History of the Philadelphia Stage, Between the Years 1749 and 1855. By Charles Durang. Volume 6. Arranged and illustrated by Thompson Westcott, 1868

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[For the Sunday Dispatch.]

REMINISCENCES of PRIVATE DRAMATIC ASSOCIATIONS. BY L. G. THOMAS.

In recalling to mind the events of our past lives we experience a dregee of pleasrable emotion while dwelling in remembrance upon those scenes when the youthful blood is animated and fired with the excitements through which according to our tastes and partialities we derived special enjoyment.

In early boyhood the writer of these brief "Reminiscences" took an especial interest in visiting the theatre to witness the rendition of Shakspere's sublime plays wherein opportunity was afforded for lisening to the fine readings of the masters of the stage.

How vividly to his mind rise up the magnificent delineations of that master-spirit of Tragedy the elder Booth ! His matchless portraitures of Richard III., Iago Pescara Sir Edward Mortimer Lear and other characters remain indelibly impressed upon the "tablets of memory." In the acting of no other man that I have witnessed have such impressions been produced. His perfection of reading the fine intonations of that matchless and melodious voice the natural gestures and above all the incomparable expression of his speaking eye--al have "many a time and oft" held me for hours as it were spellbound. Womderful eyes were those of Junius soul manifesting itself through those windows of the mind and varying so winderfully in expression according to the nature of the character illustrated and always in perfect consonance therewith. He was an actor "whose like I ne'er expect to look upon again."

It was about twenty-eight years ago--when the Walnut Street Theatre under the management of "Barney" Wemyss as he was familiarly called rejoiced in the possession of a very choice stock company--that I became in theatrical parlance "stage-struck !" To go to the Walnut seemed to me the very essenece of happiness ; for Ned Conner played there and Ned was the pink of perfection almost in the opinion of the "boys." And Gus Addams ! how we rushed to see him in Rolla Othello or in his great Roman parts !

Well without farther digression I will proceed to state that fired with the spirit of the drama and seized with a determination to become actors some half dozen of us set about the formation of a "spout shop" (i.e. dramatic association) wherein we could independently "strut our brief hour upon the stage" and affix in the course of time upon the "scroll of fame" the names of other actors besides Forrest Booth Addams &c.

At that period and prior thereto there had been several associations flourishing under the names of "Shakspere" the "Philo"

"Boothenian" &c. ; and I am inclined to believe that there was more interest then manifested among the rising generation in favor of private theatricals than exists at the present day.

In a room over the stable-house connected with Mrs. Kiple's tavern in Fourth street above Race with its west front on Crown

street a dramatic "temple" called the "Metamora" had after a season of prosperity I suppose "yielded up the ghost." We ascertained that this place was "to let" and accordingly bargained for and obtained it : and set about with all the ability at our command to add to the scenery and fixtures already there and in a short space of time we were prepared to open the Thespain temple. Out of compliment (!) to our "national tragedian" we dubbed it the "Forrestonian Dramatic Association."

Commencing with six members we soon had numerous accessions. Among our company we had James Roberts son of the gifted low comedian whom many of the old theatre-going citizens of Philadelphia will remember particularly in his unique character of Wormwood in the farce of "The Lottery Ticket ;" and that also was his son's peculiar character and often did we enact "The Lottery Ticket" with much success the writer of this performing the part of Mrs. Corset for at first we had to play our pieces without females the males donning feminine costume. Fortunately crinoline was not then in vogue.

We also had J. B. Roberts the present popular tragedian remarkable for his forcible and correct readings. I believe that Mr. Roberts made his first appearance upon any stage with us and in the character of Brutus. We got up the drama of "The Rent Day"--J. B. Roberts as Martin Heywood. Our comedian Roberts acted very clcerly the part of Bullfrog. The writer's character was that of Old Crumbs Charley Ashton a promising young performer played Toby Heywood.

"Luke the Laborer" was one of our favorite dramas. Among our company I recollect the names of Fred. Smith Bayard Price Bill Jones Dave Gihen Jim Richards Bill Mills Fromberger (remarkable for his dying falls a la Gus Addams) and others almost forgotten by me. Many of them have long since passed to "the undiscover'd country from whose bourn no traveler returns."

