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_The_ Mormons _and the_ Theatre

OR

_The History of Theatricals in Utah_

With Reminiscences and Comments
Humorous and Critical


_By_ JOHN S. LINDSAY


SALT LAKE CITY, UTAH
1905




CHAPTER I.


In rather sharp contrast to other Christian denominations, the Mormons
believe in and are fond of dancing and the theatre. So much is this
the case that Friday evening of each week during the amusement season
is set apart by them in all the settlements throughout Mormondom for
their dance night. Their dances are generally under the supervision of
the presiding bishop and are invariably opened with prayer or
invocation, and closed or dismissed in the same manner, with a brief
return of thanks to the Almighty for the good time they have enjoyed.

The theatre is so popular among the Mormon people, that in almost
every town and settlement throughout their domains there is an amateur
dramatic company.

It is scarcely to be wondered at that Salt Lake has the enviable
distinction of being the best show town of its population in the
United States, and when we say that, we may as well say in the whole
world. It is a well established fact that Salt Lake spends more money
per capita in the theatre than any city in our country.

Such a social condition among a strictly religious people is not
little peculiar, and is due, largely, to the fact that Brigham Young
was himself fond of the dance and also of the theatre. He could "shake
a leg" with the best of them, and loved to lead the fair matrons and
maidens of his flock forth into its giddy, bewildering mazes. Certain
round dances, the waltz and polka, were always barred at dances
Brigham Young attended, and only the old-fashioned quadrilles and
cotillions and an occasional reel like Sir Roger de Coverly or the
Money Musk were tolerated by the great Mormon leader.

That Brigham Young was fond of the theatre also, and gave great
encouragement to it, his building of the Salt Lake Theatre was a
striking proof. He recognized the natural desire for innocent
amusement, and the old axiom "All work and no play makes Jack a dull
boy," had its full weight of meaning to him. Keep the people in a
pleasurable mood, then they will not be apt to brood and ponder over
the weightier concerns of life.

There may have been a stroke of this policy in Brigham Young's
amusement scheme; but whether so or not he must be credited with both
wisdom and liberality, for the policy certainly lightened the cares
and made glad the hearts of the people.

Although Salt Lake City has been the chief nursery of these twin
sources of amusement for the Mormon people, to find the cradle in
which they were first nursed into life, we will have to go back to a
time and place anterior to the settlement of Salt Lake. Back in the
days of Nauvoo, before Brigham Young was chief of the Mormon church,
under the rule of its original prophet, Joseph Smith, the Mormon
people were encouraged in the practice of dancing and going to witness
plays. Indeed, the Mormons have always been a fun-loving people; it is
recorded of their founder and prophet that he was so fond of fun that
he would often indulge in a foot race, or pulling sticks, or even a
wrestling match. He often amazed and sometimes shocked the
sensibilities of the more staid and pious members of his flock by his
antics.

Before the Mormons ever dreamed of emigrating to Utah (or Mexico, as
it was then), they had what they called a "Fun Hall," or theatre and
dance hall combined, where they mingled occasionally in the merry
dance or sat to witness a play. Then, as later in Salt Lake, their
prophet led them through the mazy evolutions of the terpsichorean
numbers and was the most conspicuous figure at all their social
gatherings.

While building temples and propagating their new revelation to the
world, the Mormons have always found time to sing and dance and play
and have a pleasant social time, excepting, of course, in their days
of sore trial. Indeed, they are an anomaly among religious sects in
this respect, and that is what has made Salt Lake City proverbially a
"great show town."

Mormonism during the Nauvoo days had numerous missionaries in the
field and many converts were added to the new faith. Among others that
were attracted to the modern Mecca to look into the claims of the new
evangel, was Thomas A. Lyne, known more familiarly among his
theatrical associates as "Tom" Lyne.

Lyne, at this time, 1842, was an actor of wide and fair repute, in the
very flush of manhood, about thirty-five years of age. He had played
leading support to Edwin Forrest, the elder Booth, Charlotte Cushman,
Ellen Tree (before she became Mrs. Charles Kean), besides having
starred in all the popular classic roles. Lyne was the second actor in
the United States to essay the character of Bulwer's Richelieu--Edwin
Forrest being the first.

The story of "Tom" Lyne's conversion to the Mormon faith created quite
a sensation in theatrical circles of the time, and illustrates the
great proselyting power the elders of the new religion possessed.

Lyne, when he encountered Mormonism, was a skeptic, having outgrown
belief in all of the creeds. It was in 1841 that George J. Adams, a
brother-in-law of Lyne's, turned up suddenly in Philadelphia (Lyne's
home) where he met the popular actor and told him the story of his
conversion to the Mormon faith. Adams had been to Nauvoo, met the
prophet and become one of his most enthusiastic disciples. Adams had
been an actor, also, of more than mediocre ability, and as a preacher
proved to be one of the most brilliant and successful expounders of
the new religion. Elder Adams had been sent as a missionary to
Philadelphia in the hope that his able exposition of the new evangel
would convert that staid city of brotherly love to the new and
everlasting covenant.

In pursuance of the New Testament injunction, the Mormon missionaries
are sent out into their fields of labor without purse or scrip, so
Elder Adams, on arriving at his field of labor, lost no time in
hunting up his brother-in-law, "Tom" Lyne, to whom he related with
dramatic fervor and religious enthusiasm the story of his wonderful
conversion, his subsequent visit to Nauvoo, his meeting with the young
"Mohammed of the West," for whom he had conceived the greatest
admiration, as well as a powerful testimony of the divinity of his
mission.

Adams was so convincing and made such an impression on Lyne that he at
once became greatly interested in the Mormon prophet and his new
revelation. This proved to be a great help to Elder Adams, who was
entirely without "the sinews of war" with which to start his great
campaign.

The brothers-in-law put their heads together in council as to how the
campaign fund was to be raised, and the result was that they decided
to rent a theatre, get a company together, and play "Richard III" for
a week. Lyne was a native of Philadelphia and at this time one of its
most popular actors. It was here that Adams had met him a few years
before and had given him his sister in marriage.

The theatrical venture was carried through, Lyne playing Richard and
Elder Adams, Richmond. The week's business, after paying all expenses,
left a handsome profit. Lyne generously donated his share to the new
cause in which he had now grown so deeply interested and Elder Adams
procured a suitable hall and began his missionary labors. His eloquent
exposition of the new and strange religion won many to the faith; one
of the first fruits of his labors being the conversion of Thomas A.
Lyne.

Such an impression had Adams's description of the Mormon prophet and
the City of the Saints (Nauvoo) made upon Lyne that he could not rest
satisfied until he went and saw for himself. He packed up his wardrobe
and took the road for Nauvoo. With a warm letter of introduction from
Elder Adams to the prophet, it was not long before Lyne was thoroughly
ingratiated in the good graces of the Mormon people. He met the
prophet Joseph, was enchanted with him, and readily gave his adherence
to the new and strange doctrines which the prophet advanced, but
whether with an eye single to his eternal salvation or with both eyes
open to a lucrative engagement "this deponent saith not."

The story runs that after a long sojourn with the Saints in Nauvoo,
during which he played a round of his favorite characters, supported
by a full Mormon cast, he bade the prophet and his followers a
sorrowful farewell and returned to his accustomed haunts in the
vicinity of Liberty Hall.

During his stay in Nauvoo, Mr. Lyne played quite a number of classical
plays, including "William Tell," "Virginius," "Damon and Pythias,"
"The Iron Chest," and "Pizarro." In the latter play, he had no less a
personage than Brigham Young in the cast; he was selected to play the
part of the Peruvian high priest, and is said to have led the singing
in the Temple scene where the Peruvians offer up sacrifice and sing
the invocation for Rolla's victory. Brigham Young is said to have
taken a genuine interest in the character of the high priest and to
have played it with becoming dignity and solemnity. Here was an early
and unmistakable proof of Brigham Young's love for the drama.

Mr. Lyne, while relating this Nauvoo incident in his experience to the
writer, broke into a humorous vein and remarked:

"I've always regretted having cast Brigham Young for that part of the
high priest."

"Why?" I inquired, with some surprise.

With a merry twinkle in his eye and a sly chuckle in his voice, he
replied: "Why don't you see John, he's been playing the character with
great success ever since."

There are still a few survivors of the old Nauvoo dramatic company,
who supported "Tom" Lyne, living in Salt Lake. Bishop Clawson, one of
the first managers of the Salt Lake theatre, is among them.

Lyne played a winning hand at Nauvoo. He made a great hit with the
prophet, who took such a fancy to him that he wanted to ordain him and
send him on a mission, thinking that Lyne's elecutionary powers would
make him a great preacher. But "Tom" had not become sufficiently
enthused over the prophet's revelations to abjure the profession he so
dearly loved, and become a traveling elder going about from place to
place without purse or scrip, instead of a popular actor who was in
demand at a good sized salary.

Lyne had made his visit remunerative and had enshrined himself in the
hearts of the Mormon people, as the sequel will show: but he drifted
away from them as unexpectedly as he had come. Having become a convert
to the new religion, it was confidently expected that he would remain
among the Saints and be one of them; but he drifted away from them and
the Mormons saw no more of "Tom" Lyne till he turned up in Salt Lake
twenty years later, soon after the opening of the Salt Lake Theatre.

Lyne was the first star to tread its stage and played quite a number
of engagements during the years from '62 to '70. He made money enough
out of his engagements at the Salt Lake Theatre to live on for the
remainder of his days. For the last twenty years of his life, he
rarely appeared in public except to give a reading occasionally. With
his French wife, Madeline, he settled down and took life easy, living
cosily in his own cottage, and in 1891 at the advanced age of
eighty-four Thomas A. Lyne passed peacefully away, a firm believer in
a life to come but at utter variance with the Mormon creed, which he
had discarded soon after his departure from Nauvoo.




CHAPTER II.


    Thus far into the bowels of the land
    Have we marched on without impediment.

                           --Shakespeare.

When the Mormons came from Nauvoo to Salt Lake they brought with them
to this wilderness in the Rocky Mountains, the love of the drama, and
as a consequence it was not long, only a few years from 1847 to 1850,
before they began to long for something in the way of a theatre.

The pleasant recollections of the drama as interpreted at Nauvoo by
Mr. Lyne and his supporting cast, were still fresh in their memories,
and almost before many of them had comfortable houses to live in they
began to yearn for some dramatic amusement. As a result of this strong
inclination for the play and a still more universal desire for
dancing, it was but a short time before their wishes materialized.

As early as the fall of 1850 they had formed a club called the Musical
and Dramatic Association. The name was a comprehensive one,
intentionally so, for the organization included the celebrated "Nauvoo
Brass Band," a number of whose members also figured in the dramatic
company. Indeed it was from this musical organization that the
dramatic company really sprang.

The members of this original dramatic company were John Kay, Hyrum B.
Clawson, Philip Margetts, Horace K. Whitney, Robert Campbell, R. T.
Burton, George B. Grant, Edmond Ellsworth, Henry Margetts, Edward
Martin, William Cutler, William Clayton, Miss Drum, Miss Margaret
Judd, and Miss Mary Badlam. Miss Badlam, in addition to playing parts,
was very popular as a dancer and gave her dancing specialties between
the acts, making something like our up-to-date continuous performance.

The first public dramatic performances were given in the "Bowery" (a
very reminiscent name for a New York theatre goer of that day). "The
Bowery" in this case was a summer place of worship which stood on the
Temple Block near where the big Tabernacle now stands. In this place
of worship as early as the year 1850, with the aid of a little
home-made scenery and a little crude furniture, were the first plays
presented to a Salt Lake audience.

The first bill consisted of the old serio-comic drama, "Robert
Macaire, or the Two Murderers," dancing by Miss Badlam, and the farce
of the "Dead Shot."

Judging by their titles, these plays were rather a gruesome selection
to play in a church. As it is a matter of historic interest the cast
so far as procurable is appended of "Robert Macaire:"

    Robert Macaire ................................. John Kay
    Jacque Stropp ............................. H. B. Clawson
    Pierre .................................. Philip Margetts
    Waiter .................................. Robert Campbell
    Clementina ................................ Margaret Judd
    Celeste ....................................... Miss Orum

Several other plays were given during this first dramatic season and
were creditably performed, affording pleasure both to the audiences
and actors; the only remuneration the actors received, by the way, for
it must be remarked that these first dramatic efforts were entirely
voluntary on the part of the company.

The orchestra which played in connection with this first dramatic
company deserves to be made a matter of record quite as much as the
company itself, for it was also drawn from the ranks of the historic
"Nauvoo Brass Band."

William Pitt, the captain of the band, was the leader of the
orchestra. He could "play the fiddle like an angel," handling the bow
with his left hand at that. The associate players of Captain Pitt were
William Clayton, James Smithers, Jacob Hutchinson, David Smith, and
George Warde. The Musical and Dramatic Association played in the
Bowery occasionally from 1850 to 1852.

The first amusement hall built in Salt Lake, which was used chiefly
for dancing, was erected at the Warm Springs in the year 1850. It was
a good sized adobe building and served as a social hall until 1852,
when the Social Hall proper was completed. It was built at this out of
the way place so as to combine the use of the Warm Springs for bathing
with the social meetings held there. But it proved to be too difficult
to get to, when the nights were dark and the roads were bad, so
Brigham Young had the Social Hall built which was quite central and
the Warm Springs music hall was converted into a roadside tavern and
was run by Jesse C. Little for a time.

The first string band to furnish music for dances played at this hall
and was composed of Hopkins C. (familiarly known as "Hop") Fender,
Jesse Earl and Jake Hutchinson. These gentlemen deserve to be
remembered in the musical history of Salt Lake City as the first to
furnish the inspiring strains to which the worthy pioneers danced.

In the fall of 1852, the Musical and Dramatic Association was
reorganized and renamed the "Deseret Dramatic Association." In this
year the historic Social Hall was erected, and with a view to opening
it with becoming brilliancy the original company was greatly added to,
for the drama had become a popular amusement with the Saints, and many
of the chiefs of the church, including President Young, held honorary
membership in the "D. D. A."

The Social Hall, which is still standing and in well preserved
condition, is one of the old landmarks that are fast disappearing. It
is a comparatively small structure about 40x80 feet. It was considered
in its time a fine amusement hall but has long since become dwarfed by
the greater buildings which have gone up around it. It has a stage
twenty feet deep, two dressing rooms under the stage, an ample
basement under the hall for banqueting purposes. This auditorium is
about 40x60 feet with a level floor for dancing for the amusement of
the play and dancing were fairly and considerately alternated by the
managers of the D. D. A.

In the early winter of 1852 this hall was opened with a dance to which
the elect were invited, and it was a great crush. The first social
gathering in the new hall formed a sort of punctuation mark in the
social caste among the Saints.

Of course, the hall being small, the invitations had to be limited and
many there were who felt slighted because they were not among the
invited. Envy on the one hand and a supercilious superiority on the
other gave birth to a feeling of caste which was altogether in bad
taste among professing Saints.

The great event of this season in the amusement line was the dramatic
opening. Local artists had been employed for some time and had stocked
the stage with excellent scenery. Bulwer's classic play "The Lady of
Lyons" was selected for the opening bill. The company had been so
strengthened that the members could cast any of the great plays. To
the original company had been added besides a long list of honorary
members, the following named active male members: James Ferguson,
Bernard Snow, David Candland (stage manager), John T. Caine, David
McKenzie, Joseph Simons and Henry Maiben; to the female contingent had
been added Mrs. Cyrus Wheelock, Mrs. Henry Tuckett, Mrs. Joseph Bull,
Mrs. John Hyde, Mrs. Sarah Cook. It will be observed that they were
all married women. This is a very noticeable feature, as it is so
unusual in a dramatic company nowadays, either amateur or
professional. The explanation of it, however, is simple enough. At
that time there were few if any unmarried women in Utah that had
arrived at the marriageable age. The only three women whose names
appear in the original company were unmarried, Miss Judd, Miss Orum
and Miss Badlam, which seems exceptional and they now seem to have all
disappeared, or they are overshadowed by the married women, or perhaps
they appear in the reorganized company under a new name with Mrs.
attached.

The Social Hall theatrical opening was an event in the history of
Utah. It may be truly said that it marked an epoch in the development
of civilization in the Rocky Mountain region and the growth of the
drama in the far West. Even San Francisco had not up to this time made
any such ambitious attempt in the dramatic line.

I have not been able to procure a program of this opening performance
but the cast of the principal characters was as follows:

    Claud Melnotte ........................... James Ferguson
    Monsieur Beauseant ....................... David Candland
    Monsieur Glavis ........................... John T. Caine
    Col. Damas ........................ John D. T. McAllister
    Mons. Deschapples ..................... Horace K. Whitney
    Landlord ................................ Philip Margetts
    Pauline Deschapples ....................... Mrs. Wheelock
    Madame Deschapples ................... Mrs. M. G. Clawson
    Widow Melnotte .......................... Mrs. Sarah Cook

The play was a pronounced success and the players covered themselves
with glory. A number of plays were now put on in rapid succession, for
the D. D. A. had caught the true dramatic fire, and the people were
hungry for the play. In the great plays, a number of which were
essayed, the characters were strongly filled.

Bernard Snow, who had played with the elder Booth in California, which
gave him a brief professional experience, was easily in the lead of
all the Mormon actors. He played an Othello that would have done
credit to Shakespeare anywhere, while Ferguson as Iago was scarcely
less convincing. In "Damon and Pythias" also these players shone with
more than ordinary brilliancy. Snow's Damon was pronounced a work of
art, while Ferguson looked and acted Pythias to the admiration of all
who witnessed it. Mrs. Wheelock as Calanthe and Mrs. Tuckett as
Hermion made up a quartet of players that would have graced any stage
in the country.

"Virginius" was also played here with Snow in the title role, a
favorite with him. When Lyne came ten years later and played these
same characters in the Salt Lake Theatre, many of the old frequenters
of the Social Hall ranked Bernard Snow as Lyne's equal and they had to
be brought to play together in the Salt Lake Theatre to gratify the
many admirers of both.

"Pizarro" was the play chosen for this event and it served to pack the
theatre. Lyne appeared as Pizarro for the occasion although Rolla was
his favorite part. This gave Snow the advantage as Rolla is the star
part. It proved a great hit both financially and artistically.

The Social Hall orchestra was a feature at all the dramatic
performances, and came in for its due share of praise and admiration.
It was under the direction of Domenico Ballo, who had formerly been a
band master at West Point. He was a fine composer and arranger, and
one of the best clarinet players ever heard. Professor Ballo was a
graduate of the Conservatory of Music at Milan. He served several
years as band master at West Point. He drifted into Utah at an early
day and cast his lot with the Mormons. He organized a fine brass band
here and built a fine dance hall which was known as "Ballo's Music
Hall."

Salt Lake City has from a very early period in its history enjoyed an
enviable reputation in a musical way. Its first musical organization
as already mentioned was the Nauvoo Brass Band, organized originally
in Nauvoo in connection with the Mormon militia known as the "Nauvoo
Legion," of which Joseph Smith held the distinguished office of
Lieutenant General. The exodus from Nauvoo and the formation soon
afterwards of the "Mormon Battalion" demoralized to a great degree
both the legion and the band. Both organizations, however, were
reconstructed soon after the settlement of Utah, and each played a
conspicuous part in its early history.

At the laying of the corner stone of the Salt Lake Temple as early as
1853, the Nauvoo Brass Band and Ballo's Brass Band were consolidated
for this occasion and increased to sixty-five players under the
leadership of Professor Ballo, who gave the people of Salt Lake a
musical treat that would have been a credit to any metropolitan city.
Ballo was a thorough and accomplished musician and his masterly work
at such an early period had much to do with developing Salt Lake's
musical talent.

From 1852 to 1857 the Social Hall continued to be the principal place
of amusement for the people of Salt Lake City, as well as those who
came in from various parts of the Territory. Those living at a
distance and visiting the city either on business or pleasure (which
were generally combined) deemed themselves extremely fortunate if
there chanced to be a play "on the boards" during their brief sojourn
in the city.

The fame of the Social Hall and its talented company of players,
dramatic and musical, had spread abroad in the land and many of the
smaller towns began to emulate Salt Lake City and organized dramatic
clubs.

In the year 1857 amusements as well as business of all kinds received
a sudden and severe shock from which it took a year or more to
recover. In this year a rupture occurred between the Mormon chiefs and
the United States Judges, which resulted in President Buchanan sending
Albert Sidney Johnson to Utah with an army to crush the incipient
rebellion. The heroes of the Social Hall stage now were cast to play
more serious parts. The stage was now to be the tented field, their
music, the roll of the drum and the ear-piercing fife.

"Jim" Ferguson, one of the leading actors, was Adjutant General of the
"Nauvoo Legion," as the Territorial militia was called, and all the
other stage heroes were enrolled under its banners. The "Legion" was
sent out into the mountains to check the advance of the invading army.
Not only did all amusement and business generally come to a sudden
stop, but so serious was the situation that a general exodus of the
people to the south was ordered by the church authorities and Salt
Lake City was abandoned.

Meeting houses, theatre, stores and nearly all the dwellings in the
city were vacated, and the intention was to burn the city rather than
this "hell born" army should occupy and pollute it.

No occasion for carrying into effect this insane resolution
transpired, for which the people have ever since been thankful. Soon
after its adoption a better understanding was reached between the
refractory Saints and Uncle Sam's government, and the people gradually
came back to their homes in the city, glad indeed that the sacrificial
torch had not been applied to them.

"The invading army" had passed peacefully through the city and made
its encampment forty miles away. Things began to resume their normal
condition, but the winter of 1857-8 was a blank in the Mormon
amusement field.




CHAPTER III.


    Now is the winter of our discontent
    Made glorious summer by this son of York,
    And all the clouds that lowered upon our house,
    In the deep bosom of the ocean buried;
    Now are our brows bound with victorious wreaths,
    Our bruised arms hung up for monuments,
    Our stern alarums are changed to merry-meetings
    And our dreadful marches to delighted measures.

                                 --Richard III.

The Mormon war cloud that lowered so portentously during the winter of
1857-8 had been dispelled without bloodshed, and peace once more
brooded over the land. The soldiers of the "Nauvoo Legion" had "hung
up their _un_-bruised arms for monuments" and resumed their old
avocations, and the wheels of trade, "the calm health of nations,"
were once again running in their accustomed grooves.

The people had set to work with redoubled energy to make up for the
losses "the war" had entailed upon them, so that they had little time
or inclination for amusement. The advent of Johnson's army into Utah,
although encamped forty miles from the city, had its effect; it
brought in its wake, as an army always does, a lot of camp
followers,--hangers-on--a contingent that was thrown largely into Salt
Lake, and not a desirable one. This made the Mormon people wary and
suspicious, and inclined them more than ever to isolate themselves
from strangers.

Notwithstanding this condition of affairs, in the winter of '59 they
began to resume their usual amusements, and a number of plays were
given that winter in the Social Hall.

By this time the "army" having no active service, began to feel the
need of some amusement, and some of the soldiers improvised a theatre
in the camp.

Sergt. R. C. White, better known later among Pacific coast theatricals
as "Dick" White, was the leading spirit in this affair. White was a
scholar as well as a soldier; moreover, he had the poetic and dramatic
instinct in him, and in common with all living creatures, he felt that
he must exercise his faculties. So in order to give vent to his pent
up love of the drama, he organized a dramatic company among the
soldiers of Camp Floyd. The Sergeant, or "Dick" as he was called, was
not only a clever amateur actor but a poet, and something of an artist
as well. By his skill in this latter line he soon had the necessary
scenery painted for the Camp theatre. Pigments were scarce in the camp
and even in Salt Lake at that time, but White was resourceful, and
equal to every emergency, so he made levy on the quartermaster's
department for liberal supplies of mustard, red pepper, ox blood, and
other strange materials with which to get in his color effects.

The "Camp Floyd Theatre" as it was called, was not a stupendous
structure, only large enough to accommodate about two hundred persons,
and the stage in proportion to the auditorium. It was built of rough
pine boards and canvas--principally canvas--but answered all the
requirements of a theatre for the amusement of the camp.

White had but little trouble in organizing his corps dramatique, so
far as men were concerned, but the female contingent gave him much
concern and considerable trouble to secure. Women in the camp were
scarce, and female talent was at a premium. There were a few officers
whose wives were with them and some "hired help" of the female
persuasion, but none of the women of the camp had any experience in
theatricals. Several were willing, and even eager to try; so White
made a selection and cast a play and put it in rehearsal, but "woe is
me!" the women were all such tyros that he was almost in despair,
until he suddenly conceived the project of engaging one of the Social
Hall actresses to play the leading female character; if he could do
that, then, he reasonably argued that he could get along, but could a
Mormon actress be induced to come to Camp Floyd?

Here was a dilemma; but the bold Richard perhaps thought of the lines
of his renowned namesake, Richard Plantagenet:

    "Dangers retreat when boldly they're confronted,
    And dull delay leads impotence and fear,"

so he took courage. He opened up a correspondence with Mrs. Tuckett of
Social Hall fame. White was an accomplished writer, and poetical, and
there is no doubt he could write a winning letter. We have no
knowledge of what inducements he offered, so can only surmise that a
liberal salary was the temptation held out to her. Suffice it to say
that Mrs. Tuckett accepted the offer and joined the Camp Floyd Theatre
Company, thus making a noticeable weakening of the Social Hall force,
and creating a commotion among her fellow players in Salt Lake, and
the people generally, as she went in opposition to the wishes of her
husband and friends and the church authorities. It was regarded not
only as an unwise step for Mrs. Tuckett to take, but a discreditable
one.

It was a reproach to the Saints to have one of their number go and
mingle with the ungodly soldiers who had come out here to destroy
them. Mrs. Tuckett was looked upon from the moment of her departure as
a lost sheep from the fold. These apprehensions were not unfounded,
for Mrs. Tuckett, whether wearied of her Mormon environment, or led
away by the unusual attentions shown her by the officers and men of
the camp (with whom her acting soon made her a great favorite), lost
any former love she may have had for Salt Lake, and sundered all
social and family ties there.

"Dick" White, poet, actor, artist, achieved another conquest; not only
had he succeeded in getting Mrs. Tuckett away from the Social Hall
company, but later on he won the affections of the Mormon actress and
took her completely away from her family, friends and church. In some
way White severed his connection with the army before the breaking out
of the Civil War and had gone to California "taking the fair Desdemona
with him." He married her and they lived together in Folsom,
California; only a few years, however; Mrs. Tuckett-White died there
in '63.

Mrs. Tuckett, whose maiden name was Mercy Westwood, was of English
birth, came to Utah in the early '50s where she soon afterward married
as a polygamous wife. The Westwood family had a strong predilection
for the stage; three of her brothers, Richard, Phillip and Joseph
Westwood, figured conspicuously a little later on in the Springville
Dramatic company. Her desertion from the ranks of the Social Hall
company had created a vacancy they found it difficult to fill. She had
been playing the leading roles, filling the place of Mrs. Wheelock who
also became disaffected and went to California in '57 with a number of
others, under protection of Col. Steptoe's command.

What particular reason Mrs. Wheelock had for withdrawing from the
Mormon people, we do not know. She settled in Sacramento where after a
time she became Mrs. Rattenbury, and has never returned except for a
brief visit and this quite recently.

Mrs. Tuckett was the wife of Henry Tuckett who is still living in Salt
Lake; and had four children by him at the time she left, and in
abandoning husband and children to share the fortunes of the soldier
actor Dick White, she subjected herself to a vast amount of severe and
apparently just criticism. There is little known of her life after she
left Utah even by her relatives; she probably regretted the step she
had taken when too late.

The Mormons never forgave White for taking Mrs. Tuckett from them. He
visited Salt Lake about four years after the death of his Mormon wife,
in the dramatic company of John S. Langrishe, who had Mr. C. W.
Couldock with him and was traveling by stage overland to the gold
mining towns of Montana; Virginia City of vigilante fame being their
objective point.

The Langrishe-Couldock company opened in the Salt Lake Theatre, August
the first, 1867, in the "Chimney Corner" with Couldock in his favorite
character of Peter Probity. R. C. White was the Solomon Probity of the
cast. White was apprehensive of trouble if he should be discovered by
the friends of Mrs. Tuckett, who regarded her peculiar "taking off"
almost in the sense of an abduction. Conspicuous among Mrs. Tuckett's
friends were the managers of the theatre, H. B. Clawson and John T.
Caine; so White discreetly kept himself secluded during the day as
much as possible, and only put in an appearance at the theatre when it
was time to dress for the play.

White was not personally known to the managers, or any of the
employees about the theatre. He had been little in Salt Lake during
the army's occupation of Camp Floyd and consequently was scarcely
known. Trusting to these circumstances he hoped to escape recognition,
and avoid the storm of abuse he felt sure would be showered on his
guilty head; but unfortunately his name was on the program and
although a common name and one that might easily escape especial
notice, White was by no means a common man and his performance of
Solomon attracted special attention to him.

Some man in the audience who had met him at Camp Floyd recognized him,
and quietly informed the managers who he was. The whisper spread about
with amazing rapidity and he began to be pointed out as the "reprobate
and unscrupulous scoundrel" who had enticed Mrs. Tuckett away from
home and friends and people.

To make sure that this was the veritable White, the manager made some
inquiries regarding him of Jack Langrishe, his manager. This was
sufficient to arouse the curiosity of the company with regard to
White's previous experience in Utah. White did not make a second
appearance at the theatre. He had caught something of the buzz that
was in the air about him, and quietly dropped out of the Langrishe
company for the remainder of its Salt Lake engagement.

The Langrishes remained two weeks and then moved on to Montana. White
had not been entirely idle in the interim. He had made the
acquaintance of a second Salt Lake woman, whom he prevailed upon to
join him soon after his departure, and they were married shortly
after; the woman casting in her fortune with the Langrishe troupe and
doing such parts as they thought fit to cast her in.

Mr. and Mrs. White eventually drifted into Portland, Oregon, and made
that their home for many years. It was there the writer made their
acquaintance some fifteen years later when he went to play leads for
John Maguire at the New Market Theatre. They appeared to be living
harmoniously and had four lovely children, two boys and two girls, the
eldest about twelve years of age and a promising young actress. White
was then the editor of the "Bee," an afternoon paper, and played on
occasions in Maguire's Stock company.

Some years later White with his family removed to San Francisco, where
he became the stage manager of the Tivoli. It was during his
incumbency of this position that he made the first dramatization of
Rider Haggard's "She," and gave it its first production on the stage,
which proved to be a great success and started numerous other
companies to play it.

White has now "fallen into the sere and yellow leaf" and for the last
dozen years has been affectionately called by the profession "Daddy
White."




CHAPTER IV.


Notwithstanding that during the winter of 1859-60 a number of dramatic
performances were given in the Social Hall, they were nearly, if not
all, revivals of plays that had been performed there previous seasons.
Interest had declined from some cause or other. It was probably
attributable in some measure to the departure of first Mrs. Wheelock
and then of Mrs. Tuckett, the two leading actresses of the company;
and then Jim Ferguson, one of the leading actors, was now engrossed in
the publication of The Mountaineer, a weekly paper he had started in
connection with Seth M. Blair and Hosea Stout, and for which he wrote
most of the editorials, so that he had little if any time to devote to
the playhouse. Bernard Snow, too, was absent from the company that
winter and as a consequence plays of a lighter character were selected
that did not require Snow and Ferguson.

"The Golder Farmer," "Luke the Laborer," "Still Waters Run Deep," "All
That Glitters Is Not Gold," were the principal plays given. During the
following winter, 1860-61, there was nothing doing in the dramatic
line in the Social Hall. One reason for this was that a new company
had arisen, which, if not exactly a rival, was a strong competitor for
public favor. Some of its principal members belonged to the Deseret
Dramatic Association, and had been conspicuous in the ranks of its
performers.

The new company was called the Mechanics' Dramatic Association, and
was headed by the favorite Social Hall comedian, Phil Margetts, who
was president and manager of the new organization. The members of this
new company were Phil Margetts, Harry Bowring, Henry McEwan, James A.
Thompson, Joe Barker, John B. Kelly, John Chambers, Joseph Bull, Pat
Lynch, William Wright, Bill Poulter, William Price, Mrs. Marion
Bowring, Mrs. Bull, Mrs. McEwan, Elizabeth Tullidge and Ellen Bowring.
Harry Bowring had in course of construction a new dwelling house; it
was covered and the floors laid, but no finishing or plastering had
been done, no partition walls had been put in, so that the entire
lower story was one room, not more than 18x40 feet in dimensions,
about one-third the size of the Social Hall. The stage occupied about
one-third of the same, leaving an audience chamber of about 18x25
feet, not large enough, as it proved, to accommodate the numbers that
were anxious to witness the new performances. For dressing rooms, they
had the house at the back, in which Mr. Bowring and family resided,
and which communicated with the stage by a doorway in the new
structure. The scenery and drop curtain, which was necessarily of
small dimensions, was painted by the sterling and versatile artist,
William P. Morris. The auditorium was seated a la circus, with board
seats rising one above the other, with a row of chairs in front for
the distinguished guests and patrons.

Such was "Bowring's Theatre," as it was called. Whether the managers
christened it that, or the name was given it by the patrons and
guests, we do not pretend to know, nor does it matter; but this fact
may be mentioned in relation to it, that it was first place in Salt
Lake City to be called a theatre.

The Bowery being a place of worship (although the name was strongly
suggestive of the New York Bowery theatre), could not consistently be
called a theatre and the Social Hall embracing all the social
features--plays, dances and banquets--never came to be called a
theatre, Social Hall fully covering its functions, so that the Bowring
was really the first place to be known distinctively as a theatre.
Although the theatre was so very small the company did not appear to
be circumscribed in their histrionic efforts by any mere limitations
of space or stage appurtenances, as the following list of plays will
show:

"The Honeymoon," "The Gamester," "Luke the Laborer," and "Othello,"
and the farces of "Betsy Baker" and "Mr. and Mrs. Peter White."

In the dramas, Mr. Margetts, who was recognized as the comedian par
excellence, chose to assume the tragic mask and appeared in the
leading roles, leaving the principal comic parts to his friend and
colleague Harry Bowring. It was somewhat of a surprise to "Phil's"
friends and admirers who knew his qualifications for comedy, to see
him in these tragic characters, but he is said to have given everybody
a pleasant surprise in them and Harry Bowring carried the comedy roles
so successfully as to divide the honors with "Phil." Mrs. Bowring, who
played the "lady leads," also distinguished herself to such a degree
that she took a prominent place in the Salt Lake Theatre soon after
its opening.

It was during the performance of "Betsy Baker" in this place that
"Jimmy" Thompson, who was playing the part of Mr. Crommie, won such
distinction in that character that the name of "Crommie" has attached
to him among his acquaintances ever since. Harry McEwan, Joe Barker,
Billie Wright, Bill Poulter and dear old John Kelly and Mrs. Bull and
Mrs. McEwan all achieved some celebrity in connection with the little
playhouse--"Bowring's Theatre."

Manager Margetts waited one day on President Brigham Young and invited
him, with his family, to see their play. The President of course had
heard of the new theatre, (what was there he didn't hear of?) but
affected some surprise that Phil and his associates should have
started what might be considered a rival to the D. D. A.

"When do you play?" inquired the President.

"We have a play tonight," answered Phil; "'Luke the Laborer,' but we
could not accommodate your family tonight, President Young, as the
seats are mostly engaged, but we would be pleased to reserve the house
for yourself and family for our next play, 'The Honeymoon,' which will
be on Friday night."

"Well," says Brigham, "I would like to see the play tonight. Why can't
Heber (meaning Heber C. Kimball, his chief counsellor, who was sitting
within hearing) and I come tonight, and the family can come the next
night?"

The President thought to catch them in a state of unpreparedness by
going sooner than was arranged for him, but Phil readily acquiesced in
the President's wish, and he and Brother Kimball "took in the show"
that night. They both expressed their pleasure and spoke words of
encouragement to the performers.

On the following day Manager Margetts sent ninety tickets, the entire
seating capacity of the theatre, to President Young for himself and
family. The tiny theatre was packed to see "The Honeymoon." The Young
family certainly was in evidence on that occasion, but there was quite
a sprinkling of "Heber's" folks and other friends to whom the
President had given tickets from his wholesale reserve.

"The Honeymoon" was a pronounced success. After the play Phil appeared
before the curtain and in a happy way thanked the President and those
of his family and friends present for honoring the company, and
expressed regret that they had not a more commodious and comfortable
theatre in which to entertain their friends.

Brigham, evidently pleased, made a return speech from his place in the
audience and complimented the company. He encouraged them to go ahead
and told them he intended before long to build a good big theatre,
where they could have ample room to develop their dramatic art,
observing in his characteristic way, that the people must have
amusement.

It will thus be seen that these performances led indirectly to the
building of the Salt Lake Theatre, for immediately after this the
President instructed Hyrum Clawson to reorganize the Deseret Dramatic
Association and to unite it with the Bowring Theatre Company, for he
was going to build a big theatre. The idea had evidently entered his
mind to stay.

"Brother Brigham," as he was popularly and lovingly called, was quick
to comprehend the financial results of a great theatre in a community
whose members were all lovers of the drama, and two large dramatic
associations, bursting with ambition and only too anxious for a good
place and opportunity to air their talents. So he gave it out in
meeting one Sunday, much to the gratification of his congregation,
that he was going to build a big "fun hall," or theatre, where the
people could go and forget their troubles occasionally, in a good,
hearty laugh.

"We have a large fund on hand," said he, "for the erection of a
Seventy's hall, but not enough to build such a hall as I want for the
Seventies; so we will use that fund to help build the theatre, and
when we get the theatre running we can pay back the Seventy's hall
fund with good interest, and in that way the Seventy's will get their
hall sooner than if they started to build it now."

The Seventy's hall has never been built!

The big theatre was planned and erected. William H. Folsom was the
architect and personally superintended the construction of the
building. This same gentleman, also, designed and built the big
turtle-shaped Tabernacle, proving that he was a constructive genius.

On March the sixth, 1862, the Salt Lake Theatre, although far from
being finished, was so far completed as to be used, and on this date
it was opened with such ceremonies as would not only be deemed unique
in any other community, but would be set down as sacriligious by pious
people of other faiths.

On this occasion the theatre was filled to its utmost capacity by
invitation. No admission fee was charged, the invitations being
extended by President Young to the church authorities, state, county
and municipal officers, the workmen who had erected the building, some
two hundred with their families. Some even who held invitations could
not get in; it resembled a huge revival meeting.

The President and his counsellors, a number of the apostles and other
church dignitaries sat on the stage in front of the green baize drop
curtain. The parquette was filled with the officials, church and
secular, and the dramatic company and members of their families. The
circles were filled principally by the men who had worked on the
building and their families. There was a feeling of greatest
expectancy pervading the large audience. The people were there to
witness not a play on this occasion, but something deemed of still
more importance, the dedication of the new theatre.

The Mormons dedicate all of their public buildings, whether temples,
tabernacles, stake houses, ward houses, school houses, theatres, dance
halls, or co-operative stores to the service for which they were
erected.

The ceremony is much like one of their religious meetings with the
addition of the dedicatory prayer.

On this occasion President Brigham Young occupied the center of the
stage. There was a program of vocal and instrumental music, a special
choir gotten together for the occasion, and the theatre orchestra, led
by Professor "Charlie" Thomas, furnished the music.

President Young called the large audience to order and the choir sang.
Then Daniel H. Wells, or "Squire" Wells as he was popularly called,
offered up the dedicatory prayer. "Squire" Wells no doubt made a good
city mayor and an efficient general of the Nauvoo Legion, but the
worthy "Squire" was not an orator, moreover, he had his piece written
for this occasion and read it; his peculiar mode of delivery was
tiresome even when at his best, when he had his choice of subject and
all the latitude he could desire; but it was especially so on this
occasion, when he was circumscribed to a most monotonous enumeration
of everything that entered into the construction of the huge building.
Beginning with the ground on which it stood and going in systematic
order up through it foundation, walls, floors, doors, windows, to the
roof, particularizing even the timbers, nails and bolts, the laths and
plaster, the glass and putty, no detail he could think of was omitted.
Each and all were especially dedicated to their particular purpose and
use, and the blessing of the Almighty invoked to be and continue with
each of these materials, and with the structure as a whole. Even to
those who believed in dedications, who were the great majority of
those present, the dedicatory prayer was just a little wearisome and
the audience experienced a feeling of relief when it was over and
William C. Dunbar stepped to the front and assisted by the choir and
orchestra, sang "The Star Spangled Banner."

