AN

HISTORICAL ACCOUNT
OF THE

PROVIDENCE STAGE;
BEING

A PAPER READ BEFORE THE RHODE ISLAND HISTORICAL
SOCIETY, OCTOBER 25TH, 1860.

(WITH ADDITIONS.)

BY

CHARLES BLAKE.

PROVIDENCE, K. I.:
GEORGE

H.

WHITNEY.

18 6 8.

TWO

HUNDRED

COPIES.

Entered according to Act of Congress, in the year 1867,
By GEORGE H. WHITNEY,
In the Clerk's office of the District Court of the United States, for the
District of Rhode Island.

PROVIDENCE

PRESS

COMPANY,

PRINTERS.

nqf?

PREFACE.

THIS compilation is published from a desire to perpetuate a record of the events which have marked the
existence of the Theatre in Providence, Rhode Island.
The compiler is aware that the work is imperfect, and
far from exhaustive, inasmuch as the incidents narrated
are not gathered from his own recollection, but have
been obtained by recourse to the memories of others,
most of whom were personally unknown to him, and
therefore reluctant to burden themselves with the communication of the details of local history to a stranger.
He had hoped that some more competent person would
give to the public his reminiscences of the Providence
stage; but those best qualified for such an undertaking
have died, and fearing that the theatrical history of
Providence would else be unwritten, he at length has
assumed the functions of an annalist, and here produces the results of his investigations. His acknowl-

4

PREFACE.

edgements are due to several persons for materials
furnished by them, and, in particular, to Sylvester S.
Southworth, Esquire, of Morrisania, New York, for
much valuable information which has been embodied
into the work, especially in Chapter X. No pains
have been spared to secure accuracy in dates and
names, but the compiler can not flatter himself that
no mistakes will be discovered. For such, and for
several typographical errors which have been detected
too late for correction, but which do not affect the
sense of the narrative, he begs the indulgence of the
courteous reader.

CONTENTS.

CHAPTER

I.
PAGK.

1745-1761. Introduction of the drama into the West Indies
by Moody — Amateurs in Philadelphia and New York —
William and Lewis Hallam send a company of actors to
Yorktown — Hostility to theatres in the Northern Colonies— The Virginia Comedians play in Newport in 1761 —
Charity Benefits—Moral Dialogues—A curious play-hill—
Sketches of the performers — David Douglass — Mrs. Douglass— Hallam — Morris
11
CHAPTER

II.

1762. Introduction of the Drama into Providence — A town
meeting prohibits plays — The General Assembly is petitioned to pass an act to suppress theatrical amusements —
The act is passed — Its promulgation in Providence —
Anecdote of John Brown — Theatrical customs before the
Revolution — Comedians from North Carolina make application for a license to play in Rhode Island.
CHAPTER

.

.

III.

1790-1795. Return of the actors after the Revolution — I n
1790 the petition of Hallam and Henry to open a theatre

.29

6

CONTENTS.
in Boston denied — Joseph Harper, attempting to give a
theatrical exhibition there in 1792, is arrested — He visits
Providence with a company of actors — Public sentiment
favourable to a theatre — Action of the town council—Plays
enacted in the Court House — The town council of Newport
license a play house by permission of the General Assembly
— Another company perform several nights in Providence
— The Coffee House Theatre —The Bill of the Play —
Efforts to establish a permanent theatre — Description of
the new theatre.
.
.
.
.
.
.
.
.
CHAPTER

40

I Y.

1795-1810. The opening of the new theatre — The Prologue
— The company — " George Barnwell" — Mr. Villiers —
" Bunker H i l l " — Hodgkinson — Mrs. Whitlock — " The
Stranger " — German plays in vogue — Aaron Burr attends
the theatre — Phantasmagoria — Reappearance of Hodgkinson— His death — The tragedian Cooper — Anachronisms in costume—Bates's benefits — Newspaper criticisms
— Anecdote of amateur theatricals — Prologue by Paul
Allen — John Howard Payne — Termination of Mr. Harper's management — Theatrical customs — Mr. and Mrs.
Harper — William Bates — Anecdote — Newspaper strictures on the immorality of the theatre — Mr. and Mrs.
Darley
CHAPTER

Y.

1811-1812. The theatre leased by Powell and Dickson — A
liberal patronage bestowed on the new manager — The
press demand the engagement of Mr. Morse — James
Entwistle — The theatre at Richmond destroyed by fire —

53

7

CONTENTS.

A petition for the suppression of the Providence theatre
circulated — Great efforts made to procure signatures —
The contest in the General Assembly — Speeches of John
Whipple and Tristam Burges — The subject referred to a
special committee — Anecdote of Thomas L. Halsey — An
act is passed respecting the Providence theatre — This act
withheld from the statute book — Action of the town
council
.
.
.
.
.
.
.
.
.
.
90
CHAPTER

VI.

1812. Panoramic view of Providence—Engagement of GEORGE
FREDERICK COOKE—His success in other theatres—A thunder storm thins the audience — Anecdote of Thomas L. Halsey— Anecdotes of Cooke — His death — His character —
Phillips's Eulogy
116
CHAPTER

VII.

1812-1816. The production of Cinderella — A melancholy
incident occasions great scandal — Reappearance of Mrs.
Whitlock — Mr Entwistle in Yorkshire characters —
Benefit of Mrs. Barnes — The interior of the theatre decorated— Mr. and Mrs. Duff—Reappearance of Cooper —
Anecdote of " Rule a Wife, and Have a Wife," —Cooper's
retirement from the stage — The Great Gale — Anecdote of
Mr. Legg — Mr. and Mrs. Young — Mr. and Mrs. Powell —
James A. Dickson
136
CHAPTER

VIII.

1817-1827. Mrs. Powell becomes lessee of the theatre —
Appearance of Incledon—-The first Saturday evening performance — The West Point cadets attend the play—Death

8

CONTENTS.
of Mr. Bray — J. Wallack — A calamitous fire — Edmund
Kean in Providence — Difficulties of a journey to Boston
— Glark and Charnock become lessees of the theatre —
Dtbut of Edwin Forrest — Death of Mary Ann McBride
— Benefit of Mrs. McBride — Samuel J. Smith — William
A. Conway.
CHAPTER

IX.

1828-1832. William Dinneford leases the theatre — Appearance of Clara Fisher — Charles Young maintains a summer
season—Joseph Co well's misadventure—A new manager—
A theatrical disturbance — Disastrous speculation of Moses
S. Phillips — A new theatre projected — Anecdote of Booth
— Reparation of the theatre — A new Act-Drop gives
dissatisfaction — William Dinneford — The lottery system
—-Master Burke — Mishaps of A. W. Jackson — Management of Thomas Wilson — The final performance — The
theatre sold to Grace church corporation — The demolition of the building — The change in the character of the
patronage of the theatre in its last years
CHAPTER

X.

J. T. Buckingham — Alexander Drake — John Savage —
Henry Fielding — Edward Padelford — John Hart —
George Hazard — Seth Ballou — Mr. Holden — Edward
Quarles — Charles Edward Ball—Other debutants — Riotous conduct of the audience — Mr. Waldegrave — Spear.
CHAPTER
1836-1844.

XI.

The Lion Theatre —The Washington Amateur

Theatre — The Dorrance Street Theatre begun — Memori-

CONTENTS.

9

als against theatres presented to the Board of Aldermen —
Description of the new theatre — The opening performance
— The Prologue — The orchestra — The company — Mrs.
Maeder's Benefit — 111 success of the second season —
"Gretna Green,"—J. A. Littlefield — J. F. Adams —
Anecdotes of Booth — Dibut of Edward Shales — Wm. H.
Russell becomes the lessee — Fanny Ellsler — Unsuccessful
attempts at management — E. F. Keach — A local drama
— The theatre burned — An incident of the Fire — The
theatre unprofitable — The enmity of the Second Baptist
Society — Elder Knapp — The misfortunes of the actors. . 219
CHAPTER

XII.

1846-1860. " Howard and Foxes," —The Providence Museum— Mr. Wm. 0. Forbes becomes lessee — Lola Montez—
Uncle Tom's Cabin — The Museum burned — Complimentary benefit — Forbes's Theatre — Engagement of Forrest
— Presentation of Plate to Mrs. Forbes — Pyne and Harrison Opera Troupe — " The Naiad Queen," — Presentation
of Plate to Mr. Forbes — Engagement of Lola Montez —
Anecdotes of Lola Montez — Mr. and Mrs. D. S. Palmer—
A season of misfortunes — Complimentary Benefit to Mr.
Forbes — Destruction of Forbes's Theatre — "William C.
Forbes —Death of Mrs. Forbes — The " Varieties" Theatre— Swarts'sHall— Pine Street Theatre—Conclusion. . 251

CHAPTER

I.

1745-1761.
Introduction

of the Drama into the West Indies by Moody —

Amateurs

in Philadelphia, and Neto York'—• William and Lewis Hallam send a
company of actors to Yorktown—
(Monies — The

Virginia

Hostility to theatres m the Northern

Comedians play

in Newport

in 1761 —

Charity Benefits •— Moral Dialogues — A curious play-bill — Sketches
of the performers — Douglass — Hallam — Morris.

T

HE founder of the American Stage was Moody,
of Drury Lane, a man who in early life had
been a barber, but who, having a taste for the drama,
subsequently attempted the histrionic profession. He
was naturally a comedian, and was somewhat distinguished for his personation of Irish characters, but he
aspired to play the heroes of tragedy, and, as he was
unable to attain the accomplishment of his desires at
home, he resolved to try his fortunes in the New
World. Accordingly he set sail, and reached the
island of Jamaica about the year 1745. There he
found an amateur company playing in a ball-room,
and, offering his services, he proved so superior to any

12

HISTORY

OF THE

actor the planters had seen, that he achieved a signal
success. His popularity was so great that he was
induced to propose to them the opening of a regular
theatre with a company which he offered to bring out
from England. This offer met with the warmest
approval; a subscription was set on foot, and he
returned home for recruits, with whom he made his
appearance the following winter, when he opened with
due dignity the first temple of Thespis that was reared
in the colonies.
He prospered so well in his enterprise that in a few
years he amassed a considerable fortune, when he was
obliged to return to England to make fresh engagements. An offer was made him by Mr. G-arrick to
enlist at Drury Lane, and, accepting this offer, he
transferred the expedition to the company which he
had raised, the chief members of which were Messrs.
Douglass, Kershaw, Smith, Daniels, and Morris, with
their wives, and a Miss Hamilton, who was their prin
cipal actress. They reached Jamaica about 1751, and
succeeded not only to Moody's rights, but to his gains.1
In 1749 a theatrical company was playing in Philadelphia, and on the police records of that city, bearingdate January 8th, 1749, it is written that the Recorder
acquainted the Board with some facts concerning cer1 Early days of the American Stage, by John Bernard.

PROVIDENCE

STAGE.

13

tain persons who had lately taken upon themselves to
act plays, etc. In 1750 this same company went to
New York, and played in a wooden building in Nassau street, which they had hastily converted into a
theatre capable of seating about three hundred persons. They then went to Williamsburg, Virginia, and,
under the Presidency of Thomas Lee, the " Philadelphia and New York Company of Comedians," as they
were called, obtained permission to erect a theatre in
Williamsburg, which was begun and finished in the
year 1750. This company consisted of amateur performers, assisted by one or two actors, who had straggled from the British West India Islands, 1 probably
from Moody's company.
Theatrical performances of some kind had taken
place in New York as early as 1733, but there is no
information touching the names, number, or quality of
the performers, the only evidence of their existence
being an advertisement in Bradford's Gazette of that
year, by which a tradesman calls public attention to
his place of business "next door to the Play-House." 2
It is not probable that this place was the scene of any
professional acting.
The tidings of the good fortune of the Jamaica
comedians were borne to London, and occasioned the
1 Fifty Years of a Play-goer's Journal.

2 Judge Daly's Lecture.

14

HISTORY

OP

THE

organization of a similar expedition, designed for the
Continental colonies. William Hallam, who had succeeded Giffard in the management of Goodman's
Fields Theatre, when Giffard and Garrick had been
invited to Drury Lane, first conceived the plan of
sending a thoroughly organized troop of actors to
America; from which circumstance he has been termed
"The Father of the American Stage." He associated
with himself his brother Lewis, who consented to cross
the Atlantic with his wife, and attempt the introduction
of the drama into the Western world. His first step
was to send as an avant-courier one Robert Upton, who
was charged with the duty of obtaining the permission
of the authorities to prepare a theatre in New York,
and to make such other preliminary arrangements as
might be necessary. This Upton proved faithless to
his trust; for, on his arrival, finding the Nassau street
"theatre" unoccupied, he turned the circumstance to
his own advantage, and, with the assistance of some
of the former occupants he collected several recruits,
and tried to maintain a theatre. After a few feeble
attempts, disheartened by failure, he left the country.
Mr. Hallam, receiving no tidings from his ambassador,
continued his preparations. He secured the services
of a number of actors of well established reputation
and undeniable talents, and put into rehearsal twenty-

PROVIDENCE

STAGE.

15

four of the most approved plays, with attendant farces.
It is worthy of remark, that of these plays only six
are acted at the present day, and of the six, four are
Shakspeare's. When all were familiar with their
parts they sailed for America on board the " Charming
Sally," and after a six weeks' passage arrived at Yorktown, Virginia. The company were not idle during
the voyage, but rehearsed all the plays which had
been selected, on the quarter-deck of the vessel whenever the weather permitted.
From Yorktown the company proceeded to Williamsburg, where they arrived in the month of June. Lewis
Hallam obtained permission of Governor Dinwiddie to
give performances, and began his preparations. Mean*
while some of his inferior actors went to Annapolis,
Maryland, and, associating themselves with the " New
York and Philadelphia Company," opened the new
theatre, a brick building capable of holding about six
hundred people, with the "Beaux Stratagem" and the
farce of "The Virgin Unmasked." When Mr. Hallam had completed his arrangements they returned to
Williamsburg, and there, on the fifth of September,
1752, Shakspeare's "Merchant of Venice," and Garrick's farce of "Lethe" were represented to a delighted
audience.1
1 Dunlap's History of the American Theatre.

16

HISTORY

OF

THE

When the comedians left Williamsburg, Governor
Dinwiddie gave the manager a certificate signed in
council, recommending the company as comedians, and
testifying to the propriety of their behaviour as men.
They then performed in Annapolis and other towns in
Maryland, and finally in New York and Philadelphia,
William Hallam meanwhile had remained in England
with the understanding that he should receive half of
the profits of the enterprise. This engagement was
faithfully kept by Lewis until the year 1754, when
William arrived in Philadelphia, and, after a brief stay
sold his interest to his brother, and returned to England. Lewis Hallam, now sole proprietor, transported
the company to Jamaica, where they remained until
1758.
It may surprise some that William Hallam did not
send his comedians to New York, Philadelphia, or
Boston, instead of selecting a town comparatively so
small as Williamsburg for their first appearance; but
he was well aware that dramatic adventurers would
not be welcomed with cordiality, either in New England, Pennsylvania, or New York, where a general
hostility prevailed to amusements of all kinds, but
especially to stage-plays. New England, which had
been settled by the Puritans, retained to a late period
that bigoted spirit and hostility to amusements which

PROVIDENCE

STAGE.

17

had characterized many of its original settlers; while
in the South the people were more inclined to liberality, and more fond of recreation.
The states of Massachusetts and Connecticut were
the strongholds of Puritanism, though in Boston a
spirit of tolerance had gained way among the inhabitants, and was making innovations upon their ascetic
habits. As early as 1750 two Englishmen had attempted to give a representation of the tragedy of " The
Orphan" in the public room of a Boston tavern, and
the eagerness of the public to witness the performance
occasioned a serious disturbance at the door. The
attention of the legislature was thereby directed to
the drama, and a law was immediately passed, forbid:
ding stage-plays under extremely severe penalties.
This enactment for a long time effectually repressed
any attempt at producing plays in Massachusetts.
On the return of the Virginia comedians from Jamaica, they desired to enlarge their dramatic circuit, and
meditated a visit to Rhode Island, a colony which,
as was popularly believed, was, in a great measure,
owing to the views of its noble founder, exempt from
the rule of bigotry, and which contained a town famed
for the wealth and cultivation of its inhabitants.
The town of Newport claims the distinction of
being the first place in New England in which a temple
2

18

HISTORY

OF

THE

of the muses was raised. Isaiah Thomas in his " History of Printing" says that the first play publicly performed in New England was acted in Providence in
1762. This erroneous statement is repeated in other
works of an historical character, and to this day the
boast is frequently made by the citizens of Providence that their town reared the first theatre in New
England.
It is true that the Virginia comedians played in
Providence in 1762, but it can not be controverted that
they had performed in Newport the previous year.
Were there no positive proof, it would still be a reasonable inference, judging from the relative importance of
the two towns, that when the company arrived from
the South they would direct their steps to Newport, a
large and thriving place, before visiting Providence, a
town scarcely half as populous.* It is a matter of
record that in the summer of 1761 the company under
the direction of David Douglass came to Newport from
Williamsburg. In the "Newport Mercury" of August
11, 1761, appeared the following announcement:
" T h e c o m p a n y of comedians propose t o entertain t h e t o w n
for a s h o r t t i m e w i t h t h e a t r i c a l performances.

As t h e y have been

* At this time Newport contained about sixty Jewish, families, many of whom
were wealthy; and from these the actors would naturally expect a liberal
patronage, as the Jews from time immemorial have been conspicuous in their
support of the drama.

PROVIDENCE

STAGE.

19

at considerable expense, they humbly hope that the inhabitants
will grant them, their protection; and, if they are so happy as to
meet with encouragement, they propose to give a benefit night for
the support of the poor. The following recommendation, copied
from the original, was signed by the Governor, Council, and neai
one hundred of the principal gentlemen of Virginia:
' WlLLIAMSBUKG, J u i l C 1 1 , 1 7 6 1

' T h e company of comedians undor the diioetion of David
Douglass have performed in this colony for near a twelvemonth ;
during which time they have made it their constant practice to
behave with prudence and discretion in their private character,
and to use their utmost endeavours to give general satisfaction in
their public capacity. We have therefore thought proper to
recommend them as a company whose behaviour merits the favour
of the public, and who are capable of enterlair ing a sensible and
polite audience.' "

It appears from the records of the (AJWU that on the
first of August a special town meeting wa^ called at
the request of a number of freemen, by warrant of the
town council, and it being put to vote whether the
freemen "were for allowing plays to be acted In town
or not, it was voted, not." The players, notwithstanding this intimation of the popular will, prepared a
temporary theatre, and gave their initial performance
on the 7th of September, consisting of the "Provoked
Wife, or a Journey to London," for the benefit of the
poor, when the sum of one thousand and thirty pounds,
old tenor, was raised.* This money was paid by Mr.
* About $158 in Spanish silver.

20

HISTORY

OF

THE

Douglass to Mr. George Gibbs, who expended it in
the purchase of corn, which was stored until the succeeding winter, and then distributed among the deserving poor.
This was the first dramatic performance given in
New England by a regular company of professional
actors. The theatre was a slight wooden structure,
and stood on a lot on the north of that part of the
town called Easton's Point, near Dyer's Gate. A
violent storm occurred in the latter part of October,
and we learn from the "Mercury" of the 27th, that it
broke off a pait of the steeple of Trinity Church,
wrought great injury to the shipping in the harbour,
tore up trees Dy the roots, and " came near spoiling the
entertainment" of the ladies and gentlemen at the
theatre. 1
In Arnold's History of Rhode Island it is stated
that the gale blew clown the theatre, and that the comedians narrowly escaped with their lives. That this
statement is erroneous appears by the extract from the
local paper. Still further. In the " Newport Mercury "
of November 3d, there appeared the following complimentary notice of the closing performance of the season, which took place one week after the storm:
1 Bull's Memoir of Rhode Island.

PBOVIDENCB

STAGE.

21

" On Friday evening last, the company of comedians finished
their performances in this town by enacting the tragedy of
* Douglas * for the benefit of the poor. This second charity is
undoubtedly intended as an expression of gratitude for the countenance and favour the town has shown them, and it can not
without an uncommon degree of malevolence be ascribed to an
interested or selfish view, because it is given at a time when the
company are just leaving the place, and consequently can have
neither hopes nor fears from the public. I n return for this generosity it ought in justice to be told that the behaviour of the company has been irreproachable; and with regard to their skill as
players, the universal pleasure and satisfaction they have given is
their best and most honourable testimony. The character they
brought from the Governor and gentlemen of Virginia has been
fully verified, and therefore we shall run no risk in pronouncing
that ' t h e y are capable of entertaining a sensible and polite
audience.'"

After this charity benefit the comedians left Newport and went to New York, where the republication
of this extract from the Newport paper in Game's
"Mercury/' a New York newspaper, did them no little
service, although they met with much opposition from
the religious Dutch. ''They continued playing there
during the winter and spring; and early in the summer
of 1762 again visited Newport, and gave several performances in the large room of an inn.
An explanation is necessary concerning their contumacious conduct in disregarding the vote of the town-

22

HISTORY

OF

THE

meeting. When they first appeared in Newport they
found the more intelligent and influential of its citizens
desirous of encouraging dramatic exhibitions, although
the majority were*bitterly opposed to them, as was
evinced by their vote. There was no general statute
prohibiting stage-plays, and the enemies of the theatre
were more numerous than powerful, and were ignorant
how to proceed under the circumstances. To conciliate all, Mr. Douglass resorted to an expedient similar
to that used by John Philip Kemble and Mrs. Siddons
in the English provincial theatres to evade the law
against playing, (12 of Anne,) but marked with characteristic peculiarities.* He eluded the objections to
stage-plays with same success which of late years has
attended the substitution of the word "Museum" or
" Lyceum " for " Theatre " in several American cities.
In some places he had announced to the citizens that
he had opened an "Histrionic Academy in order to
deliver dissertations on subjects instructive and interesting," and to qualify the visitors "to speak in public
with propriety." In Newport he advertised entertainments called "Moral Dialogues." Thus far his method
of securing favour resembled that of Kemble, but
Douglass showed originality in the form of his bills.
The original of the one here presented was preserved
* See Appendix A.

PROVIDENCE

STAGE.

23

by Mr. Morris of this company, and by him given to
Mr. John Bernard; the eminent actor, in whose posthumous papers, published in 1850 in an English Dramatic
Magazine, a copy first appeared. It ran in the following manner:
" K I N G S ARMS TAVERN

NEWPORT, RHODE ISLAND.

On Monday, June 10th, at the Public Room of the above Inn, will
be delivered a series of
MORAL
DIALOGUES,
IN FIVE PARTS,

Depicting the evil effects of jealousy and other bad passions, and
proving that happiness can only spring from the
pursuit of virtue.
" Mr. Douglass— Will represent a noble and magnanimous Moor
called Othello, who loves a young lady named Desdemona, and
after he has married her, harbours (as in too many cases) the
dreadful passion of jealousy.
Of jealousy, our being's bane,
Mark the small cause and the most dreadful pain.

" Mr. Allyn — Will depict the character of a specious villain, in
the regiment of OtheUo, who is so base as to hate his commander
on mere suspicion, and to impose on his best friend. Of such
characters, it is to be feared, there are thousands in the world, and
the one in question may present to us a salutary warning.
The man that wrongs his master and his friend,
What can he come to but a shameful end 1

"Mr. Hallam — Will delineate a young and thoughtless officer
who is traduced by Mr. Allyn, and, getting drunk, loses his situa-

24

HISTORY

tion and his general's esteem.
example from Cassio.

OF

THE

All young men whatsoever, take

The ill effects of drinking would you see,
Be warned and fly from evil company.

"Mr. Morris — "Will represent an old gentleman, the father of
Desdemona, who is not cruel or covetous, but is foolish enough to
dislike the noble Moor, his son-in-law, because his face is not
white, forgetting that we all spring from one root. Such prejudices are very numerous and very wrong.
Fathers, beware what sense and love ye lack,
'Tis crime, not colour, makes the being black.

" Mr. Quelch—Will depict a fool who wishes to become a knave,
and trusting to one, gets killed by him. Such is the friendship of
rogues. Take heed.
When fools would knaves become, how often you'll
Perceive the knave not wiser than the fool.

"Mrs. Morris — Will represent a young and virtuous wife, who,
being wrongfully suspected, gets smothered (in an adjoining room,)
by her husband.
Reader, attend, and ere thou goest hence,
Let fall a tear to hapless innocence.

" Mrs. Douglass — Will be her faithful attendant, who will hold
out a good example to all servants, male and female, and to all
people in subjection.
Obedience and gratitude
Are things as rare as they are good.

" Tarious other dialogues, too numerous to mention here, will be
delivered at night, all adapted to the improvement of the mind
and manners. The whole will be repeated on Wednesday and on
Saturday. Tickets, six shillings each; to be had within. Com-

PROVIDENCE

STAGE.

25

mencement at 7. Conclusion at half past 10, in order that everyspectator may go home at a sober hour, and reflect upon what he
has seen, before he retires to rest.
God save the King,
And long may lie sway,
East, north and south,
And fair America.

This bill furnishes a proof of the fertility of Mr.
Douglass' invention, and occasions regret that others
have not been preserved. Mr. Clapp, in his "Records
of the Boston Stage" has inserted this bill, and adds
that it is undoubtedly similar to those used at the
Exhibition Room in Boston about thirty years later.
There is no foundation for this assertion, as such
elaborate vindications of the morality of the drama
were peculiar to Douglass' company, and to the period
before the American Revolution. The Boston stage
dates back only to 1792, and the sole vestige of the
old means of propitiating public favour then existing
was the use of the term " Moral Dialogues."
The company in 1762 consisted of Messrs. David
Douglass (manager), Hallam the 2nd (son-in-law of
Douglass), Allyn, Morris, Quelch, Tomlinson, Sturt,
Reed, and Tremaine, Master A. Hallam, Mesdames
Douglass, Morris, Crane, Allyn, and Moore, and Miss
Hallam, besides several others whose names are
unknown. These pioneers of the drama in Rhode

26

HISTOEY

OF

THE

Island were not ignorant and unskilled vagabonds, but
artists of talent and position. William and Lewis
Hallam, the originators of the American dramatic
enterprise, were brothers of Admiral Hallam. William, as has already been stated, had succeeded Giffard
as manager at Goodman's Fields, when Giffard and
Garrick had left that establishment to go to Drury
Lane. Lewis was first low comedian at Goodman's
Fields, and his wife was a relative of Mr. Rich, the
manager of Covent Garden.
David Douglass was a gentleman by birth and fortune, who had emigrated to Jamaica about the year
1750. Hither had Lewis Hallam transported his Virginia comedians after he had found that the colonies
could not yield him an abundant harvest in return for
his labours. Here he formed a partnership with Mr.
Douglass, who, after the death of Hallam, married his
widow, and with her and the rest of the company visited the continent in 1758, where he established theatres successively in New York, Philadelphia, Newport,
Perth Amboy, and Charleston, and between these
localities he continued to travel, acting and superintending his company, till Congress closed the theatres
by an act passed October 24th, 1774. After this
enactment he returned to Jamaica, was appointed one of
King George's Judges, and died universally respected.

PROVIDENCE

STAGE.

27

In his early life he had been a printer, and on his
return to Jamaica he became a partner in a thriving
printing establishment, and, receiving a valuable contract from the government, he accumulated a fortune
of £"25,000.
Mrs. Douglass had been an eminent actress at Goodman's Fields, when Mrs. Hallam, and was the heroine
of that theatre at the time of Garrick's first success.
She came with her first husband to America in 1752,
and made her debut at Williamsburg as Portia in the
" Merchant of Venice." She had fine talents, and her
favourite line was the pathetic. She was much admired
both North and South, and Mr. Dunlap says that in
his youth he has heard the old ladies of Perth Amboy
speak almost in raptures of her beauty and grace, and
especially of the pathos of her representation of Jane
Shore. She retired from the stage in declining health
in 1769, and died in Philadelphia in 1773.
Mr. Hallam the 2nd, made his first appearance upon
any stage on the first night of the performance of his
father's company in America, when twelve years old.
He had but one line to speak, but when he came into
the presence of the audience he was panic-struck. He
stood a little while, very much confused, then, bursting
into tears, retired. He afterwards became an accomplished actor, and in 1769 he was principal tragedian

28

HISTORY

OF

THE

and comedian in the company. In 1773, Josiah
Quincy said, he had merit in every character he played.
In 1774 he went to England to engage performers, and
while there he acted Hamlet at Covent Garden Theatre with considerable success. After the Revolution
he collected a small company of actors of sterling
merit, and returned to Philadelphia, where he, in conjunction with Mr. John Henry, produced tragedies with
such beauty of decorations that he greatly delighted
the citizens. He was afterwards a manager in most
of the theatres of the country.1
Mr. Morris played the "old man" in comedy and
farce. In 1797, being the oldest actor on the American stage, he still retained his powers sufficiently to
keep his place on the boards, and at that time he communicated to Mr. John Bernard the particulars of the
introduction of the drama into the New World. He
had been one of the original company who arrived in
Jamaica from England in 1751, and was well qualified
to impart information on the subject.
Nothing more is known respecting the other performers than that they had been selected for their
talents and moral worth, and that their behaviour justified their reputation.
1. Dunlap's History of the American Theatre.

29

CHAPTER

II.

1762.
Introduction of the Drama into Providence — A town meeting prohibits
plays — The General Assembly is petitioned to pass an act to suppress
theatrical amusements—The act is passed—Its promulgation in
Providence — Anecdote of John Brown—Theatrical customs before
the Revolution— Comedians from North Carolina make application for
license to play in Rhode Island.

A

FTER a few performances in Newport the company visited Providence, and opened a theatre
in Meeting street, east of Benefit street, near the cadet
gun-house and alarm-post. The edifice was little
better than a barn, but it was visited by the elite of
the town, and also by many visitors from Boston and
other places, who expressed themselves highly pleased
with the performances. The opening night was about
the first of July. At printing-press was established in
town just at this time, and the first articles printed
were play-bills, and a hand-bill headed " Moro Castle
taken by storm." None of these bills are in existence, but there is good reason to believe that they
were like those used by the same company in Newport a fortnight previously.

30

HISTORY

OP

THE

Mr. Douglass did not long enjoy unmolested the
privilege of delivering "dissertations" at his "Histrionic Academy" in Providence. He had opened it
without asking leave of the authorities; at which disrespectful conduct many of the citizens were offended,
and; at a town-meeting on the 19th of July, 1762;
specially called by warrant at the request of a number
of freemen of the town.; Daniel Jenckes, Esq.; moderator; it was voted and resolved that the actors should
not be permitted to exhibit stage-plays, and that the
deputies of the town should be instructed to make
application to the General Assembly at their next session to have an act made for suppressing all kinds of
stage-playS; or theatrical shows within the colony.
The actors disregarding the town vote7 as in Newport; continued to perform regularly; which conduct
so incensed the opponents of the drama that they drew
up a petition to the General Assembly, praying the
immediate suppression of all theatrical entertainments.
The objections which these good people assigned for
their hostility to the theatre may be learned from the
original petition; a copy of which is here presented: —
" To the Honourable General Assembly of the Colony of Rhode Island,
now sitting at East Greenwich, August 23^, 1762 :
" The petition of us, the subscribers, inhabitants of the County
of Providence, humbly sheweth that a number of stage-players

PROVIDENCE

STAGE.

31

have lately appeared, and a play-house has lately been built in
the town of Providence, that the inhabitants of said town being
legally called by warrant did, at their late town meeting, by a
large majority, pass a vote that no stage-plays be acted in said
town ; yet the actors, in defiance of said vote, and in defiance of
the public authority of said town have begun, and are now daily
continuing to exhibit stage-plays and other theatrical performances, which has been, and still is, the occasion of great uneasiness to many people in this Colony, but more especially to your
Honours' petitioners in this county, humbly conceiving that so
expensive amusements and idle diversions cannot be of any good
tendency among us, especially at this time, when this Colony as
well as others is labouring under the ^grievous calamity of an
uncommon drought, and very great scarcity of hay and provisions
" Wherefore your petitioners pray that you will take this matter
into your consideration, and make some effectual law to prevent
any stage-plays, comedies, or theatrical performances being acted
in this Colony for the future.
" And your petitioners further pray that Elisha Brown and
Barzillai Richmond may be admitted further to present this affair
to your Honours. And as in duty bound, will ever pray," etc.

This petition was ostensibly signed by four hundred
and five male inhabitants of the county, the population
of the town at this time being about four thousand.
The original copy had only two hundred and fifty-four
names appended to it, the first in order being those
of John Graves, Missionary, Samuel Winsor, Elder,
Joseph Snow, Pastor, Edward Mitchell, Elder, and
Joseph Winsor, Elder. It is believed that there were

32

HISTORY

OF

THE

other copies in circulation which obtained enough
names to make the aggregate of signatures four hundred and five. It is noteworthy that all the names
subscribed to the original draught are in one handwriting, and that the only evidence there is of any
signers having been obtained for the auxiliary petitions are certain computations at the foot of the
original.
The petition was presented to the General Assembly
on the 24th of August, and immediately found favour
in both Houses. A* committee consisting of Captain
Benjamin Groome and William Potter from the lower
House, with Joseph Harris from the upper House, was
appointed to prepare a bill accordingly. They went
to work without delay, drew up an act on the model of
one which had passed the Massachusetts Legislature,
and reported it the next day to the Assembly, who
instantly adopted it.
The subject was thus hastily disposed of without
the deliberation merited by its importance, because at
that time party politics ran high, and, the suppression
of theatrical entertainments being made an issue, the
dominant party advocated the measure with so much
violence that no opposition could withstand them.
The act was pervaded by a rancourous spirit, and its
severity contributed to make it inoperative in after

PROVIDENCE

STAGE.

33

years. Although in some respects it resembled that
of Massachusetts, (its preamble and first two sections
being almost verbatim copies of it,) it exceeded it in
severity. The Massachusetts act imposed a penalty of
£20 for each day's letting of a building for the representation of plays, and on the actor a penalty of £ 5
for playing when more than twenty persons were congregated together. The Rhode Island law imposed a
penalty of £50 for each day's letting of a building for
the representation of plays, and £100 on the actor who
played. The facilities for procuring convictions were
numerous. Any freeholder could prosecute before
the Inferior Court, and, if that was not soon to be in
session, a Special Court of the Justices could be summoned for the purpose of hearing the complaint, and
there could be no appeal from the decision of such
court. The prosecutor could use as witnesses the
spectators, who incurred severe penalties if they should
refuse to give evidence; and he also received half of the
penalty after conviction. Thus, if ten actors should
perform in a play, the informer's share of the spoils
would be £500.
Such was the law as enacted for general operation,
and for the statute book; but it possessed a supplement having reference to Providence, and consisting of
3

34

HISTORY

OP

THE

a preamble and a clause prescribing the mode of promulgation in that town. It was worded as follows :
" Whereas, a number of stage-players have lately appeared, and
a play-house has lately been "built in the town of Providence, and
the players have continued to act in spite of a vote of a large
majority of the inhabitants at a town meeting called by warrant.
" It is enacted that the more speedily those persons may have
the earliest notice, the Governor is requested to issue a warrant,
directed to a proper officer or officers in the County of Providence,
directing him or them, forthwith, on sight and receipt thereof, to
immediately proclaim the act by beat of drum through the streets
of the compact part of the town of Providence, any law, custom,
or usage to the contrary notwithstanding."

After the passage of the act, Paul Tew, the sheriff
of the county, brought a copy from the Assembly, and
attended the theatre with it in his pocket; and, after
the performance was finished, he drew it forth, and
read it to the audience. Of course plays were now at
an end in Providence and Newport, but the comedians
continued to play in other colonies till Congress recommended the suspension of all amusements of a public
nature. The business of the theatres throughout the
country was at once destroyed, and the players were
forced to betake themselves to the West Indies, or to
remain in retirement until the end of the war.
Tradition recites that before the passage of the act
by the Rhode Island Legislature, by which stage-plays

PBOVIDENCE

STAGE.

35

were declared unlawful, the enemies of the drama,
impatient at the delay of the law, took upon themselves to abate the theatre as a nuisance ;• but their
intentions were frustrated by the energetic conduct of
John Brown, the most prominent citizen of the town,
who, with the assistance of some friends, having drawn
the cannon from the neighboring gun-house to the protection of the building, threatened to fire upon the
trespassers if they should commit any violence. This
timely action intimidated the fanatics, who withdrew
without executing their purpose, although they soon
afterwards enjoyed a triumph when the theatre was
closed by the legislative enactment.
Before the Revolution there prevailed many customs
which, if revived at the present day, would occasion
surprise.
The entrance to the boxes was always by the stagedoor, and gentlemen passing to them were in the habit
of stopping upon the stage, mingling with the performers behind the scenes, obstructing the actors, and
annoying the actresses with their attentions. In some
theatres they actually had seats on the stage itself.
On the 31st of December, 1761, there appeared in a
New York newspaper this notice, inserted by Mr.
Douglass:

36

HISTORY

OF

THE

" Complaints have been made that a number of gentlemen crowd
the stage, and very much interrupt the performances ; and, as it is
impossible the actors should do that justice to their parts they
otherwise would, it will be taken as a particular favour if no
gentleman will be at the stage-door unless he has previously
secured himself a place in either the stage, or upper boxes."

About a fortnight later the manager, advertising the
tragedy of " Romeo and Juliet/' with the funeral procession of Juliet to the tomb of the Capulets, appends
to the bill the following note:
" That the procession may be conducted with necessary decorum,
we must renew our application to the gentlemen to give us the
entire use of the stage."

The close proximity of the boxes to the stage is
indicated by an advertisement which appeared in the
same paper on the 3d of May, 1762, directly after a
benefit for a charity-school:
" A PISTOLE KEWAKD will be given to whoever can discover the
person who was so very rude as to throw eggs from the gallery
upon the stage last Monday, by which the clothes of some ladies
and gentlemen in the boxes were spoiled, and the performance in
some measure interrupted."
DAVID DOUGLAM/,

Upon the return of the actors at the restoration of
peace, but few attempts were made to renew the custom
of passing upon the stage.

PROVIDENCE

STAGE.

37

As the ladies used to complain of the partiality of
the manager in the assignment of particular seats, the
bills announced not only the hour of beginning the performances, but also the hour at which the doors would
be opened for the admission of servants to secure seats
for their masters. At about six o'clock on the nights
of performance the servants purchased the tickets,
chose the most desirable seats, and occupied them
until the coming of their employers with their families?
when they vacated them, and retired to their homes/or
to the upper circle. Thus the theatre at the rising of
the curtain usually presented a variegated appearance,
with numerous black serving-men retaining seats for
late comers, in close proximity to the belles of the day.
The actors played only twice a week; a season in a
town of a few thousand inhabitants comprising generally twenty-four nights, at the conclusion of which each
of the chief performers took a benefit, and performances were given for the benefit of two or three of the
inferior actors collectively, and lastly for some public
charity. The beneficiaries visited the houses of the
principal citizens to dispose of tickets. Their calls
were generally welcome, and the tickets were liberally
purchased. A gentleman felt honoured in being thus
called upon, considering it an acknowledgement of his
influence as a citizen, and of his taste as a patron of

38

HISTORY

OF

THE

the drama. This practice was however soon discontinued, on account of the various inconveniences which
attended it; the actor in most cases feeling a sense of
degradation in thus personally soliciting patronage,
and also being unwilling to submit himself to the mortification of a contemptuous refusal when by accident
he addressed some strict enemy of the stage, and the
patron himself not always being willing to compete
with others in the purchase of tickets. Douglass'
company dropped the custom at an early period; for,
at the foot of a bill announcing the benefit of Mrs.
Douglass in February, 1762, we find this paragraph:
" T h e ceremony of waiting on ladies and gentlemen at their
houses with hills has "been for some time left off in this company ;
the frequent solicitations on these occasions having "been found
rather an inconvenience to the persons so waited on than a compliment."

The manager always travelled with a "character"
from the governors of the respective colonies, in the
manner of the old companies in the time of Queen
Elizabeth; and, after he had gained entrance to a
town, he seldom dared openly to advertise plays, but
substituted less objectionable terms, as has been previously stated.
Mr. Douglass never again attempted to establish
che drama in New England; but in a few years after

PROVIDENCE

STAGE.

39

his departure another manager contemplated visiting
Rhode Island, as will appear from the following letter
received by Governor Ward, and now on file in the
office of the Secretary of State:
" N O R T H CAROLINA, BRUNSWICK,
the loth of June, 1768.
*' Sir,—Mr. Mills, who is the manager of a company of comedians, intends to solicit your permission to act in some parts of your
Government.

He has therefore entreated me to mention their

"behaviour during their stay here of six months, which, as far as I
have understood, has heen decent, orderly, and proper.
" I am, sir, your most ohedient servant,
" Governor Ward."

These comedians never came to Providence, probably because Governor Ward advised them of the
existence of the statute prohibiting theatrical entertainments.*
* I t has been said that dramatic performances took place in Newport in 1767,
but the report is untrue. The facts are as follows: On the 26th of August,
1767, the brig Dolphin, John Malborn, master, from Jamaica, with a cargo of
rum and sugar was destroyed by fire off Block Island. On board this vessel
were John Henry, his wife, and seven or eight other actors as passengers, five
of whom were burned to death. The survivors landed at Newport, and contributions for their aid were taken up the ensuing Sunday by the several religious
societies ; after which they removed to New York, where Henry made his first
appearance on the American stage in the following December.

40

CHAPTER

III,

1790—1795.
Meturn of the actors after the Uevolution — In 1790 the petition of
Hallam and Henry to open a theatre in Boston denied — Joseph
Harper attempting to give a theatrical exhibition there in 1792, is
arrested — He visits Providence with a company of actors — Public
sentiment favourable to a theatre — Action of the town council —
Plays enacted in the Court House — The town council of Newport
licenses a play-house by permission of the General Assembly—Another
company perform several nights in Providence—The Coffee House
Theatre — The Bill of the Play — Efforts to establish a permanent
theatre — Description of the new theatre.

A

T the close of the Revolution the players returned,
and performed successively in Philadelphia, New
York, Baltimore, and elsewhere in the South. Henry
went to England, and came back with reinforcement
for his company. In 1790, he and his partner, Hallam, petitioned for leave to open a theatre under
proper regulations in Boston, which application was
refused. The next year a petition, signed by many
literary gentlemen of the town, setting forth the advantages of well-regulated public amusements, was pre-

PKOVIDENCE

STAGE.