On our opening night we did not essay any play but gave recitations songs &c. The writer rendered the speech of Cassius "instigating Brutus" and with Jim McMinn who appeared as Brutus we gave the "quarrel scene" from "Julius Caesar."

Wardrobes being scarce on the first night I remember robing myself in a common shirt to the sleeves and skirts of which strips of red muslin had been sttached. Yet I felt myself every inch a "Roman !"

I must mention to my readers that the "Forrestonian" on some of its representation nights presented peculiarities such as no other dramatic temple I venture to assert ever did. The roof over the "theatre" was defective and whenever a shower of rain came on it leaked badly and in some places the water came down in streams upon both audience and actors. Consequently on rainy nights the spectators would be obliged to raise their umbrellas and it was a curious and amusing sight to see the audience with umbrellas hoisted viewing the play. And the stage !-- what a sight it would present on such nights ; the actors wading through the ice and pools of water when making their "exits" and "entrances." How we used to shudder on

those freezing nights of the severe winter of 1835-'36 when the ice lay open the scenery and stage and but little warmth was emitted from the old smoky stove around which the members huddled when off duty.

Those persons familiar with "private theatrees" have doubtless often been amused by the mistakes and blunders that will occasionally transpire. There is often much confusion and excitement in the changing of scenes ; often the wrong scene will be put on ; as for instance a "parlor" will be set where a "wood" or "pris[?]" scene should be or part of one scene with part of another will be set making the thing ridiculous in the extreme. And sometimes some poor novice will get "stuck" in the language of his "part" while the prompter's voice giving him "the words" will be audible to the whole audience. I remember one night er were doing "Pizarro" and in the scene where Rolla crosses the bridge with the child (it was a rag baby) the soldiers that were in pursuit and should shoot him while crossing failed to do so as the gun snapped and did not discharge in time ; and it was not until the scene was changed and Rollo in a bleeding and dying state had entered into Alonzo and Cora's presence that the gun was fired making the matter quite ludicrous. Then to make the affair worse Alonzo got "stuck" and failed to say in time "Rolla thou diest?" when several of the actors voices behind the scenes attempted to aid the prompter by vociferating "Rolla thou diest?" Upon which Alonzo being so well posted up cried "Rolla thou diest?" "For thee and Cora" answers Rolla and the curtain fell amid shouts of laughter from the audience a curious but not unusal accompaniment to the acting of many of our deep melo-dramas and tragedies.

"Ambrose Gwinnett" was one of our popular playing dramas in which Joe De Camp used to perform quite effectively the character of Lucy. Charley Ashton was the Ambrose and I the Ned Grayling--the latter being a part I fancied. On one occasion in doing the dying scene as I fell I struck my head rather hard upon the floor just after ejaculaating the words "I die happy!"

A member of the name of Fitzgibbon was very clever in Irish parts and was quite happy in Thady O' Blarney in the farce of "Botheration." I played Mc Varnisn and the fact is particularly remembered by me as being the first occasion upon which I ever wore a long-tailed coat !

We brought out the melo-drama of "Lo Zingaro" a piece popular at the time at the Walnut. "Venice Preserved" a play I suppose more often played at "spout shops" than any other was also a "stock" piece of ours--Pierre by J. B. Roberts ; Jaffier C. Ashton ; Belvidera Miss Harriet Barnes a very pretty girl who joined our corps soon after we started.

The negro extravaganza of "Oh Hush!" by jom Crow Rice was gotten up at our "shop." With a liberal use of burnt cork we made quite an imposing array of "American citizens of African descent." This was before the advent of "negro minstrelsy" and I believe we acquitted ourselves in the singing line quite satisfactorily. At least such was our impression then.

Jim McMinn made a very good Damon being in possession of a fine sonorous voice

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and "an eye like Mars" together with a good physique. I believe he has been connected with some of the theatres since as a stock actor. While with us he manifested considerable talent evincing future promise.

It was a great occasion with us on the night when J. B. Roberts made his first appearance on the public "boards." It was at the Walnut Street Theatre he essaying the character of Richmond to Booth's Richard. We attended en massee and gave our associate a hearty welcome when he made his appearance. He was considered as quite successful in the performance of the part and I think it was not long long thereafter that he connected himself with the profession working himself up by degrees and by close study and energy of will mastering the difficulties and overcoming the obstacles that must ever beset the path of the "player who struts and frets his brief hour upon the stage."

