FLORENCE CLINTON (Mrs. Theodore) SUTR().
As St. Ccciliti ( 1902 ).
Copyright ('190K), by Theodore Sutru.
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CHAPTER I. page
Principally Vaudeville—"Who Made Modern Vaudeville?"—
Noted Careers—The White Rats and Vaudeville Syndicate. i
CHAPTER II.
Old-time Theatres and Old-time Managers—Advent of Klaw &
Erlanger and the Shuberts 54
CHAPTER III.
Era of the Manageress—Mrs. John Drew—Mrs. Conway—
Stories of John Stetson, Poole and Donnelly 97
CHAPTER IV.
The Business Side of Theatricals Past and Present—Advent of
Liebler & Co.—Geo. Tyler—The Record of a Great Produc¬
ing Firm—Biographies 127
CHAPTER V.
Retrospective—When Madison Square Garden was the Harlem
Depot—Horace Greeley and Charles Fechter—The Elder
Hackett—Mario and Grisi—Jacob Grau's French Ball in
Honor of Present King of England—How Maurice Grau
Emulated His Uncle 158
CHAPTER VI.
A Resume of Brilliant Careers—Maurice Strakosch—The How-
sons—The Brahams—Memoirs of Favorites of Long Ago.. 189
CHAPTER VII.
How Our Favorite Stars of To-day Began Their Careers—A
Hap-hazard Period 216
CHAPTER VIII.
Anecdotal History of Interesting Careers—Tetrazzini—Blanche
Arral—Sembrich and Others 233
iv
(Hmttimts by Chapters
CHAPTER IX. page
An Appreciation of Oscar Hammerstein—Careers of Musical
Celebrities—The Violincello's Lack of Potency—Victor
Herbert's Life Story—The True History of Maurice Grau
from Libretto-boy to Impresario—History of English Opera
in America—When Stetson Asked for Forty Apostles—
Comic Opera Vicissitudes—Poor "Billy" Deutsch, Who
Actually '"Broke the Bank at Monte Carlo" 259
CHAPTER X.
Rubinstein's Visit in 1872—Barnum and His Disciple—Founda¬
tion of the Circus Business in America—The Mascagni
Fiasco—Ben Greet's Perseverance—Fanny Janauschek 291
CHAPTER XI.
Prodigies—When the New York Herald, was Supreme—Its War
with the Managers of the 6o's—The Herald's Joke on the
Public—Biographical Sketches—How Path Came to Sing
"The Last Farewell." 320
SAM S. SL1UBERT.
Founder of the Shubcrt enterprises—deceased.
ftofatorg
Neither from a literary nor a critical stand¬
point does the author of this volume seek the
'plaudits of his readers.
The title of the work itself best defines its com¬
prehensive and definite scope and purpose.
It was thought that the author, being the last
of the Graus (descendent from Emanuel Grau),
a perpetuation of his recollections might not be
wholly in vain.
In the confines of a single volume it has been
possible to include but a small part of the mass of
data available, and the same statement applies to
portraits. The author is anxious that such ap¬
parent incongruities as the absence of portraits of
numerous distinguished subjects be explained by
the limitations of space he had to contend with,
and the amount of space devoted to any subject
has been regulated generally by the amount of in¬
teresting data recalled.
Many world-famous stars and managers are thus
omitted, either because the author could recall
nothing in their careers not generally known, or,
Prefatory Note
as in the case of celebrities such as Ilenry Irving,
Ellen Terry, Richard Mansfield and others, where
careers have been made the theme of individual
volumes by famous writers with whom this author
could not hope to compete.
The reader s attention is called to the footnotes,
which add, at the last moment, changes and addi¬
tional data due to developments occurring while
the volume was in the course of preparation.
It remains but to add that the author has in his
possession portraits and MS. sufficient for addi¬
tional volumes of the greatest interest, which will
promptly appear in book form if the present work
meets with the recognition which he humbly
anticipates.
Robert Grau
Mt. Vernon, N. Y.
Easter, 1909.
3uirtg fears ODbsermttuut
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ilusir attb tlj? irama
CLARA CLEMENS.
Contralto (daut/htcr of "Mark Tzvain").
Forty Years Observation of
Music and the Drama
CHAPTER I
I take it for granted that the person who does me the
honor to read these pages will concede that I have ac¬
quired, by force of experience alone, a little wisdom in
respect to the Vaudeville business of America. That
business which has engaged my earnest and almost
exclusive attention for a period of about sixteen years,
has undergone such wonderful ramifications in that period
that, frankly speaking, I can scarcely look back upon it
now without the vague feeling of one who has lately
passed through a disconnected dream.
In my mind's eye, I see, two and three decades ago, the
conventional oldtime "variety show." I look back in
pleasant fancy to some of the cleverest bills of song and
dance that have ever been put together. I hear again the
voices of those olden favorites Delehanty, Hengler,
Mackin, Wilson, and their fellows of that time; and I am
glad that I have been privileged to linger until I have
passed the open door of the "Modern Vaudeville" Theatre
of to-day.
Whence comes this "Modern Vaudeville"? By what
magical process of modernizing, or refining, if you will,
has it grown to be such a wonderfully important factor
in the scheme of American theatricals?
2
jFortp gears Dtertoation
Let me go beyond these questions, and ask another,
perhaps more directly to the point:
"Who made 'Modern Vaudeville?'"
In the early spring of 1894, it was my good fortune to
spend an afternoon with the late Tony Pastor in his cosy
and never-to-be-forgotten little bird-cage of a theatre in
14th Street. Together, we "watched the show," and, as
the acts came and went in regular order, I could not fail
to notice a peculiar difference from the old variety house;
something was lacking. There were the familiar faces
on the stage, to be sure: Filson and Errol, Edwards and
Kernell, Maggie Cline, Leroy and Clayton, John Kernell,
Barry and Bannon, Major Burke and others of that dear
old Grand Army of the Regulars that had so long and so
faithfully entertained the public. But the show "hung
fire;" the house was not crowded, nor was it little more
than apathetic.
"What's the matter with it all?" I asked of the Dean
of the old-time "variety show."
And his carefully measured answer—I have never for¬
gotten it, and I never will—enlightened me.
"Bob, the old-time variety show is dead. It is 'Refined
Vaudeville' now! A chap up the street, in the Union
Square Theatre is putting us to sleep. It's Fynes, of the
Clipper. He's running that house for Keith, the Boston
'continuous man,' and he's going to raise Cain with the
variety business in America unless something stops him.
Mark my words!"
The years have passed since that prediction was made;
though I little thought how much import it might, later,
bear to me personally, I soon came to realize that Tony
Pastor spoke with the absolute force of prophecy.
It is not my purpose in this volume to precipitate per¬
sonal discussions, nor shall I enter into an elaborate
statistical history of what I shall call the New Era of
of ^u0ic anO t\)t Drama
3
Vaudeville. I intend to set down plainly and honestly
only that which fell under my own observation; in so
doing I feel that my pen would belie me if I did not
award credit where credit is due.
I have no axe to grind; I bear no brief for any stage
client, or for any managerial friend, patron or acquaint¬
ance. The many years that I have spent in the vaudeville
service have been rewarded, as, I presume, my labors
deserved. I am still free in speech, and, do not hesitate
to state that, in my judgment, the man who made the
Vaudeville of to-day is J. Austin Fynes.
I met Fynes in 1884—a quarter of a century ago!
There was no silver round his temples then, and there
was none beneath my hat, either. But tempus fugit;
what difference does a gray hair, or two, make in a vaude¬
ville lifetime?
Fynes was then the dramatic editor of The New York
Clipper. It was, and is, a solid, conservative organ of
the general theatrical profession, with a leaning toward
the variety and circus branches. That was in 1884, as I
have said, and Fynes had come to The Clipper, from the
night editor's desk of The Boston Herald. In 1886 he had
advanced to the position of managing editor of The Clip¬
per, and to the duties attached to that responsible post
he added, in 1887, the further duties of dramatic editor of
The Evening Sun. He was the first of The Evening Sun's
dramatic critics, by the way. In twenty-two years that
brisk newspaper has had only three dramatic critics—-
Fynes, Charles Dillingham and the present incumbent,
the effervescent and popular Acton Davies.
I mention these details to emphasize my conclusion
that when Fynes fell into Vaudeville, through the grace
of—B. F. Keith—he was amply qualified, by literary
training at least, to do just what dear old Tony Pastor
remarked: "Raise Cain with the business."
4
jFortp ^earg D&gertmtion
In the spring of 1893, I read in The Evening Sun that
B. F. Keith had acquired the lease of the Union Square
Theatre, then under the management of Greenwall &
Pearson, and running as a combination house. The bonus
was something like $26,000, and the lease had four or five
years to run, with the privilege of renewal. A fortnight
later, I read in The Clipper that Mr. Fynes had resigned
as editor, and had accepted the position of manager of
the Union Square. The house was closed that summer,
and during that period it fell to my lot to almost daily
observe Edward F. Albee in his favorite occupation—of
rebuilding, redecorating, renewing and reviving an old
theatre. In the mechanics of the theatre, Albee is un-
equaled.
When the house was thrown open in September, 1893,
it was the prettiest, cosiest, daintiest vaudeville theatre
in New York. The boy ushers, in their Turkish cos¬
tumes; the brilliantly lighted stained-glass exterior; the
courteous attaches, in their military uniforms; the sweet-
faced matrons, in lace caps and smart aprons; and a dozen
other novelties caught the fancy of the public. Beyond a
doubt, the house, was a hit.
But the show was not! It was, in spite of all the
promises, conventional, perhaps worse than conventional.
It consisted of an opera "company" of about eight
mediocre principals and twelve chorus people. The
"orchestra" was a lone pianist, David Fitzgibbons. The
opera was presented three times daily, and ran about an
hour. Milton Aborn was chief comedian and stage man¬
ager. Between times a variety show was presented, and
it was a show of the old school, Daly and Devere, Leonard
and Moran, Billy Courtright, Gilbert Sarony, Bryant and
Richmond, and Mr. and Mrs. Jerry Cohan being "among
those present."
During the sixth or seventh week of the new venture
TOXY PASTOR. L. C. BEHMAX.
Two greatly missed vaudeville magnates.
of C0u0ic ana tbe Drama
5
the writer met Fynes. To my prediction that the new
scheme would not succeed in that provincial form, he
answered quickly: "You're quite right. But there'll be
a change soon. The opera is not right for New York. It
gets by in Boston and Philadelphia. It's outclassed here,
where we have a Casino to show us the real thing. As
soon as I am rid of it, there will be something doing."
The "something" developed quickly. The opera com¬
pany was hustled back to Philadelphia, and early in 1894,
with the inauguration of an all-vaudeville bill at the
Union Square, the history of American Vaudeville began
to re-write itself, J. Austin Fynes guiding the pen.
It is certain that Fynes must have been given carte
blanche by Keith in the policy of the Union Square, after
the opera troupe left. To my personal knowledge Fynes
seldom, if ever, asked advice from "headquarters." It
was, perhaps, due to that fact that there soon came into
vaudeville the great element that uplifted it, dignified it,
and strengthened it—the advent of the Legitimate Act.
It is impossible now to overestimate the importance of
that move made by Fynes with an assurance and coolness
that baffled many an old-time "variety" manager. My
own part in the revolution, for it may well be called such,
was active enough to justify me in making careful records
of the happenings of that day.
The new era began quietly enough, to be sure. Mrs.
Alice Shaw was then at the height of her fame as a
fashionable lyceum entertainer. She was quickly engaged
by Fynes, and she was an instant success. Then followed,
in quick succession, a series of engagements that com¬
pletely metamorphosed the old variety show.
"What's Fynes trying to do over there, Grau?" said the
late Lew Behman to me one day. "Is he running a legiti¬
mate theatre, or a variety show?"
I repeated the question to Fynes, and he laughed. "He's
6
jFortp ^eats SDfegettoatioit
a fine old-time variety manager, is Lew Behman," he
said, "but he mustn't go to sleep. There's 'something
doing.' "
Always "something doing," you will perceive! And so
they came along into Fynes' ready and willing hands—
one by one, steadily, week after week, with no let up,
stars like Maurice Barrymore, Clara Morris, Robert
Hilliard, Charles Dickson, Sidney Drew, Camilla Urso,
Remenyi (the great violinist), Lillian Burkhart, Charles
A. Stevenson, Anna Boyd, Ida Mulle, David Warfield,
Louis Mann, Edwin Stevens, Henry E. Dixey, Vernona
Jarbeau, Grace Huntington, Emily Lytton, Patrice, Tim
Murphy, Grace Filkins, Frederick Bryton, Agnes Proctor,
Eben Plympton, Robert Downing, Aubrey Boucicault,
Arnold Daly, Edward Abeles, Maude Banks, Digby Bell,
Valerie Bergere, Laura Biggar, Sig. Tagliapietra, Wm.
T. Carleton, Edwin Royle, Selina Fetter, Reub Fax,
Amelia Glover, Maude Granger, Rose Eytinge, John
Mason, Marion Manola, Amy Lee, Pilar-Morin, Madge
Lessing, Milton Nobles, Lucille Saunders, Isabelle
Urquhart, Clara Thropp, Walter Gale, Odette Tyler,
Annie Ward Tiffany, and—but why prolong the list, with
space so limited?
All these people, and more, too, made their debut in
vaudeville under the persuasion of J. Austin Fynes, aided
and abetted by innumerable agents. The modern vaude¬
ville agent, indeed, was practically created by Fynes in
his quest for new material. He played no favorites
among agents. He was a free lance, who believed in
keeping competition alive; and he proved, what is more,
that salaries need not increase to the extent that has since
become notorious. Fynes figured closely, and, once he
had contracted, he held firmly to the original salary. As
proof of this I can declare that in the entire list of celeb¬
rities given above, the highest salary was that paid to the
of anti the Drama
7
late Maurice Barrymore, who received $650 a week for
himself and his "company" of two people in "A Man of
the World." Dixey was paid $600, Hilliard $600, Clara
Morris $600, Aubrey Boucicault, Sidney Drew, Charles
Dickson, $350 each; David Warfield, $100, and Louis
Mann for $75!
With a foresight that was little short of remarkable,
experimenting carefully, each time going a degree higher
in the artistic scale, Mr. Fynes brought the Union Square
Theatre to its own, and made it the model vaudeville
theatre of America in that day. Its programmes were
copied in every large city of the Union; a booking at
Keith's was the open-sesame everywhere, and lucky was
the agent who "landed" a headliner there, for the rest was
"easy."
More than this, the press of the country which had
hitherto absolutely ignored the variety theatres, began to
take notice of the advent of these famous players in
vaudeville. Fynes did his own press work, of course, and
he did it well. It was impossible to slight debuts such
as the above. Famous playwrights were represented in
those splendid programmes, you must remember.
Dropping into the cosy little business office of the
Union Square one evening, I heard the familiar voice of
Augustus Thomas reading a one-act sketch to Fynes.
Anybody who has ever been under the eloquent spell of
Mr. Thomas' mellifluous voice will agree that it is hard to
resist him. Mr. Fynes could not, anyway. When Thomas
departed, he had actually booked the sketch, without any
people! Fortunately, the agent was at hand, and the
actors were soon secured. Bronson Howard's charming
playlet, "Old Love Letters," a classic in its way, was first
done in vaudeville in this theatre; and it is no small
compliment to Mr. Fynes to record that he was able to so
judiciously condense it from its original running time of
8
jfortp peats Dfisertiatiort
one hour to thirty-five minutes, and that the distinguished
author, himself never noticed the cuts, although he was a
great stickler against any "editing" of his pieces.
Terrace Garden on East 58th Street near 3d Avenue
was, forty years ago, one of the great show places of the
city. Here was given the Peace Jubilee conducted by
Julien who, before the era of Patrick S. Gilmore, took
New York by storm with his military band. Terrace
Garden had its Grand Opera, principally in German, and
the Sunday night appearances of famous guest singers
and players could always be counted upon to fill the vast
auditorium to the very doors.
It has been observed that there are more theatre and
opera goers in the 19th ward than any other district in
the city containing twice the population, and Mr. F. F.
Proctor, with the shrewdness which has characterized his
entire active career, purchased, fifteen years ago, the site
occupied by a large brewery directly opposite Terrace
Garden and built there what was first known as Proctor's
Pleasure Palace, the most comprehensive and wholly
original place of amusement that up to that time New
York had seen. Besides the auditorium proper on the
ground floor, the basement contained a well appointed
music hall with chairs, tables and a dainty stage and here,
during intermissions and after the regular performance,
would be heard Cafe Chantant warblers, Tyroleans and
instrumental soloists while the auditors would partake of
refreshments, and even a table d'hote dinner was served.
On the roof was one of the first of the Garden Theatres
which, at that time, had not yet reached the Long Acre
Square district. Directly adjoining the main theatre, Mr.
Proctor had constructed a large and commodious Palm
Garden, which is to-day used for balls and private enter¬
tainments.
On the dedication night of this great enterprise, the
F. F. PROCTOR, Sr.
Who rose from acrobat to Vattdeznlle King.
P. F. SHEA.
Who "nearly" controlled the entire I'audcville
Field in 1903.
of anti tbt Drama
9
prices for seats were at the highest rate charged in local
theatres, and every seat and box was sold far in advance;
one of the most representative gatherings that the
Metropolis was capable of turning out, gave welcome to
the Proctor efforts; and what a performance! Such a
programme, it would not be possible to duplicate even
in these days of advanced vaudeville and Percy Williams
era of management. The headliner and the sensation of
the night was George Lockhardt's English troupe of
comedy elephants who were retained for months after¬
wards.
Then came Weber and Fields, at that period on the top
wave of popularity. Sam Bernard was second on the bill
which included James F. Hoey, Lottie Gilson, Rice and
Cohen, Lew Dockstader, William T. Carleton, the oper¬
atic baritone who made his debut that night in vaudeville,
and Billee Barlow, the English Music Hall favorite; it is
not possible to recall all of the big salaried stars who
graced that programme. The ultimate result of the enter¬
prise was not for the constructive side of Mr. Proctor's
bank account; the policy of the house was often changed
until it became one of the chain of Keith and Proctor cir¬
cuit of vaudeville theatres.
It is customary to speak of the variety theatre of long
ago as something wholly unworthy, and the statement is
often made that to Mr. Benjamin F. Keith is due the
credit of having made possible the attendance of ladies at
this class of entertainment. This is hardly the truth nor
does it do justice to the managers of variety theatres of
the 70's or even of the 6o's. Of course up to the advent
of Mr. Keith and the continuous performance era, there
were not over a half dozen first class variety theatres in
this country, but these were conducted in a manner which
will compare quite favorably with those of the present
day. As for the attendance of the gentler sex, long before
10
jTortp gears; flDtertoaticm
Tony Pastor catered to them, they were to be seen at the
old Union Square Theatre, Leonard Grover's Theatre (in
Tammany Hall), at Bob Butler's Globe Theatre, on lower
Broadway and last but not least at Harrigan and Hart's
Theatre Comique.
The advent of Mr. Keith and, afterwards, of Mr. Proc¬
tor certainly did revolutionize the variety stage; this was
due, to a very great extent, to the invasion of the legiti¬
mate players and singers, rather than to any great change
in the entertainment itself.
It was Mr. Proctor who first tempted a great celebrity
into what is now called "Vaudeville." He it was who
astonished the New York public by announcing that
every morning at eleven o'clock, Signor Italo Campanini,
the great Italian grand opera tenor would sing at the 23d
Street house. Campanini, however, did not sing more
than once daily, but the incentive was established for
other notable stars and soon Mr. Keith, who was ad¬
vised by Mr. J. Austin Fynes, began to throw out bait in
the shape of increased compensation to those stars of the
legitimate stage, who were willing to risk the loss of
caste in their own field in order to procure imposing
salaries in the newer line.
For several years $1,000 was the highest price
which any artist was able to command outside such
halls as Koster and Bial's and the Olympia where
celebrities like Yvette Guilbert, Chevalier and Loie Fuller
received as high as $1,750 a week. The competition be¬
came fierce, the theatres multiplied and soon there en¬
tered upon the scene such intrepid personages as Percy
Williams who pays first and counts afterward; then the
limit was raised until to-day $3,000 a week is by no means
uncommon. This figure was paid to Lillian Russell, Mrs.
Langtry and Harry Lauder. May Irwin had $2,500,
Vesta Victoria the same, and Alice Lloyd who came out
of £©ti0tc arrD tjje Drama
11
here at a very small salary scored such a furore that
ere her first season ended she reached the $1,500 a week
class.
Up to this time no one has been paid in excess of $3,000
a week but Edouard de Reszke has been offered $3,500 a
week to sing one song, once daily at Mr. Williams'
theatres. Sousa's band, for a turn of fifteen minutes, was
offered $5,000 a week. Both of the above offers have
been declined, but no week goes by that the newspapers
do not surprise their readers by declaring that some new
and unexpected attraction has been captured by one of
the various magnates of vaudeville.
In the year igoo the great growth of this class of
theatricals led to the amalgamation of variety houses; the
syndicate that effected this movement was desirous of
achieving some of the discipline that was an accom¬
plished fact in the legitimate theatres controlled by
Klaw and Erlanger. It is to be regretted that the aim,
at this time, was to obtain for the managers themselves
the five per cent commission that had heretofore gone to
the agents. The booking agents had been earning vast
incomes, some as high as $25,000 a year, and the power of
these agents to control the exclusive services of so many
attractions was not relished by Edward F. Albee, Mr.
Keith's general manager, a man of tremendous business
ability and great strength of mental decision. At the
meeting of the managers, in Boston, it was disclosed that
in The Western Vaudeville Theatres a plan by which the
managers combined to book their own acts in their own
agency had worked out well and the same plan was
adopted as a basis for the amalgamation of all the vaude¬
ville managers of the country. The announcement of this
move, when made in the press, was received with con¬
sternation by the thousands of vaudeville stars and the
coterie of agents. At the very outset much fear was ex-
12
jfortp ^ears Dfcgertoation
pressed that this procedure was merely an effort to re¬
duce the actor to submission on the salary question, and
to do away with the agent altogether. At any rate, when
The Association of Vaudeville Managers established of¬
fices in the St. James Building it did not seem that the re¬
sults desired were to be easily obtained. Offers of re¬
duced salaries began to reach the more prominent artists
and were explained by the managerial side as being only
natural, in view of the lengthy and consecutive tours that
would be given by reason of the amalgamation.
It was soon discovered that the agent was a necessity
to the managers and to this day, it has not been possible
to obliterate him. One of them, William Morris, a self-
made man, who had worked his way up from an office
boy, had always remained aloof from this managerial
combine, and, by reason of his extraordinary energy,
popularity and integrity, has been able at all times to
prove himself a menace to the consummation of the
Association's pet policy. It was Morris who brought
Klaw and Erlanger into vaudeville and through Morris
they were able to demonstrate so strong an opposition
that they were paid an enormous bonus and all their
contracts assured, which caused over two million dollars
to change hands. Altogether Klaw and Erlanger and
their associates received a bonus of $250,000. The fact
that they were relieved of $1,750,000 of obligation will
give some idea, not only of the burden which the Asso¬
ciation had to assume, but also of the gigantic plunge
which Klaw and Erlanger entered into and how far they
went in the game before they caused their opponents to
cry "Enough." It may be said, however, that the final
result in this, the greatest vaudeville war in history, was
hastened by the ingenious manner in which the vaude¬
ville season at the Chicago Auditorium was manipulated
of ^U0ic attD tfje Drama
13
by Klaw and Erlanger, and the application of the "steam
roller" by their able lieutenant, George W. Lederer.
It has been stated before that the deduction of five per
cent, by the managers, was bitterly resented by the
actors, and this led to the formation of a secret society
of vaudeville artists which was called "The White Rats
of America," after the famed "Water Rats" of London.
The founder was George Fuller Golden, a self-sacrificing,
big-souled man, who was greatly beloved by his confreres.
Starting with eight of the best known comedians of the
vaudeville stage the society grew, until it had over one
thousand members; although its purpose was said to be
for social improvement, it is not to be disguised that
"Protection" was its real motive.
One morning, at the office of the Managers' Asso¬
ciation, a delegation from "The White Rats" called to
have a conference with the Managers which, to be brief,
was not as peaceable nor as satisfactory as had been
hoped for. The next day to the utter amazement of the
public, the Managers and even of the Artists, every
vaudeville theatre in Manhattan, and nearly every theatre
devoted to vaudeville in the whole country was in Chaos.
Every "Rat," at the sound of a simultaneous signal,
"walked out." The effect on the Managers was nothing
short of a Tragedy, and in order to keep the theatres open
at all, those managers who were not compelled to close,
were put to the most severe tests. It would take a volume
to describe the many scenes and disturbances of these
troublous days. For three days and nights the writer did
not see a bed, and for hours and hours, in a telephone
booth, without a second of rest, an effort was made to
keep the Managers supplied with some kind of attractions
to replace those "called out." This state of affairs pre¬
vailed for many days, but that the Managers triumphed
14
jFortp gears O&gertmticn
in the end, is due greatly, to the loyalty of a few men who
had great influence, at that period. Would that it could
be said that this loyalty was appreciated.
An illustration of what Vaudeville is to-day can be had
when it is stated that at Mr. Williams' three best
theatres, receipts of $15,000 a week are not uncommon;
even in ordinary cities like Detroit, the one Vaudeville
Theatre earns a profit in excess of $150,000 a year. In
Buffalo, M. Shea who thirty years ago had a small music
hall where the artists mingled with the audience, to-day
has two of the handsomest theatres in this country, and
his earnings are reported to be more than $200,000 yearly.
In New Haven, Conn., fifteen years ago, an Italian
sculptor, named Sylvester Poli, started a small Eden
Musee with four or five wax figures; from time to time
he added an act of vaudeville, forcing the actors to play
six to ten times a day. This man Poli, to-day, has ten
theatres of palatial size and beauty; he owns every one of
them and his fortune is estimated to be far in excess of
one million dollars. In San Francisco, where there has
been an Orpheum Theatre for thirty years, one of its
original projectors, Morris Myerfeld, has evolved a cir¬
cuit of eighteen theatres, all owned by himself and one
or two associates, an enterprise to-day controlled by
Martin Beck and which represents a cash value of ten
million dollars. The trend of vaudeville is still upward,
and certainly no reaction is indicated.
In Springfield, Mass., if you chance to enter the Gil-
more Theatre, you might pass Patrick F. Shea a dozen
times without being in any way attracted, for his bearing
is modest in the extreme. This self-made manager of
several theatres and parks in New England, at one time
held in his hand the "key" to the vaudeville situation, and,
by sheer industry and brainy manipulation, succeeded in
of C3u0ic anti tf)e IDrama
lo
making such prominent vaudeville magnates as Edward
F. Albee, and B. F. Keith sit up and take notice.
This unassuming man, Shea of Springfield, held the
cards and played them for a time so well, that for a period
in 1904 it looked as though the entire organization of
vaudeville managers would be disorganized, but Shea,
suddenly, left the St. James Building and has never re¬
turned. It has never become publicly known just what
he received in the final disposition of this incipient vaude¬
ville war, but it is not thought that he succumbed without
abundant compensation.
A unique personality in the theatrical world from the
year 1880 until the time of his death a few years ago was
Charles L. Davis, more generally known as "Alvin
Joslin." His principal title to fame came from the fact
that because of his remarkable business ability and
suberb showmanship he was able to make a large fortune
with perhaps the poorest vehicle in the way of a play that
was ever inflicted 011 an audience. Davis advertised in
the most extraordinary fashion; he would stand on street
corners and attract vast crowds, holding forth as to the
merits of his play and its performnace. At such times he
would be literally covered with diamonds. His ostenta¬
tion in this respect being wholly inconceivable to one not
accustomed to gaze upon the spectacle.
In 1894 or '95, Davis purchased ground in Pittsburg,
Pa., and erected there the handsomest theatre which that
city up to that time had possessed. He named it "The
Alvin." The theatre is still standing, and is now con¬
ducted under a "Pooling deal" effected between B. F.
Keith and Harry Davis during one of the games of chess
perpetrated by the former and won by neither. Harry
Davis' battle to maintain his rights and extensive hold¬
ings in the city of Pittsburg is a tale worth unfolding
16
jfottp gears £D&sertoatton
but there is not space here to state more than that after
a struggle, persistent and herculean, and a patience rarely
equalled he (Davis) was restored to his normal state and
he now is more impregnably intrenched than before the
effort to oust him.
There has at various periods been considerable discus¬
sion as to who it was, that first produced a one act play
in the vaudeville theatres. Elsewhere in these records the
credit is given to Charles Dickson, who produced his
own playlet, "The Salt Cellar" at Mr. Keith's Union
Square Theatre in the first season of its regime as a
"continuous" house. This statement should be qualified;
that while Dickson was the first prominent actor to
foresake the legitimate stage for vaudeville, and surely he
was the one to create the incentive for the stampede of
players which afterwards followed, nevertheless, the first
presentation of a one act playlet took place long before
the reign of the Keith era.
Farces and afterpieces were always a factor in the
oldest days of "Variety," but it was Francesca Redding
and Hugh Stanton who first conceived and executed the
idea of presenting a playlet in the form which afterward
became so popular. They were seen in every variety
theatre in this country in "A Happy Pair," which vehicle
served them for many years.
Both have remained potent attractions, too, Miss Red¬
ding being featured with her own company at this time
in William Morris' circuit of theatres while Stanton has
provided a perfect plethora of good material in the matter
of one act plays. Stanton died October 18, 1907.
It should be stated that Francesca Redding's debut took
place in Johann Strauss' Comic Opera "The Queen's Lace
Handkerchief," in which she appeared as the King, dis¬
closing the fact that she possessed an excellent contralto
voice.
n,
ANNETTE KELLERMAN.
LUCY WESTON.
AUGUSTA CLOSE.
A sextette of I audeviUc favorites.
MLLE. DAZIE.
BESSIE BONEHI LL,
(Deceased.)
of Rustic anti t!)e Drama
17
The firm of Hyde and Behman has been regarded as
one of the wealthiest concerns in this country operating
in theatrical property.
Richard Hyde was born May 22d, 1847, and is active
to-day, at the age of 62. Louis C. Behman was born
June 4th, 1855, and died in Brooklyn, February, 27th,
1902.
Their first venture was the opening of Volks Garden
on the site of the present "Hyde & Behman's" on Satur¬
day night, May 19, 1877. Two years later the name was
changed to Hyde and Behman's and here all the famous
headiiners of old time vaudeville appeared.
The house was destroyed by fire June gth, 1891, but
was immediately rebuilt and re-opened in November of
the same year and continued as a vaudeville house until
the fall of igo6, when its name was changed to "Olympic"
and is now maintained as a burlesque house.
The Hyde & Behman Amusement Company was in¬
corporated May ig, 1899. The holdings of this company,
(some of which have since passed out of existence) are
and have been as follows:
Hyde & Behman's (now "Olympic"), Brooklyn.
Standard Theatre (site now occupied by Abraham &
Straus), Brooklyn.
Grand Opera House, Brooklyn.
Park Theatre (Destroyed by fire), Brooklyn.
Amphion (Now Blaney's), Brooklyn.
Empire (Portion of this building cut off by approach of
Williamsburg Bridge. Now used as a garage), Brooklyn.
Park Theatre (Herald Square Theatre, destroyed by fire
in December, igo8), New York City.*
Star Theatre, Brooklyn.
Gayety, Brooklyn.
*The Herald Square Theatre reopened March 1, 1909.
18
jfortp ^ear0 flP&gertoatton
Folly Theatre, Brooklyn.
Bijou Theatre, Brooklyn.
Newark Theatre, Newark, N. J.
Gayety Theatre, Pittsburg, Pa.
Star & Garter Theatre, Chicago, 111.
A chain of vaudeville theatres in the far West, that is
gradually becoming more important and continually
growing in size as well as in the magnitude of its bills, is
the circuit operated under the name of Sullivan and
Considine. The Sullivan in question being "Big Tim"
while John Considine is from Seattle, Wash.
Beginning in the year 1890, in a small way, by starting
up a few halls in cities like Seattle, Butte, Helena, etc.,
the enterprise has broadened until, to-day, no less than
thirty well-appointed theatres, the majority owned by
the firm., are conducted in a manner worthy of such
recognition as can here be given.
It is not the intention of the writer to pose as a prophet
but it would by no means be surprising if this chain of
theatres would some day, not so far off at that, prove the
bone of contention in a mighty vaudeville combat.
It should be stated, in passing, that much of the success
which has come to the firm of Sullivan and Considine
is due to the untiring energy and the excellent general¬
ship with which Chris. Brown, their New York repre¬
sentative, has conducted the booking department of their
enterprises. Mr. Brown was first located in Chicago, a
point which has always been regarded as the most neces¬
sary locale to install a good general. For many years
Martin Beck directed the affairs of the great Orpheum
Circuit from the Windy City.
Like many other of our most successful managers, the
entry into theatricals of Sidney Wilmer and Walter Vin¬
cent was made through the stage door. Both were actors
in their younger days.
of 6§ttgtc antJ tbt Drama
19
Sidney Wilmer is a native of Florida. His father was
an Evangelist and his mother a member of the famous
Southern family of Wilmers. His first work upon leav¬
ing school was newspaper reporting in New York. Next
we find him playing small parts in a travelling repertoire
company. Then came an engagement with Nat Good¬
win in the latter's original production of the "Gilded
Fool."
Walter Vincent, born at Lake Geneva, Wis., nursed
in New England, and schooled in Wheaton College, la.,
also started as a newspaper man—the scene of his early
reportorial experiences being Denver, Colo. After sev¬
eral seasons spent in the support of various stars, play¬
ing character parts, young Vincent met Wilmer in Kate
Claxton's company. The two soon joined hands in the
writing of plays and sketches, and the season following
the meeting they entered vaudeville playing their own
one-act skits. They were the first to present a recognized
dramatic actress in the vaudeville houses, and Isabella
Urquhart was their star.
Several seasons were spent in vaudeville by the pair,
then, in the fall of 1898, they entered the managerial
ranks by opening a pretty little play-house in Utica,
N. Y. It was their first "Orpheum," and within a year
had become well established. From that time on the
growth of the firm has been steady and substantial.
In Lancaster, Pa., there is a manager presiding over
a beautiful vaudeville theatre. It is one of a chain of
some twenty others which he books, and is a monument
to his industry. Edward Mozart is the man to whom I
refer. He was, thirty years ago, a magician or necro¬
mancer, and he had the customary career of one pursuing
such a vocation in the distant past. His right to a place
in these pages, however, comes from what he has been
enabled to accomplish in the evening of his life. Six
20
jFcrtP Jpcarg £3>b0ertiation
years ago this man came to Lancaster and opened a small
vaudeville theatre, and, by reason of a well defined policy
and a stability of purpose, his business grew until he was
able not only to build a beautiful playhouse in that city,
but he has, to-day, a circuit as large as that of any of the
important interests. If the cities are not as important as
those in which Mr. Keith's theatres are located, these
cities, nevertheless, grow, and the programmes presented
by Mr. Mozart now, are as good as those Mr. Keith pre¬
sented but a few years ago. Hence the recording of Mr.
Mozart's achievement will not seem so inopportune.
Like a very few others, it is worth noting that nearly all
of Mr. Mozart's large fortune came to him after he had
passed the half-century mark in life, and that is some¬
thing worth the telling as often as possible; it should
surely be an incentive to others not to lose their courage,
for in no other business is a man given such chances, and
such aid to recuperate as is granted to him who struggles
in the amusement world.
When the Shubert boys came down to the Metropolis
from Syracuse to inaugurate their campaign, they were
accompanied by a young and, at that time, wholly un¬
known individual, Mark A. Luescher by name, and it
is no reflection upon the principals of this remarkable
firm, to credit Luescher with much of their early success;
what he accomplished as their press representative and
business manager came under the writer's observation
and could not fail to have been noticed by others.
Luescher, though still a young man, has passed through
a wide range of experience and vicissitudes.
After leaving the Shuberts, he held most important
posts with Klaw and Erlanger, and F. F. Proctor, and,
for a period, managed, in conjunction with Louis Werba,
the New York Roof Garden; it was during this tenancy
that this heretofore precarious enterprise was first made
of ^U0ic anti tlje Drama
21
financially profitable, due greatly to Luescher's ingenious
methods in the exploiting of a talented dansuese, pre¬
viously known as "La Belle Dazie" whom he advertised
as "La Domino Rouge."
For several years under this title, this handsome
terpsichorean artiste held sway and commanded a huge
salary. It is, however, pleasant to state that when "La
Domino Rouge" became Mrs. Mark Luescher, she dis¬
carded the title which brought great monetary returns,
and, assuming the modest appellation of Mile. Dazie, was
engaged by Oscar Hammerstein as la prima ballerina
of the Manhattan Opera House where the most artistic
and elaborate choregraphic presentations that have been
witnessed in an American opera house were seen.
Joseph Cawthorn, who is now appearing in "Little
Nemo" on tour, was actually born on the stage. The
Cawthorn children, Joe and Herbert, in 1872, were ap¬
pearing in a sketch of Teutonic character, under J. H.
Haverly's direction, and already Joseph's concertina was
in evidence. Forty years of stage life has left no indica¬
tion that his talent with this instrument will ever be
omitted altogether in the vehicles used to display his
unique personality. Herbert Cawthorn is several years
older than Joseph, but has been on the stage about the
same length of time. More than twenty years ago Her¬
bert, with his wife, Susie Forrester, began to "play dates"
in a sketch so excruciatingly funny that they have
seldom been called upon to change their material.
It is hardly just to accuse some of these vaudeville
favorites of indolence just because they have not been
permitted to permanently withdraw their successes. The
Russell Brothers have made herculean efforts to get
away from their "Servant Girl" sketch, but if they suc¬
ceed it will have taken nearly forty years to do it.
A travesty duo, Shean and Warren, in 1900, presented
22
j~em> pttizs Dksmatlon
a side-splitting absurdity entitled "Quo Vadis Upside
Down"; each year since A1 Shean has either offered or
tried to offer a new travesty from his pen, but neither
managers nor public would have it so.
Barney Fagan and Henrietta Byron rarely change
their method of presenting themselves, but surely no one
will accuse Barney Fagan of not being prolific in pro¬
viding stage novelties.
Mr. and Mrs. Mark Murphy, whether it be in "The
Coal Strike," or "Mickey's Finish," or what not, are al¬
ways the same, and the demand for their services never
decreases.
These artists who endure are the permanent reliance
of the vaudeville manager; they are the standard leaders
whom all others must be content to follow.
The list of others is too lengthy to be here recorded,
but a few more may be named, such as Julian Eytinge,
Seymour and Dupree, Eckert and Berg, George W. Mon¬
roe, Lewis and Ryan, Flo Irwin, Wilfred Clarke, Clayton
White and Marie Stuart, John T. Kelly, James J. Morton,
Ryan and Richfield, Fields and Ward, Pat Rooney and
Marion Bent, the Elinore Sisters, Melville and Stetson.
Filson and Errol, the Empire City Four, John C. Rice
and Sallie Cohen, Maggie Ciine, York and Adams, Va¬
lerie Bergere and company, R. G. Knowles, Charles E.
Evans and company, James Thornton, Clarice Vance,
Edna Luby, the Four Mortons, Fred Niblo, Josephine
Cohan, Lucy Weston, Annette Kellermann, Augusta
Glose, Amelia Summerville, Katie Barry, World and
Kington, Mr. and Mrs. Perkins D. Fisher, Effie Smedley
and company, The Empire City Quartette, Willard
Newell and company, Staley and Birbeck, and many
others.
There can be no question about their position in the
field, be it "variety" or "vaudeville," and . the managers,
of €$usic anH tlyt Drama
23
were they asked, would not hesitate to state that with¬
out these even modern vaudeville would be far from in¬
spiring. The great celebrities from the legitimate stage
could more easily be spared than these time-tried fun-
makers, who go on where they will, preceding or follow¬
ing any class of entertainment, and always with the same
result. I am not sure but that even the Vesta Victorias
and Eva Tanguays could more easily be spared than they.
These names represent the "make-good" class, and they
not only make good for themselves but also for others.
Smith and Campbell entered the profession together,
as a team, December 24, 1886, doing a black-faced, knock¬
about song and dance act.
For several years they played this style of act through¬
out the West, where they met with considerable success
but received small salaries. Coming to New York they
were accorded a "trial" appearance at the old London
Theatre on the Bowery, and were immediately engaged
for the following season with a road company, with which
they remained two seasons. During some following years
they were with Josh Hart's Boston Novelty Co., Harry
Williams' Co., Boston Howard Athenaeum Star Specialty
Co., also Joe Hart's Co., under Weber and Fields' man¬
agement.
They were the first to introduce the "Rapid-Fire Side¬
walk Conversation," without make-up of any description;
and in the past years their style, methods and material
have suffered more from pirating than almost any act in
existence. They have now discarded the latter line, and
are bringing before the public an incident taken from their
own private lives, and which has proven successful be¬
yond expectations.
In 1890, Smith and Campbell visited London, and were
engaged for the entire summer, on the strength of their
first performance. They separated some years ago, think-
24
Jortp ^ears SID&gettmtton
ing it to their individual advantage; Mr. Campbell tour¬
ing the country, playing star parts in Hoyt's "Trip to
Chinatown" and "The Stranger in New York," Mr. Smith,
in the meantime exploiting the "Funny Mr. Dooley"
Company.
Since their reunion they have been more successful
than ever, and, we trust, will continue so.
Snyder and Buckley are at the present time the oldest
musical act of two original partners.
They joined hands in July, 1891, and after playing
around some of the small houses, they joined Barlow
Brothers Minstrels in July, 1892, and played forty-five
weeks of one-night stands at $30 for the two and "cakes."
The season of 1897-8 was played with the Fay Foster
Company, and at the disbanding of the company the rest
of the year was played in vaudeville.
Season of 1898-9 was with Gilmore and Leonard's
Hogan's Alley Company, and 1899-1900 they made a trip
to England on the Moss, Stoll and Livermoor tour.
Season 1900-1-2 they were with Weber and Rush's
Parisian Widows Company, and this season marks their
seventh year in polite vaudeville, having played every
house of prominence.
They are the proud possessors of a date book in which
they have every date they ever played in nineteen years,
which is a curiosity in itself.
Charles E. Evans has been a stage worker just forty
years. He was born in 1856 (September 6) and made
his debut in 1869. In 1872 he and James Niles formed a
partnership that lasted ten years and in 1882 Niles and
Evans combined with Bryant and Hoey, a quartet well
worth quoting too. Niles died very soon after the four
became famous, but Evans, Bryant and Hoey continued
till 1884 when Bryant retired, and Evans and Hoey pro-
of c^usfc ant? tfje Drama
25
duced "A Parlor Match," September 5, 1884 at Asbury
Park, N. J. and played it for ten consecutive years.
Evans aspired to the managerial end and became a
power in New York theatricals. In September, 1894, he
opened the Herald Square Theatre, having practically
rebuilt the old Park Theatre. In 1900 he leased the
Herald Square to the Shuberts and thought to retire, but
a year later, in conjunction with the Shuberts, the
Princess Theatre, frequently referred to as "The
Morgue," was leased, rebuilt and opened in 1901. The
last few years Evans has scored heavily in a sketch by
George Arliss entitled, "It's Up to You, William" in the
vaudeville theatres. Altogether Evans has had an inter¬
esting and decidedly successful career.
Will M. Cressy comes in for mention here because of
his remarkable achievements in vaudeville. He was born
at Bradford, N. H. in 1863 (October 29). He was only
twenty-seven years old when he made his debut on the
stage, September 19, 1899. Miss Blanche Dayne, who
afterwards became Mrs. Cressy, was a member of the
same company (Frost and Fanshawe). After ten years
varying success, in small parts in smaller companies,
they, on December 19, 1899, entered vaudeville and with¬
out any experience in that line, without prestige, began
to make history in that field. Their record is nothing
short of phenomenal, having played incessantly for ten
years, more than half the time in B. F. Keith's Theatres;
they have piled up records enough to fill a book. Besides
writing their own vehicles, Mr. Cressy has written more
than two-thirds of the plays presented in vaudeville by
other artists. The achievements of Cressy and Dayne
in vaudeville and of Cressy as a provider of material for
vaudeville is absolutely without parallel. There are no
players in vaudeville who have been, and who are to-day,
in greater demand; the man or woman who can go up
26
jFortp gears Dfigertmticm
to the booking offices of the associated vaudeville man¬
agers with a "Cressy Sketch" is sure of a hearing.
In igoo, and for a brief period of two years a wide swath
was cut in vaudeville by a trio of Syrians named Hashim.
These were three brothers, Nahib, Albert and Alexander.
It was Nahib however who had the brains if their opera¬
tions really displayed any of this precious quality. It
happened that Madame Marie Basta Tavary, a soprano
of Grand Opera and a worthy artiste, was then appearing
in vaudeville, the period being the time when the writer
was inducing some celebrity to enter the vaudeville field
every twenty-four hours. Tavary spoke of Nahib
Hashim as her wealthy husband from Smyrna and asked
if he could not secure an entrance into the vaudeville
field, where he would, in short order, become a factor.
"He was," she said, "one of the most brilliant men in the
world."
The writer is here compelled to come forward in the
first person, as the subject of vaudeville is approached.
It happened that in 1900, the great power of the modern
vaudevilles, Edward F. Albee, whose appellation of one
"Simon Legree of vaudeville" will not seem so inappro¬
priate after all took the initiative in declaring that I had
reached a position entirely too powerful and must be
"disciplined." The methods used to crush my business
policy would be of little interest, but it must be stated
here, as a matter of record, that the real cause of this
man's supposed intention to drive me out of vaudeville
was because I had booked Neil Burgess in Mr. Proctor's
Theatres when Keith and Proctor were bitter opponents.
Mr. Burgess, Mr. Proctor and J. Austin Fynes are all
living and all three know that Mr. Burgess played for
Mr. Proctor because he needed the money, because he
was idle; the policy of Albee was that this man of family
should not only not play for his opponents but alzo
EMANUEL WARXER.
Popular London agent.
SMITH
KATIE BARRY.
and CAMPBELL.
MABELLE ADAMS.
Favorites of Vaudeville.
FRANCESCA REDDING
of cpustfc anD tfje Drama
27
should remain idle indefinitely without any promise or
outlook that Albee would ever again offer him an oppor¬
tunity. I was only Mr. Burgess' temporary, fleeting
representative, my influence over him and with him was
slight. I had met him only a month or so before, yet
Albee held me responsible because Neil Burgess was
announced at the theatre of a man who is to-day his
partner, and he then and there began a system of coercion
which began to play havoc on my limited income, and to
utterly annihilate the clientele I had worked so hard to
create.
However at this period, as I have said, Marie Basta
Tavary came on the scene with Nahib Hashim. It is
difficult to pen the impressions of this man, but he held
in his power, in 1901, the opportunity to become a
millionaire. I had determined to create opposition as a
matter of protection, to find an outlet for my clients, and
here, also it may be said, is an explanation of the many
desperate attempts made by me to establish theatres
and companies of my own with no other capital than the
savings of these few years of prosperity, if dividing with
the vaudeville managers this five per cent of the salaries
of my clients can be called prosperity.
Before the days of P. B. Chase, I gave Washington its
first vaudeville of the present type. In Hartford, New
Haven, Springfield, etc., I underwent the period of educa¬
tion from which S. Z. Poli afterward amassed millions.
I was glad to welcome Hashim who posed in a grandiose
manner, and secured for him the Grand Opera House in
Philadelphia which was a vast auditorium. Hashim se¬
cured it at an absurdly low rental and opened in
October, 1899, with a tremendous all-star aggregation of
talent which included among others Camille D'Arville,
Corinne and the Great Lafayette. Success was instan¬
taneous. Hashim made the first season nearly $80,000
28
jfortp gears Dfescrimtion
and then he branched out; Koster and Bial's was leased,
the Boston Theatre which was next door to Mr. Keith's
Boston playhouse was also secured and in Washington,
the Academy of Music was obtained. The Hashims too
had the great advantage of operating during the time of
the famed "White Rat" strike yet ultimately they failed
most ingloriously. The reason—well, let it remain
untold.
Their fleeting advent is recorded to illustrate vaude¬
ville conditions at the time. Thousands are alive to-day
who will not question my statement that had William
Morris been the one to start this campaign, or had
the Hashims possessed the William Morris nature,
there would be a far different story to tell to-day. How¬
ever, the said William Morris is at this time putting up
a battle royal to conserve a business which he started
and developed to greatness. Morris will be proved equal
to his situation and for once it will be found "that the
survival of the fittest" will not mean Morris' overthrow.
It is always dangerous to prophesy, but here is a man
who is not only honest, young and popular, but has
ability of an almost remarkable order. He, also, has said
that he would never affiliate himself with the men who
disloyally forsook him as long as he could maintain an
office and one clerk in his own name. It is known that
he has often been approached. Albee was once asked
if William Morris would be sought out and bought into
submission as was Klaw and Erlanger and others, he re¬
plied, so it is said, that he (Morris) "hadn't proved any¬
thing." It is therefore to be assumed that as soon as
Morris does "prove something," the system which Albee
knows so well how to operate will be brought into play
with a view to ending the Morris reign. Therefore is the
prophecy made that not in the next five years will
William Morris be in the Keith forces; he will fight on
of ®u0i'c att& tfje Drama
29
and will win. To him will come the credit, unsuccess¬
fully sought by so many others, of mastering the tyranny
which prevails on the eighth floor of the St. James build¬
ing.*
His career has been truly extraordinary. It seems but
yesteryear when he was an office boy in George Liman's
Agency on East 14th Street. To-day he has the nucleus
of a great circuit of theatres and is daily adding strength
and material to the constructive side of his organization.
His management of Harry Lauder, the manner in which
he secured the Scot at all, is well known and a slight
knowledge of the future possibilities of this growing
magnate leads to the probability, if not the actual cer¬
tainty, that at last, the men who compose the "five per
cent" syndicate of Modern Vaudeville have met their
match if not their master.
The distinction of having the largest number of thea¬
tres under his personal direction belongs to Martin Beck,
general manager of the vast Orpheum chain of vaude¬
ville houses, extending from Chicago to 'Frisco and from
Seattle to New Orleans. In this circuit there are twenty-
seven first class vaudeville houses, and, through his hold¬
ings in the Western Vaudeville Managers' Association,
for all of whom he is the sole New York representative
and absolute dictator, he has the generalship over a total
of fifty-two theatres in this country. Mr. Beck attained
his prominence through his own individual efforts, un¬
aided by influence, and his own early struggles no doubt
account for his well-known forebearance and charity to¬
ward struggling genius and ambitious beginners.
Twenty years ago Martin Beck was a German actor,
first at the Thalia Theatre in New York and later with
the Waldemer Stock Company, in St. Louis. Heeding
*The Vaudeville Syndicate is now located in the Longacre
Building.
30
jFortp gear# SDbgertmtfon
the advice of Horace Greely, Mr. Beck continued west¬
ward and settled in San Francisco where M. Meyerfeld,
Jr., now president of the Orpheum Circuit and Realty
Company had just acquired an interest in the Orpheum
Theatre. Mr. Beck's intention was to establish a German
Stock Company on the Pacific Coast and with this idea
in mind he approached Mr. Meyerfeld the new manager
of the Orpheum. The impression he made upon this
recently installed magnate must have been a favorable
one, for the interview ended in Mr. Beck's abandoning
the German Stock proposition and forming an associa¬
tion with Mr. Meyerfeld.
Mr. Beck pointed out to his partner that in order to
provide the best offerings a greater number of weeks
must be given the artists and furthermore that the long
jump from Chicago must be broken in order to lessen
their expense in travel. Under his active supervision,
theatres were acquired in rapid succession in Los
Angeles, Kansas City, Omaha, Denver and New Orleans.
That was in the early days of the Orpheum Circuit. Since
that time it has gradually moved eastward from Oakland
to Minneapolis and St. Paul.
By acquiring holdings with Kohl and Castle, Mr. Beck
became interested in Chicago, Indianapolis, St. Louis,
Cincinnati, Louisville and Milwaukee.
Mr. Beck's early histrionic training has been shown in
his later achievements; he has displayed a fine discern¬
ment in the selection of offerings and his judgment is
seldom wrong concerning a new act or an imported
novelty.
No manager in vaudeville has introduced so many
innovations as he, and none has provided better facilities
or so ably encouraged the artists to produce new and
better material.
William Henry Walker, better known throughout the
MARTIN BECK. MORRIS MYERFELD.
Heads of the great Orpheum Circuit (Vaudeville).
of C0ustc antJ tbt Drama
31
theatrical world as Harry Williams, was a typical man¬
ager of the old school, and thoroughly representative of
that class of men who controlled the variety theatres in
this country four decades ago. He was born in Balti¬
more, December i, 1841, and died in his home in Alle¬
gheny, Pa., September 30, 1904. He began his life be¬
hind the scenes with Edwin Booth and the great For¬
rest. He was, with the possible exception of Tony
Pastor, the oldest variety manager in the United States.
His career proper began in the stock company at the
Opera House in Norfolk, Va., in 1859. He reached Pitts¬
burg in 1866, and in that year became the stage manager
of the Academy of Music, a theatre he afterward secured
for himself and which he managed to the day of his
death. This house is to-day maintained by his son, Harry
Williams, Jr., and is one of the best regulated places of
amusement in the world. Walker, or Williams, as he
v/as best known, was associated with Fred Ames, a
famed manager in Pittsburg at this period, and also with
Trimble's Varieties in the same city. He played Panta¬
loon in pantomime at the Old Drury, as the Pittsburg
Theatre was called, when it was under the consulship of
William Henderson. Williams was eminently honest,
and died with the reputation of never having incurred a
single debt. He was a true lover of art in its many
branches, and was wont to travel many hundred miles
with his family for the purpose of witnessing some im¬
portant musical or dramatic event in New York or Chi¬
cago. The writer recalls that when, in 1902, Prince
Henry of Prussia v/as honored by an all-star operatic
representation, Williams requested me to purchase for
him five seats in the orchestra, which sold at thirty dol¬
lars each; he came here with his family for this sole pur¬
pose, returning to Pittsburg immediately after the per¬
formance. A characteristic of this truly representative
32
jfottp Jpcars Dliscnnnicm
showman was that he never signed a contract with a per¬
former whom he would book to play at his Pittsburg
theatres; many a time he sent a check to these, a few
days before the date they were to open, for the salary he
had agreed to pay by letter, deducting exactly the cost of
transportation which they would save by not coming to
Pittsburg. No artist ever suffered at Harry Williams'
hands because he happened to be overbooked. Would
that this could be said of the men who to-day control the
more modern vaudeville theatres.
Alfred E. Aarons is first recalled by the writer as the
representative in New York of W. J. Gilmore, an old-
time variety manager, who for forty years has maintained
a theatre on Walnut street in Philadelphia and who re¬
tired a few years ago. The theatre itself, now called the
Casino, is still owned by Gilmore. Upon its historic
boards every famed artist of the variety stage, at some
time or other, has trod and here what is now called
vaudeville was presented in its most attractive form.
The spectacular was also developed here and formed no
insignificant part of the excellent programmes which Gil¬
more provided for the Quaker City patrons.
It was at this house that Charles H. Yale got his im¬
petus and training; his association with Gilmore lasted
through three decades. To-day he is presenting, on tour,
veritable survivors of his Philadelphian undertakings. To¬
gether with Gilmore he presented an opera called "The
Sea King" which was successful. His most potent pro¬
duction "The Devil's Auction," has had a reign in excess
of twenty years. Yale also revived the "Twelve Tempta¬
tions," the spectacle that shone so glaringly at the Grand
Opera House in the days of Colonel James Fisk, Jr. To
return to Aarons, he was one of the first of the agents
who maintained for vaudeville the booking facilities now
so plentiful and profitable, and he was one of the most
of ^U0ic and tfje Drama
33
industrious, too. He was the manager of Koster and
Bial's when it was located on West 34th street (Oscar
Hammerstein's first Manhattan Opera House). Aarons
developed much ingenuity and an abundance of versatil¬
ity after he became better known. He wrote the scores
for several successful musical comedies, and a dozen of
his individual compositions have had large sales. He
also proved himself decidedly capable as a producer and
he staged his productions without any outside aid. When
Klaw and Erlanger entered the vaudeville field as op¬
posed to the coterie of vaudeville managers then in con¬
trol, Aarons was selected to go abroad, which he did, and
it would be far easier to state whom he did not engage
than those whom he did; but it can be truthfully stated
that as a result of Aarons' activity abroad, the price
which the vaudeville managers had to pay to end the
famous "war" of 1907 was not lessened. In fact, it is
doubtful if the intricate mazes of this settlement and the
enormous total of lawsuits they entailed, are even at this
date adjusted.
The vaudeville agent—ever a factor—is to-day every¬
where to be found; there are probably two hundred in
New York alone. Twenty-five years ago they could be
counted on one hand. Richard Fitzgerald was the pio¬
neer, a man of much honesty and charming personality
who maintained his last office in Union Square. His suc¬
cessor was James J. Armstrong, who continued there
after his death.
Armstrong is the oldest in service of the vaudeville
agents of to-day. He is also a man who has occupied
every possible position in the theatrical field during the
last thirty years. It would have been pleasant to be able
to record that the innate honesty of this man and his
long service which has benefited his kind for all time,
had been appreciated by the men who have amassed mil-
34
jfottp Jpcarg ©tertmtton
lions in vaudeville management, but the reader of this
volume has certainly discovered ere this that loyalty and
generosity are not characteristics of these potentates. It
must not be assumed, however, that there are no excep¬
tions among them. There is no more loyal or good-
hearted man in theatredom than Frederick F. Proctor.
Thirty years ago the foremost agents of vaudeville, be¬
sides Fitzgerald and Armstrong, were George Liman and
his partner, one Herrmann, whose initials I cannot now
recall; Edmund Gerson, long associated with the Kiralfy
Brothers, to whom he was related by marriage; Charles
Fenz and the late Wm. Rosinsky, who at one time was
a tremendous power, with offices in London and Paris
as well. Vaudeville surely has been a prize for those who
persisted in it.
William Morris, who began as an office boy with
George Liman himself, never forgot when he became a
power the benefits of long service and no man ever
treated his employees more kindly or more generously,
and the boys who began with him when he started out for
himself—Edward S. Kellar and Louis Pincus—are pros¬
perous agents to-day. While they were with Morris
their salaries increased from less than $10 to $75 a week.
As it was with these "graduates" of the Morris office,
so is it with those who are to-day with this appreciative
employer, two of whose most valued assistants, Murry
Feil and Charles Wilshin, were office boys with him at
a comparatively recent date. Is this, then, not worth
the telling? Where can one find record of more rapid
progress than in the theatrical field? Nearly all the men
to-day prospering as vaudeville agents filled lowly posi¬
tions but a few years ago.
Messrs. Reich and Plunkett, a reputable firm of agents,
were both employed in the offices of Hurtig and Seamon
not so long ago. They have become powerful and are
of Q3usic and tfce Drama
35
constantly expanding. They become managers in the fall
of 1909.
M. S. Bentham, an agent who is identified with the bet¬
ter class of attractions and who comes under the class of
exclusive agents, began by representing an act or two of
acrobatic type. He came here from Glens Falls, un¬
known and without incentive, yet he has in a single year
earned as high as $20,000, if indeed this is not greatly
underestimating his income.
P. J. Casey, who to-day is perhaps the most successful
of all, has come forward within the last few years. He
was the valued aid of P. F. Shea in Springfield, Mass.
Shea, by the way, has been a veritable "mascot." All
of his employees and all of his backers are to-day pros¬
perous as a result of their association with him, especial¬
ly Casey. Shea had a circuit of variety theatres, and
Casey looked after them. He was gifted with a good
personality, free from all objectionable habits, and when
he came to the city to live, became very popular. Eventu¬
ally he was employed by William Morris at a very large
salary, and in the famed vaudeville war often here re¬
ferred to, Casey was a prime factor. He also figured ex¬
tensively in the peace arrangements, and as a result of
these, less than a year ago, he started up an agency in
the St. James Building; and in the short space of a few
months has become the predominating figure among
agents. It would be a hazardous guess to assume the
amount which this man will have earned in the first
twelve months of his operations for himself, but if it is
less than $25,000 it will be because he has had to pay
tribute, somewhere, for the privileges which he has been
able to command.
Other agents earning large yearly incomes are Albert
Sutherland, Louis Wesley (who had been a comedian of
merit, but who found a lucrative field for himself in
36
jfortp ^eat0 fiDlisettiation
vaudeville), John Levy, who used to be a diamond dealer
and who was married to Miss Delia Fox; William L.
Lykens, who hailed from St. Joseph, Mo., where he had
wealthy connections, and who has been a manager of
theatres and companies. Lykens managed Tootles Opera
House in St. Joseph a quarter of a century ago, and was
Maggie Mitchell's manager near the end of her unexam¬
pled artistic career.
An agent more associated with the foreign style of acts
is Richard Pitrot, and no man to-day stands in greater
esteem. Pitrot used to give an act himself, and a great
act it was. He was the first to impersonate great per¬
sonalities, changing the wigs, etc., before his audiences.
A few years ago, although he had always been an agent,
he abandoned his specialty altogether and confined him¬
self to his foreign representation. He has been called
"The Globe Trotter," and the title is justified if his many
voyages all over the world would give that designation.
Pitrot's influence is very great and in Europe no man
connected with the variety stage is more respected. His
advice is sought by many before they embark for this
country; he is also able to bring to this country any artist
he desires without a contract. I have never heard any
one complain of Pitrot nor has he ever been conspicuous
in legal complications for breach of contract, such as is
so often the case with foreign agents. He has been an
asset for any manager who happened to be opposed to
the vaudeville interests that are in control here, even
though that manager had but few theatres as ammunition
for the fray. Pitrot always was able to supply him with
the best attractions, and it is fair to state that the agent
was always able to provide bookings for those who
showed confidence in him by journeying three thousand
miles with perhaps nothing but a telegram wherewith to
protect themselves. There are not many men like him in
EZRA KENDALL.
GEORGE EVANS.
CLARICE VANCE.
WILL S. CRESSY. R. G. KNOWLES.
Stars of Vaudeville.
of ^usic artti tbt Drama
37
the vaudeville world to-day; he is not popular with the
coterie in the St. James Building, but this is not surpris¬
ing.
Another agent very similar in type to Pitrot, and who
is much beloved in this country, where he once was per¬
manently located, is Emanuel Warner, of the firm of
Somers and Warner, agents who to-day hold the Euro¬
pean variety market in their hands. Warner came here
first about fifteen years ago, and he was one of the most
conspicuous figures in the theatrical life of the city; he
seemed to be everywhere. The manner in which he
would sign, without consulting either artist or manager,
contracts for fabulous sums, and for lengthy duration,
attracted the widest attention. Warner had a great deal
to do with the success which came to Koster and Bial's
in its era of prosperity, and he was of the safe and sane
type; insane salaries were not yet in vogue. Of late
Warner's visits to America are rare indeed, but no artist
or professional who visits the English metropolis ever
fails to meet him; when on rare occasions, he does ap¬
pear on Broadway, he is the centre of attraction among
his wide circle of business associates and the thousands
of artists for whom he was then or had been the repre¬
sentative on both sides of the Atlantic.
J. B. Morris, who is not related to William, has built
up a chain of vaudeville theatres through sheer industry
and persistence. He rarely leaves his New York office
and is to be found at his desk from noon till midnight.
It is due to his attention to the minutest details of busi¬
ness, that he has established his banner successfully in
the cities where he maintains theatres. This manager,
less than a lustrum ago, went into the small town of
North Adams, where important interests before him had
failed, and by the display of sheer showmanship and a
strict pursuance of a well-laid routine, has built up a
38
jfortp ^ears SD&iserfcation
patronage which is to-day best illustrated by the state¬
ment that an average week's business finds fifty-five per
cent of the population of the city as patrons of his beau¬
tiful theatre, the Richmond. In Gloversville, N. Y., it is
the same, save that the manufacturing element predomi¬
nates there, and the matinees are not so tremendously
patronized.
Edward Rush, of the firm of Weber and Rush, fifteen
years ago had one company on tour, a burlesque organi¬
zation. He had been a struggling, hard-working man,
and his "hustling" propensities were so well directed that
in a few years' time he began to assert his domain, adding
companies and theatres each year, and always with suc¬
cess. One of the earliest investments of Rush and his
partner was to purchase ground in the growing city of
Schenectady for a vaudeville theatre, the Mohawk by
name. Twenty years ago Schenectady, as a one-night
stand, was a precarious proposition, but Rush survived
the period necessary to put his public through the educa¬
tional phase so necessary for ultimate vaudeville suc¬
cess; and he soon found it possible not only to present
"big bills," but gross receipts of three thousand dollars
in a single week were the rule rather than the exception.
The firm of Weber and Rush to-day has vast interests
in theatres and companies, and within a year will enter
the metropolis on a large scale, having purchased the
ground for what is to be the first real music hall that
was built for that purpose at the outset, that New York
has ever had. This establishment will be located near
47th street, just off Longacre Square, and much is heard
as to the innovations which are there to be experimented.
John D. Hopkins, at present a considerable factor in
the West and South, where he has large theatre and park
interests, was managing the Theatre Comique in Provi¬
dence thirty-five years ago. It was there that he first
of Q3usic an& tfje Drama
39
became prominent, and at no time since has he failed to
be conspicuous in various endeavors of the theatre. He
was the pioneer of vaudeville elevation in the West, and
at his theatre on State Street in Chicago—the People's—
despite the fact that the locale was not the best for such
a purpose, he quickly grasped the policy which the New
York managers inaugurated, and was the first to bring
to Chicago stars from the legitimate stage, paying them
large salaries and completely revolutionizing the class of
patronage for vaudeville in that city. Hopkins also was
the first to establish high-class vaudeville on a prodigious
scale in summer parks. In these efforts he was assisted
materially by Samuel W. Gumpertz, who is his brother-
in-law, they having married members of the celebrated
vaudeville team, the Misses Melville and Stetson. Mr.
Gumpertz is at this time associated with William H.
Reynolds, the projector of the Dreamland enterprise at
Coney Island and at present the manager of the Montauk,
the leading theatre of Brooklyn.
George Castle, member of the firm of Kohl and Castle,
is one of the oldest variety agents in this country, and
is still active. His career has been notable and is il¬
lustrative of the remarkable results to be achieved in the
amusement field when accompanied by stability and per¬
severance. Castle's methods have remained the same,
though, for virtually the entire thirty years of his activ¬
ity, he remained a variety agent, and was proud of it, too.
When his wealth permitted him to embrace the prevailing
conditions and he became the leading magnate West
in modern vaudeville, he was decidedly reluctant to avail
himself of the new conditions. He wrote his own let¬
ters to performers up to a comparatively recent date,
just as he did before the days of the typewriter, and it is
to him that the important interests, known as the West¬
ern Association of Vaudeville Managers, are indebted for
40
jfortp SDtisettjation
the survival of the agency plan which he created and
which to-day has so multiplied that the representation
of more than three hundred theatres of all classes and
size is exclusively vested in their hands, resulting in an
income so large, that the figures, if published, would be
considered amazing. Castle is of American birth, and
his one hobby, aside from a devotion to his beloved
agency work, is the breeding of horses, of which he has
the largest stable of any one individual in the amusement
world.
For years the name Noss has been a household word
throughout the amusement world.
In 1884, in a modest way, the Noss Family began their
stage career as child artists, appearing as a concert com¬
pany when that style of entertainment was so popular.
Anticipating a change in the demands of the amusement-
loving public, they soon foresook concert for farce and
musical comedy, which line they followed with marked
success for a number of years. Realizing the great pos¬
sibilities of vaudeville, they were early in the field, where
earnest and conscientious efforts have secured for them
an enviable reputation.
The ancestors of this talented family were all famous
musicians in Germany and France, and it is said of the
present family that each was born with an instrument in
his hand, as none can remember when they began to play.
The remarkable success attained by this family is a
demonstration of what can be accomplished by harmo¬
nious and united efforts.
Lew Dockstader is the second oldest minstrel manager
now active, though he surely does not look the part; he
has been on the stage since infancy. His career is worthy
of more serious attention than can be given in a volume
of this character.
It was in Philadelphia that Lew Dockstader became
of ^usic and tlje Drama
41
known in the particular field in which he has so long
endured. Often, at the nth Street Opera House in that
city, the Dockstader Brothers were the feature for an
entire season. It should be stated that the W. L. Dock¬
stader who manages an excellent vaudeville theatre at
Wilmington, Delaware, where many new acts are given
their first opportunity, is not a relative of Lew Dock¬
stader, but at one time he was the "Brother" during the
stage career of a Dockstader duo. However, Lew
Dockstader's real vogue began when he came to the little
theatre at 29th Street and Broadway, referred to so often
as "the morgue." He played one engagement of refined
minstrelsy at this house that came nearer to real success
than anything the house ever offered up to the time
"Zira" was produced by Henry Miller and Miss Anglin.
It may be said of Dockstader that his success is due
to something more than ability to entertain. I have seen
him remain on the stage a full hour, and have known
him to provide more real news in his monologue than
one would obtain from a perusal of all the daily papers
combined. It will be curious to ascertain what com¬
pensation will be meted out to Dockstader by the vaude¬
ville magnates, should he ever decide to return to that
field. Certainly no one can possibly earn more than this
minstrel who, not so long ago, was paid in these theatres
a tenth of what is to-day allotted to a half-dozen singers
of ribald songs.
It is known that Dockstader has always bitterly re¬
sented this failure to grant him a fair honorarium, and
the coterie of agents who have danced attendance upon
him, have had little or no encouragement. The state¬
ment is here made that if Lew Dockstader ever returns
to vaudeville it will be at the largest figure ever accorded
anyone.
"Pony" Moore is passing his ninetieth year, but is
42
jfortp jJears S>&0erfoation
still to be found, hale and hearty, at his delightful retreat
in London. "Pony" is an American, but the greater part
of the last forty years have been spent by him in London.
He was long identified with permanent minstrels in the
English metropolis.
Sam Hague, who had a sort of permanent minstrel hall
at Liverpool, made one visit to this country, which was
anything but profitable. Nor was there much basis found
here for the fame which the organization achieved in
England.
Milt. G. Barlow and George Wilson were touring in
the South with minstrelsy thirty-three years ago. Wil¬
son was the most popular man that ever put burnt cork
on his face in the Southern country; his name would
suffice to pack any house south of Baltimore.
Barlow drifted from minstrelsy and for a long time
played "Uncle Tom" in Harriet Beecher Stowe's play.
The actor-minstrel is not uncommon. Willis P. Sweat-
nam, who has had as long and honorable a career as his
forty years of service would permit, scored "hits" in sev¬
eral plays, notably in "The County Chairman" of George
Ade. Sweatnam was so high class in his monologue
work that he was only too often "over the heads" of his
audiences. He was very sensitive, and no artist on the
operatic or dramatic stage was ever more conscientious.
When an audience was found that really could compre¬
hend his wholly ridiculous patter, they would sit back
and roar. As a journalist in the "City of Culture" once
wrote: "We laugh at Sweatnam far better the next day."
George Primrose and William H. West, during a
period of about five years, were the leading exponents
of ministrelsy. They had the largest and most modern
organization and were alert to the public desire for ex¬
pansion. Both these minstrels amassed large fortunes.
JOHN T. KELLY. THOMAS J. RYAN.
The original Bards of Tara of the late 70's.
of £j$u0ic ana tfje Drama
43
They were really a team of clog dancers, and rarely fig¬
ured extensively in the programmes given.
West was a veritable Beau Brummel, and became con¬
spicuous in the gay life of the metropolis. He married
Fay Templeton, whom he knew from childhood.
Fay was playing in the South as "The Little Fay," in
the 70's, and West was an intimate friend of dear old
"Uncle John" Templeton, Fay's father. I had the pleas¬
ure of witnessing a performance of "La Mascotte" in
the city of Shreveport, Louisiana, in the spring of 1883,
more than a quarter of a century ago, in which Fay Tem¬
pleton was the Bettina. What an artiste! New York
has never been permitted to see this magnetic woman in
her real field. Even to-day, 110 artist of any nationality
can hope to rival her in roles of the Bettina stamp. If
she could master the French language, as did Sadie Mar-
tinot, what a glorious feature she would be at the New
Theatre next winter in the promised revival of opera
bouffe.
Playwrights have found it profitable to turn their at¬
tention to the vaudeville stage, in recent years. George
Cohan and Will S. Cressy are not the only authors to
find a ready field in the "two-a-day" theatres.
Edmund Day, up to the time he wrote the "Round Up,"
was so prolific that his playlets were booked before they
were presented, by the managers. Day provided one of
these playlets for his own use, entitled "The Sheriff," but
this was by no means his best work. A brother of Ed¬
mund Day, George W., is one of the most entertaining
monologists in the vaudevilles, and, like brother Edmund,
is prolific in providing material.
Another writer of playlets and sketches, principally
the latter, is Charles Horwitz, who has provided a large
number of the most successful stars with their best vehi-
44
jfortp SDtJ0erDatfon
cles. Horwitz was of the vaudeville team of Horwitz
and Bowers, so that he came to his reign as author know¬
ing what vaudeville audiences wanted. Horwitz and
Bowers were prime favorites fifteen years ago, and their
vogue was only interrupted by the success which came
to their ballads—"Because," "Always," "Wait," and
others. Encouraged by the success of their ballads they
wrote a musical play, which Edward E. Rice produced
at the New York Theatre. It was called "King Highball."
It did not score, but there was enough merit to the work
for several of the best numbers to be used for vaudeville.
Frederick Bowers sang his own songs for a time and
sang them far better than anyone else did; he afterwards
evolved a novelty "girl act," and to-day he is presenting
this in the vaudeville circuits.*
Here are the possibilities of the tremendous activity in
these days. These men can turn out the most entranc¬
ing gems and also the most pronounced comedy. Could
anything be more interesting to our Broadway mana¬
gers? The future career of these two collaborators will
depend entirely upon the measure of opportunity granted
them.
