The isolation policy peculiar to the Mormons at this period, found
expression in a discouragement of all Gentiles (as all non-Mormons
were called) and Gentile enterprises in Utah. This feeling also found
expression to some extent, for a short time in the sphere of the
theatre, and it was boldly announced by some who were close in the
councils of the Mormon chief, that he would have no Gentile actors in
his theatre. A policy which was much more strongly emphasized at the
time, however, was as to the character of the plays that should be
presented. President Young set his foot down very firmly against the
presentation of any tragedies, or plays of tragic character. The
people he said had seen and felt too much of the tragic side of life;
he wanted them to be amused, and not have their feelings harrowed up
by tragic representations. This policy obtained for a short time only;
gradually the general growing desire for the higher class of plays had
to be taken into consideration by the managers, Clawson and Caine, who
were running the house in the interest of the box office, chiefly, and
this initial policy of the founder of the theatre was gradually
abandoned, as well as the isolation policy which was to debar Gentile
actors from the stage of the Mormon Theatre.
During the summer of '62 the theatre was rushed to completion. On
December 24, '62, the completed theatre was again formally dedicated
and the following night, Christmas, the Stock Company opened up for a
regular winter season in the "Honeymoon" under the direction and
tutorship of our old Nauvoo favorite, Tom Lyne, who had learned of the
opening of Brigham Young's new theatre, and saw a chance to renew his
acquaintance with his old friends, and do a little business with them
in their new temple of the drama.
After a lapse of nearly twenty years, during which his old friends and
admirers had completely lost sight of him, he suddenly "bobs up
serenely" at Denver where he had been playing an engagement with J. S.
Langrishe; from here he corresponded with Manager Clawson with the
result that he was engaged to come to the Salt Lake Theatre as a tutor
to the company. He was received with great kindness by the company and
managers, and especially by Brigham Young, who treated him with marked
consideration. He coached the company and directed several plays for
them, but that was an irksome task for Lyne; he wanted to face the
public himself. He saw a great opportunity and did not rest content
until he had secured a starring engagement with the managers.
Accordingly it was not long before the veteran tragedian (Lyne was now
fifty-six) was announced to appear in a round of favorite characters
supported by the Theatre Stock Company. He opened on January 14th in
"Damon" to a packed house and played in quick succession the
characters of "Richelieu," "Othello," "Richard," "William Tell," "Sir
Giles Overreach," and Rolla in "Pizarro." In the latter play he could
not expect to have any of the old Nauvoo cast, especially Brigham
Young for the "High Priest," as he was now reigning as High Priest in
reality; but he found a very capable successor in the person of George
Teasdale, who since his experience in this part found promotion in the
priestly line until he became one of the chief high priests of the
church and a member of the Twelve. There is certainly some charm in
that character of the "High Priest" in "Pizarro."
Lyne's engagement was the first one made with any outside actor and
broke almost in the very start the President's avowed policy of having
no Gentile actors in his theatre. It was a comparatively easy step,
however, as Mr. Lyne was regarded as almost, and likely to be
altogether, one of us again, which idea, however, proved quite
erroneous for Tom Lyne, after playing several profitable engagements
during his first years in Salt Lake, where he settled down to end his
days, became unnecessarily cynical and bitter against the dominant
party; and especially against the proprietor and managers of the Salt
Lake Theatre, when they decided that they had played him all that was
profitable. Lyne's first engagement had "let down the bars," broken
the isolation policy to such an extent that other Gentile actors soon
followed. The truth is that the managers discovered even at that early
period in Salt Lake's theatrical experience that the local Stock
Company could not hold up the interest unaided and alone, especially
after the Lyne engagement had shown the public the difference between
a past master in the art (as Lyne was), and a company of comparative
novices however talented they might be. Another line of policy which
had been laid down by the chief of the new amusement bureau (that he
would not have any tragedies nor murder plays performed in the new
theatre) was sadly tangled and demoralized, during the very first
engagement of an outside actor. "Virginius" was a favorite part of Mr.
