History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 2. Arranged and illustrated by Thompson Westcott, 1868

Talma 182 Hamlet - 222 Theatres Circuses and Opera Houses Italian Opera House Paris 128 Tremont Theatre Boston 165 New Adelphia London -170 New Amencan [?] Orleans 172 Queens London 181 De La Porte St Martin Paris 182 Orleans - New Orleans 189 Malling [?] Rogers floating circus 202 Amsterdam, interior 206 Covent Garden London 216 Talle Vebtador Paris 218 Opera House Entrance London 128 Prime [?] Theatre Philad 137 Tremont Boston 165 Hay market London 1807 170 Interior 170 - 1828 181 Hoiday St Balt. 189 Surry London 193 " " 216 Sadlers Wells London 206 Thillon Mad Anna 200 Vandry - 220 grave digger 216 Violetta Madle 151 Vincent Mariamne - - 231-238 Vieux[?] Henry - - Wallach James W 125 Jas - Charolois 131 J W - Renedick 174 - - 195 Ward - "Brutus 126 Mrs Rodogune 126

Warren Wm 144 autograph 142 West Mrs W Ludy Racket 134 [?] Giovanni 134 Weston Scrub - 122 Weyn[?] J. C Rolandu 173 Wheatly [?] - Romeo 210 Winston James - 168 Wood [?] - 205 274 141 Stephen Foster 142 Woodward - Bobg il 213 - 214 Wrench Belmour 193 Wrighten Mrs Kathanna 177 Yates Mrs - Volante 177 Zaphna 123 Young Rolla 126 " Hamlet 184 Miss [?] Clerimont 210

[Etching?] Louisa Granstown Nisbett

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Office of American Dramatic Fund Association 15 Crosby [?] N. york

Dear Sir Thank you for your kind recollection when you visit New York call [?] see how handsomery the Despatch looks bound upon our shelves - any thing I can do to serve you and return - may command at are homes

Yours truly F[] C. [?]

T. [?]estscott E[?]g -

[?] the forward the enclosed to Durang - it is also- in fulfilment of an old promise AM

Chapter LVI

The spring season of 1818, at the Olympic, under Caldwell. Entwisle & Pepin--Caldwell: His arrival in the United States: Engaged with Holman at Charleston--Riot at the Charleston theatre on Caldwell's account--Holman-Miss Holman, afterwards Mrs. Gilfert: Her death-Caldwell becomes a manager, with Entwisle, at Washington and Alexandria--Philip Trajetta--Combination of Caldwell d Entwisle at Baltimore, with Pepin: They come to Philadelphia--The season--Dissolution of the firm of Caldwell, Entwisle de Pepin--Entwisle de Pepin form a new firm--Entwisle sails to Europe to procure actors.

The Olympic theatre, in the spring of 1818, was destined to undergo a change of government, by combination of the Alexandria and Washington theatrical corps, under the leadership of Messrs. James H. Caldwell and James Entwisle, with Pepin's equestrian company. Herewith we give the proem to their opening:

OLYMPIC

The citizens of Philadelphia are respectfully informed that preparations are making for opening the Olympic theatre, corner of Walnut and Ninth streets. Peculiarly adapted as this theatre is for the exhibition of spectacle, a coalition has taken place between Mr. Pepin and Messrs. Caldwell and Entwisle, under whose management it will be conducted. During the season, it is the intention to produce, in a style of splendour and magnificence never equalled in this, and which, they presume, has not been surpassed in any other theatre, several spectacle melodramas, in which all the horses will be actively employed. The theatre will open on Thursday, 16th April, 1818. Pieces in preparation: "Marmion," "Tekeli" "Forty Thieves" "Lodoiska" &c., &c.

Under this arrangement the house opened on above night, with an appropriate address by Mr. Caldwell. This was his first essay in Philadelphia as a manager and actor. "Three and the Deuce" was selected for the purpose of introducing Caldwell as The Three Singles. The three in one he acted very cleverly. But Duff had played it first. Had Elliston himself represented teh part, it would have been difficult to have removed the impression that Duff had created upon the audience of our plain city. Equestrian performances, by Pepin's corps, intervened. "Tekeli" aided by the qeustrians and their horses, gave imposing effects in the military scenes. The "brave Hungarians" were as popular then as now. The mimic scene created as lively an enthusiasm as the real battle fields of that heroic nation did recently. The house was very good. The performances went off smoothly, and everything augured fair success. As Mr. Caldwell is a new character in our narrative, we crave room in order to sketch his cis-Atlantic career up to this point.