Brigham Young then made an address on the mission of the drama and his
object in building the theatre, which avowedly was to furnish innocent
and instructive amusement to the Saints. He inveighed somewhat
extravagantly against tragedy and declared he wouldn't have any
tragedies or blood-curdling dramas played in this theatre. This people
had seen tragedy enough in real life and there was no telling the
far-reaching and evil effects tragedies on the stage might have. He
strongly opposed, too, the idea of having any Gentile actors play in
this theatre. We had plenty of home talent and did not need them.

President Heber C. Kimball followed in a brief address, strongly
supportive of what President Young had said.

Apostle John Taylor then gave a short address; then came selections by
the orchestra, and more singing by the choir, and Mr. Dunbar sang
another song written by Apostle Taylor for the occasion and set to
music by Professor Thomas.

For the grand finale an anthem written for the occasion by Eliza R.
Snow and set to music also by Professor Thomas was sung by the choir,
accompanied by the orchestra and and brass band consolidated for the
occasion. The solo parts of the anthem were sung respectively by Mr.
Dunbar and Mrs. Agnes Lynch.

The musical program ended, an announcement was made that the theatre
would be formally opened on Saturday evening, March the eighth, when
the plays of "The Pride of the Market" and "State Secrets" would be
presented. The people anxiously awaited the opening night. The
performance was advertised to begin at 7 o'clock. At 5 o'clock
hundreds were at the doors waiting to get in and before the time of
the beginning every available spot of both seating and standing room
was taken. The prices of admission were 75c for parquette and first
circles; upper galleries 50c.

The plays, both drama and farce, were capitally acted. Dunbar's song
between the plays, "Bobbin' Around," made an immense hit. The merging
of the M. D. A. into the D. D. A. made up a strong company. The roster
of the Deseret Dramatic company as it stood at this opening
performance and the cast of the initial plays cannot fail to be of
interest after a lapse of more than forty-two years and so many of the
original players have passed away.

The members were: Hyrum B. Clawson, John T. Caine, Managers and both
players; Philip Margetts, David McKenzie, William C. Dimbar, John R.
Clawson, Henry Maiben, Jos. Simmons, Horace K. Whitney, Henry E.
Bowring, R. H. Parker, George M. Ottinger, C. R. Savage, George
Teasdale, Henry McEwan, John Kelly, Richard Mathews, John D. T.
McAllister, Sam Sirrine, Henry Snell, Mrs. Marian Bowring, Mrs. S. A.
Cook, Mrs. Woodmansee, Mrs. Margaret Clawson, Mrs. Alice Clawson, Miss
Maggie Thomas, and Miss Sarah Alexander. Of the above-named the
following have passed away: John R. Clawson, Henry Maiben, Jos.
Simmons, H. K. Whitney, Henry McEwan, John B. Kelly, Richard Mathews,
Henry Snell, Mrs. Bowring, Mrs. Alice Clawson, and Mrs. Cook. Bernard
Snow and James Ferguson of Social Hall fame were on the roster, but
not active members; they too are gone.

The following is the opening bill:

    SATURDAY EVENING, MARCH 8, 1862.

    A Beautiful Comedy in Three Acts,

    _THE PRIDE OF THE MARKET._

    Cast of Characters.

    Marquis de Volange ........................ John T. Caine
    Baron Troptora ............................. Henry Maiben
    Chevalier De Bellerive ..................... Jos. Simmons
    Ravannes ................................... R. H. Parker
    Dubois ................................... David McKenzie
    Isadore Farine ............................ H. B. Clawson
    Preval .................................... S. D. Sirrine
    Servants ..................... R. Mathews and Henry Snell
    Waiter .................................... John B. Kelly
    Mille De Volange ........................ Mrs. Woodmansee
    Norton (pride of the market) ......... Mrs. M. G. Clawson
    Comic Song, "Bobbing Around" ............... W. C. Dunbar

    To Conclude With the Laughable Farce

    _STATE SECRETS._

    Cast of Characters.

    Gregory Thimblewell (the tailor of Tamworth) .. H. E. Bowring
    Robert (his son) ............................... R. H. Parker
    Master Hugh Neville ........................... S. D. Sirrine
    Calverton Hal ................................... W. H. Miles
    Humphrey Hedgehog ............................. Phil Margetts
    Maud Thimblewell (tailor's wife) ............... Mrs. Bowring
    Letty Hedgehog (with song) ............... Miss Maggie Thomas

Such was the superb comedy bill with which the Salt Lake Theatre was
auspiciously and successfully launched into the great dramatic sea on
which she has made such a long and splendid voyage.

The company played a few other plays between the opening date and the
15th of April, catching conference, which closed the first season of
about six weeks' duration. They gave fifteen performances in this
time. The company during this first short season scarcely found its
bearings, much of the best talent was in the background and it took
time and opportunity to discover it and place it to the best
advantage.

During the first season of the Theatre, Miss Sarah Alexander, in
addition to playing many of the soubrette roles, was the _premiere
danseuse_ of the company, and gave exhibitions of her skill in the
terpsichorean art between the plays almost nightly; she was eventually
superseded, however, by Miss "Totty" Clive (a daughter of Mr. Claud
Clive, the costumer), who became so proficient in the art of dancing
that before she was 15 years of age she was an established favorite
with the public, and a feature of the theatrical entertainments.




CHAPTER V.


The isolation policy peculiar to the Mormons at this period, found
expression in a discouragement of all Gentiles (as all non-Mormons
were called) and Gentile enterprises in Utah. This feeling also found
expression to some extent, for a short time in the sphere of the
theatre, and it was boldly announced by some who were close in the
councils of the Mormon chief, that he would have no Gentile actors in
his theatre. A policy which was much more strongly emphasized at the
time, however, was as to the character of the plays that should be
presented. President Young set his foot down very firmly against the
presentation of any tragedies, or plays of tragic character. The
people he said had seen and felt too much of the tragic side of life;
he wanted them to be amused, and not have their feelings harrowed up
by tragic representations. This policy obtained for a short time only;
gradually the general growing desire for the higher class of plays had
to be taken into consideration by the managers, Clawson and Caine, who
were running the house in the interest of the box office, chiefly, and
this initial policy of the founder of the theatre was gradually
abandoned, as well as the isolation policy which was to debar Gentile
actors from the stage of the Mormon Theatre.

During the summer of '62 the theatre was rushed to completion. On
December 24, '62, the completed theatre was again formally dedicated
and the following night, Christmas, the Stock Company opened up for a
regular winter season in the "Honeymoon" under the direction and
tutorship of our old Nauvoo favorite, Tom Lyne, who had learned of the
opening of Brigham Young's new theatre, and saw a chance to renew his
acquaintance with his old friends, and do a little business with them
in their new temple of the drama.

After a lapse of nearly twenty years, during which his old friends and
admirers had completely lost sight of him, he suddenly "bobs up
serenely" at Denver where he had been playing an engagement with J. S.
Langrishe; from here he corresponded with Manager Clawson with the
result that he was engaged to come to the Salt Lake Theatre as a tutor
to the company. He was received with great kindness by the company and
managers, and especially by Brigham Young, who treated him with marked
consideration. He coached the company and directed several plays for
them, but that was an irksome task for Lyne; he wanted to face the
public himself. He saw a great opportunity and did not rest content
until he had secured a starring engagement with the managers.

Accordingly it was not long before the veteran tragedian (Lyne was now
fifty-six) was announced to appear in a round of favorite characters
supported by the Theatre Stock Company. He opened on January 14th in
"Damon" to a packed house and played in quick succession the
characters of "Richelieu," "Othello," "Richard," "William Tell," "Sir
Giles Overreach," and Rolla in "Pizarro." In the latter play he could
not expect to have any of the old Nauvoo cast, especially Brigham
Young for the "High Priest," as he was now reigning as High Priest in
reality; but he found a very capable successor in the person of George
Teasdale, who since his experience in this part found promotion in the
priestly line until he became one of the chief high priests of the
church and a member of the Twelve. There is certainly some charm in
that character of the "High Priest" in "Pizarro."

Lyne's engagement was the first one made with any outside actor and
broke almost in the very start the President's avowed policy of having
no Gentile actors in his theatre. It was a comparatively easy step,
however, as Mr. Lyne was regarded as almost, and likely to be
altogether, one of us again, which idea, however, proved quite
erroneous for Tom Lyne, after playing several profitable engagements
during his first years in Salt Lake, where he settled down to end his
days, became unnecessarily cynical and bitter against the dominant
party; and especially against the proprietor and managers of the Salt
Lake Theatre, when they decided that they had played him all that was
profitable. Lyne's first engagement had "let down the bars," broken
the isolation policy to such an extent that other Gentile actors soon
followed. The truth is that the managers discovered even at that early
period in Salt Lake's theatrical experience that the local Stock
Company could not hold up the interest unaided and alone, especially
after the Lyne engagement had shown the public the difference between
a past master in the art (as Lyne was), and a company of comparative
novices however talented they might be. Another line of policy which
had been laid down by the chief of the new amusement bureau (that he
would not have any tragedies nor murder plays performed in the new
theatre) was sadly tangled and demoralized, during the very first
engagement of an outside actor. "Virginius" was a favorite part of Mr.
Lyne's and it went on, notwithstanding some discussion and protest,
with Mrs. Alice Clawson (Brigham's prettiest daughter) as Virginia.
When Virginius thrust the death dealing butcher knife which he
purloins from the neighboring butcher stall into the trusting bosom of
the fair Virginia, exclaiming "It is to save thine honor," the Rubicon
was crossed the leap was taken, and the second cherished whim of the
chief promoter of amusements for the Saints was shattered; it fell a
sacrifice to a worldly "box office" policy; and significant to relate,
his favorite daughter Alice was made the principal accessory to this
disregard of his desires and counsel.

The step once taken could not be retraced. Mr. Lyne's "Virginius" like
his "Damon" and "Richelieu" proved very popular, and justified several
repetitions. It was found that tragedy had its votaries quite as
numerous as those of the Comic Muse; and there were no more protests
either against the Gentile actors or the tragic plays, for the varied
tastes of theatre patrons had to be considered and from this time on
"box office" considerations wholly dictated the managerial policy of
the Salt Lake Theatre.

During the early days of the Salt Lake Theatre, that is to say, the
first short season of 1862 and part of the season of '62-3, the
company was somewhat handicapped by the lack of a competent "leading
lady." Mrs. Wheelock and Mrs. Tuckett, the two leading actresses of
the Social Hall days, had both left the Territory for California, and
this left the D. D. A. weak in this respect. The comedy roles were
well represented in the persons of Mrs. Margaret Clawson, Miss Sarah
Alexander, Miss Maggie Thomas, and the character parts and old women
by Mrs. Sarah Cook. Mrs. Marian Bowring was good in heavies, while
pretty Alice Clawson could make good in a walking lady or light
juvenile but they were short a "leading" woman. In the classic plays
which Lyne put on: "Virginius," "Damon and Pythias," "Richelieu,"
etc., (Mrs. Alice Clawson was cast for the leading juvenile roles; she
filled all the requirements so far as looks were concerned, but was
not at all convincing where any impassioned acting was required) the
popular verdict was "She's pretty, but can't act." Soon the managers
discovered a very talented and promising actress to fill the place, in
one Mrs. Lydia Gibson. Lydia was the young and pretty wife of Elder
William Gibson, who had recently converted Lydia to the Mormon faith
in the old country and brought her to Salt Lake and prevailed on her
to become Mrs. Gibson number two. She was a very lovely woman and when
she made her advent into the dramatic company soon became a general
favorite both with the company and the public, and more than one
fellow experienced a pang of envy when he learned she was the wife of
Elder Gibson, a man old enough to be her father. Mrs. Gibson remained
in the company only two seasons, long enough to establish herself
thoroughly in the affections of everybody, when she sickened and
shortly after died. She was buried in Brigham Young's private burying
ground near where the prophet himself is buried. The entire dramatic
company and many of the community followed her to her last resting
place with every evidence of genuine sorrow. Her dramatic career was
brief but brilliant.

There had been some trouble on the male side of the cast also. On
Lyne's first appearance the part of "Pythias" was cast to the old
Social Hall favorite "Jim" Ferguson he had played the part with Snow
in the Social Hall and was "accounted a good actor;" but on this
particular occasion, one of no small importance, being his first
appearance at the Salt Lake Theatre as well as the first appearance of
Mr. Lyne, Mr. Ferguson did not win fresh laurels. No doubt the fact of
appearing alongside of a veteran like Lyne, made "Jim" more or less
nervous. Somehow he did not "screw his courage to the sticking place,"
whether from nervousness or other causes, and failed to give a
satisfactory performance of the part; he was over-excited, and the
Calanthe complained that he was too realistic. He terrified the
soldiers of Dionysius to such a degree that they wanted to desert, and
Mr. Lyne declared he was the most vigorous Pythias who had ever played
with him, but he could not rely on him; his stage business was so
eccentric and uncertain. "Jim" thought he was making a great hit, but
the managers decided to make a change. At the following performance
the character was essayed by Mr. John R. Clawson, who if not so
brilliant as Ferguson, proved to be less erratic and more steady and
reliable.

Ferguson never again appeared on the stage but devoted his brilliant
talents to his paper, The Mountaineer, and the practice of the law.
John T. Caine was now nominally the leading man of the theatre. He had
played with stately dignity the parts of "Dionysius" in "Damon and
Pythias" and "Pizarro" to Lyne's "Rolla," and before the season was
over a number of leading characters in plays such as "Eustace Baudin,"
"Senor Valiente," "Serious Family," "All That Glitters," etc.

Each of Lyne's characters was played twice or three times, and went
far toward filling up the season as the company played but two nights
in the week. The Stock Company filled out the season of '62-63 which
closed after the April conference, '63. Soon after the opening season
of '63 and '64, the Irwins were engaged, and opening on November 4th
played the entire season till April 10th, 1864.

When the Irwin engagement began, November 4th, 1863, this put Mr.
Selden Irwin in all the leading parts. Early during this engagement
Mr. David McKenzie, who had already scored a success in "old man"
parts, came strongly to the front in the play of "Evadne" in which he
was cast for the part of "Colonno," a character of the "Hotspur" type.
He made a distinct and pronounced hit in this character, fairly
dividing honors with Irwin, who played "Ludovico," a character of the
"Iago" type, and second only to that "great villain," perhaps, in the
whole range of the drama. This performance brought McKenzie
conspicuously to the front so that he was promoted to the leading
position and held it with public approval for a number of years.

A year or so ago a "write up" article in "Munsey" claimed for George
B. Waldron the distinction of being the first Gentile actor to play in
the Mormon theatre. How far astray from the historical record the
writer was can be gleaned from the foregoing facts, and those which
are to follow.

Mr. Lyne's first engagement lasted into March, close up to the April
Conference, when a season of stock work was resumed with some special
attraction in the way of spectacular effects for the conference
season. It was the custom during the first regular season to play but
two nights a week Tuesdays and Saturdays the other evenings of the
week being devoted to the necessary rehearsals, as it was
impracticable to get the company together in the daytime for that
purpose, as they all had other occupations which demanded their
attention. Each play was given twice, this was the rule; it was the
exception when a piece ran _three_ nights in succession. It was the
custom to put up a new bill each week, so this gave the company about
a week to get up in a new play and a new farce; with their daily
occupations to attend to as well. Actors today would consider it a
task to get up in a new play and a farce each week with nothing else
to attend to. It will readily be understood from this statement that
the original stock company of the Salt Lake Theatre had no sinecure,
or "soft snap," to phrase it in the present vernacular, especially
when it is made known that during all this season there was no such
thing as salary attached to their positions. They were all working for
honor and glory, and to help Brother Brigham pay for the theatre; but
there was no grumbling; all went merry as a peal of wedding bells for
"the labor we delight in physics pain," and the first regular season
of the Salt Lake Theatre closed after the April Conference, 1863, with
a good financial showing, much of the indebtedness on the building
have been wiped out, and everything in good shape for the ensuing
season.

This first long season's work had to a great extent disclosed the
respective merits of the various members of the company, so that a
number of changes were wrought out, some members gaining promotions in
accordance with public voice and approbation.

During the summer of 1863, the interior decorations of the theatre
were completed and preparations were made for opening the season of
'63 and '64 a little in advance of the October Conference, which
always brings the people in even from the remotest settlements, and
consequently makes a great harvest for the theatre. The stock company
opened up the season without any assistance from the "Gentile"
dramatic world no second star had as yet appeared on our dramatic
horizon. Some additional interest, however, was lent to the stock
company by the accession to its ranks of two new members, who had been
selected from an amateur club called the "Thespians," whose
performances, given in a little crib, popularly known as "Cromie's
Show," so designated because the manager, "Jimmy" Thompson, had
acquired the nickname of "Cromie" from an excellent performance he
gave of that character in the farce of Betsy Baker.

The new accessions were John S. Lindsay and James M. Hardie, whom the
theatre managers had picked from the ranks of the young "Thespians" as
being of promise and worthy a place in the big theatre. The company
presented a number of comedy dramas; did the usual S. R. O. business
during the October Conference and played well on into the month of
November, when "The Irwins" were engaged as stock stars for the
remainder of the season. This engagement proved to be a wise move on
the part of the management, for the strain on the stock company was
becoming apparent, and it is questionable whether they could have held
the public interest with them throughout the season; so the Irwins
were welcomed by both the company and the patrons of the theatre.
Selden Irwin (or as he was familiarly called "Sel") was at this time
in the very flush of manhood, full of life and ambition, with a
plethora of good looks and activity. He was essentially a dashing
actor, and pleased the public immensely. Mrs. Irwin was even more of a
favorite than "Sel." If not great, she was very versatile, and they
gave Salt Lakers a series of plays of very great variety, embracing
classic tragedy, comedy and farce. Everything from "Camille" and the
"Lady of Lyons" to "That Rascal Pat" and "In and Out of Place." With
Mr. and Mrs. Irwin was Harry Rainforth, a boy of sixteen years, a son
of Mrs. Irwin by a former marriage, who in after years became a
well-known manager, being a partner with Bob Miles in the Grand Opera
House at Cincinnati. Harry was quite an actor as a boy, and helped out
the cast on several occasions; his most conspicuous effort, however,
was Lord Dundreary in "Our American Cousin," which was put up to give
"Sel" a chance at "Asa Trenchard." It is not of record that Harry ever
became a formidable rival of Sothern's in this part, but on this
occasion he filled the role very acceptably.

The Irwins remained as stock stars to the end of the season, which
came to a close after the April Conference, 1864. They were well liked
by the Utahns, and came back for a short starring engagement the
season of '66, after making a tour of Idaho and Montana with a small
road company. The Irwin engagement inaugurated the three night
performances a week and Saturday matinees. This increased the work of
the company to such an extent that they had to neglect to a greater or
less degree their regular business, that on which they depended for
their living, for it must be understood that there was no compensation
attached, beyond the honor of acting in the Salt Lake Theatre. So
there began to be some dissatisfaction with this part of the business,
and complaints from some that they were neglecting their business for
the theatre and ought to be made good, so it was arranged near the end
of the season to give two benefit performances one for the gentlemen
and the other for the ladies of the company, and then divide the
results pro rata among the members of the company. This scheme was
carried out and served to conciliate the players and smooth the way to
another season's work for the managers.

The writer at this time was probably the youngest member of the
company and had attained but little prominence, hence his "divvy" was
a very modest one, yet quite acceptable, as it was unexpected. The
following autograph letter of Brigham Young's will show the method
adopted by the management to carry on the business and make the
company contribute liberally to the building of the theatre:

                           SALT LAKE CITY, April 15th, 1864.

    _Mr. John S. Lindsay_.

    DEAR BROTHER:--Inclosed please find Twenty Dollars, being amount
    assigned you out of the proceeds of the Benefit recently given at
    the theatre.

    Appreciating your faithful services, and the alacrity with which
    you have contributed to our amusement during the past season, I
    pray God to bless you, and increase your ability to do good.

    Your brother in the Gospel,
                               BRIGHAM YOUNG.

This plan served to keep the company in a contented mood, and was
repeated at the close of the following season with like result.

The writer had made some progress in the company, and at the next
benefit got seventy-five dollars for his pro rata; this was less than
a dollar a performance during the season of seven months, but then we
were doing good missionary work, in the way of amusing the people, and
this company were engaged in a labor they delighted in; while they
were assisting in a great measure to pay for the great Thespian temple
in which they were performing, they were enjoying the labor immensely
and gave the same enthusiastic efforts to it they would have done to a
mission, had they been called to go and preach the gospel. Moreover,
they were gaining an experience in art that would have been perhaps
impossible for them, had not this splendid theatre been erected in the
home of the Saints. Brigham Young's comprehensive mind had grasped the
advantage to his people of blending art with religion, and relieving
the monotony of arduous pioneer toil with innocent and refreshing
amusements.




CHAPTER VI.

SEASON OF '64-'65.

_A Metropolitan Theatre in the Wilderness_.


The Salt Lake Theatre was a source of wonder and admiration to all
strangers visiting it. Considering the time and the place of its
erection, the isolated condition of the people, the meagre facilities
within reach for so big a project, the quadrupled cost of everything
that had to be imported, such as glass, nails, paints, cloth for
scenery and everything in the shape of decorations, it was then, and
remains today, a monument to the liberality, foresight and enterprise
of Brigham Young. Since its erection, forty-three years ago,
theatrical architecture has been vastly improved, and in many respects
the Salt Lake Theatre is old-fashioned, but few theatres in the
country, with all the improvements which have been introduced, surpass
it in point of comfort and convenience, especially behind the curtain.
When it is considered that not only the architectural designs, the
mechanical construction, but all the interior decorations and the
scene-painting was done by local talent, it speaks highly for the
artistic and mechanical skill that was centered in Salt Lake even at
that early period of its history. William H. Folsom was the architect
and personally superintended its construction. He was also the
architect of the big Tabernacle with its turtle-shaped roof spanning a
stretch of 150 feet without a supporting column. The first
installment of scenery was painted by W. V. Morris and George M.
Ottinger, both clever artists, and with their assistants they gave the
theatre stage a very nice investiture in the way of scenery. As the
seasons rolled around the stock of scenery was continuously growing,
for every new play had to have something done for it in the way of
scenery, so that the painters were always working, and as a
consequence the Salt Lake Theatre has probably a larger stock of
scenery than any theatre in the country. The same may be said in
regard to the stage properties. "Charley" Millard was the property
man, and Charley could manufacture anything in the shape of a "prop"
from a throne chair to a cuspidor, from a papier mache cannon to a
firecracker, from a basket horse to a baby; so that in the course of a
dozen years the property room became a veritable museum, an "old
curiosity shop" well worth an hour of anybody's time to examine.

There was a wardrobe department, which was equal in importance if not
superior to the scenic arid property departments. This was presided
over by Mr. Claud Clive, an expert tailor, who with his assistants,
manufactured all the costumes for the male characters of the plays,
while the female costume department was presided over by Mrs. Marion
Bowring. Mr. Robert Neslen had general charge of the costume and wig
department, and dispensed the necessary apparel and wigs to the
company. There was also a tonsorial artist connected with the house,
who was always there to curl a wig or put it on in good shape for the
actors who needed such assistance. John Squires was the tonsorial
artist--he was a busy man in those days. He had his shop in a little
adobe house that stood directly opposite the "President's Office" on
the lot where the Amelia Palace was afterwards erected. John was the
President's barber, and had a large run of custom from the church and
tithing offices, besides nearly all the actors patronized him, so that
he was a prosperous man in the community. He continued to shave his
share of the people up to within a recent date, when he was obliged to
retire; "age with his stealing steps had clawed him in his clutch," so
this knight of the razor was reluctantly compelled to lay down the
implements of tonsorial art, the strong steady hand that once could
clean a man's cheek in about three strokes had grown weak and
tremulous, and but recently he passed peacefully away to that better
land where it is to be hoped there is no shaving or need of hair-dye.
His place is amply filled, however, for John has a numerous
progeny--and all his sons and grandsons, so far as we know them, are
barbers. Here we find a true touch of heredity.

After such a brilliant and successful season as the Irwins had just
concluded, it seemed like a daring venture to open up the ensuing
season with the stock company unassisted by the strength of a star;
but notwithstanding this seeming riskiness, the managers did not wait
for the _ensuing season_, but bravely ushered in a supplemental season
on May 14th. Only five weeks after the Irwins had closed their long
and brilliant run, the stock were hard at it again, notwithstanding
the summer days were come; they kept going till the 18th of June, when
the "veteran tragedian" (Lyne, at the time 58 years of age) was
engaged to reinforce the stock, and add to the box office receipts. He
opened this, his second star engagement, on June 25th and played up to
July 16th. He repeated all his former triumphs and achieved some new
ones, notably in "Sir Giles Overreach" in "A New Way to Pay Old
Debts."

In the meantime a new star had appeared in our dramatic horizon; by
the time Lyne had closed his engagement, it was in our ascendant,
astrologically speaking, and by the time it had reached our zenith, or
midheaven, it had shed another halo over the Salt Lake Theatre and the
drama in Utah. This bright particular star was George Pauncefort. "He
was a scholar, and a ripe and good one," an actor of rare and varied
accomplishments, and proved to be an invaluable instructor and model
for the company. Under his leadership a great progress was made.
Pauncefort was an English actor, who had acquired considerable
celebrity on the London stage. He was a married actor, and his wife
and several daughters, at the time of which I am writing, were quite
popular on the stage, and their names appeared frequently in the
London casts. Pauncefort came to the United States as early as 1858.
He was the original "Armand Duval" in "Camille," when Matilda Heron
first produced that play in New York. After his New York engagement,
Pauncefort drifted West, and in 1864 came to Salt Lake for a brief
engagement of a week or two. He had just concluded a stellar
engagement with Jack Langrishe at Denver. Denver at that time was not
so large as Salt Lake City, nor could it boast anything like so good a
theatre. The great overland road had not been projected at this time,
and people crossing the country from Denver to Salt Lake or San
Francisco were obliged "to stage it," or travel with private
conveyances. So George had to stage it, not a difficult thing for an
actor to do. He was accompanied by Mrs. Florence Bell who was featured
with him as co-star during his first engagement. He opened on July
20th, 1864, just four nights after Lyne closed, in "The Romance of a
Poor Young Man," in the character of "Manuel," Mrs. Bell playing
"Marguerite." Pauncefort's "Manuel" made a great hit, and stamped him
at once as an actor of superior parts. It was a new awakening. His
style was so different from anything we had seen, either in Lyne or
Irwin. Mrs. Bell, however, fell as far below public expectation as
Pauncefort went above it. She was not the equal of our own leading
lady, Mrs. Gibson who in consequence of this engagement had to be
retired from the leading roles, and bear with what grace she might to
see an inferior actress usurping her place. The popular verdict was
all in Mrs. Gibson's favor. Mrs. Bell was a pretty woman, but a very
mediocre actress. The management would gladly have retired the lady
after the first performance, but there was a contract, and she was
allowed to play the leads in several plays, during this engagement.
Pauncefort played until September 30th, when the season closed.

It no doubt cost the princely George a pang to realize that Mrs. Bell
had not made a favorable impression with the public, as he had
featured her on the bills. She had found great favor in his eyes, if
not so fortunate in gaining the public favor. Their admiration was
mutual and so apparent that it was frowned upon by "the powers that
be." George was given plainly to understand that although Mormons
believed in and practiced polygamy, they drew the line in morals at
promiscuity, and he could not continue his present intimate relations
with Mrs. Bell and his engagement at the Salt Lake Theatre. George
took the hint and severed the "entangling alliance;" all the easier,
no doubt, as Mr. Bell had come closely on their heels from Denver.
Bell was a good cornet player, and secured an engagement in the
Theatre Orchestra, where he played until the end of the Pauncefort
season, and then drifted off to Montana, "taking the fair Desdemona
along with him."

That the Bell alliance worked to Pauncefort's injury there is no
question. President Young took great offense at it, and never attended
the theatre during Pauncefort's engagement after the opening
performances, when he became apprised of the intimacy existing between
George and Florence. On Brigham's first visit to the theatre after the
Pauncefort season, the writer met him on the stage near his box and
took occasion to express his pleasure at seeing him occupy his
accustomed seat after so long an absence, remarking, "It is a long
time since you were here, President Young." "Yes," he replied. "I told
John T. and Hyrum (the managers of the house) that I would not come
into the theatre while that man Pauncefort was here." This showed how
strong a prejudice he had conceived against Pauncefort--and
notwithstanding the very favorable impression his acting had made, it
was quite a long time, nearly four months, before he again appeared.

The Lyne and Pauncefort engagement following each other in such close
succession and in an extra season, and that season a mid-summer one,
had given the theatre-going public a very gratifying sufficiency of
theatricals, and consequently it was not thought advisable to open the
theatre again until the ensuing October Conference; so the house was
closed up for a period of five weeks and reopened on the 5th of
October, just in time to catch the Conference gatherings. Although
both Lyne and Pauncefort were in the vicinity, neither of them were
engaged until after the Conference dates were passed. The management
could rely on full houses during the Conference and could not see the
policy of sharing up the profits with a star when the stock company
could fill the house to its capacity. The Conference over, the
following week T. A. Lyne opened his third engagement and played up to
the 10th of December; a very long engagement, lasting eight weeks.
Pauncefort should naturally, according to all professional ways of
looking at it, have filled this time; and no doubt would have had the
preference over Lyne if the managers had not been handicapped by the
strong prejudice of the "President" against this actor; for he was the
newer and more attractive star. Lyne had already played two long
engagements and exhausted his repertoire, besides Pauncefort had
introduced us to a more modern and popular school, and from financial
considerations alone, any manager would have given him the preference,
but he did not get back into the theatre for a second engagement until
after Lyne had played everything he knew; still he lingered in the
vicinity. He went out through the provinces--played smaller towns,
such as Springville and Provo, with their home companies--and dabbled
in merchandising, shipping fruit to Montana; it was bringing big
prices just then. On the 17th of December, 1864, George Pauncefort
began his second engagement in "A Bachelor of Arts" and "Black-Eyed
Susan." It was during this engagement that "Hamlet" and "Macbeth" had
their initial performances in the Salt Lake Theatre. Both of these
plays were marked events in the history of the theatre, more
particularly "Macbeth," which called into requisition the Tabernacle
choir to play the witches and sing the music of the play, which was
ably conducted by Prof. C. J. Thomas.

"Macbeth" was the last play of this engagement and closed the second
Pauncefort season on January 7th, 1865--a brief season of three
weeks--after waiting around about four months. Why this engagement
ended so suddenly in the very height of its brilliancy is somewhat
puzzling to understand, as there was no other star to follow, and the
stock company played unassisted by any stellar attraction up till May
20th, which closed the season of '64 and '65.

Pauncefort shortly after the closing of his engagement went to San
Francisco, where he remained for more than two years playing there at
intervals.




CHAPTER VII.

SEASON '65 AND '66.


The next star to appear at the Mormon theatre was Julia Dean Hayne,
and a brilliant one she proved to be. She created on her first
appearance an impression that was profound and lasting, and each
additional character she appeared in only served to strengthen her
hold on the admiration and affection of her audiences.

The advent of such a well-known and popular actress into the heart of
the Rocky Mountain region at such a time, years before the completion
of the overland railroad, had in it a rich tinge of romance and wild
managerial venture. Julia Dean came to Salt Lake City under the
management and in the dramatic company of the veteran Western manager,
John S. Potter. Some time prior to this she had gone to San Francisco
from New York by way of the Isthmus, had played a successful
engagement there, and being "at liberty" after it was over, Mr.
Potter, who was an old acquaintance of Mrs. Hayne, made her a
proposition to organize a company and play her through the principal
towns of California. This was done, and after the state had been
pretty thoroughly toured, the fair Julia appearing in many places that
had very "queer" theatres, the tour was extended through the cities of
Oregon and then through the sparsely inhabited territories of Montana,
Idaho and Utah, finally arriving in Salt Lake July 26th, 1865, on a
regular old-time stage coach, a tired and jaded-looking party. There
was in this company John S. Potter, manager (then a man of sixty or
more), Julia Deane Hayne (the star), George B. Waldron (leading man),
Mr. and Mrs. O. F. Leslie (juveniles), Mr. A. K. Mortimer (heavies),
Charles Graham (comedian). Mr. Potter himself played the "old man"
parts, Miss Belle Douglas playing characters and old woman parts, and
"Jimmie" Martin, property man and filling-in parts. The fame of
Brigham Young's theatre had reached them in their travels, and they
had traveled many miles to get the opportunity of playing in it. A
week's engagement was soon effected, and on August 11th, 1865, "The
Potter Company" with Julia Dean Hayne as the stellar character, opened
up in the play of "Camille." They were received by a packed house, and
with every demonstration of welcome and approbation. Mrs. Hayne, who
was no longer girlish in face and figure but a mature woman, verging
on towards the "fair, fat and forty" period, was nevertheless so
exquisitely beautiful and girlish-looking when made up for "Camille"
or "Julia" in the "Hunchback," that everybody sang her praises. The
entire community seemed to have fallen irresistibly in love with the
new star, and henceforward she had fair wind and smooth sailing while
her lot lay cast among the Saints. While the Potter Company were
playing in the theatre, supporting Mrs. Hayne, the stock company were
of course getting a needed rest, but their salaries (?) were going on
as usual, and the management could not well afford to have two
companies on its hands, so after the first week, the novelty being
over, the Potter company were let out, and the regular company
reinstalled. The Potter Company, however, had lost its "star;" the
theatre managers had effected an engagement with Julia Dean to remain
with them for the rest of the season as stock star with George B.
Waldron, also to play her leading support, and direct the staging of
her plays.

This proved a severe blow to the Potter Company, who now had no place
to play in in Salt Lake and could not well take to the road again,
having lost their principal attraction. Potter had not expected to
have been so soon supplanted. He came to Salt Lake, expecting to find
a company of amateurs, and thought no doubt the managers would be glad
to supplant them, at least for a good long season, with the Potter
Company and its distinguished star. Outside of Mrs. Hayne and Mr.
Waldron, however, the Salt Lake Company was much more numerous,
talented and capable than the Potter Company. It took but one or two
performances for the managers to discover this, and they hastened to
make the arrangements with Julia Dean and Mr. Waldron and to reinstate
their own company.

Poor Potter and his remaining company were in a sorry strait. Their
overland jaunt, through Oregon, Montana and Idaho, had not been very
lucrative, and now they were out in the fastnesses of the Rocky
Mountains, a thousand miles from any metropolis with a theatre, and no
railroad to get away on; nothing but the overland coach. Potter was a
resourceful manager, however; he was not easily daunted; with him
Richmond's admonition to his army was ever present. "True hope never
tires, but mounts on eagle's wings. Kings it makes gods, and meaner
creatures kings." He found in "Tom" Lyne an old acquaintance, and a
strong ally. Lyne was by this time disgruntled and dissatisfied with
the theatrical outlook in Salt Lake; he was not getting any more the
plaudits and the "star's" share of the receipts. He wanted some place
to play in. So he inspired Potter with the notion of building an
opposition theatre to that "monopoly" of Brigham Young's. Potter drank
in Lyne's inspiration fervidly. The idea took a frantic possession of
him, and plans were at once devised for getting up another house as
speedily as possible, for the season was advancing and if the project
was not hurried the Potter company would be scattered beyond all
recovery. So it was decided to erect a cheap frame building, and push
it to completion as rapidly as possible. This decision served to keep
the Potter Company in Salt Lake, as they all had faith in the scheme,
and faith in themselves that they could win out. They argued that by
the time the new play-house was ready to open that Julia Dean and
Waldron would be played out at the Salt Lake Theatre, and something
new would catch the people. Poor, deluded actors, they did not know
the people of Salt Lake; they knew them better after. How much money
Mr. Lyne put into this scheme the writer never could learn from him,
but I opine it was very little. He, however, secured the building
site, by some kind of a deal with "Tommy" Bullock. It was about where
Dinwoodey's furniture store now stands. Potter had little or no money
with which to start such an enterprise, so Lyne introduced Mr. Potter
to such of the merchants and lumbermen as he wanted to do business
with. Potter played a bold game, and really accomplished a great feat
in the building of this theatre. He got from sixty to ninety days'
credit for everything nearly that went into the construction of the
building. It was a cheap affair; built of poles, hewn to an even size
and placed in the ground like fence posts; then boarded on both sides
with rough boards, the space between the inside and outside boarding
being filled in with sawdust and refuse tan bark from the tanneries,
to make the building warm. The place was about half the size of the
Salt Lake Theatre; that is, it had about half the seating capacity and
a stage about one-fourth the size of the theatre. The structure,
including the lease of ground, cost about $7,000. It was put up in
about thirty days, so that Potter had a month's more time in which to
pay for the bulk of the material, but the merchants and laborers who
did the building were worrying his life out long before he got it
going, for their money. He proved to be an expert at "standing off"
his creditors, however, so by hook and crook he got the building
completed, his company reorganized, and the theatre started. Some very
amusing stories were related of him at the time; how he would cajole
and stuff with promises the dissatisfied workmen as to what he would
do as soon as he got the house open. One man went to him with the
sorrowful story that his landlady had refused to credit him any
longer, and he must have money to pay his board and lodgings. Potter
looked at him pityingly, and expressed his regret that he could do
nothing for him till he got the theatre going. "It will soon be
finished now; tell your landlady this, and if this will not appease
her, change your boarding house." To such like desperate shifts and
subterfuges was he obliged to resort to keep the men at work, doling
them out a few dollars at a time, when they became unmanageable or
threatened to quit. Eventually the house was ready for opening and
"Tom" Lyne had to have the first "whack" at the new box office
receipts.

With woeful shortsightedness they put up for the opening, "Damon and
Pythias," with Lyne starred as "Damon," a character he had already
played three or four times at the other theatre. Lyne probably
thought, however, with Richard that "the king's name is a tower of
strength, which they on the adverse faction want." Such did not prove
to be the case, however, as the "adverse faction" having in view the
opening of the opposition house, put on a strong new bill with Mrs.
Hayne in a new and powerful character, so that there was no apparent
diminution of patronage, and the Salt Lake Theatre kept on the even
tenor of its way "with not a downy feather ruffled by its fierceness."
Potter and Lyne had succeeded in getting "Jim" Hardie away from the
other house by offering him the part of Pythias and a larger salary
than he was getting at the older house. "Jim" at this time was the
youngest actor in the Salt Lake Theatre company, and had not yet made
much advancement; he was ambitious, however, and this opportunity to
play "Pythias" to Lyne's "Damon" was very alluring to him, so he
deserted the ranks of the D. D. A. and allied himself with
Lyne-Potter, et al., with what poor judgment the sequel will show.

The new theatre was christened "The Academy of Music," with what
reason or consistency no one could ever conceive, unless it was to
give it a big sounding name, to allure the unwary, for it was as
utterly unlike an Academy of Music as anything could be.

On the opening night, the novelty of the new theatre opening, and
curiosity to see the Academy and Mr. Lyne with his new support,
sufficed to draw a fairly full house.

Several amusing incidents transpired on that eventful evening. First
and most laughable was the following: "Jim" Hardie had a
brother-in-law named "Pat" Lynch. Pat had been clerk of the district
court for a number of years and was well known for a big-hearted,
generous man, his greatest fault being that he would indulge
occasionally too freely in the ardent. "Pat" had loaned "Jim" ten
dollars to help him get a costume for "Pythias" the Academy had no
wardrobe department and "Jim" could not with any grace attempt to
borrow one from the Salt Lake Theatre. It would appear he had promised
to get an advance as soon as the box office had begun to take in
money, and Pat had expected the return of his money that day; at all
events, he was present at the play, occupying a front seat in the
parquette. He had been indulging freely, and his sight was not so
clear as usual; besides, he had the character of Pythias and Dionysius
mixed in his imagination. Mr. Potter was playing Dionysius, and as he
strode on at the rise of the curtain and began to speak, Pat mistook
him for Hardie and bawled out at the top of his voice, "See here,
Dionysius, where's that ten dollars you owe me?" Potter was filled
with consternation; Pat's friends who were with him succeeded in
quieting him and Potter made another start, this time without
interruption. Pat had discovered his mistake, that he had dunned the
wrong man, and it took but little persuasion to get him to leave the
theatre. Hardie, behind the scenes waiting for his entrance, and
fearing a second explosion when he should make his appearance, was
immensely relieved to see from the side wings Pat's companions lead
him up the aisle and out of the theatre. Potter, not aware but what it
was one of his numerous creditors dunning him, when he made his first
exit, threw up his hands in dismay, and said to Lyne in the wings: "My
G--d, they won't give me any peace! Even dunning me from the
audience." When Lyne, who had caught the truth of the matter,
explained to him, he was greatly relieved.

