber, he 
 steadily improved, and by the spring was quite well. A 
 happy summer was passed at Aigburth Yale, and the 
 dreadful past relegated to oblivion, or only remembered 
 as a horrid nightmare, where suffering contrasted darkly 
 with the present brightness of thankful hearts. 
 
 The glory of the summer was on the wane. Mr. Owens 
 having received propositions to play during the coming 
 season, was considering the same, when all business 
 engagements were set aside by the tidings of the earth- 
 quake in Charleston ; it was a shock in every sense of 
 the word, involving monetary loss in addition to solici- 
 tude for friends in Charleston. As soon as access 
 was attainable to the city, he proceeded there to make 
 personal inspection. His impressions were given in the 
 following telegram which I received from him : " Calamity 
 more serious than pen or picture has described. No 
 words can depict the desolation." 
 
JOHX E. OWENS. 289 
 
 At once he set about having the Academy of Music 
 repaired. Its massive strength had rendered it better 
 able to meet the shock than many of the other public 
 buildings ; but still it was greatly defaced. The repairs, 
 frescoing, &c, were immediately put in hand ; and 
 regardless of expense the theatre was speedily restored 
 to its condition of safety and beauty. The early book- 
 ings could not be met ; but before the renovation was 
 completely finished, the season began, and Mr. Owens 
 arranged to have the receipts of the first entertainment 
 given to the earthquake sufferers. He had previously 
 offered the ball-room (a portion of the Academy that was 
 uninjured) as a hospital for the disabled, or a refuge for 
 the houseless otherwise unprovided for. 
 
 After his return home, he estimated the pecuniary 
 involvement that had accrued from the earthquake ; and 
 then, to the utmost dollar he could spare, sent a check to 
 Mayor Courtenay for the " earthquake fund," with a few 
 lines expressive of sympathy, and regretting that his own 
 losses from the calamity prevented the sum being as large 
 as his inclination dictated. In reply came this graceful 
 acknowledgment from Mayor Courtenay : 
 
 "City of Charleston, 
 
 "Executive Department, October 1, 1886. 
 
 "Dear Mr. Owens, — 
 
 "There is before me, as I write, a little slip of paper, with 
 numerals and an autograph which will convert it into currency; 
 
 19 
 
290 MEMOJRIES OF 
 
 and this will ultimately tighten the roof, strengthen the foundation 
 and restore to comfortable use some needy sufferer's home wrecked 
 by the earthquake. This is your offering, which is accepted with 
 thanks and appreciation. 
 
 " In an extensive reading, I have this distinctive recollection — 
 that, be it fire or pestilence, or the elements that causes destruction to 
 life and property ; the profession to which you belong always lead in 
 the offerings of kindness and charity, and old ocean does not bound 
 their benefactions. In many places dramatic entertainments have been 
 most successfully given, and large sums realized for the sufferings 
 caused by our mysterious calamity. The gifted Irving signals from 
 London, and the renowned Booth sends his check to a stricken 
 family here. 
 
 "And so the record runs through all the years, and so it will 
 continue to be made in the years to come ; and with it too we have 
 received something above currency value — it is the felt pulsations of 
 warm hearts, which cheers and strengthens all. 
 
 " In accepting your offering, our people will at once recognize the 
 kindly voice and the goodness of heart of " Farmer Shingle" and will 
 wish that all good fortune attend him in life. 
 
 " Very truly yours, 
 
 " William A. Cotjrtenay, 
 
 " Mayor. 
 "John E. Owens, Esq." 
 
 The visit to Charleston, Avith its inevitable excitement 
 and agitation, the over-exertion of every hour of his 
 stay there, had injurious effect upon Mr. Owens' health. 
 When, months before, Dr. Van Bibber rescued him 
 from imminent peril, an unusually strong constitution 
 enabled him to rally, and respond to medical skill ; but 
 
JOHN E. OWENS. 291 
 
 the effects of treatment arising from the former mistaken 
 diagnosis, had impaired the organs of life, and rendered 
 him less resistant to fatigue and harassment. As a 
 sequence, he was extremely ill in October. Strong will 
 power aided him to overcome this attack, and be up and 
 about assuming direction of daily matters. 
 
 Whatever sickness afflicted Mr. Owens, was borne, 
 not only heroically, but with a gentle patience perfectly 
 marvellous. His own suffering was never so hard for 
 him to bear, as the thought of the anguish it caused. A 
 noble and unselfish nature was evinced in this, as well 
 as every other phase of his life. Recuperating from 
 illness, he took up the various threads of business, and 
 the propositions for professional engagements were again 
 under consideration. Once more we were encouraged to 
 believe that he had thoroughly and firmly regained 
 his health. This blessed experience of happiness soon 
 vanished. 
 
 On the morning of December 4th, 1886, he arose early, 
 in the happiest mood, and after breakfast took a walk 
 about the farm, preparatory to going to the city. The 
 extreme coldness of the weather decided him to defer his 
 drive until midday. Like a thunder-clap in a clear sky 
 came a terrible change. A sudden hemorrhage from the 
 stomach occurred. For many hours life was in jeopardy ; 
 but gradually improvement gave hope — almost certainty 
 of recoverv. 
 
292 MEMORIES. 
 
 Thus the symptoms continued until the morning of the 
 7th inst, when he fell into a calm sleep which it was 
 thought would refresh him. From that sleep he never 
 awoke. His spirit passed into the other land, leaving its 
 bright reflex on the tranquil and smiling face of its 
 earthly tabernacle. 
 
 Of this time I am unequal to speak in detail. The 
 mortal remains of John E. Owens rest in Greenmount 
 Cemetery beside those of the dear mother he loved so 
 devotedly. His genius and talent have given him endur- 
 ing fame ; but even more effulgent are his deeds of 
 humanity, sympathetic kindness and tender helpfulness 
 that are recorded in many hearts. They may not be 
 blazoned forth to the world in trumpet tones ; but they 
 rise as fragrant incense to the shrine of his memory, and 
 from them are distilled heavenly dew that keeps fresh 
 and pure the remembrance of his life on earth.