twenty years, Bijou Heron was one of the brightest and most promising. In
face refined, intelligent, and attractive, in voice pleasant and
sympathetic, in figure neat, graceful, and _petite_ even for her years,
she had all the personal requirements of success in her profession,
combined with careful training, quick comprehension, tact, intelligence,
and love for her art. As the only child, and as the hope and idol of a
once favorite actress, whose popularity was of so comparatively recent a
date that she had not passed out of the memory of the theatre-goers of her
daughter's time, she was kindly and affectionately received in New York
for Matilda Heron's sake, even before she had won for herself, and by her
own exertions, so many friends here.
After long preparation she made her first appearance on any stage at
Daly's Fifth Avenue Theatre, Twenty-eighth Street, on April 14, 1874, in a
play entitled _Monsieur Alphonse_, from the French of the younger Dumas,
by Mr. Daly, and first presented that evening in this country. It was
probably one of the most thoroughly successful _debuts_ witnessed here in
many years. Aside from the shyness and constraint so natural to the
_debutante_, and without which no true actor ever stepped for the first
time before a critical public, she bore herself naturally, simply, and
with charming grace. The part is long and difficult, not one of the
commonplace, childish _roles_ usually intrusted to infant players, nor one
of the high tragedy star _roles_ sometimes inflicted upon juvenile
prodigies, but a bit of leading juvenile business requiring more than
ordinary intelligence and skill upon the part of its representative. Many
actresses who have been years upon the stage, and who are considered
beyond the average in their playing, would have played it with less
appreciation and success.
Of the juvenile actors of the present time something has already been
said. As a rule they belong to the legitimate branches of the profession,
and they are as rational, perhaps, as is the drummer-boy of the army, the
elevator-boy of society, or the cash-boy of trade. Alice in Wonderland
adorns a charming tale, Prince and Pauper and Little Lord Fauntleroy point
a pretty moral, even Editha's Burglar may have his uses; but, take them as
a whole, it is a difficult matter to determine the exact position of the
Infant Phenomena upon the stage. They occupy, perhaps, the neutral ground
between the amateurs and the monstrosities, without belonging to either
class, or to art. As professional performers, although in embryo, they
cannot share exemption from the severe tests of criticism with those who
only play at being players; and as human beings, although undeveloped,
they cannot be judged as leniently as are the learned pigs and the
trained monkeys from whom some of Mr. Darwin's disciples might believe
them to be evolved. The public demands them, however, and dramatists make
them; therefore let them pass for stars!
ACT V.
A CENTURY OF AMERICAN HAMLETS.
A CENTURY OF AMERICAN HAMLETS.
"So please you, something touching the Lord Hamlet."
_Hamlet_, Act i. Sc. 3.
Hamlet, in his wholesome advice to the players, in his command to the
garrulous old gentleman who would have been his father-in-law had Hamlet
been a low comedy instead of a high tragedy part, that the players be well
bestowed, and in his bold assertion that the play's the thing, showed
plainly how great was his interest in the drama, and how keen his
appreciation of what the Profession ought to be. Hamlet has done much for
the players, but the players have cruelly wronged Hamlet. They have
mouthed him, and strutted him, and bellowed him, have sawn him in the air
with their hands, and have torn his passions to tatters, till it were
better for Hamlet often that the town-crier himself had spoken his lines.
A very few of our tragedians of the city have had enough respect for the
character of Hamlet to let him alone. Others have done full justice to
Hamlet, and as Hamlet have reflected credit upon Hamlet and upon
themselves; but there have been players that I have seen play, and heard
others praise, and that highly, who, not to speak it profanely, having
neither the accent of Christians nor the gait of Christian, pagan, or man,
have made nights and _matinees_ hideous with the part, and have done
murder most foul to Hamlet.
There can be no question that New York is the dramatic metropolis of the
United States--and despite the absence of anything like State aid--as
certainly as Paris is the capital of France, and as surely as London is
the centre of Great Britain. A New York success is of as much importance
to the new play and to the young player as is the crown of the Academy to
the new book, or the degree to the young doctor; and a history of _Hamlet_
in New York, therefore, is virtually a history of _Hamlet_ in America.
The tragedy has been played here during the last century and a quarter in
many languages, by actors of all ages and of both sexes, in blond wigs and
in natural black hair, with elaborate scenery and with no scenery at all,
by almost every tragedian in the country, and on the stage of almost every
theatre in the city with the exception of Wallack's last theatre, now
Palmer's. It has been burlesqued, and sung as an opera; and its
representatives have been good, bad, and very, very indifferent. So
much is there to be said about _Hamlet_ in New York that the great
difficulty in preparing this sketch of its career is the proper and
natural selection of what not to say.
[Illustration: EDMUND KEAN.]
_Hamlet_ was first presented in the city of New York on the evening of the
26th of November, 1761, and at the "New Theatre in Chappel Street"--now
Beekman Street--near Nassau, the younger Lewis Hallam, the original Hamlet
in America (at Philadelphia, in the autumn of 1759), playing the titular
part. Hallam was a versatile actor, who was on the stage in this country
for over fifty years, and always popular. Concerning his Hamlet very
little is now known, except the curious statement in the _Memoirs of
Alexander Graydon_, published in 1811, that Hallam once ventured to appear
as Hamlet in London--"and was endured!" He was the acknowledged leading
tragedian of the New York stage until his retirement in 1806, and he is
known to have played Hamlet as late as 1797, when he must have been close
upon sixty years of age. Mr. Ireland is of the impression that John
Hodgkinson, a contemporary of Hallam's, who appeared as Hamlet in
Charleston, South Carolina, early in the present century, conceded
Hallam's rights to the character in the metropolis, and never attempted it
here.
The first Hamlet in New York in point of quality, and perhaps the second
in point of time, was that of Thomas Abthorpe Cooper, who played the part
at the John Street Theatre on the 22d of November, 1797, although Mr.
Ireland believes that he was preceded by Mr. Moreton at the theatre on
Greenwich Street, in the summer of the same year, as he had played the
Ghost to Moreton's Hamlet in Baltimore a short time before. William Dunlap
speaks in the highest terms of Cooper's Hamlet, and John Bernard ranks it
with the Hamlet of John Philip Kemble himself.
James Fennell, a brilliant but uncertain English actor, who came to
America in 1794, was the next Hamlet worthy of note to appear in New York.
He was at the John Street Theatre as early as 1797, but he does not seem
to have undertaken the character of the Dane until 1806, when he was at
the Park for a few nights. He was an eccentric person, who figures in all
of the dramatic memoirs of his time, and who published in 1841 a very
remarkable book, called an _Apology_ for his own life. Educated for the
Church, he became in turn--and nothing long--an actor in the provinces of
England, a teacher of declamation in Paris, a writer for the press in
London, and a salt-maker, a bridge-builder, a lecturer, an editor, a
school-master, and again and again an actor in America. John Bernard
speaks of him as that "whirligig-weathercock-fellow Fennell," and as "the
maddest madman I ever knew." He was excellent as Othello and Iago, and,
according to Mr. Ireland, "beyond all competition as Zanga," but
concerning his Hamlet history is silent.
[Illustration: WILLIAM AUGUSTUS CONWAY.]
John Howard Payne enjoys the distinction of being the first American
Hamlet who was born in America, and he had been born but seventeen years
when he played Hamlet at the Park Theatre in May, 1809. Two years later,
on the 5th of April, 1811, he introduced the tragedy to Albany audiences,
and his Hamlet, naturally, was as immature and as amateur as it was
premature.
Other juvenile tragedians followed Master Payne upon the stage when they
should have been in bed, notably Master George F. Smith, who played Hamlet
at the Park Theatre on the 28th of March, 1822, and, very notably, Master
Joseph Burke, who played in Dublin in 1824, when he was five years old,
and who was recognized as a star in _Hamlet_ in the United States when he
was twelve.
But to leave the pygmies and return to the giants. Play-goers in New York
between the years 1810 and 1821 were blessed, as play-goers have never
been blessed before, in being able to enjoy and to compare the
performances of three of the greatest actors it has ever been the lot of
any single pair of eyes to see or of any single pair of ears to hear: to
wit, Cooke, Kean, and Booth. George Frederick Cooke arrived in America in
1810, and remained here until his death in 1812. Setting at defiance all
the laws of nature, society, and art, he was in nothing more remarkable
than in the fact that in the whole history of the drama in this country he
is the only really great tragedian, old or young, who never attempted to
play Hamlet here. His diary records his failure in the part in London
years before; and Leigh Hunt, who praises him highly in other lines, says
that he could willingly spare the recollection of his Hamlet, and that
"the most accomplished character on the stage he converted into an
unpolished, obstinate, sarcastic madman."
[Illustration: JAMES WILLIAM WALLACK.]
Edmund Kean first played Hamlet in New York in the month of December,
1820, Junius Brutus Booth in the October of the following year. Concerning
these men and their rivalry volumes have been written; each had his
enthusiastic admirers, and the Hamlet of each has become a matter of
history. That Kean believed in his own Hamlet in his younger days there
can be no question now, and he gave to it the closest study until the
widow of Garrick induced him to alter his reading of the "closet scene,"
and to adopt the manner of her band; an innovation which left him ever
after dissatisfied with himself in that part of the tragedy. Hazlitt
considered Kean's kissing of Ophelia's hand, in the famous scene between
them in Act III., "the finest commentary that was ever made on
Shakspere.... The manner in which Mr. Kean acted in the scene of the play
before the King and Queen," he adds, "was the most daring of any, and the
force and animation which he gave it cannot be too highly applauded. Its
extreme boldness bordered 'on the verge of all we hate,' and the effect it
produced was a test of the extraordinary powers of this extraordinary
actor." The younger Booth, writing of the elder Kean, defends his father's
foe in the following noble words: "The fact that Kean disliked to act
Hamlet, and failed to satisfy his critics in that character, is no proof
that his personation was false. If it was consistent with his conception,
and that conception was intelligible, as it must have been, it was true.
What right have I, whose temperament and mode of thinking are dissimilar
to yours, to denounce your exposition of such a puzzle as Hamlet? He is
the epitome of mankind, not an individual: a sort of magic mirror in which
all men and all women see the reflex of themselves, and therefore has his
story always been, is still, and will ever be the most popular of stage
tragedies."