Another amusing incident, and one which nearly wrecked the scene, was
furnished by the little girl they had for Damon's boy. It has never
been a difficult task to find in Salt Lake a pretty and clever child
to play the child's part in this or any other play. On this occasion,
the selection was probably limited to a small circle, owing to the
feeling engendered by this opposition to the favorite theatre; at all
events, the "Damon's" child of the occasion was an uncultured looking
little miss of about six years; she was so dark and tawny-looking that
she might have had Indian blood in her veins, and certainly she had a
touch of the obduracy and stolidness that characterize that race;
Belle Douglass was the "Hermion" of the occasion, and she was obliged
to improvise and speak most of the child's lines for her; when "Damon"
came on for the farewell interview with his beloved "Hermion" and his
darling boy, he strove in vain to get a response from his young
hopeful; the child had become thoroughly nervous, and seemed
apprehensive of some danger and when "Damon" interrogated her, "What
wouldst thou be, my boy?" instead of the cheerful response, "A
soldier, father," there came only a frightened look, and the child put
its finger in its nostril, and swayed to and fro, as if she would say,
but dare not, "I want to go home." Miss Douglass, annoyed, pulled the
little hand down testily from the child's nose, and "Damon" repeated
the question, "What wouldst thou be, my boy?" No answer, but up went
the finger again to the nose. "Hermion" again pulled down the hand,
and rather harshly demanded, "Come, say, what wouldst thou be, my
boy?" The child by this time was nearly terrified, and only repeated
the nose business with more emphasis and began to cry--and "Damon"
utterly disgusted with his youthful prodigy, hurried him off to pluck
the flower of welcome for him. The child's queer action of sticking
its finger up its nose sent the house almost into convulsions of
laughter, and came near converting one of the greatest scenes of the
play into a burlesque. Lyne played all the other plays in his
repertoire in rather rapid succession, as the aim was to keep the
Academy open every night (except Sundays) and as each play would bear
but one repetition, this repertoire was soon exhausted, and as there
was no other "star" in the Utah firmament to fill the place, the
Academy went into a rapid decline. As the business had not proved to
be what the promoter and manager had calculated on, Potter was daily
besieged by creditors, until the poor man was almost driven frantic.
The heavy creditors, those who had furnished material on sixty days'
time, now began to grow troublesome, and one attachment after another
followed, until the house fell into the hands of the sheriff--and
Brigham Young, through T. B. H. Stenhouse, as agent, made a deal by
which the property came into his hands. He soon put a force of men to
work who tore it down, hauled it away and fenced a farm with it.

Such in brief is the history of Potter's Academy of Music. The
merchants and lumbermen who had given Potter such liberal credit were
now sadder but wiser men.

Potter got away as soon as possible, for matters were very pressing
and unpleasant for him. His company drifted off in various directions,
except Belle Douglass, who got married to Captain Clipperton and
settled down in Salt Lake, and after a while got into the Salt Lake
Theatre. Hardie also got back after a time, long enough for him to
become repentant and express his regrets for what he had done.

The season, by the time the Academy's brief career had ended, was well
advanced into the spring. Julia Dean Hayne had not only not played
out, but had steadily grown in the affection of the people. Mr.
Waldron continued to to be a favorite also; but Julia Dean was the
bright particular star whose effulgence can never be effaced from the
memories of those who attended her performances during that memorable
engagement. She received many marks of personal favor from President
Brigham Young; indeed, it was current gossip that the President was
very much enamored of the fair Julia and had offered to make her Mrs.
Young number twenty-one. How much, if any, truth there was in this
gossip will perhaps never be known; the fact that Brigham did pay her
unusual attention and gave several parties in her honor and had a fine
sleigh built which he named the Julia Dean was quite enough to set the
people talking. The probability is that the President was very much
charmed with her, and sought to win her to the Mormon faith; had he
succeeded in this, he might then have felt encouraged to go a step
further and win her to himself, for in spite of his already numerous
matrimonial alliances, he did not consider himself _ineligible_. The
fair Julia was not ineligible, either, for she was divorced from her
husband, Dr. Hayne, the son of a "favorite son" of South Carolina.
Speculation was rife, and much surprise and wonder was excited in
certain quarters that President Young should go out of his way to show
more marked attention to an actress than he had ever shown to any of
his wives; but he was bent on getting Julia into the fold; once there,
he could have played the good shepherd, and have secured her an
exaltation. She had another man in her eye. One she had set her heart
upon, too. "As hers on him, so his was set on her, but how they met
and wooed and made exchange of vows I'll tell thee as we pass."

James G. Cooper was at this particular time secretary of the territory
of Utah--an appointee of the United States government. He was a
cavalierly man of southern birth and breeding--tall and handsome, and
of courtly bearing, a great lover of the theatre. He was never known
to miss a performance during Julia Dean's engagement. He was one of
the most enthusiastic admirers she had; night after night, all the
season through, he sat in front, early always in the same seat, and
with eyes aglow and ears alert, he seemed to absorb every tone of her
voice and catch, every gleam of her eyes--her every move was to him a
thrill of rapture. Out of her thousands of admirers he was the most
devoted worshipper at her shrine. Up to a certain time he worshipped
in silence as if she were a deity. Chance had made them neighbors: the
secretary's office and Mrs. Hayne's apartments were in adjoining
houses, and it was not long before an acquaintanceship was formed
which rapidly grew into a friendship and friendship soon ripened into
love.

These lovers were discreet, however. Many happy hours they passed in
each other's company, but they did not parade their love, nor "wear
their hearts upon their sleeves for daws to peck at." Little did her
audience suspect that often when she cast her most bewitching glances,
and brightened their faces with her radiant smiles, that those smiles
were mounted especially for him; but he knew--how could he help but
know. Cupid had drawn his bow and sped his dart.

    "Where on a sudden one hath wounded me, that's by me wounded
    Both our remedies within thy help and holy physic lie."

So after the close of the season, much to the surprise of her numerous
admirers, "these 'twain were made one flesh." They bade a rather hasty
farewell to the land of the Saints, and wended their way to the far
East by stagecoach, the terminus of the Pacific road being yet some
hundreds of miles from Salt Lake.

Mrs. Hayne's last appearance at the Salt Lake Theatre was an event
marked with quite as much if not more of interest than her first
appearance. She had become endeared to the Salt Lake public, and they
regarded her approaching departure with genuine regret. At her last
performance, June 30th, 1866, she appeared as "Camille," the same
character in which she opened her engagement, and was the recipient on
this occasion of many tokens of kindness and appreciation. Being
called enthusiastically to the front of the curtain after the
performance, she bade a loving farewell to Salt Lake and its people in
one of the most delicately and tastefully worded speeches ever made in
front of a theatre drop. During her long engagement, lasting from
August 11th, '65, to June 30th, '66, she played all the great classic
female roles that were then popular, a number of comedies, and even
took a dip into extravaganza or burlesque, appearing during the
holiday season in the character of Alladin in "The Wonderful Lamp,"
which ran for eleven consecutive performances. Her best remembered
characters are "Camille," "Lady Macbeth," "Leah," "Parthenia," "Julia"
(in the "Hunchback"), "Lucretia Borgia," "Medea," "Marco," "Lady
Teazle," "Peg Woffington," and "Pauline" in the "Lady of Lyons." In
her ten months' engagement, she played a great many plays besides
those mentioned, each play being presented twice or three times,
according to its popularity.

Among others, an Indian play, entitled "Osceola," written by E. L.
Sloan, then editor of the Salt Lake Herald, in which Mr. George
Waldron played the title role and Mrs. Hayne the chief's daughter. The
piece had a fair success, but has never been heard of since. Mr. Sloan
wrote another play a year or two later, about the time of the
completion of the overland railroad, which he called "Stage and
Steam." This was a melodrama with a stage coach and railway train in
it, intended to illustrate the march of civilization. It had two
presentations, and was never acted again that we are aware of. It was
during Mrs. Hayne's engagement also that Mr. Edward W. Tullidge made
his first essay as a dramatic author--Mrs. Hayne and Mr. Waldron had
exhausted the list of available plays and new plays were in demand.
Tullidge's play was entitled "Eleanor de Vere," or "The Queen's
Secret," an episode of the Elizabethan Court--in which Queen Elizabeth
was a secondary character. Tullidge had written his play with various
members of the company in his eye, and succeeded in fitting them very
well. This play made a very favorable impression and was repeated
several times to large and appreciative audiences. Mrs. Hayne's
character, "Eleanor de Vere," was one of the Queen's waiting women, in
love with "Rochester," and afforded the actress very good scope for
her great talent, but the character of Queen Elizabeth, although a
secondary part in the play, made such a favorable impression on Mrs.
Hayne that she asked Mr. Tullidge if he could write her a play of
Elizabeth, making the Queen a star character for her. She believed
from what Mr. Tullidge had done in "Eleanor de Vere" that he could
write a great play of Elizabeth. Tullidge felt that he had a great
subject; it was a favorite theme, however, and one on which he was
thoroughly posted, and encouraged by Mrs Hayne's faith in his ability,
he at once commenced the task. "The labor we delight in physics pain,"
and Elizabeth became a labor of love with Edward Tullidge, for he was
very enthusiastic in his love of Julia Dean, both as a woman and as an
artist; and so familiar with all the heroes of Elizabeth's court, that
his task, though Herculean, was a pleasant one, and before Julia Dean
was ready to leave Salt Lake, Tullidge had completed a great
historical play, "Elizabeth of England." It was with a view of
presenting it in New York that Mrs. Hayne (now Cooper) went there soon
after her departure. Before she had concluded any arrangement for its
production, however, Ristori, the great Italian actress, loomed up on
the dramatic horizon in Elizabeth. She had crowned all her former
achievements in a great triumph in this same Elizabeth of England.
Although the play was written by an Italian author (Giogimetta) and
was not as true to history as the Tullidge play, it filled the
particular historical niche so far as the stage is concerned. Ristori
had a great success with this play, both in Europe and this country.
It must have broken Julia Dean's heart professionally. She might have
been the first in the field, at least in this country, if she had not
dilly-dallied. She was having a delightful honeymoon and was too
indifferent in this important affair, and when the advent of the great
Italian in Elizabeth awoke her from her reverie, her opportunity had
gone and Tullidge's Elizabeth never saw the light. Very keen indeed
was the disappointment of the author. Julia Dean was his ideal for
Elizabeth, and when he found to his amazement that the Italians
(author and actress) had gained the field ahead of them, poor Tullidge
went crazy with grief, and for a time had to be confined in the city
prison, there being no asylum in Utah at that time. Mr. Lyne, who read
the play to a large audience in Salt Lake, pronounced it one of the
greatest historical plays he had ever read.

Whether the great disappointment had any effect in hastening Mrs.
Cooper's death or not can not be known, but "it is pitiful, 'twas
wondrous pitiful," that she did not live longer to enjoy her new-found
happiness, and add a crowning glory to her brilliant career, for she
was without doubt the greatest favorite of her day in America, and
Americans everywhere would have hailed her with delight in any new
achievement. She only lived about a year after her marriage to Mr.
Cooper. She died in New York, and was buried in Greenwood Cemetery.
The news of her demise was received with profound sorrow by her
numerous Salt Lake admirers, and many a silent tear paid tribute to
her memory.

    "There is a destiny that shapes our ends,
    Rough hew them as we will."

Through the courtesy of Mr. C. E. Johnson, our popular photographer, I
am enabled to append the following information in relation to Julia
Dean's death and burial:

    THE UNMARKED GRAVE OF JULIA DEAN.

                                     NEW YORK, August 26, 1897.

    _To the Editor of the Dramatic Mirror_:

    SIR:--While recently walking through the beautiful Laurel Grove
    Cemetery at Port Jervis, New York, the aged caretaker called my
    attention to a good-sized circular burial plot overlooking a lake
    in the centre of which, surrounded by mountain laurel shrubs and
    lilac bushes, is a sunken mound under which the venerable keeper
    declared rested "as great and fine a looking actress as the
    country ever had," and further stated that "much of a time was
    made over her years ago in New York." Also that "when her body was
    brought on here a big crowd of theatre folks came on to see her
    buried and they cried over her open grave."

    Becoming thoroughly interested, I carefully noted the location of
    the actress' lot, and immediately visited the little cemetery
    office on the grounds, and in looking over the admirably kept
    records, I was astonished to find that it represented the grave of
    a fair member of the dramatic profession whose tomb had been
    entirely lost sight of, and dramatic historians and editors have
    been unable for years to enlighten those of their readers who
    sought to discover her grave rest. Beneath this mound rests all
    that is mortal of the once lovely Juliet of the American
    stage--Julia Dean.

    The complete record of the Laurel Grove Cemetery reads:

    "Name--Julia Dean-Hayne-Cooper.

    "Place and time of nativity--Pleasant Valley, Near Poughkeepsie,
    N. Y., July 21, 1830.

    "Names of parents--Edwin and Julia Dean.

    "Age--Thirty-five years.

    "Place and date of death--New York City, May 19, 1866.

    "Cause of death--Childbirth.

    "Second husband's name--James G. Cooper.

    "Buried in Lot No. 3, Section B, owned by her father-in-law,
    Mathew H. Cooper.

    "Remains of deceased first placed in the Marble Cemetery General
    Receiving Vault, Second Street, New York City. Transferred to
    Laurel Grove Cemetery, Port Jervis, April 16, 1868."

    The lone cemetery official states all of Julia Dean's kindred
    passed away years ago, and together they are buried in the old
    Clove graveyard at Sussex, N. J.

    At the time of their deaths, they were in reduced circumstances,
    and while still well-to-do, years before Julia Dean's demise they
    acquired this Port Jervis burial lot that she might await the
    resurrection in the place where her childhood days were so
    pleasantly passed.

    At the foot of the eminent actress' grave slumbers the unnamed
    girl infant for whom Julia Dean surrendered her illustrious life.

    None of her relatives were ever able to erect a monument over her
    remains, and it seems a pity that this exquisite actress of
    another generation should forever sleep in an unrecorded
    sepulchre.

    Having heard and read that the noble Actors' Fund of New York has
    caused' many a granite tombstone to be erected over the graves of
    their worthy comrades, and as Julia Dean was so sweet and
    accomplished an artiste, I thought that by calling attention to
    this forgotten and out of the way tomb through the columns of the
    most powerful of America's dramatic journals, _The Dramatic
    Mirror_, it might result in placing a modest memorial stone of
    granite at the head of the mound under which so peacefully reposes
    Julia Dean, whose splendid genius Dion Boucicault compared to that
    of another gifted and beautiful daughter of the drama, the ideal
    Juliet, Adelaide Neilson, who awaits the final call in distant
    England, beneath an imposing mortuary memorial, thanks to the
    influence of the loyal William Winter.

                                              LOVER OF THE STAGE.




CHAPTER VIII.

SEASON OF '66-'67.


After the close of this eventful season, Mr. George Waldron, who had
played the leading support to Mrs. Hayne and become an established
favorite, drifted away from Salt Lake, going into Montana; returning a
year or so later in conjunction with Mrs. Waldron. He had found his
mate and brought her to Salt Lake to make her acquainted with his many
friends there. George tried very earnestly to get a Salt Lake wife. It
looked for a while as if Miss Sarah Alexander was destined to fill
that place; she certainly filled George's eye. He was very much
enamored of the petite and lithesome Sarah, but the expected union did
not materialize, and George sought pastures new, and ere long
returned, bringing a beautiful wife with him. Meantime, Sarah had
drifted off to the East in company with a literary lady named Lisle
Lester. They took with them Sarah's little niece, her dead sister's
baby, Baby Finlayson, then but two years old. Miss Finlayson, under
her aunt's careful guidance and training, developed into a very clever
and capable actress, and for many years now has been holding leading
positions in prominent companies and theatres. She is known
professionally as Lisle Leigh.

The Waldrons played a short engagement and then bade a long farewell
to Salt Lake and the West. At this writing George Waldron has been
dead for ten years, his wife, a son and a daughter survive him; all
follow the stage successfully.

During the season of '65 and '66, there were few changes in the
supporting stock company. Mr. Waldron doing the leads, lightened
considerably the labors of the "leading man," Mr. D. McKenzie, who was
quite content to escape the onerous study the leading parts would have
imposed, and play something easier. Before the beginning of this
season, Mr. H. B. Clawson had retired altogether from the field as an
actor, although still one of the managers of the house, and Mr. Phil
Margetts was the acknowledged premier comedian of the company. Mr.
John T. Caine, too, Clawson's associate manager, and also stage
manager, yielded up his line of parts to John S. Lindsay and devoted
himself exclusively to the duties of stage manager, which in the old
"stock" days meant far more than that office means today. "Why, in the
elder day to be a 'stage manager' was greater than to be a king," in
any of the plays. Briefly enumerated, his duties were: First, to
_read_ carefully and then _cast_ all the plays. The casting of a play
is a most important affair. It must be done with great care and
consideration so as to get the best results, and at the same time each
actor his "line" of parts as near as practicable; then he must write
out the cast, and hang it up in the case in the green room--write out
all "calls" for rehearsals, and hang them up in the case. Then he must
direct all rehearsals. To do this, he must study out all the
"business" of the play in advance of the rehearsals, so he will be
able to direct intelligently. When a "star" is rehearsing, he
generally directs the rehearsal, thus relieving the stage manager of a
great responsibility; but he must be around, and see what is required
for the play in the way of scenery and properties and make out
complete and detailed plots for scene-men and property-men, and in
this particular case where the theatre furnished the actors with all
wardrobes (except modern clothes), the stage manager had also to make
out a _costume plot_. The costumer would then distribute the wardrobe
for the play according to his best judgment, and the conceit or fancy
of the actor, which often made the costumer's duty a perplexing one,
for actors are so full of conceits and fancies that they are a hard
lot to please.

In the Salt Lake Theatre a first-class copyist was constantly employed
in copying out parts--books were not so easily procured in those days.
It took from three to four weeks to get a book from New York, so where
the manager had but one book all the parts had to be copied, and the
stage manager had to have his plays selected well ahead, so as to give
the copyist plenty of time to get parts ready for distribution.
Besides these duties, the stage manager had to write out all the
"copy" for advertisements and posters and house programs, see to the
painting of new scenes, and the making of new properties; also, any
new costumes that had to be made. His decision was final in all these
matters, so that the stage manager of the "old stock" days was no
sinecure. Mr. Caine filled the position with rare ability, and his
regime in the Salt Lake Theatre was distinguished for its prompt
executive alertness, and the utter absence of any trifling or
inattention to business.

One important accession there was to the company just before this
engagement, that of Miss Annie Asenith Adams. Miss Adams made her
debut on the 25th of July, 1865, (the same night that Julia Dean-Hayne
and the Potter Company arrived in Salt Lake), in the character of
Grace Otis in the "People's Lawyer," W. C. Dunbar being the "Solon
Shingle" on the occasion. Her maiden effort proved very successful and
satisfactory to the management, and during Julia Dean's long
engagement she proved to be a valuable acquisition to the stock
company. She made rapid progress in the dramatic art, and before the
close of the season had attained a prominent position in the company
which she held with credit to herself and satisfaction to the public
until 1874, when the stock company was virtually retired to give place
to the "combination" system which then came into vogue.

On August 15th, 1869, a little more than four years after her debut,
Miss Adams was married to Mr. James H. Kiskadden. Between the time of
her debut and her marriage, Asenith (she was always called "Senith" in
those days) was not only a favorite with the public, but she had a
number of ardent admirers among the "opposite sex." There was quite a
rivalry for her affections between several members of the company, but
the most ardent of them were already married, and although _they_ did
not consider that a bar to their hopes, in Annie's case they were not
eligible; so the chief rivalry existed on the outside of the theatre.
Mr. Kiskadden, or "Jim," as he was universally called by his
acquaintances, was cashier in his brother William's bank (the location
is the identical room where Walker Brothers' Bank is today). Jim was a
dashing sort of fellow, big and manly, with a determined kind of air,
that seemed to say, "Things must go my way." He drew a good salary,
dressed well, and always wore immaculate linen, his shirt front always
illuminated with a large diamond. He was inclined to "sporting," and
was recognized as the champion billiard player of the town in those
days. How much apprehension "Jim" endured regarding "Senith's" married
suitors in the theatre we have no means of knowing, but it is probable
she set his doubts at rest on that score by assuring him that she
would never marry an already married man. She had seen enough of that
to make her dread it. However this might be, "Jim" had a rival and a
dangerous one in the person of Mr. Jack O'Neil. Jack was beyond
question the handsomer fellow of the two; indeed, he was handsome as a
prince, always dressed superbly and was one of the most attractive
looking men in Salt Lake. Jack was very much infatuated with the
rising young actress and missed no opportunity to make known to her
his appreciation of her talents and his admiration and adoration of
herself. The rivalry between Jack and Jim was at white heat for a
spell, and it would not have been very much of a surprise to their
intimates if there had been a challenge sent and accepted, and a duel
fought over the young Mormon actress. Unfortunately for Jack and his
aspirations for the lady's affections, he was a _professional_ sport,
and that was against him. He had no other profession, and handsome and
cavalierly as he could be, he was classed as a gambler; while Jim
could flip the pasteboards just as skillfully, and lay them all out at
billiards, he did not follow it for a "stiddy liven," but held the
cashier's box in his brother's bank, for a steady job, and only
sported on the side, and so it came to pass that in the course of time
Jim distanced his handsome rival and bore off the prize. Many of
"Senith's" friends regretted this, as Jim did not belong to the
household of faith, but was a rank, out-spoken Gentile, utterly
opposed to Mormon ways, and not afraid to say so. Whereas all of
"Senith's" folks were staunch adherents of the Mormon faith and were
striving to live their religion in all its phases. So they did not
rejoice over "Senith's" marriage to a Gentile (as all non-Mormons were
called--Jews included). They regarded it as equivalent to apostasy
from the faith in which she had been reared, periling her soul's
salvation. She was not appalled, however, by the gloomy and hopeless
pictures some of her friends were kind enough to paint for her, and
bravely married the man she had set her heart upon and stuck by him
through thick and thin, sunshine and storm, prosperity and adversity.
On November 11th, 1872, Maude Kiskadden was born, within a stone's
throw of the Salt Lake Theatre, and before she was a year old made her
debut on the stage where her mother was a debutante some eight years
before. It looks now as if it were fate, as if she was predestined for
a great stage career. There was an emergency and Maude, not yet a year
old, was there to fill it. It happened in the following manner. In
those palmy days of the profession, the old stock days as they are now
called, it was customary to supplement the play with a farce--no
matter how long the play--even if a five-act tragedy, the evening's
performance was not considered complete without a farce to conclude
with. On this particular occasion, the farce was the "Lost Child," a
favorite with our comedian, Mr. Phil Margetts. He played Jones, a fond
and loving parent, who goes distracted over his lost child. Instead of
providing a real baby, as the property man had been instructed to do,
he had a grotesque-looking rag baby, not at all to the comedian's
taste in the matter. Millard, the property man, declared he had been
unable to procure a live baby, nobody was willing to lend a baby for
the part--older children he could get, but he could not get a baby,
and the rag baby was the best that he could do under the
circumstances, and on such short notice. Margetts was in distress.
"What, in Utah!" he exclaimed. "The idea!" Where babies are our best
crop, to be unable to procure one for his favorite farce. It was
simply preposterous, absurd, incredible; he objected to play with
nothing but a miserable makeshift of a rag baby. In agony he appealed
to the stage manager, Mr. Caine, to know if the farce was to be ruined
or made a double farce by the introduction into it of a grotesque doll
like that! It would be worse than a Punch and Judy show. Sudden as a
bolt from a clouded sky, while the altercation was still at its
height, Mrs. Kiskadden appeared in the centre of the stage with her
baby in her arms, and in a good-natured tone that ended all the
trouble, exclaimed, "Here's Maude, use her!" Maude was indeed a good
substitute for the inartistic-looking "prop" the property man had
provided. Phil was happy and played the distracted parent with a
realism and a pathos he never could have summoned for the rag baby.
When the cue came, Maude was ushered into the mimic scene, making her
first entrance on a large tray carried by a waiter. Then she was taken
from the tray into somebody's arms and tossed from one nurse to
another throughout the farce, until finally, as it ends, she is lodged
safely in the arms of Mr. Jones, her distracted father. To her credit,
be it recorded, she never whimpered or made any outcry or showed any
signs of alarm, but played her first part bravely, though perhaps
unconsciously; winning the admiration and love of the entire company.
It was a lucky accident that Maude was in the theatre that evening,
for her mother was not in the habit of bringing her to the theatre
when she had any one at home to take care of her, but this evening was
the "nurse's evening out," and "Maudie" had to be toted to the theatre
and carefully put to sleep before mamma could "make up" and go through
her part. Here she was safely stowed away in a safe and quiet corner
of the green room, where she had been blissfully reposing all through
the first play, and was now rather rudely awakened to fill the
distressing emergency.

It will be readily seen from this narration that Maude Adams was
virtually "born to the stage," her mother studying assiduously and
playing parts both before and after Maude's birth, often taking Maudie
with her, both to rehearsals and performances, so that she became a
familiar little object in the theatre before she could walk or talk,
and long before she could ever essay a speaking part she was the pet
of the Green Room.

We had a Green Room in the Salt Lake Theatre in those days, and a very
capacious and comfortable one, too. Such a commodious and luxurious
adjunct is scarcely known in the theatres today. Here the actors could
retire between the acts or during the scenes they were not engaged in,
and study over their lines, or if already easy in their parts, pass
the time in reading or social chat. It was the prompter's business to
send the "call boy" to the Green Room and all dressing rooms to "call
the act," a few minutes before he was ready to "ring up." The act
being called, each actor was required to be at his entrance on time;
if he should be late and make a "stage wait," the stage manager might
reprimand him, and impose a fine. Fines were also imposed for being
tardy at rehearsals. There was seldom any occasion for the enforcement
of this penalty, except in the case of "Jim" Hardie. "Jim" was a
notorious laggard, and often kept the company waiting for him. On one
occasion the company had been waiting his arrival for fifteen or
twenty minutes, when he strode in very hurriedly and taking the centre
of the stage, took off his hat and wiping the perspiration from his
brow, began an apology to the stage manager for being late. He had
only just begun to talk when a general laugh broke the gravity of the
occasion. Jim had just come from the barber's where he had his head
shaved, and his entire scalp down to the hat line was as smooth as a
billiard ball. His monkish appearance created much merriment, in which
the stage manager and Jim himself joined. Jim at a very early age
showed a tendency to baldness, and he had been told that shaving the
head was not only a check to it, but would stimulate the growth of the
hair, so he had to get his head shaved, even though he kept the
rehearsal waiting. I think the fine was omitted on this occasion,
owing to the fun the company had over it.

In the fall of 1874, after a connection of nine years with the Salt
Lake Theatre, Mrs. Kiskadden and her husband, no longer a cashier, the
bank having been long a thing of the past, removed to Virginia City,
where Miss Adams was engaged with a number of others from the Salt
Lake Theatre Company, including the writer, to form a stock company
for Mr. John Piper, the Virginia City manager. "Maudie," now nearly
two years old, formed one of the party. After playing a season with
Mr. Piper, Miss Adams went to San Francisco, where her husband had
preceded her some months previous, and secured a good position as
bookkeeper for the firm of Park & Lacy. Here they made their home for
about eight years, Annie playing at the San Francisco theatres
whenever she could get an engagement, and making occasional excursions
with dramatic companies into the neighboring cities.

In September, 1877, before she was five years old, "Maudie" played her
first speaking part with Joe Emmett in "Fritz" at the Bush Street
Theatre. When the question of Maudie playing in Joe Emmett's piece was
under consideration by Mrs. Kiskadden and she informed Mr. Kiskadden
she had an offer from Mr. Emmett for Maudie to play the child's part,
Mr. Kiskadden did not encourage the idea; he had a plenty of the
theatre as it was, so he rather bluffly remarked: "No, indeed, we
don't want Maude to make a fool of herself; one actress in the family
is quite enough." Maude looked up with a touch of his own
determination in her voice: "Papa, I won't make a fool of myself." She
was irresistible--her papa had to consent. Her second part was Crystal
in Herne and Belasco's "Hearts of Oak," then played under the name of
"Chums." She afterwards played a part with Oliver Doud Byron--and in
1878, when six years old, played little "Adriene" in "A Celebrated
Case" at the Baldwin Theatre. In this character she made a decided
hit. After the run of the play at the Baldwin, it was taken to
Portland, Oregon, and produced under John Maguire's management at the
New Market Theatre, with Annie Adams and little Maude specially
featured in the cast, the writer playing "Jean Renan" in this
production. "Ten Nights in a Bar Room" was then put on, little Maude
being made a feature as Mary Morgan, the writer playing "Joe." After
the close of the season at the New Market Theatre, the company went
out under the writer's management and played the Puget Sound circuit
in those two plays, little Maude being made a special feature.

During this trip Maude had her first "Benefit" at Walla Walla,
Washington. She was "put up" for a "benefit," extensively advertised,
and helped out the company's treasury--after netting something liberal
for her. In this tour Maude played in all the Puget Sound towns from
Portland to Victoria and all the principal towns of Washington. At its
conclusion, she and her mother returned to San Francisco, and she was
not seen again in public for some years. Mr. Kiskadden died in San
Francisco in '83, and Mrs. Kiskadden took his remains to Salt Lake for
burial. There she settled down for a time and sent Maudie to school.
Here in the city of her birth she attended school for the next four or
five years, but always had a yearning to get back to the stage; and
eventually her mother secured an engagement for herself and Maude in
"My Geraldine" and the "Paymaster" under the manager of Duncan B.
Harrison. From that she got into Frohman's "Lost Paradise," and from
that on her history is known to the theatre world.




CHAPTER IX.

SEASON OF '66-'67.

_An Interesting Prayer Meeting_.


Julia Dean Hayne's final appearance closed the fourth season of the
Salt Lake Theatre, counting the opening one which only lasted from
March 8th, '62, to the end of April, about eight weeks, the Irwin
season of '63 and '64, the Pauncefort season of '64 and '65, and the
Julia Dean Hayne season of '65 and '66.

Up to this time the only compensation the stock company received was a
pro rata dividend of the benefits given at the end of each season--no
one had been put on a salary. The stars, of course, got good liberal
percentages or salaries, but even the leading people of the stock
company realized but a very meager compensation from the two
performances that were gotten up as benefits, one for the ladies of
the company and the other for the gentlemen--the two nights' receipts
were aggregated and divided up among the company according to their
respective merits or worth to the management. These two benefit
performances alone probably aggregated twenty-five hundred dollars,
which, divided up among about thirty performers, actors and musicians,
did not prove satisfactory to a number of the company--more especially
some of the orchestra. As a consequence, the ensuing season
approaching, the salary question came to the front again very
strongly, and the "management" found a well-grounded reluctance on the
part of the company to enter upon a new season's work without a
certain and satisfactory compensation. This feeling was even stronger
among the orchestra than among the stage players, a number of them
being quite outspoken in their sentiment: "No pay, no play." The
principal agitator among the musicians was Mark Croxall, the brilliant
young cornetist recently from England. Mark could not see the
propriety or consistency of playing to help pay for the theatre. He
had not been used to that kind of thing in England, and although he
had been playing but a very short time as compared with the majority,
both of the orchestra and the dramatic company, he vowed he would play
no longer without a stipulated salary. This, of course, aroused all
the others to a certain show of opposition. The leader of the
orchestra, Prof. Thomas, or "Charlie," as he was affectionately called
by his familiars, was probably as dissatisfied with the existing
regime as Croxall or David Evans, the second violin, who was another
Britisher of recent importation and quite pronounced in his views
about the way the theatre should be run. Prof. Thomas was not of the
stuff that kickers are made of, and could doubtless have been managed
with the majority of his orchestra had it not been for the
recalcitrant Croxall, and the equally pugnacious Evans. The
dissatisfaction spread rapidly and alarmingly to the management, until
the entire dramatic company as well as the orchestra, was in a state
of semi-rebellion. All the actors and most of the musicians had other
occupations, as I have stated in a former chapter, and now the number
of performances and rehearsals had increased their work to such an
extent they could not see how they could give satisfaction to their
various employers and keep up their work at the theatre too. Some of
these declared it had to be one thing or the other, the theatre now
demanded the greater part of their time, and the employers had in
several instances intimated that they would have to give up the
theatre or be replaced in their employ by others. Mr. David McKenzie,
the leading man of the company, held a clerkship in President Young's
or the Church office; "Joe" Simmons, our juvenile man, and Horace
Whitney, the "old man" in the company, also held clerkships in the
same office; Mr. W. C. Dunbar, the Irish comedian, was a clerk in the
"tithing office," so their time went on whether they were working in
the "Church offices" or at the theatre; of course all their night work
at the theatre was extra work, but the day time they put in at the
theatre they were not docked for at the office; but with the other
leading members of the company it was quite different; the hours they
spent at the theatre in the day time was a positive loss to them. Phil
Margetts was a blacksmith, Lindsay and Hardie were carpenters, Evans
and Kelly were printers, and so on. So that several hours each day
spent in rehearsal meant a heavy tax when at the end of each week they
were docked for time lost, so there was a committee appointed to wait
upon the managers, Clawson and Caine, and present the situation. The
managers being only employees of Brigham Young and not proprietors or
lessees, passed the company's grievance up to their chief. The
managers saw plainly that a crisis had come, and a new departure must
be made. "The President," accustomed to having things his own way, and
with confidence in his influence, thought he could effect a
compromise, or adjust the matter without much trouble or cost, so in
pursuance of this idea a notice was posted for all the company and
orchestra to assemble in the Green Room of the theatre on a certain
evening to consider the question of salary. There was no tardiness on
that occasion, even "Jim" Hardie, notorious for being tardy, was on
time. Every employee of the theatre was there from the managers to the
night-watchman. The orchestra was in full force, and the ladies of the
company, even to the smallest utility, were there, all inspired with
the hope of being put upon the theatre salary list. The Green Room was
found to be too small to accommodate all the company, so the meeting
was shifted to the stage, which afforded the necessary room. President
Young called the meeting to order, and requested the company to join
him in prayer. It is customary in the Mormon Church to open all
meetings with prayer, even political ones where those present are all
of the household of faith. Brigham offered up a fervent prayer, asking
the blessing of the Almighty upon that meeting, and each and every one
present, that they might all see with an eye single to the glory of
God, and the building up of his Kingdom here on the earth. The prayer
over, the President arose and in a brief but very adroit speech, told
the object he had in view in building the theatre, the recreation and
amusement of the people, thanked those who had contributed to that
end, whether as actors or musicians, told them that they were
missionaries as much as if they were called to go out into the world
and preach the gospel, and the Lord would bless their efforts just as
much if they performed their parts in the same spirit. He understood
there was some dissatisfaction, however, and some of the brethren
thought it was too much of a tax upon their time to continue to do
this without proper compensation. He called on the brethren to state
their feelings in regard to this question that he might judge what was
best to do in the matter. It seemed as if the prayer and speech had
almost made them forget that they had any cause or grievance to
present, or it had blunted the edge of their courage. Every one was
expecting to see Mark Croxall, the principal agitator, get up and make
a statement in behalf of himself and the orchestra; but Mark's
courage, like that of many another agitator, seemed to have sunk into
his boots, when the ordeal came; he opened not his mouth. So the
second violinist, David Evans, who was a shoemaker by trade and a
cripple from birth, pulled himself to a standing position by the aid
of his crutches and spoke to the question. He told how hard he had to
work, and what a loss of time the rehearsals and plays occasioned him;
being up so much at nights, he could not get up very early in the
morning--and could not but lose several hours every day. Besides, he
said he did not think it right and just, when the theatre was taking
in such large sums of money at every performance, that those who
furnished the entertainment, whether in the art of music or the drama,
should be expected to continue to do it gratuitously. It was a bold,
fearless, manly speech and coming from a man who was obliged to sling
himself along through life on a pair of crutches, and a recent comer
from the old country, it sent a thrill of astonishment through the
company and fired some of the others with a spark of courage, too. Mr.
Phil Margetts, the leading comedian, arose and made an explanation of
his case; then a number of the other fellows followed suit. A sort of
"no pay, no play" sentiment pervaded the entire company. President
Young saw here an end of the old method; he discovered that a new deal
would have to be made with his actors if he wanted to continue in the
amusement business, so he tried an expedient. He was evidently a
little irritated at Evans, the crippled shoemaker, who had presumed to
take the initiative in the affair and express his views so fearlessly,
inspiring the others with a little of his own courage, but Brigham did
not show the lion's paw but spoke in rather a patronizing way of
Brother Evans's crippled condition, and said it was right that he
should have some additional pay, owing to his misfortune of being a
cripple. He told Evans he could have anything he needed out of his
private store; that if he would leave his flour sack there, it should
be regularly filled, and whatever else was there he was welcome to
what he needed of it. This savored a little too much of charity for
Evans, who although badly crippled in his limbs, was by no means a
weakling in his brains; and hurt a little by the President's
patronizing manner, he arose and said about as follows:

"President Young, I have had my flour sack at your store for more than
a month, and every time I have gone in to try and get it filled, the
clerk has told me the flour was all out." Evans's unique relation of
the flour sack incident injected a spark of humor into the
proceedings; a suppressed titter ran through the crowd, and even
Brigham, although nettled at this unexpected sally, could not repress
a grim smile.

That the reader may better understand the flour sack incident it must
be explained here that what little pay the actors and musicians had
been receiving for their services through the benefits was not all in
cash, but store orders mostly on the tithing store. The cash receipts
of the theatre up to this time and indeed as late as 1870 were
probably one-third of the gross receipts, the other two-thirds
consisting of orders on various stores or tithing pay, which consisted
of all kinds of home products--so that when the "benefits" were
divided up among the company each member got about one-third of his
"divvy" in cash and the other two-thirds in store orders and orders on
the tithing office. Evans was the possessor of an order on Brigham
Young's private store, and he felt chagrined that he had been so often
with that order and failed to draw it. Flour was flour in those days,
running as high at one time as twenty dollars per hundred, but the
uniform church or tithing office price was six dollars per hundred,
which was what the actors had to pay for it, but it was doled out very
sparingly to them at times when it was commanding high prices in
outside markets. With these orders they drew about all their
provisions from the tithing store. Artemus Ward amused the world by
telling how the Salt Lake Theatre used to take in exchange for tickets
cabbage, potatoes, wheat, carrots, and even sucking pigs through the
box office window. It was perhaps nearer the truth than he himself
suspected, for these tithing office orders were good for all these
things.

After the titter had subsided Brigham arose again, and answered
Brother Evans that he was sorry he had been disappointed so, but there
really had been a great scarcity of flour during the past month or so,
but he would see to it in the future that he would meet no more
disappointments. To Brother Phil Margetts he made an offer to come and
work in his blacksmith shop (Phil was running one of his own) and then
he need not lose any time; his pay would go on whether working in the
shop or in the theatre. Brother Lindsay could bring his carpenter
tools to the theatre and he could find plenty of work for him to fill
up the time between the rehearsals. To others he made similar
propositions; but these suggestions were not in harmony with the
feelings of the company, who thought they had given their time to
Brother Brigham long enough, and now contended with Brother Evans,
that as they were furnishing the amusements for the people, it was
only right that they should be paid for their services, so the result
of the meeting was that the company was put on salary. Salaries ranged
from $15.00 to $50.00 per week, one-third cash, the balance in store
orders and tithing office pay.




CHAPTER X.

SEASON OF '66 AND '67.


