CHAPTER XVIII.
SEASON OF 73-74.
The season of 73 and '74 was somewhat later than usual in opening. The reasons were, Clawson and Caine had renewed their lease of the theatre, and having done so well with it financially, they were not content to "let well enough alone," but felt that they should make certain imaginary improvements that different wise-acres had suggested, and embellishments commensurate with the liberal patronage they had received during their previous lease of the house. Accordingly some radical changes were made which cost a plenty of money and made the managers scratch their heads many a time before they were all paid for. As an example of how much costly mischief one interfering "know-it-all" can accomplish, the managers were persuaded by their prospective new stage manager, "Jim" Vinson, that the stage of the theatre did not have sufficient pitch or slope from back to front. It had a slight pitch one-eighth of an inch to the foot, or about eight inches in its entire depth, which was just perceptible, but not sufficient to be particularly noticeable or to render it uncomfortable to walk on or to dance on. But the wisdom of the new stage manager was paramount, and that immense stage whose huge supports were built into the solid stone walls, had to be cut loose from its bearings and the front of it lowered until it had three-eighths of an inch fall to the foot, a slope that made it uncomfortable to walk on, indeed, entering in a hurry, one was quite inclined to slide on. It made it awkward too for stage settings. Every piece of scenery that was set up and down the stage or at any angle save that paralleling the front curtain, was thrown out of the perpendicular that is so essential to make the scenery look well. At the very time that this alleged improvement was being made, the pitching or sloping stage (once thought to add perspective to the scenery) was obsolete and all the new theatres in the country were being built with level stages. It cost hundreds of dollars to make this change and instead of being an improvement it was a positive detriment, is still, and always will be. So much for the advice of a stage manager. The proscenium doors that had been used for coming in front of the curtain, were done away with and the present boxes put in their stead, a very sensible and profitable improvement. Something like $8,000 was expended in these and other improvements—a costly experiment the sequel proved. The managers, Clawson and Caine, had in contemplation a very profitable season and engaged an unusually large and expensive company. The old stock members had been now so many seasons constantly before the public that it was thought their drawing powers were waning, and it was considered necessary to get some new blood into the stock. Accordingly, while nearly all the old stock was retained, a number of new people were added to the company, vastly increasing the salary list. First in prominence was Kate Denin (Mrs. John Wilson) who was featured as a stock star. Mr. W. J. Cogswell, who had been playing leads during the latter part of the previous season, was retained as leading man. "Jim" Vinson, who had put into Salt Lake before the close of the last season, was retained as stage manager and to play "old men." "Billie" Crosbie was engaged for the principal comedy roles, thus displacing the local favorites, Margetts, Graham, and Dunbar from the choice comedy parts. Arrah Crosbie, Billie's wife, had to have a place and she made a good utility woman; or she could play Irish characters. From the mere force of assimilation "Billie" was a good Irish comedian. Mr. "Al" Thorne, who was added to the company in the previous November, was retained especially for the "heavies." "Buck" Zabriske was engaged as prompter at a good fat salary, because the prompter was a very essential feature in the makeup of a stock company and generally earned his salary, for he often had a hard part to play behind the scenes on a first night. Then there was dear old Frank Rea, with his face and head of antique beauty; always full of Forrestonian reminiscences, and his wife of blessed memory, who had grown old in the service, along with her husband. Then there was Carrie Cogswell-Carter, and Ed Marden was there. J. W. Carter had parted company with theatrical business and accepted an engagement to preach the gospel for a while. He succeeded in making one convert that we know of whom he brought to Utah later and made Mrs. Carter No. 2. This was a bitter pill for Carrie Carter and she revenged