Thompson Westcott scrapbooks of the History of the Philadelphia Stage

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successful in new pieces of a regular dramatic kind. Doctor Lardner was now announced to deliver his lectures nightly so as to conclude his engagement, that Madame Celeste might come in for some nights during her short stay here, previous to her return to England. October 13th, a new piece was presente called "Abduction; or, The Farmer's Daughter." Vaubilier, Mr. Charles; Morusseau, Mr. Richings; Raymond, Mr. Andrews; Regent of France, Mr. Mills; Julia, Mrs. J. G. Porter; Dr. Lardner with two grand tableux vivant. October 17th, first night of Madame Celeste and her new drama of "Marie de Cange." Lascelle, Mr. Richings; Marland, Mr. Charles; Prong, Mr. T. Placide; Maria de Cange, Mad. Celeste; Susan, Miss Ayres. After which she appeared in the "Cachuca," the beautiful Spanish Castanet Dance; one full of animated passion and voluptuous charac-ter, that requires great delicacy of execution. October 22d, Celeste's benefit, fifth and last night. She brought out a pieced called "Foreign Affairs;" also, "Marie de Cange." October 24th, Miss Mary E. Maywood's bene-fit. "The Youthful Queen," with the spec-tacle of "Aladdin." October 26th, Mad. Celeste was re-engaged for three nights more, concluding with two of her old dramas, "The Wept of Wish-ton-Wish" and "The Wizard Skiff". This extraordinary woman soon returned to London, where, after her separation from her husband, Henry Elliott, she was an object of great attraction, and she became manager of the Adelphi Theatre. Pieces were composed for her peculiar capabilities by the most ingenious dramatists of England; and she wielded, and continues to wield, the managerial baton with decided success. All seemed to lament the separation of Celeste and Elliot. On the arrival of Fanny Elssler in this country, Elliott had, at New York, played off with strong effect the popularity of his wife against the eminent power of the "divine Fanny." He had engaged her to Wemyss, at the Walnut Street Theatre, to play on the same nights that Elssler was to appear at the Chesnut Stree Theatre; but, as Wemyss said, "This was the first engagement he had ever made with Celeste, and was destined never to be fulfilled." While preparations were being made at the Walnut for the effective production of Celeste's pieces, Wemyss received a noted from Mr. Elliott, stating that his wife had abandoned him; therefore it was out of his power to com-ply with the contract that he had entered into with him for her performances at the Walnut, appealing to Wemyss' forbearance, and beg-ging that the agreement might be cancelled be-tween them. Wemyss generously exonerated the poor heart-stricken Elliott from the agree-ment, called upon him at Jones' Hotel, where he was confined to his chamber by this sudden affliction, and Wemyss never saw him again. Celeste's conduct on this distressing occasion seemed to many of their mutual friends perfectly enigmatical. Her thus suddenly leaving her husband and only child must have been caused by a deep and scathin provocation. Else how can we believethat a wife that had been so de-voted to her conjugal duties as Celeste seemed to be, so fond of her little daughter as she was, should flee from both and cut loose forever ties that had been dear to her, leaving her hus-band on a bed of sickness--nay, on a bed of death--whereon he soon expired from the effects of the blow. Her flying to a land of strangers, and renewing other associations, gave rise to many prejudicial reports against her honor. All these were proved unfounded in fact. The business intercourse of the actress is princi-pally with men, and this too often gives birth to much impertinent and idle gossip. On the death of Mr. Elliott, Celeste returned to the United States to claim her child, but did not suceed. Not only was she deprived of her daughter's society, but she found that the child had been taught to entertain thoughts and feel-ings derogatory to her mother's virtue; re-fusing her proffered protection for that of her father's relatives at Baltimore. Celeste re-turned to England, and bade, probably, her last adieu to her daughter and that soil whereon her fame and fortune were first built. October 30th, 1842, Mr. John Brougham and Mrs. Brougham made their first appearance here, in "The School for Scandal" and "The Irish Lion." The lady as Lady Teazle, and Mrs. Fitzgig in "The Irish Lion." The principal characters were thus cast: Sir Peter Teazle, Mr. Faulker; Joseph Surface, W. B. Wood; Charles Surface, Richings; Sir Oliver Surface, G. An-drews; Moses, C. Watson; Lady Teazle, [Mrs.?] Brougham; Mrs. Candor, Mrs. Maywood; Maria, Miss M. E. Maywood. After which, "The Irish Lion." Tim Moore, Mr. Brougham; Mrs. Fitzgig, Mrs. Brougham. On their second night, the comedy of "The Rivals." Sir Lucius O'Trigger was by Brougham most ably portrayed and much applauded; Lydia Lan-guish, Mrs. Brougham. To us she seemed quite apathetic. Also, "Teddy the Tiler." Teddy the