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237. [scatters the elements of rare intellect and genius indiscriminately amongst mankind, even to the most humble sources. Forrest is above the middle stature, and at this time (1827) his firgure and general impressivemenss were extremely engaging; his form rather inclined to the athletic, though in nothing clumsy or heavy. His features were animated with a very marked and piercing eye. His face was a manly sweetness, but when aroused to fearful passion, it was powerfully, nay, terribly expressive. His manner was graceful without apparent study; his artificial acquirements were few; he acted altogether from impulse; and if he had taken any model distinctly to mould his style upon, it was Kean. He took the coloring of that actor's transitions. He does not posess the harmonious tones of a Cooper's voice, but, bating some ragged notes, it extends from the dulcet softness of the flute to the shrill sound of the trumpet. There were then faults in his acting, but the nobility of many of his conceptions are now naturally artistic, and his execution of the sublime parts, as Othello, Lear and Richelieu, are without a parallel upon our stage. We have not seen Forrest for some years, in any part, throughout. But we only now say, that at this time (1827) he possessed all the freshness of youthful first-class talent, imbedded in a soil of genius, but entangled with many weeds. We shall occassionally recur to him in our sketches, as we may not survive his retirement from the stage.
March 7th, (Wednesday,) was E. Forrest's first night in "Damon and Pythias." Damon, E. Forrest; Pythias, Webb; Dionysius, Darley; Procles, Porter; Damocles, Wheatly; Calanthe, Mrs. Green; Hermione, Mrs. Anderson.
Forrest's second night, "Othello." Othello, Forrest; Iago, Wood; Cassio, W. Forrest; Desdemona, Mrs. Wood.
Forrest's third night, "Pizarro." Rolla, Forrest.
Fourth night, "William Tell." William Tell, Forrest; Miss Mestayer as Albert.
He also appeared in Sir Edward Mortimer, Jaffier, King Lear, and in Richard the Third; a part in which it would seem he never acquired much credit. His conception of King Dick being the opposite of the stage traditions.
Mr. E. Forrest's benefit was thus announced, on March 21st:
Wednesday evening, will be presented Shakspere's celebrated tragedy, (in 5 acts,) called King Lear, And his Three Daughters, With the original termination restored, of Lear and Cordelia's death, as written by Shakspere [Shakespeare].
Mr. E. Forrest was re-engaged, it being generally requested by the public. He appeared the next evening, 22d of March, in "Venice Preserved," as Jaffier.
A debutanté, in the person of Miss Hetty Warren, daughter to Mr. Warren, the manager of the theatre, made her maiden entrée in Thalia's train this season, with the most flattering applause. It was asserted on all sides to have been the most perfect first appearance on record. And, had she been prepared in a round of parts, so as to have continued playing a few nights afterward in succession, she would have proved attractive. But by some mismanagement or other obstacle, she did not act again, till May 3d. She then played Mary Thornberry, in "John Bull," the poorest and darkest set jewel of this comedy. Of course, she did not retain the influence and sensation which her first appearance awakened.
In a few years after, as Mrs. Proctor, she was known as one of our most accomplished and excellent American actresses, in either comedy or tragedy, and her vocal abilities were of a very fine order.
Throughout the benefits, at the last of the season, Miss H. Warren was often called into service to strengthen the bill.
T. Moore's comedy of the "Foundling," was produced for the purpose of affording Miss Warren a suitable part to make her debut. Fidelia was new to the public, and seemed in every way adapted to her supposed powers. She hit the idea of the "Foundling" to a charm. Her demonstration was decided. The piece was announced as never having been performed here - but was a revival.
Mr. Macready returned to fulfill his last engagement, on the 26th of March, previous to his return to Europe. It was announced, it being positively his last engagement, no play will be repeated, as his day of departure was fixed upon. He played in "Othello," "The Stranger," "Hamlet," and "Henry V.," which was not performed for twenty years.
The cast of this latter tragedy employed every gentleman in the corps, except Wood, Wemyss, and the elder Jefferson.
Mrs. Quickly, was played by Mrs. Francis; Queen Isabel, Mrs. Greene. Macready played Petruchio in the afterpiece. April 2d, he performed "Macbeth." On his sixth night, April 4th, was performed, for the first time in this city, Massenger's tragedy, in five acts, called "The Fatal Dowry." Romont, (as originally represented by him at Drury Lane Theatre,) Mr. Macready, being positively the last night but three of his ever performing here. The cast was thus:
Romant, Mr. Macready; Rockfort, Webb; Novel, Hathwell, Charlois, Wood; Lucon, Porter; Young Novel, Wemyss; Beaumont, W. Forrest; Chormi, Darley; Liladam, Heyl; Aymar, J. Mestayer; Ducroy, Greene. A number of subordinate characters, to the amount of ten or more, by the rest of the company. Beaumelle, Mrs. Wood; Bellapert, Mrs. Durley; Florimal, Mrs. Greene.