herself in time by becoming the fourth wife of Bishop Herrick of Ogden. Apropos of this latter event, about a year later, December, 1875, Miss Carrie Cogswell was playing Julia in the "Hunchback" to the writer's "Master Walter" at Ogden. There was a Gentile paper there at the time called the Ogden Freeman. It was published by a man named Freeman, who came to Ogden with the advent of the Union Pacific railroad. Freeman had published his paper at each successive terminus of the road until it reached Ogden, and then he settled down there and ran the "Ogden Freeman" as a rabid anti-Mormon paper. We had journeyed northward and were in the town of Franklin. Phil Margetts, "Jimmy" Thompson and myself were seated in the hotel parlor when Carrie came in with a paper in her hand, and in her lively, good-natured way, said "Boys, I met Freeman of Ogden, in the Co-op. store just now, and he gave me a copy of his paper. He says it has a long notice of the 'Hunchback' in it. Let us see what he says." With that she threw herself into a chair, turned over the paper and found the notice. It was generally favorable but criticised her Julia rather adversely, at which she said rather petulantly, "Well, I know I'm not an Adelaide Neilson, but I guess it was good enough for Ogden." On further examination of the paper she came across a "personal" which read as follows: "We understand that Miss Carrie Cogswell, now playing here with the Salt Lake company, is the fourth polygamous wife of Bishop Herrick, having herself had three husbands: first, Thomas A. Lyne, the tragedian; second, J. A. Carter, and third, Bishop Herrick." She read this notice to us and as she did so she grew very angry. She strode out of the hotel like an enraged tigress. We all wondered what she was going to do, but in about five minutes she strode back in again with a handful of poor Freeman's whiskers in her clenched fist and her parasol broken to smithereens over the offender's face and head. In explanation she said, "I don't care how much he criticises my acting but he mustn't meddle in my family affairs." Freeman took revenge for this upon the writer several years later in Montana, by giving him a red hot roast while playing in a neighboring town. He evidently thought that I had prompted her to the castigation act, which was not true, and totally unnecessary.
The season was ushered in very auspiciously with the "School for
Scandal," with Miss Denin as Lady Teazle and Mr. J. H. Vinson as Sir
Peter; Mr. Cogswell playing Charles Surface and Mr. Crosbie, Benjamin
Backbite, and the full force of the stock company in the cast.
Stock played through conference dates as usual and up to the 11th when Laura Alberta and George W. Harrison hoisted the stellar flag, which they floated for two weeks, opening in "Uncle Tom's Cabin," which ran for three nights, and then gave place to other pieces in Laura's repertory. Then followed Fanny Cathcart and George Darrell for a week, presenting "Man and Wife," "Woman in Red," "Masks and Faces," "Black Eyed Susan," "Stranger," "Happy Pair," "Mysteries of Stage," and "Mexican Tigress." Eight different plays in one week must have kept the stock company out of mischief, one would naturally think. The reverse proved true, however, in this case, for the leading man, "Bill" Cogswell, from over-study (we had no understudies in those days), was driven to drink; Bill got on a jamboree and didn't care whether school kept or not, and the managers were in a dilemma. Their next star was May Howard, who opened on November 3rd for a three weeks engagement of legitimate. It was essential to have a good, reliable leading man to help May through such a long engagement. Both McKenzie and Lindsay were away and a new leading man was considered an all important factor in this emergency. So a Chicago dramatic agent, Arthur Cambridge, was wired to and he sent out the "brilliant young American actor, J. Al. Sawtelle." Sawtelle opened on Miss Howard's second night, playing "Armand Duval" in "Camille." It was a part well suited to him and he made a satisfactory impression. Miss Howard played "The New Magdalen" (opening night), "Guy Mannering," "Romeo and Juliet," and "East Lynne." Harry Eytinge rendered support in most of her plays—he being the lady's husband this was a very fitting and graceful thing to do. After three weeks of Howard and Eytinge, Fanny Cathcart and George Darrell came back as "Man and Wife," doing "Dark Deeds" and filling in four nights with a "Woman in Red," and doing funny things in "Masks and Faces."
