UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN • - CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS VOLUME ONE Gives a complete record of all entertainment and, substantially, the cast of every play presented in Chicago, on its first production in the city, from the beginning of theatricals in 1834 down to the last before the fire of 1871 U: BY ROBERT L. SHERMAN Fifty years in theatricals as actor, author, manager and producer, Operator of touring attractions from coast to coast and many resi- dent stock companies. AUTHOR OF DRAMA CYCLOPEDIA Published by Robert L. Sherman, 2730 Windsor Ave. Chicago 25, 111. 1 LiSB EafiilaasBaia piiilisj gig] g IgllBipHspippjllstll! COPYRIGHTED )94^ BY ROBERT L. SHERMAN OF VERY OLD PHOTOGRAPHS ILLUSTRATED WITH REPRODUCTIONS CHAPTER I- Harry Isherwood CHAPTER II- ' John B. Rice CHAPTER III- ^ Louisa Lane (Mrs. John Drew) CHAPTER IV- James H. McVicker CHAPTER V- James E. Murdock fa CHAPTER VI- ST Edwin Forrest CHAPTER VII- Julia Dean CHAPTER VIII- Adelaide Patti CHAPTER IX- Thoraas Maguire CHAPTER X- Tony Pastor I CHAPTER XI- Dion Boucicault CHAPTER XII- Edwin Booth CHAPTER XIII- Frank Chanfrau CHAPTER XIV- John Wilkes Booth CHAPTER XV- Lawrence Barrett CHAPTER XVI- John McCollough CHAPTER XVII- Richard M. Hooley CHAPTER XVIII- J. H. Haverly CHAPTER XIX- McKee Rankin ALPHABETICAL LIST OF PORTRAITS FROM OLD PHOTOGRAPHS Page BARRETT, LAWRENCE 581 BOUCICAULT, DION 308 BOOTH, EDWIN 371 BOOTH, JOHN WILKES 520 CHANFRAU, FRANK 474 DEAN, JULIA 151 FORREST, EDWIN. 109 HAVERLY, J. H 723 HOOLEY, RICHARD M 704 ISHERWOOD, HARRY 1 LANE, LOUISA (Mrs. John Drew) .... 57 MAGUIRE, THOMAS 212 McCOLLOUGH, JOHN 659 McVICKER, JAMES H 60 MURDOCK, JAMES E 31 PASTOR, TONY 269 PATTI, ADELAIDE 179 RANKIN, McKEE 745 RICE, JOHN B 19 TV* ^ CHICAGO STAGE CHRONOLOGICAL LIST 01 AMUSEMENT PLACES CHICAGO FROM 1855 to 1871 IN Feb. 24, , 18oo Uncer tain 1355 Oct. gSj , 1857 May 10j , 1858 Aug. 2[ , 1840 Uncer tair l 1841 April 16. , 1842 Uncer tair l 1844 July 16 , 1845 June 28 , 1847 Dec . 7' , 1848 Nov. 12, , 1850 Feb. , 1851 May Yh , 1852 May 25 , 1852 June 4 , 1854 Aug. b\ , 1354 Sept. 1854 Oct. 16 , 1354 Nov. 4 , 1354 Nov. 19 , 1855 Jan. 5 , 1856 Aug. 18' , 1856 Apr. 20 , 1357 May 9 , 1357 Nov. 8' p 1857 Dec . 8 p 1357 Feb. 7 p 1859 Aug. 20; , 1859 Dec. 5 p 1859 Dec. 8 , 1359 Apr. 20 , 1860 June — 1360 June — 1360 Sept. 19 , 1860 Page Mansion House ... 2 Brambock Hall ... 5 Saganaush Hotel . . 9 Chicago Theatre . . 20 City Saloon .... 61 Chapman Rooms ... 62 The Theatre .... 62 V/arners Hall. ... 86 Western Museum. . . 87 Rice's Theatre. . . 95 Emmetts Varieties . 106 Tremont Hall. . . . 177 Rice's New Theatre. 179 City Hall 256 Melodeon Hall . . . 257 Woods Museum. . * . 269 S. Market St. Hall. 260 Butlers Amphitheatre 260 Metropolitan Hall . 266 Robinsons Athenaeum 260 Norths Amphitheatre 276 Phelps Opera House 517 Thome's National . 298 Lyceum Theatre. . . 569 Light Guard Hall. . 569 McVicKers Theatre . 557 Apollo Hall .... 563 Sam Ryan Hall . . . 457 Mechanics Hall. . . 418 Rices Aeoleon . . . 418 Beebe's Concert Hall 418 Kingsbury Hall. * . 472 Kinzie Hall .... 457 Wigwam 475 Bryans Hall .... 470 CHICAGO STAGE CHRONOLOGICAL LIST OF AMUSEMENT PLACES IN CHICAGO IROM 1355 to 1871 (Cont'd) Sept. 19; , 1860 Jan. 15 , 1862 March 7 , 1862 March 15. , 1862 June 1 , 1863 Dec. 21, , 1863 Bee. 29 , 1863 March 16' , 1864 Apr. 20 , 1365 Nov. 29 , 1365 Jan. 1] , 1366 July 9 , 1367 Feb. 6 , 1868 March 14 , 1368 April 7 , 1868 Dec. 14 , 1868 March 25' , 1670 May 19 , 1370 Aug. 1 , 1870 Jan. l" , 1871 Aug. 29 , 1871 Bryans Hall .... Canterbury Hall . . Dearborn St. Op. Hse. Christys Opera House Varieties Theatre . New Opera House . . Academy of Music. . Woods. Dram. Museum Crosbys Opera House Crosbys Music Hall. Smith & Nixons Hall Theatre Comique Olympic Theatre Arcade Hall . . Farewell Hall . Dearborn Theatre Standard Hall . Globe Theatre . Mannings Theatre Hooley's Opera House McVickers Th. Rebuilt Page 470 513 511 512 540 511 511 645 610 613 655 678 703 681 682 701 743 741 720 754 748 - NOTE: Many of the above listed amuse- ment places are the same buildings with names changed to suit the whim of what- ever theatrical manager was in charge at the moment./ CHICAGO STAGE ALPHABETICAL LIST Of AMUSEMENT PLACES IN CHICAGO IROM 1835 to 1371 Opened Page ACADEMY OF MUSIC, AIKENS THEATRE, APOLLO HaLL, ARCADE HALL, ARLINGTON HALL, ARLINGTON THEATRE, BEEBE'S CONCERT HALL, BROMBACK HALL, BRYAN'S HALL, BUTLERS AMPHITHEATRE, CANTERBURY HALL, CHAPMAN ROOMS, CHICAGO THEATRE CHRISTY'S THEATRE, CITY HALL, CITY SALOON, CROSBYS MUSIC HaLL, CROSBYS OPERA HOUSE, DAN EMMETT'S VARIETIES, DEARBORN ST. ^PERA HOUSE, DEARBORN THEATRE, EMMETT'S VARIETIES, FAREWELL HALL, GLOBE THEATRE, HOOLEYS OPERa HOUSE, KINGSBURY'S HaLL, KINZIE HALL, LIBRARY HaLL, LIGHT GUARD HALL, LYCEUM THEATRE, MANNINGS THEATRE, Dec. 29, , 1865 511 Oct. — 1867 679 Dec. 8 , 1857 568 Mar. 14] , 1868 681 Sept , 1867 680 Feb. 8' , 1869 720 Dec. 8 , 1869 418 May- 29 , 1855 5 Sept .19 , 1360 470 Sept .18' , 1354 260 Jan. 15 , 1860 518 Apr. 16 , 1841 62 May- 10' , 1858 20 Mar. 16' , 1862 512 May 15 , 1852 256 Apr. 14' , 1840 61 Nov. 29 , 1865 618 Apr. 20, , 1865 610 Dec . 7. , 1848 506 Mar. 7 j 1862 511 Lee. 14 , 1868 701 Dec. 7 , 1843 506 Apr. 7' , 1868 632 May 19 , 1870 741 Jan. 1 , 1871 754 Apr. 20' , 1860 472 June - 1860 457 Jan. 7 , 1868 681 May 9' , 1857 569 Apr . 20 , 1857 569 Aug. 1 , 1869 7S0 CHICAGO STAGE ALPHABETICAL LIST OF AMUSEMENT PLACES IN CHICAGO FROM 1355 to 1871 (Cont'd) Opened Page MANSION HOUSE, McVICKERS THEATRE, McVICXERS (Rebuilt) MECHANICS HALL, MELODEON HALL, METROPOLITAN HALL, NEW OPERA HOUSE, NORTH MARKET ST. HALL, NORTHS AMPHITHEATRE, OLYMPIC THEATRE, PHELPS OPERA HOUSE, RICE'S AEOLEON HALL, RICE'S CHICAGO THEA. RICE'S NEW THEaTRE, ROBINSONS ATHENAEUM, SAG*NAUSH HOTEL, SAM RYAN'S HALL, STANDARD HALL, THEATRE COMIQUE, VARIETIES THEATRE, WIGWAM, WOODS DRAMATIC MUSEUM Feb. 24 , 1855 2 Nov. 8 , 1857 357 Aug. 29 , 1871 748 Aug. 20' , 1859 418 May 25 , 1852 257 Oct. 12 , 1854 566 Dec . 21' , 1863 542 May 10 , 1855 231 Nov. 19 , 1855 276 Feb. 6 , 1868 705 Jan. 3] , 1856 317 Dec . 5 , 1859 418 June 28* p 1347 37 Feb. 5 , 1851 179 Nov. 4' p 1854 260 Oct. 25, p 1857 9 Feb. 7 , 1859 457 Mar. 25. , 1870 745 July 9 , 1867 678 June l' p 1865 540 June — 1860 473 Mar. 16. , 1864 648 PREFACE This is the first Volume of a set of three books it is the author's intention to issue at various periods. This, the first volume, deals with the period when the first paid entertainment was given in Chicago in 1834, to the last before the great fire of 1871. The second volume will embrace the time from 1871 to 1900, the third from then until the present or to the date of pub- lication. The records of the CHICAGO STAGE, not only include theatres proper, but halls where any form of entertainment was given and tents, where circus per- formances took place. They do not include any form of pictures. Here, as in other new born ciiies, early amusements of the kind originated in hotel dining rooms, as a rule, and graduated to the "halls" where such provided opportunity for the display of histrionic talent, where much of ihis important talent first mani- fested itself. Before theatres were constructed for housing the regular theatrical attractions the popula- tion of a city had to increase enough to justify the risk of such a venture. The study of attractions in these halls should not be neglected if one is to iden- tify performers whose names became famous in the dramatic and musical field, for it is in such halls that many of them began their career. In compiling these records it has been the aim oi the author, in mentioning a play, to give the cast of characters of all important full length plays on the occasion of its first presentation in Chicago. But not to repeat such cast every time the play is produced, unless there has arisen some special reason for such repetition. If the reader is confused by the limited I number of characters in one cast which does not cor- respond with the full cast that may be shown else- where it is because that, in some cases, the company producing the play were handicapped with a limited number of performers so the producer did, what has always been done, simply cut the play and cast to meet conditions. This has and must be done until a better way is provided. The records herewith compiled and set fourth are the first of such a compilation gathered for any American city, outside of New York, and the diffi- culty of acquiring this data may well be imagined when consideration is given to the fact that the at- tempt was not made until one hundred and ten years after the first public performance was given here, together with the destruction of so much im- portant material by the great fire of Oct 9th, 1871. The author is indebted to the Newberry Library, the Chicago Historical Society and Chicago Public Libra- ry, for giving him access to the newspaper files and other valuable material preserved and accumulated by these institutions and to the attendants who have assisted materially. While the writer believes in free enterprise he also believes the ''laborer is worthy of his hire" but he has little hope of being compensated adequately far the hours, days and weeks of toil associated with this effort. He is also gratified to have found a way of getting this book into the hands of individuals and institutions sorely in need of it without involving a risk by some magnanimous publisher who might be inspired to speculate on entering upon the publica- tion of such a work. THE AUTHOR. H * CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CiRCUSES 1834 - 1837 CHAPTER I | Chicago, in its early struggle for a start in theatricals, was t j&mt-, not like some other cities such ; as New York, Boston and Phila- M.'> delphia, which had begun nearly LJfe* " -if i a nun dred years before. Chicago l|fll|fe then, as now, had the advantage VIlllllllHHICl Q f ffa e cities just referred to harry as it could, and did, profit by isherwood the success or failure of what had happened to the others. When the drama - and by that we mean all forms of stage entertainment - was first intro- duced in New York in 1750, there were no established American actors, and no plays, except those imported from England. But by the time Chicago came into the theatrical picture there were plenty of both, and the patrons here knew considerable about plays and players. This same condition exists today. Chicago now gets only what has been tried and proved successful. In New York, now as then, new productions originate and if successful, eventually find their way to Chicago. By the time plays were presented in the rapidly growing village by the lake, dramas were being written in our country, whereas, when they were first presented in CHICAGO STAGE Origin in Chicago 1834 New York, Philadelphia, Boston, Albany, Baltimore and other eastern and southeast- ern cities, only the English made products were available. It must be admitted, however, that at that time the producers of such as well as the public were very much inclined to the work of dramatists in the mother country, The reason, doubtless, was that such plays were better than those written by our own inexperienced home craftsmen. Playwriting is an art, and while some amateur writers have turned out successful plays, it has been on more or less occasions an accident . In 1853 Chicago was a rapidly growing village. People were coming to it from all parts of the country, many of whom had cultivated a desire for entertainment in their former home in the East, and were yearning for amusement in their new found habitation; and purveyors of that form of recreation were seeking new fields. With the meager population the village enjoyed, in its earliest stages, really important amusement enterprises could hardly be ex- pected, and if some few hoped for more outstanding events, such persons were des- tined to disappointment. Hence, the early entertainers were limited to what we shall call "one man shows". The first record we have of a perform- ance given in Chicago,— where an admission fee was exacted, — occurred on February 24, CHICAGO STAGE Origin in Chicago 1834 1833, when a Mr. Bowers gave an exhibition at Dexter Graves Mansion House at 84 and 86 West Lake Street, old numbers. This enter- taining melange consisted of magic, ven- triloquism and other stunts that could be provided by a single individual, — as the said Mr. Bowers was the whole show. Since there was no newspaper published in Chicago at the tine, we have no way of learning the reaction of the people towards Bowers' one-man organization. But we feel sure it must have met with substantial favor. How- ever, there was no other effort made to entertain Cnicagoans until over a year later . The next venture of the kind took place in the dining room of a hotel, the name of which was then The Travelers' Home, in a room called Bambock Hall. While somewhat similar to the entertainment given by Bow- ers, it had in addition "songs and funny sayings." The town was growing and was much talked about throughout the country as a possible western metropolis, and was attracting wide attention. This talk in- spired one Oscar Stone to venture in with what might be called a small circus, which was given with only a sidewall. The opening date occurred on September 14, 18o6. The attraction evidently remained for some time as The Chicago Democrat, first newspaper- published here, speaks of it on November 5d of that year as being "a splendid show." And to the natives, hungry for amusement, it doubtless was. 3 CHICAGO STAGE Origin in Chicago 1856 Up to this time no attempt had been made to introduce the drama into Chicago, but now that the population had reached the staggering proportions of 4000, the town began to attract more important amusement enterprises. Dean & McKinney — that is Edwin Dean and D. D. McKinney — who were operating at the Eagle Theatre in Buffalo, New York, were beginning to feel the ef- fects of the financial depression approach- ing which was showing such consequences on the theatre in all cities where such in- stitutions were operating. Like all pioneer showmen, they commenced to figure on get- ting out of a bad town while the getting was good, so they ventured to send their "advance agent" to Chicago, to learn what arrangements could be made for the display of their dramatic talents. Their agent 1 s name was E. W. Trobridge, so long attached to the Albany theatres. Mr. Trobridge did what all such "advance agents" have always done - and still do - got the city fathers together and made the best terms possible in the way of license procurement - and as many other concessions as he could persuade them to grant. However, when he reported to Messrs. Dean and McKinney at Buffalo, they considered the license too high and decided not to venture here. Both of these men were well established in the theatri- cal business of the time, and one of them, Edwin Dean, often appeared in Chicago lat- er. He had, before this, been a partner in the operation of theatres and companies with William Forrest, brother of the cele- CHICAGO STAGE Origin in Chicago 1836 brated actor, Edwin Forrest. The firm name of Forrest & Duffy had been highly success- ful in Albany, but when William Duffy died Dean became Mr. Forrest's partner. After- ward, on the death of Forrest, Mr. McKin- ney became the associate of Dean under the firm name above mentioned. The records as to the life of this Edwin Dean are more or less confusing. Some claim he married Julia Drake, the daughter of the great theatri- cal pioneer, Samuel Drake. When Hhis Samuel Drake left Albany, New York, in 1815, to establish the theatre in the west, he had with him at the time a certain Fanny Denny, a young amateur of Albany, about eighteen years old. Drake had what has become known as a family show, and in the family, among several others, was Alexander Drake, who married this Fanny Denny. Out of that union came the celebrated Julia Dean. Alexander Drake died some time later, and his widow married Edwin Dean of the firm of Dean & McKinney before referred to. In the original Drake organization was a Julia Drake, then about fourteen years old. Some claim that Julia Dean was the offspring of this Drake girl, but we pre- fer to credit the former contention. Julia adopted the name of Dean out of deference to her stepfather, Edwin Dean. As we have previously stated, Dean & McKinney concluded not to visit Chicago in 1836, and so the town was without any dra- matjc performances until McKinzie & Isher- CHICAGO STAGE Origin in Chicago 1857 wood came here. The name McKinzie must not be confused with D. D. McKinney mentioned heretofore. Henry Isherwood of this firm was not only a capable actor, but a scenic artist as well. In fact, every company traveling in those days had some one that could and did paint scenery. The places in which they must appear were very primitive and needed some scenic investure to give them a theatrical appearance. After doing the advance work, painting the scenery, passing the tonight bills and running the "props", Isherwood had nothing to do except to learn and play an important line of parts . McKinzie' s principal activities were to get the company from town to town, and cultivate a friendship with the hotel keep- er, for economic purposes, which usually began by giving the entire family and staff "corr.ps" or passes. This policy of giving complimentary tickets or so-called passes- the abuse of which continued for many years and, to some extent is still prac- ticed - is a pronounced annoyance. Showmen have learned that it is easy to make a pass hound out of a person: they first thank you for it; next they ask you for it; and then they demand it. Show business nowa- days is more on a monetary basis, so it is no longer necessary to give free admission to every one you fear is apt to be your creditor before your show leaves town. The practice was common for years and was more or less justified under the precarious con- CHICAGO STAGE Saganaush Hotel 1857 ditions that existed among all theatrical companies traveling in those early days. The one characteristic a pioneering trav- eling theatrical manager must and did have was affability, which seemed to be a nec- essary ingredient when it became essential to move his company from one town to an- other on a "shoe string". Alexander McKinzie was the manager of Isherwood & McKinzie, the first dramatic organization to appear in Chicago. It was approaching the eighteen thirties when the^ original Joseph Jefferson discovered Alex- ander McKinzie operating a book store at Pottstown, Pennsylvania, and induced him to become a partner in leasing and operat- ing a theatre at Lancaster, and Harrisburg in Pennsylvania, and at Washington,- since McKinzie had more money than Jefferson. So the former, being susceptible to the prop- osition, yielded and thereby found himself in the show business, which became a part of his vocation during the remainder of his struggling existence. In 1829 he married Hetty Jefferson, daughter of his original partner. Hetty had not been intended for the stage, but had been given an excellent education in a leading Philadelphia school. After her marriage to McKinzie, she became the leading lady of the company operated by her husband and Harry Isherwood. Acting as advance, Harry Isherwood on a cold, rainy night, landed in the village of Chicago. After wandering through the CHICAGO STAGE Saganaush Hotel 1837 muddy streets for some time, he finally found a hole in the wall at a hotel where, tired and weary from the long ride on the stage then running between Buffalo, Mew York, and Milwaukee, Wisconsin, he tumbled into bed. With its thin straw tick and ridge-making slats, it made him look and feel like the upper and nether side of a waffle iron, as he wrote his friend McVick- er in 1382. He said: "It was the most God- forsaken looking place it had ever been my misfortune to see." Then he went on to say: "The mud was knee deep. No sidewalks, ex- cept here and there a small piece. No hall that could be used to any advantage for theatrical presentation." However, the following morning he began to tour the town and inspect every building that might be turned into something for his purpose. He finally decided on the dining room of the Saganaush Hotel. John Murphy, then propri- etor of that pioneer habitation, had just opened a new and more commodious place for the care of weary visitors to the new city and was glad to have a part of the building occupied . Negotiations were completed and Isher- wood proceeded to put said dining room in a theatre-like appearance. He purchased a few yards of cloth and commenced painting scenery for the auspicious occasion. Mean- while, lumber and other material was being provided and used to make seats and a stage platform. This was not unusual, as he had done the same thing in hamlets he and the 8 CHICAGO STAGE Saganaush Hotel 1857 company had visited elsewhere. Locking at the present day metropolis of Chicago with its innumerable places of entertainment, one finds it hard to visual- ize the condition over a hundred years ago. But "big trees from little acorns grow" and the early settlers certainly planted fer- tile acorns. As bad as the village looked to Isherwood, there v/as nothing he could do but make the best of it as other "ad- vance agents" had done before and ever since . Harry Isherwood, even then, was no nov- ice in theatricals. He was practically raised in the show business, finishing as scenic artist with Lester Wallack at a ripe old age. He had, under the guidance of the old actor-artist, Joe Cowell, decorated the Park Theatre in New York in 1324. The license Isherwood finally agreed to pay for the right to supply entertain- ment to an anxious populace was $125.00, pretty stiff for a barnstorming organiza- tion playing in a hotel dining room. When everything was in readiness, Mr. McKinzie brought in the troupe and braced himself for the auspicious opening, which occurred on Monday, October 23 , 1837. The first play presented by McKinzie & Isherwood was James* Sheridan Knowles 1 "The Hunchback" with the following CHICAGO STAGE Saganaush Hotel 1857 CAST Julia Father Walter Sir Thomas Clifford Helen Lord Twlssel Master Wilford Gaylove Heartwell Modus Simpson Mrs. Ingersoll Henry Leicester Isherwood McKinziee Wright Sankey Harry Hetty James Thomas Thus we have the cast of the produced in Chicago. Wm. Childs Mr . McKihzie Master Burke Madam Austine first drama As we have seen, the company was head- ed by Alexander McKinzie, actor and man- ager; and Harry Isherwood, actor, scene painter, advance agent, and general all a- round fixer — anything from a chair to a City Councilman. Upon these two depended the task of getting the company in and out of this and ether towns. It is difficult to tell which is the most strenuous job with an organization such as this one was. The other were: Henry L we say today; gent, as the Thomas Sankey and anything Childs, utili anything cast of course, al members of the acting corps eicester, the leading man, as James S. Wright, a walking type was called in those days; , old men when there were any else when there wasn't; Wm. ty, which, then as now, meant for. Alexander McKinzie was, so a utility actor, manager- 10 CHICAGO STAGE Saganaush Hotel 1857 like always playing either the best or the worst part. The ladies of the company were, first, Mrs. David Ingerscll, a young widow whose husband, David Ingersoll, had died in St. Louis a year before this period. She was a daughter of the first Joseph Jefferson, and was considered a splendid actress. Mrs. McKinzie, the former Hester Jefferson, al- so a daughter of Joseph JefiersonJ played leading parts. And last, but of course not least, was Madam Austine, a dancer, and the girl who played the young parts. She was what we today call the ingenue, successor to the chambermaid, and later, the sou- brette. She was required to do a song and dance between acts, or between the play proper and the afterpiece or farce. Here, in size and make-up, v/as a typi- cal repertoire company: five men and three women. City players and facetious press men have been, and are still inclined to ridicule such itinerant aggregations, but when the truth sifts through, they learn that such ridicule usually reflects itself and shows how ridiculous they themselves are . Let us now appraise the merits of the members of this first dramatic organization to visit Chicago. "Hester Jefferson," says William Winter, "became Mrs. Alexander Mc Kinzie, first wife of the noted actor-man- ager in the west. McKinzie was a cousin of 11 CHICAGO STAGE Saganaush Hotel 1837 Joseph Neal, author of 'Charcoal Sketches'." Mrs. McKinzie rose to a good position as an excellent delineator of old women. After her death on February 5d at Nashville, Ten- nessee, one newspaper in recording her death says: "She bore a severe illness with Chris- tian serenity. A lady graced by many ac- complishments, but still more, by virtues which conciliated the esteem and affection of all who knew her." It then continues: "There are many friends of her late father in different parts of the Union, to whom this brief notice will recall many affect- ing associations. It will be a solace to them to know that she passed to the portals of the tomb in the full and joyous assur- ance of a blessed immortality." Such is a description of the wife of the first the- atrical manager to visit Chicago. Mrs. Ingersoll was the former Mary Ann Jefferson, also daughter of the first Jos- eph Jefferson, and aunt of the later Joe, ; known so well as Rip Van Winkle . About 1831 she married David Ingersoll, a very capa- ble actor, who diedinSt. Louis, Missouri, in 1835, leaving tier a young widow, now twenty-five years of age. Good performers cannot always find just the position they desire, and while Mrs. Ingersoll had ap- peared in the best theatres in Philadelphia and Boston, she now felt constrained to seek fame and fortune elsewhere, so she joined the McKinzie & Isherwood organiza- tion, then barnstorming through the middle 12 CHICAGO STAGE Saganaush Hotel 1837 west. In this company was James B. Wright, whom she later married. Harry Isherwood, Mr. McKinzie 1 s part- ner, began his career at the Park Theatre in 1817, when he appeared in the part of Billy Bowbell in "The Illustrious Stranger." Appearing at the Park was like being fea- tured at Drury Lane in the heyday of that famous London theatre. In fact, the Park in New York was often referred to as the "Little Drury". I Sherwood became impatient and went to Albany, New York, and to other cities where he was always 7/elcome as an actor and scenic artist. Eventually, he became anxious for the "misery of manage- ment", joined up with Alexander McKinzie, and so, finally, found his way to Chicago. Thomas Sankey was said to be one of the best old men on the American stage. Like Sol Smith he gained that appellation of "old", not so much because he was an old man, but from his habit of playing such roles. After appearing in New Orleans, St. Louis, Missouri, and in other cities, he made his bow to Chicago with McKinzie & I sherwood during their first venture here. Henry Leicester, while not so well or favorably known among the eastern theatre goers, was, withal, a good actor and played many, if not all the male leads. James Wright was a younger player, but had gained sufficient experience to enable 13 CHICAGO STAGE Saganaush Hotel 1857 him to play, fairly well, any part assigned him. The same assertion could be applied to the work of William Chile's. Later in his theatrical activities Mr. Wright became the prompter for Lester Wallack, whose stock company, playing so long in New York, has probably never been excelled. The performance of "The Hunchback" hav- ing been successfully concluded, rehear- sals for Kotzbue's "The Stranger", as al- tered by Thompson, were begun bright and early the next morning. The play, however, was not new to the company as they had al- ready been doing it. In fact, no actor at the time would dare say he wasn't "up in" the popular "The Stranger" . So on Tuesday night, October 24th of the above year, the auditorium of the Saganaush Hotel dining room was again well filled and the players were all keyed up to "strut their stuff" in "The Stranger" which was thus CAST v The Stranger Henry Leicester Steifort James S. Wright Solomon Harry Isherwood Francis William "Ghilds Peter Thomas Sankey Mrs. Haller Mrs. Ingersoll Countess Mrs. McKinzie Charlotte Madam Austine It was the policy of the organization to play a new piece every night, therefore 14 CHICAGO STAGE Saganaush Hotel 1837 the play ran but the one performance . The town was small and tney must appeal to as many people as possible to come to every performance, so they made nightly changes in the bill. However, the plays were re- peated from time to time, either under the same name or under a different one to fool as many patrons as possible and get them in the house as often as they could. There were no programs as that was considered an extra and useless expense, so the cast of each play was not always available. Even when they had programs of a sort they were often disinclined to put them out lest, ev- en under a new name, some might discover they had seen the drama and remain away. The next play announced was J .S . Jones' "The Carpenter of Rouen", which was given on the third night, October 25th, with this CAST Marteau ^ Henry Leicester Due de Saubigue James Wright Antoine William Childs Groudy Thomas Sankeiy Nyken Harry Isherwood Julia Mrs. Ingersoll Madam Groudy Mrs. McKinzie This play was not only a big success on this occasion but continued to be, and was often repeated. Following this, "The Hypocrite" was put on with the patrons* approval. On the 27th the offering was "It Is the Devil" 15 CHICAGO STAGE Saganaush Hotel 1837 which was given by this n! CAST Count del Heaumerie Mr. Leicester Chevalier D'Arcy Mr. Wright Col. Loubardmont Mr. McKinzie Dominique Mr. Childs Gaspard Mr . Sankey Blanche Mrs. Ingersoll Genevieve Madam Austine Janette Mrs. McKinzie Another play given by the McKinzie & Isherwood company on their first visit to Chicago was Thomas J. Haines' "The Idiot Witness", a play that had been produced in New York back in 1825. It was done in Chi- cago with this CAST Sieur Armand Robert Armand Paul Tugskull Gilbert (Idiot) Walter Arlington Juliet Dame Tugskull Henry Leicester James Wright T. Sankey H. Isherwood Alexander McKinzie Mrs. Ingersoll Mrs. McKinzie After this the company repeated some of the plays they had already done, which seemed to meet with general approbation. One of the afterpieces presented in con- nection with these plays had the very up to the moment title, "Everybody's Husband" 16 CHICAGO STAGE Saganaush Hotel 1837 a name that might have applied to Nat Good- win who later was referred to as the "much married man tT . The play had this I CAST Twissleton Mr. Leicester Bunbury Mr . Sankey Figgins Mr. I Sherwood Spriggins Mr. Wright Mrs. Pimpernel Mrs. Ingersoll Fanny- Madam A us tine Mrs. Twissleton Mrs. McKinzie Other plays offered during McKinzie & I sherwood r s short stay in the city were: "Demon of the Desert", "The Polish Wife", "Therese" or "The Orphan of Geneva" by John Howard Payne. The Saganaush Hotel engage- ment had been fairly successful, and the receipts caused the managers to visualize the possibility of getting to the next town, which, in the wishful thinking of a struggling theatrical troupe, is always go- ing to be a good town. McKinzie & I sherwood had not done so badly at their hotel appearance. Strange to say, they got a top price of seventy- five cents, whereas, the admission fee did not top fifty cents at any time after that until Edwin Forrest appeared in 1843. After terminating their visit in Chica- go, the organization started on their quest for more attractive fields, having their eyes on Galena, Illinois; Dubuque, Iowa; 17 CHICAGO STAGE Saganaush Hotel and a few small places along the river with even less facilities for dramatic stage presentations than those available at the hotel here. Among other towns visited was Alton and Springfield. In the latter place they again invaded the dining room of a ho- tel. Mr. I sherwood, who had seen better times and more comfort elsewhere, having been connected with the Park Theatre in New York City, was becoming weary of the strug- gle and had threatened to "pull his trunk", an expression, for those who do not know, which meant disappear in the night, or at some other inconspicuous moment. McKinzie, the tough Scotchman who loved trouble that always blossomed into hope, was never per- turbed. I sherwood regretted that he., too, was not made of "sterner stuff" and was ready to "give up the ghost" most any day. McKinzie held out the hope of returning to Chicago and building a new theatre, but to his partner that was a very forlorn hope. It did, however, come true as future events verified. After the departure of McKinzie & I Sh- erwood's dramatic company in the fall of 1837, there was nothing in that line of entertainment until the spring of 1838 so the citizens, whose appetite for the drama had been sharpened, could only wait until McKinzie & Isherwood's return. 18 * CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1838 CHAPTER II McKinzie & Isherwood, having j finished their tour throughout the state and elsewhere, looked I §gain for theatrical financial salvation to the growing Chica- i; go and made ready to return and )€: repeat their former success, as Hh they considered it. Consequent- ! ly, they again petitioned the city council for a reduction in /. b. rice the " ii cense f ee with the state- ment that they were going to erect a new and much needed theatre in the growing city. Anxious for such an innovation, the liberal city fathers reduced the fee from the $125.00 they had paid before to a flat $100.00. This amount agreed upon, Messrs. McKinzie and Isherwood set about the con- struction of their new theatre. Arrange- ments were made with an auctioneer, John Bates, to establish such theatre on the third floor of his auction building on the corner of Dearborn and South Water Street or, perhaps, a trifle nearer to the river than to South V/ater Street. "The Rialto", later extending along Randolph Street, then ran from the river south on Dearborn Street but even in that early day it was called 19 CHICAGO STAGE Chicago Theatre 1858 The Rialto, meaning, of course, the main business district. The district wherein this new playhouse was located prompted the citizens to call it the "Rialto" Theatre, but that was not •*"•• the name the owners gave it. They called it the Chicago Theatre, the first of many that later used the name. It may easily be imagined that it was not much of a theatre compared with the magnitude and the grand- eur of our modern structures erected for the purpose. This "Chicago Theatre" was in a room on the third floor of a building thirty feet wide and eighty feet long, seated with planks on boxes , with so-called circus seats at the rear. Kence, it was not, of course, a very commodious "opera house". In spite of its crudeness and lim- ited facilities for the proper presentation of plays, the structure met with univer- sal approval and was the subject of much discussion when the opening, a very aus- picious one, took place on May 10, 1838, the first theatre to be inaugurated in Chicago. The play on the momentous occasion of the opening of this, the first "Chicago Theatre", was Thompson's adaptation of Kotzbue T s popular drama, "The Stranger", one of the plays that McKinzie & Islferwbod had presented at the Saganaush Hotel the previous fall. The Cnicago Theatre open- ing performance of the play had this 20 J CHICAGO STAGE Chicago Theatre 1858 N - cast - The Stranger Mr. Leicester Steif ort Mr. Sankey Solomon Mr. Warren Francis Mr. Sullivan Peter Mr. Jefferson Mrs. Haller Mrs . Ingersoll Countess Mrs . McKinzie Charlotte Mrs . Jefferson It should be noted that there had been some slight changes in the cast since the com- pany's previous visit to Chicago. William Childs, one of the earlier members, appears to have left tiie organization, but others had joined, among them William Warren, a son of the William Warren who was a partner of William B. Wood, so long and favorably known as the operators of the old Chestnut Street Theatre in Philadelphia, Pennsylva- nia . G. C. Germon and his recently acquired wife, the former Jane Anderson, had also .joined. Mr. Germon and his wife were al- ready well known in the dramatic profes- sion as both, in some manner, had long been connected with American theatricals. Later Mr . Germon became quite well known for his portrayal of Uncle Tom in "Uncle Tom's Cabin" when that play was first produced and ran so long in New York in 1852. He became a great favorite in Chicago, and died here in April, 1854. Mrs. Germon, the former Jane Anderson, was the granddaughter CHICAGO STAGE Chicago Theatre 1858 of the first Joseph Jefferson, who came to America in 1794. Jane made her first New York appearance at the Franklin Theatre as Sally Giggle in "Catching an Heiress ". However, as a child, she had performed in other cities after the death of her mother, which occurred in 1851. The Germons had just been married when they came to Chicago with McKinzie & I Sherwood. A daughter was born to them at Augusta, Georgia, on June 15, 1340. This offspring became the famous Effie Germon, so long the dashing soubrette of the Lester Wallack Stock Company. Other members new to the company were Joseph Jefferson, the second, and his wife and two small children: Joe, nine, and Cor- nelia, three years of age; and a stepson, Charles Burke,' a son of Mrs. Jefferson by her first husband, Thomas Burke . This step- son was called Master Burke. He was about fifteen years of age but was already play- ing important parts. Both he and Little Joe used to wrap themselves in a hotel bed sheet for a toga, and, poised on a covered soap box, each felt himself to be the "noblest Roman of them all." Joseph Jef- ferson, the second, had joined to paint scenery and act. He was a good scene paint- er, but opinions differed as to his acting ability. V/e may safely depend upon the word of his sister for his genealogical record. She states: "Joseph JeffersoiSy the third of a line of actors, was born in Philadelphia, Perm- 22 CHICAGO STAGE Chicago Theatre 1338 sylvania, in 1804. There is no positive date of his first stage appearance, but his name appears on the bills of the Chestnut Street Opera House when he was only ten years old. At twenty, he was a member of the Chatham Street Theatre in New York. In 1857 he was at the Franklin Street Theatre in the same city, where he was actor and scene painter, a profession both he and his father followed from the start to the fin- ish of their stage career. July 27, 1826, he married the widow of Thomas Burke, who brought into the family Charles Burke, a son by her former marriage, who was, in the early days, called Master Burke. For a short time Mr. Jefferson and John Sefton managed a vaudeville company at Niblo's in New York. This was in 1337, the season be- fore he joined the company in Chicago. There were many prominent players in this vaude- ville company, including, among the more famous ones, Blanche DeBar, later the wife of Junius Brutus Booth, Jr. The above vaudeville venture was cost- ly for Mr. Jefferson. It left him without funds, a family on his hands, and no place to go. New Yorkers, thenasnow, considered Chicago nowhere, so he came here, bringing with him his son, Joe, and the small daugh- ter, Cornelia, who had been born at Balti- more, Maryland, October 1, 1835. With these encumbrances, it behooved this trouper to find somewhere to light. As to this Mr. Jefferson's acting abil- 23 CHICAGO STAGE Chicago Theatre 1828 ity, Ludlow, in his "Dramatic Lite" (1880) says the artistic mantle "missed him but fell graciously on the shoulders of his son, 1 ' - meaning Jefferson the third. Wil- liam B. Wood, however, considered him a fair actor, and certainly these two ought to know the necessary qualifications of an actor. They were not like some self-styled critical advisers who have never looked through the "peep hole" in a curtain; never settled a house nor counted the receipts; above all, have never been compelled to move a company of starving strollers from town to town without funds. Mrs. Joseph Jefferson, the wife of the foregoing, was originally Cornelia Frances Thomas. She was born in New York on Octo- ber 1, 1796. Her mother died when she ?/as very young. Her father, who had been raised in affluence, had now lost everything and was very poor. He finally found employment in the service of Alexander Placide, ances- tor of the family of famous actors bearing that name. Mr. Placide was then manager of the Charleston Theatre. That theatre was her school house. In it she grew to woman- hood, acting and singing, and according to Ireland, "she possessed a fair share of ability as a comic actress, with a pleasing face and person, and an exquisite voice which, in power, sweetness and purity, was unappr cached by anybody." Thomas Burke, whom she married in her girlhood, was not- ed for his talent and handsome appearance, - and also for his dissipated habits. Burke 24 CHICAGO STAGE Chicago Theatre 1858 died in Baltimore, Maryland, June 6, 1825, and on July 27, 1826, she married Joseph Jefferson the second, and became the mother of four children, two of whom died at a very early age, the other two Cornelia and Joseph Jefferson the third. Cornelia, it . will be noted, was only three years old when she came to Chicago to join her un- cle, Alexander McKinzie. After traveling from place to place, putting up with all the hardships that pioneers are confronted with, Cornelia eventually found herself in New York where, on May 17, 1849, she played Little Pickle in "The Spoiled Child". She ultimately married a Mr. Jackson by whom she had one son, Charles, who in later life committed suicide. The subject of this sketch died in the Vest in the late eight- ies. The Master BurKe referred to as a mem- ber of this McKinzie & Isherwood company on the second visit to Chicago, was born March 27, 1822, at Philadelphia, Pennsylvania .At the time he appeared in Chicago he was six- teen years old, but even then had played mature parts. He was seen in New York in the cast with the elder Booth and other leading players, but soon found his way in- to western territory, where he remained for some time, first with I sherwood& McKinzie, and later with Sol Smith, another great theatrical pioneer. It was not until July, 1847, that he was noticed in New York, but on July 19th of that year he played Ebene- zer Calf in "Cle Bull" at the Bowery Thea- 25 CHICAGO STAGE Chicago Theatre 1858 tre. Ke became associated with Frank Chan- frau in 1848 and they operated in New York in the New National Theatre until 1851. In spite of the bright professional prospects in the East, his inclination was to the West where he again soon found him- self. He is credited with writing the play "Rip Van Winkle" and "The Cricket on the Hearth", giving both manuscripts to his half-brother , Joseph Jefferson the third. Jefferson then had Dion Boucicault put his name to the play as author of the so-called Jefferson version of "Rip", but there is very little in it of importance that wasn't there when Burke delivered the script to Jefferson. Burke was twice married but left no descendants. He died in New York on Nov- ember 10, 1854. Of Mr. A. Sullivan, another new mem- ber of the I sherwood & McKinzie company on their second appearance here, we know lit- tle except that he played the juveniles and juvenile leads. It is scarcely necessary to elaborate on the life of Joseph Jefferson the third, as so much has already been written about him and his activities. He was born in Philadelphia, Pennsylvania, his mother be- ing the widow of Thomas Burke, as hereto- fore mentioned, who had died leaving one son, Charles Burke, a half-brother of the subject of this sketch. 26 CHICAGO STAGE Chicago Theatre 1858 To clarify the confusing records of this Jefferson family, let us again reit- erate that in 1826, at the age of twenty- two, Jefferson the second married the above mentioned Mrs, Burke whom he had first met in the Chatham Theatre in New York, Of this marriage there were two children, Joseph the third and Cornelia, the latter born in Baltimore, Maryland, on October 1, 1835. Therefore she was only three years old when she first came to Chicago in 1858. And "Our Joe 1 ', as he is sometimes called in or- der to distinguish him from the others bearing the same name, was six years Cor- nelia's senior. Thus he was just nine years old when he first appeared on the stage in Chicago in 1838. He was nearly ninety when he last appeared. Joe's early primary duties were to as- sist his father in painting scenery, an art he developed to some advantage. During 1841, after his Chicago engagement, his fa- ther was officiating as the scene painter in a Baltimore theatre. Father and son, together with many other "show folks" made their home at a theatrical boarding house, a habitation that was the customary abode of most players in the early theatrical days. Others at this homelike place were Stuart Robson, a mere boy; and Sarah Hil- dreth, a leading lady who was then receiv- ing marked attention from a young man by the name of Benjamin F. Butler, later known as General Butler. It was this same Benja- min F. Butler who became very unpopular la- 27 CHICAGO STAGE Chicago Theatre 1838 ter with the citizens of New Orleans, and who became a candidate for many oifices in- cluding the Governorship of Massachusetts, and President of the United States. At the time of which we are writing, Mr. Butler was operating a theatrical agency. But in that connection his main concern was see- ing that Sarah Kildreth, the apple of his "cockeye", secured good engagements. Stuart Robson was then only a very young call boy in one of the Baltimore thea- tres.. Among the visitors to this boarding house was Edwin Booth, about young Jeffer- son' s age, and these two busied themselves getting up juvenile minstrel shows. An- other visitor was Edgar Allen Poe, who came down to read his poems to get the re- action of the various players. Poe ' s father and mother, we believe, were then acting in one of the nearby theatres. However, of this we are not positive. It will be seen that Joseph Jefferson the third was constantly in the atmosphere of the theatre from the beginning of his busy life until the end. After he cut loose from "mother's apron strings" and went to New York in 1850, he secured an engagement and soon became attached to Prank Chan- f rau' s company, where he appeared as Jack Rockbottle in the play "Jonothan Bradford". He attracted little attention until in 1852 when he was seen at Niblo's. It was not until he appeared with Laura Keene in "Our American Cousin" by Tom Taylor, at the time 28 CHICAGO STAGE Chicago Stage 1838 that play was first brought out on October 18, 1658, that he gained any great popular- ity. Mr. Jefferson, it should be under- stood, was not a member of the Laura Keene company when President Lincoln was shot while witnessing a performance of this play. He was then in Australia where he had gone for his health, and where he made a big success as Bob Brierly in Tom Taylor's "Ticket of Leave Man". He is best known through his portrayal J of the so-called Boucicault version of "Rip Van Winkle". This play, in the form we have come to know, in reality, v/as the work of Charles Burke, Jefferson's half-brother, as has been explained heretofore. Burke gave the manuscript to Joe, along with the manuscript of "The Cricket on the Hearth", at the same time admonishing Joe to "keep it, play it, and avoid strong drink," the latter something Burke himself had always failed to do. Boucicault' s name was then worth con- siderable, and by announcing it as his work, it was almost bound to insure its success. But Burke had rewritten it from Bernard's version, which Mr. Hackett had played in England as well as in America. According to Noah Ludlow, the great theat- rical pioneer, C.B. Parsons, was the orig- inal in that drama when it was first pro- duced in Cincinnati in 1828. Ludlow says, and he is doubtless correct, he bought the script from an actor in New York a year or 29 CHICAGO STAGE Chicago Theatre 1838 so before the date mentioned. It has not been uncommon for actors to write plays, and, after an unsuccessful attempt at get- ting them produced, sell the play outright for whatever they could get, generally a lot under the circumstances, no matter how little the amount realized actually is. This is probably the true facts about that great success, "Rip Van Winkle". This Joe Jefferson III was twice mar- ried. His first wife was Margaret Clements Lockyer, who was born at Burnham, Somerset, England. There were five children born of this union. Charles Burke Jefierson, later known as C. B. Jefferson, became an actor and first appeared in Chicago at McVickers on November 26, 1869, as Dickory in "The Spectre Bridegroom". In later years he be- came a producer and, with Klaw & Erlanger, brought out the Country Circus. He was al- so interested in the production of "The Shadows of a Great City", which was first seen on any stage at JlcVickers Theatre. His father purchased an estate near Abbeyville, Louisiana, and to this estate C. B. retired wnen he ceased his producing activities. Margaret Jane Jefierson, eldest daugh- ter, never became an actress, probably be- cause she married Benjamin Farjohns, Eng- lish novelist, when sne was very young. Her sister, Frances Florence Jefierson, was born at Baltimore, Maryland, on July 9, 1:>55, and died tnere the following Decem- ber. Another son, Joseph Jefferson, Jr., 50 CHICAGO STAGE Chicago Theatre 1838 was born at Richmond, Virginia, in Septem- ber, 1856, and died there shortly after that date. Thomas Jefferson, another son of "Our Joe", was born in New York in 1857. He made his theatrical debut in England as Coccles in his father's production of "Rip Van Win- kle". After his return to America, he be- came associated with Lester Wallack in that great manager's New York stock company. This particular offspring of Mr. Jefferson was doubtless the best actor of that fami- ly of players. He traveled with his father throughout this country, and many times substituted for his parent in the part of Rip. This was especially true on the "one night stands", and, after the opening date, in the cities. Joe would play the part on the first night and the son, Tom, would finish the engagement. It should be under- stood that this was not always done, but as the father grew old the son often took his place. On December 20, 1867, Joseph Jefferson took as his second wife Sarah Warren, the daughter of Henry Warren, a brother of the William Warren we have mentioned hereto- fore. To this union the following children were born: Joseph Warren Jefferson, in New York on July 6, 1869; Henry, born in Chi- cago, Illinois, and died in England in the year 1875; William Winter Jefferson, born in England on April 25, 1876. There were two other sons, Edwin and Frank, but little 31 CHICAGO STAGE Chicago Theatre 1838 has ever been said about then]. The mother, Sarah Warren Jefferson, died in 1954. With this knowledge of the new members of the I sherwood & McKinzie organization at the time the company opened in ,! The Stran- ger" on May 10, 1833, let us return to the record, which gives "The --Hypocrite" as the next play, presented on May 12th, with Mr. Leicester appearing as Doctor Cant-well and Mrs. Ingersoll as Old Lady Lambert. On May 13th John Tobins! popular drama, "The Honey- moon" , was offered to a most appreciative audience. "The Carpenter of Rouen" was re- peated on the 14th-.. with the same hearty reception it received when presented at the Saganaush Hotel the year before. The company was gaining favor, and the increased attendance was both appreciated and needed by the management. For several evenings plays given on the previous visit were repeated, then new ones were offered. Mrs. Inchbald's successful little drama, "Wives As They Were And Maids As They Are", opened May 23d with this , CAST Lord Priory Mr. Sankey Sir William Dorillon Mr. Jefferson Sir George Evelyn Mr. Germon Mr. Bronzly Mr. Leicester Mr. Norberry Mr. Warren Oliver Mr. Sullivan Miss Dorillon Mrs. Ingersoll Lady Mary Riffle Mrs. McKinzie Lady Priory Mrs. Jefferson 32 CHICAGO STAGE Chicago Theatre 18S8 The company was next seen in the suc- cessful play, "Petticoat Government" which had this CAST Hectic Clover Bridon Stump Mrs. Carney Annabel la Mr. Leicester Mr. Germon Mr. Sullivan Mr. V/arren Mrs. McKinzie Mrs. Ingersoll The next presentation of Isherwood & McKinzie was Nicholas Howe's well known drama, "Jane Shor_e", with the following u AST Gloster Hastings Dumont Belmore Catsby Jane Shore Alicia Mr. Leicester Mr. Wright Mr. Germon Mr. Sankey Mr. Jefferson Mrs . Ingersoll Mrs . Jefferson This powerful historical drama met with universal success and was played here many times later. June 2d "The Maid and the Magpie" was given. This play pleased so well that it was repeated early in the engagement the following year, when McKinzie & Jefferson returned. At that time, however, there was a slight difference in the cast of charac- ters. On the present occasion it had this 33 CHICAGO STAGE Chicago Theatre 1853 CAST Henry Mr. Leicester Everhard Mr. Wright Farmer Gerald Mr. San key Benjamin Mr. Jefferson Martin Mr. Burke Annette Mrs . Ingersoll Dame Gerald Mrs . McKinzie Another favorite, "The Idiot Witne&aJ, was seen at this theatre. Since no records are obtainable, we are unable to give all the Dlays presented from this time up to Octo- ber 18th. McKinzie had complained of the attend- ance, so the public-spirited citizens de- cided to placate him with a benefit "in appreciation of what he had done to estab- lish the drama in Chicago." In those days, the test of an actor's popularity was the attendance at these benevolent gatherings. McKinzie set the date as October 13th, and chose Edward Lytton Bulwer's "The Lady _ of Lyons" interpreted by this Claude Melnotte Beausant Glavis Col. Dumas DesChapples Gaspard Officer Pauline- Madam DesChapples Widow Melnotte Mr. Leicester Mr. Warren Mr. Germon Mr. Sankey Wright Burke Mr. Mr. Mr. Watts Mr s . Ingersoll Mrs . Jefferson Mrs . McKinzie 34 CHICAGO 3TAGE Chicago Theatre 1838 The McKinzie benefit was a huge success s and the receipts a godsend to a struggling dramatic company. "The Lady of Lyons" did not furnish the entire evening T s entertain- ment, but added to that dramatic classic was a shorter play, "The Two F^ijsnds" which was thus CAST Ambrose Herbert Valentine Elinor Rose Mr. Mr. Mr. Mr s Mr s Sankey Leicester Warren , Tngersoll . McKinzie Following this, on October 19th, came John Pocock T s highly successful "Rob Roy" with the following CAST Rob Roy Mr. Leicester Major Gilbraith Mr . Warren Rashleigh Mr . Sankey Bailie Mr. Germon Francis Mr. Sullivan Diana Vernon Mrs . Ingersoll Helen McGregor Mr s . Jefferson Mat tie Mrs . Germon This was one of the most successful of all the plays presented by the company during their 1838 visit. After struggling along in the new play- house with little pecuniary success, the company finally concluded their engagement 35 CHICAGO STAGE Chicago Theatre 1838 in the early fall, repeating many, if not all the plays they had offered on their previous appearance. The McKinzie & Isherwood players had come here, on this .-visit, from Springfield where they had given performances in the dining room of the Use Hotel. But they ap- peared in the capitol city the following year in a new building erected by a public spirited citizen expressly for that pur- pose . 56 * CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS 1ATRES, AMPHITHEATERS, OPERA HOUSES, HALLS. CIRCUSES 1839 • CHAPTER III After traveling through Il- linois and nearby states, Mr. McKinzie brought his company- back to Chicago to reappear at the Chicago Theatre. The compa- ny was practically the same as the previous season except that Harry I Sherwood, who had been the manager's oartner, did not 'T^sToTs^ear on. this occasion. He de- clarec, himself fed up on the managerial struggle: walking from town to town, sleeping on straw in barns, of ten go- ing without food as every barnstorming actor has done and always will do. I Sher- wood concluded that he had done his share of pioneering and was entitled to more of the comforts of life, so back to New York he went to finish his declining days paint- ing scenery for Lester Wallack and other standard theatrical organizations. He died in New York in 1390 after many years of failures and successes. Alexander McKinzie did not relish the painful operation of this sort of aggrega- tion without the sympathetic cooperation of a partner, so he now declared his brother- 77 CHICAGO STAGE Chicago Theatre 1839 in-law, Joseph Jefferson the second, in as a full partner who could at least furnish himself, wife and two children, as well as supply sympathetic consolation when the argument with the hotel keeper became an- noying. This Mr. Jefferson, who was a scene painter like Mr. I Sherwood, made good use of his skill by producing new scenery for the first presentation on the occasion of the company's return. The theatre-going public everywhere at that time seemed sus- ceptible to flattery, so this company, aft- er finishing an engagement in a newly constructed edifice for the display of their talent at Springfield, Illinois, de- cided to bill their attraction as The Il- linois Theatrical Company, hoping thus to acquire a substantial patronage by becom- ing identified as a strictly Illinois or- ganization. The opening date was Saturday, August 21, 1839. They offered George Colman's play, "The Review", with the following f CAST John Lump Mr. Sankey Caleb Quinten Mr. Greene Looney McTrotter Mr. Warren Grace Gaylove Mrs . Ingersoll Lucy Mrs . Germon Phoebe Mrs . McKinzie On Monday, September 2d, "The Warlock of the Glen" was offered, and it was thus 38 CHICAGO STAGE Chicago Theatre 1859 CAST Mat hew ' Clarnwald Andrew Sandie Countess Marian Mr. Sullivan Mr. Sankey Mr. Greene Mr. Leicester Mrs . Ingersoll Mrs . Germon The play met with considerable favor and as an afterpiece the farce "Midnight Hour" was put on. On Tuesday, September 3d, "The Golden Farmer" by Benjamin Webster, was presented with this CAST Golden Farmer Jemmy Twitchell Harry Hammer Old Mobb Lord Fitzwilliams Elizabeth Louisa Mrs. Hammer Mr. Leicester Mr. Burke Mr. Warren Mr . Sankey Mr. Sullivan Mrs. Ingersoll Mrs. Germon Mrs. McKinzie Wednesday, September 4th, "The Maid and the Magpie" was the offering, had been presented by the Same year prior to this. This play company the Thursday, September 5th, "Isabella" or "A Woman's Life" was given with Mrs. In- gersoll in the title role, and this play 39 CHICAGO AGE Chicago Theatre 1839 was repeated on Friday, September 6th and again on the 7th. Monday, September 9th, Magpie" , the "The Maid and orabiy known play repeated with this well and fav- in those days, was CAST Biaisot XFarmer Gerald Benjamin, a Jew peddler Annette Dame Gerald Mr. Warren Mr. Greene Mr. Jefferson Mrs. Ingersoil Mrs. Greene The play was followed by a concert in which Mr, Dempster rendered some entertaining vocal selections. The concluding farce was "The Irish Tutor". Tuesday, September 10th, as a benefit for Mr. Dempster, "Sweethearts and Wives" was offered with chis CAST Billy Lackaday Admiral Franklin Charles Franklin Sanford Eugenia Laura Mrs. Bell Susan Mr . Warren Mr. Jefferson Mr . Sullivan Mr. Leicester Mrs . Ingersoil Mrs, . Germon Mrs . McKinzie Mrs, . Jefferson Mr. Dempster rendered his usual vocal se- 40 CHICAGO STAGE Chicago Theatre 1839 lections between the play and the conclud- ing farce, which was "My Heart's in the Highlands". Wednesday, September 11th, Benjamin Webster* s highly successful drama "The Golden Farmer", was again performed. For the farce "The Sleeping Draught" was put on, in which Mr. and Mrs. Greene ap- peared. Thursuay, September 12th, "The Idiot Witness 11 was done as a repeat as it had been played on the first and second visits, but it was cast differently on this occasion, Jefferson playing Gilbert, the Idiot. The concluding farce was "The En- raged Politician" , in which a local amateur made his appearance with some success. Iriday, the 15th, M. M. Noah's "A Wan- dering Boy" was seen with the following CAST Hubert Mr. Leicester Lulin Mr. Warren Count de Croi sey Mr. Germon Roland - Mr . Sullivan Paul Mr s , Germon Justine Mrs . Jefferson Baroness Mrs . Ingersoll Following the play "The Unfinished Gentle- man" was the farce. >C^ Saturday, September 14th, saw the com- pany in J. Madison Morton's "The Invisi- bles" , very convincingly played with the following 41 CHICAGO STAGE Chicago Theatre 1839 CAST • General Verdon Mr . Sankey O'Starb Mr. Warren Vestoria Mrs. McKinzie Eliza Mrs. Ingersoll Julibelle Mrs. Jefferson Desire Mrs. Germon The entertainment concluded with "It's All a farce" together with vocal selections by- Mr. Dempster. Monda}', September 16th, a new dramati- zation of Charles Dickens' "Oliver Twist" was presented with this CAST Oliver Mrs* Germon Fagan Mr. Greene- Mr. Bumble Mr. Jefferson Bill Dawkins -Sykes Mr. Warren Artful Dodger Master Burke Mr. Brownlow Mr. Germon Nancy Sykes Mrs. Ingersoll This dramatization seems to be the compa- ny's own effort, as it is somewhat differ- ent from the other two versions. It was, however, very well received. "Uncle Sam" was done as the farce. There was some dis- turbance in the theatre that night, and Mr. McKinzie had the disturbers arrested the following day. On Tuesday, September 17th, George Colman's "Poor Gentleman" was 42 CHICAGO STAGE Chicago Theatre 1839 the attraction, and it was, well received. In spite of the limited dramatic attrac- tions in Chicago at this early date, many were familiar with the name of Colman as a dramatist. The play was thus 7 CAST Doctor Olopod Mr. Sir Robert Bramble Mr. Frederick Mr. Captain Foss Mr. Lieut. V/or thing ton Mr. Humphrey Dobbins Mr . Sir Charles Croplund Mr. Farmer Harroway Mr. Stephen Mast Emi ly V/or thing t on Mr s . Lucre tia McNabb Mrs. Dame Har r oway Mr s . Mary Mrs. Warren Jefferson Leicester Sankey Germon Greene Sullivan McKinzie er Burke Ingersoll McKinzie Jefferson Germon At the conclusion of the play, a farce, "Loan of a Lover" was given. On Wednesday, September 18th, "Oliver Twist", which had created a great deal of talk, was repeated. The following night, Thursday, September 19th, Oliver Gold- smith's famous old play, "She Stoops to Conquer", was presented fo of the local theatre goers. the pleasure It was very favorably received, capably interpreted as it apparently was on this occasion by the following 43 CHICAGO STAGE Chicago Theatre 1859 CAST Hardcastle Mr. Sankey ^ Sir Charles Mar low Mr. Greene VCharles Mar low Mr . Leicester Tony Lump kin Mr . Warren Hastings Mr. Germon Doggery Mr. Jefferson Landlord Mr. McKinzie Miss Hardcastle nrs . Ingersoll Mr s . Ha r d c a s 1 1 e Mrs . McKinzie Miss Noville Mrs . Germon .*¥*' Mrs. Ingersoll, who had become very popular with Chicago play goers and citi- zens in general, opened a music school in the city at the end of the week. Friday, September 20th, saw the company in a repeat of Nicholas Rowe's great and popular play, "Jane Shore", with practi- cally the same cast. This play was put on for two nights, followed by "The Village Lawyer" done as an afterpiece. On Saturday, September 21th, "The Lady of Lyons", which had been done before, was the attraction. On this occasion Mr. Lan- caster, who had joined the company, was seen in the role of Claude; Mr. Warren as Beausant; and, of course, Mrs. Ingersoll as Pauline. To make it a good and an abun- dant evening's entertainment, "The Swiss Cottage" was done as the afterpiece. Monday, September 2od, "Chery and Fair- 44 CHICAGO STAGE Chicago Theatre 1839 star" was offered. It was written by F. w. Green, and had always been quite a favorite everywhere, often as an afterpiece, bat on this occasion it was done as the main play. Master Burke played Prince Chery ; Mrs . Ger- mon did Fairstar; and Mr. Lancaster, the new member, was cast as Saugumbeck. This was called a "spectacle" and it was well received by the audience. The play was fol- lowed by "Animal Magnetism" done as the farce, in which William Warren and Joseph Jefferson were the two principal players. Tuesday, September 24th, "Oliver Twist" was repeated, and on the 25th "Chery and Fairstar" was also repeated but the after- piece was changed to John 0'Keefe T s "A Poor Soldier" and was given with this CAST Capt. Fit zroy Mr. Sullivan Denmont Mr. Jefferson Father La ke Mr. Greene Patrick Mr. Germon Bagatelle Mr. Lancaster Darby Mr. Sankey Kathleen Mrs . Jefferson Nora Mrs . Germon O'Keefe was one of the favorite authoTS during the early days of our theatre in America, and this play had been produced in New York as early as 1793, but it was still a favorite attraction. On September 26th John Banin' s great play, "Damon and 45 CHICAGO STAGE Chicago Theatre 1859 Pythias" was produced with Mr. Lancaster as Damon; Mr. Sullivan as Pythias; and Mrs, Germon as the devoted Calanthe. The play was put on for two nights. Saturday, the 28th, saw another repeat of "Chery and Fairstar", but succeeded by a new farce, "Is It a Lie?" The week ended successfully, and Monday, September 30th, began a new one with "Zembrucca", in which Mr. Lancaster and Mrs. Jefferson were cast as the principal players, Zembrucca and Almaside respectively. There was considerable complaint about the small patronage and the townspeople, becoming concerned, persuaded Mr. McKinzie to bring in a stock star. If there is any- thing that people think they can do, it is to run the show business. And here they became Mr. McKinzie 1 s unsolicited advisers. He yielded to their pleas and brought in, not one but two stars: Charles Kemball Ma- son and Mrs. McClure, both well established players. Charles Kemball Mason was born in Eng- land in 1305, and made his metropolitan stage appearance as Young Norval at the Covent Garden, London, in 1823. After com- ing to America, he became attached to one of the Philadelphia Theatres and later ap- peared in New York where he supported that distinguished player, Charlotte Cushman, when she appeared in her great character of Meg Merrilies in the play "Guy Manner - 46 CHICAGO STAGE Chicago Theatre 1839 ing". Mr. Mason was also considered a star in the part of Napoleon in the play of that name. Mrs. McClure was the former Miss Meek, and, while a native of New York, she had established herself in the theatrical pro- fess:. on in the South, where she had already become a prime favorite. Her first appear- ance in the East was at the Park Theatre in New York on March 5, 1833. She was seen there again in 1844, after she appeared in Chicago during the McKinzie-Jeff erson en- gagement. She was acclaimed as one of the most beautiful women of her day. Tiring of the East, she returned to the South and , finally became the wife of N. M. Ludlow, one of the greatest, if not the greatest, of all American theatrical pioneers, and the person, according to his claim, who first planted the dramatic flag west of the Mississippi River. The opening play for these new stock stars was "Napoleon", the drama that had won Mr. Mason his reputation in New York. The two stars began their Chicago engage- ment on October 2d, — Mason as the French hero, and Mrs. McClure as Victoria. This play was done as an afterpiece to "The Lady of Lyons", which was a repeat. Eulwer, author of "The Lady of Lyons", was then well known and popular in America, having endeared himself to American as well as English players on account of his fight 47 CHICAGO STAGE Chicago Theatre 1859 for the abolition of the "patents" granted to Drury Lane and Covent Garden Theatres in London. Sir Edward Lytton Bulwer, or Lord Lytton as he was alternately called, was, at the time mentioned, a member of the House of Lords, and brought the subject of "patents" to the attention of that body, citing the privileges the two named thea- tres were enjoying at the expense of other worthy playhouses. These "patents" or li- censes had been granted to Sir William Davanent for one, and to one Killigrew for the other, by the Crown after the restora- tion. This grant gave the manager the ex- clusive right to present all the "best plays" in London. At the time these exclu- sive "patents" were granted to Davanent and Killigrew it was presumed that the grantees were of such a character that there would be no misuse of these delegated rights. But as the theatres changed hands from time to time, these patents were conveyed to the new owners. In the meantime, theatres were springing up in remote parts of the city, and were operating without any re- strictions. The result was that the opera- tion of such theatres became a thorn in the side of the managers of the patent thea- tres, and they complained bitterly. The agitation finally led to the licensing of all amusement places for a substantial fee, which fee has always been out of all pro- portion in comparison with the license paid by other local enterprises. In all localities there were many es- 48 CHICAGO STAGE Chicago Theatre 1839 tablishments built for, or that were turned into places of amusement in their infancy, whose owners refused to pay a yearly li- cense. Therefore, when a show came along to occupy such a theatre or other amusement place, it paid the license for the time it remained. If they didn't, they didn't play. The tax paid by Isherwood & McKinzie for appearing in the dining room of the Saga- naush Hotel in Chicago, $125.00, amounted to confiscation as the City Council learned afterwards, for tney kept reducing the fee on each succeeding visit. Sir Edward Lyt- ton Bulwer's espousal of the cause of the less prominent theatrical institutions at- tracted great attention, and many of the arguments going on in England over the mat- ter were aired by the American press. This publicity gave all of Bulwer T s plays wide- spread attention and made them financially attractive. "The Lady of Lyons", perhaps the best, was played often all over America. Returning to the Jefferson k McKinzie company and their stock stars, Mr. Mason and Mrs. McClure, after introducing them to the public in "Napoleon" and "The Lady of Lyons", on October 3d they presented Mrs. Joseph Centelevre T s play, "The Won- der". This play drew better than anything put on so far. It was followed by "Napo- leon" done as an afterpiece. While the re- ceipts may have been due, to some extent, to this afterpiece, it is probable that "The Wonder" was the magnet that drew them as it was for many years a very attractive 49 CHICAGO AGE Chicago Theatre 1839 piece, old as it was. It was selected to open the new Boston Theatre as late as 1856, When presented by the Jefferson and McKinzie company it had this CAST Don Felix Mr. Mason Col. Brilliant Mr. Germon Donna Isabella Mrs . McKinzie Donna Violante Mrs . McClure Flora Mrs . Germon Don Pedro Mr. Sullivan Don Lopez Mr. Lancaster Los Surdo Mr . Jefferson Gibby Mr. Sankey Inis Mrs . Ingersoll From all indications, the stock star system was very effective in Chicago, and McKinzie and Jefferson were congratulating themselves on their theatrical wisdom and prowess . Friday, October 4th, sawH.H. Mil] man's popular success, ing "Fazio", with the follow- CAST Fazio Bianca Duke Bartello Philario Mr . Mason Mrs . McClure Mr . Lancaster Mr . Sullivan Mr. Germon 50 CHICAGO STAGE Chicago Theatre 1839 Other members of the company assumed the less important roles. This was followed by "Katharine and Petruchio" put on as an af- terpiece. This is, as most people know, David Garrick's version of Shakespeare's "Taming of the Shrew", and it proved to be a well-oiled theatrical vehicle for the stars to ride into popularity. Mrs. McClure was seen to good advantage as Katharine, and Mason was more than satisfying as Pe- truchio. Monday, October 7th, saw Otway's "Ven- ice Preserved" presented with this CAST Pierre Mr. Mason Jaffier Mr. Lancaster Oriull Mr. Germon Belvidera Mrs. McClure Even the newly established playgoers seemed to be more or less acquainted with this old play for they voiced their approval. The farce, "No Song, No Supper", was the concluding part of the entertainment. The 3th a benefit was given Mrs. McClure the offering being Shakespeare's "Romeo and Juliet" with his comedy, "Katharine and Petruchio" , repeated for the afterpiece. The former popular classic was capably presented with the two stars and the sup- porting company thus LIBRARY oJ - UNIVERSITY OF ILLINOIS CHICAGO STAGE Chicago Theatre 1839 CAST Romeo Juliet Mercutio Tybalt Friar Lawrence Peter Lady Capulet Nurse Mr. Mason Mrs. McClure Mr. Lancaster Mr . Sullivan Mr. Jefferson Mr . Warren Mrs. Jefferson Mrs. McKinzie Wednesday, October 9th, Knowles' great play, "The Wife" was the attraction. CAST St. Pierre Mr. Mason Leonardo Mr. Lancaster Farardo Mr. Germon Count Flario Mr . Sullivan Lorenzo Mr . Jefferson Antonio Mr. Warren Hugo Mr. Sankey Bartelo Mr. Burke Mariana Mrs . McClure Florabel Mrs . Germon "All A Farce" was the concluding farce. Both were well received. October 10th the company returned to Shakespeare and gave the puclic "Macbeth" with Mr. Mason in the name part, Mr. Lan- caster as MacDuff, and Mrs. McClure as Lady Macbeth. According to all accounts the en- tire company acquitted themselves well. 52 CHICAGO STAGE Chi cag o T he a t r e 1853 On October 11th "Oliver Twist" was re- peated, with "The Invincible s n for the i'arce. "Zembrucca" was again put on for October 12th, and Monday, October 14th, saw "Aladdin and His Wonderful Lamp" with Mas- ter Burke as Aladdin, and Mrs. Germon as the Princess. Tuesday, October 15th, Chicago was of- fered "Hamlet" for the first time, and with this CAST Hamlet Mr. Mason Claudius, the King Mr. Lancaster Polonius Mr. Jefferson Laertes Mr. Sullivan Horatio Mr. Germon Rosencranz Mr . Sankey Marcellus Mr . Greene Bernardo A. G. Double Guild ens ten Mrs . Germon Osric Mr. Burke Grave-Digger Mr. Warren Ghost Mr. McKinzie Actress Mrs . Ingersoll Gertrude, the Queen Mrs . McKinzie Ophelia Mr s . McClure The farce, "Rendezvous", was put on after the performance of "Hamlet". October 16th "Aladdin" was repeated, followed by "The Merchant of Venice" with Mr. Lancaster appearing as Shylock support- ed by the entire strength of- the company. 53 CHICAGO STAGE Chicago Theatre 1839 Mr. Mason and Mrs. McC lure had now finished their engagement. The Shakespearean mas- terpiece was succeeded by the Euckstone drama, "Vision of the Dead", which was the offering for October 17th, and was thus CAST Launce Lynwood Mr. Lancaster Trevanion Mr. Germon Alley Croaker Mr. Warren Tom Tinkle Mr. Sankey Black Ralph Mr. Jefferson Anna Trevanion Mrs . Ingersoll Margaret Mrs . Germon Biddy Nutts Mrs . McKinzie This is one of the successful pieces by J. B. Bucks tone, and was presented as late as 1856 by Wm. E. Burton. It was well re- ceived then in New York as it was in Chi- cago in 1339. ''Gilder oy" proved entertaining when produced on October 18th with Lancaster in the title role. The farce which followed this good play was "The Village Lawyer" . October 19th/ "The Forest of Bondy" and "Black-Eyed Susan" furnished the entertain- ment for Chicago theatre goers. Mr. Sullivan took his benefit on Octo- ber 21st when the often played "Pizarro" was seen, with the beneficiary appearing as Pizarro and Mrs. Germon as Cora. The play was followed by Barnes Rhodes' comical 54 CHICAGO STAGE Chicago Theatre 1839 farce, "Bombastes Furioso", which never failed to give satisfaction. Mrs. Germon took her benefit onOctober 23d, and chose for the occasion "The Mur- deress". Nice sounding title for dispensing entertainment, but in those days the public was not satisfied with those little plays dealing with the simple life of a family. No, indeed'. They wanted more than a mere family story laid in a bungalow on Staten Island with the scene: Mid-afternoon; same, next morning; same, two days later. Mrs. Germon appeared as Margaret and Mr. Germon, her husband, as Lasumour. For the after- piece, following the cheerful "Murderess", "Don Juan" was offered as a relief. October 24th James Sheridan Knowles' highly popular play, "William Tell",was the main play, and it was followed by George Buckingham's "Little Red Ridinghood". On October 25th, George Soan's "Inn Keeper's Daughter" was given, and that, with "The Children of the Woods", made up the even- ing's entertainment. Mrs. McKinzie took her benefit on Oc- tober 26th, and chose for that auspicious occasion her husband's dramatization of Prof. Ingraham's novel, "Lafitte, Pirate of the Gulf". This play was announced as the work of Mr. McKinzie, but there had already been two other dramatizations of that story, one by the first important fe- male American dramatist, Louisa Medina, and 55 CHICAGO STAGE Chicago Theatre 1839 the other by the well known actress, Char- lotte Barnes, who is mentioned later as the wife of E. S. Connor. Mrs. McKinzie played Theodore, and Mr. Lancaster played Lafitte. The manager announced that the company had already played the piece in Columbus, Ohio, and other cities. As this pirate, Lafitte, was much talked of in those days, it is safe to presume that Mr. McKin- zie did dramatize the story. It was customary in the days when ben- efits were in vogue, for each of the per- formers to enjoy this privilege. These benefits were usually taken toward the close of the season, and the McKinzie -Jef- ferson organization was gradually approach- ing that goal. The members of the company were reluctant, if not obdurate, in the matter of studying new parts, and so nearly all the plays from that time on were re- peats. Mr. Greene took his benefit October 23th, on which occasion "Joan of Arc" was the offering. It was followed on the 29th, with "The Inn Keeper's Daughter", played in conjunction with the oft-recurring play "Children of the Woods". Mr. Warren, for his benefit which oc- curred on the 50th of October, selected as his offering Richard Brinsley Sheridan's great play, "The Rivals". It was capably interpreted with this 56 CHICAGO STAGE Chicago Theatre 1839 CAST Sir Lucius O'Tri gger Mr. Warren Sir Anthony Abso lute Mr. Lancaster Bob Acres Mr. Jefferson Capt . Absolute Mr. Sullivan Falkner Mr. Germon David Mr. Greene Fag Mr . Sankey Lydia Languish Mrs Ingersoll Julia Mrs . Germon Lucy Mrs . Greene Mrs. Malaprop Mrs . Jefferson crowded into the Chicago Theatre to the compliment of their presence, be recalled that she was now con- October 31st "The Idiot Witness" again made its appearance, and on November 1st Mrs. Ingersoll took her benefit, when "The Inn Keeper's Daughter" was again repeated. The popularity of this charming and capable actress attracted all the wealth and beauty of the city and over a hundred matrons of Chicago pay her It will ducting the first music school in the city. She continued to do so after the other players left Chicago for fields unknown and, perhaps, untrampled. Mr. Jefferson took his benefit on tne closing night of the company's engagement, November 2d, playing "The Devil's Ducat" followed by the farce, "Tom Cringle's Leer"* i I ^=^ L.QQ I - G^IWxd/cd &*^a. Y/hen McKinzie & Jefferson concluded their third and last visit to Chicago, the company was more or less disorganized. Mr. 57 / CHICAGO STAGE Chicago Theatre 1859 V/arren left for Buffalo to join another brother-in-law, John B. Rice. Mrs. Inger- soll remained in the city conducting her music school. Others went to different parts of the country. But the undaunted managers carried on elsewhere, struggling from town to town, eking out a miserable existence, as was the fate of most such venturesome individuals and combinations. Evidently they terminated their managerial efforts soon after, as we hear of Jeffer- son, with the assistance of Little Joe as paint bey, painting scenery in a Baltimore theatre in 1841. Later, however, we hear of both McKin- zie and Jefferson at Mobile, Alabama, in the summer of 1842, where J. B. Fisher, another brother-in-law, the husband of Elizabeth Jefferson, was managing a the- atre. Fisher, having heard of the struggles of his relatives, decided to do something about it, so he gathered as many of the Jeffersons together as possible and assem- bled them at Mobile. It was here, on Nov- ember 24, 1842, that Joseph Jefferson, father of "our Joe", died of yellow lever and was buried in Lot 6, Grave 32, Magnolia Cemetery, Mobile, Alabama. Jefferson's partner, Alexander McKinzie, died the fol- lowing year at Louisville, Kentucky. Thus ended the tempestuous struggles of the first theatrical managers to plant the dramatic banner on Chicago soil. Mr. San- key, one of the most loyal performers of organization, was drowned in 1840. Mrs. 58 CHICAGO STAGE Chicago Theatre - Circuses 1839 McKinzie died February 3, 1845, at Louis- ville, Kentucky. - CIRCUSES - During the year of 1859 Chicagoans were also entertained by E. T. & Jerry Mabie's Circus, which came for three days, June 12th, 13th and 14th, pitching their tent at State and Polk Streets. The Mabies were from Putnam, Westchester County, New York, which seems to have been the habitation of many of the early circus impresarios and performers . 59 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS VTRES. AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1840 - 1842 CHAPTER IV The years 1840 and 1S41 com- prised a period of very limited entertainment, not only in Chi- cago but throughout the whole country. While amusements are highly important, they are not an actual necessity, and there- fore we can forget them. When it is a choice between the es- sentials and non-essentials of life, amusements must suffer, and did. As Bulwer has so well stated: "We can live without music, poetry or art; We can live without conscience; We can live without heart; We can live without learning; We can live without books; But civilized man cannot live without cooks ." JAMES H. McVlCKER When McKinzie and Jefferson left Chi- cago, they left the little interest they had in the Chicago Theatre, and, as the building belonged to John Bates, the scen- ery — what they did not take with them — was left with the building, along with the seats, etcetera. But we may be sure there 60 CHICAGO STAGE Chicago Theatre - Halls 1840 wasn't much etcetera left. The Chicago Theatre was vacant during the year 1840, but the balance of the build- ing in which it was located was occupied by- John Bates, the owner, for auctioning off various things, including even the house- hold belongings of widows, and such. Bates never took a chance on paying a yearly li- cense for the continuous operation of the theatre, but left that to the bargaining of the managers of the various companies that came along . But nothing came along in the way of dramatic entertainment those years. HALL.- Notwithstanding the absence of amusements at the newly built Chicago The- atre, there were halls where indifferent attractions appeared. The most conspicuous of such halls was the CITY SALOON, which was, if not the first, at least one of the earliest. It was owned and managed by J.B. Breeze and Frank Peyton, who advertised it "for rent at twenty dollars a night. First come, first served." This hall was located on Lake Street, just east of Clark. Many musical and semi-musical attractions were heard there. It was first opened as early as 1836, but the town was then too small for anything that appeared there to be re- corded. However, we find an announcement dated as of 1840, which reads: "On August 2d, an entertainment, in the CITY SALOON*; — if it may be called such,— "by the inmates of the Indiana Deaf and Dumb Asylum." Just 61 CHICAGO STAGE Halls - The Theatre 1840-42 how much the outfit was appreciated is hard, to say, although doubtless their mute ex- hibition would have been an attraction in this Twentieth Century. September 5th, the Druid Horn Players offered what they called "Fascinating Mus- ical Numbers Played on Ox Horns." Twenti- eth Century vaudeville bookers would rush to "horn out" each other to grab this. It would be difficult nowadays to find the oxen, much less the horns to provide such attractive musical instruments. At the same establishment on September 23d, Professor Charles gave one of his "famous musical concerts." THE THEATRE.- Early in the spring of 1842, John G. Porter appeared in Chicago with his wife, Mrs. Porter, the former Mary Duff, daughter of the popular players, John and Mary Duff. This young lady made her stage debut in Boston in 1810, when very young . Before marrying Porter she had con- tracted an earlier marriage with the well known actor, A. A. Adams. She experienced the same disappointment in her new found mate as the audience so often had where he was billed to appear. Adams, in his early life, bid fair to be one of the leading players of America. He would, no doubt, have attained that enviable position had he not been, in the v/ords of Shakespeare, too fond of "putting an enemy in his mouth 62 CHICAGO STAGE The Theatre 1842 to steal away his brain." But constantly- doing this robbed him of the opportunity of reaching the highest rung of the theatrical ladder that his great ability promised and justified. After enduring his conduct for some time, Mary Duff finally separated from him and, a short time later, married John G. Porter. The latter' s career as an actor was nothing out of the ordinary. Of this charming woman, Ireland, in his "Records of the New York Stage", in speak- ing of Mary Duff's appearance in New York in 1832, says: "On this occasion Mary Duff, who had lately made a brilliant debut in Philadelphia, first claimed the admiration of a New York audience, which was not only accorded her at the time, but would have proved a permanent outpouring had she re- mained true to her better nature and the refined school in which her mother won her reputation; but led astray by the prevail- ing taste of Southern and Western theatres, where she was for years a reigning star, her style became vitiated and on reappear- ing in 1842, little was left to afford pleasure to a discriminating critic." He then goes on to say: "On her first appear- ance Mary Duff was radiant in youthful loveliness. Her person was eminently beau- tiful and above the medium height; her voice was of extensive compass and musical in every tone; and her spirits were so ex- uberant, that even in her novitiate her best friends feared that "over acting" would be the rock on which her bark would 65 CHICAGO STAGE The Theatre 1842 split — an apprehension too truthfully fulfilled." There you have the opinion of the best authority of the time relative to the second leading lady to appear in Chi- cago. But she got in and out of the village with little thought and less attention. John G. Porter, who was her husband at the time she appeared here, was lost at sea shortly after the Chicago engagement. And it was thereafter that she again appeared in New York, of which appearance Mr. Ire- land complains. P4ary Duff Porter, or per- haps Gilbert, died at Memphis on August 1, 1852. The company appeared, not at the Chi- cago Theatre, but at a place known then just as "The Tneatre" located at Randolph Street near La Salle Street. No record of the opening date seems available, perhaps for the very good reason that Mr. Porter didn't bother to negotiate with the City council for a license, but opened without such customary permit. He was taken to task for this subterfuge, which necessitated an early conclusion of the engagement. Mr. and Mrs. Porter departed immediately after the latter 's benefit, which took place on April 8, 1842, when the following pieces were offered: "The Stranger", "A Day in Paris", and the very appropriate farce, "A Manager in Distress". Porter's troubles as a manager on this mundane sphere were soon over as he was lost at sea shortly after this pathetic engagement. His wife, soon after his death, in this same year returned 64 CHICAGO STAGE The Theatre 1842 to New York, where she made a very short starring appearance. After her starring engagement in New York, Mrs. Porter assumed her maiden name of Mary Duff, and following such assumption she seems to have had something of a ca- reer. William W. Clapp states in his book "Records of the Boston Stage", that "she developed an intimacy with Joseph Gilbert." And as the result of such intimacy, we be- lieve, became known as Mrs. Gilbert, and as Mr. and Mrs. Gilbert they were seen in Chicago some time later. John G. Porter appears to have inclined to the adage: "Self preservation is the first law of nature". At any rate, he left with his charming wife for parts unknown. Their departure, naturally, disrupted the company and left the balance of the players stranded on the "shoals of adversity" , with the shores of Lake Michigan to the east of them and the wild and dismal plains on the west. There was little left for them but to form a new company out of the remnants of the organization and strike out for them- selves. Such a company is always like a ship without a rudder, but each and every member thinks he or she can qualify to guide the destinies of such a combination with greater skill than the former manager could ever possibiy have done. Everybody, usually, wants to be the manager. At this job all can get along immensely well until liquidation or judgment day comes around, 65 CHICAGO STAGE The Theatre 1842 then none can be found to give a convincing argument to the hotel proprietor or other creditors. After much discussion over the above responsibility, H. B. Kelson was chosen to officiate in the thankless task. He had a thought, the execution of which ought to "put money in his purse." That thought was to open on April £3d, Shakespeare's birth- day, and surely the Chicago public would make it the holiday it really was. Fate is often cruel, — in this case it wa^ almost too cruel, as exemplified by the expression of one of the group of hungry actors. Look- ing through the peep hole in the curtain, without which no country theatre is com- plete, and after viewing with a sad face the empty seats in front, he turned away, shaking his hoary head, mournfully mutter- ing the familiar Shakespearean line: "When troubles come, they come not in single spies but in battalions." However, their misery lasted but two weeks as they opened en April 23d and closed May 7th, and pre- sented only the plays that had been done with the Porter aggregation. What became of H. B. Nelson and his players has not been learned. The next record of any entertainment in "The Theatre" is on June 16th when Dr. Biddie, the celebrated ventriloquist, con- cluded an engagement. Just how celebrated this magician was we'll have to take for granted, unless we want to dispute the al- 66 CHICAGO STAGE Chicago Theatre 1842 legation of the hand bills. Leaving "The Theatre" to its misfor- tunes, let us return to the Chicago Theatre, which was again opened by a company under the management of Powell & Lyne on August 17, 1842, with George Lotto's play, "George Barnwell", one of the favorite pieces of the time. The members of the troupe were: Messrs. Hastings, Jackson, Graham, Sharpe, Armstrong and Jones, Master Hastings, and the managers above mentioned. The ladies were: Mrs. Powell, the leading actress; Mrs. Hastings; and a Miss Ramsey, the lat- ter more or less a newcomer to theatricals. This was, probably, the best all around organization that so far had visited the village. Their opening play was thus CAST George Barnwell Thoroughbred Henry Blunt Uncle True man Mrs. Millwood Maria Lucy Mr. Powell Mr . Lyne Mr. Jackson Mr . Sharpe Mr. Hastings Mrs. Powell Mrs. Hastings Miss Ramsey This play was already a hundred years old, having been produced in America as early as 1750 by the first Lewis Hallam. The af- terpiece was "The Hunter of the Alps". The performance was well received. It was fol- lowed on August 18th with "The Apostate", 67 CHICAGO STAGE Chicago Theatre 1842 a drama by R. L. Shields which had a pro- duction in America as early as 1817, but was now given its first presentation in Chicago. It was thus CAST Pecarre Mr. Lyne Hemega Mr. Powell Maloc Mr. Hastings Alverez Mr. Graham Cadi Mr. Jackson Florinda Mrs. Powell At the conclusion of "The Apostate", "The Village Lawyer" was given as an afterpiece or farce. August 19th saw this company in "Frat- ricide" or "Blood for Blood" with the fol- lowing £ CAST / v^Lucier Arnord Mr. Powell 9 ^ Gilbert Mr. Lyne {o Harry Mr. Graham „\ Paul Tug skull Mr. Hastings Robert Mr. Sharpe Earl of Essex Mr. Jackson Walter Arlington Mrs. Powell Dame Tug skull Mrs. Hastings Janet Miss Ramsey The concluding performance, was "The Turn- pike Gate" with Powell as Crack and Mrs Powell as Henry Blunt. 68 CHICAGO STAGE Chicago Theatre 1842 August 20th Chicago again had a glimpse of Shakespearean drama when Messrs. Powell and Lyne offered "Richard III" which had the following CAST Richard, Duke of Gloster Duke of Buckingham Henry, Earl of Richmond King Edward Ratcliff Catesby Lady Anne Elizabeth, the Queen Duchess of York Duke of York Mr . Lyne Mr. Powell Mr . Sharpe Mr. Graham Mr. Armstrong Mr . J one s Mrs. Powell Mrs. Hastings Miss Ramsey Master Hastings August 22d "George Barnwell" was re- peated, followed by "Sailor's Hornpipe" , and for the farce "The Turnpike Gate" was offered. August 23d saw the old favorite "Pizarro" with Mr. Sharpe in the name part, supported by the entire company. The play was followed by an afterpiece called "Chi- cago Assurance" thus CAST Spunge Davis Gammon Dalton Mesurton Mr. Powell Mr. Graham Mr. Hastings Mr. Sharpe Mrs. Powell 69 CHICAGO STAGE Chicago Theatre 1842 August 24th and 25th saw the company in Douglas Jerrold's "Ambrose Gynette" — CAST Ambrose Gynette Ned Grayling Gilbert Mad George Lucy Fairlove Janet Mr. Powell Mr. Graham Mr. Hastings Mr. Sharpe Mrs. Powell Mrs. Hastings The play cnosen to initiate their sec- ond week in the Chicago Theatre was Charles Dibdin Pitt T s drama, "The Drunkard's Doom" or "The Last Nail", 7/hich seems to have been the first recorded presentation in America as it was not seen in New York un- til ten years later. On the date we are recording it was CAST Adelich Starke Olfinmeyer Sigismound Woiger Waldermer Gunderdoff Agitha Lady Emmeline Bluebell Mr . Lyne Mr. Powell Mr . Sharpe Mr. Jackson Mr. Hastings Mr. Armstrong Mrs. Powell Mrs. Hastings Miss Ramsey For the afterpiece, "A Pleasant Neighbor" was given, and these pieces had a run of three nights. This, of course, was unusual 70 CHICAGO STAGE Chicago Theatre 1842 in view of the .limited population of the town. August 29th Mr. Cherry's popular play, "A Soldier's Daughter", was highly appre- ciated when done with this CAST Gov. Heart we 11 Mr. Jackson Frank Heartwell Mr. Powell Timothy Quint Mr. Hastings Charles Woodley Mr. Sharpe "Old" Ferret Mr. Graham Widow Cheerly Mrs . Powell Mrs. Wolfert Mr s , . Hastings Susan Miss Ramsey For the afterpiece "The Drunkard's Doom" was repeated. The temperance question be- ing prominent at the time made the latter attractive . Starting August 50th we find the man- agers turning to the stock star system, for which they introduced in their organization one whose name was already well known to theatre goers, Danforth Marble, popularly known as "D'in" . "StocK Stars" are said to have been the bane of the theatrical man- ager's life. In the days when the system prevailed, they didn't want them but could seldom get along without them, just as Chi- cago, in later days, must have names that had been established in New York: either individual stars or names of productions 71 CHICAGO STAGE Chicago Theatre 1842 that had become notable for their success. Even to the present day, an attraction at any of our first class theatres will find tough going unless it has been in New York before coming to this city. People seem bound to let others choose their amuse- ments for them. So far as we can learn, this stock star system just mentioned had its beginning in 1805, when one of the most outstanding players in the country, James A. Cooper, inaugurated the policy. Before that time the public had to be content with the dramatic fare furnished by the resident stock company maintained in their home- town. Mr- Cooper had been brought to America by Thomas V/ignell who, after leaving Hal- lam & Henry of New York, promoted and open- ed the Chestnut Street Theatre in Phila- delphia in 1795, with Mr. Cooper and James Fennell as the leading players, both of whom became famous stock stars in their day, and were, actually, the founders of the system. While the terms on which these- "special featured players" appeared varied according to the merit and drawing power of the performer featured, usually these "stock stars" received as compensation one half of all receipts taken in, above the actual expenses of the theatre — company included, of course. Then, in addition, they had a benefit, half of the receipts on that occasion, and sometimes all, were exacted and received. If the players could command big houses they were entitled to 72 CHICAGO STAGE Chicago Theatre 1842 this consideration, but too often mediocre actors and actresses set themselves up as "stars" when they were such in name only. But the managers, having established the system, thought they had to continue it and often, as the saying is, "found themselves behind the eight ball," the stars taking away all the ready money needed to pay the regular members of the company who, with sad and hungry faces, were left "holding the bag" on this traditional theatrical badger hunt. In spite oi its disagreeable features and its uniortunate results, this star system remained in vogue until the so-called "combination" made its appearance after the Civil War. The play chosen by Dan Marble for his appearance with the Powell & Lyne company was Samuel Woodworth' s "Forest Rose". In addition to Marble, the management had also imported Martha Silsbee, the former Mrs. Trowbridge, who had supported Marble during some of his other engagements. The play had this CAST Jonathan P lowboy Dan Marble Harriette Martha Silsbee Miller Mr. Powell Blandford Mr. Lyne Bellamy Mr. Hastings William Mr. Graham Waiter Mr . Jackson Lydia Mrs. Powell Rose Mrs. Hastings Sally Miss Ramsey 73 CHICAGO STAGE Chicago Theatre 1842 The author of this play was a well known literary gentleman of the times, and his song, "The Old Oaken Bucket", was highly popular during the decade in question and ever since. The presentation was received with approbation in Chicago and the patron- age was proportionately increased. Perhaps the success, to some degree, was due to the afterpiece, which was Douglas Jerrold T s ever popular "Black-eyed Susan", a play often done as the main attraction, but not on this occasion. In it Marble was seen as William and Mrs. Silsbee as Susan. August 51st Marble chose as his second play Cornelius Logan's "Yankeeland" , which Lemon Rede had altered and now called "A Yankee Wo olg rower" . The comedy was thus CAST Deuteronomy Dutiful Dan Marble Amanda Starching ton Martha Silsbee Col. Campher Mr. Powell Ageandt Mr. Lyne Scamper Mr. Hastings Sime Mr. Graham Josephine Miss Ramsey Mrs. Ashton Mrs. Powell Percy Mr. Jackson This play was also presented, at times, as "The Vermont Wooldealer" . The farce fol- lowing the "Woolgrower" was "The Beacon of Death" . September 1st "Sam Patch in Prance" 74 CHICAGO STAGE Chicago Theatre 1842 was given. This was the most successful of all the star parts in the repertoire of Mr. Marble. It had been seen earlier, but with Mrs. Silsbee added to the cast, it was a bigger hit than before. "Luke the Labor- er", which had been approved in Chicago when Isherwood & McKinzie offered it, was the bill for September 2d and 5d. Although the part of Phillip was somewhat different than those Marble was usually seen in, it met with universal favor. According to all reports, while Marble and Mrs. Silsbee stimulated the business, the receipts were not what Powell and Lyne had anticipated. September 5th Mr. Marble took the usu- al and customary benefit, and for the mo- mentous occasion put on "A Yankee in Time", his successful prize plciy, and offered "The Gamecock" for the afterpiece. September 6th Mrs. Silsbee took her benefit and the much played drama "Pizarro" was done, with Marble playing Hollo and Mrs. Silsbee appearing as Elvira. For the afterpiece the musical farce "i\To Song, No Supper" was offered. The following evening the aforementioned drama, "The Stranger", was repeated with Marble as Peter, Mrs. Silsbee as the Countess, Mr. Lyne as The Stranger, and Mrs. Powell as Mrs. Haller. September 9th "The Lottery Ticket " , "The Day After the V/edding", and "The Game- cock", three short plays, were the attrac- tion. Benefits started on September 10th, 75 CHICAGO STAGE Chicago Theatre 1842 when the managers chose Henry Heartwell's dramati "Lady of the Lake" with P Dhu, Sharpe or Potter, as ly called, as Fitzjames, Blanche. To justify the good measure, they added and "Black-eyed Susan", been equal to the three that became the vogue in for the occasion zation of Scott 1 s ov/ell as Roderick he was alternate - and Mrs. Powell as benefit, and for "The Ploughboy" v/hich should have feature pictures later years. September 12th the Chicago theatre go- ers saw Marble and the stock company in a play by George Colman, Jr., "Jonathan in England", briefly CAST Jonathan Swop Sir Larry Burford Fanny Mrs. Galossanbury Mr. Marble Mr . Sharpe Mr . Lyne Mrs. Silsbee Mrs. Powell "The Two Gregorys" was put on for the farce. September 14th, according to the contract, of course dictated by the visit- ing star, Mr. Marble took another benefit and repeated "Jonathan in England", and as an afterpiece gave the popular "Spectre Bridegroom". Marble and Mrs. Silsbee then departed. On the 15th Mrs. Powell took her bene- fit for which she chose "The Dumb Boy of Manchester". This play had been presented 76 CHICAGO STAGE Chicago Theatre 1842 in New York in 1836 with the celebrated Jean Davenport as the boy. Following the performance of "The Dumb Boy", one act of "Othello" was given, and the evening's en- tertainment concluded with "The Loan of a Lover" . When Marble and Mrs. Silsbee left they evidently took with them the greater part of the receipts, for the actors had now become rebellious and some of them had the effrontery to ask the management for money to rescue their laundry which they had in- advertently sent out without the assurance of the managers that said shirts would be redeemed. Powell and Lyne, like many other barnstorming managers, could not understand why some actors had the audacity to ask for their salary, for they knew the nature of performers, and had learned that a large percentage of the members of that profes- sion were contented and satisfied when they were handed a few dimes or nickles from day to day, which was what happened to the members of the Powell and Lyne theatrical caravan. However, they were not all satis- fied with that treatment in this company. The managers, and some members of the organization, departed from Chicago after their last performance on September 15th, which was the last entertainment given in the Chicago Theatre during 1842. Among the actors left in this city after the depart- ure of Powell and Lyne were Mr. and Mrs. Hastings and John Sharpe, or John S. Pot- 77 CHICAGO STAGE The Theatre 1842 ter, heretofore mentioned as being one and the same person. What was known as "The Theatre" had been built in the Chapman Rooms, located at the corner of Randolph and LaSalle where Powers Theatre later stood. This was the second theatre opened in Chicago designated as "The Theatre". There had been and still were halls used for various purposes. Un- der the management of Mr. Hastings , this "Theatre" was opened September 27th with a repetition of the play "The Golden Farmer". It was followed by "Eadystone Ef f " , done as the afterpiece. The company had a very limited membership, and some were required to double several parts — which was noth- ing new to them, as all small repertoire companies had to do that and still are do- ing it. September 28th "The Doomed Ship" was put on by the Hastings aggregation. It was followed by "The Storm"; and after these two "Cherry Bounce" was given for the com- edy finish. Master Hastings, a young son of Mr. and Mrs. Hastings, entertained be- tween the play and afterpiece or farce, nightly, as Joe Jefferson had done. September 29th "Children of the Woods" and "The Denouncer" were put on at a bene- fit for Master Hastings. Whenever business lagged, someone took a benefit. September 50th saw the company in "The Bottle Imp", a play by P.T. Taylor. It was followed by 78 CHICAGO STAGE The Theatre 1842 "A Pleasant Neighbor". On October 3d, this tabloid organization repeated "The Lady of the Lake", the principal parts being done by Hastings, Sharpe and Mrs. Hastings. As a farce, "Hunting a Turtle" was presented. October 6th John Reeves —better known as "Jack" — joined for Irish comedy, and anything "cast for". This Reeves was born in London in 1799 and began his stage ca- reer there. After working himself up in the profession he finally appeared at Drury Lane on June 8, 1819, where he was well received. Mr. Reeves later became a great favorite of the London audiences at the Adelphi and Haymarket Theatres where he was engaged for several seasons. He was a sort of an "ad lib" comedian: seldom perfect in his lines and, as a rule, added his own speeches in plays by Shakespeare and other authors — speeches he believed they had o- verlooked. He disagreed with Hamlet who said this "shows a pitiful ambition in the fool that does it." He first appeared in America at the Park Theatre in New York in 1838 in "The Climbing Boy". He returned to and starred in his native land, but later reappeared in America. After wearing out his welcome in New York, he was banished to the stick - Chicago. This was in 1842, when he appeared here with the Hastings company. The addition of John Reeves did not add much to the treasury, but in spite of poor attendance, the company struggled on 79 CHICAGO Circuses 1842 until October 17th, when they finally fold- ed and set out tor parts unknown. This was the finish of all theatrical entertainment in Chicago for the year 1842. - CIRCUSES - Spaulding & Rogers were the first cir- cus managers to venture into Chicago this year, coming on April 11th, for four days. The lot was located at the corner of Clark and Adams Streets where the Field building stands at this 1946 writing. Nobody knows what will be there in the next hundred years. Not long after Spaulding & Rogers left Levi J. North came with his Great American Circus. This circus impresario will be noted later as the builder of the second important theatre to be opened in Chicago. North began life, like many other success- ful show managers, as a hostler, as did John Robinson, Tom Mix, and others. When Samuel Cowell took the West Circus to Rich- mond, Va., — which circus Price & Simpson were bunked into buying, — North had charge of the horses and other animals that lost their lives in the great storm that wrecked their boat. Some years after that North married West's daughter. The above cir- cuses were the only ones seen here in 1842. HALLS. - This year saw few or no en- tertainments in the halls used for amuse- ment purposes. 80 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1843 - 1847 CHAPTER V J/.KES E. MURDOCH Little information is found in connection with dramatics during the year 1643, although we find mention of John S. Pot- ter, the first perpetual, re- sourceful and enduring genuine barnstormer through Illinois. He acquired a license to open and operate the Chicago Theatre beginning August 9, 1845, but he did not continue long, and there is no way of knowing what plays his company offered or of what the membership of that company consisted. He did no advertising, not even putting out "tonight" bills. Pot- ter used the unique method of pasting a bill on a shingle and carrying it around town for the prospective theatre patrons to read and remember. This was only one of the money-saving devices he was in the habit of using. It wasn't because Potter was dishonest that he didn't pay his bills in the towns where his aggregation ap- peared; it was because he never had the money with which to pay them and, conse- quently, they went unpaid. He was a good talker and few could resist his magnetic influence when indulging in an argument a- 81 CHICAGO STAGE Chicago Theatre 1845 bout the liquidation of one of those very annoying obligations. Theatrical pioneering through the mid- dle west in the early part of the 19th century was no pleasurable pastime, — no, indeed'. It was not a struggle for suprem- acy, but a struggle for existence. Few could have survived all that Potter went through. Beginning with F. C. Wemyss at Pittsburgh, Pa., he traveled a long and burdensome road until the grim reaper cut him down in the Hopkins House at Morris, Illinois, in 1869. He was a mixture of success and failure. Building a theatre and opening it with a flourish that dazzled the natives in one town, and walking out of the next to escape the pursuing sheriff; cultivating the hotel keeper's society in preparation for what use he could make of it when the hour of settlement arrived. At one of the Mississippi River towns where he played, he found himself short of the necessary money to pay the landlord for the room and board he had agreed on for his troupe. He sent the actors to the boat with their luggage while he took a stroll with the hotel man. Fearing the bill he owed for the week 1 s board would be men- tioned, he tried to keep the landlord busy laughing at the funny stories he unraveled until the baggage could be loaded on the boat at the dock. The landlord was equally uneasy and in a dilemma as to how to ap- proach the subject of the indebtedness lest 82 CHICAGO STAGE Chicago Theatre 1843 he'd offend his distinguished guest. Pot- ter always made himself more or less distinguished, if he could, and he general- ly could. Knowing the boat was about ready to sail, Potter directed his course towards the dock, whore he could see the actGrs and baggage already safely aboard. He kept up his story telling, while the unenter- tained landlord gave some slight evidence of amusement, all the time trying to break into the conversation and open up the sub- ject of the unpaid hotel bill. Potter, however, kept a monopoly on the conver- sation as he edged toward the boat land- ing. All of a sudden the bell sounded, the call "all aboard" rang out, and the gang- plank started to lift. "My God," yelled Potter, "the boat's going," and he made a dash and landed on the gang plank just in time, 7/hile the distressed hotel man screamed frantically "Hey, Mr. Potter, you forgot something." "I'll write you from Dubuque," was the showman's unwelcome reply. John S. Potter had first come to Chi- cago as John Sharpe, the name which he had adopted while with V/emyss at Pittsburgh, Wheeling, W. Va., and other towns where that many titled nobleman indulged in early theatricals. Potter was said to have built more theatres than any one man in the Unit- ed States, reaching irom Rochester, N. Y., to San Francisco, Calif., and south to Mo- 83 CHICAGO STAGE Chicago Theatre 1845 bile, Ala. We may be sure that these plac- es that Potter opened as theatres were nothing like theatres of the present day. They were, as a rule, old stores, dance halls and similar places in which he built stages and hung curtains, and opened up as regular theatres. His company was never equal to the many others that visited Chi- cago and elsewhere in those pioneer days. Sol Smith, one of the early showmen, is authority for the success Potter had in convincing everyone he talked with. Accord- ing to Smith, someone who knew Potter and his ability to delay payment of his bills, made a bet with a lawyer who had been pur- suing the elusive debtor from place to place, that he'd never collect a penny from the crafty old debt dodger. Finally, the legal sleuth located the object of his search at a hotel in a town where Potter's show had been plaving for a week, and pro- ceeded to the theatrical manager's room, musing to himself, "I've got him this time." When the lawyer reappeared, his bet- ting opponent inquired if he had collected. "Collected? Hell, no'. He borrowed money of me to take his troupe to the next town." True or not, it is a sample of what this old timer could and oiten did cio. After making arrangements with the city council or mayor for a license to open the Chicago Theatre in the summer of 1845, and getting a reduction to a fee less than oth- ers had paid; and agreeing "on his word of 84 CHICAGO STAGE Chicago Theatre - Halls 1845-44 honor" that he would pay, he opened about the middle of August. As he did no adver- tising, who was in his company, what plays he presented, or how long he remained will always be something of a mystery. We may be sure, however, that he did not remain long as we know he went to Galena, Illinois, and thence on down the river early in the fall of that year. Potter seems to have been the last dramatic organization to ap- pear in that particular Chicago Theatre. This inveterate theatre builder claims to have built and opened theatres, halls, or some sort of playhouse at Wheeling, W. Va., 1833; Cincinnati, Ohio, 1836; Natchez, Miss., 1857; Port Gibson, Miss., 1356; Grand Gulf, Miss., the same year; Dubuque, Iowa, 1839; Chicago, 111 . , 1842; Rochester, N. Y., 1346; Cleveland, Ohio, 1848. In 1842 he married Esther McCormac who became his leading lady. It is claimed that he built theatres at Maryville and other towns in California. His last stage ap- pearance was at Atwater Hall, in Morris, III., where he died, as before rioted. CITY SALOON.