William E. Burton: Actor, Author, and Manager / A Sketch of his Career with Recollections of his Performances

by William L. Keese

In the years while the comedian was advancing in his profession, and acquiring that knowl edge of the stage which distinguished his subsequent management, his pen was not idle. He wrote several farces, and contributed stories and sketches to the periodicals of the day. These articles were widely read, and a collection of them was published by Peterson at a later date, with the title, "Waggeries and Vagaries"—a volume that has afforded entertainment to many readers of light literature. The literary taste referred to at the beginning of this narrative now sought indulgence, and in 1837 he started "The Gentleman's Magazine," a monthly publication of original miscellany. Articles of his own appeared in it from time to time, among others a graceful and appreciative sketch of his friend, James Wallack. He continued the editorship until July, 1839, when he associated Edgar A. Poe with him in the control.

To those who have paid any attention to the career of the gifted author of "The Raven," as depicted by various pens in recent years, it need scarcely be said that, though a man of genius, he was not without frailties; and his warmest defenders will not deny that his life was marred by many irregularities of conduct. He was appointed editor of the magazine at a fixed salary, and the arrangement was such as to give him leisure to contribute to other periodicals and to produce many of his famous tales. "Happier now," says one of his biographers, [6] "than he had been for years past, for his prospects seemed assured, his work regular, interesting, and appreciated, his fame increasing, he writes to one friend that he 'has quite overcome the dangerous besetment,' and to another that he is 'a model of temperance and other virtues.'" For nearly a year he remained with Burton; "but," continues the same biographer, "so liable was he still to sudden relapses that the actor was never with confidence able to leave the city. Returning on one occasion after the regular day of publication, he found the number unfinished, and his editor incapable of duty. He left remonstrances to the morrow, prepared the 'copy' himself, and issued the magazine, and then to his astonishment received a letter from his assistant, the tone of which may be inferred from Burton's answer: 'I am sorry you have thought it necessary to send me such a letter. Your troubles have given a morbid tone to your feelings which it is your duty to discourage. I myself have been as severely handled by the world as you can possibly have been, but my sufferings have not tinged my mind with melancholy, nor jaundiced my views of society. You must rouse your energies, and if care assail you, conquer it. I will gladly overlook the past. I hope you will as easily fulfil your pledges for the future. We shall agree very well, though I cannot permit the magazine to be made a vehicle for that sort of severity which you think is so "successful with the mob." I am truly much less anxious about making a monthly "sensation" than I am upon the point of fairness. You must, my dear sir, get rid of your avowed ill-feelings toward your brother authors. You see I speak plainly; I cannot do otherwise upon such a subject. You say the people love havoc. I think they love justice.... But I wander from my design. I accept your proposition to re-commence your interrupted avocations upon the Maga. Let us meet as if we had not exchanged letters. Use more exercise, write when feelings prompt, and be assured of my friendship. You will soon regain a healthy activity of mind, and laugh at your past vagaries,'" We think nothing can be clearer than that Burton had good cause for fault-finding, and that he was more than considerate and just in his frank expression of feeling.

We do not intend to pursue the ill-starred connection further. A more glaring offence on Poe's part severed the relationship, and not long thereafter the magazine was sold out to Graham and merged in his "Casket," the consolidation ultimately to become "Graham's Magazine."

"The Literary Souvenir," an annual published by Carey & Hart, was edited by Burton in 1838 and 1840, and its pages contained many of his entertaining sketches. He also contributed to the "Knickerbocker Magazine" a series of theatrical papers styled "The Actor's Alloquy." Occasional starring tours belong to the chronicle of these years, and there lies before us a bill of the American Theatre, Walnut Street, dated October 14, 1839, announcing "First night of the re-engagement of Mr. Burton," and also that "His Excellency Martin Van Buren, President of the United States, will honor the theatre with his presence." The President must have been greatly amused, for not only did he see the comedian as Tom Tape and Peeping Tom, but he also saw him "dance with Mrs. Hunt the Minuet de la Cour and Gavotte de Vestris." Burton was fairly well known now throughout the Union—except in the town of Napoleon, on the Mississippi River, where, if we may believe Mr. Davidge, he found his Waterloo. The engagement had not been profitable, and his only hope was by personally drumming for his benefit. So he deposited a goodly number of tickets with the bartender at the hotel where he was staying, with a polite request that he would use his best endeavor to get rid of them. The benefit came off, and the attendance was very flattering. After the play the comedian invited several friends up to the bar, and there had the satisfaction of learning that the man had managed to dispose of all the tickets entrusted to him. This was very gratifying; but no offer of settlement being made, he ventured to suggest that, as he was on the point of quitting the town, he would like to have the pleasure of receiving the insignificant amount of seventy-five cents for each piece of pasteboard deposited. Mr. Davidge says it takes a great deal to astonish a barkeeper in Napoleon; but this one was distanced. He surveyed Burton for a quarter of a minute, and seeing not a muscle move in the comedian's expressive countenance, he said: "Look here, Mr. Billy Burton, none of your infernal Northern tricks here; it won't do, no way! You told me to get rid of them tickets, and as I had promised I was bound to go straight through with it—and by thunder, I was obliged to stand drinks to every man to take one!" An audience may be uncultured if not lukewarm; and the unimpressible community of Napoleon reminds us that the "Antigone" of Sophocles was once produced under Burton's management, and, on loud and repeated calls for the author, the comedian presented himself before the foot-lights and said: "Ladies and gentlemen, it would give me the greatest pleasure to introduce the author of the play; but, unfortunately, he has been dead for more than twenty centuries, and I shall have to throw myself upon your indulgence."