Tiler, Mr. Brougham; Cecil, Mrs. Rogers. November 2d, Mr. Peter Richings' benefit, when he produced "London Assurance." Dazzle, (his original character,) Mr. Brougham. Taken in a general view, we think he is the best of all the Dazzles we have seen. He gave to the part all its bustling vim, its life and gaiety, yet was polished and conventionally well-bred. All was graceful ease and nature. We did not see Charles Mathews, who played at Covent Garden, when it was first produced there in 1841. The part was said to have been excellently well performed by that very ta-lented comedian. Sir Harcourt Courtley was played by Richings very easy and good. Lady Gay Spanker, Mrs. Brougham; admirable in looks and costume, but lacking vigor of charac-teristic portraiture. She was a lovely specimen of a dashing, fashionable woman; but, as an actress, she was seemingly in her novitiate . Her maiden name was Williams, and she first ap-peared on the boards at the St. James' Theatre, London, in 1836. Mr. and Mrs. Brougham first appeared in America at the Park Theatre, New York, in "The School for Scandal," as Lady Teazle, and the gentleman as Tim Moore, in "The Irish Lion." The afterpiece was "The Red Gauntlet." Poor Peter Peebles, Mr May-wood; and the Irish Tutor, Brougham. This bill of fare was repeated. November 4th, "Born to Good Luck"--Pad-dy O'Rafferty, Mr. Brougham. Mr. Brougham played many of Tyrone Pow-er's favorite roles of Irish character with great success. He was pronounced by the judges as that clever comedian's only successor. This was certainly a very handsome compliment to Brougham, and one well deserved. First im-pressions are indelible and hard to remove, and we humbly think that if Brougham had pre-ceded the powerful Tyrone, that would have gathered the same abundant harvest of applause and money. Prejudice does much, but fortune distributes her favors with her eyes blinded--a true represensation of the fickle goddess by the old fogy ancients. Saturday, Nov. 5th, Brougham's benefit. "The Wonder, or a Woman Keeps a Secret"--Don Felix, Wood; Col. Britton, Brougham; Don Lopez, C. Watson; Don Pedro, Faulkner; Donna Volante, Mrs. Brougham. With the "Irish Lion." Brougham's Tim Moore was a chef d'oeuvre of the kind. It was the very es-sence of character, the ideal of the image, and quite equal to Power's best efforts. But why he should have offereed up a sacrifice to his pecu-liar excellencies by impersonating col. Britton, we can't divine, without it was to propitiate the vanity of his better-half, who wished to flaunt away in rich brocade of Spanish costume to show how bewitching she could look, and yet how much she lacked in acting the requi-site of the character of Volante. It was above her powers. She failed in the quarrel scene with Felix entirely. Her pauses were given with no effect, as if she were ignorant of the business of the scene. Novemeber 7th, "The Lobe Chase"--Wild-drake, Brougham; Constance, Mrs. Brougham. With "Born to Good Luck"--Paddy O'Rafferty, Brougham; Widow Green, Mrs. Maywood. Nov. 8th, "The Irish Ambassador"--Sir Patrick O'Plenipo, Brougham, wherein he ac-quitted himself with much credit. Indeed, the public gave a unanimous verdict in his favor, while yet the boards whereon he acted were covered with Power's bays. At least, with due reservation, we may be permitted to say that he is the best representative of a certain class of Irish characters since the departure of the lamented Power, among which we classify Sir Patrick. Mr. John Drew is inimitable in his line, probably he is the first on the British or the American stage. But the forte of these two comedians is diverse, representing two distinct classes of their countrymen. Brougham, in genteel comedy of the characteristic order, is a model of easy elegance and polished address; you behold in him the gentleman of society, with obvious mental accomplishments. Sir Patrick and Tim Moore were two elevated parts which Mr. Power made so irresistible that our audience still remembers their force. The same judgment received with favor, nay, with eclat, the vivid drawings of Brougham on the same subject. In Wildrake, a chracter rather opposite to his line, Mr. Brougham most naturally represented the peculiarities of the part. Brougham is an artistic; he studies the aesthetics of his art. In so saying, we may refer to his graphic make-up and powerful illustra-tion of Jack Bunsby, the skipper. We are sure that while memory holds a seat in this dis-tracted globe, the characters of Jack Bunsby, skipper, and of Ed'ard Cuttle, mariner, will never be forgotten. Brougham and Burton were linked togehter arm-and-arm, hook-to-hook, in iron-hand fellowship. When Brougham first entered as Time Moore he reminded us at once of his countryman, the handsome, the vividly impressive John Duff, once the idol of the Philadelphia stage. Brougham had all the charming, easy, we may say polished gaiety, and savior vivre of the well bred man of society. On this occassion Brougham wore the first sack-coat that had been seen in our city; indeed, he presented us with many little fashionable etceteras that were new to us. European fashions at that day were longer in

