ENPages
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[Charles Macklin.]
[Mr. Mossop in the Character of Langa.]
[Thus perish all that gives Alonzo pain! Act III Scene I.]
[Published by I. Wenman 1st. Dec.r 1776.]
[Mr. Barry in the Character of Varanes.]
[Damn'd be all Courts, and trebly damn'd Ambition. Act 3d. Scene 2d.]
[Terry sculp.]
[Publish'd by J. Harrison & Co. 1st. Oct.r 1779.]
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old) as they are about to pay Nature's great debt. Hence, Hallam found less difficult in recruiting a suitable corps than he at first inticipated. Having secured two leading performers in the persons of his brother Lewis and wife, his corps dramatique was suitable filled up in every essential point, so that a majority of the stock plays and farces of the day, and which were then popular in London, could respectably acted. Hallam met with many difficulties in the inceptive movements of this ridiculed scheme of erecting a theatre and transporting a company of the "woods and ilwds" of America -- for so their fellows satirically dubbed the refion to which the corps were bound. William Hallam, however, in every arrangement proved himself an able and far-sighted tactitian. He knew the grand failing of all actors was their "vailting ambition," which often "o'er leap itself," and this all harmonies are untuned in buiness relations. He, therefore, wisely assembled his emigrant corps at his house in London, and fully and finally organized his scheme, with the unanimous consent of the members. With a ringular coincidence of future political events--a kinf od presitge of the instituitons that the American colonies were soon to develop--e formed the troup into a commonwealth, in which every person had his respective duties and positions dulty defined. Lines of business were marked out. A list of plays and farces were, at this convention of the first pilgrims of the stage to the New World, produced and selected. They were cast to the entire satisfaction of all the members, and put into immediate study and rehearsal before their embarkation. Thus was this first American theatrical corps destined to plant the drama in our country. Organized on purley republican principles--simple and humble, to be sure, in pretensions--yet its rise and progress, its subsequent growth to a uneritorious elevation amonst the sister arts of young America, is not the less otable, and desrves, at least, a passing record.
CHAPTER II.
History of the organization of the old American Company in England, continued--Virgina chosen as the place of debut--Reason for this section--Preparations--Plays cast--Embarkation on board the "Charming Sally"--Sea rehearsals--Incidents--Arrival at Yorktown, etc., etc.
Lewis Hallan was appointed the sole manager over every department of the adventure. subject, however, to the authority of the proprietor who invested the theatrical stock, viz: William Hallam. The latter did not accopany the adventurers, but was recongnized as the source of all power and right--these powers being only delegatred to his brother Lewis. The brothers were to divide the profits equally, after the shares to the compnay and attendant expenses were deducted. This, in theatrical parlance, is called "a sharing scheme." The plan was prosperous for many years afterwars, and the members of the troupe continued thus until after the revolutionary war, a period of more than thirty-one years. This long season of unanimity may be deemed a dramatic phenomenon. The original agreement was thus kept inviolably in all the peregrinations of the THespians through "weal and woe," for that unusual spac of time, nem. con. As Puff says in the critic--"Where the do agree on the stage, their unanimity is wonderful!" The creduit of these precautionary measures, by which good fortune was secured to the immigrant actors, is due to the projector, W. Hallam, who is justly entitled to the appelation of "the Father of the American Stage."
The last importnat wuestions seriously mooted was, in what wuarted of the colonies was the campaign to begin? The descendants of the Puritan pilgrims of the eastern colonies were deadly inimical to the dra,a and to all kinds of exhibitions. The more rational such entertainments were in their nature, the more objectionable and intolerant to their existence did these ascetics prove. The Dutch of New York were more liberal, but were too unelnightened in regard to the English draa. The predominant influence of Quaker principles in Pennsylvania and Jersey, raised up a Chinese wall of prejudice against any dramatic incursions. The larger cities and towns in American were at the east and in the middle States. After due inquiries, it was determined to select the "old Dominion" as the place for inauguratin the drama--fair, but "Old Virginia!" There the gayand liberal spirit of the cavaliers of Charles the 1st and 2d, was cherished. The southern provinces, including Maryland, were characterized by spirited and enlightened sentiment. This disposition led to the hope that instinctive feelings and good breeding would love and foster the arts, especially the drama, which was then in its palmiest days in old England.
The expedition being perfectly equipped, twenty-four plays and farces cast, and generally studied, a good wadrobe being prepared for that day, (wardrobes were not then what ther are now,) properties and drop scenes being painted, the point of destination was selected, viz: the capital of Virginia, WIlliamsburg, where Governor Dinwiddle held his Provincial Court, The Hallams had received letters at London to some of the most notable persons in the Provincial Governments and the colony of Virginia, as well as to some of the planters. The names of the ladies and gentlemen who composed this company of actors, who first unfurled the thespian banner on the new continent, deserve the honor of a historical record more imposing and durable than we can pretend to prepare for them. The projector might exclaim with Horace:
Exegi monumentum, are perenius.
Mr. Lewis Hallam was sole manager and principal low comedian. Mr. Rigby was the leading tragedian and light comedian. This gentleman was a well bred professional man; and young Hallam, who was one of the members of this nascent dramatic corps, being the only twelve years of age, said that he was indebted to Rigby for much valuanle instruction in acting. Of Master Lewis Hallam, more anon. Mr. Clarkson was a heavy speaker of much propriety, not very pretentious--he was a useful actor in all departments. Mr. Malone might be styled the heavy tragedy man of the company. He sustained the part of "Shylock" in the "merchant of Venice," as restored by Macklin, and not the version of Lord Landsdown, which made :the Jew that Shakespeare drew" a mere farce part. Malone played everything, and was a judicious actor, and most intelligent gentleman. Mr. Singleton was the light comedian and juvenile tragedian. He possessed literary acquirements and poetic talent, as his prologues and epilogues to the play acted here clearly evince. He was the poet lauteate to the theatre, and had the uncommon honor of having his own composition first delivered from the original stage erected in the new world. He wrote the prologue to the opening play at Williamsbug, Virgina. Mr. Herbert, Mr. Adcock, and Mr. WInnel--sometimes spelled Wynal, about which autography there has been some discussion--were minor actors of capability.
The ladies ewre as follows: Mrs. Hallam, the manager's wife; this ladt was the leading actress, both in tragedy and comedy. She must have been extremely clever in these opposite walks, as English tradtion spoke highly of her powers, and all our colonial theatrical records pay the highest homage to her various excellenceis, especially in pathetic passages and parts. Mrs. Rigby was not more than useful. Miss Palmer played the walking ladies and smart chambermaids, it is said with credit, and was a favorite. Mrs. Clarkson was classed with the ready and useful. Miss Hallam, the daughter of Mr. and Mrs. Hallam, appeared afterwards in Philadelphia for the first time. Master Lewis Hallam, hwo was, at the time of the formation of this company, at school at Cambridge, then twelve years of age, had the choice of accompanying his father and mother on this theatrical adventure, or to remain at thome and at his grammar studies, under the protection of his uncle WIlliam. He chose the former offer, and was enrolled a member of the corps with his younger brother, Adam. They left a young sister at home, who was six years of age. She subsequently became known to the London stage as Mrs. Mattocks, and was deemed one of the best actresses in her line on those boards.
Thus was this commonwealth dramatic company constituted by William Hallam. The adult sharers were twevlve, including the manager, each being entitled to one share; Lewis Hallam had five shares allowed for the property invested and the services of his three children, and one for his management--making in the whole eighteen. Master Lewis Hallam had never acted, but he made his first appearance in Williamsburg, on the opening night in America, in a subordinate part; and we have heard him say that, although he had only to deliver a line, he was so frightened that he could not utter one syllable of that line.. This same youth bceame afterward eminently identified with the early progress of the American theatres, till they obtained a local habitation and a name. For upwards of fity years he reigned as maager. amd was received as a principal actor in tragedy and comedy, being justly considered as one of the original founders of the drama in America, and by many members of the profession was subsequently, when he became "Old Lweis Hallamm" sryled "the father of the American stage." Mr. John Bernard, the celebrated comedian, it would
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seem, in his amusing reminiscenes, arrogates that title to himself. It is true that he did much to elevate the profession here by his superior abilities and private worth, but he cannot justly lay claim to that distinguished appellation. We would, therefor, correct and reprove this assumption, recte et suaviter, or rather we would "render unto Caesar the thigns that are Caesar's," and add, Lewis Hallam, who came hither a boy, and made his first appearance in Virginia, in 1752, deserves the further honor of being the first American actor, albeit not a native, but "to the manor born."
The twenty-four pieces selected, cast and put in study before the corps sailed for the Western World, were all suitable to their talents. Allow us here to commend the prudence and wise precations of the proprietor and father of this novel scheme. He well kmew the amnitious propensities of actors. He was experienced in their interneeine impulses, which often, to gain desired parts, would mar all business arrangements. There is a kind of a mutual dstructive bump that is largely developed in every theatrical skull. By its promptings a good dramatical character is often wooed, but, if it cannot be won, the "bump" incites its possesor to disorganizing hostility. Mr. Hallam wisely arranged the whole of the details of the plan. Each performer had his sation alloted, although the company found founded on republican principles. The parts were duly cast (thus avoiding the only source of double trouble) ere they embarked for the distant destination. Time was thus economized by this method, and they had nothing to do on their landing but to fit up a theatre, call on reheasal, ring up curtain, and "fire away," as the poet says.