That Edwin Booth should not have written concerning the Hamlet of his
father in the same charming vein is greatly to be regretted. There are men
still living who recollect the elder Booth in the part--he played it for
the last time in New York in 1843--and to these it is one of the most
delightful of memories. Thomas R. Gould, writing in 1868, sums up as
follows his own ideas of the Hamlet of this great man: "The total
impression left by his impersonation at the time of its occurrence, and
which still abides, was that of a spiritual melancholy, at once acute and
profound. This quality colored his tenderest feeling and his airiest
fancy. You felt its presence even when he was off the stage."
This famous decade of the New York stage saw other great actors and other
great Hamlets, some of whom in point of time preceded Kean and Booth.
Joseph George Holman played Hamlet at the Park Theatre in September, 1812,
James William Wallack, on the same stage, in September, 1818, Robert
Campbell Maywood in 1819, John Jay Adams in 1822, William Augustus Conway
in 1824, Thomas Hamblin in 1825, and last, but not least, William Charles
Macready in October, 1826.
[Illustration: WILLIAM C. MACREADY.]
Of the Hamlet of John R. Duff there is, strange to say, no record in New
York, although he played here occasionally between the years 1814 and
1827. He was very popular in Boston and Philadelphia, and a writer in the
Boston _Centinel_, in the autumn of 1810, does "not hesitate to say, that
in some of the scenes [of _Hamlet_], and those of no ordinary grade of
difficulty, he has never been excelled on the Boston boards." His wife is
still considered by certain old play-goers to have been the best Ophelia
ever seen in the United States, and no account of the tragedy in this
country can be complete without mention of her name. As Ophelia, in New
York and elsewhere, she supported the elder Booth, the elder Kean, the
elder Conway, Cooper, Payne, Wallack, and other stars; and Mr. Booth wrote
to George Holland in 1836 that he considered her "the greatest actress in
the world."
Mr. Macready was the first of a trio of remarkable Hamlets who came to
this country from England at about the same period. Charles Kean was the
second, in 1830, Charles Kemble the third, in 1832. Of Macready's Hamlet
he says himself, in his _Reminiscences_: "The thought and practice I have
through my professional career devoted to it, made it in my own judgment
and in those [_sic_] of critics whom I had most reason to fear and
respect, one of the most finished, though not the most popular, in my
_repertoire_."
In Cole's _Biography of Charles Kean_, inspired by its subject and written
under his direction, if not at his dictation, is the following account of
his first attempt at Hamlet: "The new Hamlet was received with enthusiasm.
From his entrance to the close of the performance the applause was
unanimous and incessant. The celebrated 'Is it the King?' in the third
act, produced an electrical effect. To use a favorite expression of his
father's, 'The pit rose at him.'"
Concerning the Hamlet of Charles Kemble, his daughter wrote, in 1832: "I
have acted Ophelia three times with my father, and each time in that
beautiful scene where his madness and his love gush forth together, like a
torrent swollen with storms that bears a thousand blossoms on its turbid
waters, I have experienced such deep emotion as hardly to be able to
speak.... Now the great beauty of all my father's performances, but
particularly of Hamlet, is a wonderful accuracy in the detail of the
character which he represents," etc.
All of this would seem to be _ex parte_ evidence, but it is interesting
nevertheless; and neither Mr. Macready, Mr. Kean, nor Miss Kemble,
perhaps, was very far astray. On the other hand, George Henry Lewes (_On
Actors and the Art of Acting_) says that "Macready's Hamlet was, in his
opinion, bad, due allowance being made for the intelligence it
displayed. He was lachrymose and fretful; too fond of a cambric
pocket-handkerchief to be really effective.... It was 'a thing of shreds
and patches,' not a whole." The flourishing of this handkerchief just
before the play scene gave great offence to Forrest, who had the bad taste
to hiss it in Edinburgh; and thus began the wretched feud which nearly
convulsed two continents, and ended in bloodshed at Astor Place, New York.
[Illustration: CHARLES KEMBLE.]
Confessing that the elder Kean could not have surpassed the younger in
certain melodramatic parts, Lewes adds that it was never an intellectual
treat to see him (Charles Kean) play any of Shakspere's heroes; and the
author of _The Actor_ says: "Charles Kean's Hamlet has many beauties, but
he is physically disqualified to do justice to any character in
tragedy.... Nature has given him a most unmelodious voice, the sound of
which seems to flow rather through his nose than its appropriate organ, a
face altogether unsuited to the character he attempts, and we doubt if she
ever intended him for an actor." Apropos of Kean's difficulties in the
utterance of certain of the consonants, particularly _m_ and _n_, the
London _Punch_ acknowledged his antiquarian researches, and thanked him
for having proved Shylock to be a vegetarian by his reading of the
following lines:
"You take my life
When you do take the _beans_ whereby I live!"
Macready described Charles Kemble as a first-rate actor in second-rate
parts, and said that "in Hamlet he was Charles Kemble at his heaviest,"
while other critics dismiss his Hamlet as "passable." Thus do the doctors
of criticism disagree.
It was said of Forrest, many years ago, that "his Hamlet seemed like some
philosophical Hercules rather than the sad, unhappy youth of Denmark." If
this was true of him when first spoken, it was much more true of him in
his representation of the part during the later years of his life, and as
he is only remembered by the large majority of the play-goers of the
present. Forrest was too great an artist to play badly any part he ever
undertook, but his Hamlet certainly was the least pleasing of all his
Shaksperian _roles_. Physically, he was altogether too robust. His too,
too solid flesh was bone and muscle. The soul of Hamlet, as drawn by his
creator, and as conceived by every thorough Shaksperian student since
Shakspere's day, could hardly have existed in a frame so magnificent as
that which nature had given Edwin Forrest. No subtle mind, wily as was
Hamlet's, whether it were sound or unsound, was ever found in so sound a
body. Forrest, when he was young enough to play Hamlet, never knew what
nerves or indigestion were. He gave to the part no little thought, and no
doubt he understood it thoroughly; but that it did not suit him
physically, and that he realized the fact, seemed often manifest when he
was playing it. He presented the tragedy at Niblo's Garden in 1860, Edwin
Booth--at the Winter Garden--appearing in the same part at the same time;
and the contrast between the powerful robustious figure, deep chest tones,
and somewhat ponderous action of the elder actor, and the lithe, poetic,
romantic, melancholy rendition of the younger, was very marked.
[Illustration: CHARLES KEAN.]
Forrest first played Hamlet in New York at the Park Theatre, in the month
of October, 1829, when he was but twenty-three years of age; and at his
last public appearance here, November 22, 1872, he read portions of the
tragedy at Steinway Hall. Mr. Eddy, Mr. Studley, and other tragedians of
Mr. Forrest's "school of acting" were not more satisfactory in the part of
Hamlet than was Mr. Forrest himself. John McCullough, however, a pupil of
Forrest's, and his leading man for a number of years, met with more
success. Although a native of Ireland, his professional life was begun and
almost entirely spent in America, and he may be considered a native
Hamlet, to this manor born. His voice and action in certain scenes where
loud declamation is demanded by the text were quite after the manner of
Forrest, but as a whole he excelled his master in the part. He was free
from mannerisms, his figure was manly and striking, he was neither too
puny nor too burly, his sentiment was not mawkish, nor was his honesty
brutal.
George Vandenhoff made his first appearance in America at the Park
Theatre, New York, on the 21st of September, 1842, in the character of
Hamlet, when Miss Sarah Hildreth, afterwards the wife of Gen. Benjamin F.
Butler, was the Ophelia. The Polonius was Henry Placide, whom Mr.
Vandenhoff, in his _Leaves from an Actor's Note-Book_, called "the best
Polonius and the best actor in his varied line in this country"; the Ghost
was William Abbott, a superior actor in the higher range of parts; the
Grave-digger was John Fisher, very popular and very able; the Horatio was
Thomas Barry, who won for himself in later years no little distinction in
New York and in Boston in the highest tragedy _roles_; and the first Mrs.
Thomas Barry, an actress of some ability, was Mr. Vandenhoff's Player
Queen.
[Illustration: EDWIN FORREST.]
The Hamlet of Edward L. Davenport was never so popular as it should have
been, nor was Mr. Davenport himself properly appreciated as an actor
during the last years of his life. He was out of the fashion so long
that until a far-sighted management engaged him to play the part of
Brutus, during the famous run of _Julius Caesar_ at Booth's Theatre in
1875-76, he was only known to the younger generation of theatre-goers,
when he was known at all, as Miss Fanny Davenport's father! That Mr.
Davenport, at the close of his long career, should have been banished to
the Grand Opera-house, and to Wood's Museum, in upper Broadway, is a
stronger argument in favor of the alleged degeneracy of the drama in this
country than is the unhealthy popularity of the current variety shows, and
the emotional plays from the French.
The faithful band of Mr. Davenport's friends who followed him to the west
side of the town, during his occasional visits to the metropolis, found
nothing in his acting to wean them from their allegiance, while he made
many new and enthusiastic friends among the gods of the gallery, those
keen and appreciative critics whose verdict, although not always the
general verdict, is ever, in an artistic way, the most valuable and
pleasing to the actor. But galleries, alas! do not fill managers' pockets,
nor do they lead the popular taste; and Mr. Davenport, at one time a
universal favorite in New York with galleries, boxes, and pits, lived to
find himself, through no fault of his own, and to the lasting discredit
of metropolitan audiences, neglected and ignored.
Hamlet was not Mr. Davenport's greatest part, as it is not the greatest
part of many of the popular Hamlets of the present; his Sir Giles
Overreach, his Bill Sikes, his Brutus, and his William, in _Black-eyed
Susan_, were as fine as his Hamlet, if not finer; nevertheless it was a
singularly complete conception of the character--scholarly, finished, and
profound. In his younger days he played the part many times, and with some
of the "finest combinations of talent" which the records of the stage can
show. On the 16th of October, 1856, at Burton's Theatre, New York, Mark
Smith was the Polonius, Burton and Placide the Grave-diggers, Charles
Fisher the Ghost, and Mrs. Davenport the Ophelia to his Hamlet--a
combination of strength in male parts almost unequalled. At Niblo's
Garden, in 1861, Mrs. Barrow was his Ophelia, William Wheatley his
Laertes, Thomas Placide his First Grave-digger, James William Wallack,
Jr., his Ghost, and Mrs. Wallack the Queen; and at the Academy of Music,
on the 21st of January, 1871, he played one act of _Hamlet_ to the Ophelia
of Miss Agnes Ethel, on the occasion of the famous Holland Benefit, when
the audience, as large as the great house would hold, was the only
audience to which Mr. Davenport played Hamlet in many years that was at
all worthy of the actor or his part. Miss Ethel was a perfect picture of
the most beautiful Ophelia. It was her first attempt at anything like a
legitimate tragedy part, and was decidedly successful.
