Notwithstanding that during the winter of 1859-60 a number of dramatic
performances were given in the Social Hall, they were nearly, if not
all, revivals of plays that had been performed there previous seasons.
Interest had declined from some cause or other. It was probably
attributable in some measure to the departure of first Mrs. Wheelock
and then of Mrs. Tuckett, the two leading actresses of the company;
and then Jim Ferguson, one of the leading actors, was now engrossed in
the publication of The Mountaineer, a weekly paper he had started in
connection with Seth M. Blair and Hosea Stout, and for which he wrote
most of the editorials, so that he had little if any time to devote to
the playhouse. Bernard Snow, too, was absent from the company that
winter and as a consequence plays of a lighter character were selected
that did not require Snow and Ferguson.
"The Golder Farmer," "Luke the Laborer," "Still Waters Run Deep," "All
That Glitters Is Not Gold," were the principal plays given. During the
following winter, 1860-61, there was nothing doing in the dramatic
line in the Social Hall. One reason for this was that a new company
had arisen, which, if not exactly a rival, was a strong competitor for
public favor. Some of its principal members belonged to the Deseret
Dramatic Association, and had been conspicuous in the ranks of its
performers.
The new company was called the Mechanics' Dramatic Association, and
was headed by the favorite Social Hall comedian, Phil Margetts, who
was president and manager of the new organization. The members of this
new company were Phil Margetts, Harry Bowring, Henry McEwan, James A.
Thompson, Joe Barker, John B. Kelly, John Chambers, Joseph Bull, Pat
Lynch, William Wright, Bill Poulter, William Price, Mrs. Marion
Bowring, Mrs. Bull, Mrs. McEwan, Elizabeth Tullidge and Ellen Bowring.
Harry Bowring had in course of construction a new dwelling house; it
was covered and the floors laid, but no finishing or plastering had
been done, no partition walls had been put in, so that the entire
lower story was one room, not more than 18x40 feet in dimensions,
about one-third the size of the Social Hall. The stage occupied about
one-third of the same, leaving an audience chamber of about 18x25
feet, not large enough, as it proved, to accommodate the numbers that
were anxious to witness the new performances. For dressing rooms, they
had the house at the back, in which Mr. Bowring and family resided,
and which communicated with the stage by a doorway in the new
structure. The scenery and drop curtain, which was necessarily of
small dimensions, was painted by the sterling and versatile artist,
William P. Morris. The auditorium was seated a la circus, with board
seats rising one above the other, with a row of chairs in front for
the distinguished guests and patrons.
Such was "Bowring's Theatre," as it was called. Whether the managers
christened it that, or the name was given it by the patrons and
guests, we do not pretend to know, nor does it matter; but this fact
may be mentioned in relation to it, that it was first place in Salt
Lake City to be called a theatre.
The Bowery being a place of worship (although the name was strongly
suggestive of the New York Bowery theatre), could not consistently be
called a theatre and the Social Hall embracing all the social
features--plays, dances and banquets--never came to be called a
theatre, Social Hall fully covering its functions, so that the Bowring
was really the first place to be known distinctively as a theatre.
Although the theatre was so very small the company did not appear to
be circumscribed in their histrionic efforts by any mere limitations
of space or stage appurtenances, as the following list of plays will
show:
"The Honeymoon," "The Gamester," "Luke the Laborer," and "Othello,"
and the farces of "Betsy Baker" and "Mr. and Mrs. Peter White."
In the dramas, Mr. Margetts, who was recognized as the comedian par
excellence, chose to assume the tragic mask and appeared in the
leading roles, leaving the principal comic parts to his friend and
colleague Harry Bowring. It was somewhat of a surprise to "Phil's"
friends and admirers who knew his qualifications for comedy, to see
him in these tragic characters, but he is said to have given everybody
a pleasant surprise in them and Harry Bowring carried the comedy roles
so successfully as to divide the honors with "Phil." Mrs. Bowring, who
played the "lady leads," also distinguished herself to such a degree
that she took a prominent place in the Salt Lake Theatre soon after
its opening.
