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

by John S. Lindsay

CHAPTER XXIII.

SEASONS OF '78-'79 AND '80-'82.

The season of '78 and '79 was opened on October 4th by Haverly's minstrels, who filled the night of the 5th also, when the stock company stepped to the front once more, and filled out the remainder of the Conference dates with the "Lancashire Lass" and the "Hidden Hand." On the 23rd Susie Spencer was a beneficiary, playing "The Little Rebel." Susie's life was not without a spice of romance, and its chapter of sorrow. Susie Spencer was a very pretty little girl and talented; the managers found her very useful in parts where her petite stature was suited to the character, and such occasions were not infrequent. Miss Spencer was progressing nicely in her art and had already become a favorite with the patrons of the drama, when she met her fate in the person of Mr. Ed Marden. Marden was one of the Cogswell party who came from California by way of Southern Utah, and waiting on Brigham Young, informed him they had received a revelation (via the Planchette route) instructing them to come to Salt Lake and join the Mormon Church, as it was the only true and authorized church. The party were duly baptized and confirmed into the Church, and at once installed as members of the stock company. Marden became on very short acquaintance infatuated with the pretty Susie and laid siege to her young and guileless heart with that adroitness and dexterity which come from much experience, with the result that Susie soon became Mrs. Marden. Marden was a member of the stock here all during the "Jimmy" Harris regime. He and "Jimmy" were fast friends, they both came to Utah Gentiles, joined the Church and married Mormon girls. Soon after the close of the Harris management in '77, Marden drifted off and left his Susie a heart-broken little woman. He was through with Utah, and through with the Mormon Church, and through with his little Mormon wife, and cast them all aside as he would a worn-out suit. He never came back, and Susie, after a year or two of repining, found consolation in the affections of a better man. She became the wife of Mr. Rice, a well-to-do banker of the mining town of Frisco, Utah, where she lived happily in her new alliance until a few years ago, when she passed away from earth, still young in years.

The next stellar attraction was Mrs. Scott Siddons, a niece of the great Sarah Siddons, who appeared on November 22nd in a dramatic recital; with what success the writer cannot tell, as he was away again at this time. This lady had just closed a week's engagement at Portland, Oregon, when I arrived there. I met her at the hotel before her departure, and she impressed me as being an extraordinary woman and a brilliant actress.

December 25th, Nat Goodwin and Eliza Weatherby opened a four nights' engagement in "Hobbies;" they gave on the following evenings "Under the Rose" and "Cruets." This was Goodwin's first engagement in Salt Lake.

On January 10th and 11th, 1879, Alice Gates' Comic Opera Company played to exceptionally large houses.

Barney Macauley in "The Messenger from Jarvis Station" was the next stellar attraction.

There was a dearth of star attractions along about this time and the stock company had plenty of time to fill in, but it had become so depleted as to be unable to keep up the interest for more than two or three nights at a time.

On May 2nd, "Buffalo Bill," Col. Wm. F. Cody, gave an exhibition, assisted by the stock company. He called it "A Knight of the Plains." On May 8th, Annie Adams (Mrs. Kiskadden) and her daughter Maude, who were in Salt Lake on a visit, created some interest in her reappearance here, and that of Maude who on this occasion played her first speaking part in Salt Lake. Miss Adams assisted by the stock (what remained of it) and some amateurs, gave on the 8th, "A Woman of the People." This was the old French play of "Madeline, the Belle of the Faubourg," which Julia Dean had played some years before. Like many another good play since, it was made to do double duty by appearing under a new title. For the second night's bill, the comedy of "Stepmother" and the farce of "Little Susie" were given. In the farce Little Maude played the name part, "Little Susie." Maude was then six years and six months old, and had already played several parts in San Francisco, the most notable one, Little Adrienne in "A Celebrated Case," which she played in the Baldwin production of the play, and afterwards in Portland with John Maguire's production of it, for which she and her mother were especially engaged. Afterwards with the Maguire company en tour through Oregon and Washington, when "Little Maude" was featured in "The Case" and also in "Ten Nights in a Bar Room," her mother and the writer playing the leading roles in these plays. This second bill was repeated on the 10th inst., the probability being that Maude had caught the public favor at that early day.

The next attraction of note was Lawrence Barrett, who opened on July 8th (midsummer nights—no dream) for four nights, opening play "Richelieu" followed by "Hamlet," "A New Play" and "Julius Caesar." How the fastidious and exacting Barrett managed to cast these great plays here has never been explained to me. He must have carried his principal support with him.

