The theatre is so popular among the Mormon people, that in almost every town and settlement throughout their domains there is an amateur dramatic company.
It is scarcely to be wondered at that Salt Lake has the enviable distinction of being the best show town of its population in the United States, and when we say that, we may as well say in the whole world. It is a well established fact that Salt Lake spends more money per capita in the theatre than any city in our country.
Such a social condition among a strictly religious people is not little peculiar, and is due, largely, to the fact that Brigham Young was himself fond of the dance and also of the theatre. He could "shake a leg" with the best of them, and loved to lead the fair matrons and maidens of his flock forth into its giddy, bewildering mazes. Certain round dances, the waltz and polka, were always barred at dances Brigham Young attended, and only the old-fashioned quadrilles and cotillions and an occasional reel like Sir Roger de Coverly or the Money Musk were tolerated by the great Mormon leader.
That Brigham Young was fond of the theatre also, and gave great encouragement to it, his building of the Salt Lake Theatre was a striking proof. He recognized the natural desire for innocent amusement, and the old axiom "All work and no play makes Jack a dull boy," had its full weight of meaning to him. Keep the people in a pleasurable mood, then they will not be apt to brood and ponder over the weightier concerns of life.
There may have been a stroke of this policy in Brigham Young's amusement scheme; but whether so or not he must be credited with both wisdom and liberality, for the policy certainly lightened the cares and made glad the hearts of the people.
Although Salt Lake City has been the chief nursery of these twin sources of amusement for the Mormon people, to find the cradle in which they were first nursed into life, we will have to go back to a time and place anterior to the settlement of Salt Lake. Back in the days of Nauvoo, before Brigham Young was chief of the Mormon church, under the rule of its original prophet, Joseph Smith, the Mormon people were encouraged in the practice of dancing and going to witness plays. Indeed, the Mormons have always been a fun-loving people; it is recorded of their founder and prophet that he was so fond of fun that he would often indulge in a foot race, or pulling sticks, or even a wrestling match. He often amazed and sometimes shocked the sensibilities of the more staid and pious members of his flock by his antics.
Before the Mormons ever dreamed of emigrating to Utah (or Mexico, as it was then), they had what they called a "Fun Hall," or theatre and dance hall combined, where they mingled occasionally in the merry dance or sat to witness a play. Then, as later in Salt Lake, their prophet led them through the mazy evolutions of the terpsichorean numbers and was the most conspicuous figure at all their social gatherings.
While building temples and propagating their new revelation to the world, the Mormons have always found time to sing and dance and play and have a pleasant social time, excepting, of course, in their days of sore trial. Indeed, they are an anomaly among religious sects in this respect, and that is what has made Salt Lake City proverbially a "great show town."
Mormonism during the Nauvoo days had numerous missionaries in the field and many converts were added to the new faith. Among others that were attracted to the modern Mecca to look into the claims of the new evangel, was Thomas A. Lyne, known more familiarly among his theatrical associates as "Tom" Lyne.
Lyne, at this time, 1842, was an actor of wide and fair repute, in the very flush of manhood, about thirty-five years of age. He had played leading support to Edwin Forrest, the elder Booth, Charlotte Cushman, Ellen Tree (before she became Mrs. Charles Kean), besides having starred in all the popular classic roles. Lyne was the second actor in the United States to essay the character of Bulwer's Richelieu—Edwin Forrest being the first.