3 
 
 
 McGill Univ«rsity Libriri«s 
 
 PN 2306 M6G7 1902 
 Histrionic Montreal. 
 
 3 000 738 334 C 
 
 MSGILL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 

 -Wa'.lf 
 
 i, 
 
 
l>i$trionic montrcal 
 
 Jlnnals of the Sfiontreal Stage 
 
 with S^iographical and Critical 
 DCotieea of the S'lays and S^iagers of a Century. 
 
 BY FRAXKBIN GRAHAM 
 
 ^‘—for the u'hich supplj/, 
 
 Admit me Chorus to this history,^ ^ 
 
 Hekry Y. Prologue. 
 
 Lovell, look that it he done! ” 
 
 Kichard III. Act 3., Sc. IV. 
 
 SECOND EDITION 
 
 IMOIV'TKEAT. : 
 
 JOHIV I.0YT:LL *S2t SOIV, rUBLISHERgJ. 
 IMCIVIII. 
 
PN2306 M6G7 1902 McLen 
 
 Graham, ^ i 
 
 Histrionic Montreal 
 - 71835876 
 
 L 
 
 
Origin and Progress of Oramafic Jirt. 
 
 
 It does not take a great stretch of imagination to conceive 
 the idea of the origin of the drama — a step from the drama of 
 nature to the drama of humanity — a stride from the natural 
 to the imitative — and so with the existence of primitive man, 
 when first surrounded with scenes and objects, we have the 
 origin of the drama. As the centuries continued to roll back 
 upon the past, and as the dawn of civilization receded, man 
 advanced. Not satisfied with merely imitating his own acts, 
 he soon acquired the art of reproducing the acts of his fel- 
 lows, and by the time we arrive to Greece and Rome we find 
 man an intellectual being, and the drama fully developed- 
 From this it is easily traced from the written records. From 
 the ancient it is plain reading to the mediaeval age ; from the 
 mediaeval to the Elizabethan ; and from the Elizabethan to 
 the Victorian. Not until Cosmos decays, or when it changes 
 its features wherein man must disappear before the formation 
 of a new genesis, then, and then only, will the drama cease 
 to be. 
 
 ^ Thespis, inventor of the dramatic art, 
 
 y Conveyed his vagrant actors in a cart ; 
 
 High o’er the crowd the mimic tribe appeared. 
 
 And played and sung, with lees of wine besmeared.” 
 
 Taking Herodotus as our authority, we find that the origin 
 of the drama was during the reign of Pissistratus, and the first 
 representation of lampic dialogue in the sacrifice to Dionysius 
 in the year B.C. 535. Thespis was the founder and first en- 
 actor of plays, and ''Alcestus’’ the name of the first tragedy 
 performed, during the festival of Bacchus. 
 
 The records of the Olympian games indicate many winners 
 of the tragic prize, foremost of whom are Thespis, Choerilus, 
 B.C. 523 : Phrynichus, B.C. 51 1 ; ^schylus, B-C. 499 ; So- 
 phocles, Euripides and Aristophanes. 
 
 454948 
 
4 
 
 HISTRIONIC MONTREAL. 
 
 Next in line came the Romans with Quintius Roscius and 
 Clodius ^sopus as the foremost representatives of comedy 
 and tragedy respectively. . 
 
 The dramatists were Terence, Livius, Caecilius, Andronicus 
 
 and Ennius. 
 
 can be said to have virtually had its incipiency with the estab- 
 lishment of the Comedie Francaise. Its origin dates back to 
 the reign of Henri Quatre, when some comedians cani’e and 
 established themselves near the Hotel St. Paul Paris, and 
 founded the Theatre du Marais. A few y’ears later other 
 comedians built a new theatre, which Corneille and Rotrou 
 soon rendered illustrious ; this was the Theatre of the Hotel 
 de Bourgogne. Next we find the theatres of the Petit Bour- 
 bon and the Palais Royal, where Moliere’s pieces were first 
 played, and Racine's maiden piece, '' La Thebaide." In 1673 
 Moliere died and his company divided. 
 
 In 1680 there were three theatre's in Paris — the Theatre du 
 Marais, the Company of the Hotel de Bourgogne and that 
 of the Theatre Guenegaud. The two latter were united in 
 August of that year, a grand performance of ^ Tartuffe be- 
 ing given to celebrate their union. It is the intention of 
 His Majesty," says the register, ‘‘that there shall be hence- 
 forth no company but this, and it shall be called the Comedie 
 Francaise." 
 
 Performances were held at the Hoi el Guenegaud, and 
 eighty-one new pieces were produced in the first ten years, 
 the authors most in fashion being La Fontaine, Danccurt and 
 Bouirsault. Under Louis XV. the subvention granted to the 
 house was doubled, and until 177*^ theatre was perman- 
 ently established in the Rue des Fosses. During the'se ninety 
 years all that was illustrious in French literature was contri- 
 buted to its glories. 
 
 It remained here until 1760, when new quarters were found 
 in the Palace of the Tuileries. Twelve years were spent 
 there, and then a new theatre adjoining the Luxembourg was 
 selected. 
 
 The Comedie Francaise was still here when the Revolution 
 came, and in the bitter feeling of the time a feud arose be- 
 twe-en Ta^ma and his Republican followers and the aristo- 
 
 ‘‘ When Roscius was an actor in Rome.’’ 
 
 THE DRAMA IN FRANCE 
 
HISTRIONIC MONTREAL. 
 
 5 
 
 and‘hi!^nT?^ company. It was then that Talma 
 
 WP 1 Vanetes Amusants. There thev 
 
 been thfho’°'"^1 and there has 
 
 tne fiac<e clu Theatre Francais at the foot of the Avenue de 
 
 de^E’e?" ^t. Honore and the Rue 
 
 e Richelieu, immediately adjacent to the Palais Royal. 
 
 hv « the celebrated Moscow decree 
 
 v 4 fir t 7ff"'^"tion has since been regulated. Scribe 
 
 in 1820 V-' i ’ Alexander Dumas, the elder. 
 
 made heV^ kT w years later Rachel 
 
 made her debut as Camille in “ Les Horaces.” 
 
 unlil 'aT ioss at this period, .and it was net 
 
 D ^ replaced as manager M. Edouard 
 
 Thierry ,n 1871 that the tide began to turn in its favor. 
 
 r^<- tlian regained its old place. Edmond 
 
 'Ot, the most thoroughly humourous actor in France, had 
 long been its mam support. Coquelin, the elder, whose 
 't’ Sarcey said, “ Un je ne sais qiwi 
 dcpiquc, was incomparable as a comedian. Delaunav, 
 aged as he was, still played the sighing lover with the fervour 
 of youth. Mounet-Sully in tragedy, Shiron in comedy, Feb- 
 ore in domestic drama, were each unrivalled in tlieir resoec- 
 tive walks , while Mme. Amould-Plessy, grandest of Grandes 
 oqiicttcs , Mile. Favart, most intense of Fortes Premieres ; 
 and Sophie Croizette, memorable in the “ Sphinx ” and “ Le 
 Demi Monde,’’ led a company of actresses whom all the other 
 theatres combined could not hDpe to rival. 
 
 The Theatre Francais was gutted by fire 8th March, 
 1900. Inseparably associated with its history are the names 
 of Racine, Corneille, Moliere, Talma, Duchesnois, Rachel, 
 Bernhardt, Got, Mounet-Sully, Mars, Coquelin, and, rich with 
 the spoils of time, it contained a priceless treasure in its col- 
 ketion of sculpture, paintings and precious relics. 
 
 Of the galaxy of the Francaise’s immortals, Montreal has 
 seen, Bernhardt, Coquelin, accompanied by his brother, 
 Jean, Duquesne and Madame Barety, at the Academy of 
 Music in March, 1889, and again week of 14th May, 1894. 
 During this tour Coquelin was seen with his brother and 
 Jane Hading. Jean Mounet-Sully also appeared at the Aca- 
 demy, supported by Mmes. Hading and Segond-Weber, week 
 14th May, 1894. 
 
6 
 
 histrionic MONTREAL. 
 
 THE DRAMA IN ENGLAND. 
 
 The earliest authentic account we have of theatrical per- 
 formances in England is in the year 1119, when the mrracle 
 play of “St. Katherine’’ was performed at Dunstable. it 
 was written and produced by one Geoffrey. On the nig it o 
 its produiction, by a strange coincidence, his house was totally 
 destroyed by fire, and, thinking it to be a judgment irom 
 heaven, the playwright assumed the habitum rcligioniSj and 
 subsequently became the Abbott of St. Albans, dying in the 
 year 1146. 
 
 In Fitzstephens’ “ Life of Thomas ^ Becket mention is 
 made of regular tlveatirical performances^ and miracle plays 
 continued to be perfoirmed until about the year 1400, when 
 minstrelsy and interludes gradually increased. ^ 
 
 Richard the Third, however, was the first king to take in- 
 terest in theatricals. King Heniry VIII. was also very partial 
 to these arftusements, and had plays mounted in every detail 
 of elegance. The first tragedy was produced before Queen 
 Elizabeth in 1561. It was written by Thomas Sackville, 
 assisted by Thomas Norton, and was called Ferrex end 
 Porrex,” but perhaps better known as “ Gorboduc. ’ To 
 Nicholas Udal, however, belongs the distinction of having 
 written the first English comedy, and although ‘‘ Gorboduc 
 was produced a year before Roister Doister,” the latter had 
 been written first. Shakespeare had not then completed his 
 second year, and it is an interesting fact that the birth of the 
 drama in England and the dramatist who gave it everlasting 
 life should be exactly contemporaneous. Iirmediatelv ; fter- 
 wards came the plays of Lyly, Marlowe, Heywood, Middle- 
 ton, Rowley, Marston, Chapman, Dekker, Webster, Beau- 
 mont, Ford, Fletcher, Massinger — and the giant that towers 
 over them all, the pride cf England and the greatest of the 
 human race — Shakespeare. 
 
 Richard Burbage was the first great actor England had. 
 He was a contemporary of Shakespeare, and the original C'r'n- 
 ceptions and traditions of these two masters were in turn 
 handed down from actor to actor. 
 
 Those most prominent to survive Burbage were Joseph 
 Taylor and John Lowin. In the year 1647, when fanaticism 
 ruled the laws cf England, the theatre was for the first and 
 only time abolished by Parliament. The players were driven 
 into the country, but after twelve years cf civil strife Charles 
 
 
HISTRIONIC MONTREAL. 
 
 II. landed in England and the surviving players wept for joy. 
 i^any of these had taken arms against the Roundheads, not- 
 ably Michael Mohun, Charles Hart and Nicholas Burt. Two 
 theatres were established under the direction of Sir William 
 avenant and Thomas Killigrew. The foremost actor of this 
 period was Ihomas Betteiton, surrounded by such a coterie 
 as Sandford, Smith, Harris, Underhill, Doggett, Mrs. Brace- 
 girdle, Mrs. Barry and Nell Gwynne- It was during this 
 epoch that women were substituted for the boys who had 
 heretofore played the female roles. This innovation, at a 
 time when the morals of the Court w’ere on a level with the 
 pavement, defiled the otherwise literary period of Dryden, 
 Wycherley, Vanbrugh, Farquhar and Congreve, also render- 
 ing immortal the memory of that delightful old gossip, Samuel 
 Pepys. Only Thomas Betterton and his wife, by the purity of 
 their lives, not less than the greatness of their careers, stand 
 forth as shining lights in that age of profligacy. On an in- 
 come of $800 a year Betterton accumulated a moctest fortune. 
 He died in 1710, sged 75. 
 
 The production of Addison^s ‘‘ Cato,’’ three years later, in- 
 troduces the succeeding group of actors. Barton Booth being 
 the^ most distinguished player of the reign of Queen Anne. 
 Political influences betw^een Whigs and Tories were such as 
 to render the production of the tragedy memorable. The 
 cast compirised the representative actors and actresses of the 
 day : Barton Booth, Colley Cibber, Robert Wilks, George 
 Powell, John Mills, Lacy Ryan, Bow- man, Kean, Mrs. Barry, 
 Mrs. Oldfield and Mrs. Porter. Booth retired in his forty- 
 sixth year cn account cf declining health, and died in 1733. 
 
 The first and second Georges, with strong preferences for 
 beair-baiting and tight-repe dancing entertainments, did no- 
 thing to foster the favorable conditions of the drama 
 achieved during the days of Anne. The most conspicuous 
 figures of the theatre w^ere Charles Macklin, famed for his 
 performances of Shylcck and Sir Archy, as well as for having 
 had the distinction of playing Macbeth after Ire had attained 
 his one-hundredth birthday ; James Quin, Mrs. Elizabeth 
 Barry, Lavinia Fenton, Mrs. Pritchard and Kitty Clive, until 
 the advent of the great reformer, David Garrick, who, at a 
 single bound, outdistanced Quin, the established tra^-edian of 
 the day. He had been famous fcir his Falstaff, Cato and 
 Coriolanus, but, realizing his defeat, gracefully retired. Mack- 
 lin, who died in 1797, aged 107, had been something of a re- 
 
8 
 
 histrionic MONTREAL. 
 
 former, he being the first actor to rescue the character o 
 Shylock from the list of comic parts to play it seriously, tn 
 1744 he produced “ Othello,” after announcing that the chiet 
 character would be “ dressed after the custom of his coun- 
 try,” for up to that time, and for a long time afterwards, 
 Othello wore an English officer’s uniform. 
 
 David Garrick, a little wine merchant, within a week after 
 his first London appearance (1741) was known to all Eng- 
 land, and foir a period of thirty-five years was the idol of the 
 stage. His school was the closest yet to nature, and nis 
 many needed reforms led the way to the since elevatedl con- 
 dition of the stage. Actors were not permitted to address 
 the audience across the footlights with insolent familiarity; 
 nor would he allow certain spectators to commingle with the 
 performers on the stage ; and he it was who first introduced 
 footlights by the use of candles. Strange, however, that he 
 should noj have given closer attention to the details of cos- 
 tume, choosing to play all his characters in the Court dress 
 of the period. His closest rival was Spranger Barry, the 
 silver-toned, who stood foremost in the bright galaxy of the 
 period, including Mrs. Woffington, Mrs. Abington, Mrs. T. 
 Cibber, Mrs. Bellamy, Anne Barry, Mrs. Yates, Samuel 
 Foote, Edward Shiuter, John Moody, Thomas Weston, Wm. 
 Smith, Henry Mossop, Thomas King, Tliomas Sheridan, 
 Charles Bannister and West Digges. 
 
 In 1779 Garrick was laid in Westminster Abbey, to sleep 
 with kings and heroes, and for a short time John Henderson 
 drew public attention by the excellence of his Hamlet and 
 F'alstaff. About his generation were clustered Wm. Lewis, 
 Henry Johnston, John Palmer, Mrs. Hartley, Mrs. Inchbald, 
 Miss Linley and Miss Pope. 
 
 Probably the most interesting group of stars in the an- 
 nals of the British stage came in immediate succession, headed 
 by Mrs. Siddons and her brother, John Philip Kemble, their 
 most illustrious contemporairies being Geo. F. Cooke, Joseph 
 G. Holman, R. W. Elliston, John Fawcett, Wm. Farren, 
 Mrs. Jordan, Miss Eliza O’Neill, Wm. Dowton, Munden and 
 Charles Mayne Young, Kemble’s most distinguished disciple. 
 Closely following are included Charles Kemble and Edmund 
 Kean. With Mrs. Siddons and John P. Kemble many re- 
 forms in costuming were brought about, and in his manage- 
 ment of Drury Lane, Kemble otherwise contributed materi- 
 ally to the advancement of the drama. Cooke was his most 
 
 
HISTRIONIC MONTREAL. 
 
 9 
 
 formidable rival. Byron said that of actors Cooke was the 
 most natural, Kemble the most supernatural, Kean the medi- 
 um between the two, but Mrs. Siddons was worth them all 
 put together. She died in 1831, having survived her brother 
 <-'ight }’ears. Kemble retired from the mimic scene in 1817, 
 ^vLen many worthy representatives were meeting with more 
 or less success, among whom were : Junius Brutus Booth, 
 John \ andenhoff, Alex. Rae, J. W. Wallack, sen., and W. A. 
 Conway. Tlie mantle of Kemble, however, was reserved for 
 C. Macready, whose efforts in the line of theatrical ad- 
 niinistration culminated in the achievement of a glorious car- 
 eer to the time of his retirement in 1851. His revivals were 
 the most artistically complete seen until those of Irving. 
 
 A close second to Macready was Samuel Phelps, during 
 eighteen } ears of management of Sadler’s Wells Theatre from 
 1844, wherein he produced thirty-one of the Shakespearean 
 series, besides many of the old and modern classical plays. 
 In 1878 the theatre was pulled down. The same week Phelps 
 dred, aged 72. 
 
 Then came the laudable efforts of Charles Kean, at the 
 I rincess Theatre in 1850, whose marvels of scenic splendor 
 were unfortunately marred by ov’elr^elaborate trappings ; and 
 lastly the Lyceum productions of Sir Henry Irving, who has 
 eclipsed them all in point of artistic perfection and effect. 
 
 THE DRAMA IN AMERICA. 
 
 As early as 1538 dramatic performances in the new world 
 were given at Tlascala, Mexico, under the direction of Fray 
 d oribio de B’enevente, as recently recorded by John Malone. 
 The French in Louisiana also presented plays long before 
 the establishment of the English drama in .America. 
 
 David Garrick was in the zenith of his fame in England 
 when William Hallam, as manager of Goodman’s Fields The- 
 atre, became bankrupt in 1750. His creditors, holding him 
 in high esteem, left him in possession cf his theatrical ward- 
 robe and sufficient capital to start anew in life. He was one 
 of four brothers, the others being Admiral Hallam, Lewis, 
 who subsequently accompanied him to America, and the 
 fourth, also an actor, was accidentally killed by the tragedian, 
 Charles Macklin. William and Lewis Hallam picked out a 
 
10 
 
 HISTRIONIC MONTREAL. 
 
 company of twelve adult performers, and in U^y, I752, t le 
 troupe of adventurers embarked on the “Chaiming a y, 
 Capt. Lee, and after a voyage of six weeks, landed at \ or - 
 town, Va. The company included William, Lewis, Mr^., 
 Miss and Master Hallam, Miss Palmer, Messrs. 
 
 Clarkson, Singleton, Herbert, Winnel and Malone. Durin^ 
 the voyage they had passed over many tedious hours m re- 
 hearsing on deck some twenty plays, so. that by the tune Liey 
 reached the Western country they were pretty well organized. 
 Their first perfo'rmanee was given 5th September, 1752,! the 
 play being “The Merchant of Venice.” This was the first 
 company of any note in this country, but the credit cf the 
 original English performance in America is due to another 
 English company just twenty years before, when perform- 
 ances were given three tim-es a week in a large room m the 
 upper part of a building occupied by the Hon. Rip Van Dam 
 in New York. They played during the month of September, 
 1732, closed in October, resumed in January, I73,h and t.is- 
 bandWl a month later. The Hallams, however, may be pro- 
 pierly styled the promoters of the American stage. 
 
 In 1756 Lewis Hallam, sen., the manager, died, and shortly 
 afterward his widow married David Douglass, who theie- 
 upon assumed the management of the company. After a 
 long circuit throughout the West Indies and the Southern 
 States, Douglass decided to bring his company North again, 
 and in 1758 they arrived in New York. Such, however, was 
 the discouraging reception there that after an indifferently 
 successful season thev deterni'n-ed to try their fortunes once 
 more in the Quaker City, despite the strong opposition they 
 were assured of meeting. 
 
 Accordingly, Douglass obtained permission from Governor 
 Denny to erect a theatre in Southwark, and on 25th June, 
 t759> the “ new theatre on Society Hill was opened undei 
 as favorable auspices as could be expected with the tragedy 
 of “Tamerlane,” followed by the farce, “The Virgin Un- 
 mashed, or an Old Man Taught Wisdom,” with singing by 
 Mrs. Love, a talented member of the company, in the inter- 
 mission. 
 
 April 24, 1767, is marked as the notable day upon which 
 was produced the first American play acted in America, the 
 “Prince of Parthia,” by Thomas Godfrey, jun., the son of the 
 inventor of the quadrant. 
 
 
HISTRIONIC MONTREAL. 
 
 I I 
 
 During the winter cf 1769-1770 the company passed a com- 
 paratively uneventful and successful season at the “ South- 
 vvark/’ but did not appear again till October, 1772, when 
 they found the city stirred by dark omens of the coming con- 
 flict. The great event of this season was the presentation 
 on February 17 of the second original American drama ever 
 performed on an American stage, ‘‘ The Conquest of Canada, 
 or the Siege of Quebec,^’ the exact authorship of which is, 
 however, unknown. 
 
 Officers of the British army and navy took part in the 
 play, having with them artillery, boats and other suitable 
 paraphernalia. The doors were opened at 4, and the play be- 
 gan at 6. Whether or not the play was a signal success has 
 not been recorded. The last season in Philadelphia before 
 the Revolution was for two weeks only, in November, 1773, 
 notable for two facts — the little interest shown in the stage 
 and the sad death of Mrs. Douglass. 
 
 An attempt was made by the company to give perform- 
 ances in 1774, but owing to the resolutions of the Continental 
 Congress, then sitting, discouraging every species of extra- 
 vagance, the only entertainment was a semi-dramatic melange 
 including “The Lecture on Heads,” and a recitation, “Bucks 
 Have at Ye All.” 
 
 The next time the curtain rcse to a play in the Southwark 
 Theatre it was before a foreign audience of red-coats, and it 
 w'as to be many long years before the memlers of the Ameri- 
 can company were again to speak from the old familiar 
 boards. 
 
 There being no inducements to visit Canada owing to the 
 likelihood of trouble there, the company embarked for the 
 West Indies, the more loyal colonies of Geoinge, where the 
 climate, however, cut the thread of life of nearly two-thirds 
 of this original company. 
 
 Lewis Hallam, jun., destined to reorganize theatricals after 
 peace had been declared, went to England. 
 
 Let us then bid adieu to these faithful colonial actors, for 
 when we meet them again they will be owing allegiance to 
 another master. They did their part nobly, suffered patient- 
 Iv, labored unceasingly, and were throughout courteous, re- 
 fined and courageous. 
 
12 
 
 histrionic MONTREAL. 
 
 MONTREAL IN 1786. 
 
 “ The memorials and things of fame, 
 That do renown this city-'' 
 
 Twelfth Night, Act 3. Sc. 3. 
 
 The Canadian metropolis, with its wall built by King Louis 
 of France sixty-two years before, enclosing a population ot 
 some five thousand inhabitants, scarcely promised its noble 
 aspect of a century later, with its beautiful storied scenes and 
 picturesque panorama so closely dotted with the steeples o 
 magnificent temples, homes and warehouses so far as eye can 
 reach, from the easy slopes of the mighty St. Lawrence to 
 the abrupt ridge of Mount Royal, and ever and anon rich in 
 bits of garden ground, in season so gorgeous with the lilac, 
 geranium and rose tree, shaded by rows of the tremulous 
 leaved maple. If the quaint old town is not so fair to look 
 upon in 1786, much different is the pageant from right and 
 left beyond its contracted area of one hundred acres. Heie 
 and there small cottages and tree-bowered roads are alter- 
 nated by richly laden corn fields and the yellow sheaves of 
 barley (the first crop in the new France), while upon the near- 
 est slopes directly across the broad blue line of the St. Law- 
 rence, between ridges of wooded hills, small white cottages 
 nestle on lawns of emerald velvet in close proximity to the 
 superbly rising parish chapel, its spire gleaming as of burn- 
 ished silver in the benediction of the golden sun. Close bv, 
 and in the shadow of the chance’, lies the garden of hallowed 
 rest. Beyond, vast ranges of wooded acclivity are discerned, 
 on the line of horizon, the grisly mountains of the Adiron- 
 dacks, faintly enwreathed in silver mist, while south-west a 
 flood of crystal light reveals the Lake of St- Louis ; also the 
 stream of the Ottawa glistening and gliding through wood 
 and dale to its tributary confluence. 
 
 like to the Pontic sea, 
 
 Whose icy current and compulsive course 
 Ne'er feels retiring ebb, but keeps due cn 
 To the Propontic and Hellespont." 
 
 Then the golden light fades into that passing star-lit 
 shadow so distinctive of a Canadian summer gloaming. En- 
 
 
HISTRIONIC MONTREAL. 
 
 3 
 
 suing years have beautified the City, but this pageant is little 
 altered, blending so softly between past and present. 
 
 From the altitude of Mount Royal, seven hundred feet, as 
 one looks towards the town, is heard the distant rumble of 
 trathc over stone-paved and narrow streets, '‘the spirit-stir- 
 ring drum rattling the old iron shutters, “the ear-piercing 
 nte and 'the swollen bagpipe, singing i’ the nose,” for Mont- 
 'jreal is a military town, and on the Champ de Mars parades 
 lare in daily routine. The glittering appearance of a thousand 
 tm-covered roofs, rendered dazzling by a burst of sunshine 
 through clouds of silver and bronze, has not changed materi- 
 ally to this day. From the base of the mountain in a direct 
 line to the creek (Craig St.) are to be seen fields under culti- 
 vation ; gardens, groves of the poplar, pine and maple; the 
 lingering ploughman and the sleek cattle. As we arrive at the 
 St. Anne suburbs, a Sulpician father is seen to raise his hands 
 and bless a greup of frolicsome children as the Angclus is 
 sounded by le gros bourdon. 
 
 Within the precincts of the City proper, six months later, 
 much excitement is rampant at intelligence received and duly 
 published in Montreal’s only newspaper, '"The Gazette,” that 
 the wall, being obsolete and an eye-sore, is threatened to de- 
 struction, and that the harbor, so dangerous and difficult of 
 access, is to be improved. It is also rumoured that a fellcw- 
 sliip of players is on its way to the town, and that carpenters 
 are fitting up and enlarging the quarters in use by the ama- 
 teur dramatic corps of the militia, under direction of the 
 colonel, who has long been expecting the arrival of the 
 troupe. 
 
 “ it so fell out that certain players 
 
 We o' er-r aught on the way; of these we told him; 
 
 And there did seem in him a kind of joy 
 To hear of it." 
 
 Tire regiment located in Montreal in 1786 was the 44th 
 Foot, now the First Battalion, Essex Regiment, and its two 
 senior officers were Colonel Henry Hope and Major Bryan 
 Blundell. 
 
 Over such a scene the British flag had been waving twenty- 
 thr’ee years, and that relict of French defence, the wall, had 
 but fifteen more years of exhibition. A decade had passed 
 since Washington in his protest agaiust the misgovernm'ent 
 of King George, finding himself in desperate straits for muni- 
 tions of war, commissioned the spirited Brigadier Arnold to 
 
14 
 
 HISTRIONIC MONTREAL. 
 
 capture Quebec. The intrepid Arnold climbed Je hei: Lt. of 
 Abraham, as Wolfe had done ; but got no further. J 
 
 meantime Montreal had fallen before Montgomery who then 
 joined Arnold and reversed his experience by falling before 
 Quebec. We are familiar with the facts of the retirernent of 
 the American forces ; how the scourge of small-pox ^cima- 
 ted their ranks, and, receding step by step, abandoned Canada 
 by the end of the year— brave victims of merciless circum- 
 stances in heroic realities of loyal love. 
 
 THE DRAMA IN MONTREAL. 
 
 The actors are come hither j my lord.” — Hamlet, Act 2, Sc. 2. 
 
 During the last days of February, 1786, a company of 
 comedians arrived in Montreal from Albany, where 
 been located since the eairly part of December, 17 5 - lewar 
 of the Revolution was not at that time so far forgotten that 
 there still existed a bitter feeling against the mother country, 
 and the fact that these players were English, and on their way 
 to Canada to meet tetter friends, was sure to arouse puolic 
 feeling against them. They had much difficulty in being per- 
 mitted to perform at Albany, but they finally succeeded and 
 gave their first performance 9th December, 1785. They pro- 
 duced several pieces, “until the season for passing the ice 
 arrived, when they departed for Montreal, where they per- 
 formed in the quarters used for such purposes by the regi- 
 mental amateurs. 
 
 The members of the company were. Messrs. Moore, Bentley, 
 Worsdale, Duncan, Bellair, Pinkstan, Allen, Mrs. Moore, 
 Bentley, Allen and Pinkstan. 
 
 The first performance given was on Monday, 27th Febru- 
 ary, the p’ay being Oliver Goldsmith’s “She Stoops to Con- 
 quer,’’ written in 1773. The cast was as follows: Young Mar- 
 low, Mr. Moovf,Hardcastle, Mr. Bentley ; Hastings, Mr. Wors- 
 dale ; Tony Lumpkin, Mr. Allen ; Servants, Messrs. Bellair and 
 Duncan ; Mrs. Hardcastle, Mrs. Bentley ; Miss Neville, Mrs. 
 Pinkstan ; Maria, Mrs. Moore ; Miss Hardcastle, Mrs. Allen. 
 This to conclude with Mr. Colman’s droll comedy, “The 
 Deuce is in Him.’’ Dramatis personae : Colonel Tamper, Mr. 
 Allen ; Doctor Prattle, Mr. Moore ; Major Bedford, Mr. Bent- 
 Icy ; Servant, Mr. Bellair ; Mile. Florival, Mrs. Pinkstan ; 
 Emily, Mrs. Bentley ; Belle, Mrs. Allen. 
 
 
HISTRIONIC MONTREAL. 
 
 ^5 
 
 The performance at six o’clock precisely. Tickets to be 
 had at the inn ; no money to be taken at the entrance. Ad- 
 mission to first places, eight shillings ; second, four shillings; 
 rear, two shidings. The room will b^ comfortably warmed.^’ 
 
 The company’s repertoire consisted of O’Brien’s farce, 
 
 Cross Purposes,” Taming of the Shrew,” ‘‘ George Barn- 
 well,” the merits of which the manager s’et forth at length in 
 Its salutary influence in warning young men of the dangers 
 that beset the path of him who follows after the strange wo- 
 man, — ‘‘ The Countess of Salisbury,” a tragedy by Hall Hart- 
 son ; Colman’s farce, “ The Deuce is in Him ” ; William 
 Lyons’ ‘‘The Wrangling Lovers”; Mrs. Centlivue’s “ Busy 
 Body”; Otway’s “Venice Preserved”; “She Stoops to Con- 
 quer”; Macklin’s “Love a la Mode”; John O’Keefe’s “The 
 Fair American,” “The Citizen,” “Lethe,” and “The West 
 Indian.’^ It will be noted that, weak as the company ap- 
 peared, they did not allow the legitimate to stagger them. 
 
 Of the personnel of the company little is known, except that 
 it is supposed that Mr. and Mrs. Allen were the parents of 
 the eccentric Andrew Jackson Allen, afterwards dresser to 
 Edwin Forrest. 
 
 Bentley was a member of the orchestral corps at Phila- 
 delphia. 
 
 No records exist to show how long they remained ; but 
 presumably for a shout season, as Montreal’s English popula- 
 tion was very low, in the units of thousands, and possessed 
 no theatre, besides which the Revolution’s wave of adversity 
 must have been still keenly felt. 
 
 After a short sojourn at Quebec they re-appeared in Mont- 
 real en route to New York, where they disbanded. 
 
 Several of this company’s members had been associated 
 with Lewis Hallam, jun., at the first feeble attempts at histri- 
 onism made in New York after the Revolution. Coming back 
 from the West Indies, the players had spent a few unpro- 
 fitable months in Philadelphia, and then a feeble detachment 
 came on to New York with Hallam and opened the John 
 Street Theatre, 24th August, 1785. So pronounced was the 
 opposition to plays at that time, that the entertainments were 
 advertised as a series of lectuires to begin with a prologue 
 and end with a pantomime, the music selected and composed 
 by Mr. Bentley. On 20th September they came out boldly 
 Avith a play and produced “ The Citizen,” the frrst drama 
 
i6 
 
 HISTRIONIC MONTREAL. 
 
 played in New York after the Revolution. The season closed 
 1 st November, and Hallam, being encouraged to bring on his 
 main body of artists, did so, and opened with them 2ist Nov- 
 ember. whereupon his advance guard, slightly recruited, went 
 up the river to Albany and Montreal. 
 
 Such is the story of the first regular company that came 
 
 to Montreal. 
 
 “ To thine and Albany s issue 
 Be this perpetualT 
 
 It will be interesting to note that theatricals and the fii^t 
 Presbyterian organization in Montreal were precisely contem- 
 poraneous, the first dencminational service originating I 2 t i 
 March, 1786, just a couple of weeks following the first drama- 
 lie representation here. 
 
 Another coincidence between church and stage was the 
 bap'.ism, 6th June, 1779, cf Wm. B. Wood, the first native- 
 born Montrealer to achieve pronounced success m American 
 theatricals. This actor records that the ceremony was per- 
 formed by Rev. D, C. Delisle, the first Protestant minister re- 
 sident in Montreal. Mr. Wood’s parents had come to Mont- 
 real prior to the breaking out of the Revolution, returning 
 to the United States just in time to see the embarkation of the 
 last of the English troops on the cessation of hostilities. The 
 actor has left a record of the Philadelphia stage, but has un- 
 fortunately made no other reference to the city cf his birth. 
 After the departure of the original troupe there was a long 
 dearth in matters theatrical, excepting the amusement of am- 
 ateurs, principally military, nor do we know of any plays be- 
 ing regularly presented until we come to 
 
 THE FALL OF 1 798, 
 
 when Rickett’s Equestrian and Comedy Company of Phila- 
 delphia arrived, and gave both equestrian and dramatic per- 
 formances in this city. Their season was spread through the 
 winter months, and it having been such a long period since 
 the citizens had been visited by an attraction of this kind, 
 they gave the performances their very best patronage, and 
 the management made money, for Ricketts returned to Phila- 
 delphia with his troupe thoroughly satisfied in having ven- 
 tured a journey then considered to be most extraordinary. 
 
 
HISTRIONIC MONTREAL. 
 
 J7 
 
 Th-e spot chosen was the south western corner of St. Paul 
 and Bonsecours streets. 
 
 The members of the troupe were : Equestrians, Mr. Rick- 
 etts, F. B. Ricketts, Master Hutchins, Signor Spinacuta and 
 Air. Franklin. Histrions and Fantomimists, Thompson, Cham- 
 bers, Alatthew Sully (died 1812), John Durang, Jones, Tomp- 
 kins, Coffie, Aliss Robinson, Mrs. Chambers, Mrs. Durang 
 and Mrs. Tompkins. 
 
 JOHN DURANG was the father of Charles Durang, the historian 
 of the Philadelphia stage. He was born in Lancaster, Pa., 6th Janu- 
 ary, 1768, and died 28th March, 1822. 
 
 FIRST THEATRE 1804-5. 
 
 Ricketts’ Circus revisited Montreal on several occasions, 
 and there is no doubt that the officers of the various military 
 corps stationed at Montreal organized clubs for the purpose 
 of giving amateur theatrical performances long before Mr. 
 Ormsby arrived here from New York and Albany, and, with 
 the assistance of local sympathizers, undertook the construc- 
 tion of stage appurtenances in the upper part of a large and 
 long stone warehouse standing next door to the Post Office, 
 then situated on St. Sulpice Street, near St. Paul Street, and 
 somewhat isolated. This was Montreal’s 
 
 First Theatre (1804), 
 
 St* Sulpice street, near St. Paul. 
 
 2 
 
i8 
 
 HISTRIONIC MONTREAL 
 
 Mrs. Centlivre’s “Busy Body” (based on Dry^ens Sir 
 Martin Marall,” 1667), first produced m 1708 and Bickei- 
 •staff’s “ Sultan,” first produced in 1775, were the two pieces 
 presented on the opening night, 19th November, 1804. i re 
 following advertisement appeared in the issue of the Gasette 
 on the morning of the performance : 
 
 THEATRE. 
 by permission 
 
 “Mt. Ormsby, from the Theatre Royal, Edinburgh, respect- 
 fully informs the ladies and gentlemen cf Montreal that he 
 intends (with their approbation) establishing a company of 
 comedians in Canada to perform in Montreal and Quebec al- 
 ternately. Tlie theatre in this city is fitted up in that large 
 and commodious house, next door to the Post Office, where 
 will be presented this evening (19th November, 1804) a 
 comedy in five acts called ‘ The Busy Body,’ to which will be 
 added the much-admired farce called ‘ The Sultan.’ N.B. — 
 Particulars in advertisements for the evening. Boxes, 5s. 
 Gallery, 2s 6d. Tickets to be had at Mr. Hamilton’s Tavern, 
 Montreal Hotel and at the theatre, where places for the boxes 
 may be taken.” 
 
 A number of old comedies were produced during a short 
 and unprofitable season. Mr. Ormsby returned to New 
 York. 
 
 MR. ORMSBY had been in America a few years when he ap- 
 peared in Montreal. He had been for a long time connected with the 
 Edinburgh stage, and after coming to America was, in 1800, the 
 manager of the Albany Theatre. We again find him there in 1808. 
 There is no existing record to show that he ever returned to Mont- 
 real. He never rose to any prominence in America, and soon re- 
 turned to his native country. 
 
 Lambert, in his book of travels, is the historian for the two 
 following years, and in writing of 
 
 CANADIAN THEATRICALS OF 1805 
 
 says : '‘An attempt was made to introduce a company from 
 Boston in conjunction with the Canadian performers. I went 
 one hot summer evening to see them perform in ' Katherine 
 
 
HISTRIONIC MONTREAL. Ip, 
 
 and Petruchio/ but the abilities of the Bostonians were nearly 
 eclipsed by the vulgarity and mistakes of the drunken Kath- 
 erine, who walked the stage with devious steps and con- 
 vulsed the audience with laughter, which was all the enter- 
 tainment we experienced in witnessing the mangled drama 
 of our immortal bard/’ 
 
 The Bostonians did well in Canada during that season, 
 their clothing and ‘‘ sleek ” appearence being noted by Lam- 
 bert. 
 
 In the absence of clearly authentic records disclosing the 
 personnel of this corps dramatique from Boston, it may not be 
 misleading to choose certain names from the following list, 
 which comprised that portion of the roster attached that year 
 to the Boston house as being the most likely to have under- 
 taken so arduous a venture as to come to Montreal. The 
 managers of the Boston company were Charles S. Pownell and 
 Mr. Dickson. The others were Mrs. Jones, Mrs. Harper, 
 Mrs. Pownell, Mrs. Dickson, Miss Bates and Mrs. Young; 
 Messrs. Harper, Usher, Taylor, Barrett, Bignall, Kenny, Wil- 
 mot, S. Pownell, Wilson, Chalmers, Fox and Sauberes. 
 
 Several subsequently became familiar figures on the Mont- 
 real boards. 
 
 Mr. and Mrs. C. S. Pownell were also for many years con- 
 nected with Halifax theatricals. He died there in i8io. 
 
 LAMBERT SAYS OF l8o6 .* 
 
 ‘^There is a theatre in Montreal, but the performers are as 
 bad as the worst of our strolling actors ; yet they have the 
 conscience to charge the same price, nearly, as the London 
 theatres. Sometimes the officers of the Army lend their as- 
 sistance to the company, butt I have s*een none except Col. 
 Pye and Capt. Clark, of the 49th, who did not murder the best 
 scenes of our dead poets- It may be seen how despicably 
 low the Canadian theatricals must b'e when boys are obliged 
 to perform the female characters ; the only actress being an 
 old superannuated demi-«pi, whose drunken Belvideras, Des- 
 demonas and Isabellas have often enraptured a Canadian 
 audience.’' 
 
20 
 
 histrionic MONTREAL. 
 
 MONTREAL IN l8o6. 
 
 ‘'PVill you walk with me about the town f 
 Peruse the traders, gaze upon the buildings ? 
 
 Comedy of Errors, Act i, Sc. 2. 
 
 Our clean-shaven friend with his silk hat and garment of 
 formal contemporaneous cut, after aririving from the United 
 States by stage, would notice in his walks about the town 
 that the city in 1806 possessed a Presbyterian churcli and an 
 unfinislred Episcopalian church, two Catholic chapels, three 
 nunneries, Hamilton’s city hotel and a primitive theatre. 
 If he took time to count the nurpber of houses in the city he 
 would have found 1,578, and if his theatre had been large 
 enough to accommodate every resident, its walls would have 
 contained 5 014 females and 4,554 males, or a total of 9,568. 
 The only mode of conveyance he had between Montreal and 
 Quebec was by means of stages and batteaux, until 3rd Nov- 
 ember, 1809, when John Molson, of Montreal, sent the first 
 steamboat, “The Accommodation,” to Quebec with ten pas- 
 sengers. 
 
 Several members of the 1806 company undertook perform- 
 ances during 1807, but met with little or no success, and it 
 was not until the following year that our playgoer became 
 more fortunate in the class of attractions' presented. 
 
 Seth Prigmore was the next manager. He arrived late in 
 the Fall of 1807, and at once began the reconstruction of the 
 existing theatre, which be re-opened as 
 
 THE MONTREAL THEATRE 
 
 on 7th January, 1808. 
 
 In reference to the Prigmore season the Gazette of 4th 
 January, 1808, says: “Mr. Prigmore presents his respectful 
 compliments to the ladies and gentlemen of this city and its 
 vicinity, and begs leave to inform them that on account of the 
 holydays he has been able to keep his carpenters to that 
 work, as was his first calculation ; in consequence of this and 
 other unavoidable circumstances, he is obliged tO' postpone 
 the opening of the new theatre until Thursday next, the' 7th. 
 He therefore humbly hopes this will meet the approbation of 
 his patrons and the public in general, conscious he has and 
 evermore will exert the utmost of his abilities to merit their 
 
 
HISTRIONIC MONTREAL. 
 
 21 
 
 ? ^. Colman s Heir-at-La:w on the opening night. The 
 interior had undergone considerable repairs and embellish- 
 ments; stoves had been placed in different parts of the house 
 the gallery frequenters were kept in strictest subjection, and 
 no intoxicants sold. ^ On i8th February ‘The Tempest" was 
 produced, the principals in the cast being : Prospero Mr 
 Frigmore, and Miranda, “by a young lady of the city, being 
 her first appearance on any stage. Between the play and the 
 entertainment, a favorite song, to which will be added the 
 musical entertainment called The Purse, or the Benevolent 
 far, Mr. Prigmore as Will Steady. Doors to be opened at 
 5 o clock and performance to begin at 6. Boxes, $i ; pit, 50c; 
 gallery, 25c. This performance was repeated by requests 
 -The young lady referred to is believed to have been the 
 daughter of Hamilton, the inn-keeper. 
 
 Several other plays were produced under the Prigmore 
 management, and on 2^th May the following announcement 
 appeared in the Gazette: ^ 
 
 Theatre. The public are respectfully informed that the 
 theatre will be opened for a few nights longer. On Friday 
 evening, 27th May, will be presented a celebrated tragedy writ- 
 ten by W. Shakespeare, called : 
 
 ‘‘ OTHELLO.’^ 
 
 MOOR OF VENICE. 
 
 Characters . Othello, Luke Usher j Ia^o> Seth Prigmore j 
 Cassio, Mr. Taylor ; Roderigo, Mir. Kennedy ; Montano, Hop- 
 kins Robertson ; Gratiano, Benjamin Carr ; Desdentona, Mrs. 
 Robinson ; Emelia, Miss Hamilton. 
 
 To which will be added the favorite farce called the 
 
 " REGISTRY OFFICE.’’ 
 
 Characters : Gulwell, Mr. Taylor ; Donald McIntosh, Mr, 
 Robertson ; Pat 0 ^ Carroll, Mr. Prigmore ; Frenchman, Mr. 
 Canr. 
 
 "Doors open at 6.30 and performance at precisely 7.30. 
 Tickets to be had from Mr. Brown’s book store until four, 
 afterwards at the theatre. Places for the boxes mav be taken 
 as usual : Boxes, 5s.; pit, 2s. 6:1. ; gallery, is. 3d. No liquor 
 
22 
 
 HISTRIONIC MONTREAL. 
 
 i 
 
 to be sold in the theatre.’’ 
 formance of ‘‘ Othello ” in 
 
 This was the first professional per- 
 Montreal, and marked the first ap- 
 
 pearance here of Usher and Robertson. 
 
 The following editorial also appeared : “ We understand 
 that on Friday evening next will be presented Shakespeare s 
 celebrated tragedy of Othello.” The principal character 
 will be played by Mr. Usher, from the Boston Theatre, who, 
 for a long time in that company, has played the principal 
 characters with distinguished succes’s. We doubt not, now 
 we find order and regularity observed in the theatre, that suc- 
 cess will attend it ; and from the attractions both of pieces 
 and performers we dO' not hesitate to say there will be a 
 numerous audience.” 
 
 In reference to a benefit performance to Mr. Usher, the 
 following personal appeared in the Gazette of 23rd June, 1808. 
 “ Mr. Usher respectfully informs the public, that understand- 
 ing a large party of ladies and gentlemen will b*e assembled 
 on St. Helen’s Island on Thursday afternoon, by a special in- 
 vitation he has been induced by the request of a few friends 
 to postpone the entertainments advertised for Thursday^ until 
 Friday evening, 24th June, when will be presented a celebra- 
 ted play in five acts (translated from the German of Schiller) 
 called ‘Abaellino, the Great Bandit.’ This play is universal- 
 ly allowed to be the chef oeuvre of Frederick Schiller, 
 whose fame as a dramatic writer has so resounded through 
 the continent of Europe that he was particularly called Hhe 
 Shakespeare of Germany.’ It has been performed in London 
 and in the different theatres of the United States with dis- 
 tinguished approbation. Ahaellino, Mr. Usher ; Rosamund a. 
 Miss Hamilton, lb which will be added the favorite farce of 
 ‘Raising the Wind' : Diddler, Mr. Prigmore; Sam, Mr. Ush- 
 er, in which he will introduce the song of the 'Farm Yard.’ 
 The windows of the theatre will be kept open, and every at^ 
 tention paid to keep the place cool and comfortable.” 
 
 Prigmore found after one year’s management that his 
 efforts were not sufficiently profitable to warrant his continu- 
 ance of the management. When he came here he had al- 
 ready advanced in years, and as an artisthad lost considerable 
 of his old-time brilliancy. 
 
 SETH PRIGMORE was an Englishman who came to America 
 in the Fall of 1702. His first appearance on the stage in this country 
 was at Philadelphia, where he remained four months, after which he 
 
 
HISTRIONIC MONTREAL. 
 
 23 
 
 went to New York, opening at the John St. Theatre, 28th January, 
 i/ 93 > as Lord Scratch in the comedy of “The Dramatist.’^ He subse- 
 quently appeared in all the leading cities of the East, chiefly in the 
 lighter comedy roles, but never succeeded in establishing himself in 
 the front rank of his profession. 
 
 Mr. Prigmore played generally the comic old man; but his gri- 
 maces and low buffoonery made him far from acceptable to the judi- 
 cious. Yet he was a favorite with the gods of Olympus. He was 
 ever annoying in private life and offensive to the well-bred actor and 
 gentleman. In a tour in Power Canada in 1809, Durang says: ‘‘We 
 met Mr. P. in a huge sleigh near Trois-Rivieres- He was wrapped up 
 in a buffalo robe, a bonnet rouge was on his head, such as the Canadian 
 peasantry wear ; a wampun belt was buckled around his waist, and 
 Indian moccasins were on his feet. With his red face and burly form, 
 he appeared like one of the ancient French landed proprietors, or 
 like one of the half-breeded chiefs. He had some three or four per- 
 sons with him, whom he called his company, and was then en route to 
 play at Quebec.” 
 
 Bernard thus describes Prigmore: A man of some vanity and 
 little merit, whose opinion of himself was in inverse proportion to 
 that of the public.'’ One of the peculiarities of tliis person was to sup- 
 pose (though he was neither handsome or insinuating) that every 
 woman whom he saw, through a mysterious fatality, fell in love with 
 him.* There was a very benevolent widow in respectable circum- 
 stances, who frequently went to the theatre and was kind enough to 
 enquire into the pecuniary condition of the players. Among others 
 she asked about Prigmore and was told that he had a very small sal- 
 ary and made a very poor appearance. Hearing of Ihis she remem- 
 bered that she had a pair of her late husband's indispensables, which 
 she resolved to offer him- A servant was dispatched to the object of 
 her charity, who met one of the actors and partly disclosed his busi- 
 ness. The latter went in search of Prigmore and exclaimed, “ Prig- 
 more, my dear boy, here's your fortune made at last, a rich widow has 
 fallen in love with you and wants to see you." Prigmore was led to 
 the servant in a state of bewildered rapture, and was told to call on 
 the lady. His friend circulated the joke in the green room, and sev- 
 eral waited on Prigmore to extend congratulations. Prigmore, as 
 may be supposed, passed a sleepless night and spent an extra hour at 
 his toilette next morning. He was ushered into the widow's parlor 
 and began to felicitate himself at the aspect of his future home. The 
 lady at length appeared- She was upon the verge of forty, a very 
 fashionable age at that time, which, resting upon the shoulders of a 
 very comely looking woman, seemed to be in character "with her 
 dwelling. She acquainted him that she had heard his situation was 
 not as agreeable as he could wish, and that she was desirous of doing 
 him all the service that lay in her powder. Prigmore, considering this 
 as an express declaration of her affections, w’as about to throw himself 
 
I 
 
 i 
 
 ] 
 
 24 
 
 HISTRIONIC MONTREAL. 
 
 at her feet, when she suddenly summoned her servant and said, 
 
 “ Rachel, bring the breeches They were brought before the as- 
 tounded Prigmore, and as the lady folded them she remarked that they 
 were as good as new and begged his acceptance of them. 
 
 “ And was it for this you sent for me, madam ?’' 
 
 Ves, sir.^^ 
 
 He put on his hat and walked to the door. 
 
 “Won’t you take the breeches, sir ?” 
 
 “W’^ear them yourself !” 
 
 The reader must pardon this little digression- 
 
 NOBLE ” LUKE USHER had a most retentive memory, being 
 able to memorize from twelve to fourteen lengths (42 lines to a 
 length) in a day and repeat the words verbatim from the text. Pie 
 first appeared on the American stage at Washington, D.C., in 1800, 
 and during the same year married Miss Snowden, nee L’ Estrange, 
 in Philadelphia, where he played a short engagement. Tlie couple 
 then went to Boston, becoming members of the company there, sub- 
 sequently coming to Montreal. After closing his Montreal engage- 
 ment, he went to Kentucky, where at Lexington, in the month of Oc- 
 tober, 1808, he opened the first theatre in the “Western country,”the 
 opening piece being “The Sailor’s Daughter,” and the characters per- 
 formed by the Thespian Society. Returning to Montreal in 1809-10, 
 he became associated with Mills in the management of the theatre. In 
 1812 he opened the first theatre in Frankfort, Ky. In 1814 he made 
 his New York appearance for the first time at the Anthony Street 
 Theatre as Gloster in Richard IIL 
 
 Usher organized a company to play in Kentucky and died on his 
 way thither the same year. He was buried at Lexington. 
 
 MRS. LUKE USHER, nee Harriet L’ Estrange, was the daughter 
 of the actress, Mrs. L’Estrange, who died at Annapolis, 26th August, 
 1799. Mr. L’Estrange died at Baltimore in 1804. Miss L’Estrange 
 was on the stage in Philadelphia in 1796. She was of a tall figure, lady- 
 like in appearance and manners. Her complexion was dark and her 
 face handsome. She was thin in person and seemed physically deli- 
 cate. Mr. Snowden, a young Philadelphian, fell in love with her in 
 her early life as an actress, and they were married. After his death 
 she married Usher in 1800. She held a lease of the Quebec theatre 
 for a time (1809-1810), playing occasionally with the officers. One of 
 these, Durang says, a Lieut. Wood, was a capital performer, and a 
 good scenic artist. Mrs- Usher died 28th April, 1814, at Louisville,Ky. 
 
 HOPKINS ROBERTSON was greatly liked for the excellence 
 of his work in serious roles and for his delineation of Scottish char- 
 acters. He had been for several years at the Park Theatre, where he 
 had been greatly esteemed. By his presence of mind, at the burning 
 of tlie Richmond Theatre in 1811, he succeeded in saving many lives. 
 He died in his forty-eighth year in New York, loth Nov., 1819. 
 
HISTRIONIC MONTREAL. 
 
 25 
 
 MR. TAYIiOR was an Englishman who gained many laurels in 
 America for the excellence of his acting in the leading roles. He at- 
 tained some notoriety on the occasion of his first appearance in Bos- 
 ton in 1794 as Octavian in “ The Mountaineers,’^ by wearing a natural 
 beard grown for the occasion. 
 
 BENJAMIN CARR came from England to reside in Philadel- 
 phia, where he first engaged as a music dealer and publisher. Being a 
 thorough musician and having a pleasing voice, he went on the stage, 
 first in New York in 1794, in “Love in a Village-” After several 
 years he returned to teaching music in Philadelphia, where he died 
 24th May, 1836. 
 
 MR. ALLPORT. IN 1809, 
 
 was Prigmore’s successor as manager of the theatre. He 
 was a scen^e painter and a good oil portrait artist, but a very 
 poor actor. He engaged Mr. Mills in June to play leads. 
 The others in the company were Charles Durang, John John- 
 son, Horton, John D. Turnbull, Anderson (an Englishman 
 who acted as prompter), Mrs. Mills. Mrs. Allport, who after- 
 wards became Mrs. Horton, and Mr. and Mrs. Young. Mrs. 
 Young subsequently became the great Mrs. Hughes. 
 
 ^ The theatre during the season was only opened as occa- 
 sion served. During the month of July, John Bernard, a 
 well-known English comedian, visited Montreal, and de- 
 scribes the situation of its theatricals. 
 
 “ I found a company playing at Montreal as deficient in talent as in 
 numbers. Johnson, their acting manager, whom 1 had myself brought 
 on the stage and laid under some obligations; Mills and Usher, the 
 only actors of merit, were both from my own company and had left 
 Boston, the former a month and the latter a year previous, and with 
 the same object, that of anticipating me in securing the Canadian cir- 
 cuit, they having learned from my own lips that I intended to apply 
 for it on the expiration of the lease of the Boston 'Theatre. Usher had 
 so far succeeded as to obtain the Quebec house in the name of his wife 
 for five years, but Mills had done nothing here, as the public were 
 crying out for a new theatre and he had neither the money to erect 
 one or friends to do so for him. Having m.any letters to the first 
 families in the town, I at once delivered them, and. returning home 
 highly gratified with the reception I had met with, I addressed a note 
 to the theatre, expressing my wish to perform for a few nights, but 
 received no answer. In consequence of this neglect, at which, how- 
 ever, I was not surprised after the attempt that had been made to 
 forestall me, I gave out my bills for an evening’s entertainment, and 
 the news of my arrival soon spreading, was waited on a few hours 
 
26 
 
 HISTRIONIC MONTREAL. 
 
 engaged. Alow fellow (Allport), 
 
 oi tnis^ 1 loiu lujiii X — - .. 
 
 to perform six nights for a clear benefit, which was agreed to As 
 from their slight pretensions to support, the company had hitherto 
 met with but little success, they resolved to take benefits during my 
 six nights as their only remaining chance of indemnification, ihe 
 Jiouses proved all good and my own an overflow, an assurance to me 
 jwhat IVIontreal could do for a manager when any proper inducement 
 .was offered to it. Mr. Mills had declined my services on the night 
 ^of his benefit, but being much in debt, had not found its profits to re 
 lieve him, and therefore made interest with some friends in the town 
 to get a second. They told him it would be of little use unless I stayed 
 to play for him, which was not more a compliment to my talents tham 
 a proof of the wretched condition of the company. Much against his 
 inclinations, therefore, he was obliged to come to me with a stooping 
 neck to ask the favor. Tliough I felt that I might have justly retal- 
 iated, I chose rather to appeal to the man’s better feelings, so ^^reed 
 to play for him, with the result that he cleared more money than had 
 been in the house altogether on the previous evening.” 
 
 John Bernard terminated his Montreal engagement 20th 
 July, and on his way to Quebec stopped off at Tliree Rivers, 
 where he was the guest of General Sheaf, who, with his wife, 
 are mentioned by the comedian as clever amateur musicians. 
 
 At Quebec he was under the patronage of Col. Pye, who was 
 then at the head of the Amateur Association in the Rcck|jl? 
 City. Judge Sewell also rhanifested interest in Mir. Bernard, 
 whom he had known some twenty-eight years previously at 
 Bristol. Six performances were given at Quebec, his charac- 
 ters being Vapid, Gregory, Gubbins, Sir Robert Bramble. Alla- 
 pod and Dashwood, with Lord Ogleby and ‘Mhe Liar” for his 
 benefit, which netted £95, not including ten guineas which 
 Governor Craig sent him for his ticket. 
 
 JOHN BERNARD was the first actor of prominence to visit 
 Montreal. He was gifted with superior talent both as an actor and as 
 an author. He was born in Portsmouth, England, in 1756. His father 
 was a naval officer, and a relative of Sir Francis Bernard, a British 
 governor of Massachusetts, who was so unpopular in that colony 
 that, when he was recalled in 1769, Boston celebrated his departure 
 by salvos of artillery and general demonstrations of public joy. 
 
 In 1774 John Bernard began a professional career destined to 
 last with honor, if not with profit, for half a century. 
 
 
JOHN BERNARD 
 
HISTRIONIC MONTREAL. 
 
 27 
 
 He wzs a member of a strolling troupe for a short time, but soon 
 gained admittance into the regular company which served the Nor- 
 wich circuit. Here he met Mrs. Cooper, an actress of great versatility, 
 whom he married in 1774. In the winter of 1777-78 Mr. and Mrs. 
 Bernard joined the company at the Bath Theatre, then the most irn- 
 poitant in England outside of the metropolis. There they made their 
 first appearance as Gratiano and Portia to the Shylock of Henderson. 
 There they played Sir Benjamin Backbite and Mrs. Candor, in the first 
 performance of “The School for Scandal," out of London. From 1780 
 until 1784 Bernard acted in Ireland, where he was associated with 
 such stage giants as Miss O’Neill and John Kemble. On the 19th of 
 September, 1784, Bernard made his first appearance in London and at 
 the Covent Garden Theatre, playing Archer in the “ Beau’s Strata- 
 gem,” Mrs. Bernard taking the part of Mrs. Sullen. In London Ber- 
 nard made many friends ; his associates were Sheridan, Selwyn, Fox 
 and the leading wits and men about town; and in 1789 he was elected 
 secretary of the famous Beefsteak Club, an honor of which he was 
 always very proud. 
 
 His first wife having died, he married again, in 1795, a Miss 
 Fisher, who had a short and unimportant career on the stage, dying 
 ten years later in America, to which country he carried her in the 
 summer of 1797. His engagement was with Wignall, the Philadel- 
 phia manager, at a salary of £i,oco a twelve-month, at that time 
 an unusually large amount; and he made his first American appear- 
 ance on August 25, 1797, at the Greenwich Street Theatre, New York, 
 as Goldfinch in “ The Road to Ruin.” During the six years Bernard 
 spent in Philadelphia he played, besides the comedy parts for which 
 he was engaged, Shylock, Falconbridge, Hotspur and others in the ab- 
 sence of a leading tragedian in the company. Pie went to Boston in 
 1803, where, in 1806, he became joint manager with Powers, of the 
 Federal Street Theatre, and sailed for England in search of new at- 
 tractions for his company. With a third wife, a Miss Wright, he re- 
 turned to Boston the same year, and remained there at the head of 
 affairs in the Federal street house until 1810. After professional tours 
 in Canada, he acted in the Thespian Hall at Albany, N.Y., and opened 
 January 18, 1813, the first regular theatre — that on Greene street — 
 which Albany possessed. In 1816 he went upon a tour through the 
 United States, being one of the earliest moving “stars” in the Amer- 
 ican theatrical firmament. In the autumn of 1817 he returned to the 
 stock company of the theatre in Boston, and took his farewell of the 
 American stage in the “ Soldier’s Daughter,” April 19, 1819, deliver- 
 ing a farewell address, and going home to England as heartily liked 
 and as sincerely regretted as his colonial relative of half a century be- 
 fore was hooted and despised- He died in London, November 29, 
 1828, in very poor circumstances. 
 
 MR. and MRS. WM. S. TURNER were born in England, and 
 came to America as the early pioneers of the drama. In 1815 he 
 opened the first theatre in Cincinnati. He was originally a printer. 
 
28 
 
 HISTRIONIC MONTREAL. 
 
 but his individual merit was said to be in cooking canvas-back 
 ducks. He returned to printing in 1830, in partnership with his son 
 Frederick, in Philadelphia^ where he died. 
 
 Sophia Turner was ladylike in her deportment on the stage, and 
 showed great professional culture. She died in 1853. 
 
 JOHN MILLS, IN 181O, 
 
 managed the affairs of the theatre, being at the head of a 
 small company which also- included Messrs. Douglass, John- 
 son, Bernard, Harper, Kennedy, and Mrs. Mills, Turner, 
 Harper and Cipriani. On 9th April a benefit was tendered 
 Mrs. Harper, when the comedy of ‘‘Ways and Means’" was 
 produced together with the melodrama of “ Tekell, or the 
 Siege of Mongatz,” written by Theodore E. Hook. On 
 Shakespeare’s birthday, 23rd April, Kennedy took a benefit 
 in Schiller’s “ Robhers ” and “ The Indian Princess.” This 
 was followed by another benefit performance on the 30th for 
 Joseph Harper in “ Clemence and Waldemar ” and “ Tekell.” 
 
 On 16th July Kennedy took his benefit,:? Mrs. Inchbald’s 
 “ Lovers’ Vows ” being the bilb wdth the following cast : 
 Baron Wildcnhcim, David Douglass; Count C asset, John Mills; 
 Fred Friburg, Mr. Kennedy; Anhalt, John Johnson; Verdun, 
 John Bernard ; Agatha Friburg, Mrs. Eliza Mills; Amelia 
 Wildenhcim, Mrs. Sophia Turner; Cottager's Wife, Mrs. Cipri- 
 ani. 
 
 Concluding with a farce called “ The Jew and Doctor.” 
 
 On 19th Mrs. Turner’s benefit was in “ Laugh When You 
 Can,” wdth the farce, “The Spoiled Child.” 
 
 It is most interesting to note the appearance of David 
 Douglass during this season, he having been the successor 
 of Lewis Hallam, the organizer of America’s earlier theatri- 
 cals. 
 
 DAVID DOUGLASS, born in London in 1730, first appeared pro- 
 minently in theatricals in Philadelphia about 1756. He married the 
 widow of Lewis Hallam in 1758, and was for many years an active 
 manager in Philadelphia and New York. He is believed to have taken 
 the first regular company to Albany in 1769, but I have not been able 
 to find any record of his having come to Canada prior to 1810. Mrs- 
 Douglass died in 1773. She was one of the first actresses who crossed 
 the Atlantic, and was possessed of great dramatic talent. A monu- 
 ment should have long since been erected to her memory by her pro- 
 fession. Douglass died in Jamaica shortly after his retirement from 
 the stage in 1812. 
 
 
HISTRIONIC MONTREAL. 
 
 29 
 
 JOSEPH HARPER appeared in New York with his first wife as 
 members of the first company that acted after the Revolution, 25th 
 November, 1785. He enjoyed the distinction of being the original 
 Falstafi m America (John Street Theatre, 5th Oct., 1788), in which 
 part he was favorably compared to John Henderson and James gum. 
 His labors were devoted entirely to the Eastern theatres, and at var- 
 ious times he managed the affairs of the Boston and Rhode Island 
 houses. He was undoubtedly a talented actor, playing in a wide 
 range of parts, and was highly esteemed as not more indefatigable in 
 the discharge of the duties of his profession than meritorious in per- 
 forming the obligations cf social and domestic life. He was born in 
 Jamaica, W.l. His first wife (Miss Smith) came from England. 
 She was an admirable actress, performing the routine of old ladies 
 very acceptably. She died in New York, 3rd October, lygi- 
 Joseph Harper ended his long career in New York in 1835. 
 
 John Mills and a party of actors from Montreal took 
 THE THEATRE OF QUEBEC 
 
 from Mr. Usher in the Fall of 1810, and did well with it. 
 Durang, who was a member of the company, records that 
 on the opening night Mills acted scenes from ‘‘ Macb-eth,” 
 although the company did not possess means beyond the 
 compass of a farce. In the dagger scene he us*ed two white- 
 handled dinner knives borrowed from Mrs. Armstrong, a 
 good-natuired. little, fat lady who kept the tavern under tli2 
 theatre. The kilt was borrowed from an officer and fellow- 
 lodger. Taken as a whole, the play, as presented on this 
 occasion, was a direful affair. It had not the redeeming 
 meirit of being ludicrous or funny, unless the amusement was 
 furnished by a very tall Scotchman with a huge aquiline nose 
 and a bald h-ead, the very personification of a bald eagle top- 
 ping a human skeleton. He was six feet four inches high, 
 and delivered th^ words of the gracious Duncan in a vile 
 Scotch jargon. This autre representative of majesty was a 
 professional by courtesy, and named Sobey. He was a man 
 cf extensive information. In the farce that was played on 
 the same evening. Mills acted Dr. Lenitive. The Governor- 
 General and his pretty young wife were there. All the mar- 
 ried officers and their wives were present, besides the fashion 
 of Quebec. A collection of refinement that had been used 
 to the most superb theatres of Europe were thus assembled 
 in a large upper storey of a building which was in a state of 
 dilapidaton. It was fixed up with tiers of boxes, but the 
 
30 
 
 HISTRIONIC MONTREAL. 
 
 auditors could shake hands across the area. The ladies in 
 their brilliants and beauty, and the splendid scarlet uniforms 
 of the officers, with silver and gold trimmings, made an array 
 of magnificence not often witnessed in larger and more pre- 
 tentious modern theatres. This brilliant audience, although 
 they seemed to enjoy the performance with becoming grace 
 and good humour, gradually withdrew after a Highland fling 
 had been danced, and missed a treat by not waiting. Several 
 not accompanied by ladies remained to enjoy the laugh. In 
 the course of the farce there is a duet between Dr. Lenitive 
 and Label, wherein runs between the lines little symphonies 
 to be executed by the orchestra. There was no music there, 
 but Mills resolved to sing the duet, although Label as pertin- 
 aciously refused, but was obliged to yield. During the 
 ’verses Mills and his companion f'al la lud the orchestra part, 
 which was too much for one of the officers, who rose in his 
 box and said, Come, that’s too ridiculous. We stood your 
 Macbeth — a wench as Lady Macbeth, and the rest ; but I’ll be 
 damned if we stand your singing the symphonies of your 
 songs.” Mills, who was witty himself, and often the cause of 
 wit in others, replied to the officer and audience in a very 
 good-humored manner, having the tact to do this very clever- 
 ly. He worked upon their risibles, and concluded by saying 
 to the officer, ''No doubt you have acted yourself in your 
 time for your amusement, sir, and have been put to your 
 shifts.” This set all in a roar of laughter, for this officer, it 
 seems, had been a principal actor in their amateur club, and 
 had perpetrated the very same expedients that he now 
 stopped Mills for. The performance, however, ended mer- 
 rily, and the band of the 8th Regiment played " Rule 
 Britannia.” 
 
 JOHN MII/IjS (by Charles Diirang). He was one of my old 
 friends and was a brother to Mrs. Woodham, whom he strongly re- 
 sembled. Both were handsome and talented. Mrs. Cunnningham, 
 of the Philadelphia Theatre, was his mother. The family had been 
 brought out from England by the elder Warren. Mills was early at 
 the Chestnut Street Theatre, Philadelphia, and afterwards doing lead- 
 ing business at Boston, possessing great versatility of talent, and if not 
 great, was at least respectable in all. His disposition, however, was 
 too 'convivial, although his liveliness and spirit of anecdote gave him 
 an entree everywhere. In 1809 he went to Canada, where we met him 
 in a theatrical corps at Montreal, under the management of Mr. All- 
 port. During the severity of the winter the theatre was closed, and 
 
 
HISTRIONIC MONTREAL. 
 
 31 
 
 Mills^ with his family^ moved into the theatre, making the green room 
 his parlor and the adjacent dressing-rooms his chambers. Early in 
 1809 (Mr- Durang means 1811) he was taken seriously ill with the 
 yellow jaundice, and, growing worse, died. On the night after he died 
 a severe snowstorm came on, and such was the extent of the storm 
 that on the following morning we could not open the door of the 
 theatre, and it was noon before we were relieved by the snow dealers. 
 We had nothing to eat or drink all this time. Tlie death of poor Mills 
 under these appalling circumstances was a melancholy reflection. 
 But few friends any of us had. Montreal was not large then. Stone 
 houses, tin roofs, iron doors and window shutters gave it the appear- 
 ance of huge prisons, and the narrow streets, blocked with snow, were 
 dreary avenues leading to the doors of the various cells. A few Can- 
 adian habitants roving through the streets with their grey capots, leg- 
 ings and tuques, were all the persons yon would meet with, excepting 
 an occasional group of soldiers and a guard. However, when it was 
 known that poor Mills was no more by the English merchants and 
 officers of the army, we were cheered by the general sympathies which 
 were elicited on the occasion. A Boston merchant, Mr. Holmes, who 
 had a branch at Montreal, came forward in the most handsome man- 
 ner and offered his services and purse and wrote a beautiful obituary 
 eulogy on Mills. On the day of the funeral Col. Proctor, command- 
 er of the 41st, signified his intention of attending. The body was 
 placed in a mahogany coffin, and deposited on sleigh runners, drawn 
 by one horse, followed by some half dozen actors and a dozen gentle- 
 men of the city to the place of burial in the Quebec suburbs. As we 
 passed the Champ de Mars, Col- Proctor and his officers joined the 
 cortege on foot. As we left the old French fortified walls, then in a 
 state of dilapidation, the cathedral of Notre Dame, with its snow -cov- 
 ered towers in the distance, the tops of the houses just seen above the 
 walls, Montreal looked a town buried in the snow by some tremen- 
 dous avalanche. The distant bugle and drum which were heard at the 
 barracks, with the military array following the hearse, added to the 
 impressiveness of the occasion. An Episcopal minister (Dr. Mount- 
 ain) performed the ceremonies at the grave. Poor Jack, once the 
 pride of the stage, the delight of the ladies and the admiration of 
 men, now lies without one mark to point to his last resting place. 
 Thou wert 
 
 A safe companion and an easy friend. 
 
 Unblamed through life, -lamented in thy end.’* 
 
 Mills was related to Mrs. Ternan, who subsequently appeared here, 
 but by marriage only, Mrs. Mills being her aunt. He published some 
 poetry in which he lauded the precocious talent of Fanny Jarman, 
 later Ternan. 
 
 Mr. Durang has given us a very interesting reminiscence, 
 and has left little for me to add. Mills came to America in 
 1806, making his first appearance in Baltimore as Bob Tyke, 
 
32 
 
 HISTRIONIC MONTREAL. 
 
 4th October of that year. He first appeared in Philadelphia 
 3rd Decemher in the same part. He was a good comedian, 
 and well known in Boston, Philadelphia and New York. 
 Mrs. Eliza Mills was a fair walking lady who possessed an 
 excellent voice. 
 
 JOHN JOHNSON, a man of most exemplary character, and an 
 actor of long provincial experience in England, where he was born 
 in 1759, made his American appearance in Boston in 1795 . Bis wife, 
 who came with him, first appeared that year in Baltimore. Johnson 
 visited England in 1798 (returning four years later), and again in 1806. 
 He was a favorite Sir Peter Teazle, and Mrs. Johnson equally admired 
 in the vis-a-vis role. Johnson died in New York, 25th Oct., 1819* 
 Mrs- Johnson, who was many years his junior, is regarded to have 
 been a very tall, beautiful and graceful actress. She died at White- 
 stone, L.I., i6th June. 1830. 
 
 succeeded the late Mr. Mills as lessee of the theatre. He was 
 given a benefit, 6th May, and the programme indicates the 
 members of the season’s company. Tire performance was 
 Morton’s comedy, '‘A Cure for Heartache,’' just written, and 
 this was its original production in Montreal. 
 
 Cast : Old Rapid, Mr. Robertson ; Young Rapid, Mr. John- 
 son ; Vortex, Mr. Young ; Sir Herbert Stanley, Mr. Coles ; 
 Charles Stanley, Mr. Horton ; Bronze, Mr. C. Durang ; Heart- 
 ly, Mr. Anderson ; Farmer Oatland, Mr. Allport ; Waiter, Mr. 
 Harley ; Frank Oatland, Mr. Thompson ; Miss Vortex, Mrs. 
 Young ; Ellen Vortex, Mrs. Allport ; Jessie Oatland, Mrs. 
 
 Mr. Young was given a benefit May 13th. 
 
 Tire threatening aspect of the reations between England 
 and tire United States at this time caused an extreme com- 
 mercial depression, which greatly affected the profits of the 
 
 MR. ANDERSON, who had appeared here as early as 1809, and 
 as late as 1818, died in Albany, 30th April, 1823. 
 
 seems to have interfered with Montreal’s regular theatricals, 
 representations being very few and scarcely noteworthy. But 
 Ceyatano’s Circus did good business during the early winter 
 
 John Johnson, in 1811, 
 
 Mills. 
 
 theatre. 
 
 THE WAR OF l 8 l 2 
 
HISTRIONIC MONTREAL. 
 
 33 
 
 months, closing at the end of April. On loth February ai 
 benefit performance was given for the poor of Montreal, the 
 total receipts being £93, less £14 expenses, leaving £79 8s gd. 
 Of this two-thirds was given to the Roman Catholic priest, 
 one-sixth to Rev. Dr. Mountain (Episcopal), and one-sixth 
 to Rev. Dr. Somerville (Presbyterian, St. Gabriel church). 
 
 This incident is worthy of special note, inasmuch as it re- 
 cords so early in the history cf the city the mark of good- 
 fellowship which should more closely exist between church 
 and player, bound by the ties of humanityy which is greater 
 than all the creeds, greater than all the books. The admir- 
 able spirit shown by the poor circus performers, all of whom' 
 lost their lives within a few months, invites for repetition the 
 incident of the courtesy of the Recollet Fathers, as recorded 
 by Rev. Dr. Campbell, when, in 1791, they placed their chapel 
 at the disposal of the Presbyterian congregation, refusing any 
 remuneration, although finally induced to accept a present of 
 Uyo hogsheads of Spanish wine and a box of candles as a 
 slight acknowledgment of their courtesy. 
 
 CEYATANO & CO. were Spanish managers who arrived in this 
 countr}^ in 1810, and exhibited extensively in specially erected board 
 pavilions. In 1812 the entire outfit, including the company, was lost 
 at sea, on their passage from New Orleans to Havana. This was 
 probably the first regular touring circus in America. 
 
 CHARLES DURANG was a clever writer, as well as actor, and has 
 left a valuable record of the^Phikdelphia--.stag.e. He not only ap- 
 peared in Montreal, but his father, John, was also seen here in 1798. 
 Charles was born in Philadelphia in 1795, and first appeared on the 
 stage 1803. He married an actress named Mary White. He died 
 in 1870. 
 
 THE YEAR 1813 * 
 
 was devoid of theatrical interest, the only entertainment of 
 importance having been given by amateurs, 25th March. It 
 consisted of Cumberland’s comedy, “ The Natural Son,” with 
 the farce of ‘‘Tlie Review.’’ The proceeds were for the bene- 
 fit of the “widows and orphans of our fellow subjects who 
 fell in the late battle in Upper Canada.” 
 
 3 
 
34 
 
 HISTRIONIC MONTREAL. 
 
 The few players who chanced to come to Montreal 
 the next five years found it almost impossible to attract t e 
 citizens owing to the wretched condition of the play-nouse, 
 which had not been originally erected for theatrical 
 and, as there was little disposition manifested to improve 
 this condition of affairs, Montreal was for five years prac- 
 tically without a theatre. A few itinerant players o i e p 
 minence gave occasional representations. 
 
 In time, however, the public began to cry out for a new 
 temple of Thespis. Accordingly, in 1817, the erection of a 
 new play-house was begun. It was situated at 2 College street, 
 in a block of stone buildings bounded by St. Henry street 
 and Longueuil lane. It was known as the Mansion House 
 block, and built by William Johnson Holt. The central por- 
 tion was called the Mansion House. The theatre, which was 
 itself a wooden structure, extended back of the main building 
 about sixty feet, and, small as it was^ was amply roomy in 
 those days for the English population of 8,000, having a seat- 
 ing capacity of yoo or 800. The entrance to the Mansion 
 HoiUiSe and theatre was through a large arched doorway. This 
 play-house was formally opened as 
 
 THE SECOND MONTREAL THEATRE 
 
 on i6th February, 1818, under the management of John D. 
 Turnbull. The season was a memorable one, introducing 
 to Montreal the tragedian, Frederick Brown, destined to be- 
 come a favorite actor-manager here. The company was a 
 •strong one, including Messrs. Baker, H. A. Williams, Ken- 
 nedy, Doige, Turnbull, Anderson, Huntley, McCleary, Thorn- 
 ton, Richards, Wells and Mesdames W'illiams, Kennedy, 
 Shottwell, Dorion and Misses Denny and Grant. Admit- 
 tance to the boxes was five shillings, and pit two and six. 
 The doors opened at six and the curtain rose at seven. The 
 opening bill was Lillos’ ^‘George Barnwell.’' It was on this 
 occasion that Mrs. Dorion first appeared here in the role of 
 Maria, A series of standard plays was produced, the second 
 being “Venice Preserved," in which Mr. Baker was a debu^ 
 tont. This tragedy was cast as follows : Jaffier, Mr. Baker ; 
 Pierre, Mr. Richards ; Belvidera, Mrs. H. A. Williams ; Duke 
 of Venice, John D. Turnbull; Priidi, Mr. Kennedy; Renaidt, 
 Mr. Doige; Spinosa, Mr. Anderson. 
 
HISTRIONIC MONTREAL. 
 
 35 
 
 Mfo. Williams, who was as good in tragedy as in comedy, 
 subsequently played Mrs. halier in Kotzebue’s “Stranger” 
 to the vis-a-vis role assumed by Baker. 
 
 On Kaster Monday, 2Stli March, Coleman’s “Mountain- 
 eers,” with two after-pieces, was presented. Mrs. Williams 
 took a beneht on the 30th, in Dimond’s “ The Foundling of 
 the i' orest, ’ and farce, “The Budget of Blunders.” t<ar- 
 quhar’s “ Beaux’s Stratagem ” was given for a benefit to 
 Ooige, 13th April. It was on this occasion that Fired Brown 
 made His debut in Montreal in the following cast ; Aimwell, 
 Frederick Brown ; Archer, Mr. Baker j Sullen, Mr. Thornton; 
 Sir Charles, Mr. Richards ; togard, Mr. Anderson ; Gibbett, 
 Mr. Huntley ; Hornblow, Mr. Ooige ; Bagshot, Mr. Wells; 
 Boniface, Mr. McCleary ; Scrub, Mr. H. A. Williams ; Lady 
 Bountitid, Mrs. Thornton; Dorinda, Mrs. Baker; Mrs. Sullen, 
 Williams; Ginsey, iVliss Grant; Cherry, Miss Denny; 
 with the after-piece of “The Blind Boy.” Among other pro- 
 ductions was “ Romeo and Juliet,” nth May, with Baker as 
 Romeo; McCleary played Mercutio ; Thornton the Apothecary; 
 Miss Denny, Juliet, and Mrs. Williams the nurse, in a benefit 
 performance to Mr. and Mrs. Thornton. “ The Man of For- 
 titude’’ was the after-piece. 
 
 The old favorite, John Bernard, appeared for three nights, 
 opening 25th May, as Allapod in “The Poor Gentleman,” and 
 as Michael^ in the after-piece, “The Adopted Child.” Another 
 comedy, “ The King’s Birthday,” was produced 4th June. 
 
 Several members of the old company left about this time, 
 but W’ere replaced by Messirs. Sierson, Morrison, Mrs. Mc- 
 Dc>nald and Mrs. Green. Bernard took a benefit 9th June 
 in “A School of Reform,” and again 30th in “The Clandes- 
 tine Marriage.” Mrs. Green had a benefit 7th July, in “A 
 Cure for Heartache.” Mr. Green made his first appearance 
 at this performance, singing “ Robin Adair,” and John Ber- 
 nard was the Oatland. “Bluebeard” was produced 15th July 
 for Mrs. Bernard’s benefit, and on the 30th John Bernard re- 
 cited at a benefit concert to Prof. Smith. ’The theatre was 
 then closed until 21st October. It had been repainted, etc., 
 and presented a neat appearance. The opening bill was 
 lobin s Honeymoon.” Lewis’ tragedy of “Adelgitha” 
 was given i6th November with the following people in the 
 cast: Messrs. _ Carpenter, McCleary, Morrison, Richards, 
 Brown, Sinclair and Me Mi lien, Misses Denny and Moore^ 
 
36 
 
 HISTRIONIC MONTREAL. 
 
 Mrs. Cunningham and DeUawater. 
 annearance '^oth November in Hamlet and yt\ 
 
 “ Pizarro?’ Most of the members of the company then 
 dispersed, their places being filled for the re^annng^feujro; 
 ductions of the season by “ gentlemen amateur^L 
 Vows ” was given 14th December m aid of the Female Ben. 
 volent Society, and a benefit to Carpenter, tlie acting man- 
 ager in Sheridan’s “School for Scandal,” and The Falls of 
 Clyde,” on 2ist December, brought a rather successful sea- 
 
 son to a close. 
 
 JOHN D. TURNBULIi was born in England, and made his Amer- 
 ican debut at Boston in i 759 . He was first seen in Montreal under 
 the A-llport management as early as 1809, and just nine years later as- 
 sumed the lesseeship of the new Montreal theatre. He was the au- 
 thor of “The Wood Demon.” His daughter, Julia A., and a son 
 were also histrionical. The former died in New York, nth Sept, 
 
 1887. 
 
 TRANCES ANNE DENNY-DRAKE was born at Schenectady, 
 N.Y., 6th November, 1797. Her parents moved to Albany when she 
 was ^te young. Ludlow is my authority in stating that her first 
 appearance on the stage was at Cherry Valley as Julia in “The Mid- 
 night Hour,”in the Spring of 1815. In 1818-J9 we find her in Mont- 
 real as noted, and in 1820 she appeared at the Park Theatre, New 
 York. She married Alexander Drake, a son of the old Southern 
 manager, in 1823. During the season of 1829 she was playing in oppo- 
 sition to Fanny Kemble at New Orleans. After the death of her hus- 
 band, in 1830, she became Mrs- G. W. Cutter, but they soon separated 
 and she continued to act as Mrs. Drake. She died on her son’s farm, 
 near Louisville, Ky.,. ist Sept., 1875. Her career was a successful one 
 artistically, she being considered one of the best actresses in the legi- 
 timate walks. 
 
 MR. and MRS. H. A, WILLIAMS were the parents of “ la petite 
 Augusta.” After Mr. Willliams’ death Mrs. Williams, in 1828, be- 
 came the wife of R. C. Maywood. 
 
 W. H. DYKES, IN 1819, 
 
 leased the theatre, and opened 14th January with "'Othello,'* 
 Frederick Brown playing the title role. He was accom- 
 panied by his wife, also an actress of merit. He played a 
 round of characters, Othello thrice, Hamlet, Shylock, Macbeth, 
 Sir Giles Overreach, Octavius, Mortimer, Rolla, Glenroy, 
 Coriolaniis and Richard III. A benefit was tendered Mrs. 
 Brown, 8th February, in "The Suspicious Husband,*' and on 
 15th Manager Dykes took a benefit in ""Jane Shore." Baker, 
 
HISTRIONIC MONTREAL. 
 
 37 
 
 who had been ill foir some time, recovered in time to take a 
 benefit, 17th, when he played lago to Brown s Othello, Brown 
 reappeared on i:.aster ivionaay, 29th March, lending his ser- 
 vices for the benefit of the company in Holcroft’s “ Road to 
 Ruin. Some littl’e difficulty arose in connection with this 
 performance, owing to Miss Denny refusing to appear. She 
 was the favorite actress, and had asked for a benefit, but the 
 company would not agree to it, and her absence displeased 
 the public. Miss Denny gave a concert in the parlors of the 
 Mansion House, 5th April. Frederick Brown closed his sea- 
 son with The Gamester/’ 9th April. Th-e audience was 
 very enthusiastic and the house crowded. Brown recited 
 Alexander’s Feast,” and made a speech. Mr. and Mrs. 
 Dykes took a benefit, 4th May, in “Speed the Plough,” and 
 a similar testimonial was accorded Baker, 7th May. Miss 
 Denn}, who had become reconciled to the company, took a 
 benefit, nth May, in “ Tlie Honeymoon.” Anderson bene- 
 fited 14th May, and the season closed with a benefit to Rich- 
 ards and Sinclair in “The Broken Sword.” There is also 
 a record of Mrs. French having given a concert in the Assem- 
 bly Rooms of the Mansion House, 22nd July. After con- 
 cluding his Montreal engagement, Brown appeared in Bos- 
 ton, wdiere he had made a very favorable impression in 1816. 
 Being called upon to play in support of Cooper and Wallack, 
 he went through his parts with such indifference that he was 
 rebuked by press and public. The former accused Brown of 
 using expressions disrespectful to a Boston audience, and, 
 early in December, the managers, fearing a riot, allowed 
 Brown to depart for Montreal, wFere he inaugurated a short 
 winter season, 20th December, during which were produced 
 Rev. Maturin’ s “ Bertram,” “ Brutus,” “ George Barnwell/’ 
 Othello,” “Manuel,” etc.; but the illness of th-e star brought 
 tije season to a speedy close. Mr. and Mrs. George Bartley, 
 English actors, gave an entertainment at the Mansion House, 
 15th November, 1819. They had been in America one year, 
 and had come to Montreal in the company of Mr. Brown, 
 from Boston, where their abilities had not been fully recog- 
 nized by the miscellaneous audience. 
 
 MR, aud MRS. BARTLEY enjoyed high esteem in England. He 
 had played Richard, Shylock and other leading roles in and 
 
 comedy. He married Miss Smith in 1814- Her talents were equal 
 to his, and their public readings were much appreciated, Mr. Bart- 
 
38 
 
 histrionic MONTREAL. 
 
 ley retired from the stage as late as 1853. He had several times given 
 readings before Queen Victoria. Mrs. Bartley diea Uth Jan. 1850. 
 aged 64. George Bartley followed :22nd July, 1808, in his s y 
 fourth year. 
 
 W. H. DYKES, an eccentric aictor-mar-ager, was too much of a 
 rolling-stone to trace. He was here, there and 
 been of the Boston company prior to his advent m Montreal, 
 there he married Miss Brailsford. 
 
 THE SEASON OF 182O 
 
 was a short and unimportant one, opening 24tli January with 
 ‘'The Honeymoon,'’ under the patronage of Lieut.-Col. Burer, 
 of the 37th Regiment. Miss Denny, assisted by officers of 
 the regiment, took part, with the permission of the theatre's 
 manager, Mr. Turnbull. Browm reappeared, 7th February, 
 in ‘‘King Lear," and after giving three performances, the 
 season practically closed. During the year some amateur 
 performances were given, and some magicians and musicians 
 gave entertainments at the Mansion House assembly rooms. 
 From this time the annuals of this theatre practically ceaised. 
 
 In 1831 we find the Congregationalists using the hall as a 
 place of worship. The main building became knowm as the 
 Eagle Hotel, kept by Francis Duclos. The hotel gradually 
 sank into a low lodging-house, known as “Noah’s Ark,’’ and 
 during the smallpox epidemic of 1885 it was found to be^ a 
 veritable pest-hole, with its one hundred and ten human in- 
 mates. The place was cleared out by the police, and has 
 since been used for manufacturing purposes. All that re- 
 mains of the old theatre is the arched front entrance on 
 College street (now part of St. Paul street). 
 
 THE THIRD MONTREAL THEATRE 
 
 Stood on Notre Dame street, opposite the Recollet Barracks. 
 It was opened 21st January, 1821, with Kenny’s farce, 
 “Raising the Wind.’’ C. W. Blanchard, of circus fame, was the 
 V manager. The following was the cast: Plainway, Mr. C. W. 
 Blanchard ; Diddler, Mr. Hiven ; Fainwoidd, Mr. Greene ; 
 Sam, Mr. Woodruff; Richard, Mr. G. Blanchard; Peggy^ 
 Mrs. Greene ; Miss Durable, Mrs. Thornton. Tw’o after- 
 
HISTRIONIC MONTREAL. 39 
 
 pieces, ‘‘ Day After the Wedding ’’ and The Village Law- 
 yer/' were also in the evening’s bill. 
 
 This company met with very fair business during the sea- 
 son. owing to extensive repairs going on at the Mansion 
 House and Theatre. This new house had a career of three 
 seasons. ' , 
 
 THE NEW MARKET THEATRE, 
 
 or Roy’s assembly rooms, stood on Jacques Cartier square, 
 and was used for theatrical purposes as early as 1822. 
 
 Late in the summer a small company attempted to support 
 the young “ American Roscius,” George Frederick Smith, a 
 youthful prodigy eleven years of age. He was seen as 
 Norval, Octavian, Richard and Romeo, when he departed for 
 Albany. 
 
 GEORGE FREDERICK SMITH had been well drilled in his 
 characterizations, and elicited a fair amount of praise. He was born 
 in Cork, Ireland, 29th Dec., 1811. He appeared in New York in 1821. 
 After a short career on the stage he settled in New Orleans as a den- 
 tist. 
 
 This theatre was the scene of little interest, until lat-e in the 
 spring of 1824. Most of the members of the company had 
 already been seen here. The feature of the season was the 
 production cf Kenny’s comedy, “ Ellen Rosenberg.” for the 
 benefit of Mt. Wilkins, 20th May. The cast shows the per- 
 sonnel of the troupe : Rosenberg, Mr. Emanuel Judah ; Col. 
 Mountfort, Mr. Charles Webb ; Elector, Mr. Modely ; Flutter- 
 man, Mr. Wilkins ; Storm, Mr. J. D. Turnbull ; Stephen, Mr. 
 J. Turnbull ; Ellen Rosenberg, Miss Smith ; Christine, Mrs. 
 Dorion ; Mrs. Fluttennan, Miss Johnson. '‘The Review” was 
 the after-piece. A ventriloquist, Taylor, also performed. The 
 performance began at 7.30. “Ellen Rosenberg’' became a 
 favorite piece in Alontreal, and was subsequently produced 
 ^^:)at the Royal Circus. This place of amusement was short- 
 lived. 
 
 |';On 17th January, 1823, tenders were asked for masonic 
 and carpentering work for the proposed new theatre on St. 
 Paul street, by order of the committee and George Auldjo. 
 
40 
 
 HISTRIONIC MONTREAL. 
 
 THE ROYAL CIRCUS. 
 
 On 24th March, 1824, West and Blanchard opened thein 
 circus on Craig Street, in rear of the present site of the St. 
 Lawrence Hall. The principals of the troupe consisted of 
 Messrs McDonald, Turner, Miss Elizabeth Blanchard, Mrs. 
 Blanchard, as well as West and Blanchard. Meeting with 
 good patronage, they erected a stage in the spring, and began 
 giving dramatic performances as w’ell, producing ‘‘ Timour, 
 the Tartar,” “Inkle and Yarico,” ‘‘The Forty Thieves,” 
 “ Maid of Magpie,” “ Lodiska,” together with other eques- 
 trian dramas. 
 
 The season closed 8th October with a benefit to Mr. Blan- 
 chard. 
 
 EMANUEL JUDAH was born in New York and was connected 
 with the Southern theatres during tlie early part of his career. He 
 first appeared in New York as Buhhasin Muley in “Tire Mountaineers.” 
 at the Pavilion Theatre, i8th August, 1823. In 1824 and 1825 he 
 played in Montreal. He was well known at the minor theatres of 
 New York. In 1829 he was at Albany under Vernon’s management. 
 His last metropolitan engagement was at the Franklin Theatre in 1837. 
 Two years later he was drowned in the Gulf of Mexico. His wife, 
 Sophia, a well-known actress, died in New York in 1865. She was 
 the grandmother of the famous Worrell sisters. 
 
 CHARLES WEBB^ a native of Philadelphia, never attained to pro- 
 minence. After a career of many vicissitudes he jumped from a 
 bridge in Wheeling, Va., in March, 1851. 
 
 The year 1825 saw the opening of IMontreal’s sixth theatre, 
 the first 
 
 /Y 
 
 THEATRE ROYAL^-^fo 
 
 which was built on the site now forming the western end of 
 Bonsecours market on St. Paul street. It cost $3o.ooo, the 
 amount being partly raised by subscription, and the Hon, 
 John Molson was the principal shareholder. Mr. Forbes was 
 the architect. The building was a commodious one for the 
 period, and presented an attractive interior as well as ex- 
 terior. It was two stories high, with a Doric portico. In- 
 side it had two tiers of boxes, the pit and a gallery. It was 
 
FREDERICK BROWN. 
 
HISTRIONIC MONTREAL. 
 
 41 
 
 Opened under the management of the old favorite, Frederick 
 Browm the tragedian, and T. S. Brown (no relation) in his 
 
 Memoirs chronicles tire fact that the company, which 
 A numbered seventy-one people, broke down at the end of the 
 season from its own weight. It is more reasonable, however, 
 to consider this figure somewhat fabulous. The opening of 
 the theatre was on Monday, 21st November, with Reynolds’ 
 comedy. The Dramatist.’ ’The principal actors during the 
 season tvere Mr. and Mrs. F. Brown, Watkinson, Laws, Lear, 
 Morton, Brewster, Judah, Horton, Essender, Herbert, Clark 
 Heyl, lalbot. Master Talbot, Harris, Logan, Mr. and Mrs! 
 Forbes, Mrs. Meline, Miss Eliza Riddle, Mrs. Brazier, Mrs. 
 Talbot, Mrs. Wm. Riddle, Mrs. Brundage and Miss Turner. 
 
 Following the opening piece were produced successively the 
 following throughout the balance of. the season : “Speed the 
 Plough,” “The Wonder, or a Woman Keeps a Secret,” “Town 
 and Country,” “ Richard HI.,” “ The Stranger,” “ Douglas,” 
 with Miss Riddle as Young Norval ; “Hamlet,” “The Way to 
 Gi-t Married, for Miss Riddle’s benefit and farewell, appear- 
 ance, 7th December, concluding with “The Pages; or “Fred- 
 erick the Great,” “ Ivlercham of Venice,” “Adelgitha.” Miss 
 Riddle was re-engaged 14th December, appearing as Vir- 
 gima to Brown’s Virginius, this being the original representa- 
 tion of Knowles’ sublime tragedy in Montreal. On 19th 
 was produced “Coriolanus.” followed bv Tobin’s “Honey- 
 moon.” "The Wandering Boys,” “Heir-at-law,” “King Lear,” 
 28th, and on 30th, for Miss Riddle’s benefit and last appear- 
 ance. The Road to Ruin,” closing the season. 
 
 FREDERICK and SOPHIA BROWN. Mr. Brown was born in 
 England, and was there rocked and nurtured in the cradle of Thespis. 
 H.s father was D. L. Brown. At a very early age he was known as 
 .. Liverpool Roscius, and gave remarkably precocious signs of ex^ 
 traordinary excellemce. The prophesies then made were never fully 
 realized; yet he obtained a most respectable rank in all the walks to 
 Wild he aspired, and it was only his own weakness that caused his 
 vaulting ambition to “ o’erleap itself.” and left him as the waif of (he 
 common. He stood well in England, and married Sophia DeCamp 
 a sister to Vincent, and to Mrs. Charles Kemble. Mrs. Brown was a 
 hue actress and an accomplished woman, but, to use a common word, 
 a lomely one. At first glance one would conceive her to be very ugly 
 yet so fascinating was hei brilliant conversation that a few minutes in 
 her presence would transform her face into one of great beauty of 
 eMpression, reflecting pleasing intelligence- Frederick Brown was 
 
42 
 
 histrionic MONTREAL. 
 
 equally imbued with all these faculties, and in person (although small 
 in stature) was affable and gentlemanly. They were engaged m Eng- 
 land by Mr. Dickson, the Boston manager, for the Federal Street 
 Theatre, and made their appearance there about i8i6. After estab- 
 lishing the Theatre Royal, at Montreal, the house for a time paid, but 
 eventually the manager fell into bankruptcy. He conducted things 
 royally, in accordance with the supremacy of the name of his house, 
 but he was extravagantly inclined and neglected the balance sheet 
 of his accounts. He played tragedy or comedy as required. His 
 Don Felix in “ The Wonder ’’ was excellent, and in parts of that na- 
 ture he was neatness and elegance combined. He had much chaste 
 vivacity and clear judgment, never “o’erstepping the modesty of na- 
 ture.’* His tragedy performances may be estimated by the same rule. 
 They were chaste and discriminating to a fault. Although of slight 
 physical powers, he was not without force and tragic expression of 
 intensity, possessing a face of no marked constructiveness, but rather 
 common in form; yet it was not without its passionate or various re- 
 flection of inward feeling, though genius was not present — ^that power- 
 ful lever of the great in art. Brown was conventional in all he did; 
 thoroughly bred in the Kemble school, he never transcended its doc- 
 trines. But though his colouring was of the drawing-room tint, he 
 would not use the dagger with the complacency of Joseph Surface 
 when handing a chair to Lady Teazle: the emotional would harmonize 
 with the action of the terrible. Without annoying rant, his forte, like 
 a soft impressive picture, lay in the cJiiaro oscuro. In May, 1821, Kean 
 was engaged to act at the Boston Tlieatre- On one occasion, when 
 billed for Richard, the great actor would not go on, the house being 
 too slim, he said. Brown was sent for and gave great satisfaction. 
 He was stage manager for Gilbert af Charleston, S-C., 1824, and went 
 South again in 1830, accompanied by James E. Murdoch, who must 
 have gained good instruction from the English actor. Brown was an 
 excellent reader, and combined with large literary acquirements, the 
 government of a refined, cultivated mind. 
 
 In the summer of 1834, Brown was associated at Wilmington. Del., 
 with a corps of comedians somewhat genial in mind, Charles Durang, 
 among others. Many pleasant walks were taken around the roman- 
 tic environs of that beautiful place. Brown would often stroll into 
 the old graveyard of the Swedes’ Church, which stood on an elevated 
 slope on the right bank of the picturesque winding Christiana creek. 
 The church was then in a deplorable condition of dilapidation, 
 less from ^ age than from want of care. The cemetery was 
 overrun with weeds and grass. Here and there an old, rude-cut 
 headstone \vould peep over the weeds, inscribed with the name of 
 some one who had died during the reign of Charles, William, Mary or 
 Anne, etc. Poor Brown became impressed with the scene, as the 
 buried dead at his feet reminded him of his country’s history- He be- 
 lieved the fane worthy of some preservation, and in his contenipla- 
 
HISTRIONIC MONTREAL. 
 
 43 
 
 tions penned a few af¥ecting poetical lines descriptive of its hallowed 
 ground and history, now being destroyed through neglect. The edit- 
 or of the Wilmington paper published the verses, which had the effect 
 of causing the construction of an enclosure around the burying 
 ground. Subsequently the ancient church was repaired, so that 
 service was again heard within its once deserted walls. Thus a poor 
 performer and his muse did some good to religion, in restoring a de- 
 serted sacred edifice, wherein the country’s earliest forefathers had 
 worshipped, to prayer and religious history. 
 
 Frederick Brown, from necessity, became a wanderer in the world, 
 ending his life of sorrow in an obscure town in North Carolina in 
 the year 1838. 
 
 Mrs. Brown, during her later years, had a pupil by the name of Miss 
 Meadows, whom she schooled in a series of characters. With this 
 girl, who had merit, Mrs. Brown travelled through the South and 
 West, realizing a little money by the effort. Mrs. Brown afterwards 
 took an engagement to play the old dames of comedy, and died at 
 Mobile, Alabama, in 1841. 
 
 The foregoing sketch of Brown was written by Charles 
 Durang, who, having been personally acquainted with the 
 tragedian, is the best authority I have been able to find. On 
 9th March, 1819, he appeared as Hamlet at New York. In 
 1 1826 he supported Edmund Kean during the latter’s engage- 
 jment in Montreal, and was still lessee of the Theatre Royal, 
 which he opened a year previously. 
 
 MISS ElilZA li. RIDDLE was the daughter of the comedians, 
 Mr. and Mrs. Wm- Riddle, and was born in 1809. Her first appear- 
 ance was not a distinct success, but she made rapid headw^ay, and be- 
 came a leading lady of acknowledged ability- During the season 1831- 
 32, she appeared in the original representation of Knowles’ “Hunch- 
 back ” in this country, assuming the role of Julia at the Arch Street 
 Theatre, Philadelphia. In 1836 she married Joseph M. Field. 
 
 LEWIS HEYL possessed a sw^eet voice, and as a singer gained 
 considerable popularity. He was a native of Philadelphia, where the 
 final call was made in 1839. 
 
 During the year 
 
 THE ROYAL CIRCUS 
 
 did a fair business under the management of George Blan- 
 chard. On 13th October “The Romp’’ was produced, and on 
 
44 
 
 HISTRIONIC MONTREAL. 
 
 the following night a benefit was given to Mr. Roper in ‘'The 
 Forty Thieves.’' The company at that time included Messrs. 
 Roper, Schinotti, Gale, Simmonds, Martin, Johnson, C. 
 Blanchard, G. Blanchard, Lawson and Brazier, Mrss. Tal- 
 bot, Carnes, Brundage, Honey, Parker and Brazier. “The 
 CobblePs Daughter ” and “ Sylvester Daggerwood ” were 
 presented 17th October. On this occasion Mr. Simmonds 
 played Daggerwood, and introduced imitations of the popular 
 actors of the day. On the following evening Mrs. Carnes 
 benefited in “No Song, No Supper.” Cast: Robin, Mr. 
 Roper; Crop, Mr. Schinotti ; Endless, Mir. Simmond’s ; Fred- 
 erick, Mr. Martin ; William, Mr. Johnson ; Thomas, Mr. C. 
 Blanchard ; Dorothy, Mrs. Talbot ; Margaretta, Mrs. Carnes ; 
 Nelly, Mrs. Brundage ; Louisa, Mrs. Honey. This closed the 
 season. 
 
 MR. and MRS. JAMES ROPER. Air. Roper was early in l*he 
 equestrian business. His dramatic efforts were mostly important as 
 prompter. Mrs. Roper (maiden name Cooke) was genteel and lady- 
 like, but of no great pretensions to talent. She died of consumption 
 at Philadelphia in 1835. 
 
 MRS. TALBOT came to America with her first husband in 1820, 
 but separated from him and married Chas. Page. She died in Phila- 
 delphia in 1838. 
 
 MARY ANNE BRUNDAGE first appeared in New York in 1815. 
 She married McDonald Clarke, from whom she eventually separated. 
 
 THE SEASON OF 1826 
 
 was on^e of the most memorable in Montreal’s theatrical an- 
 nals, and opened early in the year with F. Brown again at 
 die head of affairs. Robert Campbell Maywood appeared in 
 February in a round of legitimate characters, and became 
 quite popular bere. His engagement closed 20th February, 
 WTien he took a ben'efit. 
 
 Maywood’s engagement in Montreal was followed by that 
 of Thornas S. Hamblin, then in his twenty-sixth year.^ He 
 StM F h appearance here in the character of Hamlet, 
 in ‘‘ WlHaTTdl” ^ ^ engagement, 28th March, 
 
IHOMAS S. HAMBLIX (as Coriolmius) 
 
HISTRIONIC MONTREAL. 
 
 45 
 
 THOS. SOWERBEY HAMBLIX was born near London, 14th 
 May, 1800, and first appeared on the stage as Truman in “ George 
 Barnwell, at Drury Lane Theatre in 1819. The illness of Alexander 
 Rae brought Hamblin out in Hamlet two or three seasons later at the 
 same theatre with considerable success for so young an actor. He 
 married Elizabeth Blanchard in 1825, and in the early fall of that year 
 came to America under the auspices of Price and Simpson, making his 
 first appearance in his favorite character of Hamlet at the Park The- 
 atre. After remaining in New York about a year, he and his wife 
 began starring. He revisited England, and in 1830 leased the Bowery 
 Theatre, New York, which he managed with but few intermissions 
 until his death, 8th January, 1853. He died in New York and is bur- 
 ied in Greenwood Cemetery. During his managerial career, he gave 
 (the total nightly receipts of his theatre over 160 times for the benefit 
 lof charities. As an actor he had forgotten more than most actors 
 knew and still remembered enough to teach the best of them. To see 
 him dressed for Brutus, Coriolanus or Virginius was a study for a 
 painter. A singular fatality seemed to pursue him through life, that 
 was, the loss of his theatres by fire no fewer than four times, and by 
 a strange coincidence there were four Mrs- Hamblins in his history. 
 At his death he left eight heirs, each of whom received $io,o«30. A 
 daughter, Constance Hamblin, has been frequently seen here in sup- 
 port of legitimate stars. 
 
 R. C. MAYWOOD was born in Scotland in 1786. He first appear- 
 ed on the American stage in 1819 at the Park Theatre, New York, as 
 Richard HI., a.nd at Philadelphia, 0th Nov,, 1828, at the Arch Street 
 Theatre, as King Lear. In April, i832,^he became manager of the 
 Walnut Street Theatre, Philadelphia, in conjunction with Pratt and 
 Rowbotham. He subsequently managed the Chestnut Street Theatre, 
 In 1840 he relinquished the management and took his farewell benefit. 
 He died ist Dec., 1856, at Troy, N.Y. 
 
 Probably tbe greatest actor who ever visited Montreal ap- 
 peared during the midsummer season. I refer to Edmund 
 Kean. 
 
 The following letter appeared in the Gazette of 21st Janu- 
 ary, 1826 : ^ . 
 
 To Edmund Kean, Esq: 
 
 Sir, — It is not without considerable interest that your fellow sub- 
 jects in this province have heard of your arrival in America. What- 
 ever may be the motives that induced you to make so long a voyage, 
 they hoped that the ocean would have buried all references to them 
 forever, and that your reception on the American Atlantic shores 
 would have been such as your professional talents ought always to 
 command and secure. If your fellow subjects in Canada have been 
 partially disappointed, they rejoice that such disappointment is coun- 
 terbalanced by the exercise in two great and enlightened cities of 
 
46 
 
 HISTRIONIC MONTREAL. 
 
 those feelings of humanity which are due to the stranger in every 
 country, and of those honors which genius will ever command among 
 every polite and civilized people. The purport of this is to invite you 
 on your powerful character to Canada. 1 can assure you that this 
 invitation does not proceed from a solitary individual. It is the voice 
 of both provinces, which, if obeyed, would hail you with a welcome 
 that would resound from Niagara to Montmorency. In the city an 
 elegant and convenient theatre has lately been built. The present 
 manager, Mr. F. Brown, is a gentleman of professional ana private re- 
 spectability, and I venture to assure you that your appearance on our 
 boards would be at once gratifying to your feelings as a man and to 
 your expectations as an actor. In proof of this I could present you 
 with long extracts from all the newspapers published in this country, 
 every one of which has borne out ample testimony to proper senti- 
 ments of joy at your success and regret at your disappointment in the 
 United States. I, in common with many other persons of respectabil- 
 ity, who have witnessed the homage paid to your great talents by the 
 sages, the philosophers and the poets of your mother country, at least 
 hope that as soon as convenient you will enable a loyal and hospitable 
 people, proud of their country, to do justice to those sentiments which 
 they entertain regarding you. Should your eye chance to meet this 
 letter, some notice would greatly oblige many thousands besides, sir, 
 
 Your obedient servant, 
 
 Philo Euripides. 
 