Taking leave now of the "Forrestonian" which after a time became "like the baseless fabric of a vision" dissolved I shall proceed to speak of the "Boothenian" which I joined soon afterward.

The "Boothenian" was located in the basement story of a building known as the "Colored Masonic Hall" in Eleventh street below Pine. We had some very nice scenery here. The late popular actor D. P. Bowers was one of us. "Master Bowers" was a very talented and popular juvenile actor and was known throughout the country as the "American Roscius" having performed as a "star" very successfully at many of the theatres. When associated with the "Boothenian" he had temporarily withdrawn from the public stage. As members of this corps we had Charley Smith Billy M'Kean Charley Bayard Si. Hough etc. C. J. Smith and W. V. M'Kean were very effective in the play of "Barbarossa" which we produced with approbation. Although we had but few females among the spectators of our performances our audiences were composed of respectable people residents of the vicinity and friends of the members of the "Association."

When the "Boothenian" had run its brief course I joined the "Byronean" which occupied the same locality that our "Forrestonian" had in Crown street above Race. The scenery at this establishment was certainly of a very superior character fully equal in artistic finish to that of the public theatres. The "Byronean" comprised among its members many young men of ability all anxious to excel in the art of portraying "the manners living as they rise." Silas S. Steele the poular song writer and dramatist was a talented and enthusiastic amateur. He was our President and generally sustained the leading characters in many of the "pieces" we got up. Mr. Steele was at that early period in life an author of decided merit. A piece from his pen called I believe "Sons of St. Crispin" was produced at the "Byronean" and received with eclat. Some of his original songs were occasionally sung by some of the members of the company.

The late Wm. Bache who afterwards occupied a respectable position as a stock actor at the Walnut and other theatres was a popular performer at the "Byronean."

We conceived the grand idea of going out to Germantown to astonish and delight its

staid citizens with some of our unique performances. We proceeded accordingly to carryout the design and caused bills to be circulated in the village ; in the meantime removing some of our fixtures and scenery thither. We removed our scenery and actors in furniture wagons. On the first night of performance we presented the tragedy of "Douglas" and the farce of "Bombastes Furioso." Owing to some delay in getting part of the company to Germantown in season to commence at the time announced in the bills a large audience which had assembled early under the conviction that there would be no performance that night left the hotel wherein the theatre had been fitted up. So that when we did arrive about an hour after the time we experience some difficulty in mustering a sufficient number of spectators. We however resolved to proceed and the curtain rose upon "Douglas" which was cast thus :

Young Norval S. S. Steele ; Glenalvon Mr. M'Cutcheon ; Old Norval myself ; Lord Randolph F. C. Germon ; Donald D. W. Gihon ; Lady Randolph Mrs. Cappell (the latter being our leading actress.)

Mr. Steele as the hero of the play acquitted himself very creditably as did other performers. As for myself I met with a trifling accident in having my tow wig come off in the contact with the flame of a candle at one of the "wings" by which it was partially destroyed.

We carried the play through as well as the amusing farce of "Bombastes" without anything particular occurring to mar the pleasure of the evening with the exception of the disagreeable reflection that our money receipts were exceeded by the expenses incurred.

As the rent of the hall together with other necessary expenditures including the cost of

"masterly" (if not "inglorious") "retreat" leaving the scenery and properties in the hands of the enemy--i.e. the landlord of the inn--as indemnity for the rent of the premises.

Although my connection with the "Byronean" was about this time severed yet my devotion to the "tragic muse" continued unimpaired and I next associated myself with the "Boothenian" a very pretty dramatic temple fitted up on one of the upper floors of the Assembly Building corner of Tenth and Chesnut streets. It was a bijou of a theatre with boxes and pit similar to those of the larger theatres. It had an orchestra of amateur instrumental performers that entertained the audience with fine music.

My career here was brief limited to the playing of a few characters including that of Damon. The circumstances attending the latter performance I have but a faint recollection of save the less of a bundle containing the wardrobe appertaining to the character and which was doubtless purloined by some covetous admirer of ancient clothes. The severance of my connection with the "Boothenian" at Tenth and Chesnut streets terminated my "Thespian" career and with the exception of two performances on the public stage of which I will make brief mention my theatrical life was finished. One of these was the acting of the part of Old Mobb in "Yankee Bowman's" benefit at the Coates Street Theatre ; and the other and the last was that of Hamlet at T. B. Johnston's benefit at the National Theatre Ninth and Chesnut streets.