Lyne's and it went on, notwithstanding some discussion and protest,
with Mrs. Alice Clawson (Brigham's prettiest daughter) as Virginia.
When Virginius thrust the death dealing butcher knife which he
purloins from the neighboring butcher stall into the trusting bosom of
the fair Virginia, exclaiming "It is to save thine honor," the Rubicon
was crossed the leap was taken, and the second cherished whim of the
chief promoter of amusements for the Saints was shattered; it fell a
sacrifice to a worldly "box office" policy; and significant to relate,
his favorite daughter Alice was made the principal accessory to this
disregard of his desires and counsel.
The step once taken could not be retraced. Mr. Lyne's "Virginius" like
his "Damon" and "Richelieu" proved very popular, and justified several
repetitions. It was found that tragedy had its votaries quite as
numerous as those of the Comic Muse; and there were no more protests
either against the Gentile actors or the tragic plays, for the varied
tastes of theatre patrons had to be considered and from this time on
"box office" considerations wholly dictated the managerial policy of
the Salt Lake Theatre.
During the early days of the Salt Lake Theatre, that is to say, the
first short season of 1862 and part of the season of '62-3, the
company was somewhat handicapped by the lack of a competent "leading
lady." Mrs. Wheelock and Mrs. Tuckett, the two leading actresses of
the Social Hall days, had both left the Territory for California, and
this left the D. D. A. weak in this respect. The comedy roles were
well represented in the persons of Mrs. Margaret Clawson, Miss Sarah
Alexander, Miss Maggie Thomas, and the character parts and old women
by Mrs. Sarah Cook. Mrs. Marian Bowring was good in heavies, while
pretty Alice Clawson could make good in a walking lady or light
juvenile but they were short a "leading" woman. In the classic plays
which Lyne put on: "Virginius," "Damon and Pythias," "Richelieu,"
etc., (Mrs. Alice Clawson was cast for the leading juvenile roles; she
filled all the requirements so far as looks were concerned, but was
not at all convincing where any impassioned acting was required) the
popular verdict was "She's pretty, but can't act." Soon the managers
discovered a very talented and promising actress to fill the place, in
one Mrs. Lydia Gibson. Lydia was the young and pretty wife of Elder
William Gibson, who had recently converted Lydia to the Mormon faith
in the old country and brought her to Salt Lake and prevailed on her
to become Mrs. Gibson number two. She was a very lovely woman and when
she made her advent into the dramatic company soon became a general
favorite both with the company and the public, and more than one
fellow experienced a pang of envy when he learned she was the wife of
Elder Gibson, a man old enough to be her father. Mrs. Gibson remained
in the company only two seasons, long enough to establish herself
thoroughly in the affections of everybody, when she sickened and
shortly after died. She was buried in Brigham Young's private burying
ground near where the prophet himself is buried. The entire dramatic
company and many of the community followed her to her last resting
place with every evidence of genuine sorrow. Her dramatic career was
brief but brilliant.
There had been some trouble on the male side of the cast also. On
Lyne's first appearance the part of "Pythias" was cast to the old
Social Hall favorite "Jim" Ferguson he had played the part with Snow
in the Social Hall and was "accounted a good actor;" but on this
particular occasion, one of no small importance, being his first
appearance at the Salt Lake Theatre as well as the first appearance of
Mr. Lyne, Mr. Ferguson did not win fresh laurels. No doubt the fact of
appearing alongside of a veteran like Lyne, made "Jim" more or less
nervous. Somehow he did not "screw his courage to the sticking place,"
whether from nervousness or other causes, and failed to give a
satisfactory performance of the part; he was over-excited, and the
Calanthe complained that he was too realistic. He terrified the
soldiers of Dionysius to such a degree that they wanted to desert, and
Mr. Lyne declared he was the most vigorous Pythias who had ever played
with him, but he could not rely on him; his stage business was so
eccentric and uncertain. "Jim" thought he was making a great hit, but
the managers decided to make a change. At the following performance
the character was essayed by Mr. John R. Clawson, who if not so
brilliant as Ferguson, proved to be less erratic and more steady and
reliable.