Herbert Hall Winslow has written a large number of
playlets for modern vaudeville; the list must to-day be
enormous. Winslow first came into prominence with a
clever farce, which he wrote for the late J. B. Polk, en¬
titled "A Silent Partner"—it played an entire evening.
Of the gentlemen from the fistic arena who have
sought to elevate the stage, one only has shown the
slightest aptitude for the field. James J. Corbett alone
has succeeded in surviving the mere curiosity which his
appearance at first excited. He happened to be, in a de¬
gree, a man of letters; he was sincerely ambitious to
*Bowers is to star in a college play under John Cort's manage¬
ment in the Fall of 1909.
of 9§ti0tc anD tf)t Drama
45
make progress and sought vigorously to improve from
the outset. His appearances, too, have generally been
characterized with a certain dignity that was wholly
lacking in the efforts of his pugilistic confreres. "When
he prepared a monologue, to exploit in the vaudevilles,
he astonished his friends by the unction with which his
delivery was accompanied. For nearly ten years Cor-
bett has found it possible to command serious considera¬
tion as a single entertainer, and when he occasionally
seeks stellar recognition through the medium of a play,
the effort is always commendable.
When the invincible John L. Sullivan vanquished Kil-
rain in New Orleans, two decades ago, Duncan B. Harri¬
son, a brother of Maud Harrison, wrote a play for him,
called "Honest Hearts and Willing Hands," which served
the purpose for which it was evolved, and was the source
of large profit to all concerned in the undertaking.
Forty years ago the Astor House at City Hall, while
not the Rialto, was nevertheless the rendezvous of man¬
agers and players; and in its famous rotunda many of
the celebrities of that period were wont to congregate,
at the noon hour, and discuss their plans just as they do
to-day at the Hotel Astor in Longacre Square. The
hotels most frequented by the profession, however, at this
time were the Metropolitan, which adjourned Niblo's
Garden; also the St. Nicholas Hotel, which was opposite
the Theatre Comique, where Harrigan and Hart reigned
supreme; and the Grand Central, which was the most
prominent hotel in New York for many years. It was at
this hostelry that Edward S. Stokes shot and killed Col¬
onel James Fisk, Jr., a colonel of the Seventh Regiment
and a famed man about town. The details of this cause
celebre are well known, and, in any event, have no place
in this volume, save to state that the death of the gay
colonel put an end to the lavish productions which he
'46
jTortp $mx$ ©fosertoaticm
was always ready to provide for his toy (the Grand
Opera House), which after his death reverted to the
Goulds.
An instance wherein the distinction between grand
opera and vaudeville was completely cast to the winds
is here recorded. In 1903 I had succeeded in inducing
Eugenia Mantelli, for five years leading contralto at the
Metropolitan, to make the vaudeville plunge; $1,000
weekly was the bait. Her opening took place in Brook¬
lyn at Hyde and Behman's, where the late Henry W.
Behman was ambitious to have all stars from the legiti¬
mate stage make their vaudeville debut. The location
was not just what the writer sought for his star, but the
truth is that Henry Behman was the only vaudeville
manager who had ever heard of Mantelli. Oh! these
magnates who to-day sit high in their pompous direc¬
torates! Not so long ago one of their leading members,
when offered Edouard Remenyi, the famed Hungarian
violinist, asked if there was "any scenery in the sketch?"
On another occasion, when the baritone, Del Puente—
he whom all New York had applauded at the Academy
—was quoted by this writer with the idea that the dig¬
nity of vaudeville could not be better upheld than by
the appearance of this superb singer, the manager who
had the first opportunity to sign him—a manager who
to-day is the possessor of more theatres in Greater New
York than any other single interest—turned to me in
all seriousness, and after hopelessly looking over his lay¬
out book, inquired "If she couldn't do her act in one?"
But, let us return to Madame Mantelli. It was impos¬
sible to interest the managers in this artist. It happened
that Louise Homer was the contralto at the Metropolitan
that season, and on a particular evening was announced
to sing Amneris in "Aida," a role in which she has al¬
ways found many admirers. On this night Madame
of €iti0tc artH tbt Drama
47
Homer was so ill that she had been forbidden to go to
the opera house at all; she persisted, and attempted to
go through the first act. The house was packed—"Aida,"
with the two De Rezskes, Eames and Homer being a
potent attraction always. Maurice Grau was in a quan¬
dary as to how he should proceed; not an artist in the
Metropolitan could help him out. Mantelli was at the
Marlborough Hotel. It was nine-forty-five P. M. She
had just returned from singing in vaudeville when my
brother, in desperation, had called her up; messengers
were scouring the city for her. The result was that in
less than thirty minutes she was on the stage of the great
opera house—one that she never should have left—and
was singing the role of Amneris to four thousand per¬
sons. The next morning every paper in New York, and
many outside of New York, devoted columns to the
miraculous aid she had been to the Metropolitan. This
attracted the vaudeville managers, and bookings were
at once granted in the largest cities and best theatres;
but let it be said that but for this remarkable accident,
Eugenia Mantelli would have been regarded by the mag¬
nates of vaudeville of 1903 as "one of Grau's Gold
Bricks"— a species that came into being in connection
with the great uplift which made millionaires of more
than one manager.
The development of vaudeville has brought about in
its evolutions the producer as distinguished from the
booking agent of other days. The distinction lies in that
the former method implied no responsibility, the agent
receiving his five or ten per cent, for placing the attrac¬
tion, according to the arrangements existing between the
two.
About ten years ago Jessy Lasky, who had been a per¬
former of average quality, began to speculate as a sor/
of middle man; his initial efforts were modest enough.
48
jFortp liars' flDftsertrntion
His first attraction of importance was when he presented
Leon Herrmann, a nephew of the real Herrmann, who,
at the time of the death of the latter, was taken in hand
by the widow of the magician and exploited as his suc¬
cessor. Lasky paid Herrmann a fixed sum and took for
himself the profit remaining after payment of all ex¬
penses. This worked out so well that the firm of Lasky
and Rolfe was evolved, and together they became pro¬
ducers on a large scale, scoring success in nearly every
effort, and raising the level of the presentation each time.
The firm, a few years ago, dissolved, and B. A. Rolfe
became an independent producer. Lasky has produced
no less than a dozen substantial attractions, soma of
which will stand comparison with the best seen in the
$2.00 theatres; the best of these was perhaps the oper¬
etta "A Love Waltz," which was a result of the vogue
accorded "The Merry Widow" and "A Waltz Dream."
Another of these producers who is, however, of more
recent record is Charles Lovenberg, who has been the
manager of Mr. Keith's Providence theatre (now owned
by E. F. Albee) since the day it first came into being as a
vaudeville theatre. In the instance of Mr. Lovenberg,
it is fair to state that he is greatly aided by his knowledge
of music and the technical side of the theatre, having
been for more than a quarter of a century a musical di¬
rector and instructor in various branches of stage work.
In no calling can there be found men with more per-
severence and persistency than in the field of the theatre,
and not always are the more worthy of these credited
with their decidedly interesting exploits. In Atlantic
City there is one man, Joseph Fralinger, who some day
will be accorded monumental honors from the citizens
of that resort. At present he is the owner of the beauti¬
ful Apollo Theatre, and it is to be hoped that this superb
edifice will remain free from the fiery flames long enough
of ^U0tc att& tfje Drama
49
to give its owner a period of rest from the incessant
building which fire and destruction has entailed upon
him. Fralinger built his first theatre—the Academy of
Music—in just six weeks; it lasted just two. Then he
rebuilt on the same site, and the structure did not last
until a performance was given within its four walls. Just
one of his many theatres lasted four years, but the de¬
struction in this instance was so severe, and depleted the
resources of Fralinger to such an extent, that he did not
have the means to again build until a year ago, when
the first strictly modern theatre which Atlantic City has
ever had was opened under the management of Samuel
F. Nixon.
Fralinger's career is unique in that he is the only man¬
ager who can say he has built four theatres on the same
site, and that none of the fires which destroyed these
originated in the theatres. Fralinger displayed much
courage and persistency to make Atlantic City evolve
gracefully from the period when it was the worst show
town in America to the time when it became one of the
best. He has occupied every position from property boy
to manager, and it is fair to say of him that like many
another manager of a more humane period of the theatre,,
he was often known to permit the combination manager
to take away with him the gross receipts in order to pre¬
serve the reputation of the ocean resort among theatrical
people. Fralinger is the originator of the salt water taffy
which made Atlantic City famous.
In Buffalo, at what is now a Shubert theatre, then
called the Lyric, a man of adamant, John Laughlin, has
held the fort. Theatrical history cannot record any sim¬
ilar display of courage than this manager has shown for
nearly twenty years. He has been dispossessed by every
means known to law and outlawing—a band of hucksters
camping on his trail was so common a sight in Buffalo
50
jfort^ ^cars 2)tert}aticm
that one of the leading dailies suggested that the edi¬
torial department keep the subject in type permanently;
but the fight he has always put up, aside from any con¬
ditions of equity, was always so strenuous and effective
that he has not been permanently ousted up to the time
these pages go to press. In fact, it is now nearly a year
since he has been called upon to defend his seemingly
impregnable position. That theatre has always been a
line of contention, even when it was known as the Co-
rinne Lyceum, and was a part of the chain of houses
which H. R. Jacobs converted into a cheap-priced amuse¬
ment circuit in the early 8o's.
One of the most virile and important factors in the
theatrical world of Philadelphia to-day is William W.
Miller, who has made his impress and established his
position in probably a less number of years than any
other man prominent in affairs of the stage. Mr. Miller
has always been an ardent patron and admirer of the¬
atricals, but he had no interest otherwise than that of
spectator until 1900, which year he purchased an interest
in the Forepaugh Stock Company, and the famous
Quaker City play-house of the same name. Two years
later he also secured an interest in the Girard Avenue
Theatre, continuing therein the splendid stock company
established, which in years following turned out a goodly
number of stars, who are now making good in various
sections of the country. For the past few years the house
has been offering the better class of popular-priced road
shows.
Recently Mr. Miller was successful in organizing a
syndicate to complete the building of the William Penn
Theatre in West Philadelphia, which, wrhen completed,
will cost upwards of a half million dollars, seat 3,000
people, be thoroughly fireproof, and a most welcome ad¬
dition to the city's play-houses. This theatre, in advance
of 03u0ic anD the Drama
51
of its completion, he has leased for a long term of years
and will personally manage. In addition to these three
houses Mr. Miller is also, directly or indirectly, interested
in a number of other theatrical ventures.
New York in the early 70's had several theatres of
which one hears little to-day and barely any record exists
of their occupancy, hence it will not be inappropriate to
devote some space to these, and thus perpetuate facts that
otherwise might become obsolete.
In East 34th Street Billy Pastor, brother of Tony, had,
for several years, a hall which was called the 34th Street
Theatre. Here many artists who afterward became
prominent got their first Metropolitan opportunity. The
theatre was located between 3d and 2d Avenues. It was
on the ground floor and was about the accepted size of
nearly all the theatres devoted to variety in those times,
seating about eight hundred and having one gallery;
Billy, like Tony, sang topical songs with much success.
In appearance his theatre was similar to the one long
managed by his brother on East 14th Street.
On the same block, a few doors nearer Third Avenue,
on the same side of the street (South), Martin Campbell
built and managed a hall called "Parisian Varieties," and
here was given a decidedly off color class of entertain¬
ment, which it is pleasant to be able to record, would not
now be tolerated in the Greater City.
The Parisian Can Can was here presented in its most
offensive form, and though at intervals, the theatre
was raided, its disgraceful policy was sustained for
several years. Old New York simply revelled in this
class of entertainment, and in 1872, no less than five
theatres, supposedly of a reputable class, were devoted to
the exposition of the Can Can, then almost epidemic.
In the Greenwich District, about a stone's throw West
of Jefferson Market Prison, Jake Berry built a small but
52
jfotti? gear0 fiD&sertmttcm
well appointed music hall, which was called the Columbia
Avenue Opera House. Berry was at this time the
accepted Czar of indecent stage presentation; his theatre
contained a tier of private boxes, the purpose of which
was mysterious. The bar was the mint, presided over by
J. Charles Davis, who afterwards became an important
factor in the business department of theatricals and has
made several tours of the world in a theatrical capacity.
Berry's Theatre can be set down as having given the
most indecent performances that New York has wit¬
nessed in the last half century. He and his wife Belle
Berry, were often found in the police courts, defending
themselves, and generally with success. It is but justice
to relate for Berry that with the profits he had hoarded
at this and similar resorts, he purchased the lease of what
is now Corse Pay ton's Theatre in the Williamsburg dis¬
trict, and here under the name of J. S. Berger he main¬
tained a first class theatre; his latter career was decidedly
in contrast with the period which is here particularly
recalled.
Another auditorium, a much more substantial one,
handsome and elaborately furnished, was Robinson Hall
on East 16th Street between Broadway and Fifth
Avenue. The very same four walls are, to-day, occupied
by a library. There M. B. Leavitt, before he had reached
the more dignified portion of his career, presented the
then pioneer and leading organization of its class, The
Rentz Santley Company.
It cannot be stated that the moral status of the very
beautiful and reputable auditorium was in any degree
improved through the stage spectacle which was pre¬
sented by the Rentz Santley Company. The Can Can
was here seen in all its pristine glory.
The Hall seated about one thousand and every night
of €^ugtc attti tfje Drama
53
the sale of tickets was stopped during the reign of this
attraction. However, in the then tenderloin district, the
purveyors of indecency did not follow their course with
the same impunity which characterized Campbell's ten¬
ancy of the Parisian Varieties. In due course of time, Mr.
Robinson, the owner of the property assumed control,
and with a really worthy incentive, organized an English
opera bouffe company of considerable merit and pre¬
sented the first English version of Charles Lecocq's
"Girofle Girofla" which, although it ran for several
months, did not repay the pains and outlay and Robinson
resorted, perhaps in desperation, to a revival of the "Can
Can" which, on this installation was seen in its vilest form
with prodigious financial results.
The writer, in devoting considerable space to this sub¬
ject, is prompted, principally, by a desire to illustrate the
improved moral status of the times. No words could do
justice to the character of the burlesques and dances
which prevailed in this Metropolis thirty-five years ago,
and nothing can better indicate the progress of what is
now called modern vaudeville, than this reference to a
class of entertainment which prospered and flaunted glar¬
ingly for nearly a decade.
54
jTorty D&girtiatiott
CHAPTER II
JOHN BROUGHAM'S theatrical career, while
mostly in the lower part of the city, below Canal Street,
came to a close, in the theatre known as Brougham's
Lyceum on West 24th Street, the site of what up to a
few months ago had been the Madison Square Theatre.
One of his most memorable engagements took place at
the 14th Street, then the French Theatre, a playhouse of
more historic worth than any theatre still standing in
this city. Brougham had a benefit at this same theatre
that will not be forgotten by any one who was present.
Programmes of this extraordinary performance are to be
seen in remote sections of the world—saved because of
the great intrinsic worth of the souvenir.
The vogue of an actor has declined; for certain it is,
our ancestors were far more loyal to their favorites than
we are to-day. Thirty years ago, the mere announce¬
ment that John E. Owens would play "Solon Shingle"
or that the elder Emmett would appear in "Fritz" would
be sufficient to create the wildest enthusiasm.
Owens made a fair sized fortune. At the time of his
death he owned the Academy of Music in Charleston,
S. C., which is still called after him.
Emmett's escapades did not in any way detract from
his tremendous popularity and though he was wont to
disappear for a week at a time, still the interest and
admiration he created never lessened; he was always for¬
given and the periods between "disappearances" grew
of qputic and the Drama
longer and longer. His son, J. K. Emmett, Jr., who
succeeded him and who had, for a long time, been his
father's manager, has found a field for himself. He is
now playing in vaudeville.
Wm. H. Stuart was a manager of the old school and
will be recalled by the people who knew him before his
demise, two decades ago. His greatest achievement was
the one hundred night run of "Hamlet," with Edwin
Booth, at Winter Garden. And well may he have been
proud of it, for, save in London, a Shakespearean play
has never been known to hold the public's attention for
such a length of time. The scenic arrangement that
would, to-day, insure such a run would, of necessity, be
extraordinarily artistic and costly.
There were four brothers Booth—John Wilkes, Edwin,
and Junius Brutus—being alike tragedians. The fourth
brother was a Doctor Booth, who often left his practice
to assist in the business management of the tours of
Edwin. He lived in Long Branch for many years and
owned a cottage there.
Stuart was not an ordinary man. When he opened
the theatre on Broadway between 21st and 226 Streets,
he determined that long runs would be his policy. Here
it was that Mark Twain's play, "The Gilded Age" was
first produced and, though it was unmercifully scored
at the time, it ran an entire season because of the remark¬
able personality of the star, John T. Raymond. The
latter had not, up to this time, reached stellar dignity,
but the way Stuart boomed the catch phrase of the play
"There's millions in it" made Raymond the talk of New
York; for many years after his road tours prospered.
Another production of Stuart's, at the Park, was "The
Mighty Dollar" by Ben Woolf of Boston. Here again
was the play severely arraigned but the prestige of the
^tars, Mr. and Mrs. W. J. Florence, tided it over an entire
50
jfortp gear# ©fjgetfcatiott
season. The Florences made the financial success of
their career with it, though their previous popularity was
of far more dignified order, and their work in old come¬
dies truly worthy. Where have we to-day the equal of
these two players? Who has replaced them or for that
matter Mr. and Mrs. Barney Williams? The Florences
and the Williams were related, Mrs. Florence and Mrs.
Williams being sisters.*
Some people now alive will remember a very eventful
night at this same Park Theatre under Mr. Stuart, the
night when Ex-Mayor A. Oakey Hall of New York
City, made his stage debut in a play called "The
Crucible." Fifty dollars was paid for seats in any part
of the house and excitement was so high that, at noon
on the date of the opening performance, not a single seat
was to be had at any price; the evening witnessed a sad
failure. The run was very short and a French opera
bouffe company, headed by Coralie Geoffroy, gave New
York its first taste of Chas. Lecocq's charming "Girofle
Girofla." Who that ever saw them will forget those two
eminent French comedians, Mezzieres and Duplan, who
held old New York by their antics and excellent comedy
work!
French Opera Bouffe was by no means inaugurated at
this period.
It was H. L. Bateman, father of Kate Bateman, who
first gave us the works of Jacques Offenbach and, in the
late 6o's, New York raved over Emma Tostee in "La
Grande Duchesse," at the old 14th Street Theatre. Jacob
Grau, much impressed by Bateman's success, brought
over a new Opera Bouffe Co., which included Rose Bell,
Desclausas, Duchesne and the great Gabel, who, as the
*Ben Woolf was an uncle of Edgar Allan Woolf, the author
of "The Vampire," which recently was played at the Hackett
Theatre.
JACOB GRAU.
The first of the Grau family of impresarios.
MAURICE GRAU.
His nephew, and the first impresario to make
Grand Opera profitable.
of Qr)u£ic anD tbz Dtarna
57
Gendarme in "Genevieve de Brabant," was the talk of
the city for over 150 nights.
This work, sung in a foreign language, packed the
theatre at 14th Street and 6th Avenue. This theatre, on
same site as that now managed by Mr. Rosenquest, was
rebuilt by Jacob Grau in the form of an opera house,
with tiers of boxes and the parquette thirty feet below
the entrance floor. It was at this theatre that Adelaide
Ristori, in 1866, made her American debut in "Medea,"
under Grau, who had been presenting grand opera at
the old Academy of Music, with Mme. Gazzaniga as
prima donna. The advent of Ristori was by far the most
important theatrical event that New York City had ever
witnessed, and words fail to describe the furore and eclat
with which the greatest living actress of her time was
received. Months before, Grau had posted her portraits
and spread her biography broadcast, and at the opening
of the advance sale a scene, heretofore unrecordable in
the annals of the box office, took place. The night pre¬
ceding the opening of the box office, no less than one
thousand persons had remained all night in line.
The speculators of this period employed every avail¬
able messenger boy and society ladies were not too proud
to storm the doors of the theatre. In less than five hours
every seat and box, for the opening week, was disposed
of, despite the fact that seats sold at $3.00 each. At
length the night arrived and the great Italian tragedienne
thrilled her audience by the magic of her art.
Jacob Grau made a profit of over $150,000 on her first
season alone. Maurice Grau, nephew of the impresario,
sold books of the play, in the theatre, little dreaming that
he was destined, not many years afterward, to be Ris-
tori's manager in the very same house.
Ristori was of course supported by an Italian com¬
pany ; her repertoire included "Marie Stuart," "Dc
58
jFocty gears; flD&sertoation
borah," "Adrienne Lecouvreur" and "Marie Antoinette,"
the last the greatest success of all. A recollection of a
Ristori matinee in this historical play revives memories
of West 14th Street packed with women, at 10 A. M.,
all waiting for the privilege to purchase standing room.
An idea of the great results of the Ristori venture may
be had when it is stated that from the sale of the librettos
alone the management made a profit of more than $1,300
a week. Fifty cents was charged for each of these
librettos and as there was no cost whatever to get them
out, the result is not so surprising.
In 1861 Col. W. E. Sinn opened Canterbury Hall in
Washington, D. C., in partnership with his brother-in-
law, Leonard B. Grover; later he spent one year in Cin¬
cinnati, Ohio.
In 1864 he undertook the management of the Chestnut
Street Theatre in Philadelphia and after five seasons
returned to Baltimore, to manage the Front Street
Theatre.
After the Chicago fire, he leased the Globe Theatre
there, but on February 1, 1875, took the Park Theatre,
Brooklyn, and remained in charge for a period of twenty
years, until June, 1895.
On September 16, 1895, he opened, with his son,
Walter L. (died September 16, 1896,), the Montauk
Theatre, Brooklyn, and ran it until his death on August
9, 1899.
Colonel Sinn was a typical manager of the old school
which is exemplified to-day by few indeed. Leonard
Grover still lives in Brooklyn and his two sons are active
in the profession. Wm. T. Grover, the eldest, is now
manager of the American Theatre for William Morris,
and Leonard Grover, Jr., known also as Harry Little, has
had a lengthy and varied career as comedian.
The Frohmans, while they can not boast of theatrical
COL. WM. E. SINN.
Prominent manager of the jo's.
WALTER L. SINN.
His son and successor
of 031101c anD tlyt Drama
59
ancestry, have certainly, as far as this generation is con¬
cerned, been the greatest factors that the stage has had.
Thirty-eight years ago
Daniel Frohman held a
clerical position in the
Tribune office on Park
Row; Charles Frohman
was then as now, irre¬
pressible, and the
writer first recalls him
at Lina Edwin's Thea¬
tre, which was located
at 720 Broadway. He
was then treasurer of
Callender's Georgia
Minstrels, a real and, until then, the only band of negro
minstrels in this country. Gustav Frohman had been to
England with their organization; very soon all three
Frohmans were identified with minstrelsy.
At the outset it looked as if it would be Gustav Froh¬
man who would become the Napoleon of theatricals.
Gus. was the second eldest and had the earliest expe¬
rience. Daniel began to show, when in the twenties, that
his career would be built on artistic lines; for over thirty
years he has indulged only in the most conservative
ventures and has taken a vast interest in musical matters.
Had Daniel Frohman so desired, he could, to-day, hold
the director's chair at the Metropolitan Opera House.
The Frohmans have had their vicissitudes—all of them
—and it was not until the Mallory Brothers produced
"Hazel Kirke" at the Madison Square Theatre that these
born showmen began to be generally known. Gustav
was the one to whom the others looked; Charles, by leaps
and bound J, came forward. I have not asked Charles
Frohman his exact age, but, thirty odd years ago, as he
GO
jfottp gears Dfosettoattou
marched along lower Broadway in the street parade of
this minstrel company, he looked as he looks now, not so
stout but of the same general appearance.
About 1872 Col. J. H. Haverly, one of the most intrepid
showmen this country has ever known, began to operate
in the minstrel field and all three Frohmans became iden¬
tified with him. For several years, Haverly was accum¬
ulating theatres and companies until, about a quarter
of a century ago, he had under his control a large per¬
centage of the theatrical business of the United States;
the three Frohman Brothers were his most treasured
lieutenants. Daniel however, soon laid out for himself
the quiet and exalted career for which he was destined
and with which even the public of this decade is familiar,
but Charles had more than one serious set back before
he began to replace the great Haverly. It was with
"Shenandoah," a war play by Bronson Howard, that
Charles Frohman made his first real money and at no
time since the night he first produced this play, at what
is now Proctor's 23d Street Theatre, has he ever failed in
his forward march. The secret of his success has been,
that, for forty years, almost every day of his life has be¬
longed to the public. He has always been strictly "on the
job" and no man, in any business, is more considerate of
his employees, and certainly none in the theatrical field
is so beloved by the artists he has created. His word is
always accepted in preference to a contract.
A word concerning Charles Frohman's unique person¬
ality will surely be worth while. To recite what he has
achieved would require a volume at least; even a bare
statistical record of his activity is not possible in the
confines of this one issue. Surely some writer will find a
lucrative as well as potent subject, to give perpetuity to
the achievements of the greatest theatrical personality the
world has ever known; one obstacle would confront such
of $®u$it anU tfje Err a nut
61
an enterprise at the outset, Mr. Frohman's innate mod¬
esty. It has not been possible, up to the time when these
lines are penned, to obtain a portrait of Charles Frohman
and if that gentleman's inclinations were consulted or re¬
spected, a biographer would indeed be restricted to brev¬
ity ; but the records are all available and a history of the
career of the youngest of the Frohmans is the history of
the stage, in America, for the last thirty years.
There is no luck or fate argument that will fit in his
case. What he is to-day has been accomplished by un¬
paralleled effort. He has mapped out for himself a life of
ceaseless toil; is virtually homeless, a man purposely
without ties, who gets less out of life (if the pleasures of
his labors alone be excepted) than any usher in one of his
theatres.
Charles Frohman was a power even before he produced
"Shenandoah," his first great money making success;
when he used to sit in his shirt sleeves, in his office over
Daly's Theatre, as far back as twenty-five years ago, at a
period when he perhaps was as "broke" as he is rich to¬
day, he had the respect, and the admiration of all about
him. Even then he was the most central figure in the
theatrical world; yet at that time he had one small pro¬
duction, a play called "The Wall Street Bandit" or some
such title.
Henry E. Abbey was in his zenith at this time. Even
then, the extraordinary personality of the "little Napo¬
leon" was such that, in his outer offices, one would find
a horde of men employed in the business department of
the theatrical profession, only awaiting an opportunity to
serve the little fellow, who was even then planning to
become the leading spirit of the amusement world.
Frohman smoked a lot of cigarettes in those days,
cheap ones too, and he used to go to luncheon alone (it
was not at Delmonico's) ; yet he was just as imposing a
62
jFortp ^earg ©tusettration
figure, the same great factor that he is to-day. Surely
then, to characterize his personality as unique, would
appear justifiable.
A1 Hayman was, of course, a part of the Frohman
policy. The two have always been inseparable and when
Hayman came back here from Australia with a lot of real
money, the problems that Charles Frohman was working
at in that dingy little office in the Daly Building began to
evolve. Frohman picked his winners with unfailing cor¬
rectness. At the outset these were Gillette, De Mille,
Belasco, Bronson Howard and Paul M. Potter; Belasco,
alone of these and many more, ever separated from him
for any other reason than death.
Here again the personality of the man is evidenced.
It is not to be recalled where Charles Frohman ever lost
a star, after he had agreed with one. The term "agreed"
is used advisedly because few indeed of these ever had a
contract with him. I have never heard any one speak of
Charles Frohman's taking advantage of his own great
power. He always paid good salaries, and in his nego¬
tiations with players, he has been known to be plaintive,
never for an instant assuming that this actor or that
actress would have to be with him, or else be a profes¬
sional outcast.
The first important effort to create a trust or syndicate
was made by Joseph Brooks, James B. Dickson, and
Silvester M. Hickey, three well-schooled managers who
had, individually, begun to attract attention, and who,
collectively, brought out many of the more important
productions and most notable stars in the 70's; they failed
as a firm with heavy liabilities just as Col. Haverly did.
The men who to-day control the theatrical syndicate
were, twenty-five years ago, by no means holding the
center of the stage. Abraham L. Erlanger was an advance
agent earning, as a rule, $150 per week when he was
of €$ti0fc aim tfje Drama
63
employed; he was not always engaged, nor was he identi¬
fied with the very best attractions. He was treasurer of
"Uncle John" Ellsler's theatre in Cleveland, thirty years
ago.
Marc Klaw was a newspaper man in Louisville, Ken¬
tucky, where his compensation certainly did not exceed
$25 a week.
Frederick Zimmerman, before he went to Philadelphia,
was considered the best advance agent in the United
States; even in i86g and thereabouts he earned a salary
of $150 a week from Parepa Rosa and other important
attractions of that period. He was treasurer of the old
Olympic in New York, under Leonard Grover.
When Geo. K. Goodwin, the owner of the Chestnut
Street Opera House died, in 1882, Nixon and Zimmerman
entered partnership. These two men have grown up in
the city of Philadelphia, with the city itself, and are now
among the richest men in the business department of the
theatre.
Frank McKee was a lithograph man; he traveled with
the advance agent of Haverly's Minstrels and with
various circuses and put out the lithographs in windows
at a salary of perhaps $25 a week. He did not remain
long in such a lowly position; his rise and progress were
quick and constant until Charles Hoyt (who made fame
and fortune writing plays of the "Tin Soldier" and "A
Trip to Chinatown" order) and McKee came together.
He was Hoyt's right hand man until the death of Hoyt's
partner,.Charles Thomas, when he became a full partner
with Hoyt and rich as well.
William Harris of Rich and Harris was, thirty-five
years ago, a member of the song and dance team, Harris
and Carroll, and one of the best and the highest salaried
in the world. Early in the 70's he began to show unique
qualifications for the business end of theatricals. Every-
G-t
jforfp gcars fiDtrsertoation
thing he touched or, for that matter, touches to-day turns
to gold. By the recent death of his partner, Isaac Rich,
his interests have increased and, as he has bought some of
A1 Hayman's holdings in Western theatrical property, he,
to-day, is one of a half dozen men who virtually are
monarchs of all they survey. Harris has always figured
extensively in Boston's theatrical history. He managed
the Howard Athenaeum there for many years and, in
conjunction with Rich, the Hollis Street Theatre, dur¬
ing its entire existence. At present he is interested in
at least five of "The Hub's" foremost theatres; and is
Charles Frohrnan's partner in the Garrick and Criterion
theatres in this city.
A1 Hayman, undoubtedly the richest manager in
America if not in the world, is not a very great factor,
from either a statistical or even a recording point of view;
he leaves the conduct of his enormous interests in the
hands of Mr. Erlanger.
It will of course be interesting to record the first
growth of Messrs. Klaw and Erlanger and how they
developed the great institution which has made them¬
selves and their associates, millionaires, and broadened
the field of their endeavors from the obscure barn¬
storming era of 1870-75 to the present exalted and digni¬
fied discipline with which all of their enterprises are
maintained.
The Rialto at this period was Union Square, and not
half a dozen managers in the country had reached the
dignity of having an office for the conduct of their busi¬
ness affairs; it was no uncommon sight in those days to
behold the most important managers and actors parading
the pavement around the Morton House with date books
in their hands, transacting their business on the street.
There was not even a booking office in the city worthy of
the name, although desultory efforts in this direction had
WM. HARRIS.
Magnate. Formerly member of variety team of
Harris and Carroll.
H. B. HARRIS.
Manager Hudson Theatre and other enterprises.
Son of William Harris.
of €0n0ic atto tfje Drama
G5
been attempted in a small way, until Hal Sleeper Taylor
established the first Exchange, in East 14th Street, that
this country had known. Here, offices were partitioned
off for the out of town managers who, in the summer,
came to the city to make their engagements for the fall
and winter season. Taylor, from the very outset, was
successful and began to revolutionize the methods then
in vogue until other offices were established, one con¬
ducted by Charles Frohman and W. W. Randall, aided by
Julius Cahn. The latter has continued in this field until
to-day, he represents over two hundred of the smaller
city theatres and is a very rich man as the result of the
stability and permanency which has characterized his
business principles. The "Julius Cahn Guide" evolved by
him, has been a most useful and decidedly necessary aid
to the furtherance of system in the booking of tours.
But to return to Taylor; he soon arrived at the stage
which has been the downfall of so many. Not being
satisfied with the enormous earnings which were his
through acting as the New York representative of so
many theatres and companies, he began to branch out for
himself. The losses on his personal venture soon over¬
reached the profits, and thus it was that Messrs. Klaw
and Erlanger, about twenty-five years ago, succeeded
him, taking possession of a building in West 28th Street,
and, by dint of hard work and business-like methods,
began at once to establish a clearing house for practically
the entire theatrical business of the country. A few years
later, because of the tremendous growth in their business,
they were compelled to seek larger and more central
quarters. Thus the Rialto was moved up to West 30th
Street, and, later, to West 34th Street, where they pro¬
cured an entire large building, which became a veritable
bee hive; more than one hundred managers had small
offices and desk room, where virtually the entire amuse-
66
jFortp gears; Dtisettjation
ment world was represented. Here it became possible
for a local or traveling manager to book an entire season
in a single day; the result has, of course, added to the
constructive side of the business itself.
Gross receipts of $6,000 in a single week in those years
was considered out of the ordinary, and few ever reached
this total. Whereas to-day, attractions of a similar calibre
and standing, can and do, play to receipts totalling from
$12,000 to $18,000 in a week.
The following is a complete listing of the opening of
each and all attractions in which Klaw and Erlanger were
interested from Sept., 1896, to date:
Name of Attraction. Date of Opening. City.
The Lady Slavey
Sept. 5,
1896
Boston.
Brownies
Sept. 14,
1896
Brooklyn.
Jack & Beanstalk
Oct. 26,
1896
New Haven.
Gay New York
Sept. 7,
1896
Pittsburg.
Chevallier
Sept. 3,
1896
Poughkeepsie.
Nordica Tour
Dec. 28,
1896
Springfield.
Bride Elect
Dec. 28,
1897
New Haven.
Whirl of Town
Sept. 27,
1897
Philadelphia.
Wandering Minstrel
Sept. 17,
1897
Hartford.
Ward of France
Oct. 14,
1897
Scranton.
Round of Pleasure
May 20,
1897
New Haven.
The Christian
Sept. 23,
1898
Albany.
Bostonians, Robin Hood, &c...
Sept. 11,
1899
Troy.
Chris & Lamp
Oct. 23,
1899
New Haven.
Ada Rehan
Mar. 12,
1900
Baltimore.
Blanch Walsh
Oct. 1,
1900
Montreal.
Macklyn Arbuckle Marsac Co. .
Nov. 5,
1900
Washington.
The Toreador
Dec. 30,
1901
Washington.
Liberty Bells
Sept. 7,
1901
Philadelphia.
Messenger Boy
Sept. 12,
1901
New Haven.
Janice Meredith
Sept. 27,
1901
Stamford.
Merchant of Venice
May 16,
igoi
Martin Harvey Rep
Oct. 20,
igo2
New York.
Huckleberry Finn
Nov. 10,
1902
Hartford.
Dodson—Irish American Inva¬
sion
Oct. 6,
1902
Baltimore.
07
John Henry
Foxy Quiller
Billionaire
Japanese Nightingale
Mid-Summer Night's Dream..
In Newport
Prodigal Son
Stoops to Conquer
Veronique
Duchess of Dantzic. ...
Two Orphans
Beauty & Beast
Blue Beard
Mother Goose
Humpty Dumpty
White Cat
Pearl and Pumpkin
Ben Hur
Prince of India
Home Folks
Robertson & Elliot Rep.
Marriage of Reason
In Tammany Hall
Free Lance
Aero Club
Lola from Berlin.
Spring Chicken
Ham Tree
Barbara's Millions )
Butterfly > Russell Co.
Wild Fire )
45 Minutes from Broadway
Round Up
Grand Mogul
Galileans Victory
Follies of 1907
Follies of 1908
Right of Way
Little Nemo
Kentucky Boy
Rogers Bros. Reign of Error...
Rogers Bros. In Wall St
| Glaser
Co.
May 14,
Oct. 17,
Oct. 15,
Nov. 19,
Oct. 26,
Dec. 24,
Sept. 2,
April 17,
Oct. 30,
Feb. 6,
Mar. 28,
Nov. 4,
Jan. 21,
Dec. 2,
Nov. 14,
Nov. 2,
July 17,
Nov. 29,
Feb. 5,
Dec. 12,
Sept. 28,
Jan. 25,
Sept. 21,
Mar. 26,
Sept. 5,
Aug. 22,
Sept. 13,
Aug. 17,
Sept. 13,
Dec. 21,
Sept. 30,
Sept. 25,
April 15,
Nov. 19,
Sept. 23,
July 8,
June 8,
Oct. 7,
Sept. 28,
Nov. 19,
Sept. 5,
Aug. 31,
1903
1900
190X
1903
1903
1904
1905
1905
1905
1905
1904
1901
1903
1903
1904
1905
1905
1899
1906
1904
1903
1907
1905
1906
1907
1907
1906
1905
1906
1906
1907
1905
1907
1906
1907
1907
1908
1907
1908
1908
1898
1899
New Haven.
New Haven.
New Haven.
New York.
New York.
New Haven.
Washington.
New York.
New York.
New York.
New York.
New York.
New York.
New York.
New York.
New York.
Boston.
New York.
Chicago.
Philadelphia.
Buffalo.
Hartford.
Rochester.
Springfield.
Springfield.
New York.
Rochester.
Rochester.
Grand Rapids.
Atlantic City.
Cincinnati.
Columbus.
Chicago.
Rochester.
Rochester.
New York.
Atlantic City.
Montreal.
Philadelphia.
Atlantic City.
New Haven.
New Haven.
08 jFortp ^earg ©foserfcatiort
Rogers Bros. In Central Park..' Aug. 30, 1900 Atlantic City.
Rogers Bros. In Washington.. Aug. 19, 1901 Buffalo.
Rogers Bros. In Harvard Aug. 25, 1902 Buffalo.
Rogers Bros. In London Aug. 31, 1903 Buffalo.
Rogers Bros. In Paris Aug. 29, 1904 Buffalo.
Rogers Bros. In Ireland Aug. 24, 1905 Rochester.
Mary Mannering, Janice Mere¬
dith Oct. 1, 1900 Buffalo.
NOTE: Messrs. Klaw and Erlanger have also been inter¬
ested, financially, in the following recent productions:
The Soul Kiss.
The Waltz Dream.
Lifting the Lid.
The New Lady Bantock.
Caesar and Cleopatra.
Sweet Nell of Old Drury.
A Little of Everything.
Cousin Louisa.
As for Grand Opera, $3,000 a night was usually about
the limit even when a Nilsson or a Lucca was the star,
while on nights when these singers did not appear it
would be impossible to give seats away. Of course rare
exceptions were occasionally noted, such as Adelina Patti
who, at all times in her unexampled career, was able to
command a $10,000 house in this city, and very little less
anywhere else.
Thirty and even forty years ago the public loved to
worship at the shrine of a great name, just as they do
now, in preference to hearing a perfect ensemble, and
Theodore Wachtel the German tenor was just as great a
favorite in those days as Caruso is now; opera was then
given with two stars at the most. Whereas now the
weekly expenses of an opera house are close to $40,000.
Yet the receipts are $10,000 in excess of the expenses as
a rule.
The spectacle of two opera houses in this city with
great stars at their head is not at all as novel and unheard
of $@u£ic attfc tfje Drama
G9
of as would appear. In the 70's, when Max Strakosch was
presenting Christine Nilsson, Campanini, Capoul and
Maurel at the old Academy of Music on 14th Street, the
veteran Max Maretzek was campaigning at the Grand
Opera House on 23d Street and 8th Avenue where James
Fisk, Jr., a colonel of the 7th Regiment had a palatial
theatre, a plaything for himself and his friends. Here
Maretzek presented Pauline Lucca and the great Spanish
tenor, Tamberlik. Of course one of the two was sure to
fail, if not both; while neither made a profit it was
Maretzek who met disaster.
In those strenuous times the ticket speculator while
not as numerous or as noisy as to-day, was nevertheless
a factor, and more than one manager was wont to go to
these gentry for help. In fact, old Fred Rullman, in the
sixties and even in the seventies, financed nearly every
great undertaking in music and the drama; he held a
mortgage over the head of practically every impresario
for two decades.
George Tyson, the hotel ticket agent, up to the time of
his death, was needed by opera managers and even
theatrical men of the present day, and it is seriously to be
doubted if, up to a few years ago, it was possible to bring
any great foreign attraction to America without his help.
It must be said for him that while he was of a strictly
business nature, his help was often spontaneous, and ben¬
eficial always.
Marc Klaw, as stated, is a product of Louisville, Ky.,
where he was on the staff of the Commercial before he
entered theatricals as dramatic editor; it was through
his ability as a press agent, that he first attracted atten¬
tion, and well it was for him that he became affiliated
with Abraham Erlanger.
This is not stated in the slightest depreciation of Mr.
Klaw. Was it not fortunate that, perhaps the best "news-
70
jFortP pears £Dli0ct\jtiti'ou
paper man" the business department of the stage could
boast of, should become the partner of another versed in
the very intricate mazes of theatrical management itself?
These men progressed miraculously as any one who
knows what it is to receive a commission from every
theatre in America will testify; but it wasn't all luck by
any means. Others had failed, Abbey, Haverly, Brooks
and Dickson and Leavitt for instance, but Erlanger built
up and Klaw looked after the vast business. It is of com¬
paratively recent date that Klaw and Erlanger had many
important attractions. In fact, it is not so long ago that
their holdings were principally such material as "Del-
monico's At Six," "The County Fair" and "The Prodigal
Father." The firm is of decidedly recent growth and its
great importance comes from its representation of the
majority of the best theatres of the country, and their
fortune has principally been so created.
Harry C. Miner was an advance agent of the $150 a
week class and I have seen him go out in a suit of over¬
alls, with a bucket of paste, to post bills many a time, and
Fred Zimmerman, too, the popular manager cr the many
theatres in Philadelphia and elsewhere. '■
In the 6o's and even in the 70's an advance agent did
it all. He routed his company, designed the printing and
ordered it, did the press work as well, in fact he did all
except travel behind with the company and count up.
Small wonder that he was well paid. More than one
manager used to "go ahead" of his own attraction, argu¬
ing that he would save more money by replacing a
stupid agent than a dishonest treasurer could steal in
the rear with the attraction itself.
To-day there are a few men in the business department,
who could serve the requirements as then existent. Hollis
E. Cooley is one of these and he also has been occupying
a position of this kind for many years. Mr. Cooley has
SAM H. HARRIS.
Magnate who rose mctcorically.
HOLLIS B. COOLEY.
Representative business man of the theatre.
of 93mk anD tfic Drama
71
been holding very important positions of late because of
the service he has given on the road. At present he is
the Secretary of the National Association of Theatrical
Producing Managers.*
I have observed with much interest the modern busi¬
ness man of the theatre (the employed and salaried man
is here meant), and the observation has not yielded
brilliant results. There are, indeed, men of letters now
devoting their accomplishments to the amusement field
and the establishment of colossal amusement enterprises
such as the Hippodrome. The various Grand Opera
companies and the New Theatre has brought a market for
intelligent endeavor, but men such as John R. Rogers
was a quarter of a century ago, I can see none—yes, per¬
haps one, and a veritable "dark horse," too—for I have
looked on with amazement at the exploitation of the
beautiful diver, Annette Kellermann. The methods
which have been used in the past year to bring this re¬
markable woman conspicuously before the public have
not been paralleled in the period allotted to me for ob¬
servation. Who, indeed, is responsible for all this per¬
sistent, never-ending sounding of the Kellermann trum¬
pets? A mere boy—unknown, too, at that—James R.
Sullivan is his name, and he has made not only the
United Booking Syndicate and the William Morris Cor¬
poration sit up and take notice, but he has invested his
star and her business affairs with h. certain style of sen¬
sationalism that has kept the journalistic world on the
qui vive for developments. Sullivan is but twenty-four
years of age and hails from the West. He began, too,
in the way that would provide him with the best expe¬
rience, roughing it in the Chicago district and under¬
going in his boyhood days severe hardships as one of a
*Mr. Cooley resigned in June, 1909. H. B. Harris succeeded
him.
72
jfortg ^eat0 ©fesertoation
band of barnstormers. His rise is due solely to faithful
application to the business in hand, and he has at no
time sought publicity for himself. He was engaged by
Miss Kellermann's parents to assist in the management
of the diver, and upon the death of her father the re¬
sponsibility entailed upon him solely. The writer has
not up to the time these lines are written come in con¬
tact personally with him, but the manner in which Miss
Kellermann has in a single year become the foremost
feature of the vaudeville stage has been so unique as to
cause me to penetrate into the causes which have made
such a remarkable state of affairs possible. This man
Sullivan will bear watching. His career will not end
with the exploitation of Annette Kellermann. He has
left his mark wherever he has presented himself, and he
has also been proven the equal of the most expert busi¬
ness men whom he has encountered. In these days of
progress a single year means much to a man of this de¬
scription. He is of the stock from which such men as
Lee Shubert, Morris Gest and Frederick Thompson have
emanated. It will be interesting indeed to note the next
"cause celebre" in which Sullivan and his methods will
figure.
Victor Moore who has been in the public eye so con¬
spicuously in recent years, and who at this time is one
of the most successful stars on the American stage began
to be heard of five or six years ago. He somehow got
hold of a sketch which I think was written by Edward
McWade called "Change Your Act." Moore had as co-
star, Miss Julia Blanc, an excellent actress too, and they
had just as hard a time to get this vehicle placed in the
Vaudeville Theatres as most worthy plays now have;
$125 a week was the remuneration the act received. The
hit was accomplished through Moore's unique person¬
ality. here indeed was something new in the way of
character. It should be observed here that Victor Moore
JAMES PLUXKETT. FELIX REICH.
A firm of rising managers.
JAMES R. SULLIVAX.
A manager of this period.
of QPu0ic anD tbe Dcama
73
has prospered no less because of his uniform temperament
and his attitude towards his managers. After Moore had
become a powerful attraction and an established drawing
card in the best theatres, and Klaw and Erlanger had
engaged in a Vaudeville war with the Keith interests,
when the fight was at its bitterest, he was asked by the
great firm of managers if he would help out by going on
with his old "turn" for a week at the Chestnut Street
Theatre, and he came forward with so much alacrity that
it was an incentive to others to go and do likewise. As
a result the "War" was ended and no later because of
this loyalty, and when one speaks of loyalty it is but fair
to state that the so-called "Theatrical Syndicate" is by
no means found wanting. There is no instance where
any of the many managers affiliated with Messrs. Klaw,
Erlanger and Hayman were ever intruded upon in their
rights and not once has it been recorded that a theatre
would be built in any city to compete with one already
under "Syndicate" control, at least, not without the con¬
sent of those who at the outset had the faith in these men
to properly represent and guide them, and it is to this
loyal spirit, as much as anything that the great structure
of theatrical discipline owes its creation and permanence.
Not once has there been a break in its ranks, and with all
the machinations and intrigues which the Vaudeville
Managers practised with intent to reduce the holdings
and prestige of the older concern it was not found possible
in a single instance to cause the slightest upheaval or
disloyalty. Mr. Erlanger in a brilliant coup and in a
single conference was able to bring into his fold a large
majority of the theatres controlled by the Messrs. Shubert
and as a final result, the competition so fiercely conducted
between the two important institutions of the theatrical
business has come to an absolute halt.*
:|:While these pages have been in press, the relations between
Klaw and Erlanger and the Shuberts have become more strained.
jfortp gears flD&ffcrUation
The late Maurice Grau was the first impresario to die,
leaving enough to pay his funeral expenses. V/hile he
left a fortune of a half million dollars, it must not be
forgotten that he was not only a wizard of singers but a
wizard of the ticker one of which instruments was always
in his offices. The manner in which he juggled stocks and
prima donnas is well known to the few intimates who
enjoyed his confidence. Grau's two partners in the firm
of Abbey, Schoeffel and Grau were absolutely "all in" at
the time when the great firm failed. Grau, like Oscar
Hammerstein, made all of his great fortune after the age
of 50 had been reached. In this connection the writer
observes that no business in commerce or, for that matter
in any of the trades, offers the chance for recuperation
that the theatrical field does; a manager, like a cat, seems
to have nine lives.
Henry E. Abbey, like Col. Haverly, at one time held
the reigns of majestic enterprises in his hands; for a long
period his luck was phenomenal. At all times his under¬
takings were characterized by the daring for which he
was famous. Abbey made fortunes with Patti, Bern¬
hardt, Irving and Mary Anderson, but in an evil hour he
entered the operatic field and in one season, the first, at
the Metropolitan Opera House, his losses amounted to a
quarter of a million dollars. Just before his death he
made a herculean effort to recoup, aided, too, by his many
creditors, but it was too late, for, broken in health and
with domestic and business troubles weighing deeply on
his already enfeebled system, he died as poor as the day
he was born. The world will never look upon his like
again; the field of the theatre and opera is better for the
reason that he labored in it. May his soul rest in peace.
Samuel Colville, from 1865 until 1885, was one of the
most successful of the old-school managers. He it was
PAT ROOXEY.
Irish vocalist and the greatest and most graceful
dancer of his time.
of anD the Drama
75
who brought over Lydia Thompson and her famous
troupe of "British Blondes," and all of his tours with this
organization were phenomenally successful. He after¬
wards brought over Julia Matthews and an English com¬
pany, but the financial results were not inspiring and he
decided to organize an American company on the lines of
the Lydia Thompson Company, called the Colville Folly
Company. As Lydia Thompson had given the public a
really great organization including Miss Eliza Weath-
ersby, Harry Beckett, Pauline Markham and others
equally as good, it was not to be expected that the elimin¬
ation of all these celebrities would meet with public
approval; therefore, Colville began to add, from time to
time, to the English stars, one of whom was Miss Eme
Roseau whom Colville afterward married. Mrs. Colville
is to this day the lessee of the 14th Street Theatre which
Colville left her, and which he managed for a long time
before his demise.
The theatre on Union Square, now devoted to moving
pictures, was a vaudeville theatre away back in the Go's,
managed by "Bob" Butler; here were seen all the
celebrities of the variety stage. I recall Jenny Engle, a
serio-comic who held sway then; she did not receive
$2,500 a week as does Vesta Victoria now, nor did she
or anyone else receive one-tenth of that sum, although
the bills included Wm. Horace Lingard, Alice Dunning,
Gus Williams, Sheridan and Mack, Delhanty and Hengler
and others. Tom Hengler would rest in his grave com¬
fortably if he only knew that his two babies, the Hengler
Sisters, are now earning $400 and even $500 a week.
Jenny Kimball, the mother, by adoption, of Corinne
was also a Union Square favorite; Ed Harrigan and Tony
Hart, before they went with Josh Hart to the Theatre
Comique at 514 Broadway, were also seen at this* house.
76
jfortp gears SD&sertmtion
Sheridan Shook, a politician and man of means, asso¬
ciated with Albert M. Palmer, took hold of the Union
Square Theatre after Butler's career there ended. Under
Mr. Palmer's painstaking care a stock company such as
New York has not seen duplicated since, inaugurated an
extended term, presenting such plays as "Led Astray,"
"Rose Michel," "The Two Orphans," "The Danicheffs,"
"The Lights o' London" and many other famous plays.
These were interpreted by a company which included
Clara Morris, Rose Eytinge, Kate Claxton, Agnes Booth,
Ida Vernon, Sara Jewett, Charles R. Thorne, John Par-
selle, McKee Rankin, F. F. Mackay, Louis James, James
O'Neil and Mrs. Maria Wilkins; yet Palmer was com¬
pelled, by reason of his artistic taste, to see the venture
finally end in a loss. In the evening of his life, he was in
the employ of the late Richard Mansfield, being one of
the many who endeavored to "manage" that great actor's
affairs.
The men who managed provincial theatres twenty-five
years ago and for twenty-five years before that, were
something more than the janitors that in these days are
required for this purpose; nearly all of the more impor¬
tant ones were actor-managers who had reached the top
after a slow grinding struggle. J. H. McVickar was of
this type and he was indeed worthy the name of manager.
He was the father-in-law of Edwin Booth, and all his sons
and daughters were stage workers. His theatre in Chi¬
cago was a model one, its owner and builder directing its
affairs. Other managers of this type were: Col. Wm. E.
Sinn, who for long periods managed theatres in Balti¬
more and Brooklyn, also Tom Davey who had the theatre
in Memphis and afterwards the Detroit Opera House.
He was an actor of the old school and the father of
Minnie Maddern (now Mrs. Fiske) and it is through in¬
heritance that Minnie comes by her remarkable talent.
of ®u0t'c and tf>e Dtarna
77
The discipline which, to-day, is noted in all of her pro¬
ductions is entirely due to her father's training and
teachings.
Associated with Tom Davey was Joseph Brooks now
closely connected with Klaw & Erlanger, and himself one
of the most extensive and successful producers of the
present time.
Brooks, though, has had his ups and downs and when,
twenty-five years ago, he and his partners tried to control
the theatrical business of the country, he met with the
same fate that Henry E. Abbey did; but he had the luck
to get away from this catastrophe with his health. He
was able to build up again and, no doubt, he is well satis¬
fied with what he has achieved even though it took him
twenty-five years longer to do it than he first thought.
The firm of Sam S. and Lee Shubert to-day is, perhaps,
the second in importance in the world, if indeed it is not
actually the one having the greatest total holdings of
theatrical and stage property. When the number of
theatres and companies, directly controlled by the Shu-
berts, is computed, it must be maintained that they are
the most extensive providers for the amusement world in
this country, or any other country for that matter. Yet
what a beginning had these two unassuming boys of
Syracuse, N. Y., and how recent is their uprising!
Twelve years ago, little Sam Shubert, who had been
plying every possible vocation of the streets that a youth
could indulge in, obtained employment in the Grand
Opera House in that city, and by dint of energy and
great persistency immediately began to indulge in specu¬
lative ventures on his own account. His first important
undertaking was when he secured from George W.
Lederer territorial rights for "The Belle of New York"
which, because of the fact that Edna May, its original
78
jFortp J^eat0 SDfcsertraticu
representative, was a Syracuse girl, attracted vast atten¬
tion in that city. Shubert prospered from the start and
one of his earliest schemes was to place stock companies
in all of the available theatres in New York State; he also
had the rights for several Mew York successes. Within
a year he held the lease on four of the best money making
theatres betwen Albany and Buffalo.
Then his brothers Lee and J. J. Shubert joined him, and
the three began to operate with that precision which was
destined to place them, in a few years, in the very front
rank of managerial factors. Sam Shubert was frail, small
and insignificant in appearance; he did not weigh over
ninety pounds, but he was an electric battery when set in
motion, a veritable bundle of nerves, and his marvelous
energy attracted the attention of several gentlemen in the
mercantile line who were glad of the opportunity to invest
their capital with so competent and pushing a manipu¬
lator. "On to New York" was the Shubert slogan and
one fine morning Sam Shubert came to the metropolis,
and astonished the natives by leasing the Herald Square
Theatre for a term of years; thus was laid the foundation
of the career of a firm which, to-day, controls twelve first
class theatres in Manhattan, including The Hippodrome,
in itself a tremendous undertaking which they have made
immensely profitable, also the New National Theatre,
Central Park West, which Lee Shubert is to head. In
addition they hold the lease of about thirty theatres of
importance outside of New York, one in London, and are
the sole and exclusive managers of no less than thirty
stars and combinations of the highest calibre including
such well known celebrities as Mr. Sothern, Miss Mar¬
lowe and Mme. Nazimova. A few years ago when they
brought Sarah Bernhardt to this country for one of her
many "farewell" tours they handled the venture so
JOHN T. RAYMOND.
EDWIN BOOTH.
J I. J. MONTAGUE.
HARRY MURDOCK.
MINNIE PALMER DION BOUCICAULT. MRS. WM. J. FLORENCE.
Stars of the 70's. Miss Palmer alone of this group survives.
GEO. L. FOX.
'
CLAUDE BURROUGHS.
of Q3u0ic an ft tlje Drama
79
adroitly that the profits were the largest ever recorded in
a single season for any amusement enterprise in the his¬
tory of the world. It was on this notable tour that Sarah,
being supposedly barred by the so-called Theatrical
Syndicate from their theatres, was put to the severe
necessity of appearing in tents, armories, and Convention
Halls. The most recent additions to the list of New
York theatres booked by the Messrs. Shubert are the
New Comedy Theatre, The Maxine Elliott Theatre, also
the Yorkville and Metropolis Theatres, now to be con¬
ducted on the same plan already successful at the West
End.
The Shuberts, until about a year ago, were directly
opposed, in all their operations, to the Theatrical Syndi¬
cate or rather to the firm of Klaw and Erlanger and their
associates, but in the great "Vaudeville war" of last year,
after notable conferences, they entered into a contract by
which the majority of their theatres outside of this city
were turned over to a new corporation called The United
States Amusement Co. Through this procedure the two
great powers that had been arrayed against each other
for so long a time became one vast, peaceable whole; and
the independent forces of the stage as far as the legitimate
theatre is concerned are now confined to Mr. Belasco and
Mr. Fiske, two intrepid and non-yielding personages who
do not seem to be "in the wet" by reason of this changed
state of affairs.*
*On April 30, 1909, it was announced that after several con¬
ferences between Messrs. Klaw and Erlanger, Mr. David Belasco
and Mr. Harrison Grey Fiske, an understanding was reached
whereby Messrs. Fiske and Belasco, without affecting their in¬
dependence, were offered the booking privileges of the theatres
controlled by Messrs. Klaw and Erlanger. No agreements were
signed, 110 conditions were required, and no abridgement of the
80
jFortg gears ©fcgertoatton
The death of Sam Shubert at Harrisburg in a shocking
railroad accident, which startled the theatrical world a
few years ago has not materially changed the status of
the Shubert firm, except that Lee and J. J. Shubert took
the lead, and by vigorous application and extraordinary
business tactics have caused the operations originally
conceived by their deceased brother to expand until it has
reached its present enormous proportions. It is but fair
to state, though, that the aid received from the general
manager of the Shubert attractions, Mr. J. W. Jacobs,
has greatly facilitated the progress effected.*
In the theatrical business like any other perhaps there
are strongly marked characters. Among the many person¬
alities who follow this calling was Mr. Jake Tanenn-
baum, a good wholesouled Teutonic gentleman who
for nearly half a century has managed theatres
in the South, principally in Mobile and Montgomery,
Alabama. At one time before the formation of the sys¬
tematic booking facilities Jake was reputed as having
"The Key to the South" which meant, theatrically speak¬
ing, that in order for a company to obtain bookings in
the theatres south of Richmond, Va., it was necessary to
see Mr. Tanennbaum. The writer has spoken of this
gentleman's characteristics; one of these was a sense of
humor which was strikingly illustrated on one occasion
when a combination playing in Tanennbaum's Theatre at
existing policy of the two producing managers were suggested
or discussed. The arrangement comprehended an extension of
the sphere of their activities and a widening of the scope of
their independence.
*The Shuberts activity in the past few months requires record.
They have fifteen houses in Greater New York, while their out-
of-town theatres and the number of their attractions have
doubled. While these pages are in press, they have abandoned
their London house.
of ^u0fc ano tfje Drama
81
Montgomery found the financial results of the engage¬
ment there so woeful that the manager of the company
was unable to meet his obligations in the city, nor did he
have sufficient funds to get his attraction to the next
stand. He approached the credulous Tanennbaum and,
explaining the nature of his predicament, pleaded for such
financial assistance as would extricate himself and com¬
pany from the dilemma in which they were placed. Tan¬
ennbaum was not over cordial in his reception of the
unfortunate showman's grievance and began to relate
how he had aided others in similar positions only to lose
his money, and their friendship as well.
"But I give you my word of honor that I will return
you the $50 which I need within thirty days if I am alive,"
said the company's manager, to which Tanennbaum
responded.
"You mean to say then, that if I loan you $50, you will
repay me within thirty days, if you are not dead?"
"Yes," was the answer.
So Tanennbaum advanced the money and the company
went on its way to meet its engagement. The following
summer as was his wont, the genial Tanennbaum ap¬
peared on the Rialto for the purpose of booking his attrac¬
tions for the following season. This time it was noticed
that he was in very deep mourning, wearing crepe on
his hat and appearing greatly depressed. This spectacle
attracted so much attention among his friends that one
of them accosted him and inquired as to the nature of the
affliction.
"A dear old friend of mine is dead," declared the South¬
ern manager.
"Who," asked the friend; and Tanennbaum mentioned
the name of the manager whom he had befriended.
"Why, I saw him only yesterday. He is alive and
well," said the friend.
82
jfottp gears SOfcsedoaticm
"Impossible," said Jake. "He told me in Montgomery
he would be dead in thirty days if he did not return me
$50 I loaned him, and he was a good fellow. I am in
mourning for him."
On another occasion a party of theatrical agents and
managers were discussing matters in the amusement
world with Mr. Tanennbaum. Finally an argument arose
over the relative strength of John and Sydney Drew as
box office attractions. Both the Drews had played in Mr.
Tanennbaum's Mobile Theatre that season, with their
respective companies. Upon being asked by one of the
parties whether he had noticed much difference in the two
stars' popularity, Tanennbaum thought for a few seconds
and then he replied:
"Difference, did you say. I should think there was a
difference in Mobile! John Drew but Sydney didn't."
As evidence that in the theatrical business a man has
more opportunity to recuperate from disastrous failures,
the particular case of J. B. Sparrow of Montreal, Canada,
is here noted.
Sparrow emigrated from Liverpool to Montreal thirty
years ago, and, finding the city had no bill posting busi¬
ness to speak of, he established himself in that rather un¬
promising location. Montreal, three decades ago, was
about as forsaken a city from an amusement standpoint
as one would be likely to find. There was in this city of
'150,000, at that period, two theatres, one the Theatre
Royal and the Academy of Music. Sparrow now sought
to find some reason for being a bill poster, so he, later on,
secured a lease of the Theatre Royal, which is still stand¬
ing, the oldest theatre, to-day, in America. It was almost
impossible for Sparrow to get any companies to visit
Montreal and there were very few to be had for anywhere
in those days. Sparrow got behind in his rent; at one
time he was two years behind with his landlord, who, was
of admit and the Dtama
a rich but very close Hebraic gentleman, named Josephs.
Just as the latter was about to dispossess the broken
manager, when all seemed to be lost, Sparrow was ap¬
proached by H. R. Jacobs, a showman on a small scale,
at that time, who had been giving tent shows and running
museums in large cities.
Jacobs had accomplished the most remarkable feat of
making money in Montreal and when he offered to buy
a half interest in the Theatre Royal just as the unfor¬
tunate lessee was about to give up in despair Sparrow
almost fainted.
However, here was formed a partnership of Jacobs and
Sparrow and as if by magic the tide turned. The Royal,
at popular prices, under the Jacobs policy, became a veri¬
table mint. The firm branched out, taking on also the
Academy of Music, and finally a third theatre which was
newly built. Then Jacobs went to Albany, N. Y., and
after making the same demonstration at what was then
the Martin Opera House, he joined hands with Frederick
F. Proctor, and thus was formed the great firm of Jacobs
and Proctor, which, carrying out the Jacobs idea leased
and managed no less than thirty theatres in which the
scale of prices were 10, 20 and 30 cents.
As soon as Sparrow had been relieved of his financial
difficulties, and after he had increased his holdings to five
theatres through Jacobs' great showmanship, it is to be
regretted that a truthful record of the outcome must
state that Jacobs was ousted and, while it is not for this
writer to express opinions or to criticise, the general
impression was that no more glaring case of disloyalty of
one man to another has ever been given publicity.
Jacobs although not as great a power to-day as he once
was, is, nevertheless, successful and, in the city of Albany,
has built up a fine business where he holds the lease in the
one first class theatre there; he also has a theatre in
84
jTortp gears: SDtetfcatfon
Cohoes. Undoubtedly it is his wish to be comfortable
and quiet in the evening of his life; surely if he were so
disposed he could have had another run for Napoleonisrn.
Edward E. Rice, whose fame was originated through
the production of his American comic opera "Evangeline,"
has had about as stormy a career as could be wished for,
even by one who is desirous of justifying the adage that
"you can't keep a good man down." Rice has given more
people a chance to climb the ladder of fame than any
one man in the theatrical calling, and the list of now
famous stars who got their first boost from this hustling
manager is so long, and has so often been published, that
its repetition here would be superfluous.
While "Evangeline" was by far the most prominent of
Rice's compositions, his reputation does not by any means
rest there, and it is doubtful if the work he did in
"Horrors," "Revels," "Hiawatha," "Excelsior, Jr.," and
"Conrad the Corsair" was not just as efficient and, in the
case of "The Corsair," a revival at any time would be
propitious, for surely the type of musical comedy now
seen on Broadway stages is not to be compared with this
delicious morceau.
Rice was not a musician from a theoretical point of
view, and it is doubtful if he could write his own scores,
but he was a genius at the piano and he could whistle off
the most original and entrancing gems; it was in this
manner that he composed the wholly delicious score of
"Evangeline." Although in recent years Mr. Rice has not
been actively engaged in management, he is never idle,
and is always to be found about "the Great White Way"
where no surprise would be created if he were to "bob up"
any day with some monster scheme for the amusement
of the public.
Very similar to the career of Mr. Rice was that of the
late David Henderson, who had been for many years the
C. J. WHITNEY.
{Deceased.)
JACOB TANNENBAUM.
JAMES L. KERNAN.
GEORGE W. LEDERER.
A group of managers.
of ®dmic amO the Drama
85
Dramatic Critic of the Chicago Tribune, but who in the
late 70's leased the Chicago Opera House, one of the most
beautiful and costly theatres which that city to-day
affords. Henderson here exploited a policy wholly
original and seemingly successful; his productions of
"Alladin," "Blue Beard, Jr.," "The Arabian Nights" and
"Sinbad the Sailor" have never been surpassed in this
country at any period.
The remarkable fact that these superb revivals of Fairy
Tales dear to the hearts of the people, accomplished runs
in excess of 100 performances, was sufficient to make the
name of Henderson a strong factor throughout the coun¬
try. Henderson also leased the Duquesne Theatre in
Pittsburgh, and sent out touring companies with his
Chicago successes; it must, unfortunately, be stated that
these tours were always unprofitable. Strange to state,
New York City did not duplicate the Chicago record for
any of Henderson's productions.
In due time he was compelled, like so many others, to
reduce his operations to a minimum. The last few years
of his life were spent as the agent of the Equitable Life
Insurance Company. Still he was always restless and
even while in the employment of the insurance company
he was wont to dabble in small snaps and affairs of the
theatre, generally with disastrous results. Only a few
months ago he breathed his last in Chicago having suc¬
cumbed, after a long period of suffering.
Herr Heinrich Conried came to this country about 1875,
and first appeared in the Germania Theatre on East 14th
Street, and afterward at the Thalia Theatre on the
Bowery. He had been successful in Germany and
Austria; his reputation abroad had been gained by
his artistic representation of the title role in "Doctor
Klaus," which Sydney Rosenfeld afterward adapted and
produced in English as "Dr. Clyde," with only moderate
jfortj!) Ii3cat0 £D&scrtmth"ui
results. Conried, however, scored tremendously in this
character which was a sort of German Josh Whitcomb.
There can be no question as to the influence which Herr
Conried gave to the German Theatre of which he was the
leading spirit, as stage director, artist, and as business
executive. He soon raised the plane of the heretofore
doubtful standard which his predecessors had established;
then he changed the policy from comedies and dramas to
operetta and had no difficulty in attracting the better class
of American theatregoers to his excellent performances.
Conried, in an evil or rather untimely period, decided to
enter the comic opera field, as opposed to Colonel Mc-
Caull and Rudolph Aronson who were then the important
providers of light opera in English, and particularly with
a production of "The King's Fool,' which was one of the
last attractions to be seen at Niblo's Garden before it was
torn down. It attracted vast attention by the marvelous
mise-en-scene, and the superb ensemble which New York
had not been accustomed to up to that time.
Comic opera spelled ruin in those days and the redoubt¬
able German director had many hard roads to travel in
his effort to establish his company on a basis of profit.
In fact it must be said he was not always able to meet his
obligations and on more than one occasion the sheriff had
business relations with the future director of the Metro¬
politan Opera House.
Twenty-five years ago the operatic field was indeed a
precarious one, and the dignity and regularity which to¬
day characterize the financial side of it, were wholly
lacking. Some of the vicissitudes and trying experiences
which befell a few of the comic opera impresarios of that
time would read strangely to-day. One of these who, be¬
cause of his present rank shall be called "Mr. Blank,"
roughed it in the early 8o's to such an extent that one of
his experiences should be related here.
of €$u0ic antJ tljt Drama
87
Mr. Blank had a company of about fifty members, in¬
cluding a chorus of thirty-four. At this time the company
was presenting one of the Gilbert and Sullivan operas,
"Iolanthe" by name. This opera converged on the in¬
fluence of fairies in politics, and the male roles and chorus
represented high stationed peers and parliament mem¬
bers. The financial results of this tour through the New
England cities became so serious that Mr. Blank was not
only unable to pay the salaries of the company, but had
the greatest difficulty in meeting the company's hotel
bills. At length the troubles began to multiply so that
it was necessary for him to resort to his wits; in this
respect he was by no means wanting. Going toward the
proprietor of the hotel in Bridgeport, Conn., just as he
was about to attach the company's effects, Mr. Blank
said:
"I regret that we can not pay you what we owe, but
why close us up and break up our tour; instead of your
seizing our effects, loan them to us. Come on with us to
New Haven, or send one of your clerks and we will pay
you there all we owe you, also all your expenses."
This plan seemed fair and was approved of by the hotel
man and he went along to New Haven but, unfortunately,
the business done at New Haven was so bad, that instead
of being able to pay the hotel man from Bridgeport, there
was not enough money left after paying local expenses to
pay the hotel bills of New Haven itself. Here indeed was
a dilemma, but Mr. Blank was equal to the precarious
state of affairs. Thereupon he accosted the Bridgeport
boniface: "My friend, I regret exceedingly to inform you
that so far from being able to meet my promise to you I
am even unable to pay the hotel bills here. Therefore I
ask you as a matter of self-protection to explain this un¬
fortunate situation to the proprietor, and ask him to come
along to Hartford, one of the best operatic towns in this
88
jfortp gears; ©fescrtmtton
country; here business will surely be large enough to ad¬
mit of paying the amounts due you and also the New
Haven bill."
If the reader of this record is inclined to express doubt
as to the veracity of this recital as far as has been told, he
had better read no further for he did not know Mr. Blank,
and this writer did, and that's "the answer." The New
Haven proprietor seeing that the only way he could ob¬
tain satisfaction would be to join his Bridgeport confrere,
journeyed with him to Hartford, but Hartford was little
or no better and soon the company reached Providence,
R. I., carrying in their train no less than six hotel men
and two railroad ticket agents, Mr. Blank having had to
resort to this method to obtain transportation for his
large organization. Once when Mr. Blank was asked why
he did not close up his tour and end his worries, he
replied: "Stop," did you say!—I wish I could, but I
can't. It is easier to get to the next town than to get this
big company to New York. There is some hope always
to be aroused in "the next stand," but to return to the
metropolis isn't easy and—it's a good long walk."
At Providence new troubles began to accumulate and
in the morning on reaching the opera house he was waited
upon by a delegation of members of the male chorus of
his opera company, who informed him politely but very
firmly that they had come to him most reluctantly, but,
inasmuch as they saw no improvement in sight and that
they had prospects in other quarters, they were compelled
to notify him that if they did not receive the salaries due
them, or at least a respectable portion thereof, they
would, greatly against their will, be forced to refuse to
appear that night. This was indeed the last straw, but
Mr. Blank was up and doing. After the first shock sub¬
sided, he held a conference with himself, and then pro¬
ceeded to the hotel where the company was stopping.
of Q0u0ic and tf)t Drama
80
Quietly, so as to attract no attention, he asked the pro¬
prietor of the hotel (the city hotel) if he would favor
him with the use of a parlor or a large room with a piano
in some restricted section of the hotel, to which the un¬
suspecting boniface at once yielded and then with the
assistance of the bell boys of the hotel he collected the
eight hotel men and ticket agents and securely locking
them in the room addressed them in a manner worthy of
a Bryan or Roscoe Conkling. Explaining his predica¬
ment, he appealed to these credulous and now astonished
creditors of his and finally said:
"You alone can save the day, you have all sat in front
so many nights and witnessed the opera, and are quite
familiar with it. Here is a piano; in my hand I hold the
score of "Iolanthe" and as I can play the accompani¬
ment I can teach you sufficiently so that if my chorus
does go out as threatened we can at least give a perform¬
ance, and not have to dismiss the audience, and perhaps,
get stranded here, in the city of Providence, a place
where, of all localities, I for one would not care to reside
permanently." That night at about 8:15 absolutely un¬
known to the other members of the company, and to the
utter consternation and amazement of the female chorus,
who were then on the stage, on marched The Chorus of
Hotel Landlords and those who were present and privil¬
eged to hear them sing that opening line "We are peers
of high and lofty station," have surely never forgotten the
spectacle. Of course the opera was "cut" and the first act
was very much hurried, but Mr. Blank had triumphed; in
the second act the regular chorus, to a man, voluntarily
offered to return and the opera was continued for the rest
of the evening, as if no crisis had ever threatened.
The news leaked out however and the press treated the
matter in so humorous and lengthy a manner that the
engagement which was for four nights and one matinee,
DO
jfortp £E>ls0crtiatfon
was quite successful and at its close there was enough
surplus, after paying all the expenses, to bring the tour
to an honorable end. The entire organization was brought
to the city, and Mr. Blank, nothing if not persevering,
began organizing another company, which a little later
he launched in a new opera and with the most satisfying
results.*
Minstrelsy received its first really important impetus in
this country early in the career of J. H. Haverly, who
at all periods of his reign as a manager controlled minstrel
bands. It was when he evolved the world-famed Masto¬
don Minstrels (40 Count them 40) that he attracted the
vast interest and the enormous audiences which ever after
were accorded to his enterprise. Haverly also was the
first to put out a certain mastodonic type of lithographs
and pictorial printing, and there can be no question as to
the tremendous uplift he gave to Ministrelsy. In fact,
the demonstration he made with the "Big Show" was
quickly copied, and an effort was made, not only to
emulate his methods, but by no less a rival than R. M.