- May 12, 1843, the stage of this hall was occupied by Mr. Cutter, who gave a recital and pleased the patrons. May 15th, Master Howard, the young Ole Bull was heard there by a goodly number of music lovers. 85 CHICAGO STAGE Halls - Circuses 1344-45 June 5th, the Stringham Concert Compa- ny. December 22d, the Professor Hazelton Family gave a concert. CIRCUS.- Levi North's American Circus, appeared at the corner of Lake and Wabash. Nichols & Company's Circus played for four days starting August 4th. They paid $50.00 for the four-day license. WARNER'S HALL - 1844 - This hall, lo- cated at 104 Randolph Street, played some sort of attraction. It was later called the Phillips Opera House. During the year 1845, nothing in the theatre line was in evidence, and nothing is shown to have been in any of the halls. The reason for this dearth of entertainment was due, to some extent, to the fact that something of a financial panic had shown itself during the late Thirties and early forties, not only in Chicago, but else- where. Few ventured to embark in any new business, since Chicago had suffered some slight recession from the boom of a few years back, and this showed itself in the- atricals as well as in other lines. Even the Halls were seldom occupied. CIRCUS.- Howe % Mabie's Circus came for four days, opening in June, paying a $50.00 license for the privilege. Few names 86 CHICAGO STAGE Circuses, etc. 1845-47 in early circusing are better known than these two, both ol whom enioyed a long and successful career in that line of amusement . MUSEUMS.- Western Museum was opened during the summer of this year. It was lo- cated a few doors east of the Tremont Hotel on Lake Street. Things theatrical were about as slow during 1346 as they were the previous year. There was little or nothing given in the regulation line. In fact, the amount of organized entertainment from the closing of the year of 1342, until John B. Rice opened in February, 1847, is hardly worth mentioning. From then on, Chicago was sup- plied with uninterrupted entertainment, with the exception cf the period alter the burning of Rice's first theatre and the opening of the second on Dearborn Street. A most important period in Chicago the- atricals was this year of 1847, as it was the first time a< regular building was con- structed in the city for, strictly, theatri- cal purposes. Not only was it tne first building, but it was also the year in which the first permanent dramatic stock company was installed in Chicago. For that, the city is indebted to John Blake Rice, a name that should net be forgotten when consid- 87 CHICAGO STAGE Rice's Chicago Theatre 1847 ering early theatricals in the West. Mr. Rice was born at Easton, Maryland, on May 28, 1809. At an early age he struck out for himself, determined to make his name something to be remembered in the world. How well he succeeded we learn by observing his career before and after he came to Chicago. While in his early thir- ties, we find him operating the John B. Rice Dramatic Company at the Albany Museum in Albany, New York. Two years later he was married to Mary Warren, daughter of the first William Warren, in Philadelphia, Pa. This marriage took place in 1837. At about tnis time he promoted and built a theatre at Bangor, Maine, but did not remain in that town long, nis attention having been directed to the West. He had heard of the future prospects of the growing Chicago and of Milwaukee, those two cities on the west- ern shores of Lake Michigan then vying with each other for supremacy. Rice surmised that Milwaukee would lead in the race for expansion and went there, but in doing so he passed through Chicago and noted the spirit of progress that was indicated in this rapidly growing village. However, Mr. Rice continued on and cast his lot with others who were flocking into that German hamlet. There Mr. F.ice transformed an old building into a sort of playhouse, and in- stalled his stock company. It met with suf- ficient success to enable him to build a better theatre, which he opened in 1846. This last edifice was on the ground of the 88 CHICAGO STAGE Rice's Chicago Theatre 1847 Newhall House. Mr. Rice soon learned that a small town such as Milwaukee was then couldn't continuously support his dramatic organization, so he came to Chicago. He procured a lot at what would now be, ac- cording to our present numbering, 55 or 55 West Randolph Street, where he opened the new playhouse in 1847. In those days, every manager must also be an actor, as there was not enough pro- fit in the business to afford any deadwood and, like the others in the profession, he was actor, manager, bill boy, and every- thing else that conditions required, and they surely required plenty. LiKe others he broke into the business as an actor, playing the Uncle in that perpetually pre- sented play, "George Barnwell", in 1850. He never really excelled as an actor,— and neither does anyone who devotes his time and energy to so many different matters connected with the histrionic art. But Mr. Rice was a good actor, for all that. The parts he played in his own company are not to be considered, for, being the manager, it was his privilege to cast himself in the best parts, as most managers did, re- gardless of the propriety of so doing. How- ever, this manager did not continue that method after coming to Chicago, but cast the play according to the actor's ability to interpret the part assigned to him, thus leaving himself free to attend to his man- agerial duties. 89 CHICAGO STAGE Rice's Chicago Theatre 1847 In spite of the fact that Mr. Rice was not distinguished as an actor, we do find his name on the programs of many plays pre- sented in New York, and elsewhere, proving that he was classed on a par with the best players in such places. As for Mrs. Rice, since she was the daughter of William War- ren, like all members of that family, she had been brought up in the atmosphere of the theatre. The first Rice theatre was a frame building built hurriedly by Alderman Up- dike, a contractor and builder whom Rice contracted with for that purpose early in the spring of the year in question. This theatre, it should be understood, was what we might be justified in calling the third theatre opened in Chicago, as one called "the Theatre" was located farther west on Randolph near Wells. Rice called this new playhouse "the Theatre", the third theatre, as we have just mentioned, bearing that title. The citizens, both then and since, cultivated the habit of referring to it as "Rice's Theatre", but neither of the two amusement places devoted to the drama and other stage attractions were advertised under the name of "Rice's". While, as we have noted, there had been earlier theatres operated in Chicago, Mr. Rice was the first to establish a permanent theatre and company in the city. As this 90 CHICAGO STAGE Rice's Chicago Theatre 1847 edifice only cost about Four Thousand Dol- lars, it may be presumed that it was not very sumptuous, but it was a great improve- ment on the one that had preceded it. People were coming to Chicago from other places throughout the country, and these newcomers had seen the drama successfully presented in their home cities. In St. Louis, Mo., dramatic performances were given as early as 1316; Cincinnati, Ohio, in 1806; New Orleans, La. , 1317; Vincennes, Ind., 1815; Frankfort, Louisville and Lex- ington, Kentucky, the same year. And, of course, in all the big eastern cities where the drama acquired a foothold as early as 1750. The new theatre was constructed after the architecture of traditional theatre plans and had a parquette, dress circle and the everlasting nuisance, "boxes". Hereto- fore, no effort had been made to maintain a permanent stock company, which was the only method that could be employed,-— in those days, — to keep a theatre in constant or semi -constant operation. This widely experienced showman, Rice, was well aware of this, so he engaged what he considered a capable coterie of players, as well as having "stock stars" appearing from time to time. Among the regular members of the compa- ny, the most important was the actress, known at this period as Mrs. Henry Hunt; later known as Mrs. George Mossop; still 91 CHICAGO STAGE Rice's Chicago Theatre 1847 later, and perhaps better known, as Mrs. John Drew, wife of the celebrated Irish comedian, John Drew, and the mother of John Drew, Jr., G e org iana, and Sidney Drew, thus becoming the grandmother of Lionel, Ethel, and the late John Barrymore. She began life in England, where she was born January 10, 1320, virtually, in the thea- tre, since she was the daughter of John Frederick Lane and his wife, whose maiden name was Eliza Trenter. She was christened Louisa Lane, and under that name made her first appearance on the stage in September 1827, at the Walnut Street Theatre in Phil- adelphia, as the Duke of York in "Richard III" to the Elder Booth* s Richard. Her in- itial New York appearance occurred May 13, 1833, at the Park Theatre, as Marmina in a dramatization of Southey ? s poem "Thalaba, the Destroyer" . From New York she went to Albany, New York, and while there married Henry Hunt, a standard actor. She separated from Mr. Hunt during 1848 and was divorced in Chi- cago. A few days later she married George Mossop, a member of Rico's company, and from then on was known as Mrs. Mossop, un- der which name she will be referred to in these records, after the marriage occurred. Mrs. Mossop returned to Albany after the death of Mr. Mossop, and there married John Drew in 1850. Her mother had married Mr. Kinloch, by which name she was general- ly known in this country. This should be 92 CHICAGO STAGE Rice's Chicago Theatre 1847 carefully noted by students of the drama to avoid possible confusion. As Mrs. John Drew she was, in later years, best known throughout the country. Her husband, John Drew, took over the Arch Street Theatre in Philadelphia, Pa. His managerial attempt there was a failure, and he went back to acting. Following this, the owners of the Arch Street Theatre appealed to Mrs. Drew to undertake the management of that unsuc- cessful piece of amusement property, and she became the first successful manager of that financial burden. Her husband, John Drew, Sr., described by one authority as "the greatest Irish comedian since Power's time", died at 4:30 on Wednesday, May 21, 1862, at Philadelphia. Mrs. Drew continued the management of the theatre for some time. Thus, we have some record of Louisa Lane, who first came to Chicago as Mrs. Henry Hunt, and who will be referred to as such in the 1847 records of Chicago thea- tricals . Others in Mr. Rice's company included Edwin Harris, whom Mr. Rice had brought with him from Milwaukee when he deserted that progressive city for Chicago. While there seems to be no glaring record of this fine juvenile actor among the leading the- atres in the East, he established himself among the play patrons of Chicago. G. W. Philmore was, perhaps, the best of the list of players. He was brought up from the South, as was W. H. Meeker, who had begun his stage career at Augusta, Georgia, in 93 CHICAGO STAGE Rice's Chicago Theatre 1847 1845. So it may be noted that Meeker was young and of limited experience but proved himself equal to the requirements of every part he was called upon to perform. George Mossop had played extensively in Albany and Baltimore. From the latter city he went to New York in 1838 as a con- cert singer and, as such, he was well re- ceived. During 1841 we find him at the Park Theatre in New York in a cast of well known players. Mr. Mossop first married Eliza Kent, previously married to Harry Knight, who had died from the effects of a rail- road accident. Mr. Mossop was divorced and in 1848 married Mrs. Hunt. He died in 1849. Of James Carroll we know little except that he came from the South and had quali- fied as an ac : :or in all companies of which he had been a member. Miss Homer was a vocalist and. dancer, without which no com- pany was complete. She did, however, appear in parts at various times. Jerry Merrifield and wife joined two weeks after the regular opening. His wife was the former Rosalie Cline, daughter of Herr Cline, who was famous as a rope walker. She was a splen- did singer and dancer, although quite young when she married Merrifield and first vis- ited Chicago. Rosalie Cline later became the original Topsy in "Uncle Tom T s Cabin." The members listed above, with Mr. and Mrs. Rice, made up the company. And, in addition to the regular organization, as we 94 CHICAGO STAGE Rice's Chicago Theatre 1847 have said, "stock stars" were brought in from time to time. The first of these was Dan Marble. He had been engaged for the opening, which took place June 28, 1847, with the play "Four Sisters". It was thus LP I Caroline Diana Eugenia Ellen Mrs. Durie Beauchamp Merton Snaffles Mrs. Henry Hunt Miss Homer G. H. Philmore Edwin Harris George Mossop The customary prologue, Philmore and recited by Mr part of the first night's total result appeared, fr satisfactory. "The Four S lowed by Marble in "The Ba ways one of this star's fa usual welcome was extended edian. To say that the per plays and the other intro was well received would, p ting the matter mildly. written by Mr. . Harris, was a program, and the om all accounts, isters" was fol- ckwoodsman" , al- vorites, and the the Yankee com- f or mane e of both duced features erhaps, be put- With the attractions mentioned and the opening of the first permanent theatre in Chicago, the city was now distinctly on the theatrical map, and the entire population was hopefully enthusiastic for the future of the drama in this rapidly growing me- 95 CHICAGO STAGE Rice's Chicago Theatre 1847 tropolis of the Middle West. There had been so-called theatres here before, as previ- ously noted, but they soon faded away and left a drama -hungry clientele woefully mourning their demise. Nov/ it was to be different: from this time on the drama, under John B. Rice's stimulating personal- ity, was to be continuously in evidence, except certain closed season periods which was a custom already established elsewhere. June 29th, a translation of Kotzbue's "The Stranger", a plsy already familiar to Chicago play goers, was the attraction. It was augmented by the introduction of songs and dances by Miss Homer and Mr. Mossop, concluding the entertainment with an after- piece: Dan Marble in "Sam Patch in France". The trance part of twist to that play seen here before. ihe title gave a new which had also been June 30th, "Somebody Else", petit musical comedy, was the fering with the following CAST Plane he' s first of- Minnie (with songs and dances) Ernest Walberg Hans Morris Louisa Mrs. Hunt Mr. Harris Mr. Philmore Miss Homer Songs and dances by Mr. Meeker and Miss Stevens between the above play and the af- 96 CHICAGO STAGE Rice's Chicago .Theatre 1847 terpiece, which was a repeat of "The Back- woodsman", with Marble excelling in his character of Samson Hardhead. Good satis- faction was reported. From July 1st to the 7th, Dan Marble repeated several of his plays done before at other theatres here. July 9th saw Rice's players in another of Planche's plays, "Grist to the Mill", followed by "Family Ties" as the farce. In this last, Marble appeared to good advantage in his character of Joshua Sims. Between the play and the farce Mr. Mossop and Miss Horner were en- cored several times when they introduced their songs and dances. July 10th, "The Forest Rose", a standard in those days, and "Jonathan Ploughboy" were presented, fol- lowed by "Grand Pas Suel" in which Mrs. Hunt appeared to good advantage. July 11th "The Four Sisters" was put on again and it was followed by "Black-eyed Susan", with Marble as William and Mrs. Hunt as Susan. Thus Marble's engagement was concluded and a new star, T. D. Rice, opened. There is some uncertainty as to when, where and why this successful negro delineator made his stage debut. He was born in New York City on May 20, 1808, making him just about the age of his namesake, John B. Rice, but there was no relationship between them. He "suped" at the Park Theatre in New York, and there Edv/ard Simpson and Joe Cowell made his life miserable, so he gave up hope there, and, not waiting for Horace Greely's 97 CHICAGO STAGE Rice T s Chicago Theatre 1847 advice, anticipated it and "went west", where he eventually gained distinction in his characters of Jump Jim Crow and Jumbo Jum. Noah Ludlow claims that HE discovered Rice in Louisville where he first imitated a negro, his imitation being that of a lo- cal colored character well known to the citizens. Cowell saw him there with Ludlow and the Drake company, the first time he had seen or heard of him since he had "suped" at the Park for Price & Simpson. When Rice was brought to Chicago as the second star at Rice's Theatre, he was well known throughout the entire country. He opened on July loth in "The Mummy" which had this CAST Toby Tramp T. D. Rice Mandragora G. V. Philmor Capt. Cauler George Mossop Theopolist Edwin Harris Old Tramp James Carroll Larry W. H. Meeker Fanny Mrs. Hunt Susan Miss Homer The play was followed by "The Day After the Wedding" as the closing farce, with Mrs. Hunt as Elizabeth, and a new member of the company, Jerry Merrifield. The top of the bill read: "Mr. Rice's original char- acter in America and Europe." July 14th, Bernard's dramatization of "Lucille" topped 93 CHICAGO STAGE Rice f s Chicago Theatre 1847 the bill with the following CAST St. Cyr G. W. Philraore Verne t Edwin Harris Andre de Bois George Mossop Izak Schultz W. K. Meeker Michael James Carroll Von Metz J. B. Rice Lucille Mrs. Hunt Julia Miss Homer It was followed by Rice in his famous character of "Jumbo J urn" done as an after- piece, and with songs and dances introduced by Merrifield, Mossop and Miss Stevens. This entire week was devoted to the presentation of Mr . Rice's well known char- acters, such as a repeat of "The Mummy", and a burlesque on "Otello", an opera made from Shakespeare's play. The star finished his Chicago engagement on July 17th, taking his benefit and his departure thereafter, thereby leaving the stock company to con- tinue without the presence of a star. How- ever, Mrs. Hunt had so endeared herself to the public that she became a very satis- factory drawing card. July 19th, Kriowles' much played "Wife" was the offering with Mrs. Hunt as Martha and Harris as Pierre. During this week Christy's Minstrels took the place of the customary farce or afterpiece. It was at 99 CHICAGO STAGE Rice's Chicago Theatre 1847 about this time that the so-called "First Part f ' in a minstrel performance became a great amusement innovation, and since the Christy Minstrels were the first organized minstrel company, the name became a by-word and, instead of calling these performances "Minstrels", many people referred to them as a "Christy". Mr. Rice showed himself to be right up to the minute in bringing in this attraction as a feature. July 20th saw the performance of George Shannon r s "Youthful Queen" in which play Mrs. Hunt essays the part of Christine. Christy 1 s Minstrels appeared as the after- piece. July 21st, James Sheridan Knowles' successful play, "The Love Chase" was of- fered with Mrs. Hunt as Constance; — Mrs. Merrifield as Lydia; and Mrs. John B. Rice as the Widow Green. This was the first ap- pearance in Chicago of this sterling act- ress who in later years became a great favorite. July 24th, John Howard Payne's opera, "Clari, the Maid of Milan", was presented. It is in this opera that the song "Home, Sweet Home" was first sung when it was produced in Philadelphia by Wood & Warren in 1823. It was, then, the only song in the opera that the public's attention was not called to on the program, but we know nov; what a great success it achieved. However, the music it is nov; sung to is not the same as when it was first hoard. The present air is by the celebrated composer, Henry 100 CHICAGO STAGE Rice's Chicago Theatre 1847 Bishop, who composed it after Mr. Payne sold all rights to an English producer for a mere pittance. The Chicago production had this CAST Clari, Maid of Milan Duke of Vivoldi Roland Jacobs Vespina Mrs. Hunt Mr. Harris Mr . Philmore Mr. Mossop Mrs. Rice In the way of incidental features Jerry Merrifield and Miss Homer rendered some songs and dances. The ability of members of a stock company to give a satisfactory performance of an opera as well as a arama, is due to the fact that players in those days were proficient in both branches of the histrionic art. Many have been told that the author of "Home, Sweet Home" died without such an a- bode. The song was written to be introduced in the opera and was not an expression of the author's grief at being homeless. He died in Tunis, where he was the American Consul. It may be noted that up to July 22d the name of Mrs, Rice had not appeared in the cast. From now on it will be seen, at various times, along with the others. To diversify the customary manner of 101 CHICAGO STAGE Rice's Chicago Theatre 1847 casting "The Lady of Lyons" with the lead- ing man or male star in the role of Claude Melnotte and the leading lady as Pauline, when produced here by Mr. Rice's company, Mrs. Hunt played Claude and Mrs. Rice was cast as Pauline • It was the bill for July 28th, after the success of "Uncle Sam" on July 27th. The Christy Minstrels were pre- sented as the afterpiece on both occasions. "Jane Shore" was offered for July 29th. This play had been presented so often be- fore that the cast would be of little in- terest. July oOth the old favorite, "The Hunchback" was seen again. The evening's entertainment on July 51st was made up of Thomas Talfourd's "Ion" and "The Rendez- vous" . Starting August 2d, a new star appeared on the firmament, James E. Murdock, for a two weeks stay. His first presentation was "Hamlet" followed by "An Object of Inter- est" for the farce. In the play proper, Murdock did Hamlet, of course; Mrs. Hunt, as might be expected, was the Ophelia; Mrs. Rice, the Queen; Harris was the Ghost; and Laertes was played by George Mossop. James E. Murdock,— sometimes Murdoch- was born in Philadelphia in 1815. He made his stage debut at the Arch Street Theatre in his home city in 1829 in "Lovers' Vows". He made some impression and gained popu- larity. His first appearance in New York occurred on June 4, 1838, in support of Ellen Tree. In 1842 he left the stage and 102 CHICAGO STAGE Rice's Chicago Theatre 184.7 studied law and theology, and taught both for a time. But, once a showman always a showman, it is said, and Murdock verified it by returning to the stage in 1845, ap- pearing at the Park Theatre, New York, as Hamlet, in which part he received high praise. He had begun his stage career as a light comed.ian but, like many actors, was never satisfied with his parts, and so he turned to tragedy, and with very good re- sults. His appearance at Rice's Theatre on this occasion drew marked attention. There are always humorous incidents in the life of every actor, and it is well there are, for without an occasional ray of sunshine to mark a hopeful future the player's path would be too thorny to tread. Murdock was a very retiring, patriotic and religious man, and seldom entered into the spirit of gaiety as many others were in- clined to do. However, one can't always avoid being a part of situations that often throw the audience into a fit of glee. At a dramatic festival in Cincinnati, Ohio, nearly all the great actors in the country were gathered together for the important event. Naturally, Murdock was among the others. The play was to be Shakespeare's "Julius Caesar" , and he was to appear in the part oi Marc Anthony. At the rehearsal a discussion arose as to how a body was to be carried on the stage — head or feet first. It was finally decided and the Roman stretcher bearers were instructed accord- ingly. The actor cast in the part of Caesar 105 CHICAGO STAGE Rice's Chicago. The- tre 1847 insisted , on a substitute, to lie in this uric dmf or. table position so long. Yielding to his request, the stage manager induced an oversized baggage hauler to impersonate the noble ruler. The supers that carried the shrouded corpse onto the stage reversed the stretch- er, and brought the body on, head instead of feet first, as previously decided. When Murdock, in his majestic manner, came down with that impressive dignity and said, "Look upon Caesar-, instead of uncovering the ruler's face he threw the covering off the feet, revealing a pair of pedal extremities that would make a couple of fiddle boxes look like an infant's toots ie wootsies.The embarrassment of the actor and the laughter of the audience may well be imagined. But again referring to the record: On August 3d "Romeo and Juliet" followed by "My Neighbor's Wife" were the attractions. Both play and farce were well received. Succeeding these, on August 4th, Murdock Was seen as Macbeth. For the comedy relief "The Omnibus" supplied that relaxing in- gredient. The often-played "Pizarro" was again seen on August 5th, with Murdock as Rollo. It was followed by the petit comedy "Perfection". Mr. MurdocK continued pre- senting the classic dramas lor the balance of his two weeks engagement. They were very successful artistically as well as profit- able financially for Mr. Rice. 104 CHICAGO STAGE Rice's Chicago Theatre 1847 August 16th E. S. Connor and his wife, Mrs. Connor , opened to good business in the play "Richelieu", with Mrs. Connor as Ju- lia. Mr. Connor was from England but became a successful American actor and manager. At one time he operated the Green Street Theatre in Albany, New York, and several other places of amusement . His wife was the former Charlotte Barnes, whom he married in this country. She was the daughter of Mr. and Mrs. John Barnes, both standard players throughout America. She was the main support of her husband during this Chicago engagement. As Mrs. Hunt was away from the company during a part of the summer, the female leads were played by Mrs. Rice much of the time. After the Connors finished and left, the Rice company proceeded without a spec- ial featured player. September 5th, "The Jewess" followed by "A Happy Man" were the attractions. From then on many plays were repeated. Things were dragging along slow- ly, as they invariably do towards the end of a season, and benefits were in order. Harris took his on September 29th, and, hoping to garner a few extra shekels, he requisitioned a local amateur, George H. Ryer, to support him. Mr. Harris was fea- tured as Othello with Ryer as Iago. George H. Ryer was born in New York but came to Chicago and set himself up as a tailor. However, he was a constant vis- itor to the theatre and was inspired with 105 CHICAGO STAGE Rice's Chicago Theatre 1847 ambition for a stage career and ne gained much distinction in his chosen profession during his years of activity, not only as an actor but as a dramatist. He is the author, or joint author, of not less than twenty plays. The following are the best known: "The Old Homestead", "Our New Min- ister", "Sunshine of Paradise Alley" and "The Two Sisters"* These he wrote in con- junction with Denman Thompson, famous ior his creation of Joshua Whitcomb in "The Old Homestead". While not born in Chicago, George Ryer may justly be called a Chica- go product. As an apology for embarking on a new line of endeavor, he complained of rheumatism from sitting cross-legged on the tailor's bench and so concluded to take life easy and strut his stuff on the boards of Mr. Rice's palatial theatre. Physically, the Rice Theatre was really not as palatial as one might think in com- parison with our later perfectly construct- ed Chicago playhouse. There was no loft for "flying" the drops or for hanging a "snow cradle" to dazzle and mystify the dramatic lover in front when the eye caught glimpses of bits of torn papers flitting from above and caused him to murmur, "The snow, the snow, the beautiful snow'. Where does it come from, does anybody know?" But in the case of Ryer acting as the human snow cradle, they soon found out. Tte re- sourceful stage manager had devised a mechanical contrivance with two loops in a rope for Ryer to put his legs through, and 106 CHICAGO STAGE Rice's Chicago Theatre 1847 then, with a single rope run through a pul- ley, he was drawn up until the border, or the "fly" as the border was called in the early days, screened him and the basket of snow paper which he carried on his arm. To properly manipulate this elusive material and its awkward container, he had to hold the basket in one hand and put the other around the rote that had drawn him to the approaches of heaven; take out a handful of snow and drop it consistently upon the shoulcers of the leading lady,— who could readily be identified by her sad face and flowing "misery cloak" which easily in- spired anyone in the audience to believe that she was M more to be pitied than cen- sured ." Well, Mr. Ryer, a good tailor but an inexperienced stage hand, forgot and let go of the rope. As a result, he came down head first in full vi ew of the audience, his legs in the loops of the rope. With the basket of snow on his arm, he contin - ued to drop it by the handful on the moan- ing female who wandered from side to side with extra emotional breast heavings to be heard now only in our radio dramas. But with all her terrorizing grief she could- n't stifle the laughter of the audience at the picture of Ryer hanging with his legs in the loops and, unconscious of the spec- tacle fie was making of himself, still dip- ping out the snow and trying to spread it over the stage so as to be sure of hitting the lady in the misery cloak. In spite of 107 CHICAGO STAGE Rice's Chicago Theatre 1847 this bad beginning, George H. Ryer outlived it before he died at a ripe old age for he was, at the time of his death, recognized as one of the best actors and one of the most successful dramatists in America. Leaving the Ryer incident, we now re- turn to the record where we left it on September 29th. On September 50th, Mrs. Jerry Merrifield took her benefit and chose "The .Maid of Croissey" in which she ap- peared as Minette. The play was followed by the farce "The Dead Shot". October 1st saw the production of "Asea" or "The Ocean Child", with Harris as Harry Helm, Mrs. Rice as Mary, and Mrs. Merrifield as the ocean child. After presenting "Therese", "Austerlitz" and similar plays, most of which were repeats of former productions, the first season of Rice's venture in Chi- cago reached its conclusion on November 15th. After the closing Mr. Rice returned to his Milwaukee theatre where he had been prior to his Chicago venture. Rice's first season in this city was not very profitable but it gave him hopes for the future. Closing of "The Theatre" left the field to the Museum located on Lake Street near State Street. The manager advertised it as a Museum and Theatre and it enjoyed good patronage. During the summer of 1847 the following circuses visited the city; May 22, E. F. Mabie's Circus came for three days. Following this, on September 2Sd, June & Turner's Circus appeared. 108 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1848 CHAPTER VI On May 1st Mr. Rice opened for the season his Tf New and Im- proved Theatre" . Probably not much improved and certainly not new as it was the same old place on Randolph Street he operated the year before . The stock company now in- edwin eluded Mr. and Mrs. Rice, Mr. fcrrest an £ Mrs. John Green, Mr. and Mrs. James H. McVicker, Mr. and Mrs. Thomas Archer, Edwin Harris, William McFarland, A. W. Fenno, Mr. and Mrs. Jerry Merrifield, Mrs. Hunt, George Mossop, George H. Ryer, Mr. Wilson and some others who joined la- ter. Of these players, Mr. and Mrs. Green were, perhaps, the best known throughout the country, but some were to become bet- ter known later, viz: James H. McVicker. All in all, this was a good stock com- pany and well able to support the best featured players that might be brought in. Mr. McFarland was known for his ability to perform in the classics, such as plays and dramas in the style of Shakespeare. Unfor- tunately he was utterly unreliable on ac- 109 CHICAGO STAGE Rice's Chicago Theatre 1848 count of his addiction to strong drink. Thomas Archer was a very good actor and a splendid uncultivated singer. He was born in England, but came to Chicago from New York where he and Mrs. Archer had been con- nected with Mitchell's company at the Olym- pic in that city. He died here in Chicago in 1851 while a member of Rice's company. The widow remained here after her husband' s death, but eventually drifted back to the East where sne finally married H. C. Timm, a celebrated pianist. Mrs. Archer was an all around capable performer and, both as Mrs. Archer and as Mrs. Timm, was favorably received wherever she appeared. She died in New York on December 28, 1854. The name Fenno is found in the list of players in many theatres throughout the country. He was a man with the ability to play almost any style of part, and could be relied on to add merit to any perform- ance he took part in. Others in the company this season have been mentioned before in connection with Rice's 1847 season. Among the actors and actresses we note the name of James II. McVicker, who made his first appearance on a Chicago stage in the character of Smith in the farce, "My Neighbor's Wife". Prior to this, however, he had been an actor four years. His first wife was a Miss Cleavering from whom he was divorced. He was now mar- ried to Elizabeth Meyers, who arrived with 110 CHICAGO STAGE Rice's Chicago Theatre 1848 him when he came to Chicago . The importance of this successful theatrical manager in this city should interest our readers. He was born in New York City on February 14, 1822, and, says Noah Ludlow in his book written and published in 1880: "he immi- grated to St. Louis, Mo., in 1837, where he became a printer and worked on the St. Louis Republican, then published by George Knapp." Modesty, no doubt, prevented Mr. Ludlow from telling how thrilled this young New Yorker was while seeing the perform- ances of the Ludlow & Smith Dramatic Com- pany. After witnessing these entertainments he made up his mind that he was going to follow the stage as a profession, but just then he needed the little stipend he could earn as a printer's "devil" to assist in supporting his mother, who had been left a widow at his birth. He watched the progress of Ludlow & Smith, those theatrical pio- neers, one of whom had planted the dramatic banner in St. Louis as early as 1813, and started that city on its theatrical career. McVicker not only attended their perform- ances in St. Louis but, ultimately, fol- lowed them to New Orleans and joined the show when they succeeded James H. Caldwell in the operation of the St. Charles Theatre, the finest theatre in America at the time. There James H. McVicker began his histri- onics as a call boy. This was in 184o when he was twenty-one years old. n: CHICAGO STAGE Rice's Chicago Theatre 1848 After opening in Chicago, he became Mr. Rice's stage manager and held that po- sition until the theatre burned on July 30, 1850. This left McVicker high and dry with no place to go, so he tried his managerial ability. He and Thomas Archer organized a repertoire company with several of the ac- tors who had been in the company, and played towns adjacent to Chicago, such as Aurora, Geneva, St. Charles, Naperville and others. Finally, coming to grief, they all returned to Chicago to await the open- ing of Rice's new theatre. Chicago, in later years, became the headquarters for more repertoire companies than any city in the world, but McVicker was the first to offer a strictly repertoire organization in the West. There had been such companies who played week and three day stands when they were filling the time between two permanent stock dates, but they were not, strictly, "repertoire com- binations" . When the subject of this sketch first came to Chicago, he arrived with another actor, John Green, from New Orleans, and experienced considerable difficulty in get- ting a place to stay. He and Green made a general canvass of the town and finding the hotels over-crowded, they proceeded to in- vade the houses,— boarding and otherwise, - but met with little success. Finding one woman who agreed to take them in, theywer.t back for their belongings, and when they 112 CHICAGO STAGE Rice T s Chicago Theatre 1848 returned the woman had heard that "actors wa'nt respectable", and they were stumped again. The "actors' boarding house" has always been a happy rendezvous for per- formers but Chicago was too new for such a place to be established, so such a haven was not in the immediate offing. Mr. McVicker became an inveterate stage manager and was always forced into the job whether he wanted it or not. V/hen he was with Rice, there was a well known actor, William McFarlan, whose reputation for act- ing and drinking was thoroughly established in New York and other eastern cities. Had it not been for liquor the chances are he v/ould not have been found in the Chicago company at the time, nor would he have been found in the jail in Minneapolis, Minneso- ta, dead from a debauch, as he was in 1884. McFarlan was a good actor but you could never tell whether he would or would not be in the theatre. However, they tolerated a drunk, if he was a good actor, and kept him in preference to a bad sober one, know- ing that the sober bad actor would be un- satisfactory all the time while the "drunk" would only cause trouble part of the time. McFarlan, on one occasion, was cast for Othello. He failed to show up when the traditional "half hour" was called. McVick- er made a tour of the saloons but couldn't locate the inebriate Moor, so he returned to the theatre, stuck his head in Rice's 113 CHICAGO STAGE Rice's Chicago Theatre 1848 dressing room and asked the manager if he had ever played Othello. "Once/ 1 said Rice, "in Skinelese." "Well," said Mr. McVicker, "you're going to play it in Chicago/' and explained the absence, of McFarlan.- Rice, a rather robust Moor, demurred but finally, like the ambitious Bottom in "A Midsummer Night's Bream" and other players, said, "Well, I'll undertake the part." When the play was half over, McFarlan came in as if nothing had happened, dressed, ' and insisted upon going on for the latter part of the play. He finished the play. He was a rather spare man. The following day McVicker met a regular patron of the drama, who expressed his appreciation of the per- formance on the previous night. "I -was 'de- lighted at the performance of Othello" last night," said he. "Othello- grew . thinner from worry and grief, as he should, which has always been my idea of the way that, play should be presented." :: And that is about the knowledge and in- terest shown in regard to the works of the "Immortal Bard" when seen. by the .average theatre patron, when presented upon.' the stage. Students of Shakespeare are often found attending a performance -bf a'' play by that unforgettable dramatist -with a print- ed copy of the drama in their hands or on their laps. Many do not know that few pro- ductions of plays by that prolific writer are put on according to the regulation printed copy. In fact, it has been the 114 CHICAGO STAGE Rice's Chicago Theatre 1848 regular, custom to alter the work according to the general circumstances. That policy has been pursued since first introduced by David Garrick. That world's best actor knew what to do to interest the public and he did it whenever he produced a drama. The writer was once involved in a per- formance of Shakespeare's "Midsummer Night's Dream". It will be recalled that there is a stage upon a stage, and a play within a play. This part of the comedy is a burlesque on amateur theatricals. And, like many am- bitious amateurs, Bottom, one of the play- ers, craves to play all the parts. Putting on this performance for the benefit of the characters grouped around the stage, Bot- tom and Flute, in the roles of a couple of Romans, finish the play with a comedy duel in which both are slain. They then get up and say, "Would you like to have the Epi- logue 9 " The correct answer was, "No I No epilogue. After the players are all dead there's no need of excuse." But on this occasion, which was the closing night of that drama at the Suburban Garden in St. Louis, Missouri, Sam Gumpertz, later of Coney Island, Ringlings' Circus, and the board walk at Atlantic City, was the man- ager, and the actors were among the best in the country in that year of 1895. They included Marie Wainright, Lawrence Hanley, Edmund D. Lyons, the Bottom , and others equally as capable, all of whom already had abundant experience in Shakespearean plays. Hanley, in replying to Bottom's 115 CHICAGO STAGE Rice's Chicago Theatre 1848 query, instead of speaking the correct line of "no epilogue", said: "Yes, certainly, give us the epilogue." That, you may be sure, stumped Lyons and Beaumont Smith, the other contestant lying dead on the stage. Finally, they regained their wits and be- gan to give the epilogue requested. They fought, they wrestled, danced and did ev- erything that Shakespeare never thought of in connection with that play or any other he wrote. And the audience went wild with laughter and joy, never before having seen such marvelous acting as confronted them at this time. Actors, regardless of high dramatic ideals, are often required to give the audience something to amuse them as in this case and the one just related of McVicker and McFarlan in the performance of Othello. In spite of the humor of this incident, it didn't set well with young McVicker, now twenty-six years old. He hadn't been in the profession long enough to have the art knocked out of him. It didn't, however, faze Mr. Rice who had heard such remarks before. It is not unusual, when advertis- ing a play by William Shakespeare, to have some person call at the theatre and ask to see Mr. Shakespeare, and occasionally the request is complied with. Actors do amusing things sometimes. Or do they? During the period under discussion, Mr. McVicker was not inclined to such facetious pranks. He was of a sober, ambitious nature . 116 CHICAGO STAGE Rice's Chicago Theatre 1848 and his mind was constantly on his work which he strove to do with the utmost care and attention. He, like all actors, could see the funny side of a situation on the stage as well as off. His progress will be noted in later pages of this volume but, for the present, let us return to the rec- ords of Rice' s 1848 Chicago Theatre season. Dan Marble was again brought in as a star and gave the first performance this year on May 1st, offering John Adams' al- most immortal "Sam Patch in France", fol- lowing it with the afterpiece of "Hunting a Turtle". In this afterpiece John Green and Mrs. McVicker mad? their first appear- ance in this city. On the following even- ing, May 2d, Marble and the company were seen in "The Wool Dealer" followed by "The Hue and Cry", the evening's entertainment concluding with "My Neighbor's Wife", in which farce James H. McVicker played Smith, the first character this Chicago theatri- cal landmark essayed in the city of his adoption. Between the presentation of these various plays, Jerry Merrifield did his customary song and dance. The engagement continued with "The People's Candidate" by John S. Robb, a writer on the St. Louis Revelle. The play had been written especially by that penman for Mr. Marble, who appeared in the part of Isaac Shattuck to good advantage. And, as an afterpiece, "The Beacon of Death" was offered, in which Mrs. Green was seen as 117 CHICAGO STAGE Rice's Chicago Theatre 1848 Marietta by a highly satisfied audience. Jerry Merrifield again delighted the lis- teners with his songs and dances. Mr. Rice, evidently not satisfied with the personel of the company, left for New York to en- gage new performers, but meantime the show went on. May 4th, "Home in the West" was first seen in Chicago. It was followed by V/ood- worth's prize play, "The Forest Rose", which was the third presentation of that popular rural comedy in this city. On this occasion new players were seen in the cast, such as McVicker, Green, Merrifield, Mrs. Rice and Mrs. McVicker. May 5th "Fortune's Frolic" was the bill, with Marble appear- ing as Old Jebadiah, one of his favorite" parts. It was followed by "Tom Cringle's Leg". "The Backwoodsman" was the oi fering for May 6th, followed by a repetition oi "The People's Candidate", which concluded the first week of this star's engagement. How- ever, he was retained for a second week beginning on May 8th, repeating "The Back- woodsman" with "A Pleasant Neighbor" given as the farce. On the c Jth "Home in the West" and "The Hue and Cry" were the attractions . Following this, on the 10th, "Time Tries All" was again done and. this time a farce new to the Chicago public called "Fortune's Roughhead" was the concluding comedy feat- ure. "Jonathan in England" and "Black-eyed Susan" were the plays seen on May 11th 118 CHICAGO STAGE Rice's Chicago Tneatre 1848 the latter being a favorite for many years. May 12th Marble took his customary benefit, for which he fell back on the old reliable "Wool Dealer", finishing with an- other favorite, "A Yankee in Time". This concluded two weeks of successful perform- ances by this favorite delineator of Yankee characters. It was his last appearance in Chicago, and almost his final earthly ap- pearance, for not long after. this, while in Louisville, Kentucky, he announced his retirement and stated that it would be his farewell to the stage. It was, for that same night he died of cholera. Dan Marble had done much to amuse the American public and was greatly missed until the void cre- ated by the sudden and untimely death of this best of all delineators of tne Yankee character was filled to the utmost satis- faction by James II. Mc Vic leer. In spite of the fact that Rice main- tained what was then called a good stock company, the public of the Chicago district needed additional features such as Marble, to attract them. This "stock star" system which was inaugurated in America about the year 1800 either by James A. Cooper, James Fennel 1 or Mrs. Oldmyxon,— all said to be the originator,— has been cursed by all managers who have been pestered with it, but it seemed to be a necessary evil and continued to exist. Rice's next importation was Julia Dean, 119 CHICAGO STAGE Rice T s Chicago Theatre 1848 for many years considered the leading act- ress of her time. In an earlier part of this book, a reference was made to Dean & McKinney applying for a license in Chicago in 1854, and finding it too high, concluded to remain in Buffalo, N. Y., rather than risk the stipend the city council demanded. This Dean just referred to was the step- father of the Julia Dean who was to be the new "stock star" here. Her real name was not Dean but Drake. In the year 1317, Samuel Drake, while playing in Albany, New York, had been per- suaded by Luke Usher, an . actor, whose brother had built Thespian Halls in Louis- ville, Frankfort and Lexington, Kentucky, - which had nothing but an amateur company, now and then, — to occupy them. Mr. Usher held out great hopes and drew for Drake a glowing picture of easy money. Drake, hav- ing quite a family to support, saw visions of sustenance and set about to organize a company and play on the way to Frankfort, where the state legislature was to meet in the fall of that year. Besides his own family and one or two other actors, he ac- quired the services of Noah Miller Ludlow and Fanny Denny, two young and aspiring amateurs whose careers bear noting. Young Ludlow, then about eighteen years old, was sent ahead to the first town, Cherry Val- ley, New York. In those early theatrical pioneer days there was no regular "opera house" inCher- 120 CHICAGO STAGE Rice's Chicago Theatre 1848 rey Valley, but there was a Court House, which had been arranged for by Samuel Drake. This had to be put in shape for the big e- vent. Ludlow, who had taken a bundle of scenery with him on the overland stage, on his arrival requisitioned the sheriff and the judge to assist him, and by the time the troupe arrived the improvised theatre was ready. In the company, besides the Drake fam- ily which consisted of Mr. and Mrs. Drake and sons, Alexander and Sam, Jr., were Mr. and Mrs. Jones, Noah Miller Ludlow and Fanny Denny. The last two, as stated be- fore, were strictly amateurs but they lat- er played a very important part in American theatricals. Fanny Denny married Alexander Drake in 1817, and the result of this union was the Julia Dean who became one of the early stock stars to visit Chicago. It is for that reason we mention the incident at this particular place in this volume. As we have noted, Dan Marble had fin- ished his starring engagement withRice and was succeeded by the Julia Dean just men- tioned. On this occasion she was supported by her stepfather, Edwin Dean, who, with D. B. McKinney under the name of Doan & McKinney had been the first to try to break into Chicago theatricals in 1854, but aban- doned that hope and returned to Buffalo, New York, where they were successfully op- erating . 121 CHICAGO STAGE Rice's Chicago Theatre 1848 Julia Dean, who opened on May 15th, selected as the vehicle on which to ride into the hearts of Chicago patrons, James Sheridan Knowles" play, which had shortly before been brought out in New York, "The Hunchback" . The play was thus CAST Master V/alter Edwin Dean Sir T. Clifford John Green V/elford George H. Ryer Lord Tinsel James McVicker Modus Mr . Fenno Heartwell Mr. Rice Gaylove Mr. Wilson Julia Julia Dean Helen Mrs. J. B. Rice The selection of "The Hunchback" to begin the engagement of this splendid actress, was a good one and it was put on very suc- cessfully. It was succeeded by one of equal merit, a play new to Chicagoans, but well known elsewhere since 1817. It was R. L. Shields' "Evadne" and was CAST King of Naples Edwin Dean Callona John B. Rice Lodevico James McVicker Vincenio John Green Olivio Mrs. J. Green Evadne Julia Dean 122 CHICAGO STAGE Rice's Chicago Theatre 1848 This standard play held its popularity in spite ol the fact that it had been before the people for many years and proved highly satisfactory to the public. It v/as followed by H. H. Hillman 1 s "Fazio" which commenced on May 19th and was done by the following CAST Fazio Duke Bianca Aldebella Edwin Dean John Green Julia Dean Mrs. J. Green +-v pxays tnen, As usual it was followed by the tradition- al farce and, incidentally, Merrifield did a song as an interlude. Friday, May 19th, the standard of all 'he Wife",was given with this CAST Julia Dean Edwin Harris James Carroll W. H. Philmore George Mossop H. W. Meeker Mrs. Rice Mariana St. Pierre Leonardo Antonio Count Florio Bartolo Florabell It was followed by two shorter plays, or one farce, "Faint Heart Never Won Fair Lady" and "The Irish Tutor". For her benefit Miss Dean chose to re- 123 CHICAGO STAGE Rice's Chicago Theatre 1848 peat "Fazio" and loll owed it with "The Mar- ried Rake". Thus ended her first week's engagement, but it was extended by Mr. Rice for another week. She opened on Monday with Sir Edward Bulwer Lytton's "Lady of Lyons" with the following CAST Claude Melnotte P4r. Fenno Beauseant Edwin Dean Deschappelles John Green Glavis James McVicker Pauline Julia Dean Madam Deschappelles Mrs. Rice Widow Melnotte Mrs. Green This play had been first produced in America with Edwin Forrest playing Claude, which was always a favorite part with him until he grew too old for it but, even then, he was reluctant to discard it. Mrs. John Green here mentioned was the second woman to play Pauline in this country. On May 25th Miss Dean appeared again in "Fazio" followed by the farce "Water and Philosophy". Mr. Merrifield sang, as a special feature, "Never Say Nothing to No- body". May 28th Julia Dean sti 11 maintained her drawing capacity and presented "The Wrecker's Daughter". The play and the com- pany's interpretation of it met with the public favor. It was v played by the follow- ing 124 CHICAGO STAGE Rice's Chicago Theatre 1848 CAST Robert Mr. Fenno Norris Edwin Dean Wolf John Green Edward James McVicker Clergyman Mr. Rice Ambrose G. H. Ryer Stephen . Edwin Harris Marian Julia Dean On May 29th this charming actress gave two plays, "Douglas" and John Howard Payne's "Therese" or "The Orphan of Geneva". The presentation of Kotzbue's "The Stranger" on May 30th concluded a two weeks 1 engage- ment of Julia Dean. On May Slst Mrs. Henry Hunt commenced an engagement in "The Soldier's Daughter" and concluded with "Faint Heart", which had been done before. June 1st saw the stock company, headed by Mrs, Henry Hunt, in J. R. Planche' s good little play, "Crist to the Mill" . The play was followed by the farce, "The Young Scamp". Both were well and favorably received. June 2d saw a re- peat of a play that had been seen in this theatre the year before, "The Four Sis- ters", but this time with a slightly dif- ferent cast. June 3rd Mrs. Hunt and the company opened in "Satan in Paris", anc 1 ior the farce "Valentine and Orson" was the presentation. Mrs. Hunt was re-engaged for another 125 CHICAGO STAGE Rice's Chicago Theatre 1848 week and began on Monday, June 5th, by of- fering her great characterization of "The Jewess", and for the farce repeated "Val- entine and Orson" . The business was not so good, perhaps due to the fact that the great actor, Edwin Forrest, had arrived in town and was soon to appear in the theatre. He did not, however, begin his engagement until a few days later. Thursday, June 3th, Shakespeare's "Othello", es. Up to now Rice had than fifty cents top fo but Mr. Forrest's contr power to control the pri the fifty cent, seats to others accordingly. As play has been given in p we only repeat the prin characters played by the CAST Forrest opened in at advanced prie- not charged more r the best seats, act gave him the ces and he boosted seventy, and the the cast of this revious records, cipal players and m. Othello Iago Cassio Duke Brabantio Desdemona Roderico Emilia Edwin Forrest A. W. Penao George Moss op G. W.. Philmore James H. McVicker Mrs. Hunt Edwin Harris Mrs. Rice The biggest event, up to now, in the history of Rice's Theatre was the appear- ance oi the great actor, Edwin Forrest,— 126 CHICAGO STAGE Rice's Chicago Theatre 1848 then at the very height of his marvelous career. So much has been said and written about this gentleman that little new can be provided. However, the importance at- tached to his visit to Chicago at this early date seems to warrant some extra at- tention. Edwin Forrest was born in Philadelphia, Pa., in 1806, so he was forty- two years old when he first visited Chicago, and that village was but twelve years old. Forrest's father was connected with the United States Bank and died in its service. Edwin was the fourth in line of six children, being younger than his brother William, who was also a successful actor and manager. He could not be persuaded to follow the course his family had cut out for him and eventu- ally adopted the stage as a career. He went, with a letter from a mutual friend, to Wil- liam S. Wood, of Wood Se Warren, so long actor and managers of the Chestnut Street Theatre in Philadelphia. Forrest was then only fifteen -md Mr. Wood demurred. He hesitated about letting him appear since he had little hope for the frail looking youngster, but as the letter came from a friend, he did not feel like refusing, so he decided to give the boy a. chance. Every budding hopeful in those days was ambitious to play young Norval in "Douglas" . Forrest was given a chance at the part. His first stage appearance was in that role on November 27, 1820, at the Walnut Street 127 CHICAGO STAGE Rice's Chicago Theatre 1848 Theatre, then also under the management o£ V/ood & Warren. Mr. Wood was not disappoint- ed as the performance was what he feared it would be, but he had made good with the friend who had sent the boy with the let- ter. Wood advised the young man to go west and get some experience. Forrest did. And what a time he had. No actor ever faced more struggles and endured more privations than this same Edwin Forrest, playing to as low as $1.50 at one performance in Coving- ton, Kentucky, a town he had been compelled to walk to for the lack of funds to carry him there . When the troupe he was managing finally gave up the ghost, Forrest turned to circus life and learned "ground and lofty tum- bling". He ultimately gave up circusing and became a member of the stock company at Albany, N. Y., where his real success started. After reaching the highest rung of the theatrical ladder, he became involved in domestic disputes which marred his good nature and made him a morose and melancholy man. The long drawn out legal battle over the divorce of Catherine Sinclair together with the As tor riots, where many persons lost their lives through the so-called ri- valry of a couple of aspiring actors, which riots were laid at his door, had a serious effect upon him. Whether Forrest was in any way responsible for these riotous affairs is a question. When he was at Drury Lane 128 CHICAGO STAGE Rice's Chicago Theatre 1848 in London he claimed that the followers of Wm. Macready made his life miserable, and so marred his performance while in the British capitol that his success was im- peded. But was it impeded? Alfred Bunn, the manager of the theatre where Forrest appeared, has said thathe and George "Yan- kee" Hill were about the only American ac- tors seen at the Drury Lane Theatre compar- able with the leading English players of that day. There has been plenty of jealousy among actors, but none has ever led to a disturbance equal to the As tor riots. Perhaps one of the most peculiar inci- dents that e ,r er happened to any actor oc- curred during Mr. Forrest's barnstorming activities. While touring through Kentucky he met a man named Lovett, who provided funds to rescue some stranded actors ma- rooned in a hotel and watched by an irate landlord who demanded a settlement before- letting them go. Mr. Lovett turned out to be a noted horse thief. Later, he was ar- rested and was being tried in Louisville when Forrest was playing there. Lovett was then without funds while the actor he had befriended was in affluence. The unfortu- nate horse thief had no counsel to see that he got a fair trial, which, in those days, didn't mean much in that land of bourbon liquor and fast horses, but Mr. Forrest thought differently. He knew what it meant to be at the mercy of merciless strangers and considered it the duty of a good citi- zen to see that everyone had a fair trial. 129 CHICAGO STAGE Rice's Chicago Theatre 1S48 So Forrest engaged a lawyer to see that Mr. Lovett, the so-called horse thief, might have an equal chance with those more fortunate criminals who had money to em- ploy legal talent to see that there was no miscarriage of justice. But the great tra- gedian's munificence was without avail. Lovett was convicted and hung. This horse stealer had been a devotee of the theatre and had seen Forrest and others play "Hamlet" many times. What an- noyed Mr. Lovett was the paper mac he skull in the scene of "Alas, poor Yorrick, I knew him well", but there was nothing he could do about it until after his execution when it was discovered that he really had done something about it. He left a will and in it he gave to the actor who had seen that, so far as possible, he had a fair trial, all that he had —his skull. "With great- est, pleasure, mingled with deepest grief, I do hereby bequeath the only belongings I have, my skull, to the great actor and my only benefactor, Edwin Porrest,so that his artistic spirit in performing the fasci- nating character of Hamlet may not be marred by the use of a wad of paper or a croquet ball to represent and disgrace poor Yor- rick, whom I knew net well." Doubtless this expression of appreciation was very grati- fying to such a man as we know Edwin For- rest was. We now return to the record for this actor's next appearance. As might be ex- 130 CHICAGO STAGE Rice's Chicago Theatre 1848 pected, Forrest's Hamlet was the talk not only of Chicagoans, but was the subject of conversations all over the middle west. It was inevitable, therefore, that "Hamlet" should be his presentation on the following night, June 9th. It was thus CAST Hamlet Mr. Forrest Laertes Mr. Fenno Ghost Mr. Philmore King Mr. Mo s sop 1st Gravedigger Mr. McVicker Ophelia Mrs, Hunt Queen Mrs. Rice Claudius Mr. Rice Polonius Mr. Green Horatio Mr. Harris Rosencrahtz Mr. Archer Guild ens tern Mr. Ryer is The tragedy was followed by the farce, "Eton Boy". Business and performance were highly satisfactory. June 10th brought the production of "Richelieu" with Forrest, of course, in the name part; Fenno as De Mau- part; and Mrs. Hunt as Julia, a part in which she always excelled. James Sheridan Knowles 1 "Virginius" was the play seen on June lPth, and it proved to be one of the most welcome of all played so far. Forrest was the Virginius; Fenno was I c ills; Mrs. Hunt was Virginia. No classical star could get along with- 131 CHICAGO STAGE Rice's Chicago Theatre 1848 out "The Lady of Lyons" in his repertoire, especially Forrest, so he presented that Bulwer classic on June 13th. He, of course, played Claude, Mrs. Hunt was Pauline, and the others were cast according to the im- portance of the players and the parts. The play was followed by "Raising the Wind" with Penno as Jeremiah Diddler. June 14th saw Forrest in one of his great favorites, "Jack Cade", which gave thorough satisfac- tion as did the farce, "Make Your Will" which followed the play. "No children ad- mitted" to "Jack Cade". We come now to "Metamora" , the play Mr. Forrest selected from among many submitted as the best drama written ior the $500.00 prize this actor had offered to the winner. The policy of giving a prize for the best play submitted was quite extensively prac- ticed in those days. There were not so many dramatists then; American playwrights did not grow on every bush, as they did later. Some, like Louisa Medina, M. M. Noah, J.N. Barker, and "Monk" Lewis, had turned out satisfactory plays, the returns from which could not be considered sufficiently invit- ing to prompt many of these writers to de- vote their entire efforts to that form of endeavour. The remuneration received for their plays was usually whatever the auth- ors could obtain from an exclusive or half benefit, which was often very little. But Forrest, George "Yankee" Hill and a few other actor-managers offered a prize for the best drama and, frequently, they were 132 CHICAGO STAGE Rice's Chicago Theatre 1848 satisfied with the results of their under- taking . The author of "Metamora" was John Au- gustus Stone. He not only received the l500.no prize money offered by Mr. Forrest but the latter' s everlasting blessing, as well as a monument to his memory erected over his grave alter his weary theatrical soul found a resting place in the six feet of earth that "makes us all of one 'size. T ' Forrest was so cautious in the protection of his rights to the ownership of "T-ieta- inor:i% that he never allowed the complete manuscript to be sent ahead for the stock company, where he was contracted, to play, to rehearse the actors in the various parts in which they were to appear when the great Forrest arrived for the performance. The copy he sent was always a " skeleton"* manu- script, with Mr. Forrest's part left out. This would, in part, prevent the play from falling into the hands of those play pi- rates who have always been a thorn in the side of the dramatist or play owner. "Metamora" was written by John A. Stone to whom Forrest paid the sum of $500.00 for full ownership. It was first produced by Edwin Forrest in 1826. Stone, who was also an actor, died in 1834, and Forrest erected a monument as a token of respect to his memory. The play load no real literary value and the only importance it has is that it was one of the early plays and af- forded Mr. Forrest scope for the style of 133 CHICAGO STAGE Rice's Chicago Theatre 1848 acting that was the vogue at the time. It was not published, and as it appealed to few actors of the period, neither manager nor actor seemed inclined to obtain a copy of it, even surreptitously, hence no com- plete authentic copy of the manuscript has come down to us. However, it was not rele- gated to oblivion as early as most of the other Indian dramas for the reason that it was a favorite of this outstanding player. Starting June 16th "Metamora" was seen for the first time in Chicago and it was held over for the second night. It was CAST Metamora Mr. Forrest Lord Fitzamo Id Mr. Fenno Natuneokee Mrs . Hunt Sir Arthur Va ughn Mr. Philmore Horatio Mr. Harris Erring ton Mr. Ryer Wolfe Mr. Archer Church Mr . Green Tramp Mr . McVicker Kanshine Mr. Rice Child Mrs . Merrifield Oceana Mrs . Rice Monday, June 19th, Mr. Forrest and the stock company were seen in Dr. Robert Mont- gomery Bird's great Roman drama, "The Gladiator". This play, also, was written especially for this great actor. It was presented with this 134 CHICAGO STAGE Rice's Chicago Theatre CAST 1348 Sparticus Phasarius Senona Jovius Crassius Lentullus Braccius Florus Enomus Lucius Crixus Boy Julia June 20th Shakespeare's "King Lear" was given and, since it is the first per- formance In the city we herewitn give the 1 Mr. Forrest Mr. Fenno Mrs . Hunt Mr. Harris Mr. Mossop Mr. Ryer Mr. Green Mr . Burgess Mr. Sanford Mr. V/ilson Mr. Clifford Mrs . Archer Mrs . Rice CAST Lear Mr. King of France Mr. Du.ve of Burgundy Mr. Duke of Cornwall Mr . Duke of Albany Mr. Earl of Kent Mr . Earl of Gloster Mr. Edgar Mr. Edmund Mr. Curan Mr. Old Man Mr. Oswald Mr. Physician Mr. Locrine Mr. Fool Mrs Cordelia Mrs Regan. Mrs Goneril Mrs Forrest Green Philmore Taylor Harris Wilson Merrif ield Ryer Mossop Sanford Hudson Harris Clifford Archer . Merrifield . Hunt . Rice . Green 155 CHICAGO STAGE Rice's Chicago Theatre 1843 Forrest prided himself on his ability to play Lear. Once wnen being interviewed, the conversation went like this: ''You play Ham- let?" "Yes," he replied. "Othello?" "Yes," again- "Richard?" "Yes." "Lear?" "No," he exclaimed, "by God, I am Lear." R. T. Conrad's play, "Jack Cade" was the selection Mr. Forrest made for June 21st. For the first time in Chicago, the announcement "No children admitted" was made by the management on this occasion. The play had originally been produced in 1840 under the name of "Aylmere", or "The Kentish Rebellion" , but the title was later changed to "Jack Cade", by v/hich title the drama became generally known. Of all the early plays, few arrested the attention and appealed to actor and audience as did "Jack Cade".. It had its first production in 1834 and at that time proved a failure, but af- ter later productions, under other names, it became a big success as "Jack Cade" and continued to be a favorite with many play- ers and a magnet that attracted the public . It has been re-written many times and was presented so often in the same theatres throughout the country, that it became as familiar to theatre goers then as "Uncle Tom's Cabin" was to others later. It must be considered one of the successful early American dramas. Rice's popular leading lady, Mrs. Henry Hunt, now -became the wife of George Mossop, whom she married on June 25th alter getting 156 CHICAGO STAGE Rice's Chicago Theatre 1848 a divorce, here in Chicago, from her first husband, Henry Hunt. She will hereafter be referred to in these records as Mrs. Mos- scp. The reader should remember that she was the former Louisa Lane as well as the former Mrs. Henry Hunt, and that she later became Mrs. John Drew. June 26th Planche's comedy, "tortunio and His Seven Gifted Servants" was the of- fering, followed by "The Happy Man" as the afterpiece. June 27th saw the company in ''The Follies of a Night" and a repeat of "Fcrtunio". June 28th W. H, Bernard's "Lu- cille", and again "Fortunio" was put on for the afterpiece. On June 29th the old play "Douglas" by John Home was the attraction. In it Mrs. Moss op was seen in the- male part of Young Nerval, a part every rising young actor was sure to select for his initial appear- ance on the stage in those days. It was in this character that Edwin Forrest, made his stage debut, as did John Howard Payne and many others. The play was held over the following night, when Mrs. Mossop took her benefit. After the performance, Edwin Plar- ris,— who had been one of the mainstays of the Rice organization since it started,— left the company and went bacK to Milwau- kee, from which place he had come with Mr. Rice for the opening of his Chicago theatre in 1347. July 1st brought a new featured player 157 CHICAGO STAGE Rice 1 s Chicago Theatre 1848 in the person of George "Yankee" Hill. Mr. Hill was distinctly a New Eng lander, — the son of a music teacher. He himself was a paper hanger, like a later paste and paper dauber, Adolph Hitler. Both of them got themselves into considerable trouble, but in a different way.. Hill was for years the outstanding Yankee character delineator of the country, and Dan Marble and the others took their pattern from him. He started his acting career with John Trowbridge who operated a Museum in Albany, N.Y., in 1815, and it was at this Museum that Trowbridge first originated gas for illuminating pur- poses, giving as his reasons that it was much cheaper than tallow candle lighting, estimating that the candles cost around Two Dollars for what could be produced with gas at a cost of sixty cents. In connection with the Trowbridge Mu- seum there was what was called a "Lecture Room", where some sort of entertainment was given. This, eventually, led to the pro- duction of plays in it and other museums. One of the first to appear in the Museum at Albanv was George (later to be known as "Yankee") Hill, giving Yankee recitations. William Forrest and William Duffy were managers of a regular theatre in Albany at the time mentioned, and introduced Hill to the public in Samuel Woodsworth's great play, "The Forest Rose", in which piece he made a big hit then and for many years af- ter that. 138 CHICAGO STAGE Rice T s Chicago Theatre 1848 Hill retired from the stage and prac- ticed dentistry in Batavia, N. Y. His home there was one of the sights of the country. Put his fortune was ultimately dissipated, and, in desperate straits, he returned to the stage, but with less success. He died September 27, 1349, at Saratoga Springs, N. Y. , leaving nothing to his heirs but Five Thousand Dollars in life insurance. Mr. Hill opened here on July 1st in "Jonathan in England", ably supported by the stock company. The comedy was followed by a repeat of "Grist to the Mill", both of which were well received . Chicagoans had heard of the fame of this actor and were not slow to show their appreciation by their liberal attendance. The play mentioned was by George Colman, Jr., the English drama- tist, who had written it to burlesque our Yankee character. His next offering was the well known "Paul Pry", and for this presentation Wil- liam Warren, Jr., Mr. Rice's brother-in-law, was imported. The afterpiece was "A Wife for a Day". Jerry Merrifield did his usual good song and dance between the first and second pieces, and the entertainment con- cluded with "Mons. Tonson" in which Warren was featured. Kill selected for his next play Samuel Woodsworth* s well known "Forest Rose". As his engagement of two weeks continued, he put on "The King's Gardener", "Yankee 139 CHICAGO STAGE \^ Rice's Chicago Theatre 1848 Duelist", "Yankee in Time" and "New No- tions". As these plays were done beiore and after this by ether "Yankee comedians, we do not attempt to give the casts. After the next s Pitt, who and establ actor and on August play "A Ne the greate guage. It Hill concluded his engagement, tar we record was Charles Dibdin had come to America from England ished himself as a respectable dramatist. Pitt opened in Chicago 4th in Phillip Messenger's great w V/ay to Pay Old Debts", one of st dramas in the English lan- was thus CAST Sir Giles Overreach Marall V/elborn Lord Lovell Justice Greedy Lady Allsworth Margaret Overreach Froth Mr. Pitt Mr. Philmore Mr. Mossop Mr. McVicker Mr. Green Mrs. George Jones Mrs. Merrifield Mrs. Mossop The farce that followed the play was "Fox and Geese". All in all, the evening's en- tertainment proved highly satisfactory to the patrons. On August 5th Mr. Pitt and Mrs. Jones, the substar, were seen in a play not quite so familiar to Chicagoans, "The Cavalier of England in 1840". It was given with the following 140 CHICAGO STAGE Rice's Chicago Theatre 1848 CAST Margraves Lord Morton Eeauchamps Maynard Mrs. Har graves Mrs. Maynard Madam DeGram Mr. Pitt Mr. Philmore Mr. Green Mr. McVicker Mrs. George Jones Mrs. Moss op Mrs. Rice i^ Mr. Pitt and Mrs. Jones finished their short engagement on August 6th with a pre- sentation of "Hamlet", the play that no ambitious actor ever failed to play, — if allowed. While Charles Dibdin Pitt had been a successful star in England, he failed to live up to that reputation while in Ameri- ca. He returned to England in 1851. The next featured player after Pitt's departure was Catherine Wemyss. With her, as her main support, was her father, Fran- cis Courtly Wernyss, a Scottish nobleman with a string of titles that would read like the names in a telephone book. He was a dramatic figure in the British Isles and became an important cog in the wheel of theatrical revolutions in America. It was for Mr. Wemyss that the Walnut Street The- atre, so long a landmark in Philadelphia, was turned from an amphitheatre into a reg- ular playhouse. When soma magnanimous cit- izens of Pittsburgh, Pennsylvania, in 1832 constructed the first regular theatre in that always bustling and smoky town, they set out to find the best theatrical man in 141 CHICAGO STAGE Rice's Chicago Theatre 1848 the country to conduct that theatre's op- erations. After mature investigation of all the names submitted to them they fi- nally settled on Mr. V/emyss. Catherine V/emyss, the star in Rice's Chicago playhouse at this period, was nev- er an outstanding attraction and no one knew it better than Rice himself, for he had been long at the game, but he figured he must have a name of some sort, so he brought Miss V/emyss to Chicago. She opened on August 8th in "The Hunchback", with her father as the main support. The drama, be- ing well known and having been presented so often here, attracted slight attention. The play was followed by the farce, " A Happy Pair" . Jerry Merrif ield and others entertained between the play and the farce with pleasing song and dance specialties. After filling in the week with plays that had been done here, the star began her second week's engagement with "Gene- vieve". She, of course, played the title role, while her father, P. C. Wemyss, did Vander. The concluding farce was "Kill or Cure", and both were fairly well received. Specialties were introduced by Jerry Mer- rif ield and La Petit Emelia. Miss Wemyss having finished her two weeks' engagement, James E- Murdock again opened on August 24th in "The Lady of Lyons" . Some interest was aroused by the claim of Mr. Murdock that he was the second actor 142 CHICAGO STAGE Rice's Chicago Theatre 1848 to play the part of Claude in America. The first was Edwin Forrest who had recently played it in Chicago. Mrs. Mossop showed her usual skill in her favorite part of Pauline and the balance of the company were efficient in making living persons out of Bulwer's brain children. Murdock chose for the date of August 26th Frederick Reynold's old play, "The Dramatist", which had first been produced in America by Hallam & Hodgkinson way back in 1793. "The Mummy" was selected as the afterpiece. Murdock finished a two weeks 1 engagement on September 4th after repeating plays that had been done often before. The next stars were Mr. and Mrs. E.S. Connor, who opened on the 6th in "Othello" following the tragedy with "A Night of Ex- pectation". Between the play and the farce Mr. Bicknell introduced a comic song to give the patrons a chance to dry the tears from their eyes which obliterated the vis- ion after such absorbing attention to Des- demona's danger. "Macbeth", followed by the farce, "A Pleasant Neighbor", was put on September 8th by Mr. and Mrs. Connor, with adequate support given them by the stock company. The Connors closed their engagement on the 9th of September, leaving the theatre with- out a star temporarily. On September 11th, the resident company offered John Tobin's "Honeymoon" with the following 143 CHICAGO STAGE Rice's Chicago Theatre 1848 CAST Duke Aranza Rolando Count Motalban Belthazer Jacques Lopez Campillo Juliana Volante Ramona Mr. Philmore Mr. Moss op Mr. Green Mr. McVicker Mr. Merrifield Mr . Fenno Mr . Ryer Mrs. Mossop Mrs. Merrifield Mrs. Rice Following ,T The Honeymoon", "The Marriage Spectre" was given for the afterpiece. Now came the re -appearance of the pop- ular comedian, Dan Marble, who opened on September 13th and continued until the 19th, presenting during the engagement the same pieces he had done in Chicago before, with Marble's former reputation and the strength of the good stock company, Chicago theatre goers had a joyful week of entertainment. September 20th the stock company presented their own plays without a star, but follow- ing that came one of the big events when the Great Booth opened a six nights' engage- ment en September 22d, In Junius Brutus Booth we had, not only one of the greatest actors ever seen in America, but one of the most eccentric in- dividuals eve^r seen upon a stage. He was born May 1,-31? -96, in a small town near Lon- don, Englanu, the son of a barrister who 144 CHICAGO STAGE Rice's Chicago Theatre 1848 intended his son to follow in his foot- steps. But anyone who knows the career of this man can readily understand that he would not follow; he always led. During his college days at Eton, h e learned to speak French, Spanish, Italian and German fluently. In spite of his lack of interest in law he could repeat Black- stone by heart, such was his ready memory. He made his first stage appearance with a Thespian Society In the play of "John Bull" but soon alter he joined a "barnstorming" company of "strolling players" and made his professional debut as Campillo in John Tobin ! s "The Honeymoon" in 1815. In 1821 he came to America and first appeared here as Richard III at Richmond, Virginia. The following year he purchased a farm at Bel- Air, near Baltimore, Maryland, where he always lived when not on the road. He had great versatility, and was capable of play- ing the great characters of Richard o r Lear and, with equal skill, the broad hu- morous Jerry Sneak. . After making a great reputation, he visited his native country in 1825 and again in 1855. He was twice married, having a son, Junius Brutus, Jr., by his first wife, and three children, Ed- win, John Wilkes, and a daughter by his second, a fourth son Jos. never adopted the stage Booth 1 s last appearance on any stage was in the characters of Sir Edward Morti- mer and John Lump in "The Wag of Windsor", at the St. Charles Theatre in New Orleans. 145 CHICAGO STAGE Rice's Chicago Theatre 1848 During his stay in that city he contracted a severe cold, and while on a steamer bound for Cincinnati, Ohio, November 19, 1852, he died. His son, Edwin, was barnstorming in the gold fields of California and did not learn of his father's death until some weeks later. Booth opened a week* s engagement in Chi- cago on September 22d,inhis favorite role of Richard III, and followed it with "The Married Rake", both play and farce having been seen often in the city. On September 23d Booth appeared in the great character of Sir Giles Overreach in "A New Way to Pay Old Debts", and gave as an afterpiece "The Wag of Windsor" . September 24th saw the great actor in "Macbeth", and on the 25th as Shylock in "The Merchant of Venice " . September 26tn R. L. Shields' "The Apos- tate", first done in Chicago in 1842 by Lyne & Powell, was presented. "Hamlet" was his selection the 27th but although a great actor, he was not an ideal Hamlet such as his son Edwin proved to be later. Septem- ber 29th he repeated Richard III, and on the 50th took his benefit when "The Mer- chant of Venice" was the attraction. Following Booth came a different style of actor in Barney Williams, who opened on October 3d in "The Lady and the Devil" by P. W. Dimond. It was followed by "The Lim- erick Boy", written by the actor, James Pilgram. This new star was an innovation and his plays a relief from the heavier 146 CHICAGO STAGE Rice T s Chicago Theatre 1848 ones that had preceded Williams' appear- ance. This , probably, was Barney Williams' first starring engagement. : This actor was born in Cork, Ireland, in 1S?4, and first appeared on the stage, in America, July 28, 1840, when he was but sixteen years old, as Pat Rooney. Two years after- his appearance in Chicago he married the widow of Charles Mestayer, the former Miss Pray. The pair were joint stars for a long time. They were known as the Irish boy and the Yankee girl. Williams 1 next Chicago offering was Planche's "Handsome Husband" followed by "Teddy the Tyler" . The date was October 4th. Replacing this on October 5th, Ben Baker's "Glance at New York" was offered. This play had been written for Baker ' s ben- efit and brought out about a year previous to this in New York. It was in this play that the great and highly popular Frank Chanfrau began his rise to fame. It was given in Chicago on this occasion for the first time. Williams also offered "Bern to Good Lack" and "The Irish Lion". A Mr. Taunt, who came from we know not where, rendered a pleasing ballad as a 1 contrast to the Irish humor so well provided by the star. Williams announced his benefit and his farewell for October 6th and presented "A Bashful Irishman" and "The L i merick Boy". This concluded the engagement, which had been welcome and prosperous, of Barney Williams. 147 CHICAGO STAGE Rice ! s Chicago Theatre 1848 Replacing this favorite player, Julia Dean returned ana opened on October 9th in James Sheridan Knowles' popular play, "The Wrecker's Daughter", and followed it with the farce, "The Spectre Bridegroom". These were succeeded on the 10th by the well known drama, "The Hunchback", a favorite with this successful actress. October 11th saw her and the company in "Lucretia Bor- gia", and for the farce, "A Kiss in the Dark". October 12th "The Wife" and "An Ob- ject of Interest" were given. On the 13th "Evadne" and "A Happy Pair" were the at- traction. October l4th Bulwer's "Lady of Lyons" was put on, and Miss Dean concluded her stay in Chicago by giving the oft pre- sented drama, "The Stranger". No visiting star was now in evidence, so Mrs. Mossop was featured in John Howard Payne 1 s "Therese" or "The Orphan of Geneva" . Mr. Rice now seems to have concluded to give his patrons a taste of variety and ad- vertised: "The Excelsior Harmonists, five in number, will make their first appearance at this theatre and will sing a variety of songs, refrains, duets, etc., etc. They have been received in the cities of the East with rounds of applause and shouts of approval." Here we have a stage band of the sort that became very popular towards the middle of the Twentieth Century, It should be not- ed that it was no new innovation, as these records show it had been popular a hundred 148 CHICAGO STAGE Rice's Chicago Theatre 1848 years earlier. As a matter of fact, variety or vaudeville was, to some extent, estab- lished very early here in America, although neither of those names were generally used to indicate that form of amusement, still that style of entertainment was often giv- en, notwithstanding. In Philadelphia, dur- ing the latter part of the 18th Century an entertainment was given under Hallam' s di- rection, in which John Durang did a song and dance, while other performers did rope swinging, a la Will Rogers, singing, magic and other amusing stunts embracing practi- cally the same style of acts that was or is done in a modern vaudeville show. Even before Hallam gave the above mentioned en- tertainment in Philadelphia, others before him had introduced this amusement innova- tion. The first of which we have a record took place in the Quaker city in honor of General Howe, commander of the British forces occupying Philadelphia, then the most populated city or tovn on this conti- nent. The event took place May 13, 1773, and was carried out in great splendor, as such fetes always are when celebrating a victory over a conquered territory. Instead of calling this amusement enterprise va- riety or vaudeville, they called it "Mich- ianza", an Indian word meaning "mixed" en- tertainment. Thus it v/ill be seen "there is notning new under the sun. After a few more repeat performances, the company and theatre closed the season leaving amusement lovers to suffer through 149 CHICAGO STAGE Rice's Chicago Theatre 1848 indifferent performances given by itiner- ant "buskers tT in halls, where a variegated coterie of 'daffy damsels warbled selections from grand opera to the accompaniment of a squeaking fiddle or toothless melodeon in the numerous halls . 150 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1848 CHAPTER VII The 1849 opening of Rice's Chicago Theatre, as it was still called, took place on the 16th of April, and in the company we find many of the old favorites and some new names. Among the latter was N. B. Clark, who joined after the opening. This is the first time his name has been mentioned in connection with Chicago theatricals al- though he had obtained some prominence be- fore coming .here and considerable at a later date. Incidentally, he was later the orig- inal Simon Legree in the New York production of "Uncle Tom' s Cabin" . JULIA DEAN The former Mrs. Hunt, now Mrs. George Mossgp, was again the leading lady and con- tinued to make new friends across the foot- lights, and retain those she had already garnered. There was some slight gossip a- bout Mrs. Hunt marrying Mr. Mossop so soon after the divorce of this charming woman from her former husband, Henry Hunt, but these comments soon ceased to be heard. In addition to Mr: othe; [ossop and Mr. Clark, .n the company this year were: Mr. 151 CHICAGO STAGE Rice's Chicago Theatre 1849 and Mrs. McVicker, both of whpm had become favorites through their work the year be- fore; Mr. and Mrs. Clifford, Mr. Meeker, George Ryer, Mr. and Mrs. Merrifield, Mr. and Mrs. Green, Mr. Carroll, Mr. Wilson, Mrs. Price, Mr. Harris, Mr. Mossop, Mr. Warwick, Mr. and Mrs. Rice, and several others who appeared from time to time. The scenic artist was a Mr. Beckwith and men- tion was often made of the beautiful scenic creations that were produced on various occasions. Mr. Beckwith had also re-deco- rated the interior of the theatre and ev- erything looked bright and cheerful to the patrons when they entered this amusement palace on the opening night. Not the least important individual was the musical di- rector, whose name was Brockton, and how he could manipulate the fiddle strings and tickle the ivories was a sight to behold, according to the consensus of local opinion. The year 1848 had been a successful one for Mr. Rice. Now, seeing the approaching importance of Chicago, lie commenced to ac- cumulate property which was, eventually, to put him on easy street. Stars during the season of 1849 in- cluded Dan Marble, who died this same year at Louisville, Ky., James H. Hall, W. M. Fleming, Mrs. Coleman Pope, James E. Mur- dock, and one or two others. We have no record of any special feature that Mr. Rice brought in to guarantee attendance on the opening date. He apparently decided to rely 152 CHICAGO STAGE Rice's Chicago Theatre 1849 on Mrs. Mossop, the former Mrs. Hunt, who had become very popular. After the regular opening, the company appeared in various plays, many of which had been done before. In the latter part of May, George Holland, a well and favor- ably known comedian, made a starring ven- ture here, but was not remarkably success- ful. This actor was born in London, England, December 6, 1791, so it will be seen that he was past the prime of life when he came to Chicago. His first theatrical engagement was with the famous London manager, Ell ston, at the Olympic in that city. The elder Booth induced him to come to America in 1827, and he opened at the Bowery Theatre in New York September 12th of that year. Later he became a favorite player with Ludlow & Smith in New Orleans, St. Louis, and other cities where those great pioneers operated. Holland became treasurer of the St. Charles Theatre in New Orleans when that house was built and operated by James H. Caldwell, but the burning of that amuse- ment edifice left him without theatrical connections and, shortly after that, he became associated with Dr. Lardner, who is said to be the illegitimate father ol Dion Boucicault. Dr. Lardner was then giving magic lantern lectures in this country. Holland' s last engagement was with Augustin Daly, and his last stage appearance oc- curred on January 12, 1370, in Olive Logan's "Surf". He died Tuesday, December 20, 1370, at New York. 155 CHICAGO STAGE Mr. Harris Mr. Holland Mr. McVicker Mrs . Clifford Mrs, . Rice Mrs . McVicker Mrs . Clifford Rice's Chicago Theatre 1849 Holland's dramatic fare was something like that of Barney Williams,— short but very entertaining comedies, such as "Day After the Fair" and "Diana's Revenge". The latter was thus CAST Acava Janymede Satyr Mrs. Acaeon Phoebe Diana Crystaline Following this came "My Wife's Second Floor" with Holland as Jacob Close; "A Cap- ital Match", with Holland as Sunnyside; "My Wife's Out" with Mr. Holland appearing as Scrubble; "Duel in the Dark" in which he appeared as Secret, a part he played more than five hundred times during his active stage career. This satisfying star took his bene! it on June 9th, offering J. R. Plance's petit comedy, "Who's Your Friend", followed by "Day After the Fair". After Holland's departure came the re- appearance of that always popular player, Julia Dean, who opened her engagement on June 11th with "Romeo and Juliet", much too familiar to require comment. She was ably supported by members of the stock com- pany. She continued in this Shakespearean passionate love drama for a few nights, and 154 CHICAGO STAGE Pice's Chicago Theatre 1849 on June 16th replaced it with "Evadne", which had been seen even more frequently than the Shakespearean opus that preceded it. In addition to the play mentioned she gave the lifth act of "The Hunchback" as an afterpiece. Between the plays a Mr. Bak- er rendered a couple of comic songs to overcome the monotony of the pathos of the two serious dramas. On this occasion Miss Dean took a benefit, which was always well attended as it gave the theatre patrons an opportunity to express their approval of a player . The star's next important offering oc- curred on June 23d when she appeared in "Pizarro" in which she again played Elvira splendidly, while her stepfather, Edwin Dean, appeared as Pizarro and Mrs. Rice as Cora. The play was followed by Garrick' s version of "The Taming of the Shrew", which was and always has been called "Katharine and Petruchio", with Meeker doing the tam- ing, Miss Dean as the tamed shrew, and McVicker as Grumbo. .. June 28th N. B. Clark joined Rice's forces and made his first appearance in Chicago. He came from New Orleans and proved a desirable acquisition to the stock com- pany. Eventually he became the leading man and stage manager for the proprietor and fulfilled those requirements with approba- tion. He appeared first, in Chicago as Pi- zarro in the play of that name, which was a repeat . 155 CHICAGO STAGE Rice's Chicago Theatre 1849 Miss Dean finished her engagement at this theatre on June bOth and was succeeded by a new star, J. H. Hall, who opened on July 2d. Hall began his engagement by pre- senting what was called a ''horse drama" in those days. This very good actor had first played indifferent roles at the Bowery Theatre in New York City beginning in 1337. He quickly showed progress, working him- self up by degrees until, by the time he- appeared in Chicago, he had gained reputa- tion enough to justify Mr. Rice in bringing him in as a star. The opening play was an equestrian drama written by Mr. Hall, "The Eagle Eye". It had a run of three days, giving way to "The Wild Steed of the Prai- rie" by N. B. Clark, which opened on July 5th. July 6th the Chicago public witnessed H. H. Millman's famous "Mazeppa" which had been attracting attention in other cities since it was first produced. Those who had seen the drama in New York on stages far superior to the one in Rice's Chicago The- atre, could not believe this play could be properly mounted on a stage so inadequate and uncomparable to those of the big east- ern playhouses. After witnessing Mr. Hall and his fiery steed dash up the run to the ceiling, they cnanged their minds. Owing to the fame enjoyed by Adah Isaacs Menken for her performance of the title role in "Mazeppa", many think the part was origi- nally created by a woman. This is not true to play the part was Emanual 156 CHICAGO STAGE Rice's Chicago Theatre 1849 Judah in New York brated play was pr thus Mazeppa Castellian Premislaus Rudyloff Drolinsko Koscar Abder Khan Thamar Olinska Agatha Zemila Oneiza in 183S. When this cele- oduced in Chicago it was CAST J. H. Kail Edwin Karris J. W. Burgess John Green James McVieker Jerry Merrifield James Carroll Mr. Warrick Mrs. Coleman Pope Mrs. Rice Mrs. Carroll Mrs. Merrifield July 13th was given over to a benefit for Mr. Hall, and, owing to excessive heat, he closed his engagement on that date. Af- ter leaving Chicago he held many starring engagements that enhanced his reputation. The final curtain, closing the scene of his active life, came down in Toledo, Ohio, in 1856, when he died in that city. In spite of the ho Hall's departure, the tinued on uninterrupt without a star. Condi they are today, with a ing a theatre habitabi Chicago was first inv performances, such at in the summer and not, t weather that caused stock company con- ed for a few nights tions were not like ir conditioning mak- e at all times. When aded with theatrical tractions look place as in later years, 157 CHICAGO STAGE Rice's Chicago Theatre 1849 when operations were reversed and what was called a "theatrical season" ran from about August 10th to May 1st, after which places of amusement were, as a rule, closed. Now- adays,— thanks to air conditioning,— they run all the year around. The featured player following Hall was the favorite Irish comedian, Barney Wil- liams, who opened on July 17th presenting "A Soldier's Daughter" and for the farce or afterpiece, "Born to Good Luck", fol- lowing this, on July 19th, he gave "The Limerick Boy" followed by Frank Chanf rau' s great success, "A Glance at New York". On July 21st, "Paddy's Trip to Ireland" was the vehicle Barney selected to ride into the hearts of the Irish lovers of shamrock plays. To make doubly sure, he gave them "Springs of Ireland" for an afterpiece. Incidental to the plays, a Miss Emmons of the regular company rendered some capti- vating songs of Eire. Barney Williams con- tinued on until the 29th of July, playing his entire repertoire of Irish comedies such as those just mentioned, taking a well deserved benefit on the closing date with a liberal attendance. The next visiting star was W. M. Flem- ing, supported by Helen Mathews, who became a new member of Rice' s forces. The latter' s age precluded her from attempting the heav- ier female roles, but she was very capable and well qualified for the portrayal of the younger and less powerful parts. 158 CHICAGO STAGE Rice's Chicago Theatre 1849 Helen Mathews was the daughter of the well and favourably known actor, Thomas Mathews. She had practically been born in the theatre, first seeing the light of the world in 1827. She made her New York stage debut on April 2, 1857, playing the part of Apollo in the play "Midas", when she was but ten years old. Even before this, as early as 1853, she and her sister, Ontario Mathews, were with Francis Courtney Wemyss when he opened the first regular theatre built in Pittsburg, Pa. She ultimately be- came Mrs. Brunton, by which name she was known in later life. W. M. Fleming first appeared in New York on December 4, 1342, playing Cloud King in the drama, "The Bronze Horse", in which he made a favourable impression and climbed the theatrical ladder until he had gained sufficient reputation to warrant Mr. Rice's bringing him to Chicago as a star. Later in life, about 1856, he married a Miss Chippendale. Fleming opened his engagement at our local theatre with Bulwer's "Richelieu" on July 31st. He, of course, played the domi- nating Cardinal to the Julia of Mrs. Cole- man Pope who had succeeded Mrs. Mossop as the stock leading lady. Mrs. Pope was a native of Yorkshire, England, where she first appeared and where she acquired some reputation for her skill in the histrionic art. Her American stage 159 CHICAGO STAGE Pice's Chicago Theatre 1849 appearance was made at New York in Novem- ber, 1346, when she supported Ben DeBar in "The Dumb Girl of Genoa", soon establishing herself as one of the best performers on the American stage. She was commended, es- pecially, for her eifective portrayal of the heavier parts. In these she made many admirers during her engagement with Rice in Chicago. Sne finally married and settled in Cincinnati, Ohio. Fleming, in the character of Richelieu, could scarcely be compared with the really great actors who had preceded him in this and other cities. In those days, as well as before and to some extent later, for a time at least, patrons went to see who of the outstanding actors could play such and such a part best. Mr. Fleming was fairly well received in that part, however. Mrs. Coleman Pope made a capable Julia. The next offering, August 1st, was an- other Bulwer favorite, "The Lady of Lyons" , with the star as Claude, and Mrs. Pope as Pauline. The performance compared satis- factorily with those given here before. Fleming now turned to the Immortal Bard for his next stage vehicle, offering "Richard III" on August 2d and od, and followed with "The MDrchant of Venice", on that occasion taking his benefit. This was well attended as the patrons appreciated his careful por- trayal of the various characters he delin- eated. Mr. Fleming was a good, painstaking actor who did not "tear a uassion to tat- 160 CHICAGO STAGE Riee T s Chicago Theatre 1849 ters" nor "split the ears of the ground- lings", that Hamlet so ardently complained of, but treated his auditors with an in- telligent characterization of any part as- signed to him. In the play just mentioned, he was the Shylock, Mrs. Pope the Portia, and Helen Mathews was the Jessica, while the regular stock actors capably fulfilled the requirements of the other parts as they had often done in that play. To give the theatre goers an abundant supply of enter- tainment, John Tcbin's great play, "The Honeymoon", was presented as an afterpiece to "The jMerchant of Venice" . After the closing of Fleming, Mr. and Mrs. E. S. Connor appeared with a reper- toire of the classics, opening with "Rich- elieu", and continuing for one week. They were followed by Charles Dibdin Pitt, who had appeared in the Chicago Theatre the year before. September 5th the stock company offered "Isabelle" or "A Woman's Life", with N. B. Clark as Eugene LaMarc, and Mrs. Coleman Pope as Isabelle. For the farce they gave "Handsome Husbands". September 6th and 7th the Scotch drama "Gilderoy" was given, with Clark in the name part, and Mrs. Pope as Jessie. This was followed on the 8th with a repeat of "The Carpenter of Rouen" , which had been seen many times before by Chicago playgoers. September 10th "Wreck Ashore" was the 161 • CHICAGO STAGE Rice's Chicago Theatre 1849 attraction, and on the 13th Sir Edward Lyton Bulwer's "Duchess de La Valliere" was given with the following CAST Louis XIV N. B. Clark Due de Lanzan James Clifford Count de Grammont James H. McVicker Marquis de Bragalone J. W. Burgess Bertrand W. H. Meeker A Gentleman Jerry Merrifield Queen Helen Mathews Madam de Montspan Mrs. Rice Madam de La Valliere Mrs. McVicker Duchess Mrs. Pope This was, perhaps, the least successful of Bulwer's plays. For the aiterpiece on this occasion "A Roland For an Oliver" was giv- en. From September 14th to September 20th Mr. and Mrs. E. S. Connor presented a rep- ertoire of Shakespearean and other classic dramas. September 21st the stock company gave "Castle Spectre" followed by "The Vallet de Sham" which made up that even- ing T s enter tainment . September 22d Mr. Clark took his bene- fit and presented "Wallace, the Hero of Scotland", with himself as the hero; Mrs. McVicker as Helen Marr; Mrs. Pope as Lady Marion; Meeker as Kilpatrick; Miss Mathews as Grange; and other members as sinning var- ies CHICAGO STAGE Rice's Chicago Theatre 1849 ious parts. September 25th "The Pride of Abodes" and the familiar "Paul Pry" were the offerings. September 26th J.W. Burgess too 1 * his benefit, on which date "The Bride of Lammermoor" was given, finishing the evening with "Man About Town" for the af- terpiece. October 4th saw N. B. Clark in "Paul Jones" in which he portrayed the character of Long Tom Coffin, with Helen Mathews as Kate Plowden. October 20th a new play with the unattractive title of "Hofer" was put on. Mr. Clark played the title role. Ac- cording to the Journal of that date, Mr. McVicker was gaining in favor very rapidly and, as that paper stated, "would bear watching ." October 31st Julia Dean returned, pre- senting "The Wrecker's Daughter", wherein she appeared as Marian, Edwin Dean as Rob- ert, and Clark as Black Norris. For the farce "Mr. and Mrs. Peter White" was done, with McVicker as White. November 1st Julia Dean was seen in "Lucretia Borgia" followed by the well known farce, "Simpson & Compa- ny". November 2d saw this same star in that not to be forgotten "Pizarro" . After this favorite player finished her engagement in the city, James E.Mur- dock returned for another starring visit and, on November 5th, presented "Hamlet", with "Matrimony" for the afterpiece. Nov- ember 6th another performance of "The Lady 163 CHICAGO STAGE Rice's Chicago Theatre 1849 oi Lyons" was given with Mrs. Rice appear- ing as Pauline. November 7th Murdock chose "Richelieu" with himself as the Cardinal and Mrs. Rice as Julia. November 9th Bul- wer's "Money" was put on with "One Hour at the Carnival" for the afterpiece. "The Robbers" was given on November 10th. The next Murdock selection was "William Tell", done on November 12th. It was fol- lowed by "Wine Works Wonders" for the af- terpiece. November 13th "The Robbers" was repeated, followed by "Perfection" . On this Mr. Murdock took a well attended benefit. November 15th "Macbeth" and "The Taming oi the Shrew" was the offering , and on the 16th, "Richelieu" again, and "Your Life T s in Danger" . A play new to Chicagoans was seen Nov- ember 17th, when "Waiter Raymond" or "Lov- ers of Accomac", written by "a lady in New York" according to the program when Mur- dock presented it later on December 21st, was presented. At Chicago it wa: CAST ■j: c; Walter Raymond Mr. Murdock Windham Mr. Meeker Travis Mr. McVicker Cecil Mr. Burgess Okenea Mrs. Rice Evelyn Miss Mathews This was, probably, the first presentation 164 CHICAGO STAGE Rice's Chicago Theatre 1849 of ''Walter Raymond" anywhere, trying to "break it in on the dog" as they say, by trying it out in Chicago before going to New York with it. The play was followed by "The Dramatist" for the after play. On the 19th Miss Mathews took a benefit which was liberally patronized by the best people, — at least so it was said. The 21st was the occasion of McVicker's benefit, when "Guy Mannering" was the offering with the beneficiary as Dommie Simpson; Clark as Dandie; Mrs. Rice as Meg Merrilies; and Helen Mathews as Julia. As might have been expected, the house was overcrowded for this event. On the 23d, "Charles XII", "A Roland for an Oliver", and "Two Georges" were the bills that made up that night's entertainment . On the 27th the stage carpenter, Jeff- rey Morris, was not forgotten and received a benefit on that date. It was well attend- ed, for patrons of a theatre then knew how important this stage mechanic was. On him and the scenic artist the stage manager depended for perfecting of the product ion of a play. In the early days there were few so-called stage hands. Most of the work was done by the actors and volunteers, the latter getting no compensation except a chance to see the play, which was poor pay on many occasions. There was much discussion in the press and elsewhere during the years 1944 and 165 CHICAGO STAGE Rice's Chicago Theatre 1849 T 45 about the "stage hands" shaking down the managers responsible for theatrical and iilm productions. Many of the accusations were true, but the blame was not always justified and the public, in general, knew very little about the matter. Before the unionization of the Chicago mechanics employed upon the stages of the theatres, those workmen back stage received very little for being on the job. The so- called "crew" amounted to a few loafers standing outside the stage door waiting for the opportunity to "give a hand" just to see the entertainment and mingle with the actors. Stage hands did not become organ- ized until 1332 in Chicago, and their de- mands were not very exacting until much later. Before 1920 the traveling "crew" which toured with the company carrying stage equipment, received not more than Thirty -five Dollars a week, or perhaps less in the earlier days. Now, however, it has become so high that a small organization cannot operate. To illustrate: If the pro- duction carries scenery, a carpenter must be engaged who gets $125.00 a week, and if night jumps are made over the railway, the manager must see that he has a single lower birth. This applies to the electrician al- so, when electrical material is carried by the company. The same applies to the "pro- perty man" when the same condition exists. Some of these demands upon the management are made by the "IA", which is the theatri- cal abbreviation for "International Alli- 166 CHICAGO STAGE Rice's Chicago Theatre 1850 ance of Theatrical Stage Employees" . What makes this organization especially strong is its connection with the moving picture operators, the parent being the "IA" . CHICAGO THEATRE did not open its doors in 1850 until April 15th, but on that date the popular James E. Murdock was again the star of the event, and many of those that were in the stock company before were again in evidence. Mrs. Rice, at the start, played the female leads. The opening play was the ever popular "Lady of Lyons" as it had been a lucky piece for Rice, and gave Mr. Murdock an opportunity for a display of his recognized ability. Mrs. Rice played Pauline to the star's Claude. N. B. Clark was the stage manager and essayed manyof the male leads. "Lady of Lyons" was followed by the farce, "Swiss Swans" in which McVicker appeared as Swig and Helen Mathews as Roselle, and in said part she captivated the patrons with her songs. April lGthEulwer's "Money" was the at- traction, followed by the farce "Nipped in the Red". There were dances given by the Misses Emmons and by Mr. Gilbert. On the/ 19th, Murdock offered "Othello" in which he played the name part, Mrs. Rice appeared as Amelia, and Miss Mathews was Desdemona. for comedy, to bring .tears of joy instead of those of sadness, the entertaining petit 167 CHICAGO STAGE Rice's Chicago Theatre 1850 comedy, "Perfection" was presented. The star was unable to appear on Saturday, the 20th, on account of sickness, but as the "show must go on" the company presented "Charles II" with N. B. Clark as Charles and Miss Mathews as Eudiga. It was followed by "Sandy Janes , and the whole concluded with "My Wife's Come". Murdock recovered sufficiently to be on hand on April 22d when "Rob Roy" was the offering with Clark, McVicker, Mrs. Rice and Miss Mathews seen as the main sup- port. On the 2od, "The Stranger" and "My Aunt" were given. Then came "Hamlet" on the 24th with Helen Mathews as Ophelia, Mrs. Rice as the Queen, and McVicker doing, his favorite gravedigger . "Cousin Lambkins" was the farce following "Hamlet". On the 25th "Wild Oats" was given, with the farce of "Slasher and Crasher" to follow. April 26th Murdock took his benefit and presented "Richelieu", following it with "The Dramatist". On the 27th "The Robbers" was put on with the star as Charles d.-j Moor and Mrs. Rice as Amelia. The play was suc- ceeded by "Your Life's in Danger". April 29th, "Wine Works Wonders" and "William Toll" were the attractions. The sweet lit- tle creature, Ontario Mathews, sister of Helen, appeared as Albert Tell, son of Wil- liam. Another feature on this occasion was the dancing of Mr. and Mrs. Gilbert. On the 50th "Money" was repeated followed by "The Critic". Murdock was reengaged for further 163 CHICAGO STAGE Rice's Chicago Theatre 1850 appearances, and May 1st "Wild Oats" was repeated, iollowed by "Jannette and Janot" . Saturday, May 4th, "Hamlet" was once more offered coupled with "A Day After the Wed- ding" with interpolated songs by Mr. and Mrs. Gilbert and Miss LeBrun. Monday, May 6th, Murdock having closed his engagement, the stock company appeared in "Don Caesar de Bazan" with Clark as Don Caesar and Mrs. Rice as ?4aritana. It was followed by Ben Baker* s short play, "A Glance at New York" in which McVicker ap- peared as Mose, Meeker as Harry Gordon, Warwick as George Powell and Miss Mathews as Lize. On May 9th "Tne Shoemaker of Tou- louse" was given followed by a repeat of "Glance at New York". May 14th Joshua Sillsby was seen in "Sam Slick the Clock Maktr". It was fol- lowed by the Yankee comedy, "Celestial Em- pire". ' On the 16th Sillsby and the stock company appeared in "Happy Results" and "The Wool Dealer". May 2Cth he took his benefit and presented "Green Mountain Boy", "Jonathan in England" and "The Queen's Fate". Mr. Sillsby extended his engagement and on Monday, May 22d, of fered a burlesque called "Chloroform" or "Chicago in 1850". Mrs. Coleman Pope joined at this time and supported by Mr. Clark produced "Isabelle" on May 24th, Sillsby announced his farewell appearance, and offered for the occasion 169 CHICAGO STAGE Rice's Chicago Theatre . 