In the fall of this year Miss Annie Adams revived "The Two Orphans" with a complete cast of amateurs, excepting herself and Jimmy Harris. The cast included Mr. Laron Cummings as the Chevalier, Heber M. Wells as the Doctor, Orson Whitney as Jacques, John D. Spencer as Pierre, John T. White as Picard, W. T. Harris played Frochard, which fact certainly denoted a great paucity of female talent here about that time. Annie Adams played Louise and Delia Clawson, Heriette, which is as much of the cast as we can gather from Miss Adams' own account of this performance. So successful was the performance as a whole and so meritorious the acting of the numerous debutants on this occasion that Mr. Bud Whitney who was managing the business end of the affair, proposed the organization of a "Home Club," which should comprise all of the amateurs who had taken part in "The Two Orphans." The proposition was readily adopted by those concerned, and out of this sprang "The Home Dramatic Club." The time was most opportune, for there was a dearth of dramatic attractions at the time; the old stock had dwindled until there were but a few of its members left in Salt Lake, and some new blood and talent was needed to give renewed interest to home productions. "The Home Dramatic Club," with great prudence and foresight, secured the ensuing April Conference dates on which to make their initial bow to the Utah public. It was a good long time to wait but they were sure of big results in a financial way, and it gave them plenty of time in which to perfect themselves in their opening play, which was "The Romance of a Poor Young Man." It was a good selection, well suited to the young people, and scored a success; only the older people in the community could remember George Pauncefort opening in the same play in 1864, and scoring a great triumph. The club had large and friendly audiences and their introductory play was pronounced a genuine success, both artistically and financially. It could not be otherwise than a good paying proposition, as Conference nights are always a harvest time for the theatre. So well encouraged were they that the club continued in the business of playing occasionally, whenever they could secure favorable dates, such as Conferences and other holiday times, for a number of years. "The Home Dramatic Club" averaged about three or four plays a year during their career of about ten years. The club being more of a society affair than a professional theatre company, they picked their times and opportune ones, and playing so seldom they never were subjected to the tasks in study and rehearsals and dramatic work which characterized the busy years of the old stock company. It was a talented company, however, and no doubt could have made good under different and more exacting conditions.

In March, 1881, the writer was back in Salt Lake after a two years' absence, principally in Portland and San Francisco. On my return there was nothing doing in the theatrical line. The "club" had been organized nearly a year, yet had given only a very few plays. There was a dearth of theatricals, and the writer with the acquiescence and assistance of Mr. Clawson, who was again manager of the theatre, got up occasional performances with such assistance as he could procure. The first of these was "A Celebrated Case," in which he had the assistance of Manager Clawson's daughters, Miss Edith Clawson and Mrs. Ardelle Cummings. Other performances were given in connection with David McKenzie, Philip Margetts and John C. Graham, with such support as we could muster from the depleted ranks of the old stock, and what new aspirants were in the field for dramatic honors. The "gallery gods" honored the three gentlemen and myself with the somewhat flattering appellation of the big four, the same title the New Yorkers bestowed on Booth, Barrett, Davenport and Bangs when these four stars formed the great constellation in the play of "Julius Caesar." These performances, however, like those of "The Home Dramatic," were few and far between, and to a person depending on acting for a livelihood, did not prove very remunerative.

About this time another project which interested the writer hove into view. Dr. D. Banks McKenzie, a temperance lecturer and reformer, had succeeded after a considerable effort in organizing a temperance club in Salt Lake City (a prodigious task to accomplish at that time). He had succeeded in raising a fund of some thirty thousand dollars in contributions towards the erection of a first-class lecture hall, with library, and various other nice accommodations for the society. The Walkers Brothers had contributed a building site where the Atlas block now stands, 50x100 feet. This was put in at $13,000, making nearly one-half of the $30,000 contributed. On being informed by one of the Walker Brothers of what was projected, the writer with some self-interest suggested that inasmuch as they were going to put up a building of such size and cost, that they might just as well make it a little larger, and make a theatre of it; that a theatre would answer all the purposes of the proposed hall, and often rent when the hall would not. The idea grew with them, and the Walker Grand Opera House was the result. It occupied a year in building. It was opened on June 5th, 1882, with a vocal and instrumental concert, with Prof. George Careless as conductor. As a matter of historical interest and to show the musical status of Salt Lake at that time, a copy of the opening program is here appended.

OPENING OF THE WALKER GRAND OPERA HOUSE.

Monday Evening, June 5th, 1882.

Lessee ………………………….. D. Banks McKenzie
Manager …………………………… John S. Lindsay

PROGRAM.

1. Overture—"William Tell" ………………… Rossini 2. Quartette—"The Night Before the Battle" ……. White

Misses Olsen and Richards, Messrs. Whitney and Spencer.

3. Flute Solo—"Concert Polka" ……………… Rudolph

Mr. George Hedger.

4. Aria—Il Profeta ……………………… Meyerbeer

Mrs. J. Leviburg.