Hooley, the very father of the old school of minstrelsy.
He put up a battle royal with Haverly, equipping a
monster aggregation which he called "Hooley's Megath¬
erium Minstrels."
Hooley when asked what a Megatherium signified,
replied, "A Megatherium can swallow a Mastodon."
For several months these two big bands played in oppo¬
sition to each other and declared war, while the agents of
both were engaged in many pitched battles. Hooley had
for his star the great and only Billy Emerson, and he also
*The tale of Mr. Blank has served so often, and as a volume
has just appeared which makes his exploit its basic subject, it
becomes necessary for the author to reluctantly confess that he
himself was Mr. Blank.
of £$u0ic and tljc Drama
91
had extraordinary designs for his lithographs and print¬
ing; Haverly easily survived, and until his death his
Mastodon Minstrels served to finance many of his serious
deficiencies in other quarters.
But Haverly and Hooley were not the only showmen
to enter this phase of minstrelsy. Michael B. Leavitt,
then a veritable Napoleon himself, controlling the first
chain of theatres to the Pacific Coast, and one of the most
active workers of his generation, organized what he then
called Leavitt's Gigantean Minstrels; he was by no means
an insignificant factor in the triumvirate of minstrel
managers. Leavitt had really the largest and most ex¬
pensive band of the three, and he, too, had a virtual circus
method, having four agents in advance, and no less than
sixty different kinds of lithographs. But it can be truth¬
fully said that, aside from Haverly, Leavitt alone of these
rivals made any profit.
M. B. Leavitt who is alive to-day and to be seen on
the Great White Way any day, looking like a typical
youngster, with a fast gait and optimistic mien, was really
making history at a rapid rate in his early career, and few
indeed of the rich managers who compose the mighty so-
called syndicate, can deny the service he rendered to pos¬
terity. Had it not been for the state of his health it is
open to serious question whether he would not have been
to-day an important member of the very syndicate itself.
Leavitt gave many of to-day's prominent theatrical busi¬
ness men their first chance; Mr. A1 Hayman at one time
was in Leavitt's employ, George W. Lederer was also
first employed by him. In fact throughout the 70's and
the greater part of the 8o's, Leavitt was the principal
manager who had multitudinous enterprises. He was also
the first to have a New York office, and he systematized,
as far as his own business was concerned, a veritable clock
like service for those with whom he was affiliated.
92
jfortp gears: SDfisertoaticm
Leavitt, too, was ambitious and while he made the most
of his money on the least artistic of his ventures he deeply
regretted this and always aspired to uplift his name. He
even entered into almost dangerous business deals with
Colonel Mapleson, Maurice Grau and other great per¬
sonages for no other reason than to be identified with
their artistic entourage, and if the truth were known these
managers and many others have Leavitt to thank for
having been safely carried over more than one stormy
voyage. As a matter of fact, Leavitt provided a large
share of the capital that made it possible for Henry Et
Abbey to finance Sarah Bernhardt's first American tour.
A few years ago when Leavitt returned to America
from abroad, fully recovered from a malady which had
been pronounced incurable, he astonished his numerous
friends on the "Great "White Way" by his changed ap¬
pearance. In fact, the recovery was so extraordinary
that it has been referred to in medical history. It was
this attack on his mental equilibrium that interrupted
Leavitt's marvellous march on to the control of nearly all
theatredom. On the day he arrived in this changed
state he met A1 Hayman, who once was in his employ
and who is to-day the richest theatrical manager in the
world as a result of his having accomplished the very
thing that Leavitt had almost completed when his break¬
down came. Hayman hailed his old-time friend and as¬
sociate and in the midst of the animated conversation
which followed he slapped his hand on the recovered
showman's back and exclaimed:
"Well, well, Mike, it's too bad you ever got ill. You
would have been one of us (meaning, of course, the so-
called theatrical syndicate).
Leavitt replied with that quick repartee that was al¬
ways his: "'One of us,' did you say? Well! I like
FRANK DUAIONT.
Oldest minstrel manager still in activity.
MICHAEL B. LEAVITT.
Pioneer and original theatrical plunger.
of C13H0IC anD t|)t Drama
93
that! If I had not been taken ill I think it possible you
might have been 'one of me.' "
Bartley Campbell was a playwright whose career
when it reached the stage where he would be enabled
to have his plays read at all, was very much on the
same order as that which has been the lot of Eugene
Walter whose "Paid in Full" made his fame in a night
and changed his financial circumstances from one extreme
to the other almost within a year. In the case of
Campbell there was at least no justification for keeping
his works from production for so long, because he had
indicated great ability in various ways. Still it was not
until he received an opening for his play, "The Galley
Slave" that the fickle goddess of fortune smiled on him,
but then, when it did come his way it was with a ven¬
geance; no less than four companies were sent out with
"The Galley Slave" which for that period (more than
thirty years ago) was remarkable.
However, Campbell began to shake the dust off the
manuscripts he had previously hawked about to managers
without result, and now being recognized, he disposed of
"Siberia," "The White Slave," "My Partner," and many
others, and all made money for their producers. Eventu¬
ally, Campbell became his own producer and manager
and his career later took on some of the vicissitudes
which had characterized his earlier years.
Thirty-five years ago, at the Union Square Theatre
in this city, an organization from England known as the
Vokes Family came to these shores and modestly
announced themselves as a quintette of comedians and
that they would be seen in a nonsensical travesty entitled
"The Belles of the Kitchen." There were just five in this
troupe—Rosina, Jessie, Victoria, Frederick and Fawdon.
Frederick was not a relative, but was engaged as the
94
jFortp gears flDfeseruation
comedian and was a fixture with the company as long as
they appeared as a "family" in America.
At the first appearance of this company the success was
so astonishing and the surprise so remarkable that the
vogue of the Vokes family at once became tremendous,
and, for nearly two decades, it was possible for them to
play to receipts equal to that of any of the stars or even
some of the Grand Opera Companies. The leading spirit
of the organization, if indeed it is fair to single out one in
this collective band, was Rosina who long after became
the star of a company which presented gems in the way
of playlets and curtain raisers.
Her company included Felix Morris and Weeden
Grossmith and up to the very day of her death, she was
one of the greatest attractions and one of the most be¬
loved artists that the stage of her time possessed. Her
death caused a shock because of her worth as a woman,
for Rosina Vokes' life was a busy one, and many indeed
felt the benefits of her activity in the aid of her profes¬
sion's poor.
The success of the Vokes Family caused other small
bands of talented players to be equipped and the first of
these was Salsbury's Troubadours at the head of
which was Nate Salsbury who from the fortune he
had made on this little troupe was enabled to purchase
an interest in the Buffalo Bill Show from Wm. F. Cody.
He, after about fifteen years of great results, gave
up his interest in the "Troubadours" which included
Nellie McHenry, John Webster, John Gourlay and an¬
other lady whose name is not now recalled. Miss Mc¬
Henry is still living and in fact is a star at the head of her
own company though she does not, sad be it to relate,
come to the Metropolis as was her wont in the days when
she had the aid of Salsbury and her husband, Jack Web¬
ster who disappeared suddenly several years ago, leaving
of C^u^ic rnio tJje Drama
05
no traces whatever. A son by the marriage, also known
as Jack V/ebster is now a decidedly successful leading
man who has had much experience in provincial stock
companies.
Annie Pixley was a very prominent figure in the theat¬
rical world in the span from 1875 to 1895, and as M'liss
in "The Child of the Sierras" held the public so that she
virtually became the successor of Lctta.
LOTTA herself retired in the prime of life while her
zenith was indeed in sight rather than in the rear; yet her
action is greatly to be approved. Would that more of our
players, having amassed fortunes and left the public im¬
pressed with them at their very best, might take their
leave before they have utterly disillusioned their audi¬
ences; but let it not be said that Lotta is not missed. In
this instance the retirement might have been supple¬
mented with an occasional representation for charity, in
order that players if not playgoers of this generation
could be made witnesses of her consummate execution of
any role she may have elected to assume. Firefly was
her great achievement in the opinion of this writer.
Maggie Mitchell, like Lotta, held sway up to about
twelve years ago and her appearance anywhere would
result in packed theatres and delighted audiences. Miss
Mitchell who is now Mrs. Charles Abbott, is living in
Long Branch, N. J., in a well-earned retirement, and is
to be seen driving along Ocean Avenue, any pleasant day
at any time of the year.
The first of the Yiddish stars was M. B. Curtis, who
as Sam'l of Posen was a factor for two full decades. Al¬
though his performance was wholly artistic and has never
been equalled, his career has nevertheless been a decid¬
edly stormy one. In recent years he has found great
difficulty in obtaining rcognition despite the fact that the
exquisite art which characterized his interpretation of
9 0
jfortg gear# £D&0ettjat{cin
Samuel Plastrick was everywhere conceded. Perhaps the
tragedy which he was connected with in San Francisco
and which at one time looked very serious for Curtis, may
have had much to do with the shortness of his vogue.
Frank Bush preceded Curtis in the interpretation of
Hebraic characters, but as he did not have an important
vehicle for his talents and as his tours were confined to
the provincial circuits, it is but fair to give Mr. Curtis the
credit of being the first to present the "Hebrew Drum¬
mer" to American playgoers in an artistic manner. Bush
has survived, and is to-day a sterling attraction in vaude¬
ville. His career has covered nearly thirty-five years, a
record to be proud of particularly when one considers the
prejudice he has had to contend with, because of the type
of character he assumes.
Johnstone Bennett, who breathed her last only a short
time ago, was distinctly without an equal in her time, in
the roles for which she v/as so peculiarly adapted. Her
Jane will stand out as absolutely unique and one of the
most substantial successes of the early regime of Charles
Frohman. An effort was made by this indefatigable
manager to supply Miss Bennett with a successor to Jane;
as a matter of fact, she did appear in a play entitled
"Fanny," which was supposed to be a sequel to "Jane,"
but it failed most ingloriously. Even an attempt to create
an unnatural duration to its run by placing La Loie Ful¬
ler as an added attraction between the acts, was fruitless.
The comedy had a decidedly short career at the Man¬
hattan Theatre and its out of town bookings were
abandoned. Miss Bennett, however, procured an excellent
protean sketch entitled "A Quiet Evening at Home" by
Kenneth Lee, and this served her in vaudeville for many
years where her weekly salary varied from $300 to $500,
according to her necessities and the managerial humor.
of Q^tisic and tfje Drama
97
CHAPTER III
Mrs. John Drew, mother of John, Georgia and Sidney
Drew, was one of the best, if not the best of the many
of her sex who managed theatres. The Arch Street
Theatre, 6th and Arch Streets, Philadelphia, where all of
the Drews received their stage training is still standing.
The Arch was truly the home of comedy and the pro¬
duction of such classics as "Home," "School," "Ours,"
"London Assurance," "Still Waters Run Deep," and "The
School for Scandal" have rarely been surpassed, if indeed
equalled in later years.
Mrs. Drew retired from the stage long before she
abandoned the business direction of her famous play¬
house.
Another actress-manager whose career was replete
with notable and earnest effort was Mrs. F. B. Conway
who, like Mrs. Drew, had a family of players as the back¬
bone of her ideal stock company in the Brooklyn Theatre
which she managed up to the time of her death. The two
Conway sisters, Lillian and Minnie, became conspicuous
features of the Metropolitan stage from 1870 to 1885.
Lillian married Jules Levy, the Wizard of the Cornet,
and she afterward became a prima donna of comic opera;
her Josephine in "Pinafore" was highly praised. Minnie
Conway was wedded to Osmond Tearle, a Wallackian
favorite who, three decades ago, was the matinee idol
over whom New York's jeunesse doree raved.
Mrs. George Holman (Harriett Holman), the pioneer
OS
jfortp gearg Dfosertoation
of English opera in America and mother of Sallie,
Julia and Alfred Holman, was surely the ideal stage
mother of her time. It would take a book to chronicle
the vicissitudes and interesting experiences of this family
who for twenty-five years, were conspicuous on the
Canadian and American stage. The city of their principal
operations was Toronto, where they owned the Royal
Opera House. There, more than one production was
made long before it was heard in the United States.
Harriett Holman always conducted the orchestra and
staged all the operas and plays which they presented.
It is said of Mrs. Holman that she produced one of the
Gilbert and Sullivan operas in three days, having only a
violin part of the score and the libretto. The Holmans
gave more than one of the stars of to-day their first
chance; it will be news to many to know that our own
favorite comedian, Wm. H. Crane, was actually appren¬
ticed to this organization. The spectacle of Crane actually
singing tenor roles in grand and comic opera is neverthe¬
less a fact. He remained with the Holmans nearly a
decade. When Edward E. Rice produced "Evangeline,"
Crane scored a tremendous hit in the role of Leblanc.
Previous to this he had been a member of the Alice Oates
Company.
Another Holmanite was Master Chatterton who was no
'other than the Signor Perugini of to-day; his career with
the Holmans must be fast and securely impressed on his
own memory. The years of barn-storming which he did
with this precarious band has not, noticeably at least, left
anj' mark on his always cheerful personality.
For a long time all the legitimate theatres in Toronto
and Montreal were managed by members of the gentler
sex. The Grand Opera House in Toronto, all through the
latter 6o's and 70's was like all theatres at this time, a
"stock" house; traveling companies were rare indeed.
of Q^ustc and tbt Drama
99
The Grand was managed by Mrs. Morrison, an excel¬
lent actress and a clever business woman.
In Montreal the Theatre Royal was managed by Fanny
Marsh who hailed from Portland, Maine, and who main¬
tained all the year round, one of the best dramatic com¬
panies procurable. The theatre which Mrs. Marsh built
in Portland is still standing and for years, has been the
vaudeville house of that city, under the management of
B. F. Keith.
In those days it was the custom to play stars every
other week in the theatres having their own stock com¬
pany, and it was usual for the great actors like Booth,
McCullough, Forest, Barrett, Charlotte Cushman and
others to send a stage manager one week ahead of their
appearance to rehearse the actors. It was not at all
uncommon for such a company, and under such circum¬
stances, to present eight plays in one week. All were
heavy productions, principally Shakesperian, and yet the
performances were by no means intolerable nor would
they be so accounted to-day. Imagine the spectacle of
our present-day actors indulging in this effort!
It would be well to observe that the compensation re¬
ceived by actors and actresses was infinitely small com¬
pared to what is now paid. In fact the entire salary list
of a company then would rarely exceed what is to-day
paid a leading lady. John McCullough was glad to get
$35 a week in Montreal not so many years before he died.
The variety theatres of thirty-five and even twenty
years ago, gave tremendous bills just as now, but there
was no $3,000 a week for the Lillian Russells of that
time; Vesta Victoria, who now gets $2,500 a week, was
well satisfied with $100 a week at a period when she was
quite as good as she is now; and Vesta Tilley, who now
receives $1,750 a week made many a trip to America on
the promise of $150 a week.
100
jfottp ^eat0 D&sertoation
The vaudeville salaries of to-day are worthy of consid¬
erable space, but it is quite sufficient for the moment to
observe that there were no gold bricks in the olden times,
and the selling of well-known names from the legitimate
stage after they had there lost their usefulness was un¬
known in the Varieties of the distant past.
Some of those who read this record will surely agree
with the writer that the programmes given at the old
Union Square under Bob Butler, or at the Eagle Theatre
under Josh Hart, or down at The Theatre Comique under
Ed Harrigan and Tony Hart, and last but not least at
Tony Pastor's on the Bowery were equal in every way
to the best that are given to-day even at Hammerstein's
or Percy Williams' theatres. There were just as many
feature acts then as now, though one act plays were not
conspicuous. Still these variety theatres had competent
authors attached to the salary list who turned out after¬
pieces, week after week. I recall George L. Stout and
J. J. McCloskey, not to mention Ed. Harrigan, who,
began by writing the "Mulligan" series to run thirty-five
to forty-five minutes. It was not until Harrigan and Hart
became their own managers that they gathered about
them the extraordinary array of comedians which set this
big town by its ears. Then it was that their plays ran a
full evening.
The favorites of the Harrigan plays are passing to the
beyond very rapidly; Annie Yeamans, the greatest of
them all, still lives, and is yet to be seen before the foot¬
lights. The demand for her services is a lesson to those
who would maintain that the career of a player is at best,
short, and that the public is not loyal to its favorites.
Some of the greatest stars of to-day received their first
training in the variety theatres, but perhaps the most in¬
teresting is Denman Thompson. Even his one big
success, the play that for thirty years brought him fame
of 8j|u0ic artti tf)e Drama
101
and fortune, was first played in the varieties. "The Old
Homestead," the play that has been seen by more people
than any ever written, is only the enlargement of a thirty
minute sketch played by Thompson, all over this country,
called first, "The Female Bathers," and, afterward,
"Uncle Josh," and finally "Joshua Whitcomb." Even
before "The Old Homestead" was produced "Joshua
Whitcomb" had been spread out into a full evening's
performance. The performance as given to-day is vir¬
tually the same as when it was a sketch.
Joe Murphy also began on the variety stage, though his
great fortune was amassed in the legitimate field with his
plays "Help," "Kerry Gow" and "Shaun Rhue." Strange
to say, when Murphy, only a year or two ago, sought to
return to his first love and present in vaudeville a con¬
densed version of "Kerry Gow," he was very coldly
received and got no farther than his opening week at
Yonkers where he was forced to give a "try out" like
a veritable beginner.
John W. Albaugh is retired now, and living at Long
Branch; his was a career well worth noting. In the
period from 1879 to 1883, Albaugh managed theatres in
Baltimore, Washington and Albany with stock com¬
panies as their sustaining influence. Every star of the
great past has spent periods in Mr. Albaugh's theatres,
and Booth, Barrett and Charlotte Cushman were prac¬
tically frequent visitors. Albaugh played himself almost
constantly in the 8o's. He married Mary Mitchell, a
sister of Maggie Mitchell, and a son by this marriage,
John W., Jr., has become prominent as an actor.:!:
It is to be insisted upon that men like Bob Miles, John
Ellsler, R. M. Hooley, The Meech Brothers, R. M. Field,
John W. Norton (who brought out Mary Anderson),
*John W. Albaugh died February, 1909.
102
jfortp gears D&serfcation
David Bidwell, Tom Maguire and others are not to be
found conducting the provincial theatres of this country
to-day; the writer would feel justified in theorizing fur¬
ther on this subject were it not for want of space. The
mere mention, however, of their names will be gratefully
noted by those readers who recall their pleasing personal¬
ities. Some must indeed have cause to recall the many
deeds of sacrifice which characterized their managerial
policy.
There are but few such men left in the theatrical field,
and it is to be regretted that it can not be said that their
successors have followed in their footsteps. We have
progressed in much, but that goodness of heart and the
comradeship which in olden times made managers help
one another and made even the prevalent disasters less
difficult to endure, are to-day conspicuous by absence.
Perhaps the most unique and certainly the most inter¬
esting figure of his time was John Stetson, the very
mention of whose name should and will be received with
delight by those who knew him. Stetson has been often
made the victim of gross caricature and the many stories
of an inviduous nature which have been published about
him are either greatly exaggerated or else they are
romance itself. Stetson was a showman and a successful
one. Though brusque and somewhat hard to get along
with, he was, after all, tender-hearted and he possessed
an unerring instinct in the selection of attractions. He
rarely made a miss. When he did, no one was as quick
as he to acknowledge it. In Boston, whence he hailed,
his word was as good as his bond.
It was not the intention of the writer to indulge in
anecdote. As has been stated above, much that has been
written of Stetson was untrue and wholly unjustified.
But there is enough that is really true to tempt the
of €V)U3ic anD fljc Drama
writer to recall a lev/ of his most quaint sayings; those
recorded here can at least be vouched for.
When Stetson was managing the Globe Theatre in
Boston, one of his annual visiting stars was Mrs. D. P.
Bowers and just before her appearance in each city, her
managers caused large posters to be placed everywhere
with only her three initials (of very large size) on them:
D. P. B. On the opening night of her engagement in the
Hub the theatre was not as crowded as the great Boston
manager would desire, so that he was in a rather poor
humor. In the lobby a stranger pointed to one of the
big posters across the way and inquired of Stetson:
"What do those three big letters over there stand for?"
To which Stetson gruffly replied:
"Damn poor business!"
On another occasion Stetson had as the feature at the
"Globe," Lillian Olcott in Sardou's "Theodora." The
lithographs were most attractive and one, a big three-
sheet, had a portrait of Theodora entering the cage
wherein were three man-eating lions. Stetson was stand¬
ing in the foyer of the theatre when he was thus accosted:
"Is this a good play, Theodora?"
"Yes," said Stetson.
"Are those real lions?" asked the man.
"Yes," murmured the manager.
"Is it true that Theodora goes in the cage with the
lions?"
Stetson, not pleased with the business the play was
doing, replied roughly, "No, but I wish to God she
would."
There is one story about Stetson which I have never
felt sure enough of to vouch for its veracity, but as it was
told me by one of the most prominent theatrical men in
this country who claimed to have been within earshot of
the conversation, it is here repeated.
104
jTortp gears £>&0ettoation
It seems that Stetson was sitting in the front row of
the orchestra on an important night of a comic opera's
first production. This was most unusual for him as he
always made it a rule to watch these first nights from the
wings. However, on this night he was listening to the
overture and his attention was attracted by the cornet
player who was idle, although all of the other instruments
were heard. Stetson said nothing until the cornetist had
been silent for nearly a moment. Turning to him, Stetson
demanded to know why he was not playing his instru¬
ment. The cornetist, greatly disturbed by this sudden
approach, answered in a trembling voice: "I have sixteen
bars rest."
"Rest! did you say?" asked Stetson.
"Yes," said the musician.
"I don't pay to rest. I pay you to play and if you don't
blow your horn and keep blowing it you can go to the
box office and get your money and rest as long as you
like," was the excited retort.
It has been stated above that it was Stetson's habit to
stand in the wings on an opening night. That this was
only too true many a stage worker has known to his
sorrow, and more than one of those still living can so
testify.
Stetson was the lessee, for many years, of the famous
Howard Athenaeum in Boston. It was conducted by him
as one of the very few strictly variety theatres which this
country supported at that time. The bills were changed
weekly and on the Monday nights, placing himself in the
first entrance, alongside the prompter's box, he would
watch each turn with that eagle one eye which he had,
and which has so often struck terror in a performer's
breast.
On this particular night Stetson was evidently in one
of Q3usfc anD tlyt Drama
105
of those humors that were dreaded by those who feared
him. The very first number was a team of song and
dance men who had been sent from New York by an
agent and represented to be headliners in their specialty.
After their first verse, the manager called them off but the
team did not respond quickly. There were no hooks in
those days but Stetson, now in a rage, screamed to them
to come off, which they did. Trembling from head to
foot they approached the manager who inquired of them
what was the name of that song they were trying to sing.
"Where Can Those Beautiful Canaries be Found?"
answered the frightened performers. Stetson now thor¬
oughly in a passion, yelled out:
"D d, if I know, but you can go to the box office
and get your week's salary and take the rest of the week
to find out."
There are no Stetsons to-day; the great magnates of
vaudeville, with the exception, perhaps, of the late Tony
Pastor, do not indulge in such pleasantries as that of
paying a team a week's salary after they had proved
wanting at the first performance.
Stetson was managing the old 5th Avenue Theatre on
Broadway and was playing to a capacity business with
Gilbert and Sullivan's "Mikado." Having no worry for
himself he was wont to visit the other theatres and, as he
used to put it, "Observe a thing or two and learn a thing
or two." One night he went into the Bijou Theatre (the
same Bijou now managed by the Sire Bros.), where the
Comley Barton Company with Catherine Lewis, John
Howson and others were giving Audran's "Olivette."
Business here was fair, but had not yet reached the tre¬
mendous run it, later, achieved. He looked around the
auditorium and began to sympathize with James Barton,
one of the two directors of the company. Barton became
jfortp gears: SDlisenmtion
indignant and said that Stetson could keep his sympathy,
that business was good, and profitable too, and turning to
Stetson, he inquired:
"How much do you think there is in this house to¬
night?"
"Oh, I don't know or care, but I think it's a shame that
such a good fellow and so good a company as you have
here should play to such a small house."
Barton, now thoroughly enraged turned to Stetson, he
said:
"See here, Dick Deadeye I'll tell you how much there
is in that house. There is just eleven hundred dollars."
Stetson took another look, then he went down the
center aisle and looked above the orchestra floor and, re¬
turning, observed to Barton, with that roguish look that
none can forget:
"Say Jim, that's an honest usher you have here. I wish
I was so fortunate in that respect."
"What do you mean?" sniffed Barton.
"I mean if there is eleven hundred dollars in this house
to-night, then someone has dropped eight hundred on the
floor."
John Stetson was manager of James O'Neill for many
years, and the star who was so long identified with "The
Count of Monte Cristo" prospered greatly under the
Bostonian's guidance. Once the representative of Stet¬
son wired him that his presence was needed in Chicago,
where the company was appearing at McVicker's Thea¬
tre. The treasurer of this establishment was at the time
a Mr. Sharp, who, after the death of J. H. McVicker, be¬
came manager. It happened that Stetson arrived in Chi¬
cago about noon on a Saturday, which was, of course, a
matinee day, and it is quite evident that he did not relish
being called upon to make the long journey. At all
events, as he proceeded along Madison Street the mati-
of and tl)e Drama
107
nee crowds were pouring into the theatre. Stetson's at¬
tention was attracted by a huge sign which read:
MATINEE TO-DAY AT 2 SHARP.
Of course this meant that the performance would start
promptly at the hour advertised, but Stetson's ire was
aroused at what he thought a presumption on the part of
the house treasurer. Approaching the box-office, before
he had a chance to exchange greetings with any of his
friends or representatives, he shook his finger in the face
of the "knight" of the box-office, saying: "See here!
Take that sign in and have it changed. I am running
this house, and I want the sign to read:
MATINEE AT 2. STETSON.
John F. Poole held a decidedly conspicuous position in
the amusement world from i860 to 1885. He was director
of amusements in the old Theatre Comique at 514 Broad¬
way where Josh Hart reigned and where Harrigan and
Hart produced their "Mulligan" series of plays. It was
when he joined hands with Tom Donnelly and the firm
of Poole and Donnelly had evolved, that Poole was a fac¬
tor in the business side of the theatre. Donnelly had been
a "way back" even at this period and had long reigned
over Donnelly's Olympic in Brooklyn. Together these
two old heads conceived the idea of leasing the Big Opera
House on 23d Street and 8th Avenue and managing it as
a combination house. They were the originators of the
plan—which to this day has not in the least been dis¬
turbed ; it is to their credit that they accomplished success
despite many obstacles. That theatre which, up to then,
had been persistently depleting the fortunes of those who
dared to trifle with its fate, began to draw the great West
108
jfcttp geat£ SPtertoation
Side public; Poole and Donnelly gave this public the
Broadway attractions at fifty cents.
This firm should be classed as the pioneers of the com¬
bination theatre of this type. Later on, the Grand Opera
House fell into the hands of Augustus Pitou, and Poole
took on the 8th Street theatre; but no amount of energy
or brains could reassemble the following he had before
created. Although Charles Frohman opened the house,
with one of his productions, the theatre had a varied and
checkered career and finally became a German theatre,
under the management of Adolph Phillip who here
achieved the extraordinary run of over 600 performances
for his play, "The Grocery Man of Avenue B."
In speaking of Tom Donnelly it should be stated that
his son and daughter, Henry and Dorothy, have had inter¬
esting careers; Henry having been star, manager and
playwright while Dorothy is now playing the leading role
in the "Lion and the Mouse" with much success. In fact,
in one season at the Murray Hill Theatre under her
brother's direction she assumed no less than forty roles of
importance and nearly all of varied character, testing her
versatility severely.
This Murray Hill Theatre at 42d Street and Lexington
Avenue, while under the artistic and general direction of
Henry Donnelly came nearer to being a playhouse, as the
term should be understood, than any other this writer can
recall of recent years. Dorothy Donnelly was by no
means the only development of the strenuous stock days
that there prevailed. Frances Starr, who now is one of
Mr. Belasco's most successful stars, only a few years ago
got her first chance from Mr. Donnelly and, in a single
season, this now charming actress grew from an awkward
amateur into a finished and painstaking artist.
No season goes by that there does not come into this
jaded metropolis some youthful player, unheralded, hail-
of a^tm'c and the Drama
109
ing from some provincial stock company, where little of
the artistic is wont to prevail, and soon a new star shines
above the horizon. It is well that the manager for these
few stock companies about the country are usually
players of vast experience, or managers still active and
vigorous, and of the old school. It is this state of affairs
that has held up the artistic fabric of the dramatic
structure and when this source of incentive becomes
exhausted, it will not be easy to predicate the future
artistic possibilities of the stage.
"Tom" Donnelly had much of the Hibernian wit char¬
acteristic of his race. An anecdote recalled of him while
he presided over the destinies of the palatial theatre on
West 23rd street, is to the effect that his property man,
one Monday morning near the season's end, when busi¬
ness was on the wane at the box office, approached him
with a large list of perishable properties for the current
attraction. Among these was an item calling for sev¬
eral yards of hose and a chemical device for the purpose
of destroying the effect of smoke and fire. Donnelly
protested that this was a wholly unnecessary expense
and could be dispensed with.
"But," said the property man, "you want to get your
audiences out of the house without danger or panic."
To which Donnelly responded quickly: "Never mind
about getting the audiences out of the house. Better con¬
ceive some plan to get them in just now."
Mary Anderson began her professional career in Louis¬
ville, Ky., as Juliet. She was partially successful, being
only $10 in debt to the management at the end of the first
week. Ben de Bar, a celebrated Falstaff, tendered her a
nine weeks' engagement in St. Louis, where she won
great success but little money. The plucky Kentucky
girl soon attracted the attention of John W. Norton of
St. Louis who was greatly impressed with her possi-
110
JFottj? $zai8 SD&settoatiQit
bilities, especially her remarkable resonant voice that
destined her to become the greatest actress of her gen¬
eration. Though she retired from the stage v/hile in her
zenith, she is the one and only stage queen who has re¬
mained steadfast to her resolution never again to appear
on the boards.
Numerous efforts have been made to have her leave her
beautiful English home at Broadway, England, but she
has never wavered for a second, not even when Mr.
Abbey, her last American manager, who held an un¬
expired contract for her services offered her $200,000 for
a season of thirty weeks. Even as recently as 1904, the
writer of this record offered her the same terms, and,
hoping to touch her generous heart, agreed that the tour
be utilized only for Shakespearian readings and that half
the profits v/ould be given to any charity that she might
be interested in; but all negotiations were useless, and it
is not likely that the public will see this gifted woman on
the boards again, although in England, on very rare occa¬
sions, she has appeared for some charity, when, strange
to state, it was as a singer, not a player, that she has
charmed her many hearers.
NIBLO'S GARDEN, a large and commodious theatre
located 011 lower Broadway, between Houston and Prince
Streets, has been the scene of many notable productions;
its history is replete with interesting records of the stage.
Here William Wheatleigh reigned for a long time; all of
the great foreign, and native players of the 6o's and 70's
trod its boards at some time or other. Afterwards the
theatre became famous for spectacles. That enterprising
firm of managers, Messrs. Jarrett and Palmer, scored in
this historic playhouse some of their greatest triumphs,
and here it was that the great run of "The Black Crook"
took place and where the peerless Morlachi and the cap-
of C$u$ic ant* tfjc Drama
111
tivating Bonfanti set New York literally crazy with their
marvelous toe dancing.
After all is said and done it is greatly to be questioned
if any of the productions which to-day are so much
boasted of could rival or even approach this, the first
attempt to place a grand spectacle on the local stage.
After "The Black Crook" which ran two years and even
then was often revived, came "The White Fawn."
Though Jarrett and Palmer spent nearly $50,000 on it, the
final result by no means was as favorable as their first
great success. They were truly great managers, and
when they moved uptown to 23d Street and 6th Avenue,
and occupied the palatial theatre built by Edwin Booth,
they continued the extravagant policy which they inaugu¬
rated at Niblo's Garden. Among their most notable
achievements was the really gorgeous offering of "Sard-
anapalus," at present being presented in Berlin under the
Kaiser's direction. French opera bouffe reached its
pristine glory at Niblo's Garden; here the elder Bateman
produced Offenbach's opera "Barbe Bleu" with Irma and
Aujac as prima donna and tenor. Over thirty years ago
these two consummate artists, singing and acting in a
foreign language, in a city one-fifth the size of the New
York of to-day, were able to pack Niblo's, a theatre as
large if not larger than the Grand Opera House, five
months in one single operetta. The writer makes the
observation that a revival of the dear old works of Offen¬
bach, Lecocq, Herve, etc., with a company of French
singers and actors, would meet with an acclaim that
would repay the effort.
The 1 ate Maurice Grau was the only manager whom the
public could look to for this class of amusement. When
Le became a Grand Opera impresario, despite the fact that
lie owned the scenery, costumes and paraphernalia of the
entire repertoire of Ope:a bouffe, he was compelled to
112
jFottp gears Observation
abandon the field entirely. Not since the death of Marie
Aimee has New York had a visit from a company of this
class, though every year, New Orleans and even Montreal
import, from Paris, the latest artists and operettas. Some
shrewd servant of this public could do worse than nego¬
tiate at least for a spring season. In this connection it
should be stated that forty years ago, and even still
farther back, New York City supported a theatre
Francais. The theatre on 14th Street and 6th Avenue
now managed by Mr. Rosenquest housed many a com¬
pany of Parisian players, who would play an entire season
there, with reasonable success, and, later on, in West 23d
Street on the very site of the old Koster and Bial's.
French plays ran for two years in a little bijou theatre
which the popular minstrel, Neil Bryant, built in 1872,
the last home of his merry band.*
Of late, aside from an occasional visit from Sarah Bern¬
hardt or Coquelin or Re jane or Jane Hading, there has
been no effort to revive the Theatre Francais here. It
would seem that with the greatly increased French popu¬
lation and the popularity of the language among educated
Americans, that a small theatre like the Bijou would be
well subscribed to for an annual season of the works of
the great French masters.f
*The welcome announcement has been issued by both Opera
Houses, as well as by the New Theatre, that next year's reper¬
toire will include the choicest selections from Opera Bouffe and
Opera Comique.
Often one hears much of Art to the exclusion of Commercial¬
ism, but it is to be noted that a manager who fully understood
financial difficulties, was called in to explain the cause of a
deficit at the Metropolitan Opera House. After all, the mil¬
lionaires, who are in power at 40th Street and Broadway, are
only human.
fThe patronage at this same Bijou Theatre on Sunday even-
of $iu0ic anO t!je Drama
113
German theatres, however, have always been plentiful.
On the very site of the old Windsor Theatre, once called
the Stadt Theatre, the greatest German and Austrian
players appeared and here, Davison, Haase, Bandmann,
Marie Seebach, Hedwig Raabe and even the great Wach-
tel appeared always with phenomenal success. The Ger¬
mans of this city soon began to move with the uptown
tendency; Adolph Neuendorf, the first permanent man¬
ager of a German theatre in this city, was induced to
secure a long lease on the little theatre adjoining the
Academy of Music, calling it the German Theatre, and
remaining there many years with varying success.
Wallack's at 13th Street and Broadway was being
abandoned for the theatre at 30th Street and Broadway
now being called by that name. This gave to the am¬
bitious Neuendorf and opportunity long desired; the old
Wallack's was leased and maintained by him as the home
of German operetta and plays. Here, Marie Geistinger
made a notable success in "Boccaccio." Neuendorf was
determined, however, to have a more permanent abode,
and the theatre on Irving Place which is still used for the
German plays, was built. Another establishment is now
being abandoned, after an effort, at 59th Street and Madir
son Avenue under Dr. Baumfield's direction.
The Yiddish Theatre has very little antiquity associated
with it, although its vogue to-day is nothing short of
extraordinary. To-day, besides four first class theatres
devoted to Yiddish plays and operas, there are no less
than ten music halls. These theatres and halls are by
no means small and will compare favorably with those in
use by the English and American players.
Adler's Grand Theatre, in which Jacob Adler appeared
ings, in 1907-08, when Mr. Louis P. Verande gave comedies and
operettas in French, was highly encouraging.
114
jFortg gears Observation
for several years before he leased the house to Al. H.
Woods for melodrama, cost that great Hebrew tragedian
$28,000 a year for rental alone. It was not at all un¬
common for this artist to play there week in and week
out to receipts in excess of $6,000 a week, the majority of
which would be taken in on the last three days of the
week. Mr. Adler has on several occasions appeared for
a single week at the American Theatre on 43d Street,
when uptown people were given an opportunity to see
the greatest Shylock of his time and, perhaps, of any
other.
In these uptown pilgrimages Adler would be supported
by an American or English speaking company and al¬
though Adler received for his services $1,000 a week, the
theatre was always sold out before the doors were opened.
It has become proverbial for theatres, as soon as they
cease to pay as English places of amusement to be quick¬
ly turned into Yiddish theatres. .
The old Windsor Theatre on the Bowery was leased
years ago by Bertha Kalich who became as great a favor¬
ite as Adler at what was called and is still called the
Kalich Theatre, though Miss Kalich herself has long since
become an English speaking star under the direction of
Harrison Grey Fiske, and her tours are constantly grow¬
ing in interest as well as in the financial results. Even in
the upper part of the city, the Star Theatre at 107th
Street and Lexington Avenue, long a veritable gold mine
for melodrama, has had to succumb to the demand and,
to-day, an imported company of singers and players from
Russia are playing to large audiences. The old Bowery
Theatre which had survived for more than half a century
was, only a few months ago, abandoned to the Yiddish
players, who, despite the fact that Jacob Adler is playing
now directly opposite are meeting with extraordinary
BERTHA KALTCH.
ROBERT McWADE.
As Rip Van Winkle.
cf Vdmit an 15 the Drama i ir>
. —& .——
favor from audiences which crowd the big house to its
very doors.
It has been considered that a few words written about
the "Yiddish" theatres of New York would not be in
vain, since within a few years the Jewish population of
New York City has become equal to the entire population
of the Metropolis twenty years ago. Our uptown man¬
agers, in fact managers of any locale, need not envy
these Yiddish impresarios, for their lot is far from pleas¬
ant, they being totally at the mercy of a series of unions,
who hold the managers in a state of terror continuously.
There are unions galore—actors', choristers', hair-dress¬
ers', prompters', bill posters' and ushers' unions. No
season goes by that all of these theatres are not compelled
to close up for a period. At one time not a theatre was
opened in the entire Ghetto for more than a week. The
rules set down by these self-declared tyrants would be
impossible of execution were it not that their organization
is so complete and their affiliations so absolute.
Besides these four legitimate theatres there are no less
than ten first-class music halls in the Ghetto district, and
these are ruled by still another union, or rather a union
of unions.
The Kiralfy Brothers or "me und mem Brudder" as
these two great kings of spectacle were often facetiously
called, came to this country from Buda Pesth. There
were three brothers and three sisters and the furore that
they created at Niblo's and other theatres thirty years
ago, has not often been duplicated if indeed it has ever
been. The sisters introduced here for the first time their
picturesque style of dancing; Imre, Bolossy and Arnold
Kiralfy astounded our forefathers with the agility and
precision with which they executed their eccentric
terpsichorean feats. All three of the Kiralfy Brothers
11G
jFortp gears SDfcsertiation
are alive to-day and in harness too. Imre is in London
where he is the prime mover in the great Earl's Court
Exposition. Bolossy only a year ago produced "Pocca-
hontas" at the Norfolk or rather the Jamestown Exposi¬
tion. Arnold is teaching and often presents novelties and
dancing creations at the theatres. One of the sisters
married Alfred L. Parkes. an esteemed theatrical critic
who for many years had charge of the dramatic columns
of the New York Mercury, a newspaper that in its day
cut a wide swath.*
Another Kiralfy sister married Edmond Gerson, who
for a very long period was the manager of the business
ventures of the Kiralfys.
Imre Kiralfy was a true type of the European manager
and it is not surprising that his career has been the most
successful, for he at all times displayed a great general¬
ship. While the Kiralfys were in Europe, looking for
novelties, they secured Hubert Wilke, an actor who has
not found his proper sphere in America. Wilke was fea¬
tured in a musical play entitled, "The Rat Catcher" in
which he was successful in Europe, and in America. It
may not be too late for some enterprising manager to
again bring Wilke before the American public, for it is
seriously to be doubted if there is on the contemporaneous
stage to-day, a player better fitted for the romantic plays
in which old New York delighted and which now, when
some entrepreneur is emboldened to produce them, are
so highly appreciated. Not since the days of Charles
Fechter, perhaps the greatest romantic actor America
ever welcomed, have we had a player so worthy of rep¬
resenting the grand works of the elder Dumas, Sardou
and Victor Hugo. Wilke appeared first in this country
*Arnold died before these pages go to press.
of ^U0ic an & t&e Drama
117
in German in "The Merry War," under Herr Conried's
direction.
Fechter's career in this country was unusually stormy
for he was not popular with his brethren of the stage, but
who that has been privileged to see his Claude Melnotte
in "The Lady of Lyons" will ever forget the way he
swayed his audiences, or who has there ever been to
succeed him as Obenreiser in "L' Abime?" It was
Fechter who rebuilt the Theatre Francais at the corner of
14th Street and 6th Avenue and here as the Brothers di
Franchi in "The Corsican Brothers" he played the most
memorable of his American engagements. It is also
recalled that on one occasion Fechter appeared in the
French language, assisted by the French players headed
by Mile. Julietta Clarence, who were brought to this
country by Messrs. Grau and Chizzola in the early 70's.
Edwin Adams was another player of romantic roles of
this period and in "Enoch Arden" he had a vehicle that
served him almost throughout his long and honorable
career.
Nearly all the great foreign actors either mastered our
language or else were seen in polyglot performances
which were rarely artistic and never successful. Even the
elder Salvini, after his first tour, was supported by
American players. Ristori's last visit here under such
conditions, greatly disillusionized her audiences who
loved to recall her at her best.
Daniel Bandmann, however, when he appeared with
native actors, himself spoke the language, though not
perfectly, and only in "Narcisse" did he meet with great
favor. Bandmann died in 1904. He starred jointly with
Louise Beaudet more than two decades ago, and this
very versatile actress was wont to play his leading and
heavy roles, though she was, as she is still to-day, as
jFort|> gears Dissertation
dainty as Dresden china. At the present time Miss
Beaudet is appearing with "The Man from Home" tour¬
ing company, as the Comtesse de Champigney.
One block further uptown from Niblo's Garden, be¬
tween Houston and Bleecker Street, on Broadway, was
the famous theatre built by Laura Keene, afterwards
managed by James Hayes and, still later, by Samuel
Colviile and John Duff. Here was the Tenderloin dis¬
trict of the 6o's and Charles Collin's famous cafe in the
Olympic Theatre foyer was always crowded with actors,
sports and bohemians. All of the dramatic agents, too,
had their offices in this vicinity and Harry Hill's place
was but a stone's throw away.
It was at the Olympic that Pantomime had its great
vogue. That modern Grimaldi, George L. Fox, pros¬
pered here for many years. The production of "Humpty
Dumpty" was second only to the "Black Crook," and had
the unprecedented run of 500 nights. Later on Fox pro¬
duced "Hickory Dickory Dock" but this was not quite
so successful. Pantomime seemed to die with Fox and
surely no one has ever successfully taken his place.
There was a vast difference between the clowns of to¬
day and this King of Momus. Fox was an actor in the
true sense of the word and yet when he asked for serious
recognition as Hamlet it was denied him. From every
critical point of view his work as "The Melancholy
Dane" was artistic and consistent, yet the audiences
howled; this so broke poor Fox's heart that his career
was cut short, and he became mentally weak.
Speaking of Fox and the ridicule that his serious work
commanded recalls George Jones, The Count Joannes.
Who, that ever saw him will forget the most eccentric
actor the stage has even known? Though he was known
to play Romeo behind a net, he was able to reap the finan¬
cial reward that many great actors of his time were de-
of ^U0i'c anU tfje Drama
119
nied. Jones was not a bad actor, but it was impossible to
hear a word he said. In fact on his entrance he would
be greeted by 1,000 voices with "Oh George," and when
as Hamlet he would order Ophelia to a nunnery, the
theatre filled with Wall Street brokers and men about
town would ring with this retort: "Don't you do it,
Ophelia," and again when Romeo kisses Juliet farewell
they would cry out "Oh George!"
A theatre in olden times that had the reputation of be¬
ing a hoodoo was the one owned by the A. T. Stewart
Estate at Astor Place and Broadway, last used as an
Athletic Club, and before that, as "Ye London Streete."
Here nearly every manager of the last four decades had
his experiment. The theatre will be best known as the
home, for many years, of the famous Worrell Sisters,
Jennie, Sophie and Irene. Sophie married George S.
Knight, a German dialect actor who went to his grave,
disappointed because the public would accept him only
in humorous work. He was a great actor and can be
compared with David Warfield. Irene Worrell, the writer
believes, is living in Brooklyn; Jenny has long since gone
over to the now great majority.
A few doors from the New York Theatre where the
Worrell Sisters had their vogue, at 720 Broadway, the re¬
nowned Kelly and Leon Minstrels had their bijou home.
Here "The Only Leon" used to burlesque the Grand
Opera favorites and stars of the legitimate stage, just as
Weber and Fields used to do at their Broadway Music
Hall. Leon's career was a long and notable one and only
two or three years ago he was seen in New York, a
vivid reminder of the dear old days of "720." He is alive
and is now in Chicago.
Speaking of hoodoos the theatre which was torn down
a few months ago, at 29th Street and Broadway, in which
Margaret Anglin and Henry Miller produced "The
120
jFortp gears £D&0ertmtion
Great Divide" has probably seen more fiascos and more
managers have failed there than perhaps anywhere in the
world. It's name has been changed so often that all of
the titles cannot be recalled, but its first use as an amuse ¬
ment resort was when the San Francisco Minstrels tried
to establish there a permanent home for themselves. As
the company was headed by Birch, Wambold, Bernard
and Backus, it is to be assumed that the efforts were
worthy of appreciation.
Since then minstrelsy was the principal attraction of¬
fered, though Richard Mansfield once played a memorable
engagement there. Alexander Herrmann, the most popu¬
lar magician of his time took the house and spent a
fortune to make it look inviting, but save when he him¬
self appeared there, the financial results were nil. In one
season this theatre was known to change managers six
times, and was then referred to as "The Morgue."
Augustin Daly, prior to his entrance into the theatrical
world, was the dramatic editor of the New York Sun. A
just critic himself, he was, nevertheless, severe with
critics who passed adverse judgment on his plays. When
J. Austin Fynes of the Clipper scored one of his produc¬
tions, Daly changed the critics' regular seats from third
row orchestra to second row balcony, back of a pillar at
that.
He was the son-in-law of John Duff, a typical theatrical
manager of the old school, the last of the many managers
to tempt fate at the Olympic Theatre. Daly made many
notable productions before he had established a stock
company in New York. One of these was "Under the
Gaslight," another, "Around the Clock," both written or
adapted by himself. It was in West 24th Street that
Daly first located with his well defined stock policy, in
the very same theatre which John Brougham had used
for his last stage work. In this little bijou playhouse
of 60U0ic ana t|)t Drama
121
Daly gave New Yorkers some of the plays that made his
name so distinguished, but it was not until later that
"Divorce," "Pique," "Frou Frou," and "Needles and
Pins" were presented; Clara Morris and Fanny Daven¬
port were then given their great opportunities. The
Company also contained James Lewis, Charles Fisher,
Fanny Morant, George Clarke, Mrs. Gilbert, Ida Ver¬
non, and others equally well known. When the little
house known as the Fifth Avenue Theatre was destroyed
by fire, Daly, in the space of one week, remodelled the
theatre known as the New York, and brilliantly trans¬
formed it into one of the most beautiful theatres imagin¬
able. This was but a temporary affair, as work began at
once on the new building also called the Fifth Avenue
Theatre, 28th Street and Broadway, and which, a few
months later, was opened. There for years afterward,
the greatest stage director and organizer that America
has ever known, maintained a model organization which
for discipline and devotion to art has never been ap¬
proached. It was at this theatre that Daly developed the
stage career of Ada Rehan. This theatre also was des¬
tined to be destroyed, and then it was that Daly moved
to the establishment which now bears his name.
It may not be generally known but the present Daly's
Theatre is virtually the same, except for decorations and
remodeling, as the old "Wood's Museum" which, thirty
years ago, occupied the same site. The building itself is
the same save for the painters' brush and the decor¬
ators' art, together with new furnishings. Daly's, as it
stands to-day, is precisely the "Wood's Museum" of the
6o's, in fact it has not changed since it was Banvard's
Museum before Wood came on the scene.
The days of Wood's Museum are not without interest.
The lobbies were all filled with curiosities and with
freaks, but in the theatre, two performances were given
122
jFortp ^ears SDtjmtoatton
daily, and as many as 300 plays would be seen in one
season. Although it was a museum, some of the best
actors of the last half century got here their incentive for
the careers which followed.
Thomas W. Keene played at Wood's Museum; week
in and week out he played from four to ten parts, giving
two performances daily. Louis Aldrich did the same and
Henry Lee now in vaudeville began his dramatic career
there. Although to-day he is not known for his dramatic
work, he occasionally makes an excursion from the vaude¬
villes into the drama and always with grace and much
dignity.
At Wood's Museum the melodramatic stars, then so
prevalent had great vogue. Oliver Doud Byron in
"Across the Continent" and other plays was always wel¬
come, as was also Dominick Murray, an actor who has
had no equal in Irish comedy.
Many of the most prominent players and managers of
the present day, started humbly enough in the careers
that afterward became so active and noteworthy.
Charles Burnham, for almost two decades, manager of
Wallack's Theatre was an usher in the first Daly's
Theatre in West 24th Street. Before he reached the dig¬
nity of his present position he had occupied every possible
position in the business department of the theatre, in this
city and "on the road." He was advance agent for Au-
gustin Daly for many years, and had charge of the tours
of the Daly companies.
Thomas F. Shea, who has been Mr. Frohman's business
manager at the Empire Theatre ever since the playhouse
first opened, January 25, 1893, began as an usher in the
first Daly's Theatre in West 24th Street. He, also,
worked his way up to his present position by the accumu¬
lation of a vast experience on the road as an advance
agent and treasurer for Robson and Crane.
of Q!Hi0tc attti tfje Drama
123
More than one of the managers who amassed wealth in
theatrical affairs, began as a player, and, singularly
enough, would show an adaptability to the business end
of the stage which was wholly lacking to their stage
work.
Frank W. Sanger was one of these. He had been an
actor long before he tempted fate on his own account but
nothing was achieved by his artistic endeavors that would
entitle him to extended attention from the historian.
Sanger was leading man for the beautiful Adelaide
Neillson the best Juliet the stage has ever known, and it
has been often observed that his work was so bad as to
cause amazement as to how he could hold so important
a position with so distinguished a star. Sanger's first
business venture was with the late Charles Hoyt, in that
successful author's first effort in the musical comedy line,
"A Bunch of Keys." It had one of the longest runs ever
known, and for more than ten years Sanger reaped enor¬
mous profits, there being as many as four companies
presenting the farce simultaneously. Sanger's profits on
this venture alone were in excess of $100,000. He became
the lessee of the Broadway Theatre and was Charles
Frohman's partner in the Empire Theatre property. In
1902 Sanger was acting manager of the Metropolitan
Opera House.
Wm. A. Brady, although a better actor than the late
Frank Sanger will hardly himself claim that his histrionic
efforts would have yielded him the fame and fortune
which his brainy business methods have achieved. He
began as a call boy in San Francisco and his appearance
as an actor was principally on the Pacific Coast. When
Brady did come East he made his presence felt and by
his first production, a revival of the old forgotten melo¬
drama "After Dark," he commanded the respect and
attention of all theatredom; from that time on his pro-
121-
jfortp gears SD&gettoattott
gress has been nothing short of marvelous. Whatever
may be the diversity of opinion as to Brady's ability as
an actor, no one has ever questioned his place in the
profession as a stage director. Mr. Brady at the present
time is at the height of his career, and there seems to be
no indication that he has yet accomplished his highest
aims.
The story of Hurtig and Seamon's rise is of decided
interest. The Hurtigs hail from Cincinnati, a city that
has produced more successful showmen than any other,
save the Metropolis itself. How many Hurtigs there were
at the outset cannot be assumed, and there is no indica¬
tion that they have grown any less through prosperity.
At any rate the Hurtigs first came to notice as ticket
speculators on the streets of New York. Julius and Ben,
were the leading spirits and they were to be seen in front
of the theatres and operas, twenty years ago.
In 1894 they conceived the idea to go on tour with
Sarah Bernhardt and buy up all the choice seats, and sell
them at a premium. Three Hurtigs would go in advance,
to buy up the seats, another brigade of Hurtigs would
follow, a week later, to dispose of them.
Harry Seamon is not a relation of the Hurtigs, but a
life long friend. He was a club swinger who had "played
dates" for years and at this time was the permanent stage
manager in the Eden Musee on West 23d Street. Mr.
Hurtig wanted to install Seamon in an agency, and, leas¬
ing an office floor on Broadway near 28th Street, the firm
of Hurtig and Seamon was evolved. The firm began in
a small way as vaudeville agents; the secret of their suc¬
cess ultimately seems to have been due to the number of
Hurtigs that could always be hurried to the scene of any
emergency.
The manner in which Hurtig and Seamon became
managers is interesting; they seemed to follow in the
THE BROTHERS HURTIG.
Benjamin llurtig {in the centre of the five standing), deceased in 1909.
of 2©u0ic attO tfje Drama
125
wake of George W. Lederer; whenever the latter would
fail in any enterprise Hurtig and Seamon would resurrect
the remnants and always with success.
Lederer opened the St. Nicholas Music Hall in New
York with vaudeville. After a few weeks of failure Hur¬
tig and Seamon went in and made money. When
Lederer failed to make a success of the Harlem Music
Hall on West 125th Street, Hurtig and Seamon took the
house and soon established it as "a gold mine." Here
they have amassed the greater part of their fortune. It
was George Lederer who discovered Williams and
Walker, and for quite a period he managed their tours.
Eventually they, too, were abandoned by Lederer, and
again Hurtig and Seamon made a long contract with
these colored comedians; it was under their management
that these stars developed into the best paying attraction
of their race in America.*
The writer does not wish to convey by the above that
Mr. Lederer's career has not been a successful one, for
such is far from a fact, but the coincidences referred to
in above three instances are well worth recording.
Ted D. Marks, a quarter of a century ago was just as
conspicuous a character as he is to-day, though he did
not occupy a very prominent part in the theatrical con¬
struction of this period, he is always interesting and this
volume would not be complete without some reference to
his "coming out." It was at Richmond, Va., that the
writer first saw him; he had been the advance agent of
Lilian Spencer, an actress who, as Cora in "Article 47"
which she called "The Creole," began to make great
strides, when her untimely death brought to an end her
worthy activities. Ted Marks was engaged by the comic
opera company long managed by Jules Grau and at once
*Benjamin Hurtig died February 13, 1909.
126
jFottg ^earg D&gertmtiott
began those methods of his which really attracted much
attention. In all the advertising and printing, the top line
would read as follows:
1840—GRAU OPERA COMPANY—1884
This gave the impression that the company was estab¬
lished forty-four years. In Atlanta, Ga., the Constitution
in referring to the presentation of "La Mascotte" by this
company said:
"Mr. Grau advertises that his company is now in its
forty-fourth year, and from the appearance of the ladies
of his chorus no one will question the truth of his claim."
Once when this company was in the Southern part of
Texas, during a raging yellow fever epidemic, business
was very bad, and Ted telegraphed to the treasurer of the
company as follows: "Telegraph me $50, or I can't move."
To which he received the following reply:
"If ossified, play museum dates, if not hustle; any agent
can travel with money."
Ted Marks introduced Anna Held in 1896, Yvette Guil-
bert in 1895, Marie Loyd and many others.
Max Hirsch, who has been in the box office of the
Metropolitan Opera House since the night it was first
opened, twenty-five years ago, by Henry E. Abbey, and
who after a couple of years became treasurer, began, like
so many others who afterward reached dignified posi¬
tions, as a libretto boy at the Academy of Music on East
14th Street, in the palmy days of the Brothers Strakosch.
He first became "Knight of the Box Office" in 1886 at
William Henderson's Academy of Music, Jersey City,
after which he came to this city to occupy the same berth
when Mr. Henderson opened the Standard Theatre on the
site of the present Manhattan Theatre. He recently cele¬
brated his silver anniversary in the box office; a mag¬
nificent banquet, attended by all the artists of the opera
company, marked the occasion.
of omtsic and tlje Drama
127
CHAPTER IV
The business department of the theatrical and musical
arts has, of course, progressed as the decades have ex¬
panded in the inevitable march of time. There was no
Friars Association in the 6o's, not even a green room
club; the Lambs and Players were not yet dreamed of.
The Lotus and Arcadian Clubs were, however, by no
means inferior to any that to-day bid the players wel¬
come. Though they harbored only a small minority of
theatrical people, there were then, as now, receptions and
dinners to noted guests and it was the custom to serenade
the great foreign stars when they first visited these
shores.
Jacques Offenbach, Tomaso Salvini and Anton Rubin¬
stein were particularly honored in this way, but such
a dinner and reception as was recently given to Oscar
Hammerstein by the Friars, at the Hotel Astor, was of
course not possible at any period of the nineteenth
century. Yet, in all that gathering which constituted,
principally, the men who to-day give their brains to
further the industry of the business and financial side of
the amusement world, there were few indeed who had
the business ability which characterized the efforts of the
"man in advance" of long ago. There were no John
Rickabys, and where is there to-day another Harry Sar¬
gent ("scarf pin Harry"), and who, indeed, was there at
this notable function to console us for the loss of Don
Diego De Vivo?
The business department of the amusement profession
128
jfortg peat$ fiDfogertoation
in the 6o's and 70's too, was far more remunerative than
it is now.
It has been stated in another part of these writings that
J. Fred Zimmerman earned a salary of $1,000 a month as
far back as 1872; surely no one to-day can earn or obtain
this sum despite the extraordinary development of every¬
thing to warrant it.
De Vivo also had a similar honorarium and even a
percentage of the profits in addition; John Rickaby never
had less than $150 a week when he was a salaried man.
John E. Warner, still alive and in harness, was also in
this class. Others of this calibre were Charles A. Chiz-
zola, Henry Wertheimer, James W. Morrissey, his
brother "Starr" and last but not least, Joseph H. Tooker,
one of the greatest showmen the world has ever known.
"Commodore" Joe Tooker who was born in 1830 and
died in 1896, began his remarkable career as the manager
of Mr. and Mrs. Wm. J. Florence, he having married Mr.
Florence's sister, Winifred. His first great opportunity
came when he directed the business affairs of that colossal
firm of showmen, Messrs. Jarrett and Palmer, at Booth's
Theatre and Niblo's Garden. Tooker's newspaper adver¬
tisements were always recognizable and have never been
equalled. Those who recall the manner in which he ex¬
ploited the excursions on the New England steamer,
"Plymouth Rock" need not be told of the man's versa¬
tility. He amassed great wealth early in his career, and
purchased a controlling interest in the famous Metro¬
politan job printing company, originally an enterprise of
James Gordon Bennett's. The men who began with
Bennett in that enterprise, in the most inferior positions
have all survived, to become important factors in the
show printing lines; among these were Messrs. Richard¬
son and Foos, "Pop" Dillon, Bernard Gillen, Timothy
Hayes, and George J. Cooke.
of 9®imt an& tt)t Drama
129
The last two are, to-day, at the head of decidedly large
concerns, while Tooker's son and namesake, Joseph H.,
Jr., is the president of the same Metropolitan Job Print¬
ing Company which has now absorbed the Seer, Thomas
and Wylie plants.*
A. S. Seer was the first man to print a coupon ticket
and, way back in 1867, he had his little den on Fourth
Street, where tickets were printed for every playhouse in
America, while Henry Thomas was noted for being the
first to get out a plain lithographic head of a player.
Speaking of Tooker naturally leads the writer's
thoughts to another personage who, unlike Tooker,
evolved from the show printing field to the theatrical
arena. Theodore A. Liebler is here referred to and an
interesting career, indeed, is to be recorded with the
exploiting of the modest appellation, "Liebler & Co."
which the indefatigable George C. Tyler never sought to
change when, in later years, his personal achievements
were such as justified the placing forward of his own
illustrious name.
The term "illustrious" is used advisedly when speaking
of George C. Tyler, for who indeed, in the amusement
world, has the last forty years produced more worthy of
its application?
Recently, Theodore A. Liebler, undoubtedly in a spirit
of loyalty and appreciation, when discussing his business
associates with the writer of these records, said:
"George C. Tyler became a great producer simply be¬
cause that was the field of his endeavor. He might just
as well have become a great journalist or a great politi¬
cian, or what not, for whatever he would have under¬
taken, he would certainly have accomplished."
The writer recalls Tyler in the summer of 1895 or 1896,
*A consolidation of practically all the show printing concerns
was effected in June, 1909.
130
jFortp gears; Dfcsertmticm
in Philadelphia, when he and Harry Askin were roaming
about that city's Rialto, up to a "hustle" of some kind.
Their financial condition at the time was at least symmet¬
rical ; in other respects they were decidedly well balanced.
It was said at Zeiss's Hotel on Walnut Street, that which
ever of the two got out of bed first was the best dressed.
Something, however, was pending.
Askin had been one of Col. John McCaull's trusted
managers and Tyler had handled everything but money.
A few days later (in August, 1896), this writer had occa¬
sion to run down to Long Branch and there the announce¬
ment of a grand outdoor "As You Like It" performance
was creating no end of sensation along the whole Atlantic
Coast.
To narrate who Tyler had in that cast would be to
name more stars than the firm of Liebler & Co. ever
afterwards managed. Suffice to say that, on account of
a terrific rain storm, a tremendous loss was of necessity
sustained. Then, George C. Tyler met Theodore A.
Liebler who had lost his extensive printing and litho¬
graphic establishment, being unable to recover from the
loss caused by the Park Place disaster. Liebler was
regarded as a man of means but as he tells it himself
he had only a few lithographs, a desk saved from the fire,
a few dollars and unbounded confidence in Tyler's ability.
However that may be, it is generally believed that Liebler
had several thousand dollars and Tyler had a few debts.
Together they met the late Charles Coghlan and here
indeed was a trio useful to one another. Coghlan who was
a consummate artist if ever there was one, had not been
going strong and although always a very high salaried
man, he was one of those great actors who escape their
just goal.
With Coghlan as their first star, the firm of Liebler
& Company was inaugurated in 1897. At what is now
THEODORE LLEBLER, Sr.
A great producing firm.
GEORGE C. TYLER.
of Q£u0ic and tf)C Drama
131
Keith & Proctor's 5th Avenue Theatre, a production was
made of "The Royal Box." Success crowned this initial
effort and a vast producing concern, second to none in
America, was thus started on a career which in this
season of igo8-g finds its activity at the zenith.
Appended is a statistical record of the achievements of
Liebler & Co. from 1897 to 1908:
LIEBLER & CO.'S PRODUCTIONS SINCE THE
BEGINNING (1897).
T.S. Tremendous success. Earned from $50,000 to $250,000
S. Successful. Earned from . . 5,000 to 50,000
A.S. Artistic success. About even.
F. Financial failure. Lost from . . 5,000 to 65,000
1897-8 Charles Coghlan in "The Royal Box," an adap¬
tation of Dumas' "Kean." S.
1898-9 Viola Allen in "The Christian," by Hall Caine.
T.S.
James O'Neill in "The Musketeers," by Sydney
Grundy. S.
1899-0 "The Children of the Ghetto," by Israel Zang-
will. A.S.
1900-1 "The Choir Invisible," by James Lane Allen.
A.S.
"Unleavened Bread," by Judge Robert Grant.
A.S.
"In the Palace of the King," by F. Marion Craw¬
ford. T.S.
James Heme in "Sag Harbor," by James Heme.
S.
"The Greatest Thing in the World," with Sarah
Cowell LeMoyne. A.S.
"The Moment of Death," by Israel Zangwill. S.
132
jFortp gear# 2D&0ertiatton
"The Land of Heart's Desire," by William But¬
ler Yeats. A.S.
"In a Balcony," by Robert Browning. S.
"A Gentleman of France," with Kyrle Bellew,
by Weyman & Presbrey. S.
First American tour of Mrs. Patrick Campbell,
in repertoire. S.
James O'Neill in an elaborate revival of "Monte
Cristo." S.
American tour of La Pressa.
1901-2 "The School for Scandal," revival, all star cast.
S.
"The Hunchback," with Viola Allen, by J. Sher¬
idan Knowles. S.
"The First Duchess of Marlborough," with
Sarah Cowell LeMoyne, by Charles Meltzer.
A.S.
1902-3 "The Vinegar Buyer," with Ezra Kendal. S.
First American tour of Eleanor Duse, in reper¬
toire. S.
"The Sacrament of Judas," with Kyrle Bellew.
A.S.
"The Eternal City," with Viola Allen, by Hall
Caine. T.S.
"Audrey," with Eleanor Robson, by Mary John¬
son. S.
Revival of "Romeo and Juliet," star cast. S.
"Lost River." S.
'Weatherbeaten Benson," with Ezra Kendal.
A.S.
"The Manxman," by Hall Caine. F.
1903-4 Joint tour of Ada Rehan and Otis Skinner, in
classic repertoire. T.S.
"Merely Mary Ann," with Miss Eleanor Robson,
by Israel Zangwill. T.S.
of 00usic and tjbe Drama
133
"Raffles," with Kyrle Bellew, by Hornung and
Presbrey. T.S.
"Adventures of Brigadier Gerard," with James
O'Neill, by Conan Doyle. A.S.
"The Gentleman from Indiana," with Edward J.
Morgan, by Booth Tarkington. A.S.
"The Honor of the Humble," with James
O'Neill, by Harriet Ford. A.S.
1904-5 First American tour of Gabrielle Rejane, in
repertoire. A.S.F.
All star revival of "The Two Orphans." T.S.
"Under Cover," by Edward Harrigan. F.
First American tour of Ellis Jeffreys in "The
Prince Consort." A.S.F.
"You Never Can Tell," with Arnold Daly, by
G. B. Shaw. T.S.
"Mrs. Wiggs of the Cabbage Patch," by Alice
Hegan Rice and Anne Crawford Flexner.
T.S.
Special revival of "She Stoops to Conquer." All
star cast. T.S.
Special revival of "London Assurance," all star
cast. S.
"Agatha," with Eleanor Robson, by Mrs.
Humphrey Ward. A.S.
"The Barnstormer," with Ezra Kendal. A.S.F.
"In the Bishop's Carriage," by Channing Pol¬
lock. S.
1905-6 "The Prodigal Son," by Hall Caine. A.S.F.
"The Fascinating Mr. Vanderbilt" with Ellis
Jeffreys, by Alfred Sutro. A.S.F.
"The Vanderbilt Cup." S.
"The Squaw Man," with William Faversham, by
Edwin M. Royle. T.S.
134
jfortp ^ears SD&mtmtion
"The Girl Who Has Everything," with Eleanor
Robson, by Clyde Fitch. S.
"Cape Cod Folks." F.
"Susan in Search of a Husband," with Eleanor
Robson, by Jerome K. Jerome. S.
1906-7 "Nurse Marjorie," with Eleanor Robson, by
Israel Zangwill. S.
"She Stoops to Conquer," with W. H. Crane and
Ellis Jeffreys. T.S.
"A Tenement Tragedy," with Eleanor Robson,
by Clotilde Graves. S.
"Salomy Jane," with Eleanor Robson, by Paul
Armstrong. S.
"The Dear Unfair Sex," with Ellis Jeffreys. F.
"Sir Anthony," by Haddon Chambers. A.S.F.
"The Magic Melody," with Walker Whiteside,
by Gordon Keane.
1907-8 "The Man from Home," by Booth Tarkington
and Harry Leon Wilson. T.S.
"Irene Wycherley," with Viola Allen, by A. P.
Wharton. A.S.
Albert Chevalier and Yvette Guilbert, tour.
A.S.F.
"Electra," with Mrs. Patrick Campbell. A.S.F.
"The Regeneration," with Arnold Daly, by Kil-
dare and Hackett. A.S.F.
"Going Some," with George Marion, by Arm¬
strong and Beach. A.S.
1908-9 "The Battle," with Wilton Lackaye, by Cleve¬
land Moffett. S.
"The Melting Pot," with Walker Whiteside, by
Israel Zangwill. T.S.
"The White Sister," with Viola Allen, by Marion
Crawford and Walter Hackett. S.
of Q£u0ic antJ tfje Drama
135
"The Dawn of a To-morrow," with Eleanor Rob-
son, by Mrs. F. Hodgson Burnett. T.S.
"Vera the Medium," with Eleanor Robson, by
Richard Harding Davis. S.
"Cameo Kirby," with Dustin Farnum, by Tark-
ington and Wilson. S.
"The Man from Home," second company. S.
"Miss Phillura," by Henry Blossom.
"Blue Grass," with George Marion, by Paul
Armstrong. F.
"The Renegade," with William Farnum, by Paul
Armstrong. A.S.
"The Strong People," with Arnold Daly, by C.
M. S. McLellan. S.
"The Head of the House," with Ada Lewis, by
Edward W. Townsend and Frank Ward
O'Malley.*
Liebler and Company made many Spring revivals with
noted casts. In the Spring of 1900 Brownings "In a Bal¬
cony" was profitably given with Eleanor Robson, Otis
Skinner and Mrs. le Moyne. In 1902 Knowles' "The
Hunchback" with Miss Allen as Julia, Eben Plympton as
Master Walter, Aubrey Boucicault as Clifford, and Jame¬
son Lee Finney as Modus. In 1903, came "Romeo and
Juliet" with Eleanor Robson as Juliet, Kyrle Bellew as
*The reader is informed that the extended space devoted to
the records achieved by Liebler and Company is due to the im¬
pression of the author that the importance of the many pro¬
ductions of this firm and the unusual excellence and significance
of the three plays now enjoying lengthy runs at leading Metro¬
politan theatres, promise great things to the firm's future opera¬
tions, and fully justify the placing on record of a full recital of
all that has been achieved by them up to the present time.
136
jTortp gears flD&sertratfon
Romeo, Eben Plympton as Mercutio, W. H. Thompson as
Friar Laurence and Edwin Arden, John E. Kellard, Ed¬
mund Breese, Forrest Robinson, George Clarke, Frank C.
Bangs, W. J. Ferguson, Ada Dwyer and Mrs. W. G.
Jones in the company. In 1904 came "The Two Or¬
phans," in which Liebler & Co. were associated with
others, with Kyrle Bellew, James O'Neil, Charles Warner,
Grace George, Clara Morris, Margaret Illington, Fred¬
erick Perry, E. M. Holland, Annie Irish, Jameson Lee
Finney, Clara Blandick and others. When this play was
taken on tour the following season with James O'Neill,
Grace George, Clara Morris, J. E. Dodson, Louis James,
Jameson Lee Finney, Mrs. Le Moyne, Bijou Fernandez,
William Beach, etc., it was entirely under Liebler & Com¬
pany's management. In igos Liebler & Co. had two
other all-star revivals, "She Stoops to Conquer" with
Kyrle Bellew, Eleanor Robson, Louis James, J. E. Dod¬
son, Sydney Drew, Isabel Irving, Mrs. Calvert (the Mrs.
Gilbert of England), Frank Mills, etc., and "London As¬
surance" with Ellis Jeffries, Eben Plympton, W. H.
Thompson, James Neil, Ida Conquest, Ben Webster,
Murray Carson, Herbert Sleath, Kate Phillips (the last
four being English), Jos. Wheelock, Jr., etc. In 1906
there was no special revival; in 1907 there was a revival
of "She Stoops to Conquer," under the joint management
of Chas. Frohman and Liebler & Company, with Ellis
Jeffries as Kate, W. H. Crane as Hardcastle, George
Giddens, the English comedian, as Tony, and Margaret
Dale, Walter Hale, Herbert Sleath, Fanny Addison Pitt,
Fred Thorne, Clarence Handyside, etc. This revival was
not seen in New York. Last year the production of
"Electra" with Mrs. Patrick Campbell, Mrs. Beerbohm
Tree, Ben Webster and Chas. Dalton took the place of
the usual revival.
Liebler & Company may be proud of the fine perform-
of Q3usfc and tbt Drama
137
ances given by Ada Rehan and Otis Skinner under their
management in 1903-4.
It is but fair to relate of the foregoing record that
Liebler & Co. have always possessed the real artistic
instinct, and in their relations with Duse, Rejane, the
elder Salvini and others of equal artistic worth, their
efforts were prompted solely by a desire to show public
spirit and to raise the standard of their productions.
Profit was out of the question in these undertakings,
particularly in the case of Tomaso Salvini. The firm
fearing that it would break the great Italian tragedian's
heart should he meet with failure, in the year of depres¬
sion for which they had signed him for twenty-five repre¬
sentations, cabled and advised a postponement of the
tour.
Whatever was Salvini's view, it is known that he sued
the firm and obtained judgment for $20,000 for twenty
performances at $1,000 a night. Salvini, who is consid¬
ered a millionaire, has always been noted for financial
greed. When he came here in 1872-73, under Maurice
Grau, despite the fact that his Othello created a furore, it
was impossible to make a profit, he refusing to play more
than three times a week and only once a week in
"Othello."