 It is too late in the century to liearn whether is was the 
 composition of the letter or the anticipation of a good busi- 
 <^ness that finally induced the great actor to visit Montreal, 
 which he accordingly did, making his debtd 31st July, in his 
 great character of Gloster in “ Richard III.'’ On 2nd August 
 he played the role that first made him famous — Shylock ; and 
 on the following night he electrified our grandfathers in 
 Oihello. On that occasion the following was the distribution 
 of characters: Othello, Mr. Edmund Kean; logo, Mr. Frederick 
 Brown ; Cassio, Mr. Wm. Lee ; Rodrigo, Mr. Thos. Placide ; 
 Desdemona, Miss Riddle ; Emclia, Mirs. F. Brown. His fare- 
 well appearance and benefit was in ‘‘King Lear,” 9th August. 
 
 A public dinner wiais tendered the distinguished artist, 
 who was otherwise lionized and feted during his stay. 
 
 One, T.^ S. Brown, in his memoirs, recites an incident of 
 Kean's visit for the truth of which I do not vouch, as he errs 
 greatly in his data, etc., but here it is for what it is worth 
 
 : “When Edmund Kean came to this citv in 1827 
 
 closed, but the citizens were so anxious to see hfm th.f o ^ 
 was formed with Mrs. Barnes (CarnesranVson.^^^ 
 who happened to be in the city at the time, and he gave fotm oerform’ 
 ances. In the last one he was extremely drunk. He was nlavino- 
 
 part of ‘Daggerfcrth’ (Daggerwood)^n a comedy and fel he 
 performance had to stand on his head on a chair. The gaS Hked 
 this, and shouted ‘Another tumble, Mr. Kean !’ Kean thSt K 
 
HISTRIONIC MONTREAL. 
 
 47 
 
 said ‘ Another tumbler, Mr. Kean !’ and he got furious and rushed 
 off the stage and out of the theatre. The gallery in its turn got angry, 
 and started to smash things generally. Kean was hastily sent for, and 
 was found in bed at the Masonic Hall (Hotel). He w'as dressed and 
 brought back to the theatre where he made a graceful apology to the 
 audience, winding it up, however, by saying : ‘ As for the man who 
 told me to take another tumbler I despise him !’’ This was given in 
 his deepest and most tragic tones, and fairly brought down the 
 house.^’ 
 
 Edmund Kean had been in America since the previous 
 November, making his appearance at the Park Theatre, New 
 York, as Gloster, 14th November, 1825, but owing to an in- 
 discretion on his part in a reference to America and its 
 p'eople, while on his first visit in 1820, he was confronted by a 
 turbulent audience, which would not hear the apology the 
 actor wished to make. This rioting also continued at Boston, 
 but he was rather more favorably received at Philadelphia in 
 January, 1826, after having again appeared in New York a 
 few days previously to a more satisfactory welcome. 
 
 Before departing for Qwebec, Kean was entertained at a 
 public dinner at the Masonic Hall Hotel and in the course 
 of a speech, made in reply to the drinking of his health, spoke 
 of his departure from England in a manner that serves to 
 throw fresh light upon his many-sided character. 
 
 “I was scarcely from the land,'’ he said, “when reason told me I 
 had lost a portion of my respectability as a man, and my chief re- 
 sources depended on my exertions as an actor. 1 assumed, therefore, 
 a callous indiference, played for a time the character of misanthrope, 
 knit my brow*s, and pretended contempt for the world, but it was 
 merely acting. Deeply I felt the loss of that society I had for years 
 associated with, and every little act of kindness penetrated the brazen 
 armor I had borrowed tor the occasion. The searching eye could 
 even discern smiles without mirth, and pastime without pleasure.’' 
 
 At Quebec his advent excited unusual interest. He had 
 been announced to perform on Monday, 8th September, and 
 expected to arrive on the pirevious Thursday. Not having 
 appeared by Sunday, the disappointment of Quebecers great- 
 ly increased the sensation. On Monday, however, news was 
 brought that he was positively on the tug-boat Hercules, 
 which was towing a vessel into the harbour, when a number 
 of citizens went down to meet and give him a hearty wel- 
 come ; and the manager, learning that he was able and will- 
 ing to play that night, sent the 'public bellman about town 
 to announce the fact. The theatre was crowded ; the Gover- 
 nor, Lady Dalhousie and ’suite occupied boxes, and Kean 
 was enthusiastically applauded. 
 
48 
 
 HISTRIONIC MONTREAL. 
 
 During , his engagement at Quebec an incident occurred 
 which greatly delighted him. Becoming aware of the ex- 
 citement his performances were creating, a number of Indians 
 attended the theatre, when Kean, gratified by their visit, and 
 pleased by their picturesque appearance, desired to trecome 
 better acquainted with them. Introductions, therefore, fo - 
 lowed. He was no less an object of wonder and admiration 
 to them than they to him. 
 
 He entertained them hospitably, recited, sang and played 
 to them ; rode with and tumbled for them, and finally ex- 
 pressed his desire to become on'e of their tribe, and leave the 
 ways of the white man forever. Tlie Indians made him a 
 chief, and with much ceremony invested him with a costume 
 such as they wore (something more than a pair of overalls 
 and a blanket) and gave him the name of Alanienouidet. He 
 then disappeared with them. Subsequently speaking of this 
 period to his friend Grattan, he declared he had gone mad for 
 several days, and having joined the Indians in their camp, 
 he was pursued by some friends, who carried him back, and 
 for a time treated as a lunatic before he was allowed to 
 leave for New York. He always declared that he valued 
 the honor the Hurons had conferred on him above the 
 highest triumphs he had achieved at Duriry Lane. 
 
 He reappeared in New York, i8th November, 1826, play- 
 ing Richard, but in a few days the severe mental and physical 
 strain he had endured culminated in a serious illness. His 
 great powers had declined, and his friends believed that he^ 
 had not long to live. He made his last appearance in America, 
 5th December, 1826, in New York, in the part of Richard, 
 reappearing in London as Shylock, 8th January, 1827. 
 
 It was painfully evident he was a physical wreck; that the 
 spirit which had kindled his audiences to fervor was often 
 absent, while traces of suffering were but too visible. To 
 commemorate his return to Dublin, the management of the 
 theatre commissioned an artist named Meyer to paint a full 
 length portrait of Kean, representing him, at his own request, 
 as an Indian chief; and when he took his benefit, 2nd April, 
 it was announced he would not only play King Lear, but de- 
 liver a farewell address in the character and costume of 
 Alanienouidet, chief of the Huron Indians, which name and 
 title were conferred upon him by the Hurons at Quebec on 
 7th October, 1826. 
 
] 
 
 I 
 
 i 
 
EDMUND KEEN. 
 
 From the Gebbie collection. 
 
 i 
 
 i 
 
 ^ .: gii ’ ., 
 
HISTRIONIC MONTREAL. 
 
 49 
 
 EDMUND KEAN was one of the greatest actors the world has 
 produced. Byron compared his acting to reading Shakespeare by 
 flashes of lightning, and Mrs. Garrick recognized in him a worthy 
 successor to her David, and the only one fit to wear his sword. Castle 
 street, Leicester square, was the scene of the actor’s birth, 4th Nov., 
 1787. His reputed father was Aaron Kean, a stage carpenter, and his 
 mother a strolling actress named Nancy Carey, grand-daughter of 
 that Henry Carey, the dramatist, who wrote the charming lyric, “ Sal- 
 ly in Our Alley.” It was a tidy actress, named Miss Tidswcll, who 
 seems to have picked young Kean from the gutter to make him the 
 consummate flower of the British stage; she too was credited with 
 being his mother, but it seems she was able to prove an alibi. She 
 gave the poor little waif some schooling, and what was more to 
 his profit, an introduction to the stage. 
 
 He appeared very early as a representative of cupids, monkeys and 
 devils, and on one occasion when an unfortunate step caused the down- 
 fall of sundry fellow-devils he wittily excused himself to the angry 
 manager by stating that he had never appeared in tragedy before. 
 
 Then his mother, discovering that he had a gift, made use of it. She 
 spirited the child away to attract crowds, while she sold her pack or 
 told fortunes. The boy carried the tramp’s pack, and at farm-houses 
 and among the gentry recited the lines Miss Tidswell had taught him. 
 He thus happened to appear before an eminent physician. Dr- Young, 
 father of the afterwards celebrated actor, Charles Young. The doctor 
 introduced the lad to a lady who was passionately enamored of the 
 stage — a Mrs. Clarke. This lady, having a grand company, invited the 
 boy to entertain her guests. When the little ragged boy appeared in 
 the grand dining-room the lady asked: “Are you the boy who recites 
 so well?” The child bowed with great dignity. “What can you re- 
 cite^” “Richard the III.;” ’Speed the Plough;” “ Hamlet;”- “ Har- 
 lequin,’' answered the unabashed youngster. The lady took him to 
 her dressing-room and made a composite costume for the little actor; 
 presently he did, sure enough, declaim all the parts he had named. 
 The guests rewarded his efforts by a shower of silver pieces, which 
 the boy proudly declined to pick up. Mrs. Clarke was so struck by 
 this trait that she at once set about educating the little genius. • He 
 was placed at school, and instructed in all the elementary, studies of 
 the day. This lasted two years, when one day, having visitors, Mrs. 
 Clarke invited them to the theatre and the boy as well. “What !” 
 cried the snob of the party; “ does he sit in the box with you- ?” 
 Kean’s face flushed crimson; he quit the table, and that night disap- 
 peared from his benefactor’s home. 
 
 Then he resumed the tramp life with Nancy Carey, alternating with 
 sojourns under the wing of Miss Tidswell. On one occasion his act- 
 ing in a country show at Windsor so impressed the King that he 
 sent for the little man and made him a present of two guineas. Next 
 the longing for the sea seized him, and he succeeded in shipping as 
 
 4 
 
so 
 
 HISTRIONIC MONTREAL. 
 
 cabin boy for a voyage to Madeira. But the life of the ship was not 
 what he had imagined, so he returned to tramping as soon as the voy- 
 age brought him back. Then followed vicissitudes such as a realist 
 in romance would hardly venture to devise for a social outcast. He 
 found himself afterwards in Belfast, Ireland, cast with the great Mrs- 
 Siddons, who condescended to speak with tolerance of his acting, little 
 suspecting that the poor wretch who was playing secondary parts 
 w'as in a short time to seize the tragic sceptre from the hands of the 
 great Kemble in his own theatre. 
 
 Mrs. Siddons said that he played well, but that there w^as too little 
 of him to make a great actor. He was, in person, five feet four inchesi 
 in height. In 1808 he married Miss Mary Chambers, the leading lady 
 of Beverley’s company, of which he was also a member. She w^as nine 
 years his senior. 
 
 Sometimes the record is too harrowdng to retrace, the man of gen- 
 ius and the wretched wife trapsing over the country roads, living on 
 charity or nothing at all, 
 
 It was when fortune was at its lowest, when in utter destitution, the 
 wretched couple had begged a theatre at Exeter, and wdien the cur- 
 tain rang up there was but a sprinkling of people in the seats, that 
 fortune was beaming with its broadest smiles. In spite of the depres- 
 sing house, Kean gave loose to his genius, and played with divine fire. 
 After the play, Kean, in his dressing room, heard some one inquiring 
 about him, and then, after some explanatory phrases, heard the start- 
 ling w^ords; “ I am the manager of Drury Lane.” The manager of 
 Drury Lane had discovered the divine gift in the overworked, unap- 
 preciated actor, and that was the beginning of the greatest tragic 
 career in the annals of the British stage. 
 
 The fateful opening w'as set dowm, for the 26th January, 1813, 
 while the British were still inebriated over the miraculous conquest of 
 Lapoleon by the allies after the campaign in Germany. Everything 
 •seemed to be done to make the fateful appearance a failure; the poor 
 man could get but one rehearsal, and then his fellow-actors sneered at 
 bis slender figure and his||extraordinary innovations in the traditions|| 
 of the part- For the first time in six months Kean had meat for his 
 meal that day, and as he was quitting his wife he exclaimed: My 
 
 God, if I succeed I shall go mad !” 
 
 He carried his entire costuming outfit in a small bundle in his hands 
 and excited the derision of his fellow-actors by his miserable figure. 
 The manager was desperate, for the theatre had been steadily losing 
 money for months, and Kean was a last desperate resort. When he 
 emerged from his dressing room in a black wig, instead of the tradi- 
 tional red wig, the actors broke into a guffaw of derision. The night 
 wa& 1 eously depressing, snow covered the ground and the house was 
 very me^rely filled, until late in the evening, when the overflow from 
 Lovent Garden served to patch up the gaping emptiness. The “first 
 mg audience took its time in judging the debutant; but his voice 
 
E. KEAN (as Alan). 
 
 In the dress presented to him on the occasion of his being chosen 
 a chief of the Huron tribe of Indians, by the name of Alanienouidet 
 at Quebec, 7th October, 1826. 
 
 Painted by Meyer, and engraved by Storm. Reproduced from an 
 original proof in the possession of Franklin Graham. 
 

HISTRIONIC AIONTREAL. 
 
 51 
 
 \voii the approval of some of the old heads. He made Shylock more 
 llhuman and artistic than his predecessors, and by the third act Kean 
 was a dazzling success. In the scene where he learns of Jessica’s es- 
 cape, the staid audience rose from their places and acclaimed an amaz- 
 ing outburst of passion, such as had never been witnessed on the stage 
 before. The trial scene was the most astonishing evidence of the 
 power of one human being over many ever recorded in the annals of 
 acting, even the actors flocked to the palpitating, fainting man and 
 strove to make up for their past gibes. 
 
 He fled like a madman through the slushy streets to his wife, who 
 was faint with expectation and terror, and shouted : “ Mary, the pit 
 rose at me; I’ve won; you shall ride in your carriage.” In a thousand 
 contemporary memoirs you shall find the comments of all sorts and 
 conditions of men over the wizardry of this extraordinary actor, who, 
 springing from no one knew where, had in one night eclipsed the fame 
 of the greatest who had ever illustrated Shakespeare. 
 
 For eighteen years his income was over £10,000 yearly, but he died 
 in debt. 
 
 At Drury Lane, 24th Jan., 1825, his reception was most boisterous. 
 It was some weeks before peace was restored. His first American 
 tour v;as opened at the Chatham Theatre, New York, 29th Nov., 1820, 
 re-opening at Drury Lane, 23rd July, 1821. 
 
 Unfortunately, as is the usual case with genius, Kean became so de- 
 pendent on the use of stimulants that the gradual deterioration of his 
 great gifts was inevitable. Still, even in their decay, his powers tri- 
 umphed during the moments of his inspiration over the absolute 
 wreck of his physical faculties, and compelled admiration when his 
 gait had degenerated into a weak hobble— when the lightning brilli- 
 ancy of his eyes had become dull and bloodshot, and the tones of his 
 matchless voice were marred by rough and grating hoarseness. 
 
 He made his last appearance at Covent Garden, 25th March, 1833, 
 playing Othello to the logo of his son Charles. Tlie senior became 
 greatly affected after the speech in the third act : 
 
 Farezvell the tranquil mind ! farezvell content ! 
 
 After a protracted pause at its termination, instead of the articulate 
 vehemency u/sual with the words, Kean muttered indistinctly: 
 
 “ Villain — be sure — you — prove ” 
 then he groaned, and whispered, "‘Oh, God ! I am d3ung ! Speak to 
 them, Charles.” His son caught him in his arms, and he was borne 
 from the scene, Edmund Kean’s career was cancelled 15th May, 1833, 
 in his forty-sixth year ending his strange evenful history, so replete 
 with heart-breaking vicissitudes. 
 
 ‘'After life’s fitful fever he sleeps zvell” 
 
 During the same season the Montreal company included 
 P i - Thomas Placide, who subsequently became a famous come- 
 dian and manager on the United States side. 
 
52 
 
 HISTRIONIC MONTREAL. 
 
 THOMAS PLACIDE was a boisterous performer who never rose 
 to much distinction. He greatly resembled his brother Henry, but 
 his work did not begin to compare with the latter’s. Thomas was 
 born at Charleston, S.C., in 1808. His stage career began early, and 
 his regular debut was at the Chatham. Street Theatre, New York, in 
 1828. He was manager of the Park Theatre for several seasons, and 
 in 1853 became a member of Wallack’s company, retiring a few sea- 
 sons later, and dying 20th July, 1877. He was the first man to wear 
 paper collars in Montreal, not being in good credit standing with his 
 laundry, and set a fashion followed out some years later. 
 
 The next season was without importance in a theatrical 
 sense, the circus and amateur performances being much in 
 vogue. 
 
 The chief dramatic recreation of tlie year appears to have 
 been catered by the amateurs of the 71st Regiment, the fam- 
 ous Highland Light Infantry, under patronage of Colonel 
 Jones. 
 
 THE YEAR 1828 
 
 was marked by the appearance of Mr. and Mrs. Edward 
 Knight, of Drury Lane Theatre. Mrs. Knight had recently 
 changed her name from Miss Povey, and was a great favorite 
 on the other side. They gave a concert at the theatre, 7th 
 July, and subsequently organised other entertainments. 
 Several other English comedians also appeared during a very 
 short -season, including Miss George, of the Havmarket 
 Theatre, an interesting ballad singer, who later became Mrs. 
 Oldmixon ; Mrs. Gill, of the Theatre Royal, Bath ; Mrs. Aus- 
 tin, of Drury Lane Theatre ; and Mr. "^Horn. They gave 
 entertainments 26th July and 5th August. 
 
 MRS. EDWARD KNIGHT was born Mary Ann Povey, in Eng- 
 land, 1804. Though not beautiful, she was a “ plump and pleasing 
 little person, light in complexion, round face and expressive blue 
 eyes, with a rich and powerful voice.^’ She was good in comic opera, 
 and later in life assumed a wider range of characters, when she be- 
 came attached to the Park Theatre. In 1845 she lost her only child, a 
 beautiful girl of seventeen, and in May, 1849, returned to England 
 having become partially blind, induced by excessive weeping. She 
 died in 1861. Mr. Knight was a musician, and died young. 
 
 THE SEASON OF 1829 
 
 M^s and was opened early in the year bv the 
 
 English, Gentlemen Canadian” and “Garrison Amateurs.” 
 
 
HISTRIONIC MONTREAL. 
 
 53 
 
 Ihe fact of three amateur clubs existing shows that consider- 
 able interest was beginning to be given to the drama. 
 
 The regular season of 1829 was opened up 3rd June, under 
 the management of 
 
 . VINCENT DE CAMP. 
 
 In his management of the theatre during the 1829 season, 
 Mr. De Camp was surrounded by Mr. and Mrs. Armand Ves- 
 tris, Alir. and Mrs. Knight, Mr. and Mrs. Achille, Clara Fisher, 
 Mrs. Fred. Brown and Messrs. Fisher and George Holland. 
 Mr. and Mrs. Vestris opened their engagement, which exten- 
 ded from 3rd to loth Jun’e, in “A Hundred Pound Note,’’ and 
 during the performance the Achilles appeared in their cele- 
 brated shawl dance,” the whole concluding with the fa/rce 
 of Alons. Tonson.” Mr. George Holland subsequently 
 made his appearance in The Lottery Ticket.” 
 
 The most important debut of the season was that of Clara 
 Fisher, 20th July, in The Belle’s Stratagem,” Miss Fisher 
 as Letitia Hardy^ and Mr. De Camp as Doricourt, 
 
 Following Miss Fisher’s first appearance came the come- 
 dies, “She Would and She Would Not,” “The Wonder,” 
 “The Invincibles,’’ and “A Bold Stroke for a Husband.’’ The 
 remainder of the season passed without interest. 
 
 Mrs. Knight began an engagement of four nights, 7th Sep- 
 tember, in “ Guy Mannering,” “ Fontainebleau ” and “ Le 
 IMariage de Figaro.” De Camp’s first season closed 26th, 
 v.ith a complimentary benefit to- his sister-in-law, Mrs. F. 
 Brown, when “ The Rivals ” was staged. On this occasion 
 the garrison amateurs lent their assistance. 
 
 VINCENT DE CAMP^ of the Theatre Royal, Drury Lane, and 
 Haymarket Theatre, London, was a brother-in-law to the great Chas. 
 Kemble and to Frederick Brown, and was known as a veteran of the 
 London stage, but in America he failed to make the impression he had 
 anticipated. He was born in Vienna, Austria, in 1777, and went to 
 England in early life with his father, who was a. musician. He first 
 appeared on the boards of Drury Lane Theatre in children parts, 
 but when he reached manhood made his regular debut as Vapour in 
 the farce of “ My Grandmother/’ He was for some time subsequently 
 considered a useful performer of fops, coxcombs and gay footmen. His 
 American debui was at the Park Theatre, New York, 24th Novem- 
 ber, 1823, as Gossamer in “Laugh when You Can” and The Three 
 Singles.” He had only recently given up the management of the 
 Bowery Theatre, New York, when he came to Montreal to assume 
 the management of the Theatre Royal. He last appeared in Mont- 
 
54 
 
 HISTRIONIC MONTREAL. 
 
 real in 1834* His last appearance in New York^ as an actor, was in 
 1828. During 1837-38, he played at Mobile, Ala., binder the manage- 
 ment of Ludlow and Smith, and died in Texas, 27th July, 1839* Dur- 
 ing one part of his life he had been a great London favorite, lived in 
 handsome style, kept his carriage, moved in good society and lived in 
 every way like a gentleman. He played the violin, and sang and 
 danced well. As he advanced in years, however, he displayed amusing 
 peculiarities, one of which was to deal in milk. At Mobile he was 
 known to rise early, deliver his milk in time to attend rehearsals, and 
 after the performance hurry away to do his milking for the next day’s 
 delivery. At the time of his death he was prospecting in Texas with 
 an idea of coming across an ideal El Dorado. 
 
 CLARA FISHER MAEDER was called the female Charles 
 Mathews of her day. She was born in England, 14th July, 1811, and 
 made her first appearance when at the age of eight, in a burlesque of 
 “Richard III,” at the Drury Lane Theatre, at once springing into 
 fame. 
 
 She came to America in 1827, first appearing at the Park Theatre in 
 New York, and after appearing at Boston and Philadelphia, came to 
 Montreal. The theatre-goer of the present day would find it difficult 
 to realize the extraordinary interest which Clara Fisher created in the 
 cities of the United States and Canada, and for a period of six or eight 
 years afterward, she was the favorite star of every city she visited. 
 Her “Hurrah for the Bonnets of Blue,” “The Dashing White Ser- 
 geant,” “Buy a Broom,” etc., became universally popular; her name 
 became a household word, children were named after her, and young 
 ladies affected her lisp and manner. 
 
 She not only performed leading parts with Cooper, Vandenhoff, 
 Forrest, Hamblin and Charles Kean, but also appeared prominently 
 in opera with the Woods, Mrs. Knight, Horn, Braham, Sinclair, Pear- 
 man, Miss George, and all the famous vocalists of her time. On the 
 Park stage she was the original representative of nearly fifty parts. 
 
 In December, 1834, she married James Gaspard Maeder, an Irish 
 musician, and at his instigation she ventured to appear in opera, but 
 with only qualified success. Mr. Maeder died 28th May, 1876. ' She 
 was seen in Montreal during several seasons, and latterly as a mem- 
 ber of the first Buckland regime stock company at the Theatre Royal, 
 in 1852 and 1854. Her sister, Ida (Mrs. Geo. Vernon), also a well- 
 known actress, was seen in the 1853 company here. Mrs. Maeder last 
 appeared on the stage in 1889, when she accepted an engagement with 
 Richard Mansfield’s company for ten months, but which only lasted 
 about ten days- Mrs. Maeder states that she could not get along with 
 Mr. Mansfield or he with her, somehow. She then became a member 
 of that part of Daly's company then travelling under the management 
 of Arthur Rehan. It was with this organization that she made her 
 last appearance, presenting Mrs. Jeremiah Johlots, in “ The Lottery of 
 Love,” at Baltimore, in 1899.” 
 
 She died at New Brunswick, N.J., 12th Nov., 1808, 
 
 
1 
 

HISTRIONIC MONTREAL. 
 
 55 
 
 THE ACHILLES came 'to New York in 1828. They were very 
 fine dancers, the Madam being by some thought fully equal to Hutin. 
 She was as graceful, but not as dexterous and daring. For many years 
 she kept a dancing school in New York, after having been deserted by 
 her husband, who became the part proprietor of a cafe in Marseilles. 
 
 GEORGE HOLLAND was distinctly an actor of the old school, 
 invariably introducing even into modern characters its traditions and 
 conventionlities; his effects vere broadly given, and his personality 
 was essentially comical. 
 
 He was born in London in 1791, adopting the stage as a profession 
 in 1817. Ten years later he appeared at the Bowery Theatre, and for 
 many years afterwards w^as recognized as a welcome star comedian. 
 He died 20th December, 1870. The Church of the Transfiguration 
 (Rev. Dr. Houghton) came into theatrical prominence by this event. 
 Joseph Jefferson, tells the story as follows : 
 
 “ Upon the announcement of the death of George Holland, T called 
 at the house of his family, who desired the funeral to take place from 
 the church. 
 
 'T at once started in quest of the minister, taking one of the sons of 
 Mr. Holland with me. On arriving at the house, I explained to the 
 Rev. Mr. Sabine the nature of my visit, and the arrangements were 
 made for the time and place at which the funeral was to be held- After 
 some hesitation he said that he would be compelled, if Mr. Holland 
 had been an actor, to decline holding the sei^dce at the church- 
 
 *T rose to leave the room with a mortification that I cannot remem- 
 ber to have felt before or since. I paused at the door and said : 
 
 “ ‘ Well, sir, in this dilemma is there no other church to which you 
 can direct me, from which my friend can be buried.” 
 
 “He replied that there was a little church around the corner 
 
 where I might get it done; to which I answered: 
 
 “ ‘ Then, if this be so, God bless the little church around the cor- 
 ner and so I left the house. 
 
 “ The minister had unwittingly performed an important christening,, 
 and his baptismal name of ‘ ‘The Little Church Around the Corner ” 
 clings to it to this day.” 
 
 So w^arm was the feeling on the subject of the dead comedian’s 
 treatment that the theatrical community organized special benefit per- 
 formances, by which $15,352.73 was raised and devoted to the sup- 
 port of the actor’s widow and children- 
 
 MADAME VESTRIS, nee Lucy Eliza Bartolozzi, born in 1797, 
 married Armand Vestris in 1813, and C. J. Mathews in 1838, when 
 she came to America and appeared at the Park Theatre. She last 
 appeared on the stage in 1854 in London, and died in 1856. She 
 was a fine musical comedienne. 
 
56 
 
 HISTRIONIC MONTREAL. 
 
 The same company with few exceptions 
 
 APPEARED IN I83O. 
 
 Miss Emery being a new acquisition. During the season 
 Clara Fisher again appeared as Lctitia Hardy in “The 
 Belle’s Stratagem,” Lady Teazle in the “School for Scandal,” 
 and other old English comedies. Among other pieces were 
 produced “Actress of All Work,” “The Four Mowbrays,” 
 “Man and Wife,” “The Spoiled Child,” “Tlie Wonder,” 
 *'The Invincibles,” “The Young Widow,” “The Rivals,’ 
 Le Alariage ^de Figaro” and “Fontainebleau,” in which 
 Mrs. Knight achieved considerable success. She made three 
 appearances from nth September. On 14th September Mr. 
 De Camp announced in the coluimns of the press his intention 
 of opening the theatre for a limited winter season of ten weeks 
 by subscription, giving two performances weeklv. Gentle- 
 men, 20 nights, boxes, $14 ; ladies, $12 ; pit, $7 and $6. The 
 venture was not successful, however, and Mr. De Camp closed 
 his season with a benefit to F. Brown, 17th September. The 
 Garrison Amateurs also tendered a benefit to Mr and Mrs. 
 Brown, 24th, with “The Rivals” as the bill. In November 
 Miss Emery, supported mostly by members of the circus com- 
 pany , gave Isabella ’ and “'f he Mountaineers.” In the 
 
 support appeared Messrs. Thos. Grierson, Schinotti and Mrs. 
 Kent. On nth November, Mr. Wells appeared in '“ Timour- 
 lane, the Tartar,” in which production the horses belonmno- 
 to the circus were introduced. This incident was much crith 
 cised by the press, who, “aware of the present low state in 
 dramatic taste in Montreal, should not profane boards con- 
 secrated to sock and buskin by equestrian performances.” 
 Wells also .^peared in “Cerenza.” This profanation of the 
 lemple of Thespis, however, resulted in profitable business 
 being done for a season of two weeks. The theatre was then 
 turned oyer to the Garrison Amateurs, who, on 20th Novem- 
 ber produced Morton’s “Speed the Plough.” The following 
 night Colrnan’s “ Heir-at-Law ” was presented for the bene*^ 
 fit of the General Hospital. During the month of August, 
 Mrs. Feron gave several concerts at the theatre. 
 
 MISS EMERY (Mrs. Burroughs), born in London, Eng., first 
 appeared on the stage at the Surrey Theatre in 1827- She promised 
 to be a great artist, playing tragic roles with grand effect. She was 
 a remarkably large and beautiful woman, but her life’s story was one 
 
 
HISTRIONIC MONTREAL. 
 
 57 
 
 of the saddest known in tlie annals of theatrical biography. Her first 
 appearance in America was at the Chestnut Street Theatre, Philadel- 
 phia. 31st October, 1827, as Belvidera. On 17th March^ 1828, she made 
 her New York debut at the Chatham Theatre. Her remarkable tal- 
 ents were not appreciated in America, probably owing to the condi- 
 tion of a rather over-crowded stage as much as to becoming enslaved 
 by alcohol. Step by step she declined; her magnificent wardrobe was 
 sold, and in time her lodgings were in a miserable garret. This once 
 brilliant and magnificent woman was latterly a well-known street fig- 
 ure, begging stray quarters from former associates in the profession. 
 Her death, in 1832, occurred under pitiful circumstances, resulting 
 from a quarrel with a couple of drunken creatures- She managed to 
 drag herself to a market-house, and laid down and died. 
 
 MRS. FERON was the most celebrated European vocalist who had 
 up to this time visited America. She was a brilliant singer of the most 
 florid Italian school. She has been engaged at the San Carlos Theatre 
 at Naples at a salary of $ 5 , 000, but in this country did not 
 create a great sensation, being neither young nor beautiful, the lack 
 of which attributes was just as unfortunate for the singer seventy 
 years ago as it is to-day. 
 
 MR. SCHINOTTI used to glide through an Indian war dance with 
 native character well marked- He was also a clever pantomimist. 
 His Avife died in 1829, in her twent}^-second year. 
 
 WILLIAM G. WELLS, born in London, came to America in 1827. 
 He was a clever dancer and ballet master, dancing in connection with 
 his sister, who was a pretty little creature. She subsequently married 
 and, returning to England in 1846, soon after died. Wells retired 
 from the mimic scene early and taught dancing in Pittsburg. He 
 died in Mexico in 1841. 
 
 THOS. GRIERSON came to this country on the Britannia,’' 
 having as compagnons de voyage Mrs. John Drew, then Louisa Lane, 
 aged seven, her mother and Master and Miss Wells, dancers. 
 Mrs. Drew records that they enjoyed an exceptionally fine voyage of 
 four weeks, landing in New York, 7th June, 1827. 
 
 Grierson was a tall and rather ungainly young actor at this time, 
 v/ith ambitious aspirations for tragic walks, although unassuming in 
 his general demeanor. He was a native of Liverpool, and like all Eng- 
 lish actors, was accurate and diligent in his methods. He did not re- 
 main long in this country, returning to England, where he inherited 
 property from his mother, which made him comfortable for the few 
 years he lived. 
 
 THE SEASON OF 183I 
 
 was notable for the appearance here of Mr. and Mrs. Wm. R. 
 Blake, Mrs. Charles Bernard, Jas. H. Hackett, Mr. and Mrs. 
 Fred. Brown, V. De Camp, R. C. Maywood, E. Forrest, W. 
 
HISTRIONIC MONTREAL. 
 
 Duffy and Clara Fisher. The Garrison Amateurs and the 
 \ Scotch Amateurs also gave representations, the former pro- 
 ducing “ A Roland fo.r an Oliver’’ and The Miller and His 
 Men,” I2th January, for ihe benefit of tire General HcspitaU 
 and “The Honeym.oDn,” 12th February. The Scotch /ama- 
 teurs presented Allan Ramsay’s “Ihe Gentle Shepherd’ and 
 '‘Village Lawyer” on the i8th of March, the proceeds also 
 going to the General Hospital. 
 
 '^|The City Amateurs produced ‘‘ Barbarossa ” on the 14th 
 April, for the benefit of the Orphan Asylum. Mr. and Mrs. 
 Knight were given a benefit on the 23rd June, in “ Luke the 
 Laborer” and Pocock’s “Zembuca,” taking another benefit 
 on the 25th in “ Spectre Bridegroom.” 
 
 Vincent De Camp was again at the head of affairs when the 
 season opened on the 4th of July. The opening bill was “Vir* 
 ginius,’’ with Frederick Brown in the titl’e role. He appeared, 
 7th, in “ Damon and Pythias.” “ The Dramatist ” was pre- 
 sented on the 9th, together with The Lottery Ticket,” De 
 Camp assuming the role of Wormzuood. The f^atuie of the 
 season was the initial bow in Montreal of Mr. and ]\Irs. Wm. 
 Rufus Blake on the nth July, in Tobin’s “ Honeymoon.” 
 They subsequently appeared in “Paul Pry,” “Katherine and 
 Petruchio,” “The Road to Ruin,” “The Stranger,” “The 
 Gamblers Fate,” and “The Spoiled Child,” in which Mrs. 
 Charles Bernard appeared. Another important event oc- 
 • curred when James H. Hackett made his debut here, on the 
 22nd of July, as Solomon Szvap in “Jonathan in England.” 
 Hackett appeared 28th, at a benefit performance to the 
 Blakes in “Speed the Plough,” and, 29th, in “Rip Van 
 Winkle ” and “ Down East.” 
 
 “Piz3rro” was staged 30th, with the following cast, made 
 especially interesting in including the name of Edwin For- 
 rest, destined to become America’s greatest representative 
 of rurged tragedv : Fizirro, Edwin Forrest ; Rclla, Fred 
 Brown ; Alonzo, Wm. Duffy ; Elvira, Mrs. F. Brown ; Cora, 
 j\Jrs. C. Bernard. The Blakes made their farewell appear- 
 ance, 1st August, in “Wives As They Were.” 
 
 “ Othello,” with Forrest as the Moor, Brown as I ago, Duffy 
 as Cassio, Mrs. Brown as Desdcmona, and Mrs. Bernard as 
 Emclia, was produced 2nd August. Mrs. Bernard took a 
 benefit 3rd August in “ Ambroise Gwinnett.” Ambroise 
 Gzdnnctt, Mr. Wm. Duffy ; Ned Gayling, Mr. Edwin Forrest ; 
 Lucy Fondlove, Mrs. Charles Bernard. Forrest and Duffy 
 were seen, 4th, as Damon and Pythias respectively. 
 
 

 EDWIN FORREST 
 
HISTRIONIC MONTREAL. 
 
 59 
 
 Mr. and Mrs. Hackett closed 6th August, in “The Comedy 
 of Errors.’’ Cast: Antipholus of SyracusCy Mr. Preston; Anli- 
 plioliis of Ephesus y Mr. Hardy ; Dromio of Syracuse y M-r. De 
 Camp ; Dromio of Ephesus y Mr. Hackett ; AdrianOy Mrs. Hac- 
 kett; with “Giovanni in London” as the after-piece, Hackett 
 in the title role. Mrs. Brown had a benefit, 15th, in “The 
 Honeymoon” ard “ Family Jars,” assisted by the members of 
 the “ Busldn_ .Club.’’ Whatever induced Forrest to visit 
 Montreal, unless to accompany his friend Duffy on a summer 
 tour, we are not likely to ever know. He was then in his 
 twenty-fifth year, and had already made his mark in the 
 United States, having been a star since 1825. During the 
 October following his incursion to Montreal, Forrest first pro- 
 duced “ The Gladiator ” in Philadelphia. Clara Fisher and 
 F. Brown were seen in “The Wonder,” i6di, ao Vioiantc and 
 Don Felix; “Therese,” i8th; “The Miller’s Maid,” 22iid; 
 “The Idiot Witness,” 24th. 
 
 Charles Kean, son of Edmund Kean, made his first appear- 
 ance in Montreal, 25th August, as Sir Giles Overreach in 
 Massinger’s “ A New Way to Pay Old Debts,” and farce, 
 “ Lovers’ Quarrels.” He was seen as Shylocky 26th. De 
 Camp had a benefit, 27th, in M. G. Lewis’ play, “Castle 
 Spectre,” on which occasion Mrs. Hughes (late Mrs. Young) 
 made her first appearance as Mrs. Hughes in the character 
 of Angela. This closed the season, but Charles Kean was re- 
 engaged from 3rd to 20th October, appearing in Richard; 
 Othello y 4th ; Hamlet y 7th ; Sir Giles y 8th ; Mortimer, 12th ; 
 The Stranger, 14th ; Othello, 15 b; and, by command of His 
 Excellency, Lord Aylmer, “ Richard III.,” i8th, with a pre- 
 lude, “ Pay Me for My Eye”; and, again by command, Ham- 
 let, 20th. This was his last appearance. A benefit to Essen- 
 der and Hardy, under the patronage of Col. Macintosh, was 
 tendered, 22nd, in “Paul Pry” and “The Irish Tutor.” 
 
 Late in the season the celebrated Lydia Kelly had large 
 audiences for a short season, after a very successful American 
 sojourn. From Quebec she returned to England. 
 
 EDWIN FORREST was, by Lawrence Barrett, conceded to be 
 greatest in such Shakespearean characters as Lear, Othello and Corio- 
 lanus. He was greater, however, in such roles as Vtrginms, Spat tacus, 
 IVillian Tell and Metamora. Poor Forrest never felt a happ}’ moment 
 after his wife’s base ingratitude had rent his great soul, and as he 
 grew older, other kings had arisen on the stage, to whom his old sub- 
 
6o 
 
 HISTRIONIC MONTREAL. 
 
 jects showed a reverence once all his own; the mocker}^ of his diadem 
 only remained. Sitting after a performance of “ King Lear one 
 nighty a friend complimented him on his playing of the role. Where- 
 upon the veteran, feeble in health, almost indignantly replied, rising 
 slowly, and even laboriously from his chair, to his full height: 
 
 Play Lear ! I play Hamlet, Shylock, if you please ; but, by God, I am 
 Lear Nor was this wholly imaginative. Had his suit succeeded 
 when he tried to secure the hand of Jane Placide, very different would 
 have been his lot. Edwin Forrest was the first American ^cjtor _of 
 greatness to appear on the English stage, on 17th October, 1836. Then 
 he was praised and welcomed by Macready, but when the latter visit- 
 ed America seven years later for the second time, and found himself 
 compared unfavorably with the robust Forrest, envy entered his 
 heart. In 1845 it found its vent, or at least Forrest thought it did, 
 in influencing the English writers against the American actor during 
 the latter’s second visit. No one persisted in unjust persecution of 
 the visitor more than Macready’s particular friend, Forster, the critic 
 of the London Examiner. He went so far as to review Forrest’s work 
 as follows: ‘‘An old friend, Mr. Forrest, afforded great amusement to 
 the public by his performance of ‘Macbeth’ on Friday evening, at 
 the Princess Theatre. Indeed, our best comic actors do not often ex- 
 cite so great a quantity of mirth. The change from an inaudible mur- 
 mur to a thunder of sound was enormous, but the grand feature was 
 the combat, in which he stood scraping his word against that of 
 Macduff. We were at a loss to know what this gesture meant, till an 
 enlightened critic in the gallery shouted out, ‘That’s right, sharpen 
 it !’ ” 
 
 Forrest called on Macready no more, and, unfortunately for both, 
 during a performance of “Hamlet” by the Englishman at Edinburgh, 
 Forrest injudiciously hissed some of the business in the play scene. 
 Then the storm burst. England and America tossed the question of 
 courtesy back and forth, and international feelings ran high. The 
 climax was reached during Macreadj^’s last visit to America, when 
 occurred the disgraceful riots at Astor Place Opera House, New 
 York, loth May, 1849. Macready was presenting “Macbeth” on this 
 occasion. The rioters bro'ke all the windows and doors of the 
 theatre. 
 
 The militia was called out to quell the disturbance, and, after the 
 Riot Act had been read twenty times, command was given to fire a 
 volley. Twenty-one people were killed, thirty-three wounded and 
 sixty-three were placed under arrest. 
 
 F:rrest’s last public appearance was in Boston as a reader of 
 “Othello.” While the audience was dispersing, the doorkeeper said: 
 “ I hope we shall have you with lus long, Mr. Forrest.” “'Oh, yes, he 
 replied, “ all week.” “I didn’t mean, here in Boston, but in the 
 world* Ah, as to that,” rejoined the old tragedian, “how uncertainn 
 and vague it all is !” The next week he was dead. He died of apo- 
 plexy on the I2th of December, 1872. Mr. Forrest accumulated a vast 
 
 
HISTRIONIC MONTREAL. 
 
 6 r 
 
 fortune and established the institution for aged actors^ called “ The 
 Forrest. Home.” 
 
 May the remembrance of his follies not check a tear that should 
 flow to his memory, for who is faultless ?” 
 
 WILLIAM DUFFY and Mr. Forrest were great friends. He play- 
 ed secondary parts to Forrest before entering into a managerial career, 
 and it is said that, had he chosen to star instead, he would have 
 been a great actor. He was born in Albany in 1803. His parents 
 came from Londonderry, Ireland. He first joined Caldwell’s com- 
 pany in the South, but his regular debut was made in Albany, 19th 
 July, 1827, as Bertram. He afterwards managed theatres at Albany 
 and Philadelphia. He was murdered in 1835, by an actor named Ham- 
 ilton, who was afterwards acquitted. 
 
 JAMES HENRY HACKETT was essentially a comedian, although 
 he attained some distinction as a tragedian. His principal comedy 
 characters were Justice Woodcock, Sylvester Daggerzvood, Mons. Mor- 
 bleau, Dromio, Rip Van Winkle, Nimrod, Wildfire, McSycophanf, and, far 
 beyond all others, Falstaff. 
 
 He played Lear and Hamlet in 1840 for the first time, and very sel- 
 dom thereafter, for he made no impression in tragic parts- This 
 comedian was born in New York, 15th March, 1800. At the age of 
 nineteen he married the actress, Catherine Lee Sugg, who died in 
 1840. In 1866 Mr. Hackett contracted a second marriage, and died 
 in 1871, survived by his widow and son, James K. Hackett, now a 
 prominent star. 
 
 MR. and MRS. BLAKE. — William Rufus Blake was born in 1805 
 at Halifax, N.S., where he was educated, and made his first essay as an 
 actor as the Prince of Wales in “ Richard III.” He made his New 
 York debut as Frederick in “The Poor Gentleman ” in 1824. A year 
 later he married Mrs. Waring- He starred not only in America, but 
 also in England. While playing Sir Peter Teasle at Boston, 21st April, 
 1863, he was taken suddenly ill and died the next day- He was of fine 
 appearance when young, but after reaching forty, he became corpulent, 
 which obliged him to change the roles of sighing lovers to those of 
 old men, in which he was excellent. Mrs. Blake, nee Caroline Pla- 
 cide, sister to Henry and Thos. Placide, was born (1798), at Charles- 
 ton, S. C. In 1812 she married Leigh Waring, an English light com- 
 edian, who died five years later. She was an excellent I.ady TeaHe, 
 which she played to her husband’s Sir Peter. 
 
 MRS. CHARLES BERNARD married a circus clown, named 
 Walter Williams, who was commanding a large salary, but she soon 
 wearied' of him and was divorced. Her maiden name was Tilden. and 
 she came of a well-connected Baltimore family, but the death of her 
 father led to her mother adopting the stage, and Miss Tilden in time 
 followed. In 1824 we find her playing at Charleston, S.C., and in 
 
62 
 
 HISTRIONIC MONTREAL. 
 
 I8i8 was married to Charles Bernard, a descendant of John Bernard. 
 He however, soon died of consumption, and Mis. Bernard tiied a 
 third husband in the person of Dr. Tucker, of Philadelphia. She was 
 a fine looking and dashing actress of general comedy parts. 
 
 LYDIA KELLY, one of the greatest melo-dramatic actresses of her 
 day,- was the daughter of Captain Kelly, known as “ facetious Joe.” 
 Meeting with great success in London, she came to America, wncre, at 
 the Park Theatre, New York, she proved to be a strong card, from 
 17th Sept., 1824, until 26th July, 1831. Upon returning to England, 
 she married a French baron. 
 
 CHARLES JOHN KEAN was the second but only surviving son 
 of that great genius, Edmund Kean, and was born at Waterford, Ire- 
 land, i8th January, i8ii. . The fortunes of his father at this time were 
 at their lowest ebb, but the tide changed, when, in his third year, 
 his father came home, flushed with his triumph at Drury Lane, and 
 exclaimed: “ Charley, my boy, you shall go to Eton.” It was not un- 
 til 1824 that he was entered at Eton. 
 
 . His father’s reverses obliged him to discontinue his studies three 
 years later, and in order to provide for his mother he embraced the 
 stage as a profession, making his first appearance at Drury Lane, ist 
 October, 1827, in the character of NorraL in “Douglass.” The press 
 gave him no encouragement, but he persisted and won some applause 
 in the provinces. He came to America in 1830, appearing as Richard, 
 in the fall, at the Park Theatre. He was in his twenty-first year 
 I when he visited Montreal. On his return to England in January, 1833, 
 he fulfilled several short engagements, and on 25th March was the 
 Jago to his father’s Othello, at Covent Garden, when the sire collapsed* 
 Charles Kean soon became a provincial favorite, and by 1838 was 
 recognized in the metropolis as well. He again visited America in 
 1839, and married Ellen Tree in 1842. 
 
 In 1846 they ventured on a production in America of ^‘King John ” 
 and “Richard III,” on a scale of splendor never before witnessed in 
 this country, and conceived the idea of giving those spectacular pre- 
 sentments,. chiefly Shakespearean, that suit all the world, to the Prin- 
 cess Theatre, in 1850, and which continued for a period of nine years. 
 In 1849 Kean lost the mother he loved so much. Mrs. Kean thought 
 her Charles the greatest actor that ever lived, not excepting his father. 
 This opinion the dear old lady sought to impress on all visitors and 
 friends. Kean once gave a dinner party to some distinguished per- 
 sons, and begged his mother to abstain from her usual enconiums at 
 table. This she promised, but her son, to make sure, arranged that 
 if she forgot he would touch his shirt collar as a warning. 
 
 At dinner a noble lord was seated next to Mrs. Kean. They dis- 
 cussed various topics of the day, politics, etc. His lordship spoke in 
 praise of Macready’s Richelieu. This fired Mrs. Kean. 
 

 CHARLES JOHN KEAN. 
 
 (Gloster.) 
 
 From a painting by Reid, in the possession of John Tullis & Co. 
 
 1 
 
HISTRIONIC MONTREAL. 
 
 63 
 
 “ My Charles is — 
 
 (Shirt collar touched — pause.) 
 
 “ Yes?"’ exclaimed the lord. 
 
 “Is the best — ” continued Mrs. Kean- 
 (Collar raised again— another pause) 
 
 “Beg pardon/’ said the lord. 
 
 “ Well, then, my Charles is the best actor that ever trod. There ! 
 It is out, Charles, and it’s no use to pull your cellar up to your eyes.” 
 In 1863 Mr. and Mrs. Kean set out on a tour around the world, 
 taking in America on their return route in 1865, Kean paying a visit 
 to Montreal after an absence of 32 years. Their farewell appearance 
 was in May, 1867, at Liverpool. Kean died 22nd Jan., 1868, his wife 
 surviving him twelve years. 
 
 Chas. Kean had by nature every bad quality an actor could possess 
 —a bad figure and voice and an impediment in his speech. But he had 
 ' fine taste and an iron will; tireless industry, and, if he had no genius, 
 he had sphndid talents with ambition as high as Hope’s great throb- 
 bing star above the darkness of the night. 
 
 MRS. HUGHES was born near Albany in 1792, of humble parent- 
 age, and in her early life her father moved to Montreal. She was no- 
 ticed by John Bernard during a visit here, and four years later became 
 his leading lady, when he opened up the Albany Theatre, i8th Jan- 
 uary, 1813. Her first husband died in Albany, and sh^afterwards 
 married Mr. Hughes. Her career was a long and successful one, and 
 she became an actress of the first rank. As she advanced in years 
 she played “old women” at ^Burton’s, for many years, and on 14th 
 June, 1852, was given a benefit there, being announced as the oldest 
 native actress on the stage. She retired in i860 to her farm, near 
 Sandy Hill, N.Y., where she died 15th April, 1867, from the effects of 
 an accident. 
 
 MR. HUGHES possessed classical features, and a noble figure, 
 standing six feet higii. He had an excellent education and a mind 
 well stored with extensive reading, tne intellectual evidence of which 
 was made manifest in his conversation. He was well known on the 
 Boston and Philadelphia stage. His Pizarro was excellent, as was 
 also his Henry IV. He died in the South, his wife surviving him. 
 Hon. Charles Hughes, State Senator of New York, is their son. 
 
 The frightful epidemic of 
 
 CHOLERA IN 1832 
 
 which killed S’everal hundreds of Montreal’s citizens practic- 
 ally suppressed theatricals that year. On ,9th April a concert 
 was given by Mr. and Mrs. Anderson, of Drury Lane Theatre 
 and the Italian Opera House, London, in the parlors of the 
 British American Hotel. A few amateur performances were 
 ^ also given. 
 
64 
 
 HISTRIONIC MONTREAL. 
 
 THE SEASON OF 1833 
 
 was an especially notable one, introducing to Montreal ^tlie 
 great Charles K»emble and his daughter, Fanny Kemble, fhe 
 Bro^vns and R. C. Maywood finished a short season in July, 
 being followed, 24th, by the Kembles. Their brcther-in-liw, 
 De Camp, was the manager during the season. In the sup- 
 port w'ere Messrs. Barton, C. K. Mason, Knight, and C. Mes- 
 tayer; Misses Clara Fisher, Meadows (pupil of Mrs. Brown), 
 Mestayer and Smith and Mrs. Sefton. The opening i>erform- 
 ance was in Venice Preserved ’’ : /a^cT, Mr. Kemble ; 
 Pierre, Mr. Barton ; Belvidera, Fanny Kemble. On the 25th 
 the bill was “ Fazio,” in which Mr. Kemble did not appear, 
 he deeming the title role insufficiently prominent. It was as- 
 sumed by Mr. Barton ; Bianea, Fanny Kemble ; Abdobella, 
 Miss Smith; Clara, Mrs. Sefton. The Wonder, 26th ; 
 
 The Gamester,” 29th ; The Stranger,” 30th ; Much Ado 
 About Nothing,” August i, with Kemble as Benediet, Fanny 
 Kemble as Beatriee, and De Camp as Claudio. ^‘The School 
 for Scandal ” followed, 2nd, and the engagement closed, 3rd, 
 with ScotPs ‘‘The Lady of the Lake.” It is recorded that the 
 houses were so crowded that people sat on the stage. 
 
 The Kembles visited Quebec after terminating their Mont- 
 real engagement, and played there for two weeks, but re- 
 ( ^ ^ appeared during August in a couple of performances. 
 
 John Sinclair, of the Theatre Royal, Drury Lane, gave a 
 concert, i6th August, assisted by Messrs. Madotti, Signor 
 Cioffi, Kyle, Herwig and Greenwood. It was repeated 19th. 
 
 The theatrical season re-opened after the company’s return 
 from Quebec, 22nd August, with ‘‘The ]\Iaid of Milan” and 
 “ Katherine and Petruchio,” with Mrs. Brown and Mr. Bar- 
 ton in the title roles of the after-piece. ” Guy Mannering ” 
 and “The Day After the Wedding” were also produced. 
 
 Fanny Kemble was the means of preventing the elder 
 Charles Mathews from visiting Montreal in 1834-5. In reply 
 to his inquiry as to conditions theatrically in Canada, she 
 wrote the following letter to him, under date of 21st Decem- 
 ber, 1834 : 
 
 “We went to Canada, I believe, upon the same terms as everywhere 
 else — a division of profits. Vincent de Camp had the theatres there, 
 and of all the horrible strolling concerns I could ever imagine, his 
 company and scenery and getting-ups were the w'orst. He has not 
 got those theatres now, I believe, but they are generally open only for 
 a short lime, and by persons as little capable of bringing forward de- 
 
 
CHARLES KEMBLE. 
 
 I 
 
HISTRIONIC MONTREAL. 
 
 65 
 
 cent dramatic representations as he, poor fellow, was. You are, how- 
 ever, so much less dependent upon others than we were for success. 
 Heaven knows the company would have been blackguardly represen- 
 tatives of the gentry in “Tom and Jerry;” you can fancy that they 
 were in heroicals. Our houses were good; so, I think, yours would 
 be; but though I am sure you would not have to complain of want of 
 hospitality, either in Montreal or Quebec, the unspeakable dirt and 
 discomfort of the inns, the scarcity of eatables and the abundance of 
 eaters (fleas, bugs, etcO» together with the wicked (limb) dislocating 
 road from St. Johns to Laprairie would make up a sum of suffering, 
 for which it would be difficult to find adequate compensation. In the 
 summer, the beauty of the scenery going down {f) the St. Lawrence 
 to Montreal, and of the whole country around Quebec, might, in some 
 measure, counterbalance these evils. But unless Mrs. Mathews^ and 
 your own health were tolerably good at the time, the hourly incon- 
 veniences you would have to endure would render an expedition to 
 the Canadas anything but desirable. The heat while we were in 
 Montreal was intolerable — the filth intolerable — the bugs intolerable — 
 the people intolerable— the jargon they speak intolerable. I lifted 
 mv hands in thankfulness when I again set foot in these United States. 
 The only inn existing at Montreal was burned down three years ago, 
 and everything you ask for was burnt down in it-'’ 
 
 Wliew ! What a roasting ! Mr. Mathews, whose health 
 was in a precarious condition, preferred not to undertake so 
 arduous a journey. He died 28th June, 1835, shortly after 
 his return to England. 
 
 MR. BARTON^ the tragedian, came to America in 1830. He was 
 an Englishman, and met with some success in this country. He was 
 a gentleman in every sense of the word, and a sensible and classical 
 artist. He was very particular as to stage business, and was enthusi- 
 astically fond of his profession, He acted as stage manager for James 
 H. Caldwell at New Orleans. His last appearance in this country 
 was at New York in 1839, after which he returned to England. He 
 wqs unfortunate in suffering from intense nervousness, as well as 
 asthmatic troubles, which eventually caused his death, in 1848. It was 
 at his suggestion that the great Charlotte Cushman first undertook 
 the study of serious roles. 
 
 CHARLES KEMBLE, one of the most notable acto'rs who ever 
 came to Montreal, was born 25th Nov., 1775 , and received his educa- 
 tion at Douai. His first regular stage appearance was as Orlando, at 
 Sheffield. In 1806 he married Maria Theresa, a sister of Vincent De 
 Camp. As an actor, he became excellent in a line of characters which 
 he made his own in such roles as Archer, Doricourt, Charles Surface 
 and Ranger. His Laertes and Falconbridge were equal to the Hamlet 
 and Coriolamis of his brother, John P. Kemble, and his as fine 
 
 as the Othello of Kean or the logo of Cooke. His imposing person, 
 classical countenance and tuneful voice enabled him to be also highly 
 successful in the lighter tragic roles. Attempts at management of 
 Covent Garden Theatre resulted in severe loss, but he was saved from 
 
 5 
 
66 
 
 HISTRIONIC MONTREAL. 
 
 ruin by the talents of his daughter, Fanny, who enabled him to pay off 
 debts of $60,000. She accompanied him to America in Sept., 1832, to 
 reap a golden harvest. Returning to England in 1835 he engaged 
 chiefly in giving readings from Shakespeare, frequently by royal com- 
 mand, but increasing deafness compelled his retirement- Mrs. Kem- 
 ble died in 1838, and in 1841 a loss of $20,000, which he had invested 
 in the United States Bank added to his misfortunes. He was ap- 
 pointed examiner of plays by the Lord Chamberlain, and held this 
 office up to the time of his death, 12th Nov., 1854. 
 
 TRANCES ANNE KEMBLE, beautiful and gifted, was the daugh- 
 ter of Charles Kemble, the grand-daughter of Roger, and niece to 
 John Phillip, George Stephen Kemble, and their sister, the great Mrs. 
 Sarah Siddons. Fanny, as she was called, was born m London, 27th 
 Nov 1809. The fortunes of her father being at a low ebb she went 
 on the stage, making her debut as Juliet to the Romeo of Wm. Abbott, 
 at Covent Garden, 5th Oct., 1829. For nearly three years she attracted 
 large audiences which replenished her father’s exhausted treasury, by 
 her splendid talents, which were equally appreciated on an American 
 tour in 1832-33. In the full tide of triumphant success she left the 
 stage in 1834, to make an unhappy alliance with Pierce Butler, of Phi- 
 ladelphia, who took her— an ardent abolitionist — to his Georgian 
 plantation. In 1845 she became divorced from Mr. Butler, and in 
 the company of her sister, Adelaide Kemble Sartoris (died 1879), un- 
 dertook continental travel until 1847, when she commenced her famous 
 readings, with unvarying success both in America and in England. 
 The last of these was given in Steinway Hall, New York, in Oct., 1868. 
 Mrs. Kemble-Buitler died at her daughter’s residence in London, 
 15th January, 1893. 
 
 CHARLES KEMBLE MASON, nephew of Charles Kemble, was 
 born in England in 1805, and became a well-known Co^'ent Txarden 
 Theatre favorite. His first New York appearance was as Beverley, 
 at the Park Theatre, 4th Dec., 1839. His last regular engagement was 
 in support of Mrs. Scott Siddons, in 1869- 
 
 JOHN SINCLAIR was the father of Catherine Sinclair, who mar- 
 ried Edwin Forrest in 1837. He was born at Edinburgh in 1790, and 
 died in 1857. 
 
 THEATRICALS IN 1834 
 
 were at a low ebb, and the professional season short and 
 profitable. The military amateurs presented several of the old'd 
 favorite pieces, but a second outbreak of the cholera rendered ,1 
 further theatrical representations impracticable. 
 
 THE SEASON OF 1835 
 
 was marked by the appearance of a number of people new to 
 the city, the principal being Tyrone Power, the famous Irish 
 
 
FANNY KEMBLE, 
 
HISTRIONIC MONTREAL. 
 
 ^7 
 
 songster and comedian. The use of the theatre was tendered 
 gratuitously by the Hon. John Molson, 9th April, to the ama- 
 teurs of the 24th Regiment, when “The Miller and His Men’^ 
 and “The Irishman in London’’ were produced for the bene- 
 fit of the theatrical fund. The principals were Sergt. Malin, 
 Corp. Greer, Nickinson and Fields. Greer spoke a prologue 
 of some forty lines. 
 
 The regular season was opened under Mr. Logan’s man- 
 agement, 5th June, when Tyrone Power made his first appear- 
 ance here in the character of Miirtoch Delaney, in which he in- 
 troduced the song, “The Boys of Kilkenny.” He also ap- 
 peared as Terry O^Rourke alias Dr. O^Toole, and sang “The 
 Groves of Blarney.” “The Irish Tutor” was also given. 
 IlMrs. Rogers was the chief support, and the amateurs assisted^ 
 On nth June Power made his second and last appearance as 
 Sir Patrick O'Plenipo in “The Irish Ambassador” and farce 
 of “The Review.” On this occasion Mrs. Spider, being 
 indisposed, a gentleman amateur was called to assume her 
 role, but Power protested, and Mrs. Spider finally consented 
 to appear, id as she was. Power’s action highly incensed 
 the amateurs, but everything was finally amicably arranged. 
 
 At the close of Power’s season. Manager Logan left for the 
 United States to ascertain the cause of the delay of the new 
 company’s arrival, with the result that he entered into ar- 
 rangements with the principal performers of the Chestnut 
 Street Theatre Company, Philadelphia. In addition to the 
 members of the stock company, he announced the engage- 
 ment of Madame Celeste, the famous danseuse and panto- 
 mimist. The regular company included Mr. and Mrs. Row- 
 botham, Mr. and Mrs. Rogers, E. Hamilton, Thorne, Picker- 
 ing and Logan. On iith July “The Honeymoon, and farce 
 “Turn Him Out,” were played to poor business. Subse- 
 quent performances were in “ Charles II., ’ ‘ The Hunch- 
 back,” “ School for Scandal,” “The French Spy,” and on 21st 
 Tilly Madam-e Celeste made her Montreal debut in ‘‘The 
 Wizard Skiff,” and on 24th “The Wept of the Wishton 
 Wish.” This piece closed the season 31st July. Logan and 
 the company then left for Quebec. On their return a benefit 
 was tendered Mrs. Rogers in “The Heir-at-Law,’ 25th Aug- 
 ust. The season had not been remunerative to Logan. Mr. 
 and Mrs. Rogers had come here directly from Ireland, where 
 
68 
 
 HISTRIONIC MONTREAL. 
 
 they both enjoyed a large share of public favor, and had been 
 ncticed most prominently in the Irish press. This was the 
 first instance of an actress of Mrs. Rogers’ pretensions hav- 
 ing chosen the British province for her debut. A perform- 
 ance of “ The Heir-at-Law ” was given with the assistance of 
 the Garrison Amateurs, and on September ist a benefit was 
 again given to the Ro'gers, shared by E. Hamilton, of the 
 Philadelphia theatre. “Black Eyed Susan” and “Love in 
 Humble Life ’’ were the bills. 
 
 During the month of July, J. W. S. Hows gave a reading 
 from Shakespeare at Rascoe’s Hotel, where also appeared the 
 Siamese Twins. 
 
 About this time began to flourish 
 
 
 THE MILITARY THEATRE, 
 
 situated in a secluded spot in the Artillery Barrack Yard. It 
 was of modest dimensions, yet very well equipped with the 
 requisite appurtenances; the officers, commissioned and non- 
 commissioned taking part. On 15th September, 1835, ‘‘The 
 Maid of Gen^a ” was produced at this playhous'e by the am- 
 ateurs of the 32nd Regiment, and on the 13th November they 
 again appeared in “ The Innkeeper of Abbevill'e,’’ repeated 
 1 6th. 
 
 THE SIAMESE TWINS, Chang and Eng, were born at Banga- 
 sean, Siam, 15th April, 1811, and died near Mount Airy, N.C., 17th 
 January, 1874. Their father was Chinese, and their mother Chino- 
 Siamese. They came to America in 1825, and were exhibited here 
 and in England twenty-five years. After accumulating $80,000, they 
 settled as farmers in North Carolina. In 1866 the}" married two sis- 
 ters, by whom they had eleven children, Chang six, and Eng five. 
 Two of these were deaf and dumb, but the others had no malforma- 
 tions or infirmities. After the war they again resorted to public exhi- 
 bitions, but were not very successful. Their lives were embittered by 
 their own quarrels and the bickering of their wives. They returned 
 home with their tempers much soured and their spirits greatly de- 
 pressed after a declaration by the most skilful and eminent European 
 physicians that the severing of the band (which they desired) would 
 prove fatal. Notwithstanding this, they always maintained a high 
 character for integrity and fair dealings, and were esteemed by their 
 neighbors. In 1870 Chang had a paralytic stroke and was weak and 
 ill, while Engs health was much improved. Chang died first, probably 
 of a cerebral clot, during the night, and when Eng awoke and found 
 his brother dead, his fright, together with the nervous shock acting 
 
HISTRIONIC MONTREAL. 
 
 69 
 
 on an enfeebled heart, caused a syncope, which resulted fatally two 
 and a half hours later. The twins differed considerably in size and 
 strength, as well as disposition, Chang being considerably the larger 
 and stronger, but also the more irritable and intemperate. Their bo- 
 dies were taken to Philadelphia, where a careful examination showed 
 that a division of the band would have been fatal to both. 
 
 JOHN W. S, HOWS first appeared on the stage in New York, in 
 1835, as Shylock, but retired, and for many years taught elocution. 
 
 MARIE CELESTE, born in Paris, i6th August, 1814, made her 
 first appearance on any stage at the Bowery Theatre, New York, in 
 1827, as a dancer. A year later she married Henry Elliott, the son of 
 a wealthy farmer, who soon spent all his money and separated from 
 his wife. She returned to England and made a high reputation as an 
 actress in melodrama. She revisited America in 1851, and again in 
 1865; retired from the stage in 1866, but appeared again in London in 
 1874. She died in Paris, 12th Feb., 1882. 
 
 H. H. ROWBOTHAM was born in Bath, England. He was a 
 good actor in a wide range of parts. His first American appearance 
 was in Philadelphia, 13th May, 1828, in “Jane Shore.” His Rob Roy 
 was a very good performance, and although his tragic powers were 
 not of the first rank, yet he often soared above mediocrity- He died 
 in Philadelphia, where he had been connected with the management 
 of the Chestnut Street Theatre, 14th February, 1837. He was very 
 concientious and honest in his dealings. 
 
 MRS. ROWBOTHAM was originally a dancer at the Italian Opera 
 House, London- She was a handsome woman, and was always re- 
 ceived by the public with delight. Her maiden name was Johannot, 
 and she was born in London. In Philadelphia she was a great fav- 
 orite. In 1838 she married Robert Hamilton, and died a year later. 
 
 TYRONE POWER was born at Kilmacthomas, Ireland, in 1797, 
 and made his professional debut at Newport as Alonso in “Pizarro” 
 in 1815. 
 
 He married two years later, and becoming possessed of his wife s 
 fortune, left the stage in 1818. Unfortunate speculations forced him 
 to return to the stage, when he made his first appearance at London, 
 in 1822, in “ Man and Wife.” He first appeared on the American 
 fstage. 28th August, 1833, at the Park Theatre, New York, as Sir 
 Patrick O'Plenipo and Teddy the Tiler. His last appearance on any 
 stage was 9th March, 1841, at the same theatre as Gerald Pepper and 
 Morgan Rattler. T. N. Talfourd epitomized the comedian’s methods 
 in the following expression : “ This actor, if not the richest, is to my 
 taste the most agreeable of stage Irishmen. He buzzes about the 
 verge of vulgarity and skims the surface of impudence with a light 
 wing and a decent consideration for fastidious nerves. 
 
70 
 
 HISTRIONIC MONTREAL. 
 
 Tyrone Power was in Petersburg, Va., in 1841, and w^as observed 
 one morning roaming about the old Blandford church giounds- A 
 few days after his departure the following lines were found, and are 
 still preserved on a wooden tablet. As no one ever claimed their 
 authorship they are generally attributed to him: 
 
 “ Thou art crumbling to the dust, old pile, 
 
 Thou art hastening to thy fall. 
 
 And round thee in thy loneliness 
 Clings the ivy to thy wall. 
 
 The worshippers are scattered now 
 Who knelt before the shrine, 
 
 And silence reigns, where anthems rose 
 In days of ‘ Auld Lang Syne.’ 
 
 How doth ambition’s hope take wing ? 
 Where oft in years gone by 
 Prayers rose from many hearts to Him, 
 
 The Highest of the High, 
 
 The tread of many a noiseless foot 
 That sought the aisles is o’er. 
 
 And many a weary heart around 
 Is still forevermore. 
 
 How doth ambition’s hope take wing ? 
 How droops the spirit now ? 
 
 We hear the distant city’s din, 
 
 The dead are mute below ; 
 
 The sun that shone upon their paths 
 Now gilds their lonely graves. 
 
 The zephyrs, which once fanned their brows. 
 The grass above them waves. 
 
 “ Oh, could we call the many back 
 Who’ve gathered here in vain, 
 
 Who’ve careless roved where w^e do now. 
 Who’ll never meet again. 
 
 How would our very hearts be stirred ' 
 
 To meet the earnest gaze. 
 
 Of the lovely and the beautiful, — 
 
 The light of other days.” 
 
 He was lost on the steamship ‘‘President,” which sailed from New 
 York, 2ist March, 1841. No monument rears its chaste marble to in- 
 scribe thereon his name and fate, that future generations may know 
 that such a man had lived, and as he lived so he perished in a “ sea 
 of troubles.” No requiem to sing his soul to rest but the eternal 
 moaning of the mighty ocean. 
 
 CORNELIUS A. LOGAN, author and comedian, was born at Bal- 
 timore, and was first a printer, then studied theology, but finally went 
 on the stage making his dehut as Bertram, in 1825, in Philadelphia. 
 He first appeared atjlNew York, at Burton’s Theatre, in iSig.fin his 
 own farce of “Chloroform.” He also wrote “Yankee Land.” He 
 was the father of Olive, Celia and Eliza Logan. He died of apoplexy 
 
HISTRIONIC MONTREAL. 
 
 71 
 
 on board a steamer on the Mississippi! 23rd February, 1853- He is 
 buried in Spring Grove, Cincinnati* On the headstone is engraved 
 his name, also the solitary line : 
 
 “ Our father who art in Heaven.” 
 
 In the spring of 1836 
 
 the Theatre Royal underwent considerable repairs, some 
 needed improvenrents being also added. Preparatory to the 
 regular opening of the season a number of amateur perform- 
 ances were given in the Military Theatre, where Mrs. Spiller 
 was given a benefit 3rd March. 
 
 The house was leased by Manager Thomas Ward, of the 
 Washington Theatre. The company included Mr. and Mrs. 
 Thomas L. Ternan, William Abbott, 7 ohn Nickinson, John 
 Reeve, J. S. Balls, C. Eberle, Lewellyn, Mr. and Mrs. H. 
 Knight, Mrs. Hughes, Madame Celeste, Herr Cline and Gar- 
 ner. Mr. Dinsmore, of the Chestnut Street Theatre, Phila- 
 delphia, was to have been associated with Mr. Ward, but 
 could not get away from home affairs. ^ 
 
 Thomas L. Ternan, styled the “ celebrated tragedian, 
 opened the season 27th June in “ Fazio,” he in the title role 
 and his wife as Bianca. They also appeared in the after-piece, 
 entitled “Personation,” in which Mrs. Ternan sang “ Come 
 Love to Me,” accompanying herself on the lute with very 
 pretty effect. They subsequently appeared in “The Won- 
 der ’’ and “ La Somnambula.” . I 
 
 William Abbott, the English tragedian, made his Montreal 
 Sth July as Hamlet. He appeared as Daran in ‘ The 
 Exile,” 7th, and as Macbeth, 8th, Mr. Rogers being the Mac- 
 duff Mr Ward Banqiio, and Mrs. Hughes Lady Macbeth. His 
 last ’appearance for the season was on the 9th, when he played 
 Charles Surface to the Joseph Surface of Mr. Ternan and Lady 
 Teasle of Mrs. Ternan in “The School for Scandal. He be- 
 came a favorite here, although he experienced poor business 
 
 during his visit. , , , • . 
 
 "Z Herr John Cline performed on the elastic cord during week 
 
 On 2^h ^Jtily, John Sefton made his initial bow here in his 
 original character. Jemmy Tivitcher, in the Golden F^mw 
 a favorite piece at the time, written by Benjamin • 
 
 The performance concluded with the farce of John Jones. 
 
 It was about this time that Mrs. Watts, the first wife of John 
 Sefton, made her first appearance here on any stage. 
 
7 ^ 
 
 HISTRIONIC MONTREAL. 
 
 On the 23rd was produced '' Tlrerese, or the Orphan of 
 Geneva/’ together with “Catching an Heiress.’^ Sefton was 
 seen as Lavigne and Tom Twigg in these pieces, being his last 
 appearance for the season. 
 
 Mr. and Mrs. Rogers produced “ Charles XII. of Sweden/’ 
 4th August, assisted by amateurs. 
 
 John Greene, the Irish character com^edian, came to Mont- 
 real after having played an engagement at Quebec, making 
 his first appearance 15th August in Buckstone’s “Married 
 Life,” and as Murtoch Delaney in “The Irishman in London.’^ 
 On the 1 6th he was seen as Pryce Kinehella in “Presumptive 
 Evidence,” with the farce, “Lady and the Devil. 
 
 H'err Cline performed on the wire at each performance. 
 
 Mr. Ward was given a benefit in “ Married Life,” 19th, and 
 on the following night another benefit was given, Mr. and 
 Mrs. Knight being the recipients, with “ The Lady of the 
 Lake” as the attraction. 
 
 The special event of the season was the appearance of Eng- 
 land’s great comedian, William Dowton, on the 2nd, 3rd and 
 6th of September. The opening bill was “The Rivals,” cast 
 as follows : Sir Anthony Absolute, Mr. William Dowton ; Bob 
 Aeres, Mr. John Reeve ; Faulkland, Mr. Thomas L. Ternan ; 
 Captain Absolute, Mr. Ward ; Sir Lucius O^Trigger, Mr. 
 Rogers ; Lydia Languish, Mrs. Ternan ; Mrs. Malaprop, Mrs. 
 Rogers. 
 
 Mr. Dowton’s second appearance was as Falstaif in “Henry 
 the Fourth,” on which occasion Ternan was the Hotspur. The 
 comedian’s last appearance was as Sir Peter Teazle, in “The 
 School for Scandal,” Mr. Ward benefiting, 6th September. 
 
 Under the patronage of Major Wingfield and officers of the 
 32nd Regiment, “The Recruiting Officer” and “Black-Eyed 
 Susan ” were presented at a b'enefit performance to John Nick- 
 inson, 7th September, on which occasion Mr. Ward read a 
 farewell addrps written by Mr. Weston. John Greene also 
 appeared in his character of Looney McTzuoltcr, and Mr. Nick- 
 inson as Caleb Quotem in “ The Review.’* 
 
 The following day saw the departure of the company for 
 Washington for the opening of the season there. John Nick- 
 inson also left to fulfil an engagement at the Bowery Theatre, 
 New Yoik. " The season had not resulted in financial gratifi- 
 cation to the manag’ement, nor had the patronage of the 
 
HISTRIONIC MONTREAL. 73 
 
 public been at all flattering to the talents of the artists who 
 had appeared. 
 
 The Amateurs gave two more performances that year in 
 the Military Theatre. 
 
 THOMAS WARD, born in Liverpool, i6th May, 1799, first appear- 
 ed on the stage in 1816. In America he was known as an active man- 
 ager. 
 
 JOHN REEVE was a well-known player and a favorite Boh Acres. 
 His American dehut was at the Park Theatre, New York, 30th Nov- 
 ember, 1835. He was chubby, large and fat, and very laughable as 
 ‘“Cupid.” He also gave capital imitations of stars, and could turn a 
 pirouette, large as he was. He was born in London in 1799. His 
 American tour was not pofitable and he soon returned to England, 
 where he died 24th January, 1838. 
 
 WILLIAM ABBOT was born at Chelsea in 1789, and made his 
 first appearance on the stage at Bath, in his seventeenth year, 
 as .Alonzo in “ Pizarro,” He was then engaged by Mr. Diamond for 
 three or four seasons, finally making his London dehut at the Hay- 
 market’ Theatre, in the summer of i8id, as Frederick in “Lovers 
 Vows.” He was the Romeo at Covent Garden, on the occasion of 
 Fanny Kemble’s dehut as Juliet in 1829. He made his first New York 
 appearance at the Park as Beverley in “The Gamester,” 28th Sept., 
 1^35, and re-appeared there as Hamlet 9th April, 1836. He was the 
 author of “The Youthful Days of Frederick the Great” and “Swed- 
 ish Patriotism.” He made several visits to Montreal, and his last 
 appearance on the stage was at the Park Theatre, 29th May, 1843, 
 when he played Hemeya to the elder Booth’s Pescara, when he was 
 seized with an apoplectic fit and died 7th June, at Baltimore. He 
 married an American actress. Miss Buloid; she died 15th December, 
 1858. 
 
 HERR JOHN CLINE presented an address and gentlemanly 
 gracefulness on the rope that was new here, and his work was the 
 general theme of eulogy. He was highly polished in style and atti- 
 tude, copying classical statues of ancient masters. He subsequently 
 appeared at^ Guilbault’s Gardens, situated on St. Lawrence street/ 
 above Sherbrooke street, for a short time. His brother, Andre, was 
 the Louis Cyr of that period. Herr Cline was born in London. Eng., 
 and made his American dehut at the Bowery Theatre in 1828. He 
 retired in 1862, but, having lost his savings, was compelled to return 
 to rope dancing at an age when most others are satisfied to be able 
 to walk at all. 
 
 FRANCES ELEANOR TERNAN, nee Fanny Jarman, was born 
 at Hull, England, in 1802, and was already a great stage favorite 
 at Bath before she reached her fifteenth year. After playing through 
 
74 
 
 HISTRIONIC MONTREAL. 
 
 the provinces she appeared for the first time at London, at Drury 
 Lane, Feb. 7, 1827, as Juliet. She came to America with her hus- 
 band in 1845, making her debut at the Chestnut Street Theatre, Phila- 
 delphia,. November, 1^4, as Juliet. Her last appearance on^ any 
 stage was at the Lyceum Theatre^ London, in 1865, as Alice in The 
 Master of Ravenswood,’’ She died in London, 30th October, 1873* 
 
 THOMAS LUKE TERNAN was born in Dublin in 1799, and made 
 an early appearance on the stage. He was well received in the Eng- 
 lish provinces as a star. His first American bow was at the Chestnut 
 Street Theatre, Philadelphia, in Nov., 1834, in the character of Rich- 
 ard III., and in New York the following month as Romeo to his wife’s 
 Juliet. They went South in 1835, and came to Canada in 1836. They 
 subsequently blarred all through the principal eastern cities/ Their 
 last appearance in America was at the Walnuit Street Theatre, Phila- 
 delphia, nth December, 1836. in Talfourd’s Ion,” Mrs. Ternan as 
 Bvadne. They returned to England, becoming favorites at Drury 
 Lane Theatre- He died in London, 17th October, 1846. 
 
 JOHN SEFTON was a celebrated comedian of the second rank, 
 born in Liverpool 15th Jan., 1805. He first appeared in America, in 
 Philadelphia, in June, 1827, and remained a prominent stage figure 
 until his death, 19th Sept., 1868. 
 
 He first married Mrs. Watts, and afterwards Miss Wells, the mother 
 of his daughter, Angela, born 1840. 
 
 WILLIAM DOWTON was an artist of the natural school. His 
 passionate old men were pronounced faultless, nothing being more 
 true to nature, for it was the comedian’s nature, he having been 
 known, to snatch off his wig in an outburst of temper and fling it into 
 the fire. He died in 1851, aged 87. 
 
 3 S. BALLS was a dashing young English comedian, born in I799- 
 His first London appearance was in 1829, and at the Park, New York, 
 T5th October, 1835* His Vapid in “ The Dramatist ” was very good. 
 His last appearance in New York was in 1840. He died in Dublin in 
 1844. 
 
 CHARLES EBERLE was a low comedian who lost his life on a 
 steamer on his way to Boston in 1840. His first appearance on the 
 stage was at Frankfort, Ky., in 1822. 
 
 MR and MRS. HENRY KNIGHT were well-known and esteem- 
 ed players here. He was a brother to Edward Knight, already 
 noted, and the son of Edward (‘dittle”) Knight, a popular London 
 actor, who died in 1826. Harry was accidentally killed in 1839. Mrs. 
 Knight then married George Mossop, but was divorced, and married 
 a non-professional named De Costa, and, retiring, lived in Philadel- 
 phia. She was formerly Miss Eliza Kent, and was an excellent act- 
 
HISTRIONIC MONTREAL. 
 
 75 
 
 ress in all the walks of comedy, possessing a fine figure and good in- 
 telligence. She was first seen on the stage under Hamblin’s manage- 
 ment at the Broadway. 
 
 Harry Knight used to sing “The Poachers,” and was very fond of 
 the song. It is said that he used to enter the boxes, unobserved, and 
 cry out “Knight !” “Knight !” in order to be called on to sing, imme- 
 diately dodging behind the scenes to answer his own call. 
 
 JOHN GREENE rose to positive excellence as an exponent of 
 Irish character. He was born in Philadelphia, and brought up to be 
 a printer, but it was the old story; he became “ infirm of purpose” and 
 went on the stage. He was an early companion of F'orrest, and made 
 his first stage appearance in i8i8; died 28th May, i860. His wife 
 was also an actress- Her maiden name was Annie Muskay, and she 
 was born in Boston, 23rd March, 1800; died 19th January, 1862. She 
 had a commanding figure and pretty features, but became quite deaf 
 in later years. 
 
 “OLD” POWELL, a well-known English actor, is recorded to have 
 died here 13th May, 1836, aged eighty-two. 
 
 THE CIVIL STRIFE OF 1837, 
 
 together with the memory of the previous year s unsatisfac- 
 tory business, did not encourage the return of a professional 
 company that year for anything lilee an extended season. 
 /There is, however, a record of the first appearance here of 
 I Joseph Proctor, then a rising young actor, in a round of legiti- 
 mate roles, apart from whom a f*ew amateur performances 
 were noted; in fact, it was not until'iE840 that anything like 
 keen interest in Montreal’s theatricals was once more revived. | 
 
 JOSEPH PROCTOR was born in Marlboro, Mass., May 7 » 1816, 
 and made his debut on the stage November 29, 1833, in^the Warren 
 Theatre, Boston, acting Damon in “Damon and Pythias,” E. S. Con- 
 ner playing Pythias. He went to Albany and opened in the Pearl 
 Street Theatre, under the management of Wm. Duffy, October 16, 
 1834. as Damon, and subsequently joined the stock company. Later 
 he played through the West and in Canada until 1837, when he en- 
 gaged at the Walnut Street Theatre. E. S. Conner was also in the 
 company, and between them great rivalry sprang up. After t leir 
 joint performance in “ Thalba,” the patrons of the theatre became 
 divided, and were known as the Proctor and Conner factions. 
 
 At the Bowery Theatre, in 1839, Mr. Proctor made his first appear- 
 ance in New York, acting Nathan Slaughter in “Nick of the Woods, 
 or the “Jibbenainosay.” Mr. Proctor played in it upwards of two 
 
 thousand times. . • • 1 
 
 In 1851 he went to California, and after starring in the principal 
 towns, embarked in management in the American Theatre, San Fran- 
 
76 
 
 HISTRIONIC MONTREAL. 
 
 cisco- Subsequently he built the Sacramento Theatre, which in 1876 
 became a Chinese Theatre. Mr. Proctor frequently played Othello to 
 the logo of the elder Booth, and logo with Edwin Forrest as the Moor, 
 His repertory also included Virginius, Macbeth, King Lear, Richelieu, 
 Jack Cade and other legitimate roles. After playing a farewell star 
 engagement in 1859, at New York, he sailed for England. He made 
 his debut in London, at the Standard Theatre, where he played one 
 hundred nights in a round of Shakespearean characters, “Nick of the 
 Woods and other dramas. He then made a tour through Ireland 
 and Scotland. In the company of the Theatre Royal, Glasgow, he 
 met Henry Irving, who played Macduff, De Mauprat, Cassio and Ro^ 
 land Forrester (“Nick of the Woods’’) with him. Returning to Lon- 
 don, he fulfilled engagements in the Surrey and Marylebone The- 
 atres. He came back in the fall of 1861, making his re-appearance 
 in the Howard Athenaeum, Boston, and then made a starring tour of 
 the country. From the Spring of 1873 until the Fall of 1875 he was off 
 the stage, devoting his attention to a patent he had purchased of the 
 inventor. He was said to have lost $70,000 in that venture. He again 
 re-appeared before the public with a company on the combination 
 plan and retired from the stage some years before his death, which 
 occurred in Boston, 2nd October, 1897. 
 
 THE FEATURE OF 1838 
 
 was the occasicn of the first appearance in Montreal of Ellen 
 Tree, afterwards the wife of Charles Kean. Miss Tree made^ 
 her debut h^re on Wednesday, 22nd August, in the character 
 of Julia in “The Hunchback,’’ and after a short season pro- 
 ceeded to Quebec. 
 
 Between 1836 and 1839 Miss Tree visited every large town 
 in America, realizing the sum, large for that time, of £125000. 
 Her next visit to Montreal was after an absence of twenty-six ' 
 years. 
 
 BI/liEN TREE (Mrs. Charles Kean) was one of four sisters, the 
 eldest of whom, Maria, was a vocalist of considerable ability, and it 
 was at her benefit that Ellen Tree, when seventeen years of age(i822), 
 made her first appearance, in the character of Olivia. Her talents had 
 won for her an independence within twenty years, when she married 
 Charles Kean- Thereafter she stood at her husband’s side, his best 
 adviser and his strongest support. It is not necessary to recall all 
 the triumphs which were obtained. Mr. Kean acted for the last time 
 in May, 1867, after which they both retired from the stage, he dying 
 during the following January; she, in 1880. It seemed hard that after 
 laboring so long and so strenuously they should not have been 
 longer spared to each other in their well-earned retirement. There 
 have been few actresses, who, like Mrs. Kean, could undertake the 
 
HISTRIONIC MONTREAL. 
 
 77 
 
 whole range of character and excel in so many. There is a wide 
 distance between Ion and Violante, between Rosalind and Portia ; but 
 few had seen either more delightfully portrayed than by her. Poetry 
 and pathos^ gaiety and force alike never demanded in vain, a dramatic 
 tact which mounted to genius^ and a mastery of blank verse, which few 
 actresses have attained, were but parts of her gifts. Her domestic 
 character was as admirable as her public career. 
 
 DURING 1839 
 
 \ve find the Amateurs as the leading feature, the Garrison 
 Amateurs presenting ‘‘ X. Y. Z.’'; or, “ Old Sandgliter’s Cof- 
 fee House,’’ on nth January for the benefit of tbe widows 
 and orphans of the volunteers killed at Odelltown. ‘^Othello 
 According to Act of Parliament,” was the after-piece. On 
 22nd January they produced My Husband’s Ghost,” ‘‘ The 
 Unfinished Gentleman ” and ‘‘ Frank Fox Phipps.” 
 
 The most notable star engagement was that of Miss Jean 
 ^Margaret Davenport, then in her twelfth year. On 5th 
 August she appeared as Richard III., supported by her father 
 and mother ; Shylock, 7th ; Norval, 9th ; Sir Peter Teazle, 
 
 1 2th; Norval and Paul Pry in Petticoats, 14th; ''The Dumb 
 Boy,” 19th; Shylock, 20th; "The Child of Nature,” 26th; and 
 a repetition of " The Dumb Boy,” 27th. 
 
 While in London Miss Davenport had been presented Vvith 
 Kean’s hat after her performance of Richard, and in New 
 York she was given a gold watch and chain. 
 
 MRS. LANDER Jean Margaret Davenport) was born in Eng- 
 land, 3rd May, 1829, and made her dehnt in her eighth year at New 
 York as Little Pickle in “ The Spoiled Child.” She was successful 
 and her parents put her through a course of studies in a well-selected 
 repertoire. From being a youthful prodigy she subsequently made a 
 distinct hit as an actress of intense roles. In i860 she married Col. 
 Fred. W. Lander, who was killed in battle two years later. Mrs. 
 Lander then returned to the stage, after ministering for many 
 months to the sick and dying soldiers. She was the original Camtlle 
 in this country. Her last appearance was in Albany, under Mr. Al- 
 baugh’s management, when a version of Hawthorne s Scarlet Let- 
 ter ” was produced. 
 
 AMATEUR PERFORMANCES IN 184O 
 
 began early in the year. The Raines Family, Tyrolese Min- 
 strels, gave a concert in Rosco^^’s Hotel, 20th June, and re- 
 mained until 13th July. 
 
HISTRIONIC MONTREAL. 
 
 78 
 
 THE COMPANY OF 184O 
 
 was managed by Fuller and Weston, and included W. C, 
 Drummond, Latham, Tuthill, Clifford, Mr. and Mrs. Ha^'^'y 
 Hunt Mrs. Hughes and Miss Shaw. Mrs. Creswick, wife of 
 Wm. Greswick, the tragedian, made her first appearance here 
 on the opening night of the regular season, nth July, when 
 “ The Barrack Room ” was performed. On 14th July Harry 
 Hunt and Mrs. Hughes made their bows here in “ Charles 
 II ” Then followed productions of “ Tire Maid of Croissey, 
 
 “ Paul Pry,” “ Love in the East,” etc.- The subsequent ap- 
 pearance of the operatic artists, Mr. and Mrs. Edward Seguin 
 and Mr. Horncastle in “The Barber of Seville, ‘Fra Dia- 
 volo,” “Cinderella,” was a treat to lovers of music. 
 
 Mrs. Creswick, who had come here direct from Mad. Ves- 
 tris’ Theatre, New York, som-e weeks previously, was joined 
 by her husband, he making his first appearance here on 8th 
 August in “The Iron Chest.” Cast: Sir Edw. Mortimer, 
 Wm. Creswick; Adam Winterten, Thos. Fuller; Orson, H. 
 Tuthill; Lady Helen, Mrs. Louisa Hunt; Blanche, Mrs. Eliza- 
 beth Creswick; Barbara, Miss Shaw. Simpson & Co. W'aa 
 
 tire after-piece. 
 
 Montreal was favored with the appearance of another 
 good actor during the short period of the Creswdek engage- 
 ment, in C. K. Mason of the Covent Garden Theatre, who 
 made his debnt here as a star, iith August, in Othello, with 
 Creswick as lago. “The Stranger,” “Rob Roy” and “William 
 Tell” followed on 12th, 15th and i8th August. Mason had 
 been here in 1833. Mr. and Mrs. Creswick took a benefit on 
 24th August in Bulvver’s “The Birthright.” On 25th August 
 the Seguins produced “ Cinderella,” and on 26th August 
 Knowles’ “Love” was presented wdth “La Somnambula.” 
 “Douglas’’ was produced on ist September and on 3rd Sep- 
 tember. The Seguins closed the season with “La Gazza 
 Ladra,’’ but re-appeared at an amateur performance of “Der 
 Freischutz” on 8th September, this being their last appear- 
 ance for the season. 
 
 Rockwell’s Amphitheatre Co. opened a circus season on 
 2 1 St September. 
 
 A cursory glance at the foregoing cast of “The Iron Chest 
 may not elicit much interest until its importance is realized 
 when we consider that it records the appearance of the late 
 Mrs. John Drew, who was first married to Harry B. Hunt in 
 
 i838. 
 
HISTRIONIC MONTREAL. 
 
 79 
 
 HARRY B. HUNT, a young Irish comedian, possessed a fine 
 voice, and was in demand as the singing hero in the melodramas and 
 light operas of the time. He had been a member of the fast set which 
 had surrounded George the Fourth before his ascent to the throne, 
 and was a gentleman of dashing manners and great animal spirits. 
 He died in New York nth Feb., 1854. 
 
 MRS. JOHN DREW, nee Louisa Lane, was the daughter, of Mr. 
 and Mrs. Thomas F. Lane, English players, and was born in London, 
 loth January, 1820. Her mother brought her to America in 1827, 
 when she was known as a child prodigy. 
 
 In 1848, after securing a divorce from Harry Hunt, the popular 
 actress married George Mossop, a fairly good actor of Irish birth, 
 who was chiefly remarkable because he could not speak without stut- 
 tering badly off the stage, although before the footlights his language 
 was as smooth and flowing as that of an orator. He died a year af- 
 terward, and in 1850 Mrs- Mossop met and married John Drew, the 
 best comedian in America in Irish parts, and those requiring elegance 
 and dash and broad humor. Like Hunt and Mossop, he was a na- 
 tive of Dublin, and was twenty-three years old at the time of his mar- 
 riage. 
 
 In 1853 was born the present John Drew, and on 21st May, 1862, the 
 senior Drew died. Mrs. Drew’s mother, who had been m.arried to 
 Mr. Kinloch, died in 1887, aged 91. The Arch Street Theatre, Phila- 
 delphia, was opened for the first time under Mrs. Drew’s direction, 
 August 31, 1861, with ‘‘The School for Scandal” and “Aunt Char- 
 lotte’s Maid,” which plays were presented by one of the best stock 
 companies ever organized. 
 
 A history of the house during Mrs. Drew’s management would be 
 almost an epitome of the activity of the American stage during this 
 period. Few, indeed, were the representative American plays and 
 players that were not seen at the Arch Street Theatre while Mrs. 
 Drew’ w'as manager. 
 
 Old favorites made last appearances there, and young actors and 
 actresses — fledglings who were destined to soar high — made their 
 
 dehuts upon that stage. 
 
 When Mrs, Drew relinquished the management in 1892, after thir- 
 ty-one years of service, she had not made a fortune, but she had given 
 her theatre and herself a glorious record of artistic achievement. 
 
 Mrs. Drew played the part of Mrs. Mclaprop in “The Rivals, for 
 the first time on February 22, i 879 » when Joseph Jefferson revived the 
 old comedy at the Arch Street Theatre- This is, perhaps, the charac- 
 ter with which she is most closely identified in the minds of the pre- 
 sent .generation of theatre-goers, and upon that first night the artistic 
 delicacy and quaint humor of Mrs. Drew’s portrayal brought her a 
 share of the honors equal to that of Mr. Jefferson as Bob Acres. 
 ilMrs. Drew appeared at the Academy of Music, Montreal, week 
 22nd May, 1893, in “The Rivals.” The following was the cast: 
 
8o 
 
 HISTRIONIC MONTREAL. 
 
 Mrs. Malatrop, Mrs. John Drew; Sir Anihony, McKee Rankin; 
 Lydia Languish, Mrs. Sidney Drew; Capt Absolute, Maurice Barry- 
 more; Bob Acres, Sidney Drew; St. Lucius, Edmund Lyons. 
 
 Mrs. Drew re-appeared here in June 1894. She died 31st August, 
 1897, and is buried in Glenwood, Philadelphia, within easy view of my 
 window, as J draw this record to a close. A ray of starlight is stream- 
 ing on that beautiful hillside, gleaming on a tomb whereon is in- 
 scribed the memory of a brilliant actress, a most excellent woman 
 and a devoted mother — the tribute of a loving son. 
 
 THOMAS FULLER was born at Dracut, Mass*, and made his 
 debut in March, 1838, at the Tremont Street Theatre, Boston. He 
 was the manager and lessee, in Montreal, during 1838-9-40-41, coming 
 from Albany, whence he escaped, being cudgelled by an actor named 
 Eaton. Fuller, to avoid him, hid in a garret until evening, when he 
 slipped into a carriage, was driven down to the river and taken on 
 board the night boat in a skiff, and so left Eaton dissatisfied and Al- 
 bany without a manager. While in Albany Fuller had been outwit- 
 ted by a printer, who was his heaviest creditor. He printed tickets 
 for the last performance, sold them himself and kept the money. 
 Those were hard days for our theatrical friends. 
 
 MR. and MRS. EDWARD SEGUIN. — Mr. Seguin was superior 
 to any previous basso in America. He was born in London in i8o9» 
 and, after appearing in minor engagements, made his regular London 
 debut in 1831, and in America at the Broadway Theatre, 13th October, 
 1838. Died of consumption 13th December, 1852. 
 
 Mrs. Seguin, nee Annie Childe, was also born in London, appearing 
 on the stage at a very early age- Her first appearance in New York 
 was at the Park in 1841, and last appeared in 1882. She died 24th 
 August, 1888. 
 
 WILLIAM CRESWICK^ although not one of the giants of art, 
 was certainly the very first of the second rank. Born 27th Decem- 
 ber, 1813, in the immediate neighborhood of Covent Garden, he fre- 
 quently saw the most eminent players of the time, and although in- 
 tended for a mercantile career, he soon evinced a decided predilec- 
 tion for the stage. In 1831 he accepted an engagement at a small the- 
 atre on the Commercial Road, London, and soon afterwards joined a 
 small company at Suffolk. In 1834 he was playing leading business 
 in the York circuit, where he met Miss Elizabeth Paget, of the 
 Olympic Theatre, whom he subsequently married, and who died i6th 
 February, 1876, aged 67. Returning to London, he made his first 
 prominent appearance i6th February, 1835, as Meredith in Jerrold'S 
 “ Schoolfellows,” at the Old Queen’s Theatre, He visited America 
 in 1840, and remained three years, playing heavy tradegy. He was 
 subsequently associated with Phelps, Macready and Helen Faucit, and 
 a trip to Australia added greatly to his fame. He revisited America 
 
HISTRIONIC MONTREAL. 
 
 8l 
 
 in 1871 with Jams Bennett and Walter Montgomery for his associa- 
 ^ates. Creswick took hts farewell to the stage 29th October, 1885 
 •when a /complimentary benefit was given the esteemed actor at Drury 
 Dane Theatre, when he appeared in a scene from “ King Lear.” He 
 died 17th June, 1888, his remains being laid close to those of his 
 friend Macready, m the old catacombs of Kensal Green Cemetery'? 
 
 W. C. DRUMMOND, born in London, made his first American 
 appearance on the stage in Baltimore in 1810. This was in the ballet 
 Of Cinderella, he having originally been a dancer. He was the first 
 husband of the beautiful Anne Henry. 
 
 It IS said that his wardrobe was unequalled during his palmy days 
 
 weep, to laugh, to sigh or to 
 rage. He died in New York 21st February, 1871. 
 
 _ The year 1841 brought Mons. Alexandre, on 2^rd Jannarv 
 m four representations in French and English of “The Devil 
 on Two Sticks, ’ and during the spring the Garrison Amateurs 
 gave a few representations. 
 
 THE SEASON OF 184I 
 
 was regularly opened in July under the management of Fuller 
 & Weston. W-e find in the company Mrs. Hughes, Miss Mc- 
 Bride, Mrs. Hautonville, Mrs. J. A. Smith, Messrs. J. A. 
 Smith, Nickinson, Stafford, Merryfield, Weston and Fuller, 
 riie first night of the season was on 9th July, when “Laugh 
 when You Can and ‘‘The Lottery Ticket^’ were presented. 
 Wm. Abbott began a four nights’ engagement loth July in 
 'The Lady of Lyons,” “Romeo and Juliet,” ‘The Stranger,” 
 and terminated on 13th July with a repetition of the opening 
 night s bill. Mrs. Hautonville made her first appearance on 
 1 2th July as Juliet to Abbott’s Romeo. The old operatic fav- 
 orites, the Seguins, returned this season, appearing on 15th 
 July in La Somnambula.” Abbott played a return engage- 
 ment in ‘Th-e Sea Captain” and “Richelieu” on 27th and*^.28th 
 July, which was extended into August. “Catching an Heir- 
 ess ’ and The Old English Gentleman^’ were staged, and on 
 1 6th August “Nicholas Nickleby” was produced with Abbott 
 in the title rol’e. “The School for Scandal” was followed by 
 “Hamlet,’’ 19th; and “Mazeppa” was also presented. The 
 famous singing comedian, Braham, had appeared at a con- 
 cert in Rasco^’s Hotel, nth Atigust, and was engaged to ap- 
 pear at the theatre 2nd September for two nights" in “Love in 
 a Village.” Abbott, assisted by the amateurs, presented 
 “Charles XII. of Sweden” for a benefit on yt\\ September. 
 
 6 
 
82 
 
 HISTRIONIC MONTREAL. 
 
 Fanny Fitzwilliam, a celebrated comic 
 
 peared on the following evening in ‘7’^® ^-le- 
 
 was followed by the first appearance m Montreal of th >- 
 
 brated comedian and sketch writer, J. B. Kf-? M^ihe 
 
 tember, as 6-cHm in his own piece, A Ki=s in me 
 
 Dark.” Abbott made his last appearance for the season 
 as Frank Hearfall in “The Scottish Widovv. 
 supported by Fanny Fitzwilliam, appeared in several of the 
 comedian’s sketches “The Irish Widow” ^^s repeated i6th 
 <=;eptember for a benefit to the managers. The season closed 
 on 17th September with “The Banished Star,” when the com- 
 pany left for Quebec. 
 
 JOSEPH ALFRED SMITH was born in Philadelphia in 1813, and, 
 when a young man, was a favorite member of the first stock com- 
 panies in that city, in Boston and in New York. During his long ca- 
 reer he played in support of nearly every noted artist o 
 every player with whom he was associated he was belcvey and his 
 kindly manners earned for him, in the old days, the title of Gentle- 
 
 He retired from the stage in 1884, after playing during the latter 
 years of his career in travelling companies. From that time up to 
 the period of his passing away, ist August, 1899, he had been a guest 
 at the Forrest Home, where, with the friends of his youth about him, 
 he passed the happiest period of his life. To the aged players there 
 his death was a severe blow indeed. 
 
 JOHN BRAHAM, born in i 774 , w?-S the son of a Portugese He- 
 brew. His first appearance in America was at the Park Theatre, Kew 
 York, 21 St December, 1840. He died in 1856. 
 
 MRS. HAXJTONVILBE (Mrs. Bradshaw), known as the beautiful 
 Miss Cross, of the Chestnut Street Theatre, Philadelphia, first appear- 
 ed there in 1831 as a member of the ballet, and later became a good 
 actress. 
 
 J. M. WESTON, who had been joint lessee with Fuller during 
 1840-41, played small parts. He was born in Boston in 1817, and first 
 came out as Richard under Pelby’s management in New York. ''Dr.” 
 Weston was a useful actor, with good judgment; but his forte was as 
 a stage director. We find him managing the magician Macallister 
 from^i852 to 1856, when, after the latter’s death, Weston married the 
 widow. He was for a time acting as agent for A. J. Neaffie, the tra- 
 gedian. His wife died in South America in 1859, aged 27. Weston 
 certainl}^ was a bird of passage. 
 
 JOHN BALDWIN BUCKSTONE may be said to have played al- 
 most all the principal low’ comedy parts of the English drama. His 
 name is inseparably associated wdth some of the most amusing char- 
 
HISTRIONIC MONTREAL. 
 
 83 
 
 acters in the higher range of old English comedy, for example: Gru- 
 riio, Speed, Touchstone, Sir Andrew, Aguecheek, Zekiel, Homespun, 
 Scrub, Tony Lumkin and Boh Acres. It may be added that the varied 
 attributes of those characters have invariably received at his hand the 
 happiest illustration. Mr. Buckstone was born at Hoxton, near Lon- 
 don, in September, 1802, and died 31st October, 1879. 
 
 JOHN NICKINSON, who first appeared here during the season 
 of 1836, and who was manager and lessee in 1843, was a great favor- 
 ite in Canada. He was born in London in 1808, and at the age of fifteen 
 enlisted in the British Army as a drummer boy. His regiment subse- 
 quently came to Quebec, where he took part in amateur performances, 
 having a strong bent in that direction- His corps was afterwards sta- 
 tioned in Montreal, where he made a number of professional friends, 
 bought his discharge and entered on a theatrical career. In 1852 we 
 find him at the head of a company touring Canada, and among its 
 members were W. J. Florence, C. M. Walcot, jun., and Charles Pe- 
 ters. They appqared in Quebec, Montreal and Toronto. In Toronto 
 Nickinson was induced to take a lease of the theatre, which he relin- 
 Ciuished in 185S. He was subsequently manager of the Utica Museum 
 and the Albany Museum, and was also well known in New York city. 
 He died in a drug store in Cincinnati, 8th February, 1864. He left a 
 widow and five children : Charlotte, Eliza (who married Charles Pe- 
 ters), Virginia (who married Owen Marlowe in 1857 and died in 
 New York city, 7th March, 1899), Isabel (who married C. M. Wal- 
 jcot, jun.), and John. 
 
 Mr. Tiithill was lessee of 
 
 THE THEATRE DURING THE YEAR 1842. 
 
 Several new faces were seen, Mr. and Mrs. John Sloman 
 making their debut, 26th May, in Knowles’ '‘Hunchback,” Mr. 
 Walter Leman being the Master Walter', William Wheatley 
 as Sir Thomas Clifford] Mrs. Sloman as hdia] and Mrs. A. W. 
 Penson as Helen. Other members of the company were Mr. 
 Byrne, Mrs. Brown, Mrs. Henry and Mr. W. C. Drummond- 
 
 Mr. Drummond appeared as Jaffier, Mr. Wheatley as 
 Pierre and Mrs. Sloman as Belvidera in “Venice Preserved,” 
 27th May. 
 
 Tlie event of the season was the appearance of the people s 
 novelist, 
 
 CHARLES DICKENS. 
 
 I reproduce in full a copy of the bill announcing the event, 
 
84 
 
 HISTRIONIC MONTREAL. 
 
 and programme, the only known original being in the posses- 
 sion of Henry Hogan : 
 
 THEATRE ROYAL. 
 
 For this night only. 
 
 The manager has the honor to announce a performance in 
 which Charles Dickens, Esq., together with the distinguished 
 Garrison Amateurs (whose successful performance on Wed- 
 nesday last created such unbounded admiration), will appear 
 this evening, Saturday, May 28, 1842. The performance 
 will commence with “A Roland for an Oliver.’^ Sir Mark 
 Chase, Hon. P. Methaen; Alfred Highflyer, Mr. Chas. Dick- 
 ens; Wm, Selbourne, Earl of Mul grave; Fixture, Capt. Wil- 
 loughby ; Gamekeepers, etc, ; Maria Darlington, Mrs. A. W. 
 Penson ; Mrs, Selbourne, Mrs. Brown ; Mrs, Fixture, Mrs. 
 Henry. After which “Two O’Clock in the Morning.^’ Snob- 
 bington, Mr. Chas. Dickens; The Stranger, Capt. Granville, 
 23rd Regiment. To conclude with “High Life Below Stairs.'’ 
 My Lord Duke, Dr. Griffin, 85th Regiment; Sir Harry, Capt. 
 Willoughby, 23rd Regiment ; Lovell, Capt. Torrens, 23rd 
 Regiment; Coachman, Capt. Granville, 23rd Regiment; Free- 
 man, Earl of Mulgrave; Shilep, Mr. Chas. Dickens; Kingston, 
 Mr. Thomas; Toni, Mr. Hughes; Mrs. Kitty, Mrs. A. W. Pen- 
 son ; Lady Bob, Mrs. Henry ; Lady Charlotte, Mrs. Brown ; 
 Chloe, Miss Heath. The performance to commence at half- 
 past seven. 
 
 On Monday evening Mr. and Mrs. Sloman’s third appear- 
 ance.” Montreal, May 28th, 1842. — Gazette Office, 
 
 The performance had been preceded by a strictly amateur 
 and select production a few nights before, which Dickens 
 fully described to his friend, Forster, as follows : 
 
 The play came off last night; the audience, between five and six 
 hundred strong, were invited as to a party, a regular table wddi re- 
 freshments being spread in the lobby and saloon. We had the band 
 of the 23rd (one of the finest in the service) in the orchestra, the the- 
 atre was lighted with gas, the scenery was excellent, and the proper- 
 ties were all brought from private houses. Sir Charles Bagot, Sir 
 Richard Jackson and their staffs were present, and as the militarv 
 portion of the audience were in full uniform, it was reallv a solendid 
 also splendidly through with nothing very re- 
 
 nHH We had for Sir Mark Chase a genuine 
 
 odd fish, with plenty of humor, but our Tristam Sappy was not up to 
 the marvellous reputation he has somehow^ or other acquired here I 
 am not, however, let me tell you, placarded as manager for nothin o- 
 Everybody w^as told they would have to submit to the most iron des^ 
 
HISTRIONIC MONTREAL. 
 