[Illustration: EDWARD L. DAVENPORT.]
The several engagements of Mr. and Mrs. Davenport after this were in no
way remarkable, except sadly remarkable that so great an actor should have
been forced, in the greatest city of the Union, to play Hamlet to such
poor houses and with such uncongenial surroundings.
On the evening of August 30, 1875, Mr. Davenport appeared as Hamlet in the
Grand Opera-house, New York. On the same evening Barry Sullivan, under the
management of Jarrett & Palmer, made his appearance at Booth's Theatre in
the same part. The comparison invited by the presentation of these rival
Hamlets was not favorable to the Irish tragedian. He was extensively
advertised, and his reception by his own countrymen was affectionate and
sincere. The Irish regiment, the famous Sixty-ninth, was present on the
opening night, and the house was crowded with our Irish citizens. The
performance was superior to the general run of Hamlets, but it was not
superlative. Mr. Sullivan had had great experience on the British stage,
and was skilled in his profession, but his Hamlet was melodramatic, harsh
at times, occasionally overacted, and in all respects totally different
from the quiet, tender Hamlet of Mr. Davenport. Much of his business was
believed to be new, and some of his novelties were effective, if not
altogether according to the text of the tragedy. It was a Hamlet that
appealed to the taste of the audiences of the Bowery rather than to those
of the west side of the town. It is only just to say that Hamlet was not
Mr. Sullivan's strongest part in America. As Richard III., as Beverly, in
_The Gamester_, and as Richelieu, he appeared to advantage, although his
success in this country was not as great as his reputation at home would
have warranted. This was his second appearance in America. His first was
made at the Broadway Theatre, New York, and in the character of Hamlet, on
the 22d of November, 1858.
The student of dramatic history in America must have been struck with the
irregularity of the appearance of Hamlet upon our boards during the last
hundred years. In Joseph Norton Ireland's _Records of the New York Stage_,
published in 1866-67, and the best and most complete work of its kind in
this country, and perhaps in any country, there are seasons and
successions of seasons in which there is to be found no hint of its
production; in other seasons some domestic or imported star was seen in
the tragedy, for a night or two at most, on its meteoric flight from
horizon to horizon, while, on the other hand, for months together _Hamlet_
was of weekly if not of nightly occurrence at some of the theatres of the
metropolis.
[Illustration: JAMES STARK.]
Probably at no period in the history of _Hamlet_, since the early days
when Shakspere himself, according to tradition, played havoc with the
Ghost, has any town witnessed such an epidemic of _Hamlet_ as passed over
the city of New York in the years 1857 and 1858. McKean Buchanan and Barry
Sullivan appeared as Hamlet at the Broadway, James Stark and the elder
Wallack at Wallack's, Edward Eddy at the Bowery, and John Milton Hengler,
a rope-dancer, played Hamlet, "for one night only," at Burton's, followed
at that house by Charles Carroll Hicks, James E. Murdoch, Edward L.
Davenport, and Edwin Booth.
The Hamlet of Edwin Booth, without doubt, is the most familiar and the
most popular in America to-day. He has played the part in every important
town in the Union, many hundreds of nights in New York alone, and to
hundreds of thousands of persons, the warmest of his admirers and most
constant attendants at his performances being men and women who are
emphatically non-theatre-goers, and who never enter a play-house except
to see Mr. Booth, and Mr. Booth in a Shaksperian part. He has done very
much more than any other actor to educate the popular taste to a proper
understanding of Hamlet, and to a proper appreciation of the beauties of
the tragedy. He is the ideal Hamlet of half the people of the country who
have any idea of Hamlet whatever.
In many minds Booth _is_ Hamlet, and Hamlet is Booth; any conception of
Hamlet that is not Booth's, any picture of Hamlet which does not resemble
the familiar features of Booth, any representation of Hamlet on the stage
which is not an imitation of Booth's Hamlet, is considered no Hamlet at
all. If the very Hamlet of tradition himself--the Amleth of the old Danish
legend from which Shakspere drew, no doubt, the facts and fancies of his
play--were to return to earth and walk the boards of an American theatre,
he would find no followers if he walked not, looked not, spoke not after
the manner of Edwin Booth.
Mr. Booth's Hamlet is original in many respects; it is intellectual,
intelligent, carefully studied, complete to the smallest details, and
greatly to be admired. Nature has given him the melancholy, romantic face,
the magnetic eye, the graceful person, the stately carriage, the poetic
temperament, which are in so marked a degree characteristic of Hamlet,
while his genius in many scenes of the tragedy carries him far above any
of the Hamlets this country has seen in many generations of plays.
[Illustration: EDWIN BOOTH.]
He first assumed the part in New York, and under Mr. Burton's management,
at the Metropolitan Theatre, in the month of May, 1857. The engagement was
short, and _Hamlet_ was presented two or three times. Even then, however,
it created no little excitement, and was considered a very remarkable and
finished representation in a young man but twenty-four years of age. In
Mr. Burton's company that season were Charles Fisher, Mark Smith, Thomas
Placide, Sarah Stevens, Mrs. Hughes, and Mr. Burton himself, by whom the
young tragedian was ably supported.
Mr. Booth next appeared in New York on the 26th of November, 1860, at the
same theatre--then called the Winter Garden--under the management of
William Stuart. He opened as Hamlet, and had the support of Miss Ada
Clifton as Ophelia, of Mrs. Duffield as the Queen, and of Mr. Davidge and
J. H. Stoddart as the Grave-diggers. This was his first genuine
metropolitan success in the part, although it was presented but five times
during an engagement of four weeks. A year or two later he played Hamlet
to the Ophelia of Mrs. Barrow; in 1863 he was supported by Lawrence
Barrett, Humphrey Bland, "Dolly" Davenport, Vining Bowers, and Miss
Clifton; and still at the Winter Garden he appeared as Hamlet from the
26th of November, 1864, until the 24th of March, 1865, one hundred
consecutive nights! This was an event entirely unprecedented in the
history of _Hamlet_ in any country, and probably the longest run that any
_tragedy_ whatever had at that time enjoyed. It was before the days of
_Rosedale_ and _Led Astray_--before managers dared to present a single
play during an entire season, when changes of bill were of weekly if not
of nightly occurrence, and when Mr. Booth himself, during an engagement of
fifteen or eighteen nights, had played twelve or fifteen parts. "One
hundred nights" of any production is no novelty now, since _Adonis_ and
_Erminie_ have, with such little merit, drawn such full houses for so many
months; but that one man should have played but this one part, and that
too in a drama so decidedly a one-man play that _Hamlet_ with Hamlet left
out has become a proverb wherever English is known, was a quarter of a
century ago certainly a magnificent achievement. It moved Mr. Booth's many
friends in New York to present to him on the 22d of January, 1867, the
celebrated "Hamlet Medal," the most complimentary and well-merited
testimonial that any young actor, no matter how brilliant his career,
has ever received from the American public in the history of its stage.
During this famous engagement he was associated with Thomas Placide as
Grave-digger; with Charles Kemble Mason, an admirable Ghost; with Charles
Walcot, Jr., as Horatio; with Owen Fawcett as Osric; with Mrs. James W.
Wallack, Jr., as the Queen; and with Mrs. Frank Chanfrau as Ophelia--as
strong a combination of talent as the tragedy has often seen.
[Illustration: LAWRENCE BARRETT.]
It is not possible to tell here the story of Mr. Booth's many productions
of _Hamlet_ in New York, nor to do more than barely enumerate the ladies
and gentlemen who have supported him. Among his Ophelias, not mentioned
above, have been Miss Effie Germon (in 1866), Mme. Scheller, Miss Blanche
De Bar, Miss Bella Pateman, Miss Jeffreys-Lewis, Miss Eleanor Carey, Mrs.
Alexina Fisher Baker, Miss Clara Jennings, Miss Minna Gale, and Mme.
Helena Modjeska. He has snubbed and stabbed John Dyott, David C. Anderson,
Charles Fisher, and George Andrews, as Polonius. His Grave-diggers have
been Robert Pateman, Charles Peters, and Owen Fawcett. Newton Gothold, J.
H. Taylor, David W. Waller, H. A. Weaver, Charles Barron, Charles Kemble
Mason, and Lawrence Barrett have been his Ghosts, and Mrs. Marie Wilkins,
Miss Mary Wells, Mrs. Fanny Morant, and Miss Ida Vernon, in their turn,
have been the mothers who his father had much offended.
Lawrence Barrett, now so intimately associated with Mr. Booth throughout
the United States, has played every male part in _Hamlet_ with the
exception of Polonius and the First Grave-digger. His earliest appearance
in the tragedy was in Newcastle, Pennsylvania, in 1855, when he
represented the leading character in a version of the play announced on
the bills as "The Grave Burst; or, The Ghost's Piteous Tale of Horror, by
W. Shakspere, Esqr." The elaborate title was supposed to be more taking
with the theatre-going population of that particular town than the simple
name by which it is usually known to Shaksperian students; but it is not
recorded that the representation was popular, or that box receipts were in
proportion to the outlay. Mr. Barrett played Laertes to the Hamlet of Miss
Cushman, in Boston, some years later; he has been the Ghost to the Hamlet
of Edwin Booth and Edward L. Davenport; and he has supported Barry
Sullivan, Mr. Murdoch, and other leading tragedians at different seasons,
taking the part of Horatio to Mr. Murdoch's Hamlet, John McCullough's
Ghost, and Miss Clara Morris's Queen, at the famous festival at Cincinnati
a few years ago. The fact that Mr. Barrett rarely plays Hamlet in New
York is much to be regretted. In other cities, where he is better known in
the part, he is greatly liked, and next to his Cassius it is perhaps the
best thing he does. That it is a highly intellectual performance goes
without saying, but it has other merits as well. It is vigorous,
consistent, and unfailingly tender.