Ferguson never again appeared on the stage but devoted his brilliant
talents to his paper, The Mountaineer, and the practice of the law.
John T. Caine was now nominally the leading man of the theatre. He had
played with stately dignity the parts of "Dionysius" in "Damon and
Pythias" and "Pizarro" to Lyne's "Rolla," and before the season was
over a number of leading characters in plays such as "Eustace Baudin,"
"Senor Valiente," "Serious Family," "All That Glitters," etc.
Each of Lyne's characters was played twice or three times, and went
far toward filling up the season as the company played but two nights
in the week. The Stock Company filled out the season of '62-63 which
closed after the April conference, '63. Soon after the opening season
of '63 and '64, the Irwins were engaged, and opening on November 4th
played the entire season till April 10th, 1864.
When the Irwin engagement began, November 4th, 1863, this put Mr.
Selden Irwin in all the leading parts. Early during this engagement
Mr. David McKenzie, who had already scored a success in "old man"
parts, came strongly to the front in the play of "Evadne" in which he
was cast for the part of "Colonno," a character of the "Hotspur" type.
He made a distinct and pronounced hit in this character, fairly
dividing honors with Irwin, who played "Ludovico," a character of the
"Iago" type, and second only to that "great villain," perhaps, in the
whole range of the drama. This performance brought McKenzie
conspicuously to the front so that he was promoted to the leading
position and held it with public approval for a number of years.
A year or so ago a "write up" article in "Munsey" claimed for George
B. Waldron the distinction of being the first Gentile actor to play in
the Mormon theatre. How far astray from the historical record the
writer was can be gleaned from the foregoing facts, and those which
are to follow.
Mr. Lyne's first engagement lasted into March, close up to the April
Conference, when a season of stock work was resumed with some special
attraction in the way of spectacular effects for the conference
season. It was the custom during the first regular season to play but
two nights a week Tuesdays and Saturdays the other evenings of the
week being devoted to the necessary rehearsals, as it was
impracticable to get the company together in the daytime for that
purpose, as they all had other occupations which demanded their
attention. Each play was given twice, this was the rule; it was the
exception when a piece ran _three_ nights in succession. It was the
custom to put up a new bill each week, so this gave the company about
a week to get up in a new play and a new farce; with their daily
occupations to attend to as well. Actors today would consider it a
task to get up in a new play and a farce each week with nothing else
to attend to. It will readily be understood from this statement that
the original stock company of the Salt Lake Theatre had no sinecure,
or "soft snap," to phrase it in the present vernacular, especially
when it is made known that during all this season there was no such
thing as salary attached to their positions. They were all working for
honor and glory, and to help Brother Brigham pay for the theatre; but
there was no grumbling; all went merry as a peal of wedding bells for
"the labor we delight in physics pain," and the first regular season
of the Salt Lake Theatre closed after the April Conference, 1863, with
a good financial showing, much of the indebtedness on the building
have been wiped out, and everything in good shape for the ensuing
season.
This first long season's work had to a great extent disclosed the
respective merits of the various members of the company, so that a
number of changes were wrought out, some members gaining promotions in
accordance with public voice and approbation.
During the summer of 1863, the interior decorations of the theatre
were completed and preparations were made for opening the season of
'63 and '64 a little in advance of the October Conference, which
always brings the people in even from the remotest settlements, and
consequently makes a great harvest for the theatre. The stock company
opened up the season without any assistance from the "Gentile"
dramatic world no second star had as yet appeared on our dramatic
horizon. Some additional interest, however, was lent to the stock
company by the accession to its ranks of two new members, who had been
selected from an amateur club called the "Thespians," whose
performances, given in a little crib, popularly known as "Cromie's
Show," so designated because the manager, "Jimmy" Thompson, had
acquired the nickname of "Cromie" from an excellent performance he
gave of that character in the farce of Betsy Baker.