 8S 
 
 potism ; and didn’t I come Macrcady over them ? The pains I have 
 taken with them and the perspiration 1 have expended during the last 
 ten days exceed in amount anything you can imagine! I had regular 
 plots of the scenery made out, and list of the properties wanted, and 
 had them nailed up by the prompter’s chair. Every letter that was 
 to be delivered was written; every piece of money that had to be giv- 
 en, provided; and not a single thing lost sight of. I prompted my- 
 self when I was not in; when I was 1 made the regular prompter of 
 the theatre my deputy; and I never saw anything so perfectly in 
 touch and go as the first two pieces. The bedroom scene in the inter- 
 lude was as well furnished as Vestris had it; with a ‘practicable’ fire- 
 place blazing away like mad, and everything in a concatenation accord- 
 ingly. I really do believe that I was really very funny; at least I know 
 that I laughed heartily rhyself, and made the part a character such 
 as you and I know very well — a mixture of F. Harley, Yates, Keeley 
 ami Jerry Sneak. It went with a vim all through; and, as I am closing 
 this, they have told me I was so well made up that Sir Charles Bagot, 
 w’ho sat in the stage box, had no idea who played Mr. Snobbington un- 
 til the piece was over. But only think of Kate playing ! and playing 
 devilish well, I assure you ! All the ladies w^ere capital, and we had no 
 wait or hitch for an instant. You may suppose this, when I tell you 
 that we began at eight and had the curtain down at eleven. It is 
 their custom here to prevent heartburnirgs in a very heartburning 
 towm, whenever they have played in private, to repeat the performance 
 in public. So, on Saturday (substituting real actresses for the ladies), 
 we are to repeat the two first pieces to a paying audience, for the man- 
 ager’s benefit. I have not told you half enough. Wasn't it w^orthy 
 oi Crunimels that when Lord Mulgrave and I went out to the door to 
 receive the Governor-General, the regular prompter followed us in 
 agony with four tall candlesticks with wax candles in them, and be- 
 sought us with a bleeding heart to carry two apiece, in accordance 
 with all the precedents.” 
 
 With all due respect to the memory of Mr. Dickens, his 
 account would kad us to believe that he had been the ‘hvhole 
 show’’; in fact, the dickens and all, and the others nonentities. 
 
 ]\Iilman’s ‘'Fazio'’ followed 30th; "Lady of Lyons,” 31st: 
 "The Honeymoon,” ist June; "Victorine,” for Sloman’s bene- 
 fit, 2nd June; "Therese,” 3rd; "Victorine,” 4th; and benefit 
 to !Mrs. Sloman, 6th, in "Isabella.” "The Heir-at-Law” was 
 produced 7th, and on 9th, by command of His Excellency the 
 Governor-General, "The Poor Gentleman” was presented. 
 J. H. Hackett began a short engagement on loth in "Henry 
 IV.,” followed by "Rip Van Winkle,” "Yankee in England,’* 
 and closed 14th June. On 15th was noted the first appear- 
 ance of Mrs. S’eymour in the character of Mrs. Haller in "The 
 Stranger,” with Wheatley in the title role. "Tlie Lady of 
 Lyons,” "A Child of Nature,” "Mabel’s Curse” and Bulwer’s 
 "iMoney’ followed. Mrs. Sloman closed with "Romeo and 
 Juliet,” 20th, playing hdiet to Wheatley’s Romeo. Miss Mel- 
 ton was a debutantCy 21st, as Letitia Hardy, followed by produc- 
 tions of "The Englishman in India,” "Paul Pry,*’ and Mrs. 
 
86 
 
 histrionic MONTREAL. 
 
 Seymour reappeared, 24th, in “The Captive Maniac.” Miss 
 Melton was seen, 25th, in “The Wonder” and Char.es X ., 
 and closed with a benefit, 27th, with “Faint Heart Never Won 
 Fair Lady/' An interesting feature of the season was ine 
 appearance of T. D. Rice, 28th June, in "Deaf and Dumb, 
 "After the Sarcophagus’' and "Jumbo Junior,’' introducing the 
 famous song "Jim Crow." He took a benefit, 4^h July, m 
 "Bone Squash Diavolo." Miss Melton, who had returned 
 from Quebec, was seen in "The Englishman from India," 5th 
 July. Rice re-appeared for Latham's* benefit, 6:h, taking part 
 in the after-piece, "The Virginia Mummy, to Boucicault s 
 "London Assurance," which was repeated several nights. 
 "Douglas" and "Money" were again staged, and on 13th 
 Wheatley was tendered a benefit. 
 
 On iStiii July, under military patronage, was performed 
 "Henri Quatre" and "Ambroise Gwinette.'’ A benefit to the 
 "needy of the steamboat disaster’' took place the following 
 evening in "Charles XII. of Sweden." A revival of "George 
 Barnwell," 22nd, was followed 23rd by a benefit to Manager 
 Tuthill in "The Rivals," Miss Melton as Lydia Languish and 
 Latham as Bob Acres. This performance closed the season. 
 The Steyermark Family of musicians opened 8th of August. 
 
 ANNE J. HENRY-DRUMMOND-BARRETT was born in Phi- 
 ladelphia in i8oi- At the age of sixteen she married W. C. Drum- 
 mond, from whom she was subsequently divorced, leaving him with 
 two daughters. In 1825 her extraordinary charms of mind captivated 
 George H. Barrett, to whom she was wedded, but the brilliant union 
 was in time disturbed; this fascinating beauty, whom Fanny Kemble 
 described as "a faultless piece of mortality in outward loveliness,” 
 had acquired an insane craving for stimulants that it at times placed 
 her in such positions as would even question her honor. In 1840 Mr. 
 Barrett secured his divorce. In 1842 we find her in Montreal as Mrs. 
 Pleiiry, and, as fate would have it, in the same company as Mr. Drum- 
 mond* Through proper influence the poor woman mended, her ways 
 and was restored to society. She renewed the triumphs of her former 
 years, and commanded the admiration of all by her marvellously pre- 
 served beauty, which even at the age of fifty seemed as fresh and as 
 charming as in her girlhood. She died 22nd December, 1853, and lies 
 buried at Mount Auburn, under a monument bearing the lines : 
 
 " With fairest fl owners 
 
 We’ll sweeten thy sad grave. Thou shalt not lack 
 The flower that’s like thy face, pale Primrose, nor 
 The Azured Harebell, like thy veins, nor leaf 
 Of Eglantine, not sweeter than thy breath.” 
 
HISTRIONIC MONTREAL. 
 
 87 
 
 MISS MELTON, a clever Englishwoiran, made her first American 
 appearance on the stage at Burton^s Theatre, Philadelphia, in 1840. 
 She married and retired from the stage. 
 
 MR. and MRS. JOHN SLOMAN. — Mr- Sloman was an apostate 
 London Jew, and became an English bufifo. “ We do not know what 
 ‘buffo ’ means,” said the critic of the Albany Advertiser, but he is an 
 English “buffo.” After playing for many years in England and 
 America, he finally established his residence at Charleston, S.C., where 
 he died in January, 1858. His forte was farce comedy. A daughter, 
 Jane, also possessed dramatic ability. 
 
 Mrs. Sloman, daughter of Wm. Dowton, was a tragic actress, correct 
 and lady-like, but too coldly classical to suit the multitude. She died 
 8th February, 1858, aged 59. 
 
 WALTER M. LEMAN had high aspirations towards the tragic 
 walks. He was born in Boston, where he began as a call boy in 1828, 
 and made his first regular dehut in Montreal as Master Walter in “The 
 Hunchback,” 26th May, 1842, to the Julia of Mrs. Sloman. Return- 
 ing to Boston, he became manager of the National Theatre, and af- 
 terwards drifted to California, where in San Francisco, on i6th Decem- 
 ber, 1878, a benefit was tendered him to commemorate the fiftieth an- 
 niversary of his professional career. He died in that city 31st De- 
 cember, 1890. 
 
 THOMAS D. RICE was born in New York in 1S08, and made an 
 early appearance on the boards. He met with great success in Eng- 
 land in 1836. He never forfeited the respect of the public or the good- 
 will of his fellowmen. He died in i860. 
 
 WILLIAM WHEATLEY was an accomplished actor, and, al- 
 though he was capable of playing the entire range of legitimate roles, 
 was most excellent in such impersonations as Captain Absolute, Charles 
 Surface, Doricourt and Young Mirahle. He made his first stage appear- 
 ance as Albert to the William Tell of Macready, at the Park Theatre, 
 New York, in 1826. He so pleased the great tragedian that he was 
 taken on tour. He subsequently fulfilled a number of successful en- 
 gagements, and after closing his Montreal season he became manager 
 of the Walnut Street Theatre, Philadelphia, shortly afterwards retir- 
 ing from the stage to go into finance on Wall Street. He soon re- 
 turned to his first love, however, and was afterwards mostly engaged 
 in managerial ventures, retiring altogether in 1870. He died .3rd Nov- 
 ember, 1876, aged 59. 
 
 HENRY TUTHILL was a gentlemanly, high-souled fellow, and a 
 native of Dublin, w^hcre his father had been a w^ealthy hotelkeeper, 
 who established Harry in the silk business in 1823, but he became 
 bankrupt in 1830, and afterwards went on the stage, a vocation he had 
 always liked. He came to America in 1832. In 1852 he was in Cali- 
 fornia. He died in Dublin, 14th April, 1863. 
 
88 
 
 HISTRIONIC MONTREAL. 
 
 THE YEAR 1843 
 
 brought to Montreal Mr. and Mrs. Chas. J. Hill, both of 
 whom became great favorites. They were the parents of 
 Barton and Rosalie Hill, the latter appearing with her parents 
 during the season. Mr. and Mrs. Nickinson also appeared, 
 together with Miss Mary Rock, Miss Bailey, J. W . Wallack, 
 jun., Geo. Graham, Baker and Geo. H. Andrews. Nickinson 
 was the manager, and the season opened 5th June with ‘‘John 
 of Paris’’ and “The Four Sisters.’' The Bouicherville fire 
 sufferers had a benefit, 24th, in “Beauty and the Beast.” Then 
 followed productions of “The Rivals,” “Black-Eyed Susan,” 
 “Jack Sheppard,” “Robert Macaire,” “The Honeymoon.” 
 J. W. Wallack, jun., made his first appearance here 8th Aug- 
 ust as Melnotte to the Pauline of Mary Rock in “The Lady of 
 Lyons”; Mrs. Sutherland was the Widow, and Mrs. C. Hill 
 Mad. Lachapcllc. The French Opera Co., from New Orleans, 
 opened a season nth August, closing 21st for the season. 
 Rockwell and Stone’s circus did a good business during the 
 season. 
 
 GEORGE GRAHAM, an excellent low comedian, born in Man- 
 chester, England, made his first American appearance on the stage at 
 Mitchell’s Olympic Theatre, New York, in 1840. He died in Boston 
 in 1847. 
 
 JAMES W. WAEEACK, jun., was a handsome, popular and tal- 
 ented actor. He was the son of Henry Wallack, brother to Fanny, 
 and cousin to Lester Wallack. He came to America in 1819 with his 
 father, being then a year old, and first appeared on the stage at three 
 as Cora's child in “Pizarro,” in Philadelphia. In 1838 he was the lead- 
 ing actor in his uncle’s (J. W. Wallack, sen.), theatre in New York. 
 In 1842 he married Mrs. W. Sefton, formerly Miss Waring. He vis- 
 ited London in 1851, playing there and also in Paris. From that 
 time up to his death, which occurred 23rd May, 1S73, he starred with 
 Mrs- Wallack in the legitimate drama. In referring to him, Jefferson 
 says: ‘‘Young, vigorous and handsome, he was the most romantic 
 looking actor I ever saw; there was a dash and spirit in his carriage, 
 too, that was charming. I say he was at his best in those days, be- 
 cause in after years the acting of Macready, whom as an artist he idol- 
 ized, had an unfortunate influence upon him, as he ultimately became 
 imbued with the mannerisms of the English tragedian, which were so 
 marked that they marred the natu/ral grace of the imitator.” 
 
 MRS. WAEEACK. the daughter of Leigh Waring and Caroline 
 Placide, afterwards Mrs. W. R. Blake, v/as born in 1815, Her first 
 appearance on the boards was at the Chatham Theatre, 27th Septem.- 
 
HISTRIONIC MONTREAL. 
 
 89 
 
 ber, i8i8. In 1837 she married W. Sefton, who died two years later, 
 and after remaining a widow three years, was married to J. W- Wal- 
 lack, jun., with whom her subsequent stage career was associated. She 
 was a powerful and intelligent actress- Joseph Jefferson says of her ; 
 “All who remember Mrs. J. W. Wallack, jun., will attest the force of 
 her tragic acting. In the quality of queenly diginity I think she even 
 surpassed Charlotte Cushman, though she lacked perhaps the spirit 
 and fire of the latter.’* 
 
 MARY ROCK was another Clara Fisher, to whom she proved a 
 powerful rival. After the death of her parents in London, when she 
 was very young, she was adopted by a wealthy aunt in Dublin. As 
 she verged into girlhood, she met the best society under her aunt’s 
 roof, such as Tom Moore, O’Connell, Shiel and others. Reverses, how^- 
 ever, sent her to Edinburgh, where she taught music, and at the age of 
 twelve she was brought out on the stage as Tom Thumb, and soon 
 known thorugh the provinces as “ The Little Fairy,” Sir Walter 
 Scott was an early friend, as was also Charles Mayne Young, the Eng- 
 lish tragedian, who encouraged her to play heroic roles. Alwa3''S petite, 
 she shrank from assuming that pretentious line, but Young said, 
 ‘‘ My wife was no larger than you, but when she played Lady Macbeth 
 —and he accompanied his words with such pantomimic power that 
 the picture could be seen— she was a giantess !” Miss Rock first ap- 
 peared in America at Boston’s Federal Street Theatre, under the man- 
 agement of tragedian William Pelby, in 1827. Her last appearance at 
 New York was in support of Forrest, at the Bowery Theatre, 2nd Oc- 
 tober, 1840, as Julie to his Cardinal. During her Montreal engagement 
 in 1843 she met Capt. Murray, of the English Army. He was Sir 
 John Murray. Baronet, and a man of wide and varied acquirements, 
 had travelled much, but did not possess the qualifications of a good 
 husband. A physician found that it w^as necessary for the captain to 
 cross the water for the benefit of his health some time after his mar- 
 riage with Miss Rock, and the faithful wife scraped together her hard- 
 earned means, entrusted the whole to the captain, together with her 
 jewels, etc. He set out for England, ”but never came back.” She 
 then for several years taught music in New York and Albany, fighting 
 the battle of life nobly, but now, in her old age and poverty, is almost 
 forgotten, and yet this remarkable woman had such universal versatil- 
 ity as permitted her the entire range of farce, comedy, tragedy and 
 opera. Truly the avenues of life are often darkened by overwhelming 
 tribulation, yet often in some manner inexplicably surmounted by in- 
 domitable grit. 
 
 GEORGE H- ANDREWS, born in London, i 798 » made his Amer- 
 ican stage debut as Bob Acres in Boston, 1S27. He died in New York, 
 7 th April, t865. 
 
 THE FIRST royal’s DOWNFALL. 
 
 We have now arrived to the last season of the old Theatre 
 Royal, its downfall having been in consideration for some 
 
90 
 
 HISTRIONIC MONTREAL. 
 
 time in order to erect the present Bonsecours Market. Early 
 in the month of May, 1844, the material was sold by auction 10 
 j\Ir. Footner, architect, for $150. It was not demolished until 
 after the regular season, however, which was the most notable 
 since the appearance of Edmund Kean, eighteen years previ- 
 ously, in presenting to Montrealers the great William Charles 
 Macready. The opening was in June, when Mrs. George 
 Jones and Mr. Rodney appeared in a repertoire of standard 
 pieces, the most interesting production being ‘Tizarro,’’ widi 
 Mrs. Jones as Bclvidcra and Mr. Rodney as Rolla. Leander 
 Rodney was lessee and manager, and the company included 
 Mrs. William Isherwood, Mrs. Robinson, Messrs. J. S. Silsbee^ 
 Jas. N. Robinson, Samuel Johnston, Chas. A. King, J. B. 
 Vanstavoren, Thos. A’Becket, J. B. Phillips and T. F. Len- 
 nox. Mrs. Gibbs, a good singer and comedienne, also ap- 
 peared. On 8th July Mrs. Jones presented her first appeal to 
 the Montreal public, under the patronage of His Excellency 
 Sir C. Metcalfe, in Knowles’ “The Wife’' and “Love’s Sacri- 
 fice.’’ Macready ’s engagement was announced by Mr. 
 Robinson, acting manager of the Theatre Royal, to com- 
 mence 15th July in Hamlet, but owing to the illness of the dis- 
 tinguished visitor he could only open 17th. He was sup- 
 ported chiefly by Mrs. Jones, Mr. Ryder and Mr. Rodney. 
 He was seen as Richelieu, 19th; Werner, 22nd, when His Ex- 
 cellency the Governor-General was present ; and Macbeth, 
 24th, fcir Macready’s benefit, he playing the title role to Mrs^ 
 Jones’ Lady Macbeth, Ryder’s Macduff and Rodney’s Banqiio, 
 First and second boxes, 5s. ; pit, 3s. 9d. ; gallery, is. loHd. 
 Doors open at 7; performance at 8. 
 
 Mr. Macready had been in the city from 6th July, and it was 
 during his Montreal engagement that he made the following 
 well-known entry in his diary : July 17th. — Acted Hamlet; lay 
 on my sofa at the hotel ruminating upon the play of Hamlet; upon 
 the divine spirit zvJiich God lent to that man Shakespeare to create 
 such intellectual realities, full of beauty and of pozver. It seeing 
 to me as if only nozu, at fifty-one years of age, I thoroughly see 
 and appreciate the artistic pozver of Shakespeare in this great 
 human phenomenon; nor do any of the critics, Goethe, Schlegel, 
 or Coleridge, present to me in their elaborate remarks 
 the exquisite, artistical eifeets zvhieh I see in this ziwrk, as long 
 meditation, like long straining after light, gives the minutest por- 
 tion of its excellence to my view. 
 
HISTRIONIC MONTREAL. 
 
 91 
 
 “The Falls of Clyde’’ was given, 31st, at a benefit to Mr. 
 Lennox, and Mrs. Jones received a similar testimonial, btn 
 August, in “Fazio,” previous to her departure for Europe. 
 On this occasion the lady was the recipient of an address. 
 The last performance given at the old Theatre Royal was on 
 8th August, when Shakespeare’s “Comedy of Errors was 
 presented at a complimentary benefit to the manager, Mr. 
 
 Rodney, , 
 
 R C Maywood, under vice-regal patronage, gave an enter- 
 tainment at Roscoe’s Hotel, i8th June, 1845, entitled Lights 
 and Shadows.” This was his first appearance h-ere m seveiai 
 
 years. 
 
 JOSEPH B VANSTAVOKEN, a native of Philadelphia, began his 
 theatrical career there at the Walnut as a call b°y Jn 183^ He be- 
 came a useful actor of limited range, and died m 18^2 in Netv York. 
 
 MRS WM. ISHERWOOD (daughter of John Clark) first appear- 
 ed on the stage in New York as Pirt in “ London Assurance, and 
 died there 29th June, 1850. 
 
 Her husband, in partnership with McKenzie, opened the first the- 
 atre in Chicago in 1837. He died in 1841. 
 
 THOMAS A’BECKET had the distinction of making his first stage 
 appearance on board an English frigate at Valparaiso, the 
 
 tJ S. in 1836 in New York. He was born in Rochester, England. 
 
 ^ JOHN B. PHIEEIPS was an admirable prompter, and a genuine 
 
 t^e^M^e his wit at times was hardly unworthy a Hood or a 
 
 ^"r^'told that Forrest, the tragedian, coming among th^ 
 
 “stars.” Phillips was assigned the part of Horatio in Ham • 
 rehearsal during the first act a difficulty arose f^om Phillips be g 
 unable to give the emphasis Forrest wished conveyed to Ho, a 
 tio’s line. “I warrant it will.” The progress of the rehearsal was in- 
 terrupted. and many times the following dialogue repeated, without 
 
 producing the desired effect 
 
 Hamlet . — “ I will watch to-mght, 
 
 Perchance ’twill walk again. 
 
 7/ora<io.—“ I warrant it will.” 
 
 “No. no. no,” roared Forrest; “deliver it in this way. Mr., Mr., 
 
 Mr.— Phillips.” , . , 
 
 Then giving the line with the required force and expression he 
 paused and glared at Phillips, who was coolly and deliberately 
 answered. “No, sir: if I could deliver it in that way my salary would 
 be five hundred dollars per night.” The humor of the remark was 
 too much for Forrest’s gravity even; with a characteristic grun 
 
92 
 
 HISTRIONIC MONTREAL. 
 
 (such as only Forrest could utter), the tragedian walked to the 
 “prompt table,” and with a smile said to the manager, “let Mr. 
 Phillip’s salary be doubled at my expense during my engagement.” 
 Night came, and poor Phillips, elated with good fortune, and over- 
 anxious to please Forrest, ruined everything. 
 
 “ I will \vatch to-night5” 
 
 said Hamlet- 
 
 “ Perchance ’twill walk again,” 
 
 quickly replied Horatioy taking the sentence out of Hamlet's mouth. 
 Forrest with difficulty restrained his passion, and when he came off 
 the stage, fuming with rage, roared, “ I will give one hundred dollars 
 per week for life to any one who will kill Mr. Phillips.” 
 
 He was a brother to H. B. Phillips, so well known for several sea- 
 sons as acting manager here for Mr. Buckland. J. B. Phillips mar- 
 ried Annie Myers, and died in Baltimore (the scene of the occurr- 
 ence of the foregoing anecdote), 12th July, 1862. 
 
 MRS, GEORGE JONES became prominent in subsequent Mont- 
 real theatricals. She was the wife of the very erratic Jones, better 
 known to professionals of the present day as Count Johannes- Mrs. 
 Jones was a favorite and capable actress, and was the recipient of a 
 flattering compliment from the great Macready, wffiom she supported 
 here during the 1844 season. She last appeared in 1870 in Niblo’s 
 stock company. Mrs. Jones died in Boston, 12th December, 1875- 
 Her maiden name was Melinda Topping. 
 
 JOSHUA S. SILSBEE was a clever impersemator of “Yankee” 
 character. He w'as born in Steuben county, N.Y., ist December, 
 1813, and first appeared on the stage in his 25th year. His New York 
 debut was made in 1843. He starred for several seasons, and in 1850 
 went to England, remaining abroad three years. He died in Califor- 
 nia 22nd December, 1855- 
 
 THOS. F. EENNOX was a character actor of Scottish peculiarities, 
 and well known on both sides of the line. He was born in Scotland 
 and made his American debut at the Chatham Theatre in 1829 as Rob 
 Roy. He died in October, 1849, at Memphis, Tenn. 
 
 THOS. RYDER, Macready’s leading man, and an actor of con- 
 siderably note, died 31st December, 1872, aged 61. 
 
 WILLIAM CHARLES MACREADY was born in London 3rd 
 March, I793- His father was a theatrical manager, and in his seven- 
 teenth year William managed a company of players at Newcastle, Wm. 
 A. Conway being the star. Macready was educated for the church, but 
 it was owing to Mrs. Siddon’s suggestion that the pulpit lost a gifted 
 speaker. The senior was shocked at the idea. “Well, then, your 
 son will live and die a curate on £50 or £70 a year,” said the greatest 
 of actresses, but, if successful, the stage will bring a thousand a 
 
HISTRIONIC MONTREAL. 
 
 93 
 
 year.” The wily manager took the hint, and in i8ii his son made a 
 successful dehut as Romeo. After being advanced on a tour through 
 the provinces, he made his initial London bow as Oreste, i6th Septem- 
 ber, i8i6, 
 
 Richardson, an old showman, was always very proud of having 
 numbered Edmund Kean among his company. When Macready’s 
 name had become well known, Richardson was asked if he had ever 
 seen him. “No, mister,” he answered, “I knows nothing about him; 
 in fact, he's some wagabone as nobody knows — one of them chaps as 
 ain’t had any eddication for the thing. He never w^as wdth me, as 
 Edmund Kean and them riglars was.” Macready made rapid strides, 
 and the great popularity of Knowles’ “ Virginius,” which he was the 
 first to bring out, added immensely to his own. In 1824 he married 
 Miss Atkins. His first visit to America w^as in 1826; his second in 
 1844, and his third and last in 1849, when occurred the fatal Astor 
 Place riots, which resulted in the death of 22 persons. The trouble 
 arose over the jealousy of Edwin Forrest, and broke out during a re- 
 presentation of “Macbeth,” by Macready, loth May. Macready 
 made a public statement, pledging his sacred word of honor that he 
 had never shown any hostility to “ an American actor.” This called 
 forth a public letter from Forrest, in which he confessed and gloried 
 in having hissed the English actor, but denied having assisted in any 
 systematic organization against him, adding, with an insolence en- 
 tirely unworthy of Edwin Forrest, that his advice had been to let “the 
 superannuated driveller alone.” In the sketch of Edwin Forrest the 
 tragic results were narrated. Macready was glad to escape to Boston 
 in a covered carriage, and returned to England. His farewell to the 
 stage took place 26th February, 1851, when he played Macbeth. A 
 public dinner was given him under the management of Charles Dick- 
 ens and presidency of Lord Lytton. The remaining twenty-two years 
 of his life were engaged in superintending the education of his child- 
 ren and schemes for the welfare of the poor. 
 
 Chivalrously he hearkened to the call sounded by the mystic trump- 
 eter from death’s pale realm, and, surrounded by those nearest and 
 dearest to him, between smiles and tears, he reached his journey’s 
 end. 
 
 “ Farezvell, MdiCready ; moral, graife, sublime ; 
 
 Our Shakespeare’s bland and universal eye 
 
 Dzvells pleased through thrice a hundred years on thee.’’ 
 
 MontreaFs seventh play-house was called 
 
 THE ROYAL OLYMPIC THEATRE. 
 
 It stood on the present site of the Riendeau Hotel, on the 
 west side of Jacques Cartier square, near Notre Dame street, 
 on property belonging to Mr. Roy, and was built by subscrip- 
 tion. George Skerrett was lessee and manager. The open- 
 ing was on the 23rd of June, 1845, when Goldsmith’s ‘^She 
 
94 
 
 HISTRIONIC MONTREAL. 
 
 Stoops to Conquer ’’ was presented. Then followed ^ 
 Ladies’ Club,” “Married Life,” “Minister of Finance, ^ ^ The 
 House Dog,” “His Last Legs,” “A Match in the Dark, ‘dhe 
 Heir-at-Law,” etc. On 21st July R. C. Maywood began an 
 engagement in Macklin’-s “A Man of the World,” m which he 
 appeared in his great role of Sir Archy MacSycophant. He 
 next appeared in “John Bud,” “The Hunchback,’ Tlie Mer- 
 chant of Venice,” and “Time Works Wonders.” ^Miss Clar- 
 endon appeared for the first time 19th August in The Lad> 
 of Lyons,” “The Honeymoon,” 20th, and The Stranger, 
 2ist. Mr. and Mrs. Charles Hill took a benefit 22nd in “The 
 Dream at Sea”; George Skerrett, the manager, followed with 
 a benefit in “Speed the Plough” to a full house. Skerrett 
 delivered a poetic address as a farewell, and the first regular 
 season of the new theatre was brought to a close. The house 
 was re-opened 8th September wi.h Signer Mszzochi as man- 
 ager and Van Praag as stage manager. Julia Vincent and 
 Mrs. C. Howard were featured in several spectacular perform- 
 ances, and a number of light comedies were also staged. They 
 closed 27th with a benefit to Signor de Begnis. George 
 Skerrett was again at the head of the 1846 company and lessee 
 of the Royal Olympic Theatre. With a few exceptions his 
 associates were the same as in the previous season, and the 
 attractions of the year would not suggest noteworthy com- 
 ment. 
 
 GEORGE and EMMA SKERRETT were clever players and great 
 favorites here, as well as at Albany, where they were also managers. 
 George Skerrett was born in Liverpool, 21st May, i8to* He married 
 Emma Palmer, who was born in Glasgow in 1817. They came from 
 England in 1844, making their initial bows at the Park Theatre, New 
 York, Mrs. Skerrett’s debut being 3rd September, as Gertrude in “The 
 Loan of a Lover,’’ and Mr. Skerrett’s on 14th September. He died 
 at Albany, 17th May, 1855, of consumption. Mrs. Skerrett afterwards 
 married Harry L. Bascombe, from whom she separated in 1857. She 
 died in Philadelphia, 27th September, 1887. Their daughter, Rose, 
 born 1838, married L. R. Shewed in i860, and a son, George, died in 
 New York city lately. 
 
 THE NEW THEATRE ROYAL, 
 
 or Hay's Theatre, was the ’eighth in the city’s annals, and was 
 situated at the rear of the building known as the “Hay’s 
 Block,” at tire corner of Notre Dame street and Dalhousie 
 square, and extending back into Champ de Mars street. The 
 
HISTRIONIC MONTREAL. 
 
 95 
 
 location of the building was at that time in the most fashion- 
 able quarter of the city. Se\eral companies of artillery and 
 infantry were then located at Montreal, their barracks being 
 on ground now covered by the Canadian Pacific Railway De- 
 pot. The officers of the militia were the lions of society, and 
 St. Denis street was then to Montreal what Sherbrook-e street 
 is now. 
 
 The Hays’ Block was built in 1846-7 by Moses Hays, of 
 the firm Hays & Hawiks, hatters anl furriers. It was a block 
 of four and a half stories, stone front. The front portion of 
 the building was tenanted by the Free Masons. John Wells 
 was the architect. George Skerrett was the manager and R. 
 J. Jones assistant manager. The opening was on loth 
 July, 1847, with Shakespeare’s '‘Much Ado About Nothing.” 
 On this occasion James W. Wallack, jun., appeared at the 
 head of the company. The cast was as follows : Benedict, Mr. 
 Wallack; Claudio, John Dyott; Don Pedro, Mr. Palmer; Don 
 John, Mr. Ward; Dogberry, Mr. Skerrett; Leonate, Mr. Pardey; 
 Boraccio, T. B. DeWalden ; Friar, Mr. MacDonald ; Beatrice, 
 Mrs. Skerrett ; Hero, Miss Maywood ; Ursula, Mrs. Flynn ; 
 Margaret, Miss Frazey. The performance was preceded by 
 the National Anthem and an address by Mr. Skerrett. Miss 
 St. Clair introduced dances, and “Tom Noddy’s Secret” con- 
 cluded the whole. Wallack appeared as Shylock, 12th; “The 
 Wife,” 13th; “The Wonder,” 14th; “Much Ado,” 17th; and 
 again in a benefit performance to himself in “Hamlet,” with 
 “Katherine and Petruchio” as an after-piece. He was then 
 re-engaged, and appeared in “The Brigand,” “The Rent 
 Dav,” “Don Cresar de Bazan” and “The Hunchback.” 
 
 Wallack’s engagement was followed by another equally not- 
 able, in that of James R. Anderson on 2nd August in “Oth- 
 ello.” Mrs. Bland, late Harriet Faucit, had been specially 
 engaged to support him. On 3rd was produced “The Lady 
 of Lyons”; “Macbeth,” 4th; “Lady of Lyons,” 5th; “Mac- 
 beth,” 6th; and Anderson’s benefit 7th in “The Elder Bro- 
 ther.” He opened his second week in Schiller’s “Robbers,” 
 9th; “Othello,” loth; “Hamlet,” nth; “The Robbers,” 12th; 
 “Macbeth,” 13th; and closed 14th with “The King of the 
 Commons.” 
 
 JAMES ROBERTSON ANDERSON was born in Glasgow 8th 
 May, 1811, and died 3rd March, 1895. He first appeared in strolling 
 companies and became manager of the Leicester, Gloster and Chel- 
 tenham circuit during 1834-5 and ’36. He first appeared under Mac- 
 
HISTRIONIC MONTREAL. 
 
 96 
 
 ready at Covent Garden as Florisel in “ The Winter’s Tale,” 30th Sep- 
 tember, 1837. He made rapid progress, and at the same theatre 23rd 
 May, 1842, he first appeared in a star part, Othello. He came to Amer- 
 ica in 1846-7, part of 1848, and again in 1853. In 1867 he made an 
 Eastern tour. He last appeared before the American public early in 
 i860, when he concluded a tour that had continued since 20th October, 
 1858! Writing in the Newcastle Chronicle a history of his early en- 
 gagements, Mr. Anderson thus described his impressions: Monday, 
 26th, found me en route for Montreal. I slept at Niagara Falls, and on 
 Tue^lay took the steamer on Lake Ontario, touching at Kingston, a 
 melancholy looking place, and bearing away for the River St. Law- 
 rence* Wednesday, got out of my berth at 4 o clock in the morning 
 to witness the steamboat run down the famous and dangerous rapids. 
 It was a grand sight to see her descending at such fearful speed, with 
 six Indian pilots at the wheel to keep her steady in her course. The 
 slightest deviation in steering the boat would have driven us against 
 the huge perpendicular rocks that lined both sides of the river, and 
 dashed us to pieces without a chance of life. Ouir pilots, however, 
 brought us safely through those frightful dangers, and landed us in 
 Montreal at 9 o'clock on Thursday evening. I found good quarters 
 at Daly’s hotel. 
 
 They had a fine large theatre in Montreal, of which Mr. George 
 Skerrett was manager. I opened in “Othello;” the play was very 
 fairly acted, the house well filled, the audience judicious and liberal in 
 their approval. I was called for, and received with much applause. I 
 was pleased with my reception. I ran through the first six nights, 
 acting the old plays to very good business — so good that the manager 
 induced me to renew the engagement for six nights more, which turn 
 ed out equally well; and on settling day he handed me in gold and 
 notes $1,250. Not bad for the month of August, with the ther- 
 mometer at 90 degrees in the shade. The exchange in money between 
 Canada and the United States was heavy at this time, but it was better 
 to do it in Montreal than in New York. I bought a bill for $T,ooo, 
 and sent it to my friend, W. P. Chapman, to be placed to my credit 
 in “The Union.” 
 
 Montreal was a handsome, lively, bustling city, and being somewhat 
 Frenchified, reminded one of New Orleans. It is beautifully situated 
 on the noble river St. Lawrence, and the surrounding country is pic- 
 turesque and lovely* At the back of the town “ the ride round the 
 mountain is perfectly unique.” 
 
 Tire forty-eight Viennoise children opened a short season 
 i6th August, closing 25th. Tbe troupe was under tlie direc- 
 tion of Josephine Werss, from the Imperial Theatre, Vienna. 
 Nothing prettier than the dancing of these children had been 
 seen here. Their grace, precisi;^n 2nd artlessness left an im- 
 pression which remained for a long time on the minds of 
 thofe who saw them. 
 
HISTRIONIC MONTREAL. 
 
 97 
 
 Mrs. Seguin, after an absence of three years, appeared, 26th, 
 in opera, supported by a small musical company. During the 
 season Miss St. Clair, a clever dancer, entertained between 
 intermissions, and on the last night, 29th Septemebr, took a 
 benefit in Boucicault’s “London Assurance,’’ she dancing her 
 usual pas seiil. The seasons 1848, and 1849 parsed without 
 noteworthy incident, excepting that De Walden, the stage 
 manager, retired in 1848, and that the Government Legisla- 
 ture met at the theatre for a short time after the destruction 
 of the Houses of Parliament by the mob in 1849. 
 
 T. B DE WALDEN was born in London in 1811 and first went 
 on the boards as a professional early in 1844. His American debut 
 was in December of that year. He retired from the stage about 1857, 
 
 JOHN DYOTT_, equally capable in tragedy as in comedy, was a 
 native of Dublin, where he was born in 1812. In 1837 he married Miss 
 Watson, and seven years later made his initial appearance in America 
 as lago to the Othello of J. R. Anderson in New York. He retired 
 twenty-five years later to his farm at New Rochelle. 
 
 H. O. PARDEY, an Englishman, born i6th September, 1806, re- 
 tired from the stage in 1855 to write plays, some of which were suc- 
 cessful. He was found dead in a street in Philadelphia, 3rd March, 
 1865. 
 
 It was in the winter of 1849 
 
 THE GARRICK CLUB 
 
 came into existence and gave a s'eries of performances at the 
 Theatre Royal, the first, “Rob Roy,” being for the benefit of 
 Jos. Smith Lee, who had been dismiss’ed from a lucrative 
 Government position through having incurred the wrath of 
 the existing powers. Mr. Lee was a Shakespearean scholar, 
 and a favorite generally. This was the year of the riots in 
 Montreal, which resulted in the mobbing of Lord Elgin by 
 the Tory side, party feeling running very high. Encouraged 
 by their success, the members of the Garrick Cltub rented a 
 brick building on St. Jean Baptiste street, now occupied as a 
 warehouse by the firm, Evans Sons & Co., and opened it as 
 the Miniature Theatre, also known as the Garrick Theatre, 
 and lastly as Skerrett’s Bandbox. On the opening night, 
 1 2th October, 1850, “The Tower of Nesle,” with the comedy 
 of “State Secrets,” were presented. The President, J. H. 
 Isaacson, read an address in rhyme. Mr. Isaacson claimed its 
 
 7 
 
g8 HISTRIONIC MONTREAL. 
 
 draft. Inasmuch as it marks an historic event in Montreal s 
 theatrical annals, I herewith reproduce it, although it is not my 
 intention to note at length performances by amateurs. 
 
 Ladies and gentlemen, I wish to say 
 Just a few words to you before the play; 
 
 In fact, the truth with candor to confess, 
 
 I’m going to speak the “ Opening Address.” 
 
 It’s mentioned in the bills, and so — and so — 
 
 Of course, I must deliver it, you know. 
 
 The Club decided that it should be done; 
 
 The Secretary said he’d be the one 
 
 To write it. That decided, came the question 
 
 who would speak it. I offered the suggestion 
 
 That Mr. Baxter was extremely fit 
 
 And proper for the office — “ De’il a bit !” 
 
 But all cried out (I told them they would rue it) 
 
 "‘Oh, you’re the President, and you must do it.” 
 
 Now Presidents have generally a supply 
 Of talk quite inexhaustible, but I 
 Of public speaking am extremely shy. 
 
 Indeed, at first, I felt inclined to vow 
 I wouldn’t do it ; yet here I am. So now, 
 
 ‘Sith I am entered in this cause so far,’ I pray. 
 
 Lend an attentive ear to what I have to say. 
 
 ’Twill net be very long; the words are few ; 
 
 We merely wish to give a general view. 
 
 To tell you what we are and what we mean to do. 
 
 First, of our little play do not suppose 
 That with presuming vanity we chose 
 That honored name of Garrick — our intent 
 Was merely to express the — what we meant 
 Was — just — I really do. I must confess. 
 
 Forget what he intended to express. 
 
 But never mind; we’ll let that matter go ; 
 
 What I desire is that you all should know 
 That we are modest, feel our o^vn dements. 
 
 And do not think we’re Garricks. Keans or Skerretts, 
 But some who hear me now are thinking, p’rhaps : 
 
 ^‘Oh, yes 5 you’re quite a modest set of chaps ; 
 
 Extremely modest ; Shakespeare, nothing less. 
 
 Will suit your taste. We rather guess 
 You’ll make of that a pretty decent mess.” 
 
 Stay, gentle friends : allow me to remark, 
 
 You’re, metaphorically, in the dark. 
 
 We are not actors, and we therefore may 
 Not fully act the business of the play. 
 
 The frantic rushes and the sudden pauses 
 We have not practised much ; they’re of the causes, 
 
 You will admit, of unreserved applauses, 
 
 But, though not actors, we can tell a tale 
 Of gentle Shakespeare’s and, I think, not fail 
 To interest our hearers- 
 
 Enough, no doubt, of my discourse you’ve heard. 
 
 And yet I’ve spoken scarce a single word 
 Of what I meant to say — which seems absurd. 
 
HISTRIONIC MONTREAL. 
 
 99 
 
 But, you' know, I told you I was never 
 At speech-making particularly clever. 
 
 Pardon my faults, kind friends, and I will try 
 To speak a little better by-and-by. 
 
 We’ll meet again in Venice ; pray you there 
 Give me and all who speak a hearing fair. 
 
 Among the members of the Club were J. H. Isaacson, F. 
 T. Judah, George Smith, brother of the designer of St. An- 
 drew’s Church ; Henry Stearnes, brother of Hon. Henry 
 Stearnes ; Captain Lovelace, afterwards Colonel Lovelace , 
 Matthew Baxter, F. J. Locke, John Sharpe, B. Christopher- 
 son, R. Thomas, J. S. Lee, J. Driscoll and a man named Paris. 
 Messrs. Christopherson and Sharp-e generally assumed female 
 roles, having stage names of Miss Kitson and Miss Dudley 
 respectively. During the few years of the Club s existence 
 were produced, “The Heir-at-Law,” “The Canadian Settler,” 
 “The Tower of Nesle,” “Merchant of Venice,” “Lady of 
 Lvons,” “The Honeymoon,” “Othello,” “Douglas,” and a 
 comedy by Jerrold called “The Bride of Ludgate,’ exclu- 
 sive of a large number of farces which were performed as 
 after-pieces. Performances were given twice each week dur- 
 ing the winter season, the Club’s efforts receiving great en- 
 couragement from the citizens. 
 
 ]\Ir. ^latthew Baxter is the only surviving member. 
 
 The opening of the regular season of 1850 at the Hays 
 Theatre occurred late, but several transient troupes had ap- 
 peared previously. Sand’s American minstrels appeared 4th 
 and 5th February. The Ravels began a two weeks’ engage- 
 ment 15th July. Mons. Adrian, the magician, was seen 14th 
 August, and, as- already noted, the Garrick Club appeared 
 I2th October. The regular season was begun 30th October. 
 The manager was Henry W. Preston, already well knwn in 
 Montreal, having at one time been a m'ember of De Gamp s 
 company, and afterwards for a short time his successor m the 
 management of the old Theatre Royal, on St Paul street. 
 Preston had for associates in his new venture, Messrs. Lyne, 
 Barton, Marshall, Cushman, Brooktor^ S’ 
 
 Taylor, and Masters Hastings and Taylor ; Mrs. Isabella 
 Preston, Marshall, Hastings, Melville, and 
 bray a famous danseuse. “The Stranger ’ was the open- 
 inc»-^bill 30th October, Miss Mowbray introducing dances. 
 The band of the 20th Regiment was also in attendance^ 
 A series of standard plays was subsequently staged. The 
 
100 
 
 HISTRIONIC MONTREAL. 
 
 Maid of Croisy/’ ‘‘The Honeymoon/’ “Bertram/’ and, 
 on 6th November, Lyne appeared as William Tell at his 
 own beneht. On iith November Mrs. Preston^ had a bene- 
 fit in “ Lady of Lyons,” when she assumed the rol»e of 
 Claude Melnotte to the Pauline of Miss Mowbray. Lyne was 
 seen as Shylock, 30th, and the company was further enforced 
 at this time by the addition of Messrs. H. F. Read, John Nick- 
 inson, H. W. Smith, A. Muire, Mortimer, Charles D. Pitt, 
 Misses Anna Howland, Fanny Wallack and Charlotte Nick- 
 inson. Several of the old company left. “The Soldier’s 
 Daughter” was among the first pieces to be presented, and 
 Lyne played Richard III., December 6. Anna ^Howland’s 
 first appearance was in “The Lady of Lyons,” nth Decem- 
 ber. On 30th December we find Lyne playing Shylock for 
 the Garrick Club. He appeared on several occasions during 
 the following month. By a strange co-incidence, the Hays’ 
 Theatre was destroyed by fire very shortly after the erection 
 of its successor, the present Theatre Royal, seemingly not 
 willing to outlive its usefulness, on 9th July the building 
 was set on fire. The supposition at the time was that the in- 
 cendiary was a soldier, who wished to vent his spite on Mr. 
 Hays for some imagined wrong. This unfortunate act re- 
 sulted in the destruction of 1,100 houses, rendering 8,000 per- 
 sons homeless, and causing damage to the. extent of over a 
 million of dollars. A small quantity of scenery was saved, 
 including the familiar Windsor Castle scene drop-curtain, all 
 of which was purchased by Mr. Joseph, and used at the new 
 theatre; in fact, the curtain did duty until some years ago, 
 when it was replaced by the presetn design. The Hermann 
 Concert Company were giving ai performance at the time of 
 the fire, and some of its members were injured in making their 
 escape. 
 
 HENRY W. PRESTON was born in Ireland and was originally a 
 hatter by trade. His real name was Patrick Hoy. He was divorced 
 under his original name from his wife, Mrs. Nichols- He was a fair 
 actor, but frequently did some strange things on the stage when un- 
 der the influence of liquor. Once while playing Polonious, the boys 
 in the gallery became noisy, whereupon the Danish prime minister 
 made a stirring appeal to the dacency of those devils beyant.’’ Plis 
 end was tragic. He was seen on the night of 3rd April, 1859, stand- 
 ing by the river at Albany, and on being asked why he did not go 
 home, he replied : “I have no heme; the worms have holes to crawl 
 into, but poor men are without shelter/^ A few minutes later a splash 
 told the last of Preston. During his career he had managed several 
 theatres. 
 
HISTRIONIC MONTREAL. 
 
 lOl 
 
 FANNY WALLACK was a daughter of Henry Wallack, and like 
 all his family, picturesque in attitude and action. Her American debut 
 was at the Chatham Theatre, New York, 23rd December, 1839. She 
 died in Edinburgh, 12th October, 1856, not long after she became Mrs. 
 Moorhouse. 
 
 CHARLES DIBDIN PITT, an English tragedian of considerable 
 prominence, came to this country in 1847, remaining for four years. 
 Returning to England, he became lessee of the Sheffield Theatre, until 
 1866, when he died, 21st February, aged 47- 
 
 THOMAS A. LYNE was born in Philadelphia, ist August, 1816, 
 and made his first regular stage appearance at the Walnut Street The- 
 atre there, in March, 1829, as William Tell In 1835 he appeared in 
 New York. 
 
 Lyne made a nice little sum out of Mormon patronage, and by 
 methodical investment managed to keep himself in comfortable cir- 
 cumstances the rest of his days. Lyne was a very good actor of what 
 has been denominated the “ Forrest school.” He passed away in 1890. 
 
 The most interesting feature of 1851 was the opening of 
 the Garrick Theatre in July by George Skerrett as 
 
 SKERRETT^S BANDBOX, 
 
 with a very small company to be in keeping with a very small 
 theatre. The orchestra comprised three pieces. 
 
 Here, on 7th July, was begun a short season of comedy in 
 which Mrs. Skerrett had opportunity of displaying her sou- 
 brctte talents. 
 
 On 1st July the Heron Family appeared at St. Lawrence 
 Hall for two weeks, the ball-room being converted into a 
 temporary theatre. Skerrett not finding that his ^‘bandbox’’ 
 afforded sufficient accommodation, leased the hall of the St. 
 Lawrence Hall, and on 28th July presented to Montrealers 
 the peculiar and eccentric comedian. Sir William Don, in 
 '‘Used Up’’ and “The Rough Diamond.” He re-appeared 
 29th in “Pillicuddy.” It was at this time that Barton Hill 
 and his wife, Olivia Crook, made their first stage appearance 
 in IMontreal. On 4th August Mrs. Barton Hill made her 
 first appearance in “The Serious Family.” This company 
 also included Mrs. Charles Hill. Several entertainments were 
 given at the Odd Fellows’ Hall during the year. 
 
 SIR WILLIAM DON was a Scotchman, who stood six feet four 
 inches in height. He first appeared in America at the Broadway The- 
 atre in November, 1850. In 1857 he married Emily Sanders. Don 
 
102 
 
 HISTRIONIC MONTREAL. 
 
 was a whole-souled but erratic genius, yet withal a very entertaining 
 comedian, and had played in all the theatres of America. He died at 
 Hobart Town, Tasmania, 19th March, 1862, aged 36. Lady Don died 
 20th September, 1875. 
 
 SALLE BONSECOURS 
 
 was in popular utilization at this epoch for concert purposes, 
 and is specially referred to in these annals for having first in- 
 troduced to Montreal the future great Patti, then in her ninth 
 year. She was announced as ‘‘The Musical Prodigy, 
 Adeline Patti,’’ appearing in two concerts 3rd and 5th May, 
 1852, given by Emma G. Bostwick, Signors R. Pico, \ietti, 
 Mr. Ebben, flutist, and Herr Mueller, pianist. 
 
 the ST. JEAN BAPTISTE THEATRE 
 
 (Garrick) was used by the Canadian Amateurs throughout 
 the same season. 
 
 On 30th July John Wells, the architect, a'sked for tenders 
 for the building of the new Theatre Royal on Cote street. The 
 Hays’ Theatre had become altogether unfit for the proper 
 setting and production of plays, and it had become necessary 
 that a better condition of accommodation should exist. The 
 present 
 
 THEATRE ROYAL 
 
 on the eastern side of Cote street, above Craig stieet, was 
 completed early in 1852, and has always been the property of 
 Mr. Jesse Joseph. It was built entirely of brick, had two 
 galleries, and a seating capacity of about 1,500. A small 
 quantity of scenery, including the old familiar drop-curtain 
 representing Windsor Castle, was saved from the Hays 
 Theatre fire, and purchased by Mr. Joseph, the curtain doing 
 duty until some ten years ago, when it was replaced by an- 
 other design. 
 
 John Wellington Buckland was the first lessee and man- 
 ager. The Theatre was opened 31st May, 1852, by the cele- 
 brated printa donna, Catherine Hayes, at the head of a concert 
 company. 
 
 Mr. iluckland managed the affairs of the house until 1869 
 (at times represented by Ben De Bar), when John W. Al- 
 baugh took the lease for one year, being succeeded in 1870 
 by Buckland during the early part of the season, and by James 
 
HISTRIONIC MONTREAL. 
 
 103 
 
 A. Herne during the latter part. Ben De Bar, represented by 
 J. W. Albaugh, held the lease in the early part of 1871, and 
 Kate Ranoe during the latter part. Mr. Buckland resupied 
 1st January, 1872, for a short season. He died 20th Novem- 
 ber of that year. In those days the pit (where the orchestra 
 chairs now are) was the cheapest part of the house. It ex- 
 tended clear from the stage to the back of the house, and the 
 admission was two York shillings, or twenty-five cents. In 
 June, Ben De Bar leased the house until the end of the year, 
 when George Holman took up its management, ist January, 
 1873, closing in March. When Ben De Bar came on from 
 New Orleans, he brought with him a number of new ideas, 
 and proceeded to re-model the theatre. He abolished the 
 twenty-five cent pit, and replaced it with orchestra chairs, and 
 turned the family circle into the gallery ; then the noisy “pit- 
 tites^’ became the “gods.” Mrs. Buckland was the next 
 lessee, under the management of Ben De Bar, for the remain- 
 der of the year, resuming in 1874 with Harry Bindley as the 
 manager. The same arrangement existed during 1875, 
 with the close of the season also closed Mrs. Buckland’s long 
 connection with the old house. She retired to private life. It 
 was during the management of Harry Bindley that the 
 “Montreal Dramatic Club” was organized, and gave occa- 
 sional performances at the Royal. The officers of the Club 
 were: J. B. Burland, director; Chas. Wand, business man- 
 ager; Geo. Grant, treasurer; Geo. Franklin, stage manager; 
 and Carl Thorbahn, band leader. Other members of the 
 Club were: H. P. Gradbury, Harry Earle, Frank Williams, 
 T. Brock, C. E. A. Patterson, David Battersby, W. Hamilton, 
 P. Jones, W. Wilson, J. Jackson, Alf. Isaacson, Charles Ches- 
 ter, Miss Kate Browning, Miss Baura Villiers and Miss 
 Williamson. The prices of admission to the performances 
 given by the Dramatic Club were : Boxes, $3 ; dress circle, 50 
 cents; family circle. 37]^ cents; and pit, 25 cents. 
 
 We find George Holman lessee and manager during the 
 1876 season, he continuing until the summer of 1878, when 
 the management passed into the hands of O’Brien and West. 
 J. B. Sparrow’s name became first prominent as lessee and 
 manager of this house, 8th Sept., 1879. He continued to be 
 sole manager until the middle of Januarv, 1884, when he be- 
 came associated with H. R. Jacobs. Their subsequent suc- 
 cess in catering to the public at such popular prices of 10, 20, 
 
104 
 
 HISTRIONIC MONTREAL. 
 
 30 and 40 cents is well known, and has proved profitable in 
 every respect to this day. Early in 1898 Mr. Sparrow again 
 b^ecame sole lessee. 
 
 With the season of 1900-01, the old Theatre Royal has been 
 turned into a pretty playhouse. Beyond the fact that the 
 walls and galleries are the same, the place is entirely new 
 from top to bottom, and Mr. Sparrow commenced the 1900- 
 01 season under auspicies that promised the most successful 
 season he had ever known. 
 
 There have been very few contemporary actors and ac- 
 tresses of note who have not strutted and fretted their brief 
 hours on this stage. 
 
 With this preliminary, we shall now pass on to the detailed 
 annals of this eventful house. 
 
 Following the opening, 31st May, 1852, by Catherine 
 Hayes, a French Vaudeville Company appeared ist June. 
 Ole Bull, accompanied by Alfred Jaell, assisted by the German 
 Musical Society, gave concerts 14th, i6th and 19th. A bene- 
 fit performance in aid of the fire sufferers of a week before 
 was given 14th July, the piece being ‘‘The Serious Family.’’ 
 Kate Horn (Mrs. Buckland) appeared as Widow Delmain, and 
 Wm. P. Davidge as Aniidal Sleek. The regular opening, 
 however, was on 15th July, with Sheridan’s comedy, “The 
 Rivals.” As the curtain rose on the first act, it revealed Mrs. 
 Buckland in the character of Lydia Languish. Cast of charac- 
 ters: Mrs. Malaprop, Mrs. Clara FisFer Maeder; Sir Anthony 
 Absolute, Mr. Wm. P. Davidge; Lydia Languish, Mrs J. \N. 
 Buckland; Capt. Absolute, Mr. George Jordan; Bob Acres, Mr. 
 Andrews ; Sir Lucius, Mr. Bland ; Fatdkland, Mr. Trevor ; 
 Daznd, Mr. Thompson; Fag, Mr. Connor; Lucy, Miss West- 
 ern 
 
 In the season’s company were also included: Mrs. Ponisi, 
 Mrs.^ H. Bland, Miss Emily Lewis, Charlotte Nickinson, 
 Annie W^alters, Julia Gouild and Geo. W^. Lewis, stage man- 
 ager. Mr. Hilliard, a relative of Fanny Kemble, was the first 
 scenic artist. During the performance, Julia Gould sang 
 “Kate Kearney,” and Annie Walters danced “El Zapatedo.” 
 
 Prices of admission were, dress circle, 75c: family circle, 
 50c; parquet, 25c; and private boxes, $5. The box office 
 was at Herbert’s piano store on Notre Dame street. 
 
 Following the opening performance of “The Rivals,” as 
 already noted, was produced in the following order: “All that 
 Glitters is not Gold,” “The H*eir-at-Law,” “Married Life, ’ 
 
HISTRIONIC MONTREAL. 
 
 105 
 
 ^‘London Assurance/’ ‘'The Rivals,” “School for Scandal,’’ 
 "Lady of Lyons,” "The Ladies’ Battle,” ’‘Country Squire,’^ 
 "She Stoops to Conquer/’ benefits were tendered Mrs. Buck- 
 land, 7th August, in "The Ladies’ Battle”; Mr. Davidge, 14th, 
 in "Paul Piry ”; Mr. Jordan, 19th, in "The Rent Day,” and 
 "Robert Macaire”; Mr. G. W. Lewis, 21st, in "Rob Roy. 
 This performance is memorable for the fact that it first intro- 
 duced to Montrealers Wm. J. Florence, Charles Peters and C. 
 M. Walcot. "Delicate Ground,” "Captain of the Watch,” 
 were subsequently staged. On 27th August Miss Nickinson 
 had a benefit, and the season closed 28th with a benefit to Mrs. 
 Buckland in "Mons. Jacques’’ and "Follies of a Night,’’ to- 
 gether with the travesty of "Antony and Cleopatra.’ 
 
 JOHN WELLINGTON BUCKLAND died in this city 2Cth No- 
 vember, 1872, aged 57. He was born in London and was one of a 
 family of twelve sons and six daughters. He was a graduate of Hei- 
 dleberg, and spoke French and German with the same facility as he 
 did English. His father held an important position in the financial 
 house of Rothschild, and he himself began his business career under 
 the auspices of that firm. He was shortly afterwards transferred to 
 Quebec with one of the partners, and was before long in the employ 
 of Pembleton Bros., of that city. After remaining with that firm sev- 
 eral years he went to Buffalo and first embarked on an independent 
 career in association with one Brown, under style of Brown, Buck- 
 land & Cc. He was then married to Miss Kate M. Horn, who was 
 ever to him the true and faithful partner, not only of his gains, but 
 also of his labours. He went to New York where he became a mem- 
 ber of the banking firm, Buckland, Brown, Truscott, Greene & Co. 
 Here he met Mr. Corbin, who had intended to be the lessee and man- 
 ager of the Theatre Royal, and negotisted a loan to the latter, but 
 Corbin was unable to finance the matter any further, and in order to 
 save himself Mr. Buckland assumed the lesseeship of the theatre as 
 noted. His wife, Kate M. Horn, was a charming actress, and had 
 then been a member of Wallack’s Stock Company for some years. It 
 was in that way that a number of that company were induced to come 
 to Montreal during the summer season, and, the first venture proving 
 profitable, the company repeated its visits during several following 
 seasons. When the Bucklands came to the city, Montreal was a gar- 
 rison town, and among the officers was a Major Lye, who was a cou- 
 sin to Mr. Buckland. The major, therefore, introduced Mrs. Buck- 
 land to his brother officers as his " American cousin," and it is said 
 that this was how the play of that name, in which Sothern made the 
 great hit in the character of Lord Dundreary, got its name. 
 
 He was a man of retiring habit and exceedingly grave demeanor, 
 while Mrs. Buckland was of a sprightly disposition and a great talker. 
 When she would say to him, ‘'John, why don t you talk more ? he 
 would answer. " Why, Kate, you talk enough for both of us.” 
 
io6 
 
 HISTRIONIC MONTREAL. 
 
 MRS. BUCKLAND (Kate Horn), first apeared on any stage ,as 
 Miss Neville in the “School for Scandal” when she was under six- 
 teen years. She had been left an orphan at this early age, and had 
 gone on a visit to Charleston, N.C., with a Mrs. Tim, a soubrette, 
 whose husband was a musical conductor, where she appeared as 
 stated. Her first regular engagement was with the Park Theatre, 
 New York, where she was the companion and friend of Mrs. John 
 Drew. 
 
 On January 20, 1842, she appeared at Mitchell’s Olympic, as Sophia 
 in “The Rendez-vous.” Her first appearance at the old Park Theatre 
 was March 24, 1845, as Seraphina, in “ Fashion.” She first acted in 
 Philadelphia, August 26, 1850, at the Walnut Street Theatre, as Helen 
 in “ The Hunchback.” Clara Fisher Maeder, Mrs. Buckland, George 
 and Annie Jordan and William Davidge were in the stock company 
 that first acted at Brougham’s Lyceum, December 23, 1850. Geo. C. 
 Jordan, Charlotte Cushman, Emma Skerrett, Clara Fisher Maeder, 
 Mary Taylor and others, were in the company. On April 25, 1852, 
 she acted Helen in “ The Flumchback,” at Barnum’s Museum, for the 
 benefit of H. F- Daly. As Helena in “ A Midsummer Night’s Dream.” 
 on February 3, 1854, she appeared at Burton’s Chambers Street The- 
 atre. She comunenced at the old Broadway Theatre, New York, 
 September 17. 1855. as Lady Anne to E. L. Davenoort’s Richard, and 
 on February 18, 1856, she played Geraldine in “ Herne, the Hunter,” 
 at the same theatre. She was considered one of the most beautiful 
 women on the stage, and in company with Charlotte Cushman scored 
 many brilhant triumphs. She was the only member of her family who 
 adopted the stage. 
 
 After the death of her husband, Mrs. Buckland lived a retired, quiet, 
 but happy and contented life. She loved to talk over the scenes an*l 
 trials of her active life on the stage, and it was one of the greatest of 
 pleasures to hear her recite the scene from “ London Assurance,” 
 where Lady Gay Spanker describes how the race was won. The vim 
 and spirit she would put into it, even in comparatively recent years, 
 would carry the memories of her old admirers back to the fifties when 
 she was in her prime. A story is told of Mrs. Buckland’s great spi- 
 rits when a young woman. While in a furniture store on Broadway, 
 Miss Horn very much admired a l?rge easy chair, wLich a gentleman 
 friend offered to purchase for her if she would carry it dowm Broad- 
 way to her home. Miss Horn accepted the offer, and won the chair, 
 after exciting the curiosity of hundreds of pedestrians. Mrs. Buck- 
 land died loth September, 1896, at Strong’s Hospital. She left ?i4,ooo 
 to various Montreal charities. 
 
 JULIA GOULD, who sang “ Kate Kearney ” on the opening night 
 of the Theatre Royal here, was born in London, 1827, and w'as first 
 seen in opera in 1840. After coming to America she w^as seen in all 
 
L 
 
 KATE HORN (MRS. J. B. BUCKLAND), 
 as Lydia Languish. 
 
 From a daguerreotype in the Walla ck collection. 
 
HISTRIONIC MONTREAL. 10/ 
 
 parts of the country, and in i860 joined Buckley’s Minstrels. She 
 went to California in 1864. 
 
 ANNIE WALTERS, who danced “ El Zapetedo,” on the opening 
 night of the Theatre Royal, married Geo. C. Jordan in 1858, and was 
 ver3'^ soon afterwards divorced. 
 
 CATHERINE HAYES was born in Limerick, Ireland, in 1820, and 
 was called ‘‘ the Irish Swan.” She showed marvellous talent and 
 power of song as a child, and was given a good early training. Her 
 debut in opera was at Marseilles in 1845, when she sang in “Les Hu- 
 guenots.” In 1846 she was heard at Vienna, and in 1849 she made her 
 first aopcarance at Covent Garden, coming to America in 1851 at the 
 head of a concert company. While here she was engaged by P. T. 
 Barnum to give sixty concerts during an Australian tour for a consi- 
 deration of $50,000. She died in 1861. 
 
 OLE BORNEMANN BULL, one of the earliest attractions at the 
 Theatre Royal, was born at Bergen, Norway, Sth February, 1810. 
 His career as a great violoiiist began in his twentieth year, and his 
 1853. His tours were very profitable, and he made a great deal of 
 1853. His tours were very profitable, and he made a great deal of 
 money, all of which he lost in an attempt to found a Scandinavian 
 colony in Pennsylvania. He was considered half genius, half charl- 
 atan. He died 17th August, 1880. 
 
 WILLIAM PLEATOR DAVIDGE was one of America s repre- 
 sentative comedians. He was born in London, 17th April, 1814- His 
 debut was at Nottingham in 1836. In 1842 he married Elizabeth Clarke, 
 an actress. His first appearance in America was at the Broadway 
 Theatre, 19th April, 1850, as Sir Peter Teazle. He remained there five 
 years and then in various stock companies. From Wallack’s he join- 
 ed Daly’s in 1869, remaining eight years. He was the original Dick 
 Dcadeye in the first New York production of ‘‘Pinafore.” His last 
 engagement was with the Madison Square Theatre Company. His 
 book, “ Footlight Flashes,” is well known. Mr- Davidge died 6th 
 August, 1888, in a passenger car while en route to California to fulfil an 
 engagement. 
 
 GEORGE JORDAN was a capable and pleasing actor, and when he 
 first appeared here was the very pink of an Adonis, enchanting the 
 hearts of the ladies. He was born in Baltimore in 1830, and began 
 life as a printer, subsequently making his first appearance at the Mus- 
 eum under the management of John E. Owens. He made a very fav- 
 orable impression in 1852, when he came to Montreal. Mr. Iordan 
 afterwards met with success in England. He. died 14th Nov*, 1873* 
 
 HUMPHREY BLAND, an English actor, born in 1812, came to 
 this side in 1844, making his debut at the Park Theatre, New York. His 
 
io8 
 
 HISTRIONIC MONTREAL. 
 
 appearance in Philadelphia was in 1850, where, at the Arch Street 
 Theatre, he played Joseph Surface, He was thrice married. Harriet 
 Faucit, his second wife, died in 1852, and in August, 1853- he was mar- 
 ried to Emily Lewis. Mr. Bland died 17th January, 1869. 
 
 GEORGE W. LEWIS died at sea in January, 1853, aged twenty-six. 
 
 MADAME PONISI (Mrs. Elizabeth Wallis), an estimable lady and 
 talented actress, was born at Huddersfield, England, 15th December, 
 1818, and at an early age made her dehut on the stage at Barnard 
 Castle, as Amy in “ Father and Son.” She acted several years in the 
 English provinces before reaching London. 
 
 Madame Ponisi arrived in this country September 22nd, 1850, and 
 faced the American audience for the first time, October 7, 1850, at the 
 Walnut, as Marianne in “ The Wife.” After playing a week in Phila- 
 delphia she went to New York, and at the Broadway Theatre, Novem- 
 ber II, 1850, made her metropolitan debitt, playing Lady Teasle to the 
 Charles Surface of Sir William Don, who had then but recently made 
 his American debut. Mme. Ponisi was successful at the Broadway in 
 such a measure that she was at once given leading business, and that 
 position she held almost continuously until the old house was torn 
 down in 1859. She joined Wallack’s Theatre, making her first ap- 
 pearance as a member of the stock company at that house, November 
 13, 1871, as Tabitha Stork in “Rosedale.” From that time the history 
 of Mme. Ponisi’s career was wholly identified with that of the Wal- 
 lack Stock Company. 
 
 From time to time she appeared at other houses, notably at Booth’s 
 Theatre, April 2, 1877, supporting John McCullough. Madame Ponisi 
 was married in England prior to 1848 to James Ponisi. She was di- 
 vorced from him towards the close of 1858 (he died some years ago), 
 and in Feb., 1859, she married Saniuel Wallis, the property man, with 
 whom; she lived happily until his death, November, 29, 1884. 
 
 She retired from the stage in 1892, and died in Washington, 21st 
 Februar}^ 1899. 
 
 H. B. PHILLIPS died September 26, 1896, in Brooklyn, N.Y. He 
 was born May 19, 1819, at Charleston, S.C. In 1828 his parents moved 
 to New York. 
 
 In 1837 Phillips was treasurer for C- R. Thorne, sen., at the old 
 Franklin Theatre, Chatham Square, N.Y* He made his first appear- 
 ance on the stage for Mr. Thorne’s benefit, as Alonzo, in “ Pizarro.” 
 He was at the Astor Place Opera House when the Macready riot oc- 
 curred. When Brougham’s Lyceum opened he went there, where he 
 remained for ten years. During the summer months of that period 
 he managed the Theatre Royal, Montreal, for J. W. Buckland. At the 
 time of President Lincoln’s assassination he was acting manager of 
 Ford’s Theatre. He then took to playing old men roles, in which line 
 he continued for many years. In 1853, he married Mary Taylor. He 
 was the father-in-law of Kate Castleton. 
 
THEATRE ROYAL FAVOT’RITES FORTY YEARS AGO. 
 
 GEO VANDENHOFF. AGNES ROBERTSON. MRS. CONWAY. 
 CHAS. FISHER. MARY CANNON. 
 
 ELLEN TREE KEAN. J- W. WALLACK, JK. 
 
 IDA VERNON. GEO. JORDAN 
 
 ^iomy^DYOTT. W. R. BLAKE. CHAS. PETERS. 
 
 
 I 
 
 f , 
 
HISTRIONIC MONTREAL. 
 
 109 
 
 THE SEASON OF 1853 
 
 was preceded, week 20th June, by Italian Opera. Mr. Buck- 
 land was manaiger and lessee, and Charles Walcot, stage man- 
 ager. The company was again a powerful one, comprising 
 Messrs. Davidge, Chas. Fisher, F. Chippendale, F. A. Vincent, 
 jun., F. B. Conway, Crocker, Reynolds, Culbert, H. B. Phil- 
 ips, Tyle, F. Lyster, Jackson, Bernard, Denman, Thompson, 
 Chas. Reed, machinist, Mr. and Mrs. Chas. Walcot, Mrs. 
 Conover, Mrs. George Vernon, Mrs. Howard, Mrs. F. B. 
 Conway, Mrs. Buckland and Annie Walters. The open- 
 ing was 7th July, when Fred. B. Conway was first seen in 
 Montreal, in the character of Alfred Evelyn in Lytton's 
 ‘‘Money,’’ with Davidge as Stout ; Mrs. Conway as Clara 
 Douglass; and Mrs. Vernon as Lady Franklin. The following 
 pieces were successively presented: “The Hunchback,^’ “The 
 Stranger,” in which Mr. Crocker was seen as Count Winterson; 
 “ London Assurance,’’ “ Naval Engagements,’’ “ Black-Eyed 
 Susan,’’ “Othello,’’ “The Rivals,’’ “ Merchant of Venice,” 
 “School for Scandal,” “Rob Roy,” “Paul Pry.” On nth 
 August, Conway had a benefit in “Macbeth,’’ on which occa- 
 sion Charles Wheatleigh made his first bow to Montreal. Mr. 
 and Mrs. Conway closed 13th, when Mrs. Conway had a bene- 
 fit in “Hamlet.’’ Mr. Hale made his first appearance in this 
 production. Subsequent productions followed of “ Don 
 Caesar de Bazan,” “Katherine and Petruchio,” “The Golden 
 Farmer,’’ and “Hamlet,’’ 25th, for a benefit to Mr. Wheat- 
 leigh. The season closed 27th August, but re-opened for a 
 short time in September, in order to present Agnes Robertson 
 and her husband, Dion Boucicault. Their first appearance in 
 Montreal was the event of the season, ani also marked the 
 first appearance of Miss Robertson in Am»erica. 
 
 AGNES ROBERTSON commenced her theatrical career in her 
 thirteenth year at Hull. She was born at Edinburgh on Christmas 
 day, 1833, and, before she was eleven years of age, gave public con- 
 certs. She eventually became a protege of Mr. and Mrs. Chas. Kean, 
 first appearing at the Princess Theatre in January, 1851, as Ncrissa- 
 In January, 1853, she married the celebrated dramatist, and in the 
 spring crossed over to America, opening in Montreal. Her success 
 became phenomenal, tickets being sold as high as five and six dollars# 
 and such was the enthusiasm she created among the ladies of Boston 
 that her promenades through the streets were beset with crowds fol- 
 lowing her, while the corridors of her hotel were blocked with fair 
 
no 
 
 HISTRIONIC MONTREAL. 
 
 admirers. She appeared chiefly in roles cut out especially for her by 
 her husband. The talented couple subsequently separated as man and 
 wife Miss Robertson was a graceful and intelligent actress of natural 
 Tnd sympathetics power, with an abundant fund of delicate humor and 
 touching pathos. 
 
 The name of 
 
 DIONYSIUS GARDNER BOUCICAUET is a strong one in the 
 
 list of the present century’s dramatists. He was born in Dublin, 26th 
 December, 1822, educated at University College, London, and be- 
 came world famed in his nineteenth year as the author of 
 Assurance” He also obtained some distinction as an actor. In 
 i860 he produced the “Colleen Bawn,” which was the first of several 
 popular Irish dramas. He wrote more than 140 
 
 adaptations. He last appeared at the Academy of Music, Montreal, 
 week of 20th December, 1886, in his own play of “The Jilt, supported 
 by his second wife, Louise Thorndyke, whom he married in Australia 
 9th September, 1885, having deserted Agnes Robertson about 1879. 
 He died in New York, i8th September, 1890. 
 
 FREDERICK CHIPPENDALE, son and grandson of famous act- 
 ors is the grandfather of those clever artists, Affie, May and Leon- 
 ore Warner, daughters of Mr. and Mrs. Neil Warner. A family of 
 actors and actresses for four generations! 
 
 The direct subject of this sketch informs me that he was born 
 in 1820 at Ayr, Scotland. His father, William H. Chippendale, who 
 died 5th January, 1888, at the ripe age of 87, had the distinc- 
 tion of having played the role of the old courtier, Polomus, to the 
 Hamlet of Edmund Kean, John P. Kemble, Chas. M. Young, Henry 
 Johnston, Macready, John Vandenhoff, Chas. Kean, Barry Sullivan, 
 Forrest, Edwin Booth, Wm. Creswick and Henry Irving. He was 
 the son of a capable and well-known actor, and was himself an artist 
 of rare ability and intelligence- His wife, Mary J. Snowdon, began her 
 professional career in 1855- Frederick Chippendale was always re- 
 garded as a most finished and reliable actor, his special forte having 
 been in the “ old men ” of the knickerbocker order. During a long 
 career in this country he supported all the leading celebrities of his 
 day. His daughter, Belle Chippendale, married Neil Warner in 1874. 
 Mr. Cliippendale retired from active service a few years ago, owing to 
 his having become quite deaf. The veteran is in otherwise perfect 
 health, and is a merry member of that happy and select community at 
 the Forrest Home, Holmesburg, Pa. 
 
 DENMAN THOMPSON was not the celebrated actor he is to-day 
 when he was first seen on the Montreal stage; neither has he visited 
 the city for many years, for reasons best known to himself. His real 
 name is Henry D. Thompson. He was born at Beechwood, Erie 
 County, Pennsylvania, 15th October, 1833, his parents being farmers. 
 
i 
 

HISTRIONIC MONTREAL. 
 
 1 1 1 
 
 In 1S50 he went to Boston to find employment, and there joined 
 Troyon^s circus as property boy. In the course of the season he 
 rode in the opening pageant and developed ability as an acrobat. Dur- 
 ing the winter of 1850 he made his first stage appearance as a super- 
 fiiimerary at the Howard Athanaeum, Boston. For a while he work- 
 ed in his uncle’s dry goods store at Lowell, Mass. In 1852 he appear- 
 ed as the Oarsman in “ The French Spy,” at the Lowell Museum, and 
 after that acted for a season at Worcester, Mass. Then he became an 
 itinerant player, belonging at different times to wandering companies. 
 In 1856 he was a member of the Royal Lyceum Theatre at Toronto, 
 Canada. In 1862 he went to England, hoping to secure a chance to 
 play Salem Scudder in “ The Octoroon.” Failing to obtain the en- 
 gagement, he returned to Toronto, and acted there till 1868, when he 
 again appeared with travelling companies* It was while confined to 
 his bed in Pittsburg with an attack of rheumatism that he conceived 
 the idea of playing a Yankee character*. The result was his appear- 
 ance at Harry Martin’s Varieties in Pittsburg, in February, 1875, in a 
 twenty-five minutes’ sketch called “Joshua Whitcomb.” The title of 
 the sketch is a combination of the Christian names of Mr. Thompson’s 
 great uncle. Josh, and of General Whitcomb, a well-known character 
 at Swansea. After “Joshua Whitcomb” had run its successful career 
 from Maine to California, a new version of the play was written and 
 called “ The Old Homestead,” which attained equal success, and ran 
 for a number of seasons. The play has been several times produced 
 here, headed by Archie Boyd. 
 
 CHARLES PETERS was born in Birmingham, England, 15th 
 April, 1825, and came to America in the fall of 1849. His first engage- 
 ment was at Niblo’s in 1850. He moved about for some time, and in 
 1852 we find him touring Canada under the management of his father- 
 in-law, John Nickinson, having as companions his brother-in-law 
 (Chas. Melton Walcot, jun.,) and W. J. Florence. In 1858 he was the 
 original Binney in “Our American Cousin,” just played in Laura 
 Keene’s Theatre at New York, i8th October of that year, running 
 until the 19th of March, 1859. On the 4th of October, 1864, Mr. 
 Peters was accidently run over by a Third avenue car at New York, 
 receiving serious injuries, but recovered, and realized some $4,000 
 from a benefit performance tendered him by professional friends. 
 He died on the 2nd of November, 1870, leaving a widow, who is still 
 on the stage, as well as a daughter, Maud, and son, Frank. By this 
 marriage with Eliza Nickinson he became brother-in-law to Owen 
 Marlowe and C. M. Walcot, jun. Charles Peters was a cousin to Mr. 
 John Peters, the genial cashier of Messrs. R. G. Dun & Co., Mont- 
 real. 
 
 FELIX A. VINCENT was born in London in 1831; came to Bos- 
 ton, Mass., in 1849, and was known as a good stock actor. 
 
 FREDERICK BARTLETT CONWAY was what is called a good 
 “all-round” actor. His Evelyn in “Money” was one of his best im- 
 
112 
 
 HISTRIONIC MONTREAL. 
 
 personations and he was considered the best John Mildmay, in Still 
 Waters Run Deep,” on the American stage. He also gave an excellent 
 characterization of Arrnand in “Camille.” He was bcrn in London, 
 1819 made his dehut at Birmingham in 1839, and, after achieving a re- 
 spectable success in England, came to New York in 1850, when he 
 opened as Charles Surface. In 1852 he married Sarah Crocker, and 
 together they starred throughout the States until i860, when they 
 visited England, and were well received. They returned in 1863, and a 
 year later Conway became lessee of the Park Theatre, Brooklyn, which 
 he successfully managed until the time of his death. He died yth. Sept., 
 1874, at his summer residence, Manchester, Mass. 
 
 MRS. F. B. CONWAY, nee Sarah Crocker, was a sister of Mrs. D. 
 P. Bowers. Her first appearance in New York was at the National 
 Theatre. Col. Brown says she was one of the best actresses of her 
 time, being gifted with an intellect of strong analytic power, sufficient 
 to fit out half a dozen leading ladies. She died at Brooklyn, 25th 
 April, 1875. 
 
 Lester Wallack tells a good story of Conway, who was once ap- 
 proached in a very familiar manner by Coffee, an “ acrobatic mon- 
 key,” whom he had known in former years. “Suppose we ’ave a bene- 
 fit together,” said Coffee: “you do a Roman part and 1 11 do my scene 
 as the hape between the hacts, and we’ll draw lots of money. Con- 
 way, who always stood upon his dignity, lost all patience, and retort- 
 ed : “ Sir, I have endured the ups and downs of life in my time, and 
 have met with various indignities. T can stand a great deal, but Cato 
 and a ring-tailed monkey — never.” 
 
 CHARLES FISHER was born in London, i8i6, and aftex' a good 
 apprenticeship on the English stage, came to America in 1844, where 
 he was welcomed at Burton’s Theatre. He took high rank from the 
 first. In 1858 he visited London, playing a brief engagement there 
 and in Dublin. On his return he joined Wallack’s company, remain- 
 ing twenty years, when he became a member of Daly’s company, 
 with which organization he was associated until his retirement from 
 the stage, a short time prior to his death, which occurred nth June, 
 1890. He will be remembered as a genial and courtly gentleman, of 
 whose character nothing could be said save in praise, and in whose 
 personality the predominant features were sweetness and gentleness. 
 
 MR. and MRS. WALCOT. — Mr. Walcot is sixty-three years old 
 and a native of Boston. His father was an actor before him, and 
 the son began as an amateur when he was seventeen and a student 
 at St. John’s College, Fordham. He went on the professional stage 
 as soon as he graduated, and has played so many different parts 
 that he has never tried to set down the sum of them. While at 
 Laura Keene’s Theatre in New York, forty years ago, he was mar- 
 ried to Isabella Nickinson, daughter of the comedian, John Nickin- 
 son. She was only sixteen at the time, having been on the stage six 
 months. 
 
HISTRIONIC MONTREAL. 
 
 II3 
 
 During their long career the Walcots have taken part in some mem- 
 orable performances. In 1846 they played Cassius and Calphurnia re- 
 spectively, in the New York production of “Julius Caesar,” contain- 
 ing in the casts the three Booths — Edwin, Junius Brutus and John 
 Wilkes. Soon afterwards they were Horatio and Ophelia in Edwin 
 Booth’s record-breaking inmared nights run of ”Jrlamlet” at the Win- 
 ter Garden. Mrs. Walcot was the Lydia Languish the first time Mrs. 
 John Drew would consent to play Mrs. Malaprop in “ The Rivals.” 
 
 The Walcots are sterling artists, both. There is a rugged strength 
 in their method of acting that makes the niost trifling part convincing. 
 
 IDA FISHER VERNON was an actress deserving of more than 
 passing attention. She was born at Brighton, England, in 1796. Her 
 maiden name was Jane Merchant Fisher, she being a sister to Clara 
 Fisher, who made her first Montreal appearance in its early stage his- 
 tory. Mrs. Vernon came to America in 1827, making her debut at the 
 old Bowery Theatre, New York, nth Sept., as Cicely Homespun \n the 
 “Heir at Law.” She married George Vernon 6th October, and sub- 
 sequently becoming a member of the Wallack Co., remaining until 
 5th April. 1869, when she appeared lor the last time in the mimic scene 
 as Mrs. Sutcliffe in “ School.” She \vas a lady of extraordinary intel- 
 lectual endowments, of the purest morality and refinement. She died 
 in New York, 4th Jttne, 1869. 
 
 CHARLES WHEATLEIGH was not a great actor, but was artis- 
 tic in his methods and capable. He died in New York. Feb. 14, 1895. 
 Mr. Wheatleigh was born in London, and from his earliest recollec- 
 tions had a tendency toward the stage. His aebut took place in 
 Brighton, where he was favorably received as Romeo. His first Lon- 
 don appearance was in September, 1848, at the Marylebone Theatre, 
 as Captain Cleveland in “Is She a Woman?” The following year he 
 came to this country, and was for a long period identified with the 
 management of the Lairds. His first appearance in New York was on 
 August 31 1852, at Niblo’s as Doricourt in “ The Belle’s Stratagem- 
 Several years afterwards Mr. Wheatleigh joined Mr. Daly’s company. 
 
 The principals of 
 
 THE 1854 COMPANY 
 
 were Messrs. Fisher, Cuinningham, Stoddart, Jordan, Hale, 
 Stewart T Moore, Miss Marv Gannon, Mrs. Maeder. Mrs. 
 Stewart! Mrs. Hale, Miss Walters, Mrs. L^briin and Mrs, 
 Buckland. Mr. Moore was stage manager, and, as hereto- 
 fore Mr Buckland lessee and manager. The regular season 
 opened 31st Mav with Kotzebue’s "Stranger.^’ Jordan m the 
 titular role and Mrs. Buckland in the zds-a-vis character, Mrs. 
 Haller. The following plays were staged during the season : 
 
 8 
 
HISTRIONIC MONTREAL. 
 
 I 14 
 
 “Loan of a Lover,” “The Lawyers,” “The Poor Gentleman,’ 
 “Lady of Lyons,” “The Hon*eyinoon,’’ “Black-Eyed Susan,^’ 
 “ Merchant of Venice, ’ “ State Secrets,” " The Gamester,” 
 “ Rent Day,” “ Richard III,” ” Sir Cupid,” “ Othello,” with 
 Fisher as the Moor and Jordan as lago; “London Assurance, ’ 
 “Wild Oats,” “Love Chase,” “Rob Roy,” “School for Scan- 
 dal,” “Hamlet,” with Jordan as the Dane; “The Hunchback,’ 
 “Macbeth,” “ Sweethearts and Wives,” “Paul Pry,’’ “The 
 Iron Chest,” “Corsican Brothers ” (its first production here) ; 
 “ The Rivals,” “ Money,” 26th July, for Jordan’s benefit ; 
 “Love’s Sacrifice,” "Mary, Queen of Scots,” 29th, and “As- 
 modeus,” 30th, for Fisher’s benefit, closed the season. Several 
 transient companies subsequently appeared, but were of little 
 importance. On 20th September Frank S. Chanfrau made 
 his first Montreal appearance in “Toddles ’’ and “The Stage- 
 struck Darkey.” Mrs. Buckland and Mile. Albertine also 
 app'eared. 
 
 FRANCIS S. CHANFRAU was born in New York, 1824. He 
 made his first hit as Jerry Clip in The Widow’s Victims/' and follow- 
 ed this with Mose, the Fireman,” hvt his most permanent success 
 was as Kit in “ The Arkansas Traveller.” In 1858 he married Hen- 
 rietta Baker, one of the most refined and intelligent actresses on the 
 stage. He died 2nd October, 1884. 
 
 CHARLES B. HALE, a useful and reliable stock actor, was born 
 in England 23rd June, 1819, and first appeared on the stage at Here- 
 ford, as Thessalus in ” Alexander the Great.” His metropolitan dehut 
 was in 1849, and his first American appearance was in 1852, at the 
 Broadway Theatre, New York, as Sam Warren in “The Poor Rela- 
 tion.” He died 29th January, 1893. His wife, Charlotte France, died 
 6th December, 1865. 
 
 MARY GANNON was born 28th October, 1829, and went on the 
 stage in her third year. In her tenth year she appeared in a company 
 of children in “ Gulliver in Lilliput” She rose in the profession step 
 by step until she became the comedienne of Wallack’s company. Her 
 last appearance on the stage was 27th January, 1868, when she had 
 great difficulty in performing her part, and on 22nd February follow- 
 ing she died. 
 
 JAMES HENRY STODDART is the second son of an equally 
 famous actor of the same name. Born at Barnsley, Yorkshire, 13th 
 October, 1827, he received strict schooling in the Scotch fashion. His 
 theatrical carev^r began at the Theatre Royal, Glasgow, under the tutel- 
 age of his father. At eighteen he left that city and became a stroller 
 until 1853, when he came to America. He joined Wallack’s company 
 
HISTRIONIC MONTREAL. 
 
 115 
 
 tirst, and then various other stock organizations. He was a character 
 actor in every sense of the word^ and a roll-call of his impersonations 
 aJone would till a column. Mr. Stoddart married the lady favorably 
 known as Miss Canover. In Sept., 1901, Mr. Stoddart began a 
 prosperous tour in Rev. Dr. Watson’s “The Bonnie Brier Bush.” 
 In his long career he has given no better picture that that of the 
 hard, religious, upright old Scotchman, strong in his faith, and then 
 broken in his Jiorrow. It is an interpetation artistic in every way, 
 perfectly consistent, and signally successful. 
 
 Those who figured during 
 
 THE 1855 SEASON 
 
 were W. R. Blake, Wm. P. Davidge, F. S. Chanfrau, Chas. 
 Peters, Jas. Bennett, John T. Sloan, Harry Hall, Mr. and Mrs. 
 John Wood, Mr. and Mrs. F. B. Conway, John Brougham, 
 Morris Barnett, C. Fisher, Mary Agnes, Miss Albertine, Miss 
 Reignolds, Mrs. Hal»e and Mrs. Buckland. The regular open- 
 ing was the 4th June, with a production of the comedy, 
 “Legerdemain,’' introducing Harry Hall, an English actor, 
 and Mrs. Buckland. W. R. Blake opened a short season, 
 i8th, in “School for Scandal, “The Rivals,” “Heir-at-Law,’^ 
 and Davidge op’ened for six nights, 9th July, in a round of 
 comedies. Mr. and Mrs. F. B. Conway were seen, i6th, in 
 “Macbeth,” followed by “Hamlet,’’ “Othello,’’ “Ingomar,” 
 “Willow Copse.’’ The event of the season was the first ap- 
 pearance of the English tragedian, James Bennett, who 
 opened 13th August as Shylock; Sir Giles Overreach, 14th; 
 “Damon and Pythias/’ 15th; “Richard HI.,’’ i6th; “Hamlet,” 
 17th; and “Pizarro,” i8th. Mr. and Mrs. John Wood ap- 
 peared 20th. The season closed 8th September, when was 
 produced “A Model of a Wife.” MacAllister, the magician, 
 appeaiied shortly after for a few nights. 
 
 Kate R*eignolds, in her recollections, has been pleased to 
 refer to Montreal in an interesting and favorable manner : — 
 
 “Canada was always a delightful place to visit. My first trip thither 
 was under the care of Mrs. Buckland, to play in Montreal. My last, 
 a happy halcyon month in fascinating Quebec, hospitably entertained 
 by Consul Howells and his pleasant family. The French element 
 makes a delightful, symnathetic and discriminating audience, but the 
 English military, when they were garrisoned in Canada, were the most 
 valuable patrons of the theatre. The officers in Montreal had private 
 theatricals all the winter, under Mr. Buckland’s management, which 
 naturally placed them on the most friendly terms with him, so that in 
 his summer season they strolled into his box, or office, and had entree 
 behind the scenes. At one time, when I was in Montreal, both the 
 
HISTRIONIC MONTREAL. 
 
 1 l6 
 
 famous Guards regiments had their quarters at St. Lawrence Hall, 
 and half the mess were men of title. A benefit night under “patron- 
 age ” was a pretty sight; red coats in the pit, officers in the boxes; 
 English women looking as only English women do in full dress, and 
 the band of the regiment massed in the orchestra.” 
 
 MR. and MRS, JOHN WOOD. — He was an Englishman, and 
 first appeared on the stage in boyhood. He married in early life, and 
 he and his wife played their first important engagement at Man- 
 chester. His Touchstone and her Audrey were well liked. Their 
 American debut was nth Sept., 1854. at Boston, he as Bob Acres. They 
 visited California in 1859, and afterwards separated as man and wife^ 
 He died in Vancouver, 28th May, 1863. 
 
 Mrs. Wood (nee Vining), after accompanying her husband to Cali- 
 fornia in 1859, became the manageress of the American Theatre in 
 San Francisco, and in i860 also that of the Olympic Theatre, New 
 York. 
 
 In 1859-60 she was associated with Mr. Jefferson at the Winter 
 Garden, when that house was under the management of Boucicault 
 and Stuart. Here it was that Jefferson first played Caleb Plummer to 
 the Tilly Slowboy of Mrs. Wood in Boucicault’s version of “The 
 Cricket on the Hearth.” Six years later she returned to London, but 
 again visited America in 1871-2, and afterwards managed the St. James 
 Theatre, London. 
 
 MACALIilSTER, the magician, first visited New York from 
 Havana in 1849, and was subsequently seen all over the, United States 
 and Canada. He died, ist Sept., 1856, at Keokuk, Iowa. His young 
 widow then married J. M. Weston, and died in 1859. 
 
 KATE REIGNOLDS was born in England in 1832. Her grand- 
 father was a staff officer of Wellington at Waterloo, where he lost his 
 life. She was first regularly introduced to the stage by Forrest as 
 Virginia in New York- Her first husband, Henry Farren, died in 
 1857. In i860 she married Erving Winslow, of Boston, and has since 
 lived in retirement. She still resides (1900) in Boston. 
 
 MXIiE. ALBERTINE, a prime favorite for many years as a clever 
 dancer, in time became forgotten. She lived for some years in desti- 
 tute circumstances in New York, unable to follow her vocation owing 
 to total blindness. She died 6th Oct-, 1889, at New Bedford, Mass. 
 Her first public appearance was made in Philadelphia, 15th March, 
 1850, at the Arch Street Theatre. 
 
 JOHN BROUGHAM was born in Ireland, 1810. and first appeared 
 before the public in 1830. Keese in his life of Burton, says: “ He 
 possessed exuberant vitality, keen sympathy and appreciation, rare 
 personal magnetism, and you have before you glorious John, whose 
 hearty voice it was always a pleasure to hear. His Sir Lucius O' Trig- 
 ger was famous. He died in New York, 7th June, 1880. 
 
HISTRIONIC MONTREAL. 
 
 117 
 
 JOHN THOMAS KENT SLOAN, born in England, 4th March 
 1813; died m Liverpool 20th May, 1861. First appeared on the stage in 
 1832, and ten years later made his London debut at Drury Lane. He 
 came to America in 1849. 
 
 JAMES BENNETT was not a distinct succe.ss in this country. Col- 
 Brown describes him as being below the medium height and in gen- 
 eral appearance reminding one of Feehter. He had the ungainly 
 stage walk of Sullivan and Irving, as well as a painful rolling of his 
 eyes. On his second visit to America in 1871, he was specially en- 
 gaged to play Richard III. in a grand spectacular production at Niblo’s 
 loth April, but was a lamentable fiasco, although supported by a very 
 powerful company. After the first week, Neil Warner played 
 Richard, which enjoyed a run of three weeks. 
 
 At the outset of Barry Sullivan's career, he and Bennett were once 
 brought into close rivalry under one management, to the eventual 
 defeat of Sullivan. Many years later, during a London engagement 
 Sullivan met with an accident, and an understudy assumed his role of 
 Clcstcr. He was a wan, grizzled and wistful looking man. No one 
 appeared to know him. Approaching a group of old friends in a 
 restaurant after the performance, he surprised them by asking if they 
 did not remember — ^James Bennett. “Ah, well,” he muttered bitterly, 
 “no one knows Bennett now !” In 1888 Sullivan was striken with 
 paralysis.. About the same time Bennett became totally blind. Hap- 
 pily he quickly passed from pain to peace. 
 
 Mr. Buckland opened 
 
 THE 1856 VENTURE 
 
 in the middle of May. He had been very unfortunat’e in his 
 management of the Howard Atheneum, Boston, and the 
 Montreal season, which closed in August, was even more un- 
 profitable. The company from Quebec under the manage- 
 ment of Henry Farren was seen in Montreal during the sea- 
 son. It included: F. Lyster, basso; Francis Trevor, tenor; and 
 Rosalie Durand, prima donna, in operatic effoiits; and there 
 also appeared, Messrs. Donaldson, H. C. Ryner, Henry C. 
 Jordan, Mrs. Jordan and Fanny Morant. 
 
 An autumn season was inaugurated by Mr. Buckland, 
 when Celia and Olive Logan appeared with much success 
 which was repeated in Quebec, compensating the manager 
 somewhat for the losses he had sustained earlier in the season. 
 
 MORRIS BARNETT died in Montreal, i8th March, 1856. aged 
 56 . 
 
ii8 
 
 HISTRIONIC MONTREAL. 
 
 The following season also passed without much interest 
 being taken by the public in th'eatricals, and the management 
 was not encouraged to provide sufficiently strong star attrac- 
 tions to draw our ever over-exacting public. 
 
 IN 1857 
 
 Mr. Belton was acting manager. The most important ap- 
 pearances, during a short season, were those of Kate Reig- 
 nold's, and James Bennett, the English tragedian. The laBer 
 appeared in a round of Shakespearean characters, beginning 
 loth August. Mr Belton also und'ertook the management of 
 the Quebec Theatre, which had a short and unprofitable 
 season. 
 
 Kate Reignolds records that she had a narrow escape from 
 death after terminating her Montreal engagement in 1857. 
 Fearing that she had taken a wrong train, she, in a moment 
 of excitement, jumped off, and, upon being picked up, was 
 found to be badly bruised. 
 
 F. E. BELTON was an Englishman of considerable managerial 
 experience. He was the brother-in-law of Richard Graham, the 
 tragedian. After a short sojourn in the United States, where he 
 was for a time identified with the Boston theatre, he returned to 
 England, and became manager of the Exeter theatre. 
 
 THE YEAR OF 1858 
 
 was most notable, bringing Charles Mathews before a Mont- 
 real audience for the first time, in ‘'Cool as a Cucumber,” “A 
 Game of Speculation,” and “Trying it On.” This was ist 
 June, on the night of the regular opening for the season. H. 
 
 B. Phillips was the stage manager. The famous comedian 
 closed 26th, in “Madeline.’’ 
 
 Mr. and Mrs. Sloan appeared in “Jessie Brown,” 9th June, 
 and, on 14th, Mis’s Angela Sefton made her first appearance 
 in “The Dumb Boy of Manchester.” Her father, John Sef- 
 ton, appeared with her. The favorite, Jane Coombs, made 
 her first bow here, ist July, in “The Lady of Lyons.” “Tlie 
 Sea of Ice” was staged 7th. 
 
 Mrs. Buckland made her second appearance this season, 
 8th, as Calanthe, in “ Damon and Pythias,” supported by 
 Messrs. Elmore, Phillips, Loveday, Stoddart, Selwyn, Barrett, 
 
 C. Hale, Josephine Manners and Mrs. Sylvester. Charles 
 W. Couldock first appeared here 12th July as Luke Fielding, 
 in “The Willow Copse.” He plaved a round of legitimate 
 characters, and closed 17th in “Othello.” On 22nd was 
 
 staged “Tire Courier of Lyons.” 
 
i 
 
 ..1 
 
 I 
 
 \ 
 
 
 \ 
 
 I 
 
CHARLES JAMES MATHEWS. 
 
HISTRIONIC MONTR^L. I IQ 
 
 Mr. and Mrs. D. W. Waller began, 26th July, in “Lady of 
 Lyons,'’ following in “Hamlet,’’ “Macbeth,” and “Patrician’s 
 Daughter,” closing a siuccessful week, 31st, with “ Castle 
 Aldabrand.” 
 
 Beginning 2nd August, came E. Blanchard’s Canine Para- 
 dox; and on i6th Sallie St. Clair appeared in “The French 
 
 George Vandenhoff was heard in Shakespearean readings 
 at the Mechanics’ Hall, 9th and nth June. 
 
 The visit of Henri Vieuxt'emps, the celebrated violinist, 
 marked an important musical event, 7th July. 
 
 CHARIiES JAMES MATHEWS played in most of the countries 
 of the world, and was the author and adapter of forty-three plays, 
 and the creator of 161 parts. He was the only son of the celebrated 
 comedian after whom he was named. He made his debut in 1835, and 
 married Madame Vestris in 1838, when he came to America. He was 
 the original Dazzle and his wife the original Grace Harkawayt in 
 “London Assurance.” Madame Vestris died in 1856, and a year 
 later Mathews re-visited America, where he married Lizzie Weston 
 Davenport the day after she was divorced from her husband, A.H. 
 Davenport. For this the comedian was publicly horsewhipped by 
 Davenport in New York. Mathews died 24th June, 1878, aged 75. 
 Mrs. Mathews (nee Jackson) had married Davenport in 1854. She 
 died at Brighton, England, 3rd January, 1899. 
 
 JOHN H. SELWYN (Josephs) was a native of England, where he 
 was born in 1836. He first appeared on the American boards in Bos- 
 ton, 1854, and three years later married Miss J. Hayes. He after- 
 wards managed Selwyn’s Theatre in Boston. 
 
 JOSEPH LOUIS BARRETT, a brother of Lawrence Barrett, was 
 born 14th July, 1831. He first married Emily Viola Crocker, niece of 
 Mrs. D. P- Bowers and Mrs. F. B. Conway. 
 
 Mr. and Mrs. Barrett vvere seen in the Montreal Stock Company 
 during several seasons. She died 21st Oct., 1869. For some years 
 prior to his death, Mr. Barrett had been a member of Ada Gray’s 
 company. 
 
 CHARLES WALTER COULDOCK frequently appeared here, 
 and had been seen in all his great roles. He was born in London, 
 England, 26th April, 1815, and came to America in 1849 in Charlotte 
 Cushman’s company, making his debut, 8th October, the Stranger 
 to Miss Cushman’s Mrs» Haller. 
 
 After a brief tour as leading support to Miss Cushman, he settled 
 down in Philadelphia, at the Walnut Street Theatre, for four seasons 
 as leading man. While there Mme. Celeste played a star engagement 
 (1852), and during the time did “The Willow Copse,” a new' drama 
 
120 ^ISTRIONIC MONTREAL. 
 
 brought to this country by her. So well pleased was she with Mr. 
 Couldock’s performance of Luke Fielding that she presented him with 
 a copy of it, with the right to produce it. For four seasons he travel- 
 led as a star with this play. 
 
 For about twenty years, from 1859, he was one of our best stars. 
 When the Madison Square Theatre was dedicated, February 4, 1880, 
 Mr. Couldock played Dunstan Kirke in “ Hazel Kirke.’’ He had cre- 
 ated the character when the play was first produced under the title 
 of “An Iron Will,” at Low’s Opera House, Providence, R.I., October 
 27, 1870. He continued to act it at the Madison Square Theatre until 
 the play was withdrawn. May 31, 1881, after its hour hundred and 
 eighty-sixth consecutive representation. 
 
 Mr. Couldock’s lago and Hamlet were his best performances thirty 
 years ago. His greatest fame, however, was achieved in the role of 
 Louis XL Later on he adhered to a new line of dramatic work, 
 known as the domestic drama. 
 
 His last appearance in Montreal as a star was week 7th January, 
 1889, in “Hazel Kirke,” at the Theatre Royal. He re-appeared at 
 the Academy of Music in support of Wilton Lackaye in “ Dr. Bel- 
 graf,” in the spring of 1897. 
 
 For many months he sat in the deepening twlight, waiting for the 
 dawning of the grander day, while in his still vigorous brain were 
 clustered the hallowed memories of many years. He died in New 
 York, 27th November, 1898. 
 
 GEORGE VANDENHOFF was a son of John Vandenhoff. and 
 was born in Liverpool in 1816. He was educated for the bar, and final- 
 ly admitted, but much against his father’s wishes he decided to go on 
 the stage, making his debut at Covent Garden Theatre, 14th October, 
 1839. His debut at the Park Theatre, New York, was 21st September, 
 1842, as Hamlet. In January, 1853, he returned to England on account 
 of ill-health, returning in Aug^ust, 1855, three days after which he mar- 
 ried Miss Makeah, a lady who had appeared at the Winter Garden 
 Theatre. She died 2Cth April, 1885. In November, 1858, Mr.Van- 
 denhoff was again admitted to the bar- He possessed a commanding 
 figure and an open and manly countenance, a voice of strong and 
 pleasing quality and he walked the stage with grace and dignity. As 
 a reader he was very fine, and appeared in Montreal on several occa- 
 sions at the Mechanics’ Hall- He elieel at Bennington, loth August, 
 1884. 
 
 MARCUS ELMORE, an English actor, was doing the leading 
 business during the season, appearing in “Othello,” “William Tell,” 
 “Pizarro,” “The Stranger” and other standard productions. Mr. 
 Elmore was an actor of strong legitimate methods. He came to this 
 country from the St. James Theatre, London, and made his American 
 debut 2nd June, 1856, at the Broadway Theatre as Huon in “Love.” 
 He returned to England, where he died some years ago. His wife, 
 Mary Hannah Elmore, died 25th January, 1899. 
 
HISTRIONIC MONTRE.^ 121 
 
 DANIEL WIEMARTH (WALLER), the son of a New York 
 
 merchant, made his stage debut in his seventeenth year in Philadel- 
 phia as Hamlet. Meeting with some success, he went to England, 
 where in 1849 he married, and in 1851 returned to America. In 1853 
 Mr. and Mrs. Waller made a tour of Australia. He died 20th Jan., 
 1882- 
 
 EMMA WALLER^ born in England in 1829, first studied in 
 France and Italy for the operatic stage, but abandoned this course, 
 and in 1848 appeared on the dramatic stage. 
 
 Her first appearance in London was made at Drury Lane in 1856, 
 as Pauline, in ‘‘ The Lady of Lyons.” Prior to that time she had act- 
 ed in provincial theatres, and there is a record of her appearance at 
 Melbourne, in 1855, with G. V. Brooke, in “ Macbeth.” On October 
 19, tS 57 , she appeared in Philadelphia, playing Ophelia, and on 
 April 5, 1858, she made her advent on the New York stage, acting 
 with her husband at the old Broadway Theatre, as Marina, in “ The 
 Duchess of Malfi ” — a version of that dark and terrible play having 
 been made for her especial use by her friend, Richard Hengist Horne, 
 the noble old poet of ”Orion.” After that time, during several sea- 
 sons, she made starring tours of the country, and she was everywhere 
 received with favor. 
 
 Wm. Winter says that in her day she was a tragic actress of the 
 first rank , and worthy to be named with Mrs. Duff, Charlotte Cush- 
 man, Charlotte Crampton, Mrs. Warner and others of that exalted 
 lineage, the queens of the tragic stage. 
 
 Mrs. Waller’s great performances were those of Lady Macbclh, Meg 
 Merrilles and the Duchess of Malh, but she also played male characters, 
 and her clever impersonations of Hamlet and logo were admired. She 
 was a woman of stately presence and of a most expressive counten- 
 ance; she possessed dark, piercing eyes, a pallid complexion and a 
 voice of unusual depth and compass; her temperament was in the 
 highest degree emotional; and, whether in repose or in movement, 
 her demeanor was impressively indicative of a self-centred mind, 
 deep feeling perfectly controlled and great phj'^sical power. In the 
 character of Meg Merrilles she was perfection. She died in New York, 
 28th February, 1899. 
 
 JANE COOMBS was a pupil of Clara Fisher-Maeder, and made her 
 New York debut 27th Oct, 1855. In 1862 she appeared at the Haymar- 
 ket Theatre, London; she married F. A. Brown in 1864, and lived in 
 retirement for a time, but is again touring- Harry Lacy tells rather 
 a good one on himself and Jane Coombs. Fll never forget one per- 
 formance in John Elhler’s Theatre in Pittsburg. The 'vas 
 
122 ^ISTRIONIC MONTREAL. 
 
 took the cue all right, and began : “ Birdie , I am tired now, so put me in 
 my little bed” It was a most ridiculous sittuation, and Miss Coom))s 
 turned and gave him a look that almost withered him.’^ 
 
 THE SEASON OF 1859 
 
 was notable in bringing the famous Irish tragedian, Barry 
 Sullivan, to Montreal. J. W. Buckland was lessee and man- 
 ager; H. B. Phillips, stage manager ; T. B. MacDonough, 
 prompter; Hawthorne, scenic artist; and Geo. Wilson, 
 machinist. Miss Jean M. Davenport (Mrs. Lander) opened 
 a six nights', starring engagement, 13th June, in “Charlotte 
 Corday,’’ following in “Adrienne Lecouvreur,’’ etc. “The 
 Jealous Wife ^ and Sandford^s Ethiopian Troupe subsequently 
 held the boards. Barry Sullivan began a two weeks’ engage- 
 ment from 27th June, opening in “Richelieu.’' The personnel 
 of the season’s stock company will be seen by the following 
 support to Mr. Sullivan in the “Richelieu'’ cast: Cardinal 
 Richelieu, Barry Sullivan; De Mauprat, Harry Copland; Bara- 
 das, Charles Fisher; Gaston, T. B. MacDonough; Louis XIII. , 
 Geo. Lingard; De Beringhen, Harry Thompson; Friar loseph, 
 H. B. Phillips ; Francois, J. L. Barrett ; Hugnet, W. J. Le- 
 Moyne ; Governor, T. Owens ; First Secretary, Mr. Lee ; 
 Second Secretary, Mr. Wallack; Gaoler, Mr. Lawson; Inlie de 
 Mortemar, Alice Gray; Marian de Lorrne, Mrs. Sylvester. Dur- 
 ing the engagement Mr. Sullivan appeared in the following 
 successively: “Macbeth," “Richard HI.,’' “Money," “The 
 Lady of Lyons,’’ “ King Lear,'’ “ Don Caesar de Bazan,’' 
 “Hamlet’’ and “The Merchant of Venice." Mr. Sullivan's 
 engagement was by no means a financial success here. C. 
 Hale, J. H. Jack, Miss A. France, Miss Pritchard, Miss R. 
 France and Mrs. Eckhairdt were also members of the stock 
 company. 
 
 Mr. Sullivan's extensive repertoire seems to have been a 
 heavy strain on the supporting company, and the tragedian 
 was greatly provoked at being forced to act as prompter a's 
 well as star. Mr. George Horne, of this City, records that in 
 one of his death scenes the actor was so discomfited by his 
 support forgetting the lines of the t’ext that, sprineine to his 
 feet, he roared, “Am I to prompt you when I am dyingV^ He 
 then rushed off the stage, and it was several moments before 
 he could be induced to return and finish dying. 
 
 William E. Burton wps another bright star to aonear, open- 
 ing 1st August in “An Englishman in France," “Pillicoddy 
 
HISTRIONIC MONTREAL- 
 
 >23 
 
 and other light comedies. His engagement closed 12th Aug- 
 ust and he shortly afterwards retired from the mimic scene. 
 