At the conclusion of the war of 1812, as it is called, Mr. Joseph George Holman, a contemporary of the best and brightest actors of the London theatres for twenty-six years, was in this country. It had been said that he maintained a proud rivalship with Kemble. This must be deemed friendship's eulogy. It could not have been so; yet, he ranked with the first actors of the London boards. His Lord Townly for easy dignity, courtly good breeding, and unaffefected g entlemanly deportment, without ostentatious display, will long be remembered as a most impressive piece of acting. Holman was a scholar, and distinguished as the polished gentleman of the private circle. His talents and rare acquirements adopted to the profession. He was a sprig of nobility, or a descendant of Sir John Holman, Bart., and received the honors of Oxford University. He had played Hamlet in a private theatre, at the college, during his matriculations, before David Garrick, who

was pleased to commend it highly. This circumstance, doubtless, was the cause of his becoming an actor, his success on that occasion having fired his young ambition. We have heard him relate these matters, and he said that, if he had his life to go over, he would selected the law for his career, because that profession leads, in most countries, to the highest social and political distinction. He was known in England as one of the "Glorious Eight" Eight of the chief performers had entered into a compact to resist a high-handed measure adopted by the manager and principle proprietor of Covent Garden theatre, and were thus styled by other actors who approvied of the combination. Mr. Holman made his first appearance in London, As Romeo, in 1784, with success. He arrived in this country in 1812, accompanied by his accomplished and amiable daughter, who was afterwards the wife of Charles Gilfert, the musician and founder of the Bowery theatre--a union that was most strenuously opposed by Mr. Holman. Peace being proclaimed between England and the United States, things were restored to their former quiet and prosperous condition. The Charleston theatre being without a tenant, (Mr. Placide, the previous lessee, was then deceased) Holman leased it, and opened it in the latter part of the fall of [?] acting through the winter with great success. The company consisted of the following ladies and gentlemen: Mr. Leigh Waring, stage manager; Mr. Tyler, an old and respected member of the New York theatre; Mr. Charles Young; Mr. Thomas Hilson, afterward teh well known comedian of the Park theatre; Mr. Lindsey, Mr. Horton, Mr. Cross, Charles Durange, James Fennell, Jr., Legg; Mr. West, scene painter; Mr. Drummond, McDonald &c.; Mesdames Gilfert, Young, Waring, (formerly Mrs. Caroline Placide, and now Mrs. W.R. Blake,) Miss Haines, Mrs. Utt, Mrs. Barrett.

Mr. Charles Gilfert was leader of the orchestra; Utt was prompter and actor.

Mr. Leigh Waring, the father of the present Mrs. James W. Wallack, was, during the whole season, severely afflicted with the asthma, and died towards the end of it (March 16th)

Of Miss Holman, then Mrs. Gilfert, we have hitherto spoken during her brillant star engagement at the Chestnut street theatre, where she especially shone with unwonted splendor. She truly deserved the testimony acorded. All the qualities that constitute the acctress of elevated merit and the lady of private life, she emimently combined. But how evanescent are all things of this earth. This lovely woman, whose rising sun was hailed w ith deligh by all, set without one ray to point to the spot wherein she lay in clouded misery. Mrs. Gilfert died in the winter of 1832, in Philadelphia, as she was endeavoring to establish herself in a young ladies' seminary, sustained in the last effort of her blighted energies by an only daughter and one or two worthy citizens. Ad interim, haggard disease had prostrated all her physical ability, and she was slowly departing from the troubles of life without one former friend to soothe and comfort her last moments.

Although in this pitiable state, the sad crisis of her life, there were three drmatic companies in the city, not as one professional lady or gentleman knew of her melancholy condition. The intelligence of her suffering was accidentally elicited and it deserves a passing record. In the winter of 1832 the leading members of Maywood & Co's company and of the company of Jones , Duffy & Forrest, managers and lessees of the Arch street theatre, instituted a social club, which met once a week . Mr. McCauley's Frontlinen Coffee House South Seventh street, for "the feast of reason and the flow of soul," to enjoy, in their few hours of relaxation, an interchange of social sentiment with their brother actors of various theatres. The meetings were rational and refreshing, and freed from any vicious contamination. To this association congenial friends and strangers (not actors) were occasionally invited. They had rules and regulations, strictly enforced, a source from which to derive funds for current expenses, and it was so ordered that no member's purse was inured. The pleasure and the economy by which their comforts were obtained were most admirably contrived. The details and the constitution whereby the club was constituted and governned, emanated from that honest and talented old actors, Thomas Faulkner, who, some years after, needed the generous sympathy that he there endeavored to inculcate on the members of the club towards the profession. His last days were spent in the service of Mr. W. E. Burton, who, we understand, mitigated his woes by giving him employment--an act which does him credit. But we wander from our story. On one of the meeting evenings of the club, as the secretary was passing into the club room he was accosted by Francis Godey, brother of Louis A. Godey, Esq., of the "Lady's Book" who desired a few moments conversation, in order that he might relate to him a fact which he thought would call forth his surprise and elicit his sympathies for a lady who once shed honor on the profession, and who was then lying at the point of death, without friends, excepting a lady and gentleman of the city, himself, and one or two others. He went on to state some particulars of a painful nature concerning her want, and concluded by saying "that lady was Mrs. Gilfert," and he begged tha tthe secretary of the society would bring the circumstnace to the notice of the members. The club convened as usual, and after hte business of the society had been adjusted, the secretary arose, and stated the circumstances. The astonishment of all can better be imagined than described. Actors with their foibles, can never be charged with lack of good feeling. Charity is a marked characteristic of their nature, and in a moment all the funds of the society were voted to her relief. Mr. F.C. Weymess, treasurere made a report instanter of their condition, which exceeded expectations. A committee was appointed to investigate the facts, and to carry out the most liberal views of the club. Private contributions were largely made at once. George Blythe, the equestrian manager--to his honor be it said--threw the contents of his purse into the hands of Weymss, saying "If