It was during the performance of "Betsy Baker" in this place that
"Jimmy" Thompson, who was playing the part of Mr. Crommie, won such
distinction in that character that the name of "Crommie" has attached
to him among his acquaintances ever since. Harry McEwan, Joe Barker,
Billie Wright, Bill Poulter and dear old John Kelly and Mrs. Bull and
Mrs. McEwan all achieved some celebrity in connection with the little
playhouse--"Bowring's Theatre."
Manager Margetts waited one day on President Brigham Young and invited
him, with his family, to see their play. The President of course had
heard of the new theatre, (what was there he didn't hear of?) but
affected some surprise that Phil and his associates should have
started what might be considered a rival to the D. D. A.
"When do you play?" inquired the President.
"We have a play tonight," answered Phil; "'Luke the Laborer,' but we
could not accommodate your family tonight, President Young, as the
seats are mostly engaged, but we would be pleased to reserve the house
for yourself and family for our next play, 'The Honeymoon,' which will
be on Friday night."
"Well," says Brigham, "I would like to see the play tonight. Why can't
Heber (meaning Heber C. Kimball, his chief counsellor, who was sitting
within hearing) and I come tonight, and the family can come the next
night?"
The President thought to catch them in a state of unpreparedness by
going sooner than was arranged for him, but Phil readily acquiesced in
the President's wish, and he and Brother Kimball "took in the show"
that night. They both expressed their pleasure and spoke words of
encouragement to the performers.
On the following day Manager Margetts sent ninety tickets, the entire
seating capacity of the theatre, to President Young for himself and
family. The tiny theatre was packed to see "The Honeymoon." The Young
family certainly was in evidence on that occasion, but there was quite
a sprinkling of "Heber's" folks and other friends to whom the
President had given tickets from his wholesale reserve.
"The Honeymoon" was a pronounced success. After the play Phil appeared
before the curtain and in a happy way thanked the President and those
of his family and friends present for honoring the company, and
expressed regret that they had not a more commodious and comfortable
theatre in which to entertain their friends.
Brigham, evidently pleased, made a return speech from his place in the
audience and complimented the company. He encouraged them to go ahead
and told them he intended before long to build a good big theatre,
where they could have ample room to develop their dramatic art,
observing in his characteristic way, that the people must have
amusement.
It will thus be seen that these performances led indirectly to the
building of the Salt Lake Theatre, for immediately after this the
President instructed Hyrum Clawson to reorganize the Deseret Dramatic
Association and to unite it with the Bowring Theatre Company, for he
was going to build a big theatre. The idea had evidently entered his
mind to stay.
"Brother Brigham," as he was popularly and lovingly called, was quick
to comprehend the financial results of a great theatre in a community
whose members were all lovers of the drama, and two large dramatic
associations, bursting with ambition and only too anxious for a good
place and opportunity to air their talents. So he gave it out in
meeting one Sunday, much to the gratification of his congregation,
that he was going to build a big "fun hall," or theatre, where the
people could go and forget their troubles occasionally, in a good,
hearty laugh.
"We have a large fund on hand," said he, "for the erection of a
Seventy's hall, but not enough to build such a hall as I want for the
Seventies; so we will use that fund to help build the theatre, and
when we get the theatre running we can pay back the Seventy's hall
fund with good interest, and in that way the Seventy's will get their
hall sooner than if they started to build it now."
The Seventy's hall has never been built!
The big theatre was planned and erected. William H. Folsom was the
architect and personally superintended the construction of the
building. This same gentleman, also, designed and built the big
turtle-shaped Tabernacle, proving that he was a constructive genius.
On March the sixth, 1862, the Salt Lake Theatre, although far from
being finished, was so far completed as to be used, and on this date
it was opened with such ceremonies as would not only be deemed unique
in any other community, but would be set down as sacriligious by pious
people of other faiths.