 Susan Benin and Kate Benin Ryan, supported by the come- 
 dian, S. E. Rvan, began a limited engagement 15th July m 
 repertoire, this noteworthy engagement was followed by 
 another not less so; Helen and Lucilla Western (the Star 
 Sisters'’) began a week’s engagement on the ist of August, 
 in “Flowers of the Forest.” The cast was as follows: i> tar- 
 light Bess, hncilh Western; Cyntim, Helen Western; The 
 Wolf, Charles Fisher ; Cheap John C. Hale ; Kmchen. U. 
 Thompson; Hugh Lairock, H. B. Phillips; Alfred, J. L. Bar- 
 rett ; Lemuel, Alice Gray. Lucille had a benefit, 4th, under the 
 patronage of Sir Francis Williams, K.C.B., commander of the 
 British forces in North America. “Flowers of the Forest 
 was last plaved at Montreal week loth January. 1887 by 
 Lindlev’s Company, at the Lyceum Theatre, under the title of 
 “Ishmael ” Sallie St. Clair opened the 5th of September for 
 one week, assuming five different characters in her produc- 
 tion of “The Female Brigand.” The stock company then ap 
 neared in “As You Like It.” and on loth October the Cooper 
 Operatic Troupe began an engagement for one week in a 
 series of standard grand operas. The principals were Brook- 
 house Bowler. Avnslev Cook and Mr. Rudolphsen. 
 
 ALICE GRAY, who was seen as leading lady in Montreal in 
 ’62-’63. was born in Boston in 1833. Her real name JJ"" 
 
 debut was made in Buffalo in 185S. and ^.fbse- 
 
 well as personal charms she soon rose to leading roles, svms 
 
 quentlv becoming a member of Dalys company^ 
 
 Wm. L. Lawson at Haverhill. Mass., on 29th March, 1887. 
 
 WILLIAM J. LE MOYNE has now becotne one 
 presentative stock actors. He was born m Boston “ 
 aooeared on the stage at Portland, Me., m 1852. He w 
 civil Tr! rnring the p.ast two decades Mr. Le Moyne has been ^as- 
 
 soc'ated with New York stock and in 
 
 ried Sara Cowell, who has been a stelhr card for two season. 
 
 “The Greatest Thing in ti e World.” 
 
 THE DENIN SISTERS.— Kate Denin was born 
 in 1837, and soon developed histrionic She 
 
 K. Pfx. and the next day left for the west. ^ 
 
 afterwards married Sam Ryan, and in 1857 went to 
 
 return she starred in all the cities of importance m the United States 
 and Canada. 
 
124 
 
 HISTRIONIC MONTREAL. 
 
 Kate Deiiin is a member of Charles Frohnian’s forces. She is re- 
 called in Boston as a member of the Museum Con'»pany in the sixties,. 
 She eloped from that theatre with Mrs. Vincent’s young husband, 
 handsome John Wilson, who was afterwards Kate Benin’s third hus- 
 band. 
 
 Susan Benin, who was two years younger, is said to have been 
 the more talented. Her London debut was made 20th of March, i86g. 
 She became Mrs. Theodore Morris, and died 4th Becember, 1875. 
 
 SAlililE ST. CLAIR was born in England in 1831 and was brought 
 to America in her infancy. She was first seen on the stage as an in- 
 fant and giving a speaking part for the first time at Philadelphia in 
 1846. In i860 she married Chas. M. Barras, and died 9 h April, 1867. 
 
 THE WESTERN SISTERS Avere born in New Orleans, Lucille 
 in 1843 and Helen in 1844. The latter died in 1868 when the best days 
 of Lucille may be said to have begun. Their father, a tobacco mer- 
 chant, died in 1859 and Mrs. Western married W.B. English, a thea- 
 trical manager, who in time brought his step-daughters before the 
 public, they being known as the Star Sisters.” Lucille, in after 
 years, became celebrated in “East Lynne” a part which she at first 
 refused to even rehearse, but which eventually brought her over a 
 quarter of a million dollars all of which was frittered away by 
 others. Her life was one of incessant toil without fruition. Had her 
 great powers been properly directed, much different would have been 
 her record. She became the wife of James H. Meade, and died in 
 Philadelphia, nth January, 1877, while playing a star engagement. 
 
 Helen who first married a Baltimore lawer'was married to James 
 A- Herne, in August, 1865, in Montreal. She died in her 24th year, 
 in 1868. Jane English, their mother, died in the Forrest Home, 31st 
 October, 1898- 
 
 JAMES H. MEADE. The passing away of this well-known charact- 
 er, May, 10, i8c8. in New York city, brought to mind many episodes 
 in a most remarkable career. Lucille Western, the famous actress, 
 made her Montreal debut August i, 1859, She was then sixteen 3'’ears 
 of age. The following year she met and married “Jim” Meade, her 
 senior by thirteen years. Although little more than a child, the ac- 
 tress gave promise of genius, which afterwards made her acting in 
 “ East Lynne ” a feature of the American stage, which will long re- 
 main a memory. Me^ade managed his wife’s dramatic tours and per- 
 formed his duties ably. 
 
 They lived together for a number of years, leading a somewhat 
 checkered existence, and then in that easy way which stage folks have 
 they mutually agreed to disagree, and separated. Before the pre-ar- 
 ranged divorce was secured. Lucille Western died, a victim to a pas- 
 sion which dominated over her genius. 
 
 At the time that Lucille Western was first creating a furore in the 
 Quaker City, one of its most beautiful young girls was Susannah P. 
 
HISTRIONIC MONTREAL. 
 
 125 
 
 McConib, a (laughter of Samuel McComb, a well-known bookbin<Jer 
 She was consiaercd one of the prettiest girls in a city famous for the 
 beauty of its women. Miss McComb in time met Wiliam D. Edson. 
 The young man possessed rare business qualities and made quite a 
 large fortune in the boot and shoe business. But with rapidly ac- 
 quired riches came taste foreign to one who 'had been brought up in 
 the quiet atmosphere and the staid ways of a Quaker household. Fly- 
 ing steeds frequently give wings also to the money of their owners. 
 Even Edson’s wealth could not stand the strain of his extravagances, 
 and one day the firm of which he was the head failed ignoniiniouslw 
 In fact, there were circumstances connected with it which caused him 
 to travel to Canada. Belore or about this time Edson met Susannah 
 McComb. He had been married and had two sons living, but suc- 
 ceeded in procuring a divorce from his wife. He took the beautiful 
 Susannah to his bosom, and some time afterwards in Montreal they 
 were married. Eight months after, Edson sent his second wife back 
 to Philadelphia, promising to join her there. Having thus disposed 
 of his second wife, he sent for the first partner of his woes and aP-'r- 
 wards lived with her. In 1872 Susannah McComb ceased to be Mrs. 
 Edson. The ground upon which the legal separation was procured was 
 that of desertion, and one of the witnesses who gave testimony before 
 the examiner appointed by the Court was Jas. H. Meade, who even at 
 that time was conscious of the charms of the beautiful plaintiff. 
 Eighteen years afterward, when he, although in the full vio-or of life, 
 was well advanced in the sixties, and Susannah McComb. still a beau- 
 tifi.l woman they were made man and wife. She now survives him, 
 and one who saw her in Philadelphia recently, said : ‘•Although a 
 becoming gray tinges her hair, her beauty is still absolutely dazzling.” 
 James Meade had been identified with numerous theatrieal ventures. 
 He was a man of such rugged constitution, although small and spare 
 of frame, and carried his years so lightly, that his death came as 
 a surprise to those who never thought of him in connection with the 
 dread destroyer. 
 
 WM. EVANS BURTON. — Tliis comedian was born in London in 
 1802, and was educated for the church, receiving a classical education. 
 At the age of eighteen he took charge of his father’s printing office- 
 At twenty-three he became an amateur actor, his forte being tragedy. 
 Before this, in 1823, he had married, and in 1825 his father died. He 
 carried on the printing business until 1830, when he went on the stage, 
 soon afterwards coming to America, and in 1834 was seen as Dr. 
 Alhfod at the Arch Street Theatre, Philadelphia. He became a great 
 comedian, appearing in a number of Dickens’ characters. He pos- 
 sessed wonderful facial power (not even surpassed by Charles Ma- 
 thews). a strong physique, and great elecutionary powers. Tn 1856 
 he married his second wife, Mrs. Hilson, and in 1859 retired from the 
 stage, dying loth February, i860. During his stage career he had 
 been for some years in the managerial line, one of these efforts being 
 the management of Burton’s Theatre, New York. 
 
126 
 
 histrionic MONTREAL. 
 
 JOHN HENRY JACK is a well-known stage figure and one of the 
 best Falstaffs of to-day. He Was born in Philadelphia ist Feb., 1836, 
 and has played in almost all the large cities of the United States and 
 Canada. In 1879 he made a tour of the world, making his re-appear- 
 ance in America at the Park Theatre, Philadelphia. 13th Aug., 1880. 
 His most recent work has been in the support of Mrs. Fiske and 
 Joseph Jefferson. 
 
 ZUPHEMIA (EFFIE) GERMON was always a great favorite 
 here, although not appearing in anything but soubrette roles as a rule. 
 She was born 13th June, 1845, at Augusta, Ga., and made her pro- 
 fessional debut in 1857. While here she kept the “ Johnnies busy. 
 Many old theatre-goers will remember her song, “The Captain with 
 the whiskers took a sly glance at me.’' Miss Germon was foim times 
 married, first to a brother of Patti, then to Burk, to Albert Roberts, 
 and, finally, to Fisk-e. 
 
 THOMAS BARRY SUEEIVAN was not noted for personal 
 beauty, for volume of voice, or variety of tone m speech, yet he 
 filled heroic roles with dignity and force. His features were deeply 
 furrowed by small-pox and also gave evidence of his having re- 
 ceived a pistol shot, which accident occurred on the stage. Firm set 
 jaws, teeth of remarkable whiteness, dark hair, huge bushy black eye- 
 brows and fine piercing eyes of Irish blue completes his portrait. 
 
 He was given to exaggeration in action at times, and to straining 
 for originality in his readings. His Hamlet deelared that he knew a 
 hawk from a h.rne {h:rcn), adding pettishly to express his dislike for 
 the courtiers, “Pshaw!” He played Hamlet 3.500 times. 
 
 Sullivan was born in Dublin in 1824, and died in London. 3rd May, 
 1891. His debut was at Cork in 1840, and after aeting through the pro- 
 vinces made his London appearance 7th February, 1852. He came to 
 America in 1858, making his first appearance at the Broadway The- 
 atre, New York, 22nd Nov., as Hamlet. He fulfilled star engagements 
 in all the principal cities of the United States and Canada in a round 
 of charaeters, including Claude Melnotte, Macbeth, Hamlet, Shylock, 
 Lear, Richelieu and Richard HI., returning to England in the summer 
 of i860. He shortly afterwards visited Australia and again eame to 
 America in 1875. His finest impersonations were Falconbridge in 
 “King John,” Macbeth and Richard III., these performances being full 
 
 of originality. , 
 
 His last appearance on the stage was* at the Royal Alexandria The- 
 atre, Liverpool, 4th June, 1887, as Richard III. 
 
 It 'was at Shewsbury, during the last act of Richard, on one occa- 
 sion, just after he had repeated the line : 
 
 “My kingdom for a horse!'* 
 
 that someone in the top gallery asked him if an ass would do as well 
 Barry was angry, but quickly replied. “Yes, just com-e around to the 
 stage door.’^ 
 
HISTRIONIC MONTREAL. 
 
 127 
 
 While playing i/awi/./ in Philadelphia, Sullivan, on one occasion, had 
 among his audience Edwin Forrest, who showed to every one around 
 him how much he despised the innovations of the Irish actor. Espe- 
 cially was this pronounced when the actor spoke the words, “ 1 know 
 a hawk f.om a h.ron—pshuw!' Sullivan might well resent the insult; 
 and as he subsequently took the counicrs aside he pointed his finger 
 straight at Forrest in the box, and in the words of the text, exclaimed 
 With emphasis, Do you see that great baby yondet ? He is not yet out of 
 his swaddling clouts.'' 
 
 The audience cheered and hissed, admired the quick wit, but resent- 
 ed the attack. P'orrest should have remembered the terrible sequel of 
 his having previously hissed Macready- He certainly felt Sullivan s 
 rebuke very keenly. 
 
 Although of abstemious habits, Barry Sullivan was striken without 
 warning and suffered greatly for nearly three years before his great 
 soul took its eternal flight. He rests among poets, patriots and states- 
 men in Glasnevin cemetery, Dublin, where a statue of the actor as 
 Hamlet marks the spot. 
 
 His tomb is built where the sunbeams rest 
 When they promise a glorious inorrozv; 
 
 And they ll shine on his grave like a smile from the westj 
 O’er his own loved Island of Sorrow " 
 
 THE SEASON OF 1860 
 
 was opened by the French Company in repertoire during^ 
 April, and was regularly inaugurated 28th . May, when Agnes 
 Robertson, who had first appeared here seven years before, 
 was seen in “Andy Blake ’’ and “The Young Actress.^’ The 
 personnel of the stock company appears in the cast of “Andy 
 Blake'\* Andy Blake, Agnes Robertson; General Daly, Charles 
 Fisher; Ignatius Mtdrooney, C. Hale; Dick Daly, J. L. Barrett; 
 William, Mr. Harrison ; Mrs. Blake, Mrs. Sylvester ; Mary 
 (first appearance), Mary Miller; Lady Mount joy, Mrs. C. Hale. 
 Agnes Robertson produced several other comedies during her 
 engagement. The other members of the season’s stock com- 
 pany not appearing in the foregoing cast were : Fred G. Mae- 
 der, George Lingard, George Becks, White, Howell, H. B. 
 Phillips, T. B. MacDonough, Ernestine Hendrake, Henry 
 Wright and Viola Crocker. 
 
 Mr. and Mrs. F. B. Conway made their first appearance in 
 three years in “Macbeth,"’ iith June. On 21st “Romeo and 
 Juliet” was produced, with Mrs. Conway as Romeo. Viola 
 Crocker as Jidiet, Mr. Conway as Mercutio, Charks Fisher as 
 Friar Laurence, C. Hale as Peter, H. Wright as Tybalt and J. 
 L. Barrett as Benvolio. 
 
12S 
 
 HISTRIONIC MONTREAL. 
 
 The next important production was “Our American Cou- 
 sin,’’ first seen in Montreal on Friday, 29th June, with the fol- 
 lowing' cast : ^sci TTeuchavd, C. Hate ; Lieut. Veinon, F. G. 
 Maeder; Capt. de Boots, Mr. Lee; Abel Murcotte, C. Fisher; 
 Buddicombe, Mr. Harrison ; Lord Dundreary, J. L. Barrett ; 
 Sir Edzoard Trenchard, H. Wright; Coyle, George Lmgard; 
 Binney,T. B. MacDonough; John Whicken, Mr. White; Flor- 
 ence Trenchard, Mrs. F. B. Conway; Mrs. Mountchcssington, 
 Mrs. Sylvester; Augusta, Miss E. Hendrake; Mary Meredith, 
 Mary Miller; Georgiana, Miss Viola Crocker. This play was 
 first produced at Laura Keene’s Theatre, New Yoik, i8th 
 October, 1858, running until 19th March, 1859. It wa= fre- 
 quently seen here. Barton Hill becoming a very capabh^ de- 
 lineator of the character of Dundreary, which role made E. A. 
 Sothern famous in the original productions. 
 
 Marcus Elmore re-appeared after two year s absence, and 
 did leading business until the close of the season, being seen 
 in “Othello,” 4th July, following in standard legitimate dra- 
 mas. The Italian Opera Co. was heard i6th July for a short 
 season, and the French Company, from New Orleans, began 
 a six nights’ engagement 6th August. Other English pro- 
 ductions followed, ••London Assurance’’ being presented 17th 
 for C- Hale’s benefit. Marcus Elmore was also tendered a 
 benefit in “Green Hills of the Far West.” with Acts 2 and 3 of 
 “Rob Roy’’; and on 3rd September the season closed \yith a 
 benefit to Mr. and Mrs. Buckland in “Follies of a Night,’ 
 “Green Bushes ” and “The Merry Wives of Montreal.” 
 
 John C. Heenan, the pugilist, appeared 8th November, as- 
 sisted bv Aaron Jones, of London; Ned Price, of Boston, and 
 Monsieur Gregoire, the then “strongest man in the world.” 
 
 FRED G. MEADER was a son of the great Clara Fisher-Meader, 
 and was born nth Sept., 1840. It was in Montreal that he first essay- 
 ed dramatic authorship, presenting Dickens’ “Great Expectations 
 in dramatized form. Mr. Maeder wrote more plays than any other 
 American dramatist. He was joint author with McKee Rankin of 
 “The Canuck;’’ and this was one of his last productions, he dying 8th 
 April, 1891. 
 
 Adelina Patti made her first appearance in Montreal during 
 S-eptember of this year, on the occasion of the grand reception 
 and ball in honor of the Prince of Wales, now King Edward 
 VII. The diva was accompanied by Carl Formes, Amelia 
 Strackosch, Amoch, Barili, Susini and Signor Brignoli, ap- 
 
HISTRIONIC MONTREAL. 
 
 129 
 
 pearing in a building specially constructed on St. Catherine 
 street west known as the Crystal Palace. She was then in her 
 twentieth year. Her first appearance in Montreal was in iS^2 
 in the Salle Bonsecours. 
 
 ADELINA MARIA CLORINDA PATTI was born in Madrid. 
 Spain, 19th Feb., 1843. While she was an infant her parents came to 
 America, where she early exhibited very remarkable musical talent. 
 At the age of sixteen she appeared in opera, in New York, with great 
 success. Two years later she appeared at the Royal Italian Opera 
 House, London, and was once acknowledged to be one of the greatest 
 dramatic vocalist that ever appeared, which reputation she has 
 since maintained. 
 
 She met her husband, the Marquis de Caux, in 1867, during a soiree 
 at her own house. He followed the prima donna all over Europe. The 
 marriage was opposed by Salvator Patti and de Caux’s mother, but 
 on July 29, 1868, the ceremony was performed at Clapham. 
 
 It was at Homburg that Patti met Nicolini. The tenor, with his 
 wife and five children, dwelt close by Mme. Patti, and the prima 
 donna evinced a strong dislike for him. Nicolini and de Caux be- 
 came warm friends, but the prima donna’s dislike for Nicolini seem- 
 ed to increase. It is not told how or when her feelings changed, 
 but the climax was reached when one of Nicolini’s letters fell into 
 de - Caux’s hands. He sued for divorce, and she took the same step 
 against her husband.' Mme. Patti then transferred her allegiance 
 to the tenor. In 1886, some years afterwards, they were married. 
 Since then Mme. Patti has been for the greater part of the time in 
 retirement at her castle of Craig y nos, in Wales. Signor Nicolini 
 died at Cannes on January 19, 1898. His real name was Ernest 
 Nicholas. 
 
 Adelina Patti was married at Brecon, Wales, to Baron Ceders- 
 troom, 1899. 
 
 Baron Olaf Rudolf Cederstrom is a young Swedish nobleman of 
 good family but small fortune. He was 29 years old and an athlete, 
 and Patti is said to have fallen in love with him when seeing him 
 perform on the bars at his gymnasium in London. 
 
 Patti has made six triumphal tours in America, her last ending in 
 March, 1894. 
 
 THOMAS B. MACDONOUGH, a capable actor and manager, 
 was born at Philadelphia on the 8 th of December, 1835. His introduc- 
 tion to the stage as a professional actor was at Norristown, Pa., in 
 1854. During the war he served for the Southern cause. He first 
 appeared in New York in 1863. 
 
 Mr. MacDonough died 3rd February, 1899, in Philadelphia, 
 
 9 
 
130 
 
 HISTRIONIC MONTREAL. 
 
 THE SEASON OF l86l 
 
 introduced that very pleasing English tragedian, Charles Dil- 
 lon. Woods’ Minstrels came 14th January. From i6th April 
 to 25th Buckland was associated with E. Bertrand, and dur- 
 ing that time appeared a French company, including Paul 
 Labas and Mile. Sen as principals. A troupe of Spanish dan- 
 cers held the boards during the latter part of May, closing ist 
 June. On 3rd and 4th June the Strakosch Grand Opera Com- 
 pany appeared, including Carlotta Patti, sister to Adelina, and 
 Sig. Brignoli, Sig. Barili and Amelia Strakosch. The regular 
 season opened iith July with J. W. Buckland as manager. 
 The opening bill was “Everybody’s Friend” and “Jenny 
 Lind.” Charles Fisher made his first appearance this season, 
 I2th, in “She Stoops to Conquer.” Charles Dillon appeared 
 13th in his great role of Belphegor in “The Mountebank,’ and 
 the after-piece, “The Artful Dodger.” This was Mr. Dillon’s 
 first appearance here. On 15th he was seen in “Virginius,’’ 
 “Belphegor,” i6th; “Othello,” 17th; “Damon and Pythias,” 
 i8th; “Brutus,’’ and “Corsican Brothers,’’ 20th; “Hamlet,” 
 22nd; “Three Musketeers,’’ 23rd; “Money,” 24th and 25th; 
 “Merchant of Venice,” and “Katherine and Petruchio,” for 
 the closing of his engagement, 26th. 
 
 “Mazeppa” and “Dick Turpin” followed, and from 8th 
 August to 24th the Nelson Sisters appeared in a repertory of 
 standard plays. Laura Honey appeared 26th in Boucicault’s 
 “Colleen Bawn,” and on 2nd September Eliza Webb in “All 
 that Glitters is not Gold,” and “Lalla Rookh.’’ 
 
 Charles Dillon re-appeared, 4th September, as Sir Giles 
 Overreach] “Richelieu,’’ “The Gamester,” 6th; “Mac- 
 
 beth,’’ 7th; “King Lear,” 9th; and “Richard HI.,” 12th. The 
 supporting stock company during the season wa^ cast as fol- 
 lows in “King Lear”: King Lear, Charles Dillon; Edgar, S. 
 C. Dubois; Edmund, Mr. Van Deren; Duke of Kent, H. B. 
 Phillips; Duke of Gloster, C. Merton; Oszvald, E. Lamb; Fool, 
 Effie Germon; Duke of Albany, F. G. Maeder; Duke of Bur- 
 gundy, Mr. Garland ; King of France, W. Pope ; Duke of Corn- 
 zvall, Mr. Lee; Rhys, E. B. Holmes; First Knight, Mr. Ward; 
 Cordelia, Eliza Webb; Regan, Mrs. Van Deren; Goneril, Mrs. 
 Wilkins. Mrs. Buckland wa^s the Portia in the production of 
 “The Merchant of Venice,” a character which she played ad- 
 mirably. During the performance, Mr. Dillon found it neces- 
 sary to appeal to the respectability of the uniforms of a few 
 
HISTRIONIC MONTREAL. 
 
 131 
 
 officers occupying a box, who repeatedly interrupted the per- 
 formance. Th-e latter for a moment seemed likely to pro- 
 voke the quarrel further, but the angry “pit” took sides with 
 the tragedian, and the performance went on without further 
 trouble. Mari-e Henderson and her sisters, Carrie and Sara 
 Nelson, were seen in a repertory for a week from i6th, fol- 
 lowed by Laura Honey, 23rd. Miss Honey appeared 26th 
 with W. P. Davidge in “Married Life.” “The Lancers” and 
 “The Jewess” followed. Mr. Fauvel had a benefit November. 
 The Nelson Sisters re-appeared in December, the principal 
 production being “The Honeymoon.’’ On 27th the Quebec 
 Garrison Amateurs presented “Charles XII. , King of 
 Sweden.” , 
 
 During the season 
 
 nordheimer’s hall and mechanics’ institute hall 
 
 were leased to small companies, Sam Cowelhs (died nth 
 March, 1864, aged 43) Vaud’eville Company app-earing at the 
 former 8th, 9th and loth July, and the Holman Opera Com- 
 pany at the latter 12th August, this being the first record of 
 their appearance in Montreal. Christy’s Minstrels also ap- 
 peared at Mechanics’ Hall, October 28 and 29. 
 
 CHARLES DILLON was one of the most intense actors of this 
 century. Harry Lindley says that in Belphegor he brought tears as 
 the deserted husband; his grief and momentary bewilderment at the 
 loss of his wife, to the full agony of its realization, was not only ren- 
 dered with force but also with most subtle 'and delicate touches. As 
 he made his exit from his abandoned room, with sunken frame, feeble- 
 ness of limb, and the semblance of mute despair upon his face, yet di- 
 vested of extravagance, he showed the finest traits of tragic intensity 
 He was not so happy in the great creations of Shakespeare, although 
 his Hamlet had novel innovations which pleased the public. In char- 
 acters calling for manly pathos he never had a superior. The abler 
 critics said he “lacked in intellectual gifts.” Dillon was born at Diss, 
 England in 1819. Prior to his London debut, he had made quite a 
 reputation in the large provincial cities. He first appeared in London, 
 at Sadlers Wells’ Theatre as Belphegor, in 1856. when he scored a very 
 battering success. He visited America in 1861 and became a favor- 
 ite. From thence he went to Australia in 1862, returning by way o 
 America in 1865, when his wife died. He returned England in 
 In 1873 he made a success as Jean Valjean in Hugo s Les Mise^ . 
 
 He dropped dead in England 24th June, 
 
 that the summons came. On the opening night he played Othello, 
 
132 
 
 HISTRIONIC MONTREAL. 
 
 and although there was a wretched house, amounting to barely a 
 few pounds, it was remarked that he acted with all the old 
 grace and fervor. After the play, when he had finished dressing, 
 he came out and sat upon the stage, waiting for the manager to 
 bring him the miserable pittance which constituted his share 
 of the receipts. The primitive orchestra consisted of a piano, on 
 which entr’actes were played behind the scenes by a member of the 
 company. Evidently the chief was in a despondent mood, for he re- 
 mained silent and saturnine. Noting this, one of the young fellows of 
 the troupe sat down to the piano and began to play some lively airs. 
 When he had finished, Dillon muttered; “You have a light heart — a 
 light heart, sir; how I envy you.” With that he sighed and turned 
 away. Could he have had a presentiment that the end was so near ? 
 Next morning he went down to the theatre to enquire if there were 
 any letters. He was now elate and confident. Although the house 
 had been so bad on the previous night, the impression created upon the 
 audience was so favorable that a capital week’s business was antici- 
 pated. After his usual custom, he took the company to an adjacent 
 tavern and stood drinks of humble malt all around, told them some 
 piquant story of America and Australia ; then they sallied forth to ex- 
 plore the town. As they reached the middle of High street, laughing 
 and talking, he paused suddenly, put his hand to his head, as he was 
 wont to do in Beverley, and exclaimed : ''God ! can this be death f” As 
 the words left his lips he fell dead without a groan. His muscles 
 had been so strained to harmonious motion that habit had become sec- 
 ond nature, and one who stood beside him in that supreme moment 
 assured me that in the very rigor montis he instinctively fell in an at- 
 titude of classic grace, even as Caesar might have fallen beneath the 
 steel of Brutus, and the others at the base of Pompeii^s statue. It was 
 best that the end came as it did, for the aspirations which had been 
 more than fulfilled in the summer of his existence died out in its 
 dreary autumn, and the future was a hopeless blank. His list of char- 
 acters was extensive, but his great roles were Hamlet, King Lear, 
 Othello, Richelieu, Macbeth and Belphegor. 
 
 liAURA HONEY, an English actress, first appeared on this side 
 in Boston, 3rd September, 1858, at the Howard Athenaneum, in the 
 “Child of the Regiment.” 
 
 THE NELSON SISTERS^ Carrie, Marie and Sarah, were the 
 daughters of an English composer. They visited Australia, thence to 
 California and to New Orleans. They appeared in New York in 1S60 
 in musical burlesque, and returned to England in 1861. 
 
 SAMUEL CONIER DU BOIS died in Philadelphia, 17th January, 
 1898, aged 64. He was a call-boy in the Walnut in the early fifties, 
 subsequently managed a theatre in Pittsburgh, returned to the Wal- 
 nut as an actor, and retired from the stage in 1870, about which time 
 the general abandonment of the stock company system had began. He 
 
HISTRIONIC MONTREAL. 
 
 133 
 
 had played frequently with Edwin Forrest during his Walnut days ; 
 so, when he determined to return to the stage, he possessed an equip- 
 ment for the classics that made him a valuable man in support of Mc- 
 Cullough, Warde, Collier and Edwin Booth. He never gained parti- 
 cular fame as a player; but he never quite lost his love for the theatre, 
 and was indefatigable for years in the devising and superintendence 
 of festivals and celebrations that called into requisition his taste and 
 talent. One of his notable achievements was the management of a 
 festival, some years ago, in Cincinnati, in which Booth, Barrett, Mur- 
 doch, Mary Anderson, Clara Morris and Fanny Davenport particip- 
 ated. He was active in the arrangement of much of the pageantry of 
 historical significance that marked the opening of the World’s Fair. 
 
 E. B. HOLMES, after the close of his Montreal engagement, met 
 Lizzie Macgregor in the West Indies, and they were married. She 
 appeared with him here the following season. He was born in New 
 York 2nd June, 1840. 
 
 THE SEASON OF 1862 • 
 
 again found the Bucklands at the head of affairs, with Alfred 
 Nelson as acting manager. The names of the members of 
 the company will appear further on in the cast of ‘'Nick of 
 the Woods.’’ Knowles’ play of “The Hunchback” was the 
 opening bill, 9th June, followed by “The Wonder,” “Married 
 Life,” “A Kiss in the Dark,’’ “As You Like It ’’ and “Our 
 American Cousin.’’ “Nick of the Woods” was produced 21st 
 June. Cast: The Jibbcnainosay, Bloody Nathan^ Nick of the 
 WoodSj Avenger f Reginald AshbnrUy Barton Hill; Ralph Stack- 
 pole, Vining Bowers ; Richard Braxley, Mr. Mardyn ; CoL 
 Bruce, E. B. Holmes ; Big Tom, W. Pope ; Abel Doe, Mr. 
 Ward; Roland, C. Merton; Wenonga, A. Nelson; Piankashazv, 
 H. Chitty; Little Tom, Mr. De Vere; Tellie Doe, Alice Gray; 
 Edith Forrester, Marian Watts ; Mrs. Bincc, Mrs. C. Hill ; 
 Phoebe Bruce, Effie Germon : Nelly Bruce, Lizzie Mac- 
 gregor. Julia Bennett-Barrow, the celebrated actress, 
 opened, 23rd June, in “ As You Like It. Rosalind, Mrs. 
 Barrow ; Jacques, Barton Hill ; Touchstone, Vining Bowers. 
 Mrs. Bennett-Barrow was seen in an extensive repertoire 
 during her engagement. Following came productions of 
 “The Jealous Wife,” “The Love Chase,” “Angel of Mid- 
 night,” “Family Jars,” “Colleen Bawn,” “Dundreary 
 Abroad,” etc. Ada Laurent, a dancer, was seen during 
 the month of June. The celebrated pianist, Gottschalk, 
 appeared at the head of a concert company 4th and 
 
J34 
 
 HISTRIONIC MONTREAL. 
 
 5th July. Kate Reignolds opened 7th July for a short 
 season, being seen in ''Cricket on the Hearth,'' "Asmodeus," 
 “Peg Woffington," "The Marble Heart/’ and "Romeo and 
 Juliet,'’ 8th July, Miss Reignolds being the Romeo to Alice 
 Gray’s Juliet. A French company came we*ek of nth, and did 
 good business. J. H. Hackett came 21st July, opening in 
 ‘'Henry IV.,” Macklin's "Man of the World," 22nd; "Merry 
 Wives of Windsor,’’ 23rd; "Henry IV.," 24th; three small 
 farces, 25th; and a repetition of the "Merry Wives," 26th. 
 Edward L. Davenport, the admirable tragedian, made his 
 debut at Montreal 28th July in "Hamlet,” with the following 
 cast: Hamlet, E. L. Davenport; Claudius, T. E. Mills; Polon- 
 ius, E. B. Holmes; Laertes, Barton Hill; Horatio, C. Merton; 
 Rosencran^, Mr. Pope; Guildenstern, Mr. Chitty; Osric, Effie 
 Germon ; Bernardo, L. Monroe ; Mareellus, R. F. Smith ; Fran- 
 ciseo, Mr. Mitchell; Ghost, Charles Fisher; First Actor, A. Nel- 
 son ; Second Actor, G. Jones ; First Grave-digger, Vining 
 Bowers; Second Grave-digger, C. Hill; Priest, Mr. Amherst; 
 Gertrude, Alice Gray; Ophelia, Marian Watts; Player Queen, 
 Miss Maegregor. '‘Damon and Pythias’’ was produced 29th; 
 "Othello,’’ 30th; "Richard HI./’ 31st; "Merchant of Venice" 
 and "Bhck-Eyed Susan,” ist August. Mrs. Buckland was 
 the Portia to Mr. Davenports Shylock. J. H. Allen was the 
 next star to appear, having been specially engaged during the 
 fust part of September for a production of Edmund Falconer’s 
 picturesque Irish drama, "The Peep o' Day Boys.’’ That 
 production, it will be 'remembered, was made by Laura Keene, 
 and was cue of the most successful works accomplished under 
 that lady's management. Cast: The MacCarthy, The Captain 
 of the 'Hcep 0^ Day'^ (dual roles), J. H. Allen; Squire Doherty, 
 Chas. Fisher; Darby Kelly, R. Cook; Aleck Purcell, George 
 B^cks; Howard, S. C. Dubois; Terence McGowan, C. Merton; 
 The Babby, A. Nelson; Capt. McNeary, E. B. Holmes; Thady 
 Doyle, W. Pope; Dennis, H. Chitty; Percy McDade, Coburn; 
 Larry Riordan, Moore; Johnny Gaul, Peters; Phadrid, Hughes; 
 Mickey, Davidson; Sergeant, Jones; Nelly Brady, Alice Gray; 
 Mary Kelly, Effie Germon; Helen McNeary, Fanny France; 
 Patsy Moore, Miss Maegregor; Widozv Milloy, Mrs. C. Hill; 
 Molly Flaherty, Laura Le Brun. 
 
 A CURIOUS INCIDENT. 
 
 The history of a theatre so closely bound up with the for- 
 tunes, likes and dislikes of the city as the Royal is, there are 
 
HISTRIONIC MONTREAL. 
 
 135 
 
 many interesting incidents to be recorded, and a chat with Mr. 
 Chris. Acheson, the veteran doorkeeper, who has been in the 
 employ of the Royal for forty-one years, gives one some idea 
 of the many-sid'ed career the people’s theatre has gone 
 through. In old days Montreal's audiences were not so 
 quiet and respectable as they are now; the police were not so 
 much in evidence, and mobs did pretty much what they ♦ 
 deemed good in their own eyes. More especially were 
 they touchy on religious matters, as Charles Fisher, who 
 played th^ part of Squire Doherty in the 'Teep o’ Day, ' found 
 out to his cost. It appears that the gallery objected^ to his 
 raising his hands and blessing the crowd in the ‘Tair’' scene. 
 Fisher persisted in doing it, and immediately it rained apples, 
 turnips and eggs from all parts of the gallery, while a crowd 
 of fully five hundred toughs gathered on Craig street to at- 
 tack him as he came from the theatre. It was only through 
 the presence of mind of Chris. Acheson, who smuggled him in- 
 to a private house, and then succeeded in getting him to his 
 hotel by a roundabout way, that be escaped serious injury. 
 The scene then had to be cut out, as even forty policemen 
 were not able to maintain order. 
 
 T H Allen was seen as Ingomar to the Parthema of Alice 
 Gray, ioth September. George Pauncefort, a very capable 
 actor from New York, Boston and Philadelphia, made his first 
 appearance 22nd Sept, in “A Romance 
 
 Man,” and had an extended engagement.^ About this tm. 
 the name of Charles Peters also figured m the bills. Ihe 
 Webb Sisters (Emma and Ada) were also seen_ in a senes of 
 dramas and comedies, closing 22nd November in a t«ple • 
 C. Hill was tendered a benefit 2nd August, and shortly after- 
 wards left for a trip to England. 
 
 ADA DATJRENT made her first American appearance in Mont- 
 real in 1862. coming from England, where she was born of French 
 parents She was educated in a convent in Pans, but eventual y 
 a fancy for the stage, making her initW bow at the Lyceum L^nd , 
 in i860, as Columbine. Her first New York appearance was m March, 
 i868, as a danseuse. 
 
 r-EORGE PATJNCEFORT came from England, and made his 
 
 1859. as Pauncefort’s Athenaeum. He married Georgiana Edward, 
 and has a son, George, who is on the stage. 
 
136 
 
 HISTRIONIC MONTREAL. 
 
 George Pauncefort, the original Armand Duval in this country, he 
 originating the part simultaneously with the Camilh of Matilda Heron. 
 He was a happy blending of the old and new schools, a capital in- 
 stiructor and stage director. 
 
 In light comedy roles of the Charles Coldstream and John Mildmay 
 type he was superb. In melodramas like “ The Duke’s Motto,” “The 
 Iron Mask, ’ etc., he was very effective, and in Hamlet and Macbeth he 
 was acceptable. 
 
 JULIA BENNETT BARROW was the actress whom Edwin For- 
 rest esteemed as the best Desdemona of the stage, and who increased 
 the furore over Hiawatha by her recitation of the poem as she stood 
 m the picturesque costume of an Indian squaw behind the footlights, 
 while Longfellow himself applauded her beauty and her melodious 
 voice. With graceful figure and expressive voice, this highly-culti- 
 tivated daughter of a well-to-do English actor had advanced so far in 
 music as to be urged towards the operatic stage, but in 1841, while in 
 her teens, she made her debut as an actress, and the success which met 
 her efforts determined her course. In her twenty-first year (1845) 
 sihe married Jacob Barrow, but her subsequent retirement from the 
 stage was broken two years later by unfortunate circumstances. She 
 returned to th.e theatre, and came to America to gain extended tri- 
 umphs, making her debut at the Broadway Theatre, 24th Feb.. 1851. 
 Efforts in the managerial line proved disastrous, and gradually Mr. 
 and Mrs. Barrow faded from the scene. They returned to England, 
 where the exquisite and beautiful Mrs. Barrow lingered for some years 
 a paralyzed invalid. 
 
 EDWAKD EOOMIS DAVENPORT, a scholarlv and most finish- 
 ed actor, was by many conceded to be the ideal Hamlet, while other 
 critics thought him greater in Sir Giles, Bill Sykes, Brutus, and William 
 in Black-Eyed Susan.” In all he was equalled by few, and in sev- 
 eral excelled by none. Born in Boston, i8i6, he was in the early 
 forces a favorite actor at the Bowery Theatre, New York, as well as 
 
 K Mowatt engaged him to support her on an 
 
 English tour, which opened in Manchester on December 7, 1847. Mr. 
 
 avenport fairly shared the honors of the tour with Mrs. Mowatt, 
 and when she returned to America he decided that it would be advan- 
 tageous to himself to remain behind. In 1849 he was married to 
 Fanny Vining (Mrs. Charles Gill), an English actress, who had play- 
 ed with him. Fanny Davenport, it is said, was his step-daughter. 
 
 In England he played leading and alternate business with Macready 
 also appearing with him on the occasion of Macreadv’s farewell per- 
 forinances at the Haymarket Theatre in 1851. Returning to America 
 in 1854, he toured through the United States and Canada, appearing 
 in Shakespearean roles, also in several characters drawn from the 
 rnuse of Dickens. Unfortunate managerial efforts dimmed the lustre 
 of his reputation and ended in kilure. He died at Canton. Pa., 1st 
 September, 1877. Mrs. Davenport died 20th July, 1891. Two sons 
 as well as Fanny and Blanche, have also been on the stage. 
 
L 
 
 BARTON HILL. 
 
HISTRIONIC MONTREAL. 
 
 137 
 
 BARTON HILL is of Greek stature, classic in relation to this na- 
 tive stag^, artist now as always and with reminiscences so rich that, 
 like the favorite line in “Love’s Labor Lost,” "'aged ears j^lay 
 truant at his tales and young hearings are ravished by his sweet and vol- 
 uble discourse” 
 
 Like the makers of the finer watches in Geneva, where only the third 
 generation arc entrusted with tempering the main spring and setting 
 the balance wheel, he was master of stage craft by heredity. His father 
 was Charles Hill, actor, of Drury Lane; his grandfather, John Hill, 
 and his name Barton flowed from a racial line whose presence is 
 marked on the oldest play bills extant, including that of Joseph Addi- 
 son’s “Cato” in 1690. It so fell out that Barton Hill took a high 
 place in his profession, and as stage manager and directexr of plays has 
 long been recognized by his fellows as being far beyond the mummer 
 degree. 
 
 Charles John Barton Hill was born in Dover, England. It was in 
 Montreal that Mr. Hill passed the first three years of his American 
 sojourn. His father and mother, Mr. and Mrs.- Charles Hill, and 
 sister, Rosalie, went to Montreal directly after arriving in America 
 from England, in 1843, leaving Barton behind to complete his educa- 
 tion in Belgium. They became members of the company playing at 
 the old Theatre Royal on St. Paul street, which included, among 
 others, that season, J. W. Wallack, jun., Mary Rock and George 
 Graham, under the management of John Nickinson. 
 
 Mr. and Mrs. Hill decided to become citizens of Montreal, Mrs. Hill 
 opening up a dancing school in a house built after her plans on the 
 east side of St. Jean Baptiste street, next door to Robinson’s livery 
 stables. The school was the fashionable resort of the time, and thither 
 congregated the juvenile elite of the city. 
 
 In 1846 Charles Hill went back to England, and on his return 
 brought with him his son, Barton, who records that his first position 
 as money earner was as a compositor in “The Herald” office, under 
 Mr. Penny. He was then in his sixteenth year, and shortly afterwards 
 joined the Sock and Buskin Club of amateurs, where his abilities as an 
 
 actor soon became recognized. r t,- 
 
 The following year, after the breaking out of the epidemic of ship 
 fever, Barton Hill forsook his printer’s stick to accept the hazard^s 
 post of hospital registrar foti the attractive salary of $2.50 per day. His 
 duties compelled him to come in contact with all the patients admitted 
 to the hospital (railway freight sheds at Point St. Charles), and it 
 must still be a matter of much conjecture to him how he managed to 
 escape contagion. He was one of four of a staff of fifty who did not 
 fall victims to the scourge. The haste of the younger members of the 
 medical staff to enjoy themselves before their convalescence was as- 
 sured proved fatal to several. Young Hill was one of the very few 
 privileged juniors to be allowed to mess' with the staff of doctors, 
 among whom are recalled ; Drs. Campbell, Francis, Hall, Liddle, 
 McCullough and Lindsay. 
 
HISTRIONIC MONTREAL. 
 
 138 
 
 This experience lasted from the month of June to the following 
 spring. Mr. Hill had in the meantime resolved to study medicine. 
 He was accordingly entered at McGill, and Dr. Crawford, taking a 
 fancy to the young man, became his preceptor. During this period 
 Mr. Hill records that the first successful operation under ether was 
 performed, he assisting Dr. Crawford in an amputation. Drs. Wright 
 and Angus McDonald were his confreres. A change of political in- 
 fluence, however, deprived Barton Hill of his hospital position, and 
 not wishing to be dependent on any of his friends, he decided to aban- 
 don his intention of becoming a physician. 
 
 In the summer of 1848, the Hill family, consisting of Mr. and Mrs. 
 Charles Hill, Rosalie, Barton and Robert, began a tour of the princi- 
 pal towns, giving parlor entertainments, etc., but the venture was not 
 financially successful, and after disbanding. Barton drifted to Toronto, 
 where he returned to the font and stick at the magnificent remu- 
 neration of $2.50 per week. This occupation, however, not fulfilling 
 the realization of his ambitions, he determined upon becoming an act- 
 or for keeps, and was fortunate enough to find an engagement in the 
 Pittsburg stock company, where he made his dehut November 10, 
 1849. 
 
 In the following year, 1851, Mr. Hill made his metropolitan debut at 
 the Broadway Theatre. He was married to Olivia Crook the same 
 3'-ear, and also made his first appearance as a professional actor in 
 Montreal the same summer, appearing under George SkerretBs man- 
 agement in the old Garrick Theatre, on St. Jean Baptiste street, known 
 that season as Skerrett’s Bandbox. Mrs. Barton Hill accompanied 
 him and was billed as “Miss Olivia.’’ 
 
 In the company was Sir William Don, a generous but eccentric 
 actor who stood six feet four inches. The company subsequently 
 adjourned to the reception-room of the St. Lawrence Hall after find- 
 ing that the capacity of the Bandbox was not sufficient to accom- 
 modate the public. 
 
 His first starring engagement in Montreal began in June, 1862. 
 He had made quite a hit as Dundreary in “Our American Cousin,” 
 and it was decided to put it on the boards during this engagement. 
 There was some difficulty to find an actor in the company able! to 
 play Asa Trenchard. Mr. Hill suggested to Manager Buckland 
 that he telegraph Vining Bowers, whom he knew to be at liberty* 
 It was in that way that the comedian first came to Montreal. 
 
 From 1862 to 1872 Barton Hill was an annual star at the Theatre 
 Royal, missing but the season of 1870. which year be passed in London, 
 Eng., to fulfil an engagement at the St. James Theatre in the character 
 of Young Marlowe, making his debut i6th Oct., 1869. 
 
 It was the summer of ‘1864 that John McCullough first appeared 
 in Montreal as leading man. Barton Hill, however, does not appear 
 to have met him during this engagement, for he tells me that they 
 first met in 1865. 
 
HISTRIONIC MONTREAL. 
 
 139 
 
 “My first impression of John McCullough,’^ says Mr. Hill, was a 
 most favorable one, and never changed during the period of the 
 eeveral years we were associated together here and there, but chiefly 
 in our management of the California Theatre. I had just arrived 
 in Montreal, and upon calling at the theatre saw that a rehearsal was 
 on. McCullough was pointed out to me, and I at once felt drawn 
 towards him. During the rehearsal I was chapined to hear one 
 of the actors using rather abusive and unbecoming language in the 
 presence of the ladies of the company. A repetition of this I saw 
 very soon angered the good-natured John, who finally dragged the 
 ungentlemanly fellow to one side and threatened to inflict corporal 
 punishment if he did not at once desist. The threat, of course, had 
 its desired effect After the rehearsal I was introduced to Mr. 
 McCullough for the first time. During Frank Drew’s engagement, 
 John and I went up to Ottawa, where we played “Othello.” It was 
 his desire to have a shy at lago, and it was probably there that he 
 first played that role. The theatre in Ottawa was then controlled 
 by the Townsends. We repeated the performance in Montreal 
 August 8. My engagement with Mr. Buckland was to have 
 terminated on the eve of Charles Kean’s opening. 14th August, but 
 at his request I was invited to remain over a week longer to part- 
 icipate in Mr. Kean’s revivals. “I shall always remember the season 
 of 1866. It was early in June when I set out from Clevelan 
 to fulfil my annual engagement in Montreal. Arriving at Ogdens- 
 burg, I was told that, owing to the Fenian scare, our boat would 
 ro:';e pirmitted to cross to Prescott. I had r^eived a eft- horn 
 Mr. Buckland imploring me not to disappoint him. 
 earnest was he that he guaranteed me $iSO for ^he week^ Naturally, 
 
 I was in despair, but finally contrived to be '■7?^ ^ 
 
 with my trunks. At Prescott I was surrounded by soldiers, who 
 insisted upon examining my entire effects. The day was excessively 
 hot, and there on the wharf, unsheltered from the sun I was com- 
 pelled to stand by and see my trunks rummaged through. The 
 ^word I used as Elliot Grey in “Rosedale was confiscated. (M . 
 Hill was the original Elliot Grey in Philadelphia.) Th^^s'’ 
 intercession of some friends, I subsequently recovered sword. 
 
 I also' managed to arrive in Montreal in time to eep my ^ 
 ment Such was the public excitement, however, that my share 
 the week’s busine.ss actually stood at $33- Mr BucWand washed to 
 stand by his contract, and proferred me the full amount of g 
 antee, but I declined to take advantage of his „tet 
 
 M? tckland then made arrangements for a 
 
 for'we 'had exceUent business, m'yMi'are amounting to $150 for the 
 Montreal.” 
 
140 
 
 HISTRIONIC MONTREAL. 
 
 Barton Hill married Marian Watts, daughter of Mrs. John Sefton, 
 in i86i. They have four children, of whom three are daughters. 
 
 It was in 1862, the year that Mr. Hill played his first starring 
 engagement in Montreal, that he received an offer from Mrs. 
 Garretson of the Walnut Street Theatre, Philadelphia, to take the 
 place of Edwin Adams, that baritoned- voiced young melancholy, 
 who left the fragrance of a beautiful memory to be refreshed until 
 this day by the tears of those who love him still. Mr. Hill was pro- 
 mised all the features and honors accorded to Mr. Adams, but there 
 was a slight difference in the salary. He answered by telegraph : 
 *T appreciate the honors, but expect the same salary. This was- 
 granted him. He opened as Arniand Duval to the Camille of Charlotte 
 Thompson, and you who have kept the history as well as the senti- 
 ment of the play in regard know that Dumas fils had not long been 
 author of that matinee tear shower. With one exception, Mr. Hill 
 was the first of an apostolic succession of unfilial Duvals catching 
 at in sorrow and disappointment the fragrance that no comedian has 
 to offer. In the same year Mr. Hill went over to the Arch Street 
 Theatre as leading man for Mrs. Drew. He remained there with 
 few intervals for ten years, and by his high intelligence and clear 
 and firm conception of the parts he played he secured a hold upon the 
 affections of that city surpassed in the case of no artist, Mrs. 
 John Drew herself alone excepted. He played a wide range of parts,^ 
 but it was not only in the public estimation that he secured a high 
 place. 
 
 Barton Hill was a member of Edwin Booth’s great company during 
 the Winter Garden Theatre season. The theatre burned down on 
 the morning of March 23, 1867. Edwin Forrest, who had been 
 looking for an actor to replace John McCullough in playing parts 
 second to his own, made Mr. Hill an offer, which was accepted, and 
 in the support of the gigantic tragedian, he met with, unqualified 
 success. 
 
 John McCullough, acting on this recognition, called him to Cali- 
 fornia to manage his theatre there, and during that robust actor’s 
 successful career Mr. Hill cared for his local interests and was his 
 partner in that splendid property so long as McCullough retained 
 its control. 
 
 Thus it was that the acquaintance and friendship first formed in 
 Montreal continued steadfast and unbroken to the /end — twenty 
 years. 
 
 Barton Hill’s brother, Robert H. Hill, mentioned in the first part 
 of this article, is auditor of the Lake Shore and M.S. Railway Co., a 
 position he has held since 1858. Rosalie Hill married MacDonald 
 Bridges, and their daughter is Mrs. Alexander Murray. Mr. Hill’s 
 home is at Paradise Valley, Munroe County, Pa. 
 
 During the past two seasons Mr. Hill has been in the company 
 of Nance O’Neil in Australia. 
 
 His father, Charles Hill, died 23rd Sept., 1874. 
 

 INTERIOR OF THEATRE ROYAL, 
 
 1825. 
 
 F. Brown and Miss Riddle in the original performance here of “Virginius.’* 
 
 
■i 
 
 • I 
 
 
HISTRIONIC MONTREAL. 
 
 I4I 
 
 VINING BOWERS will be remembered as a very clever and 
 pleasing comedian. He was for a few. years closely associated with 
 the Montreal stage, and a great favorite with theatre-goers here. 
 
 Mr. Bower’s was born in Philadelphia, Pa., April 23, 1835* He 
 began his theatrical career at the Chestnut Street Theatre, that city, 
 in 1849, as call boy and to play small roles. Ten years later he- 
 went to New York, where he had obtained an engagement as second 
 low comedian at Barnum’s Museum. His next engagement was at 
 Albany. He afterwards was engaged for principal low comedy roles 
 at Washington, Philadelphia, Cleveland, Wheeling, New Orleans and 
 other cities. He died in New York, August* 18, 1878. 
 
 Very few changes took place in the ranks 
 during 
 
 THE 1863 SEASON, 
 
 of the support 
 
 which was op-ened regularly 12th July. The principals to 
 appear w*ere Barton Hill, Alice Gray, Kate Denin, Emily 
 Thorne and W. J. Scanlan among others. The feature of the 
 season was the appearance of Emily Thorn’e in ‘‘ Aurora 
 Floyd.’' Other pieces produced were “Ingomar,” “Our 
 American Cousin," a play which gave Mr. Hill much scope 
 in th-e character of Dundreary; “The Octoroon," “The Duke s 
 Motto," “Macbeth," “The Marble Heart," “The Wife," “East 
 Lynne," “Lady Audley's Secret," and “The Loan of a Lover.' 
 
 EMILY THORNE belonged to that talented family which included 
 C R Thorne jtin. A score of years has passed since Emily Thorne’s 
 brilliant performance of Aurora Floyd was famous in the land, to- 
 day she lives in quiet retirement, a handsome white-haired lady o 
 inLpendant means, quite philosophic of the theatre with its fitful 
 triumphs. Her first appearance on the stage was under her father s 
 management in her eleventh year, about 1856. George C Jordan was 
 her first husband. After his death she married J. C. Chamberlin in 
 
 1884* 
 
 WILLIAM J. SCANLAN, at the age of thirteen, was known as 
 “The Temperance Boy Songster.” and travelled through the country 
 on that mission. This Irish comedian and vocalist was ^ 
 
 Springfield, Mass., in 1836. He at one time starred )Oint\y with Tim 
 Cronin, the Irish comedian, subsequently with Minnie Palmer for two 
 years, and in the fall of 1881 he made his first 
 
 and for the first time sang in public his famous Peek-a-B . 
 
 Scanlan was forced to retire from the stage from the effects of paresis, 
 and died i8th Feb., 1898. 
 
 Small troupes appeared in 1864, the 
 holding the boards at the Mechanics 
 
 Ravels and John Denier 
 ’ Hall nth January, for 
 
142 
 
 HISTRIONIC MONTREAL. 
 
 on'e week, and Wood’s Minstrels at Nordheimer’s Hall, for the 
 season commencing 4th January. 
 
 The Theatre Royal opened, 2nd June, 1864, with a French 
 repertoire company from Niblo’s Theatre, New York, for two 
 weeks. 
 
 The regular opening night for 
 
 THE SEASON OF 1864 
 
 was 30th June. Vining Bowers acted as stage manager, and 
 the stock company boasted of having for its leading man, the 
 popular John E. McCullough. The opening bill was ‘‘On Deli- 
 cate Ground” and “The Serious Family.” John McCullough 
 made his first bow to Montreal play-goers ist July, having 
 come from Niblo’s Theatre, New York. His debut here was 
 m “The Stranger,” he in the title role and Mrs. Buckland as 
 Mrs. Haller. He was afterwards seen in “The Iron Chest’' 
 and “Robert Macaire,” “Lady of Lyons,” “East Lynne,” 
 “Colleen Bawn,’’ “Tlie Hidden Hand,” “Lucretia Borgia,'’ 
 “Romeo and Juliet,’’ with Miss Kate Benin as Juliet] “Mac- 
 beth,” “Pizarro;” Mr. McCullough as Mrs. Buckland 
 
 as Elvira, and Miss Benin as Rolla. Miss Benin closed her 
 engagement i6th July in “Katherine and Petruchio.” Sam 
 Ryan was also in the company. Miss Madeline Henriques 
 appeared i8th July in “Qari, Maid of Milan,” followed by 
 “I^e Youthful Queen,” “The Love Qiase,’’ “The Hunch- 
 back ” and “ Ticket-of-Leave Man.” The Webb Sisters 
 opened ist August in “The Rose of Killarney,'’ and closed 
 13th, the most notable of their productions having been “The 
 Lady of Lyons,’’ “Bride of Lammermoor,’’ and “The Wan- 
 dering Boys” for the close. Barton Hill came 15th, in Tom 
 Taylor’s “Ticket-of-Leave Man,” “Our American Cousin,’' 
 and closed 20th with “The Corsican Brothers” and “The 
 Idiot Witness.’’ Emily Thorne appeared, 22nd August, in 
 “An Unequal Match.’’ The season closed 5th September, 
 but the theatre was kept open during September by a French 
 repertoire company. Italian opera was also heard 14th, 15th 
 and i6th November. 
 
 THE WEBB SISTERS^ Emma and Ada, were born at New 
 Orleans, the former on the i8th June, 1843, and the latter on the 
 i8th Sept., 1845. They starred with but qualified success for some 
 years, and later the elder took to the lecture platform in 1868. Ada 
 married W. M. Connor, of Brooklyn, N.Y., and retired from the 
 stage. 
 
HISTRIONIC MONTREAL. 
 
 143 
 
 MAl>EIiINE HENRIQUES, born in New York, of Jewish parents, 
 made her stage debut, Wallacks' Theatre, in i860. She remained there 
 until 1867, when she married Louis J. Jennings, of London, sailing on ' 
 the same day. 
 
 JOHN EDWARD McCUIiLOUGH was one of the most genial and 
 hearty of American actors. He made friends wherever he went and 
 he owed his tremendous success as much to his personal popularity 
 as to his talents. 
 
 McCullough was born at Blakes, near Coleraine, Londonderry, 
 on the seacoast of Ireland, November 14, 1832. His father, James 
 McCullough, was a “small farmer.” His mother, Mary, died in 1844, 
 leaving her son John, then a lad of 12, and three daughters. Their 
 father was unable to provide for these children, and shortly after the 
 mother’s death they were obliged to seek their fortune in America. 
 
 In the spring of 1847 John and his sister Jane came to this country, 
 and, having a cousin named John McCullough in Philadelphia, they 
 proceeded to that city. This cousin was a chairmaker, and in the 
 business of chairmaking John McCullough was employed. His 
 father and the sisters, Mary and Elizabeth, followed to America 
 shortly after. The father died at Moorestown, N.J., in 1878. He is 
 remembered as a small, thin man, who spoke with a heavy brogue. 
 He did not maintain intimate relations with his children. He was 
 a faithful worker and an .honest man, but he had no ambition, and 
 he was of a reticent and inoperative character. 
 
 When John McCullough, a youth of fifteen, came to America, he 
 could read, but he could not write. He had received no education, 
 and he was ,in ignorance of literature and art. Dying thirty-eight 
 vears later, he had become a man of large and varied mental acquire- 
 ments, a considerable scholar in the dramatic profession, and the 
 most conspicuous heroic actor of his time on the American stage. 
 No ancestor of his was ever upon the stage. Dramatic faculty. 
 However, is one of the peculiar attributes of the Irish race. In 
 McCullough it was developed by the accident of his meeting with a 
 “stage-struck” work-man in the shop of the Philadelphia chairmaker. 
 This person made him acquainted with the tragedy of “Richard the 
 Third ” and stimulated in him a taste for reading Shakespeare. One 
 of his first steps toward the stage taken at this period was his affilia- 
 tion with “The Boothenian Dramatic Association.” His experience 
 at this time led him to bnanches of learning apart from the stage. 
 One of the books that he read was “Chamber’s Encyclopedia , of Eng- 
 I?sh Literature,” and;in less than a month he had absorbed the whole 
 of it becoming so familiar with its contents that he couM descant on 
 1 BrS" authors as if he had been trained for noth.ng else-so 
 eager was his zeal for knowledge and so retenUve was the memory 
 h\rh fie stored it. He early married Letitia McCain. 
 ’"McCullough’s theatrical career, beginning in 1857 and ending m 
 
144 
 
 HISTRIONIC MONTREAL. 
 
 i 834 , covered a period of twenty-seven years. His first engagement 
 was made at the Arch Street Theatne, under the management of 
 Wheatley and Drew, and his first appearance there was made August 
 15, 1857, as Thomas in “The Belle’s Stratagem.” E. L. Davenport, 
 at that time manager of the Howard Athenaeum, in Boston, engaged 
 him at that theatre, where he remained for one season — ^that of 1860-61. 
 In the ensuing season he was back again in Philadelphia, engaged at 
 the Walnut Street Theatre. Here he was when presently he attracted 
 the notice of Edwin Forrest, who chanced tot be in need of an actor to 
 play the parts second to his own, and who procured his release from 
 Mrs. Garretson and gave him an engagement for leading business. 
 This was “ the tide which taken at the dood leads on to fortune^ McCul- 
 lough’s first appearance with Forrest was made at Boston in October, 
 1861, in the character of Pythias. From this time he had a clear field 
 and he advanced in the open sunshine of success. 
 
 For some years he and Lawrence Barrett were joint managers of 
 the California Theatre, and it was during this association that he 
 first acted Virginius and one by one added to his repertory the other 
 great parts to which he had formerly played seconds under the leader, 
 ship of Forrest. It was not until May 4, 1874, that he made the first 
 appearance as a star in New York, presenting himself as S partacus in 
 “The Gladiator.” His first appearance as a star in Philadelphia was 
 in the Arch Street Theatre in the spring of 1876. Thenceforth, until 
 the end, his career was an uninterrupted success, and in prominent 
 cities leading citizens honored him with public banquets. In April 
 and May, 1881, he played a successful engagement in London at the 
 Drury Lane Theatre, where his Virginius and Othello won high 
 encomiums. In April, 1884 while playing in Williamburg, it became 
 apparent that his powers were broken. 
 
 In June 1884, he went to Carlsbad, Bohemia, for his health. He 
 had also shown signs of weakness in Cincinnati the month before 
 at the Dramatic Festival. His last appearance on any stage was 29th 
 Sept., 1884, at McVicker’s Theatre, Chicago, as S partacus. His acting 
 on the fatal night clearly showed his great physical and mental weak- 
 ness. He required frequent prompting, and in the death scene he 
 nearly broke down. Some of the audience hissed and jeered. McCul- 
 lough came before the curtain at the close, and looking around 
 ironically, and with a half dazed expression that would have moved 
 to pity a more intelligent gathering, faltered out : '"This is the best- 
 mannered audience I ever saw. If you had suffered as I have you would 
 not have done this.” He died 8th Nov., 1885. A monument to his 
 memory stands in Mount Moriah Cemetery, Philadelphia. It re- 
 presents the tragedian in bronze as Virginius. The inscriptions on 
 the monument are as follows : 
 
HISTRIONIC MONTREAL. 
 
 14 5 
 
 “His life was gentle, and the elements 
 So mixed in him that Nature might stand up 
 And say to all the world: ‘This was a man.’ ' 
 
 “Manliness and meekness in him were 
 so allied that they who judged him 
 by his strength or meekness 
 saw but a single side.” 
 
 Here was returned to the clasp and kiss of the universal mother 
 one of the noblest souls ever housed in human clay, one who like 
 those effluent oriental rivers that come down from the eternal snows 
 and wind luxuriantly amid palms and plumes and break dazzlingly 
 into silver jets at every obstacle — this broad stream, bountifully laden 
 with the gifts of heaven and richly tuned with the voice of earth, 
 narrows and lingers, and, with sad silence, sinks into the sand. 
 
 THE SEASON OF 1865. 
 
 A remarkable feature in Montreal theatricals during 1865 
 IS recorded by Mr. Henry Hogan, who writes me that John 
 Wilkes Booth played a short engagement under the England 
 management, preliminary to the regular opening. Mr. Hogan 
 savs that after his performance was over Brnth would hurry 
 over to the “Hall” and down to Joe Dion s billiard roort^ to 
 play with the best in the city. He was here just a week or 
 ten days before the assassination of Lincoln; in * 
 
 news reached here it was recalled by the friends of Booth that 
 just before leaving Montreal, he told *em that they wou d 
 hear in a very short time of something which would start e 
 the wSrld. His act on 14th April, 1865, caused a .terrib e 
 sensation in this city, more especially 
 
 leagues and friends from the South, whom he had met at the 
 “ Hall.” 
 
 JOHN WII-KES BOOTH— The appearance of John Wilkes 
 Booth in Montreal during the year f 4 marked 
 feature, although calling up memories in 
 
 and sad Mr. Fred Leclair, manager of the Theatre 
 
 possession of a P7^---X"fTay"g?~ ^oo* at the 
 ment consisting of a selection of readings g jj^lk St. 
 
 solicitation of a number of his ei izem jpoyest for the readings, 
 
 Joseph, 5th January, 1864. In reply to the request tor 
 
 Booth wrote as follows: „ t m t 
 
 “Thomas Harhine, John L. Bitlmgcr, . • c a^g^ receiveid, and 
 
 I eSkaviurto L'Tn actor, tun 
 
 10 
 
146 
 
 HISTRIONIC MONTREAL. 
 
 distinction, as in the latter case it, is impossible to identify one’s self 
 with any single character. But as I live to please my friends, I will 
 do all in my power to please the kin'd ones I have met in St. Joseph. 
 
 I will, therefore, designate Tuesday evening, 5th January, at Corby’s 
 Hall. 
 
 ‘T am, very respectfully, 
 
 JOHN WILKES BOOTH.” 
 
 The selection of the readings consisted of “The Shandon Bells,” 
 the trial scene from “The Merchant of Venice,” “Selections from 
 Hamlet,” “The Remorse of the Fallen One,” or, “Bl^autiful Snow,” 
 and “The Charge of the Light Brigade.” 
 
 Later in the season. Booth became for a few months a member of 
 the Theatre Royal Stock Company, under the Buckland management. 
 The late Henry Hogan r:cords that, after his performance was over, 
 Booth would hurry to Dion’s billiard-rooms to play with the best in 
 the city. “He was here just a week or ten days before the assassina- 
 tion of Lincoln,” Mr. Hogan once wrote, “in fact when the news 
 reached here it was recalled by the friends of Booth that just before 
 leaving Montreal he told them that they would hear in a very short 
 time of something which would startle the world. His act on 14th 
 April, 1865, caused a terrible sensation in this city, more especially 
 among his theatrical colleagues and friends from the South. John 
 Wilkes Booth, youngest son of the tragic genius, Junius Brutus 
 Booth, and brother of the greatly esteemed Edwin Booth, but for* his 
 insane acts might have become one of the greatest actors of his epoch. 
 Gifted with unusual personal beauty, supple and graceful in form, 
 dignified and attractive in his bearing, essentially dexterous in the use 
 of the sword, with a dare-devil in his nature which subsequently led 
 him to the commission of the greatest tragic act of the age, — he 
 carried with a brain power a subtle intuition of Shakespearean 
 character which made him an ideal Hamlet, although he never seemed 
 to have his heart on the stage, saying that there could hardly be room 
 for himself and his brother, Edwin. His natural genius was so great 
 that under proper conditions any career was within his reach. His 
 friends were unable to associate the man as they knew him, with his 
 gentle, sympathetic ways, — his quick interest in what appealed to his 
 charity, which was boundless as his pride, — with his terrible doom. 
 As this phantom fades away, we recollect only what was human in 
 this rash, hot-headed youth of twenty-six, as we throw a flower upon 
 his grave in sorrow for his act and fate, with its appalling conse- 
 quence to the gospel of liberty, to mankind, and to his distracted 
 relatives. A glorious career was beckoning to him, but his last words 
 summed up the fruit of his existence : ‘useless !’ ‘useless !’ ” 
 
 The 1865 Company was again headed by John McCullough, 
 supported by Vining Bowers, Jas. A. Herne, Keller, J. R. 
 
HISTRIONIC MONTREAL. I47 
 
 Spackman, Clarke» S. J. Barthe, Holmes, Barton, Miss 
 Georgia Reignold, J. Clarke, Lizzie Leigh, Annie Wood and 
 Mrs. Hill. The season opened 13th May with “ The Fate of 
 a Coquette.’^ The celebrated actress, Mary Gladstane, made 
 her first appearance 15th in “The Hunchback,^' followed by 
 “Lady Audley’s Secret,’' “Averted Bride," “Lucretia 
 Borgia," “The Wife." “Plot and Passion," “East Lynne," 
 and “ The Hidden Hand." Ida Vernon was seen 29th, 
 opening her engagement in “ The Fate of a Coquette." Then 
 followed “The Robbers," “ London Assurance," “ The Iron 
 Chest," “Hamlet,’' and “The Stranger." Julia Daly appear- 
 ed I2th June, followed by productions of “ Our Female 
 American Cousin," “ Ticket-of-Leave-Man," “ Richard III." 
 Helen Western made her appearance 3rd July, in “The 
 Flowers of the Forest," then in “ Don Caesar de Bazan,” 
 “Wept of the Wishton Wish," “The French Spy," and closed 
 22nd July. Frank Drew came 24th, and appeared in “Handy 
 Andy," “ Mazeppa," “ Irish Emigrant," “ Comedy of Errors," 
 and closed 5th August with “ Rory O'More." Barton Hill 
 and McCullough were seen in “Othello," 8th August, and, 
 later, in “The Marble Heart." The event of the season was 
 the appearance of Mr. and Mrs. Charles Kean, from the 14th 
 to the i8th of August, in “Henry VIII.," “Merchant of 
 Venice," “Hamlet," “Much Ado About Nothing" and “Richard 
 II." This is the only record of “Richard II." having been per- 
 formed in this city. Admission to the boxes was $10; first 
 gallery, $1.50; second, 75 cents; pit, 50 cents. Tremendous 
 crowds sought to gain admittance at each performance. The 
 pit entrance in those days was through a passage, since con- 
 verted into the office, and on one occasion, as the crowd was 
 struggling to get in, a small boy shouted “Fire !" There 
 was no panic, however. It was a common sight to see as 
 many as 1,400 soldiers crowded into the pit. The Keans 
 were supported by John McCullough, J. F. Cathcart, Barton 
 Hill, G. Everett and Miss Chapman. Speaking to me of this 
 season, Mr. Hill said: — 
 
 ‘‘My engagement with Mr. Buckland was to have terminated on th- 
 eve of Charles Keanes opening, but at his request I was invited to r- 
 main over a week longer to participate in Mr. Kean's revivals. M- 
 and Mrs Kean were accompanied by J. F. Cathcart and G. Everetv 
 There was the utmost harmony and good fellowship in accepting th- 
 distribution of the various roles. Mr. Kean was in poor health an * 
 faffing memory, and was obliged to depend much on Messrs. Cathcart 
 
lliSTRIONlC MONTREAL. 
 
 14 « 
 
 and Everett, who understood his business thoroughly. The opening 
 was in “Henry VIII.,’' Mr. Kean as Wolsey, and myself as the King. 
 In “Hamlet” Mr. Cathcart was Laertes; Mr. Everett, Horatio; Mr. 
 McCullough, First Player and Osric; and myself, the Ghost." 
 
 John McCullough had a farewell benefit 19th in ‘'Black- 
 Eyed Susan/’ on i which occasion J. F. Cathcart appeared by 
 permission of Charles Kean. The favorite little comedienne, 
 Lotta, made her first appearance here on the 21st of August in 
 “Po-ca-hon-tas,” followed by “Lola Montez” and “Betsey 
 Baker.” 
 
 The first performance of “Uncle Tom’s Cabin” in Montreal 
 was giv^n on the 26th August. Col. T. Allston Brown, after 
 a careful research, declares that the first “ Uncle Tom’s 
 Cabin^’ play of which he can find any record was written by 
 Prof. Hewett, of Baltimore, and was produced at the Museum 
 in that city January 5, 1852. The season closed 31st August 
 with Christine Zavistowski in “Massaniello,” and other operas. 
 
 FRANK DREW was an excellent comedian of the old school 
 and a brother to the elder John Drew, who died in 1862. The 
 brothers resembled each other very much, and their performance 
 of the two Dromios was capital. Frank appeared for some time at 
 Philadelphia under the management of his sister-in-law, Mrs. John 
 Drew. Frank Drew was born in Dublin, 29th October, 1831. He 
 was brought to America by his parents in 1837, and first appeared 
 on the boards in his eighth year. His first appearance at Phila- 
 delphia was in 1853. In 1850 he married Mrs. C. L. Stone. 
 
 JAMES A. HERNE made his dehiit as George Shelby in “Uncle 
 Tom’s Cabin” in 1859. He was born at Troy, ist February, 1840. 
 For the major portion of his stage career this man steadfastly pur- 
 sued all that was best in his calling, and he long since reached a 
 point sufficiently near his ideals to entitle him to the bravos of the 
 critics and the salvos of the populace. And yet for years he had 
 been quite outdistanced in the race for general favor and critical 
 consideration. His well-known play of “Hearts of Oak” was the 
 source of some revenue to him for several years, but latterly he 
 could only produce it at the cheap theatres, until his star rose 
 several seasons ago in his “Shore Acres,” and he has acquired 
 fame and fortune. He had a spiritual magnetism that drew to him 
 souls of his kind, and without robe or sceptre he swayed an empire 
 that had sworn no allegiance yet which gave its unconscious tribute 
 of laughter and of tears wherever he raised the standard of his 
 heart. He married Helen, sister of Lucille Western, during their 
 '.ojourn in Montreal as members of the stock company of 1865, the 
 event taking place at the old St. George’s church, on St. Joseph 
 
HISTRIONIC MONTREAL. 
 
 149 
 
 stieet, in August of that year. Helen Western had married a Bal- 
 timore lawyer, but was divorced. She died in Washington nth 
 December, 1868, aged 24. Mr. Herne managed the theatre here 
 for a short time during 1870. Jas. A. Herne’s last play in which he 
 starred during the season of 1900 is entitled “Sag Harbour.” He 
 died 3rd June, 1901. 
 
 STRAWBERRY BLONDE LOTTA (nee Charlotte Crabtree, born 
 ill New York in 1847) first appeared as a vocalist at the age of six as a 
 member of a variety troupe, of which her father was at the head. She 
 romped and skipped, picked the banjo and danced the breakdown in 
 so lively a manner that she soon made a name. John Brougham, 
 who was one of her earliest managers, called her “a dramatic cock- 
 tail,” and he was not far wrong. She was the incarnation of drollery, 
 of mischief and of broad farce, and as such became the most popular 
 of souhrettes. In comparing Cotta to Maggie Mitchell, who, until 
 their retirement, were the two oldest and best known song and dance 
 artists on our stage, a friend remarked, “they keep their youthful 
 appearance so well that they seem to be getting younger every year. 
 I expect any morning, looking over the newspapers, to find their 
 names among the births.” Lotta Crabtree, once the pet of the public, 
 declares that she never so much as thinks of going upon the stage 
 again. She has taken up painting, and has become a very clever 
 amateur artist. 
 
 Under the management of Ben De Bar, the most import- 
 ant people to appear during 
 
 THE SEASON OF 1866 
 
 were Barton Hill, Vining Bowers, Chas. Dillon, James Car- 
 den, Geo. F. Rowe, C. J. Fyffe, S. J. Barthe, Mrs. F- W. Lan- 
 der, Mary, Lizzie and Emma Maddern, Helen Western, Lucy 
 Rushton, Cecile Rush and Mad. Mari-e Celeste, who had ap- 
 peared here as early as 1835 Theatre Royal. The 
 
 season opened 2nd June with ‘'Kate O’Shfel,^' “Jones’ Baby,’' 
 and “A Day Too Late.” On 4th Barton Hill was seen as 
 Lord Dundreary y and Vining Bowers as Asa Trenchard, in a 
 production of “Our American Cousin.” “The Stranger” was 
 given 7th, with Hill as the Stranger y and, on nth. Mad. Celeste 
 appeared in “Green Bushes,” followed by “Flowers of the 
 Forest,” “The French Spy.” “Woman in Red,’’ closing her 
 engagement 23rd with “The House on the Bridge.” Charles 
 Dillon made his reappearance, after an absence of two years. 
 25th, opening in “Richelieu,” following in “Macbeth,” “Bel- 
 phegor,” “Hamlet,” “Richard HI.,” “Othello,” “A New Way 
 to Pay Old Debts,” “Artist of Florence,” “Us^ed Up,” and 
 
HISTRIONIC MONTREAL. 
 
 150 
 
 made his last appearance 7th July as King LeaVy supported by 
 George Fawcett Rowe, this being Mr. Rowe’s first appear- 
 ance in Montreal. On 9th July Helen Western appeared, and 
 on i2th Lucy Rushton was seen in ‘'Ogajrita,’^ following in 
 “Rlack Dominoes,” “As You Like It” and “Lady of Lyons.” 
 A notable feature of the season was the appearance of Mrs. 
 F. W. Lander (nee Jean Margaret Davenport). Sh-e had ap' 
 peared here in 1839 a youthful prodigy. It is generally 
 supposed that it was she whom Charles Dickens travestied in 
 “Nicholas Nickleby ’’ as the “infant phenomena,’’ Minetta 
 Crummels. Her engagement began 23rd July, when Knowles’ 
 “Love” was produced, followed by “Lady of Lyons,” “Mes- 
 alliance,” “The Hunchback,” “Romeo and Juliet,” and “Char- 
 lotte Corday” for tire close. Cecile Rush began a short en- 
 gagement 30th July, as Fanchon in “The Cricket on the 
 Hearth,” “Ida Lee,” etc. On 6th August. Barton Hill made 
 his first appearance in “The Dead Heart,” assuming the role 
 of Robert Landry. “The Corsican Brothers” was staged 7th 
 and 8th, and he again appeared 9th as Caleb Plummer in “The 
 Cricket on the Hearth.” Charles R-eade’s “Never Too Late 
 To Mend ” was first staged 13th and 14th, with Barton Hill 
 as Thomas Robinson^ James Carden as George Fielding^ and 
 Vining Bowers as Peter Crawley. Productions of “Lost in 
 London,” “Wallace,” “Dundreary,” “Ticket-of-Leave Man ” 
 and “ Streets of New York” were presented successively; and 
 on 20th Lucy Rushton was re-engaged, opening in “As You 
 Like It,” “She Stoops To Conquer,” “Tlie Brigand,’’ Bouci- 
 cault’s “Duel in the Dark,’’ “School for Scandal,” “Satan in 
 Paris,” “Honeymoon,” and closed with “Three Black Seals,” 
 1st September. The Maddern Sisters (Mary and Lizzie) be- 
 gan a season 5th Septemb-er in “The Fall of Robespierre,” 
 Mary Maddern had terminated an engagement under De 
 Bar’s management at his New Orleans and St. Louis Theatre 
 Companies. James Carden benefiated, 7th, in “The Iron 
 Mask,” when Lily Wood Carden made her Montreal debut. 
 “The Octoroon” was billed 8th, and “Never Too Late To 
 Mend” was presented loth, with C. J. Fyffe as George Fielding. 
 This was followed by “The Three Guardsmen,” 12th; “The 
 Willow Copse,” 14th; and Miss Braddon’s “Henry Dunbar,” 
 17th, with Barton Hill as Dunbar, Vining Bowers as The 
 Major, and C. J. Fyffe as Clement Austin; “Rob Roy,” i8th; 
 “Our American Cousin ” and “The Rough Diamond,” 20th; 
 
HISTRIONIC MONTREAL. 
 
 ISI 
 
 Lizzie Maddern as Margery , and S. J. Barth as Cousin Joe, in 
 the latter piece. Barton Hill had a ben'efit, 20th, in ‘‘How 
 She Loved Him/’ and “Robert Macaire/’ followed by two of 
 Boucicault’s plays, “The Colleen Bawn’’ and “The Life of An 
 Actress,’’ Money,” “The Marble Heart,” “Fan Fan La 
 Tulipe/’ “ Camille,” in which Mary Maddern was seen as 
 Gauthier, and Hill as Duval. “La Tour de Nesle” was fol- 
 lowed by other pieces, chiefly repetitions, and the season 
 closed 6th October with three pieces, “Not Such a Fool As 
 He Seems,” “Love in Livery ” and “Toodles.” 
 
 CHARLrES J. FYFFZ, born i6th Sept, 1830, had a stage career of 
 exactly forty years. His first appearance, he informs me, was in 1852 at 
 Memphis, Tenn., as the Doctor in Tobin's “Honeymoon.” From small 
 parts he gradually advanced, until in a few years he played leading 
 business in the support of all the leading stars of the period. He 
 has played in the West Indies and in South America, as well as all 
 over the U. S« and Canada. His last appearance in Montreal was dur- 
 ing his last season on the stage in support of Edward Vroom, at the 
 Queen's Theatre, during the last week of Sept., 1892. After his 
 long service, Mr. Fyffe has retired to that ideal little spot, Holmes- 
 burg, known as the Forrest home, where, in company with 
 a few other veterans, the days pass but too quickly in the ex- 
 change of interesting reminiscence. Mr. Fyffe is the librarian of the 
 home, and is an exceedingly entertaining gentleman, possessing a 
 considerable fund of anecdotes, most of which relate to his own 
 personal experience while in close association with the great actor 
 whose memory will be forever kept green by the munificence of his 
 bounty. 
 
 CECILE RUSH died 12th August, 1897, at Cornwall-on-the- 
 Hudson, where she had lived for several years. She was sixty-three 
 years of age. Her first appearance on the stage was at the Walnut 
 Street Theatre, Philadelphia, March 17, 1856, when she acted Bianca 
 in “Fazio.” She played for one week. Her debut was most sue- 
 cessful. She appeared as Julia in the “Hunchback,” as “The Countess 
 in Love,” as Margaret Elmore in “Love's Sacrifice.” She then went 
 West, and in 1859 was touring the country, giving, with considerable 
 success, dramatic readings. During the season of i862‘3 she was a 
 full-fledged star, and appeared in the various stock theatres, opening 
 February 16, 1863, in Cincinnati, as Bianca. Col- Brown says that, at 
 that time Mrs. Rush was considered one of the handsomest actresses 
 on the American stage. Nature had been bounteous in her bestowa s 
 upon Cecile Rush, but all that nature could bestow would avail little in 
 assisting her to attain her position as an artist had not stern an 
 rigid study been accessory. She was possessed of all the requisi es 
 
152 
 
 HIXTRIONIC MONTREAL. 
 
 an actress should be blessed with, viz., a beautiful face and eyes, an 
 expressive countenance and a splendid figure. Her talents won for 
 her a handsome fortune, but she retained nothing. Genius is prone 
 to be impulsive and cannot be methodical; and while she could 
 create she could not control. 
 
 TH£ MADDERN SISTERS, Emma, Lizzie and Mary, enjoyed a 
 considerable portion of public esteem. Emma, born in 1847, was 
 brought out by Ben DeBar. ^ In 1866 she married James M. Nixon, 
 but is now the wife of R. E. Stevens. For five seasons she has been 
 a valued member of the “Grand Avenue Stock Company/^ Philadelphia. 
 Lizzie married Thomas W. Davey, manager of the Detroit Opera 
 House, and was the mother of Minnie, now the wife of the intrepid 
 Harrison G. Fisk, proprietor of the “Dramatic Mirror,” and her- 
 self one of America’s representative actresses. Lizzie Maddern died 
 in 1879. Mary never married. She is a member of her niece’s 
 company. 
 
 JAMES CARDEN played in nearly every country of the globe. 
 He was born in Ireland in 1835, but his stage life began in America. 
 When at the old Jenny Lind Theatre in San Francisco he played the 
 servant in “The Iron Chest” to the Mortimer of the elder Booth. 
 This was the occasion of Junius Brutus Booth’s first appearance in 
 California and of the first appearance as Wilfred of Edwin Booth. 
 In 1858 he came East. In 1865 he was engaged by Mrs. John Drew 
 as leading man of the Arch Street Theatre Stock in Philadelphia. 
 Later he was a brilliant member of the famous Wallack- Davenport 
 combination. After travelling for two more seasons with Lucille 
 Western and with John McCullough he was engaged by George 
 Coppin to go to Australia. He is said to have been paid the then 
 almost unprecedented salary of $500 a week. Onward he went to 
 India and thence to Africa. Then he received a fine offer from the 
 Court Theatre in London, where he filled engagements under Charles 
 Reade and Wilson Barrett. He married there Lucy M. Heraud, 
 daughter of John Heraud, editor of the London Athenceum. He next 
 went starring through the provinces of Great Britain, until Augustin 
 Daly brought him from England for a leading part in “The Flash 
 of Lightning.” After playing some months in this melodrama Mr. 
 Carden joined Madame Janauschek’s company to play Macbeth, and 
 other leading parts. Another trip to Australia followed, where 
 he remained three years and then returned to San Francisco, where 
 he delivered the closing address in the old California Theatre. Of 
 late years Mr. Carden had played engagements with various legiti- 
 mate combinations. He joined the Forepaugh Stock in Philadelphia, 
 Jan. 20, 1896, and was a member of that organization at the time of 
 his death, 23rd March, 1898. His wife died a year before. 
 
HISTRIONIC MONTREAL. 
 
 153 
 
 THE COMPANY OF 1867 
 
 included Vining Bowers, J^s. Carden, C. Walcot, Jun., F. F. 
 Mackay, S. S. Cline, J. Gobay, Chas. Hillyard, E. B. Denison, 
 
 S. J. Barth, Mark Brook, Maitre Claude, Thos. Placide, Effie 
 Germon, Celia Logan, Emma Cline, Nellie Stewart, Kate 
 Browning, Mrs. C. Walcot, Jun., and Mrs. Barton Hill. F. 
 Dickson was the scenic artist. The season opened 3rd June, 
 with “Married Life,’’ followed by “Everybody’s Friend,’’ “The 
 Octoroon,’’ “The Husband at Sight ’’ and “Colleen Bawn.” 
 On 17th and i8th June, Parepa Rosa gave two operatic con- 
 certs, assisted by Theodore Hadleman, Sig. Feranti, Sig. For- 
 tuna, Carl Rosa and S. Behren. The balance of the season 
 passed without noteworthy incident, the principal produc- 
 tions by the stock company being “The Lost Will,” “Kate 
 O’Sheil,” “Invisible Husband,” “Time Tries All,” “Money,” 
 
 “ Waiting for the Verdict,” “ Ours,” “ Guy Mannering,” 
 ‘Ladies’ Club,” “Kathl-een Mavourneen,” and “Kenilworth,” 
 in which Lady Don appeared ist July. 
 
 THE GALLANT ROSSHIRE BUFFS, 
 
 those splendid fellows of the 78th Regiment who relieved 
 Lucknow, whom the people of Montreal had the honor of 
 having among them from 1867 to 1869, were conspicuous in 
 their support of the theatre. 
 
 PAREPA ROSA first came to this country in 1865. She was then 
 Euphrosine Parepa, known as one of the most brilliant of the dramatic 
 sopranos, who had created a furore in Europe by her superb voice as 
 well as by her fine appearance. Parepa was a lyric-dramatic singer 
 after the old Italian method, having been taught in that school by her 
 mother, Mme. Parepa, who was a celebrated Italian prima-donna in 
 the 40’s and 50’s. Her father. Signor Archibuchi, was an Italian im- 
 pressario and musical agent. Euphrosine was born in London m 1840. 
 At the age of seventeen she was engaged for the winter season at t e 
 Grand Theatre of Malta, where there was an English colony. She 
 made her dehut in “Somnambula,” scoring an immediate success. She 
 went to London, where she married an English officer, but continue 
 to sing, and became one of the greatest oratorio singers in England as 
 well as in America. Her husband after a few years died in Santiago, 
 Chili. He left debts of several thousand dollars, which she paid from 
 the earnings of her American tour. She married Carl Rosa in 1867. 
 De Vivo arranged a tour of concerts and operas for New 
 April and May, 1867, under the title of the Parepa and Brignoh Con- 
 cert and Opera Company, with the result that Parepa’s and Brignoli s 
 
154 
 
 HISTRIONIC MONTREAL. 
 
 shares of the profits were $12,000 each. The organization continued 
 until Parepa Rosa’s death in 1874, when she left a fortune of £80,000 
 to her husband, who carried on the Carl Rosa Opera Company 
 until his death in i8go. 
 
 F. F. MACKAY has been a pedagogue, manager, painter and 
 playwright, and is still all of these, although returning more and more 
 to his first love as the years pass, and is more than >all a teacher. He 
 was born in New England in 1832, and was brought to New York in 
 his early youth, where he gleaned his first knowledge of the stage 
 from the Murdock Dramatic Society late in the forties. Among his 
 associates in that Society were W. J. Florence, George Boniface, Jane 
 Coombs, Emily Wilton and Maggie Mitchell. He adopted the 
 stage as a profession in 1851-52, but shortly afterwards became a 
 schoolteacher. He returned to the stage in 1857, appearing with 
 various stock companies through the South and West until 1865, when 
 he joined the forces of Mrs. John Drew at Philadelphia, where he 
 remained until 1871. Mr. Mackay has played nearly a thousand 
 character parts from Shylock to Uncle Tom, and in every dialect from 
 Scotch to Chinese. His last engagement was in support of W. H. 
 Crane 1896-97, since which he has been conducting a dramatic school 
 in New York. 
 
 THE COMPANY OF 1868 
 
 included Charles H. Vandenhofif, Owen Fawcett, A. W. 
 Y^oung, H. A. Langdon, G. H. Griffith, Thomas Burns, Jane 
 Cameron, Kate Ranoe, Mrs. Buckland and Jennie Gourlay. 
 Mafifit and Bartholomew’s Spectacular Co. opened the season 
 20th July. Chas. Vandenhofif benefited in “Hamlet,” 6th 
 August, Miss Ranoe being the Ophelia. The tragedieiine, 
 Mary Gladstane, played a star engagement, as also did 
 Vining Bowers. A French Opera Troupe appeared, also 
 the Hanlon Bros., Fanny Herring in “The French Spy,” Vio- 
 let Campbell in “Leah,” and, on 24th October, the tragedian, 
 Edwin Adams, began a short engagement in “Hamlet,’’ “Mac- 
 beth,” “Wild Oats,’’ “Richard HI.,” “Romeo and Juliet,” and 
 “The Marble Heart.” The Hanlon Brothers made their first 
 appeairance at Montreal at Northeimer’s Hall, 6th October, 
 1866. 
 
 CHARLES H. VANDENHOFF, an actor of intelligence and 
 originality, was the son of George Vandenhoff, inheriting much of 
 his histrionic talent. He was born in England in 1850, and was 
 only in the outset of his career when he was first seen in Montreal 
 as leading man of the stock company at the Royal in 1868 for a sea- 
 son of three months. His experience was a varied one in the support 
 of various stars. In 1888 he s.cted ' Jacques in “As You Like It,” with 
 Modjeska, and supported her in other important roles. His acting 
 
HISTRIONIC MONTREAL. 
 
 155 
 
 in “The Chouans” with her was also the subject of critical commenda- 
 tion. His last appearance in Montreal was in “Paul Kauvar,” week 
 nth February, 1889, at the Academy of Music, when he played the 
 role of Honore Albert Maxime. He died at Seattle, Wash., April 30, 
 i8go. 
 
 JAMES S. MAFFITT was to the present juvenile generation 
 famous principally as the impersonator of the Lone Fisherman in “Evan- 
 geline,"’ with which extravaganza he had been identified since the 
 original production in 1870 at the Boston Museum. Another creation 
 of Maffitt’s was the role of Wahnotee, the Indian, in Dion Bouci- 
 cault’s original production of “The Octoroon* He was also the 
 original of comedy parts in “The Twelve Temptations and The 
 Devil’s Auction.” When George L. Fox revived the popularity 
 of pantomime, Maffitt entered the field against him with success. He 
 retired in 1894, and died at Baltimore, i6th April, 1897, aged 65* 
 
 OWEN FAWCETT was born in London, Nov. 21, 1838. When 
 but two years old he was brought to this country, and thenceforth 
 America was his home. The Fawcetts are a noted family on the Englis 
 stage. There were two John Fawcetts, father and son, the elder 
 a comedian of Garrick’s day, who died in 1792, and the younger 
 a celebrated player of the early part of that century. He was 
 born in 1769, died in 1837, and was the cousin of Charles 
 Fawcett, grandfather of the subject of our sketch. Charles 
 
 Fawcett was a member of Macready’s company for several years, 
 and a popular provincial actor; of his two brothers, John, came to 
 America in 1795, and acted in all our leading theatres, while William 
 
 remained in England, and after a career at the Surrey Theatre and as 
 
 an imitator of leading London actors, retired from the stage to keep 
 a small bookshop in Radnorshire, Wales, where he^ed* Owen Faw 
 cett’s father, also named Charles, , was an actor at Hu , Eng a , 
 1826, and gave up the stage on coming to America. He was born Oct. 
 13. 1805, in Stafford, and died in Philadelphia on 27th July, 1867. 
 In 1853 Owen Fawcett began his career as a professional ac or, 
 making his debut on Dec. 7 , at Norristown Pa , as George 
 
 Shelby in one of the earliest dramatizations of nc e vTp„ 
 
 On July 4. 1861, Mr. Fawcett made his first appearance in New 
 
 York at the Academy of Music, as Mr. Wadd ° „ 
 
 Florences and Mr. and Mrs. Barney Williams in The Insh Lm . 
 He was at Winter Garden under Booth and Clarke *n ^ 
 the season of 1871-72 began Mr. Fawcett’s seven 
 with Augustin Daly. Between these notable „ie, 
 
 was also seen as a member of various Summer Stock C°mpan , 
 From January to August. 1886, he was with ^ ^f 
 
 the four subsequent seasons played low comedy r 1800- 
 
 Edwin B„o.h, Booth ,„d B.„..., and Booth and Mod.eska In .8^^ 
 
 9, he spent hi. Srst of Minna Gale, 
 
 five weeks engagement in the fall of 1091 > 
 
156 
 
 HISTRIONIC MONTREAL. 
 
 took an extended vacation, and travelled through Great Britain and 
 the principal countries of continental Europe. His home is in De- 
 troit, and is a centre of delight to the lover of theatrical lore. The 
 treasures it contains in the way of scrapbooks, old play bills, por- 
 traits and curiosities carry pleasure to every one interested in the 
 stage, and prove that Mr. Fawcett is a skilful and cultured authority 
 on the history of the American drama during the past forty years. 
 
 FANNY HERRING was born in London, 6th April, 1832. She 
 was about ten years of age when she appeared on the boards. Her 
 name, up to her retirement a few years ago, had always been associated 
 with the sensational drama, in which she met with some success. She 
 married in 1868. Miss Herring resides in a little cottage of her own 
 in Connecticut. Her once jet black hair is now snowy white. Her 
 sons, David and Frank, are both married and have large families. 
 Miss Herring has six grandchildren, of whom she is very proud. 
 
 HENRY A. EANGDON, a native of Philadelphia, first appeared 
 on the boards i8th August, 1849, at the Arch Street Theatre. His 
 first wife, Emily Rosalie Reed, died in 1857, aged 25. His second 
 wife, Annie Senter, died in 1867. Mr. Langdon was a useful stock 
 company player, and is still before the public. 
 
 EDWIN ADAMS was one of the most promising and versatile 
 actors of the American stage. He was born at Medford, Mass., 3rd 
 February, 1834, and first appeared on the stage as Stephen in the 
 Hunchback, ’ at the National Theatre, Boston, 1853. His first great 
 success was in 1863, w len he produced ‘‘Enoch Arden,*’ appearing in 
 the title role at Baltimore. His great roles were Rover in “Wild Oats,’’ 
 Melnotie, Frank Hawthorne in “Men of the Day,” Adrian in “The 
 Heretic,” William in “Black-Eyed Susan,” and as Macbeth. During 
 his Australian tour he became a great favorite, but lost his health, 
 and returning home died in Philadelphia. 28th October, i877« Mr. 
 Adams was a whole-souled and open-hearted man, who knew of 
 no use for money except to spend it. It was a beautiful life prema- 
 turely ended. It was a brave strong spirit suddenly called out of 
 the world. 
 
 The lease and management of the theatre passed into the 
 hands of the well-known American tragedian, J. W. Albaugh, 
 in 1869. xAmong the members of tbe company were Mary 
 Mitchell Albaugh, Ada Harland, Nellie Mortimer, Mrs. Hill, 
 Frank J. Evans, Robert Duncan and G. C. Davenport. The 
 season was opened 3rd May by the Ixion Burlesque Co. 
 ^The Lady of Lyons,^’ “After Dark,” “East Lynne,” “iCath- 
 leen Mavourneen,” “Richard III.,” “Fazio,” “Hunchback,” 
 
 ‘ Ingomar ’ and “The Stranger were produced successively. 
 Alice Marriott, a strong and capable actress, opened 21st May, 
 playing the title role in “Hamlet,” following in “Macbeth.” 
 
HISTRIONIC MONTREAL. 
 
 157 
 
 ••Romeo and Juliet” and “Jeannie Deans.” Joseph Proctor 
 reappeared in Montreal ist June, after several years, in 
 Knowles’ •• Virginius.” He was also seen in “Ambition” and 
 “Nick of the Woods.” 
 
 Harry and Rose Watkins followed in “Kathleen Mavour- 
 neen.’’ 
 
 Madame Moreau was then seen in ‘‘The Romance of a Poor 
 Young Man,” followed by Oliver P. Doud in “Lady of 
 Lyons,” “Richard HI.,” “Fashion,” “Macbeth,” “Idiot Wit- 
 ness,” “£100,000,” and closed 26th June owing to the illness 
 of Miss Marriott. From ist to 14th July a French Company 
 from Porte St. Martin Theatre, Paris and New Orleans, held 
 the boards; and on 15th and i6th Signor P. Brignoli gav« 
 farewell concerts. Gregory s Vaudeville Co. opened 2nd 
 August for one week, followed by the character actor, G. L, 
 Davenport, with the Clodoche Company. The remainder of 
 the season was taken up by the Morris Combination, \ ining 
 Bowers and Barton Hill, in “Rosedale,” closing i8th Septem- 
 ber with “La Tour de Nesle.” Several Minstrel Troupes ap- 
 peared from time to time until the end of the year. 
 
 JOHN •W. AliBA'UGH was born in Baltimore, 30th Sept., 1837, 
 and first appeared on its stage in his eighteenth year as Brutus in “The 
 Fall of Tarquin.” He appeared as Hamlet the following month, and 
 was well received. A series of engagements followed, and in 1865 
 we find him supporting Chas. Kean in New York. He then went 
 on a starring tour. During 1868 he was manager of the Olympic 
 Theatre, St. Louis, Mo., and in 1869 manapr in Montreal of the 
 Theatre Royal He married Mary Mitchell in 1866, became manager 
 of Leland’s Opera House, Albany, in 1873, and held its lease for 
 several years. He and his wife undertook several starring tours, and 
 rS his work in “Louis XL,” at Daly’s Theatre, New York was 
 highly praised. He afterwards managed the Lafayette Square Opera 
 H^se, Washington, and the Lyceum Theatp, Baltimore Mr_ 
 Albaugh retired from the stage after his performance of Shylock 
 with the Lyceum company, Baltimore, Qth Dec., 1899. 
 
 ADA HABtAND, the daughter of an eminent English prgeon, 
 
 was born in London, Eng., on the 22nd of December Sfrch^Sbras 
 her professional bow at the St. James’ Theatre 8th March 1862, as 
 Theodore in “Friends or Foes.” She was one of the several accomp- 
 S young women who accompanied Lydia Thompson to America 
 the troupe opening at Wood’s Museum, 
 
 1868, with Miss Harland as Jupiter in Ixion. She was g 
 dancer and a very fair player. 
 
158 
 
 HISTRIONIC MONTREAL. 
 
 ALICE MARRIOTT, one of the many clever artists sent from 
 England, graduated from a provincial troupe, and first appeared in 
 the English metropolis in 1855. She crossed over in 1869, making 
 her American debut on the 29th of March, New York, in the char- 
 acter of Hamlet, supported by J. F. Cathcart and J. W. Albaugh. 
 Miss Marriott subsequently married Robert Edgar, the London 
 manager. 
 
 MARY MITCHELL ALBAUGH is a sister to Maggie Mitchell, 
 and was born in New York, 12th Nov., 1834. She began starring in 
 1863, and three years later married John W. Albaugh. Her first 
 husband was the late J. W. Collier, from whom she was divorced. 
 
 HARRY WATKINS was born in New York, 14th Jan., 1825, and 
 made his first appearance on the stage in 1839. He married Rose 
 Howard in i860. During his lifetime he played with all the leading 
 actors and actresses of the day. His last appearance was in Phila- 
 delphia in the autumn of 1893. He died 5th Feb., 1894. 
 
 The op-ening of 
 
 THE 1870 SEASON 
 
 was a remarkable one, marking the occasion of Prince 
 Arthur's visit tq Montreal, and patronage to a benefit perfor- 
 ance given to J. W. Buckland by a company of amateurs, who 
 performed “Follies of a Night," and “The Irish Lion," 3rd 
 January, followed by the appearance of Ben De Bar in a short 
 engagement. E. M. Leslie, of the Boston Theatre, opened 
 the regular season on the 30th of April, as business manager 
 for seven performances. The company included Kate Reig- 
 nolds and W. F. Burroughs. The pieces produced were “Frou 
 Frou for the opening, “East Lynne " and “The Alarried 
 Rake.’' A French company followed in an extended reper- 
 toire, running several weeks; and, on 25th May, Mr. and Mrs. 
 Howard Paul, the well-known artists, made their first appear- 
 ance h-ere. 
 
 James A. Herne assumed the management of affairs 30th 
 Alay, Miss Lucille Western opening in “East Lynne," and 
 following in “Green Bush-es," “Rip Van Winkle," etc., and 
 closed the following month. Ella Wren and Chas. Waverley 
 were in the support. Brignoli’s Opera Company played an 
 engagement during July, followed by the reappearance of the 
 old favorites, Vining Bowers and Kate Reignolds in “ The 
 Lady of Lyons," “The Wonder," and other standard pieces. 
 Marietta Ravel, sensational actress, was seen during the first 
 week in Augtfst in “The French Spy.” An interesting en- 
 
HISTRIONIC MONTREAL. 
 
 ‘59 
 
 gagement was that of Kat« Reignolds during the last week of 
 August. Van Leer and Phillips began an engagement on 
 the 19th of September in “All that Glitters is not Gold,” 
 after which a company of acrobatic Japanese held the boards, 
 followed by Nellie Nelson in “Mazeppa,” and “Living Female 
 Groups from Berlin,’’ 28th of October. Walhalla’s Variety 
 Troupe was seen in November, and Ida Leslie’s Combination 
 produced “Love’s Sacrifice,’’ “Camille,’’ “Nell Gwynne, Col- 
 leen Bawn,” “Under the Gaslight,” “Othello,” etc. In the 
 support were, besides the star, A. R. Phelps and Norman S. 
 Leslie. They held the boards one week from the 14th of 
 November. 
 
 M. D. B. St. Jean appeared in feats of magic during the 
 week of the 26th December, closing one of the dullest seasons 
 artistically as well as financially since the opening of the 
 house. James Taylor, English comedian; Ada Alexandra, 
 prima-dona ; George Cline, baritone ; and the Freeman Fami- 
 ly, appeared at Mechanics’ Hall during August. 
 
 BENEDICT DE BAR was born in 1812 in London. His father was 
 French. He was given a good school education, after which he be- 
 came a stroller. He came to America in 1834, making his debut at the 
 Bowery Theatre, and in 1842 we find him managing the affairs of 
 that house. From 1850 to 1854 he was lessee of the Chatham Street 
 Theatre, New York, but abandoned it to go South, where he became 
 an immense favorite. He became the acknowledged best interpreter 
 of Falsiaff in the South and West before the war, while the East and 
 North preferred and proclaimed Hackett as their champion. He was 
 at one time worth over half million dollars, but lost the greater 
 part during the war. The curtain was rung down at St. Louis in 1877, 
 His wife, Harriet E., died at the Forrest Home, 24th Aug., 1894- 
 
 Harry Lindley records that 
 
 MISS MARIETTA RAVEL was very handsome, shapely, and her 
 stage presence magnetic. Her favorite role was in “The French Spy,’’ 
 but she also did good work in “The Wizard Skiff ’ and Wept o 
 the Wishton Wish’’ (from Fenimore Cooper). She imbued the im- 
 passible pantomimic dramas with so much volatility as to make them 
 palatable to the public. She was also an adept tight-rope walker, and 
 in one of these dramas used her skill in escaping from the villain by 
 crossing over a river on a rope, accompanied by pizzicato music and a 
 balancing pole. It is recorded that- she only had one speaking part, 
 that of Cynthia in Buckstone’s “Flowers of the Forest. 'There was 
 only one fault, and that was in her having been tutored in the part by 
 Pat Connolly, a good swordsman, but deficient in the Queen s Eng- 
 
l6o 
 
 HISTRIONIC MONTREAL. 
 
 lish. In that one speech she innocently revealed the parentage of her 
 lingual instructor by saying “fetthered and hound.” Marietta Ravel 
 was born in 1847, and retired from the stage a number of years age 
 to become the wife of Martin W. Hanley, for many years manager of 
 Harrigan’s Theatre, New York, and now engaged in looking after the 
 interests of R. B. Mantell. 
 
 HOWARD PAUL, a Philadelphian, who met with some success 
 in England in 1852 as a comic writer, made his stage dehut at Bath in 
 1854, in a vaudeville sketch. He married Miss Featherstone, who 
 accompanied him on two American tours in 1866-69. 
 
 SIGNOR LUIGI BRIGNOLI is remembered as having been the 
 favorite tenor on this continent for thirty years- He was a pupil 
 of Joseph Pasquale Goldberg, of Paris, and made his first appearance 
 in America in February, 1855, at the Academy of Music, New York, 
 under the management of Ole Bull. He was under the management 
 of the Strakoschs from 1858 to 1864, then went to the Tlieatre des 
 Italfens,. Paris. He supported Nillson in 1870 and 1871, when she 
 first appeared in the United States, and also in 1875-76, and was 
 with Mapleson in 1879. He died in 1884. 
 
 IDA LESLIR, born i8th March, 1844, first appeared on the stage 
 in San Francisco under the management of A. R. Phelps. She 
 married Norman S. Leslie in 1863. 
 
 THE SEASON OF 187I 
 
 brought more variety to our theatre-goers, and the deficiency 
 of the previous year fully made up and amply recompensed 
 at the bills of fare catered by various managers. The season 
 opened loth Januairy by the Holman Opera Company, who 
 held the boards until 28th, followed by a lull until loth April, 
 when E. M. Leslie and G. E. Locke assumed the management, 
 opening with “Richelieu at Sixteen.’’ The old favprite, 
 Fanny Herring, played a week from 17th, followed by Fox 
 and Denier’s “Humpty-Dumpty,” week of 24th. John W. 
 and Mrs. Albaugh, supported by the St. Charles Theatre 
 Company of New Orleans, came ist May, and opened in 
 “Eustache.’’ This was their first appearance in two years. 
 Mr. Albaugh represented Ben De Bar, who leased the theatre, 
 as manager. The company was a powerful one, and included 
 John W. Norton, John Davis, R. G. Wilson, John Hurst, 
 Francis Kenny, T. McNally, T. Morton, H. W. Mitchell, 
 Mark Quinlan, M. B. Curtis, Eugene Eberle, J. R. Grismer, 
 C. Wildman, W. Lane, G. Moore, Miss Amelia Waugh, Hattie 
 Vallee, A. Moore, Kate Quinten, Ida Raymond, Mrs. Van- 
 
HISTRIONIC MONTREAL. 
 
 i6i 
 
 deeren and Miss Winton. “The Hunchback’’ followed the 
 opening bill, and productions of “The Ticket-of-Leave Man ” 
 and •‘The Robbers’ were then seen, prior to the first appear- 
 ance in Montreal of the celebrated Alice Oates in a repertoire 
 of standard operas. Among the members of the Oates Com- 
 pany at this time was included William H. Crane. The fam- 
 ous comedian was then only at the outset of his successful ca- 
 reer. In a recent letter Mr. Crane makes this characteristic re- 
 mark, “I have not played in Montreal since, but hope to. ’ Mr. 
 Albaugh was seen as the Dane 29th May, and, on 3 ^ 1 ^) 
 
 D. P. Bowers, supported by her husband, J. C. McCollom, 
 
 made her first appearance here in a short engagement, termin- 
 ating 3rd June, in productions of “Lady Audley’s Secret,’’ 
 "Marie Stuart’’ and "Macbeth.’’ In the l,ast mentioned pro- 
 duction Mrs. Bowers was the Lady Macbeth, J. C. McCollom 
 the Thane, and Albaugh Macduff. The appearance of John E. 
 Owens 5th June was quite noteworthy, the great comedian 
 being seen during a short engagement in “Solon Shingle, ’ 
 •“Heir-at-Law ” and “The Poor Gentleman.” The engage- 
 ment of Owens was followed by that of Frank Drew in 
 “Temptation,” and “Rip Van Winkle,” week of 12th June. 
 On 19th June, Dominick Murray made his first star appear- 
 ance here in “Escaped from Sing-Sing.” A production of 
 “Othello,” 3rd July, introduced J. W. Albaugh as the Moor, 
 and J. W. Norton as I ago. The Chapman Sisters followed in 
 opera, and on loth July J. K, Emmett made his first star 
 appearance here. A bright feature of the season was the re- 
 turn of Charles Mathews, 31st July, in a round of characters 
 lasting one week. D. H. Harkins appeared as Dazzle in 
 ■“London Assurance,” and as Macbeth 19th August.^ The dis- 
 tin<yuished actor, Lawrence Barrett, opened a week s engage- 
 ment. 28th August, in “ The Man o’ Airlie,” following in 
 “Julius Caesar ’’ and “Rosedale.” This was his first appear- 
 ance here, and his last in this City was at the Academy of 
 Music, week of i8th May, 1885. Following Mr. Barrett s 
 appearance was that of Lillie Eldridge, from 4th Sept., in re- 
 pertoire; then Joseph Murphy, for the first time here on 2nd 
 October, in F. G. Maeder’s “Help.” The last day of the De 
 Bar- Albaugh season was 14th October, when the Coleman 
 Children appeared at the matinee in “Love’s Sacrifice, an 
 in “The Rising Generation.” and “Little Sentinel for the clos- 
 ing performance in the evening. The season had certainly 
 
 11 
 
HISTRIONIC MONTREAL. 
 
