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PLATERS 
 
 OF A 
 
 [ctord of HSft 3Uft*Jtg Mn&t. 
 
 INCLUDING NOTICES OF PROMINENT ACTORS 
 
 WHO HAVE APPEARED IN 
 
 AMERICA. 
 
 SECOND EDITION. 
 
 «£\ 
 
 
 BY H. !P. PHELPS. 
 
 ALBANY. 
 
 Joseph McDonough, 32 North Pearl St. 
 
 1880. 
 
IV PLAYEKS OF A CENTUKY. 
 
 Such a history must necessarily be, in part, a compilation 
 from old newspapers, old play-bills, and old inhabitants ; 
 but in part, also, from dramatic records previously pub- 
 lished. While credit has frequently been given to the 
 latter, in the text, the author here acknowledges his 
 special indebtedness to Dunlap's History of the American 
 Stage, Clapp's History of the Boston Stage, Blake's 
 History of the Providence Stage, Brown's History of 
 the American Stage, Hutton's Plays and Players, and in 
 particular, Ireland's Records of the New York Stage, 
 by far the best work of dramatic history published in 
 America. Greater freedom has been felt in quoting 
 from these authorities, from the fact that, with possibly 
 one exception, they are out of print, and unavailable to 
 the general public. 
 
 The writer is also indebted for many local reminis- 
 cences to Mr. Henry D. Stone, Mr. William D. Morrlnge, 
 Mr. Joel Munsell (the venerable Albany antiquary, 
 whose lamented death occurred as these pages are pass- 
 ing through the press), Mr. and Mrs. Lucien Barnes and 
 Capt. John B. Smith ; to many co-laborers on newspapers, 
 and others who have kindly added to the interest and 
 
 value of the record. 
 
 H. P. Phelps. 
 
 Albany, N. Y., February 2d, 1880. 
 
13 
 
 CHAPTER I. 
 
 1745-1752. 
 
 Introduction of the Drama into America. 
 
 WHEN the future historian of the American drama 
 begins his hitherto neglected work, he will find, 
 though not required to extend his researches much 
 beyond the middle of the eighteenth century, that his 
 initial chapter must be one of speculation and surmise, 
 rather than of authenticated record. To whom belongs 
 the honor of founding the theatre in the new world, 
 where the first play was produced, what it was and 
 who performed it. are questions which, though answered 
 with great exactness of detail by some writers, are 
 still open to debate, and likely always to remain so. 
 
 William Dunlap, to whom the aforesaid future his- 
 torian must perforce acknowledge himself much in- 
 debted, unhesitatingly confers the honor upon Hallam, 
 and says further that the first theatre opened in 
 America by a company of regular comedians, was in 
 Williamsburgh, then (September 5. 1752) the capital 
 of Virginia: that the play was the "Merchant of 
 Venice,*' followed by "Lethe," a farce by Garrick. 
 Siii2e Mr. Dunlap's book was written, however, it has 
 been ascertained beyond question, that Hallam was 
 not the first in the field of management in this country, 
 and although the above mentioned performances took 
 place as stated, the occasion was not the initiation of 
 the drama in America, notwithstanding the date thereof 
 was honored with a grand centennial observance at 
 2 
 
14 PLAYERS OF A CENTURY. 
 
 Castle Garden, Monday, September 6th, 1852 (wben 
 the original bill was carefully reproduced). On the 
 contrary, the very building in which the Hallam com- 
 pany made their debut had been erected for dramatic 
 purposes two years previous, and presumably occupied 
 by the "Philadelphia company," who, previous to 
 1752, also built a theatre in Annapolis, Md. This 
 Philadelphia company Dunlap only alludes to con- 
 temptuously as "some idle young men" who, perpe- 
 trating the murder of sundry plays in the outskirts of 
 the town, were arrested, and on confessing the crime 
 and promising to spare the poor poets in the future, 
 were bound over by the Philadelphia authorities for 
 good behavior. It is probable that in L748, they were 
 only professionals in embryo, but their leader, Thomas 
 Kean, preceded his great name-sake (a curious coinci- 
 dence), by being the first American Richard, and was 
 probably the manager of the company which produced 
 the play in Nassau street, New York, March 5th, 1750, 
 and he was certainly associate manager with Murray 
 at the same place in the following September, when 
 they played to crowded houses. It is thought by 
 some (but this is merely surmise), that Murray and 
 Kean may have been the two young Englishmen who, 
 about this time, shocked all New England by playing, 
 with the assistance of volunteer talent, Otway's tragedy 
 of "The Orphan, or Unhappy Marriage," at a coffee 
 house in State street, Boston, a proceeding which led 
 the great and general court of Massachusetts to pass 
 an act in March, 1750, To Prevent Stage-Plays and 
 other Theatrical Entertainments. 
 
 Still another authority (Bernard), asserts that John 
 Moody founded the American stage in the Island of 
 Jamaica, about 1745, with an English company brought 
 over by him ; that in four years he made a small fortune, 
 and going to England, recruited a second company, 
 but instead of coming back with them, was induced 
 by Garrick to remain at Drury Lane, where he became 
 celebrated as an Irish actor. The company, however, 
 came over, and were the second dramatic organization 
 
PLAYERS OF A CENTURY. 15 
 
 to cross the Atlantic, thus making Hallam's company 
 third, instead of first, as claimed by Dunlap. 
 
 But of all the actors who preceded Hallam's com- 
 pany, next to nothing is known. They strutted their 
 little hour upon the stage, no doubt affording amuse- 
 ment to thousands, and then were heard .of no more, 
 it being by accident only that the names even of a 
 few of them, have come down to us, with such meagre 
 information as to their performances as scant adver- 
 tisements in the newspapers of the day afford. 
 
16 
 
 CHAPTER II. 
 
 1760-1786. 
 
 The Drama at the Hospital, Albany. 
 
 IN order, to write a history of the theatre in Albany, 
 one must go back at least 110 years. Even before 
 that time dramatic performances were given ; but as 
 they were simply the amusement of amateurs, they 
 hardly come within the scope of this record. Still the 
 circumstances connected with them are so curious that 
 the reader will perhaps pardon "meandering" even at 
 the outset, inasmuch as it has been the habit of stage 
 historians to digress frequently from their narrative 
 since the days of Colley Cibber. 
 
 In 1760, as Mrs. Grant tells us in her " Memoirs of 
 an American Lady," a regiment of English soldiers 
 was quartered in Albany for a while, and the officers, 
 with the gayety for which military men are noted in 
 all times and in all countries, inaugurated a reign 
 of pleasure and frivolity such as the sober Dutch 
 town had never known before, and to cap the 
 climax, fitted up a barn into a private theatre, 
 and produced "The Beaux' Stratagem." Although 
 its wit is none of the most delicate, it is very 
 doubtful whether Farquhar's sentiments were suffi- 
 ciently understood by the majority of the listeners, 
 to have much moral effect one way or the other, so 
 
PLAYERS OF A CENTURY. 17 
 
 indifferently was the English language understood by 
 them. Few, indeed, of the natives, had ever seen a 
 play before, or hardly knew what the word meant; yet 
 they found rare sport in watching the young men, 
 some of them displaying great hoops and flirting about 
 the stage in female apparel. But while the younger 
 portion of the community were vastly amused, and 
 not much harmed thereby, opinions extremely adverse 
 to the performance rapidly gained ground among the 
 older and soberer folk. It was said that these wild 
 young officers, familiar with every vice and disguise, 
 had not only spent a whole evening in telling a gigantic 
 lie, but they were themselves the lie! that they had 
 violated the express commands of Scripture by appear- 
 ing in women's clothes, and above all things they had 
 actually painted their faces! Such a violation of 
 decorum had never been known on the upper Hudson 
 before, and the good dominie, Rev. Theodorus Frey- 
 linghausen, pastor of the Dutch Reformed Church, 
 became much exercised about it. He exhorted in the 
 street and preached in the pulpit, but the officers 
 laughed openly at his authority, and many of the 
 young lambs of his flock, captivated by the dashing 
 manners of the soldiery, ventured to think their 
 worthy pastor quite too severe on a new and innocent 
 amusement, and so it was that two parties grew up 
 and great was the excitement. The first play had been 
 so successful that a second was announced. '' The 
 Recruiting Officer." by the same then popular author. 
 The next Sunday the much aggrieved dominie was 
 more severe than ever in his denunciations of what 
 he honestly thought an alarming evil. Early Monday 
 morning he found deposited at his door a club, a pair 
 of old shoes, a crust of black bread and a dollar in 
 money. TThere they came from no one knew : but 
 what they were there for the poor pastor readily 
 guessed. It was an emblematical message, signifying 
 to him that he was wanted no longer. The keenly 
 sensitive man felt the insult deeply. Believing his 
 influence to have ceased, his sceptre to be broken, he 
 
18 PLAYERS OF A CEJSTTURY. 
 
 resolved to take the hint and return to Holland. In 
 vain his friends endeavored to assure him that he was 
 mistaken ; that it was at most, the work of the giddy 
 and thoughtless whose opinion was not worth heeding ; 
 but it was of no use, he was determined to seek his 
 native shores. A Dutch ship happening to touch at 
 New York about this time, he embraced the oppor- 
 tunity and sailed, promising, however, soon to return; 
 but he never did. Month after month rolled away, 
 and finally tidings came that he never reached his 
 home; that for days he walked the deck silent and 
 melancholy, and then suddenly disappeared and was 
 never heard of more. Whether by accident he fell 
 into the trackless sea, or whether goaded to despair by 
 a sense of lost popularity and usefulness, he had, in a 
 fit of insanity, thrown himself overboard, no one ever 
 knew. It is a singular story, and rather an ominous 
 prelude to our theatrical history. With the superstition 
 for which the profession is proverbial, it is not to be 
 wondered at that some unfortunate showmen, as they 
 start from Albany on foot, lay their ill-luck there to 
 the revengeful ghost of Eev. Theodoras Freyling- 
 hausen. 
 
 The first dramatic performance recorded as given by 
 professionals in Albany, was July 3d. 1769. The 
 actors were the American company, organized a little less 
 than twenty years previous in England by the Hallam 
 brothers. It is this company to which William Dun- 
 lap, the first writer on the history of the American 
 theatre, gives the credit of founding the drama in this 
 country ; but as we have shown, they were neither the 
 first nor the second company of professionals who 
 appeared in the new world; their predecessors having 
 been a company led by Murray and Kean in 1750, 
 and a troupe still earlier in the field, led by one Moody. 
 Of these, the advance guards of the great Thespian 
 army which has since crossed the ocean, but little is 
 known, save that they played in the south, and as far 
 north as New York. The Hallam company's record 
 is more fully written. They had played first at Will- 
 
PLAYEKS OF A CENTURY. 19 
 
 iamsburgh, Va., in September, 1752 ; in Annapolis, 
 and in New York at the Nassau street theatre, in the fall 
 of 1753. They had gone subsequently to the West 
 Indies, where Lewis Hallarn, their first manager, had 
 died, and his widow had married David Douglass, who 
 reigned alone monarch of the drama in A^ya erica, the 
 elder Hallarn having early relinquished his interest in 
 the enterprise. On the return of the company from 
 the West Indies in 1758, they found hard work to 
 establish themselves any whe r e, but played in Phila- 
 delphia, Newport, Perth Amboy, Williamsburgh, 
 Annapolis and New York, and then probably revisited 
 the West Indies. In 1767, the John street theatre in 
 ISew York, was erected, and the company were there 
 for a year or two, and in the summer of 1769 obtained 
 permission of the governor of the colony, Sir Henry 
 Moore, baronet, to play in Albany for one month only. 
 According to the custom of the times, performances 
 were given only on Mondays, Wednesdays and Fri- 
 days. There were no newspapers to criticise the plays 
 or record even the names of the players. It is known, 
 however, that Lewis Hallarn, Jr., was the leading gen- 
 tleman of the company; that John Henry was the 
 tragedian ; Miss Cheer was the leading lady ; Mr. 
 Woolls, principal singer. The town had less than 
 3,000 inhabitants. There was, of course, no theatre, 
 and the hospital, which stood on what is now Pine 
 street, near the site of the Lutheran church, was fitted 
 up for the use'of the Thespians. Prices of admission 
 were as follows: boxes, six shillings; pit, four shil- 
 lings; gallery, two shillings. The only play of which 
 the title is recorded, is Otway's "Venice Preserved," 
 with which they opened. This was a great card in 
 those days. It was followed by a farce, perhaps 
 " Lethe," by Grarrick, as that was also a favorite after- 
 piece with the company, and often used on opening 
 nights to offset the gloom of Otway's dreary tragedy. 
 Whether the season was successful, "or whether it lasted 
 through its allotted time or not, we have no means of 
 knowing. If the poor players did make more than 
 
20 PLAYERS OF A CENTURY. 
 
 their expenses, it was an exception to the general rule, 
 for they were then regarded by many as no better than 
 vagabonds and mountebanks, no matter how lofty the 
 sentiment they uttered, or pure the morality they 
 inculcated. 
 
 It is not surprising that for the ensuing decade and 
 a half, there was a gap in theatricals, over which we 
 vault without comment, and come to the first dramatic 
 notice ever published in Albany. It appeared under 
 date of December 5, 1785, in a supplement to the 
 Albany Gazette, Charles R Webster, editor. As the 
 first of many thousand that have followed, it is not 
 without interest: 
 
 We have the pleasure to inform the public that a 
 number of carpenters for these some days have been 
 employed fitting up with the greatest expedition the 
 hospital in this city as a theatre, under the direction of 
 the managers of the company of comedians who have 
 entertained the inhabitants of New York for some 
 months past with so much satisfaction to the public, and 
 reputation to themselves. Their continuance amongst 
 us will be but for a short time. It is therefore to be 
 wished that all lovers of the drama in this city and its 
 neighborhood, would exert themselves in encouraging 
 these ingenious sons and daughters of Thalia and Mel- 
 pomene, as it is universally acknowledged that theatrical 
 representations are of all others best calculated to eradi- 
 cate vulgar prejudices and rusticity of manners, improve 
 the understanding and enlarge the ideas. 
 
 The " earmarks " of the box-office are quite apparent 
 in the above, although it was printed as editorial com- 
 ment. Like many another published since then, it 
 undoubtedly emanated from the pen of the enterpris- 
 ing " advance agent," whose contribution was gladly 
 accepted by the printer, as expressing better than he 
 could himself, the idea it was desired to convey. In 
 the same issue of the Gazette appeared the following 
 advertisement containing probably the oldest Albany 
 play- bill in existence : 
 
PLAYERS OF A CENTURY. 21 
 
 BY AUTHORITY. 
 
 On Friday evening the 9th December, 1785, The 
 
 Theatke in the City of Albany 
 
 Will Be Opened 
 
 With an occasional Prologue 
 
 By Mr. Allen. 
 
 After which will be presented A COMEDY in two acts 
 
 call'd 
 CROSS PURPOSES. 
 
 Mr. Grubb and Robin Mr. Moore 
 
 George Bevil " Bentley 
 
 Harry Bevil " Warsdale 
 
 Servant " BelJair 
 
 Chapeau, F. Bevil & Consol " Allen 
 
 Emily Mrs. Moore 
 
 Housemaid M rs. Bentley 
 
 Mrs. Grubb Mrs. Allen 
 
 After the comedy, 
 
 An Eulogy on Free Masonry 
 
 By Brother Moore. 
 
 To be followed by a Dance called 
 
 LA POLONESE. 
 
 To conclude with a COMEDY of three acts written 
 
 by Shakespeare 
 
 Call'd, 
 
 CATHARINE AND PETRUCHIO, 
 
 OR, 
 
 THE TAMING OF THE SHREW. 
 
 Petruchio Mr. Allen 
 
 Baptista " Bentley 
 
 Grumio " Warsdale 
 
 Hortensio " Bellair 
 
 Pedant u Duncan 
 
 Biondello " Moore 
 
 Bianca Mrs. Moore 
 
 Curtis Mrs. Bentley 
 
 Catharine Mrs. Allen 
 
 Doors to be opened at five o'clock and the perform- 
 ance to begin precisely at six. 
 
 Tickets, (without which no person can be admitted) 
 to be had at Mr. Lewis's tavern — as no money will be 
 received at the door. 
 
 Box 8s. Gallery 4s. 
 
22 PLAYEES OF A CENTURY. 
 
 No person to be admitted behind the scenes. 
 N. B. — Stoves are provided for the boxes, to render 
 the house warm and comfortable. 
 
 The peculiarities of this first of Albany play-bills, 
 so readily suggest themselves, that it is hardly neces- 
 sary to call attention to the exceedingly primitive 
 features of early hours, the doubling of characters, 
 and the certainty that part of the house at least would 
 be warmed in the month of December. The first 
 play, "Cross Purposes/ 7 was a farce by O'Brien. It 
 had been acted at Covent Garden, was printed in 1772, 
 and played at the John street theatre, in New York, 
 June 7, 1773. It was founded on the Trois Freres 
 Rivaux, and contained touches of genuine humor and 
 many strokes of satire. The interludes speak for 
 themselves, and of Shakespeare's comedy, nothing 
 need here be said. 
 
 The comp/my was not a strong one. Several of its 
 members, however, had just been associated with Lewis 
 Hallam, Jr., (the successor of Douglass before men- 
 tioned) in the first feeble attempts at histrionism made 
 in New. York after the revolution. Coming back from 
 the West Indies, the players had spent a few unprofit- 
 able months in Philadelphia and then a feeble detach- 
 ment came on to New York, with Hallam. and opened 
 the John street theatre, August 24, 1785. So pro- 
 nounced was the opposition to plays at that time, that 
 the entertainments* were advertised as a series of lec- 
 tures to begin with a prologue and end with a panto- 
 mime, the music selected and composed by Mr. Bentley. 
 September 20th they came out boldly with a play and 
 produced u The Citizen,' 7 the first drama played in 
 New York after -the revolution. The season closed 
 November 1, and Hallam being encouraged to bring 
 on his main body of artists, did so, and opened with 
 them November 21, whereupon his advance guard, 
 slightly recruited, came up the river to Albany. 
 
 Of the personnel of the company but little is known, 
 except that it is supposed Mr. and Mrs. Allen were 
 the parents of that highly eccentric specimen of 
 
PLAYERS OF A CENTURY. 23 
 
 humanity, Andrew Jackson Allen, afterwards w T ell 
 known in Albany as Edwin Forrest's dresser, whose 
 silhouette adorns Mr. Stone's Eecollections of the 
 Stage, and of whom we shall speak hereafter. 
 
 The performance did not come off on the night 
 specified, as the following notice published in the 
 Gazette one week later, explains : 
 
 Albany, 8th December. 1785. 
 The public are most respectfully informed that the 
 entertainment intended for Friday evening, is unavoid- 
 ably postponed, notwithstanding the managers have 
 made use of every effort in their power to complete the 
 necessary preparations, but from some unexpected delay, 
 they find it absolutely necessary to defer the exhibitions 
 until Tuesdav evening, the 13th next, when it is humblv 
 hoped that every part of the preparations will be finished 
 so as to meet the future approbation and encouragement 
 of the public. 
 
 Meantime the announcement that a theatre was to 
 be opened had created much feeling, a large number 
 of citizens being violently opposed to such an innova- 
 tion. As was seen by the advertisement, the players 
 were acting "By Authority," having obtained per- 
 mission to appear in the hospital from the city corpo- 
 ration. No sooner was this known than the following 
 petition was circulated and signed: 
 
 To the Worshipful the Mayor, Recorder, Aldermen and 
 
 Commonalty of the City of Albany, this petition 
 
 humbly sheweth : 
 
 That your petitioners having observed in the supple- 
 ment to the Albany Gazette of the 5th inst. an adver- 
 tisement in the following manner : 
 
 " By Authority. — On Friday evening, 9th December, 
 the theatre in the city of Albany, will be opened," etc., 
 beg leave humbly to represent to your worshipful board 
 the present state and situation of this city. Though in 
 the same paper the inhabitants are suspected of rusticity 
 and want of politeness, they have so much common 
 sense, we trust, as to judge and to declare that we stand 
 in no need of plays and play-actors to be instructed in 
 
24 PLAYEKS OF A CENTURY. 
 
 our duty or good manners, being already provided with 
 other and much better means to obtain sufficient knowl- 
 edge and improvement in both. But the pressing neces- 
 sities and wants of many families, after a long continued 
 and depressing Avar, the debts still due to the public for 
 the safety and convenience of the state and this city ; as 
 well as many objects of charity (not to mention the 
 gratitude we owe to God,) call upon us to request the 
 impartial reconsideration of your resolution by which 
 that authority was given, and to make such amendments 
 as are consistent with your wisdom and prudence, to 
 acquaint your citizens that the intent and meaning 
 thereof was not publicly to authorize and thereby to 
 applaud and encourage theatrical exhibitions of those 
 persons, who, having left another more populous city pre- 
 tend to stay but a short time amongst us, probably to 
 support themselves on the way to another place, where 
 they expect to meet with better friends and political 
 connections; but in reality will drain us of our money, 
 if not instil into the minds of the imprudent principles 
 incompatible with that virtue which is the true basis of 
 republican liberty and happiness. 
 
 The war of the revolution was not at that time so 
 far in the background but that there still existed a 
 bitter feeling against the mother country, and the fact 
 that these players were English, on their way to 
 Canada, " where they expect to meet with better friends 
 and political connections,' 1 is shrewdly made use of to 
 arouse public prejudice against them. 
 
 The excitement which this petition created may be 
 judged of from the fact that while usually local matters 
 were disposed of in a quarter of a column or less of 
 the Gazette, one whole number (exclusive of advertise- 
 ments) is filled with communications upon this topic. 
 Among them is an address originally written in New 
 York upon the same subject;, but so " well adapted to 
 the present state of things in this city, that to give it 
 place would oblige a great number of customers." 
 The accommodating printer did so to the extent of 
 more than two columns. A few excerpts will show its 
 tenor. It begins: 
 
PLAYERS OF A CENTURY. 25 
 
 A new species of luxury and dissipation has lately- 
 arrived in this city, and by the most artful methods is 
 gradually gaining ground amongst us. The measure of 
 our folly, pride and expenses was not it seems, quite full, 
 and to complete our character as a people wholly given 
 to pleasure, idleness and vanity, the theatre must now 
 be opened, 
 
 After a lengthy diatribe against the drama, the 
 writer concludes as follows : 
 
 If there should be certain characters who have so far 
 forgotten themselves and what they owe to a republic 
 as to countenance these follies and strengthen the hands 
 of the stage-players, the serious citizens would reprobate 
 their conduct and take leave gently to remind them that 
 the people are now the source of honors. Whether our 
 worthy magistrates will be able to oppose the torrent is 
 doubtful ; that they would be protected and supported 
 in suppressing the theatre by the strength of the city is 
 certain. From another quarter it could soon be effected. 
 Such is the spirit of the people that one word as a signal, 
 would lay the play-house in a few minutes to the ground. 
 But these are not proper weapons. The serious inhabi- 
 tants hate mobs and will ever discountenance them. But 
 they give fair notice in order also to prevent these 
 unwelcome strangers from needless expense in importing 
 their splendid apparatus, that another method more 
 legal and efficacious will by-and-by be taken, when such 
 numbers of respectable characters will openly appear 
 against the stage as will oblige these Scaramouch gentry, 
 with all their enchanted caves and alluring machinery 
 to depart from our state. 
 
 Thus it will be seen that the playhouse was openly 
 threatened in the public prints. The petition above 
 given was signed by seventy inhabitants, being started, 
 another correspondent says, ki by a few persons very 
 remarkable for a close, studied attention to the formal- 
 ities of religion, who have procured the names of some 
 of the most respectable of our citizens to the petition. 
 They also publicly threatened to rise up and destroy 
 3 
 
26 PLAYEES OF A CENTURY. 
 
 by violence the building intended to be occupied as a 
 theatre, provided it was opened for that purpose." 
 
 The petition was presented to the corporation on the 
 12th of December, and the motion to reconsider the 
 resolution was adopted. It was argued that permission 
 having been given the comedians November 28th, to 
 exhibit in the city, and afterwards, a majority of the 
 corporation being convened, permission was further 
 given them to use two rooms in the hospital for that 
 purpose, and the comedians having thereupon gone to 
 considerable expense in fitting up the rooms, the cor- 
 poration could not, consistent with justice or honor, 
 retract, any more than could a private individual. . 
 
 The result was a brilliant victory for the drama, as 
 the following literal transcript from the city records of 
 the period shows : 
 
 City Hall, Albany, 12th December, 1785. 
 
 A Petition of Harman Gansevoort, John Ja. Lansing 
 and Others, was Read and filed. 
 
 Alderman Hun Moved that the Comedians have not 
 the Liberty to exhibit Their Theritrical performances in 
 the Hospital, and on the Question being put to agree to the 
 Motion it was Carried in the Negative as follows (to wit) : 
 
 For the Motion — Aldermen Hun, Ten Broeck ; Assist- 
 ants Gansevoort Junr., Lansing — 4. 
 
 Against the Motion — Mr. Mayor, Mr. Recorder, 
 Aldermen Yates, van Rensselaer, Douw, McClallen; 
 Assistants Wendell, Winne, Visscher — 9. 
 
 Resolved that in the Opinion of this Board, they have 
 not a Legal Right to prohibit the Company of Come- 
 dians in this City, from exhibiting their Theatrical 
 performances. 
 
 Resolved, that as a Formal application was made by 
 the said Company of Comedians to this Board, for 
 Leave to occupy two Rooms in the Hospital for this 
 purpose and as this application was notorious and not 
 Hastily Granted, so that sufficient time was afforded to 
 the Inhabitants to Express their sentiments and altho 
 the Permission was granted by a Majority of Members 
 Comprising the Corporation, they conceive that it would 
 
PLAYERS OF A CENTURY. 27 
 
 be unjust at this time and forfeit their Honour to Deprive 
 the said Comedians of the use of the said Rooms and 
 subject them to useless Expence. 
 
 The old hospital was not pulled clown either, but 
 sheltered the comedians till February, when they went 
 on their way to Montreal, for which place they were 
 bound, stopping in Albany only " until the season for 
 passing the ice arrives." Weak and feeble as was the 
 company, it appears the}' did not allow the legitimate 
 to stagger them in the least. On Friday. December 
 16th, "The Countess of Salisbury."' a tragedy by Hall 
 Hartson, was presented with the farce "The Deuce is 
 in Him," by Coleman. For Thursday evening of the 
 same week " George Barnwell " (for years the strongest 
 moral card in the whole repertory of British plays), 
 was brought out with " The Wrangling Lovers/' a farce 
 by William Lyon. No criticism of the plays or 
 playing was published, but in several cases preliminary 
 notices of the various dramas were printed, being 
 evidently furnished by the players themselves to the 
 one newspaper of Albany. In particular, the great 
 merits of " George Barnwell " were set forth at length, 
 and its salutary influence in warning young men of 
 the dangers that beset the path of him who follows 
 after the strange woman, was warmly commended. 
 Wednesday, 29th. Mrs. Centlivre's "Busy Body" was 
 played with a Mr. Pinkston as Marplot and his wife 
 in the cast. " Catharine and Petruchio " was repeated, 
 and during the engagement the following were also 
 produced: "Venice Preserved" and "Cross Pur- 
 poses:" "She Stoops to Conquer" and "Love a la 
 Mode; " " The Fair American, or the Young Quaker," 
 by John O'Keefe (first time in America) ; " The Citi- 
 zen," "Lethe:" a pantomime or two, and February 
 17th, 1786, for the last performance, " The West 
 Indian." 
 
 The controversy in regard to the theatre extended 
 through several numbers of the Gazette, and served as 
 a capital advertisement, if nothing else. Whether it 
 resulted in large audiences, we have no means of 
 
28 PLAYEKS OF A CENTURY. 
 
 knowing, but that the entertainment was generally 
 regarded as dangerous in its tendencies may be inferred 
 from the following extract from a correspondent 
 who writes some weeks after the theatre was fairly 
 established: 
 
 It would be doing injustice to our magistrates not to 
 mention here, that though it was not in their power to 
 prohibit, yet they have never extended their authority 
 so far as publicly to sanction the opening of the theatre, 
 and if common fame can be credited, none of them have 
 countenanced the comedians by attending their exhibi- 
 tions, an example worthy of imitation of all ranks. 
 When we find this darling vice encouraged in the first, 
 and patronized in the second city of the state, and rear- 
 ing its ensigns in each corner thereof, is it not high time 
 for considerate inhabitants to step forth and treat the 
 increasing evil with firmness and resolution, ere it be too 
 late? 
 
 The words " By Authority " at the head of the adver- 
 tisement, were early changed to u By Permission." An 
 address announced to be delivered by one of the 
 players, "To the Enemies of the Theatre," was with- 
 drawn by the author. Performances were given only 
 on Tuesday and Friday evenings. The orchestra was 
 augmented, and from the fact that on the last week of 
 the performances, the following notice appeared at the 
 foot of the bill, we may infer that the season resulted 
 more favorably than many that followed it: 
 
 All persons having any demands on the theatre are 
 desired to call on Mr. Allen at Abraham Bloodgood's, 
 and their accounts will be immediately paid, as the com- 
 pany of comedians positively leave this city on Saturday 
 next. 
 
 The last we hear of the company is the following 
 good word for them in the Gazette of February 23d : 
 
 On Monday last, the company of comedians who have 
 been in this city for these some months past, set off for 
 Montreal. In justice to the company, we cannot omit 
 mentioning that their conduct has been such as to meet 
 with the approbation of the city in general. 
 
PLAYERS OF A CENTURY. 29 
 
 Without doubt they "paid the printer." Let us 
 hope that they had something left to help them on 
 their way. The old hospital in which they performed, 
 which was built in the time of the French war, was 
 sold at auction and pulled down in August, 1808. 
 
30 
 
 CHAPTER III. 
 
 1803-1811. 
 
 The Drama at the Thespian Hotel 
 
 J FTER the departure from Albany of the second 
 -^ company of comedians in February, 1786, there was 
 what would now be called a long dearth in theatrical 
 matters. We do not know that any plaj^s were pre- 
 sented till 1803, when Mr. Hallam's company arrived 
 and played three nights in a week, from August 22d to 
 October 27th. The city had nearly doubled in size, and 
 had become the state capital. It supported two or 
 three newspapers, and although they were larger, and 
 in some respects better than the Gazette of the previous 
 century, no more space was given to local news, and 
 the theatre was about as thoroughly ignored as it had 
 been previously abused. The Albany Register gave one 
 preliminary notice of Mr. Hallam, but the Gazette, 
 which eighteen years previous had devoted columns to 
 the subject, was silent, and only the advertisements 
 gave sign that the theatre was open. Yet the company 
 was far the superior of any that had been seen in the 
 city. It was the same that had played at the Park 
 theatre in New York for six seasons, and was now under 
 the management of William Dunlap, the historian of 
 the drama. He does not appear to have come to Albany, 
 and Lewis Hallam (the second of that name, his lather 
 having been here in 1769) was acting manager. He 
 had been an excellent actor, but was now past his prime. 
 His second wife, nte Tuke, was with the company, and 
 though sometimes addicted to the use of stimulants, 
 was the first American actress who attained celebrity. 
 
PLAYERS OF A CENTURY, 31 
 
 Lewis Hallam. jr., a son of Hallam's first wife, was only 
 an ordinary actor. John Hogg was excellent as a comic 
 old man. Joseph Jefferson, comedian, was the first of 
 that name who became famous on the American stage. 
 He and his wife, xi good comedy woman, afterward 
 were great favorites in Philadelphia. He was grand- 
 father of the present famous Rip Van Winkle. Miss 
 E. A. Westray, or as she was sometimes called, Mrs. 
 Villiers. was the tragedy woman. Besides these there 
 were Messrs. Martin, Robinson, Shapter, Mr. and Mrs. 
 Seymour. Mrs. Pettit and Mrs. Simpson, of whom we 
 know but little. 
 
 The performances were given at the Assembly room, 
 a dancing hall in the north end of Pearl street, near 
 Patroon street, first called Angus's long room, and at 
 this time the Thespian hotel. It was a public hall 
 used for various purposes, and in 1801, by the United 
 Presbyterians as a church, and finally taken down in 
 1835. A building was erected upon its site for a school, 
 and afterwards a dwelling, now second door from Clin- 
 ton avenue, occupied by Dr. S. B. Ward. 
 
 The price of admission was one dollar. The following 
 are among the plays produced : " She Stoops to Con- 
 quer," and " Miss in Her Teens :" " School for Scandal,' 1 
 and k ' All the World "s a Stage ;" " Busy Body," and 
 "Village Lawyer:" "The Wonder." and -'Modern 
 Antiques :" " Clandestine Marriage." and " Catharine 
 and Petruchio :" " Child of Nature," and " Love a la 
 Mode;" " George Barnwell ;" " Poor Gentleman." and 
 " Three Weeks after Marriage:" "The Fair Ameri- 
 can," and " Highland Eeel ;" il Inkle and Yarico." and 
 "No Song. No Supper:" "Douglas," and " The 
 Spoiled Child:" "Jane Shore" and " The Purse;" 
 "The Gamester," "The Revenge" and -The Poor 
 Soldier ;" "The Stranger" and "Children in the Wood;" 
 " Love in a Village ;" " The Provoked Husband" and 
 " The Adopted Child :" "The Dramatist" and "Eosina;" 
 " School for Soldiers ;" (in act 5, the stage to represent 
 a camp painted for the purpose by Mr. Martin,) and 
 " The Midnight Hour." On the last night of the 
 
32 PLAYERS OF A CENTURY. 
 
 season, October 27th, part of the theatre was railed off, 
 admittance to which was half price. Mr. Dunlap, in 
 recording the engagement in two lines, says, " they 
 played at Albany, with some success." 
 
 During the next six years we can-not learn that much 
 attention was given to the drama, and amusements of 
 all kinds were decidedly scarce. Without pretending 
 to give a complete record of all the shows that came 
 along, it may be said that July 24th, 1806, Mr. Sickles 
 gave dramatic recitations in the Thespian hotel, and 
 three or four months later, Mr. Grimbrede taught there 
 the arts of dancing, fencing and taking miniature like- 
 nesses. November 15th, of the same year, the great 
 sensation was an African lion, which the month pre- 
 vious had been exhibited in Poughkeepsie, the show 
 winding up with "a grand bait to take place between 
 the lion, six bears and twelve bull-dogs in a large field 
 where ample accommodations will be prepared for 
 spectators ; admittance $1." 
 
 In 1808 two royal tigers were to be seen at the 
 Thespian hotel. In the same year the Albany museum 
 was established by Ealph Letton (who solicited dona- 
 tions of curiosities, for which he would give tickets in 
 exchange,) and a circus pitched its tent here. In the 
 old court house, J. Scudder unrolled a panorama and 
 Sig. Faleroni gave exhibitions of electricity. The 
 Thespian hotel was opened April 24th for a performance 
 of Macbeth (first time in Albany) by Mr. Cook, 
 supported by a company of people whose names were 
 quite unknown to lame. The star could not have been 
 George Frederick Cooke, as he did not arrive in America 
 till after that date. It is quite likely that this and 
 other performances of which no record is left, tended to- 
 wards lowering popular respect for the drama, as August 
 2d, Mr. Ormsby, "after an absence of eight years" 
 opened the theatre with " New Hay at the Old Market," 
 "Provoked Husband," "The Prize," and "Quack 
 Doctor," and in making his announcement, said: 
 
 "The patrons, friends and admirers of the drama, which 
 the present manager knows by experience to be numer- 
 
PLAYERS OF A CENTURY. 33 
 
 ous, and of the most liberal kind in this city, are most 
 earnestly requested to lay aside any prejudice which 
 might arise from former experiences at the Thespian 
 hotel, as it must be obvious to every amateur that the 
 success of the present undertaking will entirely depend 
 on the first night." JUrJ 2 D idUo 
 
 We do not learn that there was a second, and are 
 led to believe that the prejudice. Mr. Ormsbv speaks 
 of, was too strong to be overcome, even by the eloquence 
 of his appeal and the length of his bill. 
 
 On the 14th of November, 1810, the Thespian hotel, 
 "having undergone an entire and improved alteration. 
 with the additional advantage of a commodious recep- 
 tacle for boxes," was opened under the direction of 
 Mr. Havman ; boxes $1, pit 50 cents : smoking entirely 
 prohibited. A correspondent of the Gazette says: "Mr. 
 Havman, the manager, has been at considerable expense 
 in fitting up the room with suitable neatness and con- 
 venience, and an entire separation of the boxes from 
 the pit and gallery will afford no little inducement to 
 the respectable portion of the community to recognize 
 his exertions.'j- The opening bill was Column's "Poor 
 Gentleman" and "The Lying Valet/' The cast of the 
 principal play was as follows : 
 
 Dr. Ollapod Mr. Bates 
 
 (From New York, Philadelphia and Boston, first 
 appearance here.) 
 
 Frederick Mr. Morgan 
 
 (From Boston, first appearance here.) 
 
 Sir Robert Bramble Mr. Sonthey 
 
 Lieut. Worthington Mr. Taylor 
 
 (From Boston, first appearance here.) 
 
 Sir Charles Mr. Anderson 
 
 (First appearance here.) 
 Corporal Foss Mr. Lucas 
 
 Farmer Harrowbv, ) Ar TT 
 
 Hi n n • r Mr. Havman 
 nmphrey Dobbin, \ 
 
 Miss McTab Mrs. Bates 
 
 (First appearance here.) 
 
 Emily Miss Edwin 
 
 Dame Harrowby Mrs. Cowley 
 
34 PLAYEKS OF A CENTUKY. 
 
 On the 3d of March a performance was given (" The 
 Honeymoon" and " The King and the Miller,' 7 ) "for the 
 benefit of the poor debtors confined in prison." The 
 sheriff of Albany county afterwards acknowledged 
 the receipt of $74.89 as the result of this charitable 
 effort. 
 
 On the 5th of April, J. Howard Payne began an 
 engagement of five nights, in which he was supported 
 by the stock company. He opened as Octavian in "The 
 Mountaineers," and during his engagement played 
 Hamlet, supported as follows, this being the first 
 cast of the play, probably, in Albany : 
 
 Hamlet Mr. PAYNE 
 
 King Mr. Lucas 
 
 Polonius Mr. Bates 
 
 Horatio Mr. Morgan 
 
 Laertes Mr. Southey 
 
 Ghost Mr. Taylor 
 
 Rosencrants Mr. Anderson 
 
 Bernardo Mr. Hayman 
 
 Player King Mr. Jones 
 
 Grave Digger Mr. Burke 
 
 (First appearance here.) 
 
 . Ophelia Mrs. Bray 
 
 Queen Mrs. Bates 
 
 Player Queen Miss Cordell 
 
 Great as was the furore created by the acting of the 
 young American Roscius, as he was styled, and volum- 
 inous as were his works as a dramatist, the memory of 
 John Howard Payne will be saved from oblivion only 
 by that one little song, "Home, Sweet Home." At 
 the time he appeared in Albany as an actor, he was 
 not quite twenty, and had been on the stage a little 
 over two years, having made his debut at the Park 
 theatre, in New York, January 24th, 1809, as Young 
 Norval. He was born in New York, June 9, 1791, and 
 was early removed to Boston. His father was a cele- 
 brated elocutionist, and anervous complaint, with w r hich 
 the son was incapacitated for two or three years from 
 severe study, was supposed to be benefited by exercises 
 
PLAYERS OF A CENTURY. 35 
 
 of this character. As a result, young Payne became a 
 leader in school exhibitions. He was urged to go upon 
 the stage, but his father would not allow it, and soon 
 after the boy went into a New York counting-house. 
 Here he published a little paper called the Thespian 
 Mirror, (a complete file of which [14 numbers] is in our 
 possession.) It attracted attention by the ability of its 
 criticisms, written, as few would have believed had it 
 been told them, hy a boy scarce in his teens. At length 
 the secret came out, and so interested a certain gentle- 
 man, that he offered to pay the author's expenses at 
 Union College. Schenectady, whither he was sent. 
 There he started a periodical called The Pastime. 
 which became very popular with the students. He 
 was. however, severely criticised, and one day. as a 
 joke, he sent to one of the papers in Albany, an arti- 
 cle, which was published, berating himself, alter the 
 manner of his censors, in round terms. It produced 
 a sensation at Union, many of his old associates turn- 
 ing the cold shoulder upon him. The affair came to 
 an issue at a supper party, where an individual gave 
 as a toast. "The Critics of Albany." and was. in com- 
 mon with the other carpers, decidedly nonplussed by 
 Payne's quietly rising and returning thanks. Soon 
 after, Payne's father becoming bankrupt, the son left 
 college, and. with his parent's consent, went upon the 
 stage, appearing at the Park, as above stated. At this, 
 the only time he appeared in Albany (so far as we 
 know) his figure was small, but neat, and his counte- 
 nance handsome and beaming with intelligence. The 
 characters he assumed were presented with the skill 
 of a finished artist, combined with the freshness and 
 impulsiveness of youth. He had previously played 
 in Philadelphia, Boston. Baltimore, Richmond and 
 Charleston. In the latter place, Henry Placide, after- 
 wards the famous comedian, is said to have gained 
 his first success by a capital imitation of Payne's style 
 of acting. It would be an interesting story to follow 
 this singularly gifted young man through his career as 
 actor, manager, dramatist and critic, did space permit. 
 
36 PLAYERS OF A CENTURY. 
 
 In 1813, he visited England, and appeared with success 
 at Drury Lane. He wrote and compiled many plays, 
 which were highly popular both at home and abroad, 
 but was ill repaid, and sometimes suffered from ex- 
 treme want. The opera "Clari," in which occurred 
 the song of " Home, Sweet Home," made the fortune 
 of every one connected with it, except the author. 
 It gained for Maria Tree (elder sister of Mrs. Charles 
 Kean), who first sang the well-known song, a wealthy 
 husband, and filled the house and treasury of Charles 
 Kean, the manager. It was estimated in 1S53 that 
 upwards of 100,000 copies of the song had been sold 
 by the original publishers, whose profits, two years 
 after it was issued, are said to have amounted to 2,000 
 guineas. The author only received £30 for the whole 
 opera, and was not even complimented by a copy of 
 the song from the publishers. In 1832 he returned 
 to America, and on the 29th of November received 
 at the Park theatre the first complimentary benefit 
 ever given by the citizens of New York. The admis- 
 sion to the boxes and pit was $5 ; gallery $1. The 
 receipts amounted to $1,200. Payne was appointed 
 consul to Tunis in 1841, and died there April 10th, 
 1852, aged fifty-nine. 
 
 May 17th, "Othello" was performed for the first time 
 in Albanjr, Mr. Taylor probably playing the title role; 
 Desdemona by a young lady, her first appearance on 
 any stage. 
 
 Among the plavs produced this season were the 
 following: " John Bull ;" "The Purse;" "The Next 
 Door Neighbor, or Poverty and Honor;" "No Song, 
 No Supper;" "Fortune's Frolic:" "Quaker Wedding ;" 
 "George Barnwell ;" "Ways and Means, for Wives 
 and Sweethearts;" "The Weathercock;" "Point of 
 Honor;" "Douglas:" "Raising the Wind:" "Speed 
 the Plough;" "Who is the Dupe;" "She Stoops to 
 Conquer;" "The Honeymoon" (with Mrs. Bray, from 
 Philadelphia, as the heroine); "Lovers 1 Vows:" 
 "Rosina;" "Child of Nature ;" "Jane Shore;" "Miss in 
 Her Teens:" "Mayor of Garratt;" "Poor Soldier;" 
 
PLAYERS OF A CENTURY. 37 
 
 "Agreeable Surprise;" "King and the Miller:'' "To 
 Marry or Not to Marry ;" "The Sultan;"' "The Country 
 Girl;" "Catharine and Petruehio ;" "The Eomp ;" 
 "Richard III," (Taylor as Richard) : "The Mountain- 
 eers;" "The Will;" "The Mock Doctor :" "Harlequin's 
 Vagaries" (a pantomime) ; "Cheap Living;" "Inkle and 
 Yarico;" "Castle Spectre:" -The Review:" -Two 
 Strings to Your Bow:" "Highland Reel;" "Hamlet;" 
 "School for Scandal :" "Way to Get Married;" "Jew 
 and Doctor ;" "Children in the Wood :" "Irishman in 
 London:" "Henry the Fourth ;" "Cure for the Heart- 
 ache." 
 
 The season lasted till the last of May. 1811. It was 
 not till after several nights that the ladies graced the 
 theatre with their presence, and the fact is then noticed 
 in the Gazette as a decided sign of encouragement. 
 
 It was during the summer of 1811 that George Fred- 
 erick Cooke visited Albany, not professionally, how- 
 ever. — as we have no record that he ever played here — 
 but on a wedding tour, having been married (for the 
 third time) June 20th of that year, to Mrs. Behn, 
 daughter of Mr. James Bryden. They arrived July 
 17th. and after passing several weeks, in Albany and 
 Greenbush, proceeded northward as far as Lake George, 
 and then returned to New York, where Mr. Cooke 
 resumed his duties at the theatre. George Frederick 
 Cooke, unquestionably one of the greatest actors of the 
 century, was born April 17th, 1755, in Westminster. 
 His first appearance as a professional was in 1776. At 
 first he attracted verv little attention, but after a tour 
 of the English provinces, he returned to London and for 
 ten years was the rival of John Kemble. In 1810 he came 
 to America and died in New York, September 26th, 
 1812. He was as great a drunkard as he was an actor, 
 and the stoiy of his life told by Dunlap is, as Byron 
 remarked, "all green room and tap room, drams and 
 the drama." He was buried in St. Paul's churchyard, 
 where a monument was erected to his memory by 
 Edmund Kean, in 1821. 
 
38 
 
 CHAPTEE IV. 
 
 1810-1817. 
 
 The Green Street Theatre Before it Became a Church, 
 
 In 1810, the population of Albany was full ten 
 thousand, and the taste for theatricals was so pro- 
 nounced, that the project of building a permanent 
 play-house was advanced, and met with much favor. 
 On the 14th of December, a meeting was called of 
 those interested in the enterprise, to be held at Jared 
 Skinner's tavern, in Green street. A committee was 
 then appointed, and papers were circulated for sub- 
 scriptions. It was found, however, (a case not with- 
 out precedent) that people were more ready to talk 
 than they were to act, and nothing decisive was done 
 that winter. The next fall. John Bernard, a veteran 
 actor and manager, came from Boston with a view of 
 opening a theatre. In November, 1811, he published 
 the following card : 
 
 Mr. Bernard, formerly of Covent Garden, and late of 
 the Boston theatre, intends the first week in December 
 to open a new temporary theatre in a pleasant, conven- 
 ient part of the city, with a select company that shall 
 perform such pieces as may tend to improve the minds, 
 morals and manners of the rising generation. 
 
 This plan, however, does not appear to have been 
 carried out, for in December we find Mr. Bernard 
 playing Sheva and Shylock, and in "The Dramatist," 
 and "The Foundling of the Forest," at the old Thes- 
 pian hotel, which had been opened November 4th, by 
 a company in which were Mr. and Mrs. Bates, Mr. 
 
PLAYERS OF A CENTURY. 39 
 
 Claude and Mr. Slaughter, and which, in a few weeks, 
 was strengthened by Mr. and Mrs. Young, the latter 
 making a sensation in the part of Adelgiiha, in the 
 play of M. Gr. Lewis, of the same name (first time in 
 Albany). 
 
 On the 26th of December, 1811, occurred the burn- 
 ing of the Eichmond theatre, with a sacrifice of the 
 lives of seventj-one human beings. This sad event 
 threw a gloom over theatricals in all sections of the 
 country. Many people saw in it the hand of God 
 visiting His wrath upon unholy amusements, and the 
 old discussion of 1785 was revived and carried on with 
 much energy. Sermons were preached against thea- 
 tres ; communications written against them were pub- 
 lished ; and in view of the prospect that a permanent 
 home for the drama was likely to be erected, a motion 
 was made in the corporation board of the city, to put 
 down theatrical exhibitions as a nuisance. A resolu- 
 tion was passed, directing the law committee to report 
 " whether all public shows and theatrical exhibitions 
 are not contrary to good order and morality, and, 
 therefore, ought to be discountenanced." 
 
 The report on this resolution was made January 
 20th, 1812, and was long and exhaustive. It was 
 understood to be from the pen of John V. N. Yates, 
 then recorder of the city. It sets forth that the com- 
 mittee have examined the city charter and statutes of 
 the state, and are convinced that theatrical exhibitions 
 are not contrary to law, and that, therefore, they have 
 no legal right to suppress them. After a well-written 
 historical sketch of the drama, and the quotation of 
 many authorities in its favor, the committee advance 
 as their opinion " that a well-regulated theatre, sup- 
 ported by the respectable portion of society, so far 
 from being contrary to good order and morality, must 
 essentially contribute to correct the language, refine 
 the taste, ameliorate the heart and enlighten the under- 
 standing.'' The report closed with the following 
 resolution : 
 
40 PLAYERS OF A CENTURY. 
 
 Resolved, That the board cannot legally interfere, 
 nor would it be expedient for it to pass any laws regu- 
 lating or restraining theatrical exhibitions in this city. 
 
 •The resolution was passed by the following vote : 
 
 Affirmative — Herring, Vedder, Trotter, Lewis, Evert- 
 sen, Jenkins, Hansen, Steele, Shepperd,Van Vechten — 10. 
 Negative — Brown, Webster, McMillan — 3. 
 
 Afe*. Bernard, before mentioned, was the man to 
 whom the friends of the drama looked to conduct a 
 theatre as it should be. He was a finished come- 
 dian, and a manager of experience •both in this 
 county and in England. He brought with him to 
 Albany, a letter of introduction and commendation 
 from an Episcopal clergyman of Boston, and was for 
 some months awaiting the action of those who pro- 
 posed to build a theatre. Meantime, in his two or three 
 engagements played at the Thespian hotel, he won 
 much praise for his efforts in comedy. March 3d, 
 1812, appeared the following notice : 
 
 MORAL AMUSEMENT, 
 
 OR THE MIRROR OF LIFE. 
 
 The lovers of the drama are respectfully informed 
 that the subscription book now open to procure means 
 for their future gratification, will be closed on or about 
 Saturday, March 14th. During the interim it will be 
 kept at Mr. Bernard's, next door to Mr. Buckmaster's 
 Washington Garden. Those gentlemen who feel inclined 
 to honor the cause, are solicited to insert their names 
 with all due convenience. "There is a time for all 
 things." 
 
 On the 16th of June it was announced by George 0. 
 Sharpe, treasurer of the Albany theatre, that proposals 
 for building would be received at the office of the 
 company in Steuben street, where plans might be 
 examined. During the summer the theatre was erected, 
 and on the 18th of January, 1813, it was formally 
 opened to the public under the management of Mr. 
 Bernard. 
 
 The site was on the west side of Green street, a 
 
PLAYERS OF A CENTURY. 41 
 
 little north of Hamilton, and it is a remarkable fact, 
 that the edifice is still standing, having escaped the fiery 
 fate which has consumed so many structures of the kind 
 in all parts of the world. Sooner or later a theatre 
 burns, is the belief among insurance men, and they are 
 justified by the records. The reason that this still 
 exists is no doubt because it long ago closed its career 
 as a place of amusement, and became a — pork store. 
 It is of brick and was originally 56 by 110 feet. Its 
 builder was Lewis Farnham and it was owned by a 
 joint stock company, among whom were John Tan 
 Ness Yates, Isaac Hansen, George C. Sharpe, Isaac Q. 
 Leake, and John J. Godfrey. A writer of that day 
 says: 
 
 "The building is neat and commodious ; the size and 
 construction of the room are precisely such as they ought 
 to be for this place. It is neither too large nor too small. 
 It is sufficient to contain the number of auditors that will 
 ordinarily attend, and it is so small that a whisper on 
 the stage can be distinctly heard in every part of the 
 room." / 
 
 The opening must indeed have been an event in the 
 little amusement world of Albany. Manager Bernard's 
 admission fees were, to the boxes $1 ; pit 75 cents; 
 gallery 50, which, it will be seen, even in those days 
 of low prices, were actually above those of to-day in the 
 same city. So far from there being any fear of ticket 
 speculators, it was announced that less than four of the 
 front seats for the first night would not be sold in ad- 
 vance, "nor less than two as they progress." Ten box 
 tickets and ten pit tickets were offered for the season, 
 always excepting benefit nights and not to be trans- 
 ferable. 
 
 On this auspicious occasion we learn that "the audi- 
 ence was numerous, respectable and polite." The bill 
 included "The West Indian" and "Fortune's Frolic." 
 Previous to the performance an opening address of two 
 or three hundred lines was spoken by Mr. Southey. 
 It was from the pen of Mr. Solomon South wick, of the 
 
42 PLAYEES OF A CENTURY. 
 
 Register, and as an interesting comment upon the times, 
 a portion is given, omitting the first half, which was 
 in praise of the drama generally, and preserving only 
 that part which had especial reference to the occasion : 
 
 OPENING ADDRESS. 
 * * * * * • # * * 
 
 And lo! where Hudson's wave majestic glides, 
 
 O'er fair Albania's plains in vernal tides; 
 
 Praised be the gen'rous flame that warms their hearts, 
 
 Whose bounty flows to aid the rising arts; 
 
 This noblest Temple sacred to thy name, 
 
 Apollo! father of poetic flame! 
 
 Rises in decent dignity and pride 
 
 To genius, wit, taste, eloquence, allied, 
 
 And Beauty's charms — for here shall Beauty bring, 
 
 The choicest flowers that deck her rosy spring, 
 
 Thus shall propitious stars reward our toil. 
 
 For know, the cause that's graced by Beauty's smile, 
 
 Has sacred truth for its exalted aim — 
 
 And Truth approving — who shall dare to blame? 
 
 But ere my Muse, great Cooke! her flight has stay'd, 
 
 Shall she not reverence thy departed shade? 
 
 Thou Star of Tragic Fame! whose rising beam 
 
 Gilded the fluent wave of Liffey's stream, 
 
 Then spread its light to Albion's classic shore, 
 
 That Garrick's shade might wonder and adore, 
 
 Till proud, exulting in the million's smile, 
 
 It spurned the limits of Britannia's isle; 
 
 Wide o'er the Atlantic pour'd its orient blaze, 
 
 And made Columbia mourn its parting rays. 
 
 Thus like the stem that decked its native soil, 
 
 Emblem of Beauty's bloom and Mercy's smile, 
 
 The Shamrock evergreen — three climes did shape, 
 
 The living light of Erin's Tragic Star. 
 
 Oh, Cooke! great, good and generous was thy aim, 
 
 And unborn ages shall embalm thy name ! 
 
 1 'Thy frailties, buried with thy bones," no more 
 
 Thy foes rejoice in, or thy friends deplore, 
 
 While the great virtues, Heaven to thee did give, 
 
 In mem'ry's fond adoring eye shall live. 
 
 Where'er the tragic muse shall chance to stray, 
 
 Thy shade, belov'd companion of her way, 
 
 Shall still attend, and light the holy tear, 
 
 To grace the virgin's, matron's, hero's bier. 
 
 And now, ye gen'rous, ye expecting throng; 
 To this fair fane by Fancy borne along; 
 Ye critics keen, well skilled in verbal wars, 
 Wit's brilliant spirits — Beauty's brightest stars ! 
 
PLAYERS OF A CENTURY, 43 
 
 Lawyers who scorn to plead a villain's cause; 
 
 Merchants, mechanics ruled by honor's laws; 
 
 Soldiers whose valor burns with steady flame; 
 
 Ardent to heal your country's wounded fame; 
 
 Ye whom no danger, fear, or doubt appals, 
 
 To shun the battle's blaze when Glory calls; 
 
 Brave Tars, whose lightning gilds old Ocean's caves, 
 
 Whose thunder calms the roaring of his waves, 
 
 Whose blazing vengeance, on the stormy deep, 
 
 Makes proud Britannia her lost laurels weep, 
 
 Snatches, to grace Columbia's rising name, 
 
 Old Neptune's trident, and old England's fame ! 
 
 Feel who at Hamilton's lamented name, 
 
 Ye, more than sympathy's congenial flame; 
 
 Your Clinton's loss in filial sorrow mourn, 
 
 And hallow with your tears the hero's urn; 
 
 In glory's visions who delight to rove, 
 
 Beside the sainted shade of Vernon's grove. 
 
 Decaturs, Woods, Van Renss'lers, born to save 
 
 In fields of blood or on the bloody wave, 
 
 The trophies your immortal fathers won, 
 
 Bunker's pure glory — Monmouth's proud renown! 
 
 Whose deeds the Nereides of the deep shall sing, 
 
 When o'er the mountain waves their echos ring, 
 
 As down in coral caves they meet to mourn, 
 
 The Brave who ne'er shall to their friends return: 
 
 Who first at Niagara's hoary flood, 
 
 Where gallant Nelson poured his patriot blood, 
 
 And generous Cuyler, urg'd by war's alarms, 
 
 They too expire in bright ey'd glory's arms — 
 
 Amid Bellona's flame, sublimely bore 
 
 Columbia's Eagle to the hostile'shore; 
 
 Perch'd him in thunder on the rampant wall 
 
 T' exult — to weep — at Brock's untimely fall ! 
 
 Ye good, brave, cheerful, witty, wise and gay, 
 
 Choice volunteers where Thalia leads the way, 
 
 Or where Melpomene extends her arms, 
 
 And wins ye with her sad, celestial charms — 
 
 Ye friends of worth from youth to rev'rend age, 
 
 Whose presence smiles upon our Infant Stage, 
 
 One wish, this grateful heart would fain disclose. 
 
 Tis sweet, 'tis sad, — it falters as it flows; 
 
 With scenes as bright as blissful Eden's bowers 
 
 May guardian angels crown your fleeting hours. 
 
 Pure be your joys as Vesta's sacred flame, 
 
 The joys of Friendship, Freedom, Love and Fame ! 
 
 And when your lamp of life, no longer bright, 
 
 On Fate's dark ocean sheds its glim'ring light, 
 
 When the last respiration seals your doom, 
 
 May Love, may Glory light ye to the tomb ! 
 
44 PLAYERS OF A CENTURY. 
 
 The cast of Cumberland's comedy was as follows : 
 
 Belcour Mr. WARING 
 
 Major O'Flaherty Mr. Bernard 
 
 Stockwell Mr. Southey 
 
 Charles Dudley Mr. Legge 
 
 Lady Rusport Mrs. Lewis 
 
 Charlotte Rusport Mrs. Young 
 
 Louisa Dudley Mrs. Bernard 
 
 Mrs. Fulmer Miss Cordell 
 
 Mr. Leigh Waring was the star, having been engaged 
 for ten nights only. He had but recently arrived from 
 England, and was a light comedian of considerable 
 ability. Subsequently he was stage manager of the 
 Charleston theatre, where he died in 1817. He was 
 the father of Mrs. James W. Wallack, who died in 
 February, 1879, at Long Branch. 
 
 Mr. Bernard, the manager, of whom mention has 
 previously been made, had now reached the age of 
 fifty-seven. He belonged to the old school of actors, 
 and had been the intimate associate of the most emi- 
 nent men of fashion, wit and literature, of his time. 
 He was the first gentleman enjoying a metropolitan 
 reputation, who was induced to cross the Atlantic, 
 coming over for the Philadelphia company in 1797. 
 He played there six years, then went to Boston, 
 where he was joint manager with Powell & Dickson, 
 and from there he came to Albany. The Register 
 speaks of him as "a gentleman whose talents as a 
 comedian, whose virtues as a man and a Christian, have 
 endeared him to all who know him, and are capable of 
 estimating the treasure and the worth of virtue. We 
 pay this tribute to a good man the more cheerfully, 
 because so much has recently been said to excite prej- 
 udice against plays and players, that it ought to be 
 known. That our stage is under the direction of a 
 man whose principles and practice are equally pure, 
 is favorable to the prospects of morality and religion.' 7 
 
 Mr. Southey, who spoke the address, came from the 
 New Olympic theatre in New York, where he had been 
 the low comedian. 
 
PLAYERS OF A CENTURY. 45 
 
 Mrs. Esther Young, previously mentioned as play- 
 ing Adelgiiha with great success, was the leading lady, 
 and became a great favorite. She was born not far 
 from Albany, but her father moved to Montreal at an 
 early period in her life, and there she made her debut 
 four years before the time of which we are writing. 
 She w T as possessed of fine personal appearance, and 
 was endowed with great natural abilities. After the 
 death of her husband, which occurred in Albany, she 
 became Mrs. Hughes, and played with much success 
 in New York. Fourteen years afterwards, she played 
 a brief engagement at the Pearl street theatre, when 
 an admiring critic v r rites of her: 
 
 " She was received with those warm and spontaneous 
 expressions of applause, w^hich must have been as grate- 
 ful to her feelings as they were justly due her merits. 
 This admirable actress is one of nature's nobility. Born 
 in an almost wild and uncultivated district of this state, 
 not many miles from Albany ; sprung from humble 
 parentage and cut off in early life from the blessings of 
 education ; yet when she first appeared upon the stage 
 under the auspices of that great actor and good man, 
 the venerable Bernard, notwithstanding the disadvan- 
 tages just alluded to, it was perceived by every candid 
 and discerning critic, that nature has endowed her with 
 talents of the highest order for the vocation she had 
 chosen ; and that a fair trial only was wanting to estab- 
 lish her fame as a first rate actress. Those who pre- 
 dicted this of her, have not been disappointed. She has 
 realized our anticipations." 
 
 Later in life she played "old w T oman" at Burton's 
 for many years, and June 14th, 1852, took a benefit 
 there, being then announced as the oldest native actress 
 on the stage. She retired in 1860. A letter recently 
 addressed to the Hon. Charles Hughes, state senator, 
 making inquiry 7 as to her subsequent history, was 
 politely 7 answered as follows : 
 
 Mr. H. P. Phelps: 
 
 Dear Sir: Mrs. Esther Hughes, formerly Mrs. Young, 
 was my mother. She died upon her farm, three miles 
 
46 PLAYERS OF A CENTURY. 
 
 from this village (Sandy Hill, N. Y.), on the 15th of 
 April, 1867, at the age of seventy-five, from the effects 
 of an accident (falling down stairs, caused by vertigo). 
 She had left the stage before the war, her last engage- 
 ment being a travelling tour with W. E. Burton, in the 
 south and north. She was acting in Albany as Mrs. 
 Young when the war of 1812 was declared, and I have 
 often heard her speak of Solomon South wick and of John 
 O. Cole, who was a boy in Southwick's office. Her many 
 years of theatrical life speak for themselves. 
 Very respectfully, etc., 
 
 Charles Hughes. 
 
 The second night "Speed the Plough" and "The Irish- 
 man in London" were given, and Messrs. Tyler and Jack- 
 son, and Mrs. Wheatley appeared. Tyler had been a 
 very good actor and singer, especially the latter, but was 
 getting old. On the 29th, Mr. Dwyer began an engage 
 ment of six nights, which was prolonged. He played 
 Mercutio in "Romeo and Juliet," Mr. Waring and Mrs. 
 Young assuming the title roles. 
 
 John Hanbury Dwyer was born in Tipperary, Ire- 
 land, and had arrived in this country about three years 
 previous to the opening of the Albany theatre. He 
 was handsome, and not destitute of talent, though 
 Dunlap says it was not of the first order, nor had it 
 received the best cultivation. "His success," says the 
 old historian of the stage, significantly, "was never 
 marred by his diffidence." Ireland says: "He had a 
 very handsome face and person, a frank and manly 
 expression of countenance, the most polished address, 
 a fine voice, an inexhaustible fund of animal spirits, 
 and in light, dashing comedy, was at times almost fault- 
 less. Yet he was frequently careless and inattentive to 
 his duties, lacked study, and his conception of charac- 
 ter wanted that nice discrimination which seizes upon 
 the minutest points and renders seeming incongruities 
 one harmonious whole. He lived to find himself 
 forgotten when, at the National opera house, May 30th, 
 1839, he made his last attempt at acting in Falstaff. " 
 He afterwards taught elocution, and published a book 
 
PLAYERS OF A CENTURY. 47 
 
 upon that subject, which may occasionally be picked 
 up at the second-hand book stores. He died in Albany, 
 December 15th, 1843. His widow for many years 
 resided on Madison avenue, and died May 2d, 1873, 
 of heart disease, aged sixty-seven. She was buried 
 from St. Peter's church. 
 
 In February, Mrs. Beaumont, of Philadelphia, ap- 
 peared for a short engagement, playing tragedy better 
 than she did comedy. The brightest stars of the season, 
 however, were undoubtedly Mr. and Miss Holman, who 
 began a ten night engagement in March, he in "Ham- 
 let ;" she in "The Provoked Husband." They also 
 played in " The Earl of Essex," " Honevmoon," 
 "Othello," "Alexander the Great," "The Gamester," 
 and "The Fair Penitent." (Miss Holman married Mr. 
 Gilfert, first manager of the Pearl street theatre.) 
 March 31st, a performance was given, the profits of 
 which were appropriated to finishing and embellishing 
 the theatre. Then the benefits began, during which 
 we find Dwyer's, the advertisement of which stated 
 that he was to receive from it the only remuneration 
 for his engagement. April 17th, a benefit was given 
 for the widow and children of Mr. Bates, who had died 
 recently. The claims of Mrs. Wheatley were urged, 
 not so much because she was a good actress, but be- 
 cause she was such a fine domestic woman, and a 
 mother with several children to support. She had to 
 try a second night. After the river opened, business 
 fell off', and the season finally closed June 11th, with 
 "Douglas," the manager in a card thanking the public 
 for the brilliant support they had given the enterprise. 
 
 Among the novelties produced this season were 
 James Kenney's "Ella Rosenberg," "one of the best 
 melo-dramas ever put on the stage ;" "Harlequin in 
 Albany, or the Clown's Frolic in State Street," Cum- 
 berland's "Wheel of Fortune," Hook's "Tekeli," "St. 
 Patrick's Day," and Moreton's "Columbus," a scenic 
 play. 
 
 The second season at the Albany theatre, as it was 
 called, began October 4th, 1813, under the same man- 
 
48 PLAYERS OF A CENTURY. 
 
 agement, with essentially the same company. Mr. 
 Drake, the stage manager, was an addition. Box tick- 
 ets for forty-five nights were offered for $25 ; pit tickets, 
 $16, neither transferable. Nights of performance were 
 Mondays, Wednesdays and Fridays. Mrs. Whitelock 
 was the first star, and opened the season as Isabella 
 in " The Fatal Marriage." She was the daughter of 
 Eoger Kemble, and sister of Mrs. Siddons, and the first 
 distinguished tragic actress on the American stage. 
 Her niece Fanny Kemble says of her, that she "sought 
 and found, across the Atlantic, a fortune and celebrity 
 which it would have been difficult for her to have 
 achieved under the disadvantage of proximity to, and 
 comparison with her sister." Mrs. Beaumont played a 
 short engagement, Mr. Beaumont supporting her. 
 Though her inferior as a performer, he was handsome 
 and showy in person, and they made a decided hit. 
 They appeared in "The Stranger," "Macbeth" and in 
 "A Winters Tale." These were the only stars of the 
 season, if we except Hopkins Robertson, who made 
 his first appearance here as Abcellino, the Bandit His 
 brother, William Robertson, was a prominent member 
 of the company, playing heavy parts. Hopkins had 
 been a tailor, but left his goose and needle for the stage 
 severa] years previous, and had played in New York 
 and the South. He had been attached to the ill-fated 
 Richmond theatre at the time of its burning, and saved 
 many lives by his coolness and presence of mind. He 
 was a native of this state, married Judge Woodworth's 
 daughter, and died in New York in 1819. 
 
 The season, which closed May 6th, 1814, was a 
 profitable one. It will be remembered that it was war 
 times then, and business was lively. Several perform- 
 ances were given in honor of the American victories, 
 and one night was set apart for the benefit of "poor 
 sufferers on the lines" who had been devastated by the 
 British and the Indians. The plays on the occasion 
 were "The Curfew" and "The Poor Soldier." The 
 following notice, in connection with this performance, 
 reads curiously at the present day : 
 
PLAYEKS OF A CENTURY. 49 
 
 At the request of several gentlemen of this city, the 
 upper boxes will on this evening be reserved for the 
 respectable [_sic.~\ part of the community who are dis- 
 posed to take seats provided, and it is hoped and believed 
 all the other boxes will be taken at an early period. 
 
 A benefit was also given June 8th, to the sufferers by 
 the late fire in Portland, Maine. : 'Tekeli" was repeated 
 several times, and kk The Forty Thieves," produced with 
 great splendor, had a remarkable run of six successive 
 play nights. "Tekeli," which required a large force of 
 supernumeraries, was never played till after the farce, 
 in order to give the apprentices, who formed the oppos- 
 ing armies, time to get through their work and have 
 their suppers before taking part in the spectacle. u La 
 Perouse, or the Deserted Island." was another scenic 
 play, which was successful. "The Iron Chest," with 
 William Robertson as Sir Edward Mortimer, was seve- 
 ral times repeated. For Mr. Drake's benefit, that gentle- 
 man played King Lear. His wife, Miss Ellis, and Mr. 
 Oharnock, a vocalist, were other members of the com- 
 pany we have not before mentioned. A Mr. St. Clair 
 from South Carolina made his debut as Pierre in ''Venice 
 Preserved." Mr. Lindsley "in throwing for his benefit 
 was so unfortunate as to come last," and therefore 
 presented an unusually strong bill. It consisted of 
 "Othello," and a farce entitled "The Suffield Yankee, 
 or How to Sell Wooden Dishes," by a gentleman of 
 Albany. 
 
 A summer season began June 20th, with the engage- 
 ment of Mr. Duff, followed by that of Mr. and Mrs. 
 Burke. Mr. John Duff was one of the most versatile 
 actors ever known to our stage. He played Richard, 
 Macbeth, etc., during this engagement, but his stronghold 
 was comedy. He was an Irishman by birth, and long 
 a favorite in the famous Philadelphia company. Mr. 
 Thomas Burke was a capital comedian, and his wife 
 was a great favorite and a sweet singer ; afterwards the 
 mother of the now popular comedian, Joseph Jefferson. 
 
 The third season opened October 3d, 1814, and 
 5 
 
50 PLAYEKS OF A CENTURY. 
 
 closed May 9th, 1815. Most of the successes of the 
 previous year were repeated. Mrs. Placide was the 
 opening attraction, appearing in "The Soldiers Daugh- 
 ter." She was a good comic actress, long attached to 
 the Philadelphia theatre. The Holmans repeated their 
 former triumphs, but the main dependence was the 
 stock company, with which several spectacles were 
 produced, that of " Timour, the Tartar," being played 
 eight times at least. Pantomimes of " Three Fingered 
 Jack" and "Don Juan," operas of "Kobin Hood" 
 and " Blue Beard," are remembered ; in the latter a 
 live elephant being introduced. The scenery was 
 painted by Eeinagle, and was said to have been very 
 fine. 
 
 Sol. Smith, the veteran manager, made here his 
 first appearance on any stage. He was a boy of four- 
 teen, and badly stage-struck. His brothers, in whose 
 'store he clerked, refused him permission to go to the 
 theatre, but he contrived to scrape an acquaintance 
 with the young Drakes, and by their influence, got the 
 entre behind the scenes. He used to let himself out 
 of the window, play-nights, by means of sheets and 
 blankets, down to the top of the hen-house, and so to 
 the theatre, to be an "auxilliary." One night, when 
 he had been supporting u Three Fingered Jack," he 
 forgot to wash off the oil and burnt cork and went 
 home and to bed, as black as he had appeared to the 
 audience. Next morning he overslept, and the ser- 
 vant girl going to call him, soon came running down 
 stairs with the frantic declaration that "there was a 
 nigger in Sol's bed ! " The whole family rushed up 
 stairs to verify her assertion, and arousing the snoring 
 aspirant for dramatic honors from his unlucky slumber, 
 received his reluctant explanation. His banner led 
 the supes no more among the scenes of Green street. 
 
 During the season, peace was declared, and a grand 
 festival was celebrated at the theatre in honor of the 
 event. April 12th, a benefit night was memorable for 
 the production of this festival, the theatre being 
 
PLAYERS OF A CENTURY. 51 
 
 decorated with American standards and illuminated 
 with 100 wax tapers. In addition, "Julius Caesar" 
 was performed, with the following cast : 
 
 Julius Cflesar Mr. Drake 
 
 Antony . . . . , Mr. H. Robertson 
 
 Brutus' Mr. W. Robertson 
 
 Cassius Mr. Moore 
 
 Portia Mrs. Young 
 
 Calphurnia Mrs. Placide 
 
 There were several Drakes in the company (that 
 family subsequently becoming the basis of the pioneer 
 troupe in the west). Miss Ellis was the soubrette. Mr. 
 Garner the vocalist. Among the novelties produced 
 were "The Tempest 7 ' and Schiller's " Robbers." A 
 benefit to the Albany Humane society, resulted in 
 turning over to that organization, 890.50. which was 
 duly acknowledged and Manager Bernard handsomely 
 complimented therefor. The weather proving wet and 
 the ladies being unable to leave Albany at the close 
 of the season, Mrs. Young, Mrs. Placide and Miss 
 Ellis took a joint benefit, but with what success, we 
 cannot state. 
 
 The fourth season opened November 7th, 1815, and 
 closed March 16th following, Mr. Bernard then retiring: 
 from the management. We have before spoken of 
 this noble representative of the dramatic profession. 
 u He was." says Clapp. kk a discriminating actor in the 
 presentment of many-colored life, excelling more 
 particularly in the comic. Many comedians are too 
 much in the habit of dashing the pound-brush, and all 
 they aim to throw upon the canvass is a dazzling con- 
 fusion of the primary colors without intermixture, 
 gradation or lineament. It was not so with the designs 
 of Mr. Bernard: his, if riot the pencil of Titian, was 
 at least that of Hogarth." Soon after his last appear- 
 ance in Albany, he returned to Europe, and died there 
 November 29th, 1828, aged seventy-two. and in desti- 
 tute circumstances. He wrote "Retrospections of the 
 Stage." which, unfortunately, do not extend down to 
 
52 PLAYERS OF A* CENTURY. 
 
 his American experience. He was at one time secre- 
 tary of the famous Beefsteak club in London. 
 
 The fourth season was not a profitable one. Few, if 
 any stars appeared, although the stock company was 
 strong. Eobertson, Anderson, and Mrs. Aldis were the 
 main stays. Few new plays were brought out, but 
 among them were "Mahomet," adapted from Voltaire, 
 "The Lady of the Lake," and "The Maid and the Mag- 
 pie," "Zembuca," and "The Glory of Columbia." 
 
 Among the benefits was one to F. Mallet, leader of 
 the orchestra, a Frenchman, who had served in the 
 Eevolutionary war against the British. Mr. Armstrong, 
 a member of the company, at his benefit, recited in the 
 original Latin "The Descent of Orpheus into Hell," 
 from the Fourth book of Virgil's Georgics. At another 
 benefit, a number of Indians who were at the battle of 
 Chippeway, appeared between the plays and illustrated 
 their mode of treating captives. 
 
 Mrs. Aldis, the leading lady this season, had been 
 previously Mrs. Stanley. She had played at the Park 
 theatre, New York, in 1810, and "though not a remark- 
 able actress, was a woman of good sense," Ireland says, 
 "and seldom violated any principle of taste or pro- 
 priety ; and in many characters gave great satisfaction." 
 She subsequently returned to England and played there 
 for many years. 
 
 "During this season," says Sol Smith, "I saw Bernard 
 in some of his best characters — Timothy Sharp, Nipper- 
 kin, Kit Casey, Bras de Fer, Sadi, Sheva, Benjamin (in 
 "Maid and Magpie") and a great many others. I saw 
 Henry Placide play a monkey, and Andrew J. Allen, 
 Abodlino, the Great Bandit." Smith also has a funny 
 story to tell of what happened through his inordinate 
 craving for the theatre. His young friends, the Drakes, 
 had gone, and he was no longer granted the freedom of 
 the back door. After being turned out once or twice, 
 he stole in one night and popped into a large box which 
 he found in the carpenter's gallery, and closed the lid. 
 For more than an hour he lay concealed, waiting for 
 the curtain to go up. When it did, he was delighted to 
 
PLAYERS OF A CENTURY. 53 
 
 find, by lifting the cover of the box, he could see all 
 that was going on below. The play was "Kichard III," 
 and all went well till the second act, when he heard 
 four or five men making their way directly to his hiding 
 place. He had barely time to close the lid, when they 
 took up the box, and profanely remarking on its great 
 weight, proceeded to take King Henry's coffin down 
 stairs. Upon the stage they went, followed by Lady 
 Anne and the troop of mourners. She lamented loudly, 
 and Sol perspired in secret. Through all the famous 
 courting scene he managed to keep quiet, but as the 
 live corpse was carried off "to Whitefriars," L. H. IT. 
 E. and up stairs again, the awkward supes turned and 
 tumbled, and tipped his coffined majesty so as to hurt 
 him severely, and he cried out. The passage was dark, 
 the bearers were frightened half to death, and dropping 
 their precious burden, gave poor Sol a chance to slip 
 out of his coffin and into the street. The intelligent 
 auxiliaries were certain there was a ghost in the box, 
 and Mr. Smith, with a keen appreciation of the neces- 
 sity for a dramatic ending to his story, solemnly asserts 
 that the four supes never entered the play-house again, 
 but immediately joined the church, and one of them 
 became a famous preacher, whose special hobby was 
 the sin of theatre going, against which he assured his 
 hearers he had, when a young man, a most mysterious 
 and supernatural warning! 
 
 After the close of the regular season, the theatre, by 
 permission of the manager, was opened a few nights 
 on the Commonwealth plan, or sharing system, but 
 not very successfully. In the spring of 1817, Mr. 
 Mortimer was the manager, but being inexperienced, 
 succeeded in losing all his capital in a very few weeks. 
 Mr. Betterton, from the English theatres, an actor then 
 past his prime, was the leading man ; Mr. H. A. 
 Williams was stage manager. Mrs. H. A. Williams 
 (afterwards Mrs. May wood) was new on the stage, and 
 played all the Dollies, Pollies and. Peggies. Josey 
 Williams, a little fellow, played eccentric comedy. 
 Mrs. Burke, the favorite vocalist, played a few nights. 
 
54 PLAYERS OF A CENTURY 
 
 In April, Mr. Bernard, the former manager, appeared 
 as a star, and with him Mrs. Mills (a vocalist), and Mr. 
 and Mrs. Mestayer. • The season proved disastrous, 
 and was eked out with harlequinades, pantomimes and 
 slack-wire performances. There was something very 
 like a row, and part of the company went to Troy, 
 with Mortimer at their head and — met with the usual 
 fate of theatrical people who go to Troy. 
 
 And now, to quote a pathetic correspondent of the 
 period, " Thalia was driven from her once fond home." 
 In June, 1818, the building having been unoccupied 
 for a year, was sold to the Baptist society, and a sub- 
 scription list circulated to raise funds for the purpose 
 of fitting it up for church purposes. It was dedicated 
 January 1st, 1819, (Joshua Bradley, pastor,) and for a 
 full generation, was used as a place of worship, after 
 which it was again made into a theatre, of which, here- 
 after. 
 
55 
 
 CHAPTER V. 
 
 1822-1825. 
 
 The Drama Houseless and Homeless. 
 
 In September, 1822, the old building on North Pearl 
 street, known years before as the Thespian hotel, was 
 opened as the New Constitution theatre. The com- 
 pany included Mr. and Mrs. Talbot, Messrs. Simpson, 
 Williamson, Richards, Lamb, Saunders, Cook, Archbold, 
 Gilbert, Miss Odell and Mrs. Dorion. This appears 
 to have been substantially the same organization that 
 had played, the July previous, in a small building at 
 15 Warren street, New York, called the City theatre, 
 under the management of Mrs. Baldwin. They were 
 considered as amateurs in the metropolis, and their 
 season there came to a speedy close, owing to the 
 yellow fever. They then came up the river to the more 
 salubrious climate of Albany. Simpson was a printer, 
 Stone says, and served his time with George and 
 Charles Webster, at the old Elm tree corner (State and 
 North Pearl). He was the low comedian, and a jolly 
 fellow. He afterwards became a great favorite at the 
 Chatham Garden theatre, and there, was the original 
 Jonathan in Samuel Woodworth's domestic opera, 
 "The Forest Rose, or American Farmers." the first 
 play introducing the Yankee character, that retained 
 possession of the stage. Poor Alec, died of consump- 
 tion in Poughkeepsie, in 1829. "Archbold," said an 
 appeal for a benefit, " from the most untoward and 
 unforseen circumstances, has been driven from the 
 height of respectability to look for support for him- 
 self, wife and family, from the stage.' 1 
 
56 PLAYERS OF A CENTURY. 
 
 Perhaps the most noteworthy event which occurred 
 at the New Constitution, was the appearance of Master 
 George Frederick Smith, aged ten, and announced as 
 the American Roscius. He was, however, born in 
 Cork, Ireland, December 29th, 1811, and had given 
 recitations the year before. He now came from Mon- 
 treal, and had previously played a New York engage- 
 ment. He opened in Young Norval, (Mr. Duffy play- 
 ing Qltnalvon) and subsequently played Octavian, 
 Richard III., Romeo, etc. He had been well drilled in 
 his characters, and went through them with sufficient 
 ability to create quite a sensation. His sister also 
 played with him several times, making here, her first 
 appearance on any stage. Mr. and Mrs. Joseph Bald- 
 win (the latter a sister of the gifted Mrs. Barnes), 
 played here as stars. Others mentioned as taking 
 benefits, are Anderson (first appearance in six years), 
 Stone and Mrs. Legge, of whom, more anon. In 
 November, a portion of the company under Lamb, 
 were giving concerts in a saloon at the Museum. In 
 December, the Talbots had trouble with Mr. Young, 
 who was the proprietor of the theatre, and withdrew. 
 This resulted in a rival establishment, and in 1823, 
 Albany, with perhaps 15,000 inhabitants, and no 
 theatre building proper, was the scene of lively oppo- 
 sition between two regularly organized dramatic 
 companies. 
 
 One was at No. 140 State street, in the second story 
 of Northrop's tavern, which, under the direction of 
 Mr. Farnham, who had superintended the building of 
 the Green street theatre, had been fitted up with deco- 
 rations bv Steele, and scenerv by Kane. It opened 
 January i3th, with "The Highland Reel." and "The 
 Spoiled Child." Mr. and Mrs. Talbot were prominent 
 members of the company, and Anderson, Arch bold, 
 Mrs. Dorion and Mrs. Johns were here also. Admis- 
 sions were $1, and fifty cents. 
 
 A house opposite the Columbian hotel was also 
 fitted up by a Mr. Brown, for an African theatrical 
 company, which opened December 19th, with "Pizarro." 
 
PLAYERS OF A CENTURY. 57 
 
 The North Pearl street place, meantime, had under- 
 gone some improvement, the boxes and pit having 
 been altered to the circular form, which gave the whole 
 audience a perfect and commanding view of the stage. 
 The public were also assured that the room would 
 always be kept in a temperate state. The name was 
 changed to the Albany theatre, and Mr. Carter, from 
 Philadelphia, was engaged to manage.* Admission 
 75 cents and 50 cents. It opened January 22d. 1823, 
 with ''Point of Honor"' and u Kaising the Wind." 
 Among those who made their Albany debuts at this 
 time, were Mr. and Mrs. Carter, from Philadelphia. 
 Anderson, formerly of the old Green street theatre, 
 was here, and soon Archbold and Mrs. Dorion came; 
 also, Mrs. Eobbeson and Mr. and Mrs. Stone. The 
 season closed here about April 1st, 
 
 The new theatre, as it was called, kept along. Mr. 
 and Mrs. Durang being added to the company. Earby 
 in April, the two companies combined and opened at 
 the North Pearl street house, with " Wives as Thev 
 Were" and "The Spoiled Child." On the 30th of 
 April, Anderson, the comedian, died, and a benefit 
 was given to his widow. May 2d. The State street 
 theatre did not long remain closed, for April 14th. it 
 was opened with a company, in which Mr. and Mrs. 
 Stone were the principal performers. 
 
 The last of June, the Pearl street theatre was opened 
 for a few nights by Mr. and Mrs. Walstein (late Mrs. 
 Baldwin), closing July 4th, with "The Glory of 
 Columbia,'' an intensely patriotic play, based upon the 
 capture of Andre, and written by William Dunlap. 
 For many years, it was an unfailing source of revenue 
 on Independence day. 
 
 In September, W. Blanchard erected a circus, corner 
 of Division and Green streets ; admission 50 and 25 
 cents ; smoking and "unattended females" being strictly 
 prohibited. 
 
 The next regular season at the old theatre in Xorth 
 Pearl street, opened November 24th. with "Bertram, or 
 the Castle of St, Aldebart," and "Baisins the Wind." 
 
58 PLAYERS OF A CENTURY. 
 
 Mrs. Smith was leading lady; Simpson, Judah, Hug- 
 gins, Biven, Mr. and Mrs. Talbot and Mr. Duffy, were 
 in the company. December 29th, Mr. Blake, from 
 England, made what was announced as his first appear- 
 ance in A.merica in "The Stranger." January 16th, 
 1824, he played Othello to Mr. Duffy's lago. On the 
 30th, Mr. Taylor, from the New Orleans and Charleston 
 theatres, made his first appearance here as Pierre in 
 "Venice Preserved," and played for several evenings. 
 February 5th, Mr. Bivens took a benefit ; he was a 
 native of Albany, and was, we think, at this time, 
 manager. He afterwards kept the Vauxhall gardens. 
 Mr. Judah's night was February 11th, when he 
 played Shylock. He was the tragedian of the company, 
 and especially good in Jews. On the 12th, " The 
 Mountaineers" and "Rosina" were played for the bene- 
 fit of the Greeks, a cause highly popular just then, this 
 being their second benefit at the same theatre. Taylor's 
 benefit was on the 13th, when he appeared not only as 
 an actor, but as a ventriloquist. Monsieur Mallet, the 
 veteran leader of the orchestra, took a benefit about 
 this time, it being a strong point in his favor that he 
 came over in the same ship with Lafayette. Stone 
 says that this was the identical person from whose 
 history Moncrief s play of " Monsieur Mallet, or My 
 Daughters Letter," was founded. This Frenchman 
 was ardently attached to Napoleon, and after the exile 
 of the emperor, was obliged to flee to the United States, 
 leaving behind him an only and beautiful daughter. 
 He took up his abode in an obscure New England 
 village. He called daily at the post-office lor a letter 
 from his daughter, asking for a letter for Monsieur 
 "Malla." The clerk not understanding his French 
 pronounciation of the name, invariably replied, "no 
 letter for Monsieur Malla." By accident the letter was 
 discovered by some one who understood French, and 
 the old man at last had news of his daughter's safety. 
 The part of the Frenchman was a favorite with James 
 H. Hackett, years ago, before he made Falstaff his 
 specialty, and one night in Boston he was surprised, 
 
PLAYERS OF A CENTURY. 59 
 
 after appearing as Monsieur Mallet, to find the original 
 in the orchestra. 
 
 February 23d, Mr. Gredge made his first appearance. 
 February 25th, Mr. Huggins, wife of the scene painter 
 (who also sometimes acted), made her debut for her hus- 
 band's benefit, as Viola, in " The Conquest of Taranto/' 
 March 8th, Sheridan Knowles's great tragedy of "Vir- 
 ginius" was first acted in Albany for the benefit of 
 Mrs. Smith, the leading lady, who played Virginia, 
 Mr. Judah taking the title role. Before the close of the 
 season, which occurred in March, Mr. Thompson and 
 Mrs. Carner made their first appearances. 
 
 In June, 1824, Jose Yilallave brought to Albany his 
 " Picturesque Theatre,'* and there being no building 
 suitable to accommodate it, he erected a temporary 
 edifice which he called The Pavillion, at the corner of 
 Green and Division streets, on the lot which had before 
 been occupied as a circus. The Picturesque theatre 
 was opened June 17th, and performances were given 
 till July 19th, when the proprietor transferred the 
 establishment to the Springs. It was not thought that 
 he made any money, in spite of the attractive nature 
 of his programmes, of which the following extract is a 
 sample : 
 
 Various splendid scenes will be exhibited and amusing 
 metamorphoses, dances, etc., performed, which there is 
 not room to express. 
 
 After which clouds will descend and cover the stage. 
 On their retiring, the magnificent Temple of Immortality 
 will be exposed to view, in which will appear a bust of 
 Washington, his tomb, etc^\ After which the splendid 
 Dance de Zephers will be executed with much grace and 
 elegance, by four couples. 
 
 Among the exhibitions will be a new scene, prepared 
 for the occasion, called the Spirit of Painting and Music, 
 in which all the varieties of shade will be presented, 
 changing with the music from the heaviest to the lightest. 
 
 The last will represent a correct view of Constanti- 
 nople by moonlight, the houses illuminated and the 
 Bosphorus covered with innumerable vessels of all 
 
60 PLAYERS OF A CENTURY. 
 
 descriptions, sailing and firing salutes, which are returned 
 from the Turkish batteries. 
 
 The scene will then change to a great tempest at sea, 
 the waves in furious motion ; a ship seen in distress, 
 struggling against the storm. She is struck by light- 
 ning and wrecked. Harlequin jumps into a boat to save 
 himself, but is over set and swallowed by a whale. His 
 spirit will then be seen ascending into the clouds. 
 
 Soon after the departure of the Picturesque theatre, 
 Alexander Drake brought from New York, what he 
 modestly styled "a respectable company," and played 
 a short summer season at the Albany circus, in front 
 of the capitol. It was announced that Mrs. Hughes, 
 formerly Mrs. Young, the great Albany favorite, was 
 coming, but we have no record of her appearance. 
 The season opened August 3d, with "How to Die for 
 Love " and " The Lady and the Devil." Among those 
 who appeared were Mr. and Mrs. Drake, Mr. and Mrs. 
 Barrett, Miss Placide, Mrs. Parker, Messrs. Thompson, 
 Fairchild, Macks, Katen, Blake and Pemberton. The 
 latter was the tragedian and received some highly 
 complimentary notices. Others of the company will 
 be mentioned hereafter. 
 
 In October, Biven opened the place corner of Green 
 and Division streets, as the New Pavillion theatre, and 
 a company played there most of the time with limited 
 success, till May 23d, 1825. The names of the actors 
 were Mr. and Mrs. Lamb, Mrs. Ford, Mrs. Eussell, 
 Mrs. Warren, Mrs. Turner (leading business), Franklin 
 (a comedian from Philadelphia), and occasionally, 
 Eobertson, Anderson, Thompson, Webb, Mr. and Miss 
 Turnbull (from Montreal, her first appearance in the 
 United States), Simpson, H. A. Williams, and Mr. 
 and Mrs. Walstein. 
 
 Among the novelties produced at this time, was the 
 famous u Tom and Jerry, or Life in London," which 
 had quite a run. A significant comment on this play 
 was the note at the end of the bill : U A dictionary of 
 all the flash and cant words, price six cents, can be 
 had at the bar." Other plays were "The Man of 
 
PLAYERS OF A CENTURY. 61 
 
 Fortitude," " The Birthday, or Reconciliation," and 
 "The Intrigue." In "George Barnwell," the execu- 
 tion scene was presented for the first time. Mr. Sin- 
 clair, an actor, native to Albany, who had become 
 blind, took a benefit April 19th. "The Floating 
 Beacon" and " Ali Pachi, or the Signet Ring," were 
 first performed. The theatre was not at all satisfactory r 
 and little need be said about it. In January, 1 825 r 
 "Tiniour, the Tartar," a famous horse piece, was 
 brought out at the circus, in front of the capitol, Mr. 
 Duffy as Timour. 
 
 6 
 
62 
 
 CHAPTER VI. 
 
 1825. 
 
 The Old South Pearl Street Theatre. 
 
 In the spring of 1825, the population of Albany had 
 reached nearly 16,000, not one-fifth of what it is at 
 present, but 6,000 more than at the time the Green 
 street theatre was built. There was no railroad, al- 
 though one to Schenectady was being talked about. 
 The Erie canal, although not completed till the follow- 
 ing fall, had, it was claimed, within the two years it 
 had been in partial operation, nearly quadrupled the 
 wholesale trade of the city. The pier had been com- 
 pleted at a cost of $130,000, and twelve steamboats 
 plied to and from New York. There was already one 
 daily paper, and October 18th The Argus began its 
 daily issue. For a year or two things had been looking 
 very bright for Albany, and the project of a new the- 
 atre had been actively discussed. It was remembered 
 how the Green street establishment flourished, and 
 with an increase of inhabitants, it seemed sure that a 
 well-conducted theatre would once more pay. A sub- 
 scription had been started, and June 1st, 1824, The 
 Advertiser announced editorially, that nearly, if not 
 quite enough had been subscribed, the list comprising 
 some of the most respectable, wealthy and public-spir- 
 ited citizens. Among the stockholders were Stephen 
 Van Eensselaer, Teunis Van Vechten, Gerrit Y. Lan- 
 sing, Frank and John Townsend, James Stevenson, 
 Francis Bloodgood, Abel French, James McKown and 
 others. Meetings of the stockholders were held fre- 
 quently at the Eecess in Green street, and soon they 
 
PLAYERS OF A CENTURY 63 
 
 were called upon to pa) 7 $ 5 on a share. A lot on South 
 Pearl street, previously occupied by S. Wilcox, was 
 "subscribed" by Hugh (or Isaac) Dennison, and July 
 15th. the old buildings thereon were sold at auction, 
 to be pulled down immediately, and work was begun 
 on the new structure, of which Philip Hooker was the 
 architect. The following minute description of the 
 original building is worth preserving : 
 L^The new theatre is situated on the west side of 
 Pearl street, extending to William : sixty-two feet 
 front, one hundred and sixteen feet deep; height in 
 front, forty feet ; divided into a basement, principal 
 and attic story. The entrance to the boxes is by three 
 lofty arched openings: the piers and arches are of free 
 stone, beautifully rusticated ; they occupy three-fifths 
 of the front ; the entrances to the pit and gallery are on 
 each side, in plain brick work. Above the rusticated 
 basement, the center is embellished with six stone 
 pilasters, supporting an entablature and angular pedi- ' 
 ment; the pilasters are coupled at the angles, and the 
 order is the antique Ionic : the cornice only is continued 
 the whole length of the front, which is crowned with a 
 bold balustrade, surmounted with appropriate acroteria. 
 The outer lobby is entered by two steps, from which 
 you are conducted by easy flights of winding stairs to 
 a spacious corridor surrounding the first tier of boxes. 
 Over the outer lobby in the second story, is an elegant 
 saloon or coffee room, with an adjoining chamber, and 
 over these in the third story, are similar rooms for re- 
 freshments. The auditory is divided into a pit and 
 three tiers of boxes, the gallery being in the front of 
 the third tier : the boxes advance one seat in front of 
 the columns which support them : the second and third 
 tiers are brought forward on arches springing from the 
 capitals of the pillars. The ceiling is in the form of a 
 dome, painted in stone-colored panels, with rosettes. 
 The glass chandelier is to be lighted from above and 
 lowered through the fret-worked circlet in the centre 
 of the dome. The proscenium and the panels of the 
 boxes are to be splendidly ornamented. The stage is 
 
64 PLAYEKS OF A CENTURY. 
 
 fifty-eight by fifty-two feet, above which are painting 
 rooms, carpenters' galleries, etc. An adjoining brick 
 tenement contains a green-room and very comfortable 
 dressing rooms. The whole is furnished in handsome 
 style, and is somewhat larger than the Baltimore thea- 
 traj Mr. P. Hooker is architect, and Mr. Grain the 
 scene painter. The probable cost, including lot, is about 
 $25,000." 
 
 This elegant theatre was leased to Mr. Charles Gril- 
 fert, one of the conditions being that he should bring 
 on and keep up as good a company as any other in 
 the United States. Mr. Gilfert was of German descent, 
 and had been brought up from boyhood in the orches- 
 tra of the Park theatre, becoming an accomplished 
 musician and composer. He was a thorough master 
 of the violin, and during many years' residence in New 
 York, no musical entertainment was thought complete 
 unless his name graced the programme. In 1818, he 
 *had been a director in the Commonwealth theatre 
 (corner of Broadway and White street) and leader of 
 the orchestra. In 1815, he married the accomplished 
 and beautiful Miss Holman, of whom mention has been 
 made. Since then he had been in the south and came 
 direct from managing the theatre in Charleston, South 
 Carolina, to Albany. Following is a copy of the open- 
 ing bill: 
 
 Albany 
 THEATRE. 
 The inhabitants of Albany and its vicinity are respect- 
 fully informed that the NEW THEATRE will be 
 opened on Wednesday evening, 13th of May [1825]. 
 Nights of performance this week, Wednesday, Thurs- 
 day, Friday and Saturday. 
 
 THE PRIZE ADDRESS, 
 
 Written by THOS. WELLS, Esq., of Boston, to be 
 
 Spoken by 
 
 MR. BARRETT. 
 
 After which the Admired Comedy, in five acts, of 
 
 LAUGH 
 
 When you Can. 
 
 Gossamer, Mr. Barrett, 
 
PLAYERS OF A CENTURY. 65 
 
 Bonus, Faulkner, 
 
 Delville, Lindsley, 
 
 Mortimer, Anderson, 
 
 Sambo, Spiller, 
 
 Costly, Roper, 
 
 Gregory, Lamb, 
 
 Tom, Singleton, 
 
 Charles Mortimer, Master Arthur, 
 
 Mrs. Mortimer, Mrs. Stone, 
 
 Emily, Robertson, 
 
 Miss Gloomly, Barrett, 
 
 Dorothy, Horton. 
 
 The evening's entertainment to conclude with the 
 Admired Farce, of 
 RAISING THE WIND. 
 Diddler, Mr. Barrett, 
 
 Plainway, Faulkner, 
 
 Fainwould, Lindsley, 
 
 Sam, Hyatt, 
 
 Richard, Lamb, 
 
 Waiter, Singleton, 
 
 Miss Durable, Mrs. Barrett, 
 
 Peggy, Robertson. 
 
 Seats for the lower tier of Boxes can be taken from 
 10 to 1, and from 3 to 5 o'clock. 
 
 Tickets for the Boxes, $1; Pit, 50 cents; Gallery, 
 25 cents. 
 
 A strong and efficient Police is established for the 
 preservation of that order and regularity, which is 
 essential in a well regulated Theatre. 
 
 Doors to be opened at 1-2 past six, and the curtain to 
 raise at a quarter after seven o'clock. 
 
 A prize of $50 had been offered for the best poeti- 
 cal address, and thirty-six compositions had been sent 
 in. The committee to judge of their merits, consisted 
 of Messrs. Moss Kent, John W. Yates, William L. 
 Marcy, John V. N. Yates, William A. Duer, Samuel 
 A. Talcott, T. Romeyn Beck, Ebenezer Baldwin and. 
 Gideon Hawley. They decided that No. 20 had won. 
 the prize, and the author proved to be Thomas Wells, 
 of Boston. The following is a copy : 
 
66 PLAYERS OF A CENTURY. 
 
 OPENING ADDRESS. 
 
 When superstition captive reason led, 
 
 And taste proscribed, her bowery dwellings fled, 
 
 Their sacred haunts exiled, the Aonian maids 
 
 On hurrying wings forsook the peaceful shades; 
 
 The crumbling column and the tottering fane 
 
 Around, of desolation marked the reign. 
 
 In towering pride where stood the classic dome, 
 
 The boast of art, and once the muse's home, 
 
 Midst mouldering ruins wheeled the drowsy bat, 
 
 And cloistered there the bird of darkness sat; 
 
 The infatuate mind the mystic sceptre swayed, 
 
 Man groped in darkness and the spell obeyed. 
 
 Thus wrapped in gloom expired the Attic light 
 
 And priestcraft ruled, sole monarch of the night. 
 
 At length, triumphant o'er his foes 
 
 Oenius on bold adventurous plumes arose; 
 
 Athwart the sunless void new warmth he poured, 
 
 Pierced the dense clouds and heaven's blest beams restored 
 
 So from the East on purple pinions borne 
 
 Through flakes of fog, up springs the herald morn; 
 
 Lost in the emerging glories of the da} r , 
 
 The dull, cold mists of midnight melt away. 
 
 The harmonious choir now gave to joy the shell, 
 
 Now rose their temples where their altars fell; 
 
 From shore to shore the voice of freedom spoke, 
 
 And buried learning from her slumbers w r oke, 
 
 Reason unfettered; truth divine unsealed, 
 
 And old imposture to the world revealed; 
 
 Conceived in beauty, by the graces nursed, 
 
 The germs of fancy into being burst; 
 
 Toil tilled the globe — the axe the forest bowed — 
 
 Art winged the shuttle — skill the ocean ploughed. 
 
 Life breathed in marble, warm the canvass glowed; 
 
 And gifted lips with inspiration flowed, 
 
 Led by ambition and by worth revered, 
 
 The Drama then in lettered grace appeared; 
 
 From hidden stores her golden lore she brought, 
 
 And morals mended as she manners taught; 
 
 Through every stage of varied life she ran, 
 
 Her volume nature and her study man. 
 
 Where 'er she moved, the Muse the land refined 
 
 And taste adorned as science nerved the mind; — 
 
 On every side to birth new beauty sprung — 
 
 The laurel flourished, and the minstrels sung. 
 
 Acknowledged, guided, — bards inspired the age, 
 
 And pictured wisdom lessoned from the stage; 
 
 Truth fearless spoke in scenic garb arrayed, 
 
 And rescued virtue owned the drama's aid — 
 
 And now, auspicious dome, aspiring pile, 
 
 The artist's pride — be thine the people's smile, 
 
 The muse of genius and of taste the seat 
 
PLAYERS OF A CENTURY. 67 
 
 We hail thy birth, thy dawn of promise greet. 
 Priest of thy right — Apollo claims thy shrine 
 To him devoted — hence live thou and thine. 
 
 Patrons! who here the unbiased censors sit, 
 Sole arbitrators in the court of wit — 
 Whose sentence stamps the buskin and the play, 
 Whose laws alike the song and scene obey, 
 To your indulgence now we make appeal — 
 On you, dependent, rests our future weal; 
 And here b}^ your impartial voices tried, 
 We rise or fall, as you alone decide. 
 In you confiding, here we trust our cause, 
 To us your smiles extend — our meed is your applause. 
 
 The comedy, " Laugh When You Can," by Frederick 
 Reynolds, had already been acted for twenty-five years 
 or more, and held the stage for as much longer. The 
 farce, " Raising the Wind," by James Kenny, was long 
 popular, the part of Diddler being a favorite with 
 Simpson, Thayer. Browne and Talcott, but it never 
 found a better representative than the one who played 
 it in Albany on this occasion — the light comedian of 
 the new company, George H. Barrett. He was the 
 son of an eminent actor and had been on the stage 
 from his youth, making his debut as one of the children 
 in Dunlap's version of " The Stranger." There are 
 many living to-day who well remember Gentleman 
 George, as he was known all over the Union, and with- 
 out exception, they will sa} r that in his prime, lie was 
 indisputably the best light comedian in America. He 
 made his first appearance, after arriving at maturity, 
 as Belcour, in " The West Indian/' at the Park theatre, 
 New York, March 5th, 1822, achieving at once a marked 
 success. He had, in 1824, played with great favor at 
 the Chatham Garden, together with the beautiful Mrs. 
 Henry, soon to become his wife, and with him orna- 
 ment the boards of Albany's new theatre. Poor 
 Barrett ! he saw plenty of trouble after that, and in 
 spite of fifty-seven years of active stage-life, "the best 
 fellow in the world," after striving to eke out a scanty 
 living by giving dramatic lessons, died in poverty, in 
 'New York, September 5th, 1860, aged sixty-six. 
 
 The Mrs. Barrett, whose name is on the first bill, 
 
68 PLAYEES OF A CENTURY. 
 
 must have been George's mother, and the widow of 
 Giles Leonard Barrett, who had died in Boston, in 
 1809. She had played in England as Mrs. Eivers, and 
 was said to have been a pupil of Macklin, playing 
 Portia to his world-famed Shylock She was of tower- 
 ing stature and earlier in life, was much esteemed in 
 tragedy. She made her American debut in Boston, 
 January 2d, 1797, and was now playing old women. 
 Even in this line, she was pronounced a failure, when 
 a year later, she undertook it at the Bowery theatre, 
 New York, which, upon opening, it may here be said, 
 was supplied, in a great measure, from this very 
 company. 
 
 Thomas Faulkner was the old man of the company. 
 He was Irish by birth, and came up with Gilfert from 
 Charleston, where he had made his American debut 
 He was an excellent representative of the line he under- 
 took, and also of many Irish parts. He, too, followed 
 Gilfert to the Bowery theatre, and was afterwards for 
 many years on the Philadelphia stage. He died in 
 1847. 
 
