Hamlet. You should not have believed me; for virtue can not so inoculate our old stock but we shall relish of it. I loved you not.
Ophelia. I was the more deceived.
Hamlet. Get thee to a nunnery.
—Shakespeare.
On November 8th Mr. Al Thorne was added to the stock company and made his first appearance in the play of "Maud's Peril." Al Thorne came to Utah as a soldier in Johnston's army. He was a member of the Camp Floyd Theatre company and played with Dick White, Mrs. Tuckett et al. He contrived in some way to remain in Utah when the Civil War broke out, instead of following "the uncertain chance of war." He had married and settled in the north part of the territory, and was associated with the Richmond Dramatic Company for several years and now found a place in the Salt Lake stock, where he remained for several years, doing excellent work in "heavies" and "old men." Thorne joined the Mormon church and got more family than he could take care of—two families in fact, which proved his ruin. He became estranged from them both, and for the last twenty years of his life was practically an exile, living a solitary life in the mining camps of Nevada. He died three years ago at De Lamar, Nevada, a prematurely old man, with no relative near. But Al always had friends, for he was a good natured, generous hearted man—his own worst enemy. "Requiescat in pace."
George Chaplin having exhausted his extensive and variegated repertory, and taken his departure for pastures new, the stock company, with Clara Jean Walters, played through the October conference. The very palpable weakness occasioned by Chaplin's retirement was filled by F. M. Bates, who with his wife and Baby Blanche had been rusticating in the vicinity ever since their engagement in the previous May. Bates opened on the 14th of October, as joint star with Miss Walters, and continued until November 21st, the only interruption being a three nights' engagement of the Australian actor, James J. Bartlett, who gave "David Garrick," "New Magdalen," and "Married for Money."
On November 25th Mrs. Bates opened her second engagement at this theatre, supported by her husband (Frank), Miss Walters and the stock company. She played two weeks, repeating mostly her favorite roles, "Elizabeth," "Lucretia Borgia," "Camille," etc. Mrs. Bates during the time her husband, Frank, had been playing with the stock company, had played an engagement with John Piper, the Virginia City manager. Returning here she sent ahead of her to exploit her return engagement Mr. John Maguire, who has since made a name as a theatrical manager, but who was then a very enthusiastic disciple of Thespis, and was ambitious to make a mark in the histrionic art. Maguire by his own confession had been educated for the Catholic priesthood, and certainly a good priest was spoiled when John turned Thespian, but the stage fever caught him, and struck in so deep that he was irrevocably lost to a profession which he was capable of adorning, and exposed "to the slings and arrows of outrageous fortune" that are generally in quiver to be hurled at the unfortunate actor or manager who does not achieve an unqualified success. At the time of which I write, 1872, John Maguire was young (about 30, eh, John?), and handsome; he was often mistaken for Lawrence Barrett, the tragedian, which was a flattering compliment to John, as he was a very great admirer of "Larry" Barrett. We don't know just how it came about, but he was cast in Mrs. Bates' opening performance of "Elizabeth" for the part of the young Scottish king, James VI, unless it was that he had played it in Virginia City with the lady, and she thought he looked the part so well. Any way the company was numerous and the managers let John out after his performance of King James. The week following the Bates engagement, there being no star attraction booked, the managers gave it to the writer, who had not been playing in the stock company that season. I arranged a repertoire for the week which included "The Duke's Motto," "Macbeth," "Louis XI," "The Stranger," "Jack Cade," and "The Three Guardsmen." A very ambitious attempt, as I view it now, but all parts that I was "up" in, having played them in the company before. While rehearsing before I opened, Maguire, who was out of a job and evidently out of money, come to me and in a very friendly and confidential way informed me that he had just received the bells. "The bells?" I inquired, "what bells?" "Why Henry Irving's Bells, that has just completed a year's run in London." "Take my advice, John," said he, "take down some of those 'old' chestnuts you have billed and put on 'The Bells' for two nights in their place and you'll be money in by it." "Oh, that's impossible," I objected, "my plans for the week are arranged and cast, besides I know nothing about the play of The Bells.'" Maguire was earnest, however, for he had a point to make, so he urged me to make a change. "I have two printed copies of the play," says he, "and will let you have them and copy the remainder of the parts for you for $10. I want to get to Pioche; things are booming there and I am short of money; you can advertise the wonderful run the play has had in London, and you'll be the first to play it west of New York, where Studley is playing it now." John arguments prevailed with me and I took down "Louis XI" and "The Strangers" and put up "The Bells" for the Wednesday and Thursday nights. Maguire delivered the goods, got his money and took the stage for Pioche. Bidding me good bye and good luck, he says, "There's a theatre down there, and if I can secure it, you will hear from me before long." "The Bells" gave me the hardest day's study I ever did; playing "Macbeth" the night before and staying out later than was discreet, I was reading "Mathias" at rehearsal next morning to play that night, but we got through it fairly well, and to my surprise the local papers praised the performance highly next morning, but "The Bells" did not prove the great drawing card Maguire had so sanguinely predicted, the older and better known plays drawing better.
On Friday evening, while playing "Jack Cade," a few of my admirers sent up a request to have me play "Othello" on the following night instead of "The Guardsmen," with Mr. F. M. Bates as Othello, Mrs. Bates as Emelia and myself as Iago. I should have promptly decided not to make the change, but nothing in the way of work seemed too onerous for me, and too willing to oblige, I sent back word that if they could get Mr. and Mrs. Bates to volunteer I would make the change. Some of them waited on the Bateses with the result that Mrs. Bates declined to be Emelia, and Mr. Bates had never played Othello, but would play Iago if I would do Othello. I was in Mr. Bates' fix, having played Iago several times but never Othello. However, I consented to try it and gave myself another hard day's study to get perfect in Othello. Next morning Sloan, in the Herald, roasted me for playing a "star" part like Othello in stock costumes, notwithstanding I had been wearing stock costumes all the week. He spoke rather favorably of my acting, however, which was more than I should have expected. I would not be nearly so accommodating now. This my first "stellar" engagement closed on December 14th, 1872. The record shows that the farce of "The Spectre Bridegroom" was played after Othello, with Phil Margetts in his great part of Diggory. In those "palmy days of the drama," it was quite usual to have a farce after a five-act tragedy. On benefit occasions not infrequently there would be a long play, then an olio of singing and a fancy dance, and a farce to close the "evening's entertainment."
During this engagement Clara Jean Walters played the leading female roles, and rendered effective support, as indeed she always did. She was the most capable and versatile "leading lady" the stock company ever had and remained with it for several seasons a well-established favorite.
Carl Bosco, a very clever magician, put in two nights following the Lindsay engagement, 16th and 17th, and Mrs. Chanfrau opened the 19th inst. for two nights and appeared in "A Wife's Ordeal" and "The Honeymoon." On the 26th John T. Raymond opened a two weeks' engagement, giving "Toodles," "Only a Jew," "Rip Van Winkle," and "The Cricket on the Hearth." Johnny Allen and Alice Harrison and "Little Mac" for three nights. These parties put in from January 6th to the 15th. Johnny Allen and Alice Harrison were a great attraction in those days; how many remember them now? And "Little Mac," that homely dwarf, what wonderful stunts he could do with those stunted legs of his!—a circus in himself was Little Mac.