The Mormons and the Theatre; or, The History of Theatricals in Utah

by John S. Lindsay

CHAPTER XI

SEASON OF '67-'68.

On the first of August, this same year, '67, C. W. Couldock made his first appearance at the Salt Lake Theatre, supported by Jack Langrishe and his company from Denver, where they had been running a stock company. It was an unfavorable time for opening, in the hottest nights of summer, but there were no resorts in those days and it was not so hard to get them into the theatre as it would be now. Langrishe had a full road company and was traveling through to Montana in his own teams, the Union Pacific Railroad not being nearer than Rawlins at that time. The company comprised Mr. Couldock and his daughter, Eliza Couldock, John S. Langrishe and Mrs. Langrishe, Richard C. White (he of Camp Floyd fame, referred to in a previous chapter). The Langrishe company played a week, then went to Virginia City, Montana. Couldock and his daughter returned later and played a long engagement as stock stars.

On the 5th of September, Amy Stone, supported by her husband, H. F. Stone, began a stock star engagement which lasted a little more than four months. Opening the regular fall season on September 5th, by the time the fall Conference came on, October 6th, the Stones had the stock company up in a very attractive repertoire of plays to present to "our country cousins" attending the Conference. Fanchon, Pearl of Savoy, "Little Barefoot," "French Spy," "Wept of the Wishton Wish," were leading favorites in the Stone repertory, and proved to be very popular, serving to keep the exchequer in a satisfactory condition. Their engagement lasted until January the 6th, 1868. Amy, if not a great actress, was at least a fascinating one. She was blessed with a superb form and an attractive face; she fairly reveled in parts where she could wear tights and display her shapely form, and it must be frankly confessed that "the folks" loved to see her in that kind of attire. She was more at home in it than in an evening dress with a bothersome train; there was a freedom of movement and a candor of expression about Amy that was positively refreshing, and we all liked her and got along with her with very little trouble. "Harry," as her husband was always called, was not a brilliant but a good, useful actor, and had a good knowledge of her plays, and could direct the staging of them. Besides, he attended to the making of engagements, and the financial end of the business, and as he was devoted to Amy, they were apparently one of the happiest couples I have ever met in the theatrical business. The Stones were a very prudent and saving couple, and by the time they had finished a four months' stock star engagement, they had a very handsome deposit in the local bank, and they left Zion feeling a very warm affection for the Saints, and so went on their way rejoicing.

On the night immediately following the close of the Stones' engagement, January 7th, Mr. James Stark opened in John Howard Payne's play of "Brutus, or the Fall of Tarquin." This was the first presentation of this play in Salt Lake. Mr. Stark made a fine impression as Brutus. He followed it in quick succession with Richelieu, Damon, Jack Cade, Alfred Evelyn in "Money." His engagement lasted two weeks and closed with the play of "Victorine, or Married for Money." Stark was a very talented tragedian of the Forrest school, and his engagement proved quite popular and successful. He went to San Francisco, and played an engagement there, and returned to New York by the Isthmus, the Overland railroad not yet being completed. Mr. Stark had a brother, Daniel Stark, a pioneer Mormon, who settled at Provo among the earliest settlers of that place. James, who had not seen him for many years, availed himself of the opportunity his Salt Lake engagement afforded him, and arranged a meeting with his "long lost brother" (?). He paid Daniel and his family a visit, and was most hospitably received and entertained. The family made much ado over him, and Daniel, like his namesake of old, "prophet-like," sought to show James the error of his ways, pointing out to him the emptiness and effervescence of dramatic fame, and the poor illusive thing that was as compared with the real joys and blessings of the Latter-Day Gospel. "Jim" accepted it all in good part, but he could not see "eye to eye" with his elder brother Daniel, but he promised to consider seriously what he had heard and bade them a loving goodbye till they could meet again. He rather expected to play a return engagement when he left here, and see the folks again, but he never returned. Stark died in New York before the close of the year 1868, in his 50th year.