 Mrs. Stone was the wife of John Augustus Stone. 
 She was a native of New Hampshire, and made her 
 debut at Pittsburgh, in 1817. She married a Mr. Legge r 
 and bearing his name, made her first appearance in 
 New York, at the City theatre, in 1822. Ireland says 
 of her, at that time : " She w^as young, talented and 
 interesting in appearance, a careful and understanding 
 reader, and, in a good school of acting, would probably 
 have attained distinction, but it has been her misfor- 
 tune to be generally attached to theatres where her 
 abilities have been wasted on the worst of melodramas, 
 and her true beauties undiscovered or unappreciated.' 7 
 After Stone's melancholy death by suicide, she married 
 N. H. Bannister, and as late as 1853 played Cassy in 
 " Uncle Tom's Cabin" in New York, at the National. 
 George F. Hyatt was the low comedian, and a great 
 favorite both in Albany and New York, where he had 
 previously appeared. He was much liked as a singer, 
 and was the author of " The Mellow Horn," and " too 
 
PLAYERS OF A CENTURY. 69 
 
 many mellow horns," Stone says, "caused his ruin." He 
 enlisted as a marine, a few years afterwards, and died 
 at sea, having previously become almost paralyzed by 
 intemperance. He was last seen in public, in New 
 York, in L837. 
 
 Mrs. Robertson, the soubrette, was a very beautiful 
 woman. She afterwards married Burroughs, and went 
 with him to England. Stone says she was sister to 
 Matilda Brundage, wife of the mad poet — McDonald 
 Clark. 
 
 Anderson, who "used to be known as " Chops," was, 
 it is said, in 1854 the only surviving member of the 
 company, and he was in the Philadelphia poor-house, 
 aged seventy-six. He was an accomplished gentleman 
 in his day, a finished actor and a great favorite, al- 
 though it is recorded of him that he once shot the bar- 
 keeper of Preston's hotel, which stood on the site now 
 occupied by the Delavan. 
 
 Of the others, we have not space to speak at present, 
 as more important members of the company speedily 
 made their appearance, its full resources being far from 
 exhausted on the opening night. The hit, however, 
 was perfect, and the theatre continued to be patronized 
 by large and enthusiastic audiences. 
 
 On the fourth night of the season, before the novelty 
 of the new company had ceased to attract — before, in- 
 deed, several of the best members had made their 
 appearance, Junius Brutus Booth made his Albany 
 debut as Richard III. Here is the cast : 
 
 Richard Mr. Booth 
 
 Henry VI Mr. Horton 
 
 Prince of Wales Mrs. Gray 
 
 Duke of York , Master Arthur 
 
 Richmond Mr. Barrett 
 
 Buckingham Mr. Kenyon 
 
 Lord Stanley Mr. Anderson 
 
 Lord Mayor Mr. Spiller 
 
 Elizabeth* Mrs. Stone 
 
 Lady Anne Miss Robertson 
 
 Duchess of York Mrs. Barrett 
 
70 PLAYERS OF A CENTURY. 
 
 This strange and gifted man was now in his 30th 
 year, having been born in London, May 1st, 1796. 
 His first appearance in America, as it happened, had 
 been made under Mr. Grilfert's management, at Rich- 
 mond, Virginia, July 6th, 1821, and he was therefore 
 easily induced to come to Albany and give eclat to the 
 new theatrical enterprise. 
 
 Mr. Booth was under middle size, and his legs were 
 inelegantly formed, but his face (before his nose was 
 broken) was eminently handsome, while his eyes were 
 capable of assuming a melting tenderness of expression 
 or of darting the most vivid flashes of intense passion. 
 As a tragedian, in his best moods, Cooke and Kean have 
 alone surpassed him. As Ireland says : " Charles 
 Kernble and Macready, with their studied attitudes and 
 enunciation, were in comparison but as plodding, wire- 
 drawing critics." In Richard, Shylock, Iago, Lear, Sir 
 Giles, Sir Edward Mortimer and Pescara, he was un- 
 rivaled for near a quarter of a century ; in early life 
 his Hamlet and Romeo were beautiful specimens of art. 
 He sometimes played low comedy, and his Mawworm, 
 Jerry Sneak, etc., always convulsed his audiences. He 
 was not above playing the smallest parts, and it is related 
 of him, that once in Baltimore, during Charles Kean's 
 engagement, he appeared as the Second Actor in the 
 play scene in " Hamlet," who, it will be remembered,, 
 has only to recite these lines : 
 
 Thoughts black, hands apt, drugs fit, and time agreeing ; 
 Confederate season, else no creature seeing ; 
 Thou mixture rank, of midnight-weeds collected 
 With Hecate's ban thrice blasted, thrice infected, 
 Thy natural magic, and dire property 
 On wholesome life usurp immediately. 
 
 Even this doggerel, usually made particularly atro- 
 cious by the way in which it is rendered by some super- 
 numerary, was recited with such effect that at the end the 
 audience rose en masse and cheered him to the echo. His 
 eccentricities bordered closely on insanity, and it is a ques- 
 tion whether at times he was accountable for his action. 
 It is charitable to think he was not. A large volume 
 
PLAYERS OF A CENTURY. 71 
 
 would hardly contain all the stories that are told of 
 him, many disgraceful, some touching, but all extremely 
 interesting. At the very outset of his career in Amer- 
 ica, he actually and in good faith applied for the posi- 
 tion of lighthouse-keeper at Cape Hatteras, at a salary 
 •of $300 a year, and would no doubt have taken it, were 
 it not for the interference of managers, who saw in him 
 a source of profit far too valuable to be lost in that 
 way. In 1822, he bought a farm in a most secluded 
 spot, twenty-five miles from Baltimore, to which he 
 constantly resorted. No trees were allowed to be cut 
 down, and all animal life, even to the black snakes and 
 wild boars of the woods, was held religiously sacred. 
 Rev. James Freeman Clarke, in the September Atlantic 
 for 1861, relates a most singular story of the great 
 tragedian calling upon him twenty years previous and 
 requesting him to assist at a burial. The cadaver 
 proved to be a bushel of dead pigeons, for which Booth 
 actually had a coffin made, hired a hearse and carriage, 
 bought a lot and went through with the solemnity of a 
 funeral, to testify, as he said, against the wanton de- 
 struction of animal life. Mr. Clarke records his con- 
 viction that the man was solemnly in earnest. 
 
 Booth's daughter writes of him : " All forms of 
 religion and all temples of devotion were sacred to him, 
 and in passing churches he never failed to reverently 
 bare his head. He worshipped at many shrines; he 
 admired the Koran, and in that volume many beautiful 
 passages are underscored ; days sacred to color, ore 
 and metals, were religiously observed by him. In the 
 synagogues, he was known as a Jew, because he con- 
 versed with the rabbis and learned doctors, and joined 
 their worship in the Hebraic tongue. He read the 
 Talmud and strictly adhered to many of its laws. 
 Rom.an Catholic fathers aver that he was of their per- 
 suasion, by his knowledge of the mysteries of their faith, 
 yet the house of worship he most loved to frequent was 
 a humble floating church or Sailors' Bethel. His 
 reverence for religion was universal and deep-rooted. 
 It was daily shown in acts of philanthropy and humane 
 
72 PLAYERS OF A CENTURY. 
 
 deeds, which were too often misdirected. lie was not 
 a sectarian, but made many creeds his study, and al- 
 though the dogmas of the church might have yielded 
 him a more enduring peace, yet the tenderness of hi& 
 heart, from which emanated his loving kindness and 
 great charity, afforded strength to his declining years." 
 
 There is, however, a darker side to his nature. Ire- 
 land says: "Charity would draw a veil over his frail- 
 ties, but truth obliges us to say of this man, with the 
 signet of a god upon his brow, that by his own act he 
 was often sunk below the level of the brute. In his 
 moments of inebriation, he knew not friend or foe ; he 
 forgot his engagements with his managers, his duty to 
 the public, his respect for himself. His drunken 
 brawls were a terror to his friends, yet up to his latest 
 day, when he appeared but as a battered and broken 
 column, if the public felt assured that he was himself, 
 they thronged to greet him. To the last he retained 
 their affection, if not their respect." 
 
 Once, while playing Richard at the Park theatre, this 
 lunatic of an actor, sword in hand, chased the Rich- 
 mond of the evening, out of the back door of the 
 theatre, into the street. Another time, while playing 
 Othello, with Miss Johnson, afterwards Mrs. Hilson, as 
 Desdemona, he bore down so heavily with the pillow, 
 in the last scene, that she was in danger of her life, 
 and was only rescued from suffocation by the other 
 actors, who rushed upon the stage to save her. These 
 fits are said to have come upon him irrespective of 
 whether he had been drinking at the time or not. It 
 was the result of some such freak that, in Charleston, 
 after playing Othello one night, he went to his hotel, 
 where he roomed with Tom Flj 7 nn, and assuming that 
 he was Iago, began rehearsing the famous scene, begin- 
 ning, "Villain, be sure thou prove," etc., with such 
 vehemence that Flynn, in self-defense, grasped the fire 
 poker and struck Booth over the nose, breaking it, 
 and marring his noble countenance forever. 
 
 There is almost no end to the stories that might be 
 told here of this strange man, but we must return to 
 
PLAYERS OF A CEXTURY. 73 
 
 our record. With all his faults, he was ever the idol 
 of the people : he cared nothing for rich, fashionable 
 or " critical " audiences, but preferred the Bowery to 
 the Park ; the applause of the pit to the plaudits of 
 the boxes. He died December 1st, 1852, and lies 
 buried in Baltimore. 
 
 During Mr. Booth's Albany engagement, he appeared 
 in twelve different characters. It was not the custom 
 then for the star to play every evening, but there were 
 "off" nights, as there are now in grand opera. Mr 
 Booth was announced to play as follows : Richard, 
 May 21st; Sir Giles Overreach. May 23d: Reuben Glen- 
 roy, in "Town and Country." May 24th; Sir Edward 
 Mortimer, in "The Iron Chest." May 28th: Hamlet, 
 June 1st: Pescara, in "The Apostate," June 3d; 
 Macbeth, June 6th : The Stranger (for his benefit). June 
 8th: Lear. June loth: Shyloch. June 17th: Othello, 
 June 20th, and Brutus, June 24th. 
 
 Richard was his most popular personation : in it he 
 made his first appearance in America, and he usually 
 began his engagements with it. Its announcement 
 was sure, at any period of his life, to crowd the thea- 
 tre, in almost any city in the Union. He played 
 Cibber's version. Probably he was the best Richard 
 this country ever saw. "His Sir Giles.'' says Gould, 
 " stands in our memory as a representation of singular 
 solid force." The same critic, writing of his Sir 
 Edward, says: "If it had been the actor's purpose to 
 combine in one representation all the daring and diffi- 
 cult and terrific feats in look, voice and action, of which 
 his supple frame was capable, he could not have se- 
 lected a better field. *:**:■* The veins of his 
 corded and magnificent neck would swell, and the 
 whole throat and face become suffused with crimson in 
 a moment, in the crisis of passion, to be succeeded on 
 the ebb of feeling by an ashy paleness. To throw 
 blood into the face is a comparatively easy feat for a. 
 sanguine man, by simply holding the breath ; but for 
 a man of pale complexion to speak passionate and 
 thrilling words, pending the suffusion, is quite another 
 7 
 
74 PLAYERS OF A CENTURY. 
 
 thing. On the other hand, no amount of merely phys- 
 ical exertion or exercise of voice could bring color into 
 that pale, proud, intellectual face. This was shown in 
 Shyloch, Lear and Hamlet, where the passion was in- 
 tense, but where the face continued clear and pale." 
 Hamlet was Booth's favorite part, although in after 
 years he played it but seldom. Pescara was written 
 for Booth by Shiel. Macbeth found in him one of the 
 few capable, not only of representing the character, 
 but of being it. Lear he attempted at the age of twen- 
 ty-three. Whether influenced by accident of birth — 
 for he had Hebrew blood within his veins — or carrying 
 out an artistic design, he made Shylock a representative 
 of the Jewish race, a character of grandeur and fiery 
 energy. His Othello has seldom been equaled, and in 
 Brutus he interpreted some passages in a manner un- 
 surpassed by his rendering of any lines of Shakspeare. 
 His engagement was rendered especially brilliant by 
 the appearance in the stock company of Mrs. GKlfert 
 (wife of the manager), who supported the star in the 
 characters of Portia, Lady Macbeth, Mrs. Holler, etc. 
 She made her first appearance at this establishment 
 Monday, May 30th, as Lady Teazle, in "The School 
 for Scandal," there being many ladies in the audience 
 to see her. Our readers will remember that, as Miss 
 Holman, she was briefly mentioned as playing one or 
 two engagements at the Green street theatre, with her 
 father, in 1813 and 1815. She came to this country in 
 1812, and for many years ranked as the first actress of 
 genteel comedy in America, while hermerit in tragedy 
 was nearly as great. In 1814, her services cofnmanded 
 $200 a night, she being the first actress who ever re- 
 ceived that salary in this country. She had married 
 Grilfert in 1815, and stood faithfully by him till in 1829 
 he sank, ruined by managing the Bowery theatre, and 
 went down to an untimely grave. She then abandoned 
 the stage and taught school, but without success, and 
 died in Philadelphia, in extreme poverty. Her greatest 
 character, and one in which she w T as unrivalled, was 
 Lady Toivnley. 
 
PLAYERS OF A CENTURY. 75 
 
 " The School for Scandal'' was severely criticised at 
 this time by a correspondent of The Advertiser, who, to 
 prove his position, quoted all the objectionable pas- 
 sages without abridgement ! 
 
 We have previously mentioned Mrs. Stone, who was 
 in the cast on the opening night, Her husband, John 
 Augustus Stone, was the eccentric old man of the com- 
 pany, and neither was a stranger to the Albanv public. 
 He was born in Concord. Massachusetts, in 1801. and 
 made his first dramatic appearance in Boston. He 
 possessed considerable merit in certain humorous parts, 
 but had hardly force and bod} r enough for the rough 
 and bluff old men whom he commonly represented. 
 He was at one time quite a favorite at Chatham Garden 
 and Bowery theatres, in New York, but acquired his 
 greatest fame from being the author of the tragedy of 
 "Metamora," for which Mr. Forrest's prize of S500 was 
 awarded in 1829. He also wrote several other dramas, 
 which have been acted with success. " Faunterov,*' 
 "Tancred of Sicily,' 7 ''Larogue. the Regicide" and 
 Yankee Hill's famous drama, " The Knight of the 
 Golden Fleece,'' are all attributed to his pen. His unhap- 
 py death, by suicide, occurred at Philadelphia. June 1st, 
 1834. and his friend, Edwin Forrest, erected there a 
 handsome monument to his memory. He left two sons, 
 Christopher Lucius, and Henry F.. both of whom were 
 actors. 
 
 On the 25th of May, Charles Young, from the Bos- 
 ton theatre, made his Albany debut as Captain Faulkner, 
 in "The Way to Get Married." and played second to 
 Booth. In New York, he was never called a first- 
 class actor, even in the parts which were in his line. 
 He had been for several seasons at the Charleston 
 theatre, and was a fair representative of tyrants and 
 other stage blusterers. He went to the Bowery with 
 Gilfert in 1826, and was its first stage manager. In 
 1833, having buried his first wife, a beautiful blonde, 
 he met Mrs. Mary Duff, the celebrated tragic actress, 
 on Broadway, New York, and saluting her with the 
 courtesies of the day, begged permission to escort her 
 
76 PLAYERS OF A CENTURY. 
 
 to her lodgings. As they were walking along very 
 quietly, Mr. Young, after a few moments of mental 
 abstraction, said : "Mrs. Duff, you are a widow and I 
 am a widower, suppose we get married." 
 
 "With all my heart," replied Mrs. Duff, and accord- 
 ingly they were united, the rite being solemnized 
 both by a Protestant and a Catholic clergyman, in the 
 presence of Mr. and Mrs. Hilson, as witnesses. Prior 
 to the ceremony, it was agreed that the marriage 
 should not be consummated till the lapse of six weeks, 
 and, meantime, Mrs. Duff was to go by her former 
 name, in order that she might secure professional prefer- 
 ment. Thus far, matters worked well, but Mr. Young, 
 wishing in a few days to take his wife home, called 
 at the lady's house, and learned that she had gone to 
 Philadelphia, She declared that she had perpetrated 
 the act of matrimony only by being persuaded to it 
 during a temporary aberration of mind, caused by the 
 use of opium, while plunged in domestic trouble, and 
 they were soon after legally separated. Not long after, 
 Young died at Norfolk, Virginia. 
 
 *On the 11th of June, Lafayette, on his second visit 
 to Albany, attended the theatre, which was illumined 
 and decorated, and a transparency of Washington 
 exhibited. The plays were " Love Laughs at Lock- 
 smiths " and " The Irishman in London." 
 
77 
 
 CHAPTER VII. 
 
 1 825. 
 
 The South Pearl Street Theatre, Under Qilfert 
 
 The departure of the elder Booth, was followed by 
 the appearance of the second star, Frederick Brown. 
 He was the son of D. L. Brown, the artist, and had 
 plaj^ed in Liverpool, Boston and New York. He 
 opened in " Damon and Pythias," which was announced 
 to be the first time it had been played here. Coming 
 on the heels of the greatest actor of the day, he failed 
 to make much of an impression. 
 
 On the first of July. Miss Tilden, one of the stock 
 company, who had been ill since the theatre opened, 
 made her first appearance as Volante, in ,; The Honey- 
 moon." She is remembered as a beautiful girl, who 
 speedily gained hosts of admirers. Several months 
 later, when she took her benefit. " She Would be a 
 Soldier " was played, and Captain Hendrickson's com- 
 pany of artillery appeared on the stage, attended by 
 the band, and Miss Tilden went through, the manual 
 with the troop, amid a perfect storm of applause. She 
 went with Gilfert to the Bowery, and afterward became 
 Mrs. Bernard, marrying a son of Albany's first mana- 
 ger. So successful was the season, that hot weather 
 had no effect upon it. and performances were kept up 
 through the summer. On the -ith of July. Burke's 
 sensational play of "'Bunker Hill" was produced, and 
 met with great applause, although utterly without 
 merit. 
 
 Mr. Arthur Keene. a vocalist, appeared as Count 
 Belinda, in "The Devil's Bridge,'' on the 9th of July, 
 
78 PLAYERS OF A CENTURY. 
 
 and on the 11th, as Henry Bertram, in "Guy Manner- 
 ing." It was in this latter character that he made his 
 American debut in New York, several years before, 
 and it is related of him that on coming upon the stage 
 in the first scene, his foot tripped and he fell flat, with 
 considerable force. He had sufficient self-possession, 
 however, to carry on his part and made a favorable 
 impression. He was a young Irishman, with a sweet 
 tenor voice, and some knowledge of music. Two 
 years after his Albany engagement, he supported 
 Malibran in English opera, at the Bowery. He died 
 in Mobile, about 1836. 
 
 The latter part of July, William Rufus Blake 
 appeared. He had, before this, played at the old 
 Thespian hotel, and was much liked. He was a native 
 of Nova Scotia, and at this time, possessed of fine 
 personal appearance, giving little indication of the 
 coming corpulency, which finally drove him from the 
 parts of sighing lovers and silly coxcombs, to those of 
 old men, in which, it is doubted if he was ever excelled 
 in this country. He is said to have been the first actor 
 ever called before the curtain in America, and we 
 could wish he had been the last. He played here in 
 the stock company for several weeks, and became a 
 great favorite, especially with the ladies. The next 
 year he married Mrs. Waring, who was the mother of 
 Mrs. James W. Wallack, 2d, by Leigh Waring, the first 
 star at the Green street theatre, of whom we have 
 before spoken. Blake afterwards starred in both 
 this country and Europe, and later, when he was in 
 the stock at Burton's, Wallack's and Laura Keene's, 
 received the heaviest salary on the list. He died sud- 
 denly at Boston, April 22d, 1863, aged fifty-eight. 
 
 On the first of August, Mrs. Grilfert took a benefit, 
 when Peter Richings appeared for the first time in 
 Albany. He was born in London, May 19th, 1797 ; 
 arrived in America in 1821, and made his debut that 
 year, as Henry Bertram. He it was who adopted Caro- 
 line Richings, the well-known opera singer. He was 
 an artist in small parts, and very much of a gentle- 
 
PLAYERS OF A CENTURY. 79 
 
 man. More than any thing else, he is remembered as 
 a fine dresser. 
 
 August 3d, Henry Wallack acted Rolla, in " Pizarro," 
 a drama which had been played already several times, 
 and was highly successful. Mr. Wallack played any 
 thing from traged}^ to pantomime, but never attained 
 the high distinction of his brother James. He was 
 born in London in 1790, and was prominent in theatri- 
 cal affairs, both here and in England. He was the 
 father of James W. Wallack, 2d. 
 
 For Barrett's benefit, August 8th, his newly wedded 
 wife appeared as Sophia, in k 'The Road to Ruin, 1 ' and 
 was, thereafter, a prominent member of the com- 
 pany, which had now attained a degree of excellence 
 never equalled in Albany before, and rarely since. 
 Mrs. Barrett was a beautiful and accomplished woman. 
 She was born in Philadelphia in 1801, and was now in 
 the bloom of early womanhood. Already, however, 
 she had met with her full share of sorrow. Married 
 at sixteen to W. C. Drummoncl. a dancer, she had 
 borne him two children, and then, on the ground of ill 
 treatment, had obtained a divorce and resumed her 
 maiden name of Henry, under which she appeared in 
 New York. Her extraordinary charms of mind and 
 person, attracted universal attention there, and June 
 24th, 1825, she made a happy man of Barrett, by giv- 
 ing him her hand in marriage. For several years, 
 nothing could exceed the felicity of their union. Per- 
 sonally and professionally popular, Mr. and Mrs. 
 Barrett were received with enthusiasm wherever they 
 appeared, and in the lines of gay, graceful and refined 
 comedy, and the gentler grades of tragedy, the lady 
 has seldom been equalled. But at length this happy 
 and brilliant union was disturbed : this fascinating 
 being, whom Fanny Kemble pronounced " a faultless 
 piece of mortality in outward loveliness," had, by some 
 unhappy weakness, acquired an insane craving for 
 stimulants, which she swallowed without judgment or 
 reflection, and through that influence was reduced, at 
 times, to the lowest stage of degradation and placed 
 
80 PLAYERS OF A CENTURY. 
 
 in such positions that even her honor was called in 
 question. This unhappy state of affairs, however, was 
 many years after her residence in Albany. In 1840, 
 Mr. Barrett procured a divorce from her, on the ground 
 of infidelity. Subsequent events, it has been said, 
 proved her guiltless of the charge, but the separation 
 was final. Mrs. Barrett had many warm and distin- 
 guished friends, who bestowed the greatest kindness 
 upon her after this sad epoch of her life, and their 
 unremitting efforts soothed, in a degree, the bitter 
 mortification and chagrin attendant upon it. Through 
 their influence, she was restored to the stage and 
 society, and in Boston, where she afterwards princi- 
 pally played, she renewed the triumphs of her former 
 years and commanded the admiration of all by her 
 marvelously preserved beauty, which, even at the age 
 of fifty, seemed as fresh and charming as in her girl- 
 hood. She died December 22d, 1853, and lies buried 
 in Mount Auburn, under a monument bearing the 
 lines : 
 
 11 With fairest flowers 
 
 We'll sweeten thy sad grave. Thou shalt not lack 
 The flower that 's like thy face, pale Primrose, nor 
 The azured Harebell, like thy veins; nor leaf 
 Of Eglantine, nor sweeter than thy breath." 
 
 The season closed September 7th, after a highly suc- 
 cessful production of " The Forty Thieves," (which ran 
 five nights) and the benefits of all the principal mem- 
 bers of the company. The winter season opened Septem- 
 ber 26th,with substantially the same company, to which, 
 however, had been made one notable addition. On the 
 31st of August preceding, at the benefit of Williamson, 
 one of the singers, had appeared as Jaffier in " Venice 
 Preserved " " a Mr. Forrest, of whom reports speak 
 highly." He was said to have come from the New 
 Orleans theatre, but no one seemed to know much 
 about him. He was, however, engaged for the next 
 season by Manager Gilfert, and made his first appear- 
 ance in the stock October 5th, supporting Conway r 
 the first star actor of the season, Conway playing Mac- 
 
PLAYERS OF A CENTURY. 81 
 
 beth, and Forrest Macduff. " Mr. Forrest," says a critic 
 of the period, "has good requisites for a first-rate actor, 
 but they require cultivating. r 
 
 Edwin Forrest, at this time, was less than twenty 
 years old, having been born in Philadelphia, March 
 9th, 1806. He had made his debut as Douglas, at the 
 Walnut street theatre, five years previous, but created 
 no particular sensation. The part was repeated, how- 
 ever, and afterward he played Frederick in "Lovers' 
 Vows," and Octavion in " The Mountaineers," and on 
 the occasion of his benefit, recited Goldsmith's cele- 
 brated epilogue in the character of a harlequin, and 
 concluded by turning a somersault through a balloon. 
 For a long time, he was in a quandary whether to join 
 the circus or keep on the stage. He evidently had a 
 longing for the arena, as several stories told of him 
 while playing in Albany, illustrate. Finally, however, 
 he engaged with Collins and Jones for the western 
 dramatic circuit. He played in Cincinnati and down 
 the river to New Orleans, from whence he came direct 
 to Albany, where, it may with truth be said, his great 
 possibilities were for the first time pointed out to him. 
 A critic in The Advertiser, Oct. 25th, 1825, writes of 
 him as follows : 
 
 " Mr. Forrest is a stranger to us ; we are ignorant 
 whether he be a native of this country or of England ; 
 upon himself it depends to do honor to the country which 
 gave him birth. Nature has been bountiful to him. 
 His face and figure are such as to prepossess an audience 
 in his favor — his voice (with the single exception of Mr. 
 Cooper's) is, we think, superior to any we have ever heard. 
 This young gentleman we have followed with interest 
 through Jaffier, Mark Antony and the Indian Chief in 
 Noah's play " She Would be a Soldier." Mark Antony 
 and the Indian Warrior evince, in addition to Mr. For- 
 rest's great natural gifts, a degree of study too often 
 neglected by young actors — and to this circumstance do 
 we attribute the extreme rarity of great histrionic talents 
 combined with the charms and graces of youth. If this 
 young gentleman will listen to the voice of truth and 
 
82 PLAYERS OF A CENTURY. 
 
 avoid the destructive school of vanity (which has ruined 
 so many who promised greatly) few, aye, a very few 
 years, will place him in the ranks with our own Cooper,, 
 and with those highly gifted strangers, Conway, Booth 
 and Kean, who ha\e of late thrown a halo over the 
 American stage." 
 
 As before stated, Forrest's first business in the stock 
 company was to support the star, William Augustus 
 Conway. He had seen him play previously in New 
 Orleans, and Mr. James Eees (Forrest's friend and 
 biographer) says that Conway's acting of Othello, at that 
 time, first aroused Forrest from the dreams of the boy 
 to the realities of manhood. He now played Mark An- 
 tony to Conway's Brutus, and Stone says with such 
 grand effect as to cause great chagrin to the star, if it 
 did not make him positively jealous. This is not 
 strange to those who knew the nature of this talented 
 but unfortunate actor, of whom a few words will be of 
 interest: William Augustus Conway was born in 
 London in 1789, and educated for the law, but becom- 
 ing stage-struck at the age of twenty, made his debut 
 with such success as to secure an engagement under 
 Macready, on the provincial circuit, and later at the 
 Dublin theatre, where he played and fell in love with 
 the famous Miss O'Neill, a passion which was not re- 
 ciprocated. He then played with success at Covent 
 Garden and the Haymarket, when, in 1821, the publi- 
 cation of some malignant criticism of a personal nature, 
 written by Theodore Hook, so affected his morbid 
 sensibility, that, although standing at the highest point 
 of popular favor, he threw up his engagement and be- 
 came a prompter. From this occupation so ill fitting 
 his talents, he was induced to come to America, and 
 appeared in New York about eighteen months previous 
 to his Albany engagement, with the most gratifying 
 success. His superiority as an actor was the result 
 of a superior education and the most careful and elab- 
 orate study of character, and his personations evinced 
 all the high-wrought finish and artistic elegance of the 
 Kemble and Macready schools. He was, however, 
 
PLAYERS OF A CENTURY. 83 
 
 nervous and sensitive to the highest degree, keenly 
 alive to the lightest touch of ridicule, and, unfortunately 
 for his own peace of mind, possessed a most command- 
 ing person over six feet in height. His horror at being 
 obliged to play with others of less size, which rendered 
 him, as he imagined, absurdly conspicuous, and his 
 unfounded apprehension of conspiracies to keep him 
 down in the profession, so preyed upon his mind that 
 finally, being driven into a settled melancholy, he left 
 the stage and studied theology, determined to be a 
 minister. It is said that he delivered several most elo- 
 quent discourses, about this time, in New York. Early 
 in 1828, while going by ship to Charleston, he threw 
 himself overboard and was drowned, an act which ap- 
 peared to have been long premeditated and was doubt- 
 less the result of monomania. u His death," says Ire- 
 land, " was a source of sincere regret to many devoted 
 and well-tried, bat perhaps misunderstood and unap- 
 preciated, friends, whom his habitual reserve and 
 secluded habits kept at a distance." 
 
 Conwaj 7, played, during his first Albany engagement, 
 Hamlet, Virginius, Lord Townley, Macbeth, Brutus, 
 Bertram, Cato, Beverly, in " The Gamester," Petruchio, 
 Coriolanus, Bake Aranza, in u The Honeymoon," and 
 William Tell (in Knowles's drama, now first played 
 Tiere). He drew good houses and was especially 
 admired as Cato. His support was excellent, and Mrs. 
 •Gilfert's Lady Townley, in "The Provoked Husband," 
 was warmly commended. Years before, when this 
 lady was Miss Holman, Mrs. Siddons declared that she 
 had seen no Lady Townley equal to her since the days 
 of Miss Farren. 
 
 The stock company was of such shining excellence 
 at this time, that the coming or going of stars made 
 very little difference. Edwin Forrest, Mr. and Mrs. 
 George Barrett, Mrs. Gilfert, Miss Tilden, Hyatt, 
 Blake, Young and Faulkner, made up such an organi- 
 sation that the people came from miles around, on 
 purpose to witness their performances. Appeals for 
 benefits were alwa} 7 s made to the citizens, not only of 
 
84 PLAYERS OF A CENTURY. 
 
 Albany, but of Troy, West Troy, Schenectady and 
 Lansingburgh. Each night's bill was always a 
 "double" one, that is, two plays were almost always 
 performed. 
 
 The famous " Tom and Jerry " was revived and 
 announced as being played for the first time in Albany, 
 October 24th, but this was not so, our record showing 
 its production some time previous, under Biven's man- 
 agements. It was now played with the following cast : 
 Corinthian Tom, Barrett ; Jerry Hawthorne, Blake ; 
 Logic, Spiller ; Jemmy Green, Hyatt ; Dick Trifle, 
 Bernard ; Kate, Mrs. George Barrett ; Sue, Miss Tilden ; 
 Jane, Mrs. Gray. 
 
 There was much question as to the morality of this 
 piece, and the truest friends of the drama were glad 
 to have it shelved. William B. Wood, the veteran 
 Philadelphia manager, in his Recollections, has some 
 curious reflections upon the play, urging, as a strong 
 argument against it, the prominence it gives in its scenes 
 of drunken riot and endless knock-downs, to the super- 
 numerary actors, who, invested with unlimited power 
 to make themselves conspicuous, and to engross the 
 largest share of applause, became suddenly elevated 
 to a false position, and the utter demoralization of this 
 useful " arm of the service " soon became too painfully 
 evident. 
 
 "The Forty Thieves" was frequently plaj^ed, For- 
 rest as Hassarac, and on Tuesday, November 1st, a 
 grand transparency was displayed as part of the cele- 
 bration, in honor of the completion of the Erie canal. 
 On the day following, Wednesday, November 2d, the 
 first boat from Buffalo, "The Seneca Chief," arrived, 
 closely followed by the "Young Lion of the West." 
 The city was wild with enthusiasm, appropriate exer- 
 cises were held at the capitol, and an ode, written for 
 the occasion by John Augustus Stone, of the theatre, 
 was sung, accompanied by Mr. Gilfert's orchestra. A 
 verse or two from the actor-author's effort will, perhaps, 
 not be out of place : 
 
PLAYERS OF A CENTURY. 85 
 
 As the Western born wave and the seawaters blend, 
 Lean want flies the triumph he cannot repress, « 
 
 And green water nymphs from old Hudson ascend, 
 To guide the young billow to Neptune's caress. 
 
 Hark! the shout is upraised, " the waters combine! " 
 
 From misty Niagara's bourne to the sea, 
 And Liberty looks, from her radiant shrine, 
 
 On her chosen dominion and bids it li be free." 
 
 Ah, well, it 's a long day since there was much poetry 
 in the canal business. 
 
 On the 7th of November, Miss Kelly began an en- 
 gagement as a star, playing Letltia Hardy in "The Belle's 
 Stratagem ;" Beatrice in >k Much Ado About Nothing;" 
 Lady Teazle in u The School for Scandal ;" Rosalindin 
 " As You Like It " (Forrest as Jacques) and several 
 other like characters. She was rather masculine in 
 appearance and her performance a trifle coarse. 
 
 November 2 1st, Thomas Sowerby Hamblin began 
 here his second engagement in this country, having 
 played first (November 1st) at the Park theatre, New 
 York. He was afterward, for many vears, manager of 
 the Bowery theatre, and although sustaining many 
 losses, left at his death (January 8th, 1853) over $100,- 
 000. It is said of him that he was much overrated as 
 an actor, even in his best days. He was at this time 
 twenty-five years old, and his personal appearance, 
 with the exception of his lower limbs, was sufficient to 
 command admiration, having a fine carriage, a noble 
 bearing and handsome head and features. While 
 strictly honorable in his dealings with men, his career 
 with women was a series of scandals which we do not 
 care to chronicle. He was married four times. He. 
 opened here in Hamlet and also played Rolla, Pierre, 
 Macbeth and Othello, being supported by the full strength 
 of the stock company, including Forrest, who played 
 Jaffler, Macduff and lago, but the houses were light. 
 
 As we have shown, Forrest, though scarce twenty, 
 had attracted much attention by his spirited acting. 
 He was, however, at this time, u one of the boys," and 
 there are those still living who remember the " larks" 
 with which he helped pass away the time in the quiet 
 
86 PLAYERS OF A CENTURY. 
 
 old city. Stone has embalmed two or three incidents 
 •of this kind. One night Forrest and his companions, 
 ^while making the streets ring with their hilarity, were 
 met near what is now the site of the new government 
 building, by a party of u leather-heads,'' as the old time 
 watchmen were ealled — who were about to "take them 
 in." Forrest leaped behind an iron railing surrounding 
 a small space in front of the old bank building, that 
 stood there, and began to spout Shakspeare with such 
 electric effect that the watchmen were all agog to hear 
 him. One passage lollowed another, and meantime 
 the rest of the noisy crowd stole away, one by one, 
 leaving the young actor alone with the guardians of the 
 night, who, on seeing the joke, good-naturedly let him 
 follow. 
 
 Another time he was not so lucky, and found quar- 
 ters for the night in the Howard street jail (where now 
 stands the Albany hospital). In the morning he was 
 brought before Squire John 0. Cole, who discharged 
 him, but just as he was leaving the office, the justice 
 struck an attitude, and addressing the actor in the 
 words of Othello, exclaimed 
 
 — what's the matter 
 That you unlace your reputation thus, 
 And spend your rich opinion for the name 
 Of a night brawler? Give me answer to it! 
 
 This rebuke, so apt and timely, no doubt did the 
 boy more good than a half-hour's sermon or ten days 
 in jail. Forrest also, according to Eev. Mr. Alger, at 
 this time rebuked his fellow actors for their passion 
 for gaming. It appears that he had played games of 
 chance in New Orleans, and among his friends there 
 was Graszonac, who stood at the head of the gambling 
 profession and who had initiated him pretty thoroughly 
 into the secrets of the art. The company used often 
 to staj r at the Pearl street theatre after the play and 
 engage in games of chance. Forrest joined them seve- 
 ral times, but feeling that the gambling spirit was 
 gaining control of him, refused to do so any more. 
 But on a certain evening they urged him so strongly 
 
PLAYERS OF A CENTURY. 87 
 
 that he consented — determined to give them a lesson. 
 He said, reports his clerical biographer, it was a base 
 business, full of hishonest acts, by which all but the 
 sharpest adepts could be cheated. The}' maintained 
 that there were among them neither decoys nor dupes r 
 and they challenged fraud. They played all night, 
 and Forrest at last had won everv cent thev had with 
 them. He then rose to his feet and denounced the 
 habit of gaming for profit, as pernicious in the extreme. 
 He recited some examples of the horrors he had known 
 to result from it. He said it demoralized the characters 
 of those who practiced it. and producing nothing, was 
 a robbery, stealing the time, thought and feeling, which 
 might so much better be devoted to something useful. 
 With these words he swept the implements of play into 
 the fire, strewed the money he had won upon the floor, 
 left the room, and went home in the gray light of the 
 morning, and never gambled again from that hour unto 
 the day of his death. 
 
 Mr. Alger also says of him. at this time : l( He took 
 great pains to perfect his physical development, exer- 
 cising his voice in declamation, practicing gestures, 
 and every night and morning, taking a thorough sponge- 
 bath, followed by vigorous friction with coarse towels. 
 Immediately after his morning ablutions, he always 
 devoted a half- hour to gymnastics — using dumb-bells, 
 springing, attitudinizing and walking two or three 
 times about the room on his hands. One of the most 
 distinguished philosophical writers of our country, 
 who was a native of Albany, and at that time a par- 
 ticular friend of Forrest, has recently been heard to 
 describe, with great animation, the pleasure he used to 
 take in visiting the actor at this early hour of the 
 morning, to see him go through his gymnastic perform- 
 ances. The metaphysician said he admired the enor- 
 mous strength displayed by the player, and applauded 
 his fidelity to the conditions for preserving and increas- 
 ing it, though, for his own part, he could never bring 
 himself to do any thing of the kind." 
 
88 
 
 CHAPTER VIII, 
 
 1 825. 
 
 The Elder Kean at the South Pearl Street Theatre. 
 
 " Thou art the sun's bright child! 
 
 The genius that irradiates thy mind 
 
 Caught all its purity and light from Heaven. 
 
 Thine is the task with mastery most perfect, 
 
 To bind the passions captive in thy train! 
 
 Each crystal tear, that slumbers in the depth 
 
 Of feeling's fountain, doth obey thy call! 
 
 There's not a joy or sorrow mortals prove, 
 
 Or passion to humanity allied, 
 
 But tribute of allegiance owes to thee. 
 
 The shrine thou worshipest is Nature's self — 
 
 The only altar genius deigns to seek. 
 
 Thine offering — a bold and burning mind, 
 
 Whose impulses guide thee to the realms of fame, 
 
 Where crowned with well earned laurels, all thine own, 
 
 I herald thee to immortality." 
 
 [Byron on Edmund Kean. 
 
 The next great event, was the engagement of 
 Edmund Kean, who opened Monday, December 5th, as 
 Richard III. This marvelous actor was now about 
 forty years old, and already past his best estate, but 
 still possessed of powers that were simply wonderful. 
 Who was his father, when he was born, and where 
 that event took place, are questions upon w T hich there 
 is still dispute. He was never certain even who his 
 mother was; but she was one of two actresses. 
 Abandoned in infancy, he was, at three years of age, 
 a cupid in the ballet at the London opera house, and 
 at five, an imp in the witch scene in u Macbeth." He 
 was weak and sickly, and his legs were only saved 
 from deformity by the use of irons. He led a most 
 
PLAYERS OF A CENTURY. 89 
 
 wretched life. He grew up on the stage ; was a harle- 
 quin, a contortionist, a tight-rope dancer, and played' 
 any thing and every thing. He was always of dimin- 
 utive stature. Once, when he was playing Alexander 
 the Great, he was taunted by officers in a stage-box, 
 who called him " Alexander the Little." "Yes,'' was 
 his noted reply, given with a look that fairly appalled 
 them, " but with a great soul! " At last, after a most 
 pitiful life as a strolling player, on the 26th of Janu- 
 ary, 1814, he appeared at Drury Lane as Shylock. and 
 with one bound leaped to the highest pinnacle of suc- 
 cess. At the second performance, the theatre over- 
 flowed for the first time in months. He became the 
 lion of the day. Poets, statesmen and nobles crowded 
 his dressing-room and invited him to be their guest. 
 Lord Byron sent him presents and invited him to 
 dinners. For several years he reigned the undisputed 
 monarch of the English stage, the fire of genius and 
 the seemingly unstudied impulses of nature lending a 
 charm to his acting, that swept die formal attitudes 
 and stilted declamation of the Kemble school into 
 oblivion. Yet it is a mistake to suppose that these 
 efforts were not the result of preparation. It is related 
 of him. that when studying Maturio's Bertram, he 
 shut himself up for two days to study the one line : 
 
 11 Bertram has kissed thy child." 
 
 But Kean could not bear prosperity. Habits of 
 dissipation, early contracted, wrought out their inevit- 
 able ruin. He seemed to prefer low society, and would 
 quit the company of Lord Byron to consort with 
 pugilists ! 
 
 He first visited America in 1820, playing in New 
 York and Boston with immense success. " In the latter 
 city, in particular, the Kean fever raged violently. - 
 When he returned, however, in the summer of 1821, 
 to play a second engagement, the excitement had died 
 away, and the weather being warm, his first house was 
 small and the third appearing likely to be much 
 smaller, he refused to appear "and left the theatre. 
 
90 PLAYERS OF A CENTURY. 
 
 This was construed as a flagrant insult, and exasper- 
 ated the Bostonians to a high pitch of indignation. 
 Shortly after, he returned to England, taking with him 
 the toe-bone of George Frederick Cooke, whose remains 
 he disinterred, and marked the place of their later 
 deposit with a memorial stone, still to be seen in St. 
 Paul's churchyard, in New York. This toe-bone,«he 
 made all his visitors kiss, as a relic of the greatest 
 actor that ever lived, till Mrs. Kean, disgusted, threw 
 it away, whereupon her husband wept and bemoaned 
 as if he had lost a fortune. 
 
 Soon after occurred his most shameful and disgrace- 
 ful liaison with the wife of Alderman Cox, followed 
 by the suit of the injured husband, who recovered a 
 verdict of £800 damages. The publicity of the trial 
 ruined Kean as a man and an actor. He dared, how- 
 ever, to brave public censure, by attempting to play, 
 but was greeted with a storm of disapprobation. In 
 a measure, he reinstated himself, but soon after made 
 his second visit to America, and three weeks previous 
 to his appearance in Albany, played Richard (Novem- 
 ber 14th), at the Park theatre, in New York. The 
 insult to the Boston audience four years previous, was 
 taken up by a party from that city, and a disgraceful 
 riot ensued. The play went forward only in dumb 
 show. Obscene missiles were thrown upon the stage. 
 Kean was tumultuously hissed all the time, and the 
 wildest disorder prevailed, and yet it is said of the 
 2,000 persons in the house, three-fourths were in favor 
 of the actor. His second night, there was less opposi- 
 tion, and the remainder of his engagement was but a 
 repetition of his earlier triumphs. From New York, 
 he came direct to Albany. 
 
 Even in these later days, when advertising has been 
 reduced to a science, it is seldom that an attraction is 
 so thoroughly " worked up." The news that the great 
 actor was \o play in Albany, spread like wildfire 
 throughout the surrounding country, and towards 
 night on Monday, December 5th, people poured into 
 the city, as they have in later years to a circus. Before 
 
PLAYERS OF A CENTURY. 91 
 
 six o'clock, every nook and corner in the theatre were 
 filled, and people who arrived after that hour from 
 Lansmo'burod], Waterford, Schenectadv and Schaghti- 
 coke, were literally unable, in any manner, to force their 
 way into the building. The bill was " Kichard," cast as 
 follows: Richard, Kean : King Henry, Stone; Prince of 
 Wales, Mrs. Robertson ; Duke of York. Master Arthur ; 
 Richmond, Edwin Forrest : Elizabeth. Mrs. Stone ; Lady 
 Anne, Miss Tilden : Duchess of York. Mrs. Barrett. 
 
 There was some apprehension of a disturbance. 
 Kean was himself fearful before going on, and, it is 
 said, was as pale as a ghost. When, however, instead 
 of the dreaded hisses, he was greeted with prolonged 
 applause, the reaction was too much for him, and it 
 was some moments before he could speak. Then 
 recovering himself, he played with all his force and 
 intensity, and probably that night there was better 
 acting in Albany than there had ever been before or 
 since. He was called before the curtain and in a few 
 words acknowledged his thanks. Says The Advertiser : 
 
 "It is out of our power to describe to our readers the 
 electrical influence which this man's powers produce on 
 the audience. It is infinitely superior to any thing we 
 ever saw." 
 
 The Albany writer thus failing to do the subject 
 justice, we must look elsewhere. The late George 
 Henry Lewes, one of the best of modern theatrical 
 critics, while admitting that Kean had many and seri- 
 ous defects ; that his miming power was singularly 
 limited in its range ; that he was tricky and flashy in 
 style; and that he had little power of elocution, except 
 when sustained by strong emotion, still says that, meas- 
 uring him by his strongest parts, Kean was incompar- 
 ably the greatest actor of his time. He would merely 
 gabble over long passages to reach some point, which 
 would electrify every soul in the audience. Cole- 
 ridge's remark, that seeing Kean act was reading Shake- 
 speare by flashes of lightning, is well known. " He 
 had no gaiety," says Lewes; "he could not laugh, he 
 
92 PLAYERS OF A CENTURY. 
 
 had no playfulness that was not as the playfulness of 
 a panther, showing her claws every moment. Of this 
 kind was the gaiety of his Richard III. Who can ever 
 forget the exquisite grace with which he leaned against 
 the side scene while Anne was railing at him, and the 
 chuckling mirth of his ' Poor fool ! what pains she takes 
 to damn herself!' It was thoroughly feline — terrible, 
 beautiful." 
 
 On Wednesday, December 7th, "Othello" was played, 
 with the following cast : Othello, Kean ; Iago, Forrest ; 
 Desdemona, Mrs. (xilfert ; Emilia, Mrs. Stone. 
 
 Othello, all admit, was Kean\s masterpiece, although 
 Lewes says, with the exception of occasional flashes, 
 the first and second acts were irritating and disappoint- 
 ing — arresting the mind, but not satisfying it. " From 
 the third act onward, all was wrought out with a mas- 
 tery over the resources of expression such as has been 
 seldom approached. In the successive unfolding of 
 these great scenes, he represented, with incomparable 
 effect, the lion-like fury, the deep and haggard pathos, 
 the forlorn sense of desolation, alternating with gusts 
 of stormy cries for vengeance, the misgivings and sud- 
 den reassurances, the calm and deadly resolution of one 
 not easily moved, but who, being moved, was stirred 
 to the very depths. " Says Alger, writing of this 
 engagement: "There must, from all accounts, have 
 been something supernaturally sweet and sorrowful, 
 an unearthly intensity of plaintive and majestic pathos, 
 in the manner in which Kean delivered the 'Farewell/ 
 The critics, Hazlitt, Proctor, Lamb, and the rest, all 
 agree in this. They say 'the mournful melody of his 
 voice came over the spirit like the desolate moaning of 
 the blast that precedes the thunder storm.' It was like 
 'the hollow and musical murmur of the midnight sea 
 when the tempest has raved itself to rest/ His 'tones 
 sunk into the soul like the sighing of the breeze among 
 the strings of the JEolian harp, or through the branches 
 of a cypress grove.' His voice 'struck on the heart 
 like the swelling of some divine music laden with the 
 sound of years of departed happiness/ The retrospect 
 
PLATERS OF A CENTURY. 93 
 
 of triumphant exultation, the lingering sense of delight, 
 the big shocks of sudden agony, and the slow, blank 
 despair, breathed in a voice elastic and tremulous with 
 vital passion, and set off with a by-play of exquisitely 
 artistic realism. made up a whole of melancholy and over- 
 whelming power never equalled. It was an anthem — a 
 charge and a dirge. Forrest was inexpressibly delighted 
 and thrilled by it, and he did not fail, to his dying day, 
 to speak of it with rapturous admiration." 
 
 As will be seen by the cast, young Forrest played 
 second to Kean. He had seen him play before in 
 Philadelphia, and admired him greatly. Now, for a 
 few nights, he was associated with him and with the 
 happiest results. About noon of the day they were 
 to act together, as Kean did not come to the rehearsal, 
 Forrest called at his hotel and sent word to him that 
 the young man who was to play Richmond, lago, etc., 
 wished a brief interview, to receive any necessary 
 directions. Kean received him with great kindness, 
 and in answer to a question about the business of the 
 play, said : " My boy, T do not care how you come on 
 or go off, if, while we are on the stage, you always 
 keep in front of me. and let not your attention wander 
 from me." He had not yet breakfasted, and the 
 appearance both of his person and of the room showed 
 signs of a night of debauch. A rosewood piano was 
 in the room, covered with the sticky rings from glasses 
 used the night before. ik Have you ever heard me 
 sing?" Forrest told him he had, in " Tom Tug." 
 Kean expressed pleasure at that, and then said, u you 
 shall hear me sing my favorite piece." Sitting down 
 at the piano, in his dressing gown, his face very pale, 
 his hair floating in confused masses, and his eyes full 
 of unutterable pathos, he sang, with mournful sweet- 
 ness, Tom Moore's song, " Farewell, but whenever you 
 welcome the hour," to the wonder and delight of his 
 young auditor. 
 
 Forrest, left to his own direction as to playing lago, 
 brought out his own idea of the character. At that 
 time, the traditional lago, was a sullen, sombre scoun- 
 
94 PLAYERS OF A CENTURY. 
 
 drel, full of gloom, and with villainy sticking out all 
 
 over him — any thing but the seemingly "honest" 
 
 ancient, Shakspeare created. Forrest made him a gay, 
 
 dashing fellow, much like Mr. J. W. Albaugh's fine 
 
 conception of the part. One point strictly original, 
 
 Forrest made, which powerfully affected Kean. lago, 
 
 while working insidiously on the suspicions of Othello y 
 
 says to him : 
 
 "Look to your wife; observe her well with Cassio; 
 Wear your eye thus, not jealous, — nor secure." 
 
 All these words, except the last two, Forrest uttered 
 in a frank and easy fashion; but suddenly, as if the 
 intensity of his under knowledge of evil had automat- 
 ically broken through the good-natured part he was 
 playing on the surface, and betrayed his secret in spite 
 of his will, he spoke the words, u nor secure," in a 
 husky tone, sliding down from a high pitch and end- 
 ing in a whispered horror. The fearful suggestiveness 
 of this, produced from Kean a reaction so truly artis- 
 tic and tremendous, that the whole house was electrified. 
 As they met in the dressing-room, Kean said, excitedly : 
 
 " In the name of God. boy, where did you get that? " 
 
 "It is something of my own," Forrest modestly 
 replied. 
 
 "Well," said Kean, "everybody who speaks the 
 part hereafter, must do it just so." 
 
 So Mr. Alger tells the story. Another writer says 
 he has heard Forrest, himself, relate the anecdote 
 much more characteristically. He said that his 
 delivery of these lines was rewarded with a terrific 
 round of applause, and when he went off the stage, 
 he said to the stage-manager, with pardonable pride : 
 "Did you hear that?" "Yes," was the reply; u but 
 
 did you see Kearis face? 11 "By , sir," concluded 
 
 Forrest, "it was Kean's marvelous look, not my elocu- 
 tion, that they were applauding." At a public dinner, 
 in Philadelphia, a short time afterward, Kean said: 
 " I have met one actor in this country, a young man 
 named Edwin Forrest, who gave proofs of a decided 
 genius for his profession, and will, I believe, rise to 
 
PLAYERS OF A CENTURY. . 95 
 
 great eminence." This having been reported to Forrest, 
 he enrolled Kean among his private idols and worshiped 
 him, to the exclusion of every other great actor, until 
 death. We do not learn that they ever played together, 
 except during this Albany engagement. Kean's other 
 personations were as follows: Friday ^ December 9th, 
 King Lear ; Saturday, December 10th, Shylock; Mon- 
 day, December 12th, Sir Oiks, in " A New Way to 
 Pay Old Debts : " Wednesday, December 14th, Rirhard, 
 for the second time; Friday, December 16th, for his 
 benefit, Brutus. 
 
 As before stated, it was as Shylock. that Kean first 
 won success in London. In it. he threw away, with the 
 ■conventional red wig, a score of stao*e traditions, but 
 from the first moment, impressed the audience, Doug- 
 las Jerrold used to say, "like a chapter of Genesis." 
 Dr. Doran thought his Sir Giles stood pre-eminent for 
 its perfectness, from the first words to the last convul- 
 sive breath drawn by him, in that famous one scene of 
 the fifth act, in which, in his terrible intensity, he once 
 made so experienced an actress as Mrs. Glover faint 
 away, from emotion. Dr. Doran says: "In this 
 character, all the qualities of Kean's voice came out 
 to wonderful purpose, especially in the scene where 
 Lovel asks him : 
 
 Are you not moved with the sad imprecations 
 And curses of whole families made wretched 
 By your sinister practices? 
 
 To which Sir Giles replies : 
 
 Yes! as rocks are 
 
 When foaming billows split themselves against 
 
 Their flinty ribs; or as the moon is moved 
 
 When wolves, with hunger pin'd, howl at her brightness. 
 
 I seem still to hear the words and the voice, as I pen 
 this passage : now composed, now grand as the foamy 
 billows; so flute-like on the word 'moon,' creating a 
 scene with the sound, and anon sharp, harsh, fierce in 
 the last line, with a look upward from those matchless 
 ej^es, that rendered the troop visible and their howl 
 perceptible to the ear; the whole serenity of the man 
 
96 PLAYERS OF A CENTURY. 
 
 and the solidity of his temper being less illustrated, 
 by the assurance in the succeeding words, than by the 
 exquisite music in the tone with which he uttered the 
 word ' brightness.' " 
 
 As will readily be believed, this engagement was 
 highly successful, and especially gratifying to the great 
 actor, now struggling desperately against his fate. He 
 w T rote as follows : 
 
 Albany, New York, December 12th, 1825. 
 I am delighted with this city ; they have received me 
 with enthusiasm ; the most fashionable and moral have 
 attended the theatre with an avidity exceeding my most 
 sanguine expectations. 
 
 At Boston, however, where he tried to play Decem- 
 ber 2 1st, following, he was driven from the stage and 
 theatre, a mob filled the building, and although the riot 
 act was read twice, the theatre was damaged to the 
 extent of about $800. Kean never dared show his 
 head there again. He wrote several most abject apol- 
 ogies, but he was a broken-down man. He appeared 
 for the last time in America, December 5th, 1826, at 
 the Park in New York. On returning to England, he 
 found his popularity had vanished. In 1833, after a 
 lengthened retirement, he appeared in Othello, with his 
 son Charles as Iago. There had been a quarrel between 
 them, and this was the reconciliation. There was great 
 excitement; the house was crammed. Kean went 
 through the part, "dying as he went," until became to 
 the "Farewell" and the strangely appropriate words 
 " Othello's occupation 's gone," when he gasped for 
 breath, and fell into his son's arms, moaning: "I am 
 dying — speak to them for me!" The curtain went 
 down ; he was carried home, and in a few weeks w T as a 
 corpse, at the age of forty-six. " His memory," says 
 Ireland, "stands like a blasted monument, to warn the 
 unwary of the path in which he fell." 
 
97 
 
 CHAPTER IX. 
 
 1825-1827. 
 
 The South Pearl Street Theatre— The North Pearl Street 
 
 Circus. 
 
 THE next star was Robert Campbell Maywood, one 
 of the heaviest of tragedians. Previous to his 
 appearance, however, the stock appeared in Charles P. 
 Clinch's dramatization of Coopers "Spy," which was 
 said to have been played over sixty times in New 
 York. Forrest played Harvey Birch, December 21st, 
 Maywood made his Albany debut as Michael Ducas in 
 " Adeloitha," and followed with several other charac- 
 ters, including (January 2d, 1826) Sir Pertinax McSyco- 
 phant in "The Man of the World," then said to have 
 been played for the first time in Albany. Maywood 
 was now thirty-six years old. He was an excellent 
 general actor, and particularly good in Scottish charac- 
 ters, like the one last mentioned. He became, after- 
 ward, manager of the Chestnut street theatre, Philadel- 
 phia, and was such for eight years. In 1828, he married 
 Mrs. H. A. Williams. Her daughter, " La Petite 
 Augusta," by a former husband, Mr. May wood brought 
 out at the age of twelve, as a danseuse, and at that age 
 she challenged comparison, in grace and brilliancy, with 
 any artist in her line America ever produced. In order 
 •to give her every possible advantage, he took her to 
 Paris and gave her every opportunity, but before she 
 had scarcely entered her teens, to his great chagrin and 
 clisappointment,she eloped with a worthless Frenchman, 
 whom she deserted in less than two years. She became 
 9 
 
98 PLAYERS OF A CENTURY. 
 
 very celebrated as a dancer, on the continent, and 
 amassed a fortune. It was said she had a villa on 
 Lake Como, worth half a million dollars. After things 
 went wrong with Maywood, he found for a while an 
 asylum with this step-daughter, for whom he had done 
 so much, but at length she turned him off, and in 1855 
 he arrived in New York, a beggar. He finally died at 
 the Marshall Infirmary, in Troy, of paralysis, Novem- 
 ber 27th, 1856, aged sixty-six. 
 
 The engagement of Thomas Apthorpe Cooper, which 
 began February 2d, leads us to speak next of him. lie 
 was now about fifty years old, and, although born in 
 London, he had always been considered an American 
 actor, having come to this country at the age of twenty, 
 and spending his life here. As such, he was our first 
 great representative of the histrionic art. For thirty 
 years and more he was a paramount favorite, holding 
 his own even against George Frederick Cooke, who, 
 by the way, he brought to this country. It was not 
 till old age and the successive arrivals of Kean, Booth 
 and Macready, that Cooper began to suffer in the esti- 
 mation of the public as an actor. He first appeared in 
 the United States at Philadelphia, under WignelVs man- 
 agement, December 9th, 1796. For several years he 
 was a manager of the Park theatre, in New York, and 
 in 1802 took to starring. He received much money, 
 but spent it lavishly. He lived in sumptuous style in 
 New York, and no finer equipage rolled through Broad- 
 way than that of this favorite actor. His society was 
 eagerly sought for in the best circles, and by his second 
 marriage in 1812, with the most beautiful and brilliant 
 belle of New York city (the " Sophia Sparkle " of Liv- 
 ing's Salmagundi), Miss Mary Fairlie, daughter of the 
 celebrated wit. Major James Fairlie, and grand daughter 
 of Governor Eobert Yates, Mr. Cooper became allied 
 to some of the most eminent families in the state. Not 
 only was he extravagant, but his passion for gaming 
 dissipated large sums of money. It is said one after- 
 noon, while standing in Broadway with a gentleman, 
 he noticed a load of hay approaching. "I will bet you," 
 
PLAYERS OF A CENTURY. 99 
 
 said Cooper, " the value of my benefit to-night, against 
 an equal sum, that I will pull the longest wisp of hay from 
 this load." " Done," said his friend. The wisps were 
 pulled and Cooper lost, " Ah !" he remarked, with the 
 greatest nonchalance, " I've lost two hours' acting." The 
 benefit netted the winner upwards of $1,200. Such 
 freaks helped to the final disappearance of all his proper- 
 ty, and then benefits were given for him and his family 
 in all the large cities. That at the Bowery theatre, No- 
 vember 7th, 1833, yielded in gross 84.500, -the largest 
 sum then ever received for a single night's performance 
 in America. In 1834, he took a benefit, when his 
 daughter, Priscilla Cooper, made her first appearance. 
 The play was Knowles's " Virginius," and the fact that 
 a daughter, more in hopes of affording a support to an 
 aged, parent, than from any predilections for the stage, 
 was to appear, attracted a great house. During the first 
 and second scenes there was'an anxiety to behold the 
 young daughter. This was heightened in a wonderful 
 degree when Virginius (Cooper) said : 
 
 " Send her to me, Servia," — 
 
 and every heart beat when Virginia (Miss Cooper) came 
 tripping in and stood before her real father, saying : 
 11 Well, father, what's your will ?" 
 
 The whole house burst forth in one tumultuous shout 
 of approbation. It was several moments before 
 Virginius could reply, for both father and daughter 
 were bathed in tears. This lady afterwards married 
 Mr. Robert Tyler, and as daughter-in-law of the presi- 
 dent, did the honors of the White House. Through 
 her influence, her old father was provided with a situa- 
 tion in the New York custom house. Says Ireland : 
 " A portly old gentleman, with rubicund face and 
 silvery hair; clothed in summer in an entire suit of 
 white, with an eye-glass hanging jauntily from his 
 neck, and a certain indescribable air of high breeding 
 about him, was, for several years, frequently observed 
 in the neighborhood of Wall street, by many, who 
 little imagined that in his person was once concentrated 
 
100 PLAYERS OF A CENTURY. 
 
 all the matchless elegance of the tragedian Cooper. 
 He died at his country residence, Bristol, Pennsylvania, 
 April 21st, 1849, aged nearly seventy-three." 
 
 " Mr. Cooper, in his prime," says a writer, " possessed 
 from nature, the primary accomplishments of a pleas- 
 ing actor ; a fine person, a voice of great compass, of 
 most melodious silver tone and susceptible of the 
 greatest variety of modulation ; an e}^e of the most 
 wonderful expression, and his whole face expressive, 
 at his will, of the deepest tenor, or the most exalted 
 complacency, the direst revenge or the softest pity. 
 His form, in anger, was that of a demon ; his smile, in 
 affability, that of an angel." 
 
 During Cooper's engagement, at this time, he played 
 Macbeth. Beverly, Damon, Virginius, Leon (in " Rule a 
 Wife and Have a Wife "), and for his benefit, was 
 announced for the Duke Aranza and Petruchio, but was 
 unable to appear, through illness. 
 
 Tli us far, the theatre had been well patronized, 
 although the heavy rental demanded by the stock- 
 holders and the expense of so strong a company, pre- 
 vented Manager Gilfert from making much mone}\ 
 Now, however, another, and what was destined to be 
 a highly popular place of amusement, divided the atten- 
 tion of the public. This was the New Circus, which 
 opened its doors February 14th, 1826, under the man- 
 agement of Samuel B. Parsons, who had formerly had 
 a show of the same kind on State street, near the capi- 
 tol. This new establishment was on North Pearl 
 street, on the ground now occupied by the Garretson 
 Station Methodist Episcopal church. It was one of 
 the most spacious (66 by 111 feet) and well-appointed 
 amphitheatres in the Union, and is said to have cost, 
 including horses, $22,000. The stage and ring were 
 very large, and the rear of the building allowed of an 
 opening, from the back of the stage into a garden, over 
 a hundred feet in depth, thus admitting of no end of 
 display and processions in such pieces as "The Cata- 
 ract of the Ganges," "Tekeli," "Blue Beard," etc. 
 
 The establishment opened auspiciously, with West 
 
PLAYERS OF A CENTURY. 101 
 
 as ring-master and Kenvon as staofe-mana^er. At the 
 close of the equestrian performances, "The Irishman 
 in London," was played, with the following cast : 
 Captain Seymour. 0. Eberle : Mr. Colooney, Hamilton ; 
 Mr. FrosL Ray ; Cymon, Lamb ; Delaney, Talbot ; 
 Edward, Kenvon : Louisa, Mrs. Hatch ; Caroline, Mrs. 
 Roper; Cuffa, Mrs. Lamb. 
 
 Admission was fifty and severity-five cents. This 
 enterprise, while it afforded great entertainment to 
 many, had a deleterious effect upon the legitimate, 
 drama, and was one of the causes which led to its 
 speedy failure in Albany. The city was clearly not 
 large enough to support two such expensive places of 
 amusement, and the older enterprise was. naturally, 
 the first to suffer, the novelty of the ring, cheaper 
 rates of admission, and the sensational nature of the 
 performances, all acting strongly against Mr. Gilfert 
 and his corps of artists. We have now, therefore, to 
 chronicle the speedy decadence of the theatre. 
 
 The next stars that came, were Mr. and Mrs. Barnes, 
 the latter appearing February 17th, in the beautiful 
 play of "Isabella, or the Fatal Marriage;" Forrest 
 supporting her as Bio?i. and Young as Carlos. Pew 
 actresses have been so deserving, fewer still so fortu- 
 nate as Mrs. Barnes. She at once gained the affections 
 of her audience, and for twenty-rive years, was a 
 supreme favorite. In person, she was under middle 
 size, but finely formed. Her features, though small, 
 were eminently beautiful, and at perfect command, 
 while her face was lighted up with eloquent and 
 expressive dark eyes. As a tragic actress, none of her 
 contemporaries, with the exception of Mrs. Duff and 
 Fanny Kemble, excelled her, wdiile as Juliet and 
 Ecadne, she was the peer of any. She played high 
 comedy with great finish, and her roguish boys were 
 perfectly bewitching. She was highly respected in 
 private life, and when she bade farewell to the stage. 
 November 2d, 1811. it was to retire upon a well-earned 
 competence. She died of paralysis, August 26th, 
 
102 PLAYERS OF A CENTURY. 
 
 1864, aged eighty-four, another example of the lon- 
 gevity of professionals. Her daughter, Charlotte, mar- 
 ried Mr. Edmund S. Conner. 
 
 On the 18th, Mr. John Barnes appeared as Billy 
 Lackaday and Crack, and, of course, set the whole 
 town in a roar. Probably no comedian we have ever 
 had. has been the cause of more merriment than old 
 Jack; his comical phiz alone being enough always to 
 shake the sides of the entire audience. He was often 
 extravagant, and sometimes vulgar, but always a 
 favorite. He was long at the Park theatre, then starred 
 it, with profit, and in 1841, died of a carbuncle on his 
 nose, at the age of sixty. During the Barnes engage- 
 ment, " Sweethearts and Wives," " School for Scandal," 
 " The Eivals," " Sprigs of Laurel," " Wandering Boys," 
 etc., were played. 
 
 About this time, " The Forest of Bundy" was 
 brought out (Forrest as Macaire), and other melodramas 
 followed, such as "Timour, the Tartar," "The Wood 
 Demon," and the like. March 3d, Forrest took his 
 first benefit, playing Sir Edward, in " The Iron Chest," 
 and Robert Rafter, in u Too Late for Dinner." On the 
 13th of March, for Young's benefit, the same accommo- 
 dating boy recited Goldsmith's epilogue, in the charac- 
 ter of a harlequin, and closed by leaping through a 
 barrel of fire, singeing off his eyebrows as he did so! 
 About this time, too, for a wager, he performed at the 
 circus, for the clown's (Bill Gates) benefit, in a stilt- 
 vaulting act, eliciting shouts of laughter and applause 
 from those who knew it was "Ned." 
 
 Few attended the theatre now, and even so bright a 
 star as Conway, who played a second engagement, 
 failed to attract — though some sterling plays were 
 presented. " King John " was played for the first 
 time, Conway as the King, Forrest as Falconbridge and 
 Mrs. Gilfert as Lady Constance. " Henry VIII" was 
 cast with Conway as Wolsey, Young as Henry VIII., 
 Forrest as Buckingham, Barrett as Cromwell, Mrs. Gil- 
 fert as Queen Catherine, and Mrs. George Barrett as 
 Anne Bullen. "Katharine and Petruchio" was also 
 
PLAYEKS OF A CENTURY. 103 
 
 played the same night. It was for Conway's benefit, 
 and it was such a Shakspearean revival as has not 
 often been seen in Albany. It was during this engage- 
 ment that Conway, who was a strict Episcopalian, 
 refused to play on Good Friday, and although the 
 " paper" was up and every thing ready, the perform- 
 ance had to be postponed. 
 
 The farewell benefits now began, and were, many of 
 them, poorly attended. To show 7 to what a strait even 
 the best actors were reduced to fill the house, it may 
 be noticed that for Forrest's farewell benefit, Hyatt, the 
 comedian,, played Richard! Forrest supporting him 
 as Buckingham! The season, having proved disastrous, 
 closed May 2d, Gilfert being unable to pay his com- 
 pany, many of whom were left destitute. Forrest 
 himself was forced to leave his wardrobe at his board- 
 ing-house, as security for arrearages, when he went to 
 New York. As before stated, a majority of the com- 
 pany were re-ensraged by Gilfert, when he opened the 
 Bowery, October 23d, 1826. 
 
 George Barrett, the stage manager, next opened the 
 theatre for a few nights, but with unsatisfactory results. 
 The old favorite, Mrs. Hughes, played an engagement, 
 but it was unsuccessful in attracting, although her great 
 merits were admitted by all. The notice she received 
 from The Advertiser, for her benefit night, is worth pre- 
 serving as a model : 
 
 Mrs. Hughes takes her benefit at the theatre to-night. 
 It would be an insult to the generous enthusiasm of her 
 numerous admirers, to say another word on the subject. 
 
 We are glad to know that this performance, at least, 
 was well attended, though, as a general thing, people 
 were surfeited with theatricals. The circus kept a'oing 
 with "Joan of Arc," " El Hyder," u Ali Pacha," 
 " Marmion," etc., and finally closed the season with 
 " The Cataract of the Ganges," for which the stage had 
 been lengthened forty feet; real w T ater was introduced, 
 and great attention paid to scenery. Mrs. Cooke rode 
 the celebrated horse " White Surrey" up the precipice 
 
104 PLAYEKS OF A CENTURY. 
 
 ■under the spray, amid enthusiasm which was almost 
 frantic. 
 
 The next man to attempt to manage the Pearl street 
 theatre was Henry Wallack (brother of James), of 
 whom mention was made while playing as a star. He 
 opened July 24th, with Column's "Poor Gentleman," 
 cast as follows : Lieutenant Worthington, Mr. Scott ; 
 Sir Robert Bramble, Herbert ; Fred Bramble, Wallack ; 
 Dr. Ollapod, Stone : Humphrey Dobbin, Durang ; Sir 
 Charles Cropland, Stevenson ; Corporal Foss, Wray ; 
 Farmer Harrowby, Turnbull ; Stephen Harrowhy, Simp- 
 son; Valet, Lane; Emily Worthington, Mrs. Wallack ; 
 Lucretia JIcTab, Miss Placide; Dame Harroivby, Mrs. 
 Stevenson ; Mary, Mrs. LaCombe. 
 
 Also, "Children in the Wood," cast as follows: 
 Sir Rowland, Mr. Scott; Apathy, Stone; Walter, Wal- 
 lack ; Gabriel, Placide ; Lord Alford, Stevenson ; Oliver, 
 Durang; Ruffians, Lane and King ; Servant, Douglass; 
 Josephine, Mrs. Wallack; Helen, Mrs. LaCombe; Win- 
 nefred, Miss Turnbull; Boy, E. Turnbull ; Girl, C. 
 Turnbull. 
 
 This, with a few additions, was substantially the 
 same company which had been playing from March 
 26th to July 17th, at the Chatham theatre, in New 
 York, and which returned there October 9th. James 
 M. Scott was a serious actor, and afterwards became 
 famous in nautical characters. He died in New York, 
 March 1st, 1846. Thomas Placide was a brother of 
 Henry, but by no means as good an actor. Herbert 
 was a comic old man ; died in Boston, in 1835. Mrs. 
 Wallack, wife of the manager, was a very beautiful 
 woman. Her maiden name was Jones ; she had been 
 in the ballet and had, but recently, come out as a very 
 pleasing comic actress. Miss Jane Placide afterwards 
 became highly distinguished in the south, as a trage- 
 dienne, but died in the height of her popularity. Miss 
 Turnbull was, afterwards, well known here. Mrs. 
 LaCombe married the eccentric- Andrew Jackson 
 Allen. Wallack, the manager, appeared with the 
 company for the first few nights and then went off on 
 
PLAYERS OF A CENTURY. 105 
 
 a pleasure tour, leaving the theatre in charge of his 
 assistants. He was advertised to appear August 7th, 
 as Holla, in "Pizarro," but on receiving a report of 
 the poor business during his absence, became disgusted 
 with Albany and refused to play. There was no per- 
 formance and thus ended the season. Both theatre 
 and circus were now closed till winter. 
 
 Mr. Lenient, a hotel keeper, whose house was on 
 the south side of State street, just east of Pearl, now 
 obtained a lease of the theatre, and, at once, sub-let it 
 to Mr. C. W. Sanclford, proprietor of the Lafayette 
 theatre and circus, in New York. Sandford had also 
 acquired a lease of the circus building on North Pearl 
 street, and keeping that closed, opened the theatre 
 December 13th, with " Pizarro' 7 and u The Liar," the 
 house being crowded. The company included Bur- 
 roughs, as stage-manager; Thompson, Thayer, Forbes, 
 Mi", and Mrs. Fisher and daughter, Keaten, Collins, 
 Jones, Mr. and Mrs. Walstein, Wilson, Jenkins, Petrie, 
 Mrs. Godey, Mrs. Sandford, D. and H. Eberle, Miss 
 Eberle, Dinneford and others. Of this company, it is 
 not necessary to speak at length. Mrs. Sandford. wife 
 of the manager, was born Miss Lattimer, and had been 
 a charming vocalist. Two days before Mr. Holmairs 
 (father of Mrs. Gilfert) death, she married him, and 
 afterward, Mr. Isaac Star Clason, and finally, Mr. Sand- 
 ford. Mr. and Mrs. Palmer Fisher and their daughters, 
 Oceana and Alexina, were well known to the stage, 
 especially the latter. The Eberles were also a well- 
 known theatrical family. David and Harry, who 
 played here at this time, were brothers of Charles 
 Eberle, who perished in the burning of the steamer 
 Lexington, on Long Island Sound, 1842. and who was 
 the father of the popular old man, Mr. E. A. Eberle, 
 late of the Leland opera house. 
 
 Prices of admission were fixed at $1, 50 and 25 
 cents, at which the public grumbled considerably. 
 The company, however, gave good satisfaction, and 
 stars followed one another, in quick succession, begin- 
 ning with Keene, the vocalist. Several musical pieces 
 
106 PLAYEKS OF A CENTURY. 
 
 were produced, including " Clari," Payne's opera, in 
 which " Home, Sweet Home" occurs. On Christmas 
 day, Booth appeared as Sir Giles, and followed it with 
 other characters, in which he had previously appeared 
 here. January 8th, 1827, Edwin Forrest returned as 
 a star, and was warmly welcomed. The Advertiser 
 said of him : " Forrest is the boast and ornament of 
 the American stage. His improvement has far 
 outstripped what his most sanguine friends here 
 anticipated." 
 
 Mr. and Mrs. John Barnes came again, and Mrs. 
 Hamlin, wife of Thomas. She did not draw, and 
 the theatre was not well patronized, Mr. and Mrs. 
 Barnes only playing to good business. In March, 
 Dwyer, the old comedian, appeared again, playing 
 Falstaff for his benefit. April 17th, the circus reopened 
 its doors, and the museum, under Henry T. Meech, 
 appealed for patronage, on the merits of a stuffed 
 rhinoceros and a hermaphrodite orang-outang. 
 
 Mr. Sandford closed his season in May. with no less 
 brilliant a star than William Charles Macready, who 
 played Hamlet on the 7th.* Macbeth on the 9th, and for 
 his benefit, Virginias on the 11th. 
 
 Mr. Macready was now thirty-four years old, having 
 been born in London, March 3d, 1793, the son of an 
 actor. He made his debut in Romeo, in 1810, and in 
 the intervening years had won a position in England 
 second only to Kean, and on the fall of that great actor, 
 until the period of his own retirement, was unexcelled 
 upon the British stage. It is not our intention to go 
 into the details of his career, as by his Reminiscences 
 and Diaries, edited by Sir Pollock, they are within the 
 reach of every reader. He made three visits to this 
 country, 1826-7, in 1844, and in 1848-9. In May 
 of the last mentioned year, occurred the most terrible 
 riot recorded in the dramatic annals of this country. 
 
 *On this very night, a tragedy in real life occurred, which exceeded in 
 interest any event in stage mimicry. This was the murder of John Whipple 
 by Jesse Strang, who shot him through a window, as he sat writing in his 
 chamber, and was hanged for it, August 24th, in the Hudson street ravine, in 
 the presence of 40,000 spectators. 
 
PLAYERS OF A CENTURY. 107 
 
 Through a quarrel between Macready arid Edwin For- 
 rest, who had hissed each other in England, a disturb- 
 ance took place at the Astor opera house, New York 
 (May 10th); the military were called out, and twenty- 
 two men were killed and thirty-six wounded. Mr. 
 Macready died April 27th, 1873. As an actor, he was 
 a model of every thing that was chaste, finished and clas- 
 sical. As a man, his character was above reproach. 
 He has been ridiculed for certain mannerisms, and cen- 
 sured for penuriousness, and it is true that by industry 
 and prudence he acquired a fortune. It is also true 
 that " no friend has ever had occasion to feel a pang 
 for his excesses, and the public never were called upon 
 to pity, pardon, or condemn in him any moral trans- 
 gression." Lewes saw in him only a man of talent, but 
 of talent so marked and individual that it approached 
 very near genius. He had a powerful voice of exten- 
 sive compass, capable of delicate modulation in quiet 
 passages (though with a tendency to scream in violent 
 passages), and having tones that thrilled and tones that 
 stirred the tear drops. The intelligence of his readings 
 was always manifest. His person was good, and his 
 face was expressive. As a Shakspearean actor, he did 
 not rank with the greatest of his predecessors. Lewes 
 thought his Hamlet bad, due allowance being made for 
 the intelligence it displayed. " He was lachrymose 
 and fretful ; too fond of a cambric pocket handkerchief 
 to be really affecting ; nor had he that sympathy with 
 the character which would have given an impressive 
 unity to his performance — it was 'a thing of shreds 
 and patches,' not a whole." 
 
 "As Macbeth, nothing could be finer than the indica- 
 tions he gave of a conscience wavering under the 
 influence of 'fate and metaphysical aid,' superstitious 
 and weakly, cherishing the suggestions of superstition ; 
 but nothing could have been less heroic than his per- 
 sonation of the great criminal. He w r as fretful and 
 impatient under the taunts and provocations of his 
 wife ; he was ignoble under the terrors of remorse ; he 
 stole into the sleeping chamber of Duncan, like a man 
 
108 PLAYERS OF A CENTURY. 
 
 going to purloin a purse, not like a warrior going to 
 snatch a crown." On the other hand, he created sev- 
 eral of the most popular characters of the modern 
 drama, such as Virginius, William Tell, Werner, Riche- 
 lieu, Claude Melnotte, and Buy Gomez. As Virginius, a 
 part in which he was the original, he was at his best. 
 It was always a favoiite with him from the hour he 
 first read the lines, when submitted to him by the 
 author, J. Sheridan Knowles, who dedicated the play 
 to him. It was in the character of the Roman father 
 that he had his portrait taken. It was in that character 
 he took his first and only Albany benefit. 
 
 Macready's farewell to the stage, took place at Drury 
 Lane, February 26th, 1851, his last part being Macbeth, 
 which was always his favorite. At a farewell dinner, 
 March 1st, managed by Charles Dickens, and Sir E. 
 Lytton Bulwer acting as chairman, John Forster read 
 the following tribute to the setting star, by Alfred 
 Tennyson, poet laureate : 
 
 Farewell, Macready, since to-night we part; 
 Full handed thunders often have confessed 
 Thy power, well used to move the public breast, 
 
 We thank thee with our voice, and from the heart. 
 
 Farewell, Macready, since this night we part; 
 
 Go, take thine honors home; rank with the best, 
 Garrick and statelier Kemble, and the rest, 
 
 Who made a nation purer through their Art. 
 
 Thine is it that our drama did not die, 
 
 Nor flicker down to brainless pantomime 
 
 And those gilt gauds, men-children swarm to see. 
 
 Farewell, Macready, moral, grave, sublime; 
 
 Our Shakspeare's bland and universal eye 
 
 Dwells pleased, through twice a hundred years, on thee. 
 
109 
 
 CHAPTEE X. 
 
 1827-1828. 
 
 The South Pearl Street Theatre. Under Various Managers. 
 
 ALTHOUGH Mr. Sand ford lost a good deal of money, 
 he paid his debts and left the city with an honorable 
 record. The next man to try his hand at the manage- 
 rial helm, was Elijah J. Roberts, who opened the 
 theatre July 3d, with " Town and Country" and ;k The 
 Spectre Bridegroom," Roberts was editor of The 
 Craftsman, and a politician of some note. The follow- 
 ing cast for the principal play, included the more 
 prominent members of the company : Reuben Glenroy. 
 Adams; Captain Glenroy. Shadgate: Plastic, Isher- 
 wood ; Hawbuck, Simpson: Cosey, Somerville ; Bee. 
 Mr. Owen, Parsons: Trot. Blanchard ; Rosalie Somers, 
 Miss Twibill: Mrs. Glenroy, Mrs. Hatch. 
 
 The leading man, if we mistake not, was John Jay 
 Adams, who had been bred to mercantile life, and had, 
 at this time, but little stage experience. His readings 
 were remarkably correct, and his Hamlet was, after- 
 wards, regarded as among the best on the American 
 stage. Had he not been intemperate, he would have 
 become famous. He died in 1839. Miss Matilda 
 Twibill was also new to the boards, and very young, 
 scarce sixteen. Personally, she was one of the most 
 lovelv women ever known to the stao'e. She was the 
 daughter of Twibill, the vocalist, and had made her 
 dramatic debut November 29th, 1826. in New York, in 
 this same character of Rosalie. Her father treated her 
 very cruelly, and March 30th, 1828, she married Tom 
 Flynn, the comedian, who broke Booth's nose. 
 10 
 
110 PLAYERS OF A CENTURY. 
 
 Charley Parsons, who was cast for a parson, after- 
 wards became one in reality, and preached in the 
 Methodist church in Louisville. He was of Herculean 
 frame and round shoulders, with a voice like stage 
 thunder, but a bad actor, especially in tragedy. He 
 alternated between stage and pulpit, and did about as 
 well m one capacity as the other, and not very well in 
 either. Stone says he played Roaring Ralph Stackpole, 
 in Dr. Bird's drama, to perfection. 
 
 James M. Scott (" Big Scott," as he was called, to dis- 
 tinguish him from J. R Scott), was the first star, and 
 in the course of a wtek or two, Mr. and Mrs. John 
 Barnes, Peter Bichings and Moses S. Phillips (who 
 closely resembled and imitated Barnes) appeared. 
 
 On the 19th of July, William Duffy made his pro- 
 fessional debut in Albany, as Bertram. He had fre- 
 quently appeared as an amateur, but now came from 
 the New Orleans theatre, and was received with con- 
 siderable favor, which rapidly increased as his merits 
 became known. 
 
 Mr. Roberts's management lasted only till about the 
 first week in September, when he succumbed to adverse 
 circumstances. He had sub-leased the theatre from 
 Lenient, but was quite unable to pay the rent. During 
 his brief career, Forrest had played an engagement, 
 appearing for the first time in Albany, in what was 
 afterward his greatest personation, that of Lear. The 
 theatre was next managed for a short time by Lement 
 & Adams ; the latter then took part of the company 
 west for a few nights. 
 
 On the 26th of September, James Henry Hackett 
 made, what was probably his first appearance in 
 Albany, in Richard, Monsieur Tonson and a budget of 
 Yankee stories. Mr. Hackett came in with the century, 
 being born March 15th, 1800. He was of Holland 
 descent, but first saw the light in New York city. At 
 the age of nineteen, he married an actress (Miss 
 Leesugg) of the Park theatre, and in 1826, having 
 failed in business as a merchant, in Utica and New- 
 York, he tried the stage. After one or two rather 
 
PLAYERS OF A CENTURY. Ill 
 
 nervous attempts, be made a hit in imitations of 
 Mathews, Kean, Barnes, etc., which determined him 
 to adopt the profession. His first really great success 
 was as one of the Dromios, his imitation of Jack Barnes, 
 who played the other, being so perfect that they could 
 not be distinguished. A few weeks later (November 
 7th), they appeared in Albany in these characters, to 
 the great delight of their auditors. Mr. Hackett sub- 
 sequently played tragedy, but never with great success. 
 He was, essentially, a comedian ; at first, best known 
 as a personator of Yankee characters, in which, how- 
 ever, he was superseded by George H. Hill. Mr. 
 Hackett was, we believe, if not the original Rip Van 
 Winkle, at least one of the first, playing the part with 
 deeply touching pathos. It was, however, as Falstaff, 
 that he will longest be remembered. He was. in fact, 
 the only great representative of that character Amer- 
 ica has ever produced. He was, at different times, 
 manager of the Bowery, Chatham and National thea- 
 tres, and Astor Place opera house, in New York, 
 losing at the latter establishment, more than $4,0<K), 
 by the Forrest-Macready riot, in 1849. He also gave 
 grand opera through the country, with Mario and 
 Grisi. in 1845. His last appearance in Albany, was 
 in March, 1864. at Tweddle hall, where he failed to 
 draw paying houses. He died at Jamaica, Long 
 Island, December 28th. 1871. He left his widow — a 
 second wife, some property, which, however, depre- 
 ciated in value till there was little or nothing: left. 
 He was the author of a work upon "Shakspeare's 
 Plays and Actors," and projected the plan for the 
 Shakspeare monument in Central Park, the corner 
 stone of which was laid under his auspices. 
 
 This appears to have been a bad season for amuse- 
 ments. The Pearl street circus, opened by Parsons, 
 October 23d, closed in January, the proprietor losing, 
 it was said, double all he had ever made there. S. V. 
 Wemple then managed it till March 1st, w T ith no bet- 
 ter luck. 
 
 The theatre, which had been closed since November, 
 
112 PLAYEKS OF A CENTURY. 
 
 opened March 19th, 1828, under Mr. Greorge Vernon. 
 Admission 75, 37-J- and 25 cents. 
 
 Mr. George Vernon was a new-comer, having made 
 his first appearance in America at the Bowery, the 
 previous September. He was a comedian of undoubted 
 abilities, and a vocalist of no mean pretensions, till ill 
 health robbed him of hi3 voice. The remainder of his 
 short life was spent in Albany and vicinity. He man 
 aged the theatre for two seasons, and then buying 
 Woodstock farm, a few miles west of the city, retired, 
 and died there, June 13th, 1830, aged thirty-three. 
 He was buried in the old Episcopal burying ground, 
 on State street. He was a gentleman of many attain- 
 ments, and had considerable architectural skill. He 
 was a strict Episcopalian, and designed the pulpit for 
 St. Paul's church, when it was located in Ferry street. 
 Mrs. Greorge Vernon's maiden name was Jane Mer- 
 chant Fisher. She was the sister of John Aubrey 
 Fisher, an excellent comic actor, and of Clara Fisher 
 Maeder. Mrs. Vernon made her American debut with 
 her future husband, whom she married October 6th, 
 1827, and came with him to Albany, and assumed a 
 leading position in his company, during the two sea- 
 sons of his unfortunate management. After his death, 
 she returned to New York, and was engaged as sou- 
 brette, at the Park theatre, where she remained almost 
 continuously from December 17th, 1830, to December 
 21st, 1847, attaining the highest regard of the public, 
 b}^ whom she was ranked among actresses as Plaeide 
 and Burton, among actors. When the Park theatre 
 finally ran down, she played at Burton's, the old Broad- 
 way and Wallack's theatre, changing her line of busi- 
 ness, as time passed on, to that of "old woman," in 
 which she was contemporary with Mrs. Hughes, who, 
 it will be remembered, was, like her, in early life, an 
 Albany favorite. It is a little singular that the two 
 best u old women " the New York stage ever had, were 
 previously leading ladies in Albany. Mr. Hutton 
 says: "Mrs. Hughes's Betsy Trohuood, except perhaps 
 by Mrs. Vernon, has never been approached. They 
 
PLAYERS OF A CENTURY. 113 
 
 were contemporary : leading old ladies' for many years, 
 playing the same parts, and playing them so equally 
 well, that no critical Paris of the day was able to decide 
 to whom belonged the apple of superiority. In the 
 case of their Betsy Trotwood&xid Mrs. Skeleton, the apple 
 was divided, a half given to each. Mrs. Vernon, the 
 survivor, on the retirement of Mrs. Hughes, inheriting 
 both portions of the * pomarian prize,' left the entire 
 apple, on her death (June 4th. 1869). to Mrs. VT. H. 
 Gilbert, the only worthy representative of their partic- 
 ular school of 'old lady' whom we have upon our stage 
 to-day." 
 
 Mrs. Vernon, though never noted for her beauty, 
 possessed an intelligent and expressive face, and a pol- 
 ished manner, that at once denoted the woman of 
 intellect and refinement. She was tall and till the last 
 possessed a graceful figure. Her education was liberal, 
 and it was said that during her connection with the 
 Park theatre, her opinion, in all passages of disputed 
 readings of the Shakspeare dramas, was considered final. 
 In private life, her kindness of heart and self-forgetful- 
 ness were proverbial, and no one in the profession was 
 more generally respected and esteemed. She lived to 
 the eood old aire of seventy-seven, surviving her 
 retirement only al oi.t two months. 
 
 The theatre opened under Mr. Vernon, with "Th-e 
 Belle's Stratagem." Thomas Archer and Mrs. Hamblin 
 as stars. Archer was a recent importation from Eng- 
 land, but a second rate actor. Mrs. Hamblin was the 
 wife of Thomas Hamblin. who had been here, and soon 
 came again. George Holland, the comedian and ven- 
 triloquist, also played an engagement, but the theatre 
 was not well patronized. The circus had opened its 
 doors again with •• The Cataract of the Granges'' (Mrs. 
 Stickney as Colonel Mordaunt) and two bands of music. 
 
 On the 9th of April, for Mrs. Vernon's benefit, her 
 sister. Clara Fisher, made her first appearance in 
 Albany, in Pavne's opera of "'Clari, the Maid of 
 Milan." and -The Actress of All Work,'' in which 
 she sustained six characters. 
 
114 PLAYERS OF A CENTURY. 
 
 " A charming young Fisher, a fishing has come, 
 From the land of her fathers, her sea-circled home; 
 She uses no line, and she uses no hook, 
 Bat she catches her prey with a smile and a look." 
 
 So sang a newspaper poet of the period, and in spite 
 of the Lottas and Maggie Mitchells of the present day, 
 we cannot think of an actress on the boards, who 
 exactly fills the place occupied by Clara Fisher fifty 
 years ago. She w r as born in England, July 14th, 1811, 
 the daughter of Frederick George Fisher. Taken ac 
 the age of six to see a rehearsal of " Gulliver in Lilli- 
 put," to be played by children, at Drury Lane, she 
 was as badly " stage-struck" as many have been at a 
 later period in life, and begged her fathers permission 
 to join the little company. Having pleased the man- 
 ager by her recitations, she was engaged, and in a 
 masque written for her by her father, made a hit to 
 start with. She was subsequently engaged at Covent 
 Garden, and was looked upon as a youthful prodigy. 
 As such, she starred for several years, totally eclipsing 
 all other juvenile performers. At the age of seven- 
 teen, she came to America, and at this time must have 
 been a very bewitching creature. She is thus described 
 by Ireland : 
 
 ''Her person, below the middle height, and just 
 reaching, but not exceeding, a delicate plumpness, 
 was exquisitely formed ; her manners were sprightly 
 and vivacious, yet perfectly natural and artless; her 
 expression arch and intelligent, her cheeks dimpling 
 with smiles. Appearing, as she constantly did, in 
 the character of boys and striplings, she had her fine 
 hair closely cut on the back of her head, while on her 
 brow she wore rolls or puffs, which were immediately 
 adopted as the fashion, while an imitation of her deli- 
 cate, but natural lisp, was considered equally indis- 
 pensable. Her name was borrowed to give popularity 
 to new fashions and old hotels, slow stages and fast 
 race v s; and any thing or any body who could claim 
 the most distant connection with the 'celebrated Clara 
 Fisher,' was sure of attracting notice and distinction." 
 
PLAYERS OF A CENTURY. 115 
 
 In her earlier years, her success was equally 
 apparent in tragedy, opera or farce, but later in life 
 her face, voice and person were best adapted to the 
 lighter characters of opera and comedy. She played 
 Ophelia and Viola, but produced far more effect in the 
 more e very-day character of Clari (in which she made 
 her Albany debut), and which she played with such 
 pathos as to force tears to the eyes of her audience, 
 whether they would or no. Her Lady Teazle is said to 
 have been a charming performance, and also her Lady 
 Gay Spanker, although her petite figure was not suita- 
 ble to represent the generally received idea of those 
 characters. She possessed a thorough knowledge of 
 music, and in opera appeared to all the advantage that 
 her limited range of voice permitted. It was in bal- 
 lads, however, that her greatest musical success was 
 won, her expression in singing Irish and other senti- 
 mental songs, gaining for her her greatest popularity. 
 
 One of her best characters, in later days, was the 
 Fool in "Lear," which she made very important when 
 Macready brought out the play as originally written. 
 
 Her American debut was at the Park theatre, Sep- 
 tember 11th, 1827, as Albina Mandeville, in " The 
 Will," and in the farce " Old and Young," in which 
 she personated the four Mousbrays. After a most success- 
 ful career, she married. December 6th, 1831, Mr. James 
 Graspard Maeder, a distinguished musician, and the 
 vocal perceptor of Charlotte Cushman and many others. 
 Much of Mrs. Maeder's fortune was lost in the United 
 States bank, and much more in theatrical management. 
 Later in life, she was attached to the famous Museum 
 company, and still later, to the stock company of the 
 Trimble opera house, in Albany, in which city she is still 
 remembered with the greatest respect, for in private 
 life she has always been every thing that is estimable. 
 She then retired from the stage for nearly a decade, 
 but reappeared in Lucy Eushton's New York company, 
 and is still in the profession. Of late, she has lived in 
 Philadelphia, with one of her sons, who is the scenic 
 artist at the Walnut street theatre. Another son, Mr. 
 
116 PLAYERS OF A CENTURY. 
 
 Fred. Gr. Maeder, is the well-known dramatist and man- 
 ager, and still another son, Frank, is one of the founders 
 and proprietors of the Salsbury Troubadours. One 
 daughter, the wife of a physician, has resided for many 
 years in England, and another (Mollie) is Mrs. Steele, 
 wife of a Cincinnati manager, and a pleasing actress. 
 Mrs. Maeder is still bright and active, and as well 
 qualified to play the parts she now undertakes, as any 
 in the business. 
 
 On the 14th of April, 1828, Miss Louisa Lane 
 appeared on a benefit night, as Little Pickle, She was 
 only eighttyears old, and when, a few nights later, she 
 played for her own benefit, it was as Paul, in "The 
 Wandering Boys," the part of Jusiin being taken by 
 Julia Turnbull, aged six. This little Miss Lane was 
 none other than the one who became, eventually, Mrs. 
 John Drew. She was born in England, January 10th, 
 1820, and came to this country with her mother, Mrs. 
 Kinloch, and after playing as a juvenile star, was 
 attached to the Bowery theatre, then went west, became 
 Mrs. Henry Hunt, afterwards Mrs. Mossop, and finally 
 Mrs. Drew, a name which is regarded with the highest 
 respect, both in and out of the profession, and particu- 
 larly in Philadelphia, where she is still in active 
 theatrical life, being manager of the Arch street thea- 
 tre. For several seasons, she was the reigning attrac- 
 tion at Meech's museum, in Albany, and here she met 
 and married Mr. Drew, a comedian of great ability. 
 We shall have occasion to refer to her again. 
 
 On the 15th, Miss Mary Eock made her first appear- 
 ance in Albany, as the Widow Cheerly, supported by 
 Mr. Mavwood. Miss Eock was latelv from Dublin, 
 where she had been the pet of the public. A few 
 months previous, she had made a brilliant debut in 
 Boston, and in November, had played a successful 
 engagement at the Bowery. " She was," says Ireland, 
 "a very charming and versatile actress and had not 
 Clara Fisher's star been in the ascendant, paling, by its 
 brilliant light, all other flittering: orbs, she would have 
 been regarded, perhaps, as the brightest luminary of 
 
PLAYERS OF A CENTURY. 117 
 
 the season. As it was, she proved a powerful rival." 
 Dunlap also speaks of her abilities in high terms. 
 
 The following sketch of the once popular actress, 
 written by the author of this work, appeared recently 
 in the Xew York Sun: " Mary Eock was born in Lon- 
 don. Her father, at the head of the staff of Times 
 reporters, died before she was born, and her mother 
 soon after. Her relatives were wealthy, and one of 
 them, an aunt, adopted her and took her to Dublin, 
 when very young. There, her new home was fre- 
 quently visited by O'Connell, Sheil, Phillips, and 
 others renowned in Ireland's history. Her natural 
 musical taste was early developed. At nine years of 
 age, her education on the piano was declared ' finished,' 
 and although, at this day. a proficient on that instru- 
 ment, she has never taken a lesson since. She saw 
 the best society, and remembers, with delight, being- 
 introduced to Tom Moore and hearing the poet sing 
 his own songs. There were not many notes in his 
 voice, as she remembers it, but they were of surpass- 
 ing sweetness. She. herself, sang and played for 
 visitors, and they said that her voice should be culti- 
 vated, and that she should go to Italy. Even then 
 she was ambitious, and longed to go. Her wish was 
 about to be gratified, and rooms and teachers were 
 engaged for her in Florence, when a great crash came 
 and her friends were reduced to poverty. Mary was 
 obliged to go to work. But not in Dublin, where she 
 and her family were known. She went to Edinburgh, 
 and there she was bound to a celebrated music teacher 
 for two years. At twelve she was brought out on the 
 stage as Tom Thumb, and soon was known throughout 
 the provinces as l The Little Fairy." Sir Walter Scott 
 was her patron, and many a time she sat at his feet 
 and looked up in his face, and thought what a great 
 man he was. He was present when she first played 
 Madge Wildfire. She had her heart set upon playing 
 TLjfie Deans, as being far mbre suited to her style, but 
 the wife of the manager wanted that part for herself, 
 and, of course, had it, Mary had to take up with 
 
118 PLAYERS OF A CENTURY. 
 
 Madge. She was struck with stage fright at first, but 
 Sir Walter was in the box encouraging her, and after 
 the first few minutes, she rallied arid won a great suc- 
 cess. She was better known in Scotland as ' Madge 
 Wildfire' and ' Annot Lyle of the Harp,' than she was 
 by her own name. The harp, by the way, was her 
 favorite instrument, and the first £100 she called her 
 own was expended for one, with which she accompanied 
 herself for many years, and which she brought with 
 her to America, Charles Young, the tragedian, was 
 her warm friend and adviser. Always petite, she had 
 no heart to play the heroic roles, but Young encour- 
 aged her to try them. 'My wife,' said he, ' was no 
 larger than you, but when she played Lady Macbeth ' — 
 and he accompanied his words with such pantomimic 
 power that the picture could be seen — 'she was a 
 giantess ! ' Little Mary crowded down her fears and 
 said she would try to be a giantess, too. John Braham 
 taught her, personally, to sing two or three of his 
 sweetest songs, and she saw the great Miss O'Neill 
 play Evadne. 
 
 "In 1827, inducements were held out for Miss Eock 
 to come to America, and, with her adopted mother as 
 a companion, she did so, coming over under the man- 
 agement of William Pelby, and appearing first in the 
 Federal street theatre in Boston, where, for several 
 years, she lived and reigned a supreme favorite. Her 
 unusual versatility permitted her the entire range of 
 farce, corned}', tragedy, and opera, She starred with 
 success, throughout the country, and amassed a snug 
 little fortune, out of which, with devotion that was truly 
 filial, she settled $10,000 upon her adopted mother. 
 When the mother died, it was found that, through the 
 machinations of her financial agent, all this money, 
 instead of being left to the only heir and the one who 
 earned it by hard work in the first pla^e, was willed to 
 the son of the agent, Miss Rock having only the inter- 
 est. This she would not touch, unless she could have 
 the whole. A lawsuit resulted, the alien laws were 
 against her, and she lost it all. 
 
PLAZERS OF A CENTURY. * 119 
 
 "At their cottage in Harlem, Holland, the comedian, 
 N. P. Willis, Morris and Edwin Forrest, were frequent 
 visitors. Forrest she did not like very well, either as a 
 man or as an actor. Perhaps something of this dislike 
 may be due to the fact that he used to enjoy teasing 
 her upon the stage, when she was supporting him, as 
 she often did. She is, and always has been, quite 
 devotional in her habit, at which he would mock in 
 any thing but a delicate manner, and she never quite 
 forgave him. She says he could play Metamora, but 
 not Shakspeare. Her last appearance in New York, 
 was with Forrest, at the Bowery theatre, October 2d, 
 1840, playing Julie de Mortimer to his Richelieu, 
 
 " Tt could not have been long after this, that, in 
 Montreal, she met Captain Murray, of the British 
 army. He was Sir John Murray, Baronet, taking the 
 baronetcy on the death of his uncle, Sir John Murray, 
 who died abroad. The captain was captivated with 
 her charms, and offered marriage, which was accepted, 
 and she retired from the stage, although she refused 
 to take the title. Captain Murray was a man of varied 
 acquirements, had travelled widely, and was elegant 
 and accomplished, but he seems not to have possessed 
 the qualifications of a good husband. A large share 
 of the actress's hard-earned money was lost in the 
 management of a southern plantation. Then the 
 doctors said the captain must cross the water for his 
 health, and the faithful wife scraped together the rem- 
 nants of her property, and, intrusting her silver, 
 pictures, jewelry, etc., to the care of the captain, he 
 set out for England, with the promise that he w T ould 
 soon send- for her. But he never did and she has 
 never seen him since. 
 
 u She is now an old woman, but still as bright and 
 cheery a one as ycm shall see in many a day. Her 
 hair is white, but her eye is bright, and as quick to 
 see as ever it was. Her friends are few and growing 
 fewer every day. To the present generation of play- 
 goers she is, of course, as if she never had been. A 
 few of her stage contemporaries survive — Mrs. Clara 
 
120 PLAYERS OF A CENTURY. 
 
 Fisher Maeder, Mrs. John Drew, Mr. Joseph Burke 
 and Mr. John Gilbert — and some of them remember 
 her with loving interest. Others have forgotten, or do 
 not care to think of her, in her old age and poverty." 
 
 For several years she has taught music in New York 
 and Albany-; and at the present writing, is fighting the 
 battle of life with wonderful bravery, and though 
 utterlv alone in the world, refusing; all offers of shelter 
 in any of the " homes," declaring that if she gives up 
 work, she shall die. 
 
 During Miss Rock's first engagement, she played 
 Letttia Hardy, Clari and Lady Belle, in "Know Your 
 Own Mind." On the 19th of April, she played for a 
 benefit, given to the sufferers by the fire, which, two 
 days previous, starting midway between Green and 
 South Market (Broadway), in Beaver street, swept 
 away nearly all the buildings on both sides of Beaver 
 street and on the north side of Hudson street, entail- 
 ing a loss of perhaps $40,000. 
 
 Forrest played a brief engagement, as did Chapman, 
 a comedian. The Slomans also appeared. Mrs. Slo- 
 man was a tragic actress, correct and lady-like, but 
 too coldly classical to suit the multitude. Mr. Sloman 
 was an English buffo. "We don't know what Buffo 
 means," said the ingenuous dramatic critic of The 
 Advertiser, " but he is an English Buffo." The season, 
 which had been a losing one for Manager Vernon, 
 closed May 7th. The circus kept along with the 
 elephant Columbus playing a star engagement in " El 
 Hyder." 
 
 On the 12th of May, the theatre was opened by 
 Moses Phillips, or "Nosey," as he was more commonly 
 called, and as his name actually, stands in Scott's 
 Albany Directory of 1828. Flynn was stage manager, 
 and Mrs. Flynn {nee Twibill) was the leading lady. In 
 the company we find the names of Duffy, Forrest, Forbes, 
 Fielding, and the irrepressible Andrew Jackson Allen. 
 Phillips, himself, was the comedian, but not a very 
 good one, and a still worse buiness man, especially for 
 those who had any thing to do with him. Plis peculiar 
 
PLAYERS OF A CENTURY. 121 
 
 methods of financiering were celebrated in more cities 
 than one, and his tricks upon creditors, fully described, 
 would fill a volume. 
 
 William Forrest, brother of Edwin, and for many 
 years the associate in business with William Duffy, 
 made his Albany debut, May 12th, asCaptain Faulkner, 
 in " The Way to Get Married." He was a printer by 
 trade, and born in Philadelphia. His first appearance 
 on the stage, was at the Walnut street theatre, Febru- 
 ary 2d, as Zaphna, in "Mahomet." He was never 
 eminent in the profession, his voice being one material 
 drawback to success. His best character was Robin 
 Roughhead, and when Duffy was absent and business 
 devolved upon Forrest, " Fortune's Frolic " was pretty 
 sure to be on the bill. He died suddenly in Phila- 
 delphia in 1833, after playing the Ghost in a burlesque, 
 at the Arch street theatre ; his last words, as he 
 descended through the trap-door, being, "D, I. 0." 
 (damn me, I'm off). He died that night. 
 
 For Mrs. Flynn's benefit, May 26th, "Rip Van 
 Winkle " was played for the first time in Albany, 
 Flynn playing Rip. The play was written by an 
 Albanian, whose name has not been handed down. 
 June 3d, Harris and Murphy, the bar-tenders (!) had a 
 benefit, at which the old favorites, Mr. and Mrs. George 
 Barrett, were engaged to appear. The next night Mr. 
 Duffy took his first benefit. The Advertiser says : 
 " Mr. Duffy is the only actor of note, Albany has ever 
 raised. If enterprise in his profession, merit as an 
 actor, and gentlemanly deportment in private life, are 
 virtues to be encouraged, he may confidently rely 
 upon the reward which is extended by an enlightened 
 audience." For Mr. William Forrest's benefit, his 
 brother Edwin appeared as Brutus. 
 