He also played Wolsey, Virginius, (Miss Warren as Virginia), King John and Felix, ("Hunter of the Alps.")
Soon after this he returned to England, bidding us a final farewell, but came back to us in 1843, making a professional tour throughout the Union, when he played his round of characters under Ethelbert A. Marshall's management at the Chesnut Street Theatre.
Mr. Henry Wallack was engaged to produce the grand Hibernian melo-drama, written by James Sheridan Knowles, called "Brian Boroihme, or the Maid of Erin." All the scenery, dresses, &c., were new. Wallack had produced this piece at a great cost at the Chatham Garden Theatre, where it had run for upwards of one hundred nights. It proved not so great a card as the "Lady of the Lake," which kept running for nearly two seasons. Coyle's brother, a superior man in every way to the manager of the Chesnut street house, painted the scenery for it. Jacob Johnson, who built the new opera stage here, in the Academy of Music, made the machinery. All was done at a vast outlay, but it did not pay. Wallack brought over all the armors, properties, etc., from New York, as well as Big Scott, to play Brian Boroihme, whose gigantic stature and stntorian voice, made his representation of this Irish King a most remarkable feature in the drama. It was certainly a most imposing piece, and well got up. Wallack was adequate to the task. The first night of the piece was announced with every possible flourish, for Easter Monday, April 16, 1827. But a sore calamity assailed it on the very first night. Mr. Webb, of the company, had been cast to a very important part, viz: Voltimar, a verteran chieftain of the Danes. He appeared on the stage in a beastly state of intoxication. He was hooted from the theatre by the indignant audinece; he disappeared altogether, and his part was read by young Heyl, who happened to be disengaged in the cast, except to assist in the general music.
Thus was "Erin Go Bragh," which headed the bills, vanquished and blotted out, after four representations, and hundreds of dollars sunk to all concerned. Warren was a sufferer, and so was Wallack, and all who were dependent upon them, the consequence of the beastliness of one drunken man.
Mr. and Mrs. Wallack were reengaged, and made an effort to revive the glories of the lost Harp of Erin, with poor success.
Mr. Jefferson's annual benefit took place on April 30th, when he presented a new comedy never performed here, called
"Teazing Made Easy."
Litigant, Mr. Greene; Glowworm, Mr. Wemyss; Gammon, Mr. Cowell, in which he san the song of " A Picture of a Play House." Peter Pastoral, Mr. Jefferson; Mixem, Mr. Hathwell; Mrs. Teazer, Mrs. Mestayer; Mrs. Compton, Mrs. Jefferson; Miss Manly, Mrs. Greene; Molly Mixem, Mrs. Anderson; Miss Compton, Miss Hathwell. Other characters by the company.
The excellent musical afterpiece of the "Spanish Barber," was selected for the purpose of introducing Miss Elizabeth Jefferson, the daughter of our comedian, in the part of Rosina, being her first appearance on any stage. It would seem that her debut did not come up to the expectations entertained of her powers, and that she fell behind the efforts of her cousin, Miss Warren. They both afterwards became very superior actresses in the various walks of the drama. Miss E. Jefferson, in a few years after, as Mrs. S. Chapman, became the leading actress of the Park Theatre. She possessed every personal requisite: an excellent voice, both for signing and speaking. She had received musical cultivation, and had every power and general talent for either tragedy or comedy. Indeed, was au fait in all the roles of the acting drama. We shall refer again to these ladies as we pass onward to our goal.
Towards the end of the season, John Greene made a great hit as Dennis Brulgruddery. It was played four or five times on his account, crowdin the house, which astonished all hands and the cook - even Mr. Wood, who told Cowell that Greene was "good in little bits."
The benefits of the company occupied the month of May, which closed the season of 1826 and 1827. Miss Warren performed at nearly all of them. Miss E. Jefferson appeared three or four times again, evincing marked improvement on each succeeding night.
On May 1st, Mr. William Forrest's benefit, when Mr. E. Forrest performed Virginius (for one night only); Virginia (her fifth appearance), Miss Warren.
Mr. Wood's benefit, May 2d, when the "First Baltimore Infantry," then on a tour, visited the theatre, as an honor to the beneficiary. The play was "The Busy Body" (an olio), and "Matrimony."
At Mr. Wemyss' benefit, May 3d, he produced a new farce, never acted in America, entitled "Husbands and Wives." The principal parts were by Messrs. Jefferson, Jefferson, Jr., Wemyss, Heyl; and Mesdames Anderson, Jefferson, Greene, Mestayer, &c. Miss Warren made her sixth apearance as mary Thornberry, in "John Bull."