1850 "Victoria's Fete" and "Chloroform" or "Chi- cago in 1850" as done before. May 26th, on the occasion of Sillsby's benefit, "Casper Houser" was the offering with Sillsby as Dr. Lott Whitte, Mrs. Pope as Casper Hous- er, and Mr. Clark as Grippewaldt. Other members appeared in "Stage Struck Yankee" and "Militia Training". Monday, May 27th, Charles Dibdin Pitt opened an engagement in "Richard III" with Clark as Richmond and Mrs. Pope as the Virgin Queen. It was followed by "A Trip to Scotland" in which McVicker was the principal player. May 28th, Pitt gave Mas- singer* 1 s wonderful drama, "A New V/ay to Pay Old Debts", doing a fairly good Sir Giles Overreach. May 51st saw Mr. Pitt and Mrs. Pope in "Bertram", which was followed by McVicker and Miss Mathew in "Sketches in India" . June 1st a new play was presented en- titled "Robert Tyke", with Pitt as Robert and Miss Mathews as Mrs. Fermint. The con- cluding comedy was the ever popular "Kath- arine and Petruchio". Pitt took his benefit on June 3d, appearing in "Macbeth" and "Hunting a Turtle". There were dances be- tween the two plays by Mr. and Mrs. Gilbert and Miss LeBrun. Mr. Pitt having bid adieu to Chicago, the stock company appeared on June 6th in "Mose in California" with McViC Ker as Mose. and Miss Mathews as Lize. It was followed 170 CHICAGO STAGE Rice's Chicago Theatre 1850 by "Zanthe" in which Clark and Mrs. Pope were the leading players, June 7th "Black- eyed Susan" and a repeat of "Nose" occupied the stage. On the 8th, "Three Thieves of Marseilles" and "Mose in California" were the attractions. A new star now appeared in the person of John Collins, who opened on June 10th with "Born to Good Luck". June 11th "Irisn Ambassador" and "Teddy the Tyler" were Col- lins 1 selections, with specialties by Mr. and Mrs. Gilbert and Miss LeBrun. Mr. Col- lins continued presenting the same Irish comedies that Barney Williams and many of the others had offered. On June 17th "The Nervous Man" was the offering, in which Thomas Archer, a newcomer, appeared. Mr. Collins concluded his engagement June 22d, and on the 24th the stock company gave "A Seaside Story" and "Wilful Murder" the latter performed by Mr. and Mrs. Archer. June 25 th the offering was "King and De- serter", v/ith Archer as Frederick the Great, Clark as the deserter, and Mrs. Pope as Rosalie. It was followed by "The Golden Farmer" with McVicker as Jemmy Twitchel. June 27th "Maid of Croisey" and "My Poll and Partner Joe", both old and well known favorites, were presented. June 29th "Hofer" was the unattractive title announced and, combined with "Black- eyed Susan" as it was, it met with favor. July 1st saw "The King and Deserter" re- 171 CHICAGO STAGE Rice's Chicago Theatre 1850 peated, but followed this time by "Michael the Maniac Lover". The next stars were Mr. and Mrs. Barney Williams. The lady was the former wife of that most popular comedian of his time, Charles Mestayer. She was the daugh- ter of Samuel Pray, who was killed when a curtain roller fell on him in New York. Her sister married W. J. Florence. Strange as it may seem, Barney did not so diligent- ly stick to the Irish parts he was identi- fied with, for on July 8th these stars offered "The French Spy", — of course to satisfy a woman's ambition, — but they fol- lowed it with their pet skit, "Our Gal". On July 11th the V/illiams duo went back to their line and gave "Teddy the Tyler" and "Irish Lion". They continued until July 15th, playing the same worn out Irish com- edies that were always popular. June 15th sav; three featured players: James E. Murdock, C. A. Logan, and Eliza Logan. They presented on the opening night "Romeo and Juliet" and "Simpson and Compa- ny", following up with "The Stranger" and "The Honeymoon" on the 17th. On the 19th "The Gamester" and "Chloroform" comprised the bill; and on the 20th, "The Robbers" and "Uncle Sam" . July £2d they presented "School for Scandal" with Mr. Logan as Sir Peter; Murdock as Charles Surface; Eliza Logan as Lady Teazle; and Cecelia Logan as Maria. Other characters by members of the stock company. After presenting various 172 CHICAGO STAGE Rice's Chicago Theatre 1850 other standard dramas, these stars con- cluded their stay in Chicago, closing their engagement with "The Hunchback" and "Kath- arine and Petruchio" . Mr. Rice decided to change the form of entertainment; for the first time he took an unfortunate gamble with Italian Opera, bringing to the city Eliza Brienti, Mr. Manvers and Signor Guibili. They, with the support of Helen Mathews and other members of the stock company, together with a cho- rus or ballet, gathered from among the lo- cal ambitious maidens, opened on July 29th in Bellini's opera "Sonnambula" , which had already been sung in both English and Italian in this country, first in English by Mrs. Wood in 1835 at New York, and in Italian in the same city in 1844. Of these featured artists, Mr. Manvers and Eliza Brienti had made their American stage appearance together on July 18, 1848, in the first performance of an opera en- titled "Black Domino". The lady was not well received on that occasion, but with Mr. Manvers it was quite different. He had been seen, heard and praised since he first appeared in Beethoven's "Fidelio" in New York City on September 9, 1840. The KNICK- ERBOCKER, a publication of importance at the time, said: "He astonished and delight- ed all who heard him, bursting upon us as he did in the third act, unheralded and without any particular expectation from the audience, he carried hearts and hands 17 3 CHICAGO STAGE Rice's Chicago Theatre 1850 with him at once. Mr. Manvers' voice is a tenor of exquisite beauty. It is rich, round and musical." But the writer does not stop there; he continues on in a laud- atory manner. November 22, 1849, he took his farewell benefit at the Astor Place Opera House. Setting out for Chicago in the following year, he was lost, of course, and did not appear in New York thereafter. Mr. Guibili must have been a son of the famous Guibili inasmuch as a Guibili was reported to have died in 1845. But, as he came to Chicago, that may have been the reason for the report of his death — pro- vided he was the Guibili mentioned. He had appeared in "La Sonnambula" with Manvers, at his own benefit, so there is reason to suspect him as being the same. The performance of "La Sonnambula" was received with scant applause, and slight patronage. In Chicago the opera was CAST Count Rudolpho Mr. Guibili Elvino Mr. Manvers Amini Eliza Brienti Teresa Helen Mathews Lisa Rosalie ?4errifield Alesso Thomas Archer The lack of interest shown this new de- parture was disappointing to Mr. Rice, but "hope springs eternal in the human breast" 174 CHICAGO STAGE Rice T s Chicago Theatre 1350 and he kept the same opera on for the next, and fatal nignt. Some interest had been awakened by the performance the previous night and the attendance was somewhat bet- ter. But the performance was never finished, for at approximately ten o'clock that night fire broke out about half way between Dear- born and State Streets and spread rapidly until it endangered the theatre and the audience was dismissed. They succeeded in getting outside in time to avoid any fatal- ities, except Mr. Rice's loss of his pro- perty. Mr. McVicker, who lived above a store in the block, dashed home to gather and save his belongings. V/hen that was ac- complished, he returned to assist in saving what he could of the theatre property which was now in the wake of the flames. In those days actors did not keep their wardrobe in the theatre but carried it, for each play, from their boarding house or hotel room as conditions required, so they suffered no loss from the conflagration. McVicker vaulted to the stage, and, stage- manager like, grabbed a wood wing and dart- ed for the exit. Outside, he found himself greatly handicapped by the breeze created by the fire, which made it difficult to get this awkward, top-heavy piece of scenery to a place 01 safety. Anyone who has tried to balance a sixteen foot wood wing in the wind knows what this actor had tackled and can guess the probable result. Well, tnat's just what happenca. The wind caught the wing, threw McVicker off his balance, and 175 CHICAGO STAGE Rice's Chicago Theatre 1850 down they went like Venus and Adonis, the wing "on nis belly, he on his back." As he lay there, resembling "Patience smiling at Grief," the flames reached the theatre and there was little tnat he or anyone else could dp. The lire finally devoured the playhouse and left Chicago without amuse- ments; Rice with a loss of Four Thousand Dollars with only Two Thousand Dollars in- surance; and all the actors out of a job. This was serious because in those days the theatre, especially in Chicago, operated only in the summer instead of the reverse as it was later. Mr. Rice purchased an 80 x 100 foot lot on Dearborn Street and commenced at once to lay plans for a new theatre. In the meantime he was preparing to take his com- pany to Milwaukee, but while the opening was being discussed, McVicker, Archer and some of the others arranged to take out a "commonwealth" show to the nearby towns, such as Aurora, St. Charles, Galena, etc. McVicker was to officiate as manager, and anyone who has attempted that knows what trouble he was letting himself in for. Right here, let it be said, was the first repertoire company taken on the road out of Chicago, the town that later became noted for the numerous shows of that sort that had their beginning, and made tneir headquarters here. And so we learn that James H. McVicker was the pioneer reper- toire manager of this Middle West. 176 CHICAGO STAGE Halls 1850 Rice, after getting construction of his new theatre under way, and McVicker, Archer and others returning from their common- wealth tour around the middle of August, journeyed to Milwaukee where the company remained until January, 1851.. Rice did not remain idle, but in the meantime secured an acting engagement in New York while his new theatre on Dearborn Street was being erected. Chicago now had no real place of amusement, but it wasn't long before this barrier was overcome. TREMONT HALL was located on the second floor of the New Tremont Hotel wnich stood en the southeast corner of Lake and Dear- born, replacing the old hotel bearing that name which had been on the Northwest corner of those streets, and which had burned. After the Rice Theatre on Randolph Street was destroyed by fire on July 30, 1350, the proprietors of the said hotel saw the possibility of reaping a harvest in theatricals, and began alterations of a hall on the second floor of the Tremont directly over the dining room, with the entrance at 91 Lake Street,— old number. The hall proved to be v/ell equipped for the purpose and provided opportunity for the entertainment of the public during that interim between the burning of Mr. Rice's first theatre on Randolph Street and the opening of his second on Dearborn Street. 177 CHICAGO STAGE Tremont Hall 1350 The opening of Tremont Hall occurred on November 12th; when a company from some- where presented "The Greek Slave" or "The Greek Captive" as that play was sometimes called. November 18th the Batemen children, Ellen and Kate, appeared, two young daugh- ters of Henry L. and Sidney Bateman. The latter was the daughter of Joseph Cowell, a well known English actor and artist who came to this country early in the 19th Century. Mr. Bateman was a man who couldn't be tied and he embarked in all sorts of theatricals, barnstorming and palace play- ing. The two children referred to became quite prominent, especially Kate. Ellen, the younger, retired from the stage after marrying the mayor of Lyons, France, in 1860, but her sister Kate carried on and, after "growing up", appeared successfully in various plays including "Evangeline", "Geraldine", and especially in "Leah the Forsaken" by Augustin Daly, in which she created the part of Leah. Under P. T. Bar- num she made a tour of Europe and made much theatrical headway until 1366, when she slipped her head into the matrimonial hal- ter and retired from the stage. Nothing else is recorded of the enter- tainment at the Tremont during the balance of tnis year, hence we must take it for granted that tnere was nothing of note. 178 PATTJ CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1851 CHAPTER VIII ■ ■ After considerable efiort, Mr. Rice managed to open his new place of amusement on February 3, 1851, with nearly the same company as before. As was the established custom at the time of such events, addresses were made by leading citizens. For this occasion, the address was written, according to the an- nouncement, "by a gentleman of Chicago and spoken by Mrs. Rice." The entertainment proper consisted of what was called a triple bill, which in- cluded "Love in Humble Life", written by no less important a person than John How- ard Payne, author of "Home Sweet Home", and presented for the first time in Chicago by the Rice stock company, then composed of Mr. and Mrs. Gilbert, Mr. Hale, James H. McYicker, Mr. and Mrs. Rice, Mr. and Mrs. Archer, George H. Ryer, and such others as were acquired from time to time. The regu- lar play was followed by "The Red Polka", performed by Mr. and Mrs. Gilbert. This was succeeded by "The Water Witch" and the bill concluded with the farce "Dumb Bell". 179 STAGE Rice's Chicago Theatre 1851 So it may be seen that with the various speeches exalting Mr. Rice lor his untiring efforts in providing amusement for the en- tertainment hungry public, there was plenty of show for one evening. Tuesday, February 4th, the stock com- pany presented "Victorine" or "Dream On It" by C . Z. Barnett. This was followed by "Simpson and Company" performed by Mr. and Mrs. Gilbert, and to conclude the evening 1 s entertainment the farce, "Sudden Thoughts", was given with McVicker playing Cabbage . February 5th the public was given the chance to see that already well advertised comedy, "The Serious Family", written by Morris Barnett, which Wm. E. Burton had just made such a big hit with in New York. When presented by Rice's company, it was CAST Amanadab Sleek Mr. McVicker Charles Torrens Mr. Philmbre Captain McGuire Mr. Ryer Frank Vincent Mr. Hale Lady Sourby Creamly Mr. Gilbert Mrs. Charles Torrens Mrs. Rice Mrs. Delmaine Mrs. Gilbert Emma Torrens Mrs. Archer McVicker was now playing the comedy part of Amanadab Sleek, a character that every ambitious comedian hoped to play sooner or later. "The Serious Family" was followed 180 CHICAGO STAGE Rice's Chicago Theatre 1851 by "Captain of the Watch", done by Mr. and Mrs. Rice. On February 7th, Rees & Thomp- son's "The Stranger" was the bill, Mr. Kale playing the principal part. The afterpiece on this occasion was "Lend Me Five Shill- ings" . February 8th "The Sleep Walker" by Elizabeth Craven, an old but standard play, was done, following it with "The Serious Family" again, but as the afterpiece. This bill was kept on for two nights. On Febru- ary ICth Rice offered "The Brigand" and "Simpson and Company"; and on the 11th "The Bold Dragoon" was the attraction. On the 12th, the company again reverted to "The Serious Family", and followed it with "The Captain of the Watch" performed by Mr. and Mrs. Rice. The company then changed its style of plays and presented Bulwer Lyt- ton's highly successful drama, "The Lady of Lyons". For comedy relief, "The Ghostof My Uncle" concluded the entertainment. On the 14th "The Serious Family" was again given, completing the evening's di- version with "The Widow's Victim". On Feb- ruary 15th the well known play, "The Jew- ess", was the attraction with the Gilberts, McVicker and Ryer in the principal parts. "The Jewess" was combined with "Charles VII", which skit was done by Mr. and Mrs. Rice. On February 17th James H. McVicker be- gan a starring engagement in "The People's 131 CHICAGO STAGE. Rice's Chicago Theatre 1351 Mr. McVicker Mr. Hann Mr. Warwick Mr . Meyers Mr. Ryer Mr. Buxton Mrs . McVicker Mrs . Rice Lawyer" or "Solon Shingle", a comedy by J. S. Jones. The concluding farce was "The Wool Dealer". In later years "The People's Lawyer" was often called "Solon Shingle" alter the leading Yankee character. When played on this occasion it was CAST Solon Shingle Robert Howard Charles Ctis Mr. Wins low John Ells ley Tripper Mrs. "'Otis Grace Otis February 18th this new star was seen in "Sam Patch in Fro nee", one oi the plays he had acquired from Dan Marble'.'; widow. It was followed by "Celestial Empire". On the 19th he gave "A Yankee in Time", the star playing Jacob Jewsharp; on the 20th "The People's Candidate"; and on the 21st "Family Ties" and "The Wool Dealer" made their appearance. February £2d McVicker took his benefit when "A Home in the West" was given, while for the afterpiece, a new farce by H. J. Conway was put on. It was called "Followed by Fortune" . Monday, February 84th, saw a new, tem- porary star in the person of a Mrs. Reig- CHICAGO STAGE Rice's Chicago Theatre 1851 Hold, who appeared in "Cinderella" or "The Fairy and the Little Glass Slipper" with Cinderella played by the new star; Prince Salerno by Mr. Harm; and the Fairy Queen by Mrs. Rice. "Cinderella" was kept on un- til "March 7th. Following it, on the 8th, "Rob Roy" was given another presentation, on which occasion Kate Reignold made her appearance. This young lady in later years became quite a featured player throughout the country. She married Henry Farreri, son of the great London comedian. New York theatrical records tell us she made her stage debut as Virginia to Edwin Forrest's Virginius, on April 17, 1855, which was about four years after her appearance in Chicago. Her actual debut being in Chica- go, of course didn't count. It may be noted that in spite of Mr. McVicKer's starring venture, he remained with Mr. Rice. March 10th "Othello" was done by the stock company with Mr. Harm as the Moor, Warwick as lago, and Mrs. Rice as Desdemona. The play was followed by the farce, "The Rendezvous" , in which McVic^t.r, Archer and Mrs. Rice appeared. On the 11th the very well known "Pizarro" and "Cousin Lambkin" were put on. March 12th "The Broken Sword" was the bill, fallowed by "Beauty and' the Beast" with Warwick as the Beast, Mrs. Reignold as the Beauty, and McVicKer as John Quill. The first play, "The Broken Sword", was given with the following cast: 183 CHICAGO STAGE Rice f s Chicago The atre 1851 CAST Colonel Rigolio Claudio Captain Zavlier Pablo Myrtello Rosaro Mr . Hann Mr. Meyers Mr. Archer Mr . McVicker Mrs. Rice Mrs. McVicker On the 14th tney gave "Therese" or "The Orphan of Geneva" and a repeat of "Beauty and the Beast". "Lady of the Lake" and "Black-eyed Susan" held the boards for the 15th. On the 17th, "Macbeth" and "The Ren- dezvous" was the attraction, and on the 18th, "The Stranger" and "How to Die for Love" . On the 19th Archer 1 s benefit was given with the presentation of "The Married Rake" and "Guy Manner ing" . On the 81st, "Forty Thieves" and "The Broken Sword" were seen. March 22d "Richard III" and "Forty Thieves" made up the night's entertainment. Here was a good combination,— one stole a crown and the others are still with us. March P4th "Lady of Me Five Shillings" were the 25th "William Tell" Susan" were the enter ta On the 26th, Mrs. McVic deserved benefit and pre ard" by V-'. H. Smith, fa rnanag e r . Mrs. M c V i c ke r Wilson, and Mr. McVicker Lyons" and "Lend presented; and % on and "Black- eyed ining combination. ker took her well sented "The Drunk- mous Boston stage was cast as Mary played the comedy 184 CHICAGO STAGE Rice's Chicago Theatre 1851 part of Bill Dowton. According to William Clapp, author of "History of the Boston Stage", the play in question was presented at the Boston Theatre in 1844, while Smith, the author, was the efficient stage mana- ger of that unprosperous theatre. Be that as it may, "The Drunkard" turned the tide from failure to success. In spite of the history of the play, it is and has been for some time, presented in various parts of the country for the purpose of burlesquing the drama of early days. In those places where it has been presented, most of the patrons have been drunk, and it is well, for while it might make "the unskillful laugh", it will surely make "the judicious grieve" . On the above occasion of its production in Chicago, it was well received as it also was when presented here later. The farce succeeding "The Drunkard" was the amus- ing "Family Ties". On March 27th Mrs. Rice appeared as Rachel in "The Jewess", that oft presented powerful drama; and on the 28th "Pizarro"and "The Spectre Bridegroom" were again in evidence. March 29th, "The Carpenter of Rouen" followed by "The Bea- con of Death" gave the audience a night of good entertainment. Mrs. Gilbert was given a benefit on the 31st with "Gilderoy" and "The Blue Devils" as the ofiering. April 1st showed Mr. McVicker in his favorite part of Amanadab Sleek in "The Serious Family". The 2d brought a repeat of 185 CHICAGO S T A G E Rice's Chicago Theatre 1851 that good union mechanic, ''Carpenter of Rouen 1 ', a play wherein we find the workmen casting lots to determine who'll be chosen to kill the oppressive boss. Thus giving a picture of Prance comparable to conditions there, then and now. For Mrs. Rice's benefit, which took place on April r 6d, she selected Bulwer's "Duchess de la Vaubalier" . On the 4th "The Sleep Walker" and "Ladies Beware" were put on, followed on the 5th by "The Iron Chest" and "Tom Cringle's Leg". April 7th, "The Maid and the Magpie" chattered until they were cut off by "The Jacobite" which fol- lowed for the afterpiece. April 9tn brought back a familiar face but under an unfamiliar name. This was the former Mrs. Hunt or Mrs, Moss op, but now Mrs. John Drew, wife of that great Irish comedian, John Drew, Sr., whom she had mar- ried in Albany, New York, in 1350, the year previous to her present return to Chicago. It has been mentioned bet ore that she was the mother of John Drew, Jr., Sidney and Georgiana Drew, and hence the grandmother of Lionel, Ethel and John Barrymore, the latter, at this writing, deceased. She had no children by her former marriages. On the present visit,, she brought with her the new spouse, John Drew. They opened in "The Love Chase", a good, substantial play and well suited to her talents, but nothing for an Irish comedian. But on the 136 CHICAGO STAGE Rice's Chicago Theatre 1851 following night, April 10th, she gave the man a chance, which was fair enough. Tne vehicles were: "Porn to Good Luck",— which needs no introduction, — "Cousin Cherry" and "The Irish Immigrant". On the-- 11th, "The Wife" and "The Irish Tutor" gave both a chance for the display of their talents. April 14th "The Hunchback" and "The Alarm- ing Sacrifice" were put on. On the 15tn, "Fazio" and "The Irish Ambassador" had a good reception; while "Agnes DeVere" and "A Delicate Question" drew fair patronage on the 16th. " April ISth "Satan in Paris" and "Betsy Baker" were given, iollowed on the 19th by "Lucretia Borgia" and "My Friend On the Strap". On the 21st, a repeat of "Lady of Lyons" and "Rough Diamonds". Qn the 22d, "Follies of the Night" and "The New Foot- man", concluding with our old street car acquaintance, "My Friend on the Strap", The 25d, "Faint Heart Ne'er Won Fair Lady" and a repeat of "Betsy Baker". April 24th Ann Marble, widow of Dan, took her benefit with a presentation by the stock company of Bulwer's comedy, "Money". For the after- piece, "A Wandering Minstrel" was put on. On account of sickness Mrs. Drew could not appear, but the company produced "Satan in Paris" and "A Thumping Legacy" on the 25th. Mr. Rice had been to New Yor:-s City cind elsewhere in search of new talent, and re- turned with Henry Sedley, a juvenile -lead- ing man, who created little sensation. On 187 CHICAGO STAGE Rice's Chicago Theatre 18ol the 26th iff The Robber's Wife" and "Does Your Mother Know You're Out?" was the combina- tion. The former was CAST Mark Redland. Mr. Philmore Briarly Mr. Hale Penfuddle Mr. Archer Larry O'C-ie Mr. MoVicker Sawney McFish Mr. Ryer Rose Redland Mrs. Rice . April 28th the audience saw a new face in support of -Mr . and Mrs. Crew. It was that of Henry Sedley, who made his first Chicago appearance en that date as Claude Melnotte in "The Lady of Lyons" to Mrs. Drew 1 s Pauline . There was also another newcomei in the form of Mrs. Bannister, a lady with a long standing reputation in parts, and many ap- pearances at the matrimonial altar. Under the name of Jones she had been a member of Samuel Drake's company when, in 1815 ^e left Albany, New York, on a pioneering the- atrical venture which led him to ma / a heretofore unvisited town, where the pro- fessional drama had not yet been seen. Later she was married to a Mr. Legge and, still later, to John Augustus Stone, the author of the play "Metamora" and other successful dramas. At the time she came to Chicago she was known as the wife of N. H. Bannister, playwright as well as actor, and 188 CHICAGO STAGE Rice's Chicago Theatre 1851 many other things connected with theatri- cals of his time. Whatever may nave been her shortcomings, she was a good reliable actress, which meant, ana still means a lot to a theatrical manager. Sht remained with Mr. Rice ior some time, but the Kenry Std- ley referred to was not long beiore the Chicago public, as we hear little of him from his first appearance on. However, he appeared as Romeo to Mrs. Drew's Juliet on April 29th. On the 50th, the patrons saw "The Wife" and a farce. After that date we do not hear of Mr. Sedley. Charles Dibdin Pitt opened May 1st in ''Hamlet" with Mrs. Drew as his Ophelia. During his engagement on this occasion he- gave "Merchant of Venice", "New Way to Pay Old Debts", "Macbeth" and "Othello". After each of those plays John Drew appeared in many short Irish dramas he was identified with. June 19th, Julia Dean presented "The Wife" and "The Alpine Maid" . The 20tn saw her and the company in "Lucretia Borgia", followed by the standard farce, "Rougn Diamonds". On the 21st she too> her benefit and finished her engag-ment. None of her offerings were new, but her popularity and the interest in the new theatre Kept busi- ness at a good average. Mr.' Rice now sought a little different style of entertainment and brought in the well Known Irisn comedian, John Collins. 189 CHICAGO A G E Rice's Chicago Theatre 1851 This Collins was born in Dublin, Ireland. He first appeared on trie stage in America on August 17, 1846. He was equal to any in those singing Irish characters that were so popular in this country during the time oi V. J. Scanlan and his successor, Chauncey Olcott. Collins returned to Chicago and appeared on June 25d in "Teddy the Tyler' 1 , one of Tyrone Power 1 s favorite plays. On the 24 tn Collins s seen in "3orn Good Luc a" and ''His Last Legs''. Following these he presented, on the 25th, sador" , thus "The Irish Ambas- CAST Patrice G'PIenopo Count Moredor Piper- Grand Duke Isabella Lady Emily Mr. Collins Mr . Archer Mr. Warwick Mr. Meyers Mrs. Frary Mrs. WcVicker "How to Pay the Rent" play and was thus w< the companion CAST Morgan Eat tier Killer Mrs. Conscious Mr. Collins Mr. Archer Mrs. Bannister June 87th Collins \ • "The Wrong Passen- ger" and "The He p\ and closed his 190 CHICAGO STAGE Rice's Chicago Theatre 1851 engagement on the 28th with three short plays: "Wife Hunters", "Teddy the Tyler" and "The Nervous Man" . June 30th saw a new face across the footlights in the appearance of Julia Tr urn- ball, whose initial presentation was John Howard Payne's "Charles II", with this CAST Charles Mr. Harm Rochester Mr. Warwick Edward Mr. Meyers Captain Copp Mr. Archer Mary Mrs . Frary Lady Cisla Mrs . McVicker Julia Trumball in the star role. As an alter piece "Lola Montez" was given. July bd Miss Trumball and the stock players gave "The Blue Devils" and followed it with "Jenny Lind in Chicago". To local- ize this little play, the title was changed from "Jenny Lind in America" as played in New York a year before by Barney Williams. The 4th, "The Spirit of the Fountain" and a repeat of "Lola Montez" were the offer- ings in conjunction with Mr. McVicxer in "The Wool Dealer". July 8th saw Miss Trumball and the stock actors in "William Tell". For the afterpiece "The Fairy Lake" was put on. The former play had the following 191 CHICAGO STAGE Mr. Harm Mr. Meyers Mr. Archer Mr. Warwick Mr. Buxton Mr. Rice Mrs . Bannister Miss Newcomb Rice's Chicago Theatre 1851 CAST William Tell Michael Melctal Gesler Stranger Braun Albert Ernma Agnes Mrs. Frary Anelii Julia Trumball July 9th "Massaniello" was the bill, followed on the 10th by what they called ''Edward III", which was a version of the often played "Hunchback". For the farce "The Dead Shot" was the answer. The 11th "The Witch Girl", played by Green, Warwick and Mrs. Frary; and it was followed by a scene from Borer's new tragedy, "Francesca di Rimini", done by Miss Trumball and Mr. Buxton, concluding the evening ' s entertain- ment with "Mr. and Mrs. White". Miss Trum- ball took her benefit on July 12th with the musical farce, "No Song, No Supper", inter- spersed with specialties furnished by var- ious members of the local players in the company. After Julia Trumball made her farewell bow to the Chicago public, Mr. Rice ex- panded his efforts and brought in, not one star, but three of them. The first ana most important was Ben DeBar. Mr. DeBar was born in England in 1814, of French ances- CHICAGO STAGE Rice's Chicago Theatre 1851 try. After making his stage debut in his native land he came to America and appeared first at New Orleans, La., in 1345 with Ludlow & Smith's company. He then went to New York City where he was a feature at the Chatham Street Theatre in that city, playing a wide range of parts . He made many tours through the United States as a stock star, and finally succeeded Ludlow & Smith in the ownership of the theatre at St. Louis when he bought the theatrical interest of John Bates there, and in New Orleans later wnen he bought out Ludlow % Smith. V/nile he was a good actor when he visited Chica- go, he possessed little drawing power as a star. The other two stars were Mile. Vallee, one of the four sisters bearing that name who made such a big hit in New York the year previous; and Mrs. Wilkinson, wife of the English actor, Charles Wilkinson. These were not really outstanding attractions. Even Ben DeBar had not yet established the reputation he later enjoyed, — primarily, however, as a manager rather than as an actor, although he had made considerable progress along histrionic lines. The opening play was the well known "Robert Macare", with DeBar in the name part. It was followed by "Jacques Strop", nothing more nor less than a sequel to the first one . The entertainment finished with "The Eton Boy". The foregoing was succeed- ed on July 16th by a dramatization of J. 108 CHICAGO STAGE Rice's Chicago Theatre 1851 Pennimore Cooper's "Wept of the WIshton Wist", thus CAST Narimattah Mile. Vallee Satisfaction Skunk Ben DeBar Conanctict Mr. Warwick Major Gough Mr. Buxton Capt. Heathcote Mr. Meyers Content Mr. Archer Faith Miss Newcomb Abundance Mrs. Wilkinson "Stage Struck Sailor" was the farce offered to send the audience out -laughing. July 17th saw another breath-taKing melodrama in "Nick of the Woods" by Louisa Medina, done on the above date with the following CAST Matthew Slaughter Mr. Hann Col. Bruce J. B. Rico Roland Forrester Mr. Warwick Abel Doe Mr. Buxton Ralph Stagpole Ben DeBar Tillie Doe Miss Newcomb Nell Bruce Mrs. Rice Phoebe Bruce Mrs. Archer Edith Forrester Mrs, Wilkinson The play was first produced in May, 1859, in New York. July gist, DeBar offered what he called 194 CHICAGO STAGE Rice's Chicago Theatre 1851 a new play, "Seven Escapes" or "The Bride's Journey" . This was one of the lew new plays presented in Chicago up to this time. It was thus CAST Patche Ben DeBar DeGaston Mr. Warwick Karl Mr. Buxton Nazolia Mr. Hann Adelaide of Desden Mrs. Wilkinson Nuivetta Mrs. Frary Caledonian Fling Mile. Vallee This play was well received, and the pa- trons showed their interest by giving a slightly better house than on the previous evenings. The ££d saw a repeat of "Wept of the Wishton Wist", but it was preceded by "A Kiss in the Dark" and followed by "The Island of Calypso". In this last named skit we find the name of Blanche DeBar, daughter of Ben. She afterwards became very well known. She became the wile of Junius Bru- tus Booth, Jr. July 83d "Illusion stock actors, and it w famous "Jack Sheppard" . first produced, in New ferred to it as "An ob that gained unfortunate later played many time gained as much approbat have. When producing listen to the so-called " was done by the as followed by the When this play w^s York, Ireland re- ,i e c t i onable d r a ma popularity." It was s in Chicago and it ion as similar plays theatrical managers critics instead of 195 CHICAGO STAGE Rice's Chicago Theatre 1851 feeling the pulse of the people, they soon find themselves at the end of their finan- cial tether. ''Jack Sheppard" was given on the above date with this CAST JacK Sheppard Jonathan Wild Owen Wood Sir Rowland Thomas Darrel Blue skin Quilt Arnold Lady Traford Mrs. Wood Winifred Wood Mrs . Wilkinson Mr. Hann Mr . Archer Mr. Warwick Mr . Meyers Mr. DeEar Mr . Buxton Miss Newcomb Mrs . Frary Mllf 5. Vallee July 24th "The Bride's Journey" was repeated; and following it came "The Two B'Hoys", one of those Mose pieces that Frank Chanfrau played. DeBar was trie Hec- tor; Buxton was jMagrius; WarwicK played Beachams; the other parts by the various members of the company. The 25tn saw two oi the big drawing dramas, "Jack Sheppard" and "NicK of the Woods". On the 26th Mile. Vallee took her ben- efit, when the popular "French Spy" was first given inChicago. The principal parts were assigned as here indicated: Mathilde de Marie, Mile. Vallee; Tommy, DeBar; Col. DeCoursey, Hann; and Sergeant, Archer. The play was followed by "A Glance at New York" as an afterpiece. 196 CHICAGO STAGE Rice's Chicago Theatre 1851 July 28th ushered in a new star. This was the already well known Eliza Logan, daughter of the actor, author and critic, Cornelius Logan, and sister of Olive and Cecelia Logan, the f omcJt author of many books and plays. Miss Logan opened her en- gagement in "Evadne",— she, of course, do- ing the name part, and tne others taking care of the indifferent characters as mem- bers of a stock company had so oiten done with that play on former occasions. For the afterpiece "The Sea" or "The Ocean Child" was put on. Mr. Rice seemed determined at about this period to give the Chicago public a dramatic treat that they could not ignore and announced a "Special Engagement" of that great actress, Charlotte Cushman "who would appear in "The Stranger" on July 29th." This outstanding artist brought the greatest dramatic event since 1848, when Edwin Forrest and the elder Booth were each seen at the Randolph Street Chicago Thea- tre. Mr. Rice, not wanting to give the public too much for their money, raised the price of admission to seventy - five cents, which was the only boost above fifty cents top with the exception of the time when Mr. Forrest appeared here. Charlotte Cushman was born of the old Puritan stock at Boston in 1814. Since she had an excellent voice she resolved, after she left school, to make her appearance as a public singer. After receiving thorough 197 CHICAGO STAGE Rice's Chicago Theatre 1851 instruction from the best in that line, she made her first public appearance in Boston in 1320. Later, at the Tremont Theatre in the same city, in 1835, James Meader, hus- band of Clara Fisher, brought her out as Almavivi in "The Marriage of Figaro". At New Orleans her health failed and she lost her voice by trying to force it up to so- prano. She then turned her attention to the drama and in that line became one of the greatest actresses that ever graced the American or English stage. She was rather masculine, and devoted, her attention to playing male parts, at which she was emi- nently successful. In 1851 she announced a farewell American tour, and that is when she was brought to Chicago by Mr. Rice. She may be mentioned later in connection with other appearances in Chicago. The play selected by Miss Cushman for her introduction to Chicago Theatre patrons had been done so many times here that the theatre going public should have known it by heart. But the part ior the star was a splendid one. She was well received and the attendance was good, as might well be expected, for Chicagoans are and have al- ways been allergic to big names, and Char- lotte Cushman was one of the biggest in those days. On July 20th and 21st, Miss Cushman presented "Guy Manner ing TT and the response to her Meg Merrilies was astonishing. It had this 198 CHICAGO STAGE Rice's Chicago Theatre 1851 CAST Meg Merrilies Miss Cushman Dandy Dinmont Mr . Hann Coi. Marine ring Mr. Meyers Henry Bertram Mr. Warwick Golerial Mr. Archer Julia Mrs. Frary Lacy Miss Newcomb The play was followed by and Mrs. V/hi t e " , in wh i c h the company appeared. the farce, "Mr. other members of On August Is the greatest dra offered in Chic outstanding star Eliza Logan, pre with the former Juliet by Miss L strength equal t t came what was perhaps ma tic treat that had been ago up to that date, two s, Charlotte Cushman and senting "Romeo and Juliet" played by Miss Cushman and og an, a dramatic actress of o Miss Cushman 1 s. Charlotte Cushman took her benefit on August 2d, and appeared as Lady Macbeth with Mr. Hann playing Macbeth in tne play of that name. "Animal Magnetism" was given for the afterpiece. August 4th saw Eliza Logan as the star appearing in the ever popular "Lady of Ly- ons". On the 5th, James Sheridan Knowles" successful play, "Love" or "The Countess and the Serf" was presented in which Miss Logan and the stock players were thus 199 CHICAGO STAGE Eli: sa Logan Mr. Harm Mr. Meyers Mr. Warwick Mr. Stone Mr. Burgess Miss Newcomb Mrs . Frary Rice's Chicago Theatre 1851 CAST Countess Huon Ulric Sir Rupert Frederic Nicholas Empress Catherine Christina Mrs. Archer For the afterpiece, "Uncle Sam'* fulfilled the requirement. August 7th, the familiar ''Love's Sacrifice" and. "Family Jars" pro- vided the evening f s pleasure. On the 8th, "Lucretia Borgia" and "The French Spy" held down the boards. The 9th, "Pizarro" and "The Jealous Wife" finished the week. It also concluded the visit of Eliza Logan which had been a satisfactory visitation. August 11th brought the welcome return of James E. Murdock, who opened in "Hamlet" supported by the stock company and by Mrs. Wilkinson. On the lPth, "Honeymoon" and "My Aunt" was the bill; August 13th, "The Robbers" and "Black-eyed Susan" with Mrs. Wilkinson as Susan; the 14th, "The Stran- ger" and a farce; and the 15th, "Money" and "Rough Diamonds" . August 18th "The Robbers" was repeated with "The Blue Devils" as the companion piece. On the 20th they presented "Calay- nos" and "The Windmill" . On the £5d Murdock 200 CHICAGO STAGE Rice's Chicago Theatre 1851 closed his engagement "Money" and "My Aunt" . with a repeat of On the 25th Mrs. Wilkinson took her benefit, at which time "The French Spy" and "Helen Lovett 1 ' was the offering. With these two plays Mrs. Wilkinson closed her Chicago engagement. Following her and open- ing on August 27th, came Julia Bennett re- ceiving her introduction to the Chicago audience in James Sheridan Knowles 1 " The Love Chase" iollowed by "The Bath Road". The former was thus :ast Sir W. Fondlove Waller Wildrake True worth Widow Greene Constance Lydia Alice Mr . Hann Mr . Warwick Mr. Meyers Mr. Buxton Mrs . Bannister Jul: La Bennett Mrs . F rary Mrs . Rice This successful drama had been first pre- sented to an American audience in New York on January 22, 1837, with great success, and it continued a favorite drama i or many years . Following this, on the 28th, was a pre- sentation of Goldsmith's "She Stoops to Conquer" with Miss Bennett, of course, in the star part; the other principal charac- ters thus 201 CHICAGO STAGE Rice's Chicago Theatre 1851 CAST Mrs. Hardcastle Miss Neville Young Mar low Old Hardcastle Tony Lumpkin Hastings Miss Bennett Miss Kinloch Mr . Harm Mr. Rice Mr. Buxton Mr. Meyers with other members filling in the balance of the cast. For the farce, T, The Spectre Bridegroom" was played with Buxton, War- wick and Miss Georgia Kinloch playing the leading parts. The Georgia Kinloch herein referred to was a half sister of Mrs. John Drew previously mentioned under her many different names. August 29th "The Ladies Battle" and "A Roland for an Oliver" was the attraction; and on the 30th, "All That Glitters Is Not Gold" or "The factory Girl" as it was some- times called was given. It was cast, in part, as follows: CAST Martha Gibbs Stephen Plumb Toby Twinkle Joseph Plumb Valeria Miss Bennett Mr . Harm Mr . Buxton Mr. Rice Miss Kinloch This was one of the successful plays by J. M. Morton. It came out in New York with Barton Hill in the cast. It continued to 202 CHICAGO STAGE Rice ! s Chicago Theatre 1851 be one of the best pieces of stage property ever introduced to the American public. It was, however, followed by a still greater success, "London Assurance", written by the great dramatist, actor and stage man- ager, Dion Boucicault. It was his first play, written when he' was only nineteen years old and brought out in London during 1838. The comedy was credited then, not to the real author, but to Lee Mor'eton In Chi- cago it was CAST Lady Gay Spanker Grace Harkaway Pert Sir Charles Courtly Dazzle Meddle Max Harkaway Cool Sir Harcourt Courtly Dolly Spanker Miss Bennett Miss Kinloch Mrs. Frary Mr. Warwick Mr . Hann Mr. Buxton Mr. Rice Mr. Stone Mr. Archer Mr. Ryer This was the occasion of Miss Bennett's benefit, after which she took her depart- ure. September 2d saw the return of Mrs. Coleman Pope, who opened as Widow Cheerly in "The Soldier's Daughter", which was fol- lowed by "Charles XII". The 3d saw a re- peat of "The Duchess de la Valliere" with "The Brigands" for the afterpiece. On the 4th, "Dream of the Sea" by J.B. 203 CHICAGO STAGE Rice's Chicago Theatre 1851 Bucks tone, a play new to Chicago, was pre- sented with this CAST Lawrence Lynwood Tfevanion Alley Crocker Tom Tinkle Black Ralph Anne Trevanion Margaret Biddy Nutts Mr. Hann Mr. Warwick Mr. Buxton Mr. Meyers Mr. Rice Mrs. Pope Mrs. Frary Mrs. Bannister September 6th ushered in a new name and face, that of McKean Buchanan, He was a good standard actor with some claim to stardom. He chose for the auspicious open- ing one of the most difficult roles in the annals of dramatic literature, and one of the best, Sir Giles Overreach, in Mes - singer's "New Way to Pay Old Debts". While this was written in the 17th Century, the title today has a powerful meaning and many would be glad to know the answer. The play had been seen here before and has been done many times since as every ambitious actor has aspired to the perfection of a portray- al of the difficult part of Sir Giles. The familiar "Othello" was McKean Bu- chanan's selection for September 8th, and it was followed by the farce "Box and Cox". On the 9th, "The Apostate" and "A Tippe- rary Legacy" was the offering. On the 11th "King Lear" was first presented in Chicago 204 CHICAGO STAGE Rice's Chicago Theatre 1851 with this CAST Lear Edgar Edmund Earl of Kent Cordelia Regan Goneril Mr. 3uchanan Mr . Harm Mr. Warwick Mr. Rice Mrs. Pope Miss Kinloch Mrs. Bannister The 12th, Buchanan did a good Shylock in "The Merchant of Venice". September 15th, "The Iron Chest" and "The Stranger" occu- pied the stage, and on the 14th Buchanan took his customary benefit with "Hamlet". Thus the star concluded his engagement. While here, he had the good fortune to get more space than any previous visiting ac- tor in the press. On September 16th Mr. Hann took his benefit with a rather full bill consisting of "Wreck Ashore" together with Beaumont Fletcher's "Elder Brother" with the usual alterations; as an afterpiece "The Wander- ing Minstrel" was put on; and the conclud- ing sketch was "Don Juan". September 18th, "Wreck Ashore" was repeated, with the af- terpiece "Bluebeard" to occupy the patron's attention. On the 19th, "Dream of the Sea" and "Bluebeard" were presented. "The Elder Brother" was repeated on the 22d in con- junction with "The Lady of the Lake". Thursday, September 25th, Susan and CHICAGO STAGE Rice's Chicago Theatre 1351 Kate Denin with John Winans opened in "The Wife" and for the afterpiece "The Wandering Boys" was given. September 26th, "Love's Sacrifice" was done. Juliet" and "Joe in stage. And the 30th, followed by "The Young amusement. The 29th, "Romeo and London" occupied the the familiar "Fazio" Scamp" furnished the On October 1st Susan Denin took her customary benefit, presenting for the oc- casion "Lady of Lyons" and "The Honeymoon". On the 2d "Matteo Falerno" was iollowed by "Little Devil" with this CAST Curio, the Devil Don Cadael Fra. Antonio Ferdinand Casilda Queen Susan Denin Mr . Harm Mr . Parker Mr. V/arwick Kate Denin Georgia Xinloch October 6th the combination was "Ambition", "Wandering Boys" and "Young Scamp" again. On October 8th the Denin sisters and John Winans concluded their engagement with a combination of "Pirate of the Isle" and "Rob Roy" . On October 10th Ben DeBar opened an en- gagement with "Nick of the V/oods" and an afterpiece. The 11th three plays were put on: "Spirit of the Fountain", "Robert Mac- aire" and "Jack Shepparc". October 13th ::06 CHICAGO STAGE Rice's Chicago Theatre 1851 saw "All that Glitters Is Not Gold", and "Slasher and Crasher" with DeBar as Slash- er. The entertainment concluded with "Red Rover" . October 14th, "The Two B T Hoys" with DeBar as Mose, and "Wept of the Wishton Wist" were the attractions . The 15th, "The Bohemian Gypsy Girl" with Mile. Vallee in the title role, supported by Warwick, Harm and others, was given. "Fall of Algiers" and "Tom and Jerry" filled out the bill. DeBar and Mile. Vallee continued until the 20th of October, presenting nothing new. On the 23d they gave "School for Scandal" and "The Robber's Wife", which closed the engagement of these two stars. Julia Bennett appeared on October 25th in the part of Julia in "Much Ado About Nothing", with Hann as Benedict; Warwick as Claudio; Buxton as Doggery; and Georgia Kinloch as Hero. This was followed by a farce. On the 27th "The Rivals" and "Loan of a Lover" were put on. "The Wonder" and "Tom Cringle's Leg" held the patrons' at- tention on the 29th. Miss Bennett's bene- fit took place on the 30th, at wnich time- she offered "The Belle's Strategem", "Per- fection" and "The Bath Road", the latter CAST Bambleton Mr. Warwick Tom Mr. Buxton Ellen Mrs. Frary 207 CHICAGO STAGE Rice's Chicago Theatre - Halls 1851 October 31st, "The HouseKeeper" and "All That Glitters Is Not Gold" was the offer- ing. On November 1st "Time Tries All" and "Black-eyed Susan" were presented. Julia Bennett continued repeating her plays until she finished on November 4th. Thereafter, the stock company proceeded by themselves, presenting only the plays that had been offered before. On November 20th they presented "The Stranger" and "Black-eyed Susan", and Mr. Rice announced the last week but one of the season. November 21st, C. H. V/ilson took a benefit with a presentation of "The Mistle- toe Bough" and "Trials ol Poverty". Percy Marshall, the treasurer, took a benefit on November 22d, when the stocK offered "Don Caesar de Bazan" . "The Husband of Her Heart" was offered on the 24th for Mrs. Pope's benefit. The Bailey Troupe of Juvenile Dancers was brought in and combined with the stock company, which offered "The Lady of Lyons" for the steenth time. Bill Taylor claimed a benefit and get it on November 28th with "Rent Day" and "His Last Legs". November 29th was the last night of the season and at this time the company gave a presenta- tion of "The Heir-at-Law". TREMONT HALL.- This place of amusement cut into the receipts of Mr. Rice's the- atre, for, although it was only occasional- ly that an attraction of any importance 208 CHICAGO STAGE Tremont Hall 1351 was booked, nevertheless whatever another takes from a theatrical manager does just that much financial damage. Mr. Rice had brought in a great many so-called stars, but they were not the really big ones. It was anything but pleasant for Rice to see the name of such features as Anna Bishop, who appeared at this hall on August 18th. April 9th, 10th, 11th and 12th, West & Peel's celebrated operatic troupe and the well known Campbell's Minstrels appeared there. And on April 17th the Kratz concert was offered the public. ' September 12th, Raymond Malone & Fam- ily appeared in an entertainment called "An Hour in Ireland" . October 24th, a Grand Concert by Fanny, Emily and Louisa Raymond was well received. Wednesday, October 29th, the Signorina Teresa Parodi announced the appearance of Amelia Patti, direct from the Astor Place Opera House where, on December 1, 1850, she made her American stage debut as Agnise in Bellini's opera "Beatrice di Tenda" . She remained in the company at that popular home of opera, 'until the following April, when the artistic temperament of the opera singers became too much for an equally temperamental manager to stand and, conse- quently, that Opera House closed its doors . Thereafter, Mile. Patti was taken on tour by the above mentioned singing impresario, 209 CHICAGO STAGE City Hall 1851 whose reputation as a singer was even su- perior to that of her attraction. At the piano on this occasion was Maurice Stra- kosch' who, later, directed the tour of S ig no r i na p a r odi . Amelia P a 1 1 ;i. f s eng ag e - ment in the Tremont Hall was evidently a success for she appeared again on November 6th and 7th. November 19th the Blake ly Musical Fam- ily appeared in this hall. CITY HALL.- After the opening of the Tremont, the City Hall lost some oi the popularity it had previously enjoyed, but attractions were housed there from time to time, not in the numbers or the quality that had been seen and heard before, how- ever. On February 19th and again on the 26th the Promenade Concert was presented in this Hall. April 3d the Chicago Relief Society gave a concert. And on April 4th and 5th, Davis, the Ventriloquist, gave an enter- tainment . September 19th Professor Dyehanfourth gave a concert. This person was the most inveterate concert impresario to be found in and around the city. September 2cd saw more concert personalities giving what they called a Musicale. And during October a largf-. picture called ' ! Adam and Eve" was on exhibition at this hall. no CHICAGO STAGE Circuses 1851 CIRCUSES.— May 29th, 50th and 31st, E. F. and J. Mabie's U. S.. Circus visited Chicago. This circus featured the King of Clowns, Alex Rockwell; Mile. Rosa, daring bareback rider; and Henry Buckley, eques- trian. October 6th, 7th and 3th, Rockwell ' s Circus gave three satisfactory perform- ances. F.C. Chambers was the agent, and C. E. Goll the manager. BILL POSTING.— This industry became highly important to circuses and, in fact, all branches of "snow business", but the first we learn of its operation in Chicago is through the following advertisement in the Chicago Daily Journal of October , 1851, which reads: "BILL POSTING — BILL POSTING" "The undersigned announces to the cit- izens of Chicago and all shows visiting this place, that he is prepared to post and distribute bills and circulars. Having had two years in the business, he flatters himself that his work will meet with approbation. Orders left at 50 State Street - upstairs - opposite the City Hall — will meet prompt at- tention. S. A. Lotridge" Thus we have the first known name of a k Chicago Billposter. The importance of this industry will be noted later in our records. 211 THOMAS MAGUIRE CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1852 - 1854 CHAPTER DC The opening of the 1852 season of Rice' s Chicago Theatre took place earlier than had ever occurred before, starting as it did on January 10th. Mr. Rice had in the company this year many of the players who had been with him when he closed his pre- vious season in November, 1851. Mr. Harm was the stage manager this season and played most of the heavier leads, while Mr. Warwick took care of the lighter ones. Mrs. Rice and Mrs. Coleman Pope ?*ere the leading ladies, alternating from time to time. Others who helped to make up the cast of the various plays were: Mr. Buxton, Mr. Meyers, Mr. Rice, Mrs. Bannister and Mrs. Frary. There- was no "star" attraction until March when Mr. McVicker, who nad gained that status, appeared on the 10th of that month. Mr. Harm was born in England and came to America in 1850. He was a splendid actor and qualified as such wherever he was seen. When he came to Chicago, he had just fin- ished an engagement in Milwaukee, Wiscon- sin. In 1357 he went, like many others to 212 CHICAGO ST Rice f s Chicago Theatre 1852 San Francisco, California, but came back in IS 58. For the opening play, tne often played, drama, "Pizarro ,r was chosen, with Mr. Hann as itollo, Mrs. Pope as Elvira, and Mrs. Rice as Cora. It was followed by "The Bronze Horse" for the afterpiece, with Warwick in the principal part. The opening, was net as successful as the manager had hoped, — it never is. Monday, the 12th, "The Foundling of the Forest" and "Hungarian Freedom" were given. The 13th, ^]2on Caesar de Bazan" was the play, with Mr. Hann and Mrs. Pope ap- pearing as the leading characters. On the 14th a new drama "Michael Earle" or "The Maniac Lover", was first seen here, Hann appearing as Michael. January 15th, "The Elder Brother", "Fox and Geese" and "The Idiot Witness" made a full evening's enter- tainment. On the 16th, "Fazio" with Mrs. Rice as Bianca and Mrs. Pope as Maritana, was followed by a repeat of "Don Caesar" . January 19th, Knowles" play "The Love Chase" was given, and on the 20th anotner Knowles popular drama, "The Wife" was again seen. The 21st, "Jane Shore" was the at- traction, and the 22d, Bulwer's everlast- ing drama, "The Lady of Lyons", was fol- lowed by the well advertised "Mazeppa " . This wild steed drama was held on for tv/o weeks, but was done in connection with a different play each night during that time: the 25d, "Rob Roy"; the 24th, "Timour the Tartar"; 26th, "The Carpenter of Rouen", 215 CHICAGO STAGE Rice Chicago Theatre 1852 which had been played every year since I sherwood & McKinzie's first visit to Chi- cago in 1337. On the 27 th, "The Merchant of Venice" with Hann as Shyloc/t and Mrs. Pope as Portia; the 28th, "Damon and Pyth- ias", Hann playing Damon and Warwick in tne part of Pythias. The 29th saw "The Stran- ger", who was really no stranger to the patrons as his familiar face and figure had often been seen by them. On the 30th, "William Tell" was tne offering. We have not mentioned it on each date but "Mazeppa" was presented on every occasion since lirst offered. February 4th, a repeat of "A Serious Family" and Bannister's "Putnam, the Iron Man" made up the bill, with Hann as Oneac- tah, Mrs. Pope as Narag-ntag, Meyers as Israel Putnam and Mrs. Rice as Clara. On the 7th "Putnam" was repeated, followed by "Grimshaw, Bagshaw and Bradshaw", in which farce Mr. Buxton and Mrs. Prary sustained the principal parts. February 10th, "RooK:- wood", "Swiss Cottage" and "The Young Wid- ow" furnished the patrons entertainment. February 12th, W. M. Ileming came in and appeared in "Luke the Laborer", which was followed by "Cnicago Firemen". On tne 16th, "A Serious family" was combined with "Lochinvar"; the 17th, "Sweethearts and Wives"; on the 18th, "Rookwood" and "The Alpine Maid" were given; and the 19th, "Rob Roy" and "The Flying Dutchman" were on the boards. February 20 th "Castle Spectre" and 214 C H I C A G S T A C E Rice's Chicago Theatre 1852 ''Flying Dutchman" were on view and on the 21st, "Raymond and Agnes" and "The forty Thieves" were in evidence. February 23d was the date oi Mr. Harm's benefit and Lord Byron's "Werner" was giv- en. On the 24th "The R\,ir-at-Law" , and for the aiterpiece, "Chery and Fairs tar." again showed up. The 25th, "Brutus" or "The Fall of Tarquin" was the feature play, followed by "friends and Straps" as the afterpiece. Meyers toox his benefit on February 26th and presented "The Patrician's Daughter". "Chery and Fairstar" and "Leap Year" sup- plied the amusement on the 28th. On March 1st Mrs. Frary took a well deserved benefit . She had made many friends since she had been with tne company. On this occasion she selected "Fashion", Anna Cora Mowatt's successful play. It had this CAST Ada Trueman Mr. Hann Count de Jolimaitre Mr. Warwick Col. Howard Mr. Meyers Tiffany Mr. Rice Twinkle Mr . Buxton Snobs on Mr. Wright Zeke Mr. Double Mrs. Tiffany Mrs. Bannister Seraphine Mrs. Frary Gertrude Mrs. Pope- Prudence Mrs. Rice Millnette Miss Jones 215 CHICAGO ST i\ G E Rice's Chicago Theatre 185; The history of this play is well known and it was often produced in later years. It was fairly well received in Chicago not- withstanding that the society of this fron- tier town had not assumed the proportions it reached in later days. \'aen tnis play of Mrs. Mowatt' s was first produced in New York, it enjoyed a huge success and had a run of over twenty nights j then considered an event. Mrs. Mowatt had not yet made her appearance upon any stage , but that event took place about two months later, on June 12th, when she appeared as Pauline to W.H. Crisp's Claude in ''The Lady of Lyons''. This charming woman was the daughter of Samuel Ogden, and the great-granddaugh- ter of Francis Lev/is who signed the Decla- ration of Independence. She was born in Bordeaux, France, in 1820. Mtv^rx she was only fifteen years old, she married James Mowatt, a man of social and financial im - portance at that time, but not so important later, financially . Her husband' s bankrupt- cy prompted her to adopt the stage as a means of livelihood. She left the profes- sion for a time to care for her husband, who died in 1950, after which she readopted the stage and toured the country with E.L. Davenport for i\- On the 24th "Ingomar the Barbarian" was first produced in Chicago. This great play was written by ?4aria Lovell and was first produced in this country at New York, De- cember 1, 1351. It was a great success for many years and deserved to be. It was pre- sented at the Rice Theatre on the above date with the following CHICAGO STAGE Rice's Chicago Theatre 1852 CAST I rig o mar Polydore Myron Timarch Master Ambivar Parthenia Actea Mr. Hann Mr. Rice Mr. Buxton Mr. Meyers Mr. Warwick Mr. Wright Mrs. Warner Mrs. Pope "A Winter T s Tale" was repeated for the 25th, ana for the afterpiece "The Dumbbell" was put on. "Henry VIII" was again produced on the 26th, and "The Stranger" was offered for Mrs. Warner. 1 s ■ last performance on the 27 th. May 51st again, suppor comer, Harry best light co it not been would have be He never rema spite his gre career was to San Francisco caused bv dri brought Julia Dean t'o Rice's ted by Edwin Dean and a new- Perry, the latter one of the medians in America, and, » had for his damaging habits, he en heard of more than he - was. ined in any one place long de- at ability. And his promising o soon ended when ne died in in 1664, said to have been nk. Miss Dean opened her engagement in her favorite drama, "The Hunchback", and fol- lowed it with "Cramond Brig" as the after- piece. In the latter Mr. and Mrs. McMillan appeared. This couple had just joined Mr. Rice's forces, and were seen later in im- 224 CHICAGO STAGE Rice's Chicago Theatre 1852 portant parts in the various productions. Another new member was Joseph G. Hanley, whose first public stage appearance was made at the Astor Place Opera House, New York, in 1350, when he played the part of Virginius at a benefit performance. After this he joined Col. Purdy's forces at the Chatham Theatre in New York City, and later we find him at Albany, New YorK, just be- fore joining the Rice Stock Company. Rice made Hanley stage manager, a po- sition he ably filled, not only in this city but at Providence, R.I. During that visit he married a sister of Joe Pentland. After leaving Providence he went to the Boston Theatre, where in 1856-57 he offi- ciated as stage manager as well as actor. He was a splendid performer in a variety of characters. He died at Williamsburg, New York, March 9, 1869, leaving a widow and three children. June 16th, Julia Dean and Harry Perry were seen in T 'A Night in the Bastile" with Mr. Perry cast as Richelieu, Mr. Hanley as D'Aubigny, Miss Dean as Gabrille and Mrs. Pope as Madam DePipe. It was followed by "The Windmill". On the 17th, "Ingomar" was repeated with Perry as the wild barbarian and Miss Dean as the taming Parthenia. When Miss Dean and Harry Perry had con- cluded their engagement, Mr. Rice brought in two new faces for tne stellar roles. These were Mr. and Mrs. George Jordan, the 225 CHICAGO STAGE Pice's Chicago Theatre 1852 former known as "Handsome" George. While nothing great as an actor, he made consid- erable progress because of his appearance. The female gender of this pair was the most talented of the two. She was the former Anna Walters and made her first appearance on the American stage March 24, 1848. Both were born abroad. Her husband, "Handsome George", appeared two days later. While they were favorably received in Chicago, their stay was limited. This duo began here on June 22d, seen on that date in "The Hunchback", Mrs. Jordan as Julia, and "Handsome George" as Master Walter. Following this, "Lucretia Borgia" was put on June 25th, with "Cramond Brig" as the farce. In the latter, Ann Marble appeared, her first appearance in Chicago after the death of her husband, Dan Marble. The 29th saw "The Stranger" again, and the Jordans concluded their stay at the Chicago Theatre with the familiar "Evadne" . July 1st was announced as the final night of Mrs. Jordan's appearance at which time she presented the ever recurring play "Evadne" . During the Eighteen Forties there was a very successful team Known as Coney and Blanchard. Only a part of this team appeared in Chicago. The team carried two wonderful performing dogs, Yankee and Bruin. They o- pened on July 7th in "The Cattle Stealers" and an afterpiece, "Orang-outang" to a very 226 CHICAGO STAGE Rice's Chicago Theatre 1852 satisfying house. The 8th "The Butcher's Dog of Ghent 11 and "Three Thieves" or "The Monkey of Frankfort" were seen. On the 10th "Twin Brothers" and "Conjurer, Showman and Monkey". Mr. Hanley and Mrs. Pope played a sketch called "The Woman" and Joseph Park- er rendered a comic song. Monkeys, dogs, plays and such provided spicy entertain- ment. July 11th, Coney and his dogs re- peated "The Cattle Stealers",,— the stock players giving necessary assistance. Ben DeBar and Mile. Vallee began an engagement July 24th, opening in "French Spy", "Toodles", and "Jack Sheppard" . On the 26th "Peter Wilkins" was the offering, and it continued until the 31st when, for Mile. Vallee 1 s benefit, "Disowned", "Esmer- alda" and "Mose" were put on. After DeBar and Mile. Vallee had taken their leave the stock company fell back on the old favorite "Pizarro" and concluded with "A Duel in the Dark" . From August 2d to 8th the company continued, repeating their plays. August 9th Julia Bennett came and was seen in "The School for Scandal". This star continued playing the same old plays that had been done before until August 16th, when she produced for her benefit "Twelfth Night", proving herself a satisfactory Vi- ola. She kept that play on for some time. August 20th sav her in "The fair One With the Golden Locks", she doing the lead with Meyers as the King. After the retirement of Miss Bennett, Mrs. Pope took her benefit 227 CHICAGO STAGE Rice's Chicago Theatre 1852 on August 24th and appeared in "The Belle's Stratagem" and "The Four Sisters". Wednesday, August 25th, C. W. Couldack appeared as the next featured player and presented "Richard III" and ior the after- piece "The tour Sisters" was again ofiered. Mr. Couldack made only a one night stand appearance but he was well received. He was better suited to the character of Rich- ard than to that of Hamlet or Claude Mel- notte as he was somewhat bow-legged, though otherwise of good appearance. August 26th saw "Othello" with Hanley as Othello and McMillan as Iago. It was fol- lowed by the popular farce, "My Neighbor's Wife". On August 27th "Ambrose Gwynctte" by Douglas Jerrold, and "The Flying Dutch- man" by William Dunlap, were the attrac- tions. Monday, August 28th, "Mind Your Own Business" and "Maid and the Magpie" were the oiierings. Tuesday, August 31st, brought the re- turn of McVicker as a star, appearing as Isaiah Shattuck in "The People's Candidate" followed by "Highways and Byways". The star was happily received. On September 2d the plays were "Family Ties" and "Your Life's in Danger", with McVicker still present. Mrs. McVicker also appeared in the cast. September 7th, "Black-eyed Susan" with Mr. McVicker as Knathbrain and Mrs. McVicker as Susan, Hanley doing William. "Home in the West", "All the World's a Stage" and 228 CHICAGO STAGE Rice's Chicago Theatre 1852 "Mose in California" were the attractions on the 8th. Mr. McVicker closed his engagement on September 9th, and Mr. and Mrs. Ryner and Harry Perry opened on the 11th in "Pizarro" followed by "The Ocean Child". Mrs. Ryner played the principal female roles while here. September 18th, Mr. Perry and Mrs. Ryner appeared in the two leading parts in "Ingomar" . On the 21st Mr. Perry took his benefit and, having a peculiar sense of humor, put on Bulwer's "Money". September 22d, "The Last Man" and "The Honeymoon" were again seen. Mr. Perry's engagement was extended and he appeared on the 24th in "The Stranger" and "Tom Cringle's Leg". Perry repeated some previously done plays and closed his engagement. He was followed by the return of Julia Dean, supported again by Edwin Dean. These people opened October 1st in the very familiar "Wrecker's Daughter" and "The Honeymoon". October 5d, "Evadne" and "Bride of Lammermoor" were the offerings. October 5th brought a revival of "The Idiot Witness", a play which had been put on a- bout every year since McKinzie played it at the Saganaush Hotel in 1837. In addition to the regular attraction, Herr Cline, — billed as "the greatest dancer in the world", appeared. The night's entertain- ment ended with "A Day After the Wedding" played by Mr. and Mrs. Ryner. October 7th, "Naval Engagement", "Dumb Girl of Genoa" 229 CHICAGO STAGE Rice T s Chicago Theatre 1852 and "The Loan of a Lover" comprised the a- musement, with Herr Cline still the big feature . Mr. and Miss Dean having taken their departure, the stock company was seen the 3th in "Warlock of the Glen" and two short plays, with Herr Cline still the feature. Then Miss Dean reappeared to take her well earned benefit, and selected "Ingomar" for the occasion, which was on October 13th. Herr Cline had made such a hit he was re- engaged. October 27th, A. J. Neafie appeared as the next feature and gave "The Corsican Brothers", the first time it had been seen here. A. J. Neafie could not be counted a star as his reputation was not sufficient to justify a claim to a place in that cat- egory. Yet, he was one of the best actors in the country. At his first appearance in New YorK City in 1838, he made a distinct hit as Othello and, had he not been stung by the starring bug, he would have built up a reputation that would have been of great value to him. "The Corsican Brothers" by Dion Bouci- cault, tht- play in which he opened in Chi- cago, had been produced for the first time in America in April of that year, hence it was brand new to the patrons in this city. The play was a tremendous hit in Chicago. As played by Neafie at this time it had the following 230 CHICAGO STAGE Rice's Chicago Theatre 1852 A.J . Neafie Mr. Kyner Mr. McMillan Mr. Hanley Mr. Meyers Mrs . Ryner Mrs . Hanley CAST Fabian de Franchi} Twin Louis de Franchi ) brothers C ha t e a ur ena ud Baron Mountgiron Alfred Meynard Orlando Madam de Franchi Emilie de Lespare When Mr. Neafie closed his engagement Mr. Collins returned and offered a reper- toire of the Irish comedies he had done here on an earlier visit. November 8th saw J. B. Roberts, one of the best actors in the country. 'Although not as well known to Chicago play-goers as some that had preceded him, he was, never- theless, equal to any. Born at Newcastle, Delaware, in 1818, he became a professional actor in January, 1836, when he appeared at the V/alnut Street Theatre in Philadelphia in support of the elder Booth, playing the part of Richmond to the star's Richard. There were few cities in the Union that he- had not visited. His stay in this city was limited to a few nights, one of which was devoted to a repeat of "The Corsican Broth- ers", which Mr. Neafie had just presented. After Mr. Roberts closed his engagement Mr. Collins returned and remained until November 18th, presenting the same Irish comedies as before. Then, on November 23d 251 CHICAGO STAGE Rice's Chicago Theatre 1852 the stock company gave a presentation of "Therese". On November 27th H. T. Stone took a benefit and selected "Comedy of Er- rors" and "The Yankee Trader". Mr. Ryner took his benefit December 4th, presenting "Gilderoy", "Nan, the Good For Nothing", and "The Chicago Fireman" . December 10th, the stock company offered "The Jewess". About this time Ann Marble, widow of Dan, had dramatized Mrs. Stowe's story of "Uncle Tom 1 s Cabin" and it was produced by Rice's company on December 13th with this u AST George Harris Mr. Hanley Uncle Tom Mr. McMillan Mr. Shelby Mr. Meyers Haley Mr. Rice Sambo Mr. Stone Simon Legree Mr. Ryner Mr. Wilson Mr. Wright Cassey Mrs . Ryner Emeline Mrs . Bannister Eliza Mrs . Hanley Mrs. Shelby Mrs . Marble It will be noted that there is no Eva, Marks or Topsy in this version, the very characters that made the play a success. The version played in New York this same year was by George L. Aiken, a brother of Frank E. Aiken who played an important part in Chicago theatricals later. 232 CHICAGO STAGE Rice's Ciiicago Theatre 1852 This much ridiculed, and often misused play, deserves more than a passing thought. Many good and bad dramatists have made ver- sions of the story of more or less merit. This was due to the fact that the title and material became public property through the oversight or neglect of Harriet Beecher St owe, author of the story, in selling it to the publisher of a weekly paper to be run as a serial in this uncopyrighted pub- lication, such publication thus putting it in the public domain: that is, free for anyone to use. It was first published in The National Era, of Washington, D. C. It came out in book form on March 20, 1852. The play was first brought out in New York on February 25, 1852, with such well known actors as Wm. Davidge, Barton Hill, A. H. Davenport, August Penno, Charles Walcott, and other popular actors of the day appear- ing. No record of tne author of this ver- sion is available. On September 27th of the same year, George L. Aiken's version w a s brought out by Charles Howard at the Museum in Troy, New York. August 23, 1852, Charles W. Taylor's version was produced at Purdy' s National Theatre in New YorK, but, while giving promise, did not run long. However, it was at this same theatre that Aiken's version, which had first been seen at Troy Museum, achieved the play's great success- ful run. From a Chicago viewpoint it is well to note the names of many former actors who had become popular in this frontier vil- 25b CHICAGO STAGE Rice's Chicago Theatre 1352 lage, for instance, G. C. Germon, who had first appeared here with McKinzie & Isher - wood. Germon was the Uncle Tom and Mrs. G. C. Germon was the Eliza; N. B. Clark, who had been the stage manager for Mr. Rice, was the Legree; Mrs. Bannister, another member of Rice's Chicago forces, was the Cassy; and Harry Stone, still another Rice player, was the George Shelby, This version, by George L. Aiken, had over a year ! s run at the same theatre in New York, and, in spite of the many different dramatizations of this story, this Aiken version is the one that has almost always been "played. Chicago, however, saw the Ann Marble version even before the Aiken version be- gan its long trek in New York. According to J. Burdette Howe, as stated in his book "A Cosmopolitan Actor", Purdy devoted his advertising efforts to attracting the re- ligiously inclined people, among whom were many abolitionists. Mr. Howe, who became the popular St. Claire, claims the attend- ance dwindled to almost nothing before Col- onel Purdy became convinced that the play had exhausted its drawing power. Other productions of this drama were brought out at the Chestnut Street Theatre in Philadelphia, on September 6, 1853; at Booth' s Theatre in New York, December 20, 1880: and at the Hollis Street Theatre in Boston, August 18, 1888. This last named version was by Clay M. Greene who, in con- junction with David Belasco, wrote several 234 CHICAGO STAGE Rice's Chicago Theatre 1852 successful dramas. By this time the touring theatrical attractions had become numerous and "Uncle Tom's Cabin" was seen in every village that had a theatre, opera house, or hotel din- ing room where a performance of this play could be given, perfectly or imperfectly. Let us now return to the records of the Rice Theatre in Chicago. Ann Marble's ver- sion of "Uncle Tom's Cabin" as presented by the Rice stock company drew sufficient- ly to be kept on several nights. On Decem- ber 20th Mrs. Marble took her benefit. The Chicago Theatre closed its 1852 season on December 24th of that year. Hav- ing begun on January 10th, it had operated for almost a year and had heen reasonably successful under the cautious management of Mr. Rice, who was watching the expenses closely. A groat many outstanding players had visited Chicago during the year, most of whom met with satisfaction. While few of their names have come down in theatrical history, most of them ranked with the best. In his early career as a theatrical mana- ger in Chicago, Mr. Rice had contented him- self with a very short season, largely in the summer, but now that improvements were being made in the city, and facilities for getting to and from the theatre during the winter months were increasing, the seasons were extended, and the plays, which were formerly changed every night, were now kept 235" CHICAGO STAGE Rice's Chicago Theatre - Kails 185? on much longer. Several changes had been made in the stock company 1 s personnel, due more or less, to the expanding of theatri- cals throughout the country which inclined ambitious actors to a roving disposition. Mr. Rice was now becoming interested in the politics of the city. He had gained great popularity along with others whose thoughts were following the same line . He was, as we learn later, destined to become a leader in that field, but now he was just a showman, and in spite of the realization of his political ambition, he never quite overcame the old adage "once a showman al- ways a showman." TREMONT HALL.— April 5th, Mile. Rosa Jacques and Henry Squires, with Herr 3ran- deis at the piano, gave-, a very fine con- cert. May 5th, the famous humorist, Wine hell, gave one of his regular entertainments, which pleased as usual. June 21st, Catherine Hayes gave a high- ly interesting concert. July 16th, Madam Anna Thillon, assist- ed by Frederick Holm, Moris. Thillon, and a Mr. Hudson, gave a superb musical enter- tainment. Madam Thillon was a very charm- ing singer who had been born in England in 1815, but after marrying a French musician 256 CHICAGO STAGE Halls 185? she appeared in Paris in light opera. Later she came to America, and on September 18th, she appeared in Mew York City in the opera "Crown Diamonds", which had been written for her by Auber & Scribe. The Mr. Hudson referred to was born in Ireland, March 11, 1811, and made his American stage debut in Rochester, d. Y. in 1845. He became famous at first as an Irish comedian and was fav- orably compared to Powers in that line of parts. Later, he devoted his attention to opera, and, as herein stated, appeared in Chicago with Madam Thillon. August 2d,- the Emma Bostwiek Concert Company. On October 15th and 16th, — Campbells' Minstrels. December 7th, Wells 1 Minstrels. CITY HALL.— On May 15th, The Kunkles , nightingales of Ethiopian Opera, appeared for several nights. After the "Faker of Siva" closed with Rice, he went to join this troupe and prolonged his visit to Chi- cago. MELODEON HALL.- May 25th, Malone lec- tured o n famous pa i n t i ng s . WABNERS HALL.- October 26th, V/m-. Brad- bury held a Teachers 1 Convention. 237 CHICAGO STAGE Circuses - Rice's Theatre 1852-1853 WABNERS HALL, (cont'd) .- November 6th, Mr. and Mrs. Kerrigan gave what was billed as a Grand Musicale. CIRCUSES.— On July 1, 2, b and 4 the United States Circus, featuring the "Great Older Family" appeared in Chicago. RICE'S CHICAGO THEATRE failed to get a very early start in 1853 as he did not o- pen until February 28th. On that date the stock company appeared in Bucks tone T s "Mar- ried Life", following it with "The Jacob- ite" put on as an afterpiece. The people seemed eager for amusement and the opening was well attended. On March 5th "Paul Pry" was presented, and on the 6th, "Ingomar" was the attraction with Harry Perry doing a good Ingomar. This good Greek drama was followed on the 7th by "Sweethearts and Wives", in which McVicker was something of a feature in the part of Billy Lackaday, which was always a favorite part of that actor. March 3tn, Xnowles' play, "The Wile", combined with "ToocU.es" put on as an after- piece, made up that evening's entertainment with satisfactory receipts. The 9th, Rice turned to Shakespeare and presented "Much Ado About Nothing", The 10th, McVicker was starred in "The People's Candidate" which had previously been made popular by Dan 258 CHICAGO STAGE Rice's Chicago Theatre 1853 Marble, from whose widow McViciier had ac- quired it about that year. This list of plays made up the first week of the season. For Monday, March i?th, the manager announced a new play called "Writing on the •"'all", in which Mr. Perry was seen as Box Smithers, McVicker as Ferguson Trailer, and Mrs. Rice as Lotta Smithers while the bal- ance of the company portrayed the remaining characters. The play met with a hearty re- ception and was presented many times later. Julia Bennett opened on the 13th, and since she was the first star of the season she attracted some attention and drew good houses. Her popularity justified her stay until the first of August, during which time s lie offered many familiar dramas and performed with what the public considered rare skill. There was no star attraction for the period after Julia Bennett's departure un- til August 26th, when trie popular Julia Dean returned and opened in her favorite, "The Hunchback", a play she had often pre- sented here. Miss Dean continued to appear in the play for the entire week, which was the duration of her engagement on this oc- casion. After her departure the stock company continued to produce favorite and familiar dramas until September 10th, when Mr. and Mrs. W. J. Florence reappeared for several CHICAGO STAGE Rice's Chicago Theatre 1853 performances. They opened with "Ireland As It Is" and "The Limerick Boy", following these with satisfactory presentations oi their entire repertoire. On September 26th Mr. and Mrs. Florence gave way to a new star, Charlotte Loyette, but she was not happily received. During October a new ac- tor known as J. M. Mitchell, who had made some impression in Mew York while with E. A. Sothern's ill-fated managerial effort, appeared at the Chicago as Cecil Cloud in "The Smugglers of Northumberland.". After this star's disappearance the stock company operated without any special featured players . On the 28th of the month Ann Marble was given a benefit when, as a special attrac- tion, her daughter, Mary Marble, was seen for the first time on any stage as Madeline in "The Child of the Regiment". This young player's appearance met with universal fa- vor and she was loudly applauded and called before the curtain. She afterwards acquit- ted herself admirably. Mr. and Mrs. Flor- ence, who had remained in the city, lent their presence and talent to Mrs. Marble's benefit. Thesp two popular players contin- ued to appear from time to time until Nov- ember 1st when they retired on the occasion of their benefit, *" November '6a Mr. McVicker, supported by his wife, returned for another limited starring engagement ana offered "Home in the West" and "Hue and Cry", with enthusi- £40 Chicago stage Rice's Chicago - Circuses 1853 astic results. They continued until A. J. Neafie appeared on the 12th in a repertoire of classic dramas. He finished with "Mac- beth" on the 25th. Mr. Neafie was followed by trie Italian Opera Company, which held the boards until Could ock came on December 8th. Mr. Couldock 'was seen in the following dramas: "Willow CoDse", "Hamlet", "Othello", "Richelieu" and "The Betrothal". December 28th, the stock company pre- sented a new drama, "The King and the Free- booter", for the benefit of the firemen. There was nothing really eventful during this entire year, and Mr. Rice completed the season with the stock company present- ing various plays that had been seen many times before. CIRCUSES.- July 25th of this year saw P. T. Barnum' s show, consisting primarily of Tom Thumb; "A man born without legs "; a number of wax figures; and for the me- nagerie, there was a collection of animals among which was a cage of performing lions who were put through their routine by the trainer, Pierce. Thj s is evidently the only circus of importance sufficient to merit any public- ity in the record or by the press. If any others appeared, either they were not pub- licized or the records have been lost. 241 CHICAGO STAGE Rice's Chicago Theatre 1854 :. "Z CHICAGO THEATRE.- The close of the year and the opening of 185<^, lound this theatre still going with the same company that had begun early in 1852,— barring a few changes. On January 4th a new version of "Uncle Tom's Cabin" beg an a three weeks' engagement, with the principal characters cast as follows: Little Eva, Mary Ann Rice; Uncle Tom, John B. Rice; George Harris, Hen- ry Sedley; Topsy, Kate Taylor; and Mr. McVicker played the role of Part side Pen- etrate, a character not found in any other version, which is not strange as everybody in those days, and even later, seems to have tried his hand at dramatizing Mrs. Stowe T s popular bo ok. This drama was Kept on until Jenaary l9th, when the company fell back on an old favorite, "The Stran- ger", followed by "Sam Patch in France" on the roth, on which date Mr. Rice enjoyed a well patronized benefit. This presentation closed the season. The opening of the new 1354 season oc- curred on Saturday, February 18th. This year the staff officiating at the Chicago Theatre was composed of John B. Rice, Man- ager; Perry Marshall, Treasurer; T. F. Le- Brun, Musical Director; R.M. Smith, Scenic > Artist; Messrs. Munn and Luff, Machinists; J. Ester ly, Property Maker; and, last but certainly not least, James H. McVicker as Stage Manager. This position gave McVicicer control of everything bade of the front curtain line and woe to the person who at- tempted to interfere with his authority. 242 CHICAGO STAGE Rice's Chicago Theatre 1854 The principal members of the company included Messrs. Sedley, Myers, Lincoln, Beach, Rice, McVicker, Greene and Wright, The ladies were: Charlotte Wynette, Miss Mary Hunt, — not to be confused with Mrs. Henry Hunt of former years — Mrs. Greene, Mrs. Rice and Mrs. McVicker. And various stars or feature players were brought in from time to time. Prices of admission ranged from seven- ty-five cents down to twenty-five cents, the latter for children and negroes. The dramatic offering on the opening night was John Tobin's popular play, "The Honeymoon". The following Monday, February 20th, Mr. and Mrs. W. J. Florence returned and began an engagement in "Ireland As It Is" and "The Limerick Boy" , two sure-fire plays of their kind. The Florence duo re- mained until March 5th, but since they pre- sented nothing new during their visit there is nothing important to report. March 6th, C.V. Couldock returned with a presentation on that date of "The Willow Copse", and on succeeding nights offered "Hamlet", "Richelieu", "Richard III", "The Betrothal", "Harvest Home", and on March 15th took his benefit, with "Macbeth" the ever recurring choice. On March 14th the new drama, "Antoine du Verne t" , followed by "A New Way To Pay Old Debts", and the old favorite, "The Stranger". Couldock took a benefit and bade a temporary farewell to 243 CHICAGO STAGE Rice's Chicago Theatre 1854 Chicago, repeating his opening bill for his final appearance. To replace this excellent actor, Marie Duret was brought back and opened on the 21st in "Green Bushes". On the 22d she ap- peared in "The Queen of the Abruzzi" and on succeeding nights in "Lady of Lyons", "Jack Sheppard" and "Man of the World" . On March 24th the company gave a bene- fit performance for Mr. Myers, presenting "Henry IV" with Myers as hotspur, McViCKer as Falstaff , and the other members in suit- able roles. March 20th saw a repeat of "Uncle Tom's Cabin" and this held the boards until Ap- ril 3d, on which date a. J. Neaiie returned and opened his engagement with "Hamlet ", Miss' Wynette playing Ophelia. "Mr. Neaiie," says one alleged critic, "drew a large house and his personation of Hamlet gave universal satisfaction. He is devoid of ranting, roaring and tearing a passion to tatters." Then followed on April 4th, "Virgin- ias"; the 5th, "Macbeth"; on the 6th, "King Lear"; the 7th, "The Robbers"; and on the 3th, "Pizarro". On this latter date the Marsh Troupe began an engagement at tne Tremont Hall presenting Aiken's version of "Uncle Tom's Cabin". On th- 10th, Neaiie gave "The Corsican Brothers" followed by the farce, "Wanted — 244 CHICAGO STAGE Rice's Chicago Theatre 1854 A Loan of a Wife", in which McVicker and Ann Marble were the featured players. "Tne Corsican Brothers" was kept on until April 17th when Nealie appeared in "Harold, the Merchant of Calais", written by tne star. April 18th he presented "Rob Roy". Mr. Rice announced the extension of Neafie's con- tract, whereupon "Richard III" was offered on the 19th and "The Lady of Lyons" on the 20th. Mr. Neafie concluded his Chicago visit, which had proved quite satisfactory to all concerned, with a repeat of "The Robbers" on April 22d. Charlotte Wynette had been seen as his principal female sup- port during this engagement. At Mr. Neafie's departure Mrs. Barrow, the former Julia Bennett, returned. She opened in Boucicault's biggest success, "London Assurance", with "A Capital Match" as the afterpiece. On the 25th, "Satan in Paris" and "Dearest Elizabeth" were seen by a goodly crowd. "Merry Wives of Wind- sor" was the attraction on the 26th. Mrs. Barrow played a splendid Mrs. Ford; McVicker was equally pleasing as Falstafi; and Mrs. Rice met all-requirements as Mrs. Page. In addition, Mary Marble and Mrs. Barrow gave a very agreeable rendition of a duet. This play was held over until the 28th, when it was replaced bv "The Maid with the Milking Pail" followed by "The Pet of the Petti- coats". "Pauline" was the offering on the 29th. On May 2d, "Fortunia" and "A Belle's 245 CHICAGO STAGE Rice T s Chicago Theatre 1854 Stratagem" were presented. "Ingomar" was seen on the 4th with Sedley as the hairy barbarian. Mrs. Barrow took a benefit on the 5th and presented "The Banker's Wile" with "The Wonder" to fill out the evening. On the 6th, "Merry Wives of Windsor" was repeated . The next star to shine in Mr. Rice's theatre was the charming Jean Davenport. She must not be confused with other players bearing that name who were so prominent, later. This talented, girl was born in Eng- land in 1350. She was the daughter of a well known British actress, Mrs. Denby. Upon reaching America in 1859, she made her appearance as a child wonder in the play "A Manager's Daughter" at a New York theatre. She made excellent progress on the stage, not only as an actress but as an author as well. Miss Davenport was first to dramatize and play "Camille" . Her suc- cess as Juliet when she was only seventeen was marked and approved. She paid several visits to Chicago and always delighted her auditors . On October 13, 1860, Miss Davenport married Frederick W. Lander who, as an of- ficer in the Union Army was raised to Major General. He died in 1862 of wounds received in battle while defending the flag. After marrying Mr. Lander she retired from the stage and during the Civil War she gave much time to nursing the heroes at Port Royal Hospital in South Caroline. After 246 CHICAGO STAGE Rice's Chicago Theatre 1854 1865 she returned to the stage and appeared at Niblo's in New York where she was again received with loud acclaim. When she visited Chicago her inclina- tion led her to select, as her opening play "The Hunchback" in which she was generous- ly applauded. That standard drama, coupled with Mr. McVicker's performance of "Tony Lumpkin", afforded, the numerous patrons a pleasant evening's entertainment. On the 9th, "Love", another interesting drama, was well presented. Then followed in suc- cession: "The Maid and the Milking Pail, on the 10th; "Lady of Lyons" on the 11th, followed by "Adrienne tne Actress", with the star appearing as Adrienne, Miss Wy- nette as the Princess, Sedley as Maurice, McVicker as Michamet, and the various other parts assumed by the remainder of the com- pany. She took a benefit on this date and the public's appreciation of her merits was snown by the large audience tnat attended. The next attraction was "Romeo and Juliet". On May 17th Miss Davenport presented here for the first time her own dramatiza- tion of that famous old play, "Camille" . It should be noted that this was the first of several dramatizations of this great story. It should not be confused with the version in which Fanny Davenport was seen later . As produced by Miss Davenport on the abov. date it had i:n following 247 CHICAGO STAGE Rice's Chicago Theatre 1854 CAST Camille JeiiU Davenport Helen Mrs. Rice St. Frivale Mr. Myers Mons . Duval Mr. Rice Madam Prudence Ann Marble Armond Mr. Sedley Mons. D'Norville Mr. Wright On May 19th the play was "Evadne" followed by "London Assurance". The 20th saw a re- peat of "Camille", at which time she con- cluded her engagement. Julia Dean returned on the 2£d and pre- sented the same plays that she and others had done here before. On June ?d, under the name of "Gabrielle" , she presented "The Duke's Wager" by Mrs. Kemball Butler with this CAST Gabrielle Mis s Dean Marchoness Mis s Vynette Due dt_ Richelieu Mr. Sedley Charivilloc Mr . McVickers Due de Aubigny Mr. Myers Abbe de Rosarue Mr . Greene DeVaury Mi- . Wright The star took her beneiit and completed her visit on June 3d. The following Monday, Rice presented a new star, June 5th, Mr. Agnes Robertson. 243 CHICAGO STAG E Rice's Chicago Theatre 1854 She was the so-called wife of Dion Bouci- cault and what a sad finish she met at the hands of this great actor and author. Bou- cicault was the illegitimate son oi the famous Dr. Lander, compiler of the first- encyclopedia. Miss Robertson was born in Edenboro, Scotland, and when Boucicault first saw her there she was but fourteen years old. He brought rier to Montreal as his wife in 1351, from whence they went to New York City. Both met success there and were great favorites with the public. She bore him four children. The oldest was killed in a railroad wreck in England in 1976. The other three gained considerable prominence in the theatrical world, Dion, Jr., as the stage manager for all Charles Frchman's productions in England, while Aubrey and Nina achieved no small success in America. Miss Robertson opened her engagement in Chicago in the part of Andy Bla:te, fol- lowed by two other plays, "Tne Young Ac- tress" -and "All the World ! s a Stage". She was new in America and aid not possess the drawing power of better publicized players. June 6th she gave the aadience "Milly" and "The Guardian Angel". On the 7th she re- peated "Andy Blake" and "The Young Actress" and on the next night added "Bob Nettles" to the above. On June 10th "Tne Devil's In It" and the aforementioned short plays were offered. She finished ner engagement on June 13th. Miss Robertson's departure brought an- 249 CHICAGO STAGE Rice's Chicago Theatre 1854 other British actress, Miss Kimberly. Her repertoire was composed of semi-classics, dramas such as "Hamlet", "The Stranger", "The Honeymoon", "As You Like It", "George Barnwell", "Jack Sheppard", and on June 26th, "The Actress of Padon" . Little of importance occurred in the regular course of the Chicago Theatre until John Brougham and his wife appeared on August 13th for a two weeks' engagement. John Brougham was born in Ireland in 1814 and came to America in 1842. He appeared on the stage in New York City October 4th of that year. He was a rollicking , handsome Irishman, but his work differed somewhat from T. Powers, Barney Williams, W.J. Flor- ence, and others of tnat type, although he played many of the same characters and was said to be the only true successor to Ty- rone Powers. Here in America, his popular- ity was on a par with any other player in the country for many years. Like other comedians, he failed to adhere to Hamlet's advice to the clown not to speak any lines "except those set down for you." Such ad- vice was evidently not intended for Broug- ham. At least he failed to heed it. As an author, he was the equal of others of his time. Brougham was first married to Emma Wil- liams and in 1847 to Miss Nelson, a charm- ing singer and fair actress . In later years she retired from the stage. John Brougham had one characteristic common to many per- CHICAGO STAGE Rice's Chicago Theatre 1854 formers. He was a poor business man. His failure in the many under taKings that he attempted iinally brought him to the brink of ruin. A benefit was given for him in the early Eighties which netted something over $10,000. The committee in charge of this benefit purchased an annuity ior the total amount, out of which he was allowed about £2600 a year. But his ill-luck still pur- sued him for he died little more than a year later. As usual, the insurance company received the benefit. While in Chicago he presented many of his own plays including "Dombey and Son", "David Copper! ield", "Romance and Reality", "Game of Life", "My Cousin German", "Love and Murder", etc. He opened in a favorite character, Felix O'Callaghan, in "His Last Legs" and as Dazzle in "London Assurance", following with "Dombey and Son" with the following CAST Captain Cuttle Mr. Brougham Toots Mr. Wright Carker Mr. .McFarland Dombey Mr. Myers Major Bag stock Mr. Beach Walter Gay Mr. Lincoln Sol Gillis Mr. Alterus Mrs. Skewton Mrs . Marble Florence Miss Woodbury Edith Mrs . Alterus Susan Nipper Mrs . Brougham 251 CHICAGO STAGE Rice Cnicago Theatre 1854 Brougham was a delightful Captain Cuttle, and the play and players were heartily re- ceived. "David Copperf ield" , another dramati- zation of Dickens by Brougham, was given with this CAST David Ccpperiield Micawber Uriah Heep Daniel Piggoty Betsy Trotwood Agnes Clara Piggoty Mr . McP arland Mr. Brougham Mr. Myers Mr. Wright Miss Woodbury Mrs. Alterus Mrs. Brougham This Brougham dramatization was tne third one of Dickens 1 famous novel. It was fav- orably received in Chicago. The third play oifered by Brougham was "Romance and Reality". It gave abundant satisfaction as interpreted by this CAST Jack Swift Mr . Brougham Jasper Manly Mr . McFarland Oliver Manly Mr. Wright Frank Meredith Mr. Sedley Lavender Kyd Mr. Lincoln Tom Badger Mr. Alterus Rosabel Miss Woodbury Barbara ?4anly y lrs . Brougham Blossom Mrs . Alterus ?52 CHICAGO STAGE Rice's Chicago Theatre 1854 Brougham remained for some time, repeating the above and, irom time to time, adding other of his own plays and the works of various dramatists, many of which had been seen at the Chicago Theatre before. Upon the Broughams' departure two prime favorites, Mr. and Mrs. Florence, returned and opened on September 10th. Their reper- toire was made up of the same plays they had presented on their previous visits. These plays need not be listed as they have already been described as produced by the Florences, or other performers. These en- tertaining artists remained for the balance of September, and were replaced on October 2d by Peter Richings and Ms lovely daugh- ter, Caroline. They opened in "Daughter of the Regiment" with "Vashington at Valley Force 1 ' as .:*n afterpiece. c - Caroline Richings, adopted daughter of Peter Richings, first attracted attention when she sang Flavia in the opera "Peri " or "The Enchanted Fountain" by J.G. Maeder and S. J. Burr, on December 13, 1852. Prom that time on she made considerable progress and when she appeared in Chicago with her stepfather, she had become a great favorite throughout the country. In 1857 she began to devote her study exclusively to Italian Opera, and visited this city later as the star of Richings 1 English Opera Troupe. Peter Richings, the father, made his debut in this country at the Park Theatre in New York in 1321. 253 CHICAGO STAGE Rice's Chicago Theatre 1854 On October 5d the oifering was "The Old Guard" with the same afterpiece; on the 4th, "Old Heads and Young Hearts" and "Faint Heart Ne'er Won Fair Lady"; and on the 5th, "Maritana" with Caroline as Mari- tana and Peter as Don Caesar de Bazan with a repeat, on the 7th. y- "Extremes" and "The Secret" was announced for the 9th but owing to the death of Mr. Alterus no periormance was given, and those plays were given on October 10th. "Extremes" was repeated on the 11th, with McVicker featured in "Your Life's in Danger" for the afterpiece. Miss Richings took her bene! it on Oc- tober 15th. McVicKer was given a benefit October 14th, at which time "Henry IV" and "The Course of Love Never Did Run Smooth" were presented. The Richings closed their engagement in Chicago on October 15th. October 17th Jean Davenport returned and opened this time in "Ingomar" and "The Rendezvous" . She continued until November 5th and repeated her previous success by presenting "Love", "Camille", "The Wife", "Romeo and Juliet", "Maid of Mariondot", "Adrienne the Actress", "Lady of Lyons", "The Stranger" and "Masks and Faces". She repeated "Camille" many times. November 6th, Mr. and Mrs. Florence a- gain appeared and duplicated their iormer success by again oflering their favorite Irish comedies. They remained until Novem- ber 18th. 254 CHICAGO STAGE Rice's Chicago Theatre 1854 C. W. Couldock began a return engage- ment on November 20th in "Richelieu" suc- ceeded by "Hamlet", "Othello", "Macbeth", "The Advocate", "All That Glitters Is Not Gold", "Willow Copse", "To Oblige Benson", and for the bene! it of Miss Hunt, "School for Scandal". This was followed by "Louis XI" with this CAST Louis XI Mr. Couldock Christian Mr. Sedley De Mainour o Mr. Myers Martha Miss V/ynette Dauphan Miss Hunt This was followed by "A New Way to Pay Old Debts". He concluded his stay here on De- cember 1st when he was given a benefit, presenting "The Iron Chest". December 4th McFarland received a ben- efit, at which time "Richard III" was the offering. On the 5th, "William Tell" was given by the stock company with McParland as William Tell. December 6th Mr. Myers was given the customary benefit when "Cap- tain Kyd" and "Boats and Swans" were put on. On the 3th there was a benefit for Mrs. Alterus with "A Wife's Revenge" and "Home in the West" the offerings. The company continued playing the same dramas seen so often, but December 22d, a new play, "The Courier of Lyons" was given. The company continued on into 1855. 255 CHICAGO STAGE Tremont Hall 1854 TREMONT HALL.- The first attraction to appear at this Hall in 1354 was Campbell's Minstrels, on January 6th. This company name seems to have been the most popular of all minstrel organizations during this decade . On March 21st, Oie Bull, who had ap- peared at the Tremont the previous year^ on what had been announced as a "farewell tour", returned accompanied by practically the same artists as on the former visit, viz: Amelia Patti Strakosch, Maurice Stra- kosch, now her husband, and the child won- der, Adelina Patti, usually called simply "Patti" at that time, a name that identi- fied her for many years. She was received on this occasion with even greater acclaim than on her previous visit. Patti 1 s ren- dition of "Comin 1 Thru the Rye" was very enthusiastically received. The admission for the best seats was f.1.50, and others commanded $1.00. This was less than charged to hear the famous Anna Bishop lour years previous, when Chicago was more of a fron- tier crossroads. After Ole Bull's engage- ment, he and his corps of artists went to Milwaukee, but returned to give another concert at the Tremont on March 25th. The Philharmonic Society gave a concert on March 27th. That concert was followed by the appearance of the "Great Winchell" as he was called, seen and heard on March 20th and 31st. 256 CHICAGO STAGE Tremont Hall 1854 April 8th what was known as the Marsh Troupe came to the Tremont. This combina- tion was, primarily, a group of children under the management of Harry Marsh. It was one of the very few traveling organizations capable of furnishing a full evening T s en- tertainment. In the list of performers were many names destined to become more or less famous later on, such as: Louise Arnot, Ada Webb, Minnie and Ada Monk, Maggie Millet s- who married Harry Thorne — and also Julia Christian, who became the wife of the suc- cessful theatre owner and manager, Harry Miner. The plays selected for these youngsters were of a style that could consistently be performed by children and included: "Chery and Fairstar n , "SlacK-eyed Susan", "Naiad Queen", etc. The Marsh Troupe performed throughout America and in Europe, where it was much in evidence until 1865. After that date nothing was heard of them. The company opened at the Tremont Hall on April 8th in what they termed the "New York Version of Uncle Tom's Cabin", — meaning it was the George L. Aiken dramatization which had been such a big success in New York. Although the company was supposed to open on the 8th, trouble arose between Mr, Marsh and the manager of the hall and they did not open on the designated date. The local manager swore out an injunction a- gainst ?1arsh charging that he was pirating the play. The matter was settled later and 257 CHICAGO STAGE Tremont Hall 1854 "Uncle Tom" was seen, on April 11th and for nearly a month thereafter with very satis- factory box office receipts. The play was thus CAST Eva Harry St. Clair Uncle Tom Deacon Perry Legree Gumption Cute Topsy Eliza Mary Marsh Harry Marsh Mr, Marsh G. C. Germon W. J. LeMoyne Mr. Douglas Mr. Lennox Mrs . Lennox Mrs. Germon It will be observed that this was not, on this occasion, an organization made up of children as all except Mary and Harry Marsh were "grown ups", and some of the cast had appeared in the original New York produc- tion oi the play; Succeeding the Marsh Troupe, the Phil- harmonic Society gave a concert May 11th, and on the 25th the German Society gave a concert . June 19th the Original Campbell's Mins- trels returned and with them many well known performers in that popular branch of the entertainment field. October 11th Jules Grau brought to this hall what he called "The New York Italian Opera Company" . 258 CHICAGO STAGE Metropolitan Hall 1854 METROPOLITAN HALL. — This hall, located on Randolph Street near Wells, after its opening on October 16th of tnis year, sup- planted the Tremont, and all but robbed that institution of its attractions and patronage . Campbell's Minstrels, heretofore ap- pearing at the Tremont, opened at the Met- ropolitan on October 16th, featuring such names as T. B. Pendergast, S. E. Clark, J. 3. Burdette, W. W. Newcomb, Hershall Fen- ton, J. H. Ross, G. W. Demerest, G.S. Fow- ler and F. M. Boler. T. A. Clark was the manager and J. H. Bartlett was the Musical Director. Mr. Wells, the manager of the Metropolitan, found it difficult to acquire attractions as the hall was handicapped by poor acoustics. Eventually, however, in spite of complaints, this hall garnered nearly all of the big musical attractions, readers, and the like. The Metropolitan Serenaders appeared on October 51st, a talented organization of professional entertainers among whom we find the names of Johnny Booker, the Amer- ican Jester; E. Davis, Popular Balladist; Frank Lynch, the Lion Banjoist; E. C. Kee- land, the Ole Bull of America; Master Ra- jah, the prodigy dancing child of the world; George Evans, American Balladist; J. A. Silver, Basso Prof undo; and T.J. Chatfield. This organization remained for several nights and was well received. 259 C H r C ;, G - T A G E Halls 1854 On November 3d, a Grand Concert was given by that splendid singer, Rosa de Vries. And on November 3th Ole Bull, as- sisted by Appolina Bertucca Maretzck, wife of the great composer, Max Maretzck,- and Amelia Strakosch and her husband, Maurice Strakosch, indulged in a "Great Musical Festival" which met with the same abundant favor that the great violinist aroused on previous visits. SOUTH MARKET STREET HALL.- The Madern Family, ancestors of Minnie Madern, ap- peared for two weeks, bringing with them what they advertised as "The ONLY Female Brass Band in the World." The attraction was well received during its two weeks 1 stay. BUTLER'S AMPHITHEATRE, located on the corner of Lake and Wabash Streets, opened on November 29th. It was operated by L. G. Butler, manager of Butler's North American Circus, which was the form of entertain- ment given during its short existence. It was a cross between a building and a circus tent, and Mr". Butler laid great stress on the fact that it "was heated with stoves and lighted by gas." It remained open un- til about Christmas, alter which it evi- dently disintegrated. ROBINSON'S ATHENAEUM was a tent ar- ranged for dramatic snows, which was the type of entertainment usually given, at first, by "Yankee" Robinson. Altnough gen- 260 CHICAGO STAGE Robinson's Athenaeum 1854 erally known as "Yankee", Mr. Robinson' s full name was Fayette Lodawick Robinson. He was born May 2, 1818, at Avon Mineral Springs, New York. Ke began his theatrical activities in 1835 with "The Sickles" show. Two years later, in 1857, he moved to Me- dina, Michigan, and started a shoemaker T s shop, Bailing at "cobbling' 1 , he concluded "show business" was an easier liie, so he acquired a couple of religious paintings, a horse and wagon, and away he went. How- ever, he found the going tough. He once remarked that "the public does not want to be educated", so he finally gave up the educational battle. t In 1846 he arrived in St. Louis, Mis- souri, and he appeared in "Richard III" in a hall in that c:* ty, at the corner of Third and Pine Streets. But he always wanted to be a Yankee comedian, so in the summer of 1848 he was found in Rock Island, Illinois, where he made himself a tent and started what was probably the first dramatic show under canvas. His play was "The Drunkard" which had not, at that time, been brought out in New York. It had, however, made a great hit in Boston and saved the Boston Theatre from financial ruin. Mr. Robinson called his tent show "Robinson' s Athe- naeum", and with it he endured the ups and downs that such trouping always entails. Sometimes he was able to move to the next town, and sometimes not. But he had his own horses and wagons and, MUD or no MUD, he made the effort. 261 CHICAGO STAGE Robinson's Athenaeum 1854 Robinson struggled through the country with his dramatic tent show and, at th e outbreak of the gold lever in California, headed for the west coast. Ke finally ar- rived at the village called San Francisco, where he became known as Dr. Robinson, and as such became the leading entertainer a- mong the many actors who had flooded the "diggin's". His little daughter Sue was the child prodigy and vied with the, later celebrated Charlotte Crabtree, known then and always simply as "Lotta" . Dr. or "Yan- kee" Robinson fought with Mary Ann Crabtree over the merit of their children 1 s histri- onic ability, and with Thomas Maguire, stage driver, gambler, saloon keeper and, eventually, theatrical magnet oi the Pa- cific coast. While Maguire built the Jenny Lind Theatre and dance hall, "Yankee" Rob- inson beat him to it with his tent which he opened as the "Eagle Theatre" and where he became a highly popular Yankee character comedian. When gold dust camps began to spring up in adjacent parts of the coast country, show business commenced to decline and Robinson "pulled out" and headed back east, eventually arriving in Chicago. He opened at State and Lake on November 4, 1854, but remained only a short time. As an effective ballyhoo he put his per- formers on horses and paraded them through the street, not excepting even the famous Charlotte Crampton, whose name we find in the roster of Yankee Robinson's half -circus, half -dramatic organization. She was a re- 262 CHIC! AGO STAGE Robinson 1 s Athenaeiam 1854 markable actress having been a featured stock star in every town where there was a theatre devoted to that form of entertain- ment. She was one of those muchly married women. She was the first woman to play Mazeppa, appearing under the name of Mrs . Wilkinson at the time. Later, however, many women became identified with that part. She was born at Louisville, Ky., in 1816, and died in the place of her birth in 1876. When she first came to Chicago with Yankee Robinson she was in the prime of life and at the height of her professional capacity. Robinson' s first venture into anything like real circus atmosphere was as Captain Garibaldi, when he became a lion tamer and faced those snarling man eaters in their den to the consternation of all onlooker Alter this experience, he came to the con- clusion that subduing wild animals was easier than trying to make people laugh in Yankee characters, and so, beginning about 1866, his name became identified witn cir- cus business. He found the struggles in that embarkation as precarious as it was alluring, and he met the same trials and tribulations that had always conironted him. While circusing along the Mississippi River in the early Eighties of the 19th Century, he came in contact with a hopeful itinerant concert troupe, then known as Ringling Brothers. These ambitious harness makers from McGregor, Iowa, were getting 265 CHICAGO STAGE Robinson' s Athenaeum - Woods 1854 tired of trying to entertain the music lov- ers with blue notes oozing from their brass instruments. "Yank" was just as anxious to get rid of his part in "The Drunkard" as the Ringlings were their concert grief. So these showmen combined, and in the spring of 1884 they launched the mammoth "Yankee Robinson' s Great Show combined with Ring- ling Brothers' Carnival of Novelties and DeMar's Museum of Living Wonders." Every- thing went along satisfactorily, but in September "Yankee" started to visit his son, who was with a repertoire company. While changing cars at Jefferson, Iowa, he succumbed to a stroke and there died, as he had always hoped to do, with his boots on. His remains are still at Jefferson and for many years his grave was visited by itinerant showmen as a mark of respect for one who had personified the struggles of every branch of a stroller's past. WOODS' MUSEUM.— Long before this year there was, or had been, Museums in Chicago but they seldom continued operation for any length of time. But on June 14, 1854, Col. G. H. Woods from Cincinnati, Ohio, opened the Woods Museum in the Tremont Block on Dearborn Street, just south of Lake Street. That was the first time Chicago had heard the name of V/oods, which in later years was very much in evidence as the operator of Woods Museum on Randolph Street. His principal attraction when he opened his Dearborn Street Museum was billed as "Madam Clofullia, the Swiss Bearded Lady". Another 264 C H T C A G S T A G E Woods' Museum - Circuses 1854 important feature there was "The Largest Woman in the World, weighing over 800 pounds". And lor the Museum's stage he pre- sented the "Swiss Warblers". Admission was 15£. Later records will show how Colonel V/oods became prominently identiiied with many forms of theatricals in this city. CIRCUSES. — The first circus in 1854 was L. G. Butler's Magniiicent Arena and Cir- cus, which came on May 11th and remained several days. This show returned in the fall and attempted a permanent engagement in a semi-tent and permanent structure on a lot at Lake and Wabash. June 3d and 4th, Ben Stone's Great Original Railroad Circus gave an exhibi- tion. This was trie first show of this char- acter to come to Chicago on the railroad. The billers of this circus indulged in the same opposition practices that marked the conduct of brush wielders and pail carriers in later years. June lP.th, lbth and 14th saw E. F. & Jerry Mabie and Allied Troupe located at State and Polk Streets. The GREAT FBANCONI of European fame, advertising "A Colossal Parisian Hippo- drome, with the largest canvas in the world and 80 male and female artists, 200 horses and many other animals, had his tented at- traction located on the west side on July 14th and 15th. ?65 CHICAGO STAGE Circuses 1854 July 25th brought P. T. Barnum's "Col- ossal Museum and Menagerie". This is the first time Mr. Barnum appeared in this city, although he had sent his big feature, Tom Thumb, here on an earlier date. This noted showman was born at Danbury, Connecticut, on July 5, 1310. Before he was twenty years old he went into business by opening a fruit store and ale house for the fruit eaters and ale drinkers. In Oc- tober, 1851, he started a newspaper which he edited with so little discretion that he landed in jail for libel, wnere he re- mained for sixty days. In 1834 he moved to New York City. His first venture in any- thing pertaining to show business was as a drummer. In 1855 he purchased Joice Heth for a thousand dollars, and put her into Niblo's as the nurse of George Washington, such was his nerve. When she died in a town where she was being exhibited, he cursed, and discharged his manager for not getting a new Washington nurse. He did some press work in New York, and in 1836 joined Aaron Turner's Circus as press agent and ticket seller, a choice position for one who want- ed to get a start in liie. After leaving Turner he bought a steam boat and organized a repertoire company, and played up and down the Mississippi River, thus becoming oneoi the early show- boat operators. In 1842 he made a deal with the father of Charles Straton, the midget, and put him in a museum under the assumed 266 CHICAGO STAGE Circuses 1854 name of Tom Thumb, named after a character in one of Yielding T s novels. In the mean- time, he had purchased Scudder's Museum. During 1844 he took Tom Thumb to England, returning in 1347. In November, 1849, he sent James Wilton to England to engage Jen- ny Lind for an American appearance at Castle Garden. P. T. Barnum' s long suit was the pro- motion and exploitation of individual features. Even when he embarked into the tented field he pre! erred an animal show where there was a short salary list, to a circus with highly paid performers. When he brought his "Colossal Museum and Menag- erie" to Chicago it embraced few, if any, circus acts. When it came to reaching out into the future,— taking large i inane i al risks, — he shied from dangers that seemed imminent. When W. C. Coup proposed the building of Madison Square Garden he hesi- tated, but Coup' s persuasive powers brought him into the deal. Coup induced him to take out a "real" circus, but he seemed to lack the executive ability to handle the enter- prise. Barnum was impetuous and incautious in many things. When Bailey's Great London Circus was his opposition through the east- ern states, the first elephant born in America happened to be on the Bailey show. This event was highly publicized and tne astute Barnum, knowing the Great London Circus was in the throes of financial des- peration, instead of boarding a train and going to Bailey with his proposition, wired 267 CHICAGO STAGE Circuses 1854 as follows: "Will pay you one hundred thou- sand dollars for your baby elephant," and signed it, P. T. Barnum. Bailey was too good a showman to be stampeded into a bad deal, so he didn't reply to Barnum. Instead, he took the telegram to a show printer and had a twenty-four sheet stand of bills made in fac-simile of the telegram, but not un- til he had added, "This is what Barnum thinks of Bailey's Great London Show fea- ture." A bill-posting brigade went right into Barnum' s territory and slapped this mammoth stand of bills on every place found in the vicinity. It was not long after this that the two great showmen combined —under the magnetic title of "Barnum & Bailey". Aligns t 2d, 3d. and 4th welcomed " The Railroad Circus and Crystal Amphitheatre Company" . 