 On the 11th of June, Albany first had an opportu- 
 nity of beholding the modern ballet, Madame Hutin, 
 Madame Rosalie, and Monsieur Barbiere, appearing for 
 one night, as exponents of the French school of danc- 
 ing. How it "took" in the staid city, we can judge 
 pretty well by what occurred on the night of Madame 
 11 
 
122 PLAYERS OF A CENTURY. 
 
 Hutins New York debut at the Bowery, a little over a 
 year previous. The house was crowded and the excite- 
 ment intense ; an anxious look of curiosity and expec- 
 tation dwelt upon every face, but when the graceful 
 danseuse came bounding like a startled fawn upon the 
 stage, her light and scanty drapery floating in the air, 
 all were startled. The next instant her fine figure was 
 discovered involved but not concealed in her dress of 
 gauze, and a bewildering pirouette displaying still more 
 liberally her symmetrical proportions, a subdued ex- 
 pression of fear and terror escaped from the ladies 
 present, and the cheeks of the greater portion of the 
 audience crimsoned with shame. The next instant, as 
 if inspired by one impulse, every lady in the lower tier 
 of boxes rushed from the house. The next time 
 Madame Hutin appeared, it was in Turkish trousers, 
 but they were soon discarded, and in June following, 
 Celeste made acceptable what Madame Hutin was con- 
 demned for, and the ballet became a feature, though 
 never a very popular one, of the American stage. 
 
 On the 7th of July, " Guy Mannering" was given 
 with the Vernons, Chapman, Mrs. Austin and Mr. 
 Horn in the cast, a very strong musical attraction which 
 was repeated several nights. Several stars previously 
 spoken of played engagements which do not call for 
 particular mention. On the 11th of August, and for 
 two or three nights succeeding, Madame Celeste, the 
 great melo-dramatic actress, appeared. She was at this 
 time but a child in years, having been born, it is said, 
 in 1814, in Paris. At a very early age, she had been 
 placed in the Conservatoire, and while there had appeared 
 with Talma and with Madame Pasta. During the 
 same year in which she appeared in Albany, a young 
 man by the name of Elliot, who had nearly squandered 
 a handsome fortune left him by his father, a retired 
 livery stable keeper, in Baltimore, became enamored 
 of her, and after a short courtship, if it might so be 
 called — for, as she could not understand English, and 
 he could not speak French, recourse was had to an 
 interpreter to say the soft things which wooed and won 
 
PLAYEKS OF A CENTURY. 123 
 
 her — they became husband and wife, and for years 
 she supported him in affluence. Says Cowell, in his 
 " Thirty Years " : " Perhaps prejudiced by placing her 
 inestimable private deportment in the scale with her 
 acknowledged talent, may cause me to think she has 
 never been excelled, for to my untutored taste (to quote 
 Shelly), 
 
 'An antelope, 
 In the suspended impulse of its lightness, 
 Were less ethereally light. The brightness 
 Of her divinest presence trembles through 
 Her limbs, as, underneath a cloud of dew, 
 Imbodied in the windless heaven of June, 
 Amid the splendor-winged stars, the moon 
 Burns inextinguishably beautiful.'" 
 
 Soon after her marriage, she returned to Europe and 
 played' with remarkable success both in England and 
 on the continent, attaining her greatest fame as Maihilde 
 in "The French Spy." In 1834, she returned here and 
 began a series of the most brilliant and successful 
 engagements on record. In three years, it is said, she 
 netted $200,000, with which she returned to Europe. 
 From 1835 to 1840, she was in this country again ; and 
 again in 1851-2, and still again in 1865. In her prime, 
 to the greatest elegance and symmetry of person, she 
 added a handsome face, eloquent dark eyes and expres- 
 sion of feature beyond any actress of the age. The 
 pow r er, pathos, and effect of her pantomimic action have 
 never been approached, while her assumptions of male 
 attire and heroic characters, were marvellous exhibi- 
 tions of daring ambition and successful achievement. 
 Her success in America has been equalled among 
 women only by Fanny Kemble and Jenny Lind. 
 Celeste is still alive, and played in London no longer 
 ago than October, 1874. During her first Albany 
 engagement, she played Juliam "Deaf and Dumb" and 
 a character in " The Mountain Bobbers," besides danc-. 
 ing in conjunction with Constantine and Heloise. 
 
 August 19th, "The Comedy of Errors" was played, 
 with Barnes and Phillips as the Dromios, and during 
 the month Phillips retired from the management. 
 
124 PLAYERS OF A CENTURY. 
 
 Mr. Duffy was now ambitious of being manager. 
 After Parsons bad given up the circus, Mr. Duffy 
 opened it as a summer theatre, for melo-dramas, etc., 
 but was not successful. In the fall he announced that 
 he would reopen the theatre November 2d, with a new 
 drop curtain and many improvements, but the plan 
 appears to have fallen through, as the theatre remained 
 closed several weeks longer. 
 
 At the circus, u The Flying Dutchman" was pro- 
 duced November 25th, with a real brig, thirty feet in 
 length, full-rigged and manned. The piece, which, it 
 was said, cost $L,000 to produce, ran for eight successive 
 nights and was repeated once afterwards. 
 
125 
 
 CHAPTER XI. 
 
 1829. 
 
 The South Pearl Street Theatre — Trowbridge s Museum. 
 
 ON Christmas night, the theatre again opened under 
 Mr. Vernon's management. Mr. Chapman was 
 stage manager, and the Vernons, of course, held promi- 
 nent places. Page and Nelson, from the Arch street 
 theatre ; Jackson, from the Tremont theatre ; Green- 
 wood, from the Theatre Royal, Dublin : Mrs. Talbot, 
 from Charleston ; the two Misses Chapman, Mr. and 
 Mrs. Judah, H. Eberle and others, were in the com- 
 pany. The plays were light, but the patronage was 
 lighter still. Mr. Vernon was already suffering from 
 the illness of which he died. 
 
 Barnes, Mr. and Mrs. Hackett and Dwyer, played 
 star engagements ; as did also Henry Wallack, and the 
 favorite Mary Rock, who played together mostly in 
 comedy, but April 23d, 1829, as Hamlet and Ophelia, 
 and April 28th, as Romeo and Juliet For Mr. Wal- 
 laces benefit, May 1st, his brother, James W. Wallack, 
 father of the present Lester Wallack, appeared for one 
 night only, as Holla, This closed the winter season. 
 May 7th, a summer season began, with Mrs. Vernon's 
 sister, the fascinating Clara Fisher, as a star. Her 
 appearance was the signal for a general outburst of 
 acrostics, poems and other tributes of admiration to 
 the universal favorite. At Charleston, where she gave 
 the Friends of Ireland $100, the proceeds of a benefit, 
 they reciprocated by passing complimentary resolu- 
 tions and voting her a medal in the shape of an Irish 
 harp, richly set with emeralds, the head of the harp a 
 
126 PLAYERS OF A CENTURY. 
 
 diamond, and the whole surrounded by a ring repre- 
 senting a wreath of shamrock, richly chased in gold. 
 
 Mr. Vernon's management came to an end May 18th, 
 with a benefit for Mr. Duffy, who played William Tell 
 and Wildlove (in " The Lady and the Devil "). 
 
 The theatre was then opened for four nights by Mr. 
 Bberle, who brought from New York the French danc- 
 ers, Monsieur and Madame Charles Eonzi Vestris, and 
 Monsieur and Madame Achilla Monsieur Vestris 
 has never been excelled as a dancer, while his lady 
 has alone been equalled by Ellsler. Faultless in form 
 and nearly so in feature, her movements were compared 
 to the swell and fall of the summer sea, the waving 
 grace of the ripening meadow, the sweep of the willow 
 branch, the skimming of a bird in air, or any thing 
 else that could convey the most delicate and fanciful 
 idea of the ver}^ poetry of motion. She had perfect 
 confidence in her own powers, was bold, daring and 
 successful, and possessed a fascinating charm of man- 
 ner that almost redeemed the French school of dancing 
 from the imputation of gross immodesty. She was 
 born in Eome, and at the time of her Albany appear- 
 ance, was twenty-six years old. The Achilles were 
 also fine dancers, the Madame being by some thought 
 fully equal to Hutin. She was perhaps as graceful, 
 but not as dexterous and daring. For many years she 
 afterward kept a dancing academy in New York. 
 
 As early as 1798, Albany was furnished with a 
 museum, which then was situated at the corner of 
 Green and Beaver streets. In 1809, J. Scudder adver- 
 tised that he intended to establish another, and Sep- 
 tember 18th of that year, Trowbridge advertised one 
 which he conducted for many years. It was located on 
 the northeast corner of Hudson and South Market (now 
 Broadway) streets. Before the old capitol was erected, 
 the legislature used to meet there, and it was there that 
 the Declaration of Independence was first read to the 
 people of Albany, a fact commemorated 'by a tablet 
 placed on the building, July 4th, 1876. At first, the 
 museum was only what its name indicated — a collec- 
 
PLAYERS OF A CENTURY. 127 
 
 tion of curiosities. In May, 1810, its assemblage of 
 minerals, shells and insects was spoken of by The 
 Medical Repository as " very good beginnings." In 
 March, 1817, the proprietor made a sensation by illu- 
 minating his establishment with gas, which issued from 
 120 burners. He demonstrated that his nightly expense 
 for lighting hj the new process was only sixty-three 
 cents, whereas by oil and tallow it had been from $1.87 
 to S2.25. But Trowbridge made his own gas. In 
 1821, he announced that he had added the New Haven 
 museum to his own collection, which was now supe- 
 rior to any in the country, except Peal's, of Philadel- 
 phia. Wax figures were a prominent feature of the 
 institution. There was also a lecture room, in which 
 a marvellous " Phantasmagora ' ? was exhibited. Here 
 also occasionally appeared an actor in a monologue, or 
 a comic singer or dancer. It was in this place, at about 
 the time our record has now reached, that "Yankee 
 Hill*' made his first appearance in Albany, in a sort of 
 olio. George Handel Hill was born in Boston, October 
 9th, 1809, and was consequently at this time about 
 twenty years old. He was early stage-struck, and ran 
 away to New York, where seeing Alexander Simpson 
 (an Albany boy) in the part of Jonathan Ploughboy in 
 " The Forest Eose,'' the lad determined to make a 
 specialty of " Yankees,'' and persevered till he became 
 the acknowledged representative of that class of impos- 
 sible characters now happily driven from the stage 
 forever by the more realistic personations of Denman 
 Thompson and Bernard Macauley. But the Hill type of 
 stage Yankee was extremely popular j^ears ago. After 
 playing in the western part of New York, he gave his 
 first olio entertainment in Brooklyn, in 1826. In 1828, 
 however, having a choice between his sweetheart and 
 the profession, he retired from the stage and married 
 Miss Cordelia Thompson, of LeBoy, New York. But 
 the employment of country storekeeping was so irksome 
 to him, that he soon gave it up, and objections to his 
 returning to the stage being modified, he came to 
 Albany and at first sought work as a paper hanger, but 
 
128 PLAYERS OF A CENTURY. 
 
 soon appeared as we have stated. Soon after, through 
 the interposition of Mr. Henry D. Stone, he was per- 
 mitted to appear at the Pearl street theatre in the very 
 character with which he was so much struck by Simp- 
 son's playing it, and making a decided hit, started on a 
 brilliant career. He made two European tours that 
 were highly successful, and accumulated quite a for- 
 tune. But like many others, he could not stand pros- 
 perity. Wine and women worked his ruin. He aban- 
 doned the stage and studied dentistry ; at another time, 
 he was an ardent advocate of temperance reform. In 
 
 1847, he purchased a country seat at Batavia, near his 
 wife's early home, and there resided, playing occasional 
 engagements when his health would permit. In August, 
 
 1848, he sojourned for a while at Saratoga, and there 
 arose from a sick-bed to gratify the wishes of his admir- 
 ers. This imprudence proved fatal ; he died September 
 27th, and is buried at Saratoga. His "Life and Recol- 
 lections " was published by his widow. His ability as 
 a comedian was undisputed, even Hackett being super- 
 ceded by him in the line of characters he undertook. 
 He came of a musical family and was himself an exqui- 
 site performer on the flute. 
 
 The theatre opened under the management of William 
 Duffy and William Forrest, June 9th, 1829, with " The 
 Poor Gentleman" and " My Grandmother," cast as 
 follows : Ollapod, Mr. Jefferson ; Lieutenant Worthing- 
 ton, Forbes ; Sir Charles, Johnson ; Sir Robert Bramble, 
 Judah ; Humphrey Dobbins, H. Eberle ; Farmer Har- 
 rowby, Bignall ; Stephen Harrowby, Knight ; Frederick, 
 Forrest; W\ arner, Nelson ; Lucretia McTab, Mrs. Slater ; 
 Emily, Mrs. La Forrest ; Dame Harrowby, Mrs. Nelson ; 
 Mary, Mrs. A. Simpson. " My Grandmother : " Dickey 
 Gossip, Mr! Jefferson ; Sir Matthew Medley, Lindsley ; 
 Vapour, Duffy ; Wooley, Johnson ; Souffrance, Judah ; 
 Tom, Foster ; Charlotte, Mrs. Nelson ; Florella, Mrs. 
 Jefferson. 
 
 The comedian was the veteran Jefferson, who had 
 not been here before since 1803, when, in Dunlap's 
 company, he played at the old Thespian hotel, on 
 
PLACERS OF A CENTURY. 129 
 
 North Pearl street. This was the grandfather of the 
 present Joe Jefferson (celebrated the world over for 
 his Rip Van Winkle), and himself the son of an emi- 
 nent English actor and manager. He was born in 
 Plymouth, England, in 1774, and was, consequently, 
 at the time of this engagement, fifty-five years old. 
 For twenty-seven years, he had been one of the 
 brightest ornaments of the Philadelphia stage. He 
 died at Harrisburgh, Pennsylvania, August 6th, 1832. 
 In low or eccentric comedy he has been rarely equalled, 
 yet his excellence in other lines, was great. Duffy & 
 Forrest were truly fortunate in securing such talent as 
 Mr. and Mrs. Jefferson in their company. The latter 
 was his daughter-in-law, Mrs. Joseph Jefferson, formerly 
 Mrs. Burke, " the sweetest uncultivated warbler New 
 York had ever known." 
 
 The name of William Duffy, joint proprietor with 
 William Forrest, in managership, has already appeared 
 incidentally in this record as an amateur, at the circus, 
 opposite the capitol, in 1825, playing "Timaur, the 
 Tartar," and July 19th, 1827, making his Albany 
 debut as a professional. Albany has been a foster 
 mother to many a brilliant child of the drama, but 
 William Duffy was her own, her favorite son. As 
 such, he is deserving of the following extended notice, 
 for which we are indebted, in part, to Mr. Stone's 
 " Reminiscences : " 
 
 William Duffy was born in Albany, in 1803, of 
 parents who were citizens of Londonderry, Ireland. 
 Old residents who remember his father, describe him 
 as a highly intelligent, public spirited and kind-hearted 
 gentleman. The family residence was on the east side 
 of South Market street (now Broadway), just above 
 Hamilton. Nearly opposite was the famous old Eagle 
 tavern, then kept by Baird, and frequented by the 
 elite of the town, and a favorite with distinguished 
 strangers. 
 
 Young Duffy, who, when a mere boy, was recognized 
 as unusually bright, was accustomed to visit the Eagle, 
 and very often met guests there who were delighted 
 
130 PLAYEKS OF A CENTURY. 
 
 with his appearance, manners and intelligence. When 
 about twelve years of age, he so impressed Captain 
 Eeece, of the United States army, then stopping at 
 the Eagle, that he persuaded the boy's father to let 
 him go south, promising to take good care of him. 
 During about two years' absence, the lad had a pleas- 
 ant experience among military men and enjoyed the 
 advantage of excellent schooling in Baltimore and 
 Washington, and acquired knowledge of people and 
 localities, which was of subsequent service. Upon his 
 return home, he chose a trade, and was, for about a 
 year, an apprentice to Mr. Busley, a chairmaker, who 
 kept in State street, near St. Peters church. He 
 prided himself greatly upon his mechanical skill, and 
 was accustomed in after years to point with much 
 satisfaction, to certain chairs made by him, and now 
 treasured by his friends. After a year at chairmak- 
 ing, he entered the law office of James King, and was 
 a diligent student for about a year. The late John 
 V. L. Pruyn was, at the time, a student in the same 
 office. During these years, the reading rooms of Mr. 
 John Cook, afforded excellent opportunity for general 
 mental improvement, of which, the young fellows 
 about town were not slow to take advantage. John 
 Cook possessed a well selected library, and was a well- 
 read man himself. He is referred to with a certain 
 gusto by Washington Irving, in the preface of one of 
 his volumes. The John Cook we speak of, must not 
 be confounded with another local celebrity of the same 
 name, but of more modern date, and with proclivities 
 for brass music and fire-works, on rainy days, rather 
 than any tendency to literature. The later Johnny 
 Cook chose to appear among the trumpets and trom- 
 bones, which are the preface to military parades rather 
 than in the preface to a book, and if he taught the 
 young idea to shoot, it was only on a target excur- 
 sion. The other and former John Cook was famous 
 among Albanians of that day, both as a book-man and 
 a wonderful sneezer. His sneeze, as he stood on his 
 stoop in Broadway, near Maiden lane, rang up and 
 
PLAYERS OF A CEXTURY. 131 
 
 down the street like a regimental order. His volumes 
 were, of course, more interesting than his nose, and 
 furnished the town with valuable reading, j^oung Duffy, 
 with the rest, improving his opportunities. 
 
 Just about those days, a rage for theatricals invaded 
 Albany. Duffy caught the fever and soon gave evi- 
 dence of unusual ability. Sol. Smith refers to him in 
 his sketches, as a highly talented supernumerary in a 
 certain boys' theatre, in a cellar near Green street, and 
 particularly mentions him as excelling all the rest in 
 personating Henry VI., in the murder scene in " Rich- 
 ard." "It is true," says Smith, "that he omitted the 
 speaking, but when I growled out the awful sentence, 
 " Down, down to hell, and say I sent thee there, 1 ' and 
 stuck him with a lath, Duffy had a way of falling from 
 the wood pile in a most masterly manner, to the great 
 enthusiasm of the audience, but to the imminent risk 
 of breaking his royal neck." 
 
 His father knew nothing of these dramatic displays, 
 and would have discountenanced them. But, at a 
 later day, when a large family of orphans, through the 
 vicissitudes of fortune and injustice of supposed friends, 
 were thrown upon their own resources, this dramatic- 
 schooling, proved of advantage to the future actor. 
 He then formally enlisted in the army of the sock and 
 buskin, and before long, was a ^member, with Edwin 
 Forrest and others since distinguished, of Caldwell's 
 New Orleans company, which gave performances 
 through the south and west. While in this troupe, 
 William Duffy and Edwin Forrest contracted a sincere 
 and lasting friendship. 
 
 Leaving Caldwell's company, Mr. Duffy made his 
 debut in Albany, upon his return from the south, on 
 the 19th of July, 1827, in Bertram, one of the favorite 
 characters of the elder Booth. His second appearance 
 was in the tragedy of " Venice Preserved," as Jaffier, 
 to Woodhull's Pierre. In 1829, after playing occasion- 
 ally at the South Pearl street theatre, at Providence, 
 and elsewhere, he yielded to the urgent solicitation of 
 friends, and reluctantly assumed the management of 
 
132 PLAYERS OF A CENTURY. 
 
 the Albany theatre. He deemed the adventure 
 hazardous, and in taking upon himself the responsi- 
 bilities of manager, would seem to have sacrificed 
 ambition to business. If we credit the glowing 
 accounts of numbers who remember him, he was the 
 peer of many who have achieved great fame on the 
 stage. He was considered one of the best general 
 actors in the country ; and whether in tragedy, high 
 comedy, melo-drama, low comedy or farce, did well, 
 and gave evidence of rare dramatic powers. 
 
 When Forrest played star engagements in Albany, 
 Mr. Duffy seconded him in all his principal pieces. For- 
 rest pronounced him, unequivocally and decidedly, the 
 best Phasarius, in " The Gladiator," that ever assumed 
 the part. Mr. Stone states that "William Duffy, 
 while doing the role of Phasarius ) portrayed the cruci- 
 fixion of the gladiators with such truthfulness, nay, 
 electric effect, that portions of the audience would 
 positively turn their faces from the actor during his 
 recital, with utter horror and disgust. Even Forrest, 
 at parts of the recital, would evince an unusual degree 
 of emotion." 
 
 But this was only one exhibition of his remarkable 
 powers. He would repeatedly carry away the applause 
 which some well-approved star was cultivating for 
 himself. He was a handsome man, and something 
 above the medium height, had a pleasant countenance, 
 not unlike that of John McCullough, with an expres- 
 sive blue eye, acquiline nose and handsome mouth. 
 His voice was resonant and singularly melodious, and 
 had a certain sympathetic quality, that instantly secured 
 favor. Naturally graceful, and constantly perfecting 
 himself in stage accomplishments, he could dance, fence, 
 sing, ride a spirited horse, or do any thing that occasion 
 required in the line of stage duty. When the famous 
 horse piece "Mazeppa" was the attraction of the hour, 
 he took the usual chances, lashed to the back of the 
 "fiery steed," and carried the house by storm with the 
 vigor and dash of the performance. But while at home 
 in almost all branches of the drama, he was particularly 
 
PLAYERS OF A CENTURY. 133 
 
 excellent in high comedy. A better Ollapod never 
 graced the stage. His Sir Thomas Clifford, in ;, The 
 Hunchback, 1 ' elicited the praises of Sheridan Knowles. 
 We might run over the list of old comedies in vogue 
 fifty years ago, and now only occasionally revived 
 among the crowd of upholstery dramas or society plays, 
 and from the press notices of the day, and the remem- 
 brance of old citizens still keenly appreciative, show 
 what a fine general actor and general favorite he was. 
 
 Had he chosen to star it instead of managing, he must 
 have Achieved a grand success. But having entered 
 the field of management, he at once proved himself 
 admirably adapted to the dual position he occupied as 
 actor and manager. He had a splendid physique, was 
 exceedingly active and energetic in all his multifarious 
 duties, and as we learn from one of our successful 
 business men, was one of the best business men he ever 
 saw. He ran. both at one time, the Pearl street thea- 
 tre, and the Arch street theatre, Philadelphia, his time 
 being divided between the two places. Meanwhile, he 
 had under way a fine theatre in Buffalo, and had under 
 management a roving company, made of the Arch and 
 Pearl street stock, and performing with varied success 
 in New England, and between Albany and Buffalo. 
 
 It was his intention to establish a complete line of 
 theatres from Albany to Butfalo, taking in. one after 
 another, the interior cities. Under his indefatigable 
 and judicious management, this would no doubt have 
 proved a successful enterprise, his extraordinary busi- 
 ness capacity affording ample assurance of such a result. 
 
 The corner stone of the theatre in Buffalo was laid 
 January 4th, 1835, in presence of the mayor, common 
 council, and a large collection of citizens. A silver 
 plate, placed under the corner stone, was inscribed as 
 follows: 
 
 BUFFALO THEATEE, 
 
 Founded by Win. Duffy, January 4, 18^5, 
 
 L. Howard, Master Builder. 
 
 In presence of E. Johnson, Mayor, and Common 
 
 Council. 
 
 12 
 
134 PLAYERS OF A CENTURY. 
 
 Appropriate speeches were made by the Mayor and 
 Mr. Duffy, and the affair passed off with great eclat. 
 
 At the Pearl street and the Arch street theatres, under 
 Mr. Duffy's management, great attention was paid to 
 stage effects, and all that carpentry and mechanical 
 genius had up to that date devised, was brought into 
 play, both here and in Philadelphia. The elaborate 
 and efficient manner in which he placed Forrest's pieces 
 on the stage, " Metamora," "The Gladiator," "The 
 Broker of Bogota," and " Oraloosa," elicited very flatter- 
 ing encomiums, not only from Mr. F., but frotn the 
 press and public generally. He had two excellent 
 scene painters, John Leslie and Mr. Coyle. Coyle tried 
 his hand at shade painting, as well as stage scenery, 
 and probably the most elaborately painted window 
 shades ever hung in Albany, up to 1835, were from his 
 facile brush. 
 
 All the other departments of the theatre were well 
 filled. There was no better stage manager in the 
 country than John Greene, who at the same time rivalled 
 the famous Tyrone Power in Irish characterization. 
 But while paying close attention to the requirements 
 of management, keeping well advised as to finance, 
 stage properties,the merits and deficiencies of employees, 
 the public pulse, and the thousand-and-one details of 
 dramatic business, Mr. Duffy played parts with as much 
 seeming ease and relish, as though free from all cares 
 behind the curtain. He had a remarkable memory, 
 and though seldom more than glancing over a part once 
 acted, was generally letter-perfect. When his mana- 
 gerial duties required much time and attention, and he 
 had a lengthy part to play, he would don his theatrical 
 harness a short time before the curtain rose, run hur- 
 riedly over his lines, and occasionally "winging it," to 
 speak professionally, would go through with as much 
 ease and accuracy as though hours of study had been 
 devoted to the part. 
 
 As illustrative of his skill with the sword, we take 
 the following anecdote from Mr. Stone's "Keminis- 
 cences : " It was at the Pearl street theatre, and the 
 
PLAYEES OF A CENTURY. 135 
 
 elder Booth was playing Richard. He had. in the 
 morning, warned Duffy, who was to play Richmond, 
 "to be on his guard, as he felt in fighting trim. The 
 play went off finely, Booth never, perhaps, appear- 
 ing more brilliant in the character. The combat at 
 last commenced, and a terrific one it was. Booth 
 having worked himself up to a high degree of excite- 
 ment in the battle scene, had become desperate. His 
 thrusts, lunges and cuts w r ere fearful. Duffy was cool 
 and collected, parrying with consummate skill. He 
 was an excellent fencer — sparks of fire rolling from 
 their sw r ords, the chances appearing about equal. 
 Booth finding, finally, that he had his match, resorted 
 to his old dodge of 'playing down,' or 'driving to, the 
 corner,' his antagonist. Duffy, however, was fully on 
 his guard, and by making a 'feint,' threw Booth off 
 his guard, striking Booth's sw^ord with great force, and 
 hurling it several feet over his head. Booth, evi- 
 dently chagrined at his discomfiture, storming and 
 fretting like a caged tiger, quickly made vain attempts 
 to regain his weapon, but finding himself so much 
 exhausted, made the 'last fall,' thus ending one of the 
 most severe stage combats we ever witnessed." 
 
 Mr. Duffy w^as reserved and dignified in his general 
 deportment : indeed, was known among friends as 
 " The Dominie." He took a warm interest in the suc- 
 cess of the Young Men's Association, of which he 
 became a life member, as did also Edwin Forrest and 
 William Forrest, his brother. 
 
 Mr. Duffy had in him all the elements of a suc- 
 cessful manager, as well as actor, a combination rarely 
 found in one man. What he might have finally accom- 
 plished in either line, can only be conjectured, as, at 
 the early age of thirty-three, he was cut off by a vio- 
 lent death, dying March 12th. 1836, from a wound 
 inflicted by John Hamilton, an actor in the stock 
 company. 
 
136 
 
 CHAPTEK XII. 
 
 1829-1830. 
 
 The South Pearl Street Theatre — End of the North Pearl 
 Street Circus. 
 
 MESSES. Duffy & Forrest's stock company con- 
 tinued to play from June 9th till the 24th. without 
 the assistance of any extra attraction. On the 18th, 
 Miss Greer made her first appearance, as Agnes in the 
 drama of "William Tell." William C. Forbes had a 
 most remarkable faculty of turning pale at will. He 
 made his debut in this city ; probably at the Thespian 
 hotel, although we have no official record of it. He 
 subsequently managed a theatre in Providence, Rhode 
 Island, for ten years. His wife was a handsome woman, 
 who could sing " Coming through the rye " with much 
 effect. Harry Knight was the low comedian and used 
 to sing u The Poachers." It is related of him that as 
 opportunities to sing his favorite song did not occur 
 frequently enough to satisfy him, he used to go up in 
 the upper boxes and call for " Knight ! Knight I" till 
 the gallery took it up, and then scud around behind 
 the scenes and answer to the call. He married Eliza, 
 one of the Kent sisters, and finally died from having 
 his leg cut off on the railroad, between Baltimore and 
 Philadelphia, in 1839. His widow married George 
 Mossop, was divorced, and marrying Mr. DeCosta, a 
 merchant, retired from the stage. Mrs. LaForrest was 
 formerly Miss Sophia Eberle, sister of the Eberles, of 
 whom we have spoken, and aunt of Mr. E. A. Eberle, 
 late of the Leland. In 1828, she had married Charles 
 
PLAYERS OF A CENTURY. 137 
 
 LaForrest, a famous equestrian. Mr. Judali was, we 
 think, the man by the same name who was drowned in 
 1839, in the Gulf of Mexico. 
 
 June 22d, the drama of " Blood for Blood," founded 
 upon Scott's "Fair Maid of Perth, " was produced, and 
 is memorable, from the fact that its representation did 
 not belie its sanguinary title. William Forrest, who 
 was playing Sir John Ramorny, was struck in the 
 breast by a dagger, which was supposed to be a spring 
 one. It was not, however, and a wound was inflicted 
 near the heart, which, for some days, was thought 
 would prove mortal. 
 
 June 24th, Mr. William Pelby, the first star, ap- 
 peared as Hamlet, and June 25th, his wife Bosalie, as 
 Juliana, in "The Honeymoon." He was a favorite 
 manager in Boston, and a tragedian of some repute, 
 but lacked the necessary requisite of a good voice. 
 He was born in New York, March 16th, 1793, and died 
 in Boston. May 27th, 1850. Mrs. Pelby was noted for 
 her beauty. She was born in Kinderhook, New Fork, 
 March 17th, 1791, and made her debut in Boston, in 
 1813. Under her husband's management, she became 
 a great favorite there, at the National. She died on 
 board the steamer Northern Light, in June, 1855, while 
 en route from California, where she had been visiting 
 with her daughter Julia, also a favorite actress, who 
 married Mr. J. W. Thoman, in July, 1858. 
 
 July 2d, Booth appeared as Richard, for one night, 
 and Miss Emery, who had previously played as a 
 star, became attached to the company. Her history is 
 one of the saddest known to the stage. She was born 
 in London, and made her first appearance at the Surrey 
 theatre, in 1827. She was a very large woman — said 
 to be the largest ever known to the stage in this 
 country — and plaj^ed tragedy with grand effect. The 
 English press called her " the actress of the da^y." She 
 appeared first in this country at the Chestnut street 
 theatre, in Philadelphia, October 31st, 1827, as Belvi- 
 dera, in "Venice Preserved." She appeared March 
 17th, 1828, at the Chatham theatre, in New York, and 
 
138 PLAYERS OF A CENTURY. 
 
 was recognized by the press, as an actress of great skill 
 and power, but appearing at a declining theatre and at 
 a time when the stage was crowded with favorites, she 
 did not become popular. Finally, she was unable to 
 obtain engagements; her home was taken from her, 
 and her furniture sold at auction. She was obliged 
 even to sell her valuable wardrobe and then to quit 
 the stage. She became so poor that she was compelled 
 to hire a room in a garret, in Anthony street, New 
 York, and was frequently found in Theatre alley, back 
 of the old Park theatre, begging a few shillings from 
 the actors. She at last, in 1832, took up lodgings at 
 the Five Points. One day, she had a quarrel with a 
 drunken woman and shortly after, was assaulted while 
 sleeping, by this woman and two other prostitutes. 
 After being forced into the street, she staggered towards 
 the market house and laid down and died. A cart 
 was procured and she was carried off to Bellevue hos- 
 pital. Our readers who remember the sad end of Amy 
 Fawsitt (December 26th, 1876), engaged as leading lady 
 for Daly's theatre, will note the similarity between 
 the two cases. The demon of strong drink spares 
 neither sex nor condition. 
 
 On the 3d of July, Henry James Finn, of the Boston 
 theatre, appeared as Paul Pry, and afterwards as Dr. 
 Pangloss, Billy Black, Shylock, Dr. Ollapod, Bob Logic 
 (in " Tom and Jerry "), Maw-worm, and several other 
 characters of a similar nature. This gentleman was 
 celebrated as an actor, author, dramatist and artist. 
 He was born in Cape Breton, between 1785 and 1790. 
 He was, at one time, editor of a paper in Georgia, and 
 published " Comic Annuals," which would not have 
 disgraced Hood. He was, in every way, exemplary as 
 a man, while as an actor, in the range of corned}^ he 
 selected, he is said never to have been excelled in this 
 country. His wife was Miss Elizabeth Powell. He 
 was lost on board the steamer Lexington, burnt on 
 Long Island Sound, in January, 1840, almost in sight 
 of his own home, in Newport. 
 
 During the month of July, the Kents became attached 
 
PLAYERS OF A CENTURY. 139 
 
 to the theatre. The sisters were fine dancers and good 
 actresses. Their father, John, was a valuable accession. 
 Herr Cline performed at this time, and July 20th took 
 a benefit. He was the best rope dancer seen in this 
 country till the advent of the Ravels. July 21st. we 
 note the name of Hamilton, who played Tiptoe, in 
 "Ways and Means." This unhappy man was the 
 cause of the death of Manager Duffy, in 1836. 
 
 In August, Henry Southwell, a dashing and spirited 
 actor from the London and Philadelphia theatres, 
 appeared as Romeo ; Mrs. Bernard, (formerly the favorite 
 Miss Tilden) played a few nights, as did Mr. Placide, 
 Miss Kelly, Messrs. Woodhull, Chapman, and others. 
 (Brown's History of the Stage says that Miss Tilden. 
 previous to her appearance in Albany in Gilfert's com- 
 pany, had married Walter Williams, a circus clown, 
 but had been divorced from him. Her third husband 
 was a Doctor Tucker, of Philadelphia, whom she married 
 after her retirement from the stage.) The benefits fol- 
 lowed, and the season closed September 16th, covering a 
 period of fourteen weeks and three nights. Total num- 
 ber of performances, 81 : total receipts. $5,750.31^ : 
 average weekly receipts, $396.55 ; average nightly 
 receipts, S66. 
 
 Although the management was nominally Duffy & 
 Forrest's, we find from the original lease that the build- 
 ing at this time was let to William Duffy, singly. The 
 term was originally for eight weeks, with the privilege 
 of extension. The rent was $i0 per week. 
 
 On the 28th of June, Mr. H. Eberle opened the 
 circus as a summer theatre, and his sister, Mrs. LaFor- 
 rest, followed him to that establishment. Farces, 
 musical pieces, nautical dramas, comic songs, etc., were 
 the features. David Eberle, Messrs. Davis, Goode- 
 now, Taylor, Ball and Stammers were among the com- 
 pany. 
 
 After the season at the South Pearl street theatre 
 had closed, the circus was again opened September 
 30th, this time by C. W. Ta^ylor, as the Clinton theatre. 
 The Kents and the Turnbulls were engaged with 
 
140 PLAYERS OF A CENTURY. 
 
 Davis, Kodney, Miss Greer, Mrs. Cook, Mrs. Wilt, and 
 others. Performances were given till November 2d. 
 Charley Taylor, the manager, was a resident of Albany 
 for twenty-five years, and connected, for a long time, 
 with the Museum. He was well educated, and the 
 author of several plays. It must have been during this 
 season that Turnbull's drama of " Valdemar" was pro- 
 duced, under the supervision of the author. " It had," 
 says Stone, u a fine run of — one evening. From some 
 cause or other the manager,on the next night was obliged, 
 as he said, to dismiss the audience in consequence of 
 some of the artists refusing to play. While the mana- 
 ger was making this moving speech, the ticket seller 
 smelt a good sized rat, and there being just eighteen 
 dollars due him, and there being just eighteen dollars 
 in the box office, he blew out the lights, and taking all 
 the funds, departed. The manager, not knowing of 
 this, threw himself upon the kind indulgence of the 
 audience, and informed them they could step to 
 the box office and have their money refunded. The 
 ticket seller was non est, and a free fight was the result. 
 The chandelier was broken, as well as the manager, 
 who made his escape through the sewer. The scene 
 ended by old John Meigs, high constable, and his posse, 
 capturing some dozen canallers and two soldiers." 
 
 On the 17th of December, the circus property was 
 sold at auction, and used as a Methodist church, till 
 June, 1851, when it was pulled down, and the present 
 church edifice erected upon the site. 
 
 Messrs. Duffy & Forrest's second season opened 
 Monday, November 9th, 1829. During the recess the 
 projected improvements, which had been announced 
 by Mr. Duffy a year previous, but which he was then 
 unable to effect, were made. Mondelli, an Italian 
 artist, was employed to ornament the interior of the 
 theatre in several ways. Among other additions, 
 Gordon painted a new drop scene, representing an 
 Italian landscape, near the Lake Maggiore, and a view 
 of the villa of Cardinal Borrome, with a distant view 
 of that part of the Alps over which Hannibal passed 
 
PLAYEES OF A CENTURY. 141 
 
 with his army; "the whole presenting a tout ensemble 
 seldom equalled." 
 
 Following is a copy of the lease of the theatre. 
 which, fortunately for our purpose, has survived the 
 lapse of fifty years : 
 
 Articles of agreement made the 25th day of Septem- 
 ber, 1829, between James McKown, in behalf of the 
 trustees of the Albany theatre, of the one part, and 
 William Duffy and William Forrest, of the second part. 
 
 1st. The party of the first part hereby lease to the 
 parties of the second part, the " Albany theatre," in 
 South Pearl street, with the scenery and appurtenances 
 thereunto belonging, for the term of two years, if the 
 lessees shall so elect and desire. 
 
 2d. The parties of the second part hereby agree to 
 pay to the treasurer of the board of trustees, for the use 
 of the said party of the first part, an annual rent of 
 Si, 500, payable in weekly installments of 840, on Monday 
 of each successive week, commencing with the second 
 Monday of November next, until the whole rent shall 
 be fully paid. 
 
 3d. The party of the second part shall and will at all 
 times, while the said theatre is open as a play-house, 
 keep and maintain an efficient and respectable company, 
 and shall manage and conduct the establishment in a 
 creditable and proper manner, and shall not appropriate 
 the said building to any other purpose than a theatre, 
 and shall not assign the lease to any person, nor under- 
 let the said establishment, without the consent of the 
 party of the first part. 
 
 4th. The lessees shall also be responsible for unneces- 
 sary damage to the building, scenery, decorations and 
 appurtenances, and are not to make any alterations 
 without the consent of the party of the first part, and 
 shall, at all times, keep the same in good order and 
 repair, and so re-deliver the same at the expiration of 
 the lease. 
 
 5th. It is also agreed and understood that the trustees 
 and treasurer have free access to the theatre at all times, 
 and the exclusive use and control of one of the private 
 boxes. 
 
 6th. In case of a breach of any of the covenants of 
 
142 PLAYEKS OF A CENTURY. 
 
 the lease on the part of the lessees, the party of the first 
 part may re-enter or distrain, at their election. 
 
 In witness whereof, the aforesaid parties have here- 
 unto set their hands and seals, the day and year above 
 mentioned. 
 
 James McKown, 
 Wm. Duffy, 
 Wm. Forrest. 
 
 Sealed and delivered in presence of 
 
 Chris. Yates. 
 
 The opening bill included the comedy of " The 
 School of Keform," and the opera of "The Poor Sol- 
 dier/ 7 cast as follows: " School of Eeform" — General 
 Tarragan, Mr. Vernon ; Mr. Ferment, Duffy ; Frederick, 
 William Forrest ; Tyke, Page ; Mrs. Ferment, Mrs. 
 Vernon ; Julia Tarragan, Mrs. Hutchins ; Mrs. Nicely, 
 Mrs. Walstein. "The Poor Soldier "—Patrick (with 
 songs), Mr. Hutchins ; Father Luke, Quinn ; Kathleen 
 (with songs), Mrs. Forbes. 
 
 The performance began at half-past six. Previous 
 to the plays Mr. Forrest delivered the following address, 
 written for the occasion by James Lawson, of New 
 York: 
 
 In earliest days, when uncontrolled by art, 
 Each chainless passion of the human heart, 
 Through every grade of cruelty and crime, 
 Held sovereign sway, unchecked by law or time; 
 When guilt uprose, with dark malignant frown, 
 To grasp from virtue's head her spotless crown; 
 And mad ambition, marched with giant strides 
 O'er wasted war-fields, red with human tides; 
 When ruthless vengeance and unholy hate, 
 Stalked through the world to blight and desolate; 
 When vice and superstition marked the age; 
 The actors were mankind — the earth the stage. 
 
 In later times, when sons of genius rose, 
 Of murder, rapine, and revenge the foes, 
 The stage was then the grove, or sylvan green ; 
 The only actors on the tragic scene 
 Were the rude sons, to ruder fathers born, 
 Whose wit and satire held vice up to scorn, 
 And mimic'd deeds of heroes and of kings, 
 In their unwritten, crude imaginings. 
 
PLAYERS OF A CENTURY. 143 
 
 But brighter da}'s came on and lustre threw 
 On history's page, for future age to view, 
 In Greece, the pride and pattern of the world, 
 The tragic Muse her standard first unfurled; 
 Euphorion's son struck his enchanting lyre, 
 In notes that waked Euripides's fire; 
 And then his rival's, who, in song or field, 
 Proved both his country's glory or her shield. 
 Then lived the comic muse, whose wit refined 
 Was felt, obeyed, and showed the power of mind; 
 Next Rome, the haughty empress of the earth — 
 Her sons immortal, as of heavenly birth — 
 Caught the sweet sounds, the Grecian lyre awoke 
 And in undying strains, her drama spoke: 
 The swarthy Carthage sent her bonded son, 
 TTho for Thalia's crown both strove and won. 
 
 But time rolled onward, the dark ages fled : 
 Long slumbering genius woke, as from the dead! 
 The drama shed its radiance o'er mankind; 
 And raised the world from apathy of mind; 
 The stage, the Avon Swan's immortal verse, 
 Held, holds, in magic thralls, the universe. 
 
 The stage! the light of innocence and truth, 
 The scourge of vicious age, the friend of youth; 
 The stage — vast field, where stormy passions pass 
 In bold review, as in a prescient glass; 
 The stage, where virtue her fair form may see, 
 And vice shrink back before his own deformity. 
 
 Patrons, once more our portals open wide, 
 Your smile our hope, your favor still our pride: 
 The drama, here shall dignify the stage, 
 Amuse, instruct, while it amends the age! 
 
 Prices of admission were; boxes, 75 cents; pit, 37^: 
 gallery, 25 cents. The receipts on the opening night 
 were S195. The company included, beside the mana- 
 gers themselves, Mr. and Mrs. Vernon, Miss Emery, 
 the Misses Kent, Mr. and Mrs. Hutchins, Mrs. Walstein, 
 Mrs. Greer, Messrs. Webb, Quinn, Eoberts, Farron, 
 Page and McKinney. At least, all these people played 
 more or less frequently during the nights which fol- 
 lowed the opening. Old English comedies and tragedy, 
 lightened with occasional farces, were presented in 
 rapid succession. Mrs. Stone, Mrs. Barnes, Mr. Hackett. 
 and Mr. Dixon, a buffo singer, appeared. George 
 Washington Dixon received his first ideas of " buffo- 
 
144 PLAYERS OF A CENTURY. 
 
 singing" from Sloman, before mentioned, and made his 
 debut in Albany, at the circus, in 1827. He was one 
 of the earliest negro minstrels, and claimed for himself 
 the honor of being the author of the song "Old Zip 
 Coon.' 7 He also became notorious through a pretense 
 of raising a brigade to participate in the Yucatan troubles, 
 and also, as editor of The Polyanthus, a blackmailing 
 sheet, published in New York, whose attacks upon 
 everybody, from doctors of divinity to Madame Eestell, 
 are still remembered. An assault upon the character 
 of Miss Missouri, sister of Josephine Clifton, is said 
 to have caused her death. Dixon was shot at, caned, 
 and imprisoned a number of times, and at last died in 
 the Charity hospital, in New Orleans, in March, 1861. 
 As an interesting exhibit of how the drama was pat- 
 ronized (or rather how it was not patronized), at this 
 time, we are enabled — through the courtesy of Mr. 
 William D. Morange — to present the following figures : 
 
 RECEIPTS. 
 
 Monday, Nov. 9— Opening night $195 00 
 
 Tuesday, " 10— Speed the Plough, and Fortune's 
 
 Frolic 58 (Mi 
 
 Wednesday. " 11 — She Stoops to Conquer, and 
 
 Family Jars 94 50 
 
 Thursday, " 12— Fazio, and Wool Gathering 90 624 
 
 Friday, " 13 — Honeymoon, and Love, Law and 
 
 Physic 72 50 
 
 Saturday, " 14— Rob Roy, and Raising the Wind, 75 12i 
 
 $586 374 
 
 Monday, Nov. 16— Jane Shore $109 124 
 
 Tuesday, ' ' 17— Poor Gentleman 77 62| 
 
 Wednesday, " 18— Rob Roy, and Lottery Ticket . . 129 354 
 Thursday, " 19— Venice Preserved, and The Re- 
 view 76 00 
 
 Friday, " 20 — Sweethearts and Wives, and 
 
 Turnpike Gate 66 124 
 
 Saturday, " 21— 60 50 
 
 $518 73 
 
 Monday, Nov. 23 — The Gamester, and One Hun- 
 dred Pound Note $77 874 
 
 Tuesday, iL 24— Speed the Plough, and Simpson 
 
 &Co : 36 374 
 
 Wednesday, " 25— Soldier's Daughter, and Theresa, 58 37i 
 
PLAYERS OF A CENTURY. 
 
 145 
 
 Thursday, Nov. 26— Rob Roy, and My Master's Rival, $63 50 
 
 Friday, " 27— Lear of Private Life 68 00 
 
 Saturday, " 28— Pizarro, and Young Widow (for 
 
 Miss Emery's benefit) 172 50 
 
 Monday, 
 Tuesday, 
 Wednesday, 
 
 Thursday, 
 
 Friday, 
 Saturday, 
 
 Monday, 
 Tuesday, 
 
 Wednesday, 
 
 Thursday, 
 
 Friday, 
 
 Saturday, 
 
 Monday, 
 
 Tuesday, 
 
 Wednesday, 
 
 Thursday, 
 Friday, 
 
 Saturday, 
 
 $476 62i 
 
 Nov. 30— Roberts's benefit $130 00 
 
 jj ec% i — Evadne, and Master's Rival ... 41 12-£- 
 " 2 — Masaniello, and Animal Mag- 
 netism 58 25 
 
 " 3 — Masaniello, and Animal Mag- 
 netism 228 87i 
 
 " 4— 30 12i 
 
 « < 5— Paul Pry, and My Master's Rival, 27 87| 
 
 $516 25 
 
 Dec. 7 — Apostate, and The Review $27 75 
 
 8 — The Stranger, and Promissory 
 
 Note 19 87J 
 
 9 — Belle's Stratagem, and Spectre 
 
 Bridegroom 34 75 
 
 10 — Sister of Charity, Masaniello, 
 
 etc., Mrs. Barnes's benefit. . 214 62| 
 11 — School for Scandal, and My 
 
 Master's Rival 44 75 
 
 12 — Masaniello, and Hypocrite (for 
 
 Barnes's benefit) 16 25 
 
 $358 00 
 Dec. 14 — Aurelio and Rosaline (panto- 
 mime), and Zembuca, (for 
 Dixon's benefit) $155 871 
 
 ' ' 15 — Speed the Plough, and Fortune's 
 
 Frolic 16 25 
 
 " 16 — May Queen, and Sweethearts 
 
 and Wives 21 25 
 
 " 17— Foundling of the Forest 23 00 
 
 " 18— Wild Oats, and May Queen, 
 
 benefit of managers (!) 69 12£ 
 
 " 19— Pizarro, for Davis's benefit 27 62i 
 
 $313 121 
 
 We might continue to give the figures for each night 
 in the season, but the above are sufficient to show 
 that the efforts of the managers were not very highly 
 appreciated. 
 
 On the 8th of January (1830), the theatre was bril- 
 liantly illuminated, in honor . of the anniversary of 
 13 
 
146 PLAYERS OF A CENTURY. 
 
 1815, and "The Eighth of January," a patriotic play, 
 was produced, with Andrew Jackson Allen as General 
 Jackson ; receipts, $139.37-|. February 22d, we find the 
 same old humbug playing General Washington, in " The 
 Glory of Columbia ; " receipts, $72.50. On the 2d of 
 March, the theatre was closed, " in order to assist Mr. 
 Bury, pastor of St. Paul's church, for whose benefit 
 an oratorio was given, in St. Peter's church." " Ora- 
 torios," in these da vs. were merelv selections of sacred 
 music, and not the performance of one great work. 
 The season closed March 17th, after a total of 113 
 nights, for which was received $6,795.25, being a 
 weekly average of $339.85, and a nightly average 
 of $60.13. 
 
 On the 1st of April, a supplementary season began, 
 with Edwin Forrest as the attraction. There were 
 twelve performances, the receipts, when Forrest played, 
 running from $128 to $380, and on "off " nights, from 
 $26 down to $15. Mr. Forrest brought with him at 
 this time, Robert May wood, Mr. Kelsey, Mrs. Roper, 
 and Mr. and Mrs. John Greene. Mrs. Greene made 
 her Albany debut as Calanthe, in "Damon and Pythias," 
 and her husband as Murtoch Delaney, in " The Irish- 
 man in London." 
 
 John Greene was born in Philadelphia, of Irish 
 parentage, in 1795, and was a printer by trade. He 
 made his debut at Frederickston, Maryland, in 1818, 
 as Octavian, and was long connected with the Phila- 
 delphia theatres. In a range of Irish parts, he acquired, 
 previous to Power's advent, a high repute, especially 
 as Dennis Brulgruddtry. In 1859, he retired from the 
 stage for a year or two, and removed to Nashville. 
 While playing an engagement at Memphis, he was 
 stricken with paralysis of the brain, and after a few 
 months died, ,May 28th, 1860, aged sixty-five. He 
 was a good-hearted man and no one's enemy but his 
 own. Durang says : " Greene's personal aspect bore 
 a strange contrast to his disposition. His figure was 
 dwarfish, stout about the shoulders, the breast of 
 Hercules; the muscle in the torso was remarkable. 
 
PLAYEKS OF A CENTuxn 
 
 His head was very large; the face marked with iron 
 sternness. When the lady who became his wife was 
 first introduced to him, she was so struck with his 
 inhuman expression, that she habitually shunned him ; 
 but his suavity of manner and conversational powers, 
 with his good humor and merry ways, soon won her 
 affections." 
 
 Mrs. John Greene was a native of Boston, born 
 March 23d, 1800. Her maiden name w r as Anne 
 Nuskey. She made her debut at Norfolk, Virginia, 
 with Beaumont's company, in 1815, and soon married 
 Henry Lewis, a son of Lewis, the famous comedian, 
 and from whom she separated on account of ill-treat- 
 ment, and on learning that he had a wife and children 
 living in Europe. She married Greene in 1818, and 
 endured with him, an innumerable variety of incidents, 
 joyful and sorrowful, in their mutual long theatrical 
 career. She was, for many years, attached to the 
 Chestnut street theatre, Philadelphia, and after passing 
 through nearly every city in the Union, finally settled 
 at Nashville, where her husband was manager for several 
 seasons. After his death, she came on a visit to Phila- 
 delphia, about the time of the breaking out of the 
 war. While thus absent from home, she received 
 warning from her friends in Nashville that unless she 
 returned speedily, her funds were likely to be confis- 
 cated. This gave her such a nervous shock, that she 
 was never herself again. In three weeks, she seemed 
 to have grown twenty years older. She left Phila- 
 delphia in trembling anxiety, in September, and died 
 in Nashville, January 19th. 1862. She rests in the 
 same grave with her husband, at Mount Olive cemetery. 
 A metropolitan critic says of her : k ' She possessed no 
 great diversity of talent, but in the highest range of 
 walking ladies, the serious mothers, the distressed 
 wives and stately baronesses of the stage, we have 
 never seen her surpassed. Her Hermione, in ' Damon 
 and Pythias,' was a fine performance ; her Queen Eliza- 
 beth, in ' Eichard III.,' we have never seen excelled, and 
 her Queen, in ' Hamlet, 1 we have never known equalled. 
 
148 PLAYERS OF A CENTURY. 
 
 In personal appearance, she was tall and command- 
 ing, and her costume was generally elegant and appro- 
 priate. Mrs. Greene has been well known at our minor 
 theatres, where she has often moved like a goddess 
 among the mortals that surrounded her." She played 
 in Albany for several seasons and was much admired. 
 Toward the close of her dramatic career, she became 
 quite deaf. 
 
 April 9th, "Metamora" was first produced in 
 Albany, to the largest business of the engagment 
 ($380). The cast was as follows: Metamora, E. For- 
 rest ; Lord Fitz Arnold, Fielding ; Sir Arthur Vaughn, 
 Page ; Guy of Godalmin, Kelsey ; Horatio, Duffy ; 
 Wolfe, W. Forrest ; Oceana, Mrs. Eoper ; Metamora! s 
 child, Miss Jenkins ; Nahmeohee, Mrs. Greene. 
 
 " Metamora " was the first prize play accepted for 
 Mr. Forrest. At the age of twenty-two, he was struck 
 with the paucity of American dramatic literature, and 
 offered "To the author of the best tragedy, in five acts, of 
 which the hero or principal character shall be an 
 aboriginal of this country, the sum of $500, and half 
 the proceeds of the third representation, with my own 
 gratuitous services on that occasion ; the award to be 
 made by a committee of literary and theatrical gentle- 
 men." The committee consisted of Bryant, Halleck, 
 Lawson, Leggett, Wetmore and Brooks. Fourteen 
 plays were presented, and the prize was awarded to 
 " Metamora, or The Last of the Wampanoags," by John 
 Augustus Stone, then of Philadelphia, but formerly a 
 member of Gilfert's Albany company. Subsequently 
 other premiums were offered by Mr. Forrest for other 
 plays, resulting in the writing of about 200, nine of 
 which received prizes. Of these nine, five proved fail- 
 ures, and only "Metamora," " The Gladiator," "The 
 Broker of Bogota" and "Jack Cade" held the stage. 
 According to Be v. Mr. Alger, Mr. Forrest paid out 
 from his private purse, for the encouragement of a 
 native dramatic literature, as much as $20,000 in pre- 
 miums, benefits and gratuities to authors. Forrest 
 was intensely patriotic. It will be remembered that in 
 
PLATERS OF A CENTURY. 149 
 
 1834 he gave $100 to the Young Men's association, 
 stipulating that it u be appropriated to the purchase of 
 books purely American, to be placed in the library for 
 the use of the young men of Albany." 
 
 "Metamora " was not a work of much literary merit, 
 but it was original, and its success was remarkable. It 
 was the first time that the creation known as the Cooper 
 Indian ("an extinct tribe that never existed" — Mark 
 Twain) was seen upon the stage. To this purely idylic 
 creature the actor added the fruits of his studies among 
 the Choctaws, and the result was a grand theatric suc- 
 cess. Many times delegations of Indian tribes, who 
 chanced to be visiting Boston, New York, Washington, 
 Baltimore, Cincinnati and New Orleans, where he was 
 acting the character, attended the performance, and even 
 expressed pleasure and approval. It is said that a large 
 delegation of western Indians, seated in the boxes of 
 the old Tremont theatre, in Boston, on such an occa- 
 sion, were so excited by the performance, that in the 
 closing: scene thev rose and chanted a dirge in honor of 
 the death of the great chief. 
 
 A summer season began May 10th, and lasted till 
 August 18th : total number of nights, 82 : total receipts, 
 $8,972.12: average per night. $48.35. We must pass 
 over this period without extended comment. " Cherry 
 and Fair Star " was produced. T. A. Cooper played a 
 fair engagement. Hackett played Rip Van Winkle, 
 with price to the boxes raised to $1. Mr. F. Brown 
 appeared as a star, supported by Mrs. Drake and Miss 
 Mestayer appeared for her sisters, Mrs. Tilton's, benefit, 
 
 October 6th, the theatre reopened with " The Poor 
 Gentleman " and " Lock and Key." The new members 
 of the company were Mr. and Mrs. Vaughan, Mr. Bel- 
 cour, Mr. Nickinson, Mrs. Justus, and Miss Kean, from 
 the southern theatres : Mr. Wallace from the western 
 theatres, Mr. and Mrs. Near and Miss Plympton from 
 the Boston theatres, Mr. and Mrs. Conway. 
 
 On the 15th, George Holland appeared as Billy Lack- 
 aday, in " Sweethearts and Wives," (receipts, $100.25) 
 and played several nights. He had played here once 
 
150 PLAYERS OF A CENTURY. 
 
 before, under Mr. Vernon's management. He made his 
 first appearance in America, September 12th, 1827, and 
 was a very amusing comic singer and an expert ven- 
 triloquist. He was long a favorite in New Orleans, 
 and then returning to New York, from 1843 to 1849, 
 was a standing attraction at Mitchell's Olympic. Still 
 later, he joined Wood & Christy's minstrels, and after- 
 wards was a long time at Wallack's. His last engage- 
 ment was at Daly's, and his last appearance was at the 
 Fifth Avenue theatre, May 15th, 1870, when, at a 
 benefit performance given in his behalf, the veteran 
 comedian took his seat in an arm chair on the stage, 
 quite too feeble even to read his farewell address, and 
 the company gathered around him in an effective 
 tableau. He died the 20th of December following, in 
 his eightieth year. It was at this veteran's funeral that 
 the Rev. Mr. Sabine declined to officiate, saying, "I 
 want to have nothing to do with an actor. There is a 
 little place round the corner where they do these 
 things," an expression which has made the Little 
 Church Around the Corner (the Church of the Trans- 
 figuration, in 29th street, near Madison avenue, New 
 York, Rev. Dr. Houghton's) a spot dear to the heart of 
 every member of the profession in America. Indeed, 
 so warm was the feeling upon the subject, that the 
 theatrical community were aroused to special action by 
 the insult, and testimonial performances were given in 
 the principal New York theatres and elsewhere, and a 
 fund amounting to $15,352.73 was raised and devoted to 
 the support of the actor's widow and children, three of 
 whom are now upon the stage. Mrs. Holland is still 
 living. 
 
 On the 22d, Madame Feron appeared as Di Vernon, 
 in u Rob Roy," and Maria, in " Of Age To-Morrow.' 1 
 This lady was the most celebrated European vocalist 
 that had, at this time, visited America. She was a 
 brilliant singer of the most florid Italian school. She 
 had been engaged at the theatre of San Carlos, in 
 Naples, at a salary of $6,000, but in this country did 
 not create a great sensation, being neither young nor 
 
PLAYERS OF A CENTURY. 151 
 
 beautiful — attributes the lack of which was just as 
 unfortunate for the singer fifty years ago, as it is to-day. 
 This was not her first visit to Albany. The Advertiser 
 
 says: 
 
 Madame Feron, some years since, gave a concert in 
 this city, as she was passing through. There happened 
 to be a party given the same evening, at some house or 
 other, where the attraction was not greater than usual, 
 and where parties were quite frequent. But our " musi- 
 cal " friends all went off in a body to eat ice cream and 
 oysters, and Madame Feron, who had charmed the con- 
 noisseurs of Naples and the amateurs of London, sang some 
 of her most admired songs to exactly seventeen persons ! 
 We really wonder at her venturing to the " little Dutch 
 furnace," after a brilliant engagement at the Bowery 
 theatre, and the nightly congregation of a crowded 
 auditory. 
 
 The receipts the first night were $71, and the second 
 night, for her benefit, $125.25. Miss Stannard now 
 joined the compan}^. The season closed January 8th, 
 1831, after the appearance of a number of stars, of 
 whom we have previously spoken. The receipts for 
 the eightv nights on which there were performances, 
 amounted to $5,529.75, and an average of $69.12-^ per 
 night. 
 
 The Museum was removed from its old quarters, 
 and was opened on the first of January, 1831, in the 
 new building, corner of State and Market streets, and, 
 was a consolidation of Trowbridge's collection, corner of 
 Hudson and Market streets, known as the New York 
 State museum, and the Troy museum, all under the 
 management of Vanderwater & Meech. The building 
 was owned by Thorp & Sprague, the stage proprietors. 
 A new drop scene was painted by J. Leslie. The Cos- 
 morama and Phantasm agora were exhibited every 
 evening. Yearly family tickets, $10 : single gentlemen. 
 $3; quarter tickets. $1.25. 
 
152 
 
 CHAPTER XIII. 
 
 1831-1833. 
 
 The South Pearl Street Theatre under Duffy & Forrest 
 
 THE Albany theatre re-opened January 17th, 1831, 
 under the same management, and with substantially 
 the same company. February 10th, Mr. Duffy played 
 Virginius for the first time, scoring a great success. On 
 the 14th of March. Mr. William Forrest took a benefit, 
 for which this appeal was made : 
 
 Mr. Forrest begs leave to impress upon the memory 
 of his friends and the public, this notorious fact, that his 
 benefit is fixed for Monday, 14th inst. He would like- 
 wise intimate to both houses of the Legislature, the pro- 
 priety of deferring their debate on the " Troy bridge " 
 and the "abolishment of imprisonment for debt," until 
 this event has transpired, as the ice is about being cleared 
 away, and will enable his Troy friends to cross the river 
 by the horse boat ; and when " imprisonment for debt " 
 is abolished, there will be no need of his taking " the 
 benefit " ; he therefore submits to their consideration the 
 following : 
 
 Resolved, That both houses adjourn on Monday next, 
 at the usual hour, to meet again at 7 o'clock in the even- 
 ing, at the theatre. 
 
 Mr. F. considers himself justified in devoting a small 
 sjmce to his " brethren of the type," and requesting 
 them to distribute their sorts in his boxes, as nothing 
 could be more grateful than to see ftdl cases, and a jyress 
 on this occasion. He likewise trusts that the modesty 
 of these appeals may be no impediment to his success, 
 but rather be a flambeau to his merit ; for as Jack Fal- 
 staff says, " every man must labor in his vocation." 
 
PLAYERS OF A CENTURY. 153 
 
 On Monday evening, 14th March, will be presented 
 the grand melodrama (which has been some time in 
 preparation) of " Abaellino the Great Bandit, or the 
 Bravo of Venice," with a variety of songs and dance. 
 Mr. Duffy (by request), will recite the "Debates on the 
 Troy Bridge," rendered in verse by " a gentleman of the 
 assembly," and recited by him with great success. 
 
 The receipts were $141.87-|. Among the novelties 
 now presented were "New York and London/' in 
 which a diorama of the Hudson river was introduced ; 
 "The Shepherd Boy of Milan," translated from the 
 French by Turnbull : Byron's tragedy of " Werner," as 
 adapted by Mr. Macready (title role acted by Mr. Bar- 
 ton). May 25th, Edwin Forrest began an engagement 
 in " Macbeth " (receipts $151.75), and also played Rolla 
 ($175), William Tell and Carwin, in " Therese, the 
 Orphan of Geneva " ($253), Metamora ($229) and for his 
 benefit, Cains Marius ($234.25). The next night the 
 stock company played " Maid and Magpie " and " Bom- 
 bastes Furioso," to $9.87£. "Caius Marius" was one 
 of the prize plays, which eventually proved a failure. 
 
 On the 8th of June, Mrs. Gilfert, the old favorite, 
 appeared as Juliana, in " The Honeymoon," but though 
 supported by the veteran Cooper, failed to attract. 
 Her husband was dead, and she had been trying to 
 support herself teaching school. Failing in this, she 
 was induced to return to the stage, but without suc- 
 cess. Cooper, once unrivalled, was also now unable 
 to draw even paying houses. The opening perform- 
 ance was to only $32.37^, while the next night, Made- 
 moiselle de Jick, a trick elephant from Siam, played 
 to nearly three times as much money. On the 14th, 
 the elephant took a benefit; receipts, $64.50. We 
 next notice one of the most remarkable engagements 
 of the year, that of the Irish prodigy, Master Burke. 
 
 Joseph Burke was born in Dublin, in 1818, the son 
 of a doctor, a gentleman of good family, who was 
 induced by the wonderfully precocious development 
 of his child's musical and mimetic abilities, to allow 
 him to appear at the Dublin Theatre Royal, in May, 
 
154 PLAYERS OF A CENTURY. 
 
 1824. As a prodigy in both music and the drama, he 
 has been unapproached, except, perhaps, by Clara 
 Fisher. He made his American debut November 22d, 
 1830, at the Park theatre, New York, with instanta- 
 neous success; his nine nights of performance attract- 
 ing houses averaging $1,200 each. He appeared in 
 Albany first, on June 20th, 1831, being, at this time, 
 thirteen years old. The first night he played Young 
 Norval, in "Douglas," and Terry ORourke, in "The 
 Irish Tutor," between the plays leading the orchestra 
 in the overture to " Gruy Mannering." The next night, 
 " Speed the Plough " was played, with Master Burke 
 as Sir Abel Handy and as Looney McTwolter, in " The 
 Review." The third night he played Shylock and Jerry 
 (in " Whirligig Hall "), and led the overture to the " Ca- 
 liph of Bagdad : " on the fourth night, Doctor Ollapod, 
 in " The Poor Gentleman," and Tristram Fickle, in " The 
 Weathercock ; " on the fifth night, Doctor Pangloss 
 and Crack, and for his benefit, Romeo. The receipts 
 for these six performances amounted to $1,568.25, of 
 which $521 was taken on the benefit night. It is said 
 of young Burke, that his readings were always dis- 
 criminating and forcible, and entirely free from the 
 drilled mannerisms of most child actors, and that all 
 his attitudes and gestures were easy, striking and 
 appropriate. His performance of Richard, Shylock 
 and Sir Giles was so good that none sneered at the 
 absurdity of a child's assuming such characters, while his 
 comedy, especially in Irish parts, was so full of genuine 
 humor, that he never failed to convulse his audience 
 with laughter, his rich native brogue contributing not 
 a little in such parts as the Irish tutor. He was also 
 a violin player of great brilliancy and precision. Stone 
 says: "After witnessing young Burke's remarkable 
 delineations of character at night, and on the next 
 day, meeting the boy in the street, cutting up all sorts 
 of boyish pranks, rolling his hoop, flying his kite, 
 playing marbles, etc., utterly regardless of the remarks 
 as well as astonishment of the passing crowd, and 
 apparently unconscious of the enviable and important 
 
PLAYERS OF A CENTURY. 155 
 
 position he occupied in the world, one could hardly 
 realize that this was really the voung Eoscius, Master 
 Burke." 
 
 He was engaged for three additional nights, and 
 played Dennis Brulgruddery, Richard III, and Hamlet, 
 but the receipts fell off strangely, amounting, respec- 
 tively, to only $70.50, $84.25, and $100.25. This may 
 be accounted for by the fact that the rumor got abroad 
 among the young Irishman's countrymen that his father 
 had made remarks disrespectful to O'Connell, and they 
 attempted to resent the insult by getting up a demon- 
 stration against the son. There was quite a disturbance, 
 and the : 'watch" had to be called in to eject the leaders 
 from the theatre. 
 
 Burke's success throughout the country was phe- 
 nomenal. In Boston, " balls and parties, sleigh-rides 
 and social gatherings, were dispensed with. The theatre 
 was the centre of the fashionable and literary world, 
 and the boxes were filled to their utmost capacity." 
 For several seasons he proved attractive, but his popu- 
 larity waning, he revisited Europe and studied music 
 thoroughly under the best masters. He appeared on 
 the stage at Wallack's National as late as 1839, and 
 afterwards devoted himself entirely to music. He 
 assisted in the entertainments of Jenny Lind, Jullien 
 and Thalberg. He afterwards studied law, and for 
 several years resided just out of Albany, on the Troy 
 road, and was a leader of a musical association. He no 
 longer cares to revive the memories of these, his most 
 famous days, as will be seen by the following letter : 
 
 Batavia, New York, June 30th, 1879. 
 Mr. H. P. Phetys : 
 
 Dear Sir : There is nothing of any possible interest 
 in the way of personal incident or reminiscence, during 
 my residence in Albany, that I recollect, to furnish you 
 with. Perhaps some of " those who still remember me" 
 may, but I doubt it. Respectfully yours, 
 
 Jos. Burke. 
 
 Mr. Burke passes the summer on his farm, near 
 
156 PLAYERS OF A CENTURY. 
 
 Batavia, and the winter in New York, following the 
 profession of music. He was never married. 
 
 At a meeting of the stockholders of the Albany thea- 
 tre, held at Washington hall, September 10th, the fol- 
 lowing gentlemen were chosen trustees: James Mc- 
 Kown, Isaiah Townsend, Abel French, John J. Godfrey, 
 Jacob Mancius, J. B. Van Schaick, Metcalf Yates. At 
 a subsequent meeting of the board of trustees, James 
 McKown was re-elected president, J. B. Van Schaick 
 secretary, and Christopher Yates treasurer. 
 
 About this time, Messrs. Duffy & Forrest associated 
 themselves with W. Jones in the management of the 
 Arch street theatre, Philadelphia, with the intention of 
 exchanging the principal attractions from one estab- 
 lishment to the other. It may be stated briefly that 
 the Arch street theatre was opened by this firm, August 
 29th, 1831, and run till June 18th, 1832, when the 
 stock company received every dollar of their salaries 
 for the first time in several years in that city. The 
 same managers reopened September 5th, 1832. At the 
 close of the season they were presented with a silver 
 cup, valued at $100, for having discharged all their 
 obligations. The theatre was reopened in August, 1833, 
 by Duffy & Forrest, but the season terminated abruptly, 
 February 4th, owing to the death of Forrest. 
 
 The fall season opened in Albany, September 14th, 
 with "The Heir at Law," and "The Eendezvous." 
 Among the new members of the company were Messrs. 
 Logan and Field. The former, Cornelius A. Logan, 
 was the father of Olive, Celia and Eliza Logan, and a 
 comedian as well as author and manager. He died of 
 apoplexy, on board a steamer on the Mississippi. On 
 the 14th of November, Charles John Kean, son of 
 Edmund Kean, made his first appearance in Albany, as 
 Sir Giles Overreach. During his engagement, he played 
 Richard, Hamlet and Othello. Not being properly 
 advertised, he did not attract largely, although one or 
 two evenings he was supported by Mary Eock, who 
 also played with acceptance on the off nights. 
 
 Young Kean was now only about twenty years old, 
 
PLAYERS OF A CENTUKY. 157 
 
 having been born at Waterford, Ireland, January 18th, 
 1811. His mother, deserted by her gifted but erratic 
 husband, was poverty stricken, and to support her and 
 himself, Charles, at the age of sixteen, went upon the 
 stage, much against the wishes of his father. His suc- 
 cess was not encouraging. " He began," says Lewes, 
 "by being a verv bad actor; he has ended by forcing 
 even such of his critics as have least sympathy with 
 him, to admit that in certain parts he is without a rival 
 on our stage. The battle with the public he has fought 
 by inches. Laughed at, ridiculed, and hissed, and for 
 many years terribly handled by critics, both in public 
 and private, he has worked steadily, resolutely, improv- 
 ingly, till his brave perseverance has finally conquered 
 an eminent position.' 1 After practising industriously 
 in Great Britain and on the continent, he came to 
 America, and this was his first season. It was a suc- 
 cess. He went back to England in 1833. but was 
 received coldly. It was not till 1838 that he fairly won 
 his triumph over the coldness of the public, when, in 
 Hamlet, the pit rose at him, as, years before, they had 
 at his father. Soon after, he was presented with a sil- 
 ver vase, valued at $1,000, and thenceforward stood 
 high in the regard of the British public. In 1839, he 
 came a second time to America, but his voice was 
 marred by bronchitis. In 1842, he married Ellen Tree. 
 his first love, and in 1845 they revisited us. making a 
 triumphal tour throughout the country, returning to 
 Europe in the spring of 1847. He then managed the 
 Princess's theatre, in London, and occasionally, by 
 order of the Queen, directed theatrical entertainments 
 at Windsor Castle. His last visit to New York was in 
 1865. when his personations of Lear and Louis XL (in 
 which he was supported by Mr. J. W. Albaugh) received 
 the highest commendations. He returned, and in 
 May. 1867. was taken ill with heart affection, and died 
 January 22d, 1868. Mrs. Kean is still living in retire- 
 ment. Some of the grandest Shaksperean revivals 
 known to the stage, occurred under Mr. Kean's man- 
 agement of the Princess's theatre. He always labored 
 14 
 
158 PLAYERS OF A CENTURY. 
 
 under disadvantages which few men could ever have 
 overcome. His person was inelegant, his carriage fre- 
 quently ungraceful, his voice harsh and sometimes 
 unmanageable, and his features never handsome and 
 often inexpressive. His private character was unblem- 
 ished, and his whole life an honor to the profession. 
 
 The season closed in December. The total receipts 
 were $5,458.12J, or $419.85 per week, or $69.97^ per 
 night, an improvement of just 85 cents per night over 
 the preceding season. Of the whole amount, stars had 
 about $900, viz: Howard, $75; Mrs. Barnes, $70; 
 Barton, $50 ; Mrs. Drake. $88 ; Wilson, $106 : Mrs. 
 Brown, $27; Kean, $240 ; Mary Rock, $97; Hilson, 
 $92 ; Heloise, $40. About $200 was shared for bene- 
 fits, exclusive of stars, whose proportion of benefits 
 are included in the $900. In making up his report to 
 Manager Duffy, then in Philadelphia, the treasurer 
 writes: "The balance in cash now in the treasury, is 
 between forty and fifty cents, which I have in solid 
 copper, subject to your order.' 1 
 
 In December, Edwin Forrest played an engagement, 
 during which he produced "The Gladiator," for the 
 first time in Albany, Mr. Duffy playing Phasarius. It 
 was to the largest audience ever seen in the theatre, 
 the lobbies not only being filled, but about thirty 
 spectators standing on the stage, near the exits. 
 Spartacus, it will readily be remembered by those who 
 ever saw him in it, was one of Forrest's grandest 
 exhibitions. Says Alger: "As he stepped upon the 
 stage in his naked fighting trim, his muscular coating 
 unified all over him and quivering with vital power, 
 his skin polished by exercise and friction to a smooth 
 and marble hardness, conscious of his enormous 
 potency, fearless of any thing on the earth, proudly 
 aware of the impression he knew his mere appearance, 
 backed by his fame, would make on the audience who 
 impatiently awaited him, he used to stand and receive 
 the long and tumultuous cheering that greeted him, 
 as immovable as a planted statue of Hercules. The 
 spectacle was worthy the admiration it won." 
 
PLATERS OF A CENTURY. 159 
 
 Great as was the hit made by Forrest in this charac- 
 ter* it is said that Duffy as Phasarius. was equally 
 effective, particularly where, in the scene when return- 
 ing from his ill-advised expedition, mortally wounded, 
 the unhappy man presents himself before his brother, 
 tells his fearful tale, and expires at his feet. It is in 
 this interview that Phasarius describes the crucifixion 
 by the Romans, of six thousand of their Thracian 
 captives. The highway on both sides, he said, was 
 lined with crosses, and on each cross was nailed a 
 gladiator. 
 
 1 ' I crept 
 
 Thro' the trenched army to that road, and saw 
 
 The executed multitude uplifted 
 
 Upon the horrid engines. Many lived: 
 
 Some moaned and writhed in stupid agony; 
 
 Some howled and prayed for death, and cursed the gods; 
 
 Some turned to lunatics, and laughed at horror; 
 
 And some with fierce and hellish anguish had torn 
 
 Their arms free from the beams, and so had died. 
 
 Grasping headlong the air." 
 
 This recital was made so vivid by Mr. Duffy, that 
 even Forrest evinced genuine emotion, while many in 
 the audience veiled their faces witli their hands, as if 
 the horrid picture were actually before them. 
 
 In February, 1832. Messrs. James Roberts, J. Fisher, 
 E. Thayer, Mr. and Mrs. C. Green, S. P. Jones, E. 
 Bannister. Miss A. Fisher and Mrs. Godey were added 
 to the company. Roberts had played here before, and 
 was an excellent comedian : his rendition of Nichol 
 Jarvie, in "Rob Roy," was particularly well spoken of. 
 He was a printer by trade, a gentleman and a scholar, 
 amiable and beloved. He afterwards played at the 
 Bowery, and died at Charleston, in 1833. John Fisher 
 was the brother of Clara: Miss Alexina was also a 
 relative. Edward J. Thayer was Alexina's step-father, 
 having just married her mother, Mrs. Palmer Fisher. 
 Mrs. Godey. the leading lady, was formerly Miss 
 Juliet Durang, and subsequently. Mrs. Wallace. 
 
 On the 22d of February. Manager Duffy was unani- 
 mously elected an honorary member of the Albany 
 Mechanics' benefit society. W. M. Dougherty, presi- 
 
160 PLAYERS OF A CENTURY. 
 
 dent: James Gr. Young, secretary. "They want a 
 benefit" — writes William Forrest, in explanation ;^ " I 
 will give one next w r eek, charging full expenses. 7 ' It 
 was given March 15th. 
 
 About the middle of April, Mrs. Edward Knight 
 played and sang for several evenings. She was born 
 Mary Ann Povey, in England, in 1804. Though not 
 beautiful, she was "a plump and pleasing person," 
 with a rich and powerful voice, sufficiently cultivated 
 to make her a great favorite. She was especially good 
 in comic opera, and later in life, assumed a wider range 
 of characters, and became attached to the Park thea- 
 tre. In 1845, she lost her only child, a beautiful girl 
 of seventeen, and in May, 1849, returned to England, 
 having become partially blind from a disease of the 
 eyes, induced by excessive weeping. She died in 1861. 
 
 On this, her first visit here, she took the town by 
 storm. The Advertiser says: "During the last two 
 years, there was never known of an instance, where a 
 lady performer iu Albany, has been treated so politely 
 by the audience." 
 
 About this time, Francis Courtney Wemyss played 
 an engagement, to which he thus alluded in his "Twenty- 
 six Fears" : 
 
 "Early in the month of April, 1 paid a flying visit to 
 Albany for twelve nights, where I made my bow as 
 Charles Paragon, in " Perfection," Mrs. Knight being 
 the Kate O'Brien. Mr. E. Forrest, Mrs. Pelby and 
 Miss Pelby were also there, playing on the same nights, 
 so that if the citizens of Albany did not \isit the thea- 
 tre, it was not for want of attraction. 
 
 " As the English tragedian, Kean, was driven from 
 the American stage for refusing to act Richard the 
 Third in Boston, to a handful of spectators, I was sur- 
 prised that the American tragedian, Mr. Forrest, ventured 
 to dismiss an audience, whose paucity in numbers he did 
 not choose should interfere with his desire to witness a 
 little fun at the circus, where the ' Greek,' a well-known 
 billiard marker, in the city, was advertised to play 
 Richard, The theatre being closed, the manager, Mr. 
 
PLAYERS OF A CENTURY. 161 
 
 Forrest and myself repaired to the circus, without a 
 comment from the disappointed few, who looked at it as 
 a good practical joke on a rainy night." 
 
 On the first of May, this same Greek, whose name 
 was J. Amiraille, was allowed to play Richard at the 
 theatre. He came to this city from Boston, was dissi- 
 pated, and fell into the hands of George Watson, who 
 kept a barbers shop in North Market street, and who 
 maintained the u Greek Tragedian." as a butt for his 
 customers. John B. Southwick wrote the Greek's biog- 
 raphy, for which the subject solicited subscriptions him- 
 self. Most of the edition, however, was destroyed. 
 Amiraille died in the New York almshouse. 
 
 For Manager Duffy's benefit, on the 10th, Mrs. Drake, 
 formerly Miss Denny, a native of Albany, appeared as 
 Mrs. Beverly, in "The Gamester." We have had occa- 
 sion to mention Mrs. Frances A. Drake before. In 
 1832, she writes Mr. Jones, from Washington : 
 
 I have been very successful here indeed, and shall 
 take letters to all the large cities from General Jackson, 
 Henry Clay, Mr. Webster, and several others, that will 
 no doubt be of great service to me. * * * My terms 
 are twenty per cent, on each night and a clear half 
 benefit. 
 
 In 1833, she writes Mr. Duffy, at Philadelphia, from 
 Louisville : 
 
 I wish to play Bia?tca, in " Fazio ; " Julia, in "The 
 Hunchback," and Beatrice. I will try what Yankee 
 Doodle can do pitted against Old England. I should 
 prefer to play at your house, as I consider it the Ameri- 
 can theatre. 
 
 A hit at Fanny Kemble. This patriotic point was 
 much dwelt upon in those days. Mrs. Drake is 
 described as a joyous, affable creature, full of riddles, 
 good nature and capital jokes. At the time Eichard 
 M. Johnson was candidate for vice-president, it was 
 said he was also a suitor for the hand of Mrs. Drake. 
 A friend rallied her on the subject, when she replied, 
 if it so happened he should need her assistance to 
 
162 PLAYERS OF A CENTURY. 
 
 govern the United States, she would, perhaps, sacrifice 
 herself for her country's good. But he lost his elec- 
 tion and was non-suited in his love cause. 
 
 The summer season, which began on the fourth of 
 July, was prematurely closed by the excitement in 
 relation to the cholera. The managers were not quite 
 up to announcing, as Hamblin did, about the same 
 time in New York, that "the performances were sus- 
 pended in consequence of an opinion of the medical 
 faculty, that i crowded assemblies ' were injurious to the 
 health," but the nightairwasconsidered very deleterious. 
 Churches abandoned holding evening meetings, and 
 the common council met only in the afternoon. Great 
 quantities of tar were burnt in the streets as a preven- 
 tive. Over 400 deaths resulted from the epidemic in 
 July and August, out of a population of about 26,000. 
 
 Another season opened December 12th, with the 
 production of "The Stranger." Mr. Duffy had alone 
 re-leased the theatre for one year, at a clear rent of 
 $1,500 per annum, the payments to be made as follows : 
 
 "Ten per centum on each night's entire receipts for 
 every night it is opened, to be paid the succeeding 
 morning, if required, and at no time shall the payment 
 be delayed, on any pretense, for more than one week 
 together, when the theatre is open, until the whole 
 sum of $1,500 is paid, and any deficiency of a quarter 
 year's rent of $375, shall always be paid up at the end 
 of the quarter of the year, whether the theatre 
 be opened or not. No alterations to be made, except 
 it should be deemed expedient, during the summer 
 season, to have an amphitheatre. The building to be 
 used for theatrical representations, in a genteel, respect- 
 able and appropriate manner. The trustees and their 
 treasurer, at all times, to have free access to the per- 
 formances, and the exclusive use of the trustees' box, 
 being the north stage box, second tier." Mrs. John 
 Greene was leading lady, and Messrs. Stone, Riley, 
 Greene and Knight, principal male performers. 
 
 The theatre was poorly supported, and fears were 
 entertained that it would soon close up entirely, but 
 
PLAYERS OF A CENTURY. 163 
 
 the last of December, Edwin Forrest appeared, and as 
 usual, to bio: business. On the 9th of January, 1838, 
 he produced for the first time in Albam^, the tragedy 
 of "Oraloosa," written especially for him by Dr. Bird. 
 The house was crowded to overflowing, and the papers 
 of the day are liberal in their praise of the manner in 
 which it was put upon the stage. But the play itself, 
 was never a great success. 
 
 The next feature worthy of mention, was the pro- 
 duction, May loth, of "Cinderella," as an opera, 
 arranged from several of Rossini's work. Madame 
 Feron (before alluded to) was the Cinderella. Mr. Wal- 
 ton, Prince Felix, and Mr. Spencer. Dandini. The 
 house was kL the most fashionable and crowded ever wit- 
 nessed in Albany/ 7 The scenery painted by Mr. 
 Leslie, was said to have been superior to that of the 
 same piece at the Park, in New York. The opera 
 was repeated several times, and in June, by Mr. Horn 
 and Miss Hughes. This opera, produced while Mr. 
 Duffy was in Philadelphia, was the source of infinite 
 perplexity to his partner. Forrest, who admits he 
 "knows no more about music than he does Greek," 
 and the warmth with which he wished the piece in a 
 place where we have no reason to suppose operas are 
 ever sung, is clearly indicated by the big. big D's with 
 which his letters, at this time, are interlarded. But it 
 was a great success, and several other operas followed, ' 
 including "John of Paris." "Barber of Seville/' etc. 
 On the off nights, Charles T. Parsloe (father of the 
 present Charley), played a monkey character. 
 
 June 14th, we find Mr. James E. Murdoch support- 
 ing Mrs. Drake, she playing Juliet and he Romeo. It 
 was, we think, the first appearance in Albany of the 
 afterwards eminent actor, elocutionist and lecturer. He 
 was at this time barely twenty-one years old, having 
 been born in Philadelphia, in 1812. He had been on 
 the stage about four years. He had been with De 
 Camp on a southern tour, and in January, 1831. had 
 applied for u a share of the youthful business with the 
 best walking gentlemen," to Duffy, Jones & Forrest, at 
 
164 PLAYERS OF A CENTURY. 
 
 the Arch street theatre, and which, we believe he 
 secured. From that time he steadily grew towards the 
 eminence which he soon attained and held till 1842, 
 when he retired from the stage for the purpose of study. 
 He then gave lessons in elocution to students of law 
 and divinity, and in theological colleges, and lectured 
 upon Shakspeare. In 1845, he returned to the stage, 
 and played with great success throughout this country, 
 and also in England. On the attack upon Fort Sumter, 
 in 1861, his youngest son enlisted to fight for the 
 Union. His father was to play in Pittsbuigh the night 
 of the day he heard this news, but though his name 
 was billed, he could not resist the impulse to follow his 
 son, and locking up his wardrobe, he declared he would 
 never play again till the rebellion was overcome. Twice 
 he tried to serve as a soldier, but both times his health 
 broke down. Then he joined the sanitary commission, 
 reading to and encouraging the men in the field, visit- 
 ing the hospitals, and giving entertainments all over 
 the country in aid of the commission. He was true to 
 his word, and did not tread the boards again till 
 October 23d, 1865. Of late years, when he has appeared 
 in public, it has been as a lecturer. He has held 
 (nominally at least) the professorship of elocution in 
 the College of Music, at Cincinnati, of which Theodore 
 Thomas was the head. By many, Mr. Murdoch was 
 considered almost the perfection of general acting. It 
 is difficult in which to say he excelled, tragedy or 
 comedy. A critic says: "His style hits the middle 
 line, below the severe and terrible requirements of 
 traged}^, and above the broad lines of comedy, a style 
 entirely his own, free from mannerism and imitation, 
 and which places him beside the great artists of the 
 day." His readings were always remarkably fine. 
 Of his merits as a man, there can be but one opinion, 
 as another has said : u His personal character and pro- 
 fessional aims are not only above reproach, but entitled 
 to the best regards of the community, for the zeal with 
 which he espouses the reform and elevation of the 
 theatre, which he desires to see purged of all that 
 
PLAYERS OF A CENTURY. 165 
 
 can offend the strictest judgment and the purest 
 morality." 
 
 About this time, also, Thomas Placide was playing 
 here again, which reminds us to say, that he was the 
 first man to wear paper collars in Albany. His finan- 
 cial standing w T ith his washerwoman was not always 
 A-l ; at the same time, he did dearly love to air his 
 good looking person on the fashionable promenade, and 
 in a becoming manner. With native ingenuity, a pair 
 of shears and a sheet of foolscap, he unwittingly set 
 a fashion, not followed generally till many years after, 
 but all the same, the device answered his purpose, 
 deceived the world by its very audacity, did no dis- 
 honor to his laundress, and furnished shirts — or the 
 semblance of them — cheaper than dirt itself. 
 
 On the 26th of June, T. D. Rice, the original Jim 
 Crow, appeared. Although not absolutely the first to 
 make a specialty of delineating negro characters upon 
 the stage, he was the first to make them popular. As 
 long before as 1815, Andrew Jackson Allen played the 
 character of a negro in "The Battle of Lake Cham 
 plain," produced at the old Green street theatre, and 
 sang a song of many verses, the first negro song, Sol. 
 Smith thinks, ever heard on the American stage. He 
 gives the following specimen, from memory : 
 
 "Backside Albany, stan' Lake Champlaiu, 
 
 Little pond, half full o' water; 
 Platte-burg dar too, close 'pon de main; 
 
 Town small, he grow bigger herearter. 
 
 11 On Lake Cham plain Uncle Sam set he boat, 
 
 An Massa McDonough he sail 'em; 
 While General Macomb make Platte-burg he home 
 
 Wid de army whose courage nebber fail 'em." 
 
 George Washington Dixon, before mentioned, was 
 the man who led the way to this class of entertain- 
 ments, and curiously enough, made his first appearance 
 on any stage at the old amphitheatre, in North Pearl 
 street, under the management of Parsons, in 1827. It 
 would seem, therefore, that negro minstrelsy, as well as 
 the drama, owes something to Albany. Dixon began 
 singing buffo at the Pearl street theatre, in 1830. 
 
166 PLAYERS OF A CENTURY. 
 
 Bat to return to u Daddy" Rice, as he was called. 
 He was born in the Seventh ward, of New York, in 
 1808, and at one time, was supernumerary at the Park, 
 where he made himself offensive to the prominent 
 comedians, by being funnier than his part demanded. 
 A writer in the Atlantic Monthly says that Rice's Jim 
 Croiv was suggested to him while walking the streets 
 
 Co O 
 
 of Cincinnati, where he overheard a negro stage-driver 
 giving utterance, in a voice clear and full above the 
 noises of the street, and in an unmistakable dialect, to 
 this refrain of a song : 
 
 " Turn about, an' wheel about, an' do jis so, 
 An ebery time I turn about, I jump Jim Crow." 
 
 This gave the young actor an idea, which he carried 
 into effect the following autumn, in Pittsburgh. A 
 darkey, who won a precarious existence by letting his 
 mouth as a target for boys to pitch pennies into, at three 
 paces, and by carrying trunks for passengers, was 
 induced, for a slight consideration, to go with the actor 
 to the theatre, and there to lend him his dilapidated 
 but realistic wardrobe, in which apparel Jim Crow 
 was first sung. The hit was instantaneous and 
 tremendous. Before the week was over, the refrain 
 was in everybody's mouth in Pittsburgh, and it spread 
 over the country like wildfire. It is said Rice drew 
 more money into the Bowery theatre, than any other 
 American performer in the same period of time. 
 
 His career in Great Britain, which began three years 
 after his first engagement in Albany, was something 
 wonderful. On one occasion, at Dublin, the Lord 
 Lieutenant and suite were present, and there was 
 $1,800 in the house, a clear third of which went to 
 the .young and eccentric American. In Cork, the 
 receipts were $1,900 per night. During his stay, he 
 accumulated a fortune and married the daughter of 
 Mr. Gladstone, a London manager. On his return, he 
 was eagerly sought after as a star, and played in nearly 
 all the theatres in the country. His last engagement 
 was with Wood's minstrels, in New York, in 1858. 
 Ten years previous, he had been stricken with paraly- 
 
PLAYERS OF A CENTURY. 167 
 
 sis, of which he finally died, in poverty, September 
 19th, 1860. In person, he was tall and thin ; in 
 manners, courteous and obliging; and in all things, 
 eminently generous and sincere. He was free from 
 envy and was universally loved by those who knew 
 him. 
 
168 
 
 CHAPTEE XIV. 
 
 1833-1834. 
 
 The South Pearl Street Theatre — Appearance of Fanny 
 Kemble — The Power Disturbance. 
 
 Beginning July 3d, Charles and Fanny Kemble 
 played an engagement of three nights, enacting the 
 principal parts in " The Stranger," " Venice Preserved " 
 and " The Gamester." The appearance of this talented 
 gentleman and his still more gifted daughter, was 
 hailed with enthusiasm, as it was in every American 
 city they visited. At the close of the play on the last 
 night, the audience exhibited a strong desire that 
 they should be re-engaged and appear in " The Hunch- 
 back." Mr. Kemble came before the curtain and, 
 after thanking the audience for the cordial reception, 
 informed them, that as his wardrobe had been sent to 
 Niagara, it would be impossible to comply with their 
 wishes at present, but he hoped to appear before them 
 again soon, which announcement was received with 
 great applause. 
 
 The Kembles had made their first appearance in this 
 country, at the Park theatre, the previous September, 
 and the reception they met with may be imagined, by 
 the fact, that the receipts for sixty performances 
 amounted to more than $56,000. 
 
 Charles Kemble, a native of Wales, was born 
 November 25th, 1775, and was the youngest son of 
 Roger and Sarah Warde Kemble, whose principal 
 claim to celebrity rests not upon their merits as actors 
 themselves, but that they were parents of the most 
 
PLAYERS OF A CENTURY. 169 
 
 famous actors the age produced. This family included 
 among its members, Mrs. Siddons, John Philip Kemble, 
 Stephen Kemble, Mrs. Whitelock, Mrs. Mason, Mrs. 
 Twiss, Mrs. Hatton and Charles Kemble. The latter 
 went upon the stage at seventeen, and after much 
 adverse criticism, was declared the finest Romeo of 
 the century, the most delightful of Mirabels. Petruchios 
 and Mercutios. and the most admirable of Laertes, 
 Bassanios and Cassios. Macready's remark that he 
 was a first rate actor in a second rate part, was proba- 
 bly just. In the great tragic roles he was found want- 
 ing, but his elegance of action, propriety of costume, 
 knowledge of his author and refinement of manner, 
 stamped him as one of the most finished of genteel 
 comedians. After his return to England, he was 
 appointed reader of plays, in the office of the Lord 
 Chamberlain. He died in London, November 11th, 
 1854. 
 
 It was to his daughter, Frances Ann. that the great 
 success of their engagements in this countrv must be 
 attributed. She was, at the time of her first appear- 
 ance in Albany, not quite twenty-four years old. She 
 had been on the stage about four years, having made 
 her debut as Juliet, at Covent Garden, to save her father 
 from a debt that was crushing him. Her success was 
 immediate, and the United Kingdom rang with her 
 praise. Coming to America, she was without a rival. 
 Mrs. Gilfert was dead or dying; Mrs. Barnes and Mrs. 
 Duff were deposed ; Miss Emery was already forgotten r 
 and Fanny Kemble's triumph was complete. She had 
 all the grace of the Kembles, while from her mother 
 (nee Maria Theresa DeCamp, a German), she inherited 
 comic talent that her father's family did not possess. 
 Her eyes were glorious, her figure was light and 
 daintv. In her charming; " Records of a Girlhood," 
 she says, herself, that having had the small-pox at 
 sixteen, she was disfigured all her life, and continues: 
 "I had returned from school a very pretty looking; 
 girl, with fine eyes, teeth and hair, a clear vivid com- 
 plexion, and rather good features. The small-pox did 
 15 
 
170 PLAYERS OF A CENTURY. 
 
 not affect my three advantages first named, but besides 
 marking my face very perceptibly, it rendered my 
 complexion thick and muddy, and my features heavy 
 and coarse, leaving me so moderate a share of good 
 looks as quite to warrant mj^ mother's satisfaction in 
 saying, when I went on the stage, 'Well, my dear, 
 they can't say we've brought you out to exhibit yonr 
 beauty ! ' Plain, I certainly was, but I by no means 
 alwaj's looked so. My comical old friend, Mrs. Fitz- 
 hugh, once exclaimed, 'Fanny Kemble, you are the 
 "ugliest and the handsomest woman in London.' ' 
 
 The book thus quoted, ends with this portentous 
 sentence: "I was married in Philadelphia, on the 7th 
 of June, L884, to Mr. Pierce Butler, of that city." 
 That marriage proved any thing but a happy one, and 
 in 1848-9, there was a divorce granted the husband, 
 although the wife's character was fully protected. 
 After this she confined her public appearances to read- 
 ings, principally. For nearly twenty years, she resided, 
 during warm weather, in Lenox, Berkshire county, 
 Massachusetts, to which town she gave a handsome 
 clock. Her "Journal in America," and "Residence 
 on a Georgia Plantation," which bore heavily upon 
 slavery and other topics, in regard to which the nation 
 was sensitive, were roundly abused by the press, and 
 there was considerable feeling against her at one time. 
 She wrote freely in her journal while in Albany, and 
 details several little trips about the city; one to the 
 Cohoes falls, going up by steamer to Troy, and thence 
 by a private 'xmch to the cataract, which she admired 
 very much. Returning to Troy, they found the steamer 
 gone, and were rowed down in a boat. This she has 
 also left on record : 
 
 "After breakfast, went to rehearsal. As I sat on the 
 staize, between my scenes, a fat, good-tempered, rosy, 
 bead-eyed,wet-haired, shining-faced looking man accosted 
 me ; and having ascertained that I was myself, pro- 
 ceeded to accuse me of having in Mrs. Haller pronounced 
 the word 'industry' with the accent on the middle sylla- 
 ble, as 'in-c?ws-try '; adding that he had already quoted 
 
PLAYERS OF A CENTURY. 171 
 
 my authority to several people for the emphasis, and 
 begging to know my 'exquisite reason' therefor. It was 
 in vain I urged that it must have been a mistake, if I said 
 so ; that I never meant to say so, if I did say so ; that if I 
 did say so, I was very wrong to say so ; that I was very 
 sorrv for having said so ; that I would never say so again. 
 
 •/ O.J t J o 
 
 Between each of my humblest apologies my accuser mere- 
 ly replied, 'but you did say "in-c/^s-try," ' with an inflex- 
 ible pertinacity of condemnation which was not a whit 
 
 softened by my sincere confession. * * * * Mr. 
 
 told me the man was a newspaper editor, but I think he 
 looked too fat and fresh and good-tempered for that." 
 
 In 1873, Mrs. Kemble went to reside in Philadel- 
 phia, and in 1877 or 1878, returned to England, where 
 she is still living. She has never taken so kindly to the 
 stage as to literary pursuits, which she has followed 
 from childhood. Her tragedy of iw Francis I," was 
 written at the age of sixteen. 
 
 As we have shown, the Kembles, on their first visit 
 to Albany, promised to soon come again. On the 16th 
 of April following, they were announced to appear in 
 "The Wife," but did not keep their engagement, the 
 reason therefor appearing in the following letter, so 
 characteristic of the true gentleman who wrote it. 
 Were it feasible to reproduce it in fac simile, our readers 
 would have further proof, in the elegant hand-writing 
 and general style of the epistle, that it was the product 
 of refinement and culture : 
 
 Boston, April 10th, 1834. / 
 Jli/ Dear Sir : Friday. \ 
 
 I regret extremely to be under the necessity of disap- 
 pointing you and deranging the business of your theatre, 
 but the very dangerous state of my sister's health makes 
 it impossible for us to quit her. She has been struck 
 with paralysis, and Dr. Warren fears it may terminate 
 fatally. Under the circumstances, I feel convinced that 
 your humanity will furnish an excuse for us, and in return, 
 if that can make you amends for your present disap- 
 pointment, we will endeavor to visit Albany for a few 
 
172 PLAYERS' OF A CENTURY. 
 
 nights at the conclusion of our engagement in New York, 
 which will be about the 9th of May next. 
 
 Yours, my dear sir, most truly, 
 
 C. Kemble. 
 
 The lady referred to was Adelaide Kemble (Aunt 
 Dall) who was Fanny's nurse and chaperon. She died 
 in a few days after the above letter was written. The 
 Kembles came in May and played "The Wife,' 7 
 " Fazio," "Point of Honor," and "The Hunchback." 
 Miss Kemble was the original Julia in the latter. 
 Indeed, it may be said that Knowles created that char- 
 acter especially for her, and it is certain it owed much 
 to her great genius. The author acknowledged, in a 
 transport of delight, that the "Do it" of Fanny Kemble 
 in her appeal to Master Walter to save her from the 
 impending marriage, would stand in future times with 
 the "hereafter" of her aunt, Mrs. Siddons. 
 
 These, so far as we know, were the only appearances 
 of the Kembles on the Albany stage, (although Fanny 
 read here several times and once as late as January 
 10th, 1850, at the Female academy). 
 
 We have seen the weekly salary list of the Albany 
 theatre at this time, and transcribe it as a dramatic 
 curiosity : Mr. and Mrs. John Greene, $25; Pickering, 
 $9; Mi\ and Mrs. Logan, $15; Johnson, $8; Mr. and 
 Mrs. Knight, $22 ; Hamilton, $8 ; Rice, $9 ; Allen, $5 
 Mr. and Mrs. Grimshaw, $4; Woods, $4 ; Spencer, $12 
 Welton, $30; Stone, $9 : Hudson and wife, $6; James 
 $4; Mrs. Smith, $12; Miss Dunham, $6; total, $188, 
 The orchestra were paid as follows : Holloway, $15 
 Clemens, $10; Unclerner, $6.40; Robinson, $8; Clarke, 
 $5.60 ; Brady, $6.40 ; Deinzac, $9 ; Willis, $6.40 ; John 
 son, $8; total, $74.80. Among the other thirteen 
 employees, Ellsworth, master carpenter, got $10 ; Les- 
 lie, scene painter, $15, the total for the thirteen footing 
 up $71. Grand total, $333.80. 
 
 December 7th, 1833, Albany was treated to the first 
 sight of the sensation of that season, "Mazeppn," the 
 same grand equestrian melo-dramatic spectacle, which 
 many of our readers will remember, in connection with 
 
PLAYERS OF A CENTURY. 173 
 
 certain plump and well-conditioned actresses. At the 
 time of which we write, however, womanhood had not 
 been advanced to this elevated position, and the fiery 
 steed of the Ukraine was ridden only by men. Gafe 
 was the first Mazeppa in New York, and Thorne the 
 first in Albany. The play ^took 7 ' here as it did in the 
 metropolis, and was repeated night after night, only to 
 be revived succeeding seasons. Manager Duffy himself 
 occasionally submitted to be bound to the back of the 
 horse and go dashing up to the top of the theatre. The 
 horse used here was a docile, gentle beast, cream -colored, 
 but very stylish in appearance, and trained so as to be 
 entirely manageable without bit or lash. He performed 
 both here and in Philadelphia, and among the interest- 
 ing theatrical collection of Mr. William D. Morange, 
 under the head of "Mazeppa's Journey," is a memo- 
 randum of the expense of riding the horse from Albany 
 to Philadelphia, item by item, from crossing the Hudson 
 at Greenbush to crossing the Delaware at Camden — 
 total for horse and rider, $13. There is also in the 
 same collection a letter from Stas;e Manager John 
 Greene, reporting the mishaps which befell, when, in 
 December, the play was to be produced for the benefit 
 of John Leslie, the scene painter, and it was thought to 
 be a good a dodge r to send the horse to Troy to exhibit 
 him on the streets while bills were being circulated. 
 But both bill-poster and groom got royally drunk, and 
 the latter got into jail, leaving the untamed steed to 
 brouse around the streets, with only hogs for company. 
 
 Forrest came again in January, 1834. when, on the 
 night " Metamora " was played, the members of the 
 orchestra had to leave their seats and retire behind the 
 scenes, to accommodate the people, while hundreds 
 were not able even to enter the theatre. It was at this 
 time he presented the Young Men's association with 
 $100. January 27th, the association were also given a 
 benefit by the managers of the theatre. Master Burke 
 appearing. 
 
 Another season opened April 12th, under Duffy 
 alone, Forrest having died in Philadelphia. Miss Kid- 
 
174 PLAYERS OF A CENTURY. 
 
 die appeared as Julia in "The Hunchback.'' The 
 Kembles came in May, as before stated, and Yankee 
 Hill also appeared. 
 
 *On the 29th of May, Miss Charlotte Barnes appeared 
 as Juliet, and played an engagement, supported by 
 both her father and mother. The daughter of two 
 such favorites, was sure of a hearty welcome at least, 
 and she received it. She was now only in her six- 
 teenth year, but had made fairly successful appearances 
 in New York and Boston. Although she had pretty 
 features, her face was not adapted to the stage ; neither 
 was her voice nor her figure, and, therefore, although 
 educated for the position and possessed of talents of 
 no mean order, she never attained the eminence as 
 an actress, that her many friends hoped for her. It 
 is a singular fact that Hamlet and Douglas were her 
 most successful roles. She wrote "Lafltte" and 
 " Octavia Bragaldi," two plays which were successful, 
 and she also published a volume of prose and poetry. 
 In 1847, she married the tragedian, E. S. Conner, and 
 April 14th, 1863, she died, after a short illness. 
 
 June 9th, Tyrone Power was announced to appear 
 (for the first time in Albany) as the Irish Ambassador 
 and Terry ORourke. This gentleman was the prince 
 of Irish comedians, excelling any that came before or 
 have followed him. He was born in countv Water- 
 ford, November 2d, 1797. Going on the stage in 
 1815, it was not till 1827 that he essayed an original 
 Irish character, and then with such success as hence- 
 forward to make him, so long as he lived, the only 
 legitimate representative of that line on the British 
 stage. He appeared first in America at the Park 
 theatre, August 28th, 1833. He visited this country 
 again in 1836 and 1839. On the 21st of March, 
 1841, he sailed for Liverpool in the steamship Presi- 
 dent, which was never heard of more. 
 