The season closed with Mr. Warren's benefit, with the comedy of "A Cure for the Hearache" and "The Agreeable Surprise."]
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238.
[It was said to have been a very profitable season. We are of the opinion that it was rather an exaggerated treasury report. It had been a long and arduous one, with a number of good houses, and some very poor ones to counterbalance.
On the 30th of June, the Chesnut re-opened for a summer season of twelve nights, with "The Maid and the Magpie" and "No Song no Supper."
On the 4th of July, was brought out "The Fall of Algiers," and "The Indian Prophecy," a play in two accts, founded on events in the life of Gen. Washington, which occurred in 1762. General Washington, Mr. Pearson.
On the 7th of July, Mons. Achille and Mesdames Achille and Hutin, French dancers, who were engaged for seven nights, made their first appearance at this theatre. They danced between the pieces in arranged divertisements. The house closed July 26th.
The following English and other foreign peices were produced for the first time:
1825-'6 - "Wm. Tell," by Sheridan Knowles; "Charles Second, or The Merry Monarch;" "Myrtell and Myrtilo," a ballet; "The Pastor's Daugher;" "The Ninth Statue;" "The Hypocrite;" "The Spanish Barber."
1826-'7 - "A Year in an Hour," a farce; "Paul Pry;" "Actress of all Work;" "Henri Quatre;" "Sylla," a tragedy; "The Fatal Dowry," by Massinger; "Brian Boroihme;" "Teazing Made Easy;" "Old and Young."
The American pieces produced at the Chesnut, seasons 1825-'6, and 1826-'7, were "Exit in a Hurry," by a gentleman of Philadelphia, a farce; "The Fall of Algiers" and "The Indian Prophecy."
About the 28th of September the capital Franch opera company from New Orleans, under the management of Davis, opened at the Chesnut Street Theatre, with "Le Petit Chaperon Rouge" and the vaudeville of "Le Marriage Extravagant." The principal performers were Richard, Alexandre, Noraire, Rochfort, Leblanc, Tabary, Theodore. Mesdames Alexandre, Milon, Chollet, Bolze.
They produced the following operas: - "Joconde," "Robin des Bois," ("Robert the Devil,") "Der Freyschutz," "Jean de Paris," "Azemia ou les Sauvages la mer du Sud," "La Dame Blanche," "Le Macon," "Werther," "Therese," "Rendezvouz Bourgeois," "Du Solitaire."
Vaudevilles- "Les Deux Edmon," "L'Ours et le Pacha," " Ma Tnate Aurore," "Maison a Vendre," "Rataplan," "Bouffe et le Tailleur," "Coiffeur et le Perruquier," "Manon La Ravadeuse," "Deux Mousquetaire."
This very excellent company closed their performances on the 16th of October.
Chapter Thirty-Fifth The Walnut Street Circus season of 1827 - The new importation of actors from England, made by Cowell - Thomas Breirson - Miss Rachel Stannard - Mrs. Michell - Mrs. Lane (Mrs. Kinloch) - Mr. John Sefton - Mr. Wells - Miss Wells - Wm. Henry Smith - Mr. Michell - Mr. Jervis - close of the circus season - Opening of the Philadelphia Theatre, Walnut street - Engagement of Hamblin - Mr. Ansell - Booth - Cooper's farewell - Close of the season.
The Circus and Walnut Street Theatre season of 1827 distinguished the commencement of a remarkable succession of revolutions in theatrical affairs. It brought many novelities. New dramas of a spectacular nature were produced. Troupes of new actors and actresses were brought from England, and a band of accomplished musicians from the continent of Europe. Sudden revolutions in all systems are attended with irritating confusion to those interested and affected by the perplexing transitions. In the convulsions which agitated our various theatres, from 1828, through a period of seventeen years, it may be truly averred that the theatrical annals of our city, with consusion, anarchy and misfortune. One or two of our theatres were changing lessees every season, and entire companies were radically reorganized to meet the views and exigencies of the new management. All these managerial adventures went on for years, until at lenght order out of chaos came, and the consequent disorders became purified. may we not, therefore, congratulate Mr. E. A. marshall, of the Walnut street house, who, for a period of seventeen years, has remained at his managerial helm, unaffected by adverse circumstances? Mr. William Wheatley seems also successfully restoring the desired millenium to our long-chequered Thespian temple. The opera, we opine, is yet in embryo. To establish the operatic institution with us will prove a herculean labor, demanding great care, taste and large pecuniary means.