On November 28th and 29th, an original historical play by Edward W. Tullidge, entitled "Oliver Cromwell," had its initial performance. Sawtelle was cast for the title role. "Jim" Vinson, the venerable stage manager, was greatly impressed with the merits of Cromwell and cast and staged it to the best of his ability, with the resources available, but it was far from being an ideal cast. Sawtelle, tall and slender, looked as little like Cromwell as he did Napoleon, and he was as far from the character in temperament as he was in stature. The play with so many historical characters, Cromwell, Charles I., Ireton, Milton, Vane, Bradshaw, Harrison, et al., was very exacting in its mental requirements, and was easily greater than the company, yet notwithstanding this drawback and the fact that nothing was done for the play in the way of special scenery or costuming, it met with very fair success. A strong local interest was exhibited and the house was well filled to witness the first performance of a great play by a local author. Mr. Vinson said it was the greatest play that had been written since Bulwer's "Richelieu" and told John McCullough on his next visit, that if he would take Tullidge's "Oliver Cromwell" and play it there was a fortune in it for him. McCullough would have made an ideal Cromwell, and Vinson recognized the fact that he was the man to make a success of it, but McCullough, like Davenport, who read the play and made a contract with Tullidge to produce it, had already passed the meridian of his fame and had not ambition sufficient left to engage in a new and venturesome undertaking; so Cromwell dropped back into oblivion. It was revived a dozen years later with the writer in the title role. The play this time was costumed correctly and the cast, although still weak in places, was somewhat better than the original. It was played again in the Salt Lake theatre, at Ogden, Logan and Provo, and met with a hearty endorsement by the press of those towns, but it needed more money to tide it to a financial success than the promoters had to invest, and so Oliver Cromwell has rested in honorable repose, waiting for some enterprising manager to unveil him on the stage as Lord Roseberry unveiled his statue facing Westminster hall only a short time ago; a late but fitting tribute to the genius of the uncrowned king.
Following Oliver Cromwell, Shiel Barry, a clever actor of Irish character, filled the week, December 1st to 6th. On the 8th and 9th Oliver Cromwell was repeated, this making four performances in all, which spoke well for the popularity of Tullidge's play. On December 16th, Kate Denin took a farewell benefit and made her last appearance for this season. Mrs. Frank Rea took a benefit on the 19th and on the 22nd Jean Clara Walters reappeared after an absence of about three months in the "French Spy." Miss Walters had not appeared this season until now, on Kate Denin's retirement. They were both stock stars and two lady stock stars keep not their course in the same orbit. Denin had been shining refulgently since the opening of the season, and Walters, although in the city, had not appeared, but now she burst again into public view resplendent in green tights and spangles. On the 25th Eliza Newton, as the bright particular star, appeared in the "Nymph of the Luleyburg," a beautiful spectacular piece well suited for the holidays. Close following the holiday production with its nymphs and fairies our old friend "Jim" Herne opened a three weeks' engagement on January 5th, 1874, in the now familiar Rip Van Winkle, following it up with a variegated repertoire, including "Bombey and Son," "Rosina Meadows," "Wept of the Wishton Wish," "People's Lawyer" or "Solon Shingle," etc. Herne, during his previous engagement, established himself as a great favorite with Salt Lake audiences, and now he added new laurels to his wealth of fame. Herne was a great actor. He excelled in eccentric comedy all the actors I have known. On January 26th, John McCullough began a three weeks' engagement in "Jack Cade." Annie Graham, herself an attractive legitimate star, was especially engaged to play the opposite roles to McCullough. This made a remarkably strong company and Mr. John McCullough had every reason to be satisfied with his support and proud of the engagement he played. In addition to "Jack Cade," a long list of legitimate plays were presented, including "The Gladiator," "Damon and Pythias," "Virginius," "Hamlet," "Macbeth," "Romeo and Juliet," "Merchant of Venice," and "Othello." He exhausted his legitimate repertoire and drew on his comedy resources, playing "Dr. Savage" in "Playing with Fire" and "A party by the name of Johnson" in "The Lancastershire Lass." This was a notable engagement and was followed by another great celebrity, Dion Boucicault, the author of so many successful plays. Boucicault appeared as "Miles Na Copaleen" in his own popular play, "The Colleen Bawn;" also as "Shaun the Post" in "Arrah Na Pogue," and on his third and last night in "Kerry." His dates were February 16th, 117th and 18th. On the 19th Maggie Moore and Johnny Williamson of California theatre fame, opened a nine nights' engagement. We have no record of what pieces they played except one. They had a new play to exploit. They had feared to make the venture with it at the California theatre in San Francisco where they had been favorites, so they brought it to Salt Lake to "try it on the dog." This is a phrase thoroughly understood among theatrical people although it may savor of ambiguity to the uninitiated. It means simply that when a manager is at all dubious about the merits of a new production, he sends it into some comparatively obscure town to try its qualifications for pleasing in the metropolis. The origin of the phrase is obscure, but probably sprang from the similarity of trying a collar on a dog. Inferentially the play is a collar and the obscure town the dog. In this particular case "Struck Oil" was the collar and Salt Lake the dog. The collar happened to fit; the play was a howling success (no suggestion of dog intended here) and it ran three consecutive nights in the Salt Lake Theatre, and then with the Salt Lake stamp of approval on it the Williamsons, Johnny and Maggie, took it out into the theatrical world and made a fortune with it. Joe Murphy had the collar on us before with his "Help" and was successful, and that encouraged the Williamsons and others that have since come, until Salt Lake has won a reputation among dramatic people for being an easy and gentle canine on which to try the collar.