41

sented to the selectmen, requesting them to take the
opinion of the inhabitants on the subject of permitting
a theatre in the town of Boston, and on instructing
their representatives to obtain a repeal of the prohibitory law. The subject was debated in town-meeting,
and a committee was appointed to draw up instructions
to the representatives. The instructions state that the
inhabitants of Boston consider the prohibitory law of
1750 an infringement of their privileges, and that a
theatre, where the actions of great and virtuous men
are represented, will advance the interests of private
and political virtue, and for such reasons instruct their
representatives to obtain a repeal of the law, so as to
permit theatrical representations, sanctioned by some
authority appointed for that purpose. In January,
1792, the subject was introduced into the House of
Representatives, but the strenuous efforts of the friends
of the drama could not effect the repeal of the law.
The principal advocates of the repeal were William
Tudor, Dr. Charles Jarvis, and Rev. Mr. Gardiner;
the opponents were Samuel Adams and Benjamin
Austin, the latter of whom wrote a series of essays to
prove that Shakspeare had no genius !
Notwithstanding the result of the debate in the
Legislature, Mr. Joseph Harper, one of the prominent
_members of Hallam and Henry's company, by the

42

HISTOEY

OF

THE

advice and assistance of several influential citizens,
opened a convenient theatre, where he gave exhibitions
in August, 1792. The government officials deemed
this conduct an open insult to the laws, and a defiance
to themselves; and Governor Hancock, who was bitterly opposed to the stage, in his annual message, in
November, to the Legislature, called their attention to
the fact that actors were daily violating the statutes,
and enacting plays under the transparent disguise of
"Moral Dialogues," or "Lectures/' and recommended
such action as would bring the offenders to condign
punishment. The Legislature, concurring with the
views of the Governor, promised him that they would
adopt such measures as might be necessary to give
effect to the law. They however passed no additional
acts; but the State officials in Boston were incited to
increased activity, and, on the 5th of December, Mr.
Harper was arrested. At the end of the second act
of the " School for Scandal," he came upon the stage
and informed the audience of his arrest, and read a
card from the sheriff, threatening to arrest the whole
company unless the performance ceased. The audience were much agitated, but, at the request of the
performers, quietly retired, refusing to receive back the
admission money. Mr. Harper was brought before the
Court on the next day, but was soon discharged from

PROVIDENCE

STAGE.

43

custody on motion of his counsel, because the complaint had not been grounded on an oath. He immediately proceeded to perform plays as before, but was
stopped by a second warrant, executed during the performance, which so incensed the spectators that they
pulled down the painting of the State arms, but were
at length quieted by Judge Tudor.
Mr. Harper now found that he could not continue
in Boston, and therefore decided to remove to Providence. He was aware that, although the law against
theatrical entertainments had not been repealed, public
opinion in Rhode Island condemned its severity, and
reprehended the spirit of its framers. He at once
came with his company to Providence, but did not
proceed to acting until he had consulted the principal
citizens, and learned their views.
Much interest was taken in the movements of the
players, and numerous communications on the subject
were sent to the Providence " Gazette," one or two
condemning the insolence of the comedians in entering
the State, but the greater number advising tolerance.
One of each kind is here presented.
The first correspondent says, that
" He lias heard with pleasure of the virtuous and patriotic exertions of Governor Hancock in suppressing the progress of a company of strolling stage-players, who were in actual violation of the

44

HISTORY

OF

THE

laws of Massachusetts, but that it is with concern he hears that
the same company are now in town endeavouring to induce the
citizens to establish them here, in violation of a good and wholesome law of the State, which lays a fine of £100 lawful money
upon the person found in transgression thereof, recoverable by any
person who may sue for the same, either at a special court, or
Court of Common Pleas. This information is given as a caution
against their further proceeding to violate the said law. The civility shown by the Town Council in suffering them to reside in the
town so long as they live in obedience^to the law, is consistent with
the liberal policy which has characterized the State. But there
are bounds, and it is hoped that none will go beyond them by giving offence to the law."

A writer friendly to the stage in his communication,
after intimating that Governor Hancock was influenced
by political motives, thus continues :
" Permanent good frequently flows from partial evil, and it will
not be forgotten that the banishment of the benevolent Roger
Williams laid a foundation for the settlement of this State. The
interests of religion and virtue should certainly be our first care,
but a theatre under proper regulations, it is humbly presumed,
would not prove incompatible with this object. I n the old world,
time out of mind, the drama has been countenanced by the wise
and the good, and in the Middle and Southern States, theatres have
been licensed. Let us not then suppose that all wisdom and virtue
is confined to New England, or that religion consists altogether in
austerity. The law of this State passed against stage-plays was
confessedly passed at a time when parties ran high, and was probably founded in sinister views. That it may be repealed is the wish
of numerous friends to this town as well as to the State at large,
and of every friend to rational and innocent amusements."

PROVIDENCE

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45

These sentiments accorded with those of the editor,
who appended to them the following remarks:
" The comedians referred to are said to be a set of decent, orderly
people, and respectable in their profession So far as has been
observed of them here, they are remarkably temperate, studious,
and engaging in their manners."

In a few days the comedians had assured themselves
that they had the good will of the more influential of
the citizens, and prepared to give entertainments. On
the tenth of December the town council voted to grant
them such liberty of giving theatrical exhibitions as
was in their power to grant, namely: that the council
would not prosecute the performers, or support any
person who should on his own account begin such a
prosecution; on condition that the proceeds of the
sales of tickets on every fifth night should be collected
by the town sergeant, and by him be paid into the
town treasury. So far were the authorities from being
opposed to the desires of the actors, that Mr. Harper
obtained the Court House for the place of exhibition,
and, converting it into a temporary theatre, produced
several comedies and farces, and also a pantomime, called
" The Birth r Death, and Animation of Harlequin." .
The novelty of the entertainments, and the favour
with which the players were regarded, ensured for
them good houses for every performance. On one

46

HISTORY

OF

THE

occasion a party of visitors from Pawtuxet came to
town to attend the play, and attempted to gain admission to the Court House, but the crowd within was so
dense, that they were obliged to return home ungratified. Tickets were sold at half a dollar apiece, and
were obtainable at Dixon's stage office, and at the
Printing-office in the Market House chambers.
Even at this late date the comedians dared not
announce the performance of plays, but still adhered
to the term, " lectures." The comedies were usually
designated as comic lectures, tragedies as moral lectures, and farces as humourous or entertaining lectures;
but there was no disguise for the pantomime. The
performance began at an early hour, the door being
open at five, and the curtain rising at six o'clock.
Mr. Harper met with so much encouragement this
season that he would gladly have protracted his visit,
but, as he had made engagements to be in Philadelphia
some time in January, he was obliged to take leave of
the town. In the month of February a small company,
under the management of Messrs. Solomons and Murrey, inferior actors who were subsequently employed
in Boston by Mr. Harper ^ obtained permission to give
three theatrical exhibitions on condition of paying to
the town sergeant for the use of the poor, three-fourths
of the proceeds of the tickets of the first evening.

PROVIDENCE

STAGE.

47

These performances met with but little encouragement,
being destitute of merit.
It is easy to perceive that the prohibitory law had
become unpopular; and one is not surprised to learn
that, at the February session of the General Assembly,
the town council of Newport were empowered to grant
licenses for theatrical entertainments, notwithstanding
any law, custom, or usage to the contrary, provided
that the State House in that town should not be used
for that purpose.
Mr. Harper gave no representations in Providence
during the year 1793, as he profited by the permission
of the legislature, and played in Newport. He however was not unmindful of his Providence friends, as
will appear from the following advertisement inserted
in the "United States Chronicle," of June 13th:
" Messieurs J. Harper and H. Placide respectfully acquaint the
public that by the middle of this month they will open a theatre
in Newport, in the State of Rhode Island, wherein will be represented all the theatrical entertainments to be seen in America.
The theatre is a large brick building, and will be elegantly furnished. I t will be open from the middle of June to October."

The theatre thus referred to was the brick market,
which was built in 1762 by the town of Newport, from
proceeds of lotteries granted for that purpose by the
General Assembly, on a lot given to the town by the

48

HISTOEY

OF

THE

proprietors of Long Wharf. It was three stories high,
sixty-five feet long by thirty-three feet broad, and was
intended for a public granary, but was never used for
that purpose. Before the Revolution the lower story
was occupied as a market, and the second and third
stories were used for shops and offices. After the
Revolution the upper stories were used as a printingoffice until 1793, when they were leased by the town
to Alexander Placide, and by him converted into a
play-house.1 This theatre was occupied by various
companies of actors at different intervals of time, until
1842, when it was altered into a town-hall.
When Mr. Harper returned to Providence in 1794,
he found that his friends were exerting themselves to
provide him with better accommodations than the
Court House had afforded him two years before, and
were about to prepare a place of entertainment having
some semblance to a theatre. Before these arrangements were completed, several members of his company gave exhibitions for their own benefit in the
public halls. At the end of December the theatre
was ready for opening. It had been fitted up behind
Major McLane's Coffee House, but formed part of the
same building, which, long known as the " Old Coffee
House," was destroyed about 1855 to make room for
1 Newport Mercury.

PROVIDENCE

49

STAGE.

the Bank of Commerce building, and the adjoining
edifice. The addition used as a theatre had been
pulled down long before. The entrance to the^ boxes
was at the first door east of the Coffee House; and
that to the gallery was at the north end of the building. The opening performance took place December
30th, 1794. A copy of the first bill is here presented:
" By
"THEATRE,

authority"
PROVIDENCE.

"Mr. Harper most respectfully informs the ladies and gentlemen
of this town that the new theatre will be opened on Thursday
evening next, 30th December, with a Comedy called
T H E FOUNDLING, OR VIRTUE REWARDED.
Sir Charles Raymond, Mr. Kenna.
Sir Robert Belmont,
Mr. Clapham.
Col. Raymond,
Mr. Copeland.
Young Belmont,
Mr. Harper.
Faddle,
Mr. Watts.
Rosetta,
Mrs. Metchler.
Fidelia,
Mrs. Harper.
To which will be added an entertainment called
T H E KING AND T H E MILLER OF MANSFIELD.
King Henry,
Lord Lurewell,
The Miller,
Dick, (the Miller's man), Joe, with a song in character,

-

Mr.
Mr.
Mr.
Mr.
- Mr.

Watts.
Copeland.
Kenna.
Harper.
Clapham.

Peggy, Margery,

Mrs. Harper.
Mrs. Metchler.

Kate,
4

Mrs. Watts.

50

HISTORY

OF

THE

"Tickets to be had at the Post office; and places in the boxes may
be taken at the bar of the Coffee House every day of performance
from 9 to 12 A. M., and from 2 to 6 p. M.
" The doors will be opened at 5 o'clock, and the performance will
begin precisely at 6 o'clock.
" Boxes, 6s. ; Pit, 3s. ; Gallery, 2s. M."

An occasional address was delivered by the manager,
in which " sentiments the most apposite were enforced
in a manner that captivated a polite audience."
At first the curtain rose at six o'clock, but that hour
being found too early it was soon changed to six and
a half. At the bottom of the bill it was recommended
that those who wished to secure particular boxes should
send their servants at a quarter before five o'clock.
In the early days of the American stage the term
" comedian " had not the restricted signification which
is now assigned to it. Comedians performed every season with equal success tragedy, comedy, melodrama,
opera, farce, and pantomime. It was expected in every
theatre that all the performers should be able to sing,
and there was no company of respectability that could
not perform the old English operas.* The comedies
which were most approved in 1795 would not be tol* The ability to sing is now seldom met with in American theatres, and when
in 1862 Messrs. Woolf and Eichberg's opera bouffe, ''The Doctor of Alcantara,''
was produced at the Boston Museum, the circumstance that the libretto was
written, the music composed, and the parts were sustained wholly by members
of the regular company gave rise to much comment, inasmuch as in no other
theatre in the United States was there sufficient musical skill for its performance.

PROVIDENCE

STAGE.

51

erated at the present day upon the stage. In the Spring
of that year several plays of such objectionable character that they have long since been shelved were received
with general approbation; such as " Barnaby Brittle,"
" Provoked Wife," " Deuce is in Him/' " Devil to Pay/'
" Beaux Stratagem/' and " The Beggar's Opera," which
was produced with additions and alterations April 13th,
being the last night of the season, when Mr. Harper
personated Captain Macheath, and Mrs. Harper, Polly,
The next day, April 14, a meeting of gentlemen interested in the permanent establishment of the stage in the
town was held at McLane's Coffee House, and subscriptions for a new theatre were so liberally promised that
a building committee was immediately appointed to
make the necessary contracts, with the understanding
that the work was to be completed at Commencement
time. John Brown gave the lot, and subscribed for
seven shares of the stock. Messrs. T. L. Halsey, Sr.y
John Corliss, Cyprian Sterry, and George and Jeremiah Olney were also liberal in their subscriptions. As
soon as a sum sufficient for the completion of the building had been guaranteed workmen began to prepare
the frame, and on Thursday, August 6th, 1795, commenced raising the edifice. The work was pushed forward with energy, and when it seemed doubtful whether
it would be possible to have it ready for .use at the time
proposed, the prospect was at once brightened by a

52

HISTORY

OP

THE

demonstration of good will from a quarter where it
was scarcely looked for. All the carpenters of the
town, clubbing together, formed a "bee," and, abandoning all other employments, laboured without fee or
reward upon the edifice until the opening night. As
the work progressed the town was on tiptoe with expectation, and such was the general good feeling prevailing
that it was manifest that the drama was to become a
permanent institution.
This theatre was situated at the corner of Westminster and Mathewson streets, on the site now occupied
by Grace Church. It was eighty-one feet long by fifty
feet wide, fronting on Westminster street. Access to
the interior was gained by three doors in front; the
entrance to the boxes being in the middle, that to the
pit on the East, and that to the gallery on the West
side. Over the middle door was suspended a light
wooden canopy, which served both for ornament and
for a protection from rains. The theatre contained
two tiers of boxes, a gallery, and a pit. The proscenium was sixteen feet high by twenty-four wide;
and over the arch was a scroll bearing the motto:
"Pleasure the means; the end virtue," a pithy sentiment worthy of adoption by every theatrical manager.
The few scenes that were prepared, were tolerably
good; but as no act drop was painted, the traditional
green curtain was obliged to serve a double purpose.

53

CHAPTER

IV.

1795 — 1810.
The opening of the new theatre—The
" George Barnwell"

->— Mr.

. son — Mrs. Whitloch—
— Aaron

Burr

'Prologue—The

Villiers—

" The Stranger"

" BunJm

Company —

Hill"

—HodgJcin-

— German plays in vogue

attends the theatre — Phantasmagoria

—

Reappear-

ance of Hodgkinson — His death — The tragedian Cooper — Anachronisms in costume — Bates' benefits — Newspaper criticisms — Anecdote
of amateur

theatricals — Prologue by Paid Allen-—John

Payne—Termination
customs — Mr.
Newspaper
Mrs.

T

and

strictures

of
Mrs.

Mr.

Harper's

Harper — William

on the immorality

Howard

management — Theatrical
Bates — Anecdote —

of the theatre — Mr.

and

Parley.

HE efforts to have the new theatre ready for
Commencement-Day were so far successful that
Mr. Harper advertised a dramatic performance for the
second of September, but as all the requisite arrangements could not be completed in time for opening it on
that day, the inaugural performance was deferred until
the next evening, when to an interested audience were
acted with eclat, u The Child of Nature," and "Rosina,
or the Reapers." Preceding the comedy an occasional
address was pronounced by the manager, a copy of

54

HISTORY

OF

THE

which has been preserved, and is here presented. It
is unknown who was its author, but the presumption
is, that it was written either by Paul Allen, or Miss
Ann Maria Thayer, both residents of Providence, and
known to have had commerce with the Muses :
PROLOGUE.
" The eye contemplating this simple dome
Views not the art of Greece, the wealth of Rome ;
Nor towering arch, nor roof of vast design,
Which prove the virtues of the Parian mine ;
Nor Painting's touch, nor Sculpture's breathing mould,
Nor Life enchased in elephant and gold.
It "boasts them not; alas, it boasts alone
The wish to please — and let that wish atone.
Ye fair, who deign our efforts to repay,
Ye give its honours, and ye take away.
" Here to your eyes we hold the mirror true,
Here pass your virtues in their bright review.
Nor cold reproof, nor satire's caustic smart
Can crimson Virtue's cheek, or chill her heart.
Laugh then secure, or yield to Pity's call;
The strokes of censure on the guilty fall.
Here view yourselves, nor fear t' applaud the scene,
Live o'er your lives, and be what ye have been,
Give to th' unbidden tear its generous flow,—
Not more can Pity give to fancied woe ;
Nor fear that hid beneath the mimic guise
Vice waits her victim with impatient eyes.
Here shall ye learn with purity of heart
To meet the artful in the fields of art.

PROVIDENCE

STAGE.

55

The eye which, beams intelligence and love
Shall learn to blend the serpent with the dove,
The righteous claim of bashful worth to scan,
And well discern the coxcomb from the man.
" In ancient daj^s when Rome could boast her name,
When Scipio fought, and Terence wrote for fame,
Ere taste, or genuine wit were forced to yield,
And low buffoonery had usurped the field,
The Roman stage was Virtue's primal school.
There heroes learned to conquer and to rule,
And (while they wept as mimic woes were shown)
To feel for others', and t' endure their own.
Nor did the jest, ambiguous and obscene,
Disturb the cheek of Innocence serene —
But Nature's mother-wit, sublime and chaste,
Met the full voice of Modesty and Taste.
If such the manners of the Roman age,
Such must delight when Yankees seek the stage.
See a new Rome in western forests rise,
Her manners simple, and her maxims wise,
These t' improve, to cherish fresh and fair
Shall be our best reward, our only care.
This humble house, its office so divine,
"With more than all Vitruvius' art shall shine.
Enough for us, we rest secure the while
Of Virtue's plaudit, and of Beauty's smile."

The company was larger and possessed more talent
than that of the previous year; for the old American company having divided, Hodgkinson had led part
of it to Hartford, where he opened a theatre in August,

56

HISTORY

OF

THE

1795, while Hallam added the remainder to the company under the management of Harper, and came to
Providence. Thus reinforced, it contained Messrs.
Hallam, Harper, Patterson, Prigmore, Hallam, Jr.,
Wools, Miller, Copeland, Tompkins, and Humphries,
and Mesdames Hallam, Metchler, Harper, and Kenna,—
a number sufficiently large to perform with success a
few standard comedies, but in those containing numerous dramatis persona deficiencies were supplied by what
is technically called " doubling." It may be truly said
that in the early days of the American stage, " one man
in his time played many parts," frequently sustaining
two or three of the lesser characters in the same play,
and that too, aided by changes of dress, so skilfully that
audiences seldom had suspicions of the variety of shapes
taken by these Protean performers.
On the 7th of this month the tragedy of " Percy and
Elwina" was performed. A correspondent of the
"United States Chronicle" thus describes its effect
upon himself:
" Mr. Printer : I attended the theatre on Monday evening last,
and cannot help saying a few words on the subject of the performance. It appears to me that the tragedy of " Percy and Elwina,"
is filled with excellent sentiments, and the public exhibition of it
must be useful. The company of comedians, I think, did themselves great honour. I was particularly pleased with the gentleman who did the part of Douglas; he acted a jealous madman

PROVIDENCE

STAGE.

57

to the life Old Lord Kaby did the distressed father beyond anything I had any idea of. I could not help crying with him. The
part of Percy I was much delighted with, but Elwina, poor girl,
I shall not forget you as long as I live.
Yours,
Z."

To the bills was appended the following notice:
" Tickets and places for the boxes to be had at the theatre, of
Mr. Copeland, every day of performance, from 9 to L2 A. M., and
from 3 to 9 p. M. AS the door-keepers are prohibited in the
strictest manner from taking money at the door, it is hoped that
every visitor of the theatre will provide himself with tickets.
" The doors will be opened at 6, and the performances will begin
at 7 o'clock.
" Ladies and gentlemen are requested to send their servants by
half past 5 at farthest, to keep places in the boxes.
" Boxes, 1 dollar ; Pit, f dollar ; Gallery, two and three pence.
" Nights of performance, Mondays, Wednesdays and Fridays."

The theatre closed November 2nd, when Harper's
company again united with Hodgkinson's, and went to
Boston.
The tragedy of " George Barnwell" was produced
the next season, and through the whole time of Mr.
Harper's management, and that of the gentlemen
immediately succeeding him, it continued to be performed at least once every winter, by reason of the
moral influence it was supposed to exert over the minds
of youth. It soon became repulsive to many who wit-

58

HISTOEY

OF

THE

nessed its performance, but nevertheless the managers,
firmly convinced of its value, were unwilling to lay it
aside, and persisted in administering the nauseous dose.
The prevalence of the yellow fever, and other causes
made the season of 1797 a broken one. The chief performers in tragedy were Mr. and Mrs. Barrett, both of
stately appearance, but the lady superior in point of
talent. The low comedian, admired by all who could
relish genuine humour, was Mr. Yilliers, a young gentleman of education, who had left good connections in
England to become a player in America, assuming the
name of Villiers for family reasons.
In November for Mr. Barrett's benefit was produced,
for the first time in Providence, the new tragedy of
" Bunker Hill," a miserable compound of fustian, which
had proved very remunerative to the theatrical treasury
in Boston. It was well received here, and the company
then left town, to produce it in Newport. Miserable
as the play was, it survived many dramas superior to
it in every respect, and is now sometimes brought out
on the fourth of July in New England cities for the
benefit of visitors from the rural districts. It has an
history of its own. It was written when politicians
indulged in party feelings with a virulence now unknown, and which was wont to seek expression at the
theatre. The design of the author was to gratify the

PROVIDENCE

STAGE.

59

animosities of the anti-federalist portion of the public,
and it was originally produced in Boston at a theatre
raised by democratic subscriptions for the purpose of
establishing a democratic drama.1 A good conception
of the character of this play is afforded by a brief criticism which President • Adams is said to have made
upon it in New York. He happened to be in the city
when this piece was performing there, and was invited
to attend. At the conclusion of the entertainment he
was conducted by the manager and the leading actors
to his carriage with considerable pomp, and Mr. Barrett,
who had played General Warren, ventured to express a
hope that the President had been pleased,—"Sir,"
replied Mr. Adams, " my friend, General Warren, was
a gentleman and a scholar, but your author has made
him a bully and a blackguard."2
This season Mr. Harper found it necessary to reduce
the price of admission to the pit to fifty cents, and to
the gallery to twenty-five cents.
The season of 1798 was short but brilliant; for the
celebrated actor, Hodgkinson, came here with the Boston company, and played several nights near Commencement. In this company were Mr. Dickenson, and
Mr. and Mrs. S. Powell, who afterwards became established favourites as artists with the citizens of Provi1 Bernard.

2 Clapp's Record of the Boston Stage.

60

HISTORY

OF

THE

dence, and who as individuals were worthy of the general esteem in which they were held by their contemporaries.
This year the statute against theatrical representations was repealed. A committee, previously appointed
by the General Assembly to revise the laws of the State,
and to make such amendments and alterations as might
appear to them useful, reported the result of their
labours, which, being ratified by the Legislature, was
at once printed, and is now known as the Digest of
1798. In this revision the statute does not appear.
The great event of the next year was the appearance
of Mrs. Whitlock, sister of the celebrated Mrs. Siddons.
She opened on the 4th of July in the character of
Isabella. Her fine acting was appreciated as it merited,
and attracted large audiences. The " Castle Spectre "
drew two full houses, and the " Stranger," produced for
the first time in Providence, was much admired.
Since the first performance of this play scarcely a
season has passed during which it has not been acted
at least once, and though it is continually assailed, here
and elsewhere, by the critics, it bids fair to retain its
popularity for a long time to come. The principal
objection made to it is, that it palliates the crime of
adultery; but the charge is rather far-fetched. It
depicts in vivid colours the misery attending the commission of sin, and holds up to detestation the destroyer

PBOVIDENCE

STAGE.

61

of domestic happiness. Although Holstein in time forgives his erring but repentant wife, it is only when he
has become convinced of her contrition. While it seems
scarcely possible that its representation can in any case
have been prejudicial to the best t interests of society,
there is evidence that it has been productive of good.
Mrs. Mowatt mentions in her autobiography the following instance of the salutary effect of this much censured
play.
She was performing in Charleston, and while she was
delivering the speech in which Mrs. Halle?' confesses
her crime, the audience were startled by a sudden
shriek. The very sound proclaimed that it had been
wrung from some conscience-stricken heart. A confusion in the dress circle ensued. Then followed hysterical sobs and screams, and a lady was carried by her
friends from the theatre. The next morning a gentleman called upon Mrs. Mowatt and related the history
of the lady, whose agitation had disturbed the equanimity of the audience. She was taken home in a state
of excitement bordering on frenzy, and confessed that
she had been upon the eve of bringing upon herself the
life-long miseries endured by Mrs. Haller. The sequel
proved that the representation of the "Stranger " was
instrumental in saving at least one frail being from
becoming
" Like stars that fall to rise no more."

62

HISTORY

OF

THE

Mrs. Whitlock was the sister of Mrs. Siddons, John
Philip Keinble, Stephen Kemble, and Charles Kemble.
She was an admirable actress, who had established a
good reputation at Drury Lane, had played at Bath,
and after her marriage with Mr. Whitlock had acted
under the management of Whitlock and Munden in the
provincial theatres, being the main support of the company. In features she resembled the Kembles, but her
complexion was fairer, and she had not their imposing
stature. Her eyes were very expressive, and her voice
was powerful, and reminding the spectator of her eminent sister, sometimes raised expectations, which were
not fully realized, of seeing a second Siddons.1
During the years 1800-1 the plays most in vogue
were translations from the German. Baron Kotzebue's
dramas were exceedingly popular in Germany and England, and became models for the dramatic writers of
the day. The American stage owed their introduction
to Mr. Dunlap, who was indefatigable in translating
them. These plays have long been shelved, as they
tend to the development of mawkish sentimentality, and
are believed to lessen the abhorrence of vice. Only
"Pizarro" and "The Stranger" retain possession of
the stage at the present time.
The company that appeared at the theatre on the
27th of June, 1803, was almost entirely new to the citi1 Dunlap.

PROVIDENCE

STAGE.

63

zens of Providence. It contained Messrs. Harper,
Darley, Wilmot, Dykes, Perkins, Bates, Coles, West, and
Buckingham, with Mesdames Darley, Harper, Dykes
and Simpson, and Miss Bates. Performances were
given only twice a week. On the 7th of July, "Aba3lino, the Great Bandit," was produced, and the audience
expressed so much satisfaction, that it was repeated.
It was announced in the bills as " the best dramatic
work of the best dramatic writer of the age, Schiller."
This statement of the authorship of the piece was
erroneous, the play being the work of Zchokke, a German novelist and play-writer, translated by Dunlap,
who did not disclose the name of the author. It is
the original of a great many imitations, some of which
are now occasionally reproduced.
On the 24th of July, Aaron Burr, Vice President of
the United States, arrived from New York by packet,
and was hospitably entertained by his numerous friends.
On the 28th, the "Point of Honour, or School for Soldiers," and the "Highland Reel" were played. The
Vice President having signified his intention of visiting
the theatre, it was announced in the bills. A crowded
audience was in attendance, and enthusiastic cheers
welcomed him on entering.
On the occasion of Mr. Bates's benefit, in 1804, a
part of the entertainments consisted of Phantasmagoria,

64

HISTORY

OF

THE

being a display of optical illusions, exhibiting the following phantasies: The March of Father Time; the
King of Terrors; a female spirit rising from the tomb;
Ghost and Hamlet; Washington; Bonaparte, etc. The
newspapers of the day in their account of the performances remark that the appearance of the head of Washington was hailed with rapturous applause, and " an
emphatic hiss of contempt and detestation spontaneously
rose to salute the shade of the bloody usurper Bonaparte, <a pompous wretch, accursed upon a throne.'"
At the end of July, 1805, Hodgkinson arrived in
town, and played a few nights. On the 5th of August
he took his benefit, appearing in the tragedy as Macbeth
to Mrs. Simpson's Lady Macbeth, and in the afterpiece
as Lingo. By his arrangement with Mr. Harper he
received no remuneration for his acting, except on this
benefit night, when the entire proceeds became his.
After this performance he went with the company to
Newport, and there played his last engagement. He
then set out for Washington, but, as he was passing
through New York, he was taken with an epidemic
fever, and died near Washington the 12th of September.
Mr. Jansen, an English lawyer, at that time residing in
Providence, says that Hodgkinson in his last hours was
attended by Mr. Hopkins, one of the performers, who
soon after sickened, and died of the same disease that
proved fatal to the friend whom he had nursed.

PROVIDENCE STAGE.

65

Mr. Hodgkinson was much above the common height,
with full chest, broad shoulders, and erect carriage.
He had great versatility of talent and burned to be
admired as an universal genius. Though many of his
admirers lavished unbounded praise on all his impersonations, and impartial critics accused him of ranting
in tragedy, every one admitted that in pure comedy he
had few equals, and that in comic opera he could not
be surpassed.
The tragedian, Thomas A. Cooper, appeared for the
first time in Providence during the week succeeding
Commencement. On the occasion of his benefit he
played Othello, dressed in the Moorish costume, in
which we are accustomed to see the Othellos of the
present day attired. At that time, however, it was an
innovation which was violently assailed by some critics.
In 1789, only fifteen years previously, Henry used to
act the part in the uniform of a British general officer.
Dunlap saw John Philip Kemble, in 1786, "in a suit of
modern military of scarlet and gold lace, coat, waistcoat,
and breeches. He wore white silk stockings; his face
was black, and his hair was worn in a queue." G-arrick
first adopted the Moorish dress, and was much censured for so doing. Kemble introduced the use of the
turban, and many patterned in this respect after him.
A critic of much taste in the " Mirror of Taste," a dra5

66

HISTORY

OF

THE

matic review published in Philadelphia, referring to the
new custom, asks whether Othello wears the turban out
of compliment to the Ottomites he is sent to overthrow,
or to the malignant and turbaned Turk who beat a
Venetian, and traduced the state ? This, he thinks, is
studying the picturesque with a vengeance.
When Hodgkinson played Macbeth in August, he
was habited in Scottish costume, and thus the character
has always been played in America. Macklin changed
the dress from a modern one, and succeeding actors
have wisely adopted the substitution.*
* While great progress has been made in the theatres of France and Germany
towards the production of historical plays with perfect fidelity to history in
every particular, but little advance had been made, until the last few years, in
England in the same direction. No manager deserves so much praise as Mr.
Charles Kean, whose archaeological researches have been very extensive, and
have procured him admission to the Royal Antiquarian Society. Every body
has heard how, through that gentleman's exertions, the Princess' Theatre in
London became famous for the production of Shakspeare's plays with a marvellous attention to detail, and that coloured representations of the costumes of
each of the historical dramas were published by a London firm, and are authority in all theatres.
In the United States there is much room for improvement in respect to costume. No where, out of Boston, is there any attempt made to avoid the many
anachronisms that disgrace the American stage. There, Mr. Barry of the Boston Theatre, and Mr. Keach of the Museum, the latter aided by that competent
scholar, Thomas Joyce, have laboured to produce historical plays with fidelity
to truth; and, at the time of the death of Mr. Keach, in 1864, it seemed as though
the name once applied without propriety to playhouses, would soon become
peculiarly appropriate, and the theatres of Boston would indeed be " Histrionic
Academies."

PROVIDENCE

STAGE.

67

Bates, the low comedian, had his benefit September
30th, when was presented for the first time in America
the comedy, " Who Wants a Guinea ? " The announcement of his benefit and of the plays to be performed
was made in verse; and for several seasons in succession it appeared in this form, always beginning with
the same heading and initial lines. The verses had no
poetical merit, and so little wit that they scarcely
deserve to be quoted. A few, however, are here presented :
"THEARICAL INTELLIGENCE, ORDINARY AND EXTRAORDINARY.

" On Monday evening next, as the play-bill relates,
To discount other bills is a bill of Bill Bates,
To which he invites all the town, grave and gay,
To see wit and humour portrayed in a play.
'Twas wrote by young Colman, a whimsical ninny,
To interrogate wittily, who wants a guinea ?
To which Bates replies, as an indigent elf,
He hopes there 's none wants one so much as himself.
So, respectfully now on the public he draws,
Who his credit support by lending applause," —

and so on to the end, particularly naming each part of
the evening's entertainment. Bates's idea was subsequently much better elaborated by the lamented Finn,
whose poetical advertisements, sparkling with wit, were
eagerly expected in Boston, and when published were
extensively copied by the newspapers.

68

HISTORY

OF

THE

Until 1807 the citizens of Providence had been content to accept without comment whatever dramatic
entertainments the theatre afforded, grateful for any
acting they might witness; but, as the town increased in
wealth and population, there gradually appeared indications of a more critical taste, and the theatre was not
so well attended as formerly, except when an opportunity was afforded of seeing some new performer, or a
play of uncommon merit. It sometimes happened,
therefore, that for two or three seasons in succession the
manager sustained loss by his exhibitions, and would
make an appeal through the newspapers to his patrons
to rally to his support. Whatever allusions to the theatre had appeared in the papers previous to this year
had been made either by the editors, or by the management, with the design of stimulating any flagging theatrical zeal; but afterwards short articles containing
independent criticisms on the plays and players were
sometimes published, and gave no little satisfaction to
the public, who deemed them just to the actors, and
creditable to the publishers. These articles served not
only to direct public taste, but to elevate the character
of the performances. It is much to be regretted that
the promises which the Providence press then gave of
ultimate proficiency in independent criticism have never
been fulfilled.

PKOVIDENCE

STAGE.

69

In the month of August, Mr. Morse, a graduate of
Brown University, and a pupil of Cooper, played here
three nights, and it was prophesied by his friends that
he would attain eminence in the histrionic profession.
The theatre closed on the 12th of October, the receipts
being for the benefit of Mr. and Mrs. Harper.
On the 19th of the same month it was reopened for
the performance of "Douglas," and "The Agreeable
Surprise," by a Thespian Club for the benefit of the
poor. A large audience was in attendance, perhaps the
largest ever congregated up to that time in the theatre,
as many persons were present who had never before
witnessed a dramatic representation. The regular
actors had left town the preceding week, though Mrs.
Harper and one or two other ladies remained, and
assisted in the plays. The male characters were personated by young gentlemen of the town, the part of
Douglas being sustained by Benjamin Paige. The performance progressed smoothly until the end of the fifth
act, when the young hero dies in the embrace of his
mother, Lady Randolph, played by Mrs. Harper. A
young man of the name of Smith, well known as a bon
vivant, whose potations this evening had been unusually
frequent, had looked from his seat in the pit with a contemptuous eye on the efforts of his friend, Paige, during
the early part of the play, but when the catastrophe

70

HISTORY

OF

THE

approached, and he saw him expiring fall into the arms
of Mrs. Harper, who in the struggle of death clasped
him to her bosom, he broke out in a voice that plainly
betrayed his admiration, tinged perhaps with envy,
" That's the happiest death you '11 ever die, Benny 1"
The shouts of laughter that hailed this outburst,
though they disconcerted the performers, indicated how
thoroughly the audience appreciated the spirit of the
remark.
The performance on this occasion was begun with an
original Prologue, contributed by Paul Allen. It was
recited by Mr. Cambreling with such feeling as to create
a most favourable impression, and to give to the poem
a "music scarce confessed its own."
PROLOGUE.
BY

PAUL

ALLEN,

ESQ.

" All who, with cynical contempt, refuse
And shun all commerce with the tragic muse,
Have yet to learn (though many a comic scene
On this eventful stage may intervene)
That soon the hour of fond delusion's past,
And life is but a tragedy at last.
Search nature through, and tragedy appears
I n every shape ; the husband's, widow's tears ;
The orphan of a mother's care bereft,
To want, to pride, to griping guardians left;
The wretched beggar, whose unsheltered head
Is white with snows by seventy winters shed,

PROVIDENCE

STAGE.

71

Beholds the 'wildering tempest round him roar,
And knocks at wealth's inhospitable door ; —
These dire examples show in nature's plan
How deeply tragic is the life of man !
We copy life, and show by transcript fair
The melancholy picture, what we are.
Whatever grief the drama has in store,
The Earth, that stage of life, abounds with more.
Not hoarding Av'rice, now, with sordid views,
Invokes assistance from the tragic muse :
To comfort those oppress'd with want or care,
The many evils life is doomed to bear ;
To flush the cheek of sorrow with delight,
This mimic tragedy appears to-night.
" Come, then, ye noble souls, whose hearts can feel,
O tender Sympathy, thy holy zeal!
Assist our common labours for relief,
And kindle sunshine on the face of grief!
Then, when returning from dramatic woes,
Your heads shall press the pillow of repose —
Soft as yon moonbeams slumbering on the cloud,
Dreams of delight shaft every sense enshroud."

This club performed for the same praiseworthy
object, "The Fair Penitent" and "The Spoiled Child,"
on the 2nd of November.
In June, 1808, the interior of the theatre was tastefully repainted by Mr. Warrall, of the Boston Theatre.
The company contained Messrs. Caulfield, Bates,
Dykes, Harper, Bailey, Jones, Huntingdon, Claude,

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THE

Stockwell, and Vining; also Mesdames Claude, Harper, Dykes, Downie, and Bates. Mr. Jones was scenic
artist. Mr. Vining was the principal vocalist, and Mr.
Caulfield, who had been brought from Drury Lane by
Mr. Bernard in 1806, was the chief tragedian. The
evenings of performance were Mondays and Thursdays.
The season of 1809 began on the 4th of July, t^he
additions to the company were Messrs. Mills, Barnes,
(who had just married Miss Bates,) Adams, Robertson,
and Andrew J. Allen. September 8th brought a " star,"
the "young American Roscius," Master Payne, then
seventeen years of age. Much pleasure was experienced by the play-goers during this engagement, and
every one was loud in praise of the young actor. The
editor of the "American" first heard him at a private
party read several poems, and in his next issue eulogized him in the warmest terms as a prodigy of talent;
at the same time asserting that his own judgment was
impartial, that he had struggled against the popular
prepossessions, but had been involuntarily caught by
the magnetism of Master Payne's manner.
" I t has "been," he concludes, " the usual fate of genius to contend with the public insensibility and neglect. The trial has in
most instances been too severe, and genius has fallen a victim in
the contest. A struggle of another kind, though less arduous,
awaits Mr. Payne. He has to contend with the admiration of the
public ; he has to continue to deserve it. Let him reflect that the

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splendid plume that he now wears on his brow, tinged by the
beams of an auspicious sun, may lose its lustre forever. Popular
applause has often proved a Delilah's lap, in which those who slumber are shorn of their strength. I n his future exertions he has our
best wishes, and we should feel an honest pride in their eventual
accomplishment. Many will think this paragraph a tame subservience to flattery, which we have not manhood to resist. To
these hunters for mean motives for actions coldly just, a contemptuous silence shall be our only reply."

Payne played only two nights; on the 8th, Hamlet,
and on the 11th, Octavian, in "The Mountaineers."
His uncommon beauty and his modest air won for him
the admiration of all. His form was slight, and not
capable of great physical exertion; his features were
round and smooth, evidencing juvenility; and his vocal
organs were only partially developed. All these were
obstacles to astonishing t effects in those characters
requiring a powerful frame and marked features, but,
though they militated against successful personation in
scenes of turbulent passions, his few defects were
counterbalanced by a soundness of judgment that
would have done credit to experienced actors, and by
the tenderness and pathos with which he delivered
affecting passages. The critics in other places considered Norval his best part, but he did not attempt it
here.
His eventful life terminated in 1852. .Among his
numerous literary productions was the opera of " Clari,"

74

HISTORY

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THE

which contained the affecting song, " Sweet Home."
This piece made the fortune of every one connected
with it. It gained for Miss M. Tree (the sister of Mrs.
Charles Kean), who first sang " Home, sweet Home," a
wealthy husband, and it filled the theatre treasury.
More than one hundred thousand copies of the song
were sold by the original publishers, whose profits
within two years after it was issued, amounted to two
thousand guineas. It is said that Mr. Payne did not
receive the pitiful sum that was to have been paid to
him on the twentieth night of performance, and that he
was not complimented by the publishers with a copy of
his own song.1
1810 was the last year of Mr. Harper's management
in Providence. He had found that of late years the
theatre under his direction was not such paying property as he had wished and expected. The novelty of
theatrical representations had long since worn away,
and it was with difficulty he could obtain profitable
houses, except when his expenses were increased beyond
prudence by the engagement of " stars," or the production of spectacles. At first he was able to give three
performances a week, but latterly the receipts scarcely
supported two. To those conversant with theatricals
this lack of success will not occasion surprise, but they
1 Record of the Boston Stage.

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will rather wonder that so small a town as Providence
could maintain a theatre for a single season, and that,
too, at a time when actors were regarded with aversion
by a considerable part of the community. In Boston,
a much larger place, the theatre was never profitable
until Mr. Powell assumed the managerial baton.
The families who had originally established the theatre in Providence were wealthy and influential, and felt
bound to bestow a liberal patronage on those whom
they had encouraged to come here, and who catered for
their amusement, and consequently they frequently
attended the theatre. The proprietors owned boxes
in which their families had regular seats. Many others,
following the example of the leaders of fashion, often
visited it, and thus it seldom presented an empty appearance. The price of admission being high, the rougher
inhabitants of the town were in a measure excluded,
and the audience was orderly, quiet, and polite. Then
the term " dress circle " was no unmeaning name. The
ladies and gentlemen of the town, the Corlisses, the
Nightingales, the Halseys, the Goddards, and others
came in their carriages, and entered the boxes with
powdered heads, and dressed in the stately costume of
the period. Between the acts their liveried servants
entered the circles, bearing trays laden with wines and
sherbets, and served them to their masters and mis-

76

HISTORY

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THE

tresses. These refreshments were procured at a small
bar or refectory attached to the theatre. Thus the
theatre was made the scene of fashionable reunion, the
place of full dress, of elegant demeanour, and of polite
intercourse. In those days there were no concerts, no
lectures, no panoramas, and no Ethiopian serenaders
to rival the attractions of the drama, and, as the facilities for communication with the large cities were few,
the citizens of the town were compelled to rely upon
their own resources for recreation. Hence the theatre
came to be the focus at which the beauty, fashion, and
intelligence of Providence regularly met.
Inclement weather however always diminished the
attendance of the habitues, and Mr. Harper, when the
skies wore a threatening aspect, was accustomed to
postpone the performance, giving notice of such postponement by means of the town crier, who with his
bell, announced at the corners of the streets that the
theatre would be closed until fair weather. Whenever
the season was unusually inclement frequent postponements took place, and the manager would sustain considerable loss. When this fact was communicated to
the stockholders, they used to unite for the purpose of
bettering the condition of his treasury. Thus, the season of 1796 had been so unfavourable that the management had lost money by their Providence campaign;

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in consideration of which circumstance the proprietors
on the 22nd of July tendered a benefit to the company.
In reference to this occasion the following editorial
notice appeared in the "United States Chronicle:"
"This evening the proprietors have generously agreed to forego
their privileges in the house for the henefit of those who merit so
much for their exertion to please. It is hoped that a full house will
recompense their exertions, and stimulate them to continue that
line of conduct which they have heretofore followed, and which
would do honour to any theatrical corps in the United States."