 162 
 
 been a record-breaker for excellence, and most notable in 
 introducing a number of most eminent stars. 
 
 The actress, Kate Ranoe, became sub-lessee of the theatre 
 from i6th October, inaugurating what became known as 
 
 THE RANOE SEASON. 
 
 A. R. Phelps was manager. The opening bills, ‘‘Kenil- 
 worth,’" and the farce of ‘‘The Clockmaker,’’ introduced Julia 
 and Sallie Holman, both of whom subsequently became very 
 closely associated with the Montreal stage as members of the 
 celebrated Holman Opera Company. On the 30th of October 
 Lillie Lonsdale and J. A. Meade, as principals of the stock 
 company, were seen in '‘Under the Gaslight,” followed by 
 'Jessie Brown,” "The Golden Farmer,’’ "The Man in the Iron 
 Mask,” "Revolt of the Commons,” and "Colleen Bawn.” The 
 Ranoe season closed on the 27th of November with "Kath« 
 leen Mavourneen” as the bill, in a benefit to Miss Ranoe. 
 
 A. R. PHEIiPS was born at Granby, Conn., 19th February, 1824, 
 His dehut was in the role Othello at the Greenwich Street Theatre, 
 New York, in 1845* In , 1854 he accompanied the Benin sisters to 
 California, remaining until 1866. He was married to Frances R. 
 Bickford, a non-professional, in 1849. 
 
 ALICE OATES in those days had a sweet voice, a lovely figure 
 and a winsome way about her that went direct to the hearts of the 
 people. She made enormous sums of money, but she wasted it like 
 water, and it is on record that in 1875, after playing four straight 
 months in San Francisco to the capacity of the house, she had to 
 borrow money to carry herself and her company east. Her last ap- 
 pearance in Montreal was at the Royal in a two weeks’ engagement 
 from 2ist December, 1885. Her financial condition was said to be 
 lamentable, and physically she was a wreck. She deserved a better 
 ending, but it only goes to show how quickly a public favorite may 
 wane. She was for many years among the foremost exponents of 
 opera bouffe in America. She was born Sept. 22, 1849, in Nashville, 
 Tenn., and was put on the stage by James A. Oates in Cincinnati about 
 1865-6, at which period they became man and wife. He died July 14, 
 1871. When he married her she was Alice Merritt, and was one of 
 the four sisters. On Sept. 16, 1867, they opened at the new Nashville 
 Theatre, Tenn., in "A Tale of Enchantment,” and in 1868 were tra- 
 velling with the Oates-McManus "Undine’^ troupe. Meanwhile she 
 had sung at different points in the West in concert under the name 
 of Mile. Orsini. When the Hess troupe produced "The Field of 
 Cloth of Gold’’ at the Opera House, Chicago, in February, 1869, she 
 
ACADEMY OP MUSIC. 
 
HISTRIONIC MONTREAL. 
 
 163 
 
 made a hit as Darnley. On November 23, 1872, she was married to 
 Tracy W. Titus, her business manager, from whom she was granted 
 a divorce in 1875. On May 17, 1879, she was wedded to Samuel P. 
 Watkins, then a non-professional of Philadelphia, who afterwards 
 was her business manager. A cold contracted in April, 1886, in a 
 badly heated dressing room of a theatre compelled her to disband 
 her company and return to Philadelphia, where she died, January 10, 
 
 1887. 
 
 BANIEIi H. HARKINS is a native of Boston, where he was 
 born 27th April, 1835. He made his professional debut in 1853. During 
 the war he served on General Slocum’s staff, and returned to the 
 stage after five years' absence. Mr. Harkins is a capable and very 
 interesting actor. 
 
 JOHN W. NORTON, a useful stock actor and manager, was well 
 known in several parts of the country. For a short time in 1877 he 
 managed the Academy of Music, Montreal, and was also closely 
 associated with Ben De Bar as a manager of his Opera House in New 
 Orleans. It was under Mr. Norton’s direction that Mary Anderson 
 made her first stage appearance. Suddenly and terribly his life was 
 ended in railroad collision at Coatesville, Indiana, 29th Jan., 1895. 
 
 WILIilAM H. CRANE was born at Leicester, Mass., 30th April, 
 1845. He evinced decided musical taste at an early age, and in July, 
 1863, joined the Holman Opera Company, composed of young people. 
 He remained with this company seven years, being possessed of 
 a powerful baritone voice. His first salary was less than $10 a week, 
 but at the end of the second season the offer of $15 from a rival 
 organization deprived the Holmans of his efficient services, but he 
 soon returned to them at a salary of $20 a week. The repertoire for 
 each night consisted of acts from operas, burlesques and pantomimes. 
 There was no falling into a rut . with a rehearsal call that compelled 
 the player to be up in the title role of the farce ^‘Paddy Miles, as 
 Count Arnheini in “The Bohemian Girl,” as Dr. Dulcamara in The 
 Elixir of Love,” and as the clown of the pantomime, all for one and 
 the same evening, a task that not infrequently fell on young Crane s 
 shoulders. His next connection (1870-74) was with Alice Oates’ 
 opera company. Here he was principal comedian, and was identifi- 
 
 ed with the hit of “Ali Baba” at Niblo’s Garden. Later, he was the 
 very first LeBlanc, the notary in “Evangeline,” and then he abandoned 
 burlesque for comedy, appearing first with the Hool^y stock company 
 of Chicago. The stock exchange inspired Crane with the idea of 
 hitting off the peculiarities of certain brokers, and here he struck a 
 vein which he has since worked with great success. Returning east, 
 he was seen in “Our Boarding House,” 1876-77, and soon afterwards 
 he and Stuart Robson went into partnership. Their two Dronuos, 
 in Shakespeare’s “Comedy of Errors” became a household word, and 
 
HISTRIONIC MONTREAL. 
 
 164 
 
 Bronson Howard’s “Henrietta” was at first their joint property. Then 
 Crane decided to strike out for himself (1889), and in The Senator 
 won both fame and fortune. He lost some of the latter as FalstafF 
 in "The Merry Wives of Windsor,” but quickly retrieved his error 
 of judgment by securing Martha Morton as his playwright in chief. 
 His Elisha Cunningham in “A Fool of Fortune ” was an artistic 
 creation. Mr. Crane has also met with much success recently m a 
 dramatization of Westcott’s famous novel “David Harum.” 
 
 DOMINICK MURRAY. Few members of the profession, whether 
 as actors or managers, have had a wider or more varied experience 
 than Dominick Murray. His impersonations have embraced every 
 phase of stage character: Othello, Richard, Romeo, Shylock, Harlequin, 
 clown, pantaloon, hornpipes, jigs and comic songs. After five years 
 probation in the English theatres, associated with such celebrities as 
 Gustavus Brooke, Charles Dillon, the elder Vandenhoff, Chas. Math- 
 ews Charlotte Cushman, Helen Faucit and others equally eminent, 
 Mr. Murray embarked for Melbourne, Aus., where he opened at 
 Coppin’s Olympic as Paddy Murphy in “The Happy Man. At the 
 Antipodes, by acting and management, he quickly made money ; 
 entered into partnership with Alexander Henderson m mining specul- 
 ations, and quickly lost it, and returned to England, to succeed Dion 
 Boucicault as Myles na Coppaleen at the Adelphi Theatre, London. 
 Following this came a starring tour of the English provinces, be- 
 ginning at Cambridge, in a version of “The Woman m White, in 
 which Henry Irving, at that time a member of the stock company, 
 played Henry Hartright. Eventually, after a few starring and mana- 
 gerial ventures, Mr. Murray’s services were retained as principal 
 comedian and character actor for the Princess’ Theatre, where he 
 opened in a serious leading role, and appeared during the same even- 
 ing as Paudeen O’Rafferty in “Born to Good Luck,” achieving imme- 
 diate success and enviable popularity. At the Princess he continued 
 three seasons creating many original types of characters notably 
 Michael Peeny in “Arrah-na-Pogue,” Crawley in Charles Reade’s drama 
 of “Never too Late to Mend,” Dicey Morris in “After Dark, and the 
 leading comedy parts in “A Cup of Tea,” “No. i Around the Corner 
 and numerous other farces. Migrating for a single season to the 
 Olympic, then under the management of Benjamin Webster, he 
 appeared in several of the Burnand and Byron buHesques, singing 
 and acting the female caricature roles in a falsetto voice. This rather 
 unpleasant engagement terminated, he returned to the Princess to 
 give an entirely new reading of Shylock in “The Merchant of Venice. 
 Mr. Murray’s reading of the character was subsequently adopted by 
 tragedians who are now very eminent indeed. Notwithstanding his 
 unequivocal success and popularity, Mr. Murray’s highest salary m 
 
HISTRIONIC MONTREAL. 
 
 165 
 
 London was £12 per week. So much for English managerial liber- 
 ality. During the summer of 1867, being compelled by private busi- 
 ness to visit New York, he was induced by Jarrett & Palmer to 
 appear at Niblo’s Garden, and at that theatre, in conjunction with 
 Dan Bryant and Rose Eytinge, he made his American debut, October 
 2, as Michael Feeny in “Arrah-na-Pogue.” Counselled by Joseph 
 Jefferson, Mr. Murray soon after contracted with Spalding, Bidwell & 
 MacDonough to visit St. Louis, Memphis and New Orleans. Then 
 came engagements at McVicker’s Theatre, Chicago; Macauley’s, 
 Cincinnati ; Ellsler’s, Cleveland ; the Globe, Boston, and in various 
 other cities, his repertory comprising Shylock, Monte Cristo, Mickey 
 Free and two Irish dramas written by the author of “A Midnight 
 Marriage.” For the past fifteen years Mr. Murray has been among 
 the recognized American stars. Occasionally he sought relief from 
 the monotony and fatigue of travelling by playing certain stock en- 
 gagements — notably one season at Booth’s under Dion Boucicault, 
 and three seasons at the Madison square, with Steele Mackaye. To 
 join the latter gentleman he declined a leading position at Wallack s. 
 In 1872 he translated and produced, under the title of “Escaped from 
 Sing-Sing,” Edouard Plouvier’s “Mangeur de Fer.” He ^ is also 
 responsible for translations of “Le Portefeuille Rouge,” “Le Fou 
 par Amour,” “Les Rues de Paris,” “Le Pere Lefeutre” and^ “Micael 
 L'Esclave” (presented at Wood’s Museum under the title of “Peril”), 
 which title was afterwards used by Bartley Campbell and more recently 
 by Mrs. Langtry. His latest success was in “Master and Man.” The 
 actor’s real name is Morogh, by which he is known off the stage.^ 
 Since retiring from his professional pursuits a few years ago, Mr. 
 Morogh has lived on his farm at the Back River, a few miles out of 
 this city, which property he acquired some years ago. 
 
 MRS. D. P. BOWERS’ characterization of Queen Elizabeth was 
 a marvellous one, was also her Lady Macbeth; and in her line had 
 few equals and no superior. Her maiden name was Crocker, the 
 daughter of the Rev. William A. Crocker, an eminent Episcopal 
 clergyman of Stanford, Conn., where the actress was born 12th Marc 
 1830. Her first stage appearance was at the Park Theatre, New ^ ork, 
 i6th July, 1846. A year later she married David P. Bowers.. After 
 his death in 1857 she retired from the stage for a time, but married 
 Dr. Brown, of Baltimore, in 1859. She made her debut at London in 
 1861, and in 1867 again became a widow. James C. McCollom became 
 her leading support in 1863, and on 29th January, 1883, became her 
 third husband as well. He died in the same year, and Mrs. Bowers did 
 not re-marry. After a short retirement she resumed her professiona 
 inclinations and played starring engagements in all the principal cities 
 of the United States with little interruption up to the time of her 
 death, 6th November, 1895. 
 
HISTRIONIC MONTREAL. 
 
 1 66 
 
 JAMES C. McCOLIiOM was an accomplished actor and a pleas- 
 ant gentleman. He was born at Buffalo in 1837, and made his first 
 bow at Lockport, N.Y., in 1858. From 1863 until the time of his 
 death in 1883 he starred with Mrs. D. P. Bowers in a legitimate re- 
 pertoire, and, as already noted in Mrs. Bowers’ sketch, was married 
 to that lady. He had. at the time of his demise, won his way to the 
 front rank of his profession, and was capable of holding that rank. 
 
 JOHN EDMOND OWENS was known in several parts, but the 
 part with which his name is most prominently identified is Solon 
 Shingle. He was born in Liverpool, 2nd April, 1823, and came to 
 America with his parents when a mere child. First appeared on 
 the stage at the National Theatre, Philadelphia, in 1845. In 1849 he 
 was joint manager with Hann, and from that time, until his death, in 
 1886, he was a successful actor and manager. William Winter recalls 
 him as one of the most lovable men that have graced and cheered 
 the stage. 
 
 M. B. CURTIS attained much cheap fame and many dollars in 
 “Samuel of Posen.” His real name is Maurice B. Strelinger, and he 
 was born at Detroit. During his sojourn at Montreal he married a 
 French Canadian lady, Albina DeMer. He was never seen here in 
 Samuel, but it was produced for the first and last time, week of 21st 
 November, 1887, at the Theatre Royal, with Frank Howard in the 
 title role. 
 
 The value of personal magnetism was never more pointedly illustrat- 
 ed than in the case of 
 
 JOSEPH K. EMMETT^ an actor of the most limited range, who 
 built up a reputation and a fortune on the flimsiest foundation of 
 artistic merit. Born at St. Louis, Mo., 13th March, 1841, he graduated 
 upon the stage of a variety theatre there in 1866. He made a special- 
 ty of those vulgar Teutonic eccentricities known upon the stage as 
 “Dutch business.” He possessed a good eye for character, a very 
 sweet and flexible voice, and a redundant fund of natural humor of 
 the coarse order. His creation of “Fritz” won the popular heart at 
 once. He made the journey round the world, his popularity being as 
 marked in the Antipodes as in America. The end came at Cornwall, 
 N.Y., 15th June, 1891. 
 
 LAWRENCE PATRICK BARRETT died in New York, 20th 
 March, 1891, aged 53. Here came the lowering of a curtain so unlike 
 that to which Mr. Barrett was used. There was no gaudy flare of the 
 footlights; the music of tuneful orchestra was unheard, and there 
 was naught but the sobs of those who stood beside the couch of death. 
 At that moment almost Mr. Booth was enacting Macbeth's death 
 agony at the Broadway, wholly unaware of the passing away of his 
 
HISTRIONIC MONTREAL. 
 
 167 
 
 friend and partner. Mr. Booth survived his friend until 7th June, 
 1893, when he in turn passed away. Mr. Barrett had been happily 
 married since Sept. 4, 1859 when he led to the altar of a Catholic 
 church in Boston, Mary F. Mayor. From this union came three 
 daughters — Mary Agnes, now the Baroness Von Roder, a resident 
 of Stuttgart, Ger. ; Anna Gertrude, who married Joseph Anderson, 
 brother of Mary Anderson, and Edith M. Barrett, who was married 
 to Marshall Williams, of Boston. Lawrence Barrett was an actor 
 of indomitable purpose, of high aim, of scholarly intellectuality and of 
 courageous enterprise. It has been said? and said most truly, that 
 censure or criticism is easier given by most people than just praise or 
 encouragement* When alive, Lawrence Barrett moved among an 
 army of critics, but he moved like a general among his recruits. Some 
 never saw anything beyond his **mannerisms, and these character- 
 istics of his individuality displeased men even more eccentric than 
 he appeared to them. He may have “stalked” across the stage, but, 
 by the gods, give me the triumphant walk of the elephant among the 
 bulrushes rather than the soughing of an offensive wind. Who 
 €ver saw his Jamie Harebell that did not sit down and think, and 
 -dream of better things than dreamed of before ? Who could with 
 perfunctory interest watch Jamie's touching caress of the flowers 
 that so reminded him of the dead loved wife ? The whole was a 
 sweet idyll, where tears were more good than laughter ; where 
 human sorrow often seems more blessed than joy. Lawrence 
 Barrett was loaded with a grand force that was not often shot off at 
 random. There was no end to his intensity and depth of Reeling, 
 Perhaps he lacked judicious supervision, but I do not want to dwell 
 on this any more than I would wish to muzzle the joyous energy o 
 the first bird of spring. His Hamlet was an interpretation of Shakes- 
 peare that was full of flesh and blood and poetry; his Cassms was the 
 best we have ever had ; his Yorick a piece of noble intensity ; his 
 Gringnoire and his Harebell exquisite poems. 
 
 Subordinating copious declamation to intense feeling, Lawrence 
 Barrett taught the mission of Wordsworth’s fine precept. 
 
 '‘Keep, ever keep, as if by touch. 
 
 Of self -re staining art, 
 
 The modest charm of not too much 
 Part seen, imagined part-" 
 
 THE SEASON OF 1872 
 
 was opened by J. W. Buckland on the first day of 
 with a French repertoire company, for two weeks Th y 
 were followed bv the Holman Opera Company on the 15th ot 
 }mmarv, for a season of three 
 
 first of a long line of successes at this theatre. The p P 
 
168 
 
 HISTRIONIC MONTREAL. 
 
 were Sallie, Julia and Alfred D. Holman, together with their 
 parents, George and Harriet Holman, H. C. Peaks, J. Brandisi 
 and W. H. Crane. Harry Lindley made his first appearance 
 in Montreal immediately following the Holman season, and 
 was seen in ‘‘The Spitalfields Weavers ’’ during a short sea- 
 son. On i6th April a company of amateurs tendered a bene- 
 fit testimonial to J. W. Buckland in “ Kate O’Sheil, or the 
 Irish Brigand,'' and ''A Morning Call." The cast included 
 Harvey Bawtree, Major Woosley, F. W. Mackay Green, of 
 6i’st Regiment, F. Hart, Col. Hamilton Gray, Mrs. Buckland 
 and Lillie Lonsdale. “The Veteran" was also presented 22nd. 
 From this time Mr. Buckland's connection with the theatre 
 ceased. He died 20th November of that year. 
 
 The regular season opened 6th May under the management 
 of Ben De Bar. J. W. Wallack, Jun., was the leading man, 
 and in the company were Miss Waugh, Oliver Wren, Alex. 
 D'Orsay Fitzgerald, Ogden, Alexander, John Davis and P. 
 Gleason. The opening attraction was “Henry Dunbar,'^ fol- 
 lowed on 8th by “Hamlet." Dominick Murray appeared 13th 
 for one week, and Marietta Ravel opened 20th in “The French 
 
 Spy.” 
 
 Barton Hill produced “ Rosedale," 24th, and Mr. and Mrs, 
 Harry Watkins came 8th July in “Under Two Flags," “Kath- 
 leen Mavoiurneen,'’ “Pioneers of America,'’ “Hidden Hand," 
 and “School for Scandal." Lillie Eldridge, 15th July, in 
 “ Mignon and “ Caste," followed by M. W. Leffingwell 
 in “ Hot Coal’S " and “ Cinderella." Oliver D. Byron 
 came, 5th August, for one week, in “ Across the Contin- 
 ent,'’ then J. W. Albaugh, 12th, in “ Poverty Flats/’ and 
 standard repertory. Ben De Bar produced “Henry IV. /^ 
 19th, and was also seen later in his engagement as 
 “ Paul Pry/’ “ Toodles " and “ Jack Sheppard.'’ The 
 popular actress, Charlotte Thompson, began for one week, 
 9th September, in “One Wife," subsequently appearing in 
 “Madeline," and “Rich and Poor." Kate Fisher appeared in 
 “Mazeppa,'’ and “The French Spy/’ week 23rd, and on 30th 
 J. W. Wallack, Jun., opened in “ Hamlet," following with 
 “The Merchant of Venice," ‘'Still Waters Run Deep," “Henry 
 Dunbar,'’ “Don Caesar de Bazan,'’ and “Macbeth" for the 
 close, 7th October. Hogan, Mudge and Muster came week 
 9th October, and the prodigy. Blind Tom, made his appear- 
 ance 28th. The Holman Opera Company began a season 2nd 
 December, which terminated with the year. 
 
HISTRIONIC MONTREAL. 
 
 169 
 
 MR AND MBS. GEORGE HOEMAN. Mr. Holman was born in 
 New York city in 1814, and made his debut in 1836 at the Chestnut 
 Street Theatre, Philadelphia, Pa., as a ballad singer. His first New 
 York appearance was made at the Park Theatre as a tenor. He subse- 
 quently sang with the Cooper Opera Company at Palnm s Opera 
 House, and with Mme. Anna Thillon at Niblo’s Garden. He married 
 Mrs. Harriet Phillips, an actress and singer of repute. After the 
 death of his daughter, Sallie, he mourned and fretted, until eventually 
 his grief was the cause of his death. His whole mind was centered 
 in the hope that he would soon lay at rest beside her in Woodlands. 
 George Holman died at his home, London, Canada, 13th Octo er, 
 1888. In twenty years, his appearances on 
 
 confined almost to infrequent performances of Fra Diavolo^ In p 
 vate life he was a most entertaining companion, a 
 
 fond of rare books and collections of curiosities Mr Holman was 
 an enthusiastic fisherman, and devoted a good deal of attention 
 natural history, of which he was considered an authority. Mrs. 
 
 being her maiden name. She came to this country in the thirties and 
 married a Mr Phillips. Her second husband was George Holm , 
 
 : ,h lorn .h, L. appeared in London, Can, in .840 piay.ng 
 
 in ...ion. eompanie. .he, joined .he a.oeh »' 
 
 SnSers of that company for seven years. On 
 
 Hoiman Opera Company, wi.h whieh .hey Wured 
 May 03... 864. .hey opened Mr., 
 
 formerly Hope Chapel, with the opera Cinderella, ana P 
 
 0° Pa«ing.on.” Toron.o .hen b.e.m. .he.r 
 
 Holman leasing the Royal Lyceum of that place. ^ 
 
 returned to LonLn, Canada, and took hold of the 
 
 i„g the place. It was -hed the H ag^ was witnessed 
 
 place, which was torn down /about sixteen jea g , 
 
 their productions of comic and grand . . ip^^onto leas- 
 
 ,he S...e. and C.nada, and e.en.naiiy landed 
 ing the Royal Opera House for two years. They t°utea ag 
 1^3 In 1884 they met with great success in a Canadian to . 
 
 Sfappearante of the Hol-n Company was in ^ 
 
 Among those, who were in the Holman Co p y 
 
 in the Southern States. Sallie, Julia and Al^^ their^d^a g ^ 
 
 all good singers, the first tVie daughters, two sons 
 
 operatic stars the stage then k . and Alfred D. For 
 
 were also members of the company, Benjamin and Allrea 
 
I/O 
 
 HISTRIONIC MONTREAL. 
 
 several years prior to her death Mrs. Holman had lived in retirement. 
 In the winter of 1896 she personally conducted the performance of 
 ‘'Cinderella' in London, by amateurs, and she then directed the 
 entire performance without a printed note. This was her last appear- 
 ance in public. The active time of her life was one of devotion to 
 both her profession and family. She was a friend in need to many in 
 distress. She loved to have visitors, and those who first learned their 
 accomplishments under her supervision were the most welcome. 
 Some three years ago a complimentary benefit was tendered to her 
 by W. H. Crane in New York. Mrs. Holman 'died at the old home- 
 stead in London, Canada, 21st of May, 1897, leaving one brother, 
 Abraham Jackson, of Detroit, Mich. A brother of her husband is 
 living in London. James T. Dalton, her son-in-law by marriage to 
 Sallie, is a teacher of music, living in London. The only remaining 
 member of the Holman family now alive is Alfred D., who is living 
 in London, Can. 
 
 SAIililE HOLMAN, who married J. T. Dalton, died on the 7th 
 of June, 1888. 
 
 HAItRY LINDLEY was well known throughout the Canadian 
 provinces, having for some thirty-five years been almost altogether 
 associated with Canadian theatrical ventures. The comedian was born 
 at Dublin in 1836. Abandoning his first intention of following the 
 surgical profession, he entered the British service at the age of 
 eighteen. He eventually took to the stage, however, and in 1855 
 at Newcastle made his initial bow as an actor. Being left some 
 means he retired five years later, but reappeared in 1863 in com- 
 pany with his wife, Florence Webster, with whom he came to 
 America in 1866, first appearing together at Boston. They sub- 
 sequently came to Canada, where they have appeared in every im- 
 portant town. Mr. Lindley has essayed the managership of theatres 
 in every city, but his success has not been pronounced. 
 
 OLIVER DOUD BYRON first produced “Across the Continent,’’ 
 I2th September, 1870, at Albany, N.Y. It had had a dress rehearsal 
 at Toronto a few days before. Byron went to Albany with fifty cents 
 in his pocket, and left with '$600. He had at last found the vehicle 
 to carry him on the road to wealth. Mr. Byron is a native of Balti- 
 more, and has been indentified with the dramatic profession since 1859, 
 and since 1870 has starred himself with modest artistic but financial 
 success in the sensational drama. He is married to Kate Rehan 
 (Crehan), sister to Ada Rehan. 
 
 CHARLOTTE THOMPSON was an accomplished actress and a 
 good woman. She was born in 1843 at Bradford, Eng., and was the 
 daughter of Lysander Thompson, an actor. She made her first regular 
 appearance in New York as a member of Wallack’s company in 1857 
 
HISTRIONIC MONTREAL. 
 
 171 
 
 as Phoche in “As You Like It/' and meeting with much success 
 shortly afterwards began starring. Later, she appeared in a drama- 
 tization of Charlotte Bronte’s well-known novel of “Jane Eyre,” 
 and her success in the title-role was so great that her name ever 
 since has been identified with that play. Miss Thompson married 
 Loraine Rogers, of California, in 1867, and for some years resided on 
 her plantation, near Montgomery, Ala. Previously to the death of 
 Mrs. D. P. Bowers, that excellent actress and Miss Thompson were 
 joint stars for a season. Miss Thompson had been in practical retire- 
 ment for five years previously to her death, which occurred 22nd 
 April, i8g8. 
 
 BLrlND TOM. People have been asking: “Is Blind Tom dead ?” 
 
 He lives in the wooded, sea girt acres of the Highlands of Navesmk, 
 where one can see the great ships go down to the sea, and watch the 
 seasons grow and fade in leaf, bud and blossom of glorious woods. 
 He sits in the open air and mimics bird and beast. When weary of 
 nature, he goes back to his life’s solitary star that rose in his heaven 
 at his birth. For hours he sits at the piano playing his old' pieces, 
 without technical knowledge of time or note, or harmony, yet remain- 
 ing apart in his genius from all others — the untutored master of 
 melody. The piano in the hallway is his resting place for hours. 
 P'or years he has lived his public life over in daily private rehersal, 
 makes his bow, goes to the instrument, plays the old tunes, and jump- 
 ing up, bows and applauds and “bravoes” heartily. In the pleasant 
 weather he tires of the piano, and sitting in the grounds plays an 
 imaginary pianoforte in the air, imitating perfectly the sound. He 
 bows his thanks to the birds and dogs— and incidentally scares the 
 passer-by out of his senses and adds to the reputation of an already 
 -hoodooed” house. Blind Tom was born at Columbus, Ga., in 184B. 
 He was born in American slavery ; he was one of a numerous tribe 
 who adored him ; he was the awe of his masters, adm.ratioii o 
 his equals. The little blind negro was, of course, relieved from all 
 field duty and allowed to hang familiarly about the great house. 
 Here at 5 years of age he showed the wild desire to listen to music, 
 then to vehemently insist upon handling the instrument. His art 
 of imitation reached a perfect stage so rapidly that he was ^g^^de ^^ 
 with unabated fear by the negroes. “He was hoodooed 
 was their verdict. He was brought North by 
 Bethune (killed 1883), in i860, and first ’« New 
 
 City at the Hope Chapel, 15th January, 1861. In 1863 he went 
 Europe and on his return travelled all through the Sutes 
 
 and Canada. He was the product of the plantation Wh'l® never 
 a master of classical music he played to the P^^Pj^ 
 majority to whom Wagner is as sounding brass, and op 
 
 c/mb.!.. Hi. ™elod, ... .e«.,n,en,.l- E'.ry one 
 
 .emembers hi. perlorm.nce.. The cciied piaybome i the .nd.e 
 
172 
 
 HISTRIONIC MONTREAL. 
 
 hushed by admiration dashed with superstitious awe, the imbecile 
 negro, robust, wholesome, hopelessly blind, who walked to the piano 
 and played brilliantly the tunes of the people. Wild applause which 
 he poor soul, echoed as he bowed. The manager stepping forward 
 asks pianists to come up and play. One after another complies. 
 Blind Tom listens without interruption. At the final chord he is led 
 to the piano, and striking splendidly into the selection, imitates his 
 predecessors with every shade of feeling reproduced, no delicate minor 
 toning evaded. 
 
 MIRON WINSLOW LEFFINOWELL, born 2ist March, 1828, 
 died in New York, loth June, 1879. 
 
 George Holman was the manager and lessee of the tlreatre 
 during the early 
 
 SEASON OF 1873, 
 
 which opened up on the first day of the year with ''The Lot- 
 tery of Life.’’ Kate Fisher came, 6th January, in “ Mazeppa,” 
 for the week, followed by Winette Montague and James M. 
 Ward, week of 13th, in "The Winning Hand.” On i8th, 
 the Holman Opera Company was heard for one week, and a 
 stock company then held the boards. Among the members 
 of the company were John H. Jack, Lillie Lonsdale, Annie 
 Firmin (Mrs. Jack), Harry Amler, Spencer Pritchard, Allan 
 Halford, Denman Thompson, Joseph Brandin, and George H. 
 Barton, stage manager. The plays were "Under the Gas- 
 light,’’ " Guy Mannering,” " Ticket-of-Leave Man,” " The 
 Long Strike,’’ " Leah, the Forsaken,” " Lancashire Lass,” 
 "The Octoroon ” and "Uncle Tom’s Cabin.’’ The Holman 
 season closed 8th March. Harry Lindley’s combination be- 
 gan a season, 24th March, with "The Lady of Lyons,’’ and 
 other standard plays, closing 5th April. In this company the 
 principals were E. H. Brink, Florence Webster (Mrs. Lind- 
 ley), and Amy Stone. The regular season was then opened 
 under the lesseeship of Mrs. J. W. Buckland, represented by 
 Ben De Bar as manager, and Alexander Fitzgerald as stag-e 
 manager. The initial bill was Joseph Murphy in Fred Mae- 
 der’s "Help.” He closed i6th April, and was followed by 
 Harry Lindley, Dominick Murray, Joseph Proctor in "Nick 
 of the Wood's,’’ 9th June, "Ambition ” and "Richelieu.” John 
 Thompson, John Collins, the Coleman Sisters and Alex. Fitz- 
 gerald were also seen in "The Corsican Brothers,’’ Oliver D. 
 Byron in "Across the Continent,’’ Baker and Farron in "Chris 
 
THEATRE ROYAL 
 

 f 
 
 
HISTRIONIC MONTREAL. 
 
 173 
 
 and Lena” (first appearance), and on 21st July the re-appear- 
 ance of the favorite, John W. Albaugh, in “ Watch and 
 Wait,” assuming the role of Bert Bristow, ‘‘Hamlet,” ‘‘Poverty 
 Flats” and “Macbeth.” Ben De Bar was seen in “The Lan- 
 cashire Lass,” 28th, following in other plays. Winette Mont- 
 ague played the first act of “Hamlet,” and “The Peep o’ Day,” 
 8th Aug., and was followed by Mairion Mordaunt in ‘‘Hearts 
 are Trurnps ” and “Family Jars.” Ada Gray was also a de- 
 butante this season, in “The New Magdalen,” a dramatization 
 of Wilkie Collins’ tale. Then came the Chapman Sisters and . 
 Lillie Eldridge in “Alma,” “Mignon,” etc. The tragedian, 
 
 E. T. Stetson, came week 22nd September, in “Struck Blind,’’ 
 “Neck and Neck,” etc. The season closed, 17th October, 
 with “The Skeleton Hand” and “Black-Eyed Susan.” but was 
 subsequently extended by Harry Lindley’s combination under 
 Mrs. Buckland’s and C. J. Miner & Co.’s management. 
 
 The passing of 
 
 WINNETTE MONTAGUE, at the Royal, during the season of 1873, 
 deserves some notice, her career having been a most romantic one, 
 and herself a Canadian, having been born in Cornwallis, N.S.. Febru- 
 arv I, 1851. Her real name was Bigelow. Her beauty and stage fame 
 captivated Arnold W. Taylor, a Boston merchant, who married 
 her when she was sixteen years of age. She subsequently fell m love 
 with Walter Montgomery, a clever tragedian, whom she followed 
 to England, and they were married in September, 1871. The honey- 
 moon had not waned when each discovered that the other had not 
 been free to wed— a stormy interview— a pistol shot, and the tragedian 
 breathed no more. He was of a temperament that made suicide 
 possible. The Montague attended the funeral wearing her bridal 
 wreath, which she scattered in his grave. Subsequently, playing an 
 act of “Hamlet” during her engagement here, it became known that 
 she did so dressed in the dead actor’s clothes. She t en marrie 
 the good-looking Irish comedian, James M. Ward, with whom she 
 starred for a time. Afterwards there was some scandal about a 
 Jersey City official, who fell a victim to the lures of ‘be ™erry Mon- 
 tague ; but the end came, and she died in Brooklyn, NA„ 3rd June 
 1877, her beauty a wreck and her means exhausted. She was buried 
 by the charity of the profession. 
 
 JAMES M. WARD died at Brighton, England, loth March, 1892. 
 
 E T STETSON was born is Mamaronic, 8th October, 1836, and 
 first appeared in public in 1855. He was successful as « 
 but gave up tragedy for such sensational dramas as Neck and Neck, 
 “?hfSive BrLch” and “Struck Blind.” His last starnns engage- 
 
174 
 
 HISTRIONIC MONTREAL. 
 
 ment here was at the Lyceum Theatre, Beaver Hall Hill, week of 
 the 17th January, 1887. He was in 1897-98 a member of the com- 
 pany playing “Shall We Forgive Her 
 
 JOSEPH MURPHY, in the delineation of the rollicking heroes 
 of Irish comedy, has never been surpassed. He began his professional 
 career as a member of a minstrel troope, then took to Irish character 
 parts, meeting with so much success that he began to star. His 
 successes are “The Kerry Gow,” “Sham Rhue” and “The Donah.” 
 His popularity has been the means of his accumulating a large fortune, 
 but he is still before the public. Mr. Murphy was born in Brooklyn 
 in 1839. 
 
 ADA GRAY was born in Boston, and first appeared on the stage 
 at the age of fifteen. She soon became leading lady, and in 1863-4 was 
 in the support of Edwin Adams, being the original Annie Leigh to his 
 Enoch Arden. She supported nearly all the heavy stars of the time. 
 She subsequently married Charles S. Watkins, but after two years of 
 retirement returned to the stage, making a feature of “East Lynne’" 
 with a certain degree of success financially. Miss Gray, who was the 
 wife of Charles F. Tingay, who has been an actor and a writer by 
 turns, had been in the Home for Incurables at Fordham for seven 
 years Ada Gray had asserted most emphatically that William 
 Jennings Bryan certainly played Sir Francis Levison in “East Lynne” 
 with her company in 1884, under the name of William Jennings. 
 Miss Gray did not remember whether he was a good actor or 
 a bad one. She died 27th August, 1902. 
 
 Mrs. J. W. Buckland was again lessee of the Theatre Royal 
 during 
 
 THE SEASON OF 1874, 
 
 and Harry Lindley manager. The stock company was formed, 
 which included, among others, E. H. Brink, Henry Gray, W. 
 A. Greyston, Florence Webster, Carrie E. Martin, Lottie 
 Ward and Zoe Gayton. The season opened early in January, 
 and the first notable performance was on 26th January, when 
 Zoe Gayton was tendered a benefit. Wybert Reeve appeared 
 2nd Februairy, in “The Woman in White.” The next import- 
 ant production was, “The Fireman,” 5th March, for Harry 
 Lindley^s benefit, on which occasion William McRobie, Alfred 
 Perry and fifty firemen appeared on the stage. William 
 H. Otis made his appearance, loth March, in Lord Dundreary. 
 One of the features of the season was the appearance of Thos. 
 C. King., the English tragedian, i8th March, in “Othello,” 
 following with “Hamlet,” 19th; “Richelieu,” 20th; “Ingomar, 
 
 2 1 St; “Corsican Brothers,’’ “William Tell,” “The Hunchback 
 
HISTRIONIC MONTREAL. 
 
 175 
 
 of Notre Dame/’ “Virginius/’ and “Rob Roy.” This en- 
 gagement was followed by two more of ten days’ duration^ 
 from the 6th of April, and a return engag’ement, i6th Septem- 
 ber to the 26th. He had been imported to New York with 
 tliat gruesome drama of “The Hunchback of Notre Dame,” 
 which had proved to be a dire failure. His success in Mont- 
 real was great, and both Lindley and Chris. Atcheson, the 
 veteran door-keeper, record that he always had full houses, his 
 receipts never being less than $400 per night. The preliminary 
 season was followed by the opening of the regular summer 
 season on 4th May, Mrs. Buckland still being lessee. Dom- 
 inick Murray in “The Gambler’s Crime” was the opening bill. 
 Kate Fisher came ist June in “Mazeppa,” and was followed 
 week of 8th by Mr. and Mrs. Charles Walcot in “Pygmalion 
 and Galatea,” “ Jane Eyre” etc. The well known actress Ada 
 Gray then came in “Article 47’’ arid ^%cd Astray.” Joseph 
 Murphy followed 28th. An interesting event of the season was 
 the first appearance of Aimee, 20th October, in “La Fille de 
 Madame Angot,” for one week. The season was a remarkable 
 one in representing a number of new and important stars, and 
 closed as brilliantly as it opened. Neil Warner, who subse- 
 quently became so closely allied to Montreal theatricals, making 
 his first bow to a Montreal audience yth December, in the 
 character of Sir Giles Overreach, in Massenger’s “A New Way 
 to Pay Old Debts.” During his engagement he also appeared 
 in “Hamlet,” “Othello,” “Richelieu” and “Macbeth,” and his 
 success was almost parallel to that of Thos. C. King. The 
 season closed 19th December with “The Ticket of Leave 
 
 Man.” 
 
 THOMAS C. KING was the last of the old-time English trage- 
 dians, if we except James R. Anderson. He was born at Cheltenham, 
 Eng., in 1823, and made his first professional appearance at the The- 
 atre Royal, Birmingham. He afterwards joined the “York Theatrical 
 Circuit,” and played numerous roles in the Shakesperean and legiti- 
 mate drama at York, Leeds and Hull. He first came prominently 
 before the public at the Edinburgh Theatre, appearing principally in 
 Shakespearean characters. It was there that his abilities attracted 
 the attention of Charles Kean, who induced him to accept a three years 
 management at the Princess Theatre, London, where he made his 
 debut 22nd July, 1857, as Bassanio to Kean’s Shylock. He became ex- 
 tremely popular, and Kean’s jealousy was at last revealed in the few 
 and minor parts which he gave the young actor. King complaine 
 that it was hardly fair to keep him in the background after a successtu 
 debut, and Kean, thinking to crush the young actor by giving him 
 a part which he believed was beyond his power, took him for lago 
 
1 76 
 
 HISTRIONIC MONTREAL. 
 
 to his Othello. The result was that the old star was eclipsed by the 
 new one. The London papers gave King the highest praise, while 
 they treated Kean rather coldly. Then the latter resolved to keep' 
 King in the shade, and for nearly a year the young actor was heard 
 no more at the Princess Theatre. At the end of two years King, 
 therefore, terminated his engagement at the Princess. He then went 
 upon a starring tour in the principal theatres through the provinces. 
 At Dublin he became a great favorite and the town went wild over 
 his performances in “Hamlet,"’ “Othello,” ‘ Macbeth,” “Merchant of 
 Venice,” “Richelieu,” etc., which attracted large and appreciative 
 audiences. The students nicknamed him “King Tom the Grand,” and 
 the gallery gods hailed him as the King they called their own. In 
 1868 King accepted an engagement from F. B. Chatterton, and in 
 March in the year following again made his appearance on the 
 Metropolitan stage at Drury Lane Theatre as Richelieu. During 
 this engagement he also appeared as Hamlet, and subsequently alter- 
 nated Othello and logo with Charles Dillon. Later he appeared as 
 Macbeth. During the season of 1870, at the same theatre,, he played 
 with much success the following parts, among others : William Tell 
 and Julian St. Pierre in “The Wife,” both pieces of James S. Knowles; 
 and Varney on the occasion of the first performance on 24th Sept., 
 1870, of “Amy Robsart.” He made his New York appearance in the 
 character of Qtiasimardo in Hugo’s “Hunchback of Notre Dame,” in 
 1874. He was supported by a wretched company. The gruesome role 
 which he assumed failed to please, and he was awaiting his salary and 
 developments when he was engaged by Manager Lindley for a 
 Montreal engagement, making his debut in this city i8th March, 1874, 
 in Othello. He appeared in Othello six times, Hamlet six t\mo.s, Richelieu 
 eight times, Richard HI. — thrice, and other plays in the same propor- 
 tion. His success was great and on one occasion received the un- 
 usual compliment of a call in the middle of a scene in “Othello.” 
 His receipts during the engagement were never less than four hundred 
 dollars nightly, and this success followed him for a year in every 
 city in Canada. He had no idea of the value of money. At the Queens 
 Hotel at Toronto his room did not suit his ideas, so the clerk re- 
 marked in tones of sarcasm, “Perhaps you would like the Dufferin 
 suite ?” “Exactly what I want,” the tragedian replied, and he got 
 it. His temper was equable, and in stage business he would cover 
 up any errors, excepting once when the Lady Macbeth, for whom he 
 was looking on one side, entered the other. He glared for a moment, 
 and then in deepest tones exclaimed. “Never more enter the rear 
 portal !” Harry Lindley confesses that he quite disconcerted the 
 actor at Kingston in a production of “Hamlet.” It was warm and so 
 was Polonius (Lindley) and when the cue came for the old courtier 
 to go on, be left his beard in the dressing-room. It was the scene in 
 the second act, after the player’s long speech, when Polonius says, 
 “This is too long.” Hamlet : “It shall to the barber’s with your 
 
HISTRIONIC MONTREAL. 
 
 177 
 
 beard,” but as his eye caught sight of a smooth-faced Polonius, the 
 actor lost his princely dignity and gasped, “Great Ceasar ! he hasn^t 
 a beard on.” His great liberality, his love for society and trust in 
 his fellow men swallowed his immense earnings, and when he re- 
 turned to England he did not carry much away with him. From this 
 time his professional career practically closed, King losing his 
 health and remaining in comparative obscurity in his native country, 
 until his death, which occurred at King's Heath, Birmingham, 21st 
 Oct, 1893. Mr. King possessed a tall and commanding figure, grace- 
 ful and easy movements, an intelligent face, and a full-toned sonor- 
 ous voice. 
 
 WIIil^IAM H. OTIS had a collection of thirty pairs of trousers, 
 each of which were known by such cognomens as “In the Gloaming,” 
 “Shimmer in the Morning,” “Moonlight on the Lake,” etc. It was 
 said that he invariably said a short prayer at the wings on making 
 his first appearance. 
 
 ZOE GAYTON, whose real name is Zoreka Gazonia Laperero, is 
 a Spaniard, and was born at Madrid in 1854. She first went on the 
 stage in 1871. She has become more celebrated as a pedestrian than 
 as an actress, having won world-wide celebrity by acconiplishing the 
 monotonous feat of walking all the way from San Francisco to New 
 York for a wager at $12,000 covering 3,395 niiles from 27th August, 
 1890, to 27th March, 1891. 
 
 Marie Aimee, must liave been barn for opera 'bouffe. She 
 had the eye for it, the mouth for it, and the dash and abandon. 
 One would have thought that she had never memorized 
 her part, but that it was an improvisation, she was ^ so 
 natural. Her acting was in perfect sympathy with the spirit 
 of the work she illustrated. She was undoubtedly the most 
 brilliant soubrette ever seen in this country. 
 
 MARIE AIMEE (right name Frochon) was born in Algeria in 
 1852. She began to study music at an early age, and made her dehut 
 in 1866, at Rio Janeiro, S.A. She quickly gained a popularity, and 
 was scarcely sixteen when the impressario Lindall, struck with the 
 beauty of her voice and her astonishing execution, engaged her to 
 create the role Fliorella in “Les Brigands.” She performed in various 
 countries and possessed souvenirs from the chief courts of Europe. 
 During the Franco-Prussiau war she visited America, with a 
 French opera bouffe troupe. She opened December 21, 1870, at the 
 Grand Opera House, New York, and at once secured one of her 
 greatest successes. After a tour of this country she returned to 
 France. She made six more tours to America. Having accumulated 
 quite a fortune, she finally determined to enter the managerial field, 
 and leased the opera house in the Arcade, Brussels, as well as one 
 
 12 
 
178 
 
 HISTRIONIC MONTREAL. 
 
 at Rouen, Fr. She expended a large sum of money in renovating 
 those houses, and in Brussels produced several operas for the first 
 time on the stage. “The Royal Middy” was the most successful, 
 but it took only twcx seasons for Aimee to lose over $85,000. She 
 died in Paris, France, 2nd October, 1887. The funeral of Mile. 
 Aimee showed how very few friends an actress can count upon. 
 In spite of the fact that her will gave a very large amount to an 
 orphan asylum for the children of artists, and her well-known gener- 
 osity during her active dramatic life, very few people found leisure 
 to go to the small church, and yet during the French war Aimee 
 sent from America 5, 000 francs to these very comrades. 
 
 HENRY NEIL WARNER was born at Bury St. Edmonds, Eng- 
 land, 5th April, 1831. He came of a family of clergymen, and his 
 right name is William Burton Lockwood. His mother died during 
 his earliest infancy and he was brought up by his aunt, the mother of 
 “Ouida.” He went on the stage against the wishes of his relatives, 
 first at Brighton, Sussex, under Henry Barren’s management in 1852. 
 His tastes and ambition were directed to the higher walks of the 
 drama, and being well qualified to undertake heavy work, in possess- 
 ing a magnificent physique, a powerful voice, together with intelli- 
 gence of a high order, he made rapid strides in his profession. In 1854 
 he went to Australia, where his success was only second to that of G. 
 V. Brooke. Returning to England he made his metropolitan dehut in 
 May, 1865, at Sadlers Wells Theatre in his greatest role — Othello. In 
 an official list of famous London dehuts the date of his first appearance 
 is given as 6th March, 1865, as Hamlet at the Marylebone Theatre, 
 but Mr. Warner does not corroborate this statement. He came 
 to America in i86q, making his dehut at the old New York Theatfe, 
 Broadway, 20th February, as Othello to the logo of McKean Buchanan. 
 When Palmer & Jarrett produced their gr’eat revival of “Richard HI.,” 
 at Niblo’s Garden. New York, loth April, 1871, Warner was engaged 
 to appear as Richmond to the Gloster of James Bennett, the English 
 tragedian, who had been specially imported at a large salary. The 
 support included Milnes Levick, Edmund K. Collier. Mme. Ponisi 
 and Louise Hawthorne. The tragedy was mounted in a manner al- 
 together unprecedented in New York, but at the end of the first week 
 Bennett was found to be so incompetent that Warner was substituted 
 in his stead, and the piece ^enjoyed a three weeks’ run. After a short 
 starring tour through the country, Warner appeared at the Bowerv 
 Theatre, November 4, in Giles Overreach following in “Macbeth.” 
 “The Corsican Brothers,” “The Honeymoon,” “The Lady of Lyons,” 
 “The Iron Chest,” and “Richard III.” Mr. Warner married Belle 
 Chippendale, i6th March, 1874. Miss Chippendale is the daughter of 
 the veteran Frederick Chippendale, and the grand-daughter of the 
 famous comedian, the late Wm. H. Chippendale for many years a 
 member of Henry Irving’s company. Mr. Warner made his Mont- 
 
NEIL WARNER. 
 
HISTRIONIC MONTREAL. 
 
 179 
 
 real debut 7th December, 1874, as Sir Giles at the Theatre Royal, and 
 for the following fifteen years was a citizen of this city. He and 
 his wife became great favorites here, and in later years opened a 
 school of elocution, as well as directing innumerable amateur per- 
 formances. In 1899 he went West at the head of a company ki Shakes- 
 pearean produotiions; but age had impaired his once robust con- 
 stitution, and he returned after a year’s absence. He then held the pro- 
 fessorship of elocution at the High School for one year. His last 
 professional appearance on the stage here was at the Academy of 
 Music, 3rd October, 1891, when he played Macbeth to the Lady 
 Macbeth of Modjeska, and his farewell appearance in Montreal 
 was 19th September, 1892, when he appeared at the Windsor Hall 
 in “Othello,” supported by amateurs, including F. O. Hopkins. W. 
 A. Tremayne, Fred A. Thomson and Mrs. Warner. Since that time 
 he has been touring through the United States with various com- 
 binations. Two daughters, Affie and “Jack” (Lenore Lockwood), 
 have also chosen stage life, and Mrs. Warner is still an active 
 member of the profession. 
 
 Mr. Warner’s great roles were Sir Giles, Macbeth, Othello, and 
 Shylock, and had he been at all ambitious could have been a great 
 actor. 
 
 “13th June igoi. Neil Warner has passed into hiis rest!” Such 
 is the message that comes to me from the new to the old world. 
 Although in the hurry and turmoil of theatrical affairs, the name of 
 Neil Warner is well nigh forgotten by the public, it was not much 
 more than a score of years ago that he had the distinction of being 
 one of the foremost Shakespearean tragedians of the English speak- 
 ing stage. He was a man of sound education, of thorough training 
 in his art, and in his prime he was unusually handsome and of noble 
 bearing. Six months ago I last held in mine the hands of Neil War- 
 ner, and for the last time looked upon his venerable and noble 
 countenance, on the eve of my drifting further from the moorings 
 of my youth. He suffered greatly, yet patiently, and in the full 
 faculty of his old-time courtliness of thought as of manner. In his 
 defiance of the inexorable malady, he leaned upon the prop of a 
 noble woman’s devotion, that never wearied — never faltered — as he 
 welcomed the gathering of the shadows which lie beyond the 
 patriarchal years. He was waiting for the end. To him the paling 
 twilight came as sweet incense to break into the better life beyond. 
 
 THE 1875 SEASON 
 
 Mrs. Buckland, as lessee, and Harry Lindley, as man- 
 ager, opened on ist Jan., with Kate Mayhew, of the Union 
 Square Theatre, New York, in '‘Valerie.’^ The celebrated 
 Hungarian artist, lima di Murska, appeared nth and I2tb. 
 and on 19th G. M. Ciprico produced Dumas’ play of 
 
HISTRIONIC MONTREAL. 
 
 1 8o 
 
 “Edmund Kean,” followed by the engagement of Thos. 
 
 C King in eleven representations from 25th Janu^y 
 to February. Florence Webster was seen m An 
 
 Unequal Match,” 6th; “The Dead Heart” given 
 
 8th; and the Holman Opera Company then held the 
 hoards in comic opera from 9th to 20th. The 
 Sisters in “The Deluge,” w-eek of 22nd, followed by Julia bea- 
 mon. A notable debut occurred 8th March, Edwin F. Thorne 
 appearing in “Don Caesar de Bazan,’ Jibbenainosay, Da 
 mon and Pythias,” etc. Frank Mordaunt came, week of 15th, 
 in “The Trail of the Serpent,” Robert Butler’s “Humpty- 
 Dumpty,” week of 22nd, and O. D. Byron, week of 28th, m 
 “The Orange Girl,” “Ben McCullough,” “Donald Mackay, 
 etc. Tom Hurst, a well-known local artist, was tendered a 
 benefit performance, 5th April, in “Masks and Faces,” fol- 
 lowed by the first appearance of the Worrell Sisters and 
 Sam B. Villa in burlesque, etc., preceding the first appear- 
 ance here of the great prima donnct, Clara Fouise Kellogg, 
 whose subsequent appearances here became frequent. On 
 26th April, a trio of clever artists, Sara Jewett, Lours 
 James and D. H. Harkins, headed Daly’s Company in 
 “ A Big Bonanza,” which proved so successful during 
 the week that the company extended its engagement 
 night more in “Monsieur Alphonse.” This was the first #- 
 pearance here of Miss Jewett and Mr. James. N. C. Forres- 
 ter, supported by his own company, in productions of “The 
 Two Orphans,” and “Led Astray,” played a short engagement 
 following the Daly Company, and was in turn followed by 
 James S. Maffitt’s “Flick and Flock” Pantomime Company, 
 Maffit being tendered a benefit 14th May. The celebrated 
 English comedian, John L. Toole, made his first appearance 
 here, 17th May week, supported by Miss Johnstone and W. 
 Herbert, in “Off the Line,” “The Weaver,” and “Ici on Parle 
 Francais.” Emily Soldene’s English Opera Company ap- 
 peared week of 24th, and, on 31st May, Jarrett & Palmer’s 
 famous “Black Crook” was first seen in Montreal. “The 
 Black Crook” was first produced at Niblo’s Gardens, New 
 York, on Sept. 12, 1866. The text was written by Chas. M. 
 Barras. The music was composed by Thomas Baker. The 
 principal dancers were Marie Bonfanti, Rita Sangalli, Betty 
 Rigl and Rose Delval. “The Black Crook” on its original 
 l-'roduction ran till January 4, 1868. It has frequently been 
 
HISTRIONIC MONTREAL. 
 
 1^51 
 
 revived since then. John L. Toole played a retuTii engage- 
 ment, 14th June, giving three farewell performances. 
 
 The closest to Toole’s in point of interest during the season 
 was the engagement of the romantic tragedian, Charles A. 
 Fechter, 21st June. He was supported by Frank C. Bangs, 
 H. A. Langdon, Vining Bowers and Lizzie Prince (Mirs. 
 Fechter?), all of whom were specially engaged to support the 
 star. He opened in ‘‘Ruy Bias,’’ following in “The Lady of 
 Lyons,” 22nd; “No Thoroughfare,” 23rd; “Hamlet,” 28th; 
 “Don Caesar,” 29th; “Hamlet,” 30th and 31st. On 5th July 
 he appeared at the Mechanics’ Hall for a benefit and farewell 
 appearance, owing to a misunderstanding with Manager Lind- 
 ley of the Theatre Royal, the tragedian having been found 
 at fault. Mr. Fechter did not leave a favorable impres- 
 sion here with the management, and his engagement 
 was not remunerative. His experience at Toronto was much 
 the same, the engagement terminating in a deplorable fiasco. 
 On one occasion “Hamlet” was billed, and a small audience 
 assembled, but the support refused to appear. The curtain 
 rose before the Castle of Elsinore, and Bernardo entered with 
 the usual interrogation, “Who’s there?’’ expecting to hear 
 the cue followed up by the actor who played Francisco, but the 
 latter was one of the dissatisfied, and could not be seen. The 
 sbmewhat discomfited Bernardo repeated his lin'e, and still no 
 reply. Losing patience, the actor iroared out for the third 
 time, “Who’s there?” when a voice was heard from the gal- 
 lery, “Darned if I know; go on with the play.’’ The curtain 
 was rung down. 
 
 Daly’s Company appeared 12th July for week, when the 
 season closed until nth August, when the theatre was re- 
 opened by Neil Warner in “Money,” supported by E. Randor, 
 G. L. Greenwood, B. Ryan, H. Mitchell, W. Todd, Harry 
 Lindley, Belle Chippendale (Mrs. Warner), Florence Web- 
 ster and Mrs. W. Ayling. During his engagement, “Tim^ 
 and the Hour,’’ “Loan of a Lover ” and “Rob Roy ” were pro- 
 duced. J. K. Keane was seen in “Rip Van Winkle,” wee'' 
 of i6th. After another closing, Howard Clifton, the English 
 and Scotch character singer, held the board three nigh*'' 
 from 25th October, and Blind Tom --ade hig appearance 15th, 
 i6th and i/th November. The opening of the Academy of 
 TnIusic, on 15th November of this year, naturally transferred 
 
i 82 
 
 HISTRIONIC MONTREAL. 
 
 most of the public attention to the new house, and the annals 
 of the Royal have now arrived at a much less interesting” 
 period in its history. With the close of the 1875 season, Mrs. 
 Auckland's connection with the old theatre also closed. 
 
 We find George Holman kssee and manager of the house 
 during the first part of 
 
 THE 1876 SEASON, 
 
 which began, 24th January, with the Holman Opera Company. 
 On 25th May, E. A. Sothern made his Montreal debut, appear- 
 ing in his great character of Lord Dundreary, He played the 
 character over 1,600 times altogether. 
 
 GEORGE M. CIPRICO who made his debut 5th Nov., 1867, as 
 Hamlet, at the Metropolitan Theatre, San Francisco, had but a short 
 career as a star. He died 14th April, 1895. 
 
 EDWIN rORREST THORNE, son of Chas. R. Thorne, sen., and 
 Maria Ann Mestayer, was born at New York in 1845 ; died 4th May, 
 1897. His first appearance was made as a child in San Francisco 
 with his parents as Eva in “Uncle Tom’s Cabin. ’ His formal debut 
 was made in the Winter Garden, in New York City, on November 
 20, i860, when he played with Edwin Booth. He used the name of 
 Mr. Edwin during this period of his stage career. In 1863 he returned 
 to San Francisco, where he played for one season in the Metropolitan 
 Theatre. As a member of his father s company, he then went on a 
 tour to China, Japan and India. The season of 1869 he was in Quincy, 
 111 . The following year he played in the company at the Royal Opera 
 House, Toronto. He was a member of stock companies in Washing- 
 ton, New Orleans, Philadelphia and Chicago at various times, and 
 he travelled with E. L. Davenport. Early in the eighties he starred 
 for several seasons in the English melodrama, “The Black Flag, 
 by Henry Pettit. This play netted him a small fortune, which he 
 subsequently lost in private speculations. Of late years he had been 
 1 olding a clerkship in the postal service in New York City. His 
 brother, Charles R. Thorne, jun., who died loth February, 1883, 
 aged 34, was considered to be the best leading man of his time. 
 
 FRANK MORDAUNT was born at Burlington, Vt., in 1841. He 
 ined the Brougham Association in New York in 1853, and six years 
 later made his regular professional appearance in that city. He has 
 s nee been prominently before the public. 
 
 CLARA LOUISE KELLOGG STRAKOSCH was born of New 
 lingland parents at Sumpterville, S. C., in 1842, but her parents went 
 to New York in her early years. It is said that “she could sing before 
 
HISTRIONIC MONTREAL. 
 
 183 
 
 she could talk,” so that her natural advantages were large and varied. 
 She made her debut at New York in 1861, as Gilda in “Rigoletto.” 
 She appeared at London in 1867. She was gifted with a musical 
 apprehension which even in infancy was looked upon as something 
 marvellous. Her career has been marked by long series of distinct 
 successes, but the tones of her once wonderful voice do not appear 
 to have had the staying powers so remarkable in a few other song- 
 birds, and she now appears but seldom in public. In November, 
 1887, she was married to Carl Strakosch, her manager. 
 
 LfOTJIS JAMES^ one of the most versatile actors on the contem- 
 porary stage, was born at Fremont, 111 ., in 1842. He began playing 
 at Louiseville, Ky., in 1863, as a member of Macauley’s Stock Com- 
 pany. He was for six years at Mrs. John Drew’s Arch Street The- 
 atre, Philadelphia, and in 1872 joined Daly’s company, with which 
 organization he remained until the end of the early season of 1875, 
 after which he became leading man at McViker’s Theatre, Chicago, 
 and subsequently at Maguire’s at San Francisco. From 1881 to 1886 
 he was leading man to Lawrence Barrett, after which he began an 
 independent starring career in the legitimate, accompanied by Marie 
 Wainwright whom he had wedded in 1879, and who had also, been 
 leading lady in their previous five years’ engagement in support of 
 Mr. Barrett. The talented couple visited Montreal, opening i8th 
 November, 1886, at the Academy of Music in “Virginius,” and ap- 
 peared in three other representations. In 1889 Mr. and Mrs. James 
 starred separately, and subsequently also separated as man and wife. 
 Mr. James was married to Alphie Hendricks in 1892, and was for a 
 few seasons joint star with Frederick Barham Warde, touring chiefly 
 in the South and West, where he is a great favorite. Mr. James 
 opened the new Winnipeg Theatre, 6th-9th September, 1897, 
 “Spartacus,” and other classical plays. Mr. James ranks well for- 
 ward in the first grade of the tragic walks, and his Virginius, 
 Spartacus and Othello are performances difficult to improve on. He 
 is also known to be as ardent a practical joker as he is a capable 
 tragedian. Mr. James, during 1899, toured with Chas. B. Hanford 
 and Katherine Kidder as associates, and recently as first star with 
 Madame Modjeska. 
 
 JOHN EA WHENCE TOOLE was born at St. Mary Axe, Lon- 
 don, Eng., March 12, 1832, and was the second son of the late John 
 Toole who held the post of Civic Toastmaster in London for twenty- 
 five years. He was educated at the City of London School, and at 
 the expiration of his term there took a position in a wine merchant’s 
 office. His inclinations led him to abandon commercial life very 
 early, for before he was of age he entered the dramatic profession. 
 His first engagement was with Charles Dillon’s company at the 
 Queen’s Theatne, Dublin, afterwards travelling to Belfast, Edinburgh, 
 Glasgow and elsewhere. A notable event in Mr. Toole’s career was 
 
HISTRIONIC MONTREAL. 
 
 184 
 
 his American tour in 1874-75. On his return from the United States, 
 Mr. Toole reappeared at the London Gaiety, November 8, 1875. He 
 continued playing there and elsewhere in London and the Provinces 
 until November, 1879, when he took the management of what was 
 then known as the Folly Theatre, but after his reconstruction was 
 called Toole’s Theatre. His rich and genial humor, never marred with 
 any approach of vulgarity, made him, beyond question, the fir'st 
 English comedian of the day. His serious impersonations have 
 ever been marked with pathetic intensity and tragic power, his ad- 
 mirers averring that, had he so wished, he could have attained con- 
 spicuous prominence as a tragedian. In private life his high qualities 
 of heart and head, and his genial and buoyant disposition raised up 
 for him a host of personal friends, among them many persons of high 
 rank and position and names that are great in art and literature. 
 
 SARA JEWETT was the daughter of James A. Jewett, and was 
 born in Buffalo. Few actresses were more popular, few names are 
 better remembered by the elder generations of theatre-goers than that 
 of Sara Jewett. Her beauty alone would have won her way on the 
 stage, but aside from her mere physical grace, she had for her audien- 
 ces the added charm of a refined and accomplished woman. Miss 
 Jewett was a niece of Dr. Austin Flint, sen., and her family was 
 highly connected in Boston. Her wish to become an actress was 
 strongly opposed by her friends, and something of sensation was 
 caused by her first appearance on the professional stage in autumn ot 
 1872 in Bronson Howard’s “Diamonds,” with Mr. Augustin Daly s 
 company, then at the old Fifth Avenue Theatre, in 24th Street. Her 
 advancement was rapid, and when Miss Clara Morris suddenly 
 resigned the position of leading lady. Miss Jewett was selected to 
 replace her. Illness caused by over-work compelled her temporary 
 retirement from the stage, and when she recovered she was engaged 
 by Mr. A. M. Palmer for the Union Square company. She began 
 her career there in 1879* During her stay at the Union Square, she 
 created many roles. Her last appearance there was 1885. “All star” 
 casts and triple star combinations were not as common fifteen 
 years ago as they are now, and the announcement of the alliance 
 formed by Sara Jewett and Geo. Edgar to make Shakespearean 
 productions was a nine days* wonder in 1886, as many of the 
 theatre-goers of the present day will remember. Curious 
 that the deaths of these two once famous players should occur 
 so close together. George Edgar died two days before. When 
 she formed that alliance with Mr. Edgar, Miss Jewett was one of 
 the most popular actresses on the stage. She had just closed along 
 and successful engagement as leading lady of the old Union Square 
 Company, and was accounted a wealthy woman, with perhaps the 
 best part of her career before her. But the alliance proved a failure 
 and the actress lost nearly all her fortune in the venture. Other 
 
HISTRIONIC MONTREAL. 
 
 i8s 
 
 losses came and illness, too, and the brilliant promises for her future 
 were never fulfilled. She passed away at Cambridge, Mass., 27th 
 Feb., 1899, aged 54. 
 
 THE WORRELL SISTERS, Sophia, Irene, J'ennie and Rosita, 
 were daughters of William Worrell, one of the best known circus men 
 in this country, who died 7th August, 1897. Their mother was the 
 daughter of Emanuel and Sophia Judah, the former having been 
 seen on the Montreal stage in 1824-25. The girls first appeared as 
 dancers in California, and afterwards visited Australia, in which 
 county their father was the first exhibitor of a circus. Returning to 
 America, they came east in 1866. They made their first appearance 
 before the footlights in America at a time when stars of the vaudeville 
 were few. From the first night they became famous. Gay New 
 York raved over their beauty. Night after night they entertained 
 and captivated. The elder generation to-day remembers the golden 
 tresses, the big sparkling blue eyes, the lithe and stately forms of 
 the sisters. And to this generation Jennie was, by a few points, 
 the most beautiful. By and by the three sisters were married* 
 Sophie, the eldest, born (1848), became the wife of George S. Knight, 
 the comedian. She helped him to achieve his brilliant successes, and 
 yet in subsequent years he went to pieces. Jennie was married to 
 a wealthy New York gambler and left the stage. The couple separat- 
 ed. Jennie returned to the stage, and her life, marred by her unhappy 
 marriage, became one of pitiable dissipations. Irene was the 
 wife of a Brooklyn merchant, but their love was short-lived, and they 
 procured a divorce. In the flush of success the sisters once owned 
 a theatre, where were presented brilliant spectacular pieces, which 
 gave opportunities to the girls to display their own physical charms. 
 Then, as their suns went down, the sisters drifted apart. A few years 
 ago Jennie and Irene opened a vaudeville house at Coney Island. 
 This they lost, and not long afterwards Irene died under sad cir- 
 cumstances; Jennie lingered at Coney Island. Occasionaly she would 
 have an engagement in the music halls. The blonde tresses were 
 tangled, the blue eyes had lost their lustre, the flush and beauty of 
 youth were gone. In the midst of the salt marshes at Coney Island 
 Jennie Worrell fought fire and death, and lost. She sank upon that 
 field of fire, and her body, charred by the fierce flames, her hair gone, 
 her face burned almost beyond recognition, was picked up and re- 
 moved to the Hospital, where she died, nth Aug., 1899. 
 
 FRANK C. BANGS was born in Virginia in October, 1837, and 
 first studied law, but in Nov., 1852, he went on the stage, making 
 his first appearance at the old National Theatre, Washington, D.C. He 
 made successful studies, and in time became a capable tragedian. 
 While playing in support of Edwin Booth, Mr. Bangs’ Antony was 
 conceded to be a masterpiece of dramatic effort. He was married 
 
HISTRIONIC MONTREAL. 
 
 1 86 
 
 tc Le Grove Singer^ 4th June, 1883, from whom he was shortly after- 
 wards divorced. In 1897 Mr. Bangs appeared as James Ralston in 
 ‘‘Jim the Penman” and is at present playing in “The Christian.” 
 
 EDWARD ASKEW SOTHERN'S right name was Douglas 
 Stewart. He was born in Liverpool in 1830, and was intended by his 
 parents for the church, but about 1851 went on the stage and made 
 his first appearance at the Boston National Theatre as Dr^ Pangloss 
 in “The Heir at Law.” After a very up-hill struggle he succeeded 
 in gaining a footing at Laura Keene's Theatre, New York, and in 
 1858 appeared in the character of Lord Dundreary in Tom Taylor’s 
 “Our American Cousin.” This was originally one of the subordinate 
 parts in the piece, but it was gradually elaborated by Mr. Sothern 
 until he became one of the most celebrated creations of the century, 
 full of fine and undemonstrative humor. He appeared in it for more 
 than eleven hundred times in the United States, and then repeated the 
 performance for four hundred and ninety-six nights at the Haymarket 
 In 1864 he created the second great part with which his name is as- 
 sociated, David Garrick, in T. W. Robertson’s adaptation from the 
 French play, “Gullivar.” He reappeared in England in 1874^ b'it 
 achieved no permanent success in any of the plays with which he 
 was connected. In 1879 he returned to America. He declared that 
 he was indebted for whatever position he attained in his profession 
 to the Americans. On his last visit to America he appeared as Fitzah 
 tamont in “The Crushed Tragedian,” and made a fair success. He 
 returned to England in 1881 in broken health, and died in the same 
 year. Three sons adopted the dramatic profession, Edward Lytton 
 Sothern, Sam and Edward H. Sothern. The first mentioned died nth 
 March, 1887. E. H. Sothern, has met with some success as a star in 
 romantic roles. Sam Sothern is a member of his company. 
 
 JAMES K. KEANE^ born in Philadelphia in 1852, died 31st May, 
 1899. His first stage appearance was at the Walnut Street Theatre, 
 with Lotta. He married Alice Roberts in 1883. For a number of 
 years Mr. Keane was prominently featured in “Hazel Kirke,” “Around 
 the World in Eighty Days” and many other well-known plays 
 acting principally with stock companies. 
 
 CHARLES ALBERT EECHTER, was born in London, 23rd 
 October, 1824. He was of French parentage, although his father 
 was descended from German stock. In 1836 the family returned to 
 Paris, and Fechter, who was being brought up as a sculptor, soon 
 developed such high talents for the stage that he secured engagements 
 at some of the leading theatres, especially the vaudeville. In 1846 
 he visited Berlin, and two years later made his first appearance at Lon- 
 don, together with a French company engaged at the St James The- 
 atre. After rising to the highest position in his profession in Paris, 
 
CHARI>KS ALBERT FECHTER. 
 
HISTRIONIC MONTREAL. 
 
 187 
 
 he visited England again in i860, acting at the Princess, where he 
 astonished the critics by his impersonation of Hamlet, During the 
 years that followed he frequently appeared at London, and in 1870 
 undertook a very successful professional tour of the United States, 
 first appearing on the American stage at Niblo^s Garden, loth Janu- 
 ary, 1870, in “Ruy Bias,” supported by Carlotta Leclercq. He there 
 failed to satisfy his audiencps. He assumed the management of the 
 Globe Theatre, Boston, Sept 12, 1870, and retired from that man- 
 agement Jan. 14, 1871. Returning to Europe, on March 2, 1872, he 
 appeared at the Adelphi Theatre, London, as Ruy Bias. He returned 
 to New York in September. During the summer of 1871, Duncan 
 and Sherman advanced Mr. Fechter a large sum of money to build 
 the Lyceum Theatre, New York. He invested some $50,000 of his 
 own money in the enterprise. His reckless expenditure caused a 
 breach between Duncan, Sherman & Co., and himself, and they 
 took the theatre from him by legal process of law before he opened. 
 Consequently, what money he had invested of his own and borrowed 
 from Carlotta Leclercq was lost. On April 28, 187.3, Fechter resum- 
 ed the practice of his profession by opening at the Grand Opera 
 House, New York. His last engagement was at the Broadway 
 Theatre (now Daly’s), commencing Dec. 17, 1877, as Edmond Dantes 
 in “Monte Cristo.” He closed Jan. 26, 1878, impersonating Ruy 
 Bias. His last engagement on any stage was to have commenced 
 April 7, at the Howard Athenaeum, Boston, but he was suffering 
 from a gastric attack. He appeared before the curtain, stated the 
 cause of his illness, and dismissed the audience. He appeared 8th, 
 as Legardere in “The Duke’s Motto,” and continued for the week. 
 He was again too ill to act on 14th, but re-appeared 15th, in Black 
 and White” which ran until the close of the engagement, 19th, when 
 he made his last appearance on any stage. Mr. Fechter went 
 through the round of characters in which the reputation of Frederick 
 Lemaitre had been achieved. Fechter had many gifts in common 
 with Lemaitre, and no man on the English stage approached nearer 
 to his level. In Shakespearean plays, certain passions were strikingly 
 represented. In several cities the press wantonly and wickedly abus- 
 ed him. At Cincinnati, especially, they pelted him with the dirty 
 gravel of the lowest Billingsgate. The result of this was that man- 
 agers feared to give him again the terms he required, and he would 
 not abate a jot. He refused to accept from Mr. Booth an engage- 
 ment at the same terms given to Joseph Jefferson, the best drawing 
 and best paying star in the world. He achieved triumphs in Paris, 
 Berlin, London and New York in three languages. In the first- 
 named city he was one of the foremost jeunes premieres, and created 
 the leading male part in the well-known “Dame aux Camelias. In 
 England his presence was hailed with great delight, the critics wrote 
 rapturously of his finished natural style ; his name was heard at 
 every dinner table, and the theatre was nightly crowded by his 
 
i88 
 
 HISTRIONIC MONTREAL. 
 
 thronging worshippers. The news that he was about to play 
 Hamlet after his success in Ruy Bias created a wonderful degree 
 of excitement, rumors sprang up in great clouds and travelled all 
 over the land, it was to be such a Hamlet as the English stage had 
 never seen; and when he did appear, oh ! what learning and research 
 did the historic wise bestow in commendation of his appearance in 
 a flaxen wig! Such was the rage for novelty that no one saw hoW' 
 utterly incongruous suggestions of barbarous times were with char- 
 acter and surroundings of that polished gentleman, Ham'et, as Shakes- 
 peare created him. Despite his foreign accent, every word was clearly 
 and distinctly heard, and the sound he gave each blended to heighten 
 the finished effect of an entire speech with a subtlety of combination 
 artistic in the highest degree. No actor ever suited the action to the 
 word with more complete harmony. In melodrama Mr. Fechter 
 was decidedly at home. His Ruy Bias was a piece of acting intensely 
 romantic and burlesque. In the “Corsican Brothers’^ he strongly 
 defined the contrasting personal character of the twins with remark- 
 able realistic skill, never confusing their individuality. In tragedy 
 Mr. Fechter’s triumphs were less notable. His Othello was disfigured 
 by the introduction of ingenious little tricks and devices intended to 
 startle or surprise, which were altogether destructive of that calm 
 simplicity and grandeur of action which is characteristic of oiir g^eat 
 poet’s work. It lacked dignity, breadth and intellectual refinement. 
 There was much in it that was original in conception and effect, 
 many of the commonly recognized points received fresh force and 
 new meanings from delicate suggestiveness of sounds and gestures ; 
 he rendered the inner depths of feelings with great intensity, and gave 
 the more tender and pathetic phases of the part with a show of im- 
 pulse and emotion which was very touching. But as a whole his tragic 
 acting never rose to the poetic grandeur of Shakespeare’s wonderful 
 creations. In Hamlet he came nearer to the lofty standard of a truly 
 great actor, clearing away much of that obscurity with which heavy 
 English tradition-holding tragedians had invested the character 
 simplifying some of the business in important scenes, and giving more 
 powerful coloring to Hamlefs awful reverence for his father’s memory, 
 the deeply affectionate nature of his grief for him, and the irrepressible 
 tenderness and intensity of his love for Ophelia. Loving the country 
 ardently, he at last looked upon his artistic career chiefly as a means 
 of improving and enjoying his country home at Richland Centre, Pa., 
 two hours’ ride from Philadelphia. He retired there to read, study, 
 smoke and trace his triumphs over again in the scrap-books and 
 albums containing relics of his palmy days. Of all these relics those 
 pertaining to his long and intimate friendship with the late Charles 
 Dickens were most valued. There he passed a great deal of his time, 
 and there he died, a very poor man, 4th August, 1879* His remains lie 
 
HISTRIONIC MONTREAL. 
 
 189 
 
 in Mount Vernon Cemetery, Philadelphia, beneath a handsome 
 stone, on which is a marble bust of the actor. On the base of 
 the monument is the inscription : — 
 
 Genius hath taken its hight to God. 
 
 THE SEASON OF 1877 
 
 was also a short one, the Holmans opening up a season of 
 comic opera in ‘‘Girofle-Girofla/’ 26th June, under th-e leader- 
 ship and management of Georg»e Holman. The house was 
 practically closed from th^e end of the opera season until 17th 
 December, when Marie Aimee was advertised to make her 
 last appearance before retiring from the stage. George Hol- 
 man was again lessee, and Lucien Bairnes manager, of the 
 theatre during the first part of 
 
 THE 1878 SEASON, 
 
 which was a most impoirtant one in several respects to that of 
 the preceding season. Kate Fisher was the first attraction, 
 4th January, in ‘‘Mazeppa,’' for the week, followed by the Hol- 
 man Opera Company until 26th. M. A. Dawson assumed 
 the lesseeship 28th Januarv, opening with Robert Butler’s 
 Jack and Jill Pantomime Company. The Geoirgia Minstrels 
 came week of 7th February, followed by Haverley’s, 15th. 
 The house then passed into the hands of Theresa Newcomb, 
 who opened a season of French drama, 26th February, in 
 ‘'Marie Jaune.” During the two weeks, “Le Doight de Dieu,” 
 and “ La Fille du PaysanJ’ were produced. “The Fatal 
 Glass ” was given 13th April, and on 22nd “ La Dame 
 Blanche,” an opera, was staged, with Marietta Hassan in the 
 cast. Happy Carl Wagner’s Minstrels cam^e 27th April. 
 Texas Jack held the boards week of 13th May, followed, 20th, 
 by Frank Mayo in “Davy Crockett.” May Fiske’s “Blondes” 
 were s*een for three nights from 27th May. During the 
 month of June a French company produced a number of 
 standard French plays, after which the house was entirely 
 overhauled and renovated. Its lease passed into the hands 
 of OT)irien West, who inaugurated their season, i6th Sep- 
 tember, with the Foy Sisters’ Specialty Combination. This 
 class of attraction was catered to the public all through the 
 fall. 
 
 KATE FISHER first appeared as a danseuse in New York, 6th 
 October, 1852. She wag born in Boston, Mass., i6th April, 1840. Her 
 name has always been associated with such productions as ‘‘Mazeppa/’ 
 “Cataract of the Ganges/’ etc. Her name in private life is Mrs. Gaines 
 Clark. 
 
HISTRIONIC MONTREAL. 
 
 190 
 
 FRANK MAYO (MAGUIRE), who died 8th June, 1896, en route 
 from Denver to Omaha, was a strong actor of the sensational school. 
 He was born in Boston, Mass., 19th April, 1839, and first 
 thHuge at the American Theatre, San Francisco, in 1856. He first 
 Sye? “Davy Crockett,” in 1872, at Rochester, N. Y., after having 
 Sd a ShakLpearean flight, which ‘resulted unsatisfactorily. His 
 son, Edwin F. Mayo, also toured the country with the piece, 
 former years Mr. Mayo had enjoyed much prosperity, and was 
 possessor of an elegant property at Canton, Pa., which he calle 
 “Crockett Lodge.” The adjoining estates were owned by E. L. 
 Davenport and Charles Fechter. Frank Mayo had not then 
 entertained the ambitions which swamped him. He had not 
 written “Nordeck”— had not formulated the notion that he 
 could star in legitimate roles with success. He was then con- 
 tent to play honest Davy Crockett and big-hearted Tom Badger 
 Fie booked at the best and biggest theatres. What a )royal 
 princely, good fellow Frank Mayo was ! The summer sun never 
 set upon a happier or more independent household that the ^^yos . 
 Then came the fatal aspiration of the artistic nature of Frank 
 Mayo. He had played “Davy Crockett” and “The Streets of New 
 York” over three thousand times, and was tired of them. He knew 
 his dramatic powers, and yearned to re-try the achievements of his 
 youth, when he made his reputation on the Pacific Slope. Then he 
 wrote “Nordeck”— failed! More outlay! The fortune was rapidly 
 dwindling ! Then back to “Davy Crockett” - Finally he dramatized 
 “Pudd’n-head Wilson.” And a great success it was— until one night 
 his tired head laid upon the sill of a window in a sleeping-car— his 
 over-taxed discouraged heart, weakened and worn out; with his 
 white hair blowing in the night-wind, and his pallid face turned up 
 to the stars, the soul of the exhausted actor went forth into the 
 
 prairie night — back to the Great Giver. 
 
 EDWIN F. MAYO, son of Frank Mayo, appeared at the Theatre 
 Royal during his first starring tour in “Davy Crockett in 1887. 
 After the death of his father he became manager and principal actor 
 of “Pudd^n-head Wilson.” He dropped dead at the Chateau Fron 
 tenac, Quebec, 19th Feb., 1900. For him the “strange eventful 
 history” came early to an end. 
 
 THE SEASON OF 1879 
 
 opened, 14th January, with Genevieve Ward, supported by 
 Milnes Levick in “Jane Shore.” Miss Ward began an en- 
 gagement at the Academy of Music on the termination of 
 her week at the Royal, appearing at the new house in “Henry 
 the Eighth,” 20th, and “ Jane Shore,” 21st. “ Pinafore “ was 
 
 produced 24th, and James Green was seen, 28th and 29th, in 
 
HISTRIONIC MONTREAL. 
 
 I9I 
 
 ‘'Henry the Fifth.’’ Tony Denier and Adams’ “Humpty- 
 Dumpty’’ opened ist April for we-ek. The next most import- 
 ant attraction was Shook and Collier’s production of “A Cele- 
 brated Case,” under the management of J. W. Collier. Ed- 
 mund Kean Collier and Edward Lafayette Tilton appeared 
 in the cast. Cool Burgess, Rice’s “Evangeline,’’ and the 
 Criterion Comedy Company in “Our Boys,” followed. 
 
 On the re-opening of the house, week 8th September, we 
 first find the name of John B. Sparrow figuring as lessee and 
 manager. The opening was with Haverley’s Juvenile “Pina- 
 fore” Company. John A. Stevens’ “Unknown,” week of 15th, 
 this being its first production here. Arnold Brothers’ Min- 
 strels next, followed by E. A. McDowell in “The Duke’s 
 Motto,” 20th, 2ist, 22nd. Duprez and Benedict’s Minstrels 
 were seen 2i?t and 22nd November, then Gus Williams, and 
 on 28th “Uncle Tom’s Cabin,” with Grace Egerton. Charles 
 L. Davis, in “Alvin Joslin,” began an engagement 24th 
 December, closing the year of 1879. 
 
 JOHN B. SPARROW was born in Cheltenham, England, in 1854, 
 His parents shortly afterwards came to Canada settling at St Cathar- 
 ines. Ont., whence he came when still a very young man, and found 
 employment in the bill posting business with Mr. Vincent. He 
 married a Miss Cater, and his subsequent career is well known. As 
 a manager he has always shown wonderful enterprise, and has ever 
 been ready to promote enterprises of merit. The fact of his having 
 three theatres at present under his personal management is proof 
 conclusive of his enterprising ability. He controls the Academy of 
 Music and Theatre Royal, Montreal, and the Grand Opera House, 
 Ottawa. 
 
 GENEVIEVE WARD (Lucia Genovera Teresa, Countess Guer- 
 bel), born in New York City in 1848, is the grand-daughter of Gideon 
 Lee, who was mayor of New York ; her father was Samuel Ward, 
 long in the consular service. At the age of fifteen she was introduced 
 to Rosini, who charged himself with her musical education, and pro- 
 cured her lessons under Ranzi, director of the Opera at Florence. 
 She sang first at La Scala Milan, in “Lucretia Borgia,” under the 
 name of Guerrabella, an Italianized form of her own name, for she 
 was now the wife of Count Constantine Guerbel, a Russian officer. 
 In her sixteenth year, while travelling in Europe with her mother, she 
 met Lieutenant Constantine de Guerbel, a Russian nobleman, who 
 fell desperately in love with her. Having satisfied herself that he was 
 what he represented himself, Mrs. Ward, the prudent mother of the 
 young girl, permitted the addresses of the young Russian, and a formal 
 
192 
 
 HISTRIONIC MONTREAL. 
 
 engagement was announced. Shortly afterward they were married 
 in Paris by civil law, the binding ceremony of the Greek church being 
 postponed because Lieutenant Guerbel declared that there was no 
 priest of that order in Paris. Even then the two women did not sus- 
 pect any dishonorable intention on the lieutenant s part. But Mrs. 
 Ward and her daughter did not consider the civil service sufficient, 
 and when the mother of the young American singer discovered that 
 the young man could not legally marry without the permission of his 
 parents, she hurried her daughter off, leaving an indignant letter for 
 the young man, and forbidding him ever to see his bride of an hour. 
 This matter assumed almost international importance. 
 singer, convinced that Guerbel had not intended honorably by her 
 travelled to St. Petersburg, flung herself at the feet of the Czar and 
 begged that the ceremony might for her honor’s sake be comp e e 
 By the order of the Imperial Father of the Russians this was done. 
 The young American went to the altar clad more like a widow than 
 a bride, and at the church door she parted forever from the man she 
 had learned to mistrust. I fancy they never met again. He died 
 some years later, and Genevieve Ward has not re-married. She 
 made her debut in English opera at the Concert Garden as Maid 
 Marion in MacFarren’s Opera, “Robin Hood.’” In the autumn she 
 came to America, appearing in New York, Boston, Philadelphia and 
 Havana. The great exertion she had undergone and the trying air 
 of Cuba proved too much for her, and her voice gave way entirely. 
 Rest and change proved ineffectual for its restoration. She determined 
 to study for the stage, and on October i, 1873, made her debut as 
 Lady Macbeth at the Theatre Royal, Manchester, with great success. 
 She made her first appearance on the London stage at the Adelph^ 
 March 18, 1874, as Unarita in “The Prayer in the Storm, in which 
 role she drew full houses for six months. In 1877 she went to Paris 
 to study under Requier, of the Comedie Francaise, and, on February 
 II played Lady Macbeth in French at the Porte St. Martin Theatre with 
 such success that the Comedie Francaise would gladly have enrolled 
 her as a member of their distinguished company. Returning to London 
 in April, 1879, Miss Ward became lessee of the Lyceum Theatre dur- 
 ing the temporary absence of Mr. Irving. On August 22, Forget 
 me-not” was offered, and her impersonation was pronounced by the 
 critics to be without an equal. In December she left for America 
 and made a tour with “Forget-me-not” in the chief cities of the Union 
 and the Provinces, beginning with Boston. At the end of 1882 she 
 returned to England, and again played “Forget-me-not” in the Pro- 
 vinces and in London. On December 2, 1883, she sailed for India 
 for a tour around the world. She again appeared in America and 
 was seen in Montreal in November, 1886. She lives in London, and 
 has appeared occasionally with Henry Irving. She was never divorced, 
 as she had no desire to marry again, and although she enjoyed the 
 
HISTRIONIC MONTREAL. 
 
 193 
 
 respect of her husband’s family, she declined, much to that family’s 
 astonishment, to take any share of his estates, not even her legal 
 dower. 
 
 CHARLiES S. DAVIS, as Alvin Joslin, was favorably known in 
 all portions of this country. He came of a theatrical family, and was 
 born in Baltimore, Md., October 21, 1852. When but four years old 
 he faced the footlights. He had worked in every branch of his pro- 
 fession, having been connected with circus troupes. He played 
 clown in the regular performances, and afterwards worked in the 
 concerts. Having acquired some money, he made up his mind to 
 start out on his own account. With a slight sketch for its basis, 
 “Alvin Joslin” was started on its career. He made money, and except 
 for gratifying an extravagant taste for diamonds, he was reasonably 
 saving. With the money he made out of this piece he erected the 
 Alvin Theatre in Pittsburg in 1891. Its noteworthy feature was the 
 luxurious accommodations provided for the actors behind the scenes 
 He died in Pittsburg, Pa., ist March, 1900. 
 
 MIL.NES LEVICK, one of the ablest actors ever known to the 
 American stage, was born at Boston, Lincolnshire, England, January 
 30, 1825, and appeared as an actor in the provinces before coming to 
 this country in 1853. Many weary days after his arrival in New York 
 he joined the cast of “Uncle Tom’s Cabin” at P. T. Barnum’s old 
 museum at Broadway and Ann Street, playing George Harris at a 
 salary of $15 a week, a compensation afterward increased by Mr. 
 Barnum to $18 a week. Tours through the United States and Can- 
 ada followed, Mr. Levick rapidly becoming recognized as one 
 of the leading actors of the day. He appeared in New York in 
 Laura Keene’s famous company, including Joseph Jefferson, C. W. 
 Couldock, E. A. Sothern and George Holland. After this engage- 
 ment he returned to Barnum’s Museum as leading man, remained 
 until the place was burned, when he rejoined Laura Keene, and 
 played afterward in a long list of memorable productions, aniong 
 them the great revival of “Julius Ceasar” at Booth’s Theatre, play- 
 ing thev title role. Later he appeared in support of all the great 
 stars, his last engagement having been with Minna Gale Haynes, in 
 1892, at the Star Theatre in New York City, when he appeared in 
 one of his best impersonations. Master Walter in “The Hunchback.” 
 He died in New York, i8th April, 1897. 
 
 Sallie Holman, at the head of the Holman Opera Company, 
 began 
 
 THE YEAR OF 1880 
 
 I2th January, followed by a troupe of Japs, 26th, 27th. The 
 California Minstrels, with Cool Burgess, came 28^29th, and on 
 9th February the Holmans returned and opened a two weeks’ 
 
194 
 
 HISTRIONIC MONTREAL. 
 
 engagement. John T. Hinds, in the Groves of Blarney,’’ 
 came 30th March for week. The event of the season was the 
 first appearance at this theatre of the great polyglot German 
 tragedian, Daniel E. Bandmann, accompanied by Mrs. Milli- 
 cent Palmer-Bandmann. They opened in Hamlet,’’ 5th 
 April; “Merchant of Venice,” 6th; “School for Scandal,’’ 7th; 
 “Ricbelieu,” for the^ benefit of the Young Men’s Hebrew 
 Society, 8th; “Narcisse,” 9th; “Romeo and Juliet,” loth; and 
 “Arragh-na-Pogue.’’ This was Mr. Bandmann’s second ap- 
 pearance in Montreal, his debut having been made at the Aca- 
 demy of Music, 17th November, 1879. Mc- 
 
 Dowell appeared for one night, 6th April, in “H. M. S. Parlia- 
 ment,” followed by the English Opera Company for four 
 nights in “ The Very Merry Mariner.” John T. Hinds re- 
 turned, I2th, for week in “ The Shaughran ’’ and “ Colleen 
 Bawn.” The Baldwin Baby Opera Company cam-e week 
 19th in “ Pinafore,” then Haverley’s Minstrels, 28th, for four 
 nights, and on i8th May the Hyer Sisters were seen in “Out 
 of Bondage,” and “Uncle Tom’s Cabin/’ followed by th'e Big 
 Four Minstrels, 27th, 28th, 29th. Isidore Davidson, in “Be- 
 nighted,” came week 14th June, this being his first starring 
 appearance in the city. “Dr. Clyde” was given 21st, 22nd, 
 23rd, and W. H. Pow^r, in “The Marble Heart,” 25th, 26th; 
 “Lost in London.” 28th; “Ticket-of-Leave Man,” 29th; “A 
 Man of Mystery,” 30th, repeated ist July. On 5th Oliver 
 D. Byron produced “Across The Continent,” and “Ten Thou- 
 sand Miles Away” was also given during that week. Dom- 
 inick Murray, in repertoire of standard drama, held the boards 
 for three weeks from 12th. On 2nd August, “Under the Gas- 
 light” was the attraction for week, and the summer season 
 closed 14th with Sidney C. Erance in “ Marked for Life,” 
 which engagement he began 9th August. The fall season 
 opened ist September with J. Eranklin Warner’s Comedy 
 Company in “Speculation.” Herne’s “Hiearts of Oak” came 
 week 5th September, with James A. Herne and Fred Chippen- 
 dale. A dramatization of Jules Verne’s “Around the World 
 in Eighty Davs” held the boards from 14th to 25th. An- 
 thony and Ellis’ “Uncle Tom’s Cabin” was the next attrac- 
 tion, week 4th October, giving place to “The Galley Slave,” 
 followed by John A. Stevens and Lottie Church in the for- 
 mer’s play “ Unknown.’’ George H. Adams in “ Humpty- 
 Dumpty” came week 28th October. Mrs. Scott Siddons first 
 
mSTRIONTC MONTREAL. 
 
 195 
 
 appeared as a star at this house week ist November, sup- 
 ported by Luigi Lablanche. During the engagement she pro- 
 duced ''Romeo and Juliet/’ "School for Scandal/’ "As You 
 Like It,” " Much Ado About Nothing,” " King Rene’s 
 Daughters,’’ " The Honeymoon,” and Macbeth.” The 
 French Opera Bouffe Co. appeared in repertoire wek 8th 
 November, which extended to a second week, after which the 
 Charles Drew Opera Co. came for a week from 6th Decem- 
 ber. This closed the year’s annals. 
 
 MARY FRANCES SCOTT - SIDDONS was the great-grand- 
 daughter of the famous Mrs. Sara Siddons, whose memory is so 
 closely allied to that of the Kembles, the elder Kean, Young and 
 Macready. Mrs. Siddons had three sons, one of whom, George, held 
 a high civil appointment in India. His youngest son, William Young 
 Siddons, became a military officer and married the daughter of Col. 
 Earl. The issue of this marriage was four children, one of whom is 
 the subject of this sketch, born in 1844. After the death of Mr. Sid- 
 dons the widow took her children to England and afterwards to Ger- 
 many, where they were educated. Mary had met with some success 
 as a public reader in the provinces of England before making her me- 
 tropolitan debut on April i, 1867, at the Hanover Square Rooms. 
 Such was her success as a reader that she appeared on the regular 
 stage 8th April at the Haymarket Theatre as Rosalind in “As you 
 Like it.” Her first professional appearance on any stage, however, 
 was in the spring of 1866 at Glasgow as Juliet. She subsequently came 
 to America, where she has been alternately seen as a reader and as 
 an actress, but she is better known as a reader. Mrs. Siddons was 
 married to a naval officer named Scott, from whom she separated. 
 In person she had well been called one of the loveliest women on 
 the stage. An actress of little force, her intelligence and beauty did 
 much to win her the position she enjoyed as an interpreter of classi- 
 cal poetry. She died in Paris, France, 19th November, 1896. 
 
 * 
 
 A French company in repertoire began 
 
 • THE YEAR OF l88l 
 
 loth January, followed by Harry Weber, week 17th, in "Nip 
 and Tuck.” Whitmore and Clarke’s Minstrels, 3rd February, 
 for three nights, and a return engagement of the French com- 
 pany, 7th, for a season of several weeks. Nick Roberts’ Pan- 
 tomime Combination came, 14th F^ebruary, for four nights. 
 An interesting event was the first production here of J. W. 
 Collier’s "Banker’s Daughter,” week of 22nd February, with 
 Frank C. Bangs, E. L. Tilton and Mrs. C. Walcot, Jun., in 
 
HISTRIONIC MONTREAL. 
 
 196 
 
 the cast. The French Co. reappeared week of 28th, followed 
 by the Union Square Company in Sardou’s “Daniel Rochat.’’ 
 Malin's Grand English Opera Company, including Janet 
 Edmonson (Mrs. Fred Warde), began an engagement nth, 
 followed, 1 8th, by the first appearance of that remarkably 
 strong aggregation, Barlow, Wilson, Frimrose and West’s 
 Minstrels. The Malin Opera Company returned 21st, for 
 three nights, and on 29th-30th the Holman Company was 
 heard. The great tragedienne, Mad. Janauschek, was first 
 seen here, week 9th May, in “Mary Stuart,” “Bleak House, ’ 
 “Mother and Son,” “Medea,’’ and “Macbeth.” A sinumer 
 season of French Opera was inaugurated, i6th May, under 
 the management of Ed. Bageard. The Yokes Family of 
 comedians appeared at this house, week 5th July, in a selec- 
 tion of chip comedies. “Hazel Kirke” was produced here 
 week nth July, 1881, with J. K. Keane as Dunstan Kirke, 
 and Helen Blythe as Hazel. Healey’s Hibernian Minstrels 
 came, 9th August, for one week, followed by Kate Glassford 
 in “Led Astray,” “East Lynne,” and “Camille.” “Florence 
 Gillette opened, 5th September, in “Romeo and Juliet,” fol- 
 lowing in “ Ingomar,” “ East Lynne,” “ Camille,” “ Frou 
 Frou,” and “ Adrienne Lecouvreur.” From the sublime 
 came the ridiculous in “The Jollities,” week 12th. James 
 O’Neill and Benjamin Maginley made their first appearance 
 here as stars in “Deacon Crankett,’’ week 19th September. 
 Following O’Neill and Maginley came Minnie Palmer in “My 
 Sweetheart,” 26th September, this being her first appearance 
 here. Baker and Farron came week 3rd October, followed 
 
 by the Harrisons in “Photos,” week loth. Bartley Camp- 
 
 beir-5 “Galley Slave” was seen week 17th, after which the 
 
 same author’s play of “My Geraldine” was produced. 
 
 Barney McAuley, as Uncle Daniel in “A Messenger from 
 Jarvis Station,” appeared week 31 st. George Clarke in 
 “Connie Oogah” was seen week 7th November, the house 
 remaining dark until week of 5th December, when Wien’s 
 “Uncle Tom’s Cabin’’ held the boards. Joseph Wheelock 
 and Rose Keene appeared in “The Planter’s Wife,’’ week 
 1 2th; Helen E. Jennings in “The Two Orphans,” and “East 
 Lynne,” week 19th; and Kraemer’s Burlesque Co., week 
 26th December, closing the year. Barlow, Wilson. Prim- 
 rose and West started in a modest way from Wilmington 
 in 1877. Milt G. Barlow and George Wilson were the 
 end men, while Ceorge Primrose and “Billy” West 
 
HISTRIONIC MONTREAL. 
 
 197 
 
 filled up ’’ in the first part and did a song and dance 
 in the olio. Barlow is from Lexington, and went into 
 minstrelsy as an end man in 1870. Wilson was born 
 in London, and became a minstrel in 1867 at San 
 Francisco. Primrose is a Canadian, and first '‘blacked up’^ 
 in 1867, when he used to be announced on the bills as 
 “Master George, the infant clog dancer/’ West was born^in 
 Syracuse, and made his minstrel debut in 1870. He died in 
 1902. 
 
 BENJAMIN MAGINEEY was the most genial of men, with a 
 soft spot in his heart for his fellow creature ; firm in his friendship, 
 but relentless in his enmity ; honest and upright in his dealings, and 
 conscientious in the performance of the most trival affairs of life. 
 His faults were few, virtues many, and hundreds of sturdy friends 
 and thousands of public admirers lament the abrupt termination of 
 so valuable and exemplary a life. Mr. Maginley was born in Philadel- 
 phia in 1832, of well-to-do parents, but he conceived an early passion 
 for the stage, and began life for himself by joining the stock company 
 in Pittsburg, where he did utility business. Always ready to relieve 
 the neccessities of others, he imprudently loaned a large sum of 
 money to a circus company, and in order to liquidate the 
 debt, he was made a member of the firm, under the title 
 of Melville, Maginley and Co.^s Great Eastern Circus. His 
 spirit of mirth asserted itself in the ring as clown, and many 
 are living to-day who laughed at his antics and jests. He 
 continued in the circus business until 1875^ when he married Miss 
 Carrolb a celebrated equestrienne of that time, by whom he had one 
 child, Mrs. Buckel, at whose house he died; his wife died in 1876. 
 He was also interested in other circus organizations. Mr. Maginley 
 resumed the theatrical profession after leaving his circus life, and 
 appeared with Lester Wallack in “Rosedale,” Dion Boucicault, 
 McKee Rankin and others. For nearly five years he was a member 
 of the Madison Square company, playing with success in “Esmerelda 
 and “May Blossom.’’ He last appeared in Montreal at the Theatre 
 Royal, week 6th July, 1886, in “May Blossom.” He died 3rd June, 
 1888. 
 
 STEELE MACKAYE, author of “Hazel Kirke,” “Paul Kauvar.” 
 “Money Mad,” etc., was pronounced by Henry Ward Beecher to 
 have been the best equipped young man he had ever met. Born in 
 Buffalo, N.Y., in 1842, Mackaye showed an early taste for 
 
 studied under Delsarte in Paris. Joseph Jefferson and Jo n ^ ^ 
 lough were among his pupils in a school which he opene in e 
 York.^ In 1873 he played Hamlet in London, and also toure 
 provinces. A genius in art, Mackaye was as princely in his expenses 
 
HISTRIONIC MONTREAL. 
 
 198 
 
 as in his schemes. After writing “Hazel Kirke/’ Nate Salisbury 
 told him he would make $500,000 for him in three years if he would 
 wait six months, but Mackaye, who never waited, disposed of the 
 play for $10,000. The crowning achievement of his career would 
 have been his Spectatorium scheme at the World’s Fair, Chicago, had 
 not his subscribers withdrawn their influence. Mackaye had ex- 
 pended on this conception the energy of his entire vital forces. H^e 
 had called science and song and poetry into his stupendous frescoes. 
 No Roman spectacle of Vespasian was to have been so elaborate, 
 but there he stood alone by the bleak, grey shores, anticipating the 
 chill of unsuccessful age, while behind him lay strewn the wrecks of 
 his mighty imagination. Some disappointments rob us even of our 
 recuperative strength — to Mackaye the sun had set, the aurora was 
 out. Hoping to rekindle the flickering embers, his friends placed 
 him on a train bound for California. It flew westward in the face of 
 a storm. The snow whirled in wild dervish dances after it. There 
 were interminable wastes ahead, storm-ravished, but the train plung- 
 ed on. Somewhere in a far region it slowed up gradually, then it 
 stopped. No use going any further ! Steele Mackaye, actor, 
 author, philosopher, prince of men, had gone on ahead, 3rd March, 
 
 1804. 
 
 EDWARD LAFAYETTE TILTON died in 1887. He was born 
 at Ashland, Mass., 13th June, 1824, and from the time of his debut m 
 1845 at Palmo’s Opera House, he experienced a long and interesting 
 stage career, supporting all the contemporary stars of note. 
 
 EDMUND KEAN COLLIER some years ago gave promise of a 
 coming tragedian, but his ambition was not sufficient to inspire 
 him. He came of a theatrical family, being nephew to J. W. Collier 
 and Maggie Mitchell, and began on the lowest rung of the ladder 
 of tradition. After having been in the support of John McCullough, 
 he began a starring tour in the late tragedian’s chief roles, also re- 
 viving Forrest’s great character of Metamora. His New York debut :is 
 a star was at the People’s Theatre, 30^h August, 1886. After ^three 
 seasons Mr. Collier returned to melodrama, and appeared in “Paul 
 Kauvar.” He was afterwards with Mad. Janauschek in “The Sporting 
 Duchess,” and lastly “Ben Hur.” His daughter, Helen, is Mrs. 
 Thomas E. Garrick, and his son, Willie Collier, is becoming a 
 recognized star in comedy lines. Mr. Collier died 27th Dec., 1900. 
 
 MINNIE PALMER was born in Philadelphia in 1865. She was 
 partly educated in Vienna, and having shown a decided histr^n.c bent 
 was encouraged to appear in a juvenile piece in her elewnt y 
 at Brooklyn. Her first real work was at Booth’s Theatre at 
 tn 1877, wLn her uncle. Henry Palmer, had her cast for 
 in “Daniel Druce.” She has since made a 
 comedy roles, not only in the United States and Canada, 
 

 > 
 
 

 f; 
 
 JAMES O’NEILL. 
 
 (D’Artagnan.) 
 
 Photo Morrison. Engraved by the Weeks Co. 
 
 'I 
 
 1 
 
HISTRIONIC MONTREAL. 
 
 199 
 
 in England. Much of her success has been attributed to John R. 
 Rodgers, her husband and former manager, from whom she separated 
 a few years ago. Her father was a captain and shipowner. She 
 is still before the public. 
 
 JAMES O'NEILE came to America in his early boyhood from 
 Kilkenny, Ireland, where he was born 15th Nov., 1849. He was first 
 with John Ellsler’s stock company at Cleveland, and about 1870 be- 
 came comedian at McVicker's Theatre, Chicago, remaining three 
 seasons. He then joined Hooley’s company there. Here is a little 
 romance of an actor’s life : Do you remember the tragic end of Miss 
 
 Hawthorne, the leading lady of Richard Hooley’s stock company at 
 the time of the rage about the handsome young O’Neill ? Oh, it was 
 pitiful ! She took that terrible leap in the dark which all men have 
 feared since the world began. Miss Hawthorne was living at the 
 old Tremont House at the time. She was popular, talented and beau- 
 tiful. Her figure was lissome, willowy and graceful like Juno’s. Her 
 face — ah, well! let that pass. She was worthy of love, and it is said 
 that young O’Neill loved her. Other admirers she had in great 
 numbers, but he was the favored one. One day he called on her 
 at the Tremont. They had an interview in her apartments. It must 
 have been a stormy, a heart-breaking, life-crushing interview. Five 
 minutes after Mr. O’Neill bade Miss Hawthorne adieu she leaped out 
 of a fifth story window and fell on the pavement below a lifeless bundle 
 of clothes. There are some events which murder a man’s ambition. 
 After a year of highly successful work in California, whence his 
 fame spread to New York, the rapidly rising young player was 
 engaged by A. M. Palmer for his Union Square company. Here 
 he was the American creator of the cripple Pierre in The Two 
 Orphans,” and became one of the renowned members of a 
 renowned troupe. After a time he went back to San Francisco, 
 and three years later played a part that no regular actor 
 had ever before attempted. This was the Messiah in Salmi Morse s 
 production of “The Passion Play.” O’Neill, who is of a deeply 
 religious nature, after having at first refused pointblank to 
 accept the role, brought to it the deepest reverence of which he 
 was capable. As one critic said, “to him it was not acting, it was 
 devotion.” But the public feeling was so strongly against the play 
 that, after a few weeks, it was taken of¥ by order of the authorities. 
 O’Neill came back to New York, where he was engaged by John 
 Stetson to play Edmond Dantes in “Monte Cristo.” In this story of 
 Dumas’, dramatized by Fechter, O’Neill found his metier. He pur- 
 chased the rights from Stetson, and won a fortune. Although he has 
 added a few classical plays to his repertoire of late years, he is stil 
 seen in the old role from time to time. He stands to-day as a 
 representative of the most admirable of the methods of t le o er 
 
200 
 
 HISTRIONIC MONTREAL. 
 
 school of actors, while his work describes the best arts of the 
 newer school. 
 