The Liebler Company also had a misunderstanding
with Ermete Novelli, the Italian actor who came out here
twice with his own company, and here too the American
firm advised postponement or cancellation. Novelli had
agreed to furnish scenery for his repertoire of about
twenty plays. It occurred to Liebler & Co. that as Italian
scenery is painted on paper, they, consequently, would
not be able to use it in this country, on account of the
stringent fire laws. The time was too short to paint new
scenery. Novelli received the cablegram advising can¬
cellation, stayed at home, and, probably recalling Salvini's
138
jfortp gears SDfcmtoatton
experience, instituted suit but in this instance Liebler &
Co. settled with the Italian actor out of court.
The greed of some of these foreign stars is simply un¬
believable. Salvini's claim to Czarship in the matter of
economy is so well known that a record of it need not be
expanded upon; besides his great artistic work is of far
more interest to posterity. Yet it should be said that
another of his illustrious compatriots, the great Fran¬
cesco Tamagno was actually known to sell to ticket
speculators and others the ten seats for each of his
operatic performances given under the direction of
Messrs. Abbey and Grau. In Europe these seats are
given to provide a claque but here in America, Tamagno
hardly cared enough for the soothing applause to sacrifice
the $40 to $50 a night that these seats would bring him.
Ernesto Rossi, who like Tomaso Salvini and Adelaide
Ristori, when he finally came to America was supported
by an American company, was decidedly reluctant to
visit these shores at all. Kis first contract with Maurice
Grau was cancelled in 1876 by the payment to the latter
of a forfeit of $20,000, which was fortunate for him, first,
because Maurice had just suffered a serious reverse with
Jacques Offenbach, the father of opera bouffe, and sec¬
ondly, because when Rossi did come many years after¬
ward his tour was far from successful. His Hamlet over
which Paris raved, was coldly received here despite the
fact that the critics of several important Metropolitan
dailies compared the Italian's Hamlet with the Othello
of the illustrious Salvini.*
In 1878 Jarrett and Palmer with that daring which
characterized their entire managerial career entered into
active negotiations for the appearance in America of all
three of these famous foreign players. The plan was to
:i Salvini and Ristori were supported by American companies
after their first toumees.
ROBERT PATOX GIBBS.
GEORGE AREISS. DOUGLASS FAIRBANKS.
A group of Broadway favorites of to-day.
of Sj£u0ic and tbe Drama
139
present Shakespeare's "Macbeth" with Salvini as
Macbeth, Rossi as Macduff and Ristori as Lady Macbeth.
The expenses would have been about $5,000 a night,
and at that would have yielded a profit, but the enterprise
was abandoned because of the ill health of Harry Palmer,
also because Joseph Brooks and James B. Dickson held
a conflicting contract with Adelaide Ristori for an Ameri¬
can tour the following year.
The name of HOLLAND has always been a potent one
in the stage world as long back as can be recalled. The
elder Holland's (George Sr.) career has not often been
duplicated and the testimonial benefit which was tendered
him was one of a half dozen such events in American
stage history. George Holland, Sr., was born in Decem¬
ber, 1791, and for nearly four score years he lived (having
departed this life in December 1870) an exemplary life.
All of his artistic achievements were brought forth under
circumstances often so adverse, that players who hold
sway in these more propitious times, may marvel, and
indeed calculate as to what measure of financial reward
would have come to him had his era been that of the
present. Mrs. George Holland (Catharine) was born in
May, 1827, and died in April, 1903. These two left three
sons, George, Joseph and Edmund M. Holland, their
sister, Kate Holland, having expired at the early age of
twenty-two. George Holland, although handicapped by
severe deafness, gave, at all times, an excellent account
of himself as a player, but his managerial ambitions were
not always rewarded to the degree hoped for, and many
vicissitudes have been encountered by him during his
long career. The brothers Joseph and E. M. have had
careers fully in line with the family record, and have both
been noted for their strongly marked character studies
and the sterling perfection of thought given to each role
as interpreted by them. They starred together one
140
jTortp gears: flDfrsertratton
season, a perhaps unfortunate procedure, since this
writer cannot recall that the best results, financially, have
ever befallen the efforts of co-stars. The public at all
periods having a decided preference to enthuse over one
individuality and to rave over one great personality.
When Clara Morris was prevailed upon to appear
with the great Tomaso Salvini, no amount of explana¬
tions and no caution displayed in the announcements
could prevent the public from assuming that the great
emotional actress had descended from the stellar position,
then so supreme, to support the tremendous Italian actor.
At any rate, the vogue of Clara Morris was never so
great from that time on, and although this writer is
merely expressing his observations, it can be fairly
stated that the combination of Booth, Barrett, Bangs and
Davenport—the greatest amalgamation of artistic grand¬
eur the world has ever witnessed—worked harm to the
individual artists when they sought to resume the ordi¬
nary method of presenting themselves to the public.
John McCullough, who had been a manager even be¬
fore he had achieved great fame, and who reached his
high station by an almost herculean struggle, always
held aloof from these combinations, and even went so far
as to inform Maurice Grau, who was the manager to first
contribute to his financial success, that he would not ap¬
pear with Adelaide Ristori, even for one performance,
because in his opinion the effect would be to reduce the
commercial value of the lesser celebrity of the two.
As for the polyglot representations, where one player
would render in one language and his associate players in
another, outside of Salvini and Ernesto Rossi, the effort
has not been made, because the financial results have
not justified the encouragement, and from an artistic
standpoint, nothing praiseworthy can be said of it. It is
to the credit of Eleanora Duse and Ermete Novelli that
of Qfrwit ant) t&e Drama
141
they have permitted this public to see them with the
"mise-en-scene" and entourage that furthered their fame
at home.
The public has always shown strong characteristics in
this country, and it is remarkable that no contralto ever
achieved great potency. 'Tis true that Anna Louise
Cary, Zelda Seguin, Adelaide Phillips, and a few others
became popular, but not until Ernestine Schumann-Heink
came into great favor was it possible for any contralto to
head an organization at high prices for seats and obtain
great financial profit. In this instance it is doubtful if
the status of the contralto in this respect is in any way
changed, since in the case of the great German singer a
remarkable chain of circumstances made for her a great
name; a striking individuality causes her vogue to be
constant and potent.
Miss Blanche Walsh has reached her stellar height by
incessant effort and a legitimate desire to alight at the
top. Her early struggles were almost in vain, and at
the outset she was not able to command serious consid¬
eration, it being questionable whether the fact that she
was the daughter of the famous politician, John C.
(Fatty) Walsh, was advantageous to her welfare. How¬
ever that may be, success came unmistakably when, some
years ago, she appeared at what is now Hammerstein's
Victoria Theatre in "The Resurrection" by Count Tol¬
stoi.
Madge Carr Cook was born in Lancashire, England,
the daughter, grand-daughter and mother of actresses.
She married a well-to-do resident of her native town by
the name of Robson, and bore him a daughter, Eleanor.
She came to America after his death, where she played
principally with various stock and permanent repertoire
companies and is best known for her work in Amelia
Bingham's Company, with which she appeared in "The
142
jfortg gears Ofisertoation
Climbers," "A Modern Magdalene" and "The Frisky Mrs.
Johnson." Then she created her most famous part, the
title role in "Mrs. Wiggs of the Cabbage Patch." She
played this part for five seasons in this country and two
in England.
Eleanor Robson was born in Wigan, Lancashire, Eng¬
land. She was bred in a convent near Fort Wadsworth,
Staten Island, where she was prepared for an education in
art. She first appeared on the stage at the Columbia The¬
atre, San Francisco, September 15, 1897, as Margery
Knox in "Men and Women" in Daniel Frawley's stock
company. She became the regular ingenue with this com¬
pany, with which she visited Honolulu; she then played
several "stock" seasons in Denver and Milwaukee, play¬
ing, among other parts, the heroine in Bret Harte's "Sue."
She next appeared as Bonita in "Arizona," first in Chi¬
cago and then in New York (September 10, 1900, at the
Herald Square Theatre). On October 26th of the same
year she appeared at Wallack's Theatre as Constance in
a special matinee of Browning's "In a Balcony," in which
Otis Skinner and Mrs. Le Moyne also appeared.. A spe¬
cial Spring tour in this play with the same co-star fol¬
lowed her regular season. Her first regular appearance,
under the management of Liebler & Co., was in Leo Die-
trichstein's dramatization of Judge Grant's "Unleavened
Bread," in which she was Flossie Williams (Savoy Thea¬
tre, January 26, 1901). The following season she was
Kyrle Bellew's leading lady in "A Gentleman of France,"
playing Mile, de la Vire (Wallack's, January, 1902). In
the course of this engagement at Wallack's Miss Robson
appeared with Mr. Bellew in the balcony scene from
"Romeo and Juliet" at one of the Saturday matinees. In
May 1902 she was featured in the title role of "Audrey,"
Harriet Ford's dramatization of Mary Johnson's novel
of that name. In the Spring of 1903 she appeared as Ju-
KLKAXOR ROHSOX.
.Is Juliet.
of C^ugtc anti ti)t Drama
143
liet in an all-star revival. I consider this her most
notable achievement.
The following season was her first in Zangwill's "Mere¬
ly Mary Ann" (Garrick, December 29, 1903, Duke of
York's, London, September 8, 1904). Her second ap¬
pearance with an all-star cast was as Kate Hardcastle
in "She Stoops to Conquer" (New Amsterdam Theatre,
April 17, 1905). She spent practically the entire season
of 1906-7 at the Liberty Theatre, New York, playing
Zangwill's "Nurse Marjorie" (October 3d), Jerome and
Presbery's "Susan in Search of a Husband," preceded by
Clothilde Grave's one act, "A Tenement Tragedy" (No¬
vember 20th), Fitch's "The Girl Who Has Everything"
(December 4th), and Paul Armstrong's "Salomy Jane"
(January 19, 1907), as well as giving a number of special
matinees of "Merely Mary Ann."
Last season she toured in "Salomy Jane." This year
she began her season with Richard Harding Davis'
spiritualistic play, "Vera, The Medium," which has been
very successful.
Mr. H. B. Warner, the son of Charles Warner, famous
for his performances in Zola's "Drink," was carried on
the stage, while an infant, in the wonderful fire scene in
"The Streets of London." He studied at Oxford; he
made his first hit as the Rev. Mr. Eden, the young prison
chaplain in "It's Never Too Late To Mend"; played
Athos to his father's d'Artagnan, and was leading man
for Lewis Waller in several productions. He was lead¬
ing man in "The Absent-Minded Beggar" for Marie
Tempest. He then came to this country to act as lead¬
ing man for Miss Eleanor Robson, appearing for a sea¬
son as Lancelot in "Merely Mary Ann"; then, during the
season ('06-7) at the Liberty Theatre, in Zangwill's
"Nurse Marjorie," "A Tenement Tragedy" (in which he
scored heavily) ; "Susan in Search of a Husband," "The
144
jfortp gears ©fegertoatiott
Girl Who Has Everything," and "Salomy Jane," in
which he played The Man all last season. This season
he created the role of Philip Ames with Wilton Lackaye
in "The Battle," then returned to Miss Robson's Com¬
pany to play the lead in "Vera, The Medium," on the
road, and again returned to "The Battle" to play his
original part throughout the play's New York run. Next
season he will be starred.*
Walker Whiteside was born in Indiana. He conceived
a youthful ambition to play "Hamlet," and organized a
company, appearing at McVicker's, Chicago, at the age
of seventeen; at the Union Square, New York, at the
age of nineteen he was "hailed" as a youthful prodigy.
From that time till recently he had been lost to the sight
of big cities, barnstorming in Shakespearean and roman¬
tic plays, chiefly of his own construction, in the small
towns of the Middle West. He has recently been re¬
claimed and starred in Zangwill's remarkable play "The
Melting Pot."
Viola Allen (Mrs. Peter Duryea), daughter of C. Les¬
lie Allen, actor, was born in Alabama, October 27, 1869.
She stepped from school right into a leading part, suc¬
ceeding Annie Russell in "Esmeralda" at the Union
Square, July 4, 1882. In 1884 she was John McCullough's
leading lady in "Virginius," "The Gladiator," "Othello"
and "Richard III." Then she appeared in "Alpine
Roses" and as Pompon in "La Charbonniere." Her com¬
plete record follows:
May 10, 1884—W. E. Sheridan's leading lady in "The
Pulse of New York"—star.
April 7, 1885—Madeleine in "Dakolar" at the Lyceum.
During 1886—Leading Lady for Tomaso Salvini.
*Charles Warner died in January, 1909.
of S®u0ic and tfje Drama
14£f
March 19, 1888—Nance and Jess in "Hoodman Blind" at
the Grand Opera House, New York—dual role.
September 9, 1889—Gertrude Ellingham in "Shenan¬
doah" at the Star.
1890—With Jos. Jefferson and W. J. Florence as Lydia
Languish in "The Rivals" and Cicely Homespun in
"The Heir at Law."
1891—In "The Merchant" at the Madison Square.
1892—In "Aristocracy" at Palmer's.
1893—Joined Chas. Frohman's Empire Theatre Co. and
played the leading parts in "Liberty Hall," "The
Younger Son," "The Counsellor's Wife," "Sowing
the Wind," "Gudgeons," "The Masqueraders," John-
a-Dreams," "The Importance of Being Earnest,"
"Michael and His Lost Angel," "A Woman's Rea¬
son," "Marriage," "Bohemia," "The Highwayman,"
"Under the Red Robe," "A Man and His Wife," and
"The Conquerors."
September 1898—Began her career as a Liebler & Co.
star as Glory Quayle in "The Christian."
Season 1900-1, 1901-2—Dolores in F. Marion Crawford's
"In the Palace of the King."
Spring of 1902—Julia in J. Sheridan Knowles' "The
Hunchback."
Season of 1902-3—Roma in Hall Caine's "The Eternal
City."
1903-4—Under her own management in "Twelfth Night."
1905-6—Clyde Fitch's "The Toast of the Town."
1904-5—-"A Winter's Tale."
1906-7—"Cymbeline."
December 31, 1907, Baltimore; January 21, 1908, Astor
Theatre, New York, reappeared as Liebler & Co.
star in Anthony P. Wharton's "Irene Wycherley."
146
jFortp ^earg SDtertoation
1908-9—Sistfer Giovanna in "The White Sister," by F.
Marion Crawford and Walter Hackett, with William
Farnum featured in her support.
Lewis Morrison was a prominent actor long before he
ever thought of playing Mephistopheles, a role in which
he was pronounced unequalled, and from which he
amassed a large fortune. Though his long identification
with this character caused him to become so thoroughly
imbued with the spirit of the cynical Evil One that in
the last ten years of his life he was utterly unable to at¬
tract the public in any other offering, despite the fact
that on several occasions he made worthy efforts to
shift the scene of his activity. Morrison married Rose
Wood early in his career, and an excellent actress as well
as an estimable woman was she. A daughter by this
marriage, Rosabel, was the Gretchen of her father's
"Faust" productions; at this time she is using the para¬
phernalia and complete equipment which he had accumu¬
lated with some success, on tour.
Morrison was not the only well-known actor who spe¬
cialized the Goethe devil. Joseph Callahan, in particular,
rarely played anything else, and it was on this account
that he was undoubtedly selected by Manager James D.
Barton not only to appear in the title role of the Savage
version of "The Devil" but he also assumed charge of
the entire artistic department of all of the four companies
organized to tour the country in this much advertised
play.
It is recalled that more than twenty years ago Callahan
was presenting in a Minneapolis variety theatre an act
called "Great Men Past and Present," in which he as¬
sumed the characters of famous native and foreign per¬
sonages in costume, making all the changes of same, in¬
cluding wigs, etc., in full view of the audience. This
statement is made here for the purpose of defending
VIOLA ALLEX.
In "The Twelfth Night.
FRANCES STARR.
In "The ChristianMurray Hill Theatre.
of artiste and tj)t Drama
147
Callahan from any charge that he had emulated the act
presented by Henry Lee with such remarkable success.
Tim Murphy, a player who is gifted with a wealth of
artistic thought and conception, like many other stars of
to-day, began in the varieties. A quarter of a century
ago he was a favorite at Tony Pastor's Theatre, in East
14th Street, where he gave imitations of the leading stars
of that period, such as Stuart Robson, who, by the way,
was a veritable boon to the mimic, his remarkable voice
and personality readily lending themselves to the imi¬
tator's will. Murphy, however, was like Nat C. Goodwin,
a real mimic and did not seek to obtain prestige and
wealth by appropriating long and potent scenes from a
player's album. These men were artists whose mimicy
was genuine and carefully studied. They rarely used
more than a dozen words for each character and never
occupied over a moment to depict a single impersonation.
If these pages serve the purpose of suggesting a limit line
to so-called imitators of to-day, they will not be printed
wholly in vain.
Mathilde Cottrelly could write a volume of reminis¬
cences that would be a valued addition to stage literature.
The writer cannot hope to do justice to her remarkable
and important life achievements in the space that is avail¬
able here. Her first prominence was of course in the
German theatres of New York, and she helped to make
history for all of these. "Cotty," as she was known to
her intimates, played the most important roles under
Adolph Neuendorff at the Germania Theatre when it
was at 13th Street and Broadway, and the history of the
Thalia Theatre on the Bowery, during its career as a
Deutsches Theatre, is replete with chroniclings of this
exquisite artist's efforts. She afterwards became its man¬
ageress, and it was under her regime at the Thalia that
Gustav Amberg became conspicuous. Mme. Cottrelly
148
jTortg geatg Dfrserfcaticm
was undoubtedly the most versatile artiste that the his¬
tory of the German Theatre of New York can record.
One of her greatest roles was in "Die Naeherin" (The
Seamstress), which she also later used as a stellar vehi¬
cle on the English stage, at the Wallack Theatre of the
present day.
When Col. John A. McCaull entered the field of light
opera, he engaged Cottrelly, and from the very outset
she became his mainstay. She selected the operas, staged
them, was his chief organizer, and even designed the cos¬
tumes. It is to the credit of the redoubtable colonel that
he never failed to give "Cotty" credit for the success
which came to him when in the halcyon days of the
Casino, a period that it is a pleasure to recall. He be¬
came the foremost producer of real comic opera in this
country. Madame Cottrelly in recent years has always
found herself in demand for portrayals of roles where dis¬
tinctive character is to be delineated; at present she is a
valued member of Louis Mann's company.
When Ogla Nethersole presented "Sappho" at Wal-
lack's, the production created a great upheaval, there
having arisen many protests against its presentation.
The theatre was closed for several weeks, pending a re¬
view of the merits of the case, an injunction having been
granted which caused the play to be withdrawn in the
height of its success. It is recalled by the writer that the
same Charles Burnham, who has so industriously posed
as a stage moralist in connection with the present agita¬
tion against prevailing indecency in plays, was manager
of Wallack's at the time, and he fought with the utmost
vigor against the court injunction, which was finally set
aside and the run of "Sappho" was resumed, but with
less remunerative results at the box-office. It must be
stated here that much of the success which came to the
production of "Sappho" was due to the peculiarly fitful
of ^U0ic anO tbz Drama
149
and very forceful portrayal of the role of Jean by Hamil¬
ton Revelle. No player has ever equaled him in this
character. He was wholly suited to it by nature, and
his conception, as well as his picturesque appearance,
gave to his presentation a distinction that was wholly
absent when the role was in other hands.
That the old-school theatrical manager was really
something more than the figure head which to-day one
finds in charge of provincial, and even in metropolitan
theatres, none can deny, and these men were called upon
to help each other as well as to help the combination
manager, who, in olden times, had a hard road to travel.
This condition was so prevalent in the 70's that only a
few of the most distinguished stars were able to meet
their obligations without aid from the friendly local
managers, and often stars of great renown, and their com¬
panies, were tided over and carried from one city to
another through the generosity of the managers of that
period. In Buffalo the principal theatre was conducted
by two big-hearted, whole-souled men named the Meech
Brothers, and their generosity was so pronounced that
whenever any one in the theatrical field was found to be
ungrateful or persistently finding fault with their treat¬
ment, it would call forth the expression, "Some actors
would find fault with even the Meech Brothers."
Lincoln A. Wagenhals, senior member of the firm of
Wagenhals and Kemper was born at Lancaster, Ohio, on
April 11, 1869; Collin Kemper, junior member of the firm
was born at Cincinnati, Ohio on February 17, 1870.
In 1893 their present partnership was formed for the
presentation of a stock company at the Stone Opera
House, Binghamton, N. Y., which created the era of
summer stock companies in America. During this sum¬
mer the firm produced thirty-two plays, showing a profit
of a little over $3,000. During the season the embryo
150
jTortp ^eat0 Dfogertmtton
firm made a contract to star Louis James in legitimate
repertoire the following year. In the intervening summer
they conducted, with much success, a stock season at the
Coates Opera House, Kansas City, Mo. and, that fall,
took Louis James on tour.
Since that time the firm has managed many stars in¬
cluding the late Mme. Rhea and the triple alliance of
Louis James, Kathryn Kidder and Frederick Warde.
With this combination they produced "School for Scan¬
dal," "Macbeth," "Othello" and "Julius Caesar." The
next year the firm produced "The Winter's Tale." This
was possibly the biggest Shakespeare comedy production
that has ever been given in this country. The leading
players were Louis James, Kathryn Kidder and Charles
B. Hanford.
Following this effort, they produced, "Richard Savage,"
with Henry Miller as principal actor. The same season
they sent Mme. Modjeska on tour in a repertoire which
included "Marie Stuart," "Macbeth," and "King John,"
the latter being the first production, in America, of
Shakespearian tragedy. At the same time they had on
the road a production of "A Midsummer Night's Dream,"
with Louis James and Kathryn Kidder as stellar lights.
Another year went by and they produced a play by
Collin Kemper and Rupert Hughes called "Alexander
the Great," with Louis James and Frederick Warde at the
head of the company; the same season they produced
"Salambo," by Stanislaus Stange, with Blanche Walsh in
the leading role. The same year Miss Walsh starred in
"The Resurrection," at Hammerstein's Victoria.
Since then the productions of the firm have been "The
Kreutzer Sonata," "The Woman in the Case," "The
Straight Road" with Blanche Walsh, "Friend Hanna,"
"A Midsummer Night's Dream," "The Stronger Sex"
with Annie Russell as the star, and Eugene Walter's
of ®0Mic ant! tfje Drama
151
"Paid in Full," five companies of which are on tour in
the United States, and which has a production in every
country supporting an English speaking playhouse.
In 1905 Wagenhals and Kemper secured a lease of the
Astor Theatre, one of the handsomest playhouses in New
York, which was dedicated with a stupendous production
of "A Midsummer Night's Dream," with Annie Russell
in the role of Puck, and which has since been conducted
as one of the high-class theatres of New York.
Forty years ago Manager James L. Kernan, entered
upon a fight for supremacy in the theatrical world, and
to-day he is the proprietor and manager of the Kernan
Triple Enterprises, which is conceded to be the greatest
combination of buildings of its kind in the world. In 1868
Mr. Kernan went to Europe on a business trip and some
months later returned to Baltimore when began his
theatrical career.
His brother Eugene, had advanced the lessee of the old
Washington Hall, some money, about the return of which
he was in doubt. Jas. L. Kernan was placed in charge
of the place in the capacity of receiver; at the end of the
second week the original lessee disappeared and left it all
on his hands. He then assumed the role of manager in
earnest and continued as such until 1872 when the build¬
ing was burned down. It was rebuilt the following year
and again opened to the public as a burlesque house, with
Mr. Kernan in charge.
In 1890 he came into control of the Holiday Street
Theatre, together with Messrs. George W. Rife and
George Houck; later, he acquired the old Auditorium
which he conducted for a number of years with great
success. He also acquired large interests in the Lyceum
and Lafayette Theatres, Washington, D. C., the Lafayette
Square Theatre, Buffalo, N. Y., the Bijou Theatre Phila¬
delphia, the Folly Theatre, Chicago, and a number of
i r>2
jFortj? ^eats D&sectmtion
other houses. He was elected vice president of The Em¬
pire Circuit of burlesque productions. Then came the
project of the great enterprise over which he now pre¬
sides. The Maryland Theatre was completed first, then
the Auditorium and last the magnificent Hotel Kernan.
With the opening of his new enterprise, Manager Kernan
withdrew from his other interests in order that he might
devote his whole time and energies to the personal man¬
agement and supervision of his playhouses and hotel.
John L. Kerr was born the 28th day of February, 1850,
on a farm near New Castle, Pa. He joined Sherry's New
York Theatre Company as treasurer in 1870; in 1876 he
became associated with Sam T. Jack in the organization
of the "oil" region circuit," which comprised some six
or eight theatres in the then prosperous oil country. Dur¬
ing 1877-1878-1879 he was associated with Mr. Jack in the
management of the celebrated comedian John T. Ray¬
mond.
In 1879, when Mr. Jack was succeeded in the oil region
by the firm of Wagner & Reis, Kerr remained as general
manager. In 1907 the circuit was incorporated as the
Reis Circuit Company with Mr. Reis as president and
treasurer, Kerr vice president and general manager, which
position he now holds. He has more or less successfully
battled with the theatrical business over a third of a cen¬
tury, and has been an important factor in bringing the
circuit from five or six houses to a number exceeding one
hundred and forty theatres. At the present time he has
absolute control of the local management of the entire
circuit.
Mr. Sam H. Harris, manager, was born in the lower
part of Manhattan in New York in 1872. He was em¬
ployed in various mercantile pursuits up to the time he
was seventeen, when he became manager of a large steam
laundry. He then became interested in the pugilistic
of Rustic an & tfje Drama
153
destinies of Terry McGovern, the featherweight fighter
whose many victories won, for both of them, fame and
money. It was while interested in the management of
McGovern that Mr. Harris bought a half interest in
"The Gay Morning Glories," a burlesque organization in
which McGovern was the star attraction.
He afterward starred the pugilist in a melodrama called
"The Bowery After Dark." The success of that tour
encouraged Mr. Harris to invest largely in melodramatic
attractions of the better class, and the firm of Sullivan,
Harris & Woods was the outcome. This firm produced
many melodramas on a large scale, the most successful
being "The Fatal Wedding."
While on a pleasure trip, Mr. Harris became acquainted
with George M. Cohan. The two became fast friends
and, shortly afterwards, business associates. The firm of
Cohan & Harris was formed, and these successful plays
from the pen of Mr. Cohan have been presented: "Little
Johnny Jones," "Forty-five Minutes From Broadway,"
"George Washington, Jr.," a new edition of "The Gov¬
ernor's Son," "Fifty Miles From Boston," "The Honey-
mooners," "The Talk of New York," "The Yankee
Prince," and "The American Idea."
Mort H. Singer, manager of the Princess and La Salle
Theatres and director of the Princess Amusement Com¬
pany, of Chicago, is one of the youngest of the successful
managers of this country; he has built up an organization
which includes two producing houses in Chicago, and
road companies with an aggregate membership of nearly
seven hundred people.
Mr. Singer was born in Milwaukee and became treas¬
urer of a theatre in that city soon after leaving high
school. He managed a road attraction one season, and
returned to Milwaukee to manage the theatre in which
he had served as treasurer. Later, he managed houses at
154
jfortp gears jaDbserlmtion
St. Paul and Minneapolis and, four years ago, secured
control of the La Salle Theatre, Chicago, which he trans¬
formed into a producting center of high class musical
comedy.
His first attraction, "The Umpire," won instantaneous
success, and ran for three hundred and five performances.
"The Time, The Place and The Girl" followed, and a new
Chicago record of four hundred and sixty-three perform¬
ances was set. "The Girl Question," "Honeymoon Trail,"
and "A Girl at the Helm" have all remained at the La
Salle for more than one hundred and fifty performances
each.
In the summer of 1908 Mr. Singer completed the new
Princess Theatre, on Clark Street. Here he produced "A
Stubborn Cinderella," the best musical entertainment
ever staged in Chicago.
Mr. Singer himself is an energetic worker, and fortu¬
nate in the selection of capable assistants, to whom he
turns over the execution of his plans. All of the Singer
La Salle-Princess attractions are now on the road, and are
being played from coast to coast.
"Will" J. Davis, who to-day controls two of the most
important theatres in Chicago, has had to struggle for
every ascendant step he has made on the ladder leading
to fame and fortune.
Davis began in the cafe of the old Adelphic Theatre
in Chicago. He was J. H. Haverly's most important aid
during the major portion of that manager's activity. He
was the organizer and director of the Chicago Church
Choir Opera Company, and it was in this organization
that he met, wooed, and married the late Jessie Bartlett
Davis, perhaps the best contralto America has ever
heard in light opera. She was the Buttercup in the fa¬
mous "Pinafore" cast which "Will" Davis gathered, and
her efforts, while with the "Boston Ideals" and "The
MORT H. SIXGER.
FLORENZ ZIEGFELD.
CHARLES E. BLAXEY. W. H. SHEETZ.
A group of managers and Maurice Levi.
SHERMAN BROWN.
MAURICE LEVI.
of S§u0ic and tl)t Drama
155
Bostonians," imparted to these much of the distinction
which was always maintained during the long existence
of the two companies. Mr. Davis was for several years
the acting manager for John A. Hamlin at the Grand
Opera House in Chicago, and the outcome of his stay
at that theatre was one of the most interesting legal bat¬
tles that was ever decided in a court of equity.*
It happened in this way: Will Davis procured a lease
of the Grand Opera House for himself. He was at the
time he negotiated the lease an employee of Hamlin's.
In the court trial wherein Hamlin sought to annul the
Davis lease as invalid the latter maintained the tenabil-
ity of his holding in that, while he was in the employ of
Hamlin at the time the negotiations began, he was not
so when the important deal was consummated. The
courts, after a long and bitter fight, decided in Mr. Ham¬
lin's favor and Davis was forced to vacate the premises.
This decision, one of the most important legal opinions
ever handed down in a court-room, created a profound
impression, and has ever since served as a precedent, the
contention of the learned justice whose name I cannot
now recall, having been sustained by the court of last
resort after an expenditure of much legal ammunition
and a profusion of technical verbiage.
Jules Murry is a self-made manager and one whose
career will serve as an incentive, if indeed the workers
in the business department of the theatre require an in¬
centive in this era of multiplicity. Murry came from
Munich a poor, German, immigrant boy, in the year 1879.
After a short experience in various commercial pursuits
he attracted the attention of Heinrich Conried, and began
his active career in connection with the business depart¬
ment of the various German attractions with which Con-
*Mrs. Davis also sang in several operas with Adelina Patti.
She died May 14, 1906.
156
jfortp gears SD&sertoation
ried was associated. The unique part of Murry's career
is that although not schooled in the theatrical business,
he became a power and for more than fifteen years he has
virtually controlled the major portion of the best terri¬
tory and the best plays for his own attractions. He de¬
manded conscientious effort and the strictest business
principles from his associates and employees. If John
Drew would score on Broadway with a play, the next
year Murry had it for the South and West, and, in an¬
other year, for the largest cities. He exploited a young
and vigorous romantic actor, Paul Gilmore, by this meth¬
od. Rose Coghlan, Sadie Martinot, Marie Wainright and
other stars of equal fame have starred in this manner
under the Murry banner, always featuring a Broadway
success; often this enterprising, self-made individual has
as many as ten distinct attractions on tour simultane¬
ously. To-day he is a man of wealth, and his reputation
is such that he is enabled to have the first call on de¬
sirable plays. A new star, Norman Hackett, is this year
making vast strides under Mr. Murry, and seems des¬
tined for Broadway unless the signs are misleading.
W. E. Nankeville, like Murry, has had a meteoric rise.
He was an actor twenty-five years ago, and he entered
the minstrel field through negotiations with J. H. Haver-
ly, when that worthy showman began to drop out of
theatricals and apply himself to the mining schemes,
which he himself said had caused his decline. The meth¬
ods of Nankeville greatly resembled those of Jules Murry.
He profited with minstrelsy for an indefinite period, and
his control over the Haverly name and outfit was only
interrupted by difficulties with the Mastodon manager's
widow. It was with a play called "Human Hearts,"
written by a prolific writer of melodrama named Hal
Reid, that Nankeville found his field. The play is by no
means worthy of the success which it has scored and is
of C©u0ic and tfje <Drama
157
not to be thought of as the author's best. He has writ¬
ten several far better plays, still, "Human Hearts," for an
immemorable period, has proved a veritable mint for the
manager, but not for the author. Reid, generally a
shrewd, calculative man, found himself in the position
which authors often do, and at the outset, for a paltry
sum, sold outright, for all time, the rights to a play that
rarely has less than four companies simultaneously pre¬
senting it. Reid wrote a Biblical play, called "The
Nazarene," which had all the elements that go to make
an unconditional success. The Schuberts were greatly
interested, and they, in conjunction with Messrs. John C.
Fisher and Frank Perley, produced it in Newark. It was
discovered before the opening night that this very play
had been presented two years before at the Murray Hill
Theatre under the title of "The Light of the World," and
had failed signally. This produced a bad effect upon the
critics and even upon the management. The author and
his wife also made the error of forcing themselves in the
leading roles, afterwards withdrawing upon request. The
play did not live, although it was unquestionably the
strongest, as far as intrinsic dramatic literature is con¬
cerned, that came from Mr. Reid's pen. The text was
excellent, the presentation artistic in the extreme and the
method of avoiding unpleasant criticism, from the use of
so sacred a theme, was deft and even ingenious. Under
new conditions "The Nazarene" might make history for
the stage.
158
jfortp gears SD&mtmtion
CHAPTER V
The writer of these records lived in the 6o's at No. 54
East 26th Street in New York, a locale that at this period
was decidedly conspicuous for many causes. The present
site of the Madison Square Garden was then the Grand
Central Station of the N. Y. C. & H. R. R., and on the
corner of 26th Street and Fourth Avenue was the famous
hotel of Christopher Sauer, where Richard Croker and
Laurence Delmour spent their leisure hours and where
Horace Greeley, the founder of the New York Tribune,
was wont to drop in every day about four o'clock for his
quota of apple pie and a mug of cider.
One of these afternoons the writer was roaming around
the restaurant with the sons of Mr. Sauer, when Charles
Fechter, the distinguished Franco-Anglo tragedian en¬
tered the cafe and accosting Greeley, invited him to
occupy a box at the Lyceum Theatre that night where
Fechter was interpreting his greatest character, Claude
Melnotte in "The Lady of Lyons." Croker was then
about twenty-three years of age, surely not over twenty-
five, and had not yet occupied even the suggestion of the
political status that afterward came to him so rapidly.
Greeley refused to accept the courtesy of free seats, but,
seeing us boys lounging about the big stove, the great
editor beckoned Croker and the writer in his direction and
handing me three crisp new dollar bills, and speaking with
that gum-chewing "Uncle Joshua" style that was always
his, said: "Here, lad—you go over to the Lyceum and
of a^ust'c anti tjbe Drama
159
get three seats in the first balcony for to-night" and then
turning to Fechter, who was struck with consternation
he said, "I only go to the theatres when I am angry, upset
or vindictive, and I am all three of these to-night, but I'll
be damned if I'll lose the right to criticise a foreigner
like you who hates America and Americans through
accepting your proffered box but I'll be there. Another
glass of cider there, pop."
The house which our family occupied from 1865 to
1869, was only a few doors from the famous Union
League Club, for so long located at 26th Street and
Madison Avenue. In this sumptuous club house was one
of the daintiest and most perfectly constructed bijou
theatres that this city has ever possessed; often the most
important stars appeared here with success. Marie
Aimee played an engagement of importance there and
French plays were often rendered by a band of Parisian
players, in the period from 1869 to 1878. Unless the
interior of this building has been changed, this audience
room remains intact to-day and the suggestion is here
offered that no more ideal or appropriate home could be
secured to house a collection of French comedians which
the elite of this city has for so long craved, and which is
only prevented from occupying a permanent abode by the
inability to secure a suitable and properly located audi¬
torium. If this particular hall is not to be restored to its
ancient usefulness, the Concert Hall of Madison Square
Garden across the way, might find a worse source of
endeavor, particularly since there have been threats to
destroy the entire Madison Square Garden property. At
any rate these suggestions with a view to the establish¬
ment of a petite Theatre Francais in the Metropolis of
the United States are offered unselfishly and should be
effective in hastening the day when the noblest branch of
all dramatic art may find a perpetual home.
160
jfortp gears SD&gertmtion
Forty years ago Kate Fisher was the most conspicuous
of the many exponents of the role of Mazeppa though
Adah Isaacs Menken has given to that spectacular char¬
acter an atmosphere of realism or, shall it be called sen¬
sationalism, that none of her rivals or imitators could
approach. The play "Mazeppa" received more than one
elaborate presentation at the old Bowery Theatre (now
the Thalia Theatre on the same site and very little
changed) which was in 1868 under the management of
William B. Freliegh. At this theatre, in those days, such
stars as Edward Eddy, George C. Boniface, Sr., J. B.
Studley, Edwin Adams and Lucille Western held sway
to the delight of the audiences so distinctive of the
Bowery Theatre in all of its long existence.
Lucille Western's most noted achievement was in the
dual role of Lady Isabel and Madame Vine in "East
Lynne," the play's adaptation being evolved by Clifton
W. Tayleure, a playwright and manager of distinction
but of aggressive disposition and intrepid daring at all
times.
Mathilda Heron is another player who adorned the
stage conspicuously from 1850 to 1872, though in this
instance her rendition of Marguerite Gautier in Alexander
Dumas' "Camille" entitled her to such great distinction
that more than one historian of ancient dramatic records
has devoted vast space to this one great artistic effort of
her somewhat stormy career. Mathilda Heron's only
daughter, known on the stage where she appeared in her
infancy as Bijou Heron, did not arrive at the great
prominence bestowed upon her mother, nor was the
career of Bijou prolonged after she had outgrown the
capacity for children roles. When she became the wife
of Henry Miller (who even at that time was considered
one of the best stage directors and producers), instead of
developing into a full-fledged star as was prophesied,
of $©ti0ic and tht Drama
161
there was a gradual tendency to retirement, thus giving
credence to the popular belief at that time that there was
no desire on the part of either Mr. or Mrs. Miller to
perpetuate her artistic career.
Writing of Bijou Heron naturally recalls Bijou Fer¬
nandez and her mother, Mrs. E. L. Fernandez, the latter
a typical stage god-mother, who first attracted attention
through her interest in the welfare of children of the
stage. Her initial efforts in the agency line were executed
through the little infants she was always able to supply
to managers. And when that "Dean" of Vaudeville, the
late Tony Pastor inaugurated his annual Christmas tree
celebration at Tammany Hall a generation ago, it was
Mrs. Fernandez who rendered him the most substantial
aid. It was when the offices of Abbey Schoeffel and Grau
were located opposite Daly's Theatre, next to the present
Hoffbrau restaurant, that Mrs. Fernandez began to build
up the vast clientele which to-day is exemplified in the
magnificent and commodious offices which she conducts
in the New Amsterdam Theatre Building. Mrs. Fernan¬
dez is a descendent of the famous family of Bradshaw's,
and her father was Samuel Bradshaw, noted in the days
of the old Bowery Theatre.
Bijou Fernandez made her debut at the age of three
years in David Belasco's "May Blossom" at the Madison
Square Theatre and has been actively engaged since.
Two years ago she became the wife of Wm. L. Abingdon,
and together they now play engagements of importance.
Mrs. Beaumont Packard is another veritable "Born on
the Stage" type, having first seen the light in the early
50's. She began as a child songstress at the age of four.
Her father was J. W. Buhoup who was the first to present
a travelling minstrel troupe in this country. He also was
the first to evolve a floating theatre and it was on one of
these theatre boats that Mrs. Packard made her stage
102
jfortp peat$ SDftsetfoatiott
debut. Mrs. Packard, early in her career, displayed that
talent for business which soon laid the foundation for her
active life. In 1880 she had her own theatre, The Bijou,
on Market Street in San Francisco, and in 1891 she came
to New York and opened what is now known as the
Packard Theatrical Exchange and in its conduct has
obtained the confidence of managers and players alike.
A daughter of Mrs. Packard's, known on the stage as
Maud Winter, was conceded one of the best leading ladies
of her time and her sudden passing away, March 13, 1904,
deprived the stage of one of its brightest adornments.
She was on the very verge of entering upon "Stardom"
when her career was cut short in the very bloom of its
growth.
James K. Hackett, Sr., although best known to history
as a comedian for his truly great achievement as Falstaff
in "The Merry Wives of Windsor" was actually the first
impresario to give Grand Opera in the old Academy of
Music, on the site of the present house of that name. In
October, 1854, the historic edifice was dedicated by an
organization headed by Mario, the famous Tenor and
Grisi as Prima Donna. The lease of the Academy was
held by Max Maretzek but he sublet to the elder Hackett,
and although even on the opening night the opera house
was not more than half filled, the furore created by both
singers was instantaneous.
Although this writer did not inaugurate his career as
libretto boy until the regime of Jacob Grau, a few years
later, he is relating the interesting details of the Hackett
season as conveyed to him repeatedly by his father and
uncle, both of whom had arrived in America in 1853.
Jacob Grau managed the Academy of Music himself a
decade later—(in fact he was its director on the night it
was destroyed by fire in 1865), thus it was but natural
that we boys, Maurice, Sam and myself, should be im-
JAMES K. HACKETT, Sr.
As Falstaff.
momus
SIMS REEVES and EMMA HOWSOW
In "The Beggar's Opera."
of a^u0ic anD t!je Dtama
163
pressed with the history of the old house inasmuch as
we were all there as libretto boys when the new Acad¬
emy— (the one now standing) was opened in 1866. If I
did not hear Mario and Grisi, in their zenith, it is to be
regretted that it was my unfortunate experience to be a
constant listener to Mario when he came here two de¬
cades later as the leading support of Carlotta Patti in
1872 when that great coloratura singer came for one of
her several tours under the Brothers Strakosch.
Anna Louise Gary, the beautiful and superb contralto,
was a member of this company, and it was my province
to dispose of the photographs of the great Carlotta, also
of Gary and of Mario and although Mario's voice at this
period (he had reached three score at least) was but a
wreck, it is recalled that his portraits were sold even
more rapidly than the great Patti's or the beautiful
Cary's.
What a pity that Tamberlik, too, was heard here after
his voice had lost its purity; it is not to be instanced
where any great singer benefited much financially from
the prolongation of their artistic careers beyond any
reasonable point. It is true that Adelina Patti received
her greatest honorarium when she was least of all worthy,
but it is likely that she would, to-day, return the $200,000
which her last American tour brought her, if she could
forget the experience. And after all, it was her own fault,
her own love of money, and the selfish desire to obtain
that paltry $2,000 for a Liverpool concert that brought the
diva here only forty-eight hours ahead of her opening con¬
cert, thus causing an audience of 4,000 persons, a veritable
first night audience, too, to hear her in very bad voice,
really hoarse. The papers criticized her for coming at all.
The second concert drew $7,000, and the diva sang divine¬
ly—almost as of old, but it was too late; the damage had
been done and the tour which would have yielded this
164
jfortp ^earg flD&serfcatton
writer at least one hundred thousand dollars, even on the
terms that Patti received, resulted in a loss, not great, but
nevertheless a loss. This, too, is the same Patti, who,
twenty and even ten years before, would compel Abbey,
Mapleson or Maurice Grau to return $15,000 to an audi¬
ence just because she was the least bit hoarse. Alas, that
was the artistic Patti, the real la diva, not the Baroness
Cederstrom of 1904, who came out to America once too
often with no greater or more worthy incentive than to,
as she told it herself, "Break all her own records for finan¬
cial results," and, as she further put it, "after she had been
for over a half century a public singer of renown."
As has been stated, Adelina Patti's first appearance in
New York took place at Trippler Hall, when she was but
a child; her operatic debut was effected in the old
Academy of Music under Max Maretzek in 1859.
Ben De Bar was greatly identified with Falstaff, al¬
though the last twenty years of his life were spent,
managerially, at his theatre in St. Louis. When he did
venture before the footlights it was as the Merry Mon¬
arch of Windsor. De Bar was truly typical of the old
school of actor manager, now almost obliterated.
David Bidwell was closely associated with De Bar; the
two were the first to present the "Black Crook" through¬
out this country. De Bar managed the old Theatre Royal
in Montreal a half century ago and it was here that John
McCullough received the munificent salary of $35 a week.
David Bidwell controlled all the theatres in New
Orleans in the 70's, and while he was gruff, and subject
to intemperate moods, if his heart could be reached,
fortunate indeed was he who had found his way there,
for no man whom Dave Bidwell ever liked ever wanted
for anything while the great Southern manager lived.
Bidwell was easily excited, and he had a horror for fear
of being made the butt of practical jokers. The elder
of Cgustc and t&e Drama
105
Sothern was noted for his efforts in this line, often carry¬
ing matters so far as to create a great upheaval.
It is recalled that about the time Sothern, Wm. J.
Florence and John T. Raymond were the three conspicu¬
ous figures in New York theatrical life, Bid well who had
a severe case of gout, came to New York on one of his
summer visits. Just as soon as he reached his hotel he
found a telegram awaiting him purporting to come from
New Orleans where Bidwell had just hailed from. The
telegram read as follows :
"Return immediately, you are advertised to appear here
next week as Dick Deadeye in "Pinafore."
The telegram was signed by Sothern, who was at the
time waiting in the ante-room of the hotel with his coterie
of friends, wishing to catch a glimpse of the irate
Southerner, as he opened the despatch. It must be under¬
stood that Sothern had arranged the whole procedure of
the telegram by collusion with the telegraph company.
Bidwell upon reading the telegram indulged in no anger
whatever, on the contrary he was inclined to see the thing
entirely as a joke, which Sothern had not reckoned on.
Therefore, when Sothern saw Bidwell writing a reply to
the message he and his friends stationed themselves in
front of the District Telegraph Office to await the mes¬
senger's return which followed a moment or two later.
The reply which Bidwell had sent was as follows:
"The Telegraph Company has refused to accept my
answer."
Back in the late 6o's when Jacob Grau had suffered
reverses with one of his Grand Opera ventures, he saved
himself by conceiving a plan which was thoroughly
illustrative of this impresario, the first of all the Graus to
embrace a managerial career.
It seems that the present King Edward, then Prince
of Wales, was about to visit America. Grau secured the
lfi 6
jfortg gears; £>ti0erviaticn
consent of the stockholders of Irving Hall for a grand ball
to be given in honor of the Prince, in reality a gathering
of the theatrical clans. It was the first distinctly theatri¬
cal ball ever given in New York and the financial results
were such as would hardly be believed to-day, more than
$25,000 being realized.
Jacob Grau gave the first of a series of French Balls at
the old Theatre Francais on West 14th Street. These
were the gayest events of the late 6o's, and, in fact,
always yielded great profits, far more than the artistic
offerings of this impresario had realized up to this time,
with the sole exception of the Ristori tour.
Maurice Grau, after he had reached years of discretion
never forgot his uncle's methods or achievements, and it
is not reflective on the former Metropolitan director to
state that he was wont to emulate his uncle in nearly all
matters of great importance. When the firm of Grau and
Chizzola were operating the theatre on West 14th Street
to which this writer has occasion to refer so often, they
began to sustain great losses. The Soldene Company
which was expected to repeat the great furore of the
Lydia Thompson British Blondes at Niblo's a few years
before, met with only an indifferent reception. It was
true that this troupe contained the greatest array of
English Beauties that this country had ever gazed upon
up to this period, in fact it is questionable whether at any
time in the writer's recollection such a collective band of
beauty was ever organized, at least not for America; the
company did not draw, and this had not been reckoned
upon by Grau and Chizzola.
Emily Soldene herself, while a great artist with a pow¬
erful voice, was not attractive and surely not young when
she visited these shores in 1874-75, so that perhaps it may
be attributed to the star, that the box office did not
respond to the efforts of the Soldene troupe, But, if the
of €0ustic £iitD tlje Drama
107
box office did not issue satisfactory statements during
the sojourn of the English Burlesquers, the bar in the
basement of the theatre (then called the Lyceum
Theatre) was the liveliest place in New York during the
reign of this company. This bar was presided over by a
young and energetic personage named William Proctor,
the same who has amassed a fortune in the financial
section of this city and is now located in Pine Street near
Broadway. Mr. Proctor, the writer is sure, will not deny,
that he got his first financial encouragement during the
Soldene season on West 14th Street.
In the Lyceum Theatre, which has not to this day been
altered, the dressing rooms are all just back of the space
which Proctor used for his cafe, and at both ends of the
cafe there were doors leading to these dressing rooms.
The shrewd Proctor realizing that the days of the Sol-
denes were not to be perpetual, had small openings made
in these doors such as are used in box offices in theatres,
large enough to exchange money and tickets through the
aperture. The spectacle of those English girls coming
to these small openings for their favorite beverages was
a sight that soon began to be talked about and if the
theatre upstairs did not make profits, the cafe did; more
than once the receipts there realized were borrowed to
meet some obligation which the disastrous season in the
theatre had incurred.
It has been stated here that Maurice Grau emulated his
uncle in his earlier years, and it is certain that he would
himself corroborate this statement. This emulation
served the firm of Grau and Chizzola and saved them
from bankruptcy at a crucial period when all seemed to
be lost.
The theatre on 14th Street had not prospered even with
Adelaide Ristori who had returned to the very scene of
her old triumphs, but not with the old success.
ICS
jTcrtp peat# SDfegertoation
Mrs. Rousby, the English beauty, drew but fairly, and
Toole, the English comedian was an absolute failure,
though one of the greatest artists this country had ever
welcomed. Even Adelaide Neilson, the greatest actress
of her class of all time, who was playing a season at this
same theatre on West 14th Street under Max Strakosch,
by arrangements with Grau and Chizzola, did not at this
particular period command the public as at all other
times; Maurice Grau was at his wit's ends to hold his
forces together.
Up at the Park Theatre, at Broadway and 226. Street,
then (1878 ) under the managements of William Stuart
assisted by Chandos Fulton, Grau and Chizzola were pre¬
senting another opera bouffe company headed by Coralie
Geoffroy, in Charles Lecocq's "Girofle Girofla" which, at
this house, had a long run. At the particular time to
which the v/riter refers, all of the various Grau and Chiz¬
zola enterprises were at a low ebb. It was then that
Maurice Grau recalled how his uncle had saved himself
with a French Ball a decade before. This firm did not
wish to appear conspicuous in the undertaking, and the
clever Starr Morrissey (a brother of James W. Mor-
rissey) was sent for and the Academy of Music secured
for a "Grand Bal D'opera Bouffe."
It was fortunate that, at this time, three of the firm's
opera bouffe companies were in the city; Marie Aimee
and her company at the Olympic, The Geoffroy Company
at the Park, and the Soldene troupe at the Lyceum. The
very fact that those English girls, were to be at the ball
was the most potent feature; it need only be stated that
the receipts of the ball were over $30,000. The firm of
Grau and Chizzola was saved and their affairs began to
improve, though at the close of the season here referred
to, a dissolution of the firm was effected.
Phineas T. Barnum, in the management of Jenny
of ^U0ic anO the Drama
1G9
Lind's concert tour, displayed of course the extraordinary
showmanship which characterizes his entire active career.
Although the tour of the Swedish cantatrice was not ob¬
served by this writer he had the benefit of a fairly large
acquaintance, not only with Barnum himself, but with
Bernard Ullman, an impresario who was quite a factor
in this country in the period from 1850 to 1865.
Jenny Lind was heard at Castle Garden, and her first
tour was directed with a masterly and ingenious pro¬
cedure which undoubtedly set the precedent for all that
followed in the musical history of this nation. The re¬
ceipts of the concerts given at Castle Garden, have not
since been duplicated, even by Adelina Patti or by any
of the Grand Opera tours that history has recorded to
this date. Twenty thousand dollars was often realized
at Jenny Lind's concerts even where auction sales and
ticket speculation (then far more prevalent in proportion
to population than now) are not considered, and in cities
of the size of Richmond, New Haven and Rochester,
gross takings in excess of $12,000 were obtained.
Patti's largest receipts in concert were $13,800, in
Philadelphia, on November gth, 1904, while the largest
receipts for a single representation of Grand Opera, was
at a matinee given at Mechanic's Hall in Boston in the
spring of 1887, possibly it was 1888, when no less than
$18,000 was taken in at the box office.
Of course there have been several special occasions
where larger takings have been recorded such as the
benefits of the impresarios at the Metropolitan Opera
House. The largest of these was the genuine testimonial
tendered to Henry E. Abbey in the spring of 1884, after
he had lost, in a single season, no less than $250,000, in
the inaugurating year of the Opera House, with the
most expensive Grand Opera organization that, up to
that time had been gathered, and which included
170 jfortp gears tfD&serfcation
Christine Nilsson, Marcella Sembrich, Sofia Scalchi, Cam-
pa nini, Stagno, Del Puente and others of equal fame and
merit. The receipts for this benefit performance yielded
more than $30,000.
The annual benefit to Maurice Grau, which was a
custom, owing to the fact that the contracts of the artists
contained a clause by which they were obliged to sing
at one representation at the season's close, without com¬
pensation, was wont to bring in anywhere from $18,000 to
$20,000 and when Herr Conried succeeded to the "Bed"
so comfortably made up for him by his predecessor, he
also was pleased to partake of this gratuity. It is not
pleasant to tell that the Herr Director saw fit to degrade
his own artistic career, and that of the opera house as
well as the matchless array of artists it housed, by
actually forcing such artists as Caruso, Sembrich, Eames,
Scotti, Plancon and others to either appear in his pro¬
ductions of the comic operettas "Die Fledermaus" and
"The Gypsy Baron" or else sit on "dress parade" at the
tables in the concert scenes, in order that they might in
some manner be utilized for this one gratuitious appear¬
ance which their contracts called for. It is true that
Maurice Grau himself did, on one of these annual affairs,
use the soldiers chorus from "Faust" as the only means
by which the tremendous galaxy of stars could be prop¬
erly heard, or rather I should say "presented."
That this function of the season's close has been abol¬
ished will surely be gratefully recorded by the historian
whose pleasure it shall be to recite the Grand Opera
history a decade hence.
Speaking of Barnum recalls to the writer, that in the
period from 1868 to 1873, in East 14th Street, directly
opposite the Academy of Music and Steinway Hall, a
permanent, all the year around circus was maintained by
FRITZ I SCHEFF.
EMMA EAMES.
SCHUMANN-HEINK.
MADAME GADSKI. LOUISE HOMER.
Six stars of the Maurice Grau regime at Metropolitan Opera House.
of 6$u0ic and tije Drama
171
L. B. Lent. This was really not far removed from the
present Hippodrome save that of course the auditorium
was not constructed upon such a scale of grandeur; yet,
forty years ago, New York had its winter circus here on
a scale that is not to be equalled to-day. It also had its
aquarium, ten years later, on the site of the Herald
Square Theatre, the ashes of which are still warm as
these lines are being penned.
The actor-manager, as has been stated before, is gradu¬
ally disappearing from activity, and recollections, a
decade hence, will surely chronicle the absolute oblitera¬
tion of the last of this species. Among those who have
already passed away, Bernard Macauley was a noted
figure. He maintained Theatres in Cincinnati and Louis¬
ville (where a brother, John T. Macauley now succeeds
him) that were conducted as veritable schools of dramatic
art. He was one of the very last to succumb to the
combination system, and that not until his efforts to
sustain a model stock company threatened the utter
annihilation of his financial resources.
John Ellsler's career was long, honorable and unselfish,
and history cannot recall any actor-manager who can
contribute more material for narration than "Uncle John,"
but inasmuch as records of his achievements are already
preserved, it is not this writer's province to dwell further
than the mere recollection that his honorable name
entails.
Effie Ellsler, a daughter of the manager named, was a
veritable child of the stage, and her rendition of the role
of "Hazel Kirke" was her most noted achievement; no
player of the last half century can boast of a career more
useful, or of a repertoire more varied. The versatility of
Effie Ellsler is best denoted when it is recorded that as
Josephine in Gilbert and Sullivan's operetta, "H. M. S.
172
jfortp peats Dfcsertmtion
Pinafore" she was pronounced matchless, the best of all
the many who interpreted the soprano role in this, the
most successful comic opera in the world's history.
The vogue of "Pinafore" began when William Hender¬
son by arrangement with James C. Duff, produced it at
what is now the Manhattan Theatre. "Pinafore" had been
rendered in any number of cities in a hurried manner and
in garbled form, but Henderson had been over to Boston
where R. M. Field gave the work a really good interpre¬
tation In the New York cast (The Duff-Henderson pro¬
duction), a Miss Mills sang Josephine, Verona Jarbeau
made her stage debut as Hebe; the Buttercup cannot be
recalled. Thomas Whiffen who was the Sir Joseph Porter
was by all manner of means, the best exponent of the role
seen at any period. William Davidge was Dick Deadeye
and the entire cast was appropriate though not containing
any names of great prominence.
Henderson's fortunes were of course repaired by the
immense success of the delicious satire, and comic opera
as an institution was thus born, for, previous to the era
of "Pinafore," French opera bouffe alone, provided play
and opera goers with this class of amusement. "Pinafore"
became the rage and at one time, in 1881, no less than five
companies were rendering the operetta in New York,
simultaneous^. There were also children "Pinafore"
companies galore, and from these sprung such prominent
players of to-day as Julia Marlowe, Arthur Dunn,
Corinne, Jenny Dunn, Sally Cohen, Ida Mulle and others
not now recalled. In 1850 Henderson was leading man
for Parker and Ellis, in Detroit. He managed the Old
Drury in Pittsburg from i860 to 1870, and was the only
provider of first-class plays in that city. Like all the old
school actor-managers, he was dignified and kindly. He
died in 1889.
Ettie Henderson, his widow, was the first to play Fan-
of ^U0tc ana t&e Drama
173
chon in London, a role in which Maggie Mitchell scored
her greatest success. Great casts were seen in Ettie
Henderson's own play "Almost a Life" for many years.
She retired from the stage when, on her husband's death,
she assumed the management of the Academy of Music,
Jersey City.
"Pinafore" also brought into vogue the "Church Choir
Opera Co," one was John Gorman's Philadelphia
Church Choir Co.; it gave the best musical interpre¬
tation of the opera that has ever been heard. This com¬
pany appeared at Daly's Theatre, in 1882, during the
heated term. It was truly a Church Choir Co. too, all of
the principals and Choristers being recruited from the
choirs of the Quaker City's churches by Louis DeLange
who appeared himself as the Admiral Sir Joseph. In after
years he became well known as a player and playwright,
though sad to relate he ended his life by his own hand a
few years ago, while under temporary mental affliction.
J. H. Haverly also organized one of these Church Choir
Companies which included Jessie Bartlett Davis, John
McWade and others of equal renown; this organization
really provided the incentive and afterwards led to the
formation of the first Boston Ideal Opera Company, a
gathering of singers and players that has never been
equalled in the history of the American stage. The roster
of this company, of which I have only my memory to
serve me, included Henry C. Barnabee, George Frothing-
ham, Tom Karl, Myron C. Whitney, Charles Macdonald,
Zelie DeLussan, Adelaide Phillips, Marie Stone and,
afterwards, Jessie Bartlett Davis. A Mr. Foster had
charge of the business details and for nearly twelve years
this matchless company graced the stages of the country
and gradually became the leading operatic touring com¬
bination of the country. In or about 1893 it met reverses
and disbanded, and Messrs. Barnabee, Karl and Mc-
174
jFortp gears SPfosettjation
donald reorganized the forces, and "The Bostonians"
came into being with the production of Smith and
DeKoven's "Robin Hood." Another era of prosperity
prevailed which lasted for more than ten years, but which,
finally, resulted in the disbanding of this company, un¬
doubtedly due to the fact that the singers who had for
nearly twenty-five years been identified with opera,
were reaching the age limit which never fails to be
recognized by the great public.
Henry Clay Barnabee, before he joined the "Boston
Ideals" and before he became an operatic comedian, had
achieved great fame all over the United States as the
sole projector and executor of a decidedly unique enter¬
tainment, called "A Night With Barnabee" in which the
big mirth-provoking Bostonian was wont to hold his audi¬
ences for two hours by the sheer potency of his own
personality.
And no comedian, who to-day remains on the boards in
excess of one hour when interpreting his "turn," can
dispel the impression which many now living had that
Barnabee was the greatest individual impersonator of all
times. A later generation had a faint opportunity to pass
upon Barnabee's ability as an entertainer when, in 1905,
he effected his debut on the modern vaudeville stage, in
a specialty which gave his audiences an illustration of the
Barnabee brand of humor. His side-splitting delineation
of "The Man with the Cork Leg" kept the vaudeville
audiences at Mr. Percy William's Theatres in a state of
uncontrollable merriment. But poor Barnabee's career
in vaudeville was cut short by a serious accident while
appearing in this same specialty at the Columbia Theatre
in St. Lcuis. He had no sooner recovered from this
calamity and returned to this city when he was severely
injured in a collision between a surface car and an express
wagon, and from this last misfortune the venerable
1IEXRY C. BARXABEE. SIGXOR G. TAGLIAPIETRA.
Grand old man of Comic Opera. Baritone of Grand Opera.
of £©u0tc anD the Drama
175
"grand old man of comic opera" is now convalescing at
his country home in Jamaica Plain, Mass.
The largest receipts that have ever been recorded for
any single representation in America, and perhaps any¬
where, were obtained at the Metropolitan Opera House
during the Grau regime, on the occasion of the perform¬
ance given in honor of Prince Henry of Prussia. All of
the singers in the company were cast in a miscellaneous
programme which embraced an act from each of six
operas. The event was of great historic importance and
took place on Tuesday evening, February 25th, 1902. The
prices ranged from $5 to $30, while the boxes were sold
at an average price of $200. Even at these seemingly
forbidding rates, the character of the occasion (which
was similar to the frequent "State" nights at Covent
Garden in London) was such as to create a demand for
every seat and box in the vast auditorium, while the
standing room, limited at that time by the fire laws, was
disposed of before 7 130 P. M. The box office was closed
long before the time for the Programme's Commence¬
ment.
The gross receipts were close to $50,000 and despite the
very greatly increased expense for decorations, which
were very artistic, and the fact that every artist in the
Metropolitan Company was on the salary list for the
night, the profit was in excess of $25,000, a sum that
would have satisfied Col. Mapleson or the Strakoschs as
their surplus of any season in their strenuous operatic
careers.
Undoubtedly the most popular tenor heard in the
United States previous to the erection of the Metroplitan
Opera House, was Pietro Brignoli, known among his
friends and even among opera habitues as "Brig."
Brignoli was of mammoth size, and although his stage
walk and his general appearance elicited merriment, he
176
jFortp gears Dtertmtion
was admired by both the sexes. His career was long and
useful, though it must be noted that he permitted himself
to be heard in public long after the sweetness of his vocal
organs had departed; yet even in the last lustrum of his
public life, he remained an attraction of great potency.
Brignoli was as much identified with the ballad "Good¬
bye Sweetheart" (sung in English by him with a broad
accent that was ludicrous) as Adelina Patti was with
"The Last Rose of Summer."
The big tenor was a ravenous eater, and when singing
at the Academy and Steinway Hall, he was wont to dine
at Moretti's, a famous Italian restaurant which, for a
quarter of a century, was located on the corner of 14th
Street and Third Avenue. Here Brignoli was to be found
almost always when not at his home at the Belvedere
Hotel, then located at 15th Street and Irving Place.
One morning Moretti was appealed to by Brignoli, to
bring him something to tempt his appetite as he was far
from well and unable to partake of his customary food,
so that Moretti, a veritable magician in the arts of
culinary creation, brought him a dish specially prepared
for the purpose of restoring the appetite of the distressed
tenor. "Brig," having disposed of the dish rapidly, was
asked by the restaurateur how he felt after partaking of
the delicacy placed before him.
"Oh, a little better, if I only had my appetite," answered
the tenor.
"I'll fix you," said Moretti, and presently he appeared
with a good sized duck, roasted to perfection, an "ome¬
lette aux herbs" and a salad fit for just such a gourmand
as the tenor admittedly was. This collection of good
things was also rapidly devoured by the "ailing" singer
and again Moretti approached to inquire if there was any
improvement in the physical condition of the illustrious
tenor.
of Q3ustc and tjje Drama
177
"Yes, I feel much better, but my appetite fails me. If
that could only be restored I would be all right for
Manrico to-night."
Then Moretti brought Brignoli a monster porterhouse
steak, with dishes of sliced tomatoes and fried potatoes
on the side, and this too, he ate with the same dispatch as
before. Moretti approached him and slapped him on the
back as he shouted: "Well now, old man, surely now you
have your appetite restored."
"Yes," answered Brignoli, "I am altogether better now,
and I shall have my breakfast at once."
A son of Moretti is still alive and has a restaurant in
this city somewhere and he will certainly vouch for the
truth of this recital, which is in no way exaggerated.
Henry Wolfsohn, the best known of the various
musical agents and concert directors in this country, was
first destined for an actor's career. Arrangements were
perfected with Jacob Grau who, in 1868, was present¬
ing the great German actress Marie Seebach at the
French Theatre on West 14th Street, for Wolfsohn's ap¬
pearance for one night as Othello. The amount which
Wolfsohn paid the writer's uncle for this artistic privilege
was $1,000 and for this sum the entire company with
Madame Seebach as Desdemona was included. It is not
thought that at this time, the successful musical manager
will take any offense, at this reminder of his histrionic
debut, for if truth is told the night was one of merriment,
and none really enjoyed the Moor's vigorous perform¬
ance as much as Marie Seebach herself. But it was a
great night and it was not forgotten for many years after¬
ward. Even now as these lines are penned, the writer,
then a lad of fifteen, cannot help delighting in the thought
that this recollection will cause more than one survivor of
the Wolfsohn Othello to sit back and roar. No words
that can avail would do justice to the manner in which
178
jTortp $zarg £Dli0ert3atton
Wolfsohn read his lines, and his persistent "Das tooch"
was simply productive of uncontrollable laughter. One
night was all that was permitted, and an effort was made
to "hush it up."*
However, if Wolfsohn did not become the rival of
Salvini as the ferocious Moor, his efforts in the musical
world gave him afterwards more than an equal fame to
that which he sought to gain as a tragedian. The first
of his managerial efforts was in conjunction with Gus
Kerker; together they produced an opera called "The
Cadets," produced at Louisville, Ky., where Kerker
hailed from. This opera was a failure, and the tour was
cut short. Wolfsohn came to New York and started a
modest musical bureau, about twenty-five years ago, in
East 14th Street—No. 331—where he also lived with his
family. From this small start, the persistency and stabil¬
ity which characterized his efforts, led him, eventually,
to a business of great proportions. In fact, for twenty-
five years his bureau business grew, and at various
periods he has controlled nearly all the great musical
celebrities who have visited America; to-day no man in
the musical world is more influential, and few indeed as
prosperous.
Hermann Grau, also an uncle of the writer, was a Ger¬
man opera impresario at various periods from 1868 to
1895, and he conducted many seasons of German opera at
the Stadt Theatre (where the Windsor Theatre now
stands) on the Bowery, also at Terrace Garden on East
58th Street; on tour he was regarded as the foremost
provider of this field. Although his organizations were
never of the really highest rank, he nevertheless brought
out some of the best voices and the greatest artists ever
heard in German opera anywhere during the time of his
* Henry Wolfsohn died in June, 1909. His biography appears
elsewhere in these records.
of 031101c mili t!je Drama
179
regime. For a short period he had Pauline Lucca in his
company, and such stars as Carl Formes, Weinlich, Mme.
Freiderici, Herr Himmer, Pauline Canisa and Eugenie
Pappenheim were always prominent in the personnel of
his representations.
Hermann Grau still lives and has entered his eighty-
fourth year. Two of his sons, Jules and Matt Grau,
have been the managers of English Comic Opera from
1882 to 1903, when their operations were cut short by
the illness of Jules who died in 1905. Matt opened a
dramatic and musical agency in the New York Theatre
Building in 1903, and has prospered there ever since, be¬
cause of his energy and constant application to the in¬
terests of the decidedly large clientele he has created.
Jacob Litt, who before his death had amassed one of
the great fortunes that the theatrical field so seldom
proffers, began modestly, in Milwaukee, as assistant
treasurer of the Grand Opera House under Jacob Nunne-
macher in 1879. He rose in truly meteoric style, and
later, when he produced "In Old Kentucky," a play that
has yielded him at least $750,000, he became one of the
great powers managerially. At the time of his demise he
owned or controlled theatres in Chicago, Milwaukee,
St. Paul and Minneapolis, besides having the lease of the
Broadway Theatre in the city of New York. Near the
end of his career, he took into partnership with him, A.
W. Dingwall; all of the firm's enterprises are to-day di¬
rected by the latter under the firm name of Litt and
Dingwall.
John T. Ford was another one of those managers of
long ago whom the era of progress and discipline has not
replaced. His career was more than the ordinary one
alloted to great theatrical figures, although it was in the
South and in Baltimore and Washington that his fame
was achieved. It was John T. Ford who was directing
ISO
jTortp gears SD&gertmtfon
the fortunes of Ford's Opera House in Washington, D. C.
on the night that Abraham Lincoln was assassinated by
a prominent actor whose name need not be here recorded
since there is no need to perpetuate a direct reference to a
tragedy that brings only heart burnings to all true
sympathizers of the various relatives of the actor here
quoted, one of whom was the greatest actor that Ameri¬
can audiences ever paid homage to.
Ford had several sons, all of them active in theatricals,
but the one to be here named is Charles E. Ford, who
has succeeded to the management of the Ford's Theatre,
Baltimore, and because of the work that he accomplished
in the field of comic opera and his vast experience and
general excellence of the performances of Ford's Opera
Company, became one of a few providers of light opera
which twenty-five years ago, had a more artistic status
and better interpretation than to-day is extended to this
important but much abused field.
Mrs. John Drew's assistant manager at the Arch Street
Theatre was Charles R. Gardiner. He remained her asso¬
ciate in that famous playhouse for many years, but in the
early 8o's he became the lessee and manager of the
Academy of Music in Chicago, and, about 1884, opened a
large, and at that time, the leading manager's exchange.
Conducting as it did, all of the business affairs of Col.
J. H. Haverly, it was paramount to the conduct of the
country's entire amusement holdings since the brilliant
showman at that period was more noted than all other
managers combined. Haverly's fall was not accomplished
in the theatrical business, at least, he himself claimed
that it was his mining interests which contributed to his
gradual decline from the managerial position he held so
long.
Haverly could not bear to see anyone in want and it
used to be observed that in order to succeed in the theatri-
of mtD tfje Drama
181
cal business one had to have a heart. If this be true,
there has surely been a vast change, for it cannot be said
that the great factors controlling the nation's theatrical
affairs are considerate of their predecessors who still live.
It is known that the widow of Col. Haverly at this
time, earns a precarious living for herself and children,
(the children of dear old "Jack" Haverly), by selling a
preparation of cold cream to players whom she may be
enabled to reach, hawking her articles in a heavy basket,
up numerous flights of stairs, night after night, more
often in vain too.
Just as these pages are being written a report is gaining
currency that a monument is about to be erected in honor
of the great "Mastodonic" showman. Haverly was not
unworthy of such an honor, but if he could be consulted
in his perhaps neglected grave, it is certain that he would
much prefer that the cost of so elaborate and expensive
a memorial be wholly or even partly expended to provide
an annuity for the widow who struggled so often with
him, in his efforts to make theatrical history. More than
one magnate in the amusement world of to-day owes his
present fame, and the fortunes amassed through his fame,
to Haverly's help.
What is here stated about Haverly, could well be re¬
peated of Henry E. Abbey, who died penniless and com¬
paratively neglected. In this instance, through the
energies of a few women of the type represented by
"Aunt Louisa" Eldridge—Abbey's daughter, Kitty, was
given a benefit which yielded her a large sum, but the
widow of the impresario, an actress before her marriage,
is living in a retirement in London, in circumstances said
to be far from comfortable.
In connection with the above narration, it should be
recorded that the theatrical and musical providers of the
past and the present, also the great majority of players
182
jfortp gears SD&settjation
and stage workers of every description, die poor. Few
indeed save anything to speak of, and the Actors' Fund is
called upon every year in its annual reports to exhibit a
deficit, due undoubtedly to the calls made upon its great
resources, for the burials of those who while living and
in activity, earned fabulous salaries, compared with the
earnings of people in other branches of industry; yet the
player has been the dictating factor at all periods and his
position always impregnably defined. No class of brain
workers are as well paid, judged as a whole, and no class
have a greater incentive for prudency, since the spectacle
of "What has gone before" is always in panoramic evi¬
dence.
It is to be noted that the small waged player is far more
provident than the star or the more prominent personage,
and it is the vaudeviller who can give the best account of
his industry. A large number of these have homes of
their own in suburban cities, or at least farms, and
statistics of the realty companies of recent years are re¬
plete with information of the investments of the thrifty
vaudeville performers.
The great success of Harry Lauder calls to mind other
native and foreign artists who were able to hold the stage
for an hour or longer by sheer force of the magnetism of
their personality.
Albert Chevalier has always, in all countries in which
his remarkable talents were exhibited, maintained the
reputation achieved by him in the London Halls and al¬
though he never has been paid but a little in excess of
one-half the honorarium which Lauder receives, never¬
theless, he has been before the public so long, that it is
likely he will have earned more money in his career than
any individual male artist from the music hall stage.
Sol Smith Russell was perhaps the foremost American
actor to give a monologue though his activity was not
of €0u0ic min tfje Drama
183
effected in music halls or vaudeville theatres. In 1869
Mr. Russell was jointly featured with the famed Berger
Family, originally Swiss Bell Ringers. Eventually the
extraordinary musical talents of Anna Teresa Berger and
her sisters, caused the manager of the organization,
Frederick Berger, to make a high class concert tour, in
1871, and for many years afterwards, this matchless array
of talent prospered. Sol Smith Russell wed Louisa M.
Berger, and Anna Teresa was wedded to Leigh Lynch,
who had been manager of many prominent stars and long
the business manager for Shook and Palmer at the Union
Square Theatre in New York. Lynch died in 1903.