The season of '66 and '67 opened on September 8th with Alonzo R.
Phelps as the star attraction. Mr. Phelps opened in the character of
"Damon" and made a fairly good showing, although he appeared to much
greater advantage in some lighter roles, and particularly as "Crepin,"
the Cobbler, in "A Wonderful Woman." His engagement lasted two weeks,
when the Irwins returned after an absence of over two years. They
opened on September 29th, just in time to get well ready with a
repertory of plays for the approaching conference. Their engagement
lasted up to November 15th, when they departed for the East and Salt
Lake was never favored with a visit from them afterwards. "Sel" Irwin
"died young in years, not service," after very intense suffering for
several years from rheumatism, which virtually made a helpless cripple
of him. He died in New York in 1886, being only a little over fifty
years of age. His widow, Maria Irwin, still survives, and up to a
recent date was playing in a road company. Harry Rainforth, her son by
her first marriage, who was a mere boy of sixteen when they played
their first engagement in Salt Lake, has been for many years manager
of the Pike Grand Opera House, Cincinnati, the associate and partner
of "Bob" Miles. It was during this last Irwin engagement that Miss
Nellie Colebrook, who later on became leading lady of the company,
made her debut. Her first appearance was in the comedy of "Dominique,
the Deserter." The first line she had to speak was, "Oh, I'm half dead
with fear," which was literally true of Miss Colebrook on the
occasion. She was shaking like an aspen leaf in a strong wind, but her
nervous condition fitted the character remarkably well and the lady
sailed at once into public favor. Miss Colebrook was tall and stately,
with a very winning face and musical voice; she went rapidly to the
front, being especially well suited to many of the leading roles. Mrs.
Lydia Gibson, the leading actress of the theatre, died on January 8th,
1866, a little less than three years after her first appearance. This
left a vacancy in the company difficult to fill, and afforded Miss
Colebrook many excellent opportunities in leading roles, which she
always filled satisfactorily, so that by the time Pauncefort returned
to play his third engagement--after an absence of more than two years
Miss Colebrook was doing most of the leading female roles.

After the departure of the Irwins, the stock company finished out the
season without the assistance of a star, playing from November 15th
until after April Conference. It was during the conference that our
old friend George Pauncefort, suddenly and unexpectedly to most of us,
returned from San Francisco after an absence in that metropolis of
more than two years. He opened a return engagement on April 16th in
"Don Caesar de Bazan." The season was virtually over after the April
Conference, but notwithstanding he played to splendid business, he
gave repetitions of his previous plays and won out splendidly on a
production of "Arrah Na Pogue," in which he had played "Col. O'Grady"
during a successful run of this play in San Francisco.

"Arrah Na Pogue" drew good houses for three or four nights, and closed
the season of '66 and '67. Robert Heller got in a three nights
engagement, commencing May the 20th, while the company was getting up
in "Arrah Na Pogue." He was the first to introduce the mysterious
second sight illusions and succeeded in bewildering and mystifying the
patrons of the theatre to an unusual degree.

During the last engagement of Pauncefort most of the opposite roles to
his own were assigned to Miss Colebrook, who had in the past year,
since Mrs. Gibson's demise, divided honors with Miss Adams, and owing
to her more stately appearance had been entrusted with many of the
leading lady roles and was an established favorite. Pauncefort, who
had never met her before (her debut having occurred after his
departure for the coast), was much surprised and pleased to find a new
and attractive leading lady in the company. He took an especial
interest in her, and she was cast for all the leading roles during his
engagement, beginning with "Maritana" in "Don Caesar," and including
"Lady Macbeth" and "Ophelia." Pauncefort discovered that she had
exceptional dramatic ability and encouraged her in every possible way;
for "Miss Nellie" was not over-confident of her own abilities, and
suffered keenly from nervousness or stage fright, especially on the
first time in a part; and to receive encouragement and compliments
from a star of Pauncefort's acknowledged luster was doubtless sweet
and flattering to the lady, who as yet was all unconscious of the
impression she had made on the susceptible George. "The fair Elizabeth
has caught my eye, and like a new star, lights onward to my wishes."
Possessed of a sweet and loveable disposition and a musical voice
added to her charms of personal appearance, Miss Colebrook was a
general favorite, not only with the public, but with the company. She
had numerous admirers, and several rival aspirants for her affections,
both in the company and out. With what surprised and ill-concealed
chagrin they viewed the growing attentions of the reigning star can
better be imagined than described. The princely George had enrolled
himself in the list of her devotees and it was very much in evidence
that he was enamored of the lady, for George had a keen eye for the
beautiful, and "a free and open nature, too," most susceptible to
female charms, so he entered the race with the others for the fair
"Nellie's" hand. While he was considerably older than any of his
competitors, being now close onto fifty, he probably had the advantage
over them all in looks, being generally regarded as a handsome man,
and most decidedly he had the advantage of experience, for George had
been a gay Lothario. He seemed in a fair way to carry off the
much-coveted prize. Notwithstanding the disparity of age, the fair
"Nellie" seemed strongly attracted to the princely George. Playing
"Ophelia" to his "Hamlet" and "Lady Macbeth" to his "Macbeth," and a
long series of opposite characters to him, he had not failed to make a
powerful impression on her, and if she had been left to herself
without guidance or counsel, there is little question but what
Pauncefort would have won her; but her mother had more penetration,
and could see the objections which "Nellie" either did not see, or
care to raise, so the chief arbitrator of the Church, President Young,
was appealed to by Miss "Nellie's" mother to decide the case for them.
Brigham decided very quickly and positively against an alliance
between his fair leading lady and the "stock star," with a great big
emphatic _No_. He had formed a strong prejudice against Pauncefort
during his first engagement, owing to his reputed intimacy with Mrs.
Bell, which was rather flaunted in the face of the community on their
arrival in Salt Lake. So this ended the Pauncefort-Colebrook romance.

During this engagement, Pauncefort played in addition to his previous
repertory "The Dead Heart," "Man with the Iron Mask," "Lavater," and
"Arrah Na Pogue." The latter piece closed the season on June the 15th,
being the fourth performance of the piece. Very soon after, Pauncefort
purchased a horse and chaise, fitting himself out with gun and fishing
tackle for a long jaunt. He headed for Portland, giving readings by
the way--hunting and fishing by day--and evenings entertaining the
towns along his route. How far he got with his one horse chaise is not
exactly known, but the probability is he traded it off before he
passed the Utah border line, and took the stage for Virginia City,
Nevada, where he played for a short time and then drifted over to the
coast, and finally got lost to view.

A dozen years later he was discovered by some American actors in
Japan, keeping a roadside tea house for travelers with a set of pretty
Japanese girls for waiters. He married a Japanese girl and latest
reports credited him with a fine young Japanese colony of his own. A
picture of himself and Japanese wife and three children in the
possession of Jack Langrishe's widow at Wardner, Idaho, was shown to
the writer there recently, and was a strong verification of what had
been told by parties who had seen Pauncefort in Japan. George had let
his beard grow and was quite a patriarchal looking man when Joseph
Arthur met him there in 1880. Pauncefort died in Japan in 1893,
leaving a Japanese wife and four semi-Jap children. George Pauncefort
missed the greatest opportunity of his life by not joining the Mormon
Church; he had all the natural endowments to make a great patriarch.




CHAPTER XI

SEASON OF '67-'68.


On the first of August, this same year, '67, C. W. Couldock made his
first appearance at the Salt Lake Theatre, supported by Jack Langrishe
and his company from Denver, where they had been running a stock
company. It was an unfavorable time for opening, in the hottest nights
of summer, but there were no resorts in those days and it was not so
hard to get them into the theatre as it would be now. Langrishe had a
full road company and was traveling through to Montana in his own
teams, the Union Pacific Railroad not being nearer than Rawlins at
that time. The company comprised Mr. Couldock and his daughter, Eliza
Couldock, John S. Langrishe and Mrs. Langrishe, Richard C. White (he
of Camp Floyd fame, referred to in a previous chapter). The Langrishe
company played a week, then went to Virginia City, Montana. Couldock
and his daughter returned later and played a long engagement as stock
stars.

On the 5th of September, Amy Stone, supported by her husband, H. F.
Stone, began a stock star engagement which lasted a little more than
four months. Opening the regular fall season on September 5th, by the
time the fall Conference came on, October 6th, the Stones had the
stock company up in a very attractive repertoire of plays to present
to "our country cousins" attending the Conference. Fanchon, Pearl of
Savoy, "Little Barefoot," "French Spy," "Wept of the Wishton Wish,"
were leading favorites in the Stone repertory, and proved to be very
popular, serving to keep the exchequer in a satisfactory condition.
Their engagement lasted until January the 6th, 1868. Amy, if not a
great actress, was at least a fascinating one. She was blessed with a
superb form and an attractive face; she fairly reveled in parts where
she could wear tights and display her shapely form, and it must be
frankly confessed that "the folks" loved to see her in that kind of
attire. She was more at home in it than in an evening dress with a
bothersome train; there was a freedom of movement and a candor of
expression about Amy that was positively refreshing, and we all liked
her and got along with her with very little trouble. "Harry," as her
husband was always called, was not a brilliant but a good, useful
actor, and had a good knowledge of her plays, and could direct the
staging of them. Besides, he attended to the making of engagements,
and the financial end of the business, and as he was devoted to Amy,
they were apparently one of the happiest couples I have ever met in
the theatrical business. The Stones were a very prudent and saving
couple, and by the time they had finished a four months' stock star
engagement, they had a very handsome deposit in the local bank, and
they left Zion feeling a very warm affection for the Saints, and so
went on their way rejoicing.

On the night immediately following the close of the Stones'
engagement, January 7th, Mr. James Stark opened in John Howard Payne's
play of "Brutus, or the Fall of Tarquin." This was the first
presentation of this play in Salt Lake. Mr. Stark made a fine
impression as Brutus. He followed it in quick succession with
Richelieu, Damon, Jack Cade, Alfred Evelyn in "Money." His engagement
lasted two weeks and closed with the play of "Victorine, or Married
for Money." Stark was a very talented tragedian of the Forrest school,
and his engagement proved quite popular and successful. He went to San
Francisco, and played an engagement there, and returned to New York by
the Isthmus, the Overland railroad not yet being completed. Mr. Stark
had a brother, Daniel Stark, a pioneer Mormon, who settled at Provo
among the earliest settlers of that place. James, who had not seen him
for many years, availed himself of the opportunity his Salt Lake
engagement afforded him, and arranged a meeting with his "long lost
brother" (?). He paid Daniel and his family a visit, and was most
hospitably received and entertained. The family made much ado over
him, and Daniel, like his namesake of old, "prophet-like," sought to
show James the error of his ways, pointing out to him the emptiness
and effervescence of dramatic fame, and the poor illusive thing that
was as compared with the real joys and blessings of the Latter-Day
Gospel. "Jim" accepted it all in good part, but he could not see "eye
to eye" with his elder brother Daniel, but he promised to consider
seriously what he had heard and bade them a loving goodbye till they
could meet again. He rather expected to play a return engagement when
he left here, and see the folks again, but he never returned. Stark
died in New York before the close of the year 1868, in his 50th year.

After the Stark engagement, the stock company continued the season,
starting off with a series of annual benefits which by this time were
given the leading actors of the company in addition to salaries.
January the 23rd, D. McKenzie "Benefits," playing "Huguenot Captain,"
with an Olio and a farce to conclude. February 4th, John S. Lindsay
"Benefits" and essays Hamlet for the first time. The farce that
followed Hamlet was "Boots at the Swan;" think of it, "ye modern
school actors." A five-act play and a farce, this meant being in the
theatre from seven o'clock till midnight, but the people stayed to see
it all, and many of them would have stayed till morning, if we could
have kept on playing pieces for them. J. M. Hardie "Benefits" with
"Jack Cade," Miss Colebrook with "Leah," etc., and so the season ran
along without a star from January 23rd till April the 23rd, when the
company was stiffened up again by the accession of Mr. and Mrs. George
B. Waldron, who played up till May 16th. On May the 19th, Madam
Scheller opened in "Pearl of Savoy," gave us "Pauline" in "Lady of
Lyons," "Enoch Arden," "Lorlie," "The Phantom" and "Hamlet." Madam
Scheller was Edwin Booth's "Ophelia" during the one hundred nights'
run of Hamlet at Winter Garden Theatre, in New York.

Very naturally the Salt Lakers conversant with the facts were anxious
to see her in "Ophelia," so Lindsay who had recently played "Hamlet"
for his "benefit," was admonished to prepare himself for another go at
the melancholy Dane with the new "Ophelia;" and in due time we had the
novelty of Scheller's "Ophelia." She was irresistibly charming in it,
in spite of her German accent, which in moments of unusual excitement
was quite pronounced. Madam Scheller proved to be a pleasing and
accomplished actress and filled a long engagement at the Salt Lake
Theatre. She was accompanied by her husband, Mr. Methua, who was a
skillful scenic artist, and put in a lot of new scenes for the theatre
during his wife's engagement. Here was a model couple, courteous and
refined; they left many warm friends in Salt Lake at their departure,
whose best wishes for their success went with them. Unhappy to relate,
this worthy and respected pair died of yellow fever during the deadly
siege of that disease at Memphis in 1878. "United in life, in death
they were not separated."

On January 9th, after playing three weeks Madam Scheller was rested
for a week to give an opening to Charlotte Crampton. Crampton was a
genius and in her younger years had astonished the dramatic world by
her histrionic gymnastics. She affected the male characters almost
exclusively--"Hamlet," "Richard III," "Shylock," "Don Caesar," and in
"Lady Macbeth" and "Meg Merrilles" she rivaled the great Charlotte
Cushman. The writer remembers seeing her when a boy at the old Bates's
Theatre, St. Louis, which was her home. She was erratic as a comet,
and her eccentricities were the town's talk. How often she was married
this deponent saith not, but remembers that at the time he saw her
playing in St. Louis in 1857, she was the wife of a Mr. Istenour. When
she appeared here in Salt Lake City in 1868, she was far past the
meridian of life and was accompanied by her husband, "Mr. Cook," young
enough to be her son. The novelty of a woman essaying those characters
was a strong one, and served to draw out good houses. She played
"Hamlet," "Shylock," "Richard III," and "Don Caesar," which with two
repeats, filled up her week.

Crampton was a woman rather below the medium height, and looked
insignificant dressed up for those male characters, but when she got
animated she made you forget her size, and at times she seemed to fill
not only the center of the stage but the entire stage. She had passed
the zenith of her fame some years before she made this trip to the
coast. She bore all the evidences of an erratic life and premature
age; her sun had nearly set when she played with us here; and after
her departure for the East, we heard but little of her. Charlotte
Crampton's engagement was like the flashing of a meteor across the
dramatic firmament. Like the elder Booth, she was notorious for her
eccentricities, and in genius was akin to him. "How close to madness
great wits are allied."

After the passing of this meteor, the steady star, Madam Scheller,
resumed her reign, reappearing as "Laura Courtland" in "Under the Gas
Light." This was the first production of this play in Salt Lake City,
and it had an unprecedented run, going for an unbroken week to full
houses. As an index to the personnel of the company at this time, June
16th, 1868, we append the cast of "Under the Gas Light."

    "UNDER THE GAS LIGHT."

    Ray Trafford ............................ John S. Lindsay
    De Milt ..................................... Mark Wilton
    Wilton ..................................... Bert Merrill
    Byke ...................................... Phil Margetts
    Joe Snorkey .............................. David McKenzie
    Bermudas ................................. John C. Graham
    Peanuts ................................... Johnny Matson
    Station Man ................................. Mark Wilton
    Police Judge ............................... J. M. Hardie
    O'Rafferty ................................ John E. Evans
    Martin .................................... John B. Kelly
    Police Patrol ........................... Richard Mathews
    Laura Courtland .......................... Madam Scheller
    Pearl Courtland ........................ Miss Annie Adams
    Mrs. Van Dam ........................... Nellie Colebrook
    Sue Earlie ................................ Alice Clawson
    Peachblossom ........................ Miss Sara Alexander
    Judas ................................ Mrs. M. A. Clawson

Summer heat had but little affect on the business of the Salt Lake
Theatre in those days of which I am writing. Madam Scheller played
from May 10th to August 1st, excepting the one week allotted to
Charlotte Crampton, all through the hot nights of June and July and
there was no perceptible or serious diminution in the attendance. This
can only be accounted for in the fact that there were no resorts in
those days, and the theatre was the coolest place in the city. We
naturally looked for and expected a rest through August after the long
season we had put in, but there was no respite. On the 4th of August,
Annette Ince opened in "Julia" in the "Hunchback" and gave in rapid
succession "Evadne," "Medea," "Ion," "Mary Stuart," "Elizabeth," "As
You Like It," "Camille," and other pieces filling a three weeks'
engagement. She was followed by E. L. Davenport, who opened on August
the 27th in "Richelieu," supported by Annette Ince as "Julia de
Mauprat," and the full strength of the company. Mr. Davenport gave us
his "Richelieu," "Julian St. Pierre," in "The Wife," "Hamlet,"
"William" in "Black-Eyed Susan," "Rover" in "Wild Oats" and "Sir Giles
Overreach" in "A New Way to Pay Old Debts." Mrs. Davenport (Fanny
Vining) appeared in conjunction with Mr. Davenport in this engagement,
playing the "Queen" in "Hamlet" and kindred parts, and with Miss Ince
in the leading female roles, Mr. Davenport had a supporting company in
every way worthy of him. His engagement was a memorable one, as Mr.
Davenport was thought by many to be our greatest American actor. He
was certainly a worthy rival of Edwin Booth and had he, like that
actor, confined his brilliant talents to the great Shakespearian
roles, he would undoubtedly have made a greater name for himself, but
he was too versatile and he scattered his efforts on the "Williams"
and "Rovers" and the other trifles that he should have dropped as he
advanced in years and concentrated his efforts on a repertory of his
greatest characters only. When he played this Salt Lake engagement he
had declined into "the vale of years." As Hamlet, he looked older than
the "Queen" but he possessed all the fire and animation necessary; as
"St. Pierre" in the "Wife," he was at his best, and fairly lifted the
audience into enthusiastic demonstrations of applause. It was not long
after this that Davenport was pitted against the English tragedian
Barry Sullivan in New York. An exceedingly interesting and able
criticism and comparison of these two great actors appeared in Wilke's
"Spirit of the Times," headed "The Two Rossi." This was Davenport's
last memorable engagement. He was already an old man and failing fast.
He died in 1871.

    "Ay, but to die and go, we know not where, to lie in cold
      obstruction and to rot,
    This sensible warm motion to become a kneaded clod,
    And the delighted spirit to bathe in fiery floods,
    Or to reside in chilling regions of thick ribbed ice,
    To be imprisoned in the viewless winds,
    And blown with restless violence about the pendant world.
    'Tis too horrible! The weariest and most loathed worldly life,
    That age, ache, penury, and imprisonment can lay on nature,
    Is paradise to what we fear of death."

It will be observed that there was no summer vacation this year of
1868. The Davenport engagement carried us into September, the time for
opening the season of '68 and '69. Miss Ince's engagement following
the Davenports was really the beginning of the season '68 and '69.




CHAPTER XII.

SEASON OF '68 AND '69.


Davenport's engagement ended, Miss Ince resumed and played from
September the 5th to the 17th, then departed for the Golden Shores of
the Pacific. Now again, after this brilliant succession of stars, the
stock company was left to its own unaided efforts, and from September
the 17th to November the 26th they kept the wheel turning with a
steady stream of stock pieces, and the old mill grinds, and the box
office does business and the actors get their salaries. "Stars may
come and stars may go, but the stock keeps on for aye." This was a
good long stretch of stock work from September the 17th, through the
October Conference and away to nearly the end of November, ten weeks
of it; broken only by a rest of three nights, when Perepa Rosa gave us
a series of Operatic Concerts, November the 14th, 15th and 16th. Salt
Lake even then had a great love of music and turned out large
audiences to hear the famous prima donna and her talented support,
including her husband, the brilliant violinist and conductor, Carl
Rosa.

Now we arrive at another important event in our theatre's history, the
first engagement of John McCullough. For several years Lawrence
Barrett and John McCullough had been the lessees and managers of the
old California Theatre in San Francisco, and in spite of Barrett's
known sagacity as a manager and notwithstanding the succession of
brilliant stars presented at the California and the magnificent stock
company kept to support them, the venture was not a financial success,
and Barrett and McCullough were forced to succumb. Then it was that
McCullough began his career as a star; what reputation he had made up
to this time was as Edwin Forrest's leading man. "Larry" Barrett had
"starred" some in the character of Elliott Gray in "Rosedale," now
they were both out of a job and looking for engagement. Barrett went
East and resumed his starring in "Rosedale" and gradually drifted into
the Shakespearian roles. McCullough went to Virginia City, Nevada,
with a picked-up company, and played his first star engagement. They
took to the "genial" John very kindly there, and worked him him up a
rousing big benefit; those were the palmy days of the Comstock and
everybody had money, actors were at a premium in the camp and the old
theatre was packed at every performance. The "Benefit" netted
McCullough over two thousand dollars and "John" was glad he was an
actor. He knew we had a fine theatre and a good company in Salt Lake,
so he made arrangements to come and play with us a spell. On November
the 26th, he opened in "Damon" and followed it in quick succession
(playing nightly) with "Richelieu," "Hamlet," "Othello," "Shylock,"
Volage in "Marble Heart," "Richard III," "Robbers," "Macbeth,"
"Brutus," "Romeo and Juliet," etc., etc.

This was a very notable engagement, in more ways than one. It was
notable for its length, covering a stretch of twenty-three nights;
likewise for its strength, as George B. Waldron and Madam Scheller,
who had both returned from a Montana tour, were added to the company
to stiffen the cast--here we had really three stars and a strong,
capable, self-sustaining stock company in the cast of all the plays
during McCullough's first Salt Lake engagement, which lasted three
weeks, terminating on September 17th. Again the stock company was left
to its own strength and resources and even after this brilliant trio
of dramatic artists, McCullough, Scheller and Waldron dropped away
from us, the managers, with never-failing confidence and temerity, put
forward the stock once more to plough through the billowy Christmas
time, past the new year and on to February 10th, when we welcomed
another acquisition to the ranks in the person of Miss Annie Lockhart.

Miss Lockhart was an English lady of liberal education, refined and
cultured; and although she had not posed as a "star actress," she had
an extended and varied experience on the stage. She had been for
several years in Australia in the stock companies of Melbourne and
Sidney, where she had met, loved and married an actor by the name of
Harry Jackson. Harry was a talented character man, but the flowing
bowl was his weakness and Annie in time wearied of his indiscretions
and indulgences, "shook him off to beggarly divorcement," left him in
San Francisco and came to Salt Lake in quest of an engagement. She
must have made a very favorable impression on the managers, for they
put her in as stock "star" up to March 1st, and she continued a member
of the company up to her fatal illness in the following November.
Annie Lockhart was at this time about thirty-two years of age, a woman
of comely appearance and gentle mien, and if not great like Julia
Dean, Annette Ince, or Charlotte Crampton, was always pleasing and
satisfactory. She delighted in such characters as "Matida" in "Led
Astray," the dual role in "Two Loves and a Life," "Janet Pride," "Peg
Woffington" and kindred light comedy characters. Miss Lockhart was a
very tasteful dresser; she always made a good appearance in her part.
During her long stay with the stock company a number of stars
appeared. The first after her engagement was James A. Herne, who
opened on March 1st, 1869, in "Rip Van Winkle." Herne's "Rip" made a
great hit and had an extraordinary run of five nights. Herne played
ten nights doing "Solon Shingle," "Captain Cuttle," and some other
characters. Then he was joined by Lucille Western who appeared as the
leading stellar attraction supported by Herne and the stock company.
Miss Western opened in her original character of "Lady Isabel" in
"East Lynne." It was undoubtedly a great performance of the character,
but the recollection of Julia Dean Hayne in the part was still fresh
in the public mind, and she had made such a powerful impression in
this character that Lucille Western was compared with her only to her
disadvantage, notwithstanding she was the original "Lady Isabel." We
had now in rapid succession Western's entire repertory which included
"The Child Stealer," "Green Bushes," "Oliver Twist," "Flowers of the
Forest," "Don Caesar de Bazan" (with Western as the Don), and "Foul
Play." Miss Western's engagement proceeded smoothly and drew large
audiences. One of the Herne-Western performances created a genuine
sensation in Salt Lake. It was "Oliver Twist." In the scene where Bill
Sykes (Herne) kills Nancy (Miss Western), both Herne and Miss Western
sought to make the murder as realistic and blood curdling as possible.
The murder is done off the stage in a room on the left; Sykes is
supposed to beat Nancy to death with his ugly stick which he carries
through the play. To carry out the realism of the beating a pad was
made of a number of wet towels; these Herne struck with a piece of
board, making a sickening thud which Lucille accompanied with a
scream, each one growing fainter, until it became a groan, then Bill
steals across the stage and off at an outer door and Nancy, almost
dead, drags herself on till she gets to the centre of the stage, her
face completely hidden by her dishevelled hair when she gets to
position centre she turns her face which has been covered from the
audience, throws her hair back and reveals her face covered with stage
gore. On this occasion the picture was so revolting that several women
in the audience fainted--everybody was shocked. The actress had made
it as revolting as possible, thinking to make a sensation. She
succeeded, but had she been a woman of finer feelings, instead of
seeking to make the picture as horrible and repulsive as she could she
would have studied how to make it effective without being repulsive.
President Young was very angry over it. The picture was very
abhorrent; there is no knowing what the physiological results were; it
was rumored afterwards that a number of children were birthmarked as
the result of it. The President gave orders that the piece should not
be played again and sent messengers all over the city to tell the
people not to go and see it if it was put on again. Of course the
managers withdrew it in deference to his wish, but there is no doubt
the house would have been crowded had it been repeated, for the
prohibition only aroused a greater curiosity to see it; forbidden
fruit, you know, is generally most hankered after. The play has been
done here several times since President Young's death, but never in
such a shocking manner.

On the night of the "Benefit" Lucille chose to show us what she looked
like in male attire, so she put up "Don Caesar" and appeared in the
role of the ragged cavalier. Before the play was over it was very
apparent that Lucille had been indulging in the ardent, but she
managed to get through without materially marring the play. The next
night, however, was Charles Reade's "Foul Play." This piece was
entirely new to the company, never having been done in the theatre
before, so that the stock company was hard pushed with study to get
their lines, but with their accustomed industry and regularity they
were all _au fait_ on this first occasion, and the play might have
scored a genuine success if the "star" had done her part towards it;
but she repeated her indulgence of the night before and to such a
degree that by the opening of the fourth act she was in a very sorry
plight. This act is on an uninhabited island; there has been a
shipwreck and the hero and heroine have been washed or driven or blown
onto this island and with a few of the ship's crew are the only
survivors. As the act opens Robert Penfold (Lindsay) and Helen
Rolleston (Miss Western) are discovered on a high cliff looking for a
sail. The few survivors of the crew have gone in search of fresh water
and something to eat, and the two leading characters have the entire
act between them until the finale when a rescuing party arrives with a
boat. Here was a dilemma; never was a stage lover placed in a more
embarrassing position. It was quite apparent to him as they ascended
to the cliff before the rise of the curtain that the stalwart Lucille
was not in proper condition for climbing cliffs, more particularly
stage cliffs, which are generally pretty shaky affairs, and the
probability of a sudden and unlocked for descent was anything but a
pleasing prospect to Mr. Lindsay. To still further embarrass him he
discovered that Lucille's tongue was decidedly thick, in fact she
could scarcely articulate. The curtain should never have gone up; it
would have saved the management, the actors, and particularly Miss
Western, a vast amount of humiliation; Miss Western should have been
suddenly ill; or an announcement made to that effect and the audience
dismissed and their money refunded if necessary; they should have been
spared the agony of witnessing a really great artiste rendered
imbecile and helpless by an uncontrollable appetite for liquor. But
the curtain did go up and down went Lucille. At the very first step
she made to descend she staggered, and in spite of all that her stage
lover could do to steady her she made a sudden unsteady descent and
landed in a kneeling position on the stage. Oh! the agony of that
moment! With assistance she staggered to her feet, and now as she
attempted to speak her first speech in the act, a new terror seized
me. Her words were thick and inarticulate--not heard at all by the
majority of the audience, who now began to realize the true condition.
It was evident to everybody on the stage that she could never get
through the act, and so the stage manager, after another abortive
attempt on her part to say her lines, sent on the boat with the rescue
party and the finale of the act was reached. Never was such a scene
between a pair of stage lovers so horribly mutilated as this; never
was an act so fearfully and unintelligibly abbreviated as this one,
and never did a rescue party arrive more opportunely. It plucked the
"star" from immediate disgrace, an embarrassed actor from despair. It
was no wonder the audience remained for the last act, for they had
before the end of the fourth act divined the true state of affairs and
they stayed, curious to see how it would or could end. The last act
was a court room scene and the star had to sit on the witness stand.
She did not make a very intelligent witness but sat there with a
bright green silk gown, with a face flushed to redness, and looking
the picture of helplessness. How we got through that act, I don't
think anyone engaged in it could have told, but with the prompter's
assistance reading most of Miss Western's lines, we blundered through
and the final drop came on the most inglorious and trying performance
I ever had part in.

The manager promptly cancelled Miss Western's engagement, although she
had one more night to play. The following night "Arrah Na Pogue" was
put up with Mr. Herne in the part of "Shaun the Post," but as if the
fates had decreed that this Herne-Western engagement should end
disgracefully, if not disastrously, this last night went on record as
losing one for the managers and a discreditable one to the solitary
remaining star. Owing to the fiasco of the night before, a rather
slender audience was in attendance to witness Mr. Herne's last
appearance. Whether this fact had to do with the sudden indisposition
and collapse of Mr. Herne on this occasion, there is no means of
knowing, but the writer has ever been of the opinion that it was the
very perceptible falling away of the patronage and his chagrin and
vexation over Miss Western's conduct of the night before that wrought
upon the actor's nervous system to such a degree that he declared
himself unable to appear. The writer's dressing room was so situated
that he could not hear what was transpiring on the stage. When the
curtain time arrived and I came down to the stage all made up for
"Michael Feeney," to my great surprise I was informed there was to be
no performance; the audience had been dismissed owing to the sudden
illness of Mr. Herne. Herne was seated on the big curtain roller and a
number of the company around him, offering sympathy and assistance to
the disabled star who appeared to be in great agony. I returned
hastily to my dressing room and divested myself of Michael Feeney's
habiliments, and resuming my own attire, was soon back to Mr. Herne's
side and proffered my assistance to help him to his hotel. In the
meantime a doctor, who kept his office a few doors west of the
theatre, had been called in and he requested us to bring Herne to his
office. There were few hacks or gurney cabs in those days, and so with
the assistance of Mr. Hardie and myself, Mr. Herne managed with
difficulty to reach the doctor's office. This doctor was one of the
old school of practitioners and like Felix Callighan, in "His Last
Legs," he proceeded to "cup" or bleed the patient. After he had
relieved Herne of a quart or so of superfluous blood, he bandaged the
cupping; gave the patient a dose of regulation stimulant and directed
the patient to be taken to his hotel and placed comfortably in bed. It
was a quarter of a mile to the White House and there was not a hack or
vehicle of any kind available, so Hardie and I formed a seat for the
sick actor by locking our hands together and getting the patient's
hands over our shoulders, we carried him to the White House. By the
time we got him up a long flight of stairs to his room, we were tired
and winded, although Margetts and McKenzie, who had accompanied us,
took turns at the carrying business. Scarcely had we got the sick
actor in bed before a knock at the door (a sort of frightened knock)
was heard, and as we said "come in" the door opened and Miss Western,
clad in her night gown, with a shawl around her, timidly entered and
inquired with great anxiety what the matter was. On being informed
that Mr. Herne had been taken so ill that the audience had to be
dismissed, and he carried home to his room, she became hysterical.
Bursting into tears she exclaimed, piteously, "Oh, my God! This is
awful! Oh, Jimmie!" addressing herself passionately to Herne. "I wish
we were home with mother!" She evidently had not fully recovered from
her carousal of the night before, and in her half stupid, half
hysterical condition, moaned and prayed as if some terrible calamity
had befallen her. Herne rapidly recovered from his illness and the
co-stars left Salt Lake. Lucille never returned, but Herne came back
early in 1874 and hovered between Salt Lake and Ogden for a long time,
and finally drifted to San Francisco, where he became the stage
manager of the Bush Street and afterward of the Baldwin theatre when
Tom Maguire, "The Napoleon" of the Pacific coast, as he was called at
the time, opened that popular theatre. That was before any of the
Eastern managers had invaded San Francisco.

The Herne-Western engagement closed on April 17th and was closely
followed by Fannie Morgan Phelps, who played from April 20th to May
20th, appearing in a new line of plays for the diversion of the stock
company as well as the public. She opened in "Meg's Diversion," and
proved to be a prime favorite. "The Deal Boatman," "Black Eyed Susan,"
she seemed to have a partiality for nautical pieces and succeeded in
making the seashore heroines very attractive. Fanny stayed four weeks
with us, then went to Montana. She never paid us a second visit
although Salt Lake treated her very handsomely in the way of
patronage. Mrs. Phelps was a widow; her husband, Ralph Phelps, a
popular actor, was killed by a blow from a tackle block on board of
the steamer coming from Australia.

Our next stellar attraction was Charles Wheatleigh, who opened on May
20th in "Sam," supported by Annie Lockhart and the stock company.
Wheatleigh gave nine performances, the pieces presented being "Sam,"
"Lottery of Life," "Arrah Na Pogue," "After Dark," and "Under the
Gaslight." Charley Wheatleigh was rather a brilliant comedian. His
plays proved very popular and he played a memorable engagement.

The next engagement was one that eased the labors of the stock
company, giving most of us a rest. It was the Howson Opera company. It
was quite a family affair. The company consisted of Pere Howson, Mere
Howson, John Howson, Frank Howson, Clelia Howson, and Fannie Howson.
They were a very talented musical family and played light opera very
well indeed. They opened in the "Grand Duchess," their cast being
filled up with members of the stock company who could sing. They
played from January 1st to the 20th, each opera being played twice or
three times. The Howsons were well liked and made many friends, both
in and out of the theatre.

Prof. Hartz, a magician, followed the Howson engagement, holding the
stage from January 21st to the 26th.

On June 28th, 1869, George D. Chaplin made his first appearance at
this theatre in "Hamlet," playing thirteen performances, closing July
10th in "Armadale." Chaplin made a very favorable impression and later
played a longer engagement. He had been leading man for Ben DeBar in
St. Louis, and was a versatile actor, fond of playing "Hamlet" and
"Macbeth," in which, if not great, he was always pleasing. Then, as if
to prove his versatility, he would put on a burlesque called "The
Seven Sisters," and appear as the principal sister. George had a
handsome face, and a very plump physique, and made up for a woman, he
was a study.

On July 12th, Lotta opened in "Little Nell," and played during the
week "Captain Charlotte," "Firefly," and "Topsy" in "Uncle Tom's
Cabin."

George Chaplin resumed on July 10th, opening in the burlesque of "The
Seven Sisters" and filled out a week with "Ten Nights in a Barroom,"
"Money," and the burlesque of "Pocahontas," in which he played
"Powhattan" very cleverly.

July 26th, Kennedy's Scottish Entertainment held the boards, and on
the 28th a new star was ushered in that gave the stock company more
work, just as we were expecting a brief summer vacation--Geraldine
Warden. She played four nights and a matinee. This engagement closed
the season as far as the stock company was concerned. It was now July
31st and the company had the month of August in which to rest from
study and rehearsals, for the fall season would open early in
September.

The theatre was not entirely closed, however, in August. On the 18th
of that month, Murphy and Mack's minstrels opened and continued until
the 28th giving eleven performances. This was Joe Murphy's first visit
to Salt Lake, when he was a black face artist, and before he had
dreamed of becoming an Irish comedian. The fact of this company giving
eleven performances in the theatre in August shows how very popular
they were, and how Salt Lake liked minstrelsy.




CHAPTER XIII.

SEASON OF '69-70.


The season of '69 and '70 opened auspiciously on September 4th with
the now recuperated stock company in a new play. "The Captain of the
Vulture" was played one week and another new star dawned on the
horizon. September 13th Mr. Neil Warner was the star attraction.
Warner was an English actor and had been in the supporting company of
the late lamented Gustavus Brooke, who gave promise of becoming
England's greatest tragedian, but whose already resplendent career was
unfortunately cut short by the loss of the steamship London. Brooke
was making a second visit to Melbourne and Sidney in '66, where he had
achieved a remarkable triumph a year before, but alas! for the irony
of fate, he was doomed to be cut off in the very unfolding of the most
brilliant talents the English stage had yet seen. The unfortunate
London went down in the Bay of Biscay and some two hundred souls
perished in the wreck and among them the brilliant Gustavus Brooke. A
friend of the writer, now in this city (Salt Lake), Mr. Jack Cooey,
had a brother who was one of the very few survivors of that ill-fated
ship, there being but sixteen in all. So America never got to see
Brooke, who was regarded by his countrymen generally as the greatest
of all their tragic actors.

Neil Warner was said to be a copyist of Brooke; undoubtedly he had
played with him, and learned much from him, and if not as great as his
acknowledged tutor, Warner was not unworthy to be called great. He had
a splendid physique and a magnificent voice, which he could use with
magnetic effect. Its transitions were at times marvelous and in this
writer's opinion, he was the superior of all our American tragedians,
with the exception of Davenport, whom he very much resembled both in
the majesty of his presence and in mental superiority. Warner opened
in "Richard III" and made a most decided hit in the character,
notwithstanding he had several notable predecessors in the part,
notably McCullough and Stark. He played twenty-four performances,
embracing a wide range of legitimate plays--"Hamlet," "Macbeth,"
"Richelieu," and his "Macbeth" was the greatest of all his fine
performances. He went to New York from here and we quite expected to
hear great things about him, but for some cause or other he never
played a stellar engagement in New York, and the following year the
writer, much to his astonishment and disappointment, saw him playing a
second heavy part in support of Charles Wyndham the English comedian
at a theatre in Brooklyn. Warner did not make a go in New York, and
drifted over to Montreal, Canada, where he stayed for many years; but
a few years ago he toured California in connection with a rising young
actress of that state, in a round of his favorite characters. Annie
Lockhart played the leading female characters in all Warner's
performances here. They had known each other in Australia, and there
seemed to be a very warm friendship between them and it was certain
that Annie was an ardent admirer of her talented countryman, and some
of us rather feared she would go with him when he took his departure
from Salt Lake; but something occurred between them that must have
angered him, for a day or two before his engagement closed, he spoke
to Miss Lockhart at a rehearsal in words and tones so heartless and
insulting that the company were amazed at him, and poor Annie sought
the seclusion of her dressing room to have a good cry. Conjecture was
rife and pointed to a rival in the lady's affections as the cause of
his tirade. Warner departed, leaving Annie with us, very much to the
gratification of the company and public, but it was not for long; poor
Annie Lockhart had received a wound from which she never recovered.
She only lived five weeks after this and the cause of her sudden
decline and death was more or less of a mystery, for up to this time
she was a hale, hearty woman, in the very prime of life. She was laid
away tenderly by loving hands and hearts, whom she had never known
until eight months before, but whom she had endeared to her by her
sweet, womanly ways. Many a tear was shed and genuine sorrow was felt
when Annie Lockhart was laid away in Olivet.

The night after Warner's engagement closed, Sunday, October 12th,
Stephen Massett lectured.

October 13th, Madam Scheller opened her second engagement, playing six
nights, and gave "Roll of the Drum," "Child of the Regiment," "Enoch
Arden," etc. The theatre closed from the 18th to the 23rd on account
of the Militia Muster. The Nauvoo Legion, as the Territorial troops
were called, had a big encampment on the banks of the Jordan river and
of such importance was it that the theatre had to close, as every able
bodied man was expected to drill and all the women and children, of
course, had to go and see them. The late George Q. Cannon and other
high church dignitaries fell into the ranks on this occasion and
carried muskets, whether from the love of exercise or a keen love of
duty, or for the effect of example, this deponent saith not. Nearly
all the dramatic company were in the big drill, so, of course, there
could be no theatres until it was over. It was intended to be a great
demonstration, and it was; almost every Mormon man was in the ranks.
The theatre resumed business with the rest of the town, Saturday the
23rd inst., when one of Madam Scheller's pieces was repeated. This was
Madam Scheller's last appearance at this theatre. She and her husband,
Methua Scheller, went East from here, and died in Memphis in 1878,
during the yellow fever contagion of that dread disease.

On October 25th, the Stones, Amy and Harry, opened up a return
engagement in "French Spy." They played twelve nights, giving
"Fanchon," and "Little Barefoot," etc. Their engagement closed
November 6th, after a very satisfactory engagement.

On the 8th the stock company resumed, and played "Waiting for the
Verdict." Annie Lockhart, who had rested during the Stones'
engagement, resumed and was playing the leading female character in
this play when she was taken very ill. With the aid of kind attention
she got through the night's work, but she went home so ill that she
took to her bed, and on the 18th of November, died. Three days
previous to her death, on the 15th of November, John Wilson and Kate
Denin were ushered in as stock stars, and continued until January 5th,
1870, when they withdrew for a week to give place to Charlotte
Thompson, who played a six nights' engagement, playing "Julia" in the
"Hunchback," "Leah, the Forsaken," "Sea of Ice," and "Court and
Stage." Miss Thompson was a pretty woman and a pleasing actress--a
favorite in the South where she belonged.