On this occasion the theatre was filled to its utmost capacity by
invitation. No admission fee was charged, the invitations being
extended by President Young to the church authorities, state, county
and municipal officers, the workmen who had erected the building, some
two hundred with their families. Some even who held invitations could
not get in; it resembled a huge revival meeting.
The President and his counsellors, a number of the apostles and other
church dignitaries sat on the stage in front of the green baize drop
curtain. The parquette was filled with the officials, church and
secular, and the dramatic company and members of their families. The
circles were filled principally by the men who had worked on the
building and their families. There was a feeling of greatest
expectancy pervading the large audience. The people were there to
witness not a play on this occasion, but something deemed of still
more importance, the dedication of the new theatre.
The Mormons dedicate all of their public buildings, whether temples,
tabernacles, stake houses, ward houses, school houses, theatres, dance
halls, or co-operative stores to the service for which they were
erected.
The ceremony is much like one of their religious meetings with the
addition of the dedicatory prayer.
On this occasion President Brigham Young occupied the center of the
stage. There was a program of vocal and instrumental music, a special
choir gotten together for the occasion, and the theatre orchestra, led
by Professor "Charlie" Thomas, furnished the music.
President Young called the large audience to order and the choir sang.
Then Daniel H. Wells, or "Squire" Wells as he was popularly called,
offered up the dedicatory prayer. "Squire" Wells no doubt made a good
city mayor and an efficient general of the Nauvoo Legion, but the
worthy "Squire" was not an orator, moreover, he had his piece written
for this occasion and read it; his peculiar mode of delivery was
tiresome even when at his best, when he had his choice of subject and
all the latitude he could desire; but it was especially so on this
occasion, when he was circumscribed to a most monotonous enumeration
of everything that entered into the construction of the huge building.
Beginning with the ground on which it stood and going in systematic
order up through it foundation, walls, floors, doors, windows, to the
roof, particularizing even the timbers, nails and bolts, the laths and
plaster, the glass and putty, no detail he could think of was omitted.
Each and all were especially dedicated to their particular purpose and
use, and the blessing of the Almighty invoked to be and continue with
each of these materials, and with the structure as a whole. Even to
those who believed in dedications, who were the great majority of
those present, the dedicatory prayer was just a little wearisome and
the audience experienced a feeling of relief when it was over and
William C. Dunbar stepped to the front and assisted by the choir and
orchestra, sang "The Star Spangled Banner."
Brigham Young then made an address on the mission of the drama and his
object in building the theatre, which avowedly was to furnish innocent
and instructive amusement to the Saints. He inveighed somewhat
extravagantly against tragedy and declared he wouldn't have any
tragedies or blood-curdling dramas played in this theatre. This people
had seen tragedy enough in real life and there was no telling the
far-reaching and evil effects tragedies on the stage might have. He
strongly opposed, too, the idea of having any Gentile actors play in
this theatre. We had plenty of home talent and did not need them.
President Heber C. Kimball followed in a brief address, strongly
supportive of what President Young had said.
Apostle John Taylor then gave a short address; then came selections by
the orchestra, and more singing by the choir, and Mr. Dunbar sang
another song written by Apostle Taylor for the occasion and set to
music by Professor Thomas.
For the grand finale an anthem written for the occasion by Eliza R.
Snow and set to music also by Professor Thomas was sung by the choir,
accompanied by the orchestra and and brass band consolidated for the
occasion. The solo parts of the anthem were sung respectively by Mr.
Dunbar and Mrs. Agnes Lynch.
The musical program ended, an announcement was made that the theatre
would be formally opened on Saturday evening, March the eighth, when
the plays of "The Pride of the Market" and "State Secrets" would be
presented. The people anxiously awaited the opening night. The
performance was advertised to begin at 7 o'clock. At 5 o'clock
hundreds were at the doors waiting to get in and before the time of
the beginning every available spot of both seating and standing room
was taken. The prices of admission were 75c for parquette and first
circles; upper galleries 50c.