Sol Smith Russell was developed into a full-fledged
star, and made his first great triumph in "Edgewood
Folks" written by J. E. Brown. Edward E. Kidder, the
playwright, wrote "A Poor Relation" for Russell, also
other plays. Mr. Kidder managed Joseph Murphy for a
long time before he ever thought of writing plays, and
for a long period he directed the tours of Mr. and Mrs.
J. C. Williamson, who presented a character dialect com¬
edy entitled "Struck Oil," in which Mr. Williamson gare
a deliciously satirical sketch of Teutonic character.
The Williamsons went to Australia where they "struck
oil" in reality, and until this day J. C. Williamson has
been the greatest, if not the only, provider of foreign
attractions in Australia. Famous stars like Irving,
Bernhardt and the majority of American attractions go
to the Antipodes under Williamson's direction.
Mrs. Williamson was known as Maggie Moore, and she
was last seen by the writer a year or so ago, playing in
vaudeville with a newly wedded husband whose name is
not now recalled. It was not generally known that the
Williamsons had separated. Oh, the pity of it!
T. Henry French had a decidedly active career and
became a theatrical manager from necessity rather than
184
jFortp gears; SDfesettoation
choice. The firm of Samuel French and Son was the most
important of the various publishers of plays in the last
half century. Henry French was often called upon to
give financial assistance to the more important interests
and Henry E. Abbey, J. H. Haverly, Maurice Grau and
others were more than once tided over by him. It was
he who built the American Theatre on West 42d Street,
and he also was the original lessee of the Garden Theatre,
while the Broadway Theatre was for a long period under
his direction. Reverses came to him before the end of his
managerial activity and at the time of his death, his
holdings were few indeed, aside from the play publishing
establishment which is maintained to this day under the
original firm name. T. Henry French brought Edward
Strauss to America, to open Madison Square Garden. He
also managed the Grand Opera House and produced
"Little Lord Fauntleroy."
The Boston Theatre has had so eventful a history that
two large volumes have been written on this exclusive
subject by Eugene Tompkins, its present owner. There¬
fore, it remains for this writer merely to observe that
from 1854 to 1908 this majestic playhouse, the second
largest of the old style of theatres in America, has har¬
bored practically every noted player or singer that Boston
has welcomed, and during the regime of the original
owner, Orlando Tompkins, the theatre was conducted
upon far more artistic lines than has characterized its
recent history.
This truly magnificent auditorium has been utilized of
late for the production of plays by a stock company
under the management of B. F. Keith who leased the
house two years ago to prevent its falling in the hands of
Klaw & Erlanger during the noted vaudeville war at
that time. Mr. Keith's vaudeville palace being imme¬
diately adjoining the Boston Theatre, the fate of the
ORLAXDO TOMPKINS.
Founder of the Boston Theatre.
EUGENE TOMPKINS.
His son and successor. Died in 1909.
of S$ii0ic anD tbt Drama
185
latter is hard to forecast, but it would be by no means
surprising to find this grand old house used permanently
as a "Picture resort" before another lustrum has passed.*
The subject of "Moving pictures" cannot be ignored in
this volume, and its importance is now recognized the
world over. The advent of "The Cinematograph" at B. F.
Keith's Union Square, less than 15 years ago, was an
occasion of much interest and J. Austin Fynes, then Mr.
Keith's general manager, made the prophecy that in less
than ten years the Motion Picture would replace the
vaudeville theatre of that period. Mr. Fynes perhaps fig¬
ured too close, but this momentous statement is not so
far from practical truth as the words would indicate.
Only a few days before Christmas, 1907, in the hallway
of the Times Building, just as I was taking the elevator
to the offices of a friend, a brilliant promoter of one of
these now countless picture concerns accosted me and in
the few words of converse that took place, he repeated
Fynes' prophecy.
In order that the readers of this volume may obtain an
adequate conception of what the "Phonophone" is, it
may be stated that persistent efforts at progress have
finally resulted in the virtual combination of the moving
picture with the phonograph, and the achievement to
date, while by no means perfect, is really indicating that
if this progress continues to expand, then indeed is it
possible that the prophecy is likely to come true. Who
shall say, if some day, perhaps, the public that has paid
its $2.00 a seat with great reluctance, will not be invited
to actually see its favorite plays and players in the form
of talking-moving pictures!
*Eugene Tompkins died in February, 1909. The immediate
future of the Boston Theatre has been determined since the
above was written, and the house reverts to Klaw and Erlanger.
186
jfortp gears O&sertmtion
Great problems surely will be worked out in this field
in the next five years and in order that an illustration may
be shown, it should be stated that even to-day, when the
crudeness of the talking picture is evident, that it is
possible to see plays that have been posed for and re¬
hearsed by prominent players with the consent of the
best-known and influential managers in the theatrical
world to-day. When the manner in which this problem
is working out is conceived and its full meaning grasped,
then indeed is it possible, and even probable, that in but
a few years from now the historian of music and the
drama will have a decidedly unique condition to recite.
The writer recently asked a famous vaudeville magnate
who has benefited greatly through the transforming of
three of his beautiful theatres into moving picture resorts,
what great difference there was between vaudeville at
these three theatres and its present entertainment, which
consists of the regulation picture show which now pre¬
vails in five hundred and fifty-one theatres and halls in
Greater New York.
"The difference is only noticeable," said the magnate,
"on Saturday night, when instead of sending to the bank
to draw from $13,000 to $15,000 to meet the salaries of
these three theatres, we now pay the electrician and one
or two assistants, possibly $150 in all."*
A few years ago when the writer felt certain he saw
the "handwriting on the wall" he made a somewhat
strenuous effort to interest an energetic and influential
man who could advance capital, and laid out before this
man and his brother the very campaign that has in the
* After the Cinematograph came the American Biograph, in¬
vented by Hermann Casler, and it served to create a furore.
Then came the Vitagraph. While at this time, with men like
George Klein striving to achieve the impossible, one may not
prophesy even now the full scope of the Moving Picture.
of ©pu0i'c anU tbt Drama
1ST
last few years collectively made millions of dollars profit,
but, alas! like so many other escapes that I have had from
intimacy with dame fortune, the pessimism of my two
confreres was such that despite my willing desire to
"show" them that I could transform fifty theatres into
picture houses in almost as many hours, they failed to
enthuse and almost before another winter had passed, all
my plans were panning out with a vengeance at every
turn. It was the same in vaudeville; as a pioneer with¬
out the necessary capital to "stand the gaff," I was
stormed out of theatres during the "period of education,"
theatres that to-day yield fortunes to their lucky pos¬
sessors.
The reader's pardon is asked for these personal allu¬
sions, but I have thought that many indeed would recall
the campaign I indulged in, trying to educate the public
to modern vaudeville, and in Hartford, Connecticut, in the
Spring of 1899, a programme embracing an array of
stellar features played to less than $100 receipts in one
week. In Syracuse there was a bill that included eight
"headline acts" that to-day could not be duplicated at any
price; in twelve performances the receipts were not more
than $175, while the spectacle of a Saturday night with
gross receipts of $7.00 was absolutely amazing.
Less than five years ago in Holyoke, Mass., a vaude¬
ville company with May Yohe at its head, in six perform¬
ances, played $118, and that charming English actress,
Miss Jessie Millward, who dignified vaudeville as did no
other player that can be recalled, played in Albany, N. Y.,
a city of importance where she was favorably known as
Henry Irving's leading lady, to exactly $28.00 at an even¬
ing performance.
If, with the introduction of continuous performances
at popular prices, vaudeville got a firm foothold in New
York and one theatre after the other changed from the
188
jfortp gear# SD&gettmttcm
legitimate to this class of amusement, then it was also
reserved to the moving picture shows to materially les¬
sen the interest of the public in vaudeville, and only the
high-class ones survived. The running expenses of a
moving picture theatre are so small that admission to
them is as low as five cents. Yet for all that it is an
entertainment for young and old. Any such shows, con¬
ducted in a proper manner, are certainly to be com¬
mended. They are not only a source of amusement, but
can be made highly instructive, especially to children.
The motion picture house of the Barron Amusement
Company at 145th street and Broadway, and the five dif¬
ferent houses of the Nicoland Amusement Company are
all safe, elegantly fitted and well ventilated. There is a
complete change of pictures daily and the best French
novelties are exhibited. The singers of the illustrated
songs do their work artistically. Mr. T. H. Barron is
president and general manager of the Barron Amuse¬
ment Company, Inc., and secretary and general manager
of the Nicoland Amusement Company, Inc. It appears
to me that the moving picture has come to stay and many
improvements are still likely to develop.
of ^U0ic and tfje Drama
ISO
CHAPTER VI
W. G. Smyth, now general manager of David Belasco's
enterprises, was born in St. Louis, Mo., November 19th,
1854. He started in the theatrical business in 1886, as
manager of Dickson's Sketch Club, in which company
were, Augustus Thomas, Edgar Smith (the author of
most of the Weber & Field shows), Frank David, (a
prominent comic opera comedian, now dead), Delia Fox
and others. This was the professional start of all the
above people; all were amateurs when the company was
organized.
Smyth then formed a partnership with Charles Mat¬
thews and sent on tour Charles Reed and Willie Collier.
After Reed's death in 1892, the firm of Smyth and Mat¬
thews was dissolved and Smyth afterwards managed Wil¬
liam Collier, producing "One of the Boys," "Mr. Smooth,"
and "On the Quiet," the latter by Augustus Thomas.
In 1892 the firm of Smyth and Rice was formed, and
produced "My Friend from India," "The Man from
Mexico," and other plays.
In 1903 Smyth joined Mr. David Belasco's staff as
manager of his Booking Department, in which position
he has remained ever since.
R. G. Knowles has achieved several records since his
stage debut at the Olympic Theatre in Chicago, thirty-
one years ago. His greatest field, however, has been
England and the British possessions, where he is the
supreme attraction. It was he who opened up London
190
jfortp gem flD&mtratfott
to American artists. No one ever played the lengthy
engagements he has in London; despite the reign of
various eras of celebrities no one has yet reached
Knowles' salary in Great Britain.
Knowles is also famed as a traveler and a brilliant
lecturer. He has been three and a half times around the
world, twice through South Africa from Capetown to the
Congo, and American audiences are occasionally enter¬
tained by his pictorial lecture entitled "Old Worlds
Through New Eyes," in which many valuable motion
pictures taken by Knowles himself are shown.
Miss Gertrude Coghlan, who appeared in "The Travel¬
ing Salesman," is a daughter of the late Charles Coghlan
and a niece of Rose Coghlan. She made her stage debut
in her father's production of "The Royal Box" in 1898,
at the Fifth Avenue Theatre, under H. C. Miner's di¬
rection.
She assumed the role of Juliet and was so successful
that in 1902, she was starred in the same play, a year
later, was the star of the production of "Alice of Old
Vincennes," which was followed by appearances in
"Becky Sharp," "Jocelyn," "Sorceress" and "The Lion
and the Mouse," always with success and leading up to
her present engagement at the Gaiety Theatre, in "The
Traveling Salesman."
Speaking of Miss Coghlan recalls the author of "The
Traveling Salesman;" his rise has been speedy as well
as substantial.
James Forbes was born in Salem, Ontario, in 1871. He
was educated at the college in Gait, and became dramatic
editor of the Pittsburgh Dispatch, which position he,
later, held with the "New York World." His ability
attracted the attention of Frank Perley, who engaged
him as advance agent; he held a similar position with
of Q^iigfc anD tbe Drama
191
Amelia Bingham. When Henry B. Harris became a
factor as a producing manager, Forbes became his gen¬
eral manager, and during this period was a contributor
to Harper's and Ainslee's.
"The Extra Girl," one of a series of dialogue which
appeared in the latter publication, served as a basis for
the one act sketch entitled "The Chorus Lady," presented
for three years in vaudeville by Rose Stahl and afterwards
amplified into a four act play which established Miss
Stahl in the foremost rank of American stars.
Mr. Forbes' second play, "The Traveling Salesman,"
has more than duplicated the success of "The Chorus
Lady."
The most interesting data I can recall of Sam Bernard
would not be as serviceable as his own letter to me, from
which I extract the following:
"My father had a fish and fruit store and we had a big
woodshed full of boxes. I cleaned these out and made
a stage of boxes, with a regular curtain and footlights,
too. My partner was the son of a grocer across the way,
and he used to 'swipe' the candles for the footlights and
all the perishable 'props,' like cake and bread and candy.
We charged a penny for these shows, and I played on a
banjo, sang and danced, and did a sort of a monologue
even then.
"At that time there used to be a theatre down Five
Points way which was run by newsboys and had only
newsboy players. It was called the "Grand Duke's The¬
atre" and was down in a sub-cellar. While I was going
to school I would run away and do German songs there.
Then I got ambitious. I wanted to get into a regular
theatre, but they wouldn't have me. I was determined,
so I used to appear at benefits. I remember that I saw a
bill of a benefit for an actor named Wills, over in Brook-
103
jFcrtp geat0 Dtertmtton
lyn. I hunted him up, and when I found him I took off
my hat and asked him very politely if I could appear at
his benefit. I had with me the programmes I had played
at other affairs. That's what I used to do for practice
and to grow.
"After that I was in a nickel theatre at Coney Island.
Weber and Fields were there, too, but I would not have
anything to do with them. They played in a beer hall
where there was no entrance fee. 'Go 'way,' I used to
say to them. 'You can't talk to me. Any one can see you
for a glass of beer, but they have to pay real money—five
cents—to see me.' How we laughed over those early
days in our recent fat years.
"I played every place and everywhere for practice. I
remember that I appeared in Cleveland, in Frank Drew's
Dime Museum, and came there from the one that he
ran in Providence. I was in Providence for over a year,
and we used to do six shows a day. We did every¬
thing. Once Hines and Remington and I—just the three
of us—did 'Erminie.' We put on 'Pinafore,' too, but we
had a regular stock operatic company then.
"I had to work and work all the time, and now it makes
me laugh—and it makes me mad, too—to hear young
fellows who have been on the stage three or four months
talking as if they knew it all and had been through every¬
thing. I don't claim to have been through everything
myself. No man can, but I've played in all sorts of
companies and all sorts of parts until I think I do know
something of my business."
There is not to be found, in all the theatrical history
of these United States, a more striking illustration of the
perpetuity of an agreement between actors than the long
and wholly unequalled career of Mclntyre and Heath.
Just thirty-five years ago, in 1874, the unity of these two
of £®tistc anD tl)t Drama
193
minstrels was created; their first appearance together
took place in one of those variety theatres which Texas
was noted for called The Tivoli at San Antonio.
They remained in Texas until 1877 when they opened
in Chicago at Hamlin's Coliseum, the site of the Grand
Opera House. Then they joined a circus, for two months,
and followed this move by joining Sells Brother's Wagon
Circus, dancing in the side show.
In the Spring of 1878, Mclntyre and Heath appeared
at Madison Square Garden in New York with Howe's
London Circus. In the Fall of '78 the first Mclntyre and
Heath Minstrels were organized and met with varying
success, so that in the Spring of 1879, the comedians were
again seen under the white tents, having joined Ander¬
son's Wagon Show.
It was in the Fall of that year, however, that the boys
made their first big New York hit at Tony Pastor's.
They were the first to introduce to New York audiences
the genuine buck and wing type of dancing of which they
had made a study while in the South.
In 1880, Alice Oates, the comic opera star, produced a
musical trifle called "Long Branch" and Mclntyre and
Heath were the features of the piece, after which the
Mclntyre and Heath Minstrels were permanently organ¬
ized and became a fixture in the South and West.
It is needless to speak of their career further than to
note that to-day, after having presented the same spe¬
cialty for nearly three decades, the team is receiving
$2,000 a week in vaudeville. Their remarkable success
under Messrs. Klaw and Erlanger's directions in "The
Hamtree" is too well known to require recital here. A
new production is now being prepared for this popular
team, to be presented in the Fall of 1909, under the
direction of Klaw and Erlanger. It should be recorded
jFottp ^earg S)&0ertmticm
here that Otto T. Thompson has been giving effective
support to Mclntyre and Heath during the last twenty
years of their career.
George Arliss, whose artistic status was defined long
before the stellar honors which are now his, were realized,
caught the stage fever in the school days at a time when
his system was weakened by mathematical problems. He,
together with two boy friends, the sons of Nellie Farren,
the popular burlesque actress of the Famous Gaiety
Theatre in London, had possessed themselves more or less
unlawfully, of certain wigs, tights, colored sashes and
other inflammatory articles.
The members of the Arliss family had heartlessly con¬
signed the boys to the cellar that their ravings might
not annoy the neighbors. They began to write plays,
paint scenery, make costumes and to bore holes in the
gaspipe for footlights; the servants were the auditors.
Thus began the fever from which Arliss has never re¬
covered.
In due course of time, Arliss became a super in a
melodramatic theatre on the Surrey side of London, and
for the next ten years he appeared in every corner of
England, reaching the dignity of a London engagement
through the influence of Fred Latham. Here he re¬
mained until Mrs. Patrick Campbell brought him to this
country in the Fall of igoi.
Since then a series of remarkable successes have been
rolled up to his credit, principally in New York; his ef¬
forts with Mrs. Fiske's Company being so worthy and
notable as to attract vast interest and resulted in his as¬
sumption of a stellar career, the development of which
will be watched particularly by those who have been em¬
boldened to prophesy that Richard Mansfield's successor
may yet be found in this progressive player.
John D. Mishler organized the first theatre circuit in
of Q3u0ic anD tf)t Dtania
195
America in 1872; he retired from theatre management at
Reading in 1906. He was interested* in the Lyric
Theatre, Allentown,
and was a foremost cit¬
izen of Reading, lead¬
ing all public affairs
and charitable organi¬
zations. His wealth is
said to be extensive,
and his career, for a
quarter of a century,
was one that he may
well be proud of.
I. C. Mishler is a
cousin of John D., and
is, undoubtedly, bound
to succeed the founder
of the first chain of the¬
atres in Pennsylvania.
He is now the manager
of the new Mishler
Theatre in Altoona and has theatres in Trenton and
Johnstown, Pa. These three theatres are conducted on
the same policy which for so long a time made John
D. Mishler a central figure in the theatrical world.
As an illustration of what can now be expected in a
theatre of the one night stand class, it need only be stated
that Miss Eleanor Robson played in one night at Altoona
to $3,258, February 15, 1906, while on January 21, 1907,
Wright Lorimer played, also in one performance, to
$2,973, in the same city.
Shades of Colonel Haverly and Henry E. Abbey look
down upon us and tell us that it was not always thus.
Louis Mann was born April 20th, 1865, in New York
City and he made his debut at the Old Stadt Theatre on
MISHLER THEATRE, ALTOONA, PA.
196
jFortp ^earg SD&0eruattori
the Bowery in Grimm's "Snowflake" about Christmas
week of 1869.
Mann began to attract great attention with Geo.
Lederer's production of "The Lady Slavey," but in the
writer's opinion, his most artistic creation in the musical
comedy line was as the hotel proprietor in "The Girl from
Paris." Recently he has evinced a desire to separate
himself from the lighter class of comedy.
It remains to be seen, whether Mann, who is an actor
of great intensity and sincerity, will reach the goal he
seeks; as a rule it has not been possible to alter the public
taste at will. It must not be forgotten that such great
artistic souls as were possessed by George L. Fox, and
George S. Knight, only served to send them to premature
graves through sheer disappointment.
The first glimpse I ever got of Lee Harrison was in
1881 at John Hamlin's Theatre on Clark Street in Chi¬
cago. There was a production of "Mother and Son"
running, presented by A. M. Palmer's Union Square
Theatre Co.
Lee Harrison came on the stage on this occasion as a
newsboy, but the manner in which he walked on and off
and his poise while before his audience was such as to
give the impression that he had been thrown on because
of some discrepancy or vacancy of a temporary nature
in that cast. At any rate, he was not seen on that stage
again. For several years afterward he sold Librettos,
having found his way to the Metropolis. If, as a lad,
Harrison did not shine conspicuously, his progress has
nevertheless been rapid and no comedian can boast of a
larger clientele of personal friends. Occasionally, Harri¬
son adds to his financial resources with his pen, and his
writings on well known players are looked forward to by
a number of readers. Harrison in 1882 became a manager
of Caustic an33 tlje Drama
—he presented ail Irish play, "The Wicklow Postman,"
with Eugene O'Rourke as star.
Thinking of this Harrison episode at Hamlin's natur¬
ally recalls the Hamlin Family of which John A. was the
head and founder. Hamlin made a fortune on some kind
of oil and left the theatre on Clark Street to his sons, of
which there are three.
Harry Hamlin was a veritable college boy and a foot¬
ball enthusiast. More than once he has come to New
York on crutches, his head all bound up from the effects
of a game in which he was a noted participant.
Fred Hamlin gave every promise of becoming a power
in the amusement world. In fact, from "The Wizard of
Oz" alone he cleared a large fortune. His death, three
years ago, put an end to the operations of his firm, which
had become decidedly prominent.
George Hamlin, who as an infant used to sell tickets
when his elder brothers would go out to lunch, gave little
indication in those days that he would become one of the
best known tenors of this country, and that his education
would run along the most classical of musical studies.
He has become as well known in his particular field as
Caruso is on the Grand Opera Stage.
John A. Hamlin, the father, after having lived to a ripe
old age and amassing a large fortune, passed away in
Chicago, about a year ago. His theatre, the Grand Opera
House of Chicago is now managed by Harry Hamlin,
and is of a semi-independent nature, that is, it plays all
sorts of attractions without any fear or favor.
Frank Mclntyre was born in Ann Arbor, Michigan.
He received his early education there, and, later, took an
ecclesiastical course, preparatory to entering the priest¬
hood. He changed his mind in igo6, and being a musician
of some ability, took up newspaper work, making a s_pe-
198
jfortp gears D&sertratfon
cialty of musical criticisms. Later he dropped newspaper
work, making his professional debut as an actor in 1902
with Frank Keenan in "Hon. John Grigsby."
He has appeared in several New York productions with
Mrs. Fiske and Nat Goodwin, also as Billy Saunders in
Robert Edeson's "Strongheart" and Bubby Dumble in
"Classmates." Mr. Mclntyre's biggest successes were
with the same stars, up to the present tremendous hit as
Bob Blake, the star part in "The Traveling Salesman,"
Gaiety Theatre, New York.
Miss Emma Thursby, now conducting a vocal studio in
this city, was at the height of her artistic zenith a quarter
of a century ago, and no singer can be more pleasantly
recalled. Like Anna Louise Cary she retired from the
concert platform while her triumphs were unbounded,
and to see her to-day one would hardly believe that she
has been so long absent from the musical world, as a
public singer. This superb artist will acknowledge that
she owes to Maurice Strakosch much that she was en¬
abled to achieve.
It is doubtful if those who have chronicled the history
of Music and Grand Opera in America have accorded to
this great artist-impresario his proper place. In any
event it shall be my pleasant province to state that it was
he who planned the Metropolitan Opera House many
years before that majestic enterprise came into being,
and to Maurice Strakosch it is also due that the American
public were privileged to hear Wagner's "Ring der
Nibelungen" as soon as it did, he having made the con¬
tract with Herr Niemann which made its production
possible.
Maurice was the oldest of the Strakosch brothers, and
he was a pianist of distinction; in his youth he was a
prodigy. He was Adelina Patti's impresario when, as a
child, she sang at Trippler Hall. He married Amalia
KITTY BLANCHARD.
EMILY MELVILLE.
Stars of Opera, Concert and, Drama.
PAOLA MARIE.
BERNARD MACAULY.
EMMA LHURSBY.
WM. LRUETTE,
of s^ugtc anD tfje Drama
199
Patti, a sister of Adelina and Carlotta, and who, I believe,
is living to-day in Paris. A son by the marriage—Robert
—is now an impresario and musical agent in Paris, and
has been in America quite often, being identified with the
operatic ventures of "Uncle Max;" at one time he was
employed by my brother. Robert Strakosch is a cousin
of Edgar Strakosch, who has had a long career in the
business department of grand opera, and who is now in
San Francisco.
Another of the younger generation of Strakosches is
Carl—who is a son of Ferdinand Strakosch. Carl, who
had been her manager for many years, married Clara
Louis Kellogg, and the two have led a happy life indeed.
The Strakosches and the Graus had quite a monopoly
of matters musical in America in the span ranging from
1865 to 1885. Jacob Grau was the first of all the Graus,
and is often referred to in these pages; he came to
America in 1853. His first venture in grand opera was at
Pike's Opera House in Cincinnati in 1863, where the
illustrious La Grange and the winsome Piccolomini were
the stars. When he opened at the Academy of Music in
New York, to these were added Clara Louise Kellogg,
the great tenor Brignoli, Amodio, Susini, and Carl
Formes, the greatest basso that ever lived. This truly
great organization also sang at the beautiful Crosby
Opera House in Chicago; it was Jacob Grau who dedi¬
cated that superb edifice.
Aside from grand opera Jacob Grau's first musical en¬
terprise was Thalberg the pianist, whose first concert tour
he directed. Thalberg was induced to invest some of his
earnings in America as a pianist, in a grand opera venture,
but I cannot recall the impresario's name with whom he
was affiliated. The result, however, is clearly stamped
on my memory as being disastrous.
Ole Bull, the great violinist, was also under Jacob
200
jFortp gearg Dfogertoati'on
Grau's direction and he too followed Thalberg's example,
aspiring to the direction of the Academy of Music, which
he did with much flourish and great promises; two weeks
sufficed for Ole Bull, and his experience was a vivid
realization of Max Maretzek's prophecy, that a month
of grand opera management would wipe out the Ole
Bull fortune.
Emma Howson is another of the artists of long ago
who, like Anna Louise Cary and Emma Thursby, we have
still with us. Ambitious singers of this generation are
reveling in the benefits to be derived from their studies
under this truly superb example of perfect vocalism. A
point worthy of special note is the fact that Miss Howson
was the original Josephine in "Pinafore," in London, and
W. S. Gilbert and Sir Arthur Sullivan wrote especially
for her the beautiful ballad from that opera, "A Simple
Sailor Lowly Born." Together with the famous English
tenor, Sims Reeves, she sang in the much discussed
"Beggar's Opera," throughout Great Britain. In America
Miss Howson passed through a long and noteworthy
career, creating Bettina in "La Mascotte," the title role in
"Olivette," in the Gilbert and Sullivan operas she was
perhaps without a rival at any period.
Her brother, John Howson, was one of the best known
and most capable light opera comedians of the last thirty
years, his greatest triumph being achieved as Favart in
"Madame Favart," an Offenbachian work which, in the
original French, was given in the days of poor Marie
Aimee.
The Howsons were as gifted as they were numerous—
one of the brothers, Frank, I believe, is musical director
at present. Memories pile on fast with thoughts of
the Howsons; the Brahams are naturally recalled.
Dave Braham, the oldest of this family of musical direc¬
tors, was the genius who composed the music for all of
of (®tt0ic anD tfre Dtama
201
the songs and marches that Edward Harrigan and Tony
Hart and their aids sang for a generation, with so much
success. Braham was perhaps the most prolific composer
that America ever produced; had he lived in a later gen¬
eration, he surely would have ranked with the famed
composers of light opera and musical comedy of this
time. He was satisfied to confine his efforts to the
Harrigan productions; it should be remembered that he
was a brother-in-law of Edward Harrigan.
John and Harry Braham are musical directors of dis¬
tinction; both are, at present, active in this field. Harry
was the first husband of Lillian Russell.
Ellen Beach Yaw, the American prima donna, comes of
an old and excellent New York family, but the larger
portion of her life was spent in California which she calls
her home.
It so happened that just when she was entering upon
her career of professional study, she had the good fortune
to come under the care and guidance of that gifted and
loveable woman Mme. Hervor Tarpadie, then as now, a
teacher of singing in New York. This remarkable woman
carefully and religiously trained her for the great work
she was destined to perform, and the future prima donna
went directly from her hands to the care of the greatest
masters of Europe, whence she appeared a finished and
remarkable artist.
Miss Yaw was sent to Paris where she studied for three
years under the exacting hand of Mme. Marchesi, after
which she was sent to Italy where she learned all her
Italian roles. She made her debut in Rome, singing the
role of Lucia in "Lucia di Lammermoor," with tremen¬
dous success. Later, she sang with great success in other
parts of Italy, France and England, making her debut
in France as Ophelia in the Opera of Hamlet.
After these European successes Miss Yaw returned to
202
jfortp ^ears SDterfcatiott
her native land and made her first appearance at the
Metropolitan Opera House, March 21st, 1908, scoring a
veritable triumph. Seldom if ever has there been such a
reception given any artist. Miss Yaw was recalled nine
times, midst shouts of applause and the waving of hand¬
kerchiefs.
Miss Yaw is called "The matchless high soprano of the
World," from the fact that she can sing the highest note
ever recorded, singing within one tone of double high C.
The writer has alluded elsewhere in these records to
the remarkable longevity of the unity between Messrs.
Mclntyre and Heath. There are, however, several other
instances, not only of the perpetuity of joint agreement
between artists, but also of the prolonged favor which an
individual offering by these artists would be received.
John C. Rice and Sallie Cohen have been before the
vaudeville public, well, for a long time. Mr. Rice, who
is one of the best light comedians on the American stage,
periodically indulges in starring tours. Occasionally he
would leave vaudeville to be a co-star with Miss May
Irwin, whose success never was so great as when Rice
was with her.
Sallie Cohen is surely a veritable child of the stage. I
recall her first as one of genial Bob Miles' Juvenile Pina¬
fore Company, of which Julia Marlowe was also a member
—fancy the illustrious Julia as an "also" to-day—and that
wasn't yesterday by any means. Let it be said that Sallie
Cohen is well worthy of her position as co-star with Rice,
aside from the marital relation between them. This team
has been constantly climbing the salary limits, commenc¬
ing at $100 a week; this has been increased until now
$600 is gladly paid them.
Maurice Barrymore was in the thick of matters
theatrical during his entire active career, in fact, with the
exception of a period of about two years at the end, he
G. GATTI CASAZZA.
ANDREAS DIPPEL.
MILTON ABORN. A. L. WILBUR.
Impresarios of Grand and Comic Opera.
HENRY W. SAVAGE.
GUSTAV HINRICHS.
of Ci3u$fc ana tfje Drama
20.°>
was always a prime factor. Barrymore wrote one play,
"Najesda," and it is the writer's opinion that the com¬
parative failure of this production was the first cause of
his mental trouble. In any event he always referred to
this play to me when indulging in eulogy or in a
reminiscent mood. When he entered vaudeville and pro¬
duced Augustus Thomas' "A Man About Town" he was
greatly shocked to find that a serious play was not as
popular as comedy. The subject of Maurice Barrymore
would be an ideal one for a lengthy treatise. The writer
knew him well, acted as his manager, and had his con¬
fidence. If poor "Barry" had only delayed his produc¬
tion of "Najesda" we might have had him with us still;
for there can be no doubt that he never was reconciled to
the fate of this, his first and only play offered before a
New York audience. Mr. Barrymore's sons, Lionel and
Jack, appeared with him in vaudeville occasionally; his
daughter Ethel had not yet attracted attention while
"Barry" lived. How he would have reveled in her
triumphs! Poor "Barry!" prosperity and renown came
to all his children after he had departed this life.
Marcella Sembrich, at the time that these pages go to
press, will have sung her last note on the grand opera
stage, for in the case of the great Polish Soprano, the
decision to retire from all but concert appearances, may
be accepted as an absolute ultimatum. It was on the
night of October 24th, 1883, a little over a quarter of a
century ago, that the one singer who can justly be com¬
pared to Adelina Patti at her best, first sang before an
American audience, the occasion being the second sub¬
scription night of the first season of grand opera in The
Metropolitan opera house. Madame Sembrich, Marcella
Kohansky, was born more than half a century ago in a
small town in Poland. Her parents were poor musicians.
Marcella was given piano and violin lessons by her
204
jFottp gears SDfomtoation
father as soon as she had reached the age of five. At the
age of twelve she who was destined to become one of
the world's greatest artists, contributed to the family
support by playing dance music at wedding parties.
Then Marcella went to a Polish conservatory where she
made the acquaintance of her present husband, Herr
Stengel, who became her piano teacher. It is well worth
noting that she perfected herself as an instrumentalist,
being a proficient violinist and pianist at twelve. The
future career of this now illustrious artiste was based
upon the solidest possible foundation. It was at the
advice of a renowned professor of music in Vienna,
Julius Epstein, that the youthful Sembrich decided to
devote herself, permanently, to singing, always continu¬
ing her instrumental studies. She studied under Rokitan-
sky and the younger Lamperti, and, in 1879, made her
debut in opera in Athens in "I Puritani." As a little girl
she heard Adelina Patti and it is truthfully stated that
for hours, on a freezing day, she stood in front of an
opera house, having saved a few pennies—enough to
purchase a seat in the highest gallery. Madame Sem¬
brich tells this experience often.
On the night of February 6th, 1909, at the Metropolitan
Opera House, Marcella Sembrich was honored, as has
been no other singer of her time. The night was of
historic interest and illustrates vividly the stability of
this one career. Her debut in America and her farewell
to Grand Opera being effected in the establishment
wherein the major portion of her artistic life had been
spent. Max Hirsch, the benevolent and patriarchal
appearing treasurer of this same opera house, was per¬
haps the only one in that vast auditorium on this gala
night who, like Sembrich herself, had spent all of these
twenty-five years in that historic edifice. But Max,
praise heaven! we still have with us and who, more than
of ®u0ic anD tfjc Dtarna
205
he, has smoothed the path of audiences and singers in the
eventful quarter of a century that has passed?
Bessie Abbott, who has been a valuable member of the
Metropolitan Opera House Company, under Herr Con-
ried, was one of the famous Abbott Sisters who ap¬
peared in Edward E. Rice's production of "1492" at the
Garden Theatre. This duo had much vogue in vaudeville,
for several years afterwards when, as street singers, their
rendition of plaintive melodies was a never to be forgot¬
ten treat. It was Jean De Reszke who first was attracted
by the beautiful voice of Bessie and he it was who pre¬
pared her for the artistic career which has since been
hers. More than one famous prima donna of to-day has
Jean to thank for her career, and I recall that a daughter
of Meyer Cohen, now manager for Charles K. Harris,
the music publisher, Vivienne Fidelio by name, was
given her tuition wholly gratuitous and is, I believe,
yet undergoing her studies with the famous Polish tenor.
An artiste whose entire career has been replete with
worthy achievements and whom it is a pleasure to see
once more installed on Broadway is Rose Coghlan, who
came to America in the early 70's and was by far the most
imposing figure in the notable organization at Wallack's
Theatre, then located at 13th Street and Broadway. And
the history of Rose Coghlan is a repetition of the history
of the productions of English and old comedies that for
so long were customary at Wallack's playhouse.
Ten years ago this charming and unrivaled player was
permitted to enter the vaudeville field, at a period when
there was not in all the world an actress competent to
replace her in the line she had made her own. It is a
sad commentary on what is claimed to be "artistic pro¬
gress" that though Rose Coghlan would always create a
furore when figuring in any of the productions which Mr.
Charles Frohman would present at intervals, she was
206
jfottp gears fiDfogerfcaticn
permitted to return to the variety stage where her com¬
pensation has not been in proportion to the reputation
she has achieved or the tremendous personal following
which her name has never failed to maintain. Miss
Coghlan's adopted daugher, Rosalind, entered upon her
stage career in 1902 and is now with "The Traveling
Salesman."
In "Madame Fifi" Rose Coghlan was seen to revel in
one of those roles which ever received such delicious
treatment in her hands, that of a sporting woman with
a propensity for horse-racing and games of chance;
though the role was not supposed to be important, the
finesse with which she delineated the character made it
stand out so prominently that the production became al¬
most a stellar one for her. Miss Grace George, however,
was the one to attract the most serious attention in this
production of "Madame Fifi." I am not sure but that
this was her stage debut; at any rate, it was the first time
that she became at all conspicuous in the field of the
theatre, and her interpretation of a modest maiden was
so wholesome, and presented such a striking contrast to
the surrounding element in this decidedly risque play,
that the press accorded to her an amount of praise far
beyond that which the role called for, or which had been
anticipated by the management; from this time forth
Miss George made vast progress, gathering new laurels
with each successive effort. Of course, after she became
Mrs. Wm. A. Brady that astute manager arranged an
entourage for her which at this time is still in the ascend¬
ant. In Victorien Sardou's delicious comedy "Divor-
cons," Miss George has given to American play-goers,
in the role of Cyprienne, absolutely the best and most
artistic portrayal of the very difficult character that this
country has ever been called upon to enjoy, despite the
fact that such great artists as Judic, Theo, and Aimee,
A GROUP OF COGHLANS.
of OOusfc anti tfte Drama
207
not to speak of Rejane, have bestowed on that role their
greatest and most intelligent efforts. The writer would
suggest to Mr. Brady that there should be no hesitation
on his part in undertaking to have the Parisian play¬
goers and critics pass on this Cyprienne, and a further
suggestion is offered that, in such a case, Mr. Max Free¬
man, who as the waiter is absolutely unapproachable, be
included in the dramatis personae, since, not even in the
gay French metropolis, would it be possible to secure
any player who could so artistically and so truthfully
portray the typical French waiter of every period.
It should be emphatically stated that the day, when it
has injured a player of renown of either sex to enter
vaudev^le, has long since passed, if indeed at any time
it was not possible to make the excursion with grace and
dignity. At any rate, Robert Hilliard, Lillian Russell,
David Warfield, Louis Mann, Sam Bernard, Henry
Miller, Charles Dickson, Grace Van Studdiford, Digby
Bell, Charles Hawtrey, Marie Wainwright, Jessie Mill-
ward, Arnold Daly and in fact all but a few distinctive
and world-renowned stars have gone back and forth from
the legitimate stage to vaudeville and back to the legiti¬
mate repeatedly, always increasing their value and adding
to their reputation.
A few instances are recorded where undoubtedly the
best ends of art and posterity would have been served if
the artiste would not have appeared out of her seeming
element.
Clara Morris was well fitted with a vehicle, yet her
vaudeville enterprise was resented. But let it not be said
that Clara Morris has ever been seen to disadvantage or
lacking "her extraordinary power" for no more artistic
piece of acting has ever been seen on any stage than this
great emotional actress' rendition of Renee Dinard in
"Blind Justice" in the vaudeville theatres.
208
jFortp ptm O&sertmtion
A few years ago a revival of the "Two Orphans" with
an all-star cast, illustrated the truth of what is above
stated. It was Clara Morris who was the star and it was
the potency of her name, all over the country, that caused
the great financial success which has been recorded by
Messrs. Liebler & Co. for this great revival.
At Riverdale, N. Y., a beautiful country residence was
purchased by Clara Morris in the days of her great pros¬
perity and here the great actress and her venerable hus¬
band, Frederick Harriott, have lived for nearly twenty
years. It is the incentive which this home of hers supplies
that has aided the distinguished woman to evolve the
many literary works which have come from her pen in
recent years. Nothing can be more sad to relate than the
possibility that, unless friends again intervene, the mag¬
nificent property will be sold to foreclose a mortgage held
against it.*
Minnie Seligman made her first appearance on the
stage in "Iolanthe," which was presented by an organiza¬
tion of amateurs at the Academy of Music, in 1883, for
a single performance. Miss Seligman was the Phyllis,
and the Lord Chancellor was interpreted by Michael
Morton, who afterward became a professional comedian
of light opera, and later went abroad to become one of
the most famous playwrights of the last decade. The
Mortons hail from England, and Martha, a sister of
Michael, was actually the first dramatic writer of her sex
to be accepted in a general way. Her first great success
was "The Merchant," which had a notable run, though
her fame began when she was proclaimed winner of
the New York World's contest for the best play sub¬
mitted by authors of either sex. Miss Morton is now
*A Benefit to Clara Morris has been arranged before these
pages are printed at the New York Theatre.
of €@u0tc ano tfje Drama
209
Mrs. Conheim, and she has piled up a record of suc¬
cesses that would do credit to any of our male play¬
wrights. It is not to be recalled where she has, in any
instance, failed to score with an offering from her pen.
Miss Grace Filkins, now meeting with much apprecia¬
tion in Charles Klein's play, "The Third Degree," at the
Hudson Theatre, is the widow of the late Bob Filkins,
one of the earliest and most important lieutenants of the
late J. H. Haverly. Miss Filkins has trod the boards
since childhood, and for several years was a member of
Augustin Daly's Company at Daly Theatre, where, when
opportunity was hers, she was accorded much praise
from the press. In 1900, in conjunction with Frederick
Bryton (a forceful actor who in "Forgiven" starred suc¬
cessfully for many years) Miss Filkins appeared in the
vaudeville theatres, in a playlet by Augustus Thomas
entitled "A Proper Impropriety," which to this day is
used with success by other players. Louise Thorndyke
Boucicault, in this same playlet, was enabled, for several
successive seasons, to command a large honorarium and
consecutive bookings in the same field.
The name of Boucicault has also been perpetuated by
the sons and daughter of the actor-dramatist. Of these
Aubrey Boucicault has been the most conspicuous, he
having had an active and varied career, always commend¬
able ; he has not reached a permanent stellar position such
as would be accorded him were he to obtain a suitable
play, though, in all his efforts, he has shown that he has
the temperament and the magnetism that are so requisite
for lasting favor with the play-going public.
Of Dion Boucicault himself the writer is enabled only
to dwell upon his masterful rendition of Conn in "The
Shaughraun," which ran for over three hundred nights
at Wallack's Theatre, then located at Thirteenth Street
and Broadway. No other player ever grasped the subtle
210
jfottp ^ears HDfosertmtiort
and delicate points with which this role abounds with
equal grace or ability. I have heard that in the strictly
Irish repertoire, such as "The Colleen Bawn" and "Arrah
Na Pogue" the elder Boucicault excelled, still I can only
recall his Conn, and the memory of it will suffice for all
time.
Agnes Robertson Boucicault did not have a very con¬
spicuous career in America, but in England she was very
highly regarded, and she was there rated as one of the
foremost actresses of her time.
In the cast of "The Shaughraun" at Wallack's, in the
role of Captain Molyneux, was a player whose vogue was
at its height a quarter of a century ago. I refer to H. J.
(Harry) Montague, and few actors in the last fifty years,
that can be here recalled, ever possessed the affection of
the public as he did. Unquestionably, Montague, next
to Lester Wallack, was the most popular exponent of the
roles allotted to the jeune premier of those days. If
ever there was a real matinee idol he surely was the one.
During the long run of Boucicault in "The Shaughraun"
the stage door at Wallack's was, on matinee days, be¬
sieged by his many admirers of the gentler sex; but
Harry Montague was also a man's man. Poor Harry,
he was in the cast of the great "Diplomacy" company
which played in Marshall, Texas, one night in 1879, and
just before the company was leaving the city to go to its
next stand a tragedy was enacted which resulted in the
death of Benjamin Porter.
From 1878 to 1885, an individual who cut a conspicuous
swath in matters theatrical, in this country, was William
W. (Hustler) Kelly. He was tall, vigorous and effer¬
vescent, his energy was undoubted and he commanded
a very large salary as avant-courier in those years
when he was not exploiting some star whom he delighted
in "booming." The one actress, however, upon whom
of €13 us tc anD the Dtama
211
''Hustler" Kelly poured forth his hugest efforts was
Grace Hawthorne, who had been previously known as
Grace Cartland, and who had indulged in a barnstorming
career in the West, such as was characteristic of Chi¬
cago's productive talent in that period. Kelly was em¬
boldened to take Grace Hawthorne to London, and he
preceded her there about a month. He at once set out to
make a display of Yankee methods in the exploitation of
an "American Celebrity," and it should be stated to his
credit that he not only succeeded, but Grace Hawthorne
was actually the first American actress to obtain a stellar
success in London at a first-class theatre. Her reign was
long, too, and Kelly has never since returned to America,
save on a short visit to his intimates. He became quite a
power in London and the provinces, and with one pro¬
duction, "A Royal Divorce," he made much money; as
many as four companies have presented the play simul¬
taneously. Miss Hawthorne's best work as an actress
was in Sardou's "Theodora," in the title role of which
she scored an unquestioned triumph.
HENRY WOLFSOHN, son of Dr. Benjamin Wolf-
sohn, a prominent physician in New York in the early
sixties, and whose mother was a Belmont by birth, cousin
of the late August Belmont, was born in Germany, but
came to the United States with his parents when a boy.
He attended the College of the City of New York, from
which he graduated. He studied music under Theodore
Thomas, and piano under Dr. William Mason. Later
he abandoned piano for singing, and studied voice culture
for several years with the best masters in Europe. Re¬
turning to the United States he devoted himself to teach¬
ing, with great success. Incidentally, Mr. Wolfsohn
undertook the management of several local concerts, in
which he met such success that in the Autumn of 1879
he decided to devote his entire attention to the manage-
212
jfort^ pz&x$ SDfrsertmtion
ment of musical attractions. He rapidly brought under
his direction an important group of the world's greatest
artists. Among those who have visited the United
States and Canada under his direction are Wilhelm Jos-
effy, Rothenthal, Lilli Lehmann, Theo. Reichmann,
Musin, Cesar Thomson, Ondricek, Minnie Hauk, De
Pachmann, Pugno, Hugo Becker, Clara Butt, Dr. Richard
Strauss, Weingartner, Aus Der Ohe, Bloomfield Zeisler,
Petschnikoff, Materna, Josef Hofmann, Fritz Kreisler,
Gerardy Guilmant, Mr. and Mrs. Henschel, Reisenauer,
Dohnanyi, Emma Eames, Siloti, Mari Hall, Maud Powell,
Van Rooy, Schumann-Heink, Elman, Lhevinne and many
others. Some of the most important musical events in
the annals of New York City have emanated from the
fertile brain of this dean of American musical managers.
The scheme of the Patti Festival at Madison Square
Garden, the German Music Festival in connection with
the Columbus celebration in 1893, the Richard Strauss
Festival in 1904, and later, the great New York Music
Festival of June 1909, have all been guided to success
under the genial direction of Mr. Wolfsohn.
G. P. Huntley, now appearing in "Kitty Grey" at the
New Amsterdam Theatre, was born in Fermoy, Ireland,
which is noted for a very celebrated salmon stream,
called the Blackwater. He made his first appearance in
his father's company in Kilkenny at the age of five. His
father was a professor of elocution at Blackrock College,
Dublin, for fourteen years. He used to coach the priests
in the Shakespearean performances they used to give.
Young Huntley kept steadily at his work from about
the age of seventeen, from the bottom rung of the ladder,
and kept on playing in various types of pieces. He visit¬
ed America with the Kendals, played three seasons
throughout the United States and re-visited America
again with "Three Little Maids" five years ago, under
of ^tm'c anD tfte Drama
213
the Frohman and Edwardes' management, and then re¬
turned to London, playing broader types of character
parts, such as Mr. Hook in "Miss Hook of Holland." He
then went into management on his own account, and
produced a play. He also played a season at Mr. Froh-
man's Hicks' Theatre in London, and that brings him
up to his present season in New York in "Kitty Grey."
Huntley introduced a new type of "silly ass" part, and
has broken away from the conventional stage "Johnny."
He met his wife in the piece he is at present playing in.
Mrs. Huntley is an American, and they have a son five
years old, who was born at Boston.
Edmund Breese was born in Brooklyn June 18, 1870.
He made his first stage appearance as the leading man
of a Western repertoire company in 1892. In 1896, he
was engaged by Madame Rhea to play the heavy parts
in the romantic dramas in which she toured so success¬
fully, and soon became her leading man. While in her
company he played the roles of Napoleon in "Josephine,"
Lord Leicester in "Mary Stuart," Sartorys in "Frou
Frou," Benedick in "Much Ado About Nothing," Chysos
in "Pygmalion and Galatea," and Shylock in "The Mer¬
chant of Venice." In 1898 he joined James O'Neill's
company, supporting him in such roles as Albert and
Nortier in "The Count of Monte Cristo," Appius in "Vir-
ginius," and Grebauval in "When Greek Meets Greek."
He was next engaged by Liebler & Company to play
Rochefort in "The Three Musketeers," in which he
earned hearty commendation. In 1906 he made one of
the chief successes of his career as John Burkett Ryder
in Charles Klein's "The Lion and the Mouse," which ran
more than three hundred nights at the Lyceum Theatre,
and was taken to London, where it failed. Mr. Breese
also appeared in "Strongheart" at the Aldwych Theatre,
London, and in June, 1907, he returned to "The Lion and
214
jTortp $znt$ flDfegertmifott
the Mouse" at the Hudson Theatre, New York, and
where he is now appearing in Charles Klein's latest play,
"The Third Degree."
Wm. T. Hodge was discovered by the late Jas. A.
Herne, who was looking for someone to play the eccen¬
tric character part of Freeman Whitmarsh, the village
man of all-work in "Sag Harbor"; and it was by the
merest chance that he came across Hodge, externally
the ideal for the part, on the street. He picked up an
acquaintance with Hodge, and was delighted to find that
the latter had had some little experience as an actor.
Hodge's success was instantaneous, and for a number of
years he was in great demand for similar roles in both
musical and rural comedies. As Stubbins, in "Mrs.
Wiggs of the Cabbage Patch," he had a chance to prove
his versatility, and showed himself a fit candidate for
stellar honors, which were soon conferred upon him by
Liebler & Company, under whose management he had
played both Freeman Whitmarsh and Stubbins. His
first starring vehicle was "The Man from Home," the
very successful Tarkington and Wilson comedy, which
achieved an unparalleled record of 342 performances in
Chicago last season, and which will have no difficulty in
exceeding those figures at the Astor Theatre, New York,
where it is now running.
William Lewers, now creating such favorable com¬
ments in "The Climax" at Daly's Theatre, was born in
the city of Honolulu in the Hawaiian Islands. He was
educated in Boston. His first stage experience came at
the old Lyceum Theatre on Fourth Avenue under Daniel
Frohman's direction. He was also with Charles Froh-
man for nine seasons and for two seasons with Henry B.
Harris' production of "The Lion and the Mouse." Mr.
Lewers also was cast for important roles with Miss Julia
Marlowe in "The Cavalier" and with Miss Bertha Gal-
of Q3ustc anO tfje Drama
215
land in "Dorothy Vernon of Haddon Hall." He also
succeeded Charles Cherry in "Girls," and then came his
present great opportunity to permanently reach Broad¬
way in "The Climax." Mr. Lewers' future career should
be along important and artistic lines—if his present effort
has any significance. His present triumph was predicted
by many who were privileged to witness his efforts while
a member of Maud Adams' Company.
jFottp ^ear# SD&sertiation
CHAPTER VII
Francis Wilson, who had been a member of a variety
team named Mackin and Wilson, got his first chance in
the musical comedy "Gill's Goblins," late in the '70s.
William T. Gill was the author of the piece. He was the
same Gill who, much later, wrote "Adonis" for Ed. Rice
and Henry E. Dixey. "Gill's Goblins" also had Paul
Arthur in its cast. The company was managed by
William C. Mitchell, famous in St. Louis in those days
as the manager of Mitchell's Olympic, and who kept in
harness up to the time of his death a few years ago.
The business manager of the company was J. K. Burke,
who is now associated with the United Booking offices,
and is one of the patriarchs of the show business. Francis
Wilson had, previously, been a member of the stock com¬
pany at the Chestnut Street Theatre in Philadelphia, and
it was there that he secured his artistic impetus. In the
stock company was A. H. Canby, afterwards Wilson's
manager for many years.
Dewolf Hopper's early career is of much interest. He
was born in New York of wealthy parents, and was first
discovered by Jacob Gosche, in 1879. Gosche had been
for many years the manager of the Theodore Thomas
Orchestra, a classical band of musicians, and it was his
idea to frame up a dramatic organization that would be to
the drama what the Thomas orchestra was to music.
Will, as Dewolf Hopper was then known, wanted to
make a career for himself, and he persuaded his mother
of cpusic and tfje Drama
217
—a grande dame—to become the financial sponsor for
Gosche's enterprise. F. F. Mackay, who had been the
leading character actor at the Union Square Theatre
under Shook & Palmer, was sought out by Gosche, and
an organization, a model one, known as The Criterion
Comedy Company, was evolved.
Hopper was then about twenty years of age. His ad¬
mirers will doubtless be surprised to learn that his debut
was made in the role of Captain Hawtree in "Caste,"
the Robertson comedy. F. F. Mackay played Eccles and
Louise Sylvester was the Polly. Others in this remark¬
able company were Frank Roberts, Ed. Lamb, William
Gilbert and Mary Davenport.
"Caste" did not draw as well as desired, and a German
farce entitled "Freaks" was produced, and it was in this
comedy that Hopper made his first notable hit, playing
a character of extraordinary make-up and displaying a
versatility which he never afterwards surpassed.
The Criterion Comedy Company remained in existence
for four years, adding "Our Boys" and a new comedy
entitled "Our Daughters" which was an adaptation from
L'Aronge's "Hasemans Toechter." The venture cost
Mr. Hopper about $100,000, and he then secured a play
written by a Chicago editor which was called "One Hun¬
dred Wives." In this venture better results were
obtained and in one of the scenes the elongated comedian
introduced a song which disclosed the fact that he was
the possessor of a fine baritone voice, and this it was that
attracted the attention of Col. John A. McCaull, who
engaged him to create the role of Sancho in "The Queen's
Lace Handkerchief." Ever since then Hopper has been
a comic opera favorite.
It will doubtless surprise many to know that Augustus
Thomas, the author of many successful plays, and whose
"Witching Hour" is destined to surpass all his former
218
jfortp gears lOTsettoation
triumphs, was, back in 1883, the assistant treasurer of
Pope's Theatre in St. Louis at the corner of Ninth and
Olive Streets. Gus was at this time a handsome youth
of about eighteen years and as popular as he was good
looking. His first effort in play writing was a one-act
playlet from Mrs. Frances Hodgson Burnett's story
"Editha's Burglar," and it has by no means exhausted
its usefulness even to this day. W. F. Dickson, who was
the treasurer of the theatre, organized a clever band of
players entitled "Dickson's Sketch Club," and Delia Fox,
a St. Louis girl, was the Editha and made her stage debut
in that role. The playlet was afterwards made into a full
four-act drama. It opened at the Madison Square The¬
atre, where it ran all summer, until forced out by fall
bookings. In the cast were Maurice Barrymore, John T.
Sullivan, Sidney Drew, Sidney Armstrong, Phyllis Ran¬
kin and the author himself. Later Maurice Barrymore
starred in it as "The Burglar." Nowadays it is often
seen with stock companies.
In the early 8o's Lillian Russell, then known as Helen
Leonard, was a slender little girl of nineteen or twenty,
and her modesty was quite noticeable when she sang
in the burlesques on reigning comic opera successes at
Tony Pastor's in East Fourteenth Street. She got her
first part in the opera "Billee Taylor," which was bur¬
lesqued by Mr. Pastor. The score of "Billee Taylor"
was written by Teddy Solomon, who was destined to be¬
come the fair Lillian's second husband. Her first hus¬
band was Harry Braham, who led the orchestra for Ed¬
ward E. Rice's "Pinafore" company, in the chorus of
which she sang when she first came to New York from
Chicago to study for grand opera under the late Dr.
Damrosch. She took the small part in "Pinafore" for
the sake of the stage experience, and her engagement
lasted only two months.
PAULINE HALL.
Dk WOLF HOPPER.
Broadway favorites of Comic Opera in 1889.
AMELIA SUMMERVILLE.
of £&u0fc artD tlje Drama
219
One night during the early part of the run of "Billee
Taylor" the writer met Col. John A. McCaull on his way
to Pastor's, where he said he was going to look over a
"prima donna find" and it was that very night that
Lillian Russell's career received its first real impetus.
McCaull was then manager of the Bijou Theatre on
Broadway where, with John Howson, Selma Delaro and
others, he had given New Yorkers their first hearing of
Audran's "La Mascotte" and "Olivette;" he was then
rehearsing a new opera by Audran, "Le Grand Mogul,"
which was here called "The Snake Charmer." It was in
the title role of this opera that the airy-fairy Lillian made
her Broadway debut, and truly did she score, for, al¬
though exceedingly raw as an actress, her fine voice, ex¬
treme youth and great beauty made her triumph positive
and permanent. Miss Russell, from this time on, has
experienced many successes which have been chronicled
again and again; there seems to be no good reason to re¬
view them at this time.
Polly Schmidgall, better known as Pauline Hall, was a
Cincinnati girl who had her theatrical start as a chorus
girl with Alice Oates, the first of all the English comic
opera stars to have her own company. Those who recall
this company and its stars will not regret a reminder of
its existence. Before coming to New York, Pauline Hall
had appeared as a dancer in the ballet at Robinson's
Opera House, Cincinnati, under the management of Col.
R. E. J. Miles, and when he sent "America's Racing
Association and Hippodrome" on the road, Miss Hall
appeared as Mazeppa in the street parade and drove a
team in the chariot races. Miss Hall's extreme beauty
of face and figure, however, were too pronounced for her
to remain long in the chorus, and Julius Cahn, the same
who is now so prominent in New England theatricals,
procured for Polly, an engagement in the company man-
220
jfortp ^ears Dfisettoatton
aged by Col. Miles at the Bijou Theatre, presenting
"Orpheus and Eurydice" in which she assumed the role
of Venus; Broadway immediately began to sit up and
take notice. Cahn, like Miles and Miss Hall, was from
Cincinnati, which city, it seems, has produced more than
its share of successful managers and stars.
"Cheap" opera has been the avenue through which
many of to-day's celebrities succeeded in achieving per¬
manent fame. Delia Fox got her experience and first
start in the Bennet & Moulton, 10, 20 and 30c. company,
although her first appearance on the stage was as the
Midshipmate in a juvenile "Pinafore" company in St.
Louis when she was but seven years old. Raymond
Hitchcock also got his first real start with the Bennet &
Moulton company. Hitchcock had been an employee in
a shoe store in Auburn, N. Y. His first theatrical ven¬
ture was not successful and he obtained employment in
Wanamaker's Philadelphia store and remained there a
year. William T. Carleton next engaged him at sixteen
dollars a week to sing in the chorus of "The Brigand;"
when the comedian of the company, Charles A. Bigelow,
was taken ill in Montreal, Hitchcock took his role at a
few hours' notice, and was successful in it.
When Col. Savage first started the Castle Square
Opera Company, a stock opera company, appearing per¬
manently in the theatre after which it was named, Hitch*
cock was engaged for an extended term and here he ac¬
cumulated a repertoire of more than fifty operas.
At length Mr. Savage decided that Hitchcock was
worthy of stellar honors, and then followed the career
with which all are familiar.
A few months ago, the comedian chose to break away
from his old time employer and went on tour in "The
Merry Go Round;" the wisdom of this separation be¬
tween manager and star is greatly to be questioned.
of q^ttstc anD tfje Drama
221
Joseph W. Herbert, twenty-five years ago, was a come¬
dian in a Chicago Church Choir Co., and got his first
chance through the illness of the comedian then playing
Lorenzo. He has ever since been playing leading com¬
edy, and has developed real talent as an author and a
writer of lyrics. Herbert fell in love with a pretty sou-
brette in the opera company playing in the Chicago
Museum and he married her as soon as he got a perma¬
nent position in the same company. The lady in ques¬
tion was Nannie Lascelles, and a son of this marriage is
now following in his father's footsteps with almost equal
rapidity. Nannie Lascelles is now the wife of B. C. For¬
rester, a manager well known in the field of melodrama.
Miss Sadie Martinot had no ordinary career. Origin¬
ally Sally Eagan, she was educated in the public schools
of this city, and her mother, a working woman, made all
sorts of sacrifices in order to send her pretty daughter
to a convent school but, at the age of sixteen, while still
a pupil, she sought and obtained a theatrical engage¬
ment. This was in 1876, and at that time "Josh" Hart
was the owner and the manager of the Eagle Theatre
(now the Manhattan) and Sadie Martinot got an en¬
gagement as an extra girl at the then prevailing salary
of six dollars a week. But not long did the talented little
Irish-American girl remain a silent actress; the follow¬
ing season Mile. Marie Aimee, the French opera bouffe
star, played at the Eagle Theatre one of her memorable
engagements, and Sadie got a position in the chorus.
She had learned French while at the convent and had
no difficulty in mastering the words. Aimee, almost at
the outset of her career, had made a sensational hit by
her rendition in English of Billy Emerson's song and
dance, "Pretty As a Picture," and Sadie Martinot, who
watched the Parisian star keenly, finally evolved an imi¬
tation of her in this song, and went to Boston to play a
222
jfortp gears D&gertoation
two weeks' run for Doctor Lothrop at the Boylston Mu¬
seum. Her success was tremendous and important, and
she was at once overwhelmed with offers. John Stetson,
however, engaged her for his Howard Athenaeum Com¬
pany for a tour, and she appeared as principal girl, with
Ada Richmond as principal boy in the burlesque "Chow
Chow," and continued to give her imitations of Aimee.
The famous Boston Museum, which the Bostonians
regarded as their foremost historic institution was then
managed by R. M. Field, who at all times maintained
a first class stock company. Field was quick to see the
value of Sadie Martinot as an addition to his forces and
he engaged her for a number of years as ingenue, and it
was there that she made her memorable hit as Lady
Angela in Gilbert and Sullivan's "Patience." It was at
the Boston Museum, too, that Miss Martinot met and
married her first husband, Fred. Stinson.
Nat C. Goodwin, Jr., was first prominently known as
a mimic, the very best, too, that the writer has ever had
the good fortune to see. Goodwin's salary, even in those
days, was as high as $350 a week, and no better card ever
graced the vaudeville circuit. Goodwin married Eliza
Weathersby, the burlesque queen whom Lydia Thomp¬
son brought over from England. Goodwin and his wife
organized the Eliza Weathersby's "Froliques," and pre¬
sented "Hobbies," a farce-comedy by Ben Woolf, of Bos¬
ton; in it the greatest hit was made by Miss Weathersby's
sister Jenny, who, as the Fairy, set the country wild with
laughter. Jenny Weathersby is alive to-day and is often
seen in revivals of "Erminie."
Marie Wainwright was one of the seven Juliets who
appeared at Booth's Theatre in May, 1877. Joseph
Tooker, then manager for Jarrett & Palmer, conceived
the idea of having seven amateur Juliets appear in dif¬
ferent scenes with the English actor, George Rignold,
SADIE MARTINOT.
In imitation of Marie Aimee.
.
\ '
MATHILDE COTTRELLY.
Who directed the Deutehes Thea¬
tre of Nezv York in the 80V.
of £©ustc (inD tjje Drama
223
but Marie Wainwright alone of the seven ever reached
the dignity of a career. Miss Wainwright had been
educated in Paris, where she had trained for the lyric
stage, but had never appeared in public until she made
her bow as a competitive Juliet. She was born in Phila¬
delphia and was a daughter of the late Commodore
Wainwright, U. S. N., and a grand-daughter of Bishop
Wainwright. Miss Wainwright, not long after her first
appearance, married a Mr. Slaughter, but they were soon
divorced and the actress was married to Louis James,
with whom for many years she was a co-star.
The recent engagement in vaudeville of Jeff De
Angelis was not his first, for he and his sister, known as
Jeff and May De Angelis, were a familiar team in the
variety halls away back in 1873. The writer recalls see¬
ing them do a turn at the Highland House, a resort in
the suburbs of Philadelphia. The fame of Jeff De
Angelis, like that of Francis Wilson, rests, principally,
on his New York opportunities, and it was through John
A. McCaull, a man whose name is rarely heard nowadays,
that they and many more stars attained celebrity.
Colonel McCaull was a Baltimore man who came into
the amusement field to help out his friend, James Barton,
but he liked the business and became the leading comic
opera manager of the country. Universal regret was felt
at the time of his death. His friend, James Barton, by
the way, is still living in Baltimore. His real name is
James Barton Key, and he is a grand-nephew of Francis
Scott Key, who wrote "The Star-Spangled Banner."
Barton was at one time associated with the late D'Oyly
Carte in the production of Gilbert & Sullivan operas at
the Savoy Theatre, London, and, later, in this country.
William H. Crane began his career as a tenor in the
old-time Holman Opera Company, a Canadian organiza¬
tion headed by Sallie Holman, who, despite her great
224:
jTortp year# SDfiserration
irregularity, was, perhaps, the very best exponent of the
light opera prima donna the world has ever known. But
the Holman company was virtually a barn-storming
troupe and never reached the dignity of playing in New
York City. Crane was a mere boy when he was appren¬
ticed to Mrs. Holman to learn the trade of an actor, and
he remained with the company for eight years, singing
and dancing between the acts of little plays, singing in
operettas; doing the hardest kind of work and getting
the best kind of training. When he left the Holmans it
was to become the low comedian of the Alice Oates com¬
pany. Others in the Holman troupe were William
Davidge, Jr., Charles Drew and John Chatterton, known
afterwards as Signor Perugini.
James T. Powers was of a variety team that had vogue
in the late 70's, and his first conspicuous entrance was
in Willie Edouin's production of "Sparks." Powers'
career has been entirely associated, since then, with farce
comedies. I believe that his absolutely first appearance
was when he did a lively song and dance in a variety
hall at Long Branch about '78, or '79. He once appeared
in Huber's Museum on East 14th Street and where many
other celebrities of to-day have been seen. His greatest
successes have been "The New Boy" and in the role of
Snaggs in "A Bunch of Keys."
Amelia Summerville was long before the public ere she
scored her Broadway hit as the Merry Mountain Maid
in "Adonis," but until she reduced her avoirdupois she
was not always suited to the roles in which she wished
to appear. In recent years she has scored many notable
successes in important productions and in vaudeville is
ever a shining light in a monologue that is as unique as
it is clever.
Valerie Bergere was in vaudeville a long time before
she got $500 a week, and I doubt if she will be angry
of artiste anO t&e Drama
225
when I tell you that she and Esther Moore, a daughter
of Charles T. Ellis, as Bergere and Moore, gave a trav¬
esty in the Union Square Theatre long before the
legitimate actor had his day in vaudeville.
Ezra Kendall was first conspicuous in the company
headed by William A. Mestayer and Theresa Vaughn,
presenting "We, Us & Co.," and his success was so posi¬
tive that he wrote a comedy entitled "A Pair of Kids,"
to fit his own queer personality, which served him until
he was tempted into vaudeville. Kendall, when he did go
into vaudeville, showed a remarkable aptitude for that
field. He was one of the few legitimate stars who ever
did make good in vaudeville.
George Evans, "The Honey Boy," was a ballad singer
with Haverly's Minstrels in 1892. He opened at the
Orpheum Theatre, Los Angeles, as a singing comedian,
December, 1894, when he sang "I'll Be True To My
Honey Boy." He has had two starring tours, presenting
"In the Good Old Summertime" and "The Runaways."
For the last fifteen years Evans has made vast strides in
vaudeville, his salary increasing by leaps and bounds until
to-day $1,000 a week is gladly bid for his services.
In 1864 Luke Schoolcraft first trod the boards and
in that year Gus Williams wrote the first German dialect
song, "Kaiser, Don't You Want To Buy a Dog." This
song brought the late J. K. (Joe) Emmet into promi¬
nence.
Edward Harrigan was a ship calker in San Francisco
and made his first appearance with Sam Rickey. He met
Tony Hart, then known as the "Boy Emerson," in Chi¬
cago in 1867. It was Cool Herbert who brought them
to New York and they opened at the Globe Theatre on
lower Broadway, opposite Waverly Place.
Charles K. Harris, the song writer, was a banjo player
at resorts in Milwaukee in the 6o's, and Will J. Davis
220
jFottp gears; ©frgetuaticm
(now one of the big factors in the Theatrical Syndicate)
was first employed in the Adelphi Theatre in Chicago,
then managed by Leonard Grover.
It was Grover, too, who first gave New York grand
opera in German and he it was, also, who gave good
vaudeville bills in the 6o's, in Tammany Hall.
The Rialto in the 6o's was at Broadway and Houston
Street. Then it moved up to Amity and Mercer Streets
and finally, about 1870, to Union Square where it re¬
mained for fifteen years or more.
John Stetson went into varieties in 1869, succeeding
Josh Hart as manager of the Howard Athenaeum in
Boston. Henry E. Abbey had a jewelry store in Akron,
Ohio, before he entered the theatrical arena. A1 Hayman
was in the employ of M. B. Leavitt at the Bush Street
Theatre in San Francisco. Leavitt was the first to estab¬
lish a chain of theatres to the coast. Brooks, Dickson
and Hickey were the next in the endeavor to systematize
the booking system of the country, but were ahead of the
times, and success did not crown their efforts. Joseph
Brooks survived his initial defeat and to-day is one of
the wealthiest and most successful providers for the
stage.
Miss Henrietta Crosman made her meteoric success in
1900, at the Bijou Theatre in New York, with a produc¬
tion of a Nell Gywn play entitled "Mistress Nell." This
play had previously scored a hit in London and came to
New York on October gth. Both the play and Miss
Crosman scored a tremendous success, and during that
year Miss Crosman was moved to three New York
theatres, the Bijou, the Savoy and Wallack's. The fol¬
lowing year it played at the Belasco. However, Miss
Crosman was not unknown when she made her first big
hit as a star; she had not played in New York in some
time and had been forgotten. She was at Daly's and the
of £®u$ic ant! tfjc Drama
227
Lyceum, playing principal parts before she became a
leading woman for Charles Frohman, and with Mr.
Frohman she played all the leading comedy roles. Her
most notable success was Gloriana and in "Mr. Wilkin¬
son's Widows." Miss Crosman's other notable triumphs
have been a run of one hundred nights as Rosalind in
"As You Like It" at the Belasco Theatre. For two
years Miss Crosman appeared under the joint manage¬
ment of Maurice Campbell and David Belasco in "Sweet
Kitty Bellairs," playing a season, half that time at the
Belasco Theatre. In 1908 Miss Crosman produced a
version of "The Pilgrim's Progress." This scored an
artistic success but a financial failure, and was with¬
drawn. Her present vehicle is a comedy called "Sham"
by Geraldine Bonner, and was first produced at the
Columbia Theatre, in Washington, on February 15th.
For a very few weeks during 1908 Miss Crosman ap¬
peared in vaudeville.
Laura Burt, a Welsh woman, now appearing in the
vaudeville theatres, is undoubtedly as versatile an artist
as ever trod the boards. I have witnessed with interest
her performance of Topsy in "Uncle Tom's Cabin," and
in "Fantasma," which the Hanlons presented, she was
indeed an imposing figure. Miss Burt has surely trav¬
ersed the entire field of the stage. In comic opera her
superb contralto voice was a delight to the ear. In
vaudeville, when she presented a single turn, she gave a
"stump speech" that was as artistic a delineation of char¬
acter as one could possibly conceive of. Recently Miss
Burt and her husband, Mr. Henry Stanford, have starred
together in "The Walls of Jericho," "Dorothy Vernon of
Haddon Hall," everywhere leaving a profound impres¬
sion. Mr. Stanford at this time is appearing at the Ly¬
ceum Theatre with Miss Eleanor Robson, while Miss
228
jfottg gear# SDfcserfoaticm
Burt is presenting a playlet in the best vaudeville the¬
atres, with positive acclaim.
Annie Russell scored her first great triumph in
"Esmerelda" at the Madison Square Theatre, but it was
in "Sweet Lavender" that her stellar fame began. This
play was presented at the Lyceum Theatre when that
playhouse was on Fourth Avenue. Miss Russell is the
wife of Oswald Yorke, who came to America with E. S.
Willard in 1896, and her brother was Tommy Russell,
the original and justly famous Little Lord Fauntleroy.
He created a furore in the role, but retired from the stage
almost as soon as he had become unsuited to the childish
character. In 1904 he sought to return to the stage, in
vaudeville, but the vehicle, a playlet, did not serve him
well.
"Bonita," who scored so great a sensation on the
opening night, at the Circle Theatre in 1907, of "Wine,
Women and Song," began in the varieties and worked
her way up gradually. She was doing a "turn" with
pickannies at Proctor's 23d Street Theatre in 1898, and
even then she was a feature. "Bonita" is a sister of
Artie Hall who, a decade ago, was far more prominent
than her younger sister. The success of "Wine, Women
and Song" was not so unexpected as some would think.
The production had been breaking records for some time
at the box office before it came to the Circle Theatre for
a single week, and remained over a year. Alexander
Carr, who was undoubtedly the great factor of this long
run, had long before been "watched" by managerial
competitors. His mimicry of David Warfield and his
own sterling individual playing having been widely dis¬
cussed on the Rialto when his salary was one-tenth of
what it is to-day.
An old time vaudeville act that is worth recalling was
the original "Bards of Tara," Kelly and Ryan, and no
LOUISE BEAUDET.
BESSIE CLAYTON.
OLIVER BYRON.
DALLAS WELFORD.
J. E. DODSON.
LAURA BURT.
A group of artists whose careers have been long and honorable..
of cpu0ic and t()e Drama
229
comedy turn that is to-day exploited in modern vaude¬
ville could excel this noted duo. The Kelly of this firm
was none other than the John T. Kelly who is to-day
creating a plethora of merriment in the theatres con¬
ducted by the Vaudeville "Syndicate;" the Ryan of the
"Hod Carrier" sketch is the same Thomas J. Ryan who
is at this time a member of the sketch duo Ryan and
Richfield.
Weber and Fields have come to their present status
by right of absolute conquest. No careers have been
more profitable, none more honorable, and the reign of dia¬
lect comedy in American theatricals to-day is greatly due
to the influence of these two artists, who, because of what
they have accomplished, should occupy an important
place in Theatrical History. The early period of their
career was upon the same general lines which Sam Ber¬
nard passed through. The Bowery was the scene of their
progress. Weber and Fields managed their own touring
companies many years before they came into the Broad¬
way Music Hall, now Joe Weber's Theatre. This house
had been built by George J. Krauss and Harry Miner;
called the Imperial Music Hall. It met with but indif¬
ferent success until Weber and Fields presented a
burlesque on "The Geisha," called the "Geezer," revolu¬
tionizing Broadway's style of entertainment; and the era
of the dialect comedian was inaugurated. It should be
stated that much of the success which came to Weber
and Fields was undoubtedly due to the ability which Mr.