From the 14th to the 24th, the stock company held down the business
without stellar assistance, when Kate Denin and John Wilson returned
and played another engagement. As stock stars they remained until
February 14th. Then came another siege of stock work without any star,
broken intermittently by lectures and concerts. Ole Bull gave concerts
March 8th and 9th; Alf Barnett's entertainment, March 22nd and 23rd;
Satsuma's Japanese troupe from March 25th to 30th. These attractions,
of course, gave the company some respite from their arduous studies,
but it was only brief, and we were already rehearsing for the ensuing
conference dates. So the stock company resumed their labors and played
all through April and up to May 16th when the season of '69 and '70
closed.




CHAPTER XIV.

SEASON OF '70-'71.


The theatre did not reopen until August the 27th when the season of
'70 and '71 was ushered in with a "Benefit" to Miss Colebrook. This
was really the first summer the theatre had remained closed and given
the company a needed rest. The stock company played one week only when
the veteran tragedian, T. A. Lyne, began an engagement which ran from
September the 3rd to the 20th. This was Lyne's fourth engagement since
the opening of the theatre, and it proved what a remarkable hold he
had upon our theatre goers when he repeated his well known and well
worn repertoire to splendid business. As there was no other star in
the dramatic firmament when Lyne's engagement expired, the stock
company was put on its own resources once again and continued
successfully up to the 10th of December, when the monotony was in some
measure broken by the accession to the company of Mr. and Mrs. John S.
Langrishe, and the following week C. W. Couldock and his daughter,
Eliza, floated the stellar flag for the third time, repeating a
portion of their old repertoire. They played from the 26th to the
31st. Mr. Couldock went East, leaving Eliza (who was in poor health)
here to recuperate. They were succeeded by George W. Thompson and
Sallie Hinckley, who played a week's engagement, presenting "Man and
Wife" and the "Persecuted Dutchman," filling dates January 2nd to the
7th, of 1871. The stock company then played along again until February
13th, when McKee Rankin, Kitty Blanchard and W. H. Power opened a
stellar engagement, playing two weeks to February 25th. Everywhere
else the Rankins were playing "The Danites," but owing to the odious
light in which that play presented the Mormon leaders, they did not
dare to produce it at the Salt Lake Theatre. Of course the managers
would not consent, and the great wonder is that Rankin could secure
dates at all at Brigham Young's theatre while he was starring through
the country in a play so well calculated to stir up prejudice against
the Mormons. "The Danites" had to be eliminated while the Rankins fell
back onto some old plays in which the stock company was up in. "Rip
Van Winkle," "Little Barefoot," and "Colleen Bawn" were given.

It may be of interest to note the fact here that "The Danites" has
never been played in Salt Lake or anywhere in Utah.

About this time George B. Waldron turned up again in Salt Lake, and
was installed as leading man to strengthen the company and ease
somewhat the labors of David McKenzie.

Rose Evans, a lady who was enamoured of "Hamlet," and made a specialty
of playing it, was introduced to Salt Lake soon after Waldron's
accession to the company, and we had during her engagement which ran
through the April conference, "Hamlet," "Twixt Axe and Crown,"
"Ingomar;" Miss Evans as "Parthenia" and Waldron as "Ingomar;" "Lady
Audrey's Secret," "Romeo and Juliet;" Waldron as "Romeo." Rose Evans
established herself very strongly in the favor of the Salt Lake
theatre goers. Her "Hamlet" was liked, and she played it intelligently
and perhaps as well as a woman could play it, but no woman can ever
play "Hamlet" satisfactorily to the critical mind; and very few men
out of the thousands of actors ever reach and handle it
satisfactorily. Her "Juliet" was very acceptable, but Waldron's voice
was' too basso profundo for "Romeo." It was hard to imagine him as the
youthful love-distraught Romeo with his deep set vocal organ.

Miss Evans closed on April 8th and was closely followed by Mlle. Marie
Ravel, who opened on the 10th, supported by Waldron and the stock
company and played an engagement of twenty nights. On May 4th Herr
Daniel E. Bandmann and his wife (his first one) opened an engagement
of five nights, presenting "Macbeth," "Hamlet," "Merchant of Venice,"
"Narcisse," and "Richard III." Bandmann, at this time, was a very
popular tragedian. He had played as early as '65 in San Francisco a
very successful engagement. He was now returning from his second visit
to San Francisco. He spoke with a decided German accent, which was,
however, not disagreeable to the ear, his voice being musical and his
reading very artistic and finished. Bandmann bought a ranch near
Missoula, Montana, some ten or twelve years ago and went into
semi-retirement. He had a curious advertisement in the Dramatic
Mirror, about as follows: "Daniel E. Bandmann, Tragedian and breeder
of fine horses and cattle." He also bred a large family of children on
that same ranch. When he went into retirement he took with him his
latest "leading lady," Mary Kelly, as his wife, and they have a number
of heirs to succeed to the tragedy and breeding business. His first
wife, Millie Palmer, still figures in London theatricals, and she has
a son who is conspicuous in theatrical management. Herr Bandmann still
makes spasmodic incursions into the surrounding country with an
improvised dramatic company and plays his favorite characters.

The next star to shine in our firmament was J. K. Emmett. "Joe," as he
was familiarly called, was just at the zenith of his fame about this
time, and he filled the theatre from pit to dome. The character of
"Fritz" appealed strongly to nearly all theatre goers, and "Joe"
Emmett with his bewitching voice and catchy lullabies, had an easy
road to fame and fortune. Emmett played from the 10th to the 13th.

The Couldocks, father and daughter, now played a return engagement,
covering two weeks, from May 22nd to June 5th, repeating mostly old
repertoire. They were followed closely by Mr. and Mrs. Ida Hernandez,
a Polish couple, who came to this country with Madam Modjeska, and
were now working their way to the East. They were clever performers,
but being unknown, they did not draw heavy houses. June 8th to the
11th.

The Lingards followed Hernandez in a brief engagement of three nights,
June 12th to 14th. The following week was filled in by the Hernandez
and the Carter-Cogswell contingent of the Salt Lake stock company. J.
M. Carter and his wife, Carrie Carter (nee Lyne-Cogswell) had recently
arrived from Denver and had been added to the stock company, which had
been weakened materially by the loss of several of its prominent
members. Hardie had gone to the Virginia City theatre; Lindsay had
gone on a visit to England and had withdrawn from the company for a
time; Miss Alexander had also drifted away to the East, so that when
the Carters arrived and sought engagement, the managers readily
availed themselves of their services. They played here for a few weeks
and at the close of the season went on to California.

On July 3rd, Edwin Adams made his first appearance at this theatre. He
opened in the character of "Rover" in "Wild Oats" and played in
addition, "Extremes," "Enoch Arden," and "William" in "Black Eyed
Susan." Mr. Adams filled out a week with great satisfaction to our
theatre goers, the managers, and the company, and with very
satisfactory financial results to himself. He was a gratification to
both eyes and ears a brilliant actor with a melodious voice, and in
appearance the ideal actor.

The following week John McCullough, who had with him Helen Tracy as a
leading female support, played a notable engagement, rendered more so
by the fact that Edwin Adams was retained to appear in conjunction
with Mr. McCullough. They gave "Damon and Pythias," with McCullough as
"Damon" and Adams as "Pythias," and notwithstanding McCullough made an
excellent "Damon," so convincing was Adams as "Pythias," that the
critical Salt Lakers declared it was "Pythias" and "Damon" on that
occasion, putting the brilliant Adams ahead of McCullough in their
admiration. Adams played "Iago" to McCullough's "Othello" and even
strengthened the favorable opinion of him. For their closing
performance together, "Hamlet" was given with Adams as the Prince and
McCullough as the King. Miss Helen Tracy lent some lustre to the
triple alliance and this engagement is remembered as one of the most
notable ever given in the now historic theatre.

Just how it chanced that McCullough and Adams got dates so close
together, the one immediately succeeding the other, I have forgotten,
but as Adams was going to the Pacific coast and McCullough and Miss
Tracy were going East, I presume that their meeting here was purely
accidental.

They were very glad to see each other, "John" and "Ned," and decided
to have a good time while they were together; to that end Adams, who
was in no great hurry to get to San Francisco, decided to stay over
during McCullough's engagement and play in some of his pieces with
him, which he did as stated above. The combination was a strong one,
and no doubt helped McCullough's engagement, as this was his second
visit; but the primary object of the combination was evidently to have
a good time. We had an actors' club here at that early day which must
not be forgotten.

On January 16th preceding, Milton Nobles played the "Marble Heart,"
appearing as Raphael. Nobles was then a young actor, comparatively
unknown. He was on his way to the East, where some years later he
became widely known through his plays of "The Phoenix," "From Sire to
Son," etc.

There was at this time residing in Salt Lake a gentleman by the name
of Bentham Fabian. Fabian was widely and favorably known for certain
peculiarities. He was extremely fond of the theatre, and every actor
was his friend. He was one of those versatile fellows that could turn
his hand to many things. He organized a public library here, which he
called "The Salt Lake Exchange and Reading Rooms," and he was the
librarian. It was while Milton Nobles was here that Fabian worked up a
"benefit" for this library, at which Governor Vaughn, (then Governor
of Utah), recited Poe's "Bells," and Nobles and the writer gave the
third act of "Othello" (in evening dress), Nobles reading "Iago," and
the writer "Othello." There were several other numbers by Fabian and
others, and music by the Military band from Fort Douglas. One of
Fabian's strong peculiarities was that he loved his pipe and glass and
occasionally his courtly bearing and Chesterfieldian manners would get
a little lopsided and obscure. This benefit, being a sort of royal
occasion with Bentham, he had a fresh keg of beer in his den behind
the library, and after the entertainment was over he invited all the
performers (except the "band") to go and help drink it.

Governor Vaughn having a prior engagement, declined, but the rest of
us adjourned to the library. Fabian, eager to treat "the boys," made
haste to tap the keg, but there was a decided uncertainty about his
manipulation of the mallet and tap, which plainly indicated that he
had already been tapping something. So Cyrus Hawley (Judge Hawley's
son) rather impatiently and dramatically exclaimed, "Give me the
daggers!" (the mallet and tap), and taking them from Fabian with the
air of an expert tapster, he proceeded to drive the tap; he made a
misslick, and in an instant he was covered from head to foot in foamy
beer. His nice clothes were apparently ruined, and he was roundly
sworn at for wasting so much good beer. After stopping the flood,
there proved to be sufficient left to make all hands merry and happy.

About this time Fabian, who was a great projector of schemes,
succeeded in organizing an actors' club, to which he made us all pay
tribute, not only the actors, but a number of other professional men
and good fellows were made members, and when the transient "stars"
came along, we generally contrived to give them a good time, although
our quarters were not so pretentious as those of the Alta or Comcial
clubs of today. During the Adams-McCullough engagements these actors
were the guests of "the club," and dear old Fabian was in his glory.
Fabian was the president of the club, and he certainly wined and dined
McCullough and Adams to their hearts' content. On their closing night
we had a great carousal, even Miss Tracy did not escape. It was a
memorable night truly. Everybody present seemed determined to give
"John" McCullough and "Ned" Adams a royal time, and they had it.

    "Care mad to see a man sae happy;
    E'en drowned himsel among the nappy.
    Kings may be blest, but Tam was glorious,
    O'er all the ills of life victorious."

                 _Burns' "Tam O'Shanter"_.

The stock company played one week, even after this brilliant
triumvirate had united its course, with Mr. and Mrs. Carter doing
leads. That they could hold the interest of the public after such a
combination of talent as Adams, McCullough and Tracy dropped away from
them was not to be expected. In looking back at it from this distance,
the wise thing for the managers to have done would have been to close
the season with that extraordinary engagement, but the Carters were
here and had a play or two to exploit, and struggled through a week
when the management were glad to close the season, with the Pioneer
holiday, July 24th. Here was another case of playing all summer, for
the theatre only remained closed about ten nights, opening on the 10th
of August. The advent of the Carters into Salt Lake and their
engagement at the Salt Lake theatre was not devoid of interest. It
was well-known to many that Mrs. Carter (Carrie Cogswell) had been the
wife of the veteran tragedian, Mr. T. A. Lyne, who was very much
perturbed at their presence here. He declared that she had come here
expressly to annoy him, and nothing could convince him to the
contrary, so when after a short stay here, Mr. and Mrs. Carter and
their son, Lincoln J., now the celebrated Chicago playbuilder and
manager, took their departure for California, Lyne's heart was joyful.
There were two children, a boy and a girl, the offspring of the
Lyne-Cogswell marriage. The court, in giving Lyne the deliverance
which he sought on the grounds of desertion, gave him the custody of
the two children, and he had them in Salt Lake attending school, and
he was very apprehensive that the mother might kidnap them. So when
she had departed without any signs of having molested the children the
veteran was happy, for he never dreamed they would return, but alas!
for the contrariness of human nature, in this he was doomed to
disappointment. Lyne had been for the second time a widower when he
met Miss Carrie Cogswell. She was about sixteen and he about fifty.
Lyne at this age was an active, fine-looking man with hair as dark as
a raven's wing and a very commanding presence. Miss Cogswell was
enamored of the stage and soon became not only Mrs. Lyne, but "leading
lady" for Lyne. After some years of married life, and two children had
been born to them, there came a cloud in their sky. In the same
company chanced a young man by the name of Carter, whose father, Jared
Carter, had been a leading light in the Mormon Church in the Nauvoo
days. Disparity in age and incompatibility of temperament between Mr.
and Mrs. Lyne gradually brought about a separation and divorce. By
this time both had sought and found new matrimonial alliances. Mrs.
Lyne had some years now been Mrs. Carter and Mr. Lyne had found
consolation in a French widow whose Christian name was Madeline. Such
was the situation at the time when the Carters made their first visit
to Salt Lake, and the veteran tragedian having settled down in Salt
Lake to end his days, was in mortal dread of the Carters fixing their
future home here too.




CHAPTER XV.

SEASON OF '71-'72.


The season of '71 and '72 opened on August the 4th, only two weeks
after the closing of '70 and '71. The Lingards were the opening
attraction; they played only two nights. The Lingards consisted of
Horace W. Lingard, Alice Lingard, his wife, and "Dickie" Lingard, a
sister to Horace. They played short cast pieces and did not require
many members of the company. The repertoire included "Caste," "The
Weaver of Spitaefield," "Morning Call," "A Happy Pair," etc. They were
followed closely by Kate Newton and Charlie Backus of minstrel fame,
who stayed two nights; and these were succeeded by the Hyers Sisters,
a colored concert troupe, who gave five concerts, opening August the
9th and playing up to the 13th.

On the 21st Joseph and Mrs. Murphy made their debut in drama--the
medium being a hash-up of improbable incidents put together to string
Joe's specialties on. He played a sort of stage detective and
disguised variously as an Irishman, a Swede, a Dutch Girl, and a
Nigger. This was the first performance of "Help" on any stage, and
should have been the last, if merit alone counted.

The Salt Lake Theatre was made the bridge to carry a number of new
dramatic ventures across the quicksands of dramatic speculation.
Afraid to make the trial of a new play in San Francisco or New York,
they have brought them to Salt Lake to "try them on the dog." "Help"
ran three nights, 21st to the 24th, and was fairly launched on the
dramatic sea, and Joe Murphy was no longer a blackfaced comedian but a
versatile actor of the Irish comedy persuasion. "Help" served Joe
faithfully for several seasons and put him on Easy street,
financially.

August 25th the Stock Company, strengthened with the Cogswell-Carter
troupe, resumed. J. W. Carter was engaged to play leads for a time;
McKenzie was absent, Lindsay was gone, Hardie had deserted, and the
management were in sore straits for a leading actor. The Stock played
from August 25th to September 25th, when Mrs. Lander opened a star
engagement in "Mary Stuart," continuing one week, during which she
gave, in addition to "Mary Stuart," "Camille," "The Hunchback" and
"Marie Antoinette." Mrs. Lander was at this time one of the bright
particular stars of the American stage. She was a woman of superior
intelligence and rare dramatic talent and played a fine engagement.

After the Lander engagement, the house closed for a few nights, to
give the Stock company a chance to prepare for the approaching October
conference. The management could always count on packed houses during
these conferences, and it was like giving money away to engage any
stellar attractions at these times, so the Stock company was up
against their work once more. On October 3rd they opened and played
through conference, to the 9th.

On the 10th Robert McWade made his first bow to a Salt Lake audience,
in "Rip Van Winkle." McWade had a very good reputation through the
west in this character, and drew a very good house for his first
night. If we had never seen "Jim Hearne" as "Rip Van Winkle" we might
have thought more of McWade, but the impression Hearne made in the
character was so strong and still so fresh in the public mind that
McWade's "Rip" did not become a favorite. He played some five nights
and then the Stock had to go alone again for a while, so on the 16th
they resumed and played up to November 7, only relieved a little by
the Japanese jugglers, who put in an hour each evening for a week,
from October 23rd to 28th. On November 9th, Johnny Allen and Alice
Harrison opened a four nights' engagement, closing on the 13th. On the
15th the Stock resumed the even tenor of its way, and played
unassisted up to December 10th, when J. M. Ward came in with "Through
by Daylight," and got through by gaslight in two nights. Jim Ward was
a very versatile and capable actor with a racy Irish brogue, that was
suggestive of the "ould sod." He has had rare experiences in
theatrical life, and they would make a volume of interesting reading,
but as he is still having them, being yet upon the stage, it is too
early to add his experiences to the general history of the stage,
especially his matrimonial ones.

An entire troupe of juvenile actors followed Jim Ward's advent into
Salt Lake City. Whether Jim was in any way accountable, we are not
advised; they were called "The Nathan Juvenile Troupe," and put in one
week from the 15th to the 20th.

Oliver Doud Byron followed them, opening on December 21st, and playing
till January 3rd, "Across the Continent," being his piece de
resistance. Ben McCullough filled out the week. Eliza Couldock, who
was in delicate health, and had been left here by her father after
their last engagement, was now called in for a week to assist the
Stock in a production of "Uncle Tom's Cabin." Miss Couldock was cast
for the character of Eliza. The writer, who was playing George Harris
and Legree, well remembers how nervous and poorly the lady was during
this week's engagement. She was over ambitious and worked beyond her
strength, and it was evident she was in a decline. This was her last
appearance, poor girl, and it was not long before we were paying the
last respects, and with loving hands laying her gently i' the earth,
alongside of dear Annie Lockhart, whom we had performed the same
service for only a short time before. "Lay her i' the earth and from
her fair and unpolluted flesh may violets spring."

Rose Evans came to us for a second engagement, after the "Uncle Tom"
week, and played from January 8th to the 27th, repeating her former
repertory. Stock company put in the following week alone, then
followed E. T. Stetson for a week in his melodramas, "Neck and Neck"
and "Old Kentuck." This puts us along to February 7th, '72, when the
Stock played another week without any star; then the Stock got a
week's rest, the time from the 15th to the 20th being filled by Purdy,
Scott, and Fostelle's minstrels. Refreshed with a week's vacation, the
Stock company started in afresh on February 22nd--great George's
birthday--and played till April 9th, getting through another
conference without the aid of a star. Here the company had another
brief respite while "The Child American Concert Company" filled time
from April 10th to the 13th, when the company resumed their labors and
played up to the 20th. On April 22nd, Mr. and Mrs. F. M. Bates began a
stellar engagement which ran three weeks, up to May 11th. Mrs. Bates
was the lead horse in this team, and the repertory was selected to
give her prominence as the principal star, and the announcement should
have been _Mrs._ and Mr. F. M. Bates. She played "Pigeon the Torment,"
"Camille," "Leah," and "Lucretia Borgia," and all the great popular
roles for tragediennes, and was the first to introduce to us the great
historic play of "Elizabeth." The Bateses made a very good impression
and were so pleased with the result of their engagement that they
remained in Salt Lake during the ensuing summer. Blanche Bates, now a
very successful star under David Belasco's management, was with the
Bateses then, and as she had not been christened Blanche, she was just
called Baby Bates.

May 13th to 16th was filled by Berger's Swiss Bell Ringers, and Sol
Smith Russell, who was then doing specialties with the Bergers little
dreaming of his "Poor Relation" or "Peaceful Valley."

A few nights of stock followed this, and not proving strong, the
Bateses were re-engaged and put in another week, from the 22nd to the
28th, introducing some new plays of lighter caliber.

May 29th the Majiltons put in a date, and the stock then played a lone
hand up to June 8th. Billy Emerson's minstrels held the boards June
10th, 11th and 12th, and Joe Murphy came and gave us some more of his
"Help," 13th, 14th, 15th. Stock put in another week alone, 17th to
22nd, when Charles Wheatleigh opened a return engagement, 24th and
played till July 1st. Wheatleigh gave "Lottery of Life," "Flying
Scud," "After Dark" and "Arrah Na Pogue." That was Charley
Wheatleigh's farewell, we never saw him more.

The Bergers and Sol Smith Russell had swung around the circle and came
back for a second engagement. They found Salt Lake a congenial and
profitable place and put in another three nights with us, 4th, 5th and
6th.

James M. Hardie, who had just returned from a long professional
engagement in San Francisco, played a two nights' engagement, opening
in a play called "Early California." Season closed June 8th. "Jim"
Hardie left Salt Lake for the East soon after this his last appearance
here, as it proved, for he has never since returned. After playing in
support of stars several seasons, "Hoey and Hardie" starred for
several seasons in "A Child of the State," but it was not a money
maker, and after several losing seasons the firm of Hoey and Hardie
dissolved, and Jim cast about for a new "angel." Hoey's "old man" had
been the angel in the "Child of State" venture and it was understood
at the time that after making up some rather heavy deficits, he grew
weary and refused to put up any longer for "The Child of the State."
Hardie had some money which came to him through his wife, who had an
annuity, but "Jim" had a strong touch of the "canny Scot" in him, that
always impelled him to let someone else "put up," In time he found a
new "angel," and one more to his taste, for this one was of the female
persuasion, and Jim always was a favorite with the ladies. He caught a
society woman who was stage struck and wanted to star; she had the
money to pay for the privilege, and this was just such a snap as "Jim"
wanted. So the lady put up the money to put out the show, and she was
starred in conjunction with Jim. The firm name stood "Hardie and Von
Leer." "A Brave Woman" was the name of the play they chose for the
venture; there was a great significance in that title. The show went
out with a stock of $1,200 worth of special printing, so Hardie
himself informed me in New York. They went into the south, but in six
weeks the company was disbanded and Hardie and Von Leer were back in
New York. Then they got up a cheaper company and went into the dime
museums, where they made a little money. The dime museums were very
popular just then and a number of good attractions played them. The
play of "A Brave Woman," however, was not an unqualified success,
although Sarah Von Leer seemed to be, and held onto her partnership
through thick and thin. After a while Hardie got a play called "On the
Frontier," and conceived the idea of getting a brass band made up of
real Indians. It proved a ten strike, and, after doing a big business
with it in this country for two seasons, he took it to England in '93
and made a barrel of money with it. Sarah is still his partner and
still stays by him. They built a fine theatre in Manchester, which has
been their headquarters for the last twenty years. Mrs. Hardie and her
daughters have been back in Salt Lake for a number of years. They have
never crossed the ocean to join the husband and father. It must be
acknowledged that the dramatic profession is altogether too prolific
of this sort of thing. Its tendencies are to draw even well mated
couples apart--a hundred cases could be cited; but we will let the
reader think the matter over and divine the cause.

On July 31st Jim McKnight, a young fellow of ambition and talent, put
on a play of his own writing, which he called "The Robbers of the
Rocky Mountains," with an exclusive amateur company. Young McKnight
drew on his imagination for his robbers; had he written years later he
could have taken his characters from life, with Butch Cassidy and the
whole Robber's Roost gang in the cast.




CHAPTER XVI.

SEASON OF '72-'73.


The season of '72 and '73 opened on August 7th with George Chaplin and
Clara Jean Walters as stock stars. They opened in the classical drama
of "Buffalo Bill." This was a long time before Cody started his wild
west show and probably this play was what put him in the notion of
starting in the show business. Chaplin made a fine Buffalo Bill, and
if Cody saw him in the part it must have made him envious to see
another fellow stealing his thunder. The combination ran two weeks,
when Stetson came in "Neck and Neck" with us and played a week,
presenting also "Daring Dick" and "The Fatal Glass." Chaplin had a
decided objection to supporting male stars of mediocre ability, and
second class repertory, and so he generally laid off on such occasions
as the Stetson engagement; besides it was a matter of economy with the
management; they did not need him, so George laid off during Stetson's
week, and then came with his "Seven Sisters" the following week.
George was immense as the big sister and was just a trifle vain over
the fact that he could outshine all the women in the company in female
apparel.

On September 2nd Ada Gray opened a week's engagement in "Article 47"
and gave besides, "Jezebel" and "Whose Wife." Ada was a pleasing
actress, of fine appearance, but didn't seem to quicken the pulse of
her Salt Lake patrons, after their seeing some of the greater ones.

On the 9th Chaplin and Walters resumed as stock stars and played
continuously up to the 23rd, T. A. Lyne taking a benefit on the 20th
instant and playing "Richelieu." On the 23rd Chaplin dropped out of
the company, closing in "School," and on the 25th the stock company
kept right along with Clara Jean Walters featured through the October
Conference and up to the 12th.

On October 1st W. T. Harris made his initial bow to the Salt Lake
public; he came from one of the Omaha theatres, accompanied by Annie
Ward and Miss Blanche de Bar, a sister of the popular manager and
actor, Ben de Bar. Miss De Bar had already grown old in the
profession, but proved nevertheless a very useful member of the stock
company. She played old women and characters and on more than one
occasion proved her agility in spite of years and gray hairs, by doing
an Irish jig or a "Dolly Varden" lilt. The rag time had not yet come
in vogue or Miss De Bar could have done a cake walk with the best.

"Jimmy" Harris, as he was familiarly called, cut quite a figure in the
future history of the theatre as manager and deserves more than a
passing notice. He was featured on his opening night in an Irish
farce, "That Rascal Pat," and made a very fair impression. Miss Annie
Ward, who accompanied Harris to Salt Lake, and who at first was
supposed to be "Jimmy's" wife or _fiancee_ (from all appearances), was
a young woman who had been beautiful, but her face was now so deeply
pitted with small pox that she invariably in public kept it covered
with a veil, except when on the stage, where she could veil the
blemish under a thick coat of grease paint, and, this artistically
done, she presented as fair a face as one could wish to look at.
"Annie," 'twas said, had been the _fiancee_ of the great African
explorer, Henry Stanley, before he caught the African fever, which
tore him away from her and all his early associations. Annie found
consolation for her bereavement in a close friendship with "Jimmy." So
close was their alliance that on their joining the stock company here
together, everybody judged they were man and wife, or ought to be.
They had taken a room together in old man McDonald's house, just under
the shadow of St. Mark's church, and everything went well for a little
while--but by some inadvertence the good Mr. McDonald discovered that
they had not secured the necessary license for rooming together, and
he very promptly and perhaps rudely gave them notice to vacate. They
thought the old man was a crank and quite unreasonable, to turn them
out of his house for such a slight offense, in a community where many
of the men were living with a plurality of wives. They had an idea it
was a sort of Oneida community here; free love, etc. They secured
another lodging house, but the lady who ran that was a very strict
Mormon also, and so soon as she found out how matters stood she served
them with a notice to quit. "Jimmy" got a "hunch" from some one that
he would have to _marry_ Annie or sever the alliance altogether, as
the Mormons would not stand for anything of this kind. It was even
intimated to him that he might be indicted for _lascivious cohab_,
which so terrified him that he suddenly ceased his relationship with
Annie altogether, and left her to paddle her own canoe. Those who were
acquainted with the circumstances have always blamed Harris for his
treatment of Annie Ward; he should have married her, was their
thought, but he turned away from her in this time of mutual trouble.
His offense was condoned, and gradually he worked himself into favor
until he became quite an object of interest with the ladies about the
theatre, while those same ladies turned up their noses at Miss Ward,
and made it so unpleasant for her, that she was glad to terminate her
engagement long before the season was over, and go back to her former
haunts. Poor girl! She went down hill rapidly after returning and died
wretchedly in St. Louis a year or so later, while Harris remained
here, married one of Brigham Young's daughters and was given the
management of the theatre, which he held for several years. Harris and
his wife went to New York in about '80, where they have resided ever
since. "Jimmy," who has wealthy relatives there, has a good easy
position and raised a nice family of four or five children, to whom he
has bequeathed his real name of Ferguson, that of Harris being merely
adopted to hide him from his relatives while he was a profane stage
player. So runs the wheel of fortune.

    Hamlet. I did love you once.

    Ophelia. Indeed, my honored lord, you made me believe so.

    Hamlet. You should not have believed me; for virtue can not so
    inoculate our old stock but we shall relish of it. I loved you
    not.

    Ophelia. I was the more deceived.

    Hamlet. Get thee to a nunnery.

                                              --Shakespeare.

On November 8th Mr. Al Thorne was added to the stock company and made
his first appearance in the play of "Maud's Peril." Al Thorne came to
Utah as a soldier in Johnston's army. He was a member of the Camp
Floyd Theatre company and played with Dick White, Mrs. Tuckett et al.
He contrived in some way to remain in Utah when the Civil War broke
out, instead of following "the uncertain chance of war." He had
married and settled in the north part of the territory, and was
associated with the Richmond Dramatic Company for several years and
now found a place in the Salt Lake stock, where he remained for
several years, doing excellent work in "heavies" and "old men." Thorne
joined the Mormon church and got more family than he could take care
of--two families in fact, which proved his ruin. He became estranged
from them both, and for the last twenty years of his life was
practically an exile, living a solitary life in the mining camps of
Nevada. He died three years ago at De Lamar, Nevada, a prematurely old
man, with no relative near. But Al always had friends, for he was a
good natured, generous hearted man--his own worst enemy. "Requiescat
in pace."

George Chaplin having exhausted his extensive and variegated
repertory, and taken his departure for pastures new, the stock
company, with Clara Jean Walters, played through the October
conference. The very palpable weakness occasioned by Chaplin's
retirement was filled by F. M. Bates, who with his wife and Baby
Blanche had been rusticating in the vicinity ever since their
engagement in the previous May. Bates opened on the 14th of October,
as joint star with Miss Walters, and continued until November 21st,
the only interruption being a three nights' engagement of the
Australian actor, James J. Bartlett, who gave "David Garrick," "New
Magdalen," and "Married for Money."

On November 25th Mrs. Bates opened her second engagement at this
theatre, supported by her husband (Frank), Miss Walters and the stock
company. She played two weeks, repeating mostly her favorite roles,
"Elizabeth," "Lucretia Borgia," "Camille," etc. Mrs. Bates during the
time her husband, Frank, had been playing with the stock company, had
played an engagement with John Piper, the Virginia City manager.
Returning here she sent ahead of her to exploit her return engagement
Mr. John Maguire, who has since made a name as a theatrical manager,
but who was then a very enthusiastic disciple of Thespis, and was
ambitious to make a mark in the histrionic art. Maguire by his own
confession had been educated for the Catholic priesthood, and
certainly a good priest was spoiled when John turned Thespian, but the
stage fever caught him, and struck in so deep that he was irrevocably
lost to a profession which he was capable of adorning, and exposed "to
the slings and arrows of outrageous fortune" that are generally in
quiver to be hurled at the unfortunate actor or manager who does not
achieve an unqualified success. At the time of which I write, 1872,
John Maguire was young (about 30, eh, John?), and handsome; he was
often mistaken for Lawrence Barrett, the tragedian, which was a
flattering compliment to John, as he was a very great admirer of
"Larry" Barrett. We don't know just how it came about, but he was cast
in Mrs. Bates' opening performance of "Elizabeth" for the part of the
young Scottish king, James VI, unless it was that he had played it in
Virginia City with the lady, and she thought he looked the part so
well. Any way the company was numerous and the managers let John out
after his performance of King James. The week following the Bates
engagement, there being no star attraction booked, the managers gave
it to the writer, who had not been playing in the stock company that
season. I arranged a repertoire for the week which included "The
Duke's Motto," "Macbeth," "Louis XI," "The Stranger," "Jack Cade," and
"The Three Guardsmen." A very ambitious attempt, as I view it now, but
all parts that I was "up" in, having played them in the company
before. While rehearsing before I opened, Maguire, who was out of a
job and evidently out of money, come to me and in a very friendly and
confidential way informed me that he had just received the bells. "The
bells?" I inquired, "what bells?" "Why Henry Irving's Bells, that has
just completed a year's run in London." "Take my advice, John," said
he, "take down some of those 'old' chestnuts you have billed and put
on 'The Bells' for two nights in their place and you'll be money in by
it." "Oh, that's impossible," I objected, "my plans for the week are
arranged and cast, besides I know nothing about the play of The
Bells.'" Maguire was earnest, however, for he had a point to make, so
he urged me to make a change. "I have two printed copies of the play,"
says he, "and will let you have them and copy the remainder of the
parts for you for $10. I want to get to Pioche; things are booming
there and I am short of money; you can advertise the wonderful run the
play has had in London, and you'll be the first to play it west of New
York, where Studley is playing it now." John arguments prevailed with
me and I took down "Louis XI" and "The Strangers" and put up "The
Bells" for the Wednesday and Thursday nights. Maguire delivered the
goods, got his money and took the stage for Pioche. Bidding me good
bye and good luck, he says, "There's a theatre down there, and if I
can secure it, you will hear from me before long." "The Bells" gave me
the hardest day's study I ever did; playing "Macbeth" the night before
and staying out later than was discreet, I was reading "Mathias" at
rehearsal next morning to play that night, but we got through it
fairly well, and to my surprise the local papers praised the
performance highly next morning, but "The Bells" did not prove the
great drawing card Maguire had so sanguinely predicted, the older and
better known plays drawing better.

On Friday evening, while playing "Jack Cade," a few of my admirers
sent up a request to have me play "Othello" on the following night
instead of "The Guardsmen," with Mr. F. M. Bates as Othello, Mrs.
Bates as Emelia and myself as Iago. I should have promptly decided not
to make the change, but nothing in the way of work seemed too onerous
for me, and too willing to oblige, I sent back word that if they could
get Mr. and Mrs. Bates to volunteer I would make the change. Some of
them waited on the Bateses with the result that Mrs. Bates declined to
be Emelia, and Mr. Bates had never played Othello, but would play Iago
if I would do Othello. I was in Mr. Bates' fix, having played Iago
several times but never Othello. However, I consented to try it and
gave myself another hard day's study to get perfect in Othello. Next
morning Sloan, in the Herald, roasted me for playing a "star" part
like Othello in stock costumes, notwithstanding I had been wearing
stock costumes all the week. He spoke rather favorably of my acting,
however, which was more than I should have expected. I would not be
nearly so accommodating now. This my first "stellar" engagement closed
on December 14th, 1872. The record shows that the farce of "The
Spectre Bridegroom" was played after Othello, with Phil Margetts in
his great part of Diggory. In those "palmy days of the drama," it was
quite usual to have a farce after a five-act tragedy. On benefit
occasions not infrequently there would be a long play, then an olio of
singing and a fancy dance, and a farce to close the "evening's
entertainment."

During this engagement Clara Jean Walters played the leading female
roles, and rendered effective support, as indeed she always did. She
was the most capable and versatile "leading lady" the stock company
ever had and remained with it for several seasons a well-established
favorite.

Carl Bosco, a very clever magician, put in two nights following the
Lindsay engagement, 16th and 17th, and Mrs. Chanfrau opened the 19th
inst. for two nights and appeared in "A Wife's Ordeal" and "The
Honeymoon." On the 26th John T. Raymond opened a two weeks'
engagement, giving "Toodles," "Only a Jew," "Rip Van Winkle," and "The
Cricket on the Hearth." Johnny Allen and Alice Harrison and "Little
Mac" for three nights. These parties put in from January 6th to the
15th. Johnny Allen and Alice Harrison were a great attraction in those
days; how many remember them now? And "Little Mac," that homely dwarf,
what wonderful stunts he could do with those stunted legs of his!--a
circus in himself was Little Mac.

On the 20th of January William J. Cogswell joined the stock as leading
man, Miss Walters still retaining position of leading lady. A Miss
Florence Kent (Mrs. McCabe) had been added to the company, and being
petite and good looking, as well as talented, Miss Walters saw a
chance to gratify a long-cherished ambition, which was to play Romeo.
(She would show some of us men folks how to make love.) So the piece
was put up with Miss Walters as Romeo and Kent as Juliet; they made a
pretty couple. Miss Walters looked very dashing, being a nice size for
Romeo, but making love to one of her own sex was not such an easy task
as she imagined and although it was a very fair "Romeo and Juliet," it
did not make so great a mark as many of her female performances. The
stock with the new leading man, Cogswell, played along till February
3rd, when Yankee Robinson came in for a week in "Sam Patch" and "The
Days of '76," February 3rd to the 8th inst.




CHAPTER XVII

SEASON OF '72-'73.--CONTINUED.