268 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1855 - 1856 CHAPTER X The Chicago Theatre saw op- position looming on the horizon of this year of 1355. That tire- less and resourceful circus per- former and manager, Levi J. North, was seeking a building to be called North's Amphithe- atre and, toward the end of the season, his wish blossomed into a reality. TONY PASTOR In the meantime, Mr. Rice went on his uninterrupted way, bringing in available stars from time to time. The first in the new year was E. A. Locke and wife, who ap- peared on January 3d, Mr. Locke playing Moderation Esterbrook in "The Hermit of the Rock' 1 , and Nathan Tucker in "Wife For a Day". These were followed on successive nights Mess", by "Cherubusco" and with Mr. Locke in his "Everybody' s character of Solomon Nubbins, on the 5th. On the 6th, "People's Lawyer 11 was given with the star as Solon Shingle. It was followed by "Stage Struck Yankee" , and the tainment finished with a ubusco" . Mr. Locke took date. evening ' s enter- repeat of "Cher- a benelit on this 269 CHICAGO STAGE Rice's Chicago Theatre 1855 "Rebels and Tories" was the play chos- en for the 8th and 9th, with "The Yankee Peddler" to follow. On the 10th "Telulah", "Faint Heart Ne'er Won Fair Lady", and "Yankee Peddler" were seen, and on the 11th "People's Lawyer" was repeated as was also "Yankee Peddler" . On January 12th the per- formance began with "Black-eyed Susan" in which McFarland appeared as William, and continued with Mr. Locke in "Telulah" and "Stage Struck Yankee" . On tne 13th, Locke was seen as Harry Helm in what was called "The Pirate Boy". He finished a most suc- cessful engagement on the 14th. On January 16th the stock company presented "Lafitte, Pirate of the Gulf" with Mr. McFarland as the Lafitte. January 22d gave Chicago theatre goers a new treat in the appearance of little Cordelia Howard as the Strawberry Girl in "Fashion and Famine". She was supported by her father and mother. This child wonder had become famous through her performance of Little Eva in the long run of "Uncle Tom's Cabin" at Purdy's National in New York City. She was enthusiastically re- ceived and liberally patronized, and she gracefully acknowledged many urgent cur- tain calls. January 25th marked another important occasion for Chicago Theatre patrons when Cordelia was seen in the part which had won her popularity, that of Eva in "Uncle Tom's Cabin". It was done with this 270 CHICAGO STAGE Rice's Chicago Theatre 1855 CaST Eva Topsy St. Claire Uncle Tom Aunt Chloe Cassy Cordelia Howard Mrs. G.C. Howard Mr. G.C. Howard Mr. Rice Miss Barnett Miss Woodbury The other characters were assumed by vari- ous members of the stock company. "Uncle Torn" was kept on through January. February 1st the "Katie, the Hot Corn G as Katie. Her Chicago eluded February 3d wit Thereafter, until the pany proceeded without "Ingomar" on the 5th w barbarian and Miss Woo Greek tamer. A highly tion of "The Stranger staged on the 6th. Howards presented irl" with Cordelia engagement was con- h "The Lamplighter", the stock com- / O i i , a s I a r , pre s en t ing ith McFarland as the cibury as the gentle satisfactory produc- " and "Lai'itte" was They continued with nothing new until another star appeared on Monday, February 19th, when Maggie Mitchell opened as the mysterious stranger in "Satan in Paris" and as Milly in "The Maid With the Milking Pail". On the 20th she offered "Asmondus" followed by "A Husband at Sight" in which she was ably supported by Mr. Myers and Miss Hart. The 21st saw "Wandering Boys" and "An Object of Interest" when a. newcomer appeared in the person of E. A. Ryan, in CHICAGO STAGE Rice's Chicago Theatre 1855 support of the star. No star could resist attempting to do the part of young Norval in "Douglas", and that was Miss Mitchell's selection on the 22d of February. "Satan in Paris" was the companion piece of the evening. The 23d, three plays gave a full evening to theatre goers: "Queeen of the Abruzzi", "The "Yan- kee Housemaid" and "Middy Ashore" . These were kept on until the 27th when "Nan the Good for Nothing" replaced them. After re- peating several plays the star took the usual benefit and presented for her fare- well performance "Child of the Regiment". She had made many friends across the foot- lights and was highly praised by press and public . March 5th, C. W. Couldock returned and again offered "The Willow Copse" . During the remainder of his appearance here he presented: "Hamlet", "The Advocate", "Mac- beth", "School of Reform", "Richard III", "King Lear", "Richelieu", "Venice Pre- served", "Betrothal" and "Merchant of Ven- ice". He closed on March 17th. Caroline Richings and her father, Peter Richings, followed Couldock as the feature attraction. These favorites opened in Bou- cicault's play "Old Heads and Young Hearts" followed by "Louise Muller" and "The Lady of the Lake". "Fashion" was the ofiering for the 20th; "Daughter of the Regiment" and "Napoleon's Old Guard" on the 21st. On CHICAGO STAGE Rice's Chicago Theatre 1855 the 23d, Joseph Lunn' s "The Millionaire'' was presented with this CAST Clement Wouldbe Muckle Mars ton, the Politician Emily Dorcus Lady Grace Lovemer Lord Beli'ord Frederick Oswald Chevetier Murray Stapleton Sterling Peter Richings Wm. McFarland Caroline Richings Miss Hart Mrs. Alterus James Riley E. A. Ryan Samuel Meyers G. Bennett J. B. Rice October 15th saw the arrival of Fanny Vining, wife of E. L. Davenport, and her young daughter, Fanny. This Mrs. Vining or Davenport made her first appearance on the American stage in the play written by Morris Barnet, "Monsieur Jacques", on March 22, 1854. She was the daughter oi Frederick Vining, a clever English comedian. Later, she married a certain Mr. Gill and became the mother of the successful American act- ress we know as Fanny Davenport. She later became the wife of E. L. Davenport, — and thus Fanny Gill became known as Fanny Dav- enport, a name which was to become impor- tant, and appear later in these records. E. L. Davenport was born in Boston in 1816. He made his first stage appearance 275 CHICAGO STAGE Rice's Chicago Theatre - North's 1855 at Providence, R. I., in 1838, as Welburn to the elder Booth's Sir Giles Overreach in Massinger's great play, "A New V/ay to Pay Old Debts" . After appearing in various towns and cities he, finally, reached New York where he supported Mrs. Mowatt, play- ing Romeo to her Juliet. He made rapid progress on the American stage and later went with Mrs. Mowatt to England. Here it was that he married Fanny Vining and brought her and her daughter to America. Soon there- after he found his v/ay to Chicago where he- was, then and for many years, a great fav- orite, as future records will reveal, and was conspicuous among theatrical celebri- ties. Levi J. North and Harry Turner, a cou- ple of circus managers and performers who had visited Chicago with circuses from time to time, and had watched the city's rapid growth, conceived the idea that wnen it came time for their circus retirement, it would be a capital idea to have some per- manent abode. North, especially, had al- ready endured every grief that an itinerant showman is heir to. He was familiar with the struggles in the cities as well as the small villages, and as years passed he threatened to quit. But when the sun began to shine in the spring, the lure was too great, and so he kept on from year to year, with the typical showman's remark, "Well, this will be my last." But like the others 274 CHICAGO STAGE North's Amphitheatre 1855 he never got away from the truth of the adage, "Once a showman, always a showman." Levi North had been apprenticed to an old circus man named Isaac Quick, and like all such assignments, he was the "patsy" or the "goat" for everybody. After Joe Cowell helped William V/est, — first circus manager to operate in this country,— sell out to Price & Simpson, managers of the Elite Park Theatre, New York 1 s Drury Lane, he became a hostler on the boat that was wrecked while heading for Charleston, South Carolina. This gave North an idea as to what his apprenticeship was leading to. Years later, after West went back to Lon- don and became one of the owners of Ast- ley' s — which was to circus performers what Drury Lane was to dramatic actors — North became the greatest feature of that enduring establishment, and the outstand- ing bare back rider of the world. He was the first person to turn a somersault from the back of a moving horse, and, later, to establish the all time record of turning sixty somersaults without a break. Mr. North decided to locate permanently in Chicago and finally acquired an old warehouse on Monroe Street, between Clark and LaSalle. He set the carpenters to work rebuilding it into an amusement place suit- able for housing his circus during the period when the weather made it impossible to operate under canvas. After remodeling the old warehouse, he named it 275 CHICAGO STAGE North's Amphitheatre 1855 NORTH'S AMPHITHEATRE and threw open the doors to patrons on No- vember 19th, 1855. It was not a substantial fireproof affair, but the law did not re- quire such perfection in theatre construc- tion here then as it did later, alter the Iriguois fire. It was a wooden building tv/o stories high, with a width of ninety feet ana a length of two hundred and seven. There were stairs on each side of the en- trance, leading to boxes and to a balcony with an opening between of eighteen feet. It seated 5062 persons. At least it had a capacity for that number. It was equipped with a good stage, but more important to North, was the ring between the main floor seats and the stage, forty-two feet in di- ameter. This was for ring performances and gave North an opportunity to display his fine horses, of which he was justly proud. The theatre was lighted by gas, which was really something in those days. It was the manager's intention to give only circus performances and dramas like "Mazeppa", "Cataract of the Ganges", and such other plays as gave opportunity for the display of animal activity. The open- ing performance consisted of an equestrian exhibition in the ring with the best avail- able circus acts shown. After this came the drama, "Forest of Bondy", which was al- ways played in such establishments as well as in many others. 276 CHICAGO STAGE North 1 s Amphitheatre 1855 About this period. Cony & Blanchard of London had just made a big hit in the East with their dogs. North imported Coney —but not Blanchard — with his dog, Hero, who could with great dramatic effect rescue a drowning man or the prospective victim of an approaching train — of which there were few around Chicago. Cony's dogs, Yankee and Hero, were more important to North than Edwin Forrest, and probably would be to an audience today if we can judge by the style of entertainment approved. "The Forest of Bondy" and the eques- trian performances were kept on until No- vember 22d when the drama and, shall we say spectacle, "Perry's Victory on Lake Erie" became the attraction. At this time a new name was introduced to Chicago pa- trons, that of "Tony" Pastor, destined to gain much prominence in later years as the operator of Tony Pastor's Theatre in New York, but at this time only a "circus clown". Tony Pastor visited Chicago later, so he will be referred to again. As after- pieces seemed a necessary part of every evening's entertainment, "The Cross of Blood" or "The Days of Salimanca" was added on the 23d. This entertainment was contin- ued until November 27th when the bill was changed to "Cattle Stealers of the Moun- tains", showing there was some interest in "rustling" even in those days. As has been stated heretofore, whenever a theatre or company wanted, or actually needed some extra business, they advertised 277 CHICAGO STAGE North's Amphitheatre - Halls 1855 a benefit. So on Christmas night, the 25th, one was given for John McNally, the door- keeper. McNally had been operating a book store on Lake Street and, as boo&s were the primary entertainment, he had become well known even if not actually popular. This benefit followed the production of "Putnam, the Iron Man" which had enjoyed a contin- uous run from December 8th to 24th, quite remarkable for those days. Regardless of the play and dramatic performers, Tony Pastor was relied on to furnish enough en- tertainment to satisfy a critical public by singing a new song of his own composition at every performance. North finally resorted to pantomimes and produced a great many with more or less success. During these presentations "Cin- derella" was being advertised, but it did not reach production until 1856 as will be seen later. METROPOLITAN HALL.— The records of the amusements billed at the various halls are sketchy at best as performances were given at irregular intervals, with only short runs. The Metropolitan was, perhaps, the most frequently mentioned in the records. On January cd William Mason appeared there for three days in a grand concert. The same bill was held over on the 4th except for the new farce, "Everybody's Mess", which was added. 278 CHICAGO STAGE Metropolitan Hall 1855 January 23d Henry Lippert gave a con- cert. Thereafter nothing is reported until March 12th when the Harmonian Opera Troupe appeared. April 25d the Peak family oi vo- calists and bell ringers gave the patrons a musical treat for several days. May 5th brought Madam Rosa DeVries' Opera Company, and following this troupe, on the 7th, Mrs. jMcCready gave a dramatic reading. Starting May 13th, John Collins gave a series of concerts, closing on May 24th. He was followed on the 26th by 3ackus Minstrels who held the stage here until the 2d of June when they laid off for two days to make way for Maurice Strakosch who presented as a feature attraction Mile. Theresa Parodi,— Prima Donna "absoluta" , — assisted by Amelia Patti Strakosch and Sig. Giovanni Leonardi, opening on June 6th for two performances. The Backus Minstrels re- opened June 7th. They were likewise the at- traction on June 27th and 28th. On September 27th the Hutchinson Trio, Judson, John and Asa, who were later to become famous,- appeared at the above the- atre or hall. This trio consisted of the three brothers, Asa being the youngest. From 1840 until near the Seventies, this was an outstanding singing trio. They had no equals in America or England. They came from Milford, New Hampshire, and began their public career singing at temperance meetings. There were many of them in those days, often quite as demonstrative as later '79 CHICAGO STAGE Metropolitan Hall 1855 when Carrie Nation made her celeb rated hatchet crusade against the liquor dealers in Topeka, Kansas, and elsewhere. V/hen more pecuniary offers came to the Hutchin- son singing masters, the temperance lec- turers had to look elsewhere ior stimulat- ing entertainers to awaken their sleeping auditors, for they turned to the concert field where they became the most successful people in that line of entertainment. They astonished the elite of Europe during 1840, even to the extent that they were command- ed to appear before the queen. After returning to America they re- peated their European success and continued it for many years. Eventually they took Horace Greeley's advice and went West, Asa settling on four corners in a rural district of Minnesota. There they built a town around him and called it Hutchinson. He died there in 1884, a highly respected cit- izen. The other brothers went farther west and pioneered into Kansas, settling in a village which became Hutchinson, in the Sunflower state. That town now has quite a population and is one of the most thriving in Western Kansas. So it is no wonder that they were brought to Chicago as a feature entertainment. After the Hutchinsons 1 appearance on September 27th, they returned for another concert on October 10th. They were follow- ed on October 29th by Paul Julian, and "Little Patti". 280 CHICAGO STAGE Halls - - Circuses 1855 SOUTH MARKET STREET HALL.- The Maddern Family appeared here, closing their engage- ment on January 6th. NORTH MARKET STREET HALL. -May 15th saw Campbell's Minstrels who, after closing at this Hall, reappeared, temporarily, at tne Metropolitan Hall on June 18th. WARNER'S HALL. —February 22d the Met- ropolitan Opera Troupe appeared for a week. On March 30th, Dan Emmett again opened in this hall with his Ethiopian Opera Troupe, for a run. Later that year, on Saturday, September 8th, he again opened in this hall billed as Dan Emmett 1 s Minstrels. The name of the Hall had now been changed to Phelps Ethiopian Opera House. CIRCUSES.- The Great Western Railroad Circus put in its appearance on June 1st. And on the £5th of the same month, Sands Nathan and Company's Great American Circus put up their outfit on the corner of Lake and Wabash, a spot which was considered the regular show lot. July 2d and 4th another circus billed as Van Amburg ' s Menagerie and Dan Stone's Circus with Tyler's Indians as the feature attraction, came to Chicago. The name of Van Amburg thus becomes conspicuous for the first time among those connected with outdoor show business, and the most skill- 281 CHICAGO STAGE Circuses 1355 f ul of all in the training of animals . Isaac Van Amburg was the first to go into a lion's cage. This daring move was not done to attract sensational applause or garner shekels into the box office, but was primarily intended as a means of in- creasing interest in the study of natural history. Van Amburg, as the name implies, was descended from the Germans. However, he was born in Fishkill, New York. It is related that when only nineteen years old he was inspired by reading the sixth chap- ter of Daniel in the book of all books, the Bible, which so vividly describes the escape of the great prophet Daniel from the den of wild beasts without harm, to emulate him. In spite of the advice of his friends and the opposition of all religious socie- ties, Isaac Van Amburg was not to be de- terred in his determination to enter a cage of lions and put his head in tne animal's mouth, a feat which later became common, as have many other daring ventures first performed by showmen. One such instance was that of dropping out of a balloon with a home made parachute, first successfully accomplished by that skillful tight wire walker, Tom Baldwin, of Quincy, Illinois, in the year 1838. This was the first suc- cessful parachute jump. The public was filled with amazement and apprehension when the announcement was made that Van Amburg would put his foolish head in a savage lion's mouth. He was de- 282 CHICAGO STAGE Circuses 1855 nounced by the pulpit and press. This, of course, only increased public interest and likewise the animal trainer's determina- tion. He was to confront not only the lion, but a panther, leopard and tiger as well, at the same time and in the same cage. V/hen Van Amburg stepped inside the den the effect was instantaneous. They growled, snarled, and their eyes sparkled, but the fearless visitor was undaunted, fixing his eyes alternately on each of the animals, by slow degrees drawing each savage beast to him as docile as a child. Finally the lion licked the hand of the conqueror and lay at his feet; the leopard became as playful as a domesticated cat; while the tiger fell asleep. Such was ^he success of the first human being, other than the pro- phet Daniel, to mingle with a cage of wild, ferocious beasts in the year 1834. Van Am- burg had proved it coula be safely done and since then such performances have been com- mon. From that time on his name became a byword in all lands. In England, v/hen he played at Drury Lane, Queen Victoria and the Duke of Wellington made many visits to tne theatre and even to the stage to pay their respects to the performer. Van Amburg & Co., under the management of Hyatt Frost, was the first organization to exhibit a menagerie in a big way, and this is the first time its appearance has been recorded in Chicago. The name for many years was prominent in outdoor amusements. Levi North's Colonial Circus gave an exhibition at Lake & Wabash on August 29th. 283 CHICAGO STAGE Rice's Chicago Theatre 1856 1856 opened with Rice's company still carrying on at the Chicago Theatre. Their of fering on January 3d was "Walter Tyrrell" or "The Better Blood". This was in the na- ture of a benefit for the Excelsior Hose Company No. 5. It was played with the fol- lowing CAST Walter Tyrrell Mr. McParland Wm. Rufus Mr. Riley Edith Miss Woodbury Margaret Mrs. Alterus It was followed by "Black-eyed Susan". In addition, John Dillon effectively s ang "Broth of a Boy". On the 4th "Walter Tyr- rell" was repeated, but the afterpiece was changed to "Mountain Sylph", with Lizzie and Jennie Kendall as the players and their beautiful dances were introduced during the evening . January 5th, "Ernest Maltra verse" and "The Idiot Witness" were the presentations with McFarland, Riley, Myers, Miss Wood- bury and Miss Hart effectively cast in the principal roles. On the 7th James Bennett, an English tragedian, opened in "Richelieu" ably as- sisted by Miss Woodbury in the part of Julia. Her interpretation of Julia com- pared favorably with others seen before. The afterpiece was "Valet de Sham", with several new names included in the cast, viz: 284 CHICAGO STAGE Rice T s Chicago Theatre 1856 Nellie Knowles, Mr. Wolfe and, ior the iirst time, Miss Ellen Monroe. On the 8th, Bennett appeared in "Merchant oi Venice"; 9th, "Othello" received complimentary no- tices; on the 10th he gave a very good per- formance of "Richard III". "Hamlet" was the offering with Mctarland as the ghost, Myers as Laertes; Miss Woodbury as Ophelia; and Ann Marble as the Queen, on the 11th. On the 12th Bennett was seen in the title role in "Macbeth" . The 15th, tne tragic "King John" was presented and on tne 16th, "Richard III". January 18th, Mr. Bennett received a well attended benefit and the audience spent an enjoyable even- ing with a good performance of "The Bridal" in which Mr. Bennett was cast as Melanthus; McFarland as Amiater; and Miss Woodbury as Evadne; other members of the company com- pleting the cast commendably. Mr. Bennett brought his engagement to an end on the 19th with a repeat of "King John" . January 21st E. A. and Mrs. Locke re- turned and gave four short plays on the opening night: "Royal Picnic", "Podigal B. Peasley" and "John Bigelow's Courtship". On the PPd Locke was seen in "Hermit of the Rocks", "Wife for a Day" and "Yankee Duel- ist". Mr. and Mrs. Locke concluded their Chicago appearance on February 2d. They had presented nothing but the same short plays offered many times before, but none had given more satisfaction than they did in the hands of Mr. and Mrs. Locke. 285 CHICAGO G E Rice's Chicago Theatre 1856 The return of A. J. Neafie, a iavorite tragedian, was announced lor February 4th in "Richard 111% but transportation troub- les delayed him, so the play was presented without him, with McFarland in the role of the hunchback villain. Neafie arrived the next night and was welcomed in "Hamlet", a play which by now was as well known to the audience as to the players. This was fol- lowed by "The Corsican Brothers" on the 7th and on the 9th, "Don Caesar" was added to the main play. The vehicle the star selected for the 10th was "Jack Cade", and this was continued until February 16th when Neafie finished a fairly successful visit. Mr. Couldock was now brought back open- ing in "Richelieu" on February 18th. Other plays in his repertoire were: "The Willow Copse", "The Advocate", "The Stranger", and Tom Taylor's "Still Water Runs Deep" which had this CAST John Mildmay Mrs. Mildmay Mrs. Sternhold Hawkley Potter Dunbilk Mr. Couldock Miss Woodbury Ann Marble Mr. McFarland Mr. Myers Mr. Rice He closed his engagement on February 23d and was replaced on the Pbth by Mr. and Mrs. Florence. They remained until March 15th, 286 CHICAGO STAGE Rice's Chicago Theatre 1856 offering the theatre patrons nothing new or different from the plays they were seen in on former visits. They took their bene- fit on tne 14th. Susan and Kate Denin began a fortnight' s engagement on March 17th in "Romeo and Ju- liet" with Susan as Romeo and Kate as Juliet. Then came in succession: "Love's Sacrifice"^ "Pizarro", under the name of "Rollo", "The Wife", "Idiot Witness", "Rob Roy", "Dead Shot", "Nan the Good for Noth- ing", "Lucretia Borgia", "The Honeymoon ", "Fazio", "Ingomar", "The Stranger", and "Therese", closing tneir engagement on the 29th. James H. McVicker, who had returned from his starring tour in England, appeared at the Chicago on the 51st, opening in the old favorite, "Gamecock of the Wilderness" and "Sam Patch in France". On April 3d the stock company was seen in "Captain Kyd" and "All the World's a Stage", with McVicker, Myers and Miss Woodbury in the principal parts . April 7th the well and favorably known Eliza Logan opened as Parthenia in "Ingo- mar". She was not suited to the part, but her ability as an actress overcame any dis- advantage. McFarland was very well received in the part of Ingomar. The play was kept on until the 10th when it was replaced on the 11th by "Adrienne the Actress" with "John Dobbs" as the farce. "Lucretia Bor- 287 CHICAGO S^AGE Rice's Chicago Theatre 1856 gia" was Miss Logan's selection lor her last night, the 18th. John Brougham now stepped into the star roles, opening with "Dornbey and Son" and "Sketches from India". This fine Irish ac- tor remained for sometime giving the plays he had been seen in previously, all of which were well received. The next important star to join the company was James E. Murdock. He opened on May 22d in "Macbeth" and remained for sev- eral days offering a repertoire of Shake- spearean plays. He had always been a favo- rite in Chicago and, although he offered nothing new, the plays were well done with the support of the stock company. Irom the time of Murdock' s departure until the ar- rival of the next visiting player the stock company repeated many of their old plays. June £d saw the return of Caroline Richings and her iatner, Peter. Both made a favorable impression in their opening opera, "Derwent Manor", unc their second selection, "The Prima Donna". The Richings continued until the 12th, when they gave way to another Chicago favorite, C. W. Couldock, who opened on the 14th in the always popular "Willow Copse". He changed the billon the 17th and gave "Hamlet" with McFarland as tne Ghost, Miss Woodbury as Ophelia, and Ann Marble as the Queen. "Sud- den Thoughts" proved an amusing afterpiece. "Macbeth" was again presented on the 13th, 288 CHICAGO STAGE Rice's Chicago Theatre 1356 and while Couldock was a splendid Macbeth, Miss Woodbury was unequal to the require- ments of Lady Macbeth in which part she was unfortunately miscast. ^ On the 19th, "Othello 1 ' was the offering, and here we find a new name, a 'Miss Ingersoll, who ap- peared as Desdemona.- She displayed consid- erable ability bat for some reason her name soon disappeared from the roster. "Riche- lieu" was Couldock' s selection for the 2 n 'h, with "Katharina and Petruchio" as an afterpiece. The star was seen in both plays ana Henrietta Irving was the Katharina in the latter. Couldock cuntinued until the 226. , repeating "The Willow Copse" and- con- cluding with "King Lear". Couldock was replaced by that good ac- tor, E. L. Davenport and his wife, Fanny Vining, who opened July 1st in "St. Marc", a play hy J, H. Wilkins, with this CAST St. Marc Duke Deono Gismando Lorenzo Roserio Delcastro Dianora Theresa August 27th brought H. 3. McCarthy and his sister, Marian, in the play, "Perfec- tion". Brian O'Lyrin and "Yankee" Miller 239 Mr. Davenport Mr. McFarland Mr. Myers Mr. Wright Mr. McClennen Mr . Lamb Fanny Vining Mis s Woodbury CHICAGO STAGE Rice's Chicago Theatre 1356 from the Yankee Robinson Company appeared in "Sam Patch in France" at a benefit for Mrs. Alterus. On August 29th it was announced that Katie L. Woodbury would appear for the first time under the name Mrs. W. H. Riley in the play of "Pizarro" with W. H. Riley playing Pizarro. W. H. Riley was born in Boston, Mass., in 1855. After performing in the eastern theatres he went west where he remained most of his life. He became very popular in Chicago and Milwaukee, Wis- consin. He married Katie Woodbury, sister of Susan, the latter known later as Mrs. McFarland, and still later as Mrs. Perrin. Mr. Riley died in New Orleans, La., Novem- ber 16, 1867. His official funeral was held in the following February at Indiana- polis, Indiana, under the auspices of the Masonic fraternity. No funeral in the In- diana city was ever attended by a greater number of people. It required all the car- riages in the city and seventeen street cars to transport the crowd, such was Mr. Riley's popularity. After his death, his wife operated one of the most successful repertoire companies in the country. There were few towns in the middle states that were not, at one time, familiar with the name "Mrs. W.H. Riley's Dramatic Company". This lady, it will be remembered, made her stage debut in Chicago. September 4th Mr. and Mrs. Florence o- pened with their usual three short plays, 290 CHICAGO STAGE Rice's Chicago Theatre 1856 "The Young Actress", "Born to Good Luck" and "A Lesson lor Husbands" . With this type of entertainment tney continued for their two weeks 1 stay. After their departure the stock company operated without the assist- ance of a star until October 1st, when Mr. and Mrs. George F. Brown arrived to add interest to the productions. Their opening was in "Romeo and Juliet" supported by Su- san Denin; the evening's entertainment in- cluded "Sketches in India". Mr. Brown was a singing comedian ol considerable merit. October 3d Susan Denin appeared in the title role of "Lucretia Borgia" with McFar- land as Genero. Mr. and Mrs. Brown gave a grand medley of dances. "The Honeymoon " was the afteroiece with Miss Denin as Juli- ana and Mr. McFarland as Duke Aranza. Miss Denin took her benefit on the 4th, present- ing "Asmondus" and followed it wi ch "Jack Sheppard" . Mr. end Mrs. Brown appeared in a favorite sketch. The 5th saw "Somnambulist", "Two Greg- orys" and "The Young Scamp" . October 7th, "Queen of Abruzzi" and "Jack Sheppard" were presented by Miss Denin and the stock com- pany,, while Mr. and Mrs. Brown were seen in their comedy skits and musical numbers. The same program was repeated on the 8th. October 9th, "Fazio" and "Jack Sheppard" were the offerings; and on the 10th "Lu- cille" with Susan Denin in the title role, McFarland as St. Cyr, and Brown as Isaac Schuyler. "The Idiot Witness" was the aft- 231 CHICAGO STAGE Rice's Chicago Theatre 1856 erpiece. On the 11th Miss Denin closed her engagement with a repeat of "The Queen of. Abruzzi" . October 13th Peter and Caroline Rich- ings were again welcomed in a presentation of "Daughter of the Regiment" followed by "A Roland for an Oliver". The 14th, "Betsy Baker" and "Extremes" were the offerings of Caroline and her father . "Wife's Secret" and "The Muleteer" were produced on the 18th. After successfully appearing in the plays they had given before, the Richings closed their engagement on October 25th. Eliza Logan again opened on the 27th in "Evadne", supported by McFar land, Riley, Wright, Linden, Mrs. Alterus and others of the stock company. She followed "Evadne" with "The Hunchback", "The Lady of Lyons", "Romeo and Juliet", "Adrienne the Actress", "Adelgatha" , "Italian Bride" and "Lucretia Borgia". Miss Logan closed in Chicago on November 3th and was replaced on the 10th by Maggie Mitchell, who opened in "Satan in Paris" followed by "Kitty T Sheah", "Husband on Sight", "Captain Charlotte", "Madeline", "Eton Boy", "French Spy" and "Mischief Making", "Lady of Lyons", and "Limerick Boy". Miss Mitchell finished her engagement on the 22d with "Jack Sheppard" and "The French Spy" . Frank Chanfrau was the next guest star. Supported by Miss Albertine, he opened on the 25d in "A Widow's Victim" with "Bob 292 CHICAGO STAGE Rice's Chicago Theatre 1856 Nettles" and "New York As It Is", the lat- ter with this CAST Hose Mr. Chanfrau Joe Mr. McFarland Meadows Mr. Watts Chas. Meadows Mr. Riley V/ra. Twill Mr. Linden Sara Sharpe Mr . Lamb Hugh Mr. McClennen Old Man Mr. Rice Mrs. Meadows Mrs. Marble Susan Mrs. Alterus Emiiv Miss Woodbury Kate : /~ Miss Clayton Kitty Miss Monroe Ruth Miss Sharpe On the 24th "Husband on Sight", "People's Lawyer" and "New York' As It Is" were Chan- frau' s offerings. On the 26th "Linda" and "The Widow's Victim". "Linda" was repeated with the same cast, which was CAST Mose Edward Bradley Linda Emma Bradley Mr. Chanfrau Mr. McFarland Miss Albertine Miss E. Clayton It was followed by "Ireland As It Is". On the 28th "Toodles" and Venice" were given with ''The Merchant of Mr. Watts a s 295 CHICAGO STAGE Rice's Chicago Theatre 1856 Shylock. This was on the occasion of the star's bene! it. December 1st, " Mose in California" and other short plays with a special feature of "The Drunken Combat" by Chanfrau and Miss Albertine was the dra- matic fare given the audience. Mr. Chanfrau and Miss Albertine thus finished their Chicago visit. December 3th Mr. McFarland took a ben- efit and two new players were ushered in, W. F. Johnson and Susan Denin. The plays were "School for Scandal", which had not been played for some months, and "The Gun- maker of Moscow" which had this CAST Ruric Nevel Mr. McFarland Rosalind Miss V/oodbury Zenoba (with songs) Ella Clayton On the 9th, "Lady of Lyons" was presented with Miss Denin as Claude and Miss Woodbury as Pauline. December 10th Mr. Wright took a benefit and offered "The Bride of Lammer- moor", iollowedby "Bob Tails and Wagtails". "Somnambulist" and "Tom and Jerry" were the plays for the 11th. December 12th, "The Gypsy Parmer" and "Buried Alive" were presented, on which date a benefit was given for Mr. Linden. It vas followed by "Lucretia Borgia" and "Gypsy Farmer" on the 15th, and "Ernest Mal- traverso" and "La Tour de Nesie" the 15th. 294 CHICAGO STAGE Pice's Chicago Theatre 1856 A benefit was given for Mr. McClennen on the 17th with a presentation of "Idiot Witness" and "Dred" or "The Dismal Swamp", dramatized by C. W. Taylor from Harriet Beecher Stowe's novel. It was thus CAST Mr. McClennen Miss Woodbury Mr. Linden Mr. Riley Mr. Wright Mr. McFarland Mr . Lamb Mary Marble Mrs.. Alterus Miss Monroe Miss Clayton Mrs. Marble On the 13th "The Young Scamp" was pre- sented with Miss Denin as Joseph and Mrs. Linden as Eliza. J. H. Wright was given a rousing benefit on the 19th with "The Mo- mentous Question" and "Chicago in 1812". The last play was thus Dred Nina Gordon Peter Tidmarsh Harr} r Gordon John Crippe Tom Gordon Old Tiff Tom Tit Mrs. Gordon Mrs. Nesbitt Lisel :te Aunt Tilly CAST Ensign Romayne Wah-Wah-Gee Mrs. Romayne Mrs. Heald Mr. Wright Mr. McFarland Miss Woodbury Mrs. Marble Miss Denin closed her engagement on the 295 CHICAGO STAGE North's Amphitheatre 1856 £Oth and was replaced by George E. "Yankee" Locke, who opened on December 2Sd in the plays done on his former visit. Mr. Locke continued at tne Chicago for the balance of the year and until January 14th of the next year. He received a benefit on Decem- ber 31st. NORTH'S AMPHITHEATRE.— This theatre was now successfully operating on Monroe between Clark and Wells Streets under the management of Levi J. North and Company, with F. Whittaker as stage manager. "Di- rector of the Circle" was the attraction on January 4th, 5th and 7th. January 12th a special feature was offered entitled "Sprites of the Silver Shower" with W. H. Franklin, a high-light of the exhibition, turning sixty somersaults. The spectacle was kept on with the addition oi Professor McFarland, giving a wooden shoe dance on a tight rope. Mile. Marie was again riding. This bill was repeated on the 16th. "Cinderella", which had been announced some time before, finally reached produc- tion on January P2d of this year. The man- agers expanded themselves in lavishness in this spectacle and requisitioned forty or fifty children to enhance its magnitude. Among the featured players was Mile . Marie, Master Willie, Ben Jennings, Franklin and Levi North. The presence of children in the exhibition did not attract the opposi- tion of Anthony Comstock, Judge Gerry or ?96 CHICAGO STAGE North's Amphitheatre - Thome's 1856 Jane Adams at that time, as did the per- formance of "The Black Crook" later. That production was the cause of all the agita- tion against children appearing on the stage. So North's "Cinderella" went merri- ly on its way garnering many shekels from the amusement seekers. Frontier towns like Chicago was then are pretty liberal for a- whlle, but when they start the "pious pa- rade" they certainly do become extreme. North's Amphitheatre devoted most of its feature entertainment to the circus an^ie, as it gave this outdoor impresario an excellent opportunity to get his summer show in iirst class shape and, as that had always been his sphere, he was loath to forsake it, nor did he. THORNE'S NATIONAL.— While playing up and down the Erie Canal a year or two prior to 1856, Levi North had met Charles R. Thorne who was visiting the same towns with his repertoire show. As misery likes com- pany he now made a deal with Thorne to open in his Chicago Amphitheatre on August 4th. All was considered settled, and Thorne brought in his company, rehearsed and was ready to open on August 4th, 1856, the date that h':d been set. However, a dispute arose between North's Chicago manager, Mr. Har- vey, and Mr. Thorne, and the opening did not materialize on the date set. After much argument, Thorne decided to 297 CHICAGO STAGE Thome's National 1856 take the easiest way out and avoid further trouble, so he iixed up what was called the North Market Street Hall, and changed its name to Thome's National Theatre. This hall was located midway between Clark and Dearborn Streets on Michigan Street, later called Austin Street and now known as Hubbard Street. It was deserted as a theatre shortly after Thorne left it and it burned on April 13, it was being used as a 1859, at which time police station. Thorne opened here with his stock com- pany on August 12, 1856, in John Tobin T s well known play, "The Honeymoon", with the following CAST Duke Roland Jacques Count Balthazie Campello Juliana Volante Lamonia Chas. R. Thorne L. G. Mestayer Wm. F. Johnson W. H. Thorne Harry St. Maur Charles Wilson Mrs. Chas. Thorne Emily Thorne Ira Couti This was a comparatively good stock company, and they gave a very satisfactory performance of Mr. Tobin' s excellent play. Among others in the company whose names did not appear in the above cast were: S. Cogswell, D. H. Howard, J. J. McCloskey, Charles Thorne, Jr., Julia Smith, Miss 298 CHICAGO STAGE Theme's National 1856 Cogswell, and a Miss Hanson. There were several good singers in the organization and Mr. Thome took advantage of the talent by introducing "The Star Spangled Banner", "Marseillaise" and "Hail Columbia". At the conclusion of "The Honeymoon" the usual farce was presented, which on this occasion was "Simpson and Company". A change of bill was usually the poli- cy, so on August 14th "The Hunchback" and "Perfection" were put on, followed on the 15th by "The Stranger" and "The Young wid- ow". On the 16th "Maid of Crcssey", "Dead Shot" and "Robert Macaire" were well played. The public was given "The Lady of Lyons" and "No Song, No Supper" on the 18th. "Rob Roy" and "Who Speaks First" were the of- ferings on the 19th, followed on the 20th by "Don Caesar de 3azan" which received a hearty welcome. The company then repeated some of these plays and Thome decided it was about time for a benefit for some one. Mr. Mestayer •was chosen as the recipient, the date set for the 28th at which time Kate Denin, al- ready known to Chicago through her appear- ance with Rice's company, appeared at the National in "The Wife" . She was next seen in "The Hunchback" with "The Irish Emi- grant" as the afterpiece. On September 1st "Love and Murder" combined with "A Sol- dier's Daughter" made up the evening's en- tertainment, followed by "There se" and "Poor Pillycoddy" on the 2d. "Guy Manner- CHICAGO STAGE Thome's National 1856 ing" was given on the 3d with this CAST Meg Merrilies Julia Manner ing Lady Bertram Dandie Dinmont Dominie Sampson Henry Bertram Kate Denin Mrs. Chas. Thorn< Emily Thorne Chas. R. Thome W. J. Johnson L. Mestaver The repertoire continued with "Charles II" and "Spectre Bridegroom" on the 4th; "Ar- line" or "The Rose of Killarney" on the 5th; "Damon and Pythias" and "A Roland for an Oliver" on the 8th; and "Poor Soldier" ana "A Belle's Stratagem" the 9th. "Sweet- hearts and Wives" and "Rough Diamond" were presented on the 10th; "Gasbarodo the Gon- delier" and "Slasner and Crasher" on the 11th; and "Asmondus" and "My Sister Kate" on the 12th. September 15th the plays were "Iron Chest" and "Invisible Prince", the latter with this CAST Dan Leander Folrobond Princess Apricotina Marquis Anysido Count Palava Diego Queen Blouzabella Xquisiletetelepet Toxalittletattle Fairy Gentilla L. Mestayer J. J. McCloskey Emily Thorne Mrs. C.R. Thorne J. J. McCloskey W. J. Johnson Harry St. Maur Miss Cogswell Julia Smith Miss Hanson Kate Denin CHICAGO STAGE Thome's National 1856 Miss Denin closed her engagement on the SOth. September 22d Mr. Owens appeared as "Paul Pry" followed by "The Windmill" as the afterpiece. By way of an added attrac- tion Campbell's Minstrels were interpo- lated. On the 23d Owens was seen in "Poor Gentleman" arid "Toodles" ; the 24th, "Sweet- hearts and Wives" and "Betsy Baker". On the ':5th, "Heir at Law" was presented with Owens as Dr. Paugloss; J. J. McCloskey as Ezekiel Homespun; Johnson as Lord Duberly; Me stayer as Dick Dowies; and Miss Mestayer as Ciliy Homespun. On the 26th Mr. Owens was given a benefit, with a repeat of "Paul Pry". His final appearance was on the 27th at ^hicn time "The Hypocrite" was the play and Campbell's Minstrels the balance of the attraction. Thereafter, the plays were: "Lady of Lyons" and "The Honeymoon" the 21st; "The Idiot Witness" and "Faint Heart Ne'er Won Fair Lady" on the 22d. "William Tell" and "The Good For Nothing" pleased the patrons on the 23d. "The Mountaineers" followed on the 24th; "Midnight Hour" and "Old Guard" on the 25th; and "Golden Farmer" on the 27 th. On the 23th Kate Denin again opened with the company in "The Wife". The follow- ing night she presented her old favorite, "The Hunchback", and on the 30th, "Fazio" was received with considerable pleasure. October 1st 0. B. Collins appeared in 301 CHICAGO STAGE Thome's National 1856 "Born to Good Luck", a play which had been seen often at the Chicago Theatre. It was followed by another old one, "How to Pay the Rent". On the 3d, Collins gave "The Irish Ambassador" and repeated "How to Pay the Rent". The 5th, "Irish Genius", "Capi- tal Match" and "Teddy the Tyler" were Col- lins' offerings. On the 7th, he repeated "Irish Ambassador" with this CAST Sir Patrick O'Phinpo Mr. Collins Prince Rudolph W. J. Johnson Count Morenas Mr. St. Maur Baron Laurence croft Mr. McCloskey Isabella Emily Thome Lady Emily Mrs. C.R. Thorne October 3th Mr. Thorne moved Mr. Col- lins and his stock company to the Metropol- itan Hall. Here they of f ered the same plays they had presented at the National. The records show that Collins became Thome's partner, but it was of brief duration for he left the company very shortly. After the departure of Collins, Thorne brought in another Irish star in the person of Sa7i Ryan, who opened in "The Irish At- torney" . This Sam Ryan later married Kate Den in whom he evidently met while with Thome's company. It was not an enduring match as he was accused by his wife of de- serting her and eloping with Mary Ellis, author of "As Told In the Hills" . On the 302 CHICAGO STAGE Thome's National 1856 14th Ryan and Thome's company presented "Irish Attorney" again. He didn't remain the star long as Mr. Collins returned and opened October 15th. Mr. Ryan was still with the company, however, as he appeared as Paddy Miles in "The Limerick Boy" with the addition of a "jig". Collins again pre- sented "The Irish Post". Miss Denin now appeared with the com- pany on the 16th in "The Honeymoon" . On the 17th a farewell benefit was given Mr. Col- lins when "Rough Diamond", "His Last Legs" and "Irish Post" were given. October 20th the Richings appeared in "Old Heads and Young Hearts", while Mr. Linden and Mrs. Alterus presented "Deaf as a Post". The Journal, dated October 20th of this year, paid high tribute to Peter and Caroline Richings and lauded them for their splendid dramatic achievement while in this city. "The Sorceress" was the pre- sentation on that date, followed by the farce, "The Spectre Bridegroom". This play called "The Sorceress" should not be con- fused with Gilbert and Sullivan's opera of tij.e same name . October 21st "Derwent Manor" and "Poor Pillycoddy" were presented . A Chicago news- paper of this date, in a story calling at- tention to the number of theatrical attrac- tions scheduled for the city, incidentally stated: "Last but not least, comes the ver- itable "Yankee Robinson" . Even he has made 305 CHICAGO STAGE Thome's National 1356 up his mind that Chicago is the place for amusements and is about to forsake 'the tent 1 and take his lodgings with us, and with all our hearts we bid Yankee welcome." At this time Mr. Thorne, discouraged with his lack of success, gave up and bade a temporary good-bye to Chicago. Charles R. Thorne was a good actor, but he always felt the urge for a managerial career from the time of his first appearance on the stage. Soon after this first appearance he wont to Richmond, Virginia, as a juvenile leading man. In 1835 he married Maria Ann Mestayer. His desire to manage overcame his judgment and, not being allergic to grief, he undertook that troublesome voca- tion and took a company to South America. In many of the towns they played, his wife, Mrs. Thorne, was the only white woman the natives had ever seen. Shortly after he returned to the States he organized a repertoire company and with it played the towns along the Erie Canal. It was at this that he met Levi North who was playing the same towns with his North American Circus, as has been 'aontioned heretofore. After the collapse of his hopes in Chicago, this ambitious trouble hunter went to Australia and from there to Eng- land, the most perfect place for barnstorm- ing discovered since Oliver Cromwell ban- ished the actors to a life of vagabondage. After returning to America his wife 304 CHICAGO STAGE Halls 1856 died. He later married Mrs. James Stark. He died in San Francisco on December 13, 1893, after a life which was as eventful as it was unfortunate. HALLS. — The records on the various Halls during 185€ are scattered and meagre. Several small Halls, under diverse names, sprang up and then disappeared temporarily. METROPOLITAN.— This Hall became in- creasingly important during the year and. eventually entered the class of the The- atre. On January 22d, 23d and 24th, The Euphonians, consisting of Henry Rainey, J. H. Stillman, Mrs. Rainey and Mrs. Stillman, gave a splendid concert. On the 30th an Amateur Concert was given. June 27th Ole Bull, Adelina Patti and Company, appeared here with their usual ex- cellent concert. On July 1st, 2d and 3d, the Hutchinson Family were billed; and on August 20th, Tom Thumb again appeared. August 27th Pyne and Harrison's Eng- lish Opera Company opened at this amusement place, presenting on that occasion "The Bride of Lammermoor" . Mr. Harrison was one of the best tenors that v/as ever on the English stage, and the announcement of his appearance met with immediate appreciation and approval. Louisa Pyne was the undis- puted equal of Mr. Harrison as a singer. She had no superior as a soprano in this 305 CHICAGO STAGE Halls 1856 or any other country. "Her voice," says Ireland, "is as pure, iresh and melodious as an English skylark." She eventually re- turned to England where she remained the balance of her life. They were enthusias- tically received and genuinely appreciated when they appeared in Chicago in their fa- vorite operas: "La Sonnambula", "Bohemian Girl", "Maritana", "Fra Diavolo" and "Crown Diamonds" . On October 2d a Grand Concert closed a three nights' engagement. And on October 5th, Chandler Robbins presented a grand operetta. As has already been recorded, Thome's stock company moved into the Metropolitan on October 8th and held the boards until the latter part of the month, Emma Stan- ley replaced them on October 28th with what she announced as her famous "Drawing Room Entertainment" . November 11th, 12th and 13th Strakosch and Parodi gave a concert. They were fol- lowed on the afternoon of the 29th by Henry Abner, who brought in the "Great Western". On December 4th Wendell Phillips appeared. December 25th a Grand Musical Entertain- ment by the New England Bards was given as a benefit for Frank Lombard. MISCELLANEOUS. —Among the small amuse- ment places that had sprung up by this time can be found the Apollo Concert Saloon, 306 CHICAGO STAGE Halls - Circuses ' 1856 which held an occasional concert. One of these the week of November 29th featured Emma Kiting. This Hall was located in the South Basement of the Masonic Temple on Dearborn Street opposite the Post Office. PHELPS OPERA HOUSE, formerly Dan Em- mett T s Variety Hall, was located at 104 Randolph, between Clark and Dearborn. On January 3, 1856, J. G. Lombard, brother of Frank Lombard, was given a benefit in this Hall. Dan Emmet t was given a benefit the following night at the Metropolitan Hall. One other place of amusement is men- tioned during this year under the name of a German Theatre. This was located at Wells and Indiana Streets, the latter afterwards renamed Grand Avenue. There is no record, however, as to the entertainment that held forth here . CIRCUSES.— G. F. Bailey and Company, successors to June and Turner, cametoChi- cago on October 1st for two days, billing La"Petite Marie, Wm. Carroll, J. M. Ward, Master Charley, Madam Carroll, Mr. Mul- grove and Master William. t The Bailey here mentioned is not related to James A. Bailey who later came into the circus picture. 307 * CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1857 - 1858 CHAPTER XI The new year at the Chicago Theatre found "Yankee" Locke appearing in "The People 1 s Law- yer" , probably better known as "Solon Shingle" . He was support- ed by the same stock actors as at the close of the previous year. But on January 3d Locke closed his engagement with the plays "Cherubusco" and "Green dion Mountain Boy" . BCUCICAULT Locke was replaced by C. W. Couldock, who returned to present the same plays he had on previous occasions: "Kamlet", "Wil- low Copse", "Richelieu", "The Advocate" and "Merchant of Venice" . He closed on Jan- uary 3.4th and the company, without a star, gave a benefit on the 16th for Mrs. Alterus. J. H. McVicker returned on the 20th as a full-blown star, presenting a repertoire of short plays. He opened in "Man of the World" and "Your Life's In Danger", with the support of Susan Woodbury and Ann Mar- ble. The £lst his selection was "Home in the West" and "Hue and Cry" followed on succeeding nights by Ti Man of the World" and 308 CHICAGO STAGE Rice's Chicago Theatre 1857 "All the World' s a Stage" ; "Taking Chances" and "Sam Patch" . He closed on the 24th and his successor, J. W. Wallack, was announced to open on the 26th. Of all names in early American theat- ricals few are better known than that of J. W. Wallack. He was born in Lambeth, Eng- land, on August 26, 1794. At the age of eighteen he excelled as Laertes in "Hamlet" . His American stage debut took place Sep- tember 7, 1818, at the Park Theatre in New York as Hamlet. He starred for years in England and America, and was an efficient manager of theatres here. He died in New York on December 25, 1864. He was the fath- er of Lester Wallack. Wallack selected "King of the Commons" as his introductory play, followed by "The Bridal" on the 27th; Byron's "Werner" on the 28th, repeated on the 29th. "The Iron Mask" was the attraction on the 30th and it was continued until February 2d. On the od the star appeared as the Dane in "Ham- let" supported by McFarland as the Ghost, Miss Woodbury as Ophelia, and Ann Marble as the nurse. February 4th "The Iron Mask" was repeated, with "Merchant of Venice" on the 6th and "Richard III" on the 7th, at which time Mr. Wallack made his farewell bow to the Chicago audience. On Mr. Wallack' s departure the stock company gave a benefit for Harry Linden. This popular actor was born in Richmond, 309 CHICAGO STAGE Rice's Chicago Theatre 1857 Virginia , on October 2, 1831. He made an appearance at the Bowery in New York, after which he went to Chicago in 1856 with the intention of staying six months, but re- mained two years. His wife was the former Laura Bentley. They were very popular in Chicago and their last benefit was a large one . January 16th Mr. and Mrs. Florence paid their annual visit, opening in "The Irish Emigrant" and "A Lesson for Husbands'', fol- lowed by v Irish American" and "Yankee Mod- esty". On February 11, 1857, John Blake Rice announced his retirement from theatricals. He had come to Chicago just ten years be- fore and, through thrift and a world of theatrical experience had made a good rep- utation and considerable money. He now saw the handwriting on the wall and was con- vinced that his present theatre on Wash- ington Street faced a dismal future. Levi North was making quite a success of his Amphitheatre with the multiple and diver- sified attractions he was offering a ca- pricious public. And the popular James H. McVicker was preparing to launch McVicker's Theatre farther south, in which direction the population was spreading. Daa Emmet, at his Variety Theatre on Randolph Street, was garnering the shekels jingling in the pockets of minstrel show lovers. These, together with the innumerable halls where the best of musical talent was heard from S10 CHICAGO STAGE Rice's Chicago Theatre 1857 time to time, convinced Mr. Rice that it was about time to ring down the final cur- tain in the Chicago Theatre. Perry Marshall had been the treasurer for Mr. Rice and, as such, felt sure that he knew a few things that Rice didn't. This diiierence of opinion is a mental ingredi- ent tnat spurs many on to success or fail- ure. If Marshall felt the urge to satisiy an ambition to be a theatrical manager, why- should Rice discourage him? And he didn't. Mr. Marshall assumed the lease and became the manager. The first thing he did was to bring in J . G. Hanley, who had been a suc- cessful and popular actor five years be- fore. He hoped the public would remember him. But they didn't. Theatre patrons have an unpleasant habit of forgetting a per- former very readily, and unless an actor keeps constantly before the customers, or devotes a portion of his income to adver- tising, or, last but not least, plays well a good part in a good play, he will go "back to the foul dust from which he sprung, un- wept, unhonored and unsung." Unhappily, good actor tnat he was, Hanley did not meet the expectations of Mr. Marshall. William McFarland and his wife, Susan Woodbury, retired from the cast of the Chicago Theatre when Mr. Marshall took possession. They transferred their ta.lents to Levi North's Amphitheatre and tooK with them at least some patronage. The first attraction brought in by Marshall was the 311 CHICAGO STAGE Chicago Theatre 1857 rising soubrette, Maggie Mitchell, who o- peiied on February 23d in "Satan in Paris" and "The Maid With the Milking Pail" sup- ported by J. G. Hanley, who became stage manag e r , and the r e s t of the stock c ompany . Miss Mitchell included in her repertoire "The French Spy", "Pet of the Petticoats", "Little Treasure" and "Margot, the Poultry Dealer" . After Maggie Mitchell closed her Chi- cago engagement, Mr. Marshall engaged Mrs. George Farren, a splendid actress, but one who had never been a drawing card as a star. She had made her iirst appearance on a stage at the Chatnam Garden Theatre in New York in 1824, when she was but a child. Mrs. Farren opened on March 17th in "The Gamester" with this CAST Mrs. Beverly Mrs. Farren Mr. Beverly Mr. Hanley Suklen Mr . Linden Charlotte Mrs. Pennoyer Other members of the company made up the balance of the cast. For the afterpiece, "Faint Heart Ne'er Won Fair Lady" was put on. On the 18th and 19th she was seen in the title role of "Jane Shore", supported by Henrietta Irving as Alicia, Hanley as Dumont, Riley as Glocester and J.S. Wright as Hastings, minor parts filled by other 312 CHICAGO STAGE Chicago Theatre 1857 members of the company. March 20th "Camille" was the attraction followed by "The Rights of Women" as an afterpiece. "Mary Tudor" vas presented on the 21st and on the 23d "Second Love" by J. Palgrave Simpson was done with this CAST Elinor Ombrey Thornhill Danger fie Id Hawbuck Mildred Vernon Lucy Mrs. Farren Mr. Hanley Mr. Riley Mr. Linn en Miss Irving Mrs. Pennoyer "Geralda" and "Taming a Tiger" were the plays on the 26th, ana on the 23th "Peg Wof ling ton" was the offering with Mrs. Far- ren as Peg, Hanley as Triplet, J.S. Wright Pomander, and Henrietta Irving as A 1abel Vane e g: ven On wi th the : this '9th, "St. Gary's Eve" was CAST Madeline Ma j or Went worth Mary Mayfield Eame May! ield Mrs. Farren J. S. Wright Mrs. Alt eras Mrs. Radcliffe This concluded the engagement oi Mrs. Far- ren, which had been financially aisappoint- ing. At her departure came another actor of ?>15 CHICAGO S T A G E r Chicago Theatre 1857 excellent reputation, James H. Hackett, who opened March 30th. Mr. Hackett was born in New York on March 16, 1800, a descendant oi one of the oldest families in Ireland. For this reason he was often called "Baron" Hackett. He made his first appearance with a professional company in 1816 at Newark, New Jersey. Ten years later, in March, 1326, he appeared at the Park Theatre in New York in the character of James Wood- cock in "Love in a Village" . He married Catherine Leesuggs, a capable actress. She had passed on before he appeared in Chica- go. Hackett was often called the only Fal- stafi . Hackett opened his engagement with "A True Kentuckian" by W. B. Benard, who took the hero from Paulding's "Lion of the West". It was presented at the Chicago Theatre with this cast Nimrod V/i Idfire Mr. Hackett Freeman Mr. Hanley Percival Mr. Riley Jenkins Mr. Linden Pompey Mr. Fredericks Mrs. Wall ope Mrs. Pennoyer Mrs. Free man Mrs. Alterus Mary Mrs. Wright Caroline Miss Irving This play was followed by "Mons . Mallet ". The original version of this play has been 514 CHICAGO STAGE Chicago Theatre 1857 shortened and is now used as an afterpiece at the period under discussion. It is interesting to note here Mr. Hackett's connection with the play "Mons. Mallet". Tii the orchestra of Biven's Thea- tre, Albany, N. Y., was an old Frenchman by the name of Mons . Mallet (pronounced Mai- la) . This was the person from whose histo- ry Hackett first conceived the idea for the play of "Mons. Mallet". Mallet was ar- dently attached to Napoleon and after tne 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 vil- lage. He called daily at the post office for a letter from his daughter, asking for a letter for Mons. Mallet and was answered in the negative, the clerk seeing no such name as Malla (spelt Mallet) . The poor Frenchman was nearly insane at the disap- pointment. Still he called at the post of- fice daily, and received the usual answer of "no letter for Mons. Malla." By accident the letter was discovered by a person who understood "French, and the old Frenchman received the .joyful news of his daughter's safety. Shortly afterwards she arrived in the United States. Mr. Hackett was playing Mons. Mallet many years ago in Boston. Judge of his surprise when ho was informed that, the hero of this play was then in the orchestra. Hac/iett f s offering for the 31st was 315 CHICAGO STAGE Chicago Theatre 1857 "Henry IV" in which he played lalstaif, with Mr. Hanley as Holspur and Mrs. Pen- noyer as Lady Percy. It was iollowed by the farce "Fire Eaters". April 1st Hackett ap- peared as Rip Van Winkle. It was said that he was the original Rip but that claim has been disputed. He, at least, was the first actor generally identiiied- with the part. The version he used was a dramatization by W. B. Bernard and not the Joseph Jefferson version. The supporting cast included Rad- cliff as Perseverance, Mrs. Marble as Ger- trude, and Wright, Riley, Bradley, Keene, Ashmer, Chandler, Hall, Lamb and Stewart in male parts, with Miss Irving, Mrs. Pen- noyer and Mrs. Knight in the female parts. April 2d "Henry IV" was repeated, and on the 5d, when Hackett took a benefit, it was again presented, but with the farce, ""Slasher and Crasher" as the accompanying play. April 6th "Merry V/ives of Windsor" was the attraction with this CAST Sir John Falstaff Mr. Hackett Mr. Ford Mr. Hanley Mr. Page Mr. Riley Dr. Cains Mr. Wright Sir Hugh Evans Mr . Lamb Shallow Mr. McClennen Slender Mr. Linden Mrs. F or d Miss Irving Mrs. Page Mrs . Pennoyer Mrs. Quickly Mrs . Marble 316 CHICAGO STAGE Chicago Theatre 1857 The farce which followed was "Cool as a Cucumber" played by Mr. Hanley and Mrs. Alterus . On the 7th "Rip Van Winkle" and "A True Kentuckian" were again presented. The 8th saw a repeat of "Merry Wives of Windsor", and on the 9th ."Henry IV". Hackett finished his engagement on Saturday, April 11th. Monday, April 13th, Dora Shaw made her initial appearance in "Camille" and "Faint Heart Ne'er Won Fair Lady". She was prac- tically an amateur and as such she was tol- erated in the difficult part of Camille. April 14th A. J. Neafie returned, and gave his usual repertoire of Shakespearean and other classic plays. Nothing new was seen until the 22d, when J. M. Weston was announced as an additional feature. "Julius Cat^ar" was presented on the 23d with Mr. Weston as Mark Anthony to Neafie' s Brutus. Neafie finished his engagement on April ?4th with "Richard III". A bene! it was given for Mr. Wright on the 27th at which time members of Yankee Robinson' s company appeared . April 28th the famous Lola Montez ap- peared in person in the drama "Lola Montez in Bavaria". This highly publicized actress who was also known under the titled name of the Countess Lansfeldt, was born at Limerick, Ireland, in 1818, and was chris- tened Maria Dolores Rar.anna Gilbert. She 317 CHICAGO S T A G E Chicago Theatre 1857 had a hectic career off the stage with which these records are not concerned. When she appeared on the Broadway Theatre stage in New York in 1351 in the ballet ''Betty the Tyrolean", she failed to live up to her publicity and was consequently disap- pointing like many others whose importance is so of ton over emphasized. "She was grace- ful, but not brilliant", says Ireland. She affected her patrons in Chicago much like the old lady who, on seeing President Jack- son for the first time, shook her head and remarked, "He's only a man after all." Lola l^.ontez died in New York City on January 19, 1861, of paralysis. She was only forty- three at the time of her death. "Lola Monte z in Bavaria" opened in Chicago had this in which sh« CAST Lola Montez King Doebelle Pophinheim Duchess Princess Lola Monte z Mr. McClennen Mr. Riley Mr. Wright Mrs . Knight Mrs . Pennoyer May 1st Lola appeared in !TM: irgot the Poul- try Dealer" followed by "Rosalie Bouquet". Mr. Wright was her principal support. "The Cabin Boy" was Lola's next offering ana at the conclusion of this short play Lola did her famous dance. "The Irish Tutor" was the afterpiece, with Mr. McCarthy doing 518 CHICAGO STAGE Chicago Theatre 1857 O'TooIe. On May 4th what was announced as a new company made its appearance. It was headed by James Anderson with a Miss Ellsworth as the Leading lady, both appearing in the o- pening play, "Macbeth". Others included in the company were: Mr. Hanley, Mr. Bradley, Mrs. Bernard, Mrs. Hill and several others. This Anderson was born in England and first appeared in America at the Park Theatre in New York in 1844. May 5th the attraction was "Ingomar", with "Naval Engagement" for the farce. "Hamlet" and "Jenny Lind" followed on the 6th; and "^he Elder Brother" on the 7th. A new actor, George H. Andrews, a man of considerable capability, was featured on the 8th in "Much Ado About Nothing". Mr. Andrews was born in England in 1798 and was first seen in this country in 18T7 at Boston. He died in New York on April 7, 1866. It may be noted here that Mr. Rice and his family left Chicago on April 30th for his new residence in New York. May 9th "The Robbers" was the bill, followed by "The King's Gardener". Monday, May 11th, the patrons saw "Othello" and "My Neighbor's Wife". In the latter Mr. Lamb played Smith, which, by the way, is the first part in which James H. McVicker was seen here in 1848. May 12th, "Money" 319 CHICAGO STAGE Chicago Theatre 1857 was the play, followed by "Barney Bourke"; the 14th, "Much Ado About Nothing"; the 15th, "King Lear"; and the 16th, "Lady oi Lyons" and a repeat of "My Neighbor's Wife*, Jean Davenport now returned and opened May 18th in "Love", wnich was a favorite with this actress. The companion piece was "Maid With the Milking Pail". On the 19th, "The Hunchback" was given with Miss Daven- port as Julia, Mrs. Bernard as Helen, Han- ley as Master Walter, Wright as Clifford, and other members according to the require- ment; The farce was "The Siamese Twins". On the 20th, "Adrienne the Actress" given with this was CAST Adrienne Princess Marchioness Angeline D' Ammount P'Sax Mr. Angeline Miss Davenport Mrs. Bernard Mrs. Radcliife Mrs. Pennoyer Mr. Riley Mr. Wright Mr. Pennoyer It was followed by "An Alarming Sacrifice" played by Mr. Lamb, Mrs. Bernard and Mrs. Radclille. "Romeo and Juliet" and "The Swiss Cottage" were done here on the 21st. May 2 2d and 25d "Medea" and "Siamese Twins" were the joint attraction. On the 25th, "Peg Woffington" was done under the title of "Masks and Faces". This is Bouci- 320 CHICAGO STAGE Chicago Theatre 1857 cault's version of Reade T s "Peg". "London Assurance" was produced on the 26th, and while the cast has been given on a previous occasion, we herewith repeat it. C^bT Lady Gay Spanker Miss Davenport Pert Mrs. Pennoyer Sir Harcourt Courtly Mr. Bradley Dazzle Mr. Hanley Meddle Mr. Kail Dally Mr. Lamb Cool Mr. Wright Max Harkaway Mr. Radcliffe Charles Courtly Mr. Riley Then came "The School for Scandal" and "The Siamese Twins" on the 28th; "Lady of Lyons" on the 29th; and "Camille" on the 30th, at which time Miss Davenport concluded her s tay . June 1st brought the return of C. W. Couldock with the ever popular "Willow Copse". "The Advocate" was presented on the 2d, followed by "Still Water Runs Deep". On June 3d "Richelieu'' was produced, fol- lowed by "School of Reform" on the 4th, and "Ion" on the 5th. On the 10th Couldock was seen in the title role of "Shylock" and "The Stranger". "Willow Copse" was seen again on the 11th. After repeating several of his former offerings, Couldock closed his engagement. He received high praise on the occasion of this visit. 321 CHICAGO STAGE Chicago Theatre 1857 June 15th saw the return of Susan Denin and with her Harry McArthur. The latter was born in England in 1834 and first ap- peared in America at Philadelphia in 1849. These two featured actors opened on the 16th in "Asmondus", "Rough Diamond" and "Teddy the Tyler" ably supported by the stock company. On the 17th, "Queen of Ab- ruzzi", "Born to Good Luck" and "The Good for Nothing" were the attractions; on the 13th, "Robber's Wife" and "The Momentous Question"; the 19th, "Jack Sheppard" and "Love"; 20th to 22d, "Madeline" and "The Rival Pages"; the 23d, "Alice", "The Young Scamp" and "Honest Thieves"; tne 24th, "Landlords and Tenants" and "The Wandering Boys"; the 25th, "Somnambulist" and " The Idiot Witness" . June £6th Miss Denin dug up one new to Chicago play patrons, "Louise", which was presented with this CAST Louise Miss Denin Boilese Mr. Bradley Bernard Mr. Riley Marie Mrs. Bernard On July 1st, after Miss Denin' s depart- ure, Mr. Marshall deviated from the form of entertainment Mr. Rice had standardized and brought in the great Ravel family, Gabriel and Francois, assisted by the Rus- sian artist, Yrca Mathia, and the Martinet- 522 CHICAGO STAGE Chicago Theatre 1857 ti Troupe, consisting of Zoe, Gilbert, M. Alhart, Moris. Gropi, Mons . Dubouch, t, the distinguished tight rope dancer, Miss Fran- ces and " Mons. Blondin, and a lull corps de ballet. These great performers, happily- supported by other members of the company, continued for some time. On July 6th the presentation was "Har- vest Home" in pantomime, followed every night by other pantomimes, including: "Magic Trumpet", "Elopement", "A Day in Cadiz", "Secret Marriage" and "Three Gladiators"; "Janet and Janette", "Parquito", "Rose and Pattilou" and "Conscript".. On the 13th the Ravels appeared in their usual pantomime, but the stock company did not appear. July 17th Mr. Blondin took a benefit, giving "John Jones", "Wanted 1000 Milli- ners" and "Deeds of Dreadiul Note". The Ravels closed on July 51st and the regular stock company once more became the feature attraction. Their first offering was "Jack Sheppard" and "Naval Engagement" as the double presentation. August 3d ushered in a new star, P. B. Conway, and his wife. Mr. Conway made his American stage debut on August 19, 1850, at the Broaaway Theatre in New York, as Charles Surface in "The School for Scan- dal". He gained great popularity and was seen in the leading parts in many original American productions, among them the highly successful "Belphoeger the Mountebank". He 323 CHICAGO STAGE Chicago Theatre 1857 was also the creator of Ingomar, in that line play. Eventually, Mr. Conway became a resident oi Chicago when he opened a school of acting in this city. His wife was the former Miss E. Crocker who first appeared in Mew York in "All That Glitters is Not Gold". The Conway s opened in "Macbeth" on the 4th, and on the 5th appeared to advantage in "Ingomar", in which Mr. Conway in par- ticular was well received. On the 6th, "Romeo and Juliet" was presented with the Conways as the ardent lovers. The 7th saw "Camille" and "Bamboozlium" , and on the 9th the offering was "Faustus" with Conway as Faust and Mrs. Conway as Mephisto. This bill was kept on until the 14th, when "The Marble Heart" was substituted with "Still Waters Run Deep" as the afterpiece. August 15th Mr. Conway took tne customary benefit and repeated "Faust." followed by "Ben the Boatswain". These were the last of the Con- way T s of i er ing s . August 17th, Fanny Morant opened in " Lucre tia Borgia." On the 13th the always sure-fire "London Assurance" was Miss Mo- rant's choice. The 19th, "As You Like It" and "Swiss Swains" was the attraction, and on the 20th a play new to Chicagoans, "Ret- ribution", was given. This was followed by "The Slave Queen 11 and "My Wife's Diary" on the 24th; "Female Gambler" on the 27th; and "Lady of Lyons" on the 23th. This concluded the visit of "fanny Morant. 524 CHICAGO STAGE Chicago Theatre 1857 August 29th the regular members of the stock company presented M A Lonely Man of the Ocean" and "The Wandering Boys" . On the 51st Prank Chanfrau opened with the company in "The People's Lawyer ". September 1st "Poor Gentleman" and "The First Night" were presented, and on the 2d three plays, "Ocean Child", "Limerick Boy" and "The Windmill" were given. A triple bill was also oifered on the Sd, when the plays were "Model of a Wife", "Widow's Vic- tim" and "Toodles" with Chanfrau appearing in all three. "Black-eyed Susan", "Glance at New York" and "Dumb Girl of Genoa" were the offerings on the 4th, followed on the 5th by a repetition of plays already given. On the 7th, "The Last Days of Pompeii" was presented, with a repeat on the 3th. Mr. Chanfrau took his well deserved benefit on the 11th, when he put on "Mose" and other familiar pieces. He closed on the 12th. Even without a star the theatre patrons were not denied good entertainment as the stock company took over the task, and on the 14th of September they gave "Shoemaker of Tolouse" and "Children of the Wood". The company continued, with little or nothing new in the repertoire until Mrs. George Farren returned on the 28th of September. Her opening play was "Lucretia Borgia", followed on the 29th by "Adelgartha" , and on the 30th by "Macbeth" and "Perfection". October 1st Mrs. Farren and the stock 325 CHICAGO STAGE Chicago Theatre 1857 company gave the familiar "Evadne" to sat- isfactory patronage. For the aiterpiece "The Barrack Room" was put on. On the 2d a benefit was given for Mrs. Farren with "The Wrecker's Daughter" and "Peg V/offington" as the attractions. On the 3d, "Lucretia Borgia", "Child of the Regiment" and "Rights of Women" gave a full evening of entertain- ment . Then came in succession "The Game- ster" and "The Barrack Room" on the 5th; "The Hunchback" and "Husband at Sight" on the 6th; and on the 7th and 8th, "La Fiar- nia" and "Child of the Regiment". The star concluded her stay in Chicago on the 10th and her place was taken by John Brougham who opened on the 12th in "A Gen- tleman from Ireland with this CAST Fitzmaurice Mr. Broug.i^m Clover Mr. Bradley Charles Clover Mr. Wright Hugh Savage Mr. Riley Agnes Clover Miss Irving Lucy Clover Mrs. Brougham On the 15th "Dombey and Son" and "A Fellow Clerk" were clone, followed on the 14th by "Pocahontas" and "Binks the Bagman". The 15th Brougham added "The Fast Man" to the foregoing. "Pocahontas" was still on the boards on the 16th but the companion piece was "A Serious Family". On the 17th, "Life in New York" and "The Clock Maker's Dream" 526 CHICAGO STAGE Chicago Theatre 1857 was the double presentation. The 20th saw a repeat of "Borabey and Son". "The Pirates of Mississippi" was done on the J22d with this CAST f Toole Tom Holt Smart Georgine Mr. Brougham Mr. Jones Mr. Lamb Mrs. Knight For the afterpiece a burlesque on "Meta- mora" was put on. October 25d "Romance and Beauty" was presented with this CAST Jack Sain Frand Asper Barbara Blossom Mr. Brougham Mr . Hanley Mr. Hall Mrs. Knight Miss J. Miles Brougham closed on the 24th with two plays he had recently given. * October 26th ushered in Mrs. J. Wallack who opened in "The Italian Wife". Mr. Lamb and Mr. Hall did the old farce, "My Neigh- bor's Wife". The 27th Mrs. Wallack proved herself a capable Lady Gay in "London As- surance", with Hanley as Bazzle and Miss "Macbeth" and "Miseries of made up the bill for the 28th Miles Human as Pert- Life" 327 CHICAGO STAGE Chicago Theatre 1857 and 29th. "Rob Roy" iollowed by "School for Scandal" and "Lady and the Devil" was the attraction on the 50th. Then came "Guy Man- ner ing" on the 31st; "The Bridal" on Novem- ber Sdj and on the 5d "As You Like It" was ably produced by Mrs. Wallack and the stock company. Business, however, was not good. North had reopened with his company, and the building of McVicker's Theatre was attract- ing much attention, so no matter how ear- nestly Mr. Marshall and Hanley tried, they did not seem to increase their receipts. Still they went on trying and brought in Janes Wallack to support his wife, who was still with the company. The new star opened on November 4th in "The Iron Man" and drew a fair opening crowd. November 6th Mr. and Mrs. Wallack appeared in Shakespeare's "A Winter's Tale", he as Leontes, and Mrs. Wallack as Herraione. The farce was "The Fire Eaters" played by Mr. and Mrs. Lamb. T his place of amusement had not been doing well for some time despite the tire- less efforts of Mr. Marshall, the lessee, and Mr. Hanley, the manager. Hence, Nov- ember 7th they rang down the curtain on their company and the Chicago Theatre was closed for a short time, leaving the dra- matic field to Mr. North and McVicker. But November 28th Mr. MeFarland, who had leased the Chicago, reopened it with a presenta- tion of "The Corsican Brothers", McFarland as the leaaing actor, and Susan Woodbury, r 62d CHICAGO STAGE Chicago Theatre 1857 his wife, as the leading lady. y- The new management reduced the prices to 25^ and 15#, with 50$ for the boxes. Frank Lombard, a local favorite, was an- nounced as a member of the new company. The new lessee changed the name of tne theatre to "McFarland 1 s Chicago Theatre", snowing he was not to be outdone by McVicker who still called his theatre "McVicker 's Chicago Theatre". McFarland' s next production was " A Wonderful Woman" followed by "Napoleon's Old Guard". On December 2d, the plays were "Six Degrees of Crime" and the popular farce, "Siamese Twins". On the 3d, "Lucre- tia Borgia" and "Don Caesar de Bazan" were seen. McFarland was producing a style of plays that had not been used to drawing patrons seeking low prices. December 4th, "LaFitte the Pirate of the Gulf" was put on, followed by the popular "Honeymoon", and on the 5th "William Tell" was added to the repeated "LaFitte" . On the 7th a newcomer made his appear- ance with McFarland' s company. This was C. G. Bussard, billed as "the great delineator of Yankee, Dutch and Nautical characters". He opened as Jamison Hardhead in "The Game- cock of the Wilderness" sandwiched between "Faint Heart Ne'er Won Pair Lady" and "The Siamese Twins" . On the 8th the new star appeared as Long Tom Coffin in what was billed as "The Pilot". This was succeeded 329 CHICAGO STAGE Chicago Theatre - North's National 1857 by "Wife For a Day 1 ', and in the course oi the evening a Master Lalonte did some as- tonishing gymnastic tricks. "The Lady of Lyons", "Yankee Land" and "Stage Struck Yankee" furnished the amusement on the 9th. "Nick of the Woods" was the play for the 10th, with Bussard as Roaring Ralph and McFarland as Nick. December 11th, "The People's Lawyer" and "Rip Van Winkle" were the attractions on which date a benefit was given Mr. Bus- sard. "Macbeth" was the offering on the 14th, followed by "Ernest Maltraverse" and "The People's Lawyer" on the 15th. On the 16th, "Camille" and "Wife for a Day" made an attractive two-play combination. "Love and Loyalty" was presented on the 17th, at which time Prank Lombard was introduced. On the 19th, "Captain Kyd" and "The Siamese Twins" were offered the patrons, McFarland continued operation of this establishment for the balance of the year, and for a short period into the following year. NORTH'S NATIONAL THEATRE welcomed the New Year with a production of "Roual the Hunter", which play was retained until the 10th of January. Tony Pastor did the clown- ing. On the 12th the bill was changed to "The Swamp Fox" or "Marion and His Men" combined with a great equestrian exhibition sucn as Levi North excelled in giving. obO CHICAGO STAGE North's National 1357 This drama was continued until January 14th, when the bill was again changed to "Azael" . As an added attraction the famous Keller Troupe was brought in. January 28th the play was replaced by "L&urline" presented by the theatre's ex- cellent stock cast. On February 3d, "The Wandering Jew" was the offering and the Keller Troupe was re-engaged. ''Christine 1 ' was the play on the 6th, followed by "Un- do Tom's Cabin" on February 9th. This was held over until March 2d, when it was su- perseded by "Rookwood" which featured Bon- ny Black Bess, the horse made famous as Dick Turpin's mare in the song: "Took from the rich and gave to tne poor Dick Turpin and Black Bess." March 16th "Mazeppi" was given with elaborate scenes in the circle. This play was kept on until March 20th. On the 22d a new star appeared in the person of Joseph Proctor who opened in Louisa Medina's dra- matization of Dr. Bird's story, "Nick of the Woods" . Joe Proctor was a capable and much ad- mired actor in melodrama and semi-tragic roles. He married the former Hetty '. arren, who had created something of a scandal by eloping with a musician. The appearance of Mr. and Mrs. Proctor became the occasion of a family reunion in Chicago. Mrs. Rice 351 North's National 1857 Ann Marble and Mrs. Proctor were sisters. This was the first time they had been to- gether in several years. March 26th Mr. Proctor chose "Damon and Pythias" as his vehicle, followed by "Alex- ander the Great" on the 27th, and "Wallace the Hero of Scotland" on the 28th. "Gio, the Armorer of Tyre" was presented on the 30th and was held over until April 3d, when it was changed to "The Avenger" or "O'Neil the Rebel". Mr. Proctor closed his Chicago engagement on April 4th, whereupon Levi J. North proceeded to bill himself as the star, featuring with him his two great horses, Tammany and Spot Beauty. This old circus performer and manager could always find a feature in one or more of his fine horses, a good aerial act, or a clown such as Tony Pastor. "Tony" Pastor's correct name was An- tonio Pastor. This all around showman was born in Greenwich Street, New York. He be- gan his career of entertaining at the age of six by singing at temperance meetings. Tn 1846 he made his first legitimate ap- pearance at Barnum 1 s Museum, singing in a minstrel band composed of Charlie White, Billy V/hitlock, Hall Robinson, and others. Tn 1847 he joined Raymond and Warring T s Menagerie singing negro songs. He finally became a circus performer under the man- agement of John Nathan, and then as later was a popular clown, in which capacity he was so long featured by Mr. North. On July 532 CHICAGO STAGE North's National 1857 51, 1365, he opened the the Bowery. "Opera House" in North did not continue his starring performance long nor did he offer anything new until April 20th when he announced the appearance of Ben Jennings, the famous clown; Harry Linden, from the Chicago; and many other features, together with the reg- ular stock company in "Sons of the Ocean". It had this CAST Joe Jack Alfred Luke Burni ield Hedgerton Margaret Harry Linden Charles Warwick J. J. McCloskey Mr. McDonald Mr. Evans Mr. Allen Miss Allen A benefit was given for Mr. Warwick on the 21st, with "Hero of Scotland". Mr. North had made some in his National Theatre, and a new company. The first star the horizon was Mrs. Thomas of the famous New York mana of that name. The first play was "Love" or "The Countess one of the ever popular plays ly chosen as a suitable vehic stars. It opened on May 1st sen ted with this improvements now announced to appear on Hamblin, wife ger and actor chosen by her and the Serf", so frequent - le by female and was pre- 333 CHICAGO STAGE North's National 1857 CAST Countess Huon Kupert Catherine Empress Mrs. Hamblin G. J. Arnold W. D. tloyd Miss C. Alford Miss E. Wilton Harry Linden, formerly of the Chicago The- atre, and Emma Wilton put on "Mr. and Mrs. White* for the farce. The Mr. Arnold now appearing here made his stage debut at Philadelphia in 1844 and continued on the stage until 1360, when he died in Cincinnati from the effects of be- ing kicked by a horse. W. D. Ployd was tember 7, 1832. He appearance on Novemb of the Regiment 1 ' . Af joined the Wallack C remained there for vent to New Orleans the Variety Theatre, putting Dan Bryant tors . born in New York Sep- raade his first stage er 2, 1852, in "Child ter leaving Chicago he ompany in New York and eight years. He then and became manager of He is credited with into dramatic cnarac- All in all, Mr. North should have had a very capable dramatic organization. May 6th Mrs. Hamblin was seen in "Ion", while Harry Linden and Fanny Denham gave "The Good For Nothing". "The Gamester" and "The Spectre Bridegroom" were the ofierings for the 7th, and "Love" was repeated for the 354 CHICAGO STAGE North* s National 1857 8th. On the 9th "The Stranger" was present- ed, followed by "Hamlet" on the 11th in which IAts. Hamblin appeared in the role of Hamlet. Then followed !< As You Like It" on the 12th; "The Robbers" and "The Follies of a Night" the 13th; "Lady of Lyons" and "Love Chase" on the 14th. May 15th brought a presentation of the familiar "Romeo and Juliet" with Mrs. Hamblin as Romeo and a newcomer, Alice Mann, as Juliet. Miss Mann was the niece of that best of American actors, Henry Placide. She made her stage debut at Cincinnati , Ohio, on May 28, 1855, in the part of Ju- liet. Miss Mann made a poor impression on her initial appearance in Chicago but later gained quite a local reputation as leading lady for Mr. McVicker when he opened his theatre in 1857. "Douglas" was the attraction at North' s on the 16th, with Mrs. Coleman Pope in sup- port ot Mrs. Hamblin. "Douglas" was fol- lowed by "Agnes DeVere" . This closed Mrs. Hamblin' s engagement. J. W. Wallack opened on May 18th in "King of the Commons". Then came "Othello" on the 19th combined with "Urgent Private Affairs"; "Werner" on the 20th; "Richard III" on the 21st; "Richelieu" on the 22d; and "Pizarro" on the 25u, with Mrs. Coleman Pope as Elvira. "The Iron Mask" was the offering for the 25th, and Mr. Wallackwas seen in "Virginius" on the 28th, with a 535 \/ CHICAGO STAGE North' s National 1857 repeat of "The Iron Mask" on the 29th. June 1st, that highly lific dramatist and actor, and Agnes Robertson, the as his wiie, presented hi torn", following it with his other plays. On June a benefit, and on that occ oi the dramatist's best p or "The Life of an Actres capable and pro- Dion Boucicault, latter announced s play "The Phan- a presentation of 5th the pair took asion offered one ieces, — "Violet" s" , with tnis CAST Grimaldi Violet Maltraverse Lord Arthur Selwyn Dawdle Wopshot Julia Countess Dion Boucicault Agnes Robertson G. J. Arnold C. DuBois V. D. Floyd Harry Linden Miss C. Alford Mrs. Coleman Pope Now was the first appearance in Chicago of one of the most colorful personalities coxinected with American theatricals, and one whose progress in this country deserves more than a passing observation. This am- bitious author, actor and director was born in Dublin, Ireland, December 26, 1820. His alleged father was French, as the name im- plies, and his mother as Celtic as anyone could wish to be. Early in the year 1840, while still under twenty years old, he boldly stalked into the office of the man- ager of the Covent Garden Theatre, one of 336 CHICAGO STAGE North's National 1857 the outstanding establishments of its kind and noted for the quality of its plays and patrons, and with his egotistical assur- ance demanded to see the manager , who, of course, could not be seen, especially by this arrogant young upstart. After many visits, however, he succeeded in getting an audience and an invitation to "take tea" with the austere impresario. The result was that his play, "London Assurance", was accepted and produced at that popular place of entertainment that same year. On the occasion of this production, the dramatist's first effort, the authorship was credited on the program to Lee Moreton, Boueicault preferring to conceal his iden- tity until he learned the reaction of the patrons towards his first drama. The in- stantaneous success of this satire of Lon- don social life created such a sensation that at every club and social gathering the name of Lee Moreton was much discussed. Playwrights were riding high in the social tally-ho, and Lee Moreton was being lion- ized before anyone knew who he really was. Eventually the truth came out and much sur- prise was manifested when it was learned that the author of the most sue cessful comedy since those of Richard Brinsley Sheridan * were produced, was only a young Irish-Frenchman less than twenty years of age and bearing the unattractive name of Dion Boueicault. It was not long before the reputation 537 CHICAGO STAGE Worth's National 1857 of the play reached America, and in a very short time the play itself arrived in one form or another. On October 11, 1841, it was seen on this side of the ocean for the first time, and was announced on the bill- ing of the Park Theatre, where it was pre- sented, as "Boucicault' s dashing comedy of fashionable life, 'London Assurance 1 , with a notable cast." Among others in that cast was the already established actress, Char- lotte Cushman, who made her first appear- ance in a part similar to Lady Gay Spanker. It will be seen by the promptness with which this play was produced here after its presentation in London, how alert, even in those days, our American managers were. Long runs were unknown in this country at the time, so the dashing comedy enjoyed no extensive engagement at the Park. But it did persist in coming to the front every little while and has been seen constantly from then until a few years ago. The next successful play that Bouci- cault wrote bore the tantalizing title , "Old Heads and Young Hearts" . It was first produced in London, but found its way to New York in a short time, where it was pro- duced on January 6, 1845. Since his plays were beating him to A- merica, Boucicault finally concluded it would be advisable to come over here him- self and attempt to collect on what he had already furnished. He brought with him the beautiful and talented Agnes Robertson, a 538 CHICAGO STAGE North's National 1857 native of Edenboro, Scotland, where she was born in 1833. They did not come direct to New York, but set sail for Montreal and landed there in 1853. Miss Robertson made her first appearance on this continent in city. After remaining for a short time in Canada, they set out lor New York where they soon established themselves. Miss Robertson readily found a welcome with the managers and the public, for she was a charming woman, a capable actress, and ap- peared in many plays with great success. Boucicault did not take to acting at first, but busied himself writing and look- ing to the protection of the plays he had already written. His first American ap- pearance on the stage was in the part of Sir Charles Coldstream, on November 10, 1854. He was fairly well received on that occasion and soon became a favorite, not only as an actor but as a writer and di- rector, paying so much attention to details that he was unpopular with the actors and was facetiously described as "the uphol- stery director" because he insisted upon having real parlor furniture when the scene represented a parlor. While a number of his plays had pre- ceded him to America, he brought with him several that had not yet found their way here, and these were given production un- der his direction at the numerous theatres to which he became attached. Soon after he reached our shores he commenced to write 339 CHICAGO STAGE North's National 1857 on American subjects as is evidenced by the title of his satire on New York social life, "Apollo in New York", produced on December 11, 1854. His idea of a New York ''Apollo 1 ' did not seem to appeal to the pa- trons of a New York theatre, for it only ran about one week. Prior to this he had shown better judgment in the plays brought out, such as "The Young Actress", first seen October 22, 1853, with Miss Robertson in the part of Maria. It was her first ap- pearance in New York and she made an excel- lent impression. Following this drama came "To Parents and Guardians", and while it was credited to Boucicault, when he put it on in London later, Tom Taylor was down as the author . Following the above mentioned drama came "Masks and Faces", practically a copy of Taylor's "Peg Woff ington" . Boucicault' s dramatization of the famous "Peg" must have been better suited to American consumption than was Taylor's as it was presented many more times. The success of Boucicault and Miss Rob- ertson had reached other cities, and in a short time they were found in New Orleans. It was in this city that their first child, a boy, was born on May 10, 1855. They named him Dion. But Miss Robertson was anxious to return to New York, and did so, appear- ing there as well as in Boston, Philadel- phia, Baltimore and other cities. 540 CHICAGO STAGE North's National 1857 After returning to New York Boucicault produced for the first time on any stage his "Love and Money", which had a run of something like three weeks. This was fol- lowed by "Janet Pride", a play which had been done in London but had its first pro- duction in America on April 4, 1856. It was kept on for forty nights and became quite a favorite on this side of the ocean, al- though neither Boucicault nor Miss Robert- son were in the cast on this occasion. Nearly all the Boucicault plays we have been mentioning were put on at Burton's, with William E. Burton himself in the cast. "The Queen of Spades" was brought out on April 5d at another theatre, however, and was kept on for about two weeks. One of the best of his early dramas was "Violet" or "The Life of an Actress", taken from an old French play. It was first seen in America May PA, 1856, with Miss Robertson as Violet and Boucicault as Grimaldi, in which parts they were seen in Chicago in June, 1857. The part was a great favorite with the dramatist and one that he reveled in play- ing. Grimaldi is an old Frenchman attached to a theatre as "captain of the supes", and has grown old hoping to some day get a part worthy of his talent. The story in- volves the .jealousy of a leading lady of the company over the appearance of Violet, a newcomer sponsored by the Super. She plots to ruin Grimaldi 1 s protege, Violet, who has been schooled by the painstaking Frenchman. As her big scene approaches, 541 CHICAGO STAGE North's National 1857 kidnappers snatch her from the dressing room and when her cue comes she is not to be found. Wapshot, the comedy in the play, who has never been seen in any part but comedy, discovers the kidnappers and starts in pursuit, goes melodramatic and screams, "Damn me, I'll do something this time the people won't laugh at", and rescues Vio- let, the nerve-wrecked actress. Those who knew Eoucicault coulu easily understand how the part of Grimalii fitted his per- sonality and disposition. This is one of the best dramas written dealing with stage life. On January 9, 1860, Boucicault made a dramatization of Scott's "Heart of Mid- lothans", but he ignored Scott and the ti- tle and called his play "Jennie Deans" . It is of interest to note that on the program the opening night of this presentation the spelling of his name was changed. Hereto- fore the name had been spelled Bourcicault but it now became "Boucicault" and the "r" died, never to be resurrected so far as that writer was concerned. Many of his early plays were put on in this country before he arrived here. Among them may be mentioned: "Knight of Arva", seen here September 15, 1849; "West End" or "The Irish Heiress", first played in America on March 9th of the same year. "The Phantom" was done after he arrived as he and Miss Robertson both appeared in it. Then came "Violet", an adaptation of "The 342 CHICAGO STAGE North's National 1857 Vampire", which he sometimes called "The Phantom". It was followed on October 5th by a translation from the French designat- ed "Pauverette" . All of these plays were seen at Niblo' s while he was connected with that theatre as director. His "Prima Don- na" was brought out here on October 11, 1956, but with very limited success. "How She Loved Him" was seen for the first time at Wallack' s on July 5, 1864, but was with- drawn alter a few performances and was sel- dom played later. "Miini", which was first revealed to an indifferent audience in 1872 never attracted much attention then nor later. His champion Irish drama, "The ShoUghraun", in which he played Con, was the most successful of all his Irish dra- mas. This play v/as first produced on Nov- ember 14, 1874, after two of his other plays dealing with the same subject had proved his skill for this das:., oi work. These plays were "Arranah Pogue" and "Col- leen Bawn" . In the early eighties, while making a trie to San Francisco with his company, Donald Robertson, a murnber of the cast, asked him, just as they were leaving New York, what the opening play was to be in the coast city. Dion replied, "My God, I don't know. I'm going to write it on the way out." And he did write on. of the best plays that ever came from his active pen, "The Jilt". It had the average run in the western metropolis, and was later seen in New York on April 25, 1885. falling as it 545 CHICAGO STAGE North' s National li>57 did on Shakespeare's birthday, he had a right to hope for its success. In 1331 he made an adaptation from the French "L T Assamoire" , which he entitled ''Prink" . "The Flying S mid" was another that enjoyed a fair degree ei theatrical atten- tion but does not rank with many of his other works. Kis "After Dark" was first played in England but toured America under the management of William A. Brady for a great many years. It caused a big legal battle between Brady and August in Daly over the train effect, which actually didn't belong to either as it had been introduced before in an old English drama. Another highly approved drama, not us- ually credited to Boucicault, is "Rip Van Winkle", in the form with which we are ac- quainted, made from the eld Washington Ir- ving romance. During this dramatist's work as stage director, one of the many actors under his direction was Joseph Jefferson the III. There had already been an indif- ferent stage version of this legend but it had met with little approbation. The part of Rip, however, appealed to Jefferson and he applied to Boucicault to make him a ver- sion of the popular story. The result is that version which is commonly rei erred to as the "Jefferson Version of Rip Van Win- kle". As a matter of fact, it is about the only version that anyone knows much about . To give a complete description of all 344 CHICAGO STAGE North's National 1857 of Boucicault T s plays and the date of their production in a chronological sequence, would be equal to dramatizing the telephone directory and it will not be attempted here. So many were played under diiierent titles and many were re -written from otner plays with little or no alteration, that tracing them is difficult if not impossible. During the season of 1834 and T 85, he gave the theatrical fraternity what he called an " innovation" , and that is what it turned out to be. He introduced for the first time a private railroad car with liv- ing quarters for all the actors, who were to nave their meals as well as sleeping quarters on this "show car". It became com- mon among theatrical troupes later, but it was new then and little understood or liked. Each member was to pay $2.50 per day for the accommodations Mr. Boucicaul"^ and his son, Dion, Jr., supplied. There is no bet- ter place than the congested quarters of a "show car" to prove that "familiarity breeds contempt" and other things, and this "in- novation" was no exception. In the early perm- tient stock days the actors' trunks were left at the hotels and a basket boy, as he was called, toted each player 1 s wardrobe to and from the theatre, and this distinguished playwright reestab- lished that old custom when he book out his first "car show". The fact oi the matter is, tney were not allowed to carry any trunks on the car, so the costume for each 345 CHICAGO STAGE North's National 1857 performer was tied in a bundle, which did not seem so bad to the actors until the attraction ended the season and each per- former was given his bundle to carry on his shoulder through the busy streets of New York City, when they returned to that the- atrical Mecca. The elder Boucicault had, on this trip, tried to put his son "Dot" as young Dion was called, forward, but young Boucicault never showed any indication of becoming much of an actor. He did, however, develop into a whirlwind stage director, even outclassing his illustrious father. Most of young Dion T s producing was done in England where he went in the late l 30s . There he married the capable and distin- guished actress, Irene Vanburgh, a shining light of the British stage, for many years leading lady for Sir John Hare. By reading the li: e of Marie Tempest one may learn something about the capabil- ities of young Boucicault, as Miss Tempest states that all she ever knew about acting she owed to him. Nina, the daughter of the dramatist under discussion, also found her way to England where she married and re- tired from the stage. She had never made much headway as an actress in America, al- though she had been seen in several compa- nies, including that of William Gillette in a play called f 'A Legal Wreck", produced in 1888 at the Madison Square Theatre. Aubrey Boucicault, youngest of the children, remained in this country and became rather well known as an actor. He was seen in New 346 CHICAGO STAGE North's National 1857 York productions up to the time of his death. After deserting Agnes Robertson, Bou- cicault married Loui.se Thorndyke, a very charming woman and a fairly able actress. This devoted companion remained with him until he passed away. At the time of his death he was in the employ of A.M. Palmer, his one time bitter enemy. But more of that later. Let us now revert to the recorcs of his appearance at North's National Theatre in Chicago . June 10th saw another Boucicault play, "The Widow 1 s Victim", followed by " Bob Nettles" and then "The Young Actress". "Pauline and Cheimoin" were offered on the 11th. On the 12th Agnes Robertson took her benefit, at which time the above bill was repeated. Mr. Boucicault and Miss Robert- son closed their engagement on the 13th. They were succeeded by John Collins, the Chauncey Olcott of those days. He opened his engagement on the 15th with "The Irish Embassador" and "Born to Good Luck". Then came "How to Pay the Rent" and a couple of short sketches on the 16th and 17th; "Ner- vous Man", "Magic Shirt" and "Mr. and Mrs. White" on the 18th; "Teddy the Tyler" and "Spectre Bridegroom" on the 19th; and "Jack Sheppard" and "The Virginia Mummy" on the 20th, throwing in "Rory O'More" for good measure . After playing several oi the Irish 547 CHICAGO STAGE North* s National 1857 plays he had so often performed in Chicago, he retired and made way for a new star to appear. This was no less than Edward Eddy, who had a wide and varied theatrical exper- ience as actor and manager, commencing his dramatic career at the Front Street Theatre in Baltimore in 1842. With all his exper- ience he never acquired the rating of a really good drawing star. But Levi North, like others, had to have some one to fea- ture, so here he was. His opening play was "Jean Remy" or "The Idiot of Normandy" . On the 22d Eddy's selection was "Jack Cade", and on the 23d, "The Rag Picker of Paris" with the star as Father Jean, and Miss Alford as Marie Didier. This was fol- lowed on the 25th by "The Robbers" and "Siamese Twins", and on the 26th by "Wil- liam Tell" . Mr. Eddy having bowed out of the com- pany, North brought back Mr. McFarland and Susan Woodbury, who greeted the Chicago patrons with "Love and Loyalty" followed by "Sketches in India", on the 1st of July. They followed on the 2d with "Camille", Miss Woodbury in the stellar role, with "Spectre Bridegroom" as the afterpiece . July 3d the offering was "Honeymoon" and "Harry Burnham" with Mr. DuBois as Harry and Mr. Arnold as Ki-Lane. "Don Caesar de Bazan" was given on the 4th. Then came in succession "Blue Devils" and "Paul Pry" with William E. Burton and his wife, who had now joined, featured, on the 6th; the 348 CHICAGO STAGE North's National 1857 8th, "Toodles", "The Wandering Minstrel" and "Serious Family". It is on record that Abraham Lincoln was present when "Toodles" was performed. On the 9th, Goldsmith' s great play, "She Stoops to Conquer", was presented with 3urton, of course, as Tony Lumpkin and Mrs. Burton as Miss Neville. The Henrade Sisters were doing fancy dances at each performance. July 10th Burton took his benefit and presented two of his most enjoyable laugh- making comedies, "Toodles" and "Serious Family". On the 11th, "Sweethearts and Wives" was given followed by "The Mummy", a play seen here several years earlier. Wm. E. Burton was re-engaged on the 13th and continued his repertoire of plays on that date with "Dombey and Son" to satis- factory receipts. "Toodles" was Burton's second bill this week, for the 14th, and a very modern notice was displayed — "Free List Entirely Suspended." "David Copper- field" was presented on the 15th with Bur- ton in his great role of Micawber. He closed his engagement July 16th with "A Serious Family" and "Toodles". Without a star for the nonce, the com- pany offered the patrons "Eustice" and "Mr . and Mrs. White" on the 20th. On the 21st the farce was changed to "Spectre Bride- groom" and the "Sisters Henrade" did their usual entertaining specialty. On the 226. this sister team took a benefit, on which occasion Sam Ryan of the Chicago Theatre 549 CHICAGO STAGE North's National 1857 volunteered his services. At this time, too, the famous Madam Danzie Huesman from the Vienna made her appearance. The dramas of- fered were "The Bold Soldier Boy" and "The Irish Tutor". On the 23d "Irish Assurance" and "Yankee Modesty" together with "Raf- fiel the Reprobate" were the triple offer- ings. July 24th was the date of Mr. Arnold's beneiit and, likewise, the appearance of Jack Winans. The plays were "The Idiot Witness" and "Paddy Miles' 3oy" . The 25th, "Harry Burnham the Young Continental" was followed by "The Good For Nothing". Then came "Rose of Etrick Vale" on the 27th; "Raffiel" and "Loan of a Lover" tne 28th. July 29th North announced as a special feature, Master and Miss Kneass, who ap- peared with songs, in "The Swiss Cottage", Master Charles Kneass as Matty Tick, and Anna Kneass as Lisette. Charles and Anna were the children of Nelson Kneass, who opened the Lyceum as a "vaudeville" theatre and who became famous as tne composer of the melody to Thomas Dunn English's words of "Sweet Alice Ben Bolt". July 51st a benefit was given for V.'.F. Johnson, at which time the following ap- peared gratuitously: J. H. McVicker, Sam Ryan, Ben Jennings, Mrs. Bernard, J. Tur- ner, Miss Jennings, J. L. Bartlett, A. D. Bradley, M. E. Lamb, T. J. Hall, W. H. Ri- ley, J. Ashimer and Master Jack Winans. 550 CHICAGO STAGE North' s National 1857 August 1st North, not to be outdone in classical appreciation, presented "Hamlet" and for this production featured the great tragedian, H. Lorraine. Co-starring with Lorraine and playing Ophelia to his Hamlet, was Kate Denin-Ryan. She had married Sam Ryan since last mentioned in these records and was thus billed by North. On the 4th, the play was "Lady of Lyons" with "The Eton Boy" as the afterpiece. The 5th ''Money" and "The Widow's Victim" were the bills; and on the 6th, "Marble Heart" and "Domestic Comfort" as the afterpiece, in which Mr. Hanley and Mrs. Knight played the only parts. ^ August 7th, Henry Lorraine and Kate Denin Ryan were featured in "Don Caesar de Bazan", and the companion plays were "The Robbers" and "Lost Ship". On the 8th, the offering was "Belphoeger the Mountebank" with Lorraine in the title role and Kate Denin Ryan as Madelene. "Belphoeger the Mountebank" was kept on until the 15th when Mr. Lorraine and Mrs. Ryan concluded their engagement. They were followed by four new- comers: "Yankee" Locke and wife, and Mrs. Malinda Jones and her daughter, Avonda Jones. The main play on the night of the 17th when the four new stars appeared was Mrs. Mowatt's play of "Armond" followed by the Lockesin "Padijah B. Peasley" . On the 18th "Inge-mar" was presented with Avonda Jones as Parthenia -and Hr . Arnold as Ingomar. It 3.5.1 ■ CHICAGO STAGE North's National 1857 was followed by the Lockes in "True Love Never Runs Smooth". August 19th Mrs. and Miss Jones did "Romeo and Juliet" and Mr. and Mrs. Locke were seen in "Wife for a Day" . On the 21st a benefit was given for Miss Jones. On that occasion four plays were presented: "Second Love", "Nothing to Wear", "Wife for a Day" and "Yankee Dere- lict". Then followed: "The French Spy" on the 22d; "The Poor Dependent" on the 24th; the 25th, "The Bride of Lammermoor"— seen for the first time in some years; the 26th "The Hunchback" and "The Hermit on the Rock"; the 27th "Rob Roy"; and on the 28th "Female Gambler" and "Lady of Lyons" with Mrs. Jones as Claude and Avonda as Pauline. The Lockes were seen in "The Yankee Duel- ist". The 29th brought a repeat of former plays . August 31st ushered in two new so-called stars, Anna Senter and George W. Jamison, both of whom made their initial appearance in "The Convict's Niece" and "Who Speaks First". This bill was repeated on September 1st. On the 2d, "Othello" was presented,, followed by "Review", first done in Chica- go in 1838. September 3d "Damon and Pyth- ias" was given with Jamison as Damon, Arnold as Pythias, Anna Senter as Hermione and Miss Alford as Calanthe. The farce was "The Omnibus" with Mr. Floyd as Pat Rooney. Miss Senter received a benefit on the 4th at which time the plays were "Satan in CHICAGO STAGE North's National 1857 Paris" and "There's No Such Word As Fail". September 5th Mr. Jamison's own play, "Old Plantation" or "The Real Uncle Tom" met with no favor, and "Ireland As It Is" had been seen too of ten to attract many patrons. On the 7th, "The Serf" and "John Jones" were given and were followed by a number of repeats. North believed the customers were again ready for an Irish actor, therefore he brought in Mr. Collins who opened with "The Fortune Hunter". This play must not be con- fused with another play of that name seen in Chicago early in the 20th Century. Col- lins continued to appear nightly, but pre- sented only the plays that he and others had given before . He closed September 26th. Maggie Mitchell returned on the 28th with her "Satan in Paris" and "Maid With the Milking Pail". The following night she was seen -in "Rough Diamond", "The Secret", and "Kitty O'Sheil". On the 30th she pre- sented "Paddy Miles' Boy", "French Spy" and "The Good For Nothing". October 1st the star put on "Olymphia" or "The Brigand Queen". Her charming personality, always so radiant, could not fail to please. For the afterpiece, "Kitty O'Sheil" was given. On the 2d and 3d she did Namaratha in "Wept of the Wishton Wist" and "Antony and Cleo- patra" . The 5th, "Pet of the Petticoats" and "Little Treasure" were Miss Mitchell's offerings. On the 6th "Pet of the Petti- coats" was again offered, preceded by "The 353 CHICAGO STAGE North's National 1857 French Spy" , and a repeat of former plays was made on the 7th. October 8th "Captain Charlotte",a fav- orite of Maggie Mitchell's in those days, was put on. It was followed by "Nature and Philosophy" as the farce. Miss Mitchell, like Mrs. Farren at the Chicago, continued to repeat the plays of various other per- formers. She remained until October 10th. Miss Mitchell was succeeded by a re- turn of Yankee Locke and his wife. This good Yankee comedian began his engagement with H. J. Conway's new play, "The Spirit of '76", Mr. Locke playing Ichabod Inkling and Mrs. Locke as Sally Ann V/alde . October 15th Locke was seen in "Paddy Miles' Boy" and "True Love Never Runs Smooth" . On the 14th, Mr. Locke gave one of his very best creations, Jebadiah Homebred. The 15th, Fanny Denham was given a rousing benefit with three plays, "Green Bushes", "Fair Trade" and "The Widow's Victim". Mr. Locke took his benefit on the 17th and presented "Cherubusco", "Yankee Peddler" and "Cut and Come Again". He chose for his closing presentation on the 18th "Rosina Meadows" . On the 20th, Harry Linden, the popular comedian of the company, was given a bene- fit, and with that performance the house was closed and remained dark until November 2d. It then re-opened with a stock company and a special appearance of the Great Kel- ler troupe. November 9th "Uriel" was the CHICAGO STAGE North's National 1857 dramatic offering. It met with universal approval and drew a good crowd in spite of the added opposition of the new theatre. It was kept on until the 12th, when it was replaced by "The Naiad Queen". "The Wander- ing Jew" with its large cast was North T s offering on the 15th. On the 16th, "The Last Days of Pompeii" was given and it v/as kept on until the 19th, when it was sup- planted by three short plays on the 20th. It was now billed as Grand Opera, with the object of presenting Grand Opera to the patrons. On November 29th "Marie" or "The Daughter of the Regiment" was put on by Madam Johanna son. It was done all in Ger- man. Thus North went along, laying stress on his equestrian exhibition, until Novem- ber 50th when he put on the popular "Forty Thieves". On this date, too, the prices were reduced to meet the competition of a proportionate reduction at the Chicago as well as the opening of McVickers . The usual ring features were still maintained. "Forty Thieves" was kept on until December 4th when North put on "King and Stage" for the Saturday matinee. December 7th North changed the bill and gave "Putnam the Iron Man" and featured his sorrel mare, Heroine. With North, old circus performer that he was, who had begun his career as a hostler, one might expect him to think the sorrel mare would be a greater attraction than Putnam or any other CHICAGO STAGE North's National 1857 real or mythical character. Putnam and the mare were kept before the patrons until the 11th. On that date Mr. North gave a benefit for the poor of Chicago and fell back on "Forty Thieves" to please the do- naters to the poor. On the 12th, "Putnam" was again offered along with the regulation horse "opera", December 16th Mile . Franc oni was brought on to present her feats of horsemanship. She was a member of the great French fami- ly bearing that name. The dramatic offer- ing remained the same. "Rockwood the High- wayman" was the big feature on the 17th, with North's sorrel, Hiram, appearing as Dick Turpin's black mare, Bess. One can easily imagine the titters in the audience when North's sorrel stallion made his en- trance as "Black Bess". December 21st a nautical drama, new — at least in name — was given. It was called "Wizard of the Sea". On the 25th, Levi J. North and Mile. Franconi were featured in a sensational riding act v/hich should have been a drawing card as both were outstand- ing circus performers of their time. North, as we nave noted before, was the first person to turn a somersault on the back of a running horse. Thus with dramatic plays presented to the accompaniment of pounding horses' hoofs the year came to a close at Levi J. North's National Theatre. 