Field's brother-in-law, Leo C. Teller, displayed in the
business management and his capital really started
Weber and Fields' Music Hall. That this is true is
further evidenced by the fact that when Mr. Teller left
Weber and Fields, the first symptoms of trouble began
to appear. Teller himself secured the Broadway Theatre
in Brooklyn, which establishment has to-day the repu-
230
Jfottp ^eat0 SDts0ert)ation
tation of being the best suburban theatre in America,
both as to the business it does and its liberal manage¬
ment.
Much has been written concerning the future of the
negro in business, politics, and the social walks of life,
but nothing has been said regarding his future on the
stage where, it seems, he is rapidly establishing a place
for himself against even greater odds than those which
interfere with his progress in other fields of endeavor.
As a rule the negro's talents as an entertainer are pure¬
ly of the mimetic order. He is a great imitator, but a
poor originator. Messrs. Cole and Johnson, however, I
find the opposite. Their musical act is nothing if not
refined, and distinctly intellectual. Their compositions
of Southern melodies are invested with a spirit of in¬
tellectuality that give them quite a different atmosphere
from that usually found in songs of this character.
The success of these young colored men, aside from
their talents, is due to the fact that they educated them¬
selves in every branch of learning in order to succeed,
and at the same time worked hard; the combination of
brains and energy is invincible. From writing tuneful
songs, Cole and Johnson turned their attention to musical
comedies, several of their scores being used by Messrs.
Klaw and Erlanger, while numbers of the foremost
musical comedy stars have used their songs, including
Misses Lillian Russell, Marie Cahill, Fay Templeton,
Elsie Janis, May Irwin, Anna Held, Mabelle Gilman and
a score of others. They are now successfully starring in
their own plays, under the management of Stair-Nicolai
and Wilbur.
What is said of Cole and Johnson can be also main¬
tained for Williams and Walker, a duo of comedians who
have been elevating the status of their race as players,
of admit and tbe Drama
231
as men, and particularly as composers; their musical
compositions entitle them to consideration, and the
amount of pleasure that has been derived from the en¬
trancing melodies that have come from their facile pen
would alone justify the recital here of their achievements.
However, suffice to state that these sons of Africa are
born comedians, and that their influence has been large
in matters of musical moment. To-day, they are heard in
an artistic operetta, under the direction of Mr. Ray Com-
stock who has found in the material supplied by them,
and in their individual efforts as comedians, a source of
revenue not easily duplicated by any of the other attrac¬
tions in which he is interested.
Antonio (Tony) Pastor, the Dean of Vaudeville, and
the most notable figure in more ways than one that the
stage can claim, was born March 28th, 1831; upon his
demise in 1908, he was seventy-seven years of age. What
a career was his! Inasmuch as throughout this volume
this noble and benevolent man is accorded various en¬
comiums, and because his recent death has given place
to biographical sketches in abundance, it remains only
to be here stated that he might have been spared to us a
few years longer, but for the encroachment upon his
limited territory by the march of progress, and the lack
of syndicate sentiment. At most he only sought to con¬
duct his little bandbox where many a performer denied
by the Trust was wont to play four and even six engage¬
ments a year. What will become of these strollers that
"Tony" never failed to provide for? No old timer who
had outlived his usefulness on the stage ever appealed to
"the grand old Man of Vaudeville" in vain. It was his
policy to arrange the bills so that a few of these could
be accommodated in the hours when the "Chasers" or
"supper turns" would appear. What greater tribute can
232
jFottp ^earg £Dftgertoation
be paid to Tony Pastor than the recording of this, one of
the many fine traits in his noble character? Where shall
we look for another like him?
Mr. Pastor was raised in Greenwich Street in this city,
and he made his stage debut at Barnum's Museum in
1845. He began his managerial career in March, 1865, on
the Bowery. In 1877 he married the present Mrs. Pastor,
now living in the beautiful house at Elmhurst, L. I.,
where the aged manager spent his last days.
of €@usic and t|je Drama
CHAPTER VIII
"Bob" Hilliard was born on the 28th day of May, 1857,
in New York City, and after reaching his majority became
conspicuous in the social life of the metropolis.
His inclinations, from the outset, however, ran in the
direction of the stage, having its first practical demon¬
stration in fashionable amateur theatricals in the Brook¬
lyn district where he was ever a shining light.
His business career was closely identified with Wall
Street, and only a few years ago Bob thought he had tired
of the footlight flare, and accepted a large jrearly salary
from the firm of Boody, McClellan and Co., of the New
York Stock Exchange, for whom he conducted their up¬
town offices in the Waldorf district; he did not remain
long away from the field in which he has had so much
success, one year only. Hilliard made his debut on the
stage in his own theatre, "The Criterion," in Brooklyn,
on January 18, 1886, built by him for the purpose of ac¬
commodating the vast number of amateur associations
with which the "City of Churches" has always abounded.
The Criterion Theatre was a very pretty bijou bandbox,
its seating capacity being about seven hundred.
The house was opened in October, 1885, with Lester
Wallack and his company in "Rosedale."
Wesley Sission, Hilliard's manager, was afterwards his
partner. The night of January 18, 1886, as before stated,
was the occasion of the popular society man's professional
debut, an event that attracted extraordinary interest on
234
jfortp ^earg £>fe0ertiation
both sides of the East River. Hilliard made his entree
in "False Shame." He was accorded much praise from
press and public and thus was inaugurated an active and
interesting career.
The theatre is now called "Keeney's." Its path for
many years was a far from smooth one; it changed
managers quite as often as did "The Morgue" (Princess
Theatre) in New York.
"Bob" Hilliard was the first to present a serious sketch
or playlet in the vaudevilles. This happened more than
ten years ago. His first salary in vaudeville was $600 a
week. It has never been less, and at no time in the last
decade has he been necessarily without bookings.
"The Littlest Girl," dramatized by Hilliard, served as
his vehicle for several years; in more recent years, his
productions have been on a larger scale. He has also
branched out as a producer of playlets, in which others
appear, and this is indeed a great gain for the vaudeville
stage, for much of the fame and fortune which has come
to Robert Hilliard is due to his almost superlative artistic
temperament which is displayed not only in his own per¬
formance, but in the care and attention to the smallest
details which have always characterized the representa¬
tions with which his name has been identified.
Hilliard has recently made the greatest success of his
career in "A Fool There Was" at the Liberty Theatre.
The writer was alone in inducing Hilliard to forego his
legitimate career and enter seriously upon a campaign
of education in vaudeville, and if much space is here given
to the subject, it is due to the sterling and permanent
value that has come to the vaudeville stage from this one
player's efforts.
Max Figman, now starring in the charming comedy,
"The Substitute," has become one of the most accom¬
plished, popular and prosperous stars on the American
of ^U0ic and tlje Drama
235
stage and has a clientele, particularly through the South
and West, where they regard him as the foremost
comedian of the present day. Mr. Figman started his life
in newspaper work, but the fascination of the stage
proved too strong and circumstances have proven that it
is his calling. He began at the foot of the ladder and has
made rapid progress to the topmost rung. While comedy
is his forte, versatility is his distinguishing virtue. His
name has been linked with a great many metropolitan
successes and is familiar to the theatre-goers of New
York, Boston and Chicago. Among the stars with whom
he has been closely associated are Mrs. Fiske, for whom
he was stage director and producer, Henry Miller, and
others. He was also a prominent member of the Charles
Frohman, A. M. Palmer and Augustin Daly stock com¬
panies during the hey-day of their popularity. During
the latter years he has been making important money
starring in "The Man on the Box," "The Marriage of
Kitty" and "The Substitute."
Henry B. Harris was born in St. Louis, December i,
1866. In 1879 he moved to Boston and completed his
education at the Boston High School. He began his
theatrical career at the Howard Athenaeum in that city
as a program boy. A little later on he embarked on a
commercial career, but returned again to the profession
as treasurer of the Columbia Theatre, Boston. After three
years at this house he became business manager of this
theatre. His first theatrical venture was as half owner
in the tour of May Irwin, which netted him a large
amount of money. He then became identified with
several of the Frohman, Rich & Harris enterprises,
acting in that capacity for Lily Langtry, and Peter F.
Daily in "The Good Mr. Best," and "The Country Sport."
In 1901 he became an independent manager, his first
attraction being "Soldiers of Fortune" with Robert
236
jTortp gears SDfosertoation
Edeson as the star. In 1903 he became the lessee and
manager of the Hudson Theatre, one of the finest play¬
houses in the world. In 1905 he produced "The Lion and
the Mouse," Charles Klein's play, which made him an
independent fortune. The same year saw him launching
Rose Stahl in James Forbes comedy, "The Chorus
Lady," which immediately sprang into the fore-front of
the season's successes. Mr. Harris is at present pre¬
senting three companies of "The Lion and the Mouse,"
two companies of "The Traveling Salesman," three com¬
panies of "The Third Degree," Rose Stahl in "The
Chorus Lady," Robert Edeson in "The Call of the
North," and is preparing to produce "On The Eve," a
sociological drama by Dr. Leopold Kampf, "The Nebras-
kan" for Edmund Breese, "Such A Little Queen," by
Channing Pollock, "The Barbarians," by Edgar Selwyn
and Thomas Mallard, a new play for Dorothy Donnelly,
and several other productions that will see the light of
day this coming season. Mr. Harris is also the owner of
the Hackett Theatre, and actively interested in large
enterprises outside of the theatrical profession.
Thirty years ago the Irwin Sisters—Flo and May—
were undoubtedly the best sister team then appearing
on the vaudeville stage. For several years they headed
one or the other of the Tony Pastor Touring Variety
Companies, and commanded the largest salary ever paid
like artists.
From the outset it was clearly apparent that May's
strength lay in comedy. When Augustin Daly moved
uptown to the Thirtieth Street house, he engaged her
as a permanent member of his "model company;" and to
his thorough training, no doubt, our jolly comedienne
owes no small share of the success so justly hers.
Flo Irwin, since the dissolution of the popular team,
of ®u0ic aitD the Drama
237
has starred in musical comedy under the management
of Rich and Harris.
To-day each sister is presenting a playlet; and each
seems to have encountered a twin contretemps in the
shape of some little legal agitation, concerning the own¬
ership of their respective sketches.
Bertha and Ida Foy, another sister team, were also
in their zenith five and thirty years ago. Ida was a won¬
derfully clever soubrette and her widespread popularity
only ceased with her retirement in 1880; Bertha assumed
dramatic roles and appeared until a comparatively recent
date.
Back in the 6o's, when 514 Broadway was still called
the Theatre Comique and long before it passed into the
hands of Harrigan and Hart, the Lingards were in vogue.
William Horace Lingard was unquestionably the
greatest protean actor that the last half century has pro¬
duced. With his wife, Alice Dunning Lingard, he pre¬
sented a sketch, the type of those which are to-day best
exemplified by Ross and Fenton.
From 1865 to 1885 the chief Ethiopian entertainers in
variety and minstrelsy were Luke Schoolcraft, J. W.
McAndrews (The Watermelon Man), Eph. Horn,
Billy Barry, who afterwards joined Hugh Fay, Billy Ern-
mett, and Nelse Seymour; the latter was a brother of
Harry S. Sanderson, for forty years Tony Pastor's
treasurer. Seymour was a great practical joker and his
tall, lanky form was wont to preside over many of the
functions held at the Arcadian Club, the Lambs of those
days.
Irving Hall, on the site of the present German Theatre
on Irving Place, was, from 1868 to 1875, New York's
leading concert hall. Here Lafayette Harrison, long
since passed away, gave a series of Sunday "pops," such
238
jTortp gears flD&sertoatiott
as Herman Klein has endeavored to popularize at the
new Deutches Theatre to-day. Harrison had been an
impresario of note; the Pyne-Harrison Opera Company
had preceded even those organizations headed by Caro¬
line Richings and Parepa Rosa.
Concerts were exceedingly popular forty years ago.
For many years, Theodore Thomas, with his superb
orchestra, gave promenade concerts at the Central Park
Garden, 59th Street and 7th Avenue; and there is
nothing in the Greater New York of to-day, which can
compare with the general excellence that characterized
this enterprise. The programmes of a decidedly popular
order, the moderate prices (twenty-five and fifty cents),
and a system of "package" tickets at reduced rates,
greatly increased the interest in this laudable under¬
taking.
When Thomas moved to the first Madison Square
Garden these concerts were stopped. It was then that
Thomas began to broaden his efforts and to offer
classical programmes to the public.
Throughout the 70's, Helen Dauvray—"Little Nell"—
achieved great popularity in the West on the Pacific
Coast. Her plays were similar in scope to those pre¬
sented by Lotta and Maggie Mitchell. She retired from
the stage but returned, after a full decade, when she
starred in Bronson Howard's "One of the Girls." This
play was meted out a large measure of success, and ran
for over a hundred nights.
Miss Dauvray's appearances, during the last fifteen
years, have been intermittent; and yet, in the beginning
of her career, possibly no artist of the last half century
gave greater promise for a brilliant future than this
"California Diamond."
F. F. Proctor began as an acrobat; he was one of the
Levantine Brothers, famous in the late 6o's and early
Favorites of Long Ago Whoin tlic Er
MRS. SCOTT SIDDOXS.
I ! KEEN DAUVR.U
ELIZA WEAT1LERSBA
ADELAIDE NEILLSOX.
GEORGIA DREW BARRYMORE.
of a^tm'c anti tbz Drama
239
70's. As Frederick F. Levantine, Proctor was saving
and ambitious. He began his managerial era at the
Gayety Theatre in Albany. Here for many years he
gave vaudeville and burlesque, always desirous of re¬
fining the entertainment then given. He married Polly
Daly—a serio-comic singer who was popular twenty
years ago. From this marriage issued two daughters
and one son. One of these daughters at New Rochelle,
in amateur operatic representations, disclosed the fact
that had she so desired an operatic career might have
been hers. The son, Frederic F. Jr., has had an excellent
schooling, with a view to some day succeeding his
father. Though the writer has not had opportunity to
observe his recent efforts, it can be stated that the young
Mr. Proctor, barring accident, will cut an important
figure in the new era of vaudeville, which will have some¬
thing more serious as its foundation than the conserva¬
tion of five per cent of the artists' salaries.
Edyth Wynne Mathison, now appearing in Margaret
Anglin's role in "The Great Divide," came to this coun¬
try but a few years ago and created a furore at the
outset by her wholly artistic rendition in "Every Man,"
the morality play which Ben Greet used to first intro¬
duce himself and his artistic methods to American
play-goers.
La Loie Fuller was famous as an actress long before
she ever thought of her chorographic creations. As
plain Loie Fuller she has spanned nearly the entire
English-speaking world, and even in the Latin countries
where it is recalled she was ever observed as of dis¬
tinctly artistic mould. The Serpentine Dance was first
presented at the Casino, between the acts of "L'Oncle
Celestin," after which at the Madison Square Theatre
in Charles Hoyt's "A Trip to Chinatown," when the
foundation for her long career she has since had was
240
jfortp gears *D&m*ratfon
securely established. It was not until Loie Fuller went
to Paris that her real vogue began. Parisians saw some¬
thing more than the diaphanous twirl in the graceful
woman they called "La Loie." It was her grace, her
remarkable figure, her unity of musical rhythm with the
poetry of dance motion that brought Parisians to her
feet. Americans never could see in "La Loie" even the
merits that were credited to her imitators. How disloyal
are we in this respect, and how selfish. Miss Fuller's
visits to America grow less frequent as the years go by
but there is no diminution in her Parisian vogue.
Ida Fuller is not a sister of Loie, but her sister-in-law.
She married Frank Fuller, an electrician, who was
closely identified with Loie's first success. It is only
fair to Ida to explain that her greatest achievement, the
basic foundation of the success which she has so
struggled for, the fire dance, is her own creation as more
than one important interest in theatricals has discovered
by decisions in courts of equity which give to Ida Fuller,
for all time, undisputable protection to her patents and
creations.
If there was necessity to chide the American public
for disloyalty to its own, what shall be said of the
managers, for there seems to be an utter absence of
reverence among them? Sentiment is absolutely con¬
spicuous by its absence. Such thoughts are suggested
by vivid facts. As recently as a month ago the writer
happened to visit a vaudeville theatre in Yonkers where,
by the way, uncommonly good programmes are presented,
and was amazed to find the famous German dialect
comedian, Gus Williams, holding the stage for nearly
thirty minutes. Gus Williams has been a performer for
forty-five years, and for nearly half a century he has pre¬
sented virtually the same type of monologue. No career
has been more honorable, and never has he been so
of £@tm'c anti t|je Drama
241
prolific as now; yet he seems to be relegated to cities of
the Yonkers sort, although, like Edward Harrigan, when
he is privileged to face a metropolitan assemblage, the
welcome tendered him is as prolonged as it is cordial.
Charles Dillingham, as has been the case with so many
others who have since become influential in the theat¬
rical field, was a dramatic critic before he embraced the
business department of Charles Frohman's enterprises.
He was conspicuous for a time on the Evening Sun, and
the column to which he contributed was always looked
forward to with much interest.. Dillingham displayed
remarkable ability as an advance representative. His
ingenuity with the pen brought about the first stampede
of newspaper men into the theatrical business. To-day
one finds these graduates from the editorial chamber
everywhere in evidence. This, however, is as it should
be, and there is nothing surprising in the ultimate sur¬
vival of the men of letters in a profession which holds out
so much in common to them. Recently Mr. Dillingham
was requested to make an observation of the business
phase of the Metropolitan Opera House.
Stephen Fiske, now and for 'many years back, the
dramatic critic of the "Sports of the Times," is one of the
oldest in service. He is of the class of journalist man¬
agers which has survived for over half a century. Fiske
was Augustin Daly's first acting manager, and at the
5th Avenue Theatre he was the leading spirit in all the
various innovations which Daly was wont to practice.
Afterward he became the actual manager of this same
theatre, and some of that establishment's most note¬
worthy history was recorded during the Fiske consul¬
ship. He first presented Mme. Modjeska and Mary An¬
derson, established "The Dramatic Mirror" and founded
the Actors' Fund.
Robert E. Graham now appearing with much success
242
jfortp gears SDtJsettoattott
in "The Merry Widow," has been a player in continuous
activity for nearly forty years, during which period he
has traversed the entire gamut of the stage. He has
starred so often, and his vehicles for the purpose have
been so varied that a complete record of them would
entail much exertion. It was as a German dialect
comedian that he was wont to shine at his best. For a
long period he was Minnie Palmer's most valued aid in
her starring tours with "My Sweetheart." He was also
principal comedian with Alice Oates and Samuel Colville,
and was a member of the famous "Bostonians" at one
time. His greatest success was achieved in "The Little
Tycoon," an operetta by Willard Spenser which came
into being as a result of the tremendous success of "H.
M. S. Pinafore," and which also achieved the remark¬
able run of more than five hundred performances in
Philadelphia. Its author, who also managed the majority
of its tours, netted a good sized fortune thereby.
The late E. G. Gilmore, in his quiet, unassuming way,
had a particularly successful career, though he at no
time displayed any desire to become a producer. His
success was due more to careful methods and ingenious-
ness in his investments. He was the last of the
managers to rule over the destinies of Niblo's Garden,
and it was under his direction there, that the Brothers
Kiralfy made many of their noteworthy spectacular pro¬
ductions. Gilmore also managed the Madison Square
Garden, and it was during this tenancy, in 1876, that
Jacques Offenbach came there for his disastrous season
as a conductor of his own compositions. In conjunction
with Eugene Tompkins, Gilmore leased the Academy of
Music and from the extraordinary profits of one attrac¬
tion—"The Old Homestead"—they were enabled to pur¬
chase the entire property at a modest figure. Mr.
Gilmore's death a few months ago was greatly regretted
of 6$u0ic artD the Drama
243
in other circles as well as those of the stage. He was one
of the faithful members of the select coterie who were
wont to hie themselves to the famed amen corner in the
5th Avenue Hotel. Here was indeed Gilmore's stamp¬
ing ground and he was rarely absent from any of the
functions with which that historic edifice was associated.
Gilmore's wealth at the time of his demise was variously
estimated, but that it was totaled in seven figures there
can be no doubt.
Douglass Fairbanks having dabbled in amateur work
in the one year that he was at college, determined to
become a professional. He made the acquaintance of all
the famous stars who visited his home city, Denver, and
entertained some of them, at his home, drawing from
them a promise that when he entered professional life
they would help him.
His first engagement (1900) was with Frederick
Warde, the tragedian, then playing a number of Shake¬
spearian plays, and Fairbanks was cast for small parts,
and acted as assistant stage manager. Before his en¬
gagement with Warde terminated he was advanced to
leading juvenile roles. Later he secured an engagement
with Herbert Kelcey and Effie Shannon to play the juve¬
nile lover in "Her Lord and Master," which ran three
months at the Manhattan Theatre. This part gave him
a footing in New York. In his second week in this pro¬
duction he settled to appear in "The Rose of Plymouth-
town" with Minnie Dupree.
This play failed after four weeks and Fairbanks joined
Alice Fisher in "Mrs. Jack" at Wallack's Theatre and
played seventeen weeks with this company.
He then determined to leave the stage, and went into
Wall Street with DeCoppet & Doremus, brokers, study¬
ing law at night; after several months of this he returned
to the stage in "The Pit," with Wilton Lackaye.
JFortr? gears flD&scrtjation
lie appeared in "Fantana," the comic opera, playing
one year in New York, and then went into a production
called "Frenzied Finance," in which he was featured.
At this time Fairbanks signed a five years contract
with Wm. A. Brady, with starring clause, playing
around New York in "As Ye Sow," "Clothes," and "The
Man of the Hour."
The last mentioned ran a year and three months in
New York.
After this came "All For a Girl," in which he starred.
This play was a failure and he was transferred to "A
Gentleman from Mississippi," as co-star with Thos. A.
Wise.
The Eden Musee was the scene of more than one
artist's triumph. Here the voluptuous Otero danced her
way into the hearts of her auditors; for many months she
was the one potent attraction that was able to pack the
theatorium to its capacity. Otero has often returned to
us, but has never duplicated the extraordinary success
that was hers at the Twenty-third Street establishment.
Carmencita had been the rage at Koster and Bial's,
but a few doors away, and if memory serves me right,
the two were arrayed against each other, simultaneously,
and the furore was prolonged, for both dancers always
commanded great favor in this country. Although the
type of toe dancing, made famous in the days of Mor-
lachi, Bonfanti and De Rosa, gave way later to the
style of skirt dance introduced here by Letty Lynd and
Sylvia Grey, whom the genial George Edwards brought
out here with the London Gaiety Company; still our
own Bessie Clayton was accorded vast approval, and it
was she, more than any other terpsichorean artist of
American birth, who kept alive the old school of toe
dancing in America, though "La Belle Dazie," long be-
ADA LEWTS.
ANNA SUTHERLAND.
JULIA SANDERSON.
ROSE MELVILLE.
ot &3u$ic artD tfje Drama
245
fore she was known as "La Domino Rouge," was re¬
garded as the equal of any of the foreign importations.
It must not be forgotten that in grand opera, too, we
were often privileged to witness the consummate art of
the beautiful Cavalazzi, who appeared here with the re¬
doubtable Col. Mapleson's operatic forces at the Acad¬
emy of Music. She became the wife of Charles Maple-
son, and was perhaps the greatest exponent of the
chorographic art that ever appeared here in connection
with grand opera.
E. L. Davenport, who was one of the greatest trage¬
dians of any time, occupies so important a position in
stage history that it is not the province of the writer to
dwell upon his career, save to state that his greatest role
was that of Sir Giles Overreach, in "A New Way to Pay
Old Debts." He was not as successful with his public
as was Edwin Booth or Edwin Forrest, but no player
ever attracted greater critical attention. He was the
father of Fanny Davenport, also of Blanche, known as
Bianca La Blache, and who sang in grand opera under
Strakosch; also of Edgar L. Davenport, a player of dis¬
tinction, whose career has been long and varied and who
is now appearing with John Drew in "Jack Straw" and
Harry Davenport.
Fanny Davenport was, of course, a Daly product. Mr.
Daly undoubtedly brought out the great ability that
might otherwise have lain dormant. After all, her great¬
est scope was in the Sardou plays rendered by her as
manageress, producer and player. In the roles of Fedora,
La Tosca and Gismonda, this American actress was
often more than favorably compared with the divine
Sarah herself, though as Cleopatra the accorded praise
was more restricted. Much of the resultant triumph
achieved by Fanny Davenport as Fedora was shared by
Robert B. Mantell, who as Ispanoff made his first con-
240
jfortp gearg Dfcsettmtion
spicuous entrance before metropolitan audiences. What
a superb performance was this "Fedora" as presented by
these players! Who that can recall the thrilling specta¬
cle of that third act will ever forget the experience?
Fanny Davenport was twice married, first to Edwin H.
Price. The divorce which gave the actress her liberty
afforded anything but inspiring reading. It was then
that Miss Davenport became the wife of Melbourne Mac-
dowell, a ponderous, vigorous player, who had a tremen¬
dous following in the Dominion of Canada, where, for
years, he had been the head of a model stock company. In
the role of Scarpia in "La Tosca," Melbourne Macdowell
was without an equal. His career, since his wife's death,
has not been free from vicissitudes, though it is difficult
to understand how an actor gifted with so many super¬
lative requirements, and for whom nature has done so
much, can, in these years of progress, be relegated to the
vaudeville stage, or to intermittent appearances in the
legitimate field.
Ada Rehan, like Richard Mansfield, Ellen Terry and
others of equal fame, has received so much treatment in
volumes of the stage, that no attempt is here made to
perpetuate her artistic career. Of more interest, for the
purposes of this issue, is the recollection that, as a child,
she appeared at the famous Leland Opera House in Al¬
bany, under the distinguished management of John W.
Albaugh, who passed away but a few days ago. It was
here that Ada Rehan's future was laid out, or, rather,
prophesied. Her name proper is O'Neill; she is a sister
of Mrs. Oliver Doud Byron, and also of Arthur Rehan,
who, two decades ago, was wont to present some of the
Daly successes on tour. Ada Rehan scored her greatest
triumph in London, when the late Mr. Daly ventured to
the English metropolis for the first time, and there
achieved an unexpected success, which, at the time,
of ^usic and tfje Drama
247
caused so much pride and enthusiasm, and which opened
up the field of Great Britain to American players. It is
to be noted that Ada Rehan has, up to this time, been
one of the few players of distinction to resist the tempta¬
tions of the modern vaudeville stage, although as high
as $3,000 a week has been persistently offered her. There
is no record where she has ever, in a single instance, re¬
sponded. This is as it should be, for while, as is stated
elsewhere, the day has long since passed when the vaude¬
ville stage can be regarded as injurious to any artist,
nevertheless, in the case of Ada Rehan, as in that of
Clara Morris, it would be a wholesome spectacle to recall
her only as the greatest artistic figure of her time, which
would undoubtedly be greatly lessened were she at
this time to lend her name to some tabloid presentation
which could hardly add to her illustrious record. Un¬
less the writer is misinformed, the financial inducement
with which such an appearance would be accompanied
can well be ignored by the greatest Rosalind of all time.
Speaking of Ada Rehan and of the Daly regime, nat¬
urally directs the writer's thoughts to an actress whose
artistic career was nipped in the bud by a marriage
which, at the time, attracted international attention.
Edith Kingdon is here referred to, and there can be no
doubt that when George Jay Gould captured the heart
of this winsome favorite of the 8o's, he deprived the
stage of one of its most charming adornments; and there
can be no question but that, had she continued under Mr.
Daly, she would have reached stellar heights in a very
few years. Edith Kingdon was playing the leading part,
Mary Bartley, in "Love and Money," at the Boston The¬
atre in 1884, when Daly first saw her and engaged her
for his matchless stock company. She had been leading
juvenile woman at the Boston Theatre two years before
248
jfortp gears flDfogerfcation
this. Marjorie Gwynne in "Love on Crutches" was her
greatest hit at Daly's.
Harry Sommers, who has been the manager of the
Knickerbocker Theatre ever since it changed its name
from Abbey's Theatre, has had a career so typical of
the possibilities of industrious effort in theatricals, that
it is recited here. He was born November 24, 1869. In
1887, at Hooley's Theatre in Chicago, he became chief
usher and assistant treasurer, a dual capacity com¬
mon enough in those days. Then he became "knight"
of the box-office for J. M. Hill and Daniel Shelby, who
managed the Columbia Theatre and Academy of Music,
respectively; he also sold the first tickets for the Chi¬
cago Auditorium. Mr. Sommers, about ten years ago,
started to organize a circuit of theatres on his own ac¬
count, and it is interesting to note that although he has
no less than a dozen productive theatres under his man¬
agement, and which bring him large profits, nevertheless,
he has never abandoned his position as manager for Mr.
Hayman; and perhaps it is to this fact that much of his
progress has been due. He controls two large and pros¬
perous theatres in South Bend, Ind., a great manufactur¬
ing community, also Power's Theatre, in Grand Rapids,
and several others.
Augustus Pitou, who now and throughout his stellar
career has managed Chauncey Olcott's tours, is one of
the oldest of the actor-managers in service. He was an
actor long before he became a manager, and the writer
first recalls him as the manager of an organization head¬
ed by W. H. Ommohundro ("Texas Jack"), which at the
time (1879) was making a Canadian tour.
Major John H. Burke, who for so long has been as¬
sociated with the Buffalo Bill enterprise, was with this
attraction of Pitou's. He was then known as "Arizona
John," a handsome figure he was in those days. It was
EDITH KINGDOM (mrs. george gould).
LILLIAN BLAUVELT.
Famed in Grand and Light Opera, Oratorio and
Concert.
of S©ii0tc and tfje Drama
249
in 1880 that Pitou succeeded Mrs. Morrison in the active
management of the Grand Opera House in Toronto, and
although O. B. Sheppard was in charge for two years
before, it was under Pitou that the theatre began as a
combination theatre. To his aggressive policy much of
the success which later on came to combination theatres
is due. Pitou afterwards became one of the most im¬
portant stage providers in this country. At all times in
the last thirty years, he has had an Irish singing-come¬
dian under his wing; the first of these were Joseph
Murphy and W. J. Scanlan, undoubtedly the greatest ex¬
ponent of this field of endeavor that ever lived. Scanlan's
career was indeed romantic, and his ending sad. The
story of this sweet singer and handsome actor would fill
a volume and would not be very pleasant reading. His
last days were spent in a madhouse. Pitou also brought
out Andrew Mack, and for a brief period J. K. Murray,
the baritone, was exploited as a possible successor to
Scanlan; but it was Chauncey Olcott who succeeded
Scanlan in the public's affections. To this day Pitou has
been Olcott's tour de force.
Pitou succeeded Poole and Donnelly in the manage¬
ment of the Grand Opera House in this city, and for
many years he ably conducted that theatre, though the
persistent raising of the rental was more than he could
stand, and thus it was that John H. Springer, who, like
Theodore Liebler, graduated from the show-printing
field, assumed the management of the majestic marble
pile on West Twenty-third Street, which he to-day di¬
rects with much success.
It should not be omitted, in speaking of Pitou, that
he was prolific in all the requirements of the theatre, be¬
ing actor, manager, producer and, last of all, playwright.
"The Power of the Press," in which he collaborated with
another writer, had lasting qualities, little hoped for at
250
jfortp ^ear0 flD&settoatfot?
the time of its initial appearance, which took place at the
Fourteenth Street Theatre. Augustus, Jr., is following
in his father's footsteps, in a generation wherein he will
have much advantage over his parent whose greatest
achievements were effected in a period when the theatre
was not regarded as it is to-day. All honor, then, to the
pioneers who roughed it in the 6o's and 70's! Few, in¬
deed, like Pitcu remain. In the week that these pages
are sent to the publishers, two of the few of this type
that were still with us have answered the call of man's
unconquerable foe.:!:
A manager of the old school, but who was not an
actor-manager, was C. J. Whitney, of Detroit. He was
a great lover of music, and the musical and dramatic
arts were patronized by him to the extent that his in¬
fluence permitted. That this was not insignificant is
known by many who will read these pages. Mr. Whitney
had large piano ware-rooms in Detroit; he also con¬
ducted the Whitney Opera House in that city for a period
of nearly thirty years. Aided by his sons, Frederick and
B. C., he established a chain of first-class theatres which,
after his death, were maintained and even expanded un¬
der the careful consulship of his youngest son, Bert. The
eldest of the Whitney brothers, Frederick, was an im¬
portant factor in the light opera field during a period
of fifteen years. He it was who produced "The Fencing
Master," "Rob Roy," "Shamus O'Brien," and he also
prevailed upon Madame Schuman-Heink to enter the
field of English comic opera in an excellent work by
*Eugene Tompkins died February 21, 1909. A widow survives
him.
John W. Albaugh died February 14, 1909. His son, John W.,
Jr., and two daughters, Mrs. Mitchell, of Long Branch, N. J.,
and Mrs. Frank Henderson, of Jersey City, N. J., survive him.
of €pu0ic anti tfje Drama
251
Julian Edwards, entitled "The Lottery of Love." Fred.
Whitney also produced "Quo Vadis."
Luisa Tetrazzini, as well as her sister Eva, now the
wife of Signer Clefonte Campanini, had lengthy careers
in their native land. It was not, however, until the great
coloratura singer reached San Francisco, less than five
years ago, that her real career began, that is if we are
to figure upon a basis of dollars and cents; but it should
not be surprising that an artist like the youngest of the
sisters Tetrazzini would find her vogue in such a gen¬
eration as this one has been. All great achievements
have had, in this generation, their developing era as well
as their resultant reward. At this period it has become
possible for an artist like Luisa Tetrazzini to see her
honorarium rise two thousand per cent. Tetrazzini sang
in San Francisco, at the Tivoli, a music hall which has
gradually advanced its scale of artistic environment un¬
til it became virtually an opera house, at least its con¬
duct was on lines which govern provincial opera houses
in Europe and the Latin countries; but when this mar¬
velous singer was heard there by the writer, the Tivoli
was not far removed from a beer garden, and the price
of admission was an average of fifty cents, although some
seats were higher. The amount which the present Man¬
hattan Opera House favorite received has been variously
quoted, but at the very outset it was not even one-tenth
as much as she now receives, but the furore she created
was such that, inasmuch as her engagement in San
Francisco was a prolonged one, she remained long
enough to receive as high as $350 a performance. Then
came London, and the rest is not for me to record, since
this artist is now a central figure with press and public.
Henry Rosenberg, now retired, is a brother-in-law of
Oscar Hammerstein, he having married the impresario's
sister, and he also was Oscar's most important aid dur-
252
jfortp gears SP&gertmtiott
ing the many years of struggle which characterized the
early efforts of the wonder impresario. Several years
ago, a quarrel arose between these two, the nature of
which, even if the writer knew the facts, is not of pub¬
lic interest. However, Rosenberg showed, at the Me¬
tropolis Theatre, in the Bronx, that he, too, had mana¬
gerial ability, for he succeeded in making a comfortable
fortune in the theatre named, and then was sensible
enough to retain his profits for all time by retiring from
the theatrical business, having disposed of the theatre
to Hurtig and Seamon. During Rosenberg's personal
management of the Metropolis some remarkable results
were achieved, and the spectacle of a suburban theatre
playing to $8,000 gross weekly was not uncommon. A
son, Walter, entered the amusement field in connection
with his father's enterprises, and he is making his pres¬
ence felt, too. The indications are that he will provide
some history for another generation. He possesses the
requisites which go to make successful careers in the field
of the theatre. At this time Walter Rosenberg has sev¬
eral theatres in small but growing cities like Mount
Vernon, N. Y., where the population is rapidly increas¬
ing and which will, in a few years, be a sort of Harlem.
He also has the Casino at Asbury Park, where, also, large
future possibilities are foreshadowed.
An amusing anecdote is told of Patti, in connection
with the large sum she was paid. J. H. Haverly, the
famous minstrel manager, at one time was ambitious to
become an impresario. He was encouraged in this by
Mrs. Haverly, who one day said to him:
"John, why don't you go after Patti?"
"I will," said the minstrel king, and he at once sought
an interview with the diva, and, incidentally, he asked
her what terms she would accept.
"For opera or for concert?" queried Adelina.
of apustc anti tbe Drama
253
"For concert," said Haverly.
"Four thousand dollars a night; $200,000 for fifty con¬
certs," answered Patti.
For once, the indefatigable Haverly was nonplussed.
"Why, Madame, that is four times as much as we pay
the President of the United States for a full year!" he
remarked.
"Well, then," said Patti, "why don't you get the Presi¬
dent to sing for you?"
Jacques Offenbach, the father of opera bouffe, the com¬
poser of "La Grande Duchesse," and fifty other popular
operas, came to America during the centennial year, 1876.
Receiving $1,000 a night, Offenbach conducted an
orchestra of 100 men at what is now called Madison
Square Garden; the public, however, expected that Of¬
fenbach would dance the "Can-Can," when he conducted
his entrancing compositions. But he did nothing so sur¬
prising or unconventional, and his series of concerts were
a financial failure, after which he went over to Philadel¬
phia, where the exposition was then in progress, and then
returned to France.
The salaries of conductors of renown have greatly in¬
creased until, to-day, a few of the most eminent and best
qualified are paid as much as a great prima donna of
olden times. Hans Richter receives an average income
in excess of $1,000 a week, and it is to be doubted wheth¬
er Signor Campanini gets less from Mr. Hammerstein,
Whereas, in the strenuous opera seasons of Strakosch,
Maretzek, Mapleson and the elder Grau $100 a week
was the limit which a conductor like Herr Behrens would
receive.
Opera-goers of 1908 will probably be amazed to learn
that in 1875, and up to 1879, in the Stadt Theatre on the
Bowery, on the site of the present Windsor Theatre, were
heard some of the greatest singers and artists that this
254
jTortp gears flDtertmtton
country ever welcomed; and here it was not uncommon
for the great Wachtel to sing his high C in "II Trova-
tore" to a $5,000 house. For several years German
opera was here given with a galaxy of the world's great¬
est artists—such as Carl Formes, Pauline Canisa, Theo¬
dore Hableman, Frederick Himmer, Mme. Frederici
Himmer, Gustav Weinlich, and others whom many an
opera-goer of to-day will delight in recalling. The
repertoire then was far more dignified than that which
the public of to-day seems to have created for itself, for
in a single season at the Stadt Theatre was heard "Der
Freischutz," "Fidelio," "Wm. Tell," "Robert der Teufel,"
"Norma," "L'Africaine," "Postilion de Longemeau,"
"Trovatore," "Marta," "La Dame Blanche," and "Crown
Diamonds." It is seriously to be doubted if any of these
works as given to-day, at prices of admission more than
double those then prevailing, would be found superior,
except, perhaps, that of the tendency to crowd more
stars into one cast now as compared with then, and it
is much to be questioned whether an important artist,
cast into a minor role, is likely to be as consistent or as
artistic as is the minor artist in the role for which he is
suited and intended.
Next to Nilsson and Lucca, the most sensational suc¬
cess that had been achieved by a noted soprano was that
scored by Etelka Gerster, who came to America almost
unheralded, under the direction of the redoubtable Col.
J. H. Mapleson, and she it was who first made his regime
attractive and out of the ordinary. "Gerster" nights and
"Gerster" matinees were sold out just as Melba nights
are now. The only difference is that instead of $5 for
a good seat, $3 was the most one was called upon to pay.
The career of Gerster was not of long duration. Alas!
like Patti, she came once too often. The recollection of
her last appearance at the Metropolitan Opera House,
of e^ttstc anti t&e Drama
255
in concert, is one of the saddest that the writer can con¬
jure up.
Giovanni Tagliapietra was perhaps just as popular
thirty years ago as Renaud is to-day. "Tag," as he was
and is to-day called by his thousands of friends, was the
ideal Rigoletto, and in the days when Christine Nilsson
and the Adelina Patti of her youth were reigning favor¬
ites, this handsome baritone was indeed prominent. He
married Margaret Townsend, daughter of the famous
lawyer and a member of one of the oldest of New York
families. Tagliapietra was a magnet not only in Grand
Opera, but also in Concert when he appeared, together
with other celebrities, in the days of the Strakosches.
He was perhaps the handsomest and most dashing bari¬
tone that ever appeared in Grand Opera, and only his
marriage and seeming indifference prevents his continued
appearance at this time, when he is heard at intervals.
He is the same "Tag" as of yore.
Olive Logan* was what may be called a literary genius.
The writers of her sex who to-day depict contemporane¬
ous events, have of course far more material to work
with, but none can with all their advantages, arouse the
interest of the readers of truth and fiction as she did
thirty-five year-: ago. She wrote one particularly good
play, "Surf," which was presented at Daly's Theatre
when it adjoined the Fifth Avenue Hotel, and where it
had a notable run. Celia Logan was, I believe, a younger
sister of Olive and thirty years ago she was prolific in
magazine work and a conspicuous figure in literary cir¬
cles. She did not, however, write for the stage to any
extent, although intimate with many of its most promi¬
nent players. Celia was very deaf and I think lame. If
it was she to whom the press referred recently as being
in such dire distress, there should indeed be aid forth-
*01ive Logan died in May, 1909.
256
jfortp ?p€ors SDterfcation
coming from many quarters, for recollections of the Lo¬
gans cannot now be wholly obliterated; a benefit is often
given where it is less deserving. Speaking of benefits,
the one for dear old Lester Wallack's widow a few days
before these pages go to press, does vast credit to the
thoughtful organizers. Daniel Frohman is never lacking
in these glorious tributes, and how hard and sincerely he
does work when he comes forward voluntarily! It is he,
too, who often agitates and creates the interest whereby
so many deserving testimonials attain their final success¬
ful outcome. I have known Daniel Frohman, when actu¬
ally overwhelmed with the burdensome duties entailed
by the additional responsibilities of a Kubelik concert
tour as well as those which his regulation enterprises de¬
mand, to not only abandon all of these, but to actually
pay out of his own pocket the compensation of his assist¬
ants, selected by him to direct the details of the Actors'
Fund benefits. Lester Wallack himself was given a tes¬
timonial some twenty years ago at the Metropolitan
Opera House at which the net receipts were in excess of
$20,000.
Frederic de Belleville, now appearing with William
Gillette in "Samson," is the possessor of a career so
lengthy and varied that a small volume might well be
devoted to it. In the days of Shook and Palmer, he was
called upon to create many leading roles; he was con¬
spicuous as Clara Morris' leading support for many sea¬
sons. For near thirty years he has held his place at the
very top and it is not recalled where a single season has
not found him filling an important engagement. De
Pelleville, for some unaccountable reason, has not sought
stellar honors to a great extent. Very likely he is con¬
tent with the large honorarium and the distinguished
position which he has always been able to command.
It is known that he is very conservative and also of pro-
Blanche Arra!
BLANCHE ARRAL.
Soprano who created a furore in London in ryo<j.
of anD tlje Drama
25 7
nounced reliability. To-day, after three decades of con¬
tinuous activity, he looks as he did in the old Union
Square Theatre, in the hey-day of Clara Morris' pros¬
perity. His Armand Duval in "Camille" was, in the
writer's opinion, his most forcible role, though in Sar-
dou's "Diplomacy" he was an accomplished member of
the sterling cast with which Rose Coghlan once sur¬
rounded herself. He is active in all the charities con¬
nected with the theatre, being a life or charter member
of the Actors' Fund, Actors' Society, Edwin Forrest
Lodge, and Actors' Order of Friendship; he is also a
member of all those clubs where players are welcome.
Blanche Arral, who is engaged for the Metropolitan
Opera House next season, and whose career justifies the
prophecy that she will be a potent figure there, made
her debut at the Opera Comique in Paris in 1890, under
her family name Clara L'Ardenois. She, then, sang the
title role in Ambroise Thomas' "Mignon," scoring an
instantaneous success. Since her debut she has there
sung Ophelia in "Hamlet," by the same composer, and
Juliet in the Gounod opera. Madame Arral also achieved
a triumph in "Manon," by Massenet. She is particu¬
larly identified with the old repertoire and it will be wel¬
come news to the readers of this volume to know that
she is likely to be heard here in the much wanted opera
comiques, such as "La dame Blanche," "Domino Noir,"
"Fra Diavolo," and "Le Pre aux Clercs," a delicious
opera comique which Maurice Grau once gave at the
Fifth Avenue Theatre with Paola Mariee and Victor Ca-
poul, and which, when revived here, is likely to create
a positive furore.
Madame Arral has been at the head of her own operatic
and concert organizations and recently had great vogue
in Australia, where her esteemed impresario, M. Herold
Basset, conducted a lengthy tour for her.
258
jfortg pzax$ flD&sertmtion
On the 25th of October, igo8, Madame Arral made her
debut in the United States, in San Francisco, the city
where the great Tetrazzini found her real worth, at the
Van Ness Theatre. The newer singer created such a
furore that it was open to question if she had not really
overshadowed the triumph of the present Manhattan
Opera House star. At any rate, the press of San Fran¬
cisco waxed so enthusiastic and the reports emanating
from San Francisco were so sensational, that the present
director of the Metropolitan Opera House entered into
negotiations which have resulted in the contract for her
appearance here in the near future.
of ^usic ano tf)t Drama
259
CHAPTER IX
OSCAR HAMMERSTEIN.—This name stands liter¬
ally emblazoned before the writer as he endeavors to
unfold his recollections of the last forty years of music
and the drama. Oscar Hammerstein! Who, indeed, can
be approached with greater timidity? And by whatever
avenue he is approached, the one fear is an inability to do
him justice. Forty years has developed no other person¬
age equally exalted in the field of artistic endeavor.
Madame Nellie Melba recently gave him the appella¬
tion of Master-magician, and has prophesied that he will
be the one impresario to give grand opera in English, in a
manner equal to that impresario's efforts in the Latin
languages. On the very day that these lines are penned
this extraordinary man has announced that within one
year he will begin to build another and greater opera
house in this city, on the borders of Central Park West
and 59th Street, and this means just exactly what is said,
for who will venture to doubt when Oscar declares him¬
self?
Oscar Hammerstein, from the day the writer first re¬
calls him, was an artist to his finger tips, always am¬
bitious and a lover of music in all forms. His early
theatrical career was really handicapped by an unselfish
desire to venture into the realms of Grand Opera when
the tools and facilities for success were not within his
reach.
The career of this marvellous artistic provider began in
260
jTortp gears flD&mtration
pursuits that have no place in this issue; therefore, with
the opening of the beautiful theatre in Harlem, now
occupied as a moving picture theatre and still called The
Harlem Opera House, New Yorkers obtained their first
introduction to the man and his methods. Even in this
establishment his artistic taste was plentifully illustrated,
and a long season of light opera under Herr Heinrich
Conreid was accomplished at great financial loss.
Then came another theatre at 125th Street and Fourth
Avenue, called the Columbus Theatre, now occupied by
the Keith and Proctor interests. Here vaudeville is now
given, whereas, the more beautiful and majestic opera
house, on the West side of the same street, seems destined
to continue as a 10 cent theatre.
Then followed the construction of the first magnificent
Manhattan Opera House on West 34th Street, now gone
to make room for Macy's vast dry goods house. Here
the impresario made a herculean effort, far ahead of his
time, to inaugurate just such a career as he has since
achieved.
Grand opera, well given, met with tremendous losses,
and it was not until Albert Bial was called in to save the
day, and the magnificent opera house turned into a veri¬
table Koster and Bial's that these losses began to cease.
Under this regime came Chevalier, Yvette Guilbert,
Otero, Loie Fuller, Dan Leno and other prominent for¬
eign stars, when a business of $15,000 a week was by no
means uncommon. Following this came Oscar Hammer-
stein's crowning glory (up to that time), The Olympia
which inaugurated Long Acre Square and created the
new theatre district. The Olympia was opened on the
very day that Oscar Hammerstein had announced it
would be dedicated, for that matter, all the Hammerstein
establishments have always been inaugurated on the date
their projector has prophesied.
of ajmk ant* tljt Drama
2G1
Losses were sustained, from the very outset, in all three
of the auditoriums then conducted, and one day, to be
brief and also to evade a sad subject, the founder of all
this walked outside of the majestic pile he had reared,
dispossessed and as poor as the day he was born. This
writer recalls the benefit which a few loyal friends ar¬
ranged for the dethroned manager at Madison Square
Garden. This too was a failure, even resulted in a loss;
on the Rialto, it was universally conceded that "Oscar
was down and out." It would appear to be so; here
was the crucial test in his remarkable career, and who
could guess that he would rise phoenix-like at his time
of life!
When he "sneaked" the land on the corner of 42d
Street and 7th Avenue and evolved a Broadway Theatre
for a 7th Avenue rental, he accomplished two extra¬
ordinary things at once; he made 7th Avenue Broadway
and he destined that 42d Street, west of 7th Avenue,
should be the new theatre district.
He also built and owns to-day the Hackett Theatre and
the Belasco Theatre, adjoining the Victoria, which was
first called the Republic Theatre.
The achievements of this genius, from this time forth,
are so well known that it would be tedious to repeat
them and it remains only to be said that no man is more
loved by his employees, and no impresario that the last
generation has brought forth has so mastered the alleged
intricate and difficult mazes of operatic direction. Rarely
if ever, is there an illness recorded at a Hammerstein
representation and never a change of opera.
Poor Henry E. Abbey went to his grave, prematurely,
from the worries that Oscar Hammerstein thrives on,
Maurice Grau and Heinrich Conried would to-day be in
the director's chair of the Metropolitan Opera House, if
262
jfortp ^earg D&mfcatfcm
they could have had but a particle of the Hammerstein
disposition.
Who shall say what this wonder-worker has still in
store for us? No greater or more momentous message
can be handed down to posterity than the fast growing
evidence which becomes stronger each day, that when
(God forbid) this impresario brings his unexampled
career to a close, his mantle will descend to his son Ar¬
thur. The writer has observed in the young architect-
manager the very same qualities which have made his
father the greatest musical and theatrical entrepreneur
the world has ever known.
William C. Carl, director of the Guilmant Organ
School, organist and choirmaster of the Old First Presby¬
terian Church, New York City, pursued his studies under
Alexander Guilmant, the distinguished French organist.
Mr. Carl returned to New York City in 1902, and was at
once engaged for the "Old First" Church. One hundred
and twenty-nine free organ recitals have already been
given there before audiences which have taxed the church
to its full capacity. These recitals are known the country
over; well known composers have written for them and
many leading artists have appeared as soloists, vocal and
instrumental.
Mr. Carl was the first concert organist to go to the
Klondyke, where he inaugurated a new organ in Dawson
City, Alaska; he has also been to Japan, China and the
Philippines to study the music of these countries.
Mr. Carl has appeared at all the large expositions of
recent years, both here and abroad.
The Guilmant Organ School, on 34 West 12th Street,
New York, with Alexander Guilmant as president, was
founded in 1899 by Mr. Carl, and easily holds its place
as the foremost of our musical institutions.
Mr. Carl is author of "Master Studies for the Organ,"
WM. C. CARL. ALBERT SPALDING.
America's greatest organist. America's greatest violinist.
of C0usfc ant! tbt Drama
263
Thirty Postludes for the Organ," "Novelties for the
Organ," Vols I and II, "Master-Pieces for the Organ;"
also songs, organ pieces, and many articles on musical
subjects. He is a director of the Manuscript Society,
president of the Guilmant Club, director, founder and
chairman of membership committee of the Guild of
American Organists.
Allen C. Hinckley, now at the Metropolitan Opera
House, was born in Dorchester, Mass. After attending
preparatory schools in Boston and Providence he entered
Amherst College; upon the removal of his parents to
Philadelphia, he entered the University of Pennsylvania,
where he remained for two years. He was always a
prominent member of the glee clubs of both colleges, and
sang in church choirs, directing a choir and choral society.
His first stage experience was for a year and a half with
the Bostonians, singing the leading bass roles with that
organization. He then went to Germany, and within a
fortnight of his arrival in that country was engaged as
principal basso at the Hamburg Opera, where he made his
debut in February, 1903, in the role of the King in
Lohengrin. He remained in Hamburg for five years,
until his engagement with the Metropolitan. He has
also sung in Covent Garden, London, under Hans
Richter, and for two seasons in Bayreuth.
Howard Pew, band manager, has made a life work of
musical attractions, bands and orchestras. He was a
reporter on the Chicago Times during the Wilbur F.
Storey regime, and afterwards on the St. Paul Pioneer
Press. Later, he owned a daily paper in Minneapolis and,
afterwards, an interest in the Daily Herald. In 1885 he
went to New York City, as press agent for the famous
Gilmore's Band, and remained as business manager till
Gilmore's death. Mr. Pew was associated with the tours
of the Thomas Orchestra, the United States Marine Band,
204:
jfortp ^ears SD&gettoation
the Strauss Orchestra of Vienna and with Victor Her¬
bert's Band tours. He successfully managed a Chicago
band and, in 1902, made a contract with the then unknown
Creatore, whom he brought to New York, where he be¬
came the sensation of the season in a single night. Mr.
Pew has managed Creatore since that time, and has be¬
come firmly established all over America as the foremost
band manager.
Caroline Richings was at the head of an English Grand
Opera Company from 1867 until the time of her death,
and no organization of this type, unless it be the Hol-
mans, ever encountered more vicissitudes. Madame
Richings was hardly a great singer, but she was a superb
artiste, and her appearances were always of vast interest.
Among the members of her first company were her hus¬
band, Pierre Bernard and "Johnny" Chatterton, the
Signor Perugini of later years.
Perugini's career was replete with interesting data. It
began like Wm. H. Crane's with the Holmans when they
had a juvenile opera company. "Master Johnny," like
Crane, too, was apprenticed to Mrs. Harriett Holman
and, with the schooling he received at her hands, was
enabled, later on, to become a member of Edwin Booth's
company, appearing as Francois in "Richelieu;" he also
appeared with Lucille Western in "The Flowers of the
Forest" and supported such stars as Edwin Adams and
Mrs. Lander, a tragedienne of distinction, who like Mrs.
D. P. Bowers failed to become potent at the box office in
the same manner that Charlotte Cushman did. Yet both
of these players reached the most exalted heights, artis¬
tically.
Perugini, before his affliction, for he grew gradually
deaf, became very prominent in Grand Opera and his
Faust as sung with Adelina Patti as Marguerite at the
Academy of Music was compared favorably with the best
of S0U0IC anD tfre Drama
265
work of Campanini and Capoul in those years. Finally,
when his voice was at its best, he became the leading
tenor of the McCaull Opera Company, and for three years
was the leading feature of that organization. About
seven years ago, he was compelled to retire from the
stage absolutely, for though his voice was unimpared, yet
it was found impossible for him to hear his cues or even
his orchestral accompaniment. As stated elsewhere
Perugini was an excellent actor, a rarity among tenors,
and the recital of the premature end of his artistic career
is one of the saddest duties that this writer has to per¬
form. But let it be stated that, sad as it is, the fate of his
brother Charles Chatterton is still more to be regretted,
for John we still have with us, whereas poor "Charley"
died in England at the early age of thirty-seven. Henry
E. Abbey felt the loss of his trusted secretary deeply; it
was Charles Chatterton who was always called upon to
perform the many diplomatic and intricate duties, which
would entail upon the secretary of that manager.
One of the greatest casts ever bestowed upon a produc¬
tion of any nature, was that given to Offenbach's comic
opera "Le Roi Carrotte" at Colonel James Fisk, Jr.'s
Grand Opera House in New York, in 1872, which included
Mrs. John Wood, John Brougham, Rose Hersee, Emma
Howson, Stuart Robson and John Chatterton; yet it was
a failure, financially. The following year Stuart Robson
made his first great metropolitan success at Brougham's
Theatre in West 24th Street, on the site occupied until
recently by the Madison Square Theatre. Robson
achieved his triumph as Captain Crostree in "Black-Eyed
Susan" which ran for many weeks and was perhaps the
most delicious bit of true burlesque that has ever been
witnessed on the American stage. Only a few weeks ago
Edward E. Rice was making strenuous efforts to attract
the attention of the magnates who to-day control the
266
jFortp ^ears S)&0ettoation
destinies of modern vaudeville with a view to a revival
of "Black-Eyed Susan." The idea, certainly, is excellent,
and a production of this fifty-minute burlesque at this
time would surely repay the effort.
Burlesque was decidedly popular in the 70's, for besides
Lydia Thompson and her troupe of English comedians
and Blondes we had the Worrell sisters whose efforts
were confined principally to "Ixion," "The Field of the
Cloth of Gold," and "The Forty Thieves." But it was
Matt Morgan, the famous cartoonist and scenic artist,
who made the most pretentious effort in this line. He
leased the Lyceum Theatre on 14th Street and with the
aid of Sydney Rosenfeld, endeavored to maintain a stock
burlesque company of which Minnie Palmer then (thirty
years ago) considered the most beautiful girl on the stage
was the head. But it was not until Morgan evolved his
famous living tableaux that any degree of financial
success was reached.
Surely we have improved in our moral tastes for no¬
where is there to be found, to-day, such exhibitions of
nudity as were then raved over. Morgan's living statuary,
packed the playhouse from floor to ceiling, until, owing
to a forced censorship, the presentation was moderated,
and a system of draperies formulated which very quickly
caused a decided falling off in the attendance, and soon
afterwards, a withdrawal of the attraction altogether.
Among the business men of the theatrical world, a
quarter of a century ago, John H. Russell cut a wide
swath. He became interested with W. A. Mestayer in the
latter's musical comedy ventures and, in the early 8o's,
organized the best company of comedians that has ever
graced the stages of this country.
"Russell's Comedians" was the title of this equipment
and among those featured were Willie Collier, Charles
Reed, and the dancer Amelia Glover, known as the "Little
of 9®u$it ana t|)t Drama
267
Fawn" afterwards the wife of poor Russell, who ended his
days a raving maniac at Bloomingdale Asylum.
"Will" A. MacConnell was a popular figure in the
amusement world, up to the time of his demise. He was
one of three brothers who in 1859 were "devils" in the
type setting department of the Detroit Tribune; Nick
Norton, long a trusted employee of Messrs. Hyde &
Behman was also a "devil" in the same establishment.
The other two MacConnell brothers were Charles and
Joseph. The latter died shortly after the close of the war,
from a disease contracted in the Army. Charles is still
alive and is enaged in the drug business. He was with
"Jack" Haverly in the latter's halcyon days. William,
alone of the three, reached prominence in the theatrical
world, and he was unquestionably one of the most
brilliant business managers of any period. While as a
press representative he was perhaps unequalled, one of
his most noted achievements was as the acting manager of
Koster and Bial's on West 34th Street, and it was during
his regime that this establishment played to gross receipts
in excess of $15,000 a week, a sum total that was almost
unbelievable at that time.
The Violoncello has scarcely ever proved a popular
instrument in America. None of the several truly great
artists who played that decidedly most delicious of all
string instruments were able to make prolonged concert
tours such as was always possible with violinists and
pianists. Of those that this country was favored by,
Anton Hegner, Gerardy, Victor Herbert and Anton
Heking are the easiest recalled.
Hegner was born in Copenhagen and was brought
hither by Walter Damrosch, who has been conversant
with the European career of the Danish 'Cellist. Much
was anticipated from his appearances and indeed, for a
period, the marvelous playing of the Dane caused large
268
jTorti? Ipcars Dfcsertmticni
audiences to gather at Carnegie Hall, whenever he was
announced, but his vogue was of comparatively short
duration. As a soloist in the concert organizations of a
lyric star like Adelina Patti, Hegner not only shone to
great advantage, but was really a magnet, attracting the
public to a great extent, and commanding more critical
encomiums than any of the other artists in the coterie
which Patti's Company contained. Hegner, as a com¬
poser however, has prospered always and his various
works for orchestra are widely circulated and performed
whenever music is a factor. He is now writing a Grand
Opera at the solicitation of a well-known Impresario.
Victor Herbert also reached the highest pinnacle of his
fame as a composer rather than as a virtuoso, though as
a conductor he obtained wide renown, and to this day, is
welcomed enthusiastically whenever his orchestra is
heard. But it is as a composer of comic opera and of
musical comedy that he is best known. Herbert's ca¬
pacity to turn out new works is well-nigh unlimited. He
is often to be found in attendance at social gatherings
and is a vital factor in the clubs, particularly "The
Lambs."
Many a player and quite a multitude of singers have
felt the substantial aid which this big hearted Irishman
has never been known to refuse; none ever approached
him in vain. He had a singular way of bestowing bene¬
factions without subjecting those helped to the embar¬
rassing necessity of expressing gratitude. He was born
in Dublin, Ireland, in 1859, and is the son of a Dublin
barrister and the grandson of the great poet-painter-
novelist, Samuel Lover.
A strange prophesy accompanied the boy's birth. An
old gypsy fortune teller, who had received alms from his
father's servant predicted that one day he would be a
great composer and, after forty-nine years, this bids fair
of spusi'c anD tlje Drama
269
to be fulfilled; he is, to-day, one of America's foremost
writers of music, and in the zenith of his career.
The boy's father died shortly after his bii*th, and his
mother removed to her father's at Seven Oaks, a suburb
of London.
Samuel Lover's house was the rendezvous for the most
celebrated literary, artistic and musical men, among the
latter was the famous 'cellist, Piatti, whose wonderful
playing so impressed young Herbert.
Herbert was taken to Germany at a very early age,
and entered in the gymnasium at Stuttgart. A school
orchestra was formed and young Herbert was given the
piccolo to play.
The evening of the first concert arrived but, unfortu¬
nately, Herbert whose little solo was in the first piece, the
overture from "The Daughter of the Regiment," was
affected with stage fright. This was his first and last
appearance as a piccolo soloist.
Shortly after this he took up the 'cello and showed
great natural ability, making such marvelous progress
that he was at once the wonder and delight of his
teachers. He went to Baden-Baden, where he studied
for two years under Bernhardt Gossman. For the next
four years Mr. Herbert, now a full-fledged 'cellist, played
engagements with concert orchestras all over Germany,
Italy and France, finally ending in Vienna as solo 'cellist
in the famous Strauss orchestra. Leaving Vienna, he
went on a concert tour through Germany and Switzerland
as 'cellist.
Returning to Stuttgart, he was offered a position in the
Royal Court Orchestra which he accepted, as it gave him
an opportunity to resume his studies in composition.
Herbert soon completed his first large composition, a
Suite for 'cello and orchestra, Op. 3, which is now played
by all the leading 'cello soloists in the world.
270
jfortp ^earg SDtJ0eruation
During the Summer of 1886, Frank Damrosch went to
Stuttgart in search of singers and musicians for the
Metropolitan Opera House in New York City. He was
so impressed with both Mr. and Mrs. Herbert's work
(Mrs. Herbert was the prima donna at the Royal
Theatre) that he offered them an engagement, which
they accepted, arriving in the United States in October
of the same year.
Mr. Herbert took his place in the orchestra of the late
Anton Seidl and the latter, taking a great fancy to the
genial Irishman, made him assistant conductor, in which
position he remained for several years. He then joined
Theodore Thomas in the same capacity. At the first
symphony concert given by Anton Seidl at the old Stein-
way Hall, Mr. Herbert's Suite for string orchestra was
given a prominent place on the programme.
In the Spring of 1894 Mr. Herbert met William Mac-
Donald, the head of the famous Bostonians, and the
composer found himself in touch with light opera of the
best kind.
MacDonald became very much interested in Herbert's
work and induced him to write a light opera for the
Bostonians. It was called "Prince Ananias," and was
given its first production at the Broadway Theatre, New
York City, November 20, 1894. Since then Mr. Herbert
has established the wonderful record of writing twenty
light operas without one failure. Among these are "The
Serenade," "The Wizard of the Nile," "The Idol's Eye,"
"The Fortune Teller," "The Singing Girl," "The Ameer,"
"Cyrano de Bergerac," "The Viceroy," "It Happened in
Nordland," "Babes in Toyland," "Babette," "Wonder¬
land," Mile. Modiste," "The Red Mill" and others.
In 1896 Mr. Herbert was appointed bandmaster of the
famous Twenty-second Regiment band, succeeding Pat¬
rick S. Gilmore. At the expiration of his term with this
VICTOR HERBERT. JULIAN EDWARDS.
of mmlt anD the Drama
271
orchestra he accepted the postition of conductor with the
Pittsburg Orchestra. He toured the country with it until
1904, when he returned to New York and organized his
own orchestra.
Mr. Herbert is perhaps the only composer who, al¬
though educated along ultra-classic lines, has the faculty
and grace for works of the lighter sort, emphasized by
remarkable power of invention and unquestionable
originality.
Philadelphia, now having an opera house equal to any
that exists in other large cities, is at this time the subject
of much discussion in the press, and misgivings are ex¬
pressed as to the permanency of the Home for Grand
Opera which Mr. Hammerstein has built there. The
city of brotherly love has always held its own with other
great musical centers, and many important experiments
have been attempted there, with results not discreditable
by any means.
The man who has accomplished the most and who gave
the best years of his active life to educate the Philadelphia
public for Grand Opera is Gustav Kinrichs who, in 1876,
managed the famous season of opera in San Francisco,
when Theodore Wachtel and Carl Formes were the stars.
Hinrichs came East in 1885 and was the conductor of
the first American Opera Company, organized by Mrs.
F. K. Thurber in 1885. When this truly ennobling enter¬
prise failed for want of public support, Hinrichs gathered
together the remnants of the principals and, with a
smaller chorus and orchestra, started, in 1888, at the
Grand Opera House in the Quaker City on North Broad
Street, a summer season at popular prices; for no less
than nine consecutive seasons this venture was sustained,
if not with great profit, at least without serious loss, and
it is but fair, in view of the industry of this conductor-
impresario to state that the following novelties were
272
jForty ^eat0 ©frsertoatton
actually first introduced to the American public, by this
company, and as such the list is well worthy of record:
"Cavaleria Rusticana," "Pagliacci," "L'Amico Fritz,"
"Manon Lescaut" and the "Pearlfishers."
At the conclusion of his Philadelphia labors, Herr Hin-
richs was gladly secured by both Maurice Grau and
Heinrich Conreid as one of the conductors of the Metro¬
politan Opera House.
Henry Clay Miner, generally known as Harry Miner,
began at the very bottom and worked his way up to
prominence and affluence, owing to his tireless energy
and sound mentality. He was a graduate of the College
of Physicians and Surgeons.
I recall him first in 1866, as the advance agent of
Slavianski's Russian Opera Company; he was also em¬
ployed by Jacob Grau previous to this date, in a business
capacity. Miner foresaw the Bowery was to be a
lucrative field for varieties, and he built every music hall
that this thoroughfare has ever devoted to English vaude¬
ville.
When Harry Miner's Theatre was built, Thomas Don¬
aldson took charge of the London Theatre, before held by
Miner, and remained there until 1895, when he was suc¬
ceeded by James H. Curtin who had been the assistant
manager since 1889. E. A. Bull, the treasurer of the
London Theatre to-day, has occupied that position since
the house was built in 1876.
Harry Miner's success on the Bowery was nothing
short of phenomenal; he was clever enough when he did
become ambitious not to release his valuable Bowery
holdings.
He built the People's Theatre at 201 Bowery. It had
previously been Tony Pastor's Bowery Home and here,
too, for many years fortune favored Miner. The demand,
created by Poole and Donnelly's great success, for com-
of sgustc anli tf)t Drama
273
binations at popular prices led Miner to duplicate this
policy, and he maintained it for many years. Finally the
astute manager reached Broadway, having leased the
Fifth Avenue Theatre which he successfully conducted
for several years and with this connection he branched
out in all phases of the theatrical business. He also estab¬
lished a large printing and lithographic house in his
name, opened two large drug stores in New York and, at
all periods, was the backer or manager of a large number
of touring companies and stars, including Eleanora Duse,
Mrs. J. B. Potter, Jas. A. Heme and the celebrated Pat
Rooney.
Miner was twice married; his first wife being Julia
Lucinda Moore, who bore him a large family. His sec¬
ond wife was Annie O'Neill, a beautiful and intelligent
actress who retired from the stage as soon as she became
Mrs. Miner. One child, a son, was born of this second
marriage.
Before his death Harry Miner became the Honorable
H. C. Miner, having been elected to Congress from his
own district on the East Side, in a reform year when he
was the only Democratic member to be elected.
On the Bowery he was "Harry" Miner, at the 5th
Avenue Theatre he was Henry C. Miner, and at Wash¬
ington he was the Honorable H. C. Miner. At the time
of his death, his fortune was estimated to be in excess of
a million dollars. He left several sons, all of whom are
to-day actively engaged in the perpetuation of the vast
Miner holdings; the position of the estate has always been
regarded as impregnable, reflecting the care and conserva¬
tive policy of its builder.
"Gus" Hill was born in New York City, February 18,
1859.
Here is a man who has had sense enough not to grow
27 4
jfortp }?cax$ ©ftgertoatiott
too ambitious and who knows enough to follow up his
advantages.
Hill was a professional club swinger and was known as
"King of the Clubs" for many years before he became
a manager, which occurred when he felt he could make
more money engaging himself than working for others.
He organized a specialty company, then another, and then
branched out into melodrama, musical comedy, and bur¬
lesque. Finally he became interested in theatres as well;
at one time his enterprises were numerous.
Hill believed in printer's ink and, though a close fig-
urer, was honesty personified in his business dealings.
His fortune has been variously estimated from $150,000
to $500,000. However that may be, he is certainly a rich
man and one whose career is well worth the record its
here receives.
The most successful of Hill's various ventures was un¬
doubtedly the plays written around the character of
"Happy Hooligan" and "Alphonse and Gaston," the
former in one season yielding a profit of more than
$60,000.
Ernest Goerlitz was born December 24th, 1864, at
Berlin. He was graduated from a high school there
(Luisen-Stadt, Realschule), and began his career as a
sailor boy with the object of becoming an officer in the
navy. While at sea, his father died and he was recalled;
the financial reverses in the family rendered his naval
career impossible.
He then entered a commercial career and acquired a
most thorough commercial training, also a thorough
knowledge of English and French.
He came to America in 1887 and entered the employ of
W. Dazian, the foremost costumer in New York, where
he stayed five years. By recommendation of Mr. Dazian
he joined the firm of Abbey, Schoeffel and Grau, in 1893,
of C^usic and t&e Dtania
275
and remained with them until their assignment in 1896.
He then became secretary and treasurer of the reorgan¬
ized concern which existed for one year under the title
of Abbey, Schoeffel and Grau, Limited. When that com¬
pany was wound up and the Maurice Grau Opera Com¬
pany formed, Goerlitz became Secretary of the organi¬
zation.
When my brother's unfortunate illness compelled him
to retire and the Conreid Metropolitan Opera Company
was formed, Mr. Conreid engaged Goerlitz as his general
manager. His contract as general manager for that or¬
ganization only expires in 1911, but, finding that the
tremendous strain of work, especially during the last few
years had begun to tell severely upon his constitution, he
resigned his position early last season, to take effect at the
end of that season.
He has since entered into an agreement with the newly
formed company by which he has the sole right to make
all concert engagements for their artists.
MAURICE GRAU was born in Brunn, Austria, in
1846, and came to this country when but five years of age.
He began his theatrical career as a libretto boy. His
education was received at Columbia College, in the city
of New York, and at an early age he began to assist his
uncle, Jacob Grau, an impresario of note in the 6o's.
Maurice earned a large salary, too, as an advance agent,
before he reached his majority, but his managerial career
began when he and Charles A. Chizzola scraped together
about $2,500 and brought Marie Aimee and a French
Opera Company to America. About this time Jacob
Grau met with an accident in Vienna; he had a contract
with Anton Rubinstein which had great value, and the
nephew was given entire charge of the enterprise. Wm.
Steinway, head of the great piano house, aided the youth-
276
jfortp Observation
ful impresario with $10,000, and the tour was, for those
days, immensely propitious.
The next year, Tomaso Salvini was brought over and,
the same season, Maurice Grau, in partnership with C.
D. Hess, brought out Clara Louise Kellogg at the head
of an English grand opera company that for many years
afterwards had great vogue; this was in 1874. In 1876,
Centennial Year, Mr. Grau brought over Jacques Offen¬
bach for a series of thirty concerts at Madison Square
Garden, then under the management of the late E. G.
Gilmore. This was a failure, financially, and after a week
in Philadelphia, Maurice conceived the brilliant idea of
combining Offenbach and Aimee, and at Booth's Theatre
"La Vie Parisienne" was revived with a scratch com¬
pany to receipts that up to that period had never been
equalled. After this the achievements of the young im¬
presario multiplied. He leased the Lyceum Theatre on
Fourteenth Street, now occupied by Mr. Rosenquest, the
most historic playhouse still standing in this city, and
here he presented, besides Aimee, Mrs. Rousby, the Eng¬
lish beauty; J. L. Toole, Adelaide Neillson, the most
charming Juliet the stage has ever been adorned by;
Adelaide Ristori, and Emily Soldene and her English
Opera Bouffe Company, an organization which rivalled
even the Lydia Thompson Troupe in the beauty of its
female members.*
Afterwards Mr. Grau brought to America Anna Judic,
Louise Theo, Paola Marie, Mils. Angele, and also Victor
Capoul, the erstwhile Grand Opera tenor. With this
last trio he gave "La Fille de Mme. Angot" and other
French operas with great success. It was during this
period, in 1878-79, that Offenbach's "Contes d'Hoffmann"
was first given in America, and it is here positively stated
*C. D. Hess died early in February, 1909.
mm****
MARISKA ALDRiClI
OLIVE FREMSTAD.
EBEN I). JORDAN.
(Capitalist.)
Of Boston's New Opera House.
ALLEN HINCKLEY. SIGNOR CARBONE.
Stars of Grand Opera and Boston's public-spirited citizen.
of Q3u0ic anD tl)e Drama
277
that the work as then given was the very same as is now
being so sumptuously rendered at Mr. Oscar Hammer-
stein's palatial opera house.
The career of Maurice Grau, after he joined hands with
Henry E. Abbey, has been so often related and is so
generally known that it is not desirous to continue the
subject further than to state that, broken down by over¬
work, he retired from the great enterprise that he had
constructed in 1903, having amassed a fortune very close
to a half million dollars. He died at his home in Croissy,
France, on March 14, 1907, at the age of fifty-eight.