By particular desire of the proprietors on this occasion, the " Provoked Husband " was played, Mr. Powell
as Lord Townley, and Mrs. Powell as Lady Townley.
If this comedy, then performed by " particular desire,"
should now be produced, its licentiousness would excite
general disgust.
At other times social festivities were very frequent,
and, as a result the theatre was neglected; but its
friends would eventually come to its aid, and make
good the losses sustained. Thus, in 1802 the attendance of the fashion of the town had been very small on
account of numerous balls and parties. At this juncture a friend of the drama by a well-timed communication to one of the newspapers established a better state
of affairs. He suggested the propriety of omitting the
entertainments of assemblies, balls, and parties, while

78

HISTORY

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THE

the theatre was open, as it was only a small part of the
year that the citizens could be favoured with dramatic
performances, it being difficult and expensive to maintain a company whose talents would command the
respect of the amateurs of theatricals, and, as the ladies
and gentlemen who usually attended the assemblies
were the friends of the theatre, and its most brilliant
and enlivening company.
Whenever the company was rather deficient in talent,
or when from the caprice of the public, or from the
excessive heat of the weather the audiences became
very small, Mr. Harper would find himself unable to
remunerate his company so well as he wished. During
these disastrous periods they were sore pressed to
make a subsistence, and it is said that some of them
actually suffered from hunger. It is related that at one
of these extremely severe times Kenney, the "first oldman " of the company, went into Major McLane's Coffee House at about eleven o'clock in the forenoon, that
being the hour at which it was the custom of the merchants to assemble there for a lunch and a brief moment
of conversation, and, approaching a group of gentlemen,
addressed Col. Ephraim Bowen, who sat among them,
and asked if he knew of any one who had need of a set
of teeth. The Colonel expressing surprise at the
inquiry, Mr. Kenney remarked that he had a very good

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set of his own to dispose of, having no use for them.
The gentlemen commiserating his necessitous condition,
at once provided him with a dinner, and made him a
substantial present. Kenney was very tall, and generally wore dove-coloured clothes. He was liked by
the public, who sometimes forgot that their favourites
needed their attention, but when reminded of their
claims, always endeavoured to atone for the remissness
of the past by increased liberality. This incident, it
should be remembered, occurred when the town was
very small. *
Certain occasions always brought good audiences to
the theatre. These were Independence Day, Commencement Day, Training Day, and, during Mr. Harper's residence in Providence, St. John's Day. The
manager and several of his company were free-masons,
and on the occurrence of their benefits or of the annual
festival of the order, the fraternity attended the per* A death in any of the principal families would seriously affect the attendance at the theatre. On the 19th of September, 1808, the following notice was
placarded in the town :
"THEATRE.
"POSTPONEMENT.

" The much lamented death of the Hon. Judge Bourne, of Bristol, whose
funeral is this day attended by his numerous friends and connections, imposes
on Mr. and Mrs. Claude the painful necessity of postponing the Entertainments, announced for this Evening, until Wednesday Evening, Sept. 21, when
the performance will positively take place.
" Monday, Sept. 19."

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HISTORY

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THE

formances in large numbers. The programmes then
announced that the entertainments were "under the
patronage of the most worshipful Grand Master of the
most ancient and honourable fraternity of Free and
Accepted Masons of the State of Rhode Island."
About the year 1805, the following notice was
appended to the play-bills:
" It is earnestly requested that no person will carry a lighted
cigar into any part of the theatre, or attempt to renew the very
dangerous practice of smoking, either in the lohbies, or in the
presence of the audience."

There was urgent necessity for this notice; for many
persons were in the habit of leaving their seats during
the intermissions to obtain refreshments, and of promenading the lobbies with lighted cigars. As the lobbies
were small, and the doors to the auditorium were open,
the smoke penetrated within, and annoyed the occu,pants of seats. Sometimes indeed lads would bring
cigars into the gallery and other parts of the house,
but that practice never prevailed to a great extent. At
this time there was much fear in the neighbourhood
that the theatre would take fire, and certain reports
concerning the peril to which the building was exposed
impelled the manager to take all the precautions requisite for its safety.

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Similar requests in regard to cigar smoking appeared
about this time in other towns, and long afterwards
formed a regular part of theatrical bills. The manners
of Americans in general were then unpolished, and, at
promiscuous public assemblies, indecorous to a disgraceful degree. Mr. Jansen, in his " Stranger in America,"
a very severe book on this country, published in 1807,
reprobates in the strongest terms the behaviour of the
audiences in our theatres. His censure was applicable
to those in Southern cities.
Mr. and Mrs. Harper had by their private worth
endeared themselves to many friends, and their society
had been courted by some of the best families of the
town; but as performers they had lost much of their
power of attraction. Their acting had been witnessed
night after night by the same audiences, and it therefore lacked the charm of novelty. Seen too frequently,
even their merits became tiresome, and their defects
appeared more prominent. It was hard that he who
had so assiduously laboured to create a taste for the
drama should be obliged after years of faithful service
to leave the scene of his toil, and seek a new home.
As we have seen, he had withstood fanatical laws, and
the bigoted hostility of individuals, in his efforts to
plant the drama in New England, and by his perseverance and zeal he had succeeded in living down opposi6

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HISTORY

OP

THE

tion, accomplishing his dearest wish, while his private
character had dissipated many of the prejudices against
his profession. He was like the pioneer who conquers
the ruggedness of nature, and sows seed, the fruit of
which, those who come after him, reap. Mr. Harper
and his wife on their departure bore with them a
multitude of kind regards; and to this day are heard
from our older citizens praises of his urbanity and
uprightness.
In his youth Mr. Harper was considered handsome.
He had fine teeth and expressive eyes, but his face
was slightly marked with small pox. He personated
characters of every description, from Richard III. to
Falstaff. In the latter part he was for a long while
unrivalled, there being no other representative of the
fat knight in America. Eventually he resigned the
part to Mr. Bates.
Mrs. Harper was an amiable woman, but possessed
no great talent as an actress, though there were a few
characters which she performed very well. She became
somewhat fleshy as she advanced in years, and was
little inclined to study; hence not unfrequently she
was negligent of her duty, and gave offence by imperfectness.
Bates was a true son of Momus, a fellow of infinite
jest, equally amusing on the stage and in private life.
Of him it might be said with truth:

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'' His life was laughter, and the ludicrous
So mixed in him, that Nature might stand up
And say to all the world — this was an actor"

Like many other comedians he had in early life
laboured under the mistaken idea that he was peculiarly adapted to tragedy. He was a broad, short,
strongly-built man, with low comedy written on every
feature. Mr. Dunlap, however, who was no admirer
of him, says it was low, conceited cunning. At any
rate in some comic parts Bates shone brightly, especially in that of Sir John Falstaff, whose unctuous
sensuality and waggish knavery he represented with
an abandon and a relish that made the personation
appear a complete identification. In spite of his figure,
his agility as Harlequin in pantomimes was surprising,
and the height of his leaps was an unfailing source of
admiration to the young. A ludicrous anecdote is
related of him, by his friend Bernard. Bates was
engaged in Covent Garden Theatre when Reddish and
Smith were its stilted tragedians, and he thought it
proper to adapt his own bearing to theirs; so, having
on one occasion to announce somebody's carriage, he
did it with all the declamatory pomp of old Quin.
Smith heard him,— stared, and angrily asked why he
could'nt say, "The carriage waits" in a natural manner ; whereupon Bates replied with a deprecatory air:

84

HISTORY

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THE

" Ton my word, Mr. Smith, I thought I had kept down
the sentiment completely." This anecdote has been
fastened upon Wignell, but Mr. Bernard, who was well
acquainted with both Bates and Wignell, assigns it to
the former. Wignell was the manager who found Mr.
Bates in 1773 filling a subordinate station in one of
the London theatres, and brought him to America with
other performers engaged by him. When he came
under Mr. Harper's management he used to visit
Providence every year, and then go with the company
to Charleston and the other places in their regular
circuit, but in the later years of his stay in Providence, he had become weakened by the approaches of
age, and illness prevented him from fulfilling winter
engagements. He had therefore to depend for subsistence solely on the profits of the summer campaign
here and in Newport, which were often very small.
He, however, managed to eke out his means by giving
one or two exhibitions of a humourous character in
the winter season when there was a dearth of amusements. His distresses were also alleviated by the
kind assistance of a benevolent gentleman, who yet
lingers among us.
Bates's benefits were always well attended, and, in
general the performances were satisfactory to the audience; but on one unlucky occasion, in the year 1809,

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he made an injudicious selection, bringing out the comedy of " The Beaux Stratagem." The house was full;
but it proved an unfortunate performance for the theatre, as the licentiousness of the play offended the patrons,
and evoked severe strictures on stage exhibitions from
the opponents of the drama. The fault was not wholly
in the comedy; for Mr. Bates had presumed upon the
indulgence of his friends, and gave additional breadth
to its humour, already sufficiently gross. Several letters from indignant correspondents appeared in the
papers, and, in " The American," a warfare against
theatres was waged for a number of weeks by a writer
signing himself " Moralitas." Others defended them,
but "Moralitas, " though evidently prejudiced and too
positive in his assertions, had the best of the argument.
He was capable of writing well, and moreover had the
greater part of his readers on his side, their minds
having been biased by whatever they had seen deserving of censure in the obnoxious comedy; while those
who took up arms in defence of the stage were the
actors themselves, unaccustomed to literary composition, and having scarcely anything to adduce in justification of Mr. Bates's conduct. The strictures of
"Moralitas" on the characters of actors were not
sufficiently qualified, and were understood to be aspersions on the private lives of the performers then in

86

HISTORY

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THE

town. He was therefore constrained to publish a
card expressing his regret that his attack on theatrical
performances should have been mistaken for an attack
on the actors, and stating that he " had hoped that two
or three gentlemen well known in the town and much
respected, (one of whom had spent much time with us,
and established a character of which the author would
speak in the highest terms, had he the right to speak
at all of the characters of individuals,) would have
thought themselves excepted when he said, < some of
them, I am told, are entitled to respect,' and, in speaking of actors generally as he has done, such were
undoubtedly excepted."
We owe to Mr. Harper the introduction of Mr. and
Mrs. Darley to our citizens. Mr. Darley came to this
country when a boy with his father, who was a celebrated singer. He often appeared upon the stage to
assist in choruses, but afterwards entered the navy as
a lieutenant of marines. He however abandoned his
new profession, returned to the stage in 1800, and
married the beautiful and accomplished Miss Ellen
Westray, one of the most fascinating beings that ever
graced the stage. He performed light comedy very
well, but singing was his forte, and his aid in operatic
pieces was invaluable. He died about 1850, in the
seventy-eighth year of his age.

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Wherever Mrs. Darley played she charmed all
beholders by her vivacity, and rare personal beauty
and grace. The critics of New York, Boston, and
Philadelphia, vied with one another 'in praises of her
excellence, and for many years she was the pride of
the American stage. Her society was much courted in
every place she visited, and in every circle she entered
she became the chief ornament. She was an " everduring" source of inspiration to the young poets of
the time, who racked their imaginations to find wherewithal to liken her perfections. Others searched their
memories for comparisons, and decked her with all the
graces ascribed to the goddesses of classical mythology,
or the heroines of history; from Venus to Publicola's
sister,
" Chaste as the icicle
That's curded by the frost from purest snow,
And hangs on Dian's temple."

Soon after her return to Boston from a visit to
another part of the country in 1802, she received the
following compliment through the channel of one of
the public papers:
" As on Olympus' lofty brow
The Heavenly Fair assembled sat,
Look'd down on mortals here below,
And talked of this and talked of t h a t : —

88

HISTOEY

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THE

" Says Juno, ' Who of Heavenly birth,
Obedient to our high command,
Will freely wing her way to earth,
Awhile to grace the Thespian band ?
" Nature, soft, simple, modest, mild,
In sweetest accents begg' d to go ;
Fair Venus kiss'd the prattling child,
And lent the magic cestus too.
a

Columbia owns her power to move,
The cold to warm, the savage tame,
With pity melt, or wound with love —
And Darley calls her favourite's name."

This poem was supposed to be the production of Paul
Allen, at that time the poet of Providence, whose odes
were read on every public occasion, and whose fugacious verses appeared from time to time in the periodicals of Providence and Boston.
Mrs. Darley removed in 1812, to Philadelphia, where
she died in 1848, in the seventy-first year of her age,
lamented by a large circle of attached friends.
Many others of Mr. Harper's company are still
remembered by our older citizens. There was Mrs.
Marshall, whose hearty, joyous manner, made her a
most charming actress in romps and similar characters
—the delight of every theatre in which she played,
charming the spectators by her naturalness and sparkling vivacity. Then there were Mr. and Mrs. Villiers,

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honoured by all; Mr. and Mrs. Young; Mrs. Barnes,
who continued to reside among us for a long series of
years; and Mr. Andrew J. Allen, who subsequently
essayed the management of a theatre in Dorrance
street, and died several years ago in New York. He
was the last of all the performers whom Mr. Harper
brought to Providence, and only a few of the spectators who used to attend the theatre in those days survive him.

90

CHAPTER

V.

1811 — 1812.
The theatre leased by Powell and Dickson — A liberal patronage bestowed
on the new managers—The

press demand

the engagement of

Morse — James Entwistle — The theatre at Richmond

Mr.

destroyed by

fire — A petition for the suppression of the Providence theatre

circu-

lated — Great efforts made to procure signatures — The contest in the
General Assembly — Speeches of John
— The subject referred

Whipple and Tristam

Burges

to a special committee — Anecdote of

Thomas

L. Ualsey — An act is passed respecting the Providence theatre —
This act withheld from the Statute Booh—.Action

T

of the town council.

HE Providence theatre opened for the season of
1811, on the first of July, under the auspices of
Messrs. Powell and Dickson. Mr. Powell leased the
building for five years, agreeing to pay an annual rent
of two hundred dollars; and to allow nightly thirty
box tickets, which at an average of forty nights a
season would amount to twelve hundred dollars. By
this contract the stockholders obtained fifteen per cent,
on the cost of the edifice, ($9,300.)
The new managers were as competent for their business as any that have ever figured in America. They

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brought with them from Boston, a company far superior
to Harper's, and at once revived the dramatic taste.
The company contained, besides the managers, Messrs.
Duff, Darley, Entwistle, Eobertson, Barnes, Vaughn,
Drake, and Bailey, and Mesdames S. Powell, Duff,
Barnes, Drake, Mills, Doigne, and others.
The initial performance consisted of "The Mountaineers," and " The Weathercock." During the second week Mr. Duff produced " Three and the Deuce,"
in which he personated three characters; and this
novelty ensured its frequent repetition. Performances
were now given three times a week.
The public were not slow in recognizing the merits
of the actors, and on the 11th of July a correspondent
of the "Rhode Island American" congratulated his
townsmen on the improved condition of theatricals,
and the managers on the liberal support they had
received, and would continue to experience so long as
they should maintain the existing standard of excellence. " The best productions of the English dramatists," he wrote, "are presented (here) as well as in
Boston, New York, and Philadelphia, and I have no
hesitancy in saying, from the regularity with which the
business is conducted, and the judicious arrangements
of the entertainments, that the Providence theatre will
become a school of morality." During this season

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"Forty Thieves" was played, with the original music,
dresses, and decorations with which it had been performed in Boston forty nights. The Mustapha of Mr.
Dickson, and the Morgiana of Mrs. Duff were much
admired, and the play was represented six nights;
books with descriptions of the scenery, and the words
of the song, being sold at the box office.
The patronage, bestowed on the theatre was as liberal as could be desired, and the managers laboured
to retain the favour of their patrons. Play-going was
"all the rage" until a slight disagreement with the
public occurred about the end of August. Mr. Morse,
a gentleman well known in the town, having been a
student in Brown University, had gone to Boston
several years before to begin the study of law. His
towering figure, muscular and well-formed limbs,
together with some elocutionary skill which he had
displayed, attracted the attention of the tragedian,
Cooper, who, after some preliminary tuition brought
him upon the stage in November, 1806. From that
time Mr. Morse gradually improved as an actor, until
his fame had spread over New England. In 1807 he
had played three nights in Providence, and had then
shown indications of such considerable ability that
many of the theatre-goers were now desirous of seeing
how well his maturity had fulfilled the promises of his
youth.

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He arrived in Providence, for the purpose of visiting
his friends, early in August, 1811. The newspapers
announced his arrival, and suggested that he should be
forthwith engaged at the theatre. Many of the citizens
concurred in this desire. Notwithstanding this expression of the popular wish, the play-bills did not announce
Mr. Morse. The editors were chagrined at the seeming slight from the managers, and, being also willing to
teach the new comers that they must look to the press
for directions concerning their conduct, urged the town
to stay from the play-house, and let Messrs. Powell and
Dickson see the folly of denying their wishes, asserting
that the citizens had a right to prescribe what entertainments they desired to enjoy. The articles grew
more threatening in tone in every issue, and the
"Rhode Island American" was especially loud in its
denunciations of the management.
At first the managers did not regard these demonstrations, but at length, fearing that their silence might
do them an injury, they published in the " Gazette " a
card, in which they informed the public that they had
offered Mr. Morse an engagement for the remainder of
the season upon the terms given to the best actors of
the theatre, and that the offer was the best their circumstances warranted. This announcement was of service
to the theatre, as it made known the endeavours of the

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HISTORY

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THE

managers to gratify the wishes of their patrons, and
allayed the acrimonious feelings which had been manifested. The matter was soon forgotten after Mr.
Morse had given public recitations, and the theatre
regained its popularity.
Mr. Morse shortly afterwards went to London, where
he met with indifferent success. He there mingled in
scenes of dissipation, and on his return to Boston had
lost one of his eyes. On the breaking out of war with
England he entered the army, but on the return of
peace he was in a state of destitution. He however
made a vigourous effort, a change came over his life,
and, at the time of his death he was a clergyman, settled in Virginia.
The season was brought to a close on the 27th of
September with a series of benefits for the leading performers. James Entwistle, the low comedian, — and a
good one he was, too—on his night appeared as Shylock in the " Merchant of Venice," and Risk in " Love
Laughs at Locksmiths." Risk was the first character
he had personated in this country, and in it he always
gained applause: so when his friends expressed doubts
whether he could play Shylock, he replied that should
he incur
"Risk by his Shylock, being out of his station,
His Risk in the farce would secure approbation."

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Entwistle, who was desirous of playing tragedy, carried comedy in his face, and even in his dress; his very
hat seeming to have a comical twist. Wherever he
appeared he became the centre of an admiring circle,
and every remark he made was hailed with transports
of delight. He boarded in the house next south of the
present " Earl House," and was known to all the region
boys for his waggeries, his witticisms having general
currency. The poor man, however, must have had
tragedy in his soul; for he very soon died under circumstances too painful to relate.
5 About the first of the following January, news of a
great calamity at Kichmond, Virginia, reached Providence. The theatre was destroyed by fire, and many
lives were lost. From some mismanagement of the
lights the scenery was ignited, the flames spread with
rapidity, and the cry of " F i r e ! " rang through the
house. The occupants of the pit and gallery at once
made their escape, but those in the boxes were not so
fortunate. The entrance to the hall was narrow and
approached by a winding passage; and the struggle
to gain it was so great that it became blocked up. All
present might have escaped, if they had jumped into
the pit, but no one thought of that expedient. They
became panic-struck. The smoke blinded them, and,
terrified by the progress of the flames, they became

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powerless, and were trodden under foot, or perished in
the raging fire. Seventy-one persons, including the
Governor of the State, lost their lives by this disaster.
The next day all places of business in Richmond were
closed, a law was passed prohibiting amusements of
every kind for the term of four months, and the citizens
wore mourning for a month. At Washington the representatives of the several States assumed the customary
badges of grief, and all amusements were suspended.
This sad occurrence created a deep sensation throughout the country, and in Providence it produced an
unusual gloom and depression.
It was now deemed by some well-meaning people an
auspicious time for renewing an attack upon the Providence theatre, and, believing, or affecting to believe,
that the recent calamity at Richmond should be regarded
as a manifestation of the Divine displeasure at the
increase of theatres, they at once began to bestir themselves. Two years previously many laboured addresses
against theatrical entertainments had appeared in the
local newspapers, and an opinion had prevailed that
the promoters of the views maintained in those articles
had been influenced not so much by their zeal for the
public morals, as by more selfish considerations. It
was, perhaps, ^unfortunate that some who had been connected with the former onslaught were identified with

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the new movement. A petition was immediately prepared, reciting numerous charges against actors and
theatres, and asking the General Assembly for an
enactment to suppress the theatre in Providence.
This petition was industriously circulated, and it soon
became well known that its friends, in their eagerness
for numbers, had obtained the signatures not only of
respectable men, but of mere lads, and even of some
of the most disreputable characters of the town. It
was taken by the town-sergeant, "Deacon" James
Hammond, a worthy functionary, who, in dress and
manners was the ideal of a parochial beadle, into the
public schools, and the teachers encouraged their pupils
to sign it. One master in particular was very authoritative in urging his scholars to subscribe their names,
arguing that the effect upon the legislature would be
much enhanced, could that body perceive the rising
generation thus zealous in the cause of virtue, and predicting a disastrous fate for those who should refuse to
comply with his wishes. A venerable gentleman, now
living, remembers to his sorrow how severely he was
whipped because he withheld his name.
While the petition was circulating the preachers
were fulminating every Sunday in their pulpits, and
inciting their hearers to "come up to their help " against
the great social evil in the community; and during the
7

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HISTORY

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THE

rest of the week the morality of the drama was the
subject of continual debate, both in private circles and
in the public prints. The opponents of the petition
were all the most intelligent and influential citizens,
except the Ives and the elder branch of the Browns;
but the staunchest friends of the theatre were Thomas
L. Halsey, senior, James Brown, Moses Lippitt, John
Corliss, the elder Nightingales, and Col. William
Blodget. Several elaborate essays, pro and con,
appeared in the columns of the " American" and the
" Gazette," and never before in Providence was the
subject discussed at such length, or with such earnestness and ability. The articles then published were the
productions of the most literary men of the town, and,
if they should be reprinted, would now be read with
interest.
It happened that a party issue was made on the success of this measure. The town was nearly equally
divided in politics; and the indefatigable zeal of Philip
Martin, Charles Hartshorn, and Ezekiel Burr in circulating the petition was ascribed to their desire " of
blowing up the federalists." These gentlemen were
active members, each of one of the religious societies
in the town, and were doubtless innocent of any political designs; but when the report gained currency that
they were influenced by sinister motives, it may readily

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be perceived how futile would be all their exertions in
some directions, and how many persons, previously
friendly or indifferent to their plans, at once became
hostile to them. It was said that some who had signed
the petition, influenced by the representations of others,
were desirous of withdrawing their names, after having
found that these representations were untrue. The
intention of the enemies of the stage was to have the
theatre immediately closed, " once and forever," and to
declare invalid the contract by which the stockholders
had leased the building to the managers for a number
of years; but, when it was argued that such a proceeding would be manifestly unjust to both parties, they
consented that, in the contemplated legislation there
should be some provision respecting the lease, or that
arrangements should be made for the purchase of the
theatre, as it stood, for about $2400. Influences were
brought to bear upon the town authorities, and, on the
27th of January the petition was presented for their
approbation to the town-council, who passed a resolution that the law prayed for would be highly beneficial
to the town, and recommended the General Assembly
to enact the same.
A perusal of this celebrated petition, though of considerable length, may not be without interest to the
reader, embodying as it does the thoughts and feelings

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of those who at this time were unfriendly to the theatre,
and may also serve to correct any bias that hitherto
may have been unconsciously created in this narrative.
" To the Honourable General Assembly to he holden at Providence,
in the county of Providence, at their February session, A. D.
1812:
" T h e subscribers, inhabitants of the town of Providence, beg
leave to represent that, in the year 1795, a large wooden building,
called a Theatre, was erected in said town for the purpose of acting
plays, exhibiting fire-works, dancing the rope, and performing
jugglers' tricks therein. That from that time until the present
said purpose has been carried into full effect, and. the town of
Providence has from year to year been visited by play-actors and
necromancers, jugglers, and professors of the black art. To
detract from the merit of those who gain a livelihood by these
employments is not among the objects of this petition. To make
any statement which may affect their feelings, or prove injurious
to their interests, is not among the wishes of your petitioners. So
far as the performances of the Theatre have a tendency to corrupt
the morals, especially of our youth; to repress industry and sanction idleness ; to discourage virtue by diminishing its charms, and
encourage vice by adding to its allurements; to steal from the
mind the seeds of piety and religion, and implant therein the seeds
of vanity and extravagance ; and not only to interrupt the peace
and order of society, but even to endanger our lives and property
— so far, and so far only, do we ask a hearing from your Honours.
" To attempt to show by argument that stage performances are
injurious to our morals and religion, would neither comport with
our character as petitioners, nor yours as law-givers and protectors
of the public weal. We would, however, most respectfully call
the attention of your Honours to a consideration of the question

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whether theatrical performances have not in them tendencies
directly opposed to morality and religion, and also to the genius
and spirit of our republican form of government.
" We can not refrain from stating to your Honours, that the
most seductive representations of the grossest indecency can not
prove a benefit to morality and religion. That to maintain in the
heart of our town a company of men and women connected with
us by no cori-esponding habits, neither having nor feeling any
interest in our prosperity, but whose interest, on the contrary, if
attended to, would lead them to encourage idleness and dissipation,
can not prove a benefit to morality and religion.
" That that amusement, whether it be a theatre, or a gaming
table, which so engrosses the attention as to lead us to neglect our
most sacred duties, which seduces the young and inexperienced to
contract debts which they can never pay, and heads of families to
spend their last dollar for the sake of grinning at the frivolities of
a juggler, while their helpless families are suffering for want of
bread, can not prove a benefit to morality or religion. We would
also most respectfully pray your Honours, in your wisdom, to consider whether (allowing no other injury results from a theatre) it is
not incompatible with the habits and pursuits of the people of this
state at large.
" I n monarchies where fortunes are inherited, and luxury
encouraged as beneficial to the poor, theatres, if not useful, are
not very injurious. A nobleman who has determined to live an
idle life may keep himself from worse pursuits by attending the
exhibitions of the stage ; but in a country like ours, in a state like
this, where fortunes are seldom inherited, but acquired by slow,
hard, and persevering labour, where economy and frugality are
necessary to our very existence as a government, the pleasures of
the stage are: a luxury in which it is dangerous to indulge, and
which in our .opinion we cannot be too anxious to restrain.

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" Besides these evils resulting from the performances of stage
plays in the town of Providence, we beg leave to state others,
which, if not of a more dangerous, are at least of a more alarming
and insufferable nature. It is probably well known to your Honours, that the theatre is situated in a very populous and thickly
inhabited part of the town. The people living in the vicinity are
entitled to the same privileges and immunities that people in different parts of the same town are entitled to. Among these privileges
and immunities a perfect exemption from riots, indecent and public
lewdness, molestation of their property, and injuries to the peace
and quiet of the neighbourhood stand conspicuous. Your petitioners, however, are constrained to say that these valuable and
important rights, so far from being respected, are openly and
shamefully violated whenever it pleases a play-actor, a ropedancer, or a balance-master to honour the town with his company.
It is well known that on the nights of performance the theatre is
surrounded by a large concourse of people, who resort there not to
see the performance within, but to take a part in the performance
without. Riots, drunkenness, and obscenity are among the least
of the evils nightly practised. While the audience within are
strengthening their morals, and adding to the stock of their religious principles by listening to the precepts of the stage, the rabble
without are drenching themselves in rum, and wallowing in open
and public prostitution. However indignant every honest and
peaceable neighbour must feel at being so often compelled to witness
these enormities, he would still derive some satisfaction from the
idea that they were of short continuance ; but even this is denied
him. This scene of revelling is continued until midnight, and
sometimes till a later hour. After the play is over, important
appointments are sometimes made, and the theatre, or its neighbourhood is generally fixed on as the proper place of fulfilment.
Your petitioners forbear to state the numerous aggravations which

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generally accompany these frequently repeated injuries. Let it he
sufficient to say that, in almost all the instances of sickness in the
vicinity of the theatre, nothing has "been so irritating, so tormenting to the unhappy patients, as the riots and disturhances hefore
alluded to. These evils have "been quietly suffered for years, in
order that the curiosity of a small portion of the inhahitants of
the town might he gratified.
" Your petitioners heg leave further to state to your Honours,
that the dangers to be apprehended from fire are among the grievances arising from the performances of the theatre. These dangers
have heen a long time known, and a long time dreaded by many
who have witnessed the thoughtless and unguarded conduct of the
actors in the management of their plays. I t required not the
warning voice of the recent calamity at Richmond to point them
out. Proof enough has heen already given in our own town to
satisfy all, hut those whom nothing hut a farce or play can ever
satisfy ; instances enough have already taken place to show the
extent and magnitude of the dangers which constantly have
awaited us. The theatre has several times heen on fire through
the most gross and criminal neglect, and, hut for the providential
caution of those who have a greater interest in the lives and property of our town than play-actors are supposed to have, many
who now enliven us with their wit, many who now delight us with
their henevolence, and many who now enjoy in affluence the hounties of their God, might long since have mouldered in one common
grave. If reason still holds its empire over passion, if virtue still
triumphs over vice, if the protection of our morals, our property,
and our lives is to he preferred to those pleasures which endanger
them all, theatrical amusements ought no longer to he allowed.
" Your petitioners do therefore pray, that your Honours will
pass an act prohibiting all kinds of stage-plays, rope-dancing, and
jugglers' tricks in the town of Providence, under such penalties

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THE

and disabilities as your Honours in your wisdom shall think
proper ; and they, as in duty hound, will ever pray."

Early in the session of the General Assembly, which
convened February 24th, 1812, the petition was presented, and Saturday, the 29th, set down for the day
of hearing. At the appointed time the subject was
debated. John Whipple, then a young man, appeared
at the bar of the House in behalf of the petitioners, and
Tristam Burges, whose advertisement proffering his
services of an advocate in the General Assembly was
about that time conspicuous in the Providence newspapers, represented their opponents. Mr. Whipple did
not on this occasion display those talents which a few
years afterwards made him so eminent; yet he was not
wanting in zeal, not to say ferocity of manner and language. He denounced the drama as a species of black
art, which had debased mankind, and had incurred the
vengeance of the Almighty. He was so unsparing of
his denunciations that he injured the cause he was advocating. Mr. Whipple had little sympathy for the written or the acted drama, and has been heard to avow
that he had never witnessed, and never would witness
a theatrical performance.
Mr. Burges created a profound impression by his
defence of the drama. He reviewed its history from
the earliest times, and urged that, if it became debased,

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it was by reflecting the public mind; its own natural
tendencies being elevating and refining. He showed
the erroneousness of the statements of the petitioners,
and made tatters of their arguments, in a speech
abounding in quaint metaphor and cutting irony. He
was frequently interrupted by the applause of his hearers, and the concluding portion of his address produced such an effect that after he had resumed his seat
a long pause ensued, as though no one felt competent
to proceed.
After a short interval it was voted to postpone the
further consideration of the subject in the House, and
to refer the petition to a special committee of five, consisting of one member from each county, who were
instructed to hear the allegations and evidence upon
both sides of the question. This postponement was
deemed equivalent to a defeat, and gave great offence to
the promotors of the petition. The "Patriot" asserted
that that course was determined upon because "federalism feared a falling off of some of her disciples, however the question might be decided, and dared not meet
it until after election."
The committee met at the Court House in Providence, on the 16th of March, and proceeded to hear the
evidence adduced for and against the petition. The
testimony showed that the inmates of the house of Mr,

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HISTORY

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THE

E. Talbot, which was situated next west of the theatre,
were inconvenienced by nuisances committed in the
vicinity, and were often in fear of fire. Further than
that, not much was proved against the theatre, although
one of the counsel read many lewd passages culled from
the works of dramatic writers, and endeavoured to convince the committee that the plays performed nightly
before modern audiences were equally vile and demoralizing. After hearing both sides in full, the committee
expressed no opinion; but upon consultation among
themselves it was ascertained that two of them favoured
the petition, while three, constituting a majority, were
opposed to it. They then separated, and, at the June
session made a verbal report, reciting the facts and
making no recommendation. They were then discharged, two of them receiving compensation for their
services.
It is somewhat remarkable that the petition was at
this time surreptitiously abstracted from the Assembly,
and has never been returned to the files. The copy
here presented was found in the " Rhode Island American" of February 25, 1812.*
* Now for a piece of secret history. At the end of the
first day's session of the committee, Mr. Halsey (T. L.,
Sr.) in some manner received an intimation that two of
* See Appendix B.

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the members had concluded to vote to recommend the
passage of the act prayed for in the petition, two were
in opposition to it, and one, whose name need not be
disclosed, was in a state of indecision. This latter
member had never seen a play, and apparently had no
idea, indistinct or otherwise, concerning a theatre. He
was as uncouth and ignorant a countryman as ever
plodded beside a yoke of oxen, and could comprehend
neither argument nor description. He wore a long
blue overcoat, with immense side flaps, a high collar,
and large buttons, apparently a transmitted heir-loom
in his family; and also walked in huge, dusty boots.
He had a vote, and to win that, Mr. Halsey bent his
mind. He paid court to him, invited him home to dinner at his house on Prospect Hill, and put everything
the place afforded at the service of the abashed representative. The family and the servants were instructed
to demean themselves with the utmost deference, while
Mr. Halsey himself lost no opportunity of waiting upon
his guest, and showing how fully he appreciated the
distinction conferred upon his house by a visit from a
member of the legislature. After dinner the representative said he must go; but that was now impossible,
for the young ladies, who readily aided their father in
his scheme to save the theatre, had conceived such an
affection for him that he must needs remain and hear

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THE

them sing. " Did the Squire like music ? " " Wa'al the
Squire didn't know/' and so the ladies must play; and
through an extensive repertory they played and sang,
recommending this and that to the taste of their guest.
The host was anxious for his opinion on dancing. The
Squire had formed none, and so nothing could stay the
ladies from executing a pas de deux before him. He
pronounced it pretty. Another was called for, and
then another, until tea was announced. The Squire
had now become very uneasy, and evidently wanted to
change the scene, but did not know how to get away;
and when he tried to signify that he " supposed it was
time he was getting along to his boarding house on
Christian Hill," he perceived that the announcement
caused the family such grief, that he yielded a consent
to remain to tea. Once seated at the board, he was
served with everything that was at hand, diligent pains
being taken to find viands to his liking. During the
evening all contributed to entertain him, at the same
time losing no opportunity of obtaining on all subjects
the opinions of one who assisted in making laws for the
State. Mr. Halsey brought up certain questions and
asked instruction in regard to them. It was surprising
how completely in unison were Mr. Halsey's views with
his on almost every point; and on the subject of the
theatre it was soon apparent that the representative,
S?

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although he would not commit himself as to the course
he should pursue, intended to make no very vigourous
opposition in committee to the side favoured by his
entertainer.
Night at length came, when another movement was
made for Christian Hill, and the same difficulty was
experienced in doing violence to the expectations of the
family that the Squire should lodge with them. It was
evident that they had set their hearts upon it, and he
had not the strength to resist. The procession to the
bed-chamber was imposing. Two servants led the way
with the candles, (tall spermaceti candles they were,
in silver candlesticks) while the host and the man whom
the host delighted to honour, followed. " This is your
room, Squire," said Mr. Halsey, as they entered the
north-east chamber, its stately and sumptuous aspect
at once bewildering and subduing the Squire. On each
side of an immense mirror were sconces, every branch
bearing a tall candle lighted, while the bed with its
heavy carving, its cambric pillow-cases, and its dainty
Marseilles counterpane stood ready to receive the
weary guest. He was shown a bell, and besought to
ring it if he should have need for anything, and then all
withdrew. The door was closed, and the dazed Squire
sank upon a chair, and helplessly stared at the surrounding grandeur. Long he sat, and made no motion.

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HISTORY

OF T H E

He knew that he was a legislator, a man of great influence, and the superior of his entertainer, but he was
crushed with the homage. He was encumbered with
no luggage, but his mere presence burdened him beyond
relief. The night was far advanced, and he was still
sitting. At last with an effort he rose, turned down
the counterpane, divested himself of his coat and boots,
and, with the candles all ablaze lay down, waiting for
the morning, and big with a purpose.
As soon as the first streaks of day were visible from
the east window he donned his coat, cautiously opened
the door, and with the boots in his hand began creeping
down stairs. He reached the bottom without discovery,
although those stairs creaked as they never did in
honest daylight, and was just slipping the bolt of the
outer door, when Mr. Halsey suddenly joined him with
a hearty greeting, delighted to find the Squire, like himself, an early riser. " We '11 take a walk together,
Squire. I want to show you our country about here."
"I'm going home," answered the Squire. " Oh, not
until after breakfast, I hope; the ladies would be so
much distressed." "I'm. going home now," repeated
the Squire, with such firmness that Mr. Halsey no
longer resisted, but, shaking hands with him, bade him
remember that whenever he came to town the Halsey
house was to be his home. He then watched the Squire

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Ill

turn down Olney's lane with his boots still in his hands.
Whether he put them on before reaching Christian Hill
is not known. Mr. Halsey extinguished the candles,
and broke the intelligence to his family that they should
that morning breakfast alone. He soon afterwards
learned that when the vote was taken in the committee,
the idol of his family had proved a staunch friend of
the theatre.
It has often been stated, and is now the prevailing
opinion, that no legislation ever took place in relation
to the subject of the petition; and, as the schedules for
that year and those succeeding, contain no enactment
concerning theatrical exhibitions, such is a natural conclusion. A search of the Journals of the House of Representatives and of the Senate, however, brings to light
some interesting disclosures. We find that on the 27th
of February, 1813, a law was enacted, having passed
both houses on that day, and was engrossed at length
on the Journal of the lower House. The original
draught of the act with the official file marks thereon
is in preservation in the office of the Secretary of State,
and by inspection of it we are enabled to learn its history, and to form a satisfactory theory touching the
cause of the suppression of the act after its passage.
It was at first entitled, "An Act prohibiting Theatrical Exhibitions," and contained three sections. The

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THE

first briefly and peremptorily prohibited theatrical performances within the State; the second prescribed the
penalties to be incurred by the violation of the first;
and the last consisted of a long provision of involved
construction excepting the Providence theatre from the
operation of the law, upon certain specified contingencies. The act was intended to have especial reference
to the Providence theatre, and its framers, having discovered in the preceding year that there was but little
prospect of its adoption, cut out its more obnoxious
parts, and then presented it, thus changed, at the February session of the year 1813. These changes completely altered its tenor. The title and the two prohibitory sections were stricken out, and over them was
wafered a paper containing in another hand the amendments. These consisted of a new title and two sections.
Section one empowered the town-councils of the several
towns to license, regulate, and, as they should find
expedient, prohibit and' suppress theatrical performances. Section two prescribed the penalties to be visited
upon those who should give or permit such divertisements, unlicensed by the town-council. Section three,
retained from the original draught, ran as follows:
" Provided, nevertheless, that three judicious and impartial men
shall be appointed by the town-council of the town of Providence
to appraise and set upon the present theatre in said town and the

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lot whereon it stands, the full valuation it would hear if this act
had not been passed, which valuation they shall report to said
council, and shall give notice thereof to the proprietors of said
theatre; and in case no persrsri or persons shall present [themselves]
within sixty days to purchase said theatre and lot, and shall make
and execute to said proprietors, and deposit in the hands of said
appraisers for the benefit of said proprietors, a good and sufficient
bond or bonds to the satisfaction of the appraisers, stipulating
therein to purchase and pay for said property at a full and fair
price and valuation, or in case (said bond or bonds being executed
as aforesaid) the proprietors shall make and execute and deposit in
the hands of said appraisers within ten days after notice to them
of the deposit of said bonds as aforesaid a good and sufficient deed,
or deeds, as aforesaid of their right, title, and interest in said
theatre, or in said lot, or both at their option, to be delivered to
said purchaser or purchasers upon payment by them to the
appraisers at the price at which said property shall be valued, or
(being dissatisfied with said valuation, and prosecuting said bond or
bonds for the purpose of obtaining a further valuation by a jury,)
shall within ten days after the verdict of one jury, and judgment
thereon, make, execute, and deposit such deed or deeds as aforesaid
to the person, or persons signing said bond, and if the price and
amount of compensation for said property so ascertained shall not be
paid into the hands of said appraisers for the benefit of said proprietors within sixty days after the deposit of said deed or deeds in either
case as aforesaid, then and in either of the before stated cases the
provisions of this act shall not be extended to theatrical exhibitions
in said theatre in the town of Providence, nor shall anything in this
act contained be construed to prohibit or suppress the same."

Another section enabled guardians and trustees of
such stockholders as might be non compotes mentis, or
under age, to make valid deeds in their names.
8

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THE

Such was the act after amendment, and when it
became a law. There can be no doubt of its passage.
It bears the file marks of both Houses; it is engrossed
at length upon the Journal of the lower House; its
enactment was announced at the close of the session in
one of the local newspapers; and the town council of
Providence promptly proceeded to act in accordance
with its provisions.
At a meeting of the council held March 22nd, three
gentlemen were appointed a committee of appraisement,
all of whom declined serving in that capacity. The
next week another committee, consisting of Messrs.
Jonathan Adams, John Howland, and William Church,
were nominated in their place, and on the 26th of the
succeeding month they made a report, in which they
stated that they had appraised the theatre and the lot
on which it stood at seven thousand dollars, estimating
the value of the building at five thousand six hundred
dollars, and that of the lot at fourteen hundred dollars.
Their labours then ended. What action may have been
subsequently taken by others can not now be ascertained.
The theory offered to account for the omission of
this act from the schedules published by public authority
is, that Mr. Eddy, the Secretary of State, whose duty it
was to prepare the legislative enactments for publication, had personal knowledge that the provisions of the

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115

third section, upon the fulfilment of which the vitality
of the act depended, had not been complied with,
because no purchaser had appeared within the stipulated time to buy the theatre at its appraised value,
and, supposing the statute thereby virtually repealed,
did not deem it necessary to include it among the other
acts of that session, which made their appearance under
his supervision in the month of October following.
The law thus made, and thus suppressed, became a
dead letter, but was destined to be resuscitated. In
February, 1820, the General Assembly appointed Samuel Eddy, together with the Secretary and the Attorney
General, a committee to digest the laws of the State,
and to propose such alterations as they should deem
proper. In 1821, at the January session, Governor
Knight, James Fenner, and Thomas Burgess, the last
of whom had in 1813 been clerk of the House of Representatives, and therefore as well as Mr. Eddy cognizant of the passage of the act, were added to this committee, and the digest prepared by them appeared in
1822, in which volume the resurrected act appears,
shorn of its third section, and with a marginal note,
thus: "1813-22."