 '•Paddy Power," as he delighted to call himself, 
 was about five feet eight inches, with light hair and 
 complexion, blue eyes and compact figure, inclining 
 to stoutness. His genial humor, mercurial tempera- 
 
PLAYERS OF A CENTURY. 175 
 
 merit, skill in music and dancing, and genuine ability 
 as an actor, made him a universal favorite. He was 
 also literary in his habits, wrote for the magazines, 
 also several novels and plays, and his " Impressions of 
 America," had a large sale. 
 
 We have said Mr. Power was announced to appear 
 on the 9th, but he did not do so. Mr. Duffy, the 
 manager, was in Philadelphia, and Stage Manager 
 Greene in command. Here is his account of what 
 happened and what did not happen : 
 
 Albany, Tuesday. 
 Dear Duffy : Power disappointed last night. He came 
 to the theatre quarter past seven, and said, that from 
 appearances, it would be impossible for him to play. I 
 persuaded, I begged ; no, he couldn't. Then desired 
 him to wait till eight o'clock, assuring him that the 
 audience were not in the habit of coining until that hour, 
 and at times, not till nine o'clock. He waited ; the 
 house was promising. I went to the front, found there 
 was $50 worth sold, and the people flocking to the office. 
 Told him so ; no, it wouldn't do ; begged him to look 
 through the curtain ; he called them a dozen people — his 
 feelings would not allow him to perform ; desired me to 
 say so to the audience ; entreated him again ; represented 
 the injury to himself and the theatre; told him there 
 w T ould be 300 at least ; he talked of the injury to his 
 feelings, the impossibility of his being able to act to 
 such a small audience, and begged I would solicit him 
 no more, all the time wishing that I would dismiss the 
 people. " Shall I say it is in consequence of the small 
 audience?" "Yes, sir, and I wish you would do it 
 immediately." I did so, and, of course, there was some 
 considerable noise, threatening, and in short, a regular 
 Anderson or Kean business made up for the next night, 
 which will be to-morrow.' Last night I was not prepared 
 for the disappointment, and could substitute nothing; 
 but if we shall arrive at extremes to-morrow night, I 
 am cut and dried with a performance — so that not a 
 cent will be returned that comes in. He disclaims all 
 pecuniary motives in this, and speaks very disrespect- 
 fully of money. Between ourselves, that struck me 
 
176 PLAYERS OF A CENTURY. 
 
 with a notion that he had broken his engagement, 
 besides' destroying two regular nights' performances (we 
 closed on Saturday on his account) and said I to myself, 
 
 " D n the cent do you get from me unless I receive 
 
 further orders." I never break my word to myself. I 
 will write you again Wednesday. 
 
 Yours, 
 
 John Greene. 
 
 It will be remembered, that it was just such a freak 
 as this committed by the elder Kean, that drove him 
 from the Boston boards forever. People in Albany 
 were equally sensitive to insult, and great was the 
 excitement. The Advertiser of June 11th, has the 
 following : 
 
 We regret exceedingly that Mr. Power was so ill-ad- 
 vised as to decline playing on Monday evening. If the 
 curtain had been kept down fifteen minutes, the house 
 would have been full or nearly full. Citizens were walk- 
 ing toward the theatre from all quarters, and several 
 hundreds were disappointed, on arriving, to find there 
 was no performance. A row or disturbance can do no 
 good and will only have the effect of destroying the 
 pleasure of many who wish to see this, the best represen- 
 tative of Irish characters. Give Mr. Power a fair hearing. 
 
 [After the above was in type, we received the follow- 
 ing note from Mr. Power, which, in our opinion, should 
 palliate any feeling of resentment :] 
 
 To the Editor of the Albany Daily Advertiser : 
 
 Sir: Will you permit me, through the medium of your jour- 
 nal, to express my regret that a misconception of the motives 
 which led to the dismissal of the audience from the theatre on 
 Monday evening, should have gone abroad. The simple fact is 
 as follows: Arriving at the theatre at the time advertised for the 
 performance to begin, on passing through the lobby I saw that 
 the assembled audience consisted of three gentlemen in one box 
 and the same number in the pit. Feeling it utterly impossible 
 to meet with any degree of spirit, such a miserable show of empty 
 boxes, I suggested to the manager the propriety of closing the 
 house on that evening, and announcing me for Wednesday even- 
 ing, alleging that I did not feel my spirits equal to a debut under 
 such discouraging auspices. The manager respected my feelings, 
 and undertook, in so many words, to dismiss the audience, 
 increased at this time (eight o'clock) to fifty or sixty persons. 
 
PLAYERS OF A CENTURY. 177 
 
 Between this hour and nine o'clock (as it since appears) several 
 carriages arrived from Iroy, together with parties of ladies from 
 this city. Of such a result, at the period when my view of the 
 house was taken, no hope could be formed. Now, sir, permit 
 me to assure you that my disinclination to act arose from a 
 feeling quite as much for the persons assembled as for myself, since 
 I feared that a performance under such circumstances would prove 
 wearisome to them, as it certainly would have been painful 
 to me. I felt it due to nryself, sir, to offer this explanation, flnd- 
 ing.that a wrong construction of this simple act, had given some 
 offense — since certain^ not the remotest intention" of giving 
 offense ever entered my imagination. 
 
 I am, sir, your obedient servant, 
 
 Tyrone Powee. 
 
 But this was not satisfactory. When he came to 
 play Wednesday evening, the house was in possession 
 of a mob, who shouted and hissed and howled all 
 the evening, so that though he went through the per- 
 formance to the end. not a word was heard by any 
 body in the house. Stage Manager Greene reports as 
 follows : 
 
 Thursday Noon. 
 Dear Duffy : The bubble burst — he got through, but 
 with a great deal of hissing, hooting and so on. House, 
 $203 ; sent for me half an hour since ; will play to- 
 morrow night, notwithstanding his declaration to the 
 contrary last night. The actors took part in the dis- 
 turbance ; had to discharge Hamilton, others stand 
 queer. McKown, Webster, [trustees of the theatre] 
 and others, called on me after the row — treated me 
 handsomely, but would not consent to Hamilton's resto- 
 ration. All well. 
 
 John Greene. 
 
 The next evening that Power played, the mob spirit 
 had spent itself and he delighted a large audience. 
 His benefit was also successful. As a part of the 
 theatrical history of Albany, the following u Im- 
 pressions " or extracts from his book, published on 
 his return home, are worthy of a place here.^ Mr. 
 Power writes : 
 
 ''The theatre here is a handsome building and well 
 adapted to the purpose for which it was designed ; but 
 
178 PLAYERS OF A CENTURY. 
 
 is, I believe, worse supported than any other on this 
 continent. I had been advised not to visit the city, 
 professionally ; but being strongly solicited by the 
 worthy manager, ; mischief lay in my way and I found 
 it. 1 I feel compelled, in honest}^, to state the facts of 
 this trip, chough no way flattering to my powers of 
 attraction ; however, if there be any thing unpleasant 
 to relate, I ever find it better to tell of one's self than to 
 leave it to the charity of good-natured friends. The 
 only disagreement I ever had with an audience, in 
 fact, occurred here, and roundly thus it happened: 
 
 " On the evening when I was advertised to make my 
 debut to an Albany audience, I, at my usual hour, 
 walked to the house, dressed and was ready ; but 
 when, half an hour after the time of beginning, I 
 went on the stage, there were not ten persons in the 
 house. The stage director and myself now held a con- 
 sultation on the unpromising aspect of our affairs. 
 He ascribed the unusually deserted condition of the 
 salle to the sultry and threatening state of the atmos 
 phere, which had deterred the neighboring towns of 
 Troy and Waterforcl from furnishing their quota — 
 those, indeed, being his chief dependencies. I was 
 opposed, on policy, to throwing away our ammunition 
 so unprofitably ; and so, after due deliberation, the 
 manager agreed to state to the few persons in front, 
 that ' with their permission,' the performances intended 
 for this night would be postponed until the evening 
 after the next following ; as in consequence of the 
 exceeding smallness of the audience, it was to be 
 feared the play would prove dull to them, as it must 
 be irksome to the actors. 
 
 "Nothing could be received with better feeling on 
 the part of the persons assembled ; not a breath of 
 disapprobation was heard. They instantly went 
 away ; but soon after I reached home, I found, by the 
 reporj of one or two gentlemen who had since been at 
 the theatre seeking admittance, that a considerable 
 excitement prevailed, and that at the public bars of 
 the neighborhood, the affair was detailed in a way 
 
PLATERS OF A CENTURY. 179 
 
 likely to produce unpleasant effects on my first 
 appearance. 
 
 "The appointed night came, the house was filled 
 with men, and every thing foreboded a violent out- 
 break ; the manager appeared terrified out of his wits; 
 but, as far as T can judge, behaved with infinite 
 honesty; disavowed the truth of the imputations con- 
 nected with the dismissal, and which it was sought 
 to fasten upon me ; and affirmed that he was fully 
 prepared to place the facts simply before the audience, 
 in the event of my suffering any interruption. 
 
 " It was now found that an actor or two needed in 
 the piece were absent. These worthies, the chief 
 agitators in this affair, were, m fact, in front of the 
 house to assist in the expected assault upon a stranger 
 and one of their own profession. On this being 
 explained to the manager, he said he was aware of 
 it, and had threatened to discharge the individuals; 
 but relying upon the affair terminating in my discom- 
 fiture, they did not fear being sustained by the same 
 intelligence which they now directed against me. 
 
 "On my appearance, the din was mighty deafening; 
 the volunteer champions of the public had come well 
 prepared, and every invention for making the voice of 
 humanity bestial, was present and in full use. The 
 boxes I observed to be occupied by well-dressed men, 
 who, generally, either remained neutral, or by signs, 
 sought that I should be heard. This, however, was 
 out of the question ; and after long and patient abid- 
 ing, for 'patience is the badge of our tribe,' I made 
 mv bow and retired, when the manager, who had, on 
 the night in question, dismissed the house, made his 
 bow, and, after silence was obtained, begged that the 
 audience would g:\ve me a hearing;, assuring them on 
 his own knowledge, that I had not contemplated 
 insulting them. 
 
 "I again came forward, and after some time was 
 permitted to say, that I could, in no way, account for 
 a simple matter of business being so misrepresented 
 as to occasion this violent exhibition of their anger; 
 
180 PLAYERS OF A CENTURY. 
 
 that, before the audience in question was dismissed, 
 its permission had been obtained ; that, if I really con- 
 templated insult it is hardly probable that I should 
 wait two days to encounter the anger of those I sought 
 to offend. I further said, that on the common principle 
 which they professed, I was entitled to a hearing, 
 since the sense of the majority was evidently with me ; 
 and that, if the disorder continued, I should, for the 
 sake of that respectable majority, sincerely regret this, 
 since the character of this city for justice and hospital- 
 it}^ would be more impeached, than my prospects be 
 injured. 
 
 •'After this, the row was resumed with added fierce- 
 ness: not a word of either play or farce was heard; 
 but I persisted in going through with the performance, 
 being determined not to dismiss a second time. At 
 the fall of the curtain, I begged the manager would 
 not again announce me, as. although for the sake of 
 the many who I could see were opposed to the mis- 
 judged outrage, I had gone through the business once, 
 I could not again subject them to the annoyance of 
 such a collision, or myself to continued insult. I 
 was, however, happily induced to change this determi- 
 nation, at the earnest request of many gentlemen of 
 the place, who assured me that the whole thing arose 
 from stories most industriously circulated by one or 
 two ill-conditioned actors, backed by inflammatory 
 handbills and a scurrilous print. Out of this affair, 
 which threatened me serious annoyance, I really 
 gathered a new proof of the kindness of the people of 
 the country, for I found persons on all sides interest- 
 ing themselves for me, although I entered the place 
 without an acquaintance ; and had I not stood in need 
 of help, so in all probability should I have quitted ; 
 but in their hour of annoyance, men not of theatrical 
 habits put themselves forward to shield a calumniated 
 stranger from insult or injury ; in consequence of this 
 interposition, on my appearance, nothing could be 
 more orderly than the conduct of the audience. 
 
 " I concluded my engagement, which was only for 
 
PLAYERS OF A CENTURY. 181 
 
 four nights, and left the theatre with a promise to re- 
 turn, which pledge, at some inconvenience, I redeemed ; 
 I have never been able to regret a momentary vexa- 
 tion which obtained for me many friends, and made 
 known to me the sterling good feeling existing in 
 Albanv, of which I might otherwise have remained 
 ignorant." 
 
 Power may have been surpassed since his day, by 
 some who have played the rough type of Irishman, 
 but never where the humor of the part required a 
 delicate coloring. He was among the first to render 
 tolerable, this class of plays and has had many suc- 
 cessors. Collins, Williams, Bryant, Boucicault, 
 Brougham and Murphy, have all had their admirers, 
 but none equalled, in true histrionic talent, the 
 lamented Power. In his acting, America first saw on 
 the stage, the true Irishman, not his caricature. 
 Before his day, actors in delineating Irishmen, made 
 no attempt to portray character, but by the most 
 ludicrous contortions, excited laughter, at what had 
 been the butt of the English stage for years. As 
 another has said: 
 
 " The better features were concealed, the most revolt- 
 ing ingeniously grouped together, producing an 
 impression directly opposite to what a delineation — 
 composed of the proper proportions of good and bad 
 qualities — would convey. It was thus the national 
 character of Ireland was vilified ; and, without except- 
 ing Johnstone, no man ever undertook to arrest this 
 moral injustice and dramatic error, until Mr. Power 
 made his appearance on the London stage/' 
 
 16 
 
182 
 
 CHAPTER XV. 
 
 1834-1836. 
 
 The South Pearl Street Theatre — Death of Duffy — 
 Meedis Museum. 
 
 IN the spring of 1884, the elder Booth played another 
 engagement, Mr. C. K. Mason, of the Theatre Royal 
 and Covent Garden, appearing on the off nights. 
 Mason was a nephew of Charles Kemble, after whom 
 he was named. Booth was about going to Europe. 
 Every thing connected with this great actor, but 
 erratic man, is of interest. Benjamin W. Seaver, of 
 Albany, used to undertake the somewhat perilous 
 task of dressing him. He says, however, that he 
 never had any trouble, although many others were 
 afraid for their lives. Oftentimes, when Booth came 
 off a scene, sword in hand, he was a dangerous man 
 to meet; he was no longer Booth, but the character 
 he had assumed, and insisted on being respected 
 accordingly. As indicative of his various moods, the 
 following letters, selected from a large number in Mr. 
 William D. Morange's collection, are interesting : 
 
 A LITTLE HAZY. 
 
 My Dear Sir : Please write to me in Boston on receipt 
 of this, for I am told you've announced me, and I was 
 so damned drunk when we parted that I cannot recol- 
 lect what was said or done by 
 
 Junius B. Booth. 
 Give my respects to William Forrest. 
 
 Yours, &c. 
 N. Y., June 20th, 1829. 
 
PLAYERS OF A CENTURY. 183 
 
 A POLITE DECLINATURE. 
 
 My Dear Sir : I have just received your polite invita- 
 tion to visit the seat of government, in the state of New 
 York, but regret an engagement elsewhere precludes 
 the chance of my -paying my devoirs to the Pearl street 
 establishment this winter. Wishing you every success 
 " that can be wished, not wronging him I serve." 
 
 I am, yours most truly, 
 
 J. B. Booth. 
 Boston, November 22d, 1829. 
 
 A PLAVFUL RESPONSE. 
 
 Bel-air, Maryland, July 21st, 1835. 
 
 iJear Sir — Your offer is generous and at the same time, 
 excuse my vanity, correct. It is really so remote from 
 my summer haunts, that same Niagara, and at the same 
 time I understand so very eccentrically noisy and 
 obstreperous in its stilt vaulting and lofty tumbling that 
 it might drive me crazy to look at the stupendousness of 
 its restless aqueous body — argal, during the dog days, 
 had I not better avoid all which might produce hydro- 
 phobia ? 
 
 I wish you success most cordially, and when our 
 planets cause us to meet each other, I trust a mint julep 
 and a squint at Demogorgon will amuse us as we sing 
 cigarro nella mano, 
 
 " It's our delight on a shiny night" & cetera. 
 
 Yours very truly, J. B. Booth. 
 
 druxk or crazy ? 
 
 Vapour Boat, / 
 Saturday. j 
 Dear Duffy : 
 
 Under the exhausting state of existing events and the 
 acerbity of stomach and disposition, I beg you will not 
 put me in for a farce part on Tuesday. I should prefer 
 Hamlet for the furst piece to Richard & shall cum per- 
 vided accordingly. Richard has bin so hack'd & Hamlet 
 is nooer. When u c Amanda giv my 'specks. 
 
 Evers 
 ate 
 set hurrah. 
 J. B. B. 
 
184 PLAYERS OF A CENTURY. 
 
 In June, Forrest, "about to leave for a time his native 
 country, is desirous of bidding farewell to his earliest 
 friends, the Albanians," and plays another lucrative 
 engagement. The only novelty produced was Dr. 
 Bird's drama, "The Broker of Bogota,' 1 always a par- 
 ticular favorite with Forrest himself, who delighted to 
 play it. He spoke of it with enthusiasm and with 
 deep regret that it was so much too fine for his average 
 audiences, that he was obliged to lay it aside for noisier 
 plays, with not one tithe of its merits. Alger says: 
 " To appreciate it as it deserved, was required an audi- 
 ence of psychologists critically interested in the study 
 of human nature and curious as to its modes of indi- 
 vidual manifestation." Another critic calls it "the 
 poem of Forrest's heart," 
 
 The season closed July 10th, with a benefit for Mr. 
 Wall, the blind Irish harper, at which Master Burke 
 was the principal attraction. 
 
 The season of 1834-5 opened September 8th, with 
 the stock company in " The Wife," Mr. Duffy following 
 in several of his favorite characters. 
 
 September 24th, James W. Wallack appeared as 
 Hamlet, following as Don Felix (in "The Wonder,") 
 Holla, etc. He had appeared here, for one night only, 
 several years previous. This gentleman was born in 
 London, August 24th, 1794. His father, William, and 
 his mother, were both prominent actors at Astley's 
 amphitheatre. It is said the burning of that establish- 
 ment hastened the entrance of the subject of this sketch 
 into this breathing world. At the age of four his 
 name appeared on a play bill, and he may be said to 
 have been brought up upon the stage, if not born 
 there. He made his American debut September 7th, 
 1818, at the Park, as Macbeth. As a tragedian of the 
 highest class, he was inferior to Cooper, Kean, Booth 
 or Forrest. It was remarked of him that he was first 
 in his line, but that his line was not the first. He 
 retired from the stage in 1859, but in 1861 built the 
 present Wallack's theatre on Broadway, corner of 
 Thirteenth street. For years he was a sufferer from 
 
PLAYERS OF A CENTURY. 185 
 
 gout and asthma, diseases of which he died December 
 25th, 1864, aged seventy. Lester Wallack, his son, 
 was born in America in 1819. 
 
 October 16th, Joseph Proctor made his first appear- 
 ance here, as Damon, and later is found among the 
 stock. This actor's name of late has been more fre- 
 quently associated with the role of the Jibbenainosay 
 than any other. He has been in England and still 
 "stars it"' with small success. He was at the Leland 
 opera house in February, 1876. His wife was Hester 
 Warren, daughter of the old comedian, and sister of 
 the favorite Boston actor. 
 
 In November there was more opera, with Miss Char- 
 lotte Watson as the prima donna. u Rob Roy/' u Der 
 Freischutz," and " Guy Mannering" were played, and 
 the lady also appeared as Little Pickle, and as the Four 
 Mowbrays. It is painful to see that even at this early 
 period the style of advertisement which has of late 
 years become so common, was sometimes resorted to. 
 The Advertiser says : 
 
 Miss Watson, the celebrated vocalist, whose adven- 
 turous flight from London to Dover has been the subject 
 of so much remark, is about to appear on the Albany 
 boards. She is a charming singer, very handsome, 
 spirited and clever. 
 
 The cause of this '" adventurous flight" was none 
 other than Paganini. Miss Watson was a fair-haired, 
 chubby, English blonde, not yet seventeen, when she 
 was engaged by the great violinist to accompany him 
 as a vocalist on his tour through Great Britain. After 
 their travels had ended, he induced her by offers of 
 marriage to elope from her native land and meet him 
 at Boulogne ; but her father, getting wind of the affair, 
 followed, and intercepting her, persuaded or forced her 
 unconditional return, and soon after brought her to 
 America. Paganini invariably asserted the purity and 
 honor of his intentions and even made an open offer 
 for the hand of the lady, which, however, was uncere- 
 moniously declined by the stern-hearted parent. In 
 
186 PLAYERS OF A CENTURY. 
 
 1837, Miss Watson married Mr. Thomas Bailey, of New 
 York. 
 
 November 26th, J. Sheridan Knowles made his first 
 bow to an Albany audience, as William Tell. He also 
 played Master Walter in "The Hunchback," St. Pierre 
 in " The Wife," etc. He was accompanied by his 
 pupil, Miss Emma Wheatley, who supported him in 
 several plays, and also appeared as Juliet. 
 
 Mr. Knowles, the well-known author of " Virginius," 
 " The Wife," " The Hunchback," "William Tell," "The 
 Love Chase," and other dramas, was born in Cork, 
 Ireland, in 1784. His fame as a dramatist is fully 
 merited, but as an actor he was not a success, either in 
 this country or in England. In characters of his own 
 creation, such as Master Walter, Virginius, etc., he 
 developed some new and unexpected beauties, but his 
 tongue betrayed the land of his birth, and he entirely 
 lacked the power to make famous these children of his 
 pen. As a writer of plays, however, he was unrivalled 
 in his day and generation. He returned to England 
 at the close of the season, abandoned the stage and 
 came out as a Baptist minister. He died in England, 
 November 30th, 1862, aged seventy-eight. 
 
 Miss Emma Wheatley was now only fourteen years 
 old. Two years previous, her Arthur in "King John" 
 attracted the admiring notice of Fanny Kemble, who 
 aided and encouraged her, and in June of the year of 
 which we write, she had played Julia in " The Hunch- 
 back " with great success. Mr. Knowles, on his arrival 
 here, w T as so delighted with her, that he made her his 
 pupil, and appeared with her as above stated. She 
 married Mr. James Mason, and died July 16th, 1854. 
 She was an ornament to the stage and to society. 
 
 In December, Miss L^dia Phillips played a star 
 engagement, appearing in the same parts in which 
 Fanny Kemble had won such triumphs. She was a 
 favorite actress at Drury- Lane, but although much 
 admired, followed too closely in the wake of the divine 
 Fanny, to achieve great success. January 1st, 1835, 
 "Faustus," translated from Goethe, was produced by 
 
PLAYERS OF A CENTURY. 187 
 
 the stock company, Duffy in the title role. On the 
 16th, for Mr. Duffy's benefit prior to his departure for 
 the west (Buffalo), "The Exile, or The Desert- of 
 Siberia" was presented; also, "The Deep, Deep Sea," 
 Duffy as the Great American Sea Serpent! 
 
 Mr. Duffy was now building his theatre in Buffalo, 
 and offered a $50 silver cup for a poetical address, not 
 exceeding sixty lines, to be read at the opening. 
 
 In February, Augustus Addams appeared, an actor 
 with as much natural ability as Forrest, but lacking the 
 application to become as successful as his absent rival. 
 He was born in Boston, and went upon the stage in 
 that city, in 1823. He had a good figure, fine features 
 for the stage and a piercing eye. He died in Cincin- 
 nati, March 19th, 1851. ''Jack Cade" was written for 
 Addams, by Judge Conrad. 
 
 In March, " The Last Days of Pompeii" w^as pro- 
 duced with magnificent scenery, and had an extended 
 run. Mr. Oxley, J. W. S. Hows, Miss Virginia Mo- 
 nier and others previously mentioned, played star en- 
 gagements. Mr. John H. Oxley was a native of Phil- 
 adelphia, and a successful manager and star. Hows 
 was a professor of elocution. A more lovely face or 
 figure than that of Miss Monier never graced the stage. 
 She married Capt. Wynne, of the British army, and in 
 1860 was living retired in Boulogne, France. 
 
 April 7th and 9th, Albanians were first treated to 
 Italian opera by the company organized the previous 
 autumn for the new and magnificent Italian opera 
 house, corner of Leonard and Church streets, in New 
 York. Mose in Egitto was sung the first night, and 
 Ulnganno Felice and Edwardo e Christina the second 
 night. The artists were Signorine Clementine and 
 Eosina Fanti, Miss Julia Wheatley, Signori Eavaglia, 
 Parto, Monterasi, Ferrero and Sapignolli. 
 
 On the 24th of April, the theatre caught fire during 
 a performance. The flames originated in the hay loft 
 of a livery stable occupied by Carter & Hazard, corner 
 of Beaver and William, streets. Six buildings were 
 destroyed. The theatre was on fire for more than two . 
 
188 PLAYERS OF A CENTURY. 
 
 hours. The roof, balustrade arid gutter on the north 
 and east sides first caught, and from the height of the 
 building it was with difficulty and delay that water 
 could be thrown upon them. Through the window in 
 the second and third tier of boxes on the north side, 
 the fire made its way into the theatre and for a time it 
 was thought that it would have to go. Hose was 
 carried up into the second and third tiers and the gal- 
 lery, and there the fire was kept in check. The per- 
 formers had fled from the stage (Mr. Addams was on 
 when the fire commenced) and the audience from the 
 boxes. A large number of persons assisted in taking 
 down the scenery and securing the properties. The 
 damage to the building was not over a thousand dol- 
 lars, but Duffy's loss, by the ruin of the scenery, was 
 double that amount. Performances were resumed 
 May 1st, and after two or three nights of Celeste and 
 two or three more of J. Sheridan Knowles, with the 
 rest of the time filled in with the stock company, the 
 season closed June 5th, and Mr. Duffy's theatre in 
 Buffalo being finished, he transferred his company by 
 canal to the "Liverpool of the West," where they 
 remained till the following September. 
 
 The Museum, as yet, had not been used for drama 
 tic purposes to any great extent, but besides the regu- 
 lar collection, there was generally some specialty to 
 be seen or heard in the lecture room, sometimes a 
 dwarf, sometimes a strong man, sometimes a rope 
 dancer and sometimes a comic singer. In June, 1835, 
 the famous Siamese twins were to be seen ; in July, 
 the Industrious Fleas; in November, Joice Heth, 161 
 years of age, according to the advertisement, which 
 announced, further, that " she was the slave of Augus- 
 tine Washington (the father of General Washington), 
 and was the first person to dress the father of his 
 country. She was born in the Island of Madagascar, 
 on the east of Africa, in the year 1674. She weighs 
 forty-six pounds." 
 
 This somewhat notorious curiosity was under the 
 management of Phineas T. Barnum, his first appear- 
 
PLACERS OF A CENTURY. 189 
 
 ance in Albany as a showman. In June previous, he 
 had become the owner of this old negress, paying for 
 her the sum of $1,000. Eeally how old she was or 
 where she came from, he has declared since, he never 
 knew. She was totally blind, and her eyes were so 
 deeply sunken in their sockets that they had disap- 
 peared altogether. Her left arm lay across her breast, 
 with no power to move it. Her finger nails were four 
 inches long, and on her left hand, always closed, 
 extended above her wrist, while the nails on her large 
 toes were nearly a quarter of an inch in thickness. She 
 insisted that she raised "dear little Greorgie," and bills 
 of sale were exhibited to show that she was once owned 
 by the Washington family. When she died, the fol- 
 lowing February, those who had seen her could hardly 
 credit the statement of the doctors who made an 
 autopsy, that she was but little over eighty. She was 
 the first " humbug v with which the prince of hum- 
 bugs ever had any thing to do. He was assisted, at 
 this time, by Levi Lyman, a Penn Yan lawyer, who 
 did the exhibiting. 
 
 The Siamese twins, Chang and Eng, however, were 
 no humbug. They were at this time 24 years old, 
 having been born in 1811. Thev were exhibited in 
 Europe and the United States, and finally retired to a 
 farm in North Carolina, where they died within a few 
 hours of each other, January 17th, 1874. They were 
 united by the xiphoid region of the sternum, and ex- 
 amination after death showed that any attempt to 
 separate them would probably have resulted fatally. 
 Each was married and had several children, none of 
 whom were different from other people. 
 
 In September, Mr. Duffy and his company returned 
 triumphantly from Buffalo, where since June they had 
 played with great success in the new theatre. On their 
 way home they played two weeks in Eochester. Duffy 
 made money in Buffalo and was a great favorite there. 
 It was the intention to open here September 21st,with 
 Celeste, but she broke her engagement and Duffy 
 brought suit against her, which was finally settled by 
 
190 PLAYEKS OF A CENTURY. 
 
 the lady's paying a good round sum to make good her 
 delinquency. 
 
 Mr. Coney and his trained dogs, Hector and Bruin, 
 were engaged in place of Celeste, and "The Cherokee 
 Chief," "Forest of Bondy " and "The Planter and His 
 Dogs," were played, in all of w r hich the canine actors 
 were the chief attractions. 
 
 We shall pass over the season without further re- 
 mark, till w r e reach the grand 'complimentary benefit 
 given Manager Duffy, on the 8th of December, when 
 one of the most brilliant audiences ever seen in an 
 Albany theatre, were assembled. It is interesting to 
 see how such an affair was " worked up," and in order 
 to show who were regarded as the supporters of the 
 drama, at this time, we give the preliminary details 
 and first, the following notice was published : 
 
 A meeting will be held at the American Hotel, on 
 Tuesday evening, November 24th, at 7 o'clock, to take 
 into consideration the practicability of giving a compli- 
 mentary benefit to William Duffy, the manager of the 
 Albany theatre. 
 
 Erastus Corning, J. Thomas, 
 
 E. Livingston, C. Wendell, 
 
 A. Blanchard, R. G. Cruttenden, 
 
 J. B. Van Schaick, C. Egberts, 
 
 A. James, J. G. Mather, 
 
 G. W. Ryckman, John Davis, 
 
 E. Wilson, Salem Dutcher, Jr., 
 
 P. V. Shankland, James Gough, 
 
 G. Brinckerhoff, Thomas Lee, 
 
 Robert Martin, S. D. W. Bloodgood, 
 
 Barent B. Staats, C. F. Pruyn, 
 
 C. Bryan, A. D. Lansing, 
 
 P. K. Cole, James McKown, 
 
 Erastus Miller, Isaiah Townsend, 
 
 H. Moore, A. French, 
 
 William Thorne, Parker Sargent, 
 
 H. Bleecker, S. S. Benedict, 
 
 J. K. Paige, P. Relyea, Jr., 
 
 J. T. B. Van Vechten, A. B. Shaw, 
 
 M. H. Webster, John P. Cassidy, 
 
PLAYERS OF A CENTURY. 191 
 
 Peter S. Henry, P. S. Van Ingen, 
 
 J. V. L. Pruyn, D. B. Gaffney, 
 
 William Seymour, C. A. Johnson, 
 
 J. V. R. Ableman, John Van Buren, 
 
 Henry Chapman, James White, 
 
 T. Weed, William Gillespie, 
 
 J. M. French, A. S. Townsend, 
 James T. Hildreth. 
 
 The proceedings of the meeting were made public in 
 the following report : 
 
 At a meeting held pursuant to a call published in the 
 daily papers of this city, at the American Hotel, on 
 Tuesday evening, November 24th, his Honor, the Mayor, 
 was called to the chair and George Brinckerhoff 
 appointed secretary. 
 
 E. Livingston, Esq., briefly addressed the meeting, 
 urging the propriety of the proposed measure ; where- 
 upon, 
 
 On motion of Alderman Seymour, it was resolved that 
 a committee of five from each ward be appointed to 
 take the matter into further consideration ; and should 
 they deem it expedient to give the proposed benefit, 
 that they be clothed with full power to designate the 
 time, prescribe the manner, and make the necessary 
 arrangements for that purpose. (Subsequently, on 
 motion of H. Moore, Esq., an additional member was 
 placed on the committee from the First ward.) 
 
 The following gentlemen were appointed said com- 
 mittee : 
 
 First ward — James McKown, Isaiah Townsend, Jared 
 L. Rathbone, John E. Lovett, John Thomas, N. M. 
 Hazard. 
 
 Second ward — Win Seymour, S. S. Benedict, John 
 Van Buren, Anthony Blanchard, Thomas Lee. 
 
 Third ward — Edward Livingston, J. B. Van Schaick, 
 Gerrit W. Ryckman, Robert Martin, Thomas W. 
 Harman. 
 
 Fourth ward — James G. Mather, Geo. Guardenier, 
 James Mahar, Philo K. Cole, Benjamin Raymond. 
 
192 PLAYERS OF A CENTURY. 
 
 Fifth ward — J. T. B. Van Vechten, Wm. Gillespie, 
 Harman V. Hart, Henry Chapman, James White. 
 
 On motion, the chairman and secretary were added to 
 the committee. 
 
 Ordered, That the committee meet at the American 
 Hotel, Wednesday evening, at six o'clock. 
 
 The meeting was then adjourned. 
 
 Erastus Corning, Chairman. 
 
 Geo. Brinckerhoff, Secretary. 
 
 Of course, the committee resolved that the proposed 
 benefit should be given and given it was with eclat 
 A floor was laid over the pit and sofas placed thereon. 
 The price of tickets was raised to $3. The governor, 
 the mayor and most of the state and municipal officers 
 were present. Mr. Duffy was received with the greatest 
 enthusiasm. The following was the bill: 
 
 THE LOAN OF A LOVER. 
 
 Peter Spyke Mr. Hamilton 
 
 Swyzle Mr. Greene 
 
 Gertrude Mrs. Richardson 
 
 Overture by the Orchestra. 
 
 FOURTH ACT OF MERCHANT OF VENICE. 
 
 Shylock Mr. J. R. Scott 
 
 Gratiano Mr. Duffy 
 
 Portia Mrs. Greene 
 
 Nerissa Mrs. Dunham 
 
 Music by Albany National Band. 
 
 FAMILY JARS. 
 
 Delph Mr. Barnes 
 
 Recitation of Anthony's oration over the dead body of 
 Julius Caesar, by Mr. Oxley. 
 
 CRITIC. 
 
 Puff Mr. Duffy 
 
 The following address, written by Mr. Hugh Moore, 
 of Albany, was spoken by Mrs. Greene, and called out 
 (particularly the allusion to Forrest and Duffy) a warm 
 response from the audience : 
 
 Friends of the drama, Friends to every part 
 Of human action that improves the heart — 
 Friends to the free-born sentiment that blends 
 Alike the names of rich and poor as friends — 
 
PLAYERS OF A CENTURY. 193 
 
 While your good wishes form a wreath of smiles, 
 To cheer us onward in our path of toils, 
 Free be the offering that our feelings lend 
 The Drama's patron and the Actor's friend. 
 
 Friends of the Drama in the ancient time, 
 
 When Fancy's flower bedecked the wings of rhyme, 
 
 When Shakspeare flourished, and when Genius hurled 
 
 The shafts that pierced the follies of the world — 
 
 Then woke the Drama from its night of gloom — 
 
 A morning sun beamed o'er a mouldy tomb. 
 
 Oh, may the beam thus snatched from early night 
 
 A beacon serve from Superstition's night! 
 
 From thoughts thus sacred to the "march of mind," 
 We homeward turn, and leave an age behind 
 Where erst arose the humble roof, and where 
 The words of genius wasted on the air, 
 Now stands the temple of the Drama's cause — 
 Where tyrants tremble, and where bigots pause, 
 Here, nursed in friendship, Forrest gained a name 
 High in the niche of histrionic fame, 
 And all that cheered him, in his lone career, 
 'Twas tMne to give — his nature to revere. 
 Thus be thy aim — and long may Duffy prove 
 That sterling talent merits public love. 
 
 Friends of the Drama, in a scene like this, 
 
 Where patrons smile, all language proves amiss. 
 
 Save the kind tones that gratitude imparts — 
 
 The words of friendship gushing from our hearts. 
 
 To female beauty, as the brightest gem 
 
 That throws its light over woman's diadem — 
 
 We proffer virtue — as the choicest part 
 
 Of modern drama in the human heart. 
 
 We proffer friendship as a kind behest, 
 
 To warm the feelings of the human breast. 
 
 We proffer love — nay, ladies, do not start, 
 
 'Tis but the offering of a grateful heart, 
 
 Too full to give the sentiment its due, 
 
 When all its magic beams, at once, from you. 
 
 Thus did the city of his birth delight to honor its 
 favorite actor, little thinking that in a few weeks more 
 it would be called to lament his untimely death. Yet 
 so it was. On the 9th of February, 1836, a perform- 
 ance was given for the benefit of the poor. On the 
 10th, the season closed. As Duffy came off the stage, 
 he said to some one behind the scenes, " I am through 
 now; I am going to take a good long rest." His rest 
 was indeed a long one ; he never acted more. 
 17 
 
194 PLAYEES OF A CENTUKY. 
 
 It appears that John Hamilton, a comedian of the 
 company, and a favorite actor, but a dissipated man, 
 had got into trouble with the manager. Some time 
 previous, Hamilton and Leslie, the scene-painter, had 
 hired a horse from Harris, driven it to Troy, and, 
 through some accident, the horse was killed. Harris 
 held the two men responsible, and Hamilton, having 
 nothing, Mr. Duffy assumed his share of the payment, 
 some seventy dollars. This was by no means the first 
 kindness Duffy had shown the misguided man, but in 
 his cups he forgot it all, and abused his benefactor to 
 his face and behind his back, until it became unbeara- 
 ble. On the night in question, Hamilton had acted so 
 outrageously behind the scenes that Duffy called for 
 an officer, and, as he supposed, had Hamilton locked 
 up in jail. He was not deprived of his liberty, how- 
 ever, and some time later, Duffy, in going to his bed- 
 room in the theatre, passed through Washington hall, 
 adjoining that building on the south, and there 
 encountered Hamilton. An altercation was followed 
 by a struggle, and poor Duffy was stabbed in the 
 abdomen. Two citizens who interfered, also received 
 slight wounds from the infuriated actor, who was 
 arrested and subsequently committed in default of 
 $2,000 bail. Duffy was taken to his room and after- 
 wards home to the building northeast corner of James 
 street and Maiden lane, where, after lingering till March 
 1 2th, he expired. 
 
 Hamilton was arrested, indicted for murder, and 
 tried April 29th and 30th in the Oyer and Terminer, 
 before James Vanderpool, circuit judge. The prose- 
 cution failed to show that the deed was premeditated, 
 and the prisoner was acquitted. It was afterwards 
 alleged that the principal witness was bribed to leave 
 town and could not be found. But, though Hamilton 
 escaped the punishment of the law, retribution was 
 none the less certain. He was overwhelmed with 
 remorse, declaring, while in jail, that he had killed 
 the best friend he ever had. It is said he was, after- 
 wards, subject to fits of insanity, in which he was 
 
PLAYERS OF A CENTURY. 195 
 
 haunted by the imagined form of his victim, and 
 that his terror was snch. as to horrify all beholders. 
 He is generally supposed to have died in one of his 
 raving fits, in an obscure village in Tennessee. 
 
 In noticing Mr. Duffy's death, The Argus says, 
 editorially : 
 
 In his protracted suffering, during which his fortitude 
 has been no less remarkable than his strength of consti- 
 tution, he has received the unremitting attention of Drs. 
 J. McNaughton and B. P. Staats; but, although faint 
 hopes were at one time entertained of his recovery, it 
 has now been found, that from the nature of the injury, 
 no human skill could have preserved his life. 
 
 The death of Mr. Duffy will be regarded as a public 
 loss. In his capacity as a manager, he displayed an 
 activity and enterprise which gave a high character to 
 the Albany theatre. His perseverance under discour- 
 agements, sufficient to overcome most men, and judicious 
 husbanding of the means which favorable seasons gave 
 him, enabled him to manage successfully, and with profit 
 to himself and the public, an establishment in which, 
 we believe, every one of his predecessors failed. As an 
 actor, he was entitled to a high rank, though his busi- 
 ness engagements necessarily prevented the closet prep- 
 aration which has been pronounced indispensable to 
 histrionic excellence. Many of his efforts, not withstand- 
 mg, evinced a vigorous and a polished genius, and in 
 some characters in the highest walks of the drama, he 
 was acknowledged to be unsurpassed. As a citizen, he 
 was public-spirited, liberal and upright. As a man, 
 high-minded, social and benevolent. Few, indeed, are 
 there among his acquaintances, who will not deplore the 
 event which has cut off from their society, in the vigor 
 of manhood, and under circumstances so afflicting, one 
 whose qualities of head and heart were so well calculated 
 to endear him to all. 
 
 Mr. Duffy was a nath e of this city, and is mourned 
 by numbers bound to him by the ties of kindred, as well 
 as by his youthful associates and the friends of his 
 mature years. Although young, his professional reputa- 
 tion stood high in other cities, and he was, for a number 
 of years, a manager, jointly with Mr. W. Forrest (who 
 
196 PLAYERS OF A CENTURY. 
 
 died two years since), of a theatre in Philadelphia. He 
 had been an early companion of Edwin Forrest, whose 
 friendship he always retained and reciprocated. Here, 
 however, where his professional career began and ended, 
 and where he had come to be a universal favorite, his 
 loss will be most deeply felt. 
 
 In "The Theatrical Rambles of Mr. and Mrs. John 
 Greene," edited by Mr. Charles Durang, for the New 
 York Clipper, the particulars of the tragedy are fully 
 given. The company, immediately after the night of 
 the quarrel, proceeded to Troy, and played on the com- 
 monwealth plan, with Greene at their head. The 
 account continues: "While they were playing one night, 
 to a full house, the play of "Pizarro," Charles Webb 
 as Holla, about the third act, the company received the 
 news of Mr. Duffy's death. The intelligence was 
 received with a shock to their feelings, as they were 
 impressed with the belief that their manager's recovery 
 was quite certain. They felt it the more as they hon- 
 ored and loved the man for his friendly and parental 
 care of their interests and welfare. He had some 
 hauteur about him at times, but his heart was benevo- 
 lent. Mr. Greene announced the melancholj* event to 
 the audience, with oppressed feelings, at the end of the 
 act, saying, in a faltering voice, that 'the memory of 
 their manager was dear to them, by all revered, and 
 when only assured but yesterday, by his medical 
 attendants, of his safety, the sudden news of his death 
 overwhelmed his brother performers with regret and- 
 sorrow. To alleviate our oppressed feelings, and out 
 of respect to his memory, the company, through me, 
 desire to close the performance of the evening with the 
 act just finished. The audience can have their money 
 restored at the box office.' The audience, a motley 
 gathering of hard-working mechanics, quickly withdrew 
 from the house, not one demanding the price of his 
 ticket. The entire troupe started at once to attend the 
 funeral, which was large and imposing." 
 
 After Hamilton was acquitted, he showed Greene a 
 large lump of opium which he had concealed in the 
 
PLAYERS OF A CENTURY. 197 
 
 lining of his coat, and which he said he would sooner 
 have swallowed than have endured a term at state 
 prison. 
 
198 
 
 CHAPTER XVI. 
 
 1836-1839. 
 
 Last Years of the Old Pearl Street Theatre. 
 
 K FTER the death of Duffy, Messrs. Dinneford& Blake 
 ■^ assumed the management of the theatre, opening 
 May 4th, 1836, with "The School for Scandal." The 
 company, said to have been the strongest since the days 
 of Gilfert, included Thomas Placide, W. R Blake, John 
 Mills Brown, Messrs. Davis, Foote, Thayer, Isherwood, 
 McConacky, Gibson, Percival, Flynn, Miller, Winchell, 
 Miss Emma Wheatley, Miss A. Fisher, Mrs. Stickney, 
 Mrs. DeGrouch, Miss Anderson and Miss Powell. 
 Henry Placide played a star engagement and afterwards 
 several very showy pieces were brought out. One of 
 them, " The Jewess,' 1 had a run of ten or twelve nights, 
 and J. R. Scott, Celeste and other stars appeared, the 
 season closing July 16th. Scott was a native of Phila- 
 delphia, born October 17th, 1808, and died in the same 
 city, March 2d, 1856. He was at one time a very prom- 
 ising tragedian. 
 
 Of Blake, we have spoken, when he was a member 
 of Gilfert's company. It was in Albany, at the old 
 Thespian hotel, he made his first appearance in the 
 United States, in 1823, being then announced as "from 
 England.' 1 He had, however, never been further from 
 his birthplace, Nova Scotia, than the West Indies. 
 He was now a very handsome man, but a notorious 
 rake. During his management here, he made money, 
 but was extravagant and left town much in debt. His 
 partner, William Dinneford, was an Englishman who 
 had had some experience as manager of the little 
 
PLACERS OF A CENTURY. 199 
 
 Franklin theatre, in New York, and was managing it 
 at this time. The company above mentioned was 
 recruited from that establishment, Dinneford died 
 December 8th, 1871. 
 
 The fall season opened September 5th, under the 
 same management, with "The Golden Farmer'' and 
 "Catching an Heiress/' Among the additions to the 
 company were Mr. Field, Mrs. Dunham, afterwards 
 Mrs. Innes, and Mrs. Blake. J. R Scott came again, 
 and was supported by Ingersoll, who played second, 
 and by Miss Verity. Mr. and Mrs. Harrison also 
 played here at this time. He was a promising come- 
 dian, afterwards killed by drink. She was a sprightly 
 little lady, well adapted to juvenile parts. John Sefton 
 also starred here with success. His great hit was as 
 Jemmy Tvjitcher in "The Golden Farmer." 
 
 On the 10th of October, Booth began an engage- 
 ment, and on the 1 1th, in playing Macbeth, was sup- 
 ported by Charlotte Cushman. as Lady Macbeth, the 
 first appearance on the Albany boards of the lady, 
 who was, afterwards, the most celebrated actress 
 America has yet produced. But she was by no means 
 celebrated at this time, and onl}- too glad to secure a 
 place in the stock company of the little Pearl street 
 theatre. In order to explain how she happened to do 
 so, we must go back a little ways in her history : By the 
 bankruptcy of her father, she was obliged, at the age 
 of thirteen, to leawe school and prepare, in some way, 
 to help support the family. Her remarkably fine con- 
 tralto yoice indicated that the branch for her to pursue 
 was music, and to this, she gave assiduous attention. 
 She was studying in Boston, her natiye city, when the 
 Woods appeared there in opera, and through the 
 influence of Mrs. Wood, she became an articled pupil 
 of James Gr. Maeder, who had come out with the Woods 
 from Europe, and was their musical director. Under 
 his instruction. Miss Cushman, in April. 1855. made 
 her debut in the Tremont*theatre, as the Countess Alma- 
 viva, in the opera of *'The Marriage of Figaro," Mrs. 
 Maeder (Clara Fisher) as Susanna. The debut was a 
 
200 PLAYERS OF A CENTURY. 
 
 success, and Miss Cushman went with tbe Maeders to 
 New Orleans, but there, for some cause, her voice sud- 
 denly failed her. Mr. Maeder has been blamed for 
 this, as it has been said that he endeavored to force 
 her voice up to the soprano register. Mrs. Maeder 
 said, recently, that the real cause of Miss Cushman's 
 change of intent was, that she found the work of 
 practicing too arduous, and besides, was badly u stage 
 struck." Mr. Caldwell, manager of the New Orleans 
 theatre, advised her to give up singing for acting, and, 
 glad to have her own wish seconded, she embraced the 
 opportunity to play Lady Macbeth, to Mr. Barton's 
 Macbeth, and was again successful. She was now 
 nineteen years old, having been born July 23d, 1816. 
 At the close of the season, she came north, and partly 
 through Mr. Bartons recommendation, secured a lead- 
 ing position for three years, under Mr. Hamblin's man- 
 agement, to play first at the Bowery and then elsewhere. 
 She had no wardrobe, and no money to get it. Mr. 
 Hamblin became responsible for the debt incurred in 
 purchasing one, and was to pay himself five dollars a 
 week out of her salary. She had acted but a few 
 nights, when the Bowery theatre, as it had an unfortu- 
 nate habit of doing: everv few months, burned to the 
 ground, and Miss Cushman's wardrobe, left there, 
 because she felt it was not hers till paid for, was con- 
 sumed ; her debt upon it undischarged, and her three 
 years' contract ended in smoke. To add to her embar- 
 rassment, a few weeks previous, deeming herself 
 independent, she had induced her mother to give up 
 keeping boarders in Boston, and come on to New 
 York, with one or two children. Having, therefore, 
 more than herself to provide for. Miss Cashman 
 applied to Mr. Dinneford, of the Franklin theatre, for 
 an engagement at Albany, where she could get practice, 
 and, at the same time, be near enough to New York 
 to take advantage of any, opening that might be 
 offered. He gave her an engagement of five weeks, 
 and she came up at once, accompanied by her mother 
 and youngest brother, and made her first appearance 
 
PLAYERS OF A CENTURY. 201 
 
 as we have stated. She was, at this time, to quote her 
 own words, "tall, thin and lanky," but with a figure 
 that attracted attention, on the stage or on the street. 
 She, her mother and sister Susan, boarded at the 
 Rising Sun tavern, corner of Beaver and Pearl streets, 
 for a time, and also at the Republican hotel, corner of 
 Hudson and Liberty streets. The young actress soon 
 became quite a prominent member of Albany society. 
 Stone, in his "Reminiscences." speaks in particular of 
 her appearance at the Firemen's ball, given at the 
 theatre (March 14th, 1837), where, "in all the fresh- 
 ness and bloom of youth, magnificently attired, her 
 head adorned with an immense and beautiful Bird of 
 Paradise, as she threaded the mazes of the dance, or 
 moved gracefully in the promenade, her stately form 
 towering above her companions, she was the observed 
 of all observers, the bright, particular star of the even- 
 ing." She, herself refers to this, her first long engage- 
 ment, with evident pleasure. She writes: 
 
 " I became a great favorite. At the hotel where we 
 lived there also boarded a number of the members of the 
 state legislature. I became acquainted with many of 
 them, who were very kind to me. It became known 
 that Governor Marcy was a cousin of my mother. He 
 was a man held in high estimation, and this fact may have 
 bettered my position socially, though he was then sena- 
 tor at Washington. It had been jokingly remarked 
 often that more of the members of both houses could be 
 found at my benefit than at the Capitol." 
 
 Yet in spite of this gaiety. Charlotte Cushman had, 
 to use her own words again, already experienced "the 
 first spring storm and hurricane of young disappoint- 
 ment." Why she never married was a secret never 
 made public. The only allusion on record made by 
 herself to the subject, is in a letter referring to just this 
 period in her life spent in Albany. She writes : 
 
 "There was a time in my life of girlhood, when I 
 thought I had been called upon to bear the very hardest 
 thin^ that can come to a woman. A verv short time 
 
202 PLAYEES OF A CENTURY. 
 
 served to show me, in the harder battle of life which 
 was before me, that this had been but a spring storm, 
 which was simply to help me to a clearer, better, richer 
 and more productive summer. If I had been spared 
 this early trial, I should never have been so earnest and 
 faithful in my art ; I should still have been casting 
 about for the 'counterpart' and not given my entire 
 self to my work, wherein and alone I have reached any 
 excellence I have ever attained; and through which alone 
 I have received my reward. God helped me in my art 
 isolation, and rewarded me for recognizing Him and help- 
 ing myself. This passed on ; and this happened at 
 a period in my life when most women (or children, 
 rather) are looking to but one end in life, — an end, no 
 doubt, wisest and best for the largest number, but which 
 would not have been wisest and best for my work, and 
 so for God's work. ****** 
 
 " Then I lost my younger brother, upon whom I had 
 begun to build most hopefully, as I had reason. He was 
 by far the cleverest of my mother's children. He had 
 been born into greater poverty than the others ; he 
 received his young impressions through a different 
 atmosphere ; he was keener, more artistic, more impul- 
 sive, more generous, more full of genius. I lost him by 
 a cruel accident, and again the world seemed to liquify 
 beneath my feet, and the waters went over my soul. It 
 became necessary that I should suffer bodily to cure my 
 heart-bleed. I placed myself professionally where I 
 found and knew all the mortifications in my profession, 
 which seemed for the time to strew ashes over the loss 
 of my child-brother (for he was my child and loved me 
 best in all the world), thus conquering my art, which, 
 God knows, has never failed me — never failed to bring 
 me rich reward — never failed to bring me comfort. I 
 conquered my 'grief and myself. Labor saved me then, 
 and always, and so I proved the eternal goodness of 
 God." 
 
 This brother of whom she speaks, was eleven years 
 old. She had placed him at school in Albany, and 
 given him a horse to ride. While absent with his 
 teacher in Vermont, on a vacation, the horse threw his 
 young rider and trampled out his brains. The jacket 
 
PLAYEES OF A CENTURY. 203 
 
 which the poor bpry wore at the time was always pre- 
 served, and went with her from place to place, in all 
 her wanderings. 
 
 In a previous chapter, it has been shown that it was 
 in Albany, that the genius of Edwin Forrest, America's 
 greatest actor, was first appreciated and encouraged ; 
 that here, on the boards of the old Pearl street theatre, 
 he took the first steps in that career, which led to fame 
 and fortune. It is a coincidence quite too remarkable 
 to pass over unnoticed, that this same theatre was also 
 the school in which Charlotte Cushman first began the 
 training, and developed the abilities that made her 
 the greatest actress the country has produced. True, 
 her dramatic debut was made in New Orleans, and she 
 played a week or so in New York, but that was all. 
 She then came to Albany, played Lady Macbeth, as we 
 have stated, and began the arduous " practice" which 
 she so much desired. 
 
 On the 31st of October, she took a benefit, appear- 
 ing as Count Belino. in the opera of " The Devil's 
 Bridge," and also recited an original poetic address to 
 the firemen, written by herself and inspired, no doubt, 
 by her own recent losses. In November, Dinneford 
 withdrew from the management, but Miss Cushman 
 continued with the company during the winter. Among 
 the characters which she played, were the following: 
 Helen McGregor, in "Bob Roy'" (for Jo. Cowelfs bene- 
 fit); Alicia, in " Jane Shore": Henry, in "'Speed the 
 Plough"; Floranthe. in "The Mountaineers " : Mrs. 
 Holler, in "The Stranger"; Mrs. Lionel Lynx, m 
 "Married Life" : Joan, in "Joan of Arc"; Margaret, 
 in u Margaret of Burgundy" ; Jack Horner, in " Gre- 
 ville Cross, or the Druids' Stone " : Louise, in " Norman 
 Leslie"; Emilia, in "Othello": Alvedson, in "The 
 Two Gallejr Slaves " ; George Fairman, in " The Liberty 
 Tree, or Boston Boys in 1773 " (for her own benefit, 
 when she also recited an eulogy on Edwin Forrest*) ; 
 
 * We have some curiosity about this eulogy, but are unable to gratify it. 
 Probably it was original with Miss Cushman, and, undoubtedly, highly com- 
 plimentary to its subject. In after life her opinions changed somewhat. She 
 used to declare that Forrest was "a butcher," and as for Forrest, he insisted 
 that Charlotte Cushman was not a woman even, let alone being womanly. 
 
204 PLAYERS OF A CENTURY. 
 
 Lucy Clifton, in " The Fiend of Eddystone " ; Henry 
 Germain, in " The Hut of the Hed Mountain " ; Portia, 
 in u The Merchant of Venice " ; Julia, in " The Hunch- 
 back " ; Tullis, in " Brutus " ; Jorilda, in " Tirnour the 
 Tartar"; Belvidera, in " Venice Preserved"; Roxana, 
 in " Alexander the Great"; and Romeo, in " Romeo 
 and Juliet." 
 
 With the exception of Lady Macbeth, Helen McGregor, 
 Alicia and Mrs. Holler, these were probably " first 
 times" for Miss Cushman. On the occasion of Master 
 Burke's benefit. December 14th, she also appeared as 
 the Young Genius of Liberty, and recited a patriotic 
 address. 
 
 At her farewell benefit, April 1st, 1837, she plaj^ed 
 Romeo. The Advertiser says : " Tt was received with 
 enthusiastic applause. At the close of the farewell 
 song, a very beautiful wreath was thrown upon the 
 stage, which was placed on the head of the fair bene- 
 ficiary by Mr. Nickinson, who led her on the stage. 
 Miss Cushman is about leaving us, but we hope only 
 for a short time, as we feel she has no warmer or dearer 
 friends than the Albanians." 
 
 In June, she came again and played a few nights and 
 then went starring to Buffalo and Detroit. In Septem- 
 ber, she began a three years' engagement at the Park 
 theatre. It is not our intention to follow this lady 
 through her professional career. Her "Letters and 
 Memories," edited by Miss Stebbins, are published, and 
 available to all. It is well, however, to note briefly 
 the principal points in her life. After leaving the 
 Park, she went to Philadelphia and assumed the man- 
 agement of the Walnut street theatre. When Ma- 
 cready visited America in 1844, she engaged to sup- 
 port him in his tour through this country, and after- 
 wards went to England, where, after many discourage- 
 ments, she obtained a London engagement, which proved 
 a triumphant success. She played also with Forrest, 
 and for the first time the British public were made 
 aware that actors were one of the American products. 
 So successful was Miss Cushman in England, that her 
 
PLAYERS OF A CENTURY. 205 
 
 family moved over there. Her sister Susan appeared 
 as Juliet to her Romeo 1 for thirty-two nights, at the 
 Princess's theatre. (Susan subsequently married Pro- 
 fessor Muspratt, retired, and died in 1859.) Charlotte 
 returned to this country in 1849, bringing with her 
 Mr. G. W. Couldock as her support. She crossed the 
 ocean sixteen times; she "retired"' from the stage 
 almost as many times. She spent many years in Rome. 
 During the war, she gave five performances, which 
 netted over S8,000, for the benefit of the Sanitary 
 commission. In 1871 she began her dramatic read- 
 ings, which were highly successful. Her final farewells 
 to the stage were undertaken in the autumn of 1875, 
 and the great ovation at Booth's theatre, with the ode 
 by Stoddard and the presentation of the laurel by 
 William Cullen Bryant, was one of the most brilliant 
 events in stage history. Her last appearance in Albany 
 was in readings at Tweddle hall, February 5th, 1875. 
 She died at the Parker house, in Boston, February 
 18th, 1876, aged sixty. 
 
 As a errand actress, Charlotte Cushman stands alone 
 and unapproached among the natives of American soil. 
 In her younger days, she may have been versatile, as 
 indeed the list of characters given above would seem 
 to indicate, but she was ever best in tragedy or lurid 
 melodrama. Her first great hit in New York was as 
 Nancy Sykes. She could assume male characters with 
 less incongruity than almost any other woman. Her 
 Romeo was a grand success. The London Times said : 
 " It is far superior to any Romeo we have ever had."' 
 She was the only woman who assumed the role of Car* 
 dinal Wolsey. Meg Merrilies was the character with 
 which she was most closely identified, but Queen Kath- 
 arine was undoubted^ her greatest personation. 
 William Winter, with his usual just discrimination, 
 says: 
 
 "She was not a great actress merely, but she was a great 
 woman. She did not possess the dramatic faculty apart 
 from other faculties, and conquer by that alone ; but hav- 
 ing that faculty in almost unlimited fullness, she poured 
 
 18 
 
206 PLAYERS OF A CENTURY. 
 
 forth, through its channel, such resources of character,, 
 intellect, moral strength, soul, and personal magnetism,. 
 as marked her for a genius of the first order, while they 
 made her an irresistible force in art. When she came 
 upon the stage, she filled it with the brilliant vitality of 
 her presence. Every movement that she made was win- 
 ningly characteristic. Her least gesture was eloquence. 
 Her voice, which was soft or silvery, or deep or mellow,, 
 according as emotion affected it, used now and then to 
 tremble, and partly to break with tones that were 
 pathetic beyond description. These were denotements 
 of the fiery soul that smouldered beneath her grave 
 exterior and gave iridescence to every form of art that 
 she embodied." 
 
 With all her genius, she possessed enough Yankee 
 thrift to accumulate her earnings, and died worth 
 $600,000. She was buried at Mount Auburn. 
 
 William R. Blake became sole manager of the thea- 
 tre November 28th, 1836, and had a new proscenium 
 erected and a new drop curtain painted. His com- 
 pany consisted of Messrs. Lyne, Russell, Nickinson, 
 Gibson, Madison, Germon, Roberts, Lansing, Sharitt r 
 Stearns, Duff, Brown, Warner, J. Mills Brown and 
 R Farrell ; Mrs. Blake, Miss C. Cushman, Miss Vir- 
 ginia Monier, Mrs. Dunham, Mrs. Monier and a corps 
 de ballet. 
 
 For Mrs. Dunham's benefit, January 25th, 1837 r 
 Othello was played by a " Young Roscius, fourteen 
 years of age," Mrs. Dunham as Desdemona, and Char- 
 lotte Cushman as Emilia. The Young Roscius was 
 -Frank Briare, at thattimequitealocal dramatic prodigy. 
 His wig fell off in one of the most thrilling scenes, but 
 on the whole, the performance was successful. 
 
 The next night, T. B. Russell, a vocalist, took a 
 farewell benefit, One of the papers said: "He is 
 about leaving the Albany theatre, because he will not 
 submit to the terms of the manager, to be cut down to 
 two-thirds of his salary, and at a time, too, when every 
 thing is in the advance, and consent to play for ten 
 dollars per week in an arduous profession, which 
 
PLAYERS OF A CENTURY. 207 
 
 requires years of labor and study, to arrive even at 
 mediocrity." 
 
 February 20th, Charles H. Eaton began an engage- 
 ment, which was extended several weeks, on account 
 of the favor with which this tragedian was received. 
 It was his first visit to Albany. He appeared as Richard, 
 The Stranger, Shylock, Master Walter, Sir Edward Morti- 
 mer, Brutus, Sir Giles. Jaffier, Damon, Hamlet, etc. 
 Charles H. Eaton was born in Boston, June 10th, 1813, 
 and manifesting early proclivities for the stage, studied 
 arduously and, at the age of twenty, made his debut at 
 the Warren street theatre, in Boston, as The Stranger, 
 for the benefit of Reuben Meer (long a stock actor in 
 Duffy's company). The debutant won a triumphant 
 success. The Boston critics were enraptured with 
 him. When the Kembles came, a petition, numerously 
 signed by distinguished citizens, was presented to the 
 management, asking that young Eaton be permitted 
 to play with these renowned artists. The request was 
 granted, and young Eaton's Master Walter to Fanny 
 Kemble's Julia, was another marked success. He was 
 a handsome man, with classical features, five feet six 
 and a half inches in height, of full chest, graceful 
 carriage and well developed muscles. His starring 
 tours were universally profitable to star and manager, 
 and young Eaton promised fair to become a worthy 
 companion of Forrest and Addams. But his career 
 was cut short. While playing an engagement at Pitts- 
 burgh, in 1842, he was seized with vertigo in going to 
 his chamber, and fell down the well stairway, a distance 
 of forty feet, to the marble flags below. His skull 
 was fractured, and one arm was broken. He lingered 
 several days and then died, at the early age of thirty. 
 He was an original actor : his performances all bore 
 an intellectual impress, and as a reader of Shakspeare, 
 he was unsurpassed. 
 
 The season closed April 18th, and another began 
 May 1st, under the same management. Among the 
 additions to the company, were a Mr. Enkins and the 
 still beautiful Mrs. George H. Barrett. Mr. J. R 
 
208 PLAYERS OF A CENTURY. 
 
 Scott was the star. On the 9th of May, Danforth 
 Marble began an engagement in "Sam Patch," a play 
 written for him by E. H. Thompson. Five years 
 before, Marble, a native of Danbuiy, Connecticut, had 
 paid a New York manager twenty dollars, for the 
 privilege of appearing as Robin Roughhead. He after- 
 wards became a favorite Yankee comedian, of the Hill 
 type, and in the south and west was one of the most 
 attractive stars that traveled there. He was also well 
 received at the Strand theatre, in London. He married 
 a sister of William Warren, the well-known Boston 
 comedian, and after accumulating about $25,000, died 
 in Louisville, of cholera, aged thirty-nine, and is buried 
 in Buffalo. His funeral sermon was preached by Rev. 
 C. B. Parsons, whom we have mentioned before as a 
 very bad actor, who sometimes played traged}^. 
 
 Parsons was converted at Louisville, by a celebrated 
 evangelist, named John N. Maffit, The actor was 
 playing an engagement at the Louisville theatre, and 
 if we may believe the report of the affair, the build- 
 ing was crowded to excess, to witness his performance 
 of Othello. (If Parsons drew crowded houses, Louis- 
 villains could not have been very particular about 
 their tragedy.) The manager announced that there 
 could be no performance that evening, owing to the 
 surprising conversion of the principal actor, who 
 declined to act any longer, although billed and bound 
 to do so. This statement was received with indigna- 
 tion, and several voung people ran into Maffit's meet- 
 ing, calling loudly for "Othello! 1 ' " Othello!" The 
 preacher stopped his sermon and the actor, who was 
 present, walked into the broad aisle and in the most 
 emphatic manner possible, exclaimed : 
 
 " Othello's occupation 's gone." 
 
 He then began his first exhortation, saying that a 
 change had come over the spirit of his dream ; that 
 he-had fretted his brief hour upon the stage of Thespis, 
 and, henceforth, would frequent only the house of 
 prayer and the temple of Zion ; that he had left the 
 
•PLAYERS OF A CENTURY. 209 
 
 sock and buskin for the sword and hemlet of righteous- 
 ness, and that instead of lighting Shakspeare's mimic 
 battles any longer, he should, hereafter, right only 
 "under the banner of the Cross, and closed by exhorting 
 liisold friends to remain with him. and leave the play- 
 house to become the abode of bats. The uncharitable 
 did not hesitate to say that he onlv did this to make 
 money, but this could hardly have been so. He was 
 said to have been worth then, some 870.000 or 880.000. 
 and he only aspired to be a local preacher, to which 
 office no salary is attached. He was duly admitted to 
 the Methodist church, became a class-leader, and was 
 licensed to oreach. He was in great demand for a 
 time, but he preached no better than he acted, and 
 afterwards resumed his old profession, changing from 
 one to the other occasionally, but finally dying a 
 preacher in December. 1871. 
 
 To return to Albany : Marble was followed by Hill, 
 now just from Europe, and famous in his line, and by 
 Mr. and Mrs. Hield. tragic stars of small magnitude. 
 Miss Cushman played the brief star engagement to 
 which we have referred, and Augusta, the dancer, 
 appeared. July 23d, the season, which had proved 
 " unprofitable to all concerned." was closed, but the 
 theatre was run three nights longer, for the exclusive 
 benefit of the actors, whom the ducal Blake had not 
 paid. 
 
 August 14th. the Albany National Circus, situated 
 on Kane's walk. South Pearl street, opposite TV. I. 
 TTi nne's store, was opened. 
 
 September 27th. Blake began another season with a 
 company, which included Messrs. Madden. Manly, 
 Jefferson. Curfew. Eogers. Mr. and Mrs. John Greene, 
 Mr. and Mrs. Harrison. Miss Anderson and Master 
 Burke. The "Master Burke" was not the infant 
 prodigy Joseph Burke, to whom we have referred, but 
 Master Charles Burke, the son of Mr. and Mrs. Thomas 
 Burke, born in Philadelphia, March 27th. 1822, and 
 consequently fifteen years old. His father dying in 
 1825. his mother married Joseph Jefferson, the future 
 
210 PLAYERS OF A CENTURY. • 
 
 father of the present renowned comedian of that 
 name. He and Burke were, therefore, half-brothers. 
 The latter had appeared on the stage at a tender age 
 and grew up into one of the most promising comedians 
 the country ever knew. He died of consumption, in 
 New York, November 10th, 1854, aged thirty-two. 
 He played Rip Van Winkle long before his brother did, 
 and in fact wrote the drama which Jefferson now 
 plays, although Boucicault and Jefferson, together, 
 have changed it considerably. Jefferson said of his 
 brother, recently : " Charles Burke was to acting what 
 Mendelssohn was to music. He did not have to work 
 for his effects, as I do; he was not analytical, as I am. 
 Whatever he did came to him naturally, as grass 
 grows or water runs ; it was not talent that informed 
 his art, but genius." 
 
 The Jefferson mentioned as one of the company, 
 was the father of the present comedian, and combined 
 the profession of scenic artist with that of actor. He 
 was never accounted more than a fair actor, and in life 
 was not successful. Little Joseph was with him at 
 this time, and on the 11th of December, 1837, made 
 what we suppose to be his first appearance on the 
 Albany boards. He was born in Philadelphia, Febru- 
 ary 20th, 1829, and was consequently less than eight 
 years old. It was in the play called "Gulliver in 
 Lilliput," and his companions on this occasion were 
 Mr. Porter, the celebrated Kentucky giant, seven feet 
 six inches high ; Major J. L. M. Stevens, the far-famed 
 American dwarf, three feet four inches high, and pretty 
 little Mary Gannon, then only ten years old, and after- 
 wards the favorite comedienne at Wallack's. Master 
 Jefferson played the fop, and we take pleasure in 
 appending what is most probably the first of many 
 thousand newspaper notices that he has received. 
 It is from the Albany Microscope, of December 23d, 
 1837: 
 
 " In our last week's theatrical notice, by some obliq- 
 uity of memory, we neglected to make mention of Master 
 Joe Jefferson as the fop in " Gulliver in Lilliput," which 
 
PLAYEES OF A CENTURY. 211 
 
 we now do by saying he played the exquisite most 
 exquisitely." 
 
 It was not absolutely his first appearance, as in Ire- 
 land's Records of the New York Stage it is noted that 
 August 30th, 1837, he appeared in u a celebrated com- 
 bat" with Master Titus, for the benefit of the latter, at 
 the National theatre, it being Jefferson's first appear- 
 ance out of the juvenile supernumerary ranks. Six 
 years after, he recited part of an ode at the St. Louis 
 theatre, when he was billed "first appearance on any 
 stage," but his earlier appearance in Albany is indis- 
 putable. 
 
 On the 16th of October, Miss Josephine Clifton made 
 her first appearance as Bianco, and also played Mrs. 
 Holler. Claris Juliet Lady Freelove, and Jane Shore. 
 She was born in New York about 1813, and made her 
 professional debut September 21 st, 1831, at the Bowery. 
 Having been carefully drilled, and possessed of great 
 beauty of face and person, she was highly successful. 
 In 1835, she appeared at Drury Lane. In 1837, N. P. 
 Willis wrote for her the tragedy u Bianca Visconti," 
 which was produced at the Park theatre. As she 
 grew older, she increased in size till she became so lym- 
 phatic as almost to preclude study. She married Mr. 
 Robert Place, manager of a New Orleans theatre, in 
 July, 1846, and suddenly died in that city, November 
 22d, the following year. She seemed likely, at one 
 time, to rival Charlotte Cushman. She was the sister 
 of Laura Missouri, and both were children of a mother 
 whom it is better not to mention. 
 
 Mr. Blake's management lasted only till some time 
 in October, when Thomas Fuller assumed the reins. 
 On the 20th of November, the elder (John) Vandenhoff 
 appeared for the first time in Albany, playing Othello, 
 and subsequently Virginius. Macbeth and Hamlet. Mr. 
 Vandenhoff was born in England, in 1790, and 
 educated for the priesthood, but preferred the stage 
 and adopted it. lie ranked very high, and by many 
 was considered next to Macready. He visited this 
 
212 PLAYERS OF A CENTURY. 
 
 country twice, and retired from the stage October 29th, 
 I808 He died in October, 1861. His son, George 
 Varidenhoff, became a resident of this country, and 
 still acts occasionally. 
 
 The next attraction was the scenic play of " The 
 Bronze Horse," brought out with much magnificence. 
 Ibis was followed by " A Vision of the Dead." Then 
 came Burke, no longer Master, but Young Burke. 
 With increase in years, his power to attract rapidly fell 
 away, and he wisely betook himself to music, in which 
 he became, and still is, proficient. 
 
 There was a benefit January loth, 1838, for the 
 Canadian patriots, at which Burke assisted, and the 
 season closed January 20th, with a benefit for the 
 Kepubhcan Widow," Mrs. Ann W. Johnson, who 
 kept the Eepublican hotel. The benefit was appealed 
 tor on the ground that she was the widow of a brave 
 officer in the United States army, during the last war, 
 and left with a large family to support. In reality, 
 however, her best claims rested upon the fact that many 
 of her boarders, who were members of the theatrical 
 profession, were unable to pay her in the regular way. 
 1 he theatre was then closed' till the 17th of March, 
 the company going on a tour into the western part of 
 the state, visiting Syracuse, Utica, Auburn, Waterloo 
 and Rochester. 
 
 During the recess, an amateur dramatic festival was 
 given, February 12th, at the theatre, when "The 
 Wrecker's Daughter," by J. Sheridan Knowles, and 
 A Dead Shot" were produced with great success, 
 frank Briare, who had previously played Othello, now 
 played the part of Marian, giving capital imitations of 
 Mrs. Greene and Josephine Clifton. The part of Bob- 
 ert, the Wrecker was played by James Canoll, and that 
 of Black Harris by Stephen B. Hutchins. 
 
 On the 17th, the theatre reopened under the manage- 
 ment of Fuller, with Logan (Olive's father) as stage 
 manager. Eaton was the first star, and about this time 
 Harry Eytinge, then in his seventeenth year, made his 
 first appearance in a regular theatre here. On the 2d 
 
PLAYERS OF A CENTURY. 213 
 
 of April, Edwin Forrest came again, and was supported 
 by Eaton, Mrs. Harrison arid Mrs. Greene — a strong 
 combination. The rush was tremendous — Forrest had 
 just returned from Europe and was in the height of his 
 glory. He played for twenty nights, and his share of 
 receipts amounted to $2,100. This closed the season, 
 although the theatre was open under temporary man- 
 agement two or three nights in July. 
 
 Fuller, the manager, was any thing but "square," and 
 Stone relates how Eaton, who had supported Forrest 
 through his engagement, searched the premises, cudgel 
 in hand, to have satisfaction out of the manager's hide. 
 Fuller, to avoid him, hid in the garret of Washington 
 hall (adjoining the theatre on the south), until evening, 
 when he slipped into a carriage, was driven down the 
 river, and taken on board the night boat in a skiff, and 
 so left Eaton and Albany, generally, in the lurch. All 
 but our shrewd friend, the printer, Henry D. Stone, 
 who on the last night of the season held a claim of $125 
 against the theatre. There was a great rush to see 
 Forrest play Metamora, and the regular ticket office 
 was besieged. By a standing arrangement, the printer 
 had the privilege of giving written passes, which were 
 charged to his account. Knowing that it was only by 
 sharp practice that the "artful dodger,'' as Fuller was 
 called, could be made to settle, Mr. Stone had a lot of 
 passes prepared and opened an opposition ticket office 
 next door, in Briare's confectionery store. The news 
 spread among the crowd that tickets could be had there, 
 and a large number were speedily sold. The next 
 morning, instead of the manager owing the printer, the 
 printer owed the manager just seventy-five cents. 
 
 On the 14th of August, Miss Davenport, aged eleven, 
 appeared in Richard and the Manager 's Daughter ; on 
 the 16th, as Sir Peter Teazle, and also in a protean 
 farce, in which she played seven characters ; on the 
 20th, as Douglas, supported by amateurs; on the 23d, 
 25th and 27th, as Tom, the Dumb Boy of Manchester, 
 and at a benefit performance on the 29th. She also 
 appeared one night for the benefit of the amateurs, 
 
2 14 PLAYERS OF A CENTURY. 
 
 who had supported her during her engagement, which 
 was particularly successful in every way. 
 
 Jean Margaret Davenport-Lander, is a native of 
 Great Britain, and made her debut at an early age as 
 Little Pickle. Her success was so great that she was 
 speedily set to studying and soon after came out in 
 Richard III., as an infant prodigy. She displayed 
 great ability and was said by some to far exceed Burke. 
 Unlike him, at least, her successes were not confined 
 to her earlier years, but as she grew older and after 
 several European tours as a child actress, she came out 
 as Juliet and assumed an important position in the 
 dramatic world. On the 13th of October, 1860, she 
 married Colonel Frederick W. Lander, and left the 
 stage. He died from wounds received in battle, two 
 years after, and Mrs. Lander, with noble self-devotion, 
 ministered for many months to the sick and dying 
 soldiers at Port Royal, South Carolina. In 1865, she 
 returned to the stage and became what she is still, one 
 of its brightest ornaments, although not so much the 
 fashion as once she was. She w T as the original Camille, 
 in this country, and one of the best ever seen here. 
 She lives at Lynn, Massachusetts, and is as highly 
 respected as a woman as she ever was regarded as an 
 actress. Her last appearance in Albany was under 
 Mr. Albaugh's management, when a version of "The 
 Scarlet Letter " was produced. It is stated, upon good 
 authority, that little Jean Davenport was the original 
 which Dickens caricatured so unmercifully as " Miss 
 Ninetta Crummels, The Infant Phenomenon," in 
 Nicholas Nickleby. It is said she was first taken to 
 the theatre by a servant, unbeknown to her parents 
 and against their wishes. She betrayed herself next 
 day by humming one of the tunes she heard there. 
 
 September 1 7th, the theatre was opened under the 
 management of H. W. Preston, late of the Richmond 
 and southern theatres, with u Rob Roy." J. R. Field, C. 
 W. Taylor, Mr. and Mrs. Preston, Mr. Jackson, Mr. 
 Lansing, Mr. and Mrs. Sharp, Mr. and Mrs. Chapman, 
 were in the company. 
 
PLAYERS OF A CENTURY. 215 
 
 Booth was the first star, and then came Oxley and 
 Miss Cramer. During the latter engagement. " The 
 Lady of Lyons " was produced for the first time in 
 Albany, Mrs. Preston as Pauline and Oxley as Claude. 
 The Bedouin Arabs appeared about this time between 
 the acts and caused the theatre to fill to overflowing. 
 Cooper, who had now quite outlived his reputation, 
 appeared for a few nights, as did Alexander Wilson, 
 and then Forrest, the season closing November 26th 
 and the company going on a southern tour to Hudson, 
 Poughkeepsie, etc. 
 
 The next and last season for many years, opened 
 December 24th, under the same management, but with 
 poor encouragement. January 31st, 1839, " The Water 
 Witch," dramatized by Charley Taylor, from Cooper, 
 was brought out for the benefit of sufferers from the 
 late freshet, The theatre was then closed, and the 
 company went to Troy, and performed in a temporary 
 building, fitted up for their reception. Playing was 
 resumed February 25th. Mrs. Shaw and Mr. D. D. Mc- 
 Kinney having been added to the company. 
 
 Meantime rumors were in circulation that the stock- 
 holders of the theatre, tired of a non-productive pro- 
 perty, were about to sell it to St. Paul's congregation, 
 to be converted into a church. This was at first dis- 
 credited, but proved to be true. Manager Preston was 
 notified to vacate, and the final performance took place 
 March 30th, 1839. There is an evident satire upon 
 the very face of the bill, which was as follows : 
 
 LAST NIGHT 
 
 OF THE 
 
 ALBANY THEATRE, 
 
 previous to being converted into 
 
 A CHURCH. 
 
 This evening will be presented the startling comedy of 
 
 THE HYPOCRITE!!! 
 
 Doctor Cantwell Mr. Oxley 
 
 Maw-worm (with a local sermon) Mr. Preston 
 
 Charlotte Mrs. Shaw 
 
216 PLAYERS OF A CENTURY. 
 
 Comic song Mr. Lansing 
 
 Fancy dance Mrs. Sharpe 
 
 After which, the interlude of 
 H. W. PRESTON ; 
 
 OR, 
 
 THE MANAGER IN DISTRESS. 
 
 To conclude with the drama of 
 
 OLIVER TWIST. 
 
 Oliver Twist Mrs. Preston 
 
 In 1863, when the church was reconverted into a 
 theatre by Mr. Trimble, on removing the floor, the 
 original pit and orchestra were found as they were left, 
 and among the rubbish was a bill of the play, as above 
 given. 
 
217 
 
 CHAPTER XVII. 
 
 1839-1845. 
 
 Rise and Fall of the Dallius Street Amphitheatre. 
 
 THE Pearl street theatre having, in 1839, gone the 
 way of trie Green street theatre and the North Pearl 
 street circus, by becoming a church, the only place of 
 amusement was the- Albany museum, corner of Broad- 
 way and State street, which re-opened under the man- 
 agement of W. Bell, May 3d. for vaudevilles and 
 concerts, Charles W. Taylor beino- stao'e director, and 
 several members of the theatre company performing 
 there. The preceding March 2d, the building, including 
 the stores underneath, had been badly damaged by 
 fire. 
 
 On the 27th of September, the Apollo concert room, 
 on Green street, two doors from State, was opened for 
 farces, etc., by Still well & Taylor. The place was 
 small, but well fitted up, and soon more ambitious 
 attempts were made and several dramas were produced. 
 Here, November 20th, G. F. Cooke, (!) an Albanian,, 
 who had made a debut at the Park theatre, appeared in 
 parts of Hamlet, Shyloch and Richard. The Apollo 
 did not pay, and Taylor was soon back to the Museum, 
 where Miss E. Randolph and Mr. and Mrs. Flynn were 
 great favorites. Miss Reynolds also appeared here 
 w x ith Yankee Hill. 
 
 It was a dull time for amusements till the following 
 December, when Samuel H. Nichols opened his amphi- 
 theatre on Dallius street, corner of Westerlo. It was 
 built of brick and covered nearly half an acre of 
 ground. The front entrance was on Dallius street ; 
 19 
 
218 PLAYERS OF A CENTURY. 
 
 the entrance to the pit, which held 600 persons, was 
 on Lansing street. The two tiers of boxes would 
 accomodate 918. The ring was forty-one feet in 
 diameter; the stage twenty-eight feet wide by sixty- 
 four deep. Above the principal stage was another of 
 the same width, though not so deep, and designed to 
 produce such pieces as " Mazeppa." The whole build- 
 ing was ornamented, the dome in particular being 
 handsomely painted and gilded. The establishment 
 had " no third tier and no punch room," and at first, 
 every effort was made to have it respectable and 
 worthy the support of respectable people. 
 
 The opening took place December 7th, 1840, the 
 attendance being large, and the audience enthusiastic. 
 Among the equestrians were Latour, Barney Carroll, 
 Walter Aymar, John Whittaker, Henry Madigan, Tom 
 and James McFarland, the Nichols brothers, and the 
 clowns, John Grossin and John May. The latter was a 
 great favorite. His farewell benefit took place March 
 1st, or, as he billed it in large letters, "The first day 
 of March and the last day of May." Underner led the 
 orchestra, which included, for the first month at least, 
 Ned Kendall, the famous bugler. In the dramatic 
 company were Jackson, stage manager, Anderson, 
 Hall, Plumer, Dickinson, Needham, Hardy, Mr. and 
 Mrs. Nichols, and Mrs. Anderson. During the first 
 year or two the place was well patronized, and it was 
 no unusual sight to see a line of carriages extending 
 from the main entrance northward as far as Lydius 
 street (now Madison avenue). But no circus can last 
 long in a smaU'city, and after the novelty of pieces like 
 " The Cataract of the Ganges," "The Naiad Queen," 
 "Timour, the Tartar," "The Lady of the Lake," and 
 " The Forty Thieves" had worn away, the entertain- 
 ment ceased to attract, and Nichols sunk all the 
 money he had ever made there and elsewhere in the 
 show business. At last the place was taken by Doctor 
 Spaulding, who was a dealer in oil and drugs, and had 
 supplied the establishment with paints, etc., till it was 
 deeply in his debt. This was the beginning of his 
 
PLAVERS OF A CENTURY. 219 
 
 career as a showman. He afterwards had a circus for 
 a short time on the site now occupied by Exit's coal 
 yard, corner of Eagle street and Hudson avenue. He 
 was the man who bought up all the curiosities of the 
 Albany museum, and transported them up and down 
 the rivers of the west in a floating theatre. Meech said 
 the doctor never paid a cent for them, and it would 
 have been better if they had all been burned in a bonfire 
 for the amusement of the Albany public. We have 
 been told that Dan Eice also began his career in this 
 same old amphitheatre, by sweeping out the building 
 and making himself generally useful, and that Barney 
 Williams, when a boy, took part in minstrel shows 
 here. Some notable dramatic events occurred here 
 also, but we anticipate ; let us return to the opening. 
 Mr. Nichols offered a prize of $50, to be awarded the 
 writer of the best poetical address, to be delivered on 
 this occasion. There were several competitors, C. W. 
 Taylor among the number, but the committee awarded 
 the honor to Mr. Alfred B. Street, whose beautiful 
 poem of " The Grey Forest Eagle, 7 ' published about 
 this time, won for him an enviable place among the 
 poets of America. The following is the address in 
 full, as delivered by Mr. Collenburne : 
 
 To lift from Age, Time's burden for a while, 
 And light the brow of manhood with a smile, 
 Repress the tear and hush the sorrowing sigh, 
 And bid mirth sparkle in the youthful eye; 
 With Pleasure's golden pinions plume the hours 
 And muffle their quick feet with thornless flowers; 
 Display the wondrous strength and grace that Heaven 
 To this proud fabric of the soul has given — 
 The sway despotic, human reason wields — 
 The tame submission brutish instinct yields; 
 These are our objects. Is a guerdon due? 
 Kindness and favor then we ask of you. 
 
 Round the wide arena now the fiery steed 
 
 Loos'd from his thraldom, bounds with headlong speed, 
 
 Free seems he as the tempest, yet a rein 
 
 Is o'er him, stronger than the weightiest chain; 
 
 An eye and \-oice whose slightest glance and sound 
 
 Plant him a breathing statue on the ground, 
 
220 PLAYERS OF A CENTURY. 
 
 Eager and watchful ; then their different sway 
 
 Shoots him again, an arrow on his way, 
 
 With a light leap as upward borne on wings, 
 
 To the fleet courser's back, his rider springs; 
 
 Around — around — the flying centaur skims 
 
 And to the sight in dizzy circles swims, 
 
 Now on his surging pedestal unchecked, 
 
 Whirling along, the rider stands erect; 
 
 Pois'd with stretched arms, now leans; with sudden bound 
 
 Now to the eye another change is found ; 
 
 Then leaping o'er some barrier in his way, 
 
 Regains his platform like a bird its spray, 
 
 While the gay harlequin in motley drest, 
 
 Draws the loud laugh with gambol quaint and jest. 
 
 Fancy flies back to those old classic days 
 
 Which witnessed Greece, in glory's brightest blaze; 
 
 That purple clime, once Freedom's proudest dower, 
 
 Cradle of Arts, the Muses' greenest bower, 
 
 Again the amphitheatre displays 
 
 Its splendid pomp to Athen's crowded gaze! 
 
 Tier upon tier of animated life 
 
 To view the struggling race — the wrestling strife — 
 
 The strong athlete grasps sinewy foe, 
 
 Muscle strains muscle — blow succeeds blow — 
 
 The foaming courser whirls the chariot on 
 
 And the green laurel crowns the triumph won. 
 
 Thus do we strive your cheering smiles to gain 
 
 With anxious efforts — shall we strive in vain? 
 
 To cast bright drops in Life's dark chalice, ours; 
 
 To deck earth's desert with a few sweet flowers; 
 
 Yours be the meed that all our toil repays 
 
 Our gladdening laurel-wreath, the bounty of your praise. 
 
 The season, which was successful, closed May 1st, 
 and another opened May 17th, with dramatic perform- 
 ances only, under the management of A. W. Jackson, 
 who called the establishment the Albany theatre. 
 Mr. James H. Hackett was the first star, opening as 
 Falstaff, in " Henry IV." He also played Col Wildfire, 
 in "The Kentuckian/ 1 Rip Van Winkle, and other 
 characters. He was supported by Messrs. Jackson, 
 Mossop, Hardy, Eddy, Hall, C. W. Taylor, Bruce, 
 Paulin, Nelson, Miss Buloid, Mrs. Monell, Miss Wal- 
 lace and others. 
 
 Hackett was followed by William F. Gates, a native 
 of Albany, who, years before, had been a clown at the 
 
PLAYERS OF A CENTURY. 221 
 
 North Pearl street establishment, (the one for whose 
 benefit Forrest turned " flip-flaps " in the ring), and was 
 now a popular comedian at the Bowery theatre. He 
 died three years after, in the prime of life. 
 
 The Harrisons also played here. They have been 
 mentioned before as stars, playing at the Pearl street 
 theatre. Drink killed him, and it is said she was 
 finally so reduced through the same cause, that she 
 became cook on a canal boat. Subsequently, she 
 arose in the world again, and played at the Museum. 
 
 In the fall of 1841, William Warren, Mr. and Mrs. 
 J. B. Eice and J. P. Addams, were in the company. 
 John P. Addams was a brother of Augustus, the 
 tragedian, and played Yankee parts. In 1850, he was 
 leader of a Mormon colony of 600, located on an 
 island in Lake Michigan, and was generally known as 
 Mormon Addams. He may be living yet. 
 
 In March, 1842, J. Hudson Kirby played an engage- 
 ment, ranging in his characters from Claude Melnotle 
 to King Lear. He was afterward the famous melo- 
 dramatic actor of the Bowery. "Wake me up when 
 Kirby dies, 1 ' was a by- word for years on the east side, 
 where, Ireland says, his departure for Europe, in 
 1845, was looked upon as a dramatic calamity. He 
 was born near Sandy Hook, on a vessel en route from 
 Liverpool, and died in London, in 1848. 
 
 Scott, Dan Marble, and other stars, closed out the 
 season. In November, 1842, the place was opened by 
 J. B. Rice, as the American theatre, and for three weeks 
 Edwin Forrest and the magnificent Josephine Clifton 
 appeared to very large audiences. Forrest played all 
 his greatest characters, including Jack Cade, and there 
 was the usual enthusiasm over the American tragedian. 
 Six months later, he was induced to return by John 
 P. Addams, John Moakley and J. B. Booth, Jr., and 
 play an engagement in the hot weather. Forrest at 
 first protested, saying it was no use ; there was nobody 
 in Albany at that season of the year who would go to 
 a theatre ; but the boys insisted, and he good-naturedly 
 complied for fifty per cent, of the receipts. Mr. and 
 
222 PLAYERS OF A CENTURY. 
 
 Mrs. John Greene were secured to support him, and 
 they opened to eighteen dollars, and played to similar 
 business all the week. Forrest was the only one who 
 was not disappointed, but at the same time he felt the 
 neglect, and it was his last appearance in Albany for 
 many years. 
 
 During this engagement, the subordinate actors were 
 paid little or nothing. One of them, Charley Sals- 
 bury, was badly in debt for his board. A bet was 
 made that he dare not "guy" while playing with For- 
 rest, and the amount of the aforesaid board bill was the 
 stake. That night he played Gaspar, the servant who, 
 in "The Lady of Lyons/' takes Claudes letter to 
 Pauline, and comes back beaten for his impudence. 
 When he came to the last lines he rendered them thus : 
 
 " Are you not & pheasant (peasant) — a gardener's son ? 
 that was the offense. Sleep on it, Melnotte. Bel — ows 
 to a French citizen — bel — ows ! ! " [Exit. 
 
 The audience, what there were of them, awoke the 
 echoes with their roaring. Forrest was ready to tear 
 his hair with rage, and Salsbury bolted from theatre 
 and city. His board was paid, and he was free to go, 
 but had Forrest laid hands on him, it would not have 
 been so funny. 
 
 It was not a very politic thing to do, to trifle with 
 Edwin Forrest on the stage, and he was rarely ever 
 known to laugh, or show any indications to do so, while 
 acting. One exception is noted by Charles Durang: 
 It was through a bet won from the tragedian by John 
 Greene. The wager was, that in playing a certain 
 stolid, idiotic, stupid character, he would force Forrest 
 for once to smile, when most deeply absorbed in the 
 passion of the scene. This bet occurred during a 
 rehearsal, wherein Greene had this nondescript part to 
 plajr, and in which Forrest was giving instructions how 
 to play it, "If I follow your directions strictly, I 
 shall surely cause you to laugh, in spite of yourself," 
 said Greene. 
 
 " Don't trouble yourself ; I feel the reality of my own 
 
PLAYERS OF A CENTURY. 223 
 
 character too much to care for the ludicrous," was the 
 reply. "I'll take the responsibility." 
 
 " Very well," said Greene, " the blame be on your 
 own head." 
 
 Greene and his companions were to enter when For- 
 rest was in one of his most impassioned speeches. 
 They entered at the cue, and to the questions put to 
 him, Greene turned with a face so ludicrously stupid, 
 that it seemed a wooden mask, from which no ray of 
 intelligence could emanate. Forrest looked at him 
 a moment, and turned his head, then with an extra 
 degree of sternness, to conceal his hysterical desire to 
 laugh, he again endeavored to face the dense, blank, 
 idiotic countenance, which confronted him. One more 
 look was sufficient; an irrepressible lit of laughter 
 shook the tragedian from head to foot, while the 
 audience joined in, till the contagion had reached every 
 person in the house, except one, and that was John 
 Greene, who stood there as unmoved and immovable as 
 a cast-iron hitching post. Forrest paid the bet. 
 
 One evening, during the Dallius street engagement, 
 a terrific thunder shower came up, and while Forrest 
 was in the midst of a most impressive passage, the 
 artillery of Heaven drowned every other sound. By 
 appropriate action and gesture, the tragedian referred 
 in pantomime to the interruption with such effect, as 
 to win the loudest plaudits. One who saw him. said 
 he seemed to make the storm a natural adjunct of the 
 play. 
 
 J. B. Booth, Jr., was stage manager at this time, 
 and for his benefit, his father was announced to appear. 
 Junius B. Booth, Jr., was born in Charleston, South 
 Carolina, in 1821, and was, for many years, manager 
 of the Boston theatre. He is an actor of only moder- 
 ate abilities, in no way approaching either his illus- 
 trious father or his brothers, Edwin and John Wilkes. 
 He has been twice married, to Miss DeBar for his first 
 wife, and to Agnes Perry, the Agnes Booth of to-day, 
 for the second. Mrs. Booth is one of the most capable 
 actresses in this country. It would be difficult to 
 
224 PLAYERS OF A CENTURY. 
 
 name her equal as a reader of the lines of Shakspeare, 
 while her performance of the Widow, in the little gem 
 of a play, " Old Love Letters," is a consummate piece 
 of artistic excellence. She was born in Sidney, Aus- 
 tralia, where her first dramatic triumphs were won. 
 Then she came to America, via San Francisco, playing 
 there three seasons, and so to New York and Boston. 
 Her personation of Myrrha, in the great spectacle of 
 " Sardanapalus," at Booth's theatre, two or three seasons 
 since, was the perfection of classic elegance. But we 
 are getting away from Dallius street : 
 
 November 15th, 1843, the place was opened by John 
 Smith, mostly for equestrian performances. His 
 season closed February 17th, 1844, and May 20th, the 
 building was opened as a theatre, by T. B. Eussell. 
 ^Vallack and Mrs. Brougham and George Vandenhoff, 
 plaj^ed engagements here, and Macready was announced. 
 
 Mr. George Vandenhoff is a son of John Vandenhoff, 
 whom we have already mentioned, and had but 
 recently made his appearance in America. He was 
 educated for a lawyer, and has never followed the 
 stage continuously. He supported Fanny Kemble 
 Butler on her farewell tour, and also Charlotte Cush- 
 man. He is a practitioner at the bar, has a good 
 reputation as a reader, and acts occasionally. 
 
 Of Macready's first visit to Albany, in 1827, we 
 -have already spoken. He was now on a second tour 
 of this country, and was announced to appear on the 
 5th and 7th of June, 1844. It seems that when he 
 was here first, he was not successful, pecuniarily, and 
 when applied to by Manager Eusell, refused to come 
 again, but finally consented, as Eussell claimed, pro- 
 vided the box sheet could be filled. Eussell returned 
 and announced the appearance of the great English 
 tragedian for the nights mentioned, and about one 
 hundred seats were at once taken. He then wrote to 
 Mr. Povey, of the Park theatre, who acted as Macready's 
 agent, stating this, and offered, if he preferred it, $200 
 per night, in advance. In reply, he received the fol- 
 lowing letter: 
 
PLAYERS OF A CENTURY. 225 
 
 New York, Monday, May 27, 1844. 
 Thos. B. Russell, Esq. : 
 
 Sir — I have this day received your letter, dated 
 Albany, 26th, by which I learn that you have announced 
 Mr. Macready to appear at your theatre, without seeing 
 that gentleman on the subject. I must say, you have 
 far exceeded your authority in so doing. The under- 
 standing between us was, that you were to ascertain 
 what number of places in boxes would be taken, and 
 let him see the box sheet. This you promised to do, 
 saying you were quite sure they would be all taken imme- 
 diately, as you had been called upon by upwards of 
 forty ladies and gentlemen, on the subject. My advice 
 is, that you, upon the receipt of this, come down to Xew 
 York with a true copy of box sheet, and if satisfactory, 
 as understood between us, all will be right, and can be 
 settled as to time, etc., etc. I hope to see you in Xew 
 York Wednesday morning, when, have no doubt, can 
 arrange all agreeable to each party. 
 
 Yours truly, 
 
 John Povey. 
 
 P. S. — The prices, if Mr. Macready visits your city, 
 will be as follows: Box, 81; pit, 50 cents— as you 
 stated, and with those prices you say the Albany theatre 
 will hold upwards of $1,000. Let me see* you on 
 Wednesday. J. P. 
 
 MR. RUSSELL^ REPLY. 
 
 Albany, May 28th, 1844. 
 John Povey, Esq.: 
 
 Sir: I received yours this day and was truly aston- 
 ished at its contents. As it regards my exceeding my 
 authority in respect to Mr. Mac-ready's engagement, I 
 have not ; for how would it be possible to fill a box sheet 
 without announcement, unless you suppose that Mr. 
 M.'s name has a charm that should draw the public to 
 the box office by instinct. You say come down to Xew 
 York with a true box sheet. Do you suppose I should 
 send you a false one ? I informed you we had a hun- 
 dred seats taken, also very numerous applications from 
 persons who will not pay'for seats until it is positively 
 announced. I have offered Mr. Macready $200 per night. 
 If he chooses, he can have that, and in advance, if neces- 
 sary. Our theatre will hold $800 at fifty cents and 
 
226 PLAYERS OF A CENTURY. 
 
 twenty-five cents : consequently, it will hold double that 
 amount. In respect to your agency — if I have to go to 
 New York once or twice for every star, I might as well 
 dispense with it ; for I assure you I have too much busi- 
 ness on hand to dance attendance on any one, particu- 
 larly where they are to gain the profits. I do not see 
 why Mr. Macready should require more from me than 
 any other manager. I have offered him sufficient terms. 
 We have an excellent theatre and a good company. 
 The people are anxious to see him, and if he chooses to 
 come to Albany, as he would to any other city, he can 
 do so ; if not, I shall trouble myself no farther on the 
 subject. Yours respectfully, 
 
 T. B. Russell. 
 
 POVEY TO RUSSELL AGAIN. 
 
 Sir : Your letter dated the 28th hasjust been received, 
 and beg respectfully to repeat, you did exceed your 
 authority in announcing Mr. Macready before you had 
 complied with the understanding between us, as stated 
 in my letter dated last Monday, 27th. Since receiving 
 your letter, have seen Mr. Macready, who says that he 
 has made no engagement, either as to time or terms, 
 and before he did he required to know if the box sheet 
 would be filled for two or three nights, as might seem 
 good. Mr. Macready is not satisfied with the report — a 
 hundred seats taken ; and if he acts next week in Albany 
 he will have to disarrange his present engagements. 
 With difficulty he may contrive to act there on Thurs- 
 day and Friday, 6th and 7th June. He has no wish to 
 do this, he would rather not. If he does, he will take a 
 clear half of the receipts, each night being secured to 
 him, $250 paid each day in advance. So s.ays Mr. 
 Macready, which I send for your decision, and beg most 
 respectfully to decline having any more to say on the 
 subject, but am, Yours truly, 
 
 John Povey. 
 
 To this Mr. Kussell replied that he would not sub- 
 mit to the exorbitant demands of Mr. Macready, and 
 consequently he did not appear. By reference to Mr. 
 Macready's published diaries, it will be seen that on 
 the 6th of June he was in Albany, and on the 18th in 
 
PLAYERS OF A CENTURY. 227 
 
 Saratoga, with no indication that he acted till he 
 reached Buffalo, on the 24th, so that it would not 
 apparently have required a great deal of contriving or 
 involved much difficulty to act in Albany once more, 
 if he had chosen to do so. 
 
 In June, 1845, the Bowery theatre company played 
 here, and the month following, the place was opened 
 by James S. Charles, with J. E. Scott as the star. In 
 August prices were reduced to twenty-five and twelve 
 and a half cents and that was about the last of it, dra- 
 matically considered. In 1847, it was partially de- 
 stroyed by fire and then turned into a pottery. In 
 1851, it was again burned and the site is now occupied 
 by a coal yard. 
 
 One of the events which took place here, January 
 13th, 1844, but which we had almost forgotten to men- 
 tion, was the last one of many complimentary benefits 
 given in Albany to " Dummy " Allen, as he was 
 called. Frequent mention has been made of this eccen- 
 tric individual, since his first appearance here, which, 
 although we have no definite record of it, must have 
 been in the old Thespian hotel, previous to the opening 
 of the Green street theatre. He was born in New 
 York, in 1776, his father and mother being members 
 of the company which played in the Albany hospital, 
 ten years later. Dummy is said to have gone upon 
 the stage about this time, at the old John street theatre, 
 in New York, as one of the incense boys in " Eomeo 
 and Juliet," (before the funeral pageant in that play 
 was dispensed with), and from this circumstance used to 
 boast, in his old age, that he was the "father of the 
 American stage,'' being, as he claimed, the oldest living 
 performer. But he was such an inveterate old hum- 
 bug that his stories were little credited, although this 
 one might have been true. In 1815-16, he was semi- 
 attached to the old Green street theatre, and also 
 became proprietor of the Shakspeare house, nearly 
 opposite. He was the man who, Sol Smith says, sang 
 the first negro song ever heard in an American theatre. 
 He was always in debt and constitutionally disinclined 
 
228 PLAYERS OF A CENTURY. 
 
 to pay any thing. But while he was keeping the 
 Shakspeare house he took a benefit, and paid off a 
 large number of people in tickets, assuring each that 
 he was the only one which could be paid, and the 
 tickets could easily be disposed of. The dodge leaked 
 out and the price of tickets fell to almost nothing. 
 Come night, the house was packed, and scores stood in 
 the street, unable to get in, though holding tickets. 
 But Dummy did n't care ; he had for once in his life a 
 pocket full of receipted bills, and was happy in expe- 
 riencing a new sensation. Sol Smith, in his book, 
 devotes several pages to the tricks with which Dummy 
 used to evade his creditors. He was partially deaf, 
 and was quite annoying to those with whom he played, 
 who not unfrequently revenged themselves by mislead- 
 ing him with inaudible movement of the lips during 
 performance, to which he thought he must reply, his 
 speeches often being thus introduced quite mal apropos. 
 It was the hardest thing in the world to get him to hear 
 any thing about a little bill he owed. "I say, Mr. 
 Allen, can't you settle that little account to-day?" he 
 was asked one morning, on Green street. u Tank you, 
 tank you," was the reply, with the politest of bows, 
 "I neber takes any ding pefore breakfast," and on he 
 marched. He was afflicted with a chronic catarrh, 
 which caused him to speak in a very peculiar manner. 
 He was noted all over the United States for his "gags" 
 and benefits. Once he advertised a grand balloon 
 ascension to take place from a stable on Washington 
 avenue, when two aeronauts, Monsieur Gageremo and 
 Mademoiselle Pussiremo would take a flight through 
 the air. The adventurous foreigners proved to be two 
 cats dressed in the prevailing style, and strapped to the 
 balloon. He managed generally to celebrate the 8th 
 of January every year, by a performance of " The 
 Battle of New Orleans," in which he personated Gen- 
 eral Jackson, one of the two only great men who, 
 according to Dummy's ideas, ever lived. He is sup- 
 posed to have named himself after the old hero, and 
 was never tired of sounding his praises. The other 
 
PLAYERS OF A CENTURY. 229 
 
 demi-god whom Allen worshipped was Edwin Forrest, 
 who took a fancy to the old man, and made him his 
 costumer, dresser, and travelling companion for years. 
 To hear Allen talk, one would suppose that " de poy " 
 (he always called Forrest " the boy ") owed most of his 
 greatness to the man who made his wardrobe. Allen 
 did have excellent taste in such matters. He was also 
 the inventor, or claimed to be, of a kind of gold and 
 silver leather much used in theatrical representations. 
 In his opinion, that silver leather did quite as much 
 for Forrest as Dr. Bird or any other of the play-wrights. 
 Forrest used to humor him, but he sometimes became 
 troublesome. At some festival given to the tragedian 
 in England, Allen became so loquacious that Forrest 
 said, "Come, come, Allen, go home and attend to your 
 leather," at which the great American costumer rose 
 up indignant, and banging on his hat, stammered out, 
 " B-b, what ud your Bacbeth be bidout by ledder?" 
 and off he went, growling at the ingratitude of the 
 world in general, and tragedians in particular. 
 