5. Selection Favorite ……………………. Donozetti

Orchestra.

INTERMISSION.

6. Overture—Pique Dame ……………………… Suppe

7. Aria—E. Puritane ………………………. Belline

Mr. Robert Gorlinske.

8. Piano Solo—Trovatore ………………… Gottschalk

Mrs. Helen Wells.

9. Song—"My Own Dearest Child" ………………… Abt

Mrs. George Careless.

10. Selection …………………………………….

Croxall's Silver Band.

Conductor ……………………. Prof. George Careless

Thursday, June 8th—For Three Nights. Louis Aldrich Company in his very successful play, "MY PARTNER." Superb Star Company.

In the spring of '82, when the Walker was approaching completion, Dr. McKenzie hied him to New York to secure attractions for the new theatre, for the erstwhile temperance lecturer had developed into the sole lessee and manager of a $100,000 theatre. He had already chosen me to attend to the local management, for which I was to have 5 per cent of the gross proceeds of everything we played there, with the privilege of getting up local performances in the interims. I had worked eleven months, superintending the construction of the building and was quite in favor. "Doc" was very successful in securing attractions, his somewhat extravagant and florid descriptions of the Walker Grand, as they chose to christen it, and its superiority to the old theatre, caught the agents and managers, and he secured so many of the attractions going to the coast the ensuing season that he virtually had the Salt Lake Theatre out of business.

The first dramatic performance given in the Walker was the Louis Aldrich Company in "My Partner." The house was well filled but not crowded; there was a very strong prejudice against the Walker among the Mormon part of the community, and a malicious report to the effect that the galleries were not safe was put in circulation with a view to injure the new theatre. Such mischievous whisperings, however, only had a temporary effect.

One of the earliest attractions at "The Walker" was Haverly's minstrels, and the house was crowded to its utmost capacity; as the galleries did not give way on that occasion, the reports which had been so industriously circulated were seen to be "a weak invention of the enemy."

The new house continued to get the attractions to such an extent, that the Salt Lake Theatre was virtually out of the swim. This was accomplished by Dr. McKenzie putting The Walker under the direction of Jack Haverly. Haverly at the time was one of the foremost managers of the country. He controlled more companies and theatres than any one in the field of amusement; so he booked everything in his control at The Walker, and the house during his regime was called Haverly's Walker Grand Opera House. "What's in a name?" In theatrical business much; it is everything. So serious indeed was the situation for the Salt Lake theatre that Mr. David McKenzie, who was at this time the acting manager of the house, found it necessary to go to San Francisco and have a business interview with Mr. Fred Bert, who was Haverly's San Francisco manager.

The result of his visit was an agreement on the part of Haverly to play his attractions alternately between the two theatres, thus giving the Salt Lake theatre one-half of their Salt Lake bookings. In the agreement it was stipulated that the Salt Lake Theatre must also float the Haverly flag, and while this contract lasted the old house was called "Haverly's Salt Lake Theatre." Here was an interesting situation; both theatres flying the Haverly flag. Haverly's name at the head of every bill and program. It was not at all pleasing to the Mormon people to have their theatre, in which they took so much pride, pass under the direction and management of a Gentile manager. Many of them didn't know but what Haverly had bought it. The Walker Brothers did not relish the idea either of their house being called Haverly's; but such were the exigencies of the theatrical business. To the Walker it was a great advantage, as without Haverly's prestige the new house would have had a hard time in getting first-class attractions.

These circumstances go to show what an immense influence Jack Haverly wielded in the theatrical business of this country at that time. He was almost as potent then as Klaw & Erlanger of the syndicate are today. These conditions did not last very long, as the managers and agents came to learn that the Salt Lake Theatre was the only one that the Mormon people would patronize, and they being so largely in a majority of the theatre-goers, the older theatre gradually won back the great bulk of the traveling combinations, and the Haverly agreement having expired, his flag was hauled down, much to the relief of a great many, to whom it had always seemed a reproach to have Brigham Young's Theatre called Haverly's. Jack Haverly had too many irons in the fire; his numerous theatrical enterprises were managed by a corps of lieutenants, too numerous for Mr. Haverly to keep in line. Some of them proved shrewder, more adroit, and less principled than their general. He trusted them too implicitly, and this was his undoing. Some of them managed his enterprises into their own hands, while he was giving his personal attention very largely to his mining interests. These, too, turned out disastrously, and Haverly's star, which had been so prominent and bright in the theatrical firmament, began to wane and in a very few years was totally eclipsed. After all his great enterprises, he became a bankrupt in 1898, and he died poor in 1901 in a Salt Lake Hospital. He was reduced in health and circumstances to such a degree as to be unable during the last year of his life to manage even a minstrel company, and others paid him for the use of his name.