116

CHAPTER

VI.

1812.
Panoramic view of Providence — Engagement of George Frederick
Cooke — His success in other theatres — A thunder storm thins the
audience — Anecdote of Thomas L. Halsey — Anecdotes of Cooke —
His death — His character — Phillips's Eulogy.

T

HE year 1812 marks an era in the history of the
Providence theatre. That year was made memorable by the appearance on its boards of no less a personage than the illustrious GEOEGE FREDERICK COOKE,
an actor of transcendent genius, second to none, and
equalled by only one, David Garrick. Impelled by his
erratic genius, he who had played before the Majesty
of England, and been the admiration of the nobility—
he, in whose train artists and critics were proud to follow—had left the scene of his triumphs, and had come
to our western shores. Now after winning new laurels
in all the American cities he came to this little town to
interpret the words of Shakspeare, and to brighten its
historic page. By this event, the people of Providence
were enabled to witness as fine acting as the world has

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in

ever enjoyed, and then the name of their town became
forever associated with the records of the drama; for
in this obscure corner George Frederick Cooke played
his last part. In many a place to which the fame of
our local worthies, fondly perpetuated by us, can never
penetrate—wherever our noble English drama is
studied and the names of its great lights are cherished
—Providence is a name well remembered for the distinction it thus received.
The dramatic season commenced on the 29th of June,
with the performance of the romantic and affecting play,
entitled " Lovers' Vows." The company comprised,
besides the managers, Messrs. Young, Waring, Clark,
Drake, Robertson, Spiller, Barnes, and Entwistle, Mesdames Powell, Young, Barnes, and Drake, Miss Dillinger, and others.
On the 8th of July a new act-drop, which had recently
been painted by the best scenic artist of the day, Mr.
Warrall, from drawings made by him two or three years
before, was exhibited for the first time. It was a panoramic representation of the town of Providence, as
viewed from the old fort on Federal Hill, near the
junction of Atwell's Avenue and Broadway, and included the space between Meeting street on the north,
and Wickendon street on the south. Its mechanical
execution is excellent, all the buildings represented

118

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upon it being painted with scrupulous fidelity. This
curtain was for a year or two displayed two or three
times a season as a part of the entertainments, but was
finally appropriated to its legitimate purpose. It is
still in a tolerable state of preservation, and is the
property of the Rhode Island Historical Society.
On the 13th of July Cooke made his first appearance
in Providence. He and Mrs. Cooke left New York by
the Providence packet on the 5th of July, and arrived
here on the 8th. His fame had preceded him. He had
arrived in New York from England, on the 16th of
November, 1810, and made his debut in America in the
character of Richard III. The excitement among the
citizens was intense. The throng about the theatre
was so dense and pressing that many were forced
through the doors without payment. On his entrance
he was welcomed by twenty-two hundred spectators
with thunders of applause; and the performance excited
the wildest enthusiasm, more than gratifying every
expectation. He played seventeen nights, and the
receipts of the managers were twenty-one thousand five
hundred and seventy-eight dollars.
He played in Boston and Baltimore with similar success ; but in Philadelphia the citizens were almost frantic in their eagerness to see him. On the Saturday
before his appearance the streets around the theatre

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were densely blocked by people struggling to reach the
box-office to secure tickets; some of whom had spent
the whole of the preceding night near the portico in
order to be the earliest on the ground when the office
should be opened. He began his engagement March
25th, 1811, as Richard III. The ticket-holders were
obliged to be taken through the back entrance of the
theatre over the stage to their seats, as the crowd in
front rendered access by the usual way impracticable.
He made several visits to New York, and in January,
1812, he played a second engagement in Boston, where
the rage for seeing him was so great, that, though the
weather was exceedingly cold, the box-office was surrounded from three o'clock in the morning until ten,
the hour at which the sale of tickets began. It is said
that during one of these Boston engagements a Providence boy, now living, excited by the reports of those
who had witnessed the acting of Cooke, and fearing
that he would never visit Providence, walked to Boston
for want of the means to travel by the usual conveyance, and then beheld the renowned actor, and felt himself compensated for his pains. The delirium of his
delight when Cooke actually came to Providence can
only be appreciated by those who had the luck to witness the impersonations of that wonderful genius.
Mr. Cooke opened on Monday, July 13th, as Shylock
in « The Merchant of Venice," to a house of $268.50.

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On Wednesday, the 15th, he played Richard 1IL, a
part that he had wrested from John Philip Kemble, to
a house of $286.00. On Friday, the 17th, Sir Pertinax
McSycophmt in " The Man of the World," to $227.50;
on Monday, the 20th, Macbeth, to $259.00; on Wednesday, the 22nd, Penruddock in " The Wheel of Fortune,"
to $165.75; on Friday, the 24th, Zanga in the "Revenge," and Sir Archy McSarcasm in " Love a la Mode,"
to $198.00. This was the last night of his engagement,
but he was reengaged for three additional nights. On
Monday, the 27th, he played Lear to $157.00; on
Wednesday, the 29th, Falstaff in "Henry IV.," to
$93.50; and on Friday, the 31st, for his own benefit,
Sir Giles Overreach in "A New Way to pay Old Debts,"
to $285.00.
The sums given above as the receipts of each night,
are the takings at the box-office for tickets promiscuously sold, but it is to be recollected that many of the
best seats were occupied by the stockholders, who,
according to the conditions of the lease, paid no
admission fee. The audiences, it will thus be perceived, were therefore larger than the receipts alone
would indicate.
Cooke's engagement at this time was to share equally
after one hundred and fifty dollars, and to have a clear
benefit. So these nine nights yielded him five hundred

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and fifty dollars, a very large sum considering the
population of the town, many of whom were not playgoers. This was to have been his last engagement
prior to leaving for England.
It will be observed that there was a remarkable
falling off in the receipts on the 29th of July, when
Falstaff was played. He had undertaken the character to oblige his friend Colonel Blodget, and on the
evening in question, before the rising of the curtain,
there occurred a violent thunder-storm, and very few
had gathered to witness the performance. Mr. Cooke
looked at the empty boxes, and then, addressing the
manager, said, "What shall we do—postpone the
play ? " " Oh, no; that is not according to the rule of
the Boston theatre; we always play, good houses, or
poor houses," was the reply. "Why," said Cooke,
"there are not twenty dollars i n ! " " T h e Boston
theatre has been opened, and the whole performance
given, when there were only nine dollars in the house,"
replied the manager. " Well, then, we will play," said
Cooke. Before the curtain went up the house was
pretty well filled, for Mat-. Williams's hack, the only
public vehicle that Providence then possessed, had
made repeated calls at the theatre, delivering each
time a load of eager occupants.1
1 Clapp's Record of the Boston. Stage.

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Cooke's Falstaff was far from being his best impersonation, yet in many respects it was delightfully
unctuous. An expression of Mr. Harwood, the boxkeeper, in his admiration of his acting, obtained currency, because recognized as apposite. In the passage
where Falstaff recounts his prodigious deeds of daring,
and exaggerates the number of his assailants until the
Prince, unable to endure his shameless mendacity,
reveals the truth, Cooke, thus caught, instantly replies:
u
By the Lord, Harry, I knew ye," etc. As he begins
the remark he laughs, and Mr. Harwood used to
protest that he saw the laugh come rippling into sight
at his ankles, and then spread up over his body
until his face was all ablaze with drollery, and his
frame shaking like jelly. " I saw his ankles laugh,"
said Harwood.
S. S. Southworth, the veteran journalist, has recorded
the following incident, which occurred at this time. One
of the most honoured citizens of the town was Thomas
Lloyd Halsey, a man of large fortune, of irascible temperament, and great fondness for theatrical entertainments. He had always been a patron of the theatre,
and had supported it with his influence and his purse.
His vigourous action in its defence, when its enemies
were urging their petition for its suppression made
him particularly conspicuous, and of his adroit man-

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agement of legislative committees, when the interests
of the drama were at stake, an illustration has been
already given. On the night when Cooke was playing
Sir Giles Overreach—at that point where he is overwhelmed by the production of the forged parchment—
Mr. Halsey became so excited that he involuntarily
rose from his seat, and ejaculated in the presence of a
crowded audience, " Throttle the damned infamous
villain!" to the amazement and horror of the whole
assembly.
This outburst of such an impulsive person as Mr.
Halsey, is to be regarded as strong testimony to the
genius of the matchless Cooke, whose personations of
the malignant passions have never been equalled. His
representation of the infernal craft of the super-subtle
Iago, once procured for him similar testimony; for such
was the profound dissimulation and treachery he manifested in his rendition of the character, that he excited
a hiss, which, considering its cause, was the highest
compliment that could be awarded.
Mr. Cooke regularly attended to his professional
duties during his stay in Providence; and never
played better in his life; his efforts here surpassing
those at Boston. Although he lived a considerable
distance from the theatre, on Benefit street, at the
Golden Ball Inn, now known as the Mansion House,

124

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he walked to and from it every morning, and on the
evenings of performance, and never missed a rehearsal,
or disappointed the audience. Every day as he came
down Thomas street on his way across the river, he
stopped at Thurber's,* near the foot of the street, to
regale himself with oysters. At about nine o'clock in
the morning he called at the post-office and spent half
an hour chatting with Mr. Gabriel Allen, who was then
acting as postmaster. Wherever he moved he was
followed by curious eyes, being as much an object of
6

general interest as President Monroe became, when he
visited the town five years later.
* Mr. Thurber was in 1812 the principal if not the only dealer in oysters in
Providence. From the beginning of the improvements in the town the majority
of the inhabitants had been unwilling to have the Cove filled i n : hence Canal
street was built very slowly. Beginning at the bridge it was first carried to the
place where Almy's brick store now stands, and there it stopped for a long
period. A small wharf was built there, at the north side of which lay a small
sloop used by Mr. Thurber for the sale of oysters, and known as " The Hooker."
The next push of Canal street was to the north side of Steeple street, where Mr.
Congdon's shop now is, and there the old hydraulion was placed, which sent
water to Benefit street. When this extension of Canal street was made Mr.
Thurber abandoned the sloop, and continued the sale of oysters at the foot of
Thomas street, on the west side of North Main street. He used to catch the
oysters in the forenoon, and sell them in the afternoon. He had no shop, but
sold them from a stand or bench, which had usually no covering, although
Sometimes in sultry weather he arranged a small awning over his own head.
His oysters were exposed on plates, and gentlemen and ladies of the highest
respectability were in the habit of stopping there to eat them. Here Entwistle
and Duff were frequently seen appeasing their appetites with the delicious
bivalves.

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Many persons are still living, who speak with enthusiasm of the genius of this wonderful man, who not only
astonished by the brilliancy of his talents, but delighted
by the clearness of his articulation. His pronunciation
of the English language was faultless, and it used to be
said that none could appreciate the beauties of the language until he heard it from the lips of Cooke; while
his acting was of such excellence that the efforts of the
vaunted prodigies who succeeded him were barely tolerable in comparison with his. But it was his eminence in elocution, more than his fame as an actor, that
drew to the theatre during his engagement all of the
bar, the rector of the church, and the pastors of several
of the other religious societies of the town, one of the
most able of whom afterwards forsook his former vocation, and became a prompter in a New York theatre.
There were some other persons present, who had never
before witnessed the performance of a play. Amos M.
Atwell took his son, Samuel Y., then a young lad, but
in after years distinguished as a lawyer, to every one
of Cooke's performances, and when certain acquaintances remonstrated with him for adopting a course so
likely, as they said, to create a taste for such an absorbing and deleterious amusement, he answered that it was
for the purpose of giving his son a permanent distaste
for the stage that he treated him in this unusual man-

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ner: " for/' said he, " after the boy has seen Cooke he
never will endure second-rate acting—his theatre days
will then be over."
It has been related that the managers used stratagems to keep Cooke in a fit condition to perform, and
that once when they had locked him in his room at the
inn to prevent him from obtaining the means of intoxication, he outwitted them by bribing a servant to bring
him a bowl of punch and a straw, and with the straw
sucked the liquor through the keyhole, thus solacing
himself for the inconvenience of his imprisonment. But
slight credence can be given to the story, inasmuch as
it has been related of others, and as it was inconsistent
with the violent temper of Cooke to brook restraint.
A mistaken impression has prevailed that he was an
habitual drunkard; but the truth is, that he was accustomed to abstain for months at a time from intoxicating
liquors, and then to indulge for a few days in riotous
excess. When he came to Providence he had just partially recovered from a severe attack of the liver disease, and dropsical symptoms had begun to manifest
themselves. He was, therefore, following a regimen
dictated by prudence, and not until the close of his
engagement did he make the slightest departure from
it. He then went to Boston for a few days, but soon
returned to Providence, where he fell into the society

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of certain convivial spirits, and was again seduced into
intemperate habits. It ought, perhaps, to be stated that
on one of the nights of performance he had made such
a lapse from the abstemious course he had determined
upon, that when he went to the theatre it appeared
doubtful whether he would be capable of going through
with the play; but though reeling when off the stage,
as soon as he showed himself in the scene all traces of
intoxication vanished, and he became master of himself,
and of all the passions that sway mankind.
After his return from Boston he was frequently seen
in lamentable plight, staggering in the streets, or resting
upon house-steps. One of his haunts was Esek Eddy's
bowling saloon, which, situated at the back of the Cove,
near the present situation of the Richmond Print Works,
was a place of general resort, and here he occasionally
procured the means of exhilaration. One afternoon
while there he became so far overcome with liquor as
to be scarcely able to walk, but he managed without
assistance to reach a point in Thomas street where
Noah Smith had a wheelwright's shop, a little east of
North Main street. Mr. Smith was at work upon the
body of a carriage then resting upon saw-benches standing on the sidewalk. When Mr. Cooke gained this
spot he sat upon the end of one of the benches to rest
himself, but the fumes of the liquor, mounting to his

128

HISTORY

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THE

head, stupefied him, and he fell upon the ground. Mr.
Smith hastened 4o his assistance, and helping him to
rise, led him to the inn.
This imprudent mode of life made sad havoc with
his health, and very soon his dropsical symptoms
increased to such an alarming degree that it was
feared he could not survive a removal to New York,
where his wife's kindred lived. He was, however,
removed thither, but death soon ensued. He breathed
his last on the 26th of September, 1812, in the sixtysecond year of his age.
His remains were deposited in the Stranger's Vault
of St. Paul's church-yard. When Edmund Kean was
in this country he was pained to find that no monument had been erected to the memory of the departed
genius, and he accordingly determined to erect one.
The monument was finished on the 4th of June, 1821,
and placed over the remains which had been removed
to a suitable spot in the burial ground on the corner of
Broadway and Vesey street. It is a work of durability and taste, and bears the following inscription:
"Erected to the memory of
GEORGE

FREDERICK

COOKE,

B Y EDMUND KEAN, OP THE THEATRE ROYAL, DRURY LANE,

1 8 2 1.
Three kingdoms claim his birth,
Both Hemispheres pronounce his •worth."

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Mr. Cooke was about five feet ten inches in height,
and scrupulously neat in his dress. His manners were
dignified, self-possessed, and courteous. His nose was
prominent, in shape between the aquiline and the
Roman; his eyes were full, brilliant, and satirical in
expression; and his complexion singularly clear and
beautiful. He wore when in Providence, a blue coat
with gold buttons, breeches, and top boots, his hair
being powdered and worn in a queue. No one would
suppose from his appearance that he had any proclivity for indulgence in intoxicating liquors; but
would set him down as a precise, well-bred " gentleman of the old school." In society he was affable, and
his conversation gave evidence of excellent judgment,
and a well-stored mind. At those intervals when he
gave way to his only vice he never lost his precise air,
though he became overbearing in his assumption of
superiority, and occasionally fierce in his vituperations.
At such times, in the very tempest and whirlwind of his
passion, he never evinced any malignity, but, on the
contrary, by some chance expression, gave indisputable
evidence of a noble nature. It is related that once
after receiving £400 in bank notes, he thrust the whole
amount into the fire in order to put himself on a level
to fight a man, in a pot-house row, who had said that
Cooke provoked him to battle because he was rich and
the other poor!
9

130

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THE

One of his most striking peculiarities was his indifference to the results of his caprices. While never
condescending to propitiate his audiences, he not unfrequently treated them with open contempt. During
his stay in Providence, it appearing probable that he
intended to neglect the performance on one occasion
for another occupation, two of the most prominent of
the citizens called on him and urged him to keep his
engagement, if only out of regard to them, they being
as they sought to impress upon his mind, the " nobility "
of Providence. At this announcement the tragedian
became exasperated, and returned such an answer that
the ambassadors beat a precipitate retreat, carrying
with them the conviction that Cooke was a low fellow,
unable to comprehend the delicacy of gentle-folk. This
answer wicked people of the baser sort have not yet
forgotten.
When in Boston he once indulged his capricious
mood and kept his audience waiting until their patience
was nigh exhausted. The managers humbly suggested
that the cream of Boston society were waiting his
pleasure. " Let them wait," said he with a contemptuous sneer, " I Ve made the KING OF ENGLAND wait!"
During one of his early appearances in New York,
he is said, being elated, to have refused to act till the
orchestra had played " God save the King;" and then

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131

insisted with tipsy gravity that the audience should be
" upstanding." 1
When playing an engagement in Liverpool, he was
called on to offer an apology for some offence on the
stage. Liverpool merchants had much fattened then
by a fortunate pushing of the trade in human flesh.
" Apology ! from George Frederick Cooke !" he cried;
"take it from this remark: There's not a brick in
your infernal town which is not cemented by the blood
of a slave !" l
To the actors who supported him in his renditions
he was ever courteous, his conduct in this regard being
in charming contrast to the insolent demeanour of
Cooper, and of many other of the stars, who in return
for certain pelf deign to exhibit their glory in provincial theatres.
The late Edward Simpson, who had no friendship for
him, said that he never saw him vexed with an actor but
once. He had been, after many importunities, induced
to play Hamlet, a character for which he certainly was
not fitted, and in assenting he made a positive stipulation that the Ghost should be sustained by an old
stager, named Chapman, in whom he had great confidence. " My success in the part," said Cooke, " depends
on the correctness of the Ghost, and Chapman is my
1 Doran's Annals of the English. Stage.

132

HISTORY

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THE

man." Chapman was what is called " a conscientious
actor/' and he was delighted when he was informed
that the Ghost had been entrusted to him at Cooke's
especial instance. Such a compliment he could not
estimate too highly, and he resolved to make the part
realize Cooke's expectations. At rehearsal he appeared
"letter-perfect/' and received his instructions with profound deference; and when the night came for him to
immortalize himself he was unusually attentive to business. Being somewhat advanced in years, he wore
spectacles; and when the cue was given for his
entrance he was standing at the wings, spectacles on
nose, looking over his part. Responding at once, he
presented himself in spectacles to the horror of Hamlet, and amid deafening peals of laughter from the
audience. A ghost in spectacles! Cooke lost all
patience, denounced the unlucky and confounded actor,
and vowed he never would attempt Hamlet again.
Every one must abhor the vice to which Mr. Cooke
was addicted. It was indeed a grievous fault, and has
furnished a subject on which the opponents of the sttige
delight to dwell, while they forget to touch upon his
lavish charities, and to relate how the greater portion
of his large income was distributed among the sick
and needy; yet those who are acquainted with the incidents of his life, can suggest circumstances which pal-

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liate the offence, and turn indignation into pity. Mr.
Cooke's parents deeply resented his adopting the stage
as a profession, and died without forgiving him, excluding him from his little patrimony. Opinions may differ
as to the amount of constraint parents may rightfully
use in controlling their children's choice of a profession, but none can justify that unrelenting spirit which
his parents showed in not pardoning their child's opposition to their preferences when it had led him to eminence, and when after years of successful toil he had
found no cause to repent his course. By their harshness his sensibilities were deeply wounded, his hopes
of happiness were dissipated; he reproached himself for
unfilial conduct, and when he could no longer hope for
reconciliation with his estranged parents, he resorted
to the wine cup for Lethean draughts.
He despised himself for his weakness, and filled his
diary with humiliating confessions. The recollection
of the improprieties he committed when intoxicated
was always present to him, and shame made him avoid
society, and plunge deeper into ruin. Had he faithful
friends he might have been rescued; but he knew not
the sweets of friendship. Although surrounded by
flatterers, and a frequent guest at the tables of the rich,
he had sufficient penetration to discriminate between
friendship and the ephemeral popularity which he

134

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THE

derived from the display of his histrionic abilities.
Travelling from city to city, and from country to
country, he had no settled home, and his isolated position as an actor also militated against the cultivation of
the social relations. Thus alone in the world, he had
ample opportunity for bitter reflections, and, when
these became too oppressive, wine came to his relief.
While Mr. Cooke was in this country a number of
portraits of him were painted, one by Stuart in Boston, and several by Dunlap; but the finest of all was
painted by Sully, representing him as Richard III. It
now adorns the Philadelphia Academy, and is not only
a truthful portrait of the great actor, but an excellent
Shakspearian illustration.
The late Mr. C. Leslie when an unknown lad in
Philadelphia, attracted attention to his own talents by
the surprising readiness with which he caught the likeness of Cooke, as he was playing the characters of
Richard, and Sir Pertinax McSycophant in that city.
His spirited drawings gave such promise of future
attainments, that a number of gentlemen contributed to
send him for competent instruction to England, where
he rose to distinction. Several engravings were made
of the portraits, and for many years after the death of
Mr. Cooke were hanging upon the walls of the citizens of Providence.

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135

The great talents of Mr. Cooke were undoubted,
and when he shook off the debasing habits that sometimes clouded his excellence, he commanded the admiration of all the critics, and was attended by all the
literati of the day. Wherever he played he won victorious wreaths, and his path was bright with glory.
Volumes might be filled with adulatory lines addressed
tp him, but no one more feelingly recites his praises
than Phillips in his " Emerald Isle " :
" The rival muses owned the alternate reign,
With mutual feelings each their feuds forsook,
Comhined their efforts, and created Cooke.
Pure child of Nature ! foster child of A r t !
How all the passions in succession rise,
Heave in thy soul, and lighten in thine eyes !
Beguiled by thee, old Time with aspect "Wythe,
Leans on his sceptre, and forgets his scythe ;
Space yields its distance, ancient glories live,
Ages elapse, remotest scenes revive —
For thee creation half inverts his reign,
And captive reason wears a willing chain."

136

CHAPTER

VI.

1812 — 1816.
The production

of Cinderella — A melancholy incident occasions great

scandal—Reappearance

of Mrs.

Whit lock — Mr. Entwistle in York-

shire characters — Benefit of Mrs. Barnes—
tre decorated — Mr.

and Mrs.

Anecdote of " Bute a Wife and Have a Wife"
from

the Stage—The

The interior of the thea-

Buff—Reappearance

Great Gale — Anecdote of Mr. Legg — Mr.

and Mrs. Young — Mr. and Mrs. Powell — James A.

A

of Cooper—•

— Cooper''s retirement
Bickson.

FTER the departure of Mr. Cooke the managers
were put to their wits to devise some novelty
unusually attractive, that the attendance at the theatre
might not diminish. They had peculiar disadvantages
to combat; for the last engagement, though perfectly
successful, had exhausted the resources of the humbler
patrons of the theatre, while the richer citizens, after
enjoying the brilliant personations of a "mighty actor,"
were but little inclined to attend performances which
would now seem mean and contemptible. Still farther, the whole community was saddened by the recent
declaration of war between England and the United

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137

States, and every one felt averse to public amusements
of any kind. The news of that event had reached
Providence near the close of Cooke's engagement, and
the attendance at the theatre was perceptibly diminished. The war was not popular in this town. The
bells were tolled, other demonstrations of sorrow were
made, and every countenance wore an expression of
grief. The 23d of July was by recommendation of
the legislature of the state, observed as a public fast
day.
At such a crisis nothing could be so remunerative
as a spectacle. Accordingly a pantomimic show-piece,
founded on the nursery tale of " Cinderella," was produced with much attention to stage appointments and
scenic effects, and it realized the expectations of the
managers, drawing nearly all the families of the town
to the exhibition.
During this eventful season, and while as yet the
embers of hostility to the theatre were aglow, there
occurred a melancholy incident, fraught with misery to
a peaceful home, and kindling a new but transient
indignation against actors and plays. An actor of
decided merit who had recently arrived from England,
and had made his first appearance on our stage on the
opening night of the season in the character of Frederick, in " Lovers' Yows," had succeeded in enticing a

138

HISTORY

OF

THE

young girl, the daughter of a respectable citizen, from
her home, and had clandestinely married her. He
was about six and twenty years of age, of graceful
person, and fascinating address. With his flattering
tongue he made rapid advances, and found an easy
victim in one who at his first approach was charmed,
and became powerless to repel his advances. A brief
courtship was succeeded by a flight into an adjoining
state, and a marriage. Almost immediately after this
marriage he neglected to provide for his wife the ordinary necessaries of life, treated her with coldness and
cruelty, and exasperated her beyond endurance by his
shameless infidelities. He had the hardihood to play
before an audience incensed by his conduct. The public resentment was so manifest that he was discharged
from the theatre; but for want of means he was unable
to remove from town until the end of the dramatic
season, when, assisted by one or two of the company,
he gave a public entertainment, and then disappeared.
His unhappy wife returned to her friends; a divorce
was easily procured, and then this blighted young
creature remained years buried in seclusion. She at
length listened to the proposals of another and more
honourable suitor, and marrying a second time, removed
to Charleston, South Carolina. She had resided in her
new home but a brief period, when her betrayer made

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his appearance in that place, and married again, first
having engaged in a duel with Mr. Charles Young,
whose wife he had insulted. The incident of meeting
him in this remote part of the country, where she and
her husband had taken refuge in the hope of finding
that repose and retirement which both of them earnestly desired, produced a melancholy depression, which
finally consigned her to the grave. It was afterwards
discovered that her heartless destroyer had run the
same career in England, and that he had there abandoned three wives before coming to America. It is
related that these deserted w~omen all came to America,
and that the three on one occasion by some accident,
were brought into each other's society.
The extraordinary baseness of this one delinquent
was long remembered in Providence, and operated to
the detriment of the whole theatrical profession. His
wickedness, great enough in reality, was exaggerated,
and by many believed to be the inseparable characteristic of all actors. The unthinking multitude forgot
the unblemished reputation of those who had long
adorned their stage, and been examples of all public
and private virtues, and indulged in violent invectives
against all who were connected with the theatre.
Even yet there lingers among the ignorant some suspicions of the players, and though no one institution in

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our midst has borne a more honourable record than
the theatre, yet let some obscure actor make a false
step, and numbers are ready to bruit it abroad, and
visit retribution on all his associates. Let the same
retribution be visited upon any other profession, and
is there one that could bear the light ?
The season of 1813 began on the 4th of July. The
additions to the company were Messrs. Cleary, Johnson, and McFarland, with Mesdames Wheatley and
McFarland. On the 12th, Mrs. Whitlock, who had
been engaged for three nights, opened as Widow
Cheerly. She had lately returned from England, and
was making a tour through all the theatres of the
country. The critics thought that she had much
improved since her former visit to America. She had
become very large, but in spite of her corpulence had
sufficient talent to force admiration of her acting from
every spectator. On her second night the entertainments were under the patronage of a number of literary
gentlemen of the town, on which occasion she played
Lady Macbeth to the Macbeth of Mr. Cleary, recited Colins's ode, " The Passions," and performed Catherine to
Mr. Young's Petruchio. She remained a fourth night,
appearing as Elvira for her own benefit.
After her departure the company depended upon
their own exertions in standard plays. Mr. Entwistle

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appeared to much advantage as Farmer Oldfield, in
" Speed the Plough." He was admirable in all Yorkshire characters, but his master-piece was Tyke, in
" The School of Reform." It was a splendid piece of
acting, and one which has never been surpassed. Mrs.
Duff, a very competent judge of playing, used to say
that she would at any time walk five miles to witness
his personation of the character.
Mrs. Barnes's benefit on the 16th of August, proved
very remunerative. She had seen much affliction during the year, having lost both her husband and her
father, the old favourite of the Providence theatre, Mr.
Bates. She undertook the maintenance of her young
brother, and was entirely dependent for support on
her earnings as an actress. These circumstances
awakened general sympathy in her behalf, and called
to the theatre a numerous assemblage on the night set
apart for her benefit.
Early in the summer of 1814, Mr. Warrall was sent
here to decorate the theatre. Under his directions
the embellishment was completed in season for the
opening night. Over the proscenium was an Ionic
entablature, the frieze adorned with a gold scroll ornament. On the centre, resting on a tablet, were the
sterns of three ships, viz.: the Independence, supported by the United States on the right, and the Con-

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HISTOKY

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stitution on the left. The motto on this tablet was:
" To hold the Mirror up to Nature." From this hung
a crimson curtain with gold fringe and tassels. The
ceiling of the proscenium was divided into panels of
purple and gold. The dados around the upper tier of
boxes was adorned with three tablets; those on the
right and left contained representations of vessels
which had signalized themselves; the Wasp, the Hornet, the Enterprise, and the Peacock; that in the centre contained the Lawrence, the Niagara, and the
Caledonia. Rostrated columns bore the names of
Hull, Decatur, Bainbridge, Lawrence, Jones, Burrows,
Washington, and Perry.
The stage was lighted by a new set of brass lamps
with globe glasses, which gave brilliancy of effect, and
were a security against accident. Many of the scenes
were entirely new, being the work of Mr. Warrall.
At this time that class of plays now contemptuously
stigmatized as "contemporaneous dramas" was in
vogue, and every important event was dramatized,
and at once produced upon the stage. The victories of
the Americans over the British forces afforded subjects
for many plays, and during each season two or three
of these novelties were presented to the public. The
patriotic piece of this season was the " Heroes of the
Lake," written to celebrate Commodore Perry's victory on Lake Brie.

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The company consisted of Messrs. Young, Dickson,
Bray, Hughes, Stockwell, Legg, W. Jones, Garner,
Savage, J. Jones, and Fennell, Jr.; also Mesdames
Powell, Young, Mills, Bray, Barnes, and Hughes, Miss
White, (who soon became Mrs. Savage,) and Miss
Stockwell, (who afterwards became Mrs. George H.
Barrett.)
The star of the season was Duff, who opened in the
middle of July, and played a series of tragedy heroes
until August 5th. His performances were applauded
by almost all the play-goers, but people of the most
correct taste preferred to see him in comedy and
farce, for which he was best qualified. As an actor of
comedy he was one of the best who has ever trod the
American stage, but as a tragedian he was but little
above mediocrity.
He had been the leading actor at the Dublin theatre,
where he was engaged by Mr. Dickson, and came with
Mrs. Duff to Boston in November, 1810. In 1811 he
went to Philadelphia, where he became exceedingly
popular, his benefits always netting him large sums.
He there attracted immense audiences in " Three and
the Deuce," which was played as a first piece, and
soon became the most profitable actor that any theatre
could engage. He travelled through the United States
as a star, but did not accumulate so much money as he

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THE

might have done had he remained in Philadelphia. He
became subject to attacks of gout, which sometimes
confined him for many weeks to the house. He was
extravagant in his habits, and too much disposed to
conviviality. On his visits to Providence he made his
home at the Messer place, on Cranston street. He
died in 1831.
Mrs. Duff was one of the most beautiful women that
ever appeared upon the stage, and she was equally
conspicuous for her talents. Her maiden name was
Dyke, and she and her sister had been dancers at the
Dublin theatre. This sister married the celebrated
Thomas Moore, and the well known song, commencing
" Mary3 I believe thee true,"

was addressed to Mrs. Mary Duff.
In her youth she had manifested no inclination for
the stage, and entered with but little spirit into the
business of the profession. Several years later, however, she astonished every one by throwing off her
indifference, and appearing before the audience as an
actress of splendid talents.
Her husband's improvidence and frequent excesses
occasioned her much uneasiness. She passed days and
nights in sorrowing over his derelictions of duty, fearful that in the event of his death there would be no
provision for her children, for whose welfare she had

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ever been tenderly solicitous, nurturing them in the
practice of the strictest morality. Stimulated by her
maternal affection she bent her energies to the mastery of the most difficult characters, and after severe
study showed herself capable of maintaining a high
rank in her profession. During the engagement of
the great Kean, she played opposite parts with such
spirit, that once she divided the applause with him.
It is said that he disapproved of the warmth of her
personation, and informed her that he was to be the
prominent person, whom she was to second, and not
seek to equal. Mrs. Duff replied that she should
like to oblige him in any other matter, but that the
maintenance of herself and her children depended on
her professional eminence, and that she felt it her duty
to act in such a manner as would best further her
interests in this respect. She spared no exertions,
and, after her fame had become wide-spread, she travelled through the United States as a star, visited England, and in March, 1828, played at Drury Lane
theatre. She subsequently returned to this country,
and, after she became a widow, retired from the stage,
and married a member of the New Orleans bar.
She was an actress whose power lay in her identification with the characters she assumed. She was once
performing the part of Mrs. Hatter, and so deeply was
10

146

HISTORY

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THE

she imbued with the emotions of the repentant wife,
that in the last scene, where the interest culminates,
she swooned outright, fell upon the stage, and was not
able to recover until assistance came to her relief.
The season of 1815 began St. John's Day, June
i6th, with "The Foundling of the Forest," the company being enlarged by the addition of Mr. and Mrs.
Green. On the 4th of July the decorations and transparencies which had been exhibited in Boston at the
Peace celebration, were displayed upon the front of
the theatre.
The tragedian Cooper began an engagement July
24th, as Hamlet, the principal characters in the play
being thus distributed: King, Hughes; Polonius, Bray;
Horatio, W. Jones; Laertes, Legg; Rosencrantz, Fennell, Jr.; Guildenstern, Savage; Osric, Clark; 1st
Grave digger, Bray; 2nd do., J. Jones; Ghost, Young;
Queen, Mrs. Mills ; Ophelia, Mrs. Young; Flayer-queen,
Mrs. Savage. Towards the close of his engagement
Mr. Cooper was supported by Mrs. Williams, who
had been engaged for four nights, and was an actress
of much talent, capable of playing the heroines of
tragedy and comedy. For his benefit he personated
Leon in Beaumont and Fletcher's comedy of " Rule a
Wife and Have a Wife."
The selection of this lively, but extremely indelicate
comedy was not made by Mr. Cooper. In Providence

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147

he had many admirers, and his society was courted by
all the prominent families who countenanced the theatre.
On one of his off-nights he was the principal guest at a
social party, and some of the ladies inquired what play
he intended to produce for his benefit. He gallantly
answered that they might make the selection. They
received the proposition with pleasure, but, being unable
to agree in their choice, they at last decided to refer the
question to the hostess, Mrs. T., who at once named
"Rule a Wife and Have a Wife." After the representation much surprise was expressed at the selection,
as the grossness of the language of the piece gave
much offence. Many believed that the lady was familiar with its character, and that it was her favourite
play; but it is more probable that she was completely
ignorant of everything concerning it, except its name,
and this she flippantly mentioned as it rose in her
memory.
Thomas A. Cooper arrived in this country from
England, in 1796, and soon became the delight of the
American stage, maintaining the highest position as an
actor for about thirty years. In his visits to Providence he was always welcomed by large audiences,
and was the pet, the idol of the town. He was richly
endowed in voice, person, and feature, and possessed
all the other qualifications essential to distinguished

148

HISTORY

OF

THE

success upon the stage. Macbeth and Othello were his
best Shakspearean delineations, and his Damon has
never been equalled by any one, except Edwin Forrest.
He received immense sums in the exercise of his professional talents, but they were spent in sumptuous
living. As old age was stealing upon him he studied
no new parts, but confined himself to an unvarying
repetition of a few, in which when his genius shone in
its meridian brightness, he had won full-handed thunders, and consequently he declined in popular favour.
For a while he endeavoured to maintain his old position, and to wrest from the audiences that applause
which had become his life—his more than daily food;
but at length, with no provision for his declining years,
he saw that his day had passed, that new aspirants for
dramatic fame were rising on every side, and that he
had become an object of commiseration. Then he
realized the truth of Doctor Johnson's sounding line:
u

Superfluous lags the veteran of the stage."

His daughter at this conjuncture married Eobert Tyler,
son of President Tyler, who procured for him a lucrative office in Philadelphia, from which he was removed
by President Polk. By the intercession of some friends,
he was at length appointed an examiner in the New
York custom house, and officiated in that capacity until
his death in April, 1849.

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149

The season closed on the 13th of September, with
Mrs. Powell's benefit, after which most of the comedians went to Boston.
On the 23d occurred the " great gale.'' A tornado
from the south-east caused the tide to rise to an unprecedented height, and to inundate the streets on the
west side of the river, as well as the wharves on both
sides. It carried away the great bridge, and extended
in Westminster street beyond the theatre. The vessels in the harbour broke from their moorings, and went
ashore at the head of the cove. One of them floated
up Weybosset street into Eddy street, and grounded
with her bow close to the Webb house, nearly opposite the Universalists' meeting-house. Nearly five
hundred buildings were destroyed, and the loss to the
town was estimated at more than a million of dollars.
When the water had subsided a ferry afforded means
of communication between the two sides of the river
until the erection of a new bridge. The novelty of
this arrangement gave delight to Mr. Joseph Legg, *
one of the actors, and he found much pleasure in
crossing and recrossing. The first day that the ferry
boat made its trips, he spent all the day in it, to the
* This Mr. Legg was a young man of much personal beauty, and in light
comedy won admiration by his grace and elegant manners. Being possessed
of a melodious voice and a fine figure, he became a great favourite with the
girls of Providence, and it was said that many of them were hopelessly in love
with him. He was attentive to his professional duties, and never presumed on

150

HISTORY

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THE

wonder of the citizens, who were unable to understand
how any amusement could be derived from such an
occupation.
The gale destroyed the salt-works, near Sabin's
Point, a few miles down the river, which had been
erected by a company of speculators upon the representations of James Fcnnell, the celebrated actor. He
was a man of splendid physical proportions, and of
commanding talents, but was the most visionary of
speculators. He had studied law in England, had
tried the stage and won a high reputation, when he
suddenly took a whim to visit America. In every
theatre in which he played he proved exceedingly
attractive, but in Philadelphia he attained a degree of
popularity resembling adulation. He could easily have
acquired a fortune, but his devotion to the wildest projects kept him always poor, and only when destitute of
means would he bestow attention upon his profession.
He had once visited the Bahamas, and had there seen
salt made by solar evaporation. Professing to be
familiar with the processes, he succeeded in inducing
capitalists to assist him to erect salt-works near New
London, and to build vats under his direction near
his great popularity. One night when he was advertised in the part of Doricourt, he absented himself from the theatre, and the next day his admirers were
shocked to hear that he had gone to Boston and there eloped with a young lady
of wealth. His marriage proved very unhappy, and Legg after a life of trouble
died in Louisiana.

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151

Sabin's Point, about the year 1807. These projects
proved unremunerative. Fennell was denounced as
an imposter; numerous suits were commenced against
him, and he was scarcely free from one jail before he
was consigned to another. While in Providence he
became engaged to the widow Suzman, a foreigner
then residing in the town; involved her property in
his schemes, and was dismissed with contumely. He
struggled for some time against'his misfortunes, still
clinging to his salt theories, and finally died in destitution in Philadelphia, on the day when the great gale
destroyed his vats.
Mr. and Mrs. Young this season took their farewell
of Providence, where they had always been favourites.
Mr. Young was finely formed, six feet in height, with
full chest, erect carriage, and clear complexion. He
was not distinguished for talents, though he was well
qualified for many of the characters of melodrama.
His wife was considered by many the most beautiful
woman of the day, and counted her admirers by thousands ; but her beauty was not of an intellectual kind.
She was rather small, well formed, and had a beautiful
complexion. Her talents would never have made her
conspicuous, but with almost every one her beauty atoned
for all her deficiencies. Her husband was*exceedingly
jealous of her admirers, and his jealousy once involved
him in a duel in Charleston, in which he was wounded.

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In 1816 theatrical performances were given during the
month of July, and two weeks in September. Among
the new faces in the company were Messrs. Williams?
Pelby and Stamp, and Mrs. Moore, formerly Mrs. Woodham, from the New York and Philadelphia theatres.
During the management of Powell and Dickson the
last night of every season was assigned for the benefit
of Mrs. Powell. At the close of that of 1816 Mr.
Dickson made his first appearance in two years to perform Sir Peter Teazle. On this occasion the editor of
the "American " made the following remarks :
" Mrs. Powell's claims on the esteem and patronage of the public
are universally allowed, and we trust that those who admire her in
the walks of private life, will give this evening a solid proof of
their willingness to encourage the excellence they have the discernment to discover, and the candour to approve."

Mrs. Powell hardly needed the editorial recommendation to secure a large house, she being too well appreciated for that to be indispensable. Her great ability
afe an actress, both in comedy and tragedy, was acknowledged by all theatre-goers, while her private character
was admired by numerous friends. She was the cherished companion of the wives of the principal citizens,
and adorned their drawing-rooms with that grace which
was conspicuous on the stage. When in Providence
she always attended St. John's Church, and sat either
in Colonel Blodget's pew, or that of J. B. Wood, the

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esteemed banker. On her benefit nights the theatre
was usually crowded. In Boston on these occasions
the receipts used to exceed a thousand dollars; and
here they sometimes reached the sum of five hundred
dollars. At the ordinary prices the house could not
contain that amount, but gentlemen when purchasing
their tickets would pay for them with large bills, refusing to receive change. In this way the receipts were
much increased.
Mrs. Powell was born in England in 1774. Her
maiden name was Harrison. She was of good family,
but, being dependent upon her own exertions, adopted
the profession of an actress, and soon attained a respectable position on the stage. She had appeared before
George the Third by command, and had often performed second characters to Mrs. Siddons, having made
a tour in the provinces in company with her. She was
induced to come to the United States by Mr. Charles
Powell, and, in 1794 married his brother, Mr. Snelling
Powell. She died in December, 1843. Her husband
was of Welsh parentage, and inherited from his father,
who was a theatrical manager, a taste for the stage. He
came to America in 1793, and, after a few years experience as an actor, assumed the direction of a theatre
in Boston, where by his honourable conduct and generous disposition he obtained an enviable reputation.