 FRANCESCA ROMANA MAGDALENA JANAUSCHEK, born 
 in Prague, Bohemia, 20th July, 1832, was one of nine children, and 
 her father was a merchant. She very early developed remarkable 
 musical ability, but the dramatic vein was soon displayed. At six- 
 teen she went on the stage at Prague and soon after joined a travelling 
 company at a salary of $14 per month. She was favored in having 
 a good education, and rapidly advanced. She became a star in her 
 twenty-ninth year, and in 1867 came to America with her own com- 
 pany. Opening at the Academy of Music, New York, gth October, 
 as Medea, in German, the English-speaking public also recogniz- 
 ed her power, and encouraged it as they had Rachel’s before her, and 
 as they did Bernhardt’s and Duse’s after. Mad. Janauschek began 
 the study of English, appearing in English performances of Lady 
 Macbeth, Marie Stuart, Medea, etc., during the season 1873-74. She has 
 since appeared in all the principal cities of the United States and 
 Canada. She has co-starred with Kate Claxton in “The Two Or- 
 phans,” and later with Stuart Robson, but Janauschek should have 
 retired from the stage twenty years ago. Then she had fame and 
 fortune ; her diamonds, the gifts of emperors, kings and other 
 potentates, were the envy of her coevals. Where are all of these now ? 
 But Janauschek, until recently stricken by paralysis, continued to be 
 a great and finished actress. In private life this lady is Mrs. J. W. 
 Pillot. 
 
 JOSEPH F. WHEELOGK is one of the few legitimate actors of the 
 drama who are now left to us, and is an artist of the highest merit. 
 He was born in 1838, and began his theatrical career at the Boston 
 Museum in 1855. In 1865 he gave the first production in this country 
 of “Enoch Arden.” He was leading man at Booth’s Theatre during 
 1873 and 1874, after having acted at McVicker’s, Chicago, as leading 
 man. Since that time Mr. Wheelock has supported a number of leading 
 stars and to-day is still meeting with success. Mr. Wheelock was 
 in 1897 elected President of the Actors’ Society of America. 
 
 THE YEAR OF 1882 
 
 was opened 2nd January, with Fanny Louise Buckingham 
 in ‘‘Mazeppa.’’ This was the first appearance here of the 
 equestrienn-e actress. The Amy Lee Opera Company came 
 for three nights, 12th January, 1882, followed by Helen 
 Blythe, week of i6th, in ‘Tique’’ and “Divorce.'^ This was 
 that lady's stellar dehut in Montreal. Healey's Hibernian 
 Minstrels were seen for four nights from ist February, and 
 on 9th Helen Blythe played a retiDrn engagement in ‘‘East 
 
HISTRIONIC MONTREAL. 
 
 201 
 
 Lynne/’ “Pique,” “Camille,’’ and “Divorce.” “A Noble Pur- 
 pose” followed, week 20th; Anthony and Ellis’ “Uncle Tom’s 
 Cabin,” with Minnie Foster as Topsy, week 27th; followed 
 by the German Opera Company in “Patience,” for eight 
 nights from 6th March. Neil Burgess in “Widow Bedott,” 
 supported by G. W. Stoddajrt, was the next attraction, week 
 20th. Tony Denier’s Pantomime Company, with Alfred 
 Miaco, came 30th March; the Daly Company, in the “Passing 
 Regiment,” loth April; Rentz Santley Burlesque Company, 
 24th, for three nights ; Baird’s Minstrels, 27th, for three 
 nights; and Barry & Fay’s “Muldoon’s Picnic,” ist May, for 
 three nights. The theatre was closed until 4th and 5th Aug- 
 ust, when Tony Pastor’s Vaudeville Company hirst appeared 
 here, followed by Julia A. Hunt in “Florinell.’’ Barney 
 McAuley appeared for the second time here, we«k 28th, in 
 “Uncle Daniel ” and “The J-erseyman.’’ Atkinson’s “Jolli- 
 ties” were seen week nth September, and, on 19th, Baker 
 and Farron; followed by Topsy Venn, 27th, for four nights 
 in “Furnished Rooms”; Maffitt and Bartholom-ew’s “Ma- 
 zulme, the Night Owl,” 2nd October, for week; M. B. Lea- 
 vitt’s Minstrels, 9th, far three nights; Minnie Foster’s “Uncle 
 Tom’s Cabin,” i6th, for week ; Hanry Weber’s “ Nip and 
 Tnck,” 23rd, for week; Hyde and Behman’s “Two Johns,” 
 9th November, for three nights; Harrigan’s “Squatter Sover- 
 eignty,” 14th, for three nights; Davis’ “Alvin Joslin,” 23rd, 
 for three nights; Minnie Hauk in grand opera, 30th, for three 
 nights; and W. J. Scanlan in Bartley Campbell’s “Friend and 
 Fo-e,” 4th December, for week, followed by “The Jolly Path- 
 finders,” week i8th, and Davene’s Vaudevill-e, week 25th 
 December. 
 
 FANNY LOUISE BUCKINGHAM had a short but active stage 
 career, dating from 1877 to 1890. Born at Chestnut Grove, Ward's 
 Farm, Md., ist March, 1852, Sally Ward was brought up in a manner 
 not likely to encourage histrionic tendencies, but circumstances event- 
 ually decided the lady to gratify early ambitions, and her first appear- 
 ance on any stage was at the Broadway Theatre, New York (now 
 Daly’s), in the character in which she became famous, Maseppa, 2nd 
 July, 1877. Dashing and spirited, as well as possessing a magnificent 
 stage appearance, the young lady made a pronounced hit. Her engage- 
 ment ran for two weeks at the Broadway, and was extended two 
 weeks longer at the Bowery Theatre- James Melville, the celebrated 
 equestrian, was her first fencing master, and Miss Buckingham subse- 
 quently gave that gentleman’s name to her famous grey steed. Miss 
 
202 
 
 HISTRIONIC MONTREAL. 
 
 Buckingham tells me that her horse died 25th May, 1895. After her 
 successful dehut the actress appeared in all the principal cities of the 
 United States and Canada with great eclat, not only in “Mazeppa,” 
 but also in all the equestrian dramas as well as in “East Lynne/' 
 “Lady Audley’s Secret,” and “Green Bushes,” Miss Buckingham was 
 married 8th May, 1880, to William B. Pettit, who managed her pro- 
 fessional work until her retirement in February, 1890, her last ap- 
 pearance being at the Third Avenue Theatre, New York. 
 
 “So Much for Buckingham.'' 
 
 HELEN BLYTHE’S dramatic instinct was precociously developed. 
 At the age of five she was introduced to the public in children’s roles 
 by Clara Morris at Norwalk, Ohio, and six years later made her ap- 
 pearance as Richard 111 - She was born at Fairfield, Ohio, loth August, 
 1861, and had made quite a reputation when she secured her first 
 regular engagement at the Cincinnati Grand Opera House. Her real 
 name is Blye, but an early mistake in the play bills to Blythe was 
 never changed. She made steady headway, and became a great 
 favorite in all the principal cities of the United States and Canada. 
 Her dramatic methods are of the newer school, and her real strength 
 lies in those more human impersonations which the genius of the 
 modern playwright and the favor of the public have given a pro- 
 minent position on our stage. Her husband is Joseph F. Brien. They 
 were married in 1880. 
 
 BERNARD McAULEY was born in New York, 19th Sept., 
 1837. He made his professional debut at the Metropolitan Theatre 
 in the same city in April, 1853. He managed Wood s Theatre, 
 Philadelphia, from 1868 to 1877. and is said to have realized over 
 $ioo,oco during his career at that theatre. After unprofitable mana- 
 gerial speculations, he began touring in “A Messenger from Jarvis 
 Station” and “The Jerseyman/’ but he was not a money-maker, and 
 had been left almost penniless. He was known as a most honorable 
 man and kind friend. He died 28th March, 1886. 
 
 TOPSY VENN (nee Elizabeth Ann Reynolds) was born at London 
 in 1857, and first appeared on the boards as a dancer in 1864. Her 
 American debut was made in Philadelphia. April, i 74 - 
 
 married A. H. Steer in 1875, but was divorced in 1882, when s le 
 married H. S. Cornell, who shortly afterwards disappeared. 
 
 MINNIE HAXJK, one of the most gifted of the many bright ona 
 ments which America has contributed to 
 
 record as havir^g been born i6th Nov., 1852, m New York c.ty^ 
 German parents. After European study she made her op 
 in Vienna, subsequently appearing with pronounced 
 out the continent, England and America. She is the ° 
 
 Hesse Von Wartegg. Minnie Hauk is still singing. S 
 
HISTRIONIC MONTREAL. 
 
 203 
 
 pleasure tour through the East Indian tropics she gave a few concerts 
 in Batavia, Soerabaja, Singapore, etc. The prima-donna was most 
 enthusiastically received by English and Dutch alike and won flat- 
 tening triumphs. 
 
 GEORGE WILLIAM STODDART was born at Lancaster, Eng., 
 March 31, 1826. He was the eldest of five brothers, all actors, as were 
 also his father and mother. J. H. Stoddart is his brother. After 
 playing in the principal cities of England, Ireland and Scotland, he 
 came to this country in 1853, appearing at the National Theatre, New 
 York, as Harold Skimpole in a dramatization of “Bleak House.” He 
 afterwards played in all the principal stock companies in this country, 
 including those of the Boston Museum under Thos. Barry, Laura 
 Keene, and with Mrs. John Drew at Philadelphia. He was consid- 
 ered one of the best light comedians of his time, having supported 
 Macready, Forrest, the elder Booth, Charlotte Cushman, Mathews, 
 Charles Kean, etc. Of late years he played old men, his Elder Shadrach 
 SniMes in the “Widow Bedott” with Neil Burgess being fully as 
 prominent as Mr. Burgess’ Widow. In 1885 Mr. Stoddart retired 
 from the stage on account of illness, and died 9th July, 1888. His 
 daughter is Mrs. Neil Burgess. 
 
 HUGH FAY died in 1894. He had been a well-known droll in that 
 absurd risibility “Muldoon’s Picnic” for twelve years, associated 
 with William Barry. 
 
 WILLIAM BARRY died in Brooklyn, 15th April, 1898. He began 
 stage life as an end man and later served in the war. He always was 
 a popular vaudeville comedian, and for a time had Harry Kernell as 
 his stage partner. In 1882 he became associated with Hugh Fay, 
 and both became favorites with that class of theatre-goers who 
 thronged to see their skit “Muldoon’s Picnic. After Fay s ea 
 he starred alone, and with “The Rising Generation” he made $70,000. 
 
 THOMAS ALFRED MIACO (nee Alfred Frisboe), a clever pan- 
 toniimist frequently seen here, died i6th April, 1893. 
 
 THE SEASON OF 1883 
 
 was Opened by Leavitt’s Minstrels, 26th January. Miaco s 
 “Humpty-Dumpty” came 19th February, followed by the first 
 star appearance here of Pat Rooney. Fostelle, in is. 
 Partington ” came week loth April ; Rentz-Santley Burlesque 
 Company, 19th, for three nights; the Guy Family, 23rd, for 
 three nights, in “A Carnival of Fun” ; Gorman’s Irish Special- 
 tv Companv, week of 26th ; and Lizzie May Ulmer in 49. 
 week 30th 'April. The enormous individuals. General and 
 
204 HISTRIONIC MONTREAL. 
 
 j\Irs. Tom Thumb, were the feature of the season, commenc- 
 ing a week’s engagement 7th May. On iith June “The 
 Veteran” was produced, and on i8th, fo*r three nights, “The 
 Danicheffs,” followed by “The Banker’s Daughter” for three 
 nights ; Tony Pastor’s Company in vaudeville for three nights 
 27th; Topsy Venn in “Furnished Rooms,” week 2nd July; 
 “Ten Mile Crossing,” 27th July, for week; Charlotte Thomp- 
 son in “The Romanoffs,” and “Jane Eyre,” week 3rd Septem- 
 ber; Milton and Dollie Nobles, week loth, in “The Phoenix 
 and “Interviews.” Prof. E. C. Taylor, the magician, opened 
 week 17th September, followed, week 22nd, by J. J. Dowling 
 in “Nobody’s Claim”; Kelly and Ryan’s “Zanfrettas,” ist 
 October for week ; E. T. Gooderich in “Monte ; or, a Double 
 Life,” week 15th; Girard Eyer’s English Novelty Company, 
 week 22nd ; Ravel’s “Drawing Room Circus,” 5th November, 
 for two weeks; Helen Jennings “An American Marriage, 
 week 19th; “Two Johns,” week 26th; Vaudeville, week 2nd 
 December; Rentz-Santley Burl'esque Company, week loth; 
 Hyde and Behman’s “Derby Day,” week 17th; Miner’s Com- 
 edy Four, 24th, for three nights; and Smith’s Hand Bell 
 Ringers, 27th, for three nights. It was in th<e early summer 
 of 1883 that H. R. Jacobs opened the tent show at the corner 
 of University and St. Catherine streets, and laid the founda- 
 tion to a fortune. On 19th November of that year the 
 Mechanics’ Hall was also opened for a long season of Vaude- 
 ville at 10, 20 and 30 cents. 
 
 TOM THUMB died 15th July, 1883. He and his wife were at the 
 time visiting friends at Cincinnati. The General was born at Bridge- 
 port, Conn., 4th Jan., 1838, and his right name was Charles Sherwood 
 Stratton. He was first exhibited by Barnum, 8th Dec., 1842. He 
 then stood 24 inches and weighed 16 lbs. In 1862 he met Lavinia 
 Warren, while on exhibiton at Barnum’s museum. The diminutive 
 couple fell in love and were married at Grace Church, New York, 
 loth Feb., 1863. After a two weeks’ wedding tour, Mrs. Tom Thumb 
 retired to private life, but returned to the public view a few months 
 later. Mr. Barnum then arranged a three years’ tour around the 
 world for the little folks. They left New York, June 21, 1869. In 
 Great Britain they exhibited in two hundred and eight towns, and 
 left Liverpool for this country June 12, 1872, arriving here three 
 years from the time of their departure, having in that period travelled 
 5=;,487 miles and given 1,471 performances, in 587 different cities and 
 towns. Afterwards they toured this country up to the time of 
 Tom Thumb’s death. 
 
HISTRIONIC MONTREAL. 
 
 205 
 
 MRS. GENERAL TOM THUMB, afterwards Countess Magri, and 
 whose maiden name was Mercy Lavinia Bump, was born in Middle- 
 boro, Mass., Oct. 31, 1842. After she became a year old she grew very 
 slowly, and ceased entirely at the age of ten. She attended school 
 regularly with the other children of the neighborhood, and found 
 no trouble in keeping up with them in her studies, as she was consid- 
 ered very bright. At home she was taught to do all kinds of house- 
 hold work. In 1862 she was engaged by P. T. Barnuni for his 
 Museum, New York City, at which plac.e Tom Thumb was then on 
 exhibition, and they were married, as already noted, in 1863. It was 
 during her first engagement that she assumed the name of Lavinia 
 Warren. Both were forty inches in height. In 1884 Mrs. Tom Thumb 
 organized a company for the road (Gen. Tom Thumb having died July 
 15, 1883), among whom were the Magri Bros. Count Magri and 
 Mrs. Gen. Tom Thumb were married April 6, 1885. 
 
 COUNT PRIMO MAGRI was born in Bologna, Italy, in 1850, 
 and was one of a family of thirteen, children, three of whom are small, 
 while the other ten are of ordinary height, as were both the parents. 
 Count Primo is thirty-seven inches tall and weighs fifty-two pounds. 
 His brother, Baron Ernest Magri is thirty-eight and one-half inches 
 in height, and weighs fifty-four pounds. In company with his brother, 
 the Count began travelling in 1865. In 1878 they came to this country 
 and made a tour of the States, remaining in California and Oregon 
 about three years. In 1882 they were engaged to travel with Mr. and 
 Mrs. Gen. Tom Thumb. 
 
 PAT ROONEY', the well-known Irish comedian, was always a 
 favorite with a certain class of play-goers, and since his death, 28th 
 March, 1892, his place has not been filled. He was born in Ireland 
 in 1844, and at the age of fourteen was already a clever dancer. He 
 did Irish character work for twelve years in the English music halls, 
 and came to America in 1871. 
 
 MR. AND MRS. NOBLES. Milton Nobles (real name Tamey) is 
 a graduate of the old stock system, and an actor of ability. He was 
 born in Cincinnati in 1847* He starred in his own plays for nearly 20 
 years, and has been fairly successful. Dolly Woolwine-Nobles was 
 born at Lebanon, O., in the sixties, and was educated in Cincinnati. 
 Her first professional experience was as a member of the Summer 
 Stock Company at the Da3rton Soldiers’ Home, where she attracted 
 much attention as Louise in “The Two Orphans” and similar charac- 
 ters. Mr. Nobles, then playing “The Phoenix” and “A Man of the 
 People, was looking about for a young and attractive soubrette. A 
 member of his company, who had been in the company with Miss 
 Woolwine at Dayton, sang her praises so incessantly that they 
 entered into a professional engagement in Jan., 1881, and in the 
 following June they were married. Of recent years they have been 
 appearing in vaudeville. 
 
2o6 
 
 HISTRIONIC MONTREAL. 
 
 THE SEASON OF 1884 
 
 was opened by a vaudeville company from December, 
 
 1883, followed by Ada Gray in “East Lynne, this being the 
 last attraction to play at this house under the old prices, ihe 
 fortunes of the old Royal had been at a very low ebb for some 
 time, and Mr. Sparrow at this time entered into a partnership 
 with H. R. Jacobs to carry on the lesseeship and manage- 
 ment at popular rates of 10 and 20 cents, subsequently raised 
 from time to time until the present admission price of 10, 20 
 30 and 40 cents has been reached. The theatre was for a 
 couple of seasons styled the Royal' Theatre Museum, but the 
 old style was afterwards resumed. Vaudeville held the 
 boards throughout most of the season. Bonnie Runnels, who 
 had appeared under Jacob’s tent show, and whose popularity 
 had no little to do with making that venture the success it 
 achieved, reappeared at this house, iith Feb., in conjunction 
 with the Hollywood Family. Tliey put on “Cinderella’ for 
 two weeks from 3rd March. Partington’s Comedy Company, 
 in “Rooms for Rent,” appeared week 26th Sept.; '' Capers,’ 
 week 13th; Pauline Markham, in “Two Orphans,” and Tic- 
 ket-of-Leave Man,” week 20th; J. H. Gilmour, in “Monte 
 Cristo,” week loth November ; “ Under the Gaslight,” and 
 “The Governor,” week 17th; and Daniel E. Bandmann for 
 two weeks from 24th November in Hamlet, Lady of 
 Lyons,” “Merchant of Venice,” “Called Back,” during first 
 week, and “Called Back,” “Narcisse,” “Hunchback,” and 
 “Richard HI.,” during the second week. He was supported 
 by Louise Beaudet and Chas. Thornton. J. H. Gilmour, in 
 “Rosedale,” week 15th December; “Enoch Arden,” “Leah, 
 the Forsaken,” and “Oliver Twist,” week 22nd; and Lottie 
 Church and Charles Barringer, in “Unknown,” week 29th 
 December. The other dates were filled up by vaudeville 
 combinations. During the summer season the Tent Show 
 was again catering to cheap patronage. A new theatre was 
 also opened on Beaver Hall Hill under the lesseeship of Beau- 
 cleigh & Co., opening for a few weeks from 3rd May. It 
 was also during the same season that Roland G.^I. Barnett 
 opened the Crystal Palace Opera House with “ lolanthe, 
 
 24th May. 
 
 I.OUISE BEAUDET will long be remembered as one of the 
 most versatile artists of her generation. She has won 
 applause in a range of roles varying from Lady Macbeth to Mile FtA 
 
HISTRIONIC MONTREAL. 
 
 207 
 
 and dancing soubrette. Born in France about i860 Louise was 
 brought to America as a child and received most of her education in 
 the convents of Montreal. Her first stage appearances were in 
 opera bouffe. It was in San Francisco twenty years ago that she 
 attracted the attention of Bandmann, the tragedian, who conceived 
 the idea of transforming la petite Louise into a Shakespearean 
 artiste. She accompanied him on his great eastern tour which term- 
 minated in 1884, after which they toured in America for several 
 seasons. The association between the two was dissolved upon the 
 retirement of Bandmann from the mimic scene. Ten years ago 
 Miss Beaudet returned to the field of comic opera. 
 
 PAULINE MARKHAM began her stage career in England at 
 an early age, first appearing at the Princess Theatre, Manchester, 
 thence to the Queen’s Theatre in London in 1867. She was one of the 
 several handsome young women who accompanied Lydia Thompson 
 to America, opening at Wood’s Museum, New York, 28th September, 
 1868, in the burlesque in “Ixion,” with Miss Markman as Venus. The 
 charming young women of the company were much in evidence that 
 night ; so much in evidence that some, of the audience hissed and 
 others laughed loudly at what seemed the audacity of the perform- 
 ance. But much transpires in thirty years. Conditions and view 
 points change. The performances which electrified New York in ’68 
 would seem a bread-and-milk affair to the burlesque audience of to- 
 day. The burlesque of those days has long since been laid upon the 
 shelf as too tame and out of date to be useful. All the planets that 
 revolved and twinkled about the sun, the dazzling Lydia, are for- 
 gotten or buried in the memories of old men. The clergy thundered 
 forth its denunciations and some of the rpapers said harsh things of 
 the representation, particularly the Chicago Times, and for this editor 
 Story received a whipping at the hands of Lydia Thompson, assisted 
 by Miss Markham. Pauline became very popular in burlesque, and 
 subsequently appeared in the “emotional” at the cheap theatres, 
 supported by her second husband, Randolph Murray. She was first 
 married to Col. MacMahon. 
 
 BONNIE RUNNELLS was a very droll comedian of German ec- 
 centricities and first appeared in Montreal during June, 1883, at Jacob’s 
 Royal Museum and Theatorium. Thousands were attracted to the 
 resort to see the work of that merry son of Momus. His engagement 
 lasted throughout the summer season. He was born at Edinburgh, 
 Scotland, in 1844, and died of paralysis at Chicago, i6th August, 1884. 
 
 THE SEASON OF 1885 
 
 was opened by Jennie Calif, in “M’liss/' 5th January, followed 
 by ‘‘The World,’’ in which Charles Barringer and W. H. Ly- 
 tell appeared; “The Miner’s Daughter,’’ week 19th; Fanny L. 
 
2 06 
 
 HISTRIONIC MONTREAL. 
 
 Buckingham, in “Mazeppa,’’ week 26th; Corinne, in opera, 
 week 2nd February; Daniel K. Bandmann, supported by 
 Louise Beaudet, week 9th, in “Othello,'' “Romeo and Juliet," 
 “East Lynne," “Don Caesar de Bazan," and “Richelieu,’' 
 evening- of 14th, which was Mr. Bandmann's last appearance 
 in Montreal. “Fun on the Bristol" came week i6th; Miaco’s 
 “Humpty-Dumpty,'’ 23rd; “Sawyer’s Mine,’’ 30th; Dowling’s 
 “Nobody’s Claim," 9th March; “Ten Mile Crossing," 17th; 
 “Octoroon,’’ and “Christine Johnston,’’ by Tayleur’s Com- 
 pany, 23rd; Frances Bishop, in “Mugg's Landing,’’ 3 oth; Jas, 
 A. Herne, dll “Hearts of Oak," 6th April; “Uncle Tom’s 
 Cabin,’’ 13th; Pauline Markham, in “The Two Orphans,’’ and 
 “The New Magdal»en,’’ 20th; “Rancli 10,” 27th; Helen Blythe 
 and Joseph F. Brien, in “The Silver King," 4th May, Law- 
 rence Hanley appearing as the Spider. This was his first 
 professional engagement, he tells me. “Our Strategists," 
 nth; Wilbur Opera Company, i8th; “Zozo,’’ 25th; “Hoop 
 of Gold," I St June; J. H. Gilmour, in “My Partner,’’ 8th; 
 “Stranglers of Paris," 15th; Janet Edmonson, in “Pirates of 
 Penzance,’’ 22nd. During the second week of her engage- 
 ment was produced, for the first time in Montreal, Gilbert and 
 Sullivan’s “Princess Ida." “lolanthe" was put on during the 
 third. Miss Edmonson closed her four weeks' engagement 
 i8th. The attaches of the theatre were given a benefit 27th, 
 when the theatre was closed for the summer. The terrible epi- 
 demic of smaUpox which raged during the summer of 1885 
 delayed the fall opening until 5th October, when Bennett 
 Matlack, supported by Stella Rees, appeared in “A Celebrated 
 Case," “Hamlet,’’ and “Damon and Pythias.” “The Dan- 
 ites" followed, week 12th; “After Dark,’’ 19th; “Only a Far- 
 mer’s Daughter,” and “Only a Woman's Heart,' 26th; Jos. 
 Proctor, in “Nick of the Woods," 2nd November. This was 
 the veteran's last appearance in this city. The boards of the 
 Royal were held by a company in “The Streets of New^ York," 
 and “Jessie Brown," week 9th November. Two weeks of 
 vaud’eville followed; then Gustavus Clark, in “Monte Cristo," 
 week 23rd November ; “ The Silver King," and “ Lucky 
 Ranch,’’ week 30th; Phosa McAllister and Robt. E. Graham, 
 in “The Pavements of Paris," week 7th Decemb-er; 
 Argonauts,” week 14th; and Alice Oates in burlesque opera 
 for two weeks from 21st EVecember, presenting “Robin 
 Hood" and “The Field of the Cloth of Gold." She did not 
 reappear in this city. 
 
HISTRIONIC MONTREAL. 
 
 209 
 
 BENNETT MATEACK was born at Wilmington, Del., 4th Oct, 
 1842 ; died in Brooklyn, 19th Aug., 1898. We find him first as 
 
 an amateur in Wheatley’s Association, during which time he played 
 Ham.et in Phi.adelpma. His first important engagement was at 
 Booth’s Theatre in a production of Sardanapalus in 1876. In 
 ran 160 nights. During his career he played with Anna Dickinson, 
 F. B. Warde, Roland Reed and T. W. Keene. He starred two 
 seasons in “A Celebrated Case,” “Hamlet” and “Virginius,” and 
 had latieriy been teaching elocution. 
 
 THE CENTURY YEAR 
 
 of Montreal theatricals was opened in 1886 by Dominick 
 Murray in “Escape from Sing Sing,’’ week 4th January, fol- 
 lowed by the stellar debut here of Edwin Arden, in “ Eagle’s 
 Nest,” week nth. Frederick Bock came week i8th in “The 
 Power of Money^’; Gibson & Ryan, in “Irish Aristocracy,’" 
 week of 25th; James Hardie and Von Leer, in “A Brave Wo- 
 man” week Feb. i ; Miss Buckingham, in “Mazeppa,” week 
 8th February; Jos. J. Dowling and Sadie Hasson, in “No- 
 body’s Claim,’^ week 15th; “Argonauts of 49,’’ week 22nd; 
 J. Z. Little, in “Th^ Wo*rld,” week ist March; Lilly Clay’s 
 “Adamless Eden,” week 8th ; Geo. C. Boniface, in “Streets of 
 New York,” week 15th; Pauline Markham, in “The Two 
 Orphans,” “Led Astray,” “Camille,” and “East Lynne,” week 
 22nd; Austin’s Novelty Co., including the Austin Sisters, 
 week 29th; Frances Bishop, in “Mugg’s Landing,’^ week 5th 
 April. Leavitt’s Vaudeville Co. came week 12th April; and 
 Louise Pomeroy, supported by her husband, Arthur Elliott, 
 began week 9th April in Shakespearean repertory, including 
 “Hamlet,” “As You Like It,” “Romeo and Juliet,” “Richard 
 HI.,” and a few standard dramas. The opening bill, “En- 
 gaged,” was performed under the disadvantages of the flood 
 filling the entire orchestral portion of the house, which was 
 illuminated by oil lamps. The engagement was, neverthe- 
 less, a financial, as well as an artistic success. Miss Pomeroy 
 being greatly praised for her characterization of the melancholy 
 Prince, as well as for her other assumptions. This was her 
 first and last engagement here. The Rentz-Santley Combina- 
 tion followed week 26th; and Nicholas S. Wood, the “Bo^^ 
 Actor,’^ came week 3rd May, being seen in “Th'e Boy Detec- 
 tive,” and “The Boy Scout.” Edwin Arden, in “Eagle’^^ 
 Nest,” returned week loth May; Grav and Stevens, in “Saved 
 :.-from the Storm,” week 17th; O. D. Byron’s “Across the Coti- 
 
 14 
 
2llO 
 
 HISTRIONIC MONTREAL. 
 
 tinent/' week 24th; “Zozo, the Magic Queen/' week 31st; 
 H. P. Chanfrau, in “Kit, the Arkansas Traveller/' week 7th 
 June; Billy Kersand's Minstrels, week 14th; and Corinne, in 
 extensive comic opera repertoire, two weeks from 21st. The 
 Company remained over until 5th July, on which date was 
 tendered a benefit to the attaches of the house, which closed 
 until 9th August, when the season was reopened by Clap- 
 ham's Minstrels, followed by George H. Adams, in “Humpty- 
 Dumpty/’ week i6th; “A Cold Day," week 23rd; James C. 
 Padgett (died i6th February, 1896), in “The Long Strike," 
 supported by Emily Fairchild, week 30th; Ben Maginley, in 
 “May Blossoms,'' week 6th September; Horace Lewis, in 
 “Monte Cristo/' and “Two Nights in Rome," week 13th; 
 Harry Lacy and Edna Carey, in "“The Planter’s Wife,’' week 
 20th ; Gray and Stephens, in “ Storm Beaten," week 27th ; 
 Phosa McAllister, in “Taken from Life,'' week 4th October. 
 During the Saturday matinee performance a small panic was 
 .caused by the noise of a small boy being rushed down the 
 back stairs by a stalwart “bouncer." No person was hurt, 
 and, after a few minutes of interruption, the play proceeded. 
 The Wilbur Opera Co. was heard in standard repertoire week 
 nth; King Hedl’ey, in “Youth,’' week i8th; Victory Bate- 
 man and John Burke, in “Romany Rye/’ week 25th; Murray, 
 in “Escaped from Sing Sing," and “From Palace to Prison," 
 week 1st November; Gray and Stephens, in “Without a 
 Home," and “Saved from the Storm,'’ week 9th; Austin’s 
 Novelty Co., week 15th; “A Prisoner for Life," week 22nd; 
 “The World," week 29th; Edwin F. Thorne, in “The Black 
 Flag,” week 6th December; Neil Burgess in “Vim,” week 
 13th; “The Pulse of New York," week 20th; and “Blackmail,” 
 week 27th, introduced the reputed Brooklyn bridge jumper, 
 Steve Brodie. This attraction closed the year, as well as the 
 annals of the theatre so far as the compass of this compila- 
 tion is concerned. Inasmuch as the lis-t of subsequent at- 
 tractions have varied little from year to year, the task of read- 
 ing the events would necessarily be as monotonous to the 
 reader as recording them would be laborious to th-e compiler. 
 The partnership existing between Sparrow and Jacobs was 
 dissolved in 1898, when Mr. Sparrow became sole lessee. 
 
 MINNIE OSCAR GRAY made her first appearance in John T. 
 Raymond’s company at Savannah, Ga., in 1870. In 1878 she besran 
 "tarring with her husband, William T. Stephens, at Baltimore, Md., 
 and by a strange coincidence she made her last stage appearance 
 
HISTRIONIC MONTREAL. 
 
 21 I 
 
 also in that city in 1893, retiring for a few years. She has s'ince 
 returned to the boards^ however, and is at present touring in the 
 b^nglish provinces. 
 
 LOUISE POMEROY-ELLIOTT was the daugter of Col. Ryder» 
 of Cleveland, O., and was in her fortieth year when she died, 7th Jan- 
 uary, 1893. Her first husband, whom she wedded in 1871, was Mark M 
 (“Brick”) Pomeroy. She had been a pupil of the old-time tragedian, 
 J. B. Roberts, and on her wedding day her husband gave her, as a gift' 
 an Opera House in the West, valued at $75,000. Her first profes- 
 sional appearance on the stage was i6th October, 1876, when she 
 appeared as Juliet at the Lyceum Theatre, New York. Her inclination 
 for the stage resulted in a choice in 1877, and in 1885 she visited 
 Australia, where she met Arthur Elliott, a tragedian, whom* she 
 married in 1883. Mr. and Mrs. Elliott came to America in 1884, and 
 began starring on their own account, as well as appearing in leading 
 support to other stars. Mrs. Elliott possessed good literary ability 
 and had played nearly all of Shakespeare’s heroines as well as portray- 
 ing a very strong and intelligent characterization of Hamlet. Arthur 
 Elliott during the fall of 1900 was the leading man of Mr. Grose’s 
 Montreal Stock Company. 
 
 JOHN Z. LITTLE^ a native of Philadelphia, was at one time 
 manager of a theatre in Chicago. He toured the country in “The 
 World,” in which production he played the leading part, and was 
 financially successful. He died 9th March, 1900, aged 62. 
 
 GEORGE C. BONIFACE^ born in New York city in 1833, first 
 appeared on the amateur stage as a member of the Olympic Theatre 
 company, and subsequently joined the stock company of the Holiday 
 Street Theatre, Baltimore, making his first professional appearance as 
 Capt Blenheim in “The Rough Diamond.” After three months he 
 became a member of the Pittsburg Company, and in 1851 he appeared 
 at the Richmond Hill Theatre, New York, with Mr. and Mrs. John 
 Drew. After gaining some experience in other large cities, Mr. 
 Boniface opened at the Bowery Theatre as a joint star with George 
 Arnold, playing lago to his Othello. I quote the following from his 
 own narrative: “This was a very few years after I left New York 
 
 a fledgeling, and when my old friends all came to see me and made 
 a littlie tin god of me» I was quite proud of myself, you may be sure. 
 
 I next went to Richmond, playing opposite parts to James H. 
 Taylor, and was next in support of Junius Brutus Booth as Ratcliff 
 in ‘Richard IIL’ I was not given the part until the night before I 
 was to play it, and was nervous at the prospect. I thought that I 
 had it pretty well, however, until King Richard said to Ratcliff : How 
 nozv ? What news ? I sjiould have answered *My gracious sovereign, 
 upon the western coast there rideth a puissant navy* etc. But my memory 
 
212 
 
 HISTRIONIC MONTREAL. 
 
 had deserted me ; all I could say was : 'There's a big Heel coming up 
 
 the hay* " Mr Boniface was afterwards seen in the support of such 
 stars as^ Forrest, Cushman, Heron, and in 1864 toured through the West 
 in a round of Shakespearean roles. Mr. Boniface continues as 
 follows : “Then I came back to New York, and played the leading 
 
 juvenile part in ‘The Black Crook,’ and afterward did the same kind 
 of work in “The Twelve Temptations.’ The Boston Globe Theatre 
 was my next field of activity. I was leading juvenile and chief support 
 of Edwin Forrest during his engagement there. One day Mr. Forrest 
 was taken suddenly ill and at 6 o’clock in the evening I was asked if 
 I would play Richelieu in Forrest’s place that night. I played the role. 
 Then I went on a starring tour to Dublin, came back and opened 
 about 1870 at Wallack’s Theatre in the original production of 
 ‘Pygmalion and Galatea,’ originating the role of Pygmalion. I was 
 also the original Micawher at Niblo’s Garden in 1869, and the original 
 David Garrick at the Broadway Theatre, New York. Of recent years 
 I have starred in ‘Soldiers of Trust,’ ‘Micawber,’ ‘David Garrick, 
 ‘The Streets of New York.’ ‘Under Cover’ and ‘Rosedale.’ For 
 three seasons, from 1889 to 1892, I was a member of the Boston 
 Museum stock company, and was in the original cast of ‘All the 
 Comforts of Home.’ And this brings us pretty nearly up to date, 
 
 S. WOOD was born at Bingen on the Rhine in 1861, 
 and first appeared on the stage at Booth’s Theatre in 1871 as a page 
 in “Romeo and Juliet.” When he was only fourteen he made his 
 appearance as a star as “Poor Joe” at the same theatre. During the 
 engagement he played “Hamlet,” and subsequently enacted “The Boy 
 Detective” at the Old Bowery Theatre. He has also appeared in 
 the following dramas: “Fool’s Revenge,” “Richard III.,” “Jack 
 Sheppard” “Boy Scout,” “Dick, the Newsboy,” “Jack Harkaway.” 
 He has also appeared with Lester Wallack in the comedy of “A Scrap 
 of Paper” and “My Awful Dad” in New York city for a period of 
 eleven weeks. The newsboys and bootblacks are especially fond 
 of him, and the Philadelphia newsboys at one time showed their 
 appreciation of him by presenting him with an elegant gold medal, 
 which he now wears. 
 
 EDWIN ARDEN (real name Edwin Smith), a capable young 
 actor, proved to be a strong drawing card for sleveral seasons in 
 “Eagle’s Nest,” which he wrote in collaboration with his father. 
 Arden Smith. They were also the joint authors of “Raglan’s Way,” 
 also the dramatization of “Louis XI.,” from Sir Walter Scott’s 
 “Quinten Durward,” for Thos. W- Keene, the tragedian. Mr. Arden 
 is married to Mr. Keene’s daughter. His father, Arden Smith, died in 
 Oct., 1897. Edwin Arden was born in 1861, and first appeared on the 
 stage in Chicago in 1882, as Tyrrel in “Richard III.” He starred for 
 six years in “Eagle’s Nest,” following which he was for two' seasons 
 in support of W. H. Crane and one season with Julia Arthur. 
 
HISTRIONIC MONTREAL. 
 
 213 
 
 Among the prominent people who have had the curtain rune 
 down on them for the last time are : 
 
 at the Theatre Royal, week 
 of 28th April, 1887, died i6th March, 1891. He was born in 1836, and 
 hrst appeared on the stage in 1862. He was featuring as an expert 
 shooter m ‘‘Si Slocum,” and by an unfortunate miss caused the death 
 of his leading lady, Annie Von Behren, 30th November, 1882. 
 
 JAMES L EDWARDS, last seen here week of gth October, 1888 
 as Jack Herne m The Romany Rye,” died 14th June, 1891, in his 
 thirty-eighth year. At the time of his death he was a member of H R 
 Jacob s company playing “The Way of the World” at Havlin’s The- 
 atre, Chicago, and was found dead in his room. Mr. Edwards was 
 a vigorous actor, and had of late years played leads in numerous 
 ravelling companies and in support of well-known stars. 
 
 DAN McCarthy, so popular in “True Irish Hearts,” in which 
 he starred from 1886 to 1892, died 15th Jan., 1899, aged 39. He and 
 his wife, Kittie Coleman, first appeared in the varieties. 
 
 GEORGE T. UEMER, frequently seen here, died at Tuneai. 
 (Klondike) ist March, 1899, aged 51- He had been a d/ummer 
 in the Civil war, and his first stage efforts were as a member of the 
 belwyn stock company in Boston, 1868. He was the husband of 
 Lizzie May Ulmer. 
 
 THE DOMINION THEATRE, 
 
 situated on Gosford Hill, between St. Louis and Champ de 
 Mars streets, was Montreal’s eleventh theatre. It was the 
 original Trinity Church, and, later, the “Garrison Chapel.’’ 
 The place was afterwards used as militia offices, and in time 
 purchased by the Catholic diocese of Montreal. In 1870 the 
 property passed into the hands of John A. Rafter, the pur- 
 chase price amounting to $11,000, and several thousand dol- 
 lars more were expended in fitting up the place for theatrical 
 purposes. It had one gallery, and altogether had a seating 
 capacity for 1,000 or 1,200. The property was held by Mr. 
 Rafter until 1878, when it was purchased by Michel Lefebvre 
 for a vinegar factory. Andrew Brissett & Fils are its present 
 occupants. Melvin (Diamond) Smith was its first lessee; 
 then McLeish and Fortin assumed control. During a short 
 season, commencing 21st September, Hartley Neuville was 
 the manager. The house was then known as the Palace Musi- 
 cale. Neuville was fairly successful, but was under rather 
 high rental, having a sublease from Fortin. During the 
 month of November the name of the theatre changed to 
 Neuville’s Variety Theatre. The principal attraction was 
 
214 
 
 HISTRIONIC MONTREAL. 
 
 Miss Sophie Neuvilfe at the head of vaudeville performances. 
 ^‘George Pogey’' was a favorite production, and in its cast 
 appeared the leading people attached to the house, viz.: Hart- 
 ley Neuvill-e, Albert Smith, J. Elseman, G. Esmond, Jacob 
 Nibbs, Sophie Neuville and Annie Hindle. It continued 
 under the same management until the spring, when, after a 
 short close, it reopened as the New Dominion Theatre, 4th 
 August, 1873, under the management and lesseeship of A. 
 Macfarlane, with the Zanfretta Ravel Troupe, which included 
 at the time Jessie Macfarlane and Jennie Kimball, then a serio- 
 comic artist. 
 
 MRS. JENNIE KIMBALL, the well-known manageress, died 
 March 23, 1896, in St. Paul, Minn. She was born in New Orleans, 
 La., June 23, 1848. Her first public appearance was as Obeda in '‘Blue- 
 beard” at the Boston Theatre, in 1855. On the completion of her 
 studies she was engaged for leading soubrette business at the Con- 
 tinental Theatre, Boston, in 1868, appearing as Cinderella in Byron’s 
 Burlesque and Stalacta in “The Black Crook.” In 1881 ^liss Kimball 
 commenced her career as a manageress, organizing an opera 
 company of juveniles, of which Corinne was the star- They continued 
 uninterruptedly successful until the interference of the Society for 
 the Prevention of Cruelty to Children, of New York city. After the 
 celebrated trial, which gave Mrs. Kimball and Corinne much notoriety, 
 they played throughout the United States and Canada, meeting with 
 considerable success. Mrs. Kimball had a capacity for work that 
 was something marvellous, and had by her untiring energy and 
 executive ability brought Corinne to the front rank as a star. Mrs. 
 Kimball, who was a widow, was married to Arling Schaefer, October 
 
 1893, at Milwaukee, Wis. 
 
 The management of the house changed hands in Novem- 
 ber, George J. D eagle assuming control and continuing in 
 vaudeville features until the spring of 1874, when E. M. Hall 
 became manager under the lesseeship of Gonghier and Mal- 
 lette. In April we find the style changed to the Royal Opera 
 House. On loth November Shoemaker and Leslie became 
 its managers, and among its principal attractions was Annie 
 Hindle, the well-known male impersonator. 
 
 ANNIE HINDLE. In Jersey City, N.J., in 1892. occurred one of 
 the strangest funeral spectacles ever witnessed in this or in any other 
 country. Annie Ryan, the wife, was dead, and Annie Hindle, the 
 husband, was burying her. Beside Annie Hindle being a woman's 
 widower she was also a man’s widow. What wonder that the funeral 
 was unique. About 1852, Annie Hindle, then 5 years old, was adopt- 
 
HISTRIONIC MONTREAL. 
 
 215 
 
 ed by a woman in England and went on the London stage. She was 
 popular as a singer from the start, and as she grew older her popular- 
 ity increased. Her forte was as a “male impersonator.” In 1867 
 she came to New York, and her accuracy of mimicry reaped fame 
 and dollars. At the same time Charles Vivian, an English actor and 
 founder of the Order of Elks, was in this country, and he and Annie 
 fell in love. In 1868 they were married in Philadelphia, Pa., and a 
 few months later separated forever at Denver, Col. In 1880 Vivian 
 died at Leadville. Annie continued on the stage, gaining fame, making 
 friends and winning money. One of those who waited upon her in 
 her character as “male impersonator” was Annie Ryan They were 
 much attached to each other, and one night in June, 1886, the couple 
 were married by a minister at Grand Rapids, Mich. For four or 
 five years Annie Hindle and her wife, Annie Ryan, lived happily on 
 Jersey City Heights, in a neat little house which Hindle had built 
 years before. The neighbors respected them; the world did not 
 disturb them with its gossip; fortune was kind to them. There were 
 many mourners over the bier of Annie, but the deepest sorrower 
 was Annie Hindle. A strange fate has overtaken Annie Hindle, who 
 has passed her life impersonating men on the variety stage. She has 
 grown a moustache, and believes at times that she is a man. In male 
 dress she presents all the appearance of an ordinary man. Annie 
 Hindle was originally a rather pretty girl, very thick set and sturdy 
 in physique. A faint line of black hair adorned her upper lip. 
 Then she shaved the lip, with the result that the hair came out thicker 
 than before. When she took to impersonating men on the stage 
 she shaved regularly, and eventually succeeded in raising a fine 
 moustache. She also shaved her chin, and that part of her face pre 
 sents the customary appearance of a shaven surface. Her voice e 
 came masculine in tone, and recently it appears that her min as 
 become somewhat unhinged on the subject of her sex- 
 
 Gerty Granville was also a favorite during this time, her 
 song of “Down in a Coal Mine’’ being very popular, as was 
 also Iona Lang. The Ben De Bar season of 1875 '^vas the 
 most notable in the history of the theatre, which again 
 changed its name to De Bar’s Opera House on 3rd May, 
 under Mr. De Bar’s management, with Baker and Farron 
 in “Chris and Lena.” The tragedian, T. C. King, appeared, 
 17th, in “ Macbeth‘S ; “ Richelieui,’’ i8th ; “Hamlet,’^ 19th ; 
 '‘Othello,” 2oth; “Pizarro,” 21st; and “Ingomar,’’ 22nd, when 
 he closed. Dominick Murray came week 24th; Ada Gray 
 week 31st; J. J. Wallace, in “The Man from America,” week 
 7th June; George L. Fox, in “Humpty Dumpty,” week 14th; 
 Rose Wood and Lewis Morrison, in “A Bit o’ Ash,” week 
 
216 
 
 HISTRIONIC MONTREAL. 
 
 2 1 St, this being Mr. Morrison’s first star appearance in Mont- 
 real. P. E. Sullivan, in “Kathleen Mavourneen,*’ was seen 
 28th June. Thomas G. Riggs and W. F. Harris appeared 
 week 29th; and Daly’s Company, which had been fulfilling an 
 engagement at the Theatre Royal during the previous week, 
 opened in “A Big Bonanza,” 5th July, for week. Following 
 came Lizzie Pierson and Charlotte M. Stanley in '‘The Marble 
 Heart.” Tony Pastor, Belvil Ryan, Troupe of Japs, Lizzie 
 Wilkinson and John Thompson starred successively, and on 
 23rd August Rena and Fred. G. Maeder appeared in “Hazel 
 Eye,’’ and “Kit Carson.” Augusta L. Dargon, in “Camille,” 
 and “Lucretia Borgia,’’ came week 30th; Miss J. Vandyke 
 week 6th September; John Dillon w^ek 14th; and a retuirn 
 engagement, 20th, of Thos. C. King in Shakespearean reper- 
 toire. The season closed 27th, with “Belphegor,” in a bene- 
 fit performance to Henry W. Mitchell ; King was Belphegor 
 and Lizzie Pierson the Madeline. 
 
 AUGUSTA li. DARGON, the Irish tragedienne, was the daughter 
 of a physician, whose father was General Dargon, a well-known Irish 
 patriot. Miss Dargon’s mother was Scotch. Augusta came to 
 America at an early age, and it was at the suggestion of Horace 
 Greeley that she first gave a series of readings. Meeting with some 
 success she adopted the st^ge as a profession. She was fulfilling an 
 engagement in Chicago on the night of the great fire, 8th October 
 1871, and was the victim of serious injuries, which obliged her to go 
 to Paris for treatment, and interrupted her career for a time. Her 
 record in America was not a brilliant one, but in Australia she was 
 m.ore enthusiastically received. 
 
 LEWIS MORRISON was born in Jamaica, W.I., 4th September, 
 1844. He had scarcely attained his majority when he became an 
 officer in the U. S. army, in which he served three years and six 
 months. He was one of the forlorn hope of Port Hudson. In 1863 he 
 entered the dramatic profession at New Orleans, under Barrett’s 
 management. He made rapid progress and soon rose to be a recog- 
 nized leading man, his work in that capacity being well received at the 
 Walnut Street Theatre. He subsequently supported Salvini, playing 
 lago to the Italian’s Othello, etc. Since commencing an independent 
 starring career some ten years ago this actor has met with consider- 
 able success, both artistically as well as financially. His principal 
 production has been “Faust,” but he has of late years also appeared 
 with deserved approbation in revivals of Howell’s “Yorick’s Love,” 
 made familiar to us by Lawrence Barrett. Richelieu” was played by Mr. 
 Morrison for the first time on 24th September, 1892, at the Queen’s 
 Theatre, Montreal. He has of late added two new plays to his reper- 
 
HISTRIONIC MONTREAL. 
 
 217 
 
 toire, “The Master of Ceremonies,” and “Frederick the Great.” 
 His second wife is Florence Roberts. The actor first married Rose 
 Wood, daughter of Wm. A. Wood, 28th August, 1865. Florence 
 Roberts’ first husband was Walter Gale, whom she married 15th 
 April, 1882. 
 
 THOMAS GRATTAN RIGGS was an exceedingly droll comedian, 
 who for many years entertained delightful audiences. He was born 
 at Buffalo, N.Y., in 1835, and was best known in vaudeville features 
 of Irish parts. He went to Australia in the seventies and played 
 there for many years. He died in Tasmania 15th June, 1899. 
 
 GEORGE Ti FOX, probably the most celebrated pantomimist since 
 the days of Grimaldi, was born in Boston in 1825. He first appeared 
 on the boards in his fifth year at the Tremont Theatre in a benefit 
 performance to Chas. Kean, and in New York in 1850, in the “Demon 
 of the Forest.” He served in the war and was at Bull Run. Return- 
 ing to the stage in July, 1861, he subsequently became manager of the 
 old Bowery Theatre. It was at the Olympia in 1867-68 that he made 
 his great hit in “Humpty Dumpty.” His flight was not high as an 
 artist, but within it he was unsurpassed, his humor being a most 
 spontaneous and irresistible drollery. He died in Cambridge, Mass., 
 24th October, 1877. 
 
 JOHN DILLON (John Daily Marum), born in Ireland, 1831, came 
 to America at the age of seventeen. He was early doing stock work 
 under Laura Keene and others, and later starred in “The Crucible,” 
 and “State’s Attorney.” 
 
 During the 1876 season the style was once more changed, 
 the theatre being called the Champ de Mars Theatre. Chas. 
 L. Howard was the manager. A season of vaudeville ensued, 
 and on 17th August, Denman Thompson appeared in the first 
 draft of ‘'The Old Homestead,” then known as “Joshua Whit- 
 comb.” The year following was without interest, and in 
 1878, which was the last in the history of the house as a the- 
 atre, it became known again as the Dominion Theatre. The 
 opening was cn 3rd June, with Mile. Lefavre^s Burlesque 
 Troupe, which continu’ed for a few weeks. Wood and West 
 became its managers and lessees 6th August, when the house 
 was called Wood and West’s Varieties. John B. Sparrow 
 was the next, and last recorded, lessee, opening a three weeks’ 
 season with May Fisk’s British Blondes. Capt. Bogardus 
 and others also appeared during the short season. The the- 
 atre was never a money-malcer for its lessees, and at odd 
 times during its two last years of existence some of the most 
 
2l8 
 
 HISTRIONIC MONTREAL. 
 
 objectionable scenes were represented within its walls, of 
 which “Bathing in the Nile,’’ and kindred attractions, may be 
 remembered as fair specimens of the prevailing taste of our 
 play-goers. An interesting diversion of the pit was “toss- 
 ing.” A boy on a back bench would say, “Toss me,” and 
 two or three of his companions would pick him up and swing 
 him over the head of those in front. The latter^ upon whose 
 heads he had landed, would forward him with another swing, 
 and, finally, he would arrive at the front bench, where he was 
 privileged to stay as a reward for the hardships of his flight. 
 The building has scarcely changed its appearance during the 
 past twenty years, still being in a good state of preservation. 
 
 THE ACADEMY OF MUSIC. 
 
 This structure, which is situated on the east side of Victoria 
 street, a few doors above St. Cath'erine street, was commenced 
 early in 1875, the late Mr. Taft being the architect. It has a 
 neat exterior, and is built of brick with a stone frontage. The 
 interior consists of four box’es, four stalls, two galleries, and 
 has a seating capacity of about 2,000. It was erected by a 
 company composed of the late Sir Hugh Allan as president; 
 Chas. D. Tylee, secretary; Harrison Stephens, Boswell Fish-er 
 and others. The late Kugene A. McDowell was the first 
 manager, and its opening took place on th*e 15th November, 
 1875, with Lester Wallack’s military drama, ‘ Rosedale, ’ 
 McDowell appearing as CoL Eliot Gray, and Miss Fanny 
 Reeves as Rosa Leigh. Chief in the supporting stock com- 
 pany were Mr. and Mrs. Charles Loveday, Jos. Alfred Smith, 
 Affle Weaver, Felix J. Morris, Fred. Bryton (then known as 
 Fred. O. Smith), Victoria Cameron and Florence Vincent. 
 G. B. Greene was the business manager. On the 4th of 
 June, 1877, reins of office passed into the hands of John 
 W. Norton, who was in turn succeeded by F. J. Morris & Co. 
 in August. William Nannary assumed affairs in December, 
 continuing until September, 1878, when Lucien Barnes ven- 
 tured his chances. After a very short season he left for parts 
 unknown, and it is said that some of his creditors are still 
 looking for him. He is now living in Oiicago, and reputed to 
 be quite wealthy. Barues’ successor was George Wallace, 
 the journalist, who met with better success. In 1880 Henry 
 Thomas became lessee and manager. He was closeb* as- 
 sisted by Mrs. Thomas, who continued to conduct the affairs 
 
HISTRIONIC MONTREAL. 
 
 219 
 
 of the theatre after her husband’s death in 1893. This clever 
 woman faced the ordeal of opposition and business depres- 
 sion single-handed, and with success up to the occasion of 
 her marriage with Mr. Frank Murphy, when the labors be- 
 came divided. The Allan family, who had in time acquired 
 all the shares of the theatre, sold the property after the death 
 of Henry Thomas, in March, 1894, to David Walker, for 
 $60,000. In the first week of January, 1877, during a per- 
 formance of “ The Naiad Queen,’' the building suddenly 
 settled, the top gallery sinking fully five inches. Matters 
 grew worse and worse, until March, 1896, when the building 
 was officially condemned. The Murphys retired from the 
 management and leased the Monument National Auditorium, 
 where w^as produced, week of i6th March, Palmer Cox’s 
 ‘‘Brownies." Since then the work of reconstructing the the- 
 atre has been well done, three of the walls having been en- 
 tirely rebuilt. Messrs. Sparrow and Jacobs, already lessees 
 of the Theatre Royal and Queen’s Theatre, assumed control 
 of the new Academy, which was reopened 7th September, 
 1896, with De Wolf Hopper in “El Capitan.’’ Sparrow and 
 Jacobs continued together until early in 1898, when, after 
 some litigation, Mr. Jacobs retired. W. A. Edwards became 
 Mr. Sparrow’s representative in 1896. This is the brief out- 
 line of the Theatre’s twenty-five years’ history. 
 
 Following the opening bill of “Rosedale,’’ 15th November, 
 1875 (fii*st produced at Wallack’s Theatre, New York, 30th 
 September, 1863), came “ Saratoga,” and Gertrude Kellogg 
 appeared, week 22nd, in “Mary Warner.” The stock com- 
 pany appeared in the following pieces successively until the 
 end of the year : the Fifth Avenue successes, “ Divorce,” 
 “Pique,” “A Big Bonanza,’’ “Saratoga,” and “Under the Gas- 
 light’’; the Union Square pieces, “The Two Orphans,” “The 
 Geneva Cross,” and “Rose Michel’’; also “Ticket-of-Leave 
 Man,” “ Arrah na Pogiue,” “ Married Life,” “ My Uncle’s 
 WillJ’ “Turn Him Out,” “Cinderella,’’ and, 14th and 15th 
 December, the prima-donna, Clara Fisher, appeared in “The 
 Rose of Castile.’’ 
 
 Writing of this period, Felix Morris says: “The opening night 
 
 of the new theatre in Montreal came, and with it a packed house and 
 splendid audience. ‘Rosedale' was the attraction, and the ver- 
 dict was unanimously a great ‘go.' My popularity was quickly at 
 the full, our receipts were very large, and the harvest never-ending. 
 
220 
 
 HISTP^IONIC MONTREAL. 
 
 And yet I had the utmost difficulty in getting my salary. Our 
 business manager had a knack of vanishing behind doors and of 
 disappearing around corners, and, as for excuses, he was a perfect 
 master in the art. My salary was very small considering the posi- 
 tion I held and the popularity I enjoyed. I was urged by my fellow 
 actors, Frederic Bryton among the number, to insist upon an in- 
 crease. This I hesitated to do, for I was happy in the enjoyment 
 of my extraordinary popularity, and in the knowledge that my name 
 was a household word. Numberless considerations influenced me 
 in my hesitation about asking for adequate compensation, but at 
 last I summoned up courage and approached my manager. An 
 opportunity to attack him offered at his hotel, and I lured him into 
 the smooking-room, which happened to be vacant. He was unsus- 
 picious of my motive, and slapped me on the back, and in plea- 
 sant tones assured me of his esteem. I hummed and hawed a little, 
 and then ejaculated the words, ‘Increase my salary!’ With a broken, 
 disgusted look, and a smothered groan, he sank into a chair like 
 a man striken with disease, and actually wept. ‘My boy,’ said he, 
 between sobs, ‘after all my kindness, after all I’ve done for you! 
 Why, Felix, I’ve made you, and this is your gratitude?’ I never 
 felt so guilty in all my life, and vainly tried to comfort him. The 
 scene ended in my being almost as much affected as he was, and 
 away I went, loathing myself for having caused his gentle heart 
 such pain. On comparing notes with my fellow actors, I found my 
 account of the interview was received with the utmost hilarity, and 
 that the whole scene was simply a chesnut.” 
 
 EUGENE A. McDOWELEwas a conscientious actor and a pains- 
 taking manager, never grumbling at the cost of mounting a play 
 properly. He was a favorite with every one, being most affable and 
 courteous, and was a staunch friend. He was born at South River. 
 New Jersey, in 1845. He went on the stage at an early age and very 
 soon became known in theatrical circles as a very promising actor 
 and capital stage manager. It was at the outset of his career that 
 he was engaged to manage the affairs of Montreal’s new temple of 
 art as well as to play leading business in the lighter parts of standard 
 drama. It has been well said that not only did Mr. McDowell and 
 Miss Fanny Reeves capture their audience by their charming acting, 
 but that they also became susceptible to each other’s charms and from 
 making love to each other in fun, it became real, with the result that 
 they were married, the event taking place at the church of St. James 
 the Apostle, the bride being given away by Sir Hugh Allan, who 
 had taken a fancy to the young couple. This event occurred 30th 
 January, 1877. on the eve of his lesigning the management of the house, 
 after considerable hard work and very little financial success. It 
 was not the time of star touring combinations, and although excellent 
 performances were given by the stock company the system met with 
 
HISTRIONIC MONTREAL. 
 
 221 
 
 less support from the fickle public. After retiring from the manage- 
 ment of the theatre here, Mr. and Mrs. McDowell engaged a com- 
 pany of their own and started out on a starring tour. They went 
 all over Canada, playing in all the leading cities to good business 
 for years, but would lose what they made in Canada in the United 
 States. This always worried poor McDowell a great deal, and 
 he finally broke down under the strain in 1892, dying of paresis 
 at Bloomingdale, 21st February, 1893. Hisi wife and daughter 
 survive him. The patrons of the Academy and Victoria Rifles 
 will remember how beautifully he mounted “Our Regiment,” in which 
 the late Major Short, R.C.A. took the leading role, and McDowell 
 played the Chaplain in 1889. The entertainment was for the Victoria 
 Rifles Armony building fund, and was a financial and artistic success. 
 In 1891 Mr. McDowell and his wife last appeared at the Academy, 
 supported by an excellent company. He was in good health and 
 spirits then, and he would say, laughingly, to his friends, “Going 
 through Canada once more for another fortune.” 
 
 FANNY REEVES is a daughter of W. H. Reeves and a niece 
 to the great Sims Reeves- She was born in 1852, and first played 
 on the Stage with her mother and brother at Laura Keene s Theatre 
 when still a mere child. Fanny Reeves’ father was a prominent 
 tenor, at one time with the Seguin Operatic Troupe, who died in 
 1859. Her mother, Jane C. Porter, died 24th Dec., 1898, aged 78- 
 Her father was Christopher Webster, an English actor. 
 
 Neil Warner opened the year of 1876 on ist January as Sir 
 Giles Overreach in ‘‘A New Way to Pay Old Debts/’ and 
 ‘‘Robert Macaire/’ this being his first appearance at the Aca- 
 demy. Mr. Warner was engaged by the management for 
 leading heavies, and after productions of “Simpson & Co.,’ 
 “Pocahontas/’ and “The Shaughran,” he appeared as Shy- 
 lock and Macbeth, when the regular season closed. 
 
 THE YEAR 1 8 / 6 . 
 
 Productions of “Simpson & Co.,’’ “Pocahontas,” “Caste,” 
 “ Merchant of Venice,” “ Shaughran,” and “ Macbeth,” fol- 
 lowed to the end of January, when the season closed until 
 17th April, opening with “Uncle Tom’s Cabin,” first produced 
 at the Chatham Street Theatre, New York, 24th August, 
 1852. Geo. Kunkel appeared in this Montreal production, 
 supported by the regular stock company, consisting of Connie 
 Thompson, Carlotta Evelyn, Florence Chippendale (Mrs. 
 Neil Warner), Victoria Cameron, Isabel Waldron, and others. 
 
222 
 
 HISTRIONIC MONTREAL. 
 
 Following a series of standard productions came Edwin F, 
 Thorne, as D’Artagnan in Dumas’ story, 14th June; then Geo. 
 F. Rowe in “Brass”; the Yokes Family, consisting of Rosina, 
 Victoria, Jessie, Fred and Fawdon, their Montreal debut, 24th 
 July, in “Belles of the Kitchen,” and “Delicate Ground.” 
 isabel Mo'iris, sister of Felix, began nth August in “Lan- 
 cers,” this being her first appearance here. Joseph Murphy, 
 in “Kerry Gow,” made his first appearance at this house 14th 
 August. The season closed 26th August with “The Shaugh- 
 ran.” Sir Randall Howland Roberts was seen in “ Don 
 Caesar,” and “King O’Neil,” 13th October. 
 
 THE VOKES FAMILY were all born at London, Eng. The four 
 eldest made their appearance in America in 1868. They subsequently 
 became scattered. Fred. M. was born in 1846. Jessie and Victoria 
 appeared on the stage at the ages of four and two years respectively. 
 Victoria was not only a comedienne and singer, but attempted higher 
 walks in her earlier days, when she appeared as Amy Robsarf at Dfury 
 Lane Theatre. Her last appearance as a star in Montreal was 
 at the Academy of Music, week 2nd October, 1889. Her tour was not 
 a success. She died in London, 2nd of December, 1894. Fawden 
 (who was a Vokes by profession only) made his debut at the Lyceum 
 Theatre, London, in 1868, in “Humpty Dumpty.'’ Poor Rosina ! 
 How well we remember her high spirits, her impetuous laugh and 
 that saucy toss of the head. Her husband, Cecil Clay, had been an 
 attorney, and after their marriage Rosina retired from the stage, 
 but reverses brought her back in 1884, under the management of her 
 husband. We shall not soon forget her clever work on the boards 
 of the Academy, when so ably supported by our late lamented friend, 
 Felix J. Morris. She died of consumption ist of January, 1894* 
 
 ‘'Her ’art was true to Poll.” 
 
 FELIX JAMES MORRIS was born in England, 25th April, 1850, 
 and first studied medicine. His father attempted to dissuade the 
 boy from going on the stage, but without success, and, after consider- 
 able privations after coming to America, was encouraged by J. W. 
 Albaugh, where at Albany he was given speaking parts. In 1875 
 he came to Montreal, remaining two seasons as a member of^ the 
 Academy stock, and during a part of the third season was joint 
 manager and lessee with Neil Warner. Following an engagement with 
 
HISTRIONIC MONTREAL. 
 
 223 
 
 Lotta, he went with Boucicault, and then into the production of the 
 stage version of “Michael Strogoff” in Booth’s Theatre in the 
 metropolis, scoring heavily as one of the comic correspondents 
 Oomg to London, he made a hit there in “On Change.” It was 
 following his return from England that he became associated with the 
 late Rosma Voices, in whose company he first became known to the 
 general theatre-goer as a player of fine intelligence, considerable ver- 
 satility, and a genius for detail that mounted to a positive defect. Miss 
 Yokes had not been too successful in her effort to establish herself as a 
 star in bills consisting of three pieces in the course of a single evening 
 although her vehicles were clever and her company composed of play- 
 ers of skill and ability. Morris succeeded Weedon Grossmith in the 
 genre-roles of the repertoire. He was co-starred, or, rather, fea- 
 tured with Regina Yokes. The scheme of arrangement put him for 
 ward as the star of the first play of each evening. The second had 
 Miss Yokes in the principal role. The third would give both players 
 equal opportunities. Morris gave us some excellent acting during his 
 association with the English comedienne. His best work was in the 
 roles in short plays permitting of elaborate characterization. His 
 picture of the old aristocrat in “A Game of Cards” marked his very 
 best achievement. In a character calling for sustained impersonation 
 throughout an entire evening, Morris usually grew monotonous; for 
 he didn t possess the “voice various,” and his work was generally all 
 in one key. After leaving Miss Yokes, Morris tried starring, but the 
 venture was quite unsuccessful. He played, for a short period in Lon- 
 don, and then returned, joining the Daniel Frohman “stock.” He 
 was a member of the company at the time of his death, although his 
 arrangement with the management permitted him to appear in the 
 varieties when not wanted for the play in course of presentment. Mr. 
 Morris married Mary B. Schoot, who is better known by her stage 
 name, Florence Wood. They first met at Halifax and were married 
 at San Francisco. The popular comedian died at New York city, 
 13th January, 1900, being survived by his widow, a son and two 
 daughters, Felice and Mildred. 
 
 SIR RANDALL H. ROBERTS, actor and dramatist, died loth 
 October, 1899, aged 62. 
 
 E. A. McDowell reopened the house as lessee, with Charles 
 Arnold as business manag^er, on the 13th of December, in a 
 benefit performance for the Brooklyn fire sufferers, but it 
 closed again and was not reopened until ist January, 1877. 
 
224 
 
 HISTRIONIC MONTREAL. 
 
 THE SEASON OF 1877 
 
 was opened ist January, by “The Naiad Queen, with Clara 
 Fisher and the St. Felix Sisters as the principals. It was 
 during one of . these performances that week that the top gal- 
 lery of the theatre sank fully five inches, the building settling 
 considerably. “Uncle Tom’s Cabin ’ was produced week of 
 8th, with Alice Kemp as Topsy, E. A. McDowell as George 
 Harris, and Felix Morris as Marks. O. D. Byron, in “Across 
 the Continent,” week 15th, and “The Mystery of Edwin 
 Drood,” week 22nd, Neil Warner as John Jasper, in W^. H. 
 Young’s dramatization of Dickens’ novel. This was fol- 
 lowed by a revival of “Rosedale, ’ and on 29th Ida Savory 
 began an engagement in “As You Like It,’’ “Romeo and 
 Juliet,” “Pygmalion and Galatea,” and “Led Astray.” Dom- 
 inick Murray came week 5th February, after which the stock 
 appeared in “After Dark,” and “Rob Roy.” The great event 
 of the season, the appearance of the brightest star of them 
 all, Lilian Adelaide Neilson, under the management of Max 
 Strokosch, in five representations, supported by Neil Warner, 
 Eben Plympton, and the regular stock company. The open- 
 ing was, 27th February, in “Romeo and Juliet,” Miss Neil- 
 son as Juliet, Plympton as Romeo, Warner as Mercutio, Felix 
 Morris as Benvolio, and Florence Vincent as the Nurse. “As 
 You Like It” was given 28th; “Lady of Lyons,” ist Alarch; 
 “Twelfth Night,” 2nd March; and “The Hunchback,” 3rd. 
 This was Miss Neilson’s debut here. Her last appearance 
 here was 31st January, 1880. The stock company appeared 
 5th March in “The Shaughran,” etc., until 12th, when 
 “Daniel Druce,” with J. B. Studley, under the management of 
 Jarrett & Palmer, was produced. . George Fawcett Rowe 
 came week 19th, in “Little Em’ly,” etc., followed, 2nd April, 
 by Maffit & Bartholomew’s “Robinson Crusoe,” and “Robert 
 Macaire.” “Uncle Tom’s Cabin” was revived week 9th, 
 when George Kunkel reappeared. Rose Eytinge came i6th 
 April in “Miss Multon,” and “Love’s Sacrifice,” supported by 
 the Academy stock company. It will be interesting to note 
 that it was during this engagement of Miss Eytinge that 
 Annie Russell, the clever comedienne, made her first appear- 
 ance on the boards. Miss Russell tells the story as follows: 
 
 “ I remember very vividly my first appearance. It was when I was 
 about ten years old. in Montreal. It wasn’t accident— it was grim 
 necessity that led me to make the attempt. My mother saw an ad- 
 
WILLIAM CHARLES MAORBADY. 
 
 

HISTRIONIC MONTREAL. 
 
 225 
 
 vertisement in a newspaper for a little girl, and holding me, a small 
 and fragile looking tot, by the hand, she answered it at the stage door 
 Oi the theatre. It was my first experience with those humble en- 
 trances on a side street that I now know so well, and I was awe- 
 struck. bear and trembling filled my small soul. Nor did our re- 
 ception allay these feelings. We were told abruptly that I was much 
 too little and puny, and my mother and I turned away disheartened. 
 Hut we heard that Kose Eytinge was coming to Montreal and wanted a 
 child for the play. Miss Multon.” We applied to her advance man, 
 iuid he said 1 might learn the part. I was in the seventh heaven of 
 delight at first, and then I settled down to study. Oh, how I studied 
 and practiced those lines ! At last came the fateful day when Miss 
 
 Eytinge was to arrive in town, and I was to know whether or not I 
 
 could have the part. I was a very timid little girl, and I looked for- 
 ward with terror toward the meeting. When Miss Eytinge saw me, 
 shrinking and infantile, she exclaimed in a tone of much annoyance: 
 ‘Who ever thought that little thing could play the part ? Get me 
 -ojj^ebody at once— a woman who can play a child’s part — anybody.’ 
 
 “ ‘Just let the child repeat the lines. Miss Eytinge,’ exclaimed the 
 gentleman who said I might try the part- 
 
 “ ‘Oh, very well, but I know it’s useless. Go on, little one.’ 
 
 “ And then I began to speak the lines that I had conned over until 
 
 I could have said them in my sleep. Miss Eytinge listened atten- 
 tively until I had finished, and then exclaimed in a tone of satisfaction 
 and relief: 
 
 “ ‘Why, this little girl will do very nicely indeed.’ Thus it was that 
 I made my first appearance.” 
 
 Annie Russell, was born in Liverpool, England, in 1865. In 
 early childhood, however, her parents decided that their fortunes 
 would be bettered by migration to Canada, and in 1869 w*ere living in 
 Montreal. 
 
 John T. Raymond first appeared, week April 24, in “The 
 Gilded Age,’’ and “Col. Sellars.’’ W. H. Lytell was a pro- 
 minent figure, 30th April, in “Our Boarding-House,” and 
 during the following week, which was the last of the regular 
 season. He was seen as Passpartout in “Around the World in 
 Eighty Days.’’ Jehin Prume and Calixa Lavallee, both a 
 credit to Montreal as representative musicians, produced their 
 musical piece, “Joan of Arc,’’ week 14th May, followed 21st 
 by E. A. Sothern in “Our American Cousin” ; “Dundreary’s 
 Brother Sam,” 22nd; “The Hornet’s Nest,’’ 23rd; “David 
 Garrick,” 24th; “The Crushed Tragedian,” 25th, which was 
 repeated 26th. John W. Norton reopened the theatre 4th 
 June with Lotta, supported by C. W. Butlier and John EHsler’s 
 dramatic club, under the management of Max Strakosch, in 
 “Musette,” and “Bip.” Her first appearance here was at the 
 Theatre Royal, 21st August, 1865. H. J. Montague, in “False 
 Shame,” “Society,” etc., came week nth June, and George 
 Rignold came week i8th June in a grand production of 
 
 15 
 
226 
 
 HISTRIONIC MONTREAL. 
 
 ‘‘Henry V.'' Kate Claxton came 26th June in “The Two 
 Orphans/' and “Conscience." Jennie Hughes, in Love 
 Among the Roses," and “Caste," came 2nd July, followed by 
 Alice Oates in operatic burlesques. 
 
 This again closed the season, which was reopened by Felix 
 T. Morris & Co. as lessees and managers (Morris & Warner), 
 20th August, with a return of George Rignold in ‘ Henry V. ^ 
 Aliss Isabel Morris was the Katherine] Mr. Orvey as Bar- 
 dolphe] Mr. AFeade the Pistol; and Mr. Morris as Fluellen, 
 During the week of 28th Air. Rignold produced Amos 
 Clark,’' “Alme,'’ and subsequently “Romeo and Juliet, " he as 
 Romeo, and Alarie Wainwright, who had been one of his 
 Juliets already mentioned, as the Capulet maiden. This was 
 Aliss Wainwright's debut here. Air and Mrs. Albaugh came 
 3rd September in “Louis XI.,’' and “Victor of Rhe, sup- 
 ported by the Leland Opera House Company. On 7th 
 “Othello’' was produced with Albaugh as lago, and N-eil War- 
 ner as the Moor. The engagement closed with “Eustache.'’ 
 Rice’s “Evangeline," headed by Eliza Weathersby and Nat 
 C. Goodwin, Jun., opened week loth September. They also 
 produced “Le Petit Corsair." Joseph Alurphy, in “Kerry 
 Gow,” “Help,” etc., was seen week 17th September, followed 
 by Neil Warner and Gertrude Kellog in “The New Mag- 
 dalen," and in turn by productions of “Jo,’’ “The Two Roses," 
 “Ticket-of-Leave Man,” “Guy Mannering,” “The Taming 
 of the Shrew," “Pink Dominoes," “Kathleen Mavourneen,'' 
 “Colleen Pawn,’’ “East Lynne,’’ “Still Waters Run Deep,' 
 and 26th November Harvey Bawtree, a well-known elocu- 
 tionist, appeared as John Mildmay in a benefit performance 
 to Warner, closing the season. William Nannary became the 
 next lessee and manager, opening the house 31st December 
 with the Anna Granger-Dow English Opera Company, 
 which included Joseph Maas, tenor, and W. T. Carleton, 
 baritone. 
 
 OF THE 1877 SEASON 
 
 Air. Alorris writes : — “ We supported, during the course of 
 the season, George Fawcett Rowe, in his unrivalled per- 
 formance of Micawher, and the incomparable Adelaide 
 Neilson. We had been waiting about at the theatre for hours 
 one day, expecting her arrival. Trains were delayed, and 
 it was three o'clock before she put in an appearance. At 
 
HISTRIONIC MONTREAL. 
 
 227 
 
 tliat hour she bustled on to the stage in travelling ulster 
 and soft-crowned hat. She was very tired, and evidently 
 out of sorts. She was accompanied by Eben Plympton 
 for leading support. 'And this is the great Neilson,’ I told 
 myself- The reverie into which I disappointedly had fallen 
 was disturbed by the sound of a gruff voice, accompanred 
 by an angry push. ' Clear the stage, you supers,’ said 
 the voice. ‘One moment,^ I explained, Tm the super who 
 plays Touchstone,^ Plympton understood his mistake, and 
 made am*ends by introducing me to Miss Neilson. At night 
 what a transformation we witnessed in this remarkable wo- 
 man ! As she sailed on she was nothing short of a vision, 
 and her performance of Rosalind was a revelation. She was 
 very gracious to me; s-ent for me to come to her dressing- 
 room, and complimented me in the most flattering terms on 
 my Touchstone. The success of my Shakespearean comedy 
 characters I attribute very largely to the kindly interest of 
 Mr. T. D. King, of Montreal. He was an enthusiast, and had 
 accumulated a valuable Shakespearean library. Together we 
 made researches, compared notes, verified certain readings, 
 and the results were unusually satisfactory. When Mr. King 
 died his valuable collection became the property of McGill 
 College. As the season drew to a close, my name was put up 
 for a benefit. I was the recipient of a handsome testimonial 
 from the company, in the form of Knight’s edition of Shake- 
 speare, and an overflowing house greeted my appearance. I 
 played Bob Sackett in Bronson Howard’s 'Saratoga.’ A tre- 
 mendous call brought me before the curtain, and after a 
 shower of bouquets, I was allowed to return thanks, which I 
 did in a few carefully prepared remarks. I was somewhat 
 disappointed, however, at the reception of my words.” 
 
 HENRY J. MONTAGUE (Mann), the idol of the matinee girl, 
 was a most pleasing jeune premier^ who came to this country from 
 England in 1874 to repeat unqualified successes in a limited range of 
 parts. He died in San Francisco, nth August, 1878, aged thirty-five. 
 
 GAEIXA EAVAXliEE^ after a short but very brilliant career as a 
 musician, died 21st January, 1891. 
 
 FRANTZ HENRY JEHIN-PRUME was a noted Belgian violin- 
 ist, who, after brilliant achievements in Europe, Mexico, Cuba and 
 the United States, settled in Montreal in 1865. He died 29th May, 
 1899, aged sixty-nine. 
 
228 
 
 HISTRIONIC MONTREAL. 
 
 CHARLES ARNOLD was born in Lucerne, his father being a 
 captain in the Swiss Legion, who rendered such good service to the 
 British during the Crimean war that the Government rewarded him 
 by giving him a grant of land in Canada. Charles Arnold served five 
 years in the study of law. His first appearance on the dramatic stage 
 was as an amateur, and while playing at Hoboken, N.J., in a bur- 
 lesque of “Romeo and Juliet,'' he was engaged by the manager of 
 Mrs. Conway's Brooklyn Theatre. That was in 1875. After remain- 
 ing there one season he came to Montreal, Can., and became man- 
 ager of the Academy of Music. From here he went to Winnipeg with 
 his company — the first which ever appeared in that place. Winnipeg 
 at that time was merely a village, principally inhabited by Indians and 
 half-breeds, the English population being very limited. They next 
 visited Emerson, the population of which numbered about one thousand, 
 and they had never had a theatrical performance before. The “the- 
 atre" was an old warehouse full of farming implements and boxes- 
 The place had but two exits, one of which was from the platform to the 
 prairie, where tents had been rigged up for the company. There was 
 not a house nearer than a mile, and, as everybody came on horse- 
 back, the outside was like a horse fair. Soap and candle boxes 
 formed the back seats, champagne and brandy cases being in front. 
 The inhabitants were anxious for the company to remain a second 
 night, which they could not do on account of being booked else- 
 where, so another performance was given that same night at 11.15. 
 A Canadian political burlesque, “ H.M.S. Parliament,” written to 
 “ Pinafore" music, was given. The orchestra consisted of a church 
 organ. Mr. Arnold has been all over the world during the last 
 twenty years. His “Hans the Boatman” was played for forty-six 
 weeks in the English provinces with success. He made his London 
 debut July 4, 1887, at the Grand Theatre, Islington. Having played 
 at Terry’s Theatre, Strand, London, and met with considerable srfc- 
 cess, in February, 1888, Mr. Arnold sailed from England for Australia, 
 and for a season of ten months made a tour of the colonies. After 
 visiting Adelaide he went to New Zealand. He seldom acted in 
 a theatre, but appeared in halls and drill sheds. No orchestra ot 
 any description could be had in any of these towns, and the only 
 music was a violin solo by the leader that he carried with him, Mr. 
 Arnold having to sing his songs as Hans to a single violin accom- 
 paniment. After a brief stay in England Mr- Arnold came to 
 An.erica for a three years’ tour. He is now playing in Australia. 
 
 JOHN B. STUDLEY was born in Boston, Mass., in 1831. He 
 first appeared on the professional stage in 1848 at Columbia, S. C. 
 He became leading man at the National Theatre, Boston, 1853-54- 
 and subsequently starred with Sallie St. Clair through the South and 
 West, later supporting Charlotte Cushman. An able critic wrote of 
 
imfer’if. 
 
"'Ol 
 
 
 i 
 
HISTRIONIC MONTREAL. 
 
 229 
 
 him during a Bowery Theatre engagement: ‘T may remark that I 
 have seen an actor of leading business, who is not only one of the 
 best performers in New York, but could not be easily surpassed in 
 London.” Mr. Studley was last seen in Montreal as a star at the 
 Theatre Royal in ‘‘A Great Wrong,” week of 20th February, 1888. 
 
 EBEX PLYMPTON, one of the most talented men on the stage, 
 has long been known as a capable leading man. He was bom in 
 Boston in 1853, and began his stage career at an early age. He 
 has supported all the great contemporary stars, including Booth, 
 Barrett, Neilson and Mary Anderson. His best work has been 
 done in the Shakespearean drama, in which he has shown an artistic 
 and intelligent conception of the great roles, in which he has so ably 
 supported the most famous actors. 
 
 ROSE EYTINGE has experienced a most eventful career, and her 
 beauty and talents begot her crowds of admirers. She was born in 
 Philadelphia in 1835, and at the age of 17 made her first appearance 
 at a Brooklyn theatre. In 1855 she married Mr. David Barnes, from 
 whom she was subsequently divorced, and in 1868 married Geo. H. 
 Butler, nephew of General Butler, and went with him to Egypt. She 
 obtained a divorce from him before his death, and afterwards played 
 successfully in England and America. John T- Raymond subse- 
 quently married her daughter. Miss Barnes. 
 
 JOHN T. RAYMOND, whose real name was O’Brien, was born 
 in Buffalo, April 5, 1836, and made his debut June 27, 1853, in 
 
 Rochester, N. Y., as Lopes in *‘The Honeymoon.” His first appear- 
 ance in England was made in July, 1867, at the Hayniarket, London, 
 as Asa Trenchard. His best known characters — which indeed 
 wefe world- wide — were Fresh, the American and Colonel Sellars. 
 Mr. Raymond was a great favorite in Montreal and was billed to 
 appear at the Academy of Music the week following his death, 
 which occurred 27th April, 1887, at Evansville, Ind., and the message 
 was speeding over the wires that was to bring anguish worse than 
 death to a young widow and her little one. and tears of sympathy 
 to the eyes of hundreds of thousands, whom in his lifetime the 
 dead actor had helped to make happy. Raymond divided with 
 W. J. Florence the honor of being the first comedian in America. 
 His sunny nature was to the people as an open book. They 
 laughed with him in his spontaneous flights of humor; they- 
 wept wdth him in scenes of pathos. He played upon their emotions 
 with a master hand and touched at will the springs that govern 
 men’s sympathies. Every play-goer entertains feelings of respect and 
 admiration for a great tragedian like Booth or Keene, but the 
 comedian is closer to our daily life. He becomes like one of our- 
 selves, and the more we see of him the more we learn to love him. 
 
230 
 
 HISTRIONIC MONTREAL. 
 
 So it was with Raymond. Raymond, Florence and Sothern mad2 
 up a trio of practical jokers who earned a reputation. Raymond 
 was fond of ‘‘matching’' for anything, from pennies up to hundreds 
 of dollars. Once in the California Theatre he and John McCullough 
 matched for the house receipts and McCullogh won. On another 
 occasion when he wanted to go to Europe the habit was so strong 
 on him that he went into a steamship office and offered to match 
 for the passage ticket. Mr. Raymond was twice married. His 
 first wife was Mary Gordon, of Baltimore, a very beautiful woman, 
 whom he married in 1868. He was divorced from her in 1880. His 
 second wife was Rose Courtney Barnes, the daughter of Rose 
 Kytinge and David Barnes. They were married April ii, 1881, 
 and enjoyed a very happy life together. Mr. Raymond was of a very 
 domestic nature and fairly idolized his only child, a boy then four 
 years old. His marriage to Miss Barnes was two days before he had 
 legally changed his name to Raymond. It was a very strange coin- 
 cidence that he should have followed his future mother-in-law's 
 engagement at Montreal the following week and that the sketches of 
 both should now follow so closely. The original manuscript of the 
 play in which John T. Raymond made his mark as Colonel Sellars 
 was at one time stolen, and, in spite of the actor's efforts to get it 
 back, remained out of his possession for months. When it was finally 
 restored to Mr. Raymond, it came mysteriously, with the following 
 note : 
 
 “ Dere Col i send you bak your play i seen you on the theatre and i see 
 you are in want all the time, so i send you bak the play and i wish you 
 luk for i dont want to take no poor man's property." 
 
 The thief had evidently been so impressed by Mr. Raymond’s 
 acting of Sellars that he took him seriously. 
 
 GEORGE RIGNOLD first attracted notice on the London stage 
 by praiseworthy work in 1870, and was for several years closely 
 connected with the Bath and Bristol Theatres. During 1872 he 
 sustained the part of Posthunus in “Cymbeline”; of Iciliuis in “Vir- 
 ginius/’ and several other efforts. He twice visited America and on 
 one occasion played Romeo to six Juliets at Booth's Theatre, New 
 York, 31st May, 1877. These were Fanny Davenport, Ada Dyas, 
 Maud Granger, Marie Wainwright, Minnie Cummings, and Grace 
 d’Urfey. He is at this writing in Australia, which country now 
 claims him as her own. 
 
 KATE CLAXTON was the daughter of Col. Spencer W. Cone, 
 whose father had been a clergyman. Miss Claxton first appeared 
 on the stage at Chicago, but made her regular debut at Daly’s, where, 
 after playing minor roles, she first made a great hit in “Led Astray,’' 
 5th December, 1873, as Mathilde, and renewed her success subsequently 
 as Louise in “The Two Orphans," and it was while performing that 
 
HISTRIONIC MONTREAL. 
 
 231 
 
 part at the Brooklyn Theatre, 5th Decemher, 1876, that it took fire, 
 and, out of an audience of 1,000, 291 lost their lives, including two 
 actors, H.S. Murdoch and Claude Burroughs. This sad event gave 
 her a great advertisement. She was twice married, first to Isidore 
 Lyons, from whom she was divorced, and in 1878 married Charles 
 A. Stevenson. Her latest efforts have been jointly associated with 
 Mad. Janauschek in a revival of “The Two Orphans- As an 
 actress she displays little variety or power from the characters with 
 which accident has fitted her. 
 
 MARIE WAINWRIGHT is the granddaughter of Bishop Wain- 
 wright of the Protestant Episcopal Church and the daughter of 
 Commodore J. M. Wainwright, who was killed during the Rebellion. She 
 is a native of Philadelphia, where she was born May 8, 1855, and was 
 educated at a convent just outside of Paris, Fr. A reverse of fortune, 
 I believe, was directly responsible for turning her thoughts to the 
 stage. She had the advantage of Fanny Morant’s professional counsel, 
 and it was largely through that actress’s efforts that Miss Wainwright 
 was enabled to make her debut asjone of the Juliets who played for the 
 benefit of George Rignold at Booth’s Theatre, May 31? 1877. Her 
 success on that notable occasion brought her into prominence, and 
 her path was thenceforth a comparatively smooth one. The following 
 season she joined the stock of the Boston Museum. There she was 
 the original Josephine in the first American performance of ‘ Pina- 
 fore.” She was quite as successful in that opera as she had been in 
 Juliefs robes. Eventually she, with Louis James, went to join Law- 
 rence Barrett as his leading support. Her excellent work with Mr. 
 Barrett need not now be recalled. She was with him five years, 
 and then, the situation seeming ripe, she made her first formal venture 
 as a star, acting jointly with Mr. James. This was at the opening of 
 the season of 1886-87. Miss Wainwright has been thrice married. Her 
 first husband was Henry W. Slaughter, an actor, who died in Aus- 
 tralia. In August, 1879, she was wedded to Mr. James, with whom 
 she appeared in Montreal in 1886 as a joint star. Three years later 
 they separated. Miss Wainwright then made a starring feature of 
 Viola in “Twelfth Night,” etc. In 1899 she married Franklyn Roberts, 
 who had been her leading man the season before in “Shall We For- 
 give Her?” 
 
 ELIZA WEATHERSBY (Mrs. N.C. Goodwin, jun. ) was a native 
 of London, Eng., and was born in 1846. Her family name was Smith, 
 Her professional career began at the Alexandria theatre, Brantford, 
 during the sixties, and before coming to America she was for two 
 seasons at the Strand Theatre, where she made her London debut. 
 She arrived in New York, April 28, 1869, to join the Elise Holt Bur- 
 lesque Troupe, with which, on May 12, she made her American debut 
 at the Chestnut Street Theatre, Philadelphia, in burlesque, but with- 
 
232 
 
 HISTRIONIC MONTREAL. 
 
 out attracting marked attention. The Holt Troupe disbanded in the 
 following June, and Miss Weathersby joined the Lydia Thompson 
 Troupe, with which, at Niblo’s Garden, June 14, 1869, she made her 
 metropolitan debut, playing Hafiz in “Sinbad the Sailor,” and soon 
 becoming prominent by assuming the title role in the place of 
 Miss Thompson, who was ill. Col. T. Allston Brown organized 
 a rival party, called the British Blondes, in which were Miss Weathers- 
 by, the late Harry Beckett and other seceders from the Thompson 
 Troupe. Maguire brought them out in San Francisco ahead of 
 Lydia Thompsoirs artists, and for a time there was strong rivalry. 
 The business of both troupes was affected, but the British Blondes 
 had to quit the field first. On Nov. 14 Miss Weathersby rejoined the 
 Thompson Troupe. On June 24, 1877, she was wedded to N. C 
 Goodwin, jun. They last appeared with the ‘"Evangeline” party, Nov. 
 10, 1877? in Chicago, and on Dec. 24 following the twain began 
 their first professional engagement together on the joint stock basis, 
 appearing in ‘‘Pippins” at the Globe Theatre, Boston. In the follow- 
 ing January, they organized the Weathersby-Goodwin Froliques, 
 which started out Feb. 4, 1878, and in one form or another, presenting 
 ^‘Cruets,” “Hobbies,” “The Ramblers,” “Those Bells,” “A Member 
 from Slocum” and “Warranted,” kept the road for several years, 
 Jennie and Ernie Weathersby being of the company. Ernie died in 
 1884. Eliza last appeared on the stage about 1884, and died at New 
 York 24th March 1887. 
 
 NATHANIEL C. GOODWIN, JR., is one of our best comedians. 
 He was born in Boston in 1857. In 1876 he went to New York at 
 a salary of $50 a week, which was soon advanced to $500. His imita- 
 tions were the craze of the city, and he played several successful 
 engagements. His career from that time was associated with Miss 
 Weathersby, and fully noted in her sketch. After her death he went 
 back to legitimate comedy, in which line he is still catering to a 
 delighted public, his most successful productions of recent date 
 being, “An American Citizen,” and “When we were Twenty-One.” 
 Goodwin has been thrice married, his present wife being the charm: 
 ing Maxine Elliott, to whom he was wedded in 1898. 
 
 LILIAN ADELAIDE NEILSON. The greatest representative of 
 Shakespeare’s heroines of this century is remembered as a shooting 
 meteor, a creature of goodness and beauty, possessing the rare 
 combination of imaginative power, dramatic fire, emotion, tender- 
 ness and grace. Her voice was musical and impressive capable 
 of great modulation, with a most artistic command of what may 
 be called the material of elocution — the inflections. The actress’s 
 story is one of early hardship and sorrow. Lizzie Ann Browne 
 
LILIAN ADELAIDE NEILSON (Juliet) 
 

 \ 
 
 r 
 
 fir: 
 
 
 I 
 
HISTRIONIC MONTREAL. 2J3 
 
 was horn out of wedlock at 35 St. Peters Square, Leeds, Yorkshire, 
 England, 3rd March, 1846. She did not have Spanish or gipsy blood 
 in her veins as was claimed, but was the daughter of Miss Browne, 
 an obscure actress, who subsequently became Mrs. Bland. Her father’s 
 name is not revealed. As a child she lived at Skipton and later 
 in the village of Guiseley near Leeds, where she afterwards worked in a 
 factory. She had attended the parochial school, and her teacher, 
 Air. Frizell, remembers her as an earnest and studious pupil, possess- 
 ing a great memory with an unusual talent or recitation. Her early 
 pastime was in studying the chief feminine characters she was des- 
 tined to portray. When fourteen years of age she accidentally 
 discovered the secret of her birth. There never had been sym- 
 pathy between mother and child, and becoming discontented with 
 her lot, Lizzie, by one account, went to service for a long time, 
 eventually becoming a member of a strolling company. Accounts 
 of her early life differ, and Colonel Brown says that when twelve 
 years of age “she coaxed her old uncle to let her ride in the mar- 
 ket wagon that was going to London. When the old gentle- 
 man had crossed London Bridge Lizzie could not be found, and 
 her parents heard nothing more of her for five years, when they 
 discovered her to be Adelaide Neilson. Only five years had passed 
 between the time that the barefooted country girl, who spoke with 
 a strong Yorkshire accent, had dropped from the back of the cart 
 and the time when she appeared as Juliet^ Her earliest stage 
 experience is said to have been at Margate, Eng., at the Theatre 
 Royal in her fifteenth year, as Julia in “The Hunchback.” Her first 
 stage name was Lilian Adelaide Lessont, which she soon changed to 
 Neilson. Her London debut was in July, 1865; at the New Royalty 
 Theatre as Juliet, without attracting attention, but she persisted, and 
 her first genuine success was when she played Victorine at the Ad'elphi 
 Theatre in November, 1866. In that year she married Philip Henry 
 Lee. the son of a clergyman of Stoke Bruerne, who accompanied her 
 on her first visit to America in 1872. They were divorced in 1877. 
 He died 29th October, 1886. On i8th November, .1872, she opened 
 at Booth’s Theatre, New York, as Juliet. The critics generally agreed 
 that her Jidiet was the best that had graced the New York stage for 
 many years, and her success was assured. During the ensuing tour 
 of the United States and Canada, her reoertoire, in addition to Juliet, 
 included Beatrice, Pauline, I^ady Teazle, Julia, Isabella in “Measure for 
 Measure,” and Viola. In May, 1873, Miss Neilson made her first 
 appearance in this country as Amy Robsart, having first appeared 
 in that character at the Drury Lane Theatre of London in 1870. 
 In April, 1875, she began a long engagement at Booth’s Theatre. 
 New York, with a remarkably successful run of “Amy Robsart.’' 
 Her last season in America was in the autumn and winter of 1879 
 and spring and summer of 1880. Her tour proved an ovation from 
 
234 
 
 HISTRIONIC MONTREAL. 
 
 Start to finish. Her farewell to New York was 24th May, 1880. at 
 Booth’s Theatre. In the course of an address before the c^tani 
 the actress said: “ It seems to me that I am not only leaving 
 happiness itself ; that the skies can never again be as bright as they . 
 been to me here, nor flowers bloom so beautifully, nor music sound m sweet 
 any mover Her last appearance on the stage was at Baldwin s Theatre, 
 San Francisco, 17th July, 1880, when she acted Juliet the balcony 
 scene of Romeo and Juliet” and “Amy Robsart- e la een 
 playing there from June 8. Returning to New 
 for Europe July 28. In eighteen days she was dead. Miss Neilson 
 suffered from dyspepsia, combined with neuralgia of the stomach. 
 Any undue excitement or mental depression was favorable to the 
 attacks. During the violent recurrence of pain after drinking a glass 
 of iced miik in the Bois de Boulogne she fell into a state of syncope, 
 and died while in that condition in Paris, August 15, 1880. She 
 passed from the world with all the radiance of her glory about her 
 like sunset from a mountain peak that vanishes at once into the 
 heavens. She was buried in Brompton cemetery, London, where a 
 white marble cross marks the grave, inscribed with the words : 
 “Gifted and Beautiful — Resting.” 
 
 THE YEAR OF 1878 
 
 was opened 7th January by Alfred Dampier and May How- 
 ard in “Battling for Life/^ and “The Lyons’ Courier.” “Lon- 
 don Assurance,” “New Magdalen,’’ and “Baby,” followed un- 
 til 4th February, when Dominick Murray came. Frederic 
 Robinson was seen, week nth, in “The Fool's Revenge,’ 
 “Not Guilty,” and “Dora.” Alice Dunning and William 
 Horace Lingard, at the head of their own company, came 
 25th February in “Heart and Crown.” The stock company 
 then produced “Pink Dominoes,” and on nth Alarch, for ]Mr. 
 Nannary's benefit, was presented “Led Astray.’’ Mr. and 
 Miss Morris benefited 27th March in “Tom Cob,” making 
 this their farew’ell appearance. On 29th April a company 
 from Wallack’s Theatre, headed by Charlotte Thompson, ap- 
 peared in “Jane Eyre,” “Aliss Alulton,” followed by the re- 
 engagem’ent of Eliza Weathersby and N. C. Goodwin, Jun., 
 in “Hobbies.” 6th May. Butler’s “Jack and Jill” Pantomine 
 Company came nth, and on local artists, Prume 
 
 and Lavallee, presented AI. Hassian in “La Dame Blanche. 
 The Union Square Theatre Company came 22nd, and played 
 in repertoire for four nights. On loth June a French com- 
 pany came up town from the Tlieatre Royal and pla}ed dm- 
 
J 
 
THEATRE ROYAL 
 
ACADEMY OF MUSIC. 
 
I 
 
HISTRIONIC MONTREAL. 
 
 235 
 
 ing a short season. lima Di Murska, the Hungarian artist, 
 came 9th August for two nights at the head of a concert 
 company, as also did Clara L. Kellogg and Annie L. Cary 
 for one night, 30th September. Di Murska died at Munich, 
 i8th January, 1889. Ducien Barnes, at one time manager of 
 the Th'eatre Royal (1878), and having the reputation of being 
 a most skilful and successful manager, next tried his fortune 
 as lessee of the Academy, the fortunes of which had been at 
 a very low -ebb from the earliest times of its history. The 
 opening of the new season was 25th September, when Fanny 
 Davenport, supported by F. F. Mackay, appeared in “O/fr/a,’' 
 she in the title role and Mr. Mackay as the Vicar. This was 
 her Montreal dehut. Thorne and Chrisdi^s 
 lowed; then came Helen Blythe and Joseph B. Brien in 
 “Romeo and Juliet, “Ingomar,"’ “Camille, ’’ and “The Lady 
 of Lyons.” “Magia, the Water Queen,” was next seen, fol- 
 low’ed by productions of “ Uncle Tom,” Stetson’s “Evan- 
 geline,” “Babes in the Wood,” Marie Roze Mapleson in oper- 
 atic concert, August, Wilhelmj and Carreno . in concert, 
 and Blind Tom. Mr. and Mrs. McDowell came 23rd 
 December in “Beauty and the Beast,^’ and on 31st De- 
 cember, for eight nights, came Frederick Warde and Maurice 
 Barrymore in a grand production of “Diplomacy.” 
 
 MR, AND MRS. LINGARD Alice Dunning Lingard was the 
 first artificial blonde to visit America. She was a beautiful woman, 
 and the yellow hair, tied with blue ribbons, that hung on her shoulders 
 always created a sensation along Broadway in those somewhat remote 
 days. She was followed soon by Lydia Thompson and her canaries, 
 and then the novelty wore off. She was born in London in 1B47, and 
 her debut was made there at the Grecian Theatre, after which she 
 appeared as a music hall singer, and then in burlesque. Having won 
 fame for herself at home, Miss Dunning came abroad in 1868 to 
 garner the more substantial reward all artists crave, making her 
 American debut at the Brooklyn Academy of Music as the IVidozv 
 White in “Mr. and Mrs. Peter White.” She married William Horace 
 Lingard, at whose Broadway Theatre she became a favorite. Later 
 Mr. and Mrs. Lingard made a tour of the globe in “Ixion” and other 
 burlesques. They ended their tour around the world richly rewarded 
 for the perils they had braved and the inconveniences they had suf- 
 fered. Returning to America, 22nd March, 1880, they toured through 
 the principal cities of the United States and Canada. Mrs. Lingard 
 became at length leading lady of a San Francisco Stock Company. 
 In 1881 she reappeared in New York, originating in this country the 
 
236 
 
 HISTRIONIC MONTREAL. 
 
 role of Cyprienne in Sardou’s “Divorcons,” playing also Frou-Frou 
 and Camille. Later she appeared occasionally in melodrama at Drury 
 Lane Theatre, London. She was a woman of extraordinary physical 
 beauty, which constituted a charm so potent that her audiences over- 
 looked her meagre ability as an actress* She died in London, where 
 she had resided in retirement for some years, 25th June, 1897. 
 
 FREDERICK BARHAM WARDE, one of our prominent tra- 
 gedians, was born in the small village of Wardington, in Oxfordshire, 
 February 23, 1851. His father was the schoolmaster of the village 
 and died when Frederick was quite a child. His family removing 
 to London, young Warde was educated in the City of London School, 
 a large public institution founded by Edward VL, and at the age 
 of fourteen, choosing the law as a profession, the lad was articled 
 to a firm of attorneys in London for five years, as required by the 
 legal practice there. After having served three years of his allotted 
 term, he became dissatisfied with his prospects as a lawyer, and, ob- 
 taining an engagement through a friend from a dramatic agent, made 
 his first appearance on the stage in the part of the Second Murderer 
 in “Macbeth,” at the Lyceum Theatre, Sunderland, September 4, 1867. 
 After an extensive experience in both cities and provinces he left 
 England and came to this country, making his American debut August 
 10, 1874, at Booth’sTheatre as Capt. Pike in “Belle Lamar.” He 
 remained in the stock of that house several seasons, and toured in 
 the support of various prominent stars. For several years he has 
 starred on his owm account, visiting all sections of the country. Warde 
 starred jointly with Louis James for two seasons, and in 1896-97 
 made a feature of “King Lear.” 
 
 MAURICE BARRYMORE, who is easily in the first flight of 
 leading men of the present day, was born in Calcutta, India, in 1854. 
 He took his degree at Cambridge University, and studied for the 
 Indian Civil Service. He gave up the idea of going to India, and was 
 called to the bar, but gave up the law for the stage. He has been 
 on the American stage since 1874. He wrote “Nadjesda” for Mod- 
 jeska. and the libretto for the comic opera, “The Robber of the Rhine.” 
 In 1876 he married Georgie Drew, who died 2nd July, 1893, leaving 
 two children, Lionel and Ethel, both of whom are on the stage. 
 Ethel was born in August, 1879, and first appeared as a member of 
 John Drew’s company. The actor married Mary Floyd in 1894. 
 Maurice Barrymore, or rather Herbert Blythe, for that is his real 
 name, has appeared in a long list of plays, and has been several times 
 seen in Montreal in support of Lily Langtry, Mrs. John Drew and 
 Olga Nethersole. His work in “Captain Swift” was very commend- 
 able. His career in England, were he was the hero of a number of 
 personal encounters, added to his very brilliant success on the stage 
 He fell in with a dramatic writer of some prominence, became a 
 
HISTRIONIC MONTREAL. 
 
 237 
 
 famous athlete, finally winning the middleweight championship of 
 boxing at Oxford, and wound up with a more or less sensational 
 tour of this country, which was brought to a close by a desparate 
 assault upon an actor in Texas, in which Barrymore, at the risk of 
 his life, apprehended the murderer. There were many episodes in 
 his early career on the stage which lifted him above the ordinary 
 rank of humdrum humanity. His clever daughter, Ethel, promises 
 to become as popular a star as was her gifted father. Poor Barry- 
 more is now ending his career in illness and distress. 
 
 FANNY DAVENPORT was the daughter of the eminent actor 
 whose name she bore, and was born in London, ist April, 1849. Her 
 first appearance on the stage was 4th July, 1858, at Boston. She 
 began her career by waving the “Star Spangled Banner.’* Although 
 a successful interpreter of Shakespeare’s heroines. Miss Davenport 
 had been mostly distinguished as an interpreter of Sardou’s 
 queens of tragedy, her Fedora, Cleopatra, Tesca and Gismonda 
 having been most prominently before the public in late years 
 She was an actress of considerable emotional power, the result 
 of certain natural gifts of passion trained to usefulness by her ex- 
 tensive experience of the possibilities of the stage, but her acting 
 lacked delicacy, without a compensating spontaneity of human 
 fire ; hence her success in Sardou over Shakespeare. After 
 her divorce from her first manager, Edwin H. Price, 8th 
 June, 1888, whom she first married in 1879, she married her leading 
 man, Melbourne McDowell, in 1889, a brother to the former lessee of 
 the Academy here. Melbourne may be remembered as a ticket-seller 
 at the box office. His is a case where physique has done much to 
 make an actor. Miss Davenport again visited Montreal week of 4th 
 January, 1892, in Sardou’s “Cleopatra,*’ a production to be long 
 remembered as powerfully magnificent from a scenic as well as artistic 
 point of view. Her last appearance here was at the Academy of 
 Music, week of 15th November, 1897, in “The Saint and the Fool.” 
 Fanny Davenport’s career was eminently that of a successful artist, 
 which must be attributed in no small part to the fact that she was 
 not only a good actress but a good business woman. Miss Davenport 
 was one of the best paying stars in the country. It is said that in 
 one season she cleared ?90,oco from “La Tosca.” Miss Davenport 
 died 26th Sept., 1898. 
 
 ALFRED DAMPIER, an English actor of ability, came to this 
 country, with his daughters Rose and Lily, making his debut at the 
 California Theatre, San Francisco, 12th Nov., 1877. His first New 
 York appearance was 28th Jan., 1878. For many years his labors 
 have been in Australia. 
 
238 
 
 HISTRIONIC MONTREAL. 
 
 THE YEAR 1879 
 
 was Opened by tte Martinez Opera Company, 13th January, 
 for one week. Genevieve Ward came, 20th, for two nights in 
 “Henry VIII./’ and “Jane Shore.” Following Miss Ward 
 came the Lilliputian Opera Company in “Jack the Giant 
 Killer,’^ 30th, for three nights, and on the 3rd and 5th Feb- 
 ruary Herman Linde was announced as “the greatest living 
 tragedian,” in readings from “Macbeth.” — “A towering giant 
 among a company of forests ” — Boston Gazette. The Union 
 Square Company came, nth, in “Mother and Son’’; then suc- 
 cessively Italian Opera; G. F. Rowe, supported by McDow- 
 ell’s Company, in “Little Em’ly,” and “Brass”; Salsbury’s 
 Troubadours, with Nellie M ’Henry (first appearance here) ; 
 “Pinafore.’’ Mr. Rowe returned 28th April, in farewell per- 
 formances to Canada in “Brass.’’ The notable feature of the 
 season was the first appearance here of Mary Anderson, sup- 
 ported by John W. Norton, week 13th May, in “Ingomar,’’ 
 “Evadne,” “Romeo and Juliet,” “The Hunchback,” and “The 
 Lady of Lyons.” Maggie Mitchell came 27th May, opening 
 in “Fanchon,” playing a week’s repertoire. Tony Pastor and 
 “Pinafore” preceded the reappearance of Miss Mary Ander- 
 son, i6th September, supported by Milnes Levick and Atkins 
 Lawrence, in a week of repertoire, followed by Joseph Mur- 
 phy in “Shaun Rhue,” and, on 20th, by the Weathersby- 
 Goodwin Company in “Hobbies.” Mr. and Mrs. Majeroni 
 came 6th October in “Camille,’’ “Diplomacy,” etc.; “Our 
 Daughters,” by the N. Y. Criterion Company, 20th; and on 
 10th November the first appearance here of the prima-donna, 
 Emma Abbott, in “ Paul and Virginia,” 'etc. Daniel E. 
 Bandmann, supported by Miss Benison, made his first appear- 
 ance 17th November, opening in his great role of Hamlet, fol- 
 lowing in “ Merchant of Venice,” “ Narcisse,” “ Othello,” 
 “Macbeth,” “Richard HI.,” and “The Lady of Lyons.” Then 
 came “Pinafore,” “Uncle Tom’s Cabin,’’ and, on 22nd De- 
 cember, the Standard Opera Company in “Fatinitza,” etc. 
 