 James Rees, in his Life of Forrest, tells a rather 
 amusing story of Dummy, while travelling with the 
 tragedian in Europe : On one occasion, some of the 
 minor actors of the theatre gave a dinner, to which 
 Allen was invited. In reply to a toast complimentary 
 to America, Allen made a few remarks, in which he 
 spoke of "the boy as the greatest actor of the age." 
 " Where," he shouted, "is there another equal to him ? 
 Where," he exclaimed, in highest tragic tones, "will 
 you find him ? " An excited individual, carried away 
 by the eloquence of the speaker, expressed his assent 
 by shouting: "Hear! hear!" after the usual English 
 fashion. Allen, taking the response as a literal reply 
 to his question, shouted in return: "Where? Show 
 me the man ! " 
 
 " Hear ! hear ! " was heard from several voices. 
 
 "Where?" roared Allen, now thoroughly excited 
 and angry, "where is he, show me the man; bring 
 him up." 
 
 "Hear! hear!" 
 20 
 
230 PLAYERS OF A CENTURY. 
 
 "Where?" 
 
 "Hear! hear!" again resounded through the room. 
 The excitement increased till Allen, enraged at their 
 boasting of a man they could not produce, rushed 
 from the room, exclaiming, "I should like to see the 
 man that can beat the boy ! " 
 
 Once when Allen was on his way to Albany, from 
 the western part of the state, with Forrest's wardrobe 
 in charge, he had the usual luck to run out of cash. 
 Calling for a gin cocktail, a cigar, and a sheet of paper, 
 he sat down and wrote a thrilling description of his 
 capture by the Esquimaux while on a sealing expedi- 
 tion, and his sufferings unutterable while residing with 
 them for many years; concluding with some account 
 of his escape, and the announcement that he would, 
 by particular desire, exhibit on the following day only, 
 the largest and most splendid collection of war dresses 
 and arms of the Esquimaux, ever exposed in a civilized 
 community. The next day the large dining-room of 
 the hotel was crowded with curious citizens, who had 
 paid two shillings each, and were admiring the splendid 
 dresses for Richard, Hamlet, Othello, Lear, The Gladiator 
 and Metamora, the shields, stage swords, etc., etc., 
 belonging to Edwin Forrest, and which Allen gravely 
 informed them were the regular outfits of the northern 
 warriors. 
 
 Allen, as may easily be imagined, was never much 
 of an actor, although it is said he could play Goldfinch 
 tolerably well, and was noted as Caleb Quotem. For 
 some time he kept an eating house in Dean street, 
 called "The Divan." Governor Griffin (excellent 
 authority) says he was one of the best cooks he ever 
 knew. Two fancy dishes, "calapash" and " c.alapee," 
 are remembered to this day. The calapash was made 
 of old cheese, codfish, onions, mustard, rum and wine: 
 the calapee was the same, with the addition of cabbage. 
 Tt is difficult to say which was the most in demand. 
 He set the town wild at one time, with his delicious 
 turtle soup, which was served up on certain days, 
 week after week, to the infinite relish of all the gour- 
 
PLAYERS OF A CENTURY. 231 
 
 meis in the vicinity. The day when it was to be had, 
 ' was conspicuously advertised the day previous, by the 
 doomed turtle in person, who was allowed to prome- 
 nade, at the end of a long string, up and down the 
 sidewalk in front of the restaurant. The next morn- 
 ing he had disappeared, and at noon, green turtle soup 
 was read j T . After a time, it was noticed that while 
 the soup was uniformly good, the turtles were uni- 
 form also : that, in fact, they were all as near alike as 
 the Corsican Brothers, or the Two Dromios — nearer, 
 if any thing. One day. some envious observer put a 
 private mark on his turtleship, which was strangely 
 reproduced on his successors. The fact then leaked 
 out, that with a cheap and regular supply of calves' 
 heads and one display turtle, Dummy had fed the 
 Albany epicures on turtle soup for months, and the 
 turtle was alive yet. 
 
 After, for some cause not made public, Dummy and 
 Forrest parted company, the former set up a restaurant 
 near the Bowery theatre, but still kept up the manu- 
 facture of theatrical leather, of which he held the 
 patent. His advertisement at this time, read as follows, 
 and satire can go little further: 
 
 HUMBUGS A VAUNT ! ! ! 
 I am not dead yet ; ingratitude has not killed me — 
 thanks to a clear conscience and a pair of silver leather 
 breeches. All I want is work, that I may thrive by my 
 industry, pay my debts, and die as I have always lived, 
 an honest man. 
 
 He is described at this time as a man well advanced 
 in life, tall and erect in person, with firmly compressed 
 features, an eye like a hawk's, nose slightly Roman- 
 esque, hair mottled grey. He wore a fuzzy white hat, 
 a coat of blue with bright brass buttons, and carried a 
 knobby cane. He generally spoke in a sharp, decisive 
 manner, often giving wrong* answers, and invari- 
 ably mistaking the drift of the person with whom he 
 was conversing. He took snuff constantly. Why he 
 was called : - Dummy" was a wonder, for he was one 
 
232 PLAYERS OF A CENTURY. 
 
 of the most loquacious men living. No one could ever 
 bear him down in argument — his invariable clincher 
 being an emphatic thump with his cane. He had a 
 sublime contempt for all English stars, and could never 
 listen to their praises with patience. One day, John 
 Povey, before mentioned, met Allen with the announce- 
 ment that an extraordinary attraction had been engaged 
 for the coming season. 
 
 " 'Traction/' rejoined Allen. "What sort of 'trac- 
 tion ? " Legs, I s'pose : that's the thig dow-a-days. The 
 bore you can hubbug the beople, the bedder." 
 
 "Legs!" said John, rubbing his hands with satis- 
 faction, "imagine not. Better than that," (Then speak- 
 ing confidentially through his hands) — " We'vesecured 
 Macready ! " 
 
 " Bah ! " said Andrew, with contempt, " he's dobody 
 — can't speak decet Igglish — mere mounteback, sir 
 — mere mounteback," and here he took snuff fiercely. 
 
 " Well, mountebank or no mountebank," said Povey, 
 "he's sure to draw — a great card, sir." 
 
 "Ay," said Allen, with importance, "can draw a 
 cart, eh ? Bedder stick to his trade, then — pay him 
 much bedder," and with a conclusive thump of his stick, 
 he turned away. 
 
 Dummy's last public appearance was at the old Broad- 
 way theatre (near Broome street), which he opened for a 
 benefit, July 26th, 1851, when he played Goldfinch and 
 Silvester Daggemcood, w T ith imitations of George Fred- 
 erick Cooke, "wearing the identical costume in which 
 that giant of the stage had appeared forty years pre- 
 vious," the same suit, doubtless, that hung behind the 
 bar in Dean street, and which w^as probably about as 
 genuine as the famous turtle soup. Dummy died in 
 New York, October 30th, 1853, and his remains repose 
 under a modest stone in the grounds of the Dramatic 
 fund association, at Cypress Hills cemetery. The fol- 
 lowing is the remarkable inscription which, with name, 
 and dates of birth and death, marks the spot: 
 
 tv From his cradle he was a scholar —exceeding wise, fair 
 spoken and persuading. Lofty and sour to them that loved 
 him, but to those men that sought him, sweet as summer." 
 
233 
 
 CHAPTER XVIII. 
 
 1841-1848. 
 
 The Museum Before its Enlargement. 
 
 THE Museum was reopened February 1st, 1841, after 
 a thorough and artistic redecorating by Signor 
 Gruidicini, the artist of the National opera house, in 
 New York. The ceiling represented a circular dome 
 of seven compartments, with arabesques and gold 
 ornaments, intercepted by flying figures, bearing fes- 
 toons and flowers. From a richly-carved centre, the 
 chandelier was suspended. The proscenium was 
 painted in panels of blue ground, with appropriate 
 ornaments in basso relievo. The drop curtain repre- 
 sented an allegory of classical design, the Temple of 
 Fame, with the Goddess of Liberty pointing to the 
 statue of the immortal Washington. The front of the 
 gallery was decorated with arabesques, correspondent 
 with the embellishments of the ceiling. 3 
 
 Charley Taylor, the director, read an address, which 
 will be found in Mr. Stone's Reminiscences. Among 
 the performers were Mr. Kneas, pianist, Mr. H. Eberle, 
 comedian and vocalist, Miss and Mrs. Eberle, Mr. 
 Archer, basso, Winchell, humorist, etc. 
 
 On the 25th of March, for Mr. Archer's benefit, Mr. 
 Whitney, an elocutionist, played Othello, and Mr. Eddy 
 Iago. Edward Eddy was a native of Troy, but made 
 his debut in Albany, probably at the Nichols amphi- 
 theatre. He was born in 1822, and is first remembered 
 as playing in an amateur company in Troy. His 
 widowed mother resided on Ida hill, and afterwards 
 married a man named Overrocker. This gave rise to 
 
234 PLATERS OF A CENTURY. 
 
 the report that Eddy's name was Overrocker, a matter 
 on which he was quite sensitive. While playing his 
 engagement here, he used to walk, or when practic- 
 able, skate home, after the evening's performance. 
 From Albany, he went to Baltimore, where he played 
 trifling parts. His first acknowledged appearance in 
 New York was April 6th, 1846, at the Greenwich 
 theatre (formerly Richmond Hill) as Othello. On the 
 13th of March, 1851, he first played at the Bowery, 
 where he afterwards became so great a favorite, 
 and was at one time manager. His repertory was 
 one of the largest of any member 'of the profession, 
 but he was always a " Bowery actor, " and could 
 tear a passion to tatters with the best of them. It 
 was strange to many of his friends that, with the 
 natural advantages he possessed, he did not rise to a 
 higher sphere, but he never did. A role in which he is 
 best remembered was the Rag-picker of Paris, and in 
 that he made his last appearance. He died of apoplexy 
 in the Island of Jamaica, on the 16th of December, 
 1875. He was a mason of high rank, and his body 
 was brought to New York and buried from the Masonic 
 Temple, January 11th, 1876. He left his widow, 
 Henrietta Irving, without funds. She is still upon the 
 stage. Mr. Eddy's first wife was Mary Matthews, an 
 English girl, and actress of small pretensions. She 
 died in New Orleans, in 1865. Mr. Eddy was always 
 a iavorite in Albany, playing many engagements at the 
 Museum, where, for a while, he was acting manager, 
 and also at all the other theatres, as will be recorded 
 from time to time. 
 
 June 29th, we note the engagement of Miss Gannon. 
 Little Mary Gannon, so long a favorite at the Museum, 
 and so much longer at Wallack's theatre, where she 
 was known as the Little Treasure, was born of Irish 
 parentage, October 8th, 1829, and was carried upon 
 the stage at the age of three. She was another infant 
 phenomenon. She did not aspire to the great roles of 
 the drama, but filled as satisfactorily those she assayed, 
 as any actress who can be mentioned. She died Feb- 
 
PLAYERS OF A CENTURY. 235 
 
 ruary 22d, 1868. It was such people as Miss Gannon, 
 Mary Taylor and Mrs. Vernon, who gave to Wallack's 
 theatre the prestige which it holds to this very day. 
 
 November loth, Mary Rock came again, her first 
 appearance in nine years; also, Mrs. Phillips, from 
 Niblo's Garden, Mr. C. Wolcott and Mr. Newton. 
 
 January 19th, 1842, we chronicle the appearance 
 here of Adelaide Phillips, who played and sang in 
 "Old and young," and as Little Pickle, etc. Miss 
 Phillips was born in Stratford-upon-Avon, England, 
 in 1833, and was, therefore, at this time, only nine 
 years old. She was called the " Child of Avon." 
 Subsequently, she became the noted contralto, whose 
 rendition of Azucena, in "II Trovatore," has never 
 been excelled. Her operatic debut was made in that 
 character, at the Academy of Music, in New York, 
 March 12th, 1856. In October, 1861, she appeared 
 at the Italian opera house, in Paris, in the same char- 
 acter, but under the assumed name of Mile. Fillippi. 
 The subscription which enabled her to go to Europe, 
 was headed by Jenny Lind. She resides in or near 
 Boston, and during this season of 1879-80, is appear- 
 ing in comic opera. 
 
 April 12th, J. Fursman was announced as the acting 
 manager, and a little later we have Messrs. Leeman, 
 Fuller, Jackson. Hoffman, Toomer, Mr. and Mrs. 
 Hoffman and Miss Ayers, playing here, but the per- 
 formances, for several months, were of too trivial a 
 nature to place on record. Prof. Carmody, then a new 
 comer in Albany, presided at the piano, a position he 
 occupied for a number of vears. 
 
 On the 14th of July, 1843, Tom Thumb made his 
 first appearance at Knickerbacker hall, and was said 
 to be eleven years old, 25 inches high and to weigh 
 15 pounds. This famous dwarf (Charles S. Stratton) 
 was already under the management of P. T. Barnum, 
 with whose name he became associated. The general, 
 at this time, was really only six years old. The fol- 
 lowing year he went to Europe and remained there 
 
236 PLAYERS OF A CENTURY. 
 
 three years. He has, of late, lost his attractive fea- 
 tures, having grown considerably. 
 
 November 27th, the management of the Museum 
 fell into the hands of Mr. J. B. Rice, and his brother- 
 in-law, Mr. William Warren, made his appearance. 
 Miss Walters and C. T. Parsloe were engaged, and 
 soon after, Mr. J. H. Hall, Mr. and Mrs. Herbert, the 
 latter formerly Miss Kent, of the Pearl street theatre. 
 
 John B. Rice, whose name has before been mentioned 
 in connection with the Nichols amphitheatre, was born 
 in Easton, Maryland, and, for a number of years, was 
 prominently connected with the profession as a west- 
 ern manager, till he retired in 1856, and became mayor 
 of Chicago. His wife, Mary Ann Warren, daughter 
 of the old comedian, and, sister of William Warren, 
 retired with her husband. Rice built the first theatre 
 erected in Chicago, and was a member of Congress 
 when he died. 
 
 Mr. William Warren, now the Warren of the Boston 
 museum, was born November 17th, 1812, in Philadel- 
 phia, where he made his debut at the Arch street thea- 
 tre, October 27th, 1832. He visited England in 1845, 
 and first appeared in Boston, October 5th, 1846. The 
 year following, he began an engagement at the Museum 
 in that city, which, with the exception of one or two 
 seasons only, has lasted continuously ever since. No 
 actor in America has such a record as this; no actor 
 has such a local constituency. The good people of 
 Massachusetts, many of them do not go to the theatre. 
 Oh, no ! but they go to u see Warren," whenever they 
 are in Boston, and they could not see a better general 
 comedian if they went to all the theatres in the coun- 
 try. Mr. Warren is as much respected in private life 
 as he is admired upon the stage. He is said to be a 
 fine French scholar, and, in short, in every way to be 
 worthy of the modern Athens. He was, at one time, 
 wealthy, but lost heavily in the great fire at Chicago, 
 in which city, through the influence of his brother-in- 
 law, he had invested largely in real estate. 
 
 In May, 1844, the original Christy minstrels appeared, 
 
PLAYERS OF A CENTURY. 237 
 
 and were followed the same month by the Knicker- 
 bocker minstrels and the Kentucky minstrels. The 
 11 Christys" were organized by E. P. Christy, in Buffalo, 
 in 1842, and were among the first of the kind. 
 
 June 28th, Joseph Parker became acting manager 
 of the Museum, and Mrs. Henry Hunt (the former 
 Little Louisa Lane and the present Mrs. John Drew), 
 resumed her pleasant relations with the Albany public. 
 
 July 19th, a floating theatre, accommodating 450 
 persons, was moored at the foot of Lyclius street. The 
 following was the bill : ,k The Dead Shot," " Crossing 
 the Line/' and "The Young Widow." 
 
 In December, Mr. J. B. Eice resumed the reins of 
 management, but there is very little of interest to 
 record for a year or two. In the summer of 1846, we 
 find Mary Taylor playing here with George Holland, 
 and in July, Mrs. George Jones, who played for 
 Edward Eddy's benefit, the beneficiary appearing as 
 Shylock. She also played Claude Melnotte and Romeo. 
 
 Mary Cecilia Taylor is another name over which 
 play-goers of this period delight to linger. She was 
 born in New York, in 1827, and was, consequently, 
 now about nineteen. She was possessed of a delight- 
 ful voice and early sang in choruses at the Park. Mr. 
 Hutton, in his "Plays and Players/' contributes the 
 most appreciative sketch we remember to have seen, 
 of "Our Mary," but is in error in his conclusion that 
 she never played outside of New York, and was, there- 
 fore, entirely "New York's own." Any old Albany 
 play-goer would have told him better than that. She 
 retired from the stage May 3d, 1852, and died suddenly 
 of disease of the heart, November 10th, 1866. She 
 had married Mr. W. 0. Ewen. During her first 
 engagement here, she played and sang several char- 
 acters ; acting Queen Elizabeth, in " Kichard III.," for 
 her benefit. 
 
 Mrs. George Jones, was born Melinda Topping, and 
 married the actor who afterwards set up as "George, 
 the Count Joannes." She did not live with him many 
 years, and finally died in Boston, of dropsy, in Decern- 
 
238 PLAYERS OF A CENTURY. 
 
 ber, 1875. One of her last engagements was in the 
 stock at Niblo's Garden, supporting Charles Fechter 
 in his first appearance in this country, in 1870. 
 
 The Dallius street circus having ceased to present 
 any opposition, the little saloon of the Museum was 
 the only theatre, and here, July 25th, Mr. E. L. Daven- 
 port made liis first bow to an Albany audience, as 
 Claude Melnotte, supported by Mrs. George Jones as 
 Pauline. It was announced that Mr. Davenport's 
 engagement would be short, as he was engaged to sup- 
 port Mrs. Mowatt on her tour through the country. 
 Mr. Davenport was now thirty years old, and had been 
 on the stage ten years, having made his debut in Provi- 
 dence, Ehode Island, in 1836, as Wellborn, in " A New 
 Way to Pay Old Debts," supporting the elder Booth 
 in his personation of Sir Giles Overreach, a part of which 
 Mr. Davenport himself afterwards made a specialty. 
 Until 1847, he was connected principally with the 
 theatres of his native city (Boston), but in that year he 
 visited England, in company with Mrs. Mowatt, and 
 supported Macready there for two seasons. At the 
 Haymarket, he became very popular as William, in 
 u Black Eyed Susan." While in England, he married 
 Miss Fanny Vining, a member of a well-known the- 
 atrical family. On his return to America, he played 
 many star engagements, and in 1859 managed the 
 Howard Athenaeum, in Boston, and in 1869 the Chest- 
 nut street theatre, in Philadelphia. The last characters 
 which he played to any extent, were Brutus and Daniel 
 Druce at Booth's theatre and as a star throughout the 
 country. He died at Canton, Pennsylvania, September 
 1st, 1877. It speaks well for the dramatic taste of 
 Albanians, that Mr. Davenport, from the very first, 
 was a great favorite with them. The American stage 
 has had few, if any, better general actors. Versatile 
 to a remarkable degree, refined, polished and classical, 
 yet capable of most powerful acting, while he may 
 have been excelled in single characters, he was the peer 
 of any when tragedy and comedy are both considered. 
 Few who saw it, wiil forget his personation of Brutus, 
 
PLATERS OF A CENTURY. 239 
 
 or dissent from the opinion that he was indeed the 
 noblest Roman of them all. It was the last character 
 he played in Albany. 
 
 December 19th, u our esteemed fellow citizen, Mr. 
 James Canoll," took a benefit. Canoll was born in 
 Albaiw, September 26th, 1817, and made his first 
 appearance the year previous to the one of which we 
 write, at the Museum, as Ned Grayling, in " Ambrose 
 Gwinette." He was engaged here and at the Odeon 
 for several years, and afterwards played in New York 
 and at the west. He was a strictly temperate man, 
 and a thoroughly reliable actor. He married Miss 
 Bradt, of Arbor Hill, who, we believe, is still living. 
 In 1864. he retired from the stage, and joining the 
 New York police force, was assigned to duty on the 
 Broadway squad. At the time of his death. Novem- 
 ber 5th, 1867, he was captain of the Ninth precinct. 
 He lies buried in the Rural cemetery. 
 
 Another native actor, who is remembered as flourish- 
 ing about this time, was Charley Kane. His " official " 
 debut was made here in September, 1845, as the Herald, 
 in "Fortunio." Really, however, lie began his stage 
 existence b} r chirping for kk The Cricket on the Hearth." 
 Then he got to be low comedian, playing at the 
 Museum nights, and beating the drum in Johnny 
 Cook's band, clay times. Drumming ran in the family, 
 and does yet. He was a good comic singer, and A. J. 
 Leavitt, a celebrated banjo player, used to write his 
 songs for him, including "Albany in Slices/' which 
 took well. Charley died in Albany. February -1th. 
 1873, aged fifty-seven. His funeral expenses were 
 met by Col. J. C. Cuyler. 
 
 In 18-17, the Museum had to encounter the opposi- 
 tion of the new Odeon, and although some fine 
 attractions were presented, business was often very 
 bad, but Meech, who was the responsible manager, 
 was always on hand to pay salaries promptly ; small 
 ones to be sure, but they were certain. 
 
 On the 20th of February, 1847, Miss Mary Duff, 
 from the southern theatres, appeared in " Pizarro,'' sup- 
 
240 PLAYERS OF A CENTURY. 
 
 ported by Mr. Sullivan. She also appeared as Joan of 
 Arc, and for her benefit, in " The Wife," and in six 
 different characters, in "A Day in Paris." She was a 
 daughter of Mrs. Mary Duff, and married successively, 
 Augustus Addams, the tragedian, from whom she was 
 divorced, Joseph Gilbert, from whom she was also 
 divorced, and J. Gr. Porter. She died in Memphis, in 
 1852. She was eminently beautiful, and full of spirits, 
 but never so fine an actress as her mother, who was 
 one of the very best in the country. The mother 
 finally left the stage and became an active member of 
 the Methodist church. She was, at one time, the wife 
 of Mr. Seaver, (a brother of Benjamin W. Seaver, of 
 Albany), and resided in New Orleans. 
 
 In May, the opera of " Cinderella " was produced, 
 with Mr. Chippendale and Mary Taylor in the princi- 
 pal roles. In June, Booth began his first engagement 
 at the Museum, and he was followed by Mrs. Hunt, 
 and she by Eddy, Miss C. Wemyss, Davenport and 
 Charles Burke. These stars played, most of them, at 
 the Odeon, also. Warren, the comedian, took his fare- 
 well benefit July 31st. It is remembered that he and 
 Charley Burke were an inimitable team of comedians 
 on the stage and off it. They would sit and crack 
 their jokes for hours, each without a smile upon his 
 countenance, while the bystanders were almost burst- 
 ing their sides with laughter. Poor Charley's career 
 was short; he was a victim of consumption, and his 
 merriment was frequently interrupted by a hacking 
 cough, which could but sadden the friends who heard 
 it. It was said he lived for some time with but one 
 lung. He was the only man of whom Burton was. 
 professionally, jealous. 
 
 In 1848, Mr. Dyott, Mrs. Abbott and Mrs. Vernon 
 played a long engagement, and were succeeded by Mr. 
 and Mrs. John Brougham, who appeared in " His Last 
 Legs" and "The Irish Lion." It was Mr. Brougham's 
 first appearance in Albany. His wife, whom he mar- 
 ried in Lambeth church, London, in 1844, had before 
 played at the Dallius street amphitheatre, with Wal- 
 
PLAYERS OF A CENTURY. 241 
 
 lack. She and Brougham separated, and, in 1845, she 
 returned to England, and remained seven years, during 
 which time they were divorced. She was known there 
 as Emma Williams. Subsequently she returned to 
 the United States as Mrs. Robertson, and died in New 
 York, June 30th, 1865. (The second Mrs. Brougham, 
 was a Miss Nelson, of the London theatres, remembered 
 particularly for her beautiful hands and feet. She 
 danced and sang to the delight of many, but at last 
 became so very large around, that she was compelled 
 •to leave the stage.) 
 
 John Brougham, the well-known actor and author, 
 made his American debut at the Park theatre, October 
 4th, 1842, and has ever since been closely connected 
 with the stage in this country. He was born in Dublin, 
 in 1814, and has been an actor since 1830. The plays 
 and burlesques he has written have been almost with- 
 out number. During his first Albany engagement, he 
 produced one of the latter on " Metamora/' playing 
 the principal character, of course, in imitation of For- 
 rest. This took immensely in Albany, and, combined 
 with Brougham's accomplishments as an Irish actor, 
 made him extremely popular here, as he was elsewhere. 
 Indeed, it would be difficult to mention a more popular 
 man than John Brougham has been in his lifetime. 
 His greatest single success as a playwright was his 
 dramatization of "Dombey & Son,' 7 produced this same 
 summer of which we write. It was for many years 
 almost unequalled in its repetitions and the length of 
 its runs. It was first played at Burton's, where 
 Brougham was stage manager, and has never been 
 improved upon. Mr. Nickinson and daughter a» 
 Dombey and Florence, Mrs. Yernon as Mrs. Skewton, 
 Burton as Captain Cuttle. Brougham as Bunsby and 
 Bagstock, Oliver B. Raymond as Toots, made up the 
 principal part of the cast. To follow in detail all the 
 scenes and incidents of interest in the life of John 
 Brougham, would be to write a volume. He has been 
 reported busy on such a work, and we hope it may 
 soon be given to the public. His last visit to Albany, 
 21 
 
242 PLAYERS OF A CENTURY. 
 
 a year or two since, was most unfortunate. Business 
 was bad, he was seriously ill, and a valuable gold 
 watch was stolen from him at his hotel. The farewell 
 tour which he was then making, proved disastrous, and 
 it was only through a grand complimentary benefit 
 given him in New York, January 17th, 1878, whereby 
 nearly $10,000 was raised, that, in his old age, he is not 
 a victim to poverty. 
 
 "As has been stated, rivalry was brisk between the 
 two theatres, the same stars appearing first at one place 
 and then at the other. In May, it was determined to 
 enlarge the Museum by adding thereto the two adjoin- 
 ing buildings on the north, and John M. Trimble was 
 engaged to draw the plans and perform the work. 
 We must now, however, turn back to sketch the his- 
 tory of the Odeon. 
 
243 
 
 CHAP'TER XIX. 
 
 1847-1848. 
 
 The Brief, Eventful History of the Odeon. 
 
 EVER since the Pearl street theatre had been turned 
 into a church, there had been talk of a new play- 
 house, and many plans were projected by many people. 
 The Museum saloon and stage were quite too small, 
 and the Dallius street amphitheatre, though certainly 
 large enough, had run down and was nothing but a 
 circus to begin with. In September, 1846, plans were 
 drawn for a building which was opened under the name 
 of the Odeon, February 1st, 1847. It was situated on 
 the east side of Broadway, just south of Division street, 
 and had formerly been a store. It was small, but very 
 neat, unique in its adornments, and resembled rather a 
 magnificent steamboat saloon than a theatre. It was 
 in fact owned principally by two steamboat men, Col. 
 John W. Harcourt, for so many }^ears connected with 
 the People's line, and "Pug" Houghton, captain of the 
 steamer Rochester. 
 
 There was an opening address from the busy pen of 
 C. W. Taylor, spoken by James Hall, the stage mana- 
 ger. Among the stock company were Messrs. G. Chap- 
 man, Gilbert, James Canoll, Hield, Jr., Thompson, 
 Crouta, Myers, Miller, Mrs. Chapman, Miss Greenwood, 
 Mrs. D. C. Anderson. The leader of the orchestra was 
 Mr. Underner ; machinists, Messrs. Wilkins and War- 
 ner; costumer, Mrs. Crouta; properties, Mr. Carter. 
 
 John Crouta was the acting manager. He after- 
 wards kept a very neat little garden in the south of 
 
244 PLAYERS OF A CENTURY. 
 
 Greenbush, till one day in high water, the waves from 
 the steamer New World washed over his place and 
 swept it clean away. He died in 1874. 
 
 Mr. Jason Collier, of Albany, played in the orchestra 
 here for a few months. He says he has reason to 
 remember it, for one of the men who, after a perform- 
 ance, was putting out the lamps about the stage, fell 
 from an upper box and landed on the top of Mr. Col- 
 lier's hundred dollar bass-viol, which was lying on its 
 side in the orchestra. The instrument, with a noise 
 like a young cannon, was broken into a hundred pieces. 
 
 Charlotte Barnes was the first star, and played in 
 the opening drama, which was "The Soldier's Daugh- 
 ter." The after-piece was " The Actress of All Work," 
 in which Mrs. Chapman, the soubrette, appeared. 
 The rivalry between the Odeon and the Museum, 
 showed itself in various ways. February 27th, the 
 former gave a benefit for the sufferers in Ireland, and 
 March 18th, for Ireland and Scotland. March 1st, 
 prices at the Odeon were reduced to twenty-five cents 
 to the parquette, and one shilling to the gallery, and 
 soon after it was announced that a single ticket to the 
 dress-circle would admit a gentleman and lady. In 
 April, Gus Addams came and crowded the little house 
 from top to bottom. Addams was a favorite here, 
 although not so much a one as Forrest. Still both 
 had their partisans.' It is said to-day, that Addams had 
 more natural ability than ever Forrest had, but while 
 the latter was intent on study, Addams preferred the 
 society of his boon companions and they ruined him. 
 Even at this time, he was drinking heavily. It is 
 remembered that one night he could not be found, 
 and scouting parties were sent out in search of him. 
 He was discovered down near the dock, dead drunk. 
 He was taken to the theatre, his dress put upon him, 
 and he was roused up as much as possible. When his 
 cue came he was put upon the stage, and habit did the 
 rest. He went through his part, and few in the 
 audience imagined what was his condition. Between 
 the acts he was like a log, but heavy doses of brandy 
 
PLAYEKS OF A CENTURY. 245 
 
 carried him through. Similar stories are told of 
 Scott, and, we believe, of the elder Booth. 
 
 The season closed May 26th and another opened June 
 7th, under the management of W. M. Fleming, with the 
 play of " Masaniello " and u Born to Good Luck," Barney 
 Williams appearing in the latter as Paudeen GRaf- 
 ferty. Barney (his real name was Bernard Flaherty), 
 was born in the barracks of Cork, August 20th, 182-i, 
 and came to this country in 1831. He began life as- 
 an errand bo}*, and working in a New York printing- 
 office. He was a supernumerary at the old Franklin 
 theatre, and one night, an actor named Alonzo Williams, 
 being ill, Bernard took his place, and did so well that 
 he was promoted and was ever afte wards known as 
 Barney Williams. He is remembered as being about 
 the Albany museum, in a subordinate capacity, long 
 before his name graced any play-bill. He then tried 
 the negro minstrel business, about that time coming 
 into fashion, and it was not till 1846, that he became 
 identified with Irish comedy. Just prior to his first 
 appearance here as a star, he had made a successful 
 tour in the south. Three years later, he tried to play 
 Mose at the old Olympic, in New York, but only got 
 to the end of the second act, when the boys became so 
 outspoken in their criticism, that the attempt had to 
 be given up. He was almost hooted from the stage. 
 Instead of playing the third act, "Born to Good Luck " 
 was put on, and as Paudeen, the actor who an hour 
 before had been treated with scorn, was received with 
 thundering plaudits. This decided him, and ever after, 
 with few exceptions, he played Irish characters. His 
 fellow artists never thought much of his dramatic 
 powers, and those most familiar with him would say, 
 "Barnej^, you are funn\ T , but you are not an actor." 
 In 1850, he married Mrs. Mestayer nee Pray, and after 
 six years' managing and acting, they went to Europe, 
 he playing Irish and she Yankee characters. The 
 Dublin public declared that Barney was an actor, and 
 he was satisfied. Four times he played before Queen 
 Victoria. On his return, he was able to command half 
 
246 PLAYEKS OF A CENTURY. 
 
 the gross receipts, and amassed wealth rapidly. His 
 real and personal property at the time of his death was 
 estimated at half a million. He died in New York, 
 April 25th, 1876, of paralysis of the brain. He was a 
 brother-in-law of William J. Florence, Mrs. Florence 
 and Mrs. Williams being sisters. Barney's last appear- 
 ance in Albany, was at the Trimble opera house, 
 in 1871. 
 
 July 7th, the name of the Odeon was changed to the 
 Broadway theatre, and a benefit was tendered Mr. John 
 W. Harcourt, Mr. Eddy appearing as Othello and Mrs. 
 Eddy as Nancy Strap. 
 
 There appears to have been no further performance 
 here till August 2d, when the place was opened five 
 nights for the appearance of the Viennoise children, 
 forty-eight in number. The first night there was a slim 
 attendance, but as the merits of the attraction became 
 known, the house was packed and the troupe was 
 re-engaged. It was under the direction of Madame 
 Josephine Weiss, from the Imperial theatre, Vienna, 
 but was brought to Albany by John Moakley, who 
 realized handsomely by the enterprise. Nothing pret- 
 tier than the dances of these children has ever been seen 
 here. Their various ballet di vertisements were entitled 
 La Pas des Fleurs, executed by the entire company; 
 Pas de Hongrois, Polka de Paysan, Pas de Bergers and 
 Pas Styrien, each by twenty-four dancers ; L Allemande, 
 by twenty dancers ; Pas Orientals, La, Grande Mazourka, 
 Gallop des Drapeaux and Pas des Moissoneurs by the 
 whole troupe, and Les Sauvages et la Mirrour by sixteen 
 select dancers. The grace, precision and apparent art- 
 lessness of these children, left an impression which 
 remains to this day on the minds of those living who 
 saw them. 
 
 On the 6th of September, the Broadway opened 
 under the management of Mr. Crouta, In his stock 
 company were the following, several of whom were 
 old Albany favorites : Mr. Wiseman Marshall, Messrs. 
 Burgess, Jordan, Brown, Thompson, Kingsley, Crouta, 
 Lewis ; Miss Mary Duff, Mrs. Forbes, Mrs. Stickney 
 
PLAYERS OF A CENTURY. 247 
 
 and Miss Greenwood. The opening piece was ''Damon 
 and Pythias," Damon. Mr. Marshall. Mr. and Mrs. 
 John Greene played a week on their way west. 
 
 September 13th was the first night of Edmund S. 
 Conner, who played a line of the usual tragic parts. 
 Mr. Conner was born in Philadelphia. September 19th, 
 1809. where he made his debut at the age of twenty. 
 With good taste, fine head, graceful person and excel- 
 lent elocutionary powers, he has been a great favorite. 
 Three months after his first appearance here, he married 
 Miss Charlotte Barnes, daughter of "Old Jack." and 
 was long with her in California. Later in life, he was 
 manager of the Green street theatre. He played a star 
 engagement at the Leland opera house. March 15th, 
 1875, when he appeared for the first time in Albany 
 in twenty years, and for the 877th time as Richelieu. 
 
 October 11th. Benedict De Bar played Ralph Stack- 
 pole, in "Nick of the Woods.'" and Robert, in " Bobert 
 Macaire." This favorite southern and western actor, 
 although of French descent, was born in London, 
 .November 5th, 1812. and began his dramatic career as 
 a stroller. In 1834. he came to the United States and 
 played in the south, where he was always popular. 
 In 1812. he was stage manager of the Bowery. From 
 1849 to 1853. he was the proprietor of the Chatham 
 theatre, and then went starring as a comedian. He 
 played Falstaff 150 times and his portrait in that char 
 acter adorns the imperial quarto edition of Knight's 
 Shakspeare. De Bar was. at one time, worth S600.000, 
 and in 1853. owned the St. Charles theatre, in New 
 Orleans, and afterwards the St. Louis theatre. He 
 died in the last named city, August 14th. 1877. 
 
 January 1st. 1848. was the first night of Julia Dean 
 and Mr. Thompson, who appeared in "Love's Sacri- 
 fice 7 ' and after in "Lucretia Borgia/' "The Honey- 
 moon/' "Ion," "Evadne," " Fazio."" The Wife," " The 
 Wreckers Daughter." " The Hunchback, 1 ' etc, Julia 
 Dean was now eighteen years old. having been born in 
 Pleasant Valley, Dutchess county, July 22d, 1830. 
 She came of good theatrical stock, her maternal grand- 
 
248 PLAYERS OF A CENTURY. 
 
 father being Samuel Drake, the pioneer manager of 
 the west and south. In 1855, she married Dr. Hayne, 
 of Charleston, South Carolina, son of the senator who 
 had the famous debate with Daniel Webster. Eleven 
 years after, she was divorced from him and married 
 James Cooper, of New York. She died March 6th, 
 1868. She was a charming Parthenia and an ideal 
 Julia, at least till her trip to California ; after that, Mr. 
 Hutton says, she seemed to have " changed her nature 
 with her name and left her genius with her spinster- 
 hood, on the Pacific." 
 
 In March, Eddy played Hamlet, Damon, O Callaqhan, 
 in "His Last Legs' 7 ; Raffaelle, in "The Libertine"; 
 William Tell, Jean, in "The Eagpicker of Paris"; 
 Alexander, " The Carpenter of Rouen," etc. Eddy and 
 Forrest, at one time, were firm friends, bat afterwards 
 were bitterly opposed to one another. Forrest brought 
 suit against Eddy once for playing his property, 
 "Jack Cade," but Eddy produced in court, a copy 
 of the play, with " Presented to E. Eddy, by his friend, 
 E. Forrest," written across the title page, in Forrest's 
 own hand. 
 
 From the 18th of May till the 3d of July, the Odeon 
 was occupied by the Museum company, who played 
 there while the alterations were going on in their own 
 establishment. 
 
 The theatre was finally destroyed in the great fire 
 of 1848, which, breaking out on the 17th of August, 
 in a small shed adjoining the Albion hotel, corner of 
 Broadway and Herkimer street, spread before a strong 
 south wind with great rapidity, taking in both sides of 
 Broadway and Church street, and crossing to the pier, 
 swept every thing thereon, to the cut at the foot of 
 Maiden lane. On the main land, the flames swept to 
 the corner of Hudson street, when the wind changed 
 and drove the fire in an opposite direction. One- 
 thirtieth of the whole city, including about thirty- 
 seven acres, was burned over, and 600 buildings were 
 destroyed in the most densely populated part. The 
 loss was not much short of $3,000,000. 
 
249 
 
 CHAPTEE XX. 
 
 1848-1852. 
 
 Palmy Days of the Albany Museum. 
 
 IN 1848, Mr. John Montague Trimble was engaged 
 to enlarge the Museum. During his life time, lie 
 had constructed no less than forty-one places of 
 amusement, a greater number, probably, than any other 
 man in America, He was born in New York, in 1815, 
 his father being a Virginian by birth, and an officer in 
 the navy. Young Trimble was, himself, in the navy 
 for a short time, but soon turned his attention to 
 mechanics, and became stage carpenter at the old 
 Bowery. He, in time, acquired the trades of both 
 carpentry and masonry, and also learned something of 
 architecture. He became famous as the Lightning 
 Builder. Once, when the Bowery burned down, he 
 re-erected it in sixty days. He built Barnum's old 
 museum, Genin's hat store, and other buildings, almost 
 without number, and in an incredible short space of 
 time. During the California excitement, he built 
 many houses which were shipped to the Pacific coast, 
 all ready to be put up. He delighted to make a con- 
 tract to have a certain number done in a very short 
 time, say forty days, and then do the work in half 
 that period. He understood, thoroughly, the way to 
 employ a large number of men at the same time and 
 at the best advantage. His work seemed always done 
 by magic. Finally, after working many years for 
 other people, he built the Metropolitan (afterward 
 Laura Keene's and the Olympic) theatre in New York, 
 investing in it $50,000. While building the New 
 
250 PLAYERS OF A CENTURY. 
 
 Bowery, in 1859, he went to bed one night and arose 
 the next morning, blind. This was occasioned partly 
 through neuralgia, superinduced by overwork, and was 
 partly inherited. His father, stricken in the same way 
 in young manhood, went mad and died. Mr. Trimble, 
 however, bore up bravely under this painful affliction, 
 although he never did much work afterward. One 
 summer, while sojourning at Middleburgh, Schoharie 
 county, it was suggested to him to come to Albany 
 and change the old Pearl street theatre, then a church, 
 into its original condition. He thought well of the 
 idea, acted upon it, and so, in 1863, became for the 
 first time in his life, a manager. He died at 4 A. M., 
 June 7th, 1867, at 31 Beaver street, of consumption, 
 and was buried in Greenwood cemetery. His career 
 as a manager, will be referred to in another chapter. 
 
 The Museum property was a part of the Sprague 
 estate, but the lessee at this time was, and had been 
 for several years previous, Henry T. Meech. Mr. 
 Meech was born in Worthington, Massachusetts, in 
 1805, and at the age of sixteen came to Albany, and 
 was employed by his uncle, Henry Trowbridge, the 
 former proprietor of the Museum, and at length suc- 
 ceeded him. He married Miss Adeline Hendrickson, 
 of Albany, by whom he had nine children. Becoming 
 interested in the canal business, he at length moved to 
 Buffalo, where he built the Academy of Music, now 
 managed by his sons. Mr. Meech died in Hartford, 
 Connecticut, in 1870. 
 
 The enlargement of the Museum was begun on the 
 18th of May, 1848, the company meantime playing at 
 the Odeon. Up to this time the seating capacity of 
 the saloon had only been between three and four hun- 
 dred, but by the additions aroom was made (including 
 stage) ninety feet deep, fifty feet wide, with a double 
 row of windows on each side. It was claimed that 1,500 
 people could easily be seated in full view of the stage. 
 The house was divided into a pit, parquette, and one 
 tier of boxes, besides five private boxes, one of which 
 was called "the City hotel box," where the actors not 
 
PLAYEKS OF A CENTURY. 251 
 
 engaged in the play could sometimes steal in from 
 behind the scenes and see the performance. The 
 interior was handsomely decorated, the entire improve- 
 ment costing between $9,000 and $10,000. From the 
 time of this enlargement till it was given Tip as a thea- 
 tre, the Museum was the leading place of amusement 
 in Albany. While many stars played there, its stock 
 company was at times as good as the country afforded. 
 Often we find three or four, or perhaps more, excellent 
 actors engaged for several weeks together, in one com- 
 bination, playing on a certainty, and sometimes, it must 
 be confessed, to very bad business. As in the palmj^ 
 days of the old Pearl street theatre, the Park and the 
 Bowery, of New York, were recruited from the Albany 
 stage, so now we find the favorites of this city soon 
 treading the boards of Wallack's and the old Broad- 
 way. Mary Wells, Mary Gannon, Mary Taylor, are 
 cases in point. It was no unusual thing to find Mrs. 
 Clara Fisher Maeder, Mrs. Vernon and Mrs. John Drew 
 playing at the same time in the Museum saloon, a 
 coterie of which any theatre in America would be 
 proud. 
 
 The opening took place July 3d, 1848, under the 
 acting management of C. W. Taylor, who of course 
 had an address for the occasion. Charley was literary 
 in his habits, and wrote several plays, including " The 
 Water Witch M and " The Goblet of Death," the latter 
 a thrilling temperance drama, with a moral the author 
 would have done better had he heeded it. The address 
 was spoken by H. V". Lovell, the stage manager and 
 leading man, an excellent general actor for many 
 years, after which he retired, sold his wardrobe, and 
 went into the vinegar business. Subsequently he went 
 to New York, and going into politics, became deputy 
 street commissioner. His wife, who also played lead- 
 ing business, was a sister of the danseuse, Miss Turn- 
 bull. C. W. Couldock paid Mrs. Lovell the compli- 
 ment of saying that she was the best Rose Fielding (in 
 11 The Willow Copse ") that he ever had to support 
 him. Other members of the company were Messrs. 
 
252 PLAYERS OF A CENTURY. 
 
 Bernard, W. B. Chapman, Keene, Kingsley, Saunders, 
 Mrs. W. H. Smith, Mrs. Sergeant, Miss Mary Gannon, 
 Miss Bernard, and Mrs. Crane. 
 
 The opening bill was " The Honeymoon " and " The 
 Maid of Munster," Miss Eose Telbin, an English 
 actress, being the star. "Charming Eose Telbin," as 
 she was known in New York, promised to be a great 
 favorite, but died early the next spring. The opening 
 night was a grand success, and the people were de- 
 lighted with the new saloon, as it continued to be 
 called, and patronized it well at the start. On the 
 10th, a benefit was given the architect and builder, 
 Mr. Trimble, at which Miss Fanny Wallack played 
 Pauline to Mr. Fleming's Claude. Fanny was a 
 daughter of James Wallack, and like all her family, 
 picturesque in attitude and action, besides being grace- 
 ful, spirited and pretty. She afterward played several 
 star engagements here. She died in Edinburgh, 
 October 12th, 1856. 
 
 On the 14th, the Boston City Guard, escorted by 
 the Burgesses corps, visited the Museum on invitation 
 of the manager. July 18th, the charming Viennoise 
 children came and played till the 27th, drawing 
 crowded houses. 
 
 On the 31st, Frank S. Chanfrau began his first 
 engagement in Albany, as Mose, in " A Glance at New 
 York," and Jerry Clip, in "The Widow's Victim." 
 August 2d, he played Carwin, in "Theresa"; August 
 3d, in "The Golden Farmer" ; August 4th, Gilbert, in 
 "The Idiot Witness," each night appearing as Mose, 
 in addition to the other plays. Francis S. Chanfrau 
 was born in New York, February 22d, 1824. From 
 amateur theatricals he became a " super " at the Bowery, 
 and afterwards an actor at Mitchell's Olympic, where 
 he made a great hit as Jerry Clip, and next as Mose, 
 in "A Glance at New York," Mary Taylor being the 
 original Lize (and Fred. A. DuBois, treasurer of the 
 Leland opera house, the original newsboy). This play 
 had been brought out the previous February, for the 
 benefit of Baker, the prompter, was hastily written, 
 
PLAYERS OF A CENTURY. 253 
 
 and a coarse, miserable thing, in itself : but Chanfrau, 
 as the soap-locked fireman, was a great success. So 
 well was he made up, that it is said Mitchell, the man- 
 ager, seeing him in the green-room before the play 
 began, took him for a real fireman, and demanded his 
 business there. The sketch — for it was nothing 
 more — ran seventy nights, and was correspondingly 
 popular all over the country, where Chanfrau took it, 
 and with it won fame and fortune. But the prototype 
 having vanished from the stage of existence, the imita- 
 tion followed, and " Mose, dat runs wid de hose," is a 
 creature of the past. Chanfrau's other hits have been 
 in " Sam " and k * Kit, the Arkansas Traveller." He was, 
 at one time, manager of the Green street theatre, for a 
 short season, and is still a successful star. 
 
 On the 10th, Fanny Wallack and Mr. Fleming, 
 began an engagement, and on the 14th, Booth was 
 added to the combination, playing Othello, Sir Giles, 
 Sir .Edward Mortimer, Richard, etc. He was to have 
 played on the night of the great fire (the 17th), but 
 failed to do so. He was stopping at the Eagle hotel, 
 and the members of Engine company No. 9, rescued 
 his wardrobe from the burning: building:. To show his 
 gratitude, he put on a red shirt, fell in with the fire- 
 men, and worked like a hero all day. That night he 
 came to the theatre, and asked his way to the gas 
 room, which was shown him. Soon after, when time 
 to light up, the gas pipe or metre was found so battered 
 and disarranged, that much delay was caused. Booth 
 said there would be no light that night, and left the 
 theatre. He was accompanied, at this time, by his son 
 Edwin — the present eminent tragedian — then a mere 
 strippling, but who kept as close an eye upon his father 
 as was possible. While acting, the boy sat in a box 
 watching him and reading the play after him, line by 
 line, and when off the scene, was on hand ready to 
 dress him for the next. 
 
 Booth is remembered spending the day over the 
 river, about this time, at Ned Clemens's garden, when 
 he ought to have been at Buffalo, but he preferred to 
 22 
 
254 PLAYERS OF A CENTURY. 
 
 stay where he was, and told funny stories and sang 
 funny songs all day long. Clemens, his companion, 
 was a brother of John Clemens, a reputable citizen, 
 but Ned was a queer one. He was editor of the Albany 
 Bellows and State Basin Herald, which he issued semi- 
 occasionally, when the exigencies of the times and the 
 condition of his finances would permit. James Duffy 
 printed it for him, and he himself, had scarce a dollar 
 invested, but after the great fire he claimed to have 
 been a sufferer by the conflagration, and went around 
 with a petition, and actually raised about $200, to set 
 the Albany Bellows blowing again. 
 
 Mr. Stone relates, in his entertaining book, a story 
 of Booth being found drunk in the " Hole in the Wall,' 7 
 in Trotter's alley, one night, when he was expected to 
 play, and in order to guard against a repetition of the 
 debauch, he was taken in a carriage to the old Howard 
 street jail, now the Albany hospital, and there locked 
 up in the debtors' room to get sober, and keep so. In 
 the morning he was found drunker than ever, having 
 induced Jim Boardman, who did chores at the jail, to 
 buy a pint of brandy, and a long Shaker pipe, through 
 which the prisoner obtained the liquor, from a cup 
 outside the grating. Boardman kept the secret, and it 
 was a long time before the mystery of Booth's second 
 drunk was accounted for. A similar story has been 
 related of Cooke and others, and which is the "original' 7 
 we are unable to say. 
 
 Booth died December 1st, 1852, on the passage from 
 New Orleans to Cincinnati, on board the "J. W. 
 Chenoworth." His last moments are thus described by 
 a stranger, who alone was with him in that solemn 
 hour : 
 
 " The third day after he was taken, he could not 
 turn over without help; I saw that he was getting in 
 a hopeless condition, and thinking to stimulate his 
 energies, gave him some brandy and water, having to 
 saturate a rag and place it between his teeth, his jaws 
 having become rigid ; but on tasting it he made an 
 effort to remove it from his lips, and said, with diffi- 
 
PLAYERS OF A CENTURY. 255 
 
 cultv. • no more in this world/ On the fourth day, I 
 asked him if I should read to him from my Testament; 
 he seemed anxious that I should, when I selected an 
 encouraging chapter, and read, while he gave the 
 deepest attention. I then asked him if I might pray 
 for him : his eyes became dim with moisture, and he 
 signified his consent, when I knelt by his bunk, and 
 besought the great Father of us all. before whom he 
 was so shortly to appear, to receive him for the sake 
 of Him who died for sinners. He seemed very grate- 
 ful, and attempted to put his arms around my neck as 
 I bent over him to smooth his pillow. The fifth day, 
 about one o'clock, he died. I was with him all the 
 morning until the bell rang for dinner, when he said 
 distinctly, several times, 'pray! pray! pray!' accom- 
 panied by a beseeching look. At the time of his 
 death, we were below Louisville, where, upon arriving, 
 the captain procured a metalic coffin, and telegraphed 
 to Mrs. Booth to meet the corpse in Cincinnati, which 
 she did. taking it to Baltimore for interment." 
 
 August 31st, a benefit performance was given for 
 the sufferers by the great fire. Augustus Addams, 
 George Holland. Barney Williams and Cooke's band 
 volunteering. Tickets to all parts of the house were 
 $1, but owing probably to the excitement, the receipts 
 were only about $200. Miss Gannon now left the 
 establishment, and in her place Mrs. James G. Maeder, 
 nee Clara Fisher, was added to the stock company, 
 which needed strengthening. James Canoll was also 
 engaged. 
 
 For several years from this date. Mrs. Maeder was a 
 resident of Albany, where one or two of her children 
 were born. Her husband. Mr. James G. Maeder. who 
 practiced his profession of music, was welcomed to the 
 city by a complimentary concert, arranged by the lead- 
 ing musicians of the city and given February 8th. 1850, 
 at Van Vechten hall, George W. Warren. Henry Cone 
 and the Misses Cone assisting. It was fully attended 
 and was repeated with success. Mr. Maeder was con- 
 nected with the theatrical profession only by marriage, 
 
256 PLAYEES OF A CENTURY. 
 
 if we except one season in Providence, where, in the 
 fall of 1888, he undertook, in connection with Thomas 
 Flynn, to manage Shakspeare hall, then newly built. 
 Flynn was unpopular, and soon left Mr. Maeder to get 
 on alone, which he did till the 24th of July, at consid- 
 erable loss. Mr. Maeder died May 28th, 1876. 
 
 u Dombey & Son " was produced at the Museum in 
 October, and on the 21st, Mr. and Mrs. Charles Dibdin 
 Pitt made their first appearances here; he as Bic h ard, 
 and she in a farce called "Cleopatra," These were 
 English actors, who met with high favor, particularly 
 the gentleman. For some reason he did not succeed 
 as well in New York. They were both uncommonly 
 fine dressers. Holland and J. E. Scott came next, and 
 Tom Hyer, the famed champion in the art of self- 
 defence, "appeared" in an exhibition with his trainer. 
 Charles R Thorne, Henry Placide and Mrs. Coleman 
 Pope, an Englishwoman, followed. She was the Lady 
 Macbeth at the Astor Place opera house, the night of 
 the Macready riot, and went through her part on that 
 terrible evening without flinching. Mrs. Pope, although 
 long in retirement, reappeared at a benefit tendered 
 her at Indianapolis, Indiana, May 25th, J 878, and is 
 probably still living. ,Henry Placide was one of the 
 best comedians the country has ever known. He 
 came of an old theatrical family, and fully sustains its 
 reputation. He lived to the good old age of seventy, 
 and died in January, 1870. Hon. Thurlow Weed was 
 one of the pall -bearers. 
 
 November 13th, Mr. and Mrs. Farren played in the 
 standard comedies and tragedies. She had been here 
 before, and was well liked. The Farrens were followed 
 by Julia Dean, who was supported by her father. 
 Eddy came next, and on the 18th of January, 1849, 
 superseded Lovell as stage manager. Julia Dean and 
 the Pitts came again in February. Pitt was the first 
 to produce Bulwer's play of u Money " in Albany. 
 Charles T. Smith was added to the company in March. 
 He was a good general actor, and was stage manager 
 for several seasons. He was associated with David 
 
PLAYERS OF A CENTURY. 257 
 
 Barnes in managing the Green street theatre, and with 
 Eddy in managing at Troy. He was born in England 
 in 1817, and came to America when quite young. In 
 1836, he played in Detroit, and in 1848 at the Old 
 Bowery. After leaving Albany, he went to Buffalo, 
 where he was lessee and manager of the Metropolitan 
 theatre at its opening. During the war, he was staff 
 officer with General Stoneman, and then managed 
 theatres in St. Louis and Cincinnati. He married 
 Maria Barton, a vocalist, who died in St. Louis in 
 1863. Smith died in Buffalo, August 19th, 1869. It was 
 under Charley's management that the "horse drama" 
 was first produced at the Museum. This was the 
 result of some one betting a wine supper that it could 
 not be done. Smith said it could be done, and should 
 be done, and sending for Derr, the Mazeppa of. those 
 daj^s, it was not long before the passers-by on Broad- 
 way were astonished to see a live horse's head protrud- 
 ing out of a window of the upper story of the Museum, 
 snuffing the fresh air. Derr's horses were so well trained 
 that they walked up the two flights of stairs, without 
 the least sign of u kicking." " Mazeppa" and other 
 plays of that kind were accordingly produced. 
 
 On the 18th of June, Manager Eddy took a farewell 
 benefit, previous to his departure for Boston, to assume 
 charge of a theatre there. Mr. John Nickinson, who 
 has been before mentioned, succeeded him. He had 
 been in the British army, and was admirable as Haver- 
 sack in "The Old Guard. 1 ' He and his daughter 
 Charlotte were great favorites in Canada, and became 
 so in Albany and in New York. At one time, he 
 managed the Utica museum. He died in Cincinnati, 
 February 9th, 1864, w T hile sitting in a drug store. His 
 daughter, at last accounts, was a resident of Toronto. 
 
 July 6th, Charley Taylor, who appears to have had 
 more benefits than any other two persons in the city, 
 if we except Charley Kane, announced his farewell, 
 having withdrawn from the Museum to go to the 
 National theatre, in New York. August 22d, he took 
 still another, and this, we believe, was really his last 
 
258 PLAYERS OF A CENTURY. 
 
 appearance in Albany, where he had lived so many 
 years, and his head grown as white as the driven snow. 
 He then went to New York and became musical 
 director at the Old Bowery. He died November 16th, 
 1874, aged about seventy-five. It is said that early in 
 life, he was the confidential clerk of an importing 
 house in Boston, a position which he resigned to be 
 near the prima donna of an opera troupe, with whom 
 he fell in love, and thus was introduced to the theatri- 
 cal life he lived so long. 
 
 July 16th, Mr. and Mrs. George Mossop appeared, 
 the latter being formerly Mrs. Hunt. On the 8th of 
 October, Mr. Mossop died suddenly, at his residence, 
 corner of Broadway and Yan Tromp street. He was 
 supposed to be in good health during the day, and 
 was advertised to perform that evening. He was an 
 Irish comedian of merit, and a sweet singer. The fol- 
 lowing year, John Drew, another Irish comedian, 
 joined the company, and wooed and won the widow 
 Mossop. Drew was born in Dublin, September 3d, 
 1827. His parents came to America when he was six 
 years old, and settled in Buffalo. John's early days 
 were spent in trying to.be a sailor, but he soon took 
 to the stage. His first night at the Museum was May 
 6th, 1850, and his marriage with Mrs. Mossop took 
 place July 27th following. Tn 1853, he leased the 
 Arch street theatre, in Philadelphia, where, after an 
 English and Australian tour, he died, May 21st, 1862. 
 In appearance, Mr. Drew was short in stature, and 
 slender in proportion, plain and unpretending in dress 
 and manner, but with alwaj^s a pleasant word for every 
 one. He was an excellent comedian, but became 
 nearly blind. His widow, the Louisa Lane of many 
 years ago, is at present lessee of the Arch street thea- 
 tre, and a remarkably well preserved woman. Having 
 been upon the stage since childhood, some exaggerated 
 stories are afloat in relation to her age. Not long 
 since, a gentleman at a hotel table in Philadelphia 
 was remarking upon the pleasure he had enjoyed 
 the previous evening, of seeing Mrs. Drew act, and 
 
PLAYERS OF A CENTURY. 259 
 
 expressed particular astonishment that one so old could 
 appear so full of animation. u Why," said he, ; * I am 
 told she is nearly eighty years of age !" His remark 
 arrested the attention of one who was sitting near him, 
 and who begged him to repeat it, which he did. "And 
 did you notice the elderly Isidy sitting in the stage box 
 at the right hand? 71 "I did. and a bright looking 
 person she was too." " Well, sir, that bright looking 
 person is Mrs. Drew's mother. How old must she 
 be?" Mrs. Drew is sixty-two years of age, having 
 been born in England, January 10th, 1818. She is 
 probably the oldest female manager in America, She 
 has been one of the most versatile women on the 
 stage, and still acts occasionally. 
 
 Nickinson soon withdrew and Charley Smith became 
 stage manager. The next engagement of special 
 interest, was that of the infant prodigies, Ellen and 
 Kate Bateman, aged four and six. They appeared 
 several nights daring the winter, and in April. 1850, 
 came as;ain. Thev travelled all over England and the 
 United States, being taken to Europe by Barnum, in 
 1851, where they played before the Queen, and came 
 home to St. Louis with quite a little fortune. Their 
 father was H. L. Bateman, and their mother a daughter 
 of Jo. Cowell. the comedian. Ellen retired in 1860, 
 having married a French gentleman. Kate's theatrical 
 career continues to the present time. As late as 1871, 
 she played in New York, and in 1877 at the Lyceum 
 theatre, London. Her great roles have been Leah, Mary 
 Warner and Bianca. In 1875, she played in " Mac- 
 beth " with Henrv Irving. Her husband's name is 
 Dr. George Crowe. There is a third sister. Isabella, 
 who is also on the London stage. Their father trained 
 them incessantly. Kate, it is said, practiced the one 
 feature of rushing upon the stage as Leah, pursued by 
 the rabble, for two hours every day for a week prior to 
 her first appearance in the character. She is a finished 
 actress. At the close of their engagement, John Crouta 
 took them to Troy and rigged up Apollo hall for their 
 appearance there. 
 
260 PLAYERS OF A CENTURY. 
 
 May 27th, Barney Williams came, accompanied by 
 his wife. Her maiden name was Maria Pray. She 
 was born in New York, in 1828, and Charles Mestayer 
 was her first husband. She became a widow, May 
 12th, 1859, and married Barney, November 24th of the 
 same year. She had been upon the stage since she 
 was a child, and developed into a charming actress. 
 She is said by Ireland, to be the " originator of that 
 curiously constructed stage monstrosity yclept, the 
 'Yankee Gal,'" and as such has much to answer for. 
 She is a sister of Mrs. William J. Florence. 
 
 July 6th, Mr. W. F. Gillespie took a benefit, when 
 " The Bandit of Venice " and " Delicate Ground," were 
 presented. Mr. Gillespie is a native of Albany, and 
 in his early years, cwas much addicted to the theatre. 
 After *orae months of gratuitous service, he was placed 
 upon bhe pay roll, at the time the company played in 
 the Odeon, while the Museum was being enlarged, and 
 thereafter, served as prompter, utility man, etc. He 
 also played under Conner's administration in Green 
 street. His theatrical life ended when the war broke 
 out. For the past few years, he has occupied a respons- 
 ible position in the official force at the Albany 
 penitentiary. 
 
 July 8th, we note the appearance for the first time 
 in Albany, of Mr. C. W. Couldock, as Claude Melnotte. 
 Mr. Charles Walter Couldock was brought to this 
 country to support Charlotte Cushman, on her tri- 
 umphant return from Europe, in 1849. He was born 
 in London, April 26th, 1815, and has been on the stage 
 since he was twenty years old. He was the original 
 Abel Murcott, in " Our American Cousin," at Laura 
 Keene's, in 1858. He has starred extensively with his 
 daughter Eliza, and in such dramas as "The Willow 
 Copse" and u Chimney Corner," made a national repu- 
 tation. He is still hale and vigorous, and although 
 naturally less powerful than once he was, is a sterling 
 actor, whose return is ever welcome. 
 
 August 6th, Fanny Wallack played Hamlet for Mr. 
 Morehouse's benefit. He was afterwards her husband, 
 
PLAYERS OF A CENTURY. 261 
 
 and the original Drunkard, in a pla}^ of that title, a 
 role, we are sorrv-to sav, for which his habits fitted 
 him perfectly. 
 
 August 20th, Miss Eliza Logan and her father 
 appeared in "-The Hunchback," and continued their 
 engagement in similar plays. Eliza was a sister of 
 Celia and Olive Logan, and the wife of George Wood, 
 the western manager. Although not as literary as her 
 sister Olive, she has shown good business capacity ; 
 and at one time was part lessee of the Spingler house, 
 New York. She died in New York, January 15th, 
 1872. The story is told of Miss Logan, that once, 
 while playing in Augusta, Georgia, for her own benefit, 
 she received a number of presents, handed up to her 
 on the stage, with the names of th.e, givers attached. 
 A planter especially pleased with her acting, arc** hav- 
 ing nothing else with him that he could spare; Sent 
 her, as a token of appreciation, his negro valet (worth 
 then, perhaps, $1,000), with a card pinned on his 
 sleeve, addressed "To Miss Eliza Logan, compliments 
 
 of ." The boy walked around behind the 
 
 scenes, and presented himself, but the actress declined 
 the gift. 
 
 In September, during the state fair, performances 
 were given afternoon and evening. George Vandenhoff 
 and James E. Murdoch played in October, the latter 
 drawing crowded houses and creating great enthusiasm. 
 
 November 4th, John Collins, the Irish actor, came, 
 playing in Powers old parts. He was born near 
 Dublin, in 1811. As a singer of Irish ballads, he has 
 rarely been equalled; but he was a very trying man 
 to get along with. He was the first to produce " The 
 Duke's Motto" in this country. 
 
 January 23d, 1851, was the first night of Miss Jean 
 Davenport, who now appeared as a full grown actress, 
 in Julia, Pauline, The Countess, etc. She was the first 
 to play Adrienne in this country, and made a deep 
 impression in that part. 
 
 In June, Mr. Murdoch played an engagement in con- 
 junction with Mr. and Mrs. D. P. Bowers, their first 
 
262 PLAYERS OF A CENTURY. 
 
 appearance here, if we are not mistaken. Mr. David 
 P. Bowers was born, made his debut and died in Phila- 
 delphia, and with the exception of about four years 
 passed in Baltimore, lived in his native city nearly all 
 his life, which was ended June 6th, 1857, by heart 
 disease. On the 4th of March, 1847, he married the 
 eldest daughter of Rev. William A. Crocker, an Epis- 
 copal clergyman, of Stamford, Connecticut, the well- 
 known actress of the present day. She was born 
 March 12th, 1830, and went upon the stage at the age 
 of sixteen. After her husband's death, she managed 
 for two j^ears the Walnut street theatre, in Philadelphia, 
 where she had become a great favorite. Her second 
 husband was Doctor Brown, of Baltimore, a near rela- 
 tive of Rev. Mr. Brown, formerly rector at Cohoes. 
 Doctor Brown died in 1867. In 1861, Mrs. Bowers 
 (she did not change her stage name) appeared with 
 much success in London, and reappeared at the Winter 
 Garden, in New York, August 17th, 1863. Since then 
 she has starred all over the country, playing such 
 characters as Elizabeth, Lady Audley, etc. She is still 
 a leading actress. She and her husband, if we mistake 
 not, played a number of weeks in succession at the 
 Museum. 
 
 July 10th,. first night of Sir William Don, the Eng- 
 lish comedian, who, by the way, was born in Scotland, 
 in 1826. He was a baronet, a handsome man, and six 
 feet, four inches in height. He died in Australia, 
 March 19th, 1862, of disease of the throat. He first 
 introduced here the long popular farce of " The Rough 
 Diamond," playing Cousin Joe, himself. His wife, nee 
 Emily Sanders, was also an actress, and appeared here 
 sometime afterwards. 
 
 October 27th, Charlotte Cushman began an engage- 
 ment as Mrs. Holler. 
 
 November 7th, McKean Buchanan played Hamlet 
 and followed with Macbeth, Lear, Othello, and in comedy, 
 and succeeded so well that he was re-engaged. There 
 was one thing " Old Buck" could plaj^ to perfection, 
 and that was — draw poker. He was born in Phila- 
 
PLAYEKS OF A CENTURY. 263 
 
 delphia, February 28th, 1823, and imbued with the 
 idea that he was an actor, performed in all parts of the 
 world, from Albany to Australia. He was a bad 
 imitation of Forrest. He was very methodical, and 
 went through rehearsal precisely as he did a public 
 performance,and insisted on having every thing marked 
 oat on the stage for him, with boxes in the places of 
 the senators he was to address in the evening. He 
 died April 16th, 1872, in Denver, Colorado, of 
 apoplexy. His daughter Virginia is a very pleasing 
 actress. 
 
 For the Kossuth fund. Mr. Meech offered the gross 
 receipts of the Museum any night between December 
 28th and January 1st, 
 
 January 4th. 1852, was the first night of Mrs. Mary 
 Amelia Warner. She had been the leading" actress in 
 heavy tragedy on the British stage, but was now in ill 
 health, and on her return to England, died in October, 
 1854, of cancer, of which she had long been suffering. 
 She became reduced in circumstances, but w r as honored 
 by the public patronage and private friendship of 
 Queen Victoria. Henry Morley, writing in 1853, says : 
 " Among other indications of the great respect in which 
 the sick lady is held, it appeared that Her Majesty had 
 not been content with simply subscribing towards the 
 support required by Mrs. Warners family, now that 
 its prop fails, but that, having learnt the importance of 
 carriage exercise to the patient, with a woman's deli- 
 cacy, at once found the kindest way to render service, 
 by herself hiring a carriage which she caused, and 
 causes still, to be placed daily at Mrs. Warner's dis- 
 posal. Her Majesty makes few state visits to the 
 theatres : chance has disclosed, however, how the actor's 
 art may be more surely honored by a courtesy more 
 womanly, and quite as royal.'' Mrs. Warner appeared 
 here as Hermione in " A Winter's Tale." She was 
 accompanied by her husband, older than herself, and 
 dependent upon her. He was not an actor. 
 
 February 5th, Charlotte Cushman came again, play- 
 ing Rosalind, Meg Merrilies, Pauline, Lady Macbeth, etc., 
 
264 PLATERS OF A CENTURY. 
 
 and for her benefit Queen Katharine, her greatest char- 
 acter. She was followed by Herr Driesbach and his 
 royal tiger. 
 
 Among the many minor actors engaged at the 
 Museum, was Theodore H. Vandenburgh, better "known 
 as " Jack Bunsby," a name given to him by Edward 
 Eddy. Jack began as call boy in 1848, and was more 
 useful than conspicuous for many years, at the 
 Museum, the Green street theatre and the Gayety. 
 He played Toodles pretty well, and starred in that 
 character in the oil regions, under Ball & Fitzpatrick. 
 He died in Albany, August 9th, 1869, aged thirty- 
 three years. 
 
265 
 
 CHAPTEK XXI. 
 
 1852-1855. 
 
 Last Years of the Albany Museum. 
 
 ON the 27th. of April, 1852, Celeste appeared at the 
 Museum, and in May, Lola Montez came, accom- 
 panied by a troupe of twelve dancing girls. This 
 once notorious woman was born, some say, in 1818, 
 and others in 1824. Her birth-place has also been 
 located at Montrose, Scotland, at Seville, Spain, and 
 at Limerick, Ireland. Her parentage is also "mixed/' 
 some saying her father was a Scottish officer, named 
 Gilbert, and that she was christened Marie Dolores 
 Eosanna Gilbert ; others that she was born of an Irish 
 father. The truth is, her mother was a Creole, who 
 successively lived with, or was married to natives of 
 Spain and Great Britain, whence the conflicting 
 accounts of Lola's origin. She was well educated, 
 and at the age of fifteen, married an English officer 
 named James, whom she accompanied to India. After 
 a few years, she left him and led a life of adventure in 
 Paris and the other capitals. In 1846, she appeared in 
 Munich, as a Spanish ballet dancer, and made a captive 
 of Louis I., King of Bavaria. Her influence became 
 so great that the ultramontane administration of Abel 
 was dismissed, because that minister objected to her 
 being made Countess of Landsfelt. The students 
 were divided in their sympathies, and conflicts arose 
 shortly before the outbreak of the revolution of 1848 
 which led the king, at Lola's instigation, to close the 
 University. But a more violent outbreak obliged the 
 king to re-open it, and discard Lola, who fled. Although 
 23 
 
266 PLAYEES OF A CENTURY. 
 
 her first husband was still alive, she contracted, in 
 1849, a second marriage with another English officer, 
 named Heald. For this, she was prosecuted for 
 bigamy, and went with him to Madrid, where she 
 deserted him, and soon after, both husbands died. 
 She came to this country in the same vessel with 
 Kossuth, and gave performances from New York to 
 New Orleans and San Francisco, succeeding best in 
 dramas setting forth her own adventures. As a dan- 
 sense she disappointed public expectation in New 
 York, although she attracted crowded houses for a 
 time. She was graceful, but not brilliant ; beautiful, 
 but reckless. In California, she married a Mr. Hull, 
 but he did not live with her long. In 1855, she went 
 to Australia and subsequently returned to the United 
 States. At this time, says Blake, " her face, Spanish 
 in outline, was pale and thin, and her only trace of 
 beauty, her lustrous eyes ; her expression was modest 
 and intellectual, and her performance chaste and grace- 
 ful, though indicating talent of no high order — a dis- 
 appointment of the prurient expectations of those 
 who, during her engagement, crow T ded into unwonted 
 seats. She lived, during the day, in retirement, read- 
 ing religious works, and steadily, calmly, hopefully 
 preparing for death, having full persuasion that con 
 sumption had sapped the pillars of her life, and that 
 she was soon to make her final exit." She afterwards 
 lectured m this country and in England. For a while 
 she was a believer in spiritism, and said that she left 
 the stage to mount the platform, in obedience to the 
 spirits, who selected her topics for her, on which to 
 lecture, and prompted her thoughts. She was, after- 
 wards, much attracted by the simplicity and fervor of 
 the Methodists, but she died in the communion of the 
 Episcopal church. Her last hours were passed in a 
 sanitary asylum, at Astoria, New York, where she 
 died in poverty, June 30th, 1861, and was buried in 
 Trinity churchyard. It is said that in her earlier 
 years she gave away fortunes to the needy, and that 
 her last dollar and last days were spent in ministering 
 
PLAYERS OF A CENTURY. 267 
 
 to- the necessities of the inmates of the Magdalene 
 asylum. Her life, "The Story of a Penitent," was 
 published as a tract. She appeared at this time in. 
 Albany as a dancer only, but subsequently, at the 
 Green street theatre, played speaking parts. 
 
 On the 31st of August, H. V. Lovell assumed the 
 acting management. Mr. Smith going to Buffalo. 
 There was now opposition, the Green street theatre 
 being open under various managers. 
 
 On the same night, the Paterson City Blues, who 
 were the guests of the Burgesses corps, attended the 
 theatre. Miss Maiy Wells was a member of the stock 
 company at this time. This lady, so long a New York 
 favorite, made her first appearance on any stage at the 
 Museum, December 23d, 1850. as Fanny Tubbs, in 
 "The Ocean of Life/' She was born in England, 
 December 11th, 1827. Her career at Laura Keene's, 
 Ni bio's Garden and Selwyn's. is well remembered. 
 She was the wife of Eichard Stoepels. and died in 
 1878, one of the first " old women " in the country. 
 
 September 20th, G. V. Brooke began an engagement, 
 in which he played Othello. Shy loch Sir Giles. Sir 
 Walter, etc. Gustavus Vaughn Brooke was born in 
 Dublin, April 25th. 1819, and made his first appear- 
 ance in this country at the Broadway theatre. New 
 York, December 15th, 1851, as Othello. He was 
 among the finest actors the old country ever sent us. 
 He made a decided hit as Othello, in which great char- 
 acter many considered him unsurpassed : and also in 
 the dual role in "The Corsican Brothers." now pro- 
 duced for the first time in Albany, He returned to 
 England, and in 1860. visited Australia. On a second 
 passage to that far-off land, in January, 1866, on the 
 steamer London, he perished at sea. leaving Avonia 
 Jones, daughter of the " Count Joannes," a widow. 
 Mr. Fred. A. DuBois, of the Leland, then quite a 
 young man, travelled extensively with Brooke in this 
 country, as his private secretary, but did not come to 
 Albany with him at this time. His agent here took a 
 curious course. He did not represent himself as con- 
 
268 PLAYERS OF A CENTURY. 
 
 nected with the actor at all, but went about town as a 
 gentleman who had travelled in Europe and become 
 acquainted with Brooke in England. He constantly 
 spoke his praises, and introduced Albanians to him 
 personally. At the close of the engagement, he made 
 himself known, and assisted in settlement, to the sur- 
 prise of Meech, who had been kept as much in the 
 dark as any one. 
 
 Brooke is said to have been brilliant, magnetic and 
 original, arriving at effects by methods of his own, and 
 imitating no one. In appearance he was tall and well- 
 built, though slight in figure, of a graceful, dignified 
 carriage, and possessed of a most expressive counte- 
 nance, handsome in repose and capable of assuming 
 every variety of expression. His voice was especially 
 rich and sonorous. 
 
 October 4th, Mrs. Anna Cora Mowatt played Par- 
 thenia, and followed in several similar roles. She was 
 the daughter of Samuel G. Ogden, a New York mer- 
 chant, but was born in Bordeaux, France, during her 
 fathers residence there. In a few years the family 
 (there were seventeen children, of which she was the 
 tenth,) removed to New York, and at the age of fifteen 
 she became the wife of a New York lawyer. The story 
 of her first acquaintance with her lover, who used to 
 escort her to and from school, and of the courtship and 
 runaway match which followed, is pleasantly told in 
 her autobiography. The sole reason for the elopement 
 was the couple's unwillingness to wait a year or two. 
 Accordingly they were readily forgiven, and retiring 
 to Long Island," the education of the child-wife was 
 continued by the husband, who was several years her 
 senior. She was literary in her habits, and from child- 
 hood addicted to private theatricals. Her husband 
 failing in speculations in which he embarked, she 
 appeared as a reader in Boston and New York, a pro- 
 ject much disapproved by her friends. Accordingly 
 she gave it up for a year or so, and wrote " .Fashion," 
 a play produced in 1845 with success at the Park 
 theatre and elsewhere. Her husband having again 
 
PLAYERS OF A CENTURY. 269 
 
 failed, this time as a publisher, she made her debut as 
 an actress in June of the same year, with much success. 
 She played star engagements in this country and in 
 Europe, being supported by E. L. Davenport. In 
 February, 1851, Mr. Mowatt died, and the widow, after 
 a temporary retirement, began a farewell tour, of which 
 the performances we speak of at the Museum, were a 
 part. Her final retirement took place in New York, 
 in 1854, and soon after she was married to William F. 
 Ritchie, of Virginia, editor of the Richmond Enquirer. 
 In 1860, she went to Europe and resided at Paris, 
 Rome, Florence, and near London, continuing literary 
 work till she died — at Twickenham-on-the-Thames, 
 July 28th, 1870. 
 
 About this time, according to Brown's History of the 
 Stage, Robert Heller, the famous magician, made his 
 first appearance in America, at this place, but we are 
 without further particulars. 
 
 In November, Charley Burke came again and played 
 his version of "Rip Van Winkle." afterwards adopted 
 by his half-brother, Jefferson. In December, we find 
 James Wallack, Couldock and Burke, playing on the 
 same evenings. Andrew Jackson Neafie, who threw 
 up his trade as carpenter to become a tragedian, also 
 played here this month. Neafie was born in New 
 York, in 1815. and although early beset with a desire 
 to go upon the stage, did not appear in a regular theatre 
 till 1839, when he" paid Simpson, of the^Park, $300 
 for the privilege, the money being subscribed by a 
 military company, of which Neafie was commander. 
 He appeared as Othello with considerable success, and 
 after some practice in stock companies, starred in this 
 countrv and in England. 
 
 Lysander Thompson was the next star claiming 
 special attention. He came January 7th, 1853, and 
 played several engagements, afterwards appearing with 
 special favor as Bobby Tyke in " The School for Re- 
 form." A finer Yorkshi reman has never been seen in 
 this country. He died in New York, of congestion of 
 the brain, July 23d, 1854, aged thirty-one. He was 
 
270 PLAYEKS OF A CENTURY. 
 
 the father of the present excellent actress, Charlotte 
 Thompson. 
 
 By the middle of January, we find James Canoll 
 installed as acting manager, and two weeks after, P. 
 M. Kent was billed as the proprietor. Kent was a 
 native of Philadelphia, and died in New York in 1857. 
 A new season began, and soon after, many of the old 
 favorites were missing from the company. January 
 31st was the first appearance of Catherine Sinclair, the 
 late wife of Edwin Porrest, from whom she had been 
 divorced. She appeared as Lady Teazle, Parihenia, and 
 in similar roles. She had been upon the stage only 
 about a year, having made her debut at Brougham's 
 Lyceum, February 2d, 1852, and many there were who 
 questioned the delicacy of such a step, taken while yet 
 the country was alive with thebuzz of scandal brought 
 out by the Porrest divorce suit. 
 
 Catherine Norton Sinclair, was the daughter of John 
 Sinclair, the vocalist, was born in England, and there 
 she was married to Forrest in 1837. They were 
 mutually smitten with each other, the course of true 
 love for once ran smooth, and they were united in St. 
 Paul's, by Eev. Henry Hart Milman. For ten years 
 their married life was happy, but they had no children 
 that lived, although four were born to them. Despair- 
 ing of an heir to his fortune, Forrest bought an estate 
 above New York, upon the Hudson, with a view to 
 the establishment, after his death, of a home for super- 
 annuated actors, and also a dramatic school. Here the 
 castle, which is still the object of admiration to all 
 who pass up and down the noble river, was built, to 
 serve first, as a home for Mr. and Mrs. Forrest, and 
 after their death, for the object mentioned. In the 
 spring of 1848, circumstances occurred which led to 
 the bitter jealousy of the actor, to crimination, separa- 
 tion, and at length, to a suit for divorce. A cross-suit 
 was immediately begun, and the trial opened in 
 December, 1851, with Charles (XConor as counsel for 
 the lady. The interest was intense, and public opinion 
 much divided. The result was, an acquittal of the 
 
PLAYERS OF A CENTURY. 271 
 
 wife and judgment that Mr. Forrest pay her $3,000 a 
 year, alimony. Five times he appealed the case, and 
 for eighteen years it was in the courts. Then he paid 
 over the award. Out of §64000 coming to her at last, 
 $59,000 went to the lawyers, and for other legal 
 expenses. What it cost Forrest we cannot say. 
 Another legal complication growing out of the matter, 
 involved N. P. Willis, whom Forrest assaulted and 
 afterwards sued for libel. George Jameison, the actor, 
 of whom Forrest was first suspicious, and who was the 
 author of the famous Consuello letter, was run over 
 and killed by the cars near Yonkers. October 3d, 1868. 
 
 Mrs. Forrest was a very beautiful, and at this time 
 (1852), a much talked-of woman. She determined to 
 go upon the stage, and having no money, entered into 
 an agreement with George Yandenhoff to give her 
 lessons and perform with her for half the profits. Her 
 best character, and the only one in which she made a 
 hit, was Lady Teazle. Her appearance here, where the 
 friends of Forrest were warm and numerous, occasioned 
 some excitement, and there was a disposition to make 
 matters unpleasant for her. This, however, was 
 happily avoided. A large audience was present, and 
 at first, there were a few hisses, but the applause was 
 so loud and decided as to check all unfriendly demon- 
 stration, and her engagement was fairly successful. 
 She is still living in retirement. 
 
 In February, the Denin sisters. Sue and Kate, 
 appeared as Helen and Julia, in " The Hunchback," 
 and as Romeo and Juliet. They were born in Phila- 
 delphia, and in their day were general favorites. Kate, 
 who was two years the elder, married C. K. Fox, in 
 the green-room, at Troy, and at eleven o'clock the same 
 evening, took the train for New York, where the bride- 
 groom was to meet her a day or two later. He failed 
 to keep the appointment, and the next day she sailed 
 on the California steamer to meet her engagements on 
 the Pacific slope. She was afterwards married to Sam 
 Evan, the Irish comedian, but the connection did not 
 last long, and in 1867, she went to Australia. Sue, 
 
272 PLAYEKS OF A CENTUKY. 
 
 who was the more talented of the two, married F. 
 Woodward, Harry Huntington, the minstrel, and Prank 
 Banol. Jack Winans was the girls' stepfather. Poor 
 Jack was a famous character in Chanfrau's pieces, but 
 was rained by bad whisky. He died miserably, in the 
 almshouse at Philadelphia, October 21st, 1859, his 
 body being found half devoured by rats. 
 
 Others who played here at this time were Joe Jeffer- 
 son, Mr. and Mrs. H. P. Plunkett (in tragedy), Mr. and 
 Mrs. Gr. Farren, T. M. Tyrrell, Germon, Ponisi, Brink, 
 Parker, Mr. and Mrs. Frank Drew, T. Watson (an Irish 
 comedian), Lizzie Weston, Harry Watkins and Sco- 
 ville (a Yankee comedian). The place was now said 
 to be under the joint management of Meech and 
 Canoll. 
 
 June 13th, a Miss Mitchell was announced to play 
 Young Norval, and the next night Mary Wells took her 
 farewell benefit, and withdrew from the company. 
 Miss Mitchell at this time appeared for only one night, 
 but it was without doubt the favorite Maggie of our 
 aay. 
 
 The season closed July 30th, and another opened 
 August 8th, under Skerrett & Anderton, with " She 
 Stoops to Conquer." Their reign lasted only till 
 October 12th, and was any thing but satisfactory to the 
 public. Daring the time, Ben DeBar played Roaring 
 Ralph, etc., and Miss Caroline M. Richings made her 
 first appearance here, accompanied by her father, and 
 J. R Scott played an engagement. Miss Richings was 
 an adopted child, and was born in England. Her dra- 
 matic debut was made February 9th, 1852, in " The 
 Child of the Regiment," in Philadelphia. Probably 
 no member of the profession has worked harder than 
 she has. For a time she managed the leading English 
 opera troupe of America, and was the first, in fact, to 
 organize a complete company of that kind, but she was 
 finally overpowered by the greater attractions of Parepa 
 Rosa, who hired away from her her best singers. Miss 
 Richings was married to Mr. Pierre Bernard, on Christ- 
 mas, 1867. Peter Richings has frequently been men- 
 
PLAYERS OF A CENTURY. 273 
 
 tioned in these sketches as a favorite actor. His "make 
 up" as George ' Washington was almost perfect. 
 
 In February, 1854, " Uncle Tom's Cabin'' was 
 brought out. and had the remarkable run of more than 
 four weeks. This was followed by i; Hot Corn," which 
 also was eminently successful. 
 
 Although William J. Florence is a native of Albany, 
 we have no record of his appearance here in a professional 
 capacity, till May, 1854, when he and Mrs. Florence 
 played as stars at the Museum. Florence was born 
 July 26th, 1831, in the house still. standing southwest 
 corner of William and Beaver streets. His father died 
 in 1846, and William being the eldest of a family of 
 eight children, was called upon for unusual exertion. 
 He first tried newspaper work, and then a New York 
 counting house, but having a taste for theatricals, and 
 becoming a member of the Murdoch Dramatic associa- 
 tion of that city, drifted upon the stage and began his 
 theatrical experience at the Richmond theatre, under 
 Chippendale's management, in 1849. December 6th 
 of the same year, he made his New York debut as 
 Peter in " The Stranger," at the Richmond Hill theatre. 
 The next year he is heard of as playing Macduff to 
 Booth's Macbeth, in Providence, but soon took to Irish 
 characters at Brougham's Lyceum, and perfected himself 
 as a dialect actor. On New Years day, 1853, he married 
 Mrs. Littell, a danseuse, whose maiden name was Pray, 
 and who is a sister of Mrs. Barney Williams. Wil- 
 liams and his wife were now in the height of their 
 success as Irish boy and Yankee girl delineators, and 
 Mr. and Mrs. Florence, believing the world was wide 
 enough for another "team" of that kind, decided to 
 adopt the same line, an experiment which proved 
 eminently successful, but the rivalry was sharp and not 
 always good natured. They began their starring tour 
 at the National theatre, on the 13th of June, 1853, and 
 had now reached Albany, where they received a hearty 
 welcome. In 1856. they went to England, where more 
 success awaited them. Florence was the first to bring 
 out "The Ticket of Leave Man " in this country, and 
 
274 PLATERS OF A CENTURY. 
 
 has played the part of Robert Brierly nearly 1,200 
 times. That and Captain Cuttle are his favorite char- 
 acters, although of late his name has been associated 
 with Hon. Bardwell Slote, in " The Mighty Dollar," more 
 closely than with any other. 
 
 The last of June, Canoll seceded from the Museum, 
 taking a good share of the company with him, and 
 attempted to run the unfortunate Green street theatre, 
 William Henderson succeeding him at the Museum, till 
 August 3d, when the season closed. Another opened 
 August 29th, under Meech & Smith, managers; C. T. 
 Smith, stage manager. During the recess, the lower 
 part of the house had been thrown into one parquette, 
 with upholstered sofas. Mr. and Mrs. Henderson, 
 Bradshaw, Sprague and Barton were in the company. 
 Prices were, for gentlemen fifty cents, ladies twenty- 
 five cents. Just about the same time, the Green street 
 theatre was opened, also under the management of 
 Charley Smith, Mrs. W. G. JSioah, of Buffalo, formerly 
 Mrs. McClure, as the star. After two or three nights 
 it was closed again, and Mrs. Noah transferred to the 
 Museum, where a "double" company was advertised. 
 Pantomimes, comedy and tragedy were played by a 
 company in which the Skerretts and Andertons were 
 the principal people. For Mrs. Skerrett's benefit, her 
 daughter Rose, aged sixteen, made her debut in " The 
 Serious Family." She became the wife of L. R 
 Shewell, in 1860. George Skerrett was a respectable 
 comedian, but was afflicted with bronchial trouble, 
 which terminated in consumption, of which he died in 
 Albany, May 16th, 1855, aged forty-five, and is buried 
 at Cypress Hills, Brooklyn. His wife, Mrs. Skerrett, 
 was born in Glasgow, in 1817, and was an attractive 
 soubrette. The spectacle of "Aladdin " was brought 
 out and had the remarkable run of sixteen or more 
 nights. The stars about this time included Collins, 
 the Irish comedian, Miss Makeah (afterwards Mrs. 
 George Vandenhoff), and Margaret J. Mitchell. 
 
 From the very first, Maggie Mitchell was a favorite 
 in Albany. Perhaps it is so everywhere, but as our 
 
PLAYERS OF A CENTURY. 275 
 
 record will show, at the Museum, at the Green street 
 theatre, and under all circumstances, her visits have 
 ever been as welcome as flowers in May. Her repertory 
 at this time included " Katty O'Sheil," "Satan in 
 Paris," " The French Spy," etc. On the 26th of Jan 
 uary, 1855, she was the recipient of a complimentary 
 benefit, the call for which was signed by Thomas B. 
 Morrow, J. C. Cuyler.H. J. Hastings, J. Wesley Smith, 
 John S. Dickerman, David M. Barnes, D. M. Wood- 
 hall, William H. Coughtry, and many others. 
 
 February 15th, a benefit for the Orphan asylum was 
 given, and on the 26th, James R. Anderson, an Eng- 
 lish tragedian, appeared as King James, in " The King 
 of the Commons," following with a round of legitimate 
 characters. Miss Harriet Kimberly also played a star 
 engagement, in the legitimate. 
 
 April 13th, the first and only complimentary benefit 
 ever given Mr. Meech, was tendered him by the com- 
 pany, who, in their letter, said : " The Museum now 
 about closing, has been under your management for a 
 period of twenty years, during which, in good business 
 or bad, salaries of those engaged have always been 
 paid to the day.' 1 This was strictly true. Just so sure 
 as Mondav came around, salaries were always reaclv, 
 though paid sometimes with a long face, for frequently, 
 business was frightful. But Meech always preferred 
 to pay certainties, and if there was any money to make, 
 to make it himself. When the Canal bank failed, its 
 notes were regarded as worthless and could be bought 
 for almost nothing. Meech gathered in a stock of 
 them, and refusing any thing less, at last had the 
 satisfaction of having them redeemed dollar for dollar. 
 It is said he made a large sum in that way, and on the 
 whole, went away from Albany pretty well off. 
 
 The last stars who played here were Frank Chanfrau 
 and Miss Albertine. We are indebted to William M. 
 Eichards for the following figures, showing the amounts 
 received for the benefit performances, which closed the 
 career of the establishment : 
 
276 PLAYERS OF A CENTURY. 
 
 April 16 — Lacy's night $ 87 
 
 " 17 — Ponisi's 45 
 
 " 18 — W. M. Richards's (doorkeeper) 1 74 
 
 " 19 — Mrs. Skerrett's 67 . 
 
 " 20 — Tom Johnson's 90 
 
 " 21 — Jack Winans's 80 
 
 " 23 — Frank Chanfrau' s 86 
 
 " 25 — C. T. Smith's 88 
 
 " 26 — William Henderson's 60 
 
 " 28 — Miss Albertine's 118 
 
 The last night (April 28th), the following bill was 
 presented : 
 
 Mose ix California. 
 Mose Mr. Chanfrau | Lize Miss Albertine 
 
 The Young Actress. 
 
 Tragedian Chanfrau | Marie Miss Albertine 
 
 Cousin Joe. 
 Cousin Joe Mr. Kane | Margery Mrs. Skerrett 
 
 Miss Albertine, above mentioned, was long associated 
 with Chanfrau as Lize. She is to-day stone blind and 
 in destitute circumstances, in New York, as fit a sub- 
 ject for a benefit as any person who can be mentioned. 
 
 And this was the last of the old Museum, about 
 which so much has been said and is still remembered. 
 Many people to-day will say that there was better acting 
 to be seen there, than there has been since in the city. 
 But the Transcript, which had a way of speaking its 
 mind in those days, said that for the last few years, 
 the management had been very bad, and the stock 
 companies abominable. But this could not have 
 applied to the days of Mrs. Maeder, Mrs. Drew and 
 Mrs. Vernon. 
 
 The "curiosities," as we have before stated, were 
 sold to Dr. Spaulding. The rhinoceros, whose skin 
 had been taken into the building, and stuffed there, 
 was dried stiff and impossible to get out whole, 
 through any door or window the building afforded, 
 and had to be sawed in two. "Jesse Strang" in wax, 
 was taken west, and there did duty as " Murrell, the 
 
PLAYERS OF A CENTURY. 277 
 
 Western Highwayman ; " but what became of the 
 "balcony band,' 1 no one ever had the hardihood to 
 imagine. 
 
 Many amusing stories connected with the old 
 Museum are floating about, some of which have 
 found their way into print. The following, told to 
 the writer by Capt, John B. Smith, the Albany bill- 
 poster, were first published in the Albany Mirror : 
 
 " Business was very bad at times,'* said. Smith, ; *and 
 Meech was at his wits' end to know how to get 
 through. Somebody suggested to him once that as 
 Charley Kane, the comedian, was a pretty good painter, 
 he might be made useful day-times touching up some 
 of the canal boats, of which Meech owned several. 
 The manager was quick to take a hint where his 
 pocket was interested, and sure enough in a day or 
 two he had a squad of the actors up at the basin, with 
 Kane at their head, laying on paint. Kane was the 
 only one w r ho knew any thing about the business, and 
 showing himself very willing, Meerh was delighted at 
 the plan of doubling up this way, and very soon was 
 loud in the praise of Charley Kane, telling what a 
 very smart boy he was. In the afternoon the manager 
 went up again, but Charley was no where to be seen. 
 Meech continued to hold him up as a model; he was 
 such an active youth, but began to wonder where he 
 was: thought perhaps he had gone to mix more paint. 
 The boys winked at one another, but let the old man 
 go on till happening to look over the side of the boat 
 upon a float that had been built for the painters to 
 stand on, there lay his active youth, eyes shut, mouth 
 open, fast asleep. 'Yes, yes,' said the old man, ; he's 
 just like all the rest of you, he'd rather act than work 
 any time,' and striding off he didn't even wake him 
 up. When pay-day came, Mr. Kane was discharged r 
 but recommended to mercy by the stage manager, who 
 suggested that a young man could not develope in all 
 ways at once, and that a favorite comedian might well 
 be excused, if he were a little lazy when it came to 
 24 
 
278 PLAYEKS OF A CENTURY. 
 
 painting canal boats in a hot summer day. Accord- 
 ingly, he was taken back again. 
 
 "But it wasn't all fun at the Museum. We had a 
 tragedy there once, and a real one too. Poor Dick 
 Finn! he was property man, and one night he was 
 examining the muskets to be used in 'The French 
 Spy,' to see whether they were loaded or not, He had 
 fired one out of the window, and snapped another, but 
 that hung fire, and while he was blowing down the 
 muzzle, the charge went off in his mouth. It was 
 between the farce and the beginning of the principal 
 piece. Melinda Jones, the wife of the Count Joannes, 
 as he called himself, was to pla}^ the Spy. She came 
 upon the stage (the curtain was down, of course,) and 
 seeing what had happened, exclaimed, 'Great God! 
 this man is killed,' and catching him up in her arms 
 (she was a very muscular woman), actually carried him 
 down one flight of stairs, where Dr. March arrived in 
 a few minutes. Poor Finn looked up with the blood 
 coming from his mouth in clots, and asked the doctor 
 if it was going to kill him. The doctor said no, he 
 thought not so bad as that. Finn lingered till the 
 second morning, but he never spoke again. The 
 people in front knew nothing about it till they read it 
 next day in the papers. 
 
 "Another time, I recollect, one man thought there 
 was going to be a tragedy. It was a German who 
 played the bass-viol, and a mighty good musician he 
 was, too. When Celeste was here, once, her music 
 didn't come, and she hummed over the airs to him, and 
 he took them down and got them into shape for the 
 orchestra — good shape, too. This time Herr Driesbach 
 was to perform here with his tigers in a sensational play. 
 I forget the plot of it, but in order to win the lady the 
 hero had to capture this tiger, who was supposed to be 
 in a cave in the mountains, but who was really in a 
 cage raised up to the top of the scene, and his master, 
 going up a sort of run, the door is opened, the beast 
 sticks his head out, is collared by Driesbach, who has 
 a great struggle with him, making a very effective 
 
PLA7ERS OF A CENTURY. 279 
 
 scene. Now the musician happened to have a very 
 large red nose, and the boys, laughing at him, had told 
 him the day previous, that if he wasn't careful, the 
 tiger would take his nose for a beefsteak, and he'd get 
 into trouble. He passed it off lightly and at night was 
 at his post as usual, and the old viol did special duty 
 in accompanying the scenes of the drama. The climax 
 was approaching : the door of the cage was about to 
 open, and Driesbach prepared for his struggle with the 
 beast, whose grumbling and roaring was being imi- 
 tated as closely as possible by the player on the double 
 bass. The tiger appeared and sprang down the run to 
 meet his tamer. The musician, who had all the time 
 been a little nervous, was watching the stage, and as 
 the door opened, it appeared to him the animal had his 
 eye fixed directly on that unfortunate nose. Down 
 came the tiger; away went the bass viol: 'Mein Grott 
 in Himmel ! ' exclaimed the frightened musician, as he 
 started towards the audience. They saw him coming, 
 and already much excited, thought the animal had 
 really broken loose, and in less than a minute, there 
 wasn't a soul in that part of the house. It was the 
 most effective play I ever saw. No harm was done, 
 although the actors were about as much scared as any 
 body. I tell you, they gave the tiger all the stage room 
 he wanted. 
 
 " Another strange thing happened there — a man bit 
 a boy's toe off and did n't know it. It was an acrobat 
 and strong man known as 'The Modern Hercules.' 
 He was an artist in his line, and did some wonderful 
 things, many of them on a standard upon which he 
 would do posturing and which would be whirled round 
 very rapidly with him on it. The finale was for him 
 to hold a boy out, extended full length, and only kept 
 from falling by Hercules holding the boy's toe between 
 his teeth, and the rapid whirling of the standard. It 
 was a very dangerous feat and is now prohibited by 
 law, I think ; if it isn't, it ought to be. The boy's 
 shoe was of peculiar fashion, the toe of it being made 
 to be taken into the man's mouth and held there. But 
 
280 PLAYERS OF A CENTURY. 
 
 somehow there was a mistake this time, and instead 
 of holding on to the shoe, the man bit into the poor 
 fellow's flesh. The act was always loudly applauded, 
 and the audience made so much noise that night that 
 the screams of the little fellow were unheard, or at 
 least, unheeded, and for several minutes he suffered 
 the most excruciating torture. The toe was found fairly 
 bitten off. " 
 
 One night, Mrs. Estelle Potter was playing Lucretia 
 Borgia, at the Museum, when the knife, with which 
 some stabbing was to be done, was missing, and 
 nothing else being found convenient, she attempted 
 the sanguinary deed with a pair of wooden nut crackers, 
 which had formed part of the table service of the 
 banquet. The man who was to be stabbed, seeing her 
 coming at him with such a ridiculous weapon, burst 
 out laughing and ran from the stage, and she, to cap 
 the climax, threw the impromptu dagger at his head. 
 Stage discipline was not always very severe at the 
 Museum. 
 
281 
 
 CHAPTEK XXII. 
 
 1852-1859. 
 
 Last Days of the Green Street Theatre. 
 
 THE building on Green street, erected as a theatre 
 in 1812, had, since 1819, been used as a church, 
 and as such, had been the starting point of all the 
 Baptist societies in Albany. On the 5th of January, 
 1851, the last Baptist service was held there, the edi- 
 fice having been sold to the People's church, a new 
 society, under Rev. George Montgomery West. In 
 March, 1852, the building was bought by a company, 
 for $6,000, and speedily altered over into a theatre. 
 It opened as such, July 5th, under the management of 
 Henry W. Preston, who, it will be remembered, was 
 the last manager of the Pearl street theatre, previous 
 to its reversion to religious purposes, in 1839. His 
 real name was Patrick Hoy. He was born in Ireland, 
 and was, originally, a hatter by trade. He was divorced 
 under his original name (he being defendant) from his 
 wife, who was the Mrs. Nichols who played leading- 
 parts, at various times, at the Amphitheatre and 
 Museum, and later, at the Academy of Music. Pres- 
 ton was a fair actor, but frequently did some strange 
 things on the stage, when under the influence of liquor. 
 Once, while doing Polonius, the boys up stairs became 
 unusually noisy and attracted more attention than the 
 actors, whereupon, the Danish prime minister, raising 
 his staff of office like an Irish black-thorn, made a 
 stirring appeal to "the dacency of those divils in the 
 gallery," which put Shakspeare to immediate flight. 
 Preston's end was tragic. He was found at eleven 
 
282 PLAYERS OF A CENTURY 
 
 o'clock one night standing by the river near the steam- 
 boat landing, and being asked by an acquaintance, if 
 he was not going home, replied: "I have no home; 
 the worms have holes to crawl into, but poor men are 
 without shelter." The next instant a splash was heard, 
 and Preston was seen alive no more. Whether he fell 
 or jumped into the water, is not known. 
 
 J. H. Oxley was the first star, and the legitimate 
 had the first chance. Julia Daly was the leading 
 lady, and Preston, Byrne, Brand. Martin, and Mrs. 
 McLean and Mrs. Stephens were in the company. 
 Thomas Ward was stage manager, and Duffy and 
 Mullen were treasurers. Jim Crow Eice, W. F. Wood, 
 J. E. Scott, William Don, a ballet troupe, and a lot of 
 trained monkeys, succeeded one another, and then on 
 the 12th of August, came the sheriff, who put in an 
 appearance and took out the scenery. After a short 
 recess, during which the theatre was u closed for 
 repairs," it was again opened September 20th, with the 
 following company: H. W. Preston, P. C. Bvrne, T. 
 C. Wemyss, J. 0. "Sefton, T. P. Lvne, T. C. Tyrrell, 
 C. T. Porter, Charles Kane, H. R Nichols, T. Martin, 
 Miss Mary Ann Porter, Mrs. Martin, Mrs. Eainsforth, 
 Miss Colburn and Mrs. Holmes. After a few nights 
 of tragedy, and a few more of the dog star drama (Mr. 
 Coney and his trained mastiffs), there appeared for the 
 first time in Albany, Madame Julia de Marguerittes, 
 in the opera of " Ln Sonnambula." She was a little 
 French woman, who, during her short career, created 
 a decided sensation in the sober city. She was the 
 daughter of A. B. Granville, a French physician, and 
 was early married to the Count de Marguerittes. 
 Exiled from la belle France for political reasons, they 
 came to this country, and she, by her talents, main- 
 tained her husband till the accession of Louis Napoleon, 
 who called him home, and he returned, leaving a 
 deserted wife behind him. She then took to readings 
 and concerts, to support herself, and, obtaining a 
 divorce, was speedily married to George " Gaslight " 
 Foster, as he was called, on account of certain sensa- 
 
PLAYERS OF A CENTURY. 28$ 
 
 tional books he had written, such as "New York 
 Naked/ 1 "New York by Gaslight," etc. On the 9th 
 of March, 1852, she made her debut in the opera of 
 " La Gazza Ladra," at the Broadway theatre, New 
 York. 
 
 The next we know of her, she came to Albany on 
 a starring tour, and finding the Green street theatre 
 badly mismanaged, undertook to reform things. Her 
 methods are thus set forth (very likely by herself or 
 husband) in an Albany letter to The Spirit of the Times : 
 
 Madame de Marguerittes is finishing everything in the 
 most exquisite manner, with new decorations, scenery, 
 wardrobe, etc., and will open with a stock company of 
 very decided talent. There is already a great deal of 
 excitement, almost as much as if the show had begun. 
 The workmen are elbowing the jemiesse doree, who make 
 a daily excursion, to watch the gradual effects of the 
 waving of the magic wand of taste and knowledge. 
 Some gaze up at the beautifully painted ceiling — others 
 admire the grey, gold and crimson decorations of the 
 boxes. The luxurious comfort of the private boxes, 
 rivaling the wonders of an Italian palco, where those 
 beautiful, lazy Italian ladies take their ease, is next an 
 object of discussion, and finally, curiosity concentrates 
 on the wonders of the drop curtain of mirrors, which is 
 to give each individual an opportunity of seeing how 
 he looks when in public, and convince each woman that 
 she is prettier and better dressed than her neighbor. 
 
 The manager, who is no more afraid of a Latin jeu de 
 mot than she is of paint and scaffolding, threatens to 
 have Veluti in Speculum inscribed above it. She it is 
 who has given the design for this drop, as well as for 
 the whole of the decorations.^ As we all know, from 
 her writings, she is a woman of imagination ; but, thank 
 the gods, she is a practical woman, and so, there she is, 
 all day, in a dark snaggy cloak and unpretending bonnet, 
 pencil and book in hand, drawing, talking and explain- 
 ing, from the furnaces under the stao-e, to the highest 
 scaffolding. At her suggestion, copies in fresco of Night 
 and Morning — two immortal inspirations of the genius 
 of Albany, Palmer — have been placed over the 
 proscenium. 
 