[Illustration: JAMES E. MURDOCH.]
Mr. Bandmann played Hamlet in German, and of course with a German company,
at the Stadt Theatre in the Bowery, just at the close of the first century
of _Hamlet_ in New York. He attracted a great deal of attention among the
German population of the city, and was so successful in it that it tempted
him to study for the English-speaking stage. He presented considerable
business that was new here, but well known in his father-land, bringing
his Ghost from beneath the stage, introducing a manuscript copy of the
speeches of the actors in the play scene, and turning its leaves back and
forth in a restless way to hide the nervousness of Hamlet. This was
subsequently noticed here in the performances of Mr. Fechter. Mr. Bandmann
also drew from his pouch tablets upon which he set down the some dozen or
sixteen lines to be introduced by the First Actor in the incident of the
murder of Gonzago; and at the end of the scene he fell back into the arms
of Horatio in a state of complete collapse. His acting throughout was
effective and powerful.
The Hamlet of Salvini is powerful but not effective. It is not the Hamlet
of tradition, nor does it overtop the traditional Hamlet in novelty and
originality. If Salvini had played nothing but Hamlet here he never could
have sustained the magnificent reputation he brought from foreign
countries, and which he more than fulfilled in other parts. The man who
excels as Ingomar, is superb as Samson, supreme in Othello, and, in the
entirely opposite character of Sullivan (David Garrick), displays such
marked comedy powers, can hardly be expected to shine as the melancholy
Dane.
Rossi's Hamlet is effective if not powerful. In his first interview with
the Ghost he betrays no fear, because he sees in it only the image of a
lamented and beloved father, while in the scene with the Queen, when the
Ghost appears, he crouches behind his mother's chair in abject terror,
because, as he explains it, the phantom is then an embodiment of
conscience, the Ghost of a father whose mandate he has disobeyed.
[Illustration: CHARLES FECHTER.]
Unquestionably the imported Hamlet that has excited the greatest interest
in New York in very many seasons is the Hamlet of Charles Fechter. The
acting of no man, native or foreign, in the whole history of the
American stage has been the subject of so much or of such varied criticism
as his. There was no medium whatever concerning him in public opinion.
Those who were his admirers were wildly enthusiastic in his praise; those
who did not like him did not like him at all, and were unsparing in their
condemnation and their ridicule; but no one was wholly indifferent to his
acting. He came to this country endorsed by the strongest of letters from
Charles Dickens, who was his friend, and weighted by the wholesale and
impolitic puffery of his managers; the result was that, in the judgment of
the majority of those who saw him, he did not and could not sustain the
magnificent reputation claimed for him in his advance advertisements. On
the other hand, while he was in a manner snubbed by New York, he was
hailed in Boston as the Roscius of the nineteenth century. His Hamlet,
although very uneven and unequal, was certainly a marvellous performance,
and while by reason of date it does not come within the scope of the
present chapter, it is too important in many ways to be omitted. It was
thoroughly untraditional. He gave to the Prince of Denmark the fair Saxon
face and the light flowing hair of the Danes of to-day; in his own portly
form he made the too, too solid flesh of Hamlet a real rather than an
ideal feature of Hamlet's person: and much of his business, if not
original with him, was at least unfamiliar to American play-goers. He was
peculiarly "intense" in everything he did, while in what are called the
intense scenes of the tragedy he was often more subdued and natural even
than Mr. Davenport, who was remarkably free from emotional acting. His
"rest, perturbed spirit," was excellent and effective by reason of its
very quietness, and during all of the scene with the Ghost his acting was
conspicuous by the absence of the conventional quivering, trembling,
teeth-chattering agony which is so apt to be the result of the coming of
the apparition. In the "rat-trap" and closet scenes, in which Mr. Booth is
so good, so very excellent good, Mr. Fechter lacked dignity and repose;
and in his advice to the players, while his reading was less distinct and
intelligent than Mr. Booth's, his facial expression was wonderful and
beyond all praise. He was inferior to Booth in the soliloquies, although
charmingly tender in his intercourse with Ophelia. With the Queen in "the
closet scene" he was almost brutal in his conduct, seeming to forget
entirely--what Mr. Booth never overlooks--that Gertrude, although sinning,
is still a woman and his own mother. He stabbed poor Polonius with a
ferocity that destroyed all sympathy for Hamlet. His reading, apart from
the accentuations and inflections which were natural to him at all
times, was peculiar; his enunciation was frequently so rapid that it
became unintelligible; he hurried through some of the finest passages at a
gallop, and lost some of the finest points; but his Hamlet as a whole was
impressive and magnetic, the oftener seen the better liked. Mr. Fechter
made his first appearance in America as Ruy Blas at Niblo's Garden, New
York, on the 10th of January, 1870, under the management of Jarrett &
Palmer; and he played Hamlet for the first time on the 15th of February
the same year.
[Illustration: HENRY E. JOHNSTONE.]
Among the purely exotic Hamlets of the New York stage Salvini, Bandmann,
Bogumil-Dawison, Rossi, Barnay, and Hasse have been the most prominent.
But while the performance of each was excellent in its own fashion, each
labored under the great disadvantage of playing a most familiar part (and
in a play decidedly an English classic) in a foreign tongue.
It is not possible, of course, in the limits of a single chapter to speak
at any length of all the hundreds of Hamlets who have appeared upon the
New York stage between the years 1761 and 1861, or to refer to the scores
of men who have played the part in other cities. The following
alphabetical list of those who have been seen upon the metropolitan stage
is compiled from Mr. Ireland's _Records_, and from many files of old
play-bills in various collections, and is felt to be fairly complete. It
does not include the tragedians whose performances have been noticed
elsewhere in the text of the present chapter, or those who have played
Hamlet in other cities of the Union but not in New York; and the date
appended is that of the player's first recorded appearance in the part
here:
William Abbott, April 9, 1836; Augustus A. Addams, November 13, 1835; J.
R. Anderson, September 3, 1844; George J. Arnold, 1854; Mr. Barton, March
9, 1831; Mr. Bartow, May 26, 1815; John Wilkes Booth, March, 1861;
Frederick Brown, March 9, 1819; McKean Buchanan, June 10, 1850; Samuel
Butler, November 4, 1841; John H. Clarke, November 8, 1822; Mr. Clason,
November 10, 1824; G. F. Cooke (not the great George Frederick), October
4, 1839; Mr. Dunbar, December, 1813; Edward Eddy, August 27, 1852; Henry
I. Finn, September 12, 1820; W. C. Forbes, May 29, 1833; Richard Graham,
October 29, 1850; H. P. Grattan, May 11, 1843; James H. Hackett, October
21, 1840; Charles Carroll Hicks, December 13, 1858; Henry Erskine
Johnstone, December, 1837; William Horace Keppell, November 17, 1831; H.
Loraine, December 23, 1856; W. Marshall, February 3, 1848; J. A. J.
Neafie, 1856; John R. Oxley, August 16, 1836; William Pelby, January 6,
1827; Charles Dibdin Pitt, November 8, 1847; J. B. Roberts, May 17, 1847;
John R. Scott, March, 1836; James Stark, September, 1852; John Vandenhoff,
October 2, 1837; Henry Wallack, September 4, 1824; James William Wallack,
Jr., July, 1844; Wilmarth Waller, June 30, 1851.
[Illustration: JOHN VANDENHOFF.]
As the limits of space here prevent more than the enumeration of the names
of many men who were excellent Hamlets during the first century of its
history in New York, so does the very nature of the article preclude any
mention of the excellent Hamlets who have appeared in the part since the
century closed in 1862, and who may be still alive. These no doubt will
receive the attention of some later historian, who will do full justice to
the Hamlets of the present and the future, from Henry Irving to N. S.
Wood.
When George Henry Lewes, in "An Epistle to Anthony Trollope," made the
bold assertion that "no actor has been known utterly to fail as Hamlet,"
he forgot four classes of actors whom perhaps he did not consider actors
at all. These are, first, the infant prodigies; second, the ladies who
attempt the part; third, the men who burlesque it; and fourth, the men who
fail not only as Hamlet but as everything else. Of the first, something
has already been said; of the second, something is yet to be said; of the
third, William Mitchell, William E. Burton, and George L. Fox knew no such
word as fail; and of the fourth, George the Count Johannes, in his later
days, was a brilliant example. His occasional productions of _Hamlet_ for
his own benefit, a few years ago, were the source of much silly amusement
and rude horse-play upon the part of audiences not wise enough to
appreciate the mental condition of the unfortunate star, or their own want
of taste in encouraging his buffoonery even by their ridicule. His
support, composed entirely of amateurs, was without question the worst
that any Hamlet has ever known in this country; but his own performance
was neither good enough to be worthy of any notice whatever, nor bad
enough to be funny.
The connection of George Jones with the American stage as a professional
actor dates back to the early days of the Bowery Theatre. He made his
American _debut_ there as the Prince of Wales in _Henry IV._, on the 4th
of March, 1831. He played Hamlet at the National Theatre in December,
1836, and he repeated the part (before he became too mad to portray even
the mad prince) many times, not only in this country but in England. The
last occasion which merits even a passing word being at the Academy of
Music, New York, on the 30th of April, 1864, when he was associated with
Mrs. Brougham (Robertson) as Ophelia, and Mrs. Melinda Jones as the Queen.
[Illustration: GEORGE JONES.]
The first record of any attempt to burlesque Hamlet in New York is
contained in the advertisements of the Anthony (Worth) Street Theatre,
June 13, 1821, when Mr. Spiler was announced to play the Dane and Mrs.
Alsop Ophelia, "in the original travestie." Mrs. Alsop's sudden death
before the opening night postponed the performance indefinitely, and it is
not known now when the travesty was produced, or if it was produced at all
that season. Mr. William Mitchell presented Poole's absurd burlesque of
the tragedy at the Olympic Theatre on the 13th of February, 1840, playing
Hamlet himself. This, by the graybeards who prate of the palmy days of the
drama--palmy meaning anything that is past--was said to have been a finer
performance than the burlesque Hamlet of George L. Fox thirty years later.