Now comes the prince of comedians, John T. Raymond, back again and stays a short week, during which he sprung on the actors and the confiding and admiring community the following plays: "Our American Cousin," "Everybody's Friend," "Toodles," "Serious Family," and "Only a Jew." In "Our American Cousin," Raymond starred as Asa Trenchard, the "American Cousin," and not in Lord Dundreary, the part Sothern won both fame and fortune in. In this instance my old schoolmate and present colleague, John C. Graham, was intrusted with the character of "Dundreary" and did himself and the company credit by his humorous and artistic rendering of it. Raymond was so thoroughly American (a Yankee in fact) that Dundreary was not in his way, while Asa Trenchard fitted like "ze paper on ze vall." Raymond as Major Wellington De Boots was immense, but it scarcely gave him the scope he was looking for so he was playing a half dozen different plays, none of which were making him any great fame or money. When "The Gilded Age" was ushered in by Mark Twain, people who knew John T. Raymond, on reading Col. Seller's peculiarities, were quick to recognize in Raymond the living counterpart of Mark Twain's imaginary hero. It was not long before Raymond was the only authorized stage edition of Col. Sellers and his popularity increased rapidly until it seemed "there was a million in it" for the genial comedian, but before he had time to amass a million or two "Atropos came with her shears and clipped his thread." "Alas, poor Yorick! I knew him, Horatio. A fellow of infinite jest, of most excellent fancy." Miss M. E. Gordon followed, playing from the 9th to the 14th, opening in "Divorce." Miss Gordon was closely allied to Raymond. Whether they divided evenly the profits of the two engagements we cannot tell, but we know that in many other places they played in conjunction.
Katherine Rogers opened a two weeks' engagement on March 16th, playing
"Galatea," "Leah," "Hunchback," "Unequal Match," "Lady of Lyons," "As
You Like It," "Masks and Faces," and "Love's Sacrifice."
A series of "benefits" followed this engagement, beginning with W. H. Crosbie, April 3rd. On the 6th, Belle Douglass reappeared in the stock after a long absence. On the 7th Carrie Cogswell had a "benefit," and J. H. Vinson on the 10th. On the 13th Mr. and Mrs. Rea "benefited" with the play of "Rob Roy," and gave out satin programs as souvenirs of the occasion. On the 14th Miss Annie Graham commenced an engagement of eight nights in the "Lady of Lyons," and played legitimate repertory. On the 24th Asenith Adams (now Mrs. Kiskadden) had a benefit and played "Elzina." This was some seventeen months after Maude was born, A. J. Sawtelle had a benefit on April 27th. On the 29th H. F. and Amy Stone opened a two weeks' engagement in "Under Two Flags," producing besides "Elfie," "Pearl of Savoy," "Fanchon," "French Spy." On May 11th T. A. Lyne had a benefit, giving scenes from "Hamlet" and "Macbeth." On the 12th Victoria Woodhull lectured. On the 13th William Hoskins and Fannie Colville opened four nights' engagement in "The Heir at Law," "A Bird in the Hand," and "The Critic." On the 18th inst, there was a revival of Edward Tullidge's historical play, "Eleanor De Vere," with Jean Clara Walters in the title role, the character originally played by Julia Deane Hayne, and on the 22nd another play from the pen of Mr. Tullidge had its first production. The play was entitled "David Ben Israel." As the title indicates, the play is Jewish and commemorates the return of the Jews to England in the reign of Charles II. after a banishment of four centuries. John S. Lindsay played the title role, and Miss Walters, Rachel the Jewess. The play made a very pronounced hit and placed another plume in Mr. Tullidge's cap as a dramatic author.