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HISTOKY

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James A. Dickson was a man of sterling integrity,
and as an actor, a manager, and merchant, was highly
esteemed. He had a portly figure, and his graceful
movements and distinguished bearing proclaimed him
a gentleman. He was born in London in 1744, and,
on attaining his majority came to this country with the
intention of engaging in commercial pursuits ; but, being
much praised for his talents for dramatic recitation, he
became an actor. He changed his name, for the sake
of his relations, to Dickenson, but afterwards resumed
his family name. His line of business was " first old
man," and in that he excelled. He was scrupulously
perfect in the words of his characters, had an excellent
taste in costume, and showed himself a complete artist
by his faithful attention to the minutest details of personation. After he became a manager he several times
visited England to procure theatrical recruits, and it was
under his auspices that many well-reputed actors were
introduced to the American stage. He retired from the
profession as an actor in 1817, but twice reappeared
for Mrs. Powell's benefits. He did not abandon the
labours of a manager till several years later. He then
engaged in mercantile life and accumulated a competency. During his visits to England he used to execute
the orders of American merchants, and there took the
agency of Day & Martin's blacking. He died in 1853.

155

CHAPTER

VIII.

1817-1827.
Mrs. Powell becomes lessee of the theatre — Appearance of IncUdon —
The first Saturday evening performance—The West Point Cadets
attend the play — Death of Mr. Bray — J". Wallack — A calamitous
fire — Edmund Kcan in Providence — Difficulties of a journey to
Boston — Clark § CharnocJc become lessees of the theatre — Dibut of
Edwin Forrest — Death of Mary Ann McBride — Benefit of Mrs*
McBride— Samuel J. Smith— William A. Conway.

A

FTER the expiration of the lease held by Powell
and Dickson, Mrs. Powell became the lessee,
and maintained the theatre for several years, Duff and
others acting as managers.
In 1817 and 1818 the theatre remained closed,
except for a few nights in the early part of September,
when a very good company, the prominent members of
which were Mr. and Mrs. Duff, Mr. and Mrs. F. Brown,
Mr. and Mrs. Drummond, and Messrs. Green, Pelby,
and Adamson, profited by the influx of strangers
attending the Commencement festivities, and came to
Providence.

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HISTORY

OF THE

In the summer of 1818 the celebrated Ineledon,
assisted by Bianchi Taylor, gave a concert upon its
stage. The pieces sung by Incledon were " Washington's Star;" "Encompassed in an Angel's Frame;"
"Black-eyed Susan;" "Blow high, blow low;" "Scot's
wha ha'e wi' Wallace bled;" "Sailor's last Whistle;"
"Quaker Song," and the famous "Storm." His fame
is associated with his execution of the " Storm," which,
as rendered by him, produced an intense effect.
In the autumn of 1819 the first performance ever
given on a Saturday evening in Providence (except
in 1807, when the 4th of July fell on that day)
took place, the curtain rising earlier than usual that
the entertainment might be concluded at a seasonable
hour. The novelty gave offence to some scrupulous
people, and several communications respecting the
innovation appeared in the newspapers; but the subject was soon dropped.
In August, 1821, the West Point cadets, numbering
rank, file, and musicians, two hundred and thirty-five,
arrived in town, and encamped on Camp Hill, in front
of Colonel Blodget's residence, now the house of Mr.
Alexander Duncan. In the evening they visited the
theatre by invitation, and witnessed the performance
of " Laugh when You Can," and " Of Age To-morrow."
The great tragedian, Junius Brutus Booth, made his
first appearance before a Providence audience in

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157

1822, and attracted crowded houses. The Providence
"Journal" pronounced him the best actor that had ever
visited the town, except Cooke, and in excellent criticisms pointed out his merits. Prom that time Mr.
Booth made frequent visits to Providence, and he
never found a more appreciative audience, or more
sincere friends than in this place. Here he played
his grandest characters in his best manner, and here
too he indulged in some of his wildest pranks.
Mr. Booth was succeeded by Mr. Barrett, who played
several nights in genteel comedy.
This year was missed the low comedian, Bray. In
the preceding year, while playing in Boston he became
very ill, and his disease baffled the skill of the physicians of that city. In the hope of regaining his health
he left America to revisit his native country in the
spring of 1822, but died two days after his arrival, at
the house of his sister, on the day he completed his fortieth year. He was a gentleman of irreproachable
morals and elegant manners. He had enjoyed the
advantages of a good education, and his talents as a
musical and dramatic author were considerable. He
was master of th§ French language, and adapted many
plays from the French stage for the Boston theatre.
As a low comedian he excelled, being one of the best
in his time. He had that rare kind of comic talent that

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may be called the " serio-comic." He was not obliged
to say more than was set down for him; nor resort to
the grimaces or other spurious artifices with which
many actors endeavour to set on a quantity of barren
spectators to laugh; but his humour was natural, and
his self-control so complete, that when the audience
were in tears from excessive merriment, himself
remained imperturbable and stolidly unconscious. He
was a comedian of the true stamp, one
" Whose every look and gesture was a joke
To clapping theatres and shouting crowds,
And made e'en thick-lipped melancholy
To gather up her face into a smile
Before she was aware."

His death was lamented by all who had the fortune to
be acquainted with him, and his memory is still held
dear.
After this season theatricals were better patronized.
For three or four years they had not prospered; there
bejng less taste for the drama, and the character of the
performances having deteriorated. The old supporters
of the theatre had begun to weary of their proteges, and
no longer was it a passport to the n%pst cultivated circles to be an actor. Times were changed since the
principal families contended for Mr. Harper's society,—
when he dined every Sunday with the Olneys, the God-

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159

dards, or the Carters. But this lack of interest in the
theatre was in some measure the fault of the actors.
They did not maintain so high a standard of character
as they did when all their motions were observed, set
in note-books, learned, and conned by rote, and when
punishment would have followed any misbehaviour.
Many of them were too fond of conviviality, and on
their " off-nights " nearly all of them would indulge in
excessive hilarity, so that people began to associate the
actor's profession with disorderly conduct. The actors
had too much time on their hands, performing only
three times a week; and their representations, being
merely repetitions of their Boston performances, cost
them but little study. Still |jirther, when the heat of
summer prevented the people of Boston from attending
the theatre, the actors always came here; and when the
citizens of Providence had become familiar with most
of the acting plays, they became fastidious in their criticisms, and could not be induced to crowd into the theatre to witness inferior entertainments.
This year the season began in May, and after a few
weeks the theatre closed, to reopen in September.
In 1823 the principal event was the engagement of
Mr. Wallack, Messrs. Kilner and Clark being the managers. He opened as Rolla to an excellent house, the
receipts being $330.00, and all his performances were
well attended.

160

HISTORY

OF THE

In 1824 Henry J. Finn first appeared before the Providence public, playing a round of tragic parts, and producing " Tom and Jerry/' in which he personated Bob
Logic. This play whenever presented proved very
attractive, although there were not wanting some who
pronounced it immoral, and deplored the vitiated taste
then prevailing.
Finn was succeeded by Conway, who produced a
favourable impression, attracting excellent houses.
During the spring of 1825 a calamitous fire occurred,
occasioning much distress. It was discovered about
eleven o'clock on the evening of the 23d of May, and,
despite the efforts of all the inhabitants, it' consumed
many dwellings on or ao^acent to Westminster street,
and the Universalist chapel, with the rich contents of
its basement, being one hundred bales of cotton and
three hundred barrels of whiskey, which had been taken
for storage by the thrifty worshippers. As soon as the
alarm was given the audience and the actors of the
theatre, which then chanced to be open, repaired to
the scene, and did good service in saving the property.
Mrs. Henry was then the leading lady of the company,
and she was particularly conspicuous that night in
ministering to the necessities of the houseless. The
theatre was used as a store-house for goods saved
from the flames, and, a few nights afterwards, the

PKOVIDENCE

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161

actors gave a performance for the benefit of the sufferers, the proceeds of which were put into the hands of
a gentleman of the town for distribution, the managers
adding to the sum a liberal gift.
The theatre remained open only twelve nights at
this time, but was reopened in August for a brief
season, Mr. and Mrs. J. Barnes being the chief attraction. The stock company included Messrs. Finn, Kilner, Brown, Fielding, Clark, Thayer, Scott, Bernard,
Charnock, Spear, Reed, and Mrs. Henry, and Miss
Powell, daughter of Mrs. Powell, the lessee, and subsequently the wife of Mr. Finn.
. In December a very distinguished actor made his
first and only appearance in Providence, but not to
win loud plaudits from audiences frenzied with delight,
as had been his wont in the great London theatres. It
was Edmund Kean, who, a fugitive from the fury of a
Boston mob, in disguise made Providence his temporary resting place, as he sought security in flight. It
is well known that when Kean played in Boston, in
1821, his second engagement, on the night when he
was announced to appear as Richard III., so few persons were present at the time of the rising of the curtain that he refused to play, and at once left Boston.
On his return to America in 1825, the Boston managers, believing that all animosity towards him had
li

162

HISTORY

OF

THE

become extinct, engaged him, and advertised his
appearance in his greatest character of Richard, on
the 21st of December. At this time occurred a disgraceful riot, which resulted in great damage to the
theatre, and the flight of Kean from a mob thirsting
for his blood. Two citizens of Providence, S. S.
Southworth and Samuel J. Smith, were upon the stage,
and, aided by the managers, were instrumental in saving his life. They conducted him by a private door
which opened from the stage to a small dwelling, occupied by Mr. George Clark, the prompter, where he
remained several hours in a distracted state of mind,
anticipating violence from the mob, who, suspecting
his hiding-place, made several attempts to enter. Mr.
Southworth stood upon the steps of the dwelling, and,
when the rioters presented themselves, held them at
bay by assuring them that Kean was not there, and,
appealing to their manhood and gallantry, told them
that Mrs. Clark, who, as everybody knew, was daily
expecting to become a mother, was in an extremely
critical condition. About one o'clock that night, Kean
escaped through Theatre alley, was conveyed to the
Exchange Coffee House, and, being there placed under
the protection of Thomas Perkins and a man named
Collamore, started for Providence. After a few hours
rest in Providence, they set out for Worcester, stopping

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only at Ware, at which place Kean threw off his disguise. This circuitous route was taken to elude the
vigilance of the mob, who had been told that the fugitives were going to Worcester. Kean was much
frightened, and his terror was expressed in continual
ejaculations. It was said that the Boston truckmen
were banded to tar and feather him, and it was feared
that in their rage they might kill him. He never afterwards visited Providence.
In 1826 the theatre was repainted, and was open
from May 31st to September 8th. The most attractive
performers were Mr. and Mrs. Hamblin, Mr. Finn, and
Mr. and Mrs. Barrett. Mrs. Barrett had become very
popular the previous season, as Mrs. Henry. She was
the sister of Samuel Stockwell, the scene painter, and
possessed great talents. Her brother was the adopted
son of that benevolent lady, Mrs. Barnes, who for more
than twenty-five years appeared every season on the
Providence stage, and, despite the disadvantages of a
short and corpulent figure, remained till her death
unrivalled in her personations of the old women of
comedy. The company comprised some actors of
excellent repute, among whom were Messrs. Williamson, Stanley, Reed, Brown, Kilner, and Spooner; among
the ladies were Mesdames Kelly, Powell, Barnes, and
Spooner, with Misses Kelly, Powell, and the McBrides.

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HISTORY

OF THE

The expectation of seeing Kean was very high, but
the managers, Kilner & Clark, did not deem it prudent
to engage him, as they had cause to fear he might not
receive a gracious welcome from all classes of the
citizens. When Kean played his first engagement
in Boston, his performances had been witnessed by
scores of Providence people who took the journey for
that purpose,* and were now desirous of seeing him
* The journey to Boston was not dispatched in 1821 with the same celerity as
it now is, but was performed in stage coaches, which left Providence at 9 A. M.,
and arrived in Boston at 6 p. M. They stopped at intervals of eight or nine
miles to change horses, and to give the passengers opportunities for obtaining
spirituous drinks. The first stopping place was at Barrows's, where all drank;
and then, after a short delay, the coach proceeded to Hatch's, where there
was another delay and a repetition of the drinking process. The longest rest
was at Fuller's, the half-way house ; and here the passengers dined, smoked,
slept, or strolled about for two hours, when the coach was brought to the door,
where it waited a long while for them to reassemble ; it being as difficult a task
for the driver to collect them together, as for a captain of a ship to get his crew
aboard for a voyage. The afternoon was spent in the same manner as the early
part of the day, the tired travellers reaching Boston in time to take some
refreshment and visit the theatre.
When a steamboat line was established between New York and Providence,
the greater number of the travellers came from Boston, and gave such an
impetus to the transportation business, that there were two lines of stages
running daily between Providence and Boston ; one of them leaving this town
early in the morning, and the other at about eleven o'clock, A. M., on the
arrival of the New York boat. Of course there was much emulation between
the lines, each competing with the other in celerity, the excellence of the
coaches, and the cheapness of the fares. One of these lines employed two hundred and thirteen horses and twenty coaches, and, during the year 1828, received
from passengers the sum of $82,000. The other line received that year $35,000.
This competition shortened the time of the journey to seven hours.

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on their own stage; but this consummation of their
wishes was never attained.
On the 9th of May, 1827, Clark & Charnock, having
purchased the unexpired lease of Mrs. Powell, opened
the theatre at reduced prices of admission, and, in
June, introduced to Providence the American tragedian, Edwin Forrest. Small but fashionable houses
witnessed the personations of this gentleman, whose
name soon afterwards became sufficient to crowd the
houses nightly. When he played Damon for his
benefit, the audience was somewhat larger than on
the preceding nights. Being called before the curtain,
he thus addressed those who were present:
" Ladies and gentlemen,— Though much fatigued by the labours
of this evening, I obey your call, and assure you that for the many
and brilliant evidences you have given me of your approbation and
respect, you have my sincere thanks.
" This is the first season I ever had the honour of appearing
before a Providence audience, and though since I have been with
you the theatre has not been, for some cause unknown to me, so
fully attended as I anticipated, still the silence and attention that
has been evinced by those who have honoured it with their presence, has been far more grateful to my feelings than the vain,
empty, and injudicious noise and applause of the million."

Some who were not present took umbrage at this
speech as it was reported, but after it was published
all offence died away, and here, as elsewhere, no actor
has proved so attractive as Mr. Forrest.

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HISTORY

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THE

Mr. Forrest was supported during his engagement
by Mr. Alexander Wilson and Mrs. Stone; the assistance of artists of superior talent being indispensable
to the successful rendition of the Shakspearean drama.
Mrs. Stone was originally Miss Banister, of Boston,
and married Mr. Joseph Legg, an actor well known in
Providence. Her second husband was Mr. Stone.
In August, Miss Mary Ann McBride, a young lady
attached to the company, whose excellent character
had won her many friends, died in the eighteenth year
of her age. She had adopted the stage from necessity,
and had become the main support of her mother and a
brother of tender years.
Her father had come from Scotland to New York,
about the year 1817, and, being of indolent and thriftless habits, was unable to support his family. In this
emergency Mrs. McBride conceived the idea of introducing her two daughters, Mary Ann, aged fourteen,
and Cecilia, aged twelve, upon the stage; and, as they
were too young to be accepted by any manager, she
resorted to the expedient of presenting them as infant
prodigies. She gave them lessons in elocution, and
taught them a number of scenes from the dramatic
poets. Then, with a pamphlet of commendations from
M. M. Noah, Samuel Woodworth, George P. Morris,
and other influential journalists, this little Thespian

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band directed their footsteps westward, taking Mr.
McBride, whose skill as a harpist made him useful as
an orchestra.
After a year of profitless wanderings, they at length
found themselves at New Orleans, discouraged, without
funds, and almost destitute of wardrobe. The girls
were engaged by James H. Caldwell, who had recently
opened a theatre there, and played under his management such parts as are within the capacity of children.
In 1823 they obtained employment at the Federal
street theatre, in Boston, and came with the company
to Providence, Mary Ann appearing as Sue in " Life
in London." They continued to visit Providence till
1827, Mary Ann playing the line of "walking ladies,"
and Cecilia being available principally as a dancer,
though in a few parts, such as Albert in "William
Tell," she won general admiration. The spectacle of
"Cherry and Fair Star" being produced, Mary Ann
as Cherry made a hit, and at once became a reigning
toast. Many young men were suitors for her hand,
but she favoured none except Mr. Samuel Jenks Smith,
a gentleman about twenty-six years of age, of literary
tastes, gifted with rare colloquial powers, and of high
moral character. His generous nature and fine promise had gained him hosts of friends, and those who
knew him most intimately, prized him highest.

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HISTOKY

OF

THE

Mr. Smith's suit prospered, his overtures were
approved by the lady's mother, and the nuptial day
was fixed. At this time the theatre had been closed
for lack of patronage, and all the actors had gone
away, leaving this family busy preparing for the wedding. While engaged upon the bridal wardrobe, Miss
McBride pricked her hand between the second and
third fingers with her needle, but paid no attention to
the wound, apparently so trivial. In a day or two it
became painful, and the physician who attended her
could afford no relief. Another day passed, tetanus
appeared, and in a few hours the young lady was dead.
The announcement of her death was received with general regret, and, on the day of her funeral, a numerous
train of mourners followed her remains to the grave.
The week after this sad event Mr. Kilner came with
the Federal street company from Boston, and, on the
31st of August, reopened the Providence theatre for a
single night for the benefit of Mrs. McBride, who had
become somewhat involved in debt by the calamity
that had befallen her, and was likely to suffer from
straitened circumstances.
The alacrity with which player-folk have ever manifested to spring to the relief of those who are in sorrow, need, sickness, or any other adversity, still characterizes them. More than the members of any other

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profession they feel for others' woes, and the sight of
distress will draw from them their entire treasures of
money and sympathy. Age does not wither, nor custom stale their infinite humanity. Surely the art
which cherishes so tenderly the heaven-born charity,
most precious of all graces, the coverer of multitudinous sins—which preserves to extreme age the generous impulses of youth, and, while it binds its votaries
in ties as close as those of consanguinity, does not
diminish a benevolence that would embrace all mankind—can not deserve the condemnation continually
invoked upon it by the sectarian pulpits.
The play selected for the benefit was " The Soldier's
Daughter;" Mr. Thomas Kilner enacting, as the part
was never before played, Governor Heartall, and Mrs.
Pelby, then in her prime, sustaining in a matchless
manner the character of Widow Cheerly. At the close
of the performance Mr. Kilner came forward and
made an address, pronounced by those who heard it
to be inimitable for pathos, appropriateness, and elegance of diction, deeply affecting the audience.
The receipts from the sale of tickets at the boxomce exceeded three hundred dollars. The amount
was much increased by the contributions of several
gentlemen who sympathized with the beneficiary in
her great bereavement.

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HISTOKY

OF

THE

Mr. Conway, the celebrated tragedian, was accidentally in town at this time, and was requested to take
part in the performance. He would gladly have consented, but, being then a candidate for holy orders, he
felt obliged to decline the invitation. He however
contributed twenty dollars, and made one of the audience on the night of the benefit. Voluntary gifts were
received from Mr. Dickson of one hundred dollars;
Mr. Finn of twenty dollars; and from two merchants
of two hundred dollars. It has been stated that the
entire amount received by Mrs. McBride was about
eight hundred dollars; no contingent expenses being
deducted from this sum by the noble-hearted actors.
Mr. Stimpson, the manager of the circus then performing in the brick building erected for equestrian
performances in the rear of the Washington Garden,
was desirous of closing his house for that night, had he
felt at liberty to do so; but, although his performance
was given as usual, he purchased tickets for his whole
company, thus contributing nearly twenty dollars to
the receipts.
A number of the residents of Pawtucket came to
the theatre that night to assist on an occasion which
drew so largely upon the sympathies of the public.
Mr. Smith was at this time enthusiastically engaged
in politics, and there were people heartless enough, by

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reason of their partisan hostility, to circulate the slander, wanton, cruel, and wholly unfounded, that instead
of paying to Mrs. McBride the proceeds of this benefit,
he made use of them to defray her daughter's funeral
expenses, and to pay her debts* How at such a time
any one could be so unkind, will be enigmatical to
those who are unacquainted with the rancourous feelings engendered by political strife, the most intense
and unscrupulous of all the manifestations of hatred,
except that from long ago designated, par eminence)
" Odium Theologicum." It was well known among Mr.
Smith's friends that he defrayed from his own resources
the expenses of Miss McBride's funeral, and assumed
her debts, amounting to two or three hundred dollars.
Her death produced a lasting depression of his spirits,
and changed the whole tenor of his life.
Miss Cecilia continued on the stage until 1844,
when she died, after having obtained the distinction of
being the best " walking lady" in America.
Of all the English actors who have visited this
country since the advent of Kean, William Augustus
Conway was in some respects the best, and certainly
his personal history was the most interesting. He
has been pronounced by mouths of wisest censure the
prince of Hamlets, and the lordliest Coriolanus that
ever appeared upon our stage. His style of acting

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HISTORY

OP

THE

was intellectual, and devoid of every kind of trick;
his figure was stately,• and his voice, of surprising
clearness and compass, was long remembered by those
who had listened to his expressive enunciation of those
noble passages in which our greatest dramatist gives
utterance to some generous sentiment which finds an
echo in every breast. To eminent success in the higher
walks of the histrionic art there is one indispensable
requisite, and that was Conway's —soul. Art may
counterfeit pathos, and wear the similitude of passion—and be highly applauded withal; but unless the
heart of the actor be in harmony with that of mankind, his personations will have no vitality; they will
lack the ring of true metal; and the expectant, yearning listener will miss an essential something, not
describable, but whose absence may be potently felt.
You may hear a prima donna of the opera sing, and,
while the dilettanti are exhausting their vocabularies
to find panegyrics for her wonderful execution of passages, whose difficulty is appreciated only by scientific
musicians, a miscellaneous audience will yawn as she
triumphs over the seeming impossibilities of the*score.
Then shall another begin the same song, and, as face
answers to face in water, so shall her sympathetic
tones call tears from unsounded depths of feeling;
and, long after that sweet voice is still, " shall vibrate
in the memory."

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To some, like Malibran and Edmund Kean, nature
has given the "key of stanchless tears;" and, at their
biddiug we laugh, we sigh, we weep. Conway possessed this rarest of gifts, and pathetic passages delivered by him had an unusual tenderness, and awakened
in his hearers an interest in the man himself. The
modulations of his voice in "Hamlet," in " Othello," and
especially in the "Stranger," can never be forgotten.
He had been educated for the law, but abandoned
the study of his profession for the stage, and speedily
attained distinction as an actor in the London theatres.
He was religiously inclined, his manners were unexceptionable, and his tastes refined; but he was of a
melancholic disposition, and morbidly sensitive. His
conspicuous position as an actor exposed him to severe
trials, the chief of which were the attacks of certain
unscrupulous critics in the interest of a rival player,
their vindictiveness increasing when the sufferings of
f

their victim became apparent. One unfeeling wretch
having become possessed of a piece of family scandal
relating to Conway's parentage, gave publicity to it;
and then the actor, overwhelmed with shame, abandoned his place of vantage, and sought shelter in the
obscurity of the condition of a prompter. He was
soon induced by the entreaties and the encouragement
of real friends to resume his rightful station, and was

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HISTORY

OF

THE

again winning golden opinions, when some newspaper
offensively suggested to him that he ought to understand that for a tragedian something was needful
besides legs and arms. Conway was again crushed to
earth, loathing his own person—for he was unreasonably sensitive on the subject of his height, being a little
over six feet tall—and, breaking away from the theatre, he hid himself awhile, reduced to a condition bordering on insanity.
He was at this time engaged to come to America,
and appeared in New York in his great part of Hamlet, creating a most favourable impression. For two
or three years he was occupied in visiting the principal theatres, achieving fame in his progress, admired
by the public, and loved by his intimates. At length
he resolved to take holy orders, for which he had long
cherished a predilection, chose a retreat in Newport,
R. I., and devoted himself to the study of theology,
though occasionally emerging to give poetical readings
for the purpose of replenishing his purse. He remained
in Newport several months, as secluded as a hermit.
His sedentary life gave him opportunities for sad
remembrances, his griefs made inroads on his health,
and, it was feared, that they had unsettled his mind.
Certain it is that he perpetually brooded over his sorrows, and deemed himself the child of misfortune. In

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the spring of 1828, while a passenger by sea from New
York to Savannah, he was lost overboard. Many surmised that in a fit of mental aberration he had leaped
into the sea, but his friends believed that his death
was the result of an accident. Even after his life was
ended the voice of calumny was raised against him;
and those who decried the stage pointed their morals
with allusions to his untimely fate. It was reserved
for a Providence newspaper—that one claiming to
represent the sentiments of the most religious of the
community—to publish some innuendoes, as malevolent
as they were unfounded, impugning his motives in taking orders. Near the same period a bookseller in a
southern city published certain letters which had
passed between Conway and Mrs. Piozzi, (formerly
Mrs. Thrale,) written when she was eighty years of
age, and tried to give an impression that the relations
between them had been of a criminal character. Nothing but the vileness of the slander could have given
the tale a moment's currency, for Conway's conduct
towards Mrs. Piozzi showed that he was the soul of
honour, and governed by chivalrous motives, almost
quixotic in their loftiness.
He was of a retiring disposition, and carefully
avoided all those adventitious aids by which men
attain notoriety. In one of his visits to Providence

176

HISTOEY

OF

THE

he lodged at the Franklin House, and occupied a commodious apartment, such as was befitting his quality;
but, there being a great influx of strangers on account
of some extraordinary attraction, the public houses of
the town were pressed for space to set up beds for
their guests; and Conway hearing the landlord lamenting his want of accommodations, tendered his own large
room. His offer being accepted, he betook himself to
the attic, and there remained until the landlord's exigency was overpast, and the inn had regained its
accustomed appearance.
His extreme modesty was equally observable in the
theatre. When he was playing an engagement he
assumed no lofty demeanour towards the stock actors,
and when the hour for performance drew near, he was
always seen unobtrusively making his way towards the
theatre, carrying his own swords and other essential
"properties."*
On the 24th of September a goodly company from
Providence visited Boston to be present at the opening
of the new Tremont theatre, and were highly delighted
with their trip.
* An interesting "biography of this ill-fated gentleman appeared in the " Literary Cadet" of February 9th, 1828 ; and an original poem in the next number
of the same paper makes a feeling allusion to his sad death. They are accessible
in the alcoves of the Providence Athenaeum.

177

CHAPTER

IX.

1828-1832.
William Dinneford

leases the*theatre — Appearance of Clara Fisher —

Charles Young maintains a summer season — Joseph CowelVs misadventure — A new manager — A theatrical

disturbance — Disastrous

speculation of Moses 8. Phillips — A new theatre projected — Anecdote of Booth — Reparation
dissatisfaction—

of the theatre — A new act drop gives

William Dinneford—The

lottery system — Master

Burke — Mishaps of A. W. Jackson — Management of Thomas
son — The final performance — The theatre sold to Grace

Sil-

Church

corporation — The demolition of the building — The change in

the

character of the patronage of the theatre in its last years.

I

N 1828 Mr. William Dinneford took a lease of
the theatre, and, on the 18th of March, opened
with a redecorated house, new scenery, and a good
company of performers,* among whom were Messrs.
Hyatt, T. Placide, Kelsey, Duffy, Crouta, Mestayer,
and Lawton, with Mesdames Dinneford, Buckley, and
Brewster. An opening address of much merit, written
by Mr. Hyatt, was pronounced by Mr. Duffy. The
bill consisted of the equestrian drama of " Timour the
Tartar," performed by a trowpe from New York; and
the farce of " The Turnpike Gate."
12

178

HISTORY

OF

THE

On the 26th of the same month, Clara Fisher, then
seventeen years of age, made her debut as Albino,
Mandeville in the " W i l l ; " and Julia in the "Four
Mowbrays." Her engagement, though short, was a
triumph. She elicited as much enthusiasm here as in
other places. Throughout the country Clara Fisher's
name appeared on everything vendible, and her brother
having established a newspaper in New York, to secure
popularity for it and himself, advertised it as edited by
" C. B. J. Fisher, brother of the celebrated Clara
Fisher." The excitement in Providence pervaded the
breasts of the sedate old merchants, as well as of the
younger and more inflammable sort; and the main
topic of conversation everywhere was the charms of
Clara Fisher. Her benefit crammed the house, the
proceeds reaching the sum of five hundred dollars,
being the largest amount ever within the walls of the
theatre.
Miss Fisher was followed by Miss Kelly, and then
by Mr. and Mrs. Blake. Mr. Dinneford terminated
his season on the 1st of May, having lost a considerable sum by his enterprise.
About the middle of June Mr. Charles Young, formerly well known in Providence, came with a portion
of the Bowery theatre company, containing some good
actors, namely: Messrs. Archer, Comer, J. Mills Brown,

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179

Faulkner, and Lawes; also Mesdames Young, Lawes,
and Spooner; and Miss Hamilton. He kept the theatre
open until the 10th of September, with this succession
of stars: Cooper, Miss Rock, Mrs. Duff, Hackett,
Louisa Lane, (eight years old,) and Arthur Keene,
the vocalist. Mr. Keene took his benefit on the 1st of
July, and Joseph Cowell, the comedian, being on his
way from Boston to New York, had agreed to stop
over night, and play Darby in the " Poor Soldier," on
this occasion.
Mr. Cowell left Boston in the mail stage, at one
o'clock in the morning, and arrived in Providence in
time for rehearsal the same day. The weather being
exceedingly warm, he determined after dinner to take
his lost share of sleep. So he selected a file of papers
from the reading-room, and, finding a mattress thrown
down in the corner of a balcony of his hotel, where
all the air Providence could bestow seemed to flutter,
he arranged a siesta. When he awoke it was dusk,
and, after repairing his toilet, he set off for the theatre,
all his companions being there, although he had to play
only in the last piece. As he passed through the bar
he inquired of a servant sweeping it out, " what is the
time?" "About four, sir," said he. "About eight,
more likely," replied Mr. Cowell, and on he walked.
The shops were all closed, and everything appeared
exceedingly quiet; but, as he was prepared by report

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HISTOEY

OF

THE

for the steady habits of Providence, its appearance
did not strike him as extraordinary. The carriers
hanging evening papers over the knobs of the doors,
or insinuating them beneath, were the only human
beings he met on his way to the theatre, which to his
astonishment he found closed and quiet. A thought
flashed across his mind—could it be possible? He
made an inquiry of a milkman, and found to his amazement that it was not to-night, but to-morroiv morning.
To return to the hotel and make an explanation he
knew full well would be at the expense of remaining
to perform that night. So he quietly went on board
the steamboat " Connecticut," which was to take him
to New York, leaving his baggage behind. His old
friend Captain Bunker, met him with astonishment.
He had been at the play, and fully described the consternation that had been occasioned. The theatre had
been crowded; and, after every room in the Franklin
House had been searched, and every conceivable place
in the town, it had been unanimously agreed that in
walking to the theatre after dark, he had walked off
the dock. Already a reward had been offered for the
recovery of his body, and had not his business been
too urgent to admit of the delay, he would have delivered himself up and claimed the ten dollars for the
joke's sake; but, as it was, he got the captain to keep

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181

the secret, lay perdu till the boat was off, and took the
news of his supposed untimely end to personally contradict it in New York and Philadelphia. 1
The theatre was again opened in 1829, under the
management of Mr. Wilson, Mr. J. Phalen, a gentleman from New York, becoming the lessee of Mr.
Dinneford, with the intention of maintaining a winter
season; but, after four weeks of losses, he abandoned
the undertaking.
Near the close of Mr. Wilson's management there
occurred the nearest approach to a theatrical riot that
was ever witnessed in Providence. On the 27th of
February, Mr. Ball, one of the members of the company, while playing the part of Cassio, was fiercely
hissed. The storm increasing, he addressed the audience, and, in a brief and manly speech, offered to meet
any one to whom he had given offence, after the performance. He was then allowed to proceed. On the
next night of his appearance a large party went to the
theatre to drive him from the stage. They prevented
the progress of the play, and, when the manager asked
the cause of the interruption, they said that Mr. Ball
had insulted Americans. They finally succeeded in
terminating the performance in confusion. A mob collected about the door, and were loud in their threats.
1 Cowell's Thirty Years among the Players.

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HISTORY

OF

THE

Mr. Ball in some way eluded their pursuit, and, after
some delay, they dispersed without any act of violence.
The words spoken by the actor, as it afterwards proved,
were uttered in jest to a friend, and, having been overheard, were misconstrued, and thus mischief ensued.
In June, Moses J. Phillips made a disastrous dramatic speculation. He came here with a company,
much larger than any that had ever before appeared
in Providence, his orchestral department being also of
unusual strength. He had also made many engagements with other actors in New York, and, after he had
inaugurated his season, they were continually arriving
in town. Unfortunately he had over-estimated the
inclination of the public towards dramatic entertainments, and for several weeks his receipts rarely
equalled the amount of salaries he had engaged to
pay. The dancers, Mons. and Mdme. Charles Ronzi
Yestris, brought good houses, but their aid could not
long hold up his sinking fortunes. His chief attraction
was Mrs. Austin, an eminent vocalist, whose personal
beauty was celebrated. He soon found himself unable
to pay his company, and, at the same time, his other
creditors were clamourous for their pay. For a few
days he purchased peace with promises, but at length
the actors rebelled, and officers were understood to
have writs for his arrest. At this juncture a few

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183

friends clandestinely took him to a steamer, hid him in
an obscure corner, and he soon distanced his pursuers.
The distressed condition of the performers induced
them to give a performance in order to obtain means
of reaching other places; and Mr. John Duff happening
to be in town, was announced in the tragedy of " Yenice Preserved." The receipts did not exceed fifty
dollars, but with this sum and a liberal gift from Mrs.
Austin, who was rich, and said to be the wife of an
English baronet, they managed to reach more hospitable cities.
Phillips was really an honest man in his intentions,
and it was his misfortune, rather than his fault, that
he miscalculated the patronage of the town. He was
always unlucky in his speculations, and died a few
years ago in New York, in indigent circumstances, just
as he had paid up, it was said, his dues to the Dramatic
Association Fund, and was fancying himself provided
with a moderate subsistence for his old age.
The unprofitable results of the last few seasons,
gave a death-blow to an enterprise which several public-spirited citizens had been planning for two or three
years. The success of the old theatre for several
seasons had been so decided, that the stockholders
were receiving' an interest of more than thirty per
cent, on their property; and, on benefit occasions, it

184

HISTORY

OF

THE

not unfrequently happened that all seeking admittance
could not be accommodated. In the spring of 1825,
shares in the theatre stock, which a few years before
could have been bought at sixty-five dollars, sold at
public auction for two hundred and twenty-five dollars
each. In 1827 the newspapers had advocated the
erection of a new theatre, capable of being used in
winter as well as in summer, and in appearance and
commodiousness befitting the increasing prosperity of
the town. The proposed site was a lot in the rear of
Colonel Atwell's estate, and had frontage on Dorrance,
Pine, and Orange streets. At this time the gentleman
who was the most zealous promoter of the project died
and the subject was temporarily abandoned.' In April,
1829, another movement was made in the same direction. A plan of the contemplated theatre, drawn by
Warren and Bucklin, was on exhibition at Mr. Dinneford's office, where books were opened for subscriptions for the stock, the value of the shares being fixed
at two hundred and fifty dollars. The affair however
lagged, and, business being everywhere in a depressed
condition, it was soon dropped. Theatricals felt the
effects of the stagnation in commerce, and from this
time the occupation of Providence managers became
more and more unprofitable.
On the 16th of November, Booth began an engagement in Boston. He performed one or two nights

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with fine effect, when he was taken ill, and obliged to
keep his room. He at length improved in health, and
was announced December 7th as Ludovico in "Evadne."
The house was crowded to its utmost capacity, about
one thousand dollars being taken at the doors.
" Mr. Booth's first entrance on the stage denoted something
unusual. He was careless and hesitating in his delivery, and his
countenance had none of its customary expression. He would
falter in his discourse, jumble scraps of other plays in his dialogue,
run to the prompter's side of the stage, and lean against the wings,
while the prompter endeavoured to help him forward in the play,
by speaking out the language of his part loud enough to be heard
in the galleries. I n this manner he made a shift to get through
the first two acts of the tragedy. Those familiar with the theatre
saw very plainly that something was rotten in the state of
Denmark; but a great proportion of the audience, not knowingmuch of his manner of acting, did not comprehend the business,
but only looked on, and wondered that an actor of so much
celebrity could play with so little spirit—some even doubting his
identity.
" Still the play progressed; and, in the early part of the third
act, while he was engaged in parlance with the King of Naples, the
audience were surprised by his suddenly breaking off from the
measured heroical dignity of his stage tone, and, with a comical
simper, falling at once into a colloquial, gossiping sort of chatter
with His Majesty, thus: ' Upon my word, sir, I don't know,
sir/ etc. For a moment all was silence, when Mr. Booth turning
round, and facing the spectators, began to address them in this
manner : ' Ladies and gentlemen, I really don't know this part.
I studied it only once before, much against my inclination. I will

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read tbe part, and tbe play sball go on. By your leave tbe play
sball go on, and Mr. Wilson sball read tbe part for me.' Here an
overpowering burst of bissing and exclamations rose from all parts
of tbe bouse, wbile Mr. Bootb continued to face tbe audience witb
a grinning look, whicb at length broke out into an open laugh.
Mr. Smith then came from behind the scenes and led him off, Mr.
Booth exclaiming: ' I can't read; I'm a charity b o y ; ' — (in
reference probably to his part in the after-piece) ' I can't read —
take me to the Lunatic Hospital!' Here the drop curtain fell
amid the murmurs and hisses of the spectators.
" Mr. Smith then appeared in front, and explained to the audience tbat Mr. Bootb was subject to fits of temporary insanity, and
that such was his condition at present, assuring them that bis
indisposition could not be attributed to the effects of liquor, as his
attendants who had been with him through the day, averred that
he had tasted nothing of a spirituous kind.
" Mr. Booth was immediately carried to his lodgings, and, bis
disorder having increased, it was on Wednesday deemed advisable
to obtain a consultation as to tbe propriety of placing him in the
Lunatic Asylum ; but, on repairing to his room, be was not to be
found. Search was made for him, but the only information that
could be obtained was, that he had applied at the Marlboro'
Hotel for a seat in the Providence stage; but hearing that the
stage had already departed, be went off, and whither, no one knew.
I t was not until the arrival of a stage from Providence, that intelligence was conveyed by the driver that on Wednesday he met Mr.
Booth between Dedham and Walpole, on foot and almost destitute
of clothing, walking towards Providence. He reached Providence
on Thursday, having slept, as it was supposed, in tbe woods on
Wednesday night.' 1
1 Clapp's "Record of the Boston Stage.

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Immediately after his arrival here he proceeded to
Deming's sailor boarding-house, at the junction of
South Main and Wickenden streets, which he reached
in his stocking feet, having thrown away his shoes. It
was soon noised over the town that Booth, in miserable
plight, had gone there; and the news coming to the ears
of his friend, Colonel Josiah Jones, he at once hastened
to the place. On entering, he met Booth, who gave him
a kindly greeting, and asked him to take off his boots
that he, Booth, might try them on. Colonel Jones
complied with this strange request, and was surprised
to see him after putting them on, leave the house without a word. Colonel Jones borrowed a pair of shoes
of Mr. Deming, and overtook Mr. Booth, whom he
found hurrying along the street in a highly excited
manner. He at once took him in charge, and led him
to his own residence on Aborn street. In a few days
Mr. Booth's fit passed away, and a rational frame of
mind ensued. Many visitors flocked to the house to
see and converse with the eccentric actor. One Sunday evening when the parlour was well filled with company,—mostly religious people, who were unaccustomed
to attend the theatre, but none the less desirous of witnessing the effect which he was capable of producing
by his skill in elocution,— Colonel Jones asked him to
read some selections for the gratification of the visitors.

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He yielded assent, and desired that a Bible should be
brought. He was provided with one, and, opening it
with reverence, he chose a passage and began to read.
As his impressive voice was heard, every sound was
hushed, and the reading proceeded in perfect silence.
The words of inspiration continued to flow from the
lips of the reader, sobs were occasionally heard, and,
when he had concluded, scarcely one in the room was
not weeping. All testified that never before had the
sublimity of the language of Holy Writ been made
apparent to them, and Booth seized the opportunity to
descant on the frame of mind in which the Scriptures
should be approached, and to condemn the soulless
readings of those pastors who read as an unwelcome
task to listless hearers the awful revelations of their
Maker.
Mr. Booth did not immediately regain his old vigour
of mind. He had some lucid intervals, and then aberrations of intellect would succeed, continuing so long
that sometimes it was feared that his reason was completely destroyed. He at length so far recovered that
it was deemed safe to allow his return to his family.
He was received in New York by Edwin Forrest, and,
after a little rest, proceeded to his destination.
In the early part of 1830, Mr. Dinneford made some
improvements in the equipments of the stage, and in

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the arrangement of the auditorium. He substituted
light iron pillars for the large wooden posts which had
supported the galleries, and carried the lower tier of
boxes forward; thus gaining a few more box seats.
He also procured at an expense of one hundred dollars, a new act-drop, painted by Mr. R. Jones, of Boston,
which was much disliked by the patrons of the house,
many of them preferring Warrall's panoramic view of
Providence, which had been in constant use since
1812. Mr. Dinneford made a public explanation of
the reasons for the change, stating that the old drop,
having for several years been deteriorating in appearance, had sustained such additional injury during the
past winter that it could not be safely used. The public continued to express their dissatisfaction, until the
new curtain was removed. The old favourite was
then rehung, and remained in its accustomed place as
long as the building was used as a theatre.
Although Mr. George Barrett officiated as manager
during the season, the lease continued in the hands of
Mr. Dinneford. This gentleman was«a native of Somersetshire, in England, and had been a clerk in a
London banking-house; but, becoming enamoured of
Isabella Mordecai, an employee of Drury Lane theatre,
he married her and came to the United States about
the year 1825. Changing his name from Ford to Din-

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neford, he went upon the stage, but failed to achieve
any marked success as an actor. His business habits
being good, he was employed to take charge of a large
equestrian and dramatic company, in the capacity of
treasurer and business manager. This company he
brought to Providence, on becoming the lessee of the
theatre. Here he met with no profit, except during
the engagement of Clara Fisher, and, after one season's
experience as a theatrical manager, he became a broker
and dealer in lotteries, occasionally acting as an auctioneer, and finally opened a restaurant on Westminster street, and a public house at Horton's Grove.
Failing in business here, he removed to New York,
opened the Franklin theatre in Chatham street, and* in
two years accumulated a fortune. He then rebuilt
the Bowery theatre, which had just been destroyed by
fire, and became a bankrupt. After this reverse he
travelled several years as the manager of a troupe
of strollers, and finally started for California. He
stopped at Panama to open a hotel, but soon fell a
victim to the climate.
The business of the theatre proved so unremunerative that it was kept open only a few weeks. Mr. and
Mrs. Barrett, Mr. and Mrs. W. H. Smith, and several
other actors of excellent talents, had little power of
attraction, and, save the brief engagements of Clara

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Fisher, and Hackett, who played a round of Yankee
characters, the whole season was unfortunate.
In October, Monsieur Villaneuve, with a small company of acrobats, gave a series of entertainments upon
the stage, and, to increase his audiences introduced
a system, then novel, but bearing a resemblance to
the "gift concerts" of the present day. The lotteries which were then authorized for public purposes
were well patronized, and tickets were sold by Mr.
Dinneford at his office near "Lucky Corner," as he
termed the junction of North Main street and Market
Square. Monsieur Villaneuve each night distributed
among those present at his exhibitions ten tickets in
these lotteries, each purchaser of a box seat being
entitled to two chances for a ticket, and each purchaser of a seat in the upper boxes, the pit, or the
gallery having one chance.
After Mr. Dinneford's retirement from the management he still retained the lease, as has been before
stated, but sub-let the theatre to any one making
application for it. At length, however, losses in business compelled him to assign his rights to two friends,
to whom he was indebted for money advanced by them
to him in his necessities. These gentlemen, Messrs.
Philip Case and William Marshall, let the building
with the scenery and properties to travelling compa-

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nies, and others desirous of experimenting with the
dramatic inclinations of the citizens. Thus,* in March,
1831, a company of actors were brought here by Mr.
Eichard Russell, for the purpose of presenting Master
Burke, the young Irish Roscius, as he was called.
This prodigy played here eleven nights with good
success, the houses several times containing three hundred dollars. One of these performances took place
on Saturday evening, being the second time that a performance was ever given in Providence on that evening
of the week; and the smallness of the audience showed
that even at that late day the public were indisposed
to countenance innovations upon their New England
habits and principles. Master Burke was really a
marvellous boy, and, in his renditions, displayed talents surpassing those of many well reputed actors of
mature years. He spoke with force and feeling, but
at the end of a long performance he usually showed
signs of fatigue, as was but natural in one so young.
He was accustomed between the plays to take a violin,
and lead the orchestra, where his masterly execution
of difficult music never failed to excite the admiration
of the audience.
In December of the same year a company from New
York kept the theatre open several weeks, just long
enough to run themselves out of cash and into debt.