At the New National Theatre--formerly the Chatham--Mr. Frank Chanfrau
played Hamlet after the manner of Mr. Macready, October, 1848, in an
entertainment called _Mr. McGreedy_. But the burlesque _Hamlet_ which was
most complete in all its parts, unquestionably, was that produced at
Burton's Theatre in the season of 1857-58, when John Brougham played
Hamlet with a brogue; Burton the Ghost; Dan Setchell Laertes; Lawrence
Barrett Horatio; and Mark Smith Ophelia. Brougham had played the part
previously at his own Lyceum in 1851, and at the Bowery in 1856, but never
with such phenomenal support.
On the long file of the bills of _Hamlet_ upon the New York stage the name
of a lady is occasionally found in the titular part. The most daring and
successful of these mongrel Hamlets was unquestionably Miss Charlotte
Cushman--but even the genius of a Cushman was not great enough to crown
the effort with success. In the early days of her career Miss Cushman had
played the Queen in the tragedy to the Hamlet of James William Wallack the
younger, at the National Theatre, New York, in April, 1837, and in the
autumn of the same year to the Hamlet of Forrest at the Park. There is no
record of her appearance as Ophelia. She played Hamlet for the first time
in New York at Brougham's Lyceum, November 24, 1851, and she trod in the
footsteps of Mrs. Bartley, who was seen as Hamlet at the Park, March 29,
1819; of Mrs. Barnes, who was seen in the same part on the same stage in
June of the same year; of Mrs. Battersby, who played it May 22, 1822; and
of Mrs. Shaw--whose Ghost was Mr. Hamblin--in April, 1839. Mrs.
Brougham (Robertson) played Hamlet for her benefit in 1843, and so did
Miss Fanny Wallack in 1849. This last lady frequently attempted the part,
and at the Astor Place Opera-house, June 8, 1850, she had the support of
Charles Kemble Mason as the Ghost and Miss Lizzie Weston as Ophelia. Other
lady Hamlets have been Miss Marriott, Miss Clara Fisher, Mrs. Emma Waller,
Miss Anna Dickinson, Mrs. Louise Pomeroy, Miss Rachel Denvil, Miss Susan
Denin, Mrs. F. B. Conway, Miss Adele Belgarde, and finally Miss Julia
Seaman, an English actress of fine figure, who played the Devil in the
spectacle of _The White Fawn_ at Niblo's Garden, and who succeeded in
doing as much with Hamlet at Booth's Theatre in 1874.
[Illustration: AUGUSTUS A. ADDAMS.]
The best actors in the world, either for tragedy, comedy, history,
pastoral, pastoral-comical, historical-pastoral, scene individable, or
poem unlimited, have been in Hamlet's train upon the New York stage since
"first from England he was here arrived," so many years ago; but so much
has been said of Hamlet that even the names of his most beautiful
Ophelias, his honest Ghosts, his gentle Guildensterns, his aunt-mothers,
his uncle-fathers, his wretched, rash, intruding Polonii, or the absolute
knaves who have digged his Ophelia's grave--and lied in it--for a hundred
years, cannot be enumerated here, except when they have played Hamlet
himself, or have done as somebody else some wonderful things to Hamlet.
William Davidge related in his _Footlight Flashes_ that during his
strolling days in England, when companies were small, he had on the same
evening done duty for Polonius, the Ghost, Osric, and the First
Grave-digger; and Edwin Booth remembers Thomas Ward dying in sight of the
audience as the Player King, and being dragged from the mimic stage by the
heels to enter immediately at another wing as Polonius, with a cry of
"Lights! lights! lights!" Hamlet, in a "one-night town," swearing that he
loved Ophelia better than forty thousand brothers, has watched her through
an open grave packing her trunk in the place beneath, while the Ghost, her
husband, waited to strap it up! There are more things in Hamlet's
existence--behind the scenes--than are dreamed of in the philosophy of all
his commentators and all his critics.
One of the most notable instances of a great actor assuming a small part
was on the occasion of Charles Kean's first appearance as Hamlet in
Baltimore, when at the Holiday Street Theatre, in 1831, the elder Booth,
at that time at the very height of his fame and prosperity, for some
reason now unknown, volunteered to play the Second Actor, the most
insignificant character in the tragedy. John Duff was the Ghost; Mrs. Duff
Queen Gertrude; John Sefton Osric; Thomas Flynn First Grave-digger; and
William Warren, father of the William Warren for whom Boston mourns
to-day, was Polonius. This was an exceedingly strong cast of the tragedy,
and the Second Actor most certainly was never in better hands on any
stage.
[Illustration: WILLIAM PELBY.]
The strongest cast of _Hamlet_, in all its parts, ever presented in
America, was that at the famous Wallack Testimonial in New York, on the
21st of May, 1888, when Lawrence Barrett played the Ghost; Frank Mayo the
King; John Gilbert Polonius; Eben Plympton Laertes; John A. Lane Horatio;
Joseph Wheelock the First Actor; Milnes Levick the Second Actor; Henry
Edwards the Priest; Joseph Jefferson and William J. Florence the
Grave-diggers; Miss Kellogg Gertrude; Miss Coghlan the Player Queen; and
Madame Modjeska Ophelia to the Hamlet of Edwin Booth.
The first record of any performance of _Hamlet_ in New York, as has been
shown, was at the theatre in Chappel Street, November 26, 1761. On the
26th of November, 1861, Mr. Booth played the same part at the Winter
Garden, on Broadway. The coincidence was not noticed at the time, and no
doubt was purely accidental. It was a very pleasant coincidence,
nevertheless, and it is certainly a happy fact that Edwin Booth should
have been selected by chance to celebrate upon the New York stage the
centenary of _Hamlet_ in New York.
CURTAIN.
THE CAST OF CHARACTERS.
_THE CAST OF CHARACTERS._
Abbott, William, 282, 314.
Adams, Edwin, 200.
Adams, Mrs. Edwin, 124.
Adams, J. J., 270.
Addams, Augustus A., 314.
Aldrich, Louis, 245.
Aldrich, Thomas Bailey, 217.
Aldridge, Ira, 94.
Alger, Wm. R., 103.
Allen, Andrew J., 101-3, 122.
Alsop, Mrs., 321.
Anderson, David C., 301.
Anderson, J. R., 314.
Anderson, Mary, 5.
Andre, John, 19-20.
Andrews, George H., 69, 301.
Anne, Queen, 158.
Arbuthnot, John, 150.
Aristophanes, 149-51, 164.
Arnold, Benedict, 19.
Arnold, George, 148.
Arnold, George J., 314.
Arnold, John H. V., xii.
Backus, Charles, 138.
Baker, Mrs. (Alexina Fisher), 238, 301.
Baker, Thomas, 48.
Bancker, Mr., 96.
Bandmann, Daniel, 305-6, 313.
Bangs, John Kendrick, 195.
Bannister, John, 90-3.
Barker, Jas. N., 10.
Barnay, Ludwig, 313.
Barnes, John, 119.
Barnes, Mrs. John, 10, 322.
Barnum, P. T., 111, 242.
Barrett, Lawrence, 5, 104, 107, 170, 204, 298, 301, 302-5, 322, 329.
Barrett, Mrs. Giles L., 100.
Barron, Charles, 301.
Barrow, Mrs. (Julia Bennett), 286, 297.
Barry, Thomas, 14, 59, 282.
Barry, Mrs. Thomas (First), 282.
Barry, Mrs. Thomas (Clara S. Biddles), 59.
Bartley, Mrs. George, 322.
Barton, Mr., 314.
Bartow, Mr., 314.
Bateman, Ellen, 80, 230, 238-43.
Bateman, Kate, 5, 80, 230, 238-43.
Bateman, Mrs. H. L., 76, 79, 80.
Battersby, Mrs. (Mrs. Stickney), 322.
Beckett, Harry, 177.
Behn, Aphra, 90.
Belgarde, Adele, 325.
Benedict, Lew, 139.
Bennett, Julia (Mrs. Barrow), 286, 297.
Berkley, Fanny, 245.
Bernard, Bayle, 25.
Bernard, John, 262, 265.
Bernard, Wm. H., 138.
Betty, W. H. W. ("Master" Betty), 222-6, 234.
Bickerstaffe, Isaac, 93.
Birch, William, 132-5, 138.
Blake, Wm. R., 60, 244.
Blakeley, Thos. H., 123-4.
Blanchard, Kitty (Mrs. McKee Rankin), 181.
Bland, Humphrey, 298.
"Blind Tom," 221.
Bloodgood, Harry, 139.
Bogumil-Dawison, 313.
Booker, John, 107-8.
Boone Children, 247.
Booth, Agnes, 250.
Booth, Edwin, 5, 106, 185, 196, 269, 270, 281, 293-302, 310, 326, 329-30.
Booth, Mrs. Edwin (Mary McVicker), 230.
Booth, John Wilkes, 314.
Booth, Junius Brutus, 90, 106-7, 266, 270, 273, 326.
Booth, J. B., Jr., 250.
Boucicault, Dion, 6, 40.
Bowers, Vining, 298.
Bowman, Isa, 239.
Bozzaris, Marco, 23.
Braham, David, 52.
Brougham, John, 13, 149, 162-3, 164-73, 191, 199, 204, 322.
Brougham, Mrs. John (Miss Nelson), 162, 165.
Brougham, Mrs. John (Mrs. Robertson), 321, 325.
Brower, Frank, 124-6, 138.
Brown, Frederick, 314.
Bryant, Daniel, 131, 136, 138.
Bryant, Jerry, 138.
Bryant, Neil, 138.
Bryant's Minstrels, 126, 135-6.
Buchanan, McKean, 293, 314.
Buckingham, Duke of, 153.
Buckland, Mrs. (Kate Horn), 59.
Buckley, Frederick, 135.
Buckley, George Swayne, 135.
Buckley, R. Bishop, 135.
Buckley's Minstrels, 138.
Budworth, J. H., 136, 138.
"Buffalo Bill" (W. F. Cody), 26, 119.
Bunce, Oliver B., 20-3.
Burgess, Neil, 44, 203.
Burke, Charles, 39, 40, 199, 200.
Burke, John D., 19.
Burke, Joseph ("Master" Burke), 226, 229-30, 265.
Burnand, F. C., 181.
Burnett, J. G., 20.
Burns, Barney, 122.
Burton, Wm. E., 76, 79, 157, 162-4, 185, 196, 245, 286, 297, 318, 322.
Butler, Benjamin F., 192, 282.
Butler, Samuel, 314.
Byron, Henry J., 72.