It may be said that he was the first grand opera im¬
presario that did not die penniless. Others lost money
continuously, and he, when he at last had mastered the
almost impossible, lost his health; after all his was the
greater loss. A widow and one daughter survive him.
In the last twenty-five years there have been two
worthy and serious efforts to establish Grand Opera in
the vernacular, and from a spectacular point of view and
considering the number of artists engaged, both the
Thurber and the Savage-Grau attempts were superior to
those further back in which Parepa Rosa, C. D. Hess,
Clara Louise Kellog and "Honest little Emma" Abbott
figured extensively.
Mrs. Thurber's desire to create a permanent field for
Grand Opera in English was surely a most commendable
one, and none can question the remarkable progress
effected, or the seriousness of her purpose, as illustrated
in the performances given at the Academy of Music and
on tour. The other effort was that of Henry W. Savage
with his forces amalgamated with those of Maurice Grau,
who was only too glad to find a field of endeavor for the
Metropolitan Opera House for the early Fall and late
Spring.
The company at the Metropolitan was surely the
278
jfortp spears Dfcserimnon
largest and also the most distinguished of any this coun¬
try has ever listened to in Grand English Opera including
among others, Zelie de Lussan, Fanchon Thompson,
Ingeborg Ballstrom, Grace Golden, Louise Meislinger,
Phoebe Strakosch, Lloyd D'aubigne, Homer Lind, Lerri-
priere Pringle, William Pruette, Joseph Sheehan, and oc¬
casionally augmented with an artist or two from the Grau
Italian Opera forces.
The company inaugurated its season on the 15th of
December, igoo, and some of the operas rendered were
"Mignon," "Faust," "Tannhauser," "Lohengrin," "Trova-
tore," "Romeo and Juliet," "The Mikado" and "Pinafore."
One novelty was presented in giving Thomas' "Es¬
meralda," but no better illustration of the public desires,
as far as English Grand Opera was concerned, at least at
that period, can be offered than to mention the fact that
by far the largest receipts of the English season were
drawn by "Mikado" which ran two consecutive weeks
(a theatrical achievement in itself) to audiences of a
capacity nature. "Pinafore," produced immediately after¬
ward, was nearly as well received, and it should be stated
that had it not been for the financial results accorded to
the Gilbert and Sullivan Operas, a far greater loss would
have been sustained than the "insignificant" one pro¬
claimed by Messrs. Savage and Grau in reporting the
results of the season at its close.
The writer is not one of those who look forward to the
forthcoming possibility of Grand English Opera in the
two local opera houses with great hopes, in fact the fate
of the efforts will depend on the decision of the leaders
of fashion, and even if this is favorably obtained, the
absence of the Latin and German public cannot be re¬
placed by audiences large enough to warrant a prophecy
of permanency and success for English Opera upon a
$5 basis. Any attempt to cast a distinction by a re-
of Q3u0ic and t|je Drama
279
duction of the scale of prices would be ruinous and dis¬
pose of the entire undertaking instanter. The best field
for English Opera would be in a separate opera house
at special prices and in competition with the others. Here
operas like "Maritana," "Bohemian Girl," "Lurline" and
even the entire repertoire given at the two opera houses
could be duplicated, but it is not hoped that the next
twenty years will develop English Grand Opera as a
financial success on a seat scale of the same rates which
now prevails.
True, one cannot tell what would happen if Caruso and
Melba were to sing in the vernacular and also none can
foretell what would be the result of "Cast juggling" with
the idea of forcing a success for Grand Opera in English.
Still, without the seal of fashion and an absence of all
distinction in its presentation, it does not appear to be the
easiest operatic problem that the next generation has to
solve.
Henry W. Savage was born March 21, i860. He began
his theatrical career on May 5th, 1895, when force of
circumstances, not necessary to be here named, caused
him to become the head of an organization known as the
Castle Square Opera Company, having its permanent
home at the Castle Square Theatre in Boston.
Mr. Savage, however, at first was only a manager in an
incidental way, having other large interests in Boston.
Very soon the operatic company under his control began
to improve in all respects and, eventually, it became the
representative organization, presenting grand, standard
and comic operas in this country. This progress kept
broadening until the Metropolitan Opera House, as else¬
where mentioned, became the scene of its activity; this
was followed with notable productions of "Parsifal" and
"Madame Butterfly," though it should also be stated that
Mr. Savage was the first to present nearly every novelty
280
jfortp ^ears ©tertmtion
in opera in Anglicized form, while several operas of great
importance such as "La Boheme," he was the first to
present in any language.
Mr. Savage's achievements in comic opera and musical
comedy were upon a multitudinous scale. Among the
most successful should be named "King Dodo," "The
Shogun," "The Yankee Consul," "Peggy from Paris,"
"Woodland," and finally "The Merry Widow" in which
the successful impresario distanced all his competitors,
and captured the rights of an opera which, despite much
litigation has, undoubtedly brought him more profit than
all his other enterprises combined.
In the dramatic field, Mr. Savage has also been a con¬
siderable factor; no manager can lay claim to a smaller
minority of failures than he. The three most conspicuous
successes in the dramatic line were "The College
Widow," "The County Chairman" and "The Devil."
If English opera is ultimately to find permanent
presentation in this country and the agitation which at
present is prevailing is sincere, then it will be well indeed
if the name of Henry W. Savage becomes identified with
the effort; for here is a man who would not only bring
to it requisite experience, but the capital and tenacity of
purpose which, in grand opera impresarios, is so often
lacking.
Even thirty years ago the site of what is now Proctor's
Theatre on West 23d Street, was generally used as an
auditorium and it was here that Salmi Morse, a man of
much intellectual power and untiring energy, first at¬
tempted the famous Passion Play in New York City.
The place had been used for all sorts of affairs; Koster
and Bial's was in the same block, a much gayer resort
than New York possesses in this year of 1909.
Great excitement had been created by Morse's an¬
nouncement. He had just come from San Francisco
of QDuatic attO t\)t Drama
281
where he had succeeded in presenting his version of the
sacred story. With him was associated the late H. J.
Eaves, a well-known costumer of that period, whose son
still is the source of supply for the majority of players
who provide their own costumes. Eaves was selected
because of a supposed resemblance to the accepted or
rather the prevailing idea of the features of the Son of
Man. Together with a band of players who had diligent¬
ly rehearsed for a long time, they succeeded in giving a
public rehearsal of the sacred play; the advertised per¬
formances were never given and it is perhaps well that
they were prohibited, for at no time has there been found
a public sufficiently large to be attracted to the various
similar efforts in other cities. In a financial sense no one
has ever made any profit on the Passion Play.
Morse, while he lived, never ceased his efforts, and at
one period he succeeded in interesting the far seeing John
Stetson sufficiently to be granted an interview. Stetson
was not difficult to approach, none of the old time man¬
agers were, and it was possible to reach his heart too,
even if he was brusque and supposedly illiterate. He was
a brilliant man, with a dignified air that stood out
strongly despite the fact that he in no way sought to
appear as an imposing figure. He was inclined to try
the Passion Play in Boston. He informed Morse that the
production would have to be on a spectacular basis, even
if only a single performance could be given, and the two
began to figure on the cast and numbers required for an
appropriate rendition.
Morse became enthusiastic, as was his natural
demeanor, and began to dwell on the strength of the
scene where the Savior takes leave of his beloved disciples
and breaks bread with them, saying that he would re¬
produce this scene faithfully.
"I will have the twelve apostles costumed by Mr.
283
jTottg ^earg £>&0erttation
Eaves, in a manner that will be decidedly effective," said
Morse.
To which Stetson responded in that voice and with that
vigor for which he was noted:
"There you go again, trying to economize. Twelve
Apostles? I thought you were going to be spectacular.
We will have forty apostles at least."
Pablo Sarasati, the renowned violinist, who died only
a short time ago, came to this country with Eugene D.
Albert in 1892 and the two proceeded on a lengthy con¬
cert tour under the direction of Abbey & Grau. These
two artists while attracting much attention in America,
were not as well received as their reputations and gifts
entitled them to be.
Sarasati loved the violin as he did his life and when in
New York was disposed to roam about the violin ware-
rooms of Victor Fletcher, testing the various old instru¬
ments which Fletcher was always possessed of.
With the exception of Henri Wieniawski, Sarasati was
considered the greatest virtuoso of the violin that New
York had heard since Joachim.
It will be interesting to note what will be the status of
the two violinists now enrapturing New York audiences.
It would seem that Mischa Elman and Albert Spalding,
ten years hence, should be in the zenith of their powers;
both give every indication of achieving the greatest
results. It is to be expected that the greatest living
violinist, ten years from now, will be one of these two
favorites of to-day. And the writer is inclined to predict
the greater career, ultimately, for Spalding.
Both have passed the era of the prodigy and there is no
great difference between them, save that the foreigner is
more raved over in this country. This is nothing novel;
we have always lionized the foreign visitor, whatever his
artistic claim.
of cpttsic and tfje Drama
283
We should be thankful that we have reached the stage
where several grand opera stars are permitted to pose as
Americans. It was not always thus and it is indeed com¬
plimentary to Mesdames Eames, Nordica, Farrar, Abbott
and others that they have been able to sustain their rank
in the world's greatest opera house without being com¬
pelled to conceal the locale of their birth.
Just twenty years ago Olga Nethersole made her debut
on the English stage and in this instance it is to be re¬
corded that stellar honors were assumed almost at the
outset. Miss Nethersole's achievements are familiar his¬
tory and perhaps the most interesting circumstance to be
related here is the fact that just as soon as his health
began to decline Maurice Grau, in a desire to reduce his
labors, and to employ his efforts in a more congenial field
than Grand Opera, entered into a long time agreement
with Miss Nethersole.
It was his intention to execute a well formulated plan
for the purpose of placing this actress in the very highest
rank and one of his cherished ideas was to revive "A
Winter's Tale" and to make an elaborate production of
"As You Like It," but this interesting project was never
accomplished. When, in 1904, the impresario was or¬
dered abroad for a two years' rest, he regretfully and even
bitterly arranged for a cancellation of his agreement with
the English artiste, to whom this sad development was,
as she herself expressed it, "One of the great disappoint¬
ments of my life."
Miss Charlotte Walker, who is appearing with Frank
Keenan as co-star in the Belasco-de Mille production,
"The Warrens of Virginia," is a distinctive stage per¬
sonality in that she had no stage training or schooling,
and embraced the profession through sheer necessity.
Miss Walker is a Texan by birth and after the Gal¬
veston flood was compelled to seek a source for her
284:
jFort^ gear0 SOtertmtion
maintenance. There was no precedent in her family upon
which she could base an incentive for a career and she
herself once observed: "Just went on and did the best I
could. I'd be a fine actress if I wasn't scared stiff all the
time I am on the stage." Miss Walker is noted for a
strong Southern accent which has caused her to be
selected for many "before the war" parts.
Miss Walker only a short time ago became the wife
of Eugene Walter the playwright whose "Paid in Full"
is now enjoying a lengthy run.
Leo Ditrichstein was born in the town of Tenneswar
in Hungary on January 6, 1866. He became a naturalized
citizen of this country in 1904. Both as playwright and
comedian his work has invariably met with great favor;
some of the most substantial successes in farce comedy
have come from his pen.
As an actor, Ditrichstein has been noted for his force-
fulness and the distinctly typical manner in which all of
his stage creations are framed. Whether before a Broad¬
way audience in legitimate comedy or appearing in vaude¬
ville in a wild sketch called "Button, Button, Who's Got
the Button" this player has never failed to embellish his
work, with true artistic depth. No player that can be
recalled has been more sincere in his efforts, and none
have been more painstaking; it has always been taken for
granted that any role entrusted in his care, would receive
a worthy interpretation.
Milton Aborn appeared as comedian in comic opera
some fifteen years ago. For a while he combined the
duties of an actor-manager, the rock upon which many
theatrical ships have been wrecked. He was one of the
few men in the theatrical profession to realize that these
two—acting and management—do not mix auspiciously.
Consequently he decided that he must give up one or the
other, and as management seemed the more remunera-
of ®ustc attD tf)t Drama
285
tive he gave up acting eight years ago. The younger
brother, Sargent Aborn, started as a business manager
and advance agent, and was for many years on the execu¬
tive staff of the late Jacob Litt, and later made a number
of dramatic productions of his own. The first ventures
of the Messrs. Aborn in partnership were opera com¬
panies on tour, and eight years ago they started the
Spring and Summer series of operatic revivals that have
since become annual features in a dozen of the larger
cities of the East. During the first Summer there were
but two of these, one at the Orpheum Theatre in Brook¬
lyn and one at the Madison Square Roof Garden. The
second Summer, Washington, Baltimore and Philadel¬
phia were included in the circuit, making five companies,
and the next year there were seven; the number has in¬
creased each year since then, until the firm of Milton and
Sargent Aborn has come to be recognized as the most
extensive producer of opera in America. Many artists
who began in the chorus or in small parts with them have
graduated to stardom, among whom are such favorites
as Marie Dressier, Marguerite Clark, Elsie Janis and
others. The crowning achievement of their career was
the engagement of thirty-one weeks, to large and enthu¬
siastic audiences, by the Aborn English Grand Opera
Company in New York last Winter, which created a sen¬
sation in musical and theatrical circles and established a
record for grand opera in English.
Morris Simmonds and Horace Wall established, more
than thirty years ago, a dramatic agency on Union
Square, on the very spot now used as a cafe in the Union
Square Hotel. Simmonds was formerly associated with
Col. T. Allston Brown, and these last two named main¬
tained the first dramatic agency worthy of the name.
Simmonds alone had considerable theatrical experience
back in the early 6o's. Horace Wall continued active
28 G
jfortp flD&gertration
until his death, about ten years ago, and was the mana¬
ger of the New Haven Opera House for several years.
He also managed many prominent stars, among whom
the elder Sothern, Mr. and Mrs. Wm. J. Florence were
the most noted.
Few readers of this volume, perhaps, will recall Will¬
iam R. (Billy) Deutsch, yet he was one of the best-
known and certainly one of the most popular men in New
York from 1875 until the time of his demise in 1896.
Deutsch was a first cousin of Maurice Grau and of the
writer. His theatrical connections were invariably due
to personal friendship or from a desire to be near to those
for whom he felt a deep affection. He managed the
Florences for several seasons, and John T. Raymond
played his most successful tours under his direction.
Deutsch also was the lessee of Booth's Theatre for a
brief period, but, as has been stated, the theatrical busi¬
ness was merely an incidental excuse for him to be asso¬
ciated with the gay life of the metropolis. No man was
more beloved than he, and it can be said that the death
of no man in the last fifty years caused greater sorrow
than the passing away of this true "man-about-town,"
after a long and lingering illness.
The most conspicuous achievement in the life of Billy
Deutsch, however, was far removed from the theatrical
line, for he it was who really succeeded in breaking the
bank at Monte Carlo. He also won at Paris clubs,
and, without any exaggeration, he actually did win
about a half million dollars in the short space of less than
a month; when this Prince of Good Fellows returned to
America nothing was too good for his friends. Yet, aside
from the handsome bestowals that he made upon his
mother and sisters, the great fortune was soon squand¬
ered, the quicker perhaps in the belief that the same feat
could be easily repeated, but alas, he did not long survive
TOMASO SALVI X I.
cf 03usfr anD the Drama
287
the exhaustion of his large winnings, and died in Color¬
ado, whither he had gone under the care of friends who
never failed him. On his death-bed this big-hearted
spendthrift called in an attorney and handed him a large
wallet containing notes for almost one hundred thousand
dollars which he had loaned friends in his hey-days.
Battling with death as he had with the cards he said to
this legal adviser in the presence of a trusted friend:
As long as I am alive these notes are safe and the
makers of them are free from molestation, but at my
death my creditors may wish to use summary methods
for their collection, therefore I bring you to witness that
I have destroyed the last vestige of their validity."
Ten minutes after these notes were destroyed, the best
fellow that ever lived breathed his last, and the announce¬
ment of his demise, when it reached Broadway, caused
bitter tears to flow. The body was sent to New York,
where his aged mother and father were prostrated with
grief and they did not long survive him.
A. L. V/ilbur has reached his present status in the
amusement world through recourse to as fair a contest
with the fates as one could desire. He was first asso¬
ciated with Gustave and Daniel Frohman, taking the
original "Hazel Kirke" to California. In 1882 he pro¬
duced "La Mascotte" at the Bijou Theatre with Emma
and John Howson, and gave it as fine a production as
money and care could procure. Wilbur lost $50,000 that
season, so he didn't think the opera was comic to him;
he was broke, too. The early salvation of this man then
came in sight. It was at the time of Jacobs' and Proc¬
tor's great reign; at popular prices the first week's profit
was $1,000. Naturally, this made him think. Art opera
lost $50,000, while popular-priced opera made $1,000 the
first week. This set Wilbur to thinking harder, and he
built up a company of seventy people, with a repertoire
288
jfortp gear# SDtertmtion
of forty operas. He produced novelties and introduced
specialties into the operas, and paid as high as $500 a
week for "The Girl with the Auburn Hair." Other fea¬
tures were added and the profits ran close to $100,000 a
year. Wilbur paid good salaries and never missed an
obligation during this precarious period of experiment.
Susie Kerwin, J. C. Conly, E. A. Clark and W. H.
Kohnle were with Wilbur twenty-five years.
V/ilbur, however, after a quarter of a century of profit
read the signs and he retired from opera and entered
into important business relations with E. D. Stair. To¬
gether they owned the Lyceum Theatre in Toledo; the
beautiful Majestic Theatres in Boston and New York, he
controls in conjunction with the Shubert Brothers, while
the Brooklyn Majestic is owned jointly by Stair and Wil¬
bur.
Wilbur's experience was a notable one, hence its reci¬
tation here. An amusing anecdote, true undoubtedly, is
told of him to the effect that when he engaged the
principals for his opera company, in conferring with his
agent he instructed that worthy to be liberal as to the
compensation of artists, provided they played "poker,"
because as Wilbur put it, "I'll pay them Tuesdays and
win it back the next day."
Florence Edith Clinton (Mrs. Theodore) Sutro, was
born in London, England, on May 1, 1865, and died in
New York on April 27, 1906, within a few days of her
forty-first birthday.
She was one of the most beautiful, gifted and accom¬
plished women of her time and combined with these qual¬
ities a strong, yet sweet and womanly, character. From
her childhood on, until her premature death, her life was
one of ceaseless activity, full of kind and noble deeds,
so that she became to be recognized as a type of almost
perfect womanhood and an example to her sex.
of S0u0t'c attO tf)t Drama
289
She was of an intensely artistic temperament, and at
an early age displayed a remarkable talent for music,
which was carefully trained and developed by her father
who had considerable musical ability, and she was gen¬
erally regarded as one of the best amateur pianists in the
country. But while she continued to devote her chief
attention to music and to the encouragement of every¬
thing that related thereto, her mind was of such breadth
that there was nothing in the field of human knowledge
and achievement that did not interest her.
On October i, 1884, she was married at Jersey City
to Theodore Sutro, a well-known member of the bar,
and who himself had considerable musical and artistic
taste. From that time on, her home was a gathering place
of talented and notable people in music, art generally,
literature, and all walks of life.
In 1895 she was appointed Chairman of the Committee
on Music and of the Committee on Law from New York
in aid of the Women's Department of the Cotton States
and International Exposition at Atlanta, Ga., and at that
time wrote an interesting illustrated pamphlet entitled
"Women in Music and Law," containing, among other
matters, a list of musical compositions and writings on
law by women.
In recognition of her great services to the cause of
music in this country, as well as her own talents and
attainments, in 1899 she received the degree of Doctor of
Music from the Grand Conservatory of Music in New
York, she being the only woman in the United States to
achieve the distinction of bearing that title at that time.
Among the numerous charitable affairs which she or¬
ganized was the production in 1902 of a musical operetta
composed by a woman, the large proceeds of which went
for the benefit of the Vassar Students' Aid Society for
the purpose of assisting several young girls to go to Vas-
200
jFortp gears SD&scrtiation
sar College. It was in that performance that she im¬
personated the character of Saint Cecilia, the patron of
music, and it is her portrait as such, photographed at the
time, which adorns these pages. In loveliness, character
and genius Mrs. Sutro was in truth a modern Saint
Cecilia, and this resemblance was emphasized by the
wonderful fortitude with which, like Saint Cecilia of old,
she bore the intense sufferings of her last illness. This
picture has been greatly admired by artists and others
as the most beautiful Saint Cecilia that has ever been
produced, at the same time that it is a perfect photograph
of Mrs. Sutro. Almost every great artist has attempted
to paint Saint Cecilia, but in feature, expression and
everything about Mrs. Sutro in this character this photo¬
graph surpasses all of them.
of fustic anti tibe Drama
291
CHAPTER X
Anton Rubinstein came to America for one hundred
concerts in the fall of 1872. He, as has been stated, was
under contract to Jacob Grau, but, that impresario being
incapacitated by a paralytic stroke, in Vienna, Maurice
Grau, aided by the generous William Steinway, assumed
his uncle's obligation. The tour began at Steinway Hall,
in October. Henri Wieniawski, the violinist, was almost
as great an attraction as Rubinstein. The latter was
characterized by the New York Herald as "a lion in
person and a giant in art." Two hundred dollars a con¬
cert was all that this artist received on this tour, and he
bitterly resented the terms he was induced to accept.
Ever afterwards he refused to entertain any proposition,
although as high as $2,000 a concert had been offered
him by Maurice Grau. The tour netted about $60,000,
which in those years was considered phenomenal. The
largest receipts were at a Monday matinee recital, when
the great Russian pianist gave the entire programme,
$3,100 being received. Two dollars was the highest price
for seats.
Wieniawski was of ponderous size and as genial as he
was large. His playing has never been equalled by any
of the violin virtuosi who have since visited these shores.
Wieniawski lost much of his potency by appearing here
with so colossal a star as Rubinstein. In the middle of
this great tournee, Grau arranged with Jacob Gosche for
the combined appearance of Rubinstein and Wieniawski
292
jFortp ^eat0 SD&mtoatton
with Theodore Thomas' orchestra; this will give some
idea as to the quality of the musical treats which were
placed before American audiences thirty-seven years
ago. The Rubinstein company also included two other art¬
ists, a soprano, Louise Leibhardt, and a contralto, Mad¬
ame Ormeny, but neither aroused any enthusiasm. It
should be stated here that the late William Steinway ex¬
ercised a vast influence in matters musical, during his ac¬
tive life. No event of importance in the musical world
was possible without his help, and as evidence that this
support was not selfish, it need only be stated further
that in 1873 he also financed for Grau the first American
tour of Tomaso Salvini when that wonderful artist came
to America with his Italian company.
George W. Bunnell was born in Fairfield, Connecticut,
on August 4th, 1835. Before our Civil War, he toured
the country with a menagerie and museum, selling
Yankee notions and refreshments. In a short time he
and his brother, J. W. Bunnell, were connected with
circus companies. In 1861 he had heard much of the
fame of the late P. T. Barnum and had read of his experi¬
ences and knew of his attractive features. He observed
that Barnum didn't always have the right manager, hence
did not always get the best returns for what Bunnell
thought enterprises were worth. He afterwards met
Barnum and his manager at his old American Museum,
which, later, became the New York Herald Building,
corner Broadway and Ann Street. He proposed and
effected a deal for touring the States in the summer,
in tents, and the West Indies in winter. They made a
great success, summer and winter, for three years. From
that time on Barnum welcomed Bunnell, then perman¬
ently in the original Flatfoot Party, which consisted of
the following: Louis Titus (with Angevine and June),
George F. Bailey, John June, Louis June, John J.
of fustic an& t&e Drama
293
Nathans, Richard Sands, G. C. Quick and Avery Smith,
the Captain General, so called. The above were the
principal workers in the party, men of honor, bound by
their word, men of Putnam County New York, and Fair¬
field County, Connecticut, the original pioneers of the
circus field.
These gentlemen would sometimes start an enterprise,
two, three or four together, talk it over in every phase,
all important questions being thoroughly discussed.
They would buy out a circus as it was, or enough to suit
their immediate wants, take it under their wing, and
import first elephants, or rhinoceros, or a hippopotamus,
(the easily trained ones). The one of their party who
understood it best would go to Europe and import, an¬
other would attend to fitting up teams and transportation
wagons, obtaining all the paraphernalia needed, while
another looked after the equestrian end; still others
looked after the trained animals. The first great impor¬
tation was the entire European circus, then known as
"the Great S. B. How's company," from Ashley's Royal
Amphitheatre, London, which, in 1864, was the reigning,
drawing attraction in America. During the last year or
two of this organization, when Barnum was manager, in
Bridgeport, he offered his lot free for the grounds of the
great company, and thus that city became famous in
after years as the winter headquarters of the Barnum
shows.
Later, in 1871, W. C. Coup, Dan Castillo and Bunnell
joined Barnum and the great European show was closed
and sold out. During the summer season of 1872-73,
the Barnum Show, under this management, beat the
world's record (held by Barnum) with fires and floods
against them. In 1874, Coup and Castillo conceived the
idea of a stationary hippodrome for New York, which
was continued for two years. In 1876 a halt was called
294
jFortp jaDtettoattott
and the original policy of management was resumed.
Barnum was induced to sell out to the members of the
original Flatfoot Party, previously mentioned. They
bought the Hippodrome, and returned to first principles
with greater success and made a greater name than ever.
During the seasons between 1875 and 1880, Bunnell
started permanent museums in New York, Brooklyn and
Brighton Beach, in conjunction with Barnum, who in¬
troduced Bunnell to the public and press as his successor
and instructed him to proclaim himself as such. Bunnell
originally conceived the idea of popular priced museums,
not only in stationary buildings, but in opera houses and
theatres, beginning at the Court Square, Brooklyn, leas¬
ing it for five years, privilege conditional to selling
(chance which did happen), leaving him a profit of over
twenty thousand dollars in seventeen months, and ending
the 1st of May, 1883. In Buffalo, St. James Hall was
leased, and Bunnell managed it from 1883 until the
Richmond Hotel fire consumed the entire square, now
occupied entirely by the Iroquois Hotel. This proved
another gold mine. Bunnell was the founder of museums
in America, and he was a factor in the earliest circus
history. To-day he lives in Southport, Conn., but a few
miles from the spot where he was born, and where the
original Flatfoot Party was founded.
Over in Brooklyn, in one of the Percy Williams
Theatres, T^he Crescent, there is one artist, Emelie Mel¬
ville, who to-day is appearing in dramatic roles with as
much success as in her operatic roles; and what a career
she has had! Like Emma Howson, a volume could be
written of her achievements alone. I recall her as
Serpolette in "Les Cloches de Corneville" (she originated
the role in New York), and in "The Royal Middy" how
she did score! Miss Melville succeeded Clara Louise
Kellogg, under C. D. Hess, and I remember her in
of ^U0ic mtO tfje Drama
295
Ambroise Thomas' opera "Songs of a Summer Night"
which had its first hearing in this city at the 5th Avenue
Theatre. The Emelie Melville Opera Company, 1881-
1883, gave a repertoire of Opera Bouffe in English,
"Girofle Girofla," "La Perichole" and "La Grande
Duchesse" being particularly well given. Is it not worth
while to recall such artists before their careers become
obsolete? Now comes to my mind Fred Leslie who, in
"Madame Favart" at the Fifth Avenue Theatre, in 1884,
with Catharine Lewis in the title role, drew tremendous
audiences for months. Leslie was a comedian of the
most finished type and his premature demise was a sad
happening. Catherine Lewis was undoubtedly the great¬
est Olivette that ever lived, not excepting Marie Aimee.
Her career, however, was very stormy and she did not
prosper for a long period. Alice Oates, for over fifteen
years, headed her own Opera Bouffe Company; some of
our best comedians of to-day and not a few stars, received
their schooling in her organization. Samuel Colville
directed the Oates Company for a few years, and while
he guided this gifted woman she was a potent attraction.
Among others who came to America at the head of
English Opera Bouffe was Julia Matthews, who was so
typically English that she was not understood here; in
England she reigned supreme.
Then came Violet Cameron, who had about the first
live lord in her wake that England had sent hither as
Press Representative—the real Lord Lonsdale—too! Oh,
what a rumpus he did kick up while he was here, about
the Casino! Violet failed most signally, and her failure
can be attributed to the absurd idea, which then prevailed,
that the coming of Lord Lonsdale would be accounted
to the constructive side of the enterprise.
Barry Sullivan, the Irish tragedian who came to
America in the late 70's, under the management of Jarrett
206
jTorti? ^eat0 SDfcsertmtion
and Palmer, and appeared at Booth's Theatre, did not
score a great financial success, and even his own country¬
men, as a rule so loyal, did not enthuse over him, though
his Richard the Third was perhaps the greatest expo¬
sition of that role that this country had witnessed, at
least up to that time; if it has been excelled since then,
it must have been by Richard Mansfield, an artist whose
extraordinary and wholly charming career is being ex¬
ploited at this time in a special volume with which I can
not hope to compete. I may here be permitted to state
that Mansfield's Dromez in "Manteaux Noirs" (Black
Cloaks) was as consummately artistic as anything that
he ever afterward presented.
Madame Nazimova might yet be playing in the Ghetto
district but for the foresight of Henry Miller. This
unique artiste came out here with a band of Russian
players, whose vicissitudes were simply unbearable to an
artist of such distinction; when the opportunity came she
had both the ability and the disposition to forsake the
Russian stage. Her most perfect work was first offered
to this public in a dingy hall on East Third Street but a
few years ago. In this environment Henry Miller had
the courage to approach her and in a single night, as the
saying goes, but in this instance it was at a matinee, her
fame was spread. Her first English appearances, at a
series of matinees at the Bijou, The Princess, and the
Herald Square Theatres, drew audiences limited only by
the size of the auditoriums. Her matinees, of which
nearly thirty were given in rapid succession, became the
fad; finally a regular and lengthy engagement at the
Bijou Theatre resulted in placing Madame Nazimova in
the front rank, permanently, and to-day she is one of the
most important of the Shubert attractions.
If a critical work were expounded, few players have
provided more material for its contents than Henry
HEXRY MILLER.
HAMILTON REVELLE.
WALKER WHITESIDE.
LEO DETRICHSTEIN.
of and tbt Dtama
297
Miller. Mr. Miller, as recalled by this writer, was at all
times a conspicuous figure. In Howard Taylor's
"Caprice" he gave Minnie Madden (now Mrs. Fiske)
such support that his stellar position was even then, in
the early 8o's, assured. Miller married Matilde Heron's
daughter Bijou, one of the world's few prodigies to
reach a career of importance. In 1902 when, after about
six years of negotiations, I prevailed upon Miller to
follow in the footsteps of so many others, and embrace
vaudeville, $1,500 a week was the bait I set for this dis¬
tinguished capture. Mr. Miller presented "Frederic Le-
maitre" in which he scored the most remarkable and the
most artistic triumph that had, up to that time, been
achieved in the growing vaudeville field. This one actor
embraced the opportunity as frankly as he did unassum¬
ingly. He wanted the money, and he did not think it
would injure him. And let it be said that the Henry
Miller prosperity began with this engagement. With
the profits of this effort he was enabled to join the Messrs.
Shubert at the Princess Theatre where, with Margaret
Anglin, in "Zira," he began a period of activity which has
resulted in his becoming one of the most important pro¬
viders for the stage in this country.
Bertha Kalich like Madame Nazimova, was "discov¬
ered" in the Ghetto. There she held sway for several
years in the Windsor Theatre, then called after her, and
was directed by her husband, Leopold Spachner. In this
playhouse she was the main attraction during almost its
entire devotion to Yiddish plays, and the repertoire ac¬
cumulated by her was of the most extended description.
Madame Kalich created the leading roles in the majority
of works evolved by Jacob Gordin, and other renowned
contributors to the Yiddish stage. Like Jacob Adler, she
first attracted the attention of American play-goers at
the American Theatre, where for two weeks she was seen
298
jfortp ^eat# Dfcsertmticm
supported by an English-speaking company, and it was
at this time that Harrison Grey Fiske began to negotiate
for her permanent appearance as an English-speaking
star. Among her greatest successes under this regime
may be named "Monna Vanna," "The Kreutzer Sonata,"
and "Marta of the Lowlands," the latter of which had
previously served another actress from the Yiddish stage,
Miss Fernanda Elliscu, who, however, graduated from
the English stage to the Yiddish; she succeeding Madame
Kalich at her own theatre.
In the Fall of 1891, Mr. A. M. Bagby inaugurated, in
his own studio at "The Rembrandt," the series of musi¬
cal mornings which to this day have been continued with
so much success. It was in 1893 that these delightful and
artistic events were transferred to the ball-room of the
Waldorf Astoria. At the outset Mr. Bagby lectured on
the history of Music, and illustrations by the best artists
of the period were used to typify the subjects theorized.
Since then nearly all the great artists of Grand Opera
and all the great vocal and instrumental celebrities who
have visited these shores in the last fifteen years were
heard. These "Mornings" are not public, and were made
possible by private subscription, the subscribers multi¬
plying until, to-day, the list represents over two thousand
of the most influential and aristocratic music lovers of
this city. Mr. Bagby wrote "Miss Traumerie," a musical
novel in which Franz Liszt and his best-known pupils
of this generation are the central figures.
Out in Seattle there is a man named John Cort who,
thirty years ago, was running a "joint" as such places
were called. To-day he has a chain of thirty theatres
under his personal control, and is also the manager of
Madame Calve. He has five or six dramatic attractions
of importance at all times. Cort was a queer figure at
the outset of his career, and he will not deny that his
of S$tJ0ic anU t]l)t Drama
200
early operations were conducted on lines that he would
to-day abhor.
Pietro Mascagni, when he came to America in the fall
of igo2, was under the direction of the Brothers Mitten-
thal, who through an agent named Kronberg had been
induced to provide the capital for the most disgracefully
conducted enterprise of the last decade. Had Mascagni
visited these shores under a manager like Henry Wolf-
sohn, or had he even come without business aid,
he would have been one of the sensations of the
period. Coming, as he did, with a bad mixed orchestra
and endeavoring to make three productions of wholly
new works with but a single orchestral rehearsal for each,
his tour resulted, as it only could, in disaster. Mascagni's
brief reign in this country was replete with far from
pleasant and certainly not dignified experiences; yet he
was by all odds the greatest and most worthy musical
figure that has visited us during the last ten years. His
work as a conductor, even under all circumstances, was
of such kind as to cast a spell 'over the few spectators
who gathered to listen to his works. The Mittenthals
are six or seven in number. They came from Blooming-
ton, Illinois, and are the "Impresarios" of Melodrama on
a large scale at this time. Their badly conducted tournee
ended in Mascagni's arrest, in Boston, for debt, and he
left this country under conditions greatly to be regretted,
and which, for a time, seemed to threaten international
interference.
Ben Greet was born in London, and is entering his
fiftieth year, more than half of which has been devoted
to the standard dramas. After an apprenticeship of five
years in various "stock" companies he appeared upon
the London stage in "Cymbeline" with Miss Wallis and
E. S. Willard, followed by a series of classical plays at
what were then known as "Gaiety Matinees."
300
jortp gears SD&settoaticm
The Gaiety, under the management of John Hollings-
head, was the first established of the matinee theatres
of London.
Soon afterward Mr. Greet joined the companies of Mr.
Henry Abbey, and supported Miss Anderson and Mr.
Lawrence Barrett at the Lyceum. He was engaged to
come to America in support of Mme. Modjeska, but,
plans being altered, he was transferred to the support
of another American star. For two years he played the
part of the dude in Miss Minnie Palmer's first production
of "My Sweetheart," in which play he was also nearly
fated to cross the Atlantic, but succeeded in transferring
the role to Lawrance D'Orsay, who made a memorable
hit in it. The tendency toward Shakespeare asserted it¬
self and, in 1887, Mr. Greet was asked to give open-air
plays at London, Windsor, Oxford and Cambridge, Mil¬
ton, Askridge, Warwick, Stratford-on-Avon, and other
Shakespearean centres, in commemoration of Queen Vic¬
toria's Golden Jubilee, Since then he has continued the
practice each summer; for the winter months he has
gathered a company of young and enthusiastic players of
the chief London theatres around him. They were origi¬
nally known as "The Dramatic Students," but the title
being somewhat misleading it was eventually changed to
"The Ben Greet Players"; for the open-air plays the addi¬
tional word "Woodland" was prefixed. He was invited by
the Elizabethan Stage Society to reproduce the old
morality play "Everyman" before the general public, it
having been given only as a semi-private representation
in London the previous season.
The play was given for three months, at various thea¬
tres in London, and ran all through the "Coronation"
season, causing one of the greatest sensations of the
time. Soon afterwards Charles Frohman persuaded Mr.
Greet to bring the play to America, where it opened to
FELIX MORRIS.
(Deceased.)
JAMISON LEE FINNEY.
MAX FIGMAN.
A trio of renowned actors.
of (©U0ic anD tf)t Drama
301
$46.00 at Mendelssohn Hall in October, 1902. After the
third representation the manager was invited to pack up
his "props" and return to his native land, which invita¬
tion was politely but firmly declined.
Mr. Greet thinks that the American people were just
on the starvation or stagnation point, dramatically speak¬
ing. The colleges had begun to gasp for some dramatic
fresh air. The college presidents and professors clam¬
ored for "Everyman" to be represented within their walls,
and the ministers all over the country, and of every de¬
nomination, besought their people to see this wonderful
morality play. For two years the play was presented
steadily, by two companies, and is continually revived.
Last December it was given in New York. Its revival
has undoubtedly started renaissance of drama in this
country. Colleges have formed dramatic societies and
art theatres are springing up in the large cities. Mr.
Greet had long resisted the opportunities of coming to
America because he knew the enthusiasm of its play¬
goers would have almost an hypnotic effect upon a like
enthusiast, and he was right.
He has now devoted six years to the propagation of
the "ensemble" system in this country and with abso¬
lutely no commercial profit to himself. He feels that a
great deal has been done. The road has been up hill all
the time and beset with difficulties, chiefly pecuniary, be¬
cause the public that wants his work is not a public that
can afford to pay for it. He has recently been offered a
lease of one of the most charming small theatres in New
York, where he could carry out his pet scheme, which is
to have the "theatre of the beautiful," where all the great
uplifting dramas of the world can be acted before just the
men and women who need and appreciate them.
In no calling is it possible to ascend to such heights as
in the theatrical business. Everywhere one finds men
302
jfortp ^eat0 ©fegettrntion
who were ushers, or doorkeepers, or libretto boys, enjoy¬
ing the reward of simple stability. All that has been
necessary was not to abandon the effort.
In Toronto, Ambrose J. Small, by dint of perseverance,
has in a short span of years built up a circuit of forty
theatres, the only circuit, too, in the Dominion of Canada.
Mr. Small, also, has two theatres in Toronto, the Grand
Opera House, a theatre of much historic worth, and the
Majestic, devoted to popular-priced amusements.
Peter M. McCourt, of the Tabor Opera House, Denver,
has never, so far back as I can recall, been identified with
any other establishment; surely this renders a denial to
the oft-repeated statements that theatrical life is nomadic,
that its people are unreliable, and that they lack stability.
In Kansas City the eight theatres are conducted by
men who have spent their lives in the theatrical profes¬
sion.
Hudson and Judah, who conducted the Coates Opera
House and another establishment have, for a quarter of
a century, survived panics, floods, crop failures, and what
not; these men accumulated vast wealth, and contributed
much to the progress of the city itself. Mr. Hudson died
two years ago. Since then Mr. Judah has been in com¬
mand of the Grand Opera House at Kansas City and
made it the leading "Dollar House" of this country.
O. D. Woodward, also of Kansas City, is a distinct
illustration of the reward in store for application to theat¬
rical management. Starting with a military production
entitled "True Blue," in 1888, he adroitly arranged with
military organizations, or, as they are called, Grand Army
Posts, and large profits were derived. Then Woodward
went into the repertoire field, organizing small companies,
presenting royalty plays throughout the West. In Oma¬
ha, one of these, in 1894, inaugurated a campaign which
lasted three years, and from this resulted the partnership
of €$ti0ic attO tbz Drama
303
which has ever since existed between W. J. Burgess and
himself, and which to-day controls three beautiful thea¬
tres in Kansas City, the Auditorium, the Willis Wood
Theatre, and the Shubert, also theatres in Omaha, Sioux
City, and Sioux Falls.*
O. B. Sheppard has been manager of either the Grand
Opera House or Princess Theatre in Toronto for over
thirty years. He began as treasurer for Mrs. Morrison,
and in 1879 became the manager, a position he has main¬
tained to this date.
Moses Reis is perhaps the largest single operator of
theatres in smaller cities in this country. Thirty years
ago, what was known as the "Oil Circuit," in Pennsyl¬
vania and New York State, was created by Samuel T.
Jack, a manager v/ho certainly did pioneer work in his
generation. In after years he lent his name to burlesque
companies of decidedly questionable character, but this
does not wholly obliterate the good results achieved by
him as a builder-up of theatrical territory.
When Jack retired from the management of these thea¬
tres he was succeeded by a firm known as Wagner and
Reis, which for the last fifteen years has been continued
by Reis alone. To-day this one manager owns, controls,
or manages over one hundred theatres and represents one
hundred more, and all of these are by no means of the
smaller type. The first class houses in Syracuse, Roch¬
ester, Troy, Utica, Scranton, Reading, etc., are owned or
leased by Reis. A theatre in a city like Syracuse, to-day,
is as important an enterprise as was the conduct of a
theatre in New York City, even as recently as a decade
ago; therefore, the enormity of the operations of such
men as Mr. Reis and Julius Cahn can better be grasped.
*The Shubert Theatre in Kansas City has reverted to the
Messrs. Shuberts, by a court decision, handed down on February
4, 1909.
304'
jfortp ^ears ©fosettoation
As a matter of fact, it is very much to be doubted if,
aside from Klaw and Erlanger and Al. Hayman, the
theatrical business has produced any business men who
have amassed as much wealth as these two individuals;
again is the lie given to the lack of stability which so
often is suggested as characterizing the business depart¬
ment of the amusement field.
Were it not for the five per cent, which these men get
as representatives of the theatres they do not own or
lease, the sum total of their resulting operations would
be greatly reduced. This five per cent, is by no means a
small factor in theatrical history. It has already caused
one vaudeville war, and the "handwriting on the wall"
would indicate that another such war, but of far greater
dimensions, is imminent, for the coterie of magnates who
held sway on the eighth floor of the St. James Building
have just propounded an ultimatum that, henceforth, the
vaudeville agent who may be permitted to operate in con¬
junction with this "syndicate," will be compelled to exact
an extra five per cent, from the player, and of this extra
five per cent, one-half (2y2 per cent.) must be paid over
to the managers themselves.
Who shall say that the organization known as The
White Rats of America, which is to-day composed of
three times as many artists as at the time of the last
strike—three thousand being the present membership—
will, at their next important procedure, not end for all
time the reign of this policy which has caused so much
strife. If not, what will the end be? How far can these
managers pursue their present policy?
The error of a strike will surely not be repeated, and
with practically all the players bound fast to this pro¬
tective society, it would seem an almost absolute cer¬
tainty, that before another year passes, vaudeville will
provide another sensation. Who shall say that the end
In his office, reading a manuscript. Who rose from an office boy to be the only
4 successful competitor of the ]'audevillc
Syndicate.
of 6j§ti0fc and tfie Drama
305
may not find the players themselves the guardians of this
five per cent, with their own theatres, their own agency,
conducted for them, perhaps by a man like William Mor¬
ris? Then will be inauguarated a war in which the
public will cast the final vote.
Vaudeville is in its infancy. The era of $2.00 a seat for
this class of entertainment is yet to come and not so very
far off. Wagner's Trilogy in modern vaudeville is a
likely spectacle and the organization of symphony or¬
chestras is even now discussed; therefore, if this volume
has devoted much of its limitations to the field of vaude¬
ville, the incentive is not without sincerity.
In olden times it was customary for the advance agents
and business managers to meet each other on the Rialto,
then located on Union Square, and exchange their varied
experiences. The Morton House was a favorite refuge,
and I recall a gathering which consisted of John H.
Russell, John Rickaby, Julius Cahn, Edgar Strakosch and
his cousin Carl Strakosch, and one particular individual
who because of the anecdote about to be related shall be
called Edward.
Edward had just started out as the avant courier for a
manager of noted aversion to expense accounts, and the
boys were having some fun with the somewhat inexperi¬
enced agent. One of these approached Edward and asked
him why he did not dress better, and said it would not
be possible for him to make progress as an agent if he
kept up a shabby appearance on the road. At length,
John H. Russell asked Edward what his salary was
amounting to.
"Twenty-five dollars," he responded. "And how the
deuce do you expect me to dress well and be honest."
"Why don't you work a suit of clothes into your ex¬
pense account?" queried Russell.
306
jTortp gears; SDtettmttott
"Can you do that?" asked the green, but somewhat
suspicious agent.
"Why yes," answered Russell.
"All right. I'll do that," and off went Edward, deter¬
mined to act on the advice.
The rest of this story was told to me by Russell. It
seems that Edward and Russell met on a tour a little
later, and the former was well dressed and groomed. He
began at once to protest to Russell.
"You are a fine fellow. I went out in a lot of one
night stands, got this suit of clothes, put it in my expense
account and sent the statement into headquarters and
they gave me the laugh, now I have got to go to third
class hotels to afford this suit I have on."
Russell responded: "You are a fool. You don't mean
to tell me that you put in your expense account a bill for
a suit of clothes. I didn't mean that. I meant when you
bought a railroad ticket for $4.00 charge $6.00, and when
you paid a bill for $5.00 charge $8.00, and gradually work
the suit of clothes out of it."
"Oh, is that the way? Well, I see now," said Edward.
Two weeks later Russell met the manager of the attrac¬
tion for which Edward was pilot and he asked how Ed¬
ward's "expense" account was getting on.
The manager, with a broad grin, told how Edward had
sent another expense account. There were no clothes
charged up, but the account was much larger than usual.
Such dubious items as "One thing and another, $10.00,"
being included, it excited his suspicion, so he sent for
Edward and reprimanded him and threatened that if the
expense account was as large in the next statement he
would discharge him. "I tolerate this one large as it is,
because there are no clothes items," said the manager.
"But the clothes are in there all right," said Edward.
In March, 1864, in Toledo, Ohio, J. H. Haverly to-
of Odmic and tbt Drama
gether with Rube Lent were running a saloon and
restaurant; a month later Haverly purchased a half in¬
terest in Stickney Hall in conjunction with James Hayes
and before the end of April had also secured the remain¬
ing half interest. He ran a variety show, what is to-day
called vaudeville, and that same spring he organized his
first road show which was also "Variety." This played
one night in Adrian, Mich., and then returned to Toledo.
In this company it is worth noting, were Dora Dawson,
James Riley, Nick Norton, Gus Lee, Master Seamon,
Walter Wentworth and Fanny Hillington. Haverly
organized a small Minstrel Company in the Fall of 1864,
with Dick Sands, Dan W. Collins, O. P. Sweet and
others. Later Haverly went in with Cal Wagner
("Happy Cal"), sold out his lease in The Toledo Theatre,
gave his attention to his Minstrel interests and thus began
to achieve success, which soon developed into the impor¬
tant organizations with which his name was so long
identified.
The city of Cleveland, Ohio, has provided much
history, because many problems were solved in Theatri¬
cals in that city. A veritable array of old timers began
their operations in the Ohio town and more than forty
years ago, John D. Rockefeller, who was then as now, a
great factor in oil fields, was probably laying the founda¬
tion of his remarkable career. Naturally all the oil people
turned to Cleveland; among these was John Steele then
known as "Coal Oil Johnny," who was at that period—
1865-70—at the height of his spectacular career. The
discovery of oil in Pennsylvania had raised him from
poverty to affluence and like all the newly and suddenly
enriched men of that time was a spendthrift.
Nick Norton, long associated with Hyde and Behman
and to whom I wish to acknowledge material aid in the
recital of these records as far as the Ohio town is con-
80S
foxtv ^ear0 Dfrsetfoation
cerned, was then among the forces of A. Montpelier who
had come up from Cincinnati to open Kelly's Hall as a
Variety Theatre. Changing the name to Athenaeum,
Norton was stage manager and revelled in the magnifi¬
cent salary of $20 per week, a large sum indeed for that
period. But to return to Steele, he maintained large and
elaborate apartments at the Weddel House and he always
liked to mix with actors. Needless it is to say that he
was a welcome guest behind the scenes and right royally
did he pay for the privilege. He was an amateur minstrel
himself and it was his delight to load the entire company
into four-horse sleighs after a performance and drive to a
road house at Rocky River, where would be set an
elaborate dinner, with anything the Thespians wanted to
drink. On one of these "jaunts" the players got back just
in time to dress and "Ring up" for the evening perform¬
ance.
Steele and his chum, Slocum came along with the
feasted actors, and during the evening they purchased
champagne by the basket. By eleven o'clock the players
were mellow, and as Steele kept urging Nick Norton to
ring down, the stage manager gave the order for "The
Grand Walk Around" which always closed the show, in
this instance, an hour earlier than usual.
The next morning, Montpelier the manager, gave the
entire company, including Norton their notice of one
week, explaining that it was merely a matter of discipline.
As illustrative of the ways of the Thespians in the 6o's,
this leaf from Mr. Norton's busy life story is revealed
here.
What is now the Chestnut Street Opera House in
Philadelphia was, forty years ago, one of the five or six
first class Variety Theatres in this country. Robert Fox
was the manager, and here is recalled that in one pro¬
gramme I saw Delehanty and Hengler, Peter Baker and
of ^u0fc anu tj)t Drama
309
Tom Farren who for so long starred in "Chris and Lena,"
and J. C. (Fatty) Stewart, who also was a manager at
Apollo Hall and, during the Centennial year, 1876, had a
large theatre on North Broad Street. Others in the bill
that night at Bob Fox's were Billy Barry, Ella Wesner
and Jenny Kimball.
Mr. Norton has provided me with a list of the theatres
devoted to Varieties in the season of 1864-65 which is
well worth record at this time and is therefore appended:
Howard Athenaeum, Boston, Mass.
Bob Butler's Theatre Comique, 444 Broadway, New
York City.
Robert Fox's Casino, Chestnut Street, Philadelphia, Pa.
Bob Gardner's Melodeon, Baltimore Street, Baltimore,
Md.
George Lee's Canterbury, Washington, D. C.
Ben Trimble's Varieties, Pittsburg, Pa.
Tom Carr's Melodeon, Main Street, Buffalo, N. Y.
Montpelier's Athenaeum, Superior Street, Cleveland,
Ohio.
Theatre Comique (Chas. M. Welch), Detroit, Mich.
Charles Chadwick's Varieties, Dearborn Street, Chi¬
cago, 111.
George Deagle's Varieties, St. Louis, Mo.
Green Street Varieties (Capt. John Smith), Albany,
N. Y.
Palace Varieties, Cincinnati, Ohio.
Haverly's Theatre (J. H. Haverly), Todelo, Ohio.
Spaulding and Bidwell's, St, Charles Theatre, New
Orleans, La.
Bloom's Varieties (John Bloom), Memphis, Tenn.
Tom Poland's Varieties, Nashville, Tenn.
Bella Union, San Francisco, Cal.
The list is unimportant as compared with the formidable
array of houses to-day, but these were the schools
310
jfottg i^earg Dtetteation
wherein many of the important legitimate actors of to¬
day and practically every comic opera comedian of im¬
portance was trained to his work. Men like Eddie Foy,
Ned Harrigan, Francis Wilson, James T. Powers, Peter
Dailey and hundreds of others were grounded in these
variety houses and they do credit to their instructors.
B. C. Hart, now connected with the New York Morning
Telegraph, in its Editorial Department, was one of
the old time Managers of Varieties; in Cleveland, he
maintained the Academy of Music, nearly thirty-five
years ago. He also had a hotel there where the actors
were wont to stop.
Hart always had four walls in Cleveland up to the time
he retired from Management, and with much ingenuity
in 1888, he turned a large skating rink but a few doors
from the Euclid Avenue Opera House into a popular
priced theatre, and here some well known combinations
appeared with success. The period was favorable to the
inauguration of such a venture as it marked the com¬
mencement of the reign of the 10c, 20c, and 30c scale of
prices which Jacobs and Proctor originated and which
created an upheaval similar in effect to that of the Moving
Picture Theatre of to-day.
A combination which had much prestige in the 7o's
was "Hallen and Hart's First Prize Ideals." Frederick
Hallen had been an apprentice of Add. Weaver, an old
time negro comedian whose vogue lasted until a compara¬
tively recent date. With Joseph Hart as partner the two
had a roster of vaudeville talent that would not compare
unfavorably with the best seen to-day. It must be here
stated that Hallen and Hart, when they played dates in
Variety Theatres before the above combination was
evolved did not include Joseph Hart. Hallen's first wife
was Miss Enid Hart, and the firm of Hallen and Hart
emanated from the stage work of these two very clever
of €g)u0fc anti tfie Drama
311
artists, being the first to give sketches of the type
rendered in Modern Vaudeville by Hallen and his present
wife, Mollie Fuller.
It was in the late 8o's that Hallen and Hart presented
the musical comedy "Later On" which brought them
much renown and financial reward. This company was
for a long time managed by Harry Hine, noted for his
Beau Brummel exterior. The death of Hine had much to
do with the abandonment of the "Later On" tours and
this caused the separation of Hallen and Hart.
Joseph Hart became very active after this separation
and his career has been so prolific and his achievements
of so recent a date that it remains only to be stated that
at this time he is perhaps the most important producer
in vaudeville, controlling more than a dozen attractions
of sterling worth, none of which are forced to idleness for
even a single week.
Hart is at present in England, where he has begun to
operate quite as extensively as here. His wife is known
on the stage as Carrie De Mar. The writer recalls her
as chorister in one of his opera companies in the Grand
Opera House in Philadelphia, in the summer of 1890, but
even then, evidences of the talent she afterward devel¬
oped were not lacking and her terpsichorean qualifications
did even at that time attract managerial attention. A
sister of Carrie De Mar, known as "Fleurette," also a
danseuse piquante, has found much vogue and is often to
be seen in the productions of Mr. Hart and in the various
musical comedy productions that go on tour.
The site of the present Fifth Avenue Theatre has been
the scene of theatrical industry as far back as can be
recalled. The first name by which it was known was
St. James Hall. There was an auditorium seating about
80c, very similar to that which later on, in the same block,
became known as "The Morgue." A company of ver-
313
jFottp gears £Dtertmtion
satile players known as "The Brennans" played here in
an entertainment similar to that which concert organiza¬
tions of to-day present, save that the distinctly Hibernian
quality, then prevalent, is not to-day conspicuous. "Mac
Avoys' Hibernicon" also performed there and this equip¬
ment of Irish singers and actors were factors throughout
the country for more than a quarter of a century.
However, it was with the famed San Francisco Min¬
strels that St. James Hall first found success or prestige.
This merry band achieved fame and fortune both in this
Hall and, later, in "The Morgue" which was a part of the
Gilsey Estate. The block still stands, very little changed
from forty years ago. The first manager to occupy the
Fifth Avenue Theatre, when it was built on the site of
St. James Hall was D. H. Harkins, afterward a dis¬
tinguished member of Augustin Daly's Company, a
player of great merit and distinction, with a career of vast
length and notable achievements.
Dan Bryant was for a long period at 472 Broadway,
and in the early 70's had his Minstrel band in the little
theatre on East 14th Street, which afterward housed Tony
Pastor's Vaudeville efforts. When Pastor left his lower
Broadway Theatre, the San Francisco Minstrels moved
into his house, then called the Metropolitan Theatre, a
pretty little ground floor Auditorium similar in appear¬
ance to the Bijou Theatre of to-day.
Bryant, when he left the house in East 14th Street
moved into his own specially built theatre on West 23d
Street, afterward Koster and Bial's. Bryant was not only
a Minstrel but an excellent Irish comedian and often
playgoers of 1868 to 1874 were privileged to witness his
artistic delineation of the leading roles in "Shaun the
Post," "Arrah Na Pogue" and "The Colleen Bawn."*
*Neil Bryant, a brother of Dan, succeeded the latter, and he
was a factor in the 23d Street house during its entire regime.
of anti tf)e Drama
313
Minstrelsy did not seem to thrive on West 23d Street
and though Bryant amassed a great fortune in that field,
as did also Birch, Wambold, Bernard and Backus, he was
compelled, after a short period, to abandon the location.
The theatre was leased to A. Durand, in 1880, and was
called the 23d Street Theatre.
Durand brought over a company of French players
from Paris, headed by the comedian Chamonin, yet,
though the subscription was fairly large the results were
not so encouraging as other efforts of a similar nature had
previously been; this was due to the quality of the com¬
pany, the standard being far from good. Durand met
disaster at New Orleans where he had taken this organi¬
zation in the hope of recouping his losses in New York,
but as an illustration of the man's vital honesty, it must be
said that he returned to the employ of Maurice Grau, and
out of a salary of $100 a week he conserved sufficient in
two years to free himself from the debts incurred by the
enterprise.
Durand was for more than thirty years the trusted
treasurer of the Grau enterprises and his death in 1904
was a great shock to the Impresario, and to all his asso¬
ciates in the Metropolitan Opera House, also to the
habitues of the Opera who had known and esteemed him
for his conscientious efforts to provide for their comfort.
Writing of minstrelsy naturally leads one to the city of
Philadelphia where at no time in the last half century has
there been any interruption to the permanency of the
stationary Minstrels at the nth Street Opera House,
which was opened in 1857. Here Cancross and Dixey's
Minstrels were a fixture. Frank Dumont who is still
directing the fortunes of the famous little Hall, might
issue a volume on its history. If minstrelsy has declined
it is but natural, for where we have gained a Lew Dock-
stader, and a George Evans, we have lost such dear old
314
jfott^ l^eatg D&getfcation
entertainers, as Nelse Seymour, Unsworth and Eugene,
Luke Schoolcraft, Billy Emmett, Billy Emerson and
Master Barney. Dave Reed sang "Sally Come Up" forty
years ago, just as I heard him not a year ago, and Luke
Schoolcraft's "Shoo fly, Don't Bother Me" was one of the
never to be forgotten features of old time minstrelsy.*
German dialect comedians of long ago were many and
their efforts found appreciation too. Joe Emmett, per¬
haps, made the most money, but there were others who
were as much entitled to the public esteem, among them
George S. Knight, who died of a broken heart, because
his audiences, in his later years, would not accept him in
serious roles. Thus it would seem that the struggle of
comedians of the past to emanate from their Buffoonery
fame to the dignity of tragic muse was far greater and
more difficult than the David Warfields and Louis Manns
have found it a quarter of a century later.
Charles W. Couldock who was the original Dunstan
Kirke in "Hazel Kirke" and who lived to an age in excess
of four score years, had one distinction more notable than
any of his many others, that at the age of eighty he could
study a new role and retain the lines as rapidly as any
of the youthful actors with whom he was associated.
This trait was also possessed by the venerable J. H.
Stoddart, an actor, very similar to Couldock in every re¬
spect and who, in "The Bonnie Briar Bush," gave a por¬
trayal of character, fit to rank among a dozen of the
greatest achievements of players in the last half century.
Mrs. Maria Wilkins, although at all times one of the
most artistic players of the contemporaneous stage, gave
one delineation of character acting that has rarely been
*The Eleventh Street Opera House has been at last abandoned
and is now relegated to Moving Pictures.
of OSuSi'c miQ tfje Drama
315
equalled and never surpassed, La Mere Frochard in "The
Two Orphans" at Shook and Palmer's Union Square
Theatre, thirty years ago. No interpretation of the
villainous and brutal woman ever approached this master¬
piece. It is no discredit to the excellent and unique per¬
formance given by Elita Proctor Otis at the play's all
star revival at the New Amsterdam Theatre, a few years
ago, to state that Mrs. Wilkins' performance left a more
deep impression and thrilled her auditors with horror,
such as no actress of modern times could hope to dupli¬
cate.
McKee Rankin had a long and varied stage career
before Joaquin Miller's play, "The Danites" brought to
him great fame and much financial comfort. Mrs. Rankin,
who was Kitty Blanchard, and who was an artistic
Henrietta in "The Tv/o Orphans" shared with her hus¬
band in the notable triumph which "The Poet of the
Sierras," achieved with this work. What a career McKee
Rankin has had! What a volume could be written around
this player's life alone! In recent years he has devoted
himself to the worthy cause of Nance O'Neill, an actress
whom New York for some strange, unexplainable reason
has not welcomed with that alacrity which has always
made welcome for her in other important cities, Boston
and San Francisco in particular. Nevertheless, the tall
and "gracefully awkward" Yankee girl has in her that
persistent and persevering quality which made Mary
Anderson and Julia Marlowe command success where
failure seemed at first imminent.
Fanny Janauschek came to America almost imme¬
diately after Adelaide Ristori and appeared first in
German at the Stadt Theatre on the Bowery and her
appearances were hailed by her own country folk, with
great acclaim; still, despite the fact that she unquestion-
31 6
jfortp gear0 D&sertmtion
ably was the greatest German actress of all time she did
not create the furore or obtain the financial reward which
her illustrious Italian sister commanded.
Augustin Daly with that rare perception which charac¬
terized all his undertakings, effected an agreement with
the distinguished German tragedienne who in an incred¬
ible space of time mastered the English language and
under Daly's direction, opened at the Academy of Music
in 1874, appearing in such masterworks as "Medea,"
"Mary Stuart," "Elizabeth," "Deborah" and, later on as
"Meg Merrilles" in which Charlotte Cushman achieved
her greatest triumph. While artistic success was of
course to be reckoned upon, the Academy of Music was
not the place for a distinctly dramatic engagement at that
period, and Daly did not meet with a financial reward;
nor can it be said that at any time in the long and indus¬
trious career of this truly great artiste did she meet with
the public favor that was commensurate with her artistic
gifts. Janauschek's husband was a Mr. Pillot, a man of
great pride and exclusive demeanor, whose constant dread
was that he might be regarded as a stage husband (a
"Mr. Janauschek" as he once put it), and it was worth
one's life to introduce him as "The Husband of Mme.
Janauschek."
"I am more than her husband," he would often say,
"she is my wife—Mrs. Pillot."
In truth it should be said, that although Pillot was not
rich, he had an income of less than $100 a week, he made
it a rule not to permit his wife to touch a penny of her
earnings for her personal requirements, and the two were
wont to live on the income which Pillot provided.
Alas! there came a day when Pillot was no more, and
from this day dated the vicissitudes of Fanny Janau¬
schek's later career. It would be better to draw a veil
over the sufferings of her last years. It need only be here
LILLIAN RUSSELL.
In "Patience:'
ANNA HELD.
In "Miss Innocence.
of S©ti0ic and tfje Drama
317
stated that Fanny Janauschek, one of the world's three
greatest actresses, which also included Ristori and
Rachel, went to her grave comparatively neglected and
forgotten by a profession, famous for its deeds of chivalry
and charity. Her treasures and effects, no queen could
boast of their equivalent, were the means by which this
tragedy queen subsisted in the last years of her life. Fred
Pillot, well it is, that you departed this life before the
illustrious wife you left helpless and unprotected, reached
her bitter end!
It is with pleasure that the subject is changed—"The
player is well bestowed," is true indeed, and if but a
tithe of prudence were practised it would not be necessary
for the Actors' Fund, the greatest and most ennobling
charity the world has ever known, to bury the majority
of our country's players; such is the case, and there is
no indication that there is the slightest likelihood of a
change in conditions.
Before the great Chicago fire of 1871, the city of Chi¬
cago, then about the size of the present city of Newark,
N. J., had not only its notable playhouses, but these were
directed by managers of the most superb type and dis¬
tinction; and it is no reflection upon the march of pro¬
gress if one rises to ask: "Where have we to-day such
showmen as J. H. MacVicker, Richard M. Hooley and
Charles Crosby?" Dear old "Uncle Dick," just before
the fire, was managing Bryan Hall, where the Grand
Opera House now stands, on Clark Street (No. 89). He
had previously had his little theatre in Brooklyn in Court
Square and his Minstrel Co. was, even in those days,
a standard bearer that carried his prestige over the
breadth of the land.
Hooley really was a grand character; to have known
him, was to have loved him and it would be far easier to
318
jfottp ^eat0 SDfigertoation
enumerate the brethren of his managerial days that he
did not help than those that he did.
Crosby's opera house was but a few doors away, and
McVicker's not far from either. These three theatres of
the early 70's were as beautiful and elaborate as any in
Chicago to-day and surely they were as well managed.
A couple of blocks further away was the Dearborn
Theatre and, for concert, Farewell Hall sufficed.
Then came the fire which swept away all. Hooley,
however, opened the first Hooley's Theatre on August
21, 1871, with a model stock company; this is the theatre
he continued to preside over until his death, the Powers
Theatre of to-day.
I am sure that Harry Powers will not censure me for
recording that the first time I saw him at Hooley's he
was officiating as usher. Then he became assistant
treasurer, then treasurer, then manager and, at last,
Uncle Dick's successor, a position he holds to-day with
much success. It will probably serve to name seven of
the members of that stock company at Hooley's in 1871.
Augusta Dargon, Frank E. Aiken, M. C. Daly, J. C.
Padgett, Fanny Bent, Lizzie Osborne and Frank Lawlor
are recalled; "The Hunchback" was the opening play.
At Crosby's Opera House "The Twelve Temptations"
had a very successful run, about this period, but the
production was not to be compared with the one James
Fisk, Jr., made at the Grand Opera House in New York.
Playgoers of 1909 would linger a little about the his¬
toric interior of this Eighth Avenue playhouse if they
could conjure up recollections of some of the fabulous
productions which Fisk and his lieutenants made here in
the flag days of the Gay Colonel. "The Tempest" ran for
months. Sardou's "La Patrie" also had a magnificent
presentation and who will forget the days of Tostee, Silly,
Montaland and Marie Aimee, that French Hogarth in
of 60U0IC and tbt Drama
319
petticoats whom Paris never could esteem, but whose
career in America was one grand series of triumphs.
Poor Aimee! she died of cancer of the stomach, and sad
it is to say that despite her wonderful popularity, her
funeral which took place in France, was followed by but
one carriage, with but three mourners, one of whom was
her all-time manager, the late Maurice Grau.
320
jfortp pz&xs ©tertoation
CHAPTER XI
It has always been maintained that prodigies rarely
realize the promises of infancy and youth. There have
been, however, exceptions to the rule, the most conspicu¬
ous of these, of course, being Josef Hofmann, who came
here as a child fifteen j^ears ago and created a positive
furore at the Metropolitan Opera House. Abbey and
Grau had secured the Polish phenomenon in Europe even
before his London triumph, and the remuneration he was
to receive was indeed insignificant compared with the tre¬
mendous results financially. It was, however, to the
credit of Abbey and Grau that they did not wait to be ap¬
proached by the parents of the infant wonder, but at the
outset rewarded them with a new contract which in¬
creased the honorarium more than four hundred per cent.
Yet for all that the era of great prosperity for the mana¬
gerial firm was of short duration, for in the midst of his
astonishing triumph, when the vast opera house was sold
out at each concert before the doors were opened, he was
withdrawn from all public presentation and sent abroad
by reason of a large subscription provided by wealthy
Americans who had, of course, no other incentive than
public spirit. This was indeed very much to be approved
from one point of view, but was it just to Abbey and
Grau, who had just met a serious disaster in the utter
break-down of Etelka Gerster, who had come for a
lengthy tour, and who upon the night of her reappearance
in the same opera house provided one of the saddest spec-
ELSIE J AX IS.
.-is "Little Elsie" in vaudeville.
ELSIE J AXIS IX 1909.
of apusic anO tfje Drama
321
tacles that the writer has ever been called upon to wit¬
ness? Still Abbey and Grau were compelled to assume
a penalty with all the artists they had engaged to ac¬
company the Hungarian singer on this tour, and were
even sued by managers of opera houses throughout the
country for their failure to fulfil the contracts with them
for this singer's appearance.
It was quite the same with Mary Anderson when that
illustrious artiste was compelled, in the height of her ar¬
tistic career, to abandon her engagements and retire, as
it turned out, for all time from the stage. Henry E. Ab¬
bey was making a profit of several thousands weekly
from "our Mary's" appearances, and his contract with
her had a value of several hundred thousand dollars; yet,
as an illustration of the type of manager that he was, he
never even protested. He may have plaintively appealed
for Miss Anderson's return to the stage, but there is no
record that he ever attempted anything in the way of
legal proceedings to indemnify him for the loss of his
valuable asset.
Another prodigy who has survived her wonder days
is Corinne. She was the adopted daughter of Jenny Kim¬
ball, the best serio-comic singer that the variety stage
possessed thirty-five years ago. Corinne first attracted
notice when she appeared as Little Buttercup in "Pina¬
fore" and it is fair to state that her rendition of that role
required no apology for her lack of years; it was a
wholly artistic effort in every way. Corinne was so far
superior to all other child prodigies that she headed for
several years, at least ten, an organization managed by
Jenny Kimball and H. R. Jacobs. Great results artistic¬
ally and financially were obtained thereby, and the long
life of the company was only interrupted by the death of
Mrs. Kimball.
In this company Frank Hayden distinguished him-
322
jfortp gearg SDterfoatfon
self. He was so very tall, and little Corinne so small
that the contrast was a desirable one; but Hayden had
a superb voice also. He was a veritable major domo and
could be relied upon to appear in any role. I am not sure
he did not assume Corinne's roles when she was ill; he
certainly would have been able to do so. He was also
prolific as a costumer and at this time he has a large
emporium in the city where operatic artists are wont to
go for their costumes; managers also.
Corinne presented a varied repertoire as her tours ac¬
cumulated, and a production of a musical comedy en¬
titled "Arcadia" met with such a response from the pub¬
lic that it afterward became the distinguishing feature
of the Corinne Company and its tours. Mrs. Kimball was
married to a piano dealer named Flaherty, who, as a rule,
remained in Boston, where his interests were, but he was
nevertheless a factor in the success which this really re¬
markable body of players and singers met with. After
the death of Mrs. Kimball, Corinne, who had reached the
age of about seventeen, entered the vaudeville field and
for several years commanded a large salary as well as
much approval. She has at no time been without the
prestige which would bring her engagements, and all in
all she is the most striking illustration of the survival of
a prodigy now in evidence. Corinne is at this time a star
in a musical concoction entitled "Lola from Berlin."
Wallace Eddinger is another of the rare type of
child prodigy who survived his wonder days. His father,
Lawrence Eddinger, was a player of distinction whose
association with the best organizations for over twenty
years has often been recorded. Little "Wally" pla}'ed so
many important roles as a child, creating the most of
them too, that it is not requisite to name all of his ef¬
forts in that direction. His Little Lord Fauntleroy was
compared more than favorably with that of Elsie Leslie,
of a^usi'c anH t|)c Drama
323
who created the most potent infant role of all time. The
progress of "Wally" to Wallace has been accompanied
by just such achievements as would be expected of a son
of an old-school actor like Lawrence Eddinger. At pres¬
ent, in the full bloom of manhood, with a grand future
all before him, this rara avis among prodigies of the past,
is playing the role of Hcward Jeffries, Jr., in "The Third
Degree," by Charles Klein, at the Hudson Theatre; and
his performance has merited much praise.
The New York Herald has always been an important
factor in its relations with Music and the Drama. Dur¬
ing all of the 60s and a part of the 70s it was practically
the only medium for theatrical advertising. Its amuse¬
ment columns in those days were in strange contrast
with those of the other dailies and the managers and im¬
presarios were wont to insert as much in the Herald as
in all the others combined. The rates for this adver¬
tising at no time were less than now. If there has been
an increase it may at most have been five cents a line
more at this time. However, there came in this dec¬
ade a serious friction between the managers and the Her¬
ald's proprietor, the father of the present owner, James
Gordon Bennett, Sr. In one respect the trouble resem¬
bled the one now so widely discussed between the vast
array of amusement interests and the Morning Press of
this city. A large majority of the theatres withdrew their
patronage from the Herald and in all the other news¬
papers they inserted large announcements to the effect
that: "This establishment does not advertise in the New
York Herald." The leader of the opposition was Max
Maretzek, the impresario.
In this difficulty with the elder Bennett, Jacob Grau
was a factor both at the outset and in the final peace,
which did not come for a long time, the intervening
period being made use of by both factions to the utmost.
324
jTortp gears Dtertoattcm
The excitement was intense, the public having taken un¬
usual interest in the quarrel, the tendency being to side
with the managers. The final outcome was hastened by
the self-evident loss to the Herald, for it must be stated
that in those days the Herald was at most a ten-page
issue and very little advertising outside of the amuse¬
ment columns prevailed. Maretzek, so it was rumored,
had to offer apologies to the Herald before the latter
would again print his advertising.
When the Soldene company was playing at the French
theatre in 1874, New York was a maelstrom of political
corruption; it was the hey-day of the "boodler," and
William M. Tweed's escapades were the talk of the town.
It will be recalled that he escaped from the Tombs, and
the Herald perpetrated what was considered the most
ghastly joke that has ever been indulged in by a news¬
paper in the world's history. One morning the entire
first page and part of the second, in the news section,
were devoted to a sensational article with headlines, as
I recall them, similar to the following:
WILD ANIMALS ESCAPE FROM CENTRAL PARK
LIONS AND TIGERS LET LOOSE AND ROAM
ABOUT THE CITY.
RHINOCEROS (Inference was of course Tweed)
BREAKS OUT AND CAUSES INTENSE ALARM.
THE CITY IN A STATE OF TERROR.
Although the article was written to cover a space of
about eight columns, its composition was such that not
until one read the last three or four lines would it be
possible to detect that a joke had been perpetrated, or
rather attempted. At the end of the narration the fol¬
lowing paragraph was inconspicuously inserted, to be
of €$u$tc ant* tf)e Dtama
325
understood by the few who had sufficient receptiveness
to comprehend it:
"The catastrophe above related did not actually take
place, but its recital here will give some idea as to what
would be the effect if such or a similar calamity were to
occur."