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They were without means to leave town, and, in their
distress, their manager, Andrew W. Jackson, applied to
Mr. S. S. Southworth to write them a play which would
draw the unwilling public. He accordingly with much
expedition wrote a three act drama, entitled: " The
Capture of Prescott, or the Heroism of Barton."
This play was hastily produced, and for several nights
attracted remunerative houses, supplying the players
with funds enough to return to New York. The heroine was personated by Miss Eliza Emery, who had
once been a leading actress, and had lately straggled
into Providence under peculiar circumstances. One
of the last nights being assigned for her benefit, she
appeared upon the stage in such a condition as to be
unable to utter the words of her part. This misguided
woman, who had once been lauded by certain critics as
superior to Mrs. Siddons, and had caused acrimonious
contests between rival managers in their efforts to
secure her talents, died several years later in squalid
poverty, debased by her degrading vices.
The prominent feature of the play was the part of
Guy Watson, personated by Mr. McGuire, an excellent
delineator of Ethiopian characters before T. D. Rice
and others had acquired distinction in that line. The
author had written him a song called "Cold,Frosty
Morning," and on its execution depended in a great
13

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measure the success of the part. Prom* indolence, or
from inability to perceive any merit in the song, he
refused to learn it, and substituted " The Coal Black
Rose." The disgusted author could not by entreaties
change the determination of the actor, but at length
found a convincing argument; and then Mr. McGuire,
with a bank note in his pocket, committed to memory the
words of the song, and sang it. Tt " took" immensely,
and is now a favourite with Ethiopian serenaders. The
play gave rise to some ill feeling, as it was supposed by
some that the dramatist had indulged his party prejudices and individual malevolence in writing the language of one or two of the dramatis personce ; but for
this suspicion there was no foundation.
The last manager who essayed to make the old
theatre profitable was Thomas Hilson. His initial
performance took place February 13th, 1832, when
the entire receipts of the evening were given by him
to the Providence Charitable Fuel Society; a proceeding calling to remembrance that of David Douglass,
when seeking to propitiate an unsympathetic public.
The final performance occurred March 23d, 1832, and
consisted of Shakspeare's comedy, " The Merry Wives
of Windsor;" the music of Macbeth sung as an interlude by the company; and the farce of " The Sleepwalker." Mrs. Hilson, formerly the popular and

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admired Miss Johnson, recited in the guise of the
Goddess of Liberty, an epilogue written by Mr. Southworth, into which had been introduced a compliment
to Andrew Jackson, which was vociferously applauded;
followed by a flattering allusion to Henry Clay, which,
as most of the audience were "locofocos," was vehemently hissed. This epilogue having been mutilated
in the green room before its delivery, was subsequently
published entire by the author.
At this final performance Mr. Hilson sustained the
part of Sir John Falstaff. He had stuffed for the fat
knight with an unusual quantity of packing, and was
waiting to be summoned to the stage from his dressingroom below it. When the time for his entrance upon
the scene arrived, he attempted to mount the staircase,
but to his dismay found that he was too bulky to pass
up the narrow stairs. What was to be done he could
not at first decide; for, if he should undress and then
remake his person, the stage would be kept waiting
long beyond the patience of the audience; and he was
on the point of having the matter laid before them,
when, at the suggestion of a bystander, he was led to
a large trap in the centre of the stage behind the scene,
through which he was speedily hoisted by the supernumeraries, and was thus enabled to appear before the
spectators with scarcely any delay. Such an accident

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can not happen in these days of invention to the actor
playing Falstaffj who has now merely to don an indiarubber undersuit, which can be inflated to any required
size, like a life-preserver.
The theatre was now sold by the stockholders to
the corporation of Grace Church, who at once proceeded to make the alterations requisite for the purposes to which the building was to be appropriated,
despite the remonstrances of the lessees, who offered
no obstacles from a desire of maintaining further theatrical performances, but because they deemed themselves entitled to compensation for the remaining portion of their unexpired term. This amount they were
willing to receive in pew stock, instead of money,
because they were not unwilling to aid the church.
Their claims being disregarded, litigation would have
ensued, had not the dispute been unexpectedly terminated by the accidental omission of the lessees to
tender their rent on a day certain, according to the
conditions of the lease. The corporation promptly
availed themselves of the laches of their opponents,
and, refusing the money proffered three days too late,
proceeded with their original intention, and altered
the theatre into a place of worship. It continued to
be used for religious purposes a number of years,
when it was torn down, and ^replaced by the statelier

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structure, which now forming the chief ornament of
that part of the city, is the seat of the bishop of Rhode
Island.
The process of demolition revealed traces of the
earlier uses of the old edifice, and vestiges of its former occupants. As the plastering was removed where
the stage had been, especially near that part where the
scene painter's gallery once hung, there became visible
upon the walls, painted in vacant hours, the names of
the actors, who in days gone by had been the darlings
of the town, but were now sleeping in their unknown
graves. Thus had the listless hands of idleness given
brief resurrection to the almost forgotten past, and the
bystanders who had lingered to look their last upon
the disappearing monument, sighed as they recalled
the forms of those who had been the delight and wonder of their youth, and walked away heavy with tender
recollections. Had the names uncovered by the falling plaster been those of the recognized benefactors
of their day and generation—men who had contributed largely to the material wealth of the town, building it up until it had become a prosperous city—they
would not have evoked such kindly emotions as were
produced by the sight of these mementos of thriftless,
houseless, but joyous players. Who can explain the
marvel ?

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The loss of the theatre was but little lamented, for of
late years the taste for the drama had declined among
the opulent citizens, and theatrical performances had
been attended by another class of frequenters; the
stockholders and their families never entering the
doors, except on very rare occasions, such as the last
engagement of Cooper, in 1828, when there was a
large assemblage of his old friends, many of whom had
not witnessed a play since his former visit to Providence, several years previous. So little interest was
manifested by the old supporters of the stage for plays,
that they were accustomed to send their tickets to certain shops to be sold each day at an abatement from
the price demanded at the box-office; and, in case they
could not find purchasers, the tickets were given to
lads and servants. The attendance during the last
two years of the existence of the theatre was so small,
that not unfrequently the books showed a sum less than
ten dollars as the receipts of an evening's performance.
As a consequence the house was allowed to fall out of
repair, and it soon became unsightly, the proprietors
being unwilling, and the managers unable to make
expenditures in its improvement. The green curtain,
suspended within the proscenium arch in the days of
Mr. Harper, hung there thirty-five years, becoming full
of rents; the boards of the stage were splintered or

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warped,* the box-doors would not latch, and an appearance of shabbiness pervaded the place. In winter, the
building was insufficiently warmed, and, in summer, the
smell of the oil lamps was so offensive as to make it
unpleasant for the spectators.
The little fact that at the final performance the
utterance of the name of Henry Clay was the signal
for groans and hisses, well illustrates the great change
that had occurred in the character of the audiences.
The old patrons of the theatre, it will be remembered,
were federalists, and their opponents, democrats. Now,
democrats alone patronized plays, and a turbulent audience they often were. The entertainments were sometimes interrupted by the concerted action of a number
of the regular attendants, who assumed an arbitrary
control over the managers. They were never regularly organized as a club, but their constant presence,
their similarity of tastes, and their mischievous dispositions formed a bond of union, and gave them the
appearance of an organization, to which, as some of
the most prominent were shoemakers' journeymen or
apprentices, was given the nickname of "The Shoemakers' Literary and Dramatic Society." It was under
the guidance of these competent leaders, that, in 1828
and 1829, several attempts at rioting were made, which
are recounted in the next chapter.

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When the theatre was not occupied for dramatic
purpose, the proprietors let it to travelling exhibitors,
and upon its stage took place entertainments of every
kind, from the chemical lectures of Professor D'Wolf,
to the tricks of jugglers and posturers.
The Providence theatre was frequently selected for
the first appearances of aspirants for dramatic honours, who, if successful, would remain upon its stage a
few weeks to acquire some experience before facing a
metropolitan audience. Of course, the greater number
of these debutants had few qualifications for theatrical success, and, after their first night, were no
more seen. A few, however, would persevere, and in
time would become accomplished actors. It is difficult
to correctly assign the date of each debut, inasmuch as
the bills in order to excite public curiosity, never gave
any names; merely announcing " the first appearance
on any stage of a young gentleman." In the next
chapter the incidents attending several of these first
appearances are narrated.

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CHAPTER

X.

J. T. Buckingham — Alexander Brake -r- John Savage — Henry Fielding — Edward Padelford — John Hart — George Hazard — Seth
Ballou — Mr. Holden — Edward Qaarles — Charles Edward Ball —
Other Debutants — Biotous conduct of the audience — Mr. Waldegrave • Spear.
—

I

N the summer of the year 1803, Mr. Joseph Tinker
Buckingham, whose original family name was Tinker, made his first appearance on any stage, in Providence, under the management of Mr. Harper. He
was then a journeyman printer, but subsequently
became famous as a dramatic critic, and as editor of
the "Boston Galaxy," the "Boston Daily Courier,"
and the "New England Magazine." He also became
distinguished as a legislator and statesman, if that title
can be applied to one whose parliamentary efforts were
confined to the Legislature of Massachusetts. He was
a native of Connecticut, and sprang from a very obscure
parentage, but by dint of industry, aided by natural talents, he attained a considerable degree of distinction.
As a critic, he was regarded as among the ablest, and

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a line from his pen was sure to decide the fate of an
actor, or of a book.
In an interesting work, entitled "Personal Memoirs/'
he gives an account of his experience on the stage; from
which it appears that he adopted the life of a player for
the sake of relaxation, and with the hope that he might
also benefit the condition of his purse. This latter
expectation was not realized; his share of the profits
of Mr. Harper's scheme being so small, that it scarcely
paid his board and incidental expenses. His first
appearance as an actor was in the character of the
Uncle, in the tragedy of " George Barnwell, or the
London Apprentice." In a marginal note on page 54,
Volume I., of "Personal Memoirs," Mr. Buckingham
thus refers to the Providence company of the year 1803 :
" Some readers may be curious to know of whom this company
was composed, and what rank the writer held in it. The individuals comprising it, besides myself, were Bates and his daughter,
(afterwards Mrs. Barnes,) Harper and his wife, Darley and his
wife, Mrs. Simpson, mother of Mrs. Darley, Dykes and his wife,
West and Perkins from the Yirginia theatres, and a man named
Hayman, as green a cockney as ever migrated from the sound of
the Bow bells, who sometimes took the prompter's book, but was
chiefly employed with a son of Bates in running the scenery, and
performing the duty of property man. There was really no talent
in the company except what belonged to the Bateses, the Harpers,
and the Darleys. Yet, by doubling and trebling, they contrived
to get up " AbsBllino," (then in the height of its popularity,)

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"Alexander the Great," " Komeo and Juliet," " T h e Mountaineers," " The Poor Gentleman," "Count Benyowsky," "Blue
Beard," " T h e Point of Honour," "Child of Nature," etc. Old
Doctor Shaffer, as he was called, long known as the second violin
player in the Boston theatre, was the leader of the orchestra,
which consisted of one fiddler "beside himself, and occasionally a
couple of students in Brown University, who volunteered as amateurs, with a violin and a flute, or clarionet. Readers may smile
at the idea of such a company performing the pieces above mentioned ; hut I have seen plays as badly mangled and cut up, and
played with no more spirit or propriety in Boston or New York.
The receipts of this summer's work (it was work and not play)
were barely sufficient to pay expenses."

The old Doctor Shaffer referred to by Mr. Buckingham, was a German; the father of Mr. Francis Shaffer,
who was for many years a teacher of dancing in Providence. After the Doctor's death, the orchestra consisted of old Mr. Granger and his son, Thomas, and
was never much augmented, except on special occasions, until Mr. Dinneford became lessee of the theatre,
when he introduced a tolerable band of six or seven
performers, led by Mr. James Meader, who afterwards
married Clara Fisher, and assumed the management of
the Dorrance street theatre.
In July, 1811, Master Alexander Drake, then about
eleven years of age, was introduced to the stage, and
sang the " Curly Headed Boy." His performance
was loudly applauded, and gave evidence of the pos-

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THE

session of those talents which ultimately placed him in
the foremost rank of low comedians. He was the son
of Mr. Samuel Drake, the pioneer of the drama in the
west, and the uncle of Miss Julia Dean, the distinguished actress, who, as Mrs. Hayne, closed her theatrical career in Salt Lake City. The elder Drake,
who enjoyed a well merited popularity in Boston and
Providence, in which latter place several of his children were born, had a very large family. With them
he travelled to Cincinnati, and opened a theatre, his
family constituting his entire force. He subsequently
gave dramatic representations in Louisville and Lexington, Kentucky; and it was by his efforts that the
drama was permanently established in the valley of
the Mississippi.
In July, 1814, Mr. John Savage made his first
appearance in Providence, and his debut upon the
stage. He was a native of Jamaica, and had been
sent to this country to be educated at Harvard University. Becoming enamoured of Miss Elizabeth White,
of the Boston and Providence company, a very plain
girl and a poor actress, he married her, and adopted
the stage as a profession. . His first attempt was a
complete failure, but he persevered in his design, and
at length became a respectable "walking gentleman."
He afterwards played in Boston, New York, and Phila-

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delphia, and, in 1817, joined Drake's company in Ohio
and Kentucky. He was a young man of pleasing
address, and won many personal friends, but as an
actor he could not be applauded. About the year
1820, he became connected with a steamboat plying on
the Ohio and Mississippi rivers; and, it is said, that
this steamer once occupied six months in making the
trip from New Orleans to Louisville, Kentucky. About
this time he inherited a fortune from one of his West
India relatives, and, soon afterwards, was appointed
consul in Guatamala. On his return to the United
States, he took up his residence in Philadelphia, where
he died in 1834.
Notwithstanding the plainness of Savage's wife, he
fondly doted upon her, and would not allow any one
to speak disparagingly of her professional merits. A
critic having been one day somewhat harsh in the tone
of his comments in one of the papers concerning Mrs.
Savage, was challenged by her indignant husband to
mortal combat. The invitation was accepted; the
belligerents had a meeting at Cold Spring, near the
Central Bridge, and, the aggressor, a Bostonian,
received a dangerous wound in his thigh. After his
recovery he repeated his offence, when Savage fell
upon him with a cowhide, and whipped him soundly.
In other cities he had several encounters with the

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newspaper critics, gaining nothing but hostility by his
too readily displayed gallantry.
A year or two later, a young man, named Henry
Fielding, an Irishman by birth, who had received a
collegiate education in Dublin, and had been employed
as a lawyer's clerk in Boston, made his first appearance on any stage, in Providence. He became a good
actor, and, for several years, was attached to the Boston and Providence company, but at length went to
New York. About the year 1825 he returned here,
and very soon had a collision with a turbulent portion
of the audience, who assumed to be arbiters of the
fate of the players. One evening he pronounced the
word "revenue" with the accent upon the penultimate
syllable, and the self constituted critics, deciding the
pronunciation faulty, insisted that he should correct it.
Fielding refused, and, in an unlucky moment, asserted
that there was not an American who was competent to
speak the English language correctly. For this speech
he was denounced, and a demonstration was made of
the patriotic intention to drive from the stage the man
who had insulted the American people. The manager,
perceiving that Mr. Fielding's imprudent conduct had
made him a multitude of enemies, cancelled his engagement. The disgusted actor forsook the stage, and,
entering mercantile life, became a merchant in Rio de
Janeiro.

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Near this time Mr. Edward Padelford, a native of
Taunton, Massachusetts, who was then employed as a
clerk in Providence, made his first and last appearance
in the theatre of this town, playing the character of
Octavian in " The Mountaineers." He was young,
handsome, and gifted with a voice of considerable
power and flexibility, and his success was eminent
beyond precedent. It was reported that he had been
led by accident to play the part he appeared in on the
night of his debut. An actor had attempted the personation a week or two before, and Mr. Padelford,
condemning the delineation, thoughtlessly said that he
could play a better Octavian himself. He was instantly
challenged to make good his words; and, as he was
unwilling to appear a mere braggart, he made the
necessary arrangements, mastered the part, and in due
time was announced. Although his first theatrical
effort gave indications of capacity for a high rank in
the histrionic profession, he declined all offers from
the manager, and, devoting his energies to commerce,
became an influential merchant; and is now residing
in Savannah, Georgia, honoured and prosperous. His
dramatic inclinations are as strong as ever, and he is
the proprietor of the Savannah theatre.
On the 10th of July, 1826, a young man, named
John Hart, the son of a worthy blacksmith, residing

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in Bristol; commenced a theatrical career, essaying the
character of Reuben Glenroy, in " Town and Country."
He had youth, vigour, and a comely person in his
favour, but he possessed but little of the talent essential to respectability as an actor. A party of warm
friends combined to give him encouragement, but their
injudicious and clamourous applause served only to
secure for him the steady and relentless persecution of
enemies. His supporters, in order to control public
opinion, obtained permission to publish encomiums
upon his acting in one of the contemporaneous newspapers ; but the articles were of such a fulsome character, that they defeated their own intention, and procured for Hart vollies of hisses whenever he appeared.
He played a season in Boston, and then after discovering that success did not go hand in hand with desire,
he retired from the stage, disheartened by his failure.
He removed to Dighton, Massachusetts, and it is
believed that he studied for the pulpit. His after fate
is unknown.
George Hazard, an actor, who, had he lived to
maturity, would have eclipsed all his contemporaries,
was a native of Newport, Rhode Island. He was a
grandson of George Hazard, one of the colonial mayors of Newport, and son of Nathaniel Hazard, a member of Congress. He had acquired a taste for the

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stage in his youth, and had played once or twice with
some amateurs in his native town. On the occasion
of the benefit of Mrs. Young, on the 18th of August,
1828, he came to Providence, and for the first time
trod the regular stage, enacting Osmond in " The Castle Spectre." He also played during the next week,
Pierre in "Venice Preserved," and then went to Philadelphia, where he was a member of a theatrical company an entire season, creating so favourable an
impression that he was engaged to play in Baltimore
and Richmond. Wemyss in his " Chronology of the
American Stage," states that young Hazard's first
appearance was made in the Arch street theatre, in
Philadelphia, in 1830; but this is manifestly an error.
Sometime in the year 1830, he attracted the attention
of Thomas S. Hamblin, who transferred him to the
Bowery theatre, and entrusted him with "juvenile
tragedy" and "leading comedy." He immediately
won the favour of the patrons of the house, and, in a
few months, became a reigning star, being invested
with all the great Shakspearean characters.
Hamblin was always desirous of encouraging talent,
not merely to put money in his own purse, but from a
disinterested wish to develop real merit. Under his
management Mr. Hazard was rapidly making a brilliant reputation, when, in the very outset of his career,
14

210

HISTORY

OF

THE

he fell a victim of the small-pox. Hamblin generously
erected a monument to his memory, and his loss was
long mourned by those who knew his abundant deserts.
During the season of 1827 or 1828, another aspirant
for theatrical honours appeared, in the person of Seth
Ballou, of Smithfield, who was then pursuing his studies
in Providence. Becoming stage-smitten, he made one
trial here, and another at the Bowery theatre, but he
met with so cool a reception, that he abandoned further dramatic attempts. His failure was owing rather
to a want of confidence in himself, than to any lack of
ability. He was of excellent character, had a fair
education, and, with perseverance, would have become
a good actor.
This period was prolific in debutants. A son of Mr.
Joel Adams, the keeper of the India Bridge toll-house,
came out in an insignificant part, and, in due course of
time, was playing a very respectable line of parts. In
after years he became the manager of several southern
theatres, and his name was conspicuous on the bills in
leading characters.
Mr. Holden, of Boston, made a first appearance
upon the Providence stage in 1828, and shortly afterwards was entrusted with the part of Sir John Lambert in " The Hypocrite." His performance was so
tumultuously hissed, that the stage manager was

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obliged to go forward, and demand the cause of the
riotous demonstrations. No response being made, he
descanted on the rights of actors, and of auditors, and
assured the audience that he should not permit the
rights of the company to be trampled on with impunity.
The play was then suffered to proceed without further
interruption. Mr. Holden eventually attained a good
position in the histrionic profession, and married in
Providence, a young lady of high respectability.
* Yet another candidate for popular applause made a
first appearance on the 30th of April, 1828. It was
Edward Quarles, then about thirty-three years of age,
and a paper-hanger by occupation, having once been an
apprentice to Thomas Webb. He had received few
advantages from education, but was gifted with an
intelligent mind, and a voice of great compass. He
was also endowed with unusual sarcastic powers,
which he wielded on all occasions with such effect as
to acquire for himself a host of enemies. He had
previously tried his strength as an amateur actor, and
selected for his regular debut the character of Mawworm in "The Hypocrite," as he cherished a bitter
animosity toward certain preachers who had gained
much influence over his widowed mother, and the part
would afford him an opportunity for mimicking their
peculiarities. He was small of stature, but so well

212

HISTORY

OF

THE

proportioned that upon the stage his diminutive size
was scarcely noticeable. His appearance had been
announced a week or ten days previous, and, his name
being concealed, the event was anticipated with much
curiosity.
Quarles studied the part with diligence, and had the
benefit of several rehearsals. He was therefore eager
for the trial night. An expectant audience filled the
seats, conspicuous among them being the band of despotic critics to whom reference has been made in the
preceding pages. They were present in full force, and
eager for action. As Mawworm does not enter until
near the close of the first act, these restless spirits
amused themselves with picking a quarrel with Mr.
Holden, who played Sir John Lambert. After some
moments of commotion peace was restored, the debutant made his entrance, and was received with a boisterous welcome. Such a Mawworm was never before
seen! He had so disguised himself that his identity
was not discovered until he began speaking. Then
his voice was recognized, and he was saluted with
shouts of "Ned Quarles!" and other evidences of his
penetrated disguise. The poor fellow was so frightened that he forgot almost every word of his part,
and was able only by the assistance of the prompter
to keep up the dialogue. By dint of great exertion

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213

the play was conducted until the famous pulpit scene
was reached; and then Mawworm had arrived at the
climax of his labours. A sermon, not laid down in
the book, had been written for him, which was so
ludicrously absurd that it filled the house with the
most uproarious laughter. Quarles had recovered
from his embarassment, and delivered the sermon with
excellent emphasis and exceeding energy. It was a
caricature of the productions of an itinerant sensationalist, who was then preaching in the town, and the
satire was so palpable, and withal so forcibly delivered, that the audience were in ecstasies. Quarles
was called out for a speech, and a speech he made,
thanking his friends for their favourable reception of
his efforts, condemning the disgraceful disturbance that
had occurred in the early part of the evening, and, in
conclusion, saying that his first appearance on the
stage should also be his last.
A year or two after his histrionic display he fell into
the Cove, and was drowned.
Near this time Charles Edward Ball, a young Englishman, made his entrance upon the stage, winning so
much applause that it was said that he must have
previously played in his own country. He denied the
allegation with much warmth. He was well proportioned, had a full-toned voice, and a clear, florid com-

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THE

plexion. He was a thorough Briton, withal gentle and
manly in his deportment, and soon became a pet of the
young girls frequenting the theatre, who caused him to
be presented with a dress for Romeo.
On some convivial occasion, Ball, in the confidence of
private friendship, expressed an opinion that the British
stage was superior to the American. This remark was
carried to the ears of a number of young men who
were at that time conspicuous in their unruly behaviour at the theatre, and had already caused more than
one disturbance in their efforts to dictate to the performers. They at once decided that, as Kean had
been expelled from Boston for disrespect to America,
a like example should be made of Ball. It was believed
that some offence had been occasioned by the partiality
of the givers of the Romeo dress; but the ostensible
cause of hostility was the alleged insult to the country.
This band of patriots packed the house for several evenings, and, by offensive sounds and threats, prevented
Mr. Ball from being heard, until finally the manager
announced that the offending actor had withdrawn
from the company. Before he left town he took occasion to give a whipping to two or three of those who
had been most active in their hostile demonstrations
towards himself, and the next season he reappeared
here without interruption of any kind. He subse-

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215

quently played an engagement in New York, and then
returned to England.
A number of other appearances of ambitious youths
might be chronicled; but, as those whose names have
already been given attracted the most attention, only
their attempts have been particularly noticed.
On the 29th of May, 1827, two men, named respectively Perkins and Bowles, came from Hartford and
played Old Snacks and Robin Roughhead, in the farce
of "Fortune's Frolics." They were successful, and,
after paving the manager the sum previously agreed
upon, they returned to their homes.
Tt will be perceived how unruly a portion of the
audience had become after Mr. Kilner had relinquished
the management. Their violent conduct contributed tc
banish the more fastidious friends of the theatre, and
hastened its decline. No principle appeared to guide
the originators of the disturbances, other than a love
of mischief, and they were not unwilling to improve
an opportunity for making their influence felt. It was
seldom that any other results attended their actions
than the annoyance of the more respectable portion
of the spectators; but once at least they wrought an
irreparable injury to one of the actors, a Mr. "Waldegrave, who had some years previously been a member
of the Drury Lane company. He was inclined, when

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HISTORY

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THE

in his cups, to boast of having played lago to the
Othello of John Philip Kemble, and of the general
superiority of British institutions. It was reported
that while partaking of a lunch at a well-known restaurant, he had said that there was not an actor of
native birth in the Union capable of sustaining the
characters in which Kemble had shone. Information
of this injudicious remark had been widely circulated,
and, in consequence, it had been determined that the
Providence theatre should be purged of such a public
enemy.
In the course .of a day or two, Waldegrave was
obliged to undertake an important part (perhaps that
of Dr. Cantwell on the night of Quarles's debut) at very
short notice. As soon as he entered upon the scene
he was saluted with vollies of hisses, cat-calls, groans,
and other outcries. The stage manager presented
himself to inquire the cause of such an unmerited
reception. A voice from the pit in response, said that
an apology was demanded of Waldegrave for insults
offered by him to the country. The poor actor replied
that he was innocent of such an offence, and therefore
could make no apology. His refusal was accepted
as a defiance, and the demonstrations of resentment
became tumultuous. Again the stage manager appeared,
and asked if the play should proceed, at the same time

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211

stating that if Waldegrave should be withdrawn, no
substitute could be procured that evening. There
were now heard cries of " y e s ! " and " n o ! " the former preponderating. When it was decided to go on
at all hazards, a gentleman in the boxes pledged himself that the interruptions should cease, adding that
they were disgraceful to the community. When Waldegrave made his next entrance the hisses began anew,
but, upon one of the ladies making an appeal for her
own sake to the gallantry of the spectators, permission
was given him to finish the performance on condition
that he should make an explanation at the end of the
play. At the conclusion of the comedy he attempted
to make the promised explanation, but was met with
jibes and jeers. At length he was allowed to say that
he was wrongfully accused, that he knew not what to
say beyond this—that he was guiltless of any intentional insult to America; but, as he had become so
unpopular, he should resign his situation, and go with
his children into beggary, to which the loss of his
occupation would consign him.
He remained several months in Providence, deriving
a precarious livelihood from menial labour, until a
benevolent gentleman supplied him with funds to
remove to New York, where he lingered till 1837,
dying a broken-hearted pauper. His son, a boy about

218

HISTOEY

OF

THE

twelve years old, obtained employment in a newspaper
office; in time became foreman in one of the departments of the "United States Telegraph" (newspaper),
and finally removed to London, where he was engaged
by the London "Times" company. The daughter was
taken under the protection of a gentleman of Boston,
and became an ornament to society.
The rioters did not always succeed in coercing the
managers to submit to their caprices. An actor of the
name of Spear took umbrage at being left out of the
"cast" of a popular play; and, enlisting in his favour
by intrigue the sympathies of the cabal, endeavoured
by their aid to compel the manager to reinstate him,
with however no other result than to ensure his own
prompt dismissal.
An attempt by the same restless spirits to drive
Henry J. Finn from the Providence theatre, also met
with a signal failure.

219

CHAPTER

XI.

1836-1844.
The Lion Theatre—
Street

Theatre

The Washington Amateur

Theatre—

The Dorranee

begun — Memorials against theatres presented

to the

Board of Aldermen — Description of the new theatre — The opening
performance — The prologue — The orchestra — The company — Mrs.
Maeder's benefit — III success of the second season — Gretna Green —
J. A. Littlefield—/.
Fdward

I\

Shales — William

Adams — Anecdotes of Booth — Dibut
H.

of

Russell becomes the lessee — Fanny

Eilsler — Unsuccessful attempts at management — F. F. Keach — A
local drama—

The theatre burned — An incident of the

theatre unprofitable—The

enmity of the Second Baptist

Elder luiapp — The misfortunes

P

Fire—The
Society —

of the actors.

ROVIDENCE now remained several years without a theatre, though not wholly destitute of
theatrical entertainments. At various times performances were given by travelling companies in the armouries on Benefit street, just south of College street.
At length the Lion theatre was opened. This was a
brick building situated on Fulton street. It had been
built for a circus in the rear of the Washington Garden, and then had two entrances; one on North Union

220

HISTORY

OF

THE

street, and the other through the Garden to Westminster street. For a number of years it had been used
for performances in equitation, and, for a while, had
offered to the public sufficient attractions to be a formidable rival of the theatre. At length its popularity
declined, and it had long remained untenanted.
It was opened on the 10th of May, 1836, by Messrs.
Houpt and Barrett, with a theatrical company, the
stage manager being Mr. Ingersol. The initial performance consisted of "The Wandering Boys" and
"The Young Widow." A prologue, written for the
occasion, was spoken by Mrs. Houpt. The company
played till the 12th of July, with the exception of ten
days, when they visited Newport. The stars were
Booth, and J. Eeeve, who were so attractive that it
was believed that the time had come when Providence
could sustain a good theatre. It was in this place
that Edward L. Davenport, who has since achieved a
brilliant reputation as an actor, made his first appearance on any stage, performing Marrall in a "New
Way to Pay Old Debts," to the Sir Giles Overreach of
Booth. This theatre was burned by an incendiary,
September 12th, 1836, it being then unoccupied.
In the spring of 1837, a small company of actors
were playing in Masonic Hall, in the upper story of the
Market House, but with such unsatisfactory pecuniary

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221

results, that they were soon obliged to relinquish their
undertaking. A short time before this disruption, a
number of amateurs under the direction of Jonathan
M. Wheeler, G. N. Warren, and GL W. Robinson
obtained a license for dramatic performances in Washington Hall, near the junction of Westminster and
Weybosset streets; and, having fitted up a stage, kept
open for two or three months " The Washington Amateur Theatre," with some profit to themselves, and
pleasure to their patrons. Prom the outset the female
performers of this company had been actresses of
some professional experience; but the attractiveness
of the exhibitions was much enhanced by the accession
of the ladies and some of the gentlemen who had been
playing at Masonic Hall. A range of boxes was then
built, for admission to which the charge was fifty cents,
while that to the other parts of the house remained as
before, at twenty-five cents. The audiences became
larger, and the receipts showed a corresponding
increase. At this time some persons made representations to the mayor that the performances were not
given by amateurs but by real actors, and consequently
that the license was forfeited. An investigation was
at once set afoot; the objection was decided to have
been well taken, and the license was revoked. John
JB. Gough, the well known temperance lecturer, then a

222

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THE

journeyman bookbinder, was the principal comedian of
" The Washington Amateur Theatre."
Another long time passed, and Providence had no
theatre, although the need of one was seriously felt.
Accordingly, a number of public-spirited gentlemen
decided to erect on the east side of Dorrance street,
between Weybos.set and Pine streets, one that should
be a credit to the city for its appearance and capacity.
They appointed a building committee, consisting of
Messrs. James Gr. Anthony, John Gould, John A.
Littlefield, John W. Richmond, and Ezra Dodge, who
selected Mr. Bucklin as the architect, under whose
direction the work was begun on the 28th of May,
1838.
This enterprise from its inception was exposed to
the slings and arrows of enemies. As soon as the
ground was broken by the workmen Mr. Samuel
Wheeler, a very well meaning citizen, conceived the
plan of committing the city authorities to hostility
towards the projected theatre; and, with this design,
he zealously laboured in procuring signatures to a
memorial, in which the Board of Aldermen were
prayed " to take such immediate action in relation to
the erection of a new theatre, as would indicate a
determination to refuse all licenses for such purposes."
This memorial was presented on the 18th of June,

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223

and the consideration of the subject was then postponed one week. On the 25th of the same month,
the board again assembled, and found that during the
intervening time many additional signatures had been
obtained to Mr. Wheeler's document, swelling the
whole number to about six hundred. The Second
Baptist Society, whose house was directly opposite the
site chosen for the theatre, also presented a memorial,
representing in substance, that they had erected a house
of worship in a retired and peaceful situation, in which
they had hoped to hold their meetings undisturbed,
but that the theatre would prevent their doing so, and
impair their rights as a Christian society; and also
setting forth that theatrical amusements are opposed to
the true interests of the community at large. After a
discussion of the subject, the board passed a resolution
" that, however much the members may regret that a
building for theatrical performances is now erecting,
they consider it premature and inconsistent with former usages to give their opinion as to the propriety
of granting licenses to theatres, or anything else, until
a request for the same is made by persons interested."
The work upon the new theatre now advanced with
rapidity, and competent managers were desirous of
obtaining a lease as soon as it should be completed,
provided a license could be procured. On the 22nd

224

HISTOEY

OF

THE

of October, a petition was presented to the Board of
Aldermen from Mr. James G. Maeder, the eminent
musician, representing that he and others had become
lessees of the new building called "Shakspeare Hall,"
on Dorrance street, for the purpose of theatrical representations; that he had engaged a stock company
respectable in talent and character, who were well
aware that they could not hope to be sustained by the
public, unless they should maintain a reputation for
professional and private good character; and that he
intended to enforce such regulations as would conduce
to good order, especially forbidding the sale of wines
and strong liquors upon the premises, and excluding
all persons of notoriously bad character; and asking
a license for one year. After a full hearing of the
parties interested, the license was granted on the conditions named in the petition, subject to such regulations as the board might thereafter deem expedient.
One hundred dollars for the use of the city, and ten
dollars for the state, constituted the fee exacted. It
was stipulated that performances should not be given
either on Saturday or Sunday evenings, and that they
should always be terminated before twelve o'clock at
night. The sheriff of the county and two police constables were appointed to attend at "Shakspeare Hall''
to keep order, at the expense of the manager.

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225

The theatre was a stone edifice, one hundred and
ten feet in length, by sixt}^-five in width; and its stage
was a little more than fifty feet deep. The exterior
was plastered and pointed in imitation of granite, and
had pilasters in front and a granite basement. The
principal external decoration was a medallion bust of
Shakspeare. The interior was beautifully decorated
by accomplished artists; the ceiling representing a
dome with a sun in the centre, surrounded by the
signs of the zodiac in gold. This was the work of
Mr. Heister, then eighteen years of age, and now the
ablest scenic artist in America. The fronts of the
boxes were exquisitely painted in panels. The auditorium contained, besides a pit, two tiers of boxes and
a gallery of semi-circular form, and could seat about
thirteen hundred spectators. The act-drop represented
a moonlight view of the Capitol at Washington: The
entire cost of the theatre was twenty thousand dollars.
The inauguratory performance took place October
29th, 1838, and consisted of "The Soldier's Daughter,"
and "A Pleasant Neighbour." An elegant prologue,
written by Mrs. Sarah H. Whitman, was recited by
Mrs. Maeder. The following lines heralding the
advent of the drama, were enthusiastically received:
" And now she comes with all her shadowy train
To hold her court within this gorgeous fane —
15

226

HISTORY

OP

THE

Here her bright banner fearlessly unfurls,
And scorns the pointless shaft the bigot hurls —
Pure are her means, her high intents sublime,
To cherish virtue and deter from crime,
With loftiest theme to rouse the languid heart,
And stern reproof with subtle grace impart;
To wake the noble love of well-earned fame,
And teach the glory of a deathless name.
She shows how heroes lived and martyrs died,
And fills the exulting breast with god-like pride,
That such high energies to man are given
To conquer earth, and ope the gate of Heaven."