Cable, Geo. W., 4, 142.
Campbell, S. C., 136, 138.
Carey, Eleanor, 301.
Cary, Mary, 181.
Chanfrau, F. S., 48-51, 321.
Chanfrau, Mrs. F. S., 301.
Charles II., 90, 153.
Chesterfield, Lord, 151.
Chippendale, William, 59, 67.
Christy, E. P., 108, 111, 131, 132, 135.
Christy, George, 111, 132-3, 135, 138.
Cibber, Colley, 155.
Clapp, W. W., Jr., 100.
Clarke, Constantia, 10.
Clarke, John H., 10, 314.
Clarke, John S., 5, 39, 106.
Clarke, Mrs. John S. (Asia Booth), 106.
Clason, Mr., 314.
Clemens, Sam'l L. ("Mark Twain"), 17, 43.
Clifton, Ada, 297, 298.
Cody, W. F. ("Buffalo Bill"), 26, 119.
Coghlan, Rose, 329.
Cole, John William, 274.
Collins, Benjamin, 139.
Columbus, Christopher, 9.
"Commodore Nutt," 221.
Conner, E. S., 115-17.
Conway, Mrs. F. B., 325.
Conway, Wm. A., 270, 273.
Cook, Charles T., 180.
Cooke, Aynsley, 138.
Cooke, George Frederick, 266.
Cooke, G. F., 314.
Cooper, Fenimore, 4, 17.
Cooper, T. A., 262, 273.
Cotton, Daniel, 138.
Cotton & Murphy, 136.
Cotton & Reed, 136.
Cowell, Joseph, 80.
Cowell, Samuel, 119.
Crabb, George, 147.
Crabtree, Charlotte ("Lotta"), 233.
Crane, Wm. H., 43, 191-2, 200.
Crisp, Wm. H. (Elder), 53-4, 59, 66, 67.
Crockett, David, 31.
Cummings, Minnie, 64-5.
Curtis, George William, 76.
Cushman, Charlotte, 5, 13, 241, 302, 322.
Custis, G. W. P., 10.
Daly, Augustin, 5, 6, 26, 84, 154, 181, 248, 250, 252.
Darling, Bessie, 64.
Darwin, Charles, 254.
Davenport, Adolphus ("Dolly Davenport"), 298.
Davenport, E. L., 60, 67, 68, 282-9, 290, 293, 302, 310.
Davenport, Mrs. E. L. (Fanny Vining), 60, 79, 286, 289.
Davenport, Fanny, 280, 285.
Davenport, Jean M., 230.
Davenport, Lizzie Weston (Mrs. Charles Mathews), 170, 325.
Davidge, William, 297, 326.
Davies, John, 8.
Davis, L. Clarke, 39.
Dawison, Bogumil, 313.
De Bar, Blanche, 301.
Delehanty, W. H., 139.
De Leon, T. C., 182.
Delsarte, M., 51.
Dengremont, Munrico, 214.
Denin, Kate, 23.
Denin, Susan. 23, 230, 325.
Denvil, Rachel, 325.
Devere, Samuel, 139.
De Walden, T. B., 59, 69, 76-9.
Diamond, John, 111.
Dibdin, Charles, 93, 94, 162.
Dickens, Charles, 230, 309.
Dickinson, Anna, 64, 325.
Dickinson, Enam, 132.
Dimond, George, 120.
Dixey, Henry E., 192, 204.
Dixon, G. W., 121-2.
Dobson, Austin, 217.
Dockstader, Lewis, 136.
Dougherty, Hugh, 138-9.
Douglas, Mrs. (Mrs. Hallam), 155.
Drew, Mrs. John, 112-15.
Dryden, John, 153-4.
Duff, John R., 270-3, 329.
Duff, Mrs. J. R., 229, 273, 329.
Duffield, Mrs., 297.
Dumas, Alexandre (Younger), 252.
Dunbar, Mr., 314.
Dunlap, William, 6, 19, 94, 262.
Dunning, Alice, 181.
Dyott, John, 59, 301.
Dyott, Mrs. John, 60.
Eddy, Edward, 281, 293, 314.
Edouin, Willie, 192.
Edwards, Henry, 329.
Edwin, Lina, 174.
Eldridge, Lillie, 178, 250.
Eliot, George, 147.
Ellis, Clara, 60.
Elssler, Fanny, 159, 160.
Emerson, R. W., 4.
Emmett, Daniel, 124, 125-6, 131-2, 138.
Emmett, J. K., 5.
Ethel, Agnes, 29, 286-9.
Eugene, "Master." 139.
Evans, Mary Ann ("George Eliot"), 147.
Farrell, Robert, 122.
Fawcett, Edgar, 72.
Fawcett, Owen, 301.
Fechter, Charles, 185, 305, 306-13.
Fennell, James, 262-5.
Fenno, Augustus A., 244.
Fenton, Lavinia (Duchess of Bolton), 155.
Ferrero, Adelaide, 123.
Fielding, Henry, 155.
Fielding, Sir John, 154.
Finn, Henry I., 314.
Firth & Hall, 120.
Fisher, Alexina (Mrs. Baker), 238, 301.
Fisher, Charles, 76, 79, 162, 251, 286, 297, 301.
Fisher, Clara (Mrs. J. G. Maeder), 230, 234-8, 325.
Fisher, Jane M. (Mrs. Vernon), 10, 66, 238.
Fisher, John A., 10, 59, 282.
Fisher, Oceana, 238.
Fisher, Palmer, 238.
Fiske, John, 4.
Flaherty, B. (see Williams, Barney).
Florence, Wm. J., 5, 43, 165, 177-8, 329.
Florence, Mrs. Wm. J., 5, 44, 177-8.
Flynn, Thomas, 329.
Foote, Samuel, 151-2.
Forbes, W. C., 314.
Forrest, Edwin, 13-17, 102, 103-4, 174, 200, 277, 278-81, 322.
Fortescue, G. K., 195.
Foster, Stephen, 141-2.
Fox, Chas. H., 138.
Fox, George L., 29-30, 182-91, 250, 251, 318, 321.
French, Stephen, 173.
Frost, Arthur B., 148.
Gale, Minna, 301.
Gannon, Mary, 233.
Gardner, Benjamin, 138.
Garrick, David, 93, 266-9.
Garrick, Mrs. David, 266-9.
Gay, John, 154.
"George Eliot," 147.
George IV., 225.
Germon, Effie, 79-80, 173, 301.
Gilbert, John, 23, 329.
Golding, Arthur, 152, 153.
Goodwin, N. C., 192-5, 203.
Gothold, Newton, 301.
Gough, John B., 111-12.
Gould, Thos. R., 270.
Graham, Richard, 314.
Grattan, H. P., 314.
Graupner, Gottlieb, 99-100.
Gray, Thomas, 4.
Gray, William, 138.
Graydon, Alexander, 261.
Hackett, J. H., 5, 25, 39, 241, 314.
Hackett, Mrs. J. H. (Second), 64.
Haines, May, 239.
Hallam, Lewis (Younger), 94, 261.
Hallam, Mrs. (Mrs. Douglas), 155.
Halleck, Fitz-Greene, 23.
Hamblin, Thomas, 270, 322.
Hamblin, Mrs. Thos. (Mrs. Shaw), 322.
Harland, Ada, 30.
"Harland, Marion," 71.
Harper & Brothers, 101.
Harrigan, Edward, 51-2, 99, 192, 195.
Harrigan and Hart, 51-2, 99, 192.
Harrington, George (see Christy, George).
Harrington's Minstrels, 135.
Harris, Joel C., 142.
Hart, Antonio, 51-2, 99, 139, 192, 195.
Hart, Robert, 138.
Harte, Bret, 3, 29, 148.
Hasse, Herman, 313.
Hatton, Mrs. (Anne Kemble), 8.
Haverly, J. H., 136.
Hawthorne, N., 3, 191.
Hazlitt, William, 269.
Hegner, Otto, 214, 218.
Hengler, John M., 293.
Herbert, Mr. ("Pig-Pie Herbert"), 100.
Heron, Bijou, 251-3.
Heron, Matilda, 76, 80-4, 230, 250, 252.
Hicks, Chas. C., 293, 314.
Hildreth, Sarah (Mrs. B. F. Butler), 282.
Hill, Geo. H. ("Yankee Hill"), 8, 40.
Hilson, Thomas, 119, 153.
Hilson, Mrs. Thos. (Ellen Augusta Johnson), 14.
Hipponax of Ephesus, 148-9, 195.
Hodgkinson, John, 261.
Hodson, Georgina, 163, 165.
Hofman, Josef, 214-217.
Holland, George, 111, 157, 273.
Holland, J. G., 72.
Holman Children, 247.
Holman, J. G., 270.
Holmes, Oliver W., 4.
Holt, Elise, 178.
Hooley, Richard M., 136.
Hopper, De Wolf, 203.
Horn, Eph, 138.
Horn, Kate (Mrs. Buckland), 59.
Horncastle, William, 158-9.
Howard, Bronson, 5, 8, 72, 84, 99.
Howard, Cordelia, 218.
Howard, "Gus," 138.
Howells, Wm. D., 4.
Howett, Belle, 187.
Hughes, Mrs. (Mrs. Young), 297.
Hunt, Leigh, 266.
Hunter, "Harry," 192.
Huntley, Mr., 137.
Hurlburt, Wm. H., 75.
Ireland, Joseph N., 7, 47, 96, 119, 123, 129-30, 229-30, 261, 262, 265,
290, 313.
Irving, Henry, 317.
Irving, Washington, 3, 5, 36.
Jackson, Andrew, 102.
James I., 89.
"Japanese Tommy," 221.
Jarrett, Henry C., 289, 313.
Jefferson, Joseph, 5, 36, 39-40, 112, 196-9, 230, 329.
Jefferson, Thomas, 144.
Jeffreys-Lewis, Miss, 301.
Jennings, Clara, 301.
"Johannes, Count" (see Jones, George).
Johnson, Ellen A. (Mrs. Hilson), 14.
Johnstone, Henry Erskine, 314.
Johnstone, Thos. B., 20, 162, 165, 174.
Jones, George ("Count Johannes"), 318-21.
Jones, Mrs. Geo. (Melinda Jones), 321.
Jones, J. S., 40.
Jordan, George, 23.
Jullien, M., 230.