A magnificent temple, consecrated to music and the drama, has just been reared in our city, a monument at once of its refinement, good taste and munificence. But the enterprize has yet to be tested; the patronage will have to be equally munificent to sustain its devious course. So impressed are we with the refining powers of music upon the manners of society, that we hope and pray that opera entertainments may be permanently established in our wealthy and populous city. But the public at large is yet to be educated to the true meaning of musical science, ere opera can be permanently engrafted on our popular amusements.
Mr. Wood, in descanting very philosophically upon his managerial experience with Warren, says, "We had facts to correct our fancies." They may have had facts with which they traveled surely, but very slowly, but they certainly never indulged in any fancies. The fact is this: Simpson & Co., at New York, were deemed unequalled managers (as Warren & Wood were here) so long as they had not any opposition. They then reigned triumphantly; but, the moment rivalry reared its daring head, they, like many others, were found wofully in the vocative. They were not equal to the task, although Price certainly for the timese was a most daring and energetic man, and, during his day, he led the maagements of the country, and made the Park the great metropolitan theatre of the country.
At the end of the Chesnut season of 1826, the company, as usual, opened its spring season at Baltimore. Mr. Cowell withdrew from the management of the Chesnut street corps, and entered into partnership with Mr. Simpson, and opened the Walnut Street Theatre with the circus troupe and a stage company during the summer season of 1827. messrs. Cowell & Simpson, no doubt, understood well the nature of their Philadelphia operations. It was easy to employ the circus corps in circuits around our large country, and to gradually convert the Walnut into a regular dramatic house, where Simpson & Co. could profitably employ their European novelties and stars, to the exclusion of the Chesnut Street Theatre. There had always been a latent anxiety felt, lest the old Chesnut street house should become subservient or tributary to the Park Theatre at New York. In truth, Mr. Wood, in his work on the stage, very clearly refers to this matter, in speaking of the negotiation of 1821 with Mr. Beekman, and the one again just before their separtation - Mr. Warren fearing to connect himself in business relations with so bold and enterprizing a manager as Price of the Park.
It would have been better for Mr. Warren if he had entered into some secret treaty with the Park management, as subsequent events fully developed the sinister views of that firm. It would at least have deferred the formidable coalition of Simpson & Cowell, which sapped the forutnes of Warren's career, and, through gradual changes, led to the final demolition of "Old Drury." At the time Barrere was working his Chatham Garden icecream sheds into an imposing theatre, if Warren & Wood had employed their corps at that location, or some other eligible site, which could have been easily found at New York, instead of passing their time at Washington and Baltimore during the Philadelphia recess, they would have put to rest all Park opposition. Not content with their circus opposition, Price & cowell commenced a regular dramatic war against their old allies. The eminent name that the Philadelphia corps then bore with the New York public, would have cropped the vanity and boast of the park cabinet. Warren & Wood did wrong in not occupying a personal and real position at New York. It could easily have been done.
When Mr. Cowell seceded from the Chesnut Street Theatre, to establish himself again at the Walnut Street Theatre, he carried with him his friend John Hallam, Greene, Porter, Meer, Mrs. Greene, Mrs. Meer, and some others. Hallam, it would seem, had a connubial engagement in england, and was going thither to consummate the bonds previously ratified in Hymen's court of the heart. Cowell's old circus corps of the stage having been half lost and scattered, after he left it, made it necessary to recruit its rank and file. And he, therefore, very properly commissioned Hallam to procure the requisite persons of both sexes, who would fill the hiatus in the stage departement. The common sense views of Hallam prudently and ably fulfilled the order. These instructions were secretly given, as Hallam's departure was silently made, unaccompanied with any of those ostentatious flourishes which preceded the embassy of our friend Wemyss, on a similar errand, in a short time after. Hallam, it would seem, was especially instructed not to go beyond three guineas salary per week for any leading performer - so, we may presume, to graduate the salaries at $10, $12, $14 and $15 per week. These were close and prudent offers. But they were rates of income that talented people would not long submit to receiving, as the result proved. Before Hallam's arrival with his reinforcements, Cowell opened the Walnut street house, on the 28th of May, 1827, with the circus troupe and some stage affairs, and was doing a very good business for the attraction.
The equestrian corps consisted of Messrs. Blythe, Stoker, Spencer, Sweet, Blakely, &c.; clown, Mr. Buckley. Master Collet danced jockey hornpipes and performed in the ring. Mrs. Williams still preserved her good looks and performed on the slack wire. Mr. Frederick Schinotti used to slide through an Indian war dance, with native character, well marked. He was also a very clever pantomimist. He was brother to the Italian artiste (so called) Schinotti of London.
Stoker, Spencer, Sweet and Blakely performed]