356 CHICAGO STAGE McVickers Theatre 1857 MCVICKERS NEW CHICAGO THEATRE was o- pened to the public on November 5, 1857. It was, as many know, located on leased school ground on West Madison Street, where McVickers still stands, although it has undergone many changes and alterations. It was built at a cost of £85,000 when first erected. It succumbed to several fires but, Phoenix like, it always rose from the ashes more beautiful than ever. The theatre is eighty by one hundred and fifty-three feet. It was not Mr. McVicker's intention to give the theatre the name of McVicker, but he had become so well known as a performer since his first bo?/ to the Chicago theatri- cal patrons, that it automatically became "McVickers" . He stated that he had in mind calling it the "Washington", but in his first announcement he emphasized Chicago Theatre, thereby trespassing, to some ex- tent, on Mr. Rice's name. J. Herrington was announced as assistant manager. In the roster of the stock company we find the following names: David Hanchett Mrs. Ann Martin F. 0. Monroe Alice Mann F. C. Buxton Lotta Hough W. C. Forrester Eliza Mann A. J. Grover Mrs. R. J. Allen J. B. Uhl Fanny Rich R. J. Allen Mrs. W.C. Forrester Wm. Grey Fanny Price H. R. Jones Julia Florence 557 CHICAGO STAGE McVickers Theatre 1857 ROSTER (Cont'd) J . Taylor Emma Logan W. F. Higgins Nellie Gray F. Herrington Jennie Seacore J. H. McVicker Julia DeClancy Mrs. E. DeClancy Mary Wright Miss J. Martin The musical director was Mons . Louis C net- tle, and the scenic artists were J. R. and R. S. Smith. At the opening of any new playhouse in those days the custom was to have an ad- dress written for the occasion by a recog- nized literary genius. In this case that was Benjamin F. Taylor. The address was approvingly delivered by Alice Mann, the leading lady of the stock company. Miss Mann, who was the original leading lady at McVipkers Theatre, first appeared at Rice's Chicago. She was not enthusias- tically received there as she was then something of a novice. Such shortcoming was of little disadvantage later, during the 20th Century, as the country became overburdened with performers of limited a- bility, but in the early days of the thea- tre, people went to enjoy real acting. There was a time when people went night after night to compare the work of Booth, Forrest, Vandenhoff and such in tne part of Hamlet and other great characters. Al- ice Mann came from an "acting family" being 558 CHICAGO STAGE McVicker' s Theatre 1857 the daughter of Eliza Placide, sister of those two splendid players, Henry and John Placide. In spite of the indifference of the patrons to her when she appeared with Rice, she became quite a favorite while at McVickers . Mr. McVicker did as Mr. Rice had done when he opened his Chicago Theatre, namely, put on plays that were well known to the players and patrons alike. Mr. McVicker* s choice for his opening was "The Honeymoon" and "Rough Diamond". These managers, like many others, deluded themselves into the belief that brick and mortar, tinsel and gauze were sufficient to entertain the pub- lic, only to find out, too late, that it is not true. The public cares little for the architecture of a theatre. What it wants is wholesome amusements supplied by capable stage performers. Harry Perry was the first star McVicker imported, and while he had no nation-wide reputation, he had a considerable Chicago following. On November 7th McVicker pre- sented "Money" with Mr. McVicker as Henry Graves; Perry as Elvelyn; and Alice Mann as Clara Douglas. A new theatre or an old one could not dispense with the farce so "Man and Tiger" was given. November 9th "The Hunchback" was done with the popular star, Eliza Logan, ap- pearing ably supported by the following ;59 CHICAGO STAGE McVickers Theatre 1857 CAST Julia Eliza Logan Modus Harry Perry Sir Thomas F. A. Monroe Helen Lotta Hough Master V'ilford David Hanchett Fathom J. H. McVicker On the 10th, "School for Scandal" and "Matrimonial Squabble" were presented, the former one that tested the strength ot the company. It was well received. Then fol- lowed on the 12th "The Stranger" and "Laugh V/hen You Can", and on the 13th, "Much Ado About Nothing", Miss Logan doing a splendid Beatrice, with Perry as Benedict and McVick- er as Dogberry. November 14th Miss Lo^an gave her own drama, "The Italian Bride", ably supported by Perry and Hanchett, and other members of the company. McVicker and Lotta Hough were seen in "All the World's a Stage". On the 16th, "Lady of Lyons" and a farce was the dramatic fare; the 17th, "Guy Mariner - ing" and "Naval Engagement"; on the 18th, the last night of Miss Logan's engagement, "The Lady of Lyons". "Guy Manner ing ! ' and "The Honeymoon" were repeated on the 20th. Upon Eliza Logan's departure Jean Dav- enport became the next McVicker star, open- ing November 23d in "Ingomar", with Perry in the title role and the star in that splendid part of Parthinia. Then came "Ad- 360 CHICAGO STAGE McVickers Theatre 1857 rienne the Actress" followed by "Betsv Ba- ker" on the ?5d. The 25th, "Camille"" and Mrs. Mowatt's "Armond" were both given. A reviewer signing himself "nameless" to the article went out of his way to elaborate on the ability of Miss Davenport and com- pared her with the best actresses on the Ame r i c f; n s t ag e . "Love" and "Turning the Tables" were the offerings on the ?6th. Miss Davenport then closed her engagement and A.J. Neafie was brought in to replace her in the stel- lar spot. He opened November oOth in "Ham- let". Mr. Bradley, who had been popular in old men roles at Rice's Chicago Theatre ,. now appeared at this house. The part of Hamlet did not fit Neafie for he was not, at this time, a good type for the part of this intellectual youth, as he was too old and portly as well as too bombastic. Such handicaps make an actor ill at ease, and they work under a strain that is noticeable across the footlights, making the audience equally ill at ease. The reader need not Iook for any important innovation or reve- lation during Neafie 's stay here. "Hamlet" was given on November 50th with this cast: Hamlet Laertes Ghost Polonias Horatio King 1st Grave- Queen Ophelia Digger A. J. Neafie Harry Perry David Hanchett Mr. Bradley Mr. Monroe Mr. Uhl Mr. McVickcr Alice Mann Fanny Rich 561 CHICAGO STAGE McVickers Theatre 1357 On December 1st the play was "Riche- lieu", with Mr. Neafie in the title role. On the 2d, "Jack Cade" was presented with Neafie as Cade; Perry as Cliff ord; Hanchett as Say; Mr. Bradley as the Friar; and Alice Mann as Marianne. The concluding farce was "Fashionable Society". On the 5d, Neafie was seen in "The Corsican Brothers", and Mr. Bradley and Mrs. Mann presented the farce, "Forty and Fifty". Mr. Neafie was given a benefit on the 4th and presented a combination of "Corsi- can Brothers" and "Don Caesar de 3azan", — the play which McFarland had played the night before. On the 5th, the farce "Fash- ionable Society" was added to the previous bill. It was given by McVicker and Perry. The star was handicapped, during his stay in Chicago, by contracting a severe cold which marred his performance and im- peded his progress. The business was good but not overly big. New theatres seldom do the business people in general anticipate. The public expect more than the management can give them, so many remain away. "Macbeth" was done on the 3th, with Neafie at his best, and Perry a good Mac- duff. For the farce Buxton and Lotta Hough put on T 'Betsy Baker" whicn was amusing, although anything but new. On the 9th, "Harolde, the Merchant of Calais" was the main attraction, and "Don Caesar de Bazan" was given as the afterpiece. Neafie still 362 CHICAGO STAGE McVickers Theatre 1857 continued with the company and on the 10th he produced "Richard III 11 , while Perry and McVicker "cut up" in the farce, "Fashion- able Society". "Jack Cade" and "Faint Heart Ne'er Won Fair Lady" were the offerings on the 11th. The 12th was tfeafie's last night at McVicrt- er's and he selected "The Corsican Broth- ers" . For the farce McVicker and Perry gave "Money Crisis of 1857", which was not a good laugh-provoking title for the hard times they were having at that period. On the 14th McVicker announced the ap- pearance of "the greatest actor of the age", James E. Murdock, who opened on that date in "Hamlet" with Perry as Laertes and the others cast as they were Mien previous- ly played. McVicker and Perry tried to bring a smile to sad faces by reminding them of their financial plight in "Money Crisis". Murdock was seen in "The Incon- stant" on the 16th, while McVicker appeared in "Sam Patch in France" . The 17th brought "Wild Oats" and again "Money Crisis". "The Inconstant" continued on the 18th, but the afterpiece was changed to "The Dramatist". On the 20th, "The Robbers" and "Fashionable- Society" were seen. December 21st "The Elder Brother" was the attraction. The 24th, Murdock was seen in "DeSoto, Hero of the Mississippi". While we have previously given the cast of this play, still, since it is the first time 363 CHICAGO STAGE McViekerS Theatre - Robinson' s 1857 this particular actor was seen in the part, and the first time it had been produced at McVickers, we will submit it as played by this CAST DeSoto Mr. MurdocK Luis Mr. Perry Tuscabuza Mr. Hanchett Pascali Mr. Bradley Chilipi Lotta Hough - Utah Miss Mann Murdock continued for the balance of 1857, repeating plays he had done before. r ROBINSON'S ATHENAEUM.— Yankee Robinson again made an appearance in the city and brought with him Yankee Miller, his regular stage manager, F. A. Tennyhill, H. W, Gos- sin, Charlotte Crampton, Miss Cushman of the National of New York, Mrs. Leonard of the St. Charles in New Orleans, Mrs. Powell of Columbus, Ohio, and Mrs. Tennyhill of Pittsburg. He opened, as before, in a tent on the corner of Lake and Wabash Avenue, on November 4th, where he remained for two weeks, after which he moved to what he called Robinson's Athenaeum. It was located on Randolph Street near Wells, in close proximity to the Metropolitan Hall. At any rate it was in the Metropolitan block, op- posite Court House Square. The mud in the streets was as deep as on the country road, and "Yankee" never failed to tell a story 564 CHICAGO STAGE Robinson 1 s Athenaeum 1857 about the mud in the town he had Just come from. "I was walking along in Milwaukee," he told his Chicago audience in his monologue, "and seeing a plug hat in the middle of the street, ran out and gave it a kick, when to my surprise, a voice came from under the hat hollering, 'What are you doing?' I replied by asking, "What are YOU doing?" "Hush," said the mud hidden voice, "keep it quiet, I'm stealing a ride on a load of hay , " Stories ridiculing a rural town always made good with an audience, and "Yankee" Robinson knew how to make good both on and off stage. If any one imagines that a man- ager of such a troupe could get irom town to town on tne legitimate receipts taken in at the door, he is letting his imagina- tion play him tricks. To pilot such an ag- gregation, one must possess affability, that ingredient of human nature that goes so far toward convincing a landlord that you will send the amount of your bill in full out of the first receipts taken in at the next town. This visit to Chicago was not the last seen of the resourceful showman in the city. He reappeared, and this time located on a lot on Adams near Clark. He opened on April ?2d with a matinee given as a benefit for the purpose of purchasing a life boat for the City of Chicago, He continued until 365 CHICAGO STAGE Robinson 1 s Athenaeum - Halls 1857 the last of the month to good business. He and his company assisted at a Chicago The- atre benefit for J.S. Wright on April 27th, presenting "The Tailor of Tamworth" with the following CAST Gregory Tnimblewell Yankee Robinson Humphrey Yankee Miller Hugh Neville Lilly Clay Maude Mrs. Robinson METROPOLITAN HALL.— This was still the principal hall and about tne only place where musical artists and organized units could locate, as other halls provided only limited facilities for stage entertainment, some of them having only platforms. This year, on January 9th, the great Fanny Kem- ballj daughter of Charles Kemball, appeared here. This charming lady was born in Eng- land in 1811, making her stage debut at Covent Garden in 1829. She first appeared in America at the Park Theatre, New York City, on September 18, 1852. She married Pierce Butler irom whom she later separat- ed. After playing successfully throughout the country, she began to give readings from Shakespeare, and on her Cnicago visit gave "The Tempest". She died in 1867. January 28th, 29th and 50th, a Grand Concert was given, but no notables were in evidence . 366 CHICAGO STAGE Metropolitan Hall 1857 April 20th Signor G. C. Guidi's Musi- cal Soree provided entertainment for the many Chicago musical lovers. On April 22d, Augustus Dickens, a brother of the famous novelist, Charles Dickens, lectured on Shakespeare. May 4th Madam De La Grange entertained concert fans satisfactorily. On May 12th, Maurice Strakosch, his wife, the former Amelia Patti, and other artists appeared for a few nights in an elaborate musical entertainment. May 25th, Madam Thalberg's Concert Company opened for three days. June 15th, Ordway's Ethiopian Melange, advertised as corning direct from "Ordway's" Boston Theatre, appeared at this Hall. This organization remained until the last of the month. June 29th the indefatigable Ole Bull made another farewell visit. But this magic fiddler was always welcomed and a- bundantly patronized. August 19th, Mrs. E.T* Greenfield, ad- vertised as "the celebrated Black Swan",, accompanied by G . F. Lawrence, gave a sat- isfying concert. The Hall then closed for alterations and improvements, but was re-opened Sep- tember 14th, when Mrs. J. M. Mozart gave a concert assisted by "A lady of Chicago" and the famous basso from Boston, J. M . Mozart. It was announced that tickets were to be had at the W. J. Davis Music Store 367 CHICAGO STAGE Metropolitan Hall - Miscellaneous 1857 at 72 Lake Street. This is the first men- tion we have of Will J. Davis who became such a popular local and national showman. During November Henry Abner, a very popular local impresario, gave concerts every Saturday. December 10th, George Vandenhof 1 , one of the leading actors of the world, gave a Shakespearean reading. The price of admis- sion was only 25 cents, entirely out of line with players of merit and reputation. Ireland, writing of him in 1842 v/hen he first appeared in America, says: "As a studied work of art, his Hamlet was nearly perfection in action, attitude and elocu- tion, and his Claude Melnotte and Alfred Evelyn have been held, in the esteem of many critics, as superior to any others seen on the American stage." APOLLO. — This hall was located in the basement of the Masonic Temple. The style of entertainment was a cross between a con- cert and what was later called variety or vaudeville. The following were the features announced. "Ellen Wood, an accomplished vocalist from New York; Maggie Fitzpatrick, from Laura Keene's Varieties; Emma Keating from Philadelphia; E. J. Keating, the cel- ebrated tenor who cannot be surpassed; J. A. Battau, Balladist; J.E. Gilligan, char- acter vocalist; and George Cramby, pian- ist." 368 CHICAGO STAGE Miscellaneous Halls - Circuses. 1857 MELODEON HALL.— This Hall was situated at 115 and 117 South Dearborn Street, old numbers . The hall seated about five hun- dred, and was, perhaps, the inauguration jn Chicago of what became known later as a "Honky Tonky", as it was in a saloon, or the saloon was in it. Griffith and Company were the managers. LIGHT GUARD HALL. — This place of amuse- ment was opened this year on May 16th when the popular Campbell's Minstrels came for three days. Following them, on May 20th, Wood & Slater's Minstrels were seen for several days. LYCEUM. — Formerly called "Emmett's Varieties", this house was taken over by Nelson Krteass and opened on April 20th with what he called ''Concerts, Vaudeville and Opera". This was the Mr. Kneass who became famous as the author of the music "Sweet Alice Ben Bolt". This writer recalls play- ing a benefit at Chilleeothe, Missouri, in 1900, to start a fund for the erection of a monument to mark the grave in which his body lay. CIRCUSES.— The first circus in 1857 was Lent's, which arrived on Sunday, April 26th, by a special train of 56 cars hauled by two engines. It opened at Wells and Michigan on April 27th. The Michigan Street here referred to was not the later named Michigan Avenue. It was the street after- 369 CHICAGO STAGE Circuses 1857 wards called Austin, and still later re- named Hubbard . North's National Circus was offered on July 10th and 1.1th on the Newberry lot, corner of Wells and Michigan, on the near north side. Many features were advertised, the leading one being Miss Castella and Mr. Rice, perhaps Dan Rice. July 20th, 21st, 22d and 23d, Spaulding & Rogers' "Three Circuses consolidated in- to one monster concern" so the bills said. They further announced 92 persons and 95 horses. These old timers were not modest in their claims. Their consolidated shows were: The North American Circus from New York and New England; The Floating Palace Circus from the Aquatic Amphitheatre on the Mississippi River; and their New Railroad Circus from the Middle States and Canada. "Three sets of performers, three sets of clowns, three sets of ring horses, forty horses driven by one man." The performers featured were: "Rill Lake, one time circus impresario with P. T. Barnum; Madam Lake, Bill's wife, who, after Bill was shot and killed, in southeast Missouri, married "Wild Bill" Hicock at Hays City, Kansas. Others were: the Motley Brothers, Harry McGilton, H. Gentry, C. J. Rogers and others. 370 ^r CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 185S - 1859 - 1860 CHAPTER Xn The CHICAGO THEATRE under the management of Mr . McFarland, o- pened the new year with the old but popular "La Tour de Nelle", "Poor Pillycoddy" and "A Thump- ing Legacy" . On the 4th of Jan- uary, "Six Degrees of Crime" and "An Alarming Sacrifice" were offered. McFarland 1 s next pre- sentation was "The Poor of Chi- cago", which was in reality Boucicault's "Streets of New York". In it McFarland was cast as Badger and Miss Wood- bury as Alida Bloodgood. The play was thus CAST EDWIN BOOTH Adam Fairweather Mr. Riley Paul Fairweather Mr. Radcliffe Livingston Mr . Wright Gideon Bloodgood Mr. Bradley Puffy Mr. Lamb Dan Mr. Hall Badger Mr. McFarland Alida Bloodgood Mis: s Woodbury Lucy Miss Miles Mrs. Fairweather Mrs . Knight Mrs. Puffy Mrs . Jones 571 CHICAGO STAGE Chicago Theatre 1858 McFarland thereafter gave up his man- agerial career and played a short engage- ment at McVickers, replacing Harry Perry, who had been dismissed for drunkenness . The Chicago Theatre, therefore, was dark until it was reopened on January 15th for Birch's Minstrels who moved there from the Light Guards Hall. This theatre now regained its original cognomen, Rice's Chicago. It was closed for a few weeks hut again opened on Febru- ary 15th under the management of W. M. Fos- ter, a good old timer even then. Mr. Foster was born in Norfolk, Virginia, December 1, 1811. He made his debut at Louisville, Kentucky, with N. M. Ludlow. Foster had in his company at the Chi- cago, Messrs. Worcester, Kelvin, Wright, Ponsuly, and Walters. The ladies of the company were Mrs. Melvin, Miss Heffering and Miss Edstrom. February 20th Mr. Foster and his com- pany presented "Dombey and Son" and "The Grand Admiral" with Foster playing Capt. Cuttle in the former and Capt. Copp in the latter, both of which were well done. On the 22d, Foster produced for the first time in Chicago, T. W. Trowbridge's "Neighbor Jackwood" . The 26th, "Katharine and Petru- chio", "The Old Guard" and "His Last Leg" were fairly well done by Foster's company. In spite of his untiring efforts, Mr. 372 CHICAGO STAGE Chicago Theatre - McVickers 1858 Foster could not make the institution pay, so he gave up the ghost and left Chicago. Mr. Rice was not in the city at the time and the neglect of the Chicago Theatre soon brought it into ill repute, and for some time it was seldom open. MCVICKERS THEATRE.— Mr. McVicker start- ed the year 1858 with the same stock com- pany with which he opened the theatre on November 5, 1857. There was nothing sensa- tionally attractive in the names of the members. David Hanchett, who was down as leading man, was not an actor of marked reputation, but he was a good, performer nevertheless. He was born in Montgomery County, New York, June 27, 1823. After playing with an amateur group in New York City, he was engaged by W. C. Forbes for a southern tour. He opened in Charleston in the summer of 1846. After appearing in var- ious dramatic organizations, he was brought to Chicago by Mr. McVicker. The first play presented in McVickers Chicago Tlieatre this year was "Taking the Chances", which Charles Gayler had written especially for McVicker. It was followed by a good afterpiece. Between the two plays Louisa Pray did a feature dance. The prices at this time were 25£ and 50<£, with boxes at Five or Six Dollars. January 4th the celebrated Charlotte Cushman began an engagement in "Macbeth " CHICAGO STAGE McVickers Theatre 1853 with Harry Perry in that role and Miss Cushman as Lady Macbeth, in which part she excelled all others. "An Object of Inter- est" was the farce and in it Lotta Hough was the featured player. On the 5th Miss Cushman appeared in "The Stranger", and Harry Perry in "Taking the Chances" . "As You Like It" was announced for the 6th but Perry had imbibed too freely and was unable to appear- Since it was his second offence Mr. McVicker gave him his notice, to take effect immediately. This was the beginning of the ruination of one of the best actors in the country. January 7th "The School for Scandal" was presented. To replace Perry, McVicker lured William McFarland from his own play- house to assist Miss Cushman in that play. On January 8th the star was given a benefit and offered "Henry VIII" with Hanchett in the part of Cardinal Wolsey and Bradley as the King. This play was followed on the 9th by "Romeo and Juliet" with Miss Cush- man as Romeo and McFarland as Mercutio. On Monday, January 11th, the offering was "Guy Mariner ing" with the star in the really star part of Meg Merrilies. On the 13th, "Mac- beth" was again presented with Hanchett in the title role. It was followed by the farce "Simpson and Company" . January 2 5th Miss Cushman received the usual benefit and at that time presented the familiar "Honeymoon", following it with "Henry VIII" ./The 16th, which was the last 574 CHICAGO STAGE McVickers Theatre 1858 night of this splendid star, was a repeat of "Guy Manner ing". On the 18th George Smith, a distin- guished ballad singer of the day, together with Mile. Frank came to McVickers Theatre. The opening play was "The French Spy" fol- lowed by "Ladies, Beware". This bill was continued until the 20th when "La Gisselle" replaced it. And on the 21st "Sweetnearts and Wives", played principally by McVicker and Bradley, was added to the above. Janu- ary 22d "La Fille de Danube" and "The Cross of Gold" were seen. The 23d> "Gamecock of the Wilderness" replaced "Sweethearts and Wives* 1 . McFarland and his wife, Susan Woodbury, local favorites who had been with McVicker since the departure of Perry, took their benefit on the 25th when "Love and Loyalty" was presented, followed by "Your Life T s In Danger". The 26th, David Hanchett appeared as Jack Cade, and McVicker was seen in the old favorite, "Lend Me Five Shillings". January 27th saw a newcomer whose name was Jessie McFarland, appearing in "Hand- writing on the Wall" . This play was suc- ceeded by "Return from Moscow" . David Han- chett was given a bene! it on the 28th when a new play entitled "Ardvoirlich, the High- land Seer" was presented. It was written by Judge Warden of Columbus, Ohio, and was first seen on any stage at this time. As might be expected, the play was a dismal <575 CHICAGO STAGE McVickers Theatre 1858 failure. Anyone who would select such a title could hardly be counted upon to write a satisfactory drama. "Midnight Watch" and "Captain Charles" were better received on the 50th than the tragedy of the Columbus author had been. February 1st brought a new feature in the person of James Stark who had made something of an impression in San Francis- co, New Orleans and St. Louis. He opened in "Othello" and gave a good performance of the part in spite of a severe cold. Han- chett was also good as Iago; Fanny Rich was pleasing as Desdemona as was Miss Mann in tne part of Emilia. Monroe as Cassio lacked suavity. "Damon and Pythias" was seen on the 2d, with StarK as Damon and Hanchett as Pythias. It was iollowed by "Sweethearts and Wives" with McVicker in his favorite part of Billy Lackaday. There- after followed "Richard III" and "Captain Charles" on the 3d; "Iron Chest" and "Mid- night Watch" on the 4th. "Richelieu" was given on the 5th with Mrs. Stark, the form- er Mrs. Kirby, appearing as Julia. Both the Starks appeared in the farce, "Rough Diamond*' . February 6th "Pizarro" was given. On the 8th "Hamlet" was the play with Stark as the melancholy Dane; Mrs. StarK as the Queen; McVicker as the Grave-digger; and Hanchett as the Ghost. The afterpiece was "In and. Out of Place". The 9th "Othel- lo" was repeated. February 10th "The Rob- bers" and "Breach of Promise" were well 376 CHICAGO STAGE McVic Iters Theatre 1853 presented. On the 11th, "A New Way to Pay Old Debts" was Stark's offering, and the entertainment was augmented by McVicker appearing in tT A Home in the West" . "Mer- chant of Venice" followed on the 12th. Mr. Stark finished his engagement on the 13th. He was replaced on the 15th by Henry Loraine. This English actor made his American debut December 22, 1856, as Claude Melnotte in "The Lady of Lyons" at the Broadway Theatre. New YorK. This was also his opening play at McVickers. Mr. Loraine was supported by another featured player billed as Miss McMahon. As an amateur she made her first stage appearance in 1857 with sad results. Later, she appeared in New York with even sadder results. And her appearance here in Chicago was worst of all. However, her importation had the desired effect, for she brought out the theatre goers, regardless of the after consequences which are generally pretty bad. February 16th thEy presented "Fazio" and in addition, McVicKer in M A Home in the West" . On the 17th, "Romeo and Juliet" and "Lillie White" were combined to fur- nish the entertainment. "The Hunchback " followed on the 18th. The 20th Mr. Loraine received a benefit for which he presented "The Stranger". There was no visiting star for the P,2d } but Mr. McVicker made his own starring appearance in "Times That Try Us" and "Man of the World". On February 2 S a benefit was given for Engine Co. No. 4, 577 CHICAGO STAG McVickers Theatre 1858 with a presentation of "Handwriting on the Wall" and "Home in the West". Another ben- efit was given on the 24th, this time for Alice Mann, the charming leading lady. The play chosen was "All That Glitters Is Not Gold" —though it often seems so. The ben- eficiary gave a good performance of Martha Gibbs. The ?5th, "Toodles", "Sweethearts and Wives" and "The New Footman" were all well received. This bill was repeated on the 26th. March 1st brought the return of John Brougham to the city, and his first appear- ance at McVickers. His opening performance was in "The Nervous Man" and "The Man of Nerve" . March 2d he presented "Bachelor of Arts" and "Love and Murder" . This was suc- ceeded by "The Serious Family" with Broug — ham as Murphy Maguire and McVicker as Aman- adab Sleek. It was followed by Brougham 1 s burlesque on Pocahontas. The latter was played again the next nigrit in conjunction with "David Copperf ield" . And on the 5th the play was "A Gentleman from Ireland" . On March 6th "Dombey and Son" was of- fered. A new name appeared in the cast of this play, Edith Mitchell, who had just returned from Australia via San Francisco. She was born in England in 1834. She first married Wm. Wood and later, Thomas Gordon. She died in Bombay, India, in 1868. March 8th Brougham repeated "A Gentle- man from Ireland" . On the 9th he presented 578 CHICAGO STAGE McVickers Theatre 1858 "David Copperiield" and "Columbus el Pili- bustere" . This last named piece was a big production and was kept on until the 15th, which was the last night of Brougham 1 s suc- cessful visit. The bill was "The Most Un- warrantable Intrusion" and "Amateur Actors" combined with his "Columbus" . March 15th Joseph Proctor opened in "Virginius" with Edith Mitchell as Virginia, followed on the 17th by "O'Neil the Aveng- er" and "William Tell". Miss Mitchell was not happily received by the Chicago public. There was no occasion or justification in Mr. McVicker oflering her even as a sub- star. The only possible excuse was that he must have some name to feature. "Gio, the Armorer of Tyre" was presented on the 18th. March 19th Mrs. Proctor, the former Hester Warren, appeared with the company. March ?Oth "Nick of the Woods" was presented with Proctor as Bloody Nathan and McVicker as Ralph Stagpole. And on the 22d, "Adelphia" and "The New footman" were seen. McVicker was now having his own way in furnishing dramatic fare for the local playgoers. Rice's Chicago Theatre was closed as Foster had failed to make a suc- cess of it, and North's Amphitheatre was only used occasionally. Even the halls were not open as frequently as they had been previously. March ?4th the offering was "Outaichet, the Lion of the Borest" with this 379 CHICAGO STAGE McVickers Theatre 1858 CAST Outaichet Mr. Proctor Old Vernon Mr. Bradley Colin Mr. McVicker Silvia Miss Mitchell On the 25th, "Gio, the Armorer" and "Uncle Sam" were given. The 26th, the plays were "Nick of the Woods" and "Alexander the Great". It was in the last named play that the first elephant brought to America was used. Not in Chicago, however, but in Phil- adelphia. Proctor having closed his engagement, the stock company, with two new members, E. L. Tilton and Samuel Meyers, the latter McVicker r s brother-in-law, presented "Henry VIII" on the 29th. On the 50th the offer- ing was "A Serious Family" and "Michael". Lotta Hough received her first benefit on the 51st. It was well attended as might be expected as she was, perhaps, tne most popular member of the company aside from McVicker himself. The play presented was "She Stoops to Conquer" in which she did Mrs. Hardcastle and McVicker appeared as Tony Lumpkin. After announcing "The Sea of Ice" or "A Thirst for Gold" several times it was finally produced April 1st. The production was magnificent and the public responded cheeringly. It was presented with the fol- lowing cast. 380 CHICAGO STAGE McVickers Theatre 1858 CAST Henride La scours Mr. Meyers Carlos Mr. Tilton Barabas Mr. McVicker Marie Miss Mitchell Diana Fanny Rich Countess Mrs. Knight Modoc Mr. Collier Don Jose Mr. Monroe Parquin Mr. Bradley Jano Mr. Riley Horace Mr. Karris Louise Lotta Hough This play ? was Kept on until April 10th. Mr. and Mrs. Florence opened on the 12th with "Irish Emigrant", "Lesson lor Husbands" and "The Yankee Girl". While these popular players were always favorites In Chicago, they repeated the plays already presented here before in other theatres, and as there was nothing new it is useless to list their repertoire. They remained until April 24th when they were replaced by C. W. Couldock, who had appeared here quite as often as had the Florences. Couldock opened April 26th in "Riche — lieu" f ollowed by the farce "A Pretty Piece of Business" . Then came "The School of Re- form" on the 27th; "Louis XI" and "Bam- boozling" on the 29th, followed by "Still Water Runs Deep", put on by Mr. Couldock. The star took a benefit on the 30th, at 581 CHICAGO STAGE McViekers Theatre 1S58 which time he repeated "The Willow Copse". May 1st saw the first performance of "Jessie Brown" or "Tne Relief of Luc know" by Dion Boucicault. It was thus CAST Jessie Brown Amy Campbell S weenie Cassidy Randall Rev. Blunt Lotta Hough Edith Mitchell J. H. McVicker Samuel Meyers E. L. Tilton Mr. Bradley This play was repeated several times on later occasions. On May 2d the play pre- sented was "The Advocate". Edith Mitchell was not so heartily endorsed at the begin- ning of her engagement at McViekers, but she steadily grew in favor and was, by this date, acquiring a good following. May 6th Couldocx's selection was "A Hard Struggle". After Mr. CouldocK* s de- parture, Mr. Bradley was given a benelit. May 11th little Mary McVicker appeared as Amy in "A Hard Struggle" when that sice ten and two others were presented at a benelit performance for Mr . Herrington, the assist- ant manager. Mary McVicker appeared again in "The Governor's Wife"; "A Conjugal Les- son" and "Cousin Lambkin" were also seen. "Retribution" was the oif ering on the loth. May 14th R. S. Smith, the scenic painter, enjoyed a benefit which also heralded the 33? CHICAGO STAGE McVicker' s Theatre 1853 appearance of "The Flying Dutchman" fol- lowed by "The Golden Farmer", done here for the first time in several years. Mr. McVicker was seen in that star part of Jemmy Twitchell. The first mentioned play was put on again on the 15th but the after- piece was changed to "Retribution". Jean Davenport opened May 17th in "The Countess and the Serf", iollowed by the usual farce. The crowd was not as large as might have been expected, nor was the play as well patronized as on a previous occa- sion here. This was doubtless due to the fact than she had frank Chanfrau as oppo- sition at North 1 s National and because Mr. Hanchett had a better company there tnan McVicker had at his house. While Jean Dav- enport was one of the best actresses in the country, she was never an outstanding box oifice attraction. McVicker, to be sure, had- the best theatre, but this never meant anything to those seeking real entertain- ment; it's what one has in it that counts. On the 18th the new star put on "Adri- enne the Actress" and gave "Bamboozling" for the farce; and on the 19th, "Romeo and Juliet". The ?0th Miss Davenport presented her own version of "Camille", with Tilton as Armond. He was not, however, youth- ful enough for that part to satisfy the feminine patrons. May 21st the star was seen in the thrilling French drama, "Char- lotte Corday" with two shorter plays added. On tnis occasion the house was packed with 383 CHICAGO STAGE McVickers Theatre 1858 satisfied customers, which was also the case at North's National, where Chanirau was presenting "Linda, the Cigar Girl". May 22d Miss Davenport fell bactt on "Camiile", and "Charlotte Corday" was re- peated on the 24th. More important, how- ever, was what McVicker called "Vo Kurt Martial". The ad said: "A tragico comico mello dramma, with scenery painted for sev- eral other pieces and used on this occasion by special permission of the scenic artis- te. The piece is interspersed with combats, marches and tableau:: calling into requisi- tion the full strength of the company, as- sisted by a forty horse power steam engine, used to heat the theatre in the winter. Lotta Hough will appear in a tragic role supported by that great tragedian, James H. McVicker." This conglomeration was re- ceived with a howl of aelight, as might be expected, but those in front who didn't know what the burlesque was about enjoyed the drama of "Camille" and Miss Davenport's acting . "Maid of Mariondot" was seen on the 25th, and the burlesque was repeated; and the 26th, "School for Scandal" was the play witn the burlesque again setting the audi- ence wild with laughter. The 27th, "Lon- don Assurance" was given, followed by the same funny "Vo Kurt Martial". On May 28th, "Media" and the burlesque were given as a benefit for Miss Davenport, who closed on May 29th with a repeat of "London Assurance". 584 CHICAGO STAGE McVickers Theatre 1358 May 31st Edwin Booth made his first appearance in Chicago, opening as Sir Giles Overreach in "A New V/ay to Pay Old Debts" . This great and popular actor was the fourth son of Junius Brutus Booth ana was born in Hart lord County near Baltimore, Maryland, in November of 13S£. He did not appear on the professional stage until 1849, when he played Tressel at the Museum in Boston. However, he had already enjoyed plenty of practice for, as a boy, he and "Joe" Jef- ferson often played "minstrel" on the stage in Baltimore where Joe was acting as paint boy for his father. Booth first appeared in an important part in "The Iron Chest" at the Arch Street Theatre, Philadelphia, on the occasion of a benefit for his father, in 1850. It was not until May of 1357 that he was seen in New York, at which time he played "Richard XII". This was about a year before he ar- rived in this city. After finishing in Chi- cago, he sailed for Europe and opened in London where he was quite a success. Re- turning to America, in 1361 he first mar- ried Mary Devlin, who died in 1865, leaving him with one child. On the first night of his engagement in in Chicago, he had for his opposition Mr. and Mrs. John Drew, both well Known ana somewhat popular in the city. The second play put on by Mr. Booth was "Othello ", which was presented on June 1st, He did not play the title role but chose instead 585 CHICAGO STAGE McVickers Theatre 1858 the character of Iago. The part of Othello was assigned to Mr. Tilton, who v/as equal to its requirements. The popular burlesque described heretofore v/as the afterpiece. Twenty years later Mr. Booth would prob- ably have refused to appear at a perform- ance with this monstrosity. But he was not so particular at this time for it had not been so long before that he was compelled to turn his Shakespearean company into a minstrel show at which he "blacked up" and sat on the end. He learned then what a manager had to do in order to "get by", June 2d, the third night of Booth's en- gagement, he presented "Richelieu". The star was pleased at the announcement made by Mr. McVicker to the effect that he had engaged Susan Woodbury to support him. In "Othello" Lotta Hough had played Lesdemona quite capably, but the audience was so accustomed to seeing her in burlesque com- edy that they laughed en her every appear- ance. June 5d saw John Howard Payne's "Bru- tus" with the following CAST Lucius Junius Brutus Edwin Booth Colistinus Vatarius Titus Tarquinia Tulili Lavinia Mr. Tilton Mr. Bradley Mr. Meyers Miss McWilliams Miss Woodbury Mrs. Meyers The play was followed by "Cousin Lambkin" 386 CHICAGO STAGE McVickers Theatre 1858 in which Lotta Hough and McVicker were the fun makers. On the 5th Booth appeared as Charles Damour supported by Miss Woodbury as Emelia, and other members of the stock company in the parts they had so oiten played. June 7th Mr. Booth was seen, for the first time in Chicago, in a part in which he already excelled % Hamlet. Lotta Hough was his Ophelia, Susan Woodbury the Queen, Tilton the Ghost, Meyers played Laertes, Bradley did Polonius and McVicker, as usual, was the Grave-digger. On the 8th Booth was seen to advantage as Pascara and Miss Wood- bury satisfied the patrons as Florida. The star opened his second week on the 9th in "Richelieu"; "Macbeth" was given on the 10th; "The Iron Chest" the 11th, with ".Katharine and Petruchio" done as an after- piece. On the 12th Booth gave a very good characterization of the crafty Glocester in "Richard III". This finished his first Chicago engagement. He created no particu- lar enthusiasm during his stay. In lact, the press gave him less attention than it had many others, much less than it did to his brother, John Wilkes, who was seen here later. June 14th McVickers went vaudeville, variety, circus, or whatever word could properly identify the style of entertain- ment submitted for the edification of hun- gry amusement seekers. The manager brought 587 CHICAGO STAGE McVickers Theatre 1353 in the Martinetti and Rlondin Troupe, an of i spring oi the famous Ravels. The an- nouncement said: "The performance will com- mence with a grand exhibition on the tight rope by the wonderiul Mons. Blondin and Mons. Dabochet, tight rope dancers, — with- out a balancing pole," which was only one of the stunts executed by this capable troupe. The troupe continued for some time putting on various pantomimes such as were done by the great Ravels. July 2d Mons. Blondin took a benefit. On the 3d the pantomime "Who Owns the Ba- by?" and a number of circus stunts were well presented. The whole evening's enter- tainment finished with "The Mystic Cave" or "The Clown's Misfortune". On the 4th, "Mazulum" or "The Black Raven" was the pantomime, and it was coupled with a vari- ety of other entertainment features. On the 7th we find the name of Felix Vincent appearing as Kasrac to Mrs. Ells- ler's Aladdin. Vincent was born in London, May 4, 1831, and deserted the study of law which he began, for a theatrical career. He came to America and made his debut in Bos- ton, at the Lyceum Theatre. After appearing for some time in New York, he joined tne elder Wallack' s company and remained with it for a considerable period. In 1355 he went to Cleveland, Ohio, where he managed the company at the Academy of Music, a co- operative company, for John Ellsler. From Cleveland he came to Chicago for this en- 588 CHICAGO STAGE McVickers Theatre 1858 gagement. Later, he starred jointly with Marion McCarthy until her death, after which he coupled up with Mollie Williams and continued his starring career. He be- came quite a iixture throughout Illinois. The Mrs. Ellsler here mentioned was I-uphrinie Murry, born in Philadelphia in 1824. She made her first, appearance in that city at the Chestnut Street Theatre as Tom Thumb in the play of that name, on April 2b, 1328. This, it may be noted, was near- ly twenty years before P . T . Barnum dug up Charles Straton and exhibited him under that name at Scudders Museum in New York. Mrs. Ellsler' s first husband was Frederick Myers, who died in 1848. She then married John Ellsler. They were the parents of Ei- fie Ellsler. John Ellsler first operated a stock company at the Academy of Music in Cleveland, Ohio, whicn theatre was then o wned by Marcus A. Hanna, a name associated with Chicago through his daughter, Ruth, who became the wife of Medil McCormick. At the Academy of Music at the time the Ellsler Company was entertaining the citi- zens of that fast growing metropolis, there was a young boy who was destined to go places in theatricals although he was only the water boy at the Academy. His name was Abie Erlanger. When Ellsler became overly ambitious, he prevailed upon Mr. Hanna to build the Euclid Avenue Opera House. When it opened, young Erlanger became a ticket seller there. 389 CHICAGO STAGE McVickers Theatre 1858 Let us now return to the records of McVicxers Theatre where Mrs. Ellsler con- tinues as Aladdin. The Mar tinetti and Blon- din family continued until July 5th. The theatre then closed. McVicker had been sub- jected to severe criticism by the Press Tribune and heartily defended by the Jour- nal which accused the former of being sore because McVicker didn T t give that paper the printing. Be that as it may, he closed the house and company in July, whereas the- atres had been kept in operation during the summer heretofore. Mr. McVicker reopened the theatre on July 19th with what he announced as a big- ger and better company, although most oi them were holdovers from tne former organ- ization. This new company included £■• L. Tilton who had been with McVicker for some time. He was a widely experienced actor, born June 13, 1324, at Asnland, Massachu- setts. He made his New York debut at the Chambers Street Opera House in 1845. He traveled for a season with Henry Colson's Company and played in practically every city in this country. He also managed many theatres. In fact, he was an all around performer and could and did do anything necessary in a theatre. A new member of the McVicker Company was John Dillon. What a western actor he became! At one time there was scarcely a hamlet in the Middle West that did not Know John Dillon, either on the stage or in the 390 CHICAGO STAGE McVickers Theatre 1858 barroom. He was considered the best come- dian in the country and became a great favorite in Chicago. Other new members announced lor the o- pening oi the company were: G. Cline, H. Hawk, F. Kellogg, C. Cramer and H.W. Leigh- ton. Of the old members were: Uhl, Bradley and Meyers. The women of tne company in- cluded Miss Woodbury, Lotta Hough, Ann Marble, Mrs. Dillon, Mrs. Meyers - who was the former Mary Marble -and several others. McVicker reopened July 19th with "Facts and Fancies" written by Wm. Toothe oi Chi- cago, with music by another Chicagoan, Wm. Currie. The play was thus CAST Charles Stuart Dick Lucy Lisette Mr. Campbell Mrs. Campbell Tom Martin Jeanette Mr. Toothe Mr. McVicker Mrs. Mozart Lotta Hough Mr. Bradley Mrs. Taylor Mr. Robbins Mrs. Meyers This polyglot was the most lamentable fail- ure that one could expect, even from an amateur. Added to this was the mistake of Mr. McVicker in allowing this ambitious author to appear on the stage in a part for the first time* The play was kept on for another night, after which it was replaced 391 CHICAGO STAGE McVickers Theatre 1858 by "Maid, Wife and Mother". On the 23d the play was "London Assurance", a' sure -fire comedy, with Miss Woodbury as Lady Gay Spanker and McVicker as Mark Meddle. On the ,°5th, "Lucre tia- Borgia" was offered, and v The Sea of Ice" on the ?6th. August 2d Miss Woodbury and the company repeated "Lucre tia Borgia" and followed it with the farce "Breach of Promise", the latter well played by Ann Marble and Mr. Bradley. McVicker, in an attempt to make a little extra money, put on a campaign sell- ing season tickets. Lotta Hough, who had been ill for some time, appeared again on August 3d in "A Hopeless Passion". The play was lollowed by "A Woman's Life" or "Maid, Wife and Mother". August 4th Mrs. W.H. Leighton made her appearance with considerable eclat as Mar- ion in "The Windmill" to McVicker' s Samson Sow. On the 5th, three short plays were done: "tool of the family" with McVicker as Zebulon Brighton and Mrs. Leighton as Sally Scraggs. Assisted by Ann Marble and Mr. Bradley, "Sketches in India" was put on, followed by "A Breach of Promise". On the 6th, "The Brigand" was offered combined with "Fool of the Family", and on the 7th, "The Windmill" was added to the above. August 9th McVicKer presented "Uncle Tom's Cabin" which he had be^n announcing for some time. It was an elaborate produc- tion and did credit to J. W. Whytal, the '592 CHICAGO STAGE McVickers Theatre 1858 scenic painter, if to no one else. this CAST It had Topsy Cassy Eva Eliza Aunt Ophelia Mrs. St. Clair Aunt Chloe Simon Legree Uncle Tom Phineas Fletcher Gumption Cute George Harris St. Clair Marks Mrs. Leighton Miss Woodbury Mary McVicker Lotta Hough Ann Marble Mrs. Meyers Mrs. Taylor Mr. Leigh ton Mr. Bradley Mr. Tilt on Mr. McVicker Mr. Meyers Mr. Chaplin Mr. Graves This was the George L. Aiken version. The presentation was well received, and Mary McVicker 1 s Eva was highly praised. "Tom" was kept on until August 21st when it gave way to "Cousin Cheer:/", "Bamboozling" and "fool of the Family" on the 23d. August 24th the offering was "The Glad- iator of Ravenna' 1 by J. W. Wilson. It was CAST Thrusnelda Lye i ska Thumelicus Grabis Cassias Miss Woodbury Lotta Hough Mr. Tilton Mr . Bradley Mr. Meyers Caius Caesar Caligula " Leighton 393 CHICAGO STAGE McVickers Theatre 1858 Following the play proper McVicker and Mrs. Leighton put on "Sketches from India 1 ' . This bill was maintained until August 27th when what was billed as "A Night of Mirth", was given with several short pieces: ala Vari- ety. On August 23th McVicker returned to "Masaniello" and two farces. September 3d, "The Honeymoon" and two sketches were the offering; and "Pizarro" was the bill on the 4th. September 6th, McVicker brought in as the star Sallie St. Clair. This actress was born in England in 1831, and had been on the stage all her life. After coming to America, she appeared at the Park Theatre in New York as a child. She had, by now, become quite prominent and was a fair se- lection for Mr. McVicker. Later, she mar- ried Charles Barras, author of "The Black Crook". The couple settled in Buffalo, New York, and she died there on April 9, 1867. Miss St. Clair 1 s play on her opening night in Chicago was "Satan in Paris" or "The Mysterious Stranger", in whicn play she was a trifle disappointing to the pa- trons. It is worthy of note that Breslow and Allen's Theatre Company passed through Chicago on this date on their way to Ster- ling, Illinois, where they were scheduled to play. September 8th, Sallie St. Clair was seen in "Green Bushes" or "Six Degrees of Crime", with this 394 CHICAGO STAGE McVickers Theatre 1858 CAST Miami Madam St.Aubert Nellie O'Neil Geraldine Master Grandige Jack Geng Murtogh Sallie bt. Clair Mrs. Leigh ton Lotta Hough Mr. McVicker Mr. Bradley Mr. Meyers On the 9th, the plays were "Marriage a la Militaire", "Maid of Croissy" and "Mehit- able Ann". This was followed on the 10th by "The Flower oi trie lorest" in which Mary McVicker was featured along with the star. This good play had this CAST Cynthia Starlight Bess Lemuel Ishmael Cheap John The Kinchen Sallie St. Clair Mrs. Leighton Lotta Hough Mr. Til ton Mr. McVicker Mr. Meyers Other members oi the company completed the long cast. September 11th "Douglas" was the bill, followed by "The lour Sisters". With this Miss St. Clair took her leave. She was re- placed by Mr. and Mrs. D. W. V/aller. Mrs . Emma Waller was born in England. She ap- peared at Drury Lane under her maiden name of Emma Walsh. Mr. V/aller was born in New 595 CHICAGO STAGE McVickers Theatre 1358 York and made his debut in Philadelphia in 1357. They were not well known to the pub- lic when they appeared in Chicago on this occasion, but McVicker was not inclined to give all the receipts to the greedy visit- ing stars, so he did a little speculating. It may be noted here that George Chap- lin closed at McVickers at this time and joined Ben DeBar in St. Louis, Missouri, as did also Julia Pean Hoyne . The Vv f allers opened in "The Duchess of Malli". This play was followed by "A Day in Paris". On the 16th, the Wallers were seen in "Hamlet", which was followed by "The Fool, of the Family". "Macbeth" was presented on the 17th, and "The Duchess of Malfi" was repeated on the 13th. September 20th "Phillip of France" was seen. On the 21st "The Hunchback" showed its familiar face with Waller doing a good Master Walter and his wife a commendable Julia. "Bertram" was produced on the 23d. "Othello" was given on the 24th with Mrs. Waller as Iago. This was enough for McVicker. After the Wallers closed, the New Or- leans English Opera Troupe was engaged and opened the 27th in "La Sonnambula" . It was CAST Count Rudolpho F . Lyster Elvino Georgia Hudson Amirio Rosalie Durand Alossla F. Travor Lisa Miss A. King 596 CHICAGO STAGE MeVickers Theatre 1858 01 the above, the best, known was Mr. Lyster. He was born in Dublin, Ireland, and sang himself into the hearts of American the- atre goers after making his debut at the Broadway Theatre in New York in 1849. The second presentation was Donizetti' s opera, ''Daughter of the Regiment". This was followed by Auber's "Crown Diamonds". September 30th the offering was "The Bar- ber of Seville". While this opera company was a pretty standard organization, it created no furor in Chicago, although the individual members received many compli- ments on their singing . On October 1st Miss Hudson was given a benefit and on this occasion the presenta- tion was "The Bohemian Girl" with this CAST Arlina Rosalie Durand Thaddeum Georgia Hudson Count Aalieum Fred Lyster Devil's Hoof F. B. Swan Florestein F . Trevor Gypsy Queen Miss A. King "Fra Diavolo" was given on October 1st, and "Cinderella" on the 4th. October 6th and 7th the production was "Der Freischutz" or "The Seven Magic Bullets" followed by "II Trovatore" on the 3th. "The Bohemian Girl" was repeated on trie 9th and this fin- ished the visit of this company in Chicago. 597 CHICAGO STAGE WcVickers Theatre 1858 Mr. and Mrs. Florence opened on October 11th. While this pair was always welcome here, there is little to report as they offered the same pieces they and others had already given. But they repeated their former success as well as their plays and closed their engagement on the 23d. On October 85th Avonia Jones succeeded the Florences, opening in "Adrienne, the Actress" to good business. The nature of the attraction was welcome because it dif- fered materially from the four weeks of Irish skits and sketches supplied by Mr. Coyne and the Florence duo. "Evadne" was the bill on the 26th; Mrs. Mowatt's "Ar- mand" on the 27th; and "Ingomar" on the 28th. The 29th, "Bride of Lammermcor" and "Child of the Regiment" made up the even- ing's entertainment; "Sybil" and ''The Maid with the Milking Pail" on the 50th. It may be noted that what was, doubt - less, the first school of acting occurred at this time, when Wm. 1 . Johnson adver- tised for pupils to come to the Revere House . As an incidental feature, the famous Hutchinson Brothers appeared in what they called ''The Sports of Atlas" or "The Danc- ing Globe". November 2d Miss Jones was seen again in Mrs. Mowatt's "Armand". ''Sybil" was repeated on the 3d. This play was by John Savage, then editor of the Washington States. On the 5th, Miss Jones, the ambi- 398 CHICAGO STAGE MeVickers Theatre 1858 tious young star, enjoyed the fruits of a benefit, offering "Romeo and Juliet". No- vember 6th "La Tisba" was presented with Miss Jones in the title role, Miss Woodbury as Catarina and Tilton as Homodie. November 8th James Anderson, who had just returned from a starring tour of Eu- rope, opened in "Hamlet", followed on the 9th by "The Elder Brother" with "Sketches in India" as the farce. On the 10th, "Cor- iolanus", by Shakespeare, was done for the first time in Chicago, with this CAST Caius Marcius Coriolanus James Anderson Volumnia Susan Woodbury Virgilia Lotta Hough Tullus Mr. Tilton Cominius Mr. Bradley Brutus Mr. Leighton "Much Ado About Nothing" was seen on the 11th. The 12th was bene! it night for the star, at which time he chose "The Huron Chief" and "Katharine and Petruchio", both of which were well done. "The Robbers" and "Fool of the Family" were the two satisfy- ing plays presented on the 13th. W. F. Johnson drifted in from Milwaukee and engaged the following people for that city where he was to open the Athenaeum. Among others were: Messrs. Riley, Flood, 399 CHICAGO STAGE McVxckers Theatre 1658 Lamb, Morrison, Lytton, Gregory, Stout and Hadcliffe; and Henrietta Irving, Mrs. Ri- ley, Mrs. Gregory, and the two Miss Rad- cliff es . "The Ladv of Lyons" was the attraction on the 15th. was seen in with this November 13th Mr. "The King and the CAST Anderson Commoner" King James George Weir Malcolm Young Laird Small Mango Small Madeliene Mr. Anderson Mr. Tilton Mr. Meyers Mr. Bradley Mr. McVicker Miss Woodbury "Gissippos", by Gerala Griffin, was com- bined with the ever popular "The Windmill" for the- 19th, followed* by "Richard III" on the 20th. November ??A brought two new faces to McVickers, Lucille and Helen Western, the daughters of a performer known as Great Western. This is the first time either girl appeared in Chicago, although Lucille made many visits after this. Helen made her stage debut as Eva in "Uncle Tom's Cabin" when she was live years old. Her step- father, William English, a constant theat- rical producer throughout the New England States, featured them under the name of the .n various piays, tne prin- cipal one "Three Fast Men". When they vis- 400 CHICAGO STAGE McViekers Theatre 1858 ited this city, Helen was only ten years old and Lucille about sixteen. Helen first married an attorney in Bal- timore and the couple went to England. Later she was divorced and returned to A- merica, and in August, 1865, married James A. Heme in Montreal. She was not, however, the mother of Mr. Heme's two charming daughters, the clever actresses, Crystal and Julia Heme, as they were the result of Mr. Heme's second marriage. Helen died in Washington, D. C, December 11, 1868. Lucille, the more famous of the sisters, was born in New Orleans and made her debut as a child at the National in Boston. Alter playing all sorts of parts, she became an outstanding star, made famous as Lady Isa- belle in Clifton Talurure's dramatization of "East Lynne" . She purchased all rights to the play for One Hundred Dollars. This is said to be the best bargain ever con - summated in the theatrical business. The western sisters opened at McViekers in "Green Bushes", finished with the musi- cal extravaganza of "Jenny Lind", and fol- lowed it with "Satan in Paris", concluding the evening with "The Wandering Boy". This was on the 2bd. On the 24th and 25th they presented "Katie, the Hot Corn Girl" and "The Little Devil". Lucille took a benefit on the 26 th, when the play was "The French Spy" . On the 27th came the event that had been looked forward to since their opening, 401 CHICAGO STAGE McVickers Theatre 1858 the great drama by their stepfather, Wm.B. English, ''Three Fast Men" or "The Female Robinson Crusoes" . It was thus CAST America, and 6 other characters Young America, and 4 other parts Jerry Blossom 1st appearance in Chicago Maggie, a fast young woman Marie Harry Jordan Paddy Whack Lucille Western Helen Western W. W. Allen Mrs. Leighton Lotta Hough Mr. Meyers John Dillon for the finale "A Female Minstrel" was suc- cessfully put on, to the great delight of the audience and the satisfaction of the manager. The play was one of those plotless concoctions but was so dovetailed in con- tinuous sequences that it moved with suf- ficient spirit to keep the audience in good humor. It held the stage December 10th and 1.1th, when the Star Sisters added "Young Monarch", "Hot Corn Girl" and "The Wander- ing Boy" to "Three Bast Men". The newspaper indulged in considerable argument as to the morality of "Three Fast Men" which on- ly increased the interest and tended to keep the play on while the patronage grew. December 15th McVicker brought in the 402 CHICAGO STAGE McVickers Theatre 1858 Hutchinson Brothers in addition to the reg- ular stock company. The latter presented "Dreams of Delusion" and "The Artful Dodg- er". The 14th, "Time Tries All" and "The Four Sisters" were offered by the stock company. December 15th Mr. Hackett was brought out of retirement and appeared in "Henry IV", well supported by the resident players. On the 16th Mr. Hackett gave his characterization of "Mons . Mallet" and Col. Nimrod Wildfire in "The Kentuckian" . "Mer- ry Wives of Windsor" was given on the 17th. "The Lady of Lyons" was well received on the 18th, and the attendance was good in spite of Mr. Hackett 1 s departure. De- cember 20th Harry Watkins and Mrs. Howard opened in "Smiles and Tears" or "A Mother's Prayer" by Mr. Watkins. The play was fol- lowed by Charles Bernard's sensational drama, "Skeleton Hand" or "The Demon Stat- ue" . On the 21st another play by Mr. Wat- kins, "The Bride oi the Evening" was done in combination with "The Skeleton Hand" . December 22d, "The Pioneer Patriot" was presented, followed by the farce "Jenny Lind". On the 24th, "The Maniac" and "His Favorable Companion" were seen jointly. For their Christmas entertainment Mr. Watkins and the stock company presented the gorgeous spectacle of "Valentine and Orson". While that is the correct title, it was presented at this time as "The Wild Man of the Woods". However, it was a poor guess as it failed to bring in the patrons 403 CHICAGO STAGE McVickers - North' s National 1858 and the theatre had only fair business. During the week McVicker announced a future presentation of "Uncle Tom's Cabin" with Mary McVicker featured as Little Eva. Not to be outdone, North also gave notice that he would soon offer a lavish production of the same play. But North beat McVicKer to it by putting the play on December 30th, and stated that it would be kept on until further notice. NORTH'S NATIONAL.— North started the year with his usual equestrian and dramatic company, presenting on January 1st "Mad Anthony Wayne" and several circus features including Mile. F-ranconi. "Red Gnome" and "White Warrior" was the bill on the 4th and it was kept on until January 11th when North changed the bill to "Cataract of the Ganges" . Mr. North continued until along in April, presenting the same plays from time to time. But, as summer approached he be- gan to feel the lure of the show lot and closed the theatre to prepare his circus for the road. However y he reopened the theatre on May 1st and brought in Maggie Mitchell as the first star. David Hanchett, who had been leading man for McVicker, be- came the manager. The name Amphitheatre was dropped and the house became Known as North's National. Toots B. Radcliffe was stage manager and H. Warren treasurer. Mr. Hanchett assembled an entire new cast of 404 CHICAGO STAGE North 1 s National 1853 players which included Etta Henderson, Wm. Davis, Mr. DeGroot, J. E. Lytton, Fanny Rich from McVickers, Mr. Stewart, and Han- chett himself . Etta Henderson, whose Henrietta Lewis, was educa in Philadelphia. She made in her father's theatre After appearing in Chicag in America, she went to £ appeared successfully in she returned to her native came prominent, not only a also as an author. maiden name was ted in a convent her stage debut in C incinnati . o and elsewhere urope where she "Fanchon". When country she be- s an actress but William Davis was a native of Ireland. Much of his dramatic life was spent with Ben DeBar. He died in the City Hospital at St. Louis on July 1, 1368. Maggie Mitchell opened on May 1st in "The French Spy", and for the farce "Rough Diamond" was put on. In addition to these two plays, "Four Sisters" was also pre- sented. May. 4th, "Mysterious Stranger of Paris" was the attraction. This was fol- lowed by "Wept of the Wishton Wist" on the 6th; "Wild Irish Girl" and "Four Sisters" on the 9th; a repeat of "Wild Irish Girl" on the 10th. "Wept of the Wishton Wist" was again put on May 12th. The 15th and 14th "The French Spy" was once more the offer- ing. On the 15th Miss Mitchell was given a benefit at v/hich time "Milly the Milk Maid" was done . 405 CHICAGO STAGE North's National 1858 May 17th Mr. Hanchett brought in that favorite player, Frank Chanfrau, who always did well in Chicago. He opened in a farce, "Stage Struck Barber", following it with everybody's favorite, "Toodles" . Then came a burlesque on "The Lady of Lyons". On the 18th Chanfrau appeared as Solon Shingle in "The People's Lawyer", and for the farce, Etta Henderson did Colin in "The Youth Who Never Saw a Woman" . On the 19th "Romeo and Juliet" and "A Pretty Piece of Business" were seen. "The Ocean Child" and "Stage Struck Barber" were the offerings on the 20th, with "Katharine and Petruchio" as the concluding play. In it Henrietta Irving made her return appearance in Chicago. "Black-eyed Susan" gave Chanfrau a good part as William, as did Ragged Pat in "Ire- land As It Is". Then Etta Henderson put on "The Eton Boy" . May 21st "Linda the Cigar Girl" brought one of Chanfrau' s characters very much in- to the limelight. It met with so much favor that it was kept on the following night. May 24th, "The First Night" or "A Peep Be- hind the Scenes" and "O'Flanigan and the Fairies" was put on. "Child of the Sea" and "O'Flanigan and the Fairies" was the double attraction on the 25th, followed by a repeat of "Linda the Cigar Girl" on the 26th. And on the 27th "Mose in California" and "A Hard Struggle" were given. Chanfrau received a benefit on the 28th, at which time "Mose in California" and three other short plays were presented. May 29th, "A 406 CHICAGO STAGE North's National 1858 Glance at New York", which was the first play Chanfrau appeared in, was given. This closed Mr. Chanfrau' s engagement in Chica- go. The next visiting players were Mr. and Mrs. John Drew, both of whom had appeared with Mr. Rice. They opened on May 51st with "Grist to the Mill", "Handy Andy" and "The Good for Nothing", in which they were well supported by the stock company which David Hanchett had kept up to a meritorious standard. June 1st Mrs. Drew was seen in "The Love Chase" and Mr. Drew in his fav- orite "Handy Andy". "RoryO' More" and "The Eton Boy" followed on the 3d, On the 4th, the Drews offered "As You Like It", with Mrs . Drew as Rosalind and her husband as Touchstone, and for the farce he was seen in "More Blunders Than One". June 5th Boucieault's "Knight of Arva" was put on by the Drews. On the 7th they were seen in "The White Horse oi the Pep- pers" with Drew as Gerald Pepper and Mrs. Drew as Agatha. The play proper was fol- lowed by the farce "Goslings". On the 8th the stars went back to "A Knight of Arva" and followed it with "Love and Charity" for the afterpiece. June 9th the Drews were seen in "Leap Year", a play Stuart Robson starred in twenty years later. "Cousin Cherry", "Irish Emigrant" and "Miseries of Human Life" were in evidence June 10th, with "St. Patrick's Eve" and "The Siamese Twins" on the 11th. The Drews concluded 407 CHICAGO STAGE North's National 1858 their stay in Chicago on tne 12th, at which time "Irish Lion ?f and "Agnes Devere" were presented. Mr. Hanchett, hearing of the new form of entertainment McVicker was providing, reached out for a good. competing attraction and brought in the famous Marsh Troupe, previously mentioned when the organization was seen at the Tremont Hall. The newcomers put on "Black-eyed Susan" and "Toodles" following with "The Brigand" and "The Wan- dering Minstrel" on the 15th. This attrac- tion remained until June 26th to satisfac- tory returns. June 23th the stock company put on "Seven Escapes" or "The Bride's Journey" and "A Day in Paris", with Hen- rietta Irving as the featured player. June 50th the patrons of this house saw a new face in that of Katie Putnam, who appeared for the first time in this city, as Julia Warren in "Fashion and fancies". She was only a child, as sne was born in Chicago in 1852, but she had appeared on the stage at the age of four years as the Duke of York, and shortly after that as Eva in "Uncle Tom's Cabin". At the age of nine she was placed in St. Mary's College at Notre Dame, Indiana, to complete her edu- cation. Her first adult part was Pauline in "The Lady of Lyons" played at her moth- er's benefit at Cairo, Illinois. Later she was with the Academy of Music Stockin Mil- waukee, Wisconsin, and eventually became a distinct local favorite in Chicago. She 408 CHICAGO STAGE North's National 1858 was considered one of the best American soubrette stars at the time she married Harry Emery. She then left the stage and they settled in Benton Harbor, Michigan, where she lived the balance of her life. July 2d "Nell Gwynn" was played under the title of "Court and Stage" with Hen- rietta Irving as Nell, the orange girl, following this play Mr. Lytton was seen in "Paddy Miles' Boy". July 3d "The Robbers" was given with Mr. Hanchett as DeMoor and Etta Henderson as Mrs. Tuttle. "Aladdin" or "The Wonderful Lamp" was the inspiring spectacle on the 4th. July 23d Felix Vincent was given a ben- efit, at which "Jac& Sheppard" was seen. John Ellsler was introduced in the part of Blueskin. "Aladdin" still continued to be the principal attraction. The 24th "Hamlet" was done by David Hanchett along with "Alad- din" . The latter concluded its long run on July 24th and was replaced on trie 26th by "The Spirit of the Rhine". July 50th Mrs. Ellsler was given a benefit. Mr. Hanchett closed the theatre and announced that the first star when he re- opened would be Julia Dean. In spite of the theatre being closed, so far as the manager v ; as concerned, the actors got to- gether and put on a benefit for themselves on August 4th, presenting "Roffuelle, the Libertine" and "The Married Rake" . 409 CHICAGO STAGE North's National 1858 North's National Theatre reopened on August 5th with the following players: Mrs. McV/illiams, Madam Horwitz, Miss Ella Jennings, J.B. Taylor, Constant Loup, Mas- ter A. Jennings, Mile. Hayden, and also the Constantine Ballet Troupe which in- cluded George C. Howe; J. H. Seaman, com- ic vocalist; 0. F. Grey, violinist; Johnny Boyd, jig dancer; J, Davis; and Molly and Kate Haflering. Here it may be seen was a roster that might well qualify for any kind of performance. None of the foregoing ever distinguished themselves in the profession. The same bill was presented on the opening night tnat had been done the night beiore. On August 7th Julia Dean returned as Julia Dean Hayne, having married Dr. Hayne at Charleston, S. C, on January 20, 1855. He was a son oi Senator Hayne. Julia went to California after her marriage and re- turned in February, 1858, with a profit of $20,000. In September, 1866, she was di- vorced frpm the doctor. She then married James Cooper of New York. She had visited Chicago before this appearance, but not for some time. She died in New York March 6, 1868. While Mr. Hanchett, the manager of North's National, had been announcing the new star, she did not arrive on time. As a substitute, he featured Wm. H. Rarey, the horse trainer. August 21st TT The Murderer's Doom" was put on, followed by "The Drunkard". Mile. Hayden appeared on the 25th, and the stock 410 CHICAGO STAGE North' s National 1858 company put on "The Miser 1 s Daughter". August 27th Hanchett dug up the once popu- lar "Carpenter of Rouen", a play that had been done by McKinzie & Isherwood in the Saganaush Hotel in 1857. Julia Dean Hayne, so long before an- nounced, finally arrived and appeared as Mrs. Hailer in "The Stranger" on August 50th, succeeded by "The Hunchback", "Lady of Lyons" and other plays familiar to her and the audience. The 8th brought a full evening with "The Y/recker's Daughter ", "Camille", "Lucretia Borgia" and "Adrienne the Actress". On the 10th, Miss Dean was seen in "Madelaine" or "The Foundling of Paris" which was produced with this CAST Madelaine Eertrande Reury Henri Appiand Dr. Barthold Pierre Grodine William Catnerine Marguerite Charlotte Julia Dean Hayne David Hanchett Mr. Lamb Mr. Floyd Mr. McDonald Mr. Slater Mr. Stout Mr. Stockman Fanny Rich Mrs . Hanchett Miss Ed strom Mi£: s Wakely Miss Dean closed on the 11th witli a pre- sentation of "Ingomar". She was replaced on the 13th by Eciith Mitchell. 411 CHICAGO STAGE North's National 1858 The new star opened on the above date in "Lucretia Borgia tT . "A Convenient Dis- tance" was the farce. On the 15th, Miss Mitchell and the company were seen in "La Tour de Wesle" . "Macbeth" was the play on the 16th, but the star was unsatisfactory as Lady Macbeth. Hanchett, however, was a capable Macbeth and Mr. Flood was a fiery Macduff. For the farce, Flood, Lamb and Fanny Rich put on "My Neighbor's Wife". "Guy Mannering" was the bill 17th, and it was thus CAST on the Meg Merrilies Miss Mitchell Dandy Dinmont Mr. Hanchett Dirk Hatteraick Mr. fisher Harry Bertram Mr. Flood Bailie Muckle thrift Mr. Puller Gilbert Glossin Mr. S chaffer Julia Mannering Fanny Rich Lucy Bertram Miss Edstrom This is the first time the name of J. B. lisher appears in the cast. He was a broth- er-in-law of both Mr. Jefferson and McKin- zie, who initiated the drama in Chicago. Fisher was born in 1804 and for a time made much progress in theatricals. It was he who brought all the Jeffersons together at Mobile, Alabama, where Joseph Jefferson II died. Fisher died in the same city on June 20, 1859. "The Carpenter of Rouen" was again pre- 412 CHICAGO STAGE North's National 1858 sented on the 20 th. On the ?.lst, "The Jew- ess" was fairly well done . The present star was re-engaged for another week and re- peated the. play the following night. As a whole, . the support given her by the stock company was not satisfactory. "Ernest Mal- travers" was the attraction on the 24th, and ''La Tour de wesle" was repeated on the 25th, which was the closing date of Miss Mitchell's two weeks' engagement. Mr. Hanchett then brought in Gardner Coyne and his sister, Marian, who opened on the 27th by presenting "The Irish Emi- grant" . Mr. Coyne's correct name was H. A. Gardner. He made his debut in Philadelphia in 1854 in "The Wandering Minstrel". He played throughout America and in 1862 went to England, where he remained. On his ap- pearance at North's National Theatre, a band of female minstrels ■ was first intro- duced to a Chicago audience. June 29th Mr. Coyne presented "Bleak Hills of Erin" with this CAST Jemmy Eitzpatrick Gardner Coyne Flaming O'Flarity Mr. Fisher Harry Melville Mr. flood Augustus Mr. Morrison This was followed by "lemale Adventurer". On the 30th "Irish Huzzar" and "Nature and Philosophy" was the offering, and on Octo- 413 CHICAGO STAGE North' s National 1858 ber lst, w Knight of Arva" and "Rory O'More". Mr. Coyne continued until October 11th, playing the same pieces over and over again. October 11th J. B. Roberts appeared, opening in "Richard III TT . His repertoire included "Othello", "Love", "Louis XI" and "Pizarro" . He concluded his engagement on the 16th and was replaced by Mrs. Charles Howard and Harry Watkins . Mr. Watkins was born in New York on January 14, 1825. He first appeared on the stage at Fort Snelling, Minnesota. He ap- peared in New York as Edward Middleton in "The Drunkard" when the play was presented in that city. After his present visit to Chicago, he went to England. When he re- turned to America, he became involved in divorce proceedings which resulted in a decision allowing his wile $5.00 a week alimony. He then married Mrs. Charles How- ard, his present starring partner. He was the author of many successful plays and the originator of the modern "Ghost Show" . Mrs. Howard was born in Liverpool, Eng- land, as Rosina Shaw. She was brought to this country at a very tender age and won great histrionic success. The two stars opened here in Mr. Wat- kins' own play, "Pioneer Patriot", he as Jacko, an ape negro, and she as Isabella Carlton. This play was kept on until the 414 CHICAGO STAGE North* s National 1858 21st, when it was replaced by another oi Mr. Watkins' plays, "The Bride oi the Even- ing", with -Mr. Watkins as Godirey farquar Delaine and Mrs. Howard as Honora Paule. On the 25th, Mrs. Howard was featured over Mr. Watkins in the play "Jessie Wharton", which held the boards for two nights. "Pi- oneer Patriot" was repeated on the 26th. On the 28th, Mrs. Howard oifered "Satan in Paris". Mr. Watkins fell heir to a beneiit on the 29th, when three short plays were offered as amusement. The patrons were en- tertained with "Somnambulist" and "Quack Martyr" on the bOth. * November 1st that well known and popu- lar actress, Eliza Logan, opened an engage- ment in "Evadne" and was heartily welcomed. For the afterpiece, "Make Your Will" was given. She continued on the 2d with "The Hunchback" and "The Know Nothing Servant" . On the 3d, "The Rival Merchants" was done by this CAST Margaret Elmore Hermine Mathew Elmore St. Loo Paul Levant Eugene dc Lorme J ohnny Marion Eliza Logan Fanny Rich David Hanchett Mr. Lamb J. B. Fisher Mr. Hood Fanny Price Mrs. Hanchett "Ingomar" was the selection made by Miss Logan for the 5th. It was followed by "The 415 CHICAGO STAGE North 1 s National 1858 \y Secret" . The star and the theatre closed on the 6th with the old favorite, "The Stranger" . The struggle was too great for David Hanchett, who had been operating North 1 s National for some time, and so he closed the theatre. North was on the road with his circus, but when that closed he brought the performers to the theatre and reopened on November 15th with a strong bill of circus acts. The performance was highly satisfactory to a large crowd. Dan Castel- lo was the featured clown. As a special feature North presented Mile. Bernadette Forma from the Theatre Scala, Milan, Italy, and put on his elaborate spectacle, "The tall of Delhi", on December 15tli, present- ed by the newly inaugurated company. North then withdrew "The Fall of Delhi" and re- placed it with "Putnam". "Mad Anthony Wayne" was the Christmas attraction supplied by Mr. North. Then, stealing a march on Mr . McVicker, the crafty old circus performer slipped on " Uncle Tom's Cabin" before the Yankee star got to it. Thus, the closing of the year in this house was fairly successful even though David Hanchett had discontinued his man- agement, fortunately, with the circus sea- son closing, North was in a position to step in and keep the theatre in operation until the end of the year. 416 CHICAGO STAGE Halls 1858 METROPOLITAN HALL.— During the early part of the year the Italian Opera Company appeared for several days. May 26th Teresa Esmond gave a reading. Miss Esmond was a capable actress who originally made her debut at the Broadway Theatre in New York in 1355. May 51st the Sanf ord Opera Troupe ap- peared at this Hall. Samuel S. Sanf ord, father of the Sanf'ord children, was born in New York in 1821. He followed every branch of the amusement profession from "Shakespeare to Sawdust". He brought this organization from Philadelphia where he was manager of Sanf ord T s Opera House. June 14th, 15th and 17th Vieuxtemps and Thalberg's Grand Combination Concert held forth at the Metropolitan Hall. August 50th Marion McCarthy gave a sat- isfying musical entertainment. Nothing is on the records thereafter until October 7th, when Karl formes appeared in a Grand Concert. And November 6th the great humor- ous poet, John G. Saxe, gave a reading of his love poems. November 25d we find men- tion of a concert by Emma Eostwick. Decem- ber 4th, Eloise Bridges gave a reading of "Hiawatha", and on the 6th, Matt Peel's Campbells Minstrels appeared four nights. PHELPS OPERA HOUSE, formerly the Hall located at 104 Randolph Street, opened with an "Ethiopian Minstrel" on April 7th. This 417 CHICAGO STAGE Halls ■ - Theatres 1853-1859 so-called Opera House was previously known as Emmett f s Varieties where the primary entertainment was a stationary organiza- tion. RICE & COMPANY'S AEOLIAN VARIETIES, lo- cated at 122 Randolph Street, (old number) opened on December 3d with an attraction called ''The Star Troupe of the West". Alter operating for a time as a sort of a Honky TonK, it finally succumbed to the inevit- able . BEEBE & COMPANY opened a Concert Room December 51st, on the second floor of a building at 115 and 117 Randolph Street, (old numbers) where a Female Minstrel per- formance was given. When the show became too "hot", it was discontinued. Theatres and Halls in operation during the year 1859 included: McVickers; North's National, on Monroe Street between Clark and LaSalle Streets; Emmett's Varieties, 104 Randolph Street; Nelson Kneass's Lyce- um; Sam Ryan's Minstrel Hall, 115 and 117 Randolph Street; Mechanics' Hall, Corner Clark and Washington Streets; and Metropol- itan Hall on Randolph Street near Wells. The street numbers herein mentioned are the old numbers and cannot even be identi- fied, by comparing them with the 1909 — present day— numbers. 01 the Halls, the most important was the Metropolitan, which housed nearly all the outstanding musical 418 CHICAGO STAGE McVickers Theatre 1859 attractions. Some of the minor theatres had formerly been Halls and with a change of name were transformed into so-called theatres, and then later had reverted to a Hall under the first or even another name. MCVICKERS' THEATRE, at the beginning of the year, had been in operation lor about fourteen months and had, during that peri- od, been fairly well patronized in spite of the opposition created by the high-keyed political campaign for United States Sena- tor between Abraham Lincoln and Stephen A. Douglas in 1858. The Republican party had just been born two years before, when the abolition question became almost as hot in Illinois as it was in Massachusetts. Polit- ical campaigns during the nineteenth cen- tury were always a strong deterrent to theatrical patronage of theatres and simi- lar amusements. Theatrical managers and political leaders never courted opposition and so they often made deals for one or the other to wait until the first had finished before the other began. Usually the show- man was the goat for, if it had been agreed that one would be out at nine o'clock and the other wait to begin at that hour, it was more often that it was open for some- thing like an hour later. The first play of 1859 offered by Mr. McVicker was "The Bride of Lammermoor" , which opened January 3d, followed by "Up Salt River" done for the afterpiece. T he- latter had the following 419 CHICAGO STAGE McVickers Theatre 1859 CAST Wau-bun Mr. McVicker Wild Onion Lotta Hough Rutabaga Mrs. Leighton Col. Romance Mr. Meyers Jenkins Mr. Bradley These were followed on the 4th with "The Brigand" and the above afterpiece, which were audience satisfiers. "Up Salt River" was still being played on the 5th, but now combined with "Retribution". "Speed the Plow" and "My Cousin Tom" entertained the customers on the 6th. Mr. Bradley was given a benefit on this date with an attendance that pleased him and satisfied Mr. McVicker. On the 7th, "Rob Roy" and "Up Salt River" was the attrac- tion, followed by "Lucretia Borgia" on the 3th. On January 10th came a return of that everlasting money getter, "Uncle Tom f s Cabin", with little Mary McVicker featured as Little Eva, in which part Mary made a decided hit and became as definitely iden- tified with it in the West as Cordelia How- ard was in the East. So much so, in fact, that Mary was often farmed out to other stock companies playing the piece in neigh- boring cities. When "Uncle Tom's Cabin" was at the height of its popularity, obtaining "Evas" was the bane of the managers of that drama. The demand i or a cnild able to depict that 420 CHICAGO STAGE McVickers Theatre 185& character was so great that a Mrs. Olson, here in Chicago, conceived the idea that supplying this long-felt want would be a fertile field for any good woman's endeav- or. So she began the operation, She ar- ranged with the mother of a child for per- mission to teach it the part of Eva, and then shipped it out on order at a certain salary which would be remitted to the spon- sor, who then divided the amount with the mother, while Eva herself got "what the Dutchman shot at." McVicker's production of the play on this occasion was a very lavish one and Mr. V/hytal, the scene painter, received much approbation for the scenery, especially the "transformation" where Eva is seen go- ing to Heaven. The play was kept on until it became time for Miss Susan Woodbury to take her customary beneiit, when something with a part that would demonstrate the a- bility of the beneficiary must be produced, and so "The Stranger" was chosen. It could always be relied on to enhance the reputa- tion of a female star or stock leading lady. The play was followed by Boucicault' s great comedy, "London Assurance". After this, McVicker reverted to "Tom" , and, after a few performances, added "Speed the Plow" to give the patrons plenty for their money. "Uncle Tom" was kept on until Mr. Tilton's benefit was due on the 18th, when he appeared as Luke fielding in Bou- cicault' s "The Willow Copse". This was the 421 CHICAGO STAGE McVickers Theatre 1359 first time the play was put on in Chicago with any one but Mr. Couldock in the part oi Luke, but Mr. Tilton was well received. And why not? He was an even more widely experienced actor tiian Mr. Couldock, al- though he did not possess that actor's reputation. Tilton, it may be recalled, was the cause oi a story being circulated that John Wilkes Booth became so excited in a combat scene with the actor tnat he nearly broke Tilton T s shoulder. While this story gained a wide credence, there was no truth in it. Tilton simply fell oft the stage and broke his collar-bone . Alter Booth assassinated President Lincoln, all sorts of stories came to the front regard- ing this ordinary actor. January 19th the company presented "A Social Scourge", written by Jane Thayer, a Chicago resident of the North side. It was a short play and embraced a good part for the popular Mary McVicker who, while still a child, was destined to become the second wife of the great Edwin Booth. Mrs. Thay- er's play was combined with two other short- ones, "Blanche's Dream" and "Sketches of Tndia" . This locally written play was re- markably successful, at the time, mainly because it was written by one of Chicago's ambitious citizens. Its popularity, how- ever, never extended beyond the corporate limits of the city, although it had one or more repeats here. Besides, it gave Little Mary a good part, which is, — sometimes, — a delusion and a snare to a manager having 422 CHICAGO STAGE McVickers Theatre 1859 an ambitious child or wife. Ii they appear upon the stage at all they must have a good part. Making a leading lady of an incapable wife has wrecked more managers than "camel- back" trunks. About this time McVicker was confront- ed with some opposition he had not reckoned on. Sam Ryan, now tne husband oi the popu- lar leading woman, Kate Denin, announced the opening of what he called the New Min- strel Hall at 115 and 117 Randolph Street, between Clark and Dearborn Streets. It was stated that the entertainment would be semi -dramatic, with Kate and Susan Denin appearing from time to time, but those pop- ular leading women did not materialize and Ryan's policy turned out to be a mixture of minstrel and burlesque. On January 24th J^r. McVicker brought in the well known and justly popular Matilda Heron, who had already gained considerable popularity in other cities throughout the country. She opened in her own dramati- zation of Sardou' s "Camille" . V/hile Jean Davenport had already presented a play under that title and from the same source, this was an entirely different and excep- tionally well-written play. This is the same version that was later played ex- tensively for many years. Miss Heron was, of course, seen in the title role. The play was well received as done by the following 423 CHICAGO STAGE McVickers Theatre 1859 CAST Camille Matilda Heron Armond Duval Mr.Tilton Monioure Duval Mr. Meyers Gaston Rieux Mr. Leighton Count DeVarville Mr. Chaplin Gustave Mr. Cline Messenger Mr. Double Arthur Mr. Graves Madam Prudence Mrs. Leighton Nanette Lotta Hough Niche tte Mrs. Meyers Olyrape Mrs. Marble About a year before this date, Miss Heron had made a dramatization of "Mathilde" from Eugene Sou's novel, and produced it on June 7, 1857, in New York. She also played it in other cities where she had starred. It was chosen for her second pre- sentation in Chicago and was seen here on January ?7th with this CAST Mathilde Ursula Lucarto Dureviege Count DeLenere Larouche Miss Heron Miss Woodbury Mr. Tilton Mr. Meyers Mr. Chaplin Mr. Leighton The play was fairly well received. "Media" was the offering on the 28th, and on the 29th "Mathilde" was again seen. February 4.24 CHICAGO STAGE McVickers Theatre 1859 1st, "Camille" was put on again and as an afterpiece "Joan of Arc" was added. On February 4th the star deviated from her own plays and offered the old favorite "Four Sisters" and "London Assurance" . On the 5th, "Therese" and "The tool of the Family" were given as a benefit for Mr. Harrington, manager for Mr . McVicker, which position he had occupied since McVickers Theatre opened November 7, 1857. Miss Heron closed a very successful engagement, and the stock company presented Thomas Morton' s drama, "A Cure for Heart Aches" on the 7th with this CAST Miss Vortex Miss Woodbury Ellen Vortex Miss Hough Jesse Out land Mrs. Meyers Old Rapid Mr. Bradbury Young Rapid Mr. Meyers Frank Outland Mr. McVicker Short as the play was, the public liked it, as well as the farce "Dearest Elizabeth" which followed it. On the 8th, "Time Tries All", "Ladies in Love" and "Polly the Young Quaker" were the three short plays that iurnished the entertainment for that date. On the 9th "Town and Country" was the at- traction, and on the 11th, "Bride of Lam- mermoor" and "Dearest Elizabeth" were per- formed before a good crowd. The performance on this date was, primarily, lor the bene- fit of the Dramatic fund, a theatrical 425 CHICAGO STAGE McVickers Theatre 1859 charity organised as early as 1739. It is now known as the Actors Fund of America, functioning at the present time very suc- cessfully, with headquarters in New York. It was the custom during the 18th Century to give benefits for this worthy cause, and this one at McVickers on February 11, 1859, brought forth fruit. The performance, if not the receipts, was marred somewhat because of the appearance of too many am- bitious amateurs in the cast. The following night, February 12th, a benefit was given for Lotta Hough, when "Old Heads and Young Hearts" and "Turning the Tables" were creditably presented. The large attendance proved how highly the public esteemed the entertaining qualities of Lotta Hough. Her name is still familiar to old timers and students of dramatic records. Benefits now being the immediate vogue, D.G. Chaplin accepted the gratuity, at which time he appeared in "The Moment- ous Question" . February 15th was a date especially stressed as "a great comedy night," when Sheridan's popular and entertaining play, "The Rivals" was presented. While the cast of this play has been introduced in these records before, it might be of interest to some to l^arn the manner in which it was cast in the present production, therefore we again submit it as given by McVickers stock company at this date. 426 CHICAGO STAGE McVickers Theatre 1859 CAST Sir Anthony Absolute Mr . Bradley Charles Absolute Mr. Meyers Bob Acres Mr. McVicker Lydia Languish Miss Woodbury Lucy Lotta Hough Julia Mrs. Meyers Mrs. Maloprop Mrs. Marble Sir Lucius T Trigger Mr. J. Dillon David Mr. Graves Faulkland Mr. Chaplin Fog Mr. Cline This play was of Lyons", "A Bottled Imp". followed on the 17th by "Lady Cure for Heartache" and "The On the 18th, A.J. Martin, the property man, was given a benefit and "Speed the Plow" was presented with success. It was not customary to have a benefit unless you made a personal appearance to show the ticket buyers whom they were straining a point to patronize. In order to do this, a few lines were given to such a beneficiary, such as "My Lord, the carriage waits*, or "I have the honor to announce," etc., etc. But in the case of Propertyman Martin, he disavowed such mediocrity and introduced his own lines. When he received the cue instead of speaking the lines given him, he entered with all speed and, striding down to the footlights, shook a fist that looked like an Armour's specialty at the audience and shouted, "The man that would 427 CHICAGO STAGE McVickers Theatre 1859 harm a woman is a coward." And down came the curtain. V/hen McVicker asked what he did it for, he replied, "As long as I've worked in a theatre I never heard that line when it didn't go with a howl." So much lor ambition. Not only did this bring down the cur- tain with a howl, it brought on the an- nouncement from Mr. McVicker that the lol- lowing night was the last of the season which, of course, brought another howl from the actors, who complained vociferously of the short season. It wasn't "Props'" melo- dramatic introduction into the drama, how- ever, that brought on the closing. It was because Maurice Strakosch, the great im- presario, had rented the theatre for ten days lor the appearance of his Italian Opera Troupe. During the stay of the Stra- kosch company, the actors went over and appeared with Levi North at his National Theatre. The Italian Opera Troupe opened Febru- ary 21st in Donizetti's "Bride of Laramer- moor", following on the next night with another by the same composer, "Lucretia Borgia". Then came Verdi's "La Traviata", after which Strakosch returned to Donizetti and gave that composer's "Lucia de Lammer- moor", followed by "I Puritani" and "Rig- oletto". On the 28th, they presented "II Trova- tore" with the following 428 CHICAGO STAGE McVicker T s Theatre 1859 CAST Leonora Azucena Count di Luna Ferrando Manrico Theresa Pardoli Amelia Strakosch Signor Amodo Signor Nicoli Signor Brignoli March 1st the ever popular opera was given with this "Martha" CAST Lady Henrietta Nancy Lionel Plunkett Sir Trestan Judge of Richmond Madam Colson .Madam Strakosch Signor Brignoli Mons . Junco Signor Nicoli Signor Kieb This was followed on March 2d by Bellini's "Norma" , always an appealing opera. Then came "La Sonnambula" and "II Trovatore". After repeating several operas, Mr. Stra- kosch, on the 9th, presented "Don Giovanni" which was thus CAST The Commandatore Don £iovanni Don Ottavio Leporello Donna Anna Donna Elvira Zerlina Signor Nicoli Signor Barili Signor Brignoli Mons. Junco Theresa Pardoli Amelia Strakosch Madam Colson 429 CHICAGO STAGE McVickers Theatre 1859 As Mr. Strakosch had only arranged lor a season of ten nights, he concluded the en- gagement on March 10th with a grand testi- monial benefit given to himself wnich was abundantly attended. Mr. McVicker then summoned the actors bacK for a rehearsal of Tom Taylor's play, "Our American Cousin", made famous six years later when President Lincoln was as- sassinated by John Wilkes Booth as he sat in a box at Ford's Opera House in Washing- ton witnessing Laura Keene's presentation of it. The cast at ?4cVickers was CAST Asa Trenchard Mr. McVicker Lord Dundreary Mr. Leighton Lieut. Vernon Mr. Tilton Sir Edward Trenchard Mr. Bradley Capt. De Boots Mr. Dillon Coyle Mr. Mtyers Abel Murcot Mr. Chaplin Binney Mr. Graver Fanny Trenchard Susan Woodbury Mrs. Maunches sing ton Mrs. Leighton Augusta Ann Marble Georgina Mary Meyers Mary Meredith Lotta Hough Sharpe Panny Rich Skillet Mrs. Heffering The piece was very well received as evi- denced by the fact that it was presented several times, later. Its uniortunate con- 430 CHICAGO STAGE McVickers Theatre 1859 nee t ion with the shooting of Lincoln cur- tailed its subsequent success. Joseph Jef- ferson, who played the role of Asa Trenchard when the play was first brought out in this country, was not in the cast in Washington when the great fatality occurred. An incident associated with Lincoln's assassination occurred in Chicago about 1916, when V. J. Ferguson was the guest of the Strollers Club. This actor, who was then playing in Chicago, was at the time the only living member of the cast connect- ed with the play in Washington when the disaster happened. He was asked to review the details of the affair and gave a brief and graphic account of how Eooth leaped from the box after firing the fatal shot, nearly knocking Mr. Ferguson over. At the conclusion of his story a man In the audi- ence arose and said: "Ladies and gentlemen, that is exactly as told me many times by my father, who was Lincoln's bodyguard at the time." The man who verified Mr. Fergu- son's story was Harry riarwood, president of the Hamilton Club at that time. Following "Cur American Cousin", a play by a local newspaper man was produced for the first time on any stage. It was called "Pikes Peak" and depicted the trials and troubles of ambitious young men of Chicago seeking their fortunes in the gold fields of the west. It was presented with the following cast. 431 CHICAGO STAGE McVickers Theatre 1859 CAST John Wilde, An unfor- tunate millionaire Peter Luckless, Victim of hard times Joe Raffity, Victim oi railroad strike Mr. Wisehead, A man of brains Cicero Starchump Capt. Seagrass Policeman Dick, A particular star Mr. Bangs, A wild land agent Agustus Soft, A will- ing young chap Mrs. Wilde, Wife of the millionaire Sarah Jane Stiles, Wile of Peter Biddy, Joe Raffity' s wife Mrs. Seagrass Frau Von Vinager Mr. Til ton Mr. McVicker Mr. Dillon Mr. Bradley Mr. Meyers Mr. Leighton Mr. Uhl Mr. Cline Mr. Graver Miss Woodbury Lotta Hough Mrs. Meyers Mrs. Heffering Mrs. Leighton The public did not take kindly to the play, but since it was written by a local newspaper man, the press strained a point to give it a break. Some oi the parts were well played, but without a cohesive story there is little chance of any drama main- taining continuous popularity. In spite oi its weak points, however, it was repeated a few times. 432 CHICAGO STAGF McVickers Theatre 1859 March 21st Maggie Mitchell made Chica- go another visit, presenting "The King's Son and His Privileges" following it with "Margot the Poultry Dealer". She met with a good reception on the opening night as she was a popular dramatic star even then. She became still more so, later, as she ac- quired better plays. On the 22d "Maid With the Milking Pail" and her favorite, "French Spy" were seen; on March 23d, "Put of the Petticoats" and "Nan the Good for Nothing". The 24th, Miss Mitchell produced "Satan in Paris" and "Anthony and Cleopatra" to a well iilled house, the stock company sup- plying adequate support. "Anthony and Cle- opatra" was repeated on the 26th, followed by "Kitty O'Sheil". Business continued a little better than average. The star then gave "The Pirate Prince" with the assist- ance of the regular members, and as an aiterpiece the company presented "Pikes Peak" without the assistance of the star. On the 31st Miss Mitchell reverted to "Pet of the Petticoats" and, as a special added attraction, a celebrated German actor gave "Richard Til" in his native language. Since there were a number of Germans in and about Chicago, as might be imagined, there was a good attendance. During the week a hundred leading cit- izens, wishing to show their appreciation of Miss Mitchell's work, petitioned her to announce a benefit, using their names as patrons. Like performers in general, the star's modesty did not impel resistance — 433 CHICAGO STAGE McVickers Theatre 1859 actors are not that sensitive — so the ben- efit materialized with splendid results. Miss Mitchell concluded her two weeks' stay in Chicago on April 2d. She was fol- lowed by James H. Hackett, Jr., who opened with McVicker on April 4th in his favorite part of Falstaff in Shakespeare's "King Henry IV". This was his first starring en- gagement in some time, since he had prac- tically retired, as actors are inclined to do. The name "Hackett" was one of the best known to American play-goers, and it was worth Mr. McVicker 1 s efforts to rescue him from his voluntary oblivion. April 5th Hackett was seen in his pop- ular play, "The Kentuckian" which he had done in Chicago before. In lact, he did nothing new on this occasion, repeating on various nights the plays he had presented many times. On the 3th, Charles Macklin's "A Man of the World" was well done, and this finished his engagement. April 11th Mr. and Mrs. W. J. Florence appeared and offered "Born to Good Luck", "Mischievous Annie" and "A Happy Man", followed by "A Lump of Gold" , "Irish Lover", and other pieces with which they were identified. They finished their short en- gagement on the 14th, giving way to a new star, James E. Murdock, always a great favorite in Chicago as elsewhere. He opened in "Wild Oats", followed on the 18th by Schiller's "The Robbers". Other plays he 434 CHICAGO STAGE McVickers Theatre 1859 presented included Bulwer's "Money", "The Dramatist", etc. The Daily Journal was so pleased with the artistic work of Mr. Mur- dock that it devoted an entire column on April Pod to praise of him and his perform- ance. He concluded his engagement on May 2d when he presented, for Samuel Meyer's benefit, Beaumont & Fletcher's "The Elder Brother" . As no star was available, Mr. McVicker revived the dependable "Our American Cous- in", with a presentation ol "Sam Patch in France" for the afterpiece. May 4th Susan Woodbury received a benefit. Mr. Murdock volunteered to appear, as did her sister, Henriette, and her husband, W. H. Riley, who came down from Milwaukee for the oc- casion. "The School for Scandal" was the play chosen. Mr. Murdock was reengaged and was seen in "Hamlet" followed by "The Avenger", put on for Tilton's beneiit on May 9th. On the 10th "Our American Cousin" was repeated as was also "Pikes Peak". "Five Married Men and Their Wives" was put on for Lotta Hougn' s benefit on the 11th. "Our American Cousin" and "Pikes Peak" was the cornbina - tion for the 12th. "A Model Farmer", an- other name for "Writing on the Wall", and "Mons. Alexander" were seen on the loth at Mrs. Leighton's benefit. May 14th "A Social Scourge, or the Angel Child" with the first half of the title left of 1 , was repeated, also "Sam Patch in France". The beneiit on 435 CHICAGO STAGE McVickers Theatre 1859 this night was for McVicker, a gratuity he needed at the moment. Jean Davenport, who had not visited Chicago for some time, returned and opened May 17th, presenting "The Lady of Lyons". Then came consecutively "Adrienne the Act- ress", "Romeo and Juliet", "Camille", "A Belle T s Stratagem", "Mesalliance", Bouci- cault's version of "Peg Woifington", which he called "Masks and laces", closing with "Czarina" or "The Court of Russia". All things considered, her engagement was suc- cessful as Siie was a capable and popular actress . McVicker then brought in Catherine Sin- clair, the ex-wife of Edwin Forrest, bill- ing her as such. The publicity given the long drawn out and scandalous gossip in homes and in the press had made her name, as Pauline says in "The Lady of Lyons": "A byword of every tongue in Lyons", and in this case everywhere else. This new star was the daughter of a famous musician and singer, and was somewhat of a beauty when she married Edwin Forrest . She was divorced from him in 1851, after a trial that found its record in every home, church and green room in the country. She then put herself under the tutelage of the great English actor, George Vandenhoff, who gives a good history of the divorce granted by the judge in the case of Forrest vs. Forrest in his book "Leaves from An Actor's Notebook". When she made her dubut in New York leb- 436 CHICAGO STAGE McVickers Theatre 1859 ruary 2, 1351, as Lady Teazle in "The School for Scandal" she met with a triumphant re- ception and gave a creditable performance of that part. In most other characters she attempted, however, she failed to qualify, but she continued on the stage. 'Mr. McVicker was rather disappointed at the limited patronage this new feature attracted. But theatrical managers are subject to such tricks of fortune. Miss Sinclair opened May 30th in Wm. falconer's play, "Extremes", a drama that had just finished a run of 140 nights in London, but neither tne star nor the play aroused any special interest among Chicago theatre goers. Henry Sedley, who had appeared in the city with some success at an earlier date, was the leading man. The play was presented with this CAST Lucy Vavaroui Catherine Sinclair Frank Hawthorne Henry Sedley Hon. Augustus Adolphus Samuel Meyers Dr. Playfair James Bradley Robin Wildbriar J. H. McVicxer Betsy Wildbriar Mrs. Marble Jenny Wildbriar Lotta Hough June 1st, "The Queen's Necklace" was given together with "The four Sisters", presented as an afterpiece. The former play had the following 457 CHICAGO STAGE McVickers Theatre 1859 CAST Marie Antoinette Count De Artois Jeaunix Duke of Richelieu M. De Carney- Catherine Sinclair Henry Sedley Susan Woodbury Mr. Bradley Mr. Meyers "Extremes" was repeated on the 2d, then came "Marble Heart" and "Matrimonial Squab- ble" ; and Ton Taylor's "Court and Stage", the performance of which concluded Miss Sinclair's engagement. As has been stated, her visit was disappointing to the manager. June 6th Mr. and Mrs. James V/aller re- turned and opened with "The Duchess of Malfi" to fair business, which was about all that could be expected in view of the weather and tne political agitation of the time. The 8th was benefit night for Mr. McVicker and the occasion drew out the largest crowd ever in his theatre, with standing room at a premium. The plays pre- sented for this benefit were "Guy Manner- ing" and "Byways and Highways". On the 9th the stock company offered "The Patrician's Daughter" and "Who Speaks First"; and on the 10th, "Macbeth" was put on to wind up the season. The Great Ravels were to open on the 14th, but something delayed their arrival, so the theatre remained closed until the 19th, when Gabriel and Francois Ravel and their noted company of pantomime players 453 CHICAGO STAGE McVickers Theatre 1859 appeared and presented "Kim~Ka-Bianco" or "The Magic Sword", The people of Chicago did not take to pantomime as they did in London where that form of entertainment had been a regular season's innovation for many years, but the reputation of this troupe could not be resisted, so good houses were the rule during their limited visit. "Pinchillo the Corrupt" was the next "pan" and it was well received. The troupe continued to present the same style of en- tertainment they had offered on previous visits. On July 1st a dispute arose between one of the players and Francois over what should have been a trivial matter. In these days of Unionism it would be serious, and as it turned out, it was in this particular case. Angelo Chiraini had been asked by Francois Ravel to assist in placing some of the scenery. Angelo considered this be- neath the dignity of a player and refused, which led to a heated argument culminating in a fist fight with considerable damage to the employee's proboscis. The performer went to the police for protection and the climax of the affair was a "trial by jury" with an array of legal talent on both sides that would make a treason trial look- like a pettifogger's contempt sentence. Those were the days bef ore the I.A.T.S.E. had pro- mulgated strict, unbreakable rules which forbid the contaminating hand of a per- former to touch a piece of scenery, sacred only to a stage hand. This union did not exist in Chicago until 1882 and their reg- 439 CHICAGO STAGE McVickers Theatre 1859 ulations at that time were not as adamant as they became later. However, even then there was some justification in the actor's refusal, at least that was the finding in the "Irish Justice" trial that took place. The trouble in the Ravel ranks caused the company to close their Chicago engage- ment, and McVickers remained dark until July 25th. It opened on that date with the stock company presenting 0. H. Parday's "Nature's Nobleman", one of the prize win- ning plays of those times. On July 26th, McVicker resorted to that sure money- get- ter, "Uncle Tom's Cabin". Tnis was kept on until the opening of John Brougham's en- gagement on August 2d with "A Serious Fam- ily" and "Irish Lion" as an afterpiece. August r 6d Brougham presented a burlesque on Po-ca-hon-tas, whicn he had written in ridicule of all Pocahontas plays, from that of Robert Owens down. The star followed this with "David Copperfield" and other of his own plays. He closed August 11th. Mr. Brougham was succeeded by the great Irish actor, Barry Sullivan, a great favo- rite with the Liverpool clientele. He had not, however, been received in New York with the enthusiasm he deserved when he opened there on November 2, 1853. Mr. Sul- livan v/as the real cause of a reform or improvement in minstrel entertainment. J. Burdette Howe, well known and popular actor who had come to this country to play St. Clair in the New YorK run of "Uncle Tom's 440 CHICAGO STAGE McVickers Theatre 1859 Cabin", had been engaged to manage the theatre in Pittsburgh, Pennsylvania, and had contracted with this Irish player to appear there on a certain date. He disap- pointed and went into the opposition the- atre, Vvhich was nearly across the street. Mr. Howe j determined to get even, put on "Hamlet" with his stock company and an- nounced a Christy Minstrel for the after- piece, put on with the stock company, of course, as he had no regular minstrel per- formers, although nearly all actors could sing, dance and play musical instruments. The manager must make his small company look big so he took his orchestra out of the "pit" and put it on the stage. This became a regulation procedure ever after. Mr. Sullivan chose for his opening at McVickers on August 13th "Hamlet", with "Twenty Minutes With a Tiger" for the aft- erpiece. He was then seen consecutively in "The Gamester" on the 14th; "Hamlet" on the 15th; "Merchant of Venice" on the 18th; "Richard III" on the 19th; closing on the ?0th with "Macbeth". He was well received but no sensational receipts jingled in the till. After Sullivan's departure the nearest approach to a star appearance was little Mary McVicker. An ambitious local dramatist wrote a play for the youngster given the business killing title of "Gianette, the Stolen Child" . Had the author omitted the "Gianette" and given it only the subtitle 441 CHICAGO STAGE McVickers Theatre 1859 it might have been all right. Anyway, "The Stolen Child" with Little Mary the subject of the theft wouldn't have Kept anybody a- way —maybe. The play proved a failure all around. It was saturated with religious pleas, and burdened with neavenly appeals not at all attractive to the pagans who made up the majority of show goers in those days —if not now. In spite of the play's defects, It was kept on for a week, or un- til a new feature could be brought in. On August 29th Josephine and Adelaide Gougenheim opened in "Court and Stage", the former as Nell Gwynne and the latter as trances Stewart. These clever actresses came to America from England. Adelaide was first seen in "The School for Scandal" in New York, August 19, 1854, and Josephine the following day in another play. They were charming and capable girls and were generally well received, but did net gain enough distinction to qualify as stars. However, they were appreciated while here, although they remained only one weeK. Be- fore the sisters left, McVicker announced that his next feature would be Donetti & Woods, Dogs and Monkeys, much to the cha- grin of the Gougenheim duo at being re- placed by dogs and monkeys. Colonel Woods and McVicker only laughed. September 4th Mary McVicker left for Boston on a starring tour. September 6th the dogs and monkeys arrived. In order to give the animals an occasional rest, the 442 CHICAGO STAGE McViekers Theatre 1859 stock company put on various plays with which they were familiar. On the 8th Col. Woods introduced, along with the animal antics, what he termed the "Great Ryngas" who featured the feat of swallowing a sword two feet long, a claim that brought a pro- test from an irate doctor who vowed it couldn't be done and that Col. Woods was a humbug. The Colonel was used to that sort of talk. Tne dogs and monkeys remained un- til the 17th. The stock company had been rehearsing "Speculation 11 , a new drama by another local playwright, which McVicker had great hopes for. It was first presented Monday, Sep- tember 19th, and was thus CAST Gabriel Badger Mr. McVicker Comerlotte Mr. Leighton Georgia Comerlotte Mrs. Meyers Mr. Slowman Mr. Bradley Mrs. Gaylove Miss Woodbury Handsome, a servant Mr. Dillon Fastboy, a villain Mr. Tilton Joe, another servant Mrs. Leighton Mrs. Comerlotte Mrs. Marble Prudence Lotta Hough The play was well received by press and public and enjoyed a run of a week. It was succeeded by "Our Eastern Cousin in Chica- go", which also ran for a week. Julia Dean Hayne, formerly Julia Dean, 443 CHICAGO STAGE McVickers Theatre 1859 opened on October Sd in "Much Ado About Nothing", with a change of play nightly in the following order: "Ingomar", "The Hunch- back", "The Lady of Lyons", "The Wrecker's Daughter" and "Lucretia Borgia" . Next came the well known English tra- gedian, James Anderson, who opened October 11th in "Hamlet", and for the farce, "The Glorious Minority" was put on. After this he presented "Coriolanus" ; "Macbeth"; "Da- mon and Pythias", — -the first time this had been presented in McVickers; "The Robbers"; "Richard III"; and for the first time in Chicago, Mr. Anderson's own play, "Clouds and Sunshine", presented on the 19th. It was played but two nights, giving way to "The V/onder" on the 21st. "Clouds and Sun- shine" was then put on for two more nights at which time Mr. Anderson closed his en- gagement. Anderson was followed by Knnie and Ad- die Lonsdale, who had come from England as early as 1852, and had made a big hit in Buckstone's farce, "The Good for Nothing", at one of the New York theatres. Annie was a clever actress but as a star never gained the distinction that would make her attrac- tive financially to managers. They began their engagement at McVicKers as Lady Gay Spanker and Grace Harkaway in Boucicault's great comedy, "London Assurance". On the 25th, the plays were "Royal Command" and "Captain Charlotte"; the 26th, "Soldier's Daughter"; the ?7th, "Roll of Drums"; and 444 CHIC A GO STAGE McVickers Theatre 1859 on their closing night, October the £9th , "Black-eyed Susan". October 30th the stock company offered "Pauline". Heretofore, like most of the stock managers, McVicker had been putting on a different play every night unless one was unusually attractive, in which case it was kept on as long as it drew the patrons. But about this time Mr. McVicKer tried to establish a policy of one bill a week. In later years this became the standard man- ner of operating a resident stock company, but it could not be made to work at this time, so he went back to the former policy. "Pauline", however, was kept on for the week. Little Mary McVicker having finished her starring engagement in the east, re- turned and aopeared with the company in "Is It a Boy?", "Little Piccolonini" , "Ladies' Battle", "Little Nell", etc. November 12th E. Z. Sherman, the treasurer, was given a well deserved benefit. James E. Murdock was welcomed back on the 14th and remained until December 3d, playing nothing new, but giving satisfactory performances of the legitimate dramas. Escot & Miranda's English Opera Com- pany opened December 5th in "The Bohemian Girl", and followed it with "Maritana", "II Trovatore" and other standard operas. The stock company again took over on 445 CHICAGO STAGE McVickers - North's National 1859 the 19th, and the balance of the year was devoted to benefits for the various mem- bers. The year had not been hugely pros- perous ior the manager, largely owing to the times, which were not good. The oppo- sition, however, had been unimportant. NORTH'S NATIONAL.