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"The Silent Lady," a new name for "The Dumb Belle." Sept. 30th, a new nautical drama, called "Cape May Will, or American Enterprice." Lieut. Wilkes, of the Exploring Expedition, Mr. Young; Julia Leslie, wife to Captain Leslie, Mrs. a'Becket. There was a quantity of scenery in it: Frozen regions in all their varied phases--storms--a wreck on icebergs--a great sea bear--combats with pirates--a Yankee ship in full sail--all saved from the wreck by Julia--and the piece ended with chorus and three cheers for Columbia! A new farce, called "The Boarding School," followed. October 3d. Mr. John Sefton was now en-gaged in order to produce the drama of "Sixteen String Jack, or Rann the Reiver." John Rann, alias Sixteen String Jack, the Hon. Fitzallan Cleveland, Count Chanterais, Mr. Wheatley; Kit Clayton, formerly footman and gardner to Mr. Colville, now one of Jack's gang, J. Sefton; Miss Constance Manby, Miss S. Cushman. The incidents of this semi-historical and traditional old English story, were founded on the life and crimes of this semi-historical and traditional old English story, were founded on the life and crimes of that noted highwayman and freebooter, John Rann, alias Sixteen String Jack, who lived in the time of George III. His clever assumption of the characters of various noted individuals of the bon ton were so good as to deceive almost the intimates of the persons represented. The piece was one of those Jack Sheppard things that serve to enlist the attention of the vulglar and thereby to contami-nate the youthful mind to steal and plunder. The effect of these demoralizing dramas in the past have been proverbial. Jules Janin, in his "American in Paris," relates some very trill-ing results in Parisian criminal records as produced and inculcated by these false criminal melo-dramas. This "Sixteen String Jack," with the occasional aid of the Jemmy Twitcher piece, "Vell, vot of It?" was played many nights to fine houses. October 5th, a new drama, called "The Dream of the Future," was produced. Between the first and second acts there was a dream, in which a lapse of thirty years is supposed to have taken place. October 8th, John Sefton's benefit, when he played the Artful Dodger in "Oliver Twist." Mrs. Maeder seemed to be getting too fat for Oliver Twist, which she performed. It was at this time that Charlotee Cushman created a great sensation by her really powerful delinea-tion of Nancy Sykes. It was too truthful, there-fore not agreeable. October 10th, Mr. G. Vandenhoff was an-nnounced to make his first appearance in Phila-delphia as Hamlet. He was received with much favor by a full and fashionable audience, and there were many spontaneous bursts of ap-plause . The discriminating portions of his auditors awarded him much credit for his ju-dicious impersonation of the melancholy Dane. Mr. George Vandenhoff looked the Prince re-markably well. His costume and bearing were unimpeachable, and exhibited chastness, force, and propriety of action. HIs delivery marked the intellectual student and the princely gen-tleman. We could not see genius in his effort, but there was talent and judgment of a high order. He gave the soliloquies with feeling and taste, infusing a desirable calmness into their reasoning deductions with impressive re-citation and harmonious intonation, which made the metaphysical speculations of the Prince pleasant to our senses. We thought Mr. Frederick's Ghost good. He avoided deep, sepulchral tones, speaking in his natural voice. The "Majestry of buried Denmark," when thus revisiting the earth, is too often invested with an artifical mode of recitation, and seems to be a statue with a person speaking from behind it--a method that leads the imagination to the Iudicrous. The spirt of the departed, if such an essence is allowed to visit us again in human shape, would certainly come to us with all the earthly attributes, voice as well. As the Queen Mother, Miss C. Cushman was quite clever. We have few actresses on our stage to fill those of Matrons and Mother ap-propriately. There was once such a class on our stage. The Serious Fathers are another im-portant class which our theatres lamentably lack. Yet it must be admitted that these lines of business are most laborious and unprofitable to the performers. The late Mr. W. B. Wood was inimitable in those parts. He came, and [ere?] he spoke the impression was made. On this evening a musical burlesque (in one act), was brought our for the first time, called "The Lady of the Lions"--Clod Meddlenot, a Germantown gardener, a Kean youth, brad in a Forrest, and very fond of a Tree, Mr. Hada-way; Sergeant Damme, of the marine corps, drumming up recruits, Mr. Russell; Polly Ann, a young heiress, with a very Rose-y complexion, but with a remarkably Red-ish countenance, more fond of princes than vegetables, Mrs. Maeder; Widow Meddlenot, a wishy-washy person, Mrs. Kinlock. This piece was full of opera