Before this time John Maguire had been heard from; he had found on his
arrival at Pioche that there was some sort of a theatre there. It had
been built for a minstrel company of whom Harry Larraine, formerly of
the Fort Douglas band, was the leader. At the expiration of the
minstrel engagement, Maguire secured the theatre when he immediately
set about to put a dramatic company in there. He telegraphed for Mr.
and Mrs. Bates, offering them a strong inducement to go there. He also
telegraphed for the writer, offering him a salary that was sufficient
inducement for him to go. John W. Dunne, a young Californian, who had
been in the Salt Lake Theatre company, was also engaged. Our fares
were arranged for and about the middle of January this nucleus for a
dramatic company left Salt Lake City for Pioche for a six weeks'
engagement. Our party consisted of Mr. and Mrs. Bates, Baby Bates
(Blanche), the now famous actress, who was then about a year and a
half old; Mrs. Bates' sister, Miss Wren, who acted as the chief nurse,
and Mr. John W. Dunne. It is a matter well worthy of record that Mr.
Dunne was married the night before he left for Pioche, to Miss Clara
Decker, a niece of Brigham Young, a very pretty and attractive girl,
who had been assistant costumer in the ladies' department of the
theatre for some time. It was of course, a great trial to the young
couple to have to part so soon, after one brief night of married life,
but the exigencies of the theatrical business are at times merciless.
As they had been engaged for some time, it was decided when Mr. Dunne
accepted the Pioche engagement, that it would be best for them to get
married before he went away lest absence and distance might cause one
or both to change their minds. How wise a precaution this proved the
sequel will show. This proved to be a memorable trip. Every member of
the party will remember that trip to their dying day except Blanche,
and she was too young to remember anything about it. The schedule time
from Salt Lake to Pioche was fifty-five hours. We were five days and
nights, or one hundred and twenty-five hours making that journey. The
Utah Southern was then running only as far as York, about seventy-five
miles south of Salt Lake. This left two hundred and seventy-five miles
to be traveled by stage. Our stage was not a Concord, but a rather
dilapidated specimen of the "jerkie" or "mud wagon." It had seating
accommodations for nine persons, and two could ride on the "boot" with
the driver. There were two male passengers in addition to our party of
six--six counting Baby Bates, who must be figured in as one, for
although quite small, she was very much in evidence throughout that
journey. One of the gentlemen rode most of the time on the "boot" and
occasionally one or another of the men would take a spell on the
driver's seat so that we were never crowded uncomfortably; yet, oh,
how tired we did get and especially the ladies, before that ride was
ended. It was the 18th of January, the weather very pleasant but very
cold nights, and our first night on the stage was decidedly
uncomfortable. We reached the terminus of the railroad, York, about
noon, ate dinner in a shack of a restaurant and started on our stage
ride about two p. m. We were not long in discovering that there was
something the matter with the horses. The driver, in answer to our
queries, informed us that they were all suffering from the epizootic;
it was getting awful bad, he explained, "don't believe we've got a
horse on the line that is free from it." We agreed with him that it
was awful bad. The poor beasts coughed and sneezed continuously,
throwing off effluvium, the odor of which was disagreeable in the
extreme. On our second day out a regular January thaw set in and the
snow melted so rapidly that the roads got very bad; a number of times
the men had to get out and walk, and on several occasions the well
named "mud wagon" got mired so deeply and the horses were so weak, we
had to get a fence pole from the neighboring fence and lift the wheels
out of the holes, the horses being unable to budge the old coach. The
further south we got the worse the roads got. We had to change the
horses about every twenty miles, but they were all alike, weak and
dispirited, and the stench about the stables at the different stations
was nauseating. On the fifth day out we arrived at the last station.
Between it and the mining camp there was a hard mountain to climb and
the snow was falling thick and fast. It was then well on to sunset and
to our keen disappointment the station man and driver decided it would
be folly to try to get over the "divide" in that storm, and that we
would have to remain at the station until morning. Here was an
unlooked for and unpleasant predicament, but there was no help for it,
and it was better than getting stuck on the "divide" in a heavy
snowstorm. The hostler was a good natured fellow and tried in his
homely way to reconcile us to our fate. "I ain't got so very much grub
here and what there is ain't very dainty, I 'low, especially for the
ladies, but such as it is you're welcome to, and you can have a good
fire, and if youse want to stretch yourselves out after supper, I can
rake up quite a few blankets and laprobes, and ye can lie down when
youse tired of settin' 'round the fire." The odor of the stable from
the epizootic was almost sickening and the thoughts of eating there
was anything but cheering, but we were all hungry, almost famished,
having had nothing since breakfast. So we made the best of it. The
hostler hustled in great shape, the presence of the ladies and the
baby inspiring him to extra exertions in our behalf. He soon had a big
pot of coffee and a pan full of bacon cooking, and he had to make some
bread too, in which Mrs. Bates and her sister lent him their
assistance. The quickest thing he suggested was slapjacks, and we all
agreed to the quickest thing, and so before long we were all partaking
with what relish we could of the hostler's coffee, slapjacks and
bacon, and, notwithstanding the disagreeable odor of the stable, we
all contrived to satisfy our hunger. After the hostler cook had
cleaned away the few tin plates and cups, he proceeded to strew the
end of the little "hostler's room" farthest from the stove with a
diversity of blankets and laprobes, all of which were permeated with
the odor of the stable, and suggested in his rough but kindly way
"that we had better stretch ourselves on the floor as it was a long
time till morning" and he knew "we must be pooty darn tired a ridin'
so long in the coach." Mrs. Bates and her sister would have preferred
sitting up if they only had comfortable chairs, but there was nothing
but a rough bench and a couple of rough stools in the place and the
majority of the men had been standing about or sitting on the floor
all through the supper function and sleep gradually overpowered the
party, and one by one they "knit up the raveled sleeve of care" and
were glad to bunk down on the uninviting bed the kindly hostler had
improvised for the occasion. In less than an hour after our sumptuous
repast, the entire party were in the arms of Morpheus. The women and
the baby Blanche were in the most secluded corner, then Frank Bates,
John Dunne and myself stretched out on the hospitable blankets. These
took all the space and the two strangers and the driver wrapped up in
their overcoats and betook themselves to the portion of the floor
unoccupied; this was close around the stove. The floor of that
hostler's room was literally covered with the sleepy travelers. It was
a change of position and measurably restful, but our sleep was broken
and anything but sweet, even though it was the "innocent sleep." The
constant coughing of the poor, afflicted horses and the peculiar and
disagreeable odor of the epizootic, rendered sleep anything but
delightful, but "necessity knows no law," and in spite of all the
disadvantages we managed to snatch some repose from the "chief
nourisher in life's feast." Unenviable as was our position in the
hostler's room on this memorable night, it would have been much worse
had we undertaken to cross the mountain. Snow was falling thick and
fast, and the wind blowing hard enough to be very disagreeable. After
we were all asleep, or apparently so, the hostler shoved a stick of
wood in the stove which was getting cold, and then turned into the
hayloft to get a little sleep himself, for he had to be astir before
daylight. Before daybreak the storm had spent itself and the sun rose
bright and cheerful, mountain and vale deeply covered with snow. Our
breakfast, which the hostler prepared while the driver was feeding and
watering the horses, was exactly the same as we had for supper:
coffee, slapjacks and bacon, with the addition of some tea which one
of our fellow passengers prepared for himself and the ladies. It was a
sample package he had and cost him, he solemnly declared, $5.00 a
pound. This gave an extra flavor to it no doubt, at all events the
ladies declared it was fine and we did not doubt its being more to
their taste than the coffee the good hostler provided. Breakfast over,
we once more clambered into the shaky old jerkie with the admonition
from the driver that we men would have to walk when we came to the
steep places. We thanked the kindly hostler and invited him to come to
the show when we got to playing in Pioche. The snow was six or eight
inches deep and even on the gradual ascent, as we started up the
grade, it was all the horses could do to pull us, and the snow soon
began to melt and the road to get steeper. It was evident we men would
have to foot it, and most of the way to the top, and so we got out one
or two at a time till we were all walking and occasionally we had to
give a shove on the coach to help the willing but weakly horses get to
the top. Once there we were all very glad to get in; we were not long
in rattling along the down grade into Pioche, all very glad to get
there. Maguire, who had been impatiently expecting us for two days,
was overjoyed to see us, for he was full of expectations as to the
business we were going to do. He had secured us the best hotel
accommodations the camp afforded, and they were duly appreciated after
our recent experience at the station.

After dinner we all took a walk with Maguire at his invitation, to see
the theatre where we were to play our six weeks engagement. The
building stood back from the principal street which was built right in
the ravine, the stage entrance facing the street, and the entrance for
the audience facing the street above. We had ventured various
conjectures in reference to this theatre that the always over sanguine
Maguire had secured a lease of. We had not expected very much and yet
we were disappointed. We all entered at the stage door which opened
directly from a flight of steps onto the back of the stage, and as we
beheld the wonderful temple of Thespus, where we were to do honor to
his art, the exclamations that escaped us were not well calculated to
enthuse John Maguire, but rather to make him feel a little shaky about
the venture he was making. Ye gods! What a transition from the Salt
Lake Theatre to this shack! The theatre was about 35x75 feet, the
stage occupying twenty-five feet. The orchestra floor for reserved
seats ran from the stage towards the front about 15 feet. The rest of
the space was fitted with rough board seats a la circus, the natural
declivity of the ground giving the seats the necessary pitch for the
audience to see the stage. The walls of the building were of rough
pine boards about ten feet in height and the entire auditorium was
roofed in with ducking or light canvas. The stage part was roofed with
shingles so as to preserve the scenery from the rain. Of scenery there
was a very limited supply and that not very artistic, being painted by
an amateur. The stage projected beyond the curtain some six feet and
on each side of this apron or projecting stage was a private box,
finished off with cheap wall paper similar to the interior scenes on
the stage. These boxes were well patronized. Every night they were
filled with the fair, frail denizens of the camp at the rate of $10 a
box. The opening play had already been announced, but owing to the
lateness of our arrival, was necessarily postponed for a few nights.
Maguire had gotten together some people of more or less experience
(mostly less) to fill up the minor parts in the cast. He also took a
hand himself and rehearsals were started the same night we arrived.

The opening night came around and the Opera House (that's what John
called it) was packed to suffocation. The boxes were filled to
overflowing with the swellest looking women in the town. The play was
"Camille" and Mrs. Bates had them all shedding tears. The girls in the
boxes were deeply affected. Most of them were "like Niobe, all tears,"
but we received no intimation that this powerful sermon of Dumas was
instrumental in turning them from their life of shame.

Pioche was a camp of about eight thousand people and was "booming." We
played four weeks to good paying business. This fairly exhausted the
Bates repertoire, and business began to fall off appreciably. So a
farewell benefit was worked up for Mrs. Bates and she made her final
appearance at Pioche in a blaze of glory, chiefly emanating from a
diamond ring with which she was presented on the memorable occasion as
a token of regard to a distinguished actress from a few of her Pioche
admirers. The Bateses were fortunate. They had been playing on a large
percentage of the gross receipts and had cleared up quite a nice
little stake in the four weeks they had played and they struck out at
once for San Francisco, and from there went to Australia where, in
'78, Frank Bates died, after which Mrs. Bates and Blanche, now a girl
of eight, returned to San Francisco in 1880. Maguire still kept myself
and Dunne and the rest of the company, thinking that with some new and
lighter plays we could still do a paying business. The results were
not very satisfactory. We played several weeks in a sort of spasmodic
way, and then organized a little traveling company in which a clever
young girl, Maggie Knight, whom Maguire had discovered, was a feature,
and we played back to the C. P. R. R. On one of these occasions in
Pioche, a very ludicrous thing happened which should not go
unrecorded. We were playing the burlesque of "Pocahontas." Maguire was
playing Captain John Smith, the writer Powhatan, and Johnny Dunne, as
we were short of ladies, was playing Pocahontas. In the scene where
Smith is brought in a prisoner and is about to be executed, a
catastrophe happened to John Maguire, so sudden and appalling, should
he live to be as old as Methusaleh, I doubt if he would ever forget
it. Where Smith says, after viewing the stone on which he is to be
decapitated,

    "It's a hard pill, but a harder piller,
    Life's a conundrum," and Powhatan replies:
    "Then lie down and give it up."

Just at this point a sudden scream emanated from one of the boxes,
which were well filled on this occasion with the demi monde, then
several screams of laughter, then the whole audience began to roar
with laughter. I knew something had gone wrong for there was nothing
in the text to extort such screams and peals of laughter. I glanced
over the group on the stage, and to my amazement I saw Mac's trunks
had dropped down to his feet, and he, all unconscious of the fact, was
standing there in a pair of thin cotton tights. His knee pants or
trunks, were of very light material and the drawstring with which they
were fastened around his waist, had given way and they dropped to the
floor, and so excited was he in his character he did not notice it. I
said to him in _sotto voce_, "Your pants are down." Then he cast his
eyes down, and the look of abject despair that came over his face as
he said in a subdued tone, "Oh, my God!" and stopped and pulled the
gauzy things up to their place and walked off the stage to readjust
them, we can never forget. The girls at this resumed their screams of
laughter and the audience roared until they were tired. When the noise
subsided, Maguire, with his costume adjusted, came back to finish the
scene, but it was several minutes before we could proceed, so much did
the audience enjoy this simple accident. Maguire remained in Pioche
some time after I left there, and finally left the place worse off by
far than when he went there, and I did not see the genial John again
till I went to Portland in '78 to play in the New Market theatre of
which he was the manager. Just before the departure of Mr. and Mrs.
Bates, John Dunne and myself for Pioche, the Cogswell-Carter company
arrived in Salt Lake, having traveled by stage and team from
California, playing the towns en route.

This company consisted of J. W. Carter, Carrie Carter, W. J. Cogswell
(Carrie's brother), Ed. Harden, Lincoln J. Carter (then a very small
boy), and probably one or two others, minor people who did not come
into publicity here. On arriving here the party waited upon President
Brigham Young to pay their respects, and to inform him that they had
been commanded by the spirit world, with which they had been having
communications (by the "Planchette" route), to go to Salt Lake and
join the Mormon church as that was the true church and the only one
that could save them. This told in all apparent sincerity, with the
request to be baptized, was altogether a pleasing surprise to Brigham
and his counsellors, and the Cogswell-Carter company were warmly
welcomed. They were baptized and confirmed into the church without
delay, and within a few days they were all engaged at the Salt Lake
Theatre. Their coming was very timely for the theatre managers, for
they had lost several of their leading people. "Jim" Hardie had gone
for good, McKenzie, who had been playing steadily since the opening of
the theatre in '62 and was wearied with study, had been released and
sent on a mission in the belief the change would benefit him; John
Lindsay was off on a "fool's errand" playing for John Maguire in
Pioche, and the Cogswell-Carter-Marden accession filled the gap very
nicely, and the season progressed to its close without much friction.

During the absence of Mr. Dunne and myself from Salt Lake the
following attractions appeared at the theatre. Jean Clara Walters, W.
J. Cogswell and the stock company from February 8th to March 10th, on
which date a new play by Edward L. Sloan (then editor of the Salt Lake
Herald) was produced. It was entitled "Stage and Steam." It was
intended to show the advance of civilization. It had a railroad scene
and a stage coach in it and a sensational saw mill scene, where a man
was placed on the log carriage to be sliced into boards, but was
rescued just in the nick of time. Jos. Arthur's saw mill scene in
"Blue Jeans" is exactly the same thing, although it is scarcely
probable that Mr. Arthur ever saw Sloan's play. The play only had two
performances. March 10th to 15th, Frank Hussey and Blanche Clifton
held the boards in "Hazard" and some other plays. Marion Mordaunt was
the next stellar attraction and gave "The Colleen Bawn" and "Hearts
are Trumps" the 17th to 10th. On the 24th a star of the first
magnitude appeared. It was Augusta Dargon. She opened in "Camille" and
played also "Deborah (Leah)," "Lady Macbeth," "Meg Merrilles" and
"Lucretia Borgia." Miss Dargon was one of the greatest actresses our
country ever produced, but she was not financially successful. She is
the only American actress who has ever played Tennyson's "Queen Mary."
Mrs. John Drew made a costly production of this play at the Arch
Street Theatre, Philadelphia, with Augusta Dargon as the star during
the Centennial. But it was not a financial success. The writer did not
meet Miss Dargon till 1878, when she came to the New Market theatre in
Portland and played a two weeks' engagement under the management of
our old friend John Maguire. Here I had the pleasure (and hard work)
of playing the opposite roles to her in her extensive repertory,
changing the bill nearly every night during her engagement. Toward the
close of it she put up Tennyson's "Queen Mary" in which I had to play
King Phillip of Spain on two days' study, a very long, arduous part,
that put me on my mettle to master it; also studied and played
"Cardinal Wolsey" for the first time during this engagement. Miss
Dargon, who was under the management of Henry Greenwald, after her
Portland engagement, made a tour of the "sound" playing Tacoma,
Seattle, Port Townsend and Victoria, supported by the New Market
Theatre company, and returning, played a few more nights in Portland,
then took steamer for Australia. Under Mr. Greenwald's management she
had played successful engagements both in San Francisco and Portland,
and when she opened in Melbourne she just captivated the city, playing
extraordinary engagements both there and in Sidney. The press of
Australia printed volumes in her praise. She made a great triumph, and
in the very flush of her victory, some wealthy Australian captured
her. She got married and retired from the stage, and Greenwald was
forced to return without her. She never came back to us. Her return
engagement here was played before she went to Australia.

Mr. "Bill" Cogswell seemed to have dropped out of the company before
Miss Dargon's engagement and consequently David McKenzie was her
principal support. After the Dargon engagement, which closed March
29th, Jean Clara Walters, Florence Kent and the stock company played
through the April conference without a star attraction, and filled up
time to April 28th when for some reason the season closed but was
reopened on May 3rd with the stock company who played up to the 6th.
On the 8th of May, Augusta Dargon began a return engagement which
lasted till the 15th. She opened in the new play "Unmasked," and
repeated "Deborah," "Camille," and "Lady Macbeth," and closed in a new
piece "The Rising of the Moon." It speaks highly of Miss Dargon's
popularity in Salt Lake that she should play a return engagement in
five weeks after her first one.

Blind Tom, the musical prodigy, was the next attraction. He played but
one night, May 17th. On the 19th Annette Ince began a return
engagement of six nights and a matinee and the record shows a change
of play for each performance. She gave "Elizabeth," "Mary Stuart,"
"Medea," "The Hunchback," "The Stranger," "The Honeymoon," and the
"Lady of Lyons." This repertory in one week undoubtedly kept the
company right busy. Miss Ince was a sterling actress, and always gave
satisfaction, but she did not possess the faculty of making your blood
thrill in your veins and your hair rise occasionally that Miss Dargon
had. It is just a little singular how she came so close on Miss
Dargon's heels this time. It seems like poor management to play two
lady stars, so nearly alike in repertoire, so close together, but
these accidents would happen once in a while. Frank Hussey and Blanche
Clifton came back for two nights, May 26th and 27th. Then the stock
had to take up the burden again and carry it from May 28th to June
21st. By June 1st John Dunne and the writer had returned from the
Pioche trip and were back in their old positions in the company. Dunne
had a surprise party in store for him on his return. Instead of being
received with open arms and loving embraces by his bride of a night,
she coldly repulsed him and refused ever to live with him, and she
kept her word. This was owing to things she had heard about John and
his freedom with other females while he was at Pioche. This did not
discourage Dunne, however, from trying again. He has had several wives
since, the best known being Patti Rosa, a talented actress whom he
managed and married. Clara, on the other hand, was not inconsolable,
and her enchantment with the stage and stage actors having been rather
rudely dispelled, she sought "surcease from sorrow" in the affections
of a well to do farmer, who has proven more constant, and with whom
she has raised a representative Mormon family.

Madam Anna Bishop put in a week of high class concert from June the
25th to 30th. On July 2nd John W. Dunne took a benefit, on which
occasion we repeated one of our Pioche performances with an important
change of cast. "Theresa, or the Cross of Gold" and "Pocahontas" was
the bill. Dunne did not find the atmosphere of Salt Lake so congenial
to him as it had been and did not remain for the next season. I next
met him in Cheyenne in '78. He was married and apparently contented,
working at his trade of printer.

The business, after Dunne's benefit, seems to have been spasmodic. The
stock kept on playing, however, during the month of July. That it did
business at all was remarkable, but there being no "resorts" and the
theatre the coolest place in town, in some measure accounts for its
keeping open during the torrid heat of the summer.

Weiniawska, the Polish violinist, gave a concert on the 12th. George
Waldron and his wife drifted in and played a few nights up to the
17th. Then W. O. Crosbie and his wife, Arrah Crosbie, and James A.
Vinson, drifted in from the northwest and were given a few nights.
"Jim" Vinson was featured in the play of "Quits" and "Billie" Crosbie
in some favorite farce, supported by Arrah and the stock company. Both
Vinson and Crosbie made a very favorable impression which resulted in
them being engaged by the management for the following season. It
looked as if all the other theatres in the West had closed and the
actors had come trouping to Salt Lake to get summer engagements. Now
comes Carrie Cogswell-Carter and the available stock to the front.
They opened on the 26th and played till the 30th, and the season
closed.




CHAPTER XVIII.

SEASON OF 73-74.

The season of 73 and '74 was somewhat later than usual in opening. The
reasons were, Clawson and Caine had renewed their lease of the
theatre, and having done so well with it financially, they were not
content to "let well enough alone," but felt that they should make
certain imaginary improvements that different wise-acres had
suggested, and embellishments commensurate with the liberal patronage
they had received during their previous lease of the house.
Accordingly some radical changes were made which cost a plenty of
money and made the managers scratch their heads many a time before
they were all paid for. As an example of how much costly mischief one
interfering "know-it-all" can accomplish, the managers were persuaded
by their prospective new stage manager, "Jim" Vinson, that the stage
of the theatre did not have sufficient pitch or slope from back to
front. It had a slight pitch one-eighth of an inch to the foot, or
about eight inches in its entire depth, which was just perceptible,
but not sufficient to be particularly noticeable or to render it
uncomfortable to walk on or to dance on. But the wisdom of the new
stage manager was paramount, and that immense stage whose huge
supports were built into the solid stone walls, had to be cut loose
from its bearings and the front of it lowered until it had
three-eighths of an inch fall to the foot, a slope that made it
uncomfortable to walk on, indeed, entering in a hurry, one was quite
inclined to slide on. It made it awkward too for stage settings. Every
piece of scenery that was set up and down the stage or at any angle
save that paralleling the front curtain, was thrown out of the
perpendicular that is so essential to make the scenery look well. At
the very time that this alleged improvement was being made, the
pitching or sloping stage (once thought to add perspective to the
scenery) was obsolete and all the new theatres in the country were
being built with level stages. It cost hundreds of dollars to make
this change and instead of being an improvement it was a positive
detriment, is still, and always will be. So much for the advice of a
stage manager. The proscenium doors that had been used for coming in
front of the curtain, were done away with and the present boxes put in
their stead, a very sensible and profitable improvement. Something
like $8,000 was expended in these and other improvements--a costly
experiment the sequel proved. The managers, Clawson and Caine, had in
contemplation a very profitable season and engaged an unusually large
and expensive company. The old stock members had been now so many
seasons constantly before the public that it was thought their drawing
powers were waning, and it was considered necessary to get some new
blood into the stock. Accordingly, while nearly all the old stock was
retained, a number of new people were added to the company, vastly
increasing the salary list. First in prominence was Kate Denin (Mrs.
John Wilson) who was featured as a stock star. Mr. W. J. Cogswell, who
had been playing leads during the latter part of the previous season,
was retained as leading man. "Jim" Vinson, who had put into Salt Lake
before the close of the last season, was retained as stage manager and
to play "old men." "Billie" Crosbie was engaged for the principal
comedy roles, thus displacing the local favorites, Margetts, Graham,
and Dunbar from the choice comedy parts. Arrah Crosbie, Billie's wife,
had to have a place and she made a good utility woman; or she could
play Irish characters. From the mere force of assimilation "Billie"
was a good Irish comedian. Mr. "Al" Thorne, who was added to the
company in the previous November, was retained especially for the
"heavies." "Buck" Zabriske was engaged as prompter at a good fat
salary, because the prompter was a very essential feature in the
makeup of a stock company and generally earned his salary, for he
often had a hard part to play behind the scenes on a first night. Then
there was dear old Frank Rea, with his face and head of antique
beauty; always full of Forrestonian reminiscences, and his wife of
blessed memory, who had grown old in the service, along with her
husband. Then there was Carrie Cogswell-Carter, and Ed Marden was
there. J. W. Carter had parted company with theatrical business and
accepted an engagement to preach the gospel for a while. He succeeded
in making one convert that we know of whom he brought to Utah later
and made Mrs. Carter No. 2. This was a bitter pill for Carrie Carter
and she revenged herself in time by becoming the fourth wife of Bishop
Herrick of Ogden. Apropos of this latter event, about a year later,
December, 1875, Miss Carrie Cogswell was playing Julia in the
"Hunchback" to the writer's "Master Walter" at Ogden. There was a
Gentile paper there at the time called the Ogden Freeman. It was
published by a man named Freeman, who came to Ogden with the advent of
the Union Pacific railroad. Freeman had published his paper at each
successive terminus of the road until it reached Ogden, and then he
settled down there and ran the "Ogden Freeman" as a rabid anti-Mormon
paper. We had journeyed northward and were in the town of Franklin.
Phil Margetts, "Jimmy" Thompson and myself were seated in the hotel
parlor when Carrie came in with a paper in her hand, and in her
lively, good-natured way, said "Boys, I met Freeman of Ogden, in the
Co-op. store just now, and he gave me a copy of his paper. He says it
has a long notice of the 'Hunchback' in it. Let us see what he says."
With that she threw herself into a chair, turned over the paper and
found the notice. It was generally favorable but criticised her Julia
rather adversely, at which she said rather petulantly, "Well, I know
I'm not an Adelaide Neilson, but I guess it was good enough for
Ogden." On further examination of the paper she came across a
"personal" which read as follows: "We understand that Miss Carrie
Cogswell, now playing here with the Salt Lake company, is the fourth
polygamous wife of Bishop Herrick, having herself had three husbands:
first, Thomas A. Lyne, the tragedian; second, J. A. Carter, and third,
Bishop Herrick." She read this notice to us and as she did so she grew
very angry. She strode out of the hotel like an enraged tigress. We
all wondered what she was going to do, but in about five minutes she
strode back in again with a handful of poor Freeman's whiskers in her
clenched fist and her parasol broken to smithereens over the
offender's face and head. In explanation she said, "I don't care how
much he criticises my acting but he mustn't meddle in my family
affairs." Freeman took revenge for this upon the writer several years
later in Montana, by giving him a red hot roast while playing in a
neighboring town. He evidently thought that I had prompted her to the
castigation act, which was not true, and totally unnecessary.

The season was ushered in very auspiciously with the "School for
Scandal," with Miss Denin as Lady Teazle and Mr. J. H. Vinson as Sir
Peter; Mr. Cogswell playing Charles Surface and Mr. Crosbie, Benjamin
Backbite, and the full force of the stock company in the cast.

Stock played through conference dates as usual and up to the 11th when
Laura Alberta and George W. Harrison hoisted the stellar flag, which
they floated for two weeks, opening in "Uncle Tom's Cabin," which ran
for three nights, and then gave place to other pieces in Laura's
repertory. Then followed Fanny Cathcart and George Darrell for a week,
presenting "Man and Wife," "Woman in Red," "Masks and Faces," "Black
Eyed Susan," "Stranger," "Happy Pair," "Mysteries of Stage," and
"Mexican Tigress." Eight different plays in one week must have kept
the stock company out of mischief, one would naturally think. The
reverse proved true, however, in this case, for the leading man,
"Bill" Cogswell, from over-study (we had no understudies in those
days), was driven to drink; Bill got on a jamboree and didn't care
whether school kept or not, and the managers were in a dilemma. Their
next star was May Howard, who opened on November 3rd for a three weeks
engagement of legitimate. It was essential to have a good, reliable
leading man to help May through such a long engagement. Both McKenzie
and Lindsay were away and a new leading man was considered an all
important factor in this emergency. So a Chicago dramatic agent,
Arthur Cambridge, was wired to and he sent out the "brilliant young
American actor, J. Al. Sawtelle." Sawtelle opened on Miss Howard's
second night, playing "Armand Duval" in "Camille." It was a part well
suited to him and he made a satisfactory impression. Miss Howard
played "The New Magdalen" (opening night), "Guy Mannering," "Romeo and
Juliet," and "East Lynne." Harry Eytinge rendered support in most of
her plays--he being the lady's husband this was a very fitting and
graceful thing to do. After three weeks of Howard and Eytinge, Fanny
Cathcart and George Darrell came back as "Man and Wife," doing "Dark
Deeds" and filling in four nights with a "Woman in Red," and doing
funny things in "Masks and Faces."

On November 28th and 29th, an original historical play by Edward W.
Tullidge, entitled "Oliver Cromwell," had its initial performance.
Sawtelle was cast for the title role. "Jim" Vinson, the venerable
stage manager, was greatly impressed with the merits of Cromwell and
cast and staged it to the best of his ability, with the resources
available, but it was far from being an ideal cast. Sawtelle, tall and
slender, looked as little like Cromwell as he did Napoleon, and he was
as far from the character in temperament as he was in stature. The
play with so many historical characters, Cromwell, Charles I., Ireton,
Milton, Vane, Bradshaw, Harrison, et al., was very exacting in its
mental requirements, and was easily greater than the company, yet
notwithstanding this drawback and the fact that nothing was done for
the play in the way of special scenery or costuming, it met with very
fair success. A strong local interest was exhibited and the house was
well filled to witness the first performance of a great play by a
local author. Mr. Vinson said it was the greatest play that had been
written since Bulwer's "Richelieu" and told John McCullough on his
next visit, that if he would take Tullidge's "Oliver Cromwell" and
play it there was a fortune in it for him. McCullough would have made
an ideal Cromwell, and Vinson recognized the fact that he was the man
to make a success of it, but McCullough, like Davenport, who read the
play and made a contract with Tullidge to produce it, had already
passed the meridian of his fame and had not ambition sufficient left
to engage in a new and venturesome undertaking; so Cromwell dropped
back into oblivion. It was revived a dozen years later with the writer
in the title role. The play this time was costumed correctly and the
cast, although still weak in places, was somewhat better than the
original. It was played again in the Salt Lake theatre, at Ogden,
Logan and Provo, and met with a hearty endorsement by the press of
those towns, but it needed more money to tide it to a financial
success than the promoters had to invest, and so Oliver Cromwell has
rested in honorable repose, waiting for some enterprising manager to
unveil him on the stage as Lord Roseberry unveiled his statue facing
Westminster hall only a short time ago; a late but fitting tribute to
the genius of the uncrowned king.

Following Oliver Cromwell, Shiel Barry, a clever actor of Irish
character, filled the week, December 1st to 6th. On the 8th and 9th
Oliver Cromwell was repeated, this making four performances in all,
which spoke well for the popularity of Tullidge's play. On December
16th, Kate Denin took a farewell benefit and made her last appearance
for this season. Mrs. Frank Rea took a benefit on the 19th and on the
22nd Jean Clara Walters reappeared after an absence of about three
months in the "French Spy." Miss Walters had not appeared this season
until now, on Kate Denin's retirement. They were both stock stars and
two lady stock stars keep not their course in the same orbit. Denin
had been shining refulgently since the opening of the season, and
Walters, although in the city, had not appeared, but now she burst
again into public view resplendent in green tights and spangles. On
the 25th Eliza Newton, as the bright particular star, appeared in the
"Nymph of the Luleyburg," a beautiful spectacular piece well suited
for the holidays. Close following the holiday production with its
nymphs and fairies our old friend "Jim" Herne opened a three weeks'
engagement on January 5th, 1874, in the now familiar Rip Van Winkle,
following it up with a variegated repertoire, including "Bombey and
Son," "Rosina Meadows," "Wept of the Wishton Wish," "People's Lawyer"
or "Solon Shingle," etc. Herne, during his previous engagement,
established himself as a great favorite with Salt Lake audiences, and
now he added new laurels to his wealth of fame. Herne was a great
actor. He excelled in eccentric comedy all the actors I have known. On
January 26th, John McCullough began a three weeks' engagement in "Jack
Cade." Annie Graham, herself an attractive legitimate star, was
especially engaged to play the opposite roles to McCullough. This made
a remarkably strong company and Mr. John McCullough had every reason
to be satisfied with his support and proud of the engagement he
played. In addition to "Jack Cade," a long list of legitimate plays
were presented, including "The Gladiator," "Damon and Pythias,"
"Virginius," "Hamlet," "Macbeth," "Romeo and Juliet," "Merchant of
Venice," and "Othello." He exhausted his legitimate repertoire and
drew on his comedy resources, playing "Dr. Savage" in "Playing with
Fire" and "A party by the name of Johnson" in "The Lancastershire
Lass." This was a notable engagement and was followed by another great
celebrity, Dion Boucicault, the author of so many successful plays.
Boucicault appeared as "Miles Na Copaleen" in his own popular play,
"The Colleen Bawn;" also as "Shaun the Post" in "Arrah Na Pogue," and
on his third and last night in "Kerry." His dates were February 16th,
117th and 18th. On the 19th Maggie Moore and Johnny Williamson of
California theatre fame, opened a nine nights' engagement. We have no
record of what pieces they played except one. They had a new play to
exploit. They had feared to make the venture with it at the California
theatre in San Francisco where they had been favorites, so they
brought it to Salt Lake to "try it on the dog." This is a phrase
thoroughly understood among theatrical people although it may savor of
ambiguity to the uninitiated. It means simply that when a manager is
at all dubious about the merits of a new production, he sends it into
some comparatively obscure town to try its qualifications for pleasing
in the metropolis. The origin of the phrase is obscure, but probably
sprang from the similarity of trying a collar on a dog. Inferentially
the play is a collar and the obscure town the dog. In this particular
case "Struck Oil" was the collar and Salt Lake the dog. The collar
happened to fit; the play was a howling success (no suggestion of dog
intended here) and it ran three consecutive nights in the Salt Lake
Theatre, and then with the Salt Lake stamp of approval on it the
Williamsons, Johnny and Maggie, took it out into the theatrical world
and made a fortune with it. Joe Murphy had the collar on us before
with his "Help" and was successful, and that encouraged the
Williamsons and others that have since come, until Salt Lake has won a
reputation among dramatic people for being an easy and gentle canine
on which to try the collar.

Now comes the prince of comedians, John T. Raymond, back again and
stays a short week, during which he sprung on the actors and the
confiding and admiring community the following plays: "Our American
Cousin," "Everybody's Friend," "Toodles," "Serious Family," and "Only
a Jew." In "Our American Cousin," Raymond starred as Asa Trenchard,
the "American Cousin," and not in Lord Dundreary, the part Sothern won
both fame and fortune in. In this instance my old schoolmate and
present colleague, John C. Graham, was intrusted with the character of
"Dundreary" and did himself and the company credit by his humorous and
artistic rendering of it. Raymond was so thoroughly American (a Yankee
in fact) that Dundreary was not in his way, while Asa Trenchard fitted
like "ze paper on ze vall." Raymond as Major Wellington De Boots was
immense, but it scarcely gave him the scope he was looking for so he
was playing a half dozen different plays, none of which were making
him any great fame or money. When "The Gilded Age" was ushered in by
Mark Twain, people who knew John T. Raymond, on reading Col. Seller's
peculiarities, were quick to recognize in Raymond the living
counterpart of Mark Twain's imaginary hero. It was not long before
Raymond was the only authorized stage edition of Col. Sellers and his
popularity increased rapidly until it seemed "there was a million in
it" for the genial comedian, but before he had time to amass a million
or two "Atropos came with her shears and clipped his thread." "Alas,
poor Yorick! I knew him, Horatio. A fellow of infinite jest, of most
excellent fancy." Miss M. E. Gordon followed, playing from the 9th to
the 14th, opening in "Divorce." Miss Gordon was closely allied to
Raymond. Whether they divided evenly the profits of the two
engagements we cannot tell, but we know that in many other places they
played in conjunction.

Katherine Rogers opened a two weeks' engagement on March 16th, playing
"Galatea," "Leah," "Hunchback," "Unequal Match," "Lady of Lyons," "As
You Like It," "Masks and Faces," and "Love's Sacrifice."

A series of "benefits" followed this engagement, beginning with W. H.
Crosbie, April 3rd. On the 6th, Belle Douglass reappeared in the stock
after a long absence. On the 7th Carrie Cogswell had a "benefit," and
J. H. Vinson on the 10th. On the 13th Mr. and Mrs. Rea "benefited"
with the play of "Rob Roy," and gave out satin programs as souvenirs
of the occasion. On the 14th Miss Annie Graham commenced an engagement
of eight nights in the "Lady of Lyons," and played legitimate
repertory. On the 24th Asenith Adams (now Mrs. Kiskadden) had a
benefit and played "Elzina." This was some seventeen months after
Maude was born, A. J. Sawtelle had a benefit on April 27th. On the
29th H. F. and Amy Stone opened a two weeks' engagement in "Under Two
Flags," producing besides "Elfie," "Pearl of Savoy," "Fanchon,"
"French Spy." On May 11th T. A. Lyne had a benefit, giving scenes from
"Hamlet" and "Macbeth." On the 12th Victoria Woodhull lectured. On the
13th William Hoskins and Fannie Colville opened four nights'
engagement in "The Heir at Law," "A Bird in the Hand," and "The
Critic." On the 18th inst, there was a revival of Edward Tullidge's
historical play, "Eleanor De Vere," with Jean Clara Walters in the
title role, the character originally played by Julia Deane Hayne, and
on the 22nd another play from the pen of Mr. Tullidge had its first
production. The play was entitled "David Ben Israel." As the title
indicates, the play is Jewish and commemorates the return of the Jews
to England in the reign of Charles II. after a banishment of four
centuries. John S. Lindsay played the title role, and Miss Walters,
Rachel the Jewess. The play made a very pronounced hit and placed
another plume in Mr. Tullidge's cap as a dramatic author.

On the 25th, W. A. Mestayer opened a week's engagement in "On the
Slope," and with "The Octoroon" and "An Odd Trick" gave much
satisfaction. "Bill" Mestayer for years was the heavy man at the old
California theatre in its palmy days. As Jacob McClosky in the
"Octoroon" he was simply great. On his last night he appeared as Don
Caesar for the benefit of the Ladies' Library Association. On June
1st, George Chaplin made his regular summer appearance in the comedy
of "School," from which he graduated in one night and appeared on the
following evening as Count Monte Cristo. He played Monte again on the
4th. On the 5th George took a layoff as the Lingards, Horace and
Dickie, got in on that date with "The Spitsefields Weaver," and gave
one performance. Chaplin resumed with the stock company on the
following night, June 6th, and played the week out, giving his
services on the last night for the benefit of the Theatre corporation.
The following week the stock company gave a liberal proportion of
their salaries to the series of performances for the benefit of the
corporation. Seven performances were given for this benefit. James A.
Herne appeared in four of them, Chaplin in one, the company in all
seven. Although Clawson and Caine were the nominal lessees and
managers, they had associated with them before opening this season,
several partners in the venture and the concern was known as the Salt
Lake Theatre Corporation. Mr. Thomas Williams was the treasurer and
presided over the box office during this regime, and with such
peerless _bonhomie_ as made "Tom" (everybody called him "Tom") the
acknowledged prince of ticket sellers. It was evident from this
benefit business that the corporation had not had the profitable
season's business they had expected when they opened with such flying
colors in the previous October. The truth was the corporation was very
much in the hole, and this series of benefit performances were
designed to lighten their financial burdens and did to some extent,
yet the close of the season found them heavily in debt, and there were
serious results threatening, but the leniency of the creditors averted
disaster. The summer was now on but the stars kept on coming. Salt
Lake was a regular resort for them. When they could do no business
elsewhere, owing to heat, they made for the Salt Lake Theatre. It was
the coolest place in the city in those days and before we had any
summer resorts the people would go and see these midsummer night
performances. Our old Hibernian friend, Joe Murphy, was the next in
line, opening on the 15th inst. with more "Help," which he worked for
all it was worth three nights and filled out the remainder of the week
with a new Irish drama, "Maum Cree." This was Joe's debut in Irish
character work and he had come to Salt Lake City again to "try it on
the dog." He had good support and "Maum Cree" received a favorable
verdict from the Salt Lake theatre goers and Joe Murphy was
successfully launched onto the dramatic sea as an Irish comedian.
Following Mr. Murphy came the Coleman Sisters for a week. They opened
on the 22nd of June in Charles XII and played besides this piece, "Day
after the Fair," "The Deal Boatman," and "Pouter's Wedding." In common
with many others the Colemans flitted across our dramatic horizon and
never returned. On the 30th inst. John S. Lindsay had a benefit on
which occasion he appeared in the character of Rolla in the play of
"Pizarro." The farce of the "Lottery Ticket" was played after
"Pizarro" to make up a good full evening's entertainment. "Billie"
Crosbie was the star comedian in "The Lottery Ticket." The stock
played only a few nights after this, closing the season on the 4th of
July.

On July 18th, Victoria Woodhull drew a large audience to hear her
lecture on "The Beecher Scandal." The Beecher trial at that time was
the sensation of the day. The lecture drew a crowded house and
Victoria took occasion to fire red hot shot at Beecher and the clergy
in general, getting in some hard blows on the perfidy of the men in
general and the advantage they took of poor, confiding women.

It seemed impossible to keep the theatre closed for more than a few
weeks even in the hottest portion of the summer, owing more to the
anxiety of the "strolling players" to put in a portion of their summer
in Salt Lake than any feverish desire on the part of the theatre
patrons to see them. Companies going to and from San Francisco were
always glad to get in a few nights at the Salt Lake Theatre as it
broke the long jump between the coast and Denver and was pretty sure
to be profitable. Accordingly the theatre was reopened on August 3rd
with the Vokes family for one week. The Vokeses were great favorites
here and did a very fair business despite the hot weather prevailing.




CHAPTER XIX.

SEASON OF '74-'75.


To open this season the stock company were brought into requisition
again and played up to the 5th of September. On the 7th and 8th
Howarth's Hibernica, a panoramic show with specialties filled in the
time. The Vokeses returned on the 9th and filled out the remainder of
the week, making ten nights and two matinees they got in during the
heated term which was sufficient proof of their popularity. Close on
their heels came the Hoskins-Darrell combination, consisting of
William Hoskins, his wife, Fannie Colville, George Darrell and his
wife. They were supported by the stock company and played from the
14th to the 23rd inclusive. Hoskins was an English actor of great and
varied experience, and in high comedy roles was greatly admired. He
was a man of sixty years of age and had been in Australia for a good
many years. His wife, Fannie Colville, was very much his junior, in
fact, it was a May and December alliance and apparently bore the usual
kind of fruit. Fanny was not a great actress but was very pretty and
attractive, in fact, too much so to prove comfortable to her much
senior lord and master. The Darrells were clever and talented. The
combination proved fairly successful. They toured about the country
for a year or so and then returned to Australia with more experience
than money, wiser if not richer. They wooed content in their former
home.

The October conference approaching, the stock company were put in
rehearsal for some suitable plays and the "Royal Marrionettes" were
put in as an additional attraction for the conference season and
continued for nine nights from October 5th to the 13th inclusive. The
Marrionettes proved to be highly amusing and interesting entertainment
and combined with the efforts of the stock company in drama gave the
conference visitors the worth of their money and replenished the
treasury to a considerable extent.

The next attraction also worked in conjunction with the stock company.
This was Laura Honey Stevenson (now Mrs. Church), a lady of some
celebrity as a reader. She was assisted in her entertainments by a
brilliant young baritone singer, Mr. John McKenzie, whose singing
proved to be quite taking and this conjunction lasted for eight
nights.

