GEORGE JONES.
The first record of any attempt to burlesque Hamlet in New York is contained in the advertisements of the Anthony (Worth) Street Theatre, June 13, 1821, when Mr. Spiler was announced to play the Dane and Mrs. Alsop Ophelia, “in the original travestie.” Mrs. Alsop’s sudden death before the opening night postponed the performance indefinitely, and it is not known now when the travesty was produced, or if it was produced at all that season. Mr. William Mitchell presented Poole’s absurd burlesque of the tragedy at the Olympic Theatre on the 13th of February, 1840, playing Hamlet himself. This, by the graybeards who prate of the palmy days of the drama—palmy meaning anything that is past—was said to have been a finer performance than the burlesque Hamlet of George L. Fox thirty years later. At the New National Theatre—formerly the Chatham—Mr. Frank Chanfrau played Hamlet after the manner of Mr. Macready, October, 1848, in an entertainment called Mr. McGreedy. But the burlesque Hamlet which was most complete in all its parts, unquestionably, was that produced at Burton’s Theatre in the season of 1857-58, when John Brougham played Hamlet with a brogue; Burton the Ghost; Dan Setchell Laertes; Lawrence Barrett Horatio; and Mark Smith Ophelia. Brougham had played the part previously at his own Lyceum in 1851, and at the Bowery in 1856, but never with such phenomenal support.
On the long file of the bills of Hamlet upon the New York stage the name of a lady is occasionally found in the titular part. The most daring and successful of these mongrel Hamlets was unquestionably Miss Charlotte Cushman—but even the genius of a Cushman was not great enough to crown the effort with success. In the early days of her career Miss Cushman had played the Queen in the tragedy to the Hamlet of James William Wallack the younger, at the National Theatre, New York, in April, 1837, and in the autumn of the same year to the Hamlet of Forrest at the Park. There is no record of her appearance as Ophelia. She played Hamlet for the first time in New York at Brougham’s Lyceum, November 24, 1851, and she trod in the footsteps of Mrs. Bartley, who was seen as Hamlet at the Park, March 29, 1819; of Mrs. Barnes, who was seen in the same part on the same stage in June of the same year; of Mrs. Battersby, who played it May 22, 1822; and of Mrs. Shaw—whose Ghost was Mr. Hamblin—in April, 1839. Mrs. Brougham (Robertson) played Hamlet for her benefit in 1843, and so did Miss Fanny Wallack in 1849. This last lady frequently attempted the part, and at the Astor Place Opera-house, June 8, 1850, she had the support of Charles Kemble Mason as the Ghost and Miss Lizzie Weston as Ophelia. Other lady Hamlets have been Miss Marriott, Miss Clara Fisher, Mrs. Emma Waller, Miss Anna Dickinson, Mrs. Louise Pomeroy, Miss Rachel Denvil, Miss Susan Denin, Mrs. F. B. Conway, Miss Adele Belgarde, and finally Miss Julia Seaman, an English actress of fine figure, who played the Devil in the spectacle of The White Fawn at Niblo’s Garden, and who succeeded in doing as much with Hamlet at Booth’s Theatre in 1874.
AUGUSTUS A. ADDAMS.
The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, scene individable, or poem unlimited, have been in Hamlet’s train upon the New York stage since “first from England he was here arrived,” so many years ago; but so much has been said of Hamlet that even the names of his most beautiful Ophelias, his honest Ghosts, his gentle Guildensterns, his aunt-mothers, his uncle-fathers, his wretched, rash, intruding Polonii, or the absolute knaves who have digged his Ophelia’s grave—and lied in it—for a hundred years, cannot be enumerated here, except when they have played Hamlet himself, or have done as somebody else some wonderful things to Hamlet.
William Davidge related in his Footlight Flashes that during his strolling days in England, when companies were small, he had on the same evening done duty for Polonius, the Ghost, Osric, and the First Grave-digger; and Edwin Booth remembers Thomas Ward dying in sight of the audience as the Player King, and being dragged from the mimic stage by the heels to enter immediately at another wing as Polonius, with a cry of “Lights! lights! lights!” Hamlet, in a “one-night town,” swearing that he loved Ophelia better than forty thousand brothers, has watched her through an open grave packing her trunk in the place beneath, while the Ghost, her husband, waited to strap it up! There are more things in Hamlet’s existence—behind the scenes—than are dreamed of in the philosophy of all his commentators and all his critics.