Burton made his first appearance in New York October 31, 1837, at the old National Theatre in Leonard Street—then under the management of the elder Wallack—for the benefit of Samuel Woodworth, the poet, playing Guy Goodluck, in "John Jones"; and his first appearance as a star was made at the same theatre February 4, 1839, when he played Billy Lackaday, in "Sweethearts and Wives," and Guy Goodluck. A complimentary benefit was given to Mr. Wallack in the same year, when Burton played Sir Simon Slack, in "Spring and Autumn." The opera of "Amilie; or, The Love Test" was produced on the same occasion. If we mistake not, he was connected with the management when the theatre was destroyed by fire not long after. He also appeared at Niblo's Garden as a star in this year, opening June 21th, and was seen in a round of parts, including Gregory Thimblewell, Euclid Facile, Ignatius Polyglott, and Tobias Munns, in his own farce of "Forty Winks." He first appeared on the Park stage June 2, 1840, playing Sir Timothy Stilton, in "Patrician and Parvenu," the occasion being a complimentary benefit to Peter Richings; and in the same month acted at Niblo's Garden. At his benefit (July 6th) he played Brown, in "Kill and Cure," and Fluid in "The Water Party." The participation of the Cushman sisters in this entertainment greatly enhanced its interest and attractiveness. In this year he fitted up Cooke's circus-building in Chestnut Street, Philadelphia, calling it the National Theatre. He gathered a fine company and was very prosperous. Charlotte and Susan Cushman appeared there, and the sterling comedians Henry and Thomas Placide were among the force. The fairy piece, "The Naiad Queen," was there presented for the first time in the United States, and brought wealth to the manager's coffers. A large amount of his earnings by this enterprise he invested in Nick Biddle's United States Bank, and in the downfall of that institution suffered severely.

Mr. Burton as Dr. Ollapod.

In 1841, after a brief engagement at the Providence theatre, he returned to New York, and leased the rebuilt theatre corner of Leonard and Church streets, where his first appearance in New York had been made; brought on his Philadelphia company, and there established himself. This was April 13, 1841, and his first essay as manager in New York. He transported all the beautiful scenery of "The Naiad Queen," and reproduced the piece with gratifying success. But a dread fatality seemed to attend this temple of the drama. As, while under Wallack's management, it was destroyed by fire, so the same doom befell it under Burton. In the height of prosperity the building was again consumed, and with it the elaborate and splendid scenery of "The Naiad Queen." Of this calamity, F. C. Wemyss, in his "Theatrical Biography," remarks: "On this occasion a magnificent and extensive wardrobe, the property of Mr. Burton, was consumed, together with his private wardrobe, manuscripts, books, and other articles of considerable value. He was not insured to the amount of a dollar. The citizens of New York expressed their sympathy with the manager; and a complimentary benefit at the Park placed a handsome sum at his disposal." Undaunted by a disaster which would have utterly discouraged most men, Burton again sought Philadelphia, and after starring for a brief season leased the Chestnut Street Theatre for a fresh essay. There for a while he continued with good fortune, until better prospects invited him to Arch Street, where at last he located with a view to permanency. Meeting now with rich success, he determined to extend his sphere of operation, and added in turn to his lesseeship the Front Street Theatre, Baltimore, and the theatre in Washington; so that in 1845-6 he was guiding the destinies of three dramatic houses, distinguished for well-chosen companies and for the admirable manner in which the plays were mounted and cast. But again the fiat of destiny was written in words of flame. The Washington theatre, for the first time in many years, was handsomely rewarding its manager, when one night, during the performance, the scenery caught fire, and the building was burnt to the ground. The Baltimore theatre was continued; but the lion's share of attention was given to Arch Street, and there for several years Burton enjoyed a flow of prosperity; his fame increasing in public estimation; surprising and delighting all by his wonderful acting, and by the knowledge, taste, and liberality, with which he catered for his patrons. But New York was in the manager's thoughts and seemed to beckon him Northward. Perhaps Burton's prophetic gaze discerned in the great city a field that would respond to careful tillage, and that the rapid growth of the metropolis could not fail to give momentum to enterprise. Whatever the motive spring, the step was taken, and in 1848 the building known as Palmo's Opera-House became Burton's Theatre.

In this brief survey of fourteen years, the absence of detail in many instances will be pardoned, we hope, on a reflection of what it may suggest. We are aware of the interest attaching to strength of companies, citations of casts, and notes of special performance; and in all theatrical histories such details should evoke the most careful consideration. The Philadelphia record, however, is not always full and clear on those points, as respects individual careers, even in one so active and fruitful as our subject's; for, so far as we know, there is no history of the stage of that city which pretends to do for its dramatic life what Ireland has done for the New York stage—regarding which monument of painstaking fidelity, William Winter, in the preface to his recent admirable volume on "The Jeffersons," truly says: "Every writer who touches upon the history of the drama in America must acknowledge his obligation for guidance and aid to the thorough, faithful and suggestive records made by the veteran historian, Joseph N. Ireland. "Yet, in depicting the career of a great actor, many things are rendered subordinate which in a history of the drama of any given period would receive due prominence. That the career of Burton in Philadelphia from 1834 to 1848 embraced much of its stage history during those years, will, of course, be understood; and we shall be sorry if our readers, at the same time, fail to discern the industry, sagacity, courage, and varied powers—with which the actor, author, and manager, illustrated those years—suggested by this recital.