The managers were James G-. Maeder and Thomas
Flynn; the leader of the orchestra was at first a Mr.
Woods, who was succeeded by Mr. Clemens, and
under him were two violins, two clarionets, two horns,
a trumpet, a trombone, and a double bass; forming
the largest and best drilled orchestral band that had
ever been heard in Providence. Whenever operas or
other musical pieces were performed, Mr. Maeder
played the piano-forte in the orchestra.
The prices of admission were one dollar to the
boxes, fifty cents to the pit, and twenty-five cents to
the gallery.
The company contained Messrs. Gates, comedian,
Nickerson, Flynn, Fenno, McDonald, McCutcheon,
Merryfield, and Edwin, also Mesdames Maeder, Rider,
Fletcher, Mathews, and others, constituting a combina-

PROVIDENCE

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227

tion better suited for the lighter drama than for tragedy
or standard comedy.
Several injudicious regulations adopted by the management were offensive to the public, and resulted in a
decrease of patronage soon after the opening, as well
as a disagreement with the newspapers. One regulation, common enough in other cities, was novel here,
and occasioned no little displeasure on the part of the
visitors to the house. By this rule the front seats of
the boxes were reserved for such persons as should
engage a whole row. It appearing that the public dissatisfaction was in a great measure caused by the mismanagement of Mr. Flynn, that gentleman dissolved
his partnership with Mr. Maeder, and moved away.
Mr. Maeder at once made vigourous exertions to win
the popular favour, and, at the same time, to maintain
a high standard of excellence in all the performances.
The stars of the season were Miss Shirreff and Mr.
Wilson, in English opera, and the tragedian Hamblin,
whose engagement was a great success.
On the 7th of January occurred the benefit of Mrs.
Maeder, formerly the celebrated Clara Fisher, when
the house was densely packed by a brilliant assemblage. The beneficiary, besides the large sum of
money resulting from the tickets, received as a gift
from her numerous admirers, a gold chain with a

228

HISTORY

OF

THE

medallion, and an emerald ring. A few days previously, she had presented to the stockholders for the
adornment of the box lobby a bust of Shakspeare,
and a representation of Shakspeare's house, modelled
by her father.
Mrs. Shaw shortly after this event fulfilled a star
engagement, drawing remunerative audiences; and,
when the season closed on the 6th of February, 1839,
it was found that after paying all the expenses, a small
profit had accrued to the manager.
Mr. Maeder began a second season in April, and
closed on the 24th of July. Although he produced
actors of celebrity, such as Mr. and Mrs. Sloman,
Ellen Tree, Mile. Augusta, Miss Clifton, H. J. Finn,
and M. and Mde. Taglioni, his receipts seldom equalled
the disbursements; and, as he became involved in debt,
he concluded not to obtain a renewal of his license.
A complimentary benefit was tendered to him by the
stockholders, after which he removed to New York.
No incident worthy of note occurred during the period
in which he held the managerial baton, except, perhaps,
a certain coincidence trivial in its nature, but which at
the time occasioned some little amusement—we allude
to the fact that on the 10th of June the farce of
" Gretna Green" was performed, and the character of
Jenkins was sustained by Mr. Fenno, who a few hours

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229

before had actually made a runaway marriage of his
own.
Mr. John A. Littlefield attempted in September to
keep the theatre open, but, after a few weeks' profitless
experience, found himself compelled to abandon his
design. His successor was J. F. Adams, who, with a
poor company, gave support to a succession of stars,
viz : Forrest, Ranger, Mrs. Fitzwilliam, Charles Kean,
J. Wallack, Booth, Dan. Marble, Hackett, and the elder
Vandenhoff with his daughter. He brought his season
to a termination early in June, 1840. The business of
the stage had been ably conducted by W. H. Smith,
who made every effort to conceal the deficiencies of
the "stock;" but several times when a "full" piece
was to be produced, or some star more exacting than
ordinary was to be supported, temporary engagements
were made with actors from other cities.
Attended by such satellites, stars came and shone;
but Booth blazed with dazzling glory, fully sustaining
the reputation he had long before achieved. His
advent had been anxiously awaited, and his appearance crammed the theatre to its utmost capacity. He
more than satisfied every expectation, playing with
wonderful power, and nightly winning round upon
round of applause from the enthusiastic spectators.
Despite his low stature and certain other physical

230

HISTOHY

OF

THE

drawbacks, his genius supplied altitude, and gave him
absolute power over those whom he willed to subdue.
Be the audience ever so apathetic in the earlier scenes
of a tragedy, let Booth present himself and utter a
word, and, quick as the lightning's flash, the spectators roused themselves and thundered their welcome. In every scene he reigned absolute master,
actors and audiences quailing before his fiery glances,
and breathless with terror when he gave unrestrained
flow to the multitudinous passions that swelled the
breast of royal Richard in his death struggle. With
a whisper he could chill the blood, with a glance he
could extort obeisance, with a gesture he drew tears.
His acting may be analyzed, his intonation may be
imitated, his appearance may be described, but the
magnetism of his manner is indescribable—it is incomprehensible.
This great actor was a singular compound of eccentricities, absurdities, virtues, and talents—his own
enemy—yet the friend of humanity, and as tender of
animal life as the fastidious Brahmin. Delighting in
the glare of the play-house, he yet cherished a fondness for a pastoral life. Well read in professional
lore, and conversant with the most elegant poetry, he
chose for his companions the dissipated, the worthless,
and the uneducated. Devoted to self-indulgence, he

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still revered the rules of godly living, and would at
anytime forsake his revelries to read to appreciative
listeners chapter after chapter from the Bible. Himself without any profession of religion, he reverenced
piety in others, and was indifferent to the form of
worship, if only true devotion was apparent.
It has been disputed whether Booth was subject to
fits of insanity or not, and some of his freaks would
seem to give tokens of a disordered intellect, while
others evinced too much method to justify such a conclusion. During this engagement he lodged at the
City Hotel, and his strange demeanour was a constant
source of amazement to the proprietor and to the
guests. One night he did not make his appearance
at the theatre in season to begin the performance, and
Mr. Adams, the manager, guided by one of the clerks
of the hotel, went to his room, and found it locked.
To their calls and knocks there was no response,
but as it was possible that he had fallen asleep, the
clerk climbed upon the roof of an adjoining piazza,
and peered through the window. The room was
apparently empty. Then the corridors and offices
were visited without success, and the manager was
about to go away in disappointment, when the clerk,
to make assurance doubly sure, again scaled the piazza,
entered the window and looked under the bed. There

232

HISTORY

OF

THE

lay the missing tragedian, calm and sober, quietly
meeting the gaze of the intruder with his own. He at
once consented to proceed to the theatre, and, after a
few preparations, followed the manager, who, relying
on his promise, had hastened back to his post. The
clerk, unperceived, followed Booth, and saw him in his
progress by .the route he had often before walked,
accost every person he met, and asked to be directed
to the Providence theatre. When he reached his
dressing-room he lost no time, but was soon upon the
stage, hailed with rapturous delight by the audience,
whose patience he had so severely tried.
Instances of a similar nature might be multiplied,
but two or three will suffice. One evening when he
was to play Iago, he was missing at the hour when the
play was to begin. The audience was unusually large,
and the manager being unwilling to change the programme, and thereby incur the risk of many persons
demanding the repayment of the entrance money,
resorted to the expedient of playing the farce as a
first piece, and in the meantime searching for Booth.
By good fortune a gentleman was seated in the boxes
who was an intimate friend of the great actor, and
knew all his haunts. The straits of the manager having been made known to him, he procured a carriage,
and proceeded to Morris Deming's sailor boarding-

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233

house. There the tragedian was found, a little the
worse for his potations, and carousing with his host,
whom he designated " a learned Theban—a sage philosopher." He was immediately taken to the theatre,
his dress was speedily changed, and he not only acted
his part, but played it superbly.
At another time he evaded the watchful eyes of his
friends, and, after an ineffectual search in the various
bar-rooms of the city, was at length discovered sitting on
Peck's wharf, with a parcel of crackers, from which he
was feeding a number of hogs, which he had collected
together in that neighbourhood, where they then roamed
at large.
During an engagement at this theatre, or at the
" Lion," he disappointed the audience, and was found
late in the evening, blindly making his way through
the town of Johnston. When he was overtaken by
his friends, he yielded to their wishes, and readily
returned to Providence in their company.
He was often perfectly sober when indulging in
these vagaries, and his acquaintances differed as to
their cause. It can not, however, be concealed, that
he sometimes did indulge his appetite for intoxicating
liquors to an immoderate extent, but not so frequently
as is popularly believed. It is doubtful if he ever
was so completely overcome by drink as to be inca-

234

HISTORY

OF

THE

pacitated from playing a familiar character. As soon
as he came before the foot-lights and began to speak,
his aspect changed, and, as the play progressed, he
regained over all his faculties sovereign sway and
masterdom. He abandoned himself so entirely to the
passions of the part he personated, that he produced
such a degree of mental excitement as would neutralize the effects of other stimulants.
About five o'clock one afternoon, when the play-bills
were advertising that he was to play Richard the Third
in the evening, he had drunk in some bar-room to
excess, and was lying on a bench, to all appearances
helplessly intoxicated. A college student chanced to
see him in this besotted condition, and two hours later
attended the theatre for the purpose of witnessing the
lamentable failure he was sure would occur; but he
was delighted and amazed to behold Booth tread the
stage with firmness, and perform that master-piece of
acting in such a manner as to electrify the audience, and
to leave upon his own mind an ineffaceable expression.
As Booth advanced in age he yielded more and more
to the cravings of his appetite, and some reliable friend
was in constant attendance to protect him from the
allurements of his boon companions. He could, however, at any time, be temporarily withdrawn from their
society by an invitation to read the Scriptures, as

PKOVIDENCE

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before remarked; and those who have been present
when he complied with the request, are enthusiastic in
their descriptions of the impressiveness of his delivery.
There was a religious vein in his nature which was
continually showing itself, whether he was sober or
under the influence of his potations. One morning
before sunrise, late in the autumn of 1839, two gentlemen started for Seekonk to hunt rabbits. As they
approached India Point Bridge, they observed that the
door of a small bar-room, kept in that vicinity by one
Rawson, stood open at that unusually early hour,
and they entered for the purpose of procuring some
cigars. As they passed in, an unexpected sight presented itself. Before a picture of General Washington
a small boy was kneeling with hands joined, and by his
side was the tragedian, Booth, engaged in teaching the
boy the Lord's Prayer, solemnly dictating each separate petition, and so intent upon his occupation that he
did not observe the entrance of the spectators. The
hunters stood awhile, regarding in silence this strange
display, and, after having made their purchase, continued on their way, leaving the actor, then haggard as
from a revel, still engaged in imparting his lesson in
religion. How Booth chanced to be so occupied and
in such a remote place, they never ascertained.
Mr. Nathan Porter, now an eminent lawyer in San
Francisco, California, was a member of the company

236

HISTORY

OF

THE

this year (1839). He was very successful in " Yankee" characters, and a farce, written by himself to
display, to the best advantage his peculiar talents, was
frequently performed. For his benefit, March 12th,
1840, the Boston tragedian, Edward Shales, appeared
as Gloster in the fifth act of "Richard III." This
Shales was a desperately stage-struck amateur, who,
being puffed up by the flattery of mischievous acquaintances, believed himself thoroughly qualified for the
highest walks of the drama. He had attempted to
play two acts of the same tragedy on the 11th of the
previous June, and had been pelted from the stage by
the jeering audience. Undaunted by his failure, he
was resolute in his determination to make a second
trial of his powers. Mr. Porter therefore procured
his services for the benefit, at the same time circulating
accounts of the dramatic treat which he intended to
offer. A good house was in attendance, who gave the
debutant a fair chance for a hearing; but he proved to
be so utterly incompetent, that they employed the time
in laughing at his ridiculous failure.
Shales soon afterwards repeated the performance,
and the audience went to the theatre, anticipating a
merry time. The actors had had their sport with him
before that of the spectators began, and had amused
themselves with decking him with a novel apparel for

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237

the great part he was to play. One foot wore a boot,
the other was dressed in a sandal. The remainder of
his attire was as absurd as could be devised, embracing
the costumes of widely remote periods, each portion as
incongruous with the rest as possible. As soon as he
presented himself to the view, he was saluted with
shouts of laughter from the house, composed wholly of
males. His efforts to speak were hailed with renewed
peals of laughter. Soon missiles began to fly. Turnips, apples, eggs, cabbages, and other articles were
thrown at him, littering the stage on every side. The
uproar reached its climax when a man in one of the
upper tiers was seen to stand up, swing a cat by the
tail around his head two or three times, and then let it
fly through the air. Straight to the mark went the cat
and lighted on the back of Shales, who, though a little
staggered by the shock, stood his ground like a hero,
shook off the animal, and waited for the din to cease.
An apple fell near him. Picking it up, he coolly ate
it until some degree of silence was restored, when he
attempted the part, and, after some further interruptions, he was permitted to finish the performance.
On the 14th of June, 1841, William H. Russell, a
native of Bristol, Rhode Island, who had been the
treasurer of Burton's National theatre in New York,
became the manager of the Providence theatre, and

238

HISTORY

OF

THE

kept it open with a succession of stars, viz: Mrs.
Maeder, Ranger, Burton, and Hamblin, until September
10th. In October he reopened with a newly decorated
auditorium, and a new act-drop, the work of Mr. H.
Isherwood. His company was far from being a powerful one, although several of the performers were not
destitute of merit. These were George Jamieson,
Fenno, Mrs. Russell, (formerly Miss J. Shaw,) Mr.
and Mrs. Kemble, and Miss C. Shaw. Mr. and Mrs.
Creswick were subsequently added. The principal
attractions were T. D. Rice, Edwin Forrest, Mrs. Shaw,
and the spectacular drama of " The Naiad Queen."
On the 19th of November, Fanny Ellsler, the celebrated danseuse, was engaged for one night at an
expense of six hundred dollars. Although the house
was well filled, and the prices of tickets had been
raised to meet the increased expenditure, the manager
lost money by the engagement; but Miss Ellsler the
next morning returned him one hundred dollars of the
sum she had received.
The season was brought to a close in February,
1842, Mr. Russell having become involved in debt by
the undertaking, although the stockholders, who had
adopted the plan of receiving, in lieu of a definite sum,
a certain percentage of the receipts of each performance, obtained a larger rent than had ever before fallen

PBOYIDENCE

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239

to their share, and, on the 4th of March, advertised a
dividend.*
On the 30th of/May, 1842, Messrs. Jamieson and
Isherwood obtained the lease for a short term, but
were soon glad to relinquish it. They were succeeded
in February, 1843, by Wyzeman Marshall, who, soon
after the engagement of Booth, and Mrs. Shaw, closed
the doors for lack of patronage.
In February, 1842, the celebrated Doctor Dionysius
Lardner delivered five lectures on scientific subjects,
in the theatre, to appreciative audiences. In September Mrs. Fitzwilliam and Buckstone gave three successful performances there with a small company
brought from Boston, and, in June, 1843, Jerome,
Gabriel, and Francois Ravel, with ten other pantomimists, performed several times. The theatre, how* The destruction of the hooks of the theatre makes it impossible to present a
statement of the financial condition of the management for any period, except
for the first season of Mr. Russell's lesseeship. The treasurer's account for
those thirteen weeks is yet in existence, and from that we ascertain that the
receipts for sixty-seven performances amounted to $7,849.58, averaging $117.15
each night. The rent, being seven and a half per cent., amounted to $588,23.
The opening night brought in $164. The best nights were June 21, on the occasion of Mrs. Maeder's benefit, when nine hundred and sixty-four persons were
present, paying for their admission $296.75 ; July 5, when twelve hundred and
thirteen spectators were present, paying $424.25; and August 16, being the first
night of the equestrian drama of "Mazeppa," when $364.25 were taken. The
smallest house was that of July 2nd, when the entire audience comprised ninetytwo persons, the receipts being $22.75. It will be observed that the house was
seldom more than one-fourth filled.

240

HISTORY

OF

THE

ever, was not regularly open till July 3d, 1843, when
the principal members of the National company came
from Boston, under the management of W. R. Blake
and C. J. Spear, and maintained a series of dramatic
entertainments for five or six weeks, during which
time Hamblin reappeared as a star, and the managers
gave a benefit performance for the sufferers by the
great conflagration in Fall River.
Among the performers in this troupe was Mr. Edward
Frank Keach, a young gentleman who had several years
earlier been engaged in commercial pursuits in Providence. He had fostered such a decided taste for the
drama, that, after a preliminary trial of his abilities in
Boston, despite the remonstrances of his friends, he
had gone to Baltimore and begun the arduous career
of an actor. There he met with but indifferent success, and soon returned to the north, playing on the
25th of June, 1841, one night in this city. He soon
joined the National company in Boston, and, after a
long experience, achieved an honorable position in the
profession of his choice. He was the principal actor
at the Boston Museum for several years, winning general admiration by his attention to duty, his grace, and
his talent. In 1860 he became the manager of the
Museum, and his peculiar qualifications for that most
responsible position became at once apparent. He

PROVIDENCE

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241

devojted his entire energy to the sole purpose of making that theatre the foremost establishment of its kind
in America; endeavouring by undeviating attention to
the minutest details of the multifarious duties of a
manager, to render every performance an elegant and
rational entertainment, and, at the same time, indirectly
profitable for the instruction of the audience. In the
selection of plays he aimed chiefly at effectiveness of
incident and picturesqueness of stage appointments.
He bestowed much attention on correctness of costume, in which department he found an able coadjutor
in Mr. Thomas Joyce; and he insisted on the literal
delivery of the text of the dramas, taking unwearied
pains at rehearsals to have the "business" of the
scene well understood, and the pronunciation of the
actors uniform, and in accordance with the best
orthoepists. He had a wonderful faculty of imparting
his own spirit to those surrounding him, and, in a little
time, he had a band of assistants intent on the fulfilment of their individual parts in his general plan. In
one year after his induction into the managerial chair,
the Museum became a source of pride to the Bostonians, and its reputation was widely extended. Its
stage was decorated with beautiful scenery, its actors
were selected for their reliability and talent, its music
was of the highest character, and the entire mise en
16

242

HISTORY

OF

THE

scene free from the anomalies and anachronism^ so
common, even in the metropolis, as to be accepted as
inevitable.
For three years Mr. Keach devoted himself to the
duties of the management; at the same time playing the
leading parts in juvenile tragedy and comedy; but his
incessant toil shattered his health, and he was sent to
Europe for rest. After a brief sojourn in London and
Paris he returned home, somewhat improved in health,
and bringing for the benefit of the Museum the fruits
of his travel; but, unable to refrain from the absorbing
pursuits so dear to his heart, he suffered a relapse, and
soon died. His death was an irreparable loss to the
Museum and to the whole dramatic profession. It is
but reasonable to believe that had his life been spared
for fifteen or twenty more years, he would have enjoyed
a national reputation, and would have been acknowledged as a great public benefactor.
Mr. 0. H. Saunders was also attached to this company. He was a good actor and a prolific dramatist,
A play written by him called "Amy Cranston," founded
on events in Rhode Island history, was performed on
the 2nd of August, but did not enjoy a protracted run.
On the 18th of December of the same year, Mr.
Thomas B. Russell opened the theatre for a winter
season, with a company small in number, and far from

PROVIDENCE

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243

efficient in point of talent. His stage manager, who
was also his leading actor, soon left him, and, as the
manager had had but little experience in " stage business," he was seriously embarrassed in the production
of plays. By good fortune he was enabled to secure
the aid of Mr. J. Gustavus Burrough, a young gentleman of the city, who possessed the necessary qualifications, and chanced at this time to have just returned
from a professional visit to Baltimore. Thus reenforced, Mr. Russell protracted his season for several
weeks, during which time he produced as stars Booth,
December 25th, Charlotte Cushman, January 10th,
1844, Chippendale, and Miss Bradbury; but bad success attended his efforts, and he, too, removed to
another field.
The theatre now remained desolate until July, 1844,
when Andrew J. Allen, who had been a member of
Mr. Harper's company in 1809, brought a company of
players, and began a summer season. He produced
Brougham, Forrest and Miss Clifton, and William H.
Smith. The enterprise resulted unfortunately; Mr.
Allen forsook Providence, and the theatre was again
tenantless.
It was destroyed by fire on the morning of October
25th, 1844. At the time of the disaster it was occupied by Doctor Lardner for astronomical lectures.

244

HISTORY

OF

THE

The fire destroyed his famous planetarium, which
occupied the entire pit, and was valued at thirteen
thousand dollars, besides other apparatus of a costly
description. The origin of the fire was never ascertained. Some ascribed it to the furnace used with the
little steam engine which gave motion to the planetarium ; but the majority deemed it the work of an incendiary, impelled by fanaticism, or by a love of malicious
mischief.
During the conflagration the flames caught the spire
of the wooden meeting-house opposite, which, however,
was by great exertions preserved, and also ignited a
coffin warehouse in the neighbourhood. The doors
were broken open, and the crowd who were watching
the burning theatre, and listening to the shouts of the
firemen and the clangour of the alarm-bells, were
startled at the unexpected sight of coffins borne on
the shoulders of men running to and fro in search of
a place of safety.
The Dorrance street theatre had always been an
unprofitable investment for the stockholders, and for
the managers; to the former because often unrented,
and to the latter for several causes. Every exertion
had been made to attract the citizens, but they never
made a liberal response. The first year had been the
best.. Then, Mr. Maeder, whose education and profi-

PROVIDENCE

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245

ciency in music had given him a predilection for operatic drama, had given particular attention to their
production,* endeavouring to please the most fastidious taste; but he met with nothing but disaster. His
successors had experimented with spectacles, and with
stars, but all had abandoned their attempts in despair,
and one of them for some time was an inmate of the
debtor's prison. The knowledge of these failures
could not be concealed, and there had been no candidates for the lease for a long while .before the fire.
The ill success of the theatre may be in part
attributed to its inaccessible situation. It will be
remembered that Dorrance street did not then extend
from Weybosset street to Westminster street; and the
passengers through the latter thoroughfare, not having
before their eyes the inviting aspect of the building
with its gay lamps, were often forgetful of its existence.
The situation of the theatre proved to be unfortunate in other respects. It faced the Second Baptist
Society's meeting-house, on the other side of the street,
and met from them opposition even before the foundation was laid, as has been before stated. The society
were no little chagrined that a license had been granted
for theatrical performances, and their hostility to the
* At one time the orchestra contained among its members one of the Counts
Palatine of the Rhine, who had been compelled by political troubles to leave his
country, and gain a livelihood by the exercise of his musical talents.

246

HISTOEY

OF

THE

drama in general was succeeded by enmity to the
Dorrance street theatre in particular. They tried to
suffer inconveniences from its proximity, and held
meetings with great frequency on unusual nights;
but were unable to find themselves annoyed, as they
expected. The indifference with which their behaviour
was treated, exasperated them, and they became more
demonstrative of their opposition. The bell was rung
long and often, with so evident a design of disturbing
the dramatic entertainments, that Mr. Russell once lost
patience, and silenced the ringing by appending to his
bills a notice that the hour of performance at the theatre would be regularly announced by the bell in the
steeple opposite.
The most disagreeable of their demonstrations was
made by preaching against the stage and the actors in
such loud tones that the sound, entering the windows
of the theatre, made it difficult for the company in the
boxes to hear the plays. A revivalist of stentorian
lungs and untamable zeal, of the name of Knapp, was
engaged, and he "bore testimony" with such violence
against the sinfulness of the theatre, particularizing
the performers by name, that he was near occasioning
breaches of the peace. A distinguished tragedian
when playing an engagement here, was the special
object of the diatribes of this zealot, who indulged in

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247

his personalities with such virulence that he so angered
the actor, that he entered the meeting-house, and, in
the face of the worshippers, rebuked his assailant.
Although the theatre was the chief object of attack,
Knapp dealt his abuse with no unsparing hand towards
other victims; and, at length, to escape the vengeance
of an exasperated crowd who surrounded the meetinghouse, he was obliged to flee through a window.
After the flight of this apostle, unseemly manifestations of hatred gradually became more rare, and had
wholly ceased some time before the theatre was burned.*
* As early as 1813, or 1814, this society, then popularly known from their
situation as the "Muddy Dock Baptist Church," manifested towards theatrical
amusements an intolerant spirit, which once culminated in a riotous proceeding
on the part of some of their young and enthusiastic converts. A number of
lads under the direction of Mr. Benjamin Henry Talbot, a young man of considerable literary ability, opened a little amateur theatre on the north side of
Pine street, not far from the " conventicle." They fitted up their hall with no
little taste, erected a stage, and supplied it with a stock of scenery sufficient for
all their probable wants. Their scheme was immediately denounced in unmeasured terms by the pastor of the meeting opposite, a very peculiar man, strong
in his prejudices, and not unduly stocked with profane learning. The townsergeant also gave the young actors to understand that the town council would
probably consign them to the bridewell, if they should persist in their intention,
and actually enact plays. The lads, notwithstanding the semi-official nature of
this intimation, did produce plays, beginning with "The Merchant of Venice,?'
(the " c a s t " of which is now before the writer of these pages,) and kept up a
succession of performances for several nights, without molestation from the
town authorities. The pastor redoubled his denunciations, and probably nothing of a more serious character would have occurred, had not the amateurs in
retaliation produced an original satiric drama entitled, " Muddy Dock in a Stew;
or, the Parson without Breeches." This was more than human weakness could

248

HISTORY

OF

THE

Other causes cooperated to render the theatre unprofitable. The best friends of the drama were the stockholders, but from these the managers received nothing;
for all of them had free passes to the performances,
and they were so numerous that the best seats were
sometimes respectably full, while the treasury was
almost empty. Those stockholders who seldom went
to the theatre were in the habit of letting their tickets
to others, and thus kept money from the manager, who
soon found himself compelled to depend for support
upon that part of the play-going public which could
not be allured by any attraction other than the most
expensive. To be able to procure stars, it was necessary to retrench in the stock company, and, consequently, stars at length became indispensable. The
star system once adopted, the decline of the theatre
became only a question of time. Although often large
audiences were gathered within the walls, the receipts
were all taken by the stars, leaving no profit for the
manager. Sometimes, when it was currently reported
bear; and one night several of the devotees of the flock, headed, it was said, by
one or two of the deacons, entered the little theatre after the lads had retired to
their homes, and destroyed the scenery, lamps, costumes, and every piece o
property that had been used for such an unholy purpose as playing. Satisfied
with this indulgence of their indignation against an object, which they verily,
though ignorantly, believed to be an engine of Satan, they came away rejoicing
that virtue had triumphed. No legal proceedings were ever taken against the
perpetrators of this act of vandalism.

PROVIDENCE

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249

that the audiences were very large, and that the theatre must be doing well, the actor whose reputation had
proved so attractive, had taken as his share not only
all the receipts, but had actually left the treasury in a
worse condition than it had been before his appearance. The town, after having had a taste of good
acting, was so indifferent towards the stock company,
that when they attempted to play without extraneous
aid, the receipts scarcely paid for the lights and the
advertising. At such times the poor actors were
reduced to dismal straits, and their salaries being in
arrear, they were destitute of provisions for the passing
hour, and harassed by the clamours of their creditors.
The spring of 1842 was peculiarly disastrous to
their interests. During the few nights when the theatre was open, the nightly receipts when divided gave
them a scanty subsistence; but this last resource failed
when political troubles resulting from the Dorr insurrection occupied public attention, and compelled the
closing of the theatre. They were then left without
occupation and without means of any kind. A few of
the superior actors were enabled by friends to remove
to other cities, but starvation confronted the others.
Without credit, and without money, all doors were
shut against them, and, with the assent of the proprietors, eleven of them betook themselves to the theatre,

250

HISTORY

OF

THE

and there lived several weeks under the stage, maintaining life and hope in privation and- suffering. The
dressing-rooms served them as sleeping apartments,
the hard banks and sofas of the property-room were
their beds, and the green-room stove gave them
warmth, and cooked their poor supplies, of food, procured by the sale of their clothes, trinkets, costumes?
and books. During this time their spirits never failed
them, but at the period of their greatest destitution
they remained cheerful and joyous. Indeed, it may be
doubted if in any of the households of the city there
was then as much happiness, as in the cellarage of the
Dorrance street theatre.
At length this family was divided. Remittances
from brother actors in distant theatres came, and
enabled several to remove, and the remnant owed
their deliverance to the liberalit}7 of John A. Littlefield and Walter R. Danforth.
The destruction of the theatre was not so complete
as to overthrow the walls, which now exist, presenting
nearly the same external appearance as before the fire,
while the interior, rebuilt, is used for various mechanical purposes.

251

CHAPTER

XII.

1846 — 1860.
Howard and Foxes—The

Providence Museum — Mr. William 0. Forbes

becomes lessee — Zola Montez—
burned— Complimentary
Forrest — Presentation

Uncle Tom's

benefit—

Cabin—The

of Plate to Mrs. Forbes — Pyne

Opera Troupe — The Naiad

Museum

Forbes's theatre — Engagement of

Queen — Presentation

% Harrison

of Plate to Mr.

Forbes — Engagement of Lola Montez — Anecdotes of Lola Montez —
Mr. and Mrs. L). S. Palmer—A
mentary

William. C. Forbes—Heath
Swarts's

F

season of

benefit to Mr. Forbes — Destruction

misfortunes—Compliof Forbes's Theatre —

of Mrs. Forbes—The

Varieties Theatre —

Hall— Pine street Theatre — Conclusion.

ROM 1846 to 1850, regular dramatic performances were given by a small company, under the
management of G-. C. Howard, and G. and J. A. Fox,
at first in Brown Hall, in South Main street, and afterwards in Cleveland Hall, in North Main street. These
managers met with unequivocal success until the opening of the Providence Museum, with superior resources,
gave them a formidable competitor for public patronage. They relinquished their lease in July, 1850,
but dramatic entertainments were continued in the

252

HISTORY

OF

THE

same hall by E. W. Bradbury, their principal actor,
for several months later. The performances had consisted principally of melodrama and farce, and had
been respectable in character. Such performers as
Mr. Howard, the Foxes, G-. C. G-ermon, E. Varrey,
and E. W. Bradbury, were at the same time members
of the company, and were able to give an entertainment very satisfactory to the audiences who nightly
filled Cleveland Hall; the price of admission being
only twelve and a half cents. There is an old gentleman in town, who, bred in the notions of the most
straitest sect of the day, had always regarded the
theatre as the most dangerous of the entrances to Erebus, and often expressed this conviction in the presence
of his family. The dreadful news was communicated
to him that his son had clandestinely gone to spend an
evening at "Howard and Poxes." Bent upon rescuing
the lad from destruction, he entered the hall, and, while
he was searching for his son, the curtain drew up, and
the play began. He became deeply interested in the
incidents of the drama, and remained, forgetful of the
purpose of this, his first visit to a theatre, until the
conclusion of the performance, and then the two went
home together, the father unable to reproach the son
for being attracted by a diversion, by which he himself
had been equally fascinated.

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"The Providence Museum" was situated in Westminster street, fronting on Orange street. It was
opened December 25th, 1848, under the management
of William C. Forbes, he being employed by the proprietors, who had originated the plan of erecting a
hall for dramatic performances as an appendage to a
museum of curiosities. They completed the hall, but
never furnished the latter portion of the attractions.
The auditorium was lighted by gas from Almy's gas
works, which was the name given to the building constructed within the walls of the Dorrance street theatre. The opening bill consisted of "The Honeymoon,"
Duke Aranza by Mr. Forbes; Rolando, A. Andrews;
Jacques, J. Cowell; Juliana, Mrs. Forbes; Volante, Miss
Kinlock; a Pas cle deux by the Misses Emmons; and
the farce of "The Turnpike Gate." The hall contained a parquet and a gallery, and the price of
admission to all parts was fixed at twenty-five cents.
By the terms of the contract with the manager, tragedy
was never to be played at this theatre, the proprietors
believing that a strong prejudice against that form of
drama prevailed among the stricter sort of citizens.
In two or three weeks after the opening night, request
was made by some influential person that "The
Stranger" should__be performed, and the Mrs. Holler
of Mrs. Forbes made so deep an impression that the

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THE

proprietors assented to the production of a regular
tragedy. "Jane Shore" being accordingly played, the
performance was so much admired that its repetition
was demanded, and all restrictions were removed from
from the acting of tragedy.
Disagreements between the proprietors and the
manager soon afterwards occurred, and, it having
become apparent that the speculation would be unprofitable, the house closed March 28th, 1849.
Mr. Forbes immediately made proposals for a lease
of the Museum in his own name for five years, and
was successful. The yearly rent agreed upon was
three thousand dollars. During the negotiations most
of the actors remained in town, awaiting the result;
and, to maintain themselves, gave several entertainments in the public halls. On one of these occasions
Joseph Cowell introduced upon the stage his grandchildren, Kate and Ellen Batemen. It has been said
that this was the first appearance in a dramatic
performance of these young girls, who afterwards
became famous for their precocious histrionic talents.
Mr. Forbes reopened May 16th, with a good company, containing Joseph Cowell, D. S. Palmer, C. W.
Hunt, A. R. Phelps, E. F. Keach; Mesdames Forbes,
Hunt, and 0. Mestayer; and the Misses Carpenter and
Gertrude Dawes, danseuse, and others. Mr. Forbes,

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being disabled by a sprain on the opening night, his
place was supplied for several weeks by Mr. Joseph
Proctor. The house was kept open until July 23d;
the only stars of the season being Proctor, Derr in
equestrian drama, and Wyzeman Marshall.
The second season began September 1st, 1849, and
closed June n t h , 1850. During the recess a circle of
boxes had been partitioned from the parquet, and
other improvements had been made. The price of
entrance to the side boxes was fifty cents, to the rear
boxes thirty-seven cents, to the parquet twenty-five
cents, and to the gallery twelve and a half cents. Mr.
W. A. Arnold became the treasurer, and occupied that
position during the whole time of Mr. Forbes's management, winning many friends by his courteous manners. The company was strengthened by the addition
of B. Varrey, H. 0 . Pardey, John Drew, W. EL
Meeker, Bradshaw, Ward; Mesdames Yeoman and
Ward; and Misses Eberle and Julia Leonard. The
stars produced were Herr Cline, Mdlle. Blangy, Booth,
J. H. Oxley, Mrs. Maeder, Derr with his trained horse,
Mrs. Mossop, the Martinetti family, George Vandenhoff, Mrs. Farren, the Seguin opera troupe, T. D. Rice,
and Proctor.
The third season began September 2nd, 1850, and
closed July 5th, 1851. W. B. Chapman, Emily Mes-

256

HISTORY

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THE

tayer, and the Misses Wilmot were additions to the
company. The following stars appeared: C. D. Pitt,
(two engagements,) J. B. Murdock, Mrs. Mossop, Mr.
and Miss Nickenson, J. Drew, Booth, Miss Davenport,
Miss Kimberly, J. Proctor, Mr. and Mrs. Barney Williams, Mr. and Mrs. J. P. Adams, Mr. Neafie, Mc. K.
Buchanan, Mr. and Mrs. J. Gilbert, and F. S. Chanfrau.
The fourth season began September 6th, 1851, and
ended July 10th, 1852. Messrs. Wharton, J. D. Grace,
J. G. Hanley, S. Johnston, and P. Cunningham, and Miss
Graham were the new appearances. Star engagements
were played by Fanny Wallack, Mr. McVicker, Mr.
and Mrs. Barney Williams, Melinda Jones, Booth, J.
E. Scott, Julia Turnbull, Mrs. Warner, Mr. and Miss
Barrett, Mr. Neafie, Charlotte Cushman, G. V. Brooke,
Lola Mbntez, Mr. Collins, Mrs. Sinclair, and George
Vandenhoff. During the engagement of Miss Cushman the price of tickets was advanced fifty per cent.
The engagement of Lola Montez extended to only one
night, March 20th, when the price of admission was
doubled, and the choice of seats was sold at auction.
The highest price bid was for a box containing twelve
seats, which brought twenty-three dollars premium.
The whole of the parquet was bought by a speculator
at an advance of twelve and a half cents on each seat,
and he made a considerable profit by disposing of
them to the throngs who contended for admission.

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The fifth season opened September 4th, 1852, and
closed June 4th, 1853. Several performers made their
first Providence appearances this year. These were
C. Stuart, W. Leffingwell, Emma Taylor, Emily Waldegrave, and Mrs. Kinlock. The stars presented were
Julia Dean, Anna C. Mowatt, Miss Kimberly, Ellen and
Kate Bateman, J. R. Scott, Goodall, Susan and Kate
Denin, Mrs. Warner, Mr. and Mrs. J. Drew, (Mrs.
Drew being the Mrs. Mossop of former seasons,) Miss
Pitzpatrick, J. Oxley, Lysander Thompson, the Rousetti family with John Sefton, and W. Marshall. The
great success of the season was the production on the
10th of January, 1853, of H. J. Conway's dramatization of " Uncle Tom's Cabin." It was played four
weeks and one night consecutively, until February 7th;
was revived February 17th, for three nights; May 3d,
for six nights; and June 3d, one night for the benefit
of H. 0 . Pardey, who, as the hero of the drama,
had been the centre of interest. This play has been
performed in every theatre of the northern states, and
has made the fortunes of several managers; but, it may
be confidently asserted, that in no other theatre has
the principal character been so effectively sustained as
in the Museum. Mr. Pardey, although he loathed the
part on account of the necessity of blacking his face,
won for himself a more permanent fame as Uncle Tom,
17

258

HISTORY

OP

THE

than all the other triumphs of his life could have procured him. The play attracted large audiences until
its withdrawal, many of the spectators being present
at several of the representations, and not a few of them
being persons who visited the Museum because it was
not a theatre, to see "Uncle Tom's Cabin" because it
was a "moral drama."
The sixth season began September 3d, 1853. In
addition to many of the favourites of former years,
the manager had secured the services of L. P. Roys,
John Dunn, H. Linden, P. Hardenburg, and Isabella
Andrews, the Misses Kendall, (dancers,) and Mrs. C.
A. Adams. Star engagements had been played by
Kate and Ellen Bateman, Sir William Don, Bart., and
T. D. Rice; and the spectacular drama of "Paris and
London" had run nine nights with such remunerative returns, that it was believed it would prove as
great a success as "Uncle Tom's Cabin," when the
Museum was destroyed by fire on the night of October
27th. The fire was the most disastrous of all with
which the city has been afflicted, property of the value
of two hundred and forty thousand dollars being
consumed. It originated in a haberdasher's shop in
"Howard Block," separated only by a narrow alley
from the Museum building, and, in a few hours, communicated itself to the Museum, burning it to the

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259

ground. Mr. Forbes lost his properties and costumes,
of the value of twenty-five hundred dollars, being the
entire savings of his five years of management. He
paid his indebtedness to all the members of his company to the day of the disaster, and discharged them.
Before their dispersion they tendered him a complimentary benefit, which took place November 3d, in
Westminster Hall, when the bill consisted of "The
Honeymoon," and " My Precious Betsey," with dances
by the Misses Kendall. These plays were acted in
costume, but without scenery.
"Forbes's Theatre" was a commodious edifice, raised
by George A. Howard, upon the site of the Museum.
It contained a parquet, a row of boxes called the
dress circle, a second tier called the family circle, and
a gallery. The stage was well provided with accommodations for the preparation of scenery, and the
working of the necessary mechanism. The proscenium arch had an imposing sweep, and contained a
tastefully decorated box on each side for the use of
the performers.
The auditorium during the first season presented a
cheerless aspect, as the walls were unpainted, owing
to a misunderstanding between the manager and the
proprietor of the building, who had purchased it in the
process of construction, subject to a contract made by

260

HISTORY

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THE

the former owner to build a theatre provided with
necessary scenery and fixtures, and to lease the same
for five years to Mr. Forbes, but not stipulating for
the painting of the walls. A lawsuit grew out of the
matter, causing much ill feeling between the parties.
This theatre was opened September 6th, 1854, with
an admirable stock company, whose performances
proved so attractive that Mr. Forbes was able for
about five months to dispense with the assistance of
stars. On the 12th of February, 1855, Edwin Forrest
made his first appearance in eleven years, opening his
engagement with " Hamlet.'' The prices were advanced
thirty-three per cent., and so great was the desire to
witness the acting of the greatest tragedian of the
day, that his stay was protracted from the two weeks,
originally contemplated, to three. The theatre was
visited by large numbers from the neighbouring towns.
On the night he played Macbeth, one party from Woonsocket secured one hundred and twenty tickets. The
house had been intended to accommodate fifteen hundred people with seats, yet more than seventeen
hundred witnessed the performances of "Richelieu,"
"Macbeth," and "Othello." The audiences increased
as Mr. Forrest proceeded to enact the plays written
specially for himself, and the house overflowed on the
first nights of "Metamora," "Jack Cade," and "The

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261

Gladiator;" each of which were performed three times
during this engagement, the smallest audiences being
present at each third performance, when they numbered about twelve hundred. On the 17th, Mr. Forrest was prevented by hoarseness from appearing in
"Damonand Pythias," as advertised; but he remained
one day after the expiration of his three weeks, and
played the part to an excellent house. By the terms
of his agreement he received half of the gross receipts;
yet so great was his attractiveness that the management, after deducting all expenses, made large gains.
Forrest was followed by Mrs. Farren, J. Proctor,
and J. Bennett. On the 23d of April, Mrs. Forbes
received a complimentary benefit, when a beautiful
silver tea service, consisting of eight pieces, was presented to her by her many friends.
B. L. Davenport began an engagement April 27th,
in his celebrated personation of Hamlet, and played
two weeks a round of romantic and tragic characters,
repeating St. Marc four times. On the evening of his
benefit, Miss Fanny Yining made her appearance in
"Love and Loyalty," and "A Morning Call."
He was succeeded by the Pyne and Harrison English opera troupe, containing Louisa and Susan Pyne,
W. Harrison, Borrani, Horncastle, and a small though
efficient chorus. All the fashion of the town crowded

262

HISTORY

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THE

the theatre during this week of opera; and the prices
of admission, though raised to double the usual tariff,
were not too high to exclude even some of the wealthiest of the citizens. The college authorities relaxed
their rigorous rules, and gave the students permission
to visit the theatre so long as nothing but opera was
played; and many of them who would have been
promptly expelled had they been detected at the representation of "Hamlet," or "Ion," or " Comus," were
present unprohibited at the performance of " The Beggar's Opera," the most immoral, perhaps the only
immoral play that is ever produced—one in which all
the dramatis personce are thieves and prostitutes, and
through the representation of which, were it given
without the music, no decent person would sit.
It is to be mentioned to the credit of Louisa Pyne,
that when tenders were made to her of large sums of
money, one party guaranteeing five hundred dollars, if
she would give a concert one afternoon during her stay
in Providence, for the gratification of those whose principles would not permit them to hear her in a theatre,
she peremptorily declined, saying that she was engaged
to Mr. Forbes for the week, and felt bound to give him
all her services during that period.
The theatre was closed from May 26th to June 18th,
when Charlotte Crampton played two weeks, and the
season was terminated July 7th.

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263

The season of 1855-6 began September 5th. The
manager had decorated the interior of the house, and
had secured the services of a large company of twentythree actors, the orchestra, machinists, and other assistants swelling the entire number to fifty. The principal
additions were Mr. and Mrs. J. J. Prior, L. P. Eoys,
E. C. Prior, W. H. Finn, and Mrs. M. A. Tyrrell.
The succession of stars commenced with Mr. and Mrs.
G. C. Howard with their daughter, Cordelia, for three
weeks, who were followed by E. L. Davenport and
Fanny Vining, the Pyne and Harrison trotijje, eight
nights to excellent houses, the Boon children, Eliza
Logan, J. W. Wallack, Maggie Mitchell, from January
15th to February 2nd, to immense audiences, J. Proctor, E. F. Keach, (one night,) W. Marshall, and Mrs.
Farren. The theatre was closed from May 17th, to
June 15th, when it was reopened, and performances
were given until July 5th.
The great success of the year was the production of
the spectacular drama of "The Naiad Queen," which
proved very profitable from April 14th to May 10th,
Miss Anna Cruise enacting Lurline. On the occurrence of Mr. Forbes's benefit, March 20th, six pieces
of silver plate were presented to him, the gift of the
ladies of the city.
The season of 1856-7 opened September 1st, and
continued to June 6th, 1857, when the company visited

264

HISTORY

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THE

New Bedford, returning to Providence during the first
week in July. The principal performers were G-. H.
Griffith, D. S. Palmer, E. Varrey, Loveday, E. C. Prior;
Mesdames Forbes, Palmer, and Baker; and Misses G-.
Kinlock, and I. Andrews. The stars were J. Drew,
J. Proctor, Miss Davenport, G. E. Locke, J. Oxley, J.
R. Anderson and Agnes Elsworthy, Lola Montez from
February 12th to February 17th, Mrs. McMahon, Miss
Kimberly, Maggie Mitchell, Forrest for one week, and
E. L. Davenport.
The most attractive of the stars was Lola Montez,
Countess of Lansfeldt. Very little accurate knowledge of this lady's career was possessed in Providence ; but there was scarcely a person who had not
often read, or heard of her figuring in disgraceful
notoriety at the Bavarian court, and of her frequent
castigations of journalists, who had, by giving currency
to scandals concerning her life, incurred her resentment. Authentic information was scarcely required;
for, where rumours had lacked definiteness, imagination
furnished ample supplies of details. The capacity of
the theatre was tested to the fullest extent on her
opening night, a little more than two thousand spectators being present. In that immense audience there
were but few who did not expect to behold a figure
largely developed and muscular, and a face displaying
the multifarious charms which had enslaved her royal

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265

suitor, but yet bold in its expression. She appeared—
her face—Spanish in its outline—pale and thin, and her
only trace of beauty her lustrous eyes; her expression
modest and intellectual, and her performance chaste
and graceful, though indicating talent of no high
order—a disappointment of the prurient expectations
of those who during her engagement crowded into
unwonted seats. She remained one week, drawing full
houses to the last, living during the day in retirement,
reading religious works, and steadily, calmly, hopefully preparing for death, having full persuasion that
consumption had sapped the pillars of her life, and
that she was soon to make her final exit. With this
fearful conviction resting on her mind, she spoke freely
of her past life, and, though she acknowledged grievous
faults and numberless short-comings, she characterized
as baseless slanders the aspersions so lavishly bestowed
upon her character. Here she persistently asserted to
those whose good opinion she prized, her innocence of
the black offences charged against her, alluding to her
calumniators with a disdain as haughty as she had
evinced when a few years before in Boston, in a letter
to an offending editor, she defied her accusers to the
proof.
The company at the theatre did not then contain
many actors of talent. Among those whose persona-

266

HISTORY

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THE

tions were least successful, was the " second old man,"
who, though of excellent character, had never been
designed by nature for the stage. His peculiarities
were a monotonous voice and a perpetual sawing of
the air with his hand. He soon became a mark for
the boys in the gallery, who found a pleasure in ridiculing and mocking him. This was their nightly sport,
and, as hunting is one of the natural delights of mankind, they soon found ready coadjutors in other parts
of the house; and, even those who took no part in the
persecution, mightily enjoyed the excitement. Poor
Duffy (this was the name of the actor) became grievously depressed, but redoubled his exertions to please.
His increased activity was so ludicrous, that the boys
were frantic with delight, and their joy culminated one
night during the engagement of Lola Montez, whose
indignation was aroused at the brutality of their behaviour. After a successful coup on her benefit night, she
was called before the curtain, and, instead of delivering the conventional speech tendering thanks, she broke
at once into invective, uttering those short, sharp, and
ringing upbraidings, which can never be forgotten by
those who heard them. She told the audience, now
still from curiosity and shame, how she had observed
the effect of their cruelty on an inoffensive man, whose
simplicity of character and singleness of aim had

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267

endeared him to those who knew him best. At first,
she said, he thought that some remissness on his part
had incurred their displeasure, and he gave his whole
time and all his thoughts to perfecting himself in his
duty, but with so little avail that greater insults had
been heaped upon him, and he had that evening
announced his intention of forsaking the stage and
leaving Providence. "Boys," said she, "his heart is
broken—and by you! I have tried to persuade him
to remain, and have assured him that you have no
malice towards him; but he says he shall go. Boys,
would you ruin the old man I Let me tell him that it
is your wish that he remain; may I ? " Such plaudits
as broke from the throng, now sensible of the wickedness of their conduct, that theatre never heard before.
Mr. Duffy, however, did not appear again. A paper
signed by many citizens, requesting him to remain, and
assuring him of protection, was carried a few days
afterwards to him in Boston, where he had gone; but
he had not the resolution tp return; and, in a few
months, it was currently reported that he was dead.
At this time, in a little cottage on Fulton street, lay
dying one of the most graceful "light comedians" on
the stage,—David S. Palmer. Though in the last
stages of consumption, and daily growing weaker, he
would not admit the thoughts of dissolution, and his

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HISTOEY

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THE

faithful wife dared not communicate to him the dreadful tidings. For a long series of days she had pursued her laborious avocations at the theatre, and had
ministered to all the necessities of her husband, and
her two infants. Her beauty was a continual source
of pleasure to the spectators, and to them her life
seemed joyous, while care and sorrow were robbing
her of health, and preying upon her beauty. The
peculiar claims of this family being confided to Lola
Montez, touched her sensibilities, and thenceforth,
while she remained in Providence, she was a daily
visitor in their household, provided generously for
their needs, bore her part in the offices of the sick
room, and, with gentle sympathy, subdued the stubborn will of the dying man, preparing the way for
other consolations. When she left Providence grateful hearts remembered her, and blessings followed her.
"Sick, and ye visited me." Poor Palmer, however,
lived but a short while, and was buried before the end
of the season in Grace Church Cemetery. His friend
and benefactor did not long survive him, and she too
passed from a cruel world to find mercy and plenteous
redemption.*
Palmer had been a protege of Mr. Forbes, by whom
he had been introduced to the stage, and encouraged
* See Appendix 0.