"Yanke Bowman" was a bill-poster by profession at the time but had occasionally assayed the performance of Yankee characters and with much ability. He had a double engagement at the Coates Street Theatre at this time being both actor and bill-sticker. For his "benefit" he got out immense "small" bills which I think were about three feet in length with a proportionate breadth and on which figured a great array of names of volunteer performers.

Bowman personated the hero in some Yankee piece the name of which I have forgotten ; but after an indefinite number of songs dances etc. that followed the first piece the drama of the "Golden Farmer" was presented. Behind the scenes confusion and disorder reigned supreme while the "properties" were scattere around causing much difficulty in finding them when required for use. In the part of Old Mobb where I should have a pistol for the purpose of menacing Jimmy Twitcher (Bowman) that important article could not be found and a cartwhip was put in my hand by the "property" man with the assurance of that worthy individual that "that would answer as well as a pistol." So I was obliged to threaten Jimmy with "dying the death of a dog" by flourishing the cartwhip in his face.

The performances passed over to the satisfaction of the audience which was I opine not very critical and also to the repletion of Yankee Bowman's purse as he had a full house.

On the other occasion to which I have adverted viz : T. B. Johnston's benefit I volunteered to try my hand at Shakspere's masterpiece the character of Hamlet. It was the last night of the season of Wemyss manage-

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[ment of the National Theatre, located upon the site now occupied by the Continental Hotel. On that occasion I was ably supported by Mr. J. H. Oxley as the Ghost; Mr. Mathews as Horatio; Mr. Faulkner as Poloious; Mrs. Knight as the Queen, and Miss Helen Mathews as Ophelia.

The house was a good one, and I believe my friend Tom Johnston reaped a substantial benefit therefrom. As for me, my ambition was satisfied, and so, dear reader, my theatrical career was ended.]

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Index.

Vol. VI.

Actors Order of Friendship: benefit 328 Ball 391 Adams Ino B 292 C.F. Complimentary ben: 413 J.P - - 307 Addison Laura 357 sketch 358 Albini in opera 383 sketch 418 Amherst J H sketch 316 anderson James R 394 395 Appolinicum. - 319 Arabs Bedouin 314 "Athenaeum" 7th and Chestnut, [Cort?] Season - 330 Augusta Mad Comp: ben: 412 "Azael" 1st perfuned [performed?] 335 Barnwlls [Barnwells?] Museum Fat woman Quaker giant Scotch [hotters?] - 339 Baker J. Lewis sketch 321, 323 416 Mis A F. 339 farewell 339, 416 Bentley Mis - 329 Banister Mis - 416 Bateman children 380 Bedouin arabs - 314 Bennett Julia 1st app: 362 Bennie Miss 326 Bishop Mad Anna 364 opera 382 Biscaccianti Signor 386 [Bluigy?] Madle, Quanel with Conner 323 Blondin Miss - 379 "Bleak House" 1st perf 391 Booth J. B. death 327 - 331 Blake W Rufus - 396 Bowers D.P - 361 Miss - 361 Kochsa 382 Boucicault. D. S 410 Bruster 312 Browne J. S 350 Brouphaner Jho 343, 344, 396 414 Comp: ben: 415 Ms ( the 2nd) 415 Brelsfird J.P. 320, 321 death 323 365 Brooke G. V. at Chestnut 345, 346 1st app: 359, 360, 363, 383 Farewell 392 "Briense [Painte of"?] 1st perf: 362 Braham As [turks?] 364 sketch 382 Bunn alfred as a lecture 372 Buchanan as McKean 410 Burke Chas 320 384 Burton Wm re at arch Canfreed "Hercules" lifts 257 lbs 316 Canulle " 1st perf: 393 Celente Mad Reappears 358 Chinese Museum [?] 403 Chestnut St Theatre last night 419 Chinese Jugglers 393 Circus natural opened by heafie (1848) 313, none inaugurals 315, 383 384, 385 Mad [mimna?] 397 399 - [Muts?] manager 402, [Qurnles?] 403 - Maldrie and Rogers at [?] al 419 - burnt 403, 416

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