The plays, both drama and farce, were capitally acted. Dunbar's song
between the plays, "Bobbin' Around," made an immense hit. The merging
of the M. D. A. into the D. D. A. made up a strong company. The roster
of the Deseret Dramatic company as it stood at this opening
performance and the cast of the initial plays cannot fail to be of
interest after a lapse of more than forty-two years and so many of the
original players have passed away.
The members were: Hyrum B. Clawson, John T. Caine, Managers and both
players; Philip Margetts, David McKenzie, William C. Dimbar, John R.
Clawson, Henry Maiben, Jos. Simmons, Horace K. Whitney, Henry E.
Bowring, R. H. Parker, George M. Ottinger, C. R. Savage, George
Teasdale, Henry McEwan, John Kelly, Richard Mathews, John D. T.
McAllister, Sam Sirrine, Henry Snell, Mrs. Marian Bowring, Mrs. S. A.
Cook, Mrs. Woodmansee, Mrs. Margaret Clawson, Mrs. Alice Clawson, Miss
Maggie Thomas, and Miss Sarah Alexander. Of the above-named the
following have passed away: John R. Clawson, Henry Maiben, Jos.
Simmons, H. K. Whitney, Henry McEwan, John B. Kelly, Richard Mathews,
Henry Snell, Mrs. Bowring, Mrs. Alice Clawson, and Mrs. Cook. Bernard
Snow and James Ferguson of Social Hall fame were on the roster, but
not active members; they too are gone.
The following is the opening bill:
SATURDAY EVENING, MARCH 8, 1862.
A Beautiful Comedy in Three Acts,
_THE PRIDE OF THE MARKET._
Cast of Characters.
Marquis de Volange ........................ John T. Caine
Baron Troptora ............................. Henry Maiben
Chevalier De Bellerive ..................... Jos. Simmons
Ravannes ................................... R. H. Parker
Dubois ................................... David McKenzie
Isadore Farine ............................ H. B. Clawson
Preval .................................... S. D. Sirrine
Servants ..................... R. Mathews and Henry Snell
Waiter .................................... John B. Kelly
Mille De Volange ........................ Mrs. Woodmansee
Norton (pride of the market) ......... Mrs. M. G. Clawson
Comic Song, "Bobbing Around" ............... W. C. Dunbar
To Conclude With the Laughable Farce
_STATE SECRETS._
Cast of Characters.
Gregory Thimblewell (the tailor of Tamworth) .. H. E. Bowring
Robert (his son) ............................... R. H. Parker
Master Hugh Neville ........................... S. D. Sirrine
Calverton Hal ................................... W. H. Miles
Humphrey Hedgehog ............................. Phil Margetts
Maud Thimblewell (tailor's wife) ............... Mrs. Bowring
Letty Hedgehog (with song) ............... Miss Maggie Thomas
Such was the superb comedy bill with which the Salt Lake Theatre was
auspiciously and successfully launched into the great dramatic sea on
which she has made such a long and splendid voyage.
The company played a few other plays between the opening date and the
15th of April, catching conference, which closed the first season of
about six weeks' duration. They gave fifteen performances in this
time. The company during this first short season scarcely found its
bearings, much of the best talent was in the background and it took
time and opportunity to discover it and place it to the best
advantage.
During the first season of the Theatre, Miss Sarah Alexander, in
addition to playing many of the soubrette roles, was the _premiere
danseuse_ of the company, and gave exhibitions of her skill in the
terpsichorean art between the plays almost nightly; she was eventually
superseded, however, by Miss "Totty" Clive (a daughter of Mr. Claud
Clive, the costumer), who became so proficient in the art of dancing
that before she was 15 years of age she was an established favorite
with the public, and a feature of the theatrical entertainments.