 3MEARY ANDERSON-NAVARRO was born at Sacramento, 
 California, 28th July, 1859, shortly before the outbreak of the Civil 
 war. Her father, Charles Joseph Anderson, died three years later in 
 
MARY ANDERSON-NAVARRO. 
 
HISTRIONIC MONTREAL. 
 
 239 
 
 his 29th year fighting under the Confederate flag before Mobile on 
 the Gulf of Mexico. Her mother, Marie Antoinette Lengers, was 
 a native of Philadelphia. Mary was brought up at Louisville, Ky., 
 where her stepfather practiced medicine. Her dramatic taste de- 
 veloped in her early childhood. When she was about thirteen she 
 saw Booth in “Richard III,'' and her imagination was instantly fired. 
 Three years later she made her dehut at Louisville. She acted all 
 over the States and Canada, and also met with success in Great Britain 
 in the roles of Juliet, Parthenia, Pauline and Galatea, during her en- 
 gagements at the Lyceum in 1884-85. In 1889 she returned to Am- 
 erica, but her health broke down. She went to England. where she has 
 since lived in retirement. She married Antonio Ferdinand Navarro 
 de Viana 17th June, 1890. Her brother Joseph is married to Anna 
 Gertrude Barrett, daughter of the late Lawrence Barrett. 
 
 EMMA ABBOTT was born in Chicago in 1850; her father was a 
 professor of music. She was taken an interest in by a church con- 
 gregation, and through the kind offices of Mr. and Mrs. Lake in 1872 
 was sent to Europe to study. She subsequently married Mr. We- 
 tlierell, and after returning to America in 1879 formed an opera 
 company which up to the time of her death proved a genuine success. 
 Emma Abbott died in Salt Lake city, January 5, 1891. She was last 
 heard in Montreal, week of 14th April, 1890. 
 
 MARGARET JULIA MITCHELL. No actress on the American 
 stage was more widely known than this lady before her retirement. 
 Born in New York in 1832, she appeared as a mere tot at the old 
 Bowery and from the humble station of ballet girl made her way to 
 public favor. In 1868 she married Henry Paddock, who became her 
 very efficient manager, but from whom she was divorced, and married 
 Charles Abbott, the former husband of Nellie Taylor. Happy in her 
 domestic relations as she has been prosperous in her professional 
 ones, this lady now wears the crown of a life of honorable labor 
 without a thorn to mar its enjoyment. Her mission was to make the 
 masses happy, and our lives are much as we try to make them. No 
 fortune was ever won with greater credit or more deserved than 
 hers. 
 
 NELLIE M’HENRY had been on the stage a year or two before 
 she joined the original Salsbury's Troubadors, but it was as the bright 
 particular star of that organization that she became a prominent 
 public favorite, now about fifteen years ago. Miss M'Henry is still 
 before the public and as popular as ever. In private life she is Mrs. 
 John Webster, and has a son, Jack.who is also a member of the pro- 
 fession. John Webster disappeared in Nov., 1899. It is supposed 
 that he went over the falls of Niagara. 
 
240 
 
 HISTRIONIC MONTREAL. 
 
 DANIEL EDWARD BANDMANN was born in that beautiful Hes- 
 sian city, Cassel, ist November, 1839. He came to America for the 
 first time when but a lad, and first appeared on the stage as a member 
 of a company of German amateurs at Turn Hall, New York. Return- 
 ing to his fatherland he entered the dramatic profession at the age 
 of eighteen, making his professional dehut at the Court Theatre of 
 New Strelitz. He early attracted the attention of the great Duchess 
 of Mecklenburg, who took him under her protection. A series of 
 brilliant and rapid successes in various towns in Germany and Prus- 
 sia and in Vienna, chiefly in Shakespearean work, established for 
 him a very flattering reputation. Subsequently coming to America, 
 Mr. Bandmann acted for the first time in English, 15th January, 1863, 
 at Niblo’s Garden, New York, where he created a very favorable im- 
 pression as Shylock. His Hamlet also attracted considerable attention, 
 he introducing much business that was new here, but well known in 
 his fatherland, bringing his Ghost from beneath the stage, introducing 
 a manuscript copy of the speeches of the actors in the play scene, and 
 turning its leaves back and forth in a nervous way to hide the ner- 
 vousness of Hamlet. This was subsequently noticed in the perform- 
 ances of Fechter. Bandmann also drew from his pouch tablets upon 
 which he set down the some ''dozen or sixteen lines” to be introduced 
 by the First Actor in the incident of the murder of Gonzago, and at 
 the end of the scene he fell back into the arms of Horatio in a state 
 of complete collapse. His acting throughout was effective and 
 powerful. On September i, 1863, was presented for the first time in 
 New York, John Guido Methua's adaptation from the German of 
 Brachvogel, entitled “Narcisse, or. The Last of the Pompadours.’' 
 Mr. Bandmann was first married to Anne Herschel, of Davenport. 
 Iowa, 22nd June, 1865. So great was his success that he made a five 
 years’ tour through the country, acting Hamlet, Shylock, Othello, logo, 
 Gloster, Macbeth, Benedick and Narcisse. At Philadelphia, where his 
 tragic powers attracted the attention of Edwin Forrest, he was select- 
 ed to play “Hamlet” at the commemorative celebration of the 
 tercentenary birthday of Shakespeare. He performed the part 
 at San Francisco during a run of the play, which lasted a month. 
 He then crossed to London, when he mad^ his first appearance 
 on the British stage at the Lyceum Theatre, 17th February, 1868, 
 in “Narcisse.” Miss Milliceht Palmet, who had just previously 
 scored a great hit as Jidiet, was engaged to appear in “Narcisse,” 
 and in February, 1869, she became Mrs. Bandmann. The 
 newly married couple, uniting business with pleasure, went for 
 their honeymoon to the antipodes, where (at Melbourne), appropri- 
 ately enough, the bride made her debut as Juliet. At Melbourne, 
 Sydney, Adelaide and other places Mr. and Mrs. Bandmann were 
 received with immense favor, winning golden opinions from all 
 
DANIEL E. BANDMANN 
 
HISTRIONIC MONTREAL. 
 
 341 
 
 classes of play-goers. We find Mrs. Bandrnann s name chiefly as- 
 sociated there with Ophelia, Juliet. Beatrice, Pauline, Rosalind, Desdemona, 
 etc. Returning the pair made their appearance and were abidingly 
 successful in New Zealand, and at Honolulu in the Sandwich Islands. 
 There they gave two state performances by command and in the 
 presence of King Kameamea and his court. Mr. and ]\Irs. Band- 
 mann subsequently played in the different cities and towns of America, 
 including Salt Lake City, where they made the acquaintance of and 
 acted before the late Brigham Young. They returned to London in 
 the summer of 1872, and reappeared in London at the Queen’s in 
 “Narcisse.” In the following spring they acted at the Princess in 
 “Hamlet,” “Merchant of Venice” and Macbeth,” Mrs. Bandmann 
 making her first appearance as Lady Macbeth. Returning to America, 
 they starred through the principal cities of the United States and 
 Canada. About this time they separated as artists, and also as man 
 and wife, Mrs. Bandmann has since lived in Kngland with her son 
 and daughter, and in 1896 made her 150th appearance in the character 
 of Hamlet. After a long engagement at the Baldwin Theatre, San 
 Francisco, Mr. Bandmann undertook another eastern tour, which 
 lasted three years and a half, returning to America in January, 1884. 
 He was supported by Louise Beaudet The tour in the far east was 
 in every way a remarkable one. Opening at Sydney, he travelled 
 through Australia, New Zealand, Tasmania, India, China, the Malay 
 peninsula, and back again through India, Australia, the Hawaiian 
 Islands to San Francisco, the whole covering 70,000 miles. Received 
 on friendly terms by governors-general and their ladies, making 
 everywhere a host of friends, the journey reads more like a romance 
 than a citation of facts. At Calcultta he played Othello and Shylock 
 before an audience of 3,000 natives. Mr. Bandmann, on his return, 
 began touring through the principal cities of America at popular 
 prices. Whatever may have induced him to appear under the auspices 
 of dime museums, this may be safely affirmed, that he did as much 
 to extend the influence of Shakespearean literature as the most 
 cultured critic or the highest priced actor. In addressing a turbulent 
 top gallery at the Theatre Royal, Montreal, on 14th February, 1885, 
 during a performance of “Othello,” Mr. Bandmann pointedly put it 
 when he said: “/ am not here for your filthy lucre, but to educate you — 
 to bring Shakespeare before you.'' In 1888 Mr. Bandmann appeared as 
 Dr. Jekyl and Mr. Hyde, in London, England, but the production was 
 not a success. He then produced “Austerlitz” at Niblo’s, New York, 
 and shortly afterwards retired to his cattle ranch at Missoula, Montana. 
 In May, 1892, he married Mary Kelly, a California actress. His 
 favorite role is Hamlet, which he played so well as to rank one 
 of the great Hamlets. 
 
 16 
 
242 
 
 HISTRIONIC MONTREAL. 
 
 THE NEW YEAR OF l88o 
 
 presented Kate Girard in Elliott Dawson’s “ Prejudice.^’ 
 Adelaide Neilson, supported by Messrs. Compton, Frank 
 Sanger, H. A. Weaver, Mrs. Tannahill and Nellie Morant, 
 played a series of farewell performances commencing 26th 
 January, in “Romeo and Juliet”; “Twelfth Night,’’ 27th; “As 
 You Like It,” 28th; “Lady of Lyons,” 29th; “Twelfth Night,’’ 
 30th; and “The Hunchback,” 31st, this being her last appear- 
 ance here. She died in the following August. The house 
 remained dark until i6th February, when “H.M.S. Parlia- 
 ment” had a five nights’ season, followed by E. F. Thorne 
 and Charlotta Evelyn in Daly’s “An Arabian Night.’’ Mrs. 
 Scott-Siddons nth March for three nights; “The Tragedian 
 of Kalamazoo,” and Sid Rosenleld’s “Our School Days,’’ 
 week 15th, with Gertie Granville, Nellie Larkelle, Gus. J. 
 Bruno, etc.; M. Grau’s French Opera Company in “Mignon,’’ 
 etc., 23rd; Felix J. Morris in “Our Girls,” 13th April, for 
 three nights; Marie Gordon in “Delicate Ground,’’ i6th; and 
 tlien Mr. and Mrs. Florence in “The Mighty Dollar,” and 
 “Ticket-of-Leave Man,” week 21st April, this being Mr. Fbr- 
 ence’s first appearance here as a star, and his second appear- 
 ance in the city since the opening of the Royal in 1852. 
 Mr. and Mrs. Daniel E. Bandmann came up from the Theatre 
 Royal 19th April, and played a farewell performance in “The 
 Stranger,” and “Tlie Happy Pair,” previous to Mr. B.’s de- 
 parture on his great eastern tour. Joseph Jefferson made his 
 first appearance' in Montreal iith and 12th May in the play 
 that has made him most famous, “Rip Van Winkle.” It was 
 our fortune to see a third celebrated comedian, within very 
 short time of each appearance this season, in E. A. Sothern, 
 13th, for three nights in “Our American Cousin,” “Brother 
 Sam,” and “David Garrick.” The Montreal Operatic Society, 
 assisted by Marie Stone, of Emma Abbott’s Company, week 
 17th, in “The Chimes of Normandy,” followed for three 
 nights by the D’Oyly Carte Opera Company in “The Pirates 
 of Penzance,” “The Queen’s Shilling,” week ist June. This 
 closed the season. Contrary to what has already been 
 stated of Mr. Lucien Barnes’ administration of affairs, he 
 seems to have catered some good morsels to Montreal’s play- 
 "roers, even if he was obliged to leave the city suddenly. 
 Henry Thomas, formerly ticket-seller, became lessee of the 
 house, which he reopened for the regular fall and winter 
 
HISTRIONIC MONTREAL. 
 
 243 
 
 season, 6th August, with Kate Claxton, supported by Charles 
 A. Stevenson, in the "iwo Orphans,” "ihe Uounle Mar- 
 riage,” and “Frou Frou.” Joseph Murphy came week 14th 
 September; Lotta, 20th, for four nights; Tagliapietra Italian 
 Opera Company, 5th October, for w^ek; Pond’s Musical 
 Combination, i8th, for three nights; D’Oyly Carte Opera 
 Company, in “Pirates of Penzance,” 21st, for three nights; 
 Minnie Palmer, in “Our Boarding School,” 25th, for week; 
 Jarrett & Rice’s “Fun on the Bristol,” ist Nov., for week, 
 followed by the first appearance in Montreal of the little fav- 
 orite, Corinne, in “The Magic Slipper.” This charming and 
 clever little comedienne has since been a frequent visitor to the 
 city. A French opera company came week of 22nd Novem- 
 ber, followed by the Soldene Opera Company, week 29th. 
 “A Celebrated Case,” with Mrs. Thos. Barry and Sir Randall 
 Roberts as the principals, opened week 13th December, and 
 on 17th Sir Randall was tendered a benefit. Sara Bernhardt 
 made her first appearance in this city, 23rd Decernber, in 
 “Adrienne Lecouvreur” ; “Frou Frou,” 24th ; “Hernam,” 25th ; 
 and “Camille,” at the matinee. Her second engagement in 
 Montreal was at the same house week 6th April, 1891, and her 
 last, week of 24th February, 1896, in “Gismonda,” when the 
 theatre was so crowded that the attention of the building in- 
 spector was directed to its condition, resulting in its being al- 
 most altogether reconstructed. 
 
 MR AND MRS. W. J. FLORENCE. It was in 1876 that Florence 
 made his first hit as the Hon. Bardwell Slate, in “The Mighty Dollar.” 
 That character soon became as closely allied to him as Rip is to 
 Jefferson, Sellars to Raymond or Sol Shingle to Owens. Williams 
 Jermyn Florence (family name Conlin) was born in Albany, 26th 
 July, 1831. His theatrical career began in 1849 at Richmond, Va. 
 After undergoing the vicissitudes of a young player, he became a 
 member of various stock companies, notably that of John Nickinson, 
 of Toronto and Quebec— the famous Havresack of his period. 
 Florence married Malvina Pray, a sister of Mrs* Barney Williams, 
 in 1853. Three years later they toured in England. Returning to 
 the United States, Mr. and Mrs. Florence renewed their triumphs, 
 appearing all over the country. Florence joined forces with Jefferson 
 in 1889-90, but this interesting combination was interrupted by death, 
 the comedian being called away 19th Nov*, 1891. Then died one of 
 the most cultured character comedians of the century ; a genial 
 companion, and a well-informed man of much versatility and charm, 
 whose gentleness, modesty, affectionate fidelity and fine talents. 
 
244 
 
 HISTRIONIC MONTREAL. 
 
 united with his spontaneous drollery, to enshrine him in tender affec- 
 tion. For a number of years the comedian had been in the habit of 
 resorting to the Restigouche, and on the St. Andrew’s Day preceding 
 his demise had been distributing heather to the sons o' auld Scoiia 
 in the store of Messrs. Fraser, Viger & Co. On loth June, 1893, Mrs. 
 Florence married an actor named George Howard Covenay. In her 
 application for a divorce in 1900, Mrs. Covenay said that she knew 
 her husband for only one month when she married him; that three 
 years ago he demanded $10,000, which she gave him, and then he left 
 her. Mrs. Florence recently said : “My last appearance as an actress 
 was in “Heart of Hearts” in Brooklyn several years ago. I love 
 the stage, but I am content now to view it from just without the 
 active working circle, and with a feeling that I have earned my rest.” 
 JOSEPH JEFFERSON^ the dean of the American stage, was born 
 in Philadelphia, 20th February, 1829, and is a descendant of an old 
 theatrical family, his father and grandfather (Thomas) both being 
 actors, and the latter a contemporary of David Garrick. Mr. Jefferson 
 is the second “Joe,” and was a half-brother to the celebrated prodigy, 
 Charles Burke. His early career was marked by much discomfort 
 and privation, and his managerial efforts in the south were not all 
 triumphs, as his own story (Autobiography of Joseph Jefferson) 
 tells it. He first met with decided success in England, where Bou- 
 cicault rewrote “Rip Van Winkle” for him, and the piece ran to 
 packed houses for 150 nights. Returning to the United States in 1872 
 after an absence of seven years, he recommenced there the career 
 which has since become familiar to all play-goers. It is a question 
 if his impersonation of Bob Acres has ever been equalled. The ease 
 of his manner and the simple perfection of his methods render him 
 capable of handling the most extravagant farcical roles with a 
 delicacy that redeems them from the stigma of burlesque. Mr. 
 Jefferson lives much on his Louisiana plantation, passing hours of 
 repose in sketching, etc., and still occasionally favors the rising genera- 
 tion with the opportunity of witnessing his great histrionic genius. Mr. 
 Jefferson’s infatuation for painting and acting were contemporaneous. 
 In his daily life both are simply different expressions of the same 
 truths. He could no better live without one than the other. Passion 
 for the theatre is but part of his heritage. His certificate of admission 
 to the great guild of the world’s famous actors and artists is engrossed 
 with many vouchers, for it is a long flight from the Jefferson of to- 
 day to the Yorkshire farmer, Thomas Jefferson, who appeared at 
 Drury Lane in 1746. Words are but the mere shadows of all 
 that was, the mirror of all that is. His fame is secure. He has laid 
 the foundations of it deep in the human heart. 
 
 HENRY THOMAS, lessee and manager of the Academy of Music, 
 died Nov. 28, 1893, after a lengthy illness. Mr. Thomas was 
 fifty years of age, and had been connected with the theatrical profession 
 during nearly all of his adult life. He was first connected with the 
 
, 1 
 
 i 
 
 \ 
 
 JOSEPH JEFFERSON, 
 
HISTRIONIC MONTREAL. 
 
 245 
 
 Theatre Royal, Montreal. He afterwards became treasurer of the 
 Academy of Music, and assumed the management of that house in 
 1880. He was well known throughout Canada and the United States 
 as one of the most popular theatrical managers on the continent. 
 He left a widow, who is now Mrs. Frank Murphy. 
 
 CORINNE. Born in Boston, Mass., December 25, 1873, Corinne 
 has been on the stage almost from the cradle. She is the daughter 
 of the late Mrs. Jennie Kimball, who was at the time a popular vocalist 
 and comedienne. Mrs. Kimball became her daughter’s sole manager, 
 and the girl’s successful career, from a financial point of view, is due 
 almost entirely to the remarkable managerial work of the mother, 
 Corinne’s first appearance was at the National Baby Show in Boston, 
 October 22, 1877, when she created a sensation as a musical prodigy, 
 and received the prize of a gold chain and locket studded with dia- 
 monds, She made her debut as Little Buttercup in Juvenile “Pinafore” 
 company at the Boston Museum, May 12, 1879, and was the central 
 figure of the company. Her impersonation of the character revealed 
 her as an astonishing example of precocity, and no person of her age 
 ever made a greater triumph than Corinne did at that time. She 
 captured the audience the moment she came upon the stage by her 
 rippling voice and graceful movements. During the season of 1880-1, 
 she visited the principal Canadian cities and almost every American 
 city, receiving marked attention everywhere. Her tours continued until 
 the interference of the Society for the Prevention of Cruelty to 
 Children. The tearing of the child from its mother, the abduction, 
 the arrest and the incarceration and the climax in the decision of 
 Judge Donohue, the return of Corinne to her friends — all these things 
 ar % no doubt, familiar to my readers. Corinne is not yet married, 
 and is a very wealthy young woman, boys, even if her name is Flaherty. 
 
 EDWARD H. COMPTON. The son of Henry Compton, a famous 
 c median and one of the favorites of the old Haymarket Theatre, the 
 actor may be said to have been born on the stage. He had been in 
 harness since he was a child, and his success from an artistic view- 
 point was unquestioned. He was one of the actors in the company 
 of Adelaide Neilson, whose husband he was generally thought to have 
 been by their friends. Later he appeared at the head ©f a company 
 which he himself organized, and which was devoted to the presentation 
 of high-class plays, both classic and modern. In a series of Shakes- 
 pearean revivals, he came into comparison with Irving, while his 
 high comedy impersonations were praised without stint, Mr. Comp- 
 ton married Virginia, one of the famous Bateman sisters. A brother, 
 Chas. Compton, died i6th August, 1897. 
 
 SARA BERNHARDT. Mdme. Damala, nee Rosine Bernhardt, 
 called Sara, was born in Paris, Oct. 22, 1844* She is a Jewess, of 
 French and Dutch parentage, and spent the early part of her life in 
 Holland. In 1858, she entered the Paris Conservatoire, became a 
 
-40 • 
 
 HISTRIONIC MONTREAL. 
 
 pupil of M.M. Prevost and Samson, professors of elocution, gained 
 a second prize for tragedy in i86i, and a second prize for comedy 
 in 1862. She made her first public appearance on the stage at the 
 Theatre Francais, in Racine’s “Iphigenie” and the “Valerie of Scribe. 
 She attracted hardly any notice, and after a brief withdrawful from the 
 stage, reappeared at the Gymnase and the Porte Saint Martin in 
 burlesque parts. In January, 1867, she returned to high art at the 
 Odeon, playing several minor parts with much applause, till she 
 achieved a notable success as Marie de Neuborg in “Ruy Bias.” She 
 was thereupon recalled to the Theatre Francais, and first showed 
 her higher power in Andromaquc and Junie ; but it was as Berthe 
 de Sauigne in the play of “Le Sphinxe,” performed in March,- 1874. 
 that she won greatest laurels. In 1879, she visited London, with the 
 other members of the Comedie Francaise. In the following year, 
 Mme. Bernhardt returned alone to the Gaiety. About this time 
 she severed her connection with the Comedie Francais and 
 was condemned to pay £4^00 costs and damages for the breach 
 of her engagement. In June, 1881, she again appeared in London at 
 the Gaiety Theatre in “La Dame aux Camilias for a short series 
 of performances, and afterwards made a successful tour, from a 
 money point of view, in the United States. She revisited London in 
 1885, and played Fedora for the first time in England at the Gaiety 
 Theatre. In 1890 she played a long season in “Cleopatra. She is 
 the authoress of the one-act play, “L’Aveu, ’ produced in 1888, and a 
 few years ago had the order of the French Academy conferred upon 
 her. In April, 1882, she was married in the church of St. Andrew, 
 Well street, London, to M- Damala, a Greek actor, from whom she 
 was shortly afterwards divorced. He died in August, 1889. 
 
 THE SEASON OF 1881 
 
 was herald'ed by Tomasso Salvini, supported by Marie Pres- 
 cott, Lewis Morrison and H. A. Weaver. The pow^erful 
 Italian tragedian began his first and only Montreal engage- 
 ment, 17th January, in “The Gladiator,’’ and “Othello,’’ 19th, 
 the intervening night having b’een filled by the Union Square 
 Company in “French Flats.” Gus Williams, in “Our Ger- 
 man Senator,” came week February; Haverly’s Mir- 
 strels nth and 12th March; Daly’s “Needles and Pins,” ist 
 and 2nd April; Sol Smith Russell in “Edgewood Folks,’ 
 week i8th April; Louis Aldrich and Charles T. ^Parsloe, m 
 “My Partner,” week 28th; and Mr. and Mrs. McKee Rankin, 
 in “The Danites,” week 2nd May. The Holman Opera Corn- 
 pan v appeared two nights from 29th April, and Mrs. J. 
 Buckland appeared in a benefit performance, 17th May, in 
 “Little Treasure” and “iMarried Life.” Genevieve Ward, m 
 
SARAH BERNHARDT. 
 
 .'Iferl 
 
HISTRIONIC MONTREAL. 
 
 247 
 
 “Forget-Aie-jSIot/' i8tli, for four nights; Norcross Comic 
 Opera Co., week 7th July; French Comedy Company, week 
 nth; Haverly s IViinstrels, nth August, three nights; “The 
 World,” 15th August, week; Rose Eytinge, in “Felicia,’’ 31st, 
 four nights; Ada Gray, in “East Lynne,’ week 5th Septem- 
 ber; John P. Smith and Win. Aletayer’s “Tourists,*’ 12th, 
 week; Lotta, 19th, for four nights; L. O. David’s “One Hun- 
 dred Years Ago,’’ translated by John Lesperance from the 
 author's French. Botli these gentlemen were prominent 
 Montrealers, and the former is the present city clerk. The 
 company which presented the piece was a poor one, and did 
 not do justice to the very laudable and clever effort of Mr. 
 David. C. W. Couldock and Effie Ellsl'er, the original Dun- 
 stan and Hazel Kirke, appeared week 19th September in 
 “Hazel Kirke’’; Mr. and Mrs. W. J. Florence, 13th, for three 
 nights ; Airs. Burnett’s “Esmeralda,” from Aladison Square 
 Th’eatre, week i8th, including Agnes Booth, Kate Denin, 
 Eben Plympton and E. A. McDowell. Frank Mordaunt, in 
 “Old Shipmates,” came 31st October. A very strong feature 
 of the season was the appearance of the Wallack Company, 
 7th November, opening in “School for Scandal’’; “Alon'ey,” 
 8th; “She Stoops to Conquer,” 9th; and “London Assurance,” 
 loth. The personnel of the company is shown in the following 
 cast of “The School for Scandal”: Sir Peter Teazle, Air. John 
 Gilbert; Sir Oliver Surface, Air. Henry Edwards; Sir Ben- 
 jamin Baekhite, Mr. Wilmot Eyre; Charles Surface, Air. Os- 
 mond Tearle; Joseph Surface, Air. Gerald Eyre; Careless, Air. 
 Herbert Ayling; Moses, Mr. William Elton; Trip, Air. C. Ed- 
 win; Crabtree, Air. Dan Leeson; Rowley, Air. Harry Gwynette; 
 Joseplis Servant, Air. H. Pierson; Snake, Air. J. Bishop; Lady 
 Teazle, Aliss Rose Coghlan; Lady Sncerzi’cll, Aliss Agnes 
 Elliot; Mrs. Candour, Aladame Ponisi; Maria, Aliss Stella 
 Boniface. This was unquestionably th’e strongest company 
 that ever appeared in the piece in Alontreal, and marked the 
 first and last engagement here of John Gilbert and Henry 
 Edwards. Sam Hague’s Alinstrels came loth for four nights; 
 A’ex. Caufmsn in “Lazrre,” week of 14th; and Eric Bayley’s 
 Comedy Company, week of 21st, in “Tire Colonel,” a play 
 based on the aesthetic verse by F. C. Burnand, editor of 
 Punch. Ernesto Rossi, the great Italian tragedian, made his 
 first and last appearance in Montreal 31st November for Biree 
 nights, commencing in “King Lear,” “Hamlet and Oth- 
 ello.” No actor has since played “King Lear” in this city. 
 The tragedian was supported by Alilnes Levick. Following 
 
248 
 
 HISTRIONIC MONTREAL. 
 
 Rossi came '‘Rooms for Rent/’ week 5th December, and the 
 Boston Aluseum Company in “Patience,’’ week of 26th De- 
 cember, closing a very bright and eventful theatrical }^ar. 
 
 TOMASSO SALVINI was born in Milan, Italy, 21st Dec., 183.3. 
 His parents were strolling players, but their son was educated at the 
 best schools in Florence, where the, most beautiful works of art 
 abound, and where the Italian language is spoken in its purity. While 
 here it became evident that he had inherited a taste for dramatic per- 
 formances and talent for acting. There was a small theatre connected 
 wiih the school, and while playing here with his companions he 
 played such precocious abilities as to attract the attention of his 
 teachers and his parents. It was then determined to educate the 3^outh 
 for the stage, and his father assumed the direction of his studies. 
 When only 14 years of age he was engaged in a well-known theatre, 
 and assigned to important characters. It should be borne in mind 
 by the reader that the human form matures more rapidly in the 
 sunny clime of Italy than in colder latitudes. In 1848 Salvini be- 
 came a pupil of the celebrated actor, Gustavo Modena, whose train- 
 ing bore immediate fruits ; and in the subsequent engagements 
 which he obtained he acted David in “Saul,” Carlo in “H Fillipo,” 
 Nemours in “Luigi XI” (Louis XI), and numerous other characters 
 more successfully, it is said, than they had been previously interpret- 
 cd by any other actor so young in years- At the age of 15. by the 
 death of his father (his mother having died sometime previously), be 
 was left very poor. Ristori at that time .was making a tour of the 
 Italian cities. Salvini successfully applied for an engagement. He 
 played the leading opposite roles to this distinguished artist: shared 
 with her the laurels of many great performances. This troupe was 
 known as the Roman company, because at certain fixed periods it 
 appeared in Rome. While playing there in 1849, during the progress of 
 the French invasion, and when the city was seiged by the forces of 
 Napoleon, Salvini shouldered a musket, and took his place in the 
 ranks of the patriots- When the Roman Republic succumbed, Salvini, 
 with other patriots, escaped from the capitol, and fled toward 
 Florence; but, being forbidden to land at Leghorn, he proceeded to 
 Genoa where he was arrested and lodged in prison. Subse- 
 quently a relative procured his release, and upon his arrival in 
 Florence he was again seized and imprisoned, and at last 
 set free only upon the condition that he should at once leave 
 the country. Going to his native city, then in possession of the 
 Austrians, he was banished from Milan, and for a long time 
 thereafter he was kept under rigid police surveillance, owing to his 
 attachment to the cause of Italian freedom. These persecutions 
 caused him to retire from the stage for a time, and he went to Florence, 
 where, in the home of some near relatives of his mother, he lived 
 for one year sequestered from society and police observation. He 
 
TOMASSO SALVINI. 
 
HISTRIONIC MONTREAL. 
 
 249 
 
 occupied this time by studying Othello, Saul and Orosmano in Voltaire’s 
 *‘Zaire,” and when he resumed his profession he made some of the 
 greatest successes of his life in these roles. He subsequently added 
 to his repertory the character of Edipo, and in it gained an artistic 
 fame, which spread throughout Italy. Salvini’s reputation being 
 now thoroughly established in his native land, he desired to go 
 abroad, and first tempted fortune in Paris, where he played in “Zaire,” 
 “Oreste,” “Saul,” and “Othello,” with marked success. Returning 
 to Italy, he pursued his profession and won the special friendship 
 of Giacometti, who wrote for him the tragedy of “La Morte Civile,” 
 in which Salvini afterwards roused the wildest excitement by his 
 superb acting. During this time he organized the Mutual Protective 
 Society of Actors, of which he was elected president. When in 1865 
 the six hundredth anniversary of the birth of Dante was celebrated 
 in Florence, he participated in the festival upon invitation of the 
 government of that city, and recited portions of that poet’s “Divine 
 Comedy,” and walked in the procession, under the banner of the 
 society of artists above referred to, as the representative of the 
 dramatic profession. Upon that occasion he was decorated by the 
 King, Victor Emanuel, with the Order of St. Mauritius and Lazarus. 
 At this time, both Ristori and Rossi being in Florence, a representa- 
 tion of “Francesca di Rimini” was projected, and to strengthen the 
 cast Salvini acted the small part of Lanciotto, and made a great im- 
 pression in it. He was presented by the Government of Florence 
 with a statuette of Dante and a costly watch in recognition of his 
 services. He next went to Spain and Portugal, and while playing 
 in Lisbon he received from King Louis the Order of St. lago. 
 In 1870, he received an offer to play in South America, which he 
 accepted, and sailed with a large theatrical company for that country, 
 in 1871. Pie played in Montevideo, Buenos Ayres »and Rio de Janeiro. 
 During the period of this visit the Emperor of Brazil was 
 travelling in Europe, and when Salvini returned to Rome to 
 fill an engagement, he was notified by the Brazilian Ambassador that 
 Dom Pedro, the Emperor of Brazil, on his return to his king- 
 dom had conferred upon Salvini the Order of the Rose, with 
 the insignia of which he was subsequently dulv invested. Sep- 
 tember 10, 1873, Salvini and an Italian company arrived in New 
 York from Havre, France, and made their first appearance 
 in America in the Academy of Music, acting “Othello,” Salvini 
 playing the title character, and demonstrating that he was one of 
 the greatest exponents of that role that ever trod the stage. After 
 concluding a tour of this country he sailed for England, where his 
 performances in London elicited the highest encomiums of approval, 
 and where during his sojourn he wooed and won an English wife. 
 Together they returned to Florence, where they have since resided, 
 much of the time in retirement, although he has since returned to 
 America on three more distinct tours — 1880-1, 1884-5, and 1887-b 
 
250 
 
 H 1 ST K 1 0 N 1 C i\i O S T REAL. 
 
 His son Alexandro met with success here in the romantic roles 
 in English. He was a promising young actor, but his career was 
 soon cut off, dying 15th December, 1896, aged 35. Another son 
 Gustavo, has, however, taken up the mantle of the sire and has al- 
 ready been proclaimed a great actor. 
 
 GUS WILLIAMS is one of the best delineators of Dutch business 
 of the century. He was born in New York city, 19th July, 1848, and 
 his real name is Gustave Wilhelm L'eweck. He enlisted in 1862, 
 serving until the close of the war, when he joined Ashton’s company 
 at Huntsville. He was with Tony Pastor from 1868 to 1878, since 
 which time he has starred in various pieces calculated to bring out 
 his particular talents. Recently he has returned to the vaudeville 
 stage. 
 
 SOL SMITH RUSSELL was a western product of 1848— 15th June, 
 at Brunswick, Mo. He first appeared on the stage at the age of 
 fourteen. His father had never seen a play, but his mother was a 
 sister-in-law to Sol Smith, a well-known actor in that day. His first 
 regular salary was $6 a week. His star began to glimmer about 1866, 
 when he was in Ben De Bar’s Theatre in St. Louis. He did not 
 appear in New York city until 1871, and began starring in “Edge- 
 wood Folks” in '1880, a piece that permitted of songs and sketches 
 end some character work. He later appeared in “A Poor Relation, 
 “The Tale of a Coat,” “A Bachelor’s Romance,” and lastly “Hon. 
 John Grigsby.” His home was in Minneapolis, where his widow and 
 two children, Robert and Lillian, reside. At Chicago, on i8th Dec., 
 1899, Mr. Russell broke down, and died 28th April, 1902. 
 
 ARTHUR M’KEE RANKIN is a Canadian, having been born 
 in 1844, at Sandwich, Ont. His theatrical debut was made in Roches- 
 ter, N. Y., in 1861. He married Kitty Blanchard, the actress, nth 
 December, 1869. Her mother, who thought herself dying, expressed 
 a wish that she should be married. Mr. Rankin, who was fulfiling 
 an engagement in Canada, was telegraphed for. Ke arrived m good 
 time, for his mother in-law rallied and lived to bless him for five 
 years. In 1877 he bought the right to dramatize “The Danites,” 
 from Joaquin Miller, for $5000, and it was first produced 22nd 
 August, at the Broadway Theatre. It was very successful here, 
 but failed in Great Britain. His next effort was a grand pro- 
 duction of “Macbeth” in San Francisco. To us he is most familial ly 
 remembered as Jean Baptiste Cadieux in The Canuck, a character 
 which he played to the life, and in which he appeared at the Academy 
 of Music, week 13th October, 1890. Mr. and Mrs. Rankin separated 
 as artists, and also as man and wife, some time prior to this. His 
 last appearance in Montreal was during the week of 22nd May, 1893, 
 in association with the Drews, Barrymore and E. J. Lyons, in a 
 revival of “The Rivals.” His daughter, Phyllis, also appeared in the 
 cast, and is a prominent stage figure at this writing. His eldest 
 
HISTRIONIC MONTREAL. 
 
 251 
 
 daughter, Gladys, is Mrs. Sidney Drew. Mr. Rankin’s latest efforts 
 have been in the production of several standard dramas, in association 
 with Nance O’Neil. 
 
 KITTY BLANCHARD RANKIN was born in 1847 in Phila- 
 delphia. Her father, Loring Blanchard, died when she was four 
 years of age, and she made her first appearance on the stage as a 
 dancer, when not quite ten years of age, at the old National Theatre, 
 under the management of John Drew the elder. She has acted in 
 all the principal female roles of the Shakespearean repertoire except 
 Juliet and Lady Macbeth, and competent critics have pronounced her 
 Nancy Sykes to be one of the most finished impersonations of the 
 character ever presented on the American stage. Thousands of 
 theatre-goers all over the country have enjoyed her acting in the 
 dual role of Nancy Williams and Billy Piper in “The Danites” and 
 her roguish delineation of Carrots in ’49. 
 
 LOUIS ALDRICH (right name Salma Lyon) had the distinction 
 of being born in mid-ocean, ist October, 1843. His boyhood, which 
 was spent in Cleveland, was filled with hardship and sorrow. When 
 he was but little more than ten years old he was thrown upon his 
 own resources, and, forturately for the theatrical profession, he 
 elected to earn his living on the stage. In school he had been noted 
 among his fellows as a declaimer and recitationist. His talent in 
 that direction was remarkable. He sought the theatre, therefore, 
 as the natural and most promising field for his bread-winning. It 
 happened that, when he was about eleven, a benefit performance to 
 Mrs. John Ellsler was arranged at the Cleveland Theatre. The 
 boy begged John Ellsler to let him appear in it, and Mr. Ellsler, 
 after testing him, agreed to let him appear as Richard III. in two 
 acts of that tragedy. So extraordinary was the acting of the young- 
 ster that the management engaged him for the following week to play 
 the entire tragedy, and billed him as “the Ohio Roscius.” He re- 
 peated his first success and was immediately taken on the road through 
 the West as a boy star. In May, 1863, he went to New Zealand 
 returning to America in the following October. His first appearance 
 at New York was on the occasion of a farewell performance of 
 Charles Kean in America, in “Louis XL,” Aldrich appearing as 
 Coitier. Mr. Aldrich rose to fame with Bartley Campbell’s play of 
 “My Partner.” As an officer of the Actors’ Fund he accomplished 
 more in the way of philanthropy than any actor of the time. He 
 was among the earliest active members of the Fund; he served as 
 first vice-president for eleven years, and from June, 1897, to June, 
 1901, he was president of the Fund. During that period he labored 
 in the cause of charity with a devotion rarely equalled, his enthu- 
 siasm never for an instant cooled, his purpose never faltered. The 
 Fund became his very life, as he, truly, became the presiding spirit of 
 the Fund. His last and greatest work in behalf of the institution was 
 the raising of money to build the Actors’ Fund Home. He died 17th 
 June, 1901. 
 
252 
 
 HISTRIONIC MONTREAL. 
 
 MRS. AGNES BOOTH {nee Agnes Land Rookes) was born in 
 Australia in 1843. She arrived at San Francisco in company with her 
 sister, Belle, in 1858, and shortly afterwards married Harry Perry, 
 an able, but too jovial actor, who died in 1861. Coming east she 
 became a strong star, and in 1866 married Junius Brutus Booth, son 
 to the elder of the same name and brother to Edwin and John W. 
 Booth. J. B. Booth died in 1883, leaving her $200,000. After a 
 year of widowhood she married Mr. John Schoeffel, the partner 
 of the late Mr. Abbey. Mrs. Booth retained her stage name, and 
 oiT.y recently retired. She is to the American stage what Mrs. 
 Kendall is to the English boards. 
 
 JOHN GIBBS GILBERT probably never had an equal in such 
 parts as Sir Anihony Absolute, Sir Peter Teazle and similar roles of 
 the old comedies. John Gilbert was born 27th February, 1810. 
 After leaving school he measured calico for five years, and finally 
 trod the boards for the first time 28th November 1828, as Jaifier 
 in “Venice Preserved’’ at the Tremont Theatre, Boston. He was 
 successful from the start, and rose rung by rung on the ladder of 
 fame until around this splendid actor some of the proudest memories 
 of the stage entwine theiiiselves. The veteran died i/th June, 1889. 
 
 GEORGE OSMOND TEARLE, who was known in America 
 through his memorable work some years ago as leading man of 
 the late Lester Wallack’s company, died at Newcastle-on-Tyne, Eng- 
 land, Sept. 6, 1901. Osmond Tearle was born in Plymouth, in County 
 Devon, in 1852. At the age of fifteen he was articled in a law office 
 in Liverpool, since it was the desire of his parents as well as him- 
 self that he should become an attorney. For two years he devoted 
 himself to his legal studies, attending, when occasion offered, elocu- 
 tionary classes, public readings and theatrical performances. He soon 
 gained some reputation among his fellows as an elocutionist, and 
 as a result he was invited to take part in an amateur performance 
 of Julius Caesar. In the . character of Trebonius, upon that occasion, 
 he gave so creditable a performance, and was so highly complimented 
 upon it, that he decided to abandon the law in favor of the stage. 
 He had little difficulty, it appears, in finding an opportunity to enter 
 the profession, for on March 29, 1869, when he was but seventeen 
 years old, he made his debut on the stage of the Adelphi Theatre, 
 Liverpool, in the role of Guildenstern in Hamlet. Mr. Tearle’s 
 fame eventually reached America, and several American managers 
 sought to bring him to this country. Among them was Lester 
 Wallack, who finally secured him for the position of leading 
 man of his company. In September, 1880, Mr. Tearle made his 
 fiibt appearance in this country at the Star Theatre, under the man- 
 agement of Mr. Wallack. He quickly sprang into public favor and 
 became one of the most popular leading men that New York has 
 ev.r known. When Henry E. Abbey took over the management of 
 Wallack’s in 1887, Mr. Tearle was engaged as leading man of the 
 
HISTRIONIC MONTREAL. 
 
 253 
 
 company. He acted there and on the road in America for several 
 seasons, and about twelve years ago he returned to England, to 
 remain permanently. In 1889, and again in 1890, Mr. Tearle man- 
 aged and acted in the Shakespeare commemoration perlormances 
 at Stratford, producing upon the first occasion Julius Caesar and 
 the first part of “Henry Sixth, “ and upon the second “Two Gentle- 
 men of Verona” and “King John.” Since leaving this country Mr. 
 Tearle has toured steadily at the head of his own company in Eng- 
 land. He was highly popular with the public, and was regarded by 
 critics as one of the best Shakespearean actors of his time. 
 Mr. Tearle was twice married. After being divorced from his first wife, 
 he married Minnie Conway, the American actress — formerly the wife 
 of Jules Levy, the cornetist — in Denver, Col., in 1883. 
 
 HARRY EDWARDS was one of the soundest actors of the 
 modern stage, and it was in the line of “old men” that he chiefly 
 excelled, associated with the names of Wm. Warren, Wm. Davidge, 
 John Gilbert and Chippendale. He was born at Ross, England, 23rd 
 September, 1824. He was a clerk in his young manhood, and an 
 ambitious amateur actor in company with J. L. Toole and Walter 
 Montgomery. In 1853 he went to Australia, where he remained 
 many years. He married Avonia Jones-Brooke, widow of Gustavus 
 V. Brooke, the tragedian, and the daughter to Mrs. Melinda Jones, 
 at one time lessee of the old Theatre Royal on St. Paul Street. In 
 1866 he went to San Francisco, and in 1878 first appeared in the 
 East as Master Walter to the Julia of Mary Anderson. He joined 
 Wallack’s company 8th December, 1878. His last engagement was 
 as the Earl in “Fauntleroy,” in Australia, returning to New York 
 a year before his death, which occurred 9th June, 1891. Mr. Edward 
 was a man of refined and cultured tastes, scientific as well as literary, 
 and an orator of great power. He had great interest in entomolog}% 
 his collection of moths and butterflies containing more than 300,000 
 specimens. 
 
 CHARLES THOMAS PARSLOE died in New York city, 22nd 
 January, 1898. He was born in New York, October i, 1836. His 
 father, Charles Parsloe, was an English actor, and managed the 
 second dramatic agency in this country. He was identified chiefly 
 with the role of the Chinaman in “My Partner,” and was co-star with 
 Louis Aldrich in that melodrama during its great vogue of fifteen 
 years ago. His portrayal of Wing Lee was in accordance with Bret 
 Harte’s descriptions rather than with any results of actual study and 
 observation of such “Chinks ^ as had made the West their abiding 
 place in those days; but the public accepted the impersonation as a 
 triumph of character acting. In other roles Parsloe was not so 
 successful, although he was a fair actor of comic character. His 
 tours with Mr. Aldrich netted him $65,000, yet he died poor. He 
 was last seen in Montreal as a star at the Academy in 1887 m A 
 Grass Widow.” He lost $5,000 on that tour. 
 
254 
 
 HISTRIONIC MONTREAL. 
 
 tRNESTO ROSSI was born 27th Aug., 1829, at Leghorn, Italy, 
 which is not far from Pisa, where he was educated at the university, 
 to fit himself for the legal profession. Much to his parent’s disap- 
 pointment, he found that his son evinced no predilection for that 
 pursuit, and that his declaiming propensity was histrionic rather 
 than forensic. He read plays, recited passages from them, and 
 frequented theatres, instead of poring over the musty tomes of 
 Justinian, etc. He joined an amateur company, and, having once 
 felt the inspiration of playing before an audience, he could not be 
 brought back to the routine of the university. In 1846 he ran off, 
 joining a strolling company, and made his regular debut at Fogano, 
 Tuscany. His salary was 15 centissimi per day — 3 cents. His father 
 having abandoned all hope of seeing his son a conspicuous advocate, 
 and his kinsmen and friends having failed to draw him from the 
 avocation which had fascinated him, he was permitted to follow the 
 bent of his own desires. He enrolled himself as a member of a pro- 
 fessional dramatic company managed by Signor Marchi, and speedily 
 gave indication that nature had intended him for the stage. Possess- 
 ing youth, personal Cv^meliness, a slight, graceful figure, and a melo 
 dious voice, he was especially fitted for the impersonation of lovers, 
 in which roles he made a signal success. After leaving Marchi he 
 entered a dramatic school, then recently founded by Gustavo Modena, 
 under whose instruction he vastly improved. He subsequently 
 appeared at the Carcano theatre, Milan, and later at the Carignano, 
 Turin, being cordially received at both. After performing in many 
 other Italian cities, he first visited Paris, France, in 1855, as a 
 member of the company supporting Ristori, he then being 26 years 
 of age. He was highly complimented by the critics for the delicacy 
 and finish of his impersonations. From Paris, Rossi went 
 to Vienna and introduced to the Austrian public many of the 
 comedies of Goldoni, the Moliere of the Italian stage. In 1866 he 
 made his second professional visit to Paris, and was cordially received. 
 While playing at the Italian theatre there he presented many of the 
 pieces of Goldoni, who passed the last thirty years of his life there, 
 during which time he wrote his best known comedy, entitled The 
 Benevolent Grumbler.” On the anniversary of Corneille, Rossi ap- 
 peared by invitation at the Theatre Francais, impersonating the hero 
 in ‘‘The Cid” in the Italian translation of the French poet’s master- 
 piece. The Parisians were so favorably impressed with his art that 
 they proclaimed him the Italian Talma. Rossi began to study Shake- 
 speare, and achieved distinction as Hamlet, Lear, Romeo, 
 
 Macbeth and Othello. These delineations were witnessed m Madrid 
 Lisbon, Paris, London and other European capitals, and elicited 
 very favorable criticism. Hamlet was Rossi’s favorite role, and in 
 it he made his first appearance on the English stage m Drury Lane 
 theatre, London, April 19, 1876. The success achieved here by 
 Salvini, who was a personal friend of Rossi, induced him to visit us. 
 
\ 
 
 ERNESTO ROSSI (as Hamlet). 
 

 ■ M 
 
 't 
 
 
 
 
HISTRIONIC MONTREAL. 
 
 255 
 
 He arrived September 30, 1881, in which year he published a book: 
 “Forty Years of an Artist’s Life.” He practically retired in 1889, 
 but reappeared, occasionally playing, in Russia chiefly, where he 
 was very well liked. Signor Rossi, rich with honor, and revered 
 by the world, passed through the sunset gates, 4th June, 1896. 
 
 THE YEAR OF 1882 
 
 was opened by Anna Graham, week 2nd January. She was 
 supported by Forrest Robinson in a production of “ The 
 L-egion of Honour.” Hermann, the magician, first appeared 
 here week 9th January. Haverly's Minstrels came for three 
 nights from 26th January; the Hoey-Hardie Company, in 
 Geo. Hoey^s “A Child of the State,’’ 14th to i6th, when “Dip- 
 lomacy” was staged for three nights, and Brookes & Dick- 
 son’s “The World,” week 20th January, after which the house 
 was dark until 6th and 7th March, when Barlow, Wilson, 
 Primrose & West’s Minstrels appeared, follow^ed by Haverly’s 
 Opera Company in “Patience” and “The Mascot,” week 13th 
 March. Genevieve Ward in “Forget Me Not,” 20th and 21st, 
 and the second engagement here of Mary Anderson, sup- 
 ported by William Harris, J. B. Studley, Robert L. Downing 
 and Mrs. M. A. Pennoyer, opening 22nd March with “Romeo 
 and Juliet,” Mary Anderson as Juliet, Wm. Harris as Romeo, 
 J. B. Studley as Mereutio, Robert Downing as Friar Lawrence, 
 and Mrs. Pennoyer as the Nurse. Tlien followed ‘Tngomar,” 
 “The Hunchback,” “Lady of Lyons” (matinee), and closing 
 25th with “Pygmalion and Galatea.” This was Mr. Down- 
 ing’s first appearance here. His last engagement was at the 
 same house, week of 23rd October, 1893, in classical reper- 
 toire, supported by Edmund K. Collier and Eugenia Blair 
 (Mrs. Dowing). W. H. Gillette, in “The Professor,” was 
 the next attraction, \veek loth April ; J. T. Raymond, in 
 “Fresh,” and Col. Sellars,’’ 17th, i8th, 19th; Helen Coleman 
 in “Widow Bedott,” 20th, 21st, 22nd; Gus Williams, in “Our 
 German Senator,” and “Prof. Reiser,’’ 27th, 28th; and J. W. 
 Collier’s “ Banker’s Daughter,” with Joseph Whiting and 
 Adele Belgarde, 2nd May, for five nights. Montreal’s most 
 popular tragedian, Thomas W. Keene, made his first bow 
 week 8th May in this city as a star, and a bright one too. 
 George Learock was in the leading support. The opening 
 was in “Richard HI.,” 8th; “Richelreu,” 9th; “Othello,” loth; 
 “Hamlet,” nth; “Macbeth,” 12th; “Fool’s Revenge,” 13th 
 (matinee); and “Richard” for the closing performance. Mr. 
 Keene reappeared here week 12th March, 1883; i8th Febru- 
 
250 
 
 HISTIUONIC MONTREAL. 
 
 ary, 1884; 19th January, 1885; 29th February, 1892; 10th 
 April, 1893; 25th March, 1895; and lastly, loth May, 1897. 
 tic had al\va}'s been Aiontieals tavorite bhakespeaiean 
 actor. Maurice Grau’s t rench Up'cra Co. followed, lOtli, tor 
 eight nights; Kate Claxton, in "Two Orphans,” "Double 
 Marriage,” and "hrou hrou,’ 25th, for three nights, Charles 
 Wheatleigh and Sydney Cowell, in "Hazel Ivirke, 29th, for 
 three nights. Miss Cowell was the original Dolly Dutton in 
 the piece. The season closed until 14th August, when 
 "Youth” was produced for the first time here ; "Michael Strog- 
 off,” 2ist, for one week; also first production Gorge S. Knight 
 in “Baron Rudolphe,” 28th, for one week; Hermann came 4th 
 Septemb'er, for four nights; Helen Blythe, in Only a Far- 
 mer’s Daughter,” 8th, for two nights; Alex. Caufman, in 
 “Called to Account,” supported by D. H. Harkins and Lottie 
 Church (Mrs. J. A. Stevens), nth September, for owe week; 
 Lotta, in “Bob,’’ etc., week 19th; Laura Don, in “A Daughter 
 of tire Nile,” week 25th; Collier’s "Lights o’ London,” 2nd 
 October, for week; Edwdn F. Thorne; Nat C. Goodwin, Jun., 
 and Eliza Weathersby, week 9th October. Lawrence Bar- 
 rett made his second star appearance here 25* October, ap- 
 pearing four nights, supported by Louis James and Marie 
 Wainwright. He opened in “Richelieu’ ; “Hamlet, 26thj 
 “ Shylock ” and “ David Garrick,” 27th ; “ Marble Heart ” 
 (matinee), and “Yorick’s Love,” 28th. The following was 
 the cast of the opening night in ‘‘Richelieu^' : Cardinal Richc- 
 lieu, Lawrence Barrett ; King Louis XIII., Charles Rolfe ; 
 Duke of Orleans, Erroll Dunbar; Count de Baraeas, E. C. Mos- 
 ley; Adrian de Mauprat, Louis James; Sieur de Berenghen, 
 Chas. Plunkett; Huguet, Homer Cope; Father Joseph, B. G. 
 Rogers; Francois, Albert T. Riddle; Clerniont, Percy M mter; 
 Captain of the Guard, Louis Lyon; First Secretary, Game 
 Davidson; Second Secretary, George Vail; Third Secretary, 
 Robert Sutton; Jidie de Mortimer, Mari-e Wainwright; Marion 
 de Lornie, Josie Batchelder. This was the tragedian’s first 
 visit to the dtv since 28th August. 1872, at Theatre Royal. 
 His last appearance was at the Academy week i8th May, 
 i88^. Maud Granger and Harry Lacy came w^eek of 30th 
 October in Tillotson’s “The Planter’s Wife.” IVp'e Rhea, 
 supported by William Harris, made her Montreal week 
 
 6th November, appearing in “Adrienne Lecmivreur,’ Cam- 
 ille ” and “Much Ado About Nothins-.” Following Rhea 
 came Snvcler and Grau’s Onera Co. for three nights from 13th 
 November; Fanny Reeves (Mrs. McDowell), week of 20th, in 
 
HISTRIONIC MONTREAL. 
 
 257 
 
 repertoire; Sam Hague’s Minstrels, 27th; “The Rose of Yuba 
 Dam,’’ with Hattie Grinnell, week 4th December; Haverly’s 
 Opera Co., week nth, in “Th« Merry War”; Boston Ideal 
 “Uncle Tom” Double Co., week i8th; and Lillian Cleues, 
 supported by Richard Foote, week 25th, in “Th^ New Mag- 
 dalen,’’ closing the year. 
 
 ANNA GRAHAM was born in Philadelphia about 1837. She 
 and her sister, Lillie, made their appearance on the stage at the 
 City Museum in 1855 as Julia and Helen in. ‘The Hunchback.” She 
 was for several years a favorite leading lady under the management 
 of J. S. Clarke at the Walnut. She married Frank L. Gardner, and 
 several years ago retired from the stage, now living in Philadelphia. 
 
 ALEXANDER HERMANN was born in Paris, 1844. He followed 
 in the footsteps of his father, S. Hermann, who was also a well-known 
 magician in his time. He left a widow, but no children. He made 
 his first appearance in America at the Academy of Music in New 
 York city in 1861, where he played 75 nights. Then, with his 
 brother, he made the tour of the world. In 1867 his partnership 
 with his brother was dissolved, and Alexander started out for him- 
 self, making another tour of the world. He returned to this country 
 in 1874, and remained until his death, 17th December, 1896. 
 
 MAUD GRANGER {nee Annie E. Brainard) was born in Con- 
 necticut in 1846. She made her dehut from the class of a New York 
 teacher of elocution at the Union Square theatre, ist October, 1873, 
 as Fraisetie in “The Geneva Cross.” She made good headway, and 
 subsequently was one of the six Juliets whom Rignold made love to 
 in his historic performance of “Romeo and Juliet” at Booth’s 
 Theatre. She afterwards supported McCullough. In 1880 she mar- 
 ried Alfred Pollen, umder whose management* she toured for some 
 time. She is now Mrs. Wm. R. Baxter. She is an actress of no 
 profundity of emotion or variety of power, appealing altogether for 
 endorsement to the senses alone, and has little trace of vital intelli- 
 gence about it. 
 
 HARRY LACY has created roles in a number of modern dramas 
 and has been starring since about 1880, “The Planter’s Wife” being 
 among his earlier successes. He has since appeared in “The Still 
 Alarm.” He is thorough in all his work, and his fine stage presence 
 makes him particularly fitted for heroic work. He was last seen in 
 the Vaudeville theatres. 
 
 GEORGE S. KNIGHT was a welcome feature for several seasons. 
 His real name was Sloan, and he was born in Philadelphia in 1850. 
 He was a graduate of the vaudeville, where he attained celebrity as 
 a dialect singer and comedian. In 1875 he married Sophie Worrell 
 
 17 
 
258 
 
 HISTRIONIC MONTREAL. 
 
 (born in 1848 in New Orleans), with whom he subsequently starred^ 
 meeting with considerable success. They appeared in London, Eng., 
 in 1880 in ‘‘Otto,^’ but their most pronounced hit was in “Over the 
 Garden Wall.” They afterwards appeared in “Baron Rudolph,” and 
 had made preparations for an Australian tour, but death prevented, 
 Mr. Knight having the curtain rung down on him 14th January, 1892. 
 
 JQSCPH F. WHITING is a son of the late David Whiting, and 
 brother of the late Virginia Whiting Loring, both known and 
 esteemed in American theatrical circles, Joseph E. Whiting was 
 bom! in Boston, Mass., but was educated in New York city, at 
 Trinity School. His first public appearance was as a chorister in 
 
 Trinity Church, where he sang during two years. As a youth Mr. 
 
 Whiting naturally breathed a dramatic atmosphere, and it is not 
 surprising that, as soon as he had finished his studies, he went on 
 the stage, about 1858, at Washington, D.C. He became a favorite 
 leading man in the best stock companies of the day. Mr. Palmer 
 
 engaged him to play the leading part in “Jim the Penman,” and he 
 
 played nothing else until he did Ahhe Latour in “The Dead Heart,” 
 with James O’Neill, and then with Margaret Mather, playing Mer- 
 cutio, Rolando, La Hire in “Joan of Arc,” etc. He married Lillie 
 Brandon, who obtained a divorce from him. 
 
 ADELE BEEGARGE {nee Adelaide Levy) has been on the stage 
 since 14th February, 1879, when she appeared in “.Romeo and Juliet” 
 in Newark, N.J. 
 
 ROBERT E. DOWNING. The history of the American stage 
 records few instances where an actor has so suddenly sprung into 
 prominence as has Robert L. Downing. Mr. Downing was born in 
 Washington, D.C., October 28, 1857. At a very early age he evinced 
 a decided liking for the Thespian art, and at eighteen he became a 
 member of the stock company at Ford’s Theatre, Baltimore. His 
 parents were averse to his adopting the stage as a profession, but, 
 when they observed how strongly the twig was bent, very sensibly 
 allowed their son to follow his inclination. After a prosperous sea- 
 son with Mr. Fechter, he was engaged as leading support to Edwin 
 Booth, and afterward played in that capacity with Charlotte Cush- 
 man, Dion Boucicault, Joseph Jefferson and other stars. In 1881 he 
 made his New York debut with Miss Anderson as Claude Melnotte at 
 the Fifth Avenue Theatre, remaining with her until she left to fulfil 
 her engagement in England. During his engagement with Miss 
 Anderson and other stars, his career had been carefully watched by 
 Joseph H. Mack, who had taken a friendly interest in the young 
 actor, and who, after McCullough’s death, conceived the idea of 
 bringing Downing out as Spartacus in an elaborate production of 
 “The Gladiator.” His wife, Eugenia Blair (nee Wren), first married 
 Forrest Robinson in 1881. They have lived more or less apart for 
 
 I 
 
HISTRIONIC MONTREAL. 
 
 259 
 
 the last five years. Downing is a very fair representative of the 
 school that had its last modern representative in John McCullough. 
 A decade ago Downing could pack any theatre when he appeared 
 in “The Gladiator,” and many of you remember the effective posters 
 that announced him, and to which no little of his prosperity in those 
 days was due. Of late years he has known very little of good for- 
 tune, and has not been a very conspicuous figure in the theatre of 
 the hour. 
 
 HORTZINSE BARBE-EORET, called RHEA, was born in Brus- 
 sels 4th September, 1844, and, in accordance with the custom of that 
 country, was placed by her father, a wealthy manufacturer, in a con- 
 vent, where she remained until she was fifteen years of age, being 
 recalled home by the death of her mother. Not long after her 
 mother’s death, Melle. Rhea’s father lost his fortune, and soon after 
 died, leaving his three daughters with but a small sum of money with 
 which to struggle against adversity. Luckily, the elder daughters 
 married early, and the future actress endeavored to turn her musical 
 accomplishments to profit by giving lessons, but the tax upon her 
 strength proved too severe, and she was forced to abandon this mode 
 of earning a living. She then determined to try her luck upon the 
 stage, and, having studied “Athalid’s Dream,” she presented herself 
 to Charles Fechter, who encouraged her to continue her studies. 
 In Brussels she played for some time with success, but returning to 
 Paris, and finding it almost impossible to obtain an opening at any 
 of the Paris theatres, she formed a company and played “L'Etran- 
 gere” through the Provinces. Eventually she was offered an en- 
 gagement in St. Petersburg, Russia. The disturbed state of the 
 empire and the assassination of the Czar closed the theatre, where- 
 upon Melle. Rhea visited England and began to study the English 
 langiiage, of which she already had considerable knowledge, placed 
 herself under the dramatic guidance of John Ryder, and made her 
 debut on the English stage a month later. She appeared at a matinee 
 performance in the Gaiety theatre, London, Eng., June 21, 1881, 
 playing Beatrice in “Much Ado About Nothing,” speaking English. 
 She made her American debut at Haverly’s Theatre, Brooklyn, N. Y., 
 and her New York debut at Booth’s theatre in the fall of 1881. 
 Melle. Rhea had an intelligent face and exuberant vivacity, but her 
 voice, as I remember it, was far above concert pitch, and her English 
 very difficult to follow, nevertheless her Josephine was well liked here. 
 Her last engagement here was at the Academy week of 6th Decem- 
 ber, 1897. She retired from the stage in 1898, to Montmorency, 
 France, where she died 9th May, 1899. She was personally a 
 woman of great beauty, but of little real artistic quality. Her man- 
 agers used her reputation, which was purely artificiat, to give her 
 an eminence she never deserved. She was a hard working woman, 
 an indifferent actress and had public successes, which were created 
 
26 o 
 
 HISTRIONIC MONTREAL. 
 
 by good advertisements which gave importance to her interest and 
 do not belong to her death. 
 
 WILLIAM HARRIS was born in New York, 25th October, 1839, 
 and made his debut at the National Theatre in that city in July, 1854, 
 as the First Soldier in “Pizarro/' He subsequently travelled with 
 Crisp’s company through the South. In i860 he enlisted in the 34th 
 Ohio Regiment at Cincinnati and rose to the rank of captain. He 
 was with Sheridan through the campaign in Shenandoah Valley, and 
 was wounded 25th July, 1865, at Martinsburg, shortly afterwards 
 returning to the stage, first appearing at the Boston Museum. His 
 best work has been done in support of Hortense Rhea for many 
 seasons. More recently he has been in the support of Julia Arthur. 
 
 SYRNEY COWELL on or off the stage is the same blithe 
 being. For her it is no task to simulate gayety or high spirits; she is 
 by nature a genuine comedienne with a rare fund of good humor and 
 inherent fun. Miss Cowell tells us her story as follows: ‘T was 
 
 born within the sound of Bow Bells, but my grandfather, Joseph 
 Leathley Cowell, was a naturalized citizen of America, and my father, 
 ‘Sam’ Cowell, was raised and reared here. Both my father and 
 grandfather were famous comedians in their day, and my father’s 
 sister was Sydney Cowell before me. She was the mother of the 
 celebrated Bateman children. Miss Bateman was renowned for her 
 performance of Leah- Isabel Bateman and Mrs. Edward Compton 
 are my first cousins.” I had accepted an engagement with the late 
 J. B. Buckstone for the Haymarket Theatre, London, when Charles 
 Wyndham offered me substantial inducements to come to New York 
 with his famous comedy company. Since then I have played only in 
 this country. Dolly Dutton in Hazel Kirke was my next success. I 
 played it for twelve months at the Madison Square Theatre, and 
 afterwards in almost every city in thie Union. In 1890 I retired from 
 the stage, and for five succeeding years was a confirmed invalid, 
 never dreaming that I should ever be able to play again. But in 
 1895 I accepted an offer from Mr. Hilliard for the character part, 
 Mrs, Churchill, in ‘Lost-Twenty-Four Hours.’ I have also appeared 
 with Mrs. Fiske in ‘Tess of the d’Urbervilles,’ and at present I 
 am playing the amorous widow in ‘Love Finds the Way.’ ’ 
 
 MRS. SARAH A. BAKER, so frequently seen here with T. W. 
 Keene, died in the Forrest Home, ist Sept., 1899. She was the old- 
 est actress in America, having been born in Philadelphia in 1818. 
 Her first stage appearance was at the Walnut Street Theatre De- 
 cember 15, 183^, as Virginia. Her second regular season was played 
 at W. E. Burton’s theatre, and among her associates was Charlotte 
 Cushman. In March, 1853, Mrs. Baker was married to J. S. Baker, 
 an actor. Mrs. Baker’s last appearance as a member of a stock 
 company was in Philadelphia during the Centennial. Since that time 
 

 •I 
 
 
THOMAS W. KEENE (Hamlet) 
 
 
HISTRIONIC MONTREAL. 
 
 261 
 
 she has been attached to various combinations, and travelled all 
 over the country. Mr. Baker died in Atlanta, Ga., in 1864. Mrs. 
 Baker joined Keene’s forces at the outset of that actor’s starring 
 career, he promising that she should continue with him as long as 
 she cared to, after which she could retire a member of his family. 
 The tender care which the old lady received up to the time of 
 Mr. Keene’s death in 1898, was the constant subject of the veteran 
 actress’s conversation. In 1887 she celebrated the fiftieth aniversary 
 of her debut. 
 
 THOMAS WALLACE KEENE probably did more to popular- 
 ize Shakespeare in America than any other actor. He went about 
 with ''his wild harp strung behind him” like the minstrels and historians 
 of old carrying thte echoes of Shakespeare into the fastnesses of the 
 wilderness; he sang in caves, and waved his garish banner through 
 the darkness. Mr. Keene rose from the foundation of dramatic 
 apprenticeship to be recognized as a competent impersonator of 
 characters so complex and elevated as Gloster and Othello. He 
 was not a genius, but he was a diligent and ambitious man of alert 
 intellect, who had mastered the technical difficulties of his profes- 
 sion, and used its symbols in such a way as to make his conception 
 of a part perfectly clear to a miscellaneous audience. In San Fran- 
 cisco I have heard of an audience turning from McCullough, and 
 rise to its feet in wild cheers for Keene, because of the splendor of 
 his voice and the tremendous fire and magnetism of the man. His 
 art lacked the last degree of refinement, but all his faults accumulat- 
 ed were most forgivable. To Mr. Keene I owe many moments of 
 artistic qualification at the theatre, and I should like to add one 
 immortelle to the wreath that will preserve the memory of a robust 
 and conscientious actor of truly manly qualities. The tragedian was 
 born in New York city, 26th Oct., 1840. It was with J. H. Hackett 
 that he secured his first regular engagement in 1863, and he was emi- 
 nently successful from the outset. At Marylebone, he opened the 
 theatre, where Charlotte Cushman, the Wallacks, Mrs- Mowatt and E. 
 L. Davefnport achieved their successes, and was himself spoken of in 
 the most favorable manner by press and public. Early in life Mr. Keene 
 married Margaret Creighton, by whom he had two children, Agnes 
 and Claude, the former being Mrs. Edwin Arden. After a brilliant 
 career in the support of the first stars of the day, Keene himself was 
 firmly placed in the stellar firmament by W. S. Cole in 1880. Season 
 after season this actor crossed and recrossed the continent. He had 
 a large and loyal following of admii^ers, who ranked t*he name of 
 Keene only after that of Booth, and for eighteen years these tours 
 invariably yielded profit. He had played Richard 2,525 times. Nature 
 had peculiarly fitted him for that character, he having that quick, 
 nervous impetuosity of manner and mobility of countenance so ne- 
 cessary to simulate the swiftly changing emotions of the crafty mon- 
 arch. In later years he had also given a truly great performance ot 
 
262 
 
 HISTRIONIC MONTREAL. 
 
 Louis XL, in which characterization he was aided by advancing years. 
 Mr. Keene, or rather Thomas R. Eagleson, for that was his original 
 name, died at his home, at Castleton Corners, S.I., 1st June, 1808^ 
 His last appearance on the stage had been at Hamilton, Out., 23rd 
 May, as Richelieu. It was there that the actor was striken. Tl>en 
 fell a rugged oak, over whose prostrate trunk the sunshine was 
 gleaming broadly through the vista of a beautiful life. 
 
 Strive to remember that the realization is very oft a bitter disappoint-- 
 ment, and that fhe expectation is the buoyant hope which ts part and 
 parcel of happiness — Thos. W. Keene. 
 
 THE YEAR OF 1883 
 
 was theatrically summoned in with sweet symphonies by the 
 Emma Abbott Opera Co., January i, for week; Haverly’s 
 Minstrels, week 8th; Eugenie Le Grand, in ‘‘Camille,’’ “Lady 
 of Lyons,” and “Black Sheep,’' week 15th. This was a very 
 feeble effort, and did not receive much encouragement. Louis 
 Aldrich and Chas. T. Parsloe, Jr., came carnival week in 
 “My Partner,” from 22nd January. Montreal’s first Carnival 
 began on that date. Jeffreys Lewis and J. Newton Gotthold 
 followed in Belasco’s “La Belle Cerisse,'’ w^ek 29th. Collier 
 and Rice’s “lolanthe” Co. sang week 5th February; Willie 
 Edouin, in “Dreams’,” and “A Bunch of Keys,” week 12th ; Ella 
 Stockton, in a dramatization of Black’s “Madcap Violet,” week 
 19th; Salsbury’s Troubadours, in “Greenroom Fun,’' four 
 nights from 26th; C. B. Bishop, in “Strictly Business,’ week 
 6th March; and the second appearance of T. W. Keene, week 
 1 2th, in Shakespearean repertory. Charles Wyndham, sup- 
 ported by Miss Kate Rorke (Mrs. Gardiner), and the Cri- 
 terion Theatre Company of London, England, made his 
 Montreal debut, week 26th March, in “Brighton,'’ and “Four- 
 teen Days.’' The Hanlon Bros., in “Voyage en Suisse,” 
 came for four nights, 2nd April, followed by the first appear- 
 ance here of the celebrated “Jersey Lily, ’ Mrs. Langtry, week 
 6th April, in “An Unequal Match.’' She appeared in “Pyg- 
 malion and Galatea” at the matine^e, and closed in “As You 
 Like It.'’ Mr. and Mrs. Florence were seen in “The Mighty 
 Dollar,” and “Ticket-of-Leave Man,'’ four nights from i8th 
 April; Collier and Rice’s “lolanthe,” week 23rd; Mr. Grau's 
 French Opera Company, 30th, for nine nights; Barlow, Wil- 
 son, Primrose and West’s Minstrels, three nights from loth 
 May; Boston Ideal Opera Company, three nights from i6th; 
 C.'W. Couldock, E. J. Buckley and W. H. Crompton, in 
 “Hazel Kirke,” week 23rd; Raymond in “Paradise,” week 
 
HISTRIONIC MONTREAL. 
 
 -63 
 
 29th; and J. K. Emmett, in “Fritz in Ireland,’’ week 5th June, 
 which closed th-e season until 14th October, when VV. H. Ey- 
 tell came in “ Around the World ’’ and “ The White Slave,’’ 
 followed by the Italian Opera Company week 20th and 27th 
 with Sig. Brignoli. “Romany Rye” was produced 3rd Sep- 
 tember ; Grau’s English Opera Company, week of i ith ; Shook 
 & Collier’s “Lights o’ London,” week 17th; Baker and Far- 
 ron, week 22nd; Joseph Murphy, in “Kerry Gow,’’ week 2nd 
 October; Lytell’s “Galley Slave,’’ week 8th; and on 15th was 
 produced, for first time here, “The Silver King,’’ with the 
 following principals in the cast : Wilfred Denver, Carl A. Has- 
 win; Nellie Denver, Etelka Warded; Spider, William Morris; 
 Eliah Combe, Perkins Fisher; Jakes, Harry Rich. “Young 
 Mrs. Winthrop” followed, 22nd, for week; Lily Langtry, in 
 “School for Scandal’’ and “She Stoops to Conquer,” week 
 29th; Rhea, in “Adrienne,” “Frou Frou,” “An Equal Match” 
 and “Richelieu’s Wager,’’ four nights from 12th; Her Majes- 
 ty’s Colored Minstrels, week 19th; “7-20-8,’’ week 6th Decem- 
 ber; and Etelka Gerster, week loth, with Patterson’s New 
 York Opera Company in Strauss’ “Queen’s Lace Handker- 
 chief.” Richard Mansfield made his initial bow here week 
 17th December in “A Parisian Romance.” Cast of charac- 
 ters : Baron Chezrial, Richard Mansfield; Henri de Targy, 
 Leonard S. Outram; Dr. Chesnel, H. B. Phillips; M. Tirandely 
 Clinton Stuart; Signor Juliaiii, F. de \ ernon; M. Laubaniere, 
 Harold Russell ; M. Vanmartin, W. F. Blande ; Ambroise, F. 
 Sullivan; Pierre, T. Barrett; Marcello De Tar gay, Miss May 
 Brookyn ; Madame De Tar gay, Mrs. Sol Smith, jun. ; Baroness 
 Chevrial, Mrs. Chas. Watson; Madame De Valmery, Miss 
 Mary R. Perkins; Madame De Luce, Miss Helen Windsor; 
 Maria, Miss Jessie Glassford; Gillette /., Miss M. Barbour; 
 Gillette II., Miss E. S. Tarr; Bertholdi, Miss Nellie Whiting; 
 Rosa Guerin, Aliss Isabelle Evesson, Her Majesty’s Opera 
 Co., with Etelka Gerster, came week 24th December, closing 
 the year. 
 
 ETELKA GERSTER was born at Kaschaii, in Hungary, on 
 June 16, 1857. She studied singing with Madame Marchesi, from 
 1873-76. She made her debut at Venice in Rigoletto with pronounced 
 success. She next appeared in Berlin and created a furo**'^. 
 After becoming famous in all the large cities of Europe, she came 
 to America in 1878, and was hailed as a second Jenny Lind. She 
 lost her voice some years ago and retired to private life. 
 
 J. NEWTON GOTTHOLD (born Isaac Gotthold), was a goo>l 
 actor, and at one time starred in the legitimate. He died in 1888. 
 
264 
 
 HISTRIONIC MONTREAL. 
 
 CHARLES WYNDHAM is one of England’s best comedians, 
 but is of American birth (1839), and his first stage appearance was 
 on the boards of the Olympic Theatre, New York city, in 1861. 
 iJuring the Civil War he acted as a surgeon in the South, and in 1866 
 he made his first London appearance. He has paid us several visits, 
 and his career has, up to the present, been a most satisfactory one. 
 His David Garrick is quite popular, and among his most recent 
 successes was his production of “Rosemary.” 
 
 RICHARD MANSFIELD (Rudersdorff) is one of two sons of 
 the late Erminia Rudersdorff, a famous singer, who came here from 
 Europe about 1869. He was born in Heligoland, 24th May, 1857. 
 His father was an Englishman of culture. He inherited from his 
 gifted mother the nervous and delicate temperament of the true 
 artist. Much of his earlier life was passed in Boston, Mass., where 
 he was carefully educated, and where, for a time, he was employed 
 variously in commercial pursuits in journalism, etc. He then visit- 
 ed Europe and travelled considerably. Long before he had decided 
 on adopting the stage as a profession, he was perzona grata at the 
 pleasant evening meetings of the Savage Club, in London, from 
 his skill both as a vocalist and musician, and as a clever imitator 
 of most of the well-known actors. His natural bent at last asserted 
 itself, and he joined the German Reeds, and subsequently played 
 with success at some of the principal London theatres, doing Sir 
 Joseph in “Pinafore” among other roles. He soon determined to 
 visit America, and made his debut in his native land, Sept. 26, 1879, as 
 Dromez in “Les Manteaux Noirs” at the (old) Standard theatre. 
 New York. His subsequent career hardly needs recalling. It may 
 be said briefly, however, that he soon joined the Union Square 
 theatre stock, and that, after a round of unimportant roles, he 
 found one that revealed his real power in the Baron Chevrial of “A 
 Parisian Romance.” His creation of that character for American 
 play-goers (1883) gave him instant and wide recognition as an actor 
 of deep intelligence and singular power. His earlier starring tours 
 (preceded by versatile work in- light opera and serious drama) netted 
 him much profit, and the esteem entertained for him by Irving led 
 directly to his last English engagement (1888), when he produced 
 “Richard III,” in grand effect, also producing that nightmare, “Dr. 
 Jekyl and Mr. Hyde.” The actor’s production of Clyde Fitch’s drama- 
 tization of “Beau Brummel” has been in e\<ery sense successful. 
 His Richard has some clever bits in it, and is acknowledged to be 
 superior to his Shylock. Mr. Mansfield is married to Beatrice Cam- 
 eron (Susan Hageman), formerly his leading lady. Mansfield is the 
 very type of man about whom long eulogies will be written when he 
 is dead. His versatility will be pointed to as one of the most re- 
 markable attributes of a marvellous capacity for projecting himself in- 
 to the character of others. The dual role of sharpest contrast* in Jekyl 
 
RICHARD MANSFIELD. 
 
HISTRIONIC MONTREAL. 
 
 265 
 
 and Hyde, the pink of perfection Beau Brummel, the dashing Prince 
 Karl, the wicked old Baron Chevrial, the matter of fact Bluntschh— 
 that one man should have gained a distinction in all of these that 
 inseparably links his name with each will serve as the capsheaf to 
 his fame. He sings well, speaks six languages with fluency, exclus- 
 ive of that which he uses when the rattling of steam pipes irritates 
 him and leading women are an aggravation, plays on a dozen in- 
 struments, can dance well when necessary, and is capable of a range 
 of acting from the highest emotional to the comical’y grotes:iuc. Sev. 
 eral years ago he announced his ambition to have a theatre in New 
 York. “I feel sure,” he said, “the moment I have a theatre of my 
 own, my difficulties will disappear from my path.” His ambition was 
 realized. In the Garrick he possessed one of the prettiest play- 
 houses in the metropolis *, but troubles thickened on his pathwa> 
 instead of disappearing from it, and after less than a year s ten 
 ancy the management of the Garrick was handed over to Charles 
 Frohman. Mansfield has since toured the country, presenting his 
 various characterizations of human monstrosities, including t at o 
 Cyrano de Bergerac. His most recent effort was ‘ Henry V., a rea y 
 praiseworthy production. 
 
 EMILY CHARLOTTE LE BRETON LANGTRY-DE-BATHE. 
 
 the best advertised actress of the century, is the daughter of Dean 
 W. C. Le Breton, an Episcopalian clergyman of St. Heliers, where 
 she was born in 1854. She first met Edward Langtry in 1873. He 
 was then a gay young widower. His father, although a Quaker 
 of orthodox principles, was not averse to the enjoyment of life by 
 his son, and when the latter came of age he settled a fortune upon 
 him, bought him a yacht and sent him off to enter the lists at Cowes. 
 It is said that on his way thither his yacht was driven out of her 
 course by stress of weather, and the young sailor found himself one 
 stormy night among the Channel Islands. He made the harbor of bt 
 Heliers safely, and went ashore until tl^e storm should abate. He 
 was invited to the deanery by Dean Le Breton, the most important 
 man on the Island of Jersey, and was asked to remain at his house 
 instead of at the inn. The dean introduced him to his two beautiful 
 daughters, and before Mr. Langtry left the island he was betrothed 
 to one of them. After a courtship of five months they were wedded, 
 her father officiating in his own beautiful church of St. Saviour s. 
 The ceremony was performed 12th March, 1874, at the rather unusual 
 hour of 3 a. m. After living on the Island of Jersey for sorne years, 
 they removed to Southampton; but the wife, leaning instinctive y o 
 ward the glitter of smart society, induced her husband to ta e a ^ j 
 some house near Belgrave square, and they began to en er ^ 
 time was short before she developed into a woman of extreme , 
 
 and the fame of her beauty spread. It reached 
 Millais, a painter, subsequently baroneted at the rec 
 
266 
 
 HISTRIONIC MONTREAL. 
 
 of Mr. Gladstone for the excellence of his art. Mr. Millais sought 
 the beauty, and the following spring, at the Royal Academy, exhib- 
 ited a portrait, which he had labelled “A Jersey Lily.” The label 
 stuck. All London went to see that picture, asked who was the 
 original, learned that it was Mrs. Edward Langtry, and the fame 
 of the Jersey Lily began. The Prince of Wales saw the face, craved 
 an introduction, and from that time until the crash that followed 
 Mrs. Langtry was the most conspicuous figure in London’s social 
 whirl. At Grosvenor House, at a dance given by the Duchess of 
 Westminster, she stood in the centre of the great reception room, 
 hated by every peeress that was there ; hated, it may be, by the 
 duchess herself, but radiating loveliness, unapproachable, semi-circled 
 by four men, of whom one was a crown prince and the other three 
 were kings. When supper was served it was at the royal table that 
 she sat. The honor— for such it is regarded — was unprecedented. 
 But so, too, was her success. That night her first ambition was 
 achieved. Meanwhile there had come another. To be properly ad- 
 mired a woman must be properly frocked* To go to dances means 
 traps. To be entertained means entertaining, and by the same token 
 to be Queen of Mayfair means coin. Given a few years in Belgravia 
 a man can squander an earldon — a woman can squander two. Mr. 
 Langtry was in what is called comfortable circumstances — for the 
 reason, perhaps, that they lie between the devil and the deep blue 
 sea. Expenses became such that when Mr. Langtry was not inter- 
 viewing the one he was up to his neck in the other. It was at this 
 juncture that Mrs. Langtry took matters in hand. She had con- 
 quered one world — she determined to conquer another. After soc- 
 iety, finance. With a business tact that has since developed into- 
 genius the Lily went on the stage, and, with an appropriateness which, 
 when you consider it, is delightful, appeared in “She Stoops to 
 Conquer.” That event occurred on December 15, 1881. In the 
 autumn following she came to this country under the guidance and 
 management of the late Henry E. Abbey. But a few hours before 
 the time set for her first appearance, on the night of October 30, 
 1882, the Park Theatre, at Broadway, near Twenty-Second street, 
 burned to the ground. At 6 o’clock that evening love and money 
 could not have bought a stall. At 7 the theatre was on fire. By 9 
 it was glowing embers and circling smoke — in short, a brilliant ad- 
 vertisement. She appeared at Wallack’s, 6th Nov., instead. The 
 house, packed to the doors, admired her gowns, but not her art. 
 and it would have been difficult for the house to have done so. She 
 had none. Splendid in beauty, artistically she was null. Her charm 
 was that of the gentlewoman. It belonged to the drawing-room, not 
 to the stage. But Mrs. Langtry had not stooped to conquer for 
 nothing. If artistically she failed, commercially she succeeded. To 
 express it discreetly, she allowed herself to be insulted into fame. 
 She owed her debut on the stage to Mrs. Henry Labouchere. who 
 
HISTRIONIC MONTREAL. 
 
 .67 
 
 was herself an actress, and to Marie Wilton, now Lady Bancroft. 
 What her profits were she and her business manager alone could 
 state. That, however, is a side issue. Such results as she achieved 
 in this country she is reported to have accentuated abroad, but 
 ultimately less through the box office than through the stable. And 
 now the plot thickens. In 1882 Freddie Gebhard came into her life, 
 and a memorable sleigh-ride was had one night after the play, and 
 her chaperone, Mrs. Labouchere, went home in anger and confusion. 
 Gebhard’s subsequent successes on the turf are said to be due very 
 largely to her advice. Then there was Sir Robert Peel, and Squire 
 Abingdom Baird, the latter having been accused by Mrs. Langtry of 
 having beaten her on more than one occasion. Baird alone, it is 
 said, spent $500,000 on her. There was a story that the entire Marl- 
 borough family cut the Lily because in a playful mood she had slip- 
 ped a piece of ice down the Prince’s collar at a late and merry 
 supper. From time to time she came again into the zone of gossip, 
 and Sir George Chetwyn, he who was in a measure responsible for 
 her original social introduction, had a first fight with the Marquis 
 of Lonsdale over her. She was also coupled with Lord Rosslyn in 
 a brief scandal. Numberless other men worshipped at her shrine, 
 but met with no success. She was busy with the rich, who would 
 dare anything for her, and the minor devotees failed in all things. It 
 was Lord Rosslyn, to whom she owed her introduction to racing, 
 he being her first racing partner. His money, however, soon gave 
 out, and his entire string of horses passed into her possession, 
 constituting the nucleus of what has since become one of the best 
 known and most successful racing stables in England, its fair owner 
 racing under the name of '‘Mr. Jersey. Lord Shrewsbury succeeded 
 Lord Rosslyn as her racing partner, but they have since parted 
 company, and the Lily is now alone on the turf. All over the United 
 States she owns lands, and her name appears on the tax rolls of 
 many Western States. After society, finance. After finance re- 
 habilation. In that already the turf had been serviceable. On one 
 ot its green intervals shh encountered Prince Esterhazy, an Hungarian 
 and a great sportsman, incidentally a great noble, a descendant of 
 Attila, who, where he passed, left the earth forever bare. And now 
 the plot grows thicker. Her first attempt at divorce was in vain, 
 but she made another and yet another, finally succeeding in a Cali- 
 fornia court, May 14, 1897. Edward Langtry died in the Chester 
 Lunatic Asylum, 15th October, 1897, while Mrs. Langtry was enter- 
 taining a select party of sporting friends at dinner at the Savoy 
 House. They were celebrating her winning $200,000 in bets on her 
 horse Merman, which won the Cesarewitch stakes. “A beautiful 
 woman,” said Epictetus, “is a disaster.” And Epictetus, who was 
 seldom wrong, was right. There is something in the gift of beauty 
 which — speaking historically — renders the recipient perverse. And 
 yet, who shall blame them. The divine cannot mate with mere man. 
 
1 
 
 268 HISTRIONIC MONTREAL. 
 
 Edward Langtry was an Ulsterman and 52 years of age. He was 
 the son of a wealthy shipping merchant, who was for a long time 
 agent of the Guion Steamship line at Belfast, and a member of 
 the Society of Friends. For some years back Edward Langtry had 
 displayed unmistakable signs of the life of dissipation he had led. 
 Originally he was good looking and gentlemanly. Many idle con- 
 jectures as to who would be his successor were dispelled by the an- 
 nouncement of the Lily’s marriage, 27th July, 1899, to Hugo Gerald 
 de Bathe, 28 years of age, the eldest son of Sir Henry Percival de 
 Bathe, Bart., a retired general and Crimean veteran. The ceremony 
 was private, the only witness being Mrs. Langtry’s daughter. The 
 Prince of Wales is said to have been in the confidence of the pair, 
 and he sent them a telegram of congratulations. It is understood 
 that young de Bathe was greatly shocked when he discovered that 
 his wife was in the habit of mildly flirting with men friends. He 
 had gathered, it is said, that she was the pink of propriety — in fact, 
 she had told him so herself. The awakening came, and the callow 
 youngster, who believed himself the object of a grand passion, 
 had his hands held by his friends while h^ slept all night with ice on 
 his head and gazed blankly into vacancy, pondering on what might 
 have been. Sir Henry Percival de Bathe, the irate father of Mrs. 
 Langtry’s bridegroom, is a crusty old soldier. It is said that when 
 the youth married he had his son’s effects thrown out of the 
 windows by servants. Then he went to his lawyers and made a 
 new will, leaving out all reference in it to Hugo. It is asserted that 
 after signing it he exclaimed : “ I almost wish that I would die 
 right now so that the will would take effect.” Apparently young 
 de Bathe lost not only his fortune, but his wife, and wishing to 
 revenge himself on some one, proceeded to Africa to assist in the 
 capture of Oom Pauli Mrs. Langtry returned to the stage ist 
 September, 1899, producing “The Degenerates” of the Haymarket 
 Theatre in the presence of a fashionable audience, all on the qui 
 vive to know how far she and Sydney Grundy, the author of the 
 drama, had dared to go in depicting the incidents of her past. 
 From London she came to New York, opening at the Garden 
 Theatre, 15th January, 1900. The general verdict was that she 
 had never acted better, that her beauty had worn splendidly, and 
 that her dresses and jewels were superb. The Philadelphia press 
 showed no courtesy in its reception, the dignitaries at the Capitol 
 turned her down and throughout her reception was “ frosty.” Mrs. 
 Langtry de Bathe appeared at Her Majesty’s Theatre here, iT^h 
 May, for three nights, and matinee, and then returned to England. 
 
 MARY JEFFREYS LEWIS. Few actresses have filled the 
 position of leading lady in a metropolitan stock company before they 
 were out of their teens. Jeffreys Lewis is among the few who 
 have had such an honor thrust upon them. Lester Wallack saw her 
 
HISTRIONIC MONTREAL. 
 
 169 
 
 play Esmeralda in “Notre Dame” at the Fourteenth Street Theatre, 
 and without hesitation offered her the opportunity of playing the 
 leading female roles in the famous Wallack Stock company, then 
 performing at the theatre known to-day as the Star. Recently 
 Jeffreys Lewis was playing Gassy in “Uncle Tom’s Cabin” at the 
 Star — on the same stage where twenty years ago her beauty and 
 histrionic achievements were the talk of the town. Miss Lewis was 
 born in Wales, England. She came to America with T. C. King- 
 Following Wallack, she was with Daly’s company. About that time 
 she married Mr. Mainhall, and played an engagement in Australia. 
 Returning to America she starred in the emotional drama. Lately 
 Miss Lewis appeared with Stuart Robson. 
 
 THEATRICALS IN 1884 
 
 were opened by Harry Lacy in Tillotson's “Tire Planter's 
 Wife,’' from 31st December, followed by “The Power of 
 Money/' week 7th January; Kate Claxton and Chas. A. Stev- 
 enson, in “The Sea of Ice,” week 22nd; Aimee, in Mr. Grau's 
 Opera Company, week 29th; J. T. Raymond, in “Paradise^ 
 and “Col. Sellars,” 6th February for four nights; T. W. Keene, 
 week of i8th, in Shakespearean repertoire, including “Julius 
 Caesar’' and “Macbeth’’ ; Wilbur Opera Company, 25th, 26th; 
 Salsbury’s Troubadours for balance of week; Rice's “Surprise 
 Party,” week 3rd March; and Lytton Sothern in “Dundreary,” 
 “A Regular Fix,” “Brother Sam” and “David Garrick” made 
 his debut here loth March. Edwin F. Thorne, in “The Black 
 Flag,” was the next attraction, week 17th; Mr. and Mrs. Flor- 
 ence, in “Facts’’ and “The Mighty Dollar,” week 14th; “The 
 Devil’s Auction,” week 21st; Callendar’s Minstrels, 28th, 29th 
 and 30th, with whom appeared Billy Kersands; In the 
 Ranks,” came week 12th May; “The Stranglers of Paris,” 
 week 19th; and Hanlon’s “Voyage en Suisse,” week 26th, 
 closing the season, which reopened ist September with 
 “Lights o’ London,” and Mr. and Mrs. W. A. Mestayer in 
 “The Tourists,” 8th. “Romany Rye,” week i6th, was fol- 
 lowed by Salsbury’s Troubadours, week 22nd. Henry Irving 
 and Ellen Terry, supported by Wm. Terriss and the Lyceum 
 Theatre Companv, of London, made their first bow to a 
 Montreal audience, ist October, in “The Merchant of Ven- 
 ice” “Much Ado About Nothing,” “Hamlet” and “Louis 
 XL,” appearing four nights. This was the event of the sea- 
 son. and a large business was done. Lillian Lewis, in “Only 
 a Farmer’s Daughter,’’ came week 6th October. Roland 
 Reed, in “Cheek” and “Humbug,” made his stellar debut here 
 
HISTRIONIC MONTREAL. 
 
 270 
 
 week beginning 13th October. The Boston Museum Co. 
 came 20th October for week, in “The Rivals, ‘Angel of 
 Midnight,” “A Scrap of Paper,” “Inquisitive Donley, She 
 Stoops to Conquer,” “London Assurance” and “The Poor 
 Gentleman.” The principals were Charles Barron, Mrs. Vin- 
 cent and Annie Clarke. Cast of “The Rivals; ^ 
 
 Absolute, Alfred Hudson; Mrs. Malaprop, Mrs. Vincent; Ca/>f. 
 Absolute, Charles Barron ; Lydia, Annie Clarke ; Bob 
 George W. Wilson; Sir Lucius O’Trigger, George ^ 
 Faulkland, A. R. Wytal; David, James Nolan; Julia, Ehzabet 
 Robins; Lucy, Miss O’Leary. Charles Kent was also with 
 the company. Barry and Fay, in “All Crazy,” 27th, for three 
 nights; Rhea balance of week; Jos. Murphy, m Kerry Gow 
 and “Shaun Rhue,” week 3rd November; The Private Sec- 
 retary,” week loth; James M. Hardie, in “Ivanhoff, 17th for 
 week^ Mr and Mrs. Florence, in “The Mighty Dollar _ and 
 “Ow Governor,” week 24th; and the great Adelaide Riston 
 for the first time in Montreal, p ayed English in Mar e 
 Antoinette,” nth December; “Elizabeth, 12th Mane 
 Stuart,” matinee of 13th; her engagement dosing m Mac 
 beth.” Within as many years Montreal saw iMly s th 
 great living artists— Salvini, Rossi and Riston. One is now 
 L the others in retfremem. 
 
 “Storm Beaten,” week of 15th December, and 7-20-8 closed 
 the year. 
 
 CHARI-ES BARRON {nee Brown) was born in Boston m 1838, 
 and made bis first stage appearance at the Athenaeum as Htiguet. 
 For a period of nearly twenty-five years Mr. Barron cast his f 
 tunes with Wm Warren at the Boston Museum, playing '«admg 
 bT."r,. i„ company with Mis. An.i. Oarho °» J » “j; 
 
 Warren in 1888, Mr. Barron went in support of the the 
 Miss Tuba Mariowe. His talent is of the finest order and his 
 
 ttSdy" nd w'TifnoUofws m^LstSr.'SSrTn'would TeTnLn 
 as a great actor. 
 
 MRS MARY ANN VINCENT, known also as Mrs. Wilson, 
 made her debut in England in 1832. Her work was always m stock 
 companies. She was an intelligent actress, a 
 
 friend, and known in Boston as the mother of actors and actresses. 
 She died in Boston 4th Sept., 1887. 
 
 MBEIAN EEWIS came of good Kentucky stock She was 
 married in 1879 to Julian J. Lewis, but -Parated m 
 Mrs. Lewis went on the stage, first appearing on the stage 
 
HISTRIONIC MONTREAL. 
 
 271 
 
 Queen in “Zozo.’’ She then starred in “As in a Looking Glass” and 
 “Donna Sol,” and also toured in Sardou’s “Odette,” in which play 
 a new act was written for her, that she might display her cleverness 
 with the rapier. She was also seen in “L’ Article 47,” and “Cleo- 
 patra. In private life she was Mrs. Lawrence Marston, wife of 
 the playwright, and author of “Therese Raquin,” “Lady Lil,” and 
 “For Liberty and Love,” a play written on the sympathies of Cuba, 
 in which Mrs. Marston starred with indifferent success. She died 
 I2th Aug., 1899. 
 
 ROLAND REED can be said to have been virtually born on the 
 stage at Philadelphia, i8th June, 1852, his first appearance on the 
 boards having been when six months old. The infantile Reed was 
 stage-door tender at the Walnut, and usher and call-boy at the Arch 
 before he again came before the footlights. “I was promoted to 
 prompter,” he has said of his life in those days, “and used to read 
 the plays to the actors, standing beside Mrs. Drew, who corrected me 
 when I made mistakes. While I was still call-boy Lotta came to 
 play her first star engagement in Philadelphia. One day ‘Bob’ Craig, 
 the comedian, fell ill, and I sang the songs with Lotta, and made a 
 hit. Then I applied for the position of comedian for the next season, 
 but Mrs. Drew had already engaged another. I left the Arch, my 
 father exclaiming ‘My boy, you’ve ruin^ed yourselfj’ Reed then 
 shifted to the Walnut, where he scored his first pronounced success 
 as the Jew in “The World.” After that he starred in Mardsden’s 
 “Cheek” and “Humbug,” and in 1887 produced “Lend Me Your 
 Wife,” an adaptation from the farce which formed the basis for 
 “Jane.” His work in “The Club Friend.” “Innocent as a Lamb.” 
 “The Politician” and “The Wrong Mr. Wright ” is well known to 
 play-goers. In 1885 he created, in Chicago, the character of Ko-Ko 
 in “The Mikado.” It was one of the most humorous portrayals of 
 Gilbert’s executioner ever seen. Fie died 30th March, 1901. 
 
 LYTTON EDWARD SOTHERN, eldest son of E. A Sothern, 
 died in London, Eng., March ii, 1887. He was born in this country 
 June 27, 1856, and went on the stage as a child, appearing, billed as 
 Master Sothern, in his father’s company, about 1862. Probably his 
 first part of prominence was Capt. Vernon in “Our American 
 Cousin,” July 24, 1872, in London, Eng. September 16 following 
 he played Bertie in “Home” at the Walnut Street theatre, Phila- 
 delphia. About 1878 he began to star in Australia, and after his 
 father’s death he toured England in the latter’s repertory. In the 
 fall of 1883 he came to America, appearing here as Dundreary, Sam, 
 Garrick, etc., and returning to Engand during 1884. Eva is his 
 sister, and Edward H. and Sam. Sothern are his brothers. 
 
 ADELAIDE RISTORI was born at Friuli in 1821. She was the 
 child of strolling players, and her grandmother, Teresa Ristori, 
 
272 
 
 histrionic MONTREAL. 
 
 was her first instructress. Her first appearance on the stage was 
 when she was but two months old. Her regular was as 
 
 Francesca di Rimini in 183S, after which she joined the Royal Sar- 
 dinian Company, where Carlotta Marchioni, the genius 
 
 of the young Adelaide, trained her as her successor in the leadi g 
 parts. A romantic love affair, followed by her marriage m 1847 
 wffh the young Marquis del Grillo, caused Riston to relinquish her 
 Zilln «n.« » obi.c,io„. 01 h.r 'kubb,” -,.r. overcome .h„ 
 she returned to the stage. In 1851 she went to Pans, where, de- 
 spite the fact that Rachel was then in her zenith, her 
 quered, nor was she less successful in England in 1858. Fresh 
 laurels were gained in every European capital from Moscow to 
 Dublin, and from Egypt to Constantinople. After her first vint 
 to America she returned to England in 1873, and since ha 
 twice revisited America, visiting thirty cities on her last visit 
 j886, without any diminution of her powlers of pleasing the culture 
 
 public. 
 
 MISS VAUGHAN was born Teresa Ott, and her early years 
 were passed at the Highlands, Boston, Mass. There she sang in 
 the choir of one of the Catholic churches, and we believe occasion- 
 ally appeared in concerts. As a graceful actress and cultivated 
 singer she has acquired an unenviable reputation. She married Wm. 
 A. Mestayer, the comedian, who died 21st November, 1896, aged 
 
 52. 
 
 WIIiUIAM TERRISS (real name William Charles James Lewin), 
 was born in London, 20th February, 1847, and came of an excellent 
 family belonging to the Earl of Zetland’s family, and was the son 
 of an English barrister and nephew of George Grote, the historian. 
 He commenced life in the Royal Navy, became a banker s clerk, 
 then went into the wine trade, from which he sought relief as a 
 Xtol engine,, in .h, great Penn workshop. Hi. "ext .XP- 
 ience was on an Indian tea plantation, and finally he reached th 
 Stage at the age of twenty years, making his first appearance in 7 
 at a provincial theatre at eighteen shillings a week. His ^ 
 
 Ls to Kentucky (1873), where he engaged 
 
 in the horse breeding business, the net result of which a r turn 
 
 home in the steerage of a ship. After a 1! ^ 
 
 at Drury Lane, he took to sheep farming on the F^Hnd H 
 
 This soon gave out, and so he returned home r t i, TTorc at 
 
 this so^ g > management of John Hare at 
 
 re^Counl'‘Sli!::I’’asS<t«-M 
 
 at the London theatres, he settled dovm J jerriss 
 
 the French melodrama of “Roger la at Niblo’s, 
 
 undertook to star in this ® ; revisited us in the 
 
 New York city, m the fall of ib«9- ^ 
 
ADELAIDE RISTORI, 
 
ELLEN TERRY 
 
HISTRIONIC MONTREAL. 
 
 273 
 
 season of 1893-94, Terriss came with him, appearing as Henry II. in 
 Tennyson’s “Bccket,” and was Thornhill in a revival of “The Vicar 
 of Wakefield.” Once back in London, he resumed his position 
 as leading man at the Adelphi, and remained there continuously 
 since that time, although he occasionally appeared in productions 
 at other theatres. When Gillette and his American company con- 
 cluded their London engagement at the Adelphi in ^‘Secret Ser- 
 vice,” and an English cast was put into the melodrama, Terriss 
 succeeded Gillette as Dumonty the spy. Of his work, I always 
 regarded Henry II. in “Becket ” as his best portrayal, although he 
 had no superior of contemporary activity in the roles of Bassanio, 
 Nemours, and Cromzvell in ‘^Charles I.” Born William Lewin, he 
 adopted “Terriss” as nom-de-theatre, because of its similarity to 
 Terry, he being a great admirer of the actress. Mr. Terriss was 
 assassinated i6th Dec., 1897, being stabbed as he was entering the 
 stage^ door of the Adelphi theatre for the performance of “ Secret 
 Serivice.” His assassin was a mad supernumerary. 
 
 born at Coventry on February 27. 
 i« 4 «. bhe made her first appearance on the stage at the Princess 
 theatre under Charles Kean’s regime, April 28, 1856, playing a child’s 
 part, that oi Namillius in “The Winter’s Tale.” In 1858 she appear- 
 ed at the Princess as Arthur in the second revival of “King John ” 
 It was not until March, 1863, that she made what might be termed 
 her real professional dehut, when she played the part of Gertrude 
 in “The Little Treasure” at the Haymarket theatre. On October 24, 
 1867, she was cast for the part of Rose de Beaurepaire in “ The Double 
 Marriage” on the opening of the New Queen’s theatre in London. 
 After that she lived in retirement till i874> niaking her reappear- 
 ance on February 28 of that year at the Queen’s theatre as 
 Philippa Chester in “The Wandering Heir.” In April, 1875, she 
 made a great hit as Portia in the revival of “The Merchant of 
 Venice” at the Prince of Wales’ theatre, and subsequently played 
 Clara Douglas in “Money,” Pauline in “The Lady of Lyons,” Mabel 
 Vane in “Masksand Faces,” etaoin hrdlu shrdlu shrdlu hrdluu 
 theatre. In 1875 she joined the company of the Royal Court 
 theatre, and appeared there in November in a revival of “New Men 
 and Old Acres.” At the same theatre, on March 30, 1878, she acted 
 the title role of Olivia in Will’s dramatization of the “Vicar of Wake- 
 field.” On December 30, 1878, she appeared in Ophelia to Irving’s 
 Hamlet on the opening night of the Lyceum theatre under Irving’s 
 management, and has since shared in all his triumphs and few fail- 
 ures. She has also accompanied the great actor in all his American 
 tours. During the last Montreal engagement, however, illness pre- 
 vented her appearance in this city. Ellen Terry has thrice been mar- 
 ried (Watts, Craig and Kelly-Wardell), and her son and daughter 
 Gordon and Ailsa Craig, have also appeared on the stage. A1 
 
 18 
 
274 
 
 HISTRIONIC MONTREAL. 
 
 though greatly gifted, Ellen Terry never permits her art to over- 
 shadow the enchantment of a winning personality; and yet so 
 cleverly are the two elements blended, that while one is conscious of 
 the complete sinking of the woman in whatever character she 
 depicts, the depiction takes on a new grace because there is Ellen 
 Terry behind it. The dominant note in Miss Terry’s stage presence 
 is ease, and yet her memory is very treacherous. One of the many 
 things for which she will be remembered is her perennial youth- 
 fulness, for, lik/e Swedenborg’s fabled angels, she seems to become 
 more winsome as time creeps in its pace from day to day. 
 
 SIR HENRY IRVING (John Henry Brodribb) was born 6th 
 Feb., 1838, at Keinton, near Glastonbury, England. The history of the 
 -eminent actor’s later years is too well known to the English-speaking 
 world to need more than a passing notice, and, like most other men 
 who have attained success, the chief interest in his life lies in its 
 beginning, and in the romance that surrounds the opening of his 
 career. Irving’s father, Samuel Brodribb, took to wife Mary 
 Behenna, a -woman of considerable personal beauty and of a very 
 sweet disposition. The actor’s childish days were spent principally 
 with an aunt at Helston, near the Lizard Point. The future actor 
 was still a child in years when the monetary exigencies of his family 
 forced him into a clerkship with a firm of booksellers, and he found 
 himself earning his own living in a congenial way. His access to 
 Standard works -and all the best new books fostered his studious 
 disposition, while his evenings were free for worship at theatrical 
 shrines. When he was 17 his employers wished to send him out 
 to their branch establishment in Bombay, but by that time the youth 
 bad cast the die of his life in favor of the stage, and he declined 
 the offer. Two years later he made the plunge, left his desk and 
 trod the boards, from which rumor has it that he was hissed. If so, 
 it was the Disraeli incident over again. For nine years Henry 
 Irving worked ‘/ in the provinces,” founding life-long friendships, 
 gaining a measure of popularity in Edinburgh, Glasgow, Manchester 
 and Liverpool, but always struggling to attain London, the actor’s 
 Mecca. The chance came at last, in 1856, when he was engaged to 
 support Kate Terry in Boucicault’s “Hunted Down,” in which he 
 acted so well that a London appearance followed. At the Gaiety, 
 Drury Lane, the St. James’ and the Haymarket he acted a long 
 round of characters, generally being cast for the villain, who, in 
 those days, was a necessity in every play. During 1869, Irving 
 married Florence, daughter of Daniel J. O’Callaghan, a surgeon- 
 general of the Indian Army. In 1870 he created Digby Grant in 
 •The Two Roses.” His performance aroused interest and curiosity 
 respecting the “new actor.” He next moved to the Lyceum, then 
 under Colonel Bateman, and here his Mathias in “The Bells, played 
 triumphantly to an audience that was at first languid, clinched the 
 
HENRY IRVING. 
 ( 1884 .) 
 
 
SIR HENRY IRVIX( 
 

HISTRIONIC MONTREAL. 
 