airs and popular songs, duets, &c. October 11th, "Much Ado About Nothing"--Benefdict, G. Vandenhoff; and "Oliver Twist," by request. October 12th, Mr. Vandenhoff appeared as Hamlet. October 13th, Mrs. Maeder's benefit. Mr. G. Vandenhoff as Richard III.; Lady Anne, Mrs. Maeder. G. Vandenhoff did not seem to hit this character. October 14th, "The Wife"--St. Pierre, Mr. G. Vandenhoff, which was very good; Mariana, Miss C. Cushman. October 15th, Mr. G. Vandenhoff's benefit. Two plays, "The Lady of Lyons" and "Pi-zarro"--Claude and Rolla, Mr. G. Vandenhoff. October 17th, Mr. E. Forrest's first night. Othello, Mr. Forrest; Iago, Mr. Fredericks; Cassio, Mr. Wheatley; Roderigo, Mr. Daven-port; Desdemona, Miss S. Cuchman; Emilia, Miss. C. Cushman October 18th, Damon and Pythias, by Forrest and Proctor. A new force was given, called "The Twin Sisters; or, Open House." October 19th, Macbeth, Mr. E. Forrest; Mac-duff, Mr. Proctor; Lady Macbeth, Miss Cush-man. The critics and the audience were de-lighted with the exhibition of this tragedy. October 20th, J. Proctor's third night. Three new pieces, "The Vagrant, his Wide and Family," "The Pretty Girls of Stilberg" and "The Twin Sisters." The Pretty Girls of Stil-berg, in Russian uniform, commanded by Mar-got, Miss Cushman, went through the manual and platoon exercise and various striking mili-tary evolutions. The Pretty Girls were attrac-tive for many nights. They made quite an ex-citement. The sensation was extraordinary. October 21st, "Nick of the Woods; or, The Jibbenainosay"--Blood Natahn, Mr. Proctor. Mr. E. Forrest's engagement was suspended for a few evenings. He again reappeared on Monday, October 24th, on which occasion there was a reduction of prices, as follows--Dress circle, 50 cents; children, half price; family circle and third tier boxes, 25 cents; pit, 25 cents. The prices at all the places of amusements had at this period been frequently modified. The maximum or minimum of their imposts was as difficult to adjust as our national tariffs have proved in satisfying our extended industrious interests. It was not ana easy mat-ter to exactly feel the paying pulse of the pub-lic who desired to patronize theatres. October 24th, the tragedy of "Metamora"--Metamora, Mr. Forrest; Nahmeoke, Miss C. Cushman; Lord Fitzarnold, Mr. Henkins; Sir Artuhur Vaughan, Mr. a'Becket; Guy of Godal-min, Mr. Davenport; Horatio, Mr. Wheatley; Oceana, Mrs. Penson. This was a very excel-ent cast of this Indian drama. It has been said that this whole play, or most of it, is a literary plagiarism, the various parts and inci-dents being taken from old stories, anecdotes, Indian speeches, &c. But still the character of Metamora was very interesting in itself, and Forrest justly added to that interest. Charlotte Cushman gave clever effect to Nahmeoke. October 25th, E. Forrest as Richelieu. At this period a sinister attack was made on the legiti-macy of the copy of "The Pretty Girls of Stil-berg," as given as the Walnut Street Theatre, which had proved very attractive. The attack was an emanation from rival theatres. Mr. E. A. Marshall thus replied : "The manager (all newspaper advertisements to the contrary not-withstanding) assures the public that 'The Pretty girls of Stilberg,' as produced at this theatre, is the original and legitimate piece as prepared at the Theatre Royal, London. The only difference being in the cast of characters, and from the unbounded applause it has re-ceived on each night of its representation, from a full, fashionable and discriminating audience, assures him in that respect it has fully sustained its original reputation." October 26th, Forrest in the Gladiator; Phasarius, Mr. W. Wheatley. Mr. Wheatley, the present great favorite of the Philadelphians as an actor and a citizen of worth, performed the part of Phasarius with infinite cleverness. As a light comedian in the legitimate drama he has no superior in this country; as a versatile per-former, perhaps he is without an equal. We speak in a qualified sence, not being now ac-quainted with the talent of the stage. His po-sition in the Walnut street house in this, his first season here, was as the leading genteel co-median, playing first juvenile tragedy, as occa-sion required. We are strangers to Mr. Wheat-ley, personally, but we may be permitted to say this much of him. He is a native of New York. We remember his first appearance at the Park Theatre, as a child, in 1826, and he there gained much juvenile fame as the representative of Albert, the son of William Tell, in the engage-ment with the celebrated Mr. Mascready. He subsequently traveled with that gentleman to sustain this infant hero, so well impressed was Macready with the boy's performance. In 1850 Wheatley retired from the stage and went to Nicaragua, but he soon returned and again re-sumed the sock, and with it theatrical manage-ment. The rest is known to the public, better perhaps than to ourselves. The manager now offereed a premium of fifty dollars for a successful drama, adapated to the talent of the company of the Walnut Street The-