The new accessions were John S. Lindsay and James M. Hardie, whom the
theatre managers had picked from the ranks of the young "Thespians" as
being of promise and worthy a place in the big theatre. The company
presented a number of comedy dramas; did the usual S. R. O. business
during the October Conference and played well on into the month of
November, when "The Irwins" were engaged as stock stars for the
remainder of the season. This engagement proved to be a wise move on
the part of the management, for the strain on the stock company was
becoming apparent, and it is questionable whether they could have held
the public interest with them throughout the season; so the Irwins
were welcomed by both the company and the patrons of the theatre.
Selden Irwin (or as he was familiarly called "Sel") was at this time
in the very flush of manhood, full of life and ambition, with a
plethora of good looks and activity. He was essentially a dashing
actor, and pleased the public immensely. Mrs. Irwin was even more of a
favorite than "Sel." If not great, she was very versatile, and they
gave Salt Lakers a series of plays of very great variety, embracing
classic tragedy, comedy and farce. Everything from "Camille" and the
"Lady of Lyons" to "That Rascal Pat" and "In and Out of Place." With
Mr. and Mrs. Irwin was Harry Rainforth, a boy of sixteen years, a son
of Mrs. Irwin by a former marriage, who in after years became a
well-known manager, being a partner with Bob Miles in the Grand Opera
House at Cincinnati. Harry was quite an actor as a boy, and helped out
the cast on several occasions; his most conspicuous effort, however,
was Lord Dundreary in "Our American Cousin," which was put up to give
"Sel" a chance at "Asa Trenchard." It is not of record that Harry ever
became a formidable rival of Sothern's in this part, but on this
occasion he filled the role very acceptably.
The Irwins remained as stock stars to the end of the season, which
came to a close after the April Conference, 1864. They were well liked
by the Utahns, and came back for a short starring engagement the
season of '66, after making a tour of Idaho and Montana with a small
road company. The Irwin engagement inaugurated the three night
performances a week and Saturday matinees. This increased the work of
the company to such an extent that they had to neglect to a greater or
less degree their regular business, that on which they depended for
their living, for it must be understood that there was no compensation
attached, beyond the honor of acting in the Salt Lake Theatre. So
there began to be some dissatisfaction with this part of the business,
and complaints from some that they were neglecting their business for
the theatre and ought to be made good, so it was arranged near the end
of the season to give two benefit performances one for the gentlemen
and the other for the ladies of the company, and then divide the
results pro rata among the members of the company. This scheme was
carried out and served to conciliate the players and smooth the way to
another season's work for the managers.
The writer at this time was probably the youngest member of the
company and had attained but little prominence, hence his "divvy" was
a very modest one, yet quite acceptable, as it was unexpected. The
following autograph letter of Brigham Young's will show the method
adopted by the management to carry on the business and make the
company contribute liberally to the building of the theatre:
SALT LAKE CITY, April 15th, 1864.
_Mr. John S. Lindsay_.
DEAR BROTHER:--Inclosed please find Twenty Dollars, being amount
assigned you out of the proceeds of the Benefit recently given at
the theatre.
Appreciating your faithful services, and the alacrity with which
you have contributed to our amusement during the past season, I
pray God to bless you, and increase your ability to do good.
Your brother in the Gospel,
BRIGHAM YOUNG.
This plan served to keep the company in a contented mood, and was
repeated at the close of the following season with like result.
The writer had made some progress in the company, and at the next
benefit got seventy-five dollars for his pro rata; this was less than
a dollar a performance during the season of seven months, but then we
were doing good missionary work, in the way of amusing the people, and
this company were engaged in a labor they delighted in; while they
were assisting in a great measure to pay for the great Thespian temple
in which they were performing, they were enjoying the labor immensely
and gave the same enthusiastic efforts to it they would have done to a
mission, had they been called to go and preach the gospel. Moreover,
they were gaining an experience in art that would have been perhaps
impossible for them, had not this splendid theatre been erected in the
home of the Saints. Brigham Young's comprehensive mind had grasped the
advantage to his people of blending art with religion, and relieving
the monotony of arduous pioneer toil with innocent and refreshing
amusements.