As is above stated the Soldene troupe were at this time
appearing at the Lyceum Theatre on West 14th street, in
Offenbach's "Genevieve de Brabant," and in the famous
gendarmes duet, which was the most popular gem of that
work, the two comedians interpolated verses about the
"Herald's little joke on the public." The uproar which
these topical hits created was really the incentive that
caused the inauguration of the era of topical songs, a situ¬
ation that was quickly grasped by the then leading writer
of travesties and burlesques, Sydney Rosenfeld, who
evolved the most delicious satirical "take-offs" on the
Daly productions which then prevailed. One in particu¬
lar on "Pique," in which Fanny Davenport was bur¬
lesqued by a comedian named Harry Josephs in 1876,
was absolutely the most laughable and yet artistic effort
in the line of true travesty which the writer can recall.
Author's Note.
On the morning in which the announcement appeared,
New York City was in a state of turmoil. The wildest
excitement prevailed. The streets were deserted; the
few to be found out doors at all were either those who
were familiar with the character of the recital or else they
had read all of the article, including the few lines of con¬
tradiction at its close. Ninety-five per cent of New York's
population were terror stricken and it was nightfall be¬
fore the truth began to spread about, when, instead of
laughter, as was expected, great indignation prevailed
and it was a long time before the affair quieted down.
Fanny Rice who was reported to be married on the
326
jFottp gears Dfcgertmtton
day these lines are written, has been on the stage for over
a quarter of a century. She began at the bottom, too,
and passed through about as varied a stage experience as
any artist has yet been credited with. It was in the
opera of "Nadgy" that she scored her greatest success,
at the Casino in this city. To name all of Fanny Rice's
successes would be to relate the history of the Casino,
and the writer regrets that the lack of space alone pre¬
vents this pleasant duty from being fully performed.
Miss Rice toured the country from one end to the other,
for many years, at the head of her own company in a
musical comedy entitled "A Jolly Surprise," under the
management of her first husband, Dr. Purdy, a man of
much business ability, and who was much esteemed by
his confreres in the theatrical world. In this comedy the
versatile Fanny evolved a specialty with dolls, which was
so generally amusing and so wholly artistic that it served
her for a full decade in vaudeville, where she was ever a
favorite, being one of the few artists to make the vaude¬
ville plunge who were peculiarly fitted for that field.
Helen Bertram, who is at this time appearing in the
vaudeville theatres and who was recently reported to
have expressed her decision to retire permanently from
the field she has so long graced with credit, has had one
of those varied and extensive careers, which are recorded
rarely. In grand opera Miss Bertram was conspicuous
in the organizations of Strakosch, C. D. Hess and Emma
Abbott; she has also headed her own company in this
field. In light opera no artist, past or present, has had
a more enviable record, and it would be impossible to
mention all of the many roles she created in the days of
Colonel McCaull and Rudolph Aronson. Her person¬
ality predominated wherever she was wont to shine, and
let it be recorded that more than once has Helen Ber¬
tram appeared with distinction on the dramatic stage.
of cptm'c and tfre Drama
327
Only a few years ago she appeared in the city of St.
Louis (where she is one of the greatest favorites always)
at the Suburban Gardens in a repertoire of the highest
type of distinctly dramatic works, and here she was ac¬
corded by far the largest honorarium that she has ever
been paid in her entire career. Miss Bertram has been
thrice married; her first husband was Signor Tomasi, a
conductor of renown who was prominent in the days
of "Honest little Emma" Abbott.
The writer recalls Tomasi's enthusiasm over his prima
donna wife of those days, and the separation of the two is
one of those inexplicable mysteries which a historian is
not called upon to unravel. Miss Bertram became the
wife of that intense actor, E. J. Henley, in the late 80s,
and undoubtedly it was the influence of Henley and Miss
Bertram's third husband, E. J. Morgan, whom she mar¬
ried some time after Henley's death, that caused this
operatic artist to become so prolific in distinct dramatic
work.
There was much that was coincidental in Miss Ber¬
tram's marriage to her two actor husbands. Henley and
Morgan not only resembled each other greatly, but they
were of similar artistic mould, both being intensely dra¬
matic; their temperaments were uncommonly similar,
even to the extent of possessing similar habits.
There is no duty that the writer has to perform which
is so pleasant as the task of recalling some of the artists
of grand opera whose names are on the verge of becom¬
ing obsolete. Eugenie Pappenheim is rarely heard of
nowadays, and yet her vogue was not so far back.
Throughout the 80s Madame Pappenheim was in her
zenith, and at all periods of her remarkable artistic career
she was one of the most imposing figures in the history
of grand opera. Although she sang principally in Ger¬
man opera and gave to that precarious field much of its
32S
jfortp ^ears ©fcsertoatton
needed stability, still in Italian opera she was just as
potent and the Academy of Music has been the scene of
hex- greatest triumphs. Her Leonora in "Trovatore" has
never been surpassed.
The vogue of Pappenneim preceded that of Lili Leh-
mann and was similar in scope and achievement. To
mention, in passing, that the students of a certain con¬
servatory in this city enjoy the benefits derived from her
finished technique and exquisite art, is equivalent to the
statement that it is unnecessary for our aspiring singers
to journey abroad for artistic tuition. Certainly with
such superb exponents of the vocal art as Emma
Thursby, Eugenie Pappenheim and Signor Carbone in
our own midst and with the erection of new opera houses
in the medium sized cities almost a certainty in the next
five years, there will no longer be the incentive for our
ambitious singers to undergo the hardships and expense
of a sojourn in Europe in order to accomplish their de¬
sired object.
A word about the advantages all classes of endeavorers
in the field of music and the drama to-day possess, would
not be seemingly amiss. Even Oscar Hammerstein,
great though his achievements have been, must confess
that he is laboring in more propitious times and under
conditions much more favorable to him than those which
surrounded his predecessors like Abbey, Mapleson, Stra-
kosch and Grau. Salaries of $1,000 a week for stage
workers are now so common that they can be credited
to hundreds of players. In vaudeville, salaries of from
$500 to $3,000 a week are in the majority, and it is pos¬
sible for engagements to cover fifty-two weeks in the
year, in the best theatres of this class. No matter what
may be said or threatened, these figures keep on increas¬
ing, whether there be competition or not. The oft heard
statement that one hears, to the effect that if William
of $0ti0t'c anD tbz Drama
329
Morris were defeated in his present competition with the
vaudeville "syndicate" salaries would at once go tobog¬
ganing, is a fallacy. There will always be competition,
though the era of decline for vaudeville is always possible
but not probable. Even if competition were thwarted for a
time, and even if the much dreaded catastrophe of Will¬
iam Morris' advent in the "syndicate" ranks should oc¬
cur, there would still be competition of the most vigorous
kind, and that, too, among the managers affiliated with
the very syndicate. There have always been and always
will be internal dissensions in these affiliated groups of
business men, and jealousies are brought about by the
priority which one manager obtains over another in the
allotment of "headliners" and great attractions; and for
this very reason the writer wishes to qualify his state¬
ment in regard to the so-called theatrical syndicate of
which Messrs. Klaw, Erlanger and Hayman are the head,
in that, while as has been stated, there has not up to this
time been a single break in their ranks, nevertheless, re¬
cent developments would indicate that an upheaval is al¬
ways possible. The recent accession of three theatres to
the already notable local possessions of the Messrs. Shu-
bert, together with the known ambitions of these young
and truly marvelous amusement providers, and the added
fact that in a single conference and almost with the
stroke of a pen, they were enabled, recently, to bring a
chain of Western and Pacific Coast theatres of the
smaller class into their fold for booking purposes,
render it quite hazardous to prophesy as to the future
relations between the present business institutions of
the theatre in America. But it will be safe to assume
that as long as Abraham Lincoln Erlanger has his health
and has the disposition to maintain the unique structure
which he has built up in the last twenty-five years, just
so long will he be the commanding figure in the the-
330
jFortp gears D&sertmtion
atrical world, and the firm of Klaw and Erlanger, of
which Mr. Klaw, reticent though he may be, is an equal
factor, will survive and expand.
It is the known qualities of Mr. Erlanger which
bring this statement from the writer. He has more than
once shown what a general he is; no crisis ever came
that he was not equal to. Though he has enemies galore
and is naturally of a combative temperament, it is his
innate honesty and supreme loyalty that has always
gained for him the endorsement and support of his many
associates. It is when Erlanger is silent that the worst
can be expected, and, as I heard one of his arch enemies
express it but a few days ago, "He doesn't know when
he is beaten. His very silence is evidence that he is up
and doing."
Miss Billie Burke, who is now a star of the first
magnitude under the Frohman banner, has the unique
distinction of having been discovered in London, where
she found great favor before she was known to fame in
her own country. Her previous experience in this coun¬
try was not of an important nature, and her rise has been
so meteoric, and of so recent a date, that there is nothing
to record here save the very fact itself.
Robert Edeson, whom Henry B. Harris has achieved
so much success with, is a son of the late George R. Ede¬
son, a player and stage director of renown in the period
from 1870 to 1890. He was the power behind the throne
with the late Colonel William E. Sinn, and had charge of
the artistic department of all that manager's enterprises
during the greater part of his career.
Edeson, Sr., was a comedian of great subtilty, and
any role that he would assume was given an artistic touch
that amounted to positive creation in the full meaning of
the word. In Brooklyn he was so great an attraction
OLGA X ETHER SOLE.
HENRIETTA CROSMAN.
BILLIE BURKE.
MAUD WINTER.
(Deceased.)
of ^usi'c and t&e Drama
331
that any play with which his name was identified was
sure of success.
The son, Robert, is hardly of the same artistic
mould and his efforts are in a different field, but the Ede-
son qualities stand out in all of the representations in
which the writer has been privileged to observe the
younger actor.
When Julia Marlowe scored her great triumph in
"When Knighthood Was in Flower," the play itself was
so much of a factor that at least two other stars pre¬
sented it in various parts of the country. One of these,
Miss Grace Merritt, has scored so well in the role which
Miss Marlowe created, that it has served as an inclusive
vehicle for her starring tours for fnore than five years.
This is a fine record for a strictly legitimate play and
could only be achieved by an actress with strongly
marked characteristics; that Miss Merrit possesses these
to an unusual degree is not to be questioned. Her tours
are constantly growing in the measure of financial re¬
ward, while each season the class of theatres and the
territory allotted to her have been more important than
the one preceding, until at the present time she is ap¬
pearing in the very highest type of theatres in the largest
cities of this country. This is indeed an achievement,
and it cannot be long before this artiste finds vogue in
the metropolis.
Fred Niblo, now one of the several who, with profit,
combine lectures with illustrations in what are more fa¬
miliarly known as travelogues, has a personality entirely
out of the ordinary; whatever he may undertake, is quite
likely to be successful. Here we have a man for whom
the word "persistency" might have been coined; he has
been, in the last fifteen years, everything from a strug¬
gling time killer to a manager of vast importance. His
332
jFortp gears: ©feserfcaticrt
rise, however, is wholly due to energy, and to an unques¬
tionable possession of ability in almost any direction.
He began in the early years of the present era of modern
vaudeville. He started out with a clean monologue
which was good without being great, for he received at
the outset perhaps $50 a week, but he never was with¬
out bookings and thereby hangs a tale.
Niblo was a born advertiser, and when, in his strug¬
gling days, he began writing to the agents and managers
for bookings, he was determined to obtain a response.
He would send, first, a postal card, then a letter, and
then he would increase the size of his envelopes until
they were so large as to attract widespread attention;
still he did not seem to obtain the proper response. Fi¬
nally, perhaps in desperation, he sent his application to
managers and agents written on his collars with the post¬
age inserted, and on these he had a P. S. as follows: "If
this does not bring me time, I will write on my cuffs
next." Still no bookings for Niblo, at least not the kind he
wanted. After a few days every booking office in New
York received another application written on his cuffs,
also containing a P. S.: "If this does not get me the time
I want, I'll write on my shirt next." It was not neces¬
sary for Fred to go to that extreme. The threat was
enough; ever after he was a leading figure in vaudeville
and his rise has been constant. By no means, have all
this man's ambitions been realized. He has been all
over the world and is constantly conjuring up new ideas.
His future will bear watching. He is but a boy even
now. It is from such stock as Fred Niblo that another
generation will look to for its new sensations. The
writer has not met him a half dozen times in all and
perhaps has passed fifty words with him in his life, but
such observations as those here related are invincible.
Frank Bush also was wont to use extreme methods
of (®u0ic and tfyz Drama
to impress the booking agents, and to keep their atten¬
tion in his direction. Occasionally he would return from
a sojourn at the fisheries, a pastime for which he had
much inclination, and would make a visit to the princi¬
pal booking offices where he would relate his good for¬
tune and the prodigious size and weight of his catches.
This would naturally be followed by a request from the
booking agent for a small portion of the comedian's cap¬
tures. Bush would then hie himself to a fish market and
purchase the largest specimens of fish obtainable and
these he would send by messenger to the man whose in¬
fluence he sought.
Otis Harlan reached the zenith of his career in the life¬
time of Charles Hoyt and it was in the delicious satires
that Hoyt evolved that Harlan was at his best. His
greatest success was achieved in "A Stranger in New
York," which had a long run at what is now the Garrick
Theatre. This was undoubtedly the best of the Hoytian
efforts and in the role of the Stranger, Harlan was so
excruciatingly funny and his make-up, simple though it
was, so wholly absurd that the piece had a phenomenal
run, extending into the hot period without any diminish¬
ing results at the box office.
Thirty years ago the mere suggestion that a comic
opera or even a musical comedy was to be produced by
native composers and librettists, would have excited ridi¬
cule. The remote actual productions in this line were
failures, though "The Little Tycoon" and "Evangeline"
for special reasons did survive—but it was not thought
possible, in that period, that men like Harry B. Smith
and Reginald de Koven would become factors in their
sphere; as effectively, too, as Offenbach and Gilbert and
Sullivan did before them. The v/orks of Smith and
De Koven both collectively and when they individually
were affiliated with others, have been invariably great
jfortg gears ©fisertoation
triumphs; "Robin Hood" was a far more substantial suc¬
cess than "Pinafore." Its endurance, too, with the pub¬
lic, was greater. "Rob Roy," produced at the Herald
Square Theatre, was also a signal triumph. This oper¬
etta was produced by Fred C. Whitney, who, after the
death of Col. John A. McCaull, became the leading light-
opera purveyor in this country.
Raymond Hubbell, who has written the scores for
many of the Messrs. Shuberts musical productions, came
here from the West in 1903, wholly unknown. He
chanced one day into the publishing house of Charles K.
Harris, and began playing on the piano a number of the
most melodious themes, the result of which was that he
was sent up to the Shuberts' office with a letter of intro¬
duction that sealed his fate; he has been associated with
this firm ever since. The first score from his prolific pen
was "The Runaways" and, in collaboration with the late
S. S. Shubert, he wrote "Fantana," which had great
vogue in 1905-06.
John Stromberg, who provided the scores for nearly
all of the Weber and Fields productions, was a veritable
genius, and only his untimely death in 1906 brought his
activity to an end. His successor at that house, Maurice
Levi, was also a deft composer of light and entrancing
melodies. Recently he has given more of his attention
to the permanent orchestra which he has organized, and
which is often heard in the city; but he has by no means
abandoned his efforts as a composer.
Julian Edwards writes operas of a more classical char¬
acter, and has a list of successes to his credit that will
compare most favorably with some of the European ce¬
lebrities who have obtained large royalties in all quar¬
ters of the globe.
There is a young composer relegated to one of the bur¬
lesque companies—his name is Sheppard Camp—who
of S$u0{c attD tf)t Drama
335
will come out of his hiding one of these days. He cer¬
tainly does write the most delicious gems, and many of
them, too, with so little effort. He will find his place,
undoubtedly, with one of the great producing firms.
There is always a field for genius, and one has only to
listen to the compositions of young Camp to foresee his
future.
Bernard Macauley was born in New York City Sep¬
tember 16, 1837.
He early became connected with the stage and at dif¬
ferent times was a member of various stock companies
in the South and West, being leading man for such well-
known stars as Matilda Heron, Laura Keene and Lucille
Western; he also supported Booth, Jefferson and J. W.
Wallack. His Armand Duval in "La Dame aux Came-
lias," with Matilda Heron as Marguerite Gautier, was
considered the best impersonation of the role that had
till then been given. He originated the quaintly humor-
our character of Uncle Dan'l in "A Messenger from
Jarvis Section," a rural offering that to this day is util¬
ized by the many provincial stock companies which at
this period are finding vogue.
In 1873 he built Macauley's Theatre in Louisville,
Ky., where he established a notable stock company, and
which was the scene of Mary Anderson's debut.
Macauley remained in harness until his death, which
occurred in 1886.
Charles R. Pope, a brother-in-law of Macauley's, was
born February 17, 1829, in a little village near Weimar,
Saxony; he was quite young when his father emigrated
to this country.
When about twenty, he joined a Rochester stock com¬
pany in which his efficiency was such as to attract at¬
tention, and soon the large cities were open to him. He
has appeared all over the country, representing Shake-
336
jFottp gears D&gedmticm
spearian and standard roles, twice supporting Edwin For¬
rest. His Othello, in German, met with instant success
in every town that could then boast of a German theatre.
He was one of the foremost legitimate stars whose
ability was universally recognized in the 70s.
He was associated with Ben de Bar, in management.
He ultimately became interested in politics and was at
one time United States consul at Toronto.
Miss Grace Filkins, who is now playing an important
role in Charles Klein's play "The Third Degree," began
her dramatic career as a child actress. She was for sev¬
eral years a member of the famous Augustin Daly com¬
pany when it included such celebrities as Ada Rehan,
John Drew, Virginia Dreher, James Lewis, and Mrs.
Gilbert. Then followed a succession of brilliant engage¬
ments with Mme. Modjeska, Charles Coghlan, Rosina
Vokes, and Otis Skinner. Miss Filkins also appeared
as Sylvius in that remarkable performance of "As You
Like It" produced by the Professional Woman's League
some years ago. She has had the honor of being men¬
tioned in the memoirs of Miss Ellen Terry as giving one
of the three great performances of the play, the other two
being those of Mme. Janauschek and Miss Mary Shaw.
Miss Filkins has been appearing for several years under
the management of Mr. Henry B. Harris.
Miss Clara Clemens, who is a daughter of the famous
humorist and author, Samuel L. Clemens (Mark Twain),
made her debut in Florence, Italy, in the month of April,
1904. She sang there twice in public with much greater
success than has been accorded her in America thus far.
In New York her first appearance was in the Olive Mead
quartette concert at Mendelssohn Hall, in February,
1909. Miss Clemens, however, has sung throughout the
United States in concert, but her metropolitan debut
^5
C. LESLIE ALLEX.
As Sir Peter Teazle.
Players of a Dignified Period of the Theatre.
CHARLES POPE.
of i0i'c anO tfje Dtarna
337
proper is yet to be effected. Her voice is a contralto of
much depth and resonance.
John Gourlay left the organization known as Sals-
bury's Troubadours long before the end of its existence,
and with Louis Harrison starred in a travesty entitled
"Skipped by the Light of the Moon," which had a long
period of prosperity. Gourlay was born and raised in
Detroit and was a light comedian of excellent calibre.
Louis Harrison's career covers a period of nearly thirty-
five years. He was a distinguishing feature of the pro¬
ductions made by Edward E. Rice in the 8o's, and in
"Horrors," "Revels" and "Hiawatha" he scored notably.
He was also for a time at the famed Boston Museum,
and his principal starring venture was in conjunction
with his sister Alice Harrison in a musical play called
"Photos," under the management of M. W. Hanley. Alice
Harrison was a true burlesque actress and this is indeed
a compliment, for burlesque, as understood in those days,
was as difficult of representation as Shakespeare, or
plays in blank verse, and few indeed of our present day
favorites could hope to cope with the requirements of
artists as the Harrisons were. Louis Harrison seems
to have maintained an even status throughout his long
career and he is seen in practically the same capacity at
this time and with precisely the same results.
Selina Dolaro, who created the principal role in "The
Snake Charmer," the opera in which Lillian Russell
made her debut on Broadway in 1884, at the Bijou The¬
atre, was first heard at the Academy of Music for a sin¬
gle performance in "Carmen" with Colonel Mapleson's
opera company, and a great Carmen was she. But Se¬
lina was temperamental to a great degree, and she quar¬
relled with the doughty Colonel over a matter of cos¬
tume and her career as a grand opera star was cut short.
338
jfottp ^earg flD&sertmtiott
She scored her greatest success, however, in Offenbach's
"La Fille du Tambour Major," which was presented by
M. B. Leavitt on tour with a large organization and an
eclipsing splendor of mise-en-scene.
Lawrance D'Orsay was born Dorset Lawrance, but
was nicknamed the "Little Count D'Orsay" by his
schoolmates, which name he adopted when entering
upon a professional career and which has become char¬
acteristic of the parts that have for so long been asso¬
ciated with him.
He had a three-years' contract with Mr. Charles Froh-
man to appear as the King in "A Royal Family" at the
old Lyceum Theatre. This was one of the most delight¬
ful roles he ever played.
Miss Annie Russell was the star, Charles Richman
was the Prince, William H. Thompson was the Cardi¬
nal, and Mrs. Gilbert was the Queen Dowager. At the
conclusion of the run of "A Royal Family," he was cast
for a comparatively short role in "The Wilderness," and
became a member of the Empire Theatre stock com¬
pany. Here his artistic performance of a distinctly Eng¬
lish role influenced Augustus Thomas to write "The Earl
of Pawtucket," especially for Mr. D'Orsay.
Edgar Smith, who has written the librettos of a great
many lasting successes in comic opera and musical com¬
edy, was born in Brooklyn, New York, December 9, 1857.
He was a member of Daly's company and, about 1885,
became associated with "The Dickson Sketch Club."
From 1886 to 1892 he was engaged as actor and libret¬
tist at the New York Casino and while there adapted
"La Grande Duchesse," "The Brigand's Daughter,"
"Apollo," "Madelon," etc. During the same period he
wrote and produced "You and I," "The Spider and the
Fly," "The Grand Vizier," "The Merry World," "Miss
AUGUSTUS THOMAS.
CHARLOTTE WALKER.
A group of playwrights and players.
SYDNEY ROSEXEELD.
MARTHA MORTON.
EDGAR SMITH.
H. B. WARNER
of Ct3usic anH tfje Drama
339
Philadelphia," and adapted "The Girl from Paris," "Hotel
Topsy-Turvey," "The French Maid," and "Monte Carlo."
He wrote all the pieces put on at Weber and Field's
Music Hall and at Weber's Theatre, during the period
from 1896 to 1907. Other productions of his are "The
Little Host," "Sweet Anne Page," and "Home, Sweet
Home," "Mr. Hamlet of Broadway," and "The Merry
Go-Round." His more recent adaptations are "The Girl
Behind the Counter" and "Havana."
He is a member of The Mystic Shrine, The Lambs, The
Elks and The Authors' and Composers' Society.
Travesties of a Travesty have always failed. In 1868,
during the great run of "Genevieve de Brabant" at the
Theatre Francais, a testimonial was tendered to Paul
Juignet, then stage manager. The attraction was re¬
garded as an extraordinary one, inasmuch as the Offen¬
bach opera was cast with all the characters reversed, Car¬
rier the Tenor sang Genevieve and Rose Bell appeared
as Drogan, the page; Mile. Desclausas was one of the
gendarmes, wThile Gabel, the regular impersonator of the
gendarme, appeared as what is to-day called a "Show
Girl." The house was sold out a week ahead and fabulous
prices were paid for seats, but alas! the gloom of the
evening was intense. The appearance of each of the
principals would cause an outburst of laughter and ap¬
plause, but after this first reception the various artists
proved tiresome, and the attempt was never repeated by
Jacob Grau.
Ten years later, Maurice Grau was tendered a benefit
by his many friends at the Academy of Music, when an¬
other effort was made on lines very similar to that above
narrated. On this occasion Grau, with a vivid recollec¬
tion of the disaster that had befallen "Genevieve," an¬
nounced that the first act only of Offenbach's "La Grande
Duchesse" would be travestied. Marie Aimee was Fritz,
340
Jfortp J?cars Dfcgettmtton
Mile. Minelli was General Boum, Mezzieres, the best
opera bouffe comedian of any time, was La Grande Duch-
esse, while the inimitable Duplan attacked Wanda. Again
the vast auditorium of the Academy was sold out at pre¬
mium prices, but the failure was not less emphatic than
a decade before. In the last thirty years this method of
travesty has been entirely abandoned.
Frank Daniels, thirty years ago, was confining his
activity to New England. He first became generally
known in a musical company which was then called "The
Jollities," and which produced an absurdity called "The
Electric Doll." In this concoction Daniels displayed the
same unique style which has always been his, though the
many qualities which now seem so pronounced and con¬
structive to his success, then failed to avail him to the
extent necessary for lasting success. Charles Atkinson,
a Boston manager of experience, was long identified with
Daniels. It was when the little stubby comedian entered
the field of comic opera that he made his permanent and
lasting success. Daniels was the star who first scored
with the operas from Victor Herbert's pen, all of these
have had lengthy runs. As a matter of fact, it is doubtful
if Daniels ever appeared in other than Herbert's operas
since he became a star. His early vehicle, "Puck," could
hardly be classed as an opera.
Emma Calve, in all the twenty years of her sustained
fame, has undoubtedly found it possible to retain her
potency with less study and with a more limited reper¬
toire than any grand opera star that can be here recalled.
Her career has been based on two roles—Carmen in
Bizet's opera of that name and Santuzza in "Cavaleria
Rusticana." Madame Calve has also sung in other operas
in America, notably "La Navaraise," "The Pearl Fishers,"
"Hamlet" and "Mephistofole," but only in the first two
has she been enabled to command the audiences which
of C^usic anD tfje Drama
341
would justify the large honorarium accorded her. In the
last two of her operatic visits, the number of her appear¬
ances have been restricted by Mr. Hammerstein in line
with this limited repertory. No impresario of the last
fifty years has used better judgment in measuring the
length of time that a celebrity may attract with a limited
repertory. This has been clearly shown in the short
term also allotted to Madame Nellie Melba at each of her
three "guest" engagements at the Thirty-fourth Street
opera house. It is the concert field that is mainly re¬
sponsible for these conditions, for as long as it is possible
for singers to earn double in concert, they are not likely
to feel inclined to the extra exertion which is associated
with the creation of new roles. For this very reason the
forthcoming season is likely to unfold new conditions in
the field of opera. Four opera houses, if not five, will, be¬
fore the close of the present year, present Grand Opera in
this metropolis in its highest form; and there is every
indication that in at least two of these, more likely in
three, French opera comique and opera bouffe will pre¬
dominate. This is indeed a welcome programme, and if
carried out faithfully will revolutionize the prevailing
taste for meaningless musical comedy. Let it not be
forgotten that in the New York of forty years ago, with
a population one-fifth of what it is now, an opera bouffe
like "La Grande Duchesse" would run upwards of one
hundred nights, and "Genevieve de Brabant," sung in
French, ran one hundred and fifty nights to enormous
audiences.
Old-timers will recall the first visit of De Kolta. He
was the most dexterious at strictly sleight of hand
manipulation of any of the magicians of long ago. He
was favorably received in Paris. Here he frequently
came to the Eden Musee, and on his first visit to that
342
jFortp Ipcars O&sennuion
establishment was second only in drawing power to the
sinuous Otero.
Powell was another of the strictly sleight of hand type,
and he, too, was wont to appear at the Eden Musee.
It will be recalled that Henry E. Dixey, more than a
decade ago, came forward at the Garden Theatre as a
prestidigitateur, and with considerable success, though
he did not long continue in this field. He appeared in
his Adonis costume, presenting a very striking appear¬
ance. One of the most interesting features of his per¬
formance was the turning of the stage into a dressing-
room and the audience was permitted to observe the
comedian in the process of making up for his portrayal
of Henry Irving, and a startlingly true likeness it was.
Thirty-three years ago Harry Lee, who has been asso¬
ciated with Klaw and Erlanger ever since they first start¬
ed in as booking agents, was travelling through Canada
with Prof. McAllister, a magician, who was the pioneer
of the Gift Enterprise type. McAllister was a firm be¬
liever in the principle that Phineas T. Barnum knew
whereof he spoke when he said: "The public likes to be
humbugged."
McAllister must also have been wealthy, for he con¬
ceived more plans to deplete the public purse without
giving any return than anyone I can conjure up recol¬
lections of.
Early in the year 1867, an avant courier swept into
Louisville, Ky., and secured a lease of the Mercantile
Library Hall, then the only place of amusement in that
city, for a single evening. This agent at once placed, all
over the city and in the suburbs of Louisville, large
posters, on which was printed:
HE IS COMING!
of Q3o.sk an ft ti)t Dtama
343
Not another word of announcement was made, and after
a few days, when excitement began to run high, these
bills were replaced by others, reading:
HE IS HERE!
Two days later the excitement was intense. However,
on the afternoon of the second day, the posters were
again replaced by ones reading:
HE WILL BE AT LIBRARY
HALL TO-NIGHT!
About 7 p. m., on this particular evening, a young man
took possession of the box-office in Library Hall, and
soon a crowd began to gather, by seven-thirty the streets
were blockaded, and at a few minutes before eight, it
was impossible to squeeze another person into Library
Hall. The paste boards sold for fifty cents each, and
the audience contained an even division of the sexes and
in an exceedingly anticipatory mood; at a quarter after
eight the curtain rose. On the stage a beautifully painted
canvas covered the entire breadth of the space inside the
proscenium arch, this canvas was at least eight feet
high and twenty feet wide, and the painting was in sev¬
eral colors, each letter being ornamented artistically. The
sign read:
HE HAS GONE.
That consternation was the result of this display need
not be here told. It was however found that no crime
had been committed, no promise had been made.
Robert Heller, with his sister Haidee, had his own
theatre for magical entertainments as long as he lived.
He took the little Brougham Theatre, the site of which
344
jFortp Ptnrs SD&settmtton
afterwards was the Madison Square Theatre. Later he
went to Broadway and Waverly Place and opened Hel¬
ler's Wonder Theatre at what was the Globe Theatre,
730 Broadway, where the Werrell Sisters had a long
vogue. Here he decided to attract the public by strenu¬
ous advertising, so he placed all over the city and for
twenty-five miles outside the city, large posters which
read as follows:
er's
GO TO HELL Wonder
Theatre.
The announcements were conspicuous and telling—
Heller drew great crowds even to the downtown resort.
He was of the type of real showmen who, a generation
ago, had to do with matters of the theatre or the amuse¬
ment world.
The advent of Kellar came long afterward.
Alexander Hermann was undoubtedly the most pros¬
perous and surely the most popular magician of the last
fifty years. It was in the early 8o's that he began to
survive the difficulties and the prejudice he at first en¬
countered. From 1885 until the time of his greatly re¬
gretted demise, Hermann was the one and only presti-
digitateur who could obtain booking in the theatres of
the very first class, and he was able to fill these as well
as any star who came supported by a large organization.
Hermann had many assistants; it was not all profit with
him. He was a veritable first nighter at the theatres and
operas, and had a large clientele of friends. If all the
persons whom he aided were here chronicled, few of the
powers that to-day are prominent would be lacking in
the recital. It may be said of him that he was the one
magician to raise the art of magic up to the plane of the
345
modern theatre, and no one has taken his place to this
day.
Alexander Hermann was perhaps the best and most
successful of the magicians of the last half century which
also included Augustus Hartz and Robert Heller; ail the
others were in a different class. Though the career of
Kellar is of such recent date and is so generally known
that it is not to be recorded here other than to observe
that he amassed a fortune by his work, and that his per¬
formance was wholly original and has not been dupli¬
cated. Alexander Hermann was the grandson of "Her¬
mann the Great," and was a tremendous box office at¬
traction and a good manager; his wife, Adelaide Her¬
mann, is a still better one, and to her thrift was due the
fortune Hermann had saved, though in the rebuilding and
management of "The Morgue" to which I have referred
quite often, he lost a great portion of it. Hermann was a
great believer in printer's ink, and his business manager
Edward Bloom, now associated with Julius Cahn, was
given carte blanche in this respect.
The widow of the great magician, who also inherited
his fortune, was not only an excellent business woman
but also was one of the most beautiful women in the
world; and to this day with that industry for which she
was always noted, she receives from $400 to $500 a week
salary, by the presentation of an act of legerdemain in
Vaudeville.
Adelaide Hermann, then known as Mile. Addie, was
doing a novelty act with Schumann's Transatlantiques, a
Variety Combination that toured the world thirty-four
years ago. To see her to-day either on or off the stage
one would believe this impossible and yet people will
prate about the life of the stage worker. There are no
better preserved women to be found anywhere in the
world than upon the stage. The majority of the famous
346
jFortp ^ears Dfosertoatton
stage women of to-day show no sign of the public's
waning interest; there is no outward indication that their
careers are coming to a close and yet nearly all of these
were actively engaged a quarter of a century ago.
It is fully twenty-five years since Julia Marlowe was
seen first as a tragic queen; it seems but yesterday. But
who is there that grows old more gracefully than the
favorite of the stage? If Lillian Russell twenty-five years
ago looked any younger than now, the difference was not
very marked and if there is any woman in the world who
takes better care of herself and preserves her youth with
more vigor and caution than she, the name is not here
recalled.
Patti is now sixty-five, and yet when she sang at Albert
Hall in London a few months ago, she \Vas just as lithe
and gay as ever, and her physical contour showed abso¬
lutely no sign of the slightest languor or lack of sym¬
metry, and yet the diva has her glass of wine at dinner,
and, why deny it, when she is not singing, or about to
prepare for singing, she smokes the daintiest cigarettes.
When I was at "Craig Y Nos," where, with Mrs. Grau, I
spent two days, I was a witness of la diva's art in the
smoking of a cigarette. Patti, the divine one! There are
no rules of life that she does not obey and for this reason
it is impossible to conceive when she will really terminate
her artistic career. Even another "farewell" American
tour is threatened.
Howard Thurston, prestidigitator, was born at Co¬
lumbus, Ohio, July 20, 1869, son of William and Mar¬
garet (Cloud) Thurston, of English ancestry, and nephew
of former Senator John M. Thurston. His parents in¬
tended him for the ministry, and in obedience to their
wishes spent five years at Moody's School in Brookfield,
Mass.; but a book on magic bent his inclinations towards
the stage instead of the pulpit.
of Q3u0ic mtD tfje Drama 347
His success in his chosen vocation was phenomenal,
which led to engagements in New York City, London,
and the principal European cities, and he holds the honor
of appearing before four crowned heads—King Christian,
King Edward, King George of Greece and the Czar of
Russia-—at one time at an impromptu performance at
Copenhagen.
In 1904 Thurston made a complete tour of the world,
visiting Australia, Japan, China, the Philippines, India,
and Continental Europe, appearing before thirteen rulers
of nations, which established the young American as the
greatest magician in the world.
In 1907 Thurston was an associate star with Kellar
and toured the United States, and upon Kellar's retire¬
ment, in 1908, accepted the mantle of magic from his
worthy predecessor, which he has since worn with honor
and success.
Augustus F. Hartz, present manager of the Euclid
Avenue Opera House in Cleveland, Ohio, was born in
Liverpool, England, September 8th, 1843.
Gus Hartz won his first laurels as a magician, and one
of the world's greatest, too, was he. It was at the Young
Men's Christian Association Hall at 23d Street and Fourth
Avenue that he made his professional debut as a pres-
tidigitateur in September, 1863.
The writer was attending public school in the vicinity
and was present on the occasion noted. Gus had been
apprenticed to his elder brother Joseph who was one of
the first magicians to give public entertainments in
America. He learned to become proficient in this field
of endeavor. The brothers were three, the youngest,
George, now a member of the New York stock exchange;
together they maintained, for many years, a store for the
sale of magical apparatus at Fourteenth Street and
Broadway.
348
jTortp gears £T>&sertiatton
George was never a magician, but he travelled with his
two brothers throughout the world and acquired sufficient
knowledge of legerdemain to enable him to open, on his
own account, a store for the sale of magical goods under
the St. James Hotel, one of the city's popular resorts, on
the site of the St. James Building.
Gus Hartz quit the field of magic in December, 1879,
and settled in Cleveland, Ohio. There he entered into
the real estate business but, after two years, was induced
to lease the Park Theatre in that city, which was run in
opposition to the Euclid Avenue Opera House, owned by
Mark Hanna and managed by his cousin, L. G. Hanna.
Hartz's energy and ability were sufficient to attract such
stars as Henry Irving, Mary Anderson, and Edwin Booth
to the newer house. The Park Theatre was destroyed by
fire exactly eleven weeks after Hartz had opened it and
this ruined him financially. Nevertheless, before the
ashes of the burning playhouse had cooled, its unfortu¬
nate lessee had succeeded in obtaining a long lease of the
Euclid Avenue Opera House. All of the magical appar¬
atus which Hartz had stored in the burning theatre were
destroyed; this was the means of ending, for all time,
his career as a magician.
He is still the manager of the Euclid Avenue Opera
House, one of the best managed playhouses in this
country and occasionally he has assumed other mana¬
gerial tasks, being at one time, one of the many managers
of Richard Mansfield, and it was he who first produced
Milton Royle's play "Friends" which proved so very
successful for all concerned.
The advent of the "Knocker," as the traducer has been
dubbed, was of very ancient vintage, and at no period
that can be recalled was this personage wholly absent
from theatrical life. John D. Mishler, the old-time mana¬
ger, new retired, used to say that it was necessary to die
of €^u0fc nnti tjfjc Drama
349
to be worthy of praise from one's brethren of the stage,
and he further extemporized thus: "If one-half the nice
things that actors say of one another after death would
only be accorded them while they are still with us, the
words of eulogy would have a truer ring to them."
George Cohan comes of a theatrical family. His father
is Jerry Cohan and his mother, Helen F.; there is also a
sister Josephine. The Cohans originally had one of those
Hibernicons which were prevalent a quarter of a century
ago. At the age of three, George was already a dancing
wonder, and at five he was, in addition, a violin prodigy.
Although he is now just thirty-two years of age, he was
prominent all through New England twenty-five years
ago. He was born in Providence, R. I., in 1878, and fif¬
teen years later his genius was manifesting itself in vari¬
ous directions. He it was who became the power behind
the throne of many of the famous monologists who,
from 1890 to 1900, poured rapid-fire talk at their audi¬
ences. Lew Dockstader never failed to credit George
with the ammunition which he, as a prolific writer, pro¬
vided the great minstrel with. When the four Cohans
began to "play dates," their salary was anywhere from
$200 to $350 a week, and it did not exceed $500 during
the first few years of their activity. Suddenly the extra¬
ordinary dancing of both George and Josephine began to
tell. It has always been a source of wonderment to the
writer how they ever were compelled to wait a day for
honest recognition, for the incomparable dancing of these
two has at no time been equaled. However, a decade ago,
the four Cohans were selected as the choice of a Western
manager, J. J. Murdock, who had extensively advertised
that he would pay $3,000 a week (for one week only)
for the best vaudeville act offered him, to be presented at
the Masonic Temple Roof Garden in Chicago. It was
through this engagement and the attendant publicity that
350
jfortp SD&gcrtiatiott
the vogue of the four Cohans reached its zenith. Then
came the ambition to become a star, in which it is only
creditable to the rest of the family to state that they
encouraged him finally. As a result, "The Governor's
Son" and "Running for Office" were evolved and both
were successful. George Cohan had previously written
sketches and songs galore. These were produced so
rapidly in vaudeville theatres that his sudden deter¬
mination to withdraw from this particular field was re¬
garded almost as a calamity by variety managers and
artists alike. Then he met Sam Harris, with whose name
his later achievements have been associated, which
achievements are matters of public interest and every-day
discussion.
"Out of the Nowhere, the place distant from the source
of theatrical fame, a genius came last night to stir and
stun an audience by the marvelous power of his acting.
In an instant he proved his greatness." Thus wrote a
Chicago critic on the memorable night when Walker
Whiteside began an engagement in that city, early this
season, in Israel Zangwill's "The Melting Pot," an en¬
gagement that was to last much longer than any serious
drama had ever held in the Western metropolis. This
wonderful actor has not yet been seen in New York in
this Zangwill masterpiece. The West has been loath to
let him go. Eighteen years ago, this same Walter White¬
side, then a mere lad of seventeen, a boy prodigy, as¬
tounded and completely captured first Chicago, and then
NewYork. As the rediscovered Whiteside, an artist more
mature, more experienced, may again be expected to
prove a sensation. Most of the seventeen years that
elapsed between Whiteside's appearance as Hamlet at
the Union Square Theatre, New York, in 1891, and his
emergence from practical oblivion in "The Melting Pot"
in Chicago this season, were spent at the head of a reper-
of efusic and tf)e Drama
351
toire company of his own, which entered on a "barn¬
storming" tour, playing territory few attractions ever
visited, yet giving superb performances of classical plays,
among them "Hamlet," "The Merchant of Venice," "King
Lear," "Othello" and "Richelieu." He was practically
unheard of in the larger cities, save when a traveling
salesman mentioned the fact that he'd seen a "dashed fine
actor" at Greenville, Ind., or some other place not
worthy of geographical mention. Liebler and company
claimed Whiteside for the larger cities two years ago,
and now that they have furnished him with a play that
is universally acclaimed, wherever it has been seen, as
the biggest and noblest dramatic work of years. There
can be little question that the metropolitan appearance
of Whiteside in "The Melting Pot" next season will prove
an epoch-making event in the history of our drama.
Lucy Weston, America's adopted favorite, who is
now a reigning favorite, has been on the stage since
she was ten years old, in which time she has played
many parts. Her first professional engagement was in a
pantomime called "Cinderella," as one of the good fairies.
After a season or so in pantomime she had a speaking part
in an English racing play called "An English Rose," in
which she essayed the role of stable boy. A real Ameri¬
can blood and thunder play was the next attraction to
come along to need her services; Miss Weston decided
that musical comedy was more in line with her unusual
talents and abilities, so she engaged herself to George
Edwardes, the London musical comedy producer, and
played the title role, Jack Shepard. Singing in the Eng¬
lish musical halls followed, and her success here was
instantaneous. Last Christmas she came to this country
for the first time for the vaudeville managers, but after a
few weeks she was engaged, as a special feature, for the
"Follies of 1907." She continued with that organization
352
jfortp ©tertiatton
all last season and also played in its successor, "The
Follies of igo8." The vaudeville managers have again
captured the little comedienne, and she is now creating
a sensation with her lyrical advice songs.*
No matter what Ada Lewis has done since her New
York debut as Kitty Lynch, "The Tough Girl" in "Reilly
and the 400," in December, i8go, that one characterization
will be indissolubly connected with her name. A practi¬
cal nobody in San Francisco, Ada Lewis was induced to
brave a trip across the continent to join Mr. Harrigan's
company, by the promise of a weekly salary of $20, a
sum that seemed enormous to her then. Her success was
instantaneous. From that time on Ada Lewis has cre¬
ated a gallery of eccentric types, invariably scoring the
individual hit in the production in which she appeared.
This season she is awarded stellar honors for the first
time, despite the fact that the most eminent dramatic
writers in the country have been long urging managers
to take advantage of her gifts and popularity. Ker first
vehicle is called "The Head of the House," and is by
Edward Waterman Townsend (the author of "Chimmie
Fadden") and Frank Ward O'Malley, the most popular
and, according to no less an authority than Arthur Bris¬
bane, the most able of journalists. With a play written
by men so competent to fit her with a suitable part, Miss
Lewis' starring career should begin auspiciously.
Twenty-five years ago, in the spectacular productions
of that period, it was noted that the actress who was
called upon to appear in imposing roles of display, could
really act. She was not a "show girl" as is the case to¬
day, and in burlesque, then a fine art, by the way, all the
well-known leaders of the Lydia Thompson company
*Miss Weston is now appearing in "The Candy Shop," a
Dillingham production.
of 6§u0ic and tfyz Drama
353
were excellent actresses; and their after careers clearly
established this.
Lizzie Kelsey, who was the Stallacta of "The Black
Crook," was a consummate artiste.
Then there was Nellie Larkelle, who had the true
spirit of burlesque, as did Adah Richmond.
Where have we to-day on the whole length of the
"Great White Way" another Eliza Weathersby?
Although Pauline Markham was not conspicuous
from an acting point of view, she was an ideal Stal¬
lacta, and in her earliest visit was about the most ravish¬
ing display of loveliness that one could possibly conceive
of. Miss Markham afterwards became a strictly legiti¬
mate player, and her career took on many vicissitudes as
it progressed, but at no time that the writer can recall
has she ever failed to exhibit her charms gracefully, if
indeed it cannot be said that as an actress she always
scored, at least she improved; and in the dual role of
Lady Isabel and Mme. Vine in "East Lynne," the por¬
trayal was praiseworthy from every point of view.
Rose and Olive Rand were burlesquers and dancers
thirty-five years ago, and afterwards became players of
prominence.
Emily and Betty Rigl were actually premieres
in ballet. Often Emily, who now has risen to emotional
heights and who has had a notable dramatic career, and
her sister, danced in opera spectacle and burlesque, under
the name of the Rigl sisters. Emily, next to Clara Mor¬
ris, was considered the best emotional actress in Amer¬
ica less than ten years ago.
At the present time and for six years previously, vaude¬
ville audiences have been listeners to a singer who pos¬
sesses a voice and methods that should entitle her to
longevity on the grand opera stage. Edith Helena is
354
jfortp ^earg £>lisettmtiott
here referred to. What a struggle has been hers! Six
years ago this remarkable singer tried to obtain a hear¬
ing, and the experiences she passed through and the per¬
sistency she has displayed, would be worthy of a lengthy
recital. Suffice to relate that fortunately her exploita¬
tion became finally possible through much ingenuity on
the part of her husband, a Mr. Jennings, who, being an
old newspaper man, evolved a plan of publicity for his
wife that had the effect of attracting the managerial at¬
tention; and Edith Helena's salary rose from nothing to
$300 a week. The method used by Mr. Jennings was to
cause illustrated articles to appear in the press and mag¬
azines in which the throat of the singer was scientifically
theorized upon, also a scale of high notes was used.
Only four singers of world-wide fame were credited with
ability to reach a certain note; first came Nilsson, then
Patti, then Yaw and finally Helena, who was credited
with being able to sing the highest note that ever came
from a human throat. This was the manner in which
one of the greatest high soprano voices in the world and
its possessor were exploited, and that too through sheer
necessity. After a year in America, Madame Helena
went abroad, where her vogue was far greater than here,
and on one occasion, in Spain, an impresario, hearing
her in private, signed a contract to pay her $500 a night
in American money, to sing in grand opera; which was
accepted.
The purpose of these lines is to state that it is the
author's belief that in this artiste some impresario has
a "find"; but a proper course must be pursued. Two
years at least should be devoted to artistic perfection,
and if Edith Helena has the benefits of the advice and
tuition of a Jean de Reszke or a Mathilde Marchesi, then
indeed in tv/o years, or perhaps three, a veritable colora¬
tura will be heard in grand opera.
of £§usic and tf)e Drama
355
Rose Melville was born in Terre Haute, Ind. Her
father was a Baptist minister who held meetings in the
country districts where the family lived, and Miss Mel¬
ville became much interested in the girls of the farms
and small towns, closely noting their pathetic struggle
with awkwardness when in company of other people;
and from these observations was evolved the character
of Sis Hopkins, which seems destined to go down in his¬
tory, hand in hand with Jefferson and his Rip Van
Winkle.
Miss Melville is an exceedingly conscientious actress
and bears herself with the same freshness and earnest¬
ness that characterized her work during the early runs
of the play.
It will be recalled that Patti on her last tour here sang
an American ballad entitled "The Last Farewell." It will
no doubt be interesting to state here just how this song
came to be rendered by her, and in justice to her honored
name and great fame, though I am in no way obligated to
vindicate her, it is through a sense of all round vindication
that the story must be told here. In the contract which
I held with the diva for this "farewell" tour a clause
existed giving her the right to select an American Ballad,
to be sung as an encore. It so happened that at the time
that the preliminaries of the tour were being arranged I
had my office in the suite maintained by Charles K.
Harris, a music publisher who has made a large fortune
through writing ballads that reach the heart.
When Mr. Harris heard of the clause in this contract,
he expressed a desire to write the ballad and as I have
always felt that if Harris had so chosen, he might have
reached eminence as a composer, I commissioned him to
write one, which when completed was sent to the diva,
and promptly returned, found wanting as to words and
356
jfortg ^eat0 SIDtisertoattcm
music. Reluctant to hurt the feelings of the ambitious
composer of "After the Ball" I kept from him the knowl¬
edge here expressed, but cautioned him to rewrite the
song and raise its artistic level or the case would be hope¬
less. And as he knew I was going to "Craig Y Nos" to
visit Patti, Harris set about to improve the work and
handed it to me just as I was boarding the "Lucania"
for Liverpool.
To be brief I shall only state here that Mrs. Grau and
myself pleaded the cause of the American Balladist
throughout the length of our stay in the Patti Castle.
The diva, despite her gracious hospitality to us, declined
in the most emphatic terms, the matter seemed hopeless;
but I could not bear to think of Harris being disappointed.
I wonder if when he reads these lines, he will appreciate
that which, till now, at least has been wholly miscon¬
ceived. As we were about to depart for America, the
diva in bidding us farewell, thanked me for the visit and
said: "You are paying me $1,000 more a night than I ever
had before not to speak of the other gratuities, what can
I do for you in return? Ask me what you will and it shall
be granted."
I thought for a moment, and then, somewhat nervously
I am told, began to stammer out that if she would only
sing my friend's song just once, I could think of no favor
that she could grant, that would make me so happy.
Patti frowned and then frowned again. It was probably
two moments before she spoke. Finally she said: "I will
send you a despatch to the ship at Liverpool with my
decision." Thus we took our farewell of the Baroness
Cederstrom, and were soon on our way to London where
a couple of days were spent ere our departure for Liver¬
pool. On arrival there, promptly going on board the
steamer, the same one we came over on, the "Lucania,"
as soon as we reached our stateroom, the purser handed
A DELI N A PATTI am, P.ARON CEDERSTROM.
of Q£u0ic anO tf>e Drama
357
me a despatch which I opened with trembling hands. It
was from Patti, and read as follows:
"Will sing 'The Last Farewell' subject to business
arrangements with the. composer, satisfactory to me.
"Patti."
And now the public may know just why the greatest
cantatrice of the last fifty years, if not of all time, persis¬
tently sang "The Last Farewell" at every one of her forty
concerts in America in 1904.
A singer of whom little is heard nowadays, yet whose
renown was of the greatest was lima di Murska, one of
the greatest artists that American music lovers ever
heard, and a coloratura soprano whose equal is not to be
heard to-day in any opera house in the world. Di Murska
however, did not prosper to the extent that Nilsson,
Lucca and Gerster did. These are mentioned because
they were companion singers of the illustrous Hungarian.
Di Murska, however, was received with great acclaim in
Australia. One of the greatest lyric organizations ever
heard in the world, was the one headed by Lucca, Di
Murska and Tamberlik. Max Maretzek was the entre¬
preneur who directed this remarkable array of stars, and
the extraordinary furore which they invariably created, is
the best evidence that the musical public of all ages at
least, as far as America is concerned, were fond of wor¬
shipping at the shrine of celebrities. The ideal cast in
which Maurice Grau reveled in the days of the de
Reszkes, was just as desirable forty years ago as now.
Who, of those who can recall the "Trovatore" at the
old Academy on 14th Street, with Theodore Wachtel,
Parepa Rosa, Charles Santley and Adelaide Phillips, will
deny that the progress of opera has after all been greatly
at the box office? Three dollars was the very highest
price for seats even for a Nilsson or even for a great cast,
now $10.00 is asked to hear two singers of the highest
358
jfottp SOtetteation
rank, such as Melba and Tetrazzini, and if Caruso and
Melba were to sing in one evening, there is no price that
seats would not bring; yet opera goers of the 70's and also
of the 8o's heard the greatest cast for $3.00 for the best
seats.
A company which included Nilsson, Torriani, Cary,
Campanini, Capoul, Maurel, Nanetti, all at their best, was
surely a delight, and one can never forget the "Aida"
which these matchless singers rendered at the Academy
of Music thirty years ago. The best seats were $3.00.
Of the dramatic stars who began at the top of the
ladder there were, of the gentler sex, just three—Mrs.
Leslie Carter, Mrs. Lillie Langtry and Mrs. Potter. All
three began their stage careers with the same incentive,
and all because of publicity created in their social
lives. Of the three, Mrs. Carter reached a high pinnacle
of fame and artistic promise through the great interest
David Belasco took in her development. And yet in the
two years that he has been absent from her directorate,
her achievements have had little to record. It cannot be
fairly said that all the good accomplished has been lost
through Mr. Belasco's elimination. A new play presented
by Mrs. Carter before a metropolitan public, would
quickly determine the present status of this much dis¬
cussed player. Mrs. Carter's first triumph was in "Miss
Helyett," an opera bouffe that had great vogue in France;
this successful appearance closely followed her failure in
"The Ugly Duckling."*
Mrs. Langtry never assumed much and although her
business ability was uncommon, her progress on the
*Before these pages went to the press, Mrs. Carter had ap¬
peared in "Kassa" at the Liberty, January, igog. In this play
she has scored a noteworthy triumph, giving unmistakable evi¬
dence of her aforetime charm and power, her art mellowed and
brightened to a great degree.
of QJHistc anD tfje Drama
359
stage was brought about through much persistency and
patience. The "Jersey Lily" nevertheless amassed a
large fortune as a stage queen and her potency now is not
exhausted. Last year, for a salary of $2,500 a week, she
presented a "Thriller" on the vaudeville stage in the
shape of a serious sketch.
Mrs. Potter's debut on the professional stage took place
at the Fifth Avenue Theatre; a few weeks ago the same
actress, after an absence of fifteen years, was heard in a
vaudeville monologue. Mrs. Potter at her debut in "Mile,
de Rressier" made about as positive a fiasco as the New
York stage ever recorded; but improvement came with
her progress, her best work being achieved with Kyrle
Bellew in Mr. Abbey's noteworthy production of "Antony
and Cleopatra." Here the society actress really gave
promise and her work was by no means unworthy. It is
believed, however, that Mr. Bellew was responsible for
the interpretation of this one character. At any rate the
revival was successful and ran at Wallack's Theatre near¬
ly an entire season.
Mrs. Carter it will thus be seen is the only one of the
three erstwhile society queens whom vaudeville has not
yet captured. It is needless to dwell further on the sub¬
ject, save as an illustration of the vast changes which
time has perpetrated and it is very doubtful if at this time
a public could be created, in sufficient numbers for similar
enterprises with those just recorded. It would not be
possible in 1909. The progress of the stage in this respect
has been clearly established, even in vaudeville the day
has long since passed when a reputation accomplished
through sensationalism can be paraded with impunity.
In Augustin Daly's company from the very outset of its
existence three players were enlisted who rarely were
seen on any other stages than that of the author-manager,
and never from choice. These were James Lewis, Charles
360
jfottp ^ears 20b$ertoaticm
Fisher and Mrs. Gilbert and despite the fact that Mr.
Daly's company was composed of many members who
were with him almost as long, these three were wont to
express his sentiments so clearly that they would be
apparently lost in the employ of any other manager. It
was rare indeed that Daly presented one of the old
comedies, but when he did, such a cast as he would have
to interpret them—V/ho can ever forget the Daly repre¬
sentations of "London Assurance" or "The School for
Scandal?" Yet the Daly productions of "Pique," "The
Big Bonanza," "Needles and Pins," "Divorce" and
"7.28-8" availed the three distinguished actors named
quite as emphatically.
Mrs. Annie Yeamans has outlived all but one of her
talented daughters; to-day only Lydia Yeamans is alive,
Jenny and Emily having passed away recently. Jenny
Yeamans was as talented as Lotta, but in some way she
failed to reach great stellar fame though at one time she
headed her own company and with some success. Jenny
was one of the mainstays of Edward Harrigan in the
days of the "Mulligan" series of plays, and even when he
came uptown to the Park Theatre and to his own new
house, now the Garrick, she was invariably with him.
Emily appeared in roles less prominent. Lydia had a
salary of $350 a week and has had a vogue in vaudeville
which covers a span of twenty years. Her delightful
musical specialty, in which she was ably assisted by her
husband, Frederick F. Titus, is always a marked feature
on any bill. Of late it is rare indeed that Lydia Yeamans
Titus is seen on the boards of our modern vaudeville
theatres. Mrs. Annie Yeamans, however, appears with
the piquancy and buoyancy of a veritable debutante, and
her grace as well as her delivery is as faultless as in the
Go's. Mrs. Yeamans holds to-day the cognomen of
'Grand Old Woman of the Stage," having inherited the
JOHN DREW. HENRY E. DIXEY.
JOHN HOWSON. LOUISE SYLVESTER.
(Deceased.)
A quartette of players who have had long and honorable careers.
of artD tfje Drama
361
mantle from Mrs. Gilbert, and considering her fifty years'
service and the unbroken series of important "hits"
achieved by her, together with her extraordinary aptitude
for artistic creation, it's well merited. There is not, at
least, at this time any indication that her retirement is
even in contemplation.
Miss Rose Eytinge who as these lines are being penned
is en route from Portland, Oregon, to the Actors' Fund
Home on Staten Island has been conspicuously before the
public for more than half a century.*
In the famous stock company maintained by Messrs.
Shook and Palmer at the Union Square Theatre, she was
a shining light. Her most important success being in the
title role in "Rose Michel," which ran for over one hun¬
dred and fifty nights in that theatre. Miss Eytinge was
wedded to General George Butler and from this
marriage issued one son, Frank Butler, a brainy
and brilliant poet who at the age of twenty-five,
when his career was about to develop great¬
ness met a tragic death; it is to this calamity that his
mother's premature retirement is mainly due. Mr. Butler
but a short time before his sad death was married to Miss
Alice Johnson, an actress of vast experience and great
versatility whose career has covered a wide range from
Grand and Comic opera to tragedy and farce. In a single
season, at the Murray Hill Theatre, she was seen in a
diversified repertoire, appearing in no less than thirty
roles and running the entire gamut of the modern stage.
At the present time Miss Johnson is appearing in the role
of Comtesse de Champigny in the "Man from Home"
at the Astor Theatre in this city.
In 1875 Bertram C. Whitney, then three years of age,
*Miss Eytinge has since left the Actors' Fund Home, and will
resume her professional career.
362
jfortp D&sertoatiott
may be said to have commenced his theatrical career,
for as soon as he was large enough to do so, he became
the official programme distributor to the patrons of his
father's theatre in Detroit. His business acumen seems
to have asserted itself at a very early age, for not long
after he had secured the opera-glass privilege and was in
business for himself at a time when other children were
playing marbles. He afterwards was in the employ of
his father in every capacity connected with a theatre—
from lithographing to making calcium gas.
When he was but nineteen, the managerial end of the
business appealed to him, and he was engaged as business
manager and treasurer for Laura Schirmer Mapleson in
"The Fencing Master," which at that period was the most
important operatic organization touring America.
In 1890 he went to Europe as assistant manager and
treasurer of F. C. Whitney's Wild America, the first and
only Wild West show that has ever toured completely
around the world. Returning to his home in Detroit in
1893, he assumed the active management of his father's
circuit of theatres, together with a chain of nineteen the¬
atres in Canada. In 1894 he assumed the management
of Margaret Mather, and presented her in a massive and
elaborate production of "Cymbeline" and later in Shake¬
spearian plays, until her unfortunate demise a few years
afterwards. He then became financially interested with
his brother, F. C. Whitney.
He purchased the "Isle of Spice," and after spending
over $50,000 on the production succeeded in making it
one of the best paying musical attractions on tour. He
secured "Piff, Paff, Pouff" direct from its solid run of
eight months at the New York Casino, and sent the com¬
pany on a tour that extended from Maine to California
and back again.
Mr. Whitney to-day controls a vast circuit of theatres,
of ©U0ic anD tl)t Drama
363
which includes the Detroit Opera House, the Princess
Theatre in Toronto, the Whitney Opera House in Chi¬
cago, a new theatre in Ann Arbor, known as the Whitney
Theatre, and the Owosso Theatre, Owosso, Michigan.
Ke will send on tour his latest musical success, "A
Broken Idol," also "A Knight for a Day," "The Isle of
Spice," "The Show Girl," "King Goo Goo," a new musi¬
cal comedy as yet unnamed, the book by Hal Stephens,
and a new piece with Charles E. Evans in the title role.
He is also a partner in a Canadian circuit numbering
twenty theatres; is a part owner in the Star Theatre, Buf¬
falo; a stockholder in the United States Amusement Com¬
pany, owning theatres in Boston and New York; he is
interested in several billposting plants in different cities,
and has the most complete establishment in the world for
making theatrical productions, a four-story brick building,
located at Woodward and Selden Avenues, in Detroit, oc¬
cupying a floor space of twenty thousand square feet,
where he has constantly employed a corps of scenic
artists, carpenters, electricians, property men and cos-
tumers. All of the productions are made under his per¬
sonal direction, and Herr Gus Sohlke is engaged by the
year as general stage director, in order to enable him to
keep the performances of his various attractions up to
the Whitney standard.
J. M. Hill originally was a Chicago merchant. In the
early 8o's he became convinced that Denman Thompson
as "Uncle Joshua" could be developed into a veritable
gold mine. Eventually Hill brought Thompson to the
14th Street Theatre in this city, and the writer recalls
that this typically Yankee showman was the first to see
the possibilities of natural homely acting on the stage.
"I will sit down and wait for the public till it comes,"
said Hill, and he had to wait, too. For three months
empty benches were in the majority. Then Hill sprang
304
jFort?> pears SDtertmticm
his coup. He took an entire page in every newspaper in
the city, reproducing in each an eulogistic tribute to
Thompson and the play which the New York Herald
had bestowed upon both after they had been for many
weeks at the 14th Street Theatre. However, the business
jumped immediately to capacity, and for many months
thereafter seats could only be had at a premium or by
being purchased a month in advance. Hill used original
methods with all of his atractions. He developed Mar¬
garet Mather into a great attraction, but somehow he
seemed to be unable to hold his attractions for any great
length of time.
"Kit" Clarke was general manager of M. B. Leavitt's
attractions in the 70's. He was a man of literary attain¬
ments. He left the theatrical business about twenty
years ago and has made a fortune in the jewelry line. He
is now located in Maiden Lane. J. H. Surridge, also a
Leavitt employee of the distant past, left the stage world
many years ago and accumulated wealth by embracing
the opportunity which the demand for quick lunch
restaurants created a decade ago.
John Goodwin, of the Goodwin Erothers, who publish
and have for twenty years published the recognized Turf
Guide, was, thirty-five years ago, one of the highest
salaried men in the business department of theatricals.
He was advance agent for Marie Seebach, Amiee and
others, and he was a man of much education and
was thoroughly illustrative of the class of advance agent
which was* accorded more compensation in olden times
than is to-day paid, even with all the vast progress other¬
wise.
James Foster Milliken, now a prominent lawyer, was,
in the 8o's, a well-known playwright, and also a manager.
He was then known as "Colonel" Milliken, and it is re¬
called that he adopted the French Vaudevilles in which
of spusi'c anti tfje Drama
365
Anna Judic had achieved fame, and in two of these—
"Niniche" and "Madame Boniface"—Milliken secured
Madeline Lucette for the title roles. Miss Lucette was
indeed a splendid artiste, and in the heydays of the
Casino she and her husband, J. H. ("Jack") Ryley, were
predominant. Afterwards Miss Lucette became famous
as an authoress, and several of her plays reached Broad¬
way under the direction of Charles Frohman. Mr. and
Mrs. Ryley invested much of their large fortune in real
estate in the beautiful city of New Rochelle and they still
do possess large holdings there.
In the musical field and that of high-grade concert
direction there is in this country, and has been for over
a quarter of a century, a type of local impresario, which
has gone far toward making possible some of the great
achievements of the high-salaried stars, vocalists and in¬
strumentalists.
No other branch of the amusement world is so ably
represented in the business department as is the musical,
and the achievements of one that has come under the
writer's observation is worthy of such mention as is here
given.
In Los Angeles, Cal., there is perhaps the ablest all-
round manager of great musical events in America,
known to fame as L. E. Behymer, and what he has ac¬
complished on the Pacific Coast would require, in its
recital, a good sized volume.
For twenty-five years he has labored and struggled in
the great Southwest, and to him, more than any other
one man, is due the vast progress which has come to the
Pacific Coast in a musical way. He began in the dramatic
field, occupying every possible position in the California
theatres, from actor to impresario.
He it was who first brought to California the great
musicians, such as Paderewski, Melba, Nordica, Gadski,
366
jFoctp ^carg Dtertmtton
Eames, Sembrich, Schumann-Heink, Rosenthal and
Ysaye.
He also undertook the great risk of bringing the
Metropolitan Grand Opera Company to California, and
it was under Mr. Behymer's management that "La
Boheme" was first presented in America by the Del Conte
Italian Opera Company of Milan, Italy, and Madam
Melba sang "Mimi" in that opera for the first time, under
the same manager.
He paid Herr Conried $10,000 for a single representa¬
tion of "Parsifal," with Mme. Fremstad and Herr Burg-
staller, and paid $7,800 for one performance of "Lucia,"
with Mme. Sembrich and Signor Caruso in the cast.
It was Behymer who, a week after the earthquake in
San Francisco, guaranteed Mme. Sara Bernhardt $4,000
a night for a series of performances, one of which enabled
her to give, in a most sumptuous manner and with idyllic
surroundings, the Greek drama "Phedra," at the cele¬
brated Greek (outdoor) Theatre at Berkeley, Cal., to an
audience of 6,800 persons, and with all the regular thea¬
tres barred against the divine one in Southern California,
he engaged the theatre at Venice of America, which is
built on a wharf, 800 feet out in the ocean, and presented
this queen of the drama in "La Tosca," "Adrienne Lecou-
vreur" and "Fedora."
It is the overcoming of such odds and opposition that
has made this manager worth while.
Ignace Paderewski was so pleased with Behymer's
management of a coast tour of 21 concerts, which netted
the pianist $57,000, that he sent him a draft for $1,000
and a letter of appreciation. Behymer has, unaided and
alone, established symphony orchestras, not only in Los
Angeles, but in other large cities in the West, and it is
to his efforts and the guaranteeing of a certainty in a
number of dates, west of Denver, that has enabled the
of Q^usfc anD tfje Drama
367
leading vocalists and instrumentalists of Europe and
America to appear at reasonable prices at the Greek
Theatre at Berkeley, and assisted this classic edifice to
become the center of great musical events.
During the last year Manager Behymer presented on
the Pacific Coast Ben Greet's Players, accompanied by
the Russian Symphony Orchestra in veritable festivals
of the classics.
Mr. Behymer has not amassed wealth by his efforts;
he is proud that he has been able to indulge in artistic
extravagance, and even the very small towns of California
and the great Southwest have been enabled to hear the
World's Greatest Musicians through this one man's per¬
sistent and energetic efforts.
There can be no better use made of the opportunity
which the writer has undertaken, than to place on record
the results achieved by this musical business man, who,
despite all his vicissitudes and uphill battle, has retained
at all times a complete equanimity of temperament, and
withal a charming personality, and who is beloved by all
the artists who have come under his management and
who have visited within his home.
In Chicago musical enterprises are, as a rule, in the
hands of Mr. Wright Newmann, and like Mr. Behymer,
he has made possible, through his energy and the great
risks he has taken himself, the visits of virtually every
great musical celebrity and the great symphony orches¬
tras to the Windy City. Mr. Newmann, like Mr. Behy¬
mer and the late Henry Wolfsohn, is a musician, and it is
to be said of the men who labor in the field of music,
that they are less subject to commercialism than those
who have the strictly theatrical interests in their charge.
The Metropolitan Opera Company now play their Chi¬
cago engagements under Mr. Newmann's direction.
That a revival of real Comic Opera is near at hand, I
3G8
jFortp $eat# D&gertmtiott
verily believe, and it is amazing only that the public,
which once revelled in works like "The Black Hussar,"
"Erminie" and "The Beggar Student," has been willing
to tolerate for so long the class of musical plays with
which Broadway and the theatrical district have abound¬
ed for so many moons. Surely it cannot be said that we
have not the material, for in Europe successes are
achieved every year that are not even tried out here; and
in instances such as "The Merry Widow" and "The
Waltz Dream" it was clearly shown what sort of re¬
sponse our public can and will give to good light opera.
We have here in our midst, composers and composer-
librettists who crave for a hearing, and some of these are
men known to fame, who, musically speaking, are con¬
sidered the last word in their own constituencies. These
men have not only the ability to write operas, but actually
have written them. I can name many, and if the men¬
tioning of some of them will serve as good a purpose as
I desire, good will come from the effort. First there is
Ernest Trow Carter—qualified in every possible way for
the work in hand—he had his college course at Princeton,
and composed for and conducted the college glee club
and chapel choir. He has been the lecturer on music,
and was the organist, of Princeton University. He has
served a year at the Metropolitan Opera House that he
might learn the choral effect thoroughly. As a com¬
poser of songs, glees and cantatas he has achieved fame,
and this man, who is in theory the type of musician from
which are made the Arthur Sullivans, Jacques Offenbachs
and Charles Lecocqs, has actually written a romantic
comic opera and has provided the libretto and score him¬
self.. Yet he is by no means alone. Over in Englewood,
N. J., where he for years has maintained a conservatory,
presides one of the greatest musicians in the world, Sig-
nor T. E. Delia Rocca. He has been in America for many
of ^U0fc and tf)e Drama
3G9
years, and is the father of the young and beautiful Italian
violiniste, Giacinta Delia Rocca. Here is a man who has
operas galore, and who will write either a grand or comic
opera to order, but he provides only the scores. Then
there is Walter Pulitzer, a nephew of Joseph Pulitzer,
and the son of Albert Pulitzer, who was the founder of
the Morning Journal. He would be a veritable "find"
for the Casino or for Col. Savage. He writes the most
entrancing songs and marches, and in collaboration with
Mr. Eden Greville has written an opera ready to submit.
I have already spoken of Julian Edwards and Anton
Hegner; surely we can, right here in America, supply our
managers with really artistic work and let there be no
fear as to the comedy, for such observations as I have
been permitted to make have convinced me that this all-
important feature has been well bestowed—Hegner, Delia
Rocca and Carter are first-class conductors and have
served as such with distinction, and yet it is with great
difficulty that these men can obtain a hearing for their
works from those who control the destiny of our theatres.
Surely Mr. Hammerstein in his search for a real Ameri¬
can grand opera need not lack material for investigation;
operas such as "Cavalleria Rusticana" would never have
reached the dignity of production had America been the
scene of their original activity and had American writers
been responsible for them.
Herman Perlet (who, by the way, is a brother of
Frank "Perley," the manager), has composed several
good light opera scores. He also is a conductor of re¬
pute, and after the earthquake in California he hied him¬
self to that section and is now a great factor in musical
matters on the Pacific Coast. He also is at work on the
score of a grand opera based upon an American subject.
Paul Steindorf, a decade ago, was regarded as the
"steam roller" conductor, so magnetic and energetic was
370
jFottp gears flD&gertratiott
he when in the director's chair. He also took Horace
Greeley's advice, and in 1900 proceeded to California,
where he has caused an upheaval and has revolutionized
the musical status of the golden State. It was Steindorf
who was responsible for the symphony orchestra, named
after him, and also for the great events which have oc¬
curred at the Greek Theatre at Berkeley. Given oppor¬
tunity such grand old musicians as Dr. James Pech
would cause American music to reach the highest possi¬
ble plane, but do our impresarios penetrate our own col¬
leges and universities? There might be another Beetho¬
ven or Mozart discovered! Stranger things may happen
as a result of three grand opera houses embracing French
opera and opera bouffe after a silence lasting nearly a
quarter of a century.
Will Rossiter, now at the head of a large publishing
house in Chicago and New York, has been turning out
so many beautiful scores that he is regarded as the "com¬
ing man." While his compositions are in a lighter vein,
the ability to evolve a score of importance is always
apparent.
STEINWAY
The name that represents
the attainment
of the highest ideals in
musical aesthetics
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For Sale on All Newsstands. Single copies, 15 cents
ESTABLISHED JANUARY 1880
A
weekly paper
published in
the interest of musi¬
cians, concert givers, opera
artists, composers, publishers,
agents, virtuosi, managers, directors of
musical performances, critics and the general
musical public interested in classical musical affairs.
All the Players on
the Ne
Are to be found in
The Tyson
Official Program \ Diagrams
Which gives, in handy condensation, a
complete and accurate digest of all
Metropolitan Theatrical and Musical Events
WEEKLY
It contains the cast and names of all players
Price Per Annum $2.50
including Annual Diagram Book
containing diagrams of every New
York Theatre, 150 pages beauti¬
fully printed and illustrated with
half-tone engravings of
New York's Greatest
Hotels
And Portraits of Our
Most Popular Players
j o h n s o n tyqn\i-ra program dept.
building * a wvil-v'v. j170 broadway
NEW YORK CITY
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NOTARY PUBLIC
NEW YORK
CITY
New York
Morning Telegraph
(Daily and Sunday)
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Stands
Alone
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it its
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Publications of America
Combined
It circulates particularly among the wealthy
and persons interested in theatricals, racing, automo-
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It is read and preserved by persons who have
money to spend, and who spend it.
A particularly profitable medium for advertisers
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of wealth and leisure.
The Artist
The Manager
Address
The Agent
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READ IT
THE MORNING TELEGRAPH
is the Theatrical Authority
GEORGIA CAYVAN
GEORGIA DREW BARRYMORE
LYDIA THOMPSON.
MRS. SCOTT SIDDONS.
MARIE AIMfiE.
HELEN DAUVRAY
ALICE DUNNING LINGARD.
ELIZA WEATHERSBY
ROSINA YOKES.
ADELAIDE NEILLSON