George Holland, also departed, was for a brief period at the Chambers Street Theatre, and we recall our enjoyment of his broad fun and facial extravagance. We always felt, however, that—as his line was somewhat akin to Burton's—he underwent a perilous ordeal in appearing on the same stage with the great actor whose genius was so overshadowing.
Messrs. Norton, [10] Holman, and Parsloe, Jr., were useful members of the stock company, limited in range and ability; and we mention them as painstaking actors, who always did their best, and aided materially in the general success of the theatre. The name of young Parsloe is included on account of his performance of Puck, which, owing to natural cleverness and acrobatic aptitude, he succeeded, under Burton's training, in making exceedingly effective and full of goblin action.
And now let us fancy ourselves sitting, as of old, in the parquette, the curtain having risen on "The Serious Family." Sleek reads his appeal, and we hear a voice saying: "Those words give comfort to every fainting and world-worn spirit, good Mr. Aminadab Sleek"—and we know that Lady Sowerby Creamly has spoken, and that Mrs. Hughes is before us. Of this estimable lady and admirable actress, much more might be said than present space will allow. Almost as familiar a figure as the manager himself, for years she enacted those characters which were peculiarly her forte, and was identified with all the success and shared all the fame of the renowned theatre. We can recall no instance of her having disappointed an audience; and though, in the course of her long service, she may have assumed uncongenial parts, yet so intelligent was she, so thorough, so conscientious, that, in spite of unsuitableness, her performance was always acceptable and meritorious. Lady Duberly, in "The Heir-at-Law," Mrs. Malaprop, in "The Rivals," Lucretia McTab, in "The Poor Gentleman," were her accustomed line, and well indeed she played them. Widow Warren, in "The Road to Ruin," Mrs. Skewton, in "Dombey and Son," Betsy Trotwood, in "David Copperfied," were kindred felicitous portraitures; and no one can think of Burton as Sleek and Toodle without instantly associating Mrs. Hughes as Lady Creamly and Mrs. Toodle. How many times did they play those parts together! In all those lighter pieces and farces Burton made so popular and famous, she was his ally and strong support; and no history of the drama of that period can be written without conspicuous mention of her name; nor can the professional career and triumphs of Burton be recounted without suggestion and remembrance of Mrs. Hughes. Their professional relation was perfectly harmonious, and she was with him to the last. She went with him from Chambers Street to the New Theatre, and when that was given up accompanied him on all his starring tours, acting with him when he appeared for the last time in New York, and when he acted for the last time in his life at Hamilton, Canada. In a speech Burton once made, he thus referred to their theatrical relations: "I have been her father, her son, her uncle, her first husband, her second husband, and her third husband, her friend, and her disconsolate widower, and I have liked her better and better in each relation!"
Even as far back as 1826 Mrs. Hughes was a great favorite. H. B. Phelps, in his valuable work known as "Players of a Century," gives a notice of the press she received for a benefit night at that period, which he says is worth preserving as a model: "Mrs. Hughes takes her benefit at the theatre to-night. It would be an insult to the generous enthusiasm of her numerous admirers, to say another word on the subject."
As it cannot fail to be of interest to readers of this volume, we copy from Mr. Phelps's book a reply to a letter addressed by him to the Hon. Charles Hughes, State Senator, asking information respecting Mrs. Hughes's subsequent history.
"Dear Sir:—Mrs. Esther Hughes, formerly Mrs. Young, was my mother. She died upon her farm, three miles from this village (Sandy Hill, N. Y.), on the 15th of April, 1867, at the age of seventy-five, from the effects of an accident (falling down stairs, caused by vertigo). She had left the stage before the war, her last engagement being a travelling tour with W. E. Burton, in the South and North. She was acting in Albany as Mrs. Young when the war of 1812 was declared, and I have often heard her speak of Solomon Southwick and of John O. Cole, who was a boy in Southwick's office. Her many years of theatrical life speak for themselves."
We have heretofore alluded to the Miss Agnes Robertson of long ago; and now a memory steals in upon us of her débût at Burton's, and of her enchanting performance in the protean play of "The Young Actress." Of the half dozen parts assumed, the Scotch lassie and the Irish lad still haunt us. The highland fling of the one and the "Widow Machree" of the other were charming to see and hear; and, indeed, Miss Robertson was charming altogether.
We could give a long list of actors and actresses who from year to year were enrolled in the Chambers Street company, and whose efforts are pleasantly remembered. We do not mean to slight them; but we must hasten toward our appointed goal. One actress, however, a recognized favorite in New York long before her engagement with Burton, which terminated with her farewell to the stage, deserves more than a passing notice, for the pleasure she gave was as pure and healthful as it was winsome and bright. We refer to Miss Mary Taylor—"Our Mary,"—better known and esteemed than any actress of her day, except Charlotte Cushman, that we can recall.