Kean, Charles, 188, 273, 274, 277-8, 326.
Kean, Edmund, 90, 266-9, 273, 274, 277.
Kean, Thomas, 154.
Keeble, Walter G., 69.
Keeler, Ralph, 107-8.
Keene, Laura, 20.
Kellogg, Gertrude, 329.
Kelly, Edwin, 136, 188.
Kelly and Leon, 136.
Kemble, Anne (Mrs. Hatton), 8.
Kemble, Charles, 273, 274, 278.
Kemble, Fanny, 195, 274.
Kemble, J. P., 8, 262.
Keppell, Wm. H., 314.
Kingsland, A. C., 242-3.
Kingston, Duchess of, 151.
Kirby, J. H., 178.
Knight, Mrs. Edward (Mary Anne Povey), 60.
Knight, Geo. H., 192.
Lafayette, Marquis of, 121.
Lamb, Charles, 3.
Lane, John A., 329.
Leavitt, Andrew, 139.
Leclercq, Carlotta, 249.
Leffingwell, M. W., 162, 174.
Lennox, Adelaide, 65.
Leon, Francis, 136, 138.
Leonard, Mabel, 251.
Leslie, Elsie, 218.
Levick, Milnes, 329.
Lewes, Geo. H., 274, 317.
Lewis, James, 177, 178-81.
Lewis, Jeffreys, Miss, 301.
Lind, Jenny, 230.
Lingard, Wm. H., 181.
"Little Mac" (Ebenezer Nicholson), 139.
Liszt, 218.
Lloyd, David D., 43, 72.
Logan, Olive, 84, 144.
Longfellow, H. W., 3, 80, 191.
Loraine, H., 314.
"Lotta" (Charlotte Crabtree), 233.
Loutherbourg, Mr., 94.
Lowe, Professor (Balloonist), 108.
Lowell, James Russell, 3, 4.
Lynch, Frank, 108-11.
Macdonough, Thomas, 101.
Mackaye, James Steele, 84.
Macomb, Alexander, 101.
Macready, Wm. C., 200, 225-6, 270, 273, 274, 278, 321.
Maddern, Minnie, 249-50.
Maeder, F. G., 238.
Maeder, Mrs. J. G. (Clara Fisher), 230, 234-8, 325.
Mann, Mrs. Sheridan (Alice Placide), 69.
Mansfield, Richard, 5.
"Marion Harland," 71.
"Mark Twain," 17, 43.
Marriott, Miss, 325.
Marsden, Frederick, 84.
Marsh, Geo. H., 244-7.
Marsh, Louisa, 244-7.
Marsh, Mary, 244-7.
Marshall, E. A., 238.
Marshall, W., 314.
Martin, Benjamin Ellis, xii, 164.
Mason, Charles Kemble, 301, 325.
Massey, Rose, 178.
"Master Eugene," 139.
Mathews, Mrs. Charles J. (Lizzie Weston Davenport), 170, 325.
Matthews, Brander, 19, 51, 72, 137-8.
Mayo, Frank, 32-5, 329.
Maywood, R. C., 270.
McCullough, John, 14, 250, 281-2, 302.
McKee, Thos. J., xii, 120.
McVicker, Mary (Mrs. Edwin Booth), 230.
Mendelssohn, F. B., 221.
Mestayer, Louis, 178.
Mexican Juvenile Troupe, 248-9.
Mitchell, Mike, 108.
Mitchell, William, 48, 132, 157, 158-62, 164, 185, 196, 318, 321.
Modjeska, Helena, 301, 329.
Monk, Ada, 245.
Monk, Minnie, 245.
Montague, Henry J., 251.
Moody, John, 93.
Moore, G. W. ("Pony Moore"), 138.
Morant, Fanny, 302.
Moreau, Chas. C., xii, 96, 122.
Moreton, Jno. P., 262.
Moron, Carmen, 248-9.
Morris Bros., 136.
Morris, Clara, 251, 302.
Morris, Owen, 154.
Morris, Mrs. Owen (Second), 154.
Morris, Wm. E., 136.
Mortimer, J. K., 29.
Morton, A., 79.
Motley, J. Lothrop, 3.
Mowatt, Anna Cora, 8, 53-71, 76, 79, 99.
Mowatt, James, 69.
Mozart, 218.
Murdoch, F. E., 26, 30-5.
Murdoch, Jas. E., 35, 293, 302.
Murphy, Mr. (of Cotton and Murphy), 136.
Neafie, J. A. J., 314.
Nelson, Miss (Mrs. Brougham), 162, 165.
Nero, 144.
Nevin, Robert P., 118.
Newcomb, "Billy," 138.
Nicholson, Ebenezer ("Little Mac"), 139.
Nickinson, John, 67.
Northall, W. K., 158-9, 160.
Nutt, "Commodore," 221.
Oates, Alice, 192.
Ogden, Anna Cora (see Mowatt, Anna Cora).
O'Hara, Kane, 155.
O'Neill, Miss (Lady Beecher), 229.
Ottignon, Charles, 129.
Ovid, 152.
Owen, Robert Dale, 10-13.
Owens, John E., 40, 79-80.
Oxley, J. R., 314.
Palmer, A. M., 258.
Palmer, Harry, 289, 313.
Palmer, John, 160.
Palmo, Ferdinand, 129-30, 135.
Parker, Mrs. Amelia, 79.
Parkman, Francis, 3.
Parsons, Charles, 161-2.
Pastor, Antonio, 136.
Pateman, Bella, 301.
Pateman, Robert, 301.
Paulding, J. K., 25.
Payne, John Howard, 226-9, 265, 273.
Pearson, Henry, 181.
Peel, Matt, 138.
Pelby, William, 317.
Pelham, Richard, 124-6, 136.
Pell, John, 136.
Peters, Charles, 301.
Phelps, H. P., 102-3.
Phillips, Adelaide, 288.
Pierce, E. H., 186.
Pitt, Chas. D., 317.
Pitt, William, 225.
Placide, Alice (Mrs. Sheridan Mann). 69.
Placide, Henry, 8, 153, 282, 286.
Placide, Thomas, 10, 14, 67, 286, 297, 301.
Plympton, Eben, 329.
Pocahontas, 10.
Poe, Edgar Allan, 57.
Pomeroy, Mrs. Louise M., 64, 325.
Ponisi, Madame, 244.
"Pony" Moore, 138.
Poole, John, 157, 321.
Pope, Mr. (1696), 90.
Povey, John, 14.
Povey, Mary Anne (Mrs. Knight), 60.
Powers, Jas. T., 203.
Preston, Thomas, 152.
Primrose, Geo. H., 137.
Prior, Mrs. J. J., 173.
Prior, Lulu, 30.
Raleigh, Sir Walter, 130.
Rand, Rosa, 32-5.
Rankin, Mrs. McKee (Kitty Blanchard), 181.
Raymond, Jno. T., 43.
Raymond, O. B., 162.
Raynor, J. W., 138.
Reade, Charles, 99.
Reed, David, 108, 138.
Rees, James, 18.
"Ricardo," 139.
Rice, Thos. D., 112-20, 122.
Richings, Peter, 10, 14.
Ristori, Adelaide, 230-3.
Ritchie, Wm. F, 68.
Ritchie, Mrs. Wm. F. (see Mowatt, Anna Cora).
Roberts, James, 121.
Roberts, J. B., 317.
Robertson, Mrs. (see Brougham, Mrs. John).
Robertson, Thos. W., 72.
Robinson, Hopkins. 100.
Robinson, Solon, 117.
Robson, Frederic, 174.
Robson, Stuart, 177, 181
Roselle, Percy, 250.
Rosenfield, Sydney W., 43.
Rossi, Ernesto, 306, 313.
Rubinstein, Anton, 217.
Russell, Thomas, 218.
Ryan, Mr. (1788), 154.
Ryman, "Add," 139.
Saint-Saens, M., 217.
Salvini, Tomaso, 306, 313.
Sanford, Samuel, 139.
San Francisco Minstrels, 136.
Sargent, Epes, 53-4.
Scheller, Marie, 301.
Schoolcraft, Luke, 138.
Scott, John R., 18, 317.
Seaman, Julia, 325.
Sefton, John, 67, 329.
Sefton, Mrs. John (Mrs. Watts), 67.
Seilhamer, Geo. O., 7.
Setchell, Dan'l E., 200, 322.
Seymour, "Nelse," 138.
Shakspere, 89, 144, 152, 182, 195, 269, 278, 293, 302.
Sharpe, Mrs. (Miss Leesugg), 14.
Sharpley, Samuel, 136.
Shaw, Mrs. (Mrs. Hamblin), 322.
Sheridan, Richard B., 85, 94, 154.
Siddons, Henry, 95.
Siddons, Sarah, 8, 95.
Silsbee, Joshua S., 40.
Simpson, Alexander, 8.
Simpson, Edmund, 10.
Skerrett, George, 59.
Skerrett, Mrs. Geo., 162, 165.
Smith, Geo. F., 265.
Smith, Jno. N., 120.
Smith, Mark, 162, 170, 181, 199, 200, 286, 297, 322.
Smith, Sol (Elder), 39, 100-1, 103, 104, 117.
Southerne, Thomas, 90.
Speaight, J. G., 209-17.
Spiler, Mr., 321.
Stark, James, 293, 317.
Stevens, George, 152.
Stevens, "Major," 221.
Stevens, Sarah, 297.
Stewart, Alfred, 247.
Stickney, Mrs. (see Battersby, Mrs.).
Stoddart, J. H., 166, 297.
Stone, H. D., 100.
Stone, Jno. A., 13-17.
Stowe, Harriet Beecher, 4, 107.
Stratton, Charles (see "Tom Thumb").
Stuart, William, 297.
Studley, J. B., 185, 281.
Sullivan, Barry, 289-90, 293, 302.
Talfourd, Francis, 173-4.
Taylor, J. H., 301.
Taylor, Mary, 233.
Taylor, Tom, 36, 249.
Thackeray, Wm. M., 3, 140.
Thalberg, Sigismund, 230.
Thatcher, George, 137, 139.
Thatcher, Primrose & West, 137.
Thompson, Denman, 43-4, 52.
Thompson, Elizabeth (Lady Butler), 63.
Thompson, Lydia, 177, 181.
Thompson, Maurice, 143-4.
