We now come to the first attempt at theatrical representations. In the year 1747 a company was formed, composed chiefly of young men whose education and birth placed them in positions to advance the cause of science or art, as their tastes and inclinations might have led them to advocate. A family by the name of Courtland, an English family, had but recently arrived in this country, and, possessing many of the prevailing notions at that time popular in England, their astonishment at our total ignorance of the drama and its literature was fully shown by a display of their knowledge and a familiar acquaintance with the living dramatists of that period in England. It is not our purpose to connect the name of Courtland with the organization of this company: indeed, such a thing would be almost impossible, inasmuch as the association was as secret as were the names of its members. One thing, however, was evident: a taste for dramatic reading soon became prevalent, and the plays of Shakspeare found favor even in the eyes of the godly. Young Courtland, the leader of “Society Hill” boys, soon inoculated his companions with many of their follies, and the playgrounds about the Loxley House resounded with their shouts. From this circle came forth the pioneers of our drama. A companion of Courtland’s, by the name of Aitken, was the first to propose a dramatic association. The name of Garrick and the uprising of the English drama in London had already enlisted many here in its favor.
The place of meeting for the early pioneership of the drama was held in a house on Second Street adjoining the then gardens of the Loxley House, and immediately connected with an old white building, recently altered into stores, and which was used in our Revolutionary War as a hospital. The front portion of this dramatic temple was used as a boot and shoe store; the rear was occupied by the proprietor’s family, and the range of rooms over the back building was the scene of the drama’s birth. It was here “Richard III.” was enacted, and it was here the few plays that had crossed the Atlantic found favor in the eyes of the aspirants for histrionic fame, and whose dramatic efforts kindled a flame in many a youthful breast, which has sent its light down through the mimic world to brighten it in all ages.
A great sensation was created by this theatrical outbreak, and on its reaching the ears of the Quakers, they, with others opposed to such “unlawful proceedings and profane exhibitions,” had the matter brought before the council, or, rather, the recorder, and we find upon his office-books, bearing date January 8, 1749, gravely written, “The recorder then acquainted the board that certain persons had taken upon them to act plays in this city, and, as he was informed, intended to make a frequent practice thereof, which it was feared would be attended with mischievous effect, such as the encouraging of idleness, and drawing great sums of money from weak and inconsiderate people, who are apt to be fond of such kinds of entertainments, though the performance be ever so mean and contemptible. Whereupon the board unanimously requested the magistrates to take most effectual measures for suppressing this disorder, by sending for the actors and binding them to their good behavior, or by such other means as they should judge most proper.”
This proceeding, strange as it may seem, produced quite a contrary effect; for the company, which was now regularly organized, and was made subservient to the interests of all concerned, actually stepped out from behind the law and boldly asked permission from the authorities to enact plays in some more public place other than the obscure spot they had selected. Backed by the aristocracy of “Society Hill,” their application was granted.
What aided to strengthen this company and give it character was the fact of several members of a West India company arriving here, who immediately joined them; and thus Richard III., Hamlet, Beau Stratagem, &c., were played in a manner to please the “million.”
The Philadelphia company left the Quaker City at the close of 1749, and opened a temporary theatre in a wooden building in Nassau Street, New York. A writer, alluding to this company and the early history of the drama, says, “The earliest theatrical performances, in the recollection of the oldest inhabitants, were in a store on Crugar’s wharf, near Old Slip, by a company of Thespians, composed of ‘choice spirits’ of a certain order. They were roystering young men, full of tricks and mischief, who used to play cricket in the fields, and who spent their nights at the Boat-House, on Broad Street, near where the United States Public Stores now stand.” Our readers will recognize in these young men the Thespian company from the Quaker City. After playing here with some success, the company left for Virginia.
They then went to Williamsburg, Virginia, and, although William Dunlap denies the fact in his “History of the American Stage,” yet it is true that under the presidency of Thomas Lee the Philadelphia company, strengthened by the addition made to it in New York, obtained permission to erect a theatre in Williamsburg, and in the year 1750 it was begun and finished. They played here in 1751.[30]
Hallam opened at this very theatre on the 5th of September, 1752, and on the evening of July 13, 1752, the Philadelphia and New York company opened their second new theatre in Annapolis, and performed “The Beau Stratagem” and the farce of “The Virgin Unmasked:” boxes, 10s.; pit, 7s. 6d. Richard III. was performed twice,—the character of Richard by Mr. Wynel, and that of Richmond by Mr. Herbert. Mr. Eyniason, Mr. Aitken, and Mr. Courtland are the only names handed down to us as belonging to the colonial company.
As Hallam’s company arrived at Yorktown in June, 1752, and did not open until September at Williamsburg, there is no doubt that a portion of his company joined Eyniason at Annapolis and played until the opening at Williamsburg.
The first play, therefore, acted in this country by what may be termed a regular company (and this company was composed of the old actors, and two or three of Hallam’s, viz.: Wynel and Herbert) was “The Beau Stratagem,” and the farce of “The Virgin Unmasked.” After the organization of Hallam’s company the members of the old became incorporated with it. The Annapolis theatre, which in 1752 was called the New Theatre, was built of brick, and was calculated to hold over five hundred persons. Dunlap says this was the first theatre erected in this country, not being advised of the one erected in Williamsburg in 1750. In justice, however, to Dunlap, the author has a letter from the veteran of the drama within a short time before his death, wherein he acknowledges his error and does justice to Burke the historian, and admits the justice of our correction made in the year 1835.