284 PLAYERS OF A CENTURY. 
 
 The mirror-curtain of which the correspondent speaks, 
 was divided in the centre, and ran in grooves, the same 
 as the side-scenes. It cost about $1,500, but like most 
 of the other improvements, was not paid for, and after 
 the collapse of the Madame's management, was gladly- 
 taken back by Reilly, who furnished it. It w^as very 
 handsome, and the effect, when the theatre was full, 
 was both novel and pleasing. It was said to be the 
 only one of its kind ever seen in America. 
 
 The theatre opened December 20th, with "Don 
 Caesar de Bazan," and " The Irish Valet," Messrs. 
 Tyrrell, Byrne, Chandler, Taylor, French, Hodges, 
 Smith, Mrs. La Forrest and Miss J. Barton appearing. 
 Madame, the manager, pronounced the following 
 address, no doubt original with her : 
 
 Methought my task accomplished — but I find 
 The part most difficult remains behind. 
 As yet unseen have I my work performed — 
 By Science guided, by Ambition warmed; 
 But now, 1 must produce myself, poor me, 
 Who hath not skill, nor science, as you see. 
 'Twas easy to explore the realms of taste, 
 Thence to evoke the temple you have graced. 
 The Golden Wand its magic spell hath wrought, 
 Behold! in these bright forms survive my thought. 
 And now I come to consecrate the shrine — 
 To you I give it — 'tis no longer mine. 
 I would but welcome those benignant pow 7 ers 
 That blessed the drama in its brighter hours. 
 Once more let beauty condescend to smile 
 On the brief pageant and the gorgeous wile; 
 Once more let gallantry with sense unite, 
 And cheer us ever, as you've cheered to-night; 
 And, if some shadows o'er this picture fall, 
 The sunshine of your smiles will brighten all. 
 
 Among those who played here were the Lovells, 
 Mrs. George Jones, Neafie the tragedian, Louis Mes- 
 tayer, and Joe Jefferson, who had not yet become 
 famous. Meantime the Madame held her position by 
 an uncertain tenure. On the 10th of January, 1853, 
 a number of men, in the interest of Preston, who was 
 seeking, by every means in his power, to get the estab- 
 lishment into his hands again, took possession of the 
 building, and barring out her workmen, armed them- 
 
PLAYERS OF A CENTURY. 285 
 
 selves with the swords, guns and other weapons which 
 the stage afforded, and made a determined resistance. 
 A strong body of police were called to the scene, and 
 after a sharp battle, in which several on both sides were 
 slightly wounded,, the intruders were driven out, and 
 the Madame, for a time, at least, held the fort. 
 
 On the 17th, "Uncle Tom's Cabin," dramatised by 
 Alfred B. Street, was brought out. with the Madame as 
 Eva, Miss Charles as Topsey. It was not altogether 
 successful, owing, perhaps,, in part, to the cast, the 
 Madame, short but stout, and gray headed, being a 
 queer looking Eva. The same version was afterwards 
 produced at the Museum. 
 
 We find about this time the following cast for " Lon- 
 don Assurance": Sir Har court Mr. Tyrrell; Max 
 Harkaway, Mr. Martin; Dazzle, Mr. Mestayer ; Meddle, 
 Mr. Joe Jefferson : Charles, Mr. Byrne : Cool Mr. Kane; 
 Lady Gay, Mrs. Lovell ; Grace, Madame Marguerittes ; 
 Perl, Miss Charles. Mrs. Joe Jefferson also played 
 here a few times. But troubles and debts accumulated ; 
 " persevering and unscrupulous efforts " were made to 
 embarrass the management, and early in February it 
 succumbed to the inevitable, and Madame Marguerittes 
 and Gaslight Foster left Albany forever. He died soon 
 after, and she retired from the stage, and turned her 
 attention to writing for the press. She died in Phila- 
 delphia, June 21st, 1866, leaving a daughter, Noemie, 
 who has also become an actress as well as a critic. 
 We are safe in saying that no woman ever came into 
 Albany who created more of a sensation in so short a 
 time, than the Madame. Her plans were all on a grand 
 scale. She had two houses on Hamilton street, for 
 dressing rooms to the theatre, and a mansion on Madi- 
 son avenue, for a residence. She had a room in the 
 theatre, devoted to the use of newspaper men, and in 
 short, displayed enterprise far beyond an}' thing seen 
 here before. It was a pity she did not have a fairer 
 chance. Her treasurer, bv the wav, was John Duff, 
 now of New York. 
 
 The next to manage the Green street theatre was 
 
286 PLAYERS OF A CENTURY. 
 
 Edmon S. Conner, who opened it March 28th, 1853, 
 he and his wife {nee Charlotte Barnes) playing leading 
 business, supported by Messrs. Clifford, Evaine, We- 
 myss, Eainsford, and Mr. and Mrs. Merri field. April 
 30th, Mrs. Conner played Hamlet, her husband playing 
 Ghost Harry Watkins, Lysander Thompson, and a 
 ballet troupe played here, after which the place w r as 
 shut up. Mr. Conner, of whom mention has previously 
 been made, has said recently that he was the original 
 Claude Melnotte in this country, at the old Park theatre 
 in New York. (Ireland gives Forrest the honor, and 
 the late " Count Joannes " insisted upon his claim to 
 that distinction.) Conner is now living in his 71st 
 year, near Paterson, New Jersey. A recent interviewer 
 found his "figure still erect, his face unwrinkled, his 
 voice unbroken, his bearing and movement erect and 
 graceful, his eye clear and bright, and his spirits buoy- 
 ant still." 
 
 June 13th, the Howards opened the theatre with 
 " Uncle Tom's Cabin," then in the height of its won- 
 derful popularity. Mrs. Stowe's story was early 
 seen to contain dramatic possibilities, and Charley 
 Taylor, so long connected with the Museum, but then 
 at Purdy's National, in Chatham street, was among 
 the first to grasp at them, and on the 24th of August, 
 1852, produced the first version seen in New York. 
 It was hastily written, a mere "catch-house" affair (as 
 he afterwards acknowledged), ignoring Topsy and Eva 
 altogether. It was all Uncle Tom and George Harris. 
 Meantime, the "Uncle Tom," by which is meant the 
 version that has kept the stage till the present day, 
 grew into being at the Troy museum, under singular 
 and interesting circumstances. The story has been 
 happily told by Mrs. M. H. Fiske : George C. Howard 
 was the manager of the theatre at the time, and had 
 been for a year or so. The play of the evening was 
 "Oliver Twist," in the adaptation of which was a 
 child's character, not retained of late, that of Little 
 Dick, the sick pauper boy, who takes a tearful farewell 
 of Oliver, as he runs away from the poor-house. With- 
 
PLAYERS OF A CENTURY. 287 
 
 out any idea that she would be more than a " dummy," 
 it was suggested that Little Cordelia, the manager's 
 four year old daughter, be dressed as Little Dick, and 
 placed behind the paling, for Oliver to talk to : but 
 when, at rehearsal, the mother. Mrs. Gr. C. Howard, 
 who was playing Oliver, caught the baby up and went 
 through the scene, the little thing responded just in 
 the proper place. " Dood by — turn again.' 1 "Well, 
 now." said Mrs. Howard, "if she is going to do anv 
 thing like that, better teach her the lines." And. 
 accordingly, during the day. in her mother's lap. little 
 Cordelia was taught the speeches of Little Dick. Night 
 came : the fat baby face was skillfully painted to repre- 
 sent consumption, and duly clad in her brother's suit, 
 and with a little spade in her hand. Cordelia Howard 
 made her first appearance on any stage. On came the 
 fugitive Oliver, while Cordelia, according to direction, 
 dug vigorously at the pile of dirt dumped in the 
 corner. "I'm running away, Dick," said Oliver. 
 11 Lunning away, is you ? " replied the little chit. Then 
 with a full perception of the character, but with the 
 most self-possessed oblivion of the written words, the 
 child gave, in her own language, the sense of the 
 scene: 
 
 "I'll come back and see you some day. Dick," said 
 Mrs. Howard, as Oliver: 
 
 "It yont be no use. Oily, dear." sobbed the little 
 actress. " When oo turn back. I vont be digging 'ittle 
 graves, I'll be all dead an 1 in a 'ittle grave by myself." 
 This in a voice, trembling with feigned emotion, yet 
 clear as a bell, and distinctly heard by every person in 
 the building. Such a shower of tears as swept over 
 that theatre ! Actors and auditors were alike affected. 
 The Oliver (naturally enough) broke down, but Cor- 
 delia's hit and her parent's fortunes were made from 
 that very night. 
 
 It was at once decided that such infantile emotional 
 talent as this, must not be wasted, and Mr. Howard 
 began looking about for some appropriate channel 
 through which to present it to the public. The whole 
 
288 PLAYEKS OF A CENTURY. 
 
 country was talking about " Uncle Tom's Cabin," and 
 thousands of eyes were being moistened at Eva's saint- 
 like sayings. " The very part for Cordelia ! " George 
 L. Aiken, a cousin of the Howards, undertook the 
 work of dramatisation, and with Mr. Howard's advice 
 and assistance, in less than a w 7 eek, it was a thing 
 accomplished. It was produced in Tro}^, in September 
 1852, and had the amazing run of 100 nights, u equal," 
 as Mr. Howard said to the writer, u to about seven 
 years' run in New York, when population in the two 
 cities is considered." 
 
 The play was cast in Troy, in part, as follows : Eva, 
 Cordelia Howard ; Topsy, Mrs. George C. Howard : St 
 Clair, Mr. George C. Howard ; George Harris, G. L. 
 Aiken; Phineas Fletcher, C. K. Fox; Gumption Cute, 
 W. J. Le Moyne; Uncle Tom, G. C. Germ on. 
 
 Little Cordelia, little no longer, years ago retired 
 from the stage, and is happy in domestic life, but her 
 father and mother, the original St Clair and the 
 original Topsy, after twenty-eight years' service, are 
 playing the parts yet, and are likely to for a generation 
 to come. C. K. Fox and his brother, George L., who 
 played the part of Phineas in New York (afterwards 
 the great Humpty Dumpty), are both dead and lie 
 buried in Mr. Howard's lot at Mount Auburn. Mrs. 
 Howard herself was a Fox, and noted as a child actress 
 many years ago, but, of course, never so renowned as 
 her gifted daughter. Little Cordelia was, undoubtedly, 
 something wonderful in this line. It was not alone 
 people easily impressed with theatrical representations 
 that found themselves bathed in tears, while listening 
 to her speeches. Men of genius, like William Cullen 
 Bryant; men blase to the stage like Edwin Forrest, 
 wept like children; and to this day, men say to Mr. 
 Howard, that never before or since, have they seen 
 such consummate acting as that of Little Cordelia. 
 From Troy, the Howards came to Albany, and from 
 thence went directly to New York, and July 18th, 
 brought out the piece at Purdy's National, where it 
 ran almost uninterruptedly till May 13th, 1854. 
 
PLAYERS OF A CENTURY. 289 
 
 " I was the first, I may say," said Mr. Howard to 
 the writer, " to introduce one-play entertainments. 
 That is, till the advent of ' Uncle Tom ' in New York, 
 no evening at the theatre was thought complete, with- 
 out an afterpiece, or a little ballet dancing. When I 
 told the manager 'Uncle Tom' must constitute the 
 entire performance, he flouted the idea; said he would 
 have to shut up in a week. But I carried my point, 
 and we didn't shut up, either. People came to the 
 theatre by hundreds, who were never inside its doors 
 before : we raised our prices, which no other theatre 
 in New York could do, and we played 'Uncle Tom' 
 over three hundred times during that engagement." 
 
 But to return to Albany: Conner's theatre, as it was 
 now called, opened for the fall season, September 5th, 
 with Mr. and Mrs. Barney Williams as the attraction, 
 to large houses. They were followed September 10th, 
 by Monsieur Bihin, the Belgian giant, who appeared 
 as "The Giant of Palestine." W E. Goodall, Sir 
 William Don, Estelle Potter, Melinda Jones, W. H. 
 Scoville, Macallister the Wizard, John P. Addams and 
 the Boone children played here, most of them with 
 limited success. 
 
 January 10th, 1854, Edward Eddy appeared for the 
 first time in several years, and was well received. After 
 his engagement the theatre was closed till April, when 
 it was opened a few nights by a German opera com- 
 pany. The Conner regime was not a pleasant one. 
 The actors were seldom paid, and then only a dollar 
 or so at a time. Some of them were so badly in debt 
 for board that they had to sleep in the theatre, and eat 
 where they could find any thing edible. The building 
 itself was extremely damp, and Conner's fine wardrobe 
 was nearly ruined by storage there. In reply to a letter 
 asking some information on the subject for this work, 
 Mr. Conner writes: 
 
 I have no record of the Green street theatre, and only 
 painful recollections of how my poor dear wife and myself 
 labored against loss after loss, night after night ; but let 
 
 25 
 
290 PLAYERS OF A CENTURY. 
 
 the Past be passed over, for I have many friends in 
 Albany whom I love. Ever yours, 
 
 E. S. Conner. 
 
 In May, Frank Chanfrau made a desperate effort to 
 retrieve the fortunes of this ill-fated establishment, and 
 opened it on the 8th, with Harry Eytinge as stage man- 
 ager, and Charlotte Mitchell, the "talented spirituelle 
 comedienne," from Madame Lester's theatre, London, 
 as the star. Miss Albertine also appeared in " The 
 French* Spy." The second week, Chanfrau himself 
 played, and on the 19th, was the recipient of a compli- 
 mentary benefit tendered him by the press of Albany. 
 The call was signed by Croswell & Johnson of the 
 Argus; F. W. Seward and John Ten Eyck, of the 
 Evening Journal; S. H. Hammond, State Register; 
 William Cassidy, Myron H. Booker, Atlas; Carlton 
 Edwards, David M. Barnes, Morning Express ; Hugh 
 J. Hastings, Knickerbocker ; B. M. Griffin, New York 
 Monthly ; J. C. Cuyler, H. L. Godfrey, Evening Tran- 
 script. The bill included "The Poor Gentleman,'' "Nan, 
 the Good-for-Nothing " and " Toodles." It was a great 
 success, hundreds being turned away unable to get in. 
 Encouraged by this, Manager Chanfrau brought out 
 " The Last Days of Pompeii," in fine style, and followed 
 it with an engagement of the Bavel and Martinetti fami- 
 lies, but it was of no use, and he soon gave up in despair. 
 
 On the 29th of June, Canoll left the Museum and 
 set up as manager in Green street. D. Myron was his 
 stage manager, and H. Freeberthyser led the orchestra. 
 The company included H. Bland, Mr. and Mrs. Thomp- 
 son, Charley Kane, Mrs. Lovell and a number of 
 others. " Moll Pitcher " was the opening play. The 
 season lasted about ten days, when the Philadelphia 
 Star company took possession, with F. N. Drew as 
 acting manager. Mr. and Mrs. John Drew (her first 
 appearance here in two years), Mr. and Mrs. Frank 
 Drew, Mr. and Mrs. D. P. Bowers ; L. B. Shewell and 
 William Wheatley were in the company. They opened 
 in "Plot and Passion," and played with success till 
 July 22d. 
 
PLAYERS OF A CENTURY. 291 
 
 September 4th, C. T. Smith, who was also stage 
 manager at the Museum, opened the theatre (which 
 had been newly upholstered) for a night or two, but 
 soon gave it up. In October a troupe of acting dogs 
 and goats occupied it, and a little later a band of 
 Ethiopians under A. J. Leavitt and D. Berthelon. 
 
 The Museum having closed its doors forever on the 
 28th of April, 1855, and there being no opposition, 
 0. T. Smith determined to try his fortune once more 
 in Green street, and opened May 3d, with "The 
 Daughter of the Regiment." His companv included 
 himself and wife for leading business, Charley Kane 
 as comedian, Mrs. Skerrett and Mrs. Bradshaw. Mag- 
 gie Mitchell was the first star, coming May 9th, and 
 playing to crowded houses. At her benefit on the 
 15th, she was publicly presented with a pair of dia- 
 mond ear-rings, David M. Barnes making the presenta- 
 tion speech. Barnes was in partnership with Smith 
 and in love with Maggie. He was a Southerner by 
 birth, a printer by trade, and much attached to the 
 drama. He came here from Utica, and assisted in two 
 or three newspaper enterprises. Miss Mitchell having 
 far too many admirers to accept the exclusive homage 
 of any one man, declined the honor of becoming Mrs. 
 Barnes, and Rose Eytinge was the next object of his 
 adoration. She made her first appearance in the stock 
 company the following 10th of September, as Virginia 
 to NeafiVs Virgmius. She was just twenty years old. 
 Three years previous she had made her first appearance 
 on any stage, as an amateur, in Brooklyn, and then 
 went west with a travelling company. This was her 
 first permanent engagement, and she became a great 
 favorite, her beauty and her talents conspiring to that 
 end. After her marriage with Barnes, they, removed 
 to New York, and he went upon the New York Times, 
 of which Henry J. Raymond was then editor. Rose 
 Ey tinge's life has been eventful, and if fully written 
 would no doubt be of thrilling interest. Not long 
 after the birth of their daughter, Miss Courtney Barnes, 
 Mr. and Mrs. Barnes separated, and the lady being 
 
292 PLAYEKS OF A CENTURY. 
 
 divorced, married George H. Butler (nephew of Gen. 
 Ben.) and went with him to Egypt, She is now divorced 
 from him also, and playing with success in England. 
 She is still a brilliant, beautiful woman, a fine conver- 
 sationalist, well informed on all subjects, and an 
 excellent actress. 
 
 In the stock company at this time, -supporting Miss 
 Mitchell and other stars, was Francis C. Bangs, a 
 } r oung actor, who had been upon the stage only about 
 three years, having made his debvt at Washington, in 
 November, 1852, at the age of fifteen. In 1858 he 
 appeared in New York, and with the exception of the 
 war period (during which he was in the Confederate 
 service) has been closely connected with the New York 
 stage ever since. Mr. Bangs's fine acting as A ntony, 
 Sardanapalus, Corporal Anloine, and Daniel Druce, is 
 fresh in the minds of the theatre goers of the present- 
 May 21st, Marie Duret, a dashing and spirited actress, 
 played "Jack Shepherd," u The French Spy, 7 ' etc. It 
 is said of her that she could never play Mrs. Holler 
 without going almost into convulsions, and it was 
 argued that there must have been some corresponding 
 passages in her own life. Her name was at one time 
 coupled by report with Gustavus Brooke, the tragedian, 
 but they were never married. She went to Australia 
 the year following, but subsequently returned to Eng- 
 land. She was a very daring Jack Shepherd, climbing 
 about the stage with all the freedom of one of the male 
 sex. At last accounts she was reported to be in des- 
 titute circumstances, in San Francisco. 
 
 June 4th, E. L. Davenport appeared for the first time 
 here since his return from Europe, accompanied by his 
 wife, Miss Fanny Vining. Their engagement was a 
 great success, and was repeated. 
 
 June 17th, Maggie Mitchell and James W. Lingard, 
 afterward manager of the New Bowery, played for the 
 benefit of Mrs. George Skerrett, whose husband had 
 died here recently. (Lingard drowned himself in 
 July, 1870.) The Denin sisters played an engagement 
 
PLAYEKS OF A CENTURY. 293 
 
 and then Maggie Mitchell came again. For her benefit, 
 June 22d, her sister, Mary Ann, played Celia to Mag- 
 gie's Rosalind, and Emma, another sister, appeared as a 
 dancer. Mary Mitchell (now Mrs. J. W. Albaugh) was 
 born in New York, November 12th, 1834, and had just 
 made her first appearance in Newark, New Jersey, as 
 Topsy. Her next appearance was the one above referred 
 to. She now joined the stock company here and 
 played for several weeks. She soon rose to the position 
 of leading lady, which she held in New York, Boston, 
 Philadelphia and St. Louis. In 1863, she went starring, 
 and in 1866, married Mr. J. W. Albaugh, and they went 
 starring together. Of late she acts but seldom, her time 
 being occupied with domestic duties, which, as wife 
 and mother, are dearer to her than the triumphs of a 
 life in public, but her appearance on the stage is ever 
 welcome. 
 
 Emma Mitchell made her first appearance as a dan- 
 seuse in April, 1853, and five years later played Justin, 
 in "The Wandering Boys," at Providence, also for 
 Maggie's benefit. She played one season in Mobile, 
 and then retired. 
 
 The season closed July 23d, and from August 6th 
 to 13th, the Buckleys produced their burlesque operas. 
 Of all the burnt-cork performances which the country 
 has ever seen, none have been more artistic than those 
 of the Buckleys in their early days, before death 
 invaded their little band. The music of the operas was 
 given with good effect, a prima donna of merit being 
 always engaged to sing the principal arias. 
 
 The fall season opened August 13th, with E. L. 
 Davenport and wife, in u The Scalp Hunters," which 
 had a famous run. During their engagement we notice 
 (September 1st) the first Saturday matinee which was 
 given especially for the benefit of the juvenile portion 
 of the community. It was an innovation not much 
 countenanced at first, but has since become exceedingly 
 popular. Most theatres now give one matinee in the 
 week, but Albany of late years will not be content 
 with less than two, somewhat to the disgust, we fear, 
 
94 PLAYERS OF A CENTURY. 
 
 of the actors, however well the public may enjoy the 
 extra performances. The regular Saturday matinee 
 did not become established here till Mr. Trimble's 
 management of the Academy, and then the appearance 
 of the star was a rarity, the stock usually playing 
 unaided, for the extra performance. The Wednesday 
 matinee, as we shall see, was established by Lucien 
 Barnes. 
 
 After a week of the Williamses, Neafie played an 
 engagement, opening September 10th, as Virginius, 
 when Miss Eytinge made her first appearance, as just 
 stated. This was the era of baby shows. P. T. Bar- 
 num and Col. Wood were running one in Van Vechten 
 hall, and at the theatre, a dramatic troupe of sixteen, 
 all of tender age, were playing "Beauty and the 
 Beast," u The Loan of a Lover," etc. During the fall 
 and winter, Mr. and Miss Bichings, Eliza Logan, Miss 
 Grancie, W. B. Goodall, Julia Dean Hayne, Wiseman 
 Marshall, and Edward Eddy and wife appeared ; Eddy 
 in " Jack Cade," " The Corsican Brothers," and a grand 
 production of " Monte Christo." The Howards came in 
 their everlasting " Uncle Tom," Bangs playing Legree, 
 and Miss Eytinge, Eliza. Maggie Mitchell played Dot, 
 in "The Cricket on the Heart!]," and February 14th 
 and 15th, 1856, a complimentary benefit to the Bich- 
 ings was given, two nights. 
 
 March 3d, first appearance of Charlotte Crampton, 
 who played for the benefits, on one occasion appearing 
 in the principal role in " The Corsican Brothers." 
 Charlotte Crampton might have been one of the most 
 famous actresses of the day, were it not for unfor- 
 tunate habits. She was born in 1816, and made her 
 debut at the age of fifteen, in Cincinnati. She was, at 
 that time, a petite and lovely brunette, with a voice 
 wonderfully strong for so slight a girl, and with all 
 the requisites for what is now called an emotional 
 actress. But she chose the more robust types, and 
 particularly enjoyed playing Hamlet, Shylock and Rich- 
 ard. She was acknowledged to be more than ordi- 
 narily good in male parts, and in the west, was called 
 
PLAYERS OF A CENTURY. 295 
 
 the Little Siddons. Oelia Logan says she had, natur- 
 ally, more talent than Charlotte Cushman, (?) but unlike 
 the greater actress, this other Charlotte, hot-headed 
 and warm-hearted, threw away both her money and 
 her affections, disappointed the managers, disgraced 
 the profession, and ruined herself. One bitter cold 
 night, in Boston, after playing Mazeppa to a crowded 
 house, she jumped on her horse in stage costume and 
 rode home through the streets, followed by the rabble. 
 After her star had set, and she could get no engage- 
 ments, she fell into poverty, but was befriended by a 
 Boston lady, who discovered that the actress was 
 also a fine French and Latin scholar, and obtained 
 pupils for her. Now, for a period, she tried to reform, 
 signed the pledge, and joined the Baptist church. Her 
 temperance lectures in Hanover street are still remem- 
 bered as being productive of great good. But her 
 reformation was only transient, and before the war 
 broke out, she was leading her old life again. Her 
 son joining the army, she, although now more than 
 a middle-aged woman, became a vivancliere and fol- 
 lowed her bov's regiment through the campaign. 
 Among her last appearances in Albany, that we 
 remember, was playing Meg Merrilies, in Booth's com- 
 pany, at Martin hall, in January, 1873, when Booth, 
 himself, found it inconvenient to fill his engagement. 
 She was then very decrepit, and could hardly climb the 
 stairs. She died in Louisville, October 5th, 1875. 
 Her name at one time was Mrs. Wilkinson, and she 
 was a sister of Charley Smith's first wife. 
 
 The season closed March 30th, and another opened 
 April 15th. On the 21st, Agnes Bobertson, ' : The 
 Fairy Star," appeared in " Andy Blake," written for 
 her by Dion Boucicault, her husband, who accompa- 
 nied her, but did not act. They had been married 
 three years. Mrs. Boucicault has since been the 
 original of the leading female characters, in many of 
 her husband's plays and adaptations. She is a native 
 of Edinburgh, was born in 1833, and made her debut 
 at the Princess's theatre, London, 1851, and first appeared 
 
296 PLAYEKS OF A CENTURY. 
 
 in America, at Montreal, in September of the same 
 year. Of late, she has resided in England, her husband 
 allowing her a separate maintenance. Mr. Boucicault 
 is one of the very few prominent actors in America 
 who have never appeared on the Albany stage. 
 
 On the 1st of May, Smith joined Eddy in leasing 
 the Adelphi theatre in Troy, and various minor attrac- 
 tions were produced at both places till June 7th, when 
 the Green street theatre passed under the management 
 of C. H. Losee, former bartender of the Museum ; F. 
 Chippendale stage manager. The address written by 
 Solomon Southwick and spoken at the opening of the 
 theatre in 1812, [see page 42,] was repeated June 9th, 
 when Maggie Mitchell appeared as the first star under 
 the new management, in "The Little Treasure." She 
 was followed by S. W. Glenn, a Dutch comedian (the 
 first of the Dutch Richards), Pyne & Harrison's opera 
 troupe, in " Sonnambula," and "The Bohemian Girl," 
 and they by the Buckleys, the season closing July 16th. 
 
 The 1st of September, found William Hender- 
 son associated with Losee in the management of the 
 Green street theatre, and his wife, Mrs. Ettie Hender- 
 son, in the company, which also included Mr. McWil- 
 liams as leading man, and a Mr. Burke (not Charley), 
 as comedian. The stars who played here at this time 
 were Annette Ince, a pupil of Peter Kichards; the 
 Howards in " Uncle Tom"; H. Gardiner Coyne, a 
 comedian whose real name was Gardiner, and cousin 
 to John Drew ; Emma Stanley, in an entertainment 
 entitled " The Seven Ages of Woman " ; James H. 
 Taylor, a good tragedian, still on the stage; John 
 Drew, in Irish characters; A. H. ("Dolly") Daven- 
 port and his wife, Lizzie Weston (from whom he was 
 afterwards divorced, and who became Mrs. Charles 
 Mathews) ; the Eichings, and others of lesser note. 
 
 The season was remarkable for the production of 
 what are known as u sensation dramas," many of which 
 were arranged by G. L. Aiken, who had made such a 
 hit with "Uncle Tom." He then tried his hand at 
 " Dred, a Tale of the Great Dismal Swamp," and even 
 
PLAYERS OF A CENTURY. 297 
 
 prepared the ''Key to Uncle Tom's Cabin,' 1 for the 
 stage. He next took bold of the Ledger stories, which 
 just then were in almost every family. "The Gun- 
 maker of Moscow," ran here for twelve nights: "The 
 Mystic Bride," for a week, and "Orion, the Gold 
 Beater," for two weeks. 
 
 February 2d, 1857, Lola Montez, just returned from 
 California, began a week's engagement, appearing in 
 11 The Eton Boy," "Follies of a Night," and "Lola in 
 Bavaria." She was never long without an adventure, 
 and at this time, came near being drowned, by making 
 a perilous crossing of the Hudson in a skiff, amid the 
 floating ice. She got over finally in safety, but part 
 of her wardrobe was carried down stream. By going 
 to Troy, she could have avoided all danger, but her 
 love of notoriety led her to offer $100 to be carried 
 across here. 
 
 In March, Mrs. McMahon, a well-known New York 
 lawyers stage-struck wife, made a sort of k ' Count 
 Joannes" exhibition of herself for several nights. 
 She was followed by W. B. Derr and two horses, and 
 the season closed April 4th. 
 
 Another season began May 4th, with Avonia and 
 Mrs. Melinda Jones, as the stars. Haviland. Heartwell, 
 Hutchinson, Kane, Ryan, Mrs. Archbold and Mrs. 
 S. Barnett were in the company. Mrs. Jones played 
 Romeo to her daughter's Juliet. Avonia. whose father 
 was the alleged "Count," was born in New York. July 
 12th, 1839, and died there October 5th, 1867. During 
 a visit to England in 1861-2, she married Gustavus 
 Brooke, the tragedian. Stone says the mother. Mrs. 
 Jones, was known in the west as the "Man Flogger," 
 from having cowhided more actors and editors than any 
 other representative of the weaker sex. George Jones, 
 born in 1810, was at one time an actor of considerable 
 ability, and was for three years attached to the Bowery 
 theatre. He claimed to be the original Claude Melnotle 
 in America, first playing the part in Boston. Of late 
 years he became famous, or rather ridiculous, by his 
 assumption of the title "George, the Count Joannes. " 
 
298 PLAYERS OF A CENTURY. 
 
 He was admitted to the bar, and practiced law, but in 
 the court was laughed at almost as much as when he 
 returned to the stage to play tragedy. It was consid- 
 ered great fun to hoot at him on these occasions, and 
 audiences and reporters exhausted themselves in efforts 
 to make the performances absurd. He died December 
 30th, 1879. His sanity had long been questioned. 
 
 Eddy came in May, and was supported by Mr. and 
 Mrs. C. T. Smith. He was succeeded by John Broug- 
 ham, who was associated with Miss A. Clifton. They 
 played two weeks, and were followed by the Florences, 
 and they by Harry Lorraine in "Belphegor" and 
 other tragedies. Manette Minnie Montez, billed as the 
 sister of Lola, made her first appearance on any stage 
 in " Plot and Passion," June 25th. She was really the 
 sister of Lola's treasurer, and her right name was 
 Foland. The Losee-Henderson management closed in 
 June with the stock in "Aladdin." Mr. Henderson 
 has of late been manager of the Standard theatre in 
 New York, and was last in Albany with a "Pinafore" 
 company. His wife, Mrs. Ettie Henderson, was the 
 first to play " Fanchon " in Great Britain. She is the 
 daughter of Henry Lewis, and was educated at the 
 Convent of Notre Dame, in Cincinnati. In that city 
 she made her first appearance. She is still upon the 
 stage, and plaved at the Leland, the present season 
 (1879-80) in "Almost a Life," dramatised by herself. 
 
 The Keller troupe occupied the place for one or two 
 weeks, with tableaux, etc., and August 31st, C. T. Smith 
 resumed management with T. Finn, stage manager, and 
 C. L. Underner, as leader of the orchestra. Maggie 
 Mitchell was the first star, playing Paul in "The Pet 
 of the Petticoats," Naramatah in " The Wept of the 
 Wish-ton- Wish," "The French Spy," etc. Lorraine, 
 Miss Kimberly, B. Johnson, Avonia Jones and her 
 mother, Coyne, Irish and Leffler, Yankee comedians, 
 the Wallers, and other stars, shone more or less 
 brightly. On the 5th of October, William E. Burton 
 began a short engagement, playing " The Serious 
 Family," " Toodles," etc. He also played the same 
 
PLANTERS OF A CENTURY. 299 
 
 evenings in Troy, being conveyed from one city to the 
 other by fleet horses. This, so far as we know, was 
 the first appearance in Albany of the greatest low 
 comedian of the age. William Evans Burton was 
 born in London, in 1804, and was intended by his 
 father — a man of learning and piety and author of 
 " Biblical Researches " — for the church. He received 
 a classical education, and at the age of eighteen assumed 
 direction of his father's printing office, and published a 
 monthly magazine. Thrown into the society of actors, 
 and himself a popular amateur, the step to the stage 
 was easilv taken. At the age of nineteen he married, 
 and two years later his father died. Young Burton 
 continued the printing business for his mother's sake, 
 till 1830, when he abandoned it for the stage. He at 
 first played all sorts of characters, but soon adopted 
 the line which was his peculiar forte. His American 
 debut was made at the Arch street theatre, Philadelphia, 
 September 3d, 1834, as Dr. Ollapod, and Wormwood. 
 His first New York appearance was February 4th, 1839. 
 He managed theatres in Philadelphia and Baltimore, 
 and in 1848 opened Palmo's opera house, in Chamber 
 street, as Burton's theatre. His first great hit was the 
 production of Brougham's version of "Dombey & 
 Son," in which the manager played Captain Cuttle. 
 Other successes followed, and his Toodles, Aminadab 
 Sleek, Micaivber, Poor Pillicoddy. Paul Pry, Tony Lump- 
 kin, etc., became standards of excellence which compet- 
 itors aimed at in vain. In 1856 he leased the Metro- 
 politan theatre in Broadway, and managed it under the 
 name of Burton's new theatre till 1859, when he went 
 starring. Soon after, his health failed, and in Feb- 
 ruary, 1860, he died, in New York, of heart disease. 
 As Hutton says, Burton was probably the funniest 
 man that ever lived ; he was the best known man in 
 New T York, if not in America, while his Chamber street 
 theatre was better known throughout the Union, than 
 any other building in the United States. Many a man 
 went to that theatre who never went to any other, and 
 there Burton amassed a fortune, estimated by some at 
 
300 PLAYERS OF A CENTURY. 
 
 a million. His Broadway theatre was not so successful ; 
 people began, after a while, to suspect that Burton's 
 fun was a trifle coarse, as no doubt it was ; but the 
 humor was always genuine, and in pathos he was not 
 lacking. His facial expression, " mugging," as the 
 profession call it, was simply unapproachable. He 
 created such parts as Aminadab Sleek and Toodles, and all 
 who play them to-day play as near like Burton as they 
 know how. He was literary, both in taste and habit, 
 and contributed frequently to the magazines. He col- 
 lected one of the most extensive dramatic libraries in 
 this country, and published a " Cyclopaedia of Wit and 
 Humor." 
 
 November 10th, Mons. Carlincourt, a magician, 
 advertised to shoot a boy from a cannon, but it was not 
 really done. The boy was taken out of the breech of 
 an imitation cannon, and carried to the flies, from 
 which, after the gun had been pointed upwards and 
 fired, he came sliding down the wire in a cloud of 
 smoke. 
 
 November 24th and 25th, Charlotte Cushman played 
 L idy Macbeth and Meg Merrilies. Then came a diorama, 
 and December 7th, the Howards in u Uncle Tom," 
 a Dred," "Ida May," and "The Lamplighter." 
 
 December 21st, Marsh's Juvenile comedians played 
 quite a long engagement, producing for the holidays, 
 "The Naiad Queen." The Marsh troupe proved a 
 school from which a number of well-known profes- 
 sionals graduated. Louis Aldrich was one, his wife 
 Jennie Arnot, was another ; the Webb sisters, and Ada 
 and Minnie Monk, also belonged to this troupe. It 
 was organized June 1st, 1855, and after travelling 
 from Maine to California, and thence to Australia, dis- 
 banded November 12th, 1863, in San Francisco. 
 
 January 4th, 1858, Mr. and Mrs. Waller were here, 
 and January 19th, Matilda Heron was announced to 
 appear as Camille. Although not the original Camille 
 in this country, Miss Heron, for many years, claimed 
 the part as her own, and bitterly assailed those who 
 attempted to rival her. She was born in Ireland, 
 
PLAYERS OF A CENTURY. 301 
 
 December 1st. 1830, came to this country when very 
 young, and was the dramatic pupil of Peter Richings, 
 making her debut February 17th, 1851, at the Walnut 
 street theatre, Philadelphia, as Bianca. Two years 
 after, she went to California, and in 1834, returned to 
 the East as a star. It was the winter of 1856-7 that 
 she first appeared in her own version of u Camille," at 
 Wallack's theatre, with Sothern as Armand, scoring a 
 great success. Thereafter, she made it her leading 
 rofe, and is said to have received, in playing it, not less 
 than $100,000. There was a time when this actress 
 and this play were the rage. She was brilliant and 
 accomplished, and numbered her admirers by the 
 hundred. December 24th. 1857, she married the 
 leader of the orchestra at Wallack's. Robert Stoepel, 
 and in 1861. appeared at the Lyceum theatre in Lon- 
 don. On her return, she played "Medea. 1 " as adapted 
 by herself from the Greek of Euripides. She died 
 in New York. March 7th, 1877. Her last days were 
 dark, and her actions in public were such as to indicate 
 insanitv. as the most charitable explanation. She gave 
 up acting, at least, only appearing at intervals, and 
 gave dramatic lessons. Agnes Ethel being one of her 
 pupils. Her last appearance was in April. 1876. for 
 the benefit of her charming daughter, Bijou Heron. 
 We have said Miss Heron was announced to appear. 
 She played two acts, but in the third, owing to some 
 remissness on the part of the Armani, refused to proceed 
 Mr. Smith, the manager, then came forward and offered 
 to play Armand himself, if the audience would give him 
 time to black his boots. The audience were willing, 
 but the star was not. and utterly refused to go on. 
 Albany had to wait several years before it saw the 
 remainder of Matilda Heron's master-piece. 
 
 ''The Poor of New York/' afterwards known as 
 "The Streets of New York," was produced in Jan- 
 uary, and while playing this, the establishment closed. 
 W. M. Fleming opened the theatre April 12th, with 
 Sallie St. Clair in " The Bride of an Evening, 1 ' another 
 Ledge?- story. Miss St. Clair became the wife of C. M. 
 "26 
 
302 PLAYERS OF A CENTURY. 
 
 Barras, author of "The Black Crook." She died in 
 
 Buffalo, April 9th, 1867. 
 
 Fleming's career was decidedly cloudy. About 
 this time the Wallers played a night or two, Mrs. 
 Waller appearing as lago. The walls of the building- 
 were considered dangerous, and some people were actu- 
 ally afraid to go there. (Meantime Leavitt's "negro 
 opera house" did a good business, but not long after 
 so degenerated as to be made a subject for the attention 
 of the police.) May 10th, the Star sisters in "The 
 Three Fast Men," were the attraction. These were 
 the girls well known afterwards as Helen and Lucille 
 Western. They were the daughters of a cigar maker 
 who died in Binghamton in 1858 of consumption, and 
 were now fifteen and sixteen years old. Their mother 
 married William B. English, who conducted their 
 starring tours. ' ; The Three Fast Men" was a sensa- 
 tional drama of the extreme class, and had a pro- 
 tracted run wherever produced. In 1861, Helen 
 married a Baltimore lawyer, from whom she was 
 divorced, and in August, 1865, married James Heme, 
 at one time in the stock company of the little Gayety. 
 She made a specialty of "The French Spy" and 
 similar pieces, and at last died in Washington, De- 
 cember 11th, 1868. Lucille, in after years, became 
 the well-known exponent of emotional dramas, like 
 " East Lvnne " and " The Child Stealer." During the 
 war she travelled with the Davenport-Wallack com- 
 bination, playing Nancy Syhes in "Oliver Twist," to 
 Davenport's Bill and J. W. Wallack's Fagin. She 
 died in Brooklyn. January 11th, 1877, while playing 
 a star enslavement in the Park theatre. She was the 
 wife of James H. Meacle. Her first great hit was in 
 the dual role in "East Lynne," as dramatised by 
 Clifton W. Tayleure, a part which she at first refused 
 even to rehearse. It is estimated that it afterwards 
 brought her over a quarter of a million dollars, all of 
 which was frittered away by others. Her life was one 
 of incessant toil, without fruition. Had her great 
 
PLAYERS OF A CENTURY. 303 
 
 powers been properly directed, far different would have 
 been her record. 
 
 From June 16th to August 7th, C. H. Losee ran the 
 theatre, with J. B. Howe and Lizzie Emmons in tragedy, 
 the Star sisters, and the Keller tableaux. In October, 
 Tyrrell and Allen brought out " Cherry and Fair Star," 
 "The Flying Dutchman," etc. Then J. Harrison had 
 the place, and in November it was open with sparring 
 exhibitions. 
 
 September 7th. L859, after the little Grayety had 
 opened, C. T. Smith began opposition to it with the 
 old theatre, bringing out Burton and Mrs. Hushes in 
 "The Serious Family," "Dombey & Son," "The Orig- 
 inal Jacobs," etc. This was the last appearance on the 
 Albany stage of Mrs. Esther Hughes, who forty-six 
 years before assisted as leading lady at the opening of 
 this very Green street theatre, then being known as 
 Mrs. Young. She retired the next year, and died in 
 1867. From this starring tour Burton returned to 
 New York in poor health, and also died early the 
 following year. 
 
 September 27th, Mary McYicker. aged nine, appeared 
 as Little Piccolomini. Little Pickle, etc. This lady is 
 now the second wife of Edwin Booth, whom she mar- 
 ried June 7th, 1869. Her real name was Mary Runnion. 
 
 October 8th, C. T. Smith left the old theatre abruptly, 
 and appeared at the Grayety, Sidney Smith taking his 
 place as manager. Sidney was the brother of Capt. 
 John B. Smith, of Albany, and was afterwards stage 
 manager at the Academy of Music. Naturally he was 
 an excellent comedian, but was too modest to push 
 himself forward, and thus failed of making the success 
 which many men of less talent often attain to. Smith 
 was at first employed as carpenter at the Museum, and 
 did many little parts till he made a hit as Marks, the 
 lawyer, in "Uncle Tom." His best characters were 
 Bob Brierly and Danny Mann. At one time he played 
 one of the Two Dromios, in New York, Billv Flor- 
 ence playing the other. From here Smith went to 
 Cincinnati and, in company with Dr. Collins, leased 
 
304 PLAYERS OF A CENTURY. 
 
 the National theatre, and died there November 22d, 
 1864. 
 
 On the 10th of October, the building was sold at 
 auction, under foreclosure of a mortgage held by Dr. 
 Eugene Andrews, to Thomas Farrell & Co., who bought 
 it for $28, subject to incumbrances, which amounted to 
 more than it was w 7 orth. In this way, however. Farrell 
 & Co., who were owners of the Gayety, hoped to get 
 control of the opposition theatre, but soon lost it 
 through a defect in the title. In November, Blondin, 
 the rope walker, appeared here, and the following 
 month it was complained of as a nuisance and declared 
 such by the board of health. 
 
 From this period the old Green street theatre sank 
 out of sight, as a legitimate place of amusement. 
 During 1861, and afterwards, it was run as a concert 
 saloon by Captain John B. Smith and others. Adah 
 Isaacs Menken appeared here for the first time 
 in her life as Mazeppa (of which, hereafter), and 
 crowded the house nightly. Some excellent variety 
 talent was engaged, and during the war, a thriving 
 business w 7 as done. In November, 1861, the Carter 
 Zouave troupe, composed of seven girls, ranging in 
 age from seven to eleven years, made their first appear- 
 ance on any stage at this place, and afterw r ards, were 
 very successful. Smith probably made more money 
 here than any man who ever undertook to run it. 
 We see no reason, however, for making its subsequent 
 career a part of stage history, and turn back to the 
 little Gayety. 
 
305 
 
 CHAPTER XXIII, 
 
 1859-1861. 
 
 The Oayety Theatre in Green Street. 
 
 ON the 30th of March, 1859, the Gayety theatre, 
 situated on the east side of Green street, two or 
 three doors south of Beaver, was opened to the public 
 by A. J. Leavitt and D. Allen, lessees. Leavitt, the 
 banjo player, had, for several months, run an " opera 
 house, 1 ' at No. 22 Beaver street, and aspired to some- 
 thing; higher. He was to be the manager. Allen stage 
 conductor, and Herr Zeller was to conduct the orches- 
 tra, Ernest Zeller was, for many years, a well-known 
 musician of Albany, and an excellent violinist. He 
 kept the Belvedere house, on Beaver street, and died 
 there May 15th, 1879. The monied man in the con- 
 cern was J. H. Putnam, a butcher, and cousin to 
 Leavitt. He kept a market corner of Columbia street 
 and Broadway. 
 
 The building had been occupied by Mr. Van Gaas- 
 beek as a carpet store, and by Mr. Blair as an upholster- 
 ing establishment. It was now converted into a small but 
 neat theatre, by Dr. J. Monroe, a dentist, whose versatile 
 genius included the architecture of teeth, theatres, and 
 finally, of wooden legs. Six hundred people could, 
 with difficulty, be crowded into the place, but five 
 hundred was considered a bis: house. 
 
 The opening night, the new company was cast as 
 follows : 
 
 LONDON ASSURANCE. 
 
 Sir Harcourt Courtley Mr. Elmore 
 
 Charles Courtley Mr. Thompson 
 
306 PLAYERS OF A CENTURY. 
 
 Dazzle Mr. Allen 
 
 Max Harkaway Mr. Salsbury 
 
 Dolly Spanker: MR, ALBAUGH 
 
 Mark Meddle Mr. Kane 
 
 Cool Mr. Stiles 
 
 Martin Mr. Morton 
 
 James Mr. Gardiner 
 
 Lady Gay Spanker .Miss Amy Frost 
 
 Grace Harkaway Mrs. Salsbnry 
 
 Pert Mrs. Allen 
 
 ''Sketches in India" was also produced, and an 
 opening address b}^ Mr. Pinckney, was delivered by Amy 
 Frost. The play was well put on the stage and well 
 acted. The Richings, Caroline and her adopted father, 
 were the first stars and produced, among other novel- 
 ties, a version of Bulwer's " What Will He Do With 
 it?" and "Louise de Lignerolles," the latter play 
 having quite a run on account of a similarity in its 
 plot to the Sickles tragedy, about which there was then 
 much excitement. 
 
 The Richino's were followed by Mr. and Mrs. Chan- 
 frau for two weeks, and they by J. B. Roberts, tragedian, 
 and he by Julia Dean Hayne, as Camille, Adrienne, 
 etc. Business, at first, was good, but soon dropped 
 down below the paying point, and Putnam, after a few 
 poor houses, became tired of making up the losses, 
 and the company refused to play. For a day or two, 
 matters looked dark for the new establishment ; then 
 Thomas Farrell was induced to take an interest in the 
 enterprise, and Col. Jacob C. Cuyler, of the Express, 
 was made treasurer, Allen being retained as stage 
 manager. Mrs. Hayne played out her engagement, 
 and May 23d, James E. Murdoch appeared, playing to 
 bad business ; one night, to as low as $12. This was 
 a great disappointment, as Murdoch, hitherto, had 
 always drawn well. May 30th, the Richings began 
 a week, and June 4th, the season closed, all demands 
 against the management having been promptly met. 
 
 The second season opened September 3d, with John 
 W. Albaugh as acting and stage manager, and Under- 
 
PLAYERS OF A CENTURY. 307 
 
 ner, leader of the orchestra. The stage had been 
 deepened twelve feet. The company included Mrs. H. 
 C. Rvnor. Mrs. W. L. Ayling, Louise Morse, Lizzie 
 Kincade, George Karnes, J. W. Albaugh, J. R Spack- 
 man, J. T. Ward, Ckarle}^ Kane, Charles Bishop, M. 
 M. Loud and James T. Heme. The bill was " Love's 
 Sacrifice," cast as follows : Margaret Elmore, Mrs. H. C. 
 By nor ; Herminie. Mrs. W. L. Ay ling; Manou, Miss 
 Louise Morse; Matthew Elmore. George S. Karnes; 
 Paul LaFont. J. B. Spackman : St. Lo, J. W. Albaugh ; 
 Eugene DeLorme, James T. Heme ; Jean Ruse. Charles 
 Kane; Friar Dominic, J. T. Ward. "Sketches in 
 India " — Tom Tape. J. W. Albaugh : Sir Matthew. J. 
 R Spackman ; Count Glorieux. Charley Kane ; Milton, 
 J. T. Heme : Dorrington. M. M. Loud : Sally Scruggs, 
 Mrs. Ayling; Lady Scruggs. Miss L. Morse: Poplin. 
 Miss L. Kincade. 
 
 The acting and stage manager, Mr. John W. Albaugh, 
 was, with the exception of the call boy, the youngest 
 man connected with the theatre, having been born in 
 Baltimore, September 30th, 1837. Although not 
 descended from a dramatic family, he had an early 
 penchant for the stage, and while quite young took 
 part in amateur performances. His first regular appear- 
 ance on the staae was at the Baltimore museum, under 
 the management of Henry C. Jarrett, Joe Jefferson, 
 stage manager, on the 1st of February, 1855, as Brutus, 
 in "Brutus, or the Fall of Tarquin." A Baltimore 
 paper of that week, in speaking of the Museum, said : 
 
 Though young in years, and lacking experience, Mr. 
 Albaugh acquitted himself in the most creditable man- 
 ner, and it was universally acknowledged that his was 
 the best " first appearance " that had been made here for 
 some time. He has much talent, and will, no doubt, 
 make a good actor, if he should adopt the profession. 
 Jefferson's comic song of " Villikins and his Dinah " 
 continues in high favor, and is received nightly with 
 shouts of laughter. 
 
 In the month following, Mr. Albaugh appeared as 
 Hamlet, at a benefit complimentary to himself. His 
 
308 PLAYERS OF A CENTURY. 
 
 first regular engagement was as second walking gentle- 
 man in the Holliday street theatre (of w T hich he is now 
 manager), under John T. Ford, for the season com- 
 mencing August 20th, 1855, salary $8 per week; pretty 
 good pay in those days. The next season, 1856-7, he 
 was with Charles T. Smith, at Troy, engaging as first 
 walking gentleman, and going up through the regular 
 succession to leading business. In 1858-9, he played 
 juvenile business at Pittsburgh, and then came to the 
 Gayety, under engagement as heavy man. His sur- 
 prise and indignation at finding himself billed for 
 Dolly Spanker (light comedy) in "London Assurance," 
 the opening play, were somewhat mollified by noticing 
 his name printed in larger letters than any of the 
 others, and accepting the part, he made a hit to start 
 with. From that day to this, Mr. Albaugh has steadily 
 grown in the good graces of the people of Albany, till 
 we doubt whether his popularity was ever equaled by 
 that of any other actor or manager the city has ever 
 had. One night, soon after the second season of the 
 Gayety opened, the leading man who was to play 
 Bloody Nathan, in " Nick of the Woods," was found, 
 towards evening, disgustingly drunk. Albaugh got 
 him home and to bed about six o'clock, hoping that he 
 would recover his senses sufficiently to appear in 
 "Nick," which was the last play of the evening. Just 
 about the time for the curtain to go up, however, 
 Bloody Nathan was heard of in Green street, drunker 
 than ever. There was no help for it: some one must 
 be substituted ; the papers had already remarked on 
 the disgraceful condition of the leading man, as he 
 appeared in public the first night he played here, and 
 the credit of the theatre was at stake. Albaugh, who 
 was cast for a part in the first play, undertook the role 
 of Nathan, and actually did all his studying at intervals 
 when he was not on the stage during the first play of 
 the evening. Before the curtain rang up on "Nick 
 of. the Woods," an apology was made for the short 
 study, and then the play proceeded. Albaugh was 
 greeted with applause, and stimulated to do his best, 
 
PLAYERS OF A CENTURY. 309 
 
 acted as well as lie ever did in his life. The hit was 
 tremendous, and at the close of the play, the audience 
 arose in their seats and gave three rousing cheers for 
 Albaugh. He was an honorary member of Ransom 
 hose company No. 3, and his portrait, in a heavy gilt 
 frame, hung in their rooms. A dramatic association 
 was named after him, and both organizations were 
 present at his benefit, March 9th, I860, the firemen in 
 full dress. These facts are mentioned to show that 
 Mr. Albaugh's popularity is not of mushroom growth, 
 but has existed, in Albany, for nearly twenty years. 
 
 Mr. Albaugh next went to Montgomery, Alabama, 
 just as the war broke out, and happened to witness the 
 inauguration of Jefferson Davis. The next year he 
 played in Boston, Washington. Philadelphia and the 
 west, and for three years was leading man in Louis- 
 ville. We then, in 1865, hear of him in New York, 
 supporting Charles Kean in his engagement at the 
 Broadway theatre, and playing there the remainder of 
 the season. In 1866, he married Mary Mitchell, and 
 went starring for a while. In 1868-9, he was manager 
 of the Olympic theatre, as associated with Bidwell & 
 Spaulding, in St. Louis. In 1870, he returned to 
 Albany, and was stage manager for the Trimble opera 
 house, under Lucien Barnes. From there Mr. Albaugh 
 went to New Orleans as partner with Ben De Bar, in 
 the management of the St. Charles theatre. A season 
 of managing in Montreal, a little more starring, and 
 then he became manager of what is now the Leland' 
 opera house, Albany, opening it November 24th, 1873, 
 since which time he has been sole lessee. In 1878, he 
 played a star engagement under Edgar & Fulton, in 
 what is now Daly's theatre, New York, appearing as 
 Louis XL, and winning almost universal praise from 
 the New York critics. He is. at the present time, 
 manager of three theatres:- The National, in Wash- 
 ington, the Holliday street theatre, in Baltimore, and 
 the Leland, in Albany. 
 
 To return to our record : The first stars at the Gavety 
 this season, were the Lonsdale sisters, Annie "and 
 
310 PLAYERS OF A CENTURY. 
 
 Addie, in comedy. These were English girls, and 
 very clever artistes. 
 
 On the 21st of September, Adah Isaacs Menken 
 made her first appearance in Albany, as the Widow 
 Cheerly, in " The Soldier's Daughter," and subsequently 
 played in "The French* Spy," U A Day in Paris," 
 u Satan in Paris," " Lola Montez," etc. During a 
 re-engagement, she attempted the legitimate, playing 
 Catharine to Albaugh's Petruchio. She affected the 
 military at this time, and had just been elected captain 
 of a company in Dayton, Ohio, where, as here, she 
 created a decided sensation. She paid a visit to the 
 armory of the Twenty-fifth regiment, and was hospita- 
 bly received. At her farewell benefit, September 28th, 
 she sang a song dedicated to that regiment, and played 
 George Barnwell. Two months later, she returned 
 from a southern trip and played another engagement, 
 extending from November 27th to December 10th, 
 and including "Jack Shepherd " and " Lucretia Bor- 
 gia." April 9th, 1861, she began her third engage- 
 ment at the Gayety, and June 7th, at the old Green 
 street theatre, for the first time in her life, essayed the 
 part of Mazeppa, with which she was afterwards identi- 
 fied. In spite of all that was said about her, she 
 behaved, during this time, like a perfect lady, and won 
 all hearts by her affectionate manners. All the 
 attaches of the theatre, men, women and children, 
 would do any thing to oblige her, and were loud and 
 constant in her praise. 
 
 The true history of this strange, brilliant, erring, and 
 yet, in some respects, noble creature, has never been 
 written, and no doubt it is best it never should be. 
 The wagging tongues ever ready to assail a woman, 
 and particularly ready if that woman is an actress, 
 have done their work in Europe and America, and in 
 many minds the name of The Menken is a synonyme 
 of all that is depraved in the female sex. Those who 
 knew her best, are best aware how unjust was this 
 estimate. She was an exquisitely beautiful woman in 
 form and feature. Born under the scorching sun of 
 
PLAYERS OF A CENTURY. 311 
 
 Louisiana (June 15th, 1835), she inherited a tempera- 
 ment as fierce and uncontrolable as that which some- 
 times animates the denizens of a still more tropical 
 clime. Her real name was Adelaide McCord. Left 
 fatherless at the age of seven, precociously developed, 
 and like Shakspeare's Juliet, a woman at fourteen, she 
 was first heard of in public as a danseuse in New 
 Orleans. The freshness of her beauty at this time can 
 be only mentioned by those who knew her as simply 
 indescribable. Before she was seventeen, she had 
 experienced the lot of an unhappy, cruelly-treated and 
 at length abandoned wife. Her first husband is never 
 mentioned in the list with those that followed. After 
 a year at the French opera house, during which she 
 learned French and Spanish, she visited Havana, 
 where she created her first marked sensation, and was 
 styled the "Queen of the Piazza." Returning to the 
 United States, she, in company with another dancer 
 whom she always called her sister, wandered out to 
 one of the newly-created cities of Texas, to assist an 
 amateur dramatic society, much in want of two or 
 three actresses to aid in their representations, and 
 whose officers had sent down for some to New Orleans. 
 Whether it was a desire to practice speaking parts 
 before appearing in the great cities, we do not know, 
 but whatever was her object, Adah buried herself for 
 a time in the wilds of the new state. The few months 
 she spent there were as near happiness as any period 
 she ever knew. But she was never at peace. The 
 warring elements of her nature would not permit it. 
 She was at an early age of literary habits; translated 
 Homer at the age of twelve: soon after mastered 
 French and Spanish, wrote a volume of poems, con- 
 tributed to the New Orleans newspapers, established a 
 paper at Liberty, Texas, and taught French and Latin 
 in a young ladies' seminary. In 1856 she married, at 
 Galveston, Alexander Isaacs Menken, a musician, and 
 in 1858, made her debut at the New Orleans Varieties 
 in "Fazio." ' From there she went to Cincinnati and 
 Louisville, and also plaj^ed in the Southern circuit. 
 
312 PLAYERS OF A CENTURY. 
 
 Then she retired and studied sculpture in T. D. Jones's 
 studio at Columbus, Ohio. At the time she appeared 
 here, she was Mrs. John C. Heenan, having married 
 the prize fighter April 3d, 1859. One man in Albany, 
 it is remembered, was suddenly made aware of the 
 reality of Heenan's relations to her, for one night on 
 making a rather slighting remark upon the fair actress, 
 he was knocked almost senseless by a blow from the 
 champion's fist. The Albanian was quite a bruiser, 
 but when he was told that it was the "Benicia boy " 
 who struck him, he at once allowed that in this case 
 discretion was the better part of valor. From the 
 first. Menken had the good will of Frank Queen, of 
 the New York Clipper, the u showman's bible," as it 
 w r as called at this time, and hardly a number was 
 printed for years, but what had a favorable notice of 
 this actress. She was divorced from Heenan in 1862, 
 by an Indiana court, Robert H. Newell (Orpheus C. 
 Kerr) was her next husband, and in 1864 she sailed 
 for England, appearing at Astley's in her then famous 
 role of Mazeppa. Once more she was married, this 
 time to James Barclay, in 1866, at her residence, 
 "Bleak House/' in New York. Subsequently she 
 played in Paris, where she was called out nine times 
 in one night, making about the only hit ever made in 
 that city by an American actress. She played there 
 100 nights, on the last night there being present at 
 her performance Napoleon III., the King of Greece, 
 the Duke of Edinburgh and the Prince Imperial. She 
 also appeared in Vienna, and frequently in London, 
 ending her life at last in the French capital, August 
 10th, 1868, aged thirty-three. The report that she 
 died from a debauch is probably untrue, as liquor she 
 could not drink, the least quantity making her almost 
 wild. She found her life intoxicating enough without 
 the aid of wine. She had her faults, and grievous 
 ones. Giving every thing herself to the man she 
 loved, she demanded the same in return, and that 
 with a jealousy that was not only unreasonable but 
 unbearable. Sometimes, when enraged at some slight, 
 
PLAYERS OF A CENTURY. 313 
 
 real or fancied, she would go into an cataleptic fit hor- 
 rible to witness. In other things she was utterly 
 unselfish ; she cared for nothing she had so much but 
 that she would freely give it away, and from all points 
 in her career comes testimony of her generosity, 
 amounting to extravagance. To the man she loved 
 she was true as steel — till she loved another better. 
 That there was something peculiarly fascinating about 
 her is certain, from the class of men which, on the 
 other side, she attracted around her. Charles Dickens, 
 Alexander Dumas, Theophile Gautier and Charles 
 .Swinburne were mentioned as among her more or less 
 intimate associates. To the first she dedicated her 
 little book of poems, and his graceful note, accepting 
 the compliment, is published as its preface. It is a 
 curious book, this c: Infelicia." The last verses in it 
 are an epitome of almost its entire contents : 
 
 " I can but own my life is vain, 
 
 A desert void of peace ; 
 I missed the goal I sought to gain, 
 I missed the measure of the strain 
 That lulls Fame's fever on the brain, 
 
 And bids Earth's tumult cease." 
 
 11 Myself ! alas for theme so poor, 
 
 A theme but rich in Fear ; 
 I stand a wreck on Error's shore, 
 A spectre not within the door, 
 A houseless shadow evermore, 
 
 An exile lingering here." 
 
 She died in the Jewish faith, and is buried in Mount 
 Parnasse cemetery, with k * Thou Knowest," the only 
 inscription on her tomb stone. 
 
 As has been stated, Menken first played the part of 
 Mazeppa at the Green street theatre. The following 
 particulars were given to the writer by Capt. John B. 
 Smith, who ran the theatre at that time, and they first 
 appeared in print in the Albany Mirror, of October 
 25th, 1879 : 
 
 " In 1860 and '61, I was manager of the Green street 
 theatre, and running a* lively opposition to the Gayety, 
 on the same street, where Adah Isaacs Menken had 
 27 
 
314 PLAYERS OF A CENTURY. 
 
 played several engagements, some of them to pretty 
 poor business. I had tried to engage her for my place, 
 but her upstart of an agent would not even answer my 
 letter. Her last benefit, there was n't but $35 in the 
 house, and she had me to thank for it. Lager beer 
 was more of a novelty in those days than it is now, 
 and that night a keg was on tap, free to every body, 
 in all the principal saloons of the city. Beer pulled 
 stronger than beauty, and that night the Gayety was 
 empty. The ijext day I called on Miss Menken, at her 
 hotel. She was naturally 'indignant, for she knew 
 what I had done, but I told her I had nothing against 
 her; on the contrary I wanted her to play, at my 
 theatre, and had brought along with me Thomas 
 Hastings and Peter Cagger as sureties. I told her I 
 wanted her to play Mazeppa. She said she would 
 think of it and let me know. Soon after, I received 
 word from St. Louis, that she was coming east and 
 would do as requested. 
 
 " Now I had been playing R E. J. Miles in the part T 
 and it had been a success. So far as I know, no woman 
 had ever attempted it. It struck me that if Menken, 
 whose beauty was already the talk of the city, could 
 be induced to personate the unhappy hero, it would 
 be a great hit, I made preparations accordingly. Not 
 long after, an announcement appeared in the New 
 York sporting papers that William Derr, a famous 
 trainer, was educating thirteen horses for the use of the 
 beautiful and dashing actress, Adah Isaacs Menken, 
 who was to appear for the first time as Mazeppa, etc., 
 etc. As Derrs training was all done privately, and as 
 for a consideration he was induced not to contradict the 
 report, no one knew to the contrary, and the story went 
 the rounds. I had doubts as to whether she could do 
 the piece, and had made elaborate preparations, so that 
 it would run without her, in case she failed. I had a 
 tournament scene an hour long, with Harry Leslie as 
 rope walker, Sam Long as clown, and other specialty 
 performers of prominence. 
 
 " A day or two before the first representation, the 
 
PLAYERS OF A CENTURY. 315 
 
 * thirteen trained horses,' hired for the occasion from 
 out of town, so that they should not be recognized, 
 paraded the streets as ; The Menken stud.' The Men- 
 ken herself arrived from the west on Saturday, in time 
 for rehearsal. She knew nothing about the play — 
 business, lines, nor any thing else. But, of course, it 
 would not do to let this appear, even to the company. 
 Accordingly, after going through the first act, the star 
 said to them, she was much fatigued from her long 
 ride, and on talking: with me had found we agreed 
 precisely in regard to how the play should be done ; 
 accordingly any suggestions that I might make would 
 meet her approval, and with these words she dismissed 
 the company. 
 
 i; The real rehearsal was now to begin. I found her 
 very nervous and very anxious as to how she could 
 get through the great scene. I attempted to encourage 
 her in every way. I told her the horse was trained to 
 the business ; that she had only to follow my instruc- 
 tions and all would be well : it could not be otherwise. 
 rail of trepidation, she dressed, or rather undressed, 
 for the scene. The horse, : Belle Beauty, 7 was a 
 thoroughbred, which had been used by Miles in this 
 same act, and which, not long before, at his benefit, he 
 had publicly ; presented to me as a token of his esteem/ 
 We were to adopt Miles's business, and his ways in 
 every particular. He rode the act with but a single 
 strap, and Menken was to do the same. A band was 
 first fastened securely around the body of the horse. 
 To this was sewed a loop, and through this loop passed 
 a bandage, which, going through a ring, was passed 
 around the body of the rider, and held by him or her, 
 in such a manner, that the closer he drew the ends 
 together, the closer he was held to the horse, but by 
 letting go he was freed at once. In later days, the 
 rider has been strapped helplessly to the animal, and 
 willy-willy, goes to the top of the theatre, if the horse 
 goes there. The very straps, by the way, w^hich Miss 
 Menken used on this occasion, are on exhibition to-day 
 in a saloon on Chicag;o street, in Buffalo. 
 
316 PLAYERS OF A CENTURY. 
 
 u r 
 
 'Now/ said I, 'Miss Menken, I will show you 
 how it is done,' and I being lifted into place on the 
 horse's back, l Belle Beauty ' sprang forward from 
 the foot-lights, as she had been trained to, up an 
 eighteen-inch run, the narrowest ever used, and made 
 the landings and ascent successfully. 
 
 " 'I'd give every dollar I'm worth if I were sure I 
 could do that,' said she. I assured her there was no 
 danger ; that she had only to hold on like death, and 
 the mare would do the rest. At length, trembling 
 with apprehension, she was placed on the animal's 
 back, but begged, that instead of starting from the 
 footlights, the horse be led up to the run. I humored 
 her in this, and there 's where I made a mistake. The 
 horse, thrown out of her usual routine, only went part 
 way up and then, with a terrific crash, plunged off the 
 planking down into the 'wreck,' as we call it, upon 
 the staging and timbers. My heart was in my mouth, 
 for not only was there the danger that the woman was 
 killed, but that my $200 mare — excuse me, my 
 present, 'Belle Beauty' — was ruined forever. Thirst, ol 
 course, w T e lifted out the Menken, pale as a ghost, 
 almost lifeless, and the blood streaming from a wound 
 in her beautiful shoulder. Then with the tackling we 
 had about the theatre, we raised up Belle Beauty, and 
 I began picking the slivers out of her. It was a bad 
 business. Miss Menken was found to be not seriously 
 injured, but the doctor said she could not appear on 
 Monday evening. 'All the same, the play will be 
 done,' said I. 'Every dollar I have in the world, and 
 all I can borrow, is in it.' Menken roused at this. ' I 
 must go on with the rehearsal,' said she. This startled 
 me. That she should have the grit to repeat the act, 
 after such an accident, was astounding. I told her, 
 no, she had better go to the hotel, rest over Sunday, 
 as she must be extremely tired, and come down to the 
 theatre Monday morning. By that time Belle Beauty 
 would also have recovered her equanimity, and there 
 would be less danger. ' If I clo the act at all, it will 
 be to-day, and now,' was her reply. Finding all dis- 
 
PLAYERS OF A CENTURY. 317 
 
 suasions in vain, Beauty was brought to the foot-lights, 
 and Menken, pale as death, again drew the straps 
 around her. The mare this time, true to her training, 
 bounded up the runs, reached the second, third and 
 fourth landings in safety, and so to the top. She is 
 alive now, that mare, and draws an old gentleman to 
 the post-office in Poughkeepsie and back to his home, 
 four miles away, without ever letting on, in her old 
 age, that in her time she has borne the loveliest burden 
 ever laid on hprse-flesh. 
 
 " Monday night, June 7th, 1861, Menken made her 
 first public appearance in the character, to a house 
 crowded from pit to dome. The tournament scene 
 was a great success. The combat scene was even 
 greater. By a clever substitution of myself for the 
 actor who was doing the part, I told her what to do 
 and helped her through. The papers said, next day, 
 that so wildly excited was the Menken, that, with 
 strength almost superhuman, she broke two swords 
 before the fight fairly began. So she did, and they were 
 real swords, too ; not for stage use, but out of one of the 
 armories here. Perhaps they would not have broken 
 so easily, if I had not had them filed a little, but the 
 public didn't know that, nor she, either, for that 
 matter. The riding act she did successfully, and after 
 six weeks' fine business here — pretty good for 
 Albany — she played the part in Pittsburgh, Cincin- 
 nati, St. Louis and then in New York, and then, as 
 you know, in London and Paris, where, as I have been 
 told, she dazzled some of the brightest men in Europe. 
 She wrote to me repeatedly, and offered me half of 
 every dollar she made, if I would go over on the other 
 side with her, but I didn't care to leave home, and 
 perhaps it is just as well." 
 
 Celia Logan has the following reminiscence of this 
 remarkable woman : ''Our family was intimate with 
 theirs, and one evening Olive and I were at a little 
 child's party, at which, of course, there were many 
 elderly people, and on this occasion I first saw Isaac 
 Menken and his wife. There had been trouble about 
 
318 PLAYERS OF A CENTURY. 
 
 his marrying Adah, the reason of which I was too 
 young to understand, but the old folks had concluded 
 to make the best of it, and this was the proud young 
 husband's presentation of his bride to his family. 
 Never shall I forget the hush which fell even upon the 
 children, as the pair paused a moment at the door, as 
 if to ask permission to enter. Adah Menken must at 
 that time have been one of the most peerless beauties 
 that ever dazzled human eyes, while Isaac himself was 
 a remarkably handsome man, with a countenance as 
 intelligent as the expression was noble. How little any 
 of these happy people present that night foresaw the 
 gloomy fate that awaited that strange and gifted girl ! 
 In after years, whoever threw a stone at Adah, it was 
 never Isaac Menken, and, no matter what other ties she 
 contracted, she always retained his name, only adding 
 a final 's' to the Isaac, so much of the glamour of the 
 first love hung over them both to the bitter end. 
 Their happiness must soon have flitted, for before I 
 reached womanhood myself, they had separated, and, 
 to support herself, Mrs. Menken was editing a small 
 newspaper in Cincinnati, for the first time giving evi- 
 dence of that fine intellect and especially poetic talent, 
 which helped afterward to make her distinguished 
 mark, but not to keep her from self-ruin. Nature was 
 lavish in her gifts to Adah. Every charm of mind, 
 face and form was hers by birthright. What led to her 
 incomprehensible recklessness, is a mystery which she 
 kept to herself — even at the last she told no pathetic 
 story of early wrong at the hands of man. ' Only 
 inscribe,' she said, 'on my tombstone, Thou knowest." 
 Another less appreciative writer says : "It was Men- 
 ken's boast, when on the continent, a favorite with such 
 men as Charles Dickens, Alexander Dumas, Theophile 
 Grautier, and Charles Swinburne, 'that she began with 
 a prize-fighter, but would end with a prince,' and she 
 came within an inch of roping in one of the noble blood 
 of the crown of France, but for parental interference. 
 The Adah Isaacs Menken, who, all but entirely naked, 
 rode strapped to the horse in Mazeppa, and the bril- 
 
PLAYERS OF A CENTURY. 319 
 
 liant,beautiful conversationalist,for whose book Dickens 
 wrote the preface, and to whom the brain and pride of 
 Europe paid court, were very much alike — both very 
 fast and faithless. She found her destroyer in herself, 
 and died from too much of herself. She said that 'her 
 soul would go to heaven through the gates of Paris,' 
 but as her soul would never have left its gay salon if 
 she could prevent it, it is doubtful if her prophecy is 
 fulfilled. The monument over her grave was put up, 
 as George Butler once told us, by a set of half -famished 
 Parisian Bohemians, and is probably unpaid for to this 
 day. The vast meaning of its epitaph, ' Thou know est ! ' 
 probablv is best understood bv the stone-cutter/' 
 
 On the 29th of September, "i860, " The Last Days of 
 Pompeii " was brought out. The idea of such a 
 spectacle on the little 7x9 stage of the Gayety, seemed 
 almost absurd, but it was gotten up in excellent style, 
 and had a good run, during which, by the way, a very 
 amusing episode occurred : It was in the amphitheatre 
 scene in the third act, where a grand gladiatorial com- 
 bat had been fought before the emperor with really fine 
 effect. Lydon, who was personated by Albaugh, had 
 already slain one or two competitors, and their bodies, 
 by command of the emperor, had been carried from 
 the stage. Enter Niger, the last and most formidable 
 contestant. He was personated by C. B. Bishop (after 
 with the Chapman sisters), a man who weighed at least 
 240 pounds. He was an adept at fencing, and the 
 cutting and slashing were terrific, till at last, according 
 to the business of the play, Lydon, himself mortally 
 wounded, dispatches Niger, who falls heavily to the 
 stage. The emperor cries out to the guards : 
 
 11 Bear hence the body!" 
 
 The guards, four light-waisted "supes," awkward in 
 manner and slim in the legs, advance to the big, pros- 
 trate form of Niger, and attempt to execute the man- 
 date of their mighty monarch. They tug away, but 
 cannot budge him an inch. After repeated efforts 
 they call, aside, for assistance, while the fat sides of 
 
320 PLAYERS OF A CENTURY, 
 
 the unwieldy Bishop shake with inward emotion. It 
 so happened that nearly the whole force of the estab- 
 lishment was so disposed, that no one, save the call 
 boy or the man at the curtain, was left to respond. 
 Mr. Albaugh (the wounded Lydori), being the stage 
 manager, was for a moment undetermined whether to 
 send for assistance, or order down the curtain, or go on 
 with his death scene as he ought to. The audience 
 began to see the situation and burst into a roar, in 
 which the actors joined most heartily. But the fun 
 reached its climax, when the over-fat gladiator, dead 
 as he was, got tired of waiting for a rapid transit, and 
 compromised the matter by raising himself up and 
 creeping off behind the scenes on all fours. Talk about 
 a screaming farce ! You might have heard that 
 audience as far as Schoharie court house. 
 
 During the state fair, the stock company played. 
 October 8th, C. T. Smith, manager of the Green street 
 theatre, left that establishment, to plaj^ at the Gayety. 
 Mad. Michel, a tragic actress, played two weeks. Dora 
 Shaw and Dan Harkins followed, and then Ada and 
 Emma Webb. 
 
 On the 14th of November, there was no less an 
 attraction than English opera, by the Escott and 
 Miranda troupe, which included Anna Kemp and Mrs. 
 Lucy Escott. "The Bohemian Girl." "Trovatore," 
 "Maritana," and other favorite operas were produced. 
 Miss Kemp married Brookhouse Bowler, and was the 
 original Stalacta, in u The Black Crook." 
 
 After the Menken had been here again, a play 
 entitled " Ossawatomie Brown." founded on recent 
 events, and written expressly for this theatre, was 
 brought out December 12th, and had quite a run. 
 
 The Webb sisters eame again and were followed by 
 a week without a star, and then Miss Kimberly, in 
 "The Octoroon." This was one of Boucicault's most 
 successful plays, and was sure of a long run, wherever 
 produced. 
 
 In January, 1860, Yankee Locke and the stock com- 
 pany occupied most of the time, Frank J. Lawlor 
 
PLAYERS OF A CENTURY. 321 
 
 appearing as Hamlet on the 28th, for the benefit of J. 
 T. Whalen. Frank is another good actor, who claims 
 Albany as his birth place, being born here in 1835. 
 He made his debut however, at the Troy museum, in 
 1853, under the assumed name of Horton. He has, 
 since then, passed considerable time in California, one 
 year keeping hotel. Returning east, he drifted upon 
 the stage, and went starring with Emily Jordan. 
 September 1st. 1864, he married Helen Josephine 
 Mansfield, of San Francisco, the afterward notorious 
 Josie Mansfield, whose associations with Jim Fisk 
 were a world-wide scandal, and from whom Lawlor 
 was divorced in 1867. In 1868. he went to England, 
 and appeared with success at the Lyceum theatre. In 
 1869, he opened the Division street theatre, Albany, 
 and managed it with success, making considerable 
 money. He then went to Chicago, where he was a 
 sufferer by the great fire. He is still in active theatri- 
 cal life. 
 
 In February " Our American Cousin" was produced, 
 Chanfrau, the star, as Asa Trenchant the Yankee. 
 which, as the title of the play indicates, was really the 
 star part, Mr. Albaugh played the then inferior role 
 of Dundreary. " The Hidden Hand " and " Linda, the 
 Cigar Girl," were also produced. On the 14th, Edward 
 Eddy came and played to splendid business for two 
 weeks. February 26th. "Faustus," gotten up in great 
 splendor, was produced and ran for about two weeks. 
 The Western sisters, with "The Three Fast Men' 7 put 
 in two weeks, and were followed by the Cooper opera 
 company. This was considered doing pretty well for 
 a small theatre — two opera companies in a single sea- 
 son. The Gravely paid in these days. Miss Walters 
 appeared in April (in comedy), as did Neafie and 
 Eddy, the Howards, Miss Kimberh' and others, the 
 season closing May 19th. 
 
 About the 4th of July, Mr. Albaugh opened the 
 place for a week, playing among other things, Eustache 
 Bandin, a part in which he afterwards starred success- 
 fully. 
 
322 PLAYERS OF A CENTURY. 
 
 The next season, which opened September 15th, 
 Mr. Albaugh had retired from the company and J. B. 
 Spackman was manager. Annie Waite was leading 
 lady and J. A. Leonard, T. H. Knight and Mrs. Mar- 
 low were in the company. On the 1 7th, the Nelson 
 sisters, Carry and Sarah, appeared as stars; the How- 
 ards followed in " Uncle Tom " of course, and also in 
 " Oliver Twist, 77 "Ten Nights in a Bar room," etc. 
 Then came Charles Bass in Falstaff, and October 15th 
 Sothern as Dundreary in "Our American Cousin," 
 the first appear nee of this favorite comedian on the 
 Albany stage. He also played The Kinchen in 
 "Flowers of the Forest." 
 
 Edward Askew Sothern, the famous Lord Dundreary 
 and practical joker, was born in Liverpool, April 1st, 
 1830. Perhaps the date accounts for his innate pro- 
 pensity for fun, and it is a coincidence that his first 
 remembered appearance in New York was in a farce 
 entitled " First of April," pla}^ed at Barnum's museum 
 in the spring of 1853. He was then known as Doug- 
 lass Stewart, under w r hich cognomen he made his 
 American debut in Boston, some time in September, 
 the year previous, as Dr. Pangloss. He had plaj^ed as 
 an amateur in England, and was stage manager at 
 Weymouth, from whence he came to this country. 
 He has said himself that the early part of his dra- 
 matic life " was chiefly occupied in getting dismissed 
 for incapacity." In 1857 he was the Armand- to 
 Matilda Heron's Camille, as plaj^ed by her at Wallack's 
 for some forty times. In 1858 he secured an engage- 
 ment in the stock company at Laura Keene's theatre, 
 where October 15th of that year, Tom Taylor's comedy 
 of " Our American Cousin " was produced for the first 
 time on any stage. It was cast in part as follows: 
 Asa Trenchard, Joseph Jefferson ; Lord Dundreary, 
 E. A. Sothern ; Sir Edward Trenchard, E. Varrey ; 
 Lieut. Vernon, Miles Levick ; Oapt. De Boots, M. Clin- 
 ton ; Coyle, J. Gr. Burnett ; Abel Marcott, C. W. Coul- 
 dock ; Benney, Mr. Peters ; Florence Trenchard, Laura 
 Keene ; Mrs. Montchessington, Mary Wells : Augusta, 
 
PLAYERS OF A CENTURY. 323 
 
 Effie Germon ; Georgiaaa, Mrs. Sothern ; Mary Mere- 
 dith, Sara Stephens. 
 
 Mr. Fred A. DuBois, treasurer of the Leland opera 
 house, was stage manager for Miss Keene, and cast the 
 play as above stated. Mr. Sothern received his part, 
 which was originally by no means prominent, and after 
 glancing it over declined to play it, saying he would 
 not caricature his countrymen. The matter was referred 
 to Miss Keene, who insisted that he must accept it, as 
 he was engaged to play that line of characters, and 
 told him plainly that a further refusa-'to play it would 
 be ground for breaking; his contract and his immediate 
 discharge from the company. Knowing very well 
 that it would be difficult at that season of the year to 
 secure another engagement, he finally, with much 
 reluctance, consented, vowing, however, that he would 
 burlesque the part and kill it if possible. He did bur- 
 lesque the part and made the hit of his life. From a 
 few lines it grew into the leading personation, and from 
 a good play " Our American Cousin " has been changed 
 into simply a framework around the eccentricities of 
 Dundreary. 
 
 Sothern played a second engagement here this season, 
 appearing as Barqbas in "The Sea of Ice." People 
 have almost forgotten that he ever played such parts, 
 but his Kinchen is said to have been a notable perform- 
 ance. There is occasionally talk of his reviving it 
 even now. 
 
 October 29th, Charlotte Thompson, daughter of 
 Lysander, made her first appearance as Camille, following 
 with Rose Fielding, the Little Treasure, Parthenia, etc. 
 Miss Thompson was born in Yorkshire, England, June 
 7th. 1843, and made her first appearance on any stage 
 at Wallaclrs theatre, in 1857, in child characters. She 
 is now reported wealthy, owning an extensive planta- 
 tion in Alabama and a country seat in Rockland county, 
 New York. Of late she has made a specialty of Jane 
 Eyre, and is unquestionably a fine actress. 
 
 In November, George Holland, Edward Eddy, Miss 
 Kimberly, Kate Denin and her husband (Sam Ryan), 
 
324 PLAYEES OF A CENTURY. 
 
 were the attractions, and a little later Eddy appeared 
 in a drama entitled " Miantinimo/' written by himself. 
 
 December 17th, Fanny Herring began an engage- 
 ment and also appeared in March following. She was 
 long an Old Bowery favorite. 
 
 January 21st, 1861, Isabella Freeman and lone 
 Burke appeared. Belle was a Boston girl ; Miss Burke 
 was a leading favorite at Wallack's, and finally mar- 
 ried an ex-officer of the British army. 
 
 During Miss Kimberly's next engagement, which 
 began January 28th, she appeared in "Bily O'Ccmor," 
 which was really "The Colleen Bawn." 
 
 On the 18th of February, amid the roar of artil- 
 lery from Observatory hill, President-elect Lincoln 
 arrived in Albany from the west, via the Central rail- 
 road, en route for his inauguration at Washington. On 
 reaching the Broadway crossing, the train was stopped 
 and the President was received by the common council 
 headed by Mayor Thacher. The Twenty-fifth regi- 
 ment was under arms, and crowds of citizens thronged 
 the streets. The presence of the chief magistrate of 
 the nation in Albany, is always an event worthy of 
 note, but at this time, just on the brink of the civil 
 war into which the country was to |?e plunged ; when 
 the blood was at fever heat, and faces were pale with 
 anticipation of what was about to come ; when all eyes 
 were directed towards the tall, gaunt figure, who was 
 to stand at the helm of the ship of state, in this her 
 hour of deadly peril, the arrival of Mr. Lincoln cre- 
 ated the utmost excitement. He was welcomed to the 
 city by the mayor, in a formal address, which was 
 responded to by the president. He visited the legisla- 
 ture and was the guest of Governor Morgan. In the 
 evening Mr. and Mrs. Lincoln received the citizens at 
 the Delavan. It was the first time that thousands in 
 this vicinity ever saw the countenance wdiich has since 
 become so familiar. That very night, the first and 
 perhaps the only night ever passed by Abraham 
 Lincoln in the city of Albany, an actor, almost 
 unknown, except by name, was playing his first 
 
PLAYERS OF A CENTURY. 325 
 
 engagement at the little Grayety theatre, in Green 
 street. 
 
 Four years later, and the face of Lincoln was once 
 more seen in Albany, but now cold and pale in death. 
 At 6 A. M., April 26th, 1865, the remains of the mar- 
 tyred president lay in state at the capitol, and were 
 gazed upon by a constantly moving procession, till 
 1:80 p. 31., when the coffin was closed, leaving thou- 
 sands who had come many miles for the purpose, 
 without a sight. That very night, the actor of four 
 years previous, now the hunted assassin of the president, 
 was shot like a dog, by the light of a burning barn, 
 in which he had taken refuge, near Bowling Green, 
 Virginia. How strange the fate that thus threw these 
 two men so near together in Albany, in 1861. How 
 little did either then dream of the tragedy that was to 
 link their names together in all coming time. 
 
 Booth, at this time (1861), was only twenty* three 
 years old, and as handsome a man as ever graced the 
 stage. His first appearance in Albany (February 11th) 
 was as Romeo, to Annie Waite's Juliet, and for this 
 romantic role, he seemed perfectly fitted. The fame 
 of his dead father, prepared the way for his reception, 
 and the good reports of his brother Edwin, raised 
 anticipation in relation to this younger aspirant, who 
 was said to be equally, if not still more highly gifted. 
 His success was immediate. On the second night, he 
 appeared as Pescara, in "The Apostate/' its first repre- 
 sentation here since his father played it. In this role 
 he so much resembled the elder Booth, whom he 
 never saw play, that certain spiritualists in ' Albany 
 could only account for the similarity by the theory 
 that the spirit of his father must have been hovering 
 around to inspire him with his energy, conception and 
 soul. While playing the last act, in falling, the actor's 
 dagger fell first and he struck upon it, the point enter- 
 ing the right arm-pit, inflicting a muscular wound, 
 one or two inches in depth, from which the blood 
 flowed freely. Had it gone a little deeper, how the 
 whole course of future political events in. this country 
 28 
 
326 PLAYEKS OF A CENTURY. 
 
 might have been changed. As it was, Booth was laid 
 up for a night or two only, and reappeared in the same 
 role Monday, February 18th (the night of the presiden- 
 tial visit), with his right arm tied to his side, but 
 fencing with his left, like a demon. Tuesday he played 
 Julian St. Pierre; Wednesday, Othello ; Thursday, The 
 Stranger ; Friday, for his benefit, Richard III, and 
 Saturday, Charles de Moor. At a subsequent engage- 
 ment beginning March 4th (the day of the inauguration), 
 he played, beside a repetition of several of his former 
 roles, Hamlet, Claude Melnotte, Macbeth, Shylock, Raphael, 
 in u The Marble Heart," and the dual role in "The 
 Corsican Brothers." 
 
 Booth, from the first, was a violent secessionist. 
 On the morning of his first arrival he expressed his 
 sentiments in public at Stanwix Hall, with the greatest 
 freedom ; so much so, that word was sent to the 
 management of the theatre that the new star had better 
 receive a word of caution. Treasurer Guyler, accord- 
 ingly called around to see him, and found him at 
 breakfast. After an introduction, Mr. Cuyler explained 
 his errand and suggested that if Mr. Booth persisted in 
 expressing his sentiments in public, not only would he 
 kill his engagement, but endanger his person. u Is not 
 this a democratic city ? " exclaimed the actor. u Demo- 
 cratic? yes ; but disunion, no ! " was the reply. Booth 
 accepted the situation, and thereafter kept quiet ; but 
 his sentiments only grew stronger for repression. Each 
 time he came here it was noticed that he grew more 
 morose and sullen, and from a genial gentleman he 
 changed into a soured cynic. The last time Mr. 
 Cuyler saw him in Washington, the actor would 
 scarcely recognize him, although in Albany they had 
 been pleasantly, and even intimately, associated. 
 
 April 22d, Booth began another and his last engage- 
 ment here ; one which came to an abrupt and almost a 
 tragic end. Indeed, Albany seemed fraught with 
 danger for the young and gifted actor. He was at this 
 time supported by Henrietta Irving, who had played 
 with him three nights. She made her first appearance 
 
PLAYERS OF A CENTUKY. 327 
 
 here March 18th, in a play entitled " San Mars, or the 
 Warrior's Bride," written by a young lady of Albany. 
 Miss Irving also played Gamille, Medea, etc., and then 
 joined the stock company. On the fourth day of the 
 Booth engagement she rushed into his room at Stanwix 
 Hall, armed with a dirk-knife, and inflicted a severe 
 wound upon his face. She then retired to her own 
 room and stabbed herself, but not seriously. Miss 
 Irving was subsequently leading lady at the Trimble 
 opera house, during its first season. She afterward 
 became the wife of Edward Eddy, and was with him 
 when he died in the West Indies. She is still upon 
 the stage. 
 
 In 1863, Booth retired and speculated in oil. Novem- 
 ber 23d, 1864, he, with his brothers, Edwin and Junius 
 Brutus, played " Julius Caesar," at the Winter Garden, 
 for the benefit of the Shakspeare monument fund. 
 His last appearance as an actor on the mimic.stage was 
 at "Ford's theatre in Washington, where he played 
 Pexcara for John McCullough's benefit. April 14th, 
 1865, in the same theatre, while the third act of "Our 
 American Cousin'' was being performed, he shot 
 Abraham Lincoln, president of the United States, 
 through the head, inflicting a fatal wound. The 
 assassin jumped from the private box in which the 
 presidential party was seated, to the stage, brandishing 
 a dagger and shouting " Sic Semper Tyrannis^ fled to 
 the door, mounted a horse and rode away. On the 26th 
 he was discovered, armed to the teeth, in a barn, near 
 Bowling Green, and bidding the world defiance. He 
 was shot and killed by Boston Oorbett. He was at 
 first secretly buried at midnight, under the flagstones 
 of the arsenal warehouse in Washington ; but in 
 February, 1869, by permission of the government, the 
 remains were disinterred by the relatives, and now rest 
 near those of his father, in the cemetery at Baltimore. 
 This terrible deed is the more remarkable from the 
 rarity of criminals among the dramatic profession. 
 
 A summer season opened at the Grayety in which 
 Charley Kane was the principal attraction. Union 
 
328 PLAYERS OF A CENTURY. 
 
 dramas and other military pieces were all that the 
 public at this time could be induced to patronize. In 
 September, J. H. Leonard and John T. Kaymond 
 endeavored to manage the place, and Edd}^, Charles 
 Bass, Mary Shaw, Helen Western and S. W. Glenn 
 appeared, the season closing October 20th. In March, 
 1862, the building was opened as a music hall, and 
 with the exception of a little time in May, when, with 
 H. A. Hotto as stage manager, there was an attempt to 
 revive the legitimate, it was thereafter beneath notice 
 in a history of the stage. Even this transient return 
 to respectability was the result of prohibitive legislation 
 in relation to waiter-girls, who were an important 
 feature of the business as then conducted. 
 
329 
 
 CHAPTER XXIV. 
 
 1863-1867. 
 
 The Academy of Music under John M. Trimble. 
 
 IN 1863 Albany was again without a respectable 
 theatre. The old Museum was used for commercial 
 and business purposes, as it is yet. The old Green 
 street theatre and the little Gayety had both degenerated 
 into concert halls, and the drama was without shelter. It 
 was at this time suggested to Mr. John M. Trimble, of 
 New York, who was sojourning for a time at Midclle- 
 burgh, Schoharie county, that being out of business 
 on account of blindness, but having some money, he 
 come to Albany and change the old Pearl street theatre, 
 then used as a church, back again into what it was 
 originally designed for. The people were represented 
 as hungering and thirsting for the legitimate drama ; it 
 was in war times, money was plenty and the project 
 seemed feasible and proved so. 
 
 Mr. Trimble's career as a builder has been already 
 alluded to in connection with his enlargement of the 
 Museum in 1848. The last work he sketched was for 
 the interior of Wallack's theatre, as it is at present. 
 The design was carried out by Mr. Thomas R Jack- 
 son, of New York, a student of Mr. Trimble's, and who 
 now came on and drew the plans for the new theatre. 
 The property had been bought at auction for $14,000 
 a year or two previous, by Mr. Hugh J. Hastings, now 
 of the New York Commercial Advertiser, and then of 
 the Albany Knickerbocker. Of him it was bought by 
 Mr. Trimble, who paid some $5,000 in cash, and gave 
 a $10,000 mortgage for the remainder, which was paid 
 
330 PLAYEES OF A CENTURY. 
 
 off, by the way, only about thirty days before the 
 building was destroyed in 1868. 
 
 The work of changing the church into a theatre was 
 carried forward rapidly, and cost about $26,000. The 
 arrangement of the interior was similar to that of the 
 Leland opera house at the present time, although the 
 decorations were not nearly so elaborate. The dress- 
 ing rooms were in the building adjoining on the south, 
 instead of on the opposite side, as at present. The 
 drop curtain, of which a. very long-limbed female was 
 the central feature, was painted by Arizoni. There 
 was no bar-room attached to the theatre, and every 
 thing about the place indicated a high-toned establish- 
 ment, such as Albany had not had for dramatic pur- 
 poses, in many a day. 
 
 The manager, in his announcement, stated that he 
 had concluded to abolish, so far as he was concerned, 
 the ruinous "starring" system, and depend entirely on 
 his stock company, which included the following: 
 Annie Waite, from the Washington theatres : Kitty 
 Fvffe, from St, Louis; Mrs. A. W^ Ayling, the Albany 
 favorite; Miss H. Hampton, from Cincinnati; Mrs. E. 
 J. Le Brum, from New York ; Saidee Cole, from New 
 York: Mrs. M. Smith, from Buffalo; Mrs. S. W. 
 Ashley, from Chicago ; Celia Williams, Kate Glenn, 
 Lizzie Simpson, Nellie Wilkins: Mr. E. T. Stetson, 
 and S. W. Ashley, from Buffalo; Geo. Ryer, from 
 California; F. Page and E. J. Evans, from Niblo's; 
 F. T. Murdoch, from Philadelphia; J. Delmon Grace, 
 from the Haymarket, London; E. F. Swain, John 
 Thomas, C. Ferris, W. E. Davis and Sidney Smith. 
 
 The Academy of Music, as it was called, was 
 opened Tuesday evening, December 22d, 1863, under 
 the nominal management of J. M. Trimble, Jr.: stage 
 manager, Sidney Smith ; treasurer, C. S. Hoffman : 
 counsellor, J. C/Cook: scenic artist, John R, Wilkins: 
 leader of orchestra, Prof. War wood. Admission, 75, 
 50 and 25 cents. 
 
 Young Trimble was then only eighteen years old, 
 and hardly fitted for the responsible position in which 
 
PLAYEES OF A CENTURY. 331 
 
 he found himself placed by the infirmity of his father, 
 and was continued there only one season. He subse- 
 quently married Miss Morey, of Pittsfield, and went 
 into business in New York, where he died in March, 
 1878. 
 
 The opening entertainment began with the singing, 
 by the company, of the National Anthem — whatever 
 that may be — and the recitation by Annie Waite, of 
 the following opening address, written by James D. 
 Pinckney, of Albany : 
 
 ADDKESS. 
 
 As breaks the brilliant scene upon the sight, 
 This throng of manhood brave, and beauty bright, 
 As sweeps the eye this vast assemblage o'er, 
 Impulsive memory turns to days of yore. 
 And through the past will retrospective flow, 
 Back to the by-gone hours of k ' long ago." 
 Those ''good old days " ere discord came to mar 
 Fraternal love, and forge the bolts of war ; 
 Ere wild fanatic zeal and Southern pride 
 Our fertile fields with brothers' blood had dyed ; 
 Ere Treason dared its felon blade to draw, 
 And* strike at Union, Liberty and Law — 
 Those days when our own Clinton, good and great, 
 Held with impartial hand the reins of State ; 
 When came the Nation's guest from Gallia's shore 
 To visit his adopted home once more ; 
 And braved the perils of the stormy sea 
 To greet a people he had fought to free ; 
 When Erie's flood first mingled with the main, 
 And Plenty crowned each smiling hill and plain, 
 When Love did much abound, and joys increase, 
 And all our paths were Pleasantness and Peace ; 
 Then rose this fane — then sprang this lofty dome, 
 The haunts of Genius, and the Drama's home ; 
 And then Albania's youth and beauty here 
 Dispensed their smiles, the actors' hearts to cheer, 
 While manhood's prime and hoary-headed age, 
 Combined to foster and maintain the stage. 
 Here Gilfert catered to the public taste 
 With choice selections, un defiled and chaste. 
 Here, Edwin Forrest winged his youthful flight 
 Towards the goal he reached on Glory's height ; 
 Here, Charlotte Cushman bound the buskin on, 
 To tread the path where fadeless fame was won. 
 Here Booth, the elder, and the peerless Kean, 
 Reigned matchless monarch s of the tragic scene ; 
 Cooper and Conway have entranced the heart, 
 
332 PLAYEES OF A CENTUKY. 
 
 And lesser lights, a galaxy of Art 
 
 (Each Star revolving in its proper sphere), 
 
 Shed the effulgent light of Genius here. 
 
 But Life's experience proves the adage true, 
 That " tempora mutantur — nos mutamur" too ; 
 Times change — we change — and every germ of joy 
 Contains the seeds which poison and destroy. 
 A few short years — our ancient city's pride, 
 The Drama lived — then languished, drooped and died. 
 Then fled Melpomene, oppressed with grief, 
 And mourned to find her bright career so brief ; 
 Thalia lingered with a tear-dimmed eye, 
 And even merry Momus breathed a sigh ; 
 Euterpe vanished with her weeping train, 
 And Tacita held undisputed reign. 
 
 For years the drama slept — but not for aye ; 
 And now the dawning of a brighter day, 
 Flashes the glad assurance on the heart, 
 That love still lingers for the Scenic Art ; 
 And thus assured, discarding doubt and fear, 
 We now, in Faith and Hope, this temple rear ; 
 Spread on its boards an intellectual feast, 
 And bid our friends the mental banquet taste. 
 This house and its appointments, fair to view, 
 To-night, dear friends, we dedicate to you ; 
 While we, to please, exsrt our humble powers* 
 The Stage, with all its hopes, is yours, not ours ; 
 Yours to sustain, to cherish and defend — 
 On you its future weal and woe depend ; 
 Your will our rule — and your desires our laws, 
 We claim no guerdon save your kind applause. 
 
 Then welcome all, this night, together met, 
 Each rank, each sex, from gallery to parquette ; 
 We give you welcome, and it gives us joy 
 Our humble gifts and talents to employ, 
 To have you here, while we, each passing night, 
 Still strive to minister to your delight ; 
 To chase the shadows from the brow of care, 
 And set the seal of full enjoyment there. 
 
 And when the Play of Life shall close at last, 
 Time's brief act o'er, its fleeting pageant past ; 
 " When Ave are called to* make our exit here," 
 May each, translated to a brightest sphere, 
 In higher, holier, happier scenes than this, 
 Enjoy an endless afterpiece of bliss. 
 
 "The Lacly of Lyons" was then played, cast as 
 follows : 
 
 Claude Melnotte E. T. Stetson 
 
PLAYERS OF A CENTURY. 333 
 
 Beauseant F. Page 
 
 Glavis S. W. Ashley 
 
 Col. Damas Geo. Ryer 
 
 Mods. Deschappelles Sid. Smith 
 
 Landlord .C. W. Ferris 
 
 Gaspar Frank Murdoch 
 
 Pauline Annie Waite 
 
 Mad. Deschappelles Mrs. Le Brim 
 
 Widow Melnotte Miss H. Hampton 
 
 Marian Mrs. S. W. Ashley 
 
 E. T. Stetson, according to Brown's History of the 
 Stage, was born in Mamaronack, in this state, October 
 8th, 1836, and has been on the stage since 1855. In 
 his position as leading man, he became a great favorite 
 here. He has since been starring in such sensational 
 dramas as "Neck and Neck.'' Annie Waite, the lead- 
 ing lady, has never been surpassed in Albany as a 
 favorite. Her benefits were always large, and her 
 acting was much admired. She was born in Portland, 
 Maine, in 1843, was a pupil of Wiseman Marshall, and 
 made* her debut at the National in Boston, December 
 27th, 1858, as Parthenia. She had played at the little 
 Gayety, supporting Wilkes Booth and others, and had 
 already won a warm place for herself in the affections 
 of Albany theatre-goers. She afterwards became lead- 
 ing lady at the Boston museum, one of the most 
 arduous and honorable positions the profession affords. 
 She is the wife of William H. Leake, who succeeded 
 Stetson as leading man at the Academy.- George Ever, 
 for a long time stage manager, was deservedly a favor- 
 ite. A New Yorker by birth, he began acting in 
 Chicago in 1847, as Hamlet, but excelled in " old men,'' 
 of which he was a most excellent representative. His 
 home is at Eed Bank, New Jersey. Stephen W. Ash- 
 ley, the comedian, was another favorite, making a 
 greater hit in Albany than any where else. Indeed, it 
 is said that the flattery he met with here killed him; 
 that, intoxicated with success, he became frequently 
 intoxicated with something else, and so went to ruin 
 and a drunkard's grave. Another member of the 
 
334 PLAYERS OF A CENTURY. 
 
 company, J. Delmon Grace, trod the same path. He 
 was a native of Louisville, born in 1827 ; had travelled 
 with Sol. Smith, and also played in the stock at Cin- 
 cinnati, at Burton's, and at Barnum's museum in New 
 York, and at the Haymarket in London. He was a 
 capital actor of eccentric characters. He died in 
 Providence a few years ago, after becoming paralyzed, 
 and living for some time on the charity of the profes- 
 sion. Mrs. Le Brun was, and is yet, a good "old 
 woman." Little Marie, who played child's parts, has 
 retired from the stage, and is advantageously married 
 in New York. 
 
 Frank Murdoch (his real name was Hitchcock,) was 
 a nephew of James E. Murdoch, and had been upon 
 the stage onl}^ about three years. We do not know 
 that as an actor he ever ranked very high, but as the 
 author of u Davy Crockett," and the victim of what 
 proved to be fatal criticism, he is deserving more than 
 passing notice. 
 
 In 1862, Mr. Frank Mayo, whose identity with the 
 role of Crockett is forever established, was manager of 
 the Bochester theatre, and Mr. Murdoch, having sent 
 him the manuscript of the play, it was accepted, terms 
 were made, and on the sixth week of the season it was 
 produced at Rochester. The following facts in relation 
 to the drama and its author are kindly contributed to 
 this work by Mr. Mayo himself: 
 
 It is difficult to tell just what the reception was ; it was 
 so good and so bad — good with the " gods " and accept- 
 able to the parquette and circle — but for the critics! 
 Well, perhaps you may form an idea of the way in 
 which it was dealt with by them, when I tell you almost 
 the first review of it that I read ended with the words : 
 " Of the play, little can be said ; the chances are, Mr. 
 Mayo will never play it again." Others let it down 
 easily. My personal friends were inclined to smile at it, 
 but I saw dimly then what it is now, and I have no 
 reason to regret what was called obstinacy. For a 
 year and a half the play received no encouragement 
 beyond the good-natured comment that is bestowed 
 
PLAYERS OF A CENTURY. 335 
 
 indiscriminately by some of the kind-hearted critics. 
 It was not until the third year that it began to be 
 regarded with high favor, and since that time it has been 
 dubbed an "idyl," a " pastoral," an " epic in five parts,'* 
 etc., etc. 
 
 While I was acting Davy in Rochester for the first 
 time, my friend, the author, was a member of Mrs. Drew's 
 company, in Philadelphia, and another play by him, enti- 
 tled " Bohemia," was acted at her theatre. I am not sure 
 that many of the characters were not " made up" 
 (unwisely, I think,) to represent some of the local critics ; 
 but be this as it may, the press treated the play most 
 unmercifully. I had written Murdoch in reference to 
 the production of " Davy Crockett," and had expressed 
 my determination to play it until I was satisfied that its 
 success was hopeless or assured, and that I had great 
 confidence in its ultimate success. He replied, expre>s- 
 inor gratification, and o-ave me an account of the 
 production of " Bohemia," with a brief statement of the 
 cruel way the critics had received it. His letter ended 
 with the words, "Ah, well! they have struck home." 
 In two days he died of brain-fever ; and, of course, never 
 saw "Davy Crockett " acted. I have now been playing 
 it eight years, and am conceited to the extent that 
 I think I have made a very good piece of dramatic 
 workmanship by my personation of Davy, but I would 
 rather have written the play in all its crudeness, than 
 have acted it ten times better than I have done. 
 Yours truly, 
 
 F. Mayo. 
 
 The second night the bill was repeated with the 
 addition of " Sketches in India." in which the soubrette. 
 Kitty Fyffe, made her first appearance as Sally Scraggs. 
 Her real name was Amanda Carter. She did not 
 remain long with the company, and two years after 
 married John Lolow, the clown. It was said in 1866, 
 that she had inherited 870,000 from her grandfather, 
 but June 21st, 1870, she died in Lockport, New York, 
 utterly alone and in destitute circumstances. 
 
 Thursday evening, December 24th, Tobin's comedy 
 of ""The Honeymoon" was played. (Mrs. A. W. Avl- 
 
336 PLAYERS OF A CENTURY. 
 
 ing making her first appearance here as Volante,) and 
 " The Rough Diamond," Miss Sadie Cole making her 
 first appearance as Lady Plato. Friday (Christmas) 
 afternoon, " Cousin Joe " and " The Stage-Struck 
 Tailor" were played, being other names for "The 
 Rousrh Diamond" and Sketches in India." In the 
 evening, a The Stranger," Stetson in the title rofe, and 
 Annie Waite as Mrs. Holler: also "Nan, the Good for 
 Nothing," Kitty Fyffe as Nan. Saturday evening, 
 "Naval Engagements" with Delmon Grace as Lieut. 
 Kingston (his first appearance), and " The Maniac 
 Lover." The new pieces produced during holiday 
 week were " Camille " three times, " The Love Chase," 
 "All that Glitters is not Gold," " Faint Heart Never 
 Won Fair Lady," and "The Married Rake." 
 