- "Uncle Tom's Cabin" continued at this theatre and ran up into this year until about January 4th. "Rock- wood" or "Dick Turpin" then succeeded it with North's sorrel horse, Hiram, and six acrobatic acts. The play ran until the 8th when "Putnam" was again put on. January 10th, Nortn announced an added feature in the form of a special equestrian exhibition in which he was seen with his great exhi- bition horse, Tamany. The spectacle of "The Fall of Delhi" was also presented, as a double feature. Dan Castello was brought on to do the clowning. January 12th a pack of Indian Chiefs gave an old Indian pow-wow. On the 14th, "Broken Swords" or "The Torrent of Death" was seen at this house. It was followed by "Putnam", done this time as an afterpiece. The drama was changed to "The Cataract of the Ganges" offered on the occasion of Le- vi North's benefit, which was well attend- ed, testifying to the old timer's popular- ity. The Chicago public appreciated the varied style and the quality of North's offerings. The bill was changed on the 24th to "Forty Thieves" followed by "Ire- 446 CHICAGO STAGE North's National 1859 land and America" with Sam Ryan making his appearance. A new play, "Temptation", was produced on the 29th, and on tebruary 1st "The Robber's Wife" and "Robert Macaire" were the offerings. North then brought in V-'. H. Meeker, who had been quite a favorite here when he appeared with Mr. Rice's company. He be- gan his engagement as Michael in "The Ma- niac Lover" on Pebruary 2d and gave a good interpretation of the part, first played here in 1837. Mr. Meeker followed this with another good part in "Nick of the Woods" on the 3d. Mr. Lyne, who had been with the North company for some time, concluded his stay with a benefit on the 4th, presenting "Richard III". This actor first visited Chicago in 1842 when, as one ol the man- agers of Powell & Lyne, he played in the first Chicago Theatre built by McKinzie & Jefferson. February 5th that iunny clown, Ban Castello, was given a benefit. In addition to his own appearance, Mr. Meeker was seen in "Richard III". When Richard shouted during this performance, "A horse, a horse, my kingdom for a horse", the audience was disappointed that North didn't respond to his plea and come dashing in on one of his fiery steeds. A man in the audience shouted "Will a jackass do?" "Yes," replied Meeker, "come around to the stage door." February 7th saw a nev, piece at this 447 CHICAGO STAGE North's National 1859 house entitled "The Merchant Steed ol Syr- acuse". It had first been presented to tne public in London by Win. West, Mr. North 1 s father-in-law, when he controlled the fa- mous Astleys. As the title indicates, it is what has been called a "horse drama". It ran until the 14th when "The Drunkard" and "Toodles" were given as a benefit to J. Weaver. North then reverted to "The Mer- chant Steed of Syracuse", on the 16th. On the 17th, "Othello" was given at a benefit for Mr. Davis. Mr. Meeker appeared in "Six Degrees of Crime" for his own benefit en the 19th. "The Miser oi Marseilles" held the stage on the 24th. On the 25th a bene- fit was given for Lydianna Scoville, when "The Battle of Buena Vista" and "Chicago One Hundred Years Hence" were presented. On the 26th, "Warlock of the Glen" was the play coupled with the first exhibition oi Mr /Beer's trained buffalo. "The Trail of Blood" was North's thriller on the 28th. While MbVicker's company laid off for the visit of the opera company at his the- atre, several members, with the approval of McVicker, went over to North 1 s National. On March 9th, E. A. and Mrs. Locke made an appearance there again, and on the 10th the North company was seen in "Maz^ppa", which was kept on until it was replaced by "The Cobbler's Frolic" on the 15th. This re- mained until the big spectacle of "Cinder- ella" opened. Mr. North closed on Mar en 26th and the 443 CHICAGO ST Worth's National 1859 theatre remained unoccupied until April 7th. On that date Frank Drew took a fling at operatic management and brought in H.C. Cooper's English Opera Company with Annie Milner as prima donna, Prof. Hoffman as conductor, and the following artists: Ans- ley Cook, Mr. Brookhouse, Bowler, Rudolph- sen, Sobatzy, Miss H. Payne, Misses C. T. Smith and J. Payne. Frank Drew v/as a broth- er of John Drew, Sr. , who married the widow of the late George Mossop. Frank outlived his brother and was one oi the good actors of his time but an unsuccessful manager as his effort in Chicago proved. The opera company opened April 11th in Bellini's "La Sonnambula" . The company was well received and merited good patronage. April 12th "Lucia de Lamrnermoor" was well presented with Annie Milner a splendid Lucy; Mr. Ccok a good Henrico; Mrs. Smith and Miss Payne equal to the requirements of their respective parts, as were Mr. Bowler and Mr. Rudolphson. During this time Mr. Drew made some valuable improvements in the theatre. On the 15th the opera com- pany presented Donizetti's comic opera "L' Elisire D' A'more". North's National suffered for want of patronage due to the manager's inability to procure feature attractions, a necessi- ty if interest was to be stimulated. The old circus manager and performer depended upon the circus ring to attract the people, but in spite of his big features, the per- 449 CHICAGO STAGE North's National 1859 formances were too much alike. He finally left on his regular circus tour on May 16th, opening in Sandusky, Ohio, with his Great American Circus. Frank Drew, despite his efforts, could not make his venture pay and soon abandoned the attempt. The theatre was re-opened on September 5th by F. T. Sherlock, who had been in the amusement business in Detroit, Michigan, and Indianapolis, Indiana. His first stars were Mr. and Mrs. Henry Farren, neither of them strangers to Chicago play goers. The opening play was "Who's Your Friend?" On the 6th Mrs. Farren presented "Mathilde" . "Plot and Passion" was done on the 7th followed by the farce "The Frisky Cobbler". "Esmeralda" was the offering on the 8th, and "Daughter of the Regiment" was a bar- gain at 2b$ top when it was done on the 9th. "Oliver Twist" was the offering for the 10th; "Jenny Lind" and "Time Tries All" on the 12th; and "Follies of a Night" and "Love and Livery" were seen on the loth. Mr. Sherlock, unfortunately, was con- fronted by the same fates that had so sore- ly beset his predecessor and he eventually decided that it was useless to continue a losing battle, so he "gave up the ghost" and sought more lucrative fields elsewhere. Since no one appeared who seemed anxious to prove his managerial ability at this house, North's National Theatre was unoc- cupied for some time. 450 CHICAGO STAGE Metropolitan Hall 1853 METROPOLITAN. -This was still the prin- cipal place used for musical and similar forms of entertainment. The first of these to appear this season was a Mr. Crawford, who gave what he called "An Evening with Burns". It consisted of songs of Robert Burns and a lecture on the life of the po- et. The entertainment was very well re- ceived, perhaps due to the fact tnat it was the 100th anniversary of the birth oi Scot- land' s pride. The date was January 12th. The next attraction was on February 1st, when the English humorist, Thomas Worrell, gave a lecture on "Women in Eng- land" to the usual lecture devotees. March 23d Mr. Ullman, Italian Opera impresario, announced that he had decided to send all of his musical attractions to Chicago. Madam Labordo and Carl Fommes headed an organization embracing Gustave Satter at the piano, and Theodore Thomas, director of Thomas & Mason's Classic Quar- tettes, among others. This is the first time we find the name of the man who meant so much to music lovers in this city. Mr. Thomas will be mentioned later in connec- tion with his Chicago career. On April 4th RobertM. Hooley and George Christy moved their Christy Minstrels from another hall into the Metropolitan but re- mained only four days. April 28th and 30th, Maurice Strakosch 451 CHICAGO STAGE Metropolitan Hall 1859 brought Mile. Piecoloxlini to the Metropol- itan, assisted by Signors Bergnoli, Amodo and Maggroniti, all of whom proved satis- factory to the many patrons attending . There was nothing at the Metropolitan after this until July 11th, when Cooper's English Opera Company appeared. It will be of interest to the students of theatricals to know that the advance agent for this Cooper's English Opera Company at the time it visited Chicago, was no less a person than "Colonel'' T. Allston Brown, author of "The History of the American Theatre," and "Records of the New York Stage". Tiie prefix, "Colonel", was not attached to his name un- til later, when he was treasurer of Gardner & Madigan's Circus. One of the features of this circus was the famous rope walker, M. Blond in, the first man to cross over the raging Niagara Falls on a rope. While the circus was appearing at the Front Street Theatre in Baltimore, Maryland, they ad- vertised that Mens. Blond in would walk on a rope from the stage to the dome of the theatre, a distance of 150 feet, with a man on his back. The man who was to take this rice 1 ailed to show up, so Brown offered himself as a substitute. Blondin, with Brown on his back, accomplished the feat, to the gratification and consternation of the bewildered audience. Like many showmen of the time, Brown wore a silk hat which added materially to the pipturesqueness of the performance. He was well known to the press throughout the country so the papers 452 CHICAGO STAGE Metropolitan Hall 1859 devoted considerable space to the stunt and Brown was dubbed "Colonel", a title which stuck to him ever after that. While it must be conceded that Brown, in his "Records of the New York Stage" fol- lowed Ireland's records up to the date they ended, it was not because he needed to do so, for he was no academic theatrical writer but a widely experienced showman, who began his theatrical career in 1855 as the Philadelphia correspondent of the New York Clipper, first started in 1855. As early as 1860 he was writing his "History of the American Theatre" for the Clipper. Whatever may be said for or against him, he was not what Robert Green called his contemporary, William Shakespeare, "An up- start crow, beautified with other's feath- ers, bombasts blank verse like he was the only shake-scene in the play." That man Shakespeare to whom Green referred turned out to be a pretty good showman, too. Mr. Brown was born in January, 1856, at Newburyport, Massachusetts. He dabbled in everything connected with theatricals from editing the New York Clipper to oper- ating companies. Later in life he became a partner in the Simmons & Brown Theatrical Agency. He lived well into the 20th Century and was highly respected in his editorial capacity, as a showman ought to be. Cooper's English Opera Company remained at the Metropolitan until the 17th gaining 455 CHICAGO STAGE Metropolitan Hall 1859 many customers. They were followed the 11th of August by Madam Rive in a pleasing concert. On the 22d, the well known Peak Family made another visit. The Peak Family of Bell Ringers, with the many features they unearthed from time to time, was one of the outstanding attractions of the kind in the country. They had with the organi- zation Jean Alfred Fay, "right from Mar- quinic" as the advertising matter asserted. This family came from Milford, Massachu- setts, where the first Mr. Peak conducted a church choir, he being the organist and Mrs. Peak an efficient alto singer, a nec- essary voice in a good choir. At this period there was a great tem- perance agitation and among the many capi- talizing on the subject was John B. Gough, leading advocate of the cause at the time and, in fact, of all time. Gough knew a thing or two about the psychology of an audience and realized the need of something to break the monotony of his eloquent ha- rangue. Unlike Billy Sunday who used the breaking of a chair for relief, John B . preferred a more animated method, so he persuaded William Peak and his singing wife to take part in "the good cause". The fam- ily then consisted of the elder Peaks, Wil- liam, Jr., Eddie, Julia and Fanny. All of them, as they proved later, knew how to entertain. The religious Peaks, getting a peep into snow business, soon acquired a yearning for the road —that long lane that never turns. Eventually they started out 454 CHICAGO STAGE Metropolitan Hall 1859 with a concert company of their own. They toured the East successfully for some time but the elder Peak always thought he need- ed some sort of a novelty. It T s "an ill wind that blows nobody good" and v one man's necessity is the other's opportunity." P. T. Barnum, that unparalleled scout for novelties, had made one of his many slips we seldom hear about. Barnum had recently brought to America a troupe which he called the Swiss Bell Ringers — but they were Ger- mans. The misnomer aroused, not only the one nationality, but both. As a result, the organization came to grief in St. Louis, Missouri. True to tradition, the propri- etor of the hotel there seized the bells for the board bill. Hearing of the bell ringers' misfortune, Mr. Peak went to St. Louis and, with wise circumspection, ap- proached the hotel keeper with "What was the last show here?" "Dunno," was trie re- ply, and setting down the coal hod, called, "Hey, Bill, go upstairs and get the names on them trunks." To show folks this is an old story, but here was the origin. The bells were acquired and brought into the family, and the youngsters soon learned to play them efficiently. From then on it was 'Teak's Family of Bell Ringers''. William PeaK, Jr., eldest of the children, married a girl named Harris and they had one son, Frank, who taught dancing school in Chica- go for some years. The elder Peak and his son didn't always agree — indeed, who can in the shov. business? So they divided the territory, as Maurice Barrymore and frede- 455 CHICAGO STAGE Metropolitan Hall 1859 rick Warde did when they inherited the rights to "Diplomacy". The father took the East and the son the West. This, then, is the son's organization that always visited Chicago. While playing in Milwaukee, Wisconsin, he discovered a pretty good story teller in a little hide- away honky tonk, and young Peak signed him up. This man was Sol Smith Russell who, e- ventually, became one of America's best loved stars. About this time there was a company known as The Berger Family, and Peak added this family to that of the Peaks. In this new addition was Fred Berger who ultimate- ly became tne brother-in-law and also the manager of Sol Smith Russell, an associa- tion that proved to be to the financial advantage of both. Russell married Louisa Berger in 1369; sue died at Jackson, Mich- igan, in 1872* This organization was a regular visitor to Chicago for many years. On September 2d Colonel Woods, who had first established a Museum at 9 Dearborn Street in the Tremont Hotel block and who was now operating another on Lake Street, presented, under the firm name of "Donnet- ti k Woods", what they termed "The Great Burlesque Circus" in the Metropolitan. It was a pantomimic and acrobatic exhibition of "dogs and monkeys" . The resourceful Col- onel knew how to feature everything he had and many things he didn't have. 456 CHICAGO STAGE Miscellaneous Halls 1859 NORTH MARKET STREET HALL.- This hall, located on Michigan Street and Veils where Charles Thome . established his National Theatre-, disappeared this year by burning on April 18, 1859. As will be noted, this hall was not on Market Street, but in a district used as a marketing place. It was not used as an amusement place at the time of its destruction by fire. The hall where such entertainments had taken place was at the time of the fire used as a police sta- t i on . KINZIE HALL was located on Kinzie Street a few doors east of Clark Street. It did not open until 1360. SAM RYAN'S MINSTREL HALL.— This was what had been Emmett's Varieties and later Kneass' Lyceum Theatre. It was located at what was then 115 and 117 Randolph Street. This hall opened under the above name on February 7, 1359, with what Ryan called "Negro Minstrelsy and Old Virginia enter- tainment." At this period, Mr. Ryan was the husband of Kate Denin, distinguished dramatic actress and sister of Susan Denin, both of whom, so Ryan said, would head the efficient dramatic division. The drama, however, was abandoned. There was not much variety to Ryan's entertainment. It consisted of minstrelsy, primarily, although he did introduce new names and faces from time to time. Among others presented were the Kneass family, 457 CHICAGO STAGE Ryan's Kail - McVickers 1359-1860 composed of Mr. and Mrs. Nelson Kneass and two children. Mr. Kneass was later to be- come famous as the composer of the music oi "Sweet Alice Ben Bolt" . He was quite a fixture in the entertainment field around Chicago . Others in Ryan's aggregation included many established minstrel performers such as E. J. Williams, H. C. Thompson, P. H. Seaman, W. Lawrence, J. W. Roberts and the wives of most of them, the latter contrib- uting the burlesque which the manager ad- vertised. The establishment did very well for a time and operated for a half year with some success, but as with many others, business dwindled and the hall eventually succumbed to the inevitable and closed. MCVICKERS THEATRE. -r The year 1860 did not turn out to be a profitable one for McVicker or any other theatrical manager. Many actors .joined the army and feature plays were not available. But in spite oi it all, McVicker managed to Keep going by cutting his expenses. His first new play this year was on January 4th, on which date J. B. Howe's "Hidden Hand" was produced. This was the first play presented in Cnicago without a farce or afterpiece in conjunction with it. Capitola was played by Mrs. Leighton and McVicker was seen as Wool. Mr. Bradley ap- peared as Hurricane and Tilton as BlacK 458 CHICAGO STAGE McVickers Theatre 1860 Donald. The remaining parts were not im- portant, although they were capably exe- cuted by other members of the stock company. The play ran until January 16th, the first run of two weeks in Chicago. January 16th Mrs. and Miss Farren o- pened in "The Love Chase". It was followed by "Belle's Stratagem" i or the afterpiece. This bill was kept on until the 19th. On the 20th, Mrs. Farren 1 s daughter, Fanny, was seen in "St. Mary's Eve". "Lucretia Borgia" and "Grist to the Mill" were the plays on the 21st, and on the 23d "Widow' s Stratagem" followed by "Highways and By- ways". On the 25th, J. Sterling Coyne's "Everybody's Friend" was seen for the first time in this city. It was given with this CAST Felix Featherly Mr. Tilton Icebrook Mr. Meyers Major De Boots Mr. McVicker Mrs. Featherly Mrs. Farren Mrs. De Boots Lotta Hough Mrs. Swansdown Miss Woodbury "Mary Tudor" was Miss Farren' s oiiering on the 27th, and the Farrens concluded their engagement on the 23th. They were replaced by Miss Alice Kimberly, who be- gan her engagement with Boucicault's well known drama "The Octoroon" which continued until February 17th, outrunning "Hidden Hand". It was played with this 459 CHICAGO STAGE McVickers Theatre 1860 CAST Zoa Miss Kimberly Salem Scudder J-. H. McVicker Jacob McClosky Mr. Leighton Wan-a-tee Mr. Tilton Pete Mr. Bradley Capt. Ratts Mr. Uhl George Peyton Mr. Meyers La Fouche Mr. Graver Mrs. Peyton Lotta Hough Dora Sunny side Mrs. Meyers Paul Mary McVicker McVicker had everything his own way at this time as there were no counter theatri- cal attractions. Miss Kimberly concluded her engagement when the production of "The Octoroon 1 ' ended. Mr. Meyers was given a benefit on Saturday , the 18th, with a re- peat of "Everybody's Friend". February 20th "Captain Kyd" and "Samuel In Search of Him- self" were presented followed by "Luke the Laborer" on the 226. , which date was a ben- efit for Mr. Harrington. "Jeanne Dean" or "The Heart of Midlothian" was announced for the 23d but not played. Its companion piece was "Ladies Battle". "Captain Kyd" and an afterpiece made up the evening's amusement on the 24 th. Monday, February 27th, brought a new face to McVickers, that of Jane Coombs. She began her engagement with "The Hunchback", following with "Ingomar" on the 28th; "Love" on the 29th; "The Lady of Lyons" on 460 CHICAGO STAGE McVickers Theatre 1860 March 1st; and "Fazio T? on the 2d. They then went back to "Ingomar" on the 3d. Monday, the 5th, "A Wife's Secret", as originally produced by Ellon Tree, was given with this CAST Lady Evelyn Jane Coombs Maude Mrs. Leighton Sir Walter Mr. Tilton Lord Arden Mr. Meyers Jazabel Sneed Mr. Bradley Capt. Tcmlinson Mr. Graver Bouillard Mr. Leighton Neville Lotta Hough Maude Mrs. Meyers for the alterpiece "Samuel in Sear en of Himself" was given. Then lollowed "Evadne" on the 8th; "Love's Sacrifice" on the 9th; and "Wife's Secret" and "Love Chase" .were again capably presented on the 10th. This ended Miss Coombs' engagement. The follow- ing night the stock company put on "Old Heads and Young Hearts" . March 15th saw the much advertised "Jeanne Dean" by Dion Boucicault. It was playea with this Jeanne Miss Woodbury Effie Dean Mrs. Leignton Madge Wildfire Lotta Hough Meg Merdochson Mrs. Marble 461 CHICAGO STAGE McVickers Theatre 1860 CAST (Con t'd) Queen Charlotte Mrs . Meyers Duke Argvle Mr. Bradley David Bean Mr. Tilton Ratcliffe Mr. Leighton Robertson Mr. Meyers Laird of Dumbledykes Mr . Graver Reuben Taylor Mr. Cline Archibald Mr. Marble Lord Justice Mr. Uhl Council for the Town Mr. Dillon Council for the Defense Mr . McVicker It remained on view until the 15th. On the 16th Mr.. McVicker announced a benefit for himself and presented ^Taking the Chances" written for him by the best known dramatist in the country at that time. It had this CAST Peter Pomeroy Diogenes Duff flighty Blanche Mrs. Fitz Fouges Mr. McVicker Mr. Bradley Mr. Meyers Miss Woodbury Mrs. Leighton Some vaudeville was introduced between the acts by J.G. and Frank' Lombard, the Zouave twins, the Infant Drummers, and fowler and Growler. Marcn 19th the company repeated "Jeanne Dean" which ran until the ?2d when it was 462 CHICAGO STAGE McVicKers Theatre 1860 withdrawn to make way for "Our Irish Cous- in" and "The Queen' s Own" which were pre- sented at a benefit for Mr. Dillon. Then the company reverted to "Jeanne Dean" and "Hidden Hand" for two nights. March 28th Lester Wallack' s big success "Romance of a Poor Young Man" was offered. The play was a big hit, running until April 7th. It was followed on the 9th by "Satan in Paris" with Mrs. Barrow, who came in as a star. Other plays given in order of their presentation were: "The Marble Heart", "Two Can Play At That Game", "Retribution" , "The Queen's Own" , "As You Like It", "Ob- stinate Family", "Nine Points oi the Law", 'London Assurance", "Betsy Baker", "Much Ado About Nothing", "The Rivals" and "She Stoops to Conquer". Mrs. Barrows closed on the 21st and was replaced by John Collins, the popular Irish singing actor. Collins began his engagement with a presentation of "The Nervous Man" . He re- mained until May 5th, offering the same plays that he and all the other Irish act- ors had done before. The stock then con- tinued without a star, repeating "Hidden Hand", "Pauline", "Our American Cousin", "Romance of a Poor Young Man", etc. May 21st McVicker encountered opposi- tion when Hooley & Campbell's 3'4instruls opened at Kingsbury's Hall. On the 26th, the stock company offered "Husband to Or- der". The next night McVicker nearly went 463 CHICAGO STAGE McVickers Theatre 1860 vaudeville again when Billy O'Neil and the Webb Sisters were included along with the play "Four Sisters", which play was select- ed to give the public the impression there were four Webb sisters. Ada and Emma Webb were the traditional "sister team", but while they qualified in a nifty song and dance, their ability was not limited to that talent alone. They were a capable pair of performers and had just appeared in New York, after proving them- selves great favorites in all the western cities. These newcomers were seen in the drama "Aline" or "The Rose of Killarney" on the 29th, and in "Nicholas Nickleby" on the oOth. "Bride of hammer moor" and "The Limerick Boy", on June 1st, concluded the engagement ol Mr. T Neil and the Webb sis- ters . June 4th a i art we 11 benefit was given to Miss Woodbury at which "Lucille", "Cor- sican Brothers" and "A Husband to Order" were well presented to an enthusiastic audience ready to give the popular leading lady a testimonial of their appreciation. She had been in Chicago for several years and had always pleased her patrons. "Retribution" was repeated on June 5th, followed by "Too Much lor Good Nature". Mr. Tilton was fiven a benefit on the 6th. On this date lanny Tilton made her first appearance on any stage, and Katie Putnam, now fourteen years old, also appeared. 464 CHICAGO STAGE McVickers Theatre I860 — ■-■ . — ■,■!■■ ■ - .-»■■ — ■! .1 ■ !■!!!■ ..!!»■.». — ■ _!■■— I. I —— — ^^1 Ml !■ ■■ T 'The Willow Copse" and "The Adopted Child" were the plays presented. On the 7th "Hus- band to Order" and "Too Much for Good Na- ture" were again oiiered. The stock company continued to repeat plays until the lltn, when "Tom and Jerry" was played for three nights, after which the company reverted to repeats. McVicker was trying to get by as cheaply as possible and was preparing to close trie stock company. This he did after June 14th. Miss Woodbury went to St. Louis, Missouri; Lotta Hough joined Laura Keene T s company in New York; Mr. Tilton also went to New York. Mr. Bradley had read law while playing here and put out his shingle announcing the fact. The Great Ravels had been billed to open at McVickers c^n June 16th but did not open until the 26th. They remained until July 7th, giving the same unvaried panto- mimic presentations they had offered on their previous visit. When McVicker reopened his stock com- pany on August 6th it included several new members. Among them were: T. R. Kann, who had been here with Mr. Rice, Ada Plunkett, Louisa Magness, Ella Wren, Frank Mordant, and Misses H. and A. Gale, dancers. The opening play was "Love's Sacrifice" fol- lowed by "A Day in Paris". Then came, in order named, "Speed the Plow", "The Wife", "Married Life" and "Lucretia Borgia". August lbth brought the first star for 465 CHICAGO STAGE McViokers Theatre 1360 some time, Maggie Mitchell. She opened in "Love's Telegraph" and "Kitty 1 Shell", with "French Spy" on the 15th and "heir of L'Arville" the 16th. Miss Mitchell closed on the 19th and was succeeded by Kate Bate- man on the 21 st with a presentation of "Geraldine" . This girl had been here ten years before when she was only a child. "Geraldine" was kept on for a full week, after which she produced her mother's dram- atization of "Evangeline". On the cist, "Nora O'Neil, an Irish Emigrant" was seen in conjunction with "Romance of a Poor Young Woman" . All of her plays were writ- ten by her mother, Mrs. H. L. Bateman, formerly Sidney Cowoll. September od Mary McVicker became the feature in "Katie, the Hot Corn Girl", "Bombast Furioso", " Handsome Husbands", "Fashion and Famine", "Brigand's Son" and "Spoiled Child". On the 14th Mary was given a benefit and appeared as Hamlet in one act of that- play and, incidentally, sang "La Marseillaise" in French, When this youngster attempted the part oi the melan- cnoly Dane , she little thought that one day she would actually become the wife of the world's greatest Hamlet, Edwin Booth. Jane Coombs returned on the 17th, ana offered "The Hunchback" followed by "Ingo- mar", "Wife's Secret", "Evadne", "School for Scandal", "Fazio", "Ada", and "Love Chase" . 466 CHICAGO STAGE McVickers Theatre 1860 October 6th a great mass meeting was held at McVickers when Stephen A. Douglas, candidate for .President, Robert Ingersoll, and other distinguished persons spoke. Mr. Collins also appeared as Myles Na-Coppaleen in "Colleen Bawn" . Senator Stephen A. Doug- las and family attended on the 7th. The play ran until the 13th, when Mr. Collins left and the stock company put on "Speed the Plow" and "Luke the Laborer" on the 15th, with "Lear in Private Life" and "A Race for a Widow" following on the 17th, on which occasion Ada Plunkett was given a benefit. Hann received a benefit on the 19th. On the 20th a new play, "The Quad- roon", was first seen in this city. It re- mained on the stage but two nights, which would seem to indicate a limited success. October 23d Marion McCarthy and Felix Vincent opened with "David Copperf ield" , combined with "Jenny Lind" and "An Object of Interest". On the 24th a new play deal- ing with political activity in Chicago was given a production. Its title was "Poli- tics" or "The Contest in Chicago". The scene was laid in the Wigwam and other lo- cal places. It was announced as the joint work of a Republican and a Democrat but the play stirred up a hornet's nest because press and public took sides and protested that it was pro-Lincoln or pro-Douglas ac- cording to the political leanings of the particular individual. However, the char- acters were well drawn, especially Douglas, played r % John Dillon, that incomparable 467 CHICAGO STAGE McVickers Theatre 1860 comedian, and Caroline, the rail~splitter T s daughter, played by Miss Wren. It was with- drawn after the 27th. Miss Kimberly returned on the 29th re- placing Felix Vincent and Marion McCarthy. She opened in a revival of "The Octoroon" which ran until November 4th. Star and play were then superseded by Annette Ince in "The Hunchback" in which she was well supported by E. C. Prior and others. This play was followed by "The Lady of Lyons", "Camille", and "Romeo and Juliet". Miss Ince's engagement ended on the 15th, at which time Mme . Pauline Colson appeared and presented an Italian opera. Miss Ince then returned and continued her engagement presenting various standard dramas that she and others had played before. She con- cluded her appearance on the 17th of No- vember, bringing to a close a visit of longer duration than any previous star. Fmma Waller was the next guest star, opening in "Guy Manner ing". November 26th the star did Iago in "Othello" with her husband as the Moor. "Macbeth" was present- ed on the 30th. December 5th Ella Wren was given a benefit. This was the benefit sea- son and each member of the cast enjoyed one during December. J. B. Roberts, the great tragedian, appeared on the 10th, presenting "Hamlet", "The Rag Picker of Paris", "Richard III", "Corsican Brothers", and "Faust and Mar- 468 CHICAGO STAGE McVickers Theatre - Halls 1860 guerite" . The last mentioned was played on the 17th with Mr. Roberts as Mephisto. It was kept on until the ?2d, alter which Mr. Roberts left and was replaced by Ada and Emma Wren who opened with "Beauty and the Beast" played by the following CAST l Beauty Ada Wren Beast Samuel Meyers Old Pump John Dillon Marygolda Mrs. Meyers Dresalind Emma Wren It was done in combination with "The Female Brigand" and was continued to the end of the year. HALLS.— These halls have always been important in the development of theatricals in all parts of the country. No one would, or should, be foolish enough to build a theatre before there was some assurance of a reasonable amount of attractions to jus- tify the erection of such a building. In Chicago, as elsewhere, amusement seeKers in the early days had to be satisfied with dramatic and musical performances given in halls which could be used for other pur- poses. From time to time new halls appeared as others faded out or became obsolete. The latest of these at this time was Bry- an's Hall on Clark Street. This hall grad- ually succeeded in getting attractions that 469 CHICAGO STAGE Bryan's Hall I860 haa formerly been housed at the Metropoli- tan, as may be seen. BRYAN'S HALL.— This hall, built by T. B. Bryan, was located on what was then called South Clark Street, but would be at what is now 121 North Clark Street, facing the City Hall. Tt was what might be termed ALMOST a theatre. It was a three -story structure with an inviting and attractive lobby which Mr. Bryan had embellished with Fifteen thousand dollars worth of beautiful paintings. Like other aspirants to theat- rical honors, this hopeiul impresario was something of a social climber, and to make sure the opening would manifest consider- able eclat, he opened his much touted in- stitution on September 19, 1860, with a local concert given for the benefit of the families of the unfortunate victims who lost their lives in the wrecking of the steamboat Elgin at Milwaukee a few days before . It was in this hall that Robert M. Hooley opened later, giving it the name of Hooley's Opera House. November 9th was the date of the next attraction which was James Clairville in a Vocal and Instrumental Con- cert consisting of selections from the standard operas. On the 13th Pauline Col- son, a distinguished opera singer of the period, gave a concert similar to that given by Prof. Clairville. Madam Colson went over to McVickers for a concert, at a later date. 470 CHICAGO STAGE Bryan's Hall - Metropolitan 1860 On the 24th and 25th the attraction was a prize fight. One of the principals was no less distinguished a person than the great John C. Heenan who was., perhaps, the most admired and thoroughly worshipped prize ring hero that ever punished an op- ponent. At that time, Mr. Heenan was the husband of the famous Adah Isaac Menken, but he was divorced from her that same year at Woodstock, Illinois. Mr . Heenan' s part in the above mentioned exhibition was not actually as a contestant, but as the referee. The principals in the fight were Aaron Jones of London, England, and Ned Price of Boston. This was the first recog- nized prize fight that took place in Chi- cago. The admission was 50^. November 50th and blst Vivian Jones, of more or less importance in the musical field, gave a concert. December 13th and 14th Marion Berteno, styled "The Great Swedish Nightingale" direct from Europe, gave two concerts to satisfactory patron- age. On the 18th Madam Bostwick gave an- other concert, which finished attractions at Bryan's for 1860. METROPOLITAN.— This hall suffered for attractions and patrons after Bryan' s Hall opened, and eventually succumbed to its op- position. The first attraction at this place came on March 28th when the famous, or in-famous, Lola Montez lectured on "John Bull at Home". Thereafter, there was noth- ing of importance until August 15th, when 471 CHICAGO STAGE Halls - Metropolitan - Kingsbury 1860 the greatest of all singers of the day, Anna Bishop, was seen and heard by many. There were also unimportant local affairs In this hall during the year, but only the record of professional appearances is be- ing considered. KINGSBURY'S HALL was located on Clark Street just opposite the Sherman House, then and later. Its location, according to the present numbering, would be 155 North Clark Street. It later had an entrance on Randolph Street. It was opened April 20, 1860. It underwent many changes before and after the fire, and was alternately known as Woods Museum, Aiken's Theatre, etc., etc. The opening attraction was Hooley & Campbell's Minstrels, on the above men- tioned date. It was destroyed by the dev- astating conf lagration of October 9, 1871, but Phoenix-like arose from its ashes. Other attractions during the year were: July 5th, Signior Blitz, a magician, ap- peared for a few nights, giving a good en- tertainment of its kind. The 14th, Woods' Minstrels under the management of Sylvester' Sleeker, with Frank Edwards as agent, came and remained until the 21st. It was the usual minstrel performance. Business was not good due to political agitation. There was nothing then until November 19th, when Sam Cowell announced himself as "The Great Musical Conductor". Just how great a con- ductor he was we do not know, but he came 472 CHICAGO STAGE Kingsbury 1 s Hall - Wigwam 1360 from a family that knew what it was all about. He was the son of Joseph Cowell, who was a figure in American theatricals, and a brother of Sidney Cowell wno married H. L. Bateman —the father and mother of Kate and Helen Bateman. In this organization were Sidney Cowell — who must have been a daughter of Sam and a namesake of his sis- ter, Sidney — Effie Germon, George Croiser and Alfred Sedgewick. The attraction re- mained one week. THE WIGWAM was erected for the 1360 political convention but was used ior a time for entertainment purposes, especial- ly when the event was sufficiently impor- tant to justify it, such as Adelaide Patti, who had now become a lull grown starring personality. Chicago had been tnis great artist's alma mater but she had at this time just been brought out in New York as a great dramatic soprano and this was her first visit to Chicago since her metropol- itan debut. The magnificent singer demon- strated the success she launched when sne was heard here as a child. 473 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 1S61 - 1862 CHAPTER Xm MCVICKER was fortunate at this time in having the only theatre operating in Chicago, which by now had a population of 110,C0, the only city ol that size to be limited to a single theatre. Rice's Chicago Theatre had become almost obsolete, as it was only occupied at inter- frank vals for local entertainments. chanfrau North' s National which had been formidable opposition, had disappeared so far as amusements were concerned. Mr. North was devoting his time and energy to turning f lipf lops in his circus. McVicker, however, continued to carry on. On January 2d, Ada and Emma Webb and the stock company put on "The Writing on the Wall" or "The Model farmer", followed by "A Woman's Whims". On the 4th, "Beauty and the Beast" and "The tour Sisters" were acceptably done. A complimentary benelit was given for U. P. Harris, Chief of the fire department, on January 7th. The plays presented were "The lour Sisters", "Hue and Cry" and "A Woman's Whims". "Invisible Prince" and "Aline" or "The Rose of Kil- 474 CHICAGO T A G E McVickers Theatre 1861 larney" were back" was the time Acleona G the still pre visible Princ a benefit, al of the Webb S time the come was played ne seen on the 8th. "The Hunch- offering on the 9th at which ale joined and appeared with sent Webb Sisters in "The In- e" and "Aline". The 11th was so the next to the last night isters engagement, at which dietta, "Comedy and Tragedy" , re for tne first time. January 14th Kate Denin Ryan returned and opened in "Joseph and His Brethern" or "The Hebrew Son" . During the run of this play, Sam Ryan joined and was seen in "Bar- ney the Baron" and other afterpieces. "Jo- seph and His Brethern" ran until the 19th when it v/as replaced, on the 21st, by a dramatization of Mrs. Southworth's "Rose Elmore", with Mrs. Ryan as Rose and Mr. Ryan as Toby Elec. "The Irish Lion" was put on for the farce . The play didn't catch- on very favorably, so McVicker switched to "The Hidden Hand" on the ?od with Kate as Capitola and Ryan as Wool. On tne 26th "The Puritan's Daughter was added to the above. January 28th "Woman in White* was pre- sented with this CAST Laura) Anne ) Sir Percival Glace Marion Hal comb Count Force Walter Hartritch Dual role 4r. Fairlie Kate Denin Ryan Mr. Prior Ada Plunkett Mr. Rains lore Sam Meyer Mr . Hauer 475 CHICAGO STAGE McVickers Theatre 1861 This play was a dramatization of Wilkie Collins' great novel, ,T A Woman in White", then running in Harper's Weekly. The play was kept on until January 51st when it was replaced, February 1st, by "Douglas" with "Beauty and the Beast" lor the afterpiece. "Jack Sheppard" was presented on February 2d. Monday, the 4th, Mr. and Mrs. Florence opened and, with the able assistance of the stock company, repeated their former suc- cess and plays. Their initial offering was "Handy Andy", "Riding in a Railroad Keer r , and "The Young Actress". The humor of the Florences and the singing and dancing of the charming Gale Sisters combined to high- ly entertain the patrons. On the 6th, Mr. Florence was seen in "Dombey & Son". Among the new pieces done by the Flor- ences while here was a dramatization of Thomas Moore's "Lalla Rookh" . On the 20th Mr. and Mrs. Florence received the usual benefit, and these favorite performers de- parted after February 23d. On that date E. A. Sothern, famous for his humorous por- trayal of Lord Dundreary in "Our American Cousin", opened in that part and received the customary praise. Even though the play had already been seen here often, the ap- oearance of Mr. Sothern in the part added much interest. This successful actor was born in Eng- land in 1330, and made his first New York 476 CHICAGO STAGE McVickers Theatre 1861 appearance at Barnum's Museum April 25, 1354, as Colonel Airey in "April 1st". He appeared under the name of Stewart at that time. He attracted no special attention until he was seen as Lord Dundreary at Laura Keene's theatre where, in that char- acter, he inadvertently tripped on a rug in making an exit. The accident so amused the audience that, the piece of business was kept in ever alter, making the play a success and Sothern a fortune. His son, E. H. Sothern, became even more famous than the father. His other son, Sam, appeared in Chicago during the 19th and 20tn Cen- tury . "Our American Cousin" held the boards until March 2d. It was replaced on the 4th by "The Flower of the Forest" in which Mr. Sothern was seen as the Kinchen. It was followed by "Twenty Minutes With a Tiger" as the farce. On the 7th Sothern presented "Our American Cousin at Home", written ex- pressly for him by the then popular drama- tist, Charles Gayler. Incidental to the play, a feature skating act called "A Trip Up the Hudson" was introduced. In the play Sothern assumed the role of Sam and McVicK- er played the cousin. On the 20th, came Sothern' s own version of Octave Foellet's "Romance oi a Poor Young Man" followed by John Brougham 1 s "Tragic Revival". On the 25d, Sothern returned to his opening play, closing his successful engagement on that date. It had been highly satisfactory both financially and artistically. 477 CHICAGO STAGE McVickers Theatre 1861 March 25th James E. Murdock made an- other visit. He opened in "Wild Oats" or "The Strolling Gentleman" in which he ap- peared as Rover and McVicker as Smooth. This play was followed successively by "Money", "Hamlet", "Much Ado About Noth- ing", "The Robbers" and, on April 3d, a special production was given of Sheridan's "School for Scandal" with this CAST Charles Surface Crabtree Sir Peter Teazel Joseph Surface Sir Benjamin Backbite Lady Teazel Mrs. Candour Maria Mr. Murdock Mr. McVicker Mr. Rainf ord Mr. Prior Mr. Meyers Mrs . Plunkett Mrs . Marble Mrs . Mevers It was played only one night and was fol- lowed by "Hamlet"', "Pizarro", "DeSoto, the Hero of the Mississippi" and "The Stranger". ?4urdock concluded his Chicago engagement on April 15th. April 15th, J. W. V/hytal, the scenic artist, was given a benefit at which time that good old timer, "Michael Earl", was put on* Early in March, 1361, the later famous Adah Isaacs Menken had come to Chicago to bring proceedings for divorce from John C. Heenan, the most famous of all prize light- ers, the world's champion at the time. This talented woman's real name was Adah 478 CHICAGO STAGE McVickers Theatre 1861 McCord. She was born in New Orleans, where she appeared on the stage of the old French Opera House as a dancer when she was about fourteen years old. In 1853 she joined a repertoire company and did a little barn- storming through Texas. There she met and, in 1857, married Alexander Isaacs Menken of Galveston, that state, whose name she retained throughout her varied career in spite of the many other names she acquired through marriage. The adoption ol her mid- dle name led many to believe she was a Jew, but this was certainly not the case as the name "'McCord" clearly indicates. Ker second marriage was to the above mentioned hero of the prize ring, John C. Heenan, under whose name she appeared on the New York stage at one time. She sought and obtained a divorce from Heenan in spite of the claim of the latter than he was nev- er really married to her. The court, how- ever, upheld her claim and a divorce was granted at Woodstock, McHenry County, Il- linois, in March, 1862. She then married Robert H. Newall, an author who wrote under the name of Orpheus C. Kerr. She was di- vorced from him in 1865, and married James Barkley of New York on August 21, 1866. Miss Menken became identified with the part of Mazeppa after first performing that role at the Green Street Theatre in Albany, New York, on June 7, 1361. Her daring and thrilling ride on the untamable Mazeppa led many to give her credit for creating 479 CHICAGO STAGE McVickers Theatre 1361 the part. This credit was not due ner, however, as the play was already an old one when she first appeared in it. She was simply a great woman who excelled in every- thing she undertook. She traveled through- out America and Europe, her last appearance on the stage occurring at Sadler Wells Theatre in London. She went from there to Paris, France, where she was soon to appear but she was taken sick and died in that city August 10, 1868, mourned by those who had previously condemned her. Returning to the McVicker records, the manager had announced Miss Menken's appear- ance for the early part of January, 1861. She was evidently too busy at the time to take part in the performance, but she was seen on the McVicker stage April 16th, when she presented "The Female Brigand" and other dramas . April £3d McVicker appeared in "Sam Patch in France" followed by the Gale Sis- ters in their great creation of "Augustus and Theodore", to which was added a song and dance by John Dillon. The Gale Sisters continued after Miss Menken left. They and the stock company presented various pieces that had been cone before including "Put- nam" which, on April 50th, was played un- der the title "American Volunteers in 177G". The popular Mr. Hani: was given a bene- fit on May 1st and was seen in the part of Richelieu. It was coupled with "Hit Him, 430 CHICAGO STAGE McVickers Theatre 1861 He Has No Friends" . May 4th a new timely- drama dealing with the war, "Son of the Republic", was put on with "Too Much For Good Nature" as the accompanying farce. The Hon. Stephen A. Douglas attended the performance. John Collins returned and began an en- gagement May 6th in "Colleen Bawn" , making a big hit as Myles Na-Coplin. It was pre- sented with this CAST Eily O'Connor Myles Na-Coplin Mrs* Cregan Ducie Blannerbassett Kyle Daly Danny Mann Hardress Cregan Corrigan Shelah Father Tom Highland Craig Anne Chute Miss Plunkett Mr. Collins Mrs. Marble Miss Gale Mr. Meyers Mr. McVicker Mr. Prior Mr. Dillon Miss Gale Mr. Rainsford Mr. Double Miss Hosmer This play remained for a week. Mr. Collins then switched to "The Nervous Man" and "How to Pay the Rent", taking his benefit on May 16th. "Irish Ambassador" and "His Last Legs" followed on the 17th, and he closed on the 18th with a repetition of "The Ner- vous Man" . The splendid singing Caroline Richings 481 CHICAGO STAGE McVickers Theatre 1861 and her lather appeared May 23d, reopening the theatre which had been closed lor the first half of the week. Her first offering was "The Daughter of the Regiment". It was followed by "Washington at Valley Forge" in which the part of the groat Washington was played by Peter Richings who, it was claimed, was a perfect counterpart of the Father of our country. Whether this claim was true or not is a question, as it proved to be with Albert Clark who appeared in the role of Washington early in the 20th Cen- tury. According to Mr. Clark, he had gone to a lot of trouble to gather every pic- ture of our hero that he could find and exercised great care to make himself appear the exact image of the character. Finally, after doing this for about a year, he vis- ited the Masonic Lodge oi which Mr. Wash- ington was a member, and there he saw a painting. He noticed a card in the general's handwriting which read: "I consider this the best likeness of myself ever painted." And, says Clark, "It bore no resemblance to the way I looked." On May 24th "Marian" or "The Daughter of the States" was presented. Miss Richings took her benefit on May 27th and selected "Extremes" as the play. This was followed on the 29th with "The Enchantress". This musical drama was a great success and con- tinued until June 14th, building up the waning patronage which had dwindled away for various reasons. The stocK company put on "The Brigand", "Bamboozling" and "Too 482 CHICAGO STAGE McVickers Theatre 1861 Much For Good Nature" on June 15th. The local company continued, present- ing the old plays they had so often given, until the Webb Sisters were added on June 22d when they were seen in "Beauty and the Beast", succeeded at various times by "In- visible Prince", "Jack Sheppard", etc. On June £6th "The Fair One With The Golden Locks" was given with "Nicholas Nickleby" as the farce, both girls appearing in it. June 08th Emma Webb took a benefit at which time Mrs. C. M. Webb, mother of the girls, made her first Chicago stage appearance. Monday, July 1st, the third and last week of the Webb Sisters 1 engagement, the drama, "Union of Old Virginia" was seen , in which McVicker stood out in the part of Nicholas Stump. For the afterpiece "The Young Actress" was very capably done. On the 2d, McVicker took a benefit and "The Ladies Battle" was added to the above plays for good measure. On the od the afterpiece was changed to "The Invisible Prince" with Emma Webb as Leander and Ada as Abercoria. July 4th a great gala performance was giv- en in which, in addition to the play proper, everybody introduced a specialty. The Webb Sisters closed their engagement July 6th with "Ireland As It Is" and "A Day Too Late" . Monday, July 8th, C. W. Couldock re- turned, as did Miss Woodbury, who had now become Mrs. Perrin. They opened in "The 485 CHICAGO STAGE McVickers Theatre 1861 Willow Copse" with Mrs. Perrin as Rose Fielding. McVicker and Dillon put on "Box and Cox" for the farce. The next play to be presented was the old favorite "Riche- lieu". "The Chimney Corner" combined with "Rough Diamond" was the offering on July 15th, and this program continued until the 22d when "Richelieu" was repeated. On the 23d Henry Warren, treasurer of the company now, was given a benefit on which occasion his brother, the celebrated William Warren from the Boston Museum appeared. His name on the billing brought a full house. July 26th Couldock and Mrs. Perrin re- peated "The Chimney Corner" and added "Samuel in Search of Himself". This duo of plays was succeeded by "One Touch of Nat- ure" and "An Ugly Customer" on the 31st. On August 3d this splendid actor appeared in "Louis XI" and "The School of Reform". Couldock then departed and Mr. McVicker became the featured actor in "The Gamecock of the Wilderness". Then came "Take That Girl Away" and "Bamboozling" on August 6th the latter played by Mr. and Mrs. Meyers ; "Bold Dragoon" and "My Neighbor's Wiie" on the 9th; and "My Neighbor's Wife" and "Hit Him, He Has no Friends" on the 10th, which was the next to the last night of tne sea- son. Sunday, the 11th, a benefit was given for McVicker who needed it to offset the bad business which he had been doing. The plays on this occasion were "Grand! ather Whitehead" and "Lend Me Five Shillings", a prophetic title at the time. 484 CHICAGO STAGE McVickers Theatre 1861 The theatre had a brief closed period but re-opened with E.A. Sothern presenting "Our American Cousin at Home" and "Sus- pense". He remained until August 30th. The Gale Sisters were accorded a benefit on the 31st offering "Lucretia Borgia". Between the array of displayed coffins they did an Irish song and dance. September was ushered in by an entire- ly new play of intense interest entitled "Louise de Liegonrolles" . It was given w r ith this CAST Louise Miss Hosmer Henri Mr. Meyers Mons. LeGrange Mr. Prior Col. de Girry Mr, Chaplin This was succeeded by "Christmas Eve" or "A Duel in the Snow" followed by "The Gold- en Farmer" . For the week of September 3th, which was Fair week, McVicker imported the great dancer, Jennie Hight, who came up irom Louisville, The play was Buckstone's com- edy, "Man of the World". On the 10th "Duel in the Snow" and "Obstinate Family" were well presented. "Babes in the Wood" and "Artful Dodger" were the attractions on the 12th. Wednesday, the 18th, the youthful com- 485 CHICAGO STAGE McVickers Theatre .1861 edienne, Addie Proctor, and Sam Glenn, the great Dutch actor, appeared in "The Perse- cuted Dutchman". They were replaced on Oc- tober 1st by A.J. Neafie. It was his first appearance in three years. The play was "Jack Cade" in which McVicker was seen as Wolworthy and Miss Hosmer as Marimme'. It was followed by "Your Life 1 s in Danger" and between the play and farce Jennie Hight rendered a song and executed a iascinating dance. October 2d "The Corsican Brothers" was the attraction; the . 4th, "Metamora" with "Boots and Swan" for the afterpiece; and the 11th, "Corsican Brothers" was re- peated with "Don Caesar de Bazan" for the afterpiece . Neafie iinished his engagement October 12th and Mr. Hackett took his place with an interpretation of Falstaff in " Henry IV" on the 14th to good attendance. "Merry Wives of Windsor" was the production on the 16th and 17th. Mr. Hackett took a ben- efit on the 18th with "Henry VIII" as the attraction, and on the 21st Macklin' s "Man of the World" was Hackett 1 s choice, fol- lowed on the 22d by "A YanKee in England" and "Mons. Mallet" or "The Post Office Mis- take". On the 25d, "Rip Van Winkle" was presented for the iirst time in Chicago. This was not the so-called Jeiferson ver- sion which reached such great popularity later. He followed "Rip" with "His Last Legs", proving his ability to characterize the Irish as well as the Dutch. October 24th the star was seen as Col. Wildfire 486 CHICAGO STAGE McVickers Theatre 1861 Nimrod in '-'The Kentuckian" . He took a ben- efit on the- 25th for which he returned to "The Merry Wives of Windsor".. He closed his engagement on the 26th. Frank Chanfrau opened on the 28th with a presentation of "Toodles" and "The Wid- ow's Victim". The star was well received. The laugh provoker was the farce "The Bar- rack Room" . On the 29th the play was "The Hidden Hand" with Chanfrau appearing as Wool, -a part McVicker was seen in when the play was first produced in Chicago. So far as a qualifying performance of the play was concerned, there was not the slightest necessity for bringing Chanfrau in to play Wool since McVicker could give quite as good a characterization of the part as the new star. However, McVicker realized that he needed feature players, good or bad, to bring the customers to the ticket window, and Chanfrau was not only a good actor but his name meant something to the public. His performance of the negro Wool was funny, as it was no matter who played the part. "Hidden Hand" gave way on the 30th to "Toodles" and "Flanigan and the Fairies" in which Chanfrau was considered splendid, as he was in most parts he chose to play. October 51st a new play entitled "Novelty" was produced wherein the star gave a bur- lesque on Edwin Forrest, Barney Williams, Levi J. North, Matilde Heron, and other famous players. He also put on "Jack Shep- pard" and "Paddy Miles". November 2d "The 487 CHICAGO STAGE McVickers Theatre 1861 Ocean Child" and "A Glance at New York" were added to "Novelty". November 4th a new military drama "Bull Run" by Charles Gayler was presented. In it Chanfrau appeared as Jupiter. The play was followed by "Toodles" done as an afterpiece. "Bull Run" was kept on until November 6th when it was succeed- ed on the 7th by "The Dumb Girl of Genoa", which ended his engagement. C. W. Couldock was welcomed back on the 11th in "The Willow Copse" followed by the farce "Trying it On". "The School of Reform", "Peace and Quiet" and "Great Ex- pectations" were seen on the 13th, and "The Chimney Corner" and "The Barrack Room" on the 14th. On the 17th Mr. Couldock brought out from a run of eight months in Paris "Jocrisse the Juggler". Few plays presented in Chicago caused as much 'trouble and litigation as this same "Jocrisse the Juggler" which Couldock gave here for' the first time. Originally it was in French but had been adapted to the Eng- lish speaking stage. Some time in the fif- ties of the 19th Century, Harry Watkins, according to his allegation, revised and presented it under the title of "Trodden Down" or "Under Two Flags". Shortly after- wards it was brought out with the Juggler changed to a rollicking Irishman and called "Inshevogue" , by which name the play was produced in New York. Watkins, for no just reason, secured an injunction whereby the play under the title of "Inshevogue" was, 488 CHICAGO STAGE MeVickers Theatre 1861 temporarily, prohibited. Bat as an injunc- tion in those days operated only in the district where issued, the said injunction did not prevent it being played elsewhere, and it was. About 1385 John A. Fraser made a ver- sion of the drama and changed the Jug- gler to a wandering tramp, giving the play the title of "The Noble Outcast". He sold the amateur and publication rights to Charles Sergle, owner of the Dramatic Pub- lishing Company, but the author reserved all professional rights, the abuse of which caused many disputes and arguments between Mr. Sergle and Fraser. The latter made a deal with the actor, Jack Summers, to put the play on the road under the name "Jerry the Tramp", which was done. Mr. Summers, to escape the arguments that arose from time to time, leaped into the Atlantic Ocean which naturally, or unnaturally, end- ed his association with Fraser and his "Jerry the Tramp" . But tne play went mer- rily on, being presented by every reper- toire company on the road under various titles and transitions. Meanwhile, the author, Mr. Fraser, swore vengeance on ev- ery conscienceless dramatic pirate that dare transgress his rights or usurp the fruits of his brain child. In the year 1897, the Evelyn Gordon Stock Company, under the management of Charles Collinges, presented the play at the Calumet Theatre in South Chicago. Mr. 489 CHICAGO STAGE McVlckers Theatre 1861 Fraser swore out a warrant charging Col- ling es with piracy and brought him and his company before the bar of — so-called- jus- tice. Every actor in and around Chicago knew every line of the play and Fraser sub- poenaed all available ones. When court o- pened, such an array of actors and manu- scripts was never before assembled in one room. Times were hard at the time and actors who were not called appeared anyway with the hope of getting a witness fee. Among the different plays that had de- scended from "Jocrisse the Juggler" were: "The Noble Outcast", "Jerry the Tramp", "Tony the Convict", "Only a Woman' s Heart", "Inshevogue", "Trodden Down", "The Con- vict's Daughter" and others. The multipli- city of hungry actors and frazzled manu- scripts was too much for a Federal judge who knew little of the rights or intricacies of literary property, so he took the safe and easy road and threw the whole thing out of court, much to the chagrin of Fraser and disappointment of the sad-faced Thespians, many of whom were compelled to walk from South Chicago to the Revere House on North Clark Street. November 20th, Couldock chose "King Lear" as his closing play. At his departure Kate Bateman made another visit and ap- peared December 13th in "The HunchbacK" . She was accompanied on this occasion by her father, H. L. Bateman, one of the most resourceful showmen that ever took a com- 490 CHICAGO STAGE McVickers Theatre - Bryans Hall 1861 pany over the road with nothing but per- suasive powers to use lor money. On the 14th of December "Geraldine" was the offer- ing followed by "Self" as the afterpiece, with which she closed her engagement. The great singing Irish comedian, John Collins, opened on the 16th in "Colleen Rawn" continuing into the next year, as may be observed from the records. BRYANS HALL. -James E. Murdock, follow- ing in the footsteps of others who had left the study of long parts to the rising gen- eration, had now resorted to giving read- ings from Shakespeare and other classics. He appeared at this hall on January 4th for the benefit of the Audubon Club and was well received by a large and appreci- ative crowd. There was nothing further in this popular hall until January 15th, when Madame Inez Fabbri, assisted by Herr Rich- ard Mulder and Signor Abelli, gave a very pleasing concert. March 23d, T. M. Hooley and S.C. Camp- bell presented Campbell's Minstrels, with J. C. Fabb as agent. October 1st, Madame Bostwick gave one of her numerous concerts. October 3d, Mrs. A. J. Mozart, formerly of Chicago but now of New York City, assisted by Mrs. C. Mathewson, Jules Lombard, and Franz Straub, entertained a large crowd with standard operatic selections. 491 CHICAGO STAGE Halls - Bryans - Metropolitan 1861 December 18th a soldiers' festival took place at Bryans Hall with the following artists: Matilda Chevelli, Signor Achilli Andavani, Signor Garibaldi and Mons. V/olo- woski. On December 21st the famous trainer of quadrupeds, J. A. Rarey, gave an exhi- bition of horsemanship. Mr. Bryan was dis- appointed at the limit, and quality of the vear's attractions. METROPOLITAN HALL.— Grace Greenwood lectured at this hall on March 4th. March 18th Unworth, Eugene & Donniker ' s Minstrels came and remained until the 21st. May 13th and 14th Freeborthyers Original Swiss Bell Ringers held the spot light here. And on July 15th, Mrs. Matt Peel came with Camp- bells Minstrels and remained for a few days . KINGSBURY'S HALL.- Tom Thumb was the principal, and practically the only attrac- tion of importance during the season. MCVICKERS THEATRE.- The opening of the year 1862 found John Collins still holding the stage at McVickers, offering the usual Irish plays in which he had been seen on previous visits sucn as "Irish Ambassador", "Born to Good Luck", "Boys of the Irish Brigade", "How to pay the Rent", concluding his engagement on Saturday, January 4th. Monday, the 6th, Samuel Meyers was tendered a benefit which was financially successful. 492 CHICAGO STAGE McVickers Theatre 1862 The entertainment, which consisted of three short plays, "Husband to Order" , "Who Stole the Pocket Book", and "I've Written to Brown" was praiseworthy. January 7th Joseph Proctor returned, and began his engagement with a good pre- sentation of "Macbeth" with Jennie Hosmer as Lady Macbeth. Proctor was a striking Scotch Dane, but Miss Hosmer could not be compared with many who had been seen in the part of Lady Macbeth. "Virginius" was pro- duced on the 3th followed on the 9th by "Othello". Then came Proctor's original creation, "Nick of the Woods", on the 10th. In elaborating on the work of the lead- ing lady, Miss Hosmer, one writer on the Journal of that date, referring to "Nick of the Woods" says: "The play, as everybody knows, is stupidly heavy. Not even the ranting of McVicker as Ralph Stagpole, nor the fidgeting and twitching of Miss Hosmer as Tillie Doe could relieve it." Then he goes on to complain of the work of this leading lady. "She has been flattered by the press, editorially and otherwise. Puffs and sonnets of the moonical order have been showered upon her, some of which were not altogether inappropriate. Miss Hosmer has yet to subject herself to strict discipline ere she accomplishes the difficult task of self-control. A certain nervous twitching of the shoulders which is at times painful to behold, must be regulated and her voice which will frequently break into a falset- 493 CHICAGO STAGE McVickers Theatre 1862 to, be toned down if she would arrive at that artistic excellence which many of her traits justly entitle her aspiring to. Her impersonation of the white Indian girl last night was very faulty and gave evidence of carelessness. She persistently and repeat- edly pronounced "renegade" as "ren egad " « and walked through the piece as though she were at a common rehearsal." Here is a style ol criticism of nearly a hundred years ago that modern writers on the theatre would do well to observe. On the 13th "Ambition" was Proctor's offering, following it on the 15th with a repeat of "Macbetn" . "Nick of the Woods" was also repeated tne 16th. -January 17th "O'Neil the Rebel" and "Wallace the Hero of Scotland" were given by Mr. Proctor lor his farewell offering. January SOth a new stock star appeared and was lauded for his excellence by the citizens. This player was John Wilkes Booth whose name was in disgrace three years later because oi his affair in Washington April 14, 1865. Booth opened in "Richard III" followed by the farce "Lend Me live Shillings". As the name of John Wilkes Booth has been brought into ill repute throughout the world due to the assassina- tion ol the beloved President, it may be of interest to know how Chicagoans received him while here . "John Wilkes Booth," says the editor 404 CHICAGO MeVickers Theatre 1862 of a Chicago newspaper of January P.l, 1862, "made his first appearance before a Chica- go audience as Richard III. Under whatever circumstances Mr* Booth may take his fare- well of the Chicago public, he can find no fault with his reception, which was as hearty and generous as those accorded to older and, perhaps, better actors. We re- gard the selection of "Richard III" as be- ing unfortunate for Mr. Booth's opening night. Tne hunchbacked, crooked and de- formed Richard was certainly not pleasing to the eye. Those essential points oi a good actor: a fine commanding figure, easy carriage, etc., were concealed, if they existed at all, in the humpbacked Richard. Even the voice,— full, rich and distinct, which is, of course, requisite in a good actor, can be poorly judged in the husKy soliloquies, the dissemblings, or the fran- tic ravings of Richard. If originality is a virtue, Booth is virtuous to an intense degree. No actor ever displayed more inde- pendence of or disregard for the old beat- en path than he does. Mr. Booth's delivery of the text in one less studied and schol- arly, would be pronounced careless*" This constructive critic continued for another half column, in which he gives praise to Mr. Prior for a good performance of Richmond, and to Frank Mordaunt for his personation of the King. There have always been varied opinions as to the acting ability of John Wilkes Booth, wnose sucden death cut short his development of the art 405 CHICAGO STAGE McVickers Theatre 1862 in which his father and brother distin- guished themselves. Booth was only twenty- live years old on that fatal night ot April 14, 1865, when he slipped into the box in which President Lincoln sat watching the performance of "Our American Cousin" at ford's Athenaeum in Washington, D.C., shot him in the back and, as he leaped to the stage, shouted to the audience "Sic semper tyrannis", dashed out the stage door wav- ing a dagger as a warning to his pursuers, and disappeared amid such consternatio n that the entire audience was practically frozen to their seats. Laura Keene, who was on the stage at the time, was the first to recover from the shock and in an instant she reached the President's side and with great presence of mind and womanly sympa- thy administered first aid to the martyred Lincoln. Meanwhile, Booth was pursued and was, subsequently, shot by Sergeant Corbett when he attempted to escape from the barn in which he was hiding. Suspicion lias ex- isted for many years that Booth was never killed nor even captured and he has been identified at various times by those imag- inative creatures so ready to accept the unreal instead of the real. But the assassination of President Lin- coln has nothing to do with John Wilkes Booth's starring engagement in Chicago which, it may be observed, took place about three years prior to the above mentioned tragedy. The editor of the Chicago Daily Journal, previously quoted, thought better 496 CHICAGO STAGE Mc Vic leers Theatre of Booth's acting on his return not long- alter his first visit. Perhaps the truest estimate of a player's ability is gained from the actors who have worked with them. Mr. Tilton who, it may be recalled, was for some time a member of McVicker's com- pany, reports a conversation with an old- time actor. "Don't you think", said Tilton, "that it is exaggerated to say there is more mag- netism in Wilkes Booth's eye than any act- or's in the country?" "Mo, I do not," was the reply, "lor I know the genius that rims through the whole Booth family. You knev; the father, so did I. We have played with him and the boys and there is no exaggeration about the statement." But now to the records. On his second night Mr. Booth appeared as Claude Melnette in "The Lady of Lyons" followed on the 25d by "Romeo and Juliet"; on the 25th by "The Bobbers"; and on the 27th "Hamlet" was the offering. Booth's Hamlet was praised and pronounced equal to Murdock's portrayal of the part. The next presentation was "The Apostate", and on February 1st Mr. Booth graciously accepted a benefit, presenting "Macbeth" for the occasion. By the end oi his two weeks' stay in Chicago, this twen- ty-one year old actor had overcome the com- plaints showered on him at his opening in "Richard III". 497 CHICAGO STAGE 'IcVic.iers Theatre 186? At Booth's departure Matilde Heron re- turned and opened in "The Belle of the Season* or "Finding the Level r . It had this CAST Florence Upper ton Miss Heron Edward Hard toil Mr. Meyers Molly Hardtoil Jennie Hosmer Tom Leeman James H. McVicker Mrs. Upperton Miss Stanley Madam Hookie Mrs. Marble Charles Upperton J. B. Ashley Eliza Hookie Hetty Warren Mr. Prosper J. J. Prior Mrs. C han d le r Mr s . Mey er s This play continued until February 8th when she changed to her own version oi r Camille T ' on the 10th. This ran until the 14th, on which date she presented "Gamea, the Jew- ess", a play written by her. It had this CAST Gamea Miss Heron Rutchini Mr. McVicker Octavo Mr. Meyers Blanca Miss Hosmer Sylvia Miss Hight Therese Mrs. Meyers Miss Heron concluded her engagement on this date . Jennie Hosmer took a beneiit on the 498 CHICAGO STAGE McVIckers Theatre 1862 15th presenting "Judith or Geneva" and "The Jealous Wife" . Professor Anderson, who had finished a three weeks' engagement at Bry- an's Hall was lured to McVickers and on the 17th gave a production of the opera "Rob Roy" with Sir Henry Bishop's original music. This was the CAST Rob Roy Mattie Hamish Capt. Thornton Baillie Nicol Jarvis Helen McGregor Diana Verron Francis Osbaldistone Robert Prof. Anderson Miss Anderson Flora Anderson J. H. Anderson, Jr . J. H. McVicKer Jennie Hosmer Mrs. Meyers Mr. Meyers Jennie Hight The opera continued until February 2 2d when Anderson changed the bill to "Black-eyed Susan" and "The Lady in Camp" . He closed February 25d, and was replaced by Annette Ince who opened her return engagement on the 24th with "Pauline" and "The Ruined Abbey", which was kept on until tne 27th. "Lo^e" then became the attraction with "As You Like It" and "Day After the Wedding" following on the 23th. March 1st the star switched back to "Pauline", and on the 3d presented the good play "Marble Heart". March 7th, "Mary Stuart" and "The Morning Call" replaced tnem. The star concluded her stay on March 3th. Julia Daly opened on the 10th in "Our 499 CHICAGO STAGE McVicMers Theatre 1862 female American Cousin", but the critical public did not take kindly to the play, which was a poor imitation of the one it strove to duplicate. The business was com- paratively satisfactory. March 19th Miss Daly presented "Our Gal" and "The Irish Immigrant"; "Child of the Regiment" and "In ana Out of Place" became the attraction on the 21st; the 22d brought Miss Daly's engagement to a close. March 24th marked the opening of Kate Cary in "The Honeymoon" and also was a ben- efit performance for Mr. Prior. Whenever McVicker was doubtful as to the drawing power of a new star, he tucked in a benefit to insure the opening. On March 25th, the everlasting thriller "Mazeppa" was put on. "Scotto the Scout" or "The Union Rangers" was offered for the first time on Marcn 27th. This play was sometimes called "Scotto, the Spy"'. During the last week in March nearly everyone in the company was given a bene- fit, that much abused policy which, when first originated was limited to the stars, or at most to the leading players. But by now, in this city, everyone was given one. April 1st the stock company appeared in three familiar plays: "Husband to Order", "Off to the War" and "The Lady and the Li- ons" . On the 2d, Mrs. Marble was given a benefit with a presentation of Buckstone's "Married Life". It had the following 500 CHICAGO STAGE NcVickers Theatre 186; cast Mrs. Samuel Cobble Mrs. Marble Samuel Cobble Mr. Rains ford. Mrs. Young husband Miss Hosmer Mr. Younghusband Mr. Meyers Mr s . Henry Dawn Mr s . P r e s t on Henry Dawn Mr. McVicKer Mrs. Lionel Lynx Mrs. Meyers Lionel Lynx Mr. Prior George Dismal Mr. Graver Mrs. George Dismal Miss Stanley "Mazeppa" was put on as an afterpiece. This duo of plays was succeeded by "The Quad- roon". It was not particularly successful due to the fact that "The Model Farm" and "Idiot Witness" were being presented the next night lor the scene painter's benefit. April 5th "Sam Patch in Prance", "Off to the War" and "Mazeppa" were seen. A. J- Neafie made a return appearance on the 7th. in "Much Ado About Nothing" and attracted his former admirers. This play was followed by "Othello", "Macbeth", "Don Caesar", "Corsican Brothers", "Julius Cae- sar!^ "Jack Cade" and "Black-eyed Susan". After two performances at Bryan Hall, Car- lotta Patti became an extra added attrac- tion at McVickers on April 16th, appearing .in conjunction with Neafie in "Jack Cade". Madame Patti remained "until the 13th, when Neafie, too, left. The stock company, without a star, gave 501 CHICAGO STAGE McVickers Theatre 1862 ''Married Life" again, which was kept on until Frank Chanirau opened on the 21st, presenting his former success, "Streets ol New York" and "Toodles" . April 24th Chan- irau changed the bill to "Mysteries and Miseries oi Human Life" and "The Widow 1 s Mite", and on the 25th, "Linda tne Cigar Girl" and "O'Planigan and tne Pairies " were the star's offerings. "The Octoroon" was seen again on the 28th with Chanfrau as Pete and McVicker as Salem Scudder. On the SOth the bill was changed to "Look at That Door" and "Bull Run". Chanfrau left on May 3d. C. W. Couldock replaced Chanfrau ap- pearing on May 5th as King Lear, with Miss Hosmer as Cordelia and Prior as Edgar. His repertoire included, in the order named, "Louis XI", "Richelieu", "Tne Willow Copse", "The Advocate" and "Chimney Corner" . "Lion of St. John" by Mathilde Heron, v.as the on- ly new play. It was kept on the balance of the engagement which terminated May 17th. This play was thus CAST Oreeelo Mr. Couldock C-aleno Mr. Meyers Spolatro Mr. Prior Otopak Mr. McVicker Lesbia Miss Hosmer Viola Mrs. Meyers As there was no new star to draw the pat- 502 CHICAGO STAGE McVickers Theatre 1862 rons to the theatre, used, a benefit for a presentation of J. the old standby was Miss Hosmer, at wnich B. Buckstone's "Great Expectations", was offered was on the 19th and it was followed 20th by "Love in '76", "Lend Me Five ings" and "The Horsebreaker" . farce, This on the Shill- May 21st Prank Mordaunt v.as given a benefit with the production of a new play, "The Unknown". It was CAST Helvi , the Unimov/n Triptolenius Jon- quiile Phillip D'Arville Lionette St. Claire Mean Monet Clara St. Claire Mme. D'Arville Mr. Mordaunt Mr. Cline Mr. Prior Mr. Meyers Mr. Graver Miss Hosmer Mrs. Meyers "Naval Engagement" and "The floating Bea- con" were done on the ?2d, followed on the 23d by "Esmeralda" and "A Day in Paris", given as a benefit for Jennie Hight. James A. Hackett opened an May ?.6th in "King Henry VIII'' to good business. This was succeeded by "Merry Wives of Windsor", "Man of the World" and "Mons. Mallet". He was well received and the patronage in- creased. He remained until May SIst. The next star to appear was John WilKes .o; DUO CHICAGO STAGE McViekers Theatre 1862 Booth who opened a return engagement on June 2d in "Richard III", followed on the 3d by "The Apostate" and "Your Life's in Danger". In general, Mr* Booth made a more favorable impression than on his previous appearance here. On the 4th, "Shylock the Jew" was offered lolloped by "Richard III" and "The Rubbers" . "Lady of Lyons" was re- peated on the 5th with Booth, ol course, doing Claude Melnotte. His youthful ap- pearance made him ideal for the part. Miss Hosmer was a satisfactory Pauline. He fol- lowed with a repeat of "The Apostate" and then put on "Richard III". The star re- mained for a second week and on the 9th appeared as Hamlet. Opinions were divided as to Booth's Hamlet in comparison with that of Murdock. "Romeo and Juliet", to- getner with the farce "Love and Hunger" were seen on the 11-th. The star opened his third and last week with "Macbeth", which was on the 16th, and followed it with "0- thello" on the 17th. Dora Shew was brought in after Mr. Booth's departure and began by presenting "Camille" on the Pod of June, followed by "Ingomar" on the 24th; "Time Tries All" and "Loan of a Lover" on the 25th ; "The Stranger" on the 26th; and a repeat of "Camille" on the 27th, at which time she took her benefit. She closed her engagement on the 23th with another repeat, this time "Ingomar" . Monday, June 30th, Levi J. North, who 504 CHICAGO STAGE McViekers Theatre 1862 had built and operated North's amphitheatre in Chicago, it will be recalled, had re- turned from his painful struggles of trying to make his circus pay. He was given a ben- efit with a mysterious and unidentified newcomer making her first bid for histri- onic honors. She was seen in "The Robber's Wife", but this so-called "lady from Mich- igan" met with disapproval, as might be surmised. She had a pretty face but, as Gordon in Bartley Campbell's "Fate" says: "Alas, it was a double one", which goes to show she would have been a better attrac- tion at Wood's Museum than in McVicker's Theatre. Be that as it may, something had the desired effect of bringing out a good crowd to North's benefit. This "lady from Michigan" did not appear the iollowing night, when the stock company presented "Naval Engagement" and "The Jealous Wife". These were given on July Sd with the sweet singer, Jennie Hight, as the French spy. The farce, "I've Written to Brown" was al- so included. On the 6th "Floating Beacon" and "A Regular Fix" was the bill. July 8th, Laura Keene's play, "Peep O'Bay Boys" was put on with Mr. and Mrs. J. H. Allen brought in as stars. The open- ing performance resulted in the advice to the players to take a peep at their parts as many lines were missed, but matters im- proved later. On July 18, 1862, Mr. Prior, a long time member of the McVicker stock company, 505 CHICAGO McVickers Theatre 1362 was commissioned to recruit a regiment lor the Union Army. This he did and acquitted himself admirably. Ke served his country in a meritorious manner until he was killed in battle at Nashville, Tennessee, in De- cember, 1364. He was but one of many actors who served in that war of the states. On July 2d, Henry Warren, brother of William Warren , then treasurer of McVick- er T s, was given a benefit which he snared with his charming young daughter, Hetty, who made her stage debut on that date. "The Beauty and the Beast" was the play present- ed. Mr. and Mrs. Allen had two weeks of good business with "Peep ■ Day Boys". July 24th, "Home in the West" and "Shocking E- vents" held down the boards. July 25th McVicker closed for the sum- mer and the theatre remained dark until August 14th when it was re -opened with a production of "Time Works Wonders", given with this CAST Sir Gilbert Norman J. E. Garden Clarence Norman C. H. Coleman Prof. Truffles C. P. DeGroot Trusby J. E. Ashley Mr. Go Id thumb J. H. McVicker Fred Gold thumb Samuel Meyers Bantam John Dillon Florence Jennie Hosmer Betty Mrs. Meyers Miss Tucker Mrs. Marble Chicken Hetty V/arren Mrs. Gold thumb Miss Stanley 506 CHICAGO STAGE McVickers Theatre 1862 John E. McDonough opened August 18th in "The Seven Sisters". It was a fascinat- ing spectacle, thoroughly enjoyed by the patrons: beautiful scenery, perfectly pro- duced by W. H. Whytal, the scene painter. In addition, there were thirty or more in the ballet. This play was retained until September 9th. While called a play it was in reality nothing more or less than a hodge-podge of unimportant events that af- forded the stage manager and the scenic artist an opportunity to outdo themselves in their particular departments. McDonough took his farewell benefit on the 9tn and produced "Virginius" in addition to "The Seven Sisters", which was done as an after- piece . September 10th "Speed the Plough" was presented by the stock company after which they continued, and offered "The Jealous Wife", "Wandering Minstrel", "Mazeppa", etc. On the 15th Mr. Couldock returned and opened in his favorite part oi Luke field- ing in "The Willow Copse", supported on this occasion by his daughter. Then fol- lowed "Chimney Corner" and "Brother Bill and Me" on the 13th; "Payable on Demand" and "One Touch of Nature" on the 19th; and "Harvest Home" and "A Terrible Secret" on the 22d. On the 27th Mr. and Miss Couldock appeared in "The Lion of St. Marc". After the departure of Mr . Couldock and his charming daughter, — who never gained distinction equal to that of her father, — 507 CHICAGO STAGE McVickers Theatre 1862 frank Chanfrau returned and as his initial offering presented "Mose in California", and ''The Hide en Hand" ior the afterpiece. On October 6th ''The Octoroon" was given with Chanfrau as Pete. It was kept on until the 3th, when it gave way to "Bull Run" which was disappointing because of the miscasting of Colonel Ellsworth who was represented by a tall , lank, awkward chap with girlish ringlets dangling around his effeminate ears. He resembled anything but Colonel Ellsworth. Even the skill and attractive personality of Chanfrau couldn't overcome this handicap. The star took a benefit on the 10th and offered "Toodles" and "New York As It Is", and closed his engagement on the 11th. Jane Coombs appeared on the 13th open- ing in "A Wife's Secret", with "The Mar- ried Rake" for the afterpiece. She then continued with "Ingomar", "The Hunchback" and other standard dramas seen so often here. She closed on the 26th. Joseph Proctor returned on the 28th, presenting his oft told tale of "Nick of the Woods" to a well filled house. On the 29th he offered "Ambition" from Alexander Dumas' story. Thereafter, came "Pizarro" on the 5th of November; "Jack Cade" on the 6th; "Warrior Captive" on the 7th; closing a reasonably successful engagement on No- vember 8 th. Proctor was replaced by Maggie Mitchell 508 CHICAGO STAGE McVickers Theatre 1862 who appeared in her most success! ul drama, "Fanchon the Cricket", adapted from the German of Charlotte Birch Peiffer by A. Waldour. It was thus CAST Fanchon Father Darbeand Landry Didier Pierre Colin Father Cailard Old Fadet Mother Barbeand Mad el on Marietta Maggie Mitchell J. E. Carden J. B. Ashley Mr. McVicker J. E. Coleman Samuel Meyers C. P. DeGroot Mrs. Marble Miss Stanley Jennie Hosmer Hetty Warren The play had been produced in New York on June 9th of the same year. No play in the repertoire of Maggie Mitchell ever achieved the success that "Fanchon" met with then, nor did anything she presented subsequently ever compare with it in popularity. That was the general opinion expressed in Chi- cago at the time, as well as elsewhere. The run of "Fanchon" finished November 22d and the stock company then produced "Lucretia Borgia", followed by "The Barrack Room". On the 25th, "A Cure !or Heartache", played so often by Charles Mathews, was offered for the entertainment of the the- atre's patrons. It had this 509 CHICAGO T G E IcVickers Theatre 136! CAST Frank Oat land Sir Phillip Blenford Old Rapid Young Rapid Mr. Vortex Miss Vortex Lizzie Oat land. Mr. McVicker Mr . Mr. Mr. Mr. Dillon Miss Hosmer Mrs. Me vers Cowden Edwards Meyers The entertainment concluded with "Shocking Events'*. On the 28th Mrs. Marble was given a benefit with a presentation of "Romeo and Juliet" with Mrs. Perrin, the former Miss Woodbury, as Romeo and Jane Coombs as Juliet . December 1st saw the return of John Wilkes Booth who began his repertoire with "The Lady of Lyons", in which he appeared as Claude Melnotte, a part to which he was well suited, and Jennie Hosmer in the good but not difficult role of Pauline. lor the farce, Joim Dillon and Mar;/ Meyers put on "Nipped in the Bud". Other plays presented during this star's engagement were: "Rich- ard III", "The Apostate", "Hamlet", "Mer- chant of Venice", "Othello", "Macbeth ", "Romeo and Juliet" and "The Marble Heart". Booth closed on December 20th after a stay oi three weeks, indicating that he had in- creased his popularity as it was the long- est engagement played here so far. The stock company put on "Naval Engage- ment" on December 22d, followed by "The 510 CHICAGO STAGE MeViekers Theatre - Dearborn 1862 Invisible Prince"- It was announced on this date that the Dearborn Street Opera House at 21 and 2o N. Dearborn, present numbers, would open December 24th, so McVicker was not to have everything his own way now. But, undisturbed, he continued on the 25th with "Josephine, Child of the Regiment", a benefit performance for Jennie Right, lor the afterpiece "The Maniac Lover" was pro- duced . A benefit for J. E. Garden was given on the following night, December 26th, when "The Man in the Iron Mask" was put on. During the past year Mr. Rice had de- molished the Chicago Theatre which he had opened in 1350. A business block replaced the theatre, so McVicker had no cause to worry about the opposition oi the Chicago Theatre . DEARBORN STREET OPERA HOUSE, 21 and 25 Dearborn Street, present numbering. Ac- cording to the announcement, the "hall " was newly "fitted up". It opened with Camp- bell's Minstrels: Mr. Campbell, Proprietor; John Parker, Treasurer; and Frank Edwards, Agent. During the following year this hall was taken over by Chadwick and Van Fleet and was renamed vr The Varieties" . It enjoyed a substantial success as may be seen in the records of 1863. CHRISTY'S OPERA HOUSE, which had been known as Metropolitan Hall, was opened on 511 CHICAGO STAGE Christy's - Metropolitan Hall 1862 March 15th. It was located on the corner of Randolph and La Salle Sts. It was mail- aged by W.A. Christy, son of E.P. Christy, the originator of the name "Christy" . The opening got off to a bad start as some members failed to arrive, and others were afflicted with colds, so the performance was not what it should have been. The ad- mission was 25$; reserved seats were 50^. Christy bowed out of his "opera house" and went to Kingsbury's Hall on April 7th. The Christy Theatre resumed its former name, Metropolitan Hall, the records of which follow. METROPOLITAN HALL.- After W.A. Christy failed to make a success of this hall un- der the name of "Christy's Opera House", it reopened with Hooley and Campbell's Minstrels under the management of F. . M. Hooley and G.W.H. Griffin, on April 24th. Frank Edwards was the agent. On April £9th the name of this burnt cork organization was changed to Hooley' s Minstrels. They closed here on April 50th. The Gtarr Sisters, who had been at tne Canterbury, were seen at this hall on May 9th. They were assisted by Harry Hawk, Hug hie Morton, and others. This sister- team was composed of no less personalities than Helen and Lucille western,— both dis- tinguished themselves as dramatic stars later, in Chicago and elsewhere. 512 CHICAGO STAGE Bryans Hall 1362 BRYANS HALL.- Robert Heller, one of the best known Illusionists and Magicians of nis time, opened a two weeks' engagement at this hall on January 6th, with good at- tendance during his entire stay. He was the first to give the so-called "Second Sight" exhibition and was the originator of the name. His family name was William Henry Palmer. He was born in England where his father was trie organist of the Canter- bury Cathedral. The family intended that Robert should become a professional music- ian, and he was sent to the London con- servatory where he studied until he became highly qualified in that branch of the arts. This accomplishment added novelty to his art of entertainment, and when he failed with his magic — as he did — his musical knowledge enabled him to make his living with it; he taught music in Washington, D . C. for some time. But he persisted in his efforts to acquire fame and fortune as a magician. He ultimately did so, visiting all parts of the country and accumulating a fortune of f £50, 000 which, at his death, he left to his wife, Haidee Heller, who always assisted him. He was the first of the very famous entertainers of the kind and antedated Herrmann by several years. The next attraction at Bryans Hall was John Henry Anderson, who advertised himself as "The Great Wizard of the North". He ap- peared here February 15th. Anderson was first known in Scotland as the "Caledonian Necromancer", but after appearing before 513 CHICAGO STAGE Bryans Hall 1862 Sir Walter Scott, who gave him the former sobriquet, the name remained with him until the end. Mr. Anderson was doubtless the greatest in his line of all the early pres- tidigitators. He was born in Aberdeen , Scotland, July, 1614, and began life as an actor. But after witnessing a magical ex- hibition by Signor Blitz, he decided to become a conjurer, at which he became very proficient as his success in Chicago and elsewhere demonstrated. The iact that he was an actor helped him to deceive the audience as to his SKill in magic, which was not comparable to some others. He first visited America in 1851 and made a very successful tour. He returned to England in 1856, and while at Covent. Garden his equip- ment was destroyed by fire. He then came back to America where his tours netted him a fortune, said to be in the neighborhood of $750,000. The year following his Chica- go engagement he returned to England, and he died there in February, 1874. March 3d, Madam BostwicK, a well known opera singer, presented Rossini's opera, "Semiramide" , to a well pleased audience. following closely upon the heels of Professor Anderson came Herrmann the Great who began an engagement here on Marcn 31st. Even in his early days he was not too mod- est to bill himself as r the great", a claim which certainly carried some weight and helped to convince the public that he was really "great" • This Herrmann was credited 514 CHICAGO STAGE Bryans Hall - 1862 with being the son of "Compars" Herrmann, celebrated, throughout Europe but that claim is shrouded in doubt. Many are oi the opinion that he was no relation whatsoever simply utilizing the name for business pur- poses. However, this Herrmann had appeared as an assistant to "Compars" Herrmann, who claimed his father's name was "Carl" while the Herrmann who appeared in Chicago on the above date listed his father's name as Meyer. There was a striking resemblance between the two Herrmanns.lt seems that the Herrmann we know as "the Great" was first seen in this country with Shuraan's Trans- atlantic Specialty Company, where he met Adelaide Searcy, who became his wife as well as his successor alter his deatn in the Nineties, which occurred in his private car on his way to Bradford, Pa., to fill an engagement. His wife continued oper- ations under her husband's and her own name, but with no comparable success. When Herrmann the Great announced his appearance in Chicago, he claimed to be the world's greatest prestidigitator. He remained at Bryan's Hall for two weeks and was well received. On April 3d Mrs. Herrmann made her first appearance in this city as a singer and was highly commended. Herrmann finished his successful two weeks' engage- ment on April 12th. April 14th L. M. Gottchalk presented Carlotta Patti, assisted by George Simpson and Carl Herman. Carlotta had gained in merit since her former visit and Mr. Simp- 515 CHICAGO STAGE Bryans Hall 1362 son was highly praised. April ?9th George Christy, wno could not be frightened away from Chicago by the failure oi Hooley or W. A. Christy, intro- duced another Christy's Minstrels here. The Hutchinson family appeared on May 7th for one concert, singing the "Songs oi Freedom" that they, above all others, knew how to sing. The Hutchinson boys had not yet founded the towns oi Hutchinson, Min- nesota and Kansas, with which they were identified later. June 5th the world renowned Anna Bish- op appeared under the management of D. C. La Rue . Morris 1 Minstrels opened June 2£d to good business but the performance didn r t equal tne claim of the management. It sel- dom does. However, they played to a good attendance for four nights. July 4th Hambujer, the Magic Man, ap- peared assisted by Madam Hambujer. December 19th and 20th L. M. Gottchalk again presented Carlotta Patti. Carlotta was noted for her violin playing and she and her sister sang duets. Louis Gottchalk was at this period about at the height of his brilliant career. This attraction re- turned on December 26th. 516 CHICAGO STAGE Kingsbury's Hall 1862 KINGSBURY'S HALL.— Tom Thumb, who had opened in December, continued to hold the attention of the patrons of this establish- ment until January 4th. Alfred Cately was now his business manager. January 29th the well and favorably known Holman Opera Company came for one week. This was one of the best of its kind then traveling. The troupe at the time em- braced the following: Sally Holman, juve- nile prima donna; Alfred and George Holman; Mrs. Hariette Holman, an efficient manager, who conducted the organization in and out of the theatre. Members outside the family were: Charlotte Ward, Augusta Renard, Mas- ter John Chatterton, Thomas Ding ley and William H, Crane, who later became a dis- tinguished star, personally and jointly with Stuart Rob son. The Holmans offered opera bouffe, burlesque, and standard dra- ma. The Holman Opera Troupe, during its long career, graduated many successful players, singers and musicians. They later settled in London, Ontario. April 7th W. A. Christy presented the original Christy Minstrels which his fath- er had first launched. The troupe had o- pened the Metropolitan Hall and renamed it Christy's Opera House. But this rapidly vanishing hall could not be rescued from the doom it was headed lor, and Christy, after a three weeks' trial, gave up the ghost, so far as that amusement morgue was concerned . 517 CHICAGO STAGE Canterbury Hall 1862 Royce & Purdy's Minstrels opened a ten days engagement at Kingsbury's Hall on November 5th. CANTERBURY HALL, 125 and 125 Dearborn Street, Corner ol Madison Street, present numbering 5 to 5 North Dearborn, — which points out the dii Terence in the early and later numbering . The manager was Andrew J. Sink; stage manager, T.L. Fitch. Prices were loi , 15# and 25^. Style oi amusement was Ethopian and burlesque opera. On February 6th the manager announced the appearance oi "The Leviathan Troupe from the West", with a long list of artists. This troupe remained until the latter part of March. May 12th brought a list oi performers, among whom was Kate Partington, famous as Topsy in "Uncle Tom T s Cabin" ; the Yale Sis- ters; and J. W. McAndr'ews, the latter bet- ter known as "Watermelon McAndrews", one of the best of the early minstrels. When Nat Goodwin produced "Ta Ki'fcftouri' 1 at Hoo- ley's Theatre in this city in 1895, McAn- drews played the negro part. He was on the stage continually up to 1399 when he joined the many other performers who had gone to a more restful abode. Harry Hawk was a figure on the dramatic stage and retired to his estate of Bryn Mawr, where he re- mained until Father Time cut him ofl from this mundane sphere. 518 CHICAGO STAGE Circuses 1862 CIRCUSES.— Among the several circuses that made an appearance during this year were R. Sands' Mammoth Circus, ieaturing the Carlo Family, Charles and Virginia Sherwood, and a host of others. They were located on Washington Street. May 8th, 9th and 10th, Mabie's Circus came again, featuring Longworth, the Lion King, and James Melville, Champion Bare- back Rider. They were at Washington Street opposite the Court House. Dan Rice's Circus appeared on June 26, 27, 28 and 29, and gave an exhibition at Michigan and Randolph Streets, with two performances daily. September 29th and 30th, and October 1st, Antonio's Circus put in an appearance on the lot opposite the Court House. Mabie's Zoological Winter Garden opened on November 5th, and Dan Rice appeared there on December 20th. 519 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS, CIRCUSES 3863 - 1864 CHAPTER XIV The amusement business in Cnicago, as elsewhere, had been at a slow ebb for the past few years, but by this time it had begun to improve. MeVicker had eliminated his principal oppo- sition, which was Levi North's National Theatre, as that in- stitution had become obsolete john wilkes and was " oe i n & demolished at the booth beginning oi this year. Saturday, January 3d, saw the last per- formance of "The Jewess" or "The Council of Constance" and "Dick Turpin" or 'he Two Highwaymen", both of which were carry- overs from the year just closing. The iirst stars this year were the familiar Mr. and Mrs. W. J. Florence, who opened in "Handy Andy" on January 5th, following it with "Misch.ievious Anne" as an afterpiece. On tne 8th "The Irish Emigrant" was the play, followed by "Dombey & Son", a play that everyone seemed to be playing. Then "Shandy MeGuire" and other selections their repertoire. The stars took the tomary benefit on the 9th, presenting Returned Volunteer", "Thrice Married" came irom cus- "The and 520 CHICAGO STAGE McVickers Theatre 1863 "The Yankee Housekeeper". The 10th, "Ire- land As It Was" appeared as the main play. Following this Boucicault's "Colleen Bawn" was given and was kept on until the 16th. "Handy Andy" and a burlesque on "Colleen Bawn" were seen on the 17th. The burlesque, however, which was called "Eily O'Connor", was not happily received, and so was soon shelved. It was replaced by "Orange Blos- soms" which held the stage until the 21st. Then came a repeat of "Bombey & Son" on the 22d. Mr. and Mrs. Florence closed on the 24th with "The Bride of Garry Owen" and "Toodles", MeVicker being featured with the stars. January 26th brought a new" star, or rather, the return of a former one, Emma Waller, who opened in "Macbeth* . She played the part of Lady Macbeth with an effective- ness that very few women in the country had achieved, and enhanced a reputation she had already established in that part. She was ably supported by her husband, James Waller, who was a capable Macbeth. "Ingo- mar" was played on February 1st, with Mrs. Waller as the Barbarian. In spite of the fact that Ingomar is a powerful male lead, there was nothing that could stop tnese ambitious actresses from performing it if they took it in their heads to do so. Al- though the public had seen many splendid Ingomar s, they voted satisfaction on Mrs. Waller's portrayal of the character. The 3d "The Duchess of Malfi" and "The fretty Housekeeper" was the double bill. Then, in 521 CHICAGO STAGE McVickers Theatre 186; the order named, came "Guy Mannering *', "Married Rake" , a repeat of "Macbeth", "The Stranger" and, to display her dramatic talent, the star put on for the final night of her engagement "Lucretia Borgia" with "Fazio" as an afterpiece. She had played to fair business and her performances were, in general, satisfying. The charming Julia Daly followed Mrs. Waller. She opened Feburary 8th in Charles Gayler's parody on Tom Taylor's big success "Our American Cousin" . It was called "Our Female American Cousin", — the comedy in which Miss Daly had .just finished a very successful engagement in New York. In the part of Pemelia Peabody she was more than excellent, if that is possible. Miss Daly had made many friends across the footlights on a former visit to the city and she was heartily welcomed, although the play did not appeal to some of the more critical patrons. However, it was done many differ- ent times, much to the satisfaction of the public in general. The performance was marred, and a favorable impression by the star was temporarily retarded by a hitch in the mechanism of a scenic eiiect which required perfect operation to produce re- sults. It often happens that one little hitch or unfortunate interruption will ruin a play ! s future and relegate it to the storehouse, there to await the promised resurrection that never materializes. But, in spite of the failure of the mechanism and the miscast actors causing an ineflec- CHICAGO STAGE McVickers Theatre 1865 tive performance, Miss Daly carried on successfully and the play was retained lor several days, thanks to certain capable members of the stock company whose work saved the drama from utter failure. The play ran until February 11th, and on the 12th the star changed to three short plays: "Caroline Martin and Jerusha", "Ab- sent Minded" and "Our Gal". On the 13th she did "Child of the Regiment" and "In and Out of Place" for her benefit. On the 14th the audience saw "The Emigrant Girl" fol- lowed by the farce "I f ve Written to Brown" . Julia Daly was an excellent singer so she brought out "The Bohemian Girl" on the 17th and 18tkh, announcing it as "A Grand Opera- tic Night" . Following the opera she went back to "Child of the Regiment" and for the closing night of her engagement, the 21st, she repeated "Our female American Cousin". Senorita Isabel Cubas, who had been known throughout the country as "Queen of the Highflyers" appeared as what in vaud- eville parlance would have been called a "Feature Act", giving, as she did, her fam- ous Spanish dance which at this period was all the rage. This single variety perform- er, sandwiched between the stock company's performance of "The Jealous Wife" and "A Regular Fix" reminds one of the "single act" booked into a picture theatre in the 20th Century. The performer was made up early, expecting to do lour or five shows, and sat impatiently waiting lor the time 523 CHICAGO STAGE McVickers Theatre 1865 when he was to go on and "save the show" as he thought . He waited and waited, think- ing the silent pictures would never stop; occasionally asking "when do I go on?" with the unsatisfactory answer, "We'll let you know." Again he waited. Suddenly a call from the manager in the front of the house: "Hey, Bill, put on the cooler." "That T s you," said Bill to the act. "Cooler?" asked the performer, "what does that mean-''" "It's where you go on," replied Bill, "and entertain them while the picture ma- chine cools off." Such were the conditions when the si- lent pictures became the rage. Returning to the record, the stock company next put on "Naval Engagement" and "A Southerner Just Arrived", a title which corresponded with Cubas 1 appearance and accent, as she gave her Spanish dance be- tween the two plays on the 25d and ?4th. The ability of Isabel Cubas was not limit- ed to singing and dancing. She was a qual- ified actress as shown when she appeared on the 27th in the title role in "The French Spy". Senorita Cubas was under the manage- ment of James M. Nixon, one of the best showmen of his time, and whom she later married. Nixon was an all around showman and was more or less responsible ior the 524 CHICAGO STAGE McVickers Theatre 1863 fame acquired by this sensational perform- er. As stock stars were in demand, one may easily understand that she could quality as such as well as in museums and variety houses. This actress-dancer created a great sensation while in Chicago, people coming from far and near to see and hear her . On the last night of her engagement fifty couples came all the way irom Oshkosh, Wisconsin, to attend her farewell Chicago performance. She was seen in several plays and made a very favorable impression, es- pecially in the Indian play "Narramattah" which was usually played under the name of "Wept of the wishton Wist". This Indian drama suited the talent and the appearance of Cubas admirably. "The Wizard Skiff " was the closing piece of her engagement, which had been highly successful. After the departure of Cubas the stock company put on Tyrone Powers' "St. Pat- rick's Eve" on March 17th, which attracted a substantial Irish clientele. Monday, March 19th, A.J. Neafie returned, present- ing "The Corsican Brothers" 1 or his opening bill. He continued until March 28th, but offered only the plays he and others nad often been seen in before. On Neafie l s departure, that beautiful blonde, Jane Coombs, arrived and opened in "The Hunchback" on March 50th, iollowing with "Love" on the 51st; "Lady of Lyons" on April 1st with "Slasher and Crasher 11 for the farce; "Romeo and Juliet" on April 525 CHICA.GO STAGE McVickers Theatre 1965 3d; "Wife's Secret" the 6th; following in succession with "School lor Scandal 1 ' , "Love Chase", and on the 17th she took her bene- fit and presented "A World oi fashion". This popular player had come to McVicxers for a two weeks f engagement but was held over for a third week "by popular demand." After Miss Coombs left ?4cVicker brought in two stars, both of considerable import- ance. They were J. W. Wallack and E. L. Davenport, either of whom should have been sufficiently attractive to guarantee a good attendance. They opened on April 20th in "Othello", Davenport in the name part and Wallack as Iago. McVicker played Roderigo; Meyers was Cassio; Mrs. Meyers, Desdemona; Jennie Hosmer, Emilia. This was really a dramatic event and brought out a large crowd of the socialites. "Hamlet" was given on the 226. , with Davenport in the part of the Dane and Wallack doing the ghost. On the 2od "Othello" was repeated, but the parts were reversed, Wallack playing Othel- lo with Davenport as Iago. "Macbeth" was seen on the 25th, after which Mr. Wallack left. Davenport was held over and presented "St. Marc" on the 27th, a play he had given on a former visit here. He continued in this play for the balance oi the week and closed his engagement at its end. He was succeeded by the charming soubrette star, Maggie Mitchell, who opened inA. Waldaur's translation of a German comedy, "Little 526 CHICAGO STAGE McVickers Theatre 1863 Barefoot", a sort of companion piece to "Fanehon the Cricket". The play ran until May 9th when it pave way to "Margot, the Poultry Dealer", which was on for two days alter which Miss Mitchell put on her most successful play, "Fanchon the Cricket", on the 11th, This interesting play was re- tained until the end of her present engage- ment which was on Friday, the 14th. On the 15th the stock company put on "All That Glitters Is Not Gold" as a bene- fit for the treasurer, Henry Warren, and iiis charming young daughter, Hetty. Monday, the 17th, brought a return of John WilKes Booth. This was his fourth visit to Chica- go in two years. He opened this time as Claude Melnotte in "The Lady of Lyons" and this gave way to "The Marble Heart" on the 21st. The star commenced his second week with "The Apostate" and followed it with "The Merchant of Venice" in which Mr. Booth acquitted himself admirably as Shy lock. "Richard III" was the play on the 28th, "Hamlet" the 29th, and "Othello" on the 50th, He began the third and last week of his engagement on June 1st in "The Robbers" succeeded by "Richard III" on the 2d, "The Marble Heart" on the 5d and the 4th, "The Stranger" on the 5th, and he closed on the 6th with a repeat of "The Merchant of Ven- ice" . Replacing Booth, tran^: Chanirau made another bid for approval on June 8th when he appeared in "Our American Cousin at 52? CHICAGO STAGE MeVickers Theatre 1863 Home". On the 10th he gave " Aurora I loyd" and this was kept on view until the end of the week when he finished his engagement. On June 15th Jacob Grau. brought in his Italian Opera Troupe and opened in Doni- zetti's famous opera, "Lucre tia Borgia", the principal parts being thus cast Lucre tia Borgia Madam Lorient Maflio Orsini Mile. Moreni Genero Signor Brignoli The Duke Signor Susini Gubetta Signor Barili To give some idea as to the reception this organization received, it is well to quote from one of the daily papers of June 16th, the day following the company's opening. The newspaper said: ".Lucre tia Borgia" was brought out at McVic<-cers last night in admirable style by Grau T s new troupe, to a large and fashionable audience. Italian Opera with the required number of Mademoiselles and Signers with unpro- nouncable names and awKward carriage; with a lull orchestral accompaniment, a tolerably large chorus, and all necessary scenery and properties, etc., etc., to insure a creditable rendition of the opera. The manage- ment exhibited much tact in selecting 52K CHICAGO STAGE McVickers Theatre 1863 "Lucretia Borgia" for the opening night. Everybody is familiar with the tragedy and a perfect acquaintance with its plot and incidents atones in a great measure for a lack oi familiarity with the Italian tongue. A further acquaintance with the ar- tists will prepare us for entirely new operas." farther on the writer goes on to describe and, to some extent, laud the various per- formers and the combined work of the cast. All in all, it was indicated that with an Italian Opera Company in a city that, at the time, had quite a German population but few Italians, McVicker was off to a good start . Tuesday, the 16th, Flotow 1 s "Martha" was put on by a somewhat different cast, at least among the principals. On the 17th Verdi's "Ernani" was the attraction and met with a greater success than the others had enjoyed. Verdi's "II Trovatore" was presented on the 19th; Helevy' s "The Jew- ess" on the 21st; "Norma" the 25d; "Don Giovanni" on the 24th; "Lucia de Lammer- moor" on the £5th; "II Trovatore" again on the 26th; and on the 27th the company pre- sented a new opera by Verdi bearing the title "Les Siesienne" . This new opera was quite satisfactorily done and was well re- ceived by the lovers of opera. It was giv- en with the following cast. 529 CHICAGO STAGE IcVickers Theatre 186; cast Duchess Elena Arrago Mont forte John oi Procidi De Vandermost Bethune Danero Signora Lorini Signor Brigdoli Signor Araodio Signor Susini Signor Balaguerre Signor Barilli Signor Lotto July 4th the opera company presented "II Poiituto" , combined with the dramatic stociv and gave a performance to celebrate the 37th anniversary of the nation's independ- ence, The drama, ''Husbands to Order" was given with this CAST Baron ae Bropre Pierre Marceau Anatole La Tour Phillipeau Eliza Josephine Madam Phillipeau Servant Guards M. Rains lord b. Meyers J. F. Noyes J. H. McVicKer Mary Meyers Jennie Hosmer nun Marble E. Warble Lowell & Hamilton Following the play, members oi the opera company sang selections from their favorite operas. This was what McVicker announced as the closing night of the winter season. The theatre, however, reopened on the following Monday with a presentation of "Lady Audley T s Secret", written by C . H. 530 CHICAGO STAGE McVickers Theatre 1863 Hazelwood and W. E. Suter. It had this CAST Lady Audley Alicia Audley Sir Michael Audley Robert Audley George Talboys Luke Marks Mrs. Marks Jennie Hosmer Mary Meyers M. Rainsi'ord J. F. Noyes Samuel Meyers J. H. McVicker Ann Marble July 9th "Wept of the Wishton Wist" was produced, and the 11th it was repeated as a benefit to Mr. Reynolds. A benefit was then given for the scenic artist, W. L. Smith, with a presentation of "The Jealous Wife" . William Warren, Jr., son of the old William Warren of Wooa & Warren, was the next star to appear. He had been here with I Sherwood & McKinzie, who built the first theatre, but this time he appeared as a real star attraction. "The Heir-at-Law " was the play; the date, July 14th. It was followed by "The Serious Family", and a farce, "Seeing Warren". Mr. Warren enjoyed a successful engagement, in the course of which ne was seen in the foregoing and also "The Poor Gentleman" on the 15th; "Paul Pry", the 16th; on the 19th, a new play by J. S. Jones called "The Silver Spoon"; and "London Assurance", "School for Scandal" and "Sweethearts and Wives". In the latter a new player, one of the best soubrettes »3i CHICAGO STAGE McVickers Theatre 1863 in the country, Amy Stone, made her first Chicago appearance. Alter Warren closed, John E. McDonough opened, July 26th, in "The Seven Sisters" which, in spite of bad reports on the play, ran ion til August 22d, and was brought back on several later occasions, once in 1864, when the famous "Lotta" appeared in it. The next feature was a return of C. W. Couldock and his daughter . They opened, with a presentation of "Dot", a version of "The Cricket on the Hearth", followed by the farce, "A Kiss In the Dark". The play was kept on until "The Jew of Frankfort" by Torn Taylor replaced it September 4th. On the 5th of this month McVicker announced a new policy, that of giving a matinee every Saturday with a 25$ admission to any part of the house. This announcement has led some to think this was the first time mat- inees had been given in Chicago, but such is not. the case. Levi J. North had been giving an occasional matinee long before this, but this was the first definite pol- icy of regular matinees being given here. September 7th, Mrs. J. B. Phillips joined the McVicker forces. She had come from Baltimore but had also appeared in other cities. She was the former Annie Meyers, born in Boston in 1833. After mar- rying Jonas B. Phillips she became well known throughout the country, especially in the South and West. Her husband died in 532 CHICAGO STAGE McVickers Theatre 1865 Baltimore July 12, .1362. She became quite a favorite in Chicago. Her last, stage ap- pearance was at Barnura 1 s Museum in Nev. York in 1867. She died at Patterson, New Jer- sey, after a lingering illness, in 1867. Her first part in Chicago was in CouldocK's presentation of "The Lion of St. Marc". During CouIqock's present visit he re- peated the following plays: "The Chimney Corner", "Willow Copse", "Dot", etc. After Couldoek T s departure Henry Wallack made another so-called farewell visit, opening on the 13th in Shakespeare's "Henry IV", and following with "Rip Van Winkle", but not the so-called "Jefferson Version". He concluded his engagement on September 25th after putting on the plays he had already been seen in here. Wallack was succeeded by Mary Provost who opened on the 27th in "Nell Gwynne", ably supported by the stock company. This popular actress was born in Brooklyn, N.Y. January 27, 1835. She made her stage debut as Pauline in "Lady of Lyons" at Boston in 1849, and commenced starring in Nev/ Orleans in 1354. Later, she visited Australia on her way to London, and was well received in both countries. She returned to America and continued on the stage for several years, but in spite of her recognized abil- ity she was not well received in Chicago on her initial appearance, although she became quite a favorite later. 