It was during this last engagement that there occurred quite an exodus
from the Salt Lake Stock company to John Piper's theatre at Virginia
City, Nevada. Mr. J. A. Sawtelle and wife and daughter, a girl of
twelve or fourteen years, Miss Adams (Mrs. Kiskadden), her daughter
Maude, now two years old, accompanied by Mr. Kiskadden, Miss Carrie
Cogswell-Carter with her son Lincoln J., then about ten years of age,
and the writer went to Virginia City, all with the exception of Mr.
Kiskadden and the children being under engagement to play with Piper
for the ensuing season. There is much of interest connected with this
exodus from Salt Lake. It materially weakened the stock forces, taking
away the leading man, Mr. Sawtelle, the leading heavy (the writer),
and leading juvenile lady, Miss Adams, and Miss Cogswell, the
principal heavy woman; but their places were filled in a little while
and the stock pushed along in the same old way.

The combination system, however, was now gaining ground and the stock
companies throughout the country began to suffer correspondingly,
their engagements becoming more and more intermittent as the traveling
combination became more numerous.

At the opening of the season of '74 and '75 there were so many
combinations booked that the managers of the Salt Lake Theatre could
not offer the stock company a season's engagement, but only brief
periodical engagements between the dates of the various combinations.
It was in consequence of this that the above mentioned members of the
company took a season's engagement with Mr. Piper of Virginia City.
The Comstock was booming in those days and the theatre ran every
night, Sundays included. At the close of the Piper season, Miss Adams
went to San Francisco taking Maudie with her. There they made their
home; Mr. Kiskadden having preceded them there and obtained a good
situation as a bookkeeper with the firm of Park & Lacy. Mrs. Kiskadden
played occasional engagements at the San Francisco theatres and there
in due time little Maude made her first voluntary appearance on the
stage, her first appearance which occurred at the Salt Lake Theatre
when she was yet in long clothes, having been an involuntary one in
which her feelings or inclinations were not consulted.

The writer's stay in Virginia City was brief. Receiving an offer from
James A. Herne, who was managing stage at the Bush Street, San
Francisco for Tom Maguire, and being anxious to visit the Golden Gate
city, I got Mr. Piper to honorably release me by showing him how he
could get along without me and save my salary. So, after playing a
week at Sacramento during the State fair, I left the Piper company and
went to San Francisco by steamboat which was running opposition to the
railroad, giving very low rates--only fifty cents from Sacramento to
San Francisco. Mr. Kiskadden, who had been with his wife and baby
Maude since leaving Salt Lake, decided to take advantage of this low
excursion rate on the steamer and go to San Francisco also in the
search of a situation. "Jim," as he was familiarly called, was always
ready for a little sport in the way of a game of cards or billiards,
so as soon as the boat got under way, he got into a game of cards with
some kindred spirits and although a crack player and usually a winner,
on this occasion he lost every cent he had moreover he likewise lost
his hat, a nice new summer one he had recently purchased. The wind was
blowing strong upstream and a sudden puff took his hat into the river,
leaving "Jim" bareheaded and dead broke; not a very desirable plight
to be in going a stranger into a strange city. Moreover, to add to his
discomfort, he was wearing a summer suit and as we approached San
Francisco the weather was cold and foggy, and "Jim's" clothes were
decidedly unseasonable when we reached our destination. Fortunately he
had his trunk along and as soon as he got located he effected a change
of costume, but he was in a dilemma for money to live on till he could
find a job and he appealed to me to lend him a certain sum, which I
was unable to do, having barely enough to see me through till I would
have a week's salary due, but I let him have enough for immediate
necessities, and he was not long in finding friends and a good
situation.

My engagement at the Bush Street did not last very long. The house was
doing a struggling business when I went there. Emerson's minstrels
just across the street were doing a phenomenal business, turning
people away every night, while "Jim" Herne at the head of a good
company, was playing to very meager houses. "Zoe the Cuban Sylph" was
the reigning star when I opened there and my opening part was an
Indian--Conanchet, chief of the Naragansetts, in the "Wept of the
Wishton Wish."

The Bush Street theatre season ended rather ingloriously soon after
the New Year holiday. I had on the very morning preceding our closing
night, received a telegram from Mr. Piper of Virginia City, offering
me the leading business for the remainder of the season, but declined
it, believing the Bush would struggle along. That night we had a new
piece on, "The Circus Queen," and it proved such a failure that Tom
Maguire decided to close, which he did without any previous notice, so
the entire company were out of a job. Next morning I lost no time
wiring to Piper to know if the engagement was still open to me and in
a few hours I had received the agreeable answer "yes" and took the
train the same day for Virginia City. I had been there about three
weeks when I met T. B. H. Stenhouse, who was there writing up the
Comstock mines for the New York Herald. He said to me, "They need you
in Salt Lake badly; why don't you wire them? Katherine Rogers opens
there Monday night for a two weeks' engagement and they have no
competent leading man to support her." "Well," I said, "they know
where I am. If they want me why don't they wire me?" "Will you go,"
said he, "if I wire for you and get you the engagement?" "Yes," I
replied, "I shall be glad to go, for I am tired of this." So he went
right off and wired, and the next day I left for home, but did not
arrive in time to open with Miss Rogers in the opening bill, but got
in on the second night and played throughout the rest of the
engagement.

I had been absent from October 14th, 1874, to January 26th, 1875, a
little over three months, during which time the following attractions
appeared at the Salt Lake Theatre: The Wheeler Comedy troupe, October
29th to 31st. On November 2nd, Risley's Panorama "Mirror of England"
opened for a week. On the 13th and 14th the Infantry combination. On
the 16th Frank Mayo and Rosa Rand opened a week's engagement
presenting "Davy Crockett" and "Streets of New York." On the 25th
Agnes Booth and Joseph Wheelock opened in "Much Ado About Nothing,"
and filled out a week with "King John" and the comedy "Engaged." On
December 2nd R. H. Cox, familiarly known as "Daddy Cox," among
professionals on the coast, opened a four nights' engagement with "The
Detective," which went for two nights. The other two nights he gave
"The Bells That Rang Nellie a Bride." Daddy Cox had recently left
Piper's theatre in Virginia City, where he had been stage manager for
a time.

On the 9th, Harry Rickards, an English comic singer of great spread
and self importance, opened for a week's engagement in conjunction
with the stock company. Rickards was recently from Australia and put
in a week at the Bush Street during the writer's engagement there. His
singing and style did not catch on with the San Franciscans. He was
too "awfully English, yer know." He did not prove any great attraction
in Salt Lake. On the 21st a grand concert was given for the benefit of
the Catholic church. On the 22nd, W. J. Florence opened for a week,
supported by the stock company. His opening play was "Dombey and Son."
He gave besides "No Thoroughfare" and the "Colleen Bawn." Each piece
ran two nights, carrying the season through the Christmas holidays and
the house closed with his last performance on the 26th until New
Year's day. January 1st, 1875, the theatre reopened with the stock
company, who, without the assistance of any stellar attraction, played
two weeks when the house closed again until the 25th inst.

Of the people who had comprised the stock company the previous season,
the following members had drifted away: J. Al. Sawtelle, leading man;
Mrs. Sawtelle, general utility; John S. Lindsay, leading heavy;
Asenith Adams (Mrs. Kiskadden), leading juveniles; W. S. Crosbie,
comedian; Arrah Crosbie, characters; J. H. Vinson, first old man and
stage manager; Buck Zabriske, prompter. The uncertain and spasmodic
nature of the engagements this season, which had caused this strong
contingent of the company to seek other engagements, also prevented
the accession of new people to the ranks of the stock company, so that
it was in a rather dilapidated and weakened condition, especially for
the support of legitimate repertoire, such as Katherine Rogers
presented for the patrons of the drama.

On January 25th she opened in "Romeo and Juliet." Mr. "Mike" Foster
was the Romeo for the occasion. The "leading men" were all out of the
way and this was sudden promotion for Foster one of those
opportunities that come but rarely to the ambitious young actor, and
nearly always bring new honors and distinction. "Mike" struggled
manfully with his task, but he did not make an ideal Romeo. On the
following evening the writer made his reappearance with the company,
after an absence of three months. He played Master Walter in the
"Hunchback" on the occasion and was warmly welcomed by the audience.
Miss Rogers played in addition to "Romeo and Juliet" and the
"Hunchback," "As You Like It," "Love's Sacrifice," "Pygmalion and
Galatea," "Lady of Lyons," "Leah," in which the writer played the
following characters respectively: Jacques, Matthew Elmore, Pygmalion,
Claude Melnotte, Lorenz. Such a repertory, where each play ran for but
two performances, put the company on high tension. Those who had new
parts, and particularly if they had never played in the pieces, found
it very exacting work. Fortunately for the writer, he had played most
of the parts before, yet it was a busy time for him during that
engagement.

Following closely on Miss Rogers with her legitimate plays, came the
English comedian known professionally as Willie Gill and his wife,
Rose Bain. These co-stars had recently been associated with the writer
at Piper's theatre at Virginia City, where they played for a month or
so in stock and it was a little of a surprise to me to find they had
suddenly materialized into stars and were billed for a week at the
Salt Lake Theatre. With sublime assurance, especially for a play
writer, which Willie even then professed to be (as well as a
comedian), he put up Mark Twain's "A Gilded Age." The piece had been
but recently dramatized and had made a marked success with John T.
Raymond as Col. Sellers. Raymond had played several engagements with
us at the Salt Lake Theatre and was a great favorite, and was looking
forward to another visit in the near future with his greatest success,
Col. Sellers. Some one apprised him by telegram that Gill was billed
to play the piece here and he promptly wired a well known law firm to
enjoin Gill from playing it. The managers, Clawson and Caine, were
also warned not to play it, so an emergency bill was prepared in the
event that they should be stopped. The law firm had taken the
necessary proceedings and just before "ringing up" time, as no change
of performance had been announced, they appeared on the scene with the
necessary officer and papers and the performance of "A Gilded Age" was
formally and effectually enjoined. "All That Glitters Is Not Gold" was
substituted. This was a lesson to the English comedian late from
Australia which he possibly never forgot, especially as a few years
later he retired from the stage and settled down in New York as a
professional writer for the stage. He was a clever adapter and
dramatizer, as his version of "A Gilded Age" bore witness, and he no
doubt found plenty of materials to use in his craft, whose authors
were not so well known as Mark Twain nor so particular in regard to
their copyrights. Willie learned the truth of the axiom that "All that
glitters is not gold," even _"A Gilded Age"_ on that memorable night,
for it materially injured the business during the remainder of his
engagement.

"Built on Sand" was the next evening's offering and it was probably
too suggestive of Willie's hopes in respect to "A Gilded Age" to be a
good drawing card, so it only went the one night. The company had
their work cut out here also; the next play was a new one with them;
he called it Madge of Elvanlee; it was a dramatization of Charles
Gibbons "For the King," a very powerful story of the Restoration
period, and gave Rose Bain, his wife, the chance of her life to make a
hit as a leading actress; but she failed to score any marked success,
giving only a passable rendition of the character. Fortunately again
for this individual, he had during his absence played in this play at
the Bush Street Theatre. Jim Herne used it as the vehicle for the
debut of a talented San Francisco' lady, who created a little ripple
of excitement by her advent on the stage. I afterwards played the
leading character in it at Virginia in conjunction with Miss Bain and
Mr. Gill, so that it was comparatively easy for me in regard to study.
This play was forced two nights, meantime the company had another new
play sprung on them for Friday night. Miss Rose Bain was evidently
bent on being the bright particular star of this engagement. Willie
had failed in his Col. Sellers scheme, and Rose saw her opportunity
and pushed it to the utmost. "The Sphinx," a mythological play, taxing
the powers of no less an actress than Annette Ince (one of the
greatest of her time) was the next offering to the public, and an
exacting task for the company. Here again I was lucky, as I had only
about six weeks before played a week in the piece with Miss Ince at
the Bush Street theatre, and although I had now a different part, I
was sufficiently familiar with the play to make my task easy, as
compared with the rest of the company.

"The Sphinx" did not prove popular, owing largely to Miss Bain's
inadequacy. So "Madge of Elvanlee" was restored for Saturday night,
and so ended a very unprofitable week, both for "stars" and
management. Willie Gill afterwards acquired fame as the writer of
several successful comedy sketches. Rose Bain we have never heard of
since. From the 13th to the 22nd of February, the theatre was dark,
which gave the overworked stock company a rest they no doubt enjoyed,
but cut off their salaries, which they did not relish.

On the 22nd, Washington's Birthday, the theatre was used as a ball
room--the Firemen gave a "Grand Ball" and for the occasion the theatre
was transformed, as it had been a number of times before, to
accommodate an enormous crowd of dancers. The entire parquet was
covered with floor made in sections, making the stage and the
auditorium into one vast dancing hall. Hundreds who did not
participate in the dance paid admission fees to sit in the circles and
watch the dancers go through the bewitching and bewildering figures to
the strains of a fine orchestra secured for the occasion. By the
following evening, the floor was removed, the chairs back in place,
and the theatre had resumed its normal appearance. On this date, the
23rd, The Alleghanians, a company of Swiss Bell Ringers and Vocalists,
opened and played throughout the remainder of the week, five nights
and a matinee. The company had now had a three weeks' rest and were
anxious to be doing something again, so a series of "benefits" were
put on. Commencing on March 6th, Clara Jean Walters took a benefit,
playing Edward Tullidge's "Ben Israel," a very powerful play
commemorative of the return of the Jews to England. On the 8th Mr.
Lindsay "benefited," played "Jack Cade," and on the 10th E. B. Mar
den, who had been in the stock for several years, took a benefit,
playing Featherly in "Everybody's Friend." The theatre was again
closed until the 22nd inst., when The Lingards came in and, supported
by the stock, stiffened up business to some extent; continued until
the 31 st. The April Conference being close at hand, it was decided to
play the stock through the Conference in some of the old favorites,
and they continued right along after the Lingards left. That is the
marvelous part of it that they could do _any_ business after dropping
out a strong stellar attraction, but on they played through the
Conference and on up to the 1st of May, when the _season_ closed and
with the season the management under the "Salt Lake Theatre
Corporation" closed.

Their second season had not proved sufficiently profitable, although
they had severely curtailed expenses by cutting down the company, to
clear them of indebtedness, and the corporation quit badly in the
hole.

The close of the Clawson and Caine management and the end of the Salt
Lake Theatre Corporation was virtually the retirement of the stock
company, which had been playing from the opening of the theatre in '62
up to the present date, May 1st, 1875, a period of 13 years. Of course
a great many changes had taken place during those years in the
personnel of the company, but a few of the original members remained,
and the organization or _ensemble_ of the company had been kept
intact. Now, however, the gradually encroaching combination system
made it impracticable for the managers to offer a season's engagement
to those who were willing and anxious to engage. The necessity for a
stock company became rapidly less from this time on, until in the year
1878 it had become defunct altogether.

Two entertainments were given after the closing of the stock company,
before the corporation relinquished the house--on May 4th, Petroleum
V. Nasby lectured, and on the 8th Mr. Mark Wilton rented the theatre
and put up "The Ticket of Leave Man" for a benefit. To show the status
of the company at this particular time, the program for the benefit
performance is here appended:

    SALT LAKE THEATRE.

    Salt Lake Theatre Corporation ............... Proprietors
    Clawson and Caine .............................. Managers

    SATURDAY EVENING, MAY 8TH, 1875.

    Mr. Mark Wilton has engaged the Theatre for this night and will
    produce the great drama of

    "THE TICKET OF LEAVE MAN."

    Supported by the following

    CAST OF CHARACTERS:

    Bob Briefly, a Lancashire lad ....... Mr. John S. Lindsay
    James Dalton (the Tiger) ................ Mr. M. Forester
    Hawkshaw (a detective) .................. Mr. Mark Wilton
    Melter Moss (a crook) .................. Mr. J. C. Graham
    Mr. Gibson (a bill broker) ............. Mr. Harry Taylor
    Sam Willoughby ...................... Miss Dellie Clawson
    Maltby ................................... Mr. Logan Paul
    Burton ................................... Mr. H. Horsley
    May Edwards ..................... Mrs. Clara Jean Walters
    Mrs. Willoughby ...................... Miss Belle Douglas

This was the last performance given under the corporation managers and
for some time the theatre remained without a manager; if any one
wanted it, they had to rent it from President Brigham Young through
one of his clerks. My record shows that the writer, on July 24th
following, rented the house at the modest sum of one hundred dollars
for the bare house. We gave Bulwer's five-act comedy of "Money"
besides the farce "A Fish Out of Water" and a musical interlude, by
Laura Honey Stevenson and John W. McKenzie, a popular young baritone
from San Francisco. The total expense of this performance was $357.00,
so it was a risk for an individual to take, but we pulled through
clear and had a little left for our trouble.

About this time Mr. W. T. Harris or "Jimmy" Harris, as he was
familiarly called, was installed as "business manager" of the theatre;
he had succeeded in winning one of Brigham Young's daughters, Miss
Louise Young, affectionately called by her friends "Punk." The Annie
Ward episode was forgotten or condoned, and Jimmy had ingratiated
himself so strongly in the President's good graces as to receive the
hand of his favorite daughter, and in order that he might provide
liberally for her, he was given the business management of the
theatre. He assumed no financial responsibilities in accepting the
position, but simply acted as the agent for Brigham Young, to whom he
submitted matters of importance. He held down his job for two years or
more, until some time after the death of Brigham Young, when the Salt
Lake Theatre, which had been appropriated by the late President,
(although built with Church means) in the settlement of Brigham's
estate reverted to the Church. This brought a change of management and
Mr. Harris was superseded by H. B. Clawson, one of the former
managers.




CHAPTER XX.

SEASON OF '75-'76.


In the following chapter, no attempt will be made to give a
consecutive and complete list of the attractions which appeared during
the season, but a running notice will be made of the most important
engagements, and especially of the new stars that appeared.

The combination system was gradually forcing the stock company from
the theatre. Engagements with the stock people were now intermittent
and uncertain, and for that reason the company kept dwindling until
eventually it became a thing of the past. During this season, however,
they were called in to support a good many stars. It took several
seasons for the combination system to completely supersede the stock
system.

On August 12th, Jennie Lee, who had been a favorite soubrette in the
California theatre, San Francisco, and her husband, J. T. Burnett,
opened a week's engagement in the play of May Blossom, supported by
the stock. Immediately following, opening on the 20th of August, came
Augustin Daly's company on their way to San Francisco. They played
three nights, presenting "Saratoga," "The Big Diamond" and "Divorce."

Fanny Davenport was the "leading lady" of this company. It was the
first dramatic company to cross the continent direct from New York to
San Francisco. The fame of Daly's company had preceded it, and as a
result they played to big businesses both here and in San Francisco.

On the 27th and 28th, the English Opera Company played to good houses.

On September 25th, the stock company reopened the theatre which had
been dark for several weeks. Charley Vivian, who afterwards organized
the order of Elks, opened in conjunction with the company, giving his
clever entertainment, and this combination pulled through the October
Conference, when there was another intermission. In December, the
stock company made another spurt, headed by Clara Jean Walters.

They reopened with "Cherry and Fair Star," a spectacular play which
had an unusual run; with this and other pieces they managed to keep
going until January 20th, 1876; from this date to April 1st, there
were occasional attractions but none of great importance.

On March 1st, John S. Lindsay, who had been playing leads in the
stock, was tendered a complimentary "benefit," on which occasion he
appeared in the character of "Jack Cade." To show the personnel of the
company at this particular period of its history, the following
program of the performance is subjoined:

    SALT LAKE THEATRE.

    W. T. Harris ........................... Business Manager

    _GRAND COMPLIMENTARY FAREWELL BENEFIT_

    Tendered by the Members of the Dramatic Profession, and Prominent
    Citizens of Salt Lake City to the popular actor

    JOHN S. LINDSAY.

    On which occasion Mr. Lindsay will essay the great character of
    Jack Cade.

    WEDNESDAY EVENING, MARCH 1, 1876,

    Will be presented Judge Conrad's celebrated tragedy in four acts,
    entitled

    "JACK CADE, THE CAPTAIN OF THE COMMONS."

    The entire Corps Dramatique have generously volunteered.

    CAST OF CHARACTERS:

    _Nobles_.

    Lord Say ................................ Mr. Mark Wilton
    Lord Clifford ........................ Mr. Emmett Mousley
    Duke of Buckingham ..................... Mr. Gus M. Clark
    Duke of Suffolk ........................ Mr. B. W. Wright
    Courtnay ............................... Mr. J. C. Graham

    _Commons_.

    Jack Cade }
    Aylmere } ........................... Mr. John S. Lindsay
    Friar Lacy ........................... Mr. John T. Hardie
    Wat Worthy ............................ Mr. Phil Margetts
    Will Mowbray ............................ Mr. J. E. Evans
    Jack Straw ............................... Mr. E. Mousley

    Bondmen to Lord Say--

    Dick Pembroke ............................ Mr. H. Bowring
    Roger Sutton ............................. Mr. Wm. Wright
    Cade's Son (5 years old) .............. Miss Edie Lindsay
    Marinanne (Cade's wife) ............... Miss Lina Mousley
    Widow Cade (Cade's mother) ............ Miss Sarah Napper
    Kate Worthy, betrothed to Mowbray ..... Miss Lizzie Davis

    Lords, Officers, Peasants, Bondsmen, Etc.

    To be followed by a musical interlude.

    Song--"Give a Poor Fellow a Lift"  Mr. Phil Margetts, Jr.

    For the last time, the great Specialty of the Mulligan
    Guards ................ By W. T. Harris and H. E. Bowring

    The performance will conclude with the side-splitting farce,

    "A BASHFUL BACHELOR."

    Hector Timid ........................... Mr. J. C. Graham
    Captain Cannon .......................... Mr. Mark Wilton
    Dr. Wiseman ........................... Mr. H. E. Bowring
    Thornton ................................ Mr. J. E. Evans
    Louisa ................................ Miss Lina Mousley
    Chatter ............................... Miss Sarah Napper

It would be unreasonable to expect an audience to sit through such a
lengthy performance nowadays, but such was the dramatic pabulum with
which we had to entice them into the theatre "_in that elder day_."

The "cast" in the above program shows that the stock company had
become decidedly weak, a number of amateurs were worked in, and the
three comedians, Margetts, Bowring and Graham, are playing parts
altogether out of their line. The lady assigned the "leading lady's"
part (Miss Mousley) was a clever amateur and this was about her first
appearance at this theatre. The "leading ladies" "seem to have been
all in retirement." Mr. Wilton, "a serio-comic," playing the "leading
heavy," Lord Say, and Mr. Graham playing" the "second heavy,"
Courtney, shows there was a great sparsity of "heavy men," and
Margetts and Bowring both playing serious "character parts," plainly
indicates the low ebb the company had reached. It was now a difficult,
nay an impossible, task to adequately "cast" one of the great
classical plays.

Such was the status of the stock company at this period, its
efficiency having been gradually weakened by the steadily increasing
innovation of the combination or traveling companies.

Many of the most popular stars had not up to this time surrounded
themselves with their own supporting companies, but continued to flit
to and fro across the dramatic firmament, pausing to shed their luster
for a new nights wherever they could find a cluster of nebula (stock
company) to shine among.

On April 1st a bright and attractive star appeared in the person of
Mr. Edwin Adams. Mr. Adams made a splendid impression on his first
visit to Salt Lake and a full house was on hand to greet him. The
train on which Mr. Adams arrived was several hours late and the
audience was kept waiting more than an hour after the specified time
of commencing. It was nearly ten o'clock when the curtain rang up on
"The Marble Heart," but the audience exercised great patience, and
when at length Mr. Adams appeared as Phidias from between the curtains
that concealed the statues, exclaiming "The man whose genius formed
them," he received such a warm and generous welcome as must have
banished any doubts or misgivings he may have had as to how Salt Lake
would receive him. As he had not rehearsed with the company, some
apprehensions were felt as to how the play would go; but, after it was
over, Mr. Adams warmly complimented everybody--especially the stage
manager--and declared it went just as well as if he had been here to
rehearse it with us. This was a notable engagement, Mr. Adams playing
ten nights in all, his engagement running through the April
Conference. In addition to "The Marble Heart," he played "Hamlet,"
"Richelieu," "Rover" (in "Wild Oats"), "Narcisse" and "Enoch Arden."

Edwin Adams was destined to a career as brief as it was brilliant.
After leaving us he went to San Francisco and played a successful
engagement, then went to Australia. When he returned from Australia to
San Francisco he was a dying man. A benefit was given him there, and
he was wheeled onto the stage in an invalid's chair to acknowledge his
gratitude to the San Franciscans for their kindness to him. This was
the last seen of poor Edwin Adams by the public. Only a few days later
and that dramatic genius that was shedding luster on the American
stage was extinct. He had contracted quick consumption in the
antipodes, and by the time he got back to San Francisco his friends
realized he had not long to live and did what they could to show their
love for him and ease his passing to the great beyond.

The next important engagement was that of John T. Raymond, who
appeared on August 5th in "A Gilded Age," the play in which Willie
Gill was enjoined more than a year before. As Colonel Sellers, Raymond
was simply inimitable; Mark Twain might have had him in his eye when
he created the character. It ran three performances, and if there were
not "millions in it," it was at least a profitable engagement both for
Mr. Raymond and the manager. Notwithstanding it was the hottest part
of the summer, Raymond filled out a week with Major de Boots in the
"Widow Hunt," and Caleb Plummer in "Cricket on the Hearth." Raymond's
engagement virtually closed the season of '75 and '76, and there was
nothing of importance until the commencing of the next season.




CHAPTER XXI.

SEASON OF '76-'77.

With the approach of the October Conference, which is always a harvest
for the theatre, Mr. Harris got together as strong a company as
possible and revived some of the old favorite plays, opening the
season of '76 and '77 a night or two before and continuing through the
Conference dates to satisfactory business. There was no "star" to
share with, and the theatre reaped a handsome profit.

The next engagement of importance was that of Mr. George Rignold, an
English actor, who was starring in "Henry V." Rignold had come from
England and under the management of Jarrett and Palmer, "Henry V." was
given a fine production in their New York theatre. For some reason or
other, after a short but successful run of the play, a disagreement
arose between those popular managers and Mr. Rignold. They decided to
supersede Mr. Rignold with Lawrence Barrett. They notified him
accordingly and at the expiration of the time for which he had been
engaged Mr. Barrett stepped into Rignold's place and the run of the
play was extended for several weeks. It was the intention to take the
play to San Francisco after the run in New York. This change of stars
threw Rignold out of the San Francisco engagement, much to his chagrin
and disappointment. Not to be out-generaled the English actor quietly
hastened to San Francisco. The California Theatre having been secured
for the Jarret and Palmer company, with as much dispatch and secrecy
as possible Rignold got a company together. Soon as it was known that
Rignold was in San Francisco and was preparing to give the play of
"Henry V" at the Grand Opera House, the news was duly wired to Jarrett
and Palmer; not only were they surprised, but greatly chagrined, on
learning that the English actor had gotten the start of them and was
in a fair way to eclipse their Western engagement. Mr. Barrett and the
managers, after a rather excited consultation, decided to close the
run of "Henry V" with the end of the current week, and have everything
in readiness to leave New York for San Francisco on the following
Sunday. The manager of the California was telegraphed to announce the
play for the following Thursday night. This gave scarcely a week for
advertising, and it seemed incredible that the company could reach San
Francisco by the time, but Jarrett and Palmer had at great expense
made arrangements with the railroad company for a special train, that
was to rush them through from New York to San Francisco in four days.
Barring accidents, they would arrive in San Francisco on Thursday
morning, in time to get their scenery in place and play that night.

It was taking desperate chances, but it was at the same time a great
advertising scheme, for never before had such a flying trip been made
across the continent, and every paper in the country had an account of
it. "From Ocean to Ocean eighty-three hours." Rignold had arranged to
open the following Monday, but learning to his amazement of the great
coup that Jarrett and Palmer were performing to get in ahead of him,
he got a move on too and decided to keep the lead, and open up at
least one night ahead of them, which was as soon as he could possibly
get ready. The fast train was the sensation of the hour, everybody was
talking of it and awaiting its arrival with keen expectancy. This
national advertisement gave the Jarrett and Palmer company a great
advantage over Rignold; besides, they had much the better production,
and the best company, as Rignold had to gather what support he could
and very hurriedly in San Francisco. This was very sharp managerial
practice; what especial reason Lawrence Barrett and the Jarrett and
Palmer management had for this extraordinary coup to down the English
actor we never learned. The rivalry of the two Henrys served to throw
theatrical circles in the Golden Gate City into a feverish excitement,
and the result was that both houses did a good business, as every
theatre-goer felt in duty bound to see both actors, and then compare
their respective merits. Until Rignold played "Henry V" in New York no
American actor had ever attempted the character; Barrett who had in
conjunction with John McCullough managed the California theatre during
the first three years of its career, saw an opportunity to do some
business there and win some fresh laurels in a new part. This in a
measure explains the _haste_ with which the thing was done. The rival
Henrys, however, did not succeed in giving the play a permanent
abiding place in popular favor. We think no other American actor has
ever had the temerity to try it, until the bold and undaunted Richard
Mansfield gave a superb production of it a quarter of a century
later--1902.[A]

[Footnote A: The above account of the "Henry V" excursion is written
entirely from the writer's recollection of the affair, having no
available data. It may contain some slight inaccuracies, but the main
facts were about as here related.]

After the Rignold date here, when "The Lady of Lyons," "Black-Eyed
Susan," and "Henry V" were given with such support as was available,
the stock played fitfully, interrupted by occasional novelties, such
as panoramas and concert companies, minstrels and the like, along the
holiday season and into the spring. On February 3rd, John S. Lindsay
was the recipient of another "benefit," on which occasion he exhibited
his strong predilection for Shakespearian roles by appearing as
Hamlet, a character in which he had already won some local
distinction. As on a previous benefit occasion, there were several
first appearances, and the cast as a whole was not very satisfactory,
but our friends were inclined to overlook many shortcomings on those
benefit occasions. As if "Hamlet" was not enough for a benefit
performance, we had to tack on the farce of "The Trials of Tompkins,"
in which Mr. Graham was wont to shine.

On the 23rd and 24th of February, Mr. E. A. Sothern, the world
renowned Dundreary, filled his first engagement at the Salt Lake
Theatre. He exacted a certainty of one thousand dollars in gold coin
for the two nights. Mr. Harris very naturally had some hesitancy about
closing an engagement with him on such exorbitant terms, so he made a
canvass of his patrons, and after a careful consideration, "closed the
deal" with Mr. Sothern. The prices were advanced from the usual scale
of twenty-five cents to one dollar, to fifty cents to two-fifty. The
house was well filled on both nights and the management, not having a
very expensive company or any production to pay for out of its share,
came out all right. There was much dissatisfaction, however, that such
exorbitant prices should be charged for what at best was but an
ordinary "show," especially the last night when David Garrick was
presented, and by ten o'clock the play was over, and the general
expression of the patrons of the theatre was "Sold!" Indeed so
outspoken was the dissatisfaction with David Garrick, and so severe
were the strictures of the press the following morning, that Mr.
Sothern could not have gotten fifty cents a ticket for a third
performance. As a natural consequence, it was a long time before he
came to Salt Lake again.

On March 10th, Miss Annie Adams (Mrs. Kiskadden) who had recently
returned on a visit to Salt Lake after an absence of three years in
San Francisco, assisted by the stock company, gave a production of
"The Two Orphans," Miss Adams appearing as Louise and Miss Colebrook
as Henriette, the writer in the character of Pierre. This was the
first presentation of this play at this theatre and it proved a great
drawing card.

The next star attraction was one of more than ordinary interest. The
anniversary of Shakespeare's birth (and death) on April 23rd, Adelaide
Neilson, the world acknowledged Juliet, was announced to appear in
that character. Miss Neilson was well-known to our theatregoers by
reputation as the greatest Juliet of the age, and the demand for seats
was extraordinary. The prices were advanced, but not to exorbitant
figures, the prices ranging from 25c to $1.50. Every seat in the house
was filled, and numbers were glad to stand on both evenings rather
than miss seeing the beautiful and popular actress. There was no
dissatisfaction with this engagement; everybody was pleased and
delighted, and Adelaide Neilson's praises were on everybody's lips.
She could have remained a week and played to full houses, but
engagements ahead precluded a longer stay; she only gave two
performances, "As You Like It" being the second bill. There was only
one opinion as to her Juliet, that it was the perfect embodiment of
the character, her rich beauty of face and form, her exquisite grace,
her melodious voice, and the marvelous power of expression in her soft
tender eyes, equipped her completely for the part. As Rosalind she was
equally as charming if not as brilliant as in Juliet. The playing of
Romeo to her Juliet, the writer cherishes as one of the pleasantest
memories of his long professional career. A year later the beautiful
Neilson was dead. Alas! for the mutability of all that is mundane:

    "She should have died hereafter;
    There would have been a time for such a word.
    Tomorrow and tomorrow and tomorrow,
    Creeps in this petty pace from day to day
    To the last syllable of recorded time.
    And all our yesterdays have lighted fools
    The way to dusty death. Out, out, brief candle!
    Life's but a walking shadow, a poor player,
    That struts and frets his hour upon the stage
    And then is heard no more.
    It is a tale told by an idiot;
    Full of sound and fury; signifying nothing."

                                  --_Macbeth_.

    "The boast of heraldry, the pomp of power,
      And all that beauty, all that wealth ere gave
    Await alike the inevitable hour;
      The paths of glory lead but to the grave."

                             --_Gray's Elegy_.

The next stellar attraction was Ben de Bar. Ben was the manager of one
of the St. Louis theatres when the writer was a boy, and my first
introduction to the stage was at De Bar's theatre. A young fellow who
was our neighbor in St. Louis induced me to go with him and go on as a
super. The play was "Sixtus V., Pope of Rome." Mr. and Mrs. Farren
were the stars. I made my first acquaintance with the stage in that
play, as one of the mob, little dreaming that I would one day be cast
to play Sixtus V., which I was some years afterwards in the Salt Lake
Theatre.

Ben De Bar was a popular comedian as well as manager at the time of
which I am telling, but for some half dozen years now he has been
starring in the character of Sir John Falstaff. He was very stout, and
well suited to the character and confined himself to it exclusively,
varying the monotony, however, by playing both the plays in which Sir
John is so prominent, "Henry IV" and "The Merry Wives of Windsor."

Ben had been to San Francisco and had just played an engagement there,
before coming to Salt Lake. He opened here on May 17th in "The Merry
Wives." He complained of not feeling well and it was quite perceptible
that something was the matter; he was uncertain and forgetful. On the
second night in "Henry IV," his lapses of memory were still more
perceptible. In short, it was palpable to all the company, if not the
audience, that Mr. De Bar was suffering from some derangement of
memory to such an extent as to in places mar the scenes, and very much
embarrass those who had dialogue with him. The writer was playing
Hotspur on the occasion, and had but little to do with the boastful
Sir John, but noticing his lapses of memory in several places and his
consequent and apparent distress, kindly inquired as to his trouble,
when he feelingly told me he had suffered in San Francisco the same
way, and he felt no confidence in himself whatever. He said his memory
was deserting him and he feared his professional career was at an end.
After the play was over he called me into his dressing room, and said:
"Mr. Lindsay, I have made my last appearance on the stage. I am done,
sir. I feel that I have subjected the entire company tonight to a
great deal of embarrassment, and my lapses of memory must have been
quite apparent to the audience. No, sir, I can no longer rely on my
memory, and I shall never attempt to play again. I feel my career is
ended." His words were pathetic, and as it proved, _prophetic_; he
never did appear on the stage again. In less than a year dear old Ben
de Bar died of softening of the brain. Ben de Bar was about sixty
years of age when he died. "What old acquaintance! Could not all this
flesh keep in a little life? Poor Jack, farewell! I could have better
spared a better man." Prince Hal in "Henry IV," Part First.

Salt Lake seemed to be an attractive summer resort for a certain class
of attractions, and quite a number found their way here during the
very hottest of the weather. On July 24th Robert Heller, a very clever
magician and an excellent pianist, assisted by Miss Helen (his
sister), entertained the patrons of the theatre for a week with his
very clever tricks and fine piano playing. His second sight business,
in which he was ably assisted by Miss Helen, was wonderfully clever,
and mystified the beholders very much indeed. He was the first to
introduct a second-sight business here, and was as much of a wonder as
Anna Eva Fay has since been.

On August 6th, Rose Eytinge, then in the zenith of her fame, opened a
three nights' engagement in the play of "Rose Michel" and followed it
with "Miss Multon" and "Macbeth." The writer had some hard work during
this brief engagement, the two first plays being entirely new to him,
in both of which he had very long and arduous parts, and on the third
night he had to do Macbeth. Rose Eytinge at this time was one of the
best actresses and most beautiful women we had on the stage. Good
gracious! that is twenty-eight years ago, and she is still acting! but
she has to play the old woman now. When I played with her two years
later in Portland, Oregon, she was married to an English actor named
Cyril Searle, who insisted on playing Macbeth, but made me study
Antony in "Antony and Cleopatra" on very short notice as the San
Francisco papers had criticised his Antony so severely he declared he
would never play it again.

On August 14th, the Richings-Bernard Opera Company played one night.
Played again on the 16th. On the following night, the 15th, Tony
Pastor with a fine vaudeville company, gave a great show the first
company of that kind to cross the continent and play in the Salt Lake
Theatre. He had a packed house, for his show was a great novelty.

It was a little surprising that with the love of the drama so
universal in Utah so few contributions to dramatic literature were
offered by local authors for representation on the stage. Those
thought worthy of presentation by the managers we have already
recorded. Mr. E. L. Sloan's "Osceola" (an Indian play), in which Julia
Dean and George Waldron played the leading characters, and his "Stage
and Steam," a later production, contrasting the old stage coach with
the locomotive methods and results. By far the most important local
contributions to the stage were the plays of Edward W. Tullidge:
"Eleanor de Vere," played by Julia Dean and stock company, "Ben
Israel" and "Oliver Cromwell," played by the local company. Now comes
John S. Lindsay with "Under One Flag," a drama of the Civil War. This
play was presented for the first time on September 13th and made so
favorable an impression as to hold the boards for three nights. It was
repeated on October 5th, during the conference season, and has been
played by the author and his company in nearly all the towns and
cities of the Northwest. These performances of "Under One Flag"
virtually closed the season of '76 and '77, which had run
intermittently all through the summer.




CHAPTER XXII.

SEASON OF '77-'78.

On October 5th, the fall Conference was provided for. The house opened
for the season of '77 and '78 on this date with a reproduction of
"Under One Flag." The stock played through the Conference date,
reviving some of the old favorite plays, and continued playing until
November 12th. On November 14th The Kellogg-Cary Concert Company
opened a three nights' engagement and sang to big houses. Miss Louise
Kellogg was one of the greatest singers of her day, and Miss Cary was
equally popular, their concerts being very well patronized and highly
appreciated by the music lovers of Salt Lake.

On November 23rd, Mrs. D. P. Bowers and Mr. "Jim" McCollom (who was
Mrs. Bowers' second husband) opened a week's engagement in
Giogametti's play of "Elizabeth," which was played for three nights,
and the week was filled out with "Lady Audley's Secret," "Married
Life" and "Camille."

Mrs. Bowers was beyond question one of the greatest actresses our
country had ever produced. She was the first American actress to play
the character of Elizabeth. After Ristori, the great Italian actress,
had played this great character in a few of the principal cities of
our country only, Mrs. Bowers took it up and starred the country with
it, making a great success.

Mr. James McCollom was a very efficient support to her in the
characters of Essex in "Elizabeth," Armand in "Camille" and Robert
Audley in "Lady Audley's Secret." Mrs. Bowers achieved her celebrity
as Mrs. Bowers and never changed her name to McCollom on the stage.
Mrs. Bowers was supported by the stock company in this engagement.

On December 8th, J. K. Emmett opened a three nights' engagement in
"Fritz," supported by the stock. On December 20-21-22, The Lilliputian
Opera Company. Christmas Day the stock resumed operations and played
through the holidays and up to the 13th of the month; they were
temporarily retired again to make room for Ilma de Murska and her
concert company, who gave scenes from "II Trovatore," "Martha,"
"Crispina," and other operas, remaining three nights, 15th to 17th,
inclusive. De Murski was not only a great singer but a great actress
as well, and her singing and acting were received with unusual
enthusiasm.

