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

by John S. Lindsay

Some years later White with his family removed to San Francisco, where he became the stage manager of the Tivoli. It was during his incumbency of this position that he made the first dramatization of Rider Haggard's "She," and gave it its first production on the stage, which proved to be a great success and started numerous other companies to play it.

White has now "fallen into the sere and yellow leaf" and for the last dozen years has been affectionately called by the profession "Daddy White."

CHAPTER IV.

Notwithstanding that during the winter of 1859-60 a number of dramatic performances were given in the Social Hall, they were nearly, if not all, revivals of plays that had been performed there previous seasons. Interest had declined from some cause or other. It was probably attributable in some measure to the departure of first Mrs. Wheelock and then of Mrs. Tuckett, the two leading actresses of the company; and then Jim Ferguson, one of the leading actors, was now engrossed in the publication of The Mountaineer, a weekly paper he had started in connection with Seth M. Blair and Hosea Stout, and for which he wrote most of the editorials, so that he had little if any time to devote to the playhouse. Bernard Snow, too, was absent from the company that winter and as a consequence plays of a lighter character were selected that did not require Snow and Ferguson.

"The Golder Farmer," "Luke the Laborer," "Still Waters Run Deep," "All That Glitters Is Not Gold," were the principal plays given. During the following winter, 1860-61, there was nothing doing in the dramatic line in the Social Hall. One reason for this was that a new company had arisen, which, if not exactly a rival, was a strong competitor for public favor. Some of its principal members belonged to the Deseret Dramatic Association, and had been conspicuous in the ranks of its performers.

The new company was called the Mechanics' Dramatic Association, and was headed by the favorite Social Hall comedian, Phil Margetts, who was president and manager of the new organization. The members of this new company were Phil Margetts, Harry Bowring, Henry McEwan, James A. Thompson, Joe Barker, John B. Kelly, John Chambers, Joseph Bull, Pat Lynch, William Wright, Bill Poulter, William Price, Mrs. Marion Bowring, Mrs. Bull, Mrs. McEwan, Elizabeth Tullidge and Ellen Bowring. Harry Bowring had in course of construction a new dwelling house; it was covered and the floors laid, but no finishing or plastering had been done, no partition walls had been put in, so that the entire lower story was one room, not more than 18x40 feet in dimensions, about one-third the size of the Social Hall. The stage occupied about one-third of the same, leaving an audience chamber of about 18x25 feet, not large enough, as it proved, to accommodate the numbers that were anxious to witness the new performances. For dressing rooms, they had the house at the back, in which Mr. Bowring and family resided, and which communicated with the stage by a doorway in the new structure. The scenery and drop curtain, which was necessarily of small dimensions, was painted by the sterling and versatile artist, William P. Morris. The auditorium was seated a la circus, with board seats rising one above the other, with a row of chairs in front for the distinguished guests and patrons.

Such was "Bowring's Theatre," as it was called. Whether the managers christened it that, or the name was given it by the patrons and guests, we do not pretend to know, nor does it matter; but this fact may be mentioned in relation to it, that it was first place in Salt Lake City to be called a theatre.

The Bowery being a place of worship (although the name was strongly suggestive of the New York Bowery theatre), could not consistently be called a theatre and the Social Hall embracing all the social features—plays, dances and banquets—never came to be called a theatre, Social Hall fully covering its functions, so that the Bowring was really the first place to be known distinctively as a theatre. Although the theatre was so very small the company did not appear to be circumscribed in their histrionic efforts by any mere limitations of space or stage appurtenances, as the following list of plays will show:

"The Honeymoon," "The Gamester," "Luke the Laborer," and "Othello," and the farces of "Betsy Baker" and "Mr. and Mrs. Peter White."

In the dramas, Mr. Margetts, who was recognized as the comedian par excellence, chose to assume the tragic mask and appeared in the leading roles, leaving the principal comic parts to his friend and colleague Harry Bowring. It was somewhat of a surprise to "Phil's" friends and admirers who knew his qualifications for comedy, to see him in these tragic characters, but he is said to have given everybody a pleasant surprise in them and Harry Bowring carried the comedy roles so successfully as to divide the honors with "Phil." Mrs. Bowring, who played the "lady leads," also distinguished herself to such a degree that she took a prominent place in the Salt Lake Theatre soon after its opening.