After the Stark engagement, the stock company continued the season, starting off with a series of annual benefits which by this time were given the leading actors of the company in addition to salaries. January the 23rd, D. McKenzie "Benefits," playing "Huguenot Captain," with an Olio and a farce to conclude. February 4th, John S. Lindsay "Benefits" and essays Hamlet for the first time. The farce that followed Hamlet was "Boots at the Swan;" think of it, "ye modern school actors." A five-act play and a farce, this meant being in the theatre from seven o'clock till midnight, but the people stayed to see it all, and many of them would have stayed till morning, if we could have kept on playing pieces for them. J. M. Hardie "Benefits" with "Jack Cade," Miss Colebrook with "Leah," etc., and so the season ran along without a star from January 23rd till April the 23rd, when the company was stiffened up again by the accession of Mr. and Mrs. George B. Waldron, who played up till May 16th. On May the 19th, Madam Scheller opened in "Pearl of Savoy," gave us "Pauline" in "Lady of Lyons," "Enoch Arden," "Lorlie," "The Phantom" and "Hamlet." Madam Scheller was Edwin Booth's "Ophelia" during the one hundred nights' run of Hamlet at Winter Garden Theatre, in New York.

Very naturally the Salt Lakers conversant with the facts were anxious to see her in "Ophelia," so Lindsay who had recently played "Hamlet" for his "benefit," was admonished to prepare himself for another go at the melancholy Dane with the new "Ophelia;" and in due time we had the novelty of Scheller's "Ophelia." She was irresistibly charming in it, in spite of her German accent, which in moments of unusual excitement was quite pronounced. Madam Scheller proved to be a pleasing and accomplished actress and filled a long engagement at the Salt Lake Theatre. She was accompanied by her husband, Mr. Methua, who was a skillful scenic artist, and put in a lot of new scenes for the theatre during his wife's engagement. Here was a model couple, courteous and refined; they left many warm friends in Salt Lake at their departure, whose best wishes for their success went with them. Unhappy to relate, this worthy and respected pair died of yellow fever during the deadly siege of that disease at Memphis in 1878. "United in life, in death they were not separated."

On January 9th, after playing three weeks Madam Scheller was rested for a week to give an opening to Charlotte Crampton. Crampton was a genius and in her younger years had astonished the dramatic world by her histrionic gymnastics. She affected the male characters almost exclusively—"Hamlet," "Richard III," "Shylock," "Don Caesar," and in "Lady Macbeth" and "Meg Merrilles" she rivaled the great Charlotte Cushman. The writer remembers seeing her when a boy at the old Bates's Theatre, St. Louis, which was her home. She was erratic as a comet, and her eccentricities were the town's talk. How often she was married this deponent saith not, but remembers that at the time he saw her playing in St. Louis in 1857, she was the wife of a Mr. Istenour. When she appeared here in Salt Lake City in 1868, she was far past the meridian of life and was accompanied by her husband, "Mr. Cook," young enough to be her son. The novelty of a woman essaying those characters was a strong one, and served to draw out good houses. She played "Hamlet," "Shylock," "Richard III," and "Don Caesar," which with two repeats, filled up her week.

Crampton was a woman rather below the medium height, and looked insignificant dressed up for those male characters, but when she got animated she made you forget her size, and at times she seemed to fill not only the center of the stage but the entire stage. She had passed the zenith of her fame some years before she made this trip to the coast. She bore all the evidences of an erratic life and premature age; her sun had nearly set when she played with us here; and after her departure for the East, we heard but little of her. Charlotte Crampton's engagement was like the flashing of a meteor across the dramatic firmament. Like the elder Booth, she was notorious for her eccentricities, and in genius was akin to him. "How close to madness great wits are allied."

After the passing of this meteor, the steady star, Madam Scheller, resumed her reign, reappearing as "Laura Courtland" in "Under the Gas Light." This was the first production of this play in Salt Lake City, and it had an unprecedented run, going for an unbroken week to full houses. As an index to the personnel of the company at this time, June 16th, 1868, we append the cast of "Under the Gas Light."