 275 
 
 matter forever. The morning after that memorable first night 
 after fifteen years of heart-breaking labor, Henry Irving woke to 
 find himself famous. From that hour he has never looked back, and 
 fame and fortune have keep pace with him. Colonel Bateman was 
 sufficiently astute to turn the temporary engagement into a per- 
 mancy. I hen came a series of Shakespearean efforts, with more or 
 less applause, but it was in character work of a heavy nature that 
 brought the actor to the front, notably in Louis, Mephisfo, Shylock 
 and Mathias. His association with Ellen Terry began in 1878. With 
 an analytic mind, a comprehensive grasp of detail and an unwavering 
 integrity of purpose, his efforts culminated in successful consum- 
 mation. In 1883 Irving first seized the American continent, starting 
 on his tour with the most extraordinary banquet in all the history of 
 English society, and carrying with him the whole nation’s wishes for 
 success. Since that time he has deservedly made huge fortunes in 
 America, where he is as genuinely admired as in England. Irving 
 was honored by his Sovereign, Victoria, in 1895, by being knighted, 
 the first instance of an actor being thus favored. In Feb., 1899, 
 the University of Glasgow conferred the degree of Doctor of Laws 
 upon the eminent actor; Scotland thus followed the lead of England, 
 and Ireland, Sir Henry Irving having already received similar de- 
 grees from Cambridge and Dublin Universities. Such a tribute to an 
 actor’s talent was unprecedented in the annals of the British stage. 
 Lady Irving lives in retirement, but two sons are achieving social 
 success in the walks of their illustrious sire. The elder, Henry B. 
 (born 1870), who married Dorothea Baird, the original of du Mau- 
 rier s drawings of Trilby, is an author of scholarly temperament and 
 an actor of increasing power. Laurence (born 1871), is an impulsive, 
 excitable actor, but a dramatist of no mean merit. He was seen in 
 the support of Sir Henry during the last American tour. Sir Henry’s 
 second visit to Montreal was 22-23-24 Feb., 1894; his third, week 
 September 16, 1895, when he opened his fifth American tour. 
 Following a production of “Peter the Great” Sir Henry pre- 
 sented Sardou’s “Robespierre,” which he featured during his last 
 American tour of 1899-1900, and in which he was seen on the 
 opening of a three nights’ engagement at the Academy of Music, 
 Montreal beginning 8th March, 1900, with Shylock 9th, and in “The 
 Bells” and “Waterloo,” loth. The tour of twenty-nine weeks in 
 this country, which closed May 18, is said to have earned about 
 $200,000 for Sir Henry. Before sailing Sir Henry sent to Col. Baden 
 Powell, the hero of Mafeking, the followmg cablegram: ''Great 
 Glamis; worthy Cawdor/^ Irving and Terry have visited America 
 SIX times, their first tour being in the season of 1883-84 and the 
 others in 1884-85, 1887-88, 1893-94, 1895-96 and 1899-1900. Irving has 
 played 22 parts in these tours and Miss Terry has played 16. Irving 
 is admired for the delight and instruction he has rendered with so 
 lavish a hand, and those whose privilege it is to know him love him 
 for his gentle, kindly qualities and unostentatious generosity. When 
 
HISTRIONIC MONTREAL. 
 
 276 
 
 this most conspicuous and talented figure of our stage retires from 
 the mimic scene. let us hope that it will be with a generous fortune. 
 
 He has crowned the heights which now decline gently into the vale 
 of years, and has all 
 
 “That which should accompany old age, 
 
 As honor, love, obedience, troops of friends. ’ 
 
 THE YEAR OF 1885 
 
 ushered in Lotta, 6th January, for three nights, followed by 
 E. F. Thorne in “ The Black Flag ’’ ; Thos. W. Keene, in 
 Shakespearean repertO'ry, week 19th ; Bride and Frear’s 
 “Bunch of Keys,” week 26th; and, week 2nd February, Marie 
 Prescott, in “The Wages of Sin,” made her stellar dehut here 
 in presenting, also for the first time in Montreal, that very 
 moral and strong play. She was supported by Charles E. 
 Manbury and Charles Overton. Her first appearance ^here 
 was in support of Salvini, week 17th January, i88i. “The 
 Pavements of Paris” was seen week 23rd February, and dur- 
 ing the week 9th March “In the Ranks,’’ headed by E. J. 
 Buckley, held the boards. The Thompson Opera Company 
 was heard in “The Beggar Student,” week 17th March; “A 
 Bunch of Keys,’’ week 23rd; Mr. and Mrs. Neil Warner, in 
 “Man and Wife,’’ loth April; George S. Knight, in “Over the 
 Garden Wall,” week 13th April; French Opera Company for 
 five nights from 20th April; E. A. McDowell’s Comedy Co., 
 25th; Jacques Kruger, in “Dreams,” week 27th; and 
 in repertoire, week 4th Mav. Lawrence Barrett, supporte 
 bv Louis James and Marie Wainwright, opened i8th Mav m 
 “Richelieu,” following in “Francesca di Rimini,” "Julius 
 Caesar.” and “Much Ado About Nothing.” This was the 
 tragedian’s third and last visit here. Margaret Mather, sut^ 
 ported bv Milnes Levick. made her first appearance here w^k 
 2 c.th May in “Romeo and Juliet.” “Leah the Forsaken, ’ The 
 Honevmoon.” “The Hunchback,” “The Lady of Lyons, and 
 “Macbeth.” Grau’s French Opera Companv came week 8th 
 Tune extending- their engaerement three weeks, after whic 
 the house was closed for the season. Owimv to the emdemic 
 of smallonx. which continued durine the summer and ear y 
 fall of i88c the theatre was not reopened until 30th Novem- 
 hPr when George 8. Knight p week’s engagement in 
 
 "Over the Garden Wall.” Following him came Rose Coeh- 
 lan for two weeks from 21st December, in “Our Joan, this 
 being the ladv’s stellar debut here. During her second week 
 .he appeared in “Victor Durand” and “Idol of the Hour. 
 
HISTRIONIC MONTREAL. 
 
 277 
 
 PKI^SCOTT was one of those women whom 
 ture had gifted for the stage, her figure being graceful and com- 
 manding, her features beautiful and capable of a great variety of 
 expression. Her support of Salvini developed her powers which her 
 best friends never dreamed of, and, without being an ideal classical 
 artist, she possessed a fund of passion and emotion which instantly 
 ound sympathetic recognition from the most exacting audiences. 
 Miss Prescott was born at Paris, Ky., in 1853 (nee Victor), and her 
 debut on the stage was made at Cincinnati in 1876, as Lady Macbeth 
 to the Thane of Frank Roche. Her success was so signal that she 
 was engaged for the rest of the week. After supporting John 
 McCullough and Daniel Bandmann, she went with Salvini, as noted. 
 She was married first to Mr. Perzel, from whom she was divorced 
 in 1891; then married R. D. (Shepard) MacLean, the tragedian, in 
 June, 1892. Miss Prescott died in New York city, 28th August, 1893, 
 
 WARD J. BUCKLEY died of paralysis 27th December, 1897, 
 at his home in New York city. Born in Australia in 1843, he came 
 when an infant to America, and made his first public appearance in 
 1864, at Victoria, B.C., as William, in an amateur production of 
 Black-Eyed Susan.” His professional debut was made soon after 
 as Etienne in “Fanchon,” with a stock company at Stockton, Cal., 
 Amy Stone being the star. He advanced rapidly and soon joined 
 John McCullough’s San Francisco Co., as ‘‘walking gentleman.” 
 In 1869 he was a member of the famous company which opened the 
 California theatre. As a member of the Booth and Barrett Co., 
 and as Sir Lucius O'Trigger in Jefferson’s production of “The 
 Rivals,” he made distinctive hits. His last appearance in New York 
 was with Nat C. Goodwin in the “Gold Mine.” His last engagement 
 in Montreal was in support of Maude Banks in “Igomar,” at the 
 Academy, week 8th October, 1888. 
 
 BOSE COGHLAN, by superior intelligence and power, rose from 
 one of the witches m “Macbeth” to be one of America’s most brilliant 
 leading ladies. In such characters as Lady Teazle she was unap- 
 proachable. Her humor was racy, spontaneous and abundant, her 
 art having been essentially that of the comedienne, as she never 
 appeared to the same advantage in sentimental roles. Miss Coghlan 
 was born in Peterboro, Eng., in 1853, and, like Garrick, Irish and 
 kr?nch blood flows in her veins. Her father was a literateur and her 
 mother of a devotional turn of mind, wishing that Rose should 
 become a nun; but through the influence of her brother Charles, 
 who had abandoned the bar for the stage, his action confirmed his 
 sister in her choice of a future, and in 1868 she made her debut in 
 Greenock, Scotland. In 1871 she came to America, and for some 
 years divided her work between the two countries, supporting 
 several stars, including Barry Sullivan. Her best efforts were in the 
 Wallack stock company. She married Clinton Edgerly in 1885, but, 
 
278 
 
 HISTRIONIC MONTREAL. 
 
 after being divorced, married her leading man, John T. Sullivan, with 
 whom she starred for several seasons. Of late years they played 
 separately. The exceptionally bright career that opened up to her 
 in the summer of her triumphs has now been shaded by the grey 
 clouds of a chilly autumn. This actress, during the past few years, 
 has had less of good fortune than her talents entitle her to; and I 
 am not alone in my desire to see Miss Coghlan once more as Lady 
 Gay, as Peg Woffington, as Stephanie, as Zicka and as Lady Teazle. 
 She has adorned our stage with honor in the past, and belongs 
 among the stars. 
 
 MARGARET MATHER was born Oct. 21, 1859, at Tilbury, Can., 
 but her childhood was spent in Detroit, Mich. She was the daughter 
 of John Finlayson, a mechanic, who, being out of work, set her to 
 selling newspapers when she was ten years. Margaret passed her 
 childhood among squalid surroundings, not in any way tendine- to 
 divert her attention toward the stage. After she left home, a half- 
 grown girl, she engaged as dish-washer in the Russell House. When 
 about nineteen years of age, under the name of Margaret Bloomer, 
 she entered the profession as a member of a road companv. In 
 1879 she was a member of the George Ede^ar combination, plaving 
 leading roles in Shakespearean repertory. She was next engaged by 
 J. M. Hill, and, after undergoing several months of studv. she made 
 her stellar dehut Aug. 28, 1882, at McVickcr’s Theatre. Chicago, 111 ., 
 as Juliet, in Romeo and Juliet.” Public curiositv had been T>re- 
 viously aroused in consequence of the manv private readings Miss 
 Mather had given before critics and friends in the various cities 
 throughout the United States, and a representative audience 
 witnessed and gave the verdict of success to her debut. A tour of 
 the larger cities followed, and in Cincinnati, St. Louis and Boston 
 she shortly became well known. For three years following she 
 travelled on the various circuits West and East. Oct. 1.3. 1885. her 
 metropolitan dehut occurred at the Union Square Theatre, as Juliet. 
 At that house she remained until Feb. 6. 1886. playing in that 
 interval but three characters — Juliet, Juliana and Leah. The “Romeo 
 and Juliet” run — eighty-four consecutive representations — goes on 
 record as the longest run of that play in this country. She then 
 went on the road again, and continued under Mr. Hill’s management 
 until the spring of 1887. On Feb. 15 of that year Miss Mather and 
 Emil Haberkorn were married at Buffalo, N. Y. Mr. Hill was not 
 informed of the marriage until two weeks later, when Mr. Haber, 
 korn told him, and also demanded to see Mr. Hill’s account with 
 Miss Mather. Manager Hill denied Mr. Haberkorn’s authority to i'n- 
 terfere, and litip^ation followed, which resulted in the court releasing 
 Miss Mather from her contract with Mr. Hill (which had still some- 
 time to run), and she went on a starring tour with her husband as 
 manager. This arrangement continued for four years, during which 
 
HISTRIONIC MONTREAL. 
 
 279 
 
 time she made several large productions. On Sept. 16, 1889, she 
 made her first appearance in the title role of “Gretchen” at the new 
 California Theatre, San Francisco, Cal. On December 8, 1890, she 
 produced at the Fifth Avenue Theatre, New York, and for the first 
 time in this country, Wm. Young’s English adaptation of Jules Bar- 
 bier’s “Joan of Arc.” In 1891 she separated from her husband and 
 became her own manager. On July 2, 1892, she was divorced from 
 Mr. Haberkorn, and on the 26th of the same month she was married 
 to Gustave Pabst, a son of the rich Milwaukee, Wis., brewer of 
 that name. On her marriage to Mr. Pabst, Miss Mather retired 
 from the stage. They did not live happily together, and on one 
 occasion, in October, 1895, she horsewhipped him in a Milwaukee 
 street. Mr. Pabst sued later for a divorce, alleging cruelty, and it 
 was reported that he gave his wife $ico,ooo not to defend the suit. 
 On Oct 19, 1896, they were divorced, and Miss Mather returned to 
 the stage, her first production being a revival, on a grand scale, 
 of “Cymbeline,” at Wallack’s, New York. She then went on the road 
 for the remainder of the season. The next season she added 
 “Romeo and Juliet” and other plays to her repertory. Margaret 
 Mather died April 7, 1898, at Charleston, West Virginia. The 
 
 night before, during the performances of “Cymbeline,” she was 
 suddenly prostrated. She was carried off the stage in an un- 
 conscious condition, and never regained consciousness. Miss 
 Mather thrice visited Montreal, her second engagement having been 
 week 8th Sept., 1890, in repertoire, supported by Otis Skinner, and 
 her last appearance here was week 24th May, 1897, supported by 
 E. J. Henley, Wm. Courtleigh, Wm. Redmund and Mrs. Thos. 
 Barry, in “Cymbeline,” this being the first production of the piece 
 in Montreal. During this engagement, on the evening 27th May, 
 one of the most remarkable pieces of acting was that of Miss 
 Mather’s, when, just as she came on the scene and stood before the 
 cave of BelariiiSy a shock of earthquake shook the Academy as 
 though it were a reed. Midst great excitement she, one of the few, 
 kept calm, and ere the gallery had ceased its shouting, she went on 
 with her lines: 
 
 “I see a man’s life is a tedious one; 
 
 I have tir’d myself; and for two nights together 
 
 Have made the ground my bed.” 
 
 It was a great effort, and one which will be long remembered by 
 those who witnessed it. 
 
 THE OPENING OF 1886 SEASON 
 
 marked the centUTv anniversary of Montreal theatricals. Jan- 
 ish was the attraction, week 4th January, in “Princess And 
 rea.'’ The Haymarket Theatre Company, of London, headed 
 by Emily Sh-eridan and Felix Pitt, appeared, week nth, in 
 
28 o 
 
 HISTRIONIC MONTREAL. 
 
 “Dark Days,” followed by the first representation here of 
 Gi.bert and Sullivan’s most popular comic opera, “The Mika- 
 do,’’ by John Stetson’s Company, week 21st. The Daly’s in 
 “\ acation,” held the boards week 28th; and Haverly s Min- 
 strels four nights from 4th Februairy. The Cragg Family of 
 acrobats appeared during this engagement. Lizzie May Ul- 
 mer, in “ Dad’s Girl,” followed week 8th ; John Stetson’s 
 “Mikado” returned week 15th; Rosina Yokes, week 22nd’ 
 the Madison Square Theatre Company, in “The Rajah,’ week 
 1st March; Cornell’s Imperial Japanese Troupe, week 8th; 
 and Mme. Judic in repertory of comic operas during week 
 22nd March. Following Judic came Bartley Campbell’s 
 spectacular play, “Clio,’’ week 29th, with 100 people in the 
 company, headed by Mile. Adele Cornalba and Atkins Law- 
 rence. Joseph Murphy, in “Kerry Cow” and “Shaun Rhue,’ 
 appeared week 5th April; Lotta, in “Mile. Nitouche and 
 Old Trick,” for four nights from 13th April; Stetson’s “Mika- 
 do,” week 3rd May; Haverly’s Minstrels, week loth; and then 
 Joseph Jefferson "made his second appearance in this city, 
 week 17th, in “Rip,” “Cricket on the Hearth” and “Lend 
 me Five Shillings.” Annie Ward Tiffany and Nelson Wheat- 
 croft, at the head of L. R. Shewell’s “Shadows of a Great 
 City,’’ appeared week 24th May. The Fay Templeton Opera 
 Company, minus the star, appeared in “The Mikado,” week 
 9th August, when the house closed for a few weeks. The 
 regular opening of the fall season was week 6th September, 
 with Frank Harvey’s “Wages of Sin.” headed by Chas E. 
 Maubury. Then followed Hanlon’s “Fantasma,’ week 13th; 
 Arthur Rehan’s “Nancy & Co.,” week 20th; Jonn I’empleton’s 
 Company in “The Mikado,” week 27th, and Rose Coghlan, 
 week 4th October, presenting “School for Scandal,’ London 
 Assurance,” “As You Like It,’’ “A Scrap of Paper,” and “The 
 Lady of Lyons.” Miss Coghlan was supported by Frederick 
 De Belleville, A. S. Lipman, Charles Walcot Verner 
 Clarges, Mrs. Walcot and Maud Peters. George W. Mon- 
 roe, in “My Aunt Bridget,” canye week nth October, 
 followed by Hortense Rhea, week i8th, in “A Dan- 
 gerous Game,” “ Pygmalion and Galatea,’’ “ Romance of a 
 Poor Young Man” and “The Country Girl.” Lilian Olcott, 
 supported bv j. H. Gilmotir. was seen, week 25th October, 
 ;n Sardoti’s' “Theodora.” Edmund Collier made h\s stellar 
 debut here week 2nd November, opening in John A. Stone s 
 great Indian tragedy, “ Metamora,” this being its first re- 
 
HISTRIONIC MONTREAL. 
 
 281 
 
 presentation in this city. It was one of Edwin Forrest’s 
 greatest successes. The following was the cast : Lord 
 
 Fitz Arnold, Lawrence Hanley ; Sir Arthur Vaughn, Henry 
 Hanscombe; Mordaimt, Sami. C. Du Bois; Errington, 
 Joseph P. Winter ; Walter, Wm. Wilson ; Capt. Church, 
 Marcus Moriarty; Wolfe, Jerome Stansil ; Tramp, Fred 
 Kent; ; Officer, Thos. W. Hudson ; Oceana, Henrietta 
 Crossman ; Metamora, Edmund Collier ; Otah, Wm. Bowers ; 
 Anahzcand, John Bell ; Kaneshine, Sedley Brown ; Kahrnao- 
 kee, Sara Nevill’e ; Child, Little Etta. “ Metamora ” was 
 repeated 3rd ; “ Jack Cade 4th and 5th ; “ Virginius 6th 
 and 7th ; and “ Damon and Pythias/’ matinee 7th. Gene- 
 vieve Ward, supported by W. H. Vernon, appeared week 
 9th November in “The Queen’s Favorite,” “Nance Old- 
 field,” “His Last Legs” and ‘‘Forget-Me* Wot.” Mrs. Chas. 
 Watson gave a dramatic reading 17th. Louis James and 
 Marie Wainwright began a three nights’ engagement i8th 
 November, opening in “Virginius.” with the cast as follows : 
 Virginius, Louis James; Appius Claudius, F. C. Huebner; 
 Cains Claudius, John W. Tliompson ; Dentatus, E. L. Tilton ; 
 Icilius, F. C. Mosely ; Numitorius, Geo. D. Fawcett ; Lucius, 
 Percy Brooke ; Titus, Ed. N. Hoyt ; Marcus, Chas. D. 
 Mackay; First Soldier, F. W. Cline; Scrvia, Kate Meek; 
 Female Slave, Aurelia Sarner ; Virginia, Marie Wainwright. 
 This was the stellar debut here of this talented couple. 
 “Hamlet” was produced 19th; “Romeo and Juliet,” matinee, 
 20th ; closing that evening with a double bill, “ Shylock ’’ 
 and “Katherine and Petruchio.” Charles Erin Verner, in 
 “Shamus O’Brien,” was the next attraction week 25th Nov. 
 Joseph Haworth appeared in Montreal for the first time, week 
 30th November, as a feature in the production of “ Hoodman 
 Blind.’’ Sydney Armstrong and Augutstus Cook were also 
 in the cast. May Fortescue, a late importation from Eng- 
 land, was seen here week of 6th December in “ Frou Frou,” 
 “Gretchen and Moths.” Dion Boucicault and Louise Thorne- 
 dyke (Mrs. Boucicault) appeared, week 20th December in 
 the former’s own play, “ The Jilt.” This was his last appear- 
 ance here, dying i8th September, 1890. He first appeared 
 h^re in 1853. “The Main Line” closed the season’s annals, 
 week 27th December, as well as the theatre’s detailed record, 
 for what from this date has been subsequent is already famil- 
 iar to my readers, and space will scarcely permit further 
 mention. 
 
282 
 
 HISTRIONIC MONTREAL. 
 
 IDA LIIilAN OLCOTT, the popular actress, was the daughter 
 of Dr. Cornelius Olcott, a Brooklyn physician. She was born in 
 l86i. She became a prominent amateur actress. In 1882 she played 
 Juliet with the Williamsburg Amateur League, and shortly afterward 
 
 went on the road for a few weeks professionally, making an appear- 
 ance at the Brooklyn Theatre as Juliet. She made preparations m 
 1887 for an extended tour, which was abandoned on account of her 
 fether’s illness. In 1884 she starred in ‘‘Dark Days.” The next 
 year she went to Paris and purchased the American rights to 
 •‘Theodora” from Sardou, in which drama she played with artistic 
 success for two seasons. Litigation with the Franco-American 
 agency caused her to disband her company in Chicago very shortly 
 before her death, which occurred 8th April, 1888, from a cold con- 
 tracted during a blizzard in New York. 
 
 JOHN H. GIDMOUR (our Jack) has always been a favorite here, 
 not only for the fact of being a Canadian, but also owing to his 
 histrionic capabilities. He was born at Ottawa, ist August, i8.s8. 
 His father took up his residence at Montreal two years later. As a 
 boy Mr. Gilmour developed dramatic tendencies, and made his debut 
 under very favorable auspices as Valentine in ‘‘Twelfth Nig^t. 2nd 
 March 1877, at the Academy of Music, in company with Adelaide 
 Neilson, Eben Plympton and Neil Warner. In 1880 he joined 
 McDowell’s company and went to the West Indies, returning m the 
 spring of 1881, when he joined Wallack’s company m the Veteran 
 an tour, again appearing hehe. He next undertook the management 
 of the Ottawa and Quebec theatres, and in 1885 and 1886 was seen at 
 the Lyceum Theatre on Beaver Hall Hill. After a season with 
 Lilian Olcott, he was with Rose Coghlan for a short time, after 
 which he appeared in and created the leading role of Mr. Barnes of 
 New York’’ at the Broadway Theatre, New York subsequendy also 
 creating the part of the old Earl in ‘‘Little Lord Fauntleroy at the 
 same house. After a few seasons of stock compmiy work, he was 
 this season leading man for Julia Marlowe M*-' .G' 
 his prime, and we look to him for great things in 
 About 1881 he married Caroline: Vinton, and 
 
 boys and a girl. His home is at Larchmont, N. Y„ whe e he finds 
 time during the summer months to enjoy merited ^ 
 
 circle of his family, as well as to profit in the exercise of athletic spoils, 
 
 of which he is very fond. 
 
 GEORGE W. MUNROE, first seen here as Bridget with George 
 S. Knight in “Over the Garden Wall,” is a graduate of the varieties, 
 although his first appearance was in a regular play at Philadelphia, 
 where he was born in 1859. After being with Mr. Knight two 
 seasons, he secured ‘‘My Aunt Bridget,” and embarked on a joint 
 starring tour with John C. Rice, which continued for five years. 
 
JOSEPH HAWORTH. 
 
HISTRIONIC MONTREAL. 
 
 283 
 
 They separated, Munroe appearing for two seasons in a sequel* 
 called “Aunt Bridget’s Baby.” For three seasons he toured in 
 “A Happy Little Home.” 
 
 JNliLiSON WHEATCROFT, one of the cleverest exponents of the 
 modern stage villains, was born in London, 15th February, 1852. He 
 first appeared as an actor in 1873 at Swansea, in South Wales. Later 
 he went to Sadler’s Wells Theatre, London, where he supported 
 Miss Bateman in “Leah,” “Mary Warner,” and also in some 
 Shakespearean revivals. After joining the New York Lyceum theatre 
 company, he made a notable success as Martin Culver in “The Wife,“ 
 and also as Dick Van Buren in “The Charity Ball.” He later became 
 leading .man of Charles Frohman’s new Empire Theatre Company. 
 His last engagement was at the Knickerbocker Theatre, New York, 
 as D'Aubenas, in Sardou’s short-lived play, “Spiritism,” staged a few 
 days prior to his death, which occurred rather suddenly 3rd March, 
 1897, from pneumonia. His wife, Adelaide Stanhope, is conducting 
 a school of dramatic instruction in New York. , 
 
 ANNIE WARD TIFFANY has played all lines from Topsy to 
 Lady Macbeth. Of late she has been identified with Irish character 
 parts. Miss Tiffany was born in Limerick, Ireland. When a child 
 she was brought to Syracuse, N. Y., where she made an early 
 appearance on the stage. Soubrette work followed in Philadelphia 
 under Mrs. Drew, and in 1867 she became enrolled at Wallack’s, 
 remaining two years. The season of 1884-85 she engaged for the 
 part of Biddy Nolan in “Shadows of a Great City,” and played it for 
 eight consecutive seasons. The season of 1892-93 she produced 
 Alfred Kennedy’s play, “Lady Blarney,” then went starring in “Lady 
 Blarney” and “The Step-Daughter.” In private life she is Mrs. 
 Charles H. Greene. 
 
 MME. JUDIC, the once famous artist, made her debut at Wal- 
 lack’s Theatre, New York, September, 1885, in “Mile. Nitouche.” 
 She used her voice, both in singing and talking, very skillfully, but 
 her tour could scarcely be called successful. On her return to 
 France she found that her popularity bad waned. 
 
 JOSEPH S. HAWORTH was born at Providence, R. I., April 7, 
 1858, and made his debut with his tutor, Charlotte Crampton, in May, 
 1873, as the Duke of Birmingham in “Richard III.” at the Academy of 
 Music, Cleveland, O., Miss Crampton playing Richard. The following 
 season he joined John Ellsler’s stock company at Cleveland, playing 
 his first part as a member of a stock company in “Aladdin,” upon 
 the same stage where a year previous he had made his debut. 
 Three years later he took his farewell of Cleveland in the char- 
 acter of Hamlet. Mr. Haworth then joined the Boston Museum 
 company, where he remained four seasons, playing a round of lead- 
 ing parts in comedy, tragedy, drama and comic opera. Incidentally 
 
284 
 
 HISTRIONIC MONTREAL. 
 
 he played Romeo to Mary Anderson’s Juliet, at the Boston Theatre, 
 with success. He was offered, but declined, the position - of lead- 
 ing man at the Boston Museum, having arranged to join the la.e ■ 
 John McCullough’s company, in which he played logo, Juhus Casstus, 
 Ingomar, etc.. Since that time he has played m “Demise, with 
 Clara Morris; in J. M. Hill’s “Moral Crime” company, and 
 later in French & Sanger’s “Hoodman Blind’ Company, appear 
 ing here as noted. He has since been a frequent visitor here, 
 having been seen in “Paul Kauvar,” Rosedale, unt Jac , 
 and during his last starring engagement here, m the spring o 
 1895, was seen in the classical roles of tragedy. He ^ 
 
 1896-97, a feature in Bret Harte’s play of “Sue.’ A co-stamng tour 
 with Modjeska (1898) was followed by his metropolitan engage 
 ment to play John Storm in support of Viola Allen m i 
 Christian.” This season he was the Vicinius in the Whitney pro- 
 duction of “Quo Vadis.” In the. roles of Storm and Vieinius 
 Mr. Haworth was profoundly true and beautifully sympatheUc, 
 embracing into these interpretations the marked reverent w m 
 renders his Hamlet so exquisitely filial and ideal. Mr. 
 lacks few of the essential qualities to place him as the ^preseM j 
 tive American actor of to-day. He has not the 1 f 
 intluence of Edwin Booth, nor can he make t le 1^ sc fiercelv 
 
 which marked the acting of Lawrence Barrett. He is [ 
 
 robust like John McCullough, nor romantically beautiful like H^ L 
 Montague, but he has some quality of all these ^ 
 
 tha. a ,.ice of s.oorous el<K,«»=. and solemn 
 native grace of action that must have been the 
 • Edwin Adams. 
 
 SYDNEY ARMSTRONG has had a theatrical career dating 
 since 1884. She was born in Memphis, Tenn., and in 1884 made 
 her debut among amateurs. Being successful, the young lady was 
 advised to go East, and try her fortunes, and eventudly became a 
 member of a touring company. While playing m 
 McVicker’s, Chicago, she was noticed and engaged y • • 
 
 to create the leading role in “Harbor Lights.” She was afterward^s 
 with “Hoodman Blind,” “The Burglar,” and then engaged by C. 
 Frohman. Her’s has been a notable instance of success ^on o 
 artistic merit, without recourse to the aid of notoriety. She is now 
 
 Mrs. W. H. Smyth. 
 
 MAY FORTESCUE had large audiences. The majority were 
 atli acted out of the celebrated Garmoyle breach of promise suit. 
 They found a girl, pretty, it is true, but not strikingly so ; slight of 
 figure, and of medium height, with nut brown hair, and large ex- 
 pressive eyes. The face bore a rather sad expression, and the voice 
 was full and musical. As an actress Miss Fortescue cannot be judg- 
 ed by comparisons with any one. She confined her talents— and she 
 
HISTRIONIC MONTREAL. 
 
 285 
 
 had considerable — to such roles as were not too heavy for her to 
 grapple with, and by so doing shielded herself from harsh criticism. 
 Miss Fortescue’s surname is Finney, and her father is a coal mer- 
 chant in England. 
 
 FREDERICK DE BEEEEVILEE is a native of Belgium, and 
 was born in 1853. He served in the army before he became an actor. 
 His stage debut was made in England, and, after playing in farce, 
 tragedy, melodrama, pantomime, comedy and extravaganza for 
 several years, he came to America via Australia, and soon reached 
 New York city, where he joined the Palmer forces at the Union 
 Square. He was leading man for Clara Morris during a series of 
 important matinees, and then took to starring, appearing in “The 
 Corsican Brothers,’’ “Monte Cristo,” “The Silver King,” and “Pa- 
 quita,” the latter one of Bartley Campbell’s plays, and the failure of 
 which is alleged to have caused a disappointment so acute as to be 
 responsible for the mental derangement that overtook the play- 
 wright shortly before his demise. He was leading man for Rose 
 Coghlan for a season, was identified with the premier of Steele 
 Mackaye’s “Paul Kauvar.” with Viola Allen in “Hoodman Blind',” 
 supported Clara Morris for a couple of seasons, appeared in “Men 
 and Women.” “Diplomacy,” and “Thermilor,” under Charles Froh- 
 man, joined Rose and Charles Coghlan for their big revival of 
 “Diplomacy,” and assisted W. H. Crane in a reproduction of “The 
 Senator.” This is but a slight resume of the productions in which 
 De Belleville has appeared ; and he frequently has been called 
 upon to create in special productions. Later he appeared in sup- 
 port of Mrs. Fiske in “Tess of the d’Ubervilles. 
 
 EMMA fLAJEUNESSE) AEBANI-GYE. The annals of the 
 Academv cannot be passed over without a special mention of our 
 own Albani, who appeared on its boards from time to time, 
 her last appearance in regular opera having been week of 25th 
 Taniiary. 1002. Madame Albani is the eldest of three children of 
 Joseph de St. T.oiiis dit Lajeunesse, and was born at Chamblv in 
 1850. She received her early education at the Sacred Heart Con- 
 vent, at Montreal, and, under the management of her father, first 
 appeared at a concert in her eighth year at Mechanics’ Hall. When 
 the father decided that she should receive all the advantages of 
 a musical education, the religious bodies did their utmo.st to 
 dissuade him, but without avail. In 1864 the family settled at 
 Albany. N. Y., and it was from this city that she chose her stage 
 name. It was also here that she attracted the attention of Brignoli, 
 whose influence brought her before responsible authorities. She 
 suhseauently realized Si. 800 from a benefit concert, which, together 
 with her savings, enabled her to visit Paris, then to Milan, where* 
 she soon developed those exquisite and wonderful talents which 
 
286 
 
 HISTRIONIC MONTREAL. 
 
 have since edified the musical world. Her operatic debut was as 
 Amina in “La Somnambula,” at Messina, in 1871, appearing in the 
 same role at Covent Garden Theatre. London, 2nd April, 1872, and 
 a year later in New York. Her first regular appearance in Montreal 
 was during Carnival week, 1883, and her last appearance was in 
 concert features at the Windsor Hall, 7* December, During 
 
 1807-98 she was heard in Australia. Albani became Mrs. Ernest 
 Gye in 1878, having married the son of her first London manager. 
 She has a son who has also developed considerable musical talent 
 as an instrumentalist. Her father is still living at Chamb y, an a 
 brother, Adelard, is cure of St Calixte* 
 
 CRYSTAL PALACE OPERA HOUSE. 
 
 When those superstitiomsly inclined will note that this was 
 Montreal’s thirteenth play-house, not taking into cpnsidera- 
 tion the Mechanics’ and Nordheimer’s Halls (which were only 
 intended for concert purposes and magical entertainments), 
 they will at once attribute its ill-luck to that fact. This house 
 of amusement occupied the present site of the new Young 
 Men’s Christian Association, on Dominion Square, and was 
 originally a skating-^rink. It was a large wooden structure 
 with an arched roof. In 1884 it was neatly fitted up for thea- 
 trical representations, with a seating capacity of from 1,200 to 
 1,500. It was opened up by Manager Roland Gideon Israel 
 Barnett, 24th May, 1884, with a company of comic opera ar- 
 tists in “lolanthe.” The company included Janet Edmonson, 
 Fanny Wentworth, Perle Dudley, Lillian Greer, Signor Bro- 
 colini (nee John Clark), W. H. Seymour, Henry Molton, 
 Frank Barnes, James H. Finn and Frank Moulten. Prices of 
 admission were: boxes, $5; reserved seats, 75^) 5°^^ 
 
 General admission, 15c. A numher of standard comic operas 
 were well staged, and during the season W. T. Carleton, the 
 talented baritone, was specially engaged, appearing frequently, 
 but the season was unprofitable. Louis McGowan became 
 lessee at the end of the opera season, opening, ist October, 
 with Haworth’s Comedy Co., for one week, but the effort was 
 not remunerative. The second and last season opened, 25th 
 Mav 1885, with “The Merry War.” J. H. Gilmour pro- 
 duced Tillotson’s drama, “Lynwood,” week of 29th June, 
 followed by the Standish Grand English Opera Company, 
 6th July in “Martha”; extending the engagement until 
 the production of “ Ixion,” which was advertised as the 
 initial feature of the “grand reopening under the 
 Barnett management. The season was short and again 
 
 
HISTRIONIC MONTREAL. 
 
 287 
 
 unprofitable, the doors of the theatre closing, to reopen 
 no more. Barnett left some creditors behind, as well as the 
 regrets of our music loving population. Probably few men 
 have had an experience so varied as that of Barnett. During 
 his life he has been a theatrical manager, a diamond broker, 
 a stock broker and money-lender, a millionaire, and, at pre- 
 sent, a convict. 
 
 No other Montreal theatre has had such varied annals as 
 
 THE LYCEUM THEATRE. 
 
 Situated on the northwest corner of Beaver Hall Hill 
 and Latour Street, on the site of A. E. Small & Co.’s new 
 warehouse, the building was erected by the Congregational- 
 ists in 1845, and called Zion church. Dr. Wilkes and Rev. Mr. 
 Bray being prominent in its pulpit. In 1880 the property 
 was sold to a syndicate for $20,600. Stores were added to its 
 front and the hall turned into theatrical uses. John Stephen, 
 editor of Couct-dci Fivst, was the first manager. It was then 
 known as Albert Hall, and was the scene of variety perform- 
 ances as an advertising medium for the paper. It was then 
 rented for synagogue purposes until the 28th April, 1884, 
 when it became known as the Victoria Theatre, opening a 
 short season of variety performances under the management 
 of Beaucleigh & Co. On 12th May the San Francisco Min- 
 strels opened a week’s engagement. The principals were 
 Weston, Bryant, Hanson, Saville, Petrie, Fish and Laird. The 
 house was then closed cmtil loth Novemiber, when it changed 
 its name to the Montreal Theatre Museum, with Coleman & 
 Mooney as lessees and managers. Bennett Matlack, in “A 
 Celebrated Case,” was the opening bill. “The Danites” was 
 produced week 17th, after which a series of vaudeville per- 
 formances followed. Ed. Chrissie, in “Detected,” for a week 
 from December 29th, was followed by the St. Quinten Opera 
 Company, week 12th January, 1885; then Foreman & Mere- 
 diths Combination Troupe, week 19th; the Bijou Minstrels, 
 week 26th; Fanny Herring, in “Little Buck Shot,” and Louise 
 Hoyt, in “Sold”; week 9th February closed the Coleman & 
 Mooney lesseeship, their successor being Wm. H. Lytell, who 
 opened his season,^ i6th February, with “Youth.” He’ sur- 
 rounded himself with a very fair stock company and produced 
 a number of standard plays. The company included Wm. 
 Morris, O. B. Collins, Walter Walker, J. H. Gilmour, J. Bun- 
 ney, H. C. Hartsell, Blanche Mortimer (Mrs. Lytell), Floride 
 
288 
 
 HISTRIONIC MONTREAL. 
 
 Abell, Mrs. Savage, Helen Parr, Frederick Vroom, Horace 
 Dawson and others. 
 
 WILLIAM MORRIS is a native of Boston, entering the dramatic 
 profession at the age of fourteen. Mr. Morris has risen in the pro- 
 fession, having been in such companies as Daly s, Modjeska and 
 the Frohmans. In October, 1891, he married Esta Dawkins 
 Aurora, Ills. None of Mr. Frohmans company of excellent actors 
 is more popular than he. 
 
 Following “Youth” was produced at this house succes- 
 sively: “The Shaughrahn,” week 23rd February; “The Galley 
 Slave,” week 2nd March ; “ Tlie World,” week 9th ; “ Monte 
 Cristo,” week i6th; “Lights o’ London,” week 23rd; and, for 
 the first time in Montreal, Bartley Campbell s Separation, 
 week 30th, with the following cast; Brcntoii Bhxiv, J. H. Gil- 
 mour; Felix, J. Bunny; Abner Day, O. B. Collins; Major Max- 
 well, Harry Parker; Duke Warren, Ralph Bell; Mais, Walter 
 Walker; Meldruni, Newton Dana; Dora Blair, Blanche Morti- 
 mer; Mile. Florinne, Flori Abel; Mabel Blair, Susie Howard; 
 Fanny Maxwell, Jenny Savage; Abagail Day, Nellie Sandford; 
 Mamie Maxwell, Miss Richardson; Milly, Carrie Webster; Mr. 
 Swift, Harry Hartwell ; Lucy, Laura Simon. The name of the 
 theatre had been changed a short time previously to Lytell s 
 Opera House. “The White Slave” was produced week of 6th 
 April ; and, on 13th, the Dora Wiley Opera Co., including 
 Richard Golden, opened a two weeks’ engagement, followed 
 by “Fairfax,” week 27th; “Michael Strogoff,” for two w^ks 
 from 4th May; “Romany Rye,” week iSth; “Hazel Kirke, 
 week 25th; “Banker’s Daughter,” week ist June; and Silver 
 King,” week 8th, which closed the Lytell season. On 20th 
 June “L’Habitant” was produced, with Cyril Searle at the 
 head of a company. This was the work of a Canadian, bu 
 failed to draw. John H. Gilmour opened the theatre, 6tU 
 July, as the Montreal Theatre, with “The Goy’nor and Es- 
 meralda” during the first week ; “Pink Dominoes was pre- 
 sented week 13th. W. H. Lytell resumed the lease, 12th 
 October, opening with “The Galley Slave,” and restoring the 
 name of the house to Lytell’s Opera House. A^m followed 
 “The Lights o’ London,” week 19th; The Colleen Bawn, 
 week 26th; “Streets of New York” and “Jessie Brown week 
 2nd November; “The Corsican Brothers,’ week 9*1 Sea of 
 Ice,” week i6th: “The World,” week 23rd; and After the 
 Bali” and “The Coming Member” (double bilD during the 
 last week of the season, closing 5th December, 1885. 
 
 
HISTRIONIC MONTREAL, 289 
 
 The house was opened week of ist February, 1896, as the 
 Lyceum Theatre, with “ Youth/’ “ A Box ot Cash/^ with 
 Edith Sinclair, week 8th ; “Lynwood/’ week 15th ; and “A 
 Barber’s Scrape,” with Richard Golden, week 12th. This 
 piece was written by a Canadian, and was backed by Erastus 
 vViman. The theatre remained closed until 21st March, 
 when Lister and Allen’s Minstrels, including the pugilist, 
 John L. Sullivan, appeared for three nights. About this time 
 was produced Clay M. Green’s drama, “Louis Riel,” the auth- 
 or appearing in the cast, which also included Arthur 11. hor- 
 est, who assumed the title role, and Archie Boyd, who was 
 subsequently seen here as Joshua in “The Old Homestead,” in 
 1890. From this time the career of the house closed as a 
 theatre. The premises were subsequently occupied by the 
 “Montreal Herald’^ for a few years, but were badly gutted by 
 fire, 27th March, 1893, torn down in 1896, and rebuilt for 
 office and warehouse purposes. 
 
 BLANCHE MORTIMER-LYTELL, frequently seen here as lead- 
 ing lady, was a great favorite and a clever actress. She was the 
 wife of William H. Lytell, comedian and stage manager. She died 
 of consumption at Gilboa, N. Y., 30th January, 1897. Her husband 
 and two sons survive her. Mrs. Lytell was of a cheerful and spright- 
 ly disposition, loving the flowers and sunshine of nature, and, grie- 
 ous as her long malady had been, the little lady had ever confid- 
 ence of ultimate recovery. In a letter to the writer some two weeks 
 preceding her death, she expressed expectations of regaining strength 
 in time to write a few recollections for this record, but in a few 
 days she passed calmly into the dreamless sleep of the dead, and 
 the story of her life will be told instead in loving tenderness by the 
 immense circle of her personal friends. 
 
 THE queen’s theatre 
 
 was situated on tlie north sid*e of St. Catherine street in the 
 Queen’s Block, between University and Victoria streets, and 
 is the property of the Ogilvy estate. It was situated on the 
 second story, and was originally a concert hall known as the 
 Queen’s Hall. On 22nd June, 1891, an Opera Company, un- 
 der the management of Messrs. Roth & Slocum, began an ex- 
 tended engagement in “The Mikado.” The principals were 
 Lily Post, N. S. Burnham, George Lyding and J. W. Herbert. 
 The house was then known as the Queen’s Opera House. In 
 August of the same year Messrs. Sparrow & Jacobs became 
 
 19 
 
290 HISTRIONIC MONTREAL. 
 
 lessees and managers of the house, when it also assumed the 
 name of yueen's 1 heatre. i he interior was completely re- 
 modelled, and was one of the prettiest in the country. Ihe 
 house opened 21st September, with R. B. Graham in ihe 
 Little lycoon.^’ A number of leading attractions were 
 booked, including James O’Neill, who appeared here 
 for the first time as a star in ‘'Monte Cristo,” week 
 5 th October, 1891 ; first appearance in Montreal of 
 Clara Morris, week nth January ,( 1892, in “Odette”; 
 and first appearance in Montreal of Wilson Barrett, 
 week 2nd January, 1893, in “Pharaoh,” “Silver King,” 
 "Claudian” and “Hamlet.” Chief in his support were the 
 late Franklin McLeay and Aland J’effries. Robert Mantell 
 was seen in repertoire, week 9th Jan., 1893. During July a 
 stock company, including Tyrone Pow’er and Edith Crane, 
 presented several dramas. Lawrence Hanley came week 
 4th Sept., in “ The Player,” and the clever young tragedian. 
 Walker Whiteside, made his first bow to Alontrealers. week 
 2nd Oct., appearing in “ Hamlet,'^ “ Richelieu,’’ “ Oth-ello ” 
 and ‘‘ Richard HI.” ; Wilson Barrett reappeared, week ist 
 January, 1894, in “ Virginius,” “ Othello,” “ Hamlet,” and 
 other plays. Harry Kellar, the wizard, first appeared in 
 Montreal, week 8th January, 1894. In the early spring of 
 1894, the Geo. A. Baker Opera Co. played a long engage- 
 ment. The foregoing were the leading attractions of many 
 that appeared, space not permitting individual mention. At 
 the opening of the autumn season of 1896, the prices of ad- 
 mission were made to suit popular tastes. Admission was 
 further reduced, week of 7th December, to 10,. 20 and 30 cents. 
 A stock company was engaged, opening on that date in “The 
 Two Orphans.’’ The following were in the company : 
 Nestor Lennon, Chas. R. Crolins, Basil West, Oias. E. 
 Fisher, Clayton W. Legge, Grace Sherwood, Helen Robert- 
 son, Alarion Clifton, Annie Mortland. A new feature was 
 also inaugurated, of introducing vaudeville turns between 
 the acts. Several dramas were produced, after which the 
 plan of booking regular dramatic and operatic combinations 
 at cheap rates was resorted to with but a qualified degree of 
 success. About this time Mr. J. B. Sparrow became sole 
 lessee of this theatre. A new stock company, under the 
 direction of W. H. Wright, was organizred, and opened its 
 <^eason, 21st February, 1898, with the drama “In Spite of All.’' 
 A repertoire of standard plays was presented, including 
 “ The Amazons,” “ The Banker’s Daughter,” Lord Chtimley,” 
 
 
HISTRIONIC MONTREAL. 
 
 291 
 
 ‘‘Sweet Lavender’' and “The Fatal Card.” The company’s 
 roster was as follows : W. H. Wright, manager ; bedky 
 Brown, stage manag’er ; William Harkins, Harold Hartsell, 
 A. C. Deltwyn, Stephen Wright, John C. Ince, Thomas Ince, 
 Berryl Hope, Una Abell, Dickie Delaro and Clara Knott. 
 Mr. and Mrs. W. H. Wright (Berryl Hope) were promin- 
 ently connect'ed with the Francais stock company the previ- 
 ous year and made many friends. The venture was not 
 sufficiently profitable to warrant its continuance beyond 
 30th April. Combination companies filled irregular dates, 
 comic opera being a feature. With this paragraph the 
 annals of this theatre in all probability close, for on Sunday 
 evening, i6th September, 1899, the University Street portion 
 of the building suddenly collapsed, fortunately at an hour 
 when there were few passers by, and no person was injured. 
 The property was considerably wrecked and the theatre 
 lendered untenable. The announcement of the death of the 
 young Canadian actor, Franklyn McLeay, in London, Eng., 
 was received with such genuine sorrow by his friends here, 
 that an outline of his career may be d^eemed within the pro- 
 vince of this book.. 
 
 FRANKLIN McLEAY was a young Canadian, who a few years 
 ago was playing minor roles in Wilson Barrett’s company. His 
 genius, however, was of that order which would not be kept down, 
 and he soon rose to the position of leading man of the organiza- 
 tion. His work as Nero in 'The Sign of the Cross” and as the Bat 
 in “Pharaoh” stamped him as an actor of remarkable power and 
 versatility. His later triumphs as Jediah in “Daughters of Babylon,” 
 and as lago in “Othello” attracted the attention of Beerbohm Tree, 
 who promptly engaged him to play Cassius in “Julius Ceasar.” 
 McLeay fairly shared the honors with Mr. Tree in that production, 
 as he afterward did in “Ragged Robin,” with which the distinguished 
 English actor entertained his patrons at Her Majesty’s theatre, 
 London, in 1898. Mr. Beerbohm Tree took such a fancy to McLeay 
 that he made him the leading man of his company, and he began a 
 notable career that has now been cut short at a time when he was 
 in the way of winning great fame as a historian. McLeay was born 
 at Watford, Ont. A brilliant university career was achieved in 
 Toronto, and his dramatic training was under the guidance of the 
 late James E. Murdoch, until he joined the forces of Wilson Bar- 
 rett. The special trait of Mr. McLeay was his ambition. He took 
 life with deep seriousness, and never ceased to analyze his work, 
 his life, his opportunities and his possibilities. At the same time 
 he was not egotistical. It was all pure ambition. While he was 
 proud of his athletic record and accustomed to bicycle a great deal, 
 he looked a very frail man and never had a good color, but his 
 
292 
 
 HISTRIONIC MONTREAL. 
 
 face was so kind, and his manners so sweet, it was always a plea- 
 sure to see him. McLeay married Grace, daughter of Charles 
 Warner, i8th Dec,, 1898. During June, 1900, he organized a benefit 
 performance at Drury Lane theatre in aid of the Ottawa fire suffer- 
 ers, which netted $15,000. It is believed that overwork from this 
 great effort brought about the brain fever of which he died, 6th 
 July, 1900. Among those that took part were Sir Henry Irving 
 and his company, Beerbohm Tree and his company, George Alex- 
 ander and his company, the American beauty company, and, in 
 fact, almost every actor, actress and singer of prominence in Lon- 
 don, was there to help swell the splendidly planned charity. Queen 
 Victoria was the principal patron, and among the other patrons 
 were nearly all England's dukes and earls and lesser titled persons. 
 For this occasion Mr. Clement Scott wrote a special patriotic 
 poem, which I here append. It is called ‘‘Sister Canada, and was 
 written for Mrs. Leslie Carter, to recite at Mr. McLeay s monster 
 benefit. 
 
 Sister Canada! Safe at home 
 We are no strangers ! Listen to me! 
 
 Often across Niagara’s foam 
 Kisses, America, blows to thee! 
 
 Take them again from these lips of mine. 
 
 Here in old England, friend and guest! 
 
 Drink from a love cup! Toast, divine! 
 
 England! America! Canada blest. 
 
 Sister! lovely in snow or sun.’ 
 
 This is the union — three in one ! 
 
 Ottawa sister! tears were shed. 
 
 Tears of sympathy rose and fell, 
 
 Pity from all, as you mourned your dead; 
 
 Horror at clang of your tocsin bell ! 
 
 Desolate Ottawa! Leagues away 
 You have our sympathy, staunch and true. 
 
 Sisters in England kneel and pray, 
 
 God in mercy will comfort you. 
 
 Ottawa dream in your hearts and homes. 
 
 After bitterness sunshine comes. 
 
 Loyalist Canada, let me twine 
 ' Joyful laurel with mournful yew ; 
 
 Did you not head the colonial line ? 
 
 Fight for the Queen and the Empire too? 
 
 Bravo, Canada ! loved at home, 
 
 England’s proud of your bone and back ; 
 
 Wherever we march in the days to come 
 Canada carries the Union Jack! 
 
 England, America, Canada free! 
 
 We are the union — one in three ! 
 
 
THEATRE FRANCAIS. 
 
 
 II iniiHiii/k 
 
HISTRIONIC MONTREAL. 
 
 293 
 
 THE THEATRE FRANCAIS, 
 
 the sixteenth to be chronicled, in only the second to have 
 suffered destruction by fire, excluding the Nordheimer’s 
 Hall. The building was merely a whaleback shell erected 
 in 1884 by W. W. Moore as a skating rink, on leased 
 ground originally belonging to Peter Cavello. It was 
 first opened i6th June, 1884, as the Grand Central 
 Dime Mus^eum, with the Harts, Al. Fostelle and Professor 
 John Wingfield as the principals in a vaudeville entertain- 
 ment. Coleman & Co. were its lessees. It was afterwards 
 known as the Dominion Palace Opera House. In 1888 Mr. 
 Moore strengthened the building considerably, and also 
 lengthened it nearly thirty feet. In 1890 he altered it into a 
 summer theatre. During the first summer, however, he made 
 up his mind to continue both in summer and winter. The 
 entrance was originally on St. Dominique street, near St. 
 Catherine street. During the fall of 1890, a Wild West Show, 
 headed by Rio Grande Bill and Col. Harry T. Murtha, began 
 a short and unprofitable season. In 1891 the entrance was 
 changed by tearing down th’e frontage of some store property 
 on St. Catherine street. In the early summer of that year, W. 
 W. Moore opened a season of comic opera, ist June, with 
 “Erminie.’’ The principals were, the late Myra Morelia, 
 Mamie Taylor and Edgar Martin. The place was then called 
 the Lyceum Opera House. The season was suddenly closed 
 at the end of the same month. From this time on to 1893 the 
 house was known as the Empire Theatre, and the class of at- 
 tractions presented were third-rate variety shows. During 
 the summer of 1893 a number of prominent Erench citizens 
 formed a joint stock company, of which J. M. Fortier was the 
 president. The interior of the house was entirely renovated, 
 and a company of operatic artists were imported from France. 
 Tlie opening was on 2nd October, with ‘‘La Grande Duch- 
 esse,” the principals being Madame de Goyon as Stella] Mad. 
 Loys as Claudine; and Mr. Girard as Monthabor. For three 
 seasons of grand as well as comic opera the Theatre d^Opera 
 Francais was patronized by the elite of MontreaFs French citi- 
 zens. The power which the church influenced against the 
 performances, however, had not a little to do with the un- 
 profitable results of the venture, the directorate dissolving in 
 the early part of 1896, with the final disbandment of the ar- 
 tists. The principals that time were: Adrien Barbe, Armand 
 Mary, Mme. Bossy-Conti and Bennati. William E. Phillips 
 
294 HISTRIONIC MONTREAL. 
 
 was the next l^essee, opening the house as the Theatre hran- 
 cais, 2nd March, 1896, with “The Black Flag,’’ inaugurating a 
 s-eries of standard dramatic and vaudeville representations in 
 continuous performances at popular prices. Tli'e original 
 stock company included John B. Knight, Wm.. Stuart, Richard 
 Baker, Hawley Francks, George Rose, Louise Arnott, Berryl 
 Hope (Mrs. W. H. Wright), Camille D’Elmar and Virginia 
 Ayer. Wm. S. Hartford, a capable young English actor, 
 previously seen here at the head of Sparrow’s “Jack Hark- 
 away” Company, was engaged as leading man for the opening 
 of the second week in “The Ticket-of-Leave Man.” From 
 season to season the attractions presented at this house were 
 duly appreciated by Mr. Phillips’ patrons, who recognized 
 and rewarded his up-to-date efforts by filling the auditorium 
 to full capacity. A long series of choice dramas were pro- 
 duced and interpreted by a generally capable company. In 
 the mid-season of their activity the total destruction of the 
 building by fire on the morning of 26th February, 1900, most 
 rudely arrested their laudabl'e efforts. The company played 
 the same night at the Monument Nationale, but closed 28th 
 February. Daniel Ford, owner of the property, and W. E. 
 Phillips, sustained considerable personal loss. ^ Coincident- 
 ally, the greater Theatre Francais, the dramatic monument 
 of France, was similarly destroyed within two weeks. 
 
 LE MONUMENT NATIONALE, 
 
 situated on St. Lawrence street, opposite to the old market 
 house, is the name of a building erected by the French Can- 
 adian National Sockty, known as L’ Association de St. Jean 
 Baptiste, in 1890-91. Judge Loranger, F. L. Beique, Hon. 
 Senator A. A. Thibaudeau' and J. C. Beauchamp are members 
 of the finance committee directing its affairs. The building, 
 which is ext’ensive and substantially constructed, contains a 
 second floor theatre of large capacity, while the ground floor 
 consists of several stores. Experts value tbe property at 
 $300,000. During 1895-96 the Grand Opera Company from 
 the Theatre Francais rendered several operas as well as con- 
 certs. Mr. and Mrs. Frank Murphy, after retiring from the 
 management of the Acad»emy of Music, leased the hall and 
 opened a short season, i6th March, 1896, with Palmer Cox’s 
 “Brownies,’’ for one week. Of the s-everal attractions which 
 followed, that of “Rob Roy” was the most successful. A sea- 
 son of grand opera by a French Company, under oth'er man- 
 
 
THEATRE FRANCAIS. 
 

PROCTOR’S THEATRE. 
 
HISTRIONIC MONTREAL. 
 
 295 
 
 agement, was inaugurated 6th October, 1899, the opening 
 being in “La Juive.’’ The artists included Miles. Talexis and 
 Badilia, Mines. Laffon and Bergs, Messrs. Anseldi, Grommen, 
 Javia, Defly and Salvator. 
 
 A number of amusement resorts have not been fully noted 
 in these pages, from the days of Guilbault’s Gardens to 
 those of SoHMER Park. The latter resort, establish'ed in 
 1889 at Panet and Notre Dame streets, has been closely identi- 
 fied with band concerts, vaudeville turns and some pretence at 
 comic opera. The Bonaventure Hall flourished for a very 
 short period twenty-five years ago und-er Mr. Vilbon’s direc- 
 tion, and during the ^70’s and ’8o’s the Mechanics^ and 
 Nordheimer Halls occasionally catered to the public in 
 minstrel and vaudeville performances. The principal min- 
 strel features of the country appeared during that period at the 
 Mechanics Hiall, Christy s and Cool Burgess’s being very pop- 
 ular. There is also a record of the appearance of the famous 
 but erratic tragic genius, Fechter, at this hous^ in 1875, while 
 George Vandenhoff rendered frequent readings. Neither can 
 we give more than passing notice to th-e Bijou at Chaboillez 
 square and St. Maurice streets, opened 27th February, 1899, 
 with '^Th*e Parisian Belles,” followed by other belles, for a 
 season terminating the same spring. TTiis house was under 
 the management of Charles H. Laberge and Frederick 
 Thomas, and was situated in the old St. Maurice Skating 
 Rink. The Grand Central Theatre and Musee, corner 
 St. Gabriel and Commission'ers streets, has flourished since 
 March, 1899, in a similarly modest manner, giving two variety 
 performances daily. Thomas Burdette, proprietor; Louis 
 Payette, manager. At th-e Arena Summer Garden (on the 
 site of the old Shamrock Grounds), a season of comic opera 
 was begun 24th July, 1899, in '‘Said Pasha,” by the Robinson 
 Opera Company, the principals being Lizzie Gonzalez, Eth-el 
 Vincent, Clayton Ferguson and Ben Lodge. A second sea- 
 son of opera was inaugurated i8th June, 1900, Frank V. 
 French being manager and lessee. 
 
 HER MAJESTY^S THEATRE. 
 
 This beautiful temple of Thespis takes rank with th*e finest 
 in America. It was built in 1898 by a chartered company, 
 which included among others : Senator A. A. Thibaudeau, 
 Mayor Prefontaine, K.C., M.P.; Mr. William Mann, the con- 
 tractor; Messrs. William Barclay Stephens, William Strachan, 
 
HISTRIONIC MONTREAL. 
 
 296 
 
 Beaumont Shepherd and David Russell, all of Montreal. The 
 capital stock of the company is $100,000, divided into one 
 thousand shares at a par value of one hundred dollars. The 
 corporate style of the Company is, “The West End Theatre 
 Co” (Limited). It is situated on Guy street, east side, above 
 St. Catherine street, llie ground dimensions of the building 
 are 171 feet in depth by 170 in width. There is an i8-ft. lane 
 on the south and a lo-ft. alley on the north. Both are paved 
 in asphalt. There are in all twenty-one exits, and the house 
 can be completely emptied in three minutes. The building is 
 constructed in the style of architecture known as the Italian 
 Renaissance, with a mixture of Rococo. The front is of 
 pressed brick, relieved with Ohio buff, the walls possessing a 
 solid limestone foundation. The main lobby is eighteen feet 
 wide and thirty feet deep. Surrounding it are the manager's 
 office, the box office, an apartment for advance agents, the 
 ladies’ toilet room and a smoking parlor for gentlemen. The 
 lobby itself is floored in Mosaic tiling of very chaste design. 
 On the second floor is located the cafe, which is accessible 
 from all parts of the house. There are two galleries, the up- 
 l^er one of which is divided, and contains the family circle 
 and the “gods.” There are ten boxes on each side of the 
 stage, six of which are a part of the procenium arch. Pre- 
 cautions have been taken against fire. A solid fire-wall of 
 brick, three feet thick, separates the stage from the auditori- 
 um; another of equal strength separates the auditorium from 
 the lobby. The division walls between the lobbies in the front 
 of the building and the dressing-rooms at the side of the stage 
 are also of brick. Tlie doors leading from the stage to the 
 auditorium are of iron, and can be automically closed' in half 
 a minute. There is also an asbestos drop curtain, which 
 would confine a fire, if such occurred, exclusively to the stage. 
 The walls and ceilings of the auditorium, lobbies and toilet 
 roims, are finished in asbestic plastering. Messrs. McElpat- 
 rick, the architects of Her Majesty’s, have built upwards of; 
 200 theatres, and in their large experience not an accident of 
 any kind has happened in one of their buildings. The decora- 
 tions are beautiful and in excellent taste. The lobby, with 
 its warm tints of maroon and richly frescoed ceiling, prepares 
 one for the brilliant scenic display within the auditorium. Mr. 
 Toomey was the scenic artist. Mr. and Mrs. Frank Murphy 
 secured the lease of the theatre, which opened Monday, 7^^ 
 November, 1^98, wdth E. E. Rice’s “The Ballet Girl : a pro- 
 
 
V 
 
 PROCTOR’S THEATRE. 
 

HISTRIONIC MONTREAL. 
 
 297 
 
 Auction of scenic splendour, introducing sixty artists, the 
 principals being Gus Bruno, David Lythgoe, Edgar Halstead, 
 James Lindsay, Jacques Kruger, Solomon Violethe, Violet 
 Deane and Christine Anderson. The performance was pre- 
 ceded by a short address by Mayor Prefontaine. ‘'We are 
 proud of the theatre,’^ said His Worship, “and we are proud of 
 the name, for nowhere in those broad dominions, over which 
 the sun never sets, is there a community more devoted to the 
 person and the pure and noble throne of Queen Victoria than 
 our good population of Her Majesty’s devotedly loyal city of 
 Montreal. I have great pleasure, therefore, to dedicate this 
 
 theatre to the art which ‘ holds ^ as Hwere, the mirror up 
 
 to nature’ that answers and educates, and that makes a really 
 useful and valuable contribution to the material progress of 
 the world by affording the relaxation that worn-out humanity 
 justly requiiires.” As His Worship finished reading, the audi- 
 ence applauded tumultuously, and, a minute or two later, Mr. 
 Murphy again appeared before the curtain, this time intro uc- 
 ing Miss May Reynolds, who recited a prologue, which had 
 been prepared for the occasion by Dr. George Murray. This 
 was as follows : 
 
 Ladies and Gentlemen, we hail to-night 
 Your friendly presence with unfeigned delight, 
 
 And let me say it as I have thte floor, 
 
 Your future patronage will charm us more. 
 
 Lend me your ear three minutes for some verse ; 
 
 It* might be better, and it .might be worse! 
 
 Here, months ago, a weed-encumbered spot 
 Shrank from publicity— a vacant lot— 
 
 Now, gaze around ; survey in every part 
 This stately temple of dramatic art, 
 
 Stage, drop-scene, orchestra, box, stall, parterre. 
 
 And the twin galleries that bridge the air. 
 
 No cheap gilt gingerbread offends the eye, 
 
 No tawdry tinsel makes us almost cry ; 
 
 Good taste, throughout, the victory has won. 
 
 And all that money can do has been done- ^ 
 
 Are you content ? If so, the fact confess, 
 
 And answer with a sympathetic “Yes.” 
 
 Thanks ! and as crowds of bright-eyed French I see, 
 
 “Je vous remercie bien, mes cheres amis 1” 
 
 You wish no doubt, to hear the bill of fare 
 That for the public palate we prepare ; 
 
 Well, since variety's the spice of life. 
 
 We’ll furnish that, for man and maid and wife. 
 
298 
 
 HISTRIONIC MONTREAL. 
 
 You shall have dramas fit for youth or age, 
 
 Played by the best performers on the stage, 
 
 Plays of all kinds— farce, opera, burlesque. 
 
 Plays, grave and gay, romantic and grotesque 
 And we are mindful that at Christmas time 
 Those darling children cry for pantomime. 
 
 One thing remember, you may rest secure 
 That all we offer shall be clean and pure ; 
 
 “immodest scenes admit of no defence. 
 
 For want of decency is watit of sense.’' 
 
 Watch our career ; some venial faults forgive, 
 
 And aid the “Servants of the Queen” to live. 
 
 My time is up. So once again I say. 
 
 Watch us impartially from day to day. 
 
 If we play fairly, we bespeak fair play. 
 
 All that we promise we will perform. 
 
 And strive to take Society by storm ! 
 
 A few last words. Attention ! One and all ! 
 
 And bless the name selected for our hall ; 
 
 It is the noblest that on earih is known; 
 
 It is “Her Majesty’s,” we proudly own. 
 
 Yes! There is one whose venerated name 
 We dare to borrow, and we dread to shame. 
 
 Who needs no Crown — no Sceptre in her hand 
 The world’s spontaneous homage to command. 
 
 Who, from sheer goodness plays a gracious part. 
 
 And when she speaks is prompted by her heart; 
 
 Pong may she linger, loved upon the scene. 
 
 Long may we listen to “God Save the Queen 1 
 Then the audience arose, and the orchestra, under Professor 
 Zimmerman, rendered “God Save tire Queen. 
 
 It may be interesting to future generations to note a few 
 of those in attendance : 
 
 In Box A were Mr. and Mrs. Hector Mackenzie, Mr. and 
 
 Miss Mackenzie. . 
 
 In Box B — Mayor Prefontaine and Mrs. Prefontaine, Ur. 
 
 and Mrs. Foucher and Mr. P. D. Roland. 
 
 In Box C — Mr. and Mrs. H. Vincent Meredith, Mr. and 
 Mrs. Wanklyn, Mr. Justice Hall and Mr. H. Allan. 
 
 In Box D— Mr. and Mrs. E. S. Clouston, Mr. and Mrs. 
 Charles Meredith and Miss Margaret Angus. 
 
 In Box E — Comtesse des Etange, Miss Thibaudeau and 
 
 Miss Rodier. ^ oi • .. a/t.- 
 
 In Box F — Mr. and Mrs. Vere Goold, Miss Skinner, Mr. 
 
 Douglass Plye and Miss G'-ndron- 
 
 
HISTRIONIC MONTREAL. 
 
 299 
 
 In Box G — Mr. and Mrs. William Mann, Mr. and Mrs. J. 
 A. Mann, Miss McLean and Mr. S. McLean. 
 
 In Box H — Mrs. Donald Macmaster, Mrs. Peterson, Miss 
 Roddick and Miss Redpath. 
 
 In Box I — Mr. and Mrs. John Russell, jun.. Miss Russell, 
 Mr. David Russell, of St. John, N.B. ; Dr. and Mrs. Allison, 
 New York ; Mr. D. Pottinger and Mr. T. B. Blair. 
 
 It was a representative audience of Montreal’s best society, 
 and, although a more appropriate choice in the class of attrac- 
 tion should have been made, there was not standing room left 
 for late comers. The view from the galleries was pictur- 
 esque in the extreme. Nearly all the ladies wore evening 
 dresses of exquisite design and shade, contrasting vividly with 
 the prescribed black and whit'e of the men, who, in their turn, 
 did what was possible to add to the poetry of colour — if it may 
 be permissible to ascribe poetry to colour as well as to motion. 
 
 How different the scen-e ninety-four years before ! when, 
 during the same month, our forefathers gathered in humble 
 array at the corner of St. Sulpice and St. Paul streets to he 
 entertained by Ormsby and his troupe of poor, half-fed, half- 
 clothed itinerants, whose social standing was considered 
 scarcely better than wandering gypsies or vagabonds, with- 
 out accoustic effects or adequate stage wardrobe, interpreting 
 Centlivre’s “Busybody,” an obsolete comedy by a forgotten 
 playwright, and directed by an actor-manager whose name 
 has no place in the list of biographia dramatica. And still 
 this primitive effort was the event of the day in dear, staid, 
 old Montreal, the performance being followed with unflag- 
 ging interest by those whose memory and deeds we hold in 
 such sacred esteem — from whose being the every-day events 
 of a century have gathered together the legacy of splendour 
 and comfort we now enjoy. 
 
 Geographically unfortunate is Montreal in its pretensions to 
 recognition from managers of the more important attractions 
 in comparison to the advantages of American cities of even 
 lesser population. The close grouping of cities on the well- 
 beaten tracks of commercial highways in the United States 
 afford facilities and inducements that Montreal cannot hone 
 to enjoy for many years in its isolation and annoying customs 
 formalities. Nevertheless, Montreal is occasionally favored 
 by modern attention, sometimes accidentally, oftentimes as a 
 last resource. It is only fair to say, however, that results 
 from a financial point of view have been reasonably felicitous 
 
300 
 
 HISTRIONIC MONTREAL. 
 
 in the aggregate. At the present writing, the subject of the 
 drama in Montreal, with its paucity of supporters and over- 
 plus of theatres, presents a question worthy of parliamen ary 
 debate and force of ordinance, 'thousands of dollars will b 
 expended in futile experiments until the public decides w la 
 it will have. In the meantime, the leaven of experience will 
 extend towards that attainment, when, within a Jcade, 
 Montreal will permanently support an English and Frenc 
 stock company on a paying basis, also a first-c ass com m 
 tion house of untramelled and free jurisdiction. 
 
 ITiose of you who are familiar with the m’ethods and scope 
 of the theatrical trust or “syndicate” will readily realize what 
 obstacles were to be surmounted by the experienced out 
 handicapped Murphys over such a combination, the Aca- 
 demy of Music being the “syndicate” house in Montreal. 
 What good attractions were to be had outside of the ‘ trust 
 were secured, but only on conditions entirely inadequate for 
 the maintenance of such a house. After two seasons 
 crowned effort in the administration of this theatre, “Her 
 Majesty’s servants’’ surrendered their trust to the patentees, 
 this being in turn handed over, 28th April, 1900, to John A. 
 Grose, a man of keen perception and varied business experi- 
 ence, of whom much was expected in handling the m^ageriM 
 reins. His initial offering was Frank Daniels m the comic 
 opera, “ The Ameer,” week of 30th April. 
 
 Mr. Grose subsequently went to England for the purpose 
 of recruiting a special company of players for “stock” work, 
 but after a short and unprofitable season, he in turn withdrew 
 from theatrical management. The lease of the hou^ wa^hen 
 assumed by the enterprising New York manager, F. F. Proc- 
 tor, who inaugurated a season of continuous vaudeville, trom 
 4th March, 1901, which gave way in the follovnng June to 
 the presentation of dramas by a stock company. To date, Mr. 
 Proctor holds a fair clientele through the excellent work ot 
 his company. The Proctor Stock Compatiy is a big organiza- 
 tion, divided into six sections, one appearing at each ot tne 
 half dozen Proctor theatres each week. The companies are 
 transferred from one theatre to another, so that all the the- 
 atre are equally well supplied. There are 1 50 people employed 
 the six sections of the company, and the supervision ot the 
 entire scheme is in the hands of Frederic Bond- 
 
 
HISTRIONIC MONTREAL. 
 
 301 
 
 EPILOGUE. 
 
 “ Thus far with rough and all unable pen, 
 
 Our bending author hath pursued the story, 
 
 In little room confining mighty men, 
 
 Mangling by starts the full course of their glory.” 
 
 In glancing over the careers of the many men and women 
 preceding these lines, how startling is the thought of the 
 strange mutations which attend our fleeting lives — the errors 
 of which afflict us here, and in the memory of our acquaint- 
 ances live after us. Our good apportionment of humanity, 
 and all have some, is often forgotten and interred with our 
 dust. 
 
 “We are such stuff 
 
 As dreams are made of, and our little life 
 Is rounded with a sleep.” 
 
 How often in the silence of our meditations are we carried 
 back to incidents witnessed behind the glare of the footlights, 
 often so impressively parallel to our own personal experi- 
 ences of joys and sorrows. Then must we realize the reflec- 
 tive force of that great mirror of humanity, and, like the re- 
 membrance of an intensely human sermon, regret the often 
 unheeded passing of its vivid and prophetic appeal, but 
 ephemerally felt on the emotional cords of our sympathetic 
 natures. 
 
 I discovered, a good many years ago, when the skies 
 seemed to be a brighter blue, and the fields a lovelier green 
 than they are now, and when the birds sang twice as well, 
 that fun was the most cheerful thing on earth, and that people 
 preferred laughing to crying. Some of our happiest hours 
 have been passed in following the frolicsome and eccentric 
 methods of a favorite comedian, for variety is the spice of 
 life, and no person can afiford to confine his taste in one nar- 
 row groove, either as a student of the drama, or in the regular 
 walks of life, after allowing for some little intelligent discrim- 
 ination in choosing the plays to be patronized, for no reason- 
 able authority can exist to gauge the standard of what a few 
 may have pronounced ideas upon. If a man prefers seeing 
 “Harris from Paris” to “Hamlet/’ he certainly has a right to 
 follow his inclination as much as his neighbour, who, prob- 
 ably having to fight less hard for the dailv necessities of life, 
 has more time to reflect on the divinity of art. So it is with 
 
302 
 
 HISTRIONIC MONTREAL. 
 
 the lover of harmony in music when he steals off to listen to 
 Sousa’s marches in preference to what he considers the 
 “boiler shop’’ symphonies of the late lamented Wagner. Our 
 preference and ambition should, of course, incline to the cul- 
 tured in the drama as in music, but the individual who goes to 
 the theatre to be entertained has a right to indignation if 
 snairled at by a set of classical dudes who whine over the de- 
 generacy of tbe drama. 
 
 William Winter says that “ the stage of the^ present is always 
 ‘ degenerated Persons who seek the golden age invariably find 
 that it retires as they advanced' Notwithstanding the fact that 
 in our day the stage is being adorned and beautified by such 
 artists as Henry Irving, T, W. Keene, Haworth, Miller, Crane, 
 Mansfield, Beerbohm Tree, Joseph Jefferson, Ada Rehan, 
 Olga Nethersole, Ellen Terry, Duse, Mrs. Fiske and Bern- 
 hardt, the cry is heard bewailing the loss of the lights of two 
 decades ago, when shone Edwin Booth, Lawrence Barrett, 
 Wm. Warren, John Gilbert, Charlotte Cushman, Clara Morris, 
 John McCullough and Adelaide N-eilson. 
 
 Richard Mansfield, who most fortunately is seldom taken 
 seriously off the stage, has recently asserted to the press that 
 the stage of to-day is degenerate. His opinion has not been 
 endorsed by other players of equal experience and ability". 
 
 In 1845 James Rees described tbe genius of the drama as 
 an “ owl sitting in gloom and eternal night upon the wreck of 
 the stage”— yet that was the time of Junius Brutus Booth, 
 Edwin Forrest, Thomas Hamblin, Charles Kean, Macready, 
 Helen Faucit and G. V. Brooke. In 1811, Mary Godfrey, 
 one of the intimate friends of the poet Moore, writing to him 
 about the theatre in Fondon, said that “an author who hopes 
 for success on the stage must fall in wtth popidar taste, which is 
 now at the last gasp and past all cure.” Yet at that momen 
 Kean, Young, Cooke, the Kembles, Fawcett, Munden and 
 Eliza O’Neil were in full career. Macklin, when an old nmn, 
 used to ask disdainfully, “Where are your actors f Yet 
 Macklin, who lived in the period of Doggett, Mrs. Barry, 
 Barton Booth, Thos. Elrington, Mrs. Oldfield and Mrs. Pnt- 
 cliard, might, even as he spoke, have seen Kemble, u , 
 
 King and Mrs. Siddons. ^ ^ ^ 
 
 Cibber, in his last years, could see littl'e or no merit in con- 
 temporary players. Yet that was the time of Garrick, Mrs. 
 Cibber. Mrs. Bellamy, Mossop, Henderson and Barry. Meres, 
 in “Wit’s Treasury ” (159S), complimenting the poet Drayton, 
 
 
HISTRIONIC MONTREAL. 
 
 303 
 
 Speaks of ‘ these declining and corrupt times when there is no- 
 thing but roguery in villainous manJ^ The stage was compre- 
 hended in that censure, yet that was the time of Shakespeare, 
 B^n Jonson and Burbage, and so it goes back perpetually to 
 the earliest origin of the drama. 
 
 It has been estimated that our theatre-going public pays 
 $70,000,000 a year for its entertainment. The calculated at- 
 tendance is 1,500,000 persons a week in the various play- 
 houses of the country. On January ist, 1900, there were 574 
 amusement enterprises before the public, of which 427 were 
 dramatic companies. 
 
 We are not degenerating. We have more theatres than 
 were in existence in previous times. We have more good 
 plays than our ancestors were blessed with, and w'e have more 
 bad ones than they were ever afflicted with. W-e have more 
 good actors than they ever admired in any past period of time, 
 and we have more bad ones than any past period of tim’e was 
 ever burdened with. There must be an abundance of both 
 in order to balance the scates of existence, for just as science 
 teaches us that th-ere must be death in order that there shall 
 be life, so does the light of dramatic experience teach us that 
 there must be bad plays in order that there shall b'e good 
 ones; that there must be bad actors in order that w^ may more 
 fully appreciate the good ones. 
 
 “Use every man after his own honor and dignity ; 
 
 The less they deserve, the more merit is in your bounty.” 
 
 And now, patient reader, the chronicle for the present has 
 ended. If the compiler has succeeded, in his humble way, of 
 awakening pleasant 'recollections in the minds of his senior 
 readers, or to have excited the envy of juniors in wishing: 
 they had lived earlier in order to have seen the celebrities of 
 past decades, his task has not been altogether without 
 fruition. 
 
 You remember what old Omar says : 
 
 Yon rising moon that looks for us again — 
 
 How oft hereafter will she wax and wane ; 
 
 How oft hereafter rising look for us 
 
 Through this same Garden — and in vain ! 
 
 And when like her, oh Saki, you shall pass 
 Among the Guests-scatter’d on the Grass. 
 
 And in vour joyous errand reach the spot 
 
 Where I made One — turn down an empty glass ! 
 
 Curtain. , 
 
miustrations 
 
 
 Academy of Music. 
 
 Academy of Music (interior.) 
 Anderson-Navarro Mary. 
 Bandmann Daniel E. 
 
 Bernard John. 
 
 Bernhardt Sarah 
 Boucicault Dion. 
 
 Brown Frederick. 
 
 Buckland Mrs. J. B. 
 
 England’s Greatest Actors. 
 Fechter Charles Albert. 
 
 Fisher Clara. 
 
 Forrest Edwin. 
 
 Hamblin Thomas S. 
 
 Haworth Joseph- 
 Hill Barton. 
 
 Horn Kate. 
 
 Irving Sir Henry. 
 
 Jefferson Joseph. 
 
 Kean E. 
 
 Keen Edmund. 
 
 Keene Thomas W. 
 
 Kemble Charles. 
 
 Kemble Fanny. 
 
 Macready William Charles. 
 Mansfield Richard. 
 
 Mathews Charles James. 
 McCulloch John. 
 
 Neilson Lilian Adelaide. 
 
 Proctor’s l^eatre. 
 
 Proctor’s Theatre (interior.) 
 Raymond John D. 
 
 Ristori Adelaide. 
 
 Rossi Ernesto. 
 
 Russell Lillian. 
 
 {Salvini Tomasso. 
 
 Terry Ellen. 
 
 Theatre Francais. 
 
 Theatre Francais (interior.) 
 Theatre Royal. 
 
 Theatre Royal (interior.) 
 
 Theatre Royal (interior of, 1825.) 
 Theatre Royal Favorites. 
 
 Warner Neil. 
 
 For Biographical Sketches, see Index. 
 
INDEX 
 
 Abbot Wm 
 
 Abbott Emma 
 
 A’Becket Tbos 
 
 Achilles The 
 
 Adams Edwin 
 
 Aimee Marie 
 
 Albani Gye Emma (Lajeunesse) 
 
 Albaugh John W 
 
 Albaugh Mary Mitchell 
 
 Albertine Mile 
 
 Aldrich Louis 
 
 Anderson James Robertson., . 
 
 Anderson-Navarro Mary 
 
 Anderson Mr 
 
 Andrews Geo. H 
 
 Arden Edwin 
 
 Armstrong Sydney 
 
 Arnold Charles 
 
 Baker Mrs. Sarah A 
 
 Balls J. S 
 
 Bandmann Daniel Edward.. .. 
 
 Bangs Frank C 
 
 Barbe-Loret Hortense 
 
 Barnett Morris 
 
 Barrett Joseph Louis 
 
 Barrett Lawrence Patrick. ... 
 
 Barron Charles 
 
 Barrow Julia Bennett 
 
 Barry Wm 
 
 Barrymore Maurice 
 
 Bartley Mr. and Mrs 
 
 Barton Mr 
 
 Beaudet Louise 
 
 Belgarde Adele 
 
 Belton P. E 
 
 Bennett Jas 
 
 Bernard John 
 
 Bernard Mrs. Charles 
 
 Bernhardt Sara 
 
 Blake Mr. and Mrs 
 
 Bland Humphrey 
 
 Blythe Helen 
 
 Boniface Geo. C 
 
 PAGE 
 
 . 73 
 
 . 239 
 . 91 
 
 . 55 
 
 . 150 
 . 177 
 . 285 
 . 157 
 . 158 
 . 116 
 . 251 
 . 95 
 
 . 238 
 . 32 
 
 . 89 
 
 . 212 
 . 284 
 . 228 
 . 260 
 . 74 
 
 . 240 
 . 185 
 . 259 
 . 117 
 . 119 
 . 166 
 . 270 
 . 130 
 . 203 
 . 236 
 . 37 
 
 . 65 
 
 206 
 . 258 
 . 118 
 . 117 
 ^ 26 
 ,. 61 
 ,. 245 
 .. 61 
 .. 107 
 .. 202 
 .. 211 
 
 Booth John Wilkes 
 
 Booth Mrs. Agnes 
 
 Boucicault Dionysius Lardner.. 
 
 Bowers Mrs. D. P 
 
 Bowers Vining 
 
 Braham John 
 
 Brignoli Signor Liuzl 
 
 Brougham John 
 
 Brown Frederick and Sophia.. .. 
 
 Brundage Mary Anne 
 
 Buckingham Fanny Louise.. .. 
 
 Buckland John Wellington 
 
 Buckland Mrs 
 
 Buckley Edward J 
 
 Buckstone John Baldwin 
 
 Bull Ole Bornemann 
 
 Burton Wm. Evans 
 
 Byron Olivier Doud.. ... .. .. 
 
 Carden Jas 
 
 Carr Benjamin 
 
 Celeste Marie 
 
 Ceyatano & Co 
 
 Chanfrau Francis S V. 
 
 Chippendale Frederick 
 
 Ciprico Geo. M 
 
 Claxton Kate 
 
 Cline Herr John 
 
 Coghlan Rose 
 
 Collier Edmund Kean 
 
 Compton Edward H 
 
 Conway Frederick Bartlett 
 
 Conway Mrs. P. B 
 
 Coombs Jane. 
 
 Corinne 
 
 Couldock Charles Walter 
 
 Cowell Sydney 
 
 Crane Wm. H 
 
 Creswick Wm 
 
 Curtis M. B 
 
 Dampier Alfred 
 
 Dargon Augusta L 
 
 Davenport Edward Loomis 
 
 Davenport Fanny .. 
 
 PAGE 
 . 145 
 . 252 
 . 110 
 . 165 
 . 141 
 . 82 
 . 160 
 . 116 
 41 
 44 
 
 . 201 
 . 105 
 . 106 
 . 277 
 . 82 
 . 107 
 . 125 
 . 170 
 . 152 
 . 25 
 
 . 69 
 
 . 33 
 
 . 114 
 
 . no 
 . 182 
 . 230 
 . 73 
 
 . 277 
 . 198 
 . 245 
 . Ill 
 . 113 
 . 121 
 . 245 
 . 119 
 . 260 
 . 183 
 . 80 
 . 166 
 . 237 
 ,. 216 
 ,. 136 
 . 237 
 
11 
 
 INDEX. 
 
 Davidge Wm. Pleator 
 
 Davis Chas. S 
 
 DeBar Benedict 
 
 DeBelleville Frederick 
 
 De Camp Vincent 
 
 Benin Sisters^ The 
 
 Denny-Drake Frances Anne.. 
 
 De Walden T. B 
 
 Dillon Chas 
 
 Dillon John 
 
 Don Sir Wm 
 
 Douglass David 
 
 Downing Robert L 
 
 Dowton Wm 
 
 Drama In America 
 
 Drama in England 
 
 Drama in France 
 
 Drama in Montreal 
 
 Drew Mrs. John 
 
 Drew Frank 
 
 Drummond W. C 
 
 DuBois Samuel Conier 
 
 Duffy Wm 
 
 Durang Chas 
 
 Durang John 
 
 Dykes W. H 
 
 Dyott John 
 
 Eberle Charles 
 
 Edwards Harry 
 
 Edwards James L* 
 
 Elmore Marcus 
 
 Emery Miss 
 
 Emmett Jos. K 
 
 Epilogue 
 
 Eytinge Rose 
 
 Paucett Owen 
 
 Fay Hugh 
 
 Fechter Chas. Albert 
 
 Feron Mrs 
 
 Fisher Chas 
 
 Fisher Kate 
 
 Florence Mr, and Mrs. W. J 
 
 Forrest Edwin 
 
 Fortescue May 
 
 Fox George L 
 
 Frayne Frank I 
 
 Fuller Thos 
 
 Fyffe Charles J 
 
 Gannon Mary 
 
 Gay ton Zoe 
 
 Germon Euphemia (Eflie) , . . 
 
 Gerster Etelka 
 
 Gilbert John Gibbs 
 
 Gilmour John H 
 
 Goodwin Nathaniel C., jun.. 
 Gotthold J. Newton 
 
 PAQIC 
 
 .. 107 
 .. 193 
 .. 159 
 .. 286 
 .. 63 
 
 .. 123 
 .. 36 
 
 .. 97 
 
 .. 131 
 .. 217 
 .. 101 
 .. 28 
 .. 258 
 .. 74 
 
 9 
 6 
 4 
 
 .. 14 
 
 .. 79 
 
 .. 148 
 .. 81 
 .. 132 
 .. 61 
 .. 33 
 
 .. 17 
 
 .. 38 
 
 .. 97 
 
 .. 74 
 
 .. 253 
 .. 213 
 .. 120 
 .. 56 
 
 .. 166 
 .. 301 
 .. 299 
 .. 155 
 . 203 
 
 .. 186 
 .. 57 
 
 .. 112 
 .. 189 
 .. 243 
 .. 59 
 
 .. 284 
 .. 217 
 .. 213 
 .. 80 
 .. 151 
 .. 114 
 .. 177 
 .. 126 
 .. 263 
 .. 252 
 .. 282 
 .. 232 
 .. 263 
 
 Gould Julia 
 
 Graham Anna 
 
 Graham Geo 
 
 Granger Maud 
 
 Gray Ada 
 
 Gray Alice 
 
 Gray Minnie Oscar 
 
 Greene John 
 
 Grierson Thos 
 
 Hackett Jas. Henry 
 
 Hale Chas B 
 
 Hamblin Thos. Sowerbey 
 
 Harkins Daniel H 
 
 Harland Ada 
 
 Harper Joseph 
 
 Harris William 
 
 Hauk Minnie 
 
 Hautonville Mrs 
 
 Haworth Joseph S 
 
 Hayes Catherine 
 
 Henriques Madeline 
 
 Henry-Drummond-Barrett Anne 
 
 Hermann Alexander 
 
 Herne Jas. A 
 
 Herring Fanny 
 
 Heyl Lewis 
 
 Hill Barton 
 
 Hindle Annie 
 
 Holland Geo 
 
 Holman Mr. and Mrs. George.. 
 
 Holman Sallie 
 
 Holmes E. B 
 
 Honey Laura 
 
 Hows John W. S 
 
 Hughes Mr. 
 
 Hughes Mrs 
 
 Hunt Harry B 
 
 Irving Sir Henry 
 
 [Sherwood Mrs. Wm 
 
 Jack John Henry 
 
 James Louis 
 
 Janauschek Francesca Romana 
 
 dalena 
 
 Jefferson Joseph.. .. 
 
 Jehin-Prume Frantz Henry.. .. 
 
 Jewett Sara 
 
 Johnson John 
 
 Jones Mrs. Geo 
 
 Jordan Geo 
 
 Judah Emanuel 
 
 Judic Mme 
 
 Kean Charles John 
 
 Kean Edmund.. 
 
 Keane James K 
 
 Keene Thomas Wallace 
 
 Kelly Lydia 
 
 PAGE 
 
 .. lOtt 
 .. 257 
 
 . . . . 88 
 .. .. 257 
 .. .. 174 
 .. .. 123 
 .. .. 210 
 . . . . 75 
 
 . . . . 57 
 
 . . . . 61 
 . . . . 114 
 . . . . 45 
 
 . . . . 163 
 .. .. 157 
 . . . . 29 
 
 .. .. 260 
 .. .. 202 
 . . . . 82 
 .. .. 283 
 .. .. 107 
 .. .. 143 
 . . . . 86 
 .. ..257 
 
 .. .. 148 
 .. .. 156 
 .... 43 
 
 .. .. 137 
 .. .. 214 
 .... 55 
 
 .. .. 169 
 .. .. 170 
 .. .. 133 
 .. .. 132 
 .... 69 
 
 , . . . 63 
 
 .... 63 
 
 .... 79 
 
 .. .. 270 . 
 .... 91 
 
 .. .. 126 
 .. .. 183 
 Mag- 
 .. .. 200 
 .. .. 244 
 . . . . 227 
 
 .. .. 184 
 .... 32 
 
 .... 92 
 
 .. .. 107 
 .... 40 
 
 .. .. 283 
 .... 62 
 .. .. 49 
 
 .. .. 186 
 .. .. 261 
 .. .. 62 
 
 
INDEX. 
 
 Ill 
 
 page 
 
 Kemble Chas 65 
 
 Kemble Frances Anne 66 
 
 Kimball Mrs. Jennie 214 
 
 King Thomas C 175 
 
 Knight George S 257 
 
 Knight Mrs. Edward 52 
 
 Knight Mr. and Mrs. Henry 74 
 
 Lacy Harry 257 
 
 Lander Mrs 77 
 
 Langdon Henry A 156 
 
 Laugtry-de Bathe Emily Charlotte Le- 
 
 Breton 265 
 
 Laurent Ada 135 
 
 Lavallee Calixa 227 
 
 Leffingwell Miron Winslow 172 
 
 Leman Walter M 87 
 
 Le Moyne Wm. J 123 
 
 Lennox Thos. F 92 
 
 Leslie Ida 160 
 
 Levick Milnes 193 
 
 Lewis George W 108 
 
 Lewis Lillian 270 
 
 Lewis Mary Jeffreys 268 
 
 Lindley Harry 170 
 
 Lingard Mr. and Mrs 235 
 
 Little John Z 211 
 
 Logan Cornelius A 70 
 
 Lotta Strawberry Blonde 149 
 
 Lyne Thomas A 101 
 
 Macallister 116 
 
 Macdonough Thomas B 129 
 
 Mackay F. F 154 
 
 Mackay Steele 197 
 
 Macready Wm. Chas 92 
 
 Maddern Sisters, The 152 
 
 Maeder Clara Fisher 54 
 
 Maffltt James S 155 
 
 Maginley Benjamin 197 
 
 Magri Count Primo 205 
 
 Mansfield Richard 264 
 
 Markham Pauline . .. 207 
 
 Marriott Alice . .. 158 
 
 Mason Chas. Kemble 66 
 
 Mather Margaret 278 
 
 Mathews Charles James 119 
 
 Matlack Bennett 209 
 
 Mayo Edwin F 190 
 
 Mayo (Maguire) Frank 190 
 
 McAuley Bernard 202 
 
 McCarthy Dan 213 
 
 McCollora James C 166 
 
 McCullough John Edward 143 
 
 McDowell Eugene A 220 
 
 McLeay Franklin 291 
 
 Meade James H 124 
 
 Meader Fred. G 128 
 
 PAGE 
 
 Melton Miss 87 
 
 M’Henry Nellie 239 
 
 Miaco Thomas Alfred 203 
 
 Mills John 30 
 
 Mitchell Margaret Julia .. 239 
 
 Montague Henry J 227 
 
 Montague Winnette 173 
 
 Mordaunt Frank 182 
 
 Morris Felix James 222 
 
 Morris William 288 
 
 Morrison Lewis.. 216 
 
 Mortimer-Lytell Blanche 289 
 
 Munroe George W 282 
 
 Murphy Jos 174 
 
 Murray Dominick 164 
 
 Neilson Lilian Adelaide 
 
 Nelson Sisters, The 
 
 Nickinson John 
 
 Nobles Mr. and Mrs 
 
 Norton John W 
 
 Oates Alice 
 
 Olcott Ida Lilian 
 
 O’Neill James 
 
 Origin and Progress of Dramatic Art. 
 
 Ormsby Mr 
 
 Otis Wm. H 
 
 Owens John Edmond 
 
 Palmer Minnie 
 
 Pardey H. O 
 
 Parsloe Chas. Thomas 
 
 Patti Adelina Maria Clorinda 
 
 Paul Howard 
 
 Pauncefort George .. .. 
 
 Peters Chas 
 
 Phelps A. R 
 
 Phillips H. B 
 
 Phillips John B 
 
 Pitt Charles Dibdin 
 
 Placide Thos 
 
 Plympton Eben 
 
 Pomeroy-Elliott Louise 
 
 Ponisi Madame 
 
 Powell “Old” 
 
 Power Tyrone 
 
 Prescott Marie Victor 
 
 Preston Henry W 
 
 Prigmore Seth 
 
 Proctor Joseph 
 
 Rankin Arthur M’Kee 
 
 Rankin Kitty Blanchard 
 
 Ravel Miss Marietta 
 
 Raymond John T 
 
 Reed Roland 
 
 Reeve John 
 
 Reeves Fanny 
 
 Reign olds Kate 
 
 232 
 
 132 
 
 83 
 
 209 
 
 163 
 
 162 
 
 282 
 
 199 
 
 3 
 
 18 
 
 177 
 
 166 
 
 198 
 
 97 
 
 253 
 
 129 
 
 160 
 
 135 
 
 111 
 
 162 
 
 108 
 
 91 
 
 101 
 
 52 
 
 229 
 
 211 
 
 108 
 
 75 
 
 69 
 
 277 
 
 100 
 
 22 
 
 75 
 
 250 
 
 251 
 159 
 229 
 271 
 
 73 
 
 221 
 
 116 
 
IV 
 
 INDEX, 
 
 Rhea 
 
 Rice Thos. 
 
 Riddle Miss Eliza L 
 
 Riggs Thomas Grattan 
 
 Rignold George 
 
 Ristori Adelaide 
 
 Robert Sir Randall H 
 
 Robertson Agnes 
 
 Robertson Hopkins 
 
 Rock Mary 
 
 Rooney Pat 
 
 Roper Mr. and Mrs. James 
 
 Rosa Parepa 
 
 Rossi Ernesto 
 
 Rowbotham H, H 
 
 Rowbotham Mrs 
 
 Runnells Bonnie 
 
 Rush Cecile 
 
 Russell Sol Smith.. .. 
 
 Ryder Thos 
 
 Salvini Tomasso 
 
 Scanlan Wm. 
 
 Schinotti Mr 
 
 Scott Siddons Mary Frances 
 
 Sefton John 
 
 Seguin Mr. and Mrs. Edward 
 
 Selwyn John 
 
 Siamese Twins, The 
 
 Silsbee Joshua 
 
 Sinclair John 
 
 Skerrett George and Emma.. ..... 
 
 Sloan John Thomas Kent 
 
 Sloman Mr. and Mrs. John 
 
 Smith George Frederick.. ..... .. 
 
 Smith Joseph Alfred.. .., 
 
 Sothern Edward Askew 
 
 Sothern Lytton Edward ;.. 
 
 Sparrow John 
 
 St. .Clair Sallie 
 
 Stetson E. 
 
 Stoddart Geo. Wm •• 
 
 Stoddart James Henry 
 
 Strakosch Clara Louise Kellogg.. . 
 
 Studley John 
 
 Sullivan Thos. Barry. . 
 
 Talbot Mrs 
 
 Taylor Mr. . 
 
 Tearle George Osmond 
 
 Ternan Frances Eleanor 
 
 Ternan Thomas Luke 
 
 Terry Ellen Alice..: 
 
 Thomas Henry 
 
 Thompson Charlotte ;.. •. 
 
 Thompson Denman 
 
 Thorne Edwin Forrest.. .. i.. •• 
 
 PAGE 
 .. 259 
 .. 87 
 
 4b 
 217 
 230 
 271 
 223 
 109 
 24 
 89 
 205 
 44 
 153 
 254 
 69 
 69 
 207 
 ..151 
 250 
 92 
 248 
 141 
 57 
 , 195 
 74 
 
 . 80 
 . 119 
 . 68 1 
 . 92 
 
 . 66 
 . 94 
 
 . 117 
 . 87 
 
 . 39 
 
 . 82 
 . 186 
 . 271 
 . 191 
 . 124 
 . 173 
 ,. 203 
 .. 114 
 .. 182 
 .. 228 
 .. 126 
 .. 44 
 
 .. 25 
 
 .. 252 
 .. 73 
 
 .. 74 
 
 .. 273 
 .. 244 
 .. 170 
 
 .. no 
 
 .. 182 
 
 Wm. S. 
 
 Thorne Emily 
 
 Thumb Mrs. General, Tom. 
 
 Thumb Tom 
 
 Tiffany Annie Ward 
 
 Tilton Edward Lafayette.. 
 
 Tom Blind 
 
 Toole John Lawrence.. .. 
 
 Tree .Ellen 
 
 Turnbull John D. 
 
 Turner Mr. and Mrs. 
 
 Tuthill Henry 
 
 Ulmer Geo. T • 
 
 Usher Mrs. Luke 
 
 Usher . “Noble” Luke 
 
 Vandenhoff Charles F.. .. 
 
 Vandenhoff George 
 
 Va nstavoren Jos. B 
 
 Vaughan Miss 
 
 Venn Topsy 
 
 Vernon Ida Fisher 
 
 Vestris Madame 
 
 Vincent Felix A 
 
 Vincent Mrs. Mary Ann.. 
 
 Vokes Family, The.. ... . 
 
 Wainwright Marie.. •• . 
 
 Walcot Mr. and Mrs.. .. 
 Wallack Fanny.. 
 
 Wallack Jas. W., 
 
 Wallack Mrs 
 
 Waller Emma 
 
 Walters Annie 
 
 Ward Genevieve 
 
 Ward James 
 
 Ward Thos 
 
 Warde Frederick Barham 
 
 Warner Henry Neil 
 
 Watkins Harry 
 
 Webb Charles 
 
 Webb Sisters, The 
 
 Wells Wm. 
 
 Western Sisters, The 
 
 Weston J. 
 
 Wethersby Eliza 
 
 Wheatcroft Nelson 
 
 Wheatleigh Chas 
 
 Wheatley Wm 
 
 Wheelock Joseph F 
 
 Whiting Joseph F 
 
 Williams Gus 
 
 Williams Mr. and Mrs. H. A.. 
 Wilmarth (Waller) Daniel.. .. 
 Wood Mr. and Mrs. John.. .. 
 
 Wood Nicholas 
 
 Worrell Sisters, The.. .. .. .. 
 Wyndham Charles 
 
 , jun. 
 
 PAOS 
 
 141 
 .. 205 
 .. 204 
 .. 283 
 .. 198 
 .. 171 
 .. 183 
 .. 76 
 
 .. 36 
 
 .. 27 
 
 .. 87 
 
 .. 213 
 .. 24 
 
 .. 24 
 
 .. 154 
 .. 120 
 .. 91 
 
 .. 272 
 .. 202 
 .. 113 
 .. 55 
 
 ... Ill 
 .. 270 
 .. 222 
 
 .. 231 
 .. 112 
 .. 101 
 .. 88 
 .. 88 
 .. 121 
 .. 107 
 .. 191 
 .. 173 
 .. 73 
 
 .. 236 
 .. 178 
 . .. 158 
 .. 40 
 
 .. 142 
 , .. 57 
 
 .. 124 
 
 82 
 
 231 
 
 283 
 
 113 
 
 87 
 
 200 
 
 .258 
 
 250 
 
 36 
 
 121 
 
 116 
 
 212 
 
 185 
 
 264 
 
Iprolodue 
 
 ^ ^ 
 
 “Shall this speech be spoke for our excuse; or shall we on with- 
 out apology ? 
 
 Romeo and Juliet, Act i, Sc. 4. 
 
 The study of Shakespeare is the study of life, and without the 
 aid of the actor there are thousands who never would have dipped 
 into that inteliectual ocean, whose waves touch all the shores of 
 thought,'' remaining unfamiliar with the most sublime and moral 
 sentiments that ever adorned a language. 
 
 Through the factor-ship of the theatre, thousands have also be- 
 come better acquainted with the more imposing drama, so skillful 
 and multifarious in plot, as time has wrought. The humblest auditor, 
 from the seats of the mighty exalted among the gods, or from his 
 almost royal divan in the lower arena, may summon before him the 
 glittering pageant of monarchs, statesmen, conquerors or philoso- 
 phers — no poet, however godlike his imagination, but all will play 
 their parts. 
 
 Realizing that the annals of a temple, wherein is enacted the muse 
 of genius in portraying the achievements of nations in war, politics, 
 and literature, as well as the grand aim of mankind in social ethics, 
 should be a record of much interest, the compiler has been induced 
 to rescue from oblivion such facts relative to the drama of Montreal 
 as can now be collected, and herewith presents this volume to the 
 public. 
 
 The idea of compiling this work was conceived in 1896 (just after 
 the writer had disposed of his entire dramatic and general library), 
 being first undertaken in a very humble way, and merely for distrac- 
 tion. 
 
 Inasmuch as records and newspaper files in Montreal are deplor- 
 ably incomplete, opportunity was afforded the writer of obtaining 
 data from sources somewhat removed from the general reader, on 
 tours, which have extended through nineteen or more countries, 
 including over one hundred and fifty cities, the most valuable notes 
 being found in Ottawa, Quebec, Chicago, Washington, New York, 
 Boston and Philadelphia, while much important biographical matter 
 was gleaned in the libraries of the British Museum, Trinity College. 
 Dublin, the Memorial Theatre of Stratford-on-Avon, at Birmingham, 
 and at Edinburgh. A certain portion of the work was also facilitated 
 by condensing matter from the writer’s initial effort, “Kings of 
 Tragedy,” published in 1888. The history has, tliierefore, the unique 
 distinction of being decidedly international in its contribution matter. 
 
The first edition was published in serial by the "Metropolitan,” of 
 Montreal, from May, 1897, to March, 1898. Gross, although unavoid- 
 able, typographical errors in the first, have been rectified in this edi- 
 tion, while a careful revision of the text has, in a large measure, re- 
 modelled the original draft. , • j 1 t. 
 
 A paragraph of thanks is due to the following friends, who have 
 
 given me much assistance : rA/ri-iTi? 
 
 Edwin Mason, Henry Mott and David Waters, of Montreal; J. F. 
 Ash, Philadelphia; Walter Thorpe, Wm. F. Hartley, Wm. Winter and 
 Col T Allston Brown, of New York. To the last mentioned, I am 
 specially indebted. Col. Brown’s interest in this edition has extend- 
 ed so far as to read the proofs, and scrutinize the data. When it is 
 recalled that he has for over forty years had a personal acquaintance 
 with nine-tenths of the members of the dramatic profession, the 
 reader will share all due appreciation of his courtesy to us. 
 
 My regards are also tendered to the reverend librarians of Laval 
 University, Quebec, and Richard Savage, antiquary of Stratford-on- 
 Avon, that hallowed ground where began and ended the life that knew, 
 and felt, and uttered all 
 
 *'So 071 your patience ever more- attending” 
 
 THE COMPILER. 
 
ADDENDA. 
 
 In order to complete our record to date, mention may be made or 
 the passing away of several familiar names since our forms were 
 closed- 
 
 Rose Osborn? once noted through the country as an emotional ac- 
 tress, died 23rd April, 1902, aged forty years. She was in her youth 
 a woman of great beauty artd exceptional accomplishments. 
 
 David Hanchett, one of the oldest of American actors, died 20th; 
 April, 1902. In the height of his career he played with Ddwin Forrest, 
 Charlotte Cushman, and other distinguished stars- In recent years 
 he taught the dramatic art in various cities. His last public appear- 
 ance was in ‘‘The Penitent.” 
 
 Mrs- George Holland vv.atherine dc Luce), widow of the elder 
 George Holland and mother of E- M. Joseph and George Holland, 
 died 25th April, 1902, aged sixty-nine years. 
 
 Miss Annie Clarke, formerly a well-known member of the Bos- 
 ton Museum Stock Company, died 22nd May, 1902. 
 
 Daniel H. Harkins, after a stage career of forty-nine years, 
 died 7th Dec., 1902. His last appearance was on the 14th April, 1902, 
 in ‘‘The Last Appeal.” at Wallack’s, when he broke down. His train- 
 ing in his profession was thorough, and whatever he uiAiertook to do 
 was thoroughly well done. In character, he was notable for sturdy 
 manliness, integrity, simplicity, and truth. He had a laborious life 
 without much reward for all his toil, but he never lost his faith in the 
 nobility of h:s calling or the fidelity of his friends. 
 
 Ja.mes F. Cathcart, seen here in support of Charles Kean, 
 die*J in December, 1902. He was a prominent actor of the old 
 school, and for many years had made his home in Australasia,. 
 He died in Sydney, N-S.W., in December, 1902, in his seventy- 
 fourth year. Apart from his sterling worth as an actor, he was 
 greatly esteemed for his genial and earnest personality. His 
 first engagement w^as with Charles Kean, with whom he first visited 
 the x\ntipodes, afterward making with him a trip to San Francisco- On 
 the death of Mr. Kean, Mr- Cathcart joined Barry Sullivan, appearing 
 in England and .-\merica- After his return to Australasia in 1879, he 
 appeared with George Rignold, Williams and Musgrove, Brough, 
 Boucicault, and Charles Holloway, Mr- Cathcart's favorite roles were 
 Sir Peter Teazle and Brutus in ‘‘Julius Caesar.” He is survived 
 by one sister, Fanny Cathcart, who went to Australasia with G. V- 
 Brooke, and later married George Darrell. 
 
 Augusta Dargon, who retired from the stage after her marriage 
 with Dr. Percy, died at her country home near Sydney, N. S. W«, in 
 December, 1902. 
 
 Frederick Chippendale, the father of Mrs. Neil Warner, died 
 23rd January, 1903, aged 82 years. 
 
Frank Drew, brother of , the ’ eFler Johii Drew, died ist Feb, 1903, 
 aced 73 years. 
 
 Henry A- Weaver, senior, died 26th February, 1903. He was 
 seventy years oPd and would have celebrated the fiftieth anniversary 01 
 his stage career the next week. 
 
 Joseph Haworth, in the full glory of a most brilliant career, 
 was suddenly called apart at a time we had hoped to enjoy ' 
 
 ity of his finest talents- The end came at AiV illoughby, Ohio. 28th A - 
 git, 1903. The date of his birth has been written 1855 by most 01 
 his biographers, but the date given in my preceding sketch as 1858 . 
 
 confirmed by a letter from Mr- Haworth to the writer some years ago 
 Mr- Haworth was inspired, in the early years of his public life, by- t 
 "b-“st actors of the period, and his ambition drove him to great exer 
 .h.hop, that taoighl some day be .ombe.ed J'*' 
 
 est of American tragedians. That he did not quite reach the goal of 
 dreams was due, perhaps, more to the lack of public interest m the 
 Shakespearean drama during the years of his best endeavours than o 
 S; 2 , comings o( bis own. A, i, w.s. be gr..I.e<l 
 to appear in the classic drama, and it is not too much to say, that 
 was successful in every classic role that he undertook. 
 
 r-MMA Madoern Stevens, for many years a prominent and mucU 
 adiE-ed actress, died 16th Jan-, 1903. Mrs- Stevens was one of the note-. 
 Modern family of concert singers, that included also Mary, Elizabeth, 
 mother of Mrs. Fiske. Richard, and Henry Maddern. Emma Maddcrn 
 
 ;2t,rrnd”mi;s?.b2V'-rs^c.2 
 
 jSb^;-d 7 r „r.m2ir 
 
 nroverbial. . . 
 
 Mrs. Jean Margaret Davenport Lander, known as 
 actress for two score years in this country and m Europe, died 3rd 
 July, 1903. aged seventy-four years- 
 
 OUR PORTRAITS. 
 
 The plates in this book, some of which have been executed from 
 Clifiicult originals, have Tt M^o t 
 
 best half-tone engrave f M including Beck Engraving 
 
 Aw Engmving Co,. S,»l.cd Eogmving 
 
 Co’ Universal Engraving Co., Commercial Engraving^ Co., Phot^ 
 Chromotype Co., Quirk Engraviiig Co- and the W eek s Engraving - 
 
 
MCGILL UNIVERSITY LIBRARY 
 
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