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

by John S. Lindsay

The story of "Tom" Lyne's conversion to the Mormon faith created quite a sensation in theatrical circles of the time, and illustrates the great proselyting power the elders of the new religion possessed.

Lyne, when he encountered Mormonism, was a skeptic, having outgrown belief in all of the creeds. It was in 1841 that George J. Adams, a brother-in-law of Lyne's, turned up suddenly in Philadelphia (Lyne's home) where he met the popular actor and told him the story of his conversion to the Mormon faith. Adams had been to Nauvoo, met the prophet and become one of his most enthusiastic disciples. Adams had been an actor, also, of more than mediocre ability, and as a preacher proved to be one of the most brilliant and successful expounders of the new religion. Elder Adams had been sent as a missionary to Philadelphia in the hope that his able exposition of the new evangel would convert that staid city of brotherly love to the new and everlasting covenant.

In pursuance of the New Testament injunction, the Mormon missionaries are sent out into their fields of labor without purse or scrip, so Elder Adams, on arriving at his field of labor, lost no time in hunting up his brother-in-law, "Tom" Lyne, to whom he related with dramatic fervor and religious enthusiasm the story of his wonderful conversion, his subsequent visit to Nauvoo, his meeting with the young "Mohammed of the West," for whom he had conceived the greatest admiration, as well as a powerful testimony of the divinity of his mission.

Adams was so convincing and made such an impression on Lyne that he at once became greatly interested in the Mormon prophet and his new revelation. This proved to be a great help to Elder Adams, who was entirely without "the sinews of war" with which to start his great campaign.

The brothers-in-law put their heads together in council as to how the campaign fund was to be raised, and the result was that they decided to rent a theatre, get a company together, and play "Richard III" for a week. Lyne was a native of Philadelphia and at this time one of its most popular actors. It was here that Adams had met him a few years before and had given him his sister in marriage.

The theatrical venture was carried through, Lyne playing Richard and Elder Adams, Richmond. The week's business, after paying all expenses, left a handsome profit. Lyne generously donated his share to the new cause in which he had now grown so deeply interested and Elder Adams procured a suitable hall and began his missionary labors. His eloquent exposition of the new and strange religion won many to the faith; one of the first fruits of his labors being the conversion of Thomas A. Lyne.

Such an impression had Adams's description of the Mormon prophet and the City of the Saints (Nauvoo) made upon Lyne that he could not rest satisfied until he went and saw for himself. He packed up his wardrobe and took the road for Nauvoo. With a warm letter of introduction from Elder Adams to the prophet, it was not long before Lyne was thoroughly ingratiated in the good graces of the Mormon people. He met the prophet Joseph, was enchanted with him, and readily gave his adherence to the new and strange doctrines which the prophet advanced, but whether with an eye single to his eternal salvation or with both eyes open to a lucrative engagement "this deponent saith not."

The story runs that after a long sojourn with the Saints in Nauvoo, during which he played a round of his favorite characters, supported by a full Mormon cast, he bade the prophet and his followers a sorrowful farewell and returned to his accustomed haunts in the vicinity of Liberty Hall.

During his stay in Nauvoo, Mr. Lyne played quite a number of classical plays, including "William Tell," "Virginius," "Damon and Pythias," "The Iron Chest," and "Pizarro." In the latter play, he had no less a personage than Brigham Young in the cast; he was selected to play the part of the Peruvian high priest, and is said to have led the singing in the Temple scene where the Peruvians offer up sacrifice and sing the invocation for Rolla's victory. Brigham Young is said to have taken a genuine interest in the character of the high priest and to have played it with becoming dignity and solemnity. Here was an early and unmistakable proof of Brigham Young's love for the drama.

Mr. Lyne, while relating this Nauvoo incident in his experience to the writer, broke into a humorous vein and remarked: