ENPages
p. 36
[Act V. Cato. Scene I.]
[Roberts del. Publish'd for Bells British Theatre Aug.t 1st. 1776. A. Walker Sculpsit.]
[Mr. Sheridan in the Character of Cato.]
[Eternity! thou pleasing dreadful Thought.]
[Act I. The Confederacy. Scene I.]
[De Wilde pinx.t Audinet sculp]
[Mr. King as Brass. -Now for Flippanta.]
[British Library Strand London]
[Act III. The Guneral. Scene I.]
[Roberts delia.t Godfrey sculp.]
[Mr. Dodd as Campley. But you look so very bold in that Dress.]
[London. Printed for J. Bell. British Library. Strand. Dec.r 5. 1794.]
p. 39
[J. Rogers. sculp.]
[Mr. J. Bannister. As Col. Feignwell.]
[Act III The Natural Son.]
[De Wilde pinx.t Thornthwaite Sculp.]
[Mr. Parsons as Dumps. You never gave me a chance to get tipsy in your Service.]
[London. Printed for J. Bell. British Library. Strand. Sep.r 29 1792.]
[Act IV. The Fair Quaker of Deal.]
[DeWilde pinx.t Audinet Sculp.]
[Mr. Moody as commodore Flip this lady is dispos'd of and her inclinations are moor'd to my affections -]
[London Printed for J. Bell. British Library. Strand Jan.y 21. 1792.]
p. 40
with wonder. They saw nought but a vast expanse of wood stretching all along the horizon, and, while they admired the gradeur (and to them noveltyO of this oceanic sylvan scene which one whispered to himself, What is to support a theatre here? The sun began to set, accompanied by a summer shower of rain, as the ship approached the mouth of York river. The god of day shot his brilliant setting rays through the slight fleexy clouds; now rapidly dissolving in glowing tints. A magnificent rainbow formed across the majestic river. It was the rainbow of HOPE! to the desponding thespian children. A few moments before this ever-animating sign of the heavens was seen, they were all despair: but this emblem of Providence and heavenly peace to man, at once revived their spirits—'for in that sign see will conquer." Call the feeling what ye please—superstition, if ye list. It is a feeling that has ever afforded comfort and renewed enrgy to man.
After a voyage of forty--two days, they were landed safely at Yorktown, Virginia—the scene of the last battle-field of the Revolutionary war, twenty-eight years afterwards, and where the curtain fell with triumphant applause upon the final military drama enacted for the future freedom of the world, if we may put faith in the "signs of the times." The performers immediately wended their way to Williamsburg, the then capital of the colony, where they were most cordially received on presenting their letters. Application was made to Governor Dinwiddle for permission to perform and to fit up a theatre, which was freely granted. Mr. Hallam succeeded, after some difficulty, in purchasing a long building in the suburbs of the town, which had been used as a warehouse. It stood in the foods. From the doors and windows, after it was converted into a theatre, the actors were wont to cater for their tables by shouting game, which abounded in these sylvan abodes—rather a novelty to Europeans, who are restrained by game laws. This, we have heard old Lewis Hallam say, afforded the company great pleasure and merriment as well as a bonne bouche at their meals. We have many anecdotes of their first impressions, surprise and quaint sayings as to their new position, but space this week cuts us short.
Chapter III OPening of the Williamsburg Theatre—Previous despondency of the players—Their subsequent good luck—Moody's theatrical campaign in the West Indies in 1745—'6—The Annapolis Theatre—Tour of Hallam's Company—They open in New York—Success there—A theatrical ambassador sent to Philadelphia—The reward of his diplomacy—Character of the shows and exhibitions given in this city previously to 1754. "And what should I do in Illyria? My brother—he is in Elysium" exclaimed Lewis Hallam, the chief pioneer of the corps, when they arrived in Virginia. Here we are engaged in the rational enterprize of erecting a theatre in the depth of the woods—the land of the Troglodytes. Where an audience is to come [?], puzzles all cognition. As actors are always "the merriest undone dogs in christendom, " they laughed and enjoyed their tribulations in their zeal and labor in getting their theatre ready for the opening in the early fall. After a summer's work, they completed the theatre with pit, boxes and gallery—a good-sized stage witht he necessary scenic appendages, and all other theatrical applicances to boot. The opening night—that most interesting era in thehistory of the drama on this continent—was September 5th, 1752, at Williamsburg, Va. Thus was the first theatre opened in American by professional performers. A band of musicians they had not; an old-fashioned harpsichord, which was presided over by a Mr. Pelham, was the only instrument in the orchestra. Musicians (especialy English) were not so plenty at that day in England as at present.
The sad forebodings of the Thespians proved visionary. The drama's entree was hailed by the crowded and delighted audience. From that time their success continued, and they found in their patrons good theatrical judges. Many of them had beheld acting at home; others, natives, were familiar with dramatic literature. The works of the best authors were even then to be found in the libraries of many individuals in the colonies.
The pieces selected were Shakespere's "Merchant of Venice," and the afterpiece of "Lethe," by Garrick. The latter was then very popular in London. It was an appropriate and deserved honor to Shakespere's muse to christen the stage in the new world with one of his plays, and the selection of the afterpiece was no less a compliment to the first of living tragedians and comedians. It has been said that Shakespere was made for Garrick and Garrick for Shakspere; but this may be the hyperbole of compliment. The play was cast as follows, and being the first regular drama acted in America, the bill may be worthy of record, showing, as it does, the relative positions and strength of the orginal American Company:
The Opening of the Williamsburg New Theatre. Under the patronage of The Governor of Virginia and by his permission New Theatre, Williamsburg. Mr. Lewis Hallam, Manager of the London Company of Comedians, has the honor to announce to the citizens fo the capital and its vicinity, that, having completed the theatre in a most elegant, spacious and comfortable mannor, it will be open September 5th, 1752, with Shakespere's admirable play of the Merchant of Venice, In 5 Acts. Prologue by Rigby Bassanio...........................................................................Mr. Rigby. Antonio.............................................................................Mr. Clarkson. Gratiano.............................................................................Mr. Singleton. Duke and Salanio.................................................................Mr. Herbert. Launcelot and Tubal.............................................................Mr. Hallam. Shylock................................................................................Mr. Malone. Servant to Portia...........................................Master Lewis Hallam, (bring his first appearance on any stage.) Nerissa...............................................................................Miss Palmer. Jessica................................................................................Miss Hallam (her first appearance on any stage.) Portia..................................................................................Mrs. Hallam. After which, Garrick's Lethe, now acting in London with great approbation. LETHE. Esop..................................................................................Mr. Clarkson. Old Man.............................................................................Mr. Malone. Frenchman.........................................................................Mr. Rigby. Fine Gentleman...............................................................Mr. Singleton. Mercury...............................................................................Mr. Adock. Charon..............................................................................Mr. Herbert. Drunken Man and Tattoo......................................................Mr. Hallam. John.....................................................................................Mr. Winnel. Mrs. Tattoo..........................................................................Miss Palmer. Fine Lady.............................................................................Mrs. Hallam.
The reader will precieve that one name is placed opposite to two characters; ths in green-room parlance, is called "doubling," and occurs in this bill, in the play and farce. This practice is resorted to where the cast of a play exceeds the numerical force of the corps. Of course, it can be only effected when the characters to be thus represented by one person are not on in the same act or scene. I heard old Mr. Lewis Hallam say that, on this night, when he made his first appearance in the servant, he was so frightened that he could not utter one word of his part. He was quite a boy at the time. The prologue was written by Mr. Singleton, one of the company, and spoken by Mr. Rigby.
We here give it as a literary moceau, although Mr. Dunlap, in his Stage History, has preserved and given the same. Mr. Bailey, a member of the Chestnut theatre, took it down from old Lewis Hallam's lips, in 1807, at the back of the old South street theatre stage, during a rehearsal, and he afterwards gave it to my father, whence has been obtained most of the matter relative to the organization and emigration of the first company to America: THE FIRST PROLOGUE DELIVERED IN AMERICA WRITTEN BY SINGELTON, SPOKEN BY BIGBY. To this new world, from fam'd Brittania's shore, Through boist'rous seas where foaming billows roar, The Muse, who Britons charm'd for many an age, Now sends her servants forth to tread the stage; Britain's own race, though far removed, to show Patterns of every virtue they should know. Though gloomy minds through ignorance may rall. Yet bold examples strike where languid precepts fall. Yet bold examples strike where languid precepts fall. The world's a stage where mankin act their parts; The stage, a world to show their various arts; While the soul, touch'd by Nature's tenderest laws, Has all her passions rous'd in Virtue's cause. Reasons we hear, and coolly may approve, But all's inactive till the passions move; Such is the human mind, so weak, so frail— "reason's her chart, but passion is her gale." Then raise the gale to waft fair Virtue o'er The sea of life where reason points the shore. But, ah! let reason guide the course along, Lest passion, list'ning to [scene?] siren's song. Rush on the rocks of vice, where all is lost, And shipwreck'd Virtue renders up the ghost. Too oft, we own, the stage with dangerous art In wanton scenes has play'd the siren's part; Yet if the Muse, unfaithful in her trust, Has sometimes stay'd her path is pure and just: Has she not off, with awful virtuous rage, Struck home at vice, and nobly trod the stage? Made tyrants weep? the conscious murdered stand And drop the dagger from his trembling hand? Then, as you treat a favorite fair's mistake, Pray spare her foibles for her virtues' sake; And while her chastest scence are made appear, (For none but such will find admittance here." The Muse's friends, we hope, will join our cause, And crown out our best endeavors with applause.
The appeal of the prologue to the patronage of the colonists of the "Old Dominion," in behalf of the drama, did not prove in vain. Applause and cash flowed in upon the thespian fane. It was curious, says old Hallam, in one of his desultory reconter—on the very morning of the first opening of the theatre in the woods—to witness the despondency of the company; but, in the evening, to see the roads leading to Williamsburg, crowded with old vehicles of every imaginable contruction, driven by negroes, and filled with ladies in their gayest attires—their young gallants attending them on horseback, and all directing their way to the theatre. The scene was animating in the extreme. The pleasure imparted was reciprocal. The fair Virginians and the chivalric planters gave a bien-venu to the thespians, by filling the box office exchequer, and the unaffected extension of private hospitalities—a characteristic of the southerners to this day.
We have thus far spoken of Hallam's company as the first which performed in America. It