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until his merit as an actor was generally recognized.
During his last illness, he was constantly visited by
Mrs. Forbes, whose sympathy for the sufferings of the
members of the dramatic company won their love and
admiration, and evinced the noblest attributes of the
Christian character. Her presence brightened his
household—it was she who communicated his hopeless
condition to Lola Montez; and she it was who brought
to his side the clergyman whose ministrations soothed
his dying moments. Nor was the manager himself
remiss in his attentions to the sorrowing family of the
poor actor; but he continued his salary while he
lived, and then from his own little means defrayed the
expenses of the funeral. Mrs. Palmer, at the end of
the season, removed from Providence, and, in a few
months, her death was recorded in the public prints.
The season of 1857-8 opened on the 26th of August.
The manager made great efforts to provide attractive
performers, beginning with the Keller trotipe, who were
followed by Mr. and Mrs. G. Pauncefort, Miss Davenport, P. S. Chanfrau, J. Proctor, the Eonzani ballet
trotipe, Maria Quinn, Mr. and Mrs. Drew, Sallie St.
Clair, McK. Buchanan, Mr. and Mrs. Howard, J. Sefton
and his daughter, Alice Grey, and Maggie Mitchell.
This year was one of great financial depression in all
parts of the country, and theatres suffered severely.

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HISTOEY

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THE

Forbes's theatre was closed two weeks in January,
and two weeks in March; and no performances were
given by the company after the 28th of April. Notwithstanding the unintermitted exertions of the manager, almost every performance occasioned a loss, and,
when he closed, his entire savings had disappeared.
No star could fill the house, and even Maggie Mitchell,
whose previous engagements had always proved exceedingly remunerative, lost her prestige. Many a night the
play was acted to houses varying from ten to twenty
dollars, when the nightly expenses ranged from one
hundred to one hundred and fifty dollars. At length,
Mr. Forbes called the company together, and, having
made known to them his inability to pay full salaries,
proposed that the larger stipends should be reduced,
while the others should remain unaltered, liberty being
given to any performer to withdraw whenever he could
procure a better engagement elsewhere. This plan
was adopted, and performances were-regularly given
until the diminished receipts of the treasurer rendered
it impossible to continue them. The personal friends
of Mr. Forbes gave him a benefit in the month of
March, when "The School for Scandal" was played,
Mr. John Gilbert personating Sir Peter Teazle. A
very large audience was in attendance, and the excellent acting of all the performers on this occasion, was

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for a long time afterwards a subject of general remark.
The language of the comedy seemed to scintillate with
brightness, each sentence cracking like an electric
spark. The actors, stimulated by the unusual spectacle of a full house, were in perfect sympathy with
the audience, each reacting on the other, and the play
throughout warmly applauded, closed like a feu dejoie.
The valet, Trip, never a great part, elicited that night
for Mr. G. Sydney, who played it as none other could,
an outbreak of admiration, while the great screen scene
was as enthusiastically received as though it had never
before been witnessed.
Later in the spring, under the auspices of Mr.
Forbes, the Boston Theatre company came and performed " Guy Mannering" one night, with Charlotte
Cushman as Meg MerriHes, and E. L. Davenport as
Henry Bertram. The night was stormy, yet the crowd
was very dense.
This was the last year of Mr. Forbes's management,
and it had been so disastrous that he was unwilling to
attempt another season. The theatre remained untenanted several months, with the exception of five nights,
when it was occupied by the Cooper English opera
company, with Anna Milner as prima donna; and of
two nights, when Italian opera was produced for the
first time in Providence. The edifice was burned on

272

HISTORY

OF

THE

the evening of November 15th, 1858; the fire having
communicated from Howard Block, where it had originated.
William C. Forbes, who for ten years had maintained
the theatre with credit to himself and to the city, was
no stranger to the citizens when he opened the Museum.
A native of the state of New York, he had been sent in
his youth to Newport for the benefit of his health, and,
in 1825, he visited Providence. Becoming attached to
the place, he made it his abode, and soon attended the
theatre. The play was to him a revelation of delights
before undreamed of, and produced so deep an impression on his mind that he burned to be an actor. A
young man named Parsons, who subsequently became
an actor of repute, and is now a prominent Methodist
preacher in Kentucky, was similarly affected by a desire
for theatrical fame, and they both were accustomed to
meet in the woods behind the Cove, and practise their
elocutionary powers by moonlight. After a little while
young Forbes determined to gain a footing on the stage,
and, as he was nearly destitute of means, he started on
foot for Albany, where a theatre was open, and where
several kind friends resided. When he had accomplished half of his journey he reached a village inn,
where he proposed to lodge for the night. In a conversation with the landlord, he learned that the vil-

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lagers had few opportunities of enjoying any public
amusements, although concerts were much liked by
them. It then occurred to him that by an entertainment he might replenish his purse, and he applied for
the large room of the inn. This the landlord agreed
to furnish, provided the performance should be followed
by a dance. Mr. Forbes thereupon made a number of
manuscript posters, advertising a selection of songs
and recitations, and conspicuously announcing the
Terpsichorean festivities with which the evening would
conclude. These bills were well distributed, and
brought a good audience, who endured the singing,
and warmly applauded the recitations. The pecuniary results were so satisfactory, that the young man
was enabled to accomplish the remainder of the distance in the stage-coach. Mr. Forbes made his debut
at Albany, and, at length, after some experience of the
vicissitudes of an actor's life, found himself in Jamaica,
playing the first line in tragedy and comedy. On his
return to the United States, he was engaged by James
H. Caldwell as a star, and made his first appearance
in that capacity at the Camp street theatre, in New
Orleans, as Virginius. His reputation extended, and
he made the tour of the western theatres with unequivocal success. At the opening of the Tremont
theatre in Boston, he became its leading actor, and
18

274

HISTOEY OP THE

made his mark in many characters. After his marriage, he managed for ten years theatres in Savannah,
Charleston, Columbia, and Augusta, all at the same
time, except when at intervals the Charleston theatre
was shut. Notwithstanding his avocations in these
remote places, he came to Providence nearly every
year, and, when the Dorrance street theatre was building, Henry J. Finn, to whom its lease had been tendered, proposed to him a partnership for the purpose
of undertaking its management. Doubts regarding
the probabilities of its success deterred them from this
enterprise; but, in 1849, the city had received such an
increment of population, that the support of a theatre
seemed to him feasible. He thereupon secured the
Museum, and, when he finally left Providence, he had
attained an enviable reputation for professional skill,
business capacity, benevolence, and integrity.
It is scarcely necessary to dwell with more particularity upon the incidents of his management, and to
speak of the tone which he gave by his well considered
regulations to the stage while under his charge; for
these are matters yet fresh in the recollections of the
people of Providence—bright spots, like the green
circles that betray the fairy revels of the moonlit
nights. The play-goers of to-day will not soon forget
the actors to whom they owe so many hours of pleas-

PROVIDENCE

STAGE.

275

ure, and they still rejoice as they observe the success
of their old favourites achieved in other cities—as
they see their own Hardenburg attain distinction in
the home of fastidious critics, and others who in times
gone by began their stage experience in Providence,
take prominent positions in the best theatres of the
metropolis, and hold them against all competitors.
They need no chronicler to revive their memories of Isabella Andrews, that charming "soubrette" ; of Varrey,
whose dry humour would wring laughter from a cynic;
of Frank Drew, whose Triplet was a master-piece of
serio-comic acting; of John Dunn, the funniest of low
comedians; of John Drew and W. J. Florence, who here
began that career which led them to eminence; or of
Forbes himself, the high minded-manager, and staunch
friend, whose every glance was a benediction, and
whose kind acts were as the sands of the sea, numberless.*
While we may not linger over the trivial, fond
records of their lives, or yet on those of Prior, of the
Palmers, of Emma Taylor, of Georgiana Kinlock, of
* Mr. Forbes's hatred of oppression was manifested in a signal instance when
soon after his induction into the managerial chair in Providence, he learned,
thai Mr. Macready had been driven from the Astor Place Opera House by
rioters. Mr. Forbes" instantly tendered him an engagement, from no expectation of profit, but to mark his detestation of the course pursued by the instigator
of the riot, and his sympathy with Mr. Macready. Although Macready declined
the offer, he duly appreciated the generous spirit in which it was made.

276

HISTOEY

OP

THE

Mrs. Varrey, or of the hospitable, big-hearted George
Sydney, all of whom have passed away from earth, we
can not thus dismiss the name of Mrs. Forbes, who
too has gone to her long rest, mourned by the friends
of her heart, and lamented also by those who knew
her only as an artist. In her public capacity she was
admired for her conscientious fidelity to every duty, for
perfectness in the text of the parts she played, and for
unsurpassed taste in dressing her characters. In all
her personations she was more than respectable, in
some admirable, in a few incomparable; and, it was
the unvarying testimony of all the stars, that in no
theatre in their course were they as satisfactorily supported by any other leading lady as by Mrs. Forbes.
Although after several years the public, familiar with
her renditions, might have sometimes desired other
performers for the sake of variety, none could ever
characterize her as incompetent in any part, while as
Widow Cheerly, as Mrs. Holler, as Elizabeth in "Richard
III.," and as Helen in "The Hunchback," she was
acknowledged to be without compeer. In the latter
character the frequenters of the theatre always exulted
in her great success, which in some instances has made
the Julia of the evening, albeit a star of lustre, carry
away divided honours. And who that had the luck to
see can forget her Elinor Mowbray, played so beautitifully for the judicious few, but caviare to the general.

PROVIDENCE

STAGE.

277

There survive many who will always delight to recall
the graceful hospitality of her house—those Sunday
evening reunions, when in genial conversation, in recitations of choice passages from the poets, in critical
examination of the merits of candidates for theatrical
fame, in anecdote and playful badinage the hours
tripped away so fleetly. They will remember, also,
her cheerfulness in adversity, her sympathy for the distresses of other actors, and the unrepining spirit with
which she abandoned her home to go forth and begin
life anew, visiting England, California, Australia, and
other remote lands, from which she returned in 1866
to be reunited to her husband, and then to die.*
As distance intervenes between us and the days of
Forbes's theatre, one continually hears frequent encomiums upon the merits of that fondly remembered
theatre, and its praise shall continue to extend as in
* Mrs. Forbes's professional career after her departure was observed with much
pleasure by the friends she left. Proceeding to London, she appeared as a
" s t a r " at the Hay market theatre, then under the management of J. B. Buckstone, opening as Widow Cheerly to a house filled almost to suffocation. Her
success was decided and triumphant, and she was pronounced by the London
papers the most meritorious American actress who had appeared in England
since Charlotte Cushman. She played the same part every night of her first
week, applauded to the echo; and, her engagement, which could not be protracted beyond two weeks by reason of arrangements made long previous, was
alike profitable to herself and to the management. She then played in the
principal provincial theatres before she sailed for Australia. During her residence in London, she and Mr. Forbes were frequently the guests of Miss Louisa
Pyne, then the manager of Drury Lane theatre.

278

HISTORY

OP

THE

the coming on of time its manifold excellencies shal
be seen through the glamour of tradition. How complete were its resources may be inferred from the
knowledge that since its destruction no attempt has
been made to replace it with another exclusiyely
devoted to dramatic exhibitions, or fitted with adequate conveniences for the production of spectacle and
opera, and so conducted as to be permanently established.
Although the drama has languished of late years in
Providence, theatrical entertainments have not been
unfrequent. In the summer of 1857 a dramatic company, under the direction of George H. Griffith,
endeavoured to maintain vaudeville performances in a
small wooden building on the corner of Pine and
Orange streets, but after a few weeks of experiment,
the doors were closed, and the company disbanded.
In the winter of 1858 and the summer of 1859, a
small company, under the management of Mr. George
Wyatt, performed on the corner of Pine and Dorrance
streets, in Swarts' Hall, a building which had been the
meeting-house of the Second Baptist Society, from
whom came the memorial to the Board of Aldermen
respecting the Dorrance street theatre, to which allusion has been previously made. The chief attractions
of this place were the talents of the Misses Julia and

PEOVIDENCB

STAGE.

279

Helen Wyatt, young girls whose precocious ability and
pleasing manners made them general favourites.
This hall, altered into a theatre, and called " The
Pine street theatre," was opened September 5th, 1859,
with "The Soldier of France" and "Married Life,"
under the management of B. Varrey and W. A.
Arnold, both well known to the habitues of the Museum
and of Forbes's theatre. This establishment was so
unfortunately situated and so inconveniently arranged
that the enterprise soon proved so unprofitable that
Messrs. Yarrey and Arnold surrendered their lease.
The company was, however, kept together, and performances were given during the winter months by the
actors, under the direction of Messrs. Johnston and
Petrie, the principal performers. Upon the stage of
this theatre Maggie Mitchell, Fanny Herring, George
Jamieson, Cordelia Howard with her parents, Mr. and
Mrs. J. W. Wallack, J. W. Booth, and C. W. Couldock,
whose Louis X.L and Luke Fielding stamp him as the
great "character actor" of the day, played star engagements. The stock company, though limited in numbers, was respectable for talent and character, embracing, besides Mr. Yarrey, Eobert Johnston, Petrie, Mr.
and Mrs. Marclen, Mary Mitchell, H. Linden, Mrs.
Warden, Miss Gillett, and several others of lesser
note. The audiences decreased until at length the

280

HISTORY

OF

THE

receipts became too small to pay for necessary fuel,
and then the Pine street theatre was closed.
The records of the Providence Stage are now
finished. True, upon the ruins of Porbes's theatre a
new structure has risen, bearing the significant name
of " Phoenix Building," in which there is a capacious
hall, provided with a small stage and some of the
appliances of a theatre; but its restricted accommodations, and the difficulty of egress for the spectators,
operate unfavourably for its occupation for permanent
dramatic performances. That a suitable theatre would
be remunerative to its proprietor is proved by the large
profits made by itinerant dramatic companies whenever of late years they have performed in Providence;
the German Opera having taken at one evening's performance over sixteen hundred dollars, and other exhibitions having done almost equally well. Occasionally it is bruited abroad that some capitalist meditates
erecting an opera house, but hitherto all the hopes
awakened by the announcement have been successively
disappointed, and Providence has no theatre.
A venerable dervise dwelt in the deserts of Arabia.
The fame of his marvellous wisdom had spread far and
wide, and all the nomadic tribes reverenced him as one
whose knowledge was illimitable. Of him it was

PROVIDENCE

STAGE.

281

reported throughout their tents that he could instantly
give unerring answers to any questions propounded by
the most inquisitive curiosity. A youth, audacious and
insolent, envying the renown of the sage, resolved to
destroy his reputation and bring him to an open shame.
Thus purposed, he concealed in his hand a small bird,
and demanded: "Is the bird in my hand alive, or
dead ?" The dervise, to whom all the springs of
human action were revealed, at a glance fathomed the
design of the youth, and responded: " The bird is
alive or dead as you shall will;" for he perceived that
it was the intention of the questioner, if his reply
should be "dead," to let the bird fly, but if he should
say " alive," to crush it in his grasp, and then, opening
his hand, to reveal it dead. The young man, confounded by his detection, retired in silence; but the
answer of the dervise, when it was repeated in the caravans, increased the awe with which he was regarded.
Many continually deplore the lack of public spirit in
Providence, and complain that no one moves to erect
an hotel, to introduce water, to open a park, to set up
commemorative monuments, and to build a theatre.
Like the bird in the legend, the spirit of enterprise
necessary to the accomplishment of these several
objects lives or dies according to the will of those who
now content themselves with censuring the general

282

HISTOEY

OF

THE

apathy. Let them but be resolved, and, with concerted
action on their part, a fitting temple to Thalia would
arise, and we should then rejoice in a legitimate drama,
sustained by the worth and the intelligence of the
town, as in the past, when the management was held
responsible for decorum, system, and skill. Such a
theatre the public interests demand, and for such an
one we look hopefully to a time not far distant.

APPENDIX.

APPENDIX

A.

J T p H E expedients to which the unlicensed votaries of the his"•* trionic art have been driven in order to evade the penalties
inflicted by this Act, (12th of Anne,) are well exemplified in the
following play-bill, (the original is before us,) which is curious in
another point of view, as we here find th& lady, who was destined
to become the most distinguished tragic actress of her time,
announced as prima donna in the opera of "Love in a Tillage."
There is considerable merit in the scheme of insinuating "polite
literature" into the inhabitants of Wolverhampton, by the sale of
an assortment of tooth powder, at 2s, Is, and 6d a paper.—Jurist,
vol. I, p. 276.
"MR. KEMBLE,
"With humble submission
(To the Ladies and Gtentlemen of 'Wolverhampton, and the Town in general,)
proposes entertaining them
On Wednesday evening, the 8th instant, at the TOWN-HALL,
with a CONCERT
of
VOCAL,

AND

INSTRUMENTAL.

MUSIC,

Divided into three parts.
Between the several parts of THE CONCERT,
(For the amusement of the TOWN, and the further improvement of POLITE
LITERATURE,)

286

APPENDIX.
WILL BE CONTINUED

THE

HISTEIONIO

ACADEMY,

with specimens of
The various MODES OF ELOCUTION.
BY

INHABITANTS

OF T H E T O W N ,

(For their diversion,)
Without fee, gain, hire, or reward.
The specimens of this night's amusement will be taken from
A COMIC OPERA, called

LOVE

IN A VILLAGE,

Sir William Meadows,
Mr. K-MB-LE,
by
Mrs. S-DD-NS,
Young Meadows,
by
Justice "Woodcock,
Mr. B-RT-N,
by
Hawthorn,
Mr. C-RR-K,
by
Mr. D-L-NE,
Eustace,
by
Carter,
Mr. D-W-NG,
by
Countrymen at the Statute,
Mr. H - M - L - T - N , Mr.
Hodge,
Mr. J-N-s,
by
Rosetta,
Miss K-MB-L-E,
by
Lucinda,
Mrs. H-M-LT-N,
by
Mrs. BU-CH-K,
Mrs. Deborah Woodcock,
by
Miss F . K-MB-LE,
Housemaid,
by
Cook,
Mrs. NA-L-K,
by
Madge,
Mrs. K-MB-LE.
by
And concluded with Comic Orations, &c,
ifrom

N-A-L-K,

The FIDDLER turned CITIZEN.

*** This is to assure the public that no money will be taken for admittance,
nor will any Tickets be sold; therefore, all persons inclined to attend the Concert, are desired to call at Mr. LATHAM'S, at the Swan, where tickets will be
delivered GRATIS to his friends and acquaintance.
N. B. Mr. LATHAM has a quantity of TOOTH-POWDER, (from LONDON,) which
he intends selling in papers, at 2s, Is, or 6d each. The same POWDERS may likewise be had at Mr. SMART'S, and Mr. SMITH'S Printing Office, and at the Talbot,
in King Street.
The Concert to begin at 5 o'clock, and the LECTURES exactly at half-past 6.
It is humbly hoped no Ladies or Gentlemen will take it amiss, that they can
not possibly be admitted without a ticket."

287

APPENDIX.

APPENDIX

B.

T T might be inferred from a contemporaneous communication of
a writer of a series of papers in the Rhode Island American,
entitled, " A Sentimental Glance at the Town," that another petition was circulated, in which certain fearful powers were attributed
to the actors; but of this matter no information more definite than
that afforded by the communication itself, (published May 15,
1812,) can now be obtained :
"CHAPTER VIII.— OF THE THEATRES.
""When I first read, in the petition to the Honourable General Assembly for
the suppression of theatrical exhibitions, that the heroes of the sock and buskin
had the supernal power of raising,— or, as it should have been worded,— of
importing the Duyvel into the theatre, my blood rushed affrighted to its fountain, and I stood pallid as a midnight ghost. I was astounded — was petrified.
God have mercy on us, thought I, bring into this peaceable, Christian town, that
hideous black beast, with his long sting, his great horns, his sharp clapper claws,
his monstrous pitchfork, and his cloven hoof. For, although he was erst a
seraphic Angel of Light, yet, as soon as he was hurled, for his daring rebellion,
into the dread domains of eternal darkness, mortals have been assiduous in blackwashing his face and body, and in supplying him with a sting, horns, clapper
claws, pitchfork, and cloven hoof, and to perfume him with brimstone. God
have mercy upon us, thought I. But not long time was I a living statue; soon
I became mollified, and coward fear fled appalled before acceding joy—joy at a
project which I have since partly accomplished, and by which I have choice
expectations of benefiting my beloved, but death-devoted country. I have contrived and nearly executed a strong, steel Spring Trap, which is so planned
that with very small hazard, he can be caught by the fluke of his tail, or more
correctly, by the barb of his sting, and triumphantly held in felicitous thraldom;
and, ladies and gentlemen, when we once have the black scamp in our own

288

APPENDIX.

clutches, we can make our own terms with him; at all events, your Excellencies,
we can dock his sting, pluck his horns, grind his claws, steal his pitchfork, curry
his hide, and prevent his speedy return to Congress. This Duyvel trap will
shame out of countenance all the Pulton torpedoes, and demand a mammoth
remuneration. [I have been waiting some days for the engraving of this trap
from Philadelphia, in order to have annexed it to this Chapter, hut, as I have
not received it yet, any gentleman wishing to see a rough draft may apply at my
lodgings.]

APPENDIX

C.

TT^EW women nave done more substantial good for humanity
•*" than Lola Montez. Her benevolence was catholic in its distribution, bountiful in its outpouring, and unceasing in its flow.
Whether in the enjoyment of prosperous estate, or reduced to
extreme poverty, the welfare of others was ever present in her
thoughts, and, praying that self might be completely burned out
of her, she was at all times ready for any sacrifices necessary for
the indulgence of her philanthropic impulses. Her great influence at the Bavarian Court was exerted for the promotion of what
she deemed the best interests of the people, and after her downfall
she indulged only for a brief period in repining, but, by returning
to her old profession, endeavoured to regain the means to again
dispense her charities. The great notoriety which she had attained
is attributable rather to her disregard of conventionalities, and contempt for public opinion, than to any established transgression of
her ideas of virtue; but, whether merited or not, it made her
attractive to audiences, and procured her a large income. She

APPENDIX.

289

visited the United States in 1852, and, when wealth seemed to be
within her grasp, declining health compelled her retirement from
the stage. In a little while she reappeared "before the public as a
lecturer. I n every place the lecture rooms were crowded with
multitudes of persons whose high standard of morality had withheld them from the theatre, but who were none the less curious to
see one concerning whom so much piquant scandal was circulating.
Her affairs again became prosperous, and she could speedily have
accumulated a considerable fortune, had she not distributed the
entire proceeds of her lectures among those whose distresses moved
her sympathies. "Weakness at last made it necessary for her to
seek rest, but, after her retirement into private life, she continued
her benefactions to the unfortunate, and her last dollar and her
latest moments were spent in ministering to the necessities of the
inmates of the Magdalene Asylum, in New York.
She had always been impressed with a sense of moral responsibility, and was very susceptible to religious influences. Soon after
her arrival in America she engaged in the investigation of the
theories of the " Spiritualists," a sect which had lately become conspicuous, but they gained no lasting hold upon her opinions, and
she afterwards seems to have been for a time attracted by the simplicity and apparent fervor of the Methodists. In her dying hour
she was attended by the Eev. Francis L. Hawks, and some other
friends whom her piety had attracted to her side; and, when in
January, 1861, she breathed her last, she was " i n the communion
of the Catholic church, in the confidence of a certain faith, in the
comfort of a reasonable, religious, and holy hope, in favour with
God, and in perfect charity with the world."
A brief memoir of her life, containing the reminiscences of Dr.
Hawks, and fragments from her diary, has lately been published as
a " t r a c t " by the Evangelical Knowledge Society, of New York.
I n this diary were recorded the aspirations of her humble soul,
19

290

APPENDIX.

and from these fragments, because they breathe a spirit so unlike
that which is popularly attributed to her, several extracts are here
appended:
" O God of Love and mercy! bless my undertaking, and increase in me all
good for Thy honour and glory ! O Lord Jesus! cast the devils out of me, as
Thou didst from Magdalene of old! And oh! strengthen and preserve me
against my sins. Let it not be that Thou didst die for me in vain ; but let me
lie, O Lord! forever at thy feet, blessing Thy holy name. Amen."
" Thou didst lead me from death to life. I was blind, and now I see. I was
deaf; now I hear. "What I loved before, now I hate. But oh! to leave Thee
one moment is to perish. Oh! that in this coming week I may, through Thee,
overcome all sinful thoughts, and love every one. Keep my tongue from evil
speaking and lying, and make me charitable in thought, in word, and in deed.
"Watch over me, dear Lord. Amen."
" O dear Lord! will this ever be ! Shall the love in my heart for Thee ever
grow to this 1 Shall all turbulent passions in my soul be hushed, and wilt Thou
take up Thine abode with me ? The lesson now given to me to learn practically
is, first learn to subdue thyself, before thou canst be of real use to others. Thou
who canst do all things, Thou wilt do this in me. Oh ! let me learn to bear with
meekness all things which happen in my daily life. O Lord and master ! May
the next week be more to Thy glory! May I live more to Thee in all things.
May I feel all Thy love and mercy more vitally; and may Thy Holy Spirit
strengthen me. Amen."
" O God of mercy! let me pray to Thee in spirit. Let me ever struggle
against inward sin. Let me feel my Redeemer nearer and nearer to me. 0 Lord!
forsake me not! Give me Life ! through Tl^ee. Let me bless Thee in sorrow
and in joy. Let me know Thy hand in all things. Cover me with the shadow
of Thy power, and I shall be safe from the Tempter. Oh! hear my prayer to
.Thee for strength against myself. Eorgive me my faults of the past week; and
0 dear Lord! on Thy day (to-morrow) let my heart be touched by Thy grace,
that I may pray to Thee with fervor believing."
" 0 Lord! my heart is sore afraid. Give me light. Leave me not. Let me
suffer with joy any agony rather than deliberately displease and disobey Thee !
Lord, Thy mercies are great to me. Oh, how little they are deserved, filthy
worm that I am! Oh, that the Holy Spirit may fill my soul with prayer ! Let
me put undivided trust in my Saviour, and let my rugged, lonely path (unseen
by all) be radiant with light."
"Lord, have mercy on the weary wanderer, and grant me all I beseech of
Thee. Oh, give me a meek and lowly heart. Amen."

291

APPENDIX.

APPENDIX

PLAY

PROVIDENCE

T

D.

BILLS.

THEATRE.

HE managers have the pleasure of announcing to the publick that they
have engaged
MR. COOKE
To perform in the Providence Theatre for six nights only. During the engagement no play can be repeated.
In order to prevent difficulty, and give an equal chance to the publick in
general to witness the brilliant performances of this justly celebrated actor, a
box plan with the whole of the boxes regularly numbered will be opened at the
Box Office of the Theatre, at ten o'clock on each day of performance, when
places may be taken in any number not exceeding ten, nor less than two.
This Evening, July 13th, (1812,) will be presented for the only time this
season, Shakspeare's celebrated comedy in five acts, called
T H E M E R C H A N T OF V E N I C E .
Shylock, (for that night only,)
Mr. COOKE.
of the Theatre Royal, Covent Garden, London, (his first appearance here.)
Antonio,
Mr. Drake.
Gratiano,
Mr. Waring.
Bassanio,
Mr. Young.
Lorenzo,
Mr. Robertson.
Duke,
_
_
_
_
Mr. Clarke.
Launcelot,
Mr. Dickenson.
Gobbo,
_
_
_
_
Mr. Barnes.
Salanio, Mr. Roberts.
Salarino,
Mr. Spiller.
Tubal,
Mr. Entwistle.
Balthazar,
_
_
_
_
Master A. Drake.
Portia,
Mrs. Powell.
Nerissa,
Mrs. Young.
Jessica, (her first appearance in Providence,) Miss Dellinger.

292

APPENDIX.

To which, will he added a much admired Entertainment, never performed
PLOT AND COUNTERPLOT,
or THE PORTRAIT OF CERVANTES, as performed in London with the most
unbounded applause.
Hernandez,
Mr. Drake.
Don Gaspard,
Mr. Roberts.
Don Leon,
Mr. Robertson.
Don Fernando,
Mr. Spiller.
Isidore,
Mr. Clarke.
Fabio,
Mr. Entwistle.
Pedrillo,
Mr. Dickenson.
Pachio,
Master A. Drake.
Donna Lorenza,
Miss Dellinger.
Joanna,
Mrs. Drake.
Beatrice,
Mrs. Barnes.
CIF" Tickets and places for the Boxes may be had of Mr. LYNDON, at the
Theatre, on the days of performance, from 3 o'clock until the close of the entertainment.
Doors to be opened a quarter before seven, and the curtain to rise at a quarter
before eight, precisely.
jg^p3 On no account whatever, will the smoking of Cigars be permitted in any
part of the theatre.

LION

THEATRE,

PROVIDENCE.
THE managers respectfully inform the citizens of Providence that the Theatre
was opened TUESDAY, May 10th, (1836,) with appropriate Scenery, Dresses, and
Decorations. The interior of the building has undergone an entire alteration,
which they trust will be to the satisfaction and comfort of the audience.
Stage Manager, Mr. Ingersoll —Acting Manager, Mr. Houpt — Artist, Mr.
Schinotti— Leader of the orchestra, J. Clemens.
The managers respectfully inform the public that the performance of last evening will be repeated this evening, May 11th.
The Evening's Entertainment to commence with the interesting Drama,
entitled
THE W A N D E R I N G BOYS.
Mrs. Houpt.
Paul,
"Wandering Boys,
Mrs. Ingersoll.
Justin,
Mr. Houpt.
Count de Croissy,
Verne,
Roland,

293

APPENDIX.
Lubin,
Gregorie,
Gaspard,
Hubert,
Sentinel,
Baroness,
Mar celine,
Louise,

-

-

-

-

-

-

-

I N D I A N "WAR D A N C E ,
FROG DANCE,

-

-

-

COMIC SONG,

-

-

-

-

-

-

-

.

-

-

-

-

-

.

- Mestayer.
Marshall.
- Curtis.
Wyatt.
- Smith.
Mrs. J. Mestayer.
- Mrs. J. Mestayer.
Miss Harley.

.
-

-

Mr. Schinotti.

-

Mr. Mestayer.
-

-

-

-

M a s t e r C. M e s t a y e r .

The E v e n i n g ' s E n t e r t a i n m e n t to conclude with t h e Laughable Farce of
THE

YOUNG

W I D O W .

Manville,
Mr. Houpt.
Splash, (with a mock m i n u e t , ) M r . Mestayer.
Messrs. P o t t e r and G-ould are engaged to preserve strict o r d e r ; a n d n o smoking allowed.
Boxes, 75 cents. P i t , 37)£ cents.
Doors open a t 7 o'clock. Performance to commence a t half past 7, precisely.
Box office open from 10 to 1 ; a n d from 3 to 5 P . M .

PROVIDENCE

THEATRE.

T H E public a r e respectfully informed t h a t this new a n d splendid E n t e r t a i n m e n t will be open for t h e season on
This Evening,
October 29, (1838,)
u n d e r t h e direction of Messrs. M A E D E R a n d E L Y N N , with a full a n d efficient
C o m p a n y ; which for t a l e n t a n d respectability is n o t to be surpassed.
I n order to render t h e Orchestra complete a n engagement h a s been entered
into with t h e AMERICAN BRASS B A N D , aided b y artists of acknowledged t a l e n t
from New Y o r k and Boston.
Leader of Orchestra,
_
_
_
_
_
M r . "WOODS.
I n addition to t h e talented Company engaged, M r . G-ATES, t h e celebrated Comedian from t h e Bowery Theatre, New Y o r k ; M r . F L Y N N ; a n d Mrs. M A E D E R ,
{formerly Miss CLARA E I S H E R , ) will h a v e t h e honor of m a k i n g their appearance.
Director of t h e Music,
_
_
_
_
Mr. MAEDER,
who will preside a t t h e P i a n o F o r t e .
This evening, October 29,
will be performed Cherry's Comedy of t h e

294

APPENDIX.

SOLDIER'S
DAUGHTER.
Governor Heartall,
Mr. Nickenson.
FRANK HEARTALL,

-

Captain Woodley,
Young Malfort,
-

-

TIMOTHY QUAINT,

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Eerrett,

-

-

-

WIDOW CHEERLY,

Mr. ELYNN.

-

-

-

-

-

-

-

-

-

-

-

-

-

-

Mr. Eenno.
Mr. Jackson.
Mr. GATES.

Mr. McDonald.
-

Mrs. MAEDER.

Mrs. Malfort,
Mrs. Rider.
Mrs. Eidget,
Mrs. Eletcher.
Susan,
Miss Lee.
Previous to the Comedy will he spoken by Mrs. Maeder,
AN O P E N I N G A D D E E S S .
In the course of the evening the Orchestra will perform the celebrated overtures to "Masaniello " and " L a Bayadere." Composed by Auber.
The Entertainment to conclude with the new and popular Earce
A PLEASANT
NEIGHBOR.
Sir George Howard,
Mr. Haynes.
CHRISTOPHER STRAP,

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Mr. GATES.

Thomas,
_
_
_
_
_
_
Mr. McDonald.
Lady Howard,
Mrs. Matthews.
Nancy Strap, Mrs. Rider.
^ H ^ Price of admission, — Boxes, $1; Pit, 50 cents; Gallery, 25 cents.
^ H 3 private Boxes from $5 to $8 a night.
j g ^ 3 A few season tickets will be sold on early application at the Box Office.
tig^f Doors to open at 6 o'clock, and Curtain to rise at 7 precisely.
HS^I^ Tickets and places to be secured at the Box Office from 10 a. m. to 2 p. m.
gif 3 An efficient police is engaged to preserve strict order.
g g p A division in the gallery for colored persons.

PROVIDENCE
WESTMINSTER

MUSEUM.
STREET.

THE proprietors have much pleasure in announcing to the citizens of Providence that the exhibition saloon of the new Museum is now completed, and that
it will be opened on
Monday Evening, Dec. 25, (1848.1)
They are resolved that the principles of the management will be such as to
secure the patronage of a liberal and enlightened community.
The Dramatic department will be under the direction of
MR. W. C. F O R B E S ,
late manager of the Charleston^ and Savannah Theatres.

APPENDIX.

295

Admission to the saloon, 25 cents.
For the accommodation of parties seats can be secured during the day at the
ticket office.
The doors will be open at half past 6 o'clock.
The overture will commence at 7 o'clock precisely; during which will be
exhibited a magnificent
DEOP CURTAIN,
painted by Mr. G. Curtis.
The saloon will be brilliantly lightedlwith gas from Almy's Gas Works.
Monday Evening, Dec. 25,
"Will be performed Tobin's fashionable Comedy of the
HONEY
MOON.
Duke Aranza,
Mr. W. C. Forbes.
Rolando,
Mr. A. Andrews.
Jaques, (the Mock Duke,)
Mr. Cowell.
Juliana,
Mrs. W. C. Forbes.
Volante,
Miss Kinlock.
A Pas de Deux by Miss E. and C. Emmons.
To conclude with the musical Farce of the
TURNPIKE
GATE.
Crack,
Mr. Cowell.
Joe Standfast,
Mr. A. Andrews.
Peggy,
Miss Carman.

FORBES'S

T H E A T R E .

(NEW MUSEUM BUILDING.)
GRAND OPENING N I G H T .
Commencement Jubilee. Splendid Entertainment.
Unusual array of Talent.
S l x e r i d a n ' s iMost S p l e n d i d Oormedy.
New and Beautiful Scenery.
W. C. Forbes most respectfully announces to the citizens of Providence and to
the people of Rhode Island generally, that having, after his heavy losses by the
late fire, and many subsequent discouragements, eventually succeeded in securing the erection of a new and spacious Theatre, he will have the honor of opening the same for public patronage on
Wednesday Evening, September 6, 1854.
It will be his constant study to present such a series of evening entertainments
as will be in every respect acceptable to the people and worthy of their patronage ; and to this end he has engaged an unusually large and expensive com-

296

APPENDIX.

pany — a company which in point of strength and variety of talent, will compare
most favorably with any of those in the largest cities ; and which is, in truth,
altogether superior to any hitherto employed out of those cities.
The manager has the pleasure of announcing the following names : Messrs.
J. H. Oxley, John Dunn, J. D. Grace, E. Varrey, H. O. Pardey, Loveday,
Read, Linden, McClannin, Bryant, Bishop, Miller, Murphy, and H. Pardey.
Mesdames W. C. Eorbes, H. L. Clark, H. P. Grattan and Miss Julia Miles, Miss
Bryant, Miss Isabella Andrews, and Miss Munroe. Mons. and Madame Gilbert,
Principal Dancers, from the Edinburgh and Glasgow theatres. Herr Adolphe
Reinicke, Leader of Orchestra; J. V. "White, Scenic Artist; Jasper Davison,
Machinist; "W. A. Arnold, Treasurer.
The stage is furnished with entirely new and very elegant scenery, painted by
the artist of the establishment, Mr. 'White, and comprises a very costly and
M A G N I F I C E N T ACT D K O P .
The audience saloon is very commodious, and is conveniently divided into Boxes,
Family Circle, (or second tier of Boxes,) Parquet, and Gallery. There are also
a few Private Boxes and Stage Boxes — The Private Boxes being at each end of
the Eamily Circle next the stage — The Proscenium Boxes (that is, those on the
stage) are merely for the use of the performers.
The entrance to the Gallery is from the avenue on the west side. All other
parts of the audience saloon are entered from Westminster street as far as the
Box office on the second floor, where three diverging stairways lead to the Boxes,
Parquet, and Eamily Circle. The stairways are all spacious and convenient.
Wednesday Evening, September 6th, 1854,
A highly diversified and splendid entertainment will be offered. The performances will commence with the Grand National Ode of
THE STAR S P A N G L E D
BANNER,
which will be sung in chorus by the whole company.
This will be succeeded by the delivery of a
POETIC ADDRESS,
written for the occasion by a gentleman of this city.
After which will be presented Sheridan's Classic Comedy
of the
SCHOOL EOR S C A N D A L ,
With a cast of characters equal to any that this celebrated play has hitherto
received in this country.
Sir Peter Teazle,
Mr. W. C. Eorbes.
Joseph Surface,
J. H. Oxley.
Charles Surface,
Grace.
Sir Oliver Surface,
Pardey.
Crabtree,
J. Dunn.
Sir Benjamin Backbite, Loveday.
Careless,
Read.
Moses,
Linden.

297

APPENDIX.
Snake,
*
Rowley,
Trip,
William,
John, Lady-Teazle,
Mrs. Candour,
Lady Sneerwell, Maria,
Lucy,
_
_
_
PAS D E DEUX,

-

-

Bryant.
McClannin.
Bishop.
Miller.
Herbert Pardey.
Mrs. W. C. Forbes.
Mrs. H. L. Clark.
Mrs. Gilbert.
Miss Isabella Andrews,
Miss Munroe.
Mons. and Mdme. Gilbert.

To conclude with the rich and very laughable Farce of
MY P R E C I O U S
BETSEY.
Mr. Bobtail,
_
_
_
.
Mr. J. Dunn.
"Wagtail,
Linden.
Langford,
Read,
(for the other characters see bills.)
Doors will be open at 7 o'clock. Performance will commence precisely at 7%
o'clock.
PHICES OP ADMISSION : Boxes, 37 %, cts. ; Stage Boxes, 50 cts.; Parquet and
Family Circle, (or second tiers of Boxes,) each 25 cts. ; Gallery, 13 cts. For
seats reserved in the Boxes, \2% cts. extra will be charged. Private Boxes, $5
each.
20