On the 25th, W. A. Mestayer opened a week's engagement in "On the Slope," and with "The Octoroon" and "An Odd Trick" gave much satisfaction. "Bill" Mestayer for years was the heavy man at the old California theatre in its palmy days. As Jacob McClosky in the "Octoroon" he was simply great. On his last night he appeared as Don Caesar for the benefit of the Ladies' Library Association. On June 1st, George Chaplin made his regular summer appearance in the comedy of "School," from which he graduated in one night and appeared on the following evening as Count Monte Cristo. He played Monte again on the 4th. On the 5th George took a layoff as the Lingards, Horace and Dickie, got in on that date with "The Spitsefields Weaver," and gave one performance. Chaplin resumed with the stock company on the following night, June 6th, and played the week out, giving his services on the last night for the benefit of the Theatre corporation. The following week the stock company gave a liberal proportion of their salaries to the series of performances for the benefit of the corporation. Seven performances were given for this benefit. James A. Herne appeared in four of them, Chaplin in one, the company in all seven. Although Clawson and Caine were the nominal lessees and managers, they had associated with them before opening this season, several partners in the venture and the concern was known as the Salt Lake Theatre Corporation. Mr. Thomas Williams was the treasurer and presided over the box office during this regime, and with such peerless bonhomie as made "Tom" (everybody called him "Tom") the acknowledged prince of ticket sellers. It was evident from this benefit business that the corporation had not had the profitable season's business they had expected when they opened with such flying colors in the previous October. The truth was the corporation was very much in the hole, and this series of benefit performances were designed to lighten their financial burdens and did to some extent, yet the close of the season found them heavily in debt, and there were serious results threatening, but the leniency of the creditors averted disaster. The summer was now on but the stars kept on coming. Salt Lake was a regular resort for them. When they could do no business elsewhere, owing to heat, they made for the Salt Lake Theatre. It was the coolest place in the city in those days and before we had any summer resorts the people would go and see these midsummer night performances. Our old Hibernian friend, Joe Murphy, was the next in line, opening on the 15th inst. with more "Help," which he worked for all it was worth three nights and filled out the remainder of the week with a new Irish drama, "Maum Cree." This was Joe's debut in Irish character work and he had come to Salt Lake City again to "try it on the dog." He had good support and "Maum Cree" received a favorable verdict from the Salt Lake theatre goers and Joe Murphy was successfully launched onto the dramatic sea as an Irish comedian. Following Mr. Murphy came the Coleman Sisters for a week. They opened on the 22nd of June in Charles XII and played besides this piece, "Day after the Fair," "The Deal Boatman," and "Pouter's Wedding." In common with many others the Colemans flitted across our dramatic horizon and never returned. On the 30th inst. John S. Lindsay had a benefit on which occasion he appeared in the character of Rolla in the play of "Pizarro." The farce of the "Lottery Ticket" was played after "Pizarro" to make up a good full evening's entertainment. "Billie" Crosbie was the star comedian in "The Lottery Ticket." The stock played only a few nights after this, closing the season on the 4th of July.
On July 18th, Victoria Woodhull drew a large audience to hear her lecture on "The Beecher Scandal." The Beecher trial at that time was the sensation of the day. The lecture drew a crowded house and Victoria took occasion to fire red hot shot at Beecher and the clergy in general, getting in some hard blows on the perfidy of the men in general and the advantage they took of poor, confiding women.
It seemed impossible to keep the theatre closed for more than a few weeks even in the hottest portion of the summer, owing more to the anxiety of the "strolling players" to put in a portion of their summer in Salt Lake than any feverish desire on the part of the theatre patrons to see them. Companies going to and from San Francisco were always glad to get in a few nights at the Salt Lake Theatre as it broke the long jump between the coast and Denver and was pretty sure to be profitable. Accordingly the theatre was reopened on August 3rd with the Vokes family for one week. The Vokeses were great favorites here and did a very fair business despite the hot weather prevailing.