January 18th and 19th, Mr. and Mrs. Frank Frayne were the attraction
in the play of "Si Slocum." Frayne "was the fellow who won renown" by
shooting an apple from his wife's head (a la William Tell), only
Frayne split the apple with a rifle bullet instead of an arrow. After
performing this and other dexterous feats with rifle and revolver many
hundreds of times without accident, he did it once too often; he
finally missed his aim and shot his wife dead. How confiding women
are! Poor Mrs. Frayne! Thank heaven that did not happen _here_!
Whether Frank ever found another woman so confident of his skill as to
hold that apple on her head, we know not and hope not. He had a bull
dog that played a star part in the show; he may have trained the dog
to hold the apple after his wife's awful fate. Sad to relate, the
stock company supported Mr. and Mrs. Frayne and the bull-dog.

On the 22nd and 23rd, Mile. Rentz's female minstrels gave Salt Lake
another exhibition of musical extravaganza, the chief attraction being
the free and lavish display of beautiful female shapes. A whole
phalanx of voluptuous, rotund forms encased in a dazzling and
bewildering variety of colors--moving in splendid harmony--keeping
time, time, time, in a sort of runic rhyme. Why no wonder the
baldheads crowded into the front rows and outrivaled all other
spectators in applauding the bold and beautiful Amazons.

On February 22nd the community having recovered somewhat from the
excitement of Amazonian marches, Rentz minstrel choruses, and the
bewildering effect of so much female beauty, the present writer having
accepted an offer to go to Denver to play a star engagement at the
Denver theatre, summoned sufficient courage to take a "farewell
benefit." The plays given on this occasion were "Evadne" and the farce
of "Nan, the Good-for-Nothing." Soon after the "benefit" the writer
departed for Denver, accompanied by Mr. Harry Emery, who had played
with him in the recent benefit bill and on some previous occasions;
his work being so satisfactory as to secure him an engagement in the
Denver company that was to support me. Denver at this time had but one
theatre; it was not nearly so large or so good a theatre as the Salt
Lake Theatre; in fact, Denver was not then (1878) as large a city as
Salt Lake. Nick Forrester was the manager, and his wife was the
"leading lady" of the company, and insisted on playing all the leading
lady parts whether suited to them or not. This caused Nick and the
company a whole lot of trouble as she was already fair, fat and forty,
and not suited to many of the parts.

My opening bill was "Hamlet," and she was my Ophelia, much to my
dissatisfaction, as there was a juvenile lady in the company, Miss
Baker, who should have been cast for the part; but with a woman's
persistent inconsistency, in spite of my demurrer, she would be
Ophelia, and Miss Baker had to do the Queen, which she was quite as
unsuited to as Mrs. Forrester was for Ophelia. This was the "leading
lady's" reward:

"Not all the artifices of the stage would suffice to make Mrs.
Forrester look young enough for Ophelia, or Miss Baker old enough for
the Queen."--Rocky Mountain News.

After "Hamlet," "Richelieu" was given (my first appearance in the
character), then "Jack Cade," Bulwer's comedy of "Money" and my own
play, "Under One Flag." After filling in three more weeks with the
Forresters on their circuit, Mr. Joe Wallace, the comedian of Mr.
Forrester's company, made a contract with me to play me through the
state of Colorado, supported by the Forrester Stock Company. The
season was over in Denver, so we went _en tour_. Before the tour
ended we went to Leadville with teams from Canon City, and gave the
first dramatic performance ever given in Leadville. This was in the
summer of '78; the boom did not strike Leadville till '79. We were
there too early to do much in the theatrical way--the population was
not there. Emery and I got back to Salt Lake about the first of
August. The next attraction at the Salt Lake Theatre after "Evadne"
was the Union Square Theatre Company with Charley Thorne at the head
of it. On February 12th, this company opened in the Russian play, "The
Danicheffs," following it with "The Two Orphans" and "Pink Dominoes."
It was the foremost company of the time, and of course gave great
satisfaction. On February 22nd, Washington's Birthday was celebrated
by a big masquerade ball in the theatre, given by the L. H. B.
Society. This was a big affair, this masquerade. Hundreds of maskers
were on the floor and the grand march, led by our late lamented friend
Ned Wallin, and the writer, was a very fine pageant--and it was
altogether a very successful revel.

Next came Fanny Louise Buckingham and her finely trained horse, James
Mellville. They starred in conjunction for three nights in the play of
"Mazeppa," supported by the stock company. This was the last
performance the writer took part in before leaving for his Denver
engagement. There was much more satisfaction in supporting Fanny and
her horse than there was in supporting Frayne and his bulldog. Fanny
was a beautiful creature, so also was her horse James; and although
Fanny couldn't act Mazeppa very well, James did his part splendidly,
and Fanny could stick on him in good shape, and James carried her
through all right. The following week we were in Denver together, she
playing, I rehearsing, so we saw a good deal of each other, and when
she parted from us at Denver, she had established a reputation among
us for a "jolly good fellow." She loved her horse James Mellville, and
she loved a jolly crowd.

Next came J. Al. Sawtelle, who had been touring around in Utah and
Montana, and put his name up for a performance at the Salt Lake
Theatre. As he had only played there one season and had not been there
since '74, he was almost a stranger. He played "Rosedale" on March
2nd. On March 5th, Denman Thompson opened a three nights' engagement
in "Joshua Whitcomb." The 11th and 12th, Signor Eduardo Majeroni, a
very clever Italian actor, played "The Old Corporal" and "Jealousy."

On the 14th, Ada Richmond opened for a week, supported by the stock,
which also supported the three preceding attractions. On April 4th,
5th and 6th, Haverly's minstrels filled the time, giving the
Conference visitors a taste of genuine minstrelsy.

The last nights of Conference, 7th and 8th, were filled by the stock,
who kept it going until Oliver Doud Byron came in on the 15th and 16th
to crave their help "Across the Continent." On the 19th Frank C.
Bangs, one of the _big four_ in the "Julius Caesar" production at
Booth's theatre, gave a reading entertainment. Why he didn't give a
play I don't know, the same old reliable stock was here and had just
supported Oliver Doud Byron. The only reason I can assign is that he
hadn't time to stay.

April 25th and 26th Ada Gray appeared in "Whose Wife?" and "Miss
Multon."

May 2nd Prof. La Mar, leader of the Fort Douglas Band, gave a band
concert. La Mar was a very clever musician and had a fine band; he
deserved to be well patronized for he was very accommodating, and
volunteered the services of his band on numerous "benefit occasions."

On the 7th and 8th Dick Roberts in "Humpty Dumpty;" 13th and 14th, Sol
Smith Russell and Rice's Evangeline combination.

On the 27th and 28th Harrigan and Hart in "Doyle Brothers," "Old
Lavender" and "Sullivan's Christmas."

June 14th and 15th, Salisbury's Troubadores.

July 15th, Joseph Jefferson in "Rip Van Winkle."

September 10th, Henry Ward Beecher in lecture, "Wastes and Burdens."
This was after the notorious Beecher-Tilton scandal and Henry had been
studying social economy. The Mormons didn't like Henry very much, but
he had a big house.

September 12th and 13th, entertainments were given for the benefit of
the yellow fever sufferers in Memphis and vicinity. These
entertainments did not "pan out" very well, and the theatre managers
decided to get all the dramatic talent they could get to volunteer and
give a popular play, in hopes to materially increase the charity fund.
The "School for Scandal" was selected and given with a pretty strong
cast, embracing Miss Colebrook as Lady Teazle, David McKenzie as Sir
Peter, John T. Caine as Charles Surface, John S. Lindsay as Joseph
Surface. Phil Margetts and John C. Graham were in the cast, and a
number of others, I cannot remember. The play was given on September
16th, and netted a very tidy sum for the sufferers.

On the 18th, 19th and 20th, Calender's Georgia minstrels held the
boards, and business was light. The writer and Harry Emery had but
recently returned from their Colorado tour, and both were anxious to
be doing something, so I got a cast together and put on "Richelieu,"
which I had recently played in Denver, and received flattering notices
for, from the press of that city. I had given away my first appearance
for the "benefit" to the yellow fever sufferers, so there was no other
attraction than to see me in a new part and that did not prove
sufficient to save me from disaster. I had a losing game of it, the
receipts being some $75 less than the expenses of the performance.
This was the only time I ever failed to make something when I had
rented the theatre and taken chances, which was quite often. This
performance, given on the 25th of September, virtually closed the
season of '77 and '78.




CHAPTER XXIII.

SEASONS OF '78-'79 AND '80-'82.


The season of '78 and '79 was opened on October 4th by Haverly's
minstrels, who filled the night of the 5th also, when the stock
company stepped to the front once more, and filled out the remainder
of the Conference dates with the "Lancashire Lass" and the "Hidden
Hand." On the 23rd Susie Spencer was a beneficiary, playing "The
Little Rebel." Susie's life was not without a spice of romance, and
its chapter of sorrow. Susie Spencer was a very pretty little girl and
talented; the managers found her very useful in parts where her petite
stature was suited to the character, and such occasions were not
infrequent. Miss Spencer was progressing nicely in her art and had
already become a favorite with the patrons of the drama, when she met
her fate in the person of Mr. Ed Marden. Marden was one of the
Cogswell party who came from California by way of Southern Utah, and
waiting on Brigham Young, informed him they had received a revelation
(via the Planchette route) instructing them to come to Salt Lake and
join the Mormon Church, as it was the only true and authorized church.
The party were duly baptized and confirmed into the Church, and at
once installed as members of the stock company. Marden became on very
short acquaintance infatuated with the pretty Susie and laid siege to
her young and guileless heart with that adroitness and dexterity which
come from much experience, with the result that Susie soon became Mrs.
Marden. Marden was a member of the stock here all during the "Jimmy"
Harris regime. He and "Jimmy" were fast friends, they both came to
Utah Gentiles, joined the Church and married Mormon girls. Soon after
the close of the Harris management in '77, Marden drifted off and left
his Susie a heart-broken little woman. He was through with Utah, and
through with the Mormon Church, and through with his little Mormon
wife, and cast them all aside as he would a worn-out suit. He never
came back, and Susie, after a year or two of repining, found
consolation in the affections of a better man. She became the wife of
Mr. Rice, a well-to-do banker of the mining town of Frisco, Utah,
where she lived happily in her new alliance until a few years ago,
when she passed away from earth, still young in years.

The next stellar attraction was Mrs. Scott Siddons, a niece of the
great Sarah Siddons, who appeared on November 22nd in a dramatic
recital; with what success the writer cannot tell, as he was away
again at this time. This lady had just closed a week's engagement at
Portland, Oregon, when I arrived there. I met her at the hotel before
her departure, and she impressed me as being an extraordinary woman
and a brilliant actress.

December 25th, Nat Goodwin and Eliza Weatherby opened a four nights'
engagement in "Hobbies;" they gave on the following evenings "Under
the Rose" and "Cruets." This was Goodwin's first engagement in Salt
Lake.

On January 10th and 11th, 1879, Alice Gates' Comic Opera Company
played to exceptionally large houses.

Barney Macauley in "The Messenger from Jarvis Station" was the next
stellar attraction.

There was a dearth of star attractions along about this time and the
stock company had plenty of time to fill in, but it had become so
depleted as to be unable to keep up the interest for more than two or
three nights at a time.

On May 2nd, "Buffalo Bill," Col. Wm. F. Cody, gave an exhibition,
assisted by the stock company. He called it "A Knight of the Plains."
On May 8th, Annie Adams (Mrs. Kiskadden) and her daughter Maude, who
were in Salt Lake on a visit, created some interest in her
reappearance here, and that of Maude who on this occasion played her
first _speaking part_ in Salt Lake. Miss Adams assisted by the stock
(what remained of it) and some amateurs, gave on the 8th, "A Woman of
the People." This was the old French play of "Madeline, the Belle of
the Faubourg," which Julia Dean had played some years before. Like
many another good play since, it was made to do double duty by
appearing under a new title. For the second night's bill, the comedy
of "Stepmother" and the farce of "Little Susie" were given. In the
farce Little Maude played the name part, "Little Susie." Maude was
then six years and six months old, and had already played several
parts in San Francisco, the most notable one, Little Adrienne in "A
Celebrated Case," which she played in the Baldwin production of the
play, and afterwards in Portland with John Maguire's production of it,
for which she and her mother were especially engaged. Afterwards with
the Maguire company _en tour_ through Oregon and Washington, when
"Little Maude" was featured in "The Case" and also in "Ten Nights in a
Bar Room," her mother and the writer playing the leading roles in
these plays. This second bill was repeated on the 10th inst., the
probability being that Maude had caught the public favor at that early
day.

The next attraction of note was Lawrence Barrett, who opened on July
8th (midsummer nights--no dream) for four nights, opening play
"Richelieu" followed by "Hamlet," "A New Play" and "Julius Caesar."
How the fastidious and exacting Barrett managed to cast these great
plays here has never been explained to me. He must have carried his
principal support with him.

In the fall of this year Miss Annie Adams revived "The Two Orphans"
with a complete cast of amateurs, excepting herself and Jimmy Harris.
The cast included Mr. Laron Cummings as the Chevalier, Heber M. Wells
as the Doctor, Orson Whitney as Jacques, John D. Spencer as Pierre,
John T. White as Picard, W. T. Harris played Frochard, which fact
certainly denoted a great paucity of female talent here about that
time. Annie Adams played Louise and Delia Clawson, Heriette, which is
as much of the cast as we can gather from Miss Adams' own account of
this performance. So successful was the performance as a whole and so
meritorious the acting of the numerous debutants on this occasion that
Mr. Bud Whitney who was managing the business end of the affair,
proposed the organization of a "Home Club," which should comprise all
of the amateurs who had taken part in "The Two Orphans." The
proposition was readily adopted by those concerned, and out of this
sprang "The Home Dramatic Club." The time was most opportune, for
there was a dearth of dramatic attractions at the time; the old stock
had dwindled until there were but a few of its members left in Salt
Lake, and some new blood and talent was needed to give renewed
interest to home productions. "The Home Dramatic Club," with great
prudence and foresight, secured the ensuing April Conference dates on
which to make their initial bow to the Utah public. It was a good long
time to wait but they were sure of big results in a financial way, and
it gave them plenty of time in which to perfect themselves in their
opening play, which was "The Romance of a Poor Young Man." It was a
good selection, well suited to the young people, and scored a success;
only the older people in the community could remember George
Pauncefort opening in the same play in 1864, and scoring a great
triumph. The club had large and friendly audiences and their
introductory play was pronounced a genuine success, both artistically
and financially. It could not be otherwise than a good paying
proposition, as Conference nights are always a harvest time for the
theatre. So well encouraged were they that the club continued in the
business of playing _occasionally_, whenever they could secure
favorable dates, such as Conferences and other holiday times, for a
number of years. "The Home Dramatic Club" averaged about three or four
plays a year during their career of about ten years. The club being
more of a society affair than a professional theatre company, they
picked their times and opportune ones, and playing so seldom they
never were subjected to the tasks in study and rehearsals and dramatic
work which characterized the busy years of the old stock company. It
was a talented company, however, and no doubt could have made good
under different and more exacting conditions.

In March, 1881, the writer was back in Salt Lake after a two years'
absence, principally in Portland and San Francisco. On my return there
was nothing doing in the theatrical line. The "club" had been
organized nearly a year, yet had given only a very few plays. There
was a dearth of theatricals, and the writer with the acquiescence and
assistance of Mr. Clawson, who was again manager of the theatre, got
up occasional performances with such assistance as he could procure.
The first of these was "A Celebrated Case," in which he had the
assistance of Manager Clawson's daughters, Miss Edith Clawson and Mrs.
Ardelle Cummings. Other performances were given in connection with
David McKenzie, Philip Margetts and John C. Graham, with such support
as we could muster from the depleted ranks of the old stock, and what
new aspirants were in the field for dramatic honors. The "gallery
gods" honored the three gentlemen and myself with the somewhat
flattering appellation of the _big four_, the same title the New
Yorkers bestowed on Booth, Barrett, Davenport and Bangs when these
four stars formed the great constellation in the play of "Julius
Caesar." These performances, however, like those of "The Home
Dramatic," were few and far between, and to a person depending on
acting for a livelihood, did not prove very remunerative.

About this time another project which interested the writer hove into
view. Dr. D. Banks McKenzie, a temperance lecturer and reformer, had
succeeded after a considerable effort in organizing a temperance club
in Salt Lake City (a prodigious task to accomplish at that time). He
had succeeded in raising a fund of some thirty thousand dollars in
contributions towards the erection of a first-class lecture hall, with
library, and various other nice accommodations for the society. The
Walkers Brothers had contributed a building site where the Atlas block
now stands, 50x100 feet. This was put in at $13,000, making nearly
one-half of the $30,000 contributed. On being informed by one of the
Walker Brothers of what was projected, the writer with some
self-interest suggested that inasmuch as they were going to put up a
building of such size and cost, that they might just as well make it a
little larger, and make a theatre of it; that a theatre would answer
all the purposes of the proposed hall, and often rent when the hall
would not. The idea grew with them, and the Walker Grand Opera House
was the result. It occupied a year in building. It was opened on June
5th, 1882, with a vocal and instrumental concert, with Prof. George
Careless as conductor. As a matter of historical interest and to show
the musical status of Salt Lake at that time, a copy of the opening
program is here appended.

    OPENING OF THE WALKER GRAND OPERA HOUSE.

    Monday Evening, June 5th, 1882.

    Lessee ................................ D. Banks McKenzie
    Manager ................................. John S. Lindsay

    PROGRAM.

    1. Overture--"William Tell" ..................... Rossini
    2. Quartette--"The Night Before the Battle" ....... White

     Misses Olsen and Richards, Messrs. Whitney and Spencer.

    3. Flute Solo--"Concert Polka" .................. Rudolph

                     Mr. George Hedger.

    4. Aria--Il Profeta ........................... Meyerbeer

                      Mrs. J. Leviburg.

    5. Selection Favorite ......................... Donozetti

                         Orchestra.

    INTERMISSION.

    6. Overture--Pique Dame ........................... Suppe

    7. Aria--E. Puritane ............................ Belline

                    Mr. Robert Gorlinske.

    8. Piano Solo--Trovatore ..................... Gottschalk

                      Mrs. Helen Wells.

    9. Song--"My Own Dearest Child" ..................... Abt

                    Mrs. George Careless.

    10. Selection ...........................................

                   Croxall's Silver Band.

    Conductor ......................... Prof. George Careless

    Thursday, June 8th--For Three Nights. Louis Aldrich Company in his
    very successful play, "MY PARTNER." Superb Star Company.

In the spring of '82, when the Walker was approaching completion, Dr.
McKenzie hied him to New York to secure attractions for the new
theatre, for the erstwhile temperance lecturer had developed into the
sole lessee and manager of a $100,000 theatre. He had already chosen
me to attend to the local management, for which I was to have 5 per
cent of the gross proceeds of everything we played there, with the
privilege of getting up local performances in the interims. I had
worked eleven months, superintending the construction of the building
and was quite in favor. "Doc" was very successful in securing
attractions, his somewhat extravagant and florid descriptions of the
Walker Grand, as they chose to christen it, and its superiority to the
old theatre, caught the agents and managers, and he secured so many of
the attractions going to the coast the ensuing season that he
virtually had the Salt Lake Theatre out of business.

The first dramatic performance given in the Walker was the Louis
Aldrich Company in "My Partner." The house was well filled but not
crowded; there was a very strong prejudice against the Walker among
the Mormon part of the community, and a malicious report to the effect
that the galleries were not safe was put in circulation with a view to
injure the new theatre. Such mischievous whisperings, however, only
had a temporary effect.

One of the earliest attractions at "The Walker" was Haverly's
minstrels, and the house was crowded to its utmost capacity; as the
galleries did not give way on that occasion, the reports which had
been so industriously circulated were seen to be "a weak invention of
the enemy."

The new house continued to get the attractions to such an extent, that
the Salt Lake Theatre was virtually out of the swim. This was
accomplished by Dr. McKenzie putting The Walker under the direction of
Jack Haverly. Haverly at the time was one of the foremost managers of
the country. He controlled more companies and theatres than any one in
the field of amusement; so he booked everything in his control at The
Walker, and the house during his _regime_ was called Haverly's Walker
Grand Opera House. "What's in a name?" In theatrical business much; it
is everything. So serious indeed was the situation for the Salt Lake
theatre that Mr. David McKenzie, who was at this time the acting
manager of the house, found it necessary to go to San Francisco and
have a business interview with Mr. Fred Bert, who was Haverly's San
Francisco manager.

The result of his visit was an agreement on the part of Haverly to
play his attractions alternately between the two theatres, thus giving
the Salt Lake theatre one-half of their Salt Lake bookings. In the
agreement it was stipulated that the Salt Lake Theatre must also float
the Haverly flag, and while this contract lasted the old house was
called "Haverly's Salt Lake Theatre." Here was an interesting
situation; both theatres flying the Haverly flag. Haverly's name at
the head of every bill and program. It was not at all pleasing to the
Mormon people to have their theatre, in which they took so much pride,
pass under the direction and management of a Gentile manager. Many of
them didn't know but what Haverly had bought it. The Walker Brothers
did not relish the idea either of their house being called Haverly's;
but such were the exigencies of the theatrical business. To the Walker
it was a great advantage, as without Haverly's prestige the new house
would have had a hard time in getting first-class attractions.

These circumstances go to show what an immense influence Jack Haverly
wielded in the theatrical business of this country at that time. He
was almost as potent then as Klaw & Erlanger of the syndicate are
today. These conditions did not last very long, as the managers and
agents came to learn that the Salt Lake Theatre was the only one that
the Mormon people would patronize, and they being so largely in a
majority of the theatre-goers, the older theatre gradually won back
the great bulk of the traveling combinations, and the Haverly
agreement having expired, his flag was hauled down, much to the relief
of a great many, to whom it had always seemed a reproach to have
_Brigham Young's_ Theatre called Haverly's. Jack Haverly had too many
irons in the fire; his numerous theatrical enterprises were managed by
a corps of lieutenants, too numerous for Mr. Haverly to keep in line.
Some of them proved shrewder, more adroit, and less principled than
their general. He trusted them too implicitly, and this was his
undoing. Some of them managed his enterprises into their own hands,
while he was giving his personal attention very largely to his mining
interests. These, too, turned out disastrously, and Haverly's star,
which had been so prominent and bright in the theatrical firmament,
began to wane and in a very few years was totally eclipsed. After all
his great enterprises, he became a bankrupt in 1898, and he died poor
in 1901 in a Salt Lake Hospital. He was reduced in health and
circumstances to such a degree as to be unable during the last year of
his life to manage even a minstrel company, and others paid him for
the use of his name.




CHAPTER XXIV.


Retrospectively considered, the building of the Walker Opera House was
premature. There was one good theatre here, and not half enough of
business for that one; but it served to enliven things for a little
while, and did its share toward liberalizing and metropolitanizing
Salt Lake City. The Walker had a brief and rather checkered career; it
was destroyed by fire on July 4th, 1891, after a performance of "Held
by the Enemy." The audience were all home and the company had left the
theatre; the stage hands were lowering a drop, when a gust of wind
blew open the front door and sent the drop sailing against a gas jet;
in a moment it was all ablaze. The stage hands lost their heads and
made for the exit, when a little presence of mind would have saved the
building. The house, especially the stage, was well provided with
water plugs and hose, and it seems incredible that any effort was made
to extinguish the fire.

Mr. Will Burgess was manager at the time it burned down. It is a
remarkable fact that two other fine theatres burned under this same
gentleman's management within a few years afterward. The Farnham
Street Theatre of Omaha, where a number of lives were lost, and The
Auditorium of Kansas City. Notwithstanding these very serious
drawbacks, Mr. Burgess is one of the wealthy managers of the West
today.

After the burning of "The Walker," Malloy's Livery Stable, directly
opposite the Walker, was converted into a theatre, when it was decided
to build an office block on the ruins of the Walker. For some time it
was known as "Wonderland," and was a two storied show; the upper story
being a sort of curiosity shop--or Wonderland with specialties and the
lower story having a small stage was devoted to vaudeville, and short
plays. Afterwards the two stories were thrown into one room, and
converted into a theatre with capacity for about six hundred people.
It was called the Lyceum. Here a stock company was run for about a
year with varying fortune. Some actors who have since won high places
in their professions were members of this stock, notably Charles
Richman, Ed Hayes, Victory Bateman.

The Lyceum soon went into a decline struggled along for a few years
against adverse fortune and finally yielded up the ghost. It was
transformed into a handsome saloon and wholesale liquor house, from
which a greater revenue is derived than it yielded as a theatre.
Before the Lyceum went out of commission as a theatre another
theatrical venture was launched. This was the Grand. This theatre was
built (or partly so) by Mr. Frank Maltese and Mr. "Brig" Pyper. The
story of how they projected, planned and built this theatre is told as
follows: "Brig" and "Frank" made a winning in a "policy drawing." They
held between them a one-fourth interest in a fifty-dollar policy
ticket. In a sporty manner they bantered each other as to what they
should do with their big winning of $12.50. One was in favor of
reinvesting it in the next policy drawing, the other for trying their
luck at the "faro-bank." Finally, in a lurid flash of imagination one
(which one we don't remember, but we believe it was Frank), exclaimed:
"Let's build an Opera House with it." The idea was so absurd, they had
a good laugh over it; but the thought took hold of them, and one of
them suggested, "Let's figure up and see _how much more_ it will
take." So on the back of the policy ticket they figured up roughly
what it would take in addition to their winnings to build "The Grand."
The result was no doubt staggering; but undismayed they went about to
see how they could accomplish such a herculean task. They owned some
property, or their folks did, and this they decided to put in jeopardy
in order to carry out their designs. They secured the building site,
and got the walls up and the roof on--and then they were stuck. They
had reached the end of their financial tether, and were forced to stop
until they could make some new deal by which to complete the building.
Mr. Alec Rogers was the party who now came to the front and put up
some $16,000 to complete the building. We don't know just how much
interest the boys Maltese and Pyper had remaining in it when the
theatre was completed, but we opine it was little if any. The Grand
opened with the house in the possession of Alex. Rogers and sons, and
John Rogers was installed as the manager. He secured a very good
company for the opening, announcing a season of stock performances.
The house was opened on Christmas Eve, December 24th, 1894. The
personnel of the company was as follows: Jane Kennark, Blanche Bates,
Madge Carr Cook, Jean Coy, Howard Kyle, Tim Frawley, Charles King,
Harry Corson Clarke, H. D. Blackmore, Fred Fjaders, Mr. Mannery. The
opening play was "Moths." It was a good performance, and the company
made a very favorable impression. The axiom that "A new broom sweeps
well" had a number of exemplifications in this theatre. It was so with
this first company, notwithstanding it was a talented and capable one.
After it had been seen in a few plays, and the _novelty_ of the new
house, miscalled "The Grand," was over, business began to drop off and
it was more than the manager could do to keep ahead with the expensive
company he had.

Why this theatre was called "The Grand" we were never able to divine,
as it was at the opening positively severe in its plainness. There is
a great tendency in our country to buncombe, aside from the genuine
patriotism that exists in it; this tendency leads many of our fellow
citizens into silly extravagances, especially is this noticeable in
the naming of theatres, hotels and restaurants; more particularly is
this the case in the small towns. A man opens a little restaurant
scarcely big enough to accommodate a dozen persons, and everything in
it of the plainest and commonest kind, and he dubs it the "Palace"
restaurant. "Opera House" is a much abused appellation. Nearly every
insignificant, dingy, dismal, inconvenient, and homely theatre and
hall throughout the land is dubbed Opera House. It is a dreadful
misnomer--inconsistent and absurd in three-fourths of the houses to
which it is applied. "The Theatre" is dignified enough and much more
consistent and suitable. "The Grand" during the ten years of its
existence has had a checkered career. We doubt if any of its half
dozen different managers have made it pay. The first company, as
already stated, was found to be too expensive, the business would not
sustain the heavy salary list, not only was the salary list large, but
Mr. Frawley made a demand for a percentage of the receipts in
addition. This sprung a disagreement, and the company was after about
four or five weeks superseded by another less expensive. The Rogers
management was able, liberal and intent on giving the public
satisfaction. After a fair trial of the business, lasting three years,
they disposed of the house on a lease to Mr. Garvey of pageantry fame,
who spent a few hundred he had made on the "Pioneer Carnival" on the
house in the way of improvements, and then called it "The New Grand."
_Ad captandiun vulgas_.

Garvey's reign was brief and unprofitable. Then Mr. Martin Mulvey took
a swing at it, and made things lively for two seasons, but the
supposition is that he did not make money with it or he would not have
given up the lease. The last management, Messrs. Jones and Hammer,
have seemingly had the most prosperous time with the house; they have
profited by the experience of their predecessors, and yet it appears
they have not realized their expectations, and so have re-leased the
house to Denver parties.

Having brought the history of the Salt Lake Theatre through the first
twenty years of its existence up to the time when the stock company
was altogether disbanded, owing to the fact that the combination
system had come so fully into vogue as to displace the stock system
all over the country, I shall not attempt to give its history after
this time, as my connection with it had altogether ceased. I shall
only add that for the past twenty-three years it has kept the even
tenor of its way, under able managers (notably Mr. Charles R. Burton
and later George Pyper), playing the leading attractions of the
country to a splendid patronage, keeping up the reputation of Salt
Lake as "the best show town of its population in the world."

More than twenty years ago several attempts were made to establish a
vaudeville theatre in this city; two houses were built at different
times for the purpose, but they were short-lived, dying out for lack
of patronage. Within the last three years, however, the city's
population having greatly increased, no less than four have been
started here, two of which survive and seem to be doing well.

During the early years of the drama in Utah, several of the towns
besides Salt Lake had very talented companies. Provo, Springville,
Ogden, Brigham City, and St. George each had fairly good theatres and
many very capable players. It is somewhat remarkable, however, that
out of the hundreds of persons who have "gone on the stage" in Utah,
so few have drifted into the profession and left their homes to follow
it; the percentage is very small. Miss Sarah Alexander was the first
to drift off, and although she has not made much stir on the stage
herself, she has chaperoned her niece Miss Lisle Leigh to fine
success. Mr. James M. Hardie was the next to break away; then Miss
Anne Adams, Mr. Logan Paul and the writer complete the list so far as
the Salt Lake Stock Company is concerned. Later Miss Ada Dwyer and Mr.
DeWitt Jennings. This is accounted for by the fact that, much as the
Mormons love the theatre, they love their homes and their religion
better. The theatre is a pleasant pastime with them, but the staying
at home and building up of their kingdom is a religious duty, and
unless they are "called on a mission," they prefer to stay with home
and Church.




CHAPTER XXV.

CONCLUSION.


A few reflections on the theatre and its work in concluding this
little history may not be out of place.

The cultivation and progress of the drama in connection with its
kindred arts, poesy and painting, marks the progress of civilization,
culture and refinement at any given period in any country. Without the
aid of the theatre and the actors' art, the great majority of mankind
would remain in ignorance as to the works of the most gifted writers;
without those great reflectors of human thought, how many thousands
there have been and are who never would have heard or read the plays
of Shakespeare and other writers of genius, but who, by the assistance
of the actor's delineations, have become familiar with the most
sublime and beautiful thoughts and sentiments that adorn our language.
I make mention particularly of Shakespeare's plays, as they are beyond
all question the greatest and grandest compositions ever written.
Among the thousands of plays that have been written during and since
the great dramatic renaissance of Elizabeth's reign, they still stand
out incomparable as models _par excellence_ of dramatic composition,
challenging competition, and as yet unrivaled after a lapse of more
than three centuries.

That the stage is a great factor in our modern civilization, for the
education of the people, no reading, reflecting person would attempt
to deny. It is true that some pernicious things occasionally creep in
that would be better suppressed, but they are rare and exceptional.
The great bulk of dramatic entertainment is uplifting in its
tendencies. The infinite variety of plays presented, showing human
life in all conditions, and under every variety of circumstances, can
not be otherwise than educational in effect upon those who witness
them. However crude or devoid of literary merit a play may be, there
seldom is one, however bald in plot or uninteresting in sentiment, but
what "points a moral and adorns a tale."

In Shakespeare's day the theatre was even more or an educational
institution than it is today. Books were scarce in that age, and the
newspapers were an undiscovered medium of information, so that plays
(especially historical plays) possessed a wonderful interest for the
masses, who had little chance for schooling or the acquirement of
knowledge from books.

The old chronicles and legends were freely used by the dramatists of
the Elizabethan era, and the incidents of history were made so
familiar to the habitues of the theatre that the common people
acquired a good knowledge of history by witnessing the representation
of those plays. To illustrate how much this was the case, Ben Jonson
tells the story of a fellow who, having been taken to task on some
question of history and the accuracy of his position being assailed
and the authenticity of his assertions being called in question,
replied by way of defense: "No, I confess I had it not from the
histories but from the play books, and consider them the more
authentic."

Many dramas have been written (and more especially by the poets)
without perhaps having in view their exploitation on the stage, but
like their other poetry, to be read, suitable only for the library,
more poetical than dramatic.

Such are the plays of Byron, Shelley, Keats, Moore, and others. A
still greater number have been written solely for acting purposes; and
the majority of these may not lay claim to any permanent abiding place
in literature. Others still are admirably adapted to both the library
and the stage. Such are the plays of Sheridan, Knowles, Bulwer,
Schiller, Kotzebue, and later of Heinrick Ibsen. Of such a character
also are the plays of our gifted Salt Lake dramatist, the late Edward
W. Tullidge. The present-day theatre-goers have little time to indulge
in the reading of plays. The overwhelming mass of reading matter
thrown from the press, keeps the general reader busy to keep abreast
of the current literature of our times. So that plays form no part of
the world's reading matter; here and there is one, some stagestruck
soul who loves to get hold of and read a play, but the vast majority
are content to let the actors read the plays for them, preferring to
witness the acting of them. It is a fact and a very gratifying one
that Shakespeare's plays are about the only ones that are read
nowadays, and these are by no means so universally read as they should
be. The masses have not time for reading Shakespeare, or other
dramatists, so it is a fortunate thing for them that the theatres are
so popular and accessible; here, they can hear the thoughts and
sentiments, and see in literal action the characters of both ancient
and modern times, and gather from the mimic scene suggestions of the
tremendous throes and struggles through which the human race has
passed.

During the forty-three years that the Salt Lake Theatre has been in
existence, an almost infinite variety of plays have been presented and
thousands of actors (as infinite in variety as the plays) have
"strutted and fretted their brief hour upon its stage" and now are
heard no more. It is a solemn reflection that in all probability more
than three-fourths of all who have trod the stage of this theatre,
both local and transient actors, in less than half a century of
existence are "heard no more." The voices that have thrilled us, the
animated and beautified forms that have called forth our admiration
and praise, are stilled forever by the chilling touch of death;
genius, mediocrity, incompetency, all alike go down, and the greatest
names in a few brief years are forgotten; so transitory is the actor's
fame. Yet it is not more so perhaps than that of other professions,
and certainly not quite so much of a "will o' the wisp" as "seeking
the bubble reputation in the cannon's mouth."

Out of the multitudinous dramatic pictures that have been presented on
the stage of this theatre during its forty-three years of existence,
it is interesting to know which stand out in bold relief. We need not
hesitate to reply, the plays of Shakespeare, and those that are
nearest akin to them, such as Bulwer's "Richelieu," Knowles'
"Virginius," Banim's "Damon and Pythias." The Irish plays of Dion
Boucicault, "Colleen Bawn," "Arrah Na Pogue," "Shaugraun," "Kerry,"
and even his "London Assurance," made very strong impressions, were
very popular, and made money both for actors and managers. So with
many other plays we might cite; but compared with Shakespeare's plays
they have proven to be short-lived and their fame but transitory. They
have never found a permanent abiding place in the world of literature.

There is a strange, a marvelous thing in connection with the plays of
Shakespeare. In his day the theatre was not popular, as it is in our
times. The religionists held it in reprobation; actors were looked
upon by the good church people as little better than vagabonds, and
the occupation of play writing was scarcely reputable. The Globe
Theatre, the best there was in London at that time, was little better
than a barn. The art of scene painting was unknown. Candles were the
best artificial light they had, all the accessories of the stage were
of the most primitive description. The art of costuming plays was
crude in the extreme, and woefully inadequate and incorrect. In short,
the facilities for staging plays were poor, extremely poor, as
compared with those of our own time. The greatest drawback of all
however was this. They had no women on the stage; all those beautiful
female characters of Shakespeare's were impersonated by men. Woman had
not yet asserted her independence and equality with man in this domain
of art; and yet under these most adverse conditions, _the greatest
plays the world has ever seen were written_. Three centuries have
winged their flight into the past, and in all that time no other
dramatist has arisen that can rival Shakespeare. The popularity of the
theatre and the actor's art have steadily grown since his time until
in our own day we have the most costly and elaborate theatres. In
every city, and almost every town of the civilized world, there is
some sort of a theatre; many of them are truly _temples_ of the
Thespian art; invention has racked its brains to supply original and
costly adjuncts to the drama in the way of scenery and mechanical
devices; realism has run mad in its efforts to produce novel illusions
and startling stage effects. Woman has long since demonstrated her
equality with man in the arena of dramatic art, and for more than two
centuries she has adorned the stage with her beauty, grace and
talents. There is an eager and expectant world of theatregoers waiting
for some new genius to come forth and give to the stage another halo,
to shed a radiance over its flickering lights, and fill the world with
wonder and delight; but alas! no other Shakespeare has arisen; with
the models he gave before them, in three centuries no dramatist has
arisen that could write a "Hamlet," a "Macbeth," or a "Lear;" nothing
in all that time to equal "Romeo and Juliet," "As You Like It," or
"The Merchant of Venice."

There have been hundreds of playwrights since Shakespeare's time,
thousands of plays have been written, the greater portion of them
worthless to the stage, but a great number of excellent playwrights
have flourished since then, and their plays have had a greater or less
degree of success. We will just instance a few of the most successful
ones. Otway wrote "Venice Preserved;" Massinger, "A New Way to Pay Old
Debts;" Addison his "Cato," Goethe his "Faust;" Schiller "The
Robbers;" Kotzebue, "The Stranger;" Bellinghousen, "Ingomar;"
Sheridan, "The School of Scandal," "Pizarro" and "The Rivals;"
Knowles, "The Hunchback," "Virginius" and "William Tell;" John Howard
Payne, "Brutus;" Bulwer, "The Lady of Lyons," "Richelieu" and "Money;"
Dr. Bird, "The Gladiator;" Judge Conrad, "Jack Cade;" George F. Boker,
"Francisca de Rimini." I might instance many others, but these will
suffice tor my purpose. Now these are all noble productions, and have
won fame and money for both authors and actors; but it is questionable
if any of them will live indefinitely. Already many of the plays I
have named are waning in the dramatic firmament; some of them have
already set. Why is it, let us ask. What is there in Shakespeare's
plays that lifts them so far above the average of merit and sets them
on a plane so distinctively their own? Other authors have certainly
equaled Shakespeare in erudition, have even excelled him in the
description of the sublime and terrible, surpassed him in glowing
pictures of supernatural imagery. Why, then, does the world attach so
much importance to the work of Shakespeare? Why are they so highly
prized? It is because Shakespeare was the grand High Priest of Nature!
He got closer to the human heart than any and all other authors. To
him nature was an open book, and he was so thoroughly in love with it,
that he left no page unturned or unobserved; from the primer page or
the humblest creations of nature's lavish hand up through the
countless and variegated specimens of her handiwork to the crowning
production of her creative power, _man_--this son of genius penetrated
all her secrets, delved all her depths, scaled her loftiest heights.
The heart of man, that secret repository of so many contending
passions; that cradle where the affections are rocked into life; that
fountain whence so many varying emotions spring, that sea o'er which
are swept the multitudinous passions of life, was also to him an open
page; the last and greatest chapter in nature's wonderful volume. He
understood life in all its phases.

No plays afford greater opportunity for scenic splendor than
Shakespeare's, yet none are less dependent on the adjuncts of scenery
and outward realism. Shakespeare put his realism into his characters
and no inadequate surroundings can rob them of their wondrous charms;
they possess such range of mental vision, such tremendous power of
thought, such depth and placidity, such glowing imagination; his
characters are living, breathing, speaking types of the age in which
they lived, and he their creator stands out wholly beyond question or
dispute, the most transcendent genius our earth has ever produced.







End of Project Gutenberg's The Mormons and the Theatre, by John S. Lindsay