 Monday, January 4th, 1864, a season of Italian 
 opera began under J. Grau, director, with Mile. Vera 
 Lorini, Mile. Murensi, Mile. Castri, Signori Stefani, 
 Morrelli and Barrelli as the principal singers. " Lucre- 
 ti a Borgia," "II Trovatore," "La Sonnambula," "La 
 Favorita," "Norma," and "Don Govanni" were given. 
 • Prices were $1 and 50 cents. 
 
 The next week beginning January 11th, besides 
 plays already mentioned, "The Female Gambler," 
 "Mr. and Mrs. Peter White" and "Money" were pro- 
 duced. The week beginning January 18th, "Love's 
 Sacrifice," "A Loan of a Lover." "The Hunchback," 
 "Shocking Events," "The Marble Heart" and "Nabob 
 for an Hour" were played. In the week beginning 
 January 25th, ""Uncle John," "Temptation," and 
 "Eichard III." were the only novelties. Tuesday, 
 February 2d, first time here of "London Assurance," 
 and during.the week " The Two Gregories" and " Brian 
 O'Linn " were pla}^ed. 
 
 Monday and Tuesday, February 8th and 9th, tab- 
 leaux and concerts were given in aid of the Albany 
 Army Belief bazaar fund, John S. Dickerman acting 
 as stage manager. 
 
 Wednesday, February 10th, was the first time here 
 of Tom Taylor's "Ticket of Leave Man," produced 
 
PLAYERS OF A CEN-TUKY. 337 
 
 with the following cast : Hawkshaw, Mr. Stetson ; 
 Robert Brierly, Sidney Smith : Ballon, Delmon Grace ; 
 Metier Moss,- W. F. Williams; Green Jones, S. W. 
 Ashley; Mr. Gibson, Geo. Ryer; Sam Willoughby, 
 Kitty' Fyffe; Matty, F. T. Murdoch: May Edwards, 
 Annie Waite ; Emily St. Everemond, Mrs. Ay ling; 
 Mrs. Willoughby, Mrs. Le Brum. This was a grand 
 success, the play having an uninterrupted run of nine- 
 teen nights. It has seldom ever been better cast in 
 America, During the run of this play the matinee 
 system was introduced, performances being given at 
 first on Wednesdays. In a short time, the day was 
 changed to Saturday. The first matinee's receipts were 
 $10, the second, $51, and the third, $250. 
 
 Other plays which followed, not before produced, 
 were "Othello," -Betsy Baker," "Ireland as it Was" 
 and "Napoleon;" in the latter, particular attention 
 being called to the make-up of Mr. Ryer, as a perfect 
 likeness of the Emperor. 
 
 Monday. March 7th, " The Romance of a Poor Young 
 Man " was brought out, and had ten representations, 
 including matinees, Wednesdays and Saturdays. 
 
 On the 3d of March, Mr. and Mrs. Gr. W. Stoddart 
 made their first appearances in Albany as Sir William 
 Evergreen and Margery in "The Rough Diamond." 
 These two excellent people — excellent in every way 
 — were for years great favorites. George (a brother 
 of the more celebrated James H. Stoddart, of the New 
 York theatres) and his charming wife are both English. 
 Mr. Stoddart, while yet a very young actor, playing in 
 Liverpool, was recommended by the late Gr. Y. Brooke • 
 "and E. L. Davenport to Boston, where he remained, 
 under the management of Thomas Barry, for four 
 years. Mrs. Stoddart {nee Annie Taylor), had not acted 
 at that time, and did not for some three years. She 
 had been a member of Les Banseuses Viennoises, the 
 troop of children who had appeared at the Odeon and 
 the Museum, under the direction of Madame Weiss,. 
 in 1847-8, and created such a furore. It was in such 
 a school that she acquired, to perfection, the art of 
 29 
 
338 PLAYERS OF A CENTURY. 
 
 dancing. Mr. Stoddart's next engagement was at Laura 
 Keene's theatre, in New York, where Mrs. S. first 
 played principal soubrette, having had some practice at 
 the National, in Boston. They afterwards played at 
 the Arch street, Philadelphia, under Wheatley and 
 Clarke, and subsequently at St. Louis and Cincinnati, 
 both being well received by the press and people, and 
 tolerably well paid. Mr. Stoddart next tried man- 
 agement, and made money at Dayton, Ohio, and Lex- 
 ington, Kentucky, and then came to Albany, where, 
 for three or four years, he and his wife were much 
 liked. Careful, prudent, and thoroughly reliable, they 
 were very desirable to have around a theatre, the lady 
 in particular possessing fine talents as a soabrette. They 
 next removed to New York, and remained at the Broad- 
 way theatre, and the Fifth Avenue, with John Brougham, 
 in all, four years. Next, Mr. Stoddart was stage man- 
 ager for Mrs. John Drew, at the Arch street, in Phila- 
 delphia, and then both joined Mr. Barnes's company 
 at the Trimble, from which, in 1871, having acquired 
 a competence, they retired from the stage, investing 
 their funds in certain railroad securities, and, buying a 
 little spot near Liverpool, went home to enjoy them- 
 selves for life. But alas for their dreams of happiness ! 
 The securities went down, down, down, and they found 
 their income so much reduced that nothing remained 
 but they must go to work again, and so, buckling on 
 the Thespian armor, they once more crossed the ocean, 
 and in connection with Mr. James H. Stoddart, orga- 
 nized the Stoddart comedy compan}^. Since then, Mr. 
 S. has been a member of several combinations, and is, 
 at present, with the "Widow Beclott company," doing* 
 well. His friends will be glad to know that the afore- 
 said securities are gradually rising in the market, and 
 that there is a prospect of their owners being well off 
 again. Mrs. Stoddart is reported as not having appar- 
 ently grown a day older, and as bright and happy as 
 ever. At the time of which we write, she- took the 
 place of Kitty Fyflfe, who retired from the Albany 
 boards. 
 
PLAYERS OF A CENTURY. 339 
 
 Wednesday, March 15th, " Still Waters Bun Deep " 
 was played, and during the week "Macbeth." April 
 7th, "Richelieu" was produced, in which William 
 Griffith made his first appearance as Baradas. March 
 21st, "The Colleen Bawn" with Ashley as Myles-na- 
 coppaleen, Annie Waite as Eily Conor, Sidney Smith 
 as Danny Mann, and the rest of the company in the 
 cast. This had seventeen representations. 
 
 Saturday evening, April 9th, "The Returned Volun- 
 teer" was played, and April 11th, "Lucretia Borgia." 
 April 13th and 14th, Buckstone's "Green Bushes.' ? 
 April loth, " The Wandering Minstrel," and the same 
 evening, first appearance of W. H. Leake as Armand 
 in "Camilla" He succeeded Stetson, as leading man, 
 and as we have stated, soon married Annie Waite. 
 He is an Englishman by birth, but first trod the stage 
 as a " super " at Buffalo. In 1868 he managed success- 
 fully the theatre at Indianapolis. Like the great 
 majority of actors now-a-days, he is travelling with a 
 combination. 
 
 April 20th, " Jessie Brown, or The Relief of Luck- 
 now" was brought out, and enjoyed a six night run, 
 being supplemented Monday, April 25th, by the farce 
 "Mr. and Mrs. Dobson.'' For Annie Waite's benefit. 
 May 2d, "Ingomar" and "Katherine and Petruchio," 
 were presented. The next night Sidney Smith appeared 
 as Toodles. 
 
 April 28th, for the benefit of J. M. Trimble, "The 
 Willow Copse" and "An Object of Interest" were 
 presented : the next night the farce was changed to 
 "Mischief Making." Saturday evening "Nick of the 
 Woods," Leake as the Jibbenainosay. May 4th, " Uncle 
 Tom's Cabin " was produced, with Ryer as Uncle Tom, 
 Ashley as Marks, Griffith as Legree, Stoddart as St. 
 Clair, Leake as George, Annie Waite as Eliza Harris, 
 Mrs. Stoddart as Topsey, and Marie Le Brun as Eva. 
 It had nine or ten representations. 
 
 " Pizarro " and " The Conjugal Lesson " were played 
 May 14th, and the Monday following, " The Corsfcan 
 Brothers." For the benefit of Sidney Smith, May 18th, 
 
'40 PLAYERS OF A CENTURY. 
 
 " Eob Eoy " was presented, with R S. Manuel as Francis 
 Osbaldislone — his first appearance. He was a dancing 
 master at the Troy seminary. May 20th, " The Serious 
 Family," Sid Smith as Amindab Sleek, and " The 
 Spectre Bridegroom." Saturday afternoon, " Mother 
 Bailey," a patriotic drama. 
 
 After just five months of playing the stock com- 
 pam^, without stellar attraction, Mary Grladstane was 
 engaged as the first star, and appeared Monday, May 
 23d, as Julia. During her engagement, which lasted 
 two weeks, she aj^peared as Peg Woffington, in " Masks 
 and Faces," Mrs. Hcdler, Lady Teazle (for Ryer's benefit, 
 supported by Mark Smith, as Sir Peter)] Lucretia Bor- 
 gia, Lady Audley, and Lady Isabel and Madame Vine. 
 Mrs. Gladstane is a sister of W. H. Crisp, and was 
 born in London, in 1830. 
 
 June 6th, to the 9th, Mr. and Mrs. E. L. Davenport 
 and J. W. Wallack appeared in " Othello," "Damon 
 and Pvthias," "Hamlet" and "Wild Oats "and "A 
 Morning Call." Though usually called J. W. Wallack, 
 Jr., this handsome, popular and talented actor was the 
 son of Henry Wallack. He died May 23d, 1873. 
 
 June 10th, for Mrs. Stoddart's benefit, her own 
 translation of "Fanchon, the Cricket," the lady in the 
 title role. June 11th and 13th, the English operas of 
 "The Bohemian Girl" and "La Sonnambula," were 
 given, with Madame Comte Borchard, Louisa Myers, 
 William Castle and S. C. Campbell in the cast. This 
 company made its first appearance in Brooklyn, Jan- 
 uary 4th, of this year, in " The Bohemian Girl," when, 
 for the first time in the history of the lyric stage in 
 America, the two leading male singers were natives of 
 this country. Campbell, the baritone, whose real name 
 was Cohen, was born in Hartford, Connecticut. He 
 was, for several years, a well-known negro minstrel, 
 and now graduated into English opera, with which, 
 thereafter, he was identified, being a leading member 
 in Mrs. Kiching's company, and afterwards in Parepa 
 Rosa's. He died November 26th, 1874, aged thirty- 
 four. Mr. Castle is still a favorite tenor. 
 
PLAYERS OF A CENTURY. 341 
 
 June 15th, Mary Provost began an engagement as 
 Lucie UAville, in "The Persecuted Wife," and also 
 appeared as Nell Gwynne, the latter being played June 
 20th, at a complimentary benefit to Mr. J. M. Trimble, 
 whose name had headed the bills as manager, since June 
 7th. The names signed to the testimonial, included 
 Alfred B. Street, E. K. Peckham, Alex. S. Johnson, 
 F. Pumpelly, Thurlow Weed, Alfred Wild, Thomas 
 Hun, 0. Van Benthuysen. H. H. Martin, John H. 
 Reynolds, B. P. Learned, John Tweddle, E. Corning, 
 Jr., and E. D. Palmer. 
 
 W. H. Leake took a farewell benefit. June 27th. 
 June 29th, "Our American Cousin 7 ' was produced, 
 and the rest of the season, which closed July 1th, was 
 devoted to a revival of u The Ticket of Leave Man."' 
 
 The season had been a great success. The patrons 
 of the Academy were satisfied with the stock company 
 and did not care for stars. Large salaries were paid, 
 and other expenses were heavy. It has been alleged, 
 that some of Mr. Trimble's employes took advantage 
 of his blindness, and stole from him many hundred 
 dollars. But in spite of this, the season paid him. 
 We are without the books to give the exact figures, 
 but there was no doubt remaining that a theatre could 
 be well supported, even in Albany. 
 
 Daring the summer recess, the Ilolman opera troupe, 
 with Sailie as the star, appeared in burlesque and 
 opera. Susan Denin and J. A. Heme, also played 
 two or three nights, under management of H. B. 
 Phillips. 
 
 The second regular season opened September 12th, 
 under the stage management of George Ryer, and with 
 the following company : Robert S. Meldrum. George 
 Ever, George W. Stoddart, W. J. Le Moyne, E. P. 
 Griffith, John Murray, William W. Jeffries, Geome N". 
 Reed, Charles F. Hall. George Farren, W. C. Miller, 
 H. A. Warner and E. P. Packard ; Miss Ada Parker 
 Plunkett, Mrs. George W. Stoddart, Mrs. H. F. Nichols, 
 Mrs. C. B. Harrison, Kate Fletcher, T. B. Burbank, 
 Jennie Lees, Alice Merry, Hat tie Lee, Martha Elder, 
 
342 PLAYEKS OF A CENTURY. 
 
 Frances Colmer, Mary Miller and Emma Wilkins. 
 Ernest Zeller was the leader of the orchestra, and 
 F. Hitchcock, treasurer. The opening performance 
 included "The Wife" and "Family Jars.' 7 Septem- 
 ber 14th, " Eomeo and Juliet " was played for the first 
 time in the Academy, Meldrum as Borneo and Miss 
 Plunkett as Juliet September 29th, "The Three 
 Guardsmen" was brought out* in good style, and ran 
 till October 7th, and October 10th, "Rosedale" was 
 produced with good success for two weeks. Up to 
 this time, the receipts from the beginning of the season 
 had run from $1,450 to $2,500 a week, the average 
 being about $1,800. Meldrum, the leading actor, was 
 not much liked. W. J. Le Moyne, a good character 
 actor then, is one of the best at the present time. He 
 went from here to Boston, and at Selwyn's made a 
 great hit as Uriah Heep in "Little Emily." He has 
 since made a specialty of Dickens characters, in some 
 of which he has no superior. Mrs. Nichols was 
 formerly wife of Preston, the manager of this theatre 
 the last season before it was turned into a church, and 
 of the Green street theatre the first season after it 
 ceased to be a church. 
 
 October 24th, the stock company received their first 
 outside assistance from the Warren combination, con- 
 sisting of William Warren, Josephine Orton, Charles 
 Barron and Emily Mestayer; a very talented party. 
 Miss Orton, born in 1843, was a niece of William 
 Cullen Bryant and a charming actress; Barron was a 
 prime favorite in Boston, as was Emily Mestayer. Dur- 
 ing their week's stay, "The Heir at Law" and "Dun- 
 ducketty's Pic-nic," "School for Scandal," "London 
 Assurance," "Babes in the Wood," and "Marsey 
 Chickweed," "Sweethearts and Wives," "Poor Pilli- 
 coddy " and " Seeing Warren." " Serious Family " and 
 " Breach of Promise " were produced. This, if we 
 mistake not, was the first and only time the great 
 Boston comedian attempted to "star" outside of New 
 England, and strange to say, the tour was not a paying 
 one. Here the business only amounted to $1,725, for 
 
PLAYERS OF A CENTURY. 343 
 
 the week, less even than the stock company had been 
 playing to. It may be. however, that the announce- 
 ment of Forrest had something to do with it, 
 
 October 31st. Edwin Forrest began his first engage- 
 ment in Albany since 1843, when he played to such 
 small audiences in the old Nichols amphitheatre. He 
 was now supported by John McCullough. Isabella 
 Freeman, and Madame Ponisi. Prices were raised to 
 $1 and $1.50, family circle 50 cents. Five perform- 
 ances were given, for which the receipts were as fol- 
 lows : "-Hamlet," $820.50; "Othello," $926.50; 
 "Richelieu," $1,323.00: " Richard III.," $1,172.50; 
 "Macbeth" (benefit), Si, 566. 00. In the midst of this 
 great engagement, the stock company played "Rose- 
 dale" at a matinee, to $303.75. 
 
 November 7th. John McCullough. who had been 
 playing with Forrest, appeared as the star in "O'Brien. 
 the Last of His Race," by James Schoonberg. It ran 
 for a week, to $1,-106.50, showing that Forrest's second 
 had also made a hit. Mr. McCullough was born in 
 Ireland, in 1837, and came to this country at an early 
 age. Joining an amateur association in Philadelphia, 
 he made his debut at the Arch street theatre, August 
 15th, 1857, as the Servant in ,; The Belle's Stratagem." 
 His salary as an actor was at first $-1 a week ; the fol- 
 lowing season it was increased to $10, and his duties 
 extended to the representation of the ,k heavies.". In 
 1860-1, he was at the Howard in Boston, under Daven- 
 port, and the following season engaged to support 
 Forrest, and was with him till 1866. In that year, 
 McCullough took up his abode in California, managing 
 in San Francisco with gratifying success, till the last 
 two years he remained there, when he lost more than 
 he had made. Mr. McCullough is to-day among the 
 best of American tragedians, and the only fit repre- 
 sentative of the Forrestonian school of acting. 
 
 November 14th, the benefit of the Widows and 
 Orphans' fund of the incorporated Fire department 
 took place, McCullough reciting "Shamus O'Brien." 
 receipts $288.62. He continued his engagement during 
 
344 . PLAYERS OF A CENTURY. 
 
 the week, appearing as Pythias, Wildrake in " The 
 Lovechase," and Duke Aranza, in u The Honeymoon," 
 Brutus, in " Julius Caesar," and Charles de Moor in 
 "The Robbers," the week footing up $1,300. 
 
 November 21st, " The Sea of Ice " was brought out 
 with much care and ran two weeks, the first week to 
 $2,378.25 ; the second to $1,576. December 12th, the 
 leading lady, Miss Ada Plunkett, took her farewell 
 benefit, and retired from the stage to be married, a 
 condition to which, however, she was no stranger. 
 
 December 13th, " The Angel of Midnight," an- 
 nounced as "the most marvellous creation of modern 
 times, the wondrous and unique drama, unlike, in its 
 construction, any other in the whole range of histrionic 
 literature, and which in Paris caused the entire popula- 
 tion to go mad with excitement, while in London it 
 was played at every theatre one night (opera alone ex- 
 cepted)." Mrs. Stoddart personated the Angel, and 
 the play ran three nights, averaging $150 a night. 
 Evidently the tastes of Albany and Paris are dis- 
 similar. 
 
 December 19th, for George Eyer's benefit, Ada Clif- 
 ton made her first appearance as Portia, the beneficiary 
 appearing as Shylock ; receipts $639. 
 
 The next evening, " The Octoroon " was brought out 
 for the first time on this stage, Miss Clifton as Zoe, and 
 ran till December 29th, when it was replaced with 
 "Dot," Mrs. Stoddart in the title role. This ran till 
 January 9th, 1865, when Jennie Parker made her first 
 appearance as Rachel, in "The Jewess," and became 
 leading lady. She was born in Rochester, in 1836, 
 and made her debut at the age of nine, in Buffalo, as 
 the Duke of York, to Booth's Richard, After five years 
 in the Queen city of the Lakes, she went to California. 
 In 1861, she was in Philadelphia. In 1863, she mar- 
 ried and retired from the stage, but was now separated 
 from her husband and had just began playing again. 
 
 January 18th, McKee Rankin appeared as a star, in 
 "The Dead Heart," playing only two nights, when 
 " Victorine, or the Working Girl's Dream," and " The 
 
PLAYERS OF A CENTURY. 345 
 
 People's Lawyer," with Le Moyne as Solon Shingle, 
 were played. The fact was, that McKee Rankin, as 
 good an actor as he is now, was a total failure then. 
 Fortunately for the manager in those days, if stars 
 failed of being what was expected, they could be sent 
 about their business, and there was always the stock 
 company to fall back upon, as in this case ; January 
 23d, "The Streets of New York," by the stock com- 
 pany, was put on and ran for two weeks, the first to 
 $2,400, and the second to $1,908. 
 
 February 20th, first night of the engagement of Mrs. 
 Emily Jordan and Frank Lawlor, in " Aurora Floyd." 
 which ran till March 1st, when the same stars appeared 
 in -Leah," "Hamlet," "The Wife's Secret," "The 
 Hunchback," "Othello," "The Siege of Troy." (first 
 time in America) dramatised from the Iliad, by Geo. 
 Micldleton, which closed the engagement of four weeks, 
 during which, business was as follows : First week, 
 $2,262: second, $1,942: third. $2,480: fourth, 
 $2,309.50. Mrs. Jordan, a very beautiful woman, 
 was the daughter of Charles Thorne. She retired 
 from the stage. September 24th. 1867, on her marriage 
 to Mr. Charles Ransom, from whom she separated. 
 
 April 3d, McKean Buchanan and his daughter Vir- 
 ginia, began an engagement. Receipts : First week, 
 $1,475.50; second, $1,218.25. 
 
 April 17th, Annie Waite began an engagement as a 
 star, in " Jennie Deans/' April 24th. first appearance 
 of Kate Selden as Kathleen, in "Peep O'Day." G. W. 
 Mitchell also made his first appearance in this play. 
 Annie Waite, after a night or two, took the place of 
 Miss Selden : receipts for w T eek, $1,804, including Annie 
 Waite's benefit, at $414. This is another instance 
 where a "star," failing to make its light perceptible, 
 attraction which didn't attract was set aside, and the 
 stock company called upon to fill in the time. 
 
 On the 19th of April, no performance, owing to the 
 death of Abraham Lincoln. This observance was 
 general in the theatres throughout the country. 
 
 May 1st, first appearance here of Edwin Adams, 
 
346 PLAYERS OF A CENTURY. 
 
 who played Rover, Claude Melnotte, Frank Hawthorne 
 in "Men of the Day," Macbeth, Adrian in "The Her- 
 etic," and in "Dreams of Delusion" and "Black Eyed 
 Susan " ; receipts $1,321 and $1,580. Edwin Adams 
 was born in Medford, Massachusetts, February 3d, 
 1834, and went on the stage in Boston at the age of 
 nineteen. It was not till 1860 that his talents were 
 fairly recognized. He was one of the best of light 
 comedians, while his personation of Enoch Arclen will 
 long be remembered. In tragedy he was also very 
 fine. While on a visit to Australia, his health declined, 
 and he came home only to die. He was open-hearted, 
 open-handed, and knew no use for money except to 
 spend it. His popularity in the profession was 
 unbounded, and he was the recipient, just before his 
 death, of $7,854.01, raised by a series of benefits. He 
 died in. Philadelphia, October 28th, 1877. 
 
 Several benefits followed, the season closing with 
 ticket night, May 31st. A summer season was opened 
 June 3d, under Ever and Stoddart as managers, Zoe, 
 and Mr. and Mrs. Gomersal appearing in light plays. 
 Zoe is a Cuban by birth, having first seen the light in 
 Havana, in 1840. She was a successful danseuse at 
 the age of fourteen. She is the wife of Ben Yates, 
 the ballet master, and lives on Long Island 
 
 The third season opened September 4th, with Lovell's 
 play of "Love's Sacrifice," cast as follows: Matthew 
 Elmore, Frank Boche; Paul LaFont, C. T. Nichols; 
 Eugene DeLorme, S. B. Villa ; St. Lo, G. W. Stoddart ; 
 Jean Ruse, W. J. Le Moyne; Friar Dominic, W. C. 
 Miller: Morlue, E. S. Packard; Du Viray, A. De 
 Warne : Margaret Elmore, Miss Ada Gray ; Herminie, 
 Mrs. Stoddart; Manou, Mrs. H. F. Nichols; Jennie, 
 Mrs. G. A. Sawin. 
 
 The farce was " The Horse Cars," cast as follows : 
 Pat Rooney, S. W. Ashley; Tom Dobbs, W. J. Le 
 Moyne; Mr. Ledger, G. W. Mitchell; Mr. Dobbs, E. S. 
 Packard; Julia, Emma Hall ; Mrs. Dobbs, Alice Merry. 
 
 Ada Gray was born in Boston, and made her first 
 appearance in a companj^ of amateurs, at the age of fif- 
 
PLAYERS OF A CENTURY. 347 
 
 teen. Shortly after, she accepted an engagement in 
 Rochester as "walking lady,"' but the manager, who 
 saw she was gifted with a " quick study," as it is called, 
 gave her several juvenile parts, and the second star of 
 the season playing Richard IIL, Miss Gray was cast 
 for Lady Anne. He complimented her at the rehearsal, 
 and, no doubt, praised her to the management, because 
 from being cast to play the Gentlewoman in " Macbeth," 
 she was changed to Lady Macbeth, after the cast had 
 been posted in the green-room. From that time she 
 played leading business with stars, and at the same 
 time walking ladies in farces, being very ambitious 
 to succeed. She was advised by the stage manager to 
 write to Louisville for the position of leading lady, did 
 so, and was accepted for leading juvenile business, 
 under the management of George Wood. The theatre 
 changed hands in the fall, and she was re-engaged by 
 Duffield & Flynn for the season of 1863-4, and became 
 a great favorite. Louisville still claims her as one of 
 her children. While there, she supported Edwin Ad- 
 ams (being the original Annie Leigh to his Enoch A rden), 
 J. Wilkes Booth (first playing Portia. Ophelia and 
 Katherine with him), Joseph Proctor. Matilda Heron, 
 Davenport, Wallack and others. It was through Ed- 
 win Adams that George Ryer, stage manager for the 
 Trimble, corresponded with Miss Gray, and secured 
 her for Albany. She appeared as above stated, and, 
 though well received, did not make a decided hit till 
 she played Camille. From that time she increased in 
 popularity, ever studying and striving to improve. 
 She was re-engaged for the season of 1866-7, and, in 
 1877-8, took a similar position at the Continental the- 
 atre, in Boston. The season was a short one, and Miss 
 Gray next accepted a position as leading lady in the 
 Boston theatre company, to support Edwin Booth 
 through the east, and in Albany and Troy. Her 
 reception in Tweddle hall, at this time, was most cor- 
 dial. Shortly after, she retired from the stage and 
 married Mr. Charles S. Watkins, a well-known hotel 
 man, and, for two years, led a domestic life. But the 
 
348 PLAYERS OF A CENTURY. 
 
 old fascination pursued her, and, in the spring of 1872, 
 she made her re-entree, at Martin hall. Since then she 
 has starred in all parts of the country. 
 
 Frank Roche has a good figure and is a fair leading 
 man, having filled that position in Boston, Brooklyn, 
 and other large cities, with success. C. T. Nichols, the 
 heavy man, will be remembered for the "grumness" of 
 his voice, if for nothing more. Sam. Villa, a walking 
 gentleman and a lisping vocalist, married one of the 
 Wallace girls, and has for some time been the head 
 of a burlesque combination. Emma Hall has recently 
 been a member of the Holman opera troupe and lives 
 at Toronto. 
 
 For three months the stock company played to busi- 
 ness running from $1,319 to $2,188 per week. Decem- 
 ber 11th, the first star of the season appeared, in the 
 person of Jean Hosmer, who played Camille with the 
 sanction of Matilda Heron. Jean Hosmer, a really fine 
 actress, was born near Boston, January 29th, 1842. 
 Taken to the theatre at the age of eight, she developed 
 a passion for the stage almost uncontrollable, and 
 being refused permission to go, used to dress in boy's 
 clothes and indulge her propensity on the sly. She 
 received a good education, but her youthful infatua- 
 tion w r as not cured, and her father, failing in business, 
 she at last received permission to go on the stage, and 
 began as a ballet girl in Buffalo, under the name of 
 Stanley. She studied hard and rose steadily till in 
 December, 1863, she resumed her own name and 
 appeared as a star. She has now retired from the 
 stage. Miss Hosmer also appeared as Bianca, Pauline, 
 Evadne, Lucretia Borgia, Mrs. Haller, Julia, The Coun- 
 tess (in " Love "), Juliet, and Parthenia. Receipts the 
 first week $2,465, second week, $1,550. 
 
 January 8th, 1866, " Arrah Na Pogue " was pro- 
 duced, with T. H. Glenny as Shaun, and soon after, 
 "The Last Days of Pompeii," which ran a week. 
 January 29th, Charles Dillon began an engagement as 
 Virginius, and played Macbeth, Sir Giles, Belphegor, 
 Richelieu, Louis XL, Don Ccesar de Bazan, Hamlet, Shy- 
 
PLATERS OF A CENTURY. 349 
 
 loch. Richard. Falstaff, Timon. Lear and William Tell, 
 his engagement lasting till February 24th, and averag- 
 ing §1.800 a week. This was Mr. Dillon's second 
 visit to America. He was born in Suffolk county, 
 England, in 1819, and after some provincial experience, 
 appeared in London, at Sadler s Wells. April 21st, 
 1856. as Belphegor. the Mountebank, of which he made 
 a specialty". In 1861, he came to America; in 1863, 
 he went to Australia. Albany was one of the first, if 
 not the first city he visited on his second tour of the 
 United States. He was much liked. He is still pla}^- 
 ing in England, but the London critics say he has 
 degenerated. 
 
 March 12th to 15th, Lotta appeared in "Seven 
 Daughters of Satan " a musical and romantic drama. 
 This was the first appearance in Albany of the little 
 lady, who has since become so popular. Being quite 
 unknown, she only drew $294.50 the first night. Her 
 second night was 8422,' showing a hit: her third 3390, 
 and her fourth and last, S452. Lotta Mignon Crabtree 
 — for so she was christened — was born at No. 750 Broad- 
 way. New York, Nov. 7th — the biographical sketch, 
 which in 1864 heralded her arrival from San Fran- 
 cisco, said, in the year 1847. but we are assured by one 
 who ought to know, if any body, that this date is not 
 correct. Never mind. She lived in the house where 
 she was born till 1854. when she was taken to California, 
 and made her first appearance on any stage at a concert 
 given in Laport, iw for one night only." Her second 
 appearance was at Petalnma (1858), where she played 
 Gertrude in " The Loan of a Lover/' She then trav- 
 elled as the star of a company for nearly two years, 
 being called "La Petite Lotta.'" and ranked as an infant 
 prodigy. She then went into the variety and minstrel 
 business, becoming, in 1860, the pet of San Francisco, 
 many nights being literally showered with gold and 
 silver coins by the delighted public. Each year she 
 took a tour through the state and also played engage- 
 ments at Maguire's opera' house. After one of the 
 most successful benefits ever given on the Pacific slope, 
 • . 30 
 
350 PLAYERS OF A CENTURY. 
 
 she sailed for the east, and arrived May 16th, 1864, 
 and gave her first performance in New York, atNiblo's 
 saloon, June 1st. It was far from a success, the attend- 
 ance being very small. The next night more were 
 present, but they were mostly claquers hired by free 
 tickets to be present and applaud, and so transparent 
 was this device, that the whole thing became a farce, 
 and failure seemed inevitable. The Clipper, excellent 
 authority on the subject, said : 
 
 Her style is certainly not intended for a first-class 
 audience, concert halls being her proper stamping 
 ground. She is possessed of great versatility, and 
 plays the banjo equal to nine-tenths of the so-called 
 first-class banjoists. She understands the business well, 
 being up in all its little tricks. She is possessed of a 
 very musical voice, and gives a song with much spirit. 
 She can dance a regular break-down in true burnt-cork 
 style, and gives an Irish jig as well as we have ever seen 
 it done. She has a pleasing countenance, looks charm- 
 ing on the stage, is posted in all the tricks of the busi- 
 ness, and knows exactly how to put an audience in good 
 humor. She would prove a valuable star to any music 
 hall in the country. 
 
 This was, undoubtedly, an honest opinion. One 
 week's trial was enough, and New York saw and heard 
 no more of Lotta for some time ; but the Canterburys 
 and the 444's didn't get her, thank fortune. In 
 August, we hear of her at McVicker's theatre, in 
 Chicago, where, one night, while playing in " The 
 Seven Sisters," an unknown admirer threw her, neatly 
 done up in a handkerchief, a $300 gold watch and 
 chain. From Chicago she returned^ to Boston, and 
 then made a tour of the United States, of which her 
 first Albany engagement was part. In the summer of 
 1867, she made her second appearance in New York, 
 this time at Wallack's, under the management of C. 
 W. Tayleure, and played the most brilliant summer 
 engagement ever known there. At this time, 
 Brougham's dramatisation of The Old Curiosity Shop 
 was first brought out, under the name of "Little 
 
PLAYERS OF A CENTURY. 351 
 
 Nell and the Marchioness/' Lotta assuming the 
 dual title role. With the face of a doll, and the 
 ways of a kitten, she at once became everybody's pet, 
 and has been so ever since. She can hardly be said 
 to act, but she amuses, and that is what most people 
 care for. She may be said to have founded a " school " 
 of her own, for imitators have sprung up by the score, 
 and they have always remained imitators, nothing 
 more. In 1869, she returned to California, and was 
 welcomed back in one of the most brilliant engage- 
 ments ever played there. Her health is not robust, 
 and some years she has had to refrain from practicing 
 her profession. Occasionally she goes to Switzerland, 
 a land she loves almost as California, which she calls her 
 home. In private life, she is said to be a perfect little 
 lady, who, through all the temptations of her brilliant 
 career, has borne a reputation beyond reproach. She 
 is still one of the three best paying lady "stars" on 
 the stage. 
 
 March 16th, in honor of the coming day, the bill 
 was made up of "Brian Boroihme '" and "The Irish 
 Emigrant." For Ryer's benefit, "Central Park'' was 
 produced, with Carrie Augusta Moore, the skater, and 
 ran a week: receipts. $2,025. 
 
 Mr. and Mrs. Charles Kean appeared for live nights, 
 beginning March 26th. supported b} 7 J. F. Cathcart, 
 George Everett, and Miss E. Chapman. The plays 
 presented were "Henry TIII. V and "The Jealous 
 Wife," " Merchant of Venice,' 7 "Louis XL," "The 
 Gamester," "The Stranger" and "The Wonder." 
 Total receipts. $1,800, opening to $450 and closing to 
 $221. This engagement was clearly a failure, much 
 to the disappointment of the manager, who expected 
 that the magic of the names of Charles Kean and his 
 wife, the far-famed Ellen Tree, would attract largely, 
 but their day had gone by. Kean was now fifty-five 
 years old, and badly broken up. He had not appeared 
 in Albany before for thirty-five years, when he came 
 under Duffv's management. 
 
 Mrs. Kean was six vears older than her husband. 
 
352 PLAYEES OF A CENTURY. 
 
 She had been a great actress, but never appeared, while 
 she was such, in Albany. She was born in the south 
 of Ireland, in 1805, and made her first appearance as 
 Olivia, in " Twelfth Night," at Covent Garden. She 
 first came to America in 1836, and even then, Ireland 
 says : " The bloom of youth had somewhat worn off, and 
 her beauty, of which many reports had reached us, 
 proved to bethatof intellect and expression — certainly 
 not of feature — w T hile a peculiar stoop in her shoulders 
 and a projection of the neck, impressed a beholder 
 disagreeably at first sight. But the impression van- 
 ished when you heard her speak, and ere you knew 
 it, you were fascinated by her feminine delicacy of 
 manner, her soft and witching tones, and the perfect 
 grace and true elegance of her deportment, and you 
 felt the conviction that you not only saw before you a 
 consummate actress, but a pure, true, amiable and 
 womanly woman." In 1845. Mr. and Mrs. Kean were 
 in America again, and played with success, but on this, 
 their last visit, but little of their former greatness was 
 apparent. Mrs. Kean is still alive (1880), although it 
 is reported that she has been stricken with paralysis. 
 
 T. H. Glenny, the- Couldocks, and Mrs. Bowers 
 filled out the season, which closed June 2d. A summer 
 season was opened by Frank Dwight Denny, supported 
 by J. Davis, Marie Le Brun and Miss Thompson. 
 The legitimate held sway, the only novelty being 
 " Our Mutual Friend." Mr. Denny was simply a stage- 
 struck young man from Boston, with a wealthy father, 
 who gave him monej 7 to come to Albany, hire a thea- 
 tre, and be an actor. Mr. Denny tried the experiment 
 here and in Brooklyn (taking Ada Gray with him) but 
 soon became convinced that he had mistaken his 
 vocation. 
 
 The fourth regular season opened September 3d, 
 with a company consisting of D. E. Ealton, E. D. 
 Ogden, C. Wilkinson, C. T. Neville, J. Matthews, C. E. 
 Churchill, J. Barnes, F. W, Barnard. George Farren, 
 G. E. Templeton, W. C. Miller, E. P. Packard, A. H. 
 Sheldon, E. DeVie, George Ever, Ada Gray, Mary 
 
PLAYERS OF A CENTURY. 353 
 
 Stevens, Lillie Marden. B. Moravia, Mrs. C. Churchill. 
 Miss Jennie Farren. Annie E. Spear. Ada Le Brun, F. 
 Coleman. Edith Evans, Eliza Winters, Ella Montrose, 
 and Emma Le Bruit John M. Trimble announced 
 himself as manager, and Mr. Ever as stage manager. 
 The opening bill was " The Honeymoon. " pro- 
 duced as originally written, in five acts, and % * The Jolly 
 Gobbler." 
 
 Ealton. the leading man. was better fitted for heavy 
 business : Ogden. " the Duke d'Orsay." had been mana- 
 ger of the Richmond theatre, and was quite an impos- 
 ing personage. At last accounts, he was in Australia. 
 Charles Wilkinson, the comedian, a native of Xew 
 England, has since been the head of a travelling organ- 
 ization, which produces "Uncle Tom" and other welh 
 worn dramas in the smaller towns and cities. He 
 married Lillie Marden. 
 
 For about ten weeks after the opening, the stock 
 played unaided by stars to an average business of about 
 $1,500 a week, the expenses running about $1,200. 
 On the 1st of October. Mrs. Clara Fisher Maeder joined 
 the company and played "old woman" for several 
 months. 
 
 Beginning November 12th. the first star of the sea- 
 son. F. S. Chanfrau. appeared for five nights as Sam, 
 and Saturday night as Solon Shingle. Jerry Clip and 
 Mose : receipts $2,625. Mrs. Jordan and Frank Law- 
 lor, and Mr. and Mrs. Barney Williams followed, to 
 large business. Steve Ashley now joined the company. 
 December 21st, for Kyer's benefit, a drama by William 
 P. Hinds, was played, entitled " Art Friends and 
 Heart Foes, or the Painter, the Poet and the Bandit : '! 
 also "The Club, or the Last Man." Mr. Hinds's play 
 was repeated twice. He is a well-known Albanian, 
 long connected with the People's line, and now suf- 
 fering the calamity of blindness. 
 
 Mr. Trimble's health was now so poor, that he 
 advertised the theatre for sale, but nothing came of it. 
 
 During holiday week. "The Naiad Queen"' was pro- 
 duced, with E. A. Locke as Schnapps. Then followed 
 
354 PLAYERS OF A CENTURY. 
 
 "Inshavogue, or Wearing o' the Green," to $1,700.25, 
 and January 7th, 1867, the Eichings English opera 
 troupe in "Martha," " Daughter of the Eegiment," 
 "FraDiavolo," "La Sonnambula," "Bohemian Girl" 
 and "The Doctor of Alcantara;" receipts $2,900. 
 
 Then came Jean Hosmer in the legitimate, playing 
 "Ion" for her benefit; receipts for the week, $1,610. 
 Then Helen Western, specially supported by her hus- 
 band, J. A. Heme; receipts, $1,937. January 8th, 
 Fanny Morgan Phelps, announced as the Australian 
 artist, began an engagement; receipts, $1,500. Feb- 
 ruary 4th, M&tilda Heron Stoepel appeared as Camille, 
 and followed in her own plays of " Gamea, the Hebrew 
 Mother," and "Medea," "Duel in the Days of Riche- 
 lieu," "The Pearl of the Palais Royal; " also as Meg 
 Merrilies, Nancy Sykes, and Hester Prynne in "The 
 Scarlet Letter." Receipts for the first week $1,917 ; 
 second week, $1,200. 
 
 John Brougham played an engagement, appearing 
 for the most part in his own dramas; receipts first 
 week, $1,909 ; second, $2,227. In March, a number 
 of plays were produced, with Yankee Locke (died 
 January 5th, 1880) as the star ; receipts, $1,282. 
 
 During Helen Western's engagement, which followed, 
 nothing new was produced, (receipts $1,750) and Mrs. 
 Bowers, who succeeded her, offered nothing new, 
 except "Diana, or Love's Masquerade"; receipts, 
 $1,624.25. Kate Reignolds followed; receipts $1,500. 
 
 April 1st, John E. Owens began an engagement as 
 Solon Shingle, and appearing also as Mr. Oilman, in 
 " Happiest Day of My Life " ; Joshua Batterby, in 
 " The Victims " ; Horatio Spruggins, in " Forty Winks," 
 " Paul Pry," " Live Indian," and " Toodles." Receipts, 
 $2,353.25. Owens is a Welshman by descent, though 
 born in Liverpool (1823). He arrived in America at 
 the age of three, and made his debut at the National 
 theatre, in Philadelphia. He has been a successful 
 manager as well as actor, and is said to have accumu- 
 lated a large fortune. He is one of the best of 
 comedians, and is not confined in his excellence to 
 
PLAYERS OF A CENTURY. 355 
 
 one or a dozen parts, although for a time he made a 
 specialty of Solon Shingle, in which, although a wonder- 
 ful piece of elaboration, he is by no means seen at his 
 best. It is a curious fact in this connection, that like 
 Jefferson in Rip Van Winkle, Owens, in Solon Shingle, 
 followed the copy set by Charles Burke. 
 
 J. B. Addis was now stage manager. The next 
 engagement was that of Frank Mayo, who, besides the 
 legitimate, played in "St. Tropes, or the Mistake of a 
 Life," "Ruy Bias," and "The Streets of New York: 1 
 with Charley Pettengill (afterwards a successful negro 
 minstrel) as the boot-black. This was Mr. Mayo's first 
 starring tour. He was born in Boston, April 19th, 
 1839, but made his first appearance on the stage, at the 
 American theatre in San Francisco, under Laura 
 Keene's management, in 1856, occupying every posi- 
 tion from supernumerary to that of leading actor and 
 supporting almost every star that visited the Pacific 
 slope from 1860 to 1865. He was never engaged for 
 any line of business, but played old men, young men, 
 middle-aged men, comedy, tragedy, black and white, as 
 it happened. Having acquired, in this way, an exper- 
 ience not otherwise possible, he left San Francisco in 
 1865, and became a stock star at the Boston theatre, 
 under the management of Jarrett, Tompkins & Thayer, 
 opening August 28th of that year as Badger, in " The 
 Streets of New York," a part in which the handsome 
 actor made a hit, which he repeated in many of the 
 leading roles, such as Charles de Moor, Richard, Othello, 
 Iago, Shaun, the Post; Ingomar, Don Ccesar de Bazan, 
 Raphael, etc. The following season (the one of which 
 we write), he became a star, at first presenting the Shak- 
 speare dramas, interspersed with romantic plays of less 
 dignity, but at length making a specialty of "The 
 Streets of New York." How he came to do so, he 
 thus explains : "I used to select Hamlet as my opening 
 part, following with Macbeth and Richelieu, and fill -out 
 the week with other high class roles to empty benches, 
 but with an approving conscience. I was regarded in 
 certain localities with great favor in these parts by the 
 
356 PLAYERS OF A CENTURY. 
 
 press and the attending few. If my engagement was 
 for a fortnight, I would for the second week announce the 
 part of Badger, and after playing it, not ^infrequently 
 find myself soundly berated by my personal friends 
 and gentle critics for 'prostituting my talents,' and so 
 on, until I found where I played the classic drama, I 
 could not attract in Badger ; so this suggested (for 
 pecuniary motives) making Badger my 'extra' part, and 
 usually with success, but when I would venture on the 
 classic in such places where I had been measured by 
 my Badger tape, the very thought of my departure was 
 either recorded as preposterous or with that worse 
 feeling, a patronizing and qualified approval. This 
 assured me that I could not be versatile and successful ; 
 that versatility was a capital quality in a stock actor, 
 but the public demanded an identity in a star, that it 
 would not permit to be disturbed, so I settled down 
 into the Badger, playing the others only occasionally — 
 loving them the more." In 1872, as heretofore related, 
 Mr. Mayo, while managing at Eochester, first played 
 Davy Crockett, with which his name is as closely asso- 
 ciated as Jefferson's with Rip Van Winkle, or Maggie 
 Mitchell's with Fanchon. Of Mr. Mayo's method in 
 presenting his beautiful creation, what he says may be 
 interesting. After giving as his advice to young actors 
 that they should never know their best and not settle 
 down to a conviction as to what they can shine in, 
 until plenty of experience and repeated trial has 
 demonstrated it, he adds: "Do all your work at 
 rehearsals. The greatest difficulties I have had to 
 overcome have been the errors I have made by trust- 
 ing to the impulse that comes at night when the actors' 
 wits are too busy to use them for judgment. To tell 
 # you the truth, my performance of Crockett is to me a very 
 wooden one, but I think I conceal this fact from the 
 public. AH that apparent unconsciousness for which 
 I have been commended, is the purest assumption — 
 that is the artistic part of the work. I have in my 
 study of the character felt and enjoyed all that I make 
 others feel and enjoy. I, as an artist, must lose that 
 
PLAYERS OF A CEN-TURY. 357 
 
 condition when I come to my work, and be presum- 
 ably lost, while thoroughly self-contained. This has 
 been my method and the rehearsal is the time and 
 place in which I have accomplished it.' 1 
 
 To resume: April 22d, Dan Bryant appeared and 
 during his engagement played in i: The Irish Emi- 
 grant " and " Handy Andy " : " Born to Good Luck" 
 and "More Blunders Than One": "Irish Lion" and 
 "Danny the Baron.'" Bryant, better known as a 
 negro minstrel than as an Irish comedian, was born in 
 Troy, May 9th. 1888. He made his debut in a white 
 face, in the Winter Garden, July 2d. 1863, as Handy 
 Andy, and afterwards played as an Irish star in this 
 country and in England. At this time, his engagement 
 terminated suddenly, on account, as he said, of the 
 death of a child, and he sent telegrams to that effect 
 to Mr. Trimble, and it was so announced in the papers. 
 The facts were, that Dan was a little irregular in his 
 habits, and had eventually to pay heavy damages for 
 disappointing the managers. .Not long after, the child 
 did really die. Bryant died April 10th, 1875. 
 
 Mr. and Mrs. F. M. Bates appeared in "Catharine 
 Howard, or The Throne. The Scaffold, The Tomb." 
 and "The Man with the Iron Mask." Lady Don was 
 the next star, appearing in " The Pretty House- 
 breaker." and the burlesque of " Kenilworth." Ee- 
 ceipts for her week. SI. 850.25. She was the widow of 
 Sir William Don. the comedian, and made her first 
 appearance in America the February preceding. She 
 died September 20th. 1875. 
 
 May 13th. Mr. and Mrs. Gomersal. who played bur- 
 lesque, etc. : receipts. $1,217. The benefits followed, 
 Mrs. Maeder presenting for hers, Mrs. Vernon, Miss 
 Mary Gannon. Mr. Ogden. and Mr. F. G. Maeder. 
 "Married Life" and "Rural Felicity" constituted the 
 bill. This was the last appearance on the Albany 
 stage of Mrs. Vernon and Mary Gannon, once the 
 favorites of the town, as they were now of New T York. 
 Of Mrs. Vernon in particular (Mrs. Maeder's sister), 
 we have spoken at length, in connection with her 
 
358 PLAYEKS OF A CENTUKY. 
 
 residence here with her husband, in 1827. She retired 
 April 3d, 1869, as well beloved by the public as any 
 woman who ever trod the boards of the New York 
 stage, with which she had been connected nearly forty- 
 two years. It is related of her that she has been 
 accosted in the streets by ladies, who said : " Mrs. 
 Vernon, you do not know us ; but we know you and 
 have known you for many years ; we love you and we 
 want to kiss you!" Mary Gannon, the old Museum 
 favorite, made her last appearance on the stage at Wal- 
 lack's, January 27th, 1868, going through her part 
 with difficulty and being taken home to die. Mr. 
 Fred. G. Maeder, whose appearance is also noted, is 
 the second son of Mr. and Mrs. James G. Maeder, 
 and was born in New York, September 11th, 1840. 
 He is the well-known author of several plays, and 
 manager of many stars. 
 
 The season closed May 25th, and a summer season 
 opened on the 27th, with Kate Fisher and her horse 
 Wonder in " Mazeppa," " Cataract of the Ganges," 
 etc., followed by a week of burlesque, by a company 
 in which M. W. Leffingwell and Mrs. Sedley Brown 
 were the stars, supported by Mr. and Mrs. E. A. 
 Eberle, Millie Sackett, Annie Campion, J. B. Mc- 
 Closkey and others. Fanny Herring also appeared a 
 few nights as the ''Female Detective." 
 
 June 7th, the theatre was closed on account of the 
 death of the manager, Mr. Trimble, who had long been 
 ill. The gross receipts during his management, were as 
 follows : 
 
 Season of 1864-5 $67,350 99 
 
 " 1865-6 62,318 05 
 
 11 1866-7 64,125 28 
 
 Total $193,794 32 
 
359 
 
 CHAPTER XXV. 
 
 1867-1868. 
 
 The Academy under Miss Trimble's Management 
 
 THE next and last season of the Academy of Music 
 opened September 2d, 1867, with the Richings 
 English opera company, and under the management of 
 Miss A. Gr. Trimble, sole lessee and proprietor. Miss 
 Trimble, now the wife of Lucien Barnes, was about 
 twenty-four years of age. On account of her father's 
 infirmity and the belief that there were some persons 
 in the world not too good to rob a blind man, she had 
 for some months previous to Mr. Trimble's death, been 
 his constant attendant in the box office, and aided him 
 all that she could, even to counting the house. As he 
 grew more and more feeble, and felt that his end was 
 approaching, he asked her to undertake the manage- 
 ment when he was gone. Reluctant to assume such a 
 responsibility, she tried to think of some other way, but 
 none appeared. There was no one else to do it, and, 
 of course, she consented. Contracts had already been 
 made with a number of stars, and these were carried 
 out, and new ones entered into. In short, the season 
 under this enterprising and plucky little manager 
 (though lasting only five months, on account of the 
 fire), netted her $8,000. Particulars are as follows : 
 
 The operas presented by the Richings company were : 
 "The Bohemian Girl," "Linda di Chamounix," "Mar- 
 itana," "Martha," "Daughter of the Regiment," " Fra 
 Diavolo," "Crown Diamonds." "Norma," and "La 
 Sonnambula." Mr. Peter Richings, the venerable 
 actor and manager, was here in person, it being his 
 
360 PLAYERS OF A CENTURY. 
 
 last visit to Albarry. Miss Trimble remembered with 
 gratitude his fatherly care and attention on these 
 opening nights, suggesting many points which were 
 invaluable to the young and timid novice. Mr. Rich- 
 ings died January 18th, 1871, from injuries received 
 from being thrown- from a wagon. The company were 
 here two weeks, receipts S3. 126 and $2,700. 
 
 The dramatic company engaged for the season 
 included Mr. and Mrs. J. W. Carroll, Mr. and Mrs. S. 
 K. Chester, Mrs. Maeder, Mrs. Ryan, Miss Stanfield, 
 Miss Louise Sylvester, Mrs. Howard, Mrs. Miller, Mrs. 
 Barnes. Messrs. Lassell, Shields, Stevens, W. W. More- 
 land, C. C. Bradshaw, W. C. Miller, M. R. Havden, W. 
 C. Crosby, E. C. McCall, E. S. Packard and S. E. 
 Ryan. 
 
 Mr. Carroll was born in Chestertown, Maryland. 
 October 12th. 1837, and married Jennie Melville, a 
 Boston girl, who was the original Katy in the drama 
 of "Hot Corn. 1 ' Mr. Chester was also born in Mary- 
 land and had played frequently in Baltimore and the 
 south. His wife w T as Annie S. Hodges, of Baltimore. 
 E. C. McCall was afterwards "old man " at the Division 
 street theatre, and still later, has been at the head of 
 small travelling combinations. 
 
 Miss Louise Sylvester, at this time only about 
 thirteen years old, has since become so well and favor- 
 ably known and gives such promise of being a still 
 greater favorite, that more notice is due her than the 
 position she then occupied would warrant, of itself: 
 and it is the more freely given from the fact that she 
 is a native of Albany, her mother, Mrs. Julia Sylves- 
 ter, having made her debut at Meech's museum before 
 Louise was born. The daughter, desiring to follow 
 the same profession, secured an engagement from Mr.. 
 Trimble, u putting on long dresses and telling every 
 body she was a great deal older than she was," so 
 anxious was she to succeed. But her barren ward-, 
 robe — and perhaps her extreme youth — did not 
 satisfy the new manageress, and so, packing up the 
 little white muslin dress made by herself, and the 
 
PLAYERS OF A CENTURY. 361 
 
 little satin over-dress, "made from one of mama's," 
 the young actress found her way to New Orleans and 
 presented herself before good, kind-hearted old Ben 
 De Bar, with the announcement that she was "Miss 
 Sylvester, if you please, sir." He took pity upon her, 
 and the fever having made players scarce, she was 
 taken into the company and kindly treated by the 
 manager, who became and continued her friend so 
 long as he lived. She happened to open in a part 
 fitted to her, and doing a Highland fling and a song, 
 made a hit. As the season went on, sickness and 
 death created many emergencies in the company, and 
 being gifted with a quick study, she found herself 
 playing all sorts of parts, many of them far beyond 
 her years and experience. How she played them, 
 sometimes, may best be illustrated by a little incident, 
 told by herself, as follows : 
 
 I won't be sure, but I think the piece was " Six Degrees 
 of Crime " { the leading juvenile lady was taken ill with 
 the fever, at the last moment : no one else could study 
 the part ; I asked for and got it. Xeed I tell you how 
 proud I was ? There was a murder scene in it I was 
 to be murdered ; I was to act tragedy. I don't think 
 you can fully understand the joy of that moment to me. 
 I was to be pulled around the stage by the hair — Oh ! 
 Oh ! — well, I practiced that scene every moment of the 
 time left me. ~ From that hour I was not in the world — 
 I only felt that I was to be mur-r-rdered. I never woke 
 from that dream of bliss till after the act, when some 
 one came to me and said : 
 
 " You have killed the leader of the orchestra ! ! ! " 
 Think of it ! Well, it seems, that in the scene, I had 
 to get the dagger from the villain, who finally succeeded 
 in strangling me, by winding my hair around my neck. 
 When I got the weapon, I was to throw it away. Well, 
 I did throw it away and struck the leader of the orches- 
 tra — who was playing tremolo — in the eye. There 
 was a shout from the audience, excitement among the 
 musicians, and no more tremolo for that act ; but so lost 
 was I, that I knew nothing of what I had done till they 
 told me ; then they had to hold me by main force to 
 31 
 
362 PLAYEKS OF A CENTURY. 
 
 keep me from running from the theatre, but it was only 
 a scratch after all, and the leader had a hearty reception 
 when he took his place again that evening." 
 
 Nothing daunted, Louise worked on and worked 
 hard, refusing no part, thus learning much that she 
 never forgot. From New Orleans she went to Cleve- 
 land, Chicago, St. Louis and the western circuit, steadily 
 gaining in her profession. Two seasons she starred in 
 a piece called "Nip," and finally worked her way to 
 the Union Square theatre. Then her mother and 
 brother died ; she lost her own health, and was sent to 
 San Francisco as a last resort. There she got better, 
 made a hit, received a thousand-dollar benefit, and 
 came east to start anew. Her first offer (professional) 
 was to act Evangeline in John Stetson's company. This 
 she found too hard work, and engaged with the Cri- 
 terion comedy company, of which this season she has 
 been the leading attraction. Her natural abilities, 
 combined with a willingness to sink every thing for 
 the sake of her art, are sure to win for her more than 
 ordinary honors. If we are not much mistaken, 
 Albairy will yet proudly claim her as one of its bright- 
 est dramatic children. 
 
 But perhaps, after all, the most interesting mem- 
 ber of Miss Trimble's compan}^ was Agnes Stan- 
 field, although she was not at all prominent, and only 
 remained a few weeks, playing unimportant parts. This 
 was really Ada Clare, the queen of the Bohemians, as 
 she has been sometimes called. Her real name was Jane 
 McEthennejr, and she came of a good family in the 
 south, being a cousin of Paul Hayne, the poet. She, 
 herself, was better known as a writer than an actress. 
 She contributed to the journals of the day and wrote a 
 novel, "Asphodel," which, though printed, was never 
 published, owing to the suspension of a Boston firm 
 which had it in hand. The only book of hers given 
 to the public was entitled "Only a Woman's Heart." 
 But for years she was the feature of a certain phase of 
 New York life. "She was an associate of Fitz James 
 O'Brien, George Arnold, Artemus Ward, Ned Wilkins, 
 
FLAYERS OF A CENTURY. 363 
 
 Henry Clapp, Jr., Mortimer Thompson and other 
 Gotham journalists, was a hail-fellow, well-met with 
 all, and thought nothing of running off on a jaunt for 
 a week or a month with any of them. Her intensely 
 eager, nervous, clean-cut face and heavy blonde hair, 
 always attracted the attention of Broadway to her, and 
 there quaffing champagne at the Maison Doree, or beer 
 at Praff 's, she was wholly indifferent to criticism." 
 She made her debut as an actress at the Academy of 
 Music in New York, November 27th, 1855, as Ophelia, 
 in " Hamlet," played by amateurs, but was never a 
 great success. At length she married Frank P. Noyes, 
 and it is said, lived very happily with him. She played 
 under the name of Stanfield in several companies, and 
 was here but a few weeks. She is remembered as 
 being perfectly lady-like in her deportment, but shrink- 
 ing from her past history. In January, 1874, she was 
 bitten by a favorite lap-dog, but as the wound, which 
 was severe, was cauterised, no serious trouble was 
 apprehended, and she went to Eochester to join Lucille 
 Western's company performing there. Just one month 
 after she was bitten, hydrophobia manifested itself, and 
 death ensued on the 4th of March following. A writer 
 in the Tribune says : 4i She was really known to but few 
 persons, but by them, in the solemn, grief-stricken 
 words of an old poet, ' she will be mourned till Pity's 
 self is dead.' "" 
 
 The opening bill was "The Three Guardsmen," 
 with Frank Mayo as the star. Nothing new to the 
 Academy stage was produced during his engagement ; 
 receipts, $1,656. Miss Fannie B. Price was the next 
 star, opening in Leah. She was followed by Mrs. 
 Bowers, who played Mary Stuart, Camille. Juliet and 
 Jane Shore ; one night Governor Fenton and General 
 Sickles and staff attending. 
 
 October 21st, "Lost in London " was produced, with 
 McKee Rankin and Mrs. 0. Henri as stars. Mrs. 
 Henri (died September 20th, 1879), joined the com- 
 pany in place of Louise Sylvester. Zoe came next, 
 and was followed November 4th, by Julia Dean, who 
 
364 PLAYEES OF A CENTURY. 
 
 appeared in "The Woman in White," and "Married, 
 not Mated," (by Thomas de Walden, the author 'taking 
 the part of Taupin.) This was after this once favorite 
 actress's return from California. Her attractions were 
 all gone, and her voice could be heard only with diffi- 
 culty. She died the following March. 
 
 Edwin Adams, Chanfrau, Kate Eeignolds, Edward 
 Eddy, Eliza Newton and Lucille Western played 
 engagements, and December 23d, " Under the Gas- 
 light " was brought out, and proved the great success 
 of the season. It ran till January llth; one day 
 (including a matinee) to $911. 
 
 January 27th, 1868, Charles Barron began an 
 engagement as Henri de Lorraine, in " Hilda." The 
 bill was repeated Tuesday night, and was up for Wed- 
 nesday (the 29th). About half-past six that morning, 
 fire was discovered in the rear of J. Burke's saloon, 
 adjoining the theatre on the north. The firemen, as 
 they supposed, had extinguished the flames, and were 
 about to retire, when it was found that the Academy 
 was in a blaze. In a short time nothing was left stand- 
 ing but the front wall. The loss was estimated at 
 $45,000. There was an insurance on the building of 
 $20,000. Nothing but the books in the office were 
 saved. The actors lost their wardrobes, and John 
 Brougham, to whom Albany seems a doubly fatal 
 place, lost the models of the play in which he was to 
 appear the next week. The company played February 
 1st and 2d, in Tweddle hall, and then disbanded. 
 
365 
 
 CHAPTEE XXVI. 
 
 1869-1876. 
 
 The Division Street Theatre Under Various Managments. 
 
 THE burning of the Academy of Music left the city 
 once more without a theatre, and for a while, 
 although there was much talk of rebuilding, nothing 
 was done. Never since 1812 had Albany been more 
 destitute of a place for dramatic performances than for 
 a year or two after the very successful Trimble regime. 
 Martin hall had not been built, and Twedclle hall was 
 destitute of both curtain and scenery. 
 
 Meanwhile, a building on Division street, between 
 Pearl and Green, was being quietly transformed into 
 a theatre, to be managed by Frank Lawlor. It was 
 erected about the year 1813. for a Methodist church, 
 and was used as such, till the old North Pearl street 
 circus was turned into a church, when the Methodists 
 sold their Division street property to the Unitari- 
 ans. There. Eev. A. D. Mayo preached, and various 
 societies occupied it till it was bought by Gerson 
 Oppenheim. who went about fitting it over into a hall. 
 Lawlor secured a lease of the building for five years, 
 at an annual rental of $5,500. and was to expend 
 85.000 in improvements. It was said that the next 
 day after the lease was signed, he was offered $5,000 
 for his bargain. For a season or two the theatre did 
 a prosperous business, but its location was always 
 against it, as was the fact that its one gallery was the 
 best part of the house. 
 
 The company included Frank Lawlor, George 0. 
 Boniface and Augusta L. Dargon for leading business; 
 George Ever, as old man and stage manager : Charles 
 
366 PLAYEES OF A CENTURY. 
 
 Billiard, William C. Crosbie, A. L. Cooke, A. J. Saw- 
 telle, C. E. Edwin, J. W. Walsh, Mrs. M. A. Farren, 
 Maggie Newton, Alice Brooks, Caroline E. Carman, 
 Florence Vincent, Lena Ball, and Louisa Eoward. 
 William Veeder was treasurer; George Williams, 
 scenic artist; John Meehan, stage carpenter, and C. L. 
 Underner, leader of the orchestra. Admission, 75 
 and 50 cents. 
 
 The opening night of the Academy of Music, as it 
 was called, was October 4th, 1869, when "Love's 
 Sacrifice" was produced, castas follows: 
 
 St. Lo George C. Boniface 
 
 Matthew Elmore Frank Lawlor 
 
 Paul La Font George Ryer 
 
 Eugene Delorme Charles Billiard 
 
 Friar Dominic A. L. Cook 
 
 Jean Ruse W. C. Crosbie 
 
 Morlac J. A. Sawtelle 
 
 Du Viray C. E. Edwin 
 
 Servant Mr. Jones 
 
 Margaret Elmore Augusta L. Dargon 
 
 Berminie Maggie Newton 
 
 Manou Mrs. M. A. Farren 
 
 Jenny Florence Vincent 
 
 This was an excellent company. Mr. Lawlor, of 
 whom mention has previously been made, was a 
 thoroughly good actor and a successful star. George 
 C. Boniface, an Englishman (born in 1833), had been 
 on the stage since 1851. Be was the original Rodolph, 
 in u The Black Crook,' 7 and is accounted among the 
 " stars" of the present day. George Ryer has been 
 mentioned before as one of the best u old men " ever 
 seen in Albany. Alice Brooks has since become a 
 favorite in travelling organizations, and Miss Dargon, 
 the Irish tragedienne, has acquired a much more than 
 local reputation. Ber father was a doctor, the son of 
 General Dargon. a well-known Irish patriot. Ber 
 mother was Scotch. Miss Dargon came to America 
 when quite young, and at the suggestion of Eorace 
 Greeley, who discovered her dramatic talent, gave a 
 
PLAYERS OF A CENTURY. 367 
 
 series of readings, with success. She then went upon 
 the stage and played in ISTew Orleans. Galveston and 
 San Francisco. At the time of the great fire in Chicago, 
 she was acting at the Globe, and was so severely 
 injured during the calamity, that she was obliged to 
 go to Paris to seek medical advice, and there sustained 
 an operation, which restored her to the stage. She 
 returned to America, and Stephen Fiske having 
 dramatised Tennyson's " Queen Mary " for her. she 
 appeared in it. for the first time, at the Leland opera 
 house. She has since been in Australia, where she is 
 winning golden opinions. Although Miss Dargon 
 usually plays heavier characters, she is said to be an 
 excellent comedienne as well. She has many admirers 
 in Albany, especially among her countrymen. During 
 her sojourn here, she was a devout attendant upon St. 
 Mary's church, and in private life, was said to be both 
 brilliant and agreeable. 
 
 Among the novelties speedily produced by the com- 
 pany, were "Dora," ■• Jocrisse. the Juggler." "Henry 
 Dunbar.*' " Blow for Blow." " Lancashire Lass." "For- 
 mosa." "Long Strike." " Under the Gaslight." " Streets 
 of New York." etc. December 11th. Mr. Boniface 
 retired, and December 20th, Joseph K. Emmet, the 
 first star, appeared. He had just made the hit of his 
 life at Buffalo, where. November 22d. he first appeared 
 as Fritz. His great success there and here as a German 
 comedian, has been repeated wherever he has shown 
 his handsome face. He was born in St. Louis, March 
 18th, 1841. and made his debut in that city, in 1866. 
 Two years later he joined Bryant's minstrels, and now 
 came out as a star. 
 
 The Trimble opera house, opening December 31st, 
 did not at first appear to affect business in Division street 
 as much as might have been expected. On the 28th. 
 Walter Keeble appeared in "The Lottery of Life." 
 having been engaged in place of Boniface. Mr. Keeble 
 had been on the stage since November 25th. 185-1, 
 part of the time in this country and part of the time 
 in England. In September. 1870. he became leading 
 
368 PLAYERS OF A CENTURY. 
 
 man in Manager Barnes's company, at the Trimble 
 opera house, and subsequently managed the Division 
 street theatre for several seasons. His health failing, 
 he went south (where he had played daring the war), 
 and lived, for a time, near Aiken, South Carolina, on 
 a little place which Harry Watkins drew in a lottery. 
 Afterwards, he was a clerk in a hotel, and whether he 
 is living at the present time, we are unable to sslj. 
 Mr. Keeble was a perfect gentleman and a thoroughly 
 good general actor, and played the principal roles of 
 tragedy with good effect. He was the only man, prob- 
 ably, who ever played Hamlet in Alban^v for six con- 
 secutive performances. 
 
 Januar}^ 3d, 1870, Marietta Ravel began a week's 
 engagement and was succeeded by Mr. and Mrs. Barne} 7 
 Williams. On the 17th, E. L. Davenport, having with- 
 drawn from the Fifth avenue theatre, appeared in 
 "Enoch Arden," its first presentation in Albany, and 
 in "The Duke's Motto." The houses were very large 
 and his reception was enthusiastic. 
 
 On the 31st. Yankee Robinson and Minnie Jackson 
 appeared in "Yankee'" plays. Robinson has been 
 every thing from a shoemaker and dancing teacher to 
 the proprietor of a first-class circus. He is a child of 
 Avon — Livingston county, New York, and was born 
 in 1818. February 7th, the old Irish comedian, John 
 Collins, bewail an eno^ement. On the loth, the 
 Worrell sisters, Sophie and Irene, appeared, plaving 
 "The Field of the Cloth of Gold," "Ixion." and other 
 burlesques, also " The Grand Duchess." The sisters 
 were the daughters of William Worrell, and appeared 
 first as dancers in California. They visited Australia, 
 and returning, came east with their parents in 1866, 
 and for a time were the lessees of the New York 
 theatre. Their engagement in Division street was a 
 fine success, the revival of burlesque having just begun. 
 Jennie, their other sister, was not with them at this 
 time, her place being filled by Hattie O'Neil. Sophie 
 has since married Knight, the extremely clever Ger- 
 man comedian. 
 
PLAYERS OF A CENTURY. 369 
 
 February 21st, James M. Ward, who afterwards 
 married Wmnetta Montague, began the first of several 
 engagements at this theatre, playing Irish characters. 
 The Worrell sisters came again and were followed by 
 'Lisa Weber and her troupe of blondes. Miss Weber had 
 seceded from the Lydia Thompson company, of which 
 she was a prominent member, and produced "Ixion " 
 and other plays then the rage, but not with great success. 
 
 February 25th, for Miss Dargon's benefit, the bene- 
 ficiary played Meg Merrilies ; for Walter Keeble's 
 benefit he played Othello ; for liver's farewell. "Dora " 
 was presented, with Marion Fiske as Dora. Miss Fiske 
 was an attractive sozibrette. who was soon afterwards a 
 favorite in the stock company. March 21st, Maggie 
 Mitchell began an engagement in her favorite charac- 
 ters, and on the 28th, Elise Holt and her husband. 
 Harry Wall, appeared in "Nip." The lady was born 
 in London, July 11th. 1847. and after achieving success 
 at the Strand, was brought over to this country by 
 Wall, to lead a burlesque company. She was divorced 
 from her former husband and soon after married Wall. 
 She died December 28th. 1873. 
 
 Mr. Ever now left the company, Mr. Keeble succeed- 
 ing him as stage manager. The next attraction, April 
 •1th, was the production, for the first time in Albany, 
 of "Frou-Frou."' through the assistance of Fanny 
 Davenport, Emily Rigl, Mrs. Wilkins. and D. H. Har- 
 kins, from Daly's theatre. It was also the first appear- 
 ance here of Miss Davenport, who has since become so 
 much of a favorite. She was born in London, in 1850. 
 and is the daughter of the late E. L. Davenport, Her 
 first appearance was as a child in the Howard Athe- 
 naeum. She first appeared in New York at Niblo's. in 
 1862, but never created much of a sensation till, under 
 Daly's fostering care, she blossomed forth into an emo- 
 tional actress. Her first important part was as the 
 sentimental heroine in T. W. Robertson's "Play," 
 which she performed during the illness of Agnes 
 Ethel, and soon after succeeded to that lady's position 
 in the company. A very beautiful woman, an actress 
 
370 PLAYERS OF A CENTURY. 
 
 inheriting from both father and mother much dramatic 
 talent, she is one of the leading favorites of the day, 
 playing a range of parts including Pauline, Lady 
 Teazle, Mabel Renfrew, Rosalind and Nancy Sykes. She 
 is, in fact, the most versatile of all the star actresses in 
 the country. She has recently been married to Mr. 
 Price. 
 
 " Frou Frou " was well mounted, well played and 
 proved a great success. April 7th, Mr. J. W. Albaugh, 
 who had had some difficulty with Mr. Barnes at the 
 Trimble, came here and played Eustache, and a few 
 days later took a complimentary benefit, playing Ia,go 
 to Lawlor's Othello, Marion Fiske as Desdemona. The 
 receipts were said to be $600. 
 
 M. W. Leffingwell appeared on the 11th, in comedy. 
 He tried all lines in his life-time, but was best in bur- 
 lesque, his Romeo Jaffier Jenkins and Beppo, being 
 most capital performances. He died during the sum- 
 mer of 1879. He was step-father to William J. 
 Gilbert, recently of the Leland opera house. 
 
 From the 19th to the 30th, Joe Emmet played to 
 large business. May 2d, E. L. Davenport appeared, 
 Mary Hill making her first appearance during his 
 engagement, and Fanny Davenport playing Lady Gay 
 for his benefit. Lucille Western, the Chapman sisters 
 and C. B. Bishop followed, and Zoe closed the season. 
 In spite of opposition, Mr. Lawlor had made consider- 
 able money. 
 
 During' the summer, a variety show under William 
 Veeder, was given ; and in September, Maffit and 
 Bartholomew, pantomimists, John E. Owens and the 
 Kiralfy ballet troupe appeared for a few nights each. 
 
 The second season opened October 3d, with Mrs. 
 James A. Oates's comic and burlesque opera troupe, 
 which played to full houses for twelve nights, her 
 dashing style making quite an impression. The lady 
 was born in Nashville, September 29th, 1849, and was 
 educated in a convent. Her maiden name was Merritt. 
 She has been married several times. 
 
 The next attraction was Johnny Thompson, a "mill- 
 
PLAYERS OF A CENTURY. 371 
 
 strel " star, whose special claims for admiration were 
 that he could make a noise on fifteen different articles, 
 and wash the burnt cork from his face in twenty-two 
 seconds. His business was not very large. 
 
 October 81st, Greorge Ever was announced as acting 
 manager, but Mr. Lawlor was still so in reality. Josie 
 Orton appeared as the first star, and was followed by 
 Kate Reignolds. Moses W. Fiske and his daughter 
 Marion, Frank Drew, Mrs. Lander (two weeks to good 
 houses) : Joe Murphy (in Fred Maeder's drama of 
 " Help," for two weeks); Mrs. D. P. Bowers, Edward 
 Eddy (two weeks) ; then Mrs. Lander again ; E. T. Stet- 
 son in "Neck and Neck": Joe Murphy again: two 
 weeks more of Mrs. Bowers, and then the Foster panto- 
 mime company, during which engagement the regular 
 company went travelling. 
 
 On March 2d. a complimentary benefit was tendered 
 Manager Lawlor, and took place in Martin hall, Mrs. 
 Bowers. Gus Phillips and Joe Murphy appearing. 
 The receipts were said to be $2,000. 
 
 This closed Mr. Lawlor's connection with the thea- 
 tre. The city had now three other buildings in which 
 theatrical performances were given, and all of them 
 superior to the Division street establishment in size, 
 location and appointments. The Troy opera house 
 being about completed, Mr. Lawlor negotiated for 
 the lease of that,' but it was finally assigned to Mrs. 
 Waller. Mr. Lawlor then went to Chicago and suffered 
 severely from the great fire. A benefit was given him 
 at Martin hall in October (1871), when the house was 
 crowded. 
 
 The next man to manage the theatre, was Tony 
 Denier. He improved the inside of the building 
 materially, extending the family circle, putting in two 
 private boxes, lowering the stage and altering the 
 entrance. It was opened August 29th, as the Capitol 
 theatre, and in the company were M. T. Melville. 
 Greorge Learock, Charlene TVeidman and others. Mr. 
 Keeble was acting manager. 
 
 Tonv Denier, one of the cleverest clowns that ever 
 
372 PLAYERS OF A CENTURY. 
 
 donned the motley, is also one of the most genial of 
 men, and most companionable of good fellows ; and 
 withal, an excellent business man. In reply to a letter 
 asking for some personal information, Tony writes 
 that his memory is so treacherous, that he cannot even 
 recollect the date of his birth, but he is certain he was 
 there ; and as he has acknowledged for several years 
 past that he is twenty-seven years old, he thinks it 
 best not to disturb that fact. He was, if we mistake 
 not, the first American clown to make a success in 
 England, and. had an established reputation in all the 
 cities of this country, before he came to Albany. He 
 made some monev in Division street, but' was shrewd 
 enough to know when to quit. For some time after, 
 he made Alban}^ his home, but is now a resident of 
 Chicago, and at the head of the most successful panto: 
 mime company in the country. 
 
 Melville was the comedian and a very good one. 
 He afterwards played at the other theatre and became 
 a favorite. The same may be said of George Learock, 
 who played leading business. He is, at present, in 
 Chicago. Charlene Weiclman is an Albany girl. She 
 played leading parts for the Histrionic amateur associa- 
 tion for two seasons, and then joined the Capitol thea- 
 tre company, and was put forward rapidh 7 by Mr. 
 Keeble, even pla} 7 ing Parthenia to his Ingomar. in 
 some of his tours outside the city. She has improved 
 very much of late, and now makes a very pleasing 
 soubrette in Joe Murphy's travelling company. 
 
 The intention was to combine theatricals with a 
 variety show, and that plan was carried out for a few 
 nights, during which, besides an olio, farces and panto- 
 mimes were given, but business was poor, and a change 
 was soon made to the regular thing again. Little Nell 
 appeared, and then Kate Fisher in " Mazeppa " ; James 
 Maguire in "Over the Falls": Kate Raymond; Mr. 
 and" Mrs. Albaugh ; Rose Evans; Bdwina Gray; Ed- 
 ward Eddy and "Sappho." "Sappho," whose real 
 name was Florence Ellis, was a precocious little girl, 
 who played burlesque and farce with much acceptance. 
 
PLAYERS OF A CENTURY. 373 
 
 Governor Hoffman and Mayor Thacher attended her 
 performances, and a complimentary benefit was given 
 her in Martin hall. She is now an opera singer of 
 some prominence. 
 
 Janauschek also played a night or two here in Jan- 
 uary, and was followed by Eobert McWade, Leona 
 Cavender, Bttie Henderson, Swaine Buckley, the 
 Chapman sisters and E. A. Locke; James Ward, 
 John S. Norton, Augusta Dargon, etc. 
 
 In April, 1872, Mr. Denier transferred the lease of 
 the theatre, which had four years more to run, to 
 Walter Keeble. Dominick Murray, Charley Parsloe, 
 James Ward and one or two stars of still smaller mag- 
 nitude appeared, after which the season closed. 
 
 Another opened August 19th, with the play of " A 
 Heart of Gold." In the company were Charles 
 Waverly, James E. Nugent, E. L. Mortimer, E. S. 
 Packard, Felix Morris, M. T. Melville, Hannah and 
 Josephine Bailey, Charlene Weidman 'and Ada 
 Lawrence. 
 
 Charles Waverly, an Englishman, although rather 
 of an uneven actor, does some character parts remark- 
 ably well; his skill in "making up the face" being 
 unusual. He is a fine dresser and an excellent man 
 to have in a company. The Bailey girls have since 
 become favorites in other cities. In regard to Felix 
 Morris, a rising young comedian, we take the liberty 
 of inserting the following pleasantly written reply to 
 our letter asking for information in regard to his 
 experience : 
 
 3d January, 1880. 
 Mr. H. P. Phelps: 
 
 Dear Sir — In answer to your note, I append, with 
 pleasure, the following details : I was a medical student 
 at Guy's hospital, London. Always an enthusiast m 
 matters theatrical, I joined an amateur society, and 
 shortly after determined to adopt the stage as a profes- 
 sion, to the great disappointment of my father, who 
 positively forbade my doing so in England. I left the/e 
 for America in 1871, and, without exactly knowing why, 
 
 32 
 
374 PLAYERS OF A CENTURY. 
 
 came direct to Albany, and after some trouble and 
 through the influence of Walter Keeble, got into the 
 box-office of the Capitol theatre, under Tony Denier. 
 My first appearance under that gentleman's manage- 
 ment was so unsatisfactory that he resolved to keep me 
 in the box-office, where he thought I would be more use- 
 ful. I, still ambitious, left him at a week's notice, went 
 to New York, and from there to Boston, experiencing 
 nothing but disappointment, and unable to get on the 
 stage any where. In Boston, funds being short, I made 
 use of my medical knowledge and obtained a comfort- 
 able % position as clerk in a drug store, waiting for some- 
 thing to turn up, " theatrically." In answer to an appli- 
 cation, Walter Keeble engaged me for his first season at 
 the Capitol theatre, as a member of his company — not 
 to be entrusted with lines for some time. I remained 
 with him till he left Albany, and then came under Mr. 
 Albaugh's management till April, 1875. Went from 
 Albany to Canada, remained in Montreal two seasons in 
 the stock, "76-'77; went to Portland for some three 
 months, then back to Canada, became lessee and man- 
 ager of the Academy of Music, Montreal, and at the 
 end of an unsuccessful season, engaged in Fifth avenue 
 theatre, New York; then to Halifax, summer 1878, and 
 then to California theatre, San Francisco, from whence 
 I have just returned. In Halifax, I met my wife, Miss 
 Florence Wood, a former member of Mr. Daly's original 
 company, and our marriage took place in San Francisco, 
 May 15th, 1879. Played first comedy and character 
 business ever since I left Albany. Was born April 25th, 
 1850. Want of time prevents me from giving any thing 
 like a graphic account of my career, or of the sentiments 
 with which I am actuated toward my adopted country, 
 a country that has given me my wife, an excellent living 
 and a host of friends. Albany, as the starting point in 
 my new experience, I have always looked upon as my 
 Alma Mater, Faithfully yours, 
 
 Felix J. Morris. 
 
 Morris, while here, made a careful study of every 
 part that was given him, no matter how trifling, and 
 has advanced slowly but surely to a very fair rank in 
 the profession, and, as we believe, will go still higher. 
 
PLAYERS OF A CENTURY. 375 
 
 Mr. Barnes had now lost possession of the Trimble 
 opera house (not long after going out as the agent for 
 Baker & Farron), and without any head, business at 
 that place was not very prosperous. Mr. Keeble 
 therefore did much better in Division street than he 
 otherwise would have done. Among the stars who 
 appeared were John H. Jack and (his wife) Annie 
 Firmin, Baker and Farron, E. A. Locke, The Coleman 
 Children, Mrs. Waller, Oliver Doud Byron and C. B. 
 Bishop. 
 
 In November, Mr. Keeble appeared as Hamlet for 
 six performances, and was assisted by Mr. T. J. Lan- 
 ahan, as the Ghost Mr. Lanahan has for several years 
 been a leading amateur in Albany, and has frequently 
 appeared with professionals, always on such occasions 
 being received with favor. February 10th, 1873, he 
 also appeared as Baradas to Mr. Keeble's Richelieu, and 
 frequently supported him in Cohoes and other places. 
 
 Mr. Keeble continued to manage till spring, when 
 he was compelled to go south for the benefit of his 
 health. During his first season, he made, it is said, 
 some $5,000, but this was all lost in the months that 
 followed. Much of the time he was unable to attend 
 to business himself, and in spite of. his exertions, the 
 theatre deteriorated in every way. After his abdication 
 it ran clown very low, and finally, on the 8th of Decem- 
 ber, 1876, was - destroyed by fire. The site is now 
 occupied by dwelling houses. 
 
376 
 
 CHAPTEE XXVII. 
 
 1869-1872-1880. 
 
 1 he Trimble Opera House under Lucien Barnes and 
 
 Others. 
 
 THE city of Albany owes its present beautiful thea- 
 tre to the energy and enterprise of Mr. Lucien 
 Barnes. After the burning of the Academy of Music 
 in 1868, there was much talk as to how it should be 
 rebuilt. Various plans were proposed, and a joint 
 stock company was talked of. Indeed, an act of incor- 
 poration was considered by the legislature, but for 
 some reason the building was not erected. At length, 
 Mr. Barnes, who, meantime, had married the former 
 manageress, Miss Trimble, undertook to do single- 
 handed what combined effort had not accomplished, 
 and in exactly fifty-one days from the time of begin- 
 ning work on the blackened ruins, completed and 
 opened to the public one of the most beautiful temples 
 of the drama in this country. Mr. Barnes had been 
 for about ten years chief clerk and cashier of the state 
 insurance department, in which position- of trust, mil- 
 lions of dollars passed through his hands. This posi- 
 tion, which he had held to the satisfaction of all, he 
 resigned to become manager of a place of amusement, 
 to him an utterly new and untried business. In order 
 to raise the capital necessary to build and conduct the 
 theatre, the " Trimble opera house bonds " were issued 
 to the amount of $40,000, having ten years to run, 
 with, the stipulation that ten per cent, of their face was 
 to be met yearly, together with seven per cent, interest. 
 With the theatre in existence, there is no necessity 
 
PLAYERS OF A CENTURY 377 
 
 for describing it in detail ; suffice it to say that it was 
 furnished, to begin with, with all the modern improve- 
 ments, was heated with steam, and supplied not only 
 with all the comforts possible for an audience to enjoy, 
 but with many luxuries. The stage is a model in all 
 respects. The drop curtain, painted by Lewis, then scenic 
 artist at the New York Academv of Music, is one of the 
 prettiest ever shown in any theatre in America. One 
 fact is worth mentioning in this connection : the con- 
 tract with Lewis stipulated that he should deliver the 
 curtain in the theatre: he expecting to have it com- 
 pleted in time to ship b}^ boat. Failing to do this, it 
 had to come § from New York on two cars, for which 
 the artist had to pay $126. The orchestra chairs 
 then numbered only three hundred. Of these, one 
 hundred of the frames were coming up from New 
 York by rail only the day before the opening ; yet 
 they were upholstered, painted, in position, and occu- 
 pied the first night. This is merely a specimen of the 
 way in which the work was driven. 
 
 The architect was Thomas R Jackson, who, it will 
 be remembered, was also the architect of the old 
 Academy. Mr. Yanderwerker, the former carpenter, 
 was also employed, and John Bridgford was the master 
 builder. 
 
 Thursday evening, December 30th, 1869, the Opera 
 house was thrown open for the reception of the press 
 and a few invited guests, Mr. Charles Leland furnish- 
 ing refreshments. The next evening, Friday, December 
 31st, the theatre was opened to the public. The open- 
 ing address, written for the occasion, by a citizen of 
 Albany, was spoken by Greorgie Langley. "The 
 School for Scandal " was then played, cast as follows : 
 
 Sir Peter Teazle W. H. Collins 
 
 Sir Oliver Surface Mr. Paul 
 
 Joseph Surface S. Harold Forsberg 
 
 Charles Surface J. W. Albaugh 
 
 Crabtree Harry Clifford 
 
 Sir Benj. Backbite Charles J. Edmons 
 
 Rowley J. B. Brown 
 
378 PLAYERS OF A CENTURY. 
 
 M ^ses t RJ, Ferguson 
 
 Tri P J. B. Moore 
 
 Snake j. C. Walsh 
 
 Careless T. J. Martin 
 
 Sir Harry Bumper H. C. French 
 
 Lady Teazle Henrietta Irving 
 
 Mrs. Candour Jennie Clifford 
 
 Lady Sneerwell Mrs. Le Brun 
 
 Maria Georgie Langley 
 
 Prices were one dollar, fifty cents and thirty-five 
 cents. The receipts were $548.90 ; the next day being 
 Saturday, a matinee was given to $375.50, and the 
 evening performance to $457.80. With the exception 
 of Mr. Albaugh, leading man and stage manager; 
 Henrietta Irving, the leading lady, and Mrs. Le Brun, 
 these were all first appearances in Albany. 
 
 Charles L. Underner was leader of the orchestra. 
 On Monday evening, January 3d, he entered the 
 musicians' room, as usual, and there staring him in 
 the face, was a broken looking-glass. " Ah ! " he said, 
 " somebody is going to die! I hope it is not I." In 
 less than half an hour afterwards he was seen, while 
 leading the band, to drop his head. Some in the 
 audience thought he was drunk. Those around him, 
 however, knew better, and went to his assistance. 
 He was taken from his seat and carried home a dead 
 man. Heart disease was the cause of his sudden 
 demise. Sig. L. Parlati succeeded him as leader. 
 
 For two weeks the legitimate was played by the 
 company, but the old style of drama did not prove the 
 necessarv attraction, and something; of a more modern 
 character was sought for. "After Dark" was pro- 
 jected, but it was found that Mr. Lawlor, manager 
 of the opposition theatre, held the right to produce the 
 great railroad scene in the play; consequently it was 
 postponed, and instead, on January 17th, Edward Eddy 
 appeared in his varied and extended repertory, and 
 played to large houses. He was followed by Edwin 
 Adams. 
 
 January 31st, "After Dark " was produced with new 
 
PLAYERS OF A CENTURY. 379 
 
 scenery, a great concert saloon scene, and a steamboat 
 explosion instead of a railroad catastrophe. This ran 
 a week, and then had to be taken off on account of 
 another engagement, the business Saturday amounting 
 to $850. The play was a great bill for matinees 
 for weeks afterwards. The view of London bridge 
 was a gem. Harley Merry, the painter, had then 
 just returned from Europe, and was kept busy 
 with his brush for months. At the opening, there was 
 •only just scenery enough to play " The School for 
 Scandal." When Mr. Barnes left the theatre, two 
 years and a half afterwards, it was as w r ell stocked 
 with this important essential as any in the country. 
 
 Eose and Harry Watkins were the next stars, and 
 played to moderate business. John Brougham fol- 
 lowed, playing to only about S250 a night. F. S. 
 Chanfrau's average was about $50 better. The Flor- 
 ences, however, who were here two weeks, played to 
 fine business, a complimentary benefit, March 17th, 
 being attended by one of the largest audiences ever 
 seen in the theatre. 
 
 March 21st, first night of "Ixion," the burlesque 
 made popular by the Thompson troupe. This, pro- 
 duced at a large outlay, ran till April 2d without 
 interruption, averaging from $-100 to S700 a night. 
 April 7th, Mr. Albaugh took a benefit, and made his 
 last appearance at this place while it was under Mr. 
 Barnes's management. April 11th, Eddy began a 
 second engagement. 
 
 April 26th, ''The Black Crook' 1 was brought out, 
 with Bonfanti to lead the ballet, and ran eight times a 
 week, till May 21st, the business varying from $-400* 
 to 8700 a night. Miss Irving was the Stalacta. A 
 special boat was run to accommodate the Troy people, 
 who flocked in crowds to see the spectacle. k ' The 
 Black Crook " was first put on the stage at Niblo's 
 Garden, September 12th, 1866. and ran continuously 
 till January 4th, 1868, having 465 representations, the 
 gross receipts being $760,000. Two hundred and 
 eighteen persons were employed to run it, exclusive 
 
380 PLAYEKS OF A CENTURY. 
 
 of the dramatic corps. Mr. Wheatley, manager, hav- 
 ing nearly beggared himself in trying to produce the 
 legitimate drama, retired with an independent fortune. 
 0. M. Barras, the author, was also made a rich man, and 
 Jarrett & Palmer, who managed the ballet, were large 
 sharers in the profits of the enterprise. The spectacle 
 was several times revived, and reproduced with dimin- 
 ished magnificence, in all the principal cities of the 
 United States. " The White Fawn," " Leo and Lotus," 
 "The Devil's Auction," "The Twelve Temptations," 
 etc., were afterwards brought out, in the hope of 
 repeating the success of the "Crook," but in that the 
 limit of spectacular beauty had, apparently, been 
 reached, and all others suffered in comparison. 
 
 Thursday afternoon, May 12th, Parepa Kosa's Eng- 
 ligh opera troupe sang " The Bohemian Girl," at 
 doubled prices, to $740. This was a stroke of enter- 
 prise on the part of Mr. Barnes, who, knowing that the 
 company were to pass through en route for Boston, and 
 being in the midst of the "Crook," hit upon the idea 
 of an extra matinee performance, which worked 
 admirably. 
 
 The season closed May 21st, the receipts having 
 been, for January, $10,684; February, $8,186 ; March, 
 $9,663; April, $8,456: May, twenty days, $7,290. 
 Total, $44,281. 
 
 July 4th, Albert Aiken appeared in "The Witches 
 of New York," after which Kelly & Leon's minstrels 
 appeared for a week, and "Fernande" was also 
 produced. 
 
 The preliminary season of 1870-1, opened August 
 17th, with a ten-night engagement of Hernandez Foster 
 and his troupe of pantomimists, in " Humpty Dumpty," 
 the first time it had been produced in Albany since its 
 great success in New York. • The opening night's 
 receipts were $550, and business was good during the 
 entire engagement. 
 
 August 29th, Lydia Thompson made her first ap- 
 pearance in Albany, supported by Pauline Markham, 
 Belle Howitt, W. B. Cahill, Willie Edouin and others. 
 
PLAYERS OF A CENTURY. 381 
 
 During her three nights' engagement, "Liirline; or, 
 
 The Knights of the "Naiads," "Sinbad, the Sailor,' 7 
 "Nan, the Good for Nothing," and " Sonnambula," 
 were played, in all of which the star appeared. Ee- 
 ceipts from $600 to $800 a night. Lydia Thompson 
 was born in London, February 19th, 1836, and began 
 her professional career in the ballet of Her Majesty's 
 theatre, in 1852. For the last twenty years, she has 
 been identified with. English burlesque, which she 
 introduced, into this country, with all its allurements of 
 blonde wigs, shapely forms and " wocal welvet ! " The 
 troupe made its first appearance in America, October 
 5th, 1868, at Wood's museum, New York, in the bur- 
 lesque "Ixion." The company, as then constituted, 
 has never been equalled. Miss Thompson is the wife 
 of Alexander Henderson, a London manager. 
 
 The regular season opened Thursday, September 
 1st, with Boucicault's u Lost at Sea." C. K. Haskell 
 was treasurer ; George W. Stoddart, stage manager ; 
 L. Parlati, musical director : Walter Keeble, leading 
 man ; Hany Collins, juvenile : William L. Street, 
 heavy man ; Hany Clifford and E. Y. Ferguson, come- 
 dians ; S. L. Knapp, second old man : John Webster, 
 first walking gentleman ; Eosa Eand, leading lady ; 
 Mrs. Kate Eynor, first old woman ; Mrs. G. W. Stod- 
 dart, first juvenile and light comedy : Jennie Clifford, 
 chambermaid ; Nellie Young, first walking lady ; 
 Maggie Parker, Kate Collins, Mrs. Frank Goodman, 
 Little Susie Goodwin and others. Harley Merry, scenic 
 artist ; George Williams, carpenter ; Frank Goodwin, 
 properties ; Isaac Mcintosh, assistant ; E. C. Sterry, 
 chief usher. 
 
 Mr. Barnes had engaged E. F. Throne as leading 
 man, but at the last moment he broke his engagement, 
 and Mr. Keeble was substituted. William L. Street, 
 he of the rich voice, is dead. Harry Clifford, the 
 comedian, is in the variety business ; John Webster, 
 is the 'John Webster of the Salsburv Troubadours, 
 and Eosa. Eand has become a favorite leading lady in 
 the larger cities. 
 
382 PLAYEKS OF A CENTURY. 
 
 An advertising curtain, to fall between the acts, was 
 now shown for the first time. It was utterly at vari- 
 ance with the good taste which the theatre otherwise 
 displayed. 
 
 September 12th, Oliver Doud Byron began an en- 
 gagement in "Across the Continent." With the excep- 
 tion of a sort of dress rehearsal in Toronto, this was 
 the first time this play had ever been produced. Byron 
 came to Albany with fifty cents in his pockets, " put 
 up his own paper," and left with $600. Since that 
 start he has become wealthy. It was during Mr. 
 Byron's engagement that the Wednesday matinee 
 became a permanent institution. 
 
 September 19th, " Little Nell, the California Dia- 
 mond " (aged 14), began an engagement in Fred. Gr. 
 Maeder's play of " Katy Did." This little lady was a 
 clever imitator of Lotta's business, and has now retired 
 from the stage. 
 
 September 26th,. first appearance here of Robert Mc- 
 Wade as Rip Van Winkle. He was born in Canada, 
 but was raised in Buffalo, and made his debut in 1875. 
 Entering the army as a private, he rose, through brave 
 and honorable conduct, to a lieutenant's position. His 
 Rip is a clear imitation of. Jefferson's, but the latter had 
 not been seen here at this time, and with new scenery 
 made from Jefferson's models, McWade's engagement 
 was more profitable than the great original's, which 
 came after. 
 
 On the first of October, the United States revenue 
 tax of two per cent, on the gross receipts ceased to be 
 exacted. October 3d, Leona Ca vender in "Minnie's 
 Luck," written for her by John Brougham. 
 
 October 10th, Mrs. Scott-Siddons began an engage- 
 ment as Rosalind, and following as Julia and Juliet 
 (for her benefit as Iolanthe in " King Eene's Daughter " 
 and Juliana in "The Honeymoon"), and as Portia. 
 Eeceipts $3,000, for the week. This lady is the great 
 grand-daughter of the Mrs. Siddons, and, according to 
 Fanny Kemble, " her exquisite features present the 
 most perfect living miniature of her great grand- 
 
PLAYERS OF A CENTURY. 383 
 
 mother's majestic beauty." She was born in India in 
 1844, and was educated in Germany. Her first pro- 
 fessional appearance was at Nottingham, England, as 
 Lady Macbeth. Her first public appearance in America 
 was at Newport, as a reader, in 1868. Her first Ameri- 
 can appearance as an actress was at the Boston museum. 
 Her husband was originally Mr Canter, but his father 
 objecting to have that respectable name used on the 
 stage, the young husband had it changed legally to 
 Scott-Siddons, the first the maiden name of his mother, 
 the second, that of his wife. 
 
 October 17th, Joe Emmett in "Fritz," opening to 
 $743, and closing to $666 ; the week's business amount- 
 ing: to $4,331.15! 
 
 October 24th, Albert W. Aiken in "The Witches 
 of New York" and "Ace of Spades": Saturday 
 night, for the benefit of the Exempt Fireman's associa- 
 tion, "Married Life" and "Sketches in India" were 
 plaved, to $565. 
 
 October 31st, "The Field of the Cloth of Gold" was 
 produced and ran till November 12th. A farce 
 entitled "All Aboard the Great Eastern," written by 
 W. P. Hinds, of Albany, was also brought out. Then 
 Edwin Adams appeared : business running from $400 
 to $500 a night, Lotta in "The Little Detective," 
 "Little Nell and the Marchioness," " Captain Char- 
 lotte," and " Andy Blake," played to very large busi- 
 ness, one matinee amounting to S536.95, and evening 
 to $837.75; total, for one day, $1,374.70. During 
 Lotta's week the stock company appeared at the Wed- 
 nesday matinee in "The Willow Copse," to $211.95. 
 She was followed by Eose and Harry Watkins in their 
 specialties, and they by Frank Mayo, who played 
 Badger, UArtagnan, and in "Man and Wife," a play 
 which was continued by the stock company part of 
 the next week. The Lauri troupe of dancers appeared 
 next, and January 2d, 1871, the Richings English 
 opera troupe began an engagement, in which they sang 
 "The Bohemian Girl," to $649.25; "Martha," to 
 $951.25; "The Huguenots," to $947; "Maritana," to 
 
384 PLAYEES OF A CENTURY. 
 
 $765.75, and " II Trovatore," to $1,1 11. Mrs. Eichings 
 Bernard, Mrs. Seguin, William Castle, Henri Drayton, 
 Annie Kemp Bowler, Brookhouse Bowler, S. C. Camp- 
 bell and Bose Hersee were in the company. 
 
 For Stoddart's benefit, "Caste" was played, with 
 his brother, James H. Stoddart, as Eccles, and Mrs. 
 George W. Stoddart as Polly. Mr. J. H. Stoddart, 
 one of the best of stock actors, is three years younger 
 than his brother, though from playing "old man" so 
 much, is generally supposed to be much older. 
 
 The Zavistowski sisters appeared in " Ixion," etc., 
 and then the Florences in their specialties, including 
 a new play called "Schultz & Co." 
 
 January 30th, began the engagement of Janauschek, 
 who played Deborah, Bianca, Mary Stuart, Hermione, 
 in " A Winters Tale," (for the first time) and Lady 
 Macbeth. She was supported by Frederick Bobinson, 
 the receipts running nightly from $350 to $600. This 
 great actress is a Bohemian, and was born in Prague, 
 July 20th, 1830. She made her American debut at 
 the Academy of Music, New York, as Medea, October 
 9th, 1867. It is said that her early life was one 
 of privation and hardship, but that her intellect tri- 
 umphed at last, and from her debut as Iphzgenia, at 
 Frankfort, in 1848, her success has been assured. For 
 twelve years she was a favorite in that city and sub- 
 sequently appeared in Dresden and other cities of 
 Germany. At Moscow, the emperor gave her a diadem 
 of diamonds, and her jewels are said to exceed, in 
 value, those of any actress on the stage. Up to 1871, 
 she performed only in German, but after a return to 
 Germany and a tour of the continent, she determined 
 to act in English, and was now doing so, with great 
 success. Janauschek has been justly styled a grand 
 actress. Lacking the finish and grace of Bistori and 
 Bachel, she has excelled in the massive strength of 
 her personations. She is a disciple of what is termed 
 the northern school of art, and as such, knows no 
 equal in America, The heroic roles are hers by right, 
 although in more trifling parts she has shown herself 
 
PLAYERS OF A CENTURY. 385 
 
 an artist. Among the characters enacted by her with 
 success, have been Adrienne, Medea, Marie Stuart, 
 Brunhild, Bianca, Deborah, Emilia Galotti, Elizabeth, 
 Lady Macbeth, Catharine II, Hermione, Queen Katha- 
 rine, Iphigenia, and the dual role of Lady Dedlock and 
 Hortense. In private life Miss Fanny Janauschek is 
 Mrs. Frederic Pillot. 
 
 February 6th, re-engagement of Mrs. Scott-Siddons, 
 who appeared as Frou-Erou, the Duchess, in "Faint 
 Heart Never Won Fair Lady," and on Wednesday 
 gave readings : receipts, $350 to $550 per night. 
 
 February 13th, Robert McWade in "Rip." Febru- 
 ary 15th, a complimentary benefit was given to Mana- 
 ger Barnes, the usual letter being signed by Governor 
 Hoffman, and the members of the legislature. On 
 this occasion, " Golden Dreams, or the Member from 
 Schoharie," by an Albanian (W. P. Hinds), was brought 
 out, with local scenery. There was a good deal of 
 excitement about this play before it was produced, it 
 being rumored that it was a burlesque on certain 
 members of the legislature. The joke was carried so 
 far, that Manager Barnes was cited before Mayor 
 Thacher, and walked up to the City hall, carrying the 
 play with him. He assured the municipal authorities 
 that the legislature was quite safe from insult, as indeed 
 there was every reason why it should be. The law- 
 makers were " flush " in those days and liberal patrons 
 of the^theatre. The play was produced to a crowded 
 house, and proved a rather stupid affair. 
 
 February 20th, Walter Montgomery appeared, play- 
 ing Hamlet, Claude Melnotte, Louis XI, John Mildmay 
 in "Still Waters run Deep " ; John Casper Lavater in 
 "Not a Bad Judge," and Don Ccesar de Bazan. 
 Walter Montgomery > in the estimation of many, was 
 the most promising actor the country had ever seen. 
 He was a protege of Charles Kean, and an associate 
 with Douglas Jerrold, Charles Dickens and Mark 
 Lemon in their famous amateur performances. He was 
 a native of this country, having been born in 1827, in 
 Brooklyn, but was early taken to England, and 
 33 
 
386 PLAYERS OF A CENTURY. 
 
 educated at Norfolk. He had taken part in theatrical 
 representations in Windsor Castle, but made his debut 
 upon the public stage at the Princess's theatre in Lon- 
 don, under his mother's maiden name — Montgomeiy. 
 After a trip to Australia he managed a theatre in 
 Nottingham, and there introduced Scott-Siddons to the 
 public. It was a curious coincidence that they should 
 meet here in Albany, and play together as they did a 
 few nights later. A more beautiful pair was never 
 seen upon the stage. They appeared in "Romeo and 
 Juliet," "Much Ado about Nothing," "As You Like 
 It," (in the latter having the assistance of Jim Mace, 
 the pugilist, as Charles Vie Wrestler,) "Othello," and 
 "Lady of Lyons." This was an engagement long to 
 be remembered by the thousands who saw the wonder- 
 ful combination together. The actors never appeared 
 to better advantage, each bringing out all that was 
 beautiful in the other. Montgomery never played 
 here again. The story of his violent and untimely 
 death can better be told after the introduction of another 
 personage whom we shall soon have occasion to men- 
 tion. 
 
 March 13th, J. C. Campbell in "Pomp." March 
 20th, " The Sea of Ice " by the stock company, running 
 till March 31st, when "Eosedale" was played for Mrs. 
 Stoddart's benefit, previous to her retirement from the 
 stage. One week's business during the run of " The 
 Sea of Ice," amounted to $2,512.85. March 3d, Mr. 
 and Mrs. Barney Williams in their plays, including 
 "The Emerald Ring," by John Brougham. This was 
 prior to their immediate departure for Europe, and their 
 last appearance in Albany. 
 
 April 24th and 25th, Marie Seebach appeared as 
 Mary Stuart and Gretchen. supported by a German 
 company, to $585.50 and $950. This actress was born 
 in Riga, February 24th, 1835, and was educated at 
 Cologne for the opera. She married the tenor singer. 
 Albert Niemann, but was divorced from him before she 
 made the tour of this country. 
 
 After the benefits, among which, for the orchestra, a 
 
PLAYERS OF A CENTURY. 387 
 
 grand concert was given, with after-pieces, the season 
 closed April 29th. 
 
 A summer season began May 2d, with Bonfanti and 
 a pantomine compan}^ in " The Three Hunchbacks, " 
 which ran two weeks to from $350 to $600 a night, 
 and was succeeded by four performances of the Rich- 
 ings opera company, including ''Robert le Diable," 
 ,; Fra Diavolo," "Martha" and "Maritana." Then 
 came Pauline Markham's troupe, with gems from the 
 burlesques, and "The Black Crook," the Majiltons, 
 Young America, the violinist, etc. ; June 5th, compli- 
 mentary benefit to Walter Keeble. Bobert Butler's 
 «/ 
 
 pantomime troupe followed ; also Xewcomb & Arling- 
 ton's minstrels ; the Chapman sisters : the Wallace 
 sisters, and finally Miss Sally Partington. 
 