533 CHICAGO STAGE McVickers Theatre 1863 The star continued her engagement by- presenting J. Sheridan Knowles' "Love" on October 1st. In this she was supported by- George Ryer, who had commenced his stage career in this city with John B. Rice in 1847, graduating from the manipulation of a tailor's goose to the sock and buskin. After an absence of fifteen years, Mr. Ry- er returned to Chicago as leading man and co-star with this splendid actress. On October 2d Miss Provost was given a benefit for which she selected and presented "The female Gambler" and the iarce, "Slasher and Crasher", both of which were well present- ed and received. October 5th Miss Provost's translation of "Lucia D'Arville"or "The Wife's Trials" was put on with this CAST Lucia D'Arville Mary Provost Countess de Jenneville Mrs . J.B.Phillips Poplin George H. Ryer Eugene Samuel Meyers De Vitney M. Rand The play was kept on until it was replaced on October 15th with "Aurora Floyd" by Charles Gayler. This drama failed to give satisfaction, but the audience was some- what compensated for their disappointment by the introduction of what was called "The Ghost", a feature that delighted all and liteially "knocked them off their seats " 534 CHICAGO STAGE McVickers Theatre 1863 in the gallery. The museum managers had started this "ghost show" attraction, and the interest in it spread to all entertain- ment establishments, McVickers included, for he was too good a showman to sacrifice dollars for art. And so he became a "ghost show" producer. Chadwick, at the Varieties, combined the title with that of a standard name and called it "The Maniac's Oath" or "The Ghost of Litchfield" , whereas the play was "Michael Earl" or "The Maniac Lover" . At the same time Weston & Mellen continued it. at their Randolph Street Puiseum. Every- one in Chicago then seemed interested in the subject of "Where graveyards yawn and hell itself gives up the dead". The Ghost has always been a character that, whenever seen by a theatre audience, thrilled and "made the blood course up and down their veins and every hair stand on end, like quills upon a fretful porcupine." Returning to the records, Mary Provost finished her Chicago engagement on October 17th, and was succeeded by the old iavo- rite, FranK Chanfrau, who returned on the 19th with a presentation of "Toodles" and "Jerry Clip". He continued, ofiering many of the same pieces he nad been seen in here before, such as "A Glance at New York", "Yankee Teamster", "Mistletoe Bough", "Our American Cousin at Home" and, finally, "The Octoroon", which he continued to play until he finished the engagement on November 7th. Chanfrau was followed by another Chi- 555 CHICAGO STAGE McVIckers Theatre 1863 cago favorite, Jane Coombs, who returned and opened on November 9th with "Romeo and Juliet", to good business. She, like Chan- frau, presented nothing new as snown by the following selections: "London Assurance", "Lady oi Lyons" and. other well worn dramas and comedies. On the 11th Evlyn Evans, an. importation from the British Isles, appeared and was not very enthusiastically received at first but remained with the company i or some time and eventually became somewnat oi a favo- rite. He was not sui ted to the part of Claude Melnotte, the role in which he made his Chicago debut. McVicKer got himself in bad by trving to foist Evans upon the pub- lic as a star, but xie lived it down as a theatrical manager sometimes can, if he is not suf'i iciently tender-hearted to with- stand the patrons' attempt to run his bus- iness. According to public opinion, Evans possessed none oi the qualifications of a star, v*hieh the manager soon learned and he then isolated him, as he should have done and not put him up as a star equal to Jane Coombs. Miss Coombs presented "The Hunchback" which had been played every year since the time it had been seen in the Sauganash Ho- tel, where it had the distinction of being the first drama ever presented in Chicago. In this play Evans did very well as Master Walter, which was more suited to him than the part of the dashing and melancholy 536 CHICAGO STAGE McVickers Theatre 1363 Claude Melnotte. The company, with Miss Coombs, continued and gave in the order named: "The Stranger", "The World of Fash- ion", "A Wife's Secret", "Love's Sacri- fice", "School for Scandal". Miss Coombs finished her stay on November 29th. The stock company put on "Rob Roy" on the 50th, and on December 1st Daniel Band- mann was introduced as the next featured player. He was born in Hesse Cassel, Ger- many, and commenced his acting career with an amateur group in 1860. He returned to his native land and developed his histri- onic ability in a German theatre. Returning to New York, he appeared at the Stadt The- atre where he soon distinguished himself as an actor oi great promise. Later he be- came a famous Western theatrical pioneer and barnstormed in all parts of this country. June 22, 1865, he married Alice Herschell of Davenport, Iowa, where he was then ap- pearing. His first offering at McVickers was "Narcisse" or "The Last of the Pompa- dours", done with this CAST Narcisse Remeau Duke de Chalseul Delanies Galana Diderot Marquis de Pompadour Daris Zutvault Marquis de Sperney Daniel Bandmann Evlyn Evans M. Rainsford Samuel Meyers J . Rand Mrs. J. B. Phillips Mary Meyers Jennie Hight 557 CHICAGO STAGE McVickers Theatre 1863 The play met with some satisfaction but was withdrawn alter the first presentation to give J. P. Price the privilege of se- lecting his own drama, "Robert -Emrnett" , for his benefit. Among the volunteers who tooA part in the benefit were Arlington, Kelly, Leon and Donniker's Minstrels, then playing at another house. After the Price benefit, Bandmann re- turned and completed the four-night en- gagement in "Narcisse" , as per his contract with McVicker. Nov; that the Christmas hol- idays were approaching something must be done to stimulate business and benefits became the magnetic attraction. Samuel Meyers was the first to enjoy one and he selected "follies of a Night" to draw the populace . December 8th, La Senorita Cubas came again. She opened in "The French Spy" which ran until the 16th when it was replaced by "Wept of the Wishton Wist". A new performer appeared in this production, W. H. Leake, a capable actor, born in England in 1852, He was first seen on the stage in America at Buffalo, New York. He became well known as a dramatic actor and supported many outstanding players, including Edwin For- rest. Later he operated a dramatic company throughout the West, finally settling in Indianapolis, Indiana, where, in the fall of 1868 he opened and for some time managed the Academy of Music in that city. He was the husband of Annie Waite. Mr. Leake died 533 CHICAGO STAGE McVickers Theatre - Dearborn 1865 in Australia on March 15, 1891. On the 18th, Cubas put on a new play with trie unattractive title oi "Lavauqro" . It had this CAST Lavaurqro Cubas Chevalier de La Fluer W. H. Leake Perron Samuel Meyers Francois Barrie L. F. Rand Zeldea Mrs .J .B.Phillips Rose Mrs. Meyers This play was not well received and the star and company switched back to "The French Spy" and "The wizard Skiff" for the afterpiece, and this bill was retained un- til the close of her engagement. She was succeeded by Daniel Bandmann who opened in "Hamlet" on December 50th, continuing as the old year faded. Business had not been extra good for McVicker, more or less on account of the war, but like other showmen he clung tenaciously to hope never wavering in the belief that next season will be better . DEARBORN STREET OPERA HOUSE, located at 21 to 25 North Dearborn Street, present numbers. Campbell's Minstrels who were ap- pearing there at the close of 1862, were still in evidence in this house at the be- 559 CHICAGO STAGE Dearborn - Varieties 1865 ginning of this year. About all that could be obtained by the management to keep the house open was semi-organized minstrel troupes. Even these were not found in suf- ficient numbers to Keep the house in con- stant operation for very long, and so it finally closed. But only to be re-opened under another name, the "VARIETIES". The house opened under that title on June 1st of this year. During tne week be- fore the opening there was a notice on the door reading: "This theatre was closed two months ago for the want of money, it now rc-opens for the same reason." The VARIETIES THEATRE being an off- spring of the above was, of course, located at 21 to 2'6 North Dearborn Street, just south of Madison Street, and this should be carefully noted as it was successfully operated under that name for some time. It was under the management of Wm. Van fleet and C. M. Chadwick, the former remaining with it for a comparatively short time. All sorts of attractions were in evidence at various periods. George McDonald was the stage manager in charge of entertainers . The managers sought to cut quite a splurge as they advertised for "50 young laaies" for the "auspicious" opening. On June 20th Mile. Zoe and her clever husband were brought in as a feature at- traction and tney remained for some time as it was the policy to "book acts in for 540 CHICAGO STAGE Varieties Theatre 1865 some weeks." Zoe was a celebrated dancer of that day, which was the attractive form of entertainment then. She and her husband, Ben Yates, had recently gained a big repu- tation in Havana, Cuba, from whence came many entertainers in those days. Zoe was born in the Cuban city, but in 1855 she had been brought to Philadelphia, Pa., by Mrs. English, mother oi Lucille and Helen Western. Mrs. English was then taking out the St. Dennis -Ravel Troupe and tnis Mile. Zoe became the great feature of that or- ganization. Zee's husband was a well known ballet master, hence Zoe 1 s art was perfect- ed under his supervision. She made a great impression in Chicago and raised what had been an ordinary beer hall to a successful and popular amusement establishment, under the efficient direction of Mr. Chadwick, who indulged in every form of entertainment from a one man snow to a full company, eventually giving dramatic productions. The always popular play of "Toodles" was presented on June 10th, followed on the 12th by "A Cockney in China T? or "Buried Alive". For the first time in Chicago "An Irishman's Shanty" was presented on the 17th with a new star, Eva Brent, seen here for the first time. Tnis girl was born in England in 1842, and first appeared in A- merica in November, 1853. She was a splen- did singer and remained at the Varieties for some time. Early in November Chadwick announced 541 CHICAGO STAGE Academy of Music - Bryans Hall 1363 three stars: Mile. Zigetta, George Winship and Sam Gardner. The latter was seen in Chicago beiore and also alter this date. Under Chadwic^'s management this house continued to be more or less successful, not only until the end of the present year but for a long time later. NEW OPERA HOUSE.- Built at 94, on the north side of West Washington Street, be- tween Clark and Lear born Streets, this house was opened by Arlington, Kelly, Leon % Donniker's Minstrels on the 21st of De- cember, 1863, but on December ?9tn of that year, the name was changed to The Academy of Music while the above minstrel company was providing tne entertainment. This was the first of several theatres nere called "Academy of Music" and must not be confused with others of the same name. Later, Billy Arlington, the conceited performer, renamed the place "Arlington's Theatre", — J. H. Haverly, Manager. So it will be seen that this 1000-seat amusement structure became, within a short time, the New Opera House, Academy of Music and, some time later, Ar- lington's Theatre. BRYAN'S HALL. -Hans Balatka conducted a musical known as "Creation" on January 6th at this hall. On January 7th FranK Rivers' Melodeon Troupe, a select Ethiopian Min- strel Company, appeared. Prices were 25£ and 15$ for the Saturday matinee. Some 54?. CHICAGO STAGE Bryans Hall 1863 Chicago people will be surprised to know that this early visitor to this city was the father of Frank Rivers, so long asso- ciated with local theatricals. This Senior Rivers was the first to launch a full- fledged, organized traveling vaudeville company. Later in life he became identiiied with circuses. Rivers 1 Melodeon troupe finished on January 10th. Ralph Waldo Emerson lectured here on January P.2d, and John B. Gough, the great temperance advocate, lectured on tne 23th. February ?5th, James E. Murdock gave a reading. March 6th and 7th Tne Alleghanians and Swiss Bell Ringers came and pleased tne audience. April 24th Duprez and Green 1 s New Orleans Minstrels and a burlesque opera troupe came with a band of 13 negro music- ians and remained until the ?9th, giving complete satisfaction. June 226, Horn h Newcomb's Minstrels, featuring Eph Horn, one of the best of per- formers at the time, appeared at this Hall. The company did well for the single week they remained. June 29th, Sam Sharpleigh's Minstrels opened to satisfying attendance. July 1st, Sam Sharpley ' s Minstrels appeared and continued until July 4th, after which nothing of importance appeared here until Arlington, Kelly, Leon & Donniker's Mins- trels opened on September 14th. And on October 17th, Campbell's Minstrels again 54 b CHICAGO STAGE Bryans - Metropolitan 1865 came and added several "Ghosts". Thereafter, on December 17th, the Rice Family of con- cert singers appeared, and on the 21st Father Kemp Concert Company opened. Fol- lowing them, on December 28th and 29th Gottschalk Sc Brignoli gave a concert. METROPOLITAN HALL .-Arlington, Leon and DonniKer's Minstrels opened here January 10th, alter which they moved to Kingsbury' s Hall. The name of that amusement temple was then changed to "Arlington, Leon&Don- niker's Opera House" where, according to the announcement, they "opened tneir regu- lar season." The next attraction was Fredric Doug- las, who on January 19th gave a lecture. Since he was a negro, it was, oi course, on the race problem. Nothing more appears to be in evidence until March 2d when Alf Howard, the American Oie Bull, appeared. He was followed on March 11th by Prof. Haller, the great wizard and famous ven- triloquist. And Dolly Dutton made an ap- pearance on March 50tn. This hall then had very few attractions, except local affairs, until July 1st when Sam Sharpley's Min- strels came. This was a well Known minstrel troupe and was welcomed back to the city. The hall was again unoccupied for some time, but was finally opened on October 25th for a concert by the Hutchinson Family. MUSEUM.- This house, located on Ran- 544 CHICAGO STAGE Museum - Circuses 1365 dolph Street, had been operated by Messrs. Mellen and Weston, but it now passed into the ownership of Col. J. H. Woods, and the name was changed to Woods' Museum on Janu- ary 13, 1864. It is important to note this as Col. Woods was of considerable impor- tance to amusement seekers in this city. Prior to this time he had conducted a mu- seum on what was then No. 9 Dearborn Street next to tne Tremont House, Woods proceeded to improve what was called the "lecture hall", although it was, in fact, the place where stage shows were given. CIRCUSES.- Mabie's Grand Menagerie and Circus came October 18th and 19th, featur- ing Ian Pice as tne clown and Den Stone, equestrian director. Tne next show oi the kind appeared June 4, 5, 6 and 7. It was Castello & Van Vleack's Circus, located on a lot at LaSalle & Randolph Streets. July 3, 4, 6 and 7th, that greet circus manager, Hyatt Frost, brought in Van Amberg & Com- pany's Circus for four days. Nothing in that line was seen until October 19th, when Thayer & Noyes brought in the United States Circus, featuring James Robinson, at that time, the greatest of all barebacK riders. This world beating rider was born in Bos- ton, Mass., in 1836. When nine years old he was apprenticed to John Gossin, the leading clown of the country. Robinson re- mained a very successful performer for his entire life. He retired from Thayer & Noyes outfit and returned to Chicago on November ?5th, billed as Robinson & Howe's Circus. 545 CHICAGO STAGE McVickers Theatre 1864 MCVICKERS THEATRE.- The year of 1864 started off badly owing to the mammoth iall of snow and a temperature oi 30 degrees below zero, but by January 4th it began to moderate and trail ic approached normal. At McVickers, where the celebrated Laura Keene had just opened an engagement, they were presenting "She Stoops to Conquer" in which she was supported by F. W. Peters as Tony Lumpkin, and Myles Levick as young Mar low. Laura Keene was born in England in 1830. She made her stage debut there in Madam Vestre's Lyceum Theatre in London. After appearing successfully in various parts of England, through the solicitation of J. Hall Wilton, a dramatic agent, she came to America in 1852, and on September 20th of that year appeared at the Broadway Theatre, New York. After leaving the Broad- way she traveled as a star, but returned to New York and took over the Winter Gar- den Theatre which she renamed r Tne Varie- ties". She closed her theatre in 1864 and came to Chicago as stock star at McVickers. At Ford's Athenaeum in Washington, D.C., she was playing "Our American Cousin" when President Lincoln was assassinated by Jonn Wilkes Booth, a. little over a year after she first appeared in Chicago. Laura Keene was the first to rush to the aid of the President, all others being too excited and awed at the catastrophy to render im- mediate help. She it was who held the mar- tyred President's head and stanched the 546 CHICAGO STAGE McVickers Theatre 1364 flow of blood Irom the wound made by one of her own profession. Returning to ?4cVickers, on January ?th "She Stoops to Conquer" was replaced by "Young Hearts and Old Heads". On the 8th, "Rachel the Repear", from Charles Reade's novel of the same name, was done with this CAST Rachel Miss Keene Casenower Mr. Peters Dick Hickman Mr. Levick Old Ha thorn Mr. Noyes Corporal Patrick Mr . McVicker Robert Ha thorn Mr. Meyer s Widow Mayfield Mrs . Meyers Dame Hathorn Mrs . Marble January 11th Miss Keene put on "Our A- merican Cousin" which had so often been done here before. But the fact that she had become so closely identified with the play caused it to draw well. On this occa- sion McVicker was cast as Asa Trinchard, the part Joseph Jefferson played so often. After a week of "Our American Cousin", Miss Keene switched to "Wives of Ireland" on January 14th. She presented "School for Scandal" on the 15th, which date was a ben- efit for Messrs. Levick and Peters. "The Smiths and Browns" was the farce. This week had been bad for amusement purveyors. For one reason the unheard of cold weather and incomparably deep snow made it next to 547 CHICAGO stag: McVickers Theatre .1864 impossible to get anywhere. There are al- ways plenty of excuses for poor attendance but the only one to adequately define tne reason for non-attendance is "They just didn't come." There was nothing new offered at any place of entertainment. With Laura Keene playing "Our American Cousin" and "School for Scandal" at McVickers; Tony Pastor at the Varieties; and Billy Arlington and the other minstrel performers at the Academy of Music, it is no wonder tne public re- mained away. For, despite the fact that it would have been attractive and entertain- ing amusement when first seen in the city, by now tne patrons were hoping for some- thing new. Mr. MeVicker felt the need of this and brought in Charlotte Thompson, a clever actress who was trie daughter of tnat splendid actor, Lysander Thompson. She be- came the wife of Major Loraine Rogers who, before their marriage, had been her busi- ness manager. She was born in t.ngland in 1845. At the time of which we write she was a very wealthy woman and owned a large plantation near Montgomery, Alabama. Her slaves were said to enjoy the most comfort and freedom of any in the South. She commenced her Chicago engagement on January 18th in "The Hunchback" giving an admirable performance oi Julia. On the 20th "The Wife" was well played by the star and the stock company. "Madelaine" or "The Belle of Forbourg" was played on the 21st; 548 CHICAGO STAGE McVickers Theatre 1364 and "Lady of Lyons" was presented on the 23d, followed by "Sarah 1 s Young Man" for the farce. Miss Thompson started her second week on the 25th in "Clouds With a Silver Lining" . (NOTE: The drama was launched in Wau- kegon at Hugunin's Bail on this date with a performance of v hon Caesar de Bazan".) "Clouds" was followed on the ?6th and 27th with a new play, "Clyshea the Desert- er 1 ', and on the 28th the star took ner beli- ef it with a repeat of "The Hunchback" . Then, "The Forty Thieves" was the ofiering for the 29th, Starting on February 1st, Jacob Grau brought in his Italian Opera Troupe and McVicker sent his s toe it company to Milwau- kee for the duration ol Grau's stay. The first opera was "Lucretia Borgia"; the sec- ond was "Lucia de Lammermoor" ; the third was "II Tr ova tore" played with this CAST Leonora Mile. Vera Lorini Inez Mile. fisher Count de Luna Sig. More Hi Azucena Mile. Morensi Mauri co Sig. Stef'fani Fernando Sig. Barteli n the 5th the opera w as "La Sonnambula" ; he 6th, Norma"; "I rtha" on the 8tn; 549 CHICAGO STAGE McVickers Theatre 1864 "The Masquerade Ball" on the 9th; the 10th, "Don Giovanni"; the 11th and 12th was a repeat oi "Martha" and "iMorraa"; and on the 15th of "La Sohnambula" , which concluded the opera company's engagement. McVicker was too good a showman to be fooled into thinking he would reap any fi- nancial benefit by sending his stock com- pany to Milwaukee and bringing in Grau's Italian Opera Company. He well Knew that opera in any form was an expensive luxury, but he felt the eifects oi the pressure groups which exist among theatricals as well as in legislative assemblies. Some people are constantly insisting upon thea- tre operators bringing in this or that at- traction, and they sometimes yield in spite of their better judgment. This is true in reference to opera, perhaps, more than any other form of entertainment, lor it nas sent to the financial poor house more im- presarios than it has ever put on the road to theatrical prosperity.. Palmo, th^ lather of Italian Opera in America, found it ul- timately necessary to become cook in a restaurant in order to acquire sustenance. McVicker knew all this. He also Knew that whenever a town commenced to change from a frontier atmosphere to that of a metropolis, a portion oi its citizens always become social climbers, and there is nothing bet- ter than Italian Opera to satisfy their vanity. Chicago, in 1364, had acquired a population of a couple hundred tnousand, and among the populace there were many real 550 CHICAGO STAGE McVickers Theatre 1864 lovers of good music, as evidenced by the attendance at musical features heard from time to time in the various halls where these concerts usually took place, viz: Anna Bishop, Patti, Ole Bull and others. But giving a concert with only a few peo- ple is quite a different matter than having a largo expensive organization appear in a regular theatre. When the Italian Opera Troupe finished their engagement, Mr. McVicker felt he had done his duty to the music loving community by giving it an opportunity to see and hear a musical treat few of them could under- stand. But the demand persisted and solic- itous advisers continued to importune him to "bring them back". He did not yield to the pressure this time but took a safer course. As a follow-up to the Opera Company, Maggie Mitchell was brought bacn and opened on the 15th in her big success, "Fanchon the Cricket", continuing it for trie week. She followed it with fT Margot, the Poultry Dealer" on the ££d, and on the ?Sd she pre- sented "Little Barefoot" with this CAST Little Barefoot Maggie Mitchell Jemmy James H. McVicker William Place Samuel Meyers Farmer Place M. Rainsford Rose Jennie Hight This play ran until it was replaced with 551 CHICAGO STAGE McVickers Theatre 1864 ''The Pearl of Savoy 11 on February 27th, and it was in turn replaced by "Fanchon the Cricket" on .Saturday, March 5th, with "Mar- got 7 ' for the matinee. At Miss Mitchell's departure the stocK company put on "Pure Gold" as a benefit for Mary Meyers. It had this CAST Mrs. Rockford Mrs. Meyers Rinaldo Mr. McVicker Frank Rockford Mr.. Evans Miss lortesque Mrs. Phillips It was followed by the farce, "I've Written to Brown". On the 8th "Forty Thieves" was the invitation to prospective theatre pa- trons. It was followed by "forsaken Briae" given as a benefit to Mr. Evlyn Evans and announced as the first presentation oi the play.. It was thus CaST Baron Chalamont Evlyn Evans Col, Faklande L. Rand Von Grottius M. Rainsiord Poppinghoff J. H. McVicker Angeque Mary Meyers Madam Gilder land Ann Marble March 11th, Henry Warren, the treasurer, tooK another benefit and the stock company put on two short plays, "Betsy Baker" and 55? CHIC G T A G E McVickers Theatre .1864 "A Kiss in the Dark", and Dr. Woodward was seen in one act of ''Hamlet". On the 12th, "Speed the Plough" was presented as a ben- efit for the Dearborn Light Artillery and drew a crowded house. The familiar Emma Waller appeared and opened on the 14th with "Macbeth", she, to be sure, playing Lady Macbeth, in which part she was creditable. "Guy Mannering" followed on the 15th; "Naomi, the Deserter" on the 16th; and "The Duchess of Malfi" on the 13th. The 22d, Mrs. Waller was seen as lago in "Othello", in which part she did very well and received high praise irom press and public. She continued to appear in "Macbeth" and other repeats until the end of her engagement. Monday, March 28th, Susan Denin opened in Clifton Tayulure f s dramatization of Miss M.E. Braddon' s "East Lynne" with this CAST Lady Isabelle Barbara Hare Cornelia "Corny" Carlyle Joyce Wilson Archibald Carlyle Sir Francis Levison Lord Mount Severn John Dill Richard Hare Susan Denin Mrs. Phillips Ann Marble Mary Meyers Jennie flight Evlyn Evans Samuel Meyers M. Rainsford J. H. McVieker L . Rand 553 CHICAGO STAG E McVic iters Theatre 1864 This is the ful play wa a very cons after for s it was one ever on the the author dred Dollar received a first time this very success- s seen in Chicago but it became picuous visitor yearly there- even or more decades. Although oi the most successful dramas American stage, it was sold by to Lucille Western for One Hun- s. The author of the novel never penny for the dramatic rights. The press and the public were loud in their praise of "East Lynne" . It remained on view for the week, when it was followed by "Ticket of Leave Man" with Susan Denin as Robert Brierly. It was also played at Woods' Museum the same week. The cast as played at McVickers was CAST Robert Brierly Susan Denin Hawkshaw Mr. Cloud Green Jones Samuel Meyers James Dal ton L. Rand Melter Moss M. Rainsford Mr. Gibson Chas . Hudson Maltby John Slavin S am W ill oug hby J. K. McVicicer May Edwards Mrs. Phillips Emily St. Evermonde Mary Meyers Mr s . Will o ug hby Ann Marble Miss Denin then finished tier two weeks 1 engagement and John' E. Owens, one of the best Yankee comedians , stepped in to re- place her. He opened on the 12th in Watts 554 CHICAGO STAGE McVickers Theatre 1364 Phillips 1 excellent comedy, "Everybody's Friend". This was succeeded by "Solon Shingle", then by "Paul Pry", "Poor Gentle- man" and the farce, "Forty Winks". After Owens' departure, Tom Taylor's "Victims " was given. Edwin Adams opened on April 19th in "Hamlet". This actor was born February 3, 1334, at Milford, Mass. He first appeared on the stage at the National Theatre, Bos- ton, on August 29, 1853, as Stephen in "The Hunchback". While he was compared favorably with Forrest as a tragedian, he was one of the best light comedians ever on the Amer- ican stage. He toured extensively as a star . Adams' Hamlet was well received in Chi- cago, where Forrest, Murdock and the Booths had set the pattern. "Wild Oats" was Adams' second play, followed on the 21st by "Lady of Lyons". April 23d, in commemoration of Shakespeare's birth, Mr. Adams presented "Romeo and Juliet" at the Saturday matinee and "Richard III" at night. In the meantime, a big celebration took place in Bryan's Hall. Mr. Adams closed at McVickers on the 23d, and Kate Fisher, the celebrated eques- trian actress, replaced him on the 25th, opening in "Mazeppa" . Miss Fisher was born in Boston, April 16, 1840, and made her stage debut in 1352 at Burton's Chambers St. Theatre, New YorK. She accompanied the 555 CHICAG STAGE McVickers Theatre 1864 Ravel family to Havana but returned short- ly to the states and starred throughout the country in the above and other plays. Kate Fisher continued in "Mazeppa" for the duration of her visit. She was suc- ceeded on May 9th by the return of Grau's Italian Opera Company which opened with "Robert tne Devil 1 *, followed on the 10th by Verdi's "Ernani" . ''Faust" was well pre- sented on the 11th and ''Norma'* on the 12th. May 15th Meyerbeer's masterpiece, "Dinorah", was given. While Meyerbeer was the name by which the composer of this opera was known it was actually a conjunction oi his given and surname, as his real name was Meyer Beer. He changed it lor operatic purposes to the more dignified ''Meyerbeer". Who could blame him? Grau' s 16th, with second week "Les Huguenots", began Monday, May thus CAST Valentine Marguerite Urbana Raoul St. Eris Neve re Dettoez Ma ur evert Tavanea Morcel Mile . Virginia Whiting Mile . Castri Mile . Morensi Sig. Tamaro Sig . Morelli Sig. Amodio Sig. Coletti Sig. Barilli Sig. Reichart Sig. Carl formes 556 CHICAGO STAGE McVickers Theatre 1864 This was tne first presentation of this opera and quite an event was made of the occasion. Virginia Whiting, above mentioned, v;as practically born in the theatre since she was the daughter of David Whiting, an actor long associated with Wallack' s and the Broadway theatres in New York. Her career was ended all too soon. In less than a year after her Chicago appearance she was taken ill while singing in Santiago de Cuba, and died there on February 28, 1865, at the age of thirty-one. "Don Giovanni" was the offering on May 17th; "II Trovatore" on the 18th; "Martha", May 19th; and "Faust" was repeated for the benefit of Jacob Grau, the very popular impresario, on the 20th. On the 21st, tne last night of tne opera company's engage- ment, "Masaniello" was presented. Mr. McVicker had announced the closing of his regular season and his stock company when the opera company opened, but he be- gan another season immediately. Weary of the managerial strife single-handed, he declared his brother-in-law, Samuel .Meyers, in as a full partner in the operation of his theatre, and from then on McVicker and Meyers were listed as managers. The first star to appear under the new theatre management combination was Laura Keene, who returned supported by Miles 557 CHICAGO STAGE McVickers Theatre 1864 LevicK and Frederick Peters, both of whom had been seen with her before, and a new comer, that sterling actor, John Dyott, already well known in New York and Phila- delphia as one of the best standard actors in the country. The first play put on un- der the new management was ''She Stoops to Conquer", which was on May 23d. It was fol- lowed by "Rachel the Reaper" on the 24th. Thereafter, she repeated several of the plays presented so often at this theatre and closed her engagement with "The Sea of Ice". Miss Keene was replaced by C. W. Coul- dock and his daughter, who opened June 6th in "Dot", a version of "The Cricket on the Hearth". There is even less to be said a- bout the Couldocks than about Laura Keene as they presented nothing new. They were succeeded by Matilda Heron, who opened on June 20th in the ever recurring "Camille" . She closed in "Aurora Jioyd" on June 30th. July 1st a new star appeared in the person of Rachel Johnson. She was born in Louisville, Kentucky, June 4, 1845, and made her debut in the role of Parthenia to E. L. Davenport's Ingomar. Thereafter, she became quite a star throughout the country. She eventually married Barney Macauley. She was young and charming when she opened at MeVickers and was well received. On July 4th, "Follies of a Night" and "Ingomar" were presented. July 5th "The Hunchback" was given with Miss Johnson as Julia and 558 CHICAGO STAGE McVickers Theatre 1864 Barney Macauley as Master V/alter . This is the first time we see the name of that highly successful actor-manager. He was born in New York on September 19, 1857. He made his debut as an actor at the Eagle Theatre in Buffalo, New York, in 1853, as Grantly in "Rent Day" . In 1865 he married Rachel Johnson, who is mentioned above, and starred jointly with her for some time. He, like many other actors, couldn T t stay "put" on the stage and became a manager at an early age . In 1873 he built the Macauley Theatre in Louisville, Kentucky. But after acquiring success as a star in "The Mes- senger from Jarvis Section", he relinquished the management to his brother John. This theatre is famous as the theatrical cradle of many well known players, among them Mary Anderson, who made her debut there as Jul- iet in 1875. William Gillette was another. And it was here that Marc Klaw and Abraham Erlanger first met, the team that became famous in later years. July 6th the triple offering was "Del- icate Grounds", "Swiss Swains" and "Peace and Quiet". On the 7th and 8th, a portion of the Italian Opera Company returned. The stock company, with Rachel Johnson, put on "Pauline" or "The Assassin f s Bride" on July 9th. William Warren then opened as the new star, presenting "Heir-at-law", "Sweet- hearts and Wives", "Serious Family" and other familiar plays in the course of this 559 CHICAGO STAGE McVickers Theatre 1864 professional visit. He was given a benefit on Friday night. Warren opened his second week in a new play by J. S. Jones, "The Silver Spoon". On the 2Sd his offering was "A Breach of Promise", followed by "Grim- shaw, Bag shaw and Bradshaw" . He closed his engagement on July 30th with "All That Glit- ters Is Not Gold". John E. McDonough opened August 1st in "Seven Sisters" which already had enjoyed a long run. The highlight of this particu- lar engagement was the first appearance of Lotta Crabtree, perhaps better known as "Lotta", but billed on this occasion as "Miss Lotts, the California favorite", and she certainly was. She appeared as Tartar- ine, a role which required the assumption of five distinct characters. This charming and highly successful actress was born in Grand Street, New York, November 7, 1847. She made ner first stage appearance in California at the age of eight years, as a vocalist. Her first speaking part was Gertrude in "Loan of a Lover" in 1858, at Petaluma, California. Her first engagement in New York was at Niblo's on June 1, 1864, two months before she reached Chicago. She toured the coun- try under the management of B. a. Whitman and after severing connections with him, her mother became her manager. "Seven Sisters" as interpreted by the stock players with "Miss Lotta" and J. E. McDonough, ran until August 20th, when the 560 CHICAGO STAGE McVickers Theatre 1864 two stars closed their engagement, trank Chanfrau filled their niche opening August 22d in "Our American Cousin". He changed this on September 5th to "Hidden Hand". September 8th Joseph E. Nagle was seen as the new leading man. He was born in Philadelphia in 1828, and made his first stage appearance at the Halliday Street Theatre in 1847. Nagle opened at McVickers in "The Cross of Gold", and followed it on September 9th with a repeat of "Ticket of Leave Man" ior his own benefit. McVicker had taken a two months' vaca- tion but now reappeared on the 12th in the cast of "The Octoroon", Chanfrau as V/ool, McVicKer as Scudder and a new member, J. A. Lord, as Jacob McCloskey. Mr. Lord had just been released from duty after four years service in the Union Army. He later played an important part in Western theatricals. September 14th McVicker reverted to "Ticket of Leave Man", and on the 17th "The Octo- roon" was repeated. Chanfrau finished on the 23d and was succeeded by Daniel Band- mann, who opened on the 26th in "Narcisse". He was seen during the course of his en- gagement in "Lady of Lyons", "Richelieu", and "Othello". October 5th Ann Marble took her benefit and presented Mrs. Mowatt's popular play, "Fashion" . On the 7th, Bandmann reappeared in "The Merchant of Venice" and on the 8th in "Hamlet", while "Dick Turpin and Tom 561 CHICAGO STAGE McVickers Theatre 1864 King'' and "The Carpenter of Rouen" were produced by the stock company. Monday, October 10th, saw the first appearance of the, later, famous Lawrence Barrett, billed on this occasion as L. P. Barrett. He was seen in the first presen- tation in Chicago of "Rosedale" or "The Rifle Ball". According to the general be- lief this drama was written by Lester Wal- lack, but in an address made before the Dramatists 1 Club in 1882 by the then "Dean of Playwrights", Charles Gayler, the play was the work of Fitzjames O'Brien who was killed in the "War of the States". "Wal- lack," said Gayler, "bought it from O'Brien for one hundred dollars and claimed author- ship after the latter' s death." Lawrence Barrett was born at Patterson, New Jersey, in 1838. as a boy he moved to Detroit, Michigan, where he became a call boy, and after serving in that capacity he became an actor in the same theatre. At the age of twenty-six he became a star and appeared as such in "Rosedale" or "The Ri- fle Ball" in Chicago, under the name of L. P. Barrett, but later adopted the more euphonious name of "Lawrence" . During the "War of the States" he was a captain in the Twenty-eighth Massachusetts Infantry. Af- ter being discharged he returned to the stage where, as a star, he visited this city, as the records show. His first ap- pearance in New York was as Sir Thoma s Clifford in "The Hunchback". He managed 562 CHICAGO STAGE McV.ickers Theatre 1864 and headed the casts at the Varieties The- atre in New Orleans, Louisiana. After fin- ishing his American starring tour he went to England, and on returning joined with John McCollough in the operation of the California Theatre in San Francisco. In September, 1887, the great combination of "Booth & Barrett" was formed and toured throughout the country with great success. He died of pneumonia on March 20, 1891. After a two weeks' engagement in "Rose- dale" , Mr. Barrett left and was succeeded by Mary Provost, who opened a return visit on October 19th in Tom Taylor T s familiar "Nell G wynne", with "A Kiss in the Dark" for the farce. She changed on the 25th to "Lucia D T Arville" and for the 28th and 29th gave "The Female Gambler". The 31st, Miss Provost gave Boucicault' s "Janet Pride". The Italian Opera Company appeared for one performance on the afternoon of November 2d, but this did not affect the present star as she was not expected to give mati- nees except Saturday. Laura Keene was the next featured play- er and opened in "The Sea of Ice" November 8th, to fair business. This play was con- tinued until "East Lynne" replaced it on the 14th. After Miss Keene concluded her stay, "Waiting for the Verdict" was pre- sented on the 21st as a benefit for J. E. Nagle, the leading man. This play was being offered at the Woods but that did not pre- vent McVicker and Meyers from keeping it on. F. F. Mackey took a beneiit the 25th 565 CHICAGO STAGE Academy of Music 1864 and Henry Warren, the treasurer, the 28th. The great lyric artist, Vestvalli, opened November 28th in "Bel Demonio" v;hich was followed by "Gamea", with which this at- tractive player concluded her visit. Edwin Adams returned with another presentation of "Hamlet" on December 12th. He continued thereafter with his repertoire of classic dramas, giving nothing new except "The Dead Heart" which finished the year. ACADEMY OF MUSIC, 94 Washington St. -At this place of amusement Arlington, Kelly, Leon and Donniker ! s Minstrels were a hold- over from 1863, and were becoming increas- ingly popular. During the run of "Mazeppa" at McVickers and "The Ticket of Leave Man" at the V/oods, the company gave burlesques on each of these plays. Then they gave burlesque pantomimes oi "Norma", "Cinder- ella", " Camille", and other successful plays. The organization stayed until July, after which the house was advertised lor rent by "day or week" by James Pield. The Academy remained unoccupied until August 20th when Professor Anderson opened in what he called "A World of Magic". This attraction held the stage for two weeks. There is no record of other attractions of importance until October 15th when the E. L. Davenport Dramatic Association of Chi- cago opened there in "Time Tries All" and "The Rival Lodgers". 564 CHICAGO STAGE Academy of Music - Varieties 1864 Davenport, however, didn't make much of a success oi his venture at this house and soon closed. His company was succeeded by Arlington, Kelly & Leon's Minstrels who returned —minus Donniker's name —on Oct- ober 51st, after a tour of the North and East. They met with a hearty reception and turned many away. Shortly afterwards Billy Arlington severed his connection with the minstrel company, after which they were Known as Kelly & Leon's Minstrels, and un- der that name they continued at this house. Arlington organized his own minstrel com- pany and took to the road. He opened at Titus Hall in Racine on December 12th, and thence to Lappin' s Hall, Janesville, for tne 13th and 14th, and to the City Hall, Madison, lor the 15th, all three cities in Wisconsin. He then returned and opened at the Metropolitan Hall in Chicago on the 17th. VARIETIES, at 115 and 117 Dearborn Street. —This house was under the manage- ment of C. M. Chad wick, with George F. McDonald as stage manager as well as prin- cipal character actor. The features for the first week of this year were: Mile. Lizetta, George Winship and Charley Gard- ner. Dramas were presented as well as the regulation "Variety" but it would be hope- less to attempt to identify them by their correct name as the management did then what repertoire managers do today, always have and doubtless always will do, that is, 565 CHICAGO STAGE Varieties 1864 changed the titles to iool the play owners as well as their patrons. Billy Allen Fas given a farewell bene- fit on January 6th. He was replaced by Tony Pastor, so long here at North's and later the well known variety performer. He was announced on this occasion as "the greatest comic singer in the world." Dick Sands and Kathleen O'Neil also appeared. The latter, a well known concert hall singer, was born in Dublin in 1840 and was seen and heard in every part of this country and Europe. Tony Pastor, after a prolonged stay at this theatre, closed March 14th and was replaced by Charley Gardner. On March 50th four new stars were announced: Tim Hayes, late of Haver ly T s Minstrels, Mile . Augusta, Hattie Williamson, and Victoria Howard. April 18th the Denis-Ravel Troupe appeared as did also T. H. Jefferson. The Varieties Theatre was giving a very good quality of entertainment in its line and the patronage was encouraging. May 9th Chadwick announced seven new stars, among whom were Clara Butler and Ida Duval. New- comers opening on May £3d included Miss Louise, Marian Pierce, Herr Mason, Sally Clinetop and Tom Poland. July 4th the fol- lowing new names were announced: Emma and Edith Whiting, Hattie Hinckley, and Peter Lee. July 12th Lew Simmons, one of the best 566 CHICAGO STAGE Varieties - Museum 1864 minstrel performers of that day, was head- lined. He was killed at Reading, Pa., in 1912. Also appearing on this date was C.£. Collins — his correct name was Herbert — who was billed as "the Cure", wnich was his dancing specialty. In 1868 this performer got into serious trouble in the West by shooting a man. Louise Elinore played a return engagement at this time. November 7th this theatre announced several new artists, among them Tony Pas- tor, who earlier had been a big attraction here, as well as at Levi North's National Theatre; H. W. and Jennie Eg an; J. W. Ed- wards and Mile. Augusta. THE MUSEUM, on Randolph Street, which had been operated by Mellen & Weston, now passed into the hands of Col. J. H. Woods, who had been operating a similar estab- lishment at 9 Dearborn Street, in the Tre- mont Hotel block, located on the southeast corner of Dearborn and Lake Streets. The Randolph Street Museum had been known sim- ply as "the Museum", but Colonel Woods changed the name to WOODS MUSEUM. He an- nounced his intention of establishing a good stock company in the "Lecture Hall", which meant where stage shows took place. It was the policy of these curio hall man- agers to have the museum part of such es- tablishments in the front of the building where the admission charge was made . Beyond that was a "Lecture Hall"— in reality a 567 CHICAGO STAGE Woods Museum 1864 theatre, more or less in disguise, — while the museum itself was looKed upon as an educational institution. In addition to the admission to the museum, another admission charge was exacted if the patron wished to see the drama. This system was developed because of the old "blue laws" which made "play acting" a crime and the patronage of such sinful. But when a person was seen going into a museum, that person was obvi- ously seeking education. Hence the devel- opment of the drama inside the museum, a policy inaugurated by Lewis Hallem in 1787, at Philadelphia, in order to escape the penalty for desecrating morality by the presentation of nefarious "stage plays" which the Puritanic laws forbad. Colonel Woods decided to be consistent and maintain a policy established a hundred years ear- lier for the development of the drama on the inside of this educational institution, the "Museum" . Mr. Woods announced that he intended to install a strictly first class stocK company, and he left immediately for the East in search of talent for such an organ- ization. During this talent scouting tour the museum continued in its regular museum manner, exhibiting freaks, with the occa- sional appearance of more or less important attractions on the stage of the "Lecture Hall". Colonel Woods realized that it would be necessary to assemble a pretty good dramatic company in order to compete with McVicker, who had survived the coming and 568 CHICAGO STAGE Woods Museum 1864 going of other organizations of the kind. Mr. Rice had demolished his Dearborn Street theatre in 1362, and had built a new busi- ness block on the site. Levi J. North's Amphitheatre had faded away and even its promoter had been forgotten, but James H. McVicker was still carrying on. About the middle of March of this year the members of Woods' Dramatic Company ap- peared in this city. Among the players in the company's roster were: A. D. Bradley, director; F. A. Herrington, assistant to Col. Woods, both of whom had been with McVicker and were popular in Chicago, as the Colonel knew. Mrs. Perrin, the former Miss Woodbury, had not only been a member of the McVicker company, but had been with Mr. Rice and Mr. North. John Dillon, come- dian, also a former McVicker actor, was another valuable acquisition. Pew actors were better known in the west during this and the two succeeding decades than this same John Dillon, and few of them were as irresponsible, as Charles Frohman could readily have testified, since Mr. Dillon was Frohman's first star, and a trouble- some one at that. But that is not unusual as actors are all troublesome enough at times . It was in the early Eighties that Frohman organized the Dillon Comedy Company and set out to acquire a fortune in theat- ricals. How well he succeeded nearly every- one knows. He knew Dillon's weakness for 569 CHICAGO STAGE Woods Museum 1864 drink but it did not deter him. Frohman was young and venturesome, as he continued to be until he went to his watery grave in the sinking of the Lusitania. Frohman' s troupe, like all repertoire companies then and for many years thereafter, were billed to play in the "opera house" during the fair dates, as many as possible, at least, and as long as they lasted. His first fair date was at Ottowa, Illinois, and much de- pended on the receipts in order to lift the company out oi the financial morass that had almost mired them. The fair was des- tined to be a success. People commenced to arrive on the Sunday before the opening, from adjacent towns and the countryside, some riding horses or mules, others in lum- ber wagons, buckboards, or anything that could be used for transportation. Charles Frohman smiled at the prospect of a theat- rical success he had longed for ever since he had received the firsb pass to a theatre for a lithograph hung in the window of his father's cigar store in New York. Dillon was also joyful, as well as convivial. In fact, he was too convivial, lor he went from one saloon to another, entertaining the customers, much to the sati si action of the bartender. It was the big night of the fair and the Ottawa Opera House was packed to sui location. But when curtain time came there was no star. Dillon could not be found. After much searching and a round of saloon visits, he was located and brought to the stage and partly sobered. Somehow he got through the performance and saved 570 CHICAGO STAGE Woods Museum 1864 the receiots for Mr. Frohman on his first manager ial vent ure . This was long after Dillon had appe. area at McVickers in this city. Other performers in Col. Woods 1 company- aside from those already mentioned were: George Stevens, the musical director; Mrs. Dillon; and Frank E. Aiken of the Boston Theatre. This is the first record we have of Frank Aiken who later played an impor- tant part in Chicago theatricals. He was born in Boston in 1839 and was a brother of George Aiken, the dramatist. Another member was G.W. Reed from the Park Theatre, Brooklyn; also J. Z. Little of Philadelphia. This latter actor became best known in later years as the star and manager of tT The World", usually called "Little's World". C. S. Rogers, another member, was well known in Chicago later as a valuable actor in McVicker's company, where he was when Lincoln was assassinated. R. G. Hudson was irom the Boston Theatre. Others included: Miss F. A. Monmouth, Hat- tie Bernard, Mrs. E. Axtel, Miss F. Bar- lowe, Mr. Saunders, M. W. Boyington, arch- itect, Wm. F. Crouse, machinist, Wilkins and Harrison, scene painters. The company opened on Tuesday evening, March ?2d, "with Tom Taylor's "Ticket of Leave Man". Notwithstanding McVicker's at- tempt to cut into Woods' receipts by a pro- duction of the same "Ticket of Leave Man", 571 CHICAGO STAGE Woods Museum 1864 the Colonel continued the run of the play for some time after McVicker withdrew it. Frank Aiken was, of course, a better Bob Brierly than Susan Denin or any woman could be. Mr. Bradley as Melter Moss was ideal, and Mrs. Perrin did a good May Edwards, the cabaret girl. "Ticket of Leave Man" continued until "The Love Knot" replaced it on May 2d, with two new members, Thomas A. Becket and Mrs. Stoneard. Mr. Woods seems to have lured the popular Jennie Hight away from McVicker as she appeared at the Museum on this date. Finding "The Love Knot" unattractive to the play goers, Woods dropped it like a hot potato alter one performance and reinstat- ed "Ticket of Leave Man" on the 3d. This was replaced on the 11th by "She Stoops to Conquer" with Aiken as young Marlow; Brad- ley as Hardcastle; John Dillon as Tony Lumpkin; Mrs. Perrin as Miss Hardcastle; Mrs. Stoneard as Mrs. Hardcastle; others according to their adaptability. But find- ing that it had been played too often to draw, V/oods again reverted to "Ticket of Leave Man" . May 16th "Speed the Plough" was the Museum Lecture Hall off ering . Then followed in succession: John Brougham's good play, "Game of Love", on the 18th; "London As- surance" -on May 23d; "Leap Year" on the 25th; "Magic Marriage" and "Poor Pillicod- dy" on June 6th; "Wolf in Sheep's Cloth- 572 CHICAGO STAGE Woods Museum 1864 ing", June 20th; and "Mariam's Crime" on the 21st. June 30th "Uncle Torn' s Cabin" was pre- sented with Bradley as Uncle Tom, Aiken as George Harris, and John Dillon as Gumption Cute. This play was kept on until July 16th when "Faint Heart Ne'er Won Fair Lady" and, "Ireland as It Was" were put on as a bene- fit for John Dillon. This was followed by "The Drunkard" which was replaced on the ?7th by "The Duke's Motto". The latter ran until August 6th, and on that date the stock company closed. However, the Peak Family filled in with a temporary engage- ment for a brief time. When Col. Woods reopened his theatre on August 26tn he secured "Miss Lotta" and May Howard, the latter a celebrated bur- lesque queen later on. Strangely enough this charming woman was not born, as one- might say, in "tights". No, sht was born in the pious South in 1845. As a child she was a feature at Lyceum entertainments in her native city. When the war of the states broke out she lost both parents and was forced to rely on her own efforts for sus- tenance. She became a teacher in a iemale academy in Tennessee and, later, the prin- cipal of a Ladies' Seminary at Eaton, Ten- nessee. When the war made it too hot for her, she ran the blockade and came as far- north as Cincinnati. There she became a member of the stock company at Woods' Mu- seum in 1861, and later she joined Stoddard 575 CHICAGO STAGE Woods Museum 1864 & Weaver T s Dramatic Company and toured Ohio and Indiana. August £9, 1864, she opened at Woods' Museum in Chicago. Her identifi- cation with burlesque did not begin until after she joined M. B. Levette's company in the late Seventies. September 1st B. F. Whitman, who was then manager of "Miss Lotta" , became the partner of Col. Woods in the operation of the Museum, which accounts for "Miss Lot- ta" being there. On September 5th Morton* s ; "A Cure for Curables" was tne choice for the first play put on by the new firm. It had tne following CAST Old Vapid J. B. Bradley Young Vapid Prank Aiken Jessey Galland May Howard Miss Vortex Mrs. Stoneard It was followed by "Mr. and Mrs. White", played by John Dillon and Miss Lotta. September 6th the offering was "The Drunkard" with May Howard as Mary Wilson. The farce was "Andy Blake". "Game of Love" was presented on the 8th and Lotta was seen in "Our Gal" for the farce. Then followed "Still Waters Run Deep" on tne 9th with May Howard appearing as Mrs. Mildmay and Frank Aiken as Jonn Mildmay. "Duke's Mot- to" followed on the 12th and was kept on until "Romeo and Juliet" replaced it on 574 CHICAGO STAGE Woods Museum 1864 the 26th, for one- production only, with "Ticket of Leave Man" taking its place on the 27th. The old standby, "Lady of Lyons", was the play for October 2d with "Aunt Char- lotte's Maid" put on by John Dillon and Miss Lotta for the farce. "Mariana's Crime" by H. C. Craven was the drama seen on the 4th, followed by the farce "I Couldn't Help It". On the 5th "Romeo and Juliet" was again given with Frank Aiken as Romeo, McMillan as Mercutio, Bradley as Jriar Lawrence, Mrs. Perrin as Juliet, and Mrs. Stoneard as the Nurse, Lotta did her song and dance in the farce. On the 7th "Love Chase" was the offering, with "Little Sen- tinel" as the farce. October 8th a new play entitled "Up At the Hills" was given its first stage pre- sentation. "Nan tne Good For Nothing" con- cluded the evening's bill with Lotta as Nan. "Mariam' s Crime" was repeated on the 9th. On the 16th "Uncle Tom' s Cabin" was again seen; "The Honeymoon" and "Mr. and Mrs. White" were well received on the 24th. "The Stranger", presented on the 2 6th, failed to please. "Love Chase" and "Aunt Charlotte's Maid" were repeated on tne 27th, and "Camille" followed on the 28th. October 31st "Colleen Bawn" was the play interpreted by the following princi- oals who were thus 575 CHICAGO STAGE Woods Museum 1364 CAST Hardress Fagan Myles Na-Coplin Corrigan Danny Mann Ann Chute Eily O'Connor Shelah Frank Aiken John Dillon A. D. Bradley J. Z. Little Mrs. L. P. Perrin Jennie Hight Mrs. Stoneard November 14th Woods went classic and presented "A Comedy of Errors" with this CAST Antipholus of Syracuse Antipholus of Ephesus Dromio of Syracuse Dromio of Ephesus Adriana Luciana Frank Aiken Mr. McMillan John Dillon A. D. Bradley Mrs. Perrin May Howard and whoever could be requisitioned played the balance. It was followed by the popu- lar "Serious Family" as an alter piece. November ?lst the great London success "Waiting for the Verdict" was given. It was also the attraction at McVickers the same week. It was replaced at the Woods on De- cember 5th by "Still Water Runs Deep" which was changed on the 8th to "Magic ?4arriage" and "Bamboozling". Frank Aiken was given a benefit on the 9th at which time "Othello" 576 CHICAGO STAGE. Woods Museum 1864 was the offering. Strange as it may seem, after waiting so long we now come to the first perform- ance here of "Ten Nights in a Barroom". It was thus CAST Joe Morgan Frank Aiken Sample Switcheli John Dillon Simon Slade A. D. Bradley Harvey Green J. Z. Little Mr. Romaine Mr. McMillan Mrs. Morgan Mrs. Perrin Mehitable Jennie Hight Mrs. Slade P4rs. Stoneard Willie Hammond May Howard Tnis play was dramatized by Win. Pratt from T. S. Arthur's novel, for tne Boston The- atre, where it was first produced in 1348. It did not meet with much succees at Woods Museum, but since that time it has been played by everyone from the first repertoire barnstormers that invaded Illinois and the Middle West down to the time Billy Bryant abandoned his showboat. In fact, it is be- ing produced to this day. Whenever a strug- gling "rep" company needed to put on an emergency play which all the actors were "up in", they could safely announce "Ten Nights". For an actor to admit he didn't know every part in this temperance drama would be equivalent to confessing that he was not a professional. Nearly every ho- tel landlord could be relied on to at least 577 CHICAGO STAGE Bryan' s Hall 1864 r go on" for a part, especially Simon Slade who, in the play, is the keeper of the Sickle and Sheaf, and dispenser of food and drinks. Landlords have always been a cross between a curse and a blessing to hungry actors, but a veritable nemesis to a mon- eyless manager. BRYAN'S HALL.— Evlyn Evans, of the McVicker company, engaged this hall for a benefit which was given .May 17th. He was assisted by Georgia Dean Spaulding, more or less celebrated as a harpist. Her maid- en name was Dean and she was born in March, 1845, at Lowell, Mass. She came to Chicago in 1851, and thereafter tooK lessons on the harp, appearing in this city as early as 1357. She married Wm. P. Spaulding, al- so a harpist with Kelly & Leon's Minstrels. Mr. Spaulding became manager of Spaulding Brothers Bell Ringers, and she was a member of the company. This charming woman was really a Chicagoan, at least by adoption. Following Mr. Evans 7 benefit Duprez & Green's Minstrels came for four nights, May 13, 19, ?0 and 21. This hall had been getting fewer and fewer attractions. After opening at the Metropolitan, Sharpley ' s Minstrels moved to Bryan's Hall and began an engagement, remaining until the follow- ing week. Gilmore's Boston Band was heard at this hall on September 10th. James E. Mur- 573 CHICAGO STAGE Bryan's Hall - Circuses 1364 dock gave Shakespearean readings on October 17th, 18th and 19th, and following him the Italian Grand Opera came in for the 23th and 29th. CIRCUSES.— This year found Robinson & Howe's so-called circus continuing from the close of the previous year. This semi- permanent show was in a building that had been used first by Yankee Robinson but the name Robinson now had no connection with ''Yankee" who had not yet blossomed into circus life. The location was on the north- east corner of LaSalle and Randolph Streets where the Hooley Theatre was built later. It was the custom of this organization, as with many similar ones, to present spec- tacular dramas such as "The Field of the Cloth of Gold", "Mazeppa", "Cataract of the Ganges", etc. January 15th these showmen announced a lavish production of "The Field of the Cloth of Gold" with forty-five art- ists. Seldom did such managers carry what could be really designated as dramatic, per- formers, so acrobats, gymnasts, rope and ceiling, walkers were pressed into that service. They did bring in occasional dra- matic features, some of whom later became prominent in that branch of the profession, such as Ben McGinley, Marie Carroll, etc. Robinson & Howe remained here until April 16th when they "pulled stages" and left for Waukegon and other towns where they exhibited during the summer. The next circus to arrive was Seth B. 579 CHICAGO STAGE Circuses 1864 Howe's Great European Circus which first pitched the tent at 12th and State Streets for three days, alter which it moved to Superior Street, between Clark ana LaSalle Streets. Tnis organization soon departed from Chicago and took to the road. Dan Rice's Great Circus opened Septem- ber 19th at 12th and State Streets and re- mained for one week only. Prices were 25$ and 50^ . Spaulding & Rogers was the next tented exhibition to appear. They opened at State and 12th Streets for three days, October 6th, 7th and 3th. One of the big features oi this circus was a steam wagon, the real beginning of the automobile. It was a high wheel buckboard with a steam engine back oi the driver's seat. The driver held a steering lever of this, perhaps, the first steam roadster. Spaulding & Rogers complet- ed the list of circuses during 1364. 580 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, OPERA HOUSES, HALLS. CIRCUSES 1865 - 1866 CHAPTER XV LAWRENCE BARRETT And in this at the honor but later b district. He dying during honorable po The year of 1865 proved to be an epochal one and highly eventful to theatrical people of Chicago. Of major interest was the election of John R. Rice, first important theatrical man of the vicinity, to the office of Mayor of Chicago. Mr. Rice had divorced himself from the amusement iield and was now embarked on the sea of politics, new departure, he did not stop given him by the citizens here ecame a Congressman from this held that office for two terms the last term of that, then, sition. Secondly, on April 14th, came the as- sination of President Lincoln by one of America's leading actors. These events meant more to Chicagoans, perhaps, than to residents of other cities. Lincoln had been nominated here and was well known to many, and John Wilkes Booth had recently finished a successful theatrical engagement. And to complete the list of events came the open- ing of the beautiful and expensive Crosby CHICAGO STAGE McVickers Theatre 1865 Opera House. In spite of these unusual in- cidents, theatrical business continued on its merry way. MCVICKERS opened the 1865 season with Leonard Grover's Grand German Opera Com- pany. They began their engagement on Mon- day, January 2d, with "Martha", followed in the order named by "F aust", "La Dame Blanche", "Don Giovanni" and "The Jewess" . "Faust" was produced with this CAST Mephistopheles Joseph Hermann (first appear- . ance in Chicago) Marguerite Mile. Marie Frederici Faust Guiseppe Tamaro Siebel Mile. Sophia Dzinba Valentine Henrich Stenboche Wagner Otto Lehman Martha Madam Zimmerman "Faust" drew better than "Martha" did on the opening night, but "La Dame Blanche" suffered the following night, although it was well sung and interpreted. The second week began with Von Weber's "Der Freischuetz" on the 9th, and on the 10th Beethoven's "Fidelio". "Robert le Diable" was given on the 11th with are- peat of "Faust" following on the 12th and 582 I CHICAGO STAGE McVickers Theatre 1865 "Tannhauser" on the 13th. Rossini's "Bar- ber of Seville" was the offering on the 16th, succeeded by Mozart's "Magic Flute" on the 17th which had this CAST Sabastro Toruino Pamino Heirophant Papagena Monstatso 1st Priest 2d Priest Papagene 1st Lady 2d Lady Carl Formes Franz Himmer Marie Frederici Isadore Lehman Anton Graff Otto Lehman Alias Viersk Alpiionse Urchs Pauline Conissa Sophia Dzinba Meta Heerwagen After four successful weeks of German Opera the stock company reopened with Mile. Marie Zoe, the Cuban Sylph, as the featured attraction. "The French Spy" was tnis Cu- ban dancer's opening play. In it she in- troduced her Wild Arab Dance. The play was continued to February 2d and "The Wizard Skiff" replaced it on the 3d. This play ran until Olive Logan appeared on February 6th in her own play, "The felon's Daughter". Olive Logan was a sister of Eliza and Cecilia Logan, and the daughter of the celebrated actor and dramatist, Cornelius Logan. She was born in New York state in 1841, and made her stage debut at Philadel- phia on August 19, 1354, as Mrs. Bobtails 583 CHICAGO STAGE McVickers Theatre 1865 ■ ■■! ■■*- « ■■ " ■ .»■»■■■■ ■■*■ —i ■■■■■■■»■ —■■ ■■■ — ■ ■ — ■■■■■ i. ■ ! — ■■■■ ■ — i — — — -■■ mi m in "Bobtails and Wagtails" at the Arch Street Theatre then under the manage ment of Wm. Wheatley and John Drew, Sr. She was not as successful on the stage as her sis- ter, Eliza, and she finally retired from the acting profession and sailed for Havre. She was graduated from a well known female college, completing all branches of educa- tion. She could speak and write all the modern languages with fluency and correct- ness. She devoted her time to writing while abroad and contributed to many French and English papers under the assumed name of "Chroinquense" . She wrote two novels, pub- lished in London, which were very widely read and in our day would be called "best sellers". After her great success in Eng- land she reappeared on the American stage on August 29, 1364. After this New York engagement she came to Chicago. She first married Edward A. Delille from whom she was divorced in December, 1865. Later she married Wirt Sykes, of.. Chicago, who became a foreign diplomat and with him she lived abroad. She was one of the first dramatists to have plays produced by Augustine Daly. Miss Logan's appearance in Chicago was the first in eight years. Her opening play of "Felon T s Daughter" was retained for the first week, but the second week was de- voted to a repertoire of plays such as "The Hunchback", "Ingomar", "Lady of Lyons" and "The Stranger". V/hen Olive Logan left Mr. and Mrs. W. 584 CHICAGO STAGE McVickers Theatre 1865 J. Florence returned after an absence of two years and opened on the 20th in their favorites, "Handy Andy" and "Mischievous Annie". Mr. Florence was given a benefit on the 24th when "Colleen Bawn" was the play. Woods was doing so well with "Ticket of Leave Man" that Mr. McVicker put it on at his house on March 4th. On March 6th, "Kathleen Mavourneen" had its first Chicago production. The authorship of this play has always been a mystery to the theatri- cal profession. It has been credited to Wm. A. Clark of Boston, but J. Burdette Howe claims that Wm. Travers was the author which is doubtless correct. The performance in Chicago was the first on the American stage. It had this CAST Terry O'Moore Bernard Kavanaugh David O'Connor Billy Buttoncop Capt. Clearfield Black Rody Darby Doyle Red Barney Kathleen O'Connor Lady Dorothy Father O'Cassidy Kitty W. J. Florence J. A. Nagle J. H. McVicker Samuel Meyers John Lord F. F. Mackey A. G. Double Mr. Leighton Mrs. Florence Mrs. J.B.Phillips J. A. Lord Mary Meyers The play ran until the 11th when replaced on the 13th by "Ireland As and. "The Yankee Housekeeper". it was It Was" These were 585 CHICAGO STAGE McVickers Theatre 18G5 succeeded by "Dombey and Son" on the 17th, and "The Irish Lion" on the 18th, followed by "The Young Actress". Maggie Mitchell was the next star be- ginning on Monday, the 22d, with a pre- sentation of "Fanchon the Cricket" to good patronage. Miss Mitchell changed her play to "Pearl of Savoy", another of her very successful plays, on the 27th. April 1st, "Mar got the Poultry Dealer" was the offer- ing, with "Little Barefoot" following on the 3d. Mrs. Lander, the former Jean Davenport and now the widow of General Lander, re- turned to Chicago after a long absence. She had retired from the stage after her marriage but circumstances prompted her return to it. She opened a six-nights T en- gagement at this theatre on April 10th, presenting "Adrienne the Actress". On the 12th the play was changed to "Love", then to "The Serf and the Countess" on the 15th. This was followed by "The Hunchback", and for Saturday matinee she gave "Charlotte Corday". Leo Hudson was announced to open April 17th but the opening was delayed until the 20th because of the death of President Lincoln. "Remember the Ides of March" is the oft quoted sentence in one of Shakespeare ? s plays, but it was the Ides oi" April that 586 CHICAGO STAGE McVickers Theatre 1865 marked a sensational moment in Chicago and in all national theatricals. On Good Fri- day evening, April 14, 1865, President Ab- raham Lincoln, while sitting in his box at Fords Theatre in Washington, D. C., wit- nessing a performance of Tom Taylor 1 s drama "Our American Cousin'' by the Laura Keene Company, was assassinated. The mournful tragedy occurred during the third act of the play; the President was intently ab- sorbed in watching the development of the story when, to the great consternation of the audience, the cracK of a pistol sent a thrill through the entire house. Naturally all eyes were turned toward the President' s box, but suddenly everyone's attention was diverted toward the stage, on which John Wilkes Booth landed as he jumped from the box where the outrage had been committed. Waving a dagger, he turned, faced the crowd in front and shouted, "Sic Semper Tyrannis", (Be it ever so with tyrants) , and dashed towards the exit, nearly knocking over the actor, Harry Hawk, who was essaying the part of Asa Trenchard, he being the only character on the stage at that fatal moment. As the assassin went into the entrance headed for the stage door, he waved the knife menacingly in the face of W. J. Fer- guson, a call boy playing a small part, then just breaking into the profession. Neither Hawk nor Ferguson had any idea what had happened. Every person in the tneatre was temporarily spellbound. The first to recover from the sudden shock was Colonel 587 CHICAGO STAGE McVickers Theatre 1865 Stewart, who instantly pursued the murder- er, but too late, lor by the time the Col- onel reached the stage door Booth had mounted his horse, waiting outside, and disappeared in the darkness. By this time the audience had partially recovered from the consternation that almost froze them to their seats. Laura Keene, with great presence of mind, was the first to reacn the martyred President and administer first aid. Holding his head, she washed away the blood as best she could from the wound in- flicted by a member of her own profession. Mr. Lincoln was soon carried to a private residence opposite the theatre where, in spite of the best medical skill he grew constantly worse and on the next morning, Saturday, April 15th, he breathed his last. Every theatre in the country was closed after that date and the finger of suspicion was accusingly pointed at every member of the profession, all being indiscriminately suspected of having had a part in a well laid plan to murder the Great Emancipator. Meanwhile the officers tracked the as- sassin to a barn along the Richmond & Pred- erickstown Railroad, near Bowling Green and Port Royal, Virginia. They called to Booth and his suspected accomplice, David Harold, to surrender. The latter complied but the stubborn Booth shouted defiance, and was promptly shot through the neck for his bravado by Boston Corbett, dying a few minutes later. He was secretly buried at 588 CHICAGO STAGE McVickers Theatre 1865 midnight under a flagstone of the floor of a warehouse in the Arsenal grounds at Wash- ington, D. C.j where his body remained un- til February 15, 1869, on which date Edwin Booth, a brother , received an order for the body from President Johnson. With this or- der John H. Weaver, Sexton of Christ Church in Baltimore, Maryland, at the direction of Edwin Booth, proceeded to the arsenal grounds. When the flagstone was removed, Sexton Weaver found and reported, "that six persons were buried there in one long grave." They were Mrs. Surrett, at whose boarding house Booth had stopped and, be- cause of that, she had been convicted and paid a penalty for running an actors' board- ing house. The others were David E. Harold, Captain Wirz, G. A. Atgerodt, and Lewis Payne, alias Powell. Booth's remains were taken to Balti- more, Maryland, where Joseph Booth, a physician, definitely identified the body as that of his brother, John Wilkes. On February 18th of that year all that re- mained of John Wilkes Booth was deposited in the vault of Mr. Weaver in the Greenmont Cemetery with no ceremony whatsoever. There it stayed until it could be removed to the Baltimore Cemetery where his father and other relatives were buried. The mystery surrounding the original burial and exhu- mation led to many stories being circulat- ed to the effect that Booth was never shot or apprehended, and his discovery has been reported at various times in many different 539 CHICAGO STAGE McVickers Theatre 1865 places . The subject of this sketch was the son of Junius Brutus Booth and was born on a farm at Bel Air, Maryland, near Baltimore, in 1838. The name John Wilkes was given him out of respect for the great radical, John Wilkes. Booth made his first stage appearance at Richmond, Virginia, as Rich- mond in Shakespeare's "Richard III". On November 2od, he and his two brothers, Ju- nius Brutus, Jr., and Edwin, were seen as joint stars in "Julius Caesar". His last stage appearance was in Washington, D. C % , when he played Pescara in "The Apostate" for the benefit of John McCollough. He died as the report above indicates. Going back to the McVicker records, Miss Leo Hudson opened Monday, April 20th, as might be anticipated, in the role of Mazeppa, in which she had become famous. This successful actress was born in London, England, March 22, 1839. She was, however, of American parentage. She made her stage debut at Professor Risley's Varieties in Washington, D. C, and became famous as an equestrian performer and, as such, starred throughout the country in "Mazeppa" and similar parts. She first married Charles Backus, the minstrel performer, from whom she was divorced. Later, she remarried in the South. She continued to present "Ma- zeppa" here until the 24th, but on the 25th changed to "Dick Turpin" or "Rockwood" as it was also called. 590 CHICAGO STAGE McVickers Theatre 1865 The players next featured were the often-seen C.W. Couldock and daughter, who opened on April 27th in "Willow Copse" fol- lowed by "The Chimney Corner" on the 28th. May 3d a new play was offered dealing with life in the coal mines, which was entitled, "Jessie McLane" . The evening's entertain- ment concluded with the farce, "Supper in Dixie" . This program was maintained until May 5th, but on Saturday, May 6th, Couldock chose "The Milky Way" , a comedy, as his closing play. L. P. Barrett, better known to present day readers as Lawrence Barrett, returned and presented "Rosedale" on May 8th. The The second week of Mr. Barrett's stay began on May 15th with a presentation of "The Marble Heart". On the 18th he was seen in "Richelieu"; on the 20th in "Richard III"; "Hamlet" on the 23d; "Under the Palm", a dramatization of Tennyson* s poem, May 24th; "Enoch Arden", the 25th; "Richard III" was repeated on the 26th; and he closed on the 27th with "Rosedale". Mr. Barrett made a very good impression during his visit and, as a consequence, the patronage was very satisfactory . June 1st the stock company presented "The Workingman of Paris". J. A. Nagle ap- peared as Charles de Moor in "The Robbers" on the 5th, and on the 6th he was given a benefit at which time he was seen as Othel- lo, with Mr. Couldock as Iago. It was well played and the attendance was flattering. 591 CHICAGO STAGE McVickers Theatre 1865 "The Stranger" was repeated on the 7th. June 12th Yankee Locke became the fea- tured attraction, supported by a former member of McVicker's company, Mrs. Leigh- ton. They appeared in what was called "A Yankee in Cuba", published under the name of "Miralda the Creole". Other plays of- fered by this duo were "A Yankee Duelist", "Lost Heir", "Wife for a Day", etc. June 26th brought a new team of players, Mr. and Mrs. Charles Kean, whose opening play was "Henry VIII", with "Merchant of Venice" on the 28th, "Hamlet" the 29th and 50th, and "Louis XI" on July 1st. These stars were supported, not only by the stock company, but an extra attraction was added in the first appearance here of J.H. Cath- art, G. Evert and Miss Chapman. These play- ers, however, did not appear until July 8th, on which date Messrs. McVicker and Meyers transferred Mr. and Mrs. Kean to Crosby's Opera House which they had rented as a test. This transition took place be- cause of the closing of McVickers for re- pairs and improvements, as well as to test the drawing virtues of this magnificent new theatre . McVickers remained dark until August 16th, then the lights were again turned on. Among new members of the stock company at the reopening we find the names of Anna Cowell, Rebecca Adams, Mrs. Polly Florence, Fanny Marsh, Mrs. E. C. Churchill, Mrs. G. 592 CHICAGO STAGE McVickers Theatre 1865 Biddies, Amelia Watts, Mollie Bridges, Mrs. J. Barry, Adel Crocker, Delia Fletcher, Milnes Levick and Frederick Bock, the lat- ter a well known figure later in Chicago theatricals running into the 20th Century. Anna Cov;ell T s maiden name was Cruize. She was born in Ireland in 1824. She married Wm. Cowell in April, 1846, and came with him to America. Mr. Cowell died in Phila- delphia, Pa., in 1868. She was a capable and popular actress for many years, both before and after McVicker brought her to Chicago. As for Rebecca Adams, she died six weeks alter arriving in this city from the effects of a stroke. The opening play presented by the new company was "Old Heads and Young Hearts"., Boucicault's second most successful play. Notable improvements had been made by man- agers McVicker & Meyers, and the house was now favorably compared to Crosby's Opera House. "Speed the Plough" was the offering on the 13th and 19th along with the farce, "Founded on Facts". "School for Scandal" was the attraction on the 21st and "Our American Cousin" was repeated on the 23d. This popular play ran until n Eustache Bau- din" replaced it on the 28th, then "Speed the Plough" was again revived on September 4th. Thereafter, "London Assurance" was given on the 11th; "Laugh When You Can" and "Time Tries All" on the 13th and 14th; and "As You Like It" on the 15th and 16th. Monday, September 18tn, L. P. Barrett 593 CHICAGO STAGE McVickers Theatre 1365 returned and was featured in "Hamlet". He had not yet billed himself as Lawrence Bar- rett, the name under which he became so well known later. "Money" was Barrett 1 s second play, followed by "Lady of Lyons" on the 20th; The star continued by present- ing "Richard III" and opened on his second week with "Rosedale" in which he had ap- peared on a previous visit. This play ran until the 29th on v/hich date Mr. Barrett took his benefit, with "The Merchant oi Venice" as the offering. It was followed by "Macbeth" on the 30th. James H. Hackett, who had finished a series of Shakespearean readings at another theatre, opened on Monday, October 2d, as Falstaff in "Henry VIII". JohnE. McDonough and Sophia Gimber opened on October 3d in "Arrah-na-Pogue" , an Irish comedy by Dion Bone i caul t and E. M. House. It had this CAST Shanun,the Postman Arrah Neelish Beemish McCoul Michael Feeny Oiny larrell Moran Reagan fanny Powers Sergeant Col. O'Grady Patsy Major Coffin Katy Welch Lanty Lanagan J. E. McDonough Sophia Gimber J. A. Nagle F. F. Mackey J. A. Lord Samuel Meyers Mary Meyers A. G. Double J. H. McVicker Mrs. Leighton Mr. Leighton Ann Marble Mrs. J. B.Phillips 594 CHICAGO STAGE McVickers Theatre 1865 During the period when the Irish drama v/as popular, every actor with a smattering of Celtic blood insisted on appearing in plays such as this one, and John E. McDonough was among them. Born in 1825, he began his stage career at the Bowery Theatre as Phil- lip in "The Three Brothers" in 1844. At one time he managed St. James Hall in New York, known later as the Fifth Avenue The- atre. His last appearance on the stage was with Annie Pixley, playing Yuba Bill in "M'liss". He died February 15, 1382. "Arrah-na-Pogue" ran until the 21st, on which date Mr. and Mrs. Charles Kean re- turned and opened in Shakespeare ! s "King John". Then followed "Merchant of Venice" on the 24th; "Louis XI" the 25th; "Macbeth" on the 26th; "Hamlet" the 27th; and "Rich- ard III" on the 28th. Mr. and Mrs. Kean closed a very successful engagement on No- vember 6th and they were replaced on the 3th by Mile. Celeste, the famous dancer and actress, at which time she presented "The Woman in Red", translated from the French. The prices were raised for the celebrated Celeste to a Dollar for the best seats, and hundreds were turned away the opening night. The play had been seen here before under the name of "Gamea" . The press was lavish in praise of this star's merit. One reviewer said: "Every attitude bespeaks that perfection of poise, and poise only to be attained in the school of the Graces where Terpsichore presides". 595 CHICAGO STAGE McVickers Theatre 1865 The writer then goes on to state that in spite of her sixty years she still looked thirty. All in all, Celeste was a real hit. Monday, November 13th, Celeste changed the play and presented "Zambara", which was again changed to "Mysterious Stranger" on the 16th. The 17th, on tne occasion of the star's benefit, her offering was "Green Bushes" or "The Huntress of the Mississip- pi". Her last appearance was at the Satur- day matinee on the 18th, when she reverted to "The French Spy". Few artists on the American stage were more capable or attractive than this clever performer. She was born in Paris, France, August 6, 1814. Originally she was a pupil of the Royal Academy in her native city. She first appeared on the stage in this country at the Bowery Theatre in New York as a dancer in 1827. In 1828 she married Henry Elliot of Baltimore, a young man who had inherited a fortune. Her first speaking part was as Myrtillo in "The Broken Sword". She finally left America in 1868 and did not return. She was a big drawing card and commanded a large part of the receipts. After the departure of Mile. Celeste, Anna Cowell was given a benefit on November 20th for which she chose "Lucretia Borgia" followed by a farce. Mr. and Mrs. Rains- ford were next given a benefit, when "The Hypocrite" was put on, succeeded by "Dick Turpin" as the afterpiece. "Carpenter of 596 CHICAGO STAGE McVi ckers Theatre 1865 Rouen" was the attraction November 23d. Charlotte Thompson, who had made a good impression on a previous visit, reappeared on November 27th in "The Lady of Lyons " , followed in the order mentioned by "The Hunchback", "Ingomar" and "Madeline". Mr. and Mrs. W. J. Florence returned December 4th and opened as usual in "Born to Good Luck". Nothing new was offered un- til the 11th when "Inshavogue" or "The Out- law of '98" was put on. "Inshavogue" is the second of many plays that were the off- springs of "Jocriss the Juggler", mentioned before as the cause of so much litigation in various parts of the country. When this drama was first produced in New York City, Harry Watkins enjoined its production be- cause it was an infringement on his "Trod- den Down", although the story is identical with the aforesaid "Jocriss the Juggler". As previously stated, it has come down to us under so many different names that there is scarcely sufficient space to enu- merate them. Some of them were: "The Noble Outcast", "Only a Woman's Heart", "Jerry the Tramp", etc., etc. "Inshavogue" ran a week at McVickers and apparently pleased as it was v/ell patronized by' the citizens. As first pro- duced in Chicago with Mr. and Mrs. Florence as the stars it had this 597 CHICAGO STAGE McVickers - Woods Museum 1865 CAST Terrence Brady UlicK Burke Harry Carringford Sir Roderick O'Dyer Adolphus Vane Thady Blake Servant Biddv Kate Ladv ' Dwver W. J. Florence Mylnes Levick Samuel Meyers J. A. Rainsiord F . F . Mackey J. A. Nagle J. A. Lord Mrs. Florence fanny Marsh Mrs. J. Barry Following this play, the balance of the year was devoted to "Bombey & Son" and "Kathleen Mavourneen" . WOODS MUSEUM.— John Dillon started the year of 1365 on its way by taking a benefit on January 3d, presenting "All That Glit- ters Is Not Gold" and "Handy Andy" to good patronage. "Comedy of Errors" was reverted to for the 4th, with "The Serious Family" as the atterpiece. Monday, the 9th, "Broken Ties" started the week with "Handy Andy" still the farce. McManus toon: a benefit and was seen as Orlando in "As You Like It" on January 15th. On the 16th "Mariam T s Crime" and "Katharine and Petruchio" was the double attraction and on the 18th "The Ladies Battle" and "The Rose of Castile" were given. "Everybody's Friend" was re- peated on the 21st with Aiken as Tetherly, Dillon as Major DeBoots, Mrs. Perrin as Mrs. Tetherly. "Romance of a Poor Young 598 CHICAGO STAGE Woods Museum 1865 Man" was the play for the 23d. February 5th "lanchon the Cricket" was done as a benefit to Jennie Hight. This play continued until May Howard's benefit on February 10th, when it was changed to "The Soldier's Daughter" and "Masks and Faces". "Playing with Fire" was the play on the 13th. A benefit was accorded Thomas A. Becket on the 17th with a presentation of "The Conscript" followed by the farce "Ths Nigger". "Playing With Fire" was again seen on the 20th, and Thomas A. Becket' s drama, "The Conscript" was repeated on the 23d as a benefit for J. Z. Little. Not sat- isfied with the results of his benefit, Mr. Little was granted another on the 24th when "Merchant of Venice" was produced. Woods once more reverted to the popular "Ticket of Leave Man" for the 27th. March 9th "Camille" was the offering of the Woods Stock Company, and on the 11th a repeat of "Mariam's Crime". "Duke's Mot- to" followed this and ran the entire week with "Guy Mannering" as a follow-up on the 23d. April 1st Woods offered what he called "Rich and Poor of Paris" which was really J. Sterling Coyne's "frauds and Victims" from which Boucicault had taken " Streets of New York*' . It ran until "Camille" re- placed it on April 6th which then gave way to "Ticket of Leave Man" on the 3th. On April 12th a new play billed as a sequel 599 CHICAGO STAGE Woods Museum 1865 to "Ticket of Leave Man" and bearing the title of "Robert Brierly" was produced. It proved to be very pleasing and ran until April 25th when it was followed by "Peep O'Day Boys" on the 26th. "A Poor Girl's Story" succeeded this on May 8th; "Romeo and Juliet" on the 11th; and on that un- lucky day, Friday the 15th, "Everybody 1 s Friend" was the attraction. Then followed "Broken Trust" and "The Serious Family" on the 14th; a new play, "Fido" or "Second Love" on the 17th; and "She Stoops to Con- quer" the 18th. "Ticket of Leave Man" was again given and ran until June 8th when it was replaced by "Ten Nights in a Barroom" which in turn gave way to "Wild Oats" on June 21st. "Camille" followed on the ?2d, and "Rose of Castile" coupled with "Ireland As It Was" on July 1st. Mrs. Perrin, who had be- come very popular with the Woods clientele, took a benefit July 7th and closed her en- gagement on that date in "Breach of Prom- ise". July 15th "Man and Wife" was presented and was heartily endorsed by the press and public . Mr. Woods chose "Camilla's Husband" and "The Widow's Victim" as the plays for the 17th. There were some alterations in the Woods corps at this time as Mrs. Barry had replaced Mrs. Perrin. August 2d the afterpiece was changed to "Lottery Ticket". The main play finally came to the end of its long run on August 2d and was succeed- 600 CHICAGO STAGE Woods Museum 1865 ed on the Sd by Richard Brensley Sheridan's great comedy, "The Rivals", with Frank Aiken as Captain Absolute, John Dillon as Bob Acres, Thomas Barry as Sir Anthony Ab- solute, Mrs. Barry as Lydia Languish, Mrs. Stoneard as Mrs. Malaprop, the remainder of the company filling the balance of the cast. The play was well done and satisfied the patrons although it was not kept on after the one performance. "Man and Wife" was repeated on the 4th. John Dillon in- dulged in one of his notorious sprees and did not appear, but Mr. Biddies made a fairly good substitute. August 7th the Woods company repeated that good comedy, "The Rivals", a ^d on the 9th "Babes in the Woods" was the attraction. This play was kept on until August 16th, when "The Three Guardsmen" replaced it. Thomas Barry became Woods' stage manager on that date. There were few men in the country more capable of filling the po- sition than Mr. Barry. He first appeared on the American stage in 1826. May 3, 1856, he married Clara Biddies, whose name is found in the McVickers roster. August 24th, "The Belle's Stratagem " was done . "The Road to Ruin" followed on the 28th. To show the public that he would not be outdone by McVicker, Woods put on "Speed the Plough" on the 7th of September. McVicker and Meyers had just finished play- ing this piece. Woods soon dropped the play and returned to "Breach of Promise" 601 CHICAGO STAGE Woods Museum 1865 on the 8th with "A Serious Family" for the afterpiece. "Hamlet" was produced on the 11th but it, too, was soon dropped because L. P. Barrett opened in it at McVickers. "Sybilla" or "Step by Step" followed Shakespeare 1 s masterpiece. Then in succes- sion came "She Stoops to Conquer" on the 28th; "All That Glitters Is Not Gold" on the 29th; and "Sweethearts and Wives" on the 50th. "The Guardsmen" was presented next and was kept on until the opening of "The Wife" on October 5th. This bill was retained until "Peep T Day Boys" replaced it on the 9th, succeeded by "Colleen Bawn" on October ?lst. Woods had been announcing "The Serf" for some time and the 25d was finally chos- en as the opening date. The play ran until October 30th, with this CAST Ivan, the Serf Countess de Maulon Mislegetes Acolina Khar Count Karatof Mr. Aiken Mrs. Barry Mr. McManus Mrs. Holland Mr. Bradley Mr. Holland "The Blessed Baby" was the farce that fol- lowed. October 31st Woods changed the bill and produced "Waiting for the Verdict". "Peep T Day Boys" was repeated on November 8th. "The" Fast Men of Olden Times" opened 602 CHICAGO STAGE Woods Museum - Academy oi Music 1865 on the 13th and ran until "Ticket of Leave Man f ' was revived on November 24th as a benefit for Prank Aiken. "Belphagor" or "The Pride of Birth" had its first production in Chicago on November 27th with this CAST Beiphagor Grelu De Courage Count de Blangy Hercules Mons . De Cournort Mme. Vernoubois D T Arpignol Henri Flora Madeline Louise Foniarnoile Frank Aiken Mr. Dillon Mr. Barry Mr . McManus Mr. Bradley Mr. Price Mrs. Barry Mr. Holland Mrs. Holland Mrs. Perrin Miss Hight Miss Howard Mr. Stevens The play was kept on until December 8th, when a change was made to "Married Life" . During the balance of the year several old plays were repeated as benefits to the various players. ACADEMY 01 MUSIC, 94 Washington, old numbers.— Kelly and Leon's Minstrels were still entertaining the customers here and held a good patronage. On April 4th Billy Arlington, who had pulled away from the organization, returned to it and the name again became Arlington, Kelly and Leon's 605 CHICAGO STAGE Academy of Music 1865 Minstrels. The organization continued to supply good entertainment until June, dur- ing which month they retired from the Acad- emy. The house, however, was not allowed to remain dark long as Hooley and Campbell brought in Budsworth's Minstrels who opened on July 3d and remained most of the summer. Campbell & Castle's English Opera Com- pany opened September 25th. This was quite a pretentious organization under the man- agement of Campbell and Castle with Prank Rivers as company manager. (it might be interesting to note that Frank Rivers here mentioned was the father of Frank Rivers, Jr., who managed the West Side Academy for Mrs. Kohl. Edwin Seguin was stage manager of the company, Professor Noudorf was mu- sical director, and Ben Chase was agent. Zelda Harrison was the prima donna. The first opera presented was "The Bo- hemian Girl", succeeded by "La Sonnambula" on the 28th. On October 2d W. Vincent Wal- lace's Grand Opera "Maritana" was success- fully rendered. It was loll owed on the 5th by another Vincent Wallace opera, "Don Pasquale" . A bene! it was bestowed on Rosa Cooke on the 6th at which time she displayed her histrionic talent by singing "La Son- nambula". October 7th Donizetti's "Daugh- ter of the Regiment" was well produced as was "Fra Diavolo" on the 9th, and "Marita- na" was sung again on the 10th. After playing two weeks at the Academy 604 CHICAGO STAGE Academy of Music - Varieties 1865 of Music, Campbell and Castle's English Opera Troupe moved to Crosby's Opera House for a Thursday matinee only, but returne d to the Academy for the night's performance of "The Rose of Castile". Donizetti's "Elixir of Love" was the opera sung on the 16th. The company gave a Saturday matinee at Crosby's on October 21st. Kelly & Leon's Minstrels returned to the Academy on Octo- ber 28th and, following a presentation of "The Stranger" by the German Theatre, they began their engagement on November 6th, featuring, in addition to themselves, J.W. McAndrews, the "Watermelon Man", T. Gree- tings and Sam Price. VARIETIES.— The same attractive per- sonalities were here at the opening of 1865 as were heard at the close of the previous year. Marietta Ravel and Louise Elmore joined the third week, and on January 23d J. W. McAndrews, the "Watermelon Man", was brought back. Dan Holt also came at the same time. An ad in the daily paper of February 23d read: "Wanted: A good stage carpenter to learn the business." Enlightening, to say the least'. April 1st brought some new laces to this house. Among them was DicK Sands, a very fine performer. He was born in York- shire, England, May 2, 1840. He became a great clog dancer and first appeared in 605 CHICAGO STAGE Varieties 1865 America with Bryant's Minstrels in 1849. Tom Riggs also returned at this time, as did Tom Russell. We now come to the first appearance in Chicago of that greatest of all minstrel performers, Billy Emerson, who opened at this theatre on the above date. Emerson, in time, became the leading minstrel per- former in the country, and was a special favorite in Chicago, where he appeared in various theatres. When Leonard Grover was giving mixed entertainment in an old hall in Washington, D. C., C. D. Hess was a sort of Johannes factotum — man of all work — who used to dig up volunteers for what was called a "walk-around" at the end of the performance. One day Hess said to Grover, "There's a boy burning cork for the black-face per- formers, in the yard behind the house, who has a pretty good voice." "Put him on for the walk-around," said Grover. That night started Billy Emerson on the road to fame and fortune. Chicago had seen and heard many outstanding minstrel performers prior to that date, and since, but none ever met with the lasting popularity that Billy Em- erson enjoyed. Another important artist appearing at this house was Adelaide Nixon. Miss Nixon was born in New York in 1848. She was a great success in all the various branches of theatricals. 606 CHICAGO STAGE Varieties 1865 The St. Denis-Ravel Troupe opened here on June 5th, and a drama entitled "The Death Beacon" was produced to stimulate interest in this playhouse. On August 14th the drama "The Bottle Imp" was presented. The various artists who appeared at the Varieties included Master Barney, said to be the the world's greatest jig dancer. He opened on May 3th; Sally Partington on the 13th; and J. C. Donnelly and M. C. Davis on August 14th. August ?lst "Mazeppa" was offered, and to increase the interest through the psy- chology of curiosity the ad read: n No lady admitted unless accompanied by a gentleman!' There was so much sameness in the vaude- ville at the Varieties that Mr. Chadwick now resorted to more drama and followed "Mazeppa" with "Jack Sheppard" in which Nellie Howard appeared as Jack. This was succeeded by "The French Spy", which was kept on until "Puss in Boots" replaced it on the 25th. October 3d "Queen of the Abruzzi" was the offering with "Ireland As It Was" and "Wept of the Wishton Wist" on successive nights. October 18th Mr.. Chadwick announced the appearance of J. C. "Patty" Stewart, known so well in later days as one of the "two Johns" who toured the country so suc- cessfully. "The Brigand" was presented on October 23d, followed by "The Mad Queen" on November 6th. The latter was a lavish production for this variety of theatre. 607 CHICAGO STAGE Smith & Nixon Hall 1865 "Dream of the Sea" followed "Mad Queen", and was in turn changed to "Jonathan Brad- ford", with "Flower of the Forest" on No- vember 29th. SMITH & NIXON HALL.- Christy 1 s Min- strels, with George Christy and other good performers, began the year at this Hall, closing their engagement on January 4th. The Carter Zouave Troupe and the Berger Family opened on January 7th for five nights only. This organization carried a female brass band, similar to that of tne Maddern Family who had appeared in Chicago some years before. The next attraction here was Skiff and Gaylord Minstrels, who opened March 17th. This company was financed and managed by John Steele, better known as "Coal Oil Johnny" , a name acquired from the will of Doctor McClintock. Money won't last always and John Steele's didn't. He threw and gave it away until there was no more, whereupon he went back to his nome town and hustled baggage at the railway station. Morris & Wilson's Minstrels opened on ?4arch 27th. This was the same Fred Wilson who managed Levette's Minstrels in 1880. On April 20th Artemus Ward gave what that humorist called his "Mormon Entertainment" . The correct name of this great humorist was Charles Farrar Browne. His home town was Biddeford, Maine. Mr. V/ard was later employed by John Hamlin to write jokes for 608 CHICAGO STAGE Smith & Nixon Hall 1865 i i m i f i ii i i ii i , . i i ■ ii ■ i ■■ — i. » 1 1. ■ . i ii 1 1 . i n !■ . his Wizard Oil Almanac. Artemus Ward's En- tertainment consisted of a humorous lecture on pictures showing Mormon activities. He remained here until April 29th, May 13th "The Phantom Traveler" was shown, depicting the great illusion of the Ghost which revealed the assassination of President Lincoln and the capture of Booth and Harold. May P4th Alf Burnett, humorist and reader of some importance, appeared at this Hall. He was from Utica, New York, where he was born in 1825. He made his reg- ular stage debut in 1847 at Colonel Woods T Museum in Cincinnati, Ohio. He starred suc- cessfully in "The Drunkard" and as a humor- ist visited every state in the union. Burnett was followed by a return of Skiff and Gaylord's Minstrels on July 3d. After they closed, the house was unoccupied until August 21st, when Morris # Wilson's Minstrels returned for a week' s engagement. They were succeeded by Newcomb's Minstrels on September 11th, whose run lasted until the 16th. W. Brooker's Georgia Minstrels followed, opening on the 21st. October 12th the great mystifier, Rob- ert Heller, reappeared and commenced a successful engagement with an unusual magic entertainment. He had a very prosperous two weeks. After closing at the Academy, Campbell & Castle's Opera came to this Hall and appeared in conjunction with Robert Heller. They remained until October 30th, 609 CHICAGO STAGE Smith & Nixon's - Crosby's 1865 when the entire combination closed and was replaced by the famous Siamese twins, Chang and Eng . This attraction opened November 1st, but proved to be a poor drawing card. Friday evening, November 24th, Camp- bell's Mammoth Combination appeared for one performance. There is no record of any entertainment of importance irom that date until December 18th when Hermann, the Pres- tidigitateur, known later as Hermann the Great, opened an engagement. CROSBY'S OPERA HOUSE was built by Ura- nus H. Crosby, and was located on Washing- ton Street between State and Dearborn Sts. Mr. Crosby, liquor dealer and, to some ex- tent, a distiller of spirits, had amassed a fortune and, like other liquor dealers, was becoming socially ambitious. What bet- ter instrument was there than a magnificent "Temple oi the Muse" with a lavish art gal- lery attached thereto erected, not for prolit, but that lovers of fine music might enjoy a luxury hitnerto unavailable here in Chicago. It was rumored that this Crosby Opera House cost $600,000, a tidy sum to lay out to gratify one's social aspirations. The builder had no experience in the line of theatricals except the thrill of watching the crowds in front of McVickers, Woods and the Varieties trying to gain admittance. Hence, he had not the faintest idea as to what might be expected in the way of returns 610 CHICAGO STAGE Crosby's Opera House 1865 on this lavish investment but he was given plenty of encouragement by those enthusi- astic citizens always ready to furnish ad- vice in lieu of money for these beneficial enterprises. Mr. Crosby was born in 1830, at Brewster, Massachusetts, hence he was in the very prime of his ambitious life, and at a period when he was willing to take a risk. This was a stupendous enterprise at the time and any practical showman would not only have hesitated but would doubtless have wilted at the thought of such an un- dertaking . Not so with Mr. Crosby, liquor dealer and distiller, whose fortune was rapidly increasing. So ahead he went with it, fully expecting to find and bring in sufficient musical talent to draw crowds that would make even Italian Opera pay, something hitherto unknown among experi- enced theatrical managers. This magnificent structure, finest in Chicago up to the opening of the Auditorium in 1889, was scheduled to be opened by Jacob Grau' s Italian Opera Company on April 17th, 1865, but the assassination of Pres- ident Lincoln delayed that opening until the 20th of the month. This organization had come direct from the American Academy of Music in New York and was second to none in the United States. Perhaps the best known name, at least later on, was Clara Louise Kellogg who was then just approach- ing the glory of her successful career. Others in the company included: Zucchi, Morensi, Messilinni, Bellini, Susini, Lot- 611 CHICAGO STAGE Crosby 1 s Opera House 1865 to, Bergman, Durreul, Lorini, Coletti, Fo- rini, as well as other artists then Known to that branch of the theatrical profession. As for that famous impresario, Jacob Grau, he was a fine, courtly gentleman and a scion of the well known operatic Grau family who meant so much to American music lovers. One of his descendants became the manager of the Metropolitan Opera Company during its most successful period. Jacob Grau' s theatrical career was a very pro- nounced one and extended over many years. He began his professional career as busi- ness agent for Maurice Strakosch in 1853, when that distinguished musician was mana- ger of the Ole Bull Concert Company. After this he was the agent for two seasons for an opera and concert company headed by the great singer, Parido. In fact, he was con- nected with nearly every singing organiza- tion of any importance in America. Perhaps the greatest single feature of Grau 1 s early operations was the management of Adelaide Ristori, the great French actress, whom he also brought to Crosby' s Opera House in 1367. Jacob Grau died at No. 4 Beekman Place, New York, on December 15, 1877, at the age of fifty-nine. The opera chosen for the opening night was "II Trovatore", one that had been seen and heard in Chicago several times before, but. not often by the distinguished citizens tnat listened to it on this eventful occa- sion, for the audience embraced an assembly 612 CHICAGO STAGE Crosby's Opera House 1865 of the most prominent residents that had ever attended a theatrical performance in Chicago. During the four weeks that Grau ! s splendid operatic company remained, their repertoire included, besides the opening opera: "Lucia de Lammermoor" , T, I1 Poliuto", "Martha", "Norma", "Faust", "Linda di Cha- mouni", "La Sonnambula", "I Puritani", "Un Ballo in Maschera", "Don Sabastin", " Lu- cre tia Borgia", "Ernani" and "Fra Diavolo". Grau' s engagement and the Crosby Ope- ra House was a huge success - at least for the moment. This elaborate amusement edi- fice was only opened occasionally as Mr. Crosby, with his high social ambitions , would not stoop to the mediocrity of in- stalling a stock company, and traveling combinations had not been generally estab- lished at that time. Mr. Grau' s troupe, however, was a fully organized company, the staff of which included Jacob Grau, Director; George B. Atkins, Treasurer; Amati Dubreat, Stage Manager ; Carl Bergman, Musical Director; Walter flume, Machinist; A. T. Snell, Property Man; and Arigom, Calyo and Bogeltin, Scenic Artists. After the Italian Opera Troupe left, there was no attraction here until May 25th, when the house was again opened for the appearance of Mile. Helene de Katow, the celebrated Russian violinist, who was supported by James Wehli and Madame Henri- etta Behreu. This concert was presented for two nights. On the 29th of May an ama- 615 CHICAGO STAGE Crosby's Opera House 1865 teur group presented "The Loan of a Lover" and "Perfection", two short plays, both of which had been done so often in the city by the stock companies that every one in the audience should have known them ver- batim. Since Mr. Crosby was unable to secure other attractions and Mr. Grau had nowhere else to go, he returned on June 5th for another engagement, presenting "Paust" for the opening performance with Clara Louise Kellogg singing the role of Margherita. It was followed on the 6th by "Norma" ; the 7th by "Fra Diavolo"; Verdi's "Sicilian Ves- pers" on the 9th; "II Trovatore" on the 10th. June 12th, on which date "La Figlia del Regimento" was presented, Generals Grant and Sherman attended the performance. On the 15th, Verdi's new opera, "lorza del Destine" was given its first presentation on any stage with the iollowing CAST Donna Lenora Preziasilla Don Alvro Don Carlos of Verges Abbot of the Franciscan Jriars Mil tone, a Friar Marquis of Calatrava Trabucca A Spanish Surgeon An Alcalice Signora Zucchi Mile. Morinsi Sig . Massimil- liance Sig. Bellini Sig . Susini Sig. Lorini Sig. Ximenes Sig . Perni Sig. Muller A double 614 CHICAGO STAGE Crosby's Opera House 1865 ■ ' ■ P » «■ I 1 1 Pi n I | | Mill l I I l | | I ■ I' l- ■ ■ As this was the original production in America of Verdi's opera, something of an event was made of it. On the 14th "La Fav- orita" was the attraction, followed on the 15th by "Rigoletto". Mr. Grau' s company remained in the city for the succeeding Monday and gave a benefit for Mr. Crosby, who badly needed it. It was supported by public spirited citizens, and the chairman of the committee sponsoring it was none other than the Hon. John B. Rice, who had built the first permanent theatre in Chi- cago and who had just been elected Mayor of the city. The receipts were not as large as anticipated, probably because the prices were too high. On the next night Mr. Atkins, treasurer of Mr. Grau's company, was given a benefit. There was nothing at the Crosby Opera £ouse after Mr. Grau left until July 8th when Messrs. McVicker and Meyers rented it for the purpose of playing Mr. and Mrs. Charles Kean, who had been appearing at McVickers. This great actor 1 s first play here was "The Gamester", and on Monday, July 10th, Shakespeare's "Much Ado About Nothing" was presented. Charles Kean, the son of Edmund Kean, was born at Waterf ord, Ireland. January 18, 1811, and made his stage debut at Drury Lane on October 1, 1827, as young Norval in "Douglas". He appeared on the Ameri- can stage for the first time at the Park Theatre, New York, September 1, 1830, in 615 CHICAGO STAGE Crosby's Opera House 1865 "Richard III". He returned to London and appeared with his father for a short time, then again returned to this country in 1839. Once again he went back to his na- tive land and there, on January 29, 1842, he married Ellen Tree. Mr. and Mrs. Kean appeared at the Broadway Theatre in New York on April 26, 1865, but met with little approbation at that time. Mr. Kean died in London June 22, 1868. Mrs. Kean was the former Ellen Tree. She was born December, 1805, and made her stage debut December 23, 1326, at the Drury Lane Theatre, London. She first appeared in America December 12, 1836, at the Park Theatre in New York. The success of Mr. and Mrs. Kean was not so pronounced as Messrs. McVicker and Meyers had hoped. This capable and once popular pair were growing old and had "lost their cunning" so far as the drama was con- cerned. Very little of importance appeared here then until Carl Formes inaugurated a concert program of considerable merit on September 4th. Beginning September 5th, Spaulding, Rogers & Hanlon's Grand Combination came to Crosby's, featuring the six Hanlons, so long recognized as the world's famous ac- robats and gymnasts. Thomas Hanlon was born at Manchester, England, in 1836; George was born at Ashton-under-Lyne in 1840; Wil- liam was born at Manchester, England, in 1842; Alfred was also born at Manchester 616 CHICAGO STAGE Crosby's Opera House 1865 in 1844. These brothers left England when very young and made a world tour under the management of Prof. John Lees. After fif- teen years they returned to England and, with the addition of three younger brothers, they organized a troupe arid electrified two continents with their remarkable gym- nastic feats. Thomas died at Harrisburg, Pa., on April 5, 1868, while insane from the effects of a fall at Pike T s Opera House in Cincinnati, Ohio. The opening of this troupe at Crosby's marked their first appearance in Chicago. Prices were: Parquet and Balcony, #1.00; Dress Circle, 50^; children, 2bi to all parts of the house. In addition to the Hanlons and many other performers, "Tony" Pastor returned, now billed as "Billy" Pas- tor. He sang the same songs he had rendered at North's and the Varieties Theatres on earlier visits. October 12th, Campbell & Castle's Eng- lish Opera Company opened in "Maritana", having moved to this house from the Academy of Music located on Washington Street near Clark. They appeared only at the Tuesday matinee, as an experiment, but were sorely disappointed as the attendance was nil. However, not to be discouraged, they made another attempt on the following Saturday with somewhat better results. October 23d, H. L. Bateman, father of Kate and Ellen Bateman, brought in another 617 CHICAGO STAGE Crosby's - Bryan's Hall 1865 concert company in which we find Jules Levy, perhaps the greatest cornetist that ever used that instrument and who, at that time and for many years thereafter, elec- trified his listeners. Others in the com- pany were Mile. Euphrousyne Parepa, Herr Carl Rosa, Herr Carl Anschutz, and others whom Bateman had gathered from all parts of the world. H. L. Bateman' s great fault was that he was a trouble maker, for him- self and i or nearly everyone with whom he did business, November 3th Jacob Grau brought his Italian Opera Company back to Crosby's, presenting "II Trovatore" to good business. The operas offered and the cast remained practically the same as before. They con- tinued until November 27th, closing on that date with a presentation of Pacini's tragic opera, "Sapho". A portion of Grau' s Opera Troupe appeared at this time at the Opera House Music Hall. This Hall was the unhap- py result of another Crosby dream. It was attached to the Opera House but was east of it and its entrance was on State Street at V/ashington. It was opened November 29, 1865, by a part of Grau 1 s troupe giving a concert. After appearing at the Music Hall they returned to the Opera House proper and finished their engagement on December 1st. BRYAN'S HALL.