"UNDER THE GAS LIGHT."

Ray Trafford ………………………. John S. Lindsay
De Milt ………………………………. Mark Wilton
Wilton ………………………………. Bert Merrill
Byke ……………………………….. Phil Margetts
Joe Snorkey ………………………… David McKenzie
Bermudas …………………………… John C. Graham
Peanuts …………………………….. Johnny Matson
Station Man …………………………… Mark Wilton
Police Judge …………………………. J. M. Hardie
O'Rafferty ………………………….. John E. Evans
Martin ……………………………… John B. Kelly
Police Patrol ……………………… Richard Mathews
Laura Courtland …………………….. Madam Scheller
Pearl Courtland …………………… Miss Annie Adams
Mrs. Van Dam ……………………… Nellie Colebrook
Sue Earlie ………………………….. Alice Clawson
Peachblossom …………………… Miss Sara Alexander
Judas ………………………….. Mrs. M. A. Clawson

Summer heat had but little affect on the business of the Salt Lake Theatre in those days of which I am writing. Madam Scheller played from May 10th to August 1st, excepting the one week allotted to Charlotte Crampton, all through the hot nights of June and July and there was no perceptible or serious diminution in the attendance. This can only be accounted for in the fact that there were no resorts in those days, and the theatre was the coolest place in the city. We naturally looked for and expected a rest through August after the long season we had put in, but there was no respite. On the 4th of August, Annette Ince opened in "Julia" in the "Hunchback" and gave in rapid succession "Evadne," "Medea," "Ion," "Mary Stuart," "Elizabeth," "As You Like It," "Camille," and other pieces filling a three weeks' engagement. She was followed by E. L. Davenport, who opened on August the 27th in "Richelieu," supported by Annette Ince as "Julia de Mauprat," and the full strength of the company. Mr. Davenport gave us his "Richelieu," "Julian St. Pierre," in "The Wife," "Hamlet," "William" in "Black-Eyed Susan," "Rover" in "Wild Oats" and "Sir Giles Overreach" in "A New Way to Pay Old Debts." Mrs. Davenport (Fanny Vining) appeared in conjunction with Mr. Davenport in this engagement, playing the "Queen" in "Hamlet" and kindred parts, and with Miss Ince in the leading female roles, Mr. Davenport had a supporting company in every way worthy of him. His engagement was a memorable one, as Mr. Davenport was thought by many to be our greatest American actor. He was certainly a worthy rival of Edwin Booth and had he, like that actor, confined his brilliant talents to the great Shakespearian roles, he would undoubtedly have made a greater name for himself, but he was too versatile and he scattered his efforts on the "Williams" and "Rovers" and the other trifles that he should have dropped as he advanced in years and concentrated his efforts on a repertory of his greatest characters only. When he played this Salt Lake engagement he had declined into "the vale of years." As Hamlet, he looked older than the "Queen" but he possessed all the fire and animation necessary; as "St. Pierre" in the "Wife," he was at his best, and fairly lifted the audience into enthusiastic demonstrations of applause. It was not long after this that Davenport was pitted against the English tragedian Barry Sullivan in New York. An exceedingly interesting and able criticism and comparison of these two great actors appeared in Wilke's "Spirit of the Times," headed "The Two Rossi." This was Davenport's last memorable engagement. He was already an old man and failing fast. He died in 1871.

"Ay, but to die and go, we know not where, to lie in cold
obstruction and to rot,
This sensible warm motion to become a kneaded clod,
And the delighted spirit to bathe in fiery floods,
Or to reside in chilling regions of thick ribbed ice,
To be imprisoned in the viewless winds,
And blown with restless violence about the pendant world.
'Tis too horrible! The weariest and most loathed worldly life,
That age, ache, penury, and imprisonment can lay on nature,
Is paradise to what we fear of death."

It will be observed that there was no summer vacation this year of 1868. The Davenport engagement carried us into September, the time for opening the season of '68 and '69. Miss Ince's engagement following the Davenports was really the beginning of the season '68 and '69.