Their list of plays ran thus: "The Fair Penitent," "The Beaux Stratagem," "The Recruiting Officer," "The Merchant of Venice," "Jane Shore," "The Careless Husband," The Constant Couple," "King Richard the Third," "Hamlet," "Othello," "The Suspicous Husband," "Provoked Husband," "Tamerlane," "Woman's a Riddle," "The Inconstant," "Woman's a Riddle," "The Inconstant," "The Concsious Lovers," "George Barwell," "Theodosius"-- (this play was at that day a great favorite in London)-- "The Twin Rivals," and "The Committee." From the latter the laughabale farce of "The Honest Theives" is taken. The "Committee" was intended to satirize the Puritains. One of the characters is now represented in the Quaker cosume and with the Quaker manners, in orde rto ridicule the peculiarities of that seet. Such exhibitions may be ludcicrous, but they are not commendable. The sober colors, phraseology, and rigid forms of the Friends, are, as it were, part of their religious belief, and as such, should not be sported for mere amusement.
Not many of these plays hold possesion of the stage at the present day. Many have long been shelved--others have been curtailed or altered entirely. At that time they were the favorite stock pieces at London, in many of which Garrick shone pre-eminently. Perhaps not more than six of the above enumerated plays are now acted, and they are altered. Four are Shakespeare's. In a list of twenty plays, the "Bard of Avon” is only scored four times. Most of the old comedies herein named are unrivalled in wity and polished dialogue, but are now obsolete, or only occasionally revived for a single night. (Ths unwarrantable lcentiousness of many of the old stock comedics was justly ceusnrable and these productions merited the fate of being consigned to the river of Lethe. Amongst others, Bishop Hoadley's “Suspicions Husband” was found unsuited by the more chaste sense of modern days.. The “Careless Husband” of Colly Cibber, which drew forth the enconiums of Pope—who pronounced it one of the finest comedies in the language—is now no longer performed, or will expurgetion secure the cure. Inimitable Farquhar has long been consigned to the valley of shadows. Good sense and social morals must ever vindicate themselves most sucessfully, when they turn in disgust from representations which may contaminate innocent youth by vicious examples, or which will wantonly suffuse the modest cheek with the tinge of a blush. Dialogue, however imbued with beauty of trope, or sparkling wit and brilliant repartee, cannot extennuate the indelicacy of such a fault.
‘The farces selected and played, were “Lethe,” "Miss in her Teens,” “The Mock Doctor,” “The Devil to Pay,” “Hob on the Well," by Cibber, “The Lying Valet,” “ Damon and Philida,” and "The Anatomist.” In the Merylend Gazette, a copy of which wo saw in 1752, Righy's French Doctor is lauded to the “very echo.” Rigby must have been a general player of no ordinary merit, for we find him leading tragedy and comedy. Singleton is spoken of as a man of pleasing and gentlmanly manners. The company sometimes played a harlequinade, which continued throughout the colonies a standing dish for some years.
It may be proper here to state that I have thought it necessary to preface the pencilings of the Philadelphia early stage with historical sketches of London theatricals, at that most interesting period of time which led to the idea and foundation of the first continental American theatre, opened at Williamsburg in Virginia, in 1752. I have thought it a necessary connection and, to clearly elucidate the rather singular origin of the American theatre, we will render more interesting the records of the narative, the progressive vicissitudes and trirative, the progressive vicissitudes and triumphs of the drama, in battling predjuce and religious intolerance, in a country almost in a primitive state, socially and physically. It will illustrate the manner in which the stage rose gradually with the nascent institutions of the country, until the drama arrived at its palmiest state, fully rivalling the present institution at London.
The first American theatrical corps that emigrated to this continent was thus formed and organized. In the ealy part of May, 1752, this company sailed from the Thames in a good and substantial ship belonging to London, called the Charming Sally, Capt. Loe. They took a favoring wind at Land's End with a sunny sky, and, bidding Albion's white cliffs a last adieu, with mingled feelings, made the Capes of Virginia in six weeks. Considering the speed of the ships at that day, and other unimproved advantages pertaining to the present state of navigable facilities, this was certainly a very quick passage. On leaving their sea-grit island, "there seemed to them," as old Lewis Hallam said, in after days, relating this portion of his life, "a spirit in the wind that filled their sails, exclaiming, in fitful echoes, Prospero's farewell speech to Alonso, which Shakespeare's ending of the 'Tempest:'
"I'll deliver all; And promise you calm seas, auspicious gales, And sail so expeditious, that shall catch Your royal fleet afar off. My Ariel--chick-That is thy charge; then to the elements Be free, and fare thee well!"
During the calmest portions of this pleasant voyage, the occasions were seized upon for rehearsals on the quarter-deck of the vessel; and, a majority of the plays were thus perfected in words and stage business.