Thorne, James, 10.
Tiffany & Co., 130.
Tiffany, Young & Ellis, 129-30.
Titus, Master, 230.
Todd, Carrie, 247.
Todd, Waldo, 247.
"Tom Thumb," 221.
Tostee, Madame, 177, 248-9.
Trollope, Anthony, 317.
Trowbridge, Mr. (of Pell and Trowbridge), 136.
"Two-headed Nightingale," 221.
Tyler, Royall, 7, 8.
Unsworth, James, 139.
Valentine, David T., 129.
Vandenhoff, George, 282.
Vandenhoff, John, 317.
Vernon, Ida, 302.
Vernon, Mrs. (Jane M. Fisher), 10, 66, 238.
Vining, Fanny (see Davenport, Mrs. E. L.).
Von Buelow, Hans, 63.
Wagner, "Cal," 139.
Wainwright, Marie, 65.
Walcot, Chas. M. (Elder), 165, 169.
Walcot, Chas. M. (Younger), 301.
Wallack, Fanny, 325.
Wallack, Henry, 317.
Wallack, Jas. Wm. (Elder), 165, 270, 273, 293.
Wallack, J. W. (Younger), 23, 286, 317, 322.
Wallack, Mrs. J. W., Jr., 23, 286, 301.
Wallack, Lester, 162, 177, 329.
Waller, D. W., 301.
Waller, Mrs. D. W., 325.
Waller, Wilmarth, 317.
Wambold, David, 138.
Ward, Thomas, 326.
Warner, Chas. Dudley, 43.
Warren, Lavinia, 221.
Warren, William (Elder), 329.
Warren, William (Younger), 329.
Washington, George, 100, 121, 154.
Watts, Mrs. (Mrs. Sefton), 67.
Weathersby, Eliza, 191.
Weaver, Henry A., 301.
Webb, Ada, 245.
Wells, Mary, 301-2.
Wemyss, F. C., 14, 117.
Wendell, Evart Jansen, xii.
West, William, 137.
Weston, Lizzie (Mrs. Davenport, Mrs. Mathews), 170, 325.
Wheatleigh, Charles, 29.
Wheatley, Emma, 10.
Wheatley, William, 17-18, 286.
Wheeler, Andrew C., 84.
Wheelock, Joseph, 329.
White, Charles, 99-100, 122, 124, 126-31, 135, 138.
White, "Cool," 138.
Whitfield, George, D.D., 151.
Whitlock, William, 124.
Whittier, Jno. G., 3.
Wignell, Thomas, 7, 154.
Wild, John, 52, 99.
Wilder, Marshall P., 203.
Wilkins, Marie, 301.
Williams, Barney, 104-6, 130.
Williams, Mrs. Barney, 44.
Wilson, Francis, 203.
Winans, John, 23.
Winter, William, 112, 154, 188.
Winthrop, Theodore, 72.
Wister, Owen, 195.
Woffington, Margaret, 169.
Wood, George, 248.
Wood, Henry, 111, 132, 136.
Wood, Mrs. John, 199.
Wood, N. S., 317.
Wood's Minstrels, 136.
Woodworth, Samuel, 8.
Woolf, Benjamin, 40.
Worrell, Irene, 247-8.
Worrell, Jennie, 247-8.
Worrell, Sophie, 247-8.
"Yankee Hill" (George H. Hill), 8, 40.
Yeamans, Mrs. Annie, 52.
Yeamans, Jennie, 30, 250-1.
THE SYNOPSIS OF SCENERY.
_THE SYNOPSIS OF SCENERY._
Academy of Music, 286, 321.
Albany, N. Y., 100, 101, 102, 103, 104, 122, 265.
Anthony Street Theatre, 321.
Arch Street Theatre, Philadelphia, 14.
Ardres, France, 178.
Astor Place Opera-house, 277, 325.
Athens, Greece, 144, 149.
Baltimore, Md., 76, 107, 229, 242, 262, 326.
Barnum's Museum, 24.
Bartlett's Billiard-room, 126.
Bath, England, 95.
Belair, Md., 106.
Berlin, Germany, 217.
Booth's Theatre, 191, 250, 285, 289, 325.
Boston, Mass., 69, 75, 99, 106, 188, 200, 209, 213, 242, 273, 282, 302,
309, 329.
Boston Museum, 106.
Boston Theatre, 213.
Bowery Theatre, 102, 119, 185, 293, 305, 318.
Branch, Bowery, 126.
Broadway Theatre (Anthony St.), 76, 238-41, 242, 243, 290, 293.
Brougham's Lyceum, 157, 164-9, 322.
Brougham's Theatre (Twenty-fourth Street), 169, 170.
Buffalo, N. Y., 132.
Burton's Theatre (Chambers Street), 76, 79, 129, 162, 163-4, 170, 286,
293, 321.
Burton's Theatre (Metropolitan-Winter Garden), 136, 170, 199.
Cambridge, England, 225.
Carlton House, London, 225.
Champlain, Lake, 101.
Chappel Street Theatre, 261, 329.
Charity Hospital, New Orleans, 122.
Charleston, S. C., 261.
Chatham Theatre, 23, 124, 126, 321.
Chicago, Ill., 132.
Chios, Greece, 148.
Cincinnati, Ohio, 103, 115, 118, 119, 302.
City Hall, New York, 96.
Columbia Street Theatre, Cincinnati, 115.
Cork, Ireland, 104, 106, 229.
Cracow, 217.
Cypress Hills Cemetery, 102-3.
Daly's Theatre (Twenty-fourth Street), 84.
Daly's Theatre (Twenty-eighth Street), 248, 252.
Daly's Theatre (Broadway and Thirtieth Street), 178.
Drury Lane Theatre, 93, 94, 226, 234.
Dublin, Ireland, 222, 265.
Duke's Theatre, Lincoln's Inn Fields, 154.
Edinburgh, Scotland, 277.
Ephesus, 148.
Federal Street Theatre, Boston, 99-100.
Fifth Avenue Hall, 136.
Fifth Avenue Theatre (Twenty-fourth Street), 173, 174, 181.
Fifth Avenue Theatre (Twenty-eighth Street), 191, 248, 251, 252.
Forrest Home, 173.
Franklin Theatre, 105.
French Theatre (Fourteenth Street), 249.
Front Street Theatre, Baltimore, 107.
Globe Theatre, Bankside, 89.
Globe Theatre, Cincinnati, 103.
Grand Opera-house, 199, 285, 289.
Green Street Theatre, Albany, N. Y., 101, 104.
Greenwich Street Theatre, 262.
Guisnes, France, 178.
Harrigan & Hart's Theatre, 51-2, 99, 192.
Henley-on-Thames, 70.
Hoboken, N. J., 160.
Holiday Street Theatre, Baltimore, 326.
Hope Chapel (Broadway), 136.
John Street Theatre, 6, 9, 19, 94, 96, 101, 154, 262.
Keene, N. H., 44.
Laura Keene's Theatre, 26, 182, 187, 247.
Lincoln's Inn Fields Theatre (Duke's), 154.
London, England, 58, 60, 68, 70, 75, 119, 154, 157, 225, 234, 238, 242,
258, 261, 262, 266.
Louisville, Ky., 115, 117.
Lower Brandon, Va., 70.
Lyceum Theatre (Fourteenth Street), 248, 249.
Madison Square Theatre, 136, 173, 174.
Manchester, England, 68.
Mechanics' Hall, 132, 135, 136.
Melodeon (53 Bowery), 129, 135.
Metropolitan Hotel, 135.
Metropolitan Theatre (Winter Garden), 136, 170, 199, 297, 298.
Mobile, Ala., 182.
Nassau Street Theatre, 154.
National Theatre (Chatham Street), 188, 191, 318, 321.
National Theatre (Church Street), 233, 318, 322.
Newark, N. J., 51.
New Bowery Theatre, 24.
Newcastle, Pa., 302.
New Orleans, La., 102, 122, 192.
New Theatre (Chappel Street), 261, 329.
New York Hospital, 130.
Niagara, 80.
Niblo's Garden Theatre, 32, 66, 68, 209, 214, 281, 286, 313, 325.
North Pearl Street Amphitheatre, Albany, N. Y., 122.
Olympic Theatre, London, 60.
Olympic Theatre, (Mitchell's), 10, 48, 132, 157, 161-2, 321.
Olympic Theatre (Laura Keene's), 26, 182, 187, 247.
Palmer's Theatre (Wallack's), 258.
Palmo's Opera-house, 129-30, 135.
Pantheon, 204.
Paris, France, 258, 262.
Park Theatre, 9, 10, 13, 17, 19, 58, 60, 66, 96, 118-19, 123, 153, 229,
230, 237-8, 262, 265, 270, 281, 282, 322.
Philadelphia, Pa., 7, 10, 14, 20, 35, 60, 122, 242, 261, 273.
Pittsburg, Pa., 117-18.
Plattsburg, N. Y., 100-1.
Players, The, xii.
Princess's Theatre, London, 68.
Richmond, Va., 70.
Rochester, N. Y. 32.
Rome, Italy, 144.
St. James's Theatre, London, 242.
St. Nicholas Hotel, 51, 136.
San Francisco, Cal., 135.
Saratoga, N. Y., 138.
South Street Theatre, Philadelphia, 20.
Stadt Theatre, 305.
Star Theatre (Wallack's), 79, 181, 238, 251.
Steinway Hall, 281.
Stoppani's Baths, 130.
Stratford-on-Avon, 151.
Sturtevant House, 136.
Stuyvesant Institute, 69.
Swanzey, N. H., 44.
Tammany Hall (Fourteenth Street), 136.
Thalian Hall, 129.
Theatre Comique, 51, 247-8.
Theatre Royal, Bath, 95.
Toledo, Ohio, 107-8.
Tremont Street Theatre, Boston, 188.
Union Square Theatre, 251.
Vauxhall Garden, 104.
Wallack's Theatre (Broome Street), 111, 293.
Wallack's Theatre (Star), 79, 181, 238, 251.
Wallack's Theatre (Palmer's), 258.
Washington, D. C., 112.
Washington Theatre, 112.
Waverley Theatre, 178.
White's Athenaeum, 135.
Winter Garden Theatre, 80, 136, 170, 199, 281, 297, 298, 329.
Wood's Museum, 177-8, 247-8, 285.