— The first important at- traction this year was a return of the Al- leghanians,a name well known to Chicagoans 618 CHICAGO STAGE Bryan's Hall - Crosby's Music Hall 1865 of some years ago when they appeared in the various halls. This was an organization of vocalists and Swiss Bell Ringers. After the departure of this group of entertain- ers, there was nothing until Arlington's Minstrels opened for three nights on Mon- day, March 13th. Billy Arlington was, one might safely say, the most popular min- strel visiting Chicago during this period. He had severed his connection, first with Donniker and later with Xelly and Leon, and was now on his own. James E. Murdock gave a series of read- ings on March 21st, 22d and 23d. This hall had been devoted mainly to local entertainment, but when Campbell and Castle's Opera Troupe closed with Robert Heller, the organization opened at this Hall on November 7th. The principal draw- ing feature was the giving of gifts, among those of more or less value was a house and lot going to the holder of the lucky num- ber. CROSBY'S MUSIC HALL.— The ambitious Uranus Crosby was not content with just an "opera house'* but like all venturers in the field of entertainment wanted more. At- tached to the main amusement structure was the above named Temple of the Muse. While the entrance to the Crosby Opera House proper was at what, in the 1909 numbering, became 8 and 10 West Washington Street, the entrance to the Music Hall was, accord- 619 CHICAGO STAGE Crosby's Music Hall - Circuses 1865 ing to the same numbering, about 106 North State Street. It was opened November 29th, with a concert given by a portion of Grau's Opera Company. The- place enjoyed very lit- tle success as the more commodious halls established in other parts of the city were sufficient to take care of the ordinary attractions, and the Opera House was amply pretentious and equipped to accomodate the larger attractions. However, it did manage to get some special concert features now and then. CIRCUSES.— The first circus to visit Chicago this year was billed as "Dan Rice's Mammoth Menagerie and School of Educated Horses" .It opened at State and 12th Streets for four days. June 12th, 13th and 14th an exhibition appeared at State and 12th Streets which must have been named by someone like Ned Alvord. It was called "Equescurriculum " and was under the management of that most resourceful of all circus men, L. B. Lent, who, it may be recalled, promoted the first Madison Square Garden. With this organiza- tion was the celebrated performer, James Robinson. Frank J. Howe's Champion Circus put in an appearance at Washington and State Sts. early in November, closing on the 6th after a successful showing. 620 CHICAGO STAGE McVickers Theatre 1866 ■* When MCVICKERS THEATRE began the year 1866, Joseph Proctor, who had become quite a favorite with Chicago theatre goers, was the star who opened January 1st in "Ambi- tion" or "The Tomb, the Throne and the Scaffold" for the night performance, but put on three short plays for the New Year's matinee. He changed to "Nick of the Woods" on the 3d and, in order to get ahead of Leonard Grove, stuck in "Macbeth" on the 4th. The star took his bene! it on the 5th and presented "Jack Cade", which did not go so well, as it had been done so much better by Edwin Forrest and others. At the close of Mr. Proctor's engage- ment John Brougham came to McVickers, and his initial offering was one of his best comedies, "Flies in a Web", which was given on January 8th. This was one of the most successful of all Brougham's plays, having been played continuously in all parts of the country for many years. The little comedy was done as an afterpiece to "Play- ing with Fire", also the brain child of the actor. The first named play was so popular that it was made the chief play on the 10th, continuing until "David Copperfield" replaced it on the 15th followed by "His Last Legs" for the farce. "Dombey and Son" and "Ireland As It Was" were the offerings for the 17th; and for the 19th, "The Seri- ous Family" and Brougham's burlesque on Pocahontas were put on. Mr. Brougham closed his engagement on 621 CHICAGO STAGE McVickers Theatre 1866 the 20th, and at that time Laura Keene re- turned and opened on the 22d in "The Sea of Ice". Miss Keene was supported on this visit by a well known Cnicago actor, Harry Hawk, who had gained considerable notoriety because of his connection with the assas- sination of President Lincoln one year be- fore. He was, it will be remembered, the only actor on the stage when John Wilkes Booth leaped from the box after firing the fatal shot in Ford 1 s Theatre on that event- ful evening. It has been stated that W. J. Ferguson was on the stage at the time, but this is not correct. He was off stage and was nearly bowled over when Booth dashed past. Miss Keene opened the second week of her engagement on the 29th with "The Work- ingmen of New York" in which she was sup- ported by Harry Hawk and Myles Levick, and other members of the stock company. This Harry Hawk was reared in Chicago and became a capable and popular comedian throughout the country, retiring from the stage at the beginning of the Twentieth Century to a life of ease on his estate at Bryn Mawr, Pennsylvania. Miss Keene finished this Chicago visit on February 2d, and was followed by Edwin Adams. He opened on the 5th with a presen- tation of "Richard III" which ran until he replaced it with "The Marble Heart" on the 9th. This capable actor continued, offer- ing the following: "The Heretic", "Black- eyed Susan", "Hamlet", "Breams of Delusion" 622 CHICAGO STAGE McVickers Theatre 1866 and "Don Caesar de Bazan", which carried him up to February 17th, on which date he concluded his present visit to Chicago. To stimulate business, Mrs. Meyers was given a benefit on the 19th, and February 20th a performer advertised as the "Great German Actor", William Palissier, played Shylock in "The Merchant of Venice", but for that one date only. John Brougham re- turned and began an engagement on the 21st giving "A Gentleman from Ireland" coupled with his burlesque on Pocahontas, to sat- isfactory business. "Flies in the Web" and "Playing with Fire" were presented on the following evening . ?4r. Brougham, having about worn out his welcome, left, and Mrs. F. W. Lander, the former Jean Davenport, who had gained great popularity in Chicago, during the "Fifties", returned and opened in Maria Lovell T s great play, "Ingomar". But in spite of Mrs. Lander 1 s previous popularity and her ability as an actress, she failed to strike a responsive chord in the hearts of her patrons. She had grown older and the melancholy which revealed itself be- cause of the fate of her husband, General Lander, disqualified her for a satisfactory interpretation of the part of Parthenia, hence, her performance was checked up as a failure. She did, however, redeem herself when she presented other plays in her rep- ertoire, such as: "Jennie Deans", "Char- lotte Corday", etc. Notwithstanding the 623 CHICAGO STAGE McVickers Theatre 1866 severe criticism, she managed to roll up pretty satisfactory receipts during her engagement. The next star to appear was Johanna Clausen. This young woman was born in North Germany on December 12, 1842. She began her acting career in her native land at the age of seven, but shortly thereafter came to America. She first appeared in this country in November of 1863, on the stage of the Chestnut Street Theatre in Philadelphia. She made considerable theatrical progress and was first seen on the McVicker stage March 13th, when she played the leading female part in "The Child of Nature". She was next seen in "Woodland Wildflower" the following night which was a performance for the benefit of Frederick Bock. Immediately after this she appeared in "The Union Prisoner" . C. W. Couldock was next brought in. He opened March 19th in "Old Phil's Birthday", which was kept on until "The Willow Copse" replaced it on the 25th. "Richelieu" was repeated on the ?8th, and the following night "The Chimney Corner" was the attrac- tion. Next came a production of "King Lear" which was disappointing to the audience, and the receipts on that occasion doubly disappointing to Mr. McVicker. Couldock then turned to his favorite, "The Willow Copse", which had always been very attrac- tive. After this he repeated some of the plays he had already given and closed his engagement in Chicago. Mr. Couldock had 624 CHICAGO STAGE McVickers Theatre 1866 been supported by his daughter, who had been a sort of sub-star. Johanna Clausen shared some of the female leads with Miss Couldock and she, too, finished at the end of Couldock' s stay. After the Couldocks' exit the celebrat- ed English tragedian, Charles Billion , came and opened on April 2d in "Virginius" . This actor was one of the favorites of Eng- land where he was universally admired. He was born at Dies in 1820. He began his ca- reer in one of the leading London theatres when he was only sixteen years old and he gradually worked his way to the top rung of the dramatic ladder. He first came to America in 1861, and on January 24th made his first American appearance as Belphagor at a leading New York theatre. After tour- ing Australia, he came to Chicago where he opened in "Hamlet" , following it with "Mac- beth", "Belphagor, the Mountebank", "A New Way to Pay Old Debts" and "A Hard Struggle", finishing a two weeks' engagement with "The Merchant of Venice" on April 14th. Charles Dillion was a splendid actor and, as fron- tier as e£fete Easterners thought this hinterland village was, they evidenced ap- preciation of this best English artist. April 16th W. L. Smith, the efficient scenic artist, was given a benefit, when "Eustach Boudin" was put on by the stock company. On April 25d, Mr. McVicker was featured as Asa Trenchard in "Our American Cousin". Following this, Charles Dillion STAGE McVickers Theatre 1866 returned and gave five more performances. Dillion was succeeded by McKean Bu- chanan and Miss Virginia Buchanan. They began their engagement on April 50th, when they were seen in "Richelieu 1 ', and contin- ued with presentations of standard English classic dramas and comedies. "London As- surance" was the first in the latter cate- gory. It was presented on May 3d followed by Boucicault's "The Octoroon" with Mr. Buchanan playing Manatee, the Indian part that Boucicault always did when presenting that drama. Miss Buchanan was seen in the part of Zoe and McVicker as Salem Scudder, always one of his favorite parts. This play was replaced by "NicK of the Woods" and Mr. and Miss Buchanan closed their engage- ment on May 14th. Mile- Zoe then reappeared and opened in "The Irench Spy" to good receipts, con- tinuing successfully for one week, after which Kate Ringold was ushered in as the star. May 21st she presented "The Wonder", following it on the 26th with "Richelieu" in which Miss Ringold assumed the dress of the old Cardinal and attempted a perform- ance of the part. "Ambition should be made of sterner stuff." This same Kate Ringold had appeared on the stage in Chicago much earlier — when she was only a child - during her mother 1 s engagement here. She was literally born in the theatre and remained with it constant- ly. After reaching womanhood,- on November 626 CHICAGO STAGE McVickers Theatre 1866 27, 1357 j— she married Henry Farren, son of the great London actor, George Farren. The son never achieved the distinction on the stage that his illustrious father at- tained in his native land. Miss Ringold was seen in "Camille" on the 28th and "As You Like It" on the 29th. June 1st she put on "The Angel of Midnight" for her benefit and finished ner visit on June 2d. Miss Ringold was succeeded by the old favorite, Frank Chanfrau, who opened with a new play, "Sam" , by Thomas Blaydes DeWal- dren, author of other plays presented by this popular player. In "Sam" Charlie Par- sloe was a conspicuous member of the cast. Mr. Parsloe became one of America's fore- most supporting actors, though he never gained recognition as a star. He was born in New York on October 1, 1856, and, being the son of a well known actor of the times, made his entry into theatricals merely a routine matter. As early as 1850 he was with Wm. E. Burton, where he remained for some time and was considered by Mr. Burton a valuable member. April 24, 1364, he mar- ried Henrietta Elliott. He eventually be- came identified with Chinese characters and when Mark Twain and Bret Harte wrote "Ah Sin" Parsloe was made a star of that lamentable fizzle. "Sam" ran until July 2d when Mr. Chan- frau and the stock company repeated "The Octoroon" with the star as Pete, McVIcker 627 CHICAGO STAGE McVickers Theatre 1866 as Salem Scudder, and Mrs. Perrin as Zoe. July 4th "Sam" was again put on, and the 5th, "Toodles" and "A Glance at New York" made up the night's entertainment, follow- ing these, Cnanfrau announced for his ben- efit "The People's Lawyer" or "Solon Shin- gle", "O'Flanigan and the Fairies" and "A Glance at New York". The date was July 6th. He concluded his engagement on the 3th. July 9th Alice Kingsbury returned and, as her initial play, offered Feval's finest drama, "Child of Savannah" . This was played for the full week, after which Miss Kings- bury departed. There was no performance on July 11th, the excuse being that there was too much preparation for the big production of J. B. Buckstone's sterling drama, "The Ice Witch", which was iirst seen in this city on July 17th, and last seen, on this occasion, August 10th. This was the CAST Harold Swano Gruthioff Magnus Snoro Runic Sterno Tycho Freyr Hecla Norma Minna Druda Hilda Finna Edda George V/aldron J. W. Haworth Mr. Rainsford J. H. McVicker Samuel Meyers Frederick Bock W. Grey J . V . Hawkins Anna C owe 11 Mary Wemyss Isabelle Smith Mrs. H. Jordan Miss E. Howard Mary Meyers Miss Howard 628 CHICAGO STAGE McVicker s Theatre 1866 "The Falls of Clyde" was given on the 13th. This was a scenic melodrama and was well received. It was kept on until Mr. McVicker announced the end of the season. Although there was no intervening time Mr. McVicker opened what he called the "new season" on August 27th, immediately after closing the preceding one. "The Mar- ble Heart" was the initial play for this so-called "new season", and that play pro- vided a very good part for the leading man, George W. Waldron. McVicker had augmented his cast by the addition of several new players, many of whom may be noted later. August 29th "The Island King" became the attraction and, coupled with "The Two Buz- zards" as the farce, gave satisfying en- tertainment to the patrons. "Nell Gwynne" and "Paddy Myles' Boy" were put on Septem- ber 1st, and on the 4th McVicker became the star in his own play, "Taking the Chances". Nothing of importance occurred in this house until "Clairvoyance" or "The Man with the Wax Figure" was presented and continued until October 1st, with satisfaction suf- ficient to necessitate a repeat on later occasions. The play was written by Benjamin Webster, who provided Nat Goodwin with his first full play starring vehicle. McVicker followed "Clairvoyance" with another of Webster's plays, "Fast People", an adapta- tion from the French. This was kept on un- til October 6th. Laura Keene returned on October 8th, 629 CHICAGO STAGE McVickers Theatre 1866 opening with Boucicault' s "Peg" or "Masks and Faces". This was Miss Keene' s second visit to Chicago after she figured so prom- inently in the death of President Lincoln, for which, of course, she was in no way responsible. However, the incident damaged her career and she was not at all happily received in Chicago on her appearance at this time. On the 9th Miss Keene and the stock company were seen in "She Stoops to Conquer", McVicker appearing in the great comedy part of Tony Lumpkin. The farce used in connection with Goldsmiths classic was "A Regular Fix". The 12th "Our American Cousin" was presented as a benefit for Miss Keene in which she, of course, did Florence while McVicker was seen as Asa Trenchard, the part in which Joseph Jefferson made a great hit. Meyers portrayed Lord Dundrery with entire satisfaction. "The Sea of Ice" was revived on the 15th, evidently with considerable success as it was kept on un- til the star finished her present engage- ment on the 20th. The next featured player was Edwin Adams, who opened October 22d in "Hamlet" to a well filled house. On the 23d he was seen in "The Lady of Lyons". Other plays presented were "Macbeth", "Wild Oats", and for the star's benefit on November 2d, the first new play was offered, "The Heretic", coupled with the familiar "Black-eyed Su- san" as the afterpiece. At the conclusion of Mr. Adam's visit 650 CHICAGO STAGE McVickers Theatre 1866 Mr. and Mrs. Barney Williams returned aft- er an absence of sixteen years. They com- menced their engagement with a presentation of "The Fairy Story" and "The Customs of the Country". These were followed by "Ire- land As It Is", "Born to Good Luck", "In and Out of Place", and other Irish dramas he had so of ten played,, here and elsewhere. But for November 20th Barney dug up and presented Charles Gayler T s "Conie Soogah", a title that one might suspect would keep everyone away, but it didn r t, for it was continued until the closing date of these stars . James H. Wallack opened on the 28th, offering for his initial presentation, Shakespeare T s "Henry VIII"; following on the 7th with the same author 1 s "Merry Wives of Windsor". Mr. Wallack then concluded his visit to Chicago. Mr. McVicker then announced Lawrence Barrett in "Griffith Gaunt". Mr. Barrett had always before been called L. P. Bar- rett, but on December 7, 1866, he became "Lawrence Barrett", the name he was known by forever after. When McVicker announced he would present a dramatization of Charles Reade's "Griff ith Gaunt" , he stirred up what became "a tempest in a teapot", for Colonel Woods had been advertising the play for some time. There were two versions of the drama, one by Augustin Daly, who had adapted "Leah the Forsaken" in which H. L. Bateman had brought out his daughter Kate 651 CHICAGO STAGE McVickers Theatre 1866 as a full-fledged star. There was some lit- igation between the manager and the author which gave considerable publicity to both. Colonel Woods announced the Daly version for the Museum' s presentation v/hile that at McVickers was the work of George L. Aiken, who had dramatized "Uncle Tom's Cabin" so successfully. "Griffith Gaunt" by George L. Aiken opened on December 8th with this CAST Griffith Gaunt Lawrence Barrett George Neville George Waldron Squire Bolton J. H. McVicker Brother Leonard Samuel Meyers Father Francis J. W. Haworth Tom Leicester FredericK Bock Kate Peyton Susan Perrin Mercy Vint Mary Meyers "Griffith Gaunt" was withdrawn after De- cember 8th and on the 10th Mr. Barrett ap- peared in "Rosedale" and concluded his visit on the 15th. Mr. Barrett' was succeeded by Blanche DeBar, who opened in "The Female Gambler" and on"- the 24th produced "The Unequal Match". She remained for two weeks after which benefits were enjoyed by several mem- bers of the company until the end of the year. The season had been satisfactory to Mr. McVicker and he was able to start the 652 CHIC AGO STAGE Crosby T s Opera House 1866 year 1367 in good spirits. CROSBY'S OPERA HOUSE.— At the beginning of the year that energetic and resourceful showman, Leonard Grover, took over this house, and if anyone could make it pay he should have been the man. Few men in the- atricals enjoyed the popularity and success that Leonard Grover did. He was born in Livingston County, New York, in 1833, and became alternately actor, author, and man- ager. In fact, there were few positions that he did not fill during his active ca- reer. He began as an actor in 1351 with a small barn-storming company, and continued as performer, stage manager, and finally graduating to business or assistant manager and then to manager in 1855, after which he branched out as a concert impresario. He was the author of several plays, the best known, perhaps, "Our Boarding House" which became the joint starring vehicle for those well known comedians, Robson and Crane. Later, he himself became the star of that comedy as did his son, Leonard , Jr. Mr. Grover was one of the first to build a theatre in Chicago after the great 1871 fire. This was the Adelphi, which he built in conjunction with W. W. Cole, the circus manager. He successfully managed theatres in nearly all the cities in the country, and finished his activities by becoming a tourist agent. Mr. Grover brought in a splendid dra- 653 CHICAGO STAGE Crosby's Opera House 1866 ma tic company and presented James E. Mur- dock as the star. Mr. Murdock was already well established in this city. The opening play was "The School for Scandal" inter- preted by this CAST Charles Surface Lady Teazel Mrs. Condour Lady Sucerwell Joseph Surface Sir Peter Teazel Sir Oliver Surface Benjamin Backbite Crabtree Miser James E. Murdock Emily Jordan Clara Waite Louisa Eldridge Frank Lawler J . R . Sparkman A. W. Fenno G. D. Campbell E. T. Sinclair W. H. Crane The last actor in this cast, W. H. Crane, had been here before but this is the first time we find his name in a dramatic cast. Mr. Crane, who became such a distin- guished star and maintained his hold on the public for so many years, was born in Leicester, Mass., in 1845. His first en- gagement was with Campbell's Minstrels where he officiated as sort of an errand boy. This was in 1860. Not until 1865 did he blossom out as an actor, when he played a small part in Donizetti's opera, "Daugh- ter of the Regiment", at Utica, New York, with the Holman Opera Company, trie troupe with which he first visited Chicago. It was this Mr. Crane who was chosen to open the 6M CHICAGO STAGE Crosby's Opera House 1866 Blackstone Theatre here in 1910. Another important member of this ag- gregation was Louisa Lldridge — right name, Mortimer. She was born in Philadelphia and made her first stage appearance at Peal ! s Museum in New York in 1848. In 1851 she married Eldridge and for a time retired from the stage, but later adopted it as a profession and for a livelihood. This was her first appearance in this city. She eventually became known as Aunt Louisa Eldridge. Frank Lawler was born at Albany, New York, in 1835. He was married to Josephine Mansfield, the actress who was the cause of the murder of James (Jim) Fiske by Ed Stokes, whose trial became the sensation of that period. Lawler made his stage debut at Troy, New York, under the assumed name of Horton, but he later resumed his own name. This actor made great progress on the stage but deserted it late in life to become a hardware merchant at Roodhouse, Illinois, where he eventually passed away. The "Jim'' Fiske referred to endeared him- self to Chicago citizens by sending a^ train- load of provisions here for the sufferers of the great fire of 1871. Other members of this company were capable but never be- came the finished artists that those men- tioned did. The prices charged at this time were $1.00, 750 and 500, higher than McVicker 655 CHICAGO STAGE Crosby's Opera House 1866 had been charging. Grover' s second play was "Hamlet", a part in which Mr. Murdock was considered the best in the country at that time. Mr. Crane played the second grave-digger, and Frank Bangs did Laertes. The latter became a very successful actor and as late as the early 1890' s was a mem- ber of the stock company at McVickers The- atre, along with another important player, Gladys Wallis, better known, perhaps, as Mrs. Samuel Tnsull. Following "Hamlet" Grover's company put on "Aurora Floyd" and for the matinee the admission price became 30£. The reason for this price reduction was that Mr. Mur- dock did not appear in the matinee per- formance, but did appear at night in "The Stranger". "Aurora Jloyd" was given by this CAST John Mellish Steve Hargraves Capt. Bulstrode Capt. Samuel Prodder Archibald Floyd James Conyers Lieut. Madden Lieut. Melrose Landlord Butler Mathew Harrison Grimstone James Aurora Ployd Lucy Mrs. Alexander Floyd Mrs. Powell 636 Frank Lawler Frank C . Barnes G. D. Chaplin J. R. Sparkman G. Mortimer B. C. Smith H. W. Adams G. A. ParKhurst J. Barnett J. M. Childs W. H. Crane J. P. Kilbourn Mr. Howard Emily Jordan Blanche Grey Helen Seymore Louisa Eldridge CHICAGO STAGE Crosby's Opera House 1866 V/e have recorded the cast of this piece before, but when it had been produced with a curtailed cast. "Still Waters Run Deep" was given at the matinee on the 10th, in which Murdoch did not appear, but he did again show him- self at the night performance in Shake- speared "Much Ado About Nothing". This star seemed to possess the characteristics and temperament of the modern prima donna, going on or staying off the stage as the spirit moved and directed him. "Wine WorKs Wonders", another name for George Farquar's "The Inconstant", was presented on the 12th. Producers then were no more averse to changing the name of a play than rep- pertoire companies are now when playing country towns. The weather was "bad and business was light, which often provides" a condition a manager claims as a reason for poor business. Bulwer's "Money" was the next play, and "Carrie Moore, the Con- cord Skater", was introduced as a special feature. Grover's organization remained but two weeks although it enjoyed a fair amount of success. It was followed by the reappear- ance of Jacob Grau's Opera Company which opened its engagement with "The African", continuing with other standard operas giv- en here before by his company. After a week's visit Mr. Grau tooK his company to Milwaukee. Thereafter, one Joseph McArdle became the lessee and the great Edwin For- 657 CHICAGO STAGE Crosby T s Opera House 1866 rest was lured out of the oblivion to which he had retired alter the scandalous divorce trial with Catherine Sinclair. Mr. Forrest opened on January 22d in "Virginius" and had for his support that splendid actress, Madam Ponisi. This lady was born at Huddlesf ield, England. She made her American stage debut in 1850 at the Walnut Street Theatre in Philadelphia, as Marianna in "The Wife". Her first marriage was to James Ponisi from whom she was di- vorced in 1858. Thereafter she married Samuel Wallis, a stage machinist, but she always retained the name of her first hus- band when appearing on the stage. On the second night of his engagement, Mr. Forrest presented "Damon and Pythias", he playing Damon, Mrs. Ponisi as Calanthe and John McCollough as Pythias. Neither Madam Ponisi nor McCollough made a deep impression on the public here at that time but the latter did later on. This is the first mention of John McCollough in Chicago records. He was born at Blakes, on the sea coast of Ireland, November 14, 1852. He came to America in 1847, and on April 3, 1849, he married Letitia McClaire, who bore him two children. He had a wide and varied career and, at times, was highly successful and a great actor. During a four weeks 1 engagement in San Francisco, California, in 1874, his share of the receipts amounted to $34,000. He anticipated a possible col- lapse and retired to the home of John Car- 658 CHICAGO STAGE Crosby's Opera House 1866 son in Quincy, Illinois, on May 7, 1883. Later, however, he again took to the road and struggled manfully against a recurrence of his malady, but he was stricken with insanity on the stage of McVickers Theatre in Chicago, September 2S, 1884. After this he was taken to a private asylum in Bloom- ingdale, New York, where he v/as finally pronounced incurable and was sent to his home in Philadelphia where he passed away on November 8, 1835. The third performance of Mr. Forrest's engagement, "The Taming of the Shrew" was put on for the matinee and "The Stranger" was given at night. However, Mr. Forrest did not appear on either occasion, much to the disappointment and dissatisfaction of the patrons who had purchased tickets at the increased price of $.1.50 to hear and see the "great Edwin Forrest". The disap- pointment had little effect on the attend- ance for the star did an enormous business during his engagement, playing at one per- formance to the, then, unheard-of receipts of $2300. The next attraction after the departure of Mr. Forrest was Alexander Herrmann, an- nounced as "Herrmann the Great", a title by which he was known for many years. His agent was Charles Levi who advertised his star attraction as "The Greatest Living Prestidigitator in Magical Seances". Herr- mann remained for two weeks but did not awaken any special interest in the art of 639 CHICAGO STAGE Crosby's Opera House 1866 magic as he was not the superior, nor even the equal of his predecessors. After the "great" magician left, not much of importance happened until April 14th, when the great opera singer, Madam Balatka, gave a concert. April 17th Skiff & Gaylord's Minstrels, then appearing at the Academy of Music, came in for a matinee but immediately tnereafter returned to the Academy. May 5d Max Strakosch's Italian Opera Company opened and successfully presented a repertoire of the same standard operas that had so often been done before. They offered nothing new until Recci Brothers 1 late success "Crispino e la Comare" or, in English, "The Cobbler and the Fairy". It was thus CAST Crispino Signor Bellini Annette, his wife, Mile. Conissa Contino del Flore Signor Erinni Fabrizo Signor Marra Muratbolano Signor Susini Von Ardrucola Signor Loculatet La Comare Mile. Zappuza Bertolo Signor Fendou The piece made a very favorable impression and was the only opera repeated during the company's visit which terminated May 12th. It was a very successful engagement with the house comfortably filled most of the 640 CHICAGO STAGE Crosby's Opera House 1866 time. From Chicago they went to Milwaukee, Wisconsin. May 14th Leonard Grover came again, this time in conjunction with C. D. Hess. They brought in a splendid dramatic organ- ization headed by Junius Brutus Booth, Jr., eldest son of the great actor bearing that name. Other players included: Agnes Perry, wife of Harry Perry who had at one time been very popular with Chicago play -goers; Mrs. Farren; Mrs. C. G. Germon; Louisa El- dridge; H. B. Phillips; Clara Walters from the Woods Theatre in bt. Louis, Mo.; Edwin F. Thorne, son of Charles Thorne, the lat- ter being one of the Chicago actor -managers ten years earlier; J. D. Germon, whose an- cestors figured prominently in the early days of this city T s theatrical history; and Charles Pope, from Milwaukee, who fin- ished as a very active manager in St. Louis, Missouri. All in all, it was a very impos- ing dramatic company. The first play presented by Grover' s large and talented group of players was "Hamlet" with the great actor, James E. Murdock playing the star part, and the most complete cast of that Shakespearean drama ever seen in Chicago up to that date. It was kept on for two nights. The play was interpreted by the iol- lowing extensive cast: 641 CHICAGO STAGE Crosby's Opera House 1366 CAST Hamle t Polonius Ghost Claudius Laertes 1st Grave-digger 2d " » Oric Horatio Rosencrantz Guildenstern 1st Actor 2d Actor •Priest Marcellus Francisco Bernardo Ophelia Queen Gertrude Players' Queen Bulwer's "Money" was pr night with "East Lynne The latter had the foil CAST Lady Isabel Cornelia Carlyle Barbara Hare Sir Francis Lcvison Archibald Carlyle Lord Mt. Severn Richard Hare John Dill James E. Murdock H. B. Phillips Frank Lawler W. W. Fenno Charles Pope Edwin Lamb E. T. Sinclair H. S. Murdock J. E. Whiting B. C. Smith J. H. Barrett J. D. Germon F. A. Parkhurst J. D. Germon R. Buell J. M. Charles Wm. Spang ler Agnes Perry Mrs. Farren Louisa Eldridge esented on the third " for the matinee, owing Agnes Perry Mrs. G.G. Germon Clara Walters Charles Pope Frank Lawler A. W. Fenno J. E. Whiting Edwin Lamb 642 CHICAGO STAGE Crosby 1 s Opera House 1866 ''Much Ado About Nothing" was presented on the 13th. Mr. Grover at this time an- nounced that the matinee prices would be reduced to 30£. On May 28th Boucicault's drama, "The Streets of New York" was produced. It had this CAST Badger Puffy Mark Livingston Gideon Bloodgood Edward Dan Adam Fairweather Mrs. Fairweather Lucy Fairweather Mrs. Puffy Alida Bloodgood FranK Edwin Charle A. W. J. E. J. D. H. B. Mrs. F Clara Mrs. C Agnes Lawler Lamb s Pope Fenno Whiting Germon Phillips arren Walters .G . Germon Perry This play was originally produced in New York: on December 21, 1857, under the title of "The Poor of New York" and was said to be a direct steal from J. Sterling Coyne's drama, "Frauds and Victims". However, Bou- cicault, like Belasco and many other dram- atists who practiced such plagerism, got away with it and many a sucker who didn't know any better paid for the privilege of playing it. It is doubtful if Leonard Gro- ver was fooled into doing that. "Streets of New York" was followed by Bulwer's popular drama, "Money". " East 643 CHICAGO STAGE Crosby's Opera House 1866 Lynne" was given at the matinee. June 5th "Lisbia" was offered, and June 8th "Ticket of Leave Man" was revived, with Lawler as Bob Brierly, Charles Pope as Hawkshaw, and Agnes Perry donned pants and appeared as the miscnievious Sam Willoughby. "Jessie Brown" or "The Siege of Lucknow", another oi Boucicault's dramas, was the next of- fering and it had this CAST Jessie Brown Amy Campbell Alice Margie Randall McGregor Nana Sahab Cassidy Piper Sweenie Rev. David Blunt George McGregor Achmet Agnes Perry Mrs. Farren Maggie Boniface Clara Walters Frank Lawler Charles Pope Edwin Lamb Dan O'Keefe E. T. Sinclair J. R. SparKman J. S. Murdock G. C. Germon The play ran for one week and was replaced by "Othello" on June 15th, the title role being played in German by Charles Pope. This concluded Mr. Grover's engagement. The theatre m then dark until the 25th, when Hanlon Brothers opened. Since it was more or less a "sight show", the attraction was eminently suited to this large auditorium, and did excellent busi- ness for two weeks. There was very little to report after this until Ellsler & Geary 644 CHICAGO STAGE Crosby's Opera House 1866 took over a temporary lease of the house and opened it with J. E. Nagle in "Nar- cisse" to fairly good business. "Rosedale" or "The Rifle Ball tT was the next play pre- sented, but attendance fell off somewhat. To overcome the effects of hot weather the great spectacle, "Naiad Queen" was lavish- ly produced. Ellsler and Geary were later widely known in the theatrical profession. Mr. Ellsler was the father of Effie Ells- ler, and Mr. Geary became a well known author, actor and manager. After Ellsler and Geary left, the Han- Ions returned on September 20th and remained until October 8th, on which date a benefit was given for Henry Warren, the treasurer. October 25th Spaulding Brothers Bell Ring- ers, headed by a Chicago girl, Georgia Dean-Spaulding, the most celebrated harpist of those days, appeared. This was the first time a troupe of bell ringers had been seen in a theatre of this magnitude. Although there had been bell ringers here, they had heretofore appeared in the halls. Mr. Crosby was not satisfied with the outcome of his efforts in building such a magnificent theatre. He felt that the cit- izens did not appreciate it and decided to get from under the burden that was becoming too heavy for comfort. His only prospect seemed to be through a firm of promoters in St. Louis, Missouri, who were indulging in the great indoor sport, popular at the time, of selling lottery tickets. He nego- 645 CHICAGO STAGE Crosby's Opera House 1866 tiated with them to raffle off this beau- tiful structure. But that would take time, so he did the best he could in the mean- time, continued playing what attractions he could find. Camilla Urson appeared for two concerts on November 10th and 12th, meeting with fair patronage She was followed by tne Buisly Family of Gymnasts and Acrobats, who came direct from Mexico where they had created something of a sensation. This troupe had first appeared in this country at the Bowery Theatre in New York on June 18, 1866. They remained at Crosby's Opera House until December 3d. On December 5th Lucille Western was seen in Clifton Talurure's dramatization of "East Lynne" , the sole rights to which Miss Western had purchased from the author for One Hundred Dollars, said to have been the greatest bargain ever known in theatri- cals. Lucille Western's manager, on tnis occasion, was none other than the, later, famous actor, John T. Raymond. His Correct name was John O'Brien and he was born April 5, 1856, at Buffalo, New York. His first stage appearance was at Rochester, New York, on June 27, 1853. He later went to Philadelphia and Baltimore, finally reach- ing New York City. He traveled with numer- ous companies and became a great favorite wherever he was seen. He married Miss M.E. Gordon and together they went to Europe where he appeared successfully in the char- 646 CHICAGO STAGE Crosby's Opera House 1866 acter of Asa Treachard in "Our American Cousin" . Mr. Raymond is best known for his cre- ation of the part of Colonel "There's Mil- lions In T t'' Sellers, in Mark Twain ' s "Gilded Age" , which he first played in San Francisco. In 1373. Through this perform- ance he gained the enmity of Mark Twain, through no real fault of his own. The play had first been dramatized by George Denni- son, a newspaper man in the Golden Gate city, but without the authority of the author. Mr. Twain took Raymond severely to task, but the wordy squabble was amicably settled later when Twain and Charles Dud- ley Warner made another dramatization and Raymond presented the play throughout the country for several seasons. So much for this highly satisfying actor v,ho was on the present, occasion, primarily, a manager for Lucille Western. Miss Western was born in New Orleans, La., January 3, 1343. She was the daughter of a performer known as "Great Western". She made her debut at the National Theatre in Boston in 1649, when only a child. She was a sister of Helen Western, who was a few years older than Lucille. Helen mar- ried James A. Heme, from whom she sepa- rated, and she then married A.H. Davenport. The two sisters traveled under the name of the "Star Sisters", under which name they were seen in this city in 1359. Lucille first married James Harrison Meade, but 647 CHICAGO STAGE Crosby's Opera House - Woods Museum 1866 they later separated, She maintained a high position in theatricals for many years and set a pattern for the pt\rt of Lady lsaooile that other leading ladirs tried tc imitate. The production of "East Lynnt* 1 in Chicago on this occasion was presented by this CAST Lady Isabelle) . . , -. .. , Madam Vine ) Lucille Western Barbara Rare Miss Gordon Cornelia Carlyle Archibald Carlyle McKee Rankin Sir Francis Levison Theodore Hamilton Richard Hare John Dill John T. Rayiflond Lord Mount Severn Theodore Hamilton, whose name appears here, was never attractive as a star, but it was, for many years, considered a good name in the cast of any play. "East Lynne" was kept on during the first weeK and they then changed to "Leah the J orsaken" on December 12th. The company closed on the 16th. The following night, December 17th, the Bateman Concert Company opened for three nights. Max Strakosch's big singing organization succeeded them and remained for the balance of the year and the beginning of the next year. WOODS MUSEUM, Lecture Hall.— The first play presented in this house in 1866 was 643 CHICAGO STAGE Woods Museuni 1866 "Pa'ons In the Woods". It was attractive enough to maintain its hold en tht patrons until January 8th, when it wa.3 replaced by "Lest In London" interpreted by this CAST . Job Armyord FranK Aiken Nellie irmyord May Howard Gilbert 5 e ambers tone A. C. HcManus Bee. iamir; B3 .inker John ! ~'x!? ion Tidiy I'i ■j & 1 .ethorn Mrs. Stcaeard Jack Lon ?">■ nes I'r. *3rsdley Tops Kr. Barry Ncan Mr* c'X'ice Haines Mr, Holland Flounce •.is. Parry Thomas Mr. Gouts This was a highly successiul coal mining play. It was presents? for many years throughout America by Newton Be^rs and other stars, ;: Lost in r*onacn" at the Woods Theatre was followed by i; A n u ota Floyd". Then, or January SSth, "Dinglewood" or "Only a Clod' f , a dramatisation of Miss Braddon's story, became the attraction. "Caught la cho Toiii'" vas naxt brought out and it T -ras succeeded by the excellent com- edy, "Everybody's Friend*. "A Game of Love" was seen ol\ the 18th, ana "Mariam : s Crime" on the 19th. For some time now Woods had been an- nouncing George Lovell's splendid drama, "A Wife's Secret", so on March 26th the 649 CHICAGO STAGE Woods Museum 1866 play was finally produced with the follow- ing CAST Sir Walter Amyott Frank Aiken Lord Arden Thomas Barry Capt. Tomlinson J. B. Price Bouillard A. D. Bradley Jabez Sneed John Dillon Neuville Mrs, Stoneard Lady Evelyn Mrs. Thomas Barry Maude May Howard At the end of the run of the above drama, J. B. Price retired from the Woods forces to become stage manager for Ben DeBar at St. Louis, Missouri. April 1st J. Sterling Coyne's "A Blacic Sheep" was brought out. This title must not be confused with the comedy written by Charles H. Hoyt and produced much later by the author. "Midsummer Night's Dream" en- tertained the customers from April 9th un- til it gave way to "The Octoroon" on May 5th. This play was being given at McVickers at the same time. "Money and Misery" was produced May 16th as a benefit for A. D. Bradley. At this performance May Howard was too ill to perform. Boucicault's "The Irish Heiress" was seen on the 23d followed by "Paul Pry" on the 25th as a benefit for Mrs. Barry. "Streets of New York" became the enter- tainment fare on May 27th, and was sue- 650 CHICAGO STAGE Woods Museum 1866 ceeded by a presentation of a new Irish drama by Robert Craig bearing the unat- tractive title of "Crohoore-na-Bilhodge". Such a title might have been expected to frighten the patrons away, but nevertheless it proved quite successful. Mrs. Perrin, the former Susan Woodbury, returned on June 5th and opened in her old favorite, "The Hunchback". She lollowed it with "The Love Chase", "Lucre tia Borgia" and other previously played standard dra- mas. June 18th "The Drunkard" was revived, as were "Camille", "Retribution", "The Love Knot", "Camilla's Husband" and other familiar dramas. Col. Woods started the next month with Ruth Oakley on July 6th, on which date "Ten Nights in a Barroom" was resurrected at a benefit for W.S. Crouse, "a worthy gentle- man", according to the Daily Journal of that date. For the afterpiece "Did You Ever Send Your Wife to Waukegon?" was used, altered to suit the locality from "Did You Ever Send Your Wife to Cambermell", a well known English farce. This was followed by "Wild Oats". Changes in the company were being made from time to time. Actors were coming and going, as they always have and doubtless always will. Among others who joined was W. J. LeMoyne. He had been seeninthe city before and very often later, as he became well identified with his wife, Sarah Cowell 651 CHICAGO STAGE Woods Museum 1866 LeMoyne, in many productions seen in Chi- cago as late as the beginning of the 20th Century. John Dillon, who had been at Woods before as well as at McVickers, also reap- peared. The roster of Wood T s company, be- sides those above named, now consisted of Frank Aiken, Thomas Barry, Charles McManus, Charles Rogers, J. M. Quinn, Mrs. Clara Stoneall, Mrs. Thomas Barry, Josie Crocker, Miss Prior and Mrs. Axtell. The next play seen at this house was Tom Taylor's "Victims", which ran until succeeded by Mrs. Mowatt's "Fashion", done on July 23d. This was replaced on the 28th by Douglas Jerrold's "Time Works Wonders " with this CAST Goldthumb Mr. Aiken Sir Oliver Norman Mr, Barry Clarence Norman Mr. McManus Felix Goldthumb Mr . LeMoyne Gruff les Mr. Dillon Bantam Mr. Rogers Clive Mr. Quinn Jugby Mr. Bradley Florintine Mrs. Barry Betsy Tulip Miss Prior Mrs. Goldthumb Mrs. Axtell Miss Tucker Mrs. Stoneall The Mrs. Stoneall just referred to made her debut at Mitchell's Olympic Theatre in New York in 1839, where she remained as long as that building was used as a theatre. 652 CHICAGO STAGE Woods Museum 1866 Her maiden name was Scallan. After coming to Chicago she, at different times, became something of a fixture in all the theatres operating during her time. She was at McVickers when the fire destroyed that playhouse. "Time Works Wonders" ran until August 2d, when "Who Killed Cock Robin" and "A Serious Family" replaced it. In the latter John Dillon appeared as Amanadab Sleek. John Oxeniord's drama, "A World of Fashion" v/as presented on the 9th. Yielding to the importunities of the local theatrical ad- visors, Colonel Woods turned to a semi- classical drama and put on George L. Aiken's "Moses in Egypt". This dramatist, as we have stated before, was a brother of Frank Aiken, Woods' leading man. George L. Aiken was at that time one of the leading drama- tists, no doubt due, to some extent, to the success of "Uncle Tom's Cabin" which he had dramatized. After a couple of fairly good weeks of business, the play was withdrawn for Lester Buckingham's "Crossing the Quick Sands", but after two performances this was replaced by "The Wandering Boys of Switzerland", which was first seen on Sep- tember 1st. After this, several plays were repeat- ed and little of particular importance oc- curred until, as a great novelty, "My Con- science" was presented on October 1st. It was fairly well received and held the boards until the 9th, on which date Jennie 653 CHICAGO STAGE Woods M useum 1866 Hight was seen in Maggie Mitchel's part of Fanchon the Cricket in the play of that name. She was a good performer and during her long stay in Chicago had made many friends and admirers, but those who had seen Miss Mitchel in the part realized that, in comparison, Miss Hight suffered materi- ally. Mrs. Barry was given a benefit on the 12th with a revival of the old but always pleasing "A Belle 1 s Stratagem". To offset the possibility that Mrs. Barry's benefit would be too successful, Laura Keene was given a benefit the same night at McVickers . October 15th "Henry Dunbar", a dramatiza- tion of Miss M.E. Braddon's novel, enjoyed a fair week's business. It was followed by another adaptation of the French farce, "Fast People", this one said to be by Les- ter Wallack. Woods changed the title to "Fast Family", but as Mr . McVicker had just finished playing the same piece, or prac- tically the same, the line at the ticket window thinned out somewhat. So the play was withdrawn and replaced on November 5th by "The Duke's Motto". "The Avalanche" and "John John" was the double attraction seen on November 20th and they continued to hold the stage until it was replaced by a production of Daly's "Griffith Gaunt" interpreted by the following cast. 654 CHICAGO STAGE Woods Museum - Smith & Nixon T s Hall 1866 CAST Griffith Gaunt Frank Aiken Tom Leicester Charles McManus Paul Carrick W. J. LeMoyne George Neuville J. B. Price Squire Bolton Charles Rogers Kate Mrs. Thos. Barry Mercy Vint Jennie Hight The play did not meet with the success Woods had anticipated, but it was fairly satisfactory and ran until "Rip Van Winkle" was put on December 17th. The balance of the year was devoted to actors' benefits during which old plays were usually repeat- ed, which was typical of this house. Colonel Woods saw a hopeful future and went into the year 1867 smiling. SMITH & NIXON'S HALL.— This hall was located at what was then called 104 South Clark Street. According to the new 1909 numbering, it would be at 111 West Washing- ton Street, that is where the entrance was situated. During this year other halls felt the sting of its opposition as it housed many attractions. January 1st, "Charles Shay's Fourth Annual Tour of Quincriplexal" , the great troupe of Japanese Sorcerers , appeared here. This organization remained for three nights and was followed by E. H. Eddy, said to have been the husband of Mary Baker Ed- dy, although no such claim was made on this 655 CHICAGO STAGE Smith & Nixon's Hall 1866 occasion. Heretofore, his entertainment had consisted of spiritualistic demonstra- tions, in which art he was equal to the Davenports and similar religious enter- tainers, of which there were many in tnose days. His form had now changed, and for the amusement of the credulous patrons he gave an expose of tnose same mediums among whom he had previously been acclaimed one of the best. Some of the papers did not take kindly to him. "The exposure," said the Tribune on January 5, 1866, "like the manifestations themselves, are beneath no- tice." January 11th Miss Sheppard gave some readings, and on the 29th, Sam Sharpley's Minstrels held down the boards of the stage for one week. Blind Tom • started a series of concerts which were continued until the 16th. He did very well and created much interest. Annie Dici-tenson lectured during the next week and was followed by the noted negro, Pred Douglas. There was little worth noting until March 5th when the Hutchinson Family appeared for two concerts. After this came the famous Signor Blitz, Magician and Ventriloquist, and his hundred singing canaries. Blitz opened the 20th and re- mained until the 27th. He was well received by the patrons and his exhibition thor- oughly enjoyed. Maitland, another conjurer, appeared June 4th. He had as his assistant Jane E. Dillon, but "Blitz" had given the public all the conjuring desired, so he bowed out quite suddenly. 656 CHICAGO STAGE Varieties - Circuses 1866 VARIETIES.— The operation of this Hall was temporarily disrupted because VanFleet and Chadwick, managers of the hall, appeared in court on a summons issued by Thomas Ball claiming $3000 due for rental. The matter was eventually settled when Chadwick made satisfactory arrangements with Mr. Ball, and the house was reopened October 25th with the following artists: Nellie Taylor, Annie Gibbons, Master Jimmie, and others. J. W. McAndrews became the featured actor here on November 10th. Mr. Chadwick an- nounced a new innovation and presented "The Flower of the Forest" under the title of "Cynthia". December 1st, Edward J. Wright became the business manager of this amusement in- stitution and announced Billy Barry as the new star. CIRCUSES.— The first circus to appear this year was "The Great Consolidated Cir- cus" at Randolph Street and Michigan Avenue, opening on April 30th. On June 7th the Van Amburgh Circus came for three days. June 11th Yankee Robinson returned to what he called "the foot of Randolph Street" with what the billing designated as "Yankee" Robinson* s Colossal Moral Exhibition - Nine shows in one - largest show on the American continent —400 horses and men. "Yankee" Robinson, General Superintendent; P. A. Older, Manager; George S. Cole, Treasurer; 657 CHICAGO STAGE Circuses 1866 George Sears, Lion Tamer; Charles Parker, principal clown; E. W. Perry, Equestrian Director; E. H. Olds, Band Leader; R. S. Dingess, Agent. Yankee Robinson returned with another exhibition on November 5th, but on this visit he had discarded the "Athenaeum" he had so long exploited and billed his enter- prise now as "Yankee Robinson's New Zoo- logical Gardens". Robinson's Zoological Gardens and Colosseum was erected at what "Yank" termed "enormous expense", location State near Washington Street. It was "tout- ed" by the astute manager as an education- al institution, and was the iirst zoo to open in Chicago, although there had been many circuses and menageries here before. None of them, however, had used the word. Robinson had nov; given up his Yankee char- acter impersonations and had gone into the circus field. 658 CHICAGO STAGE ITS RECORDS AND ACHIEVEMENTS THEATRES, AMPHITHEATERS, 0PERA HOUSES, HALLS, CIRCUSES 1867 - 1863 CHAPTER XVI MCVICKERS THEATRE began the year 1867 by offering "Lillian May" or "Actress and Artist" on January 2d, with Johanna Clausen in the part of Lillian in which character she intro- duced some pleasing and enter- taining vocal numbers. The play continued until the 4th, after which "Othello" was pre- sented on the 5th for the ben- efit of Mr. Waldron, the leading man, he playing the name part and Frank Monroe ap- pearing as Iago, Anna Cowell as Desdemona and Gertrude Goggett as Emilia; with other parts fairly well portrayed by various members of the company. The patrons came in considerable numbers as a testimonial to the leading man. Cecil Rush joined McVicker's forces on January 7th offering "The Italian Wife", a part she had played at her professional debut on March 17, 1856. She was not a well established star, although she had appeared as such in many western stock companies. She eventually married Charles W. Brooks, a famous Philadelphia lawyer, after which JOHN McCOLLOUGH CHICAGO STAGE McVickers Theatre 1867 she retired irom the stage. She followed "The Italian Wife" with "Love's Sacrifice" on the 8th. "The Child Stealer" was given on the 11th, on which date the star took her benefit. Miss Rush began her second week with a presentation of "East Lynne", a play Lucille Western had recently pre- sented at Crosby's. She continued her en- gagement until January 19th. Charles Lillion, a very well known English tragedian, opened on the 21st in "Macbeth", following it with "Richelieu", "King Lear", "Othello" and "Belphagor", which ran from the 26th until the 51st. Mr. Dillon then repeated "King Lear" and closed with a presentation of Lord Byron's "Werner". He made a very favorable impres- sion in Chicago, as might have been ex- pected since he was one of the real out- standing players of the British Isles. Helen Western, sister of Lucille and the first wife of James A. Heme, opened in what was billed as "Cynthia", another name for "The Flower of the Forest". This was the first appearance of Helen Western as a star in this city, although she had been seen here before as one of the "Star Sisters", her sister Lucille being the other half of the team. She finished her present engagement on February 5th, when she produced "The French Spy". Helen did not compare with her sister as a performer, but was one of the most attractive women in America at the time. 660 C H I C A G O k STAGE McVickers Theatre 1867 The next star at McVickers was John E. McDonough, who commenced on the 7th with a presentation of Dion Boucicault's n Long Strike''. This continued until McDonough replaced it with TT Arrah-Na-Pogue ,T on the 22d, which was kept on until the star fin- ished his engagement. He was succeeded by Dan Bryant, heretofore known only as a minstrel performer, although he had ap- peared at the Winter Garden in New York as early as 1863, as a white face perform- er. Mr. Bryant was born at Troy, New York, May 9, 1833, where he made his debut as a dancer at an early age. His opening play here was "Handy Andy", followed by " The Irish Emigrant", "Born to Good Luck", "More Blunders Than One", "The Irish Lion", "The Irish Baron" and, on March 4th, he was seen in one of the many versions of "Shamus O'Brien" or "The Bold Soldier Boy of Glen- gall". He claimed this play was written for him. After Mr. Bryant departed, Vestvilli, the charming singer, was seen and heard in "Del Dominos" on March 8th. This attractive performer remained until she was taken ill on March 18th, when she retired from the cast. The stock company then put on "The Marble Heart", following on the 19th with "Macbeth" and "Rob Roy" on the 20th. George L. Aiken, writer of "Uncle Tom's Cabin" in which the charming Lotta had been appear- ing in another theatre, now came over to 661 CHICAGO STAGE McVickers Theatre 1S67 McVickers and was seen as Pierre Poulailler in his own drama, "Chevalier", on March 20th. Tne play was evidently more or less successful as it continued to entertain the patrons for several nights. After this the stock company presented "Nell Gwynne" . Joseph Proctor then returned and on April 2d gave a satisfactory performance of "Ambition", following it with "Jack Cade" and "The Jibbinainosay" or "Nick of the Woods", in which play he was always a "howling" success, especially with the "howlers" in the gallery. Proctor having departed, the celebrated Hanlon Brothers opened on April 8th for two weeks, during which time the public liberally attended their splendid entertainment. James H. Hackett appeared on the 22d in "Henry IV" which retained the stage ior the first half of the week with "Merry Wives of Windsor" for the last. half. Edwin Adams played a return engagement on April 29th, remaining for two weeks during which he offered "The Robbers", "Clairvoyance" and "BlaCK-eyed Susan". He gave the satisfaction that usually marKed his appearance here. May 13th Frank Chan- frau and Charles T. Parsloe returned and opened in "Sam" . The play drew well and was kept on until the end of the week when "The Streets of New York" was put on for Chanfrau and Parsloe* s second week, and "Our American Cousin at Home" occupied the stage for the last half of the week. "Sam" CHICAGO STAGE McVickers Theatre 1867 was repeated for the third week, which ended the engagement. Edwin Booth now made his second visit to Chicago, opening June 3d in "Hamlet", with "Merchant of Venice" on the 5th. His next offering was "Romeo and Juliet". Mr. Booth had experienced a wide and varied career since he first visited this city. He had been crushed in the gold rush of California, where he met with every disas- ter liable to confront a pioneering theat- rical venturer. The miners of the glisten- ing metal didn't take kindly to Shakespeare so Booth resorted to burnt cork and became an end man in a minstrel "First Part", al- ways flinching when he was compelled to tell the interlocutor why a hen crossed the road. However, the great tragedian managed to survive the trials and tribula- tions that beset him while barnstorming in the "Golden Gulch" and returned to the ef- fete East where he found the classic drama more appreciated. On his return to Chicago, he received a very hearty welcome, as evidenced by the fact that the prices were increased to (1.50 for the best seats, an unusual ad- vance in price at that time. On his opening night, in "Hamlet", the supporting stock players were scarcely equal to the require- ments of that play, although they had all played one role or another in it many times. But Frederick Bock, as the King, made a poor ruler, and Mr. Waldron hadn't a ghost 665 CHICAGO STAGE McVickers Theatre 1867 of a chance to efficiently perform the part of the Ghost. Mary Meyers, however, was satisfactory as Ophelia, and McVicker was, of course, splendid as the First Grave- digger. "Romeo and Juliet" drew a good house on the 7th, but the performance was unsat- isfactory. Mary McVicker appeared for the first time on the stage since reaching womanhood, but proved herself unequal to the requirements of that great character. Mary had established herself as Eva in "Uncle Tom's Cabin" and in other juvenile parts, but she was totally lost as Juliet. Notwithstanding this she continued to play the female leads opposite Mr. Booth and, to some extent, eventually lived down the bad impression sne made at the beginning. July 1st the Chicago public saw Mr. Booth in "Richard III", and on the 2d in "Much Ado About Nothing". "Romeo and Juli- et" was repeated for the Wednesday matinee, the 3d, while "Hamlet" was again presented at night, followed on the 4th by a repeat of "Richard III". The great actor ended his engagement on that date. "The Black Crook" opened on the 7th to tremendous receipts. This spectacle had aroused a great deal of theatrical interest in New York and elsewhere. "The Black Crook" was written by Charles Baras, a Philadelphia lawyer turned actor and dram- atist. Jarrett & Palmer had first produced 664 CHICAGO STAGE McVickers Theatre 1867 it in New York as a great scenic spectacle. As a matter of fact, the play itself was never intended to have the lavish produc- tion given it by these producers as it is nothing more than a sensational melodrama. However, these daring managers were not satisfied with it as such, and so turned it into the most spectacular production New York had yet seen. Among other features of some magnitude was the appearance on the stage of thirty-nine children. This so aroused the ire of the welfare agencies that it brought a storm of protest against the appearance of children on the stage and resulted in the creation of the Garry So- ciety and the eventual legislation against children taking part in theatrical perform- ances. Jarrett & Palmer had contracted to pay the author Fifteen Hundred Dollars for the right to play the piece as long as it might run continually. Ii, however, one day was missed and no performance was giv- en, the play was to revert to Mr. Baras , the author, — which it ultimately did. John E. McDonough acquired the Western rights and produced it in Chicago where an immense crowd attended the first perform- ance. Press and public "damned it with faint praise." In spite of the cold recep- tion given the production at the hands oi the critical, it ran until September 1st. When "The Black Crook" concluded its run, the stock company presented T.W. Rob- ertsons "Ours", announcing that Artemus Ward was joint author. Regardless of the success of this comedy when first produced CHICAGO STAGE McVickers Theatre 1867 in New York by Lester Wallack, it failed to meet with public approval in Chicago, notwithstanding that it was well cast with McKee Rankin as Hugh Chalcourt and J. E. Nagle as Angus McAllister. Another Robert- son comedy, "Caste", was offered on the 9th, and "The Corsican Brothers" was seen on the 16th. Lotta, who had been at Crosby f s earlier, opened here September 23d in "The Pet of the Petticoats" with "Family Jars" for the farce. Business was always good with Lotta in the cast. She began her second week with "Uncle Tom's Cabin" in which she did an excellent Topsy. She followed this with "Captain Charlotte", "Jenny Lind" and "Nan the Good for Nothing". On October 25d she presented "Little Nell and the Marchioness", a dramatization of Dickens' "Old Curiosity Shop". It had this Cast Nell Lotta Quilp Mr. Nagle Dick Swiveler Mr. Meyers Trent Mr. Whalley Brass Mr . Rankin Lodger .Mr . Monroe Jem Groves Mr. Stevens Constable Mr. Lord Sally Brass Mrs. Cowell Jane Mrs. Meyers The success of this little drama was due 666 CHICAGO STAGE McVickers Theatre 1867 primarily, to Lotta's great personality. Lotta v/as succeeded by Edwin Adams in a return engagement during which he off ered a repertoire of classic dramas running up to October 26th. After the departure of Adams the company presented Augustin Daly's "Under the Gaslight", with Whalley as Bike; Nagle as SnorKy; Anna Cowell as Laura Courtland; and Mary Meyers as Peach Blos- som. The play was well received and was kept on until November 4th, after which Joseph Jefferson arrived and opened in Boucicault T s version of "Rip Van Winkle". This was the first visit this popular play- er had made to Chicago since his first when, as a child, ne came with his father, then the partner of Alexander McKinzie, the originator of the drama in this city. He was given a hearty welcome and remained for three weeks. Jefferson v/as succeeded by Mr . and Mrs. Barney Williams who opened November 24th in "The Fairy Circle". December 2d, "The Shamrock" was the offering, and on the 9th a new play by Charles Gayler, "Connie Soo- gah" , was seen for the first time. After the Williams duo departed Julia Dean re- appeared after a long absence and opened December 23d in "The Hunchback", following it with "The Woman in White". Miss Dean remained the balance of the year, but she had evidently "lost her cunning" as she failed to awaken the interest of the public as she had so successfully cone in her 667 CHICAGO STAGE McVickers - Crosby's Opera House 1867 early days. All in all, McVicker and Meyers were well satisfied with the results of the year and looked optimistically toward 1863 as a year of even greater possibilities. CROSBY'S OPERA HOUSE.- The second week of Strakosch's Italian Opera Company began on January 1st of this year with a produc- tion of "Favorita" , but it was seen and heard by a very small crowd. After their departure, Mr. Strakosch brought in his Ghino & Sussni Opera Company, which opened on January 2d with a presentation of Auber' s "Fra Diavolo" . In this company were includ- ed the following: Madam Cinssi, Amelia Patti-Strakosch, Signora Irfre, Ardavona Sarti and Carlotta Patti in the principal roles. "Ernani" was the opera presented on January 3d, followed by "Un Ballo Maschera". All of the operas were well sung, but the company failed to attract and, after three weeks of untiring efiort, gave up the struggle ♦ The press and public were loud in praise of the merits of the organiza- tion, which may be consoling, but is a poor reward to the person who goes to the ex- pense of bringing such an attraction to a city where it proves to be unwanted. Mr. Strakosch and his meritorious com- pany had presented all the standard operas in a praiseworthy manner and deserved bet- ter patronage than the handful of people who attended nightly. As a fitting climax 668 CHICAGO STAGE Crosby's Opera House 1867 to his disappointed hopes, he was tendered a benefit on the closing night with even more painful results than during the other performances. All this was saddening to Mr . Crosby, as it was to Strakosch. In fact, this magnificent and expensive theatre was becoming an unbearable burden, and the own- er endeavored to get out from under. A company under the misleading name of "Art Association" undertook to raffle off the "opera house" by selling certificates en- titling each purchaser thereof to a copy of one of the splendid paintings that a- dorned the walls of the edifice. Each of these certificates gave the holder a cnance to draw the lucKy number which would give him the ownership of a theatre that nobody wanted. While this plan was in progress Mr. Crosby continued to operate, never turning down any attraction, good or bad, consistent or inconsistent with the impor- tance of the playhouse. John Dillon, who had been at Woods lor some time and before that at McVickers, having a large following, became ambitious for stellar honors and found in Crosby a hopeful manager who willingly encouraged Dillon to taKe a chance. Not that it was much of a chance in those days, for all one had to do was to assemble a score of hungry actors and open a company in any theatre found available. If the effort was successful, the performers were paid; if not, they weren't. Mr. Dillon's manager was D. N. Wheeler, who proceeded to an- 669 CHICAGO STAGE .. . i, . i , - . _. — - - . . , — m - ■■ ■ ■ — i ■■■ ■ ■■ ■ ■■— Crosby's Opera House 1867 nounce Johanna Clausen, recently seen at McVickers, as his leading lady. Dillon and Miss Clausen were fairly well supported by a membership gathered from the local actors who, by this date, had become rather plen- tiful in the city for, like other classes of individuals, they had heard and heeded Horace Greeley's advice to "go west". Dillon's company opened at Crosby's on January 15th in "Married Life" and, as a special feature, brought in "Yankee" Mil- ler, who had been a feature with "Yankee" Robinson on other occasions. A well filled house welcomed the new star and he was called before the curtain where he made a neat speech holding out the hope to his patrons that he would be able to appear nightly — which had not been his invari- able custom. Other plays presented by Mr. Wheeler's company were: "Ail That Glitters Is Not Gold", "Nan, the Good for Nothing" and "The Peep O'Day Boys". This company only appeared for five nights as Jacob Grau had contracted with Crosby to bring in the great Rostori. The Wheeler-Dillon organization evidently disbanded and Dil- lon went back to the Woods Lecture Hall. Rostori opened Tuesday, January 22d, in "Medea", followed on the 23d by "Mary Stuart", and on the 24th by "Elizabeth the Queen". Prices for this attraction were: General admission, $1.50; reserved seats, $2.50; seat in a box, $5.00. The social climbers made this an event that has seldom 670 CHICAGO STAGE Crosby* s Opera House 1867 been surpassed in the entertainment history of this city. Mr. Crosby was now busy promoting the sale of chances in the raffle of his the- atre. It required some time to broadcast the necessary information and convince the public that each had a chance to become the owner of the finest Opera House in A- merica. There were to be 600,000 tickets sold, only one of which could win an "opera house", while the others won a copy of one of Mr. Crosby's beautiful paintings that adorned the theatre . Anxious to conclude the raffle, since the tickets were not go- ing rapidly, Crosby decided to take 200,000 of the tickets himself, which would give him a fair chance of drawing the prize he was trying to get rid of. Number 58,600 was the lucky number drawn, and after some de- lay and investigation it was located in the possession of A. H. Lee, a grocer of Prairie du Rocher, in Randolph County, near Belleville, Illinois. Thus another man was in the show business whether he wanted to be or not. Evidently he didn T t want to be, for he immediately entered into negotia- tions with Mr. Crosby and sold the "opera house" back to him for $200,000. This put Crosby once more wobbling under the white elephant that had nearly crushed him be- fore. But this time he had quite a bank roll and could rest somewhat easier than he had previously. In spite of the raffle, attractions 671 CHICAGO STAGE Crosby's Opera House 1867 were being played at Crosby's. Clara Bar- ton, billed as "The Florence Nightingale of tne Army of the Republic", appeared on March 1st. She was not as famous then as she became later, after founding the Amer- ican Red Cross, but, even then, she was important enough to appear in this beauti- ful theatre rather than in one of the local halls where most of the individual features were seen. On March 2d Wade & Riddle were announced as the lessees and managers of the Crosby Opera House, with Henry Warren as treasurer. Their first attraction was Charlotte Crabtree, better known simply as "Lotta" or the "Dramatic Cocktail", as Dion Boucicault called her. Lotta had been seen at Woods two years earlier but had now blossomed into a full-fledged star. She began her starring engagement here in "Nan, the Good for Nothing" and followed it with "Pet of the Petticoats", two plays that remained long in her repertoire. She then presented Boucicault 1 s "Irish Diamond" in which she introduced the song "Pat Ma- lone" together with her famous clog and banjo solo. As there was no permanent stock company at this house, Lotta brought in the entire company, thus initiating the first "combination" system in this city, meaning a star, play and supporting company. March 6th she put on "The Female Detective" and followed that later with "Ireland As It Is" and "Little Nell" or Dickens' "Old Curiosity Shop" . Then came "Captain Char- lotte", "Family Jars", "Spectre Bride- 672 CHICAGO STAGE Crosby* s Opera House 1867 groom", and a repeat oi "Little Nell". On March 14th George L. Aiken's drarratization of "Uncle Tom T s Cabin" was presented with Lotta as Topsy, and the author himself in the cast. After Lotta closed, Jacob Grau brought back Rostori, who opened on April 1st to a large crowd. She was featured in the part of Thisbe in Victor Hugo's "Angelo, the Tyrant of Padua". Rostori closed her en- gagement on April 6th with a presentation of "Macbeth". The next attraction worthy of mention was the Frank Lombard Concert Company. Mr. Lombard was always a welcome feature in his home city, where he was forever digging up new talent. This time he had brought to light an artist who proved herself a suc- cessful and progressive singer, Emma Ab- bott. Miss Abbott was born in Chicago in 1349 and made her stage debut on this oc- casion, notwithstanding the assertion of others that she started in Brooklyn or elsewhere . Jarrett & Palmer's "White Fawn" came in for a run and was kept on until July 17th, doing a nice business. It was fol- lowed by "Undine", under the same manage- ment, which repeated the success it met with on a former visit. The ballet was a big feature and was led by the, so-called, great Von Hamme, together with the princi- pals who were thus 673 CHICAGO STAGE Crosby* s Opera House 1867 CAST Sir Herbert Kuhlehard Babtis te The Baron Undine Bridget C . A . McManus J. M. Burke J. B. Everham J. A. Oates Mrs. J. A. Oates Mrs. McWilliarns The attraction finished its run on August 9th. As nothing was available to fill in the time, C. D. Hess promoted a benefit for himself which took place on the 13th, Practically every actor and actress in Chi- cago volunteered their services and the beneficiary reaped quite a reward. The wonderful Fusi - Hamma Japanese Troupe came on August 17th and jammed the house. There was nothing worth while in the theatre thereafter until the 14th of September, when H. L. Bateman brought in the Persian Opera Bouffe Company. They opened with Offenbach's "La Belle Helene" . Among the featured performers were Mile. Lucille Toste, Mile. Lambele and Mons . De- ere. Bateman' s troupe had two weeks of pay- ing business and was followed by another recognized impresario, Max Meretzek, with his Italian and German Opera Company. They opened on the 28th in "II Trovatore", suc- ceeded by "Faust". "Ernani" , and a produc- tion of Beethoven* s masterpiece, "Fidelio". Then came the ever popular "Martha", and other standard musical compositions. October 19th ushered in George L. Fox 674 CHICAGO STAGE Crosby's -Woods Theatre 1867 and his Hump ty -Dump ty Company with a bevy of performers whose names meant something at the time, Tony Denier was the Clown, H. Leslie was Harlequin, J.M. Sloan was Pant- aloons, Mile. Auriole did Columbine, to- gether with a champion skater by the name of Goodrich. " Hump ty -Dump ty" remained un- til November 5th and played to absolute capacity. The Caroline Richings Opera Troupe be- gan an engagement November 9th and present- ed the usual repertoire of standard musical compositions in which they had been seen here many times before. December 3d, the musical spectacle "Undine" returned and remained the balance of the year. WOODS THEATRE. — "For tun i a and the Seven Gifted Dwarfs" was the initial production this year, preceded by "The Household Fairy" as a curtain raiser. January 3d "Don Caesar de Bazan" was given with "Fortunia" put on as the afterpiece. Charles Rogers, a splendid young comedian, took a benefit on the 7th with "One Hundred Thousand Dol- lars" as the lucrative title of the play presented. The beneficiary retired from the Woods after the performance. "Every- body's Friend" was seen on the 22d, and "Peep O'Day Boys" was the welcome presen - tation on the 23th. "All That Glitters Is Not Gold" was the attraction on February 4th, with "The Happy Man" given for the farce. J.B. Buck- 675 CHICAGO STAGE Woods Theatre 1867 stone's "Married Life" was the bill for the 7th, followed on the 11th with "The Huguenot Captain" presented with this CAST Gabrielle ' Mrs. Thos. Barry Jeanne Mrs. Stoneall Rene Frank Aiken The Duke C. J. McManus Sergeant Locust John Dillon Other characters were assumed by the var- ious members of the company. "The White Boys" or "Ireland in '95" was presented on February 25th. "The Hidden Hand" made its haunting appearance on March 4th when Alice Holland took a much needed benefit. Several plays were repeated for the numerous bene- fits, after which Mr. AiKen thawed out "The Frozen Deep" on March 12th. But the play soon melted in spite of the chilly reception given it by the public. Nothing of interest happened then until April 1st, when "A Dangerous Game" was given and even that didn't mean much. "Americans in Paris" was the main attraction on April 4th, but to assure success "Grimshaw, Bagshaw and Bradshaw" and "A Quiet Family" were added. A new actor, J.M. Quinn, opened on the 8th with a presentation of H. T. Craven's good drama, "Mariam's Crime". "Game of Love" followed on the 12th, and "Babes in the Woods" on the 15th. W. J. LeMoyne was given a benefit on the 17th, when three 676 CHICAGO STAGE Woods Theatre 1867 short plays supplied the entertainment. They were "Peggy Green", "An Object of In- terest" and "The Youth Who Never Saw a Woman". "Chery and Fairstar" was tnen re- vived and retained until May 16th when it was replaced by "Henry Dunbar" or "The Out- cast" . This play met with little favor and was soon withdrawn in favor of "Uncle Tom ! s Cabin", a more dependable dramatic vehicle. "Claude Marcel" was done May 27th, and on June 27th Cora Mowatt T s "Armand" was seen with this CAST Armand Frank Aiken King Louis J. A. Sawtelle Richelieu Thomas Barry Due de Austin John Dillon La Sage W. J. LeMoyne Victor Charles Rogers Dame Babbett Emma Marble Jacqueline Alice Holland Blanche Mrs. Thos. Barry The play ran until Woods announced a new season, for no reason whatsoever except to give him an opportunity to announce the names of several new performers. These in- cluded John Barrett from DeBar T s in St. Louis, W. B. Arnold, H. H. Woods, Harry Jordan, J. E. Brown, H. C. Blood, R. B. Wilkins, J. C. Watson, Hattie Whitney, and Misses Logan and Stansfield. These players when added to the old ones, made an impos- ing dramatic organization. George Stevens 677 CHICAGO STAGE Woods Theatre 1867 was given a benefit on July 2d with a pre- sentation of "Griffith Gaunt". On the 6th, Tom Taylor's "The Victim" or "Follies of the Day" was put on and was well received by the patrons. This was followed by Charles Reade and Tom Taylor's "Two Loves and a Life" which ran until July 13th. During its tenancy it proved to be one of the most entertaining dramas seen at the Museum for some time. Watts Phillips 1 two-act comedy, "His Last Victory" or "The Lion in Love" opened the 15th with "Seeing Dillon" for the farce. The play is similar to the same author's "Camilla's Husband" which fol- lowed with this CAST Countess Beauregard Mrs. Barry General LeCroix Mr. LeMoyne Felician Douset Mr. Woods Baron de Hancourville Mr. Arnold Other members of the company made up the balance of the minor characters. In an effort to cash in on the success of "The Black Crook" at McVickers, the company at Woods announced that title for July 23d, but the venture proved to be a boomerang and the play was soon withdrawn and replaced by "Charles II" which compen- sated the patrons for their disappointment in "The Black Crook" performance. "The Ri- 678 CHICAGO STAGE Woods Theatre 1867 vals" was done July 26th with the familiar "His Last Legs" as the farce. " Overland Route" held the stage August 5th, "Hamlet" the 19th, "Lady of Lyons" on the 20th, and "Rob Roy" the 26th. Then came a new one, "Hilda", which opened September 2d. "Victorine" or "A Working Girl»s Story" was seen on the 13th with this CAST Sir George Rookwood frank Aiken Father Radcliffe Thomas Barry Duke Williams W. J. LeMoyne Musgrove C. A. McManus John Daw Frank Holland Sampson Potts John Dillon Ruth Ravenscar Mrs. Thos. Barry Anne Musgrove Alice Holland The play was fairly well received by the patrons, a new comedy, "His Last Victory" was the offering on the 16th, followed by a repeat of "The Black Sheep" on the 18th. Colonel Woods now reverted to Sheridan 1 s "The Rivals", and on October 7th "A World of Fashion" made its appearance, after which came "Robert Emmet", "Uncle Tom f s Cabin" and "Neighbor Jackwood" . The latter part of October Prank Aiken took over the lecture hall in Woods Museum and changed its name to Aiken's Theatre. This was the first managerial effort of this actor who played an important part in 679 CHICAGO STAGE Woods Theatre - Arlington Hall 1867 Chicago theatricals for several years. The hall Was redecorated and was re-opened with the well worn "Mazeppa" which was always sure, of drawing large crowds. This was succeeded by "The Romance of a Poor Young Man' 1 , "A Wife's Secret", "Peep O'Day Boys" ana finally a new play, "The Orange Girl of London" with this CAST John Fryer Frank Aiken Gregory Dingell John Dillon Pepper Frost W. J. LeMoyne Peter Peregrine W. B. Arnold Col. Alford H. H. Ward Joe Randall Mr. Wilson Falkner J. A. Sawtelle Jane Fryer Mrs. Thos . Barry Mrs. Dingell Alice Holland This play was highly pleasing and ran un- til November £4th, when it was replaced by "White Horse of the Peppers" . December 2d "The Duke's Motto" was revived, followed by "Pale Janet" on the 8th. W. J. Fleming and J. W. Blaisdell joined this week. The balance of the year was devoted to benefits for various players and old plays were re- peated. ARLINGTON HALL.- Originally this hall was Smith & Nixon's Hall, now renamed. It was opened under the name of Arlington Hall on September 2d with Billy Arlington ' s Minstrels. In the company were such well 680 CHICAGO STAGE Arlington Hal l - Library Hall 1867 known minstrel men of that day as Johnny Booker, Sam Gardner, G. W. Jackson, Wm. Barry. The latter became identified at a later dat<=» as a partner in the well known team of Barry & Fay. The minstrel troupe was undcx the management of J. H. fT Jack" Haver ly. This is the first mention of that name which later became highly important in the operation of theatricals in Chicago and elsewhere. Of all names in the annals of theatri- cals, few are more inspiring or reminiscent of more daring exploits than that of J. H. Haverly, who started life in the unpoetic vocation of a shoemaker's apprentice. He soon graduated, however, to a newsboy on trains out of Philadelphia, Pennsylvania, which was his birthplace. Later he became ticket taker in a theatre and finally a treasurer. His first theatrical venture was as manager of a variety company in To- ledo, Ohio. Thereafter he became interested in minstrelsey and organized and operated the Burgess & Haverly Minstrel, touring the country in 1862. He purchased Cool Bur- gess' interest and the name then became Haverly' s Minstrels. His interest in Chi- cago amusements started when he came here as manager of Billy Arlington and remained for many years. He was a great plunger and kept up his activity until he died at Salt Lake City, Utah, in 1902. LIBRARY HALL.- This hall, formerly the Metropolitan, was occupied on the 2d of 681 CHICAGO STAGE Library-Farewell-Jackson's Hall 1867 January by a humorous reader, Henry Nicho- las. Frederick Douglas, the negro, lectured February 7th on "Self Made Man". Nothing further is recorded at this hall until Fred Wilson' s Minstrels appeared on August 26th to 29th, billed as an "All Star Troupe" v/hich included: Happy Cal Wagner, the great and original; Walter Bray from California; J. H. Kemball, the African Rozcius; C. R. Frederick, eminent baritone; J. J. Kelly, unrivaled tenor; Rollin Dana, wonderful soprano; and Fred Wilson himself. J. H. Howard was the agent. FAREWELL HALL.- Ole Bull's Grand Con- cert opened here on January 6th to good attendance. The great artist was assisted by Vivian Hoffmann, Ignatz Pollock, and Edward Hoffman. JACKSON'S MUSIC HALL.- This hall was located at the corner of Wabash and Monroe Streets. It was opened on January 24th with the Caledonian Glee Club. But beyond this little is recorded of its activities. Thus the year 1867 came to a close in the entertainment field in Chicago, with the majority of the theatrical managers looking optimistically ahead, as is gen- erally characteristic of that profession. A wonderful thing is hope, particularly in a game as uncertain as that of entertain- ing the public. 68) CHICAGO STAGE McVickers Theatre 1368 MCVICKERS THEATRE.- The new year found three short plays entertaining the patrons: "Leap Year'', "Nick of the Woods", and "A Regular Fix". On the 10th, Mr. Rainsford was given a benefit with a presentation of "Ten Nights in a Barroom" and "bpooks" put on for the afterpiece. These were followed by Augustin Daly's "Under the Gaslight", which was really a version of Poster' s "New York by Gaslight" . The play was re- tained until the 13th when Dan Bryant returned and opened with "The Irish Emi- grant" and "Handy Andy", both of which were well received. On the second night Bryant changed to "Rory O'More" and "More Blunders Thai. One". Other Irish plays produced by Bryant were: "Irish Lion", "Love and Mur- der 7 ', "Shamus O'Brien", "Arrah-na-Pogue ", finishing his engagement on the 25th. Edwin Booth, supported by Mary McVicker, returned and opened on the 27th, present- ing during his visit "Merchant of Venice", "Hamlet", "Lady of Lyons", " Othello", "Romeo and Juliet*, "Richelieu", "Macbeth", "Richard III", "The Stranger" and "Katha- rine and Petruchio" . Mary McVicker was ill during a portion of -Mr . Booth's engagement here and Mary Meyers, the former Mary Mar- ble, assumed the leads in a satisfactory manner . After Edwin Booth departed, Zoe, the celebrated Cuban artist, paid Chicago an- other visit and began by presenting, on February 10th, "The French Spy". Her main 683 CHICAGO STAGE McVickers Theatre 1868 support on this occasion was E. D. Lay. Zoe ' s second week was devoted to a pre- sentation of "Wept of the Wishton Wist", with "The Wizard Skiff" as the afterpiece. Taking her departure at the end of the week, Zoe was succeeded by the three Hanlon Brothers, Thomas, Edward and Frederick, and their so-called talented pupils, Jul- ien, Francois, Victor, and not to be for- gotten, especially by Chicagoans,— Tony Denier. Antonio "Tony" Denier, perhaps the most famous clown and outstanding pantomimist, came to America in the Forties with his father. He first appeared in Chicago in 1867, but eventually became a much admired citizen. He managed a "Jack and Jill" com- pany through California in 1876, but came back to Cnicago and, witn J. H. Haverly as a partner, managed the Adelphi Theatre. He later leased the rebuilt Woods Museum, which again burned in 1877. After this he took to the road as manager of the cele- brated clown, George H. Adams. When this tour was finished he again entered the amusement field in this city and remained here until the grim reaper cut him down. During his lifetime he accumulated a for- tune through his theatrical ventures and his real estate investments. He married Mile. Auriol, a dancer, who died in Chicago on June 6, 1899. The Hanlons opened to a packed house, and Tony was the hit of the show, in other 684 CHICAGO STAGE McVickers Theatre 1868 words, "Tony wowed ' era" . The Hanlons gave a splendid entertainment during their en- gagement and, as there was no star to fol- low them, the stock company attempted to keep up the interest they had aroused by presenting Henry Ward Beecher's story, "Norwood". This was kept on until Mr. and Mrs. W. J. Florence opened on March 21st with a repertoire of their well worn Irish dramas which, however, failed to attract substantial patronage. Heretofore, Irish and Yankee plays had been the best drawing cards, but the interest in them was obvi- ously beginning to wane, although "Kathleen Mavourneen" drew a packed house when the popular team offered it on this visit. The Florences having departed, Maggie Mitchell returned and opened April 13th, supported by J. W. Collier, in her pre- sentation of the familiar "Fanchon the Cricket", following it with " Little Bare- foot", and "The Pearl of Savoy", all of which drew well and pleased. Miss Mitchell was succeeded by Frank Chanfrau and Charles T. Parsloe, who pre- sented "Sam", "The Streets of New York", and "The Octoroon", closing May 6th with Thomas Blade DeWaldron 1 s "Joe", seen for the first time on any stage. At the end of the performance Mr. Chanfrau was called before the curtain and, true to the average actor's characteristics, delivered a very flattering speech. The play had this 685 CHICAGO STAGE McVickers Theatre 1868 CAST Joe Woodburn John M. Sparke Creeper Flaw Letty Honeydew Wiley Whirl Dr. Poddleton Melinda As pern Brunius Boggs Edith Flaw Mr. Par sloe Mr . Chanf rau Mr. Stanley Mrs. Cowell Mr. Brittan Mr. Rainsford Mrs. Jordan Mr . Woodhull Miss Logan May 18th Chanf rau put on "Our American Cousin at Home" which was followed by the often played "Toodles". McVicker was becoming jealous of the success of Jarrett & Palmer's "Black Crook" which was packing them in at Crosby's, now under the management of CD. Hess, so he sought John E. McDonough and persuaded him to return and again put on that play. This was done, but not with the startling suc- cess McVicker had expected and hoped for. "Black Crook" closed on July 11th, and Owen Marlowe became the featured player in "The Lottery of Love" which opened on the 13th. Marlowe continued until the end of the month in a repertoire of standard com- edies, all of which he was well qualified to play. He was replaced by Mark Smith, son of the great pioneer showman, Sol Smith, opening on August 3d as Sir Peter Teazle in "The School for Scandal" . The second week he presented "Two Old English 686 CHICAGO STAGE McVickers Theatre 1868 Gentlemen" and on the 14th he did "London Assurance" for his benefit, with Smith as Sir Harcourt, Marlowe as Charles, Meyers as Dazzle, and Ann Cowell as Lady Gay Spanker. C. W. Couldock succeeded Smith, begin- ning on August 17th with a presentation of "The Post Boy and Milky White". Mr. Coul- dock presented nothing new during his stay. Joseph Jefferson came August 31st opening with "Rip Van Winkle". Featured with the star was Little Willie Young as Little Meenie. Every seat in the theatre was oc- cupied on the opening night and the standees tested the floor space in the rear of the house. Jefferson had been remembered for his painstaking performances given the year before, at which time he was seen in Chi- cago for the first time since childhood. He took an unnecessary benefit on Septem- ber 4th and concluded a successful four weeks' engagement with a presentation of "The Rivals" on October 3d. "Midsummer Night's Dream" was put on and continued through October, featuring Fanny Stockton and Annie Kemp as Oberon and Titania, and Willie Young as Puck who "Put the girdle 'round the earth in forty minutes." Edwin Booth returned and gave the same Shakespearean repertoire of plays he was seen in before. After he departed McVicker thought they had now had enough of the 687 CHICAGO STAGE McVickers - Crosby* s Opera House 1863 classics and he turned to a new form of entertainment and brought in what he called "Queens of Burlesque" featuring the Laf- fingwells, and Blanche Chapman and Alice Turner. The attraction did a fair business. They were followed by "Lotta" who remained for the balance of the year and into 1869. CROSBY'S OPERA HOUSE.— "Undine" was still on view at this house at the begin- ning of 1868, and continued until January 18th, after which the company left for Boston, Massachusetts. The house was then dark until Gilmore T s Band, with Camilla Urso as a special feature, appeared on the ?lst. This musical organization was well received and the patronage was fairly good. February 2d that celebrated impresario, Max Meretzek arrived with the Italian Opera Troupe combined with Leonard Grover's Ger- man Opera Company. Meretzek was the musical director and Grover the manager. This com- bination was said to have embraced fully 126 persons, and was the biggest indoor attraction that had ever invaded Chicago. Among the many important names found in the roster was that of Minnie Hauck who later became famous in her line. While there were other names prominent at the time, none acquired the distinction gained by Miss Hauck. The Opera Company departed at the close of one successful week of good but not paying business. Mrs. Lander, the former Jean Davenport, 688 CHICAGO STAGE Crosby's Opera House 1868 returned after a long absence and presented "Elizabeth the Queen" on February 10th, It had this CAST Elizabeth Essex Lord Burleigh Sir Francis Drake King James Lord Howard Davidson Francis Bacon Page Lady Burleigh Sarah Howard Margaret Lambourn Lady Somerset Mrs. Lander J. H. Taylor A. W. Fenno H. Wentworth W. J. Cogswell H. C. Tryon R. Souther s George Beck Miss Carrie Anna Monk Miss J. G our ley Rose Monk Miss Wentworth The play had been presented by the great Italian actress, Rostori, and to those who understood Italian, Mrs. Lander's perform- ance was not comparable to that of Rostori. The drama was changed to "Mary Stuart", and Mrs. Lander closed her engagement on the 15th with "Macbeth". Immediately thereafter, Madam Fanny Jaunauschek leased the theatre and opened in Grillparzer' s "Medea" on February 18th, giving the play in German. This was the first appearance of this distinguished player in Chicago, but it was a long way from being her last as she was often seen later, acting in English as well as her 689 CHICAGO STAGE Crosby's Opera House 18G8 native tongue. In Madam Jaunauschek 1 s rep- ertoire were the following plays: "Adrienne Lacourere", "Mary Stuart", "Marienne" and "Deborah", the latter being the original of "Leah the Forsaken". Prices were $1.00; 50£ for the family circle; and from $10.00 to $15.00 for boxes. This thrilling dra- matic performer was not a huge success on this, her first visit to Chicago, but like other determined performers she kept on fighting her way to the front. The next attraction was Richings' Eng- lish Opera Company, headed by the popular Caroline Richings. Others in the troupe were: Mr. and Mrs. Edward Seguin, Mrs. Ar- nold, Messrs. Castle, Arnold, Campbell, et al. The operas offered were "Rose of Cas- tle", "Martha", "Fra Diavolo", "Daughter of the Regiment", "Lily of Killarney", and for the matinee, "Doctor Alcontara" by Jul- ius Eichberg. This organization remained until the end of March. After the departure of the Richings, the famous Edwin Forrest came out of the retirement to which he had been driven on account of the scandalous divorce proceed- ings instituted by his wife, the former Catherine Sinclair. Forrest did an enormous business in spite of the fact that he had lost some of the fire that had marked his earlier performances. His main support was Barton Hill. Forrest began his engagement with "The Gladiator" and followed it with "Richard III", "Damon and Pythias" and 690 CHICAGO STAGE Crosby* s Opera House 1868 other favorite pieces of his repertoire. While he played to large houses, the re- ceipts were not satisfactory to Mr. Hess, manager of the Opera House, because of the excessive demands of the star, who always received the lion's share wherever he ap- peared. The general complaint was that this great player had begun to show symp- toms of senility and that Barton Hill, who was distinctly a comedian, was not the proper support for the great Forrest. The next attraction was J. Newton Gott- hold, who opened April 16th in the histor- ical drama, "Uriel Acosta", and remained for one week, after which a French company held the stage until May 2d closing on that date with a benefit for the leading lady, Mile. Lambele. Next to appear was De Pol's Great European Star Ballet Troupe featuring the "Great Premiere Absolute", Mile. Morlachi, together with other Persian novelties. They opened with Offenbach's opera, "La Belle Helene", following it with the same author's "Orpheus" on May 4th. This opera was pro- nounced, by the press and discriminating public, the best operatic performance ever given in Chicago. It was kept on for three performances, v/hich finished the limited stay of the French company. The above mentioned opera, "Orpheus", was presented at this time with the fol- lowing players. 691 CHICAGO STAGE Crosby ? s Opera House 1868 CAST Eurydice Orpheus Pluto Jupiter John Styx Mercury Mars Public Opinion Juno Venus Cupid Minerva Mile. Morlachi Mons. Deere Mons. Gonjou Chamoumani Mons. Gilbert Mons. Aureson Mons. Medric Mons. Edguard Mile . Durhame Mile. Cedric Mile. Daye Mile. Chamoumani Olive Logan lectured on "Stage Struck" on May 14th, and on June 1st C. D. Hess, manager of the Opera House, in conjunction with Jarrett & Palmer, produced "The White Fawn" , a mammoth and lavish production that Jarrett & Palmer could well afford, having made over a half million dollars a year or so before with "The Black Crook". "The White Fawn" was a big success and remained on view for several weeks. It was succeed- ed by a dramatic company from St. Louis, Missouri, which opened August 3d with "Ten Nights in a Barroom" . On August 26th, C. D. Hess, who had been acting manager of the house, became the lessee along with Benjamin F. Lowell, and A. D. Bradley was the official stage manager. The first star was Lucille Western who appeared, with other good players, in "East Lynne", the play she purchased out- 692 CHICAGO STAGE Crosby' s Opera House 1868 right from its author, Clifton Tayulure, for one hundred dollars. "East Lynne" was replaced by "Oliver Twist" with the star as Nancy Sykes and W. H. Whally as Bill. This in turn was succeeded by T.W. Robert- son's "Caste" done with this CAST Esther Eccles Lucille Western Polly Eccles Annie Waite George D'Alroy W. H. Whally Capt. Ha Vv tree G. W. Garrison Sam Garridge N. D. Jones Old Eccles A. D. Bradley Marchioness Miss E. Andrews "Caste" was retained until the 11th when it was replaced by "The Child Stealer", after which Miss Western concluded her en- gagement on the 12th with a presentation of Augustin Daly T s "Leah the Forsaken". E. L. Davenport and J. W. Wallack opened the 16th in "Othello", Davenport in the name part and Wallack as Iago. These two tragic players remained but one week. John E. Owens appeared on September 30th in "The People's Lawyer", the part of Solon Shingle being a great favorite with him. This splendid comedian met with great favor and was repeatedly called before the curtain. Other plays given by Owens were: "The Heir-at-Law" and "The Cricket on the Hearth", closing with "Everybody's Friend". 693 CHICAGO STAGE Crosby's Opera House 1868 Mr. Owens was one of the most popular play- ers to visit Chicago during this period. Boucicault's "The Flying Scud" was put on by the stock company on October 14th, and an English actor, Edward Coleman, was imported for the occasion, appearing as the old jockey. The play, however, was disap- pointing and was soon withdrawn. October 21st James A. Heme was seen for the first time in this city, in support of Helen Western. His introduction to a Chicago au- dience was in "The French Spy" ? 55 Murderer's Doom . . 410 Murdock, James E. 81-102-142-165-167-172 200-288-565-455-478-642 Murray, Domini ck 709 Museums 87-108-264-567 Mysterious Stranger.. 595 My Friend the Strap 186 My Heart's in the Highlands 41 My Neighbor's Wife .... 104-110-519-527 780 INDEX Page Nagle, J. A 561 Napoleon's Old Guard 272-329 Nature and Philosophy 219-413 Nature's Nobleman 440 Neafie, A. J. 250-244-286-517-360-486-501 Neighbor Jackwood 372 Nell Gwyrm 409-629 Nelson, H. B 65 Nervous Man 378 Newcombs Minstrels 609 New Footman 186-579 New Orleans Opera Troupe 396 New Way to Pay Old Debts . 140-146-170-204 243-255-377 New York As It Is 295 New York Italian Opera Troupe 258 Naiad Queen 355-645 Nichols & Company's Circus 86 Nick of the Woods. . . 194-330-379-447-493 Nigger, The 599 Nixon, Adelaide 606 Noble Outcast 433-439 No Song, No Supper 51- 75-299 North, Levi H 80-274-283 North's Circus . 30-86-269-274-233-296-370 Oates, Mrs. A. J. (Alice). . . 606-641-711 Ocean Child 406 Octoroon, The 459-502-561-650 O'Flanigan and the Faries 406 Old Guard 254-502-372 Old Heads and Young Hearts 270-305-533-425 Old Homestead, The 106 Old Plantation 355 Old Oaken Bucket 74 Oliver Twist 42- 43 Ordway's Ethiopians 367 781 INDEX Page Othello 77-126-14o-204-319-355 Our American Cousin. . 28-430-435-476-587 Our American Cousin at Home. . 477-485-561 Our Female American Cousin 500 Owens, John E 301 Parodi, Madam 306 Parsloe, Charles T 662-685 Parsons, C. B 28 Partington, Kate 518-607 Partington, Sally 607 Pastor, Tony . . . 269-277-329-530-352-566 Patent Theatres 48 Patti, Adelaide 179-256-280-475 Patti, Amelia 256-279-305-567 Patti, Carlotta 501-515-722 Paul Jones 163 Paul Pry 139-165-259-301 Pauline 445 Payne, John Howard 100 Peake, a. J 454 Peake Family 454 Pearl of Savoy 536 Peep 0'Day Boys 505-599-602 Peg Woffington 305-515-320-526 Penoyer, Mrs 520 People's Candidate, The. . 118-182-228-258 People's Lawyer 182-269-295 Perrin, Mrs. (Nee Woodbury) 290-485-600-651 Perry, Agnes 641 Perry, Harry 229-359-362-575 Perry's Victory 277 Petticoat Government 33 Pike's Peak 431-455 Philmore, G. W 95 Pilot, The 529 782 INDEX Page Pioneer Patriots 414 Pirates of the Mississippi 527 Pirate Prince 455 Pitt, Charles Dibdin. . . . 70-140-170-189 Pizarro . . .59-69- 05-229-244-287-576-594 Placide, Henry 555 Pleasant Neighbor 70 Ploughboy 76 Plunkett, Ada 465 Pocahontas * 526 Poe, Edgar Allen 28 Polly the Young Quaker 425 Polish Wife 17 Poor of New York 571 Poor Gentleman 42 Poor Girl's Story 600 Poor Soldier 45 Pope, Charles 641-644 Pope, Mrs, Coleman. . . . 152-157-159-205 Porter, J. G 62- 65 Porter, Mrs. J. G. (Mary Duff). ... 65 Potter, John S. . 69- 77- 31 Potter, Mrs. (Esther McCormac) . ... 65 Powell k Lyne 65- 67- 74-447 Price & Simpson 275 Pride of Adobos 165 Prima Donna 238 Prior 500-505 Proctor, Joseph . 550-555-579-495-508-662 Proctor, Mrs. (Hetty Warren) . . . 579-495 Provost, Mary 565 Putnam, Katie 408-464 Putnam the Iron Man 214-555-556 Pyne & Harrison Opera Troupe 505 Pyne, Louisa 505 Quadroon, The 501 735 INDEX Page Queen of the Abruzzi 244-272-292 Quick, Isaac 275 Rag Pickers of Paris 348 Rankin, McKee 71b Ravell Family 322-423-440-465 Raymond, John T 646 Rebels and Tories 269 Reeves, John 79 Rei.ngold, Kate 182-185 Reingold, Mrs 182 Retribution 324-419-464 Return from Moscow 375 Re vie w, The 38- 70-352 Rice, Dan 370-580-620 Rice, John B 37- 97-581 Rice, Mrs. J.B. (Nee Warren). . . . 87- 97 Rice, Thomas D. (Jim Crow) 77- 97 Richard III . .69-82-38-90-146-170-184-285 317-371-337-414-441-444 Rich, Fanny 405 Rich and Poor of Paris 253 Richings, Caroline. 153-253-272-283- 288 292-303-431-599 Richings, Peter. . . 153-253-272-283-289 292-303-481 Richings Opera Troupe 159-253-272-283-292 303-690-725 Richelieu 105-159-234-285-290 308-335-276 Rignts of Women 313 Riley, James 314-322-399 Riley, V. H 290-350-399-455 Ring ling Brothers 263-264 Ringold, Kate 627 Rip Van Winxlfe, . 26-27-23-316-330-436-655 Rival Merchants 415 Rivals, The 56-207-426-601 734 I N D E X Page • Rivers, Prank 604 Road to Ruin 164 Robbers, Tne . 172-619-548-376-399-409-444 Robber's Wife 188-222-447 Robert Brierly 660 Robert Emmet t 217 Robert Macaire 299-447 Roberts, J. B 414 Robertson, Agnes 28-249-358 Robinson, "Yankee". . 260-504-564-657-658 Robinson & Howe's Circus 579 Rob Roy 35-287-528-352 Robson & Crane 654 Rockwell's Circus 211 Rofiielle the Libertine 409 Roland for an Oliver 28-500 Romance and Beauty 527 Romance and Reality 252 Romance oi a Poor Young Man . .465-466-477 Romeo and Juliet. . 51-104-154-172-219-247 520-524-552-599 Rookwood (Dick Turpin). 214 Rose Elmore 475 Rosedale or The Rifle Ball 214-562-591-645 Rose of Castile 600-605 Rose of Killarney 500-474 Rostori, Adelaide . . 611-612-618-670-675 Rouell the Hunter 550 Royal Command 444 Royal Picnic 285 Russell, Sol Smith 456 Ryan, E. A 271 Ryan (Kate Denin) . . 220-287-297-505-322 551-422-457-475 Ryan, Sam 502-551-422-457-475 Ryer, George H 105-131 Ryner 229 735 INDEX Page Sailor T s Hornpipe 69 St. Claire, Sally 594 St. Maui', Harry 297 St. Marc 293 Sam 662 Sam Patch 74-509 Sam Paten in trance 74 Sands, Dick 60S Sands & Nathan 1 s Circus 231 San^ey, Thomas IS Satan in Paris 187-553 Saxe, John G 417 School of Reform 521-581 School for Scandal . . 172-294-521-528-573 478-654 Scott, John R 220 Sea of Ice 530-592-565-650 Second Love 515 Sedley, Henry 188-456 Sefton, John 28 Seguin, Edward 604 Senter, Annie 552 Serf, The 555-602 Serious family 180-214-526-549-578-580-599 Seven Escapes 195 Seven Sisters 507-560 Shadows of a Great City 30 Sharpe, J. (J.S. Potter) 67 Shaw, Dora 517-504 She Stoops to Conquer. .43-201-549-380-600 Shoemaker of Toulouse 525 Shylock the Jew 504 Siddons, Mrs. Scott 704 Siamese Twins, 320-527-407-610 Simpson & Company 101 Sinclair, Catherine 456 Six Degrees of Crime 529-594 736 INDEX Page Skiff & Gaylord's Minstrels. . . . 608-609 Slave Queen 624 Sleep Walker, The 181 Smith, Mark 707 Smith, Sol 84 Social Scourge 422 Soldier's Daughter .... 71-125-297-444 Solon Shingle 182-406 Somebody Else 96 Somnambulist, The 322 Sons of the Ocean 335 Sorceress, The 503 Sothern, E. A 476-435 Spaulding & Rogers' Circus . . 80-370-371 Speculation 443 Speed the Plough 420-465-507 Spirit of the Rhine 409 Spoiled Child 23 Stark, James & Mrs •. 376 Stanley, Emma 306 Star Sisters 400-512 Star Troupe of the West 418 Stewart, Fatty 405-607 Still Waters Run Deep. . . 286-321-324-331 Stock Stars 71 Stone Circus 76-265 Stone, Dan 231 Stovve, Harriet Beecher 295 Strakosch, Maurice (Max) . 256-306-367-428 451 Stranger, The. .14-20-64-96-148-168-172-254 254-237-335-411 Stratton, Charles (Tom Thumb) .... 266 Streets of NTew York 371-643-662 Sullivan, Arthur 26 Sullivan, Barry 440 Sunshine of Paradise Alley 106 787 INDEX Page Surgeon of Paris 218 Swamp Fox 530 Sweet Alice Ben Bolt 350 Sweethearts and Wives . . . 40-501-549-378 Swiss Cottage 44-520 Swiss Warblers 255 Sybil 398 Sybilla 602 Taking the Chances. . 509-373-574-462-629 Taming of the Shrew 51-313 Taylor, Benjamin F 558 Teddy the Tyler 172-302 Ten Nights in a Barroom . . . .577-600-651 Tennyhill, F. A 564 Thalberg, Madam 567 Thirst for Gold 580 Thomas, Theodore 451-722 Thompson, Charlotte 595 Thompson, Denrnan 106 Thompson, Lydia 714 Thome, Charles 297-504 Thorne, Charles, Jr 297-504 Thorne, Emily 297 Thorne, Harry 297 Three Fast Men ' 400-402 Three Guardsmen 601 Thumping Legacy 186 Ticket of Leave Man . 561-571-535-599-605 Tilton, E. L 580-588-590 Time Works Wonders 652 Times that Try Us 577 Timon the Tartar 213 Tom and Jerry 294-465 Tom Thumb (Chas. Stratton) 244-267-505-389 Toodles . . . .293-501-525-549-578-406-408 Town and Country 425 788 INDEX Page Tree, Ellen 615 Trodden Down. . 483 True Kentuckian 314-£17 Trumbull, Julia 191 Turner, Aaron 266 Turnpike Road 63- 69 Turning the Tables 425 Two B'Hoys 196-207 Two Friends 34- 35 Two Sisters 106 Uncle Sam 42-172 Uncle Tom's Cabin 244-251-258-270-551-392 416-420-421-575 Under the Gaslight 667-685 Under the Palm 591 Union of Old Virginia 483 United States Circus 238 Unfinished Gentleman 41 Up Salt River 420 Urso, Camilla 646 Usher, Luke 120 Vallee, Mile 193-227 Vandenhoff , George 367-436 Van Amberg 281-232 Van Amberg T s Circus . . . 231-282-283-234 Vermont Wooldealer 74 Vestvalli 564 Vincent, Felix 388-409 Village Lawyer 55 Vinning, Fanny 273 Violet or Life oi an Actress 341 Virginius 151-244-379 Vision of the Dead 54 Vo Kurt Martial 384 Volunteer, The 70 739 INDEX Page Wag of Windsor 146 Wainwright, Marie 115 Waiting for- the Verdict. . . 6-70-565-602 Waldren, George 629 Wallace 532-494 Wallis, Gladys 656 Wallack, James W. . . 509-527-523-535-651 Wallack, Lester 509 Waller , James and Mrs 596-458 Walter, Raymond 164 Walter Terrell 234 Walton, James. 267 Wandering Boy 41 Wandering Jew 531-355 Wandering Minstrel 507 Wanted, 1000 Milliners 525 Ward, Artemus 608 Ward, J. H 549-408 Warlock of the Glen 38-281 Warner, Mrs 222 Warner, Henry 645 Warren, Hester £1-379 Warren, Sarah 51 Warren, William* 51 Warren, William, Jr 21- 57 Warwick 206-207 Washington at Valley Forge 482 Watkins, Harry 403-414-488 Webb Sisters 464-474-485 Wemyss, Catherine 32-141 Wemyss, Francis C 141 Wept of the Wishton Wist . 144-194-353-607 634 Werner 509-535 Western, Helen 400-402-646 Western, Lucille 400-402-646--647 Weston, J. M -. 517 790 INDEX Page West's, Wm. Circus 81 White Fawn 692 Who Speaks First 299-552-407 Widow's Victim 181-295-600 Wife, The 51-52-99-123-148-223-297-299-301 Wife for a Day 139-269-285-330 Wife's Revenge 215 Wife's Secret 292-649 Wignell, Thomas 72 Wild Bill 371 Wild Irish Rose 405 Wild Oats 168-438-600 Wild Stead oi' the Prairie 156-363 Wilkinson, Mrs 195 William Tell . 55-168-191-501-329-348-378 Williams, Barney . . 146-158-172-136-667 Williams, Mrs. " . . 146-158-172-186-667 Williams, Emma (Mrs. Brougham) . . 146-250 Willow Copse . . . 245-272-286-508-321-419 465-484 Wilson, Charles 297 Winans, John 206-219 Windmill, The 501-392 Wine Works Wonders 165-163 Winter's Tale 225-528 Wives as They V/ere and Maids, etc. . 52 Wizard of the Sea 356 Wolfe, Mr 285 Woman in White 475 Wonder, The , . . . . 49-246-264 Woodbury, Susan (Mrs. Mel arland)285-503 -464 Woods, Col. G. H 269-456-567 Woolgrower, The 74 Wording men oi Paris 591 Worrell Sisters 705 Wreck Ashore 161 Wreckers Daughter 161-444 791 INDEX Page Wrenn, Ella 465 Wright, J. S 512-&L3 Writing on the Wail 2c9 Wynette', Charlotte 245-244 Yankee Duelist . . . . 140 Yankee Housemaid 272 Yankee Housekeeper 520 Yankee in Time 75-119-140 Yankeeland 74 Yankee Locke 296 Yankee Robinson (See Robinson, Yankee) 261 Yankee Woolgrower 74 Young Heads and Old Hearts '. 547 Young Scamp 291 Your Life's in Danger 508 Youthful Queen 100 Zembrucca 46 Zenith ,...-.... 170 Zoe, Marie 540 4fc 792