 The third season opened August 28th, with the Mrs. 
 Jas. A. Oates troupe, in " The Fair One with the Blonde 
 Wig," " Flower Girl of Paris." " Prima Donna of a 
 Night," and ; 'Nan"; "Daughter of the Regiment," 
 "An Alarming Sacrifice,' 1 "The King's Secret" and 
 •• Fortunio " ; business $250 to £100 per night. 
 
 September 11th, Jane Coombs appeared, supported 
 by Frederick Robinson and her own company. She 
 played the legitimate drama exclusively, to an average 
 of $250 a night. Miss Coombs, a pupil of Mrs. 
 Maeder, has been on the stage since 1856, and in 1862 
 played at the Haymarket theatre in London. In pri- 
 vate life she is Mrs. Brown. 
 
 The regular season began September 19th, with J. 
 S. Paterson as business manager : Benjamin Mallatratt, 
 musical director ; E. C. Sterry and H. J. MacDonnald, 
 ushers. The company was constituted as follows: 
 Leading business, Harold Forsberg and Lizzie Safford ; 
 juvenile business, Charles Waverly and Fanny Pier- 
 son : heavy business, J. W. Thorpe (who was also stage 
 manager) and E. C. McCall ; old men, F. R. Pierce, 
 J. H. Brown ; old women, Mrs. H. A. P'erry, Mrs. J. H. 
 Brown ; comedians, W. T. Melville and C. A. Dins- 
 more; chambermaids, Annie Wood, Lilly Prescott ; 
 walking business, W. A. Whitecar, Rosa St, Clair 
 
388 PLAYERS OF A CENTURY. 
 
 Marian Seymour, besides a number of others. Dollie 
 Bidwell was the first star. 
 
 September 25th, Lawrence Barrett appeared as James 
 Harebell in "The Man o'Airlie," Lagadere in "The 
 Duke's Motto," Elliot Oray in " Bosedale," and Richard. 
 He had appeared for one night only at Martin hall, this 
 same season, but to poor business, and has never been 
 rightly appreciated in Albany. At this time his best 
 night was $338. Mr. Barrett was born in New York, 
 m 1836, and his real name is Larry Brannig^" After 
 playing leading business at the Howard Athenaeum in 
 Boston, he went as captain in the Twenty-eighth 
 Massachusetts regiment, and after serving his country 
 with credit, resumed his profession. Mr. Barrett is r 
 beyond dispute, a fine tragedian, full of fire and vigor, 
 ambitious, intelligent and painstaking. His Richelieu 
 is one of the best on the stage and his Cassius, which 
 he played during the great revival of "Julius Caesar' 7 
 at Booth's theatre, was much admired. Mr. Barrett is 
 a special favorite in California, where he has passed 
 considerable time and was at one time manager in com- 
 pany with Mr. McCullough. He is a scholarly man, 
 highly respected in the literary circles of the country. 
 
 The week beginning October 2d, was State Fair 
 week, and the stock played in "A Life's Bevenge," 
 "The Sea of Ice," etc., to $2,999.55. October 9th, 
 Johnny Thompson began an engagement in " On 
 Hand.'' 
 
 October 12th (Thursday afternoon), the first benefit 
 given in the country for the relief of the Chicago 
 sufferers by the great fire, took place, Mrs. C. A. Wat- 
 kins, nee Ada Gray, appearing as Lady Freelove, in 
 " A Day After the Wedding." A check for the gross 
 receipts was forwarded. 
 
 October 16th, Ada Harland, an English girl of much 
 ability, appeared in "Lola," one of Fred. Maeder's 
 dramas. October 23d, T. Grattan Biggs appeared as 
 a star in "Shin Fane." Biggs was long with Captain 
 John Smith, at his concert hall, in the old Green street 
 theatre, and became quite a fair actor of Irish parts. 
 
PLA7ERS OF A CENTURY. 389 
 
 October 30th, Mr. and Mrs. Daniel E. Bandmann, 
 who, during their engagement, appeared in " Narcisse," 
 11 Faust," "Othello," "Nine Points of Law," "Happy 
 Pair," etc. Mr. Bandmann was born in Hesse Castle, 
 Germany, but early in life came to the United States, 
 and made his first appearance with an amateur com- 
 pany of Germans, at Turn Halle theatre, in New 
 York. Eeturning to Germany, he made his profes- 
 sional debut at the Court theatre of New Strelitz, and 
 after playing in Germany, Bohemia and Prussia, 
 returned to America and performed at the Stadt thea- 
 tre. His first appearance in English was at Niblo's 
 Garden, January loth, 1873, in the character of Shy- 
 loch In 1868, he appeared in London at the Lyceum 
 theatre, in his play of "Narcisse," the title role of 
 which he has made a specialty, and with which his 
 name has been more closely identified than any other 
 character in which he appears. Mrs. Bandmann, was 
 born Miss Millicent Palmer, and as such was favorably 
 known to the Liverpool and London stage, till her 
 marriage with the tragedian. During the season of 
 1879-80, they have been again playing in this country, 
 but with limited success. 
 
 During the production of "Faust," at the time of 
 which we write, there was a narrow escape from a 
 serious accident. It was in the temptation scene, where 
 a beautiful witch appears clad in — well, there was a 
 little gauze floating about her person, and she had her 
 shoes on. This reminiscence of St. Anthony was 
 attended with a display of fireworks, and as was very 
 likely to happen, the diaphanous toilet of the fair 
 tempter caught fire. For a moment the audience were 
 treated to a sensation not on the bills, but Forsberg, 
 the Faust of the evening, was equal to the situation. 
 Comprehending the danger, with one sweep of his 
 long arm, 4ie tore the burning drapery from the fright- 
 ened girl, and she sprang behind the scenes unharmed, 
 but apparently in pur is naturalibus. The next night 
 she was not so fortunate. Contrary to the order of 
 Mr. Barnes, fireworks were again used. Her drapery 
 
390 PLAYERS OF A CENTURY. 
 
 again caught fire, and this time, it was said, she was 
 severely burned. Her name was Lottie Angus. Delia 
 Ellis, a sister of "Sappho," and a charming soubrette, 
 was now added to the company. 
 
 Emmet came again, his business running from $450 
 to $700. Next, Charles Mathews, who played in 
 " Married for Money," "Cool as a Cucumber," "Mr. 
 Gatherwool," "If I'd £1,000 a year," "Patter vs. 
 Clatter," "Used Up" and "The Cricket"; receipts, 
 $250 to $400. Mr. Mathews was the only son of the 
 celebrated comedian, after whom he was named. He 
 was born in Liverpool, December 26th, 1803 ; made his 
 debut December 7th, 1835 ; married Madame Vestris in 
 1838, and came to the United States. He was the 
 original Dazzle, and his wife the original Grace Harka- 
 way in "London Assurance." In 1841-2 they man- 
 aged Covent Garden, and from 1847 to 1855, the 
 Lyceum. He then became a star. August 9th, 1856, 
 Madame Vestris died, and the following year he revis- 
 ited this country. He was married to Lizzie Weston 
 Davenport, the next day after she was divorced from 
 her husband, "Dolly" Davenport, and soon after was 
 publicly cowhided by that gentleman, in front of the 
 New York hotel. In 1870, Mr. Mathews began a tour 
 of the world, of which his Albany engagement was a 
 part He afterwards played in Calcutta, India, and 
 died June 24th, 1878. Although in his day a very 
 popular light comedian in England, he never suc- 
 ceeded as well in this country. He was the author 
 or adapter of forty-three plays and the "creator" of 
 161 parts. 
 
 November 20th, Joseph Jefferson in "Kip Yan Win- 
 kle ; " receipts running from $500 to $725. This was 
 his first appearance here since he played in the stock of 
 the Green street theatre, under Madame Marguerittes's 
 management, at $12 a week. Now the prices of 
 admission had to be raised in order to make his engage- 
 ment possible, and people would not pay them. It 
 was said he played to smaller houses here than in 
 almost any city he had visited. 
 
PLAYEES OF A CENTURY. 391 
 
 Lilly Eldridge, G. Swaine Buckley, Lotta, Edwin 
 Adams, the Bandmanns again, assisted by 'William 
 Creswick; C. W. Couldock, Gus. Phillips (in "Oofty 
 Gooft " ) Ada Gray and Marietta Bavel were the attrac- 
 tions at this time. There were also two nights of the 
 Parepa Bosa company, who sang ' : Martha" to $1,848, 
 and "La Gazza Laclra, " Mrs. Tan Zandt as prima 
 donna, to $1,125. 
 
 Caroline Richings Bernard, assisted only by her 
 husband and Henri Dayton and the stock company, 
 gave ' ; The Enchantress " and about this time religious 
 exercises were held Sunday evenings in the opera 
 house, by Rev. J. Hazard Hartzell, a Universalist. 
 
 February 5th, " Divorce " was brought out, with 
 Agnes Ethel. Ida Yerance and George Parks, from 
 the Fifth avenue theatre, in the cast, and ran two 
 weeks. This was a notable success, the first night 
 there being only $273 in the house, but the first week 
 footing up S3, 991. 75. and the second Monday night, 
 $701.75, and the second week. 83.487.25. Miss Ethel 
 one of the modern emotional actresses, was a pupil of 
 Matilda Heron, and was brought into public notice 
 under the management of Daly. She also played at 
 the Union Square, and in the midst of her triumphs, 
 retired from the stage to marry a gentleman residing 
 in Buffalo. George Parks was especially celebrated 
 for the set of his trousers, but was also well fitted in 
 the part assigned him in ••Divorce/' making a hit in it 
 which he never repeated here. 
 
 February 26th, " The Black Crook " was revived 
 and was performed twenty-four times. During its run. 
 Amelia TTaugh made her appearance as Stalacta. Miss 
 Rosa St, Clair declining the part after the first night. 
 The business ran from $300 to 8500. 
 
 March 18th, Edwin Forrest began his last engage- 
 ment in Albany, appearing as Richelieu, to $609. and 
 playing Virginias, to $461.50; Lear (twice), to 8839 
 and $832. and Hamlet (for the last time in his life), to 
 $440. The great tragedian was now in the sear and 
 yellow leaf. Forty -seven years had passed 
 
392 PLAYERS OF A CENTURY. 
 
 this very spot, he first gave evidence of the genius 
 which was in him. Then, though crude as an actor, 
 he was an athlete in strength and vigor. Now, while 
 in the great role of Lear he never played better, it was 
 performed under the real infirmities of old age. He 
 had actually to be carried down stairs from his dress- 
 ing room to the stage, but once there his personations 
 were grand to witness. Few who ever saw it will for- 
 get his last performance of Lear. He went from here 
 to Boston, where, after eight or ten nights, he was 
 taken ill and had to give up. Subsequently he 
 appeared in several cities as a reader, and for the last 
 time, December 7th, 1872, in Tremont Temple, Boston. 
 He died five days after, with his favorite dumb-bells in 
 his hands. 
 
 March 25th, Mrs. R S. Chanfrau. This lady's 
 maiden name was Henrietta Baker, and she was born 
 in Philadelphia, in 1887. She has been a great favorite 
 at Selwyn's theatre, in Boston, and other leading 
 establishments. She is best fitted for the domestic 
 drama, of which she is a charming exponent. She 
 played, faring her engagement, " Christie Johnstone," 
 " Isabel's Expiation, or the East Lynne Elopement," 
 and "Dora." 
 
 For Manager Barnes's benefit, Agnes Ethel appeared 
 in "Frou Frou," and Edward Eddy in "His Last 
 Legs," his last appearance in Albany ; receipts, $900." 
 
 April 8th, first production here of u Saratoga," 
 with Owen Fawcett, M.ary Gary, Kate Claxton, 
 Coralie Walton and Winnetta Montague in the cast. 
 The object Mr. Barnes had in getting up " Saratoga," 
 was to introduce Fanny Davenport (then the reigning 
 attraction at Daly's theatre), to the Albany public in a 
 style befitting her rank as an actress. The arrange- 
 ments for the play were complete in every respect. 
 The scenery and models were designed from sketches 
 taken on the spot. The great dining room at Congress 
 hall was represented even to a monogram on the china ; 
 the Congress spring was reproduced, and if it would 
 have in the least added to the effect, genuine mineral 
 
PLAYERS OF A CENTURY. 393 
 
 water would have been dipped from it. Daly, himself, 
 admitted that in this piece he was actually outdone, so 
 far as the appointments were concerned. But there 
 was a disappointment about Miss Davenport. For 
 some reason, Daly would not allow her to come, and 
 Barnes was at his wits' ends to find a substitute. One 
 morning, a tall, handsome woman sent in her card, 
 with the name Winnetta Montague written upon it. 
 She claimed to be an actress from Drury Lane, who 
 had not ) r et appeared in America. She had. evidently, 
 some talent as she certainly was fine looking, and, in 
 short, she was engaged to take Miss Davenport's part, 
 and did so satisfactorily, although by no means creat- 
 ing the sensation that the other lady was expected to. 
 The play itself w T as insipid, and proved a failure, but 
 it served to bring before the public one who had a 
 history, though she was slow to tell it. 
 
 Winnetta Montague was born in Cornwallis, Xova 
 Scotia, February 1st. 1851 : her real name w T as Bigelow. 
 She first appeared on the stage in the ballet of the 
 Boston theatre. There her handsome form and features 
 made captive a wealthy merchant named Arnold W. 
 Taylor, who educated her and married her. she becom- 
 ing his wife at the age of sixteen. Although sur- 
 rounded w T ith every luxury that heart could wish, her 
 old life had a fascination for her. She frequented the 
 theatre, and when the brilliant and gifted Walter 
 Montgomery appeared, they met, and she fell violently 
 in love with him. It has been said that he did not 
 encourage her, and it was not till thev were several 
 days out at sea, that he knew 7 she was on board the 
 steamer following him to Europe. But whether it was 
 at his request, as she asserted on her dying-bed, or 
 whether it w T as her own venture to lay siege to his 
 heart on ship board, the consequence was, that 
 on their arrival in England, they were married, in 
 September, 1871. The honeymoon had not waned ere 
 there was a revelation, as some say, to him, by means 
 of letters accidentally opened, that the Montague was 
 already married ; as he declared to her, that he had a 
 
394 PLAYEKS OF A CENTURY. 
 
 wife and child living. Whichever way it was, four 
 days after the wedding there was a stormy interview, 
 a pistol shot was heard, and attendants rushing in, 
 found Walter Montgomery a dying man. Whether 
 murdered or a suicide, has been a question never 
 settled. He was of the temperament which makes 
 suicide possible. The Montague attended his funeral, 
 wearing her bridal wreath, which she scattered in his 
 grave. In February, 1872, she came back to America, 
 and a few weeks later arrived in Albany as above 
 stated, and caused herself to be announced from Drury 
 Lane theatre. In reality, however, her appearance 
 here was her debut in a speaking part. She often 
 mentioned Montgomery, whose memory was green 
 among Albanians, and said there was one heart who 
 was dear to him in his last clays, etc., but never otherwise 
 alluded to her association with him. For her benefit, 
 she played an act of "Hamlet," and it was known 
 afterwards that she did so dressed in the dead actor's 
 clothes. She bought elegant dresses (on North Pearl 
 street) which she wore in " Saratoga," but never paid 
 for, and they were taken from her when the play was 
 over. She read for the benefit of the Young Men's 
 Christian Association, and made the acquaintance of 
 several clergymen by so doing; she sang in the Cathe- 
 dral choir; in short, she was quite the rage here for a 
 brief period. Meantime, James Ward, the goocl-looki ng 
 Irish comedian, was playing at the Capitol theatre. 
 He made her acquaintance and in a short time, in pri- 
 vate life, she bore his name. They played a number 
 of star engagements at that theatre and then they left 
 Albany. Afterwards, there was some scandal about a 
 Jersey City official, who fell a victim to the lures of the 
 merry Montague. But the end came, and she died in 
 New York, May 27th, 1877, her beauty a wreck, her 
 means exhausted. She was buried by the charity of 
 the profession. 
 
 Kate Claxton (Mrs. Dore Lyon) is the daughter of 
 Col. Spencer W. Cone, and the grand daughter of 
 Eev. Spencer H. Cone, once an actor, but later in life 
 
PLAYERS OF A CENTURY. 395 
 
 an eminent Baptist divine. She made her debut in 
 Chicago, and soon after joined Daly's company, and 
 from thence went to the Union Square theatre, where 
 she won her greatest fame as Louise in ik The Two 
 Orphans." It was while playing that character at the 
 Brooklyn Park theatre, December 5th, 1876, that the 
 building caught fire, and out of an audience of about 
 one thousand, 291 persons perished, as did H. S. Mur- 
 doch and Claude Burroughs, of the company. 
 
 " Saratoga " ran till April 22d, when '-Divorce " was 
 revived, with Agnes Ethel, Ella Deitz. Winnetta Mon- 
 tague and Fred. Marsden in the cast, and was kept on 
 till April 2 7 tk 
 
 The regular season having closed. E. C. McCall took 
 a benefit, April 29th, at which Miss Montague played 
 Lucy and Charley Kane, the old favorite, Puffy in " The 
 Streets of New York." and Mrs. Margaret B. Moore 
 gave readings from a As You Like It.*' 
 
 April 30th, a company from New York produced 
 ' ; The Veterans," ''No Thoroughfare" and "Ours." 
 May 13th, the Abbott pantomime company appeared 
 with some other attractions. 
 
 And this closed the administration of Manager 
 Barnes, who, in spite of good business, found himself 
 so much embarrassed, that he could not possibly go on. 
 Many causes led to this result. In the first place, the 
 theatre cost much more than the estimate, and having 
 too small a capital to begin with, and being obliged to 
 pay his indebtedness at the rate of seventeen per cent. 
 per annum, besides meeting all other expenses caused 
 by the liberal manner in which the theatre was con- 
 ducted, soon. wound him up. The following figures, 
 however, show the business which was clone : 
 
 Receipts for year ending December 31, 1870, 891,5-46 53 
 Receipts for year ending December 31, 1871, 84,638 40 
 Receipts for six months ending July 31, 1872, 38,584 10 
 
 Total, two and a half years 8214,769 03 
 
 The property was now heavily mortgaged to Aaron 
 
396 PLAYERS OF A CENTURY. 
 
 Richardson, and also to the Lelands, the former run- 
 ning it for a time, with the assistance of acting man- 
 agers, of whom H. J. MacDonnald, who afterwards 
 held a position in the State hall, was one. Mr. George 
 Wren (at present assemblyman from Kings countj^, 
 and a member of a well-known theatrical family), was 
 another. Still another was George Clair, who, after 
 serving as such less than two weeks, died suddenly, 
 January 10th, 1873, of a rush of blood to the head. 
 Some changes in the internal arrangements of the 
 house were made ; the seats on the lower floor being 
 all changed to opera chairs, except a space in the rear, 
 occupied by ten stalls. The latter were never liked 
 and have since been removed. It was announced in 
 November, 1872, that Augustin Daly, of New York, 
 had leased the theatre, and the Aimee opera bouffe 
 company appeared here with his name at the head of 
 the bill, but the negotiations fell through. Richardson 
 was not a popular man and bis connection with the 
 establishment cast a shadow upon it, which was a curse 
 to the place for years. Every effort to dispossess him 
 was fought with bull-dog pertinacity, and a series of 
 litigations followed, which it would take a volume 
 larger than this to report in full. 
 
 On the 26th of November, 1873, Mr. J. W. Albaugh 
 assumed the management, subsequently leasing the 
 property from the Lelands, who, at last, had acquired 
 title to it, and changed its name to the Leland opera 
 house. Of Mr. Albaugh's administration, it will be 
 time enough to write when it is ended. It may be 
 said, however, that while the theatre has been in his 
 hands, Albanians have had opportunities to witness 
 the finest acting this country affords, and if they have 
 not enjoyed them, it has not been the fault of the 
 management. It is true, that the system of stock com- 
 panies has been done away with, but this is the case 
 in all cities, except the very largest, and whether for 
 good or evil, the public must, for the present, accept 
 the fact. When the list of "stars' 7 and " combina- 
 tions " which have appeared at the Leland is considered, 
 
PLAYERS OF A CENTURY. 397 
 
 no theatre in America makes a better showing. Of 
 Mr. Albaugh's personal popularity, we have spoken in 
 another chapter. Having now three theatres upon his 
 hands, the actual management of the Leland devolves, 
 in a great measure, this season (1879-80), upon Mr. 
 Fred. A. Du Bois, a competent and courteous gentleman. 
 When some future historian of the drama in Albany, 
 takes up the pen where we lay it down, it is to be 
 hoped Mr. Albaugh's balance on the right side of the 
 ledger will be found commensurate with his efforts 
 in behalf of legitimate, high-toned and healthful 
 amusements. 
 
 34 
 
398 
 
 CHAPTEE XXVIII. 
 
 Tweddle Hall — Martin Opera House. 
 
 TWEDDLE hall, though never a theatre, is con- 
 nected with the history of the stage in Albany, 
 from the fact that owing to a lack, at times, of a suit- 
 able place for dramatic performances, certain actors 
 have appeared there, and worried through as best they 
 could, on the cramped stage, devoid of scenery, and, 
 at one time, even without a drop curtain. Tweddle 
 hall was first opened to the public June 28th, 1860. 
 It stands on the northwest corner of State and Pearl 
 streets, or what has, at times, been known as the Elm 
 tree corner and the Webster corner. Up to the year 
 1793, the spot was occupied by a frame tavern known 
 as " The Blue Belle," which, thereafter, was used by 
 Charles K. and George Webster, as a book-store and 
 printing office. There the Albany Gazette and Daily 
 Advertiser were printed most of the time they existed. 
 The property having been acquired by Mr. John 
 Tweddle, president of the Merchants' bank, the old 
 structures were demolished, the work beginning Thurs- 
 day, May 5th, 1859, preparatory to building the noble 
 edifice which now adorns the spot. The architect was 
 H. N. White, of Syracuse, but the work was done by 
 Albanians : Robert Aspinwall, mason ; John Ken- 
 nedy, carpenter; William Gray, stone-cutter. The 
 dimensions of the building, which is of Connecticut 
 free-stone, are 88 feet on State street, and 116 on Pearl 
 street. The total cost of edifice and lot was $100,000. 
 The lower stories are devoted to stores and offices, but 
 over all is a fine hall, 100 by 75 feet, which will seat, 
 comfortably, 1,000 people. When there was no theatre 
 
PLAYEKS OF A CENTURY. 399 
 
 in the city, the hall was kept destitute of curtain and 
 scenery, because of the increase of the cost of insur- 
 ance where they are used. Now, however, it has both. 
 
 The hall was opened with a farewell, complimentary 
 concert to George William Warren, in which Mr. and 
 Mrs. Henri Drayton and local talent took part, Mr. 
 William D. Morange read the dedicatory address, 
 full of wit, humor, reminiscence and poetry, written 
 by himself. 
 
 We have no intention or desire to even so much as 
 mention the thousand-and-one lectures, readings, con- 
 certs, minstrel shows, balls and meetings that have 
 taken place in Tweddle hall, but there are a few events 
 which cannot well be passed over in a history of this 
 kind. The first dramatic entertainment given here 
 was December 25th, 1861, under the management of 
 John T. Kaymond, who brought out Edward Eddy for 
 one night. Mr. Raymond had tried managing in 
 Albany before, at the Gayety, and had no reason to 
 like it. He was born, according to Brown's History 
 of the Stage, at Buffalo. April 5th, 1836, and his 
 right name is John O'Brien. He was educated for 
 mercantile pursuits, but not finding " millions in it," 
 made his debut at Rochester, June 27th, 1853, and there- 
 after followed the stage for a living. As Asa Trenchard, 
 in " Our American Cousin," he made quite a hit at 
 Laura Keene's theatre in 1861 and afterwards played the 
 part with Sothern in England. It was not. however, 
 till he came out as Col Sellers, in Mark Twain's play, 
 that he gained a national reputation. Probably no 
 man living could better represent the character, and 
 certainly there is no known character Raymond can 
 better represent. Since that has palled on the public 
 taste, he has tried several others, prepared expressly 
 for him, but none seem to fit. As Sellers he represents 
 a type which all recognize and are ready to laugh at, 
 on sight. But of pathos he is painfully destitute, and 
 lacking that corresponding element, so absolutely 
 necessary to a true comedian, he remains a laugh- 
 maker, and that is all. 
 
400 PLAYERS OF A CENTURY. 
 
 September 14th, 1863, was the first appearance in 
 Albany of Edwin Booth, who also came under the 
 management of Raymond, opening in Hamlet, and 
 playing Richelieu, Othello, Sir Edicard Mortimer and 
 Petruchio, and Shyloch He was supported by Char- 
 lotte Crampton, Ada Clifton, George Jamieson and 
 Mrs. D. Myron. Prices of admission, 50 and 75 cents. 
 The short season closed September 21st, with "Our 
 American Cousin," Eaymond as Asa Trenchard. 
 
 Edwin Forrest Booth was born at his father's country 
 seat, Belair, Maryland, in November, 1833. When a 
 mere boy, he accompanied his father in his travels as 
 his dresser, studying with and caring for him. His 
 first regular appearance on the stage was made at the 
 Boston museum, in a minor part in "Richard III., ,r 
 September 10th, 1849. On the 27th of September, 
 1850, he appeared in "The Iron Chest," as Wilford 7 
 for his father's benefit, at the National theatre in New 
 York. After the death of his father, young Booth 
 went to California and engaged for utility business; in 
 1854 he went to Australia and the Sandwich Islands. 
 Returning to New York, he burst upon the town at 
 Burton's theatre, Ma}' 4th, 1857, as Richard III., and 
 has ever since been recognized as one of the fore- 
 most of American tragedians. In July, 1861, he 
 married Mary Devlin, and sailed for England. Three 
 years after, she died. She was a native of Troy, and 
 made her debut as a danseuse of the Troy museum. 
 On the 28th of November, 1864, Mr. Booth began an 
 engagement at the Winter Garden, in New York, as 
 Hamlet, which he played 100 nights. His second wife r 
 whom he married June 7th, 1869, was the little Mary 
 McVicker w r ho appeared at the Green street theatre as 
 a sort of musical prodigy. She is the. daughter of 
 Manager McVicker, of Chicago. In the absence of 
 greater actors, Edwin Booth has been accepted for 
 more, probably, than the critics' final verdict will 
 award him. He has had youth, beauty, and inherited 
 talent, if not genius, for his aids. He has been a deep 
 and careful student. All the minutiae of the stage he 
 
PLAYERS OF A CENTURY. 401 
 
 has mastered. His readings are all that can be desired; 
 his gestures and poses are grace itself ; in all his roles 
 he is admirable, and yet, who that sees him ever 
 forgets that he is acting, or believes for a moment that 
 he is the character he represents? The headlong 
 impetuosity with which the elder Booth swept to his 
 triumphs, carrying audience and all before him, is 
 lacking. Mr. Booth is not a great actor in the sense 
 that his father, or the elder Kean, or George Francis 
 Cooke, the model of both, were great actors. At the 
 same time, he is an ornament to the stage, and one of 
 which America may well be proud. In private life, 
 Mr. Booth is said to be a singularly reserved and silent 
 man. It is not strange. Over his life, from boyhood 
 up, have hung clouds of the darkest gloom, out of 
 which darted one thunderbolt, that almost paralyzed 
 a nation. Through all his trials, and amid assaults as 
 dastardly as they were uncalled for, Edwin Booth still 
 enjoys the respect and honor of his countrymen. 
 
 The Academy of Music was opened December 22d, 
 1863, but occasionally dramatic representations con- 
 tinued to be given at the hall. February 29th, 186-1, 
 James H. Hackett began a short engagement as Falstaft] 
 but was poorly patronized, one reason being that only 
 the month before he had been announced to read for 
 the Young Men's association, and unaccountably broke 
 his engagement. This was the last appearance in 
 Albany of this great comedian. 
 
 November 16th, 1866, Maggie Mitchell played Fan- 
 chon and Little Barefoot, as we think, for the first time 
 in Albany. Maggie Mitchell was born in 1837, and 
 appeared for the first time on any stage at Burton's, 
 June 2d, 1851, as the child Julia in " The Soldier's 
 Daughter," for Mrs. Skerrett's benefit. She afterwards 
 played frequently in New York, but found greater favor 
 in the south and west. In 1860, Aug. Waldauer, a prom- 
 inent musician of St. Louis, translated from the Ger- 
 man, a play founded on "La Petite Fadette," of George 
 Sand, written originally, of course, in French. This 
 he submitted, under the title of "Fanchon, the Cricket," 
 
402 PLAYEKS OF A CENTURY. 
 
 to Miss Mitchell, who accepted it, and has since made 
 the title role her greatest character. It was first pro- 
 duced at the St. Charles theatre, in New Orleans, in 
 1860, and June 9th, 1862, at Laura Keene's theatre 
 New York, Miss Mitchell leasing the building for that 
 purpose. J. W. Collier was the Landry ; A. EL Daven- 
 port, Diddier ; J. H. Stoddart, Father Barbeaud ; Mrs. 
 Hind, OldFaidet; and Mrs. J. H. Stoddart, Madelon. The 
 play ran for four weeks, and from that time forward 
 has been the leading feature in Miss Mitchell's reper- 
 tory. Dramas have been written for her by the score, 
 to be tried and to be thrown aside. Those which have 
 been retained are nearty all of them the work of Mr. 
 Wauldauer. Her characters are in a great measure her 
 own creations; from the simplest elements she builds 
 & personation peculiar to herself. Little Barefoot, for 
 instance; nothing could have been more barren of 
 characteristic or incident than that role when first 
 placed in her hands, and yet she has moulded it into 
 one of the most touching portraitures of the stage. 
 As our record shows, in her earlier days she played a 
 great variety of parts, and her personation now of 
 Jane Eyre shows her ability to act something besides a 
 child's part : but it is as Barefoot and Fanchon especially 
 that she lives in the hearts of the people. Of the 
 latter character in particular, poets and essayists are 
 never tired of writing. It is one of those perfect bits 
 of acting before which even the chronic fault-finder 
 is dumb and opens not his mouth. No play and no 
 player of the present period have so long retained 
 their popularity as "Fanchon "and Maggie Mitchell. 
 Miss Mitchell was married at Troy, October 15th. 
 1863, to Mr. Henry T. Paddock, of Cleveland, and is 
 the mother of two or three bright and beautiful children. 
 It is a pleasure to record that this season of 1879-80 
 is as brilliant and profitable to her as any of the many 
 that have preceded it. 
 
 March 14th, 1867, Parepa Eosa appeared in concert 
 with Carl Eosa, J. B. Thomas and S. E. Mills, for the 
 benefit of the fire department. Euphrosyne Parepa 
 
PLAYERS OF A CENTURY. * 403 
 
 was born in Edinburgh, in 1836. Her father was a 
 Wallachian nobleman named Greorgiades de Bo} r escue ; 
 her mother was Elizabeth Seguin. The father dying, 
 left his young widow dependent upon her own effort 
 for support, and adopting the profession of music, she 
 trained her daughter in the art. Her debut was made 
 at Malta, under the stage name of Parepa, in 1855, as 
 Amina, in u La Sonnambula." After two j^ears sing- 
 ing in the south of Europe, she appeared in London, 
 and in 1863, married Captain Carvell, of the East 
 India service, and retired from the stage. Her domes- 
 tic life was brought to a close by the death of her 
 husband in 1865, and the loss of all her property. In 
 September, of that year, she came to America, under 
 H. L. Bateman's management, and sang; in concert 
 with unbounded success. Her efforts in oratorio 
 created great enthusiasm, no singer since Jenny Lind 
 having been received with greater popular favor. She 
 also appeared occasionally in Italian opera. She mar- 
 ried Carl Rosa, the violinist, and in 1869, organized 
 the best English opera company ever heard in America, 
 and with which she travelled successfully for three 
 seasons, appearing for the first time in Albany, in 
 opera, January 8th, 1870, at this hall, in " The 
 Marriage of Figaro.*' Her very large figure was 
 not adapted to the stage, but her audience forgave 
 every thing for the sake of her glorious voice and 
 her unvarvino; good nature and kindness of heart. 
 In 18 f 2-3, she was a member of the Italian company, 
 at the khedive's palace in Cairo, and the next season 
 was intending to make the tour of England and come 
 again to America, but she died in London. January 
 2Lst, 1874, lamented by thousands in both hemispheres. 
 On the 20th of April, 1867, Bistori played Mary 
 Stuart and December 27th of the same year, Elizabeth. 
 Adelaide Ristori, marchioness del Grillo, was born in 
 1821, at Cividale in Friuli, Italy. She came of a 
 family of actors, and Avas brought up upon the stage, 
 playing corned}' at first, and after her marriage, tragedy. 
 4 ' Ristori ! " wrote Jules Janin — u she is tragedy itself. 
 
404 PLAYERS OF A CENTURY. 
 
 She is comedy itself. She is the drama." Charlotte 
 Cushman sent word across the Atlantic : "The world 
 does not hold her equal." She first appeared in Paris 
 in 1855, and has twice visited the United States, in 
 1867 and in 1875. It is probable that she may come 
 again. 
 
 March 18th and 19th, 1868, Charles Dickens read 
 The Christmas Carol, and Trial from Pickwick, Dr. 
 Marigold, and Bob Sawyer's Party ; tickets, $2. May 
 14th-16th, three nights of Edwin Booth; September 
 15th, Fanny Kemble Butler's readings. 
 
 April 14th, 1869, Clara Louise Kellogg in concert, 
 Clara Louise Kellogg, according to the cyclopaedias, 
 was born in 1842, at Sumter, South Carolina, of New 
 England parentage; read difficult music at sight when 
 only seven years old and made her debut in opera, in 
 1861. Her career in both English and Italian opera, 
 is well known. 
 
 October 27th, Edwiti Forrest appeared as Richelieu, 
 played without scenery or drop curtain, an American 
 flag being dropped between each scene. 
 
 In the summer of 1872, the hall was transformed 
 into an "opera house;" that is, orchestra chairs were 
 put in, the seats behind them were elevated in tiers, 
 and the stage was enlarged and beautified with scenery, 
 curtain and private' boxes. The exits also were 
 improved. It was opened November 12th, with read- 
 ings bv Mrs. Scott-Siddons, and has since received its 
 share of patronage. 
 
 In 1879, under the agency of William Appleton, 
 Jr., a floor was arranged to go over the seats, so 
 that it is again used for dancing, and a scheme has 
 been devised by which more room is given to per- 
 formers on the stage. It is a very handsome hall and 
 a favorite with the managers of the higher class of 
 entertainments. 
 
 Martin opera house, as it is now termed, is the large 
 hall in the upper part of the building erected by 
 George Martin, in 1870, corner of Beaver and South 
 Pearl streets and running back to William street. 
 
PLAYERS OF A CENTURY. 405 
 
 The main floor is reached by two flights of stairs, from 
 the street. Martin's new hall, as it was first called, 
 was opened by a grand ball of the Burgesses corps, 
 February 21st, 1871. The first dramatic performance 
 was for Frank Lawlor's benefit, March 2d (before 
 mentioned). General John S. Dickerman was the 
 first agent for the hall, and managed to secure a large 
 number of travelling combinations to appear there. 
 
 Perhaps the most note-worthy event, was the appear- 
 ance, February 14th, 1872, of Nilsson as Lucia, in 
 Italian opera, supported by Brignoli. Christine Nils- 
 son (Mine. Eouzaud) was born at Hussaby, Sweden, 
 August 3d, 1843. Her father, a peasant, conducted 
 the music of the little village church, and played the 
 violin. From him Christine and her brother Carl 
 picked up a little idea of the art divine, and going to 
 sing and play at the fairs in the market town, Chris- 
 tine's remarkable voice attracted the attention of a 
 magistrate, who interested himself in her behalf, and 
 thus she came to be musically educated. After study- 
 ing at Stockholm and Paris, she made her debut in the 
 latter city, in "Traviata," in October, 1864. In June, 
 1867, she appeared in London, and in September, 1870, 
 in New York. Her marriage with Auguste Eouzaud, 
 a merchant of Paris, took place at Westminster Abbey, 
 in July, 1872. She was again in the United States 
 in 1873-4. 
 
 On the 11th of March, 1872, at 9 o'clock in the 
 morning, fire broke out in the upper part of Martin 
 hall building, and did damage to the amount of several 
 thousand dollars. Repairs were made during the 
 summer, and the hall was reopened August loth, with - 
 a concert by Sullivan's band, under the auspices of the 
 Jackson corps. It was said the repairs and improve- 
 ments had cost $50,000. General Dickerman continued 
 as agent, and the first dramatic performance to follow 
 the fire was given September 13th and 14th, by John 
 E. Owens and company. Many notable engagements 
 have been played here, among them the first appear- 
 ance in Albany of George L. Fox, the famous Humpty 
 
406 PLAYERS OF A CENTURY. 
 
 Dumpty clown, who played a week in September to 
 $6,000. In October, Charlotte Cushman appeared 
 here for the last time in Albany as an actress, playing 
 Lady Macbeth. Meg Merrilies, and Queen Katherine. She 
 subsequently gave readings on the same stage, Novem- 
 ber 27th. 
 
 The hall is a favorite with minstrel and variety 
 troupes on account of its size ; but it is identified with 
 no class of amusements in particular, all sorts being 
 given there, from grand opera to sparring matches. It 
 is provided with a false floor, by which seats are raised 
 in tiers, or they can be removed when the room is 
 required for dancing. Mr. Theodore Mosher is now 
 the agent. 
 
407 
 
 OHAPTEE XXIX. 
 
 Conclusion. 
 
 IN putting together the record of which the preceding 
 chapter is the conclusion, the compiler, warned by 
 the endless diversions which some dramatic historians 
 have inflicted on their readers, has endeavored to 
 refrain from moralizing, or otherwise protruding his per- 
 sonal views upon many phases of the subject, which 
 have temptingly presented themselves, feeling assured 
 that the intelligent reader — and his readers, of course, 
 are all intelligent — is fully competent to make his 
 own comment, draw his own inference, and formulate 
 his own opinion. In view of this amiable forbearance, 
 a few reflections may now, perhaps, be tolerated, or at 
 the worst, like many another "moral," be skipped 
 altogether, and the narrative lose nothing, and the 
 reader — not much. 
 
 In looking over the dramatic history of a century, 
 the most natural question that arises is, " Has the 
 stage degenerated ? " a question still sur les tapis, as it 
 has been ever since Eoscius was an actor in Eome. 
 They were averring the fact in .Shakspeare's time; 
 Colley Cibber deplored it almost as much as the 
 Cockney school of 1817 did four-score years later; 
 while Carpenter and the critics who have succeeded 
 him in America, have, as a rule, echoed the lamen- 
 tation of their English brethren, down to the present 
 time ; each generation in turn glorifying the one or 
 two next preceding it. Now either the Drama must 
 have been, like our first parents, perfection to start 
 with, in order, after centuries of deterioration, to 
 exist in its present bj^ no means despicable state, or 
 
408 PLAYERS OF A CENTURY. 
 
 else its degeneracy has been somewhat over- stated. 
 Let ns not forget, then, after all, that thi& doleful jere- 
 miad may be, in part, only the endless refrain of "the 
 good old days," heard everywhere, about every thing; 
 the recollection of u the light that never was on sea or 
 land " — the reflection of " the Heaven that li'es about us 
 in our infancy," and which gilds the play-house of our 
 youth with a glory never equalled in later years. For 
 " in the light of common day," it must be admitted 
 that in many respects the theatre has kept up with 
 the march of modern improvements which has char- 
 acterized the last century. In the matter of machinery, 
 scenery and appointments, an advance has been made, 
 which all will admit. In front of the curtain, too, the 
 changes have been equally as great, and quite as im- 
 portant. The loud and noisy pit, so boisterous at 
 times as to drown the voice of the actor, is heard no 
 more ; the occupants of the boxes no longer feel at 
 liberty to spit upon the people below them, and the 
 "third tier, " of which it is a shame, almost, to speak, 
 seems to-day as much of an impossibility as African 
 slavery. It is extremely doubtful, indeed, whether, if 
 the finest acting of which we have any account, were 
 reproduced in 1880, with all the circumstances and 
 customs attending it a hundred years ago or less, 
 money enough would be taken at the door to pay the 
 — not gas, but oil bill. 
 
 But our pessimists while admitting all this, still 
 shake their heads and ask : Where are the great 
 actors? How thrives tne legitimate drama? And so 
 far as tragedy and tragedians are concerned, we may 
 well echo: Where, indeed? For of all the changes 
 in theatrical fashions during the last thirty years, the 
 decline of tragedy is the most apparent. From being 
 the central feature of the drama, it is now only revived 
 at intervals, to display the talent of some individual 
 performer. It is said by some, that this is because 
 there are no tragedians, but there are none simply 
 because there is no demand for them. When George 
 Frederick Cooke, the greatest tragedian America has 
 
PLAYERS OF A CENTURY. 409 
 
 ever seen — came to these shores, it was because he was 
 
 wanted here, and coming, was appreciated, even in 
 
 rums as he was. The elder Kean was much run after, 
 
 till he brought disgrace upon himself, and the elder 
 
 Booth drew crowded houses when nothing but his 
 
 wreck remained. The later coterie of American 
 
 tragedians, Scott, Adclams, Eaton, and Forrest, each 
 
 had Ms partisans, who thronged the theatre to applaud 
 
 their favorite when he appeared, and to criticise his 
 
 rivals, when they came. But these, all but Forrest, 
 
 fell by the way. and he lived to find himself much 
 
 neglected. Tragedy has little in keeping with frivolity, 
 
 and frivolitv is the characteristic of the aee. The 
 1/ ... ^ 
 
 humorist is the best paid man in literature : the bur- 
 lesque writer, the most fortunate of playwrights. Each 
 newspaper keeps its funny man, who is permitted to 
 write every thing from head-lines to leaders, while the 
 reporter, who cannot caricature as well as chronicle, is 
 of little value. The lawyer ornaments pleas with 
 puns: the judge renders his decision with a Pinaforic 
 epigram : jurymen's hearts are won with a merry tale, 
 and the prisoner himself goes laughing to the scaffold. 
 From the clown in the ring to the clergy in the taber- 
 nacle, the object in life is to create a laugh. In such an 
 era of universal cachin nation, it is not strange that 
 tragedy, the study of the deepest passions of the human 
 breast, should drop from the category of populai 
 amusements : and with its representatives no longer in 
 demand, the supply fails, nat^ally. or. at least, is not 
 manifest. To be sure, the race has not entirely died 
 away, and never will. We still have Edwin Booth, an 
 intellectual reflection of his fathers genius: McCul- 
 lough, apt scholar in the school of Edwin Forrest, and 
 Barrett, ambitious, refined and scholarly- -ill three good 
 actors — not great. Charlotte Cushman. as yet. has no 
 successor, unless it be Mary Anderson, of whom, 
 although there is every thing to hope, it is not time to 
 speak with certainty. 
 
 The people want to laugh, but they do not laugh at 
 the same plays which amused their predecessors. With 
 
410 PLAYERS OF A CENTURY. 
 
 tragedy has gone, also, its concomitant, the old-fashioned 
 one-act farce, with its broad grimace and broader jest, 
 and this is not greatly to be deplored. There is no 
 reason to lament over the fact that decency is, to-day, 
 obligatory upon managers and actors ; that the vulgar- 
 ity of Barnes, of Hilson, of Burton, and of most of the 
 old time comedians, would not be countenanced in an 
 ordinary variety show ; that the indelicacy which used 
 to set the pit a-roaring, has gone out, and with it much 
 of the profanity with which genteel comedy was 
 interlarded. 
 
 "But is the stage any the more moral? ?1 interrupts 
 our desponding friend; " I admit that Kabelais is no 
 longer read, but are not Ouida's novels still selling? 
 How about 'Camille,' and the scores of French emo- 
 tional dramas, of which it is the type? What can you 
 say to two or three years of ' Black Crook ? ' Bern em- 
 ber and explain, if you can, the abnormal growth of 
 blonde, dyed and padded burlesque ! Palliate, if you 
 dare, the rottenness of ' Champagne and Oysters,' and 
 the other French dishes which have been so popular. 
 Apologize for " — 
 
 We beg to be excused. There is no more reason 
 why we should do so than in exalting the present 
 cleanliness of English literature, compared with the 
 days of Smollett, Sterne, and Fielding, we should be 
 brought to bay with questions about the Police Gazette 
 and the Shady Side library. There is this to be said : 
 That while there are enough people in the great cities, 
 who revel in uncleanliness, to make it profitable for some 
 managers to prostitute the stage, the growing tendency 
 of the times is against it. It is worth while to notice 
 that most of the objectionable features above mentioned 
 are to be spoken of in the past tense. "Camille," to 
 be sure, has reached the dignity of a standard drama, 
 but its morality is stoutly defended by excellent per- 
 sons. a The Black Crook," while, like all mere spec- 
 tacles, demoralizing to dramatic art, owed less of its 
 success to nudity than was at first supposed. Without 
 its magnificent settings, managers undressed women, 
 
PLAYERS OF A CENTURY. 411 
 
 and exhibited them to benches as vacant as the legiti- 
 mate drama is sometimes played to. English burlesque 
 transformed into the American article, although still 
 presenting comely shapes, is as carefully guarded from 
 double entente as the columns of a religious news- 
 paper — more so than some that could be named. 
 The French farcical comedies were indefensible and 
 therefore short-lived. But this is a digression. 
 
 Admitting the decline of tragedy, we come to 
 comedy, and just who are comedians it is a little diffi- 
 cult to say. All players were once called such, but 
 under that head Jefferson as Rip Van Winkle. Maggie 
 Mitchell as Fanchon, and Frank Mayo as Davy Crockett 
 may well be placed: and, of course, Denman Thomp- 
 son as Joshua Whitcomb. And with such representa- 
 tives, Ave may proudly look back upon preceding 
 generations, and ask, Where have these actors been 
 . excelled ? It may be said that these are single parts and 
 that their representatives are eminent in nothing else 
 — which may, in part, be true, and, in part, is not true. 
 So far as the argument is concerned, it does not matter. 
 The times have changed since the elder Booth played 
 Hamlet and Jerry Sneak on the same evenings. The 
 public no longer care for versatility, and have ceased 
 to expect it. As some one else has said, E. L. Daven- 
 port would have been a greater, had he not been so 
 good an actor: that is, he played so many parts so 
 well, he became identified with none. We are to look 
 at the stage as it is: and on it we find, not alone those 
 just mentioned, but others doing certain parts as well 
 as any parts have ever been done, at any time in the 
 drama's history. Without regard, then, to how much 
 any one actor contributes to the result, as fine playing 
 can be seen to-day as ever there could be (tragedy alone 
 excepted.) Aside from the works of the Master, w r ho 
 was not for a day, but for all time : and a few, a very 
 few dramas who have survived a score or more of 
 years, the plays of the present day will compare favor- 
 ably with the same class of literature in any generation 
 hat has preceded it. Far instance, in melo-drama, 
 
412 PLAYERS OF A CENTURY. 
 
 what will exceed in any desirable point, " The Two 
 Orphans " or "A Celebrated Case " ? How many com- 
 edies have been as successful, and as deservedly so, as 
 >l Our Boys " ? Was any thing ever nearer perfect on 
 the stage than " Old Love Letters"? We" are only 
 giving examples ; not making a list, b}^ any means. 
 In short, (and we must be short), the literature of the 
 stage is cleaner ; stage effects are better ; audiences 
 ire of higher culture ; theatres from box-office to stage- 
 door are better managed ; more money is paid to sup- 
 port them, and they are better worthy support, than 
 those of a hundred, or fifty, or twenty-five years ago. 
 The stage has not degenerated any more than litera- 
 ture, or art, or music, has degenerated. It is part of 
 the age in which we live; partaking of its foibles and 
 weaknesses, it is true, but of its culture and refinement 
 as well. Let us not, then, in paying such mighty 
 honors to the past, be quite so contemptuous of the 
 present ; remembering that the time is coming when 
 our own era will, in like manner, be apotheosized — 
 when the dramatic critic of 1900 and something will 
 quite overshadow the claims of all contemporaneous 
 artists by his theatrical reminiscences of 1880, declaring 
 with emphasis quite unanswerable, 
 
 " There were giants in those days." 
 
 THE END. 
 
413 
 
 ADDITIONS AND CORRECTIONS. 
 
 Page 36— J. Howard Payne died April 9th, 1852, aged 
 60 years and ten months. According to Mr. Gabriel 
 Harrison's memoir (which we intended to follow), 
 the date and place of birth and date of death, as 
 inscribed on Payne's tombstone, in Tunis, are all 
 wrong. 
 Page 155 — The demonstration against young Burke took 
 place December 12th, 1836, during Blake's manage- 
 ment. It was Master Burke's first appearance in 
 Albany after his return from Europe, and the play 
 was " Romeo and Juliet." He was called upon by 
 about a fourth of the audience to disavow the senti- 
 ments of his father, who, it was alleged, had attacked 
 Daniel O'Connell in the public prints. Dr. Burke 
 was present, but was not permitted to speak. Young 
 Burke 4 was at last allowed to say that he was too 
 young to meddle in politics, and ought not to be 
 held accountable for the faults of others. This did 
 not satisfy the rioters, however, who were finally 
 driven from the theatre and the play went on. 
 Page 232 — Allen's epitaph should read : " Lofty and 
 
 sour to them that loved him not* etc. 
 Page 319 — We are assured that George Butler was 
 mistaken and that the Menken monument was paid 
 for, to the last dollar. 
 Page 333 — Annie Waite was never a member of the 
 
 Boston Museum company. 
 Page 394 — Kate Claxton was divorced from Dore Lyon 
 in 1877, and soon after married Mr. Charles A. 
 Stevenson. 
 The compiler is aware that several discrepancies in 
 names have occurred, owing to the different ways they 
 have been placed upon play-bills. In such cases, the 
 index should be regarded as the nearest correct. Abso- 
 lute accuracy seems well nigh impossible in a work of 
 this kind ; and for such errors, typographical, and others 
 as do not affect the sense, the compiler asks the indul- 
 gence of the courteous reader. 
 
415 
 
 INDEX 
 
 Abbott, Mrs. (Miss Buloid) 220, 240. 
 Academy of Music, 329 et seq. ; opening" 
 of, 330; under Miss Trimble, 359; 
 destroyed, 364. 
 
 Lawlor's — See Division street 
 theatre. 
 Achille, Mons. and Mme. (dancers), 126. 
 Adams, John Jay, his Hamlet, 109; 110. 
 Edwin, 345 ; sketch, 346; 364, 378, 
 383, 391. 
 Addams, Augustus, birth and death, 
 187; 188, 221 ; marriage, 240; 244, 255. 
 John P. (comedian), 221, 289. 
 Addis, J. B., 355. 
 
 Addresses, poetical: Opening Green 
 street, 42; Pearl street, 66; season 
 1829-30, 142; 187; Duffy's benefit, 
 192; Amphitheatre, 219; Mme. de 
 Marguerittes, 284; Green street, 
 296 ; Academy of Music, 331, 377. 
 African theatre, 56. 
 Aiken, Geo. L., 288, 296. 
 Albert W., 380, 3a3. 
 Albany Advertiser, 62 ; School for Scan- 
 dal criticised, 75 ; Forrest criticised, 
 81 ; on Kean, 91 ; on Mrs. Hughes, 
 103; 120; on Duffy, 121 ; on Madame 
 Feron, 151 ; on Mrs. Knight, 160 ; on 
 Tyrone Power, 176 ; on Miss Watson, 
 185 ; on Charlott aCushman, 204; 398. 
 Argus, first daily issue, 62; on 
 death of Duffy, 195. 
 Circus— See circuses. 
 Bellows, 254. 
 
 Gazette, first advance notice, 20 ; 
 first play bill, 21; postponement 
 notice, 23; controversy, 27, 28; 30, 
 33, 37, 398. 
 Knickerbocker, 329. 
 Microscope, 210. 
 Mirror, 277, 313. 
 Register, 30, 42. 
 Transcript, 276. 
 Albaugh, John W., his Iago, 94; sup- 
 ports Kean, 157; 214; marriage, 
 293; 306; sketch, 307 ; Albany debut, 
 308 ; as a star, 309; 319, 320, 321, 322, 
 370, 372, 377, 378, 379 ; becomes man- 
 ager of the Leland, 396, 397. 
 Mrs. J. W.— See Mary Mitchell. 
 Albertine, Miss, 275, 276, 290. 
 Aldis, Mrs. (Mrs. Stanley), 52. 
 
 Aldrich, Louis, Mr. and Mrs., 300. 
 
 Alger, Rev. W. R., on Forrest, 86, 87, 92 
 et seq. 
 
 Allen, Mr. and Mrs., 21, 22, 28, 227. 
 
 Andrew Jackson, 23, 52 ; his wife, 
 104: 120, 146; sings first negro song, 
 165 : salary. 172 ; biography, 227 ; 
 as Forrest's dresser, 229 ; Esquimaux 
 war dresses, 230 ; queer turtle soup, 
 231 ; personal appearance, peculiar- 
 ities and epitaph, 232. 
 
 Amateur Theatricals, by British officers, 
 in 1760, 16 et seq. ; in Green street, 
 131 ; dramatic festival, 212 ; assisted 
 by Jean Davenport, 213. 
 
 Amiraille, J., 160, 161. 
 
 Anderson, Mr. (comedian), 33, 34, 52, 56 ; 
 death, 57. 
 (James probablv), 65, 69. 
 David C, Mr. and Mrs., 218, 243. 
 Elizabeth, 198, 209. 
 James R., 275. 
 
 Anderton, Mr., 272. 
 
 Angus, long room— See Thespian hotel. 
 Lottie, narrow escape of, 389, 390. 
 
 Apollo concert room, 217. 
 
 Appleton, William, Jr., 404. 
 
 Archer, Thomas, 113. 
 
 Archbold, Mr., 55, 56, 57. 
 
 Army relief, 336. 
 
 Armstrong, Mr., 52. 
 
 Arthur, Master, 65, 69. 
 
 Ashley, Stephen W., 330, 333, 337, 339, 
 346, 353. 
 
 Astor place riot, 256. 
 
 Augusta, La petite, 97, 98. 
 
 Austin, Mrs. (vocalist), 122. 
 
 Ayling, Mrs., 307, 330, &35, 337. 
 
 Aymar, Walter (equestrian), 218. 
 
 Ayres, Jane (Mrs. Toomer), 235. 
 
 Bailey, Hannah, 373. 
 
 Josephine, 373. 
 Baker & Farron, 375. 
 
 Henrietta— See Mrs. Chanfrau. 
 Baldwin, Joseph, 56. 
 
 Mrs. J. (Mrs. Walstein), 55, 56, 57. 
 Ball, Firemen's, 201. 
 Bali & Fitzpatrick, 264. 
 Ballet, how received, 121, 122. 
 Bandmann, Daniel E., sketch, 389; 391. 
 
 Mrs. D. E., 389, 391. 
 
416 
 
 PLAYEKS OF A CENTURY. 
 
 Bangs, Francis C., sketch, 292; 294. 
 
 Barnes, David M., as manager, 256; 275, 
 290 ; marries Rose Eytinge, 291. 
 Miss Courtney, 291. 
 John. 101, 102, 106, 110, 111, 123, 
 125, 145, 192. 
 
 Mrs. J., 56 : her good fortune, 101; 
 106,110,143,145,158, 169. 
 Charlotte, sketch, 174; 244, 247. 
 Lucien, 294, 375, 376 et seq.; before 
 the mayor, 385 ; business done, 395. 
 
 Barnum, Phineas T., with Joice Heth, 
 188; with Tom Thumb, 235; with 
 the Bateman children, 259; with a 
 baby show, 294. 
 
 Barras, C. M., 302, 380. 
 
 Barrett, George H., in Gllfert's company, 
 64, 65; sketch, 67; 69, 84, 102: as 
 manager, 103; 121. 
 
 Mrs. G. H. (Mrs. Henry), 67; 
 sketch, 79 ; epitaph, 80; 84, 102, 121, 
 207. 
 
 Mrs. G. L., 60, 65; sketch, 67, 68; 
 69, 91. 
 Lawrence I\, sketch, 388. 
 
 Barron, Charles, 342, 364. 
 
 Barton, Mr. (tragedian), 15-3, 158, 200. 
 Maria uMrs. C. T. Smith), 257. 
 
 Bass, Charles, 322, 328. 
 
 Bateman, H. L., 259, 403. 
 Children, 259. 
 
 Bates, Mr. and Mrs. Win., 33, 34, 38, 47. 
 Mr. and Mrs. F. M., 357. 
 
 Bear and dog fight, 32. 
 
 Beaumont, Mr. and Mrs., 47, 48. 
 
 Benefits— of poor debtors, 34: Payne's, 
 36 ; war sufferers, 48 ; for Portland, 
 49 ; humane society, 51 : of the 
 Greeks, 58; Cooper, 99; Y. M. A., 
 173; Duffy, 190: Canadians, 212; 
 Brougham, 242 ; Kossuth, 263 ; or- 
 phans, 275 ; Meech, 275 ; armv relief, 
 336; Barnes's 385: Chicago, 398. 
 
 Bernard, Charles, 77, 84. 
 
 John, 14 : his card, 38 : character, 
 40,44; first manager in Green street, 
 44, 45; criticism on, 51, 52; as a 
 star, 51. 
 Pierre, 272. 
 
 Berthelon, D„ 291. 
 
 Bidwell, Dollie, 388. 
 
 Bihin, Mons. (giant), 2*9. 
 
 Bishop, Charles B., 307, 309, 320. 370, 375. 
 
 Biven, Mr., 58, 60. 
 
 Blake, Win. Ruf us, American debut, 58; 
 60: biosraphv. 78; 84; as manager, 
 198; 2067 209. 211. 
 
 Blanchard, W., 57. 
 
 Bonfanti, 379, 386. 
 
 Boniface, Geo. C, 365, 366, 367. 
 
 Boone children, 289. 
 
 Booth, Junius Brutus, Albany debut, 
 69; biography, 70 et seq.; burying 
 the pigeons, religion, 71 : excesses, 
 nose broke, 72; Gould's criticism, 
 73, 71; 106 : stage fight with Duffy, 
 135; 137; correspondence, 182, 183; 
 199, 215, 238, 240 ; at the great fire, 
 
 253 ; at Clemens's garden, 254 ; death 
 scene on board a steamboat, 254, 255. 
 J. B., Jr., 221 ; sketch, 223; 227. 
 Mrs. J. B., Jr. (Agnes Perry), 
 sketch, 223. 
 
 Edwin, 253, 295, 327 ; sketch, 400, 
 401. 
 
 John Wilkes, 324 ; Albany engage- 
 ments, 325, 326 ; wounded, 325 ; 
 attacked by a woman, 327 ; assassin- 
 ates the president, 327; death and 
 burial, 327. 
 Borchard, Mme. Compte, 340. 
 Boucicault, Dion, 181, 295, 296. 
 
 Mrs. D. (Agnes Robertson), 295. 
 Bowers, David P., sketch, 262; 290. 
 
 Mrs. D. P.. sketch, 262; 271, 290, 
 352, 354, 363. 
 Bowler, Mr. and Mrs. Brookhouse, 320. 
 Bradshaw, Mr. and Mrs., 274, 291. 
 Bray, Mrs., 34, 36. 
 Briare, Frank (amateur), 206, 212. 
 Bridgford, John, 377. 
 Broadway theatre— See Odeon. 
 Brooke, Gustavus V., sketch, 267, 268; 
 
 292, 297. 
 Brooks, Alice, 366. 
 
 Brougham, John, 181, 240; sketch, 241; 
 benefit, 242; 298, 354, 379. 
 
 Mrs. J. (Mrs. Robertson), 224, 240, 
 241. 
 Mrs. J. (Miss Nelson), 241. 
 Brown, Frederick, 77, 149. 
 John Mills, 198, 206. 
 Bryant, Dan, sketch, 357. 
 Buchanan, McKean, sketch, 263; 345. 
 
 Virginia, 263, 345. 
 Buckley minstrels, 293, 296. 
 
 (i.Swame, 373, 391. 
 Buloid, Miss— See Mrs. Abbott. 
 Burgesses corps, 252, 267. 
 Burke, Thomas, 34, 49, 209. 
 
 Mrs. T. (Mrs. Jefferson), 49, 53, 209. 
 Charles, sketch, 209, 210; 240, 209. 
 I.- ne, 321. 
 
 Joseph, 120 ; sketch, 153, 154 ; dis- 
 turbance, 155 (see correction, page 
 413); 173, 184, 212. 
 Burroughs, Watkins, 69, 105. 
 BurtonrWm. E.,46, 112,240, 241 ; sketch, 
 
 298, 29'.); 303. 
 Butler, Geo. H., 291. 
 Byrne, P. C, 282, 284, 285. 
 Byron, Oliver D., 375, 382. 
 
 Campbell, S. C, sketch, 340. 
 
 J. C.,386. 
 Canal celebration. 84, 85. 
 Canoll, James, 212; sketch, 239; 243, 270, 
 
 274, 290. 
 Capitol theatre — See Division street 
 
 theatre. 
 Carlincourt, Mons., 300. 
 Carmocly, Prof., 235. 
 Carroll, Mr. and Mrs. J. W., sketch, 360. 
 Cassidy, Wm., 290. 
 Castle, Wm.. 340. 
 Ca vender, Leona, 373, 383. 
 
PLAYEIiS OF A CENTURY. 
 
 417 
 
 Celeste, sketch, 122, 123; 188 ; sued by 
 
 Duffy. 189; 198, 265, 278. 
 Ceuteruiial observance, 13. 
 Chanfrau, F. S., sketch, 252, 253; 275, 
 276; as manager in Green street, 
 290; 306, 321, 353, 364, 379. 
 Mrs. F. S., 306, 392. 
 Chapman sisters, 370, 373, 387. 
 
 William B.. 120, 122, 125, 139, 252. 
 Mr. and Mrs., 214, 244. 
 George, 243. 
 Cheer, Miss, 19. 
 
 Chester, Mr. and Mrs. S. K., 360. 
 Chippendale, Mr., 240. 
 Cholera, 162. 
 Christv minstrels, 236, 237. 
 
 E. P.. 237. 
 Circuses, 32 ; Blanchard's, 57 ; 60, 61. 209 
 — See Pearl street circus, Dallius 
 street amphitheatre. 
 Clan, Geo., death of, 396. 
 Clare, Ada— See Agnes Stanfield. 
 Claxton, Kate, 392 ; sketch, 394, 395. 
 Clemens, John and Xed. 253. 2.54. 
 Clifford, Mr. and Mrs. Harry, 377. 381. 
 Clifton, Josephine. 144 ; sketch. 211; 212 ; 
 plays with Forrest. 221. 
 Ada, 298, 344. 
 Cline. Herr, 139. 
 Clipper, X. Y.. 312. a50. 
 Coin. John O., 46; lectures Forrest. 86. 
 
 Sadiee, 330, 836. 
 Collier, Jason. 244. 
 Collins, John, 181, 201, 274, 368. 
 Common council proceedings, 26, 39. 
 Cone, Henry, 255. 
 
 Conner, Edmon S., sketch, 247; man- 
 ager in Green street, 286 ; letter 
 from. 289, 290. 
 Mrs. E. S.— See Charlotte Barnes. 
 Conway, William A., 80; sketch, 82; 
 
 suicide, 83; 108, 103. 
 Cony, Barkham. 190, 282. 
 Cook. Mr., 32. 
 
 John. 130, 239. 
 J.C., 330. 
 Cooke, Mrs. <. equestrian ». 108. 
 
 George Frederick. 32 : his wedding 
 tour to Albanv, 37; 70 ; his toe-bone. 
 90 : bis clothes. 232. 
 G. F.(?), 217. 
 Coombs, Jane, sketch, 387. 
 Cooper opera, 321. 
 
 Thomas A.. 81 : sketch, anecdotes, 
 criticism, 98, 99, 100; 149, 153. 
 Priscilla. 99. 
 Cordeli. Miss. 34. 44. 
 Corning. Erastus, 190. 192, 
 Couorhtrv. Win. H.. 275. 
 Couldoek. C.W.. 205. 251: sketch, 260; 
 269, 352,391. 
 Eliza. 260, 352. 
 Co well, Jo.. 259. 
 Covne. H. Gardiner. 296, 29s. 
 Crampton, Charlotte, sketch. 294. 295. 
 Crouta. John. 243. 244. 246, 259. 
 Cushman, Charlotte. 115 : sketch, 199 ; 
 why she went on stas-e. 200 ; in so- 
 
 36 
 
 ciety, 201; love affair, death of 
 brother, 202 ; practicing in Albany, 
 208 ; future career, 204 ; farewells, 
 205 ; criticism on, 206; 260, 262, 263, 
 295, 300, 406. 
 Susan, 201, 205. 
 Cuyler, J. C, 239, 275, 290, 306, 326. 
 
 Dallius street amphitheatre, 217 ; open- 
 ing, 218; history, 220 et seq.: fire, 
 227; 238, 240. 
 Daly, Aus-ustin, 396. 
 
 Julia, 282. 
 Dargon, Ausrusta L., 365; sketch, 366, 
 
 367; 369, 373. 
 Davenport, A. H., 296. 
 
 Fanny, sketch, 369, 370. 
 E. L., 238, 240, 269, 292, 293, 340, 
 368, 369, 370. 
 Mrs. E.L.,292,340. 
 Dean, Amos, 87. 
 
 Julia (Hayne), 247, 248, 256, 294, 
 306, 364. 
 De Bar, Ben.. 247, 272, 361. 
 Denier, Tonv. 371 : as manager, 372, 373. 
 Denin, Susan. 271. 272. 292, 341. 
 
 Kate. 271,279.323. 
 Denny, Frank Dwi<rht, &52. 
 Derr. William B.. 257, 297, 314. 
 Dickerman, John S., 275, 336, 405. 
 Dickens, Charles, 4<»4. 
 Dillon, Charles, 34S; sketch, 349. 
 Dinneford, Win,, 105, 198, 190, 200, 203. 
 Division street theatre— opening, 365, 
 366 ; under Tony Denier, 371 ; under 
 Keeble, 373; destroyed, 375. 
 Dixon. Geo. W., 143. 144. 145, 165. 
 Don, sir Win.. 262,282,289. 
 
 Lady, 262, &57. 
 Doran, Dr., 95. 
 Dorion, Mrs., 55, 56. 57. 
 Duutrlass, Mr., 19. 22. 
 Drake. Samuel, 48, 49, 51. 
 Mrs. S., 49. 
 
 Mrs. Fanuy A. (Miss Denny), 149, 
 158; sketch. 161, 162; 163. 
 Alexander, 60. 
 Drew, Frank, 272, 290, 
 
 John, sketch, 258; 290. 
 Mrs. John (Mrs. Hunt. Mrs. Mos- 
 sop). as a prodigy, 116; 120, 237, 240, 
 251,258,259,276,290. 
 Driesbach, Herr. 264. 278, 279. 
 Drummond, W. C, 79. 
 Du Bois, Fred. A.. 252. 267. 323. 397. 
 Duff, John 49. 
 John. 285. 
 
 Mrs. Mary. 75. 76, 101. 169, 240. 
 Miss Mary (Mrs. Addams). 239,246. 
 Duffy, James. 254. 
 
 Wm.. 56. 58.61 : professional debut, 
 110; 120 : first benefit, 121 ; manages 
 circus, 124: 126, 128, biography, 129 
 et seq. : his Phasarius. 158, 159; 
 162. 163. 173. 183, 184, 187; Buffalo 
 enterprise, 188; benefit, 190 et seq. ; 
 death, 194 : obituary. 195 ; funeral, 
 196. 
 
418 
 
 PLAYERS OF A CENTURY. 
 
 Durang, Mr. and Mrs., 57, 104. 
 
 Charles, 196. 
 Dunham, Mrs., 192, 199, 206. 
 Dunlap, Wm., 13, 18, 30, 32, 37, 46. 
 Duret, Marie, 292. 
 Dwyer, John H., sketch, 46; death, 47; 
 
 106, 125. 
 Dyott, Mr., 240. 
 
 Eaton, Chas. H., sketch, 207; 212, 213. 
 Eberle, David, 105, 139. 
 
 Charles, 101, 105. 
 
 E. A., 136, 358. 
 
 Harry, 105, 125, 126, 128, 139, 233. 
 
 Sophia (Mrs. La Forrest), 136. 
 
 Miss, 105, 233. 
 Eddy Edward, 220; sketch, 233, 234; 237, 
 240, 246, 248 ; as manager, 256, 257; 
 264, 289, 294, 296, 298, 321, 323, 324, 
 328, 364, 371, 372, 378, 379, 392, 399. 
 
 Mrs. E., 246, 294. 
 
 Mrs. E.— See Henrietta Irving. 
 Edwards, Carlton, 290. 
 Eldridge, Lilly, 391. 
 Ellis, Florence (Sappho), 372, 373. 
 
 Lelia, 390. 
 
 Miss, 49, 51. 
 Elmore, Mr., 305. 
 Emery Miss, 137 ; miserable death, 138; 
 
 143, 145, 169. 
 Emmet, Joseph K., sketch, 367; 370, 383. 
 Emmons, Lizzie, 303. 
 English, Wm. B., 302. 
 Elliot, Mr., 122. 
 Escott & Miranda opera, 320. 
 Ethel, Agnes, 369, 391, 392, 395. 
 Evaine, Mr., 286. 
 Evans, Rose, 372. 
 Eytinge, Harry, debut, 212; 290. 
 
 Rose, debut, 291 ; sketch, 292; 294. 
 
 Faleroni, Sig., 32. 
 
 Fanti, 187. 
 
 Farren, Mr. and Mrs. G., 256, 272. 
 
 Faulkner, Thomas, 65; sketch, 68. 
 
 Fawsitt, Amy, 138. 
 
 Fechter, Charles, 238. 
 
 Ferguson, R. V., 378, 381. 
 
 Ferron, Mme. (vocalist), 150, 151, 163. 
 
 Ferrero, Sig., 187. 
 
 Field, J. R., 199, 214. 
 
 Fielding, Mr., 120, 148. 
 
 Finn, Henry J., 138. 
 
 Richard (killed), 278. 
 T., 298. 
 Fires— Richmond, Va., 39 ; South Pearl 
 street theatre, 187; of 1848, 248, 253, 
 254; Academy of Music, 364; Divi- 
 sion street, 375; Brooklyn, 395; 
 Martin hall, 405. 
 Fisher, Kate, 358. 
 Fisher, Mr. and Mrs. Palmer, 105. 
 Alexina, 105, 159, 198. 
 Oceana, 105. 
 John Aubrey, 112, 159. 
 Clara, 112; Albany debut, 113; 
 sketch, 114; 125, 154— see Mrs.Maeder. 
 Fiske, Moses W., 369, 371. 
 
 Fiske, Marian, 369, 371. 
 
 Fleming, William M., manager of the 
 Odeon, 245 ; 252, 253 ; manager in 
 Green street, 301, 302. 
 
 Floating theatre, 237. 
 
 Florence, Wm. J., 246; sketch, 273; 298, 
 S03, 379, 384. 
 
 Mrs. Wm. J. (Miss Pray), 246; 
 273, 298, 379, 384. 
 
 Flynn, Thomas, and Booth, 72; mar- 
 riage, 109; 120 ; plays Rip Van Win- 
 kle, 121; 198,217; in Providence, 256. 
 
 Forbes, Wm. C, 105, 120, 128, 136. 
 
 Forrest, Edwin— erects Stone's monu- 
 ment, 75; Albany debut, 80; early 
 criticism on, 81; supports Conway, 
 82, 84 ; as Hassarac, 84 ; on a lark, 
 85 ; in jail, 86 ; sermon on gambling, 
 87 ; supports Kean, 91 ; first inter- 
 view with Kean, 93 ; hit as Iago, 94 ; 
 as Harvey Birch, 97; as Bion, 101; 
 leaps through a barrel of fire, 102 ; 
 plays Buckingham to Hyatt's Rich- 
 ard, 103 ; as a star, 106 : quarrel with 
 Macready, 107 ; as Lear, 110; 119. 120, 
 121, 131, 134, 135, 146; Metamora, 
 148; gift to Y. M. A., 149; 153; as 
 the Gladiator, 158, 159; dismisses an 
 audience, 160, 161; 163, 173, 184, 203; 
 return from Europe, 213 ; 215 ; at the 
 amphitheatre, 22 i ; Greene wins a 
 bet from, 222, 223; anecdotes, 222. 
 223, 229 ; Addams his rival, 244 ; and 
 Eddy, 248 ; divorce suit, 270, 271 : as 
 Claude Melnotte.28f>; 343.391,392.404. 
 William, 120; sketch, 121 ; as man- 
 ager, 128 ; 135; wounded, 137; 142, 
 143, 148: appeal for benefit, 152; 160. 
 163; death, 173. 
 
 Forsberg, Harold, 377, 387. 
 
 Foster, Geo. (Gaslight), 282, 283, 285. 
 Hernandez, 371, 380. 
 
 Fox, C K., 271, 288. 
 
 Geo. L.. 288, 405. 
 
 Freeberthyser, H., 290. 
 
 Freeman, Isabella, 324, 343. 
 
 Freylinghausen, Rev. T., 17, 18. 
 
 Frost, Amy, 306. 
 
 Fuller, Thomas— as manager, 211, 212; 
 outwitted, 213. 
 
 Fursman, J., 235. 
 
 Fyfte, Kitty, 330; sketch, 335; 336, 3S8. 
 
 Gale, Mr., 173. 
 
 Gannon, Mary, 210, 234, 235, 251, 252, 255, 
 
 357, 358. " 
 Gates, Wm. F., 102, 220. 
 Gazonac, 86. 
 
 Gayety theatre, 304 ; opening, 305 ; his- 
 tory, 306 et seq. 
 Germon. G. C, 206, 272, 288. 
 Gilbert,. John, 120. 
 Joseph, 240. 
 Mrs. W. H., 113. 
 Wm. J., 370. 
 Gilfert, Charles, 47; opens Pearl street 
 theatre, 64; 80, 100, 101; death of, 
 103. 
 
PLAYERS OF A CENTURY. 
 
 419 
 
 Gilfert, Mrs. C. (Miss Holman),47,74, 92, 
 
 102, 153, 169. 
 Gillespie, Wm. F., 260. 
 Gimbrede. Mr.. 32. 
 Gladstane. Mary. 340. 
 Glenn. S. W.. 296. 328. 
 Glenny. T. H.. 348, 352. 
 Godey. Mrs. (Miss Durang). 105, 159. 
 Godfrey. H. L.. 290. 
 Gomersal. Mr. and Mrs.. 346. 357. 
 Goodall. W. R.. 289. 294. 
 Gossin. John. 218. 
 Grace, J. Delinon. .330. 334. &37. 
 Graneie. Miss. 294. 
 Grant. Mrs.. 16. 
 Gray. Mrs.. 69. 84. 
 
 Ada (Mrs. C. A. Watkins), sketch, 
 
 346. 347; 388. 3a I. 
 Green. Mr. and Mrs. C 159. 
 Greene. John— as stasre manager. 134; 
 
 sketch. 140; 147, 162, 172. 173 ; on the 
 
 Power riot. 175; 192. 196, 209. 212; 
 
 and Forrest, 222. 223: 247. 
 Mrs. J., 146; sketch. 147. 148; 162, 
 
 172. 192. 196. 219. 212. 213. 222. 247. 
 Green street theatre — projected. 38 ; 
 
 built, 40 ; opened, 41 ; history. 41 et 
 
 seq.; made into a church, 54; 62, 165. 
 
 227, 247, 253, 257, 267, 274 ; re-opened, 
 
 281 ; history resumed, 281 et seq. 
 Greer, Miss, 136, 140. 
 Greenwood, Mr., 125. 
 
 Miss, 243, 246. 
 Grey, Edwina, 372. 
 Griffin, R. M., 230, 290. 
 Griffith, E. P., 341. 
 
 Wm., &39. 
 Grisi, 111. 
 
 Hackett, James H.— his Mons. Mallet, 
 58 ; sketch, 110, 111 ; 125, 143, 149. 220. 
 Hall, Emma, 346, 348. 
 
 James H., 218, 220, 236, 243. 
 Hallam, Lewis, 13, 18, 19. 
 
 Lewis, Jr., 19, 22, 30, 31. 
 
 Mrs. (nee Tuke), 30. 
 Hamblin, Thomas S., sketch, 85; .62, 
 200. 
 
 Mrs. Thomas S., 106, 113. 
 Hamilton. John. 139; salary. 172; 177. 
 
 192, 194, 195, 196. 
 Hammond. S. H.. 290. 
 Harcourt. John W., 243, 246. 
 Hardy, Mr., 2 IS, 220. 
 Harkins, D. H., 320, 369. 
 Harland, Ada, 388. 
 
 Harrison, Mr. and Mrs.. 199, 209, 213, 221. 
 Hartzell. Rev. J. H., 391. 
 Hastings, h. J., 275, 290. 
 Hatch. Mrs., 101. 109. 
 Havman, Mr., 33, 34. 
 Heller, Robert, 269. 
 Heloise, Mile.. 123. 158. 
 Henderson, Wm.. 274. 276, 296, 298. 
 
 Mrs. W. (Ettie), 274. 296, 298, 373. 
 Henri. Mrs. C, 363. 
 Henry. John. 19. 
 Heme, James A., .397. 341, 354. 
 
 Heron, Bijou, 301. 
 
 Matilda, sketch, 300, 301 ; 354. 
 Herring, Fannv, 324, 358. 
 Hield, Mr. and Mrs., 209. 
 
 Jr., 243. 
 Hill, Geo. H. (Yankee), 111; sketch, 127, 
 
 128 ; 174, 209, 217. 
 Hilson, Mr. and Mrs., 72, 76, 158. 
 Hinds, Wm. P., 353, 383, 385. 
 Hoffman, Gov., 373. 
 Hogg, John, 31. 
 Holland, Geo., 113 ; sketch, 149, 150; 237, 
 
 255, 256. 
 Holman, Geo., 47, 50, 105. 
 
 Miss. 47, 50, 64— See Mrs. Gilfert. 
 
 Sallie, 341. 
 Holt, Elise, 369. 
 Horn, Charles E., 122, 163. 
 Hosmer, Jean, sketch, 348 ; 354. 
 Hospital, Albany, 19, 29, 227. 
 Hotto, H. A., 328. 
 Houghton, Capt.. 243. 
 Howard. G. C. 286, 287, 288, 289, 294, 296, 
 300. 321; 322. 
 
 Mrs. G. C, 2S7, 288, 294, 296, 300, 
 321. 322. 
 
 Cordelia, 287, 288, 294, 296, 300, 
 321, 322. 
 Howe, J. B.. 303. 
 Hows, J. W. S., 187. 
 Huggins, Mr., 57, 59. 
 Hughes (Mrs. Young), 45, 90, 103, 112, 
 
 113. 
 Hunt, Mrs. Henry— See Mrs. Drew. 
 Hutchins, Mr. and Mrs.. 142, 143. 
 
 S. B. (amateur). 212. 
 Hutin, Mine.. 121. 122, 126. 
 Hyatt, Geo. F., 65, 68, 69, 84, 103. 
 Hyer. Tom, 236. 
 
 Ince, Annette, 296. 
 
 Industrious fleas. 188. 
 
 Ingersoll, Mr., 199. 
 
 Irving, Henrietta (Mrs. Eddy), 234, 378, 
 
 379. 
 Italian opera, 187, 336. 
 
 Jack, John H., 375. 
 
 Jackson, A. W„ 214, 218. 220, 235. 
 
 Minnie, 368. 
 Jamieson, Geo., 271. 
 Janauschek, 373 ; sketch, 384. 
 Jarrett, Henry C, 307. 
 Jefferson, Joseph, 31, 128, 129. 
 
 Mrs. J., 31. 
 
 Joseph, 2d, 209, 210. 
 
 Mrs. J., 2d (Mrs. Burke), 128, 129. 
 
 Joseph, 3d, first newspaper notice, 
 210; 211. 269, 272; in Green street, 
 284, 285 ; 307, 322, 390. 
 John, Mrs.. 56. 
 
 Johnson. Richard M., 161, 162. 
 Joice, Heth, 188, 189. 
 Jones, George (Count Joannes), 286, 297, 
 298. 
 
 Mrs. G. (Melinda), 237, 238, 278, 
 284, 289, 297, 298. 
 
 Avonia (.Mrs. Brooke), 297, 298. 
 
420 
 
 PLAYEKS OF A CENT UK Y. 
 
 Jones, W., 156. 
 
 Jordan, Mrs. Emily (Miss Thorne), 321, 
 
 345, 353. 
 Judah, Mr., 57, 59, 125, 128, 137. 
 
 Karnes, Geo. S., 307. 
 Kane, Charles, sketch, 239 ; 257, 276 ; as 
 a painter, 277, 278 ; 282, 285, 290, 291, 
 297, 306, 307, 327, 395. 
 Kean, Charles, 36, 70, 96; appears in 
 Albany, 156; sketch, 157, 158; 351. 
 
 Mrs. C. (Ellen Tree), 157; sketch, 
 351, 352. 
 
 Edmund, 37, 70; Byron on, in 
 Albany, 88; sketch, 89; riot, 90; 
 criticism on, 91, 92 ; on Forrest, 93, 
 94; as Shylock, 95; letter from 
 Albany, 96 ; death of, 96. 
 Thomas, 14, 18. 
 Keeble, Walter, sketch, 367, 368, 369, 371 ; 
 
 as manager, 373, 375; 381, 387. 
 Keene, Arthur (vocalist), 77, 78, 105. 
 Keller troupe, 298, 303. 
 Kellogg, Clara Louise, 404. 
 Kellv, Lydia, 85, 139. 
 Kemble, Adelaide, 171, 172. 
 
 Charles, 70; in Albany, 168; sketch, 
 169 ; letter from, 171, 172 ; 1 74. 
 
 Fanny, 48, 79, 101. 123 ; hit at, 161 ; 
 in Albany, 168; sketch, 169; extract 
 from journal, 171 ; her Julia, 172 ; 
 174, 186. 207. 
 John, 37. 
 Kendall, Ned, 218. 
 Kent, Eliza, 13(5, 139. 
 John, 139. 
 F. M., 270. 
 Kimberly, Harriet, 275, 298. 320, 321. 
 
 323, 324. 
 Kincade, Lizzie, 307. 
 Kinlock, Mrs., 116. 
 Kirby, J. Hudson. 221. 
 Knickerbocker hall, 235. 
 Knight, Mrs. E. (Miss Povev), 160. 
 
 Harry, 128, 136, 162, 172. 
 Knowles, J. Sheridan, sketch, 186; 188. 
 Kossuth benefit, 263. 
 
 La Combe, Mrs., 104. 
 
 La Forrest, Mrs., 128, 136, 139. 
 
 Lafayette, Gen., 76. 
 
 Lamb, Mr., 55, 56, 60, 65, 101. 
 
 Lanahan, T. J. (amateur). 375. 
 
 Lander, Mrs. Jean Davenport, as a prod- 
 igy, 213, 214; 261, 371. 
 
 Lane, Louisa. 116.— See Mrs. Drew. 
 
 Langley, Georgie, 377, 378. 
 
 Lansing, Mr., 206, 214, 216. 
 
 Lauri family, 382. 
 
 Lawlor. Frank J., 320, 32!, 345, 353: as 
 manager, 365 et seq.; benefit, 371. 
 
 Leake, w7h., sketch, 339, 341. 
 
 Learock, Geo., 371. 372. 
 
 Lease of theatre, 141, 162. 
 
 Leavitt, A. J., 239, 29J, 302, 305 
 
 Le Brun, Mrs., 330. 333. 334, 337. 318. 
 Marie, 334, 339. 
 
 Ledger, N. Y.. 297. 
 
 Leffler, Mr., 298. 
 Lefflngwell, M. W., 358, 370. 
 Leland, Charles, 377. 
 
 opera house, 396, 397. 
 Lement, Mr., 105, 110. 
 Le Moyne, W. J., 288, 341, 342. 
 Leonard, J. A., 322. 
 Leslie, John (painter), 134, 163, 172, 173, 
 
 194. 
 Letton, Ralph, 32. 
 Leyick, Milnes, 322. 
 Lincoln, Abraham, 324 ; assassination of, 
 
 325, 345. 
 Lind, Jenny, 123, 235. 
 Lindsley, Mr., 49, 65, 128. 
 Lingard, J. W. (suicide), 292. 
 Little church around the corner, 150. 
 
 Nell, 372, 382. 
 Locke, Yankee, 320, 354. 
 E. A., 353, 373, 375. 
 Logan, C. A., 156, 172, 212. 
 
 Eliza, 261, 294. 
 Lola Montez, sketch, 265, 266 ; perilous 
 
 adventure, 297. 
 Lonsdale, Annie and Addie, 309, 310. 
 Lorraine, Harry, 298. 
 Losee, C. H., 296, 303. 
 Lotta, sketch, 249; early criticism of, 
 
 350; 383,391. 
 Lovell, H. V., 251, 256, 267, 284. 
 
 Mrs. H. V., 251, 284, 285, 290. 
 Lucas, Mr., 33, 34. 
 Lyman, Levi, 189. 
 
 MacAllister, 289. 
 MacDonnald, H. J., 387, 396. 
 Macready. William C, 70; sketch, 106; 
 
 criticism on, 107; sonnet on, 108; 
 
 115; and Charlotte Cushman, 204; 
 
 211 ; why he did not play a second 
 
 engagement in Albany, 224 et seq. ; 
 
 riot, 256. 
 Maeder, Mrs. Clara Fisher (nee Clara 
 
 Fisher), 115 ; 199,200 ; at the museum, 
 
 251, 255, 276; 353, 357. 
 James G., 115, 199, 200, 255, 256. 
 Fred. G., 116, 357, 371. 
 Makeah, Miss (Mrs. Vandenhofl), 274. 
 Mallet, Mons., 52, 58. 
 Manuel, R. S., 340. 
 Marguerittes, Madame de, sketch, 282 ; 
 
 manager in Green street, 283, 284, 
 
 285. 
 Marshall. Wiseman, 246, 247; 294. 
 Marsh's juvenile comedians, 300. 
 Martin, Geo., 404. 
 
 opera house, 295, 404 et seq. 
 Mason, C. K., 182. 
 Matinees, 293, 294, 382. 
 Mathews, Charles. 390. 
 May, John, 218. 
 Mayo, Frank, letter from, 334 ; 335 ; 
 
 sketch. 355 ; 356, 363, 383. 
 May wood, Robert C, sketcli, 97, 98; 146. 
 McCall, E. C, 360, 387, 395. 
 McCullough, John, sketch, 343. 
 McKinney, D. D., 215. 
 McMahon, Mrs., 297. 
 
PLAYERS OF A CENTURY. 
 
 421 
 
 McVieker, Mary (Mrs. E. Booth), 303. 
 
 Me Wade, Robert, 373 : sketch, 382, 385. 
 
 Meade, James H., 302. 
 
 Meech. Henry T., 106, 151, 239; sketch, 
 250; 263, 268; benefit, 275; stories 
 about. 277. 
 
 Meehan, John, 366. 
 
 Meer, Reuben, 207. 
 
 Meldrum, R. S.. 341, 342. 
 
 Melville, W. T., 371, 372, 387. 
 
 Menken. Adah Isaacs, 304; sketch, 310 
 et seq. ; early life, 311 ; Parisian 
 triumphs, 312; poetry, associates, 
 313; first rides Mazeppa, 314; the 
 rehearsal, 315 ; accident, 316 ; her 
 success, 317 ; two estimates of, 318. 
 
 Merry, Harley, 379, 381. 
 
 Mestaver. Mr. and Mrs., 54. 
 Emily, 342. 
 Louis, 284. 285. 
 
 Miles, R. E. J., 314. 315. 
 
 Missouri, Miss, 144, 211. 
 
 Mitchell, Charlotte, 290. 
 Emma. 293. 
 
 Mary (Mrs. Albaugh), sketch, 293. 
 
 Maggie. 114; as Young Norval, 
 
 272; early triumphs. 274, 275; 29 , 
 
 292, 293, 294. 296, 298. 369 : her Fan- 
 
 chon. 401, 402. 
 
 Moakley. John, 221. 246. 
 
 Monier. Virginia. 187, 206. 
 
 Monk, Ada and Minnie, 300. 
 
 Montague. Winnetta. 392; sketch. 393, 
 394; 395. 
 
 Montez. Lola— See Lola Montez. 
 
 Montez. Manette M.. 298. 
 
 Montgomery, Walter, sketch. 385. 386; 
 death. 393. 394. 
 
 Moody, John. 14, 18. 
 
 Moore. Carrie A.. 351. 
 Margaret B.. 395. 
 
 Moorehouse, Mr., 260. 
 
 Morange. W. D., 144, 173, 182, 399. 
 
 Morris, Felix J., letter from. 373. 374. 
 
 Morrow. Thomas B., 275. 
 
 Morse, Louise, 307. 
 
 Mossop, Geo., 136. 220. 258. 
 
 Mrs. G.— See Mrs. Drew. 
 
 Mortimer, E. L., 373. 
 
 Mowatt. Mrs., 238: sketch, 268. 269. 
 
 Murdoch, Frank, 334, 335. 
 
 James E.. sketch. 163; criticism, 
 164; at the Museum, 261; at the 
 Gayety, 306. 
 
 Murphy. Joe, 371. 
 
 Murray. Mr., 14, 18. 
 Dominick, 373. 
 
 Museum, Albany— established. 32 ; con- 
 certs at, 56; 106, 116, 126, 127; re- 
 moval, 151 : curiosities, 188; vaude- 
 villes. 217 ; 219 ; history, 233 et seq. ; 
 made a theatre. 249; dramatic his- 
 tory. 250 et seq. ; stories about, ^77. 
 
 Neafie, A. J., 269. 284. 291, 294, 321. 
 New ConstitutioD theatre, 32. 
 Newspaper discussion, 24. 27. 
 Newton. Eliza, 364. 
 
 Nichols, C. T., 346, 348. 
 
 S. H., 217 et seq. 
 
 Mrs., 281. 341, 342. 
 Nickinson. John, 149, 204, 206, 241; 
 sketch. 257 ; 259. 
 
 Charlotte, 241. 257. 
 Nilsson, Christine. 405. 
 Norton, John S., 373. 
 Noah. Mrs.. 274. 
 
 Gates. Alice. 370, 387. 
 
 Odeon theatre. 239. 240; opening, 243; 
 
 history, 244 et seq. ; destroyed, 248 ; 
 
 250. 
 OgdemR. D., 352, 353. 
 Opening addresses— See Addresses. 
 Orinsbv. Mr.. 32. 
 Orton. Josephine, 342, 371. 
 Owens, John E„ sketch. 354; 370. 
 Oxley, John H., 187, 215, 282. 
 
 Paganini, 185. 
 Palmer, E. D., 283. 
 Parepa (Rosa), 380, 391. 
 Parker. Jennv. sketch. 344. 
 Parks, Geo., 391. 
 Parlati, L., 378. 381. 
 Parsloe. C. T.. 163. 236. 
 
 C. T., Jr., 373. 
 Parsons, Charles B., 109; sketch, 110; 
 
 conversion. 20», 209. 
 Partington, Sally, 387. 
 Pavilion theatre, 59. 
 
 Payne. J. Howard, sketch. 34 ; as a prod- 
 igy. 35 : writes Home, Sweet Home, 
 36— (see also, correction page. 413.) 
 Peace festival, 60. 
 
 Pearl street circus— opening. 100, 101; 
 
 102, 103, 111, 113. 120: under Duffy, 
 
 124; under Eberle, 139; collapse, 
 
 140; 165,221. 
 
 Pearl street theatre — See South Pearl 
 
 street theatre. 
 Pelby, Wm., 118, 137. 160. 
 Pemberton. Mr.. 60. 
 Phelps. Fannv Morgan, 3.54. 
 Phillips. Adelaide. 235. 
 
 Gus (Ooftv Gooft), 371, 391. 
 
 Lvdia. 186. 
 
 Moses S., 110. 120, 123. 
 Picturesque theatre. 59, 60. 
 Pitt, Mr. and Mrs. CD.. 256. 
 Placide. Henry. 35. 52. 112. 139, 198. 256. 
 
 Thomas! 104, 165. 198. 
 
 Jane. 60, 104. 
 
 Mrs.. 50. 51. 
 Plunkett. Ada Parker, 342. 344. 
 
 Mr. and Mrs. H.P.,272. 
 Polyanthus. The, 144. 
 Ponisi. Mr.. 272. 276. 
 
 Mine.. 343. 
 Pope, Mrs. Coleman, 256. 
 Porter, Mr. (sriant). 210. 
 Potter, Estelle, 280. 289. 
 Povev, John. 232, 234. 
 Power, Tyrone. 134. 146: sketch, 174; 
 the disturbance, 175. 176 ; his impres- 
 
422 
 
 PLAYERS OF A CENTURY. 
 
 sions of the riot, 177, 178, 179, 180; 
 
 criticism on, 181. 
 Preston, Henry W., 214, 215, 216, 281 ; 
 
 suicide, 282 ; 284. 
 Mrs., 214, 216— (see Mrs. Nichols.) 
 Price, Fanny B., 363. 
 Proctor, Joseph, 185. 
 Provost, Mary, 341. 
 Pruyn, J. V. L., 130. 
 Pyne & Harrison's opera, 296 
 
 Ralton, D. E., 352, 353. 
 Rand, Rosa, 381. 
 Rankin, McKee, 344, 345, 363. 
 Ravel troupe, 290. 
 
 Marietta, 368, 391. 
 Raymond, Henry J., 291. 
 
 John T., 328 ; sketch, 399 ; 400. 
 Kate 372 
 Reignolds,Kate, 354, 364, 371. 
 Rice, Dan, 219. 
 
 J. B., 221, 236, 237. 
 Thomas D. (Jim Crow), 165, 166, 
 182. 
 Richardson, Aaron, 396. 
 Richings, Peter, 78, 110, 272, 294, 296, 301, 
 306 ; death, 360. 
 
 Caroline (Bernard), 78, 272, 294, 
 306, 354, 359, 384, 387, 391. 
 Richmond theatre disaster, 39, 48. 
 Riley, Mr v 162. 
 Riggs, T. G., 388. 
 
 Riots— Kean, 90, 96 ; Macready, 111, 256 ; 
 Burke, 155 (see also, correction page, 
 413) ; Power, 175 et seq. 
 Roberts, Elijah J., 109, 110. 
 James, 145, 159, 206. 
 J. B., 306. 
 Robertson, Agnes (Mrs. Boucicault), 295, 
 296. 
 Hopkins, 48, 51. 
 William, 48, 49, 51, 52. 
 Mrs. (Mrs. Burroughs), 65, 69. 
 Robinson, Yankee, 368. 
 Roche, Frank, 316, 348. 
 Rock, Mary (Mrs. Murray), sketch, 110 ; 
 early days, 117 ; Walter Scott her 
 patron, 118 ; marriage, 119 ; still liv- 
 ing, 120; and Henry Wallack, 125; 
 supports Kean, 156 ; 158 ; last ap- 
 pearance in Albany, 235. 
 Rooker, Mvron H., 290. 
 Russell, T.*B., 206, 224, 225, 226. 
 Ryan, Sam., 271, 297, 323, 360. 
 Ryer, Geo., 330, 333, 337, 339, 340, 344, 
 
 346,351,353,365,366,369. 
 Rynor, Mrs., 307, 381. 
 
 Salsbury, Charles, 222, 306. 
 Sandford, C. W., 105, 106, 109. 
 Sappho— See Florence Ellis. 
 Scott, James R., 110, 192, 198, 199, 208, 
 221, 227, 245, 256, 272, 282. 
 James M., 104, 110. 
 _ Scott-Siddons, Mrs., 382, 383, 385, 386. 
 Scoville, W. H., 272, 28-.). 
 Scudder, J., 32, 126. 
 
 Seaver, Benj. W., 182, 240. 
 
 Seetach, Marie, 386. 
 
 Selden, Kate, 345. 
 
 Seward, Fred. W., 290. 
 
 Shewell, L. R„ 274, 290. 
 
 Siamese Twins, 188, 189. 
 
 Simpson, Alex., 55, 58, 60, 67, 104, 109, 
 
 127. 
 Sinclair, Mr., 61. 
 
 Catherine (Forrest), 270, 271. 
 Skerrett, Geo., 272, 274. 
 
 Mrs., 274, 276, 291, 292. 
 Rose, 274. 
 Sloman, Mr. and Mrs., 120, 144. 
 Smith, Charles T., 256, 259, 267, 274, 276, 
 291, 295, 296, 298, 301, 303, 320. 
 Geo. Frederick, 56. 
 John, 224. 
 
 Capt. John B. (bill poster), 277, 
 304, 313 et seq. 
 J. Wesley, 275. 
 Sidney, 303, 329, 330, 337. 
 Sol, 50, 52, 53, 131, 165. 
 Sothern, E. A., 322, 323. 
 Southey, Mr., 33, 34. 44. 
 South Pearl street theatre, 45 ; its erec- 
 tion, 62, 63; opening, 64; under 
 Gilfert, 64 et seq.; under H. Wal- 
 lack, 104; under Sandford, 105; 
 under E. J. Roberts, 109; under 
 Geo. Vernon, 110; under Duffy & 
 Forrest, 128 et seq. ; fire, 187 ; under 
 Dinneford & Blake, 198 ; under Ful- 
 ler, 211; under Preston, 214; be- 
 comes a church, 216; 251 — See 
 . Academy of Music. 
 Spackman, J. R., 307, 322. 
 Spaulding, Dr., 219, 285. 
 Stanfleld, Agnes (Mrs. Noyes), 360; 
 sketch, 362 ; death by hydrophobia, 
 363. 
 Stanley, Emma, 296. 
 State street theatre, 56, 57. 
 St. Clair, Rosa, 387, 391. 
 
 Sallie, 301. 
 Sterry, E. C, 381, 387. 
 Stetson, E. T., 330, 332, 333,327, 329, 371. 
 Stevens (dwarf), 210. 
 Stickney, Mrs., 113, 198, 246. 
 Stoddart, George W., sketch, 337, 338; 
 339, 341, 346. 
 
 Mrs. G. W. (nee Annie Taylor), 
 sketch, 337. 338; 339, 340, 341, 344, 
 346, 381, 384, 386. 
 James H., 384. 
 Stone, John Augustus, 56, 57 ; sketch, 
 75; canal ode, 85; 91, 104, 148, 162, 
 172. 
 
 Mrs. J. A. (Mrs. Legge, Mrs. Ban- 
 nister), 56, 57, 65, 68, 69, 91, 92, 143. 
 Henry D., 128, 213. 
 Strang execution, 106. 
 Stratton, Chas. S. (Tom Thumb), 235, 236. 
 Street, Alfred B., 219, 285, 341. 
 
 W. L., 381. 
 Sylvester, Louise, 360; sketch, 361, 362; 
 363. 
 Julia, Mrs., 360. 
 
PLAYERS OF A CENTURY. 
 
 423 
 
 Talbot, Mr. and Mrs., 55, 56, 58, 131, 
 
 125. 
 Taylor, James H., 296. 
 
 Mary, 235, 237, 240, 251, 252. 
 
 Chas. W., 139, 140, 214, 217, 219, 
 220, 233, 343, 251, 257, 258, 286. 
 Telbin, Ttose, 252. 
 Ten Eyck, John, 290. 
 Thacher, Mayor, 324, 373, 385. 
 Thayer, E., 67, 105, 159. 
 Thespian Mirror (Payne's), 35. 
 
 hotel, 30, 32, 33, 38, 40, 55, 57, 78, 
 128, 227. 
 Thompson, Mr., 59, 60, 105. 
 
 Mr., 243, 246, 247, 290, 305. 
 
 Lysander, 269, 286. 
 
 Charlotte, 270, 323. 
 
 Lydia, 380, 381. 
 
 John, 370. 371. 
 Thorne, Mr., 173. 
 
 Charles E,.. 256. 
 
 E F 381 
 Tilden, Miss, 77, 84, 91, 139. 
 Thumb, Tom— See Stratton. 
 Tree, Ellen— See Mrs. C. Kean. 
 Trimble, John M.— as a builder, 249; 
 
 250, 252, 294 ; as manager, 329 et seq.; 
 benefit, 341 ; 353 ; death, ,358. 
 
 J. M., Jr., 330, 331. 
 Miss A. G. (Mrs. Barnes), manage- 
 ment, 359 et seq. 
 
 opera house, 115, 246; built and 
 opened, 376, 377. 
 Trowbridge, Henry, 126, 127. 250. 
 Turnbull, Julia, 104, 116, 139. 
 Tweddle hall, 205, 398 et seq. 
 Tvvibill, Matilda (Mrs. Flynn), 109, 120, 
 
 127. 
 Tyrrell, T. M., 272, 282, 284, 285. 
 
 Underner, Mr., 172, 218, 243, 298, 378. 
 Union college, 35. 
 
 Van Denburgh, T. H., 264. 
 Vandeohoff, John, sketch, 211. 
 Geo., sketch, 224; 261, 271. 
 Mrs. Geo. (Miss Makeah). 
 Van Vechten hall, 255, 294. 
 Varry, E.,3.'2. 
 Veeder, Wm., 366, 370. 
 Vernon, Geo., sketch, 112 ; 120, 122, 125, 
 126, 142, 143. 
 
 Mrs. Geo., sketch, 112; 122, 142, 
 143, 235 ; at the Museum, 240 ; 241, 
 
 251. 276, 357, 358. 
 Vestris, The, 126. 
 
 Viennoise Danseuses, 246, 252, 397. 
 Vilallave, Jose, 59. 
 Villa, Sam. B., 346, 348. 
 Vinihg, Fanny (Mrs. Davenport), 238, 
 292. 
 
 Waite, Annie (Mrs. Leake), 325, 330,331 ; 
 
 sketch, 333 : 337, 339, 345. 
 Wall, Mr. (harper*, 184. 
 
 Harry, 369. 
 Wallace sisters, 387. 
 
 Wallack, James W., 125; sketch, 184; 
 224. 
 
 Henry, sketch, 79; manager of 
 Pearl street theatre, 104, 105; 125, 
 329 
 
 Y. W., Jr., 340. 
 
 J. Lester, 185. 
 
 Fanny, 252, 253, 260. 
 Waller, Mr., 298, 300, 302. 
 
 Mrs., 298, 300, 302, 371, 375. 
 Walstein, Mr. and Mrs., 57, 60, 105, 142, 
 
 143. 
 Ward, James T., 307. 
 
 James M., 369, 373. 
 
 Thomas, 285. 
 Waring, Leigh. 44, 46, 78. 
 Warner, Mary A., 263. 
 Warren. Mrs., 60. 
 
 William, 208, 221 ; sketch, 236; 240, 
 242. 
 
 Mary Ann, 236. 
 
 Geo. W.. 255, 399. 
 Warwood, Prof., 330. 
 Watkins, Mr. and Mrs. Harry, 272, 286, 
 379, 383. 
 
 Mrs. C. A.— See Ada Gray. 
 Watson, Charlotte, 185, 186. 
 Waugh, Amelia, 391. 
 Waverlv, Chas.. 373. 387. 
 Webb sisters, 300, 320. 
 Weber, Lisa, 369. 
 Webster, John, 381. 
 Weed. Thurlow, 256, 341. 
 Weidman, Charlene, 371, 372, 373. 
 Weiss, Mine., 246, 337. 
 Wells. Mary, 251, 267, 272. 
 Wemple, S. V., 111. 
 Wemyss, F. C, 160. 
 
 Miss C, 240. 
 
 T C ^82 286 
 Western, Helen, 302, 303, 321, 328, 354. 
 
 Lucille, 302, 303, 321, 364, 370. 
 Weston, Lizzie, 272, 296. 
 Wheatley, Mrs., 46, 47. 
 
 Emma, 186, 198. 
 
 Julia, 187. 
 
 Wm.. 290. 
 Whipple murder, 106. 
 Whitelock, Mrs., 48, 169. 
 Wilkinson, Charles, 352, 353. 
 
 Lillie (Marden), 352, 353. 
 Williams, H. A., 53, 60. 
 
 Mrs. H. A. (Mrs. Maywood), 53, 97. 
 
 Barney, 181, 219 ; sketch, 245 ; 255, 
 260, 289, 294, 353, 368, 386. 
 
 Mrs. B. (Mrs. Mestayer, nee Pray), 
 sketch, 245 ; 260, 273, 289, 294, 353, 
 368, 386. 
 Willis, N. P., 271. 
 Wilson, Alex., 215. 
 Winans, John, 272, 276. 
 Winchell, Mr., 198, 233. 
 Winter, William, 205. 
 Woodhall, D. M., 275. 
 Wooclhull, Mr.. 131, 139. 
 Woolls, Mr., 19. 
 Worrell, Sophie, sketch, 368 ; 369. 
 
 Irene, sketch, 368 ; 369. 
 
424 
 
 PLAYERS OF A CENTURY. 
 
 I 
 
 Wray, Mr., 104. 
 Wren, Geo., 396. 
 
 Yates, J. V. N., 39. 
 Young, Mr., 39. 
 
 Mrs.— (see Mrs. Hughes), 39, 44, 50. 
 
 Young, Charles, 75, 76, 101, 102. 
 Young Men's Association, 149. 
 
 Zavistowski sisters, 384. 
 Zeller, Ernest, 